Hello. Today, I'm going to draw a picture of various clothes based on the principles and expressions of the clothes wrinkles I learned last time.
On the right, I drew a picture of each standing pose, sitting pose, fighting pose, and high-angle pose.
I'm going to draw a picture of each standing pose, sitting pose, high-angle pose, and high-angle pose.
Subtitled by online-courses.club We compress knowledge for you!
First, I'll try to interpret the suit on the left.
As you can see, the suit has a shoulder pad, so the wrinkles on the shoulders are slightly smaller and the shoulders look wider than the actual body.
And there's a shirt and a tie, and the buttons are locked, so there's a chance of pulling wrinkles.
And because it's a little short, about 10 minutes long, I'll sketch it with a slight feeling of showing my ankles.
The upper figure is a little muscular, and I'll see how the shirt goes in.
The most important thing is where to find the expressions that are covered when drawing.
The shirt has a space where the inside is represented.
It's good to think about the thickness of the shirt.
It's going to be locked like this, right?
And then, I'm going to draw a jacket with a button.
As you can see, the button is locked around the belly, so I think I can make a jacket like this.
It's always good to keep in mind that there's a little more space than the center of the human body.
I'll hold this first, and then I'll check the shoulder line and hold it.
It's a space that sticks to gravity anyway, so I think you can think about the part that sticks first.
Now, let's look at the body. It's going to be pulled like this.
There's a little space in the side.
Now, I think the jacket will fall a little above the half of the thigh.
I can draw this side, but I'm going to draw it like I'm holding it.
In the case of the arm, there is almost no wrinkle in the shoulder pad.
Hold the space firmly first.
And I'm going to draw the left arm of the human body.
Because I'm raising my arm now, the jacket can fall a little by gravity.
In the case of a shirt, the shirt inside is locked like this, so you can draw the inside of the shirt with a slightly swollen nuance.
Think of it as a folding space, and hold the nuance so that it falls when you draw the center line.
And first, I'll connect it to the silhouette.
It's a little shortened inside, right?
It's going to be shortened, folded, and then folded.
And there's going to be a little space that falls by gravity.
And then there's going to be a flow or a wrinkle in this space.
In this case, I pulled my arm back, so my arm will be covered by the chest.
And then I think there's going to be a little more natural wrinkles that come up.
And then there's a wrinkle that bends, and then there's a wrinkle that naturally goes from the elbow.
I think this part will have a little bit of a wrinkle with a little bit of a nuance.
And this part falls off and pulls.
And then I'll draw the collar of the jacket.
The collar part is also a little voluminous, so I'll put it on like this.
It's a little flat, right?
If you look at it, there's a space on this side. You can't miss these spaces.
When you put it on, you expose this space.
You can hold it, right?
And then the tie goes in and the shirt goes in.
I'm going to look at the bottom. The bottom looks like a slim slacks.
I think you can see the belt a little bit like this.
And then the pants and the zipper.
This is where it's going to fall off, right?
The overall body shape is very solid.
But now I'm going to set the fit of the pants to make it slim.
In this way, in the case of slacks, you can see the folds that fold like this.
And since it's a long-pulled leg, I think I can hold it weakly like this.
Like this.
Now, let's take this and put it on thickly and check the depth.
The shirt goes deep and comes out while thinking about the thickness.
There's a space inside like this.
And then the tie.
The tie is pulled and put on.
The tie can create a sense of space.
And then it feels like it's pulled by the jacket button.
It's good to know that there's a side in here.
If you stick it flat, it looks very low in volume.
So it's important to draw it with a very thin surface in mind.
I think there could be some folds like this.
Subtitled by online-courses.club We compress knowledge for you!
And then the folds that are weak in depth are different in thickness and expression.
It's good to show a little bit of weakness.
I'll check the space here first.
It's good to put in and out.
It's like coming in and out.
It continues to add an irregular feeling.
It's good to put the wrinkles in the middle of the thin space.
The inside space.
And then the feeling of being pulled by the shoulder pad.
In the short part, you can't just go in like this.
As much as it's shortened, you have to put the wrinkles in density.
If you look at it, it's a different thickness of the line in the bottom or the space with depth.
It continues to create a three-dimensional effect.
You have to think about the thickness and space in this part.
It's going to keep you in place.
But the flow and the sense of volume are never different.
The shirt is thin, so it's better to make it thinner so that the wrinkles inside don't go in the same thickness.
I tried to dress like this.
I'll draw the lower body.
The belt is like this.
