- Lesson details
In this lesson:
In the fourteenth part of our comprehensive How to Draw the Costumed Figure course, Charles Hu will teach you how use line weight and line quality in our costumed figure drawing. Our model Jonny, will be wearing a lumberjack costume. We will be working with charcoal and colored pencil on paper.
In this course:
Learn how to draw the costume and props from reference or from imagination in this immense course by three senior New Masters Academy instructors – Disney art director Bill Perkins, film and game character designer and figure painter Charles Hu, and internationally renowned draftsman Glenn Vilppu. Drawing from live models and photo references, as well as master drawings of the past, you will learn to capture expression, performance, emotion and weighting of the pose as well as shapes and rhythms created by the costume folds. Bill Perkins teach you the action analysis study developed in Walt Disney Studios for animators. Charles Hu will demonstrate how to directly sketch costumed figure using many different media and how to apply language to your drawing. With Glenn Vilppu you will learn the seven major folds as well as approaches for using drapery to push the gesture of the pose and showing the form beneath in the case of clothing, as well as how different weights of fabrics behave differently.
This course is perfect for fine artists, entertainment designers, illustrators, comic & anime artists, and animators, as well as portrait painters or for anyone who wants to draw or paint drapery from observation or imagination.
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asking about how to apply line weight, okay. First
of all, if you have a problem getting a line weight
the weight that you
want to express don’t worry about it because to me line weight actually is probably the least important
in a lot of aspects. To me it’s like a
decorative, you know, element. But if you know how to use it, especially for quick sketch
like we’ll be doing, it will be really beneficial, you know, it will help
to show tension, help to stretch, help to show pinch, texture
you know it’s kinda like edges, you know, have all different edges to make
you know keep these optical illusions, aerial perspective, you know so really
can give extra kick to your drawings and today I’m going to show you
you know how to do that. And I’m gonna use my charcoal, you know, my
Faber Castell you know to show you how to approach, you know, create
those, you know, create the most beneficial line weight
and create more aerial perspective. So let’s get to it.
Got some nice, unique shape of
Talk about some of the line weights because I got a lot of
questions about line weights and so we’re gonna talk about that
today but let’s get the
warm up first and get a sense of - loosen up, get a sense of
proportion and gestures and
This kinda flares out, coming out this way. And I see his collar
this arm is, shoulder, comes
His hand’s about right here.
This collar is kinda angled out more.
Helps to bring our eye this way.
Comes back to that midline
In this case this midline is blocked by this overall
That overall is
gonna be nice, graphic shape.
Comes down like this.
through. This arm bends this way.
See some of the folds are gonna twist around this tube and
this sleeve wraps around.
swing this way.
See how his leg goes
so you got this part of the overall got squashed
kinda protrudes out, the thigh
And this, you know, this part of the linen pulling down
to this part of the leg.
Get a sense of feeling where that knee structure coming towards us.
That becomes a support, you can see how the folds
gonna be radiating out. This is a great costume to show folds actually.
You know we can probably also talk a little more about folds today and get
this big piece coming out, twist behind, then coming forward
and then they, the boots just kinda tuck way behind.
Fist gonna be right here because that’s kinda
the fist can help connect the waist section
to his upper body. I’m gonna adjust that, I’m gonna bring that
arm down right here. Take over that space
right here. So
feel like sensing through feel like this is the ribcage
probably that’s where the think of a contrapposto
you’re gonna see a radius
this kinda relationship coming down so we can use that, that’s where
that - well actually this is gonna lift out a little more, that
big crease happening at the waist area, somewhere over on the other
side I might also want to
also give a bump right there just to kinda
create that relationship. And
to connect that relationship also. And here
pulls down like this.
See the slight tilting? This side goes up, this side falls down.
Okay so what's
the momentum. You can see here’s his shoulder.
His arm coming this way right here.
The ax right here, I can feel the arm swing forward this way. His head
again nice triangle where that earmuff piece
comes this direction and I got this interesting abstract
nice rhythmical kinda furry texture
I don’t think it’s his hair, I think
it’s probably his head coming swing over like this
Coming flow, coming this way.
Every shape has a nice
rhythm to it.
See this is gonna swing
here’s the back coming back
to the shoulder.
Swing over this way, his arm also coming over
align to the ax.
