We were looking at forces, building the directional
forces from where joints are and so on and how things full arepull
from those and create these directional forces. Today we're going to look at
different types of folds that also originated from these types of movements
and so on. So we'll look at the shapes they create and how they fall.

So just initially what we want to look at is the different kinds of folds
that fall across
any kind of a form and her costume is going to have a lot to do with it.
But we're going to see that there are different kinds of
folds that are working with these cylinders. We can start with
cylinders. I'll start with this side, this is going to be more of like a
zigzag type of a fold is going to come towards us and we're going to see that
it's going to go back and forth around and it's these are basically the types of
folds that are going to be bunched up around the cylinder. Okay. Then they're
going to - they're going to kind of modify if you will when the fabric gets a little
bit broader out here and they're going to turn into more of a spiral kind of a
thing because they're going to fold up and let go to going to go into a point of
origin up here. Okay, where these that zigzag, they come around the form here,
these are going to be generated from
a certain point and we're going to see where those go. So these are two
different kinds of folds from her upper arm down to her lower arm.
Okay. So those are two different kinds and we're going to look at those. So as we draw
from the model today we're going to look at these different kinds of folds.
Again, we're going to be looking at the folds that come across and have a
particular origin and then and wrap across, those might be spiral folds that
twist around the form like this and then start to wrap.
Something like this and then start to turn into
more of a zigzag kind of a situation.
This one still has a spiral because it's still coming around. It's getting pulled
from the outside in like this. Okay, and then tightens up into these little
zigzags down in the bottom here.
So anything that you have, any kind of folds there's going to be transitions
that we're going to have now your knees and elbows and stuff they pull from
possibly from your hip or from a high part up on here in this. In her costume
she has kind of a vest
element here and her full skirt that comes out of that so there's
folds that get gathered so there's a lot of gathering around the top up here okay
and from the gathering of the looseness of this is going to come down and go
something like this.
Wide like this, so it's going to pull across the top like this
and then it's going to go into falling around where your leg is and we're going
to get another bit of a fold come in here. And this is going to be like
around her knee and
these kinds of folds are going to be like elbow and knee folds that can kind of tuck
in here sometimes like this and back depending on the fullness of the
fabric. Okay, they're going -
so this is this is going to be her leg that comes up here.
And then comes into here, so they're going to wrap around and around on the
inside here like this.
Okay,
these pull from above, you know, up
underneath her collar here.
These are like
like pipe folds they all they'll pull from this one central line.
So they're all going to come around like this.
They're all going to pull into this
area here.
Again, pulling down from underneath just like these go out. These will pull down
like that
to the outside there. Same thing here. These are going to pull down from
this one point up in here. So that's why there's going to be these more of
these like pipe folds because there are pulling from that one point.
Okay. So these are the like three different kinds of folds that are all
occurring within this one figure and it depends on you know, how they're
sitting and so on that you're going to get these this types of movement in here.
Go up a little bit higher here too.
Actually gonna go on to this one.
Now in this case
we have this
this young angel
and being a
kind of an allegory a lot of times the type of folds and fabric, they'd be
these floating
fabrics that kind of defy gravity. Okay.
And these shapes would you know create these larger rhythms.
Okay, they might have an origin but they would really kind of defy gravity
as they came around. So that's - these are these flowing types of
folds and like I said you find these mostly in more allegorical paintings,
where they have you know, angels and and characters that are flying or
floating or defying gravity in one way or another
where as you can see on the other character over here,
from his hip down this fabric is is very literal and it goes right around his leg
here.
It's a very
very deliberate kind of
folds.
And these might go over like this and then
create a shadow under here.
In the shadow like this.
As they sit on the ground they're just going to go kind of flat. These
are
the kind of folds that you might see on on material that's just
sitting on the ground. Okay, that's kind of a little different kind of a fold
too because it doesn't follow a dynamic form like you see in here like the
zigzags or the
these spiral folds or even the the
pipe folds. Okay. So we have these kind of floating shapes that defy gravity and
then strong wrapping shapes that go around this, you know where you're
getting the, you know, some strong definition and they're just really
countering the fact that that these folds up here go back on.
Wrapping
around this form and being very solid. You know these seem very rigid, very solid
in contrast to the angel over here
and we get a couple of these kind of elbow folds in here and then
quickly turns to spiral folds as it comes towards you.
Like this around the tube of his arm.
Okay, again spiral fold wrapping around from his shoulder
like that.
Okay.
