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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.
comments 6
I had noticed with the spiral how the fold affects the surface wrinkle/contour and the same effect is clear in the Z fold as well. The draw alongs from the examples and critiques has been really valuable to me as well in building up the assessment for analysis. I’m a big advocate for offloading the thinking/observation of drawing while learning the implementation before just going to do it and I find the way Steven conveys his observations is very accessible to me (which was part of the draw to this class specifically from watching some of his other content).
LESSON NOTES
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I'll walk you through the last two active fold types: Z folds and flag folds. You'll learn how to draw Z folds to show compression and heavy, baggy fabric bunching up against a surface. Then, we'll tackle flag folds to add dynamic movement to your characters, like a cape catching the wind or fabric reacting to a sudden spin. I'll also show you how to map these folds onto a figure and edit out distracting details so your drawing stays clean. Finally, we'll adjust our line work to show different textures, like stiff leather boots versus soft cloth.
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DOWNLOADS
z-folds-and-flag-folds.mp4
741 MB
z-folds-and-flag-folds-transcript-english.txt
30 kB
z-folds-and-flag-folds-transcript-spanish.txt
33 kB
z-folds-and-flag-folds-captions-english.srt
42 kB
z-folds-and-flag-folds-captions-spanish.srt
46 kB
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Fabric tells a story about movement and resistance.
We explore Z folds and flag folds. Z folds happen when fabric compresses against a surface. Flag folds break gravity to show forces like wind. This helps you ground your figures.
I had noticed with the spiral how the fold affects the surface wrinkle/contour and the same effect is clear in the Z fold as well. The draw alongs from the examples and critiques has been really valuable to me as well in building up the assessment for analysis. I’m a big advocate for offloading the thinking/observation of drawing while learning the implementation before just going to do it and I find the way Steven conveys his observations is very accessible to me (which was part of the draw to this class specifically from watching some of his other content).
In your design of the z-fold I have a bit of trouble to understand how to integrate it organically into the rest of the garment. I basically wonder how that design influences the surrounding of that makes sense?
In the demo, I don't get it especially for the boot.To me it seems like the Z design is almost disconnected.
@Steven Michael Hampton Could you perhaps show how to integrate this design into the neighbourhood of the garment, please?
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17d
I'd be happy to add this suggestion to the critique. Would you be open to submitting some work that shows specifically where you're struggling?
Otherwise, I think I understand the question. The "z" fold integrates into the rest as a consequence of the fabrics weight. It describes an excess weight or gravity meeting the ground or another object of resistance. It can be disconnected, in a sense, in that it's not as tied to anchor points and movement as some of the other folds we've discussed.
