we talk about the clothed figure we have
to really think
about drapery in terms of those points of
Where it's grabbing from what muscle it's
pulling from, where it's radiating from.
So I just wanna kinda go over a couple of
principles of drapery.
Things that we should be looking for
when we draw the figure because that's
really something we do all the time.
When we're sitting.
Whether it's a figure drawing class or its
sitting at a cafe or
its drawing your friend at home.
We're usually nine out of ten times
drawing the clothes figure,
not the nude figure.
So if you really like drawing out in the
world, on the bus, on the train,
at a cafe, these are some important
principles that you could really utilize.
For your own drawing.
So for me if I just take a point here.
Where that arm is coming down.
I like to sometimes just kinda get the,
the, the bones.
No pun intended of the figure.
So I like to figure out, obviously, the
what that figure is doing like that.
And the head is behind the shoulder like
And the leg is moving back and down.
This leg is coming out.
So you're still figuring out, you're still
figuring out the, the action.
But now, what's really going on with that
So right here where her armpit is, it's
I feel like pulling underneath that
And this arm is going down and
back and it's, it's wrapping around,
Now the biggest problem with most people
that draw drapery
is let's say they have that arm that's
Like that, they'll just kinda draw around,
around and around, and
around, and around, and [SOUND] And that's
It's just basically the same exact rhythm
over again and what that creates is a
sense of monotony.
And unrealistic seeing.
So it doesn't really exist.
What you're doing is you're just
projecting one fold that you might see and
you're repeating it over in your mind
again like a, like in a broken record.
So what you really have to do is really
look for where those folds are.
And usually those folds take place at.
Points of tension.
Like a bend.
That's a really good point of tension.
So right here we could see that.
And you know, just like no snowflake.
No snowflakes are alike.
No folds are alike.
So you can't have these monotonous folds
over again because no folds are really
Hard to imagine.
So here, I could almost feel her deltoid
here because this part of her shirt
is tight, see?
This part is tight.
And it's form-fitting and then we can even
feel the bone,
and that drapery drops down like that
We see a little of her arm.
And here we have a fold that's coming out
And it's coming around because it's
actually pulling from here.
Pulling from this point, which is right
around her pelvis.
There's always, there's always pulls.
Fold here is wrapping around but it's
actually pulling from here.
So we have to show that, we have to feel
We have to feel the tension of the pull.
Here the shirt's more form fitting,
so it's on her and down.
We see that arm wrap around the back, the
the back of the shirt is tight, it's
And it shows where that spine is right
here, you see that?
It's pulling because the spine is
wrapping, and this piece of the shirt.
Is wrapping as well.
This comes down.
That's a little lower.
And it's pulling.
And we could even see the seam of that
So the seam of that shirt sometimes.
Is important, because it shows you where
the side is,
where it's turning the form like that.
And her hair comes up like that, out.
Back, is obviously not her hair lecture,
but such great shapes I have to just kind
of get it in
there just because.
So, shirts coming down, this is
overlapping like that.
Now even the pants.
See, we gotta explain that the pants are
wrapping around sculpturally the pelvis.
This is wrapping around the pelvis like
And if you look at her pocket here, her
pocket wraps around.
Every kind of seam, every kind of pocket
shows us perspective.
And that's important.
So we should use it as much as we can.
So not only is this wrapping around this
way, like that.
This is actually dropping down this
And this is dropping this direction, so
that's, we're experiencing the shape
of the form that's underneath and that's
an important thing to do.
You wanna really experience the shape of
the form that's underneath,
bam and bam, and right here, we could see.
Even that tag, it's going up in
perspective like that.
And it's tight here on her thigh.
And it's, you feel it wrapping right
there, see, pinching right there.
Pinching and stretching always applied.
Everywhere we go, pinch and stretch.
It's right there.
Look at that.
The thigh, out.
And here, here's another point.
Right there, behind
in her calf area where the calf is
attaching behind the hamstrings.
It's pinching there.
Around and get those shapes right.
It's going down, back.
Now, these are what's called inert folds.
So, these inert folds here are more
Going down just kinda just lying there,
And for this one, it's active, it pulling.
Right here, it's pulling up, pulling up,
pulling up and like that.
These folds here,
the back of her leg are, are pinching as
were the front of her leg.
Much more tension.
Much more tension.
This is pinching.
And going down, like that.
And now, those folds are more passive.
