- Lesson details
In this lesson:
In the second part of our comprehensive How to Draw the Costumed Figure course, Bill will have the model walk through the series of two-minute poses expressing beginning, middle, and end of an action. You will learn how to analyze the action, and to communicate that action in your drawing. The emotion of the pose will take a priority over figure details. You will be working with pen or marker on paper.
In this course:
Learn how to draw the costume and props from reference o r 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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And today we're going to really look at the emotion or emoting the pose. We really want
to see the acting and we're going to be looking and setting up a
the model, she’s gonna be acting and walking through poses and walking through actions and we’re gonna see beginning, middle, and end
of actions, we're going to see different expressions of emotions.
And what we really want to go for in here is really trying to tap into that
and draw that rather than really draw any of the muscle structure and all of
that or be really articulate about all the folds and all the details I want you to really get at the emotion of
what we're drawing.
week what I want to do is I wanted to kind of illustrate the
idea that there's a lot of different ways to draw the figure clothed, here Tiepolo
does some unclothed, but there's a lot of different ways to draw and our approach
to drawing is different and different artists approach drawing in very different manner.
So where Tiepolo in some of these images where they’re more clothed and have wings and things like that, there’s a couple of things that he’s doing
in these images that we can see through the figures here.
He's creating a lot of visual depth in these drawings and these are really about visual
depth by overlapping forms. He also creates light over dark pattern on here and he’s giving
us this incredible depth because these images were like murals painted on ceilings and they were
supposed to go up into the heavens.
So we have things on the outside or things closest to us would start here and
they overlap, you know, in this kind of a fashion..
So we have this dark down here and then a light and then a dark
and then a light and then a dark and then a light and then a darken and a light and
a dark and a light and a dark and then a light and so on. And what ends up
happening is there is a pattern and it almost falls like waterfalls.
Just the water will trickle down to the next layer.
But what he's done is he’s created these like a fold in the material
and then her leg is- her calf is overlapping her thigh. And then the material
is her thigh is overlapping that material and then the material’s overlapping her forearm and then her
form is overlapping her upper arm in here.
And her clothing is overlapping her arm, her shoulder is overlapping her face.
Her cheek - and then her cheek is overlapping you know the form under her eye there so you get a little bit of structure that way too. So it's all about
overlapping, encountering these angles and planes to see the same thing here.
The shapes are going over the top, underneath and then we see it fold-over and then we
see material falling over the top of that and then over his hip and then his beard across his chest and then his mouth and
then his mustache and then it nose and then his cheek and then his eye and then his forehead. So it’s all over, over, over, over, and just pushing
back over and over. Okay,
so that is kind of the intention of how he's building these designs and
it's really about creating this spatial depth with overlapping forms.
So that's Tiepolo’s take on some of these murals.
We look at Holbein old drawings, some Holbein drawings and these are more portraits.
So there's really not a whole lot going on in these images
but one of these things is is when we look at a few of these
images, you can look at their gaze. Now,
when we see that, when we look at these we look a lot at how
he drew them and he was managing his marks.
Okay, we'll talk more about Holbein as we go because he was really, really clear and
managed his marks really well and gave you a lot of contrast in his marks and
that's what we don’t usually register but they’re there and that's we'll give them that
amazing kind of a finish and presence that they have.
So if you're looking at how he has many of his sitters are looking
like three quarter off, we have some that are more profile okay, that feel a little flatter
than this three quarter view, okay. Here we have a character looking up.
Okay. And so there's a little bit different expression but they’re only emoting slightly different expressions.
Not a whole lot. And the main difference in expression,
like you can see here, is the expression of marks. the way that he changes up
the marks that he puts down, how he describes things.
It’s not really in the character of the pose.
It's in his marks. So he's really showing you his drawing and giving you a little
bit about the character of the person.
Mostly it's about his marks. Okay.
So as I flip through some of these, you’re going to see there's not a whole lot
of difference in the expression. Okay he’s got him just sitting there. Okay.
