It’s a Wrap!

How to Draw Fabric Folds

for Realistic Clothing and Drapery

Written and Illustrated by Benjamin Hummel

CHERISHED SOLUTIONS, LLC / GOLDEN, COLORADO
 It’s a Wrap! How to Draw Folds for Realistic Clothing and Drapery
2

DEDICATION
To all the artists — may you fully
embrace your creative journey.
Join the movement at ArtStudioNation.com

OTH ER WORDS,
IN
IRA CY! ARRGGG!
NO P
TM

Copyright © 2018 Cherished Solutions, llc

Text, illustrations, and photography

© 2018 Benjamin Hummel
www.hummelillustration.com

General editor: Cherish Flieder

Design and layout by Cherished Solutions, llc
www.cherishedsolutions.com

Editor: Elena Sorensen

www.elenasorensen.com

Back cover “before and after” images

© 2018 Naomi Haverland
www.naomihaverland.com

ISBN13: 978-1-64175-000-4

All rights reserved. No part of this publication may

be reproduced or transmitted in any form or by
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and retrieval system, without written permission
from the publisher:

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Golden, CO 80401
United States of America
 Benjamin Hummel
3

TABLE OF CONTENTS

I. Introduction.................................................................................... 5
II. Three key points about folds......................................................... 5
1. Folds are three-dimensional.................................................. 5
2. Folds follow the form of the object
that the fabric is covering...................................................... 8
3. Folds move away from the direction
of tension points............................................................... 9
a. Gravity tension.............................................................. 9
b. Bunch tension............................................................... 9
c. Stress tension.............................................................. 10
d. Movement tension....................................................... 11
e. Invisible tensions............................................................. 12
III. Types of folds......................................................................... 15
1. Pipe folds........................................................................ 15
2. Zigzag fold....................................................................... 17
3. Spiral or radial fold......................................................... 18
4. Half-lock fold....................................................................... 19
5. Diaper fold........................................................................... 20
6. Drop fold.............................................................................. 21
IV. Now it’s your turn!....................................................................... 22
 It’s a Wrap! How to Draw Folds for Realistic Clothing and Drapery
4
 Benjamin Hummel
5

INTRODUCTION
Folds on fabric and clothing can sometimes be the most neglected part
of working on a piece of art. Oftentimes as artists, we approach what
the fabric is doing as an afterthought. Or we believe there is so much
complexity in the piece that we become intimidated. At this point, we
either give up or we hurry and sketch in some random lines hoping that
will somehow do the trick.

But here’s the problem. When folds are rendered incorrectly, it can ruin
an otherwise perfect piece of art. Like everything else, folds have a very
specific anatomy, and putting lines in the wrong places will make the
piece look lumpy or lack form.

The good news is, once you understand why drapery acts the way that it
does, you’ll be better equipped to anticipate it and observe it correctly.
Knowing what you are observing will allow you to correctly translate
that into your drawings. This makes drawing easier, freeing you up to be
more expressive and creative in your work.

The instructions in this book are a detailed breakdown of the structure

of folds. These notes are based on my understanding, observations,
and teachings through the years, finally collected in single place.

Folds do not have to be intimidating. With a little knowledge backed

by attention to detail, you too can achieve masterful flowing drapery in
your artwork.

THREE KEY POINTS ABOUT FOLDS

1. Folds are three-dimensional
First and foremost, folds are three-dimensional. Remember this! This
concept is vital in understanding how to realistically see and draw folds.
I cannot stress this fact enough. When you are looking at folds in fabric,
you are actually looking at three-dimensional form. Folds are arranged
in a conglomeration of a variety of shapes, all connected together as
fabric bunches up and moves around. These shapes are the basic shapes
we have come to be familiar with from our earliest drawing classes—
cylinders, cones, and triangles. Frequently, we’ll see a lot of artists
represent folds in fabric simply as lines. That’s okay, as long as those lines
are the correct lines, and as long as they are actually representing the
outer edges of formed shapes.

