- Lesson details
In this lesson, you will learn how to construct and render the Spiral Fold– another fold commonly seen in loose-fitting sleeves and pant legs. Building on the Zig-Zag fold from the last lesson, you will expand on your ability to describe drapery over form and use your knowledge from previous lessons to describe the movement and weight of fabric over a cylindrical form.
This lesson includes both the reference image used in the lecture as well as a 3d model of the plaster cast for your assignment.
Kneaded and Hard Erasers
Roll of Paper, Smooth Sketchbook paper
Used in video:
Long point sharpener
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is seen on cloth that's around a tubular form such as a leg as
in the case with our mannequin, let's see the way that this new
construction behaves within that same context. This new
construction is called the spiral fold.
So let's call this
it's a fold. So the thing to think about
is something that
I spoke about when we were doing the zigzag fold, right?
And the basic idea, is that the zigzag
did not describe the form underneath, right? We had to kind
just really keep in mind the cylindrical form underneath and
do everything we could to express that despite the
structures on top of it, right, because they would cut into it
in a way
that did not explain the fo.rm Here, right, we have the
cylindrical form underneath and the folds on top. And of course
you we do have a couple of zigzags. They're almost
impossible to remove entirely, but at the same time the larger
fold structures, right,
are spiraling around around the form, right?
but something like this is interesting, right, this is a
spiral but it's kind of - right here is a zigzag, right, that
moves back in from behind it. You're seeing a spiral over
there and up again. Right? So the weird part is is that
in a sense it's the same as if you had a zigzag but pulled
them a bit more so that they would wrap around the form a
little bit more. So the main
elements here are describing the form underneath and
So in of course
a situation where this cloth and in one where you can't
of seeing all different kinds of constructions on top of it,
just keep in mind that you will use
you will use this spiral
and then on top of that you will find a zigzag or two that
will kind of take you out of that. Right because you don't
want too much consistency. Right? Like everything is
spiraling around. It looks a little unnatural right? So
there has to be something that counteracts that. Now if
everything is exclusively a zigzag you might need a spiral
or two, right, to kind of hint at the form underneath right? So
you're always composing.
And by that, I mean, you're always
thinking of what you prefer, right? That's what composition
It's preference. It's what you are
to get a certain point across.
At the same time everything
organized the way
we have been working on everything, right? So you just
you find those main lines, you hint at core and cast shadows
to place these things. The thing was zigzags is that you
know, it's nice to even exaggerate. I might have them
around the form, right, going from one end to the other just
across the whole thing. But this right here, look at that,
is part of that upper spiral, follows a general direction,
but right here, there's a crack in the form as it continues
back up and then you can continue right? It's sort of
the inverse. It's a pipe that is breaking up into two or in a
sense if you're following this direction, then it's
two that are becoming one and then it cracks again and moves
back for this. I would actually say this is a perfect combination of
both a spiral and a zigzag fold.
Now keep in mind that this
is it, right, in terms of the constructions, in terms of some
of the stuff we've covered
this is it, like we have covered all of the
major patterns that occur in cloth.
So what we're going to do after this
is experience them
in a way, that's a little bit more random
but already after this point we have to
sort of take our understanding
and see where each of these structures is
within a single
area, right, because if we're not
isolating them anymore
then we have to really be careful to pick out where they
an environment that in a sense is much more complex
because there's more going on, there's all of these things or there's all of these things
that we have covered. We're going to encounter and they
might all be encountered in one small area. Now the thing is
that's already happening. It's just because we
we have a preference and I'm highlighting
a particular construction in each of these assignments
and making sure it's the primary one, the one we're
focusing on above the others, were not spending too much time
seeing how these these things are working in concert. But we
do that as well actually at least a little bit because it's
inevitable otherwise, right? You can't really isolate them.
So I'm doing the best I can to isolate them for the
purposes of your education,
but at the same time you can already begin
to see how
it's not so black and white.
But this spiral is quite cool.