And again, they’re beautifully drawn and we will get into the the manner and in the way
he breaks down his drawings a little bit later too. I wanted to show you that
compared to someone like Joseph Clement Coll was an illustrator and to some people that's a
bad word but we're going to look at his work and look at the range
of expression that he gets even in these smallest figures.
Okay, so they're all doing something, they’re in action, there is activity going on in there
poses, there's more dynamic movement in there. Now,
we'll see a lot of dynamic movement in figure drawing because the models will create some walking and
wedging and stretching and squashing and movement and they do that in a pose but what we're really looking
at today is the story. Okay. We want to know how can we draw, we want
to try to draw the expression or the feeling
that the model is emoting. That’s why we really have to get - it’s really an exercise to build on
our empathy, how we can - it’s less about
anatomical correctness and more about empathy. It’s the understanding of who's doing what and how do they feel when they’re doing that. Someone looking over over the ledge,
okay, how would they look over? Are they -
is someone storming the castle or are they peeking over to see something down below?
Are they afraid of what they see or is it interesting what they see?
Do they want to see more of it? All of that expression can come across in just the simplest number of marks. So
that's kind of what we want to look at. And again, particularly with illustration and film in particular,
you can see that this - the main character here, it’s all about everyone else's reaction
to him. That’s how we know what to think about him because of all their reactions. So is he important, yes he’s important, they’re raising their swords symmetrically around him. Do they
like him, do they fear him?
He's kinda putting down a mandate because he's going to do this thing in
his hand here and they're always very concerned about what he’s saying.
We're going to talk a little bit next week about waiting and how the figure - how
material and folds and everything will hang from the model’s appendages and bends
and things and we’re gonna look at how they wait next week. But right now we’re really looking at the emotion this week. So we wanna look at some acting and see how that’s gonna work. And again,
there's a real difference in these. You could draw these in a
very classic style, he’s a very good draftsman. You can draw them in a very classic style but they just emote more.
I’m gonna show you one more before we dive into this.
And you can see in some of the drawings here have a little bit
more expression, but they're still posed
situations. It’s a little less realistic,
we didn't catch her in the middle of something and it's really kind of harder to
depict what's going on in her head.
We get the full form, we get a beautiful drawing in there,
but it's really hard to understand what’s motivating her, what’s really pressing her. And I think if we really look for that kind of thing, here
again, really nicely handled drawings, really good rendering of form but it's almost the form
or the handling and rendering of form is more important than story behind it. And I think the
thing is when you combine both, when drawings that have strong form are also emoting a form or
feeling, it's super powerful.
It's really powerful. So, you know, keep in mind
we will be getting here but really we're going to be looking at those emotions
first so that we can get those across in the finished pieces where we get some action. And again
something like that’s got a dynamic action,
he's in the middle of something right at this point.
It does make it a little bit more exciting.
So that's kind of what we want to do.
Okay, like I stated, drawing a costume model can take on any purpose you wish and as we talked about last week, it’s important that we decide what the intent is before we proceed into our drawing. By intent I mean
you have to decide and declare on your point of view on which type of drawing
what are you drawing, what exactly do you want to capture? If we want to capture a deeper feeling and expression in our drawing, we too have to feel what the
model feels, this takes a different type of assessment
than analytic structural and classical figure approach. It takes more of an acting and when I first heard you have to feel the pose to draw,
I didn't know how to take that. I though oh, it’s a mystical thing that I’m just supposed to absorb and get
but I didn't realize what they were telling me was no, you have to assess clearly what’s going on up there and
feel what they're feeling, put the same stresses on your own body, get up and
and get into that same pose and feel what they're feeling, then you'll really truly understand
how to draw when you've been there, when you done that pose. And part of that I’ll call the empathy for the physical movement or for that emotion,
you know, some people have done it and really express it in in different ways.
