Boot goofin

The best books I use of for learning the basics of how to do a fashion flat are How to Draw Fashion Flats: A practical guide to technical drawing by Irina Y Ivanova, and Technical Drawing for Fashion by Basia Szkutnicka. The first one is really good about going into the technical conventions of how you should draw a flat (where things need symmetry, what kind of lines should go where) and the second has a lot of pictures of muslin garments and how those should be rendered in a technical design. I also regularly reference Figure Drawing for Fashion Design by Drudi Paci, specifically the chapter on technical design viewed from a fashion illustration viewpoint.

There's several kinds of illustration that you do for fashion design, and most of them serve a specific purpose. You could use a design sketch or an illustration to quickly document and share ideas (oftentimes I use sketches to document Present Me's ideas so that they can be shared with Future Me). You can use detailed fashion illustrations to show your ideas to potential customers or to get feedback. You can use stylized designs to show general feel, overall scale, movement of fabric, texture, and more. But when you're talking to a manufacturer, you should be using actual flats (or even technical illustrations, which are more detailed than flats).

Ten fun tips about drawing fashion flats:

You should have a body template to make sure that your proportions are correct. If you have multiple items in a collection that will be worn by the same category of person (all womenswear, for example) then you should be using the same template across all the pieces.

Lay your garment out on a flat surface. If you don't have a garment, I highly recommend that you try to make a mockup before you spend a lot of money working with a manufacturer. Muslin is cheap and the frustration of learning a new skill is actually free except for your time. If you absolutely cannot make a muslin mockup of your concept, go into your closet and get similar pieces. Put them on the floor (or a table if you don't like your flood). If there are parts in the garment that will always have wrinkle lines (like where the top of a skirt gathers into a waistband) then you need to include those wrinkle lines in your flat. This is an important part because it tells your manufacturer if a piece is gathered, pleated, flared, cut as a full circle, etc. It can tell them how far apart shirring channels should be spaced (EGL shirring is not the same proportions as regular normie shirring). For EGL, this is going to mean you draw a lot of tiny lines. It is boring. You need to do it anyway. 1 tiny line showcasing a construction detail = 1 dollar saved on a revision.

If you don't know how to draw something, look up how to draw it. Research is cheap and manufacturer revisions aren't. If your design is symmetrical then your flat should be symmetrical. There's usually an expected convention for how to draw leather or chiffon, so drawing it that way will help your manufacturer know what you want them to make.

Use the tools you have. If you're working digitally, you can draw half the design, and then copy-paste-flip it. The front of your design and the back of your design should have the same outlines (since the front of your garment is attached to the back of your garment) so use your copy-paste there too. If you're working traditionally then invest in tracing paper and a light box (the ones for Diamond Dots are pretty cheap and work nicely; you can also buy a clear clip board and use your phone flashlight), as well as good technical pens and templates for smooth lines.

Trace things. It's the digital age so this is pretty easy. Slap that reference into Procreate and turn the layer blending mode onto multiply. Trace your fashion template. Trace your references. There's this cool thing called Gothic and Lȯlita Bible and every issue of that has a lot of pictures of EGL garments lying on a flat surface. That's a good resource. Trace that too. It's better to trace a correct line perfectly than to draw your own original line incorrectly.

Flats are not proportioned to the fashion figure! The fashion figure is usually 9 heads tall, permanently wearing high heels, and has little noodle arms. Your reference for your flat should be proportioned like the humans who will wear your design. Keep things in the right scale and the right proportions with each other (tracing technical renders and photos helps make sure your scale is accurate to reality). Remember that your flats work together. If you draw a bow on your skirt that's the size of the entire torso of your blouse, expect to get a bow that large on your final piece, even if the blouse is on a totally different flat. The thing I see this the most with is fabric pattern/fabric scale. It's very easy to drag and drop a texture onto a drawing and not realize that you've made polka dots that are 3.5" in diameter until you get your samples.

Pretend that your manufacturer is going to interpret everything as incorrectly as they possibly can. Draw everything you want them to make, as clearly as possible. If you want your piece to have buttonholes then you better draw those in. If you have topstitching then draw your topstitching. Learn the difference between drawing a gathered ruffle and a circular flounce, so that the right kind ends up on your garment. What's obvious to you may not be obvious to your manufacturer. If your bows, collars, hoods, or sleeves detach, then draw another flat (even just a close-up) with those pieces removed (and showing like buttons for how they attach and detach), so that no one is guessing at what the underlying shape is.

Some things are difficult to explain, even in a well-drawn flat. This is why, in addition to flats, you probably want fabric and trim swatches (or at least photos of fabrics or trims. I think a lot of manufacturers expect you to source the fabric and trims yourself, but I don't actually know that much about commercial manufacture. I just know how to draw a dress sitting on a floor). "Lace" to EGL people is thick and textured embroidered lace on a soft mesh ground that still preserves the detailed motif that coordinates with the print on the garment, and it's flat, crunchy raschel lace to the rest of the world.

It's a big globe out there and you might be working with people who do not speak the same language as you. "Shirring" and "smocking" are interchangeable in some languages and not in others. Having detailed, proportionally accurate, clean images of what you expect can make sure that everyone, regardless of language barriers, can understand what you want them to make. Even if you have a contact who does speak your language, the rest of the production team might not. Clear and detailed renders transcend language barriers and put everyone on the same page as you.

