Alright now let's keep adding more and more complexity to our
analysis of cloth and its forms.
Now as
I mentioned, this particular cloth pattern is a half- lock
and that's the name we're going to use but there are some
things about it a little more complicated and so we're going
to take it step by step and
observation as we have been doing.
I'll explain it and we'll analyze it by working from

All right. So what is the idea here? Now you can see
that this is not really drastically different from what
we had in the previous assignment.
The diaper construction, right, kind of just
allows
a cloth to hang, right,
and
have these sort of interlocking tubular structures that get
wider and wider
as they interlock here.
Now that's sort of happening here. The only thing that's
altered is that now the - either the amount of cloth we
have or the -
or how close these points are, or combination of the two, is. So
what's happening here, right, is the exact
same thing really, except it's close enough that
they've overlapped, right, so it's the same tubular areas. This
happens a little bit on a small scale in some of these places,
but you could see
how they have
interlocked,
not locked entirely in so called a half-lock. Half- lock
fold.
Half-lock.
So the difference is actually fairly minor in this case.
We're going to explore another case of the half-lock after
we're done with this particular illustration of this schematic
in which it begins to matter a bit more and the differences are
more apparent. So the idea here
that we have to keep thinking about is that you can
kind of imagine like here we see most of the fabric
even though it's folded over itself, it's all exposed for
the most part here. There's a fairly large part of the fabric
that is underneath and behind, the angles are a bit
more acute in between these things. And so the thing
to also differentiate
is that you pretty much what like from what I just said you
require the entirety of a piece of cloth and you need to see
all of it slightly
closer towards itself, but still not cover any
part of it in order to have the diaper construction, mainly
because it's not -
it's almost not made of tubular
constructions, right? They open up to a point where they
almost become, as we saw, planes. A half-lock is more about the
actual break in a tubular
construction
in here.
And that's
essentially the same thing happening here, right, they overlap,
right? It's that.
And so
we're going to explore what we're looking at here right
now, which is this sort of open half-lock hanging on a board and
then we're going to move it into seeing how these forms act
on a tubular structure as well. So when I say that I mean of
course the tubular structure of something like the arm.
And you can see it on the inside of the elbow on the
sleeve. But also you can -
it's also about what happens to a piece of cloth
as it snaps in half, right, and that of course brings us back
to this concept of the eye of the fold.
So with that, let's just proceed and see more of these
principles, right? This is actually a great illustration
of everything we've covered
up to this point.
Right just see how
angular it could all become, right?
All right. There we go. See, easy. Just continuing these
lines and making sure that there's very strong overlaps.
You can see them on a small scale, but also, of course the
large scale of the fold itself.
So
why don't we begin to analyze the forms a little bit right?
Keep in mind that
whereas I of course referred to tubular structures, the pipe
like qualities in the previous two assignments, and
especially
where I refer to them in the previous assignment,
in the diaper construction,
my
concern
is of course that in reality
we sort of deviated quite a lot from that tubular structure in
that fold. Here it's come back. Of course we saw it there. But
here it's more apparent right? Everything is made of tubes
except now the purpose of this structure is to accent a major
change in direction.
So maybe to clarify a little bit and I don't know how
how precise this really is, but I would say
it's the acuteness of the angle that really begins to matter
here. So I think the difference essentially between the
half-lock
situation happening down here
and especially as it happened on the sleeve
and the diaper from our previous
assignment,
the difference is in the angle itself.
So
currently it's acute, up to this point it has been
obtuse.
So in order to clarify that, in this case it's smaller than 90
degrees.
That's where thathalf comes in, right,
and in the
previous examples it was
larger than 90 degrees.
And of course in the
in the pipe itself much closer to 180.
So as I said earlier, all of this is a matter of degree
quite literally.
Right, use the shadows to guide the form.
All right, allow them to describe the form that you're
seeing.
At the moment keep it nice and flat.
Erase what you need,
but sometimes don't forget, of course the large
tonal relationships, but we can always go back and get those.
Make sure to see what's going on with those angles.
We're taking a slightly different approach here even.
Let's
work even more observationally in a sense or use our
understanding to place things accurately.
And by that I mean
we'll figure out what the shadow means
but in my mind, I'm thinking what the structure is.
We've encountered it's all
a form of a tube. Sometimes a little bit more
angular, sometimes not so much.
Keep it a little bit looser. Don't worry about it.
See, so in a sense we started with a little bit more of a
structural approach, but now look how we can get tons and
tons of information
with
just our lights and shadows, right? So this is in a sense
teaching you to really learn to just
block these things in.
See just some patterns. I'm looking
and I'm seeing this as structural areas right? I'm
seeing this as a plane.
I'm seeing where sort of becomes a tube.
This right here, right, big shadow is a plane.
Excellent. Excellent. See it's already it's coming together.
It's still very graphic.
And that's good, right?Obviously when you have
a fold that's
as dynamic right and they're getting more and more dynamic
as we work on these things.
We get of course
more opportunities for composing with line, right, to
just see angles in a different way, right, allowing ourselves to
really play with parallel lines and then
kind of deviate from the parallel.
So this is interesting to practice.
It's not as, I said before, not going to teach you as much
in application
in terms of inventing cloth of course as it will be when we
apply these principles
to a slightly - to a form, right? Then we're going to get
into thinking about how does cloth react and illustrate the
forms underneath.
Right now everything has been against a background that has
been flat.
Let's draw some of these structural lines
and they'll help us redefine
some of our
folds.
using the Eraser we can get a little bit of information in
there.

Okay. Alright the folds appearing, good stuff,
right? Every time we get a chance though
let's express that eye of the fold, right, it all comes back
to this.
That sort of
that aspect of the snap. Let's keep going.
Yeah, so use as much as you can right of the shadows, but also
begin to see
where there's like a snap in the cloth. And sometimes you
know, the shadows will define
what's going on.
Alter some of these chains, alter some of these directions
as you go right? You'll see them clarifying deal you see them clarifying
more and more.
The advantage of Vine charcoal right is that it's
so loose.
Especially for some of my cloth.
I think it's wonderful.
Right, it can get all of that information
quick
and then if it's off you just move it. It's almost like a
a sculptural medium.
You're kind of molding everything into shape.
Now I'm going to get into the - I think I have enough shadows have a thing of enough Shadows.
so now it's time to get into
the
just toning down
the general value of the clocks, right, the value of the
half tone, the local value.
That's not really a term I think but
okay at the moment everything's a little bit flattered, but
you can see what begins to happen, right,
What begins to happen in one of these - in like a half-lock
is that in essence there is more of a dynamic
movement along the creases.
But
the actual planar changes are a little bit more
simplified, actually like I wouldn't - like there
aren't these big gradual curves that sweep under.
They're sort of -
everything here's a little bit small, flattens out to almost a
plane,
and
it doesn't actually change direction
in a way that is as effective I think. It does it
on a smaller scale but not on the larger scale.
At the same time, this is a very interesting
quality here that
was used quite often by
by
Gothic artists.
They kind of relied a lot on this quality
of the cloth are the cloth that's in the keeps breaking
constantly in acute angles.
