Week Fourteen
Costume Drawing and Finishing
Design Elements
- Line
- Shape/Form (3-D)
- Light/Value
This is a variation on Bill Perkins' Line, Notan, and Form
Line
For a flavor palette of lines we might find:
Straight vs. Curved
Curved vs. Angular
Simple vs. Complex
Lines are also an important design element:
The Arabesque
Pictorial Movement
And remember our Line Quality flavor palette:
Thick vs. Thin
Sharp vs. Soft
Dark vs. Light
Shape/Form (3-D)
Above we have examples of Shape
We might think of these as the building blocks of shape.
But we might also contrast a simple geometric solid with an organic shape.
Notice in these three examples above there is a hierarchy of demonstrating three-dimensional volume on a two-dimensional surface.
I might want the viewer to know that all three of the examples above are images of cubes. Note, showing two sides of the cube will be more convincing than showing one side, and showing three sides of the cube will be more convincing than showing two sides.
We should also note that in these drawings of form, we are also in the realm of line and shape.
We might also apply the same concept to another form that is extremely important in drawing the costume: the ribbon. Above, we can see the same hierarchy that we applied to the cube.
Light/Value
Above we have simple shapes of contrasting value with no direct light effect. We can consider this an extreme example of indirect lighting or diffused lighting and we are now in the world of the graphic.
It should be mentioned that in this world shape dominates.
Let us take another simple geometric shape, such as a sphere. The volume above is not all that convincing as a three-dimensional volume.
What happens if we add a direct light source to illuminate our sphere? Including a form shadow, with reflected lights, and a cast shadow also indicates a three-dimensional volume to the viewer.
We can think of a continuum of flat graphic shapes versus a direct lighting effect as a design strategy.
Again, I can show form simply with line or I can use a light effect.
I could also emphasize the line and soften the light effect by compressing the values.
Lighting
For lighting costumes, we will use a simple direct light model.
Remember our two primary design forms in costume are cylinders and triangles.
We are primarily lighting cylinders.
And the ribbon is an important tool for understanding the lighting effect.
Learn to use the ribbon to analyze the light.
A ribbon-centerline is also useful for understanding the volume
Above, we see the principle of lighting a cylinder with a form shadow (including reflected light) and cast shadows applied to a ribbon.
We can also add a light effect to our hierarchy of ribbon forms.
Another principle that we should be aware of is how darker lines will come forward and lighter-valued lines will recede in space.
Think of the local value of a surface and its relationship to a direct light effect.
Proportion
We are looking for a contrast of proportion in our work. Similar intervals will look mechanical and unnatural. Above is the simple principle of large, medium, and small.
Volume
Cast shadows (drop shadows) are used to both demonstrate a spatial relationship between objects and describe the form of the object the shadow is being cast upon.
With costume, we are essentially drawing cylinders that wrap around larger cylinders.
Additional Folds
In the illustration above we have two pleated folds. On top is the knife pleat and below is the inverted pleat.
Details
Don't forget the details!
But what are the details?
Styles of Rendering
- Tonal (Graining)
- Hatching and Cross-Hatching (straight or curved)
- Stumping of Smudging
Combining rendering styles
Working with simple flat tones
A combination of tone and hatching
Tone and Stumping
Finishing Your Work
On Quality in Costume Design
Clarity of Form
Does the three-dimensional form read clearly in space?
Could you sculpt your drawing, is there enough information?
How well does the figure read underneath the costume?
Light Logic that Supports the Form and the Composition
Is there a logic to the light?
Does the lighting support the rendering of the form?
Quality in Design
Gesture and Rhythms?
Breakdown of Shapes?
The proportion of Shapes/Intervals in Relation to Each Other?
Hierarchy?
Use of Value in the Design?
Use of Pattern?
Quality in Execution
Line Quality?
Organization and Simplification of Values?
Hierarchy?
Overall Composition
How appropriate is the design to the overall image?w
How well is the costumed figure working within the whole composition?
