eBook - PDF
Fashion Drawing Second Edition
Illustration Techniques for Fashion Designers
Michele Wesen Bryant
This is a test
Share book
- English
- PDF
- Available on iOS & Android
eBook - PDF
Fashion Drawing Second Edition
Illustration Techniques for Fashion Designers
Michele Wesen Bryant
Book details
Book preview
Table of contents
Citations
About This Book
Fashion Drawing is a comprehensive, practical guide to fashion drawing for students of fashion design. This second edition features brand new illlustrations reflecting developments in pose, presentation and digital design, plus guidance on creating technical flats.Step-by-step tutorials show how to create fashion drawings for women, men and children, and adapt them for different marketsMore than 1000 illustrations depict work from leading designers and illustrators revealing a wide variety of approaches Discover how to render fabrics, textures and effects, from faux fur and metallics to prints, woven and knitted materialsIncludes an illustrated glossary of garment and fabric details and an extensive resource sectionReviews"A useful resource for both fashion students and home sewists looking to give their sketches a professional look." – Simply SewingChapters include: Drawing Women, Drawing Men, Drawing Children and Young Adults, Zooming In, Working From Life, Drawing Garments, Production Sketches, Basic Garment Details and Silhouettes, Drawing Drape, Tailored Clothing, Rendering Shine, Texture, Patterns and Sheers.
Frequently asked questions
How do I cancel my subscription?
Can/how do I download books?
At the moment all of our mobile-responsive ePub books are available to download via the app. Most of our PDFs are also available to download and we're working on making the final remaining ones downloadable now. Learn more here.
What is the difference between the pricing plans?
Both plans give you full access to the library and all of Perlego’s features. The only differences are the price and subscription period: With the annual plan you’ll save around 30% compared to 12 months on the monthly plan.
What is Perlego?
We are an online textbook subscription service, where you can get access to an entire online library for less than the price of a single book per month. With over 1 million books across 1000+ topics, we’ve got you covered! Learn more here.
Do you support text-to-speech?
Look out for the read-aloud symbol on your next book to see if you can listen to it. The read-aloud tool reads text aloud for you, highlighting the text as it is being read. You can pause it, speed it up and slow it down. Learn more here.
Is Fashion Drawing Second Edition an online PDF/ePUB?
Yes, you can access Fashion Drawing Second Edition by Michele Wesen Bryant in PDF and/or ePUB format, as well as other popular books in Design & Modedesign. We have over one million books available in our catalogue for you to explore.
Information
Topic
DesignSubtopic
Modedesign
348tl:
©
Stanley
C.
Bryant
348tr,
348b:
©
Gabrielle
King
350:
©
Tiffany
Ju
351:
©
Laura
Laine
352tl:
©
Eri
Wakiyama
352r:
©
Jisun
Kim
353t:
Design
by
Abzal
Issa
Bekov
353b:
Sketches
by
Abzal
Issa
Bekov
357tr:
©
Kelly
DeNooyer
358:
©
Taylor
Ormond
359:
©
Anna
(Hae
Won)
Lee
360l:
©
Yoyo
(Lin)
Han
360cr,
360br:
©
Saga
Furs
361,
362bl:
Christy
Jeehyun
Lee
362tr:
©
Anna
(Hae
Won)
Lee
364–365:
©
Elizabeth
Bastian
366l:
©
Taylor
Ormond
366r:
©
Niloufar
Mozafari
367l:
©
lantomo
(lantomo.com)
367r:
©
Taylor
Ormond
368:
©
Jisun
Kim
369:
Designer
and
Illustrator
Victoria
Cumming
370–371t:
©
Rachel
James
370–371b:
©
Angela
Lee
372:
©
Rachel
James
373:
©
Zehra
Naqvi
376:
Dior
Haute
Couture
S/S
2013,
In
Like
a
Lion
series.
©
Tara
Dougans
for
SHOWstudio.
com
377:
Fairchild
Photo
Service/
Condé
Nast/Corbis
378l:
©
Jenny
Williams
378r:
Daisy
de
Villeneuve
commissioned
artwork.
Fashion
drawing
of
a
girl
dressed
in
Jean
Muir.
Published
in
Selvedge
magazine,
January
2008
379:
©
jiiakuann.
Editorial
illustration
for
L’Officiel
Hommes
China,
August
2013
magazine.
Stylist
Michael
Xufu
Huang,
Editor
Lawrence
Lau.
Model
wears
coat
and
shoes
from
Dolce
&
Gabbana
F/W
13,
Pants
from
NADZ
Studio
F/W
13
and
shirt
from
Bottega
Veneta
S/S
13
380:
©
Nina
Donis
(ninadonis.
com)
382:
©
Flo
Hughes
-
University
of
Westminster
Fashion
Design
graduate.
Graduate
collection
-
Wilder
383:
©
Bryan
Conway
391tl:
Photo:
Grace
Ndiritu,
taken
from
the
video
titled
Still
Life:
Lying
Down
Textiles
by
Grace
Ndiritu
391r:
©
Rachel
James
392:
©
Rosie
Rittenberry
393t:
©
Annie
Appleman
393br:
Little
Nemo
comic
by
Winsor
McCay
394:
©
Nina
Donis
(ninadonis.
com)
395:
Min
Ae
(July)
Choi
396r:
©
jiiakuann.
Editorial
illustration
for
L’Officiel
Hommes
China,
August
2013
magazine.
Stylist
Michael
Xufu
Huang,
Editor
Lawrence
Lau.
Model
wears
coat
from
E.
Tantz
F/W
13,
shorts,
socks
and
suitcase
from
Thom
Browne
F/W
13,
shirt,
tie,
handkerchief
and
blazer
from
Alexander
McQueen
S/S
13
and
shoes
from
Valentino
F/W
13
397t:
©
@fiongal
(fiongal.co.
uk)
399r:
Daisy
de
Villeneuve
commissioned
artwork.
