- Lesson details
In this lesson:
In the twelfth part of our comprehensive How to Draw the Costumed Figure course, Charles Hu will teach you how to directly sketch the costumed figure with an emphasis on shape and overall design. You will also learn how to draw with strong gesture and a sense of 3-D space. You will be drawing a series of 5 and 8 minute poses with a 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
Welcome back to
my costumed drawing class. Last week we
pretty much were focusing on looking through the live action
from the poses and then we talked about some of the
shape design. We’re still going to be reinforcing those two ideas and then
we’re gonna, you know, we’re gonna have a different costume today - every week we’re gonna have a different
costume and there’s always gonna be a different
idea, different design ideas
and so today we're
still gonna focus on the gestures, the shape design,
and also we’re gonna reinforce the three dimensional structure
a little more in today’s lesson. So let’s get started.
same what I do with my figure drawings, if you guys have taken my figure drawing lessons,
sometime I’ll do this little frame
so it can help me to get a sense of how everything is
kind of relates and then I just kind of
you know, start from that.
See this hair is great like
it gives that nice triangle shape right here and then
it helps - and see how this triangle shape kind of goes
up, pointing back this way, and then some of this back of the head it kind of
swings back this way too so everything kind of brings your eyes back.
And then so when you draw that ear, make sure
you still draw that ear, tilts it forward also.
Even the shadow within that ear, it has to kind of tilt forward.
Always like look for the major relationships,
so now I’m looking at from his face.
I see his shirt coming out over here.
His collar is coming this way.
And then again see if you see the neck, look at that triangle -
look for that triangle shape. It comes in
right here and
this collar wraps behind his neck.
Feels this side, the bottom pushed - compressed up and this
shoulder actually feels like it’s dropping down
a little bit lower, his hand’s a little bit lower. HIs hand is right here holding the jacket.
Swings up, swing up this way and then swing this way.
Push - remember I said push the volume.
One side curves, keep the
other side straight.
Play with size difference, wider, narrower.
Keep the knee as a corner
Look at the shape and the design of the linen.
In this case you can see straight and then kind of
expands out and the reason is because the boots are pushing
Again I’m looking at this shape right here.
One other thing when you guys draw heads, still need to make sure
get a sense of feel, how the cranium and the head fits inside the head. You don't
want to like - you don’t want them to not fit.
And drawing through is the best way, you know, to
solve that problem.
getting the features, in this case like I’m just gonna
you know mark the shadow shapes,
Push your gestures, brings that
front of the gesture of the stomach pushing out more,
we can always comes back and straighten, right, but
pushing more first.
See how the gesture flows this way? See how the folds
kind of suggest that too? See how the folds kinda of radiate out like this
this also feels like a transition. It kinda brings our
this also feels like a transition. It kinda brings our
eye forward. See this is shorter here so I’ll make it wider here,
That also helps. You see how interesting that shape
looks. I’m not necessarily copying exactly what I’m seeing from the model
but it could work.
Feel it go back. Because again
like I said, think of drawing with this charcoal
it can allow you to draw through.
See comes out and now the buckle
of the belt has to sit right and it’s gonna sit back further.
to really get that nice - like his stomach is pushing out, his hip is pushing
Even with this shape, still need to
light and shadow - focusing on light and shadow shape difference.
Drawing through, feel how the head fits in.
Use that mustache shape, see how it kind of brings it
eyebrows, wrap around this eye
Bring out that nose a little bit. Come over here
look at this distance, you can get that nice hair
right here and then use the ear
also to reinforce the read to that chin,
again make sure every shape that you draw it serves a purpose and
most of the time the purpose is pretty much to reinforce the gestures
or reinforce the designs. You want it to curve a little more, you want it to kind
of exaggerate it, push it a little bit more, you want to make this wider, you
want to make this taper, you want to curve that a little more, you want to feel a sense of
it wrapping around this head.
Want to bring your eyes
over here, make this side of the color less and make this side more
and then bring this out so now your eyes are focused right here.
