Fashion Drawing and Design

HION DRAWING AND DESIGN
LOIE M.
CHADWICK
MAR
1927
FASHION
DRAWING AND DESIGN
Frontispiece
H
Fig.
I.
A
A Design
R
in
RODS
of Catalogue
Four Colours for Cover
FASHION DRAWING ^ DESIGN

A PRACTICAL MANUAL FOR ART STUDENTS AND OTHERS
BY
LUIE M.
Member
of
;
CHADWICK
Society
Fashion Artist
the
of
Women
Journalists
Member
of the Society
of Miniaturists
LONDON
B. T.
BATSFORD
LTD., 94
HIGH HOLBORN
VO
FIRST
vo
IN
PUBLISHED
MDCCCCXXVI.
MACE AND PRINTED IN GREAT BRITAIN BY FLEET WAY PRESS LTD., LONDON.
PREFACE
This book on Fashion Drawing and Design is intended to be a text book for Fashion Artists, and not an up-to-date fashion book. The illustrations have been carefully selected to show the methods
of painting for reproduction, fashion drawings in different stages,
the technique of representing fabric, and the values of light and

shade.
The modes may not be those

if
of the very latest
moment, but
they were chosen to-day, the fashions sometimes change so

is
rapidly that by the time the book
safely through the printer's decree.
hands,
much may have
altered
by Dame Fashion's
The
aim of the book, however, is not vainly to record of fashions any particular time, but to explain and illustrate the various methods and styles of drawing in general use for recording dresses of different types, with their manifold detail accessories, and
at
it is
hoped that a representative review on these
lines
has been
brought together.
So many young people aie seeking a career and wish to take up Fashion Drawing, that a book dealing with the subject in practical assistance, though all its branches will be, I hope, of
nothing can take the
practice.
place
of
intensive
personal
study and
There are some classes
in connection
with Schools of Art, but

I
these are very few, and several have closed down.
do not quite
know the
reason, but principally,
think, the fashion students
are discouraged by the master,
who
usually affects to despise
fashion drawing and tells the students he wishes

for " real art," instead of raising the standard
them
to go in
and showing them
how much good drawing is essential, and

artists did
that most of the celebrated
not disdain any kind of painting, even the signs of

L.
coaching inns.
CHADWICK.
Hampstead,
August, 1926.
NOTE OF ACKNOWLEDGMENT
I must acknowledge the great kindness I have received from everyone, advertising managers, well-known manufacturers, drapery firms and editors of newspapers and magazines, all of whom willingly lent me blocks and
drawings to illustrate the different methods of Fashion Drawing. Thanks must be given to Messrs. Aquascutimi for the powerful drawings by Mr. Tom Purvis (Figs. 74, 146, 148, 165) to the Aerograph Company for so kindly allowing me to quote from their booklet on the use of the Aerograph to Messrs. Burberry and for the loan of illustrations (Figs. 77 and 78) to Messrs. for the characteristic pen drawings of Mr. C. Roller (Figs. 59, 171) Madam Barri, for the clever silhouettes John Barker (Figs. 63, 113, 163) Messrs. Courtaulds for illustrations of the (Figs. 43 and 44, also 79 and 80) well-known Luvisca (Figs. 39, 40 and 145) The Celanese Company for Fig. 61, and the Chilprufe Manufacturing Company for the charming drawings of children by Miss Hocknell (Figs. 86, 168).
;
;
Amongst other
;
firms represented
by
illustrations are Messrs.

;
Hoyle and
;
Messrs. Debenham and Messrs. Derry and Toms (Fig. 120) Sons (Fig. 85) also Preebody for the drawings by Miss Beatrice Spiller (Figs. 35, 36, 170) Messrs. Emile (Figs. 153, 154) and Maison Nicol for studies of Hairdressing Messrs. Elliots (Fig. 159); Messrs. Jays (Figs. 144, 147) (Figs. 151, 152) whilst special thanks are due to Harrods for the charming Frontispiece Other illustrations were provided by Messrs. (Pig. i) and Figs. 38, 58.
; ;
Jenner
(Pigs.
(Fig.
10 1)
119,
121);
Messrs. Lashwood Messrs. Gorringe (Figs. 63, 64) Messrs. Marshall and Snelgrove (Pigs. 89, 90); Messrs.
;
Maclure Macdonald and Co. (Figs.

(Fig. 169).
115, 116)
and Messrs.
Phillips
and Co.
The reproduction of fashions published in the loUowing newspapers and magazines have been a great aisset to the book, and the courtesy and Art ei La Mode contrikindness of the Editors was most encouraging. buted illustrations by Soulie, the doyen of Fashion Artists (Pigs. 47, 53, The Daily Mail (Pigs. 109, 149, 161), sketches by Miss Bessie 57, 114) Daily Express The Daily News and Star (Figs. 62, 67, :o2) Ascough (Fig. 142. from a design by Captain Molyneux, drawn by Miss Madge Munro) The Lady also The Gentlewoman (Figs. 37, 83, 88, 112, 150, 152, 158, 160) The Sketch (Pigs. 69, 71, 166) The Queen (Pigs. 41, 66, no, III, 135) and Harper's Bazaar, an American Vogue (Figs. 81, 82, 87) (Figs. 68, 76) periodical widely known for its fine reproductions (Figs. 51, 164, drawn by Ert6, and 52, 72, 73, 123).
Many thanks are also due to the Director Kensington Museum, for the facilities he gave plates and the permission to reproduce them.
I
of the Print
Room, South
me
for studying old fashion
cannot conclude these acknowledgments without thanking Mr. Harry who placed so many books of reference at my disposal, and for also to Mr. A. W. Haggis for the technical notes on his help and advice colour reproduction which appear in Chapter VIII.
Batsford,
;
L. C.
Tlii
CONTENTS
Chapter
Page
PREFACE
I.
vii
INTRODUCTION
II.
HOW TO
BEGIN
of
17
Materials required.
numbers
lines.
making pencil sketches. Measurements of the
The
necessity of
figure, studies of drapery, pose, grouping, simple
III.
WASH DRAWING
The method
from
detail.
first
32
of
wash drawing
to
carried through
washes
for
finished of
sketch,
with
instruction
the
painting
texture
and
IV.
LINE DRAWING
Line work suitable for catalogue or for newspapers and quick printing. Effects obtained by masses of black.
Different styles of penwork.
63
How
V.
to show
silk,
wool,
etc., in line.
LINE AND WASH

The vogue
execution.
of this method.
92
The
difficulty of its
lines.
The danger
of too
many
Chalk
to give
and wash
effect.
for advertisements.
Red chalk
Stippling or cross hatching.
VI.
CHILDREN'S FASHIONS AND LINGERIE
....
112
Natural and simple. Great demand and little competition, very few artists able to portray real children. Care in drawing dresses according to age. Lingerie Graceful figures. Fine lines and
detail.
ix
X
Chapter
CONTENTS
Page
VII.
MILLINERY
The drawing
wholesale
please.
133
of
pretty
faces.
Sketching at
difficult
warehouses.
Milliners
to
The
correct angle at which to place the
hat or the head. The curve of the brim. The same hat made to look dowdy or smart. How to paint and draw feathers, straw, ribbon, flowers, fruit, etc., and other hat trimmings.
VIII.
FASHIONS IN COLOUR
Surface of boards.
cards.
I
155
Cover designs.
Two and
Show
three colour painting for reproduction.
Matt
colours.
Quickness and brilliant

these.
effect obtained
by using
Coloured paper
or board for background.
Painting on white
paper.
Cutting out and painting on coloured

Colour and the reproduction of colour.
ground.
IX.
FASHION DESIGN
Fashions of the Middle Ages.
for
182
Greek, Eg3T5tian,
Chinese influence. Ideas from old prints. Dresses
Pageants and the Stage.
Designing for
magazines and papers.
X.
BACKGROUNDS
Interiors for evening dresses, afternoon frocks,
restatarant
209
gowns.
for
Perspective.
Furniture.
sports
coats.
for
Landscapes
Nursery,
costumes
and
play-room,
seashore
or
garden
children, with suitable
games or
toys.
Correct
fishing
accessories, golf clubs, tennis racquets,
rods for sports dress.
XI.
FASHIONS IN HAIRDRESSING
224
of large stores.
Branch of Fashion Drawing. A department High prices given, not over-
crowded.
CONTENTS
Chapter
xi
Page
XII.
ACCESSORIES
Christmas
gifts,
231
gloves, shoes, bags, umbrellas,
sunshades, etc.
Bead
chains, etc., sketched
by
fashion artists for complete catalogues.
XIII.
FASHION DRAWING AS A CAREER

The Free Lance
advertising
Artist.
239
Interviewing agents and
Working for printers. and wholesale houses. Commercial and fashion studios. Advice upon specialising. Specimens to show. Resum6.
managers.
Sketching
at
shops
INDEX
261
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INTRODUCTION
In the seventies and eighties and up to twenty years ago fashion drawing was very stilted and inartistic the figures were out of proportion, more resembling hour-glasses than human beings,
;
was a golden time for the unskilled or partially trained it was thought quite undignified and derogatory to condescend to record fashions. Then a few artists saw the Graceful, natural, and possibilities and struck out a new line. and papers. magazines life-like figures began to appear in the Fashion editors became more critical, the Drapers' Advertising Managers more fastidious, until the present high standard was reached, and now fashion artists have come into their own
and
it
amateurs, as
again.
The
attitude of the ordinary

is
drawing
either
is
No
thought
mind towards fashions and fashion contemptuous or amused, but not as a rule serious. given to the influence of events upon dress, no
difference, or
realisation that climate
makes an enormous and environment, and yet when the dress and
work
fashion
is
is
thousands
of years old, even a glorified dressmaker's

interest
dummy
of absorbing
and of great value. and extravagance of the garments are not cavilled at, but the exquisite workmanship, trimming and ornamentation positively gloated over with the greatest enthusiasm by savants of all countries, and days and months are spent not only in
The
richness
excavation but in the reconstruction of these

should
relics.
What
idea
we have had
is
of this splendid
civilisation
without the
wonderful care taken in the detail of dress.
There
value.
another aspect of the fashion art, and that
is its
historical
If
the student will turn to a good history, well illustrated,

is
he or she will find that at the end of each period a section

to manners and customs, and the dress and domestic
devoted
built
life is
FASHION DRAWING AND DESIGN

records, the costumes are often copied
If
up from contemporary
from brasses and
left
effigies in the churches.
no record had been
we should have been much

historical novels
the poorer in knowledge, and

lost considerably in interest
many
if
would have
dress could not have been described.
The
is
history of dress can only be touched upon, as this
book
to be essentially a technical one.
The
people.
spirit of the
age has generally manifested

itself
itself in
life
the dress
of the time,
and has adapted
to the kind of
led
by the
The age
Great epochs of history made equally great changes in dress. of chivalry, the Crusades which brought wonderful new
fabrics, colours
the origin of Craft Guilds.

tion,
dress.
and jewels from the East, and incidentally was The Renaissance, the birth of civilisaeach age left its mark upon the civil and domestic life and
It
may
be interesting to refer to some historical characters
Beatrice d'Este is a good example. In a letter to an agent who was going to France she writes " I send you a himdred ducats, and wish you to imderstand that
their love of dress.
:
and
you are not to return the money if any is left after buying the things which I want, but are to spend it in buying some gold chain or anything else that is new and elegant. And if more is required, spend that too, for I had rather be in your debt so long as you bring me the latest novelties. But these are the kind of things that I wish to have engraved amethysts, rosaries of black amber and gold, blue cloth for a camora, black cloth for a mantle
such as shall be without a rival in the world, even

ducats a yard
If it is
;
if it
costs ten
so long as
it
is
of real excellence, never
mind
only as good as those which I see other people wear, I had
rather be without it."
She besought an envoy in Venice at one time to get her " immediately silks, velvets of oriental make, brocades patterned
all
over with leopards, doves, and eagles, rare perfimies, Murano

silver,
glass,
bracelets
(finer than any sample), wrought rings." Beatrice d'Este was cultured, a patron of arts and a strong
very fine Rheims linen

finely
and
character;
her devotion to
clothes
certainly
did not indicate
weakness.
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INTRODUCTION
Queen Elizabeth, one
of our greatest monarchs,
it
crowded with dresses, over i,ooo
is said,
had a wardrobe and yet she was a

rival,
wonderful ruler and very strong-minded.
Marie Stuart, her
was
also
devoted to the
toilet,
and the Marie Stuart cap and
collar
are often revived.
Women
and
were not alone in their love of dress.
Pepys, a clever,
witty politician, speaks frequently in his diary of both his

his wife's dress,
own
and says
it is
" vastly becoming."
In the eighteenth century much time and money was spent by Beau Brummel, Beau Nash, the Prince Regent, the Macaronis and Dandies of their day with their clouded canes, lace ruffles,
wigs, etc.
The same period showed great extravagance in women's dress. The hair was powdered and dressed to a prodigious height. Frances
Bumey
refers to this in
Evelina.
Women
did not take part in
games, and were driven in a coach or carried in sedan chairs, so

the hoops and spread-out skirts did not
as
incommode them as much
we should
think.
Jane Austen, another intellectual, did not despise dress, and in

her letters describes
"
My
new dresses and caps. cap has come home, and I like it very much.
;
Fanny has
intended
for,
one also
hers
fit
is
white sarsenet and laces of a different shape from
mine, more
for
morning wear, which

like
is
what
it is
and
is
in
shape exceedingly
our
own
satin
and
lace of last
it, with pipes and more and a round crown inserted behind. My cap has a peak Large full bows of very narrow ribbon (old twopenny) in front. are the thing. One over the right temple perhaps, and another
winter, shaped round the face exactly like

fullness
at the left ear."
want two new coloured gowns for the summer {see Figs. 3 and 10), " for my pink one will not do more than clear me from Steventon. I shall not trouble you, however, to get more than one of them, and that is to be a plain the other, which is brown cambric musUn for morning wear to be a very pretty yellow and white cloud, I mean to buy in
In another letter she says
"
:
" I shall
Bath."
learned
woman
is
called a blue stocking, but it
was
really a
man who wore
stockings of that colour and attended the literary symposiums and salons; he was very witty and the life of the
10
company, and when he appeared the " blue stockings " were
hailed with delight.
Some noted men and women have been

hat. Chamberlain's eyeglass
distinguished
by some
Lincoln's
eccentricity in dress, such as Gladstone's collar,
Abraham
The
illustrating
and orchid. and description of dress
is
not only valuable
from an
historical point of view,
but of inestimable use to novelists
and playwrights. We all know what care is taken in dressing a play, and, if of bygone times, any anachronism is quickly noticed and pointed out. Novelists have always been very particular in portraying the heroine's dress, and we get a vivid description of Julia's toilet in The Last Days of Pompeii " Julia's tunic of a deep amber, which well set off her dark hair and somewhat embrowned complexion, swept in ample folds to her feet, which were cased in slippers, fastened round the slender ankle by white thongs while a profusion of pearls were embroidered in the slipper itself, which was of purple, and turned sUghtly upward, as do the Turkish slippers at this day ... a graceful buckle on the left shoulder, in which was set an exquisite cameo of Psyche the girdle of purple riband, richly wrought with threads of gold and clasped by interlacing serpents and lastly, the various rings fitted to every joint of the white and slender fingers. The toilet was now arranged according to the last mode of Rome." Thackeray in Vanity Fair describes in his inimitable manner Becky Sharp's dress on going to Court. {See Fig. ii.)
"
Lady Jane
and
all
quickly spied out the magnificence of

"
the
brocade of Becky's train, and the splendour of the lace on her

dress,"
later
on he says
The
particulars of Becky's costume
were in
all
newspapers
feathers,
was
lappets, superb diamonds,
and
the rest."
Again we have the fascinating Dolly Varden
"As
of
to Dolly, there she

looks, in a
again, the very pink
and pattern
good
little
smart Uttle cherry-coloured mantle, with a hood
same drawn over her head, and upon the top of that hood straw hat trimmed with cherry-coloured ribbons, and worn the merest trifle on one side just enough, in short, to make it the wickedest and most provoking head-dress that ever malicious milliner devised. And not to speak of the manner in which these
of the
cherry-coloured
decorations brightened her eyes,
or
vied
with
INTRODUCTION
her
lips,
li
new bloom on her face, she wore such a cruel had such a heart-rending pair of shoes, and was so surrounded and hemmed in, as it were, by aggravations of all Hnds."
or shed a
little
muff, and
Charlotte Bronte also gave minute pictures of dress, especially

in her celebrated
book Jane Eyre,
in
which she makes Jane depict
the dress and character of Mr. Rochester's guests

" Mrs. Colonel Dent's black satin dress, her scarf of rich foreign
lace,
and her pearl ornaments, pleased me ..." " But the most distinguished was the Dowager
Lady Ingram,
whose crimson velvet robe, and a shawl turban of some goldwrought Indian fabric, invested her with a truly imperial dignity."
(See Fig. 7.)
perament.
At the present time colour and fabric are used to denote temThe intriguing adventuress is clad in diaphanous purple
with a long chain of jade beads round her neck, and wearing jade
ear-rings
her
unsophisticated rival in white and pearls.

girl,
The
staunch, genuine EngUsh
somewhat
of a hoyden,
and very
much
sportswoman,
;
is
pictured
in well-worn
tweeds, sensible
shoes and pull-on hat
in the evening she is in a simple frock, her
healthy
sunburn
contrasting
with
the
exotic
bloom
of
the
adventuress.
If
we go back
to 1790 or 1815-20
we
find fashion plates were
drawn and designed. Well-known artists sketched for the Lady's Magazine, and used all their talent in depicting the dresses and accessories. Watteau Fils was one of these, also
beautifully
Incroyables and Merveilleux.
Horace Vernet, who devoted himself to fashion plates of the The beauty of the execution will
[See Figs.
be noticed in some of the illustrations we are showing.

2,
4 and
5.)
The two
ladies in Fig. 4
have the long sleeves and

at the present time.
Holler,
overskirt which, in a modified form, are
The
Fig-
figure in the brilliant silk
is
worn by William
and can be
[See
taken as a very good example of how to paint
silk or satin.
5)
In our
own
country,
up to the time
of
Victorian era, fashion plates were carried out with great

artistry,
and including the Early skill and

[See Fig. 6.)
for a
B.C.,
such as those by Paris R.A. and others.

is
The
dress of to-day
a particularly
happy one
book
of
this kind, as the style ranges
from the Egyptian 3000
touches
12
FASraON DRAWING AND DESIGN
the Plantagenet in jumpers and sleeves, the hoop and skirts after
the " Beggar's Opera," the caps, head-dresses, turbans and hats from the eighteenth and the beginning of the nineteenth century, not
leaving out quaint touches of the early Victorian
(see Figs.
8 and
9),
and even coquetting with the high hats and
stiff
flowers of 1897-8.
Fig.
8.
Early Victorian
Fig. 9.
Walking Dress
To
reconcile all these
differences of period requires
knowledge
whether we
feel
and wide reading, but
I think I
have said
sufficient,
consider the value of historical or
modem
aspects of dress, to
encourage the would-be fashion artists and make them

are
they
by no means obscure
factors in the social life of the daj-.
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Fig. 12.
Preliminary Pencil Sketch of Figure.
HOW TO
The
BEGIN
instruction in Fashion Drawing fonnerly given to a beginner was to draw a model figure which consisted of an egg-shaped face, a wooden-like body k la Mrs. Noah, with a narrow waist and a skirt drawn from a dressmaker's dummy. I suffered from this kind of lesson myself, and having modelled my style on these foimdations, had to mileam\it all again, and teach myself to draw living figures, not dummies. It is necessary to have some guide to correct figure-drawing and yet to avoid a stiff, stony and mechanical appearance. It is better to begin your study of Fashion Drawing by making numbers of pencil sketches of the figure in every pose you can
see or think of. at
all,
These pencil roughs should not be finished up

is
as
it is
not detail that
being aimed at but
movement
and day
life.
Two
or three of these figures should be drawn every
tmtil the student can put a smart figure on the cardboard ready for any style of dress, such as figures walking, sitting,
kneeling, back view, etc.
{See Figs. 12, 16, 17
and
18.)
MATERIALS REQUIRED
The materials which
not numerous or costly
;
will be
needed by the fashion
artist are
the chief outlay will be brushes, but with
care they last a long time.
Boards vary considerably

several makes.
finished drawings
a good general art shop will keep Cheap boards can be used for practice, but for
;
it is
better to select a good board.
The
surface
should
be hot
;
pressed both for line and wash,

for furs
especially in black
and white
and
colour, boards with
no
surface are better.
Hot
pressed paper and Bristol board can be used for line work.
l8
For Line Drawing, Crowquill pens are the best. No. 659 will be found most satisfactory. The paint for wash drawing can be Persian Black Process, black, ivory or lamp-black. The last three are in tubes
Ordinary water colours are used for fashions
designs, etc.
in colour,
cover
Matt colours are the best for show cards. White paint must be used for the high lights and white lace, etc. this should be Albanine, Process White or Chinese White.
List of materials required
1.
:
Process or Fashion Boards for

Bristol
Wash Drawing.
2. 3.
4.
5.
Board or Hot-pressed Paper for Line. Water Colour Boards for Fashions in Colour. Coloured Paper for Show Cards and Chalk Drawings.
Sable Brushes and Crowquill Pens.
Persian Black Process, Ivory or Lamp-Black.
6.
7.
Albanine Process or Chinese White.
8.
9.
Water Colours in Tubes. Matt Colours for Show Cards.

find materials
i, 2, 5, 6, 7,
The student wUl

begin with.
quite sufficient to
Notes on Illustrations
and if the student will look upon these pencil sketches as he would scales in music, which the musician plays over and over again until he is perfect, the preliminary steps will soon be passed, and ease and facility
Practice
is
everything,
quickly gained.
To
get
the
sketches
correct
as
well
as
full
of
life,
some
Generally a line is must be made. measurement a compass marked and with paper centre of the drawn down the recommend the should This is not the way I off in sections.
of proportions
;
be absolutely accurate but appears only a lay figure. The method I have adopted and found most successful in teaching then is to make the beginner draw in the figure very sketchily and
figure
may
measure the height and other proportions.
At
this stage it is
easily corrected without spoiling the freedom of the sketch.
19
Fig. 13.
Pencil Sketch of Draped Figure.
Fig. 14.
A Chalk Drawing
by Lord Leighton showing a back view of a Figure Nude and Clothed.
Fig. 15.
Shows a Characteristic Study of Hands, drawn by Lord Leighton.
24
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S o H
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HOW TO
The
BEGIN
25
MEASURING
first
measurements need only be the height and very simple

is
ones of the limbs.
The head
a
taken as the basis of measurement, the height of
7^ heads, that of a man 8 heads, a child's head is much larger in proportion, and the student will find that very young
woman
is
children only measure 4 heads, increasing to 6 and 7 as they

older.
grow
THE ARM AND HAND

{See Fig. 20)
The arm and hand reach

is
to half
way between
the waist and

if
the knee, the elbow comes level with the waist line
the arm
hanging down.
If
the
arm
is
bent, the elbow
is
raised
above
this line in a slight or greater degree according to its inclination.

