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Dressing Your Characters in Casual' Wear



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DRESSING YOUR CHARAC ... ~RS IN Gi SUA~ WEAR

Thank you a II for .b'uyi rl!g,

t~ ,j e . book.

You"ll b:egin by , [earning to coPy d raw],ngsin this book.

However, thie does not. mean ,dupHcating everything line by line,

images.

The drawings '.-"r'ere c reate.d to ass i st vou as refe rsn ce

"i...'!'

Do~'t get too caught up in theories, Use what you

earn by incorporating the kn owl ed.g e i rrto you r own desig ne, !\nd don't forget to have Fun.

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Welcom,~ to How to Draw Manga Wu:ll.4. D ress in g You r f'ij" ~.n,. r, ual W", aa r'l

VI lara~l~fS In \las ',' ' ',',,': '.

This1"olu me covers

everyday clotl1i~ngi

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Tab~e of Contents

1 . Givi Iilg Shalpe to Characters ': '''' , , uu a '''''' , , , , ,,,........... 6

2. ~:s,ua~izilng Wrinkl!es "'" '" """" '''''''' '" , , "."......... 7

,3. Creating Basic Three=Diim,erJs~cnaUty : "" """" ,""""" ""'." 8

4 W " 'k!1 L.... --, d f - (:'iI' 'ni 9'

. ',rln" es rorme:_ ro:m oravl~.)! i """"" """" ,," ,,',"" ".......... '

5,. lilnes FOUI'1,(j in ,l:lotlililng , , , .. , ,"., .• ,"'" "i ,,,' """"",' s a ,,,,,,,,.,,,, ,,,' """"." .. """,,",.,,.", .. 1 0

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Chapt'er '1i - Underwear and T~shi[ns " .. ""." ,,"" , "" ,,' '"'''' "" 11

Mah3' Ij-ndervurear = UlndershllrEs "."""'" '" eru ,,'''''''''' " 1! 2

Ma~E! Uncle,Maar ,-lJnd1efPants i "".,,"" """" ,,""""'" "" 114

Fem8~e iUfl'(~erwlear -, Bras., , , .. , .. " s s s s s ,", ••• ", , """", """" ,,"""'" ''''' 1' 6

iFe'male Urnderwe,ar ~ Urnderpijnts , e a ,"';.;" > > > > i., ', , , , ">. > ••••••• e a a a e s s a 1~ Q

aluart~r Cu'p Bras (P,a,ttern A) "." ,.,.,."".'"", " ,'""'"'"'''''',." ,''' ", ,""",,,, •. 20

Quarter Cup Bras (P.a.ttern 18) """ ,',','" "" ..............•..•........ ",."""", ""'".:, 21:

M,ore. Qu,arter Cup sras (p,a.Henn 13) u a uuun a """ ••••••••••••••••••••••••••• , •• uu u """" ••••••••••••••• 22

Semi-bl~k'inil Un derpents , '''''''''''''''" a, .. ",'' "" """,,., """" 23

D ~k'i n 'I' Un ..... erna ntl!'i- 2 AI

1:J.1~· l' _ Ill,Y~ _ ~ .. __ '~I' I' i' I' I' p p. P. io i'! i1 io ill i'! iI ill'I ill'I. 1'1 •••••••••••••••••••••••••••• rI:,. •••• II •• II II II II I II II II II II [I [I [I [I I I I II I! •••••••••••• Ii . ~

QUlaJrier CUp Bras ~Pattenl AJ wi~h Bl k.i n~ Underpants - Low Ang Ile: "" , , , "" 25

QiJar~er Cup Bras, (Pattern ,A) with Blki lfIii Unde raants = High Ang h:!J ,,""""", 26

More QUaJrter 'Cup Bras (IPattern B) wi1lh Selm~'~ b:j ki nii Underpants -, Low Ang,le , ,,' ,,, i 28

More Qu erter Cup Bras (PatteJrn Bl with Seimii,~ b:i Id nii Underpants - H~,gh Angile ,' ,,' , , 2,9

Spom,w13tar Unlo erg\arments """'" ,,""",, ,3 0

U nge.,r~ e .. !!!.:: ~ 3: ~ ==:::Ii = =::1 Ii Ii 1111 111111 1111 ~ 'I" 'I 'I 'I I II IJ II I! 1'1 ••••••••••••••••••••••••••••••••••••••••••• EI 1111 [I I • I IJ n e ~. ~ II III I I I I I •• III III ••••• ,3,1

Stand~tJ1g W,ear.ing a T~s!hirt .. " ."",, ,,"" ,."."" ' " .. ".,' ""' 3'9

Standi rig W1earlng a T -shi rt = Low Ang te "'" , , , , "'" " '" , , ,,' 4D

S'1jj - ttl K W' T h'i"fio 411

,"I, " ng on "Ie 'nees, _ :earlng a .~S '-:11' ~ ,,"'"'''''' """"" ,,'"'''' ", ',- ~

Sitting at Ease 'Weafllng !8l, T-shlrt ,,' ., •. "' .•. i ••••••••••••••••••••••••••••••• a uan """ """ •••••••••••••••••••••••••••••••• nu ''''"" ••••• 4:2

8im ng with the Legs Extended Weari ng a T-shirt, e a e a a a s a e a a s a s s s , ,' 'iri , , , ".,'" "" " ••••• A4

Sitting Cross-,Iegged Weariin g a f~.shi rt ., , , s s a s , ••••• ; •• ,' ,',',,' "," ,,". " •••••••••• i i •••• i •••••• e e e ". """ "">" •• .46

standi ng on One Knee We.ari ng a T gshirt = Part 1 ,." ,',' ,',' .. ,', s s s a a e a a a a a s s a a a e a a e a a e e a e 'I" ,,' 47

standi ng 011 One Knee Wear) ngl a T -shlirt - Part ,2, ",'''''" .. "',,, ,'''',', .. ,, .48

Sitting ln ,a, Chai,r Wearing a T-shirt",", """" u ,,""""",'," """" ,," , , '" .4;9

CrOSSing the ILegs Weiaring: a T~shirt"" "'" ."""",, ,,""""""" u """"" ••••••••••••••••••••••••• ,,""" ,50

Ch p1 - '2" "' " , d S'k'"'rts "

.~, I. . . '.!I!!!!!!!II!!!! f I '1 '. '. I' '..:' '. . .

