- Lesson details
In this lesson:
In the third lesson of our comprehensive How to Draw the Costumed Figure course, you will learn how understand weighting – how the model balances on her feet, how she sits or leans. You will learn how to capture these directional forces in the pose which determines how the costume hangs and helps your audience to understand space and emotion. Bill will also briefly go over the background of action analysis study developed in Walt Disney Studio for animators. You will be working with charcoal pencil on paper.
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.
Discuss this video in the forums!Discuss
feet, how they're sitting, how they’re leaning, of all these directional forces that are
going to queue us into a real space and a real emotion.
The drawings that I have
on the screen up here, these are from a book called Drawn to Life,
Walt Stanchfield’s series of notes.
Walt Stanchfield was an animator over at Disney and he did a drawing
Walt Stanchfield was an animator over at Disney and he did a drawing
and training class really for animators it was action analysis
was the class that he did and
the action analysis has a long history over at Disney
Walt Disney actually hired
Don Graham and some other teachers to teach there full time and develop
this study of action analysis to break down
what it is to actually go through the movements for animators. It makes a lot of sense
for them. And I sat in on
a lot of the class, I drew in a lot of these classes and
for like the first eight or nine years I was there and
so it was really good to go through this.
Very, very different than my training. It was very different than my training
in fact when I first went into the class I would do these drawings that were more finished
and more lustritive and he would just look at them and shake his head
and walk away. He just totally rejected
them. Was like outside of the studio
I had accomplished these but when I got in the study was like
this sucks and he was just pretty clear about it.
And so it was great, it was great to go through that process. But as you
can see on some of these, it really makes you think about
the front, the side, the top, what’s actually happening in three dimensions
around the figure. Today we’re gonna look at a lot of weighting
and directional forces. And directional forces that,
you know, they might be caused by what the model is doing
or the positions of their arms or legs or direction of their head
to their body, all of these things are gonna add to
these kind of directional forces. And I’ll demonstrate some of those.
There’s some really good examples here.
You can take your time and look over some of these too.
Alright you can see here, the drawings
in the left column and then
Walt’s drawings or his suggestions
are the third ones. Okay. So they’re in the third
column over there. Those are his suggestions like with the arrow
going to the guy’s hip and so on
so, you know, where the first drawings, they look like
they’re a little bit stiff and Walt’s drawings were
far more gestural. They aren’t completely anatomically
correct but you can - they don’t appear that way in your first
see because he’s moved things to make the read
clearer but you can draw into these and you can even draw
a skeleton into these afterwards. It may change the proportion of the head to the figure
or something but for the most part, they’re pretty clear.
Here’s a couple of clear examples.
And you can see from the drawings on the left to the drawings on the right
you can see that the suggestions are really capturing more of the
expression of what’s really going on. And when you do a drawing, it
seems to be much more compelling when you look at the drawing
and you can actually possibly get a sense of what the
model is thinking or feeling. That’s very different than just a nice
rendering, you know, to actually kind of draw an
emotion from that drawing. That’s a really unique thing.
And, you know, it requires the model to project and it requires
the artist to really tap into that so that there’s a
you know, a real understanding, a real feeling that’s relating.
Here we can see again, this is really a case
of really showing the action, getting into the action and seeing
the action or the dynamics of each of these
poses. You know you can
really feel the weight, feel the stress on the drawing
on the right. The one of the top left is
quite blocky but Walt’s drawing on the right you really feel that
there’s a real reach for it. And then down below there’s some really nice examples
of weighting and
how those - how the model might be standing and
understanding that. I put a
large - a number of animated
animation poses, Milt Kahl and some of these other guys.
animation poses, Milt Kahl and some of these other guys.
You can take a look at some of these, I’m just gonna spin through some
but the poses are
you know, like real life for these characters
just caught in action. And you can see the extremes from
the raised eyebrows up and what makes the
feeling of surprise here and watch the next drawing
his head is tucked into his shoulders, his brow
are down, his chin is up, and his face is kind of scrunched
so to make things clear, there’s a real strong
contrast. You see it more clearly when you see these drawings
in contrast to one another like his head is down below his
shoulders, his cane is down, and then all of the sudden his head is up,
his arm is up above, you can see the difference there.