It is
very necessary to study the hand from
life
{see Fig.
15)
as
it is
impossible to give diagrams of every position.

is
The length
of the
hand
about the length of the
face.
If
the fingers are spread
out they span the face from chin to the top of the forehead.
fingers should be tapered
others
even in
The and the middle finger longer than the an outline drawing the nails should be indicated.
THE HEAD
The head should
rules will be a help
also
if it
be studied from
life,
but a few simple
has to be drawn without a model.
The pupils
if
of the eyes are

is
about the middle of the head, and between these
the proportion
taken from the chin to the pupil of the eye,

of the head, the distance
and from that to the top

points
is
equal.
also be divided into three parts, the line of the
The head can
eyebrows, the top of the nose, and the chin.
The comer
of the
mouth
to the outside comer of the eye
is
equal in space to the
distance from the
comer
the face
is
also divided
of the eye to the middle of the ear. If from the nose to the chin into three parts,
the
mouth will be
one-third
down from
the nose, the dip underneath
the second part, and the third to the point of the chin.
THE EYES
The eyes should be placed
equal to the width of an eye.
well apart, the width
between being
deeper than
The upper
lid is
much
26

it is
the lower one,

lid at
wider in the centre and folds over the lower

is
one comer and

is
more heavily fringed to protect the

iris
eye.
The
pupil
very dark and surrounded by an
of different
colours, it is liquid
and reflects the light. The eye moving as it does on a pivot can be turned in every direction, and great care must be taken that the eyes are both looking the same way.
MOUTH
A
that
perfect
is
mouth
is
generally described as a cupid's bow,
and
lip
the most accurate description, although poets allude to
the heroine's
is
mouth
as a rosebud, cherry
lips, etc.
The upper
the exact curve taken
by the
traditional bow, the under lip like

;
the string, but also curved, not taut
the comers of the lips do
not meet in a point, but the upper
lip folds
over the lower one.
The
raised
mounds
of the lower lip fit into the depressions in
the upper one.
NECK
The neck and shoidders
neck
is full
are very important, the line of the
and curved into a hollow between the two and this dip should always be indicated, Also draw the lines of the clavicle, but do not slightly. if only emphasise these too much or it will give a bony appearance to the neck and shoulders. There are two muscles which also come to a point at the depression in the neck and start from the ears, these lines form a triangle, the where there is the widest space
in front
points of the clavicle,
point coming to the centre of the clavicle.
LEGS AND FEET

Again taking the head as a basis of measurement, the distance from the top of the head to the knee measures 5J heads and the ankles 7 heads, with half a head to the sole of the foot. The foot forms an arch, the weight resting on the ball in front and on the
heel.
This arch or high instep
is
considered a form of beauty
and also of good descent. shown in the drawing.

Illustration
The ankle bone should be noted and
When
the figure
is
walking, the foot at the back should be

heel, the ball of the foot
raised from the
ground at the
and toes
2'J
Fig. i8.
Fig. 19.
Preliminary Pencil Sketch.
Draped Figure.
is
The
pencil sketch of standing figure
seen clothed in evening shawl or wrap.
30
N O
to
D
I-
> U
Q
<
Ji
.-
!5
to
HOW TO
resting
BEGIN
level
31
on the ground at an acute angle
with the foot when
stepping out.
When
these few proportions have been studied and mastered,
the pencil sketches can be corrected and the student's power of
drawing quickly and correctly can be gauged
it is
useless for
him to begin the painting or

been gained.
detail until a certain sureness
has
DRAPING THE FIGURE

The next step should be to
clothe these figures in appropriate
{See Fig. 22.)
;
garments according to the pose.

or coatfrock on a walking figure
or restaurant frocks
Draw a costume
an afternoon
on a
sitting figure
gown
sports coats, river dresses, tweed or washing
amount of detail can be form a prehminary exercise to the dress designing which comes later on in studying Fashion Drawing. {See Figs. 13, 14 and 19.)
on
figures in action.
A
it
certain
put into these sketches and
will
GROUPING
At
If
this stage
some grouping may
also be attempted,
sitting
figures
can be drawn on the same page, one
and two and one standing.
the proportions are studied and quick sketches
made every
if
day,
the student will soon be able to begin wash drawing, which, I

think, is better studied before other methods, even
the student
afterwards specialises in line or other medium.
Ill
WASH DRAWING
Now
known
comes a more fascinating stage in Fashion Art what is as " Wash Drawing." This is really water-colour painting
in black
and white
for reproduction.
It is
used for catalogues
or magazines, so the dress and detail must be sharp, not hard, but what we call " slick."
made
clear
and
The boards
will
required for wash drawing should be Fashion or
Process boards with hot-pressed surface, except for furs, which I

deal with later on.
Persian black. Process black, any of
these with Albanine and Process white, and

sable brushes, are
all
two
or three good
the materials needed.

figure,
Sketch on your board a smart

(See Fig.
very
lightly,
with an
24.) H.B. or H.H. pencil. with the pose, draw in the details of the dress, keeping it quite simple with very few lines. The sketch should then be washed
When you
are satisfied
fixes the pencil, so care
over with plain water, this prepares the board and to some extent must be taken not to leave a wrong line,
as
it is
sometimes
difficult to erase after the
water
is
washed
on.
dry and then begin to paint, using plenty of water with Let your black so that it may flow easily and dry light and smooth. If the brush is dry the black leaves a hard line, which is sometimes
this
impossible to get out.
with the principal shadows and which should be painted in very strongly, leaving the high lights to make it look soft and fluffy and like Where the hair touches the face, hair, not hard and opaque. few delicate lines to indicate hairs. a and paint a soft shadow
Wash
in the head, beginning
dark part
of the hair,
Then proceed to wash in the face, painting in first all the delicate shadows and indicating the features. It is a good plan to wash over the part you wish to paint with water and rtm in the black while it is wet this gives roundness to the face, and some modelling
;
33
Fig. 22.
Study of Drapery, by Lord Leighton.
Fig. 23.
^^
Muffs and other articles of Dress and Toilet, drawn by Hollar.
36
Fig. 24.
The Wash Drawi

First the Pencil Sketch with detail
drawn
in
then the
first
washes.
The
'iG.
25.
Fig. 26.
all
IX THREE SUCCESSIVE STAGES. id illustration shows the finished design with
the details carefully worked up.
40
Fig. 27.
Details in Wash.
Fig. 28.
Fig. 29.
Wash Drawings of different materials and patterns Serge and Herringbone.
Fig. 31.
Knitted Wool Coat
in
Wash.
Fig. 30.
Plaid Shawl in Wash.
WASH DRAWING
43
can be done with the brush while the paint is wet. If you have drawn a pretty one, with the features lightly painted in, it is better to leave the face in this state and not finish up entirely, but go on to the dress, as the whole drawing should be worked together,
not one part finished up before the other.
THE DRESS
For your first attempt at wash drawing choose something simple,
such as a plain coat and skirt
;
this is the best to begin with.

I find
;
Do
often
not be afraid of putting on the paint.
that this
is
the reason the beginner spoils the drawing

faintly
some black
is
put on
and then before that is dry the student tries to correct some imaginary fault, probably the paint is half dry and half wet, and a hopeless muddle is the result and the student is in despair. Take a fairly large brush and wash in very broadly the shadow side of the coat and skirt, both at the same time if they are painted separately they have the appearance of being a different colour and material. Paint the dark side of the sleeve and the little sharp triangular shadows thrown by the comer
;
of the collar.
folds,
When
this is dry, paint the
minor shadows and the

Several gradations of
following the lines of the figure.

folds,
shade will be noticed in the

tones to quite light
to a drawing.
;
from very deep through half
these variations
make
all
the difference
Before going any further with the dress, deepen all the shadows on the head and model the features as much as possible. (See
Fig. 25.)
It is not necessary for quick reproduction to
the face like a miniature, but every
work up shadow and touch should
mean something.
them
all
When you
iris
paint the eyes get the pupils quite

liquid
and transparent, don't make The same care should be taken with the other parts of the face. At this stage work up ready for the finishing touches the dress must now be brought up to the same tone until the whole figure only requires
black with a dab of white to look like beads.
;
dark and clean and the
the detail.
[See Fig. 26.)
Look over the painting and add any touches to sharpen the effect or take out any mark that should not be there. When the artist is quite satisfied with the finished wash he can next proceed
to detail.
(See Fig. 37.)
44
DETAIL
Modem
painting ignores detail and
all
we
get
is
frequently
a suggestion of lace, a glimpse of fur, a flash of

to convey this impression
is
silk.
To be
your
able
imdoubtedly
clever, but
client
will usually require the exact pattern of the lace, the braid or
the buttons,
etc.,
which he wishes to advertise.

pictures
of
You
will find
this meticulous care of detail in the
by old masters,
others,
Velasquez,
Quintin
Matsys and numbers
including
it
;
those
known
as pre-Raphaelites, so
we must not
despise
but,
of course,
it is
purely mechanical and only requires practice.
Let
us take several kinds of detail and describe

painted.
how they
should be
LACE
The trimming or accessories to a dress depend upon the fashions moment, and the caprice of Madame Fashion is soon felt in the industrial centres and often makes all the difference between poverty and wealth. At one season the fashionable woman is
of the
smothered
that
in lace, at
another there are so
many rows
of buttons
we
are irresistibly reminded of Alphonse, the page in Nicholas
Nickleby, or else she

It
is,
is braided and f rogged like a military attache. however, safe to assume that lace, braid and buttons will
first named. by blacking in the space to be covered and, when the paint is quite dry, draw the pattern carefully with process white, the leaves, the flowers and tendrils, then outline the petals, veins and dots and let this also dry
always be worn, so I will begin with the
The method
of painting white lace
is
with Albanine.
is formed by cross lines in process white. For very coarse or torchon lace the whole must be put in with Albanine. For very fine white lace the space should not be dead black, but chiefly in half tones, getting a certain amount of depth
The mesh
a thin wash of process white over the dark here and there gives it a filmy look, which will help materially to give the lacy effect. This should be touched up in the high
to throw
up the pattern
lights
with process white.
(See Fig. 27.)
by drawing two lines on your board, blacking in the space between and following the If the trimming on the dress consists of flounces instruction given. shadows and leave the high light as you would in the of lace, paint
Practise the different kinds of lace
45
Fig. 32.
Flounced Silk Skirt. Notice the way silk is represented by

sharp contrasts between
dark.
light
Fig. 33.
The
and
Skirt. pattern is darker than the ground but sometimes it is shown

lighter.
Brocade
48
^'w.
;3R:/
Fig. 34.
An Example of
painting Velvet.
49
4
hese illustrate the richness
^ Excellent Fur Drawings by Miss Beatrice Spiller and softness of the material.
'
S"
Fig. 37.
Wash Drawing by
Lilian Young.
WASH DRAWING
for a flounce of silk or cloth
;
53
on
this
draw the pattern, using
Albanine only on the top of the folds and process white in between. Black lace is the same method reversed. The paper underneath
the lace
is left
almost white
draw the
detail with black (the flowers
or design), the
mesh with
threads
;
cross lines in black.
The
lace
is
generally
made with
silk
these catch the light, so on the top of
the flower, etc., paint delicate touches of process white, also lines
of process white
mixed with black. shadow has a wider dark line to raise
If
it
the design
is
thick, the
from the mesh.

little silk
At the present
time, evening dresses consist of a

girdles,
and
many
beads.
beads,
tunics,
effect
flounces,
sheaths and armour of
The
at others bizarre
of fashion,
by artificial light is sometimes most beautiful, and barbaric, but like sheep we follow some leader
and in every one of us there is something of the child and savage, and we all love glittering things. A beaded sketch in colour can be made very artistic, but I
am
deaUng at present with black and white.
Ordinary beads
are painted as a round, black dot, with a tiny white spot where the
light catches the surface.
Sequins are painted in a
flat half-circle,
with a sharp, fine light on the outside edge.

light
Pearls have a very high

side
;
and a shadow, and a half-tone on the shadow

like marbles.
this gives
the beautiful luminous effect so characteristic.
Avoid making
them opaque
BRAID
Military braid (see Fig. 27)
is
very usual on costumes or

should be
tailor-
made
dresses.
Horizontal lines in black are drawn very fine
and dose together. with Albanine, and

a
little
In the high hghts the

in the
lines
made
shadows with process white mixed with
black.
On
is
white serge coats and children's sailor dresses white braid

This
is
used.
very simple
draw
fine lines in Albanine
and
in
process white for the shadows.
must say a word about embroidery. This makes all the between an ordinary commonplace dress and an artistic creation. In painting embroidery in wash the student must
I
difference
endeavour to give
it
design Ughtly in pencil or paint.
the pattern in ink,
Draw in your good method is to outline but the drawing must be quite exact as it is
the appearance of being raised.
54

washed
impossible to erase the ink without injuring the paper for painting.
If
the ink
is
used, the dress can be

will still
in as I
have described,
and the design

embroidery
be
visible.
Paint Uttle strokes to represent

side a dark line to give
stitches,
If
and on the shadow

the embroidery
is
the raised effect.
of silk, white lines

it.
can be
drawn
across the pattern to give this appearance to

is
White
embroidery
simply reversed, and white lines drawn but a dark

flower, fruit or leaf to
shadow under each
show it
in relief.
It is impossible to describe every kind of detail as
new trimmings
it is
are constantly being invented or resuscitated,

to experiment until the effect
is
and
necessary
obtained.
FABRIC
IliUSTRATiONS {See Figs. 39 and 40)
When
materials
are
a plain wash has been satisfactorily accomplished and

is
studies of detail made, the next step

;
to try to paint different
the plain wash

varieties,
is
sufficient for ordinary cloth,

client is a wholesale
but there
many
is
and
if
your
manufacturer
he
will require
each kind to be properly defined.

is
shown by painting in diagonal lines, same direction even all straight folds of a skirt must be crossed in the same way. I well remember one of my first attempts when I rounded all the lines over folds, the result being very clumsy and failing to convey the idea of serge. Notice if it is coarse or fine serge and draw the lines
Serge
very usual and

all
taking care that
slant in the
accordingly.
IU,U3TRATIONS
SmAI,!,
DIAGRAMS
also
Another cloth used in making coats has a herringbone pattern

in the weave,
and
this
must
be shown.
{See Figs. 28
and
29.)
Plaids are painted in the
same way as the

plaids
serge, following the
pattern and
made dark
as they cross each other.
{See Fig. 30.)
They
lines.
are difficult, as in
some
Velour and thick cloth
number of subsidiary should be painted by leaving the

find a
effect.
we
edges of the folds slightly irregular to give a soft
IlXUSTRATIONS
Silk
is
painted in quite a different

liquid
manner.
in
{See
Fig 32.)
Mix the paint very
and washy and put on
a direct manner.
Fig. 38. Fur in Wash.
Two Blouses
good EXAMPLES OF SILK TREATMENT.
Fig. 40. of Luviskc.\,
WASH DRAWING
deciding beforehand where the light and dark will be.
of the drapery are sharp
folds
;
57
The edges
between the
and should be
left light, in
a few irregvdar touches give the silky
effect.
this as far as possible without white until the
very
last,
Try to get and then

it.
a few dashes of Albanine will give the required brilliance to

Satin
is
not so sharp, the folds are heavy and the high light not
of the fold,
on the top
light.
but with two half-tones, one each side the

liquid.
;
{See Fig. 33.)
For velvet, the paint must also be mixed very

very black, and
light part
let
Begin
the colour flow over the light parts
wet the
and run in some process white. Don't let the white go on to the very black parts, but where the two meet, soften with your brush before the paint is dry. (See Fig. 34.) If the whole
dress
is
of velvet,
wet
it all
over and wash the paint on, beginning,
as I have said, with the very blacks before the board has time
to dry.
FURS
Fur
is
considered the most difficult to paint and
specialise in this,
some artists and by constant practice are able to paint any

aim at
is
fur required.
(See Fig. 23.)

softness, richness
The
principal effect to
and depth
there are no hard lines in fur.

pliable furs fall into the
Sable and ermine and very soft

folds
most fascinating
where wrapped round the shoulders.

but even these do not lose their depth.
Black fox or skunk
taking care to show
is
is
Some
are
and little creases more stubborn

fur,
comparatively easy.
This
is
Sketch in the
its
best points.
very important as there
a certain fashion, which, like other fabrics, varies in the

;
way they
are treated
so
it is
with furs
^heads and
is
tails
one year, neither the
next, but perhaps fringe or big fur bottoms.
Again, in moleskin the skin
made
into squares, stripes
and
other rather eccentric patterns.
new mode
If
Sketch in the figure in the best position to show the shape and of the fur, and then paint it as near as possible to the
(See Fig. 35.)
is
real thing.
the fur chosen
skunk, notice that

it
it is
generally
made up
of
different strands.
Wash
over with plain water and paint in the
blacks
these cannot be too black.
Guide the paint, leaving high
58
lights.

