- Lesson details
In this lesson:
In the thirteenth part of our comprehensive How to Draw the Costumed Figure course, Charles Hu will teach you how to bring more of a narrative sense to your costume drawings. There will be an emphasis on shape design, gesture, action analysis and three-dimensional volume. You will be drawing with charcoal pencil and fountain pen on paper. Our model will be wearing a contemporary men’s suit.
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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Welcome back to my costume drawing class
and so for the past two weeks we’ve been talking
about gestures and shape design. We’re still gonna be focusing on shape design
today and this is actually to me is one of the most crucial
points on costumed drawings and later on we can use those shapes to tell
stories, you know, in later weeks. Eventually
we will, you know, hoping we can take our drawing to make it
more like more interesting so people look at the drawing
besides good drawing they can also get a sense of a story out of it. But
we’ll have to start with the fundamentals first. So still we’re going to be working on the gesture
understanding the live actions,
using the, you know, using the costume to reinforce the volume and
form and also
less, you know, less focusing a little more on the shape design
today and then we will start from that.
Alright so I will see you guys on the drawing board.
So last week I was working with
Wolff Carbon charcoal
and now I’m gonna use my fountain pen.
you know again, I’m just trying to
get a sense of that flow. Look at every mark that I make, I’ll make
sure they all kind of relate and flow to the next gesture.
See the hood
right comes from behind the chin. Here is straight
then here it kinda serves in. And this whole jacket is
kinda expands, that swings out like that.
See be aware of that neck, shape of the neck.
See what’s going on here, there’s so many different
you know design to this. See how I have a point, I have a
straight, I have angles, I have verticals,
see I have long and medium and short. So everything is a little bit different but
overall it’s still it has - it’s a shape that has a
direction to it.
Pinch side, stretch side.
Be aware of how the negative space, so it can show the identity
of the jacket and then the backpack.
So he’s looking at a watch. So let’s, you know, I can turn that fist
over this way a little bit, feels like it’s point to his
face a little more.
So again you can see
you still have the S curve of the
leg still kinda buried underneath that linen jeans. So you want
to really push that.
Drawing through so you can get a sense of where that back of the thigh
or in this case the hip.
Make the leg longer, I love to use those boots to really
emphasize that volume of the ellipse.
Make the shoes a little bigger.
Look at silhouette, break.
See how this
tapers in, into that ear?
So all this side is in shadow. I kinda just draw the shadow shape
and then I can just kind of fill it in like this.
Stretch of the neck. So you got the nice
clean triangle shape right here, pushed back behind the here, wrap around
behind his ear.
Turn into a triangle, this part fall toward gravity.
Light source is on this side, this side
is gonna be in shadow.
Neck is in shadow. And I want to kind of
show where that chin is.
This side of the body angles down
The backpack pushed back out this way.
Shoulders. I kind of draw
using that scene to show where the top of the shoulder girdle and take me right
to the arm because I want to make sure my arm connection is right
far away from the face.
So sometimes for like
leather jacket has heavy folds, I might just kind of start indicating some of those
Make each shape
as its own unique characters.
Some will break, some will keep it flat, some keep it points, some will keep it round.
Corner, bring this down.
Kick back up, recede back
into the head.
See this is
the pocket. If you look at a pocket, see how you also radiate out like this
right all those are good things, besides it points to another
you know, elements and also feels like
it’s like expands and brings your eye
and also kind of looks like a transition, kind of brings that transition
Finding corners, see the back, side
just finding corners and I’ll just kind of
you know shade
against the light sources. And then like I said even though the whole boot looks like it’s in shadow
there’s not much light I still kind of do that.
And if I want to I can still fill that whole thing in
Drop this whole
back shin in the shadows.
I’m looking underneath his head. So I’m thinking about
a box. Box like this. So you see how
I use the hair to describe
This goes, the backpack
So here’s the other shoulder, drop this down a little bit, keep this more closer.
