Okay, now that we've gotten a little bit acquainted with one
type of
structure that we find in cloth,
let's move on and see what happens when things get just a
little bit more complex.

Okay, so
the folds that you see in front of you we're focusing not so much
on the outer edges of this cloth, but
on the inside. And you can see
what's beginning to happen, right, what we had initially
with the pipe structure is
cloth that's held up high either pinned or held
over
an edge, right, and then allowed to just drop. So this is
either the pipe
or the drop fold, right? They're just hanging
and that's pretty much what begins to happen right now.
As we realized earlier, it's not only
a tubular kind of
structure that we encounter because there are
tendencies for things to taper out, become a little bit more
complex and not you know, kind of move out in different
directions as well. We practiced all that.
So what's happening here is that now we take cloth and we pin
it
on not just in one in one spot,
but also another one sort of across a horizontal line. Now
it doesn't necessarily have to be exactly across, it could be
higher than the initial point or below it
and you still get the same kind of structure. Now what this is
called is the diaper
fold.
I looked it up and the idea behind here is that this part
of diaper, dia, in Greek means
across.
So clearly that helps explain this right because it means
that the cloth is moving across a
horizontal
origin if you will.
So what's happening, right is that because of this initial
origin, we have - we basically start out with things that you
can call small radiating pipes, now that we're aware of them.
These tubular
areas, right, that move out so that we've
encountered. That should not be that hard. But what happens is
they begin
to reach towards one another,
right, and create these
areas that connect them.
Now they don't always,
it's not essentially just a pipe that's taken across, there
are times when they break apart,
flatten out, and then appear underneath that. So it's
kind of an interlocking pattern interlocking pattern
of pipes that are reaching across, sometimes entirely but
sometimes past one another we can see that happening here the
same principles of light and shadow of course apply. If our
light let's say is here
we begin by figuring out where our terminator is,
moving the core shadow to the end of the structure, and then
casting
a shadow onto the
the pipe underneath.
I keep
calling them that because it's sort of convenient,
right?
And that's what's beginning to happen, see? So that is in essence
in a simple schematic way much like the singular pipe is
the schematic of the diaper structure. Now I
have seen in a lot of
books on the matter
multiple approaches, right and
in most cases everything begins with the pipe because it's the
simplest
kind of the origin of this anatomy. If we begin with that
we can build on top of that, because if you don't understand
what's going on over there with this simple pinned in ones
like structure pinned at one point and allowed to fall
on its own,
it's hard to then see how to manipulate that to create more
complex patterns.
Where the issues are
are of course
in the order with which
the rest of the structures are analyzed.
I personally think that moving from one to the other in the
order that I have picked here is the most logical. And you see
that as we build upon this
we take everything that we have learned up to a point and then
just add on top of it. So
so hopefully the logic that I
have sort of pinpointed here is going to be the
is going to be clear as we spend time analyzing all of
this.
So with that let's begin.
What's happening here and what we don't see in my schematic,
right, is that we're going to need to utilize that concept of
the eye, right,the eye - I'll keep writing this right because
one of the most important concepts here right is that
the eye is where a tube needs to kind of compress
in order to then expand again, right and that's inevitably
going to happen in some cases. It can be a continuous line
but in others in order to really change the direction
it has to sort of snap in a sense, it has to sort of snap
in half.
You see that the next structure we talked about already gets a
little more complicated because what we are going to arrive at
is that these elements
are in a sense hard to isolate.
So you'll be seeing something that might remind you
of what we've already covered but have maybe a sort of a
different schematic applied but that doesn't necessarily mean
that these two things are completely - don't have anything
interrelated.
So let's start from the top right? We just get our lines.
So we have -
we just move,
be a little more organic right, kind of explore this movement.
And then of course we get to practice some of these
pipes again, which is great right because we're always
practicing what we've already covered in the next already covered in the next
assignment.
The proportions don't necessarily matter. I just need to
fit this all on the page that I have.
So I'm using this particular cloth because I tried it with
the ones that we had before and I don't think the principal was
as clear.
So obviously we go
with our line but kind of already begin to see what's
going on, right, here clearly an eye, right we see how this began
as one tube, begins to split,
and this tube
folds into itself in an eye begins to extend outwards as
another tube.
