- 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.
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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.
first we're going to start off with
just kind of understanding
Mark's costume first. Mark let's just start with just pretty much kind of
almost your arms out like this. We'll just do a quick one like that. Just
because I want them to see - break down the costume. Just kind of more frontal.
There you go.
There you go. Okay. So what I want you to do is break down the -
break down what we have is a costume here.
And I'm just going to - I'm going to kind of get a general, just a big shape first.
Okay, and then what I'm going to do is I'm going to look at the breakdown of
his costume. So I'm going to see
face is in here,
And I'm looking at these pretty much in their silhouette.
So in these the shape is the principal thing that I want you to kind of take
a look at. Okay.
Now I want you guys on this one, what I want you guys to do is let's try when I want you guys to do is let's try
something where we're going to look at the silhouette first.
A lot of times this happens with a lot of figure drawing too, what ends up - what we
end up doing we end up looking at the he finished marks and I want to start off
with the way you might start thinking about something. So in this case, let's
just look at the at the silhouette first. Let's just draw a silhouette of the
whole character first.
Okay. Now I'm looking at my silhouettes first.
Okay, now I'm going to take another piece of paper
and now I'm going to think about the volumes or blocking masses in
here. So now what I'm going to do is I'm going to look at the different -
actually kind of the angles and tilting what's happening here.
Okay, I'm see his head is tilting back like this, right.
So his head is tilting back like this, his chest is out or actually his chest is kind
of straight like this.
His hips are back this way.
And this is kind of where we're going here. And this is coming out like
Okay, so this tells us kind of the angles of where things are going to go. So under
our silhouette we can start looking at more of the volume like shoulders and
things like this, the shoulders in here, the arm coming out here like this.
Just kind of straight like this.
Foreshortening on this like this.
Now I'm going to go ahead and continue to draw on this just a little
just to show something.
Now what I'm going to do on here is I'm going to look at moving
your eye across,
you know using his outfit. So if I see
hanging on the side here, I'm going to go off to the side like this and then like
this because those are directional angles that are going to pull. Pull from the
back of his neck this way and then I'm going to see it pulls like this and comes
across here and then comes down and there's a fold or a
tie underneath his hands here comes this way and over, right, and as it comes
over then I get a another step down. Then I get a long step down down to here which
it turns directionally turns it different, see the angle here, the angle here, angle
here. Now I'm coming down and across and up to here.
If this hangs down like this
this is going to come back like this, this pulls from this like this,
and then bunches up here like that.
So I'm going to see a shadow shape is going to pull me in this way. I've got
from here I've got this coming
up here like this and then this coming up here like this and then
this going down into the shadow here like that.
These get really kind of interesting because they can start to move my eye back
up. So now I'm going to look for something that is going to move my eye
You know and I might even go just even go across over to here.
You see if I pull the folds in his belt all the way up to his shirt
and then I can come down behind.
I go up and then
up this way.
And what I'm doing now is I'm trying to tie these folds in his arm, give
them a purpose because they're going to be following -
they're going to be moving you down towards here because I'm going to look
for these other -
I'm going to be looking for different alignments. They're going to help build
this kind of a shape. If I bring this this way
I can bring this up I can bring this up, get a fold in there that's going to be a
directional line again
up into here.
I'm going to come from the know here down here
I might use this finger
and then wrap around.
Wrap around, wrap around.
And then I can get these shapes in here to actually line up down here. You
can see I can move those up and then get another one up in here because this is
going to be necessary up in here, too.
You see I can play off these shapes now
this sweeps down and then gets a little bunched up in here.
I'm going to
make this little fold over here.
I'll make this fold kind of point over here because I've got this shape going
here, this one coming out here because I can turn this to subtly back up, up, up,
And all of these things are all going to
So really what I'm looking for is like if we just have your
basic silhouette like this and then we look at which way the
forms are rotating and then we can draw the different folds around that form.
But also look at them from the standpoint of you know, what are they doing and
what direction are they going then you can start looking at or realizing them in
their usefulness, like for instance under here and then
the way his shirt is tied. Okay, because the strong directional angle like this
and then coming off of that is this
and we look for these longer alignments that can move your eye
throughout your image.
And then across and down.
Down and over,
up up up all going up into here.
This is kind of coming down this way and this is going up,
So if these are going up, this is coming down this way, coming along in this.
This way, this way.
Okay continuing from here. This is pointing down, this points down and then
this comes along down here.
There we go.
Okay, so I'm really focusing on how one fold leads into the other and how they
move your eye, you know, from one area to the other. Coming up in here like I said,
if you're coming up in up in here on this up a little bit higher is where the fold
in his shirt is and so you can kind of come across here and see how that's going
to help out your Design up there.
Okay, so these folds are all going to be,
you know, pushing down into this area here.
as these start to go up
we can push it,
kind of build some alignments.
And counter that with something like this.
Pulling from behind
I'm pulling around again.
And then really swooping up here like this.
And then what we're doing is all of these shapes are actually having a
purpose because they're moving your eye around and if we come out - if we sweep
around to the outside, we want to be able to follow the around so
I make this come right out of that.
This is actually up a little bit higher like this.
And then I'll come out of that.
There we go. There we go.
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1. Lesson Overview1m 18sNow playing...
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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