Hey class welcome back. So
so let’s continue kind of focusing on the gesture
of the pose and also don’t forget there are still
a sense of structure underneath those costumes to
suggest a figure, you know, placement.
and postures. And then use those folds, use those fabrics
those costumes to reinforce the design of those, you know,
what the pose is about. I got some questions about what tools
I was using. I switched to this kind of red charcoal. What I’m actually using
still is the Faber Castel is
they call it a Pitt Pastel pencil
it just happened that I was using a red color so I think it’s venetian red
and so that’s what I’m going to be using today also. So let’s go to the drawing board.
 

Okay I start out our
Okay I start out our
five minutes routine warmup.
(drawing)
Drawing through, see how
that nice kinda of wavy shapes of the head.
(drawing)
The neck stretched back.
(drawing)
Earring.
And then see this part
(drawing)
Hand is going to be wrapping over here
and see this part feels tight and here is going to
fall to the gravity, the shawl is going to feel kinda falls to the gravity.
Still want to make sure drawing through, get a sense of that round
form of the neck, this kind of necklace that helps
(drawing)
Usually I measure up from the short side so I see how much that shoulder
I see if where her forearm
comes in.
(drawing)
And then still be aware of how the model stands because
she’s doing, again, some type of contrapposto
It’s a pinch on this side
and then as you can see it’s a stretch on this side.
(drawing)
Think soft, keep it translucent,
you can slightly shade and get a sense of where the edge is
(drawing)
You know we’re gonna be looking at some more folds,
some more folds today. We’re looking at some last week.
We have a different type of
costume today so we can talk some more.
(drawing)
All these
drop folds, they’re called a drop fold.
(drawing)
Okay.
so again every time when I see a pose I get a sense of story,
get a sense of pictures, and I’m going of acting it out myself in my mind and you can
add up if you want, animators do that. So it helps me to know
how can I design
(drawing)
So I can feel
the tension on that elbow
(drawing)
Feel the tension of that shoulder
(drawing)
See how that pushes out, protrudes out
of the lips
(drawing)
Bring that
up a little bit. I don’t want to lose the top of the head versus this portion.
of the head.
Look how close the top of the shoulder girdle behind her ear.
(drawing)
Wider, narrow, then drop down to her
chest.
She’s leaning this way.
(drawing)
Her waist.
Her leg comes out. Looking for diagonal relationships.
Drawing through.
(drawing)
So the gesture swings up like this then comes down.
So does her legs.
(drawing)
Still feel like I need to kick this hip back,
it’s not feeling dramatic enough, the drawing
so I’m gonna bring this back more.
(drawing)
And use these folds to kinda help to kind of
radiate up, bring it up to
this knee.
Important folds, somewhere right here I can just use this one.
Again some of these are gonna be overlaps.
(drawing)
This is a dark shadow in the back, I can use that to bring out
some of the contour, the contrast. I take that
dark, I look at somewhere else, somewhere else has dark that can
kind of almost like connecting a dot.
(drawing)
Turn that head back.
And then so I got the ear, I drop the ear way low so I get a
sense of we’re looking for underneath. I
need to put this, you know, I need
to get the drawing down quick because
this is a tough pose, the model won’t be able to hold this for long so I want to
try to get the accents of the pose as quick as I can.
(drawing)
See how it goes up like this?
(drawing)
See her body leans forward
(drawing)
Straight, down, over.
(drawing)
Some smaller curves or smaller
details, some flatter, cleaner, longer details.
(drawing)
Angles down this way towards her ankle
Depicts some of the important folds, in this case I'm
going to that dark in order to show this whole skirt drop down
that center, that hollow
portion, and you got some of the folds kinda radiate out, kinda feel like
kinda almost like a waterfall. Kinda merge into the center point right here.
(drawing)
See that turn
so I need something to suggest that structure.
(drawing)
So a lot of action, she's
basically arching forward like this.
And the shawl falls to the gravity. Kind of
you know, running opposite directions. All this is good for
you know, for design, for contrast. So you have something hanging,
looks like the shawl is hanging of this support, right?
You got this part of the dress hanging over the support of her shoulders.
And then her arm
coming up here.
(drawing)
So again, where’s the body? Right here. Side and
the front.
