Drawing Clothing | Alycia Pace | Skillshare

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

7 Lessons (39m)
    • 1. Teaser

      0:59
    • 2. 1. Types of Folds

      3:27
    • 3. 2. The Basics

      9:50
    • 4. 3. Form and Anatomy

      6:36
    • 5. 4. Patterns and Textures

      4:14
    • 6. 5. Creative Costumes

      9:06
    • 7. 6. Wrap Up

      4:53
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About This Class

Do you struggle knowing where to put folds and wrinkles?

This class will help you :

-learn to see material and analyze it in your surroundings

-distinguish types of folds

-create interesting costumes

-draw patterns and textures 

-Identify where on the body to place folds 

I hope at the end of the class that you will feel more confident drawing clothes on your characters! 

I’m not a perfect teacher but I know that you’ll get as much out of this as you put in, so there are many assignments and exercises for you to do. 

I forgot to do an intro in the first video, so it just kind of jumps right in! You may think you missed something, but it’s just that the video gets right to it! 

Meet Your Teacher

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Alycia Pace

Fortune cookie lover and art fanatic

Teacher

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Transcripts

1. Teaser: 2. 1. Types of Folds : So let's talk about the types of folds. The first step in drawing drapery is to understand the three basic principles regarding the fold construction. So gravity points of support. What's holding up the fabric? Intention. Stress points where the fabric is stretched and then the form underneath the fabric affects it, too. So the first type of fold is called a pipe fold. Um, so that would be like a towel hanging on a rod. It's got, like, one point of, uh, support. So, like, a skirt would be another example of a pipe. Fold is hanging from one point, um, and it looks sort of like that very simple folds, and then the next is called a diaper fold. I'm not making this up. This is This is really this is real stuff here. So diaper full. This from from two points, uh, of support. So one example would be like a diaper. Certain, uh, curtains could be this way. Um, And then we have the zigzag fold, which could be seen places such as the elbow crease, uh, forms a zigzag, as you would guess. And also, for example, if a piece of fabric has fallen on the ground. So then there's, uh it's being supported under like this. I guess it kind of looks like toilet paper that has rolled out. But you see the zigzag there, and now I'll draw the elbow crease. So you see, sort of a zigzag happening there. Obviously, you would want to simplify this as much as he can if you're doing cartoon work, and then we have the spiral fold, which this one, it's his wife. So important to understand the anatomy and what's underneath the clothes so that you know how the fabric is going to interact with that form that it's covering. So the spiral fold is when it wraps around the form. And then we got the half lock fold, which is usually around like the knee and elbow area. It's where that crinkle is going to be, um, where the stresses, uh, So and then there's the falling fold witches when it Bunches up at the surface. So something like this, where it's falling down and, uh, gravity's taking away, and then the folds that happened, Um, when it hits the ground and then we have the inert fold, which is when it's inactive and there's no potential for energy, isn't for example, um, some close that are lying flat on the ground. Eso those are the types of folds. So now when you look around it examples around you drawings Just try to be aware of how the fabric is being influenced by gravity and how the folds are responding, so, yeah. 3. 2. The Basics: This is a bonus section so you can skip it if you want, But I'm just basically drawing through some different scenarios with the folds to see what they do in different situations. Uh, and this is a slower video. So if you want to grab your sketchbook and sketch along with me as I'm studying, how fold interact with different shapes? That's great. Um, but I just thought this might be a good precursor into figure, like seeing what the fabric does on simple shapes before moving to clothing and fabric on top of the human form, because human figures air hard. So, like we got to make sure we understand the fabric before we put it on something as complex as a human body. So right now I'm taking spheres and studying what the fabric does as it's just draped over , um, a circle. What happens then? A sphere should be thinking in three dimensional, not a circle sphere, huh? So here I'm studying how the fabric moves as there's more tension there to the left, as the fabric is being pulled toe one side, just letting muscle memory take some initiative. And that way, when I'm drawing like a shoulder or a knee cap. I could be thinking this way it hopes to draw through through the fabric. So here I'm starting with the sphere