Good. A similar thing is happening with the the upper
tubular structure
as it snaps and moves up. Now you'll see the we're going to
enhance that in the next structure we talk about
called the half-lock. I'm not gonna write it on the paper right now
because I think it'll just get more confusing, but you see
that the diaper
is
just a sort of more elongated simpler half-lock, but when
you're thinking about how this applies to let's say a model,
that's when we have a few issues. Right? This is more of
just drapery cast on an object or a model or you know of
anatomical structure that's not really
doing too much. It has to do with the form that it's on,
right, so it's pinned into two places, if it were to be falling -
if it weren't pinned on something flat but instead
on a larger sort of more round structure than obviously all
these things would still be in effect just at a sort of a larger
curvature. So that's the important thing to remember but
small aspects of this
that we're going to see in the half-lock are going to be -
you'll be able to find them on a smaller scale, whereas you
won't be able to see the diaper structure on a smaller
scale, it'susually a larger coating of the fabric. larger coating of the fabric.
But the principal,
the individual like how these structures act, you will be able
to pinpoint
in other areas. So I actually tend to think that
that is more what we're talking about when we begin to find
distinctions. It's not it's not always exclusively about
just analyzing the form here right away. So you can just get
that form down
and right away, I'm going to find that that core shadow.
Right, I'm starting with the core shadow because I find that
that's the thing that has the most impact on form.
Good. See
I just allow it to fall, kind of expand, and pick up again.
Large elements here. These are just pipes or drops and we've
already discovered how they work.
And then here we have more of that, right, so get my
something to smudge with.
I'll see how concerned I am with the actual
local color or value of the fabric here. Not going to be that
important.
Let's just figure this out, right, we are doing that here,
out flatter there, good.
Right so
this right here just keep in mind, just keep this area in
mind. It's the - first of all it's a key point of our
composition,
but it's also right you can see how it's crossing over, you can
see how when the eye of the fold appears
it's essentially that intersection of where the sort
of concept of the diaper becomes the half lock and I'll
enhance the half lock later
and we'll play around with that because you see how that begins
to play a much larger role in smaller structures like say a
sleeve at the inside of an elbow, right? Because it begins
to lock a little bit,
hence half-lock, locks halfway.
I don't think there's
a full lock, though .a full lock probably means it all sort of
folds in on itself.
All right, see some kind of playing with some of these
shadows. Notice no real cast shadows yet, no real cast shadows. out of yet no real cash that
Until now, right, allowing -
keep in mind that when we encounter this type of form,
there's a tendency for the top plane of it, of that tube, to
flatten out.
Maybe even sometimes move into something that's sort of akin
to an edge.
And then we extend
cast shadow, combine it with the core shadow. Don't worry
about what's going on inside. Yes. All right, we're going to
differentiate but notice how much easier it is to render how much easier it is to render
with light and shadow a fold that's not simply a pipe.
A pipe, you know,
is -
just becomes a little bit too abstract at times.
So just moving down that that terrminator right are lights Terminator right are lights
from here
and we're extending this a little bit further and
look at how they're like
little pipes coming off of this right there just a continuation
of this movement. It's going that way and going that way,
going that way, that way, it's just constantly -
there's just
crosswise structures. Now
let's get
this nice pipe in here, right, we've definitely encountered that.
It starts off as one by the way and splits, you can see it.
The core shadow defining it,
terminator, core shadow defining certain angular quality to that
pipe, cast shadow falling off of it onto this
flatter, in general larger, area
here.
Just going to unify this now.
Just going to unify it.
Now
we see this edge because of that there's a form behind
it, right, so we can see it as an overlap, but then out some
here. It's just cast shadow.
Look at that.
Keep in mind, right, it's the schematic. But notice how
now we have two schematics to work with and already life is
much easier.
Good.
I was angling a little bit wider, good. Now let's bring it
up here from this edge.
Then up
to there.
And then we have this sort of that fabric on top kind of
overlapping and casting a little bit of a shadow, but
let's draw that pipe down here,
cast that shadow from what is off our page, cast shadow and
then core shadow down to here, follow it down to the end of
the form itself, may be even longer and then cast shadow we
can see again coming down into there.
Fantastic.
Let's color it in if you will.
Oh the power of charcoal,
it's so quick.
Also you can see it's not the quantity of stuff, if you will.
Right, the quantity of information is much less.