We artists often find folds difficult to draw since there appears to be

a dizzying amount of lines moving all over the place. But, when you
start to see these lines as the contours of larger blocks of shapes, the
drapery suddenly becomes more simplified. For example, three lines
by themselves are three different contours an artist has to think about
and observe. However, three lines that are the edges of a triangular
area can be seen as a single shape, simplifying what the artist’s mind
has to process.
 It’s a Wrap! How to Draw Folds for Realistic Clothing and Drapery
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observe the basic shapes

Once you start to grasp that the folds you are looking at are constructed
from a series of multiple three-dimensional shapes, the second most
important element to understand is that these shapes are actually
connected to one another. It is the interconnectivity of the different fold
shapes that makes the clothing or drapery appear realistic. If you lose
this in your drawing, you’ll end up with a bunch of lines that don’t make
a whole lot of sense.

Start by trying to see within the folds some of the basic shapes you
learned about in perhaps some of your beginning drawing classes.
Specifically, the three most common basic forms you’ll see in drapery
are the cylinder, the cone, and the tent or pyramid. All of the rules
about lighting on the cylinder, cone and triangular form remain true,

the shadow: a two-dimensional

core shadow representation of the three-
dimensional form
reflective
light highlight

light area

cast shadow
 Benjamin Hummel
7

even in your drapery. If you can remember how to do shading on a basic

cylinder, half your work is done.

Remember the different parts of shading: light area, shadow area,

core shadow, cast shadow, reflective light, highlights, and basic planes
and their shadows. The rules of shading remain true whether you are
observing and drawing from a wooden block, or recognizing it in your
drapery.

As you sit down to draw drapery, look for these shapes. Watch the shapes
as they shift and move and change. Observe where they connect and how
they move to the next shape. All of those shapes will have areas of light
and areas of shadow based on the basic form of the shape. Those shapes
will cast shadows onto other basic forms. Remember the rules about cast
shadows: a cast shadow replicates the shape that casts it as well as the
surface onto which it is cast.

In the case of drapery, this can get tricky, as the large combination of
shapes can really affect how those cast shadows appear and you can
get some very interesting shadow shapes as a result. However, always
keep in the back of your mind exactly how those shadows are created
and look for those shapes as you go about rendering them.

As I discuss in other drawing books, I often find it helpful to draw a line to

indicate the edge of the shadow area. It helps me look more specifically
for the varying shapes the shadows create and I can then quickly add
tone into my shadow area, keeping it distinct from the light. When this
has been completed, I can go back with more detail, as needed.

line defining the shadow area

fill in with solid tone first,

then modify later

As you begin to approach the folds in drapery as three-dimensional forms,

you’ll see measurable improvements in the realism of your art.
 It’s a Wrap! How to Draw Folds for Realistic Clothing and Drapery
8

2. Folds follow the form of the object that the

fabric is covering.
This sounds pretty self-explanatory, but it’s amazing how many miss
this when they get to their drawing. Drapery and folds help reveal the
shape underneath. The drapery cannot cut into the rounded form
underneath... and the folds cannot either. If the object is rounded, the
folds of the drapery will wrap around the object in a rounded fashion. If
the object is more complex, like the wet drapery sculptures of Hellenistic
Greece, again, the linear quality of the folds will move in the direction
of the more complex object. And if you were to throw a large cloth over
a ceramic goose (see below), well, the result is that the drapery will be
influenced by the form of the ceramic goose.

point of
follows the
tension
form

pipe
folds point of
tension

This is a ceramic goose drawn first

without drapery, and then covered
with drapery. Notice how the folds half-lock
move AROUND the shape of the folds
goose, and don’t cut into it.
 Benjamin Hummel
9

3. Folds move away from the direction of

tension points.
Everything about a fold including its shape and the direction it moves, is
the result of tension points. If you are really trying to understand what’s
going on with a particular piece of drapery or fabric, first try and figure
out what’s going on with the tension points. In order to help simplify
this idea, I’ve broken it down into four different types of tension points.
All folds will be influenced by one or more of these four different types
of tension points.

