- Lesson Details
In this lesson:
In the seventh part of our comprehensive How to Draw the Costumed Figure course, you will learn primary principles of design: line, mass, and form and how they relate to making marks in the costumed figure. You will learn how to mix and match these concepts to control the focus of your drawing. You will be working in charcoal pencil on paper in this lesson.
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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going to look at line, mass, and form and we're going to kind of explore a little
bit about our mark making.
We're going to look at the folds. We're going to get proportions. We're going to
look at the figure as well. But we're going to really want to look at how we
actually put those marks down on paper and how you can mix it up a little bit to
rearrange the focus of your drawing.
down to your matrix still. I mean, that's the one thing we need to kind of
work with and begin from. So in this image, you're going to see the image on
the left is a matrix that's based on light versus shadow and then on the right
it's going to be an image based on light versus dark.
So the light versus dark on the right hand side, you know, everything has a
local value and that's how you see the differences between areas, whereas
on the left it's going to be between the light and shadow shapes.
you can see the
notan which is light versus dark and that's the pattern in here. Okay, and
then next to that you're going to see the effect of light versus shadow and how
that would break down. And then in this image, you're gonna see the combination of the
two. So what we see in reality is really a combination of the two, we don't really
see one without the other.
And the way that we design our matrix, it can be anything from something that's
monotony to discord or chaotic and harmony's going to land somewhere in the
middle. Okay, in this case, the the monotony is just a checkerboard.
Everything is even and
and a pattern and then harmony is variations on a theme. And if you think of
variations on a theme then you can think of it the way of major and minor key as
Here we're going to have a dominant factor, it's going to be more light
than dark or dark than light. So that's your major key or if it's in terms of
shapes a major key is longer narrower shapes. Some of them are more tapered to points,
some of them have little offshoots and and so on but there's a range and a
relationship between those discord is going to give you a variety in a total
break up and andjust kind of be chaotic. So harmony lands in the middle between
monotony and discord
primaries of design really have to do more with
the marks that we put down on the paper and visual components are really based
or have characteristics of their own. Whereas our primaries also have certain
characteristics, but those are really more about how you bias the marks you put
down on your paper to describe those components. Okay.
in the beginning before there was written languages. We use
images to comment on the world. I mean this has to do with with caves or
cave paintings and so on and as our verbal communication emerge and tribes
and civilizations came around we ended up with these different unique languages and
in 96 the ethnologies recognized 6703 living languages spoken throughout the
world but relatively few people understand more than a few of them. But
the one thing that we can look at is art and music
and dance and it was pointed out food
all have languages of their own and those are the languages that we can all
kind of crossover and understand. We don't need a written language necessarily to
formalize those. We do have relationships in dance. We do have relationships in
music and we have relationships in art and in art their based on our visual
compnents and our primaries of design. The way we measure them is major and minor
key which would be equate to a variation on the theme
and so we'll take a look at some of those now. If you take a look at this,
the drawings on the left left column are line dominant and line in texture tend to
work the same. They both call attention to the surface. They sit on the surface,
okay. And in these drawings on the left -
well, let's look at them across the top. In the drawings drawings across the
top you're going to see there's just line drawing on the top left. The middle top
mass or flatly lit or notan and the one on the right is chiarascuro. It's
strongly lit and we get the dominance between light versus shadow is a major
contrast. Our second row we have the same thing. Different images, but we have
similar thing on that, the portrait of the boy on the left the line and line weight
doesn't have anything to do with a light direction. It's just variations on that
line, which would sit on the surface.
Charles Hawthorn's - no this is Robert Henry's painting of this boy
real notan dominant. Okay, it's really about its local values. And then the one
on the right, the figure of the woman, that's four values and just depicting
light direction. It's all about light direction that defines it. Okay. So the
line quality of this image neither represents form nor mass and fully exist
as an independent expression, text can have the same effect or reside in the
same category as line as the interruption to the surface or surface of objects
within the image without the intent to represent mass or form, it can just be
Okay, a lot of the books and things that we read are really about form and very
few talk about line as a designed tool or mass or notan as a
and that's just too bad. It's really disappointing that really it's really disappointing that
that's the case but it is the case and because all three of these components
have a really important
role in your image making.