We are just
one up here, one down here, and two on the sides, a couple of
small ones in the middle. That's it all right, it's not like - you
could of course bunch up the fabric more, get a larger piece
of it, and then you have an enormous amount of these
hanging
elements right, but
that's not of course as confusing. Just having an
endless row of pretty much vertical
elements, right? Those are much harder to compose, much harder
to sort of pinpoint, and so on.
Okay. My question is what do we really do with the actual value
here? And I think that would be nice to get a general tone.
Now, maybe not as dark as the actual fabric but just general
tone right now so that we can use the eraser to get those
lights
would be good.

Okay. Let's try - let's keep going with that. Oh my goodness. Okay.
Right just don't worry this is charcoal alright so if it's
sort of crudely scribbled on, no one cares. We're going to smooth it out anyway a hundred times.
Look at that.
Good.
Smooth it out right away, actually, why not, so doesn't
cause anyone any anxiety.
Of course, the problem is that now we've lost a little we're now we've lost a little
bit of our initial shadow on this big sweep right here.
But as you see I can get it back in literally a second.
I'm going to do a broad treatment though, right, just
going to do a broad treatment of everything, just gonna try to
do the whole thing,
reinforce some of these things, right, reenforce this
fold, right, this fold that eye, crack in there.
And extend that shadow bring it down to here.
Cast this shadow again,
right but now a little more precisely, just a little bit more.
All right, see that big structure coming back. But now
we have room for a little bit of a highlight too or at least
a brighter light, brighter half tone.
Terminator up here on this crease that is really where
this kind of this lower pipe becomes the diaper fold.
It's a weird name, I'm glad I looked up the etymology so that
we know it's - I think it was used - so the etymology
from what I read, right, like that - it comes
from in Greek
that prefix means across.
Which makes a lot of sense here?
You know like diaspora.
Right. It's a culture that's moved across
let's say a continent or an ocean.
But then it'd be get like that word diaper was used to - as the
name of a fairly costly fabric
and then at some point it became the term
began to be used for the fabric
that, you know, that was used to clad babies.
And then
it just stopped being a fabric altogether, isn't that crazy?
But I think, let's go back to its ultimate origin
and really use that because we need this feeling of across,
right, everything is taken across
the form.
Whereas our previous assignment we took everything along the
page, right? We just allowed it to fall. We kind of kept that
movement. Now the point is to go in the other direction.
Noticed I haven't yet switched. I'm dumping everything in.
Maybe even already beginning to get some
of the highlights. Good
right here look at this. You can just really bring that
light right, that light behind.
If you've done any of the anatomy parts
using that slightly darker half tone, right, here or possibly
even shadow against this light is very similar to the
structure and rendering principles of a clavicle under
a similar light source, right, the
lights especially on the top.
Okay, good.
See, all those same things that breaking up with the form up
there.
Excellent.
So the whole thing, I'm just working in the half tones now.
I'm going to go back and reinforce our shadows,
undoubtedly, but look at this form, right? This is still
broken up into those
two pipes, right, it starts off as one large pipe,
one large pipe and then breaks up at two.
Shadow up there, but look at this. This lower pipe is
breaking up into two again.
On this side, right, creating those forms which we already have.
Awesome.
Just
it really is an anatomy.
That is of course an improper use of the word anatomy
obviously, right?
Anatomy has to do with the human body.
Because anatomy essentially means that you're cutting up
the body in order to see what's inside.
To learn what's inside. We're not actually cutting up any folds,
but we are learning, you know, as a metaphor. I think it
applies quite well because we are thinking of
a schematic understanding that we can then deviate from, right,
keep that in mind. Schematics,
you're meant to deviate from them, not follow them.
I think that's a fairly common misunderstanding.
That's why in the long run you develop your own schematics.
The ones that allow you to deviate from them in the most
logical way to you.
I think that's what a traditional art education has been for the
longest time.
Right. It's the same principle as learn the rules before you
break them. Look at this right here, smaller diaper. Because
essentially this locks it in place,
right, and then you have a smaller function
in the same way. Moving this way, moving that way. Incredible
right, on the side of a larger plane you could see it
happening here.
You can say this is all part of the larger understanding of it,
but just follow this, look one
and then two
and then a third
and then
a fourth
and then a fifth. Right it's sort of a zigzag. Now I
don't want to say zigzag because zigzag is a type of
fold. We're going to get to that one. Zigzag is usually the
one that people tend to learn after they learn the pipe
fold. I thought about it and felt it was more confusing than
helpful.
