- Lesson details
In this lesson:
In the eighth part of our comprehensive How to Draw the Costumed Figure course, you will learn how to harmonize your mark-making. You will be working with challenging 10-minute poses from reference and focus on zones, line quality, and composition. You will be working with charcoal pencils on paper. Our model will be wearing a medieval middle eastern costume.
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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I want you to pay attention to the marks that you put down and
how you put them down and what kind of areas, what kind of
zones you're using.
Think about the quality of the marks that you're going to put
down and we're going to be working with 10-minute poses.
And you may feel rushed to do this because you have to get
the, you know, the whole figure in and then start consciously
thinking about how you're going to be illustrating this and
breaking it down and to juggle all those things at once is kind of
difficult. So if it feels a little stressed in the 10 minute
spurts just keep it to 10 and work with that. The more you do
these the easier it's going to get so rather than just spend
the long time and refine and refine and refine, I'd rather
you work with short 10 minute spurts and do more and more of
your 10 minute spurts because that's the way you're
really going to learn it, you know, you can spend days and
days on one but you're going to get it slowly this way, you'll
go through a hump of frustration, but you will get
it and you'll be able to do it more intuitively and manage
those things intuitively. That's ultimately where you
want to go. Okay, so let's have fun.
and it's a Middle Eastern costume from
Somewhere in the Middle Ages, fourteen hundreds possibly.
Okay, very cool.
Okay. So what we're going to be doing, what we're going to be
and working on today is how we harmonize our marks. Okay, last
week we looked at line, mass, and form and we're looking
to create marks in our drawing that
either described line for itself or mass or form.
Okay. Now the question is is you can use these three
different types of lies or bias your lines in those ways, but
how do you harmonize them throughout the overall
painting? So it's not all one group or you know
just being conscious of the lines and type of lines you're
you can - yeah, that's a good pose. That's good pose if you
want to do just that too. So what we'll do is.
Now the kind of line - I'll just talk about the lines that I'm
putting in this. This might be just a general gesture line. I
was - that's going to be his attitude or alignment of of him
I'm going to use the - create some other lines that
are going to be more measurement lines really to see
where I am along this pose.
This is little bit of an angle here at his hip or his waist.
Over his hips.
And out here.
So I'm going to kind of just getting my placement right at
the moment. These lines will be kind of overtaken. Really I
think I just want to get understand where my
proportions are and how I'm going to work with those.
So I'm just going to get a general idea of
where these masses are and then I'm going to start diving into
Okay. So here's my general - the general emphasis on what's
going on. Now I'm going to look at how do I want to manage
or harmonize these marks? Am I going to just - am I going to do
things - let me take care of this again. Am I going to look
at creating rhythms through the forms? Am I going to use a
of the shapes or patterns on the shapes more like masses and
stuff and how are those things work? I've got a lot of
you know and you can choose what you want to do. It's the
idea with all of this is is finding a way to be consistent,
you know, whether you're using light and shadow or whatever. So
maybe I'll do that. Maybe I'll do
a bit of light and shadow and then some patterns. Okay, so
maybe what I'll do is I'll just get -
I'll get a little bit of a shadow shape working on here.
play with this shadow shape, that'll work.
And if I put the shadow shapes up there, I'm just going to
kind of play off of those and maybe
work them into
just his -
maybe in his chest area and torso and then I'm going to
create an effect in his - or creat a difference in his
garment so we can take advantage of some of those
Just make this a
I'm going to make this arm over here subordinate because it's
going to be pushed into the shadow over there. So I'm going
to go ahead and
make that subordinate here.
And then what I'm going to do is as long as I'm
creating a little bit of
difference between his
physical form and his clothing, I'm going to change up the
fabric just a little bit or not change it up but I'm going to
describe it a little differently and
I'm going to try to bring those two things together.
The form and his
figure and also the
the description of the mass, but I'm going to end in
There's things - there's a pattern to this. Let me get a
little pattern on here.