And coming out of them with these large planar changes.
As in they're not that flat, right? It's not that tubular.
And you can see that every sort of artistic movement in a sense
has a preference
for a particular kind of quality of fabric.
There's somewhat of a problem now, I guess, because the
fabrics that
represent our daily existence
are not that interesting to look at.
Or in terms of, you know, the changes of cloth and all that.
Changes in the direction of cloth and angles that are
formed and of course
with all that patterns of shadows,
all those things that were instrumental
to composing interesting works of art. These are all tools
that are just views.
You're not going to find a person
in a robe
anymore
just walking around,
or a cape,
but that would be cool.
All right. I'm trying to get as much as I can just using the
charcoal, right, just getting it all knocked in place.
Just general changes in angle, right?
Do explore a Gothic sculpture a bit more
if you want to
sort of see the possibilities of this kind of cloth pattern
and the use of the half -lock.
And in order to emphasize this you can easily
just push
the angular qualities.
And especially that's great because that's sort of what's
happening at the eye of the fold.
Now do some more
locking, right? Look at this part underneath. All right,
look at how
this continues down to here,
actually passes through
this edge snapping there,
and continuing up.
Strong dynamic angles.
But no areas that are really rounded, right? That's the thing
to remember.
So
it's true that a half-lock happens with the collapse of a
tubular form.
But you can sort of use the word collapse there
slightly metaphorically as well, right?
The tube is collapsed and is no longer a tube, it
is lost.
Good.
Now here's our nice
pipe here, obviously an old friend at this point.
Just cast a shadow onto it and onto
that area.
Bring this in, I was off with that, and then just
bring this down.
I'm very happy that in this course we get to use all
different kinds of media, right, and you can see that there are
definite parallels between how I work, right, the sort of the
general approach and how that stays constant, but then
there's also
the variations there, too.
Oh my goodness.
See that's what happens when the paper is not
perfectly stretched. It's not a big deal, but especially an
exercise,
but
hold it down in certain instances.
Let's knock that all back because there's no way that's going to
catch that much light.
Good. Good. Good. Good good.
Let's bring this shadow up.
As you can see, I'm thinking in changes of plane more and more
and more, right, I'm getting into more intricate changes.
This is a nice tubular - like keep in mind, right if you
want to construct one of these,
I like to construct from
the creases, right because I think that the more
compositional elements that we're focused on more than
anything else, but if you want to be a little bit more
more of an engineer about it if you will, then I would say
I recommend you structure it from the top because they all start
kind of in the same way. They start as a pipe,
then they start breaking apart, getting wider,
you start to see what happens when they start to connect with
a pipe from the other -
from some other end, right is there crease between them
and so on and so forth. Then you move from there. So from here,
right, one pipe and it breaks into
one and two.
Fantastic.
Cast shadow, core shadow,
move it up from there.
Right and then you just continue this pipe all the way
down until it snaps right here. 90 degree angle, not actually a
half-lock because there's no sort of -
there's no sort of a - there's kind of a twist in the half-lock
that is implied. But I would say for our sense of
clarity and understanding of this
subject matter at least here we can write that the
pipe,
let's say it's 180 or so all right.
That's our angle. Then we have the diaper on top.
It is
larger than
90 degrees and then we have half lakh.
our half-lock, which is smaller
than 90 degrees.
So as far as classification,
I think this makes a certain amount of sense. Is that the
definition you find in a book on cloth? Not necessarily.
Not necessarily.
Keep in mind though the quality of the fabric
will alter the types of creases.
All right, if it's a
thin
fabric then the creases will be maybe smaller, more intricate.
If it's a heavy fabric you won't have a lot of small
changes in the planes. You'll have just a large movements right,
because it can't fold it on itself on a small scale.
All right, though. I'm liking where we are at this
point.
I think we're at a good point right now.
A lot has been established. We've covered essentially a lot
of ground. I'll add this shadow.
It gives it a little bit more dimension. I think it's a
little bit more - it kind of pulls this fabric out from the
back around.
Of course I'm going to soften a little bit
so that's not distracting, but
I think there we have it.
Pretty much what
we've laid it in.
And now it's time for that other part.
Refinement, right, really seeing what to do with those
particular creases, those overlaps along this whole area.
We have them, we've gotten in place, we've established this
is a half-lock. I don't think there's any question about that.
And now it's time to
take a moment to step away because you do want to come
back and see maybe you missed a large change of plane, a big
tonal
movement. In some other place like I'm seeing something here
has to be resolved. Probably I'm not reading that it's
moving upwards and out. Like it's a not plane as opposed
to this kind of slightly downturned plane, stuff like that.
To be precise on this I do like to take a break before
going in and working on the final parts of the process. So
I'll see you in a minute.

So now that we've completed part one of our process with
cloth, the sort of blocking in and major analysis of the
tubular structures, creases, and so on, and the basic light and
shadow, let's move on to part two, which is the polish.
So
what I was just talking about right, this two part
structure to our process
you can
already begin to
see in action, right, like there's a -
we did this with the other,
the previous two assignments with the cloth and now
we're really
rolling with that here.
So
now of course,
I'm not saying that there's always
that kind of
process, right, and it's harder to call it that if you begin to
think of a larger
paper in which maybe it takes a little bit
longer to complete a part of it than something else and then
you can kind of carve it up into some other part of the
process and so on and so forth, right so
but in this case, I think in general you can stick to it and
be kind of assured
that it will work.
Now in essence you could apply this to almost anything.
Right, you kind of
block in a few things,
think about large relationships, the schematic principle behind
it,
and then
just spend the rest of the time once that's in place,
more or less in place, just spend the rest of time just
kind of
enjoying this
part, right, the so-called rendering, though I think it's
not really to be called that because I'm more concerned with
the development of accents.
But also
I'm very much concerned
with the
just kind of the same thing that we're doing pn a large scale
on a smaller scale because if you really squint and think
about it,
there's a sort of a gradual tapering of the structures,
right, if there's a wide tubular form and it gets smaller and
smaller and smaller until it becomes the eye, but if you
really look at just where that eye is in this case, right,
because that tube is cracking so much and changing
direction, look at
just look - like you can say this is the big tube falling into
that same eye little tube that falls into
it's very interesting. So
think of how these things -
that there's like a scaling quality here, right? They scale
from really wide to really really small
and it's quite a lot of change there
right? Keep in mind, of course that the
most likely you have very very strong contrast in these areas,
right, in the areas of the eye of the fold. Mainly
because that is a crease, right, so the crease will have most of the crease will have most
likely highlight,
but the crease will also have
a half tone coming up against it or possibly even a little
occlusion shadow. So it's not so - you don't have to
think too hard about accenting it because it accents itself.
Let's follow this terminator up, right, looking for creases in
this fabric. I'm not using the other -
the fabrics we initially used in the first assignment
because in this case, I think I tried it and it just they I tried it and it just
feels a little bit more distracting.
It takes away from what I'm trying to get across. So we get
rid of it, you know.
Just gonna smooth this out, soften this. There are changes in form
there but how really wide are they?