And then extremely high there.
This is what I would call kind of these forces.
Now, in this character
his arm raised up like this, his clothing is gonna fall
down his arm based on that reach or based on that stretch
a directional push up, his clothing is going to react to that.
And so that’s one thing that we’re gonna want to look at. Because if you
get the force right, then the fall of the material
feels right but it starts with the force, it starts with
what is bringing your arm up and what is making that
you know, basically what is causing the reaction. Okay.
So your body is going to cause
a reaction. The folds are going to be the reaction
The wrinkles are the history of where
you’ve been. So this is all I’m telling
of the story of what we can do.
It’s all information, every bit of information. But when you
break down the information down into the marks you’re putting down, you have to look at it and say okay
what are the marks I’m putting down, what’s the purpose of those marks that I’m putting down or
what is it that I’m telling in those marks that I’m putting down?
Here’s some directional forces as well, okay.
There’s a straight line in here and a straight line
is front Philip’s left hand to the bridle on
his horse. That’s the straight line, okay. And it’s pull of course.
And it’s a pull and that pull has a reaction. Reaction is part of the bridle and part of the
neck of the horse and
the ornament on the front of the horse across his chest
and his legs are all subject to that force. The
Philip’s cape swinging back towards the front of the horse, again that's
all subject to that one pull of that
rope. Okay, so when you look at the
dominant directional force, everything is gonna fall from that.
few drawing in succession that
you can see a strong difference. His chin is pulled to the left
here and his head is tipped to the right.
And now his head, his chin is pulled up to the right.
And his his is tipped back to the left.
It’s all telling the story, it’s all of those shapes
are telling something. And you can see these
you can go through these more on your own and take your time to look at
these but even these are broad expressions.
We can look at any of the
model poses online and you can look for the
range of expression in those images and then push it a little
bit. Okay. It’s like a fishing story, it’s always
better when the fish is a little bigger than it really was, right.
You want to do that with your drawing too.
You want to do that with your drawing too.
Okay. Alright and this is
a beautiful example of the force. Now Aurora
is twirling around and you can see from these images, look at the
change of shapes that happen during this twirl.
And you can tell well she’s pulled up and where she’s relaxed
And you can tell well she’s pulled up and where she’s relaxed
and her hair gets pulled up and relaxed.
Okay. Still swinging around, her hair is continuing to swing.
Where she’s settling her hair is still swinging and then it settles
Where she’s settling her hair is still swinging and then it settles
down. These are some drawings
with Roger and Pongo and I wanted to show this, this shows really
good both weight, you can tell he’s centered over those two
feet, right, and then the directional force
of the way he’s pointing, there’s some really good examples.
Take a look at the stretch of the force of that arm pushing down
there’s a little bit of an action going there. Look at the
change, now the force is up his
his ribcage, he’s pulling his ribcage and his shoulders up
and Pongo’s going down
and now there’s kind of a reverse
and now it’s really stretched up
they’re both stretched up.
Okay so now you really see a strong directional force of the two of them
and then they’re getting together in here and then they resolve.
They’re floating and starting to come down.
A little bit more action and
coming down to settle down into
And then he’s back out, his arms are back out again.
Okay. So this is what I mean about like
directional forces. With any pose you’re gonna have kind of a mainstream
directional force and weight. So we want to look for both
of those things, you know, how are they weighting, where is the
weight mostly distributed and then
you know what kind of other forces are happening there within the pose?
start with -
I'm going to start with her head, but then what I want to do is I want to see
these - the longer directional elements. So I'm going to see the pole is a very
important thing and from her head I'm going to - I'm going to see that there's -
her weight is balanced a little bit over her front leg because from right from
straight down from her head it goes right about to her heel. So I know that
most of the weight is going to be on that leg. So I'm going to - I'm going to find that
leg and then I'm going to find her back foot, which is back here just a little
bit. What sometimes could help too is just maybe a directional line that I see, you
know, that gives me this kind of an idea. It's about over here. So that's my
overall situation. Now
from her head up here I'm going to see that there her shoulder's coming
forward and with her shoulder coming forward it's going to push her garment
forward this way too.