Make the -
make this a whole mass, just do that. There we go. That will
Again, I'm looking for these - look for patterns. I want
to look for patterns that are going to be
talking about if I say some of the shadow shapes in here.
Maybe I'm going to make these all
dark in here.
And this a little bit lighter,
just so I can
kind of read those things. I'm going to do the same thing with
his pants down here, put this all in this into Shadow here
and then take advantage of some of the folds.
So I have a little light side in the shadow side there, so I'm
playing this up on the material a little bit down in here.
Okay, so now I need to just kind of tie this together.
Okay, so there's a strong difference in there. I'm going -
now what I'm going to do is I'm going to create it.
Since I created a line on here, I'm going to create a texture
working in a zone like this.
And what I might do is I might just play this even
just along - Maybe I'll just do it along some of these
edges of the form in here. Maybe I'll just
kind of like almost like it's overexposed and kind of burnt
out there a little bit and see what that looks like.
And if it doesn't work then and I can always change it to build a
continuity in there. I'm going to go ahead and
darks in there just a little bit.
This one. I'm going to keep
try to keep more line
work, work a little bit more of a line work
the last one.
Again, I'll try to keep a little bit more line movement
going on in this in this image, so.
And it's really kind of just making the choice of
which one you use to depict.
You know just depict an interpret what's going on.
So I'm staying with line throughout this just to kind of
just play a bigger part in line to play a bigger part in what's
going on here.
Get a little bit of line here just to get show
how the form wraps around there.
There we go.
A little more kind of a pipe fold down there.
If I open some of the lines it's going to create some
passages here that you're going to be able to be you're going to be able to
move in and out of
that might be kind of interesting too. So I'm going to
kind of play with
some of that.
I'm really looking at the
kind of the character of the line a little bit more than the
anatomical correctness of all of it.
I am concerned about getting things in the right place and
right position, but I'm also looking at
just the design of the lines and stuff. So in
this case if
I'm establishing this kind of a line work
I can give some other kind of - I can give more bias to it if I
you know, expand maybe just the darkness of some of it.
And then it's going to be a case of - if most of the rest of
this is all line work,
I've created a light and dark pattern with his
hair in here. But do I want to do something else.
How am I going to follow up this harmonizing this up here
with what you see so that's kind of what I'd start
playing with now it's like, okay how do you work that? Do
I have something in here that I want to put in or how
would that work?
What I can do is I can just start putting
kind of a fill pattern.
You know that's similar to the same kind of line but curved
lines. So I'm going to harmonize small bits of line
and I'm going to like I did for his hair. I'm going to do in
the pattern, but either going to be different kinds of shapes,
different orientation of shapes
that might exist within this zone.
Then it's going to come down to okay, how am I going to lead
your eye by doing that throughout, how am I going to move
your eye completely through the image?
If I bring this around here.
And then I'm going to bring it down in here.
And right down into here.
Okay. So now what I'm going to do is maybe since I've got this
pattern kind of going on in here is there a secondary
that is getting lost in here? So what I'm going to do is I'm
going to - I'm going to add a little bit more linework
but I'm going to make it a little bit dark like
trying to get a little bit of a mass in there since I kept this
in a mass and this in a mass, I can afford to keep this in a
So as long as I'm maintaining that same bias,
I can keep some of these things harmonized.
You know, if I'm
using line I can also take a look.
like a lighter line
my - like this that might help define a little bit more of
It's interesting when you start thinking about the
marks you're putting down. You want to just draw but and
sometimes - let's try it on the next one. Just do a light lay
in, just draw it first and then we'll make a plan. Okay, so if
that may if that works better for you, let's just start with
And then we'll kind of go from there.
I realize it is really different when you're when
you're looking at, you know, creating not just drawing.
what's there, representing what's there but when you're also
trying to plan what are your marks? What's your pattern, how
you're going to move in and out of there all at the same time?
It can kind of be a bit overwhelming. So what we'll do
is we'll take one step at a time
this next time, try that out.
