W·I,.·DN· .• ··.·,UPTILL P·U:.

LIC, TI>

5 .. I"~ '"

. _' .,': "_

This book is dedicat Ite m.y· goo, . iends:

M_,_u,rice -Iorn, a distinguished, 5 minal hist rian

of the comic narrative idiom and the graphic novel, Richard Pryor, of COlli. ctor's Press, and his family, J(uuma ,2Ilnd John, for' their warmth, devotion, and stead' as, ' appreciation '0, the Ninth Art '0_ 10- ... I lme:

Iack Iversen, one of 'the "old-timer I.,. ,of the animation orm, for his idealism, en,ergy,. and unflaggjlng ,Sri t in pursuing and 'b'ullding his Vikin.g dr. _nl~,

n the; cour e of prep . ring this b iok, I Incurred

a debt alf ,gr,ati."tu.,de first and foremost to Mary Suffudy, Executive Editor of Watson-G:uptill"fl ir her unreserved' enthusiasm for and encouragement ,o'f

"his project when I,Olp.. or it see IH eo to have w _ 'n: d:

It10 her wise ,gui,d;lUlICl?: I. md the judgm nt o,:f ICar'1

Ros en in the editorial area and details IOf prod uction; and to Bob Fillie for his masterly projection of the 'N~OO,k~~ an' . design of thls book.

Special mem ion must be accord ld 1.'01 the unnamed and unreeo '. led specialists, designers, and illustrators o'f current and recent vintage in modes o'f fashion-e-indeed, to. fashion artists of earlier eft S, and the SCc;' ttered 'FeCOrJi __ S of ,a mot e remo e and distant historical past of attire and dres in m,any' lands and diverse cultures=-sorn found ill obscure print media, some in pajl1ting and sculpture

_ . producti . 11 '. I' g{lm,gback ~'O ea'f ~ y classics r '-,' '~

' ..... 'uch .: this backaround reference matter havs

10

deliberately reworked and scrambled (likemilitary

uniforms, for example) so tha it no specific geogra.p·h]· ," national.. throe." O~ p '1Uical provenance can be at ached lor inferr ,d" My' sole obiectiv _I is the

, trict adherence to solving 'the problems of wrinkles and folds. Other than that, I do 110't cho-ose to make clalms of orlgmal insig'lr'tt;, and my deep thanks go to those ]mc ,ge' makers w ose work unwi Hing1y' 5 rved tJ,.. narrow loompass of my' needs

PREFACE IS

INTRODUCTION 191

Chapter 1 ,I, UNDERS, ANDING KINETIC FORCES 1iOI

Chapter 2~, DIRECT THRUST WRINKLES 2,4

Chapter 31~, 'B-~ND WRINKLES "~O

Chapter 4~ CROS' ,'ING WRINKLES 58

Chapter 5~ COMPRESSION WRlNKLES 74

Chapter 16~ FR.AGMEN ~TION WRINKLES 84

Chapter 7'~ SWAG AND HANGING WRIN' ,LES 9,2

Chapter ,al~ TRAP AND',CLOSUR . WRINKL' S 102

, Chapter 9i FLYING 'WRINKLES 110

- . Chapter 10" PASSIVE, INERT, AN LYlNG WRINKLES 1261

Chapter '11'F WRINKLE PATIERNS/1 TEXTURES, AND MATERIALS 134

INDEX 143

1

n the course of a truly remarkable career

I" .. '. '... .".', ... ' , .... ixty .. d" d ,',' ... ,. B' .. H· ,,'. th spanrung some SIX.. =0 ; '," years;. .' urne ,agar _ .

has worn, ma'ny' hats in, the worlds of art" art education, and art publishing. Although 11~ was from the beginning: a 'popular success, critical acclaim was a long time coming, Thankfully, he has now taken his place anl,long tile Important artists of the twentieth century,

'8' . tf f 1'" · - -~ n-

" 't . I I . .•... '. . ... ~ '. ," ,-. r -'.: ." ••. - - " .. '1'. -. ':', - "I , .", _- . •

urne IS mos ramous: or us mternationa ,y

syndica ted Sunday color page Tarzan (193'7=1950) but is probab ,y 'most revered for Ius contributions to art education, Through his books '011, drawing and his hands-on 'beaching, he has touched the lives of

I h d f: - d - Ltrul beli

countless thousanc so' art, stuc ents, t .,: ,y ne eve

that he is one of 'the most influential :figures in art ed ucation today;

Burne has published five books on drawing, beginning with Dyrunnic A,nntomy in 1958. These books are the definitive studies of five aspects 'of drawing, This book} Burne's, sixth, may well be the most unique and information-packed of them all, Begun as a study of the clothed figure and 'the dynamic properties of drapery, the project expanded to create a vocabulary and terminology

~ th hi h dd }' cl th d fi . -

m·. - W'. c to a. less the .. ····,0· nee , -gure In ar'

d ti Thi did . .. t d II

e __ uca," o'n, us ' ' not e'XlS " all " was not g'elle'ra ,Y

perceived as being needed, TIle clothed figure was a chance encounter in rnost ar school study

Hi t ' n- _- iI h ,. . d .

:pr1)grams. s xmca - y~ the ,em,p, , asis m .. ra wmg

'was on 'the nude, This may well be a result of the lack. of terminology and, vocabulary with 'which to address the clothed figure.

The project expanded further to deal with characterization, especially 'by means 0"£: gesture~

TIle people in these drawings are' unique Individuals: personalitiea reflecting all the 'varied aspects of contemporary society, As a. matter of fact, this 'book mav be the best visual record of

- .iI'

contemporary society' to date,

In ,th,€ late fifties, I was just starting au t OIl a career in Illustration and was teaching my' first class at the School of Visual Arts i11 New 'York, I had graduated from Art 'Center College of Design the' previous year, and although I had experienced immediate success as an illustrator, T was far from sure of myself in the 'role of teacher, Burne Hogarth was teaching in" a classroom, next to me and I couldn't help but overhear most of his lectures, Hogarth has an awesome energy level and, is 11.0t a

i t an ·H' iI!!ii ill UIiI:' trated his lectu <ii'!a~ W1~ th go; ~,n I!.

q'Ulle m,., , .. ,L. -~'LJ:: are '. n s ."'-......:'LbLJ.'."._,'a, .... i .Ji!t-JUII,'l"L

anatomical drawings done: on the spot from memory in an extraordinary and unique style 0.£ IUsI ow '11' in v rention I h' tad nev er seen ~nl'y, ""0" ne !liZ:'r'iIi cl "e"~'II"Iy'"

L .•. '". JL L.]" . .... Iii' _. . [I;'IJ.. _ I ~'",:..l. ii3b'L:. H-L It. .... .~- 13~. I&LL ... :

define the human form before', Needless to .sa:y~, I learned a great deal about tea ching from this experience and I 'believe that Burne's commitment and enthusiasm inspired me to take UP' a, second 'career in, education which continues to this day~

VVllel1 I returned to California many 'y1ears Iater to ch air the lllu stra tion department at Art Center, the main thing that I felt 'was missing was Burne Hogarth, Burne was such a confirmed New Yorker, it never occurred to me that· I could lure him to California. Happily, sometimes things 'work out Burne did move to California and didjoin our faculty, He is a constant source of inspiration to the department and I feel hon .. ored "to have 'been asked

, to write this prefac .. '.,

PHILIP' HA¥S Chairman, Illustration Department Art Center College of Design, Pasadena

B

~ .. book is essentially il, study of the problems and 'Solutions related Ito drawing the clothed human 'figure. I 'propose to deal with the

integral facts" details", and systems of wrinkles and dIB'Pery as, influenced by the movement and activity Ct- the human form.