Right? I would say
there's a period of art where the spiral was used a lot,
probably be the Renaissance
where artists were particularly interested in anatomy and
really sort of making everything as sort of adding
curvature to everything. So
the spiral was perfect for this.
Of course, that's not to say that they didn't use the other
but there are periods of art where
one type of analysis and the kind of the form you're
and the form those artists were highlighting
was preferred over another.
I'm just following down this these shadows though.
There's more stuff going on on the side and I'm going to
include it because I think it's cool.
I've reached the bottom here and I'm seeing more zigzags than
I am actual spirals
but there are spirals right? There are spirals like this
right here is a shadow, but it's coming from that big line,
right, spiral is a key to
really figuring out what's happening with a spiral has to
overlap it, right, to take it past the forms behind, right,
because it's spiraling around, it needs that room on the outside.
The trick is though that even some of these zigzags, if you
sort of slightly push them
a spiral, right, even if it's a small zigzag. I mean small small zigzag. I mean
there comes a point where it really is just a zig zag.
But then there's these kind of areas in the back which aren't
at all or the folds that we're talking about but they're very
interesting, right, kind of they've got
a shape, they're the elements that are a part from the form.
The excess fabric, right? The more excess fabric you have the
harder it is to isolate some of these constructions.
It's actually nice to tone this down that much. I think that's
interesting, right, because this allows us to see these areas as
areas of occlusion, right, they're kind of just a crease and there
isn't much light getting in there and it creates a nice
dark contrast against the main cylindrical form in front.
That's actually quite exciting.
that just highlights that cylindrical structure. Okay.
Well, not bad. Not bad. I like where we're going. Now let's
kind of just get things a little bit more precise. All
right. What is that crease?
Just using the vine, not over
modeling you just yet.
just some hanging fabric. Calling it a spiral, maybe. You
could see a continuation through the half tones above
it. Right? I think it's just a large zigzag, a spiral maybe,
in some ways just a large zigzag with which you
can't just clearly establish a turning form
because it's already wrapped around the form. That's a way
to think about it, too.
Right the more we cover and the closer we get to
the end of our analysis here of the
patterns of fabric,
the constructive patterns constructive patterns
obviously, right? We're not talking about the patterns on a
Because that would just overcomplicate things
the constructive patterns we encounter,
the more we see this,
the harder it gets to isolate them. Right? The more you're
aware of the harder it is to just focus on one.
And that's my general concern
actually, my general concern
that when I see this explained,
right, when I see it explained in books, all of which are
actually really good and I recommend
adding them to
your reading lists, you know, like the classic Bridgman
book that he has on cloth, which
is what I got started with when I was still in school,
I think is good, but it's a little bit over simplified
always right because it's -
I don't think that - it's not it's never observationally
enough, right? It's never about really getting
vocabulary from observation.
It's all about establishing some principles and established some principles and
kind of just applying them. Right but as we've noticed with
cloth, things are a little more complex.
Just thinking in principles leads to patterns of the cloth
that are just a little -
kind of don't even look like cloth, right? Yes. It's
all there. We're covering it all but because I'm getting
into it from observation
I think there is something that can't be
a schematic right? There's the underlying schematic the one
that you're keeping in your mind, and so the idea
is that after experiencing this from life
is when you can really begin to invent, right? Because it's not
only based on a concept, it's based on just what you've
experienced. So you're bringing your experience to the table,
right? You saw a particular patterned cloth in life that you
now know has a name and now you can apply kind of
and use in something that you are inventing.
And of course this depends on
memory and the amount of time you've spent
Bring this down a little bit. Right? Keep in mind the
spacing between these individuals spirals is
not that important.
It's not that important when you're observing, right? It's
not as important to just keep to the proportions that are
observed. It's more important to compose them, that that's the
thing I'm saying, right? So the amount of space we have
depends a little bit more on you and just finding that
constant variation and that'll be enough to make things
You can see of course as we already know the clarity of the
of prime importance to the clarity of the form.