Maybe a little bit of a light, right, that cracking, everything is a
little more angular. That's the design quality here. That's
the thing you're thinking about.
And that element of preference that I do keep speaking about,
right, you get to prefer the type of structure you like, not just
within what we're looking at, that in a sense goes without
saying even though I said it,
but just in general. Like the more time you spend with cloth
and fabric you can begin to be able to just
compose it.
And we have - actually you might think
maybe you still don't know enough. That's fine. I think
that you will know
what you need to know to start practicing the invention of
cloth and fabric
soon, right, once we get through all of these
cloth structures
we'll definitely do it then
but then when we apply all of this
to internal dynamics,
right, if there's a form that this cloth is describing, not just
the form of itself, that's one thing. That's what we've been
doing up to this point when we get to the half-lock on the
tubular form. That's when we're really going to get into how is
it describing the form inside and I'm going to keep going
with that.
So the important thing of course if you've probably
already noticed, right, I haven't said much about it up
to this point, but kind of the most important
points
are the origin,
the beginning of the fold, the beginning of the cloth even,
right, where it is anchored.
In our case anchoring simply made pin to a wall,
right, but anchoring also means stretched onto an element so
we'll get to talking about that
in a little bit,
but yeah where the cloth is
really stretched over something is really the same
thing as being locked,
as being pinned and then where there's a lot of it, where
it has nowhere to go and begins to fold in on itself, that's
where we get
our half-lock.
See what I'm saying?
So every time there is an origin
is where you accent and what you really need to be thinking
about and the origin's either just the beginning of the
fabric where it's pinned, but it's also
where it snaps, right, where it's locked.
Where it folds over itself and changes direction.
It's all about changes in direction.
Now, that's not to say that everything needs to be
constantly dynamic, right? We think of cloth
when we think of different art movements, right? So
keep in mind how cloth can express
an error. So for example in Baroque art, action, this dynamic
quality was expressed in everything at the time, right, in
every part of the work of art, but just if we're going to
think of cloth that's flying in the air, changing direction all
the time, enormous sort of spinning cloth, all of that was
found in the Baroque era.
Now I did mention
the cloth of
the Gothic period it's right more like these angular half-
locks the not too much rounded areas. So a sort of inner
dynamic movement, but very contained right? So whereas
Baroque art
has a lot of these stronger curves, overlaps, things like
that, stuff that's quite exciting, right, because the
sort of the greater the amplitude of the curvature,
the rounder the form,
the faster the ye kind of moves around it right? It's moving
around the form. It's sort of
spinning with everything else. The gothic period with
these
half-locks breaking up into these planes create a very
strict angular movement of light and shadow. Whether this
is a painting or a sculpture, right, because there's light and
shadow falling onto the sculpture in a certain way
because of the structural elements of it.
So but then think of the Neoclassical period where you
get a lot
of cloth, right, a lot of sort of
you know, everyone was thinking about
the Greeks again at that time, imitating the Greeks in a lot
of ways.
Imitating a certain quality that they thought the Greeks
possessed, as has been the history of imitation there.
And you could see how they are imitating
a very particular kind of calm and order, right, and you can see
that most of it is done with these long symmetrical, parallel
pipes, right? Everything looks like a Right. Everything looks like a
column.
There's not as much dynamic movement. It's sort of the anti-Baroque
period.
And in a sense it was also culturally, right? So there's
all of this -
you can tell an entire art history -
you can tell the entire history even, right, not just of
art but a bit of culture
just by looking at cloth
and how it was treated in works of art.
So this is important, right? This is very important to think
about because it's not only just, you know, the fabric that
you took and put on a chair and copies and try to be as
accurate as you could with, even though it's that too and that's
of course your education.
but it's
a way of expressing something.
You have to
think about what this is, but of course, you know that's sort
of going back to if you know the rules, right, you kind of
keep working with them. Those rules. This is what we're rolls. This is what we're
doing. Now, as I said, this is not a very
perfect science.
Not at all.
Not at all a perfect science. And this is why
you got to keep thinking about this.
That
you're going to begin - see so as I said, I picked a certain
order with which to talk about
these cloth structures.
Right, because I think that in this order it's the most
logical way that I saw one could begin to
sort of add on to existing knowledge. If you know the pipe
fold, the diaper
comes right after, and then the half-lock right after that.
The diaper fold, it is weird when I simply call it
a diaper.
How ingrained
those terms become those particular connotations
of the word.
It's not just the connotation, it's the definition.
The denotation
of the word.
This is a tough part, right? Because it's very clear what's
happening in terms of the form,
but the light really is cracking. I'm really seeing those
changes in a lot of places.
Look at that cast shadow
and then
core shadow, core shadow underneath.
Nice core shadow going all the way down and then
cast shadow from that fold. It's a weird fold.
I'm sort of observing it but from a compositional standpoint, I
don't think it's that exciting. It's too round I think for my
taste, right? For everything else here we got these strong sharp
angles and it sort of falls out of line with the rest of it.
It's not
reading as much as it should.
It's gonna move up to here a little bit. Right but I think
in general we're getting there. Squint, keep squinting. As with
the previous assignment.I'm kind of enhancing some of these
highlights.
Just a little bit. I'm just enhancing them enough to
have the desired effect.

Those occlusion shadows, don't forget them, right,
those deep pockets are necessary, the're necessary because
you can't have cloth without strong reflected light.
It'll look flat and unreal.
So that's what we're doing.
Now
let's re-establish some things with our vine charcoal,
right, the larger sweeping movements.
Good.
a strong flat bit of shadow there and kind of
this is the part that's really going to be fun. All right. Now
keep in mind, I can't necessarily help with a formula
but we've been doing this enough times and I think I'm
sure you're getting the hang of it, right? And what I'm talking
about is at this flat area right here,
like that flat
area, right and we're not modeling tubes now as much but we're
modeling sort of a flat area with tons and tons of creases
and topography, right, topography all of its own.
That
is difficult
because it requires
a subtlety of execution.
See that feels long to me, right, and what's important is
to then get into it and carve
that terminator.
Right just some of those little creases. I mentioned
that flat area right here and I'll get to in a second. but
now I just want to figure out what to do with this.
Figure out what to do with that bit of cloth there.
Because this is just a tubular form. You'd think that they're the easiest
but on the one hand to execute maybe to just make it look like
a thing yes, but we're not interested in makingit look like a
thing, we're interested in making it look like still making it. Look who got
an interesting thing.
Good.
And that crease there is working right, that nice sharpness in
there. I'm gonna
Now it's time to get into this.
Right, be more angular on these planes. Right, you think
that's a a tube it is, but it needs a plane.
All right good, but look at the general form.
Big curvature
rounding out, light on this edge,
soften it.
Not reading enough of this, right, reading enough of that as certain thing enough of that as
a break.
Sharp cast shadow
from one tube onto the other. As you guys I know I use tube and
pipe interchangeably, but
they're going to make sense up to a point, right? It makes a
certain amount of sense.
Going through charcoal.
Now here, right, just kind of squinting so that I can
generalize.
So that I can simplify some of this.