ODie o:~ the ironies 0 - a_ -t educa "0.11. ist'hat while i,l, ,'~_.',~a't deal of attention i' , Pi,vlelll I r drawing and

(0· I

pain'ting~l:e Hgureif, f" u ,_ in his context ref rs only

t-o the nude or unclothed form, Indeed, fr-om th ., very beginning o,f the learning p'!oc.ess i the wt ll~ held axiom is IH~at basic art study proceeds unquestionab y from th representation of th ' u-nclothed human Iorm, That tacit principle i -I th .. ' norm, ~n privs te studios and g~uu'p' classes, as well

a in large art Sc],l,OO]S and colleges. ' one can 1 lrs W' ["he nude .filguJle, door . are automatically OPI n for further s:tudy~ the sbill ,f to draw nudes being perceived as the foundation for all other developing art skills. In subsequent study" drawing the nud figurre is also a CO'11, - tant preoccupation, I t i" ,th

t 'n iral rationale at ~ _'_ confirming acti vity for' advanced and master class es ..

As a, matter of cours ,,[llidasses devoted ' .. 0 pahltin,g, illustration, and fashion s:tu,d,y, clothed ligures are presented i TIle ~gures, are dressed in a variety' of costumes and styles of this y@ar' and yesteryear; And surely, an instructor might occasionally provide, some salient information on 'o,Jds and drapery! but, sueh instruction is, sporadic. 1=~ the' average pattern of stud y.very' Iittle attention

i· ,gi\f,en to It'he systema'- ~ C understanding 0': t ··~e clolhled figuJe, because f'h,. re a'filE! no requirem znts in Itbe curriculum to propagate su ch a disciplined program.

The irony is that 'in reality artwork depicting elothed figu.res. is far more' common than 'work sholw'ing nude flgwes .. e;y merely ma king an acrossthe-boer ._ scan of' the ar in various medi .·1, one 1N1IJ,

1 . bserve th t il-1!..e" 0-:- v' -e~ ' __ w~h--_r~lft"iI; ;n~ g. 'pro' ·"Prff'lii,.rt~;,o.·;n '1i~i" 'e .. ,il:.h=- .'

D.~~, Y " !IJt . llJ ~ .. . . I. JILIII·.irilllL" .,",' .lU, W.,· . ~" fiL.

clothed ,Hgu'J!e., Wi- 1 tbi- oversizht in the education of arl1sts in mind" we it,op· to fill the g,ap by revlea[ing the s'ecrets of wrir1k~es an,d d,ra'pery,

[It. is my contention ,that such a Vi-tiel] and instrumental subject as wrinkles and drapery-e-the analytical and kinetic factors 0'£ the clothed figure-> must be s en as integral to figure drawing, The

sub] .ct must be' construed as, the basic support stage of fh. ,-: TIft de f(n'~m ~ The stress- l,e'], ted anetomical

features o~- CbtD;get m,lobiUity~~n,~_ I iction . ,re best shown through the in,b!r,al(~lhv't. t, sequential stage '0- :figure d fa wing: that I de crib . in D,Y~ iamic W,~inkles and ,DrQ'pe~y ~

'Wrirtl<l s and drapery are not independent,

exclu sive agencies of form .. The divisions of wrinkles and folds, in) clothing WO'In. on, the' body should be conceived as a part o,f a coherent slysbam IO'·~ moveme :_ and I,esponseci' From this p'remise",,~n. garment can be' regarded as a 111ew skin" a Iooser, vari able o·'v. - r tha t augments th . nude substructur t 'but is ~ sponsive to the underlying f undation below,

This book explains how and 'why wrinkles act the W3,Y they do, focusing on the kine tic forces of 'tension and tl1TUS t, the resistanc f, c tors of friction and traction areas, and the counterforces of retention and anchor points. Nine major s,ystlems or

'W'T' • .' es and drapery are discussed in detail, and

these system ,. are shown as they af ·;c· 10 variety 'Df textural materials and weaves, responding to bulk, density, s'tifftle· s, and resilieno ,

After scrutinizing the basic Interactions of wrinkles and drapery' and the' nude form, we move to the PIU rsui t, o,f problem solvin,g, in . -: rawing the clotb fl.gu_~" T'his involves unc ers"-an,ding the clothec ,f,i;gu,fte'i,n terms 10 - such, ind lvidua],

behavior ,·1, and odal y oriented distinctions as personality, age, sex, and status, Work and jobrelated attire call help the artist tOI define social guise' and: d meanor. 'These conditions all aIfec'. both 'the movem nts of the. body an ~ the movements of tI,e do,fuing on the body, hence tl1,e patterns of wrinkles,

'I is m,y hopei that within the narrow limits of (I, book, we ~jr_s'e'n:t sufficient "-o:rnl,~ .~"on, to ex,d~e interest and inspire a,'WafleR.less and ~ nderstanding 10''the 11,8· Uti ., ,of wrinkles and folds

Now, let's ge'- on with 'our work,

BU~KNE Ho ARTJ-l

he innate forces and stresses that arise III til human body are revealed in the folds an '-, creases of cloth s~ it, order to under, tand

.:" ..... , ~1"'11 d d '. , ' -d- .. ~ ..

WTuu;;.J!' 51 an a u rap' Ir'y In context of a W1._I,. vanety 0, 'w'earmgl

_ppa'--r~' ;.' It Is n ~cessiary m'r.', ".! une erstand 8" re :fic kjnelth:~ them elv s .. Kineti rerce f which. i ed to the m tion c a figure in opposition to other natural forces! such as gravity~ gener,a,t_ H:1 str -ses frOID whtch wrinkles and folds dL velop, This combination of 'fO'1 es acts on the variou " weaves i nd textares of dre rs, cr .atil18, in, , fleet

anot ,liT orm of skin, lose and ':-e" -act ~11g, as our rea] skin, This artificialoverlay, h.'OW', v,e(~, can are t with i , diversi ~y 1110 t availa ble '~O th ~ilg"hlt]y bound flesh.

The casual observer would conclude that the 'body 'I" capable 0,producing " n unlimin d numbe -of possibl .. ' 'mol v' ments, C]· ser

in ,pee iIOD" 'hi. wever; WI, ,ulrd show ,th _t the appa l ntly '_ ifJ,'re~- kinds of'

actions can, b, simplified irr 0 four fundamental types of movement, These basic actions of th _ b d, form'S are: exten .: ling, 'bending, twisting; and rotating,

Wh,e,FJj. tllU,~' four basic actions of Ith :_ I be dy act " . n clothes and ,ga;rm,e'l1 ls,

Wll- .. c~- '-:-b- vio ,- '1,. .D t'" .. , wD~Q'h- It shape and .a;.,H'V,iI-o."''"''O '::rii Load t:!I;--

Jill .. , '111 0 "".",., ,I_US 'Y' nave r " U O\l\fl1 "~IO-' I ~ '·"IIlU, ~'~,f !If,., ).~ ~1~,,,.AIL.llUllliOO.t '_III U ,_ J!!;;.W

mt uaction takes place with the ext· mal ':o.,n:es 0: gravity, weather, and

d - "rh'" bi li f f'" ~ "" ~ 1

ran om rv n ts, . ms come nna aon ot , orces g:t ve flse L'O caregoncai

- ystems of wrinkles and foJds. Tbe,,-i, . sys;temJ8 a'f _ discussed in detail la- er; fo - nO'Wj I 'f' s talc, ' I~. closer 100 ", I ~' the four ,- ~'15ic iu:tio,r, of t_ e bo 'v

