- Lesson Details
In this lesson:
In the eleventh part of our comprehensive How to Draw the Costumed Figure course, Charles Hu will teach you a method for directly sketching short-pose figures. You will use fountain pen and charcoal pencil. Our model will be wearing a contemporary men’s streetwear.
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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drawing class. This is the class that involves a lot of
sketching technique. We're going to be using a variety of
different mediums and ballpoint pen, fountain pens, and even
markers. So it's going to help you to benefit if you're drawing
from locations because and that's why the costume -this
costume class will be helpful because like myself, I
love to go to cafes, libraries, places. It's just to, you know,
to do I'll say sketchings and and I'm going to show you guys
the technique that I use. Variety of different techniques. are you different technique?
There's some techniques are more based on observations,
there are techniques based on design, more
different design focused. And also there's other methods
that are going to be more focused to produce more three dimensional
drawings, but I, you know, but let's just get, you know, get
to our drawing board and I'll show you guys guys what we're
going to be doing today.
I'm going to show you guys a few of the examples that I have
done on costume drawings and some of it might be figure too
but this is on a tone paper and we're going to explore tone
paper later on,
in the later weeks. I don't want to start with that because
first of all tone paper is pricey and then I want to get a
little bit - introduce one more fundamental elements and before
we get onto this paper. So as you can this this paper. So as you can
see this page it was done with the fountain pen and I
believe this drawings right here
was done with this. just won't impair right here.
It's by pen and ink and they are very expensive. It might
cost around $10 and a fountain pen can come -
they can come in a range from $10 all the way to
And then I have another fountain pen, which is by
Faber Castell. This one. It costs a little more, I think
this cost me about I think maybe 65 to 70 dollars. This is
a media nib, you know, they come with a
different nib. There is a you know,
this one is a medium nib and this one is extra fine.
And I have another fountain pen which is a fine nib. You
might see me use the the medium nib a lot because it
it helps me to you know, helps me to just draw shapes and then
you know if I show you
like we see this drawing this page right here. This was all
done wit this particular fountain pen right here and
later I will show you that, you know, the
technique how to do it and it ends up - it's all pretty much
focusing on the graphic shape and
almost just almost like contour
It's a very fun and
fountain pen give you this more graphic look to it because
there's no aggregations that you can you
you know, you can do like the charcoal or a ballpoint pen
is everything just straight black.
these are done super quick and these might just two
minutes, even less than that. And again all these were and the old again all these was
done with this. But actually this page maybe was with
this fountain pen.Pen and ink. But you can see for I like you can see for window
some quick ones and a lot of drawing I'll be
focusing on you can see just a silhouette design or
silhouette design of the shapes and we're going to get into
that because I should say a very important and not just
important for the design purpose, also important
if you want to be a painter because when you paint all you
want to focus on most of the time you'll be focusing on is just a
graphic relationship, not necessary to three-dimensional
tube and boxes. Those will come more later towards the
And these also are done pretty quickly and you can see just
some figure involved, you know,
techniquely might be a little different because when we
we're dealing with the costume, but dealing with more graphic shape
and those graphic shapes, it's a little more
noticeable and it's more obviously I think it's just
in some ways easier than drawing a figure because when
we are dealing with figure we start dealing with
anatomical details and some of those still - some of those
details are less forgiving, they have to pretty accurate
in terms of placement. In terms of shape when it costume, like for shape when it costume. Like
I said a lot of times you play with this abstract
balance and like I said, it's more forgiving even
though it's proportion is not perfectly accurate, but
as long as the overall balance and and the design looks good, you
know, you can get away by it. Okay but in terms of getting the figure
if, you know, if the rib cage is too low or if the
pelvis is too high or whatever or it has too big. And
know whatever reason then people will notice that
like I said, we're not going to start with tone paper. We're
actually gonna start with the regular white sketch paper, and
you know these are so simple just a sketch
paper, not drawing paper. If you go to the art store, you
know, they come with with, you know, the cover says
drawing paper. Those are a little bit heavy duty. They are
able to take more variety of medium like charcoal and pastel
but sketch paper a little bit thinner. So it's a little
bit less expensive the drawing paper, which I like to use. And
because we're not really going to use pastel
kind of powdery medium. We're going to use more of a
sketching mediums and I think this sketch paper serves,
you know, just as good. Okay. So
beside the fountain pen we're going to be also explore
ballpoint pen. Like each medium will give you a different
outcome and they are good outcome. Like they
sometimes they force you to observe differently, you know,
first the reason why I'm saying this is today if I'm asking
to draw use a charcoal or even just a graphite,
because you know, those are, you know, erasable a lot of times
students become less careful. The benefit is because you can
drawing through, you can be more sketchy like the Disney
animator will do and you can create this beautiful line
weight, beautiful toe. But again the downfall is you're going to
draw a lot of time but what you know and less than what you see
and you're going to be less focusing on your observation
and draw from more of your, you know, base of your comfort
zone and start sometimes can you know can -
like I said, if you know what you're doing it's great, but then
if you're not and so you are kind of just almost like
cheating yourself because you're not really, you know,
based on your observations. But then if I ask you to use a more
permanent medium, like all these - even marker which later
on I'm gonna show you the marker that I use - then you can't.