Taper off, got
kinda shrink into this
boots, twist, twist.
But overall don’t get too distracted by all the detail
of the folds. Also think about again, what’s the - that's
just a triangle shape wider and taper.
he kinda leans out back this way but then his overall - see here’s his
neck, here’s the top overall, here’s one of the
stripes coming here and this is the other one. Gonna use that to create to some contrast
and then this is gonna
come down like this and then so he’s
torso ends about right here, he continues that’s where his crotch
about right here pulls over this way and
his thigh is gonna also stretch out like this, create this kinda bullet shape
So this is pretty quick, the gesture seems pretty quick. So all the folds
gonna shoot out this way also kinda quickly
and then you got the stronger shadows
right behind his knee
So I can start finding some of the dark
and light patterns just to help separate some of the shapes.
Or in this case I can even add some textures
reinforce that gesture.
So it feels like this whole thing kinda block in the light so I’m just gonna
lightly kinda tone this.
Big C curves, look at graphic shapes.
This goes this way, this goes this way. See how it swings
Drawing through. So keep this straight and curve this.
Side of the cheek shadows.
So again just helps to get
to have fun, just give a little sense of characters.
And then so I just
when you have that face drawing just start again
it helps to
start making people think about who this character is and
just a little bit more
becomes a little more - gives a better
So you follow the center line.
You can actually make that
that front piece
has more arrow, gives a little more arrow, again helps with that
read, carry viewer’s eyes a little
better and this I can
curve back like this so again give a better rhythm
and bring your eyes over like this.
That’s where you want the viewer to look.
And getting a curve more to create more of that
sense of the arm
sense of the arm
Here’s again big oval shape right in here.
Always compare diagonally.
Look at the shapes, keep some straight, curve some,
wide and small, narrow
super straight. Play out the different
you know, different shapes.
Coming towards you is bigger.
Going away from you is smaller.
Small shadow, medium shadow, large
Light source in the front, most of the shadow in the back. You can probably even - I
can even probably tone down the whole thing. Just for a quick sketch purpose. For a longer
poses I can probably, you know,
be a little more careful, kinda carefully draw the
shadow shapes a little bit more.
Pick up the important ones, the larger ones.
See that still gives a sense of where that button is, right, how
this connecting to this, you know, this leg.
finding relationships, finding the rhythms.
this elbow, this elbow, this hand,
See even the ax I draw, even though the real thing looks symmetrical
the knife part looks symmetrical but
I want to make this bottom part a little bit less and reinforce
the top part, again it brings your eyes up.
Or you can show
that would be great because right away we can get a sense of this is in front of that
and I can even probably put some shadow
right here. Now I can feel even more.
And it instantly gives us a sense of dimension and depth.
What goes quick
what feels slow.
Once you get confident enough
you can, you know,
like I said I usually and you probably saw from the demo I did
probably always start with the head and if you
are confident enough you can actually start with anywhere you like and then
come back to the head. Curved,
Just drawing through like this, get a sense of the proportion of the head.
Clarify where the chin meets the shirt
right here. So I need to make this darker right here.
See now it helps to clarify where the head and the neck and this
whole thing, this goes into that shadow part of the head
Knowing the alignments of the eyes.
This side larger, this side smaller.
Feel where the end of the torso
Behind that arm and his butt kinda hip coming forward towards us.
So that’s - somewhere right here is the crotch.
See, feel where the knee right there
taper off to the thigh and widen up
and goes to the kinda extra fabric around the
calf but here is the support. So I want to make sure
I kinda emphasize on this
So I wanted to widen the shoulder a little bit, seems partially
this also coming towards us
or I’m gonna raise a little bit higher.
a little bit more.
Make that deltoid a little bit bigger.
can flare your charcoal like this.
Keep this dark, keep this dark.
had a warm up, hopefully you guys also
you know, also get, you know, also kind of
get your warm up and start having a better sense of
kinda relaxing your arms a little bit and start getting a better sense of
you know, proportions. So let’s go in depth a little bit.
So like I said, I got a lot of questions in regards to
about the line weights and then
let me talk about that
a little bit today.
So first of all
I still would like you to
even with the longer poses
I would still like you to think about your drawing as a five minute
so that means I still want to keep that momentum going mainly, so
you know don’t lose that energy. You know sometimes
a lot of times when you have more time you kinda slow down
Slow way down sometimes you lose that energy, you can slow just a little bit but
now to the point that you start kind of
gets all back to stiffness again.