Right? An intricately figured out a pattern of shadows
thinking about what they mean, of course, all the while
really brings this to life and makes things clear for you as
the artist but also for the viewer. I'm already beginning
to introduce a little bit of those half tones, right? I'm not
saying they're perfectly
established but some of these half tones are going to help
so I'm just gonna lay them in right? I'm not as concerned
here about - as you notice like the in the zigzag
I was very concerned to just make sure there's a proper
turning of the form because I was kind of -
I was a -
there's a certain combat right against the
zigzag. You're still trying to show that internal forms
half tones are very important and things like that. What we're
doing here -
of course half tones are important. I'm not saying that
they're not, at the same time
I think that
you don't have to concern yourself that much with all
this because the spirals themselves establish a lot of
Where we do encounter zigzags though, like right here, those
half tones begin to really matter, right? Because we
really need to show the form.
This whole pattern right here is pretty much zigzag though,
which is nice right? We're encountering -
everything's a review
with just a little more information at it.
That's how I'm conducting this course, right? Everything is at
the same time a review - oh there's potential spiral -
while at the same time
it's new information right? I'm exposing
a new element, a new structure.
That's how I think education should be.
Okay, we need another pass. This is interesting right here
though. I really like up top. We're not going to focus
on that right now, but that's sort of the spiral coming out
of the half-lock that's behind the knee. See so one just
leads into the other,
the more you do this the more you realize how
connected all these forms are.
And in some ways how arbitrary some of the distinctions can be
or can seem to be. Now I personally think that
these elements, giving them a name
is very important because it just
clarifies certain things in your mind and these clarify my
mind that's for sure and and it did allowed me to then take
it all and synthesize it. As a teacher of mine,
a sculpture teacher of mine, did tell me once, told me before I
that the point of anatomy is to learn and then forget it and
I do I mention this again when I cover anatomy because the
whole idea right it doesn't mean that you have to forget
It means that you have to
know it extremely well, right, up to the point where you don't -
almost don't need to think about it. Alright, that's the
Where you just properly perceive the world around you
according to your understanding of the world around you.
And he really knew his anatomy. That guy. okay.
Here we go with our triangles.
All right. Here we go with them.
And now we push this
out a little bit.
Getting a tone over there too, right?
In the end,
due to the fact that you're aware of how
a particular structure of cloth affects the form underneath and
how it sort of effects its own - as its own angles or alter
and change and do all that, you will begin - you won't be
thinking of them as the type of structure anymore. Instead
you will simply apply it, you will see a long
like a line of a curve that you want to highlight and then
you move from tubular structure into the eye of the fold, change
direction, and move on from there.
And I'm already certain that at this point in our practice
I'm already certain you're doing this.
All right, some of those half tones coming in with the
the vine charcoal.
Nice it's great to
be ahead of the game a little bit. So
in a sense, this is just telling you, right, that this
whole concept that we've been working with right, the
blocking in if you will, right, step one
and then going in and refining half tones and edges and stuff
with the second part of the process, with step two,
is also not that clear-cut, right?
It's also not that clear-cut
he because you know, it all depends on
how precise you make
earlier part of the process, right? How
that you include right? So if you simply block in
the shapes of the shadows for example or you take a
more constructive approach and you simply block in
with line and sort of did those cross
contours, right, to establish what the angles are in the
changes of plane are without any shadows or half tones.
Obviously, you're going to have more to do afterwards right? So
step one in that aspect
is not as complete if you will.
But maybe that is how complete it needs to be before moving on.
So it's hard to really isolate what in full step one and step
two is and I'm not a fan of this because I think you will
end up finding your own kind of - like the perfect amount of deep like the perfect amount of
completion every time you approach an area
where I think maybe that's enough for the moment and
everything else on top will be refinement. Maybe something like
that is off and everything on top of that might be
refinement. So I am not keen on dictating formulas.