I'll add a little bit of thickness to the jacket's shadow.
If you add a little more depth to the space, the three-dimensional effect is much better.
I'm going to add a little bit of wrinkles.
It could come up a little bit from the calf curve.
And the cut lines of the suit pants.
The thickness of the legs is not that slim right now, so it's a little big.
I'll erase this and edit it.
It's not pretty, is it?
I'll make it a little slimmer.
If you add a little bit of wrinkles, it's more effective than adding a lot of wrinkles.
I'll draw it like this.
The body is not big, so I don't have to go too deep.
You can draw it by pinching the space that goes in.
I'll add a little bit of nuance to the shoulders.
You can draw it like this.
I drew a suit in a standing pose.
The second image I'm going to do is this outfit.
It's a big, wide-fit suit.
I'll draw this on the second image.
The T-shirt inside the jacket is very long.
The pants and top have very large arms and legs.
I'll draw a T-shirt inside.
T-shirt is a little bit of a pine neckline.
I can see a little more collarbone.
I'll draw it like this.
The sleeves are covered by the jacket.
I'll say it's coming this far.
This is the size of the collarbone.
And it's going to be very big.
Now, as it bends, the depth inside is very much revealed.
It's not like this. It's big.
It's a lot of depth creases caused by gravity.
These feelings.
When you draw it, you need to show some depth.
The depth is deep.
I drew it inside first.
I'll draw a jacket.
It's similar to a collar.
If you look at it, you can see that it's a little bit of a waist dance.
This length.
It's falling off.
The top of the jacket is a little bigger.
So the body can cover the arms.
It's going to be put on like this.
The depth is very deep.
And the sleeves have very low shoulder lines.
It's coming down like this.
This is not a sleeve.
It's not a shoulder seam.
It's the depth of the wrinkles.
You can see that the shoulder seam is coming down to about here.
Here, the tightening is much stronger than the gravity.
Tightening is installed on the wrist as it is.
I think we can take a very big barrel that falls down.
The back of the jacket is bent back and forth.
In the case of a bent expression,
I think I can add a big wrinkle.
Or I can pull the sewing line back a little bit.
And then as it comes out,
The barrel is very big, so it can be covered.
And it can feel like it's tightening.
It's like this.
It's going to feel like it's tightening here.
It's a little wrinkled.
And I'll take a look at the bottom.
The bottom is also tightened around the ankle.
Please make a space for tightening first.
It's a very big fit as it comes down.
It's a little more spacious.
But now the barrel itself is big,
The depth of the gravity is very large.
But in the standing pose,
The wrinkles that are torn or bent to the side will be limited.
You can create a space with these deep expressions.
I'll draw this on top of it.
You can't miss this space.
The thickness of the space where the barrel goes in.
The zipper part will definitely be thick.
This isn't a zipper, but it's still thick.
If you show me, it's a good way to leave it like this.
I'll make it a little longer.
I have a hand, so I'll put it on and cover it.
The barrel comes out wide as if it were covering the sleeve.
He's got his arms out a little bit.
I think I can draw this wrinkle a little more like a sleeve.
But the depth is rich.
And then the inside was very deep.
This side is also holding his hand.
I think I need to make some wrinkles that are pulled by it.
Make it deep.
I'll make the bottom of the jacket a little dark like a shadow.
You can also make the pocket on the sleeve look like this.
When you look at the sleeve, you can think of this space.
You have to keep the silhouette, but you have to keep the depth that goes in and out.
The material itself is a bit stiff with a nylon-like material.
So I think it would be okay if the wrinkles fell a little bit.
I'll keep making it like this.
This side is also a space that bends backwards.
It may be difficult to make it perfectly with your hands.
You can use the feelings and expressions of your hands to complete those points.
It's good to cover up the feelings.
Let's make the pants look like they're being put on.
The longer the line, the more you can see the lines that fall by gravity.
There's a lot of space, so it's hard to fold or make wrinkles.
Let's put a lot of red and deep expressions in the wrinkles that are being folded.
Shall we draw shoes like this?
I think I can sketch like this.
I'll erase the body part and check it out.
Let's check the depth and the space between the wrinkles.
The reason why the size looks big is because of this.
If you don't have this part, it may look small or small compared to the silhouette.
If you feel like you're missing something, look at the wrinkled feeling through the image.
If you put the nuance of the wrinkles naturally in the empty space,
It's much richer and more lively than before.
It's good to have a little depth space.
I drew a very big clothes like this.