J'I~

1 E,... ' I· Th exten sion of forms 0'1'" th IB ~,II-'!:!Ii ~ghl..iOirun'· ., g an d

t x,en, m" - Ie 'Ali.,~.jI,I~ ~ ,yl" iU -,U;I!I' ,.lI- _,b ojtl~l.lI.er ,~. ,:' ': ,_, t,

stretching of the body parts", can be seen wilen the figure' is in an erect, elevate -, posture. TIle 'head, neck", a:nd torso are "Bird ttll be exten Ied when t'h y an straig 1;t n, d; the le,. ani fee"'w':h-l crsighten";d t ,ut;: and th 'I, ms, hands, and ~gers wh, n 'stiffly' stretehed out,

2~ Bendi ," The 'bending of forms in the fIex~g 'Of' closing lof' parts can b - See'l1 in ,th, , com pression inward olf the head tOI ch,est;' th' ,

eompres don of the rib, age t'll'W,_- .- ,'" the ,el'vis (altVr" riollS ang sl;: t.h " backward bending of the legs and lUll, forward :f1 xin"S of the arms; and the closing and clenching of hands and fingers, f,eet and toes,

, 3 .. Twi t- " 'TI,e, torque and twist of forms can b~ seen tn 'the MeR ~ ~,d rigrht rumin" of tb . h'~d; ,t.h

IhNistm,g' or wre·n.tching of the ch - -I again t the pelvis; 1t!'IE! corkscrewing of t ~ _' . legs in the hip socket and the spiraling of the arms in

the shoulder CU'PI;: and the hlnling and 'wrf!nc'~1ing 0'_' the wrls ts and ankle ·j.mgersl ,aDd t.e', '01 small t'MVists.

4 .. , ·ota·" - g" TIle rotation of forms can be seen "in the wide gyratio'n, 'of the outstretched arm from its pivot in, the shoulder; the wide rotary whirls Or£ the leig from its pinion in tt,!! 'hip; th upward circular swirls, o!:f the It "ad, combtned wifh neck fo,rCllSlj the wheeding aroend e the pelvis ,'- ~·!d the ,leg b se .... ,:' the tor 0 in 'rge, win -'millin,:g; curve . ,; BJD "

the whe .. ling and winding rotation of hands" and the reeling rlot~_'Uron ,of dangling feet,

These gross motions O'f th ., body's members, in combinetion with I ach 'Dither an ~_,')t~erna] forces, create a remarka ble s . -u,enCfi 10: a, 'wrin'2' le S'ys'b~~m - ln the coverings and :g,ar,mlen'ts Ith,at we choose to inn, -. "l.

In thl figures !U"at follow, look for the 'broad differences in thll! movements of forms, in terms of' the fo,u!"' basic' aeeions of the. body.

11

• basic actions of the body mobilize the forces of tension and thrust, which in tum energize wrinkles- Wrinkles are an expressive

' .. , ,.. -,' ... ~ _' .. -t"._ ... .......;.~., ... ,' "',' ... '." , . .I .. ~, ·,,·'·r. ll' _' • II ',," .',"-

indication of 'the force of actions .. The actions performed 'by t.his male figure are excessively' strained mid, contrived. This is d one to show the

ex" P- r essi "Il,.o, v alue o : f W····:....; _l .... ~'.a~ ,;"., p' ro p' "0' ·rtc 'I~ o 11' to t h jg! stra I.!' g .... h' tn iIC!II~.:!', of th e ,

'". . . ." ~ .. 'W' ~ '_ p. ._:. ~ ..... .. l~ll Lfi..l~i:I .LLIL .' . . .. . .'. . ' .. ,' . I l· - '" J IIii- w' " ._ " _ _ lib. u.;l V. .. .:._

, .

b ' t ~

mem ers m ex .ensron

The fully extended arms stretch outward to their limits, giving tile

" £. m f h '. d f th fi '5'" "1 1- rh

• '1.,,"'.. 1[' ," ' •• l] -, '·".C" •. '.' '.: - ••. - ..• - ..• --:- .- ' .. -:-. _ .... " ~" -'1" ... - .... '-. . .• .... . I -,' .' l._ ".: •. - -

viewer a ,ee . g or tl e strain ani. sweep 0. na ,gure .. JIDI ar .~ t e

extended :Iegs, conv'ey the feel of forward motion, as they move' hrough

the - .' ~ .",' -"f' .. te -:'1 ,-:,,:;. -,. stri d -:. ,_ .. , ch ," d -: d .' . ..- .. ' N ··· ··:t··· . th .',' " r .-'. -d

e ~equence ,0 S -,ep" pace, S' .. ,],'" e, marcr ',f anc ar vance, ore ne upwar~_

extension of the head and body, which lifts high along with the legs in,

.. d-' JI,'L • 1- · A" b h ill f

projection anc . Ute arms 11l e evanon, .... ,.,5 you 0 oserve these extensions 0

the fiP'1:'JTe' try- - . .: to" id entifv ,[JiH'~~' ea ch of the drawing s and feel y. OUT' -: wa y: .

'. . 0- I " '. Jl !II... III.JbL J 'n' ... U~ ~ ,II!;". " - ". '-- . •... - ". ..... - - ."

through the movements,

12

In this multiple-sequence side view o.f the male figure, let your eye sweep' the forms in kine tic array. The - egs po tray captive moments of stretching actions, and. the arms ris to an exaggerated elevation, Note also that the head

b ~ - .. df · 11i • hil

.' etrays an intense, spmtec - a,ICU1Jl expressloni W" '.,

the body ~~'·n1am_I1S poised and tense, Extending actions dominate this dravvingl but tile. movement of the rms and legs upward and downward. in sequence r . lies on rotation at the shoulder and the hip socket, Bending comes into play h re at the waist, as well as at 1- th hip and shoulder,

liN TllC F.RC'ES

ere 'we have two figures in the full extension of an overhead

b . d 'Il-... N' "., t D t 'h- - e b 0- 'd'" "Y'.' thru st 0'" f

o Y LOSS. < ,o,-!!G .. " - ,', ,,',', .. ,lUi ".'.

each figure, Theil' forms illustrate the sum of the powerful forces at work, as the bottom figure bends

~- I ..

forward. twisting hls torso and ~v t en di 'FIig~" 1;; 1'· s' limb' --~. '~n hu r tle thl ,u

~A.-~ .... :aiI:L' . II ~-" . . .... ~ 'v LIi. "_:I LlIl· .' .\-

extended figure through the air, against gravity Observe the extensions of the stretched arms and legs and, the rigid, 'tense "torso Io rrr .... ~ -,?,~' W·,." r ell" ·"'];8-,' th '~. " e bendin g and.

,', , _ L:II l' ,[1Ll!!., it1- '. . Vb_ _ ", I _ . '_

.,. 1 let th flin ,.

twisting t rat comp, ete l re -~ r _.gtng'

'action of the lower .figurle~

. -- -

14

bservethe two-phase flying figure of this

.. trapeze performer; Every form is in. extenaion=stretched, tense, and elongated to convey the flying outward swings, The figure bends at the hips and arcs his legs a bo,v'€ his head with slingshot

acce Ieratio n to com p'" ID,ji.iGI; LL.e,:-: fli .'g' .ht N·····'· ow imag rine i.'t..~

~\.r.. ,_, LA lr. .. . ..... " _" _ . --', ~lm~ U.l." ' .. ",.' t." ... · .' LL..LlII.r~ '" _ ~ Uh~

, .:", '"

extended swirling folds that would follow the speed

lin b hi d th b d tf thi · fi cl th I' es neruna the I·O" .. y l''''''~gure wore r 0 est

15

UN'. 'I' 'II, S TA 'II 'D I 'R 181'

