A word here about the use of white paint. All too frequently white paint is overdone by the beginner who foolishly imagines that thus she can overcome the obvious defects of smudging the drawing, and obtain the result which really can only be gained by properly working up the high lights and shades. One should work on a drawing as though one had no white paint, leaving the high lights fresh and clean.

Process white has a trick of jumping up strongly in reproduction; and a too liberal use of white will make the finished work look very bad indeed. Applied sparingly, however, it has its uses, and such points as the light in the eyes and the glint on buttons are certainly places where it may be used with advantage.


When used in connection with fashion work, the term still life applies to drawings of such things as shoes, stockings, scarves, eiderdowns, cushions, stacks of sheets, etc. Possibly because it savours rather of copying than creative work, still life is looked down upon by some fashion artists, and for this reason the quality of drawing is not always very high. This attitude, though perhaps understandable, is a great mistake from a professional point of view, since a first-rate still-life artist is a valuable asset anywhere and can always demand her place in a studio. Because of their scarcity, an effective still-life artist can earn quite a good salary, more than some of her "superior" colleagues; and, if free-lancing, can always get enough work to keep her busy.


When working in a studio which provides a "model," the utmost use, within reason, should be made of her. But for such

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unusual and vigorous poses as skating figures and hunting and riding pictures, photographs will be found more useful to work from.

The beginner should keep a scrap book of unusual poses and scenes. Cuttings from the illustrated papers are the sort of things, also any sketches or photographs of one's own which have a special interest. If other artists' reference books are any guide, the first page of the beginner's album will probably consist of her favourite film star and the Grand Stand at Ascot! But as time goes on it will naturally shape itself on the lines on which she is developing, until it becomes part of her and her particular style.

A close watch should be kept on the changing tide of fashion, so that one's work always reflects the "something new" atmosphere. Do not neglect the reports of the fashion salons early showings. The fashion artist must know

what was worn at Longchamps, and what at St. Jean; for tomorrow, or this afternoon, it will perhaps be wanted in London. One soon learns to distinguish the real from the other. Finally, keep au fait with the changing technique of fashion drawing, as exemplified in the work of the leading artists. By this is not meant that one should always play the part of "copy-cat," but rather that one should try to understand from their work the tendencies of the day. In time the young artist may be able to ignore the styles of others, and even herself set the pace!

Fashion Drawing Sections

Part-1 Part-2 Part-3 Part-4 Part-5 Part-6 Part-7 Part-8 Part-9