ONE: Gravity Tension

Folds are subject to gravity, just like everything else. Flopped loosely
over an object, the drapery will fall away from that object at the different
points of tension. These are the points that are the most prominent, or
outward points of that object. From there, gravity will pull the fabric
down until it either hangs in space, or hits another surface, which then
will change the tension.

points of
tension

TWO: Bunch Tension

This is where the fabric falls upon itself and the folds start to bunch up on
top of each other. The tension in this case is the fabric itself, as it zigzags
back and forth trying to find room in a crowded area. Oftentimes this
bunching can be caused by gravity, but sometimes fabric in a pulled-
up sleeve will do the same thing. Anytime fabric has been gathered
 It’s a Wrap! How to Draw Folds for Realistic Clothing and Drapery
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together, sewn together or compressed, or falls on top of itself, bunching

will occur. The shapes of the resulting folds made by bunch tension are
unique and will be discussed in the Types of Folds section.

THREE: Stress Tension

This is usually observed in clothing, and is the result of the figure or
the form pulling the fabric in a certain direction. When this happens, it
creates a stress tension point. Whether it’s the elbow in a sleeve, or a
bent knee, the one observable factor to folds made by stress tension is
that they will all radiate out from that point of tension. Often there will
be primary points of tension and then secondary points of tension.

Look for those points of tension in your drawing. Then move your lines
from that point. Make sure it’s clear that your folds are emerging from
that point of tension. Make sure that it is very clear that your folds are
coming from that point of tension. Sometimes it is helpful to simply find
the points of stress tension and to draw radiating lines first. Later, you
can try and see how the folds fit along those lines. This is how you can
keep your folds aligned properly with your points of stress tension.

points of
stress
tension
 Benjamin Hummel
11

FOUR: Movement Tension

Finally, we must address what happens when there is movement of
the form underneath the drapery. The most observable example of this
is during the twirl. The twirl responds to the movement of the body,
but in a delayed manner, both when the form starts its movement, and
when it finishes. The further away from the body the fabric is, the more
exaggerated the delay. This can be tracked almost parabollically as a
line starting from the form and then flowing away from the movement
of the form toward the original starting position of the figure.

That may sound all mathematical and jargoned, but what does it mean
practically? It means you can track the motion of the body through lines
in the fabric that twist in the same radial direction of the form.
These lines start where the fabric is closest to the body, and
curve in the opposite direction of the twirl or movement
of the body.

It also means that once the person has abruptly

stopped his or her motion, the fabric will continue
to move in that direction until it wraps around the
body and eventually falls back down flat, obeying the
demands of gravity. This back and forth can create all
sorts of interesting criss-crossing of lines, and can be
fun to observe and try to get down on paper. Just
remember, however, that even in motion, all of
the rules of folds discussed earlier still apply,
such as the three-dimensionality of
folds, tension point rules, and
the wrapping of the form.

Even as the fabric

swirls around the
figure, the rules of
shape and form
still apply to it.
The fabric closest to
the form is the first
to be affected by
the movement.

The fabric furthest

away delays as it
follows, creating linear
You can tell which way
folds that “point” in the
the figure is turning
direction of the twirl.
simply by observing
the direction of the
fabric movement.
 It’s a Wrap! How to Draw Folds for Realistic Clothing and Drapery
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FIVE: Invisible Tensions

Flags are unique in the fact that they are slightly different than fabric
draped over an object or wrapped around a form. However, the rules that
we’ve just learned still do apply. The only real difference is that instead
of the fabric being affect by something seen, such as a human being or a
ceramic goose, it’s being affected by the unseen, namely, the wind.

The first key to remember when drawing flags is to make sure the lines
connect. As the fabric flaps over upon itself, you can actually trace from
where the fabric begins to turn to the end of the fold at the other side of
the flag, or until the fold flattens back up into open fabric. Sometimes
it is helpful to draw through the fabric to make sure connections are
correct, which will give your flag more realism.