You've got to be able to adapt and react and that's really the
fun of painting and drawing really, but it's having the
presence of mind,
you know, to continue on.
and some images I want to -
let me just go through the way of drawing for information,
questions and answers on drawing naturally, on technique,
variety, drawing and understanding as understanding
round and flat,
from light to
the scene, on taste, scene, and the medium,
economy illustration and contrived picture. contract the contrived picture.
So these are all bunch of
illustrations. You can see that you know, he's conscious about
the way he's putting down marks, you know, he gives
you these but he gives you a subtle element of this, this is
and that's how wehekind of groups. Here's your
In here, you can see the different areas are handled a
little differently. Her hair up here, her face and stuff in here,
and this in here. Now this half tone in here is the thing that
harmonizes all of them, the little bit of the light element
of subtle tone throughout harmonizes the whole thing.
Okay, and even coming outside the figure to kind of make it a
little more pictorially a vignette like that. Also just
kind of concludes the outside. Okay,
stylizing some of the shapes.
Look at the definition of the different techniques or
different applications in the different zones.
Same thing here.
Searching for some of the shapes and the design.
Little bit of variety here to here to here.
And then I can sit down and I can look at
how I want to actually - what kind of marks I want to use
Do I want to create different patterns? Do I want to
illustrate a little bit more form into here?
I think what I'll do is on this one maybe I'll go ahead and
put a little bit more form in.
And if that being the case, I'm going to look for
use a little line to get the the form with a little bit of a
kind of a crosshatch.
It's kind of a treatment.
Okay, so if I'm - again, I'm working with kind of lines to
create these different forms. I'm going to
do a little bit of a crosshatch on some of these
Depict some of the form in here.
So as I go through and draw I'm going to
start looking for -
if I'm doing some cross hatching and stuff like this -
I'm going to be looking for ways that I can move the
viewers - I'm gonna be conscious of moving the viewers eye through
and around so I'm going to come down the shadow side here.
Okay, I created a little bit more of a shadow side along
this side here and then come around this side and now I want
to bring it around and come over back over to this side. So
maybe I'm going to drop some of this into shadow.
And I'm going to accentuate the shadow here.
And pick it up on his hand being in shadow this way.
Now accentuate that a little bit more too so we get a little bit
more out of this.
I'm gonna make this just a little bit darker, this a little darker
and this little darker again to bring my right back down this
And if I do that, I'm going to want to accentuate this
You can see I'm thinking down through here and up into here.
So I'm designing where I want this to go. And then if I
come down to here, maybe I'm going to drop all of this into
element or a darker shadow in here to bring this
Just so I can keep pushing your eye up here.
even up here maybe I'll just
this time I'm going to look at just the kind of the attitude,
direction, so that I can keep my focus. I can see a strong
attitude like this, like this. This is kind of a directional -
if I thought about any kind of gesture it would be more like
this, you know in the seated pose
and then from here.
Again, I'm drawing shapes that are going to kind of
resonate with the direction that I want
the viewer to
look. For instance
even if I do this
when I get in I'm going to start looking at things like
Okay, so these things are all going to make a difference.
Not that these are the most dominant thing in there, but
they're the difference within these large simple shapes. So
I'm going to place them in there being the difference.
Okay, so getting a little bit of form placed in
there we go.
Might look at what's dominant in there, what's subordinate in
you know, shapes and how these come together.
I'm gonna tofavor one side here
because the lighting, going to favor one side
in light and shadow.
These little areas I'm gonna make a little darker in through
here just because I want to bring a little more in focus in
I lot of this, you know, I understand a lot of it is
pretty subjective about how you know one image you kind
of break your marks down one way and then you kind
of do it another way on another image,
you know, it's going to change up.
I'm using these smaller marks in here. and in here.
If I add a little bit more shading on the skin in the
body, that was a choice that I was doing
and I was trying to keep it in kind of a linear way that would
that would -
my pencil is so dull there so -
but I'm trying to do it in a way that
maintains some of the line on some of the these areas.
So I'm still trying to keep a strong amount of line going on
without, you know, without making it too
broken up or you know, I'm just using more
delicate little lines in here. A little more subtle in there.