All this crazy things happened, all it does is wrapping over this
tube, right, because this arm comes underneath it.
And all this coming here, everything going this way, so
these are just gonna wrap around this way like this.
Looks like this side is more complex so I’m just gonna emphasize on this
side then I’m gonna just keep this side simple and
all this is gonna just drop into the shadow because this is facing up
and this goes away from us. It looks like because this arm
is pushing back, it creates some
folds right here, always feels like it’s pushing your arm back
you got that shoulder blade coming back.
Se how it looks like a tube, a jacket.
Looks like this actually this part goes in, it twists.
This fold is important, this shadow, because again it brings up to
you know, to his face and then we see
maybe because his jacket is compressed down it creates that shadow
and this comes over.
So this going this way look at the belt, it goes the opposite direction.
Look at the silhouette.
see how this falls, rise up, and
goes behind this egg. And obviously you don’t want to draw the head and the sphere
like this a little straight and then again
use that hair to like kind of bring up that rhythm that goes, wraps
around the ear, the neck goes behind, drops down.
See the front of that collar and
here is the jaw bones.
Just think of a socket on this side
and then usually I’ll also see
this part beside the keystone often is
in shadows. And then
as you can see the eyes kind of come over here and you kind of glaze over to
to the side like this.
And then here I see the
mustache kind of protrudes out, which is great, kind of wraps around to
the other side of the lips.
The whole head
these cast shadows, kind drop everything
If you draw through you can notice here is the back of the cranium, the hair comes out right here
Let’s bring the neck back in there a little bit. The collar drops down
Again be aware of the overall relationship. He’s holding something right here.
This is again back - that sleeve I was talking about earlier
it can kind of do this
radiate kinda folds.
Obviously you don’t want to make them like this, which is all kind of even.
That’s not good. So we’re gonna have to create some overlaps.
You know overlaps great, if you can right away create some overlaps on the folds, see how
see how that looks more convincing.
So looking at underneath this ellipse of his head
shoulder here, collar here, which again creates that axis.
shoulder here, collar here, which again creates that axis.
Come back this way,
thicker bend and narrow bend back here. Drawing through.
Get a sense of that volume of the
egg or in this case the perspective of this tube.
See everything wraps around this way.
Here show a little bit of the front - where’s the front of that head.
Hands right here, usually we have things that are blocking
an object or in this case blocking the face,
usually we just draw that first.
See even that shape of the arm needs to have
a nice, you know, nice flow.
Straight, curved, drawing through.
Look at the silhouette, look at the hip actually sits - looks pretty
short, the back of the hip feel quite short and it kicks
right to the front and then it kind of squeeze out this pocket.
Feel the volumes, feel that leg sits inside
the pants. This is gonna stretch and then
the pants, the leg is gonna continue and so part of the linen
is going to grab on the hip onto the tube of the
leg. And here too
has an overlap, has the folds goes right in
front of the crotch.
Usually right around
the knee area probably going to have some fold and in this case it’s going to
kind of drop off like this. This part comes over
Again what I’m seeing
it’s a design or a
silhouette, somewhat like this, right?
I can see his bag
coming also coming out this way. Shoes coming out this way. See that
is a triangle shape and that tells me somehow
that probably the gesture is going to
flow this way, in this case you can see the back hooks over to his shoulder. So you got a gesture
coming up and his head looking this way, coming forward, and his knee
goes back. So I got this zigzag, nice, interesting set up that
I’m going to play with.
Narrow in the back.
Narrow here, wider in the front. I never
like to draw the same size.
See when you draw the head looking from above, beside
obviously the chin, everything in the features are gonna get closer.
and then normally draw a straight line comes down
line comes down like this, we tend to kind of bring the chin further out.
We want to make sure it kinda reads, you know, somewhat recedes back.
Right drawing, back of the neck
is right here, drawing through the collar.
This arm comes back here and we’re gonna have an overlap. I like that it feels like
again helps me to suggest the tube that we’re looking from he top.
again helps me to suggest the tube that we’re looking from the top.