The second key to drawing flags is that they incorporate all the different
types of tension we have been talking about. There is stress tension
at the point where the flag pulls away from the pole. There is gravity
tension as the flag falls from the pole. And there is movement tension
as it flaps in the wind. It is the ultimate challenge to try to visually see
and incorporate these different points of tension into a cohesive piece
of fabric. Fortunately, as it is a square piece of fabric, that makes things
easier … until, of course, you start putting designs on the fabric.

tension point

I sometimes will draw

through my drawing to
envision how the fabric
follows through to the
other side.

The wind creates a

pipe fold at the top
of this flag. It casts a
shadow on the fabric
underneath.

Make sure the lines

connect along the
bottom edge of the flag.
 Benjamin Hummel
13

Drawing the designs of the flag doesn’t have to be complicated. You

just have to remember to have those designs follow the movement
and the form of the flag and its folds. Sometimes a flag with a strong
linear design can prove helpful, as the design helps us better “see” the
movement of the flag, with our eyes following those lines from one end
of the flag to the other.

Follow the lines of your design, even as they disappear behind the
folds and flaps of the flag. Again, draw through the flag if you need
to. And with all of this, I cannot emphasize enough the importance of
pure observation. When you begin to truly see what is occurring, it will
become easier to translate that into your drawing.

At times, you may find yourself in a situation where the light actually
is shining from behind the flag, giving it an illuminated quality. Keep in
mind that the more the fabric bunches up, the less light comes through,
and the darker in value that area becomes. Also remember that around
the edges and where the fabric hems will also go darker. Once you
understand this, illuminating that flag can be quite a dramatic effect.

the lines should

always connect

cast shadow from the

as the fabric begins to other side
bunch up, it darkens or
falls into shadow

light will illuminate

through the fabric—
hems in the fabric will
use your kneaded
darkens at cause shadow ripples
eraser to tap out the
the edges light areas, giving your
flag a glowing effect
 It’s a Wrap! How to Draw Folds for Realistic Clothing and Drapery
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 Benjamin Hummel
15

TYPES OF FOLDS
1. Pipe fold
This is the first type of basic fold. Almost every type of fold starts as a
pipe fold in some way or another, even in its tiniest and most intricate
form. The pipe fold we’ll focus on specifically is the large pipe fold that
is the result of fabric hanging from a point of gravity tension. As the
fabric moves away from the point of tension above, it forms a tubular
or pipe shape. When the pipe shape ends in midair, the results form the
end of a cylindrical shape. Often, however, it’ll hit a ground surface of
some sort, onto which it will bunch upon itself in some way or another,
redefining the final shape.

Pipe folds are generally cylindrical, and because of this, all of the rules
about drawing and shading cylinders remain the same. You will have
your core shadow on the rounded form of the cylinder. There may also
be observable reflective light. You will also have a cast shadow of that
cylindrical shape being cast back onto the fabric itself.

A basic example of pipe folds in action can be viewed in curtains. This

is the easiest type of fold to observe and draw when you are beginning
to practice folds.

Another place where pipe folds can be seen are in dresses. As the material
falls away from the bunching that happens up around the waist, it’ll fall
to the ground in pipe folds. However, it often doesn’t do this quite as nice
and neatly as a simple curtain. You might observe that smaller pipe folds
move away from where they are gathered and join together into larger
pipe folds at a point that almost looks like a loop. This loop-like shape is
a type of half-lock fold, which we will discuss later.

core shadow

reflective light

cast shadow
 It’s a Wrap! How to Draw Folds for Realistic Clothing and Drapery
16

pipe folds

larger pipe fold created when smaller pipe folds merge

together in fabric, creating a half-lock, or loop-like shape
 Benjamin Hummel
17

2. Zigzag fold
This type of fold is the direct result of a bunch tension, and ties back into
one of the earlier points I made about the interconnectivity of the fabric.
It is because of this interconnectivity that we get the zigzag fold. As the
fabric bunches together, the folds will appear to zigzag back and forth,
forming these pockets of shadow between them. Sometimes a singular
zigzag will appear, and sometimes there will be multiple zigzags as the
fabric tries to find space as it’s being compressed.

