- Lesson details
In this lesson:
In the fourth part of our comprehensive How to Draw the Costumed Figure course, you will learn to recognize and draw the shapes created by the folding of garments. Bill will teach you how these shapes pull from origins of stress in the gesture of the pose & how they move across the form and create rhythms. These rhythms are grounded in reality rather than expressive, generalized rhythms. You will also learn about “editing” or what to leave out in your costumed figure drawings. You will be working with charcoal pencil on 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.
Discuss this video in the forums!Discuss
structure of the pose. But then I want you to really focus on the folds and
how those shapes pull from those origins of stress. So we get those basic forces
in the gesture. And then what you do is you want to look at the shapes that
are created by the different garments and how they pull and how they move across
the forms, how they twist and so on. So every mark that you're going to put down is
going to have a consequence. So if you see the folds
see also see where they originate and how they move across the form and how one
fold leads into another, into another, into another in terms of just finding the
rhythms throughout and when I say rhythm I often times people start making just
kind of more wild suggestive curves. I want you to really look for alignments
and look how they actually look. Folds actually move around forms and
stuff. You will see rhythms in there, but they'll be absolute rhythms. They'll be
critical rhythms, and they aren't generalized rhythms. So let's get
You know in the first week we were looking at
emotion, expression, and then we were looking at the
the thrust and the force and then how the costume hangs based on that.
Today what I want to do is I want to focus on you know, designing those shapes
and looking for distinctive shapes and how they play one another you know in
design of the costume or the way the model is
the action or the acting. I always want to put an emphasis around the acting and
action because it's really about - we aren't doing costume design. We're doing
a little bit more action analysis and it's looking how at how a costumed person
would act or you know the action or the way that they would act so
that's kind of our focus to keep on that kind of action analysis end of
clothes model. So that's that's kind of where we're going. So I want to look at
you know, people like Dean Cornwall. This first image is Dean Cornwell and you can
see where he's in many ways he's simplified his shapes, but he's edited
edited them and that editing process and kind of simplifying becomes really
important because how you edit is also going to have something to do with how
how you emote the idea and express the idea. Okay,
and you can see in here there's - he has some straights against curves, he's
very deliberate about where he puts shapes and how he frames the
characters with the shadow over the top in this kind of a bizarre
you know, where he's got or it's almost like a tomb kind of like with an arch
behind he's using the srts to frame. He's using the people on the horses to
look down. The other - the child behind is looking up the out the side of their
eye at what's going on. So,
you know is these guys look on so,
you know, you can see how with these guys these long robes they pull from a certain
direction. They hang in a certain direction and then he uses these
move your eye around.
Again, here's some more shape. Now in this
the fabric and stuff in this costume is a lot stiffer. You can see that
because it kind of defies gravity in the shoulders and how it hangs
down. So and you can often see that a lot of, you know, images like Tiepolo and some
that time they did these ideas of flowing robes the you know, Idea of is Flowing robes the you know,
angels and everything with these flowing robes. They almost didn't have any
gravity. You know, that was really kind of the thing and that was
caricaturing this, you know, this kind of more of a spiritual kind of a bigger than
life kind of thing. It appears, you know, I don't have any documented proof on that
but it appears that you know they were drawing them as billowing
costumes that kind of flow. They didn't hang or fit tightly at all
Again in this image is got people that are active, people that are doing things,
and you can see how he designed the way that their costumes hang on them as
they're - and pull from these areas where they have different forces.
There's another one that he highlighted in with the white you can see,
you know, you can see how thin this arm is but you can also see the manner of folds
in the way that he uses the the light, the light chalk to
to show those folds and really delineate those those forms. Now, they're
simplified. They're probably in the real model probably had more folds on
them, but he really eliminated them down to the essentials.
This is another case of
kind of editing down to the essentials and you can see that you know from his
waist, his robe kind of pulls out and then it really angles down. It kind of
pulls out and then sharply turns down on a lot of those and it really makes these
these robes feel heavy and starched, you know.
Look at the contrast on the on the pants here from the one leg
that's completely straight to designing completely
designing a crazy pattern on the opposite leg.
And here you can see the focus of designing those shapes as well.
