Integrating Draping, Drafting, & Drawing - Fairchild Books

More documents

Recommendations

Info

Integrating Draping, Drafting, and Drawing Preface This book is about a dialog between an artist and a technician. It illustrates the design process, encompassing sketch and garment pattern development. It depicts the relationship among three disciplines of fashion design: draping, drafting, and drawing. The integration is presented in a highly visual format. These disciplines, particularly draping and drafting, are often taught in separate classes. Their relationship is integral to efficient and timesaving methods of developing a design and its pattern. Our aim is to create bridges between studio methods and design illustration. Each chapter renders a combination of skills and the natural flow among them. Two-dimensional design informs the three-dimensional and vice versa. Chapters are presented as hands-on learning experiences with lessons that mimic classroom demonstrations. Step-by-step photography portrays the draping process in a sculptural way rather than using illustrations, which cannot truly depict the response of fabric draped on a dress form. The images of muslin “sculpture” combined with digital drafts offer interchangeable solutions for pattern development. Throughout the book, there are alternative methods used by practicing designers for developing slopers. These are master patterns, created by draping or drafting and used to generate style variations. We chose the basic components of the dress as the model used throughout the text to demonstrate how draping, drafting, and drawing are integrated in design development. The components are the skirt, bodice, neckline, collar, sleeve, and dress foundation. These disciplines are similarly integrated in the design of men’s and children’s wear. Each chapter builds on the last. After an introduction to tools and preparation techniques in Chapter 1, Chapters 2, 3, and 6 begin with draping as the first step in producing a sloper. Drafting the sloper is then offered as an alternative method. Chapters 4, 5, and 7, focusing respectively on bodice variations, necklines and collars, and dresses, begin with drafting because, for many of the design variations, these chapters utilize slopers developed in the previous chapters. In the case of a design variation such as the leg-omutton sleeve, for example, drafting the pattern is more efficient than draping it. All design starts with an idea, which needs to be translated into a sketch. Drawing basics are interwoven throughout the book, with an emphasis on understanding body lines in relation to the dress form and proportion. It is directed toward communicating specific garment detail in the context of related projects. Lessons ground the creative process and strike a balance between the technical and visual elements. Drawing informs draping and drafting, just as these disciplines inform drawing. Step-by-step instructions on PREFACE |xi
Integrating Draping, Drafting, and Drawing | xii drawing the fashion figure as well as flats are included in each chapter. Drawings correspond to patterns and convey countless ideas for design diversification and inspiration. In 2003, Kathleen Maggio curated the exhibit Donald Brooks: Designer for all Seasons. She became acquainted with Mr. Brooks and his work while he served as a visiting designer critic to the fashion design department of Parsons School of Design. This twentieth century designer is renowned for his accomplishments in costume design as well as on Seventh Avenue. The authors found that dresses from the exhibition collection served as the ideal inspiration for this book. Even using the basic garment components taught in this book, Mr. Brooks’ designs exude timelessness in their execution and fabrication. Chapter 8 is devoted to drawing exercises focused on rendering his designs and their fine design details. It also depicts the relationship that exists among draping, drafting, and drawing exemplified in the images of garments from Chapters 2 through 7. Acknowledgments We would like to thank Tim Maggio for his photography, technical drawings, and graphics. Thank you to Fred Gross for his word crafting of drawing text and support. To Wolf Form Company, thanks for their assistance. We are grateful to Bill Rancitelli for his drawings, as well as to Jerry Blum and Kay Blick for a glimpse into Donald Brooks’ portfolio. Many thanks to Fairchild Books editors Olga Kontzias, Sylvia Weber, Jessica Rozler, and Beth Cohen and the multi-talented Fairchild team for helping us to bring this project together. To the reviewers selected by the publisher, we express our appreciation of their recommendations. They are Melanie Carrico, Kent State University; Andy Chan, Massachusetts College of Art; Kathy Mullet, Oregon State University; Artis Rewerts, University of Texas— Austin; Susan L. Stark, San Francisco State University; and Sandra Tonz, Mt. Mary College. We’d also like to thank our students, whose enthusiasm and creativity continue to kindle our passion for fashion.
Page 1 and 2: BF SEE INSIDE FOR SAMPLE MATERIAL F
Page 4 and 5: Integrating Draping, Drafting, and
Page 8 and 9: With experience gained from produci
Page 10 and 11: 1 2 Drape the Neckline 4 1 Pin at t
Page 12 and 13: Torn Edge Shoulder Blade Level Bust
Page 14 and 15: Join the Front and Back Bodice 1 Fo
Page 16 and 17: 6 Lower the armhole at side seam 1.
Page 18 and 19: 15 Pin the trued and trimmed muslin
Page 20 and 21: Drawing Darts for This Bodice 3 Dra
Page 22 and 23: 5 Side seam (waist to 1 below arm p
Page 24 and 25: 22 C to R = 1 ⁄2 the Bust Point t
Page 26 and 27: Drafting the Waistline and Shoulder
Page 28 and 29: Shaping the Bodice Full Front Bust
Page 30: Shape Shape Darts Shape Darts Big O

Integrating Draping, Drafting, & Drawing - Fairchild Books

Create successful ePaper yourself

Delete template?

Save as template?