Model Drawing 3, Week 5

Warm-up gesture drawings include: five 2-minute bikini figures, three 3-minute figures in a robe, and five 3-minute figures in a cape.

We also drew one quick figure with kimono sleeves:

Student work:

We then spoke about different topics, specifically puddles, cowls, and feathers.  I drew numerous demos of puddles and lectured about using the perspective of the model stand to assist in drawing the puddle of any particular garment.  It helps to have an idea of a horizon line and 2 vanishing points to make puddles feel as though they are laying directly onto the ground plane.

We then moved on to cowls.  Different materials produce different cowls.  Stiffer materials or materials with a lot of body produce larger and fewer cowls, whilst slinkier or thinner materials produce a greater number of smaller cowls. 

Cowls tend to repeat a little "cup" shape over and over; these little "cup" shapes have 3 defining planes:  the bottom of the "cup", the lip, and the inside.  These cups tend to spoon each other, creating a cowl.

We drew two 7-minute cowl studies with scraps of charmeuse and chiffon.  I drew profile views, in which the "cup" shapes become more apparent.

We ended class with different strategies for laying in and drawing feather boas.  I suggested using a variety of pencil widths and edges to create the illusion of different textures, as well as laying in "spaghetti noodles" to plan not only the location of the boa, but the desired width - and therefore length- of the feathers.

Model Drawing 3, Week 4

Warm-ups:

Five 2-minute gestures, followed by five 2-minute, two-handed contour drawings.

We moved on to four 3-minute gestures with a cape, followed by one 7-minute rendering of a satiny bathing suit.

We then completed three 10-minute figures in a bathing suit, finished enough to place tracing paper over.

Student work:

I completed one garment on tracing paper (a satin nightgown with satiny shirt over it), followed by a demonstration of quickly indicating satin.  Note the strong highlights, core shadow, and reflected light that characterizes a satin finish.  Lace can quickly be laid in with "squiggles" although if more time is available, I prefer a more finished rendering as according to the illustration teacher.

The last figure wore a feather boa, just without the proper feathers to make it a real feather boa:

Student work:

Final page:

Model Drawing 3, Week 3

  We began with our gesture warm-ups, completing TEN 1-MINUTE poses, followed by FIVE 2-MINUTE poses.  I prefer for these to be done with a permanent media every once in a while so as to improve line quality.

We then drew THREE 3-MINUTE figures - as exemplified on the left - utilizing 2 pastels (one light, one dark) to lay in shadow shapes and high light shapes.  This results in a drawing with 3 values: a midtone, a shadow tone, and a high light tone.  In this way we can quickly and gesturally convey a dimensional figure.  This exercise can be completed in marker, but pastel is faster and easier.

 Student Work:

We then completed a TEN MINUTE drawing (drawing on the right) using the above techniques: A light gesture drawing lay-in, a contour/continuous line drawing to flesh out the figure and add structural elements (face, hands, feet, anatomy), followed by the shadow/highlight tone lay-in, and shape/color block in for the bathing suit.

Student work:

 Student completed the above study in pastel.

Student completed the above study in marker.

We then completed a  TEN MINUTE multi-tiered drawing, beginning with a figure in a bikini.  Again, the sequence of steps was as follows:  1. Gesture drawing using fashion proportions;  2. Contour line drawing to flesh the figure out;  3.  Rendering of the bathing suit to capture the reflective properties of the material.  I gave the option of rendering it as charmeuse using the rendering technique taught by the illustration/design instructor or rendering it from observation.

On tracing paper we drew and rendered a FOUR MINUTE silk nighty, again this was to practice capturing the reflective properties of silk.

We then drew another FOUR MINUTE garment study over the figure, this time using a transparent robe.

We ended class with a class critique.

Model Drawing 3, Week 2

We began class with TEN 2-min warm-up gesture drawings.  Any medium is acceptable but I really like brush and ink, or brush pen.  I also suggest holding the stylus in an "underhand" manner vs. how you hold it for writing.  This allows for looser, more fluid gestures.

We then worked on shape design, and graphic ideas.  The following exercise involved laying in a quick skeletal gesture drawing with a light marker or pencil, and focusing on the dark graphic shapes present on the model.  In this case, the hair, leotard, gloves, and stockings/shoes.  It is important to draw these black shapes as accurately as possible, and for the contours to be shapely and naturalistic.
We completed FOUR 5-minute shape exercises in this manner:

Student work:

Student work:

We then completed TWO 5-minute arm studies focusing on the structures of the trapezius, deltoid, bicep, tricep, and forearm, learning to indicate only what is necessary to achieve a naturalistic look, since we are also dealing with fashion stylization.

We also talked about using alignments as a form of quick measurement to either lay in your drawing, or correct it.

Note how simplified the arm and hand is.  Hands should be drawn with large shapes first, then broken down into smaller shapes if necessary, using any negative space present to draw the fingers.

We then completed THREE 7-minute arm/hand studies.

Student work:

Student work:

Because we had to share a model with the class next door this week, we spent the remainder of the class practicing contour line drawing from photos.

We completed FOUR 5-minute continuous line / contour line studies.

Student work: