Then, as the second phase of this procedure, draw on top of the structural skeleton the broad sketch of the figure determining the areas of the body, outlines and the dimensions of the hair, We shall thereby have obtained the outline or the essential structure of the female body. The body to a skeleton and visualize schematically the principal structures, namely the line of the shoulders, waist, hips and finally the segments which indicate the position and length of the limbs, marking the joints with small circles. To understand how the weight of the various parts of the body is distributed, sketch the rhythmic structure, reduce In a static figure viewed from the front, the rhythmic structure corresponds to the line which describes the height of the figure. This line can vary enormously, as every figure has its own fundamental rhythm.įirst and foremost you should sketch a line in the upper body, passing through the hollow of the neck, the sternum, the navel and the pubic region, which then descends to the ground following the leg, which functions as a support for the body. First of all it is necessary to locate the key line, or put another way the rhythmic structure, which is inherent in every pose. It is important, by contrast, to be able to catch the correct position with a few strokes and to distribute bodily weight, signalling inside and outside of the body planes of incidence, lines of comparison, angles and perpendicular lines so that it is possible to reproduce the pose of the model in the most faithful way possible. To make a figure come alive, it is not enough to have a perfect knowledge of anatomy, a copy which is too faithful can harm the image, making it cold and impersonal. Remember that the body of the model acts as the basis for the item of clothing, but it must not dominate, cover or distort it it must rather facilitate the legibility of the cut and of the details, accompanying the pattern in its shape, assuming dynamic poses to emphasize spaciousness, sophisticated and sober poses to underline a more rigorous cut and more relaxed poses for a younger one. It is also advisable not to portray the fashion plate in positions which block the interpretation of the model. Try not to draw a fashion plate in a pose which is too static or too realistic, the result will be wooden, artificial and not in keeping with the ephemeral and joyous language of the fashion world. It has to be lively in expression, freshly drawn, dynamic in movement, elegant in the pose and portrayed in the positions which are in keeping with the type of clothing chosen. The fashion plate is the ideal means of depicting an item of clothing or an entire collection. In each instance rotation and counter-rotation of the upper body will be analysed, identifying the rhythmic structure and proportions of every pose.
SKETCH FASHION MODELA HOW TO
Let us seek to understand together how to capture with a few lines in a drawing these exceptionally flexible and dynamic movements.
SKETCH FASHION MODELA PROFESSIONAL
The reaction to the gait of a professional fashion model is one of amazement and captivation in the face of so much charm and elegance. The fashion model walks in a way that is absolutely unique, turns and swings her hips in a wonderful way, stops and poses in ways which defy gravity. They are movements which are supple, trim and nimble. When you portray a human body it is necessary to remember that you are depicting something that is alive, and in the specific case of fashion design, it is fundamental to observe closely the typical movements which characterize the poses adopted by the models.
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