- Lesson Details
In this lesson:
In the seventeenth part of our comprehensive How to Draw the Costumed Figure course, Charles Hu will teach you how to directly sketch dynamic costumed figures using toned paper, fountain pen, and charcoal and colored pencils.These materials are great practice for quickly capturing an energetic pose. Our model will be wearing a bellydancer outfit.
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 on tone paper. So I'm going to show you both using
one of my favorite media the fountain pen and also
charcoal and to show you guys what does does the tone paper benefit
for us serving as some type of values in
your drawings and you also use a white chalk to put in our
highlights. That process process and then it's also can
can also transfer to painting if
you are a painting or ifyou were going to, you know, or you were going to you know
exploring in paintings, I think there's going to be a
good practice for you. And so let's get to our drawing board
and let's get started.
Today we’re gonna actually later experiment on the tone paper.
So let’s just warm up first.
I’m using a fine point
and one, you know, more
fancier ones and this is the one I’m using now actually is probably considered
my fancy one. This by Waterman and
this actually I think will
cost about like $160 maybe, around
somewhere around that price. The reason I bought
you know, I experiment with different fountain pens just to
for experimental purpose
and find out I think to be honest there’s not that
much difference in terms of pricing wise and
to the quality and the response of the fountain pen but
it does like this more, you know, expensive one
like this one I have
the tip it does feel a little bit smoother than the one
that’s a little bit less expensive. It’s not the
material they use because all the fountain pens now in these days
all are made by the stainless steel or gold
The gold actually is probably a little more
softer than the stainless steel and but
there’s a certain material they put on
these nibs too,
the material they put on is what’s effecting
the smoothness of the
responds to the drawings.
just start with
using the fountain pen like I said you can just get a very inexpensive one, which I’ll show you later
the other one it's
maybe just $10.
Obviously I’m using
a kind of olive greenish
See how I feel that gesture? How she’s pulling out that scarf
over her head. I want to get a sense of I want to make sure my stroke
are justified that, my shape are
Always be aware of the corners. See how that triangle shape I’m seeing
that’s what I’m focusing on. That’s the
the interesting part on the design - to the design of the
pose because the area creates, obviously creates a
I love these little
accessories. Again they serve as - some serve as that core
helps to bring that silhouette to give better interesting silhouette
better design, also helps to explain perspective. Like the
how this ellipse wraps around her torso.
Still make each folds unique, each folds
I say this to my
figure drawing classes too, again, just like playing
instrument playing piano like the way the sounds
instrument playing piano like the way the sounds
of your instrument is gonna be how you, you know, how you play
it. If you arm is still, your music is going to sound stiff.
If your palette’s dirty probably your painting is going to look dirty so if you want to
have more fluid, more gestural look in your drawings
then you better move that hand or the wrist or the
From this way going back up, coming back down, going back up.
Look at the shapes.
that breaks that silhouette. Bring it down. Show the
side plane of that torso and it comes out straight
now show where the front plane.
Wraps around show the thigh.
Show folds, shows the pinch of the thigh.
triangular versus round shapes.
As I pull that line longer
And when we get to that leg
you know, parts showing more of the skin then that means
in that case
like the anatomy, some of the
knowledge of the figure and stuff kicks in, you know, comes in.
And that’s, you know, that’s when you have to work on your figure drawing
skills, your quick sketch, your
A prop is always good because
again it helps enhance the story. A lot of times when I
you know, teach
the costume class or even some other
classes for the final or midterm
I always want a student to create something
that needs to use some type of props.
Because I think it’s always more fun and helps with design
you know if you can apply some type of story to it.
Otherwise you’re just gonna be just kinda copying
and we don’t know where to go.