Bring this out. Finding corner, drawing through.
This side of the jacket
Keep this clear, right?
Keep that stretched - oops, should be in his hand. Keep that nice and
feels like the stretch. Stretch and then gonna come back
over here, loop around, and then push back and gonna grab
see the fold, all the folds are gonna also
gonna feel like it’s pulling into his hand. His hand is underneath it.
See now it’s going to come over this way.
Set that boot back,
keep this one way back here.
I want to drop - I’ll drop this into shadows.
Since this is in the back I might tone it a little bit. It’s in a certain area
just give a slight indication
Keep it a little bit
different than another. Keep this flat, I’ll kick back in
I’ll keep this straight, I’ll, you know,
kick back, feel like this compression at the...
I wanna feel like I want to turn down to the bottom
of that thigh or maybe just to show the transition, gradation of that
A lot of times people are asking me like which direction of the strokes
should be. You know, actually to be honest
it doesn’t really matter. As long as you describe the light and the dark - see today I can go this way
which is running against what the actual scene from the
model but you can still as you’re drawing,
you’re able to reaffirm.
So it consists of that plane difference, I want to drop this whole
jacket on the further side darker
to set it back
Lose that edge because the back’s not that important. I want to make here a little darker.
Because I want to show, again, shoe the compression of the arm
against the check.
Also darker this bottom part to help to push out
this arm or maybe add a little bit. That form of
shadow helps to bring out that silhouette of the form.
kind of do a break down of a shape design
that we’re gonna be focusing on. So
I have to remind myself is his head is tilting away from me.
So when I
draw through, when I draw through that
head I’m still thinking about this is the front, that’s the side.
His eyebrow line
to his ear. So when I draw through
Going away from us.
here’s the back of the neck.
The hair is
ending lower than the ear, I see that relationship.
The side of his neck and I’ll be aware of this silhouette. This coming
over it comes in right here.
And then drawing through.
Look at this shape, narrow, thick
narrow, pinch, round,
So drawing through, feel that shoulder.
Follow the silhouettes.
Takes you to this straight line. Drop, compare
kicks out, kick back
Now I’m gonna - now basically
it’s gonna fall through that back of the jacket. I don’t think
this concave curve works well because it doesn’t quite feel
there’s a gravity. So I’m gonna actually curve
this way and then takes off
the sleeve of the jacket.
Again be aware of
the silhouette, that’s the other side
from the backpack. I want to make sure - and so instead
I’m drawing a flat side of the t-shirt. I’m gonna have that little break and then come down
to show this, you know, the edge
of the t-shirt.
And here I want the jacket
Each finger is just a digit.
I like to use the fingernail to show where the top plane of the finger is.
Make sure, you know, if you do see it from the side
or the bottom, make sure to get that pinch.
Drawing through, feel where the back
of the knee
And then swing out to that calf
underneath that S curve.
So you might right now
I’m actually sitting back to get a sense of the overall,
the proportions. I already have an idea I probably I want my foot
to be somewhere down here, probably be an attractive length.
So I’m gonna stretch that down and then start compressing
against the boots.
Heel of the boots. This portion is shorter and bring the front
Come back to the hair. So I’m gonna
break it down furthermore
So I got more texture
here and now I’m gonna come in a push
out that forehead. So you got
a drop and it kicks forward. Drop and kick
Show the bottom of the jaw.
Here’s the muzzle.
Look at this straight.
Kick back out to the handle on the backpack.
Imagine that the
shoulder lifts up, get very close, and then
probably even closer. I’m gonna bring this in a little more. I’m gonna cut into that neck a little more.
Go off that sleeve, little bit of an opening right here. See the momentum going this way.
Follow with that silhouette.
This side of the
buckles and the stripes.
Stripes hang down
coming out right here.
V up torso comes in.
Stripes comes right here again and tuck over behind.