Here is what you need to remember about the zigzag fold.

First, it always follows the form. If the zigzagging occurs on an arm

sleeve, remember the overall cylindrical shape of the arm. The folds will
zigzag AROUND this shape, as you perceive it in perspective. This is very
important. These are not arbitrary zigzags—they are very specific and
they define the shape underneath.

Second, the folds of the zigzagging fabric need to connect. Now there
may be some places of overlap where you cannot see where the
connection occurs, that’s fine. But where you can see the fabric and
where it bunches up in a zigzagging pattern, look for where it connects
as it moves back and forth.

Third, as the fabric connects back and forth with itself, the resulting
inverted shapes are often tent-like or triangular shapes.

fabric
look for the always
triangulation connects note the
zigzag
pattern
 It’s a Wrap! How to Draw Folds for Realistic Clothing and Drapery
18

3. Spiral fold or radial fold

A spiral fold is usually caused by stress tension, but can be created by
other forms of tension as well. You can see a spiral fold when fabric
wraps around a tubular or cylindrical form, and there is enough tension
to pull the fabric taut. The result is the appearance of a spiral or radiating
effect of the fold lines as the folds ripple up and down the form.

This is especially observable if the cylindrical form is actually turned

toward us, in perspective, such as an arm sleeve pointing in our
direction. The more that cylindrical form is turned toward us, the more
circular and rounded the folds become as they wrap around that shape.
For example, artists often use a spiraling motion to enhance the action
of sports figures, and frequently simplify the gestures of these folds
with broad gestural radiating lines. When drawing these folds, start
with circular lines that follow the form of the object underneath, and
then find the folds on top.

Common places where one might see the spiral fold is rolled-up sleeves,
too-tight tee-shirts, and oversized socks.

Folds will appear to

“spiral” around the
cylindrical shape.

The more the

cylinder turns
toward us, the
more circular the
folds appear.
 Benjamin Hummel
19

4. Half-lock fold
In reality, we’ve already pretty much discussed the half-lock fold. It is
nothing more than a singular zigzag fold or a pipe fold that changes
directions. The fabric moves in one direction and then abruptly
changes direction and moves in a different direction. Often you can see
a pipe-like fold bending and becoming a cone shaped fold as it moves
away from the bending point. The resulting shape in between is often
triangulated.

Another type of half-lock fold is as we talked about with the pipe

fold, where two smaller pipe folds join together into a larger pipe
fold. Sometimes this joining together happens dramatically, and
the triangulation that is the result is very observable. Other times,
the coming together is softer, less dramatic, and the resulting shape
appears as a loop.

fabric changes
direction—look for the
triangle or loop shapes
 It’s a Wrap! How to Draw Folds for Realistic Clothing and Drapery
20

5. Diaper fold
This is where you have two points of equal gravity tension. As a result, the folds
swoop between these two points, forming bowl-like shapes. Remember to swoop
your lines from one point of tension to the next, and look for those bowls. When it
comes to shading, simply shade your bowl shapes like you would any basic bowl
shape—the same rules of light and shadow apply. The rest of the fabric that falls
away from the points of tension will do so as pipe folds.

look for
the bowls

pipe
fold

diaper folds
can be seen
in this dress
 Benjamin Hummel
21

6. Drop fold
Some instructional guides include a drop fold as a type of fold, describ-
ing it as fabric draped loosely over an object (remember the goose?).
Everything that is the result of a drop fold is pretty much everything
we have discussed so far in this teaching. When you throw a piece of
fabric loosely over a form, you will have points of gravity tension, you
will see pipe folds and half-lock folds, and the fabric will follow the form
underneath. In essense, if you wanted to wrap up (*ahem*, pun partially
intended) everything we’ve discussed in this book, there’s probably no
better way than to end with the so-called “drop fold.” It is in essense the
culmination of everything we’ve learned up to this point.