On Rendering and Finishing
Exercises
Value
Creating flat areas of value or tone
Five-step value scale (with flat areas of tone)
Flat areas of value matching the value scale tones in random order (randomly toned value scale)
Value gradients: from dark to light and light to dark in one pass
Line and Shape
Straight lines (parallel with equal intervals)
Curved lines
Circles and ellipses
Connection of two points with a straight line
Straight lines in a circle
Connecting curved lines with three or more points
Line Quality
- Thick vs. Thin width
- Dark vs. Light in value
- Sharp vs. Soft edges
Exercises combining contrasting/different line qualities
Rendering Geometric Shapes in Direct Light
Sphere
Cube
Cylinder
Cone
Ribbon
Create your own more complex forms
Week Thirteen
Costume Drawing
Physical Considerations
- Gravity
- The Support (both the nature of the garments construction and the figure's support)
- The Gesture
- The Nature of the Fabric
Design Considerations
- How can I simplify this information?
- What is the rhythm, and where is the tension and compression?
- What is the hierarchy of the folds (all folds are not created equally)?
- How well are the shapes and proportions that I have created working together?
Major Design Elements
- Cylinders
- Triangles
Foldology
The "basic folds" are generally broken down into the following seven categories.
These include:
The Pipe Fold
The Zigzag Fold
The Diaper Fold
The Half-Lock Fold
The Drop Fold
The Spiral Fold
The Inert Fold
We are going to simplify these categories and break these folds down into four groups:
The Drop Fold
The Diaper Fold
The Half-Lock Fold
The Pipe Fold
The Drop Fold
The Drop Fold is supported from a single point.
The Diaper Fold
The Diaper Fold is supported at two points.
The Half-Lock Fold
The half-lock fold occurs when flat or cylindrical cloth is compressed to adapt to the change of direction of the form.
The Pipe Fold
- Straight, Curving, Radiating
- Spiral
- X, Y, and Z Folds
Procedure
- Begin with a simplified form of the figure
- Map-out Costume as flat two-dimensional shapes
- Plan out design through rhythm and gesture
- Drawing development
- What are the lighting and value considerations?
- Add the detail
- Accents and finish
Week Twelve
Costume
When we are drawing the draped or costumed model we must always remember that we are actually drawing the figure first, we must understand the figure underneath the costume.
Begin with a simple lay-in (armature or mannequin) that simply captures the gesture and the shape/form of the figure.
Principles
There are five basic principles to consider and understand when working with the costumed figure.
- The form underneath the costume
- The 2-dimensional shape of the costume
- The areas of support
- The points of tension and compression
- The Laws of Gravity
In the previous exercise, we focused on understanding the form underneath the costume.
For understanding the areas of support we must understand the nature of how the garment is designed and constructed. For example, a dress may have its primary support at both the shoulders and the waist or it may have its primary support at the shoulders only.
The gesture of the pose will also affect the areas of support. For example, the support for a pair of pants on a standing figure will most likely be at the waist only, whereas the support for the sitting figure would include the waist and most likely the thighs.
The points of tension and compression are extremely important for our understanding of folds and for creating rhythm in our work. As the model moves (flexes, extends, and/or twists at the joints) the fabric is pulled tight in some areas and compressed in others.
Although the details of every fold may show some individual variation through different sittings of the same pose, the principles of the folds will be consistent.
Gesture and Rhythm
In music rhythm is thought of as the placement of sounds in time, sculpting sounds in time. In the visual arts, rhythm is frequently discussed as a lyrical pathway that the eye follows as it views an image.
I have always been suspicious of this explanation because it is simply not supported by the last 60 years of research in tracking the human eye as it explores an image. I am inclined to believe that what we speak of as visual rhythm is actually some kind of anticipated kinetic movement that the viewer experiences both visually and physically.
In any event, gesture and rhythm are powerful design elements in drawing the costumed figure. It is much more important to capture the archetypal rhythm (or gesture) of the fabric than it is to accurately copy the folds. These rhythms are essentially the result of the way that both the fabric and design of the costume respond to the gesture of our subject.
We must consider not only the rhythm between two points of tension but also the overall rhythm of our design within the drawing. Do we have sufficient contrast to create interest and, at the same time, have we achieved a lyrical harmony with rhythm in our design?