All right. I'm going to take the figure from the second from the right and
I'll draw him right here. Now he's got a long robe. Okay, he's shaking this
gentleman's hand over here and he's got this long robe thats hanging down like
this and is hanging from two points. Okay up from his back up here and wrapping
around like this. So it kind of has this - it's almost like a diaper fold if you
will.
This kind of a fold would be more like a diaper fold because it comes from two
points. It comes from there and over there. Okay, when it gets out from this one
point here it's going to be more of a a pipe fold, you see. That's going to be the
difference there. It's going to go like this. This one is going to have a little
back and forth.
It's going to go up like this.
And he's going to really play it out all the way down here. Okay, so this is more like
a diaper fold like this.
Okay, so that diaper fold is going to be from two points.
Okay.
I pulled from two points there in there,
the pipe fold
from one point.
Okay,
this kind of a zigzag goes from around
the cylinder, right? We have more pipe folds in here and here that pull from
one point
And then we have these spiral
curves or spiral folds
that are also wrap around a cylinder.
Okay, we have these kind of floating
folds that you'll see and and a lot of artists work and
referring to these allegorical paintings or paintings of angels and stuff. That's
the real difference in the type of folds that they put in those characters and
you know, and then the more literal folds that we'll see in here kind of these knee
these knee folds that that might go in here and that's going to be the result of
the bending of two cylinders or bending of a cylinder or the joining of those
they're going to be pulling from back here.
And then there's going to be a broad fold in here somewhere and then pulling back
from that same area here and depending if they're tighter pants or slacks then it's
going to pull and hold to the back
of the leg here.
And go forward
that way. So it's going to want to pull out because it this material
came from
this and we just put a big crease in it there. So this is how that might work.
So, of course when you pull this down, it's this part up here that's going to it's this part up here that's going to
want to resist and pull against it. So that's going to create the force. That's
why this goes out on this side. Okay.
So look for these kinds of these different types of folds in our
drawings today and as we go through I'll draw them as well and kind
of call them out. So if you - if you learn to identify that type of fold then
it's going to make a lot easier. You're going to have - you're going to understand
the characteristics of that fold the type of fold, understand the force of where
it's getting pulled from and then also you won't be copying so much
exactly, you know, noodling what that contour exactly is. You're going to be
seeing the direction and the Sweep of that, you know of that fold, so, you
know, maybe along the shoulder here. Here, you know as you go and maybe
something's going to get pulled out along here.
Like this you're going to understand how that works.
So you can make sure that that is staying, you know, you're staying true to
that.
Rather than worry about going around the outside and doing all this and making
folds that are feel a little bit more awkward. Okay, if you understand the
kind of the type of fold and where the forces are that actually where they those
folds originated from or how they work. Well then it's going to be easier to
understand the nature and the character of those of those folds. On these spiral
folds in my drawing the valleys of the ridges. Well, this one would be a ridge
in here and the valley would sit behind here.
This could be a ridge here and a ridge here. The valley could be behind here.
So you could drop right here one twist around the cylinder the spiral twist
around the cylinder. Let me just show you here the spiral
it might get pulled from this area and it's going to pull around this way. Okay,
and they'll be a kind of a general force that will pull from here in
here and will pull back up.
Zigzag is going to go - it's really more around like a bunching that will go
around
the cylinder.
So where this one goes along, more along the length of it. This one goes more
around it this way. How do you draw the folds whether you draw the peaks of the
valleys and how do you keep them from getting confusing? I'll usually go from
the origin
and see what's pulling and I'll probably start with the ridges.
I'll define where the ridges are.
And the valley is just kind of the negative space between the ridges so the
it kind of goes hand-in-hand so I'm always looking at the positive and
negative contrast and you're going to see that, you know things that go back and
forth like this. There's some that are going to be
you know, maybe this is deeper,
you know, and your ridge is narrower in here. There might be some where
your ridge might be really full, you know, and have a
you know, go all the way to here.
You see?
And then picked up like this on a ridge over here and then this might
be like this.
Okay.

Let's draw and I'll kind of call those out and see as we go. With her kimono
there's the cut of the clothing kind of provides kind of unique folds, so
just start with -
I'll start with her.
And just to kind of get the -
I want to get the...
So I'm kind of looking at just kind of a mannequin really of where she's,
you know, of her pose and then I can hang the material on that
and I can see from her upper shoulder
t's it's really more of a spiral fold that comes down
here, the edge of the material comes in here.
Her hand is pushing in there
and then it folds back in here.
From around again coming around here and then her shoulder as well.
There's a strong crease
from around here.
The large sleeve comes out this way.
So we can see how this folds up here like this.
The seam in there then this pulls down in here like this. So looking at that.