going ahead and drawing it. When you draw a person, it's good to draw the anatomy underneath so that you understand where the folds air going. And while I'm drawing this, just want to say thanks to those who have left reviews Ah, and posted your assignments, that makes me so happy to see it just helps me feel like actually have students that air watching and trying to learn these things really helps me want Teoh Continue making them. Um so I know five back the urge to draw. We think, you know. So if you draw a lot, you're gonna have a certain way that you draw folds. And I noticed that, as I was using reference, there were a lot of times that I I thought that I knew what it was going to do because I have made up so many times what I think that it would do as I'm drawing without reference. So fight that urge when you have reference in front of you. Look at it. Study it. You don't have toe draw exact, but make sure that you're looking end, digesting what you're seeing. And so I'm noticing here that the wrinkles are always going to follow the form and they're going across. So just keep that in mind. That was a really ugly sketch, but you get the idea. So let's see what fabric does when it's draped over like a chair per se. So this way we can be thinking about how the fabric interacts and looks with that form underneath something a little bit, Chuck burd the edges of the chairs and how that for end up looking. And, as always, we need to be thinking about what our good friend gravity is doing. Uh, so the's folds air falling. The weight that they're feeling, I just keep that in mind is here sketching. Looking at these images, you should be able to kind of feel the weight of the fabric hanging from the chair and the fabrics going to do different things, depending upon what the texture of the fabric is. If it's thicker off bigger, looser wrinkles, if it's thinner material could have more smaller wrinkles. So play with that a little bit. Um, while we're during this slower video with less information in it, I just want to say sorry that I know a better teacher. I really like drawing. And I really like making these classes. But it's like I'm not super eloquent. And then there's a lot of positives, so thanks for bearing with me. Thanks for being patient. Um, anything that is really bothering you. I know the audio. It's not the best. I bought a microphone and I'm trying. I'm trying. So, um, if you like these videos the way to encourage me to doom or it's to post your assignments by you doing that, it really helps me want to create more. Even though I am a flawed teacher. Many weaknesses in the field of teaching, I guess speaking really using words instead of just my drawings. I could just draw and submit thes lessons with text on him. Uh, would be way more comfortable. So sorry. So here's another chair. I'm looking at the folds. There's a big triangle folds there at the corner. Little triangle folds are a thing, but it's folding and making a triangular. But as you're going to see how the chair is starting to reveal itself, starting to see the chair just by the way that the wrinkles air going. That's very interesting. That's a really good exercise, drawing something that you don't see the form underneath. So let's say it could be a cool exercise here to do. This is just a square, but something more complicated, like maybe pick and animal and draw the fabric on top of the animal. And just by the way, that the folds air going not necessarily like the shape of the silhouette over it, because that chair above their with silhouette of it, it could be a number of things. But the way that the folds air interacting, you can tell that there's a chair underneath. So that was a really good exercise. There's a cube. This reference image isn't the best because it's a three D model, so I might not be 100% accurate because it's somebody trying to figure it out themselves. Comptel on the folds on the floor They did a great job modeling no harm to him. But so now let's go ahead and take a figure, and we'll talk way more about this in the next video, but just practicing, drawing through the form and thinking about what is underneath on the forms. The anatomy underneath the fabric. Uh, I have to admit, there was a while there that because I never drew nude models. Um I mean, like, growing up. Obviously, my mom didn't want me to go to any nude model, uh, classes, Um, and I guess, just in general, feeling like private areas where private. So kind of avoiding, um, the swimsuit areas, uh, in attempt to be classy. Um, so there was a while there were the chest in the bomb area on my drawings. Looked very flat. Very awkward, cause I just would kind of do the very least to draw them. So I was noticing that the folds around those areas were a little bit harder for me because , um, I hadn't been used to that. So, uh, don't be afraid to work through those insecurities, I guess. Um, I like drawing from swimsuit models. That's just me, Um, at the school that I went to Brigham Young University, we drew from swimsuit models, bikinis, Speedos, and I don't I think that was just fine. Uh, he could still see the form and understand it. And I stopped shying away from drawing the wrinkles in, um on someone's backside on how that would look to give it some more form. So just a little rant there, a little side? Oh, I just I think it's really important to understand the figure, to take anatomy, to take figure, drawing and draw from life so that you can understand the human form that will change your career a lot. If you're really good at anatomy, so have a class. If you want to check that one out, I need to do another one. So anyways, figure underneath the form, see in the next class. 