Before
it is
dry paint
little lines
from the edge
of the black
in the direction of the hairs in the fur.
These hairs from one strand
come over the next

paint the hairs over
one, so leave a little light between each

it.
and
IlXUSTRATIONS
Black fox
is
painted in nearly the same way, but the hairs are

it is
much
longer and
is
not divided into strands.
Seal
very similar to velvet, but where the black and light

line is irregular,
meet the
with
little
hairs all painted in, also the
outside line is in irregular folds with fur suggested.
and moire
effect
silk are
painted in a similar
Pony skin method, the hair making
the difference.
Sable and beaver are very difficidt as a very rich
must be given and soft creases and folds indicated. (See The hairs being so fine it is almost impossible to It takes much define them, and they can only be suggested.
Fig.
36.)
practice to paint these successfully.
{See Fig. 38.)
White
fur
is,
of course, treated in a different manner.
The high
lights should never be covered even with a faint tone (see Fig. 42). It is impossible to get a dean wash with any black paint imder-
Begin by a wash of plain water and then paint in the neath. shadows very delicately while the board is wet. When these are deep enough in tone, let it thoroughly dry, then wash over the light part and nm in some Albanine, drawing very fine lines from the white over the dark parts. To say they must be as fine as hairs exactly describes the effect at which the student must aim.
This describes the method for long-haired white
fox.
furs,
such as
For ermine follow the same directions, making the hairs The little tails add wonderfully very much shorter. to the realistic rendering of ermine. Feather ruffles and stoles
of course
are treated like fur.
must repeat most emphatically that must look rich, deep and soft.
I
furs of whatever kind
CORRECTING A WASH
must not leave the subject of wash drawing without speaking It is inevitable, however careful your making corrections. alterations may be necessary, and that some be, drawing may
I
of
in
some
cases your client
may
wish the coat to be longer, the skirt
59
Fig. 41.
Example of Wash
Fig. 42.
White Fur is better shown with a dark background and the shadows quite soft.
WASH DRAWING
shorter, a different hat or
difference.
6x
trivial
some other sometimes
and
irritating
Then
again, the dress
may
be
beautiftilly finished
and
the figure quite spoilt

contingency.
by an ugly
face.
Let
me
take the latter
There is one way in which to make a drastic change by putting on a new head. Of course, this is a last recourse, but I have been asked to do up an old drawing and paint a different head and up-to-date hat. This is done by taking an accurate measurement of the space to be filled you then paint a head on a separate piece of cardboard (the same surface as the one you wish to alter). When you have finished the face, peel off the top layer of paper. Do this gradually, damping it if it sticks, cut out the painted head and fix it on the neck of the figure where the edges touch the board. Some hair can generally be painted over them to hide the join. It is better to cut away
and that
is
the old head, but sometimes this
is
not necessary
if
this
is
done very carefully the alteration cannot be detected in the

reproduction.
The
dress can also be altered.

if
Buy
a small sponge at one of the
art shops, or
you are
in a
hurry cut a small piece from your bath

alter
sponge and
tie it to
the top of an old paint brush, winding the cotton
round and round.

student
I<et
Sponge out the part you wish to

it
with
clean water (the black paint does not always
come out and the
may
find
necessary to use a typewriter ink eraser).
the board dry thoroughly after being sponged before using

if it is
the rubber ;
damp
at
all
the surface would be quite spoilt
by
out;
rubbing.
it
This in a lesser degree applies to the sponging
should be done gently and the surface of the paper

the part you wish to change has been taken out begin to
first instance,
preserved.
When
paint in as you would do in the
stippling in
any
will
roughness or uneven spots.
One chapter
figure
is
will
be entirely devoted to backgrounds, so I

in white
explain the principles of those later on, but frequently

dressed or light material
it it
when the
is
necessary to
paint dark round the figure to show
up.
If this is
not properly
done a hard
line shows,
which much detracts from the appearance

in,
of the picture.
When
the figure
is
partly washed
wet the board

is
or partly round the figure.
While the paper
all round wet paint in very
62

figxire, shading in the same way that a photograph With your brush guide the paint, or if you think it
black near the

is
vignetted.
will
not dry smoothly, you can blow the paint from dark to
light.
Example
of
wash drawing
{see Fig. 41.)

it
If
the student will follow these instructions
should not be
difficult to paint
a good wash drawing, but every artist has his or
her
own pons
asinorutn,
and must work hard to get across to reach
success on the other side.
IV
LINE
There
is
DRAWING
more variety in the method of line drawing than in As a mle two or even three people can work on one wash wash. drawing, and then when a few finishing touches have been made
by the
line
original artist the
whole looks
fairly equal, of course
not
In
quite the
same as
if it
had been the work
of one artist only.
drawing there
is
a wonderful difference.
Look
at the
pen
drawings in the daily papers, some simply outlined, others almost having the effect of an etching {see Fig. 44), such as Pegram's or
Septimus
Scott's.
This chapter on line drawing would certainly be incomplete without referring to the Burberry advertisements. This method
is
frequently seen in American magazines.

I
C. Roller is the artist,
and
do not remember any others quite
like
them
in
England.
IlXUSTRATIONS
I
should advise the student to specialise either in line or wash,
and get as much originality and individuality into his work as possible. At the same time the ordinary fashion artist should have a good working knowledge of all the methods, so that he or she is
never taken at a disadvantage.
At the present time there seems to be more demand for fashions The reason for this is partly cheapin line than for those in wash. change in the style of magazine illustrations ness and partly the and the influence of French and American artists.
line
Of course, there has always been a considerable amount of drawing used and occasionally some of the West End houses have brought out their catalogues entirely in this way. Very few materials are required for line drawing, Indian ink the Mandarin and Dragon are good makes crow quill pens and a lining-in brush, which I will speak of later on, pencils and rubber
64

The boards should
with typewriter's ink-raser for corrections.
be Bristol or Clifton boards or hot-pressed paper.
The student should
practise
drawing any number of lines
with the pen, some curved and some straight, some thick and some
Figs. 43
and
44.
method from any of
Illustrates the use of numerous lines and is the others reproduced
a different
LINE DRAWING
thin.
65
This can be done with the same pen, making the difference by putting more pressure on the pen for the thick lines. These lines should be unbroken, sure and firm, not ragged and uneven. However fine the line is drawn, it need not be scratchy, or it will come out badly in reproduction and is not good pen work. The whole drawing must look clear and the blotted appearance seen in some line drawings is the result of faulty lines. Crosshatching is not used quite so much now as it was some years ago,
but I have seen very effective drawings
made with
the entire
backgroimd cross-hatched.
are
To form
this cross-hatching, the lines
drawn slanting
crossing
in
one direction and then crossed by other
lines slanting in the opposite
way, or upright
lines
can be made with
the lines
them
in
a horizontal direction.
Whichever
blot
way
is
chosen, the cross lines should not be put in until the other
If crossed
lines are dry.
when the ink
is
wet,
it
makes a
where the
lines meet.
When
the student feels he has mastered

clean sweeping stroke with his
the different lines and can
make a
pen, a figure can be attempted.

Studies of
drapery and simple figures can
be drawn with
ink in the same
way
as the preliminary studies for
wash drawings.
SIMPLE LINES
It is necessary to begin
with simple lines although
it is difficult.
and in the end finds he has fallen between two methods and failed in both, making too many lines for a simple figure and too few for a highly
Usually the student keeps on adding line after
line,
finished one.
Draw
any
the figure carefully in pencil and look
it
over and correct
faults before beginning
with ink, as line
is
more
difficult to
correct than wash.
The head {see Fig. 45) should be inked first, the hair indicated by a few curved strokes following the waves, the features only
outlined with the exception of the eyes, for these a black spot
made for the pupil and a line drawn rotmd for the iris, of course, shaped according to the direction in which the eyes are looking.
is
In outline figures, the mouth

is
is
sometimes blacked in but this
not the best
way
the upper lip and lower one are better drawn
separately, each with the correct form.
Fig. 45.
Line drawing with detail
LINE DRAWING
The
67
face proving satisfactory, the dress can next be lined in.

;
Always work on the left side first the effect is obtained more quickly and there is not the danger of smudging the lines by touching these with the hand in drawing. If the subject chosen
for the first line sketch is a costume, the student can outline the
entire figure, including
hands and
feet,
and when
this is dry,
he can
add the
inside details such as the coat, collar, belt, seams, buttons,

;
the whole kept to simple lines
the drawing will be more effective
without any shading.
Before proceeding to more elaborate line,
the student can try the effect of conveying ideas by these simple
lines.
in a high
have seen a figure having the appearance of walking wind and this impresssion was entirely produced by the
if
way
the lines were drawn in sweeping curves as
the dress was

gale.
billowing out, blown

Fig. 46.)
by a March wind or autumn
{See
Illustration (See Figs. 43, 53 and
57.)
Newspaper
line,
line
with some shading naturally follows simple

is
the preliminary work
the same, the pencil sketch and the
inked outline,
but
for
the
quick printing and
block-making
needed for newspaper work, the pen and ink must be carried
lines
The outside line must be much stronger and very black tmder the sleeves and under the coat or jumper lines also showing the folds of the skirt are usually put in and even a few on the face, by the eyes, under the hat brim, on the hair and by
further.
;
the neck.
Even with
is
these extra lines, the drawing

all
straightforward with
the lines sharp and refined.
must be clean and Nothing
more
fatal to a reproduction in
a newspaper than weak, niggling
lines.
MASSES OF BLACK
and masses of black are illustrated by these drawings by Erte from Harper' sBazaar. They are quite xmique, and although several EngUsh artists make use of this black no one does it in quite the same way. At first sight the term eccentric is usually appUed to them, but when the details are examined any
fine lines
Very
criticism
of line.
is
turned into admiration for the wonderful delicacy
[See Fig. 51.)
68

In these Erte also displays so
much
imagination that the dis-
paraging remarks about fashion drawing can easily be silenced.
To supplement
the simple lines a good effect
is
obtained by
Fig. 46.
Simple Lines
blacking in certain
shadows.
Some advertisements show

first figure,
this
very strongly.
Begin by lining in as in the
making
the lines thicker and stronger, then with a fine brush put in quite
black shadows, the shadow side of the sleeve and coat following
UNE DRAWING
69
Fig. 47.
Line Drawing using Mechanical Tint
Fig. 48.
Showing Shawl and Embroidery
LINE DRAWING
71
the shape of the folds and creases, the triangtdar bit under the
re vers, the
edge of the coat against the
skirt.
If this is
followed
out a good strong drawing will be produced.
Fig. 49.
Method
of indicating Serge
ILLUSTRATION
Your
client,
however, wishes you to show clearly to his customers

is
that the dress offered for sale
made
and
in silk, serge {see Fig. 49),

it is
woven or brocade
material, etc.,
is
impossible to do this
unless the drawing
elaborated.
{See Figs.
54 and 56).
The
72

Then
preliminary drawing must be just as careful as for the outline figure
and
all
the principal lines should be^drawn

first
in.
before begin-
ning the other part think
how you must convey
the idea of
Fig. 50.
Woollen check and material in Lint.

I
different materials.
can give some directions and the student
must
practise these until he can build
foundations.
For
silk
(see
Fig.
55)
up his own style on these draw straight lines broken

and
in the lighter part
where the
light falls
on the top
of the fold,
LINE DRAWING
73
Fig. 51.
Pen Drawing by Erii
74
Fig. 52.
Study
of Detail
; !
LINE DRAWING
draw
silk.
little lines
75
;
rather resembling forked lightning
this is for light
For black or dark silk thick lines close together should be drawn and the folds blacked in with a brush, leaving the high
but against these the
is
lights,
line should
be wavy, not straight.
knitted golf coat
{see Fig. 50)
or woollen dress should be
made
to look thick, and this
done by lines each side the fold nearly wide to show the woolly substance. left and the fold horizontal,
In some cases the client will request the artist to show that the jumper or coat is made of Shetland wool, and zigzag lines joined
to loops have to be put in to satisfy his requirements.
A black fur cloak can

the edge to show
of black
it is
be put in quite black with

Velvet again
is
little lines
round
hair.
expressed by masses
and narrow high lights left white. Another great master of line is the French artist Soulie {see Fig. 53), so different from Erte that it is difficult to realise that
both use the humble pen and ink.
Soulie's drawings are strong
and
virile
there
is
no attempt at the
merely pretty pretty and obviously sketched from life. The dresses are quite original and show the trend of fashion in France.
It is interesting to see that
the reproduction of Soulie's picture

plate, so
in the Salon of 1885
might be a fashion
much
it reflects
the
mode
of the day.
There
is
another style which
I will call
the "Souli6."
I
This
is
neither outline nor elaborated in the

it is
way
have
just described
and the drawing good, the penmanship shows great freedom, and velvet, silk and lace are, you might say, dashed in, but if the drawings are examined the student will find method in The lines follow the drapery, lace and this seeming carelessness. chiffon are drawn with light, thin lines which show exactly what
clever
they are meant
for.
is
The
one.
best
way
to try
all
these methods and then specialise in

his style,
it
Every
artist is
known by
and without seeing the
signature
we
can generally tell

;
is
a Barribal, a Shepperson, a
Lucie
Attwell
the difference
;
is
unmistakeable.
all
Be
and
original
Don't be a poor imitation
study from
these good artists and

58.)
then strike out a line for yourself.

If
{See Figs. 57
advertisements are examined
it will
be seen that artists have
made experiments with
the pen more or less effectively, some
very clever with a touch of genius, others bordering on the eccentric
Fig. 53.
Drawing by SoulH
LINE DRAWING
and
of
77
no permanent value.
to advertise silk stockings, it
There was a sketch in an old magazine was carried out in wash and line and
it
should perhaps have come under that heading, but

the clever manipulation of line which gave
it
was essentially
the unique distinction.
P*S- 54-
Brocade in Line
56.
Tweed
The whole drawing with the exception of the face, hands, and silk stockings was entirely drawn in perpendicular lines. The picture consisted of two sitting figures, a man and a girl, obviously in a carriage, as there are windows and a suggestion of landscape outside.
Fig. 58.
Newspaper Advertisement:
Furs in Line and Mechanical Tint
8o
Fig. 59.
Line drawing by C, Roller
LINE DRAWING
and
it is
8i
the wonderful
way
in
which these different objects, the
man's hat, her dress, his suit, their shoes, the cushioned seat, his stick and her hanging bag, and a trolly are seen through the window. The detail is shown by white spaces where the straight line pauses and then is carried on. The shadows are
girl's
hat, the
expressed by the line being
made very much darker and
broader,
but
still
straight.
In Harrod's advertisement illustration and" the one from "ly'Art et la Mode " (Fig. 57), the student will probably think that they
are
wash and
line drawings,
but this
is
not so
the printer has
shaded them by a mechanical process.
Fig. 60.
Details in Line
As
I said before, the face,

in.
hands and
silk stockings are carefully
washed
DETAIL IN LINE
I think
it is
more
difficult in
sMie ways
it is
to
draw
lace in line.
;
There
is
no
infallible recipe
and
a question of experimenting
is
new
patterns are constantly brought out and the artist

filet lace
expected
to depict Irish crochet, Valenciennes, torchon,
whichever
holds the passing fancy.

materials, although
{See Fig.
60.)
is
we
are told there
The same applies to nothing new under the
may be true, but if we are asked to design a dress of organdi we may wonder what it is like, and then be told by some Victorian that it is only book muslin imder another name. Many of the illustrations I am giving here are the result of my own
sun, which
S2
experiments, and I shall only give you those that have been
successful.
For
in
fine lace the flowers, leaves or design fine lines.
and outlined with very
must be lightly drawn The mesh should be shown
Fig. 6i.
Detail in Line
Celanese
by a few crossed lines, but not too many or the lace will look hard and stiff. Extra lines should also be drawn to show the way the lace falls; these follow the folds and are drawn in a different
direction to those of the mesh.
Thick, coarse, white lace
is
better
indicated by the design left white and the square holes in the
mesh
Fig. 62.
This White Fur Coat drawn by Miss Hilda Russell is a very good example, shewing the thichness and depth with very few Hnti.
84
blacked
black.
in,

the linen threads of the lace showing
up white on the
FURS
Illustrations {See Fig. 62)
There
is
a great art in drawing furs in
line.
Wash
lends
itself
so easily to the fluffiness, richness

it is
and depth in a fur, and in line impossible to get the same effect, but much may be almost
Fig. 63.
Fur
in Line
done to give this softness

It will require
too often a drawing of fur

else,
is
more
like
porcupine quills than anything
or the bristles in an old broom.

of the skins.
much
practice and
much study
Note
of
the
way
the hair grows, the length, the
soft, delicate little crinkles
and
folds,
then draw them in pencil until you gain
sureness
touch, and not only sureness of touch, but knowledge of the
way
two
the fur divides and the direction of the hairs.

or three usual furs.
(See Fig.
63.)
I will take
Black skunk has usually
LINE DRAWING
three or four strands,
85
the hairs forming these separate pieces
overlap each other, with light lines between, leaving high lights
to
show the
glossiness of the fur

soft little folds,
ermine
is
very soft and winds
round the neck in
even on the plain part you find
Fig. 64.
Fur Coal'showing method
of
drawing in Line
uneven creases, which are put in quite black in the deepest fold, but with very light touches for the shadows. (See Fig. 65.) A row of tails helps to break the monotony of the surface. Natural musquash and squirrel have much the same treatment, but in
fig. 65.
Aitothtr
txmmpU
0/
Pur
in Lint
Fig. 66.
Line Drawing from " The Lady
'
Fig. 67.
Line Drawing with Mechanical
Tint
89
^^î^^
Fig. 68.
Wash and Line by Renee Maude.
LINE DRAWING
these the coat or stole
is
91
it is
by observing where
is light
these sections
made with a number of skins, and come and if the dividing
line
or dark and
how
the hair comes over the line that a good
result is obtained.
(See Fig. 64.)

is
Seal
is
the easiest fur to show, as the ink

lines
put on in black masses,
with broken
where
the light touches the fur.

lines for hair.
is
Pony
is like
watered
silk,
with more
Black fox has sections of
deep black, and the hair
much
longer than bear or skunk.
In dealing with the golf coats, very thick camel hair ones I had
to sketch had to be treated just like fur, as they almost
had that
appearance.
{See Fig. 50.)
Draw
fine
the rib of the feather with two lines slightly apart at the
base, tapering off to a point at the tip.
From
this centre rib
draw
curved
lines, curling at
the end of each one.
In the chapter
on millinery
I shall probably deal with this subject again.
There are at least three styles of line work for the face, and I must impress upon the student that the whole figure must be in harmony, so very often the face is seen in outUne and the dress with all the shadows drawn in. So if you are drawing the figtire in simple hues, the head must be the same. The second method is to emphasise the principal features by a few lines of shadow by the eyes, under the chin, and by the nose and the mouth. Faces sketched with expression, modeUing and, in fact, the whole of the head drawn in detail, with as many lines as the artist thinks necessary, forms the third method. (See Figs. 66 and 67.)
CORRECTIONS
Before leaving the subject of line
corrections, as
I
will
deal with
is
making
no one
line
is infallible.
If
good paper
it
used, Bristol
boards or hot-pressed drawing paper,

fluous
it is
easy to erase any super-
and wrong
by
careftdly rubbing
out with typewriter's

it
ink eraser.
Do
not erase only in one direction, as

too
tends to take
off the surface
much and
leaves a groove in the paper, but
rub
it
gently both ways, and you will find the paper almost uninjured
in fresh lines.
little
and you can then ink

correction
is
is
This also requires care, as

If
the paper takes the ink a

to be altered,
thicker and blacker.
the
required on the face and perhaps only a small line

it
can be painted out with white.
LINE
It will be noticed that
for their illustrations.
AND WASH
of the best papers use line
many
and wash
difficulties
I think this
method
I
bristles
with
For those who do must explain that they are line drawings, with some shadows and details put in with wash. Sometimes the entire dress has a flat tint all over, in others the underdress is washed in and the overdress, tunic and details (See Fig. 68.) At first this does not seem carried out in line. difficult until the artist tries the effect, and then the result is sad and leaves him humble indeed. The accompanying illustrations will give some idea of the use to be made of this combination of
even more than plain wash and simple
not understand the term line and wash
line.
methods.
was pinned down to one medium and not allowed to combine the two. A wash drawing was begun and finished in wash without ink lines added, but reproduction has made such great strides, that, given a really good drawing, it does not matter if it is in chalk, line, wash or all three, the result
At one time the
artist
is
good.
In the old illustrations the artist had to
make
his
drawing on
wood to draw everything the

direct
blocks or steel plates, and he was handicapped

reverse way.
Now
copper blocks are
by having made
drawing
from the drawing.
{See Figs. 70
first,
and
75.)
It is desirable to outline the
using, of course, waterpoof Indian ink in the
same way as
in the preliminary stages of a line drawing.
The
hair need only
be lightly touched, as a good effect of hair can be given with very few lines and an almost flat wash. When the eyes, mouth, nose,
etc.,
are
drawn and the ink
is
dry, a flat
wash
of black
can be
put over the
face, taking care it is
not too dark, as the artist does
not wish to give a negro appearance to the head.
When
this
wash
93
Good Illustrations of Line and Wash.
70
95
Fig. 72.
Examples
in
Wash and
Line.
IvINE
is
AND WASH
97
also dry, extra lines
can then be put in to give expression and

If
emphasis, the lips darkened, a deeper shadow under the eyebrows,

a few lines under the chin and on the dark side of the neck.
and arms should be done at the same time, so that there should not be any inequalities in the
the face
is
washed
over, the neck
work.
head in quite simple lines and only use the wash for the dress and background. A very smart drawing can be made for a millinery head or for a stole or scarf, by sketching in the hat and scarf in line and putting
It is also permissible to leave the
a wash on the face.
chiffon taffeta dress with side wings of lace
should have the taffeta washed in and
the lace done in very

it
;
sketchy lines to give a

of the drawing.
light,
transparent look to
it
a few lines on
rest
the taffeta must be added to bring
into
harmony with the
The artist will see that each dress, hat or coat must have the wash and line arranged to bring out the best points In these wash and line drawings, much use is made of in each.
the masses of black such as I described in the chapter on
{See Figs. 72
slightly,
line.
and
73.)
French and American magazines vary

is
but speaking broadly, the wash
principally to emphasise
contrasts of colour or material.
The
too
principal snag which

lines or too
must be avoided
is
the danger of
is
many
much
paint so that the result
not a line
and wash, but a line or wash, so I must impress upon the student to look at the drawing and quite decide upon the amount of line and where the wash will be most effective. This can only be done by practice there is no hard and fast rule, and each must work
;
it
out in his or her

I
own way.
is
think the use of masses of black with line and wash
very
in a
artistic,
much more
so than in the sharp contrast with line alone.
A
is
figure in a delicate
gown
of
some
airy fabric
washed over
but
if
light tone against a black curtain is charming,

all
the figure
white against black

startling
it
more
all
than
artistic.
may be striking but is frequently In line and wash, the figure may be
are in wash, the rest
white, the background painted with a light, thin wash.