But again if you know that story can be
the way you say it or gonna be whatever - probably gonna be the
way you say it - that you know exactly
where to push. Especially this kind of costume gestural classes
facial expression classes
you always have to act it out yourself to be able to know
where to push the gesture, where to push the tone
One of my favorite - there’s a few that I just -
there are a few of my favorite ink artists
when I say ink artists they are using either fountain pen or
like those kind of dip pen, which is kind of
same concept as the fountain pen but instead you dip into the ink,
I can go check out Anders Zorn’s etching.
It’s beautiful. Look at the way he
taking the direction of the strokes and still giving you that luminosity
of spacing and then the way he grouped the values,
it’s just amazing. And also you can look
at some of the earlier kind of fantasy artists like
Frank Frazetta is a big influence of mine
and also you can look at
Joseph [indistinct] and Charles
Dana Gibson and probably
there’s more I can’t think of the names now.
There’s one artist that I like
I can’t think of - he’s an illustrator, I can’t think of his name now. I have his book.
If I remember I’ll let you guys know.
You know and normally I probably - that neck
piece, like the neck collar piece normally I’d probably do a curve
probably better to do a curve but in this case I just want to play with that graphic
kinda graphic idea, graphic approach so I’ll purposely make
it very flat. I just want to see how, you know, how that would
So obviously it falls down this way
so you’re kind of, you're -
the way you read it, your eye is gonna also gonna
kinda follow this balance.
Especially if you’re at that one. This
So again still wanna make sure we get that
axis of her pelvis.
So it’s good to make the leg a little too long.
Again mix it up, mix
up longer, mix up shorter, make some closer folds, just make
these little textiles can help. See this turns flat here,
the ellipse turning this way, follow with, you know, the
direction of the form of the thigh.
one of my favorite mediums, fountain pen. I’m actually working on
the tone paper as you can - this is Strathmore stone gray tone
paper. It’s kind of smooth so it works nicely with
So this first pose is a five minute pose.
So I follow the center of that head, I swing to the center of the neck
and taking me to that red pearl centerpiece of that collar
See how this, the arrow right here to her breast line
Kinda bring her torso out.
Again I still I love these little
accessories. It really helps to break
So this is gonna
push it in and this is gonna
push up, those hips are going to lift up. So I want emphasis on that.
So I wanna keep this side more passive.
See how the leg coming out right here, foot, and this foot
helps to keep it balanced.
For the next two it’s going to be ten minutes so I can probably have a little bit
facial a little more and the chin so I'll
put my white charcoal over so
you can get some highlights.
So everything you draw serves a purpose.
Basically just guiding your size
so even that, again, that collar has a
direction to it.
So keep moving
get a sense of how
like each shape flows.
Brings it out, bring it
Continue, get a sense of the gesture
of the body.
This curves this way,
this swings up, breaks out the silhouette.
Even this negative space
needs to be interesting.
avoid lining up. In this case even if I do, this is
what I see, they kinda tend to line up. Either I can change it or I think luckily
we got another piece coming in the middle
that makes this portion gets more
heavier and makes that feel less. So that kind of helps to kind of create
asymmetry. So that can actually work.
But without that center piece right here
I wanna make sure I don't
line them up.
I like to put some cast shadow on the ground
besides feeling this sense of grounding it also creates a nice composition
also kinda balanced. Overall the light source is on our right side
so even the dress right here
I will make sure this side is my
dominant shadow side.
Again keep your shadow shape clear.
Again break out that silhouette
finding some dark and light patterns.
Think about how you want to carry viewer’s
Now I’m gonna use my white and I’m gonna see if I can bring out some
highlights. Looks like her arm is really light
The highlight has to be
equally interesting as the shadows.
See I wanted that darker bra right here, just gives me a moment of
clarity. A lot of things going on, you got that
long scarf goes over the hair, you know, the breat
like the collars and then you got this very narrow spacing
in the front of her too. So I want that little darker
are just to, you know, help me with
that proportion also because I know, okay, that’s where the breast is.
Make each shape unique.
Like you wanna
the reason I love to draw
costumes is it’s got so many great shapes that you can play with.