You know, like I said, you just have to be more precise, be more
careful that allow you to focus more and I think that
concentration will be beneficial for you or for your
future for your long-term. It would make you a better artist
in that way.
of talk my way through it. My thinking process. In this class
I'm going to talk about a lot on designs, you know, actually,
you know kind of design lectures if, you know, if you
want to put it because like I said earlier it's a lot more
graphic shape that we can play with.
You see what I'm doing now I'm basically looking at
the shapes at what the overall I think about, you
know, almost like a paper cut out. What's that paper cut
on right there?
What's that shape up to her neck and also the color, how
they come off on her chin that creates this nice triangle shape
the button right here and set back up that coming straight
down and then her hand is coming down right about right
here kind of interfering with the neck. So I'm just gonna
give her a sliver of silhouette. What I like Sable? Silhouette what I like
is this sleeve right here cuts in this way and also this one
cuts in this way. Usually what I don't do is I
never like to repeat the sizes or, you know, in this case even
though they look almost identical but I wanted to make
this one - I need to make a choice. In this case
this was more dominant because it's in front. Okay,
maybe that's good enough, even though if I'm making this too
almost the same length, but as long is this is dominant it's coming
over that, that really makes it a more stronger statement so I
can then I can afford to make this to be the same length.
Can see her shoulder coming over right here.
Later on this week we're going to talk about folds and it
is probably one of the -
you know the problem that people have is
how they draw those folds in quickly and more
and then also feels right. Okay, we're going to
talk about that in later weeks, but now we're
focusing on the overall just a lay in part of it.
The neck comes down and throw right to that triangle color
right in here. You know, I love that triangle shape, just points -
take the viewer down and her zipper pulling back, the her zipper putting back the
other direction, color coming forward. That's not good. I don't
like tangents. I'm going to bring that umbrella forward a
So she's pulling at her jacket and feel the folds
pulling down and then pulling, grabbing, and then
the jacket, bottom of the jacket pulling off to the right
because the hip is pushing this way, right?
So always draw, I like to always think about drawing through the
and pinch side. At least for now, for the pinched side I just
give me a zig zag. I could be good, that's good enough.
And any part, I like the opening part like in this case
the sleeve, I always tend to like to draw through it, you
know, draw through that ellipse.
Look at the shapes difference, like the scale difference like
to a skinny knee.
Pulling down, get back to that triangle of the collar, the
back side of the neck a pinch. You got the color coming right
And this, the zipper which is great. In this case the zipper
can use that as a center line of the figure so I can
just pull that down.
Going through that shoulder, feel that volume, especially
foreshortening you just really have to draw through, you know,
and then again draw through again, finding that corner of
the arm, the armpit - sorry not the armpit, the elbow.
To me off there's a lot of things going on that sleeve. But
at least for now, especially in such a short only three minute
poses, I'm just going to get her to get the actual the
overall shape which curves here and straights here.
I want your eyes to look this way. So I'm going to bring this
collsr out more and your hand's going to be right
here, fingers. I'm just going to get a rough shape
right here. That's where she's holding an umbrella and now I'm
kinda pushing out right here because
breast is pushing out her arm.
