Analysis of folds

One of sixteen drapery studies by Leonardo da Vinci

http://www.louvre.fr/en/oeuvre-notices/drapery-seated-figure

http://www.metmuseum.org/toah/hd/leon/hd_leon.htm

Analysis of folds:
We will identify the basic/general types of folds and the characteristics that are associated with them.

In order to make your drapery study successful, it’s critical that you apply what you’ve learned through out the term. Consider the study of value, and light as the foundational aspects used to construct your paintings, as well as the fundamental elements that support the realization of drapery.

Key points:
Folds are impacted by the underlying form or structure. (ie, clothes on a figure, clothing draped over the back of chair, etc.).
The point of impact is also called the point of origin; fabric at the point of origin will have tighter, more taut and even linear characteristics.  Conversely, the further away from the point of origin the more the fabric will billow out, appear open and flow(ie), and subsequently less linear.

At its core, folds will take on the shape of a triangle. As a fundamental practice (tool) adhere to the concept of general to specific, and one would seek out triangular shapes to help establish the initial phase of the drawing.


Types of folds:

·       Gravity inspired (pipe-like)

·       Dual point of origin (diaper fold)

·       Half lock

·       Dead fold

Gravity inspired has a traditional look and feel and is best described and identified as having a tight and defined point of origin.  As the fabric flows from the point of origin the individual folds resemble a pipe or half-pipe shape. (ie, window drapery, fabric cinched at the waist, think pleat or waist area of a dress or simply, a piece of fabric hanging from a nail on the wall).

Dual point or diaper fold, I prefer to use the term dual point. Historically, a dual point fold was referred to as the diaper fold, either works.  Dual point folds have several points of origin have the same properties as gravity inspired folds.  Typically, between the two points you’ll encounter unusual qualities, somewhere between tight, linear folds and a billow. This is often called a Half lock, which I’ll cover next.

The primary characteristic of a Half lock fold is that the fold turns in on itself and acts as a strong indicator that something has changed.   A common place to find half lock folds is inside the bend of an elbow, back of the knee, bend at the waist.  The half lock possesses hard and soft edges plus tight characteristics that slightly billow out.

Dead fold is as it sounds, maybe the toughest fold to tackle, it consists of a bit of everything with limited direction.  Many dead folds are lumped piles of fabric with various folds responding to and acting as points of origins. (In short, it's defined as a mess).

https://www.metmuseum.org/art/collection/search/387994

https://www.metmuseum.org/blogs/now-at-the-met/2015/neoclassical-drapery-studies

Painting folds:
As mentioned the fabric should be correctly illuminated revealing to you the value pattern of the fabric, it also allows you to see the pattern and characteristics of the folds. The energy and anatomy of the fold is a direct result of compression and expansion of the fabric.  Note the pipe folds resemble a wave like pattern, one portion compressing the other expanding; this pattern should correlate with a light/dark pattern.   As you investigate and discover the patterns, look for the characteristics that identify the action of the fold.  Also be cognizant of the recurring theme of change and respond to it.

A great indicator of compression and expansion is to sit or stand up straight and bend side to side.  One side of your torso will expand and the other will compress. This exercise resembles the energy of the folds you're describing.  

Review
Paint from general to specific: Address bigger, basic forms first-

A core requirement of painting from observation requires the artist to investigate the subject with the goal to see and analyze the subject.  It's reasonable to say that we will understand the subject better after continued study especially in contrast to the immediate response, (ie, your brain will have more visual information after two hours of observing the subject compared to five minutes of observation).  This observational concept supports the idea of painting from general to specific.

Being mindful of changes is a good rule (tool) of thumb when establishing major planes or shapes and defining values from observation.  The core idea is that you identify and react to the subject that you're painting.  In most cases if you identify a shift in value, seek out a planar change or change of direction. Conversely, if an element has changed, seek out a shift or transition in value. The changes or shifts could be a result of the subject turning away from you based on your position in space or it could represent a change in the physical structure of the subject.  Regardless, something has changed, respond to it and use the information defined as changes to help describe your subject and achieve sculptural weight.

Contributing source: Drawing drapery, Vilppu