Large geometric shapes, organic shapes you can play with. And it’s
getting really exciting. Again like horizontal versus
vertical, you know, and curve versus
straight, round versus triangle. All this
shape that you can combine and play with, it's
you know besides a lot of fun, it’s really
really helps you to learn to combine all of those
ingredients that you have
how do you combine them and change them and kinda tweak them
and make your work look more unique.
So you got
soft versus firm.
We got medium size triangle
you got okay I guess large size triangle then you got a medium size
but then you get this medium size triangle falls towards gravity more
so what does that mean? How would you express that? And then you got a little triangle
on the back. It’s very
If you, you know, if you
are in the zone and have a good day on your drawings, that’s fine.
If not then it’s probably not going to be fine.
Okay so it’ll come down to, you know, practice of course. I keep telling my
students, you know,
practice makes it better. People a lot of time
are the similar as me. If I look at an artist I like, an instructor I had,
I wonder how they do that. How they get so
quick and so accurate and so lively.
All these years I’m drawing and teaching and start finding those answers
and every time when I find those answers obviously
it’s an achievement for me and I feel really
proud of it.
Because there’s a lot of things as a teacher
we cannot teach you, we cannot - because a lot of times
it’s like any sport, it’s just immediate response that we see
from our reference. And those everybody responds differently.
from our reference. And those everybody responds differently.
They’re seeing it from the mental aspect we can show you
and everybody can, you know, a book can tell you and, you know, for example right
now okay, I hate this proportion that I just did.
Because maybe I was talking - I can’t talk and draw at the same time.
This becomes so square, so even to me, right, I probably I can't
you know I would do it differently if I knew that was going to happen.
But so I can see hopefully I can start
you know still
correct this part or maybe I can draw something else
to pull it away the tension from that. Like maybe Ill add this.
Hopefully it’ll draw your attention
away from it, but maybe not.
See I’m just playing off this negative space
Well still I didn’t get to much of the white.
But you kind of get my
process. As you can see
I’m still not happy with this. Well I learned something
right, our drawings, we’re trying to learn something from our mistake
and next time I will see what can I
do to avoid it. So I analyze my drawing
so I think every artist does, we have to, we are learning
every single day, every single mistake that we make and
for example the first drawing I did I
probably would see if I can make her taller, make her, you know, the leg
longer probably looks a little bit attractive.
And in this drawing, second drawing,
I will see maybe I shouldn’t play up the white when the model is
out on the stage, you know, now this feels a little bit
kind of weak.
The third drawing I learned that so I stopped, you know, I didn’t want to go further because I’m afraid
I’m gonna make the same mistake. So, you know, we learn from our
mistake and notice it’s not about what
the, you know, the medium that you use. Obviously the different mediums
you use kind of makes you draw differently, makes you observe differently.
Fountain pen is a little more aggressive than the ballpoint pen
I used last week, you know the ballpoint is a little more delicate, I can start
very fine and line and then gradually goes darker but versus
the fountain pen it just, you know, it’s just straight ink and that
darkness you don’t get much of the versatility of light
to dark so that means you have more narrow
range to, you know, to make mistakes. Maybe when I use the ballpoint pen I can fix this
area but when I use fountain pen maybe harder to do.
Versus charcoal, charcoal can get all over the place because
you know you can erase, you can screw up, you can start very light, you can use the side
of the charcoal to get a softer tone
so, you know, like you can come in
dark or you can use the side, can use a softer tone, you can even blend in, and
and you can erase so it allows you to draw through more
allows you to put more marks on the
pages and in that also the downfall is
students sometimes gets less focused
and because they can
the medium allows them to search more versus
if you next week I’m gonna use marker, that’s even
tougher. It’s like once you put down this dark
and you have to make sure, you know, you put it correctly.
But, you know, fountain
pen - so far fountain and ballpoint is my favorite medium.