16

,- . k ,10 .. 1: at th two male athletic ~igures (oppostte) locked i: dynamic balance: Virtually' a parts of the body th ~·t c, n ex -·r " some a pi ct o

a id, ySI 'nd I~ ~.' ,It I '. the' t ~ I,~ ':ping and

compression I th -' two torsos: ooth aliso exl bit

, U~I ·or ~. is.ltin,-~ '_:' .. ~' f Bow ~ h ' b. nding of , ach

h_ad-both tip a.lt\l'ay from th axial change in the hip .. (When 'we ex _-- ine thes be - d motions in

h ,cloth ,',·i," - -~ 'in 1- er chaplt:er 1,-

k b-[ ~ ~ ill'

',' .' I ~ I • , ,. -- - I ',' "-' I"" -. -

remar ao e r lyt c ystem w

pr vail 01 the wrinkl s .. )

, irtually ev ry b; ,'.' orm in ttl" 'tl ~ letic -:·'u es

b:. low expres '; ses some as'p ~ ct . 'f flexion"

· l benc 'N" he i . d

co .- -'p,resslonj ,an :_ _ '[\' ". , [) ',' the 111llWat1,

con -,: T,~, ence an. _., CI: ntrac ion ' U r,' aer . md "'1',' er

a - as. hands Ian." JJll' ~,er .. I' and 1 h I 1C.~IOSUl\e ,a'n, .

: ,mpir ssion of upp -. an 1- lower legs. Th central image of the t\AJ'O torsos present opposing bends:

TIl· ':"w,'r tIO[SOI Is de, eloping a. depre sed ron al

,- ·In· V'~" . lUI ; . IP-' .. ~' 'I~' 'I,at 'I .. ' kwa ,d

-, I I - - --

,:: . he . amlei be 11 ling m. ;ven ent

DC ur in the tw . l~, ... : The .-WI r head is moving forward the 'upp: r is 'projected b ckward.

g,N

- . .

. -

18

his back view of a dancing female figure SltOW5 a mullm'p,me-s~que'n,ce change 01,( bending actions in the UD15, and legs. TIlle hand 5 show a series of actions including finger bends and wrist 'rotations, The IIOr,·.···, develops a, deep black bend, as 'It compresses and twists, The ]Ie,gs alternate between extending and bending actions,

Again, the, distinctive female form compels a. 'umql:U! sysltem, o,f wrinkle s ,~',- clo ,thing '" Imagn r ' this

6 gme covered in I ~ g11tw'emgl1.t swirling gowns and skirts, creating' undulant loosely' flowing forms,

, . s, multiple-sequence figure presents the'

let ·,te:n~lding actions of parts (l' ," te body J1og;gm.g; striding, vaulting, and leaping are shown in kinetic leg movements. 'TI,e upraised Zll"-H1S convey a sense of upward motion, whill' I the torso, and head describe twiS'tillg actions Itha'~ con v le'y' 13 'en·' - of eleva tion and g:ra,ce"

We/II see that there " :r. marked differences in,

t· he c othed f-o"r' ms of t·'L,1 ~B'm'Iii'!iI~']·.o. n 'd' male , ", iii ''II res

,!Ii.-. ~,.,'£,_' - .' .1, _ ~ ~ ,,_ _J1~. ~'~'LjU .' ...... ,c. '. ' .. '. ~ ."" - !UI.J! ~ .

, '.

becau se of the structure 1 differences b etween the .sexes I' This consequently influences 'wrinkle systems

and ferms n'f' drapery

'_ " :£1 I,' ~';;:jJ u: '. II (;~ • £:,,:' .J'"

u

- - --

I

2()

tinkle systems in clothes, generated by the four 'basic actions of the body in conjunctionwith external forces, originate from, areas of retenta ,n called anchor points. These points de ieribe the places 'where clothes ding to or hold to Ith, , body, In the male figures, 'ho,wn here, anchor points ar found in seams, as well as In tight paces throughout the bod y, such as, the armpits; the collar" the inner elbow and knee creases, the midwaist cinch, the pu.bic underbody midline" the crotch seam, the side groin erie _s s, and the rear, deep buttock curves. In. later

h th 'L. • 'kin d fin" • k1 · ~

c apters, we se . tnese ancnor points wor , '. ·S' to .•. enne wrm •.. e origms.

'he anchor points of wrinkle systems in. the clothing of' the female ~ figures shownhare work the same as those of the male figures, Clothing designed for men is often adapted for 'use as women's wear, so the male figure's anchor points are often interchangeable 'with those of 'the female figure.

For distinct women's styles, the anchor points resolve down to simpler systems of wrinkle origins, For example, where the dress or

ki t £ ti'· f 1 thin d ~ h di ~ h .. ~ f

' ,': h-:-"_, ,.', ~;.' '. '. - .. ," '"'r . ,'" ',. ":. ,", '~.-- .: '''1'-" I - . -. ,", .. , "1 ,", ," •. ~.,.. .. I; ..

S.11, .. orma 0]10.· C O ... g rommates, the rnrect me ior points or

cl th b _ th Il h uld · d Ib U

• '. . .•. '.. _'.", - -:-.... '. - • :-". : .'. . .... '.' '.".. t • .. •• I - . -. . ' _1 .' • '. • . .".... •. :. ..•...

__ 0 . es can ne seen at t e co lIT, s .01 . erst armpits, an emows, as we

t th · tlin Th"':-- nl diff - f 1 h .' t~ i • thO

as it .. te wa'IS' -~-_'e~_ te n y 1 ..• t .. erence : rom, m,ae anc tor pOID,.S tsin . , e

hasis onoarti .. ,,'W • ts

emp _a818 on particular porn. : ~

-- -I" I -

" .. ' .

.... . . .

, -----

: e wrinkles and creases in. th,,'" adult human, :fa,c::_ show a direct correlation with t',he wrinkles and folds of clothing' and attire.

In the drawing of the smiling woman, the basic point j:s to rememberthat thekinetic factor of facial tens Ion, seen, as, an animated stretch and lit7f of the' mouth corners and an, apple ... shaped compression of' th,e upper cheek muscles, works much. ! te the wrinkles ~ - an activ . -dy' form,

'The' creases generated by the action of the facial muscles will subside when the emotional e'n,er-gy of the smile passes~

The rna wing of the older nlBU1 sh,QWS 'IM'IO qualities 0, wrinkles, Th '~c--st vac-ja:nlt presents stress wrir -." es that j,dl-1ntify a pattern,

of' imm.'€ .. diate kinetic a:ctivit.ytransient 'farial ' tress. The active pattern is all at the left" of the drawing, The second siystem of

w rinld1es", at ri.ght ' ]10m top 'to' bottom, ]S a patt -n olf in.grained 'wrinkles created 'by the weathering of leathe y skin, These wrinkles are not created 'by active stresses, ~ ut sh, old be considered