Even though if I'm looking at the end of the jacket on my view,
my perspective, my Level looks very flat, almost looks like a
horizontal but I will need you I would try to
change that - trying to avoid drawing anything vertical,
horizontal. In this case I might just gonna push a little
bit of my - just still going to curve. I still want to curve up
a little bit.
I feel like we're looking slightly from below.
These rain boots I want to feel that the top of the
green, blue seemed almost like you seeing through.
Usually when I sketch, 2D sketch pages, you can play with
the placement of the figures, you know, you can, you
know, overlap and different sizes, it feels
and give more of a sketch feel to it.
I like this
angle versus straight. So I'm going to keep this quite
I like something sharp versus something more round. So
the back umbrella is going to be quite sharp,
then I'm going to play down something else in front. Maybe
I'll make this little more rounder.
One side round, the other side keep it straight.
I'm thinking about what -we'll get to the shadow later. We
could get side, the front, side and the back so I can afford of in the back so I can afford
to just to play with shadings, get a sense of maybe her
back is covered by this umbrella and everything would
be like, it's you know, creates these shadows onto
So usually when I sketch I kind of just expands
from one drawing, it kinds of spread out. So like and also
it obviously depends on where the figure is viewing. So if she's were to figure viewing if she's
looking this way, you know, I probably put her down here
somewhere. So it looks like she's looking over here.
It looks like her hand's right here.
Back of the umbrella handle.
See, I want to keep a slight opening right here. You see
that little opening right there. You can feel like this
the sleeve is resting on top of that hand and then I'm going
to push this out and then look look out for that diagonal
relationship. Push this
This hand is just resting.
Look at this elbow compared to this elbow.
Sometimes these little text helps you to great because again help you to
feel that plane that this little text sets on
could be a side. This is the front.
The little zipper right here.
And I look at it and if I'm looking in silhouette and see that
they're coming up right here.
Let's come over on this side.
If you like that whole shape that wraps around her neck.
Look at this negative space, see how that's where
right here in her hand looks about right here. See
compared to that triangle relationship.
Again, see all this practice, you can imagine sometimes
imagine if you draw this on, you know, on location maybe
waiting at the bus stop, you know,
you have to able to establish these shape quickly,
quickly, quickly as you can. I can even draw a quicker than
I don't want to draw too quick and you guys are not gonn know 10 until you know, if you guys
what I'm doing. all this know what I'm doing. all this
is my thinking process and all I'm doing just I speak out that
process and so it allows me to draw quicker, but
a lot of times quick, it just comes down from experience. It
doesn't mean you just draw fast and then you could
you do a better drawings than the other person. And
sometimes when you draw fast, fast.
like I said,
it helps with making your drawings looks more -
might be looks more exciting or,
you know, has that quick sketch
feel to it but,
you know, but sometimes
like I said, you might draw off
not of your observations and that
sometimes can be problematic. Okay?
Well, anyway, let me just throw you one up. Like I said if I'm
going to draw quicker.
See how the -
it's still the same thinking process.
But I'm just speeding it up a little bit.
But like I said if I,
you know, a student just looks at until student just look look at
it and they just look at how it looks you can draw so quick,
but that's still not what I want you to learn.
What I want to learn again is the observation part,
the design part, right?
So, like I said,
once you understand, once we understand the
concept, once you understand what you're trying
accomplish in your drawings, like I said and then
with obviously still with some fundamental knowledge of
proportions, like you can do it - you can draw it quickly.
So I still got some time I can even put some
shading to it.
And I promise you I will show you guys how to do what
I'm doing here.
Now just an intro
to show you what sketching -
some of the sketching technique that I use
and see how
versatile this fountain pen can be.
relatively fast. But like I said if you're drawing from location,
sometimes you don't even get that three minutes.
Different costumes a little bit.
It shows right here like that the top like I can use that
dark sometime light, also thinking about think of also thinking about
dark and light contrast. I can use that.
The tank top right here creates some type of contrast
also helps me to see it, you know getting a proportion of it
where that shoulder is.
