- Lesson details
In this lesson:
In the sixteenth part of our comprehensive How to Draw the Costumed Figure course, Charles Hu will teach you how to use shadow and light over the folds. You will use lighting in your drawing to reinforce the pose, show the 3D structure of the drawing and help push the overall design. You will be working with pen and paper.
In this course:
Learn how to draw the costume and props from reference or from imagination in this immense course by three senior New Masters Academy instructors – Disney art director Bill Perkins, film and game character designer and figure painter Charles Hu, and internationally renowned draftsman Glenn Vilppu. Drawing from live models and photo references, as well as master drawings of the past, you will learn to capture expression, performance, emotion and weighting of the pose as well as shapes and rhythms created by the costume folds. Bill Perkins teach you the action analysis study developed in Walt Disney Studios for animators. Charles Hu will demonstrate how to directly sketch costumed figure using many different media and how to apply language to your drawing. With Glenn Vilppu you will learn the seven major folds as well as approaches for using drapery to push the gesture of the pose and showing the form beneath in the case of clothing, as well as how different weights of fabrics behave differently.
This course is perfect for fine artists, entertainment designers, illustrators, comic & anime artists, and animators, as well as portrait painters or for anyone who wants to draw or paint drapery from observation or imagination.
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Hi class welcome back. So we’ve talked about folds and explained some of the
architecture and the folds and how to use the folds to reinforce
forms and gestures and today
we’re gonna talk about a little about shadow and light. How do we use the
shadow on the folds still to reinforce those bigger ideas.
You know, in terms of storytelling, you know, reinforce
the poses, make the pose feel more interesting. So now
we’ll an additional element and so now let’s go
to our drawing board.
So five minute warm up, I’m gonna use my fountain pen. This actually is
a medium nib, that means it’s a medium sized head.
And usually when I use the medium nib I tend to draw shapes more and I have a
fine nib one that when I start doing more
kinda sketchy style but
so let’s get to it.
I just put in a new
cartridge, maybe haven’t fully kind of
dissolving, get into the pen yet.
Sometimes these fountain pens you don’t use for a while and start to get clogged
and the ink is having problems coming out.
So you can actually just rinse it with water,
I probably should do that, rinse it with water and then it will be fine.
So make sure no even sizes. Looks like to me
of the model, this fold looks pretty even. I’m gonna
push it a little more, I’m gonna make it wider at the bottom.
push it a little more, I’m gonna make it wider at the bottom.
Kinda tend to shade and draw at the same time.
Try to wait for that ink to get smoother.
Here in the back I can darken this a little bit so it helps to sit in the back.
So you got this part
which I think the ink started coming out now, good. Right about time.
Here we go. Good.
As you can see I kinda
finding a bigger mass of
shadow and then just kind of paint it in.
Almost like I’m not even worried about the detail,
I just get the major mass. And I can still come back in and you know,
dig out some of the small details like this.
Again, make the shape
make the shape interesting, make the shape
has a flow, has a sense of character and a sense of direction.
Still need to
understand what the figure pose is about. He's
you know, he’s turning this way and that’s why he’s dropping the shoulder a lot.
So these - the collarbone, this pit of the
neck right here that U shape where the
collarbone meets is gonna help us to
take from the head take the
to our torso and kinda give a
The side of the oblique.
And then the front.
Look at the silhouette, see how it brings the
you know brings the viewer’s eyes over. Looks like a landscape coming out.
Kinda spirals around.
Even the shadow I’m putting down, it leads to
the next shape.
So I find
straight, find the curve,
now I’m trying to do more painterly
technique, just using that dark to paint the silhouettes.
Sometimes what I like to do, I like to try
you know different approach
you know different approach
you know just to challenge myself
to kind of force myself to observe, you know,
differently. Even the same subject matter but just, you know,
different approaches. More painterly observation, more structurally, or more
more comic book style.
