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i

THE ART OF DRAWING FOLDS

From Renaissance fresco painters to contemporary graphic novel artists, the ability to draw clothed figures from
one’s imagination has always been crucial to artists –​and exceptionally difficult to attain. With over 220 illustrations,
The Art of Drawing Folds: An Illustrator’s Guide to Drawing the Clothed Figure reveals the logic and patterns in
folds, enabling the reader to more easily predict the behavior of cloth when creating folds in their own drawings
and paintings.
Addressing folds in clothing systematically, the author provides a clear, concise approach to the analysis, classi-
fication and visualization of convincingly naturalistic folds. Starting with the nature of fabric and its geometry, this
book methodically explores the reasons for fold behavior based on the construction of clothing and the shapes and
actions of the human figure. An essential guide and reference for animators, illustrators, storyboard artists, comic-​
book artists, 3D modelers, sculptors, fashion designers and students, The Art of Drawing Folds simplifies one of
the most complex and important aspects of drawing the clothed figure.

Kelly Gordon Brine is a storyboard artist working on movies and television shows such as The Punisher, Daredevil,
Jessica Jones, Designated Survivor and Person of Interest. He has taught drawing as an assistant professor at the
University of Toronto, and has also worked as a comic book artist and a software developer.
ii
iii

THE ART OF
DRAWING FOLDS
An Illustrator’s Guide to
Drawing the Clothed Figure

Kelly Gordon Brine

iv

First published 2018

by Routledge
711 Third Avenue, New York, NY 10017
and by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
Routledge is an imprint of the Taylor & Francis Group, an informa business
© 2018 Taylor & Francis
The right of Kelly Gordon Brine to be identified as the author of this work has been asserted
by him in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988.
All rights reserved. No part of this book may be reprinted or reproduced or utilized in any
form or by any electronic, mechanical, or other means, now known or hereafter invented,
including photocopying and recording, or in any information storage or retrieval system,
without permission in writing from the publishers.
Trademark notice: Product or corporate names may be trademarks or registered trademarks,
and are used only for identification and explanation without intent to infringe.
Library of Congress Cataloging in Publication Data
A catalog record for this title has been requested
ISBN: 978-​0-​415-​79341-​4 (hbk)
ISBN: 978-​0-​415-​79342-​1 (pbk)
ISBN: 978-​1-​315-​21107-​7 (ebk)
Typeset in Univers
by Out of House Publishing
v

CONTENTS

Introduction 1
What Are Folds? 2
Three-​Dimensional Drawing 5
Learning to Draw Folds 8

1 An Overview of Folds and Materials 11

Planes, Cylinders and Cones 12
Parallel Folds 12
Radial Folds 13
Compound Folds 13
Complex Folds 13
Some Characteristics of Materials and Their Folds 14

2 The Elements of Folds 19

Cloth Draped Over the Figure 19
Cloth Under Tension and Compression 19
Convex and Concave Surfaces 21
The Anatomy of a Fold 21
The Hinge Line and the Crease 22
The Geometry of Hinge Lines 23
Wide, Narrow and Circular Folds 25
Compound Folds 26
The Effects of Gravity 28
The Effects of Wind 28
The Strength of Folds 28

3 Parallel Folds 29
Simple Parallel Folds 30
Compound Parallel Folds 37

4 Radial Folds 47
Simple Radial Folds 48
Compound Radial Folds 54

5 Interlocking Folds 56
Inverted Folds 57
Two Parallel Folds Interlock 58

v
vi

Contents


Interlocking Groups of Parallel Folds 58

Parallel Folds Interlock with Radial Folds 59
Interlocking Groups of Radial Folds 59

6 Complex Folds 61
Ditch and Bridge Folds 61
Bent Tube Folds 64
Folds at the Joints 66
Subdivided Radial Folds 70
Subdivided Radial Ridge Folds 71
Nested Inverted Radial Folds 72
Festoon Folds 73
Linked Festoon Folds 74
Telescoping Folds 76
Twisting Folds 77
Compressed Radial Folds 78
Zigzag and Bent Tube Folds Compared 79

7 Folds at the Floor and Edges 82

How Cloth Folds When It Meets the Floor 82
How Cloth Folds When Draped Over an Edge 88

8 Drawing the Figure 91

The Mannequin 91
The Proportions of the Figure 95
The Head, Ribcage, Clavicles, Hips and Spine 97
The Upper Limb 104
The Lower Limb 111
Muscle Crawl 114
Joint Surface Exposure and Length Change 116
Tendon Stretch 118
Creases 120