So I want you to keep that in mind as we go through. Here's a James Montgomery
Flagg drawing and in this you can see a couple of things. He's doing he's giving
you a couple different value groups, you know, so he's drawing with different
density of line. But he's also giving you the direction how folds would work, you
know and is silhouetting a couple elements and drawing more form into
others. Like the man's coat is a dark silhouette and then you see more folds in
his pants, the girl's hat is a silhouette and you see more folds in her sweater so we
can explore different ideas there. There's a couple drawings from Ivor
And he was documenting life in the Australian Infantry.
These drawings are a little bit more posed. But you know, they're just such
strong drawings and
you really get the feeling of the
you know, their uniforms and you get understanding of them even through their
uniforms. You can see where he's even taking the black and reinforced to
certain marks to give you, you know,
accentuate different directional elements.
Another really great image.
You know in this image, he's giving you some real delicate rendering in the
face and skin area and then his shirt he's kept very simple.
Another Ivor Hele
drawing. So take a look at these and kind of study these, look for this kind of
caricature of how the material hangs on the model and how it will accentuate
the mood or the the tone of the feeling of what you're drawing again.
These are a little bit more portrait in their direction, but
you know, he's even looked at - he's really analyzing, you know, the folds in the
form underneath the materials and stuff. So that's really important.
And here's a Jerome Witkin. There's not a lot of costume on here, but there is a
variation of strokes and stuff. We're going to draw a little bit longer. We'll
start off with fives and then we'll will increase and we'll have a little longer
poses. So you'll get a chance to explore a little bit more. Alphonse Mucha again
accentuating some of the drapery and stuff like that
through this image.
And you can see in her hair in the image on the right, her hair, her collar,
even her shawl or her outer cloak that goes over his shoulders and
stuff, the swirling nouveau kind of shapes. He's kind of playing those up and
at the bottom as well.
So they're they're all drawn with the design influence. This image I
thought was great. It's a little bit more on the realistic side but when you take
a look at the contrast between the way the - or the contrast range in his coat
compared to his pants compared to his shoes. There's a conscious effort there
to actually look for and and see what's the tonal difference. What's
the difference in the kind of the material type and they come off
really clear with some great distinctions, beautiful drawing.
Again, you can see there's a lot of editing going on in some of the folds.
Again, we're going to start off and start off real simple and with shorter poses
and break down his costume first, but then I'm going to give you a little bit
more time. We can explore a little bit more of this. These were some more -
this is a Rembrandt drawing and last week
we talked about different classical artists that actually do a lot of put
more expression into their drawings and I wanted to post some examples I mentioned
that I would post some examples and these are some examples of
artists that are actually putting more action or drawing the action or creating
more force in their drawings.
I put this in here as well because I thought
this is a study of devastated trees from France. And if you take a look at
at this, take a look at the economy of line of the characters in the lower left
and the roofline and these broken apart trees. Okay, you really you see the
devastation in the trees there's no question about that and just the directional
forces of these simplified silhouetted marks of those characters really really
strong. You can really see the, you know, what they're doing and what direction
they're looking, you get all of that with just the simplest shapes.
Now in this one, the roads are kind of suggested a little bit more. They're
not really articulated like Cornwall's - Dean Cornwall's - and some of the
others they're just pretty much again we're getting back to those
flowing robes that kind of defy gravity a little bit here.
This is a little bit more
a little more credible to what you might see.
There's more of our flowing robes, but we get the sense of this get that we get the sense of this
action in here.
Transcription not available.
His hip is way out wide and then I'm going to have his other foot back here.
So this is going to be, the shoulders are up like this and this is wide.
And his foot is outside - the back of his foot is outside of his hip. So it's
So I'm going to get this
first this directional shift and then I'm going to look at alignment. I'm
going to see this is going to be coming somewhere right up in here.
Okay, and so from there.
So if I get his shoulders down in here
I'm going to get his hat and shape up here like this.
And again, I'm going to get
his eye line in here because his eye line is going to be right looking at his hip here,
pulling off the top here.
And from his shoulder.
Okay, so that's pretty much I got the eye line to there to the knife coming down in
his belt and then his other hand swirling up this way. I mean it really kind of
creates this shape that's going to do something like this because this comes on
the inside here.
And this hangs down here.
So this is my basic, my big basic shape and kind of the rhythm of what's going
on, what's happening in here.
Okay. So what I want to do now is I want to look at what are the shapes
that are moving me across his figure and you know that are the clothing and stuff
but moving across the figure now this I'm going to come out wide because it goes
behind, creates a little shape there, snd then from there comes in but look at this
wrapping around up here like this
from outside in
and then from the top here it's tucked in here, but
there's another fold out here. It comes up behind these.