Right and then
look at this negative space and there's where her hand,
one of her hands in shadow beside the fingers on the
top. I know right now this thing it looks kind of very
If you want to know how to to draw the hands
then take my figure drawing class, beginning figure drawing
class or just basically practice drawing hands because,
you know, you want to know how to draw those hands
in a quick manner like this.
Again compared to those corners,
I feel that the back, even the back, has a gesture too. I feel like
it's kinda leaning this way a little bit and maybe just
this side of the edge of that coming out.
As you are making choices, how big you want that bag to be.
That looks like a pretty big bag so I can afford to make, you know,
to make a little bit larger.
What I'm doing here - just because there's so much going
on, you got the rope up from the back at the tanktop.
I'm just going to darken the tank top to help
this kind of separate these elements a little bit. these element a little bit.
See now your eye is going to start coming here. So I'm going
to bring your eyes down, but I'm going to bring your eye back. So wouldn't bring right back. So
I'm going to create a triangle shape coming this direction.
Closer to us, the bigger it gets.
Often if I want to think the parts goes away think departs goes away
from us. I might be able to just kind of give my whole
shape just to
sit back and you want things coming towards us obviously,
then we can give a little more detail in this case putting all
this textile on the boots.
And get that darker help to brings out that bottom of the
See the things that - right now I want to
create a different contrast. Here is just flat
darkness of the tank top and if I bring that same darkness over,
same stroke over down here. I think it's going to be
lost, the identity of that plaid shirt and then the tank
top. So here I'm going to create different, you know,
I have a little more time. I'm gonna been
even just put these in.
Again, I want to
keep this stroke a little more calm,
stiff, these feel kind of active. I'll keep this
a little more calm.
Even the hair gets a sense of where the hair flows.
The gesture of hair, think of a good shape, creates a good shape,
almost looks like a water splash like that.
this to me feels - the top feels a little flat, little kind
of little boring. So I'm going to maybe just erase out her
sunglasses and just bring something up and just see
how it feels. I think I like that better. So you got, you
know, you got this going on, right here, the hair kind of bring brings
Again, help - use that tank top right here. right here.
Helps to see where the neck stops and the shoulder begins.
She's - the back is supported by the chair. So
I'm going to keep the back
Okay, we didn't
get that far from the last drawing. I'm going to speed up a little
bit. So but like I said, the same process just in process just
draw a little quicker.
Always know where the jaw and the ear.
So you use this -
again, this tank top helps to show where the top of the
shoulder and then the front of the shoulders.
See how the edge of that book again creates that diagonal
relationship and I like I would like to break the silhouette
which in this case create sthe hands.
See how it's a nice break down silhouette and goes to
the kind of flat book right here.
And then follow the silhouette, see comes out, goes back in, and
comes back out from the, you know, from the stocking right
And I want it to come this way. So if I'm drawing this rain
boots right here, I'm going to make my ellipse, which
has an axis which goes out like this.
See I feel coming forward.
Again, still have to work on
your figure drawings. For example the skin part,
like I said, if you have a costume today, we can use a shape to
you know, to cover things or use shape to help us to
find some of the other proportions. But if it's a lot of
just no skin showing that's just based, again, you have to just spaced again. You have to just
know some of the figure proportions like help you to
know, helping to find where that shoulder width.
See what I'm looking at here, okay, what I'm actually looking at
this is what that's what I'm saying will benefit the saying will benefit the
painting. If have a black paint or a
nice big brush. I'm looking at this.
Right. This is all we need, just filling that space right here.
Obviously that shape has to be interesting. You know, to be interesting. You know,
you see how the bottom
is pointing down so you actually has a gesture
that brings our eyes down.
Something wide, something narrow,
Flat part because I feel when you do that yourself you're
going to feel there's a lot of tension on the back of the
hands and the wrists.
I said waist ends about right here, the hip rises up,
the top and the side.
See on the
model this doesn't come at that extreme, this angle. I'm going
to push it more because I want your eyes to
look this way.
Sometime when I shade I kind tend to just - even though the didn't you just even though the
whole thing is dark the whole thing is dark but within
that dark there still is shadow in there. So I might just
still shade the shadow part.
And then I'll give a like a whole tone over it.