His backpack. I’m gonna color that so you can separate from this guy right here on his side.
Feel the bottom of the knee, swing forward.
using the pocket to show the back end of the hip.
I like that subtle break, straight, up and straight,
and then kinda round. And this
across pulls forward to this thigh and this comes from behind
And then see how to fold kinda radiates out below the knee.
Some of this does too. So make sure the fold.
It has to radiate out like this. You cannot draw them
even like that. Okay. And then
that means you cannot draw the even length. Even worse
if you draw them like parallel to each other,
which the folds all gonna radiate out from the point of tension so we call it in this case
the point of tension inside the crotch, it’s gonna radiate out from that, it’s gonna wrap over that knee
So now looking
compared to the overall shape of the silhouette, see if it’s interesting, feel like
it’s a little too vertical, this part is a little too like a
rectangle shape I don’t like. And again I’m looking for this diagonal relationship
notice I have to add this jacket that he’s holding on the further arm
and I’m gonna put a - doesn’t matter what shape,
it can be an abstract shape because that jacket looks abstract anyway, but as long as I
need come up somewhere right here to give a nice
triangle, long triangle shape of him to break up
that boring rectangle that, you know,
that I’m having right now.
Take on the inside of the jacket.
Indicated the round shadow feels like goes around the
Show the hair coming forward, turning
kinda curls, this side is curved
but the whole thing still has a plane that tilts
forward like this
obviously, the benefit of charcoal is you
can, you know, you can fill in
this area quicker versus the
fountain pen. If I wanted to fill in this section it would take a while.
But this is gonna fill in nice and quick.
Same thing, I’m looking for shapes.
I’m looking for this shape right there.
That has to be, like I said,
besides - and you’re gonna see my doing a lot of triangles - it has to be a dynamic triangle
it has to be an interesting triangle, it has to be a characteristic triangle. Whatever
those terms mean. That means you cannot make something for example here
is the head,
and let’s say and then
like I said you draw a pretty good head but then you come down and draw like
like a stiff triangle like this, it has no gesture to it
and it doesn’t quite flow to the head right.
Even this negative space right here, the shadow is not
in the space, that shadow. Even this shadow here
or this shape here happens differently, that has to be unique
at the same time it works as a whole.
Now we got - I’m gonna tone this down a little bit - you can see
now we got this shape I just mentioned
Now you got a longer one that’s kinda echoing down to
where his white shirt
His shoulder is slanted down.
to about where his chin.
You got a large
collar, large triangle. Don’t you look at a triangle
itself this triangle is looking at how this triangle
rises and how this triangle falls behind. Where you want to put it
you want to put it aligned with this little triangle or we’re gonna put it lower.
This is too straight. This triangle is too stiff.
My stiff triangle, because this triangle
what if I do this?
a triangle but now that triangle has a direction and that’s what we want.
Straight, resting over
Little volumes, show some air of
the inside the sleeves.
So when you draw that ellipse of the sleeve again
it’s an ellipse, has a, you know, also has
an apex, has an axis.
This knee comes out right here, again
larger collar and this one just kinda
supports the gestures coming forward like this.
really want to curve this way
Wider here and then gonna taper off and meet that center line and it’s gonna push out
against the belt.
Shoulder is gonna drop
Overall still get that sense of
that little bit elliptical volume here
Here’s a pinch and then see how the jacket
kinda twirls around behind like this.
And then but then it’s gonna sit kinda sharp
this way like this, pulling into his hand so you
got some tension here. We can build that tension by making it darker or
just have the strokes pointing towards that
even that little shadow right here
we want to kind of indicate that hopefully then
and don’t make it like a symmetrical dome like this again, make it
somewhat like this.
Finding the elbow comes forward, having this stretch
and this side has a lot of kind of pinch going on
Right now we can just
kind of do impressionistly as long as like the
trick I tell you guys will radiate from one
direction and then loop around the form.