So I find that by splitting these things apart you can actually
break things down in a really far more interesting way. Okay.
So techniques and rules apply to applications of mediums
not universal truths. So what that means is techniques and rules for
techniques aren't aren't rules necessarily when we deal with our
primaries we want to look at universal truths, things that that have
relationships, build relationships, but they are an absolute to one technique or
because you know as an artist you're going to bias those
line mass or form and the way you bias those is going to define the style you're
doing, you're creating. So it will define what you can do. So you're going to
create your own rules. So a lot of times, you know, when we first start out
people say well, you know, you have to learn the rules and then you can break
the rules. I think that's baloney. It's just a bunch of garbage because really
what it is is that's just a saying copy these rules, draw like me and once you
draw like me, then you're going to want to draw like yourself and then go figure
it out and it's up to you. But there's nobody that really supplants other
information. You got to go figure it out. You got to - and what is that that you're trying
to figure out? Well, it's not that difficult. When you look at things in
terms of your application of line mass and form and how you bias those visual
components is up to you and if you build clarity and that's what we're going to do
today is look at clarity. And once you build the clarity, then you're going to
be able to go do isanything you want. In this image, this Andrew Wyeth image you can
see that form is a dominant factor here because the tonal contrast is really
great between light versus shadow. Secondary is texture, look at the strong
amount of texture in the wall and the cat and the cow, you know in the stonework.
Even in the mountain in the background there's a diminished contrast smaller
texture, but still it exists as a texture. So it would be form and texture.
There's some areas in the house that the local values or notan feels a little
more dominant, but the fact that there's - because there's such a strong dark
tree and some elements on the roof and the windows.
Now this image, this photograph,
is mostly form dominant, but you can see the darkening, her dark hair blends into
the shadow shapes. So there's a merging of those two, both form and notan. Okay,
and then the texture from the background, the texture
coming on each side of her face there, those textures create patterns and work
like line. So we have line, mass and form, all three in this one image but they're
designated two different areas. Okay, so we don't confuse them. It's not unclear
And that's what we want to do today is design and be clear about it.
This image is line. But predominantly form and line is not masking the line.
He's very very open about making the line very very a contributing factor to the
drawing, yet those lines are depicting light versus shadow. So if the purpose of
the line is to depict light versus shadow, it's going to look something like this.
Same thing here. Okay, it's lines that are depicting light versus. That's because
that's the dominant feature here.
This in this image ehat I did is I just I just transition from from chiarascuro
to notan. So you see the two across the top and then down below the one on
the lower left notan dominant and then one on the lower right is chiarascuro
dominant the one in the middle I just merged them through opacity on a
computer. Okay, and when you combine them you're going to see that you know, any
image you make is going to be the relationship between those. It's
somewhere - it could be somewhere in the middle or it could be designed with
one thing in mind in one area and another in another area. And then it's going to
feel a little bit more designed. Here's another example of the same thing. Where
what I did was I just put -
super imposed one over the other and changed the opacity to kind of merge them
and you can see the variance there.
This was strictly
So just indicating where the light and dhadow patterns work.
Again strictly form.
Again, same thing.
And again the same thing but we can it identify like when we're dealing with
form you can identify a lot of information in a simple way, this being
for values the dark of her hair and then
the light, shadow and then reflected light and just with those three or four values
we get the implication of form, but you can also get a little more light
information just by the contrast and intensity of the - or the contrast here of the light
and the fall of the light, if you notice on a rib cage to her hip it's the
lightest and so we had the feeling that there's a strong light coming from her
side. And that's - those are the planes that are most perpendicular to the light
source and then as the light falls down her leg,
it gets darker so our light gets darker and our dark gets lighter you get
a little bit of reflected light on the inside of her other calf.
that merging reduces the intensity of light as asit falls off.
