Character Costume Figure Drawing. Step-by-Step Drawing by Tan Huaixiang

By Tan Huaixiang

Character gown determine Drawing will enhance your drawing talents to enhance your renderings. not just is that this booklet stunning and inspirational, yet those complete visible photographs conscientiously illustrate--step-by-step--how to effectively render dynamic characters with character and lifestyles. This publication offers drawing guide with certain breakdowns of varied forms of characters. Maternal? aged? Sassy? horny? all of it begins with physique percentage, bone constitution, physique lots, facial expressions, and the arms and ft. Hats, props, materials, and selection of medium are all completely lined to make sure the power to improve convincing real looking characters.

  • Includes distinct three-step drawing publications that improve the cartoon from stick determine to full-blown character
  • Detailed examples of ways to attract faces, palms, and feet
  • Learn to attract reasonable materials in a mess of colours and textures
  • NEW: learn how to draw your personality in keeping with the period of time they're from
  • NEW: learn how to draw kids and music/dance characters.

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Extra info for Character Costume Figure Drawing. Step-by-Step Drawing Methods for Theatre Costume Designers

Example text

When the body moves, the wrinkles and folds increase and become more visible, and they always follow the body action forms. It is not necessary to indicate all the detailed wrinkles and folds, since there are so many. You should draw just major ones to emphasize the actions. Wrinkles and folds are located where joints move (see Figure 1-77). We see them around armpits, elbow and knee bending areas, under busts, at waistlines, and around crotch areas. When body parts bend, they form folds at the inner bending area and produce pulling wrinkles as they radiate from the outer bending area.

The outer line of the forearm is more curved than the inner line. Female arms are smoother than male arms. The rear cheek line is lower than the center-front crotch. The thigh and calf areas have more flesh and show curvy lines. The knee area has less flesh and forms straight lines. The calf line ends at the halfway point of the leg. The fullest curve point of the outer calf is higher than the fullest curve point of the inner calf. The inner anklebone is higher; the outer anklebone is lower. 28 m Chapter 1 1-36 Design Sample of Contoured Bodies—Crazy for You Drawing the Figure m 29 1-37 Design Sample of Contoured Bodies—Crazy for You 30 m Chapter 1 1-38 Design Sample of Contoured Bodies—Crazy for You Drawing the Figure m 31 1-39 Design Sample of Contoured Bodies—The Dance & The Railroad 1-40 Design Sample of Contoured Bodies—The Dance & The Railroad 32 m Chapter 1 1-41 Design Sample of Contoured Bodies—The Butterfingers Angel Drawing the Figure m 33 1-42 Design Sample of Contoured Bodies—The Butterfingers Angel 34 m Chapter 1 1-43 Design Sample of Contoured Bodies—Dracula Drawing the Figure m 35 Figures in Dance Keep the words stretching, flowing, and rhythm in mind to accentuate the image of dancing.

The figures displayed are from the Egyptian period to the present. Figures 1-70 through 1-76 are design samples that show how figure poses change through time and fashion. 1-61A Egyptian Figures 1-61B Egyptian Working-Class Figures 50 m Chapter 1 1-62A Greek and Roman Figures 1-62B Greek and Roman Working-Class Figures 1-63A Medieval-Period Figures 1-63B Medieval-Period Working-Class Figures Drawing the Figure m 51 1-64A Renaissance-Period Figures 1-64B Renaissance-Period Working-Class Figures 1-65A Elizabethan-Period Figures 1-65B Elizabethan-Period Working-Class Figures 52 m Chapter 1 1-66A 18th-Century Figures 1-66B 18th-Century Working-Class Figures 1-67A 19th-Century Figures 1-67B 19th-Century Working-Class Figures Drawing the Figure m 53 1-68A 20th-Century Figures 1-68B 20th-Century Working-Class Figures 1-69A 21st-Century Figures 1-69B 21st-Century Working-Class Figures 54 m Chapter 1 1-70 Design Sample—Figure Poses Change through Time and Fashion; Class Work 1-71 Design Sample—Figure Poses Change through Time and Fashion; Class Work Drawing the Figure m 55 1-72 Design Sample—Figure Poses Change through Time and Fashion; The Lion in Winter 1-73 Design Sample—Figure Poses Change through Time and Fashion; The Lion in Winter 56 m Chapter 1 1-74 Design Sample—Figure Poses Change through Time and Fashion; Little Shop of Horrors Drawing the Figure m 57 1-75 Design Sample—Figure Poses Change through Time and Fashion; The Merchant of Venice 1-76 Design Sample—Figure Poses Change through Time and Fashion; The Merchant of Venice 58 m Chapter 1 Garments and Textures in Relation to the Body in Action The particular actions you decide for your figures should express the characters’ personalities, and should communicate and enhance the meaning of the garments to their best advantage.

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