Because I think the whole point is that you understand the
logic of the process and then adapt it to your own temperament,
personality, and preferred way of working.
I'm rather open open minded that way and I think that you
need to have your own way of working in the long run and
obviously you're paying attention to the way that I am
handling some of these elements here, right? So
clearly you're interested in the way that I
approach this. That's understandable. Right? As I was
interested in the way that instructors of mine would solve
And that of course it will affect the way effect. It will affect the way
that you think about these things in the future when
working on your own work.
But in the end you'll find your own way to do it.
It won't be from scratch
but you'll find your own way.
And it might be maybe a bit more original
than others or maybe not, maybe it'll be very close to
another one but there'll be something of your imprint upon
Knocking back that shadow getting a little bit more
precise with some of these half tones. So I'm working
with in one area, right, you can actually think of a spiral
construction in a slightly different way. Even you can
think of it as a larger structure that incorporates
zigzags and different types of pipes and anchoring points and
maybe a little bit of a half-lock in one or two places, lakh in one or two places,
right? So it's not so clear-cut. In general maybe
this is a spiral that's spiraling. Around here
we encounter some interesting things because if in general
it's a spiral that's describing the form underneath then
if it has zigzags on top of it remember those zigzags aren't
helping you described that spiral, instead they're
actually counteracting that movement. At that point you that movement at that point you
need to do what we did before
and really begin to find ways in which you can accent the
form underneath, focus on the spiral and show just enough of
that zigzag for character and accuracy, but not allowed to
destroy the form. So the global problem from the
previous assignment becomes a local problem in this one.
That's why this is fun. I'm more and more
I'm beginning to think
that maybe one can construct an entire education around cloth,
right, teach you everything you need to know to take a form and
render it and analyze it and do the whole deal.
An entire education.
Maybe it's possible. I mean you only get so far without an
anatomy though, you know, if you take your time, you're
slower - like you slow down, you spend the time analyzing.
I've seen plenty of works of art where it was a relatively
clear that the artist did not really know the structures
was just patient enough,
observant enough, trained enough
to make an image that actually was extremely convincing. So
it's not mandatory,
but I do think that with the knowledge of like it's sort of
a mathematical thing I've mentioned it before but if you
know how to prove a formula, you really know the formula. If you
remember the formula
it's easy to get lost when there's some deviation from it.
Right? When there's a new formula that uses the previous
and so on, right, it's not so - I think knowing the logic,
experiencing it, spending time with it really
Right? It helps because it speeds you up, right, because you
don't need to -
because you just begin to see more clearly, your eye just
gravitates towards the points that are important. It's not
just to the indiscriminately absorbing all the information
in front of it.
That's not to say that you don't need to practice
indiscriminately absorbing all the information in front of
you. That's the other thing, right, that is something to
practice right, simply to work on a copy where you're just
figuring out outlines stuff like that. It will all
help in the long run.
I think that's where cloth comes in because cloth is a
of an approach that's very open-ended and in a lot of ways
with a very
set of logical
Maybe I'll open up a school where all we do is draw cloth.
I'm sure most people will quit after a week, but
maybe it'll be like a great learning experience.
Now that occlusion shadow in the back, right, really getting
that dark area.
See just happened to have decided that part one
is going to be that important, I'm just gonna get as much but I'm just gonna get as much
as I can
with my part one. Now back to the whole idea
to like the amount that you
you decide to include in, let's say the part one of
drawing, the amount that you decide is enough for you to
start out and then to get as much information as possible
and then to move on.
That too will keep changing in your own approach that that
that's the best part. Like you
you see that in certain instances more is necessary at
an earlier point and then in later instances, maybe you
don't need that much at all. Maybe you kind of have a
grasp on the thing.
And maybe just a few lines are enough to get all that
information on the page that will allow you to then keep
getting into it and refining it.