Look at how this opens up into something triangular.
Marvelous,
look at that. It's beginning to really feel like something.
Block this in.
Specific angles.
And some more sharper edges, right, up here maybe. Kind of
show that overlap.
I think we're getting there. But clearly I'm overstating
these,
right, those highlights.
Kinda sort of wrap this around a little bit
and cast that shadow.
Wrap that around a little bit.
This right here
I think it needs to be clear that that's a little eye, that's
like a little crease.
So just show it with sharpness and then soften as you move up.
And then it's clearly -there's a plane that's continuing from
there.
So extend, right? So here an even more organic approach to
working in the cloth.
Right, because it takes you
into -
because you're beginning to think of the the changes in the fabric
as you're doing them, right, as you're
finding them.
But I think that the greatest thing about the process
is exploring the world with the - by means of depicting it,
right, learning about it
through a translation of it onto paper.
Isn't that lovely? Not the thing I said, but just the concept.
Isn't it a wonderful way to learn to view the world at a
certain point though? You do realize though with practice
you just kind of view the world a certain way.
Like that's almost enough. If you were to just learn and then
not ever
touch a piece of paper again.
That's almost enough reason to learn
because you see how it changes the way everything looks.
Now I'm not going to go and let you see the true essence
of things but you just look more clearly and you look more
specifically, right, you analyze the world around you in a
different way and sometimes pick up on certain things that
other people might not.
That's almost enough reason to practice
the craft of painting and drawing, honestly.
Okay, I think that this - wait a second. Wait a second. Wait a
second. I saw something.
That's an overlap, right? So I need that clean, sharp edge.
And just a little differentiation between core and
cast in there. I always want to do a little bit of that
but not to be too precise right? Because we don't want to
overstate that.
But okay, I think that completes the half-lock as you
see it right now, right, suspended on the plane as have
been the other things we've spoken about.
Now it's time to experience and practice transfer onto the page
the half-lock as seen on a tubular form,
which in practice you'll find you have plenty of use for
because it's constantly happening on the back of the
knee, the inside of the elbow, all that stuff. So
let's take a break and then come back with a clean
piece of paper,
a new
formation of cloth up there, and continue with the half-lock.

Okay. So let's continue with the half-lock. Now, we did the
half-lock in a sort of inert position like we have been
doing all of the other assignments up to this point,
right? It was hanging on the back of the box that we have
here. But now let's see how the half-lock interacts a little
bit more if wrapped around a form, for example an arm or a
leg and then in our case I think we have a great example here.
So now we're going to start taking all these things that
we've covered up to this point and begin applying them to
situations that are just a bit more complex. So with that
let's get started.

Okay,
so obviously, right, I took a mannequin arm here and I
wrapped it in fabric. Now the thought process, before we
continue, let's call this
a half-lock
part two.
So yes, that was simply so that we have a name for the that. We have a name for the
page, right? So we actually have multiple half-locks here.
But before I begin we had -
there's a mannequin
and I wrapped it in fabric. Now my other option, and I think I
might end up doing that at some point, is to actually take
the sleeve off of an article of clothing and just put it
on the mannequin. Now I thought of this but I immediately like
after trying it out this way,
I realized that this is actually preferable due to the
amount of excess cloth. Now keep in mind, right, that it's
the excess cloth
that is really making this interesting, right? Because if
we had just enough cloth to cover an object, to cover an arm
or anything,
just enough, you would still have maybe a half-lock in the
crease, but it would be more like a crease. Everything else
would be perfectly
sort of adhering to the outside of a form.
It's this excess that's really creating this action and
allowing us to explore these extra bits of the these these extra bits of the
fabric.
Now it also of course imitates
the way that you perhaps would see
a cloth painted or sculpted in classical works of art. And by
classical I mean kind of anything older, right? I don't
necessarily mean either the classical period or in
terms of the Greeks or any limitations of that in the,
you know, a while after that either in the Renaissance or
more specifically in the 1800's right with all
that stuff. So a little earlier than that. So it's more
about
that. It's more about just art in which the fabric played a
role, right, because that was the
that was what people would
put on at the time, right, those were just the clothes.
There was a lot of excess on top. So and that's to our
advantage and also just interesting from the standpoint
of a painting. Now, of course, I'm seeing already we're going
to encounter some things here
that
we're going to go over after we're done with this second
part of the half-lock, right. At the same time I wouldn't be
too
concerned with that at the moment. I think there's plenty
of half-lock stuff going on, more than one actually. The
important thing right is to isolate
the most important half-lock, which is of course here, right
this right here is the elbow, right? So we have to actually
tighten up the fabric over there even more than maybe we
can perceive immediately.
So
here I am just kind of, right, I'm always thinking right
that's a tubular form inside. That's the arm, this right here
is where I'm really focusing on because that's going to give me
first of all really show where that half-lock is because
that's where there's a change in direction, but both in the
individual sort of the pipes of the cloth, but also in the tube
that the cloth is around
the problem with what I'm saying is that I'm using
pipe or tube kind of interchangeably
when I'm describing two different elements, right? But
at the same time I'm starting the way that I have
been,
right, just blocking.
Right, this is
the initial part of our exercise.
Right, we've divided into multiple parts, right? There's
part one where we just get a feeling for the general light
and shadow, kind of figure out what those plane changes are
and so on.
That's what we're worried about right now. I'm going to use the -
I'm using a very light colored fabric over there.
So we can really see the directional changes, the form
underneath.
The reason I said we need to figure out half-lock above the
others that you can actually see this right here is another
kind
of lock right? It's closer to what we did when the
fabric was inert.
Or not going to use inert in relation to describing
a form, there is a type of cloth and a type of structure of
the cloth which is called inert, which essentially means when
cloth is just on the ground, not hanging up anywhere. So we'll
get to that too. But
what I'm saying here is that we're just concerned with the
cloth as
something
that's either describing the form underneath or kind of that
just happening with the movement of the cloth.
In a sense there maybe even isn't that clear-cut of a
distinction if you really want to think about it, but
I think for us right because we're concerned with anatomy
and the structure underneath and all that stuff and how we
accent it, that becomes something
to think about.
So right we're getting that, I'm trying to -
I am carving a lot,
kind of making sure that there's a dynamic to the folds
here. Right? There's
like the arm itself
I've curved it in a little bit more, but
the arm itself inside
is relatively upright.
Relatively.
However,
there's a dynamic to the cloth, right, that's a little bit kind
of pushes you off of that
line.
Off of the actual direction of the arm.
Which is
extremely exciting.
Now look at this now. We're getting possibly one of the
most interesting parts, right?
Is the actual like insertion of everything into
the crease in the inner elbow. Now the half-lock
right is probably one of the more useful structures that
were covering here.
Especially in everyday clothing
because
whereas here of course, I'm trying to make things a little
bit more interesting by giving this excess clothing, right, this
excess cloth hanging off
the side here creating extra creases, blah, blah, blah, all that cool
stuff, of course in real life we don't have any of that. when we don't have any of that.
In my case I don't even have sleeves.
This would probably be unheard of in the past.
There we go.
