Welcome to the costume figure class. We'll see how the costume,
how props enhance or help the subtext of the story. This
is the class that involves a lot of sketching technique. We're
going to be using a variety of different mediums, ballpoint pen,
fountain pens, even markers, so it's going to help you to
benefit if you're drawing from locations because like myself,
I love to go to cafes, libraries, places to do on-site sketchings.
Fou have to realize that when you're drawing drapery you
actually are using drapery to draw the figure. You
will and the seven major folds, as well as approaches for
simplifying drapery and showing the form beneath in the case of
clothing. You will learn how different weights of fabrics
behave differently and when to use what folds you see and when
to ignore them. You will also have the understanding
necessary to create drapery completely from imagination.
We're going to look at basically the shapes and the
structure of the pose and a 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. See how one fold might lead into another
into another into another in terms of just finding the
rhythms throughout. So let's have fun.

Welcome to the costume figure class. Today we're going to be talking about the
pose and working out the expression of the pose. We’ll see during the course how the costume, how
props, everything else enhance or help the subtext of the story,
But it's all about the story and the expression of the drawings that we want to do.
So we're going to really kind of work with that today. Okay let’s get going.

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I’m gonna show you a couple examples of different kinds of drawings for different purposes and again - there we go -
these are George Bridgman and these are pretty much about,
all about the structure. And you can see he's illustrated these clearly and beautifully about
building the structure of volumes.
Okay, and pretty pretty much he's identifying these forms through simplified abstract shapes, okay, and passages. That’s what these are. Passages.
Okay, that's what you find in things like this. Little passages.
So he's basically sculpting it out of these blocks.
Okay, there is also anatomical and skeletal structures and stuff like that,
but this kind of drawing is actually is capturing and defining those elements.
So it’s a real literal way of interpretation. Some of these drawings in here
vary now, okay. This isn't quite as much of a anatomical illustration as it is just
pretty much depicting some of the contours of this character to make it look
like that character or the person,
okay. These span different periods and different artists and there's one thing I'll point out and
we’ll look into this a little bit more and there is the contrast between
surface and Illusion too. And usually with the drawings and stuff
this is another example, where in here he's really been careful about trying to build
this illusion, right, in her face in there.
Now when I pull my hand away, take a look at that.
There's no denying the clothing and stuff when you look at her clothing, you know, those marks really sit on the surface and it's not that they're just
done more clumsily on purpose, there’s a nice contrast because of this is simple and just really
bold in its direct description that really shows off the line.
He's real delicate about the form in here, so there’s more form dominant in here where it
just gets more linear out here in these. So he changes that up a little bit you know within
the drawing. Okay. This is more of a spacial kind of a drawing, right, where they're
depicting what forms are in front of what forms and moving through there and they're still
using a strong sense of light and shadow to depict what's in front of what and so on
Again, another structural kind of a breakup.
Trying to find proportions and
relationships, you know, in something like this. Okay.
Identifying the true chiaroscuro how you’re going to get the all these forms
feeding into other form. And this one isn't as, I mean,
it's just as deliberate but these shapes are really less telling about the accuracy of each
form but the direction of each form.
Okay, so it's less about how they actually come in and taper and stuff
and it's really more about their direction and purpose in the overall.
So you go up the neck,
ran over the lip, over the nose, over the eye, and so on. So there
it's really a description of those things.
There's a little bit of the boat, the last two.
There’s a handling of light and shadow, how you deal with with pulling out forms through the
effect of light and shadow.
Here’s Rubens again. There's a real simple diagram,
but then he goes in and he puts in some important marks to just draw
your eye around the form in some here, some delicate little areas in there.
Again form with that line.
More of an atelier type of study by Rubens as well.
And here's is really more the case where he's getting some strong anatomy in here but he's
also showing you the strong movement. He’s reinforcing these lines that are creating this
rippling movement, okay. Now just a bit bolder.
These are quite a bit more delicate.
But even here you can look at the form interpretation here and then how the folds
are just material and stuff
like this, there’s a real contrast between the way he handles those two things.
A lot of cross contour, just just saying this is what this is,
this is what this is it.
It's actual accuracy is less important than using those relationships to move up here, you know, to move your eye
across the form, those become the more important things that he puts in here.
So looking for different characteristics in these drawings are really important . And trying to understand what
the artist’s purpose was.
Okay. And these designs are really moving your eye. They're describing the form but he's
really designing quite a bit because he's leaving some of the the actual anatomy behind and he’s giving
you a little bit more expressive
suggestions in here. These are all pretty quick poses.
Showing overlap, the pushing of form kind of the stress points. He scribbled
on here and he scribbled up in there, anywhere where there's really pushing this
little bit more stress, compact areas like down, in here, up in here.
Those are - he's highlighted over a little bit more.
Some are a little bit more refined, okay, their anatomical structure and then some are
are refined in just they're kind of simplified form, like a bulge, he’s just saying
there's a muscle here or there's a bulge here and a bulge here. Some of the little nuances in here.
Gives it a different tone.
You know a different purpose.
We see a little bit of a different purpose.
Menzel, his effect of light and shadow and depicting a character to this light and shadow.
And these drawings lean a little bit more towards what we think as illustrations than
they are the more anatomical drawings or the descriptive anatomical drawings.
He's searching to get the right grip rather than trying to find the form exactly.
He does capture it but it’s a little bit different intent.
So that's what I wanted to bring up as just you knowid
our drawing should have - you should have an intention when you're going to draw and draw
accordingly.

Sometimes I’ll look at trying to get the big long line to, you know, if she’s standing
or if there’s a longer line going through there, you know, that I can see I’ll
kinda go for that.
Once I get that
long - the longest from here, then what I can do is I can see where some of these folds
where there’s a long stretch in here so I want to push that up so then that’s putting her shoulder up higher, it’s gonna help do that.
So I push that up okay so then it falls down this way on this side and then I come down in here pulling back to her hip
and then her skirt hangs off of her hip like that
Down in here, back up in here, and then going to go from here back up and around and then I can see on her arm how the knees kind of go this way.
So once I get that gesture showing that force of where those things are, that’s where the folds come from.
you know, radiate from. So you know again kinda getting that main gesture first, you know, then you can hang
all of the material, all of the structure off of those things.
Off those points that you pull.
I’ll push the things here - these are the things I’m looking at, kind of the directional lines that
that last pose to push up from her little finger here.
to another finger here, to another here.
Back out to here and then back in. So I'm trying to get this movement
between her arms and there's kind of this back and forth movement that zig zags through
here up and then keeps coming up in this way to kind of accentuate this, the poll
on this, that kind of a thing.
I’m gonna go over the top of this one too, get my the shapes right there. I come in here, my
shoulder up to the back and then come up the arm or her hand , the bottom of her hand turned up
in here and it kind of pushed up into her face, the back of her thumb and
so on. And I thought that was worth noting.
As I come up here what II didn't get is I didn't get her eyes up in
here. This is really more of what was going on. And then as - her shoulder’s forward like this it’s gonna pull from
up down here, cross here, and then back over in there.
It’s more pushing there than what I had before.