See follow this volume so here’s the box,
here’s the box this way. The light source is behind us
you can get a sense of
See that helps kinda breaks that.
Still want to probably make here a little bit darker, indicate where that
arm or that tube ends.
The deltoid ends. You don’t - so you can feel that
complete shape. Here I’m gonna
just keep it graphic. And this side of the jacket like this he's pulling out.
like this. So also a lot of tension but actually
a very graphic, I’m gonna keep it graphic like this.
Probably gonna make this a little darker just to
you know to create that contrast. This is a darker
jacket versus the light shirt. I probably already made that a little too light.
the contrast, you have
diagonal versus vertical.
You have vertical
you know, versus round versus
Again here’s the point of tension, pinch go
from this point and you’re gonna - it’s gonna swing this way, swing that way
however or wherever
it swings as long as it goes from
a point and then goes around the form
that’s what, you know, we want it to do.
Later on I’ll explain some characteristic
of the form but for now let’s just do it this way.
Somewhere mine protrudes out
from the contour, some might turn into
a letter like, you know, in this case it might turn into
a letter Y like this.
Some of them might
compress by some other structure, in this case the boot.
I’m gonna get to boots and
involve more structure, more perspective.
Okay so he’s cold, so you have to get a sense of
what does that mean? Like you put yourself into, you know,
into that story. It really helps you to design.
Helps you to push those shapes. That’s what we’re gonna be
always be focusing on. So we can
in that case it helps us to exaggerate
Folds up, swings up, comes forward.
Pulls forward because his hand
It’s a good thing the charcoal so you can draw through, get a sense of that
construction for or gestures.
And then we can come over and
build around it.
Some other medium might be a little hard to do that because
you might get a little messy.
Charcoal you can do it.
See that overlap, see that stretch.
See every shape has to be
unique, every shape has to have a
gesture, even better to have energy. Later on you need to have
Keep this flat. This comes in, this comes
out like this.
I like to break that silhouette so I’m gonna
break it so it gives you
keep it more interesting.
do that a lot. Say you have this kind of boring horizon line, usually
you want to kind of break maybe a tree or something
you know, kind of break that - or house, whatever.- break that horizon line
so it feels more interesting even though you have
mountain or whatever the
Get to that horizon line
I want to break. I even break, break, or somehow
break that leads to, you know, leads to foreground elements.
Right? Or see if I make this side mountain higher
I’ll make this a little more contrast, whatever that is, see your eyes naturally.
you know still gonna follow this, come back here and come forward. Same thing
with trying to use costume with silhouettes and
and whatever we had to also produce
this perspective, this illusion, how you want the viewer
to look at your drawing. Push the perspective a little more, feel more
underneath it, make the shape a little more
edgy, more dynamic, more
Break, sometimes you see a clear
break, you might just be better off maybe just break it.
Fall, sometimes you got simple, subtle
kinda contour indicates just quiet, you just want to
keep it quiet. You want to keep excitement
somewhere else and then we can just
tone it down, play it down.
Cast shadow from the peacoat
Top and side.
These folds, as they excuses
to wrap around my knee.
See step back and coming forward.
And then it’s gonna drop
it’s gonna fall to gravity and then it’s gonna push against gravity.
Is he cold enough? Does the drawing
feel like he’s cold enough? What can we do to make it
Can we make the
I’m gonna jump a lecture now. Can we make the
small detail in this case the fold, make it a little bit more
switch back to the quick modes
fives minutes and then actually
the model has a different costume, it’s like
a business suit type costume so that’s, you know,
pretend you’re sketching at the bus stop or
somewhere, usually when you sketch you’re probably not gonna sketch with charcoal.
Later maybe I’ll switch to a different medium but anyway we’re gonna
come back to charcoal and do some quicker ones.
This is the hand facing
this way, look at this shape of the sleeve wider here.
and this tapers and that little protrude
sleeve that protrudes out like this. And then
Look for that elbow.