This pulls down this way. And again this pulls from her hip up here. So this is
going to be more of a spiral fold that pulls out from this area. So I'm drawing
the Ridges of that and I can see it kind of terminates right there.
Belts.
Bottom of this
and then this goes back over here.
One of the things like I said with a with a kimono, so it's cut in the certain
way that it creates distinctive shapes and folds that will silhouette in a
way a little bit different than some of these so we need to take a look and see
how we're going to manage that.
Okay. So once I kind of set up a kind of a basic mannequin for this kind of folds
we're going to see that where these these.
areas are
that are going to pull from
her shoulders. Okay, and I can see that from her shoulder that there's a thick
collar.
It comes across kind of like this
and then turns down and folds back.
And then there's a fold on the - it folds under here.
There's a bit of a sharper kind of a folding here. So it's a little bit here,
comes a little harder fold in there and then it sweeps back and follows s
low line on her hip where this fold is one that pulls from the material out here
like this.
And from her belt is up in here. So coming out from underneath this
fold we have her belt
and then
these kinds of folds here.
Here's where you might get the
shadow side of the fold. So I first I identified the peak of the fold and then
I'm seeing where the shadow of it is. You see
that kind of a thing and
sgain, this is - it's pulled tight to her hip over here
snd then hangs loose down in here
where this
comes in front a little bit like this.
Go to the other side.
This is coming up from behind and then we got this kind of fold that's coming from
her shoulder, comes out like this, and then on the inside here just pulls this
way and then this comes down like this and then
be a little crease in here,
which leads you into the other fold here.
Comes around the bottom of this.
Okay. Now the fabric's a little stiff out here.
It's made to be stiff so that gets these edges and then it sweeps down here these edges and then it sweeps down here
like this. So almost out to just below where it meets with the wrist.

Okay. So from her broad collar like this it's a high on one shoulder, it's a It's it's a high on one shoulder. It's a
little lower on the other shoulder here like this.
And it pulls from here,
like this
on her shoulders and follows the back of her arm.
In here you can see the spiral folds.
This is - you can really see clear it pulls from the back of the elbow and we get
this spiral fold goes up like this.
So that's kind of the basic form then if I'm going to pull off of this I could see
that this is a point right here on her elbow
that the material is going to hang from and then come back. This is more of a
zigzag fold
from her elbow up there.
It's going to go back up here and then back
around like that.
This gathers under here like this.
Folds out like that.
Again with the belt. The belt is creating these kinds of gathering there.
This kind of a spiral folds going to be at her hip
and then across on her knee.
That's going to be pretty much coming from that area up there, pulling from up
in there, all the way down there.
And that's why you get this pulled back up here.
Get pulled back here because that spiral fold or that kind of a knee
bending there pulls this out.
Okay, so I'm seeing that from the shoulder there's the - from the shoulder. There's there's the from
this one point there's kind of a pipe fold at the top up here, wraps around,
comes down here then
from here, we get a little bit of a more of a spiral fold that folds across the
inside.
It goes across the form.
Beautiful.
At the top up there we have another fold, it kind of comes in like this.
Another one that completes it under here.
Here on the top of her arm coming down here there
is a
kind of a -
it's another spiral fold that comes across
at her wrist.
Back up the arm
and then wraps around
this way.
So wrapping around and around
down here there's one long
fold that comes down to her elbow. Kind of seeing the material
here
and then
pulling
here then kind of held up or pinched in there on her sleeve here. There's a
fold that goes around the top
like thae. Another one that comes like this again. These are
pulling across the form like in a spiral fold here like this.
Under the bottom here there's a little overlap
folding in here. Oops
And then large sweeping fold that comes in
from the top up here and goes all the way up to the shoulder up there like that.
Another one wraps in from there
and then it comes
back in up there.
This is kind of a clear
holding back here up here and then another one up here.
It all pulls up into her waist under her belt.
Under he belt.
From the belt another one comes across like
that.
Her pants kind of stretch around her
and so these folds are going to be smaller and tighter in here.
They're still going to pull from her knee.
That's where the major pull or stretche is going to be is to her knee.
Okay.
Give your hand a break there.

These kind of folds are more in the types of things you see in more of the
Renaissance drapery. Okay, so we'll take a look at this compared to you know, the
folds of her top and then the folds of her skirt, so that we'll compare those two
and try to contrast them a little bit too okay.
Okay.
So I wanted to kind of establish the type of folds up on top from her top.
This is I want to get a contrast between the type of folds on the top and the type
of folds in this long flowing.
Thank you.
Thank you. It got real crazy in here. Didn't take a lot of time to get in here. I only
got the large shapes in here, these folds up here.