9 Clothing and Folds on the Figure 122

Clothing Construction 122
Anchor Points and Tension Lines 125
Studying Tension and Compression in a Pillow 126
Folds in Pants 127
Folds in Shirts and Blouses 133
Folds in Formal Jackets and Coats 142
Folds in Skirts, Dresses and Robes 145
Folds in Shoes and Boots 152

10 Folds in Hands and Gloves 156

The Back of the Hand 156
The Fingers 158

vi
 vii
newgenprepdf

Contents

The Palm 161

The Thumb 162
The Wrist 163
Tendon Stretch and the Fingers 164

11 Folds and Wrinkles on the Face 166

The Eyes 167
Folds in the Cheeks 168
The Forehead 170
Folds of the Face in Youth and Age 171
Drawing Smiling Faces 172

12 Light and Shade 173

Twenty Illustrations Explaining Light and Shade 173

Index 185

vii
viii
1

INTRODUCTION

Folds are mysterious and elusive. They attract us with their colors, their textures and their intricate shapes, and they intrigue
us as they hide and reveal the human form. Their ever-​changing character seems to give them a life of their own, but they
keep their logic hidden. Folds have always been an important and striking element of figurative painting, and through the
ages artists have studied folds both to capture their beauty and to clothe the figures in their paintings more convincingly.
In this book I unravel the mysteries of folds. And because figure drawing and light and shade are so important
when drawing the folds in clothed figures, I have included chapters on these topics as well. The important topic of
fashion is beyond the scope of this book, but the knowledge you gain about folds will serve you well in illustrating
any fashion you choose.
I have worked for over 20 years as a storyboard artist for major film and television productions, and some exam-
ples of my work are included here in the introduction. At university I studied mathematics, and as an illustrator I am
self-​taught. I acquired the knowledge and developed the methods described in these pages so that I could draw
quickly and convincingly from my imagination without having to find reference photos to copy from.
Folds have long been a neglected topic that deserves more attention. In this book you will find thorough,
insightful and convincing explanations of the mechanisms of folds in clothing and elsewhere. If I had found a book
such as this early in my career, it would have helped me enormously!
Folds are found everywhere in flexible materials such as paper, plastic, foil, leather and cloth. All materials fold
in similar ways, although the thickness, stretchiness and other qualities of materials affect the number, size and
angularity of folds. The principles of folds can be applied generally, but this book focuses on folds in clothing. The
approach of this book is to understand the reasons for the many shapes of folds. It covers the essentials for creat-
ing believable folds both in clothing and in the skin of the face and hands.
Well-​drawn folds help make drawings and paintings of clothed figures look three-​dimensional and realistic, as
well as adding their own beauty. When we draw from life or photos we can copy what we see, but when drawing
from the imagination we need knowledge to guide us. Drawing the figure requires anatomical knowledge, while
drawing folds requires an understanding of their geometry. Once an artist has learned why folds occur in cloth, they
can apply principles and patterns that will take much of the guesswork out of drawing clothing. This book covers
both the theory and the practice of drawing folds.
There are many reasons to believe that the masters of the past created their paintings largely without models,
relying instead on their knowledge of anatomy and folds. Some of these reasons are: horses, fluttering drapery
and flying cherubs don’t pose for portraits; a model with the right appearance may be unobtainable; models and
costumes are expensive; the posing of dramatic actions and angles can be difficult or impossible; folds change
every time a model takes a break; and drawing without using models is considerably faster. If you look at paintings
and drawings by masters such as Michelangelo, Leonardo da Vinci, Peter Paul Rubens and François Boucher, you’ll
see that they had a remarkable understanding of folds.
If you draw from your imagination, as do fashion illustrators, animators, graphic novel and comic book artists, car-
toonists, storyboard artists and others, the more you know about folds in clothing, the better you’ll be able to draw.
Realistic folds will accentuate the shape, action and character of the people you draw, will make your drawings look more
attractive and believable, will ensure that poor folds aren’t a distraction in your art, and will save time. If you draw mainly
from models or reference photos, knowledge of folds will help you determine how to simplify and accentuate the folds.
If you believe that knowing something about artistic human anatomy is important to your art, then knowing
about the “anatomy” of folds is probably important to you too. And just as with human anatomy, the goal is not to
make your drawings perfectly accurate, but to make them convincing to your audience to help you tell your story.

1
2

Introduction


WHAT ARE FOLDS?

Folds are changes to the otherwise flat shape of any thin, flexible material that make it not lie in one plane. Folds
form in such things as cloth, leather, paper, aluminum foil, leaves and skin whenever they are subjected to com-
pression. When these materials are bent, pushed in from the edges, pulled down by gravity or pushed outward
from within, they respond by adopting geometrical patterns in standard ways that are not random. All materials fold
in the simplest way possible –​the path of least resistance. Many small, curved and angular shapes are created that
interconnect in a pattern that responds to the compression (Figure 0.1).

