- Lesson Details
In this lesson:
In the eighteenth part of our comprehensive How to Draw the Costumed Figure course, Charles Hu will teach you how to sketch the costumed figure using marker and pen on white and toned paper. This media will teach you how to draw with more confidence and directness and will result in more dynamic costumed figure drawings. Our model Aurora, will be wearing a period dress costume.
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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Hey class, welcome back
so today we’re going to switch to a different medium
which actually is a little more challenging which is a - we’re going to be using a marker
and the brand I’m using is a Tomboy marker
and then it
involves more careful observations and good things, always good to
really slow down to focus on what you see and produce
more honest drawings and so we’re gonna explore that
with the marker, we’re gonna be drawing both on the white paper and also on the toned paper.
So let’s get to our drawing.
five minutes. Sorry about my voice today
I’m a little bit under the weather. Okay let's
get started. Five fives.
So right now right away I’m trying to get a sense of
the gestures and the rhythms and
of the shapes.
So here’s the
back of the neck here, it comes to the top of the shoulders
I’m gonna use this U shape
of her necklace to bring down the gesture
and again I love accessories like I mentioned last week and I’m gonna use that
to also reinforce
Breaks out the silhouette.
Again still wanna feel for me coming this way so I want
this side of the bra piece to be more
dominant. See how the
like it looks like cone shape
I want to angle it this way. In here
I want to angle for up to the right.
Be aware of the pinch versus stretch.
Feel how the silhouette flows.
Be aware of the
Keep the highlight right
the corner of the hair.
Stretch up the neck.
Just traveling down.
Go back up this way.
Bottom of the wedge of the hands on the -
I just placed that in shadow first.
Not sure what that dark thing is in the back but
it helps to serve to clarify the contour of her back
which that could be useful.
That’s the ribcage and that shadow’s the oblique.
Find out the width of the eyebrow.
That’s going to help us to find
how wide the head in terms of
where the front meets the side. Because the corner of the eyebrow is gonna help us to
Again be very careful of these relationships.
Again these necklaces help to
wrap around the volume of her neck
it goes up and comes down.
A lot of times we get this - it can just be abstract
graphic shapes. Still want to unify it. This whole shadow merge into
the shadow next to her head, next to her face, actually will help
to benefit to, you know, to bring out
you know the silhouette of the face.
So you can just kind of
make it up by the benefit, you know, whatever the
the design is benefitted by bringing out the face in this case
clarify some busy sections.
See angle this, angle this, turn that pelvis.
When it gets quicker
the blue pearl I don’t even need to draw it. Just draw
for time being we only got five minutes,
just draw that one in the center. Just to guide to that
center line of the body, you know, maybe that’s enough. The rest of it in this case
I do just kind of make it a - some kind of impression of
you know some type of neck piece
goes over it but I don’t
spend extra time doing the smaller detail. That’s a warm up when I start drawing
At the beginning of the day I usually
just like any sports you start putting more and more and once you start getting warmed up
things become faster and faster and you start knowing
what to leave out.
Break that silhouette
can be helped again to create a sense of dimension
coming forward, goes back,
can be used as a transition.
To guide viewer’s eyes.
Again at this point sit back and look
Clean up some of the
shapes, bring out some of the
clarity, you know, still kind of
start off a little messy
to begin with so I’m gonna come back in. I try to
think this is the fourth drawing, somewhat kind of
already got a little, some warm up to it so I
can afford to start a little
crude and just to see if I will get some kind of what we call
happy accidents, sometimes enjoy those
happy accidents. I can learn something from them. But at the same
time, if I
kind of get too carried away the drawing might
you know, might suffer because now
even I get lost. Almost it’s like you travel
you start running away and get so excited and start running around
places and then you get kind of lost
So now I need to come back and look at the map
and to start clarifying some of the stuff.
Gonna get that keystone right here.
So she’s going away from us.
She’s going away from us so I’m going to squash the bra a little bit so I feel like this goes
put some stripes to indicate the
volume and perspective of the bra.
This arm goes back.
I’m gonna try a different medium. This is a Tombow marker
and you can get this pretty much
at any art store. The marker has two sides. You have this bolder
end, this looks like a tip got a little worn out
so you got this more of an organic
shapes and it can create this kind of
raw almost like a brush pen type of strokes.
And then you also got the others and which
it gives you this more of a cleaner
more precise strokes. So usually often
if I start
beginning of the day I might use just the thin
side to have a little more precision
and then I’ll use the bold side
and later on that starts getting a little bit
you know, the lines can get a little bit wiggly
and so I need to be a little more warmed up
and you know my eyes need to be more warmed up so my drawing
to come out right with the bold side.
And then sometimes I’ll mix both. And I will show you guys.
So that’s what we’re gonna do during these three eight minutes. SO
I’m gonna start with the fine side first.