Like they follow the form and then they wrap around, right, or something would kind
of wrap around and then come around and then peel off the form and then pull back
in so they were a little bit more rounder or they would they were smaller curves,
right?
They'd react a little bit like more like this.
Even the arm here on her arm on the sleeve would come down and then wrap
up and then come
up here. I mean her elbow is down in here. Let's see. here. Let's see.
There's that off that
and that and then her hand came in here like that. So you have a little bit of
this kind of movement but down here it's these long broad sweeping
curves and shadows,
you know, they came across here because these are broad, you know pieces of material
and from her knee in here, I have those little bit high, might come in here like
that and I'll figure like that.
Or they just kind of go
to her knee like that.
This
and then there was like a lot of contour or contrasting angles in here, you know
that would fold in here
and then come around like that.
Down in here you get this kind of broad open big sweeping turns folds coming in
here, kind of like a more starch kind of a fabric and then it would lay flat on the
ground like that.
Okay, so that's kind of the difference is just kind of the
the attitude of the curves and arcs. These are all following the forms here
where these are only pulled by this, you know, these major areas like right here,
right here, right here, and they just hang large, you know large, big, simple
shapes.
The folds once they got in here and gathered there is nice. There was a lot
of sweeping
edges or folds that came back, you know from her leading leg right there, you
know, and as the fabric came back like this
you see a lot of this kind of thing.
And then sweep it back and then following it through even down in here.
If I'm storyboarding, if I'm going to
be a little smaller frame, right, see if I'm storyboarding something and say
person is sitting
we'll do the same kind of a
pose there.
Let's just say it's something like this. What I would tend to do is
I'll look for the large simple areas. Like maybe this is the a knne,
that's a knee.
And then if the material hangs down from there, then I might look at
something like this.
Fabric was rolling over there. I pulled from her wrist is and hanging down
something like that.
I'll look at the general silhouette shapes and if there's certain character
to the shapes, I'm going to look for - I'm going to draw the nature of those shapes,
you know, just like a tree or
anything else. What I may end up doing is I'll end up drawing the the character of
the tree
and I think you know, if you've called the spirit of the tree or the nature
of it because if you see the natural rhythms in it, those are the things that
really
tell you more about it. That's what gives it attitude. You know,
you know, you can do
you know, you can do mannequins, you know and say okay this is my storyboard. If I
was doing a live action storyboards I do mannequins. I wouldn't really -
I don't really worry about the character or the expression on something. So with
something like this I might even - I'll even put a frame. all even I'll even put a frame.
And sometimes you know, it really helps sometimes to put a frame to me in
kind of the proportion because I can see there's some strong angles here. And if I
almost kind of draw a bag around
the model getting just to get the silhouette, you know,
then I can get the nature of that. You see how this is squared a little more. This
is round a little bit more and then I get a sweep up
kind of like that.
So now I can get this kind of a broad shape and I can be fairly close in here.
So now I can look at
this is going to get get pulled off of here
like that, the outside of it.
The inside of that fold
at its origin up there's going to get dark.
And then another tight one in there.
And then there's a series of a few of them in there.
Okay, and these are all going to come down into this area
where it's going to turn.
Turns.
I'm gonna get this
kind of general shape.
See where that goes in, that comes right off of here.
That's gonna tell me there's this
subtle fold there.
And then this comes out this way.
Fold those over the top.
That again over here.
Just kind of following it up like this and pulling around, going around the top
here.
You see like the major fold in there.
Then
this is like real subtle.
Like we're talking about the composition class. I might look at
you know, even a tonal range, just to two values in here, you know giving me a
little difference.
Something like that.
Just you know, just a little suggestion Well
might just be enough.
Look for the big simple shapes in there.
This I realized comes down a little bit more.
Sometimes, like I said, sometimes what
I should be doing more often is doing this: what happens is when you
close this in a little bit then you're looking at your positive shape and your
negative shape and you get your proportions a little bit better. You know
that kind of a thing. Whereas if you're just drawing on an open piece of paper
you can kind of ramble and you know, all that kind of stuff.
Yeah, but if you - if you have a boundary, then you're going to be working that this
to this,
the positive and the negative and you know shapes like this to around here slong
this way
and then small folds here
to play one against the other.

What I want you to do is look at some drawings. You can get a
head start on it. We're going to start dealing with rhythm and how we can
move your eye around the whole form from shape to shape, how folds take part
in that, the cut of the material, how that is is part of the whole movement across
in and out and around the figure. Okay. So take a look at some images, do some
drawings, try to find some rhythms through those drawings and we'll go from there.