20 minute line drawing using fine art pen. Barbour jacket on back of chair… eveining. Inside by french window, light dimming.
15 minute charcoal drawing with 5 minute putty rubber. Barbour jacket on back of chair… afternoon. Light cloud. Inside by french window with door open.
How easy did you find it to create volume in the folds of fabric?
I think what I learnt by the end (and there was a progression through the drawings as I failed and tried to understand why and try something new) is that there is both a pattern of shapes to folds… and a tonal structure.
Patterns of folds
You can suggest a single fold by a highlight, shadow and tonal gradation between the two. Sometimes even a dark line next to a light one will suggest a fold.
It’s easier from a distance, as in the 20 minute tonal charcoal drawing of the jacket. Here the context of the jacket helps you ‘read’ it (pocket, arm, flaps) and light or dark areas that run down the material. The more complicated shadows like the pocket that have a tonal change that give it reality so the smaller creases (a highlight against a uniform grey area) read like a crease.
The line drawing gave me some lovely patterns but not volume, though interestingly the area with least work (but the shapes are right) is the nearest to working.
However, in the ‘close ups’ you don’t have any help, it has to read as a section of folded cloth.
By square 7 the folds are beginning to work but it’s not until they are organised properly (speak to each other as folds in material)… in 8… that it looks like a piece of cloth.
In short, there’s a sort of ‘language of folds and creases’ and how they fit together, and you need to get that pattern right for it to work.
Tone of folds
This is easier in that where you have a shadow or a sharp turn, such as the pocket or the crease around the arm, the tonal change is big. But where there is a gentle turning there is a more gradual change in tone.
The technique seems to be to get the changes in tone right… to a glance there’s a line of highlight next to the turned away material which is darker, but in reality there’s almost always some form of gradation. If it’s too abrupt it looks like a hole, or just unreal – as in 2 and 6 which are poor.
If it’s right it starts to look like real folds as in 8.
To show volume in folds of fabric you’ve got to get both the shape and pattern of the folds and the tonal changes right.
This is harder when you have material in close up with no clues as to how the material is lying and nothing to keep your eye moving.
I unintentionally made this harder as apart from the natural light and dark caused by the folds, the jacket has light and dark areas caused by wear. Which add a second layer of difficulty as they are working in a totally different way to the folds of material.
Also, I think having an olive-green jacket (tonally a mid dark grey) made the tonal changes harder to see and draw. The material absorbed the light – and I was also, in effect, drawing the tone of the material as well as the light and dark caused by the folds.
A lighter material would have shown volume differently – more clearly – and I think it would have been much easier if I’d used a piece of white material.