{See Fig. 72.)
The overdress and the hat

figures
of the figure in plain line.

{See Figs. 69
light
and 71.) The two wash all over, finished with fine
lines for the
from the Sketch have a shading and detail.
98
{See Fig. 74.) Chalk and wash seem to follow naturally on the method I have just described and come into the same chapter. Get a good conte crayon from any of the art shops and sharpen
to a fine point.
Sketch the figure in and shade with
lines,
dose
together in the shadows and further apart in the lighter portions.
There are generally two ways of using materials, and in chalk and wash some artists wash in the figure and some of the detail
and finish up with the chalk. This is a good method and does not mess up the drawing as the student can see where to place the lines
in the conte.
easily
If all
the drawing
is
sketched in
first
in conte, it is
rubbed and soon
loses its slick
and clean appearance, leaving
a smudged and altogether unsatisfactory sketch. the modelling begun in the wash can be very
On
the face,
much improved
of the chalk shading, and where the lines are close has almost the appearance of being stippled, but this old-fashioned way of shading should be avoided and only used as a last resource it irresistibly reminds one of the elegant dark
by the assistance
it
together
heads executed by the young ladies educated at a select seminary
and belongs to the pretty-pretty age

consists of tiny strokes or dots,
is
of art.
Stippling,
useful to rectify a small,
which uneven
patch in a drawing where there has been some rubbing-out or a fault in the paper, but otherwise when much of this has been
done the drawing looks

in chalk,
stiff
and
stilted.
Hair
is
very successful
Davies, draw
and many
artists,
among them Stanley
the heads for the hairdressers' advertisements with conte.
The background should have very bold

black and dose together
lighter ones
is
strokes,
in
some very
fact,
massed
for the very dark, with
on the outside.
Do
all
not cross-hatch, a better result

in one direction
obtained by drawing them
from thick to
thin.
Mr.
Tom
Purvis
is
certainly
fashion artists, and with that of a few others, his
an acquisition to the ranks of work should
go far to abolish the idea that a real artist does not paint fashions. Fig. 74 is a fine example of his drawing in chalk and wash.
His sketches are finished pictures, and
readily find a place in art exhibitions.
if
of
any other subject would

in the R. A.
Inddentally I
and R.
I.
than
may say I many fashion
see far worse sketches

artists
turn out.
oil,
Some
of Mr.
Tom
Purvis's paintings are in
but this medium
m
as
W
P-,
o
OS
M d Q
O M
a.
<
w o
Q O O
Fig. 74.
Chalk and Wash Drawing by Tom Purvis.
LINE AND WASH

I
103
It
should
not recommend to the student.

is
requires
special
and and white.

training
not so easy to manage as water colour or black
SPATTER
(See Fig. 76.)
WORK
is
As
this
method
generally employed in con-
junction with line or line and wash, I

It is
am
dealing with
it
here.
sometimes applied to backgrounds and sometimes on the dress
or accessories, such as chairs and couches.
Like stippling it dates back to the time when young ladies made blotters for bazaars and ornamented them by placing dried ferns on a cardboard
and with a
fine tooth-brush spattering ink over the white part
the ferns were then removed and a pattern of the fern showed
up against the background. Spatter drawings for fashions are done in the same way. If a rough tweed coat or costume has to be drawn
for
an advertisement, to get the texture of the tweed quickly

stiff
a piece of rather
figure,
paper, semi-transparent,
is
placed over the
costume or coat, cut this out carefully and replace the paper on the drawing, which must be entirely covered except the part to be spattered it should
this trace the outline of the
;
on
be fastened down with pins to prevent
it
slipping.
(See Fig. 76.)
Indian ink or process black with water should be poured into
a saucer, getting the required thinness and sufficient quantity to finish the drawing without waiting for a further supply. The
drawing and paper should be held down firmly with the hand. fine toothbrush is then dipped in the ink or paint and shaken
Great care must be taken. If the black is too wiU splash and blot instead of sprinkling Uttle dots over the surface. If any part is desired darker, the first application of the ink must be left to dry a second spattering can then be
it
;
over the drawing.

liquid
skating
made of a winter scene of wearing white wool dresses and white furs. The background of grey sky can be put in by spatter work, the figures
tried.
An
attractive sketch can be
figtu-es,
in line standing out against
it.
Of course these and

get a
little variety,
similar
methods are used generally to

it is
although for a rough material
very effective
and gives a better suggestion of tweed and similar cloth than covering it with little dots made by the pen or brush. I must also write about drawing with the brush. This reproduces
104
stencilling.
very well for newspaper illustrations and has the appearance of If the student has mastered line and wash this should
I mentioned a lining-in brush earlier be comparatively easy. on line these can be obtained at any art shop. They are most useful for lettering, which is almost a separate
;
in the chapter
branch of
art,
and
also for blacking in shadows.

is
The
particular use of lining-in brushes I wish to point out
the facility
with which a drawing can be begun and finished with
the brush, given, of course, knowledge of drawing and essential

lines
;
this
and
practice.
knowledge I am hoping the student will gain by study I cannot advise him to draw with the brush without
lines,
is
foundation
but these are only for guidance.
when drawn
thick,
outlined with the lining-in brush in the
The figure same way
in which the simple pen lines are drawn.
This outline will be
and
if
spaces are left at intervals will, as I said, look like

if
a stencil, or
is
the lines are unbroken a strong convincing drawing
shown.
AEROGRAPH
The Aerograph is very useful for backgrotmds and fine shading, and it is sometimes difficult to detect where it has been used; it is only by the evenness or absence of brush marks that it can
be noticed at
all.
{See Figs.
77 and
78.)
By
the
courtesy of the Aerograph
Company a few
hints are given
for the use of the
Aerograph
Aerograph from their booklet. The Artist and
TO BEGIN :HOW TO MAKE STROKES

photograph.
Hold the Aerograph in the manner indicated in the above Note particularly that the hand holding the instrument must be in motion at the time when the finger-button is pressed to start the spraying, and must continue its movement until after the flow of colour is stopped at the end of the stroke,
otherwise surplus colour will be deposited at the ends of each
line.
GRADUATED TINTS AND SHADINGS

In making these
it is
important that the strokes should follow

e.g.,
the erection of the contours,
in shading the curve of a cheek
in a portrait, the strokes should follow the contour of the cheek.
io6
Fig. 75.
Fig. 76.
Wash and Line with White Detail.
Spatter Drawing.
io8
Fi(..
77.
Ahko(;kaphs.
LINE AND
To prepare graduated
tints,
WASH
109
practise starting with a dark edge
or line and gradually working
further from the surface of the paper as
away from it, raising the Aerograph you extend the tint away
from the dark edge.
FLAT TINTS
To make
is
flat tints it is
necessary to apply the colour in parallel
strokes partly overlapping each other, because
discharged from the Aerograph
it
is
when the colour somewhat deeper in the
centre of the spray than on the outer edge.
Do
not attempt to
make an even tint with a cloudy or lumpy effect.
circular
movement,
as this causes a
PREPARING AND MIXING COLOURS

It is not necessary to
mix the colours on a
palette, as the tints
may be
modified by adding to them in the colour receptacle of
the instrument.
The
colour also need not be of the exact thickness
or depth required, as with a colour of full strength the

tints
most
delicate
can be made with the Aerograph, so deUcate indeed they

be quite invisible and only become visible by repeating the
Moist colours are preferable to dry, as with the
may
spray of colour.
the instrument.
If there is
latter there is risk of undissolved particles getting into
and clogging
a group of heads on one board planned for a page

left
in
a magazine, spaces are

;
unfinished look
pulls the
if
these spaces are shaded
between them which give an by the Aerograph it
whole drawing together.
The parts of the drawing which do not require shading should be masked as in spatter, as there is always danger of the paint
spreading and spoiling the drawing.
It is possible with skill to
;
get fine gradations of shade and a very even surface
spatter
is
much more
irregular
is
and would not be so

often used for shoes
;
useful.
it is
The Aerograph
almost impossible
for the brush to get the
same smooth
all
effect.
Aerograph and rub-out paper are

quite possible to design
Of course spatter. artificial helps, and it is
and paint fashions without having recourse

lines in squares
to any of them.
Chalk papers which are covered with

used at one time.
An
ink or chalk drawing was
were much made on this
I
iJ5
LINE AND WASH
ill
paper and completely finished up, the high lights were then
scratched out, giving a brilliant appearance,
much
better than
also be used,
masses of white paint.

the high lights put in
Grey and brown paper can with body colour.
SILHOUETTE
{See Fig. 79.)
and not only that, and lace. Silhouette portraits were very much in vogue some 100 years ago, and when employed occasionally for illustration, form a pleasing change from the ordinary advertisement.
Silhouette drawings are very
attractive,
but are quite adequate in their representation of style
112
VI
CHILDREN'S FASHIONS
Daintiness seems the right word to
garments generally designated "
AND
tise
LINGERIE
for the style required
for sketching anything belonging to children or for the ethereal

lingerie."
CHILDREN
{See Figs. 8i
and
82.)
It needs a special gift to
be able to draw
children in natural positions,

this
and
if
the student can specialise in
he
will find
little
no lack
of work.
if
There
is
a constant
demand
orders
but very
as he
I
supply, so
really
good sketches can be offered
to the advertising managers the artist will have as

is
many
able to carry through.

I said at the beginning that there
still,
must emphasise what

life in
be
the pose.
Children are never
to suggest action that makes the difference

little
must and it is the ability between stiff wooden
people and the real children of Gladys Peto, Miss Hocknell

others.
and
Miss Peto's drawings are extremely dainty, and she
places her masses of black where they will have the best effect.
The surroundings
just right.
of
windows,
cushions,
curtains,
etc.,
seem
Miss Hocknell's children are beautifully drawn, the

principally in line, with a very slight
(See Fig. 86.)
I
little
garments
wash on the face and hands. some

of
am
not
now
considering the children depicted in
the up-to-date fashion magazines.
These make a certain appeal

to recapitulate
by
their smartness.
It will not
be necessary for
;
me
how
to paint
in wash, line or chalk

different
of art.
the student should be conversant with the

this
methods before attempting

I think, generally speaking,
most
difficult
branch
that line or line and wash
"3
Fig. 8i.
Children from Vogue.
Fig. 82.
Children from Vogue.

are better for drawings of children than
115
to give a heavy look to the figure.
wash Numbers
alone, as it tends
of pencil sketches ones.
must be made
in the
same way as the beginning
Make
Fig. 83.
Smart
child's dress
rapid
pencil
etc.,
sketches
of
children
walking,
playing,
running,
of.
dancing,
Figs.
83,
in fact in every position

85.)
you can think

life,
if
{See
84 and
These should be from
possible.
The
children of friends are better than professional models, as
ii6

I
the movements are freer and more spontaneous.

or
think one
two children in smocks would be easy for a first attempt, drawn very carefully and then lined in with ink. If the hair is bobbed, notice how it curves under at the back and is cut short draw the ink lines to show these points. If over the forehead the hair is curled, draw half-circle lines and little tendrils of hair
;
See Name on Selvedge
The cotton
coming from them.
the face too old
little
;
fabric that cleanses easily

Fig. 84.
Child with
Toys
great danger to be avoided
is
making
try to get the lovely curves of childhood, a perky

lip sticking
nose,
upper
lip
full
under
tucked in at the comers, dimpled chin
out in a most fascinating manner, and wide
open eyes, or the long lashes down, most intent on the mechanism Hands rather short and plump with creases at the wrist, of a toy.
and the legs long and slender. The smocks may be ornamented with
feather-stitching
or
117
smocked with a contrasting colour or embroidered with rows of animals in any case the great aim is simplicity. The Hercules group (see Fig. 85) is worth studying for the contrast in the dress a plain one in the middle, with a figured one on the left
; :
and spotted on the right.
/S/-
VJesh/andiêpr^
Fig. 85.
Children in
Pen Drawing
The
child holding cherries in check, the touches of black in the
kitten and the gollywog strengthen the sketch.
party frock
is
a more difficult proposition and
detail is needed, such as insertions of lace
much more and almost invariably

made
hair.
ribbon run through slots of embroidery, sashes floating out,

into
little rosettes,
a big
bow
of ribbon
on the
It
may sound
Ii8
complicated, but gives great scope for daintiness and for the
sketching of fairy-like fabrics.

I
(See Figs. 87-88.)
have pointed out the danger of making children look too old there are other pitfalls to be avoided and one is the different ages I might call them the four ages of childhood. The infant,
;
the child, the schoolgirl and the maiden.

is
It is
much
safer, if a dress
given you to sketch, to ask for what age
it is
intended, but often
the various garments are sent with no guide but the artist's
knowledge and common sense.

but there
is
maid's dress
is
fairly
easy,
small difference between a three-year-old and a
seven-year-old,
and
this difficulty is increased
by the very skimpy
skirts of the seven-year-old,
which are not much longer than one

infallible rule; there are
for
a younger
child.
cannot give an
touches about a very
little
one's dress which are left out
when
they are a few years older.
The advice
to the frock
wish to give
is
that the figure should be appropriate
don't put an
old,
heavy-looking dress upon a slender

applies to a maid's dress
losing the
graceful figure.
The same advice
smart
girlish
;
and
in the prevailing
mode, without
young
dress
appearance.
The
artist is often called
upon to sketch a games
these
from nine to fourteen or upwards. The style does not vary much. Some rather like a girl guides' or
are generally
girls
worn by
sailor
dress,
others in the
djhibbah
style,
square-necked with
The dress in serge or cloth material, it is without sleeves and worn over a blouse of contrasting shade and thinner material such as brown cloth over tussore silk, or blue serge over white. These dresses must have shoes to
long box-pleats and girdle of cord.
correspond, thick brogues or
gym
shoes.
is
Before leaving the subject of shoes, which
very important
and might have a chapter devoted to it, we must consider shoes for very little children. These have ankle straps and quite rounded toes, and are made of very soft leather, brown or black for outdoor wear and white kid for house or parties. Children a little older still have similar shoes and the style does not change until about seven or eight. They are then more like grown-ups but with flat heels and rounder toes. Maid's shoes are another matter
very
much
in the fashion except for games,
or boots are worn.
when special shoes With the shoes comes the question of suitable
Fig. 86.
Ch.'Vkacteristic
Drawing of Children by Miss Hocknell.
Fig. 87.
Another Style of Children's Drawing.

stockings.
121
Children wear socks until they are nine or ten, plain
or striped to
for dress occasions
match the dress. Older girls have thin silk stockings and cashmere for school black or brown look
;
the best and are
much smarter than fancy
colours.
I did not deal with children's hats in the chapter
on
Millin ery,
as they are usually included in a children's department.
The same
Fig.
88. Dainty Children
note of simplicity will be seen in looking at children's hats. Little girls look perfectly sweet in the small poke bonnet shape with
narrow ribbon twisted round the crown and ends hanging down
at the
back,
or
Tam-o'-shanter of never-failing
popularity
which seems to
thirty?
suit
any
face
from three years old
to, shall I say,
122

LINGERIE
I have put lingerie and children's fashions in the (See Fig. 94.) same chapter as they both require dainty treatment. The materials are usually thin and lend themselves to delicate line drawing and also to the strong contrasts in the black and white of a good wash. Lace, broderie Anglaise, silk embroidery and many varieties of detail, some of which I have described, I hope have been practised, as this knowledge will now prove of immense use. This must be, if possible, First I must speak of the drawing. more accurate than one intended for a costume or dress the arms and neck are generally bare and bad drawing is easily detected, so the student will see that extra care must be taken.
;
LINGERIE IN WASH
I will deal
with lingerie in wash.

in the principal
The whole drawing must be

shadows much black
is is
kept
light,
and only
used.
Although white (Chinese or Albanine)

better to leave the white paper
indispensable,
it
should
not be put on until the finishing touches are required,
it is
always
of course
mean
for the material
the trimming
is
a different matter, and white
may
be put on at
in
once
if it is
necessary for the pattern.
{See Fig. 89.)

it
If a nightdress of crepe-de-Chine
has to be painted, wash
as you would a crepe-de-Chine evening dress, and draw a verypretty face with boudoir cap. Design the cap if you have not one sent with the nightdress. These caps are a great asset and make an If possible have otherwise ordinary sketch into an artistic one. a sitting figure, you can get better folds into the drapery and
show the trimming, which is generally on the top part round A standing figure can be made to look the neck and sleeves.
also
well,
but students frequently get
Greek
statue
effect,
suppose the result of their studies from the antique, and the folds resemble those on a sculptured figure and do not convey
the impression of lightness and graceful
lines.
{See
Fig.
90.)
Wash
in all the shadows, keeping the very darks for the folds
under the arm and where the material turns over, or for the tiny Although there should be a light and folds into a ribbon belt.
dark side to the
colours, it is
figure, as the Ungerie is generally
white or in light
found better to paint the whole figure light against
123
Fig. 89.
Wash Drawing
OF Petticoat, entirely Lace, with

it.
Ribbons looped over
126
Fig. 90.
Rest Gown, beautifully Painted, of Embroidered Velvet
AND Georgette.
CHILDREN'S FASHIONS AND WNGERIE

a dark background, as the shadow side of white
is
127
as a rule lighter
than
its
surroundings.
(See Fig. 92.) in
If it is
a single
figure
petticoat or nightdress
the effect
can be obtained by a dressing gown thrown over one shoulder and one arm and held up on the other side by the hand, this
will
add to the
done
artistic
appearance of the drawing and obviate

if
the necessity of running in black against the figure, which

carefully
will
not
sometimes spoil the entire drawing.
Where
there are several figures this
method of washing in black must and two white figures with the black be used to a certain extent, well placed and vignetted off is very effective.
line is
For some catalogues, and almost invariably for advertisements, used for drawing lingerie or line and wash. The fineness of the material seems to be shown by fine line almost better than
in wash,
as
and this method has been employed with good results, shown by the accompanjdng illustrations. {See Fig. 93.)
ILLUSTRATIONS
In studying line drawings of lingerie notice
how
the lines are
finished off with dots, the line of a fold instead of ending abruptly
being continued by tiny dots, which adds to the delicate effect. Lines ending in a
little
curve like a pothook also indicate the

{See Fig. 91.)
is
thinness of the material.
In these drawings black

figures,
very
much used
it
is
to throw
;
up the
but must not be made to hide bad drawing
it
may be
overdone, and instead of giving this effect
heavy and overloaded.

dress,
little,
however,
is
makes the drawing most useful, and a
black dressing table against which
a standing figure in night-
pyjamas or dressing gown gives just the right touch of Some of the figured or striped materials used for pyjamas or rest gowns do not require this setting, and should be drawn with a backing of plain paper and placed against another figure in a
contrast.
white garment without any pattern on
it.
{See Fig. 92.)
DETAIL AND TRIMMING

The detail and trimming in lingerie must also have the lightness and daintiness I have described as essential for the materials in wash and line. In wash drawing the lace should as a nile be
128
Fig. 91.
Line Drawing of Pnncess Slip with only the simple essential line
I30
Fig. 92.
Lingerie in
Wash and
Line.

qviite
131
defined
in,
that
is
every leaf and petal shown, the ground-work
blacked
and the pattern drawn with Process white and Albanine.

houses, however, will allow the artist to indicate
Many West End
P'g- 93-
Two
Figures showing black in background
the pattern in the high lights and lose
it
in the
if
away any is mapped

I,
stiffness
which
certain
may
creep in
shadows this takes the whole of the detail

;
out.
amount
of impressionism is allowable.
132

stiffness
I
The same
must be avoided
lines, if
in line
drawing almost more

that as lace has to
the garment
it
than in wash.
think the reason for this

there
is
is
be drawn with black
much on
may
make
yoke.
as
it
look as
if it
;
were white trimmed with black, so the pattern
must be spread out
that is when the lace has ten flowers across the To make it look lacy only three or four would be put in, when it is reduced these would be qviite close together if more
;
are
drawn and crowded,
it
may come
out a patch of black with
no distinctness.
CORSETS
Corsets are very, very difficult to do
;
first,
any
fault in the
drawing of the figure

outline
;
is
shown when the

is
corset
is fitted
on to the
if
the figure vmderneath
out of proportion, the bones of
the corset will
gives a clumsy appearance
wrong place. A dumpy, fat figure and alters the position of the waist, and on a very attenuated figure the same corset would look short and the bones awkwardly placed. The waistline of the corset should be taken as a guide. Put it on a dummy and draw each line in the right direction, giving them
come
in the
the correct curve over the hips
the lace trimmings, sUk, embroidery
and the eyes and eyelet holes in the busks, also the suspenders. Some lingerie is shown on the figure above and below the corset. The whole aim of an advertisement is to show the goods offered to the greatest advantage, and the artist must always make an
painted or lined
in,
effort not only to
be accurate, but also to give the best effect to
anjrthing he has to draw.
Fig. 94.
Lingerie
P*g- 95-
^"' drawing, showing treatment
of feathers
VII
MILLINERY
This
of
is
a very important branch of fashion art just as

interest to the majority of
are, or
it is
a subject
most profound
women.
Of course,
not,
;
there are always
some who
pretend to be, entirely indifferent
as to whether the hat they are wearing suits

it is is
them or
but
one
difficult to
beUeve in the sincerity of this sentiment
tempted to think it is conceit and the idea that whatever they choose must be " vastly becoming," as Pepys would say.
The
artist
has a
difficult task,
and
if
he approaches
it
thinking
that he can paint a head and hat quite easily (as there wiU be no
hands, no
will
feet,
soon find out that his ideas are mistaken
and no thinking out an attractive grouping), he he has jumped to
conclusions too soon.