These are some drawings by J. H. Dowd, they’re a little bit sketch because they’re old from a book they were - these books were - he illustrated two books and it was just his sketchbooks. One was called
important people and the other one was more important people and it was mostly children but the images here,
I think are really really interesting because all of them,
you can see a real clear expression. The top one little girl with the horse,
you know, she's clearly no stranger to this horse, you get it right away, you know, instantly.
The others there’s an interaction between the three that you get clearly, the two figures here. You can see how simple the gesture is but yet it's really clear what they're doing and they’re feeling. You can't help but
feel, you don't really understand what they're feeling. And you can just tell
it's just pretty special. The anticipation here. Look at the way he's turned his head, you know,
in anticipation of catching something in the water there. He’s kind of creeping up,
but he's really alert in his own kid kind of way. This is just more of an action or running situation.
Look at the kids up on the top of here creeping up to the little girl with her face against the tree,
hide and seek or whatever they're playing,
you know, you really get their gesture and what they're doing.
Now this might be kind of melodramatic for what you want to do in
your artwork. But, you know, that being the case here’s a simpler kind of a gestural
thing where the mom is working and the child's kind of doing his own thing
or meandering off. This is I think it's a real good one because each -
there's five characters in this drawing,
okay, and all of them emote a different feeling, all of them have a different
feeling. They're not just sitting there.
They're all in the middle of something.
Narciso did this and though they’re simplified, little more cartoony kind of characters,
there's a lot of emotion and the fact that he’s drawn one character
around the other character, that's really important because that's how he’s captured a lot intimacy by
intertwining the two figures and overlapping those figures.
Just attitude with these characters, if you look at the one in the middle where he's got
his head lurched forward and, you know, he’s pushing his pose. These are a
little bigger than life,
of course, but they are a slice of emotional moment and the contrast between a little
anxious dog and the woman doesn’t really care. Some of these I’ll go right to this one because
I just thought that for every one of these drawings there's a feeling, there's an
emotion that's going across and, you know, when we can sense what they’re starting to feel, then the drawing starts to come to life a little bit more. And
we can spend more time or
we can spend more effort drawing the finish, drawing style
any way we want but to capture the life of that pose in there
that's really important too. These images are from Walt Stanchfield. Walt was training an action analysis class at
Disney for a number of years,
and he found these images and posted them and really what they are are
just kind of abstract shapes that come across giving these emotional feelings.
So they're very simple,
you know, but they are - and again they’re open for interpretation.
I wouldn't say that these are you know,
I don't think there's anything that we can say about art
that is completely completely absolute. Like there is no real grammar, so we can’t say unsupported
diagonal always means a certain thing. Okay, we really can't say that. We can say a cascading line, it could make
it feel pleasurable, playful, swift, powerful, rhythmic,
but even there, pleasurable, playful, swift or powerful that’s a little on the fence.
Okay, so there is interpretation with all of these so keep that in mind.
And but you can go through some of these have. And they’ll all have a, you know, different quality. Horizontals feel a little bit more calm, they feel
stable, they just seem to be a little bit more stable. Verticals are a little bit more dynamic, okay. And so we can look for those kinds of things.
A gothic arch it’s interesting, a Gothic arch on one hand if you look at that and it meets at the top, is one thing but if you break that arch.,
here's something that’s kind of interesting that when you break the arch
all of a sudden it’s Greek. So you’re either
aspiring up to a point where you have this kind of a Gothic kind of feeling or if you break that all
of a sudden the tops of things are tilted in or tilted down and when that happens your emotion completely changes, okay. And that's a
real dynamic between cathedrals that are in the Gothic cathedrals intact and then Gothic cathedrals in ruins. It’s so sad. They are so completely different than from their origin and it’s because of
these were left with these kind of symbols, if you will, that give us these emotions, okay, or help us to feel these emotions.