Now it’s up to you to put it into practice. Go find yourself a ceramic

goose, (or something similar), throw a pillow case on top and start
drawing what you see.

I draped this fabric over

a couch. Notice how it
always follows the form of
the couch underneath. Also
notice how my cat, jumping
right into my setup, has
actually created some areas
of tension points.

tension
point

pipe
folds

IN CONCLUSION...
Hopefully this workbook has helped you understand how to see and
draw folds a little more clearly. Once you comprehend the anatomy of
folds and what to look for, they are no longer difficult and you can draw
them realistically with ease.
 It’s a Wrap! How to Draw Folds for Realistic Clothing and Drapery
22

NOW IT’S YOUR TURN...

Some photographs have been provided in the following pages for you to practice your folds. You may draw
right in this workbook (unless you are borrowing this from a friend, in which case, ask first...), or feel free to
practice in whatever sketchbook or paper surface you prefer.

We will start with the common drop fold. I’ve thrown a cloth over a small box to see what different kinds of
folds appear. What we get is a unique abstract pattern of pipe folds and half-lock folds.

Key point to remember ... simplify. Look for the larger basic shapes first, observe how they connect to each
other, and don’t forget to pay attention to the form of the object that the fabric covers.

Show your work on social media!

See how others are drawing fabric, drapery and folds, and how they are using the instructions of this book to
improve their work. Use the hashtag #HummelFoldsBook.
Benjamin Hummel
23
 It’s a Wrap! How to Draw Folds for Realistic Clothing and Drapery
24

NOW IT’S YOUR TURN...

Can you draw the folds on a figure? This should be an easy one to get started with. A strong light source has
been established. Remember to draw a definitive line around the shadow areas and don’t forget to block
them in boldly.

Show your work on social media!

See how others are drawing fabric, drapery and folds, and how they are using the instructions of this book to
improve their work. Use the hashtag #HummelFoldsBook.
Benjamin Hummel
25
 It’s a Wrap! How to Draw Folds for Realistic Clothing and Drapery
26

NOW IT’S YOUR TURN...

This photo is made up of mostly a series of pipe folds. Can you put them in correctly? Note their directional
movement. Also, different types of fabric will behave slightly differently from each other.

Show your work on social media!

See how others are drawing fabric, drapery and folds, and how they are using the instructions of this book to
improve their work. Use the hashtag #HummelFoldsBook.
Benjamin Hummel
27
 It’s a Wrap! How to Draw Folds for Realistic Clothing and Drapery
28

NOW IT’S YOUR TURN...

Your final challenge is this Greco-Roman sculpture, in which the folds have been artistically enhanced.
Copying works by the great masters is a useful method to imporove your drawing skills.

Show your work on social media!

See how others are drawing fabric, drapery and folds, and how they are using the instructions of this book to
improve their work. Use the hash tag #HummelFoldsBook.
Benjamin Hummel
29
 ABOUT THE AUTHOR/ILLUSTRATOR
Benjamin Hummel’s light-hearted illustrations have appeared in numerous
children’s books, textbooks, magazines, and greeting cards. However, his
true passion is education. When he is not teaching at Rocky Mountain
College of Art + Design, Benjamin writes books on drawing, illustration, and
art. He is currently developing lessons on drawing hair and fur, drawing
hands and feet, drawing children, and perspective drawing.

What makes Benjamin’s story unique is the fact that he lives with a debilitating autoimmune disease which
resulted in him receiving two liver transplants at the age of fifteen. As a result of his renewed lease on life,
Benjamin dedicates his work to the joy of living. To overcome his daily physical challenges, he creates art
that encourages others to live rich and full lives.

Benjamin documents his life, illustrations, process shots, and art tips on Instagram @hummelillustration.

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