I a J er ops, an :__, ,1_ '_ - ,'" .. ,,',', ,',',', .. " ".,,"'''' "''''''''"." "",,51

,Sw~at-sh~rts and Sk:irts ,"',',',.,',',' ""'"" .. ".,, .•..•..•............................. ,,""""" ""'''" ",,52

Crewnecks """ ,,'" '''' ",."" .. , s s a s a s e s a e e e a a s a e i ,, •• ',,,,,,,, "''''''', ,,54

Crew,neck~s. = Hligh Angh~; ,,'''''''''''''''''' """"" " ,,"',',',','" """"".,., " 55

Fold~ ng the Armls """,,.,,""" ,,,'" .","" uja u •••••••••••••••••••••••••••••• ,., "" '" ,', ,,',' ,,' " ,,',' ., ••••••••••••••••••• ,56

Bendi'ngl'to the S,~de !!!II!!!!!!!!!!iiii!!!II!!! ••••• IIII.I'I •• I'II'I •• I'II'II'I!I!I!'Ill.IUIIII II I II I uo u uoa ua e ••••••••••••••••••••••••••••• 1I1I1I111I1I11 III 111111111 •••••••••••••••••••• 58

Bending, to the Siio'e - H~gh Angle " .. ,' "" """"."" ,,""""'" "" 611

Tu:rning ttH~ Body a a a g "" ,,', ,,,',,',, u e u e ,,"'"'''''''' """ 62

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Tu rningl the IBodlV - Hliglh ,Angle" '" ,'" ,,' "',"" " "."."." ,, ,,"" , ."" "'''''''''''' , , , , """ ,,63

Picking Somethingl Up - P,art 1: ""'''''' """ .............................•..•..•.. -re ,,',,',', ••••••••••••••••••••••••••••••••••• ,,""'" ,,'" ",,64

Pitking Somethi:ng' Up - P,art 2.,,,,,,,,,, """"" ..•..•..•..•..•..•..•..•..•..• , ,"',',,",'," ••• "."." s a s s a , ,,"'''' ",,65

Picking Something Up - P,art 3 .. ".""", """ ,",',',',' ",.,' .. " e •••••••••••••••••••••••••••••• ,,"'" ,66

Picking Somethingl IJp = Part ,4 ,,"",'" " "",',',"',",, , ".,", s s s s s a .. , .. ",67

Bend'ir:rg, Back, .,', , .. ,' , •. , , .. '''. """ ,,""'" ""."" ,68

Bendi rig Salck·= lHiglh Anglle II!!I!!!II!! I!~i! i!i!!~ '!'I'I I'!'I' l'iI'I' "pi! i!ii!ii! I! I! I! I! I! I! II 11.11,1 un u 11 I.l 11 II •••• 11 •••••••••••••••••••••••••••• 69

Sit!:ing On! Ine! Knees .. "" ,,'''''' ,,,' "',.,, , ,"'"'' '" "" 70

SfttinQ at Ease .. " a u u e u , •••• ,.,,""'" uu e u u " ,' '.'1·. ,,' ." 71

Sitting w~h the legs Extended ""'''''''' "" ,' ".,,',' ,,',,', ",,~ s •••• ii ••••••••••• 13

C"'ltl'lnln ~";ji+h, the ~ .... g", Bani '7";1

Ill. ." ~ '~~'I!L~I . w. Lt\i: .. Q \:Ii1!1~ •••••••••••••••••• llllllllll III 1IIIIlllllllll ••••••••••••••••••••••••••••• "." ........ '!'!<!,1,1,1 !'I"I'!"!'!, .... ~!'!o~I!;!"I!I!!!!!!!i!iiI!!!!I!!!!I!!!l!lil!ili!i~' ~

Stand,ing 'on, One Knoo ".,,"",'" """".",, ,',',"',' ,,' "".,,,,, 75

f!h,M·1nf;l O"'n '''l1n~ T'!lk'inn Q"~ 'S' 'w'eO!1-f'j"h,'I"ii:! F'rll"'i....-lf !ing"le '7'-7

rUIn.l 1:11" , ~ U I ~. '.'!II~ " -!II :'. f '. g ~ II '-Q. -:- laIJ I L ,"111,. .. • •••••••••••••••••••••••••••••• !I [I II II [I II I I [I II I I I I, I] II IJ II II II Iil •••••••••••••• ~ .