Now this one's a little bit harder to imitate at home.
Unless you have
a tube that you can put some cloth around and then also a
tube that has an angle. A mannequin of course helps, but
you can always put on a coat, right, and kind of put on a coat,
fold your arm and
and try to get a place where you can see a reflection of
this, right, so it'll be
sort of a self portrait of your arm.
Right because these are already bits of cloth and things that
correspond to a form.
That's why -
that's how I would recommend doing this.
Excellent, so
now I'm just getting in some very
basic half tones as well
right because and you can see that I'm doing it while
thinking
of the changes in direction like here,
that's a little bit more triangular.
This comes out a little bit more, this is an
important part because it's also one of the most sort of -
its kind of the outermost area here.
So we're doing a bit of that.
The closest thing to us, core shadow, cast shadow. We're not
really worrying too much about that distinction right now
until we just get in some of these
shadows and their shapes.
Right, shadow shapes. Something I don't like that much of but
kind of can't avoid.
All right. It's becoming a little bit more like what I
wanted to be.
Wonderful wonderful. Fantastic now, now just going to carve a
little bit from the outside.
We're gonna go with our principles though, we're going to
go with the fact that this is on the ground now, an elbow
maybe on the ground quote-unquote when we're
thinking of a table or something.
All right, even though I was always taught no elbows on the
table. So I do it all the time. And then
Knock in a nice cash shadow. I had to show that things are
connected to the ground but extend this just a bit. Not too
much more.
Look at that sleeve, already seeing a sleeve.
Right. It's all about the change of direction. But it's
also all about those points of contact and points of change,
right? That's the most important
logic to keep in your mind
when
this -
when practicing this, when thinking about cloth, right, so
we're beginning to get a sense of that.
Beginning to get a sense of this.
Wonderful. Wonderful. Just cleaning things up a little bit
so that we have a clear sense, but also keeping some outlines
that will give us the definitions of specific forms.
There's a little bit of excess cloth around the elbow,
all that's good, but I think it's because it's perfect to
show where that elbow actually is, right? That's the elbow.
The rest is excess. Keep that in mind.
In certain instances like here, right, here the nice strong
crease.
=But not shadow. THat crease is important because it's it's
that kind of - it's a crease that we sort of saw a few at an
angle right at the diaper
construction, right? It's that crease that has sort of a
flatter top and then it hangs
from below this.
And it's nice to show that bit of half tone because it's
establishing
the rotation of the arm. Is that too dark? Certainly.
Am I concerned?
Definitely not.
I'm keeping this sort of schematic though at the moment,
right, not really overthinking stuff.
Look at that. I can just bring this, right, there's some
corrections to the general cloth, general proportions that
you make just through observation. Notice how sort of
blocky this is at the moment. Now this sort of thing right
here, right,
whereas right there, you might even make the assumption that
that's sort of a half-lock as well like a
I probably would classify it a little bit more as a spiral construction,
which we'll get to.
And you can see
it spirals around the form. You can really see it
happening. So we're going to include it.
Honestly, if I were to stop explaining all these different
things we encounter and and what they're called. I think
just based on everything we've covered to this point you would
have no problem in looking at a piece of cloth and rendering
and placing it on paper, analyzing it all that right,
you've covered and had enough practice to just understand
how to take like a tubular structure, a pipe or a cloth and
then begin to alter its direction,
kind of making it to taper, working from the eye of a fold
to the fold and so on, right, you're already more than
capable of doing this at this point. I'm certain at the same
time.
There are of course
these particular
structures and why not cover them?
All right, I think it will help and it will still help right to
cover them. But because
that's just, you know, increasing the arsenal of your
skills, your vocabulary if you will.
Use whichever analogy if you like.
Once again notice, I'm not too concerned even here with
proportions. Obviously if this were
entirely of a human -
in the entirety of human. I'll go with that. You of course would care
about proportions
because there is not so much about cloth.
But that's more about large proportions, not small ones.
Look at that, change direction. There is a nice little flip.
Awesome.
From this fold right here you can see a little bit of a
crease almost, right, and that begins the turn towards the
elbow. So if you are noticing at this point, you can really
see how that inner tubular structure is playing a major
role. Right, everything -
like of course the cloth matters, that's what we're
doing. However,
it won't matter at all if you're not making it clear that
it's wrapping around the tube, especially if that tube is
an arm.
But all in all I actually like what we've established here. So
I think that is the end of part one, right, where we just block
things in, figure out proportions, figure out a
general direction of the cloth, figure out major changes in
plane and now it's time to move on to part two, which is
really working around that terminator, figuring out small
creases and changes and all that enjoyable small stuff.
Which I didn't enjoy until quite late in my education.
So if you don't enjoy it yet don't worry about it, just practice
it.
Okay. So now as I said earlier, this cloth is a light value,
right? It's a light piece of fabric, meaning
it's going to cast - it's going to capture a lot of light
reflecting into it from the lighter parts of the fabric,
especially in the areas of a crease, right because at the
crease you're getting an area of light You getting out area of light.
kind of reflecting into an area of shadow right above it in
this case.
So
the question is how do we do this? And the answer is usually
as you know with a sufficiently heavy terminator
clear and sharp cast shadows
and then
possibly
erasing some of the reflected lights if they're really really
bright, right, to really get that that light in the fabric.
But let's begin with just the darker qualities of the folds.
We're more focused here on construction than anything
else.
So that's our plan.
Now,
just gonna get in there right, that kind of a little bit of
an occlusion thing going on in there because that's
closer to the inside of a crease.
See and already that reflected light is beginning to work now
do I want to see even lighter? Maybe,
maybe that's nice effect.
I think that's good.
Right just reinforcing these shadows. Core shadow. Look at
that. This up here
is light, it's a dark dark half tone, but it's not shadow.
All right. See so just a little bit of refinement.
Now if I look very closely there's some interesting things
happening here, but I'm still working the shadow side. I'm
trying to define as much as I can in there without it being
overwhelming.
Look at that terminator right, clear crease, clear bit of light.
But it falls on an actual crease in the fabric.
Lovely, right? So what we're going to probably have to do is
get
a little bit of a darker value behind that crease.
And then
find that crease
from the inside.
Perfect.
Still not doing more than that. Now here nice strong cast
shadow from the top, right, from the top of this thing.
Cast shadow on top from that spiraling bit of extra fabric
on top. Now that could of course happen with an elbow, in this
case it's not describing an elbow so we don't need to be
too specific with it.
But it is with its cast shadow, as with all cast shadows,
describing the form underneath.

And see
just as an aside, right, notice the technique.
It's a kind of the way I paint
and the way
that I was taught to paint and the way that I continue to
actually in a lot of ways, right. You just get a block of
a tone,
right? It doesn't really matter what the shape is, the shape
is very approximate.
Right so very approximate tone.
And then use the eraser and the pencil and all the other tools
you got to carve the shape more precisely.
Now, of course if you're worried about keeping
everything very very clean,
you don't
need - this is not necessarily the perfect technique right because
as soon as you block something in totally erasing, it'll be
impossible.