I can you know, just kinda describe describe.
some of the form but also
not go too far with
you know filling something in shading. So I'm just kind of
playing with those kinds of
And if I start to put in some things that are -
let's just say
I start putting in some things and they start getting darker
and you know create a little bit more dominant so I can I
can also I can darken some of these,
you know, if I want to really leave some of that or maybe
what I can do is
maybe just filling in an area too.
Maybe that's a way to go with some of this.
Where we just say this
might be a little bit more.
You know a little bit more linear, whereas I might just
take advantage of you know, this, make this dark
as a mass.
As long as there's enough difference, you know, I'm not
even filling in the line here too much. But as long as
there's enough difference between the cross hatching and
Yeah, it will separate.
Play up a little bit of difference
this way too with the
I'll get some line in here.
But since on his vest I made it
I'm going to go ahead and make give his pants a little bit of
a tone. Since I kept this a little bit more of a tone. I'll
give a light tone to his pants as well. Really differentiate
So I have different parts in there.
Now just try to harmonize that with something in here, too.
You know what I can do is I can also take something like this and
bring it into - like Fawcett was doing - bring it into the
background a little.
You know from something that's subtle
as a passage.
Right, and then I'll just - I can come back and pick up some
eliminate some of that in
Fawcett, Robert Fawcett book, to get that kind of feeling for
And again, if I made some of these lines pretty dark in y
here, so maybe what I need to do is find a way to resolve
that by bring up in here. Maybe I just make this a little bit
Right, to bring this up in here and then maybe underneath here.
Maybe I'll just do this,
just the top of it here.
Though it probably won't hang that way, I'm just making a
subjective decision here to make these darker areas here
lead your eye with these darker marks up and around the figure.
So I'm leading you from here to here. I can even kind of come
across like this. And if I want
maybe even just connect that way.
So now I have kind of a full
relationship, line and form.
I made this a strong kind of a shadow shape going on down
there and then I can do the same,
kind of following along down here.
Again, I'm going to start looking now for areas that I'm
kind of build these elements of rhythm up,
These are going to be directional things that I'm
going to push over the top here.
So I'm moving your eye up over this way.
And look at the back of his hand here.
Okay, I'm gonna also - now I'm going to look for
things that are going to lead me right around.
In this manner.
So now that I put a
little bit of tone on the - I started with the dark here, but
then I put a little bit of tone on
and on this one I kind of left his
skin a little bit crosshatched, little sketchy.
Kind of loose and a little bit sketchy. If I want to continue
that up here
I can continue to do that, but it just means that
I'm going to need to make sure that whatever I do up here
it just remains -
I do it kind of
So as I'm looking at
the way these marks work, I'm just going to try to remain
consistent to that
in this area.
Although I'm not getting a like this here, I'm trying to
stay true to the
kind of line, you know.
You know in areas like this, I'm looking at the negative
shapes too. I'm going to -
this whole negative space just to make
sure that I get the shape, right?
Looking at this negative space here.
he creates a pattern, a light dark pattern and the
pattern it remains the dominant thing. So they feel more designed
than a lot of other other images and but he'll connect
the dart shapes and build rhythms. You
see how this kind of flows down here and around and around into
the belt and down and back up. He's really conscious of
building rhythm throughout the the image. The light and dark
patterns that he creates in here framing some of those
elements, limited values, very subtly limits his values in
some of these areas and and makes
real interesting kind of patterns and stuff, warm,
cool, warm, cool, and he plays that, putd warm cool in here too.
This is Hirst his shapes too but simplified values
and stuff and these strong directional shapes.
This was just a folder that I had before I forget
I'm going to share this stuff.
You see the strong values in here is going to,
you know, keep your focus up here and the shapes and stuff
like this and then all of these is how you pushed everything in
here as a directional shape. You see that they're not just
figures on the ground. They're serving a just certain they're serving a
purpose. They're only secondary to what they're actually doing,
you know within the image then a lot of the directional things
you see. This is a curve coming up here, the curve and the eye
lines going up here. He creates a curve here, too. By having
this come over and then around so this becomes a dominant
framing thing. What you get from here to here, these near
alignments that it kind of brings you around here,
framing him, bring you around here.
