DRAWING FIGURES IN CLOTHING
This statement should be placed in a simple form, but not bright mm ij shape fitting clothes. This will help to see under your clothes <"<m-mm design body shape, its movement and proportion.
Drawing the figure in clothes, it is necessary to proceed in constructing forms ■ plots shapes that wear tight touches, and facilitate their T discovering their shape: the shoulder girdle, the chest and tay min joints in the front turned to us to figure and from the back unit gluteal and calf muscles. Identifying these sites pomoshp and plastic structure of the figure and draw the place where form 0sh | folds occur where clothing is not adhering to the body shape and sleep »m one pulled to the side.
To more clearly understand the shape of the figure under clothes, it is helpful I soon figure nude model in the same position in which they found while working on a long pattern shapes in clothing
An example is the pattern number 34, where the pre-RN nude figures placed on a single sheet with a clad figure. Such Reeve help students understand the dependence of the wrinkling of clothes. "Shape of human body on which they are formed.
Drawings great masters of all times provide many examples where * NYCH! paint nude figures, then it is worn or drape (as m •> the old Academy of Arts). Sculptors are constantly taking advantage of this MRI. # Work on a dressed figure. It helps to see clothing as an outer oo <"... entirely dependent under her form, warns against Koinipi tons of random items of clothing, are often performed without general imaginary • Excessive pretentiousness clothing should not distract attention increased frequency of main. Figure 35 shows that the student has previously made easy rutin and figure seated figure, and then began working on the form of wrinkles • • • • * subjecting them to shape the character of the figure. In senior courses require c and a in-depth nature of the transfer of clothing, its texture.
The student should be able to select from a variety of folds characteristic, a <min that identify and determine the division of forms in a large of its volume and then move on to the small secondary folds, are in on it "and no such selection is impossible to convey a vivid sense of the big FM], which is inherent in realistic drawing. Otherwise, I risushn simple listing of all things visible in nature. Thin and thick gkai! but, like leather or fur to help explore the nature of the folds, and the inherent "mu C other material, its texture. Setting and character clothing podska / k \ i, | D material for the execution of the figure appropriately applied. To not i w tonal variety can be used charcoal, dry sauce of ink, easily tinted paper. Reserved for performances in Washington, where mi is dressed in bright clothing, using pencil and pen.
One of the most successful figures in the drawings can be called a dress pattern i
woman, a student's course of IV (III. 36). Compositionally pi <■ (wisely, truly captured the size of figures in relation to the format list »<■ successfully coped with the proportions and the construction of figures, i managed nature of an elderly woman and accurately convey the portrait features.
This statement should be placed in a simple form, but not bright mm ij shape fitting clothes. This will help to see under your clothes <"<m-mm design body shape, its movement and proportion.
Drawing the figure in clothes, it is necessary to proceed in constructing forms ■ plots shapes that wear tight touches, and facilitate their T discovering their shape: the shoulder girdle, the chest and tay min joints in the front turned to us to figure and from the back unit gluteal and calf muscles. Identifying these sites pomoshp and plastic structure of the figure and draw the place where form 0sh | folds occur where clothing is not adhering to the body shape and sleep »m one pulled to the side.
To more clearly understand the shape of the figure under clothes, it is helpful I soon figure nude model in the same position in which they found while working on a long pattern shapes in clothing
An example is the pattern number 34, where the pre-RN nude figures placed on a single sheet with a clad figure. Such Reeve help students understand the dependence of the wrinkling of clothes. "Shape of human body on which they are formed.
Drawings great masters of all times provide many examples where * NYCH! paint nude figures, then it is worn or drape (as m •> the old Academy of Arts). Sculptors are constantly taking advantage of this MRI. # Work on a dressed figure. It helps to see clothing as an outer oo <"... entirely dependent under her form, warns against Koinipi tons of random items of clothing, are often performed without general imaginary • Excessive pretentiousness clothing should not distract attention increased frequency of main. Figure 35 shows that the student has previously made easy rutin and figure seated figure, and then began working on the form of wrinkles • • • • * subjecting them to shape the character of the figure. In senior courses require c and a in-depth nature of the transfer of clothing, its texture.
The student should be able to select from a variety of folds characteristic, a <min that identify and determine the division of forms in a large of its volume and then move on to the small secondary folds, are in on it "and no such selection is impossible to convey a vivid sense of the big FM], which is inherent in realistic drawing. Otherwise, I risushn simple listing of all things visible in nature. Thin and thick gkai! but, like leather or fur to help explore the nature of the folds, and the inherent "mu C other material, its texture. Setting and character clothing podska / k \ i, | D material for the execution of the figure appropriately applied. To not i w tonal variety can be used charcoal, dry sauce of ink, easily tinted paper. Reserved for performances in Washington, where mi is dressed in bright clothing, using pencil and pen.
One of the most successful figures in the drawings can be called a dress pattern i
woman, a student's course of IV (III. 36). Compositionally pi <■ (wisely, truly captured the size of figures in relation to the format list »<■ successfully coped with the proportions and the construction of figures, i managed nature of an elderly woman and accurately convey the portrait features.
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