D R A P E R Y F U N D A M E N TA L S :

Anatomy of the Fold

Drapery will always take on the characteristics of the form it is resting on. If that form is
cylindrical, the drapery will take on the characteristics of a cylinder. This is one of the many
reasons why you want to master drawing the basic forms of cylinder, sphere, cube, cone.
As the excess fabric bunches it will begin to create folds. The pattern in which this excess
fabric radiates out from or spirals around the underlying form determines what kind of fold is
created, all the while maintaining some semblance of the form beneath. The looser the fabric, the
greater the bunching, and the more obscured the form will become.
As fabric bunches up it will fall into specific patterns. In the most ideal of situations these
patterns are regular and identifiable, but more often they are irregular and interpretation may be
necessary to create the desired effect. This is another reason to study the basic forms, as well as the
basic folds.

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 D R A P E R Y F U N D A M E N TA L S :
Anatomy of the Fold

The pattern of the

folds will be dictated by
two factors, the tension
points and the form. The
looseness of the fabric will
most often dictate the
severity of the fold, not the
fold itself. The tension
points of the fabric will be
determined by gravity
(where the drapery is
hanging from,) and the
accumulation of excess
fabric (the point of greatest
bunching.) For instance,
drapery will hang from a
shoulder, but it will bunch
up at an armpit or elbow.
From the tension
points the drapery will flow
from one to the other.
Folds will leave an tension
point to relieve tension, but
at the same time be pulled
in the direction of another
tension point, traversing
the form when necessary to
get there. The looser the
fabric the more the fold will
remain clear and unbro-
ken, like a toga. The tighter
the fabric the more the fold
will become broken and
secondary to the form it
rides over.

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 D R A P E R Y F U N D A M E N TA L S :
Anatomy of the Fold

- TI P -
I recommend using drapery to
enhance what lays beneath the cloth
and its actions by traversing and
trailing behind the form, rather than
allowing the folds to dominate and
obscure.

As a form bends, as at a joint, the excess fabric that was needed to accommodate the
extended form will compress and create a tension point, as well as a different flow. Where before
the drapery flowed from the shoulder down the length of the arm, it is now pulled toward the
elbow. While the extended form would have fewer, less pronounced folds, the bent form now has a
more active fold pattern.
While we have spent a great amount of time studying the anatomy of the seven basic folds,
we now need to study why they occur and what circumstances affect the characteristics of a fold in
the direction of another anchor point, traversing the form when necessary to get there. The looser
the fabric the more the fold will remain clear and unbroken, like a toga. The tighter the fabric the
more the fold will become broken and secondary to the form it rides over.

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 D R A P E R Y F U N D A M E N TA L S :
Anatomy of the Fold

ASSIGNMENT 8: CONSTRUCTING A UNDERLYING FORM

Part 1: Watch the video demonstrating these principles. Then, refer to the handouts. This Exercise is
a bit more fun and continues to develope your ability to simplify complex forms.

Part 2: Using a piece of fabric drape it over a variety of foms in your studio, and use this as reference to
do a drawing. This should be a sustained effort, DO NOT rush through this. I would set aside a
full day or more to do this study.

Part 3: Once you feel you have developed a good understanding of the underlying forms move on to the
next exercise.

Note: Refer to the supplemental book list on the materials page for further resources to study. The
object here is to give you a working understanding of these essential concepts. True mastery of these
concepts will come over weeks and months of study. A suggestion would be to start each
drawing session with a 20 minute warm up of drapery quick-sketches.

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