And then when it comes down and then breaks up, see how the other tube kind
of breaks in so now we got that zigzag in here.
That shows - and then at the end
these we can play abstractly but in here actually we still have to
loop around this tube. And then
this sinks his arms away from us, let’s make it a little bit thinner
Look this ellipse right here, even though this is gonna
open sleeve, overall what I’m thinking is this
Look at the silhouette, come up, come back in, breaks,
Thinner here, wider here,
coming towards us. This side’s closer to us.
again corner always like
corner is always important, something that I will shoot for and look for.
And I always relate that diagonally. Like this
which is his wrist and this elbow to this elbow
which is his wrist and this elbow to this elbow
and this wrist maybe to this hand, this hand to this foot
Protrudes forward, something kicks back
Something I’ll do is stretch the cheek a little bit
like this. Feel like because this is the side, this is the front of the face
and then you can drop those whole shadows
and then even put some cast shadow underneath the
and then even put some cast shadow underneath the
head. Then I need to clarify where the hair parts and
need to make this part a little more clear.
Bottom of the nose.
Wider, taper. Wider, taper.
Think of the shapes, this comes in
see how this is straight, see what’s that
overall graphic shape of the back of his shirt.
So basically what that shadow is
you know, finding what the corner
of this tube and it’s, you know, just shade it in all the
side that’s away from light. The light source is above us so all this is gonna be
lighter and once you find the corner, put that core shadow and just
drop everything in the shadows.
This form is looking more as an egg
and a box like this.
Suggest the bottom of the jaw or the chin, a lot of times people don't
they kind of
tend not to clarify this bottom of the structures.
Use the dark
to frame the light.
And this one
and then later if we have time we can separate them
Come down, see this is going to pull back
So pull back
and see the belt
set back the buckle.
So again right here you want to show where the butt
tuck is so again we need some overlaps.
When you draw folds again the idea of the folds, there is
always a point of tension and then the fold will radiate out from the
point of tension and then gonna wrap over the form.
We’ll get to that more in depth but you can see
here, still, even though this is kind of tighter
linen, you can see the back of the hamstring muscles.
So even though - see how the loops, I still suggest
where that bottom and even though I start off with just a swooping
curve, now I still want to suggest where the bottom and I can see that
little triangle folds, I’ll suggest that. And then you got that
pinch right here, you want to show where the elbow - here’s the elbow. See
with the elbow and then you’re gonna kick back, swing back, stretch, and you’re gonna have a
pinch. Can’t really see the pinch because the jacket covers
This is pushing in
Look at the silhouette, make sure
to break out, bring that knee out.
Feel the stretch of the linen
right here, right, it stretches towards the bottom of the crotch and then the hip
about here you’re gonna get compressed by the calf muscle.
And it kinda follows the contour, sits back,
and then come back down, around
like this, sits over on that boot.
This knee, this boot and the calf comes
right towards us. Wider here,
looks like wider here and taper towards the shoes. Drawing through.
See it goes in, comes back out. This should
put this shoe in the front.
So you can feel that’s where his hip - set that hip higher because
that’s what he does, that’s the axis of his
his collar. See this
this belt helps us suggest
also to kind of push him forward
Actually just curve this out because when you do that, see
how we do that we flow right to that jacket better versus
when I had that straight edge, first of all feels kind of stiff.
So you can -
usually what I’ll do is I’ll give a little shadow underneath
the nose so it helps
separate the planes of the top and the bottom of the nose.
And then follow the center and in this case you look at this
below the nose
see where does that mustache come out. And usually there’s some space
right below that nose.
And then it lines up roughly about where the eye is.
Get the wedge of the head
feels this comes down and then it’s going to swing
out towards the
forearm. Look for this elbow.