Again this medium I think
is a little more challenging than any other medium that I have been using. The ballpoint
or the fountain pen because it’s so
aggressive. Once you put a mark dark, you know, it’s there. It’s harder create the light
and the dark, you know, the light and dark
transitions. It’s just pretty much just dark.
So that means you have to be a little more careful.
Still have to - the concept still has you know the same entire drawing concept.
Finding the center of the head, center of the neck and finding the center of her
If you use more of the side of the marker
it can actually get a pretty fine
and light lines, versus you use the tip gets more darker. So you notice
I’m gonna use a lot of my side
Wraps around, I still want to feel this gesture
I’m gonna try to make every shape unique.
Every shape has a life to it.
Breaks up that silhouette.
Practice, you know,
also at home, practice drawing twists.
You’re gonna see a lot of times, body begins twisting.
The dress gets all twisted, the fold ends up twisting,
So just try to practice enough so you can feel comfortable,
almost automatically you can feel comfortable to draw
a form that twists.
So you notice that the
marker it felt more or less like a comic book strip
and then - so it’s
such a strong contrast, dark or light,
and so it’s a very dynamic medium.
At the same time like I said, you have less room to
make a mistake because it’s louder.
That means you have to be more careful, you know,
observe more carefully.
that light shape versus that dark,
you know dark shape of that
collar, her neck, goes up and falls down and kicks
out. I probably made that distance too far but that’s okay
it kicks out to that shoulder. See how that
this shape right here. I like that shape.
So I’m gonna make sure I design
eloquently - or most dynamic or most fluid.
However you want to
tell stories. So right now that sticks out
like a sore thumb. Hopefully once I add some other
dark area that won’t stick out so much. And so I need
to work up more.
Even though from what I’m seeing this whole strip here
feels quite even. I’m gonna still make it more narrow here
and more wider towards the top of the bra.
So I have to watch out. Right now I’m a little concerned about
that ribbon, that
you know this ribbon right here that looks a little too similar
it might compete with each other. So I’ll see later if I can
adjust it and I’ll adjust it. I know this should be
the top part should be more dominant and that should flow to this and this should be
the support and I’ll see how it goes later on
into the drawings.
Okay I’m gonna
switch to the bold side because you know it can probably cover some of the
darker quicker. Dark areas quicker. So I’ve got some
cast shadow right over this part of the
hair from her hand
Go back to neck, goes to the front of the neck,
So I’m gonna - right now I’m gonna try and merge all these
Sometimes you can
you don’t have to complete that full ellipse, that full circle,
Bring that bow out.
Maybe keep here a little more calm, but make sure
to make this maybe a little bit longer than this one.
Where the silhouette - see how they end, how
this pieces hat waist piece, ends and then the leg begins. So we got that
arm, we got the waist, we got the legs, they all, you know,
have their own clarity.
Where’s your key gesture? Key gesture
is around this way. So it doesn’t matter how you twist and
wrap around that shape, right here the pants. Overall at
the end you still have to swing this way.
So now you can see I got a little bit further with that one.
And almost looks like
one of my
favorite fantasy artists is Frank Frazetta
and well he used a brush pen so
that’s even more tougher, I think that’s the most difficult medium to use is the brush pen.
But like I said you get that
illustrated or comic books feel to it.
I’m just gonna search but what I’m looking for is
these straights and usually next to the
jaw bones are straight.
So seems like ten minutes
I have more time like I will just kind of block in the shadow shapes.
This costumes a little different than one of those Turkish dancer costumes we had
just now and then the week before. So this has more
cleaner shapes, less busy.
The spiral folds often happen
around the upper arm meets the
This is actually the first drawing
I’m working on this new costume so I haven’t really kind of
built a relationship with this costume yet but
seeing as I have ten minutes I can slow down and search
more to study more and really kind of
Some of the design
So you need to learn and
how to draw,
you know, fast
four or five minute or for one minute
Also you need to learn how to draw precise
instead of drawing slower because
everybody likes to do fast and it’s more exciting
and the drawing you don’t have to finish the drawing
so it ends up there’s a lot of areas you still don’t quite know how to do
but it ends up you were kind of just avoiding those areas.
But that still
is not going to benefit you because
you are kind of basically cheating yourself and also you want to make sure
you know if you’re drawing in the studio situations you want to make sure
it doesn’t look bad compared to the person next to you so it ends up you always
doing the same, you know,
drawing quick and
still don’t know how to draw those hands or that ear
So you have to
basically be honest to yourself and you
can, you know, that’s what you can practice at home. All those photo reference
from, you know, from New Masters Academy. And I use them.
I use them quite often, even on my
own, when I get home I use them to draw. To practice.
Doing that you’re gonna get - besides gonna get better a plus
is it’s less intimating than drawing from life.