leit'ov'e,r crease '01 8,

The drawing of the native American shows

III..,~- .... Llpl;" .JiiD1II"']""I::Il'·ad'· from the ag ing process Th £]I face

~~~I1LL..t\J~ '-I~~. I¥L ". v· . _,~, ~l ... ' . "," . ,": ·-.:Ji:JJ1l _, .. ,,- it:L!L....~

.. ' '. "'.'

shews wrinkles 'fus,t. will not yield in passivity Here

we 'see the exemplary comp ex of past action folds snd creases, much. like the patterns of weaves and garmen-ts.; In fact, similar motifs are observable in durshle textures where kinetic stress forces interact with external forces, ,BU.m. as weather and lome.

23

he direct

... the

emanating rom the armpit app ar a . I· ':ngr- p," .~ . _. "i_clt [. ·u-,-~· es .~

th = :nn sleeve' n _ on r - if' cal underneath (see . trrows). Now see

~-_~_ , ·.0' .. ts .If . rinkJ.. II -:- i .. ' - rt

at tnl&! ntidlin~ cr .' 'ch a' C' . or, The l[~, g arrow - ae.=· the -~ath fth .

. . f _ e. - 11 _ U· . - . ~. __ kl . 0 . he

. " " . ,- re' s p,rn' - Ie,s a. t If!ft, and th - ' for .. she tened C rve

_----- - _-.

2S

n th ja ' -- ',elt- -om b tl, m, _ [ ih '. -[0 '

the _ ant, the direc t thru t wrinkle is tr e respon ·1' to ,~' simpl . tensi '[0 fore '" The

-, ani' -. -CIS, ri '. J m ,: aling a ',- chor points, t

the 'seams in the armpits" 'The lifting action of

-- ,e ii ' ,.' '. ~.V· .'. in ,J-. '_" .' ss bit. _ s ,ve~

tothe outer' outlines. Th .arrows indicat the path . ·f t" f rce released b,Y the mo ements; part 10 t I .. " f '[Ke gu '"-, toth " colk : anot ier

oart, :_' .. ' wn - mder l:h· [~on't chest (see arrow's , rig.'ht).

In the two sketches (top right) tracing t -l,e movement O~ the f~gm j s arm, the pull 0,. the s e.· 'v· . increase (see arrow .. ) '. Tll ~ wrin kle s war .~ Ito

,. - ,0'" " ·x~' 'tDrn,~;' n' ~ n·' .- . "nl-y" ('

I "-. _ b.lI..lI~\lL· 1" . ',. . __.

they become deep r, they' . ecome lon .:1 '.' riO

Observe the . xtension of

II _'. U ' '. 1 _- •. II " I'~: LI

- .

- .-.. ---

t, nsion In both arms start fro,m_", [am, ~it an' _ curv _' up' .',_~[_ Ito the outer shoulder (see arrows), In t'he mu ti '.1. -, 'e'_ uence d fa wing 10 the arm .. itt rig:h _, _' [. lifting acti . In ap'p . an;. i , three

. tag_-es: The wrinkle creas .... are somewhat

, '

,. 111 - - .. t~J ld ' .

,olpen, [O'.wl' . .' W'I ~ 5',' ~ ge; ( __ ~. 11 . 'QU' .1,.:. e sea J , • "

the cr ases are 'tight:-r'i at 'the highest sta~l " they are tigh. y's,tretch[e. thln. and taul ~ Clearlv, the

..... H f ., has i hi' f' .

effort O'_ e·.:", 'DS][, m , . as me 'a· rr e I orce 0 t_·"

direct thrust wrinkl . (see arrows),

26

.h I. ri ,.10' movements hown h re in, &on a I side iew 0' a simp '

ttir-ed an in· .. '.' lIve £11] ~ "','. '_ ers of th I

bod =-arms, legs, Ir·_.o,. md head, Bo't1m figure", ar . going throu :.h the extension, elongation, and elevation of the Iimbs,

The .. ' - OW!, followins I hi limes of

I

~ I you can define he ,to n .. ion in a figure that ,gener< te tile d irec tion in which

foro.', a'l.. , leashed, th . wrinkles

. ~U I'.

,',' J rv' bow in each, cal, 1 ! th '

men,b' rs o,f' the bodly show tthe dir ct thrust flow of wrinkles fr m th _I anchor point '. toward the fum. t . I _ r pulls of action. Th a ]"\O~T:S origlna tl . ,j t tile

10- I~, r jnt- 0 collars, a r its,. bel : I and cro/t· ',I then g:ol ou tw rd _ ]Io,nlg f .' lines 0,' ~.'. IT -,: ~

bserve this male 'performer in front and' back views as. he exhibit'S the direct thrusts of arm and .leg extensions, First, let your

th fi c:

eye scan, !J.1, e ,',gure as seen rrom

the front, No,t€' the anchor points at 'the armpits, collar .. n coat button, [and midline crotch." See how all wrinkle systems extend outward from each anchor along 'the lines of tension forces. of the specific member of the body, Take special note. of the coat button: See h,IQW wrinkles curve in, every direction outward from, this axial anchor-supward to [the alms" downward to the groin and legs.

28

..

The back-view figure shows the 'same dynamics as the front-view one: Observe the anchor points for the' garments it, - he armpit " collar, and waist. Th midline crotch anchor is hidd n in this, view, but it' il rffec ts th e wrinkle pattern nonetheless. See also the same outward extension thrusts of

arms, ille,g J and torso, and follow the remarkably similar coa curves on the' back collar ('tl1.eY curv·e wider toward ' he rear shoulders). look further at the tension pulls

'If the outstretched sleeves, then note the strong tension pull , 011

th '. tretched 1 '~g,,_ from th,-

crotrh----tms creates long, outwardly radiating wrinkles .. On theouter side of the figure's leg at left" we see several curves cOlllpethlg, again ,t the insidr wrlnkle tensions .. These are crossing wrinkl s (see chap, 4)~

29

, y now, the anchors of the armpits, the waistline

, '"",.,;L., ...l h . dlin h h Id-

t cmcn, anti. the ml., ,,-' e crotc ",' seam SI ouic

b f- ilia'" f" A' h '[

e ram r rererence pomts..As we nave seen" ong

unimpeded , WY-'" In kl es f' 0'."'11-'-0" :'w,-" the actio ms of elo mgated

_. _ _ .. _._ ~ __ ~. __ ,' ~-. _ _. -''l-. u~PL..L_····~ .,' ~ ," . ".- -, -~. g

. . ,"

'body' forms as these fOITrLS extend from the animo!'

points ..

A 1 k hi' 11 " d .', .... ,

S 'you 00,," at t -- S leaplll.g ," .ancer, pay S,pecllw

attention 'to the bent leg,. Note 'that as the action changes at' 'the knee, SOl must the wrinkles change In

,L!, ~, th k b ch ~

trus Instance, ~'-'e cnee oecomes a new ancr or point.

30

n this multiple-sequence figure' depicting extreme arm and [e,g' exten.st ons, the' logic of wrinkles as

th fo~I-' 61' fl- f- ~.. cl C·· 'h k

'- . 1'-' -,-,- ",- - r - -_ I -.'

_my" 0\1\1 me lOW 0 action us very ciear.v ecs

the anchor poin ts,: armpi ts, colla r, coa t bu tton at the wa_b;~, midline' CFD't,ch seam,

Oble __ e the s ·u'b'tlJ. ' rotation of hands, arms, ], .gS,it and feet, SruJd,Y the feet in, detail. :N ate that the

S11Ces at center tend to tur -- inward.an d when the

, _ . ~~__ _ , ~ _ _ _ __ 11, U1 . r _ " an _ 'II,:;' I. I _ _

I~g- is fuUy exI1e;D.td I the shoes turn outward, See also.how the wrinkles ere influenced by Ith,e position ot J1f~ shoes, in earl" stage of the drawing,

31

conditional rule "Of wrinkles and folds is: 0