A few minutes on this pose. I'm going to just
speed it up a little bit.
Again see how this angle versus this angle.
This apex high, this lower.
This side's lower, this side's higher.
I’m gonna switch medium, we're
gonna use a Wolff Carbon and obviously
it allows me to, you know, to give more freedom
to allow me to sketch more, that means I can, you know, I can scribble
you know a little more than instead of using the fountain pen.
It’s a little more forgiving because let’s just say
I never erase my sketches. I just say if you screw up you can still
erase it but, you know, like I said
it can allow you to have a darker, you know,
allow you to have a lighter stroke
and also, you know, a darker value.
So because of that, you know, it’s able to
you know kind of draw lightly, kinda get this kind of ghostly image
and then work on top of that.
And then you can give like a quick tone
I still - the idea is still the same. Try to focus, you know,
focusing on the shapes. You can see this, her, you know,
her shoulder coming up about right here. Up this high
and her arm, sleeve coming down.
You can feel like the top is a little narrower and
the bottom gets
wider. And then taper off to the sleeve and then actually shift this way
because her hand’s shifted this way.
So you got that gesture like that.
Again this side can feel like it’s coming in more and this here is that
neck is gonna push out the collar
and then kind of swing back in.
Drawing through, this shoulder is going to come down here and then you’re gonna have a pinch
right here, this side is gonna be straight. Again feel this shoulder
That folds right here.
Some of that in shadow. And then here
is that darker tank top. I’m just gonna darken this again, helps me to
have so much line going on, helps me to simplify, you know,
the read - helps me to read a little more clearly too.
Again, even that black shape right there, still design it
can see more rounder here, more straight here, longer here, angle this way more.
Drawing through, feel the hip
kicking out from
And coming forward, see as
I’m following up the thigh.
See how this, again, this sock, stocking
comes, wraps around
she’s pulling the boots.
So I can even exaggerate here
I want to pull this in, so it feels like it kinda makes this
side of the stocking really tight.
Really firm. I can even add some of the folds right here too. So
kinda exaggerate that point.
Back of the neck.
the collar, wrap around
This right here, the shadow part of the collar lines up diagonally to that chin.
And then like seeing as the light source
is on the left side, we can leave it
kinda just I can give a little bit of the shape.
I can darken this
portion, helps me to separate
skin, sleeves, cast shadows,
This sleeve coming here, this arm coming
Creates a dynamic shape. Like see how the arm again has a flow to it, flow this way.
Give a little gap right there because if you imagine if I put that knee, which is in this
not, if I put that knee right against that arm right there it feels too crammed.
Everywhere else here really feels like there’s kind of
all crammed together so we want to have some area to have some relief
you know, gives a little negative space. Feels the air, kind of breathe through
Same as here. So I’m gonna give a little bit of space so now we can
see that, feel that identity of that foot.
Right here. Again if I butt against that knee
against that foot we would have lost it, we would have lost that foot.
foot, come up, give a negative space,
the rain boots come down,
the rain boots come down,
So make sure to know in this case, you know, we’re kind of dealing with
another design idea, and making sure knowing where to lead
to show the identity of each part that you’re trying -
sometimes, like I said, sometimes you might want to lose things
and just kind of, you know, connect them. But if, like I said,
most of the time you want to make sure, you know, we know if it’s important, like in this case
I think that knee is important, right, because it’s the furthest point, and I think
this story is about she’s holding onto that boot, I think that boot is important.
So you also want to give some identity for that boot. In this case, in this pose
it’s about she’s holding that sleeve.
It’s about this
neck flowing right into
A lot of intensity in here.
So here imagine that’s where the bicep is, but the bicep got compressed, right? Here’s the bicep but then
here’s the, you know, here’s the
where the upper arm meets the lower arm. And then
imagine drawing a tube, drawing through the tube, swing forward
and that’s where that forearm comes in.
Swing up and then goes on top of that sleeve
right here. So it’s stretched on this side, it’s pinched on this side.
So I can afford to make a little more intensity here, make it a little bit darker,
make the line width a little bit darker, make the shadow a little bit
So it’s about she’s pulling that
Drawing through. Feels like it pulls
down, drawing through, feel the volume. This side might be tighter
this side might be looser.