4. 3. Form and Anatomy : Now let's talk about form and action and how that affects the clothing, folds and wrinkles. This is a work shaped by griz and Norm, and it talks about points of tension. And once you find the point of tension than the folds, flow from there and follow the contours of the body that follow the form of the body. As you can see in this other reference image a swell. There's often more wrinkling on the joints on the knees on the ankle. Um, because there's more movement there and because of the form underneath. So now I'm drawing some cylinders. So think of those wooden art reference model things. The one ones that you see on artist desks kind of think that way to think about where the form is going in space and where these cylinders of the thighs and the body are going, so that when you put the clothes on it, as you can see here, um, that it's following the form. So you see these different cuffs on the left and right leg pant leg, and there they're different because one is one has the arch going up and the other has the urge going down, and then the fault would follow with that. So here you see the wrinkles going along the form of the the thigh of the cylinders, and this will apply to the waste and arms. I just have to be thinking is your drying. How is the body interacting with space? Like, Where is this going in space? Here it is again, where we're following the form, you see it with the cut offs of the sleeves of the pants. Now is a good time to talk about type fabric and tight fabric and loose fabric with type fabric. There's more wrinkles, and with loose fabric there's less, Um, and then also there's more folds when there's more movement, more stress. So here on the left, you see, when it's just hanging, there's not a lot. But when there's a bend, the action, the movement of the arm, will cause more folds. So now I just I want you guys to find reference images and just practice. I mean, you hear all the time, I'm sure in all of her skill share classes, but it's true. The more you draw, the better you'll get. And especially with reference if you're taking reference than your learning. I don't Don't be so glued to the reference. Make sure that you're looking at it. You're learning it and then you're drawing instead of taking hours and hours to draw like one sleeve, try to quickly get the idea of it, especially if you're wanting to be able to create thes from your head. You've got to be internalizing this stuff instead of just brainless, mindlessly mimicking it. So really be thinking about what kind of folds they are and why it's happening and then try to think of what kind of folds are going on. Are they diaper fold, spiral folds, zigzag folds? Just think, uh, what's happening? Why is it happening and how can you quickly draw it? Ah, here she has stripes on her shirt, and it's interesting to draw different textures and patterns and how they interact with her body underneath. Here. I went to flat because I was following the picture, but it's I mean, I guess because it's so loose on her body. That's why it looks so flat, and I didn't get them very well. But sometimes on cartoon, sometimes people just draw through and don't worry about following the wrinkles comes up, takes so much time, and I yeah, it's not my jam. I do it, but I I think more often I should just draw flat texture because it's cartoons and you can do what you want. But it's good to know what would happen as the materialise folding with those patterns on top of it. So it's a good thing to practice. Still still learning eso. Here's a diaper fold because it's being hung by two points and it's fun toe look it classic old paintings here. She has, ah, lot of pleats at her waist, just watching how that hangs. It's a good exercise just too quickly. Study what? How artists interpret things. So now I want to talk about the cartoon versions of that. So here, look how these artists are simplifying tremendously, simplifying off the folds and wrinkles you see at Ben's increases. Other than that, try to keep it pretty simple, but it's still so important to nowhere where the wrinkles would be happening. Your oats it can look off and awkward and weird. Soas faras Homework goes. Find five reference photos and draw from those take. I mean hours and hours. But go ahead and get the basic idea of where the folder wrinkles are. Take the form and anatomy into consideration as you're doing that, and then frying five cartoon drawings or whatever style you like. If you like. Realism, go ahead and friend. Five extra realism paintings from artists I guess five drawings of artists that you like and then draw those and focus on the wrinkles. You don't have to draw the faces or anything. Just just draw the wrinkles, uh, so that you can learn how to simplify and post your sketches. I would love to see them. It makes me so happy to see people actually doing the work. So please do it. Make my day, thanks. 