The Artist's Magazine, January/February 2012 - Artist's Network

FnL1 04 012001 02 03 04 Qy1BDDA3NDgwODAyMzA2NgA=JUYrVyBQdWJsaWNhdGlvbnMsIEluYyAoSW9sYSBkaXZpc2lvbikPR3JlZ29yeSBLcnVlZ2VyAE0R59MEMTAuNAI4MAExBVVQMarket Your Art: Reach Millions on FacebookThe Artist’s Magazine • January/February 2012Watercoloron YupoPaintSnow!In Oil, Watercolor,Pastel & AcrylicCombineColored Pencil& Watercolorfor Luminous EffectsDraw Clothing& DraperyMaster 7 FoldsJanuary/February 2012www.artistsmagazine.com0 74808 02306 6Display until January 30, 2012US $6.9902View From the Air, a Passing Cloud (detail; acrylic, 41½x23½) by Stephen Quiller

90 www.artistsmagazine.comCollection of the artist

Turn ordinary cloth into stunning draperyanatomyby learning draw these seven folds.of afoldBY ROBERT T. BARRETTWHEN YOU LOOK at a piece of drapery, do youwonder how even to begin drawing all thosewrinkles? At first glance you may see onlymasses of unorganized forms in the clothes,curtains or piles of fabric, but you’ll soon discoverthese undulating folds have a beauty alltheir own. Just as it’s important to understandthe anatomy of the human body in order todraw it more successfully, it’s similarly importantto understand the anatomy of folds if youwant to draw them with understanding andconviction.Understanding DraperyThe first step in drawing drapery is learningthe principles of fold construction: the effectsof gravity, the points of support (what holds upthe fabric), the tension (forms the fabric mustgo around) and the form underneath the fabric.You’ll notice that heavier material willdrape somewhat differently than lighter-weightmaterial in response to gravity. You may alsodiscover that, as you identifythe points of supportand tension, predictablefolds will consistentlyappear. As for the formunderneath the fabric,there’s often an interestingplay that developsbetween what the foldreveals or hides about thestructure underneath andhow the structure underneath helps determinethe individual fold. Of course, with clothing,the structure underneath is usually a body. Ina still life, the drapery may consist primarilyof irregular folds draping over several pointsOPPOSITE: Regardless of the fashionsof the day, whenever you’re drawinga clothed fi gure, you’re dealing withfolds. They may not be as pronouncedin a simple top and jeans—what we seein A Moment of Reflection (pastel,30x22)—as with long, flowing skirts, butthey still exist. Drawing folds well helpsyou accurately describe fabric and, what’smore important, the subject underneath.January/February 201291

of support, or it may fall over the flat surfaceof a table. Drapery might also be tacked to awall or other surface and create folds by fallingfrom single or multiple points of support.Drawing the Seven FoldsAs the study of drapery has evolved over theyears, folds have come to be grouped intoseven categories: pipe, diaper, zigzag, halflock,spiral, drop and inert. Some are governedby action while others are actionless orgoverned by gravity. Consequently, some aremore vertical in nature while others are morehorizontal.My students often ask, “Should I copywhat I see?” “Should I eliminate details orpoint of supportpoint of supportpoint ofsupportpoint of supportdiaperfoldinsidelong pipefolds fallingfrom asinglepoint ofsupportpipefoldsdiaperfolds aretriangularin shapeand fallbetweentwopoints ofsupportPipe FoldDiaper FoldThe pipe fold is the simplest and most common type of fold.You’ll see pipe folds hang in a series as those seen in curtainssupported by a rod or in the skirt of a dress supported at thewaist. They usually fall from a single point of support (thehanger, in this case) and are governed more by gravity than byaction. They may be either tubular or conical in shape. On occasion,a pipe fold may have two points of support and may be anaction fold.The diaper fold is triangular in shape and falls between twopoints of support, which may or may not be at the same level.You’ll often see a diaper fold on the back of a man’s jacketbetween his shoulders (points of support), especially if thearms are raised laterally. On a loose-fitting tunic or robe, thefold could occur between the shoulder and the waist or evenbetween the shoulder and a raised knee. The actual fold occursat the break or turn of the cloth—usually on a wide or flatsurface. The degree of break depends on the amount of slackbetween the points of support and is closer to the lower point ifthe points are at different levels.92 www.artistsmagazine.com

Folds Through Art Historysimplify what I’m seeing?” “Should I changethe drapery?” The answers lie in appreciatingwhat folds can do for your design. Just as toodetailed a rendering of anatomy in the drawingof a figure is distracting, rendering everywrinkle in draped fabric can be confusing.When I’m drawing folds, I keep the followingfour directives in mind:1. Draw the big form first and work your wayto the smaller details. Move from the generalto the specific or from the simple tothe complex. In the initial lay-in, it’s alsoimportant to look for the underlying movementor gesture of the drapery. Establishingthe overall rhythm of the fabric is an importantstep in relating one part to another.2. Be on the lookout for angles and landmarksto help establish proportion. Landmarks arereference points where one plane changesinto another or where one edge ends andanother begins. They often relate to theunderlying structure and help amplifypoints of support or points of tension. Onceyou locate landmarks, you can establishcontour lines between them. As you developthe contours, you’ll identify and articulatespecific shapes—and then identify andconstruct the different folds.On a recent visit to New York City’s Metropolitan Museum of Art, Iwalked through several galleries as I observed how artists had interpreteddrapery. It was fascinating to see how the character of draperyhas followed the different periods in art—and equally revealing to seehow painters and sculptors from different times and cultures used avariety of forms to express different aesthetics through the subordinationor dominance of certain folds.I noted distinct differences between Eastern and Western cultures,as well as between Classical and Romantic periods. Gothic artists, forinstance, placed strong emphasis on the zigzag and half-lock folds(on page 94), whereas Greek and Roman artists preferred the pipeand spiral folds (on pages 92 and 95). Renaissance artists emphasizedform-fitting garments that amplified the human figure while Baroqueartists disguised the figure by giving the drapery a life of its own. Andin Eastern cultures, the work was much more linear and simplified. Inan effort to strengthen the design, folds were often reduced to only thestraight and the curve.Something else I noticed was how these artists used folds in theircompositions. It was clear in the work of some artists that they preferredto articulate the male aesthetic in their use of drapery whileother artists wanted to stress the aesthetic of female form. Zigzag andhalf-lock folds are angular and therefore more “male” in their orientation.The spiral fold is much more lyrical and therefore “female” in itsorientation.The concept of opposites inherent in all design was strikinglyexpressed through the drapery in the works I observed. Most gooddesign involves the concept of opposites: light and dark, big and small,straight and curved, smooth and textured, soft and hard (edges), simpleand complex, warm and cool, opaque and transparent.The Fabric of Our LivesWhether you’re drawing the folds of a timeless tunic (at right) or a modernsports jersey (below), you’re dealing with folds. Drawing them well helps youmore accurately describe your fabric, as well as the subject beneath.Both photos by Hawkinson PhotographyJanuary/February 201293