A directional thing is to keep you moving.
I'll just kind of point out - I'm just going to point out
some of the...
Okay, so this guy is our focal point. So he gives you around
something like this.
The frame that gives you
this to lead you up in there.
Okay, and this and this to lead you up in there, then coming
This comes back this way. You see by doing this it keeps
this the positive shape.
And then to close that off to keeps that in a directional
thing. So this this ellipse has a direction that goes right
down towards these guys now the look at the faces here.
This is got an attitude out this way. This is an attitude
this way and then around like that again, look at this. Points,
points, and then the eyeline points up here.
You see all of that. Even her hat. It's got the axis. The
axis of the hat is again in this framing thing,
like that. Frame,
so it's all framing him in here like this, right the back of
the dog frames him.
these lines, all of these things are framing elements that are
coming around again. Here's a line aiming in
like this, aiming in like this, like this,
and then bring you back down here.
Back up in here again, back up in here again. It's all kind of
leading you around. If this comes down to follow it up here,
follow it up here and back
lines are you going to go like this.
Is it like that, like that.
There's so many things that just keep moving your eye.
Now again, I mentioned this guy comes out like this,
but here's the important part is this important part is this
shape here because it's in line with this.
Okay, so it's in line with that.
There's a rhythm that goes not just within the object from
all the way from border to border all the way across the
you know, you're same thing with this guy.
If we want to follow this around this way, we're also
going to get things like this but there's a directional - see
this force, this force being like that, like his knee. It's a
directional force that pushes you in this direction and then
it's followed up by the belly. So it's like a near alignment
that kind of comes around ,which is really cool. That is
thinking that is that as a shape on its own.
There's so many dynamic things that move along with that.
Bringing up into there.
It's really pretty fun.
This is great too
And all the folds everything just
all lines up to this
the guy with a crutch.
All the lines, all these folds, all these lines in here and
sweeping down in here.
And this has got a lot of rhythm to it too. Is has a huge
amount of rhythm to it.
Now arcs back here and even the lines come over the top
The eye goes right up the eye line here.
Up here, sweeping fully from there.
It was done a long time ago because it was the Brooklyn Dodgers.
Okay here we got something.
These are all exaggerated shapes and stuff and pushed but
you can see they all sweep up here like this. This one's more
aggressive than this one.
You see? So you get a -
it helps with their attitudes. The textures on this the the textures on the on this
character, on her dress. They seem to follow the form just a
little bit more and with the stripes here too and then lines
there. She's pretty flat. She's very active.
It's pretty crazy Oliver Hurst, what he, you know, what he heard what he you know what he
really pushes his shapes beyond just the designing a character.
It's how its services the whole composition. I think that's the,
you know, the main thrust I think that was what he
was so strong with.
through a number of poses.
What I want you to do, draw from some of the
images. But what I'd like you to do is draw from some of the
timed images that are online and through YouTube and I want
you to draw some of those and just so you have a time limit
that's going to be critical. You can take sections of the
model and maybe you break out their hair a certain way or
their features a certain way. Go ahead and do that.
Or if you have some of the clothed poses take some of
those but don't spend more than 10 minutes and just do a series
of them. Sit down when you have you know, a good hour, two hours,
three hours, then you can actually put 10-minute little -
put a timer on for 10 minutes and do those.
Free to try
1. Lesson Overview1m 17sNow playing...
Watch the whole lesson with a subscription
2. Drawing from a Live Model: 10-Minute Poses (Part 1)26m 4s
3. Reviewing Master Artists Drawings2m 33s
4. Drawing from a Live Model: 10-Minute Poses (Part 2)24m 31s
5. Drawing from a Live Model: 10-Minute Poses (Part 3)31m 45s
6. Breaking Down Master Artists Drawings8m 39s
7. Assignment Instructions56s