Next time, I'm going to draw a person sitting down.
This time, it's a female character.
I'll draw this clothes.
The blouse is a little big.
You can see that the sleeves are a little long and wide.
The skirt is a little bit of a size.
It looks like an H-line above the thigh and a little above the knee.
It's made of leather.
I'm going to draw a fabric.
The blouse is a little open.
So you can see the space like this.
The round collar and the space inside are shown like this.
The chest is the small part, so you have to think about the height of the chest.
You have to draw a center button line on the shirt.
And if you look at it from the side, the chest is sticking out like this.
When it falls due to gravity, this space remains like this.
This is where the wrinkles fall off.
It's good to draw while being aware of these things.
First of all, I put it inside the skirt, so you have to see where the skirt line is.
You can see it as a little above the pelvis line.
I think you can see that it's been put on like this.
You have to think of this part as a double-sided line.
It's tied up, so it's big, so it's tied up.
You can get these protruding wrinkles.
And the shoulder seam line looks like this, and the sleeve is a little bigger.
The shoulder seam line is like this.
It's falling from the feeling of being touched by gravity.
The sleeve is in the right thickness, so it's going to ride and come up, right?
It's going to ride like this.
It's popping out.
It's popping out because it's pulled.
Like this.
So this is a very large size, but I tied it up and sent it here.
The fabric of the large size has to come up like this, so it's not pulled, but it looks like this.
But now that gravity and the force of going up are in contact, the volume changes in the middle.
It's falling from gravity, and it's stuck in a certain section, so it pops up.
It's good to understand it this way.
Please look at this silhouette.
The sleeve goes inside, so I think the wrinkles will be caught.
And the waist is turned like this.
If you look at the chest, the center line goes in like this.
It's going to flow from the chest line to the waist line.
The same goes for this side.
It's very easy for H-line skirts.
There's a pelvis.
When there's a thigh line, it's around here, but it's a little wider.
So the pelvis is sticking.
At this point, the legs feel like they're falling a little wider.
Of course, there are tight skirts.
But when it's tight or not, the hip joint is sticking, and as it comes down, the space is getting wider.
It's a little longer than the middle of the thigh.
It's going to be tied up like this.
If there's a chair, it's not a tight skirt.
It's going to be far away, but if there's a chair, it's going to be as wide as the chair space.
Or if there's no chair, it's going to fall down like this.
Let's assume there's a chair.
I'll make it wider.
If it's a very thin cloth, it's going to fall like this.
Because gravity is strong.
But now it's leather, so it's a little more spacious.
And then, if you look at it from the side, it's bent like this.
So there's going to be wrinkles going up like this.
Now, the wrinkles in this space that are bent from the pelvis are the biggest.
Like this.
I think the waist might feel a little pulled.
I'll sketch it with this feeling.
Think of it as thick.
Blouse, collar.
Hold it.
Shadow line.
Hold the line.
Wrinkles from the chest.
But the flow is caught.
This is how the wrinkles are added.
[Thank you]
It's going to be like this.
Then the sleeve of the blouse follows the silhouette.
It has a slightly bulging silhouette.
So at the top, it falls by gravity, and then it's a change.
The creases are dominant, and then they come down.
It's like falling from the bottom.
Because it's applied to the feeling of going up.
It's like a zigzag.
You can have a necklock.
It's always asymmetrical and irregular.
The other side is also a bulging feeling.
Please think about it and sketch it.
I'm going to start with the bulging part.
It could be pulled here.
It's a little loose.
I think it would be okay to put it on naturally.
The space to go in.
This part is bent.
It's bent and it's put on.
You can get wrinkles.
I've sketched it like this.
I'll erase the clothes and look at them.
It's going to be a wrinkle like this.
There's a space between the buttons.
If you take the thickness of the line a little differently,
You can give me a little hint of that space.
The part where the armpits are folded.
The bottom of the collar.
A little dark or thickness of the line.
You can create a deeper space with a line.
The wrinkles that are pulled like this.
With a thin line.
If you fold it in a small depth, it's a little more fluid.
I drew a blouse and a H-line skirt.
The second one is like a dress.
I'm going to draw a bigger skirt.
I'll draw this on this figure.
I'm going to put on a frill here.
You know, the sleeves on the blouse.
I'm going to put this on.
I can't see the front line.
I'll just say it's a V-line here.
And on the shoulder,
It's sewn like a lace.
I'm going to give you this part, too.
I'm going to give you a little more volume on the shoulder.