So it's going to push forward this way and her arm is going to come up. It's
going to basically go up into this because it's going to want to pull back
up, other hand up here.
And in order to push her arm forward I'm going to look for some things that
are going to be complementing that push forward. So it's this is going to go over
here. This is going to sweep under here. I want to push that up and then push this
up. Okay, because that's going to echo her ribcage coming under here. Okay, then
shape of this. Her hip is going to be in here
so this is pretty much
how the action and we've got her weight distributed over this front foot. Okay.
From here what I can do is I can say okay
the axis of her head might be like this and I want to say that she's going to be -
her head is tilted down. So I want to give it - accentuate that just a little
I'm going to put her ear in here because from her hair or here it comes up here.
I'm going to take advantage of this feather coming out this way. Okay,
there's another one that comes out here, but it's almost tangent with the back of
her outfit. So this one is the one that's a bit more dominant and it's going to
describe a little of the back of her outfit up there too. It's going to come
in there. It's going to stand off of that. Okay, so
this is where her waist is going to -
her waistband or her garment is going to be
starting from here.
Okay, and then hanging down from that
is going to be - it's going to be hanging down from there. So it's - we got to get a
little bit of a pull down in here and then
from her leg too it's going to fall down over her leg like this. So it's pulling
all the way down this long line, now we're going to get
a little bit of a draping. You see this comes over her leg and straight down, you
know her back just a little bit then the the fold in this is going to come and
meet it down at the bottom. And then there's another one coming down that's
going to come like this and then go back. So all three of these are very different
shapes. Okay, and so you want to kind of work those all together and they all come
up from her heel. All meet at her heel here.
Now from her hip, her hip is the farthest out up here.
Okay, and from her hip
it's going to - the material is going to go back here, hang from the back of her
heel again, so it's going to go all the way out to something like that. Okay, and
then this is going to flow out there as well.
Another piece of -
this is going to catch the back of her calf over here. This is going to fall
from her hip. Thank you.
So in this case, I'm getting a long line down this down her neck and it's at an
angle. I will push this angle
out here like this because from her head, her head is
where her weight is coming down here and it's actually going to be just outside
of her foot
From this position we get this force coming here, just like this, pushing out
this way, and then again back up - a little
too far -
back up here like this and then this shape coming back out here.
Back in space. And her other foot is really pretty much coming right above - right
below her hand over here.
This is just a little below. This is back over here. So this leg is coming up
and now we'll get back into this area. So we have this
tilt back this way.
Her shoulders are going this way. So that tells me that her rib cage is also going
Okay, and then from there it's going to come down here and we're going to see her
hip in right in here. So ribcage here, out to her hip there.
And her shoulders are this angle and her hips are going to be at this angle
right in here.
And come back out here like this.
So these are pretty much the main forces that are going to be creating
Now if I follow this,
her costume around her figure, I'm going to go over this. I'm going to pull from
her neck right here.
And I'm going to pull around and down like this.
Because it wraps around and down and then her neck comes down here like this.
Angle like this and this goes all the way around so we want to draw through
that angle that gives us the fur collar piece on there. It gives it
some weight in there.
And then it's going to gather in the waist here.
And up in here too, it's going to come down here.
It also helps me to find some landmarks in here, where like her arm would be.
Now from the center here
where her clothes are gathered
we have a piece of fabric that hangs like this.
these folds are going to be different. They're all different.
That was tough.
Okay. So this this is great. I'm going to start with the ground because she's so
weighted in here on this hip. Okay, and so I'm going to start there and then I'm
going to see that her reaction was a lot of her reaction is based on that this
dynamic. Curve right here is really based on that hip right there.
And I'm looking for the differences too because I can see that there's
these shapes and these forces that kind of go across but this the angle of her
shoulders here is going to really tell me that her ribcage is going to be way out
here and it's going to it's going to come right down here.
That means I'm going to be coming right into this area in here.
She's got the belts and her garment rides high right under her ribs there.
From here there's a couple different things. I'm looking at this - I'm
looking at this straight comes off of here. Right? And then I'm going to see
that this comes round. It's going to create an active side. And then from that
point this goes straight down
and over here this becomes the active side. Now, we're always going to be
measuring from one side to the other and this again, this is going to kind of
pull like this, but we're going to be looking at like straight to curve. Curve
here to straight here. So
this is going to help define where her leg comes out.