Here’s kind of the set up. If Margaret is waiting for
a train or a plane or something, she’s gonna
run through a few difference emotions as she’s sitting there. Like
for instance if she's
been on the road a long time
how would you feel if you’ve been on the road a long time and it’s still hours before your plane
okay. You can look anywhere you want. So this is kind of where
we want to go. And you wanna look at the body posture. And I'm
just - it’s the slumped shoulder
It’s part of the thing that we wanna get at.
And maybe she’s just kind of coming
forward a little bit, you know.
And maybe I’m going to just kind of push
her head down just a little bit. You know, have
her eyes down just a little bit more.
You can see I'm
pushing the gesture of the pose
Again kind of just reinforce that. That feeling.
There you go, you can look at your watch. Go ahead and look at your watch. Yeah.
Okay. So particularly when the model is
got a strong eye line
you want to start with that eye line and
she's looking down, I even draw the line because it's really important.
From there, her head is up high,
Her shoulders are back a little bit and she is lifting the one up just a little
bit higher so I’m gonna be a little bit higher on this side, pulling that
this way, this way.
There we go.
And I’m giving her watch
So this is really where I’m going with this pose.
And to be
to push that pose just a little bit
I’m going to lean her over just a little.
So don’t worry if it feels like a scribble in the beginning
Honestly you can put a piece of tissue paper over this and once you get that
gesture on there, then what you really want to do is
you know you can work with that. I think one of the things that’s gonna help you
too is really look for like straight against curves too.
You know there’s gonna be - wherever there’s some tension you’re gonna push
a straight and then wherever, you know,
the opposing side is you’re gonna have a curve.
Was that three? We can go shorter. Yeah, let’s go twos.
Yeah let’s go twos. Okay.
just the action of
the angle of her shoulders.
I can fix any of this
just drawing over them. If we need to draw over them you can do that.
Why don’t you look over to your left or something
and you see somebody getting off the plane you know.
There you go.
Okay, not scared of, excited about.
I’m gonna push the fact that she’s kind of
because I think that’s - that’s a little bit of anticipation in there.
And I’m just now looking at oh
what would happen if I pushed it even farther.
If I push her shoulder over farther this way, I need to put her elbow out.
a little bit here in order to balance that.
That’s one thing that I’m kind of discovering. And also I
get a bit more pinch in here and more pull in here.
So I’m just kind of exaggerating those things.
So it’s more important with these that you
structure mannequin okay
and then figure it out what it’s doing, what I want you to do is I want you to get the pose
first so it’s really more
getting that feeling or maybe even if you want to call it
a scribbled action first
you know, get that and then put the anatomy into it. Because it’s very possible to
get your action and get the feeling of that action first
and then put your anatomy over the top of it. It's
much harder to do it the other way around. Much more difficult
And if it helps you to think about it, think about
it as a preliminary drawing even. We’re way over aren’t we?
Okay. So you’re holding a phone. And look at your phone, we want to get that
action first, okay. So
she’s looking down at the phone and so I’m being very clear about
this distance in here and what’s going on
I’m gonna get her - her chin is in
and her neck is tall, right? Her shoulders are
kind of at this attitude and
she’s kind of moving like this
sitting upright and
okay. And she’s holding onto her phone
like this. Okay. So this is
what I’m looking for with the initial pose is just this
kind of a gesture moving towards that
first moment, right. And I’ll put in the
little suitcase here for this one because then we’ll go into the next.
Okay. Alright let’s go to the
next one. And then look up
like you just heard something, like ding your plane, flight 22.
No, no, no you’re just looking up, you’re just looking away like this.
Look over here like you’re looking
down to the thing. There you go. Okay. So
so with that one, with this pose, compared to the last one
sit her up taller.
The first one I’m going back here
she’s looking down so
So I’m really also I’m going back
to the last drawing too because I’m seeing the difference between these. You can see how
she’s kind of - her head is tilted
down and her neck is straight like this then her body
is like this and then like this and then like this
and down and on this second one, okay you can go
ahead. Now what I want you to do is
just reach down, look down and reach down for the bag.
just reach down, look down and reach down for the bag.