I'm going to sew this part like this.
It's going to go in like a sky by gravity.
I'm going to put a frill on this.
The other side is going to fall like this.
I'm going to put a frill on it.
The front part falls from the chest.
There's a little sewing on the waist.
There's a little line.
There's a two-step sewing on the bottom of the butt.
You can see it fall a little wider.
I'll try to hold it around here.
I'm sitting down, so I'm going to have wrinkles that pop up.
I'm going to put a frill on it.
I'm going to widen the skirt a little bit more here.
I'm going to assume that the chair is bent from the top.
I'm going to assume that the skirt is bent from the top.
It's like a princess dress.
First of all, the flow of wrinkles.
If you look at the wrinkles, the material is thin, so you can see that it's very dense.
And there's a lot of space that falls by gravity.
It's sewn, so you can create a space from the base to the bottom.
If you zoom in here, you can think of it as this.
It's not just coming out like this.
It's a little bit of a ring.
Of course, as the deformation goes in, there's going to be a density as it goes around.
Think about this density.
The volume comes out of this part.
The volume comes out and goes in.
It's a repetition of these things.
There's a big seam between Hanbok and a big skirt.
It's just covered.
Or you can think of it as a space like this.
When you come down, you can come down like this.
It's good to keep in mind.
And in the case of frills, it's a similar principle.
It's just that it's short and a little more abundant.
When you look at it, you're sewing this kind of fabric.
I sewed it like this.
Then this space will be a little twisted and this kind of fabric will come out.
But in the back, I'm putting this fabric back on.
I'm going to give you a curve that's the other way around.
So it's going in and out.
It's a repetition of these feelings.
Like this.
The good way to do this is to hold the sewing part first.
Then, at the end of the frill, the lines that come out.
I'm going to add a little bit of a flowy, uneven feeling.
And then I'm going to sew this up like this.
It's covering it.
But I'm not just going to do it.
I'm going to think about how much I can get in between.
I'm going to keep twisting the space naturally.
You can trim the end like this.
You can draw it like this.
It's a very flexible way to draw.
But this is not a completely detailed drawing in a small size.
It's good to draw it in a regular pattern.
One thing to always be aware of is that when you're like this,
Because they're both in the same area.
density
Increasing density
And when you look at it from the front,
It looks like this.
And when you look at it from the back,
This is how you see the inside space.
There's a difference in this.
I think it would be good to organize it like this.
It's sewn from the chest.
I sewed it to the waist.
It comes out like this.
It's going to be a little bit of a wrinkle.
And then the width of the skirt.
I think I can put some pressure on it.
And then it's going to fall off the knee.
It falls off this line.
If you think this is a wide barrel,
With a principle similar to frill.
I'll set the bottom first.
If you draw it like you're covering it,
You can easily express the space in between.
The legs are out like this.
Think about the legs.
You have to think about the space being a little more twisted.
You can draw it like this.
I'll sketch this on top of this.
I'll add a little bit of decoration.
Put it in.
Sewing
And this is where it goes in and out.
Hold it.
Feeling like this.
density
Feeling of thin material
And then frill.
Pattern the space that goes in and out.
Don't miss it. Think about the depth.
Because it's narrow, even if it's bent,
These flow lines will work more.
And when you go to the lower body,
Connected
Put it on.
It's bent, so it's going to be put on.
It's going to fall off.
The wrinkles can be added a little more.
And now it's going to go to the bottom.
It's naturally sprayed.
It's a little bit more crowded and wrinkled in the next part.
It's going to be a nuance.
It's good to go in a little bit and then hold it down.
There are some parts that are very tied up.
If you've seen a lot of these feelings,
These expressions can be easily entered.
It's a little bit of a rule.
In the case of dress,
It's a key part to describe it in a more sophisticated way.
The parts that fall to the bottom of the chair by gravity.
Hold it.
I drew it like this.
I'll erase this and see.
If you look at these parts,
I left a little more hint on the parts where I could see the volume of my thighs.
And I've got a sense of space.
This space looks a little flat right now.
I think I can make some more space with this feeling.
It's falling like this.
Leave a nuance.
Leave it and go down from the knee area.
I left a hint like this to give it a split feeling.
And it's a lot of hints that the size of this dress is very large.
You can put it on here.
It doesn't matter much.
If you put the fabric on the bottom, it'll look rich.
I've found a dress that's a little bigger and bigger.
Next, I'm going to put on a uniform in a fighting pose.
The uniform is very big and wide.
And it's a stiff material.