Right. And then I'm going to be looking again, I'm going to be looking at things
that are going to help that original - those forces. So when she has her head
down like this and this is this is the front of her rib cage here over this way.
So that's going to mean that if her shoulder's pulled up here it's going to
pull up this way. It's going to mean this is going to be over here and I'm going to
pull out this way. So I really want to pull this way.
That would be -
that would be what I would get at with my
shape for the collar, it really really really push it out this way. Okay, and
then of course her arm is going to come down and then over over her hip.
And then her hand is going to be in here.
That one hangs down this way and you can see as I do that I'm going to look at
the other side now to see if I make this shape lower right here, angle that down
just a little bit that's going to work as an arrow. That's going to point me down
this way because out of that is going to come this arm.
Out of the top is her arm shield.
And then back in here.
I'm going to use those shapes. See these shapes are a little bit more rigid
This knee is going to be up a little higher.
And this one it's going to be down here.
It's just longer down in here.
Again, I have made her legs too short.
There we go. And you can see that she's got some weight on her arms over here too
because her shoulders are down. So her hips are poised back there,
but her shoulders are down. So she's actually coming forward and I'm going to
look at you know, all these angles. I'm going to just start out with these these
angles and try to get -
try to get the angles and look at if this is the angle of her shoulders here like
this. I know that there's more weight on this arm coming out here. I'm going to
push that out just a little bit.
Okay, I'm just going to push it out a little bit because I want to get the
force on that arm out there.
And this one comes down like that.
Now from there, I'm going to see...
Now I'm going to see this folds are going to come from in here and out here like
this. So that means and then over here. They're going to come from here, too.
So I want to get this longer sweep. Now it's going to come all the way from here
and over the back of her leg but tucked up to her,
you know with her garment. That's that's what's really happening. It's all pulling
from this center piece here and coming up to the side here.
Like I said, I'm pushing these just a little bit of pushing this out a little
bit this way because I pushed this shoulder back. I'm getting some weight - a
little bit more weight on this arm back here and having a little more weight on
the arm back here I'm going to see a little bit more over tricep. I'm going to
see it flex just a little bit more
because I know that's where my weight is. That's what she's going to be pushing
are those knuckles on the ground right there.
So it's got to go into an angle like that
to really push.
Really to get that angle.
Now you can see there's a fold up in here that's coming back from the material and
her outfit there but this is a little feature that's kind of the
the end of this longer
shape down her leg.
So I want to make sure that I get underneath
fur collar and just get a good
idea of where her pose is going. This is where like we were mentioning, this is
where the diagram and kind of comes out as where these is the you know, these
initial forces where are they going? How are they sitting in here?
So weight is pretty centered here, pretty.
so I can get the -
I'm getting like that
general movement in here, then I can go in and hang the clothes on top of
So I've got a basic idea of where she's going to sit in here like this now,
so now I can go in
and if you're looking at developing more, I can look at more,
what these forms might actually be, you know, how I might articulate.
So now I have something to hang it on. So now what I'll do is I can go ahead and
and show how the material might be on, might make sure this is hangs down
in a force like this. This is going to droop just a little bit more.
Because it's pulling from here. I know that because it's tighter up in here than it
is here. It kind of comes out like this.
Okay, this hangs more here. This is pulled back because of this narrowness
there. I know I can see that and then it goes over the shoulder like this
and then hangs out like this. So I've got this difference coming up the side it this difference coming up the side
connecting here to a belt.
And I can see the belt in here
and how that's going to work. Her hands are
up in here.
We look at
here is going over her leg
and then down like this.
Then these are going to hang pretty much like this.
Okay, and I'm going to be looking at how this starts to come over and
then fall and then I'm going to make sure that these lines in here
I'm going to look to see - there's a couple things that I want to look for - I want to
make sure that I'm since there's a lot of different folds in here I want to make
sure I'm picking the ones that really describe what's going on. Okay,
so they need to describe what's going on. They need to be
different distances and each one has to be a different character.
