$125
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Full course
Learn the basics for how to draw a variety of clothing and drapery. Master the 7 basic folds and understand how fabric interacts with the human figure.
$125
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Educator, painter, and art historian. Author of Figure Drawing: Design and Invention and Gesture Drawing: Dynamic Movement and Form.
LESSON NOTES
What's in Premium?
In this premium critique session, we tackle advanced drapery techniques to improve your character drawings. You will learn how to identify specific folds and fabric types to accurately render texture and weight. I show you how to handle overlapping forms in complex poses by building over a solid mannequin foundation. We cover how to use line quality, like sharp angles versus soft curves, to communicate different materials. You will also learn how to edit your folds to create clear focal points so your drawings do not look cluttered. Finally, we discuss how to use clothing to emphasize the gesture and tell a stronger story with your pose.
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DOWNLOADS
Assignment_Mannequin_1.jpg
286 kB
Assignment_Mannequin_2.jpg
180 kB
Assignment_Mannequin_3.jpg
268 kB
Assignment_Mannequin_4.jpg
247 kB
Assignment_Mannequin_5.jpg
193 kB
critique-z-flag-and-inert-folds.mp4
2 GB
critique-z-flag-and-inert-folds-transcript-english.txt
73 kB
critique-z-flag-and-inert-folds-transcript-spanish.txt
79 kB
critique-z-flag-and-inert-folds-captions-english.srt
119 kB
critique-z-flag-and-inert-folds-captions-spanish.srt
133 kB
COMMENTS![]()
![Steven Michael Hampton]()
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![Josh Fiddler]()
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![CharmLotta]()
Drawing clothes that feel real requires more than copying folds.
I'll show you how to use line weight and fold types to highlight the gesture of your figures. Let's turn drapery into a storytelling tool.
that was awesome. Really clear for me. Hopefully will help with editing things better. Still too draw into drawing what I see rather than using imagination. But, I'll get there.
Thanks for picking my worst drawing! Exactly this one drained me the most. I like the checklist in lesson notes (perspective, gesture, storytelling), because I tend to focus on the mannequin and folds themselves and can't handle anything else at once. After the last critique I remembered more about perspective and wrapping around figure, but the next two points didn't exist anywhere in my current assignment... To my personal list, I have to add line weight. Right from the start, I noticed the sleeves were blending into the rest of the garment and I considered switching to a different pencil colour. I hadn't thought to just use thinner, more subtle lines.