,a t, nd .to win ~j' - DIVei' and F'iE I " -,

c·'-, e, I ,if I II, _ ~ '., Lool ,c~rl_ - -ny " - ,J I, 'extlen" ,

member ' of thi, leaping dancer. They display lin., direct thru ,t wrinkli ~ Again w have

fore, or ',ening (lr. forms notabl in h, ' ,: dvar cin ' L - ,at )11 t, nth. · nkles g'; "11: .Jnto plral curv " Not, th Loose, wide sleeve _ ad trous rs, and

alo th free-flowing - ash, virtually ev ry garment h - " - I,' 'Ies - d t_ _ ,ir e ~ w'r~ - -" ,es;;

t shou ld be des r by now the t tl e dir' ct thrust wr"',- .-: n,_ svsten is "'~S]]- PI-I-,I -.1 ~ tabh .,-' ~' l :]l,g

n1J,e - bers stretch I" I:._ ffil--:le,. ill - 'h/al-,e', ,~r direction 'we' carl anticipate their course and pattr rrn. As we in this drawin - ,I t_ ~e th u t f ' lee lin ~ , _ always, extend outward ,--I I~' I the _ o~, ' , .~'n,g t ,I' aml-,

and eg 'OJ

An important subtlety to not, when looking at tnL'its drawiri ' is, th tour viewp ,'int is a- gl d towar ,t - Ief r ar of th 1 m n in f -, ' [- ilt d SIB , ", Th orr -, .

loo somewhat for . hortened and elliptically curved. Tln rule is that the mon the form ,- recede,

or b_ com resho tened, the m ']'"e curved .~'h,

wrink],e: b ecome,

· IC1.0·wnS give us a pla·'y,fuj, Iook at ~!ong directthrust 'wrinkles, in loose material and foreshortened forms, The trouser ],e,g~ of both fi,gu~ -s sh •. ' w kinetic tensions in l,ong spira] wrinkle- , extending from crotch anchor

-, , !_,1Io. . ,Ii. . 'I't'lt .. ' mk r ~..... I, _ ., ", '_-)1

pOin~.s fO ·lle ,a 1 __ I,les. ~,see arrows ~

The more closely fit sleeves express tightly wound curls (s:. e arrows), Note the foreshortenin of "he arms caused bl,Y' perspective,

,

L,~t'S]O ·k a a. ~eman·· .'[ ur .. in a close-fitting skirt and bl use in order . JD examine two-dir ctional

direct thrust wrinkle" Obs rve the risinl - lan, . -' ar folds, m[ . . .'" n. ~'Om

. ,-

the ._ .~. "ch towan the -._is· er

5,hould '. (. e = arrows). AJ.··· n ··te tho .figur1els mgh ru, . at rio lit :from which wrinkle forces move mgularly,down. t. ward the lower thlgh at ~ ... , . Ian· U Ie kn . (see

anow ) ~ The' e '1 ' I '.'OliC,· - -~ 'm

·IIl' carri .~ d thro'Ill:g'h the entire figural Ilane ,.

TIl! C 0 e-fitting outfit

immedtat-~y' ,giv,es rhythmic' Y

.. th ~ fir. , -~ I' L vel in[g thl. head

a. 1 i.wd,e .the -_. ~! - ed '.- h:ulf~_' . -

( .. hifh. -e.neravtes, pull l ·Il·.-~. t·~· a" let to . veal the' breast thru ts), and th- ~gh waistband tilt,·d downward (which permits I he arm and . i' d [at left to suo .·-CC ort

-

lb. .'. I, ,I_ rt -··t·· -:, from

. .. - -...I "''' . .......:: ..... 11...,·1 fI

. II. . Ie " 'LU 'WI HWes, , , .: W

toward the leftwardkn .. : nd ]1E!lg).

.1

Th,ere are times w hen external

events produc e ttension "Tinkles

of an. unusual kind: In a football scrimmage, a player grabs the 'jersey. f th .. ball carrier and holds tight, This sets the main anchor poir t off tlle 'body of the ball carrier, The hand of the player becomes the anchor, acting like a, hook, catch or snag. The body of the ball carrier creat ... , the thrust away from the anchor point, 'The result of these actions is an unusual cluster o' extension wrinkles that ra j toward the bell carrier.

Let's put orward another rule: For a set of wrinkles, the tigh ~ and narrow seq·uence defines. the anchor point; the wider set radiating, away £rom the anchor point defines the direction of the thrust, es w'ell as the location. f th· ac-tion of ten ion forces.

f' ts a. ancer in en unusual costum . from GrecoRoman times. It is interesting to not the figure's hand gripping, at right" the garmerrt. t ac sa. 8. displ ced

ch r off the bad y~

The 'handhold creates, a wide set of extension wrinkles that fan out across tIll figure, Observe a second -et of wrinkles across the length of the arm art' right, Taut extension "Wrinkles also, cover the shoulder at right and appear on the 1, ad, face, and arm at left, as well as dOlVD the back lower 1 g. A final set 0"£ swa.g and dra~ folds p1.ill across he fir oor at left ~

These wrinkles look complicated" but they follow the simple system of direct thrusts pulling a'way from anchor points, The thinner wrinkh s are generated at the anchor points (see the hand at right and the one at left clutclti,ng by' the neck), The loose drape 'behind the fi,gure is covered M.l1 drag wrinkles created by the unattached anchor of the floor, Th tension forces act to crea te direct thrust wrinkle that spread acn ..... ', the length ,£ the fi,gUf@, aWI!y

from the anchor points.

3

37

,D I __ ,I, C, 'J II R IU ' " W'. ,I HI K IL ,I "

- -----------_._

T~ young woman.in a playsuit clearly illustrates a typical

''_ f- _L ,. t d' direct Sys'L!fi!m"O, ancnor ,porn' .s anc UJ.l.1:::',",

thrusts, Observe howthe armpits, collar.belt, and crotch, seam act as anchors .. Note also the foreshortening of members! which results in direct thrust and spiral curve wrinkles wrapping the Iimbs, The breast curves and the hip and buttock forms show the force tensions tlla,t are pointed 'to b dire t thrus t" Inkl (-

!y" I "'iii"'" '- '- I: 'W>l' - .... ;EiI~ ,'soe"

_ .: "_ .... ~.f_, _:. __ . .." _ _ _ .. __;....:._. ~~~ ,~

"

- . ). Th' - 'inkl " '1"

. -', -' ,- " " ' -I .. .'.- '-, -

arrows . ' ·e \NT. -' .• ,-,e p .a.y

between 'the grloin and the' top of the leg also produces direct thrust creases. BItt the. continuing

extensio .: n-' WI. =':_""L .. les on the 1 ~ fte ·d'; ~~. ~~_~ _ , .. _ ~~. _~. ~., .. ~.·lJ . .

leg work against the lower thigh '. _. d-- be t- -t .... 11 .. ,I-, _. -- 'd- ,,_-,~, . inkl .: .. 'I, anU-,OL& !LO' pro uce \V,I., .... res

~ ( ) Thi ff-'- ,

I . - -,. l...: - - 7 . " .. " .. ' .' - _, - ~ ," ~ "'. '. .- "1 .,..", -. .

In :reverse - s~e arI10WS ~ , r - ,8, e ': ect

is repeated in the :figure's standing support leg (see arrows),

. ,

38

\··.:r r, we ha v'e ,W •... , rwordsmen In combat, From 'the foreground, the a, tacker's extended right sword arm creates exten .• ion wrinkle 011 the forward Ieeve: th:" ac ion creases spread backward across the tum ~ chest, anc hip's; th waistline sash interv nes but the back v rd m vern n continues in the braided. cord a it swings out and. back; the forcemoves down the long wrinkles of the