So we're not doing that.
But once again, the more you learn, the more you realize
we're all kind of talking about the same thing here. So a
zigzag in a lot of ways is just
a slightly modified
like concept of what we're doing now, right? It's just
slightly more intense. It's intense enough to call it a
zigzag.
We're learning what a fold is, how to render, how to
see it.
The names are here to help.
It's precisely why the word anatomy is also
not the best use of the term, right? Because in anatomy that
is, you know a name of a thing the name of the thing like that's the
whole point. There's a classification there.
This is sort of an imperfect science.
Because we just you know, we don't know,
this is not then necessarily exclusively.
Just the way we've decided cloth acts and it can't deviate
from this.
It's kind of acting in this way, but also deviating from it
constantly. That's the other part, right? That's the other
strange thing here.
All right, some cast shadows and core shadows there too.
Look at that.
Look at the speed with which this can be done now.
Because I think that's because
we've practiced, you can see how quickly it is. Once you begin
to just see the shapes and know what those shapes mean, look at
how much easier it is to put this on paper.
Especially a medium as quick as charcoal.
Now I speak about medium a lot because I think it's
fundamental to our practice.
And I think you could see how my particular use of the
medium
is really in line with its capabilities.
Always think about the narrative of the medium before
you pick the medium.
What is it telling you?
What is it telling your audience?
Viewership. Sorry, sorry for that musical and acting
terminology I guess too.
Theatrical terms.
What is happening here ?Good. Cast shadow there. I know I see cash out of there. I know I see
interference meeting our cast. I was catching a lot of light.
But that's okay. I'm just going to tone it down. So that's
clearly darker, right, our principles matter.
We're gonna knock all this back anyway because I don't want
this to be such a strong contrast at the side of the
page and taking away from our
principal fold, right
the diaper.
structure is the most important one we're keeping to it.
Notice the amount of times I say that word.
My point is to repeat the names as much as they can.
I'm going to keep repeating them until I think the more
that I say them, the more they remain. I've they'll remain I have I've
often found that there's an issue with just remembering some
of these things
both in my students and in myself too and I have a - myself too and I have a
generally think I have a good memory, but
what happens is we get
a little bit
lost. I have gotten lost in the past and just what these things
are called. So is it a zigzag, is it half-lock, pipe? All that
stuff? We haven't gotten to those yet, but we will.
So
sharpen this, right. I find that making it darker is actually
pretty good. These occlusion shadows really play a
role.
Dark and then out to the cast shadow. Look at that.
It's all cash shadow but in one case it's creating an overlap, in
another case it isn't. So
this is a way that I think if you take
the time with this part of the course, an entire segment on
cloth
I think just the amount of time we're spending on this, the sort
of the amount of time we're spending with each individual
schematic structure as well as attempting to find it in real
life, right, from observation,
the more -
I almost can guarantee that you'll never forget these names
agai. And of course not just the names,
but also what they represent, the type of fold.
And my reasoning for making sure we're doing this from
life, if you will, is that I find that schematic there
strictly schematic
learning process when it comes to this and honestly even human
anatomy
without the practice of all those, you know, those things
I was mentioning, those subconscious things you're
practicing while doing the conscious practice, right, the
subconscious aspect of the assignment
is futile. If you will forget it, right, if you compare
it to mathematics
it's about - like if you learn a formula and remember it,
you probably forget it. But if you prove the formula, right, if
you learn the mathematical
procedure by which that formula
was discovered,
this is a little bit of an oversimplification, but
regardless,
then you can A, repeat that procedure whenever you need to
find that formula again in some ways, you know,
there's some formulas that maybe are a little bit too complex to
prove every time but I just - even if you don't prove it
every time you have that inner understanding, right, you have an
understanding of why it works the way it works. It's not just
something you remembered.
If you happen to have a good memory, that's your advantage
of course, but I think to really know a thing you gotta know it
from the inside.
Right, you have to perform in a sense a dissection.
Which is what the word anatomy means.
Okay, cool.
Compositionally.
Okay, I'm gonna knock this back
just a bit, just a bit, just a bit.
Okay, so that lays in this particular structure, let's get
back into it in a moment after I take a little
bit of a break, right, this was sort of a -
I need to take a break in order to be able to focus
my attention on specific elements, maybe use a more
controllable medium like a pencil and kind of hatch
specifics
and when we get back into it
we'll just work on some polish and then keep reviewing these
core principles.