Try to be able to
kind of experiment. A lot of times it gets -
sometimes it has to do with my, you know, my teaching because I have a little different
type of students enrolled in the classes and I want to
make sure I am able to, you know, give them advice
the best advice, and the best advice is I have to do it myself and even sometimes
you know study too from books.
taking workshops and
so those are
good kind of
good things to do, just try different
Just like the medium too, a different medium will kind of force you to
draw differently, attack differently,
right now I’m doing fountain pen, I can’t really do it as how I use the charcoal, I can’t really
smear charcoal over, you know, the paper. It’s just not the medium
I intend to do and so I have to end up
you know maybe thinking more graphic
looking at shape even more carefully, maybe I should have slowed down a
So you see how normally if
draw I’ll make sure everything’s - although this umbrella is still kinda connected to his hand
but it’s still kind of a big gap, so I’m kind of, y ou know,
again put myself in kind of a risky position,
you know everything has to do with a balance. If I can still get the balance right
straight versus angle maybe I can still get by
Okay I’m gonna try to see if I can
get a little bit further on this pose.
So even though it looks like I’m drawing contour shape to shape
I’m still thinking about some structures help me
not to get over placed, I’m still thinking about
the front and the side, you know, the box is still in there.
The bottom and the side.
See too much empty space there. That’s something to
I want to get a sense of where the bottom, that thigh
This is very sketchy
I’m using my ballpoint
It’s a little more fluid medium and immediately I already can feel the line’s a little more delicate.
so I can
probably have more
I can produce with this medium.
I can do with the fountain
pen, maybe I’ll use the finer tip.
Again still drawing through, get a sense of the volume
the neck, again it helps you to make more
sense when you kind of loop that collar around.
And think about always line up that
diagonally, that’s where I’m gonna stop
where that collar is, coming in, shoots out.
I don’t want to overlap my drawings and kind of
a lot of times I kinda like that just to
again just to be more kinda spontaneous, especially on these
SO I like
kinda I like action poses, really I can start
playing, bring this out more.
So using shadow shape
right here to help
to show that form, that egg shape of the ribcage.
kinda go over a few quick pointers on the head.
You know my Faber Castel, Polychromo,
pencil and I like these
these work well with a smooth surface like what we’re using here. This is just
a sketch paper. So most of the time I’m
you know sitting lower than the model so often
I’m looking at actually from below
the model, so think about a tube looking
from underneath. And also if you’re looking from below the model, all the features
probably gonna get more closer to the top so you got less forehead
and you watch out, the front of the
brow line because that’s gonna help determine how much forehead you see.
Make sure to line up so you can get that box.
Everything goes in this perspective. Tear duct lines up
with the wing of the nose, all the features in front of the eyes are protruding
forward so I’m gonna put the wing of the nose slightly in front of the eyes.
And then seeing as we are
looking from below, the muzzle also is going to overlap
You know going this directions.
Tear duct spot right here, the eyelids.
The lower eyelid sits on the face.
Upper eyelid wraps over
The lower eyelid sits on the
so the jaw has to also wrap around, like
on the bottom that’s tube.
Be aware of the front of the chin to the bottom of the chin.
How that connects to the
front of the neck.
This is the bottom of the jaw so this has to
Drawing through, always important drawing through.
If you take this
kinda take the eyebrow, kinda loop around behind the ear
somewhere in this area will be the back end of the head.
And that’s gonna start turning to the down plane.
And then your neck will be sitting back.
Sitting back here. See how high the back of the neck
sits and the front of the neck sits a lot more lower.
You’re probably going to get external cleidomastoid muscle, neck muscle, comes down.
Kinda meet where the collar bone. See all this aside.
See all this the side of the face, it’s gonna - what the structure
of the face does is gonna come down, step back, and then it’s gonna swing forward
because this is the widest point, the zygomatic arch, the cheek bone.
And it’s gonna come down to the either the corner of the mouth
or you can also kick back and
jump forward to the chin.
See that’s how you attack from looking from below.
Looking from the top, same thing. You know now
the box is still idea still behind my head
you know even when drawing the sphere of the cranium
I need to know where the front of my box, you know,
where is the top.
Again come down to see how much forehead.
Down to your eyebrow and
shoots back to your ear.
And think of the facial mass.
See how the
facial mass top
kinda sets up where the face versus the
cranium. Here’s the zygomatic arch
the cheekbone comes in, it’s going to
flow onto underneath the nose
Here’s the eye socket, here’s the other side of the cheekbone.
