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The Art of Drawing Folds : An Illustrator’s Guide to Drawing the Clothed Figure PDF

197 Pages·2018·23.74 MB·English
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i THE ART OF DRAWING FOLDS From Renaissance fresco painters to contemporary graphic novel artists, the ability to draw clothed fgures from one’s imagination has always been crucial to artists – and exceptionally diffcult to attain. With over 220 illustrations, The Art of Drawing Folds: An Illustrator’s Guide to Drawing the Clothed Figure reveals the logic and patterns in folds, enabling the reader to more easily predict the behavior of cloth when creating folds in their own drawings and paintings. Addressing folds in clothing systematically, the author provides a clear, concise approach to the analysis, classi- fcation and visualization of convincingly naturalistic folds. Starting with the nature of fabric and its geometry, this book methodically explores the reasons for fold behavior based on the construction of clothing and the shapes and actions of the human fgure. An essential guide and reference for animators, illustrators, storyboard artists, comic- book artists, 3D modelers, sculptors, fashion designers and students, The Art of Drawing Folds simplifes one of the most complex and important aspects of drawing the clothed fgure. Kelly Gordon Brine is a storyboard artist working on movies and television shows such as The Punisher, Daredevil, Jessica Jones, Designated Survivor and Person of Interest. He has taught drawing as an assistant professor at the University of Toronto, and has also worked as a comic book artist and a software developer. ii iii THE ART OF DRAWING FOLDS An Illustrator’s Guide to Drawing the Clothed Figure Kelly Gordon Brine iv First published 2018 by Routledge 711 Third Avenue, New York, NY 10017 and by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN Routledge is an imprint of the Taylor & Francis Group, an informa business © 2018 Taylor & Francis The right of Kelly Gordon Brine to be identifed as the author of this work has been asserted by him in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identifcation and explanation without intent to infringe. Library of Congress Cataloging in Publication Data A catalog record for this title has been requested ISBN: 978-0 -4 15-7 9341-4  (hbk) ISBN: 978-0 -4 15-7 9342-1  (pbk) ISBN: 978-1 -3 15-2 1107-7  (ebk) Typeset in Univers by Out of House Publishing v CONTENTS Introduction 1 What Are Folds? 2 Three-D imensional Drawing 5 Learning to Draw Folds 8 1 An Overview of Folds and Materials 11 Planes, Cylinders and Cones 12 Parallel Folds 12 Radial Folds 13 Compound Folds 13 Complex Folds 13 Some Characteristics of Materials and Their Folds 14 2 The Elements of Folds 19 Cloth Draped Over the Figure 19 Cloth Under Tension and Compression 19 Convex and Concave Surfaces 21 The Anatomy of a Fold 21 The Hinge Line and the Crease 22 The Geometry of Hinge Lines 23 Wide, Narrow and Circular Folds 25 Compound Folds 26 The Effects of Gravity 28 The Effects of Wind 28 The Strength of Folds 28 3 Parallel Folds 29 Simple Parallel Folds 30 Compound Parallel Folds 37 4 Radial Folds 47 Simple Radial Folds 48 Compound Radial Folds 54 5 Interlocking Folds 56 Inverted Folds 57 Two Parallel Folds Interlock 58 v vi Contents Interlocking Groups of Parallel Folds 58 Parallel Folds Interlock with Radial Folds 59 Interlocking Groups of Radial Folds 59 6 Complex Folds 61 Ditch and Bridge Folds 61 Bent Tube Folds 64 Folds at the Joints 66 Subdivided Radial Folds 70 Subdivided Radial Ridge Folds 71 Nested Inverted Radial Folds 72 Festoon Folds 73 Linked Festoon Folds 74 Telescoping Folds 76 Twisting Folds 77 Compressed Radial Folds 78 Zigzag and Bent Tube Folds Compared 79 7 Folds at the Floor and Edges 82 How Cloth Folds When It Meets the Floor 82 How Cloth Folds When Draped Over an Edge 88 8 Drawing the Figure 91 The Mannequin 91 The Proportions of the Figure 95 The Head, Ribcage, Clavicles, Hips and Spine 97 The Upper Limb 104 The Lower Limb 111 Muscle Crawl 114 Joint Surface Exposure and Length Change 116 Tendon Stretch 118 Creases 120 9 Clothing and Folds on the Figure 122 Clothing Construction 122 Anchor Points and Tension Lines 125 Studying Tension and Compression in a Pillow 126 Folds in Pants 127 Folds in Shirts and Blouses 133 Folds in Formal Jackets and Coats 142 Folds in Skirts, Dresses and Robes 145 Folds in Shoes and Boots 152 10 Folds in Hands and Gloves 156 The Back of the Hand 156 The Fingers 158 vi newgenprepdf vii Contents The Palm 161 The Thumb 162 The Wrist 163 Tendon Stretch and the Fingers 164 11 Folds and Wrinkles on the