So I'll see you in a moment
and we'll keep working on this.

So I think we got up to this point rather quickly, right?
Just following the structure of the cloth and then laying in
our basic shadows based on that structure. Now, let's work into
that and make it come to life a little bit more.
And for this of course, I use
my eraser
and a pencil that I can control.
Not to say that you can't do this with the
charcoal, right, the vine charcoal right the vine
charcoal, of course you can.
Of course you can.
Like most of the even what I'm going to do I'll do with
just taking a value and kind of smudging it a little,
moving it into shape.
Right now I'm starting with of course
are they tend to, as I recommend you do and with a specific
detail that attracts my attention.
Attract my attention. And this is this eye of the fold there,
there's more than one right. It's never just one,
you can see it's spiraling to lock there, nice and
exciting little area.
And of course up close, right? How exciting is that to have
this, a key detail?
But then you could see it under
unfolds a little,
wraps around itself,
and locks into another fold.
Another eye rather, another eye fold.
Isn't that fun?
And right, the smaller the amplitude because the smaller
the amplitude of that curve, something you definitely see - oh
look at the - of course the prop I'll get a figure that out
later - the smaller the amplitude of the curve, let's talk about
those smudges.
The more -
cut my eraser. Remember keep cutting that into shape like so
you have a sharp edge.
The sharper the edge, the sharper the edge of this whole
thing.
So here
think of it if you if you've done the other parts of the
course with, you know, when we work on live models or even
some casts a little more anatomical remember the
accents
are
at
those sort of places of the change of direction which
happens to fall on the joints.
So think of these eyes as the joint of the fold.
Cast shadows. I need to sharpen this pencil just a
bit.
Now this is a dark black Conte.
It's just a little bit too
big, too wide to fit into my fantastic eraser. Oh, sorry
sharpener.
What is happening with my - keep calling this sharpener
an eraser. I think I'm trying to
justify using it.
Right I keep saying how
it would be highly inappropriate
to use
at the Academy.
All right, some of these half tones right, keep in mind
we just need a couple of accents here. Just a couple.
But
cast shadow, small cast shadows. Really important here, take
your time now.
At this point there's no rush.
Everything is established,
but just keep in mind that I'm moving quite quickly
ecause I feel
like it's more about the general.
form, the general schematic expressed through direct
observation
than it is about polish.
And yet polish is something you practice on this. So but if I
overstate that then we lose sight of
the big stuff right? The important part of a fold is for
it to have the beginning and an end. Now with the pipe structure
that we did in our previous segment we had the beginning
Webut we ddin't really have too much of an end.
The important thing here is to have the beginning and an end
and you realize when
you do more of the anatomy courses - of the anatomy portions
of this course -
you realize how that plays a role in the human body, too.
It's nice to have - in terms of anatomical form it's important
to have the beginning and an end to that form. What's in the
middle,
you know,
I personally can kind of take it or leave it. But a lot of times it's
fun.
All right. Just moving up to that area. Do you see how - so
within
this
I'm thinking of the general
sort of large,
I'm gonna keep calling them pipes. Pipes.
But I'm looking for variation, right, good crease here and there.
This fabric actually happens to not have too many creases
but a crease here or there, a flattening
of the pipe
here or there.
So see how that's beginning to really have a feeling
of life, even though if you think about it's kind of -
it's obviously simpler.
And
what we have up there -
and take another piece of charcoal though.
Vine.
And let's get into it that occlusion shadow, but then I
want to, right, the important part is when you have such
instances of a cast shadow falling over form and then kind
of what you're seeing is an immediate core shadow coming
off of that.
That's a lovely part. It's gonna hatch right, just
to get that as a form,
just to get the tone in there. And then get that softer, softer,
softer, softer.
So see so that softness and hardness of edge is what's
going to get us to this form, going to make this form
work, and knock this all back, knock this all back.
Good.
Rotate this a little, right, but I think kind of twist it. By now
you clearly I think, we've worked on two types of folds,
two types of structures, but I think just the practice alone
is going to make a little bit more observant. Now the first
thing of course that I'm anticipating, if you haven't
done too much of this, is it's kind of - when you have a lot of
details and things like that it's actually quite easy
to get lost.
It's quite easy to get lost in them.
So
the chance you will be a sort of hard to concentrate for
long periods of time on certain areas simply because your eye
just isn't discerning enough.