I’m gonna keep this forearm more straight.
Feel that volume.
So this side looks
calm, more passive. So I’m gonna keep
this more - push in more,
keep it a little more simpler. And this side I’m gonna
play off - bring it out a little bit.
where the tank top
and then the thigh coming out right here.
Okay so now we got a standing point, so I need to get
a sense of the overall, right, and then I also
often ask myself, what’s she doing? She’s, you know, holding - also holding
And then keep in mind the back of the neck is always
quite high and the front of the neck is much lower. The neck comes down, the chest
pushes out. So the chest comes out like this and the
collar, again, the collar wraps from behind. Look at that triangle
shape right here, the collar. Look at the other side, this is obviously
gonna be really thin because it’s further out.
And then here
the rest pushes out
look at the silhouette, here’s her
shoulder. I’m gonna bring this
hair up a little bit.
Drawing through, feel the
pinched side. In this case it looks like
there’s a lot of strong pinch here but then we get to the sleeve, it kind of comes down
it kind of wraps around the arm, arm is gonna swing forward like this,
elbow is gonna swing forward. And then gonna run into
the wrist and you’re gonna get that
compression again, so this is gonna bring it back up,
this going this way and that going down like this and then the fingers.
Okay so she’s holding the sleeve so I’m gonna bring this
like she’s pulling it and I can even like I said
add some of these folds, get that intensity of the pulling, but
don’t make them the same length, okay. I will make that longer, make that shorter, or vice versa.
And I want to feel that arm also feel where that arm pit is.
And I want to feel that arm also feel where that arm pit is.
So I want to make it a more square fold versus these are more stretch folds
these are more about showing the volume, this is more
about showing the pulling, it’s a different story.
And I feel when I look at it this is more intense here but when
I get down below her hand, things come down a little bit.
See feel this rhythm and this.
Okay compare the overall feel, the overall.
let’s - again I’m still using the Wolff Carbon
allows me to
draw through, feel the stretch of that neck.
See how the pinched side and this is going to flow
right to that
pit of the neck.
Here I want to again open this collar
it looks like we got this diamond shape right here.
I like that shape, that design
right here. I can see a little bit of
cleavage right here and here is the breast coming
this way like this. Again I’m looking at this whole vase, shape of the vase
almost you can kind of get a sense of that.
But actually here it starts getting more straight.
Again make sure I’m drawing through.
So this side is more straight, this side will come down more and you can see
the handbag you can see creates that nice
it breaks up that vertical. Because overall it looks like - overall
the design of the pose is quite vertical.
I’m gonna break that so I can.
It just is gonna pull in, it breaks up that shape right there.
Brings out that silhouette.
Adding this little button helped to give, again, helped to break
this flat shape right there.
And then when we draw that bottom of the skirt
also in this case get a sense of
that - some of the perspective that’s going - this is the front
that - some of the perspective that’s going - this is the front
and then you got this piece coming forward, which comes closer to us,
and then you probably want this to kind of overlap.
And then sit this one in the back. I’m gonna sit this one
far back, so really kind of feel like it recedes back
and it creates more deeper perspective. I got a little
shoes coming out right here.
So she’s looking, reaching into her bag. Which again, I like that silhouette
breaking out from the silhouette.
Again look at this shape and also break
See all this - you can see how all this dark
graphic shape helps to bring out this light shape,
to me this feels a little straight. I’m gonna bring this out a little more.
And then pull this out,
this comes down and then comes up.
straight, you can see this quite straight right here.
And then this kind of expands out a little bit, it looks like
there’s a little pocket right here.
And now I’m gonna design, I’m gonna push this, I’m gonna taper this like this
to give it a little bit of a better shape, kind of better rhythms.
Make her a little more slender and stretch her a little bit
Okay again look at the silhouette.
I’m kind of using some dark and light
value to create some of the
you know separations.
Kinda see how this flows this way.
So it doesn’t matter - you can push as far as you like.
as long as we can balance it. Like you can curve this
much almost to feel like it’s going to break her spine,
but it’s okay. We can come back and bring this back.