Week Eleven
Head Drawing
The Russian Head
The Russian Head Lay-in
The Russian Head Lay-in
23:01
The Russian Head Applied
30:54
Example of the Russian Head from model Rajiv
The Reilly Head Lay-in
(for your consideration)
Necks
Neck Anatomy
Discussion and Demonstration: Drawing Necks
27:37
Planar Analysis
Drawing Hair
Demonstrations
Week Ten
Light Invention
Principles
Discussion and Demonstration on the Illumination of a Cylinder
Watch the first six minutes on lighting a cylinder
Demonstration One
Demonstration
Inventive Lighting for the Entire Figure
On the left (above), I have simplified the complicated form of the torso utilizing cylindrical forms. This will be the basis for my understanding of how to invent lighting for an organic form. As I work I can introduce the shapes of the form shadow through an understanding of the surface anatomy.
Discussion and Demonstration: Inventive Lighting
The demonstration is from 6:00 to 20:53
Week Nine
Light and Value
Light Discussion
42:40
Two models for lighting
Direct Light
Indirect Light
Two major concepts
Contrast
Modulation
This is how you sharpen your pencil. The conical point should be about 1/2 inch long and slightly rounded. With the side of the sharpened pencil, you should be able to apply an even "wash" of tone on your paper.
Demonstration: Value Contrast Exercises
10:21
Procedure
- Organize your values
- Simple lay-in (this should be a light value)
- Understand and develop the form (this will include developing the contour)
- Add the lighting by beginning with the shadow line and its modulation into the illuminated form
Reference Images
Demonstration: Working in Full Value
28:21
Value Reference
Week Eight
Hands and Feet and Industrial Drawing
Industrial Design Drawing and Dynamic Sketching
Hands
Discussion: Hands
27:01
Hand Skeleton and Relationship to Form
Demonstration: The Hand Lay-in
16:34
Demonstration One
Demonstration Two
The Foot
Discussion: Feet
24:57
Foot Skeleton and Relationship to Form
The Foot: Muscular Forms
Demonstration: The Foot Lay-in
19:36
Demonstration One
Demonstration Two
Week Seven
Shoulders
Should humans have more than one set?
The shoulder muscles are discussed until 27:25
Rhomboids
Scapula Adduction
Scapula Downward Rotation
Serratus Anterior
Scapula Depression
Scapula Abduction
Scapula Upward Rotation
Scapular Muscles
Supraspinatus
Shoulder Abduction
Infraspinatus
Shoulder Lateral Rotation
Teres Minor
Shoulder: Medial Rotation
Shoulder Adduction
Shoulder Extension
Shoulders En Tutti
Shoulder Muscle Analysis
The Arms
Arm Discussion and Demonstration
The arms begin at 27:25
Coracobrachialis
Shoulder Flexion
Brachialis and Biceps Brachii
Brachialis
Biceps Brachii: Long Head
Biceps Brachii
Elbow Flexion
Forearm Supination
Triceps Brachii: Long Head
Triceps Brachii: Lateral Head
Triceps Brachii: Medial Head
Triceps: Medial Head
Triceps: Lateral and Long Head
Elbow Extension
Shoulder Extension
Extensor Carpi Radialis Longus
Extensor Capri Radialis Brevis
Extensor Digitorum
Extensor Carpi Ulnaris
For simplicity, we will group all of the extensor muscles on the forearm into one form or belly. You will need to remember that the extensors extend the joints and originate on the lateral side of the forearm and insert, through tendons, into the dorsal (back) side of the hand.
Hand Digits 2-5 Extension
Flexor Pollicis Longus
Flexor Capri Radialis
Flexor Digitorum Superficialis
Palmaris Longus
Extensor Digitorum Profundus
We will also group the Flexors into a single belly or form. The Flexors originate on the medial side of the forearm and insert into the palmer side of the hand.