Putt~ng On and TakJj ng~ Off Swe'amlhi rtf> = S~de An g lie ""." '" , , '" """ '79

Putting On and Takiing Off Sweatshirts ~ Rear Angle b u ,""" '" uu e uuu ••••••••••• a.1

Sittin@1 i'n ai, Chait' " , "',',,,. ,.", ", .. ,,"""" ''''''''''" 83,

Crossing the Legs .. "',,, ,,,',',',' ,,,' """!."", , .. , uun """'" """""" •• 84-

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StaJrding on AU IF~uJrn ,,"","""'" """""" e e a a '.' •••• ,86,

Chapter 3 iiiii Jackets and Jeans '" '" '" '" "" J ••• , •• 87

Jackets " ", .u, •••••••• ", •• a e a """""""" """"""" •••••••••••••••••••••••••••••••••••••••••••••••• ",,88

Qll8i1 itv. an d FB~~I , "","' '" '" '" .. , '"' ". """ , , , , , , , ,," """ 94

Jeans.,.,.,., .. , .. , , "" e •• e •• "., •• s •• , ••••• ri ,., ri '.""'" '" '''''' """ ••••••••••••••••••••••••••••••••••••••••••••••• 96

Standing - Zj ~,ped .. "'" s a s a s a a a a •••• ,, •• ,.,. """"".'" """""" ••••••••••••••••••••••••••••••••••••••••••••••• 98

Standing - L'i p,ped~ 'low Ang Ie· ," ," ,'". '. "I .,"',., 1 00

One Arm Raised - Zi pped I S'nghlt Side Angi'E! .....................•.•.. ,' •• ""'" """", ••••• , ••• , •••••••••....................... 1 02

Orm, Am1 Raised ro, the Sh:le - Zippedl Front Angle' " ,,",','" """"""',., " .. s e e •• , ••••• e a e s a s •• 1 04

One Arm Rais'ed to the Sid e = U nzipp~d! Rear Anglle " ,,",',' ,,'" " .. na u •••••••••••••••••••••••••••••••• ~ 06

One Am1 1Rai:sed m the Side = Unzippedj RJght Side IFront Anglle " .. ,'" """" """"""""""." 1 08

Bo-th Al"m8 Raisedl ---. U nz:rp ped !'!'!l!"!' i'!'! iiI! r! i! iii! i! i! iii iii! iii i i. i ••••••••••••••••••••••••••••••••• e a n a u u.u 'Ill 'I, I I, IJ IolIJ'IJ IJ Illlllil .. IlIJ .... 1011. 11 •••••••••••••• 11101

Turning the '8od'v = Zi(l'ped , s i •••••••••••••••••••••••••••••••••••••••• ,,"" """'" "'" """.,'''''''''" ••••••••••••••••• 11.,2

Turning ·the 80dy = Zipped, low Anglle , ,.""".'i •• ' •••••••••••••••••••••••••••• u a u au an an uu '" '"'' '" nu """ •••••••••••••• 114

Bending to the! Side ,= Z~pped ... "n ••••••••••••••••••• , •• a s s a e •••••••••••••••••••••••••••••••••••••• ,,""""""" '''',. '" '" """."" ••••••••• 116

Bending Back - ,Zipped """"".""" , •••••• " ,,, .. ; u u uau '''''''' "'" """""""".1 '18

Sitting in a, Chair ,,, ,' ,,.,,.,,., ,1,',',.'''''1'' " •• ', ,.120

Legs Cro,ssed :i r!i i i'i; •• I: iii j. I!I ••••••••• II II I'J II IJ n IJ 111111 II II Il II •••••••••••••••••••••••••••••••••••••••••••••••••••••• II!!.""."" .. y .. a a .. !!! ...... '! '! II '! ,I ,I ,I ,I ,I ,! l~ ,! ,! .!! I ,!,~ 1,121

Sitting Ctoss~legged " .. a •• s e e a a e •••••• ,' •••• ' •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• "" ••• ,,"""""" '122

Falling on Dnels 8urtltocks ,.;.; .. "".,.", u a •• 123

Looki n~ Back on AU Fours ~ Unz,i!pped c s s s s c e s s s •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 124

Putti'ng On and lfaJdng Off. Jac!keYs _, [Part 1 ,., .• ,"",.,., .•..•.....•.............................•...................... 11 26

Putti Ilg On and laking Off Jac kets. =, Part 2 e •••••••••••••••••••••••••••••••••••••••••••••••••• 1, 28

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Whe,n dra.w~ ng

cJotl1 ing ~ rouglh ~y siketch the character's entire body. G.~ve shape to the ell ar.acter and adj:ust ttl.s baJance of the drawi ngl.

Pi:cture thB shia.pe· as you r charaete u naked Th ilr1 k of drawiing eluthli rig as dress~ng you r character.

Th'8S8 drawings represent thi13 shape of the charac.ters. Viisualize the joint areas as spneres ~In you r Inti nd whIsn dr-a,wiing·.

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Draw th,e cl.o~hingi on top of the s'hape as i1f you were dressi ng the en araeter At th is !point, take into conslid~ra~ion the size olthe cl·o~hiniQ,.

"(0000 LOOS.E

In add ltlon, wh en rnat'8Jial is .stretched as j~lus.tmted, small wrfin kles are. formed.

Wri:n kles always. come wl~11

cloth i ng" So, wnmre' dOl wn nkl'es form ,anywa.y? View wri nkl1e.s as a basic means to expr~'ss· ]hn~e:"

di mensional il(y"

The nasc !heol} i'nvolves d rawi;ng curved lines for unev'en parts of material dependingl on ttl E! expansion and contraction of the clothing' i'n olaces wh ere the body bends. Most wrink~es t,end to appe.ar i n these places.

~.l CRUM.:, PlE~ CRUMPLE \ .

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From a drawing standpol nt, wrinkles can be' dS'fined as uneven areas formed fro m eJ(.pansiofJ and comraction.

In thlis exam p~e! wrir:llldes., gather around a bent arm. Most of 1Jhe wtinlkJes, furm 1l8'8l the insJlde of the- centracted arm

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Atlachiing a tune to ~he s'da of a box ~s the basile method for bringring out th ree-c ~mle nsionallity.. The sam e method can be used for wri n kles by attach ~n,g ·8 tone, to ~he bu I g,sd parts.