I kind of don't think that's important as you already know
so
that's why I do find this technique ideal, especially
because as I said, this is the way that I paint and paint
though. Obviously, I wouldn't have an eraser, but I would
have a different color right? So you get a general mass of
some color of area and then you use another color of the
adjacent area to carve the original color into shape.
That's pretty much the idea
behind it. So you can see how
sort of smooth
the transition is from one approach to the other, which is
what I like. I like consistency in these things.
I like a methodological consistency.
See I'm beginning to wrap that fabric around. I'm keeping it
rather soft. The actual fabric is surprisingly angular.
So this is an opportunity, I mentioned this earlier when we
were working on the cast, but this is a great opportunity to
remember what I was talking about that your technique and
and approach should in a sense go against
the logic of what you're seeing
and what I mean by that is right, if you're seeing a piece
of cloth, right, that's very round then that's a time to
think in angles because I'm sure they're happening
and that's what you need to be worried about at that point.
Beginning to
think in angles, right, if something is very
angular than you need to be thinking in rounder longer
curves. Now
the idea behind that of course is not exclusively that your
technique has to change in relation to what you're looking
at, right, the idea is actually a bit more complex is that by
thinking in a certain technique, in a certain kind of line,
while looking at a form that that line sort of
seemingly contradicts.
You're actually
becoming a bit more observant because you're looking
for the curves within
a particular
plane, right, or a particular
straight line.
Do you know what I mean? The idea basically is right that you're
picking up on something that isn't actually that obvious
because you're just thinking in those terms.
In the end, you know, it all evens out, the technique becomes
intuitive. That's the goal. The goal is that you don't actually
ever think,
strangely enough.
Right, the goal is closer to and it too
if you know, there are these -
I think they still exist maybe but there were these
Chinese Abacus schools
where
they would learn to use an abacus
to the point where they wouldn't actually need a real
Abacus.
They would actually construct a mental image of the Abacus and
be able to calculate
enormous
kind of just
do these sort of very complex
procedures of arithmetic
in their heads, not necessarily because like that's what I
think intuition really is right. It's that construction
of the that Abacus in your mind, right?
There's a mental image
of the procedure of a structure of anatomy to the point where
you don't actually have to recall it, right, it recalls
itself.
That's the goal
I think. Now is it easy to reach? No. Is it
even possible to reach at a hundred percent? I doubt it.
But you know,
we do our best.
All right, so though I did say this is the second part of our
approach, you can see that I'm
that of course parts of it reminds us of part one.
Aspects of this remind us of part one.
Blocking in some of these half tones with
the vine charcoal.
Now
I personally am a big fan of the amount of media that we
explore in this course.
Just all different kinds,
how we're doing it. Awesome.
I think it's
great to show how these things are all kind of the same,
where your parallels and differences,
where they diverge a little bit.
The angular quality of a lot of this is really great, right,
because it's
allowing me to carve very very specifically.
Some of those casts shadows are going in there too a little bit.
And even some of these highlights.
Now I'm going to squint and try to get the, right, try to see
what I can do. Now the core shadows, the terminator in this
case is possibly more important than it has been in the cloth
up to this point
on anything we practiced before this because that terminator on
the parts that correspond to the general forms underneath
Is what's defining
the tubular form underneath the cloth.
Just kind of blocking this in.
Look at that. Look at that cloth.
Notice
now - okay. I'm going to backtrack a little bit. Notice
how I said
that
this is a weird thing right is sort of the
difference. This is going to like the strange in between
part one and part two of our process because I'm
getting quite a lot of information.
with just different variations in
angle
of certain planes, certain lines, and just with general
tonal placement using
the vine charcoal and the eraser.
You know.
Even here, that's really bright, but I'm going to kind
of push it down a little bit, notice, to get that rotation.
Notice to get that turn down.
I'm going to use the kneaded eraser to kind of carve
the highlights on the inner and outer most points.
Now
it's very easy to get caught up with all this.
Just trying to get that sharpness. I'm not - I haven't
even differentiated between cast and core and all that
stuff and that really important crease but
I'm just focusing. I'm sorry
for
the pause in explanations.
Now, let's keep going.
Now I'm just going to begin to carve out of some of these
things, right. I'm just going to take it piece by piece. Now it's
really part two.
Notice, I'm not even really discussing that much at the moment
about the half-lock, right? Because it's like a aspect of
this that concerns rendering, concerns execution. That their concerns execution. That
doesn't really -
it's not really
affected too much by the structure of the fold
of the particular fabric. That's the weird part that at a
certain point it's not about that anymore.
Not about that anymore.
Now that terminator's softer now, I'm really getting into the
specifics and I'm starting of course with the most important
part. I'm starting with
the
the half-lock, right, we're back there.
And there are elements of things spiraling around, right, you can
see them.
We'll get there, keep them in mind.
The smaller the crease,
the sharper I'm going to make the lines, the cleaner I want
this to be.
So I'm glad we're now encountering, notice how even here countering notice how even here
I'm exaggerating maybe a little bit, but I want that to wrap. So
I want every little hint of it to show the forms
underneath.
Even this little edge
is core shadow.
So it's these specifics that are beginning to matter a lot,
right, that wrapping around. Not part of the half-lock, as
a structure not part of the half-lock.
However,
impossible to ignore.
Now moving into this -
you can see that that's a pipe that
breaks apart into two pipes, right? Remember that,
same stuff on a smaller scale. Cloth is a marvelous thing,
right, because it gives you
an understanding of what happens
and you could see how these changes, these principles
keep scaling, right? So it scales in some ways - I
wouldn't go so far as to say infinitely - but it scales as far
as the particular fabric allows.
There used to be
these
small mannequins for artists
a while back
and they would come with clothing for the mannequins and
they were very small. So the clothing was made out of a
fabric that would imitate
the fabric that
you would have on right so it would be let's say, it
would be made up of a certain kind of fabric that would look
the same on a smaller scale possibly because the fabric was
made out of something
not as heavy, right? So on a larger scale
it looks like a certain thing and then when you see
it has to look - so if you were to take the exact same fabric
and put it on a little mannequin, it wouldn't act the
same way because
the properties of the fabric, the way it creates sort of
changes in the cloth, don't actually scale infinitely. So
you need to change the fabric
in some other way to make it scale,
but you can see that it still scales quite a lot even just
here, right? We have all these same principles that we get on
a larger movement of cloth
on a much smaller scale.
Like a tubular form breaking up into two
we've seen this before.
Excellent.
Right. It's all of this in here. Right? It's this part is
the half-lock is that change of direction and the things
that happen when there's a crack in the big tube.
Everything gets
stretched out right here as it sort of starts to
stretch along the elbow.
But then the excess fabric inside is creating that half-lock
right where each of the tubes is drastically changing
direction, overlapping
in and out.
That's what the half-lock is. So whenever you see a sleeve on
an arm,
right, in this position or on a leg where the knee
is bent,
right, just remember that this is going to happen - this
isn't hard and fast - but just remember as a rule that you can
sort of stick to that. This is going to happen when the change
in direction is
sort of over
the 90 degree mark. In math of course this is going to be the opposite, it
would be under 90 degrees.