Right and it first of all benefits is the model is not going to move
right sometimes drawing from life just how nature
drawing from life the models, you know, sometimes might move a little bit.
You know and you can have, you know,
drawing in a comfortable distance instead from drawing from a classroom you’re always
drawing on the benches and there’s some
distance from the model and sometimes it can get
a little, you know, if it’s a full class sometimes it maybe gets a little harder
to see but again, you know, in your studio
you can sit however you like and have the best view.
So really you have no excuse to practice.
You can have as much time as you like
you can pause it, you can
pause the image or you can
close up, zoom in.
There’s the front of the forehead. Finding the width of the eyebrow
Get a sense of the also the gesture of the
hair. See sometimes - or in this
case I have time so I am able to kind of try to figure that out because
for quick sketch I might just kind of shade
everything in in the shadows.
In this case I got a sense of what the inner volume of the hair,
where is the highlight, how this hair
will recede in the back.
Again, all these shapes are twisting this way.
around the arms. The tubular arm
All these crazy folds that you see right here in the silhouette
Back to the simplicity of the
shapes. Again they’re all doing
and when they get squashed right here I saw going this way, this way,
this way, this way, this way, right? So just kind of based on that gesture
and you can just kind of make it up as long as you explain this,
as long as you can explain this fold, this idea.
And overall the hand is going this way.
So what I’m trying to do now, again, I know there’s a leg that she’s crossing
her legs somewhere hidden underneath that skirt.
I still want to somehow enhance that in my drawings.
These folds are going to help to
feel like the thigh is stretching over, the knee is somewhere right here.
So I know the leg is somewhere in here so maybe I’ll put
on the side of the shin
Sometimes I can look at the poses
figure out where you want to place on the page. In this case
her gesture just kind of swings towards the left so maybe better of to draw it on the right
side, otherwise if I’m drawing on the left side I feel like it’s taking
the viewer out from my page. I’m gonna come over here. And
sometimes - or for demonstration purpose
I kind of keep them all the same size. I don’t want to draw them too small so you can’t see.
Sometimes if there’s more sketches I draw varying sizes
so it feels more interesting.
I might draw it a little larger on this one.
And usually on a three quarter
in a studio situation we tend to
set to the side about three quarters, most dynamic, we call it Rembrandt lighting
get the most dynamic shadow shapes. And if you
everybody’s going to be very similar, right, you’re probably gonna
get shadow cast over this eyeball right here and onto the lower eyelid because
over the eye is the ball and you’re going to get cast shadow over to the wider
cheekbone so you’re going to step back and then it’s gonna sit forward.
And then it’s gonna drop down to the side of the cheek. And then it’s gonna
step forward again towards the skinny chin.
In other words, you know, if you studdy
enough or draw enough, it’s almost just like muscle memory.
You can just - because always
it’s gonna kinda run to the same...
Highlight’s right here.
Group these three
rounding to the book.
and then switch to our tone paper.
So let’s see. I’m still using my -
since I now have 15 minutes I can still be a little more careful and more precise
Be aware of the width of the
Looks like this side of the shoulder is a little bit higher.
Lift up this shoulder and this arm comes down.
And usually we have a strong fold
coming out over like this. Look at the contour
It’s probably gonna push up contour
Again always leave some
little moment of
like I said if I paint everything, all this big - these large shadows
if I paint against that fan I’m afraid it’s going to be too cluttered.
So I want just a little light to kind of peek through.
I’m actually not
making it up, it is how the model - that's
how I see it. And also for
design wise I want
See how these all kind of
looks like a scale kind of radiating out
down like this.
Kinda swings over this way.
Again show where that leg is underneath.
Organize my patterns, my
dark and light pattern and also suggest my shapes.
use the white also as a
guiding, you know, guiding tool.
to bring the viewer’s eyes to how you
want it to read.
Bring your eyes here, bring your eyes back up.
Show where the top of that knee.
See how the leg
follows along this corner right here?
So we experimented on the markers. It’s more challenging for sure
but it’s - the result, like I said, it’s going to be
more dynamic, it has more stronger contrasts. Also like I said
at the beginning of the class it involves more concentration and be more careful
you know blocking those shadow shapes because, you know, you can’t screw up
and then like I said it’s a great transition to painting.
You know because when you paint you’re going to do the exact same thing, you have the toned canvas
block the shadow mass and working from that.
Free to try
1. Lesson Overview42sNow playing...
Watch the whole lesson with a subscription
2. A Fountain Pen Warm-up Sketching30m 8s
3. Drawing from a Live Model with a Marker: 8-Minute Poses28m 17s
4. Drawing from a Live Model with a Marker: 10-Minute Poses34m 5s
5. Drawing from a Live Model with a Marker: a 15-Minute Pose21m 4s