To accent the three-diimensionaJKyr add .. a tone to th e bu,lge in the materlal jiust ~ i ke with the s~de of the box.

Howev,er, wn nlkle.s form com ~:fl ex shapes tor various reasons. Don~t worry' about th ~ detal Is too much, IFi II you r head wirth the basics and draw from there.

Attach a ton e ro 'the s~de of box to accent the thn~e~· d i menslofilaUty.

A big p.ant of drawi ng ~s. visualtzh'tgl the image. 1;[11 your m iJ~d. The same 'Iaglle csn 'be applied 10

d rawtm 9 wrinkles. Whiile ~here iis no better WilY' to hone YOUlf [i magiinative skjills then ,practic~, possessl ng an

u rderstand ing! of ~he furu]amantals and taking these into consideratlo n whell drawing lis th,e fastest way to !i mp rcrve y.our s~i lil(s.

Ught source

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Ii----- Eye-'leve:1 ~howizon nne)

'lhe shape of the b.u~ges. vanes dejpendlng on the angl~e in which they are vi ewed. COnsider the angille an dl the direction of the light ;so~rce wheln aft,aching to. nes to tne shaded areas of the m ale ri a I ,

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First, consider the l'iJght ,smJl"ce an d ImEUgifil€ where the bulges, I n the' wrinkles. w'lll appe.ar. 1hen,. attach tones to accent me threEl~ di:m.en8ionBl!~·,.

"-'""'"_-,,~J>!O<,",1' Depend ing 0 n th.e effects of glra.vity, a variety of: ~~~~~~~~~:Z!.t:n:l~e.Icl;;,-,e wri nkies .appear from w1r1i nlkles. that falll I engU~'wise toward th,e gound to wrinkles that hang from iltJe~ left and ri g ht. Wrinkles aso form in the' direction of the body -moti on.

E:.:ample k WriinkJes that hang leng11hwise towards the groum:l.

Ttoo prim~.jples from examplij B ~an be aptllietJ for chaIaCmrs. wirth large breasts wearing b'ig ciJH1ing.

1I1e pri nciipl esIfOm example _j~:;:::,,-:;n A can 'be applied to areas lik'8 this,

As the body bends baclkwards!

wrll n kles farm in the dir1eclion of the bodty motion,

The skJi rt is IP robably the area affected most [by ,glrnvity and the d'iwectlon of

movement

Wlh i le the body leans forward; the akbttitts backward.

Example B: WrinkJes Wlat d'mop ,d'own from the left: and rl ght.

Ra·sing the arms to the rig;hrt an d left stretches the clo~h i nrg 't:onntlng wninklles. Hmn.re'ver, since lie wlni n kles also droop down due to grav.iltYi thi3' princiIPI'S8 from E)(ample B can also be applied here.

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SKi lied artlsts place' h ~g h e. mpl1la.s~s, on tile overalll bal anee of the' draw~ fig as a si I:houetfte.

111 e same !pri nc~ p I'e can be appl i ed to dr.awi ngl the bodies of yo ur character.

J'o!li - k j I'· ,fleel 1m€:

Archedl line

x-nne

Tent line

All forms of dlothi ngl possess th's'l r Own wll~que lines.. Beiitng aware of this and vilsualizir1g th e m can help 'I m prove youlr desi'gn skiliis.

SttraJight Iii ne

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Jake i mlto account the limes fhat d iffl8l,em tyP-8S of clol:l I ng possess when oonsideri n gl the overnU belance of the character.

ChaplJer 1

d d h•

Un erwear esne T-5_ Ir 5

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U nderw,ear iIl9.; someth in g that lis generally' not shnwnI t'O other

~eoD te. 5i nee, you sl m p~y can It go arou ndl askiing the opposite sex to show you 'tthe'iir un derwear~ this, seen on has [been d esign~d f'or you learn frng,

IJnd ersh lrts are male: u nde'Metlf desiig ned to cove r 'th e upper ,body with the' m est basic type be i rig

ttl e T -shlrt, Other general types in-etude: run n~ Illg shit!:s". nonsleeved shirts. ,and su rter shi rts. TIlle th ree hasle neckl i nes are i'liIlLIstratBd here,

V-necks

__...

_ __-,' - ,

1"":1 t!;.

U-II"I.DC- It .. , m'n rI H_~£:ICI''''' tun~;f!o ~ M ""'"e' 'on Ufil,rn w' 'Ittl II I~ Il\~. y. 'v ~ I~'V. t\ ~.J ~~:~ ~P[ji U!ll.". "~rLh .

o~en-necked sh i'rtg or wfllen shirts are wom sliig htly uflb!Jttooned.

'Whille 1th is is a nonsleeved stl i rt, IDe design lis sligihtly,: different.

/ ~~

_-' , I_'~.l

--........

fJs thai rnamU3' ooggasts. this shirt has no S!]eeves., These are' usua.~~Y' \'rom lin the sum mer:

Unl ike ,the nmn ing shirt the !Iines 01 nese shirts; d'on' sMw ~p,

13

TIler baC!k 8lrea of ru nn i ngl stJ irts has a variety of ems.

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Underpants are desigf~ed to COV'~U the ~ower body. Ih\ere, are, three basic typ es: brlets, boxers and trunks"

rn is pan is

. trtle open~lng.