Okay, so I'm not mimicking. What I'm doing is by having one two, three, four,
five different vertical lines right in here what I'm doing is I'm setting up a
rhythm or repetition. Now the repetition could go real flat if I just hit 1, 2, 3, 4,
5 but if I separate them
and give them a little bit more - this is more interesting than this is.
Knowing that, what I'm going to also do is I'm going to know that I'm going to have
a straight against a curve. So I might look at this first one, if I draw I'll
draw up here by drawing the first one over her leg here coming from under overheard
wrapping over her leg. Maybe I do the first one like this.
And then maybe I pull from that origin right and these are two different
now I get more of a gap. Maybe this comes from up above, maybe her belt or
something is up here and this is coming from here and then I'm going to get - maybe
I'll get something like this and then the other one coming from her other leg like
this now this sets this up to actually, you know, start to fold.
Start to be
you see and what ends up happening is now I've got a reference to this pull up
here. I've got a reference to this pull here and this one as well.
Okay, so I'm pulling from those forces from those places of origin. I'm pulling
from those and I'm creating some distances. I'm selecting folds that are
important to the pose and not just going fold, fold, fold, and not making
them just all regular.
There is a bit of design that goes on but if you if you basically draw you if you if you basically draw the draw
weighting and the position of the model,
then you hang the material from that, now you're closer to getting all of those
folds and all of the hang of the drapery correct.
I want to do is I'm going to see that her head is down at
an angle something like this.
So I'm looking at something like that as an angle so that puts her ear up a little
And then I'm going to go off the back here so you can see this comes out like
thar and then I'm coming up the back here. The back of her neck comes down
just a little bit like this and then underneath this collar.
I can see like under her chin. I can see a little bit of her neck here either side
of her neck here.
Okay, so I know if her neck is like this
underneath that she's got her shoulder. And from the her arm here, it goes up and
up. So there's this strong force on this and we can take a look at this
right in her elbow and here it gets locked down in here and so our shoulder
comes out and then locks down here whereas underneath
and then straight here.
That's going to give me the idea that there's a lot of weight on this shoulder
up here. Okay, that she's leaning on that hand back there.
And I need to have that that high up there like that because that's going to
show me how she's leaning on that so that I can hang this collar.\
over the top of that and across her form and tuck it into her belt.
Her belt's going to be a little bit of an angle like this.
I'm going to draw through to get there.
And now under her belt I'm gonna see again here's where her clothing gathers.
I'm gonna get the rest of her figure in here so that I can work with that.
Then her other arm back behind here. So now I have kind of her structure and I'm
going to pull the material from here. Can you sit there for just a few minutes
And this is going to describe a lot of this pose is how folds work. this pose is how folds work.
Pull straight down from there and then back over here.
And then under here I'm going to see there's
a little pull under there and then up because I want to go to this shoulder
again because that's where my stress is. So I'm going to pull on the garment
Gonna pull up there like that.
Because all of these play a part in the you know, these little shapes down here,
they'll play a part in telling kind of the story of what's going on with it.
This dress is. You see all of these come to the inside right there ,on the inside
of her wrist and how they come up here so that it comes down here to this lace and
all of these folds come out of that right there. So that's where it's pulling on
those and there's a lot of stress on her arm. So that's why this is so tight and
strong here. And so these these folds here need to be
coming from this origin. Here it needs a really ride carefully around her arm here
because that's where it's going to get
tucked in quite as much - quite a bit there. Okay. So then going back up to the
shoulder here. There's things that have to come from that shoulder and her
other shoulder here so underneath this that's kind of where it's going to be.
Great, that's good. Thank you.
Okay, so this is where these forces are.
Okay again, what I'm going to do is I'm going to start here. Make sure
that I get on the paper. Wow. Thank you.
Make sure that I get on here. There we go.
And what I'm going to do is I can see there's a strong axis going on
this way. And even though my strong axis is in here, her leg is out here just
outside that axis, right, so
I know that her head
is going to be
and her head is actually -
it is going to be behind her back leg. So if I move this here then - her front leg -
and I put her foot out here then she's really going to be leaning forward in
this pose. Now in this pose I have her head here, neck coming here, this
coming over the top of her shoulder,
right, this coming over the top of her shoulder coming down in front, coming out.