So again, see how my line is all curved, I still
think about how everything kind of relates. There’s certain moments
and areas you have to keep it more straight. Like for example
maybe about this wrist right here
I was to know where that structure, where that wrist, how that connects to the hand
I might want it to maybe, you know, just keep it slightly
a little bit slightly straight.
So sometimes I will slow down, maybe slow down
but I have to go back and keep
telling myself, you know, back to the energy. I need that continued -
I need that energy, I need that
you know sense of the flow.
So I can take that
right out to - you know one of the things that will help
is to know how to simplify. Know what you
can, you know, what you can do to
basically give you less job to do also and
in this case I can take this right out to these pants without
you know, getting every little bits of stuff, you know,
just gonna look at beyond detail, just look at the contour, look at the
cleaner - you know look at the major comparisons from the
silhouette. And then
you know and then maybe
deal with the complicated
detail stuff later. Want to make sure my design
if my design looks good and my proportion
and to find out
here’s the fist and compared to that maybe I can see that’s where the hips.
See how that
trying to get that rhythm,
See how this
feels like - almost feels like it kinda melts over
that boot and kinda hangs over this way, right?
And then you got, you know, some of the folds. This fold coming down this way, this fold kinda running
up like this kinda diagonally line up with that so you can get this
almost a, again, it’s like that melting
of fat but also bring
kinda also that radiate kinda
layout in there.
Feel that hip. And then here’s the back of the knee.
Usually that probably needs some indications and you can see on this side too, this side kinda curls
a little bit, this side just looks like a big hook coming over. I need
so this area we need a little bit more
of a suggestion. That and obviously, you know, the bottom of the hips
maybe his waste, right, his armpit, all those, you know,
are the support so we need emphasis on those.
again the light source is off our right and
even though this whole thing is quite light the head,
while still making sure the left side
It’s in shadows.
This is top, this is the front, so I’m actually gonna make
that whole side, back plane, a little bit darker.
Thinner, wider, thinner,
So this comes over, so that presses against that
back collar right here,
creates some of the compression
You can see this whole - this piece right here goes below this piece.
This is in the front, that piece is in the back. So I can
shade this a little bit darker.
Curve these, see the end right there?
That’s where the shoulder is. Make sure to serve that
So looks like he got more things happening on this side.
Got this shoulder right here first of all. We’re gonna emphasize on where the
arm pit, that’s gonna also serve as a
point of tension, you know, so the folds gonna radiate out from that,
it’s gonna cut short, you can see some are short, some are long, some goes over
and protrudes out the contour, some are gonna get -
this is gonna get close, I’m gonna travel far
and when I say far, it means you’re gonna twist around.
So I’m gonna hang towards gravity, I’m gonna fight
So I’m gonna go behind,
I’m gonna be in front,
some gonna go behind, some gonna be in front.
Can you hold please?
So this side to me it’s more exciting side,
we call it the
action side, the more zigzag, the pinched side.
So I’m gonna create a little more
break out the silhouette more and you know,
zigzag more and overlap more. At the same time
my line weight is going to be a little more intense too.
I’m gonna keep this side more simple.
So I’m keeping that cleaner line versus here is more thicker line
partially because that’s facing the light too and also you can see
the fold also has to radiate
grabbing over to that elbow
So it gives a thickness right here.
And see how you can get a sense of
the form turning by giving parallel
lines. See if I have a line right here going this way
and if I also add a line here going this way, somehow
you’re going to get a sense of his ribcage is leaning
towards the left.
So I’m gonna speed up a little bit. So let’s get some of
the shadow at the bottom of the hip, his hip.
So you can see actually, this actually curves
kinda curves up.
And one other thing here is probably a good place to show.
Some of these areas are probably a little too small. Okay so it’s gonna come
back to some of the basic light
how shadow works, right?
We know every core shadow, every
that’s a core shadow right here. And like I said the last one’s coming this way.