We want to lean her forward.
Angle this out more. And this part of the skirt
we have to have an overlap and then this again we call it a drop fold, it looks like
a curtain. You see the curtain hangs down you got a little tube. So still
wall, we’re doing this looks
like a, you know, it’s kind of
somewhat like a cone shape and it turns
around to the side. So here
we have to suggest the folds, it’s probably gonna come out a little more like this
and then when it goes to the
away from us, it’s gonna get more tighter and gonna get more overlap
it’s gonna get smaller, you know, going away from us.
Going towards the distance.
(drawing)
So gradually I’m gonna get more fuller, this is gonna be more
angles, slightly angle, slightly fuller, more fuller, more
fuller, see how it kinda helps turns into the distance?
(drawing)
Drawing through.
(drawing)
I want to keep this leg more straight because that’s gonna - and you have to make sure
this leg has to be behind the head. Her head’s gonna be
somewhere out here.
(drawing)
And see here’s her
ear. So I want to make sure I place this leg right here
so I feel like she’s still leaning forward.
(drawing)
See when I see poses like
this I can start reading, you know, connecting all those
her hair, her fingers, her elbows.
(drawing)
One of the benefits of drawing
with charcoal is that you can kinda block in these
stripes pretty quickly.
Her face is looking forward.
(drawing)
In the shadows I’m gonna just paint her face
in the shadows.
So her head’s in the front.
Leaning in front.
So the momentum is going forward, we’re going to see this, this part of her dress.
it’s gonna help to go over here and also go over to her
elbow.
(drawing)
Just
draw a gesture line, you know, get through those fingers.
(drawing)
Look at this negative space.
(drawing)
This part drops over her hip.
(drawing)
Thinner, wider.
So again, not just about
the dress, it’s about the gesture, it’s about the pose, about the story, right? About the rhythm
So you should look, see how everything is connected.
And then we just basically just read
(drawing)
Basically I was gonna
reinvent - not really reinvent, we’re just gonna push it more than what she’s already giving us.
(drawing)
And just make it even more exciting.
(drawing)
Every mark, ever shape you
made it creates a rhythm, it creates a
message.
(drawing)
A message telling the viewer
this is the big action,
exciting part of the pose.
(drawing)
See how this - I still want to describe that thigh, the volume of
the thigh.
So this is the point of
tension so I also want to show that and I also want to show where the, you know, the
thigh begins, you know the hip and
the pelvis and the thigh begins.
(drawing)

So again this is the Pitt Pastel by Faber Castell
this is what I have been using. They come in different colors, I usually use
the rest one even for figure drawing I use the black one but
they, you know, they work great because they’re not too hard and they’re not like regular charcoal.
Regular charcoal too soft. So I’ve been kinda using them pretty consistently.
So okay these are eight minutes.
(drawing)
I’m gonna carefully block in the shape of her head
and her face and, you know, I have a little more time now seeing as I’m working with the
eight minutes so you know I can slow down a little bit.
(drawing)
Just a little bit, not too much because you don’t want to kind of
missing out the momentum and the flow
of the drawing. She’s leaning
slightly forward.
(drawing)
I love props, you know, props can give good
shape and also in this case breaks out the silhouettes,
(drawing)
So she’s, again, she’s leaning forward a little bit.
(drawing)
Right here,
that’s a - you can tell it’s a calm
part of the folds. They just naturally just
kinda resting over towards the gravity. And then
the support starts pulling her skirt up and see
these folds start getting weaker, but when it gets to where her finger is, this
still gets - this fold right here still gets pretty intense. So
is this shadow right here.
(drawing)
In here, you can see you start these little
intense folds, they are also gonna radiate, kinda radiate out
like this. Some of them longer,
again last time we talked about soft edge, hard edge.
Some of them shorter
And this is gonna describe this pulling going over.
(drawing)
Again soft
harder edge.
(drawing)
See all this is gonna start pulling up
this way.
(drawing)
Turns down like this.
See? And then here is gonna get
And don’t forget those silhouettes,
when I start working on detail step back and you know, stand away. If I look here
I got a nice triangular shapes right here, actually. Gonna swing here
so you got a triangle shape right here and everything else becomes more, just a tube.