There's probably some stuff going on down there. Okay, so I
personally think that I've hit a good point. So I'm going to
take a moment, I'm going to take a moment and obviously
I'll step away, think about it, see if that spiraling movement
is exactly what I want. If I have already achieved it or
just something else that I need to add to make it even more
prominent and then I'll come back and get started on that
refinement. I'll see you in a minute.
reassessed a few things. In general I think this is off to
a good start and I'd even say maybe a little bit past that. So
it's time to just get in there with a sharper pencil and do
Just going to do a little bit of -
there we go.
Just a little bit of sharpening and
we can get to it. Always begin
with your terminators, cast shadows,
and your core Shadows, right? I'm moving right away into some
of those half tones but in general
that's the idea.
A way to - if you're having a harder time
sort of moving around everything the way that I am,
right, I kind of pick one spot I start there. I say I'm going
to work there that I'm off to another one,
that to me is
a good way to do it. But in a sense that comes naturally. In a sense
this is not my education though. It is right, but I
think that's just a very happy coincidence.
That is it just it's work at the
academic education as practiced at the rRpin Academy
just really works with a way that I
the things around me. It's sort of, you know, slightly
an inability to focus on one thing for too long. All right,
so I'm sort of all over the place.
that - so yeah, so the education kind of like that requires you
to move around, make these large comparisons of one area to
another, all of that stuff,
I do think that
that's not just how everyone's mind works, and I'm open to that.
Now I do believe that education is in a way
a procedure in some other way. Right? So like even if your
mind doesn't work in a certain way you could,
you know, train it to do a little bit
sort of a task that maybe doesn't come that naturally to
it. That's totally
what often happens but at the same time you can't like
totally reprogram yourself I think. So if you're not the kind
who can kind of move around the whole page,
the tasks that quickly, that's totally fine. That's
totally okay and just kind of I still think that the
procedure that we've more or less outlined here
will help with that. Right? And so you will still be able
to get into
some of these
areas and just move your way from the terminator,
following into those half tones, making sure those half tones
correspond to an internal
sort of direction of a form and so on and so forth, right so all
see, I think that's totally okay. So ike if I
might be doing that in multiple places at the same time, slowly
building up to what I want, right? Because I'm doing a
little bit here over there. And in the end it will all sort of
If you're the kind of person who needs to focus on one area
at a time just do all that in that one area and then move on.
That's the importance of establishing
large relationships early, right so that they're there to
hold you in place,
kind of not allow you to get
lost in the minutiae.
Now I got lost in some of the minutiae but in a different
way, right? I was just not able to talk and keep working. That
when you're on a part that's particularly interesting. So
here I am kind of just even practicing what I was just
talking about, right, staying in one more or less one area.
Right, getting those half tones in there pretty dark because I need
this to work. I need this to turn and wrap, right, I need this
begin to wrap around again.
And making sure that
getting that dark cast shadow in the eye of the fold.
Right knocking that in there. It's great.
And look at that sort of
tiny little plane, right? It's a little detail, which I'm
going to try to do right now, trying to get it in
place as soon as I can.
Little overlaps on the outlines.
Like even now I'm looking and even the location of that eye isn't a
hundred percent accurate,
but I'm kind of okay with it, but I think it works right? I
think it satisfies kind of my understanding of the cloth.
And I'm reading that the way that I'd like to read that
Right. Look at that big rotation that I got with just
softness, right? That softness up there. I'm
interested in that. I'm also interested in breaking it up a
Right, it's sometimes getting a big turn of the form
is still too obvious.
Just go to obviously you don't want to overstate that. Now
a little bit more clarity in here.
And by clarity you can just simplify, even that clarifies
the area almost enough
and then just take the phone and into the shadow.
Don't be heavy-handed with it.
But once it's in place, then you're set. just said.
Nice little occlusion shadow under that cloth, right and
look at all that. It seems at first it's these areas that can
get really complicated and I'm not even talking about the work
of students who have a hard time with really just
balancing those reflected lights and all that other
But my own work that I remember from when I was younger,
that was a big problem I thought. Like I just
would overstate those lights
and the shadows,
and I just didn't know what to do with them. But I thought
they looked good. Nonetheless, even I was wrong and so
but if you get it right,
if you make sure that reads like the reflected light
that you want it to read as,.
then you're there.