It’s all about balance.
See when I turn this
it flows down to that skirt better. Or
it can flow to the
What’s this shape?
Is that a good shape right there?
See how I curved this a little bit, see it swing down
and kind of echo to this. And so it kind of this swing here
Kinda this arm swings down this way
and this kind of hooks over the bottom of that sweater it kind of
helps to give that better flow.
Come down, swing forward. See how that
nice wedge shape comes up, coming forward, her arm coming
forward, something pushes out, something sits back. This comes out, this is gonna
push back. This is low, this is gonna sit high and it’s going to
interfere by something else, in this case her sweater comes
back up and swings and goes around her shoulders.
Group that with that hand.
Again this coming forward
I’m gonna keep this straight. While she’s stepping back
so this gesture coming back this way.
So again this is low and this is gonna kick
Blocking those shoes.
That foot in the
shadows, I can also make this look dark.
Made this side
get a sense of where the other leg is back
there, again, light source is in
the front. Even though this overall is dark, I can still kind of
you know putting down some of the shadow in the front plane.
Just lightly tint this so we will still get a sense of this is a dark
shirt, right, but again at the same time we got separation.
I like that break. Instead, thinking a flat
lines this is good. You know
it breaks up that straight, that contour line right there.
Button right here and she’s pulling out this way, so her hand’s right here
Okay so this, again, this
she’s pulling over this shirt, this side is straight
Again very thinner, maybe this
want to feel wrapping around the torso. This feels like this is maybe
the hip seems to push up, maybe this one I want to get a sense of
it’s - there’s some type of compression at the bottom
of this sweater.
Again this side of the hip’s higher.
Making this darker helps to
push out that hand.
Well things on this side, again right side
mainly is the shadow side and continues the shadows
like this whole side of the hair is darker.
a different dress. I'm
is gonna change back to my fountain pen but I’ll use a
gonna change back to my fountain pen but I’ll use a
type. This is a
fine nib and I also put this kind of olive green color
which I use this in my sketchbook. And you can
get a sense of different mediums, a different outcome, a different
expression. But like I said
it’s not really a medium, like I said once you
get used to at knowing what the medium can do, obviously it’s a lot of fun
with the charcoal or in this case
like the fountain pen.
See same thing as the charcoal,
you know I can do that or if
usually for sketch medium I might also sometimes just
give some of the contouring, like the muscle
like in this case the anatomy is kind of taking over so much I might just kind of put some of that
just kind of suggestions.
Straight, draw, don’t make this flat, draw,
longer, shorter. See that difference?
Okay, straight, and then that means this
is pulling in this way that means something else has to push out, right, something else
has to push out this side.
Pull over here. So that center begins right here but
now it’s going to end somewhere right here.
Straight, wider here,
Drawing through, feel the thigh behind it.
This leg coming this way, here is the whole knee
structure right here, the kneecap, but this is
facing right directly towards us. This thigh coming in this way and then
swing back like this so we get the
thigh comes in.
A lot of times like I said the dress
it’s going to help us define beside the structure, in this case
that structure but also gestures.
Or volume or form, in this case you can see this kind of wrapping
over the thigh, gives a sense of this kind of cylindrical leg
underneath. If you look at Michelangelo
and all those you’re going to see that a lot by
you know, using the fabric to
show joints like where the knee also feels like where the ribcage
meets the pelvis.
Finding straights. See I can keep my hair a little bit abstract, you know,
that’s kind of how I see it. But even in the abstract
expression of the hair you can still see there’s still a pattern to it. If you read this
carefully, you’re gonna see this is gonna - the hair comes out like that.
And this side is also gonna swing
out this way. But then this side is gonna sit over the shoulder, this side
right here is gonna fall kinda towards gravity.
So this is gonna get a little bit wild in here
where here can get
a little bit wild, I’m gonna keep the face a little more rigid.
Again the dress pulls in.
Compared to the head.
Compared against the thigh, so here it gets straight, here it falls down,
here keep it flat. Drawing through, get a sense of the volume,
of the torso is coming out about right here.