There, perfect. Just stop right there.
Okay. Now she’s coming forward quite a bit
And that reach, I’m gonna lengthen
Now I got more room over there because this one
Suitcase is here. She’s reached down
her arm is down here and she’s about to pull that up
she’s gonna counter that with her hip, she’s throwing her hips out this way
because she’s gonna have to pick that thing up.
And I’m push them out here a little bit, putting her leg
against it right so she can just pick it up
guiding her leg a little bit, and then
waist, under her ribs.
So this is really reaching
for that bag. So this is gonna be pretty straight coming up here
and then I’m gonna tilt her head up just a little bit
kind of anticipating where to go.
Okay Margaret, why don’t you pull the thing up - pull the handle up and then yeah
go ahead and pull it up like you’re starting to take it away. There you go.
So there’s gonna be one long, all the way from the bottom of the suitcase
up the handle, up her arm
to her shoulder and then up to her neck.
Okay. That’s gonna be one long gesture that’s gonna go all the way down
and then from there
her chest is gonna come out a little bit because she's
gonna be pulling that from behind, right.
So it’s gonna come out, it’s gonna give her leverage there.
She’s gonna push back.
I’m gonna kind of echo that with
her leg coming up here too. Move this back.
I’m gonna push this even more
And that will push this back so we’ll open this up a little bit.
Okay see that’s more like it. We want to get
the action of what you’re doing so you don't
think about it so much. And this is kind of a
moment where you’re
just kind of getting ready
open the umbrella.
So you - we’re getting
a lot of anticipation for, you know, just subtle
anticipation with this.
I wouldn’t worry so much about - I wouldn’t worry
a whole lot that you’re - these drawings
if they’re a little sketchy and scratchy
I’m not really worried about that as long as you are getting more of a feeling
of really what’s going on up there.
Because again we can always put the anatomy into the pose. That's
easily doable, right.
Getting the nuances in the - the nuances of the
expression is a little more complicated, you know.
And if we get, you know, like with this I really push her
attitude a little bit more. And I think that’s
the main thing because if you can push the attitude and make it
feel like it’s weighted properly and
yet she has this emotion about what she’s doing
then what’s gonna end up happening is you can always put the anatomy into
it, we can always build on that. And that's
of action like this - let’s start up here
from this origin, okay, and then we’ve got her other hand kind of
coming through here and going up there. So that’s our
that’s the main gist of this pose.
Things are hanging from here and this is getting pulled up
to the top of her wrist, from the top of her wrist
from there, top of her wrist to the back over here
and then it’s going back on her arm
And then you can see that her body is
from where we’re sitting, it’s tilted up and towards us.
So it’s this
And any kind of stress point
like out here where her hands are, the material is going to drape
from those points. So that’s how we’re gonna get the
feeling of wrapping around. So any time there's
like from the top of her head out to her hands, it's
pulled tight, and then it’s just gonna hang so
we’re gonna get these straight here and
they won’t start bending until they get down into here.
That type of a thing.
That’s good. Back it up there
We’re also going to look for differences here
you know from side to side, like
I should probably move it over a little bit this way
and I get a difference
like this and like this.
So that I’m seeing more ear over here
not over here. This is gonna be a little bit lower
might be a little higher over here. This hangs straight like this and I get
a bend down. Perfect, stay there that’s good.
Let’s get a little room here.
I’m looking at her arm that’s covering her face and
it’s pretty straight going up
and then her wrist is pushed way back.
So I’m seeing kind of an angle in there kind of pulling the top.
The other hand
and elbow, her elbow’s out, so I’m getting this
this movement here. One shoulder
goes to the other over here.
Okay, you can take another move there.
Just turn around this way a little bit because we’re - yeah, just turn your whole
body, just yeah if you could just...