I take them with me to sketch
on sight and then
so you guys try it and, you know, hopefully this will help you guys.
gives me a little more time to get a little more in depth on how
to experiment with the tone paper. I'm going to switch to my
polychroma. You can do this with dry
pastel pencil or even charcoals is fine too. This is again this is
Strathmore charcoal paper, make sure you have two sides and
use the smooth side and not the rough side. Usually you can
tell you have a sticker like the barcode. I think the
the sticker side is smoother side. their side
So when I draw heads I usally want to draw through, feel that full want Ross to fill that full leg
egg of the head, even though a lot of parts are even covered.
OIne thing using charcoal like I couldn't do with the
fountain pen is I can paint right away paint in the shadow
shape while the fountain pen had basically have to paint all
little strokes, but with charcoal
you can actually paint flat pretty
So look at the overall shadow shape of her eye socket. of her eye socket.
So this side,
pinch side you can see the shadow actually but
gesture swing this way. You can see the shadow shape also kinda
helps me to suggest that.
Always bring your guidelines a little more too long and then
we can come back and trim.
So it looks like this is the short side, pinch side. up inside.
We can make it a little uneven.
Just a hand.
Adjust that upper arm,
push that upper arm out a little bit.
Soft part, core shadow, cast shadows.
The folds, my twist.
Just icking out the larger folds the most significant one, the ones that
described the form and also as it has it has a long tail.
has the largest shapes.
See how that swings forward,
Curved versus straight.
So I'm going to block in the
major shadow mass.
See how this whole bandana turns down?
Down, goes back up.
So here over all the breast over all
is a darker tone, but I still want to make sure, let me draw
the shoulders down.
just give us some highlights but overall still and then power over. I still
has a volume, still a round shape.
So I still want to paint that first, get a sense that there's
a round form and you get a lot of this little
group that comes into just kind of paint the darker shadower that
you see, again breaks out this pattern again.
And then we can paint this in. I still keep that darker shadow so we
can still feel the turning, the volume of the bra.
Again make sure each shadow of the folds clear. Core,
cast and these are going to radiate out from where the thigh
pinches against the stomach.
So larger and
Even with our model, I can probably still show you some of the punch to show you some of the
but you know just going to use this one. but in large going to use this
So what we have here, we have tone paper, which is
going to serve as a middle value. And then
what we have we have pretty much you're painting the shadows.
So the highlight is going to - actually the white going to
serve as a highlight. So for example, if this is shadow
side, but highlight is probably going to be somewhere right here
it kind of gradually fades into shadows. The trick is you do not
paint the white over through the shadows, the charcoal, because it
started getting mud. So we just gonna, you know paint, it
and leave some of the, you know, translucent paper your translucent own paper
The top of the nose is gonna catch light, the muzzle catch you lie the muzzle.
that's over the mouth, that's going to catch light, the are going to eat that's going
top of the chin is probably going to the chin part. We're going to
And this shines probably probably like sitting here
this is where the highlight is going to fade. getting fate.
Fades into the shadows. Shadows.
So again here,
obviously the form turns over like this so the light ideas of turning this way lie
source heading for somewhere in this corner. So I'm just going
to start with that, this area, as the lightest and then we just
kind of fades into.
When we get into here it gets a little bit darker and it turns into
the shadows of that breast and here is the top of the shoulder
meets the side of the shoulder. So that's the first corner and the
highlight is going to tend to sit on the corner too so that part will
be lightest and then just
fades into the upper arm.
See when you paint into the shadow like I just did here
see how this kind of pinkish color, not looking
too good. So make sure, be careful not to paint
through it. Sometimes, you know, little bit if you do it
purposely that's okay. But when you start getting kind of
large area and getting muddy in there, probably not your
intention to do, not something you want.
Corner, actually corner. The highlight, the light is going to hit light the light is going to hit
from the same direction. So that somewhat
this corner is that's where the highlight, that probably get
lined up. So in here also probably going to be a little bit probably also going to peel the
lighter. So will here going to be lighter,
so in here.