Now so your light direction is really important and the shapes that it
creates. So if you're dealing with drawing form, then you want to be
really careful about the shapes that you create with light versus shadow. Okay,
and looking at these three - each of these three drawings. I just move the light
around the models in the same pose. I just move the light around in order to
get a different response.
So depending on what you wanted to pick, what you choose to depict is really going
to be about where you place your light.
Is a case where I was just looking at the range of tonal contrast in a focal area,
but that change of total contrast could equate to either for or mass or line
put in a designated area. That would work the same.
Another Wyeth painting, highly chiarascuro that strong light and shadow on the skier that strong light and Shadow on the
door on the,
you know, on the back of Christina and then her dress is a dark dress and it
doesn't seem to have as high contrast as everything else in light and shadow.
So kind of merges in with the shadow and then outside, the tree outside, is very
little information about being in light or shadow. It's pretty much
notan, appears very very flat.
Here's a really nice painting too where the shadow shapes or the darker shapes of
the shadows and the dark of her hair and earring all merge together and when
they all merge together, they create this simple silhouette that brings more
attention to the areas in light.
In this image, there's an area of smaller contrasting marks in the area of
his face. They aren't the darkest marks in the image, but they are - it is the area
that's framed clearly by his hat and his collar and it has greatest amount
of small marks.
This is created based on patterns as well, tonal contrast and patterns and texture.
So we have local values and then we have texture in different areas that create
passages and move your eye through this image.
This image is really more about - this image is really more about notan,
except for an areas around her face,
his face, and then along her back where we see a shadow shape in there. Other than
that it's pretty much - other than that it's pretty much just notan.
Same here in this image. It's predominantly notan except for some of
the effect of light on the table behind the girl and out the window and on
the rim and top of her face. So he changes up the mode in a certain zone which
Same thing here. This is a situation where it's mostly notan but the
patterns in different areas kind of designate where you're going to look first
and all the textures and stuff on the ground and the table, the
pants, her dress is very unique and then behind the other soldier underneath
the boat is like a checkered blanket and so you get these patterns in there and
within the textures are pretty dominant along in her face is the only area where
you get a sense of chiarascuro
and that sets her apart.
Here we have an image on the left of mass and line dominant. And then on the right
is mass and texture dominant. Now you see form in the American Gothic image
from Grant Wood, but at the same time the greater contrast is within the texture.
You notice the textures in his face, on the wall of the building behind, the curtain in the window
curtain in the window behind, the woman's apron, and the man's
overalls is where you're going to see the stronger contrast of texture within there.
There is a sense of form in there, but it's kind of played down.
This image by Nikolai Fetchin is really textured dominant.
Or it's mass dominant with texture, it's got a texture overall but it is
predominantly mass. There is form in it, but it only appears in certain little
areas, but it's mostly mass and texture.
And this this image too is quite a bit of texture and then just simple mass. There
is a little bit of form on the back of her arm, on the back of her dress, but
that's pretty much it.
But heavy texture.
This is what I want to do today. We're going to be drawing from the model but I
want you to be conscious of the marks you put down and designate the types of bias
that you're going to put in different areas. Okay?
There's an example of creating a bias in an image too and
out of four values from his shirt to the background to his skin to his coat,
there's four distinct values and then within each value group, there's a
different range of contrast. So it allows you to design and create focus and then
start breaking one area down, then the next area, then the next area and since
there's strong contrast between all four areas it gives you latitude to increase
the tonal contrast in any of the given areas and still have them hold together.
If there wasn't the strong distinctive values between these groups and I put the
contrast within each zone, this thing would fall apart, just fall apart.
Sargent did the same thing with this image.
Now this is based on notan and between the light of his face, his sweater,
and then the background in his face has more contrast is shirt or sweater has the
second amount of contrast and the back background is very little contrast other
than the brush strokes on the outside. But you know, if it was painted all out
it would be, you know, pretty simple background.
So pay attention to this one and take a look at the way that he handled the line
work. He made it very different on her face than he did on her hair, than he did
on her locks. And that's what I want to do today. I want to I want to really
exaggerate the differences. There's Robert Faucet. Now when we look at this
image, you can see that he handles the different areas of this design in a
The pink is line, but it's form. It's also depicting form. The line is
depicting form and the blue areas is depicting the texture.