I'm going to draw this, too.
This character is now sticking out his arms.
You have to show a lot of shortcomings.
First of all, the uniform is a little diagonal.
Let's tie the waistband around here.
The design that passes through the lump like this.
You always have to think about the sense of mass.
I'll hold it and put it on like this.
Daniel is sticking out, so I'll brush it off a little bit.
It could be a little more.
Depending on the wind.
The shoulder line is very wide.
It falls generously.
The sleeve hole is very big.
The arm is very short now.
I'll cut it off here and draw it like it's flying.
This is the inner space.
To express the shortening, it's good to hold the shortened line.
It's the best way to get the density together.
Cover and put a lot of density.
You can put it in like this.
I'm pulling my shoulders, so I'm going to show you a little bit of this.
Like this.
I'll draw this arm with a slightly pulled sleeve by the wind.
I'm going to fly back with this standard.
This is the back space.
It's a space where the wind blows.
I'm going to make more space.
Except for the bent part, it's a natural way to fly.
It makes wrinkles.
I'll put the bent part in exactly.
And then, in the case of the bottom,
I'm going to make the sleeve a little bigger.
It's a little stiff.
It's like flying back.
It's getting shorter.
As the density increases,
I think it would be good to follow the line where the bottom is shortened.
Because it's a thigh that sticks out forward.
It's not easy, but it's good to follow the lump.
I'll draw a uniform like this.
I'm going to finish this with a line.
If you turn this part a little bit like this,
It feels like it's flying.
I'm going to draw a line here.
Hold it like this.
The uniform is pulled by the shoulder.
It's a little bit like this.
By the wind.
It's a little bit of a punch.
Like going over.
You can see a lot of space inside.
It's a hint of a short cut.
And the parts that are covered by the sleeves flying.
I'm going to fold it in a dense wrinkle.
The other side is the same.
Think of the space where it's bent.
The same space where the flying part is.
Hold it like this.
It's a stiff material.
It's good to see a lot of wrinkled feelings.
As you can see, there are a lot of wrinkled points.
I'll tie up the waistband.
The space that is tied up like this.
Think of the space and hold it.
When you draw a string, it's better to turn it inside out.
It's a little more three-dimensional.
It's good to draw it like this.
It's a feeling of pulling and flying.
Pulling and flying nuance
A little straight line to make it feel stiff.
Wrinkle expressions
A little more dense.
I drew it like this.
I'll erase this one and look at it again.
I erased it once.
You can make a little rough and stiff wrinkle.
It's not a big deal, but it's a whole feeling.
It's a feeling that makes sense.
It's a little bit of space.
It's not over the line.
You have to think about making the line feel like a space.
The space is very deep.
If you put in a dense expression, it looks good.
The depth that can be entered because it is narrowed.
Think of this part as a little space.
Even if it's a thin wrinkle, it's a deep space.
It's a feeling of holding the space.
I drew a picture I prepared.
The last one is a high angle.
I'm going to draw it without a material.
I'll draw it on the spot.
It's the same.
The inside of the face is more three-dimensional.
The fabric should also show the inside.
Show the inside like this.
I'll blow it a little bit.
Start from the back.
It's not a cut at the end.
It's a little bit of a cut.
I'll draw the sleeves.
Hold the space.
It's like a curtain.
I'll put on a vest.
I'll blow it a little bit.
It's a little bit of a cut.
I'll put the inside of the T-shirt in the pants.
I'll put on a vest.
It's a zigzag pattern.
It's a very common expression.
It's a common expression.
I think I can draw it like this.
I'll erase this much and organize it right away.
I'll draw the space that goes in.
I'll keep adding these parts.
I put the parts that are covered in a hurry.
When you draw it, you have to trim the spaces.
I'll make it look more realistic.
It's good to fix it once in a while.
I'll put it on like this.
The space that goes in and out.
I'll keep it.
I'm not just finishing it with a line.
I always draw it with a face or a dark color.
When I sketch a lot, I think about the depth of the wrinkles.
I think that's a lot more spatial.
Of course, if you paint, you can do this on the surface.
But in the case of a sketch, you can use your hands to study.
I'll keep the volume of the lines.
I'll keep the depth of the space.
How do you hold a space?
It can be perfect depending on this.
I don't feel like I'm erasing it all and doing it again.
It's a good way to draw a rough sketch that's faithful to the image.
I tried to dress freely with the last person with the angle.
Next time, I'll study about character production.
Thank you.
Please subscribe and like.