Foreword

Character Costume Figure Drawing is not a book about costume design. Design isn't even mentioned in the title or the text. The book does not address the elements and principles of design, script or character analysis, color theory, or history of fashion. This is a book devoted to one single aspect of the costume designer's process: drawing the character.

Since Character Costume Figure Drawing was first published in 2004 it has sold over 8500 copies. A few of those copies have made their way to my classrooms, where, because of its unique contributions to the art of drawing characters and its invaluable assistance to the young designer, this book remains a required text. Tan addresses in-depth and shows by example the sometimes dreaded but indisputable necessity of putting one's design ideas on paper, not simply drawing clothes, but drawing characters.

I know that I am not alone when I applaud Tan's efforts to create a straightforward and step-by-step drawing process that focuses on character. There are many good figure drawing texts available, but none of them are designed for theatrical application inasmuch as they are not intended to address character. It can be overwhelming for a student of costume design to assemble the necessary drawing information and apply it to a character analysis, all the while keeping in mind their vision for telling the story. Tan's simple and direct drawing process can be of great assistance. It is often easy for a student designer to become consumed by a historical period, or so lost in a “concept” that they forget who the people are wearing these clothes. One of the biggest misnomers of our profession is that costume design means, simply, clothing, but nothing could be further from reality. It is only by knowing who the characters are that we can begin to discover what they wear and, equally important, how they wear it. In order to effectively communicate those ideas, we must not only learn to draw the clothes, but also to firmly establish the character's physical presence on the page.

Once you look past Tan's beautifully crafted drawings and renderings, Character Costume Figure Drawing supplies us with a method and outlines a practical approach to the process of drawing the character. Chapter 2's in-depth look at facial expressions and ethnic diversity as they relate to drawing the character is invaluable and long overdue in the world of costume design.

No faceless, cardboard, paper doll drawings here; after all, what role do the clothes play if they aren't relating to a specific character? As she demonstrates in this book, Tan believes as I do: riding on the back of analytical and creative thinking, drawing is perhaps the designer's most valuable communication tool. Furthermore, because drawing is a skill, with practice it can be learned, though sometimes with much practice. Over the course of my teaching career, while preaching “learn to draw … learn to draw better,” I've had a few “graphite challenged” students tell me in a profound way that “drawing is not design!” Their purpose is usually to enlighten me, but occasionally their revelation is presented as a challenge. I readily inform them that I could not agree more, but drawing is a language with which we “speak” about design, a visual language that is a strong, provoking form of communication. It is a way of describing thoughts and ideas about character and design that transcends words; it is not to be used as a replacement for words but as an accompaniment. This explanation will usually send most students back to the tablet, but a few seem to insist that I further the explanation of why developing drawing skills is important. By likening drawing to verbal communication, the rudimentary stick figure is like an infant's attempt at forming words and the well-developed character sketch is like communication with an articulate vocabulary.

Tan shows us the importance of the drawing by visually capturing that specific moment from the text with regard to the character's gesture, body language, and facial expression; that moment tells us everything we need to know. Her characters rarely stand still unless that stillness speaks to who they are; rather they dance, leap, and move about the page with specific intention, sometimes flippant, sometimes brooding, but always telling us exactly who they are through their actions. A further study of Tan's drawings gives us insight into the artist's approach to the production, the style, how she views the characters, their relationships, and the piece as a whole. Tan emphasizes the concept that the style of drawing and presentation should always be selected to reflect the mood of the play; a shift in genre of plays results in a shift of the drawing style, sometimes realistic, sometimes caricature, reinforcing her vision of the characters and the story. This approach to drawing is more than a skill set, it is a philosophy.

In this highly anticipated second edition, Tan gives us a new chapter on style. This chapter specifically addresses how the “style” of drawing can differ from drama to comedy and musical theatre, enhancing and aiding the communication process. The second edition also boasts 200 new images, of which we can never get enough. Focal Press gives us an affordable book full of color graphics to supplement our other texts, allowing every student of costume design to own a copy. The book continues to serve as the only costume-related text on the market dedicated solely to drawing the character, and more than a text, the book provides all designers, student and professional, with an inspirational collection of work from an exceptional visual artist and costume designer, Tan Huaixiang. I'm sure that you will add this new second edition of Character Costume Figure Drawing to your library and enjoy it as much as you have the first edition. I know I will.

Bill Brewer

Professor of Costume Design
School of Design and Production
University of North Carolina School of the Arts