And in the yellow area down there it's pretty much mass. Okay, it just -it's so
tight of texture it almost feels like a mass.
You can see similar things happening in this image where there's different
textures in the different zones.
And feel free to draw these too, you know, I put these on here that you guys can
draw them and try to break them down.
This image is line and form. There's not hiding the line. There's cross contours and
cross-hatching and it's all about - all the marks are depicting light and shadow.
There's not a lot of form in this image. The pillow behind or the
cushion behind him and then the dog there's a good amount. But other than
that, it's predominantly mass dominant and you can see the texture in his coat
too. So these broad brush strokes are kept within the coat,
which helps to designate the type of design that it is.
In this image, you can see the difference between the marks that they lay down for
the skirt as the hair. They're very different even though they're both near
same value their appearance is very different.
This is a great image as well.
And this image is set up mostly as notan, and then there's form on her face
which sets it apart, brings focus to her face.
There's a strong harmony between the types of lines in this image from
these slow curves to around her collar to more
relaxed curves on the folds on her shirt and her upper part of her hair and
then her hands are these longer - have these longer bits of straight within the
curves and then real curved shapes along the silhouette of the folds on her
shirt and her hair as it curls under.
And clearly this is a case where the artist is more interested in playing with
the range of shapes rather than depicting the form.
Here, he's expressing different ideas. The top one is form, the one down
below here this is really about passages and creating edges.
This one's really about - it's a little bit of form and then a lot of textures.
And this one is a little bit more form and a lot more textures.
This painting you see a lot of brush strokes around the outside and some on
her dress. You see a little fewer on her face, but her face is the only area
that has a lot of form contrast. There's a little bit on her arms and a
little less on the on her wrap and dress.
This one appears to be
mass dominant except the the trees, the birch trees and the other tree going up
into the light, they flip from being dark over light to light over dark and
bits of light in the distance to separate slightly too. So, you know, this is a -
it's an interesting piece, but you can see in the foreground. it's all
pretty much mass fominant because it appears in the shadow.
And then it has these effects of form in them as well.
pretty much form and texture.
Line and mass.
And I put these pages on for you to look at and kind of peruse. These you to look at and kind of peruse. These
different artists is a famous artist course, pages from a famous artist
course and it's interesting. These are different illustrators describing
some of the things that they do and it falls in line with designing these things
based on line, mass, and form, like this little image here is on mass.
The one on the right is mass and line or texture.
The other, the drawing with the women and the
little girl getting on the looks like a train
that's in that image is pretty much line.
Now there are lines that go across the forms, but they aren't all consistently
depicting a light side and a shadow side. So they're not really crafting form
itself. They're just wrapping over existing forms, but the lines
themselves aren't indicating a light and shadow.
And that's what we would look at it as far as chiarascuro. We're going to look
at the light and shadow and not necessarily the cross contours that
describe a form.
I thought these were good to put in here too, this is just the history of an
and where it begins and where it ends.
Values and tonal groups, setting up design that way.
Mood and composition.
Okay these characters on the top
really high contrast of light versus shadow.
This is from a famous artist course.
And the one on the left here, the Albert Dorne drawing of this woman, you can see
that the design patterns or the way that he uses lines vary from her skirt to her
purse to her coat to her hat to her face. So he's changing the way that he
makes his marks.
That's something that that you can work with as well, which is kind of fun.
Now when the lines, you know, the thick and thinness of lines isn't too
consistent to a particular light source, it's going to then call attention to
itself as the line
but the line drawing on the right, there is some reference to form in the
marks in here, but it's pretty much just strong lines and line
shapes or line for line sake and then some form, secondary.
I think we went over this in a prior week, but this is a varying textures.
And you can see the drawing on the left has a little bit more to do with light
versus shadow. And then the one on the right is really more about local values
and the patterning of the of the local values.
