手绘效果图制作教程

11.1.1　Sketching a fashion drawing　起草服装效果图

When some ideas or inspirations emerge in a designer's mind, they need to be expressed through visual media. Many designers will start by drawing a fashion drawing, rendering their ideas on a fashion fgure（model）to get a feel for what the garments will look like on the human form. Being able to draw fashion drawings is one of the basic skills for a designer to master.

当设计师的头脑中产生了设计想法或灵感以后，需要通过某种媒介表现出来。很多设计师会从画服装效果图开始，把想法描绘在时装人体（模特）身上，以感受服装穿在人身上的样子。画服装效果图是设计师需要掌握的基本技能之一。

Before drawing the fashion drawing, designers need to know something about the human bodies'framework on which a garment will hang. There are obvious differences in the male and female forms; however, they both can be broken down into the same simple block shapes. The head can be portrayed as an egg; the chest as a wastepaper basket; the pelvic area as a gymnastic vaulting horse; the limbs as tapering tubes; the feet and hands as cones; and the joints as small balls（Figure 11-1）. Once we have drawn these block shapes in the relative size, we notice that the sketch is like a wooden dummy（Figure 11-2）. We can move some of these shapes around just like moving some parts of the dummy's body to create the pose we want.

在画服装效果图之前，设计师有必要了解一下支撑服装的人体框架结构。虽然男女的体型明显不同，但它们可以被分解成相同的简单块状。脑袋可以描绘成一个鸡蛋，上半身像一个纸篓，骨盆处像体操鞍马，四肢像尖端的管子，手脚像锥体，关节像小球（图11-1）。一旦我们把这些形状以相应的比例画出来，会发现所画的草图像一个木头人（图11-2）。我们可以移动其中的一些形状，就如同转动木头人的肢体，以塑造我们想要的姿势。

Many are of the opinion that designers should take anatomy classes to help improve their sketching. Anatomy provides them with a better understanding of the structure and mechanics of the body, from which they can gain a greater appreciation for how clothing will ft and fow around the human form.

许多人认为设计师应该学一些解剖学来帮助提高绘画能力。解剖学使他们更好地理解人体结构和力学，对服装是如何适应和围绕人体，他们从中可以获得更好的鉴别力。

Figure 11-1　Block shapes of human body
图11-1　人体的块状

Figure 11-2　Wooden dummy
图11-2　木头人

There is a convention in fashion drawing that a fgure should be elongated to give it more elegance. However, that elongation should involve only the legs. A real-life body will measure around seven-and-a-half-head sizes, but in fashion drawing this increases to nine heads, with the extra length added below the waist. All the other proportions of the basic block shapes should be based on reality. There is another thing that should be kept in mind, that the depicting fgures are alive and their poses are lively.

画服装效果图有一个惯例，就是将人物画得瘦长以增添美感。通常是将腿部加长。真人的身材差不多是七个半头高，但在效果图中要增加到九个头高，额外的长度都增加到腰部以下。其他所有的身体比例应基于现实。另外还有一点需要记住，所描绘的人物是有生命的，其姿态要生动活泼。

When the framework is decided, next is to draw the fesh coverage of the fgure, and depict its face, hands and shoes. Then it is to draw the clothes; this is the most important step to draw a fashion drawing. When drawing the clothes, designers should consider the structure of the body and garments, and how the garments drape over the body, so as to make the drawing look correct（Figure 11-3）. The strokes of contours have different density. When drawing those garment parts which cling to the body, the lines will be thick; while for the opposite, drawing detached parts, the lines will be thin. In order to improve the skill of drawing, designers can often do some practice sketches. It is advisable to complete these within a limited time, such as 15 or 20 minutes. You need not worry about the fnal outcome of the picture, but just draw what you want boldly. This is a good practice method which can help designers improve the ability of responding quickly and drawing skillfully.

