Quite apart from tone values and actual details of texture, different materials hang in different ways. It should be possible to see from a drawing, even before it is painted in, something of the nature of the fabric, i.e. the sort of material it is.


There is no set method of applying the wash. Some silks have hard, bright lights and the edges should be kept clean and sharp, while others have very soft effects, which can be obtained by running the shadows on to a wet surface, but all silks show a big contrast between the high lights and the shadows.


It helps to get the "velvety" effect if a little body colour, that is a combination of black and white paint, is used for the lights, instead of leaving the board white.


The particular characteristics of each sort of fur should be noted; different furs set in different ways, and an understanding of the drapery of fur goes a long way in achieving success in this

sort of work. When the fur is drawn in outline the shadows should first be blocked in as if treating an ordinary garment. A good

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method is to arrange the fur on a stand rather more distant than usual so that one gets a real perspective of its lights and shade, and is not bothered with the detail of the texture of the fur. Then

flood in all the dark markings, keeping the drawing all very soft. Next take a fine brush and put in some of the fur detail. Last of

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all use a little white paint to tickle up the points where the skins overlap. For naturalistic work, a fan-tailed brush is a useful help in drawing the individual hairs.

Fashion Drawing Sections

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