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Art Lessons: Drapery: Inert

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[MUSIC]
So,
the other kind of folds are called inert
folds.
So, what are inert folds?
Inert folds are folds that don't wrap
around a particular shape.
They're not being pulled by something.
They're just deadless, lifeless folds.
We usually see them when you're wearing a
dress, and it's just falling to the ground
particularly gowns, you know, pants that
are too long, baggy pants.
Those folds are not really being dictated
by shape underneath it, nor
are they being dictated by some kind of
movement or energy or pull.
It's just a fold that has been that's a
dead fold.
So it's also called a dead fold.
But I like to call it an inert fold.
Okay.
So, once again, from the top here
obviously we're looking up there.
Those folds are, you know, some of them
are cylinder folds.
Some of them, you know, it's got tension
points.
We're not really relying on that to give
us our inert fold obviously.
Inert folds are at the bottom.
But I'm just gonna kind of briefly mark it
in there, just so
there's a point of reference like that.
These are coming down, coming down,
down like that,
and very architectural, beautiful, some of
these folds.
Even though I'm not gonna draw them, just
the observation that they are very,
you know, kind of beautifully
architectural.
Down here is where we are getting the
inert folds.
This fold is pulling here, it has some
tension to it and
then as it comes down into a zig zag, it
kinda just feels lifeless.
It's just like a lifeless fold.
[SOUND]
Now, always think about just the shapes of
this fabric, because fabric has a very
interesting shapes.
And it kind of echoes any kind of rhythm
in nature whether it's figurative or
architectural, up here it feels very
architectural.
Alright now, this fold just kinda
just lying down like this and
just kind of a stagnant fold.
[SOUND]
Tucking underneath.
[SOUND]
And a value shift here.
Casting a shadow, like that.
[SOUND]
Again this fold is wrapping around.
That's kinda neat.
I'm very, it's whimsical, but dead and
inert.
[SOUND]
And if you're really not concentrating,
you really can lose yourself in this
puzzle.
It's really like a puzzle.
[SOUND] There's a lot going on here.
A lot.
You have to really concentrate and
not talk, although I am talking.
But if I’m you, guys out there, I try to
really kinda set some classical music on.
Just get into a mind frame where you could
really zone into what's going on there.
Cause it really, this is one of those
things that's pretty difficult to gauge,
how much energy and concentration you
really do need.
This is casting a shadow here.
Who thought falls could be so fun?
And you know, historically, folds play
such an important part of
our history like, just think about the
painting of the marriage of Arnold Finny.
Think about how many folds go into that,
and how that describes each character.
So amazing.
Now sometimes when you do these folds, you
kind of have to edit.
You have to be mindful of being a really
good editor and
say, yeah that's not that important, I am
going to leave that out.
Or that really is important I am going to
have to put that in.
Once again, I am just kind of showing a
background value.
You know, one thing about being a good
painter is knowing what not to paint,
what not to draw.
That's really important.
As much as it is what to draw and what to
paint.
So, all these folds are pretty,
just sitting there and
they're very inert.
[SOUND]
And it's good to get some
background value on this
just to make things relative
because the prop is so light.
[SOUND]
As you could,
see this is kinda moving along at it's own
pace.
It's a very complex piece of drapery that
I'm
just kind of
getting into.
[NOISE] And you could just see.
I'm gonna concentrate a little
bit more on the part here.
And there's a real architecture to this.
This plane comes up,
this plane goes up and around.
[SOUND]
This plane overlaps.
[SOUND]
[MUSIC]
[MUSIC]
[SOUND]
And really also just kind
of experiencing the overlap.
Like that.
[SOUND]
In here, the top part,
it's all really
starting here,
and drops down,
like that.
I have to squint my eyes oftentimes to see
what's
really important, what's not important,
just to kind of leave out the superfluous
values or lines.
[SOUND]
All of that is very soft-edged.
And in fact the light because it's coming
from below.
This actually this is right here is the
hottest spot, of all of this.
[SOUND]
Kinda making some of this up just
because it's not as important.
This seems to go to the edge here and then
it goes down like that.
[SOUND]
And a lot of drapery also is just playing
with edges.
Like losing, losing edges and finding
edges.
So, here I would lose this edge because
this doesn't have enough light and
I would just lose it to the background.
It's not important.
As we're here, I would find an edge.
Just making things push and pull in really
interesting ways.
[SOUND]
Okay.
[SOUND]
Now this.
These edges really have planes to them.
So this has, this is a side plane.
Goes around.
[SOUND]
And this, this is just getting.
[SOUND]
There's a couple of areas that I, I've
made decisions that I would change but
because I'm drawing in prisma as a study I
have to kinda stick to it.
So.
And I'm just gonna stick to it.
So.
It's what you do sometimes.
And you learn.
And you grow.
[NOISE]
M'kay
[SOUND]
Okay well.
That's what I'm.
That's what I wanna do for right now.
And inert folds, there you go.
There almost you go, hold on.
There you almost go.
Now.
[SOUND]
[MUSIC]