As illustrators, comic artists, and animators, we’re most often called upon to portray the clothed figure. Why then don’t we spend more time in the studio drawing the figure fully feathered?
Below is a very hasty 20-minute oil sketch. It’s nothing to crow about, but I relished the chance to try something different.
Granted, there are plenty of good reasons to study the nude figure. It’s a good way to learn principles of light and shade on form. It’s essential to understand the structure of the human figure beneath the garment. And the nude is the Everest for artists, given its expressive potential and interpretive subtlety.
But there’s an anatomy of costume, too. Fabric follows different principles from bone and skin. How many art schools or ateliers teach about velvet vs. satin, halflock vs. spiral folds, and dolman vs. set-in sleeves?
Tomorrow: Microraptor Maquette
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