0.1 Folds are created and eliminated by forces acting on the material and by the shapes of the objects lying beneath the material.

2
3

Introduction


The geometry does not have to be mathematically accurate for the folds to look convincing; it just has to
approximate the geometrical shapes of common folds that we recognize from having seen them so often. In a
similar way, caricatures capture the essential character of the forms of people’s faces so that they are instantly
recognizable, even if their anatomy is simplified and exaggerated.

In some materials compression creates folds that leave behind wrinkles after the folds have been flattened out.
These wrinkles are not as important to a drawing as the folds are, but by understanding folds you will be able to
predict where wrinkles will occur and add them to your drawing in a convincing manner, for instance on a face or
on a wrinkled pair of jeans.
Folds may be angular and well defined or smooth and indistinct, depending on the material. For example, thin
materials that don’t stretch, such as aluminum foil, will fold readily and will create many small, sharp-​edged folds.
But when thick, stretchy materials fold, their folds are large, rounded and smooth. It’s fortunate that although the
folds in various materials may differ in size, number and angularity, they all have similar geometry.

Garments are constantly pushed and pulled while they are worn. This results from the volume of the figure
within the clothing, the effect of gravity and the action of the figure. The default shape of every article of clothing

3
4

Introduction

is determined by its cut, in other words the way the more-​or-​less tube-​shaped pieces are sewn together to accom-
modate the shapes of the human figure. Because cloth is not stiff, clothing adapts to the form beneath it and to
the pull of gravity by altering its geometry into folds. Even a tailored suit that is made to be as smooth and even
as possible will have folds.

The geometry of cloth in a small area of clothing changes under compression into folds in a straightforward man-
ner, but as these small areas interlock with other folds, the geometry that arises can become complex. Artists know
that they can not draw hands from their imagination without knowing something about their structure. Similarly, an
artist can’t create the patterns of believable folds without knowing something about the structure of folds. Luckily
folds are completely visible, so can be deciphered by anyone who analyzes them, while many of the mechanisms
of human anatomy are hidden from view and impossible to fully understand through surface observation alone.

In this book I explain the geometry of the simplest folds, and then show how complicated folds can be broken
down into interrelated single folds. I describe the geometry of all the types of folds you will encounter when draw-
ing the figure, and show where they occur.

4
5

Introduction

There are many possible poses and actions of the figure. By learning the types of folds and how the positions
of the limbs create forces of tension and compression that push and pull on clothing, you will be able to predict
which folds apply at every joint in any pose you imagine. For example, the patterns of folds at the knee and elbow
are similar, and appear every time the limbs are bent. The same ideas can be applied to folds in skin. With practice
it becomes much easier to “think like folds” in order to predict how folds will form in various actions of figures
you imagine.

THREE-​DIMENSIONAL DRAWING
The approach to drawing that has helped me as a storyboard artist is based on understanding and memorizing the
three-​dimensional structure of things, especially the human figure. Because I can rely on this knowledge, I don’t
have to use photographs unless I’m drawing something very specific.

5
6

Introduction

To develop the ability to draw realistic scenes from your imagination, you have to make it a habit to draw as
three-​dimensionally as possible, which means studying, remembering and drawing the 3D shapes of people and
objects in a simplified form. This takes practice, but it is time well spent, because drawing this way improves
your visualization ability and builds your mental library of 3D objects that will enable you to draw scenes without
reference.
Time spent copying models and pictures as photographically accurately as possible is not likely to teach an
artist the things they need to know to be able draw from their imagination. Naturally there are times when refer-
ence is needed for inspiration or to draw something very specific, but much of a drawing can be sketched using
generic people and clothing if you’ve learned the structure of the human figure and folds in clothing. While writing
this book, I used photographs as visual reference material for certain elements of four of the storyboards in this
chapter, and for parts of seven of the drawings in later chapters.

A good approach to learning to draw in 3D is to reduce whatever you’re drawing to simple geometrical solids
such as blocks and cylinders. It’s easy to see that the head can be thought of as a block, the neck as a cylinder, the
chest as an egg shape, and so on. With practice you will gain facility at drawing these simple volumes in different
arrangements and at different angles. Elaborate structures and scenes can be built using simple 3D shapes. With

6
7

Introduction

practice it becomes easier to memorize more complex 3D shapes and to fit them together, which is essential for
drawing the figure. The shapes of folds depend very much on the shapes of the figure that they cover.

When I draw I almost never think of perspective in the usual sense, with vanishing points and horizon lines. I find
that by believing in the three-​dimensional solidity of what I draw as I draw it, the perspective is reasonably accurate.

7
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