That really creates that feeling of light as well as
Right you're killing
two birds there.
Maybe even more than two birds.
That's kind of the name of the game though, right?
Like the more things that you can accomplish with the fewer
movements of the hand,
the better it is.
That's the end result. Don't try to do this. Just let
it happen. And you see that that's what begins to happen
with practice, with experience.
Now as you see I'm kind of refining some of these
terminators, figuring out edges, but I'm also
working these half tones, right, but they're still sort of blocky.
They're a little bit like you can clearly see a lot of these
rectangular and triangular planes, right? There's a lot of
I am going to go back into that and see what I can do. Let's
see what I can do.
And see basically what I can do to make it a little bit
more organic, right, just what can be a little more natural.
Here I'm going to extend that as a line.
Just going to extend that as a line a little bit,
right, so I get that spiraling movement. It's that spiraling
movement that's really going to help here.
There's a bit of light there, but I'm going to subdue it
once again to push that half town into the edge.
And then follow through and once again overlap. Overlaps and
spiral folds go together.
I mean overlaps and cloth really go together.
Overlaps and any illusion of three-dimensional space on two
dimensional piece of paper
or canvas or whatever you happen to be working on go together.
What's happening underneath here?
Two straight I think, right, I'm going to curve that.
That's another very important part of the spiral fold
construction. It's that curvature. And so sometimes the straight's
actually quite fun
counteracting that curvature at times, it's not so bad. But in
general, right, of course if you want to fold around the
form, it's got to curve.
And of course the darker half tones are coming off of the
terminator, off of that main terminator on the side.
Okay, let's keep going.
right just going top to bottom.
that fold comes down to pretty much an edge.
That feels a little bit on the blockier side to me,
but I'm okay with that at the moment.
there on the blockier side.
Yeah, this is interesting right? I'm getting very carried
away in these structures and you can tell, right, when I'm not
talking. So my apologies. always
Kind of getting really caught up with the execution of things
and that's not usually me. I have to tell you
I am not good -
I'm actually I mean, I'm good at this part, but I'm not
good at concentrating on this part. So usually when I'm
working on like, you know starting out, piece is super
then there's the completion of a work, right, you're really
trying to get
things to come together
but then there's a part in between
which is the one that I'm doing now. All right,
the one that I'm working on at this moment, which is just
piece by piece
rendering if you will, right, just just making things appear
before you find ways to integrate them into a general
structure, to correspond to an idea that you have, all that.
That comes later in the sense, like the whole like first
things need to appear on
the page. Now this is of course
something that is particular to an academic approach where
there is a sort of a quality of render that has to exist before
anything can be
And that that is the case.
You can say that even as you're doing it, you should be
every sort of like how each part relates to the whole
and it's true you should be and often you are but there are
times when you just have to tune out and make this thing
Now, I'm great at tuning out
because usually what I'm working on this
I am trying to find a way to distract myself. So I usually
have some sort of audio on, music, or I'm listening to
an audiobook or a podcast. I'm not one of these people
needs to be in
like a zone of concentration to achieve anything at this point
in time. To complete a piece, absolutely, to begin a piece, to
come up with ideas to do stuff like that absolutely requires
concentration of a certain kind. A lot of this completion stuff
becomes intuitive, right? So I just sort of I'm doing it on
autopilot a little bit, often right kind of relying on My
understanding of stuff and so in a sense, that's what helps
me explain this to you.
I am -
I kind of explain this
what I'm doing a lot of the time is I'm observing
my hand and just explaining what is going on in my mind.
This is an interesting -
and I've course I've gotten better at that because I teach a
lot and so I end up having to explain
the thought process behind everything so it's not just
as if I'm really just a passive observer of my hand
as much as I'd like to be off at times.