I also talk about this in my
beginning figure drawing class and you guys can
you also can take that class if you want to know more
in depth about some figure - important
kinda information on how to
you know create dynamic figure drawings.
then you can take my
figure drawing class. And then so see how every
core shadow ends in a cast shadow. And we know the core shadow is a
hard edge. One thing you also want to
know is that core shadows always happen at the corner
so beside this is the corner of the butt, where's
the back facing the bottom, also you can see every soft edge
is gonna finish in a hard edge. So every soft
edge is gonna finish at a hard edge. I do that even in the smaller area, just a little
harder to see.
See right here, I’m gonna do it one more time right here you can see this is a
soft edge right here, but it’s gonna turn into the hard edge.
And then gonna become soft again
that might be, you know, that could be hard.
Major relationships. Keep it simple, keep it
fluid. Reinforce the pose
if you can.
here again you can feel the deltoid
shape of the deltoid. The arm swings over this way like this.
to describe. The roundness of the deltoid, the gesture of the arm.
See all - they somewhat radiate off
from this back, the top of the deltoid
You can really see where the, you know, you can just
know you got the elbow right - not
the elbow, the shoulder - kinda right there creating a supporting point.
It’s really stretched, you know, stretching the whole shirt
you can even see that stripe kinda
are turning like curved
twisting over kinda like this.
And also see these folds, they are also gonna come off somewhere from that
shoulder point and it kinda twists over
but keep it
If you look carefully it’s going to get wider and wider.
And this is gonna pull a bit more. If I’m gonna do it graphically you’re gonna see
a wide triangle and it’s gonna
taper off like this.
so this actually what that indicates is the arm starts twisting
And I know
arm pit is also gonna always - somewhere in the armpit actually we know
by now is always gonna create some type of
you know interesting zigzag for us, right, the armpit
the knee, the buttocks and so
I know things are pulling over here, the body is stretching
over this way so I know probably some folds are gonna go
this way, some is gonna go down this way.
Line feels stretched. Tip your charcoal
use more of the tip because if you us more of the tip you can get a finer line.
If you want a thicker, more tonal more softer
use more of the side of the charcoal and you get more of the softer
more shadow like, you know, line weight.
Thicker line weight. I’m using sketch paper by the way so
and then so you can get a sense of cleanness.
Get a sense of stretch. I like, you know, some of the contour. You probably want
to keep it, you know, keep it nice. Thinner, stretched, especially on this back right here
seeing as it’s facing the light.
You know I want to keep it, you know,
very subtle, very delicate. I want to almost feel like the light can bleach through it
But then some areas I want to get more
intensity, maybe just because I want
connections, those then to kind of bring your eyes around my drawings.
Again so you add some darker intensity right here, some darker
intensity right here, that’s what the overall
goes behind his hip. I might come over here, you know,
where the thigh meets the stomach right here it gets very intense also.
And then I want to also keep it dark.
So this is where the, again, might be the most intense area
that’s where the thigh, the crotch
presses against the stomach or the thigh.
So I know it protrudes, these folds here protrudes out looks like a triangle
shape right here.
And kinda leads down to the leg.
Facing forward gets in shadow here, it’s kinda facing back
in light. Look at the
shape, triangle shapes.
Hard. But then as
you saw, where does that shadow take you to? In this case it takes you somewhere
on the side of his knee
and the shadow becomes a what’s called X, Y, Z fold. Basically
looks like the letter X right in here
Like this, see how this looks like an
X? Coming down here.
Usually when that happens something
presses from the top and something presses from below.
Still but don’t forget the gesture.
Initial gesture of the leg is an S curve. See these are just detail.
But our eye sees a silhouette first so our eye sees this.
okay so make sure to still get that.
All the front
of the pants is in shadow.
Here it’s kind of also
in light but you want to keep, you know, you feel that’s a little too
bland, too boring. So we can add a little something to it like
you know in this case
we can add a little
buckle, little strip right here and create some cast shadow
and just kinda leads your eyes down here. Or we can
somehow break out the silhouette, maybe just pretend the pocket is breaking out even though it’s not.
You know I just do, you know, you can kinda
make it up and as long as you make the drawing look more
Add something there. So this kinda takes over and grabs onto this side.
Right so big strong shadow here.
And here feels quite kinda straight. It’s a harder
material so it’s not going to hang as a silk.
What’s my story, what’s my gesture.
Where each shape flows.
How can I reinforce that flow? Drop that
down, it helps to read
to this piece quicker. Bring that out, helps to
bring your eye to that hand. Where you want the viewer to go.
