proposition for the drawing method for prototype … for the drawing method for prototype costume...

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Proposition for the Drawing Method for Prototype Costume Design in Fashion Drawing Sachiko NAGASAWA* and Shin’ya NAGASAWA** * Department of Fashion, Junior College, Bunka Women’s University, Yoyogi, Shibuya-ku, Tokyo 151-8523, JAPAN, [email protected] ** Graduate School of Asia-Pacific Studies, Waseda University, Nishiwaseda, Shinjuku-ku, Tokyo 169-0051, JAPAN, [email protected] Abstract: ‘Fashion Drawing’ is a general name for drawings that express fashion. This paper proposes an original drawing system called, ‘a drawing method for prototype costume design in fashion drawing’, similar to the drawing method for a plane figure of a formative costume. In addition, this paper proposes ‘the real proportion’ as the traceable, undressed and non-deformed physique, ‘the basic proportion for costume design drawing’, and ‘the prototype of costume design drawing.’ The proposed method is applicable to a series of steps from the basic costume pattern based on actual human body size to a plane figure of a formative costume. The proposition of ‘the drawing method for prototype costume design in fashion drawing’ is significant in practical fashion design. Furthermore, the procedure of the proposed method is mainly used for teaching the principles and rules of fashion drawing at the level of basic education in fashion college. Key words: Fashion drawing, Costume design Drawing, Drawing method, Basic education 1. Production of “Real Proportion,” “Prototype of the Costume Design Drawing” and “Basic Proportion for the Costume Design Drawing” To establish compatibility between the beauty and accuracy required to produce costume design drawings and a method comprising a series of steps for dressmaking, from creating a clothing prototype to producing a plane drawing, according to the following procedure. This method is hereinafter referred to as the proposed method: 1) producing “Real Proportion”; 2) producing “Prototype of the Costume Design Drawing”; 3) producing “Basic proportion for the Costume Design Drawing”; and 4) proposing a new drawing method involving the items above. This procedure is mainly used for teaching the principles and rules of fashion drawing at the level of basic education. 1.1 Production of “Real Proportion” “Real Proportion” as defined here is an “unshaded line drawing of a real three-dimensional body.” The author produced it according to the following procedure: 1)

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Page 1: Proposition for the Drawing Method for Prototype … for the Drawing Method for Prototype Costume Design in Fashion Drawing ... drawing method for prototype costume design in ... tailor’s

Proposition for the Drawing Method for Prototype Costume Design in Fashion Drawing

Sachiko NAGASAWA* and Shin’ya NAGASAWA**

* Department of Fashion, Junior College, Bunka Women’s University, Yoyogi, Shibuya-ku, Tokyo

151-8523, JAPAN, [email protected] ** Graduate School of Asia-Pacific Studies, Waseda University, Nishiwaseda, Shinjuku-ku, Tokyo

169-0051, JAPAN, [email protected]

Abstract: ‘Fashion Drawing’ is a general name for drawings that express fashion. This paper proposes an original

drawing system called, ‘a drawing method for prototype costume design in fashion drawing’, similar to the drawing

method for a plane figure of a formative costume. In addition, this paper proposes ‘the real proportion’ as the traceable,

undressed and non-deformed physique, ‘the basic proportion for costume design drawing’, and ‘the prototype of

costume design drawing.’ The proposed method is applicable to a series of steps from the basic costume pattern based

on actual human body size to a plane figure of a formative costume. The proposition of ‘the drawing method for

prototype costume design in fashion drawing’ is significant in practical fashion design. Furthermore, the procedure of

the proposed method is mainly used for teaching the principles and rules of fashion drawing at the level of basic

education in fashion college.

Key words: Fashion drawing, Costume design Drawing, Drawing method, Basic education

1. Production of “Real Proportion,” “Prototype of the Costume Design Drawing” and “Basic Proportion for

the Costume Design Drawing”

To establish compatibility between the beauty and accuracy required to produce costume design drawings and

a method comprising a series of steps for dressmaking, from creating a clothing prototype to producing a plane

drawing, according to the following procedure. This method is hereinafter referred to as the proposed method:

1) producing “Real Proportion”;

2) producing “Prototype of the Costume Design Drawing”;

3) producing “Basic proportion for the Costume Design Drawing”; and

4) proposing a new drawing method involving the items above.

This procedure is mainly used for teaching the principles and rules of fashion drawing at the level of basic

education.

1.1 Production of “Real Proportion”

“Real Proportion” as defined here is an “unshaded line drawing of a real three-dimensional body.” The author

produced it according to the following procedure:1)

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1) referring to “Japanese Body Size Data 1992-1994” 2);

2) using multiple viewpoints;

3) producing a baseline frame based on the above data; and

4) drawing the human body accurately according to the frame.

At least two regions of the front and back face are necessary to describe clothing, so the author drew these two

faces following the example of the conventional Baseline Method. The front face of the human body corresponds

to a front design (front style), while the back face, to a back design (back style).