So more acute, a right angle or something more acute than that.
Look at that. Look at that. Beginning to really wrap there
on the elbow.
Actually gonna bring this down just a little bit, bring down that
excess fabric just a little bit.
Now my hand, of course is covered in charcoal and you can
see it's having an effect. Not to worry, we will tone that away.
Now, this is a nice little crease. Is it helping? Not
really.
I'm gonna knock it back. It's supposed to be on that on the on on that on that
shadow side. If I had evened out the fabric there it would
be totally flat, things like that. Right? Just think about
if you were to even them out, would there still be something
there?
Is it large enough to be structurally significant?
No is the answer.
About this one.
But can it contribute to a quality of the fabric, can it
contribute to a mood, can that even contribute to some general
movement that it will be necessary for your global
sort of idea, the expression. Yes, of course it can. At that
point it becomes structurally significant.
Is it now, not really. There is a bit of fabric behind the
sleeve. You can see it right there. I'm going to ignore it
because it's not -
that's just excess not that necessary for us at the
moment.
I'm going to leave this too for now. I'm not so concerned with
that.
There are just trying to get - if we're really interested in
anything it's what's really happening
inside
this crease in the elbow.
That highlight - obviously keep in mind right the smaller
the crease, right just like the eye of the fold, the
the clearer the highlight is right because it's a smaller
amplitude of curvature and smaller the amplitude,
the quicker the turn of the form and the quicker the
turn
of the form the sharper the highlight.
Now this right here, right, another interesting element,
characteristic of you know, something a little bit more
alive,
but kind of an accident much like this one. Right, you can
straighten the folds out there without losing anything.
But I'm going to put it in anyway, because I think it's
exciting.
Right general placement, sharp
edge,
soft edge.
Get a little bit more specific with this bit of a sleeve right
there.
Okay. Now, of course
one gets accustomed to a method
of procedure and I didn't take a break
between part one and part two and I'm beginning to feel my eyes
getting a little bit sort of cloudy. I'm not seeing -
I'm getting lost in things, I'm getting lost in small changes not being
able to focus on the larger ones. I'm just going to clean
up this
background a little bit and also wash my hands in the break
so that I don't keep doing this. This is a little bit
excessive. And as you know, I don't really care too
much about this because it's maybe too much. Oh my goodness.
Okay, so I'm going to
sort of reassess, I'm going to take a moment to
reassess and we'll come back and we'll keep sort of
polishing those small intricate and interesting structures of
the half-lock
on the sleeve.

We've taken a moment,
I've kind of looked at everything and reassessed a
little bit and
let's get back to it with a fresh eye.
So the first thing of course I see and you have been seeing
this all along, is that clearly I'm pushing my shadows a darker
value than they are in real life, right? You can especially
see this because when you're looking at everything in
context you clearly you get a lot of -
you're getting a lot of all this reflected light, but also
in relation to the darkness of the background, right? So since
we're not worried about the background too much, that's not
what I'm
worried about here. So don't worry, right? We just need to
get the feeling of the form, the turning of the fabric. All
that stuff is much more important than anything else
in this case, right? So if we're pushing these shadows a
little bit more it's okay. It's okay because they're
allowing us to see
what we need to see in order to just demonstrate those
reflected lights, as I said before. We're just going
to need to make a clear distinction between terminators,
cast shadows, and reflected lights.
All right, but
just to mention once again that classic rule that the light is
reflected light no matter how much light is in that shadow
cannot
be as light as a half tone.
Even if the half tone seems super dark, that's the rule.
Now that's a nice small crease
in there.
That needs to be cleaned out all the way.
Wonderful.
And just enough of a darker edge
in there.
Alright, so we got that large tubular form here with creases
and all that stuff
and then it folds right in
and we pull it back out for this crease on the outside.
Edge work.
Never forget its importance.
And terminator.
All right, really wrapping that form,
but then look, there's a little more complex structure of the eye of
the fold here. Right? It's it's folding in here, but in
multiple directions, right? It folds in on sort of the
two-dimensional plane, but it's also squeezing
along that just edge of that form.
It's a little more complex now.
There we go.
And using the eraser to carve out this element right there. Now
what I highly recommend
is practicing some of this from imagination. Now,
there's sort of a structural imagination right, if you
understand how something
functions
as an element, right, you can
invent it.
Now that's all good. However, if you don't have the
vocabulary and in this respect sense, I'm using vocabulary to
explain if you don't have the experience looking at how these
things
function in actual life then
you end up
with
something that's sort of overly schematic.
And that is not what we want, right? We want - even if it's
imagined
it needs to come from our
immediate experience.
That's the secret.
So
but now you basically can, right
you have a tube and arm right and you can begin to
cast
a cloth going off of those areas where that cloth
changes direction and begins, right, wrapping around
that's that half-lock and then from there lakh and then from there.
it begins to
extend out again.
So where it's compressed is another point of origin if you
will.
Up top, here, point of origin. All right, here point of origin.
All of these are points
of origin and this up here is a point of origin. And notice
how it does in fact spiral around.
But we'll encounter that a little bit
more directly when we're talking about the spiral
fold.
Right here there's a lot of changes of direction, small things that I
think will make a big difference, right? I mentioned
this a lot, not just here but when I
teach my classes, right the formulation I have used
is enough for me to sort of be a little bit more aware of it
is that it's this idea of something that's minor but
important.
Something that's minor but makes a difference.
That
is what we're talking about here.
Now, there are minor things that as I mentioned that don't
make a difference
and then ones that do.
And of course
there's a lot of that that's personal, right, the things
that I just have highlighted here
that I think
aren't that important. And of course
it's that we're going back to that whole thing, especially in
cloth, right, cloth really teaches you this, it teaches
you
preference, right, the things you prefer
over others.
Things you prefer. Now this right here on top,
let's break this up into planes. You can almost see it.
There's a top plane, half tone.
There is an under plane right here,
part of our shadow,
and there's even like a little bit of that top edge, the
triangulation outwards. That's not the right word. That
triangular plane
sticking out there that
creates a top edge of that structure.
See slowly right? We're getting really increasing
our vocabulary, we're just remembering
patterns. We're remembering how a piece of cloth looks.
Because when you're working from imagination,
you're actually working
from understanding but also from what you've experienced.
So your memory,
don't forget the role that memory plays in this.
And some people
maybe naturally have
certain abilities to remember what they see
but
more importantly is that it's totally
learnable right? It's something that you train
by doing the things that we're doing.
And I assure you that the more you practice, the more you look
at the world,
the more of it will
remain in your head.
Now this crease right here actually continues down to here,
which is lovely because it gives us that turn of that
upper part of that sleeve, right, so even though that's light,
we need it a darker value
to begin to turn the general form
Now what I do want to do
is of course cast this shadow
so that it falls onto
the form underneath it. Now by doing that I'm already showing
that this is turning away from the light. Meaning this is a
darker value.
You can see it.
And then we can kind of continue with the crease, can't
see too much of it. But then look, right, whenever you have an
origin, kind of something else coming out from underneath
that's a place to accent, it's a place to show overlap.