Brings it out, brings it down. See how the whole thing
portion I can get a sense of where this elbow
relationship to this hand right here. But in the bottom
I can see this foot is closer, this foot is further back, that at least gives me a sense of
that plane, that perspective. It kinda sounds like also
tells me I’m probably looking at, you know,
a box that
a box that this side facing to me, this side
facing towards the right. Okay
so definitely when looking at the head, the back side is much higher
and the front is lower.
Then you can use this part of the hair to find -
helps you to find the ear.
helps you to find the ear.
A lot of times people take the ear for granted, they just kind don’t really
put much attention in
they just draw this cruel C shape, which doesn’t look right. First of all the ear
has to be tilted towards the jaw and also has several
plane that you should chisel and each plane is slightly different
to each other. And then the - like this hole right here also has
to each other. And then the - like this hole right here also has to
you know, design nicely, also coming
Either way I go to the jaw
See how I follow that shadow shape, take you right
to the mustache.
And here side of the forehead
and you can see how it drops down right here, I’m gonna
And you get the whole side of the cheek.
Maybe darken the core shadow so we can see.
Even like see that cast shadow
shape that kind of you can see how it points out this way
and that’s where we come in right here.
Look at that collar, has a nice, interesting kind of wave comes down.
It kinda compresses and kinda got pushed up and
got overlapped and kinda flares back out again and sits over
on the back, see? It’s like taking a strip of paper right here
and then you twist it like this
and that happens to, you know, a lot of
shirts and actually on muscles kinda does this way too.
And also a lot of structure does it this way. Just think about a forearm, if you turn our forearm
like over, that’s kinda like the same idea.
This is also going to stretch and
again, for this like the belt right here
also thinking about how do you draw like the old Barber
Shop like the sign, see how
it goes around. See if I do this
that might feel right but it’s not.
It’s not correct because on the side
where it’s the same height.
So what happens is if you’re going to give illusions, that goes away
that parts has to be thinner and when it comes towards us it’s going to be thicker
and again it goes away from us it’s probably going to be thinner again.
See that way it’s more convincing. So same as this,
see when it goes away from us, wraps away from us, that’s going to be thinner and this gonna be
Again just look at that graphic shape
swings, curved - for now
while you have time then you can go in and
I suggest that muscle right here and
this is gonna come forward. And you can see it breaks into
this top plane, top plane on the side.
longer, okay don’t make this too the same distance.
Again the top of this tube
use the hair to wrap around this head.
See in this case he’s lounging, his shoulder is lifting
up so that’s going to make the back of his neck even higher
up here. A lot of times you have to be aware of that because we
don’t quite get used to thinking about the neck and go up that high.
this side of the shoulder is right here.
See you can see here the overall the pose, again you have to be
still be aware of the pose, where the line of action that kind of swings out this way.
So that’s his shoulder
back here and you get a sense of that’s where
shoulder joint is. And you can see even the fold goes around that shoulder joint
and it goes over the deltoid, it kind of swings up and then comes
back but see if I do this, it’s gonna feel rubbery. So I’m gonna swing up
and then I’m gonna kick this part a little bit straight. And then again you’re gonna get pinched right here
and this part is where the elbow is.
Again the belt comes over here.
I’m gonna curve this thigh this way.
And then I’m gonna swing down this way. So go up this way
swing out this way. So it kind of
creates a little more kind of exaggerated gesture.
Feel the bottom of the boots, again think about
the bottom of the side.
And then take it over right here, okay, see how this big wedge right here
see bring this down,
narrower. Look at this shape right here, bring it down right here like this.
Look at the overall shape first and then
fill in the detail. Shoelaces and
buckles and front of the shoes.
See but make sure get the whole shoes down first
and get the overall compositional relationships first
Drawing through so you can feel where the hip is right here.
Beak out that silhouette.
don’t make it of course - I always tend to like to make it
Look at the negative space, look at the positive space.
I got extra time, again, imagine the light source is coming from above
this is gonna be our shadows.
Top and the side.
Top and the side.
Get a little more highlights, highlight sits in the corners, get a little more
Front of the face.
