Famous Artists Course Famous Artists Schools, Inc, Westport, Connecticut Drawing clothes, draperies, and costumes — tesson Albert Done Fred Ludekens Norman Rockwell Al Parker Ben Stahl Stevan Dohanos Jon Whitcomb Robert Fawcett Peter Helek George Giusti Austin Briggs Harold Von SchmidtDrapery ‘The individuality and character of drapery are almost as important in the drawing ofa figure asthe figure iusell, Cloth, by ivell, is without any par ticular form or character, but in use it becomes “alive,” and i is eh action of lth, which we call drapery, chat chiefly concerns us in this lesion, Many distinct kindof fois are presen in drapery, each of which muse be analyzed betore is character and Indivialty can be expressed. There are folds that clap, radiate curve, fall and dip. There ate others that drop, lock and rgzag. But the structure of all these vious fos is governed By ences asic laws IF you understand and memorize them, you will have sound ‘working basis fr draping figure or sil ie Laws of gravity Almost al folds are fit governed by the laws of gravity. This can be proved Jina very simple way. Holt a square piece of cloth in from of you and selene 4 drops to the floor because of gravity and lie there inertly If you shu Atop it several times, this characterise would not change ~akhough the varlety of folds may difereach time it ix dropped, Now pick it up by am fg and hota i at arm's length, Pulled downward by the fore of gravity, ail'the material falls toward the floor Irom the point whete you grasp i “This ist point of support and you can ee that folds of definite chars Inave develope. These folds are tubular or ppelike and they hang vertically ‘You can repeat thi simple experiment st many times a you wish and these Pipe folds wil always recur Now, take hold of the lower end ofthe clo and Titi up unl is level ‘ith your ther hand. Spread your hands slighty apart. Notice that folds ot 2 diferent type, of « dipping or curving nature, sweep avons fom ha to hand. The slack in the center ofthe cloth i pled down by gravity eeween our evo hands ~the two poins of support. You eould repent ths exper. ‘ment endlesly and, while the detail of the fos might vary the charter ‘of the folds would always be the same: This i rue because the laws of gray. ity and the principle of the point of support are at work Points of tension ‘There isa second principe that is just a8 important to the understanding ‘of folds—the principle of the point of tension. When you bend your anne for example, the elbow becomes a point of tension. You notice tht folds ta the seeve appear. radiating from the elbow. Similarly, in teouters, there te * Point of tansion atthe Knee eating lds that exteial to the croton, Os 8 closely Sting skit, cere are poins of tension onthe thighs. Ax you bend, ‘ist tur, or move your limbs, your elthing is drawn taut on many der ft pats ofthe body, producing point of tension and giving ve tat variety of folds and wines, Laws of folds White all folds are governed by the laws of gravity and by the points of sup port and tension the character of the fos nto great extent convo bythe shape underneath. With the addition ofthis principle, we actely ‘nave three things to remember: (1 The laws of gravity (pois of oy and tension, (8) the shape underneiti Although folds may appear w be of complex nature, they ate not. Folds ‘have, in fact, been classified acorcing ta seties of laws ‘The lormulailon ot these Jans became possible when i was learned that, under given condions predictable folds recur with only minor variations. For example, the mas, Binal drawings om this page show the pipelite fos flling trom a single point of support an the curving flds when the cath hat two pote rt. Unser similar conditions these folds will recur constaity; oo eo, ‘Wade general ons wee re ae folds may vary i detail but the conditions that form them will not permit many Saration te in, fondamental character, Doped he oh le a 9Feu Ari Course Drawing clothes, draperies, and costumes vay “There ae seven base kinds of folds, cach one classified according to a basi lave. The names ofthese folds, whieh indicate thei shape, at: (1) Pipe, @) Figg, (3) Spiral, 4) Haltlock, (6) Diaper, (6) Drop. (7) laete Vou ae cel eee cere et aren ta constantly confronted with them. By understanding them, when you are ‘drawing you will not make mesningles marks indicating folds, The folds you draw willbe decisive, diectional and convincing elth is used as a drape over a igure is shape is controled by the shape of the figure beneath, and mos of the seven las occur somewhere on a “raped figure. The depths ofthe folds are determined by the abunvlance of loth in the slack areas between points of support. Remember, there isa factual reason for the behavior of each fold. The folds are not just a bunch of wrinhles. They are