Clip Art Person Bending Over Cartoon Guy Bending Over Butt

Material and folds can have all sorts of forms depending on the softness of the textile and the shape of the trunk. This illustrated tutorial past comic artist miyuli covers basic concepts and approaches for drawing fabrics of all kinds.

Folds depend on the grade they fall on. They are non universal. There are many different types and factors that influence them.

There is no single rule on how to describe folds—The all-time manner to understand pall is to do as many studies of folds as you can. The more realistic you want to describe and paint folds, the more than references you volition need. Understanding some common principles will make it possible to draw them assuredly in a more stylized way.

I've nerveless some pointers and commonalities here that I've come beyond and so far.

Materials

It is very of import to consider the materials that you lot draw when dealing with folds. They all have their very ain characteristics that assistance to decide where to put the appropriate folds. Their texture dictates how diffused the shadows are.

Thicker textile has wider folds that are usually less visible.

Hard materials are usually pulled more at the angle area or at the seams.

Soft and sparse material produces the about folds, especially around the angle areas.

The amount of folds also depends on how heavy the fabric is and what kind of fabric information technology is made of. When cartoon fabric it is a skilful idea to consider how thick/thin, difficult/soft, heavy/light and smooth/textured the material is get-go.

Heavy fabric causes folds of a different volume and different width. It is also more idle and shows fewer folds even when moving.

All wearing apparel have their own arrangement of parts, which heavily influences the formation of folds.

It'due south good to familiarise yourself with common placements of seams. You don't need to depict them all, but it is improve to take a good primal cognition of the structure.

Folds tend to pull at prominent seams, peculiarly on clothes like suits where the transition between seams is quite noticeable at the shoulder.

Sweaters ordinarily take their arm seams much lower and the folds don't pull at them as much.

Clothes with a broad cut show different folds than clothes with a narrow cut. A tight cut follows the form of the trunk and wraps effectually it. Wide clothes testify a lot of droopy folds that go from the pulling point towards the ground.

Clothes are often designed with folds or lack thereof in listen.

Fitted material is designed to look elegant with as few folds as possible. When wearing apparel are too tight or too loose there are more folds that give a less elegant appearance of the article of clothing, especially when looking at the silhouette.

Worn-out material tends to pucker more than new or well-maintained fabrics.

Note: When drawing wearing apparel and folds, information technology tin help to consider what material fits the grapheme's personality first.

External influences

Folds can exist heavily affected past wind or water.

Wet textile acts differently from dry cloth. It tends to stick more to the class underneath. The water makes the light material a lot heavier, so it does not move as easily anymore. Thin fabric becomes see-through.

Movement

When the body is resting the cloth is usually dragged down past gravity. More than prominent droopy folds appear the wider and lighter the fabric is.

When bent the textile is pressed together and creates hollow shapes that vary in size.

There are more than bumps with more narrow material. Wide material tends to squish together with fewer folds.

The material adapts to the forms' motion. Folds unremarkably follow the twist. It can be very helpful to emphasize the movements.

Note that the lighter and thinner material in the case above shows fewer folds since the arm is still more often than not resting.

The arms heavily dictate the pulling areas where folds emerge.

Opening a jacket absorbs some of the pulling when the arms are raised.

Pants

The fabric of the pants is supported at the waistline.

Pants start wider and narrow down to the knees because they arrange to the bone structure of the legs.

With narrow pants, creases are usually visible at the knees.

When drawing bumps in the textile it'southward skilful to testify their origin and volume. It does make a visual difference when you can imagine the folds in a 3-dimensional infinite.

From the back, you can see folds forming under the butt region that get up to the hip.

The folds at the knees are besides visibly pulled past the hips from the back view.

In full general, when the body is just standing and resting, there are less dynamic folds.

When a leg is lifted, the knee becomes the strongest pulling point.

Be conscientious of the forms that the pant legs create when the leg moves.

Shadows and Highlights

Depending on the thickness of the material the shadows around the folds announced slightly different.

When shading folds, it's skillful to use a combination of soft and hard edges.

When painting pay attending to how shine and soft the cloth is. The smoother information technology is, the more it reflects light and has a brighter highlight. Rougher and more textured materials diffuse lite.

The darkest area is ordinarily where forms are pressed together and an occlusion shadow appears. This too applies to very deep creases where light does non attain.

Here are some quick tips that I noticed while shading materials.

The shading, like the width of the folds, varies between soft edges or highlights depending on the material, and then it's adept to familiarise yourself with as many materials as possible to build up a rich visual library.

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Source: https://www.clipstudio.net/how-to-draw/archives/157926