But it got a higher
kinda higher
shapes and drops down lower here.
(drawing)
And again it gets
(drawing)
gets thinner
when goes behind, goes towards the back. Some of them get closer
in distance, some of them angle out
more.
(drawing)
Just the little tubes.
(drawing)
Cast
shadow over the knee.
(drawing)
See that triangle shape right here?
(drawing)
And then look at this
triangle shape very carefully. It’s very organic,
it’s also wider here and kinda hooks over
the arm and it goes around like this.
gets thicker, and then stretch back to where the zipper is.
(drawing)
See how the skirt
tucks in over her hip?
See how this kind of suggests the volume of her hip
(drawing)
It twists, like this.
(drawing)
Pulls up.
(drawing)
Here’s a round shape of her hi[, at the same time
it’s twisted, twisted to this point right here and then this
it got caught behind this
piece.
(drawing)
Doesn’t matter how complex what you see here, you’re just trying
to, you know, simplify it. Just simplify it a lot
dark and light patterns.
And just break up the silhouettes.
(drawing)
Light, dark, light, dark.
(drawing)
Keep this.- if this side is busy, which I already kinda emphasize a lot putting
a lot of, you know, intensity
on this side of the dress, maybe I’ll keep here
a little more simple.
(drawing)
And a shadow here because it turns down.
(drawing)
Just kinda break this top.
(drawing)
Let’s drop this all back.
A little bit in the shadows, a little bit in the shadows, not
too strong, just kinda tint it a little bit darker.
(drawing)
So see I’m not really suggesting fingers, I’m almost
just suggesting where the dark and light patterns
(drawing)
Look in front and
then the side, we’re looking from underneath.
(drawing)

Okay so we got a new costume
elaborate interesting costume. So we’re gonna go back to five minutes just to give me
to familiar with the dress and then we can go over a little longer.
poses.
(drawing)
Get that sense of gesture, especially in the five minute poses
(drawing)
That’s a lot interesting, this kinda we call it a zigzag
fold happening right here.
Talk about that later.
(drawing)
Point of tension from the button.
(drawing)
Still feel her hip
where her back of the thigh.
(drawing)
Probably make it even longer, probably better
down here.
Gonna stretch, just bring that down a little bit.
(drawing)
Dark shadow, brings out this silhouette.
(drawing)
All the leopard
pattern goes down to the crotch, radiate out over the thigh.
Again all this pattern, all it does
the purchase for us just to still describing the form or gestures.
(drawing)
And varies a little bit thicker, shorter,
longer.
(drawing)
This pose I see a gesture I like the head looking up a little bit and kind of
the head piece kind of curves over to the side and kinda
falls down. Like that initially would create
a nice gesture to me. Coming this way
and thing comes out like that.
(drawing)
See these darker spots, it helps to align the
axis.
(drawing)
Come this way and the dress coming forward.
This color wraps around.
(drawing)
That elbow.
(drawing)
Feel where
the upper arm
and the lower arm begins.
(drawing)
Comes in here and leg comes out.
(drawing)
This big triangle shape right here.
Everything else kinda starts to curve back and sits back.
(drawing)
So this, we got a lot of interesting
shape of this pose. You know,
just kinda even just kinda exciting to look at. You got some straights, some
angles, let’s
attack this. So
(drawing)
First of all I like these two.
That triangle
color. This one also wraps around
kinda hugging around her neck.
(drawing)
And then this make a little tiny stop and then it’s gonna shoot even
more lower collar coming out, and then it’s gonna angle back
and then it’s gonna twist off. Now you see the edge, now you see the
actually front of it a little bit and then
merge into that button right here and then you can see
it’s going to push back out again but it’s not
gonna be angular like the collar.
It’s gonna be slightly rounder, get wider,
and then tapers off because her hand is holding it, and then you
got her hand holding it right here.
And so you got a lot of intensity
going on in here but then below
nice and stretched and relaxed again.
See how interesting that - just the silhouette itself - how interesting that is
how much story telling that edge alone. This side
has its own story, this side is actually pointing back this way.
Right and
you got the shoulder piece coming off almost
feels like a round
sphere shape and then the tube inserting into it, in this case it is,
you can see the tube insert into that. Drawing through.