'I

8rile'fs 'with 3 higlh cut des'ig n sre caJll,sd b i kln i briefs,

This {j:,esilgn has an 'Opening ~In

'" the front

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The shape <of thEse 'brief's looks a lot like trun Ks. They are sown e1i m 88 ca] led boxer briefs, and ~a.ve '~l1e same short, 'tng hI 'fit-as briefs.

Boxers vary 1 n tln~ir dssi'Q'nI and whetn,sf or not 1itney have an opening,

14 lhis type does not have an open:1 ng.

=

Thins ill I usitrn.tion shows the bas:ic bri,e~ d es~gn" lhere is an ceen i n g in the 'frm

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i"-

B~iefs with an 8'xtremely h I gh cut d esiign ar-e' caned seper bikinii b rims,

lmnlksr. whrclh ars :~mmeti;m as call1,sd boxers, have a straiig ht look wl~h p~enity 01 room to move around in,

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A wide varlely of designs can be created .b:y ·varyi ng th ings Ii ke the cut. Here are jus,! a few of the' many poss,fbmties.

In generaL men's briefs have an opening In the' front but a few types d~] [not

Brie-fs With an open i ng in the front.

Designer br~efs wiHl an opening in the front

15

Fema~e underwear is also known as ~nnerwear. Fe'male 'Iing.erie comes, in a wealrol1 of desiglns with a III uc h wi der varllety than m ele un de rwear.

Bras come 'i n a. wl'd e variety of cups, de\SiiQ ns an d fun c.1rnons to meet the slze of their use rs and to com p ~e. merit othe r CIIOUJ iln g. Co nslder which bra works. be,s. for the body shape and s i Iho uette of your characte'rr.

Most of these are geared ft1f characters tn~at wear At or B cupped bras,

Th is type usually has a wire attached to the lower area that tan be, used wiith a wiide rang,s of cup sizes.

I

__......,._.___ -i. J__ .. - ....

Lift Up

The maJienal that makes up the eu p is 'divided into. two laye rs, Straps on the sides arid the bottom pus!h the breasts togr8~her addl~ng 'loh.une and m ak1ng 11116 breasts rounder.

16

Th i 8 bra wraps fhr8 ef1l~i re breast area. and is we II .suited' for characters with large breasts.

Push Up IBms

The cons ruetlon ot th is bra br1lngs togls.th e r the breasts from both si,dles creating a o.leavage Iii n 8.

Band

]hE3n~ is an extnj me~y small joint knOWf.l as th ehook, whi1:ml clasps the. breasts tugattlar a'S shown In thle mustrnti:orn~t However" not aJ I designs like th Is can be c.lasslflied as frolilt !hook bras.

lhe straps on th1S bra are Ire movab.le. maki ngl it easy to wear with doth I ng that shows the shoulJders or C!1eavage,

All ullder-wi re is. often attach ee unde.r the ClIp area to rudJ ,in tne liiffing wundion, Since' iflis, is tl:te case', be sure! and 'consider the wire along the ei:Jp and ,avoid gettiJlftgl o:ff th e track of lie elHpSe ..

A long corset aliso known as a bumner., below the GIJP-81

wh I ch acts like a bel~ gives . th ItS bra 'Its name. Th,s fi·t aJnd bon ling has an effect of Udyirng UIP the wals.itline,. lhis. is an irden~stiJng bra fmm a d8'sign stand pall nil.

This part: has an

~ . under-wire inside of it

~,\l . '~' ~

"':""\

' .

. .

. . .

" ' .

. '

17

Various other designs exist in a.dda1illon to the. prev~ous examp las. PleasEl compare the differences ..

There are also a variezy of cuts f01

the cup area.,

lh is ~s a fun eu p bra where the cup and strap are jo~ned as on e pi ace of material.

18

There are all sorts. of differoo designs for the baJnd below th 8' cup area.

Since a wide variety· of desig,ns. ,and pattems, exist, we· wi II exam ~n e th e basic Mtegories bere.

his kJl1d emphaSizes d~ign over tunction.l:f your character is wearring this ~pe of Lln~errpantsl she. m ay be trying to. appeal to rom e ,othe:r character.

I

"

WhUe some differences are seen with the: cut around the leg cepen dl~lflg on the kind., the.

i 1.1: ustra1io ns here show Ult~ basic ,design uf female ullde~pants.

~_i

Wo.men often w1ear t~is 'type will jreans or trOIlJSe.rs to avoid showing a pan1l)!' [I i n.e,

lhe i,mage usually associated with thins tyJ)e is trat of I irtUe. girl. The. basic ~u ncnens of these am iinsu~a.tion to heart and absorpti:on of swea.t. flhe most base cesl gn covers the beHybutton,

19

/

tet's take a ~ook fro m various ang es.

2Q

Lees ta~e, a look at -the. difference ii III the design of th e oonds and cut of the cup,

The ban d design is ,dlirfferent

21

22

)

,

}

, "

I

The a~gle of "ttl e ~e.g cut shown here. is a standard type. Let's take a. look at the pants trom a variety of' a~gles,

23

fhel ang lie of th e Ileg cut is. tighte r than with the hi g h-cut underpants. let's take a look at these trem a vari ety of .ang Ie'S.

24

LOW',Mgile

/

2.6

to

. I

J

_- .<;.

2"7"

,28

,High Angle

i

t

j.

~'g .. ' ,.

Whi~e these bras do resem~)lre sportswear, some of them contain wures under the cup aire.a1 which really makes Ihe m u n.derwear. Ho.wever, sinos rune back llooks I ilk!e' aero oi cs wear, it may b.e1tl!er to d raw them I i·ke slr)ortswear.

While you won't see Imany people wearing th ese, this. type of

un derqarment was tflroug ht up for people who pl'ay spurts and 13'xerGis13.