Even this I can drop
down, down so it like sits
behind the shin.
Head stretched - next stretched this way.
Get the sense of the
the line of action, how everything kind of ties in.
Imagine doing the same pose, how are you gonna push
over that shoulder
right? That’s very important to get a sense of
you are doing the pose
so you know what your body - you know how your body reacts
and that really helps you to know how you’re going to design a pose and how you’re going to
knowing what’s going on
structurally underneath, you know, these clothes.
Triangle and this
this actually rotates over.
Wider, taper, drawing through.
See make that belt a v shape
See how the curves, legs, here’s the pinch right
the crotch and then
look at the gesture of the legs right here.
Need to watch out there’s an S curve underneath.
Just to indicate that whole knee
And again get the whole overall shape of the shoes.
And then adding details.
Thicker and then straight
and this is gonna compress up. So we got this kind of different moment happening.
Kind of sit that back.
shorter, and probably gonna go down towards
the knee. Wrap around, use the folds, wrap around that
knee, complete the knee structures.
So that’s gonna involve different shapes
and different relationships. I’m more of a shape
person so I’m basically what I’m looking at is more about
what, you know, more about shape relationships because that’s going to help me to
design, you know, to be a
better, you know, to make better design choices in my
Okay you can see how
it can feel like it kinda hangs over, extends to the side like this.
Kinda have that lazy zap like that. And then it's, you know,
shirt opens so you got this kind of maybe feel like it’s
you know like after work or he already went to a
you know, finished some type of
crisis situation and now he's
you know, he’s just kind of at the end of the day so everything is still
kinda the shirt is unbuttoned, it’s opened.
So it looks like
when I look
feel like this side is quite straight,
you know again if I’m gonna see through
the figure, this is the what we call the weight-bearing leg.
look at the design
it’s quite very wide.
So again see how the gesture wise, see
it kinda swings this way? So
different shirts but the same idea
of how can we reinforce that
Again, that radiate
pattern that really helps, see this is not good because it feels too even for me.
Let’s change that. Make this thinner, make this wider.
When we get to the hands
sometimes you can also overlap so it’s just like the fold.
The difference between the fold and the figure is just
the folds are more looser, I think of more looser skin.
Skin is tighter but that
idea is the same.
Make sure I have this more negative space here.
And I’ll overlap these
Now it can basically right now
I’m just kind of designing. I want to
in this case, like I said, I want to make this side come down a little more.
So because I don’t like to line things up right in the middle.
And normally you probably won't.
And even if it does, I would still like to shift that
I think my charcoal is about kind of
wearing out a little bit better. It looks like
I’m looking at this interesting, again, this triangle. See he has really narrow
kind of narrow face and then
I really get this nice -
that triangle shape I can play with.
And then so if I’m gonna keep
this more triangle then I’m gonna widen this a little bit too
it’s still narrow. I’ll kinda widen this a little bit.
And then I’m gonna also drop this down.
Again collar comes from behind. That kinda tells me this this shoulder sits up high
and this shoulder sits up low
by drawing through, here’s this upper body
and it ends - looks like it ends somewhere about this area.
I’m gonna - let’s - if I add this, let’s see
here’s this collar right here
swing back and this kind of falls this way, falls towards
the gravity and comes down like this.
And then the suspender coming in wider and kind of
tapers off, that little buckle helps to suggest perspective.
Everything starts to compress right here. Here again you got
and then here I wan this suspender again
line up with both. Like you can see if I color it
just for the sake of coloring,
you can see how it really helps to sets that top of that shoulder girdle and kinda wraps
around. It’s got the feel we’re looking from the top.
Light source is
from our left hand side so I have darker
the left side first and then punch in some of the darker
darks and then I can start toning this whole thing and overall the hat is black.
So but even within this black we probably still have some darker
on the shadow side.
Again, armpit usually gets a fold
in this case that helps to kind of show there’s some
muscularity in there, brings out that bicep and the deltoid.