Same thing here. You can see the image on the left on the bottom. There's clearly a
light side and a shadow side to the street. Whereas the one on the right
the tonal contrast was rearranged and so it gives you this kind of a flatter
There's a whole lot of form going on in here, but still a variety of textures.
Okay in this painting,
you know, it's very realistic, has a lot of marks that are really trying to depict
the actual things, you know, that the artist sees.
So by breaking these
components down, you can create a specific style or look based on how you
break down these manners of making your marks and that has to do with -
or this is how you can create different styles. Here's like four different
style of paintings that have all different modes of design in them.
The one on the left is predominant light and shadow. Rembrandt is a little bit of
light and shadow and a lot of mass. The Sorolla of painting has more mass than a array of painting has more mass than a
little bit of shadow and then theone on the end has nothing to do with
light, but it's just light, dark patterns and line. and and line.
Here's three more.
Then the drawing on the - painting on the left that has a little bit more
The Sorolla painting in the middle that has a great amount of texture all in the
rocks and in the water.
And then a more controlled texture by Jeremy Lipkin on the right in the skirt.
And in this one you can see it's mostly notan
with a little bit of inclusion of form.
And that's it. So I hope that kind of draws a little distinction between the
different modes that we can we can draw in.
let's just block this out.
And I'm going to just -going to do just basic silhouette. just basic silhouette.
Okay, so I'm going to start with the basic silhouette and then I have to make
some choices. So I'm going to make some choices here in terms of you know,
where do I want to put something mass dominant or line dominant or form
Right, and I've got a lot of variety on here that I can deal with. So if I say
within this image, I want to make let's just say her head, the form dominant
element, okay, and then I want to make her dress the mass dominant
and then I'm going to look at her wrap as getting line dominant. That make
sense? So what that might look like is I might get a little bit more form
within my line up here. Now I can do it a couple of ways, I can make a thin and
thick line if I want. I can actually make some shadow shapes in there because it's
going to be my -
if I'm looking at form can make some shadow shapes in here like this.
So I'm just drawing around the light basically.
So there's a form, kind of a form dominant zone, if I want to call it that so I can
kind of create that. And then if I want to make more out of the mass on her
then I just simplify this a little.
And I'm going to make sure that I'm not going to make any marks down here that
are going to really define light versus shadow. I'm going to really try to keep
that separate. So I'm not going to - I'm going to try to make sure that I make
this all a simple mass
then it's going to read is a simple mass. I know there's a strong light and shadow
on it, but I'm going to kind of resist that.
Because that's not what my drawing's about.
It's really about
right here, it's really about making this this mass kind of.
And I'm going to make this her - I'm going to take her belt to make a stronger
shape with her belt.
Again, this is all going to be
And then if her scarf is all line for line sake I'm going to make this - I'm
going to give this some
really broad distinctive markings, right, so I don't want to make this - mistake this
I can have some lines in here like this. Now it's going to depict some folds in
here as it wraps around, but I'm not really making them
on light and shadow.
And again, I can put patterns in here.
However, I want to
If I want to make this a little darker value I can make it a darker value and I
can also bring this down. You know, I can take her legs and silhouette her legs
just a little bit too.
Just to simplify that area.
And then when I can do is I can create shapes in here that, like the printed
pattern. And I'm not being really specific about it. I'm just saying I'm defining
where this pattern exists.
And I'm just trying to be consistent with that patterning.
Now on this one, we can try something different too. You can mix it up a little
bit differently. So maybe
let's just say that maybe this one we do her face in line, okay, andor
line and form, right? So instead of just straight form we're doing
it line. So we maybe use a thick and thin line, you know on her face
and then we'll kind of harmonize that with some form on her and then line on
wrap possibly that so let me try this again.
Okay, so start with just getting my simple depiction here of
of my shapes and then I can go in and start working with
how I want to use my lines in this situation.
So if I want to get a little bit of form in here,
maybe what I'm going to do is with the lines I might just add to the core
a little dark shape
So if my marks are depicting shadow shapes I can make, you know, I can make
any kind of
these shapes that kind of
play in the shadows up here.
So I can kind of - I can use these lines as long as I'm using the lines to actually
define some of the areas of form and then those that those are the kind of
marks that I want to create in a situation like this.