Fashion
drawing
of
a
girl
dressed
in
Vivienne
Westwood.
Published
in
Selvedge
magazine,
January
2008
400–401:
©
Giacomo
Meriggi
410l:
©
Anne-Marie
Jones
410r:
Julian
Parker/UK
Press
via
Getty
Images
411:
©
Christy
Jeehyun
Lee
412–413:
©
Jiayu
Li
414–415:
©
Julia
Faye
Blum
418:
©
Nina
Donis
(ninadonis.
com)
419cl:
Victor
Virgile/Gamma-
Rapho
via
Getty
Images
419c:
©
This
is
the
Uniform.
Photo:
Beth
Alderson
419br:
Drawn
by
Ivy
Yen-Chu
Chen
at
Parsons
New
School
for
Design.
Teacher
Mr.
Richard
Rosenfeld,
2009
420l:
Ferdinand
(ferdinand.
nowhasa.com)
420tr:
©
Lydia
Palmiotti
426tl:
©
Kazue
Shima.
Watercolour,
pencil,
photoshop,
illustrator
(kazueshima.com)
426b:
Jackets
produced
by
Mal
Burkinshaw
in
collaboration
with
Sophie
Hallette
Lace
-
from
Beauty
by
Design:
Fashioning
the
Renaissance
at
the
Scottish
National
Portrait
Gallery.
Photo:
Stuart
Munro
429tr:
Enchanted
Doll
©
Marina
Bychkova
430:
©
Barbara
Pearlman
431tl:
©
Taylor
Ormond
431tr:
©
Jung
Eun
Jennifer
Lee
431br:
©
Jenny
Lim
432:
©
Briana
Williams
433:
©
Julia
Faye
Blum
434:
©
Zehra
Naqvi
The
following
images
are
©
Michele
Wesen
Bryant:
6tr,
33,
34–35,
36,
37c,
39,
40–41,
42–43,
44–45,
47,
48–49,
50–51,
54–55,
56–57,
59bl,
63,
64,
65l,
74–75,
76–77,
79r,
81,
82–83,
87,
88,
96,
98–99,
100–101,
104–105,
106,
110–111,
113,
116–117,
118,
122–123,
126–127,133bc,
133br,
135,
136,
137l,
138l,
141l,
143b,
144,
145tl,
146,
147bl,
149b,
151b,
152b,
153tr,
153b,
155b,
157,160–161,
162,
163t,
164b,
165,
166,
167l,
168–169,
170,
171b,
172tr,
172b,
173,
177bc,
177br,
179l,
180bl,
181t,
191,
200b,
218,
219l,
220–221,
222–223,
224,
225r,
226–227,
228–229,
230–231,
232,
233r,
252r,
253,
254–255,
257,
349,
374–375,
381,
416–417,
435
Drawings
by
Michele
Wesen
Bryant
based
on
research
by
Colette
Wolffe
in
The
Art
of
Manipulating
Fabric
:
258,
259l,
260–261,
262–263,
264–265,
267c,
268,
270–271,
272–273,
281,
282–283,
284,
285l,
286–287,
288,
294l,
295,
296–297,
298,
327bl,
328–329,
330–331,
332–333,
334–335,
336–337,
338,
339b,
354–355,
356,
357l,
363,
384–385,
386–387,
388–389,
390,
396l,
397bl,
398,
399bl,
402–403,
404–405,
406–407,
408–409,
421,
422–423,
424–425,
427,
428,
429l
AuthorÕs
Acknowledgments
I
am
grateful
to
many,
many
people
for
their
unwavering
support
during
the
time—longer
than
anyone
could
have
imagined—
it
took
to
birth
this
book.
Thanks
to
the
team
at
Laurence
King
for
their
collective
vision
of
what
a
fashion
drawing
textbook
might
be:
Jo
Lightfoot,
Angus
Hyland,
Anne
Townley,
Gaynor
Sermon,
Mark
Holt,
Davina
Cheung,
Angela
Koo,
Nicola
Hodgson,
and
Sue
Farr.
I
was
extremely
fortunate
to
have
had
constructive
input
from
thoughtful
reviewers.
This
is
a
better
book
thanks
to
Kristy
Buchanan,
Stephens
College,
Missouri;
Gywnneth
Carville,
The
Manchester
College,
UK;
Cynthia
Golembuski,
Drexel
University,
Philadelphia;
Gael
Henry,
Northumbria
University;
Louise
Pickles,
Bath
Spa
University;
Andrea
Reynders,
The
School
of
the
Art
Institute
of
Chicago.
Thank
you
to
all
of
the
artists
who
have
contributed
their
work
so
generously.
It
would
not
have
been
possible
to
demonstrate
the
personal
and
diverse
nature
of
fashion
drawing—the
thesis
of
this
book—without
their
participation.
Special
thanks
to
Lee
Ripley
for
getting
behind
the
project
early
on.
Personal
thanks
to
my
parents
Elayne
and
Phillip
Wesen
for
the
DNA,
love,
and
encouragement
to
pursue
a
creative
path
from
the
very
beginning;
to
Yayoi
Tsuchitani
and
Piet
Halberstadt
for
the
exquisite
meals
and
especially
for
listening;
to
my
colleagues
Alfredo
Cabrera,
Karen
Dietshe,
and
Lisa
Feuerherm
for
the
conversations
that
led
to
the
significant
revision
of
various
drafts.
Neverending
thanks
to
my
husband
Stan
Bryant
for
sacrificing
almost
all
of
his
downtime
for
the
duration
of
this
project.
I
could
not
have
completed
this
book
without
his
loving
support,
good
humor,
and
infinite
patience.