5. 4. Patterns and Textures : Now, I'd like to take a little bit of time to talk about patterns and textures. You don't want them to be too busy, but they do add a little something to your design often. So first thing I'd like to try with you is to take 45 different fabric textures and try to convey what it is in a square. You can, uh, not labeled them and ask somebody else if they can tell what texture it is, what type of fabric that might be helpful. And then even if you like to do cartoons and you think, Hey, like, why am I doing this? I'm just going to be simplifying anyways drawing it realistically, the way that you see here will help you because you have to know something really well in order to ah, simple fry it in a an effective manner. So, uh, it was harder than I thought it would be on. These are very simple things, but Teoh to magnify it, um, it was rather complex to make it look like what it needed to look like. Even for that, I've drawn a lot. To put in a square was a little bit complicated. So you don't need Teoh. Choose these same ones. But whatever you want to practice, go ahead and do those and put those in squares, and I would love to see them posted. This is a good exercise to do with textures other than fabrics as well. Just helps you understand form and think about how the light's hitting, uh, the fabric or the texture and how much shadow it's casting. How Toe Tried getting different, um, grainy textures. Ah, the denim was really interesting to try to, um, figure out how to make a thicker fabric work. Now let's talk about patterns. So ah, draw bunch of shirts, a bunch of skirts and then duplicate them many times here I've got 12345 10 eso something similar to this and then see how maney patterns just you come up with on the fly real quickly. And then it will be those last couple that will really kind of stretch your creativity to think about what kind of patterns you could put. So I pulled up some reference and it was like this basket we've sort of looking thing on the top left. Ah, that I decided to try, which would look very strange on a shirt. But, hey, we're just trying things here. And then I tried a paisley thing cause I've never drawn Paisley before, so that was interesting but us, because I noticed that I just sort of do the same sort of patterns. I do hearts. I do polka dots. You don't want to get too complex in your patterns because it might draw the eye and the attention away from the character what you want. But if it adds to the character, then it's beneficial here. I'm doing pineapples. Sometimes things like pineapples. Something like that might be, um, a little distracting. But here, if they're, you know, on vacation or whatever, it might be fitting to have something like a pineapple on their shirt. Anyway, there the possibilities are endless, but that was a good exercise to Dio. Ah, and here I wanted to show you can put in patterns and textures really easily by putting Al Falah Que creates the shape of the clothing, and then you put it on Alfa Lock, and then you can either paint in with a texture brush or, um, copy the image and bring it in. The colors are Mr Awful. Just kind of was doing whatever came first, but, um So go ahead and do some some patterns on shirts or whatever you want to practice on. Crazy pants would be fun. Ah, and then also tried the texture squares. And I love to see them posted. That would make me very happy. See in the next video. 6. 5. Creative Costumes : So we've talked about the technical stuff, the folds, the types of folds, wrinkles, whereto. Where to draw certain folds and wrinkles Now is the fun part. Let's take that knowledge and now create creative costumes. Have a little fun play, get imaginative. So first of it's important to think about design elements. So here we've got, um, a designed by inspector clues. Oh, doc blocks bought dot com, and you see how much more interesting this one on the left is and the one on the right. So it's important to keep in mind big, medium and small shapes to kind of push thes designs. To make it interesting, you need to have areas of rest. So in this dress you see the big is the large portion of the skirt, and then you've got the medium is that course its size, and then the small little details that kind of gives your I a place to rest. Instead of jumping around all everywhere, it's it's nice to lead the eye where you want it to go, and before you start, start