Because if we don't use overlaps, there were not using
anything really. Overlaps create the illusion of form.
It's all we got to do use when we're trying to do -
when we're trying to create something that appears
three-dimensional on paper
on a two-dimensional surface. Don't ever forget that this is
not real.
And you know on the one hand, right that seems obvious, like
of course not real. Who do you think we are?
Thinking of this is real. You'd be surprised though.
I get carried away thinking that it's real because
strangely enough there are moments when you kind of - to
make it look convincing you kind of have to, right, you kind
of have to think
that you're sort of - that you're actually sort of
sculpting even more than you are
just translating.
You can say that
sculpture also is a form of translation, but obviously
it's an object in front of you in space. So
I don't think it's as much of a problem.
So yeah, so see how that's beginning to wrap. Now I'm
working inside the shadow. You think this is might not be that
important
that goes against kind of that general rule common to
all
kind of academic art educational institutions
and that is that,
you know, you keep the shadow a little bit simpler.
And you do
but you use it when you need to.
All right that nice little crease is just an added bit of
information. That's kind of a fun thing to look at
moving all the way up here.
All right, just a couple of these creases don't really help
much but look at how this half tone on the side here works.
Begins to show us that tubular form underneath, right? We're
getting that full form even though it's disrupted by cloth.
This is the difficulty, right? You're
working these large forms underneath
and you're trying to see
how
there are areas on top that are disrupting them,
which are easy to get caught up in
but we're also working to preserve them.
This part right here gets a little more complex. I'm just
going to clean that up,
right, you can see that there's a nice little crease along that
edge, right? You can't help but love these edges.
It's going to use that sharp line and then change of
direction and wrapping under.
Doesn't that create so much more character?
Like you just can't help it, that it's sometimes just so
nice.
See me erasing that reflected lights, that's too bright for
sure,
but is it effective once I knock it back? Let's see.
Like that's a crease to that little point on the edge. Then
that's clearly something that will transfer inside, right,
create a little bit more of a plane.
That's kind of an interesting hatch that we practice at the
academy quite often, right, the sort of right you don't
actually anchor. It's more in the wrist than anything
else.
Moving back and forth a little bit.
Just cleaning stuff up.
So.
Alright, so we're not worried too much, again. Just sort of go
going to stress that point, not worried too much about our - sort of
the quality of the fabric, right? We're doing that all
with the creases,
but we're not doing it with the values that much.
This right here is a nice, once again, a nice little triangular
change in plane.
But it's all just a bunch of triangles if we think about it?
But that's already sort of on the top
of the cloth,
right, not so much defining
either a particular element of the cloth like a fold or the
structure underneath but where you get can get change of plane
is if you do begin to -
and changes in just the direction of the forms
underneath this is where they are.
Now that's obviously a dark value underneath but right we
want to show as much as we can stuff happening there.
Now this cast shadow is powerful,
falling into there
from this
spiraling part. And then let's get some of these core shadows,
cast, right small things like that.
Just something to make this come alive right there, right,
and also to show that this is a darker plane, right? This is
at this angle now.
That's sort of the interesting element here right that you can
work
in two different ways. If you've noticed you can just
establish the big tubular elements, right? You could
simply say this is what we have right here. This is what we
have right here, lights from here. That's your terminator.
That's your terminator.
Core shadow, that's it. And then begin to introduce some other
things right? Like okay, so that's a full that's coming
into here meaning
it has its own
core and cast shadow see. Then you begin to break up these simple
shadows
here too, little small creases right? They're breaking up
the forms inside so you can start with that like a general
conception of it or somehow a little bit more advanced, closer
to what I'm showing here
is that you can also begin with just the folds themselves
how to capture them immediately,
but then keep in mind that inside you have a cylindrical
form.
Just adding a few things along that sleeve right to make it a
little more interesting, not worrying about anything here,
right? Because I don't think it's that important, but just
going to tone it back just a little bit.
Good, knock that back a little bit.
All I'm going to show right there. And now for the final
intricate little moves inside the form right anything that
looks to be a little bit too - right that's the secret, right,
you start with these large changes in plane and light
and shadow and we saw them. We're always working from we're always working from
the general to the specific, even if it's sometimes
a little specific to begin with.
You know, so and then we find if something looks to be a
little bit too schematic whether to
like a piece of -
change of direction maybe
it's too straight of a line or it's too clear of let's say a
triangular plane.
Then we break it up, right, with minor little details. This is
an illusion, right, because we can keep going indefinitely. We can
keep carving and carving.
But if you just have enough of them
you realize how
you gotta leave some though you leave how alive this all
becomes.
And yet structured.
All right, we're just kind of playing a little game here.
Right? We're hiding
some of our -
some of that
clarity.
that's a legitimate fold inside the shadow.
Let's kind of make it appear a little bit.
Almost there,
right and if you have the time and the patience and the
interest you can keep adding those small things kind of
hiding those large changes in the cloth as you go.
That's entirely up to you.
And you see that there is sort of a happy medium right happy
medium between large form modeling and small form and
that medium will depend on you, will depend on the particular
artistic movements that in a sense you're emulating
because we're all emulating, even the most original
of us,
is emulating an artist that they like.
Overlap,
effective,
effective, cool. Now
look at this bright light that I started with earlier.
It's a nice little crease, gives a little bit more life, shows
that excess fabric, but how bright can it really be?If we
knock it back a little it's clearly on that shadow side,
even if turned enough to catch light. That's the difference.
Right. I'm trying to be consistent here. If there's a
crease there
all right I'm following, right? It's that consistency of a
crease, right? You're following it from start to end, right?
You're going all around. Okay, then there's a change of
direction when you reach sort of like if it feels too much
like a line
then you're not taking it in enough.
Now some who large
directional changes right kind of going back to the general,
going back to the big form.
Okay,
just clean this up a little bit.
And there we have it. There we have our half-lock as it
applies to the sleeve, meaning to a tubular form underneath
our cloth.
So
now we've covered the half-lock. What we're going to
do next is remove the sleeve part again for a while, for a
short while really, and go on to the next type of
construction of cloth that that we encounter.
And we're going to pin the fabric again and see what
happens. I'll see you then.

In this assignment, using the images and the 3D scans
provided with this course, you're going to be working on
the half-lock fold. Now the half-lock, in my opinion the most lakh in my opinion the most
interesting
construction, as well as in some ways the most useful, is
something to really spend time on. Keep in mind that we worked up keep in mind that we worked
on it both when the the fabric was hung as well as when the
half-lock appeared due to
a change of direction of a tubular form underneath that
the fabric was wrapped around. This particular construction,
right, with a tubular form underneath is harder to figure
out at home. We happen to have a mannequin hand, but if you
are interested in drawing this from observation, I would say
find a person to pose with a bend in the arm, for example.
This is considerably easier to arrange, just make sure to hang
up the cloth and make sure that there's a change in angle that
is acute or lower than 90 degrees.
This is an important one so do spend time on it and try even
to get to a point where you can invent these or at least
approximate them from imagination. Good luck.