Sports S·horts

The desl.gll1l ooks, II ke boxers or spats. Ttlere should not be .any probrl e ms when you draw them as Icmg as y'ou declde whether t~,ey snmuid resemble underwear or sportswear

30

l'here are also modelfs wner8' th,s· Sh;OLJJ~der straps crisscross, in th e back.

Sofi Bra

. .~

. . ... :

. . .

. $

Unglerie seem s to havre the most sense of fashioln of alii types of underwear. There ls a wealth of types from sUps to camisoles.



TheV come in a variety of Ilen,g~hs

rrcm ones that cover the

buttorn and ones that con't

A cam Isolie i 9 a type. of underwear IikJ~~ a slip ~hat has been cut off at Whe waist

31

A lot -of camis_Q~es are

desiig n eo so tl1e'y Coo a] 001 te worn as shirts. l~is type, of fashion was po pular at one time.

32

\\ ~,.

AU so rts of shou I de r simps with. VELflYing widths aJnd deEl1g ns exist.

I

I

r

r

This ls known as a bra cam i.so~e. lit is 3 camlsele w~lth CLJ~ added to the bre~~ area lik,a a bra.

There are a,lso mod€ Is where the s,taps crisscross in the ~ack.

A ~ariHly ot euts along 1M backside; ·exist. from s1raig~t mils to ""'cuts.

As the rilan1i18' suggests, this is a combina~ion o,f two, garm@ms.

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I

'There are also slips designed for ad urrts ~6ii!g lace. and co mp lex patterns u

Sll~ps are de8~gned to prevent ski rts from slid~[ng betw,ef.u~ 1119 IEHJS.

Veri ous s~zes exist to go , w~'~h skh1s of alB I'e~n g~hs ..

As shown in the d rEJwing I csmlso les gtam~gh8d with patterned lace reaUy look Uk~ Ilingerh~l.

A ited:diUe is a combina.tlion of a sl:ip and ·flare· panties,

..

34

SiIHC@ a cam iisole is. IH ke the U[p per part of ,8 st ·flare· ~ar1m neecs to make up for the lower M. 01 the .sUp. Their d€M3ign can be C{lon:~inated W. a petticoat pattern.

lhis ·is an exam pie of narn panties,

leddiies come illl a var~8'ty 'Of dssigns from ones with the waJist area. tightened to ones wh ere the ulpper an dllower parts are separate

combina.TIion of severall pi Bees of lilng erie

i rlclud i ngl a bra a bustier. to sll~m the waistl,mne,. aJml garter belts.

Them are all sorts of faSit:e~ers! to ho~d up _ki~gs, One com mon IV seen ~pe is shawrr here,

Garts r belts, c~m be wom as part (f' a Urlgerle.sct, or irldep~enl1ent1y.

Garter be Its can also be' worn under th e, pant.ies.

~~ I As ill ulSltra,wd I hidden fasteners also e:dst.

35

These are for shapk1g up tho bust w81ist 8Jlnd hips. Othe r types. af underwear fashiiorn that shape up the bodJy' are bras I girdles, ~fS~. and nng;e ne sets.

This part has snaps atJtaclhed maki ng these out on! as well as, take off.

mrfferem)ss in design man~fest i·n the back erea too. Th e strength o.f the

sh aping function mnges 'from soft ttl med i urn to nard and th·e seams in the materials rend to

. d rIner depending o:n thlilS.

These h,s+p shape ~he body in the waJist an d. hip alas.

The greater the ,amount rr seam S'I the better th,e ~OO' su~t sh~ape:g the body',

Also caJlled sheer tig hts, these are wor' I by women as everyday items, BejQe, black and wh'te are oom:monly seen colors, Oth:8f colors such as red and yellow aJso exist

Due to goo.d cnntrnr:ti br!ity and expandab.ilit)rj the p08.ition ol the seams does not change '"

Mode'ls wltl1 ssama around the. toes ·rus.o exist,

I

lhe. color around "the hip area changes wah the fl i'ckness,

Th 8' seams around the hip "area come iirl a WI de v·ar:iety.

37

38

~-- ~S-9B2 "(under}

- . found ~[n I iingerie are Most of the patte~~.!s, "

floral and .IIl!lVllPu want to rJrnw the

U1o.w precisely ~o -, It" ls also okay to

n . '" n to you,

patterns ~s u~

gradate them,

W!h He' tones com~ in a

'- .. w" many

wide vane_· '1_ ~,J these

I tend to use _

!Detail G iW _

ones,

l.et's bike a. Ilook a model wearing; jeans whe re 'the hip area is not h~ dden bl)" a. jacket,

39

low Anglle

40

42

<

...

!

,

.. .. /

,

r

44

47

48

49

sa

Chapter 2 Sw·_tshirts al . d Skirts

!I n add~[t~on to be,i ng wom an)urnd llihe bouse II fh is type of doth~ ng, has a widtl range Of use in

msh ion. The b~~tg"8st differenCB' in ths designs is. found in the - neek area.

, V-neck (

- - I ~ c

I L ,-"

~. <.

H ere we' introduce :various Skirts and tops that make- up ensem b les,

Please be aware that any oombinat~on of ttn,e vaneus

ki nos is possible. Please tak,e a look each of' their diifferences en d make reference 'to mem

H~gh-neck

Crewneck.

tV- .-

• r

!

11 p-up .Neck

u-neck

TiJrtl'8' Neck

Po~o Collar

~-""""~----I--!l,,!----- Semi Long: At sJldtrt somewhe~ between a, normal :and tong length"

Long: A ~ong ski rt .