The tension coming from the back of her
I suppose the collar up around, it kind of gives you three points
right here. The back of her neck and then her hand
it kind of defines where they are in space and everything kind of hangs out
from there. And they weren’t quite even
one hand was above the other one, so we get a
little bit of asymmetry which is kind of what we want
to get in anyway. And the way the kimono fell
it’s a little padded up here, but it had a couple folds that
on either side too. This one is long sweeping here and then it hangs down from here
and there was a couple more on this side because her hand was up a little bit higher
and so it’s not symmetrical. And that’s one of the things that you want to kind of push.
Also, you know, this is more vertical
is more like this, where the other one is out this way
a little bit more. This is straight up and down, this is more
vertical. When this is out a little bit more, what you
might want to do is, since this is a little bit more of a diagonal and
this one is straighter, straighter up and down this way, what you might want to do is
carry something up and either catch at her ear or maybe the back of her
of her scarf is
up more on that side. So what will happen is
see this is more active and this is more passive, so if you have this again
this, I’m gonna follow this up to this side and make this
an active side or make this a passive side. That
way I’m gonna go from one side to the other, moving across
the form up to here. So we can put things -
we can follow the forms across, we can play with these bigger shapes
across, it doesn’t matter. You can still get the same results
as you start to build on these
though, when you start layering more form in here, what you're
gonna do is you’re gonna find that you will start relying on some of these things
and pushing the forms as you go.
You know, to help move your eye across
It’s kind of a 2D to 3D effect.
So between these three poses, I’m looking at getting this - the top one is a little more vertical
and just her shoulders were the things that really kind of showed the difference there.
The second one was little more relaxed but bent over
like this. And the third one there was a long stretch down the back here.
And then countered by something simple over on that side.
Okay. Sometimes - I’m gonna slide over here just a little bit - and sometimes I give myself
a new space. Sometimes you want to kind of - another approach to this is if you can see that
this is just a general gesture and then maybe it’s a case of, you know, when artists said
wrap a bag around it, you know, get the whole silhouette and feel like you get the
a shape that can contain the whole - her whole feeling in there.
And then you can refine that just a little bit and you get that kind of the push and pull
you’ll see you can go - you know you can push things a little bit at that point.
And then find those points that like shoulders or joints, things that you’ll hang things from.
And even though the result might feel like a scribbly mess, you’re gonna end up finding those -
the balance, the weight.
Well let’s look at it this way. I’m gonna take a little section here and I’m gonna walk you
through what I’m thinking about. Now so when I look up here, I’m gonna be
looking for what’s her gesture, what could she be
doing, where is her eye, where is her point of view,
she’s holding the book,
and things are - I’m gonna look at them like in a 2D
fashion, 2D shape fashion, and then I’m going to
I’ll realize the form out of it. But what I’m gonna look for
is I’m gonna see that her chin is down, her head is forward,
right, so that’s what I start with. And then
from there I can see that her
neck comes down this way and from her clavicle comes up
at an angle like this. So I know her right shoulder is up a little bit higher
than her left. Okay. Now
the other thing that I want to know is I want to see what’s her torso like? And
you can see, this is gonna tip off what her torso is, it’s gonna
be at this angle, right, her ribcage is at that angle.
And then it comes down here
to her knees in front.
Really we’re gonna be looking at her gaze
where she’s gonna be looking and what she’s gonna be doing there
so she’s looking out this way, right, and
she’s looking beyond the book so the book is a little bit right like this
and this arm is tucked against her
ribcage like this and then up and then out like this.
Whereas the other one is
really showing off that it comes inside her
body this way. And it really makes it feel
like her shoulder is pushed out far over here
because it comes inside her body this way.
See so like this.
And I’m gonna still keep this higher than this so
they’ll be like this.