First of
all,
the artist will have three people to please
the
printer or art agent, the client,

milliner.
I feel
and last, but not least, the head that she should be printed in capitals, as her
mere man and
is final.
decision generally over-rules the
134
FASHION DRAWING AND DESIGNJ

most
Before, however, reaching this point there are several mile-
stones to pass.
It is
essential that the artist should paint

is
a pretty face, one quite satisfied with the hat she
wearing
if
the student has some friend, smart and attractive, some studies
can be made from life, with the features most carefully drawn and modelled. In the chapter on wash drawing I have touched upon this, but when the whole value of the drawing rests upon
the head alone, without any accessories of dress to take the
attention, it will be at once seen that the
most meticulous care
must be given to the
painting.
METHOD
The
first
instructions
for
drawing the head in pencil and
preparing the board should be followed
that
is,
washing over
the pencil with plain water before beginning to paint.
The
it
artist
should get someone to wear the hat for her to sketch, as

fit
must on the head, and not only fit but look smart (see Fig. 96). Begin with the hat and lightly wash it in, keeping a light and then paint the shadow side of the face, the eyes a dark side and the principal features. If the artist is so unfortunate as to spoil the face by making the eyes not quite level or by getting hard
;
lines in the preliminary
wash, scrap
it
and take a
it is
fresh board
far better
call
and
than
rush
b^n
again.
This seems rather drastic, but
patching up, which should only be done
work and the

in the
printer's
if it is what we boy waiting on the doorstep.
Figs. 96, 97, 98.
These represent the hat in the three stages

I
same way
as the dress.
must
is
indicate, however, that in
the preliminary sketch the hat

face, as there is
is
generally
drawn without the
not time at the shop or warehouse. The rough-out
to
brought back to the studio and a suitable face is then drawn fit the hat. I should recommend a few very sketchy indications
a very good guide for size
of features.
That
is
Mark out where the eyes would come and the chin. it is much more difficult to fit
;
a face to a hat than a hat to a face.
HAT MATERIAI^
Notice
if
the hat
is silk
;
or velvet {see Fig. 99), and paint

then, again, the hat
it
to
look Uke these materials
may
be of straw
'3.6
ON
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tr.
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55
MILLINERY
141
and the sketch must show the kind of straw, tagel, raffia, basket, coarse or fine. I will describe an ordinary staw hat trimmed with ribbon and cherries. When the lights and shadows have been washed in, leaving the detail and also the face nearly finished,
the straw can then be defined.
Draw
lines
round the crown, keeping
a certain distance between.
When
these lines are drawn, touch
the edge with albanine in the lightest part and process white in
the shadow.
used.
If
the straw
is
black, process white only should be
This
is for fine
straw.
COARSE OR BASKET STRAW

First draw lines in pencil round the hat rather wide apart, then draw the straw crossed or plaited exactly as it appears, wash in shadows under each piece of straw where it crosses the other,
leaving the raised part light
the edges of the straw can then be
touched in with albanine.

very dark to
If
in the straw or silk, paint it to

light.
two or more colours are mixed together show the different shades from
and ingenuity to paint
all
Knitted hats, crotchet hats, canvas, georgette

practice
these.
and
net, offer
much
BEAVER AND VELOUR

(See Fig. loi)
Beaver and velour hats are perennials and every autumn sees some variety of these the material is the same, only differing in shape and colour and sometimes in the way it is treated. Take beaver for instance, sometimes it is smooth like a man's top hat and sometimes left rough. The rough beaver is painted Uke fur, for the smooth very high lights must be shown to indicate the These are generally sports hats and it is better glossy surface. to draw a very young girl wearing them. Suede and oiled silk for wet weather and other unusual materials are pressed into the
;
service
of
the
millinery
it
designer.
Some
field
artists
specialise
in
millinery heads, but
narrows the
so
much
that I do not
recommend
I
is
it.
have described the painting of sequin and

;
jet, this
with lace
often seen in hats, the jet for matrons' toques

style,
but old and young

is
wear very much the same

in former times.
the difference
not so great as
{See Figs,
no
and in.)
142
HAT TRIMMINGS
Cherries are always used in millinery,
although there
is
not
the rage for them every year, but in the

useful trimming.
If
autumn they form a most

mixed
the fruit
is
light in colour a little white
Fig. 102.
This is a newspaper illustration from the " Daily News.' pose of the head is good, and the corded ribbon clearly indicated
The
with the black can be used and the colour put on quite
raise it
flat
to
and make
side
it
look solid and round a half-tone

first
is
painted
on one
when the
groundwork
is
dry
this,
with a bright
spot of albanine, will
make
a very good representation of a cherry.
straw hat with ribbon and cherries sounds very commonplace,

it is
but
the shape and the
way
it is
placed on the head which
MILLINERY
gives
it
143
a certain cachet most difficult to obtain unless the milliner

;
and artist have the gift if so, See Fig. 103 be quite smart.
feathers.
this seemingly ordinary hat

for
may
illustration
of
brocade with
(^1
Fig. 103.
Hat
in Brocade, with Plumes
FEATHERS
Feathers are nearly as difficult as fur, and must be
look light and graceful.
If it is
made
to
an ostrich
feather, a line mtist

off to
be painted down the centre, wide at the root and tapering

single thread,
drawn and generally curled tmder, unless fashion's dictate says they must be straight as if they had been out in the rain. Paint the shadows in
from
this rib the feather fronds are
first,
drawing
lines
from the centre each side in opposite directions.

dark enough, paint with albanine a fiae line
When
this is quite
down the middle

the ends under
;
of the rib
and
little lines
branching
off,
it
turning
don't outline each
little
frond until
looks like
porcupine
quills.
The student must use her own judgment and put

effect.
the white lines where they will have most
Fig.
104. Millinery
details in line.
spray of Roses, Cherries, an Ostrich

ttvi kin.is of
Feather, a Ribbon
Bow, a Wing ani
Straw
H5
Fig. 105. 1805.
Fig. 106. 1810.
Fig. 107. 1812.
Fig. 108.
1925.
From
1805.
MILLINERY
147
FLOWERS
In the spring and summer flowers predominate in the trimming. Try and make these as natural as possible. This is fairly easy in
Fig.
109.
Hat with graceful
lines,
by Miss Bessie Ascough
black and white
it is the colour which gives them a freak ; appearance, where you get a bright blue rose, or a " sport " as your
gardening friends would
call
it.
Draw
the exact shape of the
Figs,
no
and in.
generally sold in tht Millinery
Evening Headdresses Department
149
Fig. 112.
Veil with Oriental Touch.
Fig. 113.
Hat with Jet Trimming.
MILLINERY
flowers on the hat, so that
151
when
if
it is
reproduced the purchaser

is
can easily see from the catalogue

daisies, wallflowers, etc.
the hat
trimmed with
pansies,
Some
of the flowers are so beautifiilly
modelled that a millin er's room has quite the appearance of a florist's.
As the
flowers are so well shaped
it is
worth while to take trouble
Get sharp touches under the petals, and where the hat is almost composed of leaves each leaf is defined, the centre vein drawn in, and each little branching vein with the edge round or serrated, as it is in nature. Flower stems are sometimes
in painting
them.
twisted in a basket pattern and form the entire hat, with a lining of
silk
and tulle; in fact there is more variety I think in the shape and trimming and material of hats than in any other article of dress. Fig. 109 is another example of Miss Bessie Ascough's art with
free graceful lines.
VEILS
Veils are alwa}^ in fashion, but like other articles of ladies' dress to " make her fair or leave her neat," the style of the veil is
as variable as the breeze that blows
it
about.
The
veil is pre-
sumably of Eastern origin, and indicates withdrawal and seclusion, and to take the veil is a shutting off from the world altogether.
In England, except for the religious orders, the
boisterous or cutting winds of our climate.
veil is
veil is
merely an
adjunct of dress, and worn to preserve the complexion from the
For
this purpose the
drawn down completely covering the

the mesh of the veil
is
face
and
tied
more
or less tightly at the back of the hats, effectively imprisoning stray hairs
;
open, coarse or fine, at the
choice of the wearer.
To me
a rather fine
spots, these having the effect of patches,
mesh with a few black is much prettier and

dis-
more fascinating than a big eccentric design which, seen at a

tance, resembles a
bum
or scar.
{See Fig. 112.)
ItLUSTRATION
Frequently, however, the veil
is
of
no practical
use,
but flowing
from the back

there are few
film of
of the
hat forms a background to the face, and
women, however plain, who are not improved by the shadow against which the face is seen. Again, the veil may half cover the eyes and just hang down on the side, so it will be
seen that to paint the veil effectively
is
no easy matter.
152
Fig.
14
Dainty Hat in lint, from 'VArtet La Mod*"
MII.LINERY
153
PAINTING THE VEIL

Paint the hat, going over the part which
is
covered by the veil

clear, as of course
with a lighter tone, but make the detail quite

it
would be
visible
through the net
the brim of the hat should be
quite dark at the edge, even under the veil, the hair, the eyes
and
soft
veil.
eyebrows
carefully
drawn and painted, and a deep but

under the edge of the
shadow washed
the
veil.
in right across the face
Paint the neck and shoulders, as the outlines will show through
Now
with very liquid paint wash in the
veil,
taking the
paint over the hat, hair, neck and shoulder, in fact every part
that
it
covers, copying the
way
it
hangs and
lines,
falls over,
coming
down
to a pointed end.
Very few
effect.
almost like ink
lines, are
drawn, giving a fine thin

lines crossed to
On
this foundation
for lace,
draw a few
if
form a mesh as you would
and
there
is
border the pattern also should be drawn.

a
little
The edge
finishes with
picot which adds to the realism of the painting

little
when shown
by thin
strokes.
IlJ,USTRATIONS
Arrange the
of the face
little
veil, if possible,
and
vice versa.
show dark against the light side Where the veil comes over the eyes,
to
lines of process
white or albanine can be used, throwing
the eyes deeper into shadow and heightening the artistic look of the
whole drawing.
I
interesting
have dealt with millinery in and worth studying.
detail, as it is
a subject most
It will also be seen that the illustrations in this chapter on MilHnery are in most of the mediums I have been writing about
wash,
line,
and wash and
line.
(See Fig. 114.)
Fashions frequently come round in cycles. In Figs. 105, 106, and 107 will be seen illustrations of old turbans. One modern
boudoircap from old
design.
(See Fig. 108.)
VIII
FASHIONS IN COLOUR
Frontispiece.
is
(Fig.
i.)
The green drapery
in this illustration
a good example of the
way
the yellow
is
superimposed over
the blue to form the green.
The pink in the face is repeated on the tassel of the chain. The brown and black tints in the fur, which is delightfully furry, are also used for the hat and hair. The face is beautifully finished. " Fashion drawing in colour may be called the " Edition de Luxe
of this
branch of
art.
complete knowledge of fashions includes
colour
work as
well as line
and wash.
Most
That there
of these
is
a demand
at the
for dainty figures
in colour can soon be seen
by looking
best catalogues and magazines.

inside page in colour,
have the front
and generally a page of coloured millinery. number of covers required for the weekly magazines, varied by special season numbers, all these with different and appropriate designs.
Then think
of the
COLOURS REQUIRED
Water
colours in tubes will be needed, rose madder, vermillion,
yellow ochre, cadmium, raw sienna, brown madder, cobalt, sky

blue cobalt for faces, and emerald green.
Other colours can be
added, but these can be tried
first
for
body colour Chinese white
should be used with these.
The same
I
tints
can be got in matt colours for the showcard and

for granted that the student has
flat colour designs.
am
taking
it
some knowledge
of mixing colours, but I
may
say that blue and brown madder

;
make
well.
blue and vermillion also mix Rose madder and blue make mauve and purple. If a fresh spring green is required, lemon yellow with blue will give the tint but it is by experimenting that the student will learn
a delicate grey for shadows
;
FASHIONS IN COLOUR
i55
the numberless shades, every colour having gradations from light " mix them with to dark, and I can only repeat the old advice
brains."
Fig. 117.
The
girl
with the mirror
is
another example of
finished colour work,

this
and the three separate colour printings of are given so that the student may be able to see the different
processes (Figs. 115-118).
TWO COLOURS
The reproduction
colours only.
million
is
of colour is naturally expensive,
which
is
probably the reason so
many
advertisements are done in just two

Ver-
The
colours generally used are blue and red.
the best, with cobalt or ultramarine with a touch of darker
blue in the shadow.
DIFFERENT METHODS
in the entire figure in blue, hair
There are several methods of two-colour painting. Some paint and shadows on face, and then put
it grey in the shadows and the Another method which I prefer and have used with is to mix the blue and red at the same time, and especially
the red over the blue, thus making

light part red.
good effect
for the face, using pure red for the lips.
The
dress
is
probably
entirely blue, with only a touch of red to deepen the dark folds, or
it
may
be
all
red with blue in the shadow parts.
Rose madder or
carmine with blue
make a very
dainty drawing, as by mixing the
two colours one part of the dress may be blue and the other delicate lilac or mauve. Bold and striking designs can also be made by the contrasting of black and red or black and yellow. Green is also most effective, but as a composite colour more difficult to use.
THREE OR MORE COLOURS

(See Fig. 119.)
This
is
a more elaborate design, the two figures

of detail
being taken from a long panel painting.
Note in this, the painting

figures.
and the arrangement of
colour,
the deep tone of the curtain throwing up the light dresses and
When
the artist
is
required to draw a cover design introducing

it is
the actual dresses to be advertised,
as a rule necessary to use
156
three or
FASHION DRAWING AND;dESIGN
more colours. This gives much more scope and allows for more highly finished work. In every case it is advisable to begin by making a rough sketch and submitting this to your client. Any alterations can then be
details left out as he wishes.
added or
This rough-out being passed,

is
the artist feels that at least one bridge sketch should then be
surface.
crossed.
careful pencil
made on a process board with slightly abraded

broad shadows as you do in black and white
;
Wash in the
keep
all
the colours pure and light
do not go over
it
until dry,
especially in the darker parts, as they are apt to get thick
Wash
in the whole sketch with
backgroimd
if
impossible to gauge the strength of a sketch
if
and treacly. you have one it is one part is worked up

;
and the other part just begun. In the chapter on Millinery, I have pointed out that the success of a drawing of hats depends so much upon the face this applies
;
For the cover of a millinery catalogue a pretty face and a smart hat are often used. Some clients like a broad wash,
certainly to colour.
and others more
finish.
Considerable practice
is
essential before
is
attempting these millinery cover designs, as the head

rather large and the whole effect depends
generally
upon
it
being well placed
and painted.
Begin the painting of the face by washing in the shadows with blue and brown madder. Next block in the hat and hair, and put a light wash over the face rose madder, yellow ochre and sky-blue cobalt
are suitable colours.
Do
not get the face too pink, a
little light
red
helps the flesb tint.
The shadows should be delicate, not heavy or opaque, and in these raw sienna and cadmium may be used with good effect. The hat, of whatever material, must be painted in detail, and the whole finished up as much as a portrait study. Touches of body colour on the dress and hat will give just that
brilliant finish
which
is
so charming in this work.
MATERIALS
As we are
considering sketches from model dresses the design must
be highly finished, every detail accurately drawn and the different fabrics shown, i.e. if the coat is velvet and the skirt of cloth this
must be
clearly defined.
The
future purchaser should be able to
FASHIONS IN COLOUR
see
157
All these
what kind
of lace is used
torchon or valenciennes.
painting for advertisement.
points are of importance
when
To
paint velvet use the colour very liquid, but get the darks
;
is always seen on velvet Chinese white should be mixed with colour, and put on very carefully or it will look opaque. Only practice will give the facile touch in just the right place and in the right strength. vSilk is a great pleasure to the artist, even if he sometimes despairs at getting the effect. The silk is not painted with quite so much water, as the
very rich and deep and for the delicate bloom which
touches are sharper than in velvet or cloth.
Here again white

;
is
used for the high lights, but in silk

are sharp
Silk also has beautiful reflections
full
it is
almost pure
these lights
and broken, giving the shimmering and changing tones. and these should be put in to give
of gold
value to the painting.
Trimming
with a
little
and
silver is often
found
difficult in colour,
but
For gold use ochre and raw sienna in the shadows, and cadmium mixed with white for the bright parts. For silver, for the light use pure white, and in the shadows blue, and with a very slight touch of ochre to prevent it
looking leaden.
care can easily be expressed.
FLAT OR MATT COLOURS

(Fig. 121.)
A method most frequently used now is that of

in
paint-
ing in Matt colours or with water colour in flat tints.

artists
As most
;
have had some experience

figure stand out
ordinary water colour the
painting of fashions in flat colour should not prove difficult
but to
from the background and look solid is a different thing, and this can only be done by the careful placing of colour and some knowledge of colour perspective. Many of the
magazine covers are in
flat colour,
make a
such as Vogue, The London,
Pan and numbers
of others.
I must describe how to use the paint in this way. First sketch your subject in very carefully, not leaving any part of the design unfinished it is almost impossible to arrange your colour imless this
;
is
done.
It is
a good plan to draw the design on the board or paper

it
the exact size you wish
to be, and then on a small card or cards
cut in proportion to the larger one, you can try several different
arrangements of colour and decide upon the one which

effective.
is
most
158

it
Think
picture.
out before beginning, as

if
it is fatal
to alter a flat colour
you wish to paint a light figure against a dark background, or dark against a light. Then again, you may have a group of two or more figures these must be in strong contrast
First, consider
;
either against each other or the backgroimd.
DESCRIPTION OF FLAT COLOUR PAINTINGS

I will describe a showcard which proved very effective. It had two figures. One was in deep plum colour dress, light petticoat and black hat this was dark against a light blue curtain and window. The other figure had a white cap, yellow dress and white apron this was silhouetted against a tree seen through the window and the dark shadow under the window-sill, the purple and the yellow harmonising, although with a marked difference between them. Another was drawn in a circle with a half figure in the centre in a light green dress and with red hair standing against a dark blue curtain on the right a grey chest of drawers, and on the left a red lacquer table on which was a green bowl of flowers (the red table repeating the tone of the hair), and a scarf thrown over the back
;
of a chair, the stripes repeating all the colours in the design.
There was a very good one on the cover of one of the magazines.
There are two half-length
figures,
one with deep pettmia cloak
and brown fur, light jade green hat. This figure is bending forward. The near figure coming in front of the dark one has a bright red hat, white fur and pale yellow coat this is shown up in strong relief against the brown and purple. The backgrotmd has a dark
;
blue grey sky with vivid orange streaks, black

sky,
fir
trees against the
and a foreground
I
of snow, a few flakes falling
on the two
figures.
wish
could show a reproduction of this cover design,
as words cannot convey edways the idea of colour contrast.
Miss Hawkesley,
style,
who has adopted

pictures,
this
somewhat Japanese
paints
most beautiful
the principal lines very
delicate,
drapery of wonderful colour, but generally very rich
and subdued.
METHOD
When you have tried the colours on small cards, begin to paint. Wash over the face, neck and hands with vermillion and a little ochre or, if preferred, a very light sepia tint. When this is dry.
159
\
/
^raSl^v
I
Fig.
115.
"Three-Colour" Process The Yellow Plate
161
Fig.
1 1
6.
"Three-Colour" Process The Red P LATE
163
>
1
'1
Fig.
117.
"Three-Colour" Process
The
Blue Plate
165
^\
'IG.
II. 8.
Completed Reproduction by "Three-Colour' P rocess
FASHIONS IN COLOUR
in pure red, the eyes in blue or black,
167
outline the features with vermillion, the lips also should be painted
and the
hair brown, red or
black.
To
give the effect of hairs, lines can be