This is gonna feel
the gesture is gonna shoot out and then come back really quickly into the elbow, so elbow serves as a
support point, there’s not much fold to it because it’s stretched.
So happening on the other side there’s gonna be all the pinching happening
on the pinch side. And here there’s gonna be, you know,
these twisting, spiraling folds
gonna wrap around, suggest the tube structures
underneath, which is her forarm.
(drawing)
Stretch back.
(drawing)
Keep this side straight and angle
this side out, pull really long, make it really long.
(drawing)
Watch perspective
pulling over this way.
(drawing)
Soft, hard edge.
(drawing)
Soft, hard edge.
(drawing)
Again some of this
pattern textile always good to give it
a sense of design, give it some of the textile patterns, you know, so
you have more interesting - give a little more interesting
kick to the drawing.
(drawing)
I like that head, see how the momentum coming out like that
(drawing)
See doesn’t matter how you suggest the
form. I think that is very important. That graphic design. And
yes we can come back and, you know, put some, you know,
science to it. Get a sense of where that’s a tube and then add a little shadow
right here, make that lighter, make that darker so we can get a sense of
you know some type of tube going on here.
Again you can do kinda impressionist. This side here is the foot.
Right we can paint this a little bit darker, it helps to get
of a suggestion that’s the front and that’s separate from this
rounder piece, you know, in front of her.
(drawing)
Again looking from underneath.
(drawing)
Shadow defined from the chin in the bottom, chin.
and it comes around.
(drawing)
See how that white tapers off
(drawing)
Really reinforce the perspective of the bra. That tangent I think
it’s okay, you know, I can live with it or you can
draw through it if you want.
(drawing)
draw shooting
out, overall triangle shapes.
(drawing)
Light, dark, right.
(drawing)
Harder shadows, harder shadows, softer
shadows. Again harder shadows because
it’s at the point of tension, it’s at the support
And when it gets away from support it gets more mellow, it gets softer.
So contrapposto.
And again
make it a little bit longer. Drawing through.
Get a sense of this side of the hip higher and this side of the hip lower.
(drawing)
Still straight versus curved.
Light versus dark.
(drawing)
Thank you.
(drawing)
Again I’m just finding the dark and light patterns
as you can see and playing with - play out with
the shapes.
(drawing)
So again I want to also beside the costume I also want to get the essence of the pose.
Shoulders up, you know this feels
obviously is not a happy
I don’t think - I think this is almost like a villain character.
Got that you know, evilness, devilish feel to it.
So that’s gonna affect the shape of my
my chosen shapes. So feel a little more of the wedge
shapes, a little more harsh shapes.
(drawing)
Like she’s giving a spell or something so
(drawing)
Curved, straight.
Firm shoulder because she’s very confident.
(drawing)
You got a dark, you know, dark thick line
here. I’ll keep here a little more thinner.
(drawing)
This piece hangs over her
thigh. Look for diagonal relationship
the wrist to this lower piece of the
inner piece of the dress.
(drawing)
See how this point right here, give an access coming forward.
This tube coming forward.
(drawing)
Down here is called a
can be called death or [indistinct] because this has no life to it,
everything just kind of
you know support anything, just the support from the bottom so everything just kinda feels
lifeless.
(drawing)
See those patterns
that’s great, again gives a sense of that
besides this going forward, in this case also gives
almost feel like give that evilness or feel like
smoke spells, you know, kind of life
smoked out from her dress.
(drawing)

Okay these are ten minutes.
If I end early I might just let the model know it’s a hard pose and I don’t want the
model to get too sore.
(drawing)
See I want this to come forward.
(drawing)
Swing back.
(drawing)
See when I have ten minutes I slow down a little bit more
still compare diagonally of that chin.
(drawing)
Still keep all your shapes interesting.
(drawing)
Let’s color this in first
Gonna do what I did in the five minutes, just break out that
create a nice interesting silhouettes and as long as this
kinda hook U shape
of the necklace that would be fine. And you got this
(drawing)
part coming down and
ties into the
bra piece, the top of the dress over her
breast. And again she’s actually sitting away from us
like this, see here’s the breast line. This breast actually
so this breast goes higher and this breast sits lower.