designing, it's good to fill your creative bank account. As Jake Parker put it, if don't know his work. You should check it out. Jake Parker. Um, so a fun exercise to do is to just get your ideas out to see what comes naturally, and then go to reference and find things that will help add to the knowledge, then the and the designs that would just come naturally. So a fun exercise would be to take decide, like a boy, a man little girl, some sort of person, and then design their wardrobe or just different outfits that Oh, a young boy here, the example of the young boy could be wearing. And so the first few you kind of do what you would do if you were just to sit down and draw , boy. But as you do 567 I mean, if you keep going and you do like 50 Wow, you're gonna have lots of new ideas and it will really stretch you. And, um, all of a sudden, you're gonna have lots more ideas when you sit down to draw a costume because you've already gone through that process of stretching your mind to try to think of more ideas. So I encourage you to do that. And then now it's time to go to Pinterest. This was found on Pinterest This picture go to go to the Internet and find images of clothing that you like anything. Anything that inspires you. Go ahead, find it, draw it and you're gonna notice in the next step as we are creatively making up a design instead of dis copping one that we're looking at, uh, you'll notice that some of these things that you've drawn will have stuck into your mind and that you'll be able to take an altar and make your own in your own ideas. In your own ways, this is just create filling that bank account. So let's try taking a character and creating a wacky, whimsical costing for her. I don't know why, but I am thinking a B lady. Maybe she's the Queen Bee. The Queen bee off the hive has been lost. And so this lady has taken the rule of becoming Queen bee. So what do you do? You look up bees. And then, as I was looking up bees, I thought about the hunting comb and that could be an interesting thing to incorporate into her costume incorporate into our customers Well, And then, as I was looking at that at the honeycombs and the bees, I found that flower to the left with the purple in the yellow. And I thought maybe that would be a fun thing. Toe add a swell. And meanwhile, as I'm designing her, I'm thinking about the previous sketches that I did the reference sketches that you see up top left and kind of meshing some of those ideas together. That really kind of gave me a baseboard to work off of feeling that bank account, that creative bake account taking from it. So I tried some different colors. I didn't like the green, and there it was just like too much to have the green and the yellow in the purple. So simplifying that a little bit. But it was a fun, wacky, weird concept, uh, to play with. So, yeah, messing things together can really hope you come up with interesting creative things. Then I decided I wanted to do some sort of villain. Villains are so fun, just like endless possibilities. You just like can't added. I seems like with villains, you can't push it too far. I felt like that last design was maybe a little bit too weird. Um, but then, with villains like at it Oh, I just love them. So I'm sketching again, just sketching to get ideas, because I don't want to copy these, but by just like quickly getting the idea of them not like detail for detail, every little, tiny bit, every beat, every wrinkle. I'm just getting the idea of what I'm seeing just real quickly so that I can feel that creative bank account. As Jake Parker would say, I really liked her little pant leg there. I was really unique and interesting. So finding a lot of just reference on Pinterest really like browsing Pinterest. One thing leads to another, and you can just go on forever. So sometimes it's good to limit your time so that you're not going for ages and ages and not accomplishing the thing that you set out to accomplish. Because you can take an old whole evening of looking for a reference where sometimes this is important, but sometimes it's important to get to set a limit, so I'm just quickly getting the ideas here. It's important to draw the clothes on the body just so that you can get used of how it's hanging instead of if you were just drawing the idea, really like the the pattern per se. This was a really interesting picture, I thought just kept finding more and more interesting pictures. I just kept wanting to draw more and more reference. It was really exciting for me. I don't think that that's a bad thing to keep, to keep finding more. Um, if you're having fun, keep going for it. Unless you're on a deadline. This one looked really evil. I like the pointy nous of her hat. It's still in the page with with lots of ideas. So now let's take all of those ideas that we have just explored and creates a design. I went into it not thinking of any problems specific, except for that she was a villain. But as I did that little portion around her neck collarbone