All right, so
I'm looking at all this stuff in here and I don't know how
much to do.
I'm just gonna figure it out, just do enough cast shadow, core
shadow, there times when you move now when we're talking
about form and I've mentioned many times, you know, I'm
trying to make it a point for you to move from the core to
the cast is important
and I think it's important because you need to think in a
certain way.
I think once you start thinking in this way
it's totally fine to deviate from that pattern of thought,
from that order of thought, because the principles are
still there, right? It's all about the principles.
Okay, awesome. See so you can see
how we establish those pipes, right? This is what's the big
pipe but
we got to make it come alive a little bit right? It's not just -
it's not just
a perfect tube,
so that definitely helps and also be very mindful of the
curvatures.
Be mindful of the you know, how curved is that
line compared to say this one.
Knock that back as well. I'm doing this all on to a white
wall here. Obviously,
I'm not going to get the value of the wall that the
the fabric is pinned on.
Not what I'm concerned with at the moment.
I think this is clearly too dark.
So knocking that back a little bit is good because we don't
want that to fall into shadow and then just along the edges.

There is a shadow in fact.
All right. So that's our form there. And then once again, what
jumps out at you? It might not be the same thing that jumps
out at me but this is a - feels like abig planar
change. All right, so there are tubular forms, but the quality
of the fabric is twisting them and turning them in certain
ways where we can't just simply call them tubes. You can in
fact simplify them right and it would be fine. Especially It's would be fine. Especially
if you're designing fabric
you most - like if you're just trying to figure out how to
make it work in a piece you're working on
that's one thing,
then the the simplicity matters.
If you are however not doing that, if you're trying to get it
or rather if you've already designed more or less
what it's going to look like and now you're concerned for
making it look convincing
like how to how to make this action look like fabric and not
some sort of simplification of fabric,
right? You, like all fabrics in the history of
of are has been a design element, something that should
lead the eye
around the painting or the sculpture, right, continue
internal movements and stuff like that.
Now does it actually is another story but it does create a
unity of
a rhythmic sort of continuity.
But it's awful
to see
the drapery as simply a tool.
And what I mean by that is when you see how the
artist intended to use it,
didn't pay enough attention to it
or subdue it enough, that's the other issue, and ends up
kind of simply very obviously serving the purpose that the
artist intended. It's important but an important thing
to also think about is that you kind of want to hide your
techniques a little bit. Right? Like if all you're after is
just a certain kind of movement, so a certain sweep across the
page, that's fine. But make it seem as though
it actually is fabric that just happened to lay in that way.
Right? It has to be convincingly fabric enough
in order
for that to work,
in order for it not to be so obvious to the viewer. Okay.
That's just
a tool, right, that fabric is used as a design element.
Because you might think that as a practicing artist but to just
a casual viewer,
it'll just look like poorly-executed fabric.
Even if it accomplishes some sort of compositional goal, that's
what I'm saying.
So as you see kind of hinting at some highlights, right,
because I'm taking these but essentially the stuff that I'm
talking about is what I'm trying to do. I'm trying to
create,
I'm trying to model this fabric, right? That's what I
recommend you do. I try to model this fabric, pick and
choose what you need.
Okay.
Now, you know guys keep in mind that this is unbelievably
awesome practice for me.
I get to do all these assignments along with you.
Which I think is awesome.
So
this is just another
kind of way for me to emphasize that no matter where you are
sort of in your technique,
doing this over.
Really helps,
really helps you no matter what you are. Right. It'll open up
something new. I'm
almost certain.
I don't want to say I'm a hundred percent certain because
maybe there is that off chance that somebody might spend all
this time
on learning this cloth and it won't do anything for them.
But I really do think that's an off chance.
Now we're going to that sort of small
like a smaller
version
of the larger concept.
Oh goodness gracious.
That is sort of tedious, isn't it? This the vine charcoal just
comes off anytime you anchor on the page. I
have to be careful now because all this is pretty dark.
So right here, right, just gonna
look at how flat that plane is, right? Remember what I said
about what happens when a lot of times
what happens at that top plane of that diaper?
Of the diaper fold. It flattens out. It's not together anymore.
It has a curvature. I'm certain
you could even see it but it's not really that intense, notice
that here. I'm kind of adding a little bit more highlight that
I'm observing. I'm not as focused on the
reflective properties of this cloth, of this particular cloth.
