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Feel like this one needs a little more adjustment will flatten out most of it because some of these

2
00:00:09,660 --> 00:00:16,770
are getting a little soft and we want some sharper contrast at the apex of the fall.

3
00:00:16,770 --> 00:00:17,670
In some cases

4
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so we always have occlusions around the pit area because it's a very deep fall.

5
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So it gets dark there pretty quick especially on the jacket.

6
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Or just go and implement some of those lines at the top.

7
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Make them a little less apparent.

8
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It's a very simple practice.

9
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Bank cloth.

10
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It just takes repetition and attention until you start to come into an understanding of how the forms

11
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are draping.

12
00:02:59,890 --> 00:03:03,260
But once you start to get that then it becomes a natural process.

13
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One where you're more able to kind of get more believable form without having to stress about it really.

14
00:03:20,960 --> 00:03:23,280
Oh it shouldn't be a stressful experience.

15
00:03:23,290 --> 00:03:27,500
Anyhow if we mess up we can simply adjust our folds.

16
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That's the nice thing about digital painting.

17
00:03:58,580 --> 00:04:02,000
Going to pull some values upward from the pants.

18
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Now

19
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not too harsh just enough

20
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to discern the forms

21
00:04:21,240 --> 00:04:24,100
get rid of some of those outer lines.

22
00:04:32,260 --> 00:04:38,110
But as I stated earlier I just want to remark again that it's a really good idea to find various types

23
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of clothing and study from that from life if you can set up in front of your computer or perhaps even

24
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just go to some figure drawing sessions where the model will be using a cloth over their body.

25
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This is the kind of thing that will allow you to really amplify your abilities.

26
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Otherwise it's fine to learn from photos as well

27
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or from masterful artists ones who have drawn thousands upon thousands of Clover's characters and they

28
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really know their stuff.

29
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You always want to make sure that if you're going beyond the basics that you find somebody who is immensely

30
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masterful at it and then don't try to replicate their technique but try to understand why they make

31
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the decisions that they do and then kind of adapt that technique and make it your own because that's

32
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really the only way you can succeed is by ensuring that all of this applies to you personally.

33
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It has to interest you.

34
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When I go in with some cool lines here to break up the Form a little bit adds some nice detail to the

35
00:06:16,140 --> 00:06:20,180
outer edges of some of these clothing items.

36
00:06:26,160 --> 00:06:56,900
Or go back to working on this large hood piece.

37
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If I'm ever stopped I usually like to squint just take a bit of a break make sure that everything is

38
00:07:07,060 --> 00:07:10,290
looking pretty reasonable.

39
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I usually squint for a little bit and just make some tiny movements in certain areas.

40
00:07:18,250 --> 00:07:26,090
Right now it looks like this part could use a teeny bit more value contrast and do some sharper folds.

41
00:08:07,000 --> 00:08:13,180
Doing some basic shading under the neck because it will help sell just sell the forms a little bit better

42
00:08:13,180 --> 00:08:19,840
and separate them even though we're totally not going to paint the face or anything because that is

43
00:08:19,960 --> 00:08:21,940
not the point of the demo.

44
00:08:22,450 --> 00:08:27,310
Still hopes to just clean it up for presentation purposes.

45
00:08:42,570 --> 00:08:49,530
It's good to pay attention in that area as well because there some semi thick line work that got overlooked

46
00:08:49,680 --> 00:08:55,240
initially and we can definitely alter to be more appropriate.

47
00:09:01,490 --> 00:09:08,270
So basically once we've eliminated most of the lines that we're not fond of we don't need to get every

48
00:09:08,270 --> 00:09:16,400
last one then we're just going to go in and keep tapering and working on these folds until we get the

49
00:09:16,460 --> 00:09:22,310
clothing to look as believable as we can.

50
00:09:22,490 --> 00:09:30,740
It really is a patience game when it comes to drapery simply because it takes some configuration it

51
00:09:30,740 --> 00:09:40,250
takes some effortful processing to ensure that we're giving the pockets of light and shadow what they

52
00:09:40,250 --> 00:09:44,930
need in order to look convincing.

53
00:09:45,300 --> 00:09:53,000
Whether that means carving the form forward or backward pushing it back with darker values or bringing

54
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it to the forefront with lighter values.

55
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It's all part of the game.

56
00:10:22,270 --> 00:10:23,260
All right.

57
00:10:28,110 --> 00:10:29,970
So these are looking really nice.

58
00:10:40,940 --> 00:10:46,920
It's just a matter of putting the time in.

59
00:10:47,370 --> 00:10:51,260
If we don't like an area we can always just simplify it by flattening it out.

60
00:10:54,210 --> 00:11:00,210
From there we have a better shot of painting at a new and getting it to look better.

61
00:11:06,020 --> 00:11:17,090
So for the most part we've pretty much completed this study of folds and drapery on this particular

62
00:11:17,090 --> 00:11:18,910
figure.

63
00:11:18,920 --> 00:11:31,040
Lastly I'm just going to apply some of these techniques to draping a simple cloth over a sphere as well

64
00:11:31,040 --> 00:11:36,480
as maybe some other shapes and then we'll just go over what we learned and that will conclude this lesson.

65
00:11:36,480 --> 00:11:37,610
Unclosing in drapery.