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UNIVERSITY OF CAUFORNIA AT LOS ANGELES •r'7 THE WILEY TECHNICAL SERIES FOR VOCATIONAL AND INDUSTRIAL SCHOOLS EDITED BY J. M. JAMESON 4 17 THE WILEY TECHNICAL SERIES EDITED BY JOSEPH M. JAMESON GiEARD College TEXTBOOKS IN DRAFTING AND DESIGN Decorative Design. A Textbook of Practical Methods. By Joseph Cummings Chase, Instructor in Decorative Design at the College of the City of New York and at the Woman's Art School, Cooper Union. vi4-73 pages, 8 by lof, 340 figures. Cloth , $ i . 50 net. Agricultural Drafting. By Charles B. Howe, M.E. 8 by lof , viii+63 pages, 45 figures, 26 plates. Cloth, $1.25 net. Agricultural Drafting Problems. A Manual to Supplement the text in Agri- cultural Drafting. By Charles B. Howe, M.E. 26 plates, 8 by io|. In paper cover, 50 cents net. Architectural Drafting. By A. B. Greenberg, Stuy-vesant Technical High School, New York; and Charles B. Howe, Bushwick Evening High School, Brooklyn, viii+iio pages, 8 by io|, 53 figures, 12 plates. Cloth, $1.50 net. The Orders of Architecture. A IVIanual to Supplement the text in Architectural Drafting. By A. Benton Greenberg 20 plates, 8 by loj. In paper cover, 50 cents net. Mechanical Drafting. By Charles B Howe, M.E., Bushwick Evening High School, Brooklyn, x+147 pages, 8Xiof 165 figures, 38 plates. Cloth, $1.75 net. Drawing for Builders. By R. Burdette Dale, Formerly Director of Vocational Courses, Iowa State College. v-f-i66 pages, 8 by lof, 69 figures, 50 plates. Cloth, $1.50 net. Costume Design and Illustration. By Ejhel H. Traphagen, Instructor and Lecturer at Cooper Union, etc. ix+145 pages, 8 by lof. Upwards of 200 illustrations, including several in color, and a Color Spectrum Chart. Cloth, $2.50 net. Mechanical Drafting Manual. A Series of Lessons and Exercises Based upon the Fundamental Principles of Drafting. By Charles B. Howe, M.E. Part I. General Principles of Drafting and Working Drawings. 15 Lessons, with Illus- trations. Part II. Geometry of Drawing. 15 Exercises, accompanied by full- page plates. 8| by 65. Printed in loose-leaf form, each Part in a separate envelope. (In Press, Ready Fall, 19 19.) (Part III. Machine Drafting: (a) Elementary Principles, (b) Advanced. Part IV. Plan Drawing. Part V. Plot and Map Drawing. In preparation). Student's Manual of Fashion Drawing. Thirty Lessons with Conventional Charts. By Edith Young. Director of the Edith Young Art School, Newark, N. J. Formerly Art Director of the Albert Studio of Fashion Drawing, Albert Business College, Newark, N. J., and Instructor of Fashion Drawing at the Young Women's Christian Association Newark, N. J. vii-f 107 pages. 8 by 10 j. 30 full-page reproductions of original drawings. Cloth, $2.00 net. For full announcement see lis! following index. Digitized by the Internet Archive in 2007 with funding from IVIicrosoft Corporation http://www.archive.org/details/costumedesignillOOtrapiala Drawing by Drian Frontispiece Courtesy of Harper's Bazai COSTUME DESIGN AND ILLUSTRATION ETHEL TRAPHAGEN Instructor and Lecturer at Cooper Union, The New York Evening School of Industrial Art, and Brooklyn Teachers' Association Classes; formerly on the staff of Dress Magazine and The Ladies' Home Journal 'H' FIRST EDITION NewYork 1918 JOHN WILEY & SONS, Inc. CHAPMAN & HALL, Limited Londok Copyright, 1918, by ETHEL TRAPHAGEN PRINTEBS Art Library ^rrrr 50'f THIS BOOK IS SINCERELY DEDI- CATED TO MY STUDENTS, WHOSE ENTHUSIASM AND SUCCESS HAVE BEEN ITS INCENTIVE AND INSPIRATION THEPREFAGE Costume Design and Costume Illustration are not always looked upon as distinctly different branches of what is termed fashion work, but in truth there is a marked difference between them. ^ In the former, one must consider the judging of color, and all that this (\j includes by way of harmonies, contrasts, areas, etc.; the relation of spaces; (?) proper proportions; and the beauty and effect of line, balance and scale ^ arrangements for the production of a design that is dignified, fanciful, ^^ frivolous, dainty, formal, or subtle, to express the designer's conception Oft of the purpose of the costume and its suitability to the wearer. (^ The costume illustrator, on the other hand, has the privilege of the it , representing garment after has been designed—he must be able ^ to render the material with his pen, pencil or brush in such a way ^ that the actual design is not robbed of any of its charm. Of course, ("V there are many ways of doing this, according to the technique and sensitiveness or temperament of the artist, as well as the different methods customary for the special use for which the design is intended. It can easily be seen how advantageous it is