Figure 1 shows the result. It is “Real Proportion,” which is a representation of the present body type distilled

from data on 2,000 or more Japanese women aged 20 to 24 years and collected from 1992 to 1994, and employs

no deformation.

According to the above data from “Japanese Body Size Data 1992-1994”2) which was a standard for

ready-made clothes, the JIS L 4005-1997 for women’s clothing was produced. Some similar raw data was also

applied in this Paper. Therefore, the standard body size called “9AR” in JIS L 4005-1997 is quite similar to “Real

Proportion” as represented in the Proposed Method.

If the author had used photographic images created from tailor’s dummies 3) and mannequins 4) that had been

produced based on this data, the author would have been able to produce line drawings that could act as a basis for

costume design drawings. However, photographic images might contain some distortion and three-dimensional

data on the same measurements was unavailable, while application of this kind of data to education is also

difficult. Therefore, instead, the author created “Real Proportion” by the above-mentioned method that conforms

to traditional procedures in the field of fashion drawing.

1.2 Production of “Prototype of the Costume Design Drawing”

Prototype of the Costume Design Drawing” means a “basic form used for producing costume design

drawings.” The author produced “Prototype of Clothing” by the former Bunka Method5) based on the the real

proportions which correspond to the line drawing in Figure 2, and produced a “Prototype of the Costume Design

Drawing” based on the former prototype, which is the gray part in Figure 2.

“Costume Design Drawing” is an unshaded line drawing of a three-dimensional figure having a front face and

profile faces of a clothed tailor’s dummy, while “Prototype of Clothing” is a plane drawing of clothing as if spread

out on the floor. Thus, in order to produce the prototype of the costume design drawing from the prototype of

clothing, a limner should insert the flat profile faces of the clothing prototype into the central part to create a

three-dimensional form. The author referred to the “Horizontal Cross Section Drawing” shown 6) This

“Horizontal Cross Section Drawing” shows a section of each region of the human body. The author measured real

lengths from the front face to sidelines, projected lengths from the front face to sidelines, and their ratio, and

reduced the side faces of the clothing prototype based on the ratio. Thus, the author was able to create sidelines of

the prototype of the costume design drawing.

As a result, “Real Proportion” and “Prototype of the Costume Design Drawing” were completely reconciled,

as can be seen in Figure 2. it is referred to as the “Prototype of the Costume Design Drawing” in the Proposed

Method.

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Figure 1 Real proportion laid on a baseline frame (Front face)

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Figure 2 Compatibility of the real proportion with the prototype of the costume design drawing

(Back face) (Front face)

However, when actually producing the costume design drawing, we should lay “Real Proportion” and

“Prototype of Clothing” over the “Prototype of the Costume Design Drawing,” and adopt the drawing containing

the sidelines after adjustment as specified in Figure 2 in order to acquire balance between the human body and the

clothing.

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1.3 Production of “Basic Proportion for the Costume Design Drawing”

“Basic Proportion for the Costume Design Drawing” means a drawing of “Real Proportion (Front face and

Back face)” produced using the “abridged version of the Baseline Frame.”

As shown in Figure 1, the baselines of the real proportion are very complicated, making it difficult to draw the

human body based on these baselines under all instances. Even though these baselines cannot be as simplified to

the same extent as the baselines of the Six-block Method, it is desirable to be able to produce this real proportion

as easily as the clothing prototype in order to maintain a close correspondence to the plane drawing.

Accordingly, the author produced the front face and the back face of the “abridged version of the Baseline

Frame,”. Based on these faces, the author drew the human body linearly, and then fleshed it out. The detailed

drawing is referred to as the “Basic Proportion for the Costume Design Drawing” in the Proposed Method.

2. Proposal of a new drawing method using “Basic Proportion for the Costume Design Drawing” and

“Prototype of the Costume Design Drawing”

The procedure for the proposed drawing method is shown below. Consequently, the scale (it can be reduced),

the paper size and line thickness are flexible provided all these elements are kept in balance.

1) Produce “Basic Proportion for the Costume Design Drawing” using the “abridged version of the Baseline

Frame.”

a. Use A-3 size paper arranged vertically.

b. Writing instruments that allow identical and thinner lines to be drawn are preferable.

c. Draw a baseline frame using a ruler measuring one-to-one instead of a diminishing scale.

d. Draw the human body free hand or using a ruler, depending on your drawing skill. The body will be act as

the standard for producing the costume design drawing hereinafter, making it necessary to draw the body

symmetrically and accurately according to the baselines.

2) Produce “Prototype of Clothing” 7) based on the basic proportion for the costume design drawing, i.e., the

real proportion.

a. Use another A-3 size paper arranged vertically. Thin paper such as copy paper or paper of a similar quality is

preferable because the “Basic Proportion for the Costume Design Drawing” will be traced on the paper afterward.

Produce the prototype on a diminished scale of one to five.