• 1

.~

Min i: A s1idlr1 cut aibove Ile knees

Nifili"m' ... K.II. ~k' rt cut """f '~e knees A·Dn 1lJ!~ 1 aJI. f'!; ;:). ..' . (JIt U I . ~ 1i".Llq. NJ.;I'I"o!

!mown as a knee length sk~lrt

Maxi: lhe ton gest skirt poosible.

~ ff.!i ~
tg 8fl

ffi 1m f.@
M I~ 1@
I ~ f.~
ffi &:
m [)irndl~

Skirts with ope n'i ngs are IooWl as srit ski rts, Slits, are n1ten adde~l to 10l1g s~lrts to IJHlp mil.ake moving a.round ~r1 ~sn eaSJier.

StraJight

numpet:

lfilare

lett~s take ,3. !ook at crewne<cks.

I \

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..

. . ,I

High Angle I

5S,

Let's take a loak at how the wrilnkl!es ch angle with the pose,

sa

High Angle

57

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J."~

./'

.. ~ . . ~.

"

.f

58

59"

High Angle

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,

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, ';\

' "

,

60

6,2

I

I

i

,

63

Wihill e Ullis pose has the mode~ picking, so rneth ing UPi please also make reference to the' stooping fmw,ard pose.

64

· ...... :.~ : .... -: :-- ... :-: : ..

. r

:6·:5

' '.

66

...... :- .. -:- .

. -:- -:- ..

.. -:- ..

. ~ -: :- ...

..... -:-:--::--=:- .... -:- ...... .. -::-.00;":-

.. :- :

-: -::- ..

.... :- .. -:- ..

... -: ..

-:- -:- .

.. -::-" . .. :--:~ ..

~ ;

. -:-:- ..

-: r: ~~

,~ ". <, .

. ,' n' ,~.

, '

~'

,.

,

+ .

... ..

~,

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',.

1

6H

..... -: ..

~?~~

........ ..... -:

..... -:- ..

. -: ...

:- ..

..... -::.... :-.-:

~;~-:-~

-:- ......... ....... :- .. ...... -::-

..... -:- ..

• 0: ..

:- ..