Okay, so as these come out and in it's followed by this at the bottom.
Okay, there's the bottom of his of his cuff and then these come out and then
at an angle like this. So I'm coming out here down like this and down like this.
I'm just going to follow these things
and get them to work with one another.
You know as these distinctive shapes.
Okay from here I'm going to go back up. I want because I want to get back up in
here. Want to bring your eye back up in here. So I'm seeing this
pulling from there,
going like that, pulling like this because his shoulder's up so it's going to be
pulling like this.
Out the side there.
There we go.
Okay, so you can see once once I get kind of the directional rhythm then I'm
going to look to see where the folds are pulling from those areas. So it's really
going to be about the costume but actually what he's doing in that costume
that's going to create those shapes and those folds that land in certain places.
And you want to - you want to look for if there's folds in his sleeves.
Let's just say his upper sleeves if, there's folds in his sleeves they're
serving a purpose for something and we need to see what what purpose do they
serve in this overall drawing. What do they mean, okay in your overall drawing?
This might be where his hat is but his hair goes outside hat here goes outside that that hat
I'll draw kind of this.
Weighting is here.
And pulling down from here comes pretty much down to here.
Goes up here.
So what I'm going to do is I'm going to see that this comes over and down like
that. That's a nice long angle there. So I'm going to look for that and I'm going
to see that this kind of counters. This wraps around and comes down like
So I'm looking for all the way through here. I'm looking for things that are
not just the try to see what the folds are doing. But what I'm going to do
is I'm looking at them in context to the shapes around them. Okay? What's
leading around them and what can I - what can I lead them into for instance the
fold on the sleeve here? And on his - the cuff on his shirt. I can go from
here and draw maybe the stripes that we're going to echo.
They're going to echo this again. Just kind of splayed down and bring you around
in here right and then down like this.
Maybe what's going to going to happen here is if I
want to bring you up into this area, maybe I'm going to be taking advantage of
Some of these shapes that are going to be going up here like this,
Pulling that that way.
I have his chest up like this so I'm going to have his shirt up to I'm going to have his his shirt up
there like that. And if he's up like that then maybe I don't
remember what this was, but I think it was if I have it up a little high it's
going to pull from up here. So if I go up here like this I can pull it from his
shoulder because this shoulder's higher. So I'm going to go in here
like this. I'm going to make sure this is - well
I don't want to do the same thing. You don't want to do the same thing. You want
to make sure that you're going and gathering or you're making making
sure that there's some kind of a
directional force that you're really pushing with. So if this is pulling up, if
he's pulling up from there, maybe it's going to be - maybe I'm going to get some
folds coming out of this and maybe this is going to be
This is going to - by pulling this up higher it's going to push it feel like
his shoulders are pushed up higher and then this going to coming down a little
bit lower. I went down here and up here.
then this one being a little lower we can afford to come in here just a little
bit like this.
You see so this is different than this. I want to make sure that that's going to be
different in there.
I can even make this
out like this
and then pull straight in here. I'm going to have it come in this way just a little
bit and then out because his elbow's tucked in here. Now if the lower part of
his cuff is like this, then the upper parts going to be like this.
And I can push the angle up there again. You see I'm pushing it up a little bit of
high like this. So I'm going to keep directing your eye up, making this kind of
push down out here.
Something like that. So all of these the shapes I'm creating in these
folds are all - I'm trying to make them as dynamic as I can
where this might pull from up here.
I'm going to pull across here because that's where his hip is coming out here.
I'm behind this.
along down here I'm going to favor this.
Across the center because I'm pulling up here, reinforce that, pulling up
here and the other side is going like this straight up like this.
So this gets a little more relaxed in here, but yet it still pulls around him
That makes sense. So I'm getting the force around him that way, where this is
pulling up this way,
and this is coming back behind through here.
By having this come around out here and this out here it pretty much says that
it's just underneath is pushing out from up here.
If that makes sense.
It allows our shapes and folds to feel more volumetric and they
will feel more volumetric if you make them really wrap around those forms,
but also have them move in a direction, look for alignments in those
Free to try
1. Lesson Overview1m 18sNow playing...
Watch the whole lesson with a subscription
2. Reviewing Master Artists Drawings11m 24s
3. Drawing from a Live Model: 10- and 15-Minute Poses22m 55s
4. Drawing from a Live Model: 5-Minute Poses16m 15s