;
drawn
in a darker
brown or red
be drawn.
if
the hair is absolutely black, a few outside lines should
The dress is next washed in to ensure the paint drying quite you must mix enough on your palette to go over all of it at the same time. If the colour, when dry, is too light, a second wash
flat
can be put on, but

of paint
it is
always better to have the exact quantity

of tone required.
and the depth

scattered
Proceed now with the background in the same manner, where the
you have yellow flowers in one comer and yellow drapery somewhere else, paint all these at the same time so that the tints may match and not be lemon yellow in one place and cadmium in another. If the colour does not dry smoothly the uneven places can be touched up with the paint mixed with a little Chinese white and the
colour
is
;
that
is, if
and a yellow lampshade
in the other
part carefully patched up.
MATT COLOURS
These and what show cards they are particularly good on tinted paper. These colours are ready mixed with white and can be obtained at most art shops in tubes or jars. I should recommend the tubes, as I find the paint does not dry up or crack so quickly.
This brings
are
me
to the subject of Matt colours.
known
as Poster colours are most useful for
A few colours can be bought as
a trial
^vermillion,
emerald green,
cerulean and French blue, yellow and rose madder.
These the
little
student would find sufficient as a beginning.
Very
water
should be used, only enough to
an ordinary brush paint

if it
looks too bright or
show cards or posters

attract.
With not mind too dark it always dries lighter, and for brilliance does not matter, the aim is to
the paint a
little liquid.
it
make
;
straight
on to the paper.
Do
A figure in deep blue cloak over a rose pink dress on a grey paper looks very smart, the head with black hair against yellow Chinese lanterns, the colours of the cloak and dress repeated in
the other accessories.
brown and black
figure
on a
light
brown
i68
paper with blue sea and sky can be made most
effective, and what is more to the point, is cheap to reproduce. In colour work, the student must have a knowledge of the process of reproduction. For a three-colour sketch the drawing
passes through several printings,
first of all
the parts which are
green and have a basis of yellow are printed over with yellow
the next printing,
all
the blue tone
is
put
in,
then the red.
These
three colours superimposed (one over the other)

in the picture
;
make
all
the tones
red over yellow gives orange, blue over yellow gives
green, red over blue purple,
and so
on.
The more
artist
colours, of course the
more expensive, and
if
the
can keep to two or three he

readily than
may
be able to
sell his
design
more
also save
if it had been painted more elaborately, and it will him from disappointment at the result of the reproduction
where probably the printer has been obliged to minimise the colours
to meet the wishes of his client as to price.
The student must not

forget that
let
the fascination of colour

I find
make him
good drawing
these flights of
fail.
is essential.
my
pupils are so
carried
away by
trying experiments that
when they
are brought
back from
they often
fancy to the prosaic line and
wash
So
it is
necessary to quite master wash and line
before attempting anything in colour.
The
first trial
sketch
may
be entirely in black and white, with only the pattern on the dress and the hat painted in red. This can easily be reproduced,
the whole of the red part in one printing and the black in a
second one.
Catalogue and magazine covers, as I said at the beginning of
the subject, frequently have just a head
difference in the
;
but there
is
a great
way these heads are painted

;
some, such as those by

frame and adds
Harrison Fisher, elaborately worked up, but vignetted on a plain

ground, others enclosed in a circle
this acts as a
Of course, the kind of sketch for a cover design entirely depends upon the purpose for which For instance, a Fur Catalogue would probably have it is intended. a girl holding up a muff and clad in a sumptuous ermine stole. For a spring and sunmier one children and yoimg girls with flowers and birds, daffodils and butterfhes would be suitable. The showcard must impress upon the pubUc the desirability of buying someone's silk, golf coats, lingerie, shoes, etc., and this
very
to the finish of a sketch.
much
FASHIONS IN COLOUR
must alwajrs be remembered. It should be and submitted in the rough to the client.
well
169
thought out
COLOUR AND THE REPRODUCTIONÔF COLOUR

The use
to
of colour for
Fashion drawing
unlimited
may tempt
scope
;
the artist
assume
that
it
provides
but
such
an opportunity, however desirable, is rarely accorded in work which is subservient to the economic requirements of commerce.
This being the case with practically
all
Fashion drawing,
it
is
important that the

of
will
artist
should from the very commencement
any colour project bear
in
mind the process
to which the drawing
be subjected in course of reproduction.
The main
objective
should be to produce the desired result by such methods as will

involve the most economical process of reproduction and printing.
In order to achieve this end
it
is
essential that the artist should
become somewhat acquainted with the principles and methods of colour reproduction, at any rate so far as they affect his work. If he understands and adheres to these principles he is not only simplifying the task of reproduction, but he may also expect more faithful results. Many artists complain bitterly about the bad reproduction of their drawings,
when the
fault is largely their
own by
not conforming to the limitations of the process by which their
work
is
reproduced.
is
Colour reproduction
a vast subject in
itself,
but
it will
serve
a useful purpose here to outline those

Science
of light
scientific principles of colour
upon which the photo-reproduction processes

has proved that
It
all
are based.
really
colour
is
the property
and not
of the substance
is
which appears to the human
eye to possess colour.
an estabUshed fact that different
substances reflect and absorb rays of light in different ways, and

it
can be proved by means of the spectrum that natural light
contains aU the
known
light
colours.
When an
to
object
it
viewed in
natural
white
is
appears
all
be white
means that
the object
reflecting
the rays of Ught, absorbing none;
so that the reflection from the object

of the eye
If
is, so far as the discernment can detect, the same as the light in which it is viewed. the substance appears black it is absorbing all light, reflecting
none,
all
whereas
substance
appearing
to be red
is
absorbing
Therefore
the colour of light except red, which
it is reflecting.
170

is
the apparent colour of any object
produced by those rays of light
which
It
it reflects. is
upon
this
scientific
theory of colour that the photo-
reproduction of coloured drawings or objects
working on these principles

reproduction of
process.
is based, and by was found possible to make the coloured objects a practical and an economic it
The first consideration make the process capable

(a)
(6)
in
modem
colour reproduction
:
was to
of being printed
From
a flat surfaced plate
With coloured
in
printing inks
at the
same time bearing
mind the
fact that each plate is
only capable of being inked with one colour at a time, as the method of ink distribution is by revolving rollers, whereby it
follows that the whole surface of the plate
must
of necessity get
inked.
find a way by means of photography to subject into as few " primary " colours the separate the colours of " primary " colours as possible, but in such a way that when these
The next
step
was to
were super-imposed on paper by means of printing ink they would combine to form a reproduction in colour of the subject photoThe " primary " colours found to be effective were graphed.
which certain shades were standardised. " primary " colours should be very closely These standardised for reproduction, and on every draws who studied by the artist
yellow, red
and
blue, of
possible occasion he should endeavour to obtain his effects solely
by the use
of those standard colours or
by shades or
tints
which
can be produced by combinations of those colours. By means of these colour filters it is found
possible to " primaries." These separate coloured subjects into the three " filters " are pieces of coloured glass interposed in the camera
between the subject and the negative, which is specially made For the three-colour process the threeto be colour-sensitive. The violet filter colour filters are violet, green and orange. absorbs all yeUow transmits all red and blue rays of light, but rays, which means that shadows are cast by the red and blue rays
*
of view
" These colours are not "primary colours from a purely scientific point the latter are the seven colours of the rainbow or spectrum.
;
KiG. 119.
Section of a Design
for Showcard,
173
.UUUCING A BACKGROUND HARMONIZING WITH FIGURES

I
'Sy Courtesy of Messrs. J. Lashivood
175
Fig.
20.
An
Effective Design, of Japanese
Character
177
(2-I4M0RTIMCR ST
OXFORDCIRCUS
tfHMl
Fig.
121.
ii
An Example
of Flat Brilliant colour on a
Dark.
Ground
FASHIONS IN COLOUR
179
on the negative, but the yellow rays penetrate the filter. When is printed on to copper plate, then the former being transparent where the yellow rays have penetrated allows the In a similar manner the sensitised copper plate to be exposed. green filter absorbs the reds and transmits blues and yellows,
the negative
whilst the orange
filter
absorbs the blues and transmits the red

filter
and yellow
form
tones.
In other words, the violet
picks out the
yellow values, yellow not being one of the components which

violet, viz., red
;
out the red values

It should
all
it
the green filter picks and blue combined and the orange filter picks out the blue values.
;
be pointed out that the violet

it
filter
" not only " picks out
the yellows seen as such, but

is
also picks out all yellow
where
are
a component part of some other colour.

:
In this
way
three copper plates produced
a yellow plate, a red plate
and a
blue plate.
blocks,
These three plates, known as a set of three-colour

individually inked with the colour for which they
if
when
are specially made, and printed one over the other, can,
carefully
produced, give a fairly accurate reproduction of any colour subject, so long as colours or tints foreign to the three " primaries " are
The introduction of black or grey to a colour means that a " special " plate of the black or grey portions has to be made, thus making a " four-colour
not introduced.
drawing invariably
set,"
which, of course, involves four printings, adding thereby
Tints which appear to be black or grey can be obtained by the " three-colour " process, but without
considerably to the expense.
the introduction of the special extra plate the result cannot be
guaranteed to be entirely satisfactory.

It frequently
two
entirely different blues,
happens also that an artist quite unnecessarily uses which cannot possibly be reproduced
without making two blue plates, whereas two shades of the standard
blue would have just as well given the required effect.
It
with the principles of colour reproduction

produce
may be easily understood, therefore, that an artist unacquainted may quite inadvertently
a drawing which would involve four, five or even more colour plates to reproduce it through introducing black, " grey or two or more contrasting shades of one of the " primary
colours.
These methods of colour separation by photography form the
common fundamental
principle of all the commercial photo-colour
l8o

by Zinco Line Colour
Blocks, Half -Tone Screen
processes, whether
Colour Blocks, Offset, Chromo-Lithography or Colour Collotype,
two named being by far the most generally used, chiefly on the score that they combine both economy and reasonably faithful
the
first
reproduction.
ZINC LINE PLATES FOR COLOUR
WORK
" Zinc Line Plates " are considerably cheaper to make than copper " Half -Tone " Screen Plates, and where the requirements of
the subject can be met by the former process the artist should see
that his drawing
is
executed in a suitable manner.
The
principal
condition to remember in connection with this process is that only " tones " produced by open line solid mass or " flat " colour, or
hatching or dot tinting, can be produced.
No
into
gradations of tone
process.
by wash methods can be introduced

principles of
this
The
the
colour
separation
are
the
same
as
in
" Half-Tone Colour Process."
HALF-TONE SCREEN COLOUR BLOCKS

The
from
plates of these blocks are
made
of copper,
and are
distinct
inasmuch as they are suitable for such drawings as possess various degrees of colour and tone as well as light and shade. This is achieved by the " Screen," which is a piece of optical glass
line plates,
containing very fine lines running across each other in opposite This screen inserted in the camera cuts the reproduction directions.
of the drawing printed on to the copper plate into very fine dots
which are distinguishable in the printed copy under a magnifyingThese dots are fine and far apart, or heavy and close together, glass. according to whether that part of the drawing is light or very dark.
In other words they vary in diameter according to the tones of the drawing, absolutely touching where the tone is solid. These blocks are printed by a flat-bed letterpress machine. This process, owing
to the hard, smooth face of the copper blocks, and to the fineness and closeness of these dots, is only suitable for printing on a paper
with a highly-finished surface. Rough surface papers give uneven contact with half-tone blocks owing to the fine pressure and delicate
inking required.
FASHIONS IN COLOUR
OFF-SET
This process
is
i8i
a further development of half-tone printing,
chiefly conceived to
satisfactorily printed
meet the objection that the latter can only be on a highly-finished paper. To print these on a rough paper a special half-tone block is made, and on the off-set machine it is designed to make an impression first on to a smooth
rubber " blanket," and transferred from the blanket to the paper. The pliable surface of the rubber conforms to any roughness of
surface which the paper possesses and gives proper contact.
Off-set
is still
in a
somewhat undeveloped
off-set
state,
although sufficient progress

results.
little
has already been made to give surprisingly good

however,
colour
At present,
too bold in
is
work tends to be a
colour effect, a fault which, for large work, like posters,
some-
times an advantage.
The
artist
must remember that

Accurate
lighting
all
these processes are subject to
certain limitations.
results
can only be achieved by

perfect
absolutely perfect
filters,
during reproduction,
etching
of
is
colour
photographic
operation,
the copper plates,
good inks and high-class

that perfection in
If
all
printing,
is
and
it
easy to understand
these respects
exceedingly difficult to attain.
special filters
by using tints which require hand engraving, not only are the chances of accurate reproduction then rendered much more remote, but the
the artist adds to these difficulties
and
special
cost of reproduction
is
accentuated considerably.
If the first proof submitted by the engraver is defective, do not condemn it without intelligent analysis as to the cause of its defects. The first proof is invariably pulled with inks of the standard
" primary " colours which, theoretically speaking, should give the
right result.
Ofttimes, however,
it
does not, but a
little
varia-
tion in one or
more
of the
primary colours
will possibly correct
the whole reproduction.
IX
FASHION DESIGN
I
HAVE
previously dealt with the technique of painting in relation
to fashions and explained
how
to show the different styles and

I
must now write about the way to design dresses. The need does not always come to the ordinary fashion artist to originate a mode and some do not attempt it at all.
fabrics in wash, line, colour, etc.
I think this
is
a mistake, as
it
leaves the student not fully equipped

it is
at the end of his training. to have a

flair for
It is true that
;
not given to everyone
was jormerly considered a special gift of the French, but of late years we have been much more in the running, and can originate and also grasp and adapt the more advanced of the French fashions to the Englishwoman's taste. There is a movement to make London the fashion centre instead
the future style
it
of Paris.
If
that
is
possible a wonderful vista will be opened for
the fashion artist and designer.
For many years now
it
has been
taken for granted,

customer,
it is
if
a draper or dressmaker wishes to impress a
always the magic words " The latest from Paris."
Some
enterprising people of
whom I
but
heard took a room
say a salon
in Bond
or
I should
Street,
;
brought over by aeroplane

businesses last very long.
and every day the model dresses were " I do not think these " mushroom Of course if the directing head is a
Captain Molyneux,
should not be the
designer that is a different matter.
On the other hand, some well-known designers.

despair.
Mr. Reville, Elspeth Phelps and others are English, so we need not
There
is
no reason at
It
is
all
why London
centre of Fashion.
dress
said that the French are
more devoted to
and devote a great many of their energies and business talents way. In a walk down Wood Street, Fore Street and other parts of the City, it will at once be evident that most of the warein this
houses are connected with clothes.
In
fact, it is quite
dangerous.
Trap-doors are open in the pavement, bales of goods are being
FASHION DESIGN
lowered
183
down
kerb,
to basement storerooms, vans and carriers' carts][are
by the
and pyramids are being
built
up
of hat boxes
apprentices hurrying
by with
parcels, fashion artists
with sketch
Fig. 122.
Modern Dress showing Chinese

of business.
influence
books and pencils

called "
a whirl
of people
play some years ago

film,
My Lady's
number
Dress," since
shown on the
was a
revela-
tion of the
and
activities required for
one dress.
Silk spinners,
weavers, lace makers, leather workers, hosiers,
Fig. 123. The Shawl pattern is Spain conChinese or Indian. tributes many beautiful ones
'85
Fig. 124.
This Painted Evening Frock might easily have been taken from an old fashion plate.
i88
< o <
a^ N z " w >- s
-1 i-
lb
z c
En
III
z i s
CJ
H
o'
Q M W u d =
189
00
Z O
OS
IM
w H Z
en
CQ
o
00
H O
H
O w
fe
as
Q W J
192
Fig. 130.
A Rich Lady
reading before the Painted Altar Piece

Chapel.
in (Late
her Private
XV
Century).
Fig. 131.
A Lady
From Contemporary
Re.\ding. Manuscripts.
{XV
Century).
194
Panel Embroidered
Fig. 132. in
Floss Silk.
Fig. 133.
Panel of a Dress.
Chinese Embroideries.
FASHION DESIGN
milliners, artificial flower
195
makers, button and braid manufacturers,
the lonely trapper, not to mention the designer, the dressmaker.
Fig. 134.
Modern Dress with Victorian influence
the
m il lin er, shoemaker, glover, etc. Surely fashions should not be despised, or the fashion makers, when it gives occupation and
employment to such numbers
of people.
196
HISTORICAL DRESS
Fig. 138.
It is said there is nothing
;
seems absolutely true
certainly,
new under the sun, and this when we are looking through old
;
books, the long-waisted dress and the hanging sleeves might easily have been copied from the Tudor period the skimpy tight dresses of 1914 were modified Merveilleuses, jumpers are Saxon, and accordionpleated skirts Egyptian and thousands of years old. Even the Church has been called upon to contribute ideas, and sometimes there is a distinct ecclesiastical touch in the hanging stoles or the Dalmatic
shaped tunic or cloak.
There has also been an attempt at

(see Figs.
in-
troducing dresses of the Victorian Era
124 and 134)

able to cull his
modern adaptation. The artist will see that the

ideas from
fashion designer
is
many sources.
What is required is a certain gift of seeing

it in
the trend of fashion and presenting
an attractive and practical
way.
These original designs are required
by the dressmaker and

:
the magazines, but even these are divided into several classes
Court dressmakers, theatrical dressmakers, and wholesale costumiers the magazines from the highly priced monthly or weekly
;
to the 3d
paper, and also the daily Press
so in this there
is
wide
give
field,
and
I certainly
think
it is
unwise of the student not to

It is
some time to the study
of design.
both fascinating and
profitable.
If the student can get in touch with some wholesale
houses he
may
obtain hints which will be of great help to him.

if
He must
notice
the dress has a tendency to be long or short,
if
the sleeves only reach the elbows, or come to a point over the
hand, the high or low neck

little details
in
fact, all
the htmdred and one
which are so important. Materials should be taken into consideration, as the style you wish to design may require a heavy velvet or cloth, or crepe de chine and silk. Designs for dressmakers can be made any size some drawn about seven or eight inches on rather thin paper, they are also drawn on
;
water colour paper or boards.

several colours, gold
The design
is
then elaborated
and
silver paint, ink, in fact
employed to convey the idea. in the chapter on Colour are used for the gold tissues, iridescent beads and brocades which are the mode. In fact, a description
any medium can be Metallic powders and paints described
FASHION DESIGN
of a fashionable
197
like those of the
wedding to-day reads very much
Renaissance.
An
attractive figure is sketched in with the face
and hands quite
carefully
drawn
is
Detail and material can be
on this foundation build up the dress or costume. shown in the pencil, and very frequently
This colouring
is
the drawing
not carried any further, but in other cases the dress
should be very lightly inked in and tinted.