governed by baste Laws Stuy dhe drapery around you and pay attention to dhe diferencs in folds [Notice how a tablecloth follows the form ofthe table, Folds in curtains, you willsce, are determined by points of suspension, tiebucks or fullness. Folds Inna sleeve are determined by the arm beneath, and atthe same time they ‘help to reveal the structure ofthe underlying form. Variety ‘Varieties of folds are not “new” fds: they are only modicatons of one or more ofthe seven bac folds, These modesto ae cased. by sickness, fulies, tension and direction ~ PLUS the fore of the sructre beneath Th the human figure all motions, aides and ponutes contribute to va yin ols These and ext of 3 garment a the quality of mute abo ce this variety. Groups of fol tn one area wll cots wih simple sess: Spiral fold wil conta with angular ones agg folds wt al Tacks athe tension and uppers pint ai ‘asiety in foes desirable but be cael not to dra folds that are not true to fein your efor to achieve Interest. Every fold You daw should fave x sold ats nthe lof fl, Teahould owe Korg othe sre tute ofthe nderying for The shape ofthe form underneath sould unify the folds and give them meaning just as they in tar, sould ive it mean Jag by suggesting es scare. Rhythm “The rhythm of drapery can be considered in many ways There is the pure harmonious flow ofa fold. There i the rhythm of a group of diaper fos ‘hat nee and die away. There ate the precise rythm of pipe foks fanning ‘out tm thelr pint of support. the repetition of sige tod ainsi Se the teeslowing folds of motion. "Then there ae all of these in contrast. to one another = lange against small, dep agninet shallow ~ ending in a harmonious, shythmnie arangement. All artis from the earliest times, have wed the thie quality of drapery in dee pietures Drapery, we vee. can do many things Bestes revealing form and struc tore, it can enrich aconipositon by giving i shythm. Te an introduce con trating vals and textures, making jour pictues more varied and interest: ing, As we sal oberve inthis leno t cam be used to ereate character, 0 emphasize action, or serve a major design element, For ll of thee reaons, Arapery is well worth your serious attention.Fomovs Aria Couns Drawing clothes, draperies, and costumes. 7 Two points to remember ‘You will €o.a much more convincing and realistic job of draw ing drapery if you remember two bate points which apply to all loth, regardles ofthe material First the drapery itself has frm of its own, ‘The folds and wrinkles are actual forms, made up af flat or curving planes, ‘The specifi form created bythe material will vary with the way itis ung or draped. In each ease, hough the form is there Always draw this form with alts panes in mid. A few eare- Stones eof i dt et Theron 5 2 rp i ced by tn tn mt open Wome tr one pa ot ahd peo tinea ere spe atone ineSre tome wh lenly drawn lines intended to suggest drapery will not do, and will destroy whatever conviction your work might otherwive have. ‘The second thing to keep in min ‘or form om which you hang oF dra de affected by whatever i underneath, Drapery can both conceal and reveal the plenes ofthe vader. bing form. Tereveals best where tis in low touch with the sur face It conceals where it hangs fie ofthe surface form beneath i pe the cloth. The drapery Boe tsey 7 Femous As Coe Drawing clothes, draperies, and costumes The laws of folds and their simple diagrams Here are the geometric diagrams of folds. We show you thes, {tripped of all nonessential, 10 eps ef ea pe th exactly — only the are Tepeated. These ‘ate the principles. We and low ou tose thestractre. nat fe Aan Pipe fold “The pipe fold isthe simplest frm of drape {Ic ustally occurs from one point of suspen sion or when polled between two polnts Always daw thie fold with the understan. lensing of «Aeson T Fomous Arist Course Drawing clothes, draperies, and costumesLoon Fomous Ais Cou Drawing clothes, draperies, and costumes % Holftock fold “The halblock fold occurs when rublar or fit pieces of cloth change direction The fold always occurs on the slack side “Todraw the alloc, sketch in gp general form of the drape Next mark the angle of the fold. This is where the halt La tock occurs ‘Then draw the slack cloth brnching up on both sides of he fol. wee i . . ’ = 4 sti hosto a Diaper fold From two points of support, the dis per fold occurs atthe break or turn of ~~ the cloth, This is tually on 2 wide, flat surface, rather than om a tabular) piece of cloth. Always draw this, ac fenting the sweep of the curve. The top ofthe curve je tually sharp, and the lower side of the fold is softly Shaded. The ange and roll ofthe fold twill change in character wit diferent (qalitiee and weights of the points of support vary. of whe dip changes See the Sesser ieon 7 Femous Ati Course Drawing clothes, draperies, and costumes