Got a little bit of the collar
right here. The tie coming over
Nice graphic shapes.
Come down straight.
Still get that
Gonna make the leg a little longer.
I feel like the previous drawing the leg’s a little short.
Around, wraps around,
indicate the knee structures.
Behind the knee pulling around the shin.
Right at the crotch, that’s where you want to intensify that.
And some heavier
ones, the shadow gets heavier right at the beginning
of it and then slowly it’s gonna get weaker and weaker because
the gravity takes over.
Stronger, stronger, and start getting weaker
Curve more, really make that collar wrap around the neck.
You have to convince the viewer it has that three dimensional volume
that sits behind.
You look, you think shapes, you paint shapes.
Not so much in
the three dimensional boxes come later but the initial
lay in block in the color is - all you do is
you’re blocking in shapes and color relationships.
Look at this
space right here.
Drop this lower.
Opens out ellipse.
So this swings
Comes up and swings forward
right here. Same as - imagine you’re seeing through and here’s the bicep
and you got a fold that
helps to indicate the volume of the sleeve and that
kind of helps to break our bicep and going to the forearm.
Break that silhouette, continue
to move your arm, still get a sense of the
gestures of the pose, the line of actions.
What’s the overall shape, overall design
of the pose.
Stand back, does that look good, does that length of the proportion look good?
swings forward to this point right here.
That jacket, you know, pushes out
and this side pushes out and it’s gonna swing out
this is gonna be nice, delicate edges,
but this is gonna be - we’re gonna see this a little more and
that’s gonna come thicker and taper off thinner
and also gonna - I’m gonna keep this a little bit straight.
Overall this is gonna drop down this way so I’m gonna just lift up.
And show a little bit at the top of the shoulder,
the shoulder comes forward like this. And indicates
some of the pinch where the upper arm meets the lower arm.
looks like just a flat
ellipse but like I said what I like to do I like to give
a little more momentum to it. I want to curve a little more this way.
I’ll probably keep the apex a little bit lower on here
and so instead of just a flat tube, now you got a
dynamic tube coming more quicker and
Again the knee I need to make it stop because
all of the fabric is gonna come down, gonna head to the knee, and then
because the supports on the knee underneath is gonna
hold up that fabric so you got some, you know, some
fabric and it’s gonna stop and it’s gonna hang around the knee
and then it’s gonna drop
And same thing is gonna hang again because the
boot is pushing against it.
So here I can
put a little extra time put some shadows in here. I want to feel where the back of that
knee is and it looks like seeing is pushing forward
it kinda bends that shadow but at the same time it still swings up
to complete that volume.
of the knee so you can still feel it’s still taking you through.
Got some cast shadow from the jacket.
And that’s gonna come down and it’s gonna fall
towards that knee. It kinda radiates, falls towards that knee so I just put
Don’t keep the flat angles down.
Still want to indicate where that
elbow is. Somewhere right here so I’m gonna put the shadow right here just
to indicate that. Wider here, tapers to here.
Okay this shape is thicker, thinner,
and then expands wider to his shoulder like that.
Stretch, curve, straight, angle.
Drawing through, cast shadows.
So I make this drawing extremely long. I think
it looks better actually.
Still need to indicate where that
front of the knee.
That thigh goes behind
and the fold, see the fold
goes the tube and then there’s a fold goes around
Here’s a tube
there’s a fold that goes kinda around
Wider, taper, chin
tie, darker tie, lighter chin,
wider, narrower, gravity,
Anti gravity and
then sleeves that goes - you can see
the jacket goes around with emphasis on this goes around that arm
Triangle. So the thing
is I don’t want to tangent
with my tie. So I’m gonna
watch out I don’t touch this so I’m gonna raise this up, I’m gonna go behind
the tie like this, okay, so it’s a tie in front of my shirt.