See this is the other side of the eye socket.
See how the front plane of the forehead only lasts about that much.
It only lasts about
quickly turn to the corner and then turn to the side.
the other side of that cheekbone.
Sits about 45 degrees from the eye socket. And then it's
gonna merge to your muzzle, which our real muzzle
right here, right?
And then usually the further side of the corner of the
lips lines up - could be lined up to the middle of the eyes or often lines up
to the tear duct.
Okay so these are still five minutes.
So here you go.
Look at the eye socket shapes.
So just match right now
what I’m doing I’m just kind of match the shadow, you know, the shadow shapes.
I’m gonna take that head again,
I’m most concerned about how I bring that head into my
neck and how I bring it out this way.
Watch out how these align.
Narrow, wider here.
Think of the shape, how this and then it goes right to that head.
I’m using a polychrome, Faber Castel.
Shape in here. Look at this negative space.
Break the silhouettes right here.
Angle versus straight.
Find out where is the support,
When you shade in the shadow, keep it
you know, keep the shadow organized. You know, even your stroke. Keep
them organized. Think more in terms of more in shapes.
So swing forward, come back down.
Body gesture going this way. See this
Big shadows, large - big strokes.
Think about the dark and light
separations. Or you can think of the patterns. Dark,
light, dark, light.
That’s how I know where to put this shadow right here.
Same medium just in a red color
just gonna give a little difference to it.
Stretch his neck, see how it stretches this way? Even
the shadow is doing that too.
And then see how this
pulls this way and then it pulls back.
And it kicks out this way.
It’s such a very strange pose.
A lot of fun, just kind of push back and forth.
Feel that ribcage right here.
Around the ribcage, stretch waist,
Big stroke, keep the
light and shadow separate, really clear.
And like I said, line up the eyebrow
Think about gesture. Where is the flow?
Still want to get a sense of where that hip is.
And I feel that’s where the bottom of the gluteus
So basically also you have to watch out how you
compose, you know, compose the drawings. You know, where
it has to do with the balance, has to do with the shape design
and so it’s not just about copying. Copying
can take you to - models are a reference
for you and you have to put in
a lot of design kinda design element
and to make your drawing look more interesting and more
exciting. So I'm
always big on kinda
reinforce the gestures and rhythm and
make sure everything kinda ties in.
Of course they have to put in some anatomical facts
and, you know, there’s parts on the body that are going to be
stretched, parts of the body that are going to be pinches.
That part is going to feel more tension
Part is going to feel more
balanced. In this case it’s more straight, more angled.
Darker light, edges.
Soft edge versus hard edge.
Hard edge versus, you know, softer tone.
Let’s look at this
you know, this arm for a second.
Even though I did it quick, but
But I’m still trying to
start thinking about how can I draw through to create overlap
to reinforce gestures.
So we have
you know, tricep coming out right here.
And then that’s gonna take us to the elbow. In this case
seeing as I’m more on the forearm side, the elbow is gonna set out a little
seeing as I’m more on the forearm side, the elbow is gonna set out a little
bit higher and that’s my elbow. And that’s my key point because the elbow is gonna help us, besides
breaking the upper to lower arms and also give me a
structure where’s the, you know, where the structure mainly comes from.
bicep is probably gonna come out right here and probably
gonna end about right there. And then in this case
the elbow is gonna come out this way.
And then you can see
See how it overall turns
down like this. See this
our upper arm.
See overall even though
this egg right here kinda goes against our
gesture but at the end - but this is muscle, muscle usually gets around
by the end it’s still going to go
with our gesture, that’s what we need.
This is the box, top and the side.
And that’s how I got that shadow break right here.
See I go bump into the elbow so the elbow basically
again it’s like a tube and then you put a little knob
over it so you got a shadow, basically a shadow on a tube and then
you got a shadow under the little knob and then that’s pretty much what that is.
And that works for fingers too.
So now here I got a disc.
swing down to my wrist.
And in this case, to me this is stretched
side, this is the pinched side.
through the hand.
This is the wedge.
Looks like this.
Put that over, here's
the pinch, here’s the stretch, and then the finger
again I think of this ball and the finger is going to flow right to this
ball and gone come over like this.
Again depends on the pose.