Drop tlt Diesre eee tet tn age! Soe 1) tine he Se et tat a aed ies get Soe oo ie Gene ane ae i conse pion @ ater oe Teese ioe te pres, Dp at wil ona ml ge pra a fa inne eciaee area ovate Inort fold ARAA The best explanation ofan inet fold is to call fea "dead fold. We sty this becase it fa not active, or in use, but les inert. Te ve all manner of inmous hits Cov Drawing clothes, draperies, and costumes Aeon T fa 10 Sculpture helps to reveal12 Drawing the seven types of folds in action—asen Famous Ais Couse 4 Drawing clothes, draperies, and costumes Draping the male figure “The folds in a draped gure ae controle by three factor: (1) The shape of the undetiying form, (2) The action ofthe figute, (3) The ext of the garment. ‘The folds caused chiely bythe lave of gravity are sipported at two places the shoulders and the waist. These fol “The folds caused mainly by tension occur at in character The main points of these fold elbow, wait leptorio connection and the knee. A study of the general char. deter ofeach group of folds is necesry to drape che igure well, A garment incur to ele a gure and ae che same ne allow for Its necessary motion and acon. A garment i not jus pleve of cloth, ies elindrieal shape that isconfined and has deBnite limitations of volume. A sleeve, a coat oF skirt, is shaped to cover similar form, allowing exces cloth for fre use of the underying form. When an atm, torso oF leg bends or changes direcdon, the ‘lodh sackens on the opposite side af the tension. This cloth obviously does rot change in amount i just condenses, As it condenses, i creates folds tnt bee indefinite ways in diffrent place, The way they behave i de termined by gravity, tension, suppor and action. Stacy the captions and roses on thew pages They cover the cane and itetions of gate folds tang iat apogee Rtesean Femous Ana Coune Drawing clothes, draperies, and costumes at)ieee de Fomovs Ariat Cours 16 Drawing clothes, draperies, and costumesAesson 7 Fomous Arts Couse Drawing clothes, draperies, andtewon 7 mous Ati Coue Drawing clothes, draperies, and costumes Draping the female figure Regal of the wide range of cut an sgl in women’s clothes, there are fundamentals dhat cannot be changed. des is supported from the shou! ders extends out over the bust and descends, de to gravity, in drop and pipe folds ot hem. Ke may he gathered a the waist a fal rom the bust fo the wast, to the hip and then descend, Or it may be a separate blouse and 2 skirt. The skirt extends out from the waite and falls, de to rity, from the point of largest czeunference at the hips. Ths is adition. ly Female costume, jst ay a man's costume isa coat, trousers and shirt. Because ofthe variety in female clothing you should slays sketch in the form of the fre fst and then drape the form. This gives you something to bul on. It wll be much exser for you to find the diferent points of tension and support and have the fle correct if you draw the Figure Bs “The variety of volumes of cloth in diferent cuts of female garments makes this procedure necewary. Always follow the fold “through.” That is deaw it completely around from start to fish by drawing ies volume, its dep tnd its contour. When you do this, the fold that is controled by tension will follow the frm. ‘The fl that is controlled by gravity will nd the proerud: ing point and descend, Basle things to study and remember when draping @ figure. ae Jj = y) y’ { shea cre hae eed esl ceeLesson Fomous Aris Cour Drawing clothes, draperies, and costumes 19mous Ariss Coune Drawing clothes, draperies, and costumes7, Fomoos Ariss Coun Drawing clothes, draperies, and costumes 2Te Femove Ants Curse Drawing clothes, drapories, and costumes Drapery in motion “The most importa thing to remember, an sis isa MUST, is that he mud figure has to he drawn hat and then draped fe ‘motion, All ofthe drawings om this pa {garment fal a must The shape and ee tion of the sleeve at the shoulder control mow ofthe upper torso folds. With the tousers, ‘he cut and fullness ae the controling factor, axl particular attention should be paid to the leptoso connection. The texuers behave difevendy in different actions, Sometimes her times Hef under tension. To raw this convincingly vequites observation, study and practicetenon 7 Tomows As Coie Drawing clothes, draperies, and costumes 2324 The material affects the folds cx made of, wil form one mir fant iferences in the sie each of the folds vary wih very piece of drapery, regardes ofthe materi ‘or more ofthe seven types of folds we describe However, the materia itelf wil erete iene fol. You might say the details the (ype of material, For example, heavy materials ke coarse canvas, wool, for leather make fewer and simpler folds than we wold find in. lighter ‘materia ike satin of light coton. ‘The structure of the folds — their esp ‘hess and