All this can be abstract but be aware the overall
composition. Momentum going this way I need that jacket
to be lower, the hands need to be higher somewhere right here, the jacket has to
be somewhere down here. Still has to curve this way. So that’s all I'm
you know, thinking in terms of design. And what I need to do
is make sure the shape I’m putting down is
just has to
Again I’m making it like extra long
which like I said
feels better than the first few drawings that I have done.
See how this leg is pulling out
Shape. Drawing through.
Around the knee.
So the shoe seems to angle down this way.
See how the shadow kinda gonna help to
sit that corner plane.
See how the shoulder pulling up.
See the top of the shirt,
front of the shirt, I’m gonna add a little bit of tint to indicate
that different plane.
most of that darker even though the whole pants are dark, but
I still need a clear light meets
the shadow side.
See I can make all this darks, just helps to separate from the white shirt.
This is our two eight minute.
Drop, up, down, over,
see down, over,
Shirt, see how the sleeve covers his face.
That’s good, that should help to produce depth.
And that has to overlap.
Show that that’s the top portion of the, you know, the shoulder pad.
The shoulder of the jacket. And that’s actually the arm
that sits underneath.
See how it’s an ellipse.
Narrow, wide, narrow.
See this part can feel it goes
over that torso and
here falls to the gravity and see that button is gonna
I can turn the button like this so it feels like it goes up, this goes into
this part comes wider and goes
into the shoulder.
So show the back
of the thigh, the hamstring muscle got compressed
and this is more stretched. Showing the calf
goes out and then again
look for the diagonal relationships.
down so here will be darker.
back and break
Again drawing through.
Turns down, comes down.
Up, down, triangle shapes.
See how straight, angles
See you kinda see how it breaks
This kinda helps to show where the elbow is,
I’m gonna make that a little more intense.
piece right here it kinda hangs down
and overlap the whole jacket.
Pulls into here.
I want the jacket separate from the white
shirt so I’m gonna tint it down a little bit.
Here I might leave a little bit lighter just to indicate a light source. So I might even
tone down this side a little bit. I kinda did that with the head
see how it tilts down. So it looks like the shirt comes out
right here and pulls down this way
See the shadow, this is the triangle
shape. But now I kinda lose
my sleeves so I need to decide to make
just next to his sleeve a little bit darker. Not a line
it’s still a tone, here’s a line, that’s the pocket.
So this side of the hip kicks out and then
comes back in
See how I tapered down that
the end of those pants. Really give a feeling like we’re looking from the top
So again light source
is on my left side, pretty sure this whole side is gonna be in shadows
especially this way stepping
forward too. But I’m gonna assume
whole leg seems to be going away from me, here might be getting a little bit darker.
But mostly want to be aware this is my side plane
I’ll make that a little darker. And this is the bottom of my hip, maybe they’re a little bit
cast shadow below the jacket.
So now I can break it down furthermore. Feel like this is a plane. That’s an additional
plane and we’re gonna drop that even darker.
So hopefully you guys also get a
better understanding of shape designs, keep practicing,
practice drawing from life or drawing from picture references. You can
time yourself: eight minutes to ten minutes. As long as you make sure
you’re working smart, making sure you’re working on your weakness. Maybe it can be
the gesture, maybe the proportion, maybe shape design. Also work with both
charcoal and also like fountain pen or ballpoint pen.
All those mediums are going to help you observe, you know, differently.
Free to try
1. Lesson Overview1m 5sNow playing...
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2. Drawing from a Live Model with a Fountain Pen: 8-Minute Poses25m 36s
3. Drawing from a Live Model with a Fountain Pen: 10-Minute Poses20m 50s
4. Drawing from a Live Model with a Charcoal Pencil: 8-Minute Poses25m 41s
5. Drawing from a Live Model with a Charcoal Pencil: 5-Minute Poses23m 32s
6. Drawing from a Live Model with a Charcoal Pencil: 8-Minute Poses23m 56s