I'm making them my own.
I think it just helps to form a little bit a little bit more,
just helps to form that much more.
We're almost there. Look at that, moving back up to that
part kind of but always keep in mind even if you're not
working the cloth from like that particular tubular form
from start
from one end to the other.
You are though.
Do make sure that happens, right? It might not happen
right away but it must happen at some point, but you
must
follow all the way through.
I'm getting a little carried away here. I'm really enjoying
the actual like modeling part, really making it look like
fabric, right, seeing the variations. Remember the variations
from the schematic, deviations off of that are where you'll
get
that proper information is where you get essentially is
where you'll get something -
once again, I'm hesitant to use this word
but I will - artistic.
Right, that's where the art comes in
because those deviations are yours and that's the important
bit. That's where the art comes in, right, the art is in a sense
in the individuality.
And by individuality I also mean it's in the
the invention, right, through the personal invention.
Now
art doesn't always have to be something novel.
That is true.
But in a sense
it kind of does have to be something novel
and is
because if you are simply
doing
something personal
it will automatically be
in some sense original but with least unique.
I don't necessarily feel like I should use those terms
interchangeably.
All right, look at that. Look at that fold. Now let's get to
this fine then. Obviously, let's not overstate this right this
can't overpower
our large folds.
Each one of these, what about that slightly flattened
top plane.
All right, look at that. I'm maybe even exaggerating just a
bit, but I'm liking what I'm seeing.
Now remember
we can probably already see right if the proportions are off a little
bit or even kind of a lot of bit in cloth, much like in
trees
or things like that, God who'll know? know?
Of course
I'm sure there's someone who'll know, not about the cloth by the
way, the cloth they won't know unless they see the original
composition of the cloth.
With the tree they might if they know maybe certain trees
have certain proportions.
But here, you know, I wouldn't worry too much about it. Right?
I'm primarily composing within the page, it's actually quite a
great exercise for that, right, composing within the surface
that you have.
Composing within this particular surface.
Okay,
even I got a little bit lost and this flatten it out a little
bit yeah, if you can pose within
the page, right I think in reality it's probably longer and
wider.
But if anything that's the exercise, the exercise is
modifying everything to work within
the allotted space.
Now
use as we know
cast shadows
to define the form.
Notice how I did that right? I'm following the particular
curves of those
interlocking folds.
And of course that cash that is much softer,
probably that aspect of it is not too defined.
But notice how it just totally helps the form.
Just going to tone down this area. It's a very soft shift.
And yes, look at how this
breaks apart, becomes a plane in between these two planes.
Nice
coming out from this.
Let's get a terminator on that.
This is that large sweep.
Let's get a cast shadow also, follow it, follow it, soften it.
Right, so that you have a hard edge of the origin of the
cast shadow.
Soft edge, soft edge, soft edge, soft edge, hard edge of the
overlap of the occlusion shadow.
That soft edge of defining elements here.
All right.
See,
I don't think the diaper construction is actually hard
to explain. I think we got that, the rendering is where we're
getting more and more intricate but if you lose that while but if you lose that
large movement, which I think is very possible,
it's very possible to lose that, right? It's very possible to
lose the internal.
Right like this matters this cast shadow and the this this cast Shadow and the
values there because you know, it helps that general movement
of the form. So it's that movement, that overall structure,
which you're going to keep coming back to,
but you're going to have to keep coming back to
in order to
reinforce that schematic, that's what I'm saying.
Some of these things inside, right, you know some
creases along the along the way help of course, but in general,
let me just clean this up a little bit and
I think that this completes the diaper fold.
Now with this in mind
let's move on to that one that I was talking about, the one that
I already, already
like I mentioned is a part of this, the half-lock.
See you then.

In this assignment, using the images or 3D scans provided
with the course, you're going to be working on the diaper
fold. Now I encourage you to also maybe do this at home
using cloth that you have. The images are great
and if you don't have any other options, that's perfect. The
images are also good to have access to the exact cloth that
I
was analyzing and talking about a hundred percent so you should
take advantage of this but I think exploring this on your
own with a piece of cloth all you need to do is pin it on
one side, allow it to hang, and then pin the other side onto a
wall or or even just hang it onto a couch or a chair. By doing
this you won't necessarily be copying exactly what I was
looking at but actually exploring the constructions and the
general principles that were discussed here.
So with that,
good luck.