elaborated, just sufficient
is
not
washed on to indicate the scheme and
convey the whole
effect to the customer.
COURT DRESS
is more intricate than for must be thoroughly conversant with the rules and regulations in relation to Court dress, and these must be carefully followed and any style which is taboo avoided.
Designing for a Court dressmaker

artist
an ordinary one, as the
Very beautiful materials are used

of
silver tissue
lace.
for these Court dresses, the train
embroidered with diamante and pearls or real The dress also of brocade, chiffon, satin, or any fabric which
itself
will
drape weU and lend

shortness
of
to decoration.
skirt,
all
The length
of the
train, the
the
these
requirements
and
restrictions
hamper the designer and need much study
of Court
etiquette.
THEATRICAL DRESSES
To
effect
dress a play or pageant requires
much
historical research,
and the artist should have the power of seeing in his mind the a dress will have on a stage or in the open-air. If it is for a play, the lighting must be taken into consideration, but designing for a pageant is a different matter (see Fig. 135), and the massing and grouping of colours to be seen in brilliant stmlight is a good test of the artist's power in colour design. There are many opportunities nowadays in local towns and suburbs for practising
theatrical designing, as
most of the costumes are home made and
a clever designer
will
is
soon discovered, and the work he or she does
be of immense use in the future. As I have said, designing is quite a gift, but it can be cvdtivated. At first when the artist is asked to design a dress, he feels that
every possible style has already been used, but gradually an idea
comes to hjm which he tentatively
tries, it
seems to look well and
Fig. 135.
Fancy Dress
199
Q
Z a
a:
J <
o
g o
Z o
55 in
FASHION DESIGN
he begins to develop
I felt exactly the
it
203
until
he has evolved quite an original dress.
and
jimipers.
one different,
same when I had to design some sports coats I had been sketching about one hundred, every and it seemed impossible to think of a new shape
in collars or crochet edging, or in the combination of colours, but
Fig. 140.
Dress.
Grecian Female from a
fictile
vase
after the first one it

it
became
easier to go
on contriving and thinking

I
out.
cannot give an
infallible guide to dress designing,
can only suggest recipes for a few points which the artist should make a note of. One very important point is the suitability of the
design; for instance,
if
it
is for
a restaurant gown almost any
graceful thin material is permissible,
and velvet trimmed with
204

and lace in summer, would work up The neck may be a little low, cut into a round
sleeves,
fur in winter, or georgette

into a smart dress.
or V, but
it
must have
even
if
they are short
a sleeveless
gown
is
not good form for restaurant wear.

if
house dress must
not be so elaborate, but
the design
is for
a society paper or West
Fig.
141.
Grecian
Dress
End
firm,
it
can be of
silk, georgette,
marocain, or whatever fabric
is in fashion.
On
the other hand, the smaller magazines catering

require a simpler style altogether
for the
home dressmaker
a wide
and
cheaper materials must be suggested for carrying out the design.
There
is still
field for
etc.,
jumpers and sports

are eagerly sought
coats,
stitches
and new shapes,
and new by the manu-
facturers.
FASHION DESIGN
DESIGNING FOR TRIMMINGS
205
Materials and trimmings play a large part in deciding the style

of
dress.
On
one occasion a wholesale dealer in trimmings asked
a fashion artist to design a dress showing
advantage.
adapting
it
some new lace to the best This was done by introducing panels of lace, etc., to the dress of the moment. This design proving very
gave the
artist
satisfactory, he next
some braid and buttons, and
from these he
If
biult
up some smart
tailored costumes.
the future fashion designer will think of these, he will notice
that one year the dresses will be designed to show off lace in every
colour and every kind.
Another year
raffia,
it
will
be embroidery, and
even that
is
subdivided into
wool,
silk, tinsel
and various
other materials.
I referred to
designing for dressmakers.
This
is
usually
more
is
individual.
The dressmaker knows her clients, and design to suit some characteristic, and not to offer a
;
requires the
client
who
unfortunately stout a dress with lines going round the figure, or a heavy brocade to a young girl but this is comparatively easy, as
the dressmaker will guide the
artist.
MAGAZINE DESIGNING
There
zines.
is
more to be done
in designing for
newspapers and maga-
New
of
periodicals are constantly being started,

is
and although
There are also
the
life
some
very short, others come to stay.
the old-estabUshed ones.

editor, the artist
Before submitting any sketches to an

style of those designs already
his designs
must study the published, and must remember that

the printed ones, but go one better.
must not only equal

useful,
The
illustrations given in this chapter
on Design are so
as well as charming, that they seem to call for a separate description.

Fig. 128. The figure on the left is of a simple girlish dress with becoming high waist and two ruches or frills on the skirt. This might be adapted for a muslin or tub frock. The figure on the right is from a painting by Miss Pierpoint, the same period, but an elaborate ball dress. We can imagine
Becky Sharp wearing it We have again three

as in Fig. 12 g.
{see Fig. 129).
characteristic dresses
left is, I
much
the same time
The one on the
think, the
most elegant
ao6
of
any of those given. The graceful pose of the figure, the cloak and hat, all form a fashion plate that the modem school would
do well to copy
(see Fig. 125).
The centre
figure is also very simple
and has several points

vogue
that would give ideas for a design
{see Fig. 126).
The design
of the cloak in the third figure has been in

(see Fig. 127).
many
times since this plate was published
Figs. 130
and
131.
These are very beautiful designs, the richness
of the dress, the quaint and fine backgroimd are worth a close
study, the one reminiscent of a painted missal.

Figs. 136
and
137.
Rare Chinese dresses and

There
is
in colour
most
beautiful
their
the rich blues, rose colour and gold are wonderful for
of colour.
harmony
a strong Chinese influence shown
in the dresses
worn
this year, the long tunics, sleeveless coats

all
and
at
rich embroideries are
culled from this nation.

will give
The lady
the loom and the group of three

China.
Fig. 123.
a good idea of ancient
The shawl
is
Chinese in origin.
CHINESE EMBROIDERIES
{See Figs
132 and 133)
Perhaps we are too near the Victorian era to appreciate the crinoline fashion, but when it is seen on the stage it is very quaint and pretty, with its billowing skirts, fascinating bonnets and
wreaths of roses.
Greek figures and designs have always been used by dress

designers for inspiration, and from time to time
plainly.
we
see this very

this
The
clinging drapery of the
Empire period shows
tendency. Figs. 140 and 141 are good examples. A bride's dress, designed by Captain Molyneux, is Fig. 142. The opening of Tutankahmen's tomb had a great Egyptian. influence on fashion, and the lotus, scarab and other symbols were woven into materials made as chains, brooches and headdresses.
It
was a passing phase and,
like others, is quickly gone.

:
the There are two sources from which to draw inspirations some remarks made already old. I have very the and new very upon these and told the designer how he must watch the
changing
styles,
as variable as
the wind, but
when he
finds
Fig. 142.
Dress.
Egyptian design, by Captain Molyneux.
Sketch by Miss
Madge Munro
2o8
it

know where
;
veering in certain directions he must have
reference or
to look at bygone fashions.

;
by him books of The Lady's
Companions of 1815 to 1830-40 are very useful also a book of the one by Dion Calthorp is very good. At historical costume the Print Room of the Victoria and Albert Museum, South
Kensington, there
Print
is
a splendid collection of dresses of
all
ages,
and permission to draw any
of these is easily obtained.
In the
Room
(Department of Engraving, Illustration and Design)
of the Victoria
and Albert Museum there
is
a fine collection of
Uttle think where was looking at the
fashion plates and costume illustrations.
We
I
the designs
dresses
we admire come from. on one occasion at South Kensington, the attendant, while replacing a most beautiful specimen, a Georgian dress of rich
silk
When
most
exquisitely
embroidered,
told
me
the
embroidery
design had just been copied
by an
artist to
adapt for a wallpaper.
So ideas may be gathered for draping material, fine needlework and numbers of attractive costumes evolved from these examples.
BACKGROUNDS
It
is
necessary to study backgrounds, as the Fashion Artist
is
often asked to paint the figure in suitable surroundings. It requires
some ingenuity to think of variety and suitability. A client asked me to group some figures, three on a page and each page with a different background, and as there were about thirty pages I had to sketch railway station, river, golf, fishing, hockey, garden parties, etc., and not only to plan these out, but to choose scenes appropriate to the dresses. With some artists this is quite a gift, others find it most difficult. The figure and dress are quite good, but the background spoils the effect, sometimes by being out of place and sometimes by bad drawing. Above all things, the artist must remember she is a fashion artist and not a landscape painter, and the background must be
subordinate to the figures.
CHOOSING A BACKGROUND
If the
gown
an
is
very elaborate, but not essentially an evening

the
dress, it at
once suggests a restaurant with tea tables and perhaps

interior,
flowers, or
Academy private view
or
some afternoon
reception. {See Fig. 143.)
A figure in evening dress is comparatively
easy to place, and hanging lamps, a few palms and a polished

floor will give the desired effect.
Furs, again,
must be arranged by
their quality
and shape, and

;
the figures
in fact, in
may appear skating,
at the opera, motoring or shopping
any place, only taking care that your cheap coney coat is not worn at a reception and the 500-guinea ermine or sable is not drawn on a figure skating or on a country walk. For country wear a tweed coat and skirt are the most correct, and a background with shooting, fishing or any sport according to the cut and shape of the costume. {See Fig. 145.)
210

is
Miss Hoare, in Messrs. Bradley's catalogues,
most ingenious
with her backgrounds, especially in the fur sketches, and one looks forward to seeing the latest catalogues, wondering what
new ideas she will
have.
of the sketches of Mr.
Tom
would advise the student to study some Purvis and others. {See Fig. 146.) In
contrast to this, tub frocks, as they are

dresses, as
now
called, or
washing
we used
to say
for these the sea or river
form very
good backgrounds; boats, Japanese umbrellas, rushes and trees make an attractive picture.
artist
Not only must the surroundings be chosen with care, but the must decide the method. They can be roughly divided into two, the realistic and the
Mr. Fred Pegram's delightful advertisement sketches
decorative.
in the newspapers, also of Miss Hocknell's children with the cats,
pillow fighting, toys, etc., are most realistic.
The other
arresting,
style is
If
more
difficult,
and
is
apt to show the weakness

is
of composition.
the decorative style
well done
it is
most
and draws the attention
at once, but the warning I gave
about mixing methods holds good quite as groimds as in the figures. (See Fig. 150.)
much in sketching backmaimer does not look
girl in sports
coat sketched in a natural
well with a background of trees blocked in (Fig. 144), conventional flowers formed of dotted lines and fountains with nymphs. This
kind of decoration
dress.
calls for
some
eccentric, bizarre robe or fancy
and harmony of backgrounds be The old rule was to draw a line diagonally across a picture from comer to comer, the chief figures or interesting object was placed in the space to the right or left of this line, the rest of the picture filled in with minor accessories or scenes. Or another instmction to the student was to draw two lines from the four comers, crossing in the middle of the picture the figures were then drawn in to occupy the centre, the rest of the space
suitability
Not only must the
considered, but also composition.
and ideas. These two or three rules are quite good for a general guide, but there are other considerations to take into account in commercial
carrjring out the colour
art,
and that is tmnecessary space.

a square inch, and
if it is
{See Fig. 147.)
The block costs so
much
to advertise a dress, the client does
not wish to pay for a meandering river or grove of trees, however
212
Fig.
143.
Evening Dress with suitable Background.
214
Fig. 144.
Background suitable for Country or Sports Dress.
2l6
Fig. 145.
An Excellent Pose with Effective Background for Light Dresses.
Fig. 146.
K.\ce Scene in Oils, by
Tom
Purvis, good ex.\mple of Grouping.
Fig. 147.
Autumn Background.
319
Fig. 148.
Background Sketch by Tom Purvis.
Fig. 149.
Good
sketch with light background of leaves
222
well painted.
A glance through a good catalogue will show how in
few lines distance can be suggested without taking up much space.

Colour blocks are especially expensive, and again the question of
space must be considered.
While
am
speaking of economy of space, when a crowd of
Fig. 150.
Figures
enclosed in circle with chair, chandelier arm and hand holding tray
and
butler's
figures
must be got
into a rather small space I should suggest a
platform or steps on which the figures can be posed at different

heights, not only enabling the artist to
figures than
if
show many more

fill
full
length
they were on
a level, but also to
in the sky,
which
always presents a
difficulty, the artist wishing to leave
a nice open
BACKGROUNDS
space to show up the figures and the client to advertise as
223
many
things as he can have crowded on the same page without quite

spoiling the effect.
{See Fig. 149.) Where the figures are painted singly, the advertisement manager arranges the paper for the printer in what is known
as a lay-out, but
if
this
arrangement of things
is left
to the artist he
it
must study
requires
fit
it.
To
display everything to the best advantage
much
practice
and brain-racking
calculations, as
it
must
a
in to a fraction of
an inch.
To
paint backgrounds successfully the student

It is
must have
all
working knowledge of simple perspective.

see the floor going uphill, a chair which
not at
imusual to
glaring faults which
would not stand, or other show at once that the student has little or no
knowledge of perspective.
It is
not necessary to study the subject deeply, but I shotild
certainly advise the fashion artist to learn the principles of the centre
of vision, the vanishing points, point of sight, etc.
A very good exercise is a street of houses receding in the distance,

which can be studied by most people very easily, and also another exercise would be to draw a tesselated pavement in lozenge squares
of black
and white. The latter is most useful and most effective. With just a few of these rules it should be easy to place the f igtires
in suitable surroundings.
XI
There
is one branch of fashion drawing which is very profitable and not much noticed. In fact, I have not seen it mentioned in any advertisement of correspondence lessons or in any manual of instruction. It is that of drawing models of hairdressing for the
different firms;
these drawings are generally published in the
magazines.
In this
it is
essential
;
even more than in the millinery drawings to
sketch a pretty face
the hair must show the very latest
mode
in
hairdressing. (See Fig. 151.) It is not an easy task, as great exactitude

is
demanded, and every wave must be shown.
MEDIUM
Chalk or pencil seem the best medium to employ in drawing
hair.
They
ance
;
either of
them lend themselves

Fig.
152.)
to giving a soft, fluffy appear-
nothing destroys the effect of hair more than a hard wiry

(See
treatment.
Wash
is
also
effective,
and
line
drawing.
drawings for the West End name of Stanley Davies will be noticed. This artist seems to have made a speciality of pretty heads, some in colour, but very often in chalk and wash. They are artistic and give a faithful
of the advertisement
coiffeur the
On many
idea of la mode without being at
all stiff.
is
Nearly
all of this
if
kind of work
the sketch
is
done directly
for the shops,
who
give a good price
well carried out.
same way as he would furs or other fabrics. I mention fur, as a good fur artist should make a good hair artist the methods are similar.
The
artist
must
practise painting hair in the
22.i
a o
M W
227
HAIR IN WASH
Some advertisement drawings
must be used very
left.
are in
wash
for these the paint
liquid, all the
darks put
in first
is
This should be done when the board
and high lights wet, but before it
is
quite dry
the paint should be dragged over the light parts
Fig. 153.
Head in
coils
line
in the direction of the
waves or
and finished up by painting

face highly finished to
in hairs with a very fine brush.
The
correspond.
IN LINE
few advertisements are in line
(see Fig.
153),
but are not,
I think,
qmte so
successful
but in some of the fashion magazines
228
effective.
lines,
devoted entirely to hairdressing the sketches are very clear and The heads are large and the hair drawn in firm, distinct
made
thick in the shadows and thinning off on the top of
a wave or
continuing
coil,
it,
or even leaving a
little
space in the line and then
these breaks indicating the high lights.
The
faces
have very
drawn.
little
shadow except the
eyes,
which are carefully
CHALK AND WASH

Chalk
is
more used than the other methods.
By
chalk
is
Conte crayon.
Several degrees of fineness should be bought.
meant The
first,
whole of the face and hair should be sketched and shaded in
and after that is finished to the artist's satisfaction a broad wash can be put on, and the deep shadows in the curves of the hair and the eyes can be much improved.
PENCIL
The same method can be employed
these are very artistic and delicate.
in pencil drawings of hair,
In
many
cases the whole
begun and finished in and the hair, and no wash used.

drawing
is
pencil, the
shading of the face
THE POSE OF THE HEAD

{See Fig. 154)
In sketching for hairdressing the position of the head

of the
is
very
important, and various means are used to give different views
same
style.
The most
usual, of course, is a mirror in
which
you
see the back of the head reflected, but there are other ingenious
ideas.
The pose
of the
head must be studied.

full face,
It
may
Or
if
be necessary
to show the style of hair almost
but the shoulders
may
be three-quarters with the head turned round.

is
a side view
required the face
is
drawn
in profile with the neck
and shoulder
back view.
IU,USTRATIONS
If
the hair
is
intended to be
light,
the whole background

of the
is
blacked in or very dark and cloudy.
Some
heads are also
shown as miniatures
flowers.
in
frame ornamented with ribbons or
The
principal
229
West End
coiffeurs issue a brochure nearly every
season and also have advertisements in the best ladies' magazines. It is almost a separate art from fashion drawing but there are
quite a
number who take
it
in with their other work.
It requires
but it some patience to get into the best methods is quite worth while as it will enable the artist to draw a figure
of hairdressing,
Fig. 154.
Hair in Line
in evening dress with the hair properly painted for the occasion.
It is not
unusual to see a
figiire
beautifully painted as regards
the dress but the head quite the prevailing mode.

of a figure. It
spoilt,
the artist not having studied

difference to the smartness
makes a great
When
selected
these various
by which the
is
artist
up-to-date fashion
methods have been tried and the one can get the best results and the most noted, some specimens should be painted
230

hairdressers
and the
shown the
sketches.
The
Icxâl
hairdresser,
who seldom
an introduction to his more distinguished confreres, and this makes the initial step much more pleasant. If an order is obtained, the instructions must be carried
advertises, will perhaps give
out to please the

the artist
client.
If
more confidence or practice

is
is
needed,
may
be able to get a post as assistant to one who has
plenty of orders.
Some
help
frequently needed, and in that
way
valuable experience
may be
gained.
FASHION PAPERS
There are not
hairdressing.
many
fashion papers dealing exclusively with

issue one, I think, every year,
Weldons
a few fashion artists take
up
this
branch of their
probably be fairly easy to get in. Many of pages devoted to hairdressing, especially those published by large shops or stores which have a hairdressing department.
and as only it would have catalogues the

art,
The
illustrations in the
from some particular
firm, so the artist in that case
magazines are generally advertisements would be
employed by the hairdresser and not the paper. Some knowledge of historical headdresses is an asset, as some hairdressers make a speciality of period fashions for theatricals and fancy dress balls and pageants.
P*g-
'
55
-^ ccessories
XII
ACCESSORIES
(See Fig. 155.)
I
MUST say a word about the painting

last
of accessories
this is essen-
tially catalogue
work, and in a studio would be given to beginners.
The
few pages of a catalogue are generally given over to a
miscellaneous collection of things which, however different, must
be shown to the best advantage.
As
it
is
not considered as
is
important as the figure pages, the quality of the painting

inferior.
also
do not see
why
this should be, as these large catalogues
are contracted for, and so one page is as valuable as another to the

printer.
The
figure pages are given to experienced artists,
who
odd
naturally charge accordingly, and they in turn give over the
sketches to their assistants.
In the best catalogues attention
is
given to accessories, and
we
it
see these often despised pages quite charmingly arranged.
Some-
times the artist
is
given
thfe
task of planning the lay-out, but
generally falls to the lot of the advertising manager, and only a
3a
guide
is

given to the
artist.
The
practice the student has
had
in depicting the variety of fabrics will here be
most
useful.
GLOVES AND SHOES

Fig. 156.
gloves and shoes.
The most difficult accessories to the student will be To make the gloves seem natural, a knowledge
is
of hands in different positions
absolutely necessary, as the
gloves are not treated separately but on the hands, which are
drawn
to call attention to
some
special shape or stitching.
The
experience gained in patiently devoting time to detail will give
the artist confidence in dealing with gloves, as the stitching must be most neatly painted, and kid, fabric, or silk shown to advantage.
Fig. 156.
Sketch of Gloves
There
is even scope for original ideas in this arrangement, and the hands are drawn grasping the wheel of a motor car for thick, or
holding a whip for driving gloves, or with a fan for evening ones.
SHOES
Fig. 159.
are very tricky, the style
Shoes are not given to a beginner to paint, as they is always changing, and there is much
detail than in
more variety and
gloves.
To be
able to paint
shoes will give the fashion artist another chance of adding to his
income, as whole catalogues of shoes are sent out by the numerous shoemakers with an attractive cover design in colour, and shoes
and boots illustrated in every possible position, some single, some on both feet, as if they were walking. The best way to learn is to paint from the real shoes these placed in different positions, back view, side, front view, etc.
;
All varieties
must be
tried,
such as the evening shoe, the brogue.
ACCESSORIES
boots, walking shoes for the
233
town and
for the country.
Even
if
the artist
is
never asked to sketch shoes for advertisement after

it
the experience gained,

painting.
will
be found most useful in costume
STOCKINGS
in
seems natural for shoes and stockings to follow each other These are not quite so difficult as gloves and Here again is much scope for shoes, at the same time not easy.
It
a catalogue.
and ingenuity, especially with the fancy stockings used with These stockings are checked and sports coats and dresses.
detail
^Hribbed,
'5 7-
Stockings
ing must be
woven in diamonds and stripes. The shape of the stockdrawn out first, and with the exact pattern, in pencil, and all the diamonds and squares to fit in over the instep. The welt is generally a plaia colour, but the lines must indicate knitting.
(Su
Fig. 157.)
ORNAMENTS
Illustrations
Some
to
of the
bandeaux
for the hair, of
most charming pages of accessories are those devoted which there is infinite number, some
It is generally better to
in the Russian headdress style, others of gold leaves, flowers, fruit,
ribbons or feathers.
show these
in use,
and very pretty heads

in
becoming ornaments find place the miscellaneous pages of a catalogue it is amongst these that
in these
;
234

if
toupees, curls, transformations, are also illustrated,
the shop
has a hairdressing department.

