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The Artist's Guide to Drawing the Clothed Figure by Michael Massen Excerpt
Uploaded by Crown Publishing Group Advanced Drawing Skills
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For my mother
Copyright © 2011 by Michael Massen All images © the author unless otherwise noted. All rights reserved. Published in the United States by Watson-Guptill Publications, an imprint of the Crown Publishing Group, a division of Random House, Inc., New York. www.crownpublishing.com www.watsonguptill.com WATSON-GUPTILL is a registered trademark and the WG and Horse designs are registered trademarks of Random House, Inc. Library of Congress Cataloging-in-Publication Data Massen, Michael. Artist’s guide to drawing the clothed figure / Michael Massen. — 1st ed. p. cm.
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Chapter 1
THE ANA A NATOMY TOMY OF FO F OLDS
Drawing drapery can be challenging. An arrangement mig consist of just a few folds, or it might involve a complex gro cloths twisting and falling over one another. As with drawi thing else, however, drawing drapery is easier if you can br complex comple x pattern down into more simply conceptualized conceptual ized ele A human body body,, for example, is easier ea sier toto draw i f title if broken do Sign up vote on this Not trunk, useful Useful its component parts—the head, the arms,the and th The structure of drapery, however, is very different from that of human or animal
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Gravity
Picture a roll of fabric unspooling. Once
movement in the zigzagging appearance
cases of extreme movement
it hits the ground plane, a length of the
of the cloth’s edge.
environments such as unde
cloth will travel a certain distance in one
As a roll of cloth unspools, the causal
outer space, gravity, or its
direction. Then it will double back over
force is the pull of gravity. As gravity
still be considered, even if it
itself and travel in the other direction
exerts a vertical pull, the folds that result
overcome by another force.
until it reaches a point the same horizon-
are horizontal. When drawing cloth,
tal distance away from the vertical wall of
remember that gravity affects the entirety
about gravity. As physicists
the descending cloth, but on the opposite
of the material at all times. Whether it is a
think of gravitational force
side. This simple phenomenon forms the
cloth lying on the ground or a coat draped
the opposite direction. In fi
basis of every fold that we wil l study in this
across the shoulders of a figure, gravity
action depicted could be co
book. As the cloth unspools, this action
pulls at it equally at every point. So when
the floor coming up from be
continues, back and forth. Observing the
you draw drapery, remember to depict
the loose edge of the cloth
cloth from the side, as in figure 1.1, we
gravity as the chief actor, consistently
upward on the loose edge o
can see the result of this back-and-forth
drawing the cloth downward. Even in
you will see a similar result.
But there is another wa
apply force to a cloth you to see it being compressed
FIGURE 1.1
that is perpendicular to th
likewi se, wherever you see a pressed folds, you should be
for that compression’s sourc
When studying draper
principle in mind: Folds g
directio perpendicularly to the Sign up to vote on this title
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pressive force, not parallel t
useful inNot other words, folds are usu a push, not by a pull. This
the unspooling cloth i n figur
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Compression vs. vs . Tension Tension
Although folds are almost always formed
you will find that these horizontal folds
figure 1.3, you would find th
by compression, not by tension, the subject
are, in actuality,
caused by the pulling
tal folds appear, no matter
can be confusing. Look at figure 1.2, which
action of the hands but by the pushing of
pull. This is because, absen
not
shows two hands pulling at either edge of your thumbs and fingers into the cloth.
of the fingers and thumb, the
a cloth, and notice the series of folds that
When the cloth is manually stretched, the
pulled in one flat plane.
appears between the two hands, running
force is not distributed evenly throughout
in the same direction of the pulling force.
the whole area of the cloth, and so these
is being pulled also depends
This is what most people would expect to
horizontal folds stand out in shar p relief.
tion of the weave of the cloth
see. But if you try pulli ng on a handkerchief or napkin yourself in the same manner,
The appearance of folds
If, however, you were to pull the cloth
weave is in the same directi
using a pair of straight, flat clamps, as in
ing force, then, no matter
Two hands pulling a cloth in
the weave.
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FIGURE 1.2
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Two clamps pulling a cloth i
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FIGURE 1.4
Two clamps pulling a cloth obliquely to the
direction of the weave.
the pulling action, no folds appear. If,
direction of the pull, the a
however, the cloth is pulled in a direction
folds is actually dependen
oblique to the weave of the cloth, a dis-
factors, which, besides the
tinct set of small folds will appear, running
the weave of the cloth, migh
in the same direction as the pull, as you
the looseness of the weave
can see in figure 1.4. This is because the
dance of material relative
reaches of the threads that are far from
Therefore, when drawing cl
the clamps are now being compelled in a
to focus on the forces of com
horizontal direction. If the top and bot-
ing on it rather than the for
of pronou you see a set Sign up to voteWhen on this title
tom of the cloth were pulled as well, the
cloth would be stretched tight, and the
Not useful pendicular to the folds, than
So it can generally be said that while
motion that emphasizes th
Useful folds would disappear altogether. a pulling action
produce folds in the
more attentive to the pushin
the cloth in that direction.