So this might come over. Drawing through. When you draw fingers make sure
to draw through.
And I think the wedge, it goes like this
and really quickly turns the angles down.
watch out the knuckles how they sit back. You cannot line up
as soon as you line up those knuckles it’s not going to look right.
change to a different medium. You know I
love sketching, if I don’t sketch outside I’ll be
sketching at home, I’ll sketch in the bedroom, I’ll sketch in the bathroom
I just sketch everywhere. So you know
at home obviously sometimes I can’t use the charcoal, I’ll use
the ballpoint or fountain pen or
you know any sketching tool. Something like this. Even if, you know
if I’m moving around, I’ll still to see if I can, you know,
you know how quickly
you know I can capture the pose.
Sometimes I’ll do it in my imaginations
So again this is a ballpoint
Cheekbone, take the ear,
from the ear the cheekbone goes into the
Sometimes I’ll just paint over the shadow like this.
So this, again,
more sketch than, you know, than the charcoal.
Sometimes gonna just force you into drawing a different medium
you know differently.
Falling into gravity and
by support by the form
What’s this shape?
What’s that shape? Keep thinking again
what shape this is, often I see
have seen students just like to do - sketch like that.
That’s not a shape, that’s just a mark.
So think about making each shape
So in our twist you’re going to see the underneath
Sometimes I get into detail I need to
sit back, you know, and look at
the overall the design
the pose, the story of the pose
what the pose is actually trying to show.
and sometimes put a story, you can put a story
over it. You know he’s a warrior, he’s a
defending or he's
And those are nice too, feel like the light bleeds through it.
Although he’s attacking by using a cane so
maybe there’s some story to that too.
See watch out how everything lines up.
is where the thigh meets the, you know, the hip.
So I need that right there.
Something like that, right? It’s a triangle.
Can you hold a little bit?
Just a little bit longer?
Is that ten minutes?
I was looking at some of your guy’s homework and a lot of you guys
some of you guys had problems drawing the head
and unfortunately there’s no
to it, you know, it’s just something that you have to
you know put time and discipline into it.
And that means, you know
you have to practice then
you would know what information to put in and what to take out.
how to, you know,
get likeness on the
So I got that nice cheekbones.
goes back to the ear.
The chin pushes forward.
so it’s important to get that jaw relationship to that chin.
And I wanna put
that ear out a little bit because that’s part of his character.
He’s got that big ear.
Neck stretched back.
There’s the pit of the neck.
So this shirt goes up here and coming out this way.
Some loose, the fabric feels
more loose. Some areas the fabric feels more firm
When you draw
the shadow keep it just a solid shape. Keep it really clear.
So what I’m doing now is I’m balancing
rhythm. This right, left, right, left, and using
these negative spaces to find my proportions. You know I’m not really thinking of
that corner of the rib, I’m just looking at
what’s that, how far below to the chest. How far next to
the shadow right there.
Make every length
folds a little different, different length, different distance.
between the folds.
Feel like this big giant piece overlaps this.
If you have a busy area, make sure areas
a little bit simple. We’ve got a little tiny folds and make this
just a simple transition.
Awesome. Time goes fast when you have fun. That was a great
see I can’t even stop. Anyway at some point I have to tell myself to stop.
That was great. Keep working hard, you know, there’s a lot of information
sketch on site if you have time. If not,
you know, sketch from photo reference. That will be just as good. But, you really
have to spend that time and be consistent. If you’re still having problems with the folds
you know, look at sculptures and look at pictures, just study
zoom in to study the other folds. You have a problem
with, you know, the proportions, the problem to show the figure
underneath the folds or
the costume, work on that. Alright, so kinda attack each element,
each problem, each hurdle, and I can guarantee you, you know, if you put that effort in
you will get rewarded from it.
Free to try
1. Lesson Overview41sNow playing...
Watch the whole lesson with a subscription
2. Drawing from a Live Model with a Fountain Pen: 5-Minute Poses (Part 1)29m 20s
3. Drawing from a Live Model with a Polychromos Pencil: 5-Minute Poses (Part 2)38m 1s
4. Drawing from a Live Model with a Ballpoint Pen: 10-Minute Poses21m 34s