So this has to come out and then back so this has to come in front of that
forearm is in front of her upper arm in there.
and I'll even put this in front of her hand. right hand.
All right, so there's
that and so this is in front of this,
in front of this, in front of
and I can see that this shoulder is - her other shoulder - is up higher. So this is
going to be her rib cage is going to follow her shoulders
and I come around here like this. So this is going to tell me
the angle of her back in here and then there's a pinch in here with her hip
and then it starts to go up again.
So back goes like this now that pinch is going to come out of here and
over her hip here.
From this point I need to get
from her back. This is going to be her back here in the middle of her back here.
And then from the back of her bottom
it's going to go all the way back over here.
there that's going to get in there, you get this.
Now I'm going to have a line coming - a scene coming down here like this and
that can kind of anchor this but again, then what I'm going to do is I'm going to
look to see what kind of folds are going to be hanging where the hanging from. Now
this is going to - this is going to be a fold like this.
And I'm going to get another one like this, and then this one is going to come
across like this. Thank you.
You know, you can just do a twist too, you know, just a Twist. Just you know, you
can you can just -
there you go.
Okay a situation like this again I'm going to look for kind of the dynamic
angles in here, and I'm going to see that I'm pushing
If I go straight down from here,
I'm going to end up somewhere at her heel over here.
And then her other leg is going to be over here somewhere.
And again, I'm looking for these stress points. I'm going to see
this comes up here. This comes in here.
Why, because I know this continues on up in the air like that.
Shoulders might be too far.
So I've been spending a little bit of time trying to get the -
trying to get my proportions right so that I can
hang the material properly over.
So I need to get this out just a little bit more.
I'm going to hang this from her shoulder. This is kind of where it's going. It
hangs from her shoulder here out to here
just like that and this gets pulled up to her other shoulder up here.
So I'm kind of drawing through getting up to that shoulder up there then
this folds over this, goes - kind of puffs over the top of that.
And then down.
And if I'm going to see it fold in here, I'm going to see where this is. And then
I'm going to kind of play off of these
areas in here and I'm pulling from these high points on here, on her hips or where
the material falls back. So we'll come from there and then it will hang
how her legs would be.
Now this, we're going to use this staff.
Okay, so I'm going to start with the staff and it bows out this way just a
So I'm going to go ahead and use that.
Now she has her shoulders thrown back a little bit here and I'm going to move,
that means her ribcage is going to be out here like this.
And then from there
down to her hip
which is going to be out this way.
Just going to pull up here.
So I'm going to try to build on that.
Here this comes inside.
Farther out there.
From this point I'm going to pull back the
material. Let me get the rest of her in here first. I don't want to jump in too
I'll go out here.
So these are all going to pull from the other side over here right across
And then again pulling from here.
And the biggest thing that's going to be the biggest issue here is her hip.
This is where things are going to fall off of this position out here, pretty much
come up in here.
Again, I'm going to - I'm going to let the pole kind of help determine a lot
of my action in here.
This is her head here.
Okay, the folds I'm going to be looking for, the stress points are right from
back over to here
and over her leg here like this.
From there it's going to be sweeping down from here and a couple tight folds in
and then pulling from her hip up there again.
So I really want to reinforce that hip getting pulling up there and then there's
a couple other that are that are getting pulled down here.
And that - the twist on here is going to come from here.
Okay, so I'm pulling from this and I feel there's some tight skills some there's some tight
fold coming here on this side that are twisting behind Okay. So if I've got her
body is like this, you know if her rib cages is like this.
If I'm looking at something like this and I'm saying the pull - the
pulling is coming from over here and down and more is coming down here and then off
of her leg coming out here, it's all coming down this way. Okay. So if I'm
pulling from this over here, and then I acknowledge that I've got the other side
of her buttox here pushing out right? Well what's going to happen? This is
going to go up and I need to pull this around.
This is going to be part of this whole twist that's going to go up. Okay?
It's going to pull up there. This pulls across here and up there like that.
All right, so it pulls from this side over here and then this side from over here.
So it's down here and like that.