Clean up your flat! Zoom out and get rid of every bad line. Zoom in and get rid of every little bit that extends into an are where it shouldn't. Turn your brush smoothing up to 11 and trace the whole thing, if you need to. Adjust your line thickness so that your eye can easily track the concept (for example, the line outlining your sleeve should be thicker than the lines noting your gathering lines). Every bad stray line is going to cost you $40 in revisions so take your time with this one. You're literally getting paid to do this right.

There are a lot of different kinds of fashion illustrations, and together they all make pieces of a picture. Drawing a design how it would look on a runway helps showcase what the piece would look like under gravity and in motion. Medium shots, close ups, and floats are good for showing how specific details not visible on a regular illustration work together. Heavily stylized fashion images can help set the feeling for a collection, and encourage potential customers to consider your brand when it comes to future purchases. Test garments and photos of your mockup are obviously very helpful. In addition to inherently being very detailed (because it's real), it also shows that your design is physically capable of working in reality (because it's real). But photos of garments aren't always clear where every detail actually goes. When it comes to actually asking someone to make your design, none of these will replace the unbiased technical power of the fashion flat.

A lot of deserved attention has been paid to Connor Storrie’s language/accent work in Heated Rivalry, but Hudson Williams also put in some very impressive voice work.

As Shane he has a lower pitch and even the timbre of his voice is a bit different. It has a much flatter affect than Hudson’s voice, which as heard in interviews, is very lively and dynamic. Yet, the tone of his and Shane’s voices still maintain a soothing quality. Like Sophie Nélisse said, it’s a voice you want to hear in a meditation app.

We get a great example of Hudson’s vocal skill in the episode 5 hospital scene. He shows how he can really play with his voice and use it to inform Shane. Of course his wonderful higher pitched “Ilyaaa” and the lightness in “We can have a week or even two…” but also the conscious shift when the nurse comes in and he goes back to his base-level w/ “see you next season.” It hints at the performance aspect of Shane or his masking.

This is seen again in episode 6. At the cottage, where he’s safe and comfortable, Hudson brings back a bit of the lightness to his voice. In the loon scene at the fire pit, asking about Ilya’s mom, the scene on the rock in the lake…they all have a lighter vocal quality. Yet, it still never sounds like Hudson it’s always Shane’s voice.

Shane has been in face offs against Ilya for years, even if they didn't have their thing of the ice, he knows his face by memory. Which is why he notices when a mole in the underside of his jaw gets bigger.

It's the 2015-2016, middle of the hookup era, and he is truing to get this motherfucker to see a dermatologist, but nothing he says works. Ilya either distracts him or dismisses him with some stupid denial like russians don't get melanoma.

But the mole keeps changing and now its not even the same consistent color and Shane has googled the signs so he says fuck it, I'm gonna make him.

Shane uses his barely active public account to tweet a list of Boston based dermatologist and tags Ilya in each one.

This of course goes crazy with the fans because what the hell? Shane Hollander? Tweeting at Ilya Rozanov? Doctors? This is a very advanced very strange chirp? Is he calling his moles ugly?

The next time the Boston Raiders have a game the media scrum doesn't even try to pretend they came for another thing, they want to know about the Dermatologist Thread.

Ilya, at this point frustrated because his moles are fine, they're perfect, why is this a problem, so he answers.

"Hollander should mind his own businesses, he wants me to visit stupid skin doctor because he sees mole. I have lots of moles, always had, there's no problem here, it's normal mole!"

And Shane is getting out of his own game a few hours later, prepares himself to answer about the fumble in the second period when the media comes, and it's surprised when, instead, he gets shown a clip of Ilya's earlier interview. Now, this fucking reckless motherfucker, Shane explodes.

"You fucking asshole! You want to die by driving a Porsche into a wall be my guest! But you're gonna die of the most stupid thing in existence! A MOLE! A mole you decided not to check even if it changed size and color and it's in your fucking face where we can all see it every fucking face off with arena lights shining right into it! Why? Because you're stupid and you don't want to go to the doctor and you don't respect the sun. You're gonna die from a perfectly preventable thing and then what are I'm gonna do? I'm gonna be the best hockey player in mi generation with 10 cups and Harts and Conn Smythes and no competition because you're gonna be in the history books as that one promising dude who died from a mole. A mole! Go to the fucking doctor and use fucking sunscreen."

That one goes viral. That one breaches containment and goes internacional meme viral.

Shane Hollander Skin Cancer Awareness King.

There's "Go to the fucking doctor and use fucking sunscreen" T-Shirts.

Shane Hollander angry sneering face with the text "RESPECT THE SUN" under it.

Ilya Rozanov gets bullied relentlessly about it, everyone asking if he has gone to the doctor yet. He doesn't answer. Eventually, he appears with a new scar in his jaw where a wonky mole used to be.

@hr-rep you see the people of the internet are going to argue if Shane Hollander was the guy who noticed a suspicious mole in his lover's face and had to resort to public pressure to get him to get it checked

Or if Ilya Rozanov was the dude who fell in love because "oh god my hot rival started screaming at me and saved my life"

She also claimed she'd never fed us Velveeta mac and cheese, or poptarts, or soda.... I don't know what the point of lying about that stuff was. At least lying about illegal neglect part makes sense on some level. Why lie about letting us have junk food sometimes?

All this time I've been drawing dragons and I've never really done much leathery wing studies! So here is a flying fox to remedy that

children of any species are very good at being annoying and very cute while doing that

a sphinx child based on this post