So think of a cup. and how would you
If you have a cup.
My charcoal's dying.
So if you have a cup,
and then so like I said we shunning this way.
we have light shining this way, cast shadow is going to come
out here where the highlight is going to be, right? The
highlight probably going to hit right here and probably going
to hit across. So here same thing you're going to thing. So here you're going to
hit your highlight, boom, there's going to be highlight. This highlight
will be weaker than this. But again, they're
kind of follow one after another. Something watch over
the direction of highlight. That's the way you know where
that spot in the head. But again the area far away
from the main light source is going to get weaker source to going to get weaker
and weaker because you don't want the same amount
of light, you know, throughout. It looks too sparkly and too
shiny, looks like person is sweating,
Not want that. Okay.
Switch to my - the dry, the pastels.
Pastel pens by Faber Castell. I like this one, it's one of my favorite
mediums. The polychromas is a little criminals. Like I said a little
bit too smooth for me.
So there's so many different ways I can approach it,
you know often I will try experiment
differently. I you know, I usually always start from the know, I usually always so fun
head first and I want to make sure my head connection
is correct and you should correct and I think you should
if you know, most people look at it at the head first.
Sometimes for this case if the head is halfway shown I'm hatches half. We show them I'm
going to draw the torso body first and add a head back on.
Or maybe I don't even add the head, I just wanted to experiment with the
study just gesture of the body or just skeletal
relationship or just a light and dhadow grouping.
Sometimes I'll draw contour col du Contour contour
Actually matter of fact in my sketchbook, the
sketchbook done from life on locations, it's almost -
they were actually just contour drawing I think. control you and think later on.
Later on I'll show you guys how to do that.
And the thing is you have to learn how to
simplify, you know, to make choices of what to put in, what
to leave out because it's so much information there's no way
plus time limit there's no way we're going to put in
everything. So we're going to
to, you know, to
be efficient in our process and all and also, you know, the
drawing process, all the thinking process, it's, you know,
put in and again the - what to put in also
has to do with what you want just
to say in your drawings, what you - where you want the
focus to be, how you want to view or to read your drawings,
how you want to guide the viewer to, you know, to look
at your drawings.
Okay painting the whole structure first and then do the
smaller detail of that core
just doing and make impressions. He ends his make
sure that at some point break out that silohouette.
See all this kind of stuff pulling down, given that a sense
you can so adding things that wouldn't matter because
that's how you want
to see - see how you want to view to be. I'm just kind of making tree. I'm just kind of making
up stuff here.
As long as it's different sizes and see how your eye's going to
carry through like this.
So I wan to show the thigh
and come in and turn turn down this way.
Sometimes keep it organic, sometimes keep it something keep it howls keep it
a little bit straight.
I didn't like that, it was too - little bit too bumpy.
So you found out in this case you want to add - if I want to
add a head.
So I can still do that.
So again also like I said looking at the - look for the
Right now I'm just selecting the importance like I selecting the importance. Like
want to know - thathelps show where the back of the hips helps chill what it back over
are. So I need that
already get the thigh, leg coming down. So the thigh could be
somewhere right here. So I might need to kind of
indicate where that thigh is underneath.
in this case maybe I don't really need to show where the
bottom of the hip is because ithe skirt just kind of hangs re the spirit is kind of hangs
That diaper fold.
See how that leads to that, this little tiny folds up here.
Dropping the shadows.
This form and add the details.
Breaks, breaks . field
Here is a little bit lighter because lighter just against your where
again, shows where the light hits.
Again, right now I'm just looking at the balance of the
Balance means like
do I need to add -
for example, I was adding a little bit out in that middle
the little ribbon right there it's going to feel like it needs
need to be there instead.
I guess just break out that line, that center space.
Can't remember exactly why but at that moment I know I need
to break it. you break it?
corner of the cheekbone where the highlight hits.