ext nded leg .. A long line, angular tension runs through the entire form, of tI, t, figur-e" This angular I orce is reasserted ln the

_,_.. ... _ , igure, ~t press .. 'up hi . leg at left" l1i -: tilted body, and ,plifted arms; BOth figures. show taut extern ions on raise d ...;,,_~~~'. tA ,arms~ " . rignhr\!at1d bent leg I of each, figure produce

ar·'· and b', .ckward bend wrinkles (see chr p, 3)1

•

40

iii

end wrinkles, which are clearly direct thrust wrinkles, occur when arms and legs are b. 'n't act the elb •... ws and knees" TI1ey form short backward and forward patterns, These' Mo--way bend atterns are u5na]ly ..... '. ;n to best adv,mtag:e in clothing when the arm ~. ano ,Ile',gs are gi.v. -,_. fun. exposition ~ I. Ieslgn Slid, situ a tion,

A. good e ample-of such a sf l[,atilon is this fracas, which has .' rupted at the Hound Dog Saloon. Here we ss two-way-thrustbend wrinkL . s, as, we I as full-thrust long extension wrinkl ss, Let's r .viL -w the on,g extension

r£' .'... ~ , . '" 'n- .. h '-h

lOons om. rr - ... . :---"'lng,,, ne m,. n ,_ n,,' ", ,a~!

lashed I' ~ wi'th, a straight-leg kick .~. -. the ~elly of his, opponent, WrinkJles 011 the I_XI~I nded leg of the CI'ttBi,Ckirtg figure start fr . m. t.he deep crotch anchor, which, sends at series of close thrust creas '.', coursing across the thigh and across the low . ]e,g'to the boot,

Thre OIUlf ex ten , i ... 'n patterns can be

seen IOn. th double-phase figu'[_ in, t'hle , cent r of U'tle drawing, Note Ith,at the wrinkles formed on the extended

arm and .leg of the forward ... b·e1llding v en '·ion of the' figure, and the Oi'utsitre·tched arm on the version of' the b "dy , hat Is lurching blC 'ckw,~d,~, all bear a ". imilar Idyns.mi'c

till- - . to Il.J,h· atta ..... 'I .... er's

pa:_Il.ru"n ,~\... ., racaers

kicking' leg, Each series of wrinkles emanates ,:., om '

s.am anchor, armpit ··r' crotch, and each sequence of' e· t,e " lOin. wr.mtk·~,les ,nl-WS down th e "g-:h, 10." t ;i.e

arm ,0,[ leg, wi th 10 III t interruption.

N ow" let's return to O'UI' main concern of the moment-cbend wrinkles, There are ten examples 0'£ bend- .. wrinkle patterns in this drawing, Sbc ,arm be'nlds and four ],eg, ben, ~ s are tncluded, , ·xami'n.e' these examples carefully, '. nd t, en think about the following basic principles It·h.at ,apply' to b nd wrinkles,

1'1 At the point o:f an elbow or knee bend,

clothing s tight. and a. bltJrny elbow or- knee

p'rc.jection can be seen ,throlug'· 'the' cloth,

2 Squ eezed com - p - skm fold 's ,n~'111 ~ . 11.'1,.-

-'''- .. '. !~L..- .. 'LIV,. ,c_,~JIJ . lUI , U!!i;".,",-U_ 111 1":.Ue

bend areas of' the II!,-b,QWS and knees, IObslerv'i!' :y:our lOVIn, knee lor elbow in a mirror,

3. Every bent-form system 1,·1,5 both an outward and an inward patterru the median point is, the .1b\w or knee". The r,e-s'uI,-_, is a tw'D"'" -.D(rm ang :_]ari,ty';_a Hl~rus'l· and a reverse, As 'yiDU ·IIQ<·.k a _ this, I_: rawin.,g,. rememb .. '-- that ...... _'1 rkles lwavs f u . th a f' ns of . rms,

end wrinkles are a ty-pe of 'the direct thrust wrinkle, as they respond to the direct forces of outward arm and leg' movements, The difference is that bend wrinkles form only when the extended members of the body 'bend at the elbows and knees, 'producing short, two-way (backward and forward) thrust patterns.

In. these' two examples of bend wrinkles, the trousers go' forward with. the upper legs and backward with thelower legs. The two-way wrinkles produced are reactions, to a thrust force puslung at the knees (see large ClrIlOWS)/ which are the midway points on the legs~ The Iower leg wrinkles tend to go backward from 'the knee (see arrows), The upper leg wrinkles go forward to the knee (see alT[IWS). Note how these wrinkles move toward the fro ont from un" d .. ·.'a'li" the

....... --u. ,I~ •. II!;;.'

buttock and the thigh,

As 'we move 'upward

to the belly and groin, we see a set of curved creases erupting outward to the rear in' both fi··-~ O"1JI't"Pi&'l ·Tt..:, .... · is th "iipii

~. '".. 0 L 0. ~ ~-~,. . l.'~ .. _r;;:Jl . .!Ie

result of the strong leg' thrust,

..

...

ms active tfigure shows b "Dd movements i'(~ the arms and ·llieg$ .. The arm and l.eg at left ar-e 'backward

nd u:p., 'wlille the ann and. Ieg at righ t

I £DM,ara and down, Title wrinkle ~ystems on the top and bottom portions f each limb, as dJtvid,ed by' a, ·'o!i'nt~

ippear in 0ppo,smg patterns,

TIle' sequence 'begins with the thrust orc=~ m,t the elbows and knees, NIOb~1 he main direction of fhe thrust force 1Bhin8 ,iru,:t,· t'h.es€, bends, (see large

- iid .), Tblf!lil b·--: -lI:!Ioni- r ... 1Ii>jI; Ii'3DC!I and elb ··ow· 's·~

I!lr~' II ,_. . ~ _,:~ __ , '.~J ,AI 'I ~~~ ILUI.lt.· _ I~,I· ..... - _ _ 'I

~v,e' ds~' to 'the wrinkles on the limbs, TIt directions of a].~ the wrinkles bSer\r1l!d a. .. t once create the illusion of a ~gurr@ ro ~1I.ti:ng in it clockwis e direction ..

•

Here is a mu tipl -action figm , shown in a. back. view" that describes two-way' thrust bends in t~e 8'rnLS and legs. The overriding

ch racteristic of all forms of tills figu-re is the circling rh,ytlunic

consistency among the two parts of every' arm or 1:. g. Examine each limb by itself, Start on the cu ve pattern of an 'upper leg or \ upper arm, then follow

~ -

" the dotted-lin . ~ows

that move' through the

I .

I 1· b' inkl

} entire ID1'" - wrl- ·.· .. IE

I / system" N ose the curves of

ml'Z1 ./ he d tted ines: these reflec

I '." .:' .. I ~. '.~ _ _ [" ~ .", U 1 ' . c!~ ..L L . II .- L '

the spira .~ng rhythm of the form from beginningto end. Now let your e:ye probe the central body forms, such as the neck, shoulder " and buttocks; each picks 'up' orne part 0,£ the ov rail circular flow.

r

- ~,,-~ ;I

..

, I

--

]I

he playful sport olf 'pliggyback, provides 21' excellent opportunity to ill.utrah~' tw- , . 'lay ben,d actions in which the arms and ~,e8," produce a double system of curve and spiral 'wrinkles on their up'per and lower portions,

The Qlut\~',a rd push of elbows and knees cres ". es a mid P ',Iin't'

b t, T1.,:~ I. ~ ,,- fan i d '

reacn, ms starts thereverse acti vrty 0':_, an 10, war .: contra ry stress,