area, Uh, just even without the spiky nous of it, it felt kind of Venus flytrap e. So I added some more and then just decided to continue with that idea throughout the rest of the design. And maybe you're noticing how some of these ideas are taken from the sketches but morphed and given a different spin and the blend of all of them together create something new. So, uh, had fun with this Venus flytrap concept, kind of bringing in the little spiky edges everywhere. But it was getting a little bit complex on the bottom and a little busy, and there wasn't really the design aspect was lacking. So I tried another one, leaving a little bit of area of rest. I think that's something that is really important in costumes, that there's not, ah, bunch of detail everywhere. There's areas of rest. And then there's areas of focus, kind of drawing the face during to the face or drawing to different portions that you want to accentuate. So that middle portion that was the area of rest and then a little bit of detail there at the bottom and then a lot of detail around the face with those pointy edges. It was really fun. So I would like to see what you guys come up with. Take a concept. If you need concept ideas, maybe I will list some for you, Um, but takes and reference and and design with ah concept in mind, mash different ideas together and see what you come up with. 7. 6. Wrap Up : So every time I'm teaching a class, I noticed that I start improving a little bit and the things that I'm talking about it means that I'm learning and hopefully teaching it in a way that you could be improving, too. I was noticing my improvement in cloth wasn't what I wanted it to be as I was working on this lesson and I realized it was because I wasn't thinking about it when, as I was walking around, I wasn't thinking and breathing. When when you're bored, when you're standing in line at the grocery store, it's nice to be thinking about what you're wanting to improve in and drawing. So, like lighting. I've gone to faces where I'm looking at lighting all the time or or character. Uh, but I started once I started looking for it and thinking about it in my world, the world around me. I started improving, so I wanted to do this exercise with you of taking pictures off yourself. I just went through Facebook, um, and analyzing the cloth there, and that might help you personalize it and think about it in your life as you're looking around you, not just from photos. But as you are eating breakfast, if you're sitting next to your child, you can look at their clothing just wherever you are that you have a next tra minute to be looking and seeing how the folds are interacting with the shape underneath. So this was a really good opportunity to be looking at that looking how how the cloth was changing dependent upon the, um, the post that they were in. This is from Bali. Cool photo, right. They were doing carvings, woodcarvings, eso seeing the looseness of his shirt, just analyzing and seeing where these fools were going in real life. And I guess all the reference Israel life too. But somehow this was helping me to in my own life look around and always be thinking about the cloth around me that I could improve. And I hope this will help you guys improve to. So here we're looking at points of tension. There's the tension on the one side and then, um the effective it on the other. So and once again, looser clothing is the bigger, longer folds and then tighter clothing will have the smaller closer together folds. There's kind of a little example of that. A great one. But you get here. So this dress had all sorts of holds on it from a Halloween party. Little Bunches was interesting to see on that. So I encourage you to go through Facebook. You don't have to necessarily draw on top of them, but that did really help me. Uh, what would be even better than that is to go ahead and sketch from it. What would be even better than that would be to sketch from life. So to sit down in a library or at the mall cafeteria and draw the people around you. Here's our wedding photo. I thought his suit had some nice wrinkles as well as under the dress, uh, fun toe sketch and figure that out. So go ahead and go through pictures and identify the different types of folds and try toe practice seeing folds in real life. And before I leave you guys, I just wanted to ask you guys, What's is your big dream? Your big your big goal. If failure wasn't an option. And what are you doing to get their, uh, when you think of these goals? Um, tried Teoh say them in first person. So, for example, I am an artist at Disney, and I do what I love every day. Um, if you have a goal like that, the way that you're going to get there is through doing the work. So do the homework, do the assignments, have confidence in your dreams and fall over them as cheesy as it is. But I just want you guys to believe in your goals and believe in yourselves and go for it. If you believe you can achieve, you will. So do your homework. Post it, please. I want to see it.