When I draw through, like I said, about right here I’m gonna get a little break, I’m going to
raise up and I’m gonna come back here. I want to feel where that hip
that you’re gonna see the hip is going to mostly break down to the down plane on the hip
here’s the back, here’s the bottom because when it shoots out it creates this triangle shape of the
Look at this skin part and
that angle down.
Tube comes down, flares out,
it turns to this arrow, the arm goes up,
grab onto this side of the hair.
Torso pushes out this way, so that means
the center line slightly pushes up to the right.
Knee. Feel the knee structure, looks like a
Keep this leg
quite straight because it helps to create this almost like upside down Y
Point out this way, this shoe is pointing this way.
And give a little cast shadow underneath the thigh. Maybe here too.
And these little textile are fun. It can vary
some can be drawn in on the side so feel like
it’s rolling over to the side of the torso, some coming towards
us, makes smaller onto the
side. Some can
connect it smaller
In this case, in this pose I need to
make sure I also pull her out, she’s doing contropposto pose
like one side of the pelvis is stretched, torso stretched and on the other side
it’s, you know, it’s more pinched.
So I want to make sure - I want to exaggerate on that.
Hair swings back.
Sternal of the neck coming down.
This side is more straight
and just pulling down this way.
See it pull this way.
Pulling her shirt,
comes down, pulls back, creates this negative space right here.
That helps to show the identity of
the fingers and her dress.
This whole arm is in shadow so
I’m going to just tone this down.
A lot of times what I like to do, I like to darken
like the hair beside the face.
It helps to bring out those facial shapes.
Bring that leg forward.
Bring that foot forward.
Again looking for the straight versus curve.
See straight versus curve.
also pulling down straight, down to the waist area.
Again drawing through like this hand right here is actually turning out this way.
The wrist out here gets the sense that the
wedge of the hand
see that wrist - the arm is going this way but the wedge is going
out right here. You can see the last
sits higher and this more closer to us so you got a
you know these fingers coming out like this.
This leg kind of sits behind.
Right if I’m actually right now using
newsprint, so actually
not the greatest medium to use for fountain pen because sometimes
it can just absorb the ink a little too much, for example if you kind of
do in the one area it’s too much like this
hand it sucks in a little too much ink.
Okay two more five minutes.
So again I’ll draw the facial mass
and I’ll build the hair over.
And see how this again the gesture on this side kind of flows out
comes in and ties back into the waist.
And this side, like I said, it’s more calm and more straight.
All this further side, so I’m gonna
play this down. And here’s her hand.
you never draw the same size. Always - when I say never
sometimes you can always break the rule but
normally for design wise you want to vary the sizes. It helps to
feel like it rolls over to the
side of the form when we do that.
And then breaks that silhouette. When I -
I love props because you can use the prop
I love props because you can use the prop
to create more interesting shape and also in this case it will
it can, like I said, break the silhouette to make it -
give it more story.
And also, like I said, for design wise it’s more interesting.
Again pattern is also great, smaller goes
So swing this way, pulling, push forward.
And then push it back and then rest over on that
Probably not gonna fuss with that
because again I’m using newsprint. This fountain pen
is quite fresh, I’m gonna try to not
spend too much fuss in one area
for too long.
So here again here’s the elbows, important
landmark, it shows where the joint and showing where the
The knee kicks way back.
Like I said I like to darken some of the area on the hair
just to help to push out that face.
That was a great class. Hopefully you guys got a lot from this first week. I know
I went over quite a lot of information
and obviously every week I am probably going to be repeating myself some so
we can, you know, we can always repeat what we learned off the previous week. Thank you
for joining me on this first class and see you guys next week.
Free to try
1. Course Overview1m 9sNow playing...
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2. Mediums6m 49s
3. Drawing from a Live Model a Fountain Pen: 3-Minute Poses (Part 1)20m 49s
4. Drawing from a Live Model a Fountain Pen: 3-Minute Poses (Part 2)20m 37s
5. Drawing from a Live Model a Charcoal Pencil: 3-Minute Poses (Part 3)20m 16s
6. Drawing from a Live Model a Charcoal Pencil: 5-Minute Poses (Part 1)25m 4s
7. Drawing from a Live Model a Fountain Pen: 5-Minute Poses (Part 2)34m 24s