This hangs and this comes down. See how
this expands out and wraps around, show that ellipse.
Well I can’t really see a complete ellipse because the fire hydrant right here.
But look at the corner,
And this over. See here’s there’s other things - so when I draw this ellipse right here on the
make sure it still have, you know, the apex.
Pointing a little bit this way. So don’t just draw a crude
kinda cylinder like this. That feels like this actually the axis is coming like
towards us, which in this case it’s not because his arm is pointing this way, right?
His arm is pointing this way. So make sure somewhere right here, less here, more here
And keep that apex right here and then come over
like that. See how that’s more dynamic? It’s like drawing an ellipse.
The eyes will follow that. This looks too much as a sphere and then
we’re not, you know, spheres never really get a -
you don’t get a direction of a sphere.
Again top of the thigh, front of the thigh. I’m gonna make the front a little
bit darker. And then I can tone
the whole thing down like. So I’m gonna make
put some darker shadow first. We still have to separate a
difference between the light and the dark and that’s kind of the
key concept about creating that two separate
values, the light and dark.
you know, so no matter - when you read it we can get a sense
of that’s, you know, the light is coming his upper right, you know,
and then some places we can kind of fake it. You know here
just pretty much everything’s dark. Here I can feel just basically just an egg
turns down so the bottom of the egg I know is gonna be darker
and I can just shade that whole thing darker and later
I can add some folds if I want. You know, but like I said
some areas I might just - or if I have more time
I will actually, like what I just did, I will paint in the shadows
and then fill in the rest.
His head right here. Again, corner.
I often tell
my students, think of our eyes as a camera lens. You’re going to zoom in for the detail, I’m gonna
zoom out to look at the overall,
compare that overall, that big relationship. In this case what we have is his head
and that elbow. So it allows me to know where I’m gonna place, you know,
place his elbow. That’s more important because that’s
I have this cat here
you know, again drawing through.
And that kinda tells me
where this knee is right here.
Looks like his thigh might be
above right here and his belt is about right here.
And that’s the hat.
And that’s the hat.
And I don’t mind if I make that hat a little larger because it’s, you know,
coming closer to us and maybe there’s a message on the hat.
You know, because again it’s like off kind of after work
kind of a story. He’s just kind of resting
he went home or went back to the station and has this cat,
he just wants to relax. So
that means usually when I draw
even from the model I’ll still
think about stories.
to my drawing. Just like
a song too. Singing a song. Every song has this kind
of message and I’m trying to portray
that, in this case with my charcoal.
I use some of the technique that the edges or the
tones to see if I can
achieve the visual effect I want to try to portray
through my stories. That means every story, ever pose is a
different and every drawing should be a little different. That’s the thing we want to be aware
of the technique is the technique often
all your drawings look the same. That’s why you need to
interpret a story and that helps you to
know how you want to design
make some of those design choices
and every pose is different.
I’m gonna shade this, bring this forward. So
Feel that knee
Open this up, feel the
inner part of the
bottom of the pants and sit that shoe
and socks in there. This is going to be in shadow so I’m gonna just put everything
quite dark. Still the shoe is gonna come this way towards us.
Like I said the lower it gets, the larger it gets. I don’t mind
making this shoe feel a little bit too big.
This shoe points up this way, the gesture
that shape, the silhouette, see how that
socks breaks up to the
like to the ankle part of the
shoe. This shoe kicks back a little bit.
You know hopefully you guys got a lot
from the class and I will see you guys next week.
Free to try
1. Lesson Overview47sNow playing...
Watch the whole lesson with a subscription
2. Drawing from a Live Model a Charcoal Pencil: 5-Minute Poses (Part 1)23m 44s
3. Drawing from a Live Model a Charcoal Pencil: 5-Minute Poses (Part 2)24m 8s
4. Drawing from a Live Model a Charcoal Pencil: 8-Minute Poses (Part 1)24m 30s
5. Drawing from a Live Model a Charcoal Pencil: 8-Minute Poses (Part 2)25m 34s