Face 166 The Eyes 167 Folds in the Cheeks 168 The Forehead 170 Folds of the Face in Youth and Age 171 Drawing Smiling Faces 172 12 Light and Shade 173 Twenty Illustrations Explaining Light and Shade 173 Index 185 vii viii 1 INTRODUCTION Folds are mysterious and elusive. They attract us with their colors, their textures and their intricate shapes, and they intrigue us as they hide and reveal the human form. Their ever-c hanging character seems to give them a life of their own, but they keep their logic hidden. Folds have always been an important and striking element of fgurative painting, and through the ages artists have studied folds both to capture their beauty and to clothe the fgures in their paintings more convincingly. In this book I unravel the mysteries of folds. And because fgure drawing and light and shade are so important when drawing the folds in clothed fgures, I have included chapters on these topics as well. The important topic of fashion is beyond the scope of this book, but the knowledge you gain about folds will serve you well in illustrating any fashion you choose. I have worked for over 20 years as a storyboard artist for major flm and television productions, and some exam- ples of my work are included here in the introduction. At university I studied mathematics, and as an illustrator I am self-t aught. I acquired the knowledge and developed the methods described in these pages so that I could draw quickly and convincingly from my imagination without having to fnd reference photos to copy from. Folds have long been a neglected topic that deserves more attention. In this book you will fnd thorough, insightful and convincing explanations of the mechanisms of folds in clothing and elsewhere. If I had found a book such as this early in my career, it would have helped me enormously! Folds are found everywhere in fexible materials such as paper, plastic, foil, leather and cloth. All materials fold in similar ways, although the thickness, stretchiness and other qualities of materials affect the number, size and angularity of folds. The principles of folds can be applied generally, but this book focuses on folds in clothing. The approach of this book is to understand the reasons for the many shapes of folds. It covers the essentials for creat- ing believable folds both in clothing and in the skin of the face and hands. Well-d rawn folds help make drawings and paintings of clothed fgures look three- dimensional and realistic, as well as adding their own beauty. When we draw from life or photos we can copy what we see, but when drawing from the imagination we need knowledge to guide us. Drawing the fgure requires anatomical knowledge, while drawing folds requires an understanding of their geometry. Once an artist has learned why folds occur in cloth, they can apply principles and patterns that will take much of the guesswork out of drawing clothing. This book covers both the theory and the practice of drawing folds. There are many reasons to believe that the masters of the past created their paintings largely without models, relying instead on their knowledge of anatomy and folds. Some of these reasons are: horses, futtering drapery and fying cherubs don’t pose for portraits; a model with the right appearance may be unobtainable; models and costumes are expensive; the posing of dramatic actions and angles can be diffcult or impossible; folds change every time a model takes a break; and drawing without using models is considerably faster. If you look at paintings and drawings by masters such as Michelangelo, Leonardo da Vinci, Peter Paul Rubens and François Boucher, you’ll see that they had a remarkable understanding of folds. If you draw from your imagination, as do fashion illustrators, animators, graphic novel and comic book artists, car- toonists, storyboard artists and others, the more you know about folds in clothing, the better you’ll be able to draw. Realistic folds will accentuate the shape, action and character of the people you draw, will make your drawings look more attractive and believable, will ensure that poor folds aren’t a distraction in your art, and will save time. If you draw mainly from models or reference photos, knowledge of folds will help you determine how to simplify and accentuate the folds. If you believe that knowing something about artistic human anatomy is important to your art, then knowing about the “anatomy” of folds is probably important to you too. And just as with human anatomy, the goal is not to make your drawings perfectly accurate, but to make them convincing to your audience to help you tell your story. 1

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