angularity or softness or smoothness ~ can be seen in considerable varlety on these pages. ‘Before drawing or painting apiece of material, sly the character of the loth ivel. You will nd specie qualities that ean be clearly shown in a {raweing or panting and will make the material seam more lik etton, wool, satin, etc, oF whatever itis that you ate painting. "This is particularly impor tant your picture depends on clear distinctions between diferent types of material oF characterising your subjecs by the material im heir garments3 i 5Lesion 9 / Famous Ars Cours 30 Drawing clothes, draperies, and costumes Drapery can be a major element in compositionDrawn or sculptured, drapery Is structure and formPlate ment drawings ( ier 7 Fomovs Arts Course AssignsFAMOUS ARTISTS COURSE Student work ‘Lesson 7 ‘raving clothes, draperies, and costumes HOW 10 PRACRICE AND PREPARE FOR THIS LESSON Our aim in this lesson has been to equip you with the inowledge you need to drev clothes ‘and drapery -- 80 that you can drew the Tig lure clothed in any type of garment and engaged in any sort of action. As you study, keep a piece of cloth about the size and weight of small tablecloth handy. Hanging and draping this cloth vill help you understand the ifs ferent folds and their fom, Follov these practice suggestions before you do the assignnents you send in: 1, ‘the best vay to becone familiar with drapes and folds in clothing is to observe it daily on the people around you. Wherever you see People, you see clothing in action. Carry 4 sketchbook with you to record your Observe tion of clothing and drapery details. 2. Drape a piece of cloth in each of the seven basic fold positions shovn on pages 6 ‘through 9 and make drawings of it. Keep in ‘Bind the points about form made on page 5 a: you drav and drape the cloth. 3, From your scrap file, select a let of photos of clothed figures in various actions fand make dravings of then. Study pages 12 and 13, 22, 23, 28 and 29, Draw both men and vonen in various types of garments. Pages 14 through 21 show you specific points ‘to look for in your subjects. 4. Make dravings and etudies from actual pieces of silk, satin, cotton, heavy vool, ete. Also drav Figures clothed in these var- ous materials and observe hov each material hangs, folds and bunches, 5. Finally, review pages 26 and 27 and then locke through magazines and nevepapere to see how much clothing contributes tovard the character of a figure dreving. Notice vaeth- er the clothing 18 informal or elegant, neat or untidy, new or threadbare, form fitting or oose and bagay -- and how 1 helps express ‘the personality of the figure. ‘RE ASSTGNMMTS YOU ARE TO SEND MI FOR cRITrCTSM BE ASSIQUENTS YOU ARE 10 SEND I FOR CRITICISM ASSTOMGNT 1. Dray the following clothes dir- ‘sctly over the figures on Plate 1: Bovler--ticless shirt vith sleeves but~ toned at the wrist, slacks Girl Ruming--ful1 skirt, blouse, apron Man Seated--shirt vith necktie, business suit with vest, coat Open, ‘thumbs hooked under vest, hat tipped back on head Dray the clothing with simple brush or pen and ink Lines. Do not put any shading in the dre- ing. Before doing this assignment, vork out your folds on tracing-peper overlays. Mark this plate -- ASSIGwONT 1, ASSIGWENT 2. Folloving the rough sketch at Ege, ake a picture of this situation: A stout middle-aged man in business clothes and hat dashes past his vite ‘to catch the bus vaieh taxes hin to work. lila wife, a slender vonan in housecost and slippers, stande hold- ing his unfinished toast and coffee. Do not paint in any background. Be sure the figures relate logically to each other and to ‘the floor plane, even though it ie not paint- ed in. Flan the 1ighting ond use the fold and wrinkle Patterns to euphasize the action. ‘the man should measure approximately 8 dnches fron kis hhead to his right heel (A) and the woman Should be dram in proportion, Make your pre- Liminary studies in yene!1 on visuslteing br ‘tracing paper. Use reference Plates 13 end bl, to help you analyze the form, action and folds. Do the figures in vach or opaque on an 21 x lis neh illustration board, Mark this draving -- Assrowenn 2. (over, please)Student work -- Lesson 7 Poge 2 In Judging your assignnents, we vill consider clothing reflects the action of the ‘these three important points figures. wsllo successful you are in revealing ~The understanding you shov of the ‘the form of the overlying clothing asic types of folie. as well as the form of the figure ~-liow well the pattern of folds in the Deneata. cohoT=B IMBORDUT; Be sure to letter your name, address, ‘and student number neatly at the lover iePt-Tand ‘Your lesson carton should contain: Assigment 1 Assigaent 2 1 Return shipping label f11lea out completely Maii this carton to: ‘FAMOUS ARTISTS COURSE, WESTPORT, CONN,© Famous artists seHoots