Sketching Costumed Poses with Story

Lesson details
Transcript
References

Instructor: Charles Hu
Subjects: Drawing
Topics: Composition, Drawing Exercises, Human Figure
Mediums: Charcoal Pencil, Fountain Pen, Paper
Duration: 2h 48s
Series: Costumed Figure Drawing

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.

Beginner Friendly

383 views

3 likes

Discuss this video in the forums!

Discuss

AUTO SCROLL

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.

AUTO SCROLL

Okay let’s warm up. So these are
eight minutes.
So last week I was working with
Wolff Carbon charcoal
and now I’m gonna use my fountain pen.
(drawing)
So
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.
(drawing)
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.
(drawing)
See be aware of that neck, shape of the neck.
(drawing)
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.
(drawing)
Pinch side, stretch side.
(drawing)
Be aware of how the negative space, so it can show the identity
of the jacket and then the backpack.
(drawing)
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.
(drawing)
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)
Drawing through so you can get a sense of where that back of the thigh
or in this case the hip.
(drawing)
Make the leg longer, I love to use those boots to really
emphasize that volume of the ellipse.
Make the shoes a little bigger.
(drawing)
Look at silhouette, break.
(drawing)
See how this
tapers in, into that ear?
(drawing)
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.
(drawing)
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.
(drawing)
This side of the body angles down
The backpack pushed back out this way.
(drawing)
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.
(drawing)
So sometimes for like
leather jacket has heavy folds, I might just kind of start indicating some of those
overlaps first.
(drawing)
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.
(drawing)
Corner, bring this down.
Kick back up, recede back
into the head.
(drawing)
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
up
and also kind of looks like a transition, kind of brings that transition
down.
(drawing)
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.
(drawing)
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 edge.
(drawing)
Angle, straight,
(drawing)
This goes, the backpack
comes down.
Taper.
(drawing)
So here’s the other shoulder, drop this down a little bit, keep this more closer.
Bring this out. Finding corner, drawing through.
(drawing)
This side of the jacket
quite straight.
(drawing)
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.
(drawing)
See now it’s going to come over this way.
Diagonally.
(drawing)
Set that boot back,
keep this one way back here.
(drawing)
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
(drawing)
Drawing through.
(drawing)
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...
(drawing)
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
linen.
(drawing)
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
(drawing)
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.
(drawing)
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.
(drawing)