In Chapter II some indication was given of how work is obtained by a studio. Some few big firms combine press agency work with their studio business. That is to say, they buy newspaper space ahead, and are thus able to offer their clients not only drawings but the space also. But the usual way of getting business is for the representatives, anticipating the seasonal demands, to go round to the various fashion houses and stores with specimens of the several artists' work. When a studio has a new artist of promise a special point is made of introducing her work. The client will choose the artist preferred, and either ask for her to be sent to their premises, or arrange to send the garments to the studio for her to sketch. Occasionally a client will ask for a drawing to be done in imitation of the style of some other artist: For example, when they are unable to get a particular artist they want; or when the work of some star artist which is having a rage, has caught the client's fancy. The representative takes the order back to the studio, together with any instructions about "copy " and making the blocks. Should the job be a catalogue or booklet, which needs a proper lay-out, detailed instructions will be given by the client. Apart from catalogue work, a job will often consist not simply of

one figure or a single group, but of a page of figures not particularly related to one another. To make the page attractive the figures require very careful arrangement. In addition, the "copy" appropriate to each figure, and the main advertising message that goes with the page, have to be properly fitted in, or, rather, composed with the figures. The job is therefore first given to the lay-out man, and after he has arranged the page, the individual figures are sketched by one or more of the artists.

It has already been mentioned that some studios have a system of dockets, which contain the instructions to the artist as to how each job is to be executed. Size, treatment, and time required will be stated, also any special points mentioned, which the client wishes to emphasize. It is customary in most studios to draw " half-larger." This is because any unintentional coarseness which may have occurred will be minimized in reproduction: also the sketch becomes richer and has more sparkle when it is condensed. The expression "half-larger," in studio terms, means that the length and the breadth of an original will each measure half as much ' again as the length and breadth of the reproduction required. For example, a sketch which is going to reproduce to 6 in. by 4 in. would be drawn 9 in. by 6 in. (Strictly, the term is a misnomer, since the original has rather over twice the superficial area of the reproduction.) A note on an easy method of enlarging has been given in a previous chapter.

A method of enlargement to be employed when copying from another drawing or a photograph, is that of the squared-up paper. The original is divided up by pencil lines into a number of small squares; then the requisite area of the paper or board on which the enlargement is to be made is similarly divided into an equal number of squares, which, of course, will be larger than those on the original. The detail in each square on the original is then carefully copied on to the corresponding squares on the enlargement, and when completed the pencil lines are removed.

To determine what size a drawing shall be it is first necessary to ascertain the exact size, to within 1/10th of an inch, it is needed

to be reproduced. The figure must be kept within these limits. If the sketch is to be very simple it is not worth making a large drawing: but if it be covered with detail it is an advantage to work two, or even three times larger. For ordinary purposes size-and-a-half suffices. A drawing should be placed central on the board, and a clear margin of at least 2 in. allowed all round to be handled by the blockmakers, printers, and other people concerned.

It is usual for drawings for catalogue work, etc., to be first submitted to the client in pencil. If there is a lot of detail work in the articles, as, for example, a tweed coat or a lace frock, a small section only of the detail is necessary in the first pencil sketch. And it may be mentioned that the pencil drawings should be presented in as clean and spotless a condition as possible, not only because they look better so, but because a clean rough sketch facilitates the completion of the work.

ABOUT HATS

As stated above, it is the practice of clients either to send the garments to the studio to be sketched, or to require the artist to attend at their store to do the work. Hats are generally not sent out. The artist goes to the showrooms, where the buyer shows them one by one on a model or mannequin, and indicates the view from which she would like the hat shown. The artist's job is to make a quick sketch of the hat, from which a drawing will be prepared in the studio. After some little practice it will be a simple matter for the artist to make rough five-minute sketches, something like that in Fig. 59, which convey all that is required. Naturally this must be done fairly rapidly as the model cannot be kept waiting overlong. It will be noted from the illustration that in the rough sketch the general pose and angle of the head is briefly indicated, and a rather more exact drawing made of the hat itself. The rough sketch is shown to the buyer who, if she approves, passes on to the next hat.

If the hats have a lot of detail work about them, and the buyer will spare them, it is best to have the actual hats sent to the studio

to work from in preparing the finished drawings. Otherwise the artist will have to take what notes are needed, and these and the rough sketches will have to suffice. In any event it is a good plan, if the occasion permits, to put each hat on a stand before leaving

the showroom and check up all details of the rough sketch and notes.

SOME GENERAL HINTS

Fashion Drawing Sections

Part-1 Part-2 Part-3 Part-4