......... :- . .... -:- .....

~~~-::~~

........... .. -: .. -:- ..

.. :?~ :

...... ~.

.. .....

. .r: ~

........ ... -:'" ........ ......... . -: .....

........

.-::- ..

:- ...

..... -:- ..

: :- ...

.. -:- .

:- .

..... ...

I

I

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' ,
:- .... 'h
-:-:- ...
....... ~.:.
w
. ..... , High Anglle

Watch the changes in the long skirt

w@~ .jJ#r =;

4-:::

f.

,

~

it

-::;

71

7.2

73

75

76

Front Angie

77

78

Sioe Angle

I ~

\

Rear Angle

~

-_ ..... ~.

B2

83

B4

°5- '01•

C lap:.ter ·3-

I . .

Jackets and Jeans

Jack'ern com e in a wide' 'v;atiety. RI igiht jackets and riders jackets are MO

CO rnmon Iy S'flen types.

I ~n 1 9r25, tile U.S, m,U nary ~ nvented fI i'~iht jackets to protect pilots from cold

temp eratu res at. highl aJtitu des. it seems the StyllE= grew' ~n pOPIJ ~anity and was Ulbi lized iin ,c-ivll ~an lash ~o n lor ri ders jackets. an d stadium jElCkets.

Motorc.ycle enthlU$i.aJms rna-Ike US9 01f th e anti -colo functQlonal ity and the' co:llar .and cuffs are usuaU~l fitte,d with elastics or belts t.o fu rth er pro,teCi1 ttl e ,body 'f,rom the 'w~n d. Oth'er parts of the jaC'k~lt are mad e of materiais 1that pen[1flit..1the' body' te move e'3sUy.

The mi I itary .probaJbly' thollJgM ~ese up wiith the i r easy-towear narture in mind" lh'sl" col1iar and cuffs seem to 00 mostly made of! rubber,

88

Jacket is aJ gelilernl term for clothing wornl for outdoor use" The lelilgth ext~nds a bit beyono l1e waist Anrythii1lg 10 nger is, generally not 'caUed a jacket.

Dm'tlfen ces are, IFloticeabl8' drependtng on the design soeh as how the conar spreads om towards. the nutsi'de or if the up of the collar is rounded or not.

gnoe fliQht jackets wen~ d~grrlap for the milil1tarYr they emphasize funct~Qn o.ver stylle:.

lI$ign dffiranmces exist in the blctside of c{ltlars.

Today', fl i g1ht jackets are a pant 01 ordi.naJry fashi:on ,and are worn by n on &mi~ Itmy P sopile.

Thiey.are made of a Vo2uiety of materials trom :Ieamer to n y10n to othler synthetit~ fllie ers, Despite not h\ilwing many noveM:ie8~ they are rich ~n desigln.

'\\' \)

I

(

)~' ..

I Stand~up Collars

As the name suggesm~ th BSB Jackets were, 1thaug ht up for motoreyCl0 ridera Simpie i as well as I lavish d@signs are com monpace,

The desJig n of the cQl'llar and Guffs has been tightened with heat insulation in mind.

Wh'i 1'6 II j'g,ht jia~k.ets plate a preference. on easy wear usl ng mal n Iy eilastic andior mri n.gs to. 1i'glhten the clothing, riders. j;acke,ts maJke. use of be~s and straas, This. diff~rence is pmbablry decorative and

I nlerestling designs exist,

lhis ]acket is fitted Wlilh two belts. The sleeves am a b~t on the Ion 9 ,side with Ught:ef]~d cuffs.

Some d€'aigns i nte rweav the belt for tigll1tening iW111 ]ackeu.

90

Tightening the straps on the left and rilght side. prevenbl the wind from com i n g in from the! bottom.

Strap.

91

Whil1e It is fine to draw designs that actually exist for use in the, worllds you ereats I try. drawing your awn un iq U1e designs" Use' the' basic parts of oih e r desiQins for refarenes when crea1ll1lg tie different parts of YOtu design. Whrille th e· examp le [here is Ell riders. jacket, the same princi pies Gafl be appl j:ed to freeJy. ereaie other costllJl'Il1 e d esf!gns.,

Here are a varile1y of collars in ad!diUon to th e ones mentioned earlier,

Stand= u p Co I Ian;

,Jack/Elm of th i s des'ig n seem to ac'tually:exist

W1hen an l1e f1as.teners are closed, the ]a,cket loo~-s like this,

I

/'

. .

~

.

I

.,

Button -up Collars



Siadtllm ja~kets originally came into

. as AliiIlerU:alll sportswear and a variety of use-s like !e.tt,erman

kets- In Japan I these jackets, are lofter! as casual weaJr:

_buttons on womenis jac:ket are on the . sj~e f:rvm mer! is Jackets. Please

11tla~ moot IlJf the examp~es found ~n this ru'€ for men IS jackets. Also: os aware some women prefer to wsar men's

even when women IS desigllils exist. dooisi'on en where to place 1tIe b utlnns

/ l

" I

II

I

I

I

I

I

I

I

I

I I I I

\

\ \

~

Swiss Coll!ars

Th e collar Is f'o~ded in two-

lhis, jac.~et witl9l ,8. saiilor collar lis a rare desJg n

1\

.

I. •

93

II'f a jacket you draw ~(loks Uke a, jacket most readlers w~ II be ablle to i,maQ lne it as sucn and ascertal n tile quality and fee:1 of' clot.h ineg based on the' .stl ape. For those who want to further ,emp'nasize lhe qual ity and f'eel 1n you r drawl ngs I' s1cu1: by fi rst consJdering the, hanjness and

thickl1 ass of the' c~oth i ng.

The buttons on worn,en is j'8ckm are on ttHl oppoolte side fro m

" ,...." ~ ,

men a jaC:I·H~1ts. PI,ease

note 11 at most of fUhe ,examples flou nd in th iiS Dook are for men IS ,~8ckets;, ,Als.o be aware that sam e wo'me n prefer to wear men's jackets even when women '3 des~gns exist, lh e decision on where to place th e buttons ~s yours"

Colori ng the shadows

[hI b'l' k' '0;

.' I' .. " I .,' ' .. [0."

'IN, ";!ie,, ,IS, a, '.' as: e

technique 'for emphas~l~ ng the look " ' and feel £1T leather jackets.

94

'The Iii neg, of ttu~' wrinkl €s chan ge dielPB ndi rig on ~he' ~hickness Oif th e material 'rill ick mate rila;l s produ ce fat I ~n es: th iln materialls pr,oducB' d ~taU €'dt I ~n es. Leather lis considered b) '~e a '~hlick mat-erial.

~ n k the shadow with b I aek,

As you cohJ r tl1 e shadows, consider 'the adj usnnent of the' Hg'ht and the un eve nness of the wlink~es in 'the leath er;

Then, attach a light: amitoon (b eMeen 30 and 40%, or a Qradat~on to ne' O\f'er the entire Jacket. Delpe'ndi ng on thB! Ii g ht, lett h ifJlI areas tnat are reiil,ective ,anD sh iny..

Ught stnkes "'" I th is part of

th'9 wn nkle,

Ih e rlLlle of UlIU m b is that wrinkl'es are gener.alily convex areas, Li g ht sm kes th'e top part of th s ,convex wrinkle.

\

,

Finished work.

'95

Jeans are one' type o1i common clothing. l.et's take .8. looka t:he'ir basi e des i g til.

. Ihese jeans were or~ginally made for cowboys who wore boots. They were cut this way to ensure easy' movement 8lnd ma.lntain the masculine sHhouette of: the OOw.oo,y. l~>u~' th,~gh area is ,8. bit thl~n! and the knee area is UgMenedi. The key' charameristic o.f these jeans, lis the. way they eXlpand out from the kn ses doWf1l.

SI i fill cut jeans accent the ~8'gl ~in!s.

96

These an3' the same shape as the This is th B' moot basic shape. strai.ght cut butt are a. bit widsr.

Th ese jean s get il:hinf1er to-walrds, -whe ankles. There me various designs fOT the UplJijf area rnngij ng from ~h into th~t d1~am me rs "

This desilgn flows straight down from the waist wl'~h IP Is nty of room all over"

Th~s design 1 wh i,clh was very popular itl the 10S'1 wuderns out f~om ile knees 'I nto the shape of a belli.

Ii small pocket [known as a coin pecket, is often atitactlled iins~de Ile wight J)oc~et.

There' aM a vaJriefy of poc~ket 'lines on the fm nt of l1e jeans.

The mitciling on tile oo~k :Dockets has a speoiaJ des.rg n. These are. d iff,erent tor each mfU1'urnctllJWer and ' ~s a trade marK. Jeams WIt~1 ~Iidden stikhes also exist

Be~t Loops

A belt j,8 ~hreaded through whese. There are usually five belt loops with two in the tont, two on the s~de and one in the back. A design also exists with seven loops far extra strength"

97

Zipped

tet's take a look how the jeans an d leather j acket chan ge depa ndi ng 011 the pose from a vari;ety (Df anglles,

98

Urlzipped

..

99"

"_ " "

100

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