Il,I<USTRATIONS
Umbrellas and sunshades claim some attention, and a few rules
must be
followed.
The
artist
must see that the handle
is
absolutely
Fig. 158.
Waistcoats
in the centre
and the
ribs radiating
from
it
at regular intervals.
If either is partly open,
the ribs must be drawn curving over on the

inside, or
outside,
and curving inwards on the
concave and convex
curves.
Fig. 159.
Examples of Shoes
in
Wash and one
pair in Line.
ACCESSORIES
337
If the framework is drawn on these lines any eccentricity of fashion can easily be added, but no elaborate ornament or shape will hide
the bad drawing.
LACE
Lace is methods are already described
another item which need not be dwelt upon as the different
in the chapter
on wash and patterns
Fig.
60.
Accessories
of lace are
sometimes photographed, but

the fashion artist
if
it
is
made up
into
collars, fichus or scarves,
is
again called upon to
paint and arrange them.
Veils are sometimes
the mesh or pattern

jabots.
is
very new and
startling, also waistcoats
shown separately if and
{See Fig. 158.)
238
Illustration
I
am
dealing with these as the fashion artist
may have
if
a whole
catalogue to illustrate, and, although the chief sketches would be
done by the
assistants.
artist,
a lot would remain to be supervised
given to
It is also to help those
who take a
post in a big studio,
that they
may
be able to do everything required.
MISCELLANEOUS
there are too
fans,
Much more need not be written about many to ennumerate, bags
accessories (see Fig. i6o),

of all kinds are included,
ribbons, rolls of materials, afternoon teacloths as well as
stationery.
are multiplied for the occasion,

for
For the Christmas catalogue, miscellaneous articles and include any small things suitable
such as lamp-shades,
for,
presents,
pin-cushions,
baskets,
etc.
is
Children are especially catered

issued.
and a special bazaar catalogue

is
The
artist
then finds he or she
required to paint teddy-
bears, mechanical toys of all descriptions, dolls'-houses, aeroplanes
and motor
studio,
cars
these are generally in line, and are done in a large

trivial
but even in this apparently
and rather tedious work,

line
skill is required,
and very neat and exact
work, so
it
finds a
place in the fashion artist's training.
The
artist
who
specialises in dress designing
subject in the same
way
as he studies
of drawing, and, above
all,
must study his and practises the technique he must remember that it is not alwa3^
will
the rare and bizarre which will give him brilliant ideas, but often the simple, the homely, the commonplace, which inspiration
transmute into a thing of beauty.
XIII

It becomes more necessary every year for the daughters and
sons of professional
and earn a living, and every year there are fresh professions and businesses open to them. My concern in this book is with fashion drawing as a
to go out into the world
career.
I
men
am
often consulted about
it
and asked
if it
pays well, and
if
?
it is
easy to get into a studio and
how
long the training will take
All these are difficult questions to answer, but I will endeavour
to take each question and explain the position of a fashion artist.

{See Fig. 171.)
in a studio is
Does it pay ? If the post of fashion artist compared with a secretarial one, I should say it certainly pays, and imtil lately was much better paid than teaching. Of course, one always hears of fashion artists with a thousand a year or more (see Fig. 161), but that is quite at the top of the ladder, where there is always room.
first
The
question
I will
take the last question
How
long the training should
Given a certain talent and some general art training, the student can train in a year some are much quicker than others and soon show if they will make anything of it. They must not
be
?
;
despair
if
the
is
first
attempts are crude and hopeless looking
student
line
who
a failure at
and develop quite
wash drawing may make good with a talent. Much also depends upon the
It is
time given to practising in between the lessons.

training, as
not an easy
seriously
some seem
is satisfied
to think
it
must be studied as
as music, languages, shorthand, medicine, etc.
that
is,
unless
the student
to be always in a subordinate position.
With regard
to getting into a fashion studio, a few of these
take begirmers, but generally require one
who
is
able to turn out
Fig. i6i.
Newspaper Sketch by Miss Bessie Ascough

good work at once.
they will enable
Introductions are of very
little
241
use
perhaps
if
artists to see the

is
head of the studio, but
the
sketches are not what
required, an introduction will not get
them a
position.
STUDIO
Where
I think
I
it is
essential
for the student
to earn
money
at once
should recommend a fashion studio as a beginning.
There
she
falls
she will see a great variety of
work and
will
be able to compare
her
own and
see
how much
she excels and
how much
short of the other artists.
The studios are able to take large orders, and by distributing the sketches amongst their workers to put the order through very quickly. Of course, this does not give much scope for originality or individuality you are part of a machine,
;
some studios anyone who is good at faces is given faces to sketch all day and every day. Others are kept to detail, and, again, some more talented to making the preliminary sketches. This is all good practice for a time, and the discipline and necessity
and
in
of working to time will help the student in the future.
If
the artist
noticed,
remains some time in a studio, unless some special talent
is
the drawing will gradually become mechanical, so after a time

it
would be better
for her to
become a
free lance.
COMMERCIAL STUDIOS
(See Fig. 168)
Some
that
is,
of the studios are
the
;
what is known as Commercial Studios, work they undertake is closely connected with
studios
advertising
these
often
have a department devoted
to fashion drawing or one or

staff.
There
is
two fashion artists attached to their much more variety of work and more experience
can be gained than in a studio exclusively devoted to fashions.

(See Fig. 169.)
On
the other hand, the fascination of seeing the
coloured posters in the process of being designed and painted,
and the admiration shown for some novel and ingenious idea in an advertising scheme may lead the young artist to try too many kinds of art and too many methods. As in the fashion studio, a short term of work in a commercial studio is good, but should
not be prolonged.
The danger
in one is too
much
variety, in the
other too set and mechanical.
242
FREE LANCE
must have a great deal of patience and a little money to fall back upon, as it generally means waiting some time before getting known. There are numbers of openings
Fig. 162.
free lance artist
for free lance artists.

First,
of course,
many, but the

drawing of
good specimens must be prepared, not too work one line drawing, one wash ordinary dresses, one fur in line and one in wash, one
artist's best
;
colour drawing and one decorative suitable for showcard,

or whichever
all
these
method the
artist
wishes to
make
As
his speciality.
Armed with
the specimens, he or she can call on some printing

these managers
firms in the city and ask for the manager.
are always looking out for originahty, they are quite
easy to
approach and are generally kind and helpful.
ADVERTISING MANAGERS
Most
of the big shops
;
have men who arrange

is
all
the advertising
for the firm
in
some
cases the sketching

like
given out to a large
studio, but other
men
a more individual touch and the free

(See Fig. 165.)
lance artist has a chance.
Before caUing at the shops, always study one of their catalogues
and
see
which department
is
given the most importance,
it
may
be a branch in which you do not excel.

children's clothes,
In that case, such as

;
do not
offer
probably a good
artist already
any of these sketches the firm has and only wishes for novelty, and
your sketches would not reach the standard, whereas in another branch you may be able to turn out much better work than you
have seen in the catalogue if so, you can approach the advertising As in the case of manager with confidence. (Figs. 162-164.) magazine designing, your work must either show originality or great
;
skill in
the usual technique.

advertising managers are very courteous, and the artist
;
The
is
well received
they know exactiy what they want, and

efficient artists
if
the
sketches submitted meet these requirements, an order will follow.

It
sometimes happens that they have

just
and do not
wish to change, or the
artist calls at the psychological
moment
first
and
fills
a vacancy.
Even
if
the staff
is
complete the
it is
time the
artist sees the advertising
manager,
well to call
243
Fig. 163.
Study of vth*t in
line.
Example
of
magatin* illustration
Fig
163^ Illustration
of strong lines for
newspaper work
Fig. 164.
Sketch by Erti
246

many
that
it is
again after two or three months, as they see so
easy to be forgotten.
mapped out if it is a large town, or a few The best time to go is about the second or third week in January, before the work has been given out for the spring season. This time lasts until the second week in March there is then an interval and very little work to be obtained from the retail shops. Of course, there is always a certain amount for newspaper advertisements, which they give to their own
district
should be
shops visited each day.
artist.
AUTUMN
The
This
is
third
week
in July is the time to call for the
autumn and
If
winter season.
This lasts until the middle or end of September.

the artist
to be
the time the fur artist obtains the most work.
interviews the advertising managers in between these seasons,
he
may
be overlooked when the rush sets
in,
so
much has
crammed
into the short time between the return of the buyers
from the wholesale houses and Paris and the date on which the complete catalogue is published.
I
must again emphasise the necessity

of
of studying the special
style
the
different
shops.
Some
are
entirely
devoted
to
children's clothes.
In that case, the sketches offered must be

briefly to
children, to a furrier's paintings of

I
have referred
most sumptuous furs. magazine designing and must repeat

it is
the advice to the student that
necessary to study the sketches
in the papers before submitting specimens.
Some
is
are printed
on glazed paper and the

a free hand.
consideration.
editor
gives the artist
In the newspapers, the process

All
more or less more rapid and

into
the fashion ephemeral.
these
points
must be taken
Throughout the book are given examples by well-known artists, and their success is very encouraging. In this chapter on careers, examples of work by Mr. C. Roller (see Fig. 171), Miss Hoare (see
Fig.
170), Miss Olive
Hewerdine
(see Fig.
166),
and others are
given.
If
the artist
is
sent to sketch at a shop or wholesale warehouse, a
careful pencil sketch
must be made
(see Fig. 167)
of the material
and
detail written at the side.
If it is
and the description trimmed with
248
Fig. 165.
Good Illustration by Tom
Purvis.
250
Fig. i66.
Sketch by Miss Olive Hewerdine.
2,!;2
-Beads.
mauve
Material of dress, georgette.
Pink
rose.
Silk
fringe.
Lace drapery from shoulder

with buckle.
Fig. 167.
Dress sketched at Dressmakers or Shop, WITH description OF DETAIL.
253
jfii
ll'i':!
255
Fig. 170.
Beautiful Drawing of Fur by Miss Beatrice Spiller.
257
Fig. 171.
Example
of
Tweed, by C. Roller
258

show the exact must be sketched at one mesh of the lace.
side
lace or embroidery the pattern

larger to
much
stitches or the
OTHER OPENINGS FOR THE FREE LANCE

In between the spring and
catalogues issued
trade.
there are numbers of by the wholesale houses and for the overseas Buyers come over, and their agents arrange for the goods
autumn seasons
which have been selected to be sketched before they are shipped,

the catalogues being sent out as soon as completed.
'
PRINTERS
See Fig. 167.
As a
rule it is
no use
calling at the wholesale houses,
as they do not select their

printer
to
own artists, but give the contract to the who is bringing out the catalogue he in turn employs artists make the sketches, so to obtain this work it is necessary to call
;
upon
printers as well as shops, taking the specimens previously
referred to.
For the in-between seasons, September and very early
January are the best times to call, or even in December. There is more scope with printers than with the retail shops, except the very big ones, as the smaller ones get the printer to do all the art work
for
them
in this
way,
if
the artist can get in with a good firm, he

all
will be sure of steady
work
the year round.

generally someone
The
printers also arrange for the coloured designs of catalogue
covers and for showcards.
There
is
who
is in
charge of the art department
who
will willingly look at the speci-
mens the
artist brings
for,
unlike the applicant for an art teacher's
post, neither the printer nor the advertising manager asks what
examinations the
artist
is
has passed or what certificates he holds.
What they
so the fashion artists
what work he can do and the quality of it, must take only their best specimens. If the printer gives an order, even a small one, and the sketches are satisfactory, a very good start has been made, and a bigger
wish to see
commission will follow.
A list of these firms and
of art agents can be found in the
London
Directory, also the advertisement columns in the daily papers should
be studied and any advertisement answered at once.
Promptness
always appeals to business people.
259
ART AGENTS
Many
one shop
artists take their sketches to art agents,
and certainly
it
saves time, as the
number
of times he has to call at one printers or
is very discouraging the managers are out or engaged and he often has to return home alter three or four houis without one opportunity of showing his wares
The
art agent probably has a

(if
number
;
of clients,
and when he
his
looks through the sketches
they are up to his standard) selects a

or he takes
few which he asks the

of art he thinks
If
artist to leave
it
down
name
and address and writes against

he has a client
his opinion
and
also
which branch
would be his speciality. {See Figs. 168 and 169.) in view who wants some particular sketches, an
quickly
is
;
order would follow
in other cases
more than one
visit
must be made before there

put aside
any
success.
It is better
not to leave
the sketches too long, they

;
may have
been submitted and then
the artist should take new ones, and after three or four months should fetch them all away, and try other agents who may have amongst their clients just the man who is looking out for the kind of work offered.
PRO\aNCIAL CLIENTS
Another way
clients.
in
It is impossible for
which the art agent can be of use is with provincial a free lance artist, who is doing all the
;
sketching himself, to get into touch with firms at a distance these generally apply to a big studio or agent, and ask them for the name
of
an
artist
whom
they can recommend.

if
They then communicate
with him direct, and

the art agent.
he secures an order he pays a commission to
There are ver>' many art agents and commercial studios who now undertake to place work, and given good conditions of trade, and talent and enterprise on the part of the artist, he should make good
;
but he must have patience.

It will
be seen that there
is
a great scope for the ambitious fashion
artist
but he must have
initiative, " the infinite capacity for
taking
pains," and
much
perseverance.
The cry of the day
is
to specialise,
and it is better to make a name in one branch of art than be able to do a variety of styles without rising above mediocrity. There are many steps up to the advertising manager's room, and many up the ladder of fame.
INDEX
N.B.
Those
23
figures which
appear in heavy type indicate on which illustrations appear.
the
pages
Accessories, Accessories, Accessories, Accessories, Accessories, Accessories, Accessories,
Gloves, 232 Lace, 237
Ornaments, 233 Shoes, 232, 235 Stockings, 233 Waistcoats, 234 Aerograph, 104, 108 Arm, The, 25, 30 Autumn Background, 217
Early Victorian Period, 11, 12 Egyptian Influence, 11, 207 Elizabeth, Queen, 9 Embroidery, 40, 70, 126
Empire Period, 13 Evening Frock, 185, 212 Evening Head-dresses, 148 Evening Shawl, 27
Eyes, The, 25
B
Backgrounds, 209, 212, 214, 216,
217, 219, 221 Ball Hresses, 2 Beatrice d'Este, 4 Beaver, 141 Blouses, 56 Braid, 53
Fabrics, 54 Fancy Dress, 198
Fans, 59
Fashion Design,
182,
183
Feathers, 143 Feet and Legs, 26 Fifteenth Century Costume, 201
Brocade, 45
Brocade in Line, 77, 143
Figure Studies, 24 Flat Colour, 177 Flounced Skirt, 45

Fur, 49, 56, 57, 59, 79, 83, 84, 85,
86, 255
Career of Fashion Artist, 239 Celanese, 82 Chalk and Wash, 102, 139
Children, 112, 113, 115, 116, 117, 119, 121, 253 Chinese Embroideries, 194, 206 Chinese Influence, 183 Chinese Dress, 199 Colour Drawings, Frontispiece, 154, 173, 175, 177 Colour Drawings, Materials Colour Drawings, Methods, 155, 158
Georgette, 126 Gloves, 232 Graduated Tints and Shadings, 104 Grecian Dress, 203, 204
H
Hairdressing Fashions, 224, 225 Hairdressing Fashions in Line, 227, 229 Hands, 21, 25
Colour Drawings, Reproduction 159-165 Colours, Mixing, 109, 155 Consulate Period, 2
Correcrions, 91 Court Dress, 197
of,
Hat
Materials,
34
Detail, 44, 127 Details in Wash, 40 Details in Line, 74, 77, 81 Details. Millinery, 144, 145 Dress, Drawing, 43
Hats, 41, 52, 79, 82, 83, 86, 93, 95, 106, 139, 142, 143, 147, 153 Hats, Examples of Drawing in Four Stages, 136-7 Hats in Colour, Frontispiece, 159165 Head, The, 25 Head-dresses, Evening, 148 Herringbone, 40 Historical Dress, 196, 201
I
Drapery, 30,
31,
33
17,
indian Influence, 184

18
Drawing
Materials,
Introduction, 3
261
262
INDEX
Reproduction of Colour, 159-165, 169 Rest Gown, 126 Ribbon, 142
Japanese Influence, 176 Jet Trimming. 149 Jumpers, 72, 82
Lace, 40, 44, 81, 237 Legs and Feet, 26
Iîghton, Lord, Drawings by, 21,
Serge,
Rendered by Line, 71
33 Line and Wash, 89, 92, 93, 95, 99, 139 Line Drawing, 63, 64, 66, 70, 71,
72, 73, 78-88, 128, 131
Seventeenth Century Costume. 201 Shawls, 27, 41, 70 Shoes, 232, 235 Showcard in Colour, 178
Silhouette, 110, iii
Silk, Rendering of, 54, 66, Skirts, 45
Line
Drawing
with
Mechanical
77
Tints, 69 Line Detail, 67 Ijnes, Simple, 68 Lingerie, 112, 122, 123, 128, 130, 131, I S2 Louis XVIII Period, 2
Sleeves, 30 Spatter Work, 103, 106 Sports Dress, 214, 219, 248, 257 Straw Hats, 141 Stockings, 233
M
Magazine designs, 205
Masses, 67 Materials for Drawing, 17
Theatrical Dress, 197 Tints, Aerograph, 104 Trimming, 127
Mechanical Tints. Use 87

Millinery. 133 Millinery Details, 145
of.
69, 78, 79,
Trimming, Designs for, 205 Trimming, Jet, 149 Tweed, Rendered in Line, 77
Mouth, The, 26 Muffs, 33
N
Neck, The, 26
Nude
Studies, 24
Veils, 136, 137, 149, 151 Velour, 141 Velvet, 48, 57, 126 Victorian, Early, 1 Victorian Influence, 196
>
Oil Painting, 216
Oriental Veil, 149
W
Waistcoats, 234 Walking Dress (Early Victorian), 12 Wash and Chalk, 102, 139
Ornaments, 233
Pencil Sketches, 16, 19, 27 Period Fashions, 188, 189, 192

Plaids, 54
Wash and
139
Line, 89, 92, 93, 95, 99,
Wash Wash
Plumes, 143 Preliminary Sketch, 16, 17, 27 Printing of Colour Reproductions, 169
Drawings, 32, 36-7, 40, 41, 45, 52, 56, 59, 123, 137
Drawings, Correction
of,
<;8
Wool Coat, 41 Wool Jumpers, 72
ONTAPIO COLLEGE OF ART
3 3390 00005 2999
DATE DUE
NC
CHADV/ICK,
LUIE.
2010 FASHION DRAWING 032 AND DESIGN; A

^^^'
PRACTICAL MANUAL.
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Fashion Drawing and Design

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Fashion Drawing and Design

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HION DRAWING AND DESIGN

DRAWING AND DESIGN

Four Colours for Cover

FASHION DRAWING ^ DESIGN

the technique of representing fabric, and the values of light and

The modes may not be those

of the very latest

they were chosen to-day, the fashions sometimes change so

rapidly that by the time the book

safely through the printer's decree.

much may have

hoped that a representative review on these

There are some classes

with Schools of Art, but

these are very few, and several have closed down.

reason, but principally,

think, the fashion students

are discouraged by the master,

usually affects to despise

fashion drawing and tells the students he wishes

and showing them

how much good drawing is essential, and

that most of the celebrated

not disdain any kind of painting, even the signs of

illustrations are Messrs.

Maclure Macdonald and Co. (Figs.

for studying old fashion

making pencil sketches. Measurements of the

figure, studies of drapery, pose, grouping, simple

LINE AND WASH

Stippling or cross hatching.

CHILDREN'S FASHIONS AND LINGERIE

correct angle at which to place the

three colour painting for reproduction.

Quickness and brilliant

or board for background.

Cutting out and painting on coloured

Chinese influence. Ideas from old prints. Dresses

Pageants and the Stage.

magazines and papers.

children, with suitable

accessories, golf clubs, tennis racquets,

rods for sports dress.

Branch of Fashion Drawing. A department High prices given, not over-

chains, etc., sketched

fashion artists for complete catalogues.

FASHION DRAWING AS A CAREER

Interviewing agents and

attitude of the ordinary

realisation that climate

of years old, even a glorified dressmaker's

excavation but in the reconstruction of these

wonderful care taken in the detail of dress.

another aspect of the fashion art, and that

the student will turn to a good history, well illustrated,

he or she will find that at the end of each period a section

FASHION DRAWING AND DESIGN

effigies in the churches.

no record had been