Corner of the forehead.
See how you lead the whites to lead to
the next feel, next gestures.
But earlier I said that's the corner of the shoulder. You see that's
where the highlight hits.
Here's the darkest - sorry lightest. stomach sorry like this. That's
That's the corner facing into that tone paper. The half tone
This part is light is facing up.
Seeing as I have extra time I start sculpting or unifying my kind of sculpting or unify my
shape a little bit.
fountain pen. And this is the next inexpensive one. The one I
have used earlier with the olive green ink, that one's a
little bit fancy. It's by a brand called Waterman.
This is just called pen and ink and this is like maybe $15 and
sometimes get it on sale can get like
maybe like half of the price.
you can see it's -
well I can feel this kind of scratchiness. This it different than
the other fountain pen I have but
sometimes it's just is the character of of those nib.
You can get a fancy one but even those are still feeling scratchy.
So here is a
to the neck
up to the shoulder.
See all that shape is great, see how that scarf goes
right into that silhouettes of the shape of the
brow. I didn't notice at first but now I do. See how light, how that
merged to it.
How the thigh comes - how the thigh comes out. cheers and styles it comes out.
The one other thing I like about fountain pen is I can in pain is I can kind of
kind of layer my value over. So it's you know, it
won't feel so
committed by painting the whole shadow flag because you can
kind of slowly build it up. So if you, you know, give you
less change, you know to screw up.
See if you painted really really dark like you
probably would do with the marker,
sometimes even charcoal then you -
unless you use charcoal unless you take it, you erase
erase back again, but here I can paint this and I want to
add darker, I keep going at it. Keep going at it.
Okay break out that silhouette.
Drop that forearm back in space.
The eyes in their socket. in the socket
Here we go. I love the silhouetter. I got that silhouette. I got that every
interesting and all this interesting shape,
diagonal relationship, love it.
So make sure when you draw this
this ellipse, make sure you draw the ellipse
feel like us just a circle feels like facing up,
we want it tilting, facing away from us.
So watch out, you got this crazy kind of
contrapposto pose. You just have to be aware of what the of you aware of what the
skeletal relationship. We got pinch on this side
and stretch on this side.
The pelvis going up this way. So I'm going to make this part
of the -
the dress extend that long. So it feels extend that long. So I feel
like this part like accordion pulling away all
Whatever that is, you need to see I get bigger and the little
coin bigger at the bottom, smaller at the top again shows smaller and top again shows
that transition or see how the top facing this way and slowly,
see how it turn this down like that.
All this little
trick can help.
These big shapes.
I think my ink might be running out. out?
Break, break, break little textures.
Lose that whole shape right there.
That forearm, that piece that kind of does piece I can just kind of do
this too, to
kind of indicate it.
Okay, great. So, hopefully you guys had fun and I love to
draw on the tone paper and you know, hopefully you guys
can experiment that yourself. You know, those are something
you can either do it in your sketchbook. They sell the tone
sketchbook then you can practice in every
day or you can pick up a couple sheets like what I did
and then explores those full that you just explore that full
values and those shadows, mid-tones, and highlights. And
those like I said, those are going to help you transition
into the paintings and then also if, you know, if you're
interested in to paint and so I have some drawing that I did
today and most of that I'm happy with so hopefully you
guys enjoy the class today and enjoy, you know, watching
me and then I will see you guys next week.
Free to try
1. Lesson Overview52sNow playing...
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2. Drawing from a Live Model with a Fountain Pen on White Paper26m 41s
3. Drawing from a Live Model with a Fountain Pen and a White Pastel Pencil on Toned Paper28m 59s
4. Drawing from a Live Model with Red and White Pastel Pencils on Toned Paper25m 52s
5. Drawing from a Live Model with Chromus and White Pastel Pencils on Toned Paper26m 10s
6. Drawing from a Live Model with a Fountain Pen and a White Pastel Pencil on Toned Paper20m 47s