point oftensionpipefoldsthe spiralSpiral Foldpipe folds radiating outfrom the point of supportdrop foldshalf-lock fold—smaller one hiddeninside larger foldpoint of supportpoint of supportcreated by theconstruction ofthe garmentThe spiral fold is usually wrapped around a tubular form andbecomes more pronounced as the fabric is gathered in. A spiralfold may also be created by twisting a piece of cloth withno solid form underneath it. The spiral fold follows the form,revolving toward the point of tension and will change directionas points of tension and support vary. Spiral folds often occuron a sleeve between the shoulder and the elbow or betweenthe elbow and the wrist. They may also occur on the torso ofa figure between the shoulder and the hip. You’ll notice herethat the point of support can also be part of the garment itself,depending on its construction.An Exercise inRelationshipsTo better understand the relationship between the formunderneath and how it influences the drapery on topof it, try this exercise. I have my students do this often,and I still do it from time to time to brush up on myskills.1. The Form Beneath: Draw an undraped figure. (Abathing suit will do if a nude model is unavailable.)Give the model a break and then have him or herput on a costume with loose-fitting drapery. Havethe model assume the same pose as before—thistime in costume.2. The Clothed Figure: Now place a sheet of tracingpaper over your drawing that’s big enough tofully cover it. Draw only the costume on your tracingpaper. At times you may find it helpful to liftup the tracing paper to observe the figure underneathand review its relationship to what’s on top.Repeat this exercise several times with a variety ofposes. It will become immediately clear how muchstronger the drapery studies are in establishing relationshipswith the underlying structure. While the model isposed with the drapery, try to design the drapery andunderstand the construction of the various folds.January/February 201295

sagging folds that do not contribute to theoverall form. The design of a draped figuremust be intriguing in its overall gesture as wellas in the relationship of each portion to thewhole.”Or, as I like to say: “The meaningfularrangement of folds on a figure createsdesign.” As all good drawing involves bothtranslation and interpretation, it’s importantto understand the necessity of editing. Designimplies eliminating some elements andamplifying others. The process of analysis andselection is essential in creating drawings thatgo beyond the mere reporting of facts.The Potential of FoldsNow as you look at clothing, you should beable to interpret what you’re seeing. You shouldknow that you’re seeing folds, not just wrinkles,and that certain principles govern the creationof these forms. Perhaps as you look at the workof a great master, you’ll begin to discern his orpoint of support“The design of a drapedpoint of supportfigure must be intriguingin its overall gesturevertical folds—long drop foldsinfluenced bythree points ofsupportas well as in the relationshipof each portion tothe whole.” George Bridgmanpoint ofsupportDrop FoldThe drop fold is an irregular fold characterized by its vertical or droppingnature from one or more points of support. Drop folds may contain smallspiral, zigzag or half-lock folds as they cascade downward, influenced primarilyby gravity, but also by the form underneath. A garment draped overthe back and seat of a chair will form a series of drop folds between thetop of the chair and the lower points of support, as shown here. At times adrop fold may become a “flying drop” when the force of gravity is replacedby the wind and the folds become horizontal in nature. A flag fastened to apole while the wind is blowing is a typical example of a “flying drop” fold.96 www.artistsmagazine.com

her understanding of the design potentialof folds. You may also see how the masterused drapery as a way to convey feelingand reveal form for effective expressionand strong composition. With practice,you may even be able to convincinglydrape the figures that you conceive inyour imagination. ■point of supportMeet Robert T. BarrettRobert T. Barrett is a drawing instructor atBrigham Young University and an illustrator. Helives in Provo, Utah, and his work is representedby Marshall-LeKae Gallery in Scottsdale, Arizona.He’s author of the book Life Drawing: How toPortray the Figure WithAccuracy and Expression,available at www.northlightshop.com. Seehis website at www.roberttbarrett.com.This article is reprintedfrom the July 2004 issueof The Artist’s Magazine’sspecial publicationDrawing Board.Photo by Brenda Barrettpoint of supportdropfoldspipefoldspoint of supportdiaperfoldPutting It AllTogetherIn any one drawing you may encounter severalof the folds describing the garment and the figureunderneath. In the drawing of the cloakedwoman (top right). I used the diaper, drop, pipeand spiral folds. In the drawing of the man withhis guitar (at right), you can see spiral, zigzagand half-lock folds, along with what I call “hubof the wheel” folds.zigzag foldsspiral foldshubof thewheelhalf-lockfolds98 www.artistsmagazine.com

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