人物框架确定下来以后，下面就是画附着的肌肉；刻画面部、手和鞋。然后是画衣服，这是画效果图最重要的一步。画衣服时，设计师需要考虑人体和服装的结构，以及服装是如何“穿在”人身上的，以使绘图看起来准确（图11-3）。轮廓线要浓淡适宜。在画贴近人体的服装部分时，线条要重些；相反，画离体的部分时，线条要浅些。为了提高绘画技巧，设计师可以经常画些速写。速写最好是在有限的时间内完成，如15或20分钟。不必担心最终的画面效果如何，只要大胆地表现你想表现的。这是一种很好的练习方式，有助于设计师提高快速反应能力和熟练的绘画能力。(www.xing528.com)

Figure 11-3　Hand drawing（Painter: Li Xinyao）
图11-3　手绘效果图（绘画：李昕遥）

11.1.2　Rendering a fashion drawing　绘制服装效果图

To sketch the fashion drawing, designers only use a pencil and an eraser; while when rendering the fashion drawing, they will use many other materials. As fgure 11-4 shows, these are some tools and material for drawing.

起草服装效果图只需用到铅笔和橡皮，而绘制效果图则会用到很多其他材料。如图11-4所示，是一些绘画工具和材料。

Gouache is the most common pigment for fashion drawing. It has the features of both oil paint and watercolor paint. We can use gouache along with brushes（thick or medium）or paintbrushes（medium or thin）to color the garments; and use the thin brush to draw the contours. Thick paintbrushes are suitable to paint the background of the fashion drawing. Notice should be paid to not fill up the colors on the garments, but leave some areas unflled to simulate the effect of being lit by a distant light. Designers also need to fgure out how shadows will fall on the body, the face, and the garments. Selecting a position for the light source will make it easier to be consistent with the placement of shadows.

水粉是画效果图最常用的颜料。它兼具油画和水彩颜料的特点。可以用水粉结合毛笔（大号或中号）或方头画笔（中号或小号）给服装上色；用小号毛笔勾勒轮廓线。大号的方头画笔适合画效果图的背景。注意不要将服装的颜色涂满，留出一些空白，以模拟从远处受光的效果。设计师还需要弄清楚阴影是如何投射在身上、脸上及服装上的；选择一个光源的位置易于使阴影的方向保持一致。

Figure 11-4　Tools and material for drawing
图11-4　绘画工具和材料

Designers can also try to combine gouache with other materials, such as watercolor paint, color pencils, and oil pastels（Figure 11-5）. Unusual combinations of techniques lend a freshness and originality to fashion drawings to make them stand out from the crowd.

设计师还可以尝试将水粉和其他材料结合使用，像水彩、彩铅和油画棒（图11-5）。不同寻常的技法组合会给效果图增添一种新鲜感和独创性，从而使它们脱颖而出。

Besides having a good grasp of drawing tools and materials, designers should also learn how to depict the texture of textiles as it relates to the effect of the drawing. For instance, when rendering a sheer fabric, designers can paint a flmy wash of color layered over skin tone and any other fabrics it rests on. Lace work is also layered over other colors, but demands strong bias cross-hatching to create the illusion of netting on which the pattern of lace is built. Feather and fur require layers of color to create depth at the center and a wispy lightness along the perimeter. Knits are depicted by building up ribs, cables, or twists. In short, experimenting with various techniques is essential for a designer to improve his or her drawing ability.

Figure 11-5　Hand drawing（Painter: Hao Jiawen）
图11-5　手绘效果图（绘画：郝佳雯）

除了掌握绘画工具和材料以外，设计师还应学习如何刻画纺织品的材质，因为它关系到时装绘画的效果。例如，在表现透明面料时，设计师可以在皮肤色和其他面料上面用湿画法画上薄薄的一层。蕾丝的画法也是覆盖在其他颜色上面，但需要画出明显的斜向交叉线，以塑造出蕾丝图案形成的网状错觉。羽毛和皮草需要颜色分层，以塑造出中央色深厚重，周围色浅纤盈的效果。针织物是通过创建罗纹、捻线或拧绳来刻画的。总之，尝试各种技法对设计师提高绘画能力而言是必不可少的。