to any fashion artist, whether designer or illustrator, to have an understanding of both branches to get the best out of either, for they have much in common. The designer and the illustrator should both have a knowledge and a keen appreciation of the beautiful lines of the human form, to know what lines are important to emphasize and what to conceal in a figure which may not be perfect. Drawing from the nude is of great advantage to the student, and no serious costume illustrator should be without this valuable training. There are some books which may help the ambitious student in the life class to observe and impress on the mind fundamental facts which it is believed most life-class teachers will agree in thinking extremely useful. Among these are Dunlop's Anatomical Diagrams, Figure Draicing by Hatton, Anatomy in Art by J. S. Hartley, Richter, Marshall or Duval, and Drawing the Human Figure by J. H. Vanderpoel. If the student is studying without an instructor, Practical Drawing, by Lutz, will be found helpful. Ethel H. Traphagen, New York, 1918. THE CONTENTS CHAPTER PAGE I. Sketching 1 II. Drawing without Models .... 13 III. Methods 27 IV. Color 63 V. Design 75 VI. The Fashion Silhouette ..... 83 VII. Period Fabric Design 91 VIII. Outline of Historic Costume ... 99 IX. Bibliography .127 X. A Reading and Reference List of Costume, Arranged Alphabetic- ally 137 XI. Artists whose Work Has Bearing ON Period Fabrics or Costume . 185 XII. Index 199 SKETCHING CHAPTER ONE COSTUME DESIGN AND ILLUSTRATION CHAPTER ONE SKETCHING 1. Forms.—In both lines of fashion farthest point out of the other oval, to work it is necessary to be able to eon- represent the skirt. Connect these and struct quickly a form on which to sketch you have a form. See Fig. 1. The bust or design a dress, and, like the forms in and hip should be on a line, and for the fufthat Fig. 1. —First steps in constructing a dress form. store windows, this should be constructed present-day silhouette the connecting lines to enhance the good lines of the garment. should be but slightly curved. Care must be taken, however, never to Next, extend the two lines for the confuse this with the human figure, the sleeves, add the collar and put in the structure of which is entirely different. centre line, which, in the front, follows The simplest way of obtaining this the outside line of the waist and goes form is by drawing tw^o ovals. First, straight in the skirt. See Fig. ^. (Of make a straight line for the shoulders, course, the proportions differ according then swing an oval, somewhat foreshort- to fashion; i.e., the normal waist would ened, from the shoulder line, to repre- go but twice into the short skirt of the sent the waist. Next, swing another summer of 1916.) It is interesting to more elongated oval, from near the end- note how the reverse of this straight line ing points of the first oval, having the and curve forms the back. In making the farthest part out always opposite the back, connect the ovals in the same man- Page Two SKETCHING ner, but note that the centre Hne goes the straight full front view, because of straight in the waist and curves in the the advantage of showing the side of the skirt. See Fig. 3. dress as well as the front. An examina- The waist and collar lines curve up. tion of fashion publications will prove The normal waist goes into the skirt about how general is this preference. JlJlu Fig. 2. Fig. 3. Fig. 4. two and a half times, and the sleeves 2. Summary.—The main points to be bend at the waist line or a little above. remembered are that the bust and hips, The supporting points at the shoulder, for the present silhouette, should be on a elbow, and hips should be marked, for line, that the arms bend at the waist line it is these points that most affect the or a little above, and that the normal drapery. waist goes into the instep length skirt With a little application, these forms about two and a half times. may soon be mastered, and the practice In the front view remember that the of doing them rapidly and turning them centre line follows the outside line in both ways makes for proficiency. See the waist and goes straight in the skirt, Pig. 4. Observe that three-quarter front that in the back the centre line goes and back views are used in preference to straight in the waist and curves in the SKETCHING A GARMENT Page Three skirt. (The centre hne is the centre of have the centre line of your sketch cor- the actual figure, not of the sketch.) respond with the centre line of the gar- The collar and waist lines curve up in ment. You will find the proper observa- the back and down in the front.
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