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Resistance
As stated above, gravity is the main force
The more complex the shape of the sup-
gravity is coming from the b
acting on cloth, pulling it downward at
porting object, the more complicated we
drawing, where the ground
all points. But most cloth that we observe
can expect the resulting folds in the drap-
ventionally ven tionally implied, and that
is resting on something. When a piece of
ery to be. But for now, let’s take a look at
that same direction. In all th
cloth is suspended, part of it is resting on
some simple objects to observe how grav-
drapery bends and falls alon
an object, but the remainder of the cloth,
ity and resistance act on cloth. As you look
the forms, since beyond these
with nothing but the air to offer it resis-
at figures 1.5–1.7, assume that the force of
nothing the cloth can rest on
tance, continues to be pulled down. Because cloth is supple, it will conform, at least to some degree, to the surface of the resistant object. But if t he cloth extends beyond the edge of that object,
FIGURE 1.5
gravity wi ll continue to pull it downward, causing the cloth to fold or bend along that edge—that is to say, along the limit of the supporting plane.
Cloth draped over a cylinder.
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FIGURE 1.7
Cloth draped over a square-sectioned solid.
Bear in mind that, while the cloth con-
The setup of each of the
forms to the shape of the top surface of any
purposely simple. Each of t
of these forms, the fall of the cloth is indif-
has an edge that is smooth
ferent to whatever form the bottom surface
parallel to the ground. The c
of the objects takes. Once the cloth leaves
falls evenly over the edge, cre
the support of the object, only the air and
unmodulated fold. In subseq
gravity will affect it. In each example, the
we will see how additional f
drapery—“uninformed” about whether it
tilting the forms or adding ir
is resting on a cylinder, a rectangular solid,
the edges, will modify the re
or a square-sectioned rectangular solid—
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behaves the same way once gravity regains
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Monodirectional Folds
By looking at the simplified setups in
our observations for now and merely take
structure of each fold. Let’
figures 1.8 and 1.9, we can see how a
note of how a theoretical force moving in
structure common to all t
series of even, parallel folds will result
a single direction, and evenly across the
folds in these drawings.
from a perpendicular (sideways) com-
breadth of the cloth, will produce such a
pressive force.
series of paral lel folds.
In figures 1.8 and 1.9, ju
1.1, 1. 1, the points of the folds w
The formations depicted in these illus-
changes direction do not ta
trations probably seem familiar: Figure
sharp angles but are instea
1.8 might be a shower curtain, suspended
section drawing of any of t
at one edge to form a vertical plane. The
Structure of a Single Fold
material has been compressed by a force
ments would look like the s
file depicted in figure 1.10
moving horizontally through it, as when
In figures 1.8 and 1.9, you should see an
to the rounded edge where
someone pushes a shower curtain to the
echo of figure 1.1. In that first drawing,
direction as the ridge ridge of of the f
side. Figure 1.9 could be a napkin lying on
of an unspooling cloth folding upon itself,
a table. A horizontal force has impacted
the force of compression was the verti-
this form, as well, but this time across the
cal force of gravity pulling down/push-
whole breadth of the cloth. True, gravity
ing up. In figures 1.8 and 1.9, the force
is also pulling down on the cloth from a
of compression is moving sideways, but
vertical di rection, but let’s leave leave that out of
it produces a similar result regarding t he
Vertical waves, created by a horizontal
force, in a vertically suspended cloth.
The profile of a typical sine w
rounded peaks at the top and b form.
Horizontal waves, created by a force per-
pendicular to them, in a horizontal cloth.
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FIGURE 1.10
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B
C
The parts of a simple fold, with their traditional names
labeled: A is the ridge, is the plane.
B
is the slope,
C
is the base, and D FIGURE 1.11
Close-up of the peak of a fold in cross-
section. Note the rounded ridge at A.
Figure 1. 1.1 11 shows a si ngle, simple fold.
the plan the base and Sign up to voteboth on this title
Note how its component parts relate to
the sine-wave pattern depicted in figure A
“plane.” There will be mor
1.10. The “ridge” is
chapter.
useful Useful Not marked as A. The If you go back and look
flatter, broader plane ( B ) that leads from
ure 1.1, you will notice tha
it is traditionally called the “slope.” It, in
the compressed cloth ridge
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Monodirectional Folds in Tubes Now let’s look at what happens when a
the length of the cloth tube, like the folds
In drawings like these
force compresses a cloth that is tubular
of a concertina accordion. By contrast,
where the folds folds tur n are exp
in form—that is, a cloth whose edges are
in figure 1.14, the force of compression is
But you should remember t
joined to form a cylinder. There are two
moving in a direction opposite that of the
do not represent sharp edge
possibilities, depending on which direction
cloth tube’s long axis, causing the waves
merely mark the areas wher
the force is moving in. The first is illus-
to run longitudinally longitudinally,, or parallel to the long
ous, curving forms of the fo
trated in figure 1.13; 1.13; here, t he compressing
axis of t he tube. Note how in each case, the
from the light or from the
force is moving in the same direction as the
back-and-forth wave pattern is the same.
should always be understoo
long axis of the tube. The folds, naturally,
In either situation, t he folds—looked folds—looked at in
eted, three-dimensional form
form perpendicularly to the direction of
section—still run from crest, to slope, to
the force, and run transversely (crosswise) to
base and repeat again from there.
Horizontal waves, created by a vertical
force, in a vertical tube of cloth.
Vertical waves, created by a
force, in a vertical tube of cloth
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