So these are line depicting form in there.
And then if I want to put more forms, say put more form in her dress
I can go ahead and put some shapes in here and then basically
obliterate the line
just with some tone like this.
It's going to be different. I'll do that all over.
All right, why don't you take a break? There's the buzzer so go ahead and take a break for a so go ahead and take a break for a
second. I'm going to go ahead and finish a drawing here,
you guys can n continue on drawing if you
want, but I'll show you
going to finish depicting this
feeling here. So what I'm doing is I'm eliminating the line and I'm
I'm just giving a simple mass in here which then what I will do you see it's
really different than her face in there. But what I really want to do is create
And create a difference first
and then what I'll do is
I'll get a little bit more form in here.
So I've got this line and form on her face and it's pretty dominant, it's pretty
heavy. Okay, and so if I want to make
kind of harmonize that with anything else in here, then maybe what I'm going to do
is maybe I'll get
you know, in shadow,
A strong contrast in there.
and then real strong in here.
Something like that, and then I'm going to go back with real dark and I can even
I can do it either flat or I can just get some depiction of form in that
as well if I want to put a highlight in there, you know on her belt.
I can have that kind of strong in there.
And then if I'm going to go back to the line work that I've gone on her face, I
can be consistent and just do that - get a little bit of a form on her arms here
and then here as well. If I do strong line like a shadow cast underneath from
here. I can even go with a thicker line underneath and a thinner line on top and
a thicker line underneath the sleeve there. So all those things are going to
be choices that are going to be, you know,
focusing on the attention to how much I put my marks down. Light side,
shadow side, under finger there and down here.
Okay. So this is all
to bring attention to the same thing that I've got going on, you know, going on
in her face.
Maybe a couple fingers here.
Now I can take the pattern then and try to do something a little bit different
with a pattern.
Maybe I break it in something like this.
Because I want to take something a little bit off of the hardness that I have
on her face here. So I'm going to put something a little bit harder down here,
Yeah, there was a - one of the drawings that
Valentin Serov did of a woman that she had black hair and it was soft hair and
she had a lot of texture in the skirt and the texture on the skirt made her hair
in contrast and that's just kind of what I'm what I'm doing here. I'm looking at
this and looking at what can I do down here? Because since I have a lot of
contrast of these marks up here, how can I then harmonize that with all of this - if
it becomes if this is too distracting and too much
up there I can do one of two things, I can soften her up, or I can reduce the, you
know, just erase some of the lines. I'll try to lighten them up a
There we go, maintaining the lines. I want to keep the lines, but I just want
to lighten them up a little bit.
And again, I can do this to I can soften her hair up just a little bit on some of
the outside here, even the inside and then
Okay, see that will soften everything up up there, too.
And yet I still have lines they're just lighter line weight.
If I just lift it out a little bit.
There we go.
And it's a case of balancing. I'm always kind of looking at this to this and kind
of balancing that out. If I need to get a little bit more dark just to bring things
down, bring your eye down here a little bit I can try doing that.
So it's a case of moving your eye around the whole image but only using my, you
know, those components.
To give something that dominant or subordinate make it dominant or
Kind of very different in their handling.
You get this little yet.
Okay, these lines. What I did was I darken the value, the contrast there was I
put those on the night then I wiped them out, but you can see if I make
just a little bit darker in here it softens the form. I had a little too much
contrast like this area might be just a little bit too much contrast.
If I diminish that just a little bit.
You see now it's going to kind of hold together a little bit. I can bring a
little bit of that back. Maybe I needed to get a little bit more of that.
But that being the case now, I'm kind of pushing and pulling but I'm still using
in that zone.
Just block in the silhouette.
If you block in a silhouette and then just decide where you want your focus,
okay, and what you want to use you want to use. Use line, mass, or form dominant. Okay,
and then just put that area in. Okay just practice that area so you can
you can have the full figure kind of planned out. Let me just do it on here.
