Quicksketch for Costuming and Drapery
Quicksketch for Costuming and Drapery
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Quicksketch for Costuming and Drapery
courseDrapery FundamentalsFull course (30 lessons)
$125
comments 6
Kathleen McGuinness
Made me think more about the why of folds, e.g., compression, direction, gravity. What brush do you use? And is the core shadow the same as the terminator?
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We spent a lot of time on the disciplined approach to mannequins, tension points, and lighting. Now, I want to show you how to loosen up and have fun with direct drawing. In this premium lesson, I demonstrate how to apply all the drapery fundamentals we covered into quick, gestural costume studies. You will see how I use shorthand for folds like half locks, Z folds, and diapers while keeping the underlying perspective intact. I also show you how to push your reference to create more drama, exaggerate foreshortening, and enhance the storytelling of your poses. We work piece by piece, focusing on immediacy and expression without losing the structural logic.

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COMMENTS
Steven Michael Hampton
Drawing loose drapery requires a solid grasp of the structure underneath. Quick sketches often lose their form. This lesson shows you how to apply tension points and fold types to gesture drawings so you can sketch freely.
Kathleen McGuinness
Made me think more about the why of folds, e.g., compression, direction, gravity. What brush do you use? And is the core shadow the same as the terminator?
Josh Fiddler
I can answer that last thing: While some people may call the terminator and the core shadow the same thing, they aren't. The terminator is just the imaginary line separating the light and dark side of a form. I like to think of it as "This is where light terminates." Everything towards the light source side of the terminator is in light and everything on the other side is shadow. The core shadow will be immediately on the shadow side of the terminator while just before the terminator is the darkest of the mid-tones. If you've ever shaded a sphere, the cast shadow is the projection of the terminator on the surface the sphere sits on. So if the light source is directly above the sphere and the light rays fall straight down and are parallel (really far away light source like the Sun), an observer will see some kind of ellipse depending on the viewing angle but the width of the cast shadow will be exactly the diameter of the sphere. The core shadow will be there darkest form shadow on the shadow side of the terminator. I think he just uses a slightly softened round brush with pressure opacity and flow.
Steven Michael Hampton
I have a really simple photoshop stock brush. I have a link on my website if you'd like to download it. Nothing you couldn't make it photoshop in 2 seconds though. Terminator!? Like Arnold? Not sure
Josh Fiddler
epic. Love the last two. I feel like I'm getting close to seeing the mannequin without it being there, pushing poses. I am definitely having more fun.
Steven Michael Hampton
Thanks, Josh! Doesn't it feel good!? Leaving that mannequin behind is such a nice change.
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