Get that curve.
Again like I
said even though it’s longer pose
just think of what you would do in five minutes.
I want to keep it clean lined
if we can, despite some of the detail,
that’s a good thing.
That’s the knee.
So this feels like this part hangs down, you know, towards
the bottom, towards the gravity, and then
something comes down, something will go back up
so this comes down, this comes back up.
Folds can help to produce
overlap too. So if I got this piece right here
in shadow, which is the
again where the thigh meets the hip, then I can have
line coming over, that’s gonna show where the thigh, that’s gonna help indicate
where the hip.
See how the folds are gonna radiate out from that knee
See front and back.
Tube. Inside this
I’m gonna get things kind of
twist around, spiral around, which call this
spiral curve, which is gonna spiral around, it goes around the
Here’s hip sitting, I’m gonna keep that line flat
hard. I want to feel like sitting on that cube.
And then here’s the hip
sorry here’s the thigh, here’s the hip, here’s the thigh.
I want to show where they meet.
But overall it’s a tube.
Or it’s a box. It has corners.
Corner along this side, this edge right here. That means
you can have these fold up and down around this edge
Because again that helps us to describe that form.
straight, some shadows zigzag.
Some body areas
some have a simple area.
Does it have to be
every where excited, some areas just keep it more
delicate, more calm.
Geometric idea. Can’t quite
figure out what’s going on at least fold wise because there’s actually not that many. But
there still has a shadow but also the
the stripes somehow also kind of
also destroyed that
read of where exactly that shadow is because it gets a little
hard to define. But then I also get back to my basic fundamental
Here’s an egg, here’s a tube, right?
But also like I was saying on the last drawing
look at the shadows narrow here and gonna be thicker here because
it’s coming towards you. That shadow is going to continue, goes to the elbow but
then for the elbow I’m gonna keep it more
as a wedge almost like this.
Because I want to separate these textures. Fabric versus
you know skin or versus bone.
get a little bit further and
so let’s get the drawing blocked in first.
So looking for curve, looking for straights,
Looking for, you know, distance.
So again angle, horizontal, how this flows to
this, how this flows down back to the center.
Keep your line fluid. Keep it light.
and then move your arm.
That’s my initial block in, let’s start from the head.
Again I tried to break
that line and shadow patterns and this side
was all in shadows so I’m actually painting
this piece, that shadow part first, even though this is all dark and I can
come back and paint that in.
is gonna flow right to this ear
muff piece and I’m gonna bring
it forward and swing
See it can
just by looking analyze this shape right here.
See how it kind of carries your eyes over?
And then see how at the end of it I didn’t do it right
you know I didn’t do it right in the middle and I didn’t do it flat like that
even though that’s kind of what I see. But if I turn and like what
I did, I kinda turn this way
like that, see
it kinda brings your eyes quicker towards the back, that’s where I wanted to look
because next thing I probably wanted to see is the back of the shoulders.
So when your eyes goes up you can feel the
So follow this angle right here, you can see it
lines up to that farrow of the lips right here
Again helps to create that diagonal
brings your eyes from here at this point
down to here, to here, down to here.
And be aware of the chin and the ellipse relationships.
Some of the chin protrudes out further in the ellipse, some in this case sits back
Here’s the neck.
Looks like I can bring this up a little bit. I’m gonna do that.
Yeah, that’s better. Bring that up
Here’s my collar right
And then keep in mind feel that deltoid.
In this case you can see it’s almost like a tear drop.
I want this
piece right here. And then I’m gonna
angle - I need this to thrust forward.
That means this is facing down, right? SO
drop that down in shadows. Here is gonna be in shadow,
cast shadow actually because this arm covers so
it should be a cast shadow and a cast shadow like I said earlier should be hard but in this
case you know it’s more a little diffused so a little bit softer
and I’m probably just going to do that because otherwise I’m afraid if I create a hard edge
it might create too much contrast. So
I may just gonna do that but
some shadow here but I’m gonna just you know also keep a softer edge.
Back to that knee. Take that all the way to the knee.
around the knee.
Soft, hard, drop.
Drop up, drop
Twist over like this.
Kinda bring your eyes down.
C curve, a lot of action. Back to
Front of the face
side of the head.