So let's just say that you've got
the whole figure kind of mapped out
say you've got the figure figure mapped out. And if you say okay, I
want to depict one area with texture, let's just say, and you're going to be
doing, oh, maybe the dress she's got on, maybe it's got a pattern like this,
something up here, and maybe some lines and you hear something like that
and you want to do texture. Maybe you're just going to focus on the texture, right?
You know, maybe that's pretty much it. You know that you want to start with
or maybe you want to get in focus here. Maybe you want to get you know some
strong line work in here. And then
maybe this is a little bit of form up in here.
You see so now you can change it up.
Say I want to get more form in here then just get a little bit of form
Okay, just kind of play one up the other.
there so we can deal with that and then you can you can work something into the
rest of the
Some I'm adding just a little bit of form in my line
where there might be some folds. Maybe I'll get a little bit darker line
in here, maybe something in here and then underneath,
you know, fold in the material like this.
But for the most part, I'm going to try to peel away from the strong
depiction of form that I've laid into her face up there and I'm going to try to
simplify it down here and get some of these
shapes just handled in a real subtle way. I think the lace on her
dress I can kind of depict some of that along her collar here
and her shoulders and down her arms are like that.
Okay, that's going to also give me a little bit of
reason to pick a little bit of it up in this area if I want to go across here.
But I'm going to do it just lightly because I want to keep the focus up above,
don't want to make
too much - bring too much attention down here.
There we go.
You know, even with something like this, I can give the kind of the weave of the
hat if I want to just.
And again, if I do this, I'm going to make a darker line. Maybe that's going to
give me a little bit of form.
If I want to depict a little bit of form in there.
And then the same thing in here.
So I'm kind of - I'm finding my proportions really in the beginning here
and then I'm going to
figure out where my
bias is going to be if I want.
Change that up.
Okay. So now I have my proportions basically in there if I want to use a
strong form on her face I can or I want to use this different kind of line I can
do that. I can -
I'll take a -
play up the folds on her - the lace on her dress.
Just take advantage of that.
So I'll kind of depict that with some line in there.
I want to make - I want to keep her hair fairly soft. So maybe I'll just kind of
use an overall tone for that. Just keep the whole area
Maybe I put a really soft tone on there.
I might be able to just kind of erase backs a little bit.
Some of the lights.
Okay, and just kind of getting my my proportions and getting things a little
alignments here set up first.
See where things sit.
And then I'll start looking at - I want to make these changes in
And using these lines to describe form.
I'm going to use some lines in here that are going to describe
line and texture.
Kind of work with the density of the lines, too.
And try to keep the, like the positive and negative density or the - just the density
of these marks similar in this particular zone.
That way this whole area will kind of hold together.
And it doesn't matter if some of the areas have this kind of orientation or
whether they're, you know,
Something like this. Then what I need to do is I need to make sure that the
density of these lines, of these marks are equal to everything else. So I might need
to get just a couple more interior lines just to kind of break up those big
If I want to do something like that.
Maybe these are long.
Fill in some areas there.
It's different, it's kind of fun.
Makes you think a little bit.
If the nature of these lines
will just make a different pattern in here.
See the density of this area, even though this is a pattern in there, but the
density is different, you see I'll keep the difference in the density of the line.
You know. And then if I make her collar
I want to make it
similar to this,
of the images online if you'd like, but - and look for some that have kind of flat
lighting and some images that have some strong lighting, work with both, and really
kind of change up your marks and the manner of marks that you do so you can
kind of move the viewer's eye across the image, around the image, by altering or
changing the proportion of some types of lines compared to other types of lines.
Keep them with focused within lines that describe form, lines that that work as
themselves as marks on the surface or on the surface of the garment or
something as a texture or in form. Okay, or you can keep those shapes masked in
or make the textures masked within the shapes and create design patterns that
Free to try
1. Lesson Overview31sNow playing...
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2. Design Triad of Line, Mass and Form: Lecture32m 34s
3. Drawing from a Live Model: 10-Minute Poses (Part 1)32m 36s
4. Drawing from a Live Model: 10-Minute Poses (Part 2)26m 22s
5. Assignment Instructions1m 0s