Now to get this, with her shoulders at this kind of angle like this to I'm going
to know that this is going to come up down like this, going to be kind of
like this. Okay one because her chin is turned this way and it's going to go up
over the top of her neck. So it's going to be a little bit more like that. Okay,
so it's going to pull from this high point here and go over shoulder like
that. I also have these other parts straps that come down here like, They're
going to be pulling from this area here.
And where it might show a little bit of the
depth of her back here, it's going to go back over the top of this down here
because I want to get this
coming this way.
Might even be a little some something coming from the other side. This side is
it comes over, it's going to pull tight will never see it over there. But tube will never see it over there. But
this side possibly could cheat that in I work. Every line you're
putting down has to have a purpose. It's going to lead you into something else.
You know so we can go in with something like that and leads you into something
else and this could lead you here. This could lead you into the top of your
And then her muscle here. And if I have a muscle here going like this, I can go to
the outside here and bring your eye back in with her arm garment there. And so
I'll look for those kinds of things that would would help do that.
Even out here and coming off the top of the front of that if I had, you know,
let's just say that it
part of her garment went this way. And this part swing over the top of her leg
Maybe if this exposed a little bit of that if it did, I don't think it did
So everything that you put down should serve as my black lines here kind
of served as my coat hanger and the brown lines are really how everything falls off
and that's why we started with the acting that's why we start with that's from that's why we start with
these directional forces. These are just the layers, you know, as we go.
to build the
how things fall across her form.
I want to accentuate her hip inside here.
So that's going to be important.
I'm going to get a fold on here because that's going to start to pull or hang
down from there.
Her arm actually comes up here.
This would be the back.
Is that it?
So this is how things are going to fold. going to be fold.
Okay. So with this there's going to be a pull from here,
comes out here like this. So it's going to go tighten up in there and then coming
down from the back of her neck down here, this stretches down into here.
If you can just hold it just a couple minutes more, one more minute more.
All right. Thank you.
So again, I want to make sure that we get these things all pulling from these
different areas where they're like from her shoulders up there from her waistband
So there's some -
there's a real broad
her clothing and the folding in here
based on her movement here. So it leaves pretty - it makes a pretty strong
statement in here. So
yeah, there's a really strong pull from here
and then back there. That's kind of the most dynamic thing that's going
You have a lot of curves in there, see where there's a straight opposing a curve,
pushes straight in there opposing the curves. It will make the curves more
aynamic actually, it'll give them a little bit more weight and it'll make them
for instance. There's a lot of
lines or folds coming from this point right here, right? But as this comes off
here it's going to have a different angle coming down here have a different angle coming down here
where these sweep really harshly, you know hard like yes, so looking here how
this, her garment wraps around her ribcage to back here, right and then
her belt from this angle almost went straight across and it's this straight
against this curve, you know, that makes it a little bit more
dynamic. Now on below around her sternum in there it comes
down to her tummy down here, right? Like this, but look at what happens in her
back, her back follows this and then starts to go like this,
right? So countering this slight curve and this long curve here. This is a
curve this way and this long curve down here. This is what's opposing something a
little bit straighter. Okay.
when you start doing cross contours and and going around the form that's how you
might think ok I'm going to wrap things around the form but in the silhouette
what you might do is you might look for
a little bit straighter against a little more curve in the silhouette.
We'll deal with that next week a little bit too.
friends, draw some from some photos online or whatever you want to do where we're going
to find some images but really look for images where there's clear weight
distribution, someone leaning into something, someone leaning on something,
the weight, they're weight being shifted or whatever and look at these directional
forces. Look at the shapes and forms and how they move your eye. So there's going
to be the distribution of weight and the force of that weight, but there's and the Yes of that weight, but there's
also going to be directional force of where they're moving and where their
appendages are moving and
then how t their clothing is draped from those forms.
Their directional forces are going to inform how material falls.
Free to try
1. Lesson Overview23sNow playing...
Watch the whole lesson with a subscription
2. Directional Forces in the Pose: Lecture11m 42s
3. Drawing from a Live Model: 5-Minute Poses (Part 1)28m 41s
4. Drawing from a Live Model: 5-Minute Poses (Part 2)34m 32s
5. Drawing from a Live Model: 5-Minute Poses (Part 3)16m 43s
6. Assignment Instructions55s