So but that's in a sense I think in some ways that's the
goal, right, of what we're doing here. Now, you can argue
against it and say that something else needs to happen
and that might be true,
but this could be exactly what you want. Right? You need to
get the technique up to a point where you can pretty much just
rely on your technique. Now,
does that mean that I don't encounter problems that I have
to actually consciously begin to
address and try to solve? Of course not, plenty of things
come up along the way that maybe are unexpected and I have
to try to solve it. Things at times relying on my technique
and other times coming up with a new way to solve it, which in
itself may be can be argued is part of my technique and I'm
part of just education in general, right, so you
can count on a solution to a problem or it's having an
initial idea of how to solve it and then moving from there.
That's what I'm trying to teach you and in the end,
right, like it's not just about rendering cloth, right? It's
about a logic of process.
That's the idea and I think
with this cloth it's clearer than ever, right, we're really
using everything we've covered up to this point, really using
it. Like we haven't used it, even the cast I would say.
Because the cast
is where I think we were learning to use these
principles. So there's still a little bit of anatomy some little bit of anatomy
involved, stuff like that. But here
it's just the pure principle. It's kind of like painting a
right, because painting a landscape is painting at its
purest right? It's just color relationships.
The drawing, unless there's an architectural element, really
doesn't matter. Alright if you have a
tree that is large or it's too large compared to another
one and in real life no one will care. one will care.
It doesn't matter if the mountains in the background are
too small. Yeah it'llhave an effect and maybe
compositionally that needs to be thought about but
that's just more about -that just brings you back to the
fact that it's sort of a pure art form, right, because you're
thinking entirely about the medium kind the way
works, right? So if you compose it a certain way it will have a
certain effect. If the colors are -
if the harmonies are done in a certain way, that's another
effect, right? So that's the idea.
I think a similar thing is happening here, right? It's
just a pure
the way a form is moving around than another one and around
itself and also
how to compose these things, so like it's not about that's so like it's not about
just actually really totally accurately observing the
patterns of cloth
as you see them. It's about figuring out what looks good on
paper, what looks interesting, what captures your
attention from a strictly optical point of view, right?
Like is there just a -
there's a certain pattern of lines on a page that achieves
an effect, right? Is there enough variation,
and so on.
So you ask
if concentration is
not possible in a way for me,
what is happening in my head when I'm working on this?And
the answer is that yeah at times I do actually - I'm really thinking
about the specific thing. I'm working on, right, like right
but other times, you know a similar thing is happening to
what I'm doing here. I'm just talking to myself.
I just keep talking and it often has nothing to do with
anything. At least here I have to be on point, right, now to
talk about the
process and talk about the technique. I have to describe
what I'm doing, all that stuff. It's good. Maybe that's a good
thing for me.
But usually what I'm doing this in my studio
my mind is wandering to God knows where.
Thinking about the show I watched, taking about the book
that I was reading. I'm thinking about a conversation
that I had. I begin imagining a new conversation that I'm
having with somebody else that never actually happened and
probably won't happen
and so on, right, so it's all good that is going to
happen and I'm just - so my point is right that
I am speaking to a wide audience here. And my point is
that you're all different kinds of people and the idea is that
I think that the process that I am trying to get across can be
altered in a way that
that works with the way that you perceive the world around
you and your personality and your unique temperament.
That's what I'm saying.
And in a sense that is the philosophy of the academy.
Not on a level that's individual. I'm
because that to depends on who the instructor is, right, if the
instructor is more dogmatic than
there is a particular
thing and another look and effect they want from you as
And so -
and there are other instructors who are teaching a craft
undoubtedly, but are considerably more open to your
experimentation, to your understanding of what's going
on, to art in general. And those were the instructions that I
loved, those that have the greatest effect on me. We're
the ones that were interested in us becoming individuals,
right, with our own point of view.
And it's a point of view that they might not agree agree with.