Wrist and Digit Flexion
Elbow Flexion
Brachii En Tutti
Week Six
The Legs and Related Forms
The Quadriceps
The Vastus Lateralis, The Vastus Medialis, The Rectus Femoris, and the Vastus Intermedius
Above is the Vastus Intermedius (with the Rectus Femoris removed)
The Vastus Lateralis
The Vastus Medialis
The Quadriceps: A Reunion
https://vimeo.com/721550923
Biceps Femoris, Long Head
The Hamstrings
Hamstrings: Hip Extension
Hamstrings: Knee Flexion
Biceps Femoris
Biceps Femoris, Short Head
https://vimeo.com/721550325
The Semitendinosus
Tensor Fascia Lata
Demonstration
The Semimembranosus
The Adductors
Adductors: Hip Adduction
Pectineus
Adductor Brevis
Adductor Longus
Adductor Magnus
Gracilis
Sartorius
The Soleus
The Gastrocnemius
Tibialis Anterior
Tibialis: Dorsalflexion
Tibialis: Foot Inversion
Hip abduction
Hip medial rotation
Hip Fexion
En Tutti
Sample Leg Reference for Anatomical Tracings
Demonstration
https://vimeo.com/469641212
28:32
Demonstration Reference
Week Five
Drawing Form
Preliminaries
Video on Sharpening Pencils and Warm-up Exercises
https://vimeo.com/469629226
22:22
Warm-up exercises begin at 9:00
Discussion: Form
When we are adding a volumetric form to the lay-in, avoid generic contour curves. Find, at a minimum, the starting point, the ending point, and the apex (peak) of the curve.
Practice adding simple muscle-like forms onto a cylinder in space.
Introduction to Anatomy
Muscles
Name
Origin
Insertion
Function
Form
Antagonist
The "Average" muscle consists of a belly in the middle connected by tendons on either side.
For our purposes muscles either contract (they get shorter) or they relax (and get longer).
Muscles may be classified into two groups:
Parallel
Where the muscle fibers run parallel to the tendons, for example, the biceps brachii above.
Pennate
Where the fibers run oblique to the tendon
Anatomy and muscles can become very complicated. Luckily, as artists, adjacent muscles with similar functions can be effectively grouped together.
Muscles of the Torso
The Torso
Erector Spinae
Trapezius
Gluteus Medius
The Full Torso
Demonstration
Muscle Tracings
I would begin with extreme body types such as Eleanor Dobrinina (below)
The advantage of making tracings initially from a body type, such as an extreme bodybuilder, should be obvious. After you feel comfortable with the anatomic forms you are studying, move on to other body types, perhaps athletes and then average, and even more obese body, types.
Week Four
The Human Skeleton
Torso
Torso: Front (Anterior)
Torso: Back (Posterior)
Torso: Left Profile
Examples
 |
Legs
Right Leg: Front (Anterior)
Right Leg: Back (Posterior)
Right Leg: Outside (Lateral)
Right Leg: Inside (Medial)
Example
Arms
Right Arm: Outside (Lateral) and Inside (Medial)
Right Arm: Front (Anterior)
Right Arm: Back (Posterior)
Right Arm: Outside (Lateral) and Inside (Medial)
Week Three
Difficult Poses and Foreshortening
Demonstration: Difficult Poses, Foreshortening, and Invention
34:34
Week Two
The Lay-in of the Torso
The Torso Envelope
Torso Lay-in Demonstrations
31:35
In the demonstration video I neglected to include the front plane of the ribcage (as seen in red, above)
The Full Lay-in
Discussion and Demonstration: Full Body Lay-in
30:49
Demonstration: The Lay-in from Reference
33:24
Week One
Materials and Set-up
From Top to Bottom:
Conte Pierre Noire
Derwent Drawing Venetian Red
Progresso Sanguine (Koh-I-Noor) in a holder
Progresso Sanguine (Koh-I-Noor)
Progresso Blue (Koh-I-Noor)
Stabilo CarbOthello
Pitt Pastel #169 (Faber-Castell)
Pitt Pastel #190 (Faber-Castell)
Berol Prismacolor Warm Grey Dark
Discussion: Sharpening Pencils and Warm-up Exercises
22:22
Gesture
What is Gesture?
Line of Action
Gesture Examples
Two-Dimensional Analysis
Two-Dimensional Analysis
Three-Dimensional Analysis
In the above 2-D Analysis, I used cross-contour as a shorthand notation for the foreshortening of the model's left thigh.
Raphael, Studies for a Virgin and a Child in Her Arms
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