This goes up it's kind of just lying on
Her shoe's coming out.
Won't get into all the laces and
But they really are fascinating.
I wouldn't really wanna draw them.
I wanna draw them constantly.
That's is, this is what makes you fall in
love with drawing.
Is this kinda stuff.
When you see all this beautiful.
Drapery and how much the pinch, how much
stretch there is and how much music is
going on with the form.
This is just like, it's like, this is like
it's own song.
Look at that seam right there, even that
seam is interesting,
it's like it shows you everything, it
gives you those clues to what's going on.
And it makes it, it makes it fun to draw.
And it makes it fascinating too.
It's like you never, never, never.
[SOUND] Are surprised with how powerful
drawing can be.
It is such a powerful experience to be
able to experience the figure like this.
And you gotta wonder why guys like
Tintoretto and Rubens and Raphael just did
this all the time.
It must have been the best thing ever.
Getting paid to experience nature.
A wonderful thing.
Having the time to being able to
Look at that.
You could see how tense that is on that
And then, all of a sudden,.
[SOUND] Just relaxes, just goes limp.
It's like, I'm settled, I'm okay.
And that is your foot right here,
going back in the space.
And anything we can use.
So maybe it's that seam.
So you've got the front, that front pocket
And you see how that's going wrapping back
in the space?
The seam is going this way.
It's very thin, it's going along the
Look at that.
It's just woah.
It says so much.
Gives it so much information.
Well oh, sometimes we just [SOUND] Forget
about what's going on with the pants.
But woah, what are you doing?
Why are you doing that?
There's so much information on the pants.
That are giving you perspective clues to
making a great drawing so use it.
Don't avoid it.
Don't be afraid to draw anything.
You can draw anything and everything you
draw has that information
to take you to the next level of
experiencing the form of the figure.
Oh then, wrapping around, wrapping around.
And look at that, right there, bam.
None of these are alike, none of these are
Away, away, bam, pulling, look at that
You can feel the scapula pull.
You can the feel deltoid tuck right in
She's right back here.
Eyebrow, her hair.
So there you go.
The clothed figure.
Just have to experience it.
You have to do it all the time.
You have to really draw the figure.
And think about those points that are,
that are pulling.
And think about those points that are
So now we're really gonna look for
those moments of tension and action and
get a little faster with our drawing.
So if you're,
if you're, if the figure is moving you
wanna capture that energy right away.
And that's what we're gonna do.
We're gonna capture it.
Let's go and capture it.
So you know, I like to start,
once again I like to start at those places
that really interest me.
That arm is just pulling, pulling, and
And going all the way down.
And it's wrapping around so we're getting
the energy and the spirit of the pose.
And we also have to really understand
You know, there are points where it's
you can't have, you can't have everything
you won't have that juxtaposition that you
need to create drama, right?
You have to have that suspense of what's
It's calm, it's calm, it's calm, it's
Then all of a sudden, aw!
That's that moment.
That's that moment that I'm talking about
when you draw.
It's that, that tension verse being
really, really relaxed.
And really not knowing how crazy we're
about to get.
So this wraps this direction.
See that fold?
That wraps that way.
Comes out and back.
And it is really pulling.
It is pulling like crazy.
Now this side though.
It's much more chill, it's much more
I go all the way down to that, to that,
the jeans and the jeans are so sculptural.
Look at that, all the way around, right?
We're drawing all the way around it, like
All the way around.
All the way around.
Wow, you're just experiencing that
And then out, and see that pocket here,
now watch that.
That pocket goes around that way and down.
So that pocket is telling us that this has
dimension to it, a lot of dimension.
And that leg is going this way, bam.
I'm slowing down, but I will speed up.
This leg is coming out, and see here?
In the crotch area, it's this wrapping
around, wrapping around.
There's a pull to it.
There's a, there's a pull to this fold
It's like you think it's, you think it's,
you think it's really relaxed, it's kind
of in a relaxed state, and then all of a
sudden [SOUND] Pulling up like that.
And back down.
And this is coming.
These, this fold's going out that way.
This really gotta pay attention to these
folds and what it's doing.
And how you're.
How you're experiencing it because they
can be, they can be strong.
They could be dynamic.
They could be whimsical, you know, they
could have a, they, they almost
feel like sometimes they have their own
personality to them like that says so
much right there l all that energy like
you might want to even throw in a little
shape to show the kneecap.