(drawing)
So I had to see through, I know her knee is somewhere
in here and I know the other leg
looks like coming on this side
(drawing)
Finding that core, finding that corner
(drawing)
Wrap, make sure the half piece wraps around behind her head.
(drawing)
So I’m just drawing the whole shadow in.
Shadow underneath her nose.
Cast shadows.
(drawing)
Dark here and dark here. I need some dark in the back.
In this case right in the part of the collar that helps
Suggests besides in the part also helps to
tie up some of that darker area.
(drawing)
Here’s pretty dark right here,
we’re using that dark to bring out that feature.
(drawing)
Keep this side flat right next to the breast. And this side I’m gonna flare
out so you got a more rounder, got more of an arrow coming
down to this side and this breast has a little more compression
to it.
(drawing)
You have a calm
moment, for example to me I feel this whole section here is pretty calm.
Then I need to - the calm moment can’t last
too long. You need it because there’s other complex areas somewhere
else but then you need a little kick. Think of like music tones
Think of like a song.
(drawing)
Then I need to start kind of breaking that silence.
(drawing)
They use the panther pattern to help
to bring that out.
(drawing)
Some smaller goes around her thigh. Some larger comes
towards us. Some of this suggests where her knee
(drawing)
Some hang over as a transition into this legs.
(drawing)
Sit that back.
(drawing)
All darker because that’s the top, that’s where I see the light and this
is in the front.
Make it a little bit firm, core shadow here
because that’s where I see where the top of her shin underneath
and this is the front.
(drawing)
So when you put shadows in there, again
organize it and I still might even - I stroke
following the
don’t start getting sketchy and start not
thinking about the shadow as the shape itself. For example again
I’m gonna - here’s the top of the arm, here’s the front of the arm. I see
a shadow that’s doing
something like that again. I draw it out and then
I’ll fill in very cleanly like this.
(drawing)
See keep it clean.
(drawing)
It’s kinda complex here but overall it's
still just a tube. Just an egg.
(drawing)
So I want this side the momentum going this way, so I don’t want to bring
this out too much. I want to try to bring it over this way.
(drawing)
Again make sure all this negative space or in this case even
(drawing)
interesting and again it flows.
(drawing)
Hard,
softer.
(drawing)
So
a lot of things going on down here. Just pick out a few important ones. First of all
we want to describe this is the side, this is the front, so I need shadow on
this plane.
(drawing)
See how it curls up?
(drawing)
So this comes down, comes back up.
comes back down.
(drawing)
Again keep your shadow
organized. If it gets confused
keep your strokes organized. Some
areas can be abstract, some areas have to be more defined.
(drawing)
See how it’s coming over here?
(drawing)
One stronger one right here.
(drawing)
And it turns into this shadow right
in this section.
Hard, soft,
this is turning the form, turning
down into this shadow right in here.
(drawing)
And then here I’m gonna get me some
very darker darks just to show all the
fabric, heavy fabric, resting on tope of the
floor.
Give some sense of weight.
(drawing)
Okay another great class and I know it was kind of
overwhelming for some of you guys and I think there’s a lot of, you know, a lot of information
to also go over today. Those folds
can get kind of crazy and
but like anything else it takes repetition and practice
and another good exercise you guys can do, you know, to have a better understanding of the
folds is by, you know, drawing a sculpture
like from Michelangelo, from Bernini, those are very good exercises because
those are - all the folds are sculpted out so
you can really see the structure, really see the form. And
what I want you guys to look for in those sculptures is by looking at the, you know,
looking at the pose and see how the artist
reinforced those costumes and based off the gesture
underneath you still get a sense of where the elbow is, where the thigh is,
you know where the joint is, and that’s gonna be true
when in drawings that we do. And obviously we have to
edit out a lot of things because so much information, you know,
so little time. And so but all the
information that you add up
what you should keep is, like I said,
is where is the support? You know, how to use the folds to reinforce
the story and reinforce the gesture for the pose. Those are the, you know,
it helps to divide, you know, helps to separate structure.
Those are important ones you need to put in. And the rest of them
like I said, you can either kinda do impressionistly or just kind of
leave it out, okay? Make sure you guys have the practice
drawing from life, drawing from pictures, drawing from sculptures. All that will help.