3) Produce “Prototype of the Costume Design Drawing” using “Prototype of Clothing.”

a. Lay “Prototype of Clothing” on “Prototype of the Costume Design Drawing” and, adjust the width using the

same procedure as you trace profile lines of the human body.

b. Add necessary seams lines, if any. Trace profile lines of the human body, too.

c. Perform the procedure up until this point only one time. Use a stack consisting of the “Basic Proportion for

the Costume Design Drawing,” “Prototype of Clothing” and “Prototype of the Costume Design Drawing” as an

underlay for tracing hereafter.

4) Produce “Costume Design Drawing” after “Prototype of the Costume Design Drawing.”

a. Use another sheet of paper. Thin paper is preferable because “Prototype of the Costume Design Drawing”

will be traced on this sheet. Produce the drawing on a reduced scale of one to five.

b. Produce the drawing employing the flat drawing method.

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c. When a pattern is given, underlay the sheet with the “Prototype of the Costume Design Drawing,” and

produce the drawing using the pattern size without modification when drawing in the vicinity of the front face but

taking into consideration distortions created by curved surfaces near the side faces. Similarly, draw shoulders

above the bust line, taking into consideration some distortions created by curved surfaces near the shoulders. Add

a third dimension that is subtle and difficult to comprehend from the pattern, by applying your skills in drawing.

d. When the three-dimensional body and a photo or a rough sketch of the three-dimensional body is given,

underlay the paper with “Prototype of the Costume Design Drawing,” and draw a rough sketch of the silhouette

free hand, and then draw the detailed part including the width of a panache or a collar and internals of buttons

based on your knowledge and skill of flat drawing on a reduced scale of one to five.

e. The finishing procedure is the same as that for the costume design drawing produced by other methods.

An example of a costume design drawing produced according to the above-mentioned formula based on the

given pattern, “Prototype of the Costume Design Drawing” and “Basic Proportion for the Costume Design

Drawing” is shown in Figure 3.

Figure 3 Example of the costume design drawing produced after a prototype of the costume design drawing

(Front Face) Yet-to-be-finished drawing

3. Conclusion

The author proposed a new “Method for Producing the Costume Design Drawing“ which allows the sketcher

to draw a design employing the same procedure used to produce plane drawings and which can be readily applied

to teaching fashion design and drawing. As part of this proposition, the author produced “Real Proportion,” “Basic

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Proportion for the Costume Design Drawing” and “Prototype of the Costume Design Drawing.”

Effective points of the proposed method in this paper are as follows:

1) The costume designers and assistant designers who have not enough drawing skills can draw the Costume

Design Drawings. In another words, they can draw much more exact drawings without drawing skills.

2) By using a diminishing scale the students can draw much more exact Costume Design Drawings, those are

drawn by veterans and experts with their experiences, skills and capabilities. It is not possibe snd significant for

the beguinners and students to reproduse the Costume Design Drawing using a diminishing scale because veterans

and experts are used to draw the human body proportion employing their own deformation. In contrast, the

proposed method prepared the human body proportion which is the basis of the Costume Design Drawing

according to the numerical data, so anyone can reproduce the Costume Design Drawing by using a diminishing

scale.

Acknowledgement

The author wished to thank Ms. Yoriko Sasaki, a graphic designer, for helping us in the CG tracing of plates

used in this paper.

This paper received a subsidy from the Gran-in-Aid for Scientific Research (C) of the Ministry of Education,

Science, Sports and Culture (No. 09838039, 10835023, 15500145). I herein wish to express my gratitude.

Notes and references

1) Sachiko Nagasawa and Shinya Nagasawa: Experimental basic proportion for costume design drawing in

fashion drawing, Summary of the 45th Meeting for Reading Research Papers on the Science of Design, pp.

240-241, 1998 (in Japanese)

2) Edited by the Research Institute of Human Engineering for Quality Life: Japanese body size data in 1992-1994,

1997

3) Written and edited by Michiko Miyoshi: the Science of Making Clothes, Theory I lecture given at Bunka

Women’s University, pp.33-45, BUNKA GAKUEN Text Publishing Division, 2000 (in Japanese)

4) Mannequins are developed based on the same data under a joint project between the Research Institute of

Human Engineering for Quality Life and Nanasai Co., Ltd.

5) Edited by the Research Laboratory in Clothing Construction of Bunka Women’s University: the Science of

Clothing Construction, Theory, pp.90-107, Bunka Publishing Bureau, 1985 (in Japanese)

6) Ibid. pp.33-89

7) Written and edited by Michiko Miyoshi: the Science of Making Clothes, Theory I lecture given at Bunka

Women’s University, pp.121-137 (in Japanese); some details of the clothing prototype used by the Bunka Method

were changed in July, 1999, but this change did not conflict with the prototype of the costume design drawing as

presented in this paper.

Sources of Plates

Figure 3: Drawn by Sachiko Nagasawa and sourced from the Science of Making Clothes, Technology I lecture

given at Bunka Women’s University, p.118, BUNKA GAKUEN Text Publishing Division, 2000, edited by Noriko

Nakaya and Michiko Miyoshi (in Japanese); An unfinished drawing and a reduced scale have been added.