|
THE ANATOMY OF DRAPERY |
|||||||||
|
_______________________________ |
 |
||||||||
|
DRAPERY ON THE HUMAN FIGURE t THERE ARE SEVERAL IMPORTANT LANDMARKS ON THE HUMAN FIGURE, PRODUCING FOLDS OF GRAVITY (A). YOU CAN USUALLY FIND THEM AT THE HIPS, SHOULDER, ELBOWS AND CHEST. SOMETIMES FOLDS CAN HANG PENDULOUSLY, UNBROKEN FROM THE HIPS(1) TO THE SHOES., OR FROM THE SHOULDER (2) TO THE HAND. AT OTHER TIMES, THE FOLD IS BROKEN BY COMPRESSION AT THE KNEE (3) OR ELBOW(4). YOU CAN FIND COMPOUND FOLDS OF TENSION AND COMPRESSION (B), WHERE LIMBS FOLD UPON THEMSELVES AND AT THE JUNCTURE OF LIMBS AND THE TRUNK. THE FOLDS OF TENSION (C) OFTEN HELP TO DRAMATIZE THE THRUST OR GESTURAL MOVEMENT OF THE LIMB, AS IT IS TUGGED FROM ITS POINT OF SUPPORT. THE HUMAN FIGURE 1S IN CONSTANT MOVEMENT, AND SO ARE THE FOLDS. BUT WITH STUDY, YOU WILL FIND THAT FOLDS WILL TEND TO GROUP AROUND THESE MAJOR LANDMARKS. WHEN DRAWING CLOTHES, FIND THESE MAJOR FOLDS FIRST, AND THEN DRAW THE SECONDARY, MORE TRANSIENT WRINKLES RUNNING OFF OF THESE. |
|||||||||
|
|
|||||||||
|
|
|||||||||
| DON’T LET YOUR FOLDS HANG
IN AN EVEN, FLAT OR PARALLEL MANNER. LOOK FOR THE OBLIQUE, TWISTING AND TURNING QUALITY
IN THE PATTERN OF FOLDS. OFTEN, THERE IS A COMMON POINT FROM WHICH THESE FOLDS
RADIATE (G).
BUT NO TWO FOLDS ARE EVER THE SAME SIZE. LOOK FOR VARIETY IN THE SIZE OF YOUR FOLDS, WITH SOME THICK AND BROAD, AND OTHERS MINUTE AND DELICATE. AND TRY NOT TO CONTAIN OR OVER SEPARATE THE FOLDS FROM THE WHOLE, UNDERLYING MASS OF DRAPERY, OR YOUR DRAWING WILL LOOK AS IF IT HAD BEEN RENDERED FROM A DOLL OR FIGURETTE. T |
|||||||||
|
|||||||||