They might think that they might not be interested
in your art because maybe that's not the art that they
want to do or the art they want to experience as
But they're much more open
about it. So I think that is a great quality.
for me to stress that.
Because I don't think the craft can be something apart from the
person practicing the craft.
And that maybe
maybe can be somewhat contentious.
But I'll go with it.
I think that.
I'm just getting those occlusion shadow, I think they're
I think those creases I like how they look, this almost makes
me want to do background, not going to do it though.
I think it'll be inconsistent with what we've done so far and
I think the consistency is quite effective. Right, if
you just take all these assignments and lay them side
by side they look very interesting, right, because it
would be clearly really like you could see the time spent
analyzing the folds, learning these principles.
And that's nice. I really think there's a lot that we've gotten
out of it.
The question is down here how much information do I need?
And I can't say yet.
Could be kept a little bit more
for now, right? Keep in mind that there's always a plane.
Now I've been doing this whole time and you've seen me do it
and probably do it yourself.
There's always a plane in between the tubes, right? Those
are the ones that are triangular.
Always a plane there.
You can see it right here. Out, in, out. And we usually work with
that plane with the cast shadows actually, that's where
it's really appearing, a lot of clarity there.
it's also there in half tones too. two.
Okay, so I'm actually quite happy with this, everything
that's happened here at this point. Right, we're really
getting a full
rendering and feeling and an understanding of the
spiral fold. However, let's do one more pass, if you will.
Just one more pass where we can get some tiny little things,
right, that are particular to this cloth in front of us.
Couple of creases, right, somewhere
to take something that looks maybe a little bit too - little
bit overdone, you know.
Just cleaning up that edge and I'm going to get
this out more.
let's get into some little bit of a hatch and a half tone. I
don't know actually, I mean I could keep working to disrupt
more and more of these little areas, but I don't even know if
I want to. I kind of like the feeling we're getting here.
Couple of hatch marks. Maybe
just going to lift that.
Mhm, get that crease, but I'm not getting enough of that
overlap right there.
And right let's just clean up maybe some highlights, kind of
move down the line a little bit.
Eye of the fold, nice and creased. Look at that. There's a
graphic quality to that that I really like.
I'm liking what I'm doing here, almost from an artistic
standpoint, right, there's something here where there's a
unity, where there's a unity of like use of the medium and I'm
not just just saying this to compliment my own self. I'm
just I'm saying this because I think
this might be a good example of certain qualities,
right, certain like a way to unify a form, a way to like work
within the confines of a medium,
a way to establish accents in relation, come in relation
accents of a certain kind in relation to accents of another right? These
are eyes of the fold.
Just gonna unify this, right, too much hatch there, too raw.
Little bit too raw.
I actually think I'm just going to clean up this of course, fun
Clean up this edge. I want that a little bit sharper.
And I think that concludes
the spiral fold.
Now let's find a way in which we can synthesize all of this.
This is going to be a multi-tiered approach. We're
going to start figuring out how to apply all of these
structural concepts that we've covered up to this point on the
final structural element that we're going to encounter, the
I'll see you then.
with this course, you're going to be working on the spiral
fold. The thing to keep in mind when working on it, the most
important thing aside from everything else that we've
covered about the construction of cloth, is that
in this case the direction and the spin essentially of the
cloth has to accentuate the object underneath this cloth. I
do encourage you to try this at home, though obviously this is
a little bit harder because you need a tubular object around
which you can wrap a piece of cloth. So if you do have this
and you want to experiment
that's awesome. However, if not, then the images
will be all that you need.
Free to try
1. Lesson Overview35sNow playing...
Watch the whole lesson with a subscription
2. Understanding and Blocking in the Spiral Fold17m 4s
3. Developing the Shadows and Applying Halftones to the Spiral Fold.19m 16s
4. Refining the Forms and Halftones on the Spiral Fold.19m 41s
5. Finishing Touches and Resolving the Drawing22m 52s
6. Assignment Instructions1m 0s