Slow down, feel that rhythm, that
rhythm how that fur
This bring it back,
the angle on the head going this way, I want this to
See it creates better, more dramatic angle
change you can produce, it gets more interesting
design to it.
Almost looks like Samurai
the helmet, the head
of the Samurai.
So hip somewhere in here, ribcage somewhere in there.
Collar wraps around behind the neck.
So again whole front of him is in shadow.
actually be a little more precise with my shadow shapes so I’m actually gonna draw it out.
Here looks like I’m gonna
break that shape, feel where that thigh is.
Come down wider, I’m gonna
it’s gonna thrust over the knee.
and this is gonna sit back
Here I’m gonna create some zigzag folds.
Here it kinda goes up and then kinda goes back into that armpit.
That’s gonna come forward,
narrow here, wider at the bottom.
Follow the guideline parallel, okay, so you don't
want the eye to go this way, nose go this way, mouths go the other
direction. Just keep it all the same
pulling of that shadows into, you know, the -
into his chin.
Almost like twisting over his collar, twisting this way.
So see how this comes this way
this side burn actually is gonna
help to balance.
Think of directions.
I’m kinda painting and drawing at the same time.
It’s just different strategy, you can, you know,
you can get the whole thing laying down first and then paint.
That’s fine too. I just, you know, sometimes depends.
You know I feel like I like to slow down
and in this case maybe I’ll paint that and kinda
drawing and work each shape.
Use that shadow to help find where the end of that
you know, the back of the knee.
Always make it
a little bit elongated but be better.
Crotch, this is the
bottom of the hip.
See I want to make it longer.
Coming out further out. I want
to turn the axis going that way.
Curve straight. That’s a fold but also
it leads, gives that connection lines.
Just shape, just
a shape of the shadow.
In this case I can just paint the bottom shadow
of the lips helps to protrude that lower lip.
Because lower lip is often is in light because light source is above.
Kinda above us most of the time. So the upper lip
is in shadow because it’s a down facing plane.
Cast shadow over the forehead.
I’m gonna user that to bring out the side of that cheek.
So this side basically is gonna be
falling over this way, this side is gonna be pushing in,
so I want this side to support this.
So we’re just gonna keep this side more straight.
don’t bring out here too much otherwise
it’s gonna compete with that.
Think of the tube.
So don’t close the lines, like I like to
like I said keep some
sections open. In this case
maybe this sleeve overlaps into the overall
Keep some areas, like I said flat, simple. In this case it feels like it’s on the
Line up that
where I want to place the head of the axis. I think I better bring
it further out.
Right all the same we’re gonna keep it simple.
I want to show the silhouette of that access so I'm
just gonna put a shadow right here. So see that still becomes one of the
power of silhouette. And I’m gonna keep here a little more busy.
We got cast shadow from this
art right here.
A little hard to read what’s going on here.
What’s in the front, what’s in the back, then let’s just paint some areas darker.
Helps to bring
that shape or that silhouette or that
to clarify that identity of this
boot. But in a way I’m not creating a
dramatic contrast because the focal read might be up here.
So I still want to break them, separate them, but not
very loud or not very -
just a very subtle separation.
I want to bring the viewer out this way a little more.
Maybe I can use that, some of the shadow
casting forward like this. See how it brings your eyes into
this picture plane. Bring you in, bring you back out.
negative space feel?
Feel the top of the shoulder, front of that shoulder. Keep it light,
keep it a little bit dark. Give all these little patterns
That was a great class and I think I did some demos
that myself actually really liked how they turn out and hopefully
those demos will be beneficial for you too and
so make sure you watch me carefully and you can practice along
with my drawing or draw or pause it and draw after
I’ve done my drawings. Most importantly, you have to practice, you know,
you have to practice drawing from life or drawing from pictures, you know, to get
those folds very comfortable so you don’t really need to think about and also basically
using the line weight you know to emphasize
some of the story telling, some of the tension, some of the textures,
and also to improve on your design sense.
Free to try
1. Lesson Overview1m 11sNow playing...
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2. Drawing from a Live Model with a Red Pastel Pencil: 5-Minute Poses25m 38s
3. Drawing from a Live Model with a Red Pastel Pencil: 10-Minute Poses (Part 1)35m 9s
4. Drawing from a Live Model with a Red Pastel Pencil: 10-Minute Poses (Part 2)40m 47s