You know, pushing and then
pushing this way because I know
her chest was out a little bit, you know, she was pushing herself
out this way. So that would push her hips back
Okay. Yeah. And that’s what I’m looking for is those stresses and
The biggest here is this her head here
and here gonna go back to her neck here and I see this
her should is like way up here and her eye is looking
and her shoulder and arm is coming
out this way. So here’s the long stretch out here
And the book even goes farther than her hands. So I’m gonna push that
way out there. And then from here
this all comes, gets pulled from the back of her head and her neck right there.
There’s a stress point right there. So all of this is gonna be pulling
from there back here and then this
comes out this way. Her shoulder is pulled up so
there’s the back of her shoulder blade here and the top of her should is way up there.
So way over here and I see her shoulder
this area here.
And a lot of overlap in here.
And then this goes up to this hip that
is tucked behind here.
And I’m pushing it out just a little bit more
so I’m kind of turning her pose just a little bit just so that I get
read on this pose.
So I’m actually pushing her, turning her a little bit.
So I can get this action out here just a little bit more
The main thing that I’m doing is
I’m gonna go through this reach and then extend it with the
book and then
up here and then I come across
This kind of a thing.
If you think of it in terms of gesture and
sub gesture, you know, smaller things that fall from these
larger gestures then yeah, that might be
one way to look at it. Okay.
And so I’m looking for the main reach or the main
the largest most obvious movement or
stretch or gesture and then
build off of that. Even your, you know,
your weight and so on. Like with the marker I just went over the
top of my other drawing but I find that
this can be in here a little bit and if I
bring this leg in
like this a little bit. Now I can
bring this one out a little bit from the knee here
and it even pushes this angle against this even more.
If we’re looking at
the gesture of what’s going on, you know,
it’s not just a case of
It’s not just a case of maybe a
lyrical line like that
okay, it’s really about - if I
want to make it a little bit more about the feeling of what’s going on
I’m gonna get more involved with what’s going on
between these two.
I’m gonna get more involved in this
because her hand over the top of this little guy
on his head and his looking off the
so her hand is over here and then his paws are tucked
in and that's
important because it sticks his neck out
He’s not liking that too much right now
And I even look at this too. When I say okay I want a long
line down here and I’m gonna bring this up and then up to here
I’m gonna bring this over the top because I’m gonna wanna have something higher on this side.
Because what’s gonna happen then, it’s gonna move my eye up and around so I’m gonna
go taller here and then I’m gonna come back
something like that and I can pull from this side
and then bring something over here.
And I don’t have to do the whole figure
looking for the larger gesture and really the story here
and then story here that I’m kind of playing out right
and its gaze off to the other side so he’s looking
off this way
Against her arm
I’ve seen some of the books on Abe.com, that was
and also you know some used book stores because they’re very old books
they were done in the 30s I think.
Here I’m also I’m trying to support her
weight on her
Head’s really tilted down.
And then if her arm is there way, then I’m gonna really push
her hips back over this way
more of a direction
that’s gonna be like this.
Okay, I’m gonna really push to get this - I'm gonna
take and push her this way and I’m gonna slide
her body out this way a little bit more just to get that gesture.
I’m gonna even - I’m gonna push her
arm up a little bit more.
Just so I can get a little bit
go to the mall or go somewhere and sketch some people, okay. I want you to draw more
people in action. You can do it on TV too, you can look at a sports show.
There’s basketball, there’s baseball going on, there’s football going on. So I want you to draw and try to get the emotion of that moment. If you
want to do with a movie you can pause the movie and then draw from that frame
but I don't want you to spend a lot of time.
I want these to be very quick because your real motive here is really to get
the emotion that they’re projecting.
Free to try
1. Lesson Overview45sNow playing...
Watch the whole lesson with a subscription
2. Expression and Emotion of the Pose in Art18m 5s
3. Drawing from a Live Model: 2-Minute Poses (Part 1)27m 25s
4. Drawing from a Live Model: 2-Minute Poses (Part 2)29m 37s
5. Drawing from a Live Model: 2-Minute Poses (Part 3)23m 1s
6. Assignment Instructions50s