whereby long wrinkles divide in, half OIl the inside of the limbs. The midpoint breach compresses the inn r elbow bend and back knee bmd areas. ln each 10f' 'the 19u res, thl dotted-line arrows show the forward and reverse flow of action, with the' I~bo\+\, or knee' ']111 the

mi.ddJ, " of the pesition chlmlge.

'~-

,.

r

t

\

\

45

_IND' W'._INIKLE

--

f

,

....

-

(

(

/

..

46

, d ~.' : will wrinkle _ uite diff_r-enl.ly from pants lanl J' ckets, which II nd flo have sho t~ two-wa ben d wrinkl les Observ ~. this female figure .' ir ,. a . "ilk" .'. n

I - ". I " . !IF." .• Ot. -..L . ,'_ _1.1 . I" _,' 1'-.. ! •. .....:... •• _' • _ _ • ...• ••

gown ,f neocle ssical attire .. Lon'" drape fi . Ids . t "t

- .

fron I ,- t " (land Inclim d head),

moving downward to nrcduce an Introductory ensembl .. of - hythmic flow' tensions ..

Til ' 1.I,~--d uothe arm" .~. tl brea ,t

- . _. - _- - 'I -- ',,' - _.

and I' houl ter at right, then swins ing down Ito th , xposed elbow nd forw .d. knee; here, tile ow

-hi ,'I ~ ·t..1 db' kn · "£I.

reve.', . I : (- t, I. . ~ g~1 .~nl ~ both .. :, ',' es l~" a S'Wlln,

downward cascade angling toward the 1'\' ar, The COUt··,': ," leftward folds, like a curling wave, lifts,

I .. ·'l).;.,t .. l~ '" ' h d d ]

re '-Jni;~ ngn ,. sw m ', .. ' "Oun~ t 'Ie ext en .. eas n ,,1:_';

md ~. pilltng like a surging stream in a graceful sweepl and drift-e-coiling in final closure around

thl~' .' " . 1,1 ' , ia' r

_ ~~ . _ _. jl. ml

. me of the me; ~'en,g;a',rin.g qualities 0' two-way

bend '\JV j,.' .... . I is. ,th ,'. tendency tlO Idle v . ~IOPI a

~ ,tematic p.ttlem of flOW, las in" for I <ample, the arm fmm houlders to wrists. and th .Iess from

'. , :.~m. and . rotc to the' ankles,

In tllls ju Ier's -ta,nICI' f bend action.' in, the arms IIld ]egs a ~ab2 the predictal le spiralin -I pattern (see O,-)I~ Th.-, II _ irals spill IDU- -.~ - rl invis iblv O',~ _' the

u-- I - r fOm1&r reversins .f thley' m . ve down to Ie·; nnect on lower I 0: ,~, ' ~,~

Th! midp.' i_ t sectors the r, - , - er elb -lw'aJIld rhe ba, I, knee bend areas, show - 1'. ,tight compr ssion a . Thes . blend and fuse th forces entrally, ruth the.n I~ =-parn 1_ aeain in '1 liverse actio 1_

l~~::~: t~~~~ ~::~:~~:a:~n~~s~:a!!~.;~:~\~H~~~;nt

leg at left (see 'OV111) shows the typical two-way thrust, the upper

le g" jI""I"1"':a."=Io£!aii!) '£0: rw . "!IJT"d· :' and the lower C:'1'"°as'O~ b ell ckw .ard 1(80.13 G!111I"'t"iO··Wtl \

ll,·-.·~: 1L.......l.~ln~~~~ .". "-I~_"'_'- " CLIL.ll. L 1L. "'::/~'~" I ...I!.~ ~g ·PII!:r_:-'.:·"::···~ .. _,- ,:." ~~ ~.~~,I.!.' ~'l!

The leg at right is straight with a high, hip support, Note the hand bulge in the pocket (see oval), This gives stress force to the entire

-. II h - '~ '.", 11 I kl- -'. d d '

straig .. t I,egt ea.usmg au VVTm e es to move .. ' .. ownwarc . in a

remarkable cascade of straight folds.

Next" look at the drawing of a woman's legs, and lower 'torso(left), Radial wrinkles aroundthe abdomen start from the crotch stress area, 'The knee. thrust at right (see oval) initiates the radial

. kt f .' aJ]- di - '. tho 11

WT11l ,:·~·e or-ces In .'. t, rections on' .. -C ,e lleg~

48

et's It,ompare m'o varieties of bend wrinkles S', n ~, , th,~ c~oithmg 0:£ the dancer and the drummer,

Thel typicaUy masculine garb of ,til, , drummer, ·hirt sleeves and trousers", cover separate arms and ~eg~. These clothes present ii clearcue example I'" MID-way thrust wrinkm,es in the up'pe-r and lower pOrliQlft'-: of the limbs, As, th,€; drummer's fi,gure' at lut shows, the outer !Ieg bend, with the knee forw,ardl, produces tigllt tension wrinkles from the, seat lui tn,e knee, the reverse action, moving from knee to ankle, 'creates tension forces to the rear in a. series of Hgh'. creases.Note the inward squeez lof the ,hoe at th,e ankle,

The drummer's taut body and arms have ,3 direct fonvlrd thrust through the b e,lly and ches t that is

- " d h ' d h d T' 1- · 1' ... 'I

ca'L'IU~_, up to ,t e arms an ., ~ anus, le wrmaie

'Jvrep created 'by ~ his action becomes one 5ys~~m. 'Of ascending movement,

The ,d a n cin g- figu,[ile'J':s, skirt shows 'Moiiiw,ay bend, wrinkh s of a different sort, The overall skirt covering the 'upper ll .. gs d,OI .51 1110,t allow the lUI lden inner wrinkle forces to' appear on each leg, The i-te-:ns,],o,n forces are C'[I~ 'a r ol,nJly at th -, outer sides of th,e

skirt. The inner pull is an irregula sequence 0.£ stress across th ~ figure's front fhi,g'h at right to the recessive 'tension, 0'( the back ltr~g: a t Ieft, Note how the excess a gi.ta 'ted, rna terial flies out at the r-ear right; and the more '10 at th backward ],ef'twh,'~Jie the skirt is mor-e active and voluminous, Observe th I tig,h,t~'y CO'Y red ~ ·rn_1S on the ule1tch,led bodice of

th 'II:'W· 0'=10 ,I!. a 'I('"

.'. I" .::;I! ' .. > I~,~ ';'~i,~

I'

.~

I

I

49

ne important version of two-wa .. y bend wrinkles we

di 'fI, .. kl 11'· h b isibl _...1. h

fa laJJ wnn cres, 'W(lC': aecome 'V1Sl·~.·.e OfuY W ." en a

thrust for-ce' acts on a foreshortened frontal bend" as in the example where the 'bent knee projects straight out to the

,. Th -, h e: kn '. h' . "I

viewer, " re OV'ID, on. t te ,ILI'on't , nee at ng .. t represents t :N~

thrust, area, that releases a. ,pres,sure pattern of radiating

-:,_1'..,'1 tiki,' k L l' ( ). T'L

wnrucies . .e spa ses rrom an rue. Ie ,see arrows ," . ne

wrinkles tend to flow' outward in the loose' rouser cloth,

'all h I 1 f kn ankl .

. ',' .' ",,, ", -- ' ',".' . . .. , . . - . -, , .':-; c :." I .,'. '.'. . ' ( ::-

especl .. y on tl Ie . ower . e,g a.vea, rom, < nee to e ..... e .

N h di '!I .. kt ... 1 d '

ote t nat ra '. tal wrm oes as a group aiso ten ~ to

appear from the an ch Of' points where arms and legs emerge, Observe how the radial wrinkles emerge from "the figure's armpits (see arrows), fl,Q'WU1,g' across the

hest.jsl ul d - n d . . . T1-':..,." · 1L .. 1,g C"yc tern """len

C.IlleS,51.10 . I er, ane arms. " I~ VVTW,N'I,;; ..:II, ···Ii:I,ll~·.·, dJ.~v

de .. 1· .. ··-:··-·:' atthe c ·:t··,h "'f'~ U-· . '1 ...... '·· ',,' ".~" rinkle

eve ops a" ,11J! em J:. , , 0, le trousers; wnns es

fl- nIW~' rad .• ially ... two W'·' "''':lJy,,!:'. ll'!llp'" th . iIPi gr" oin 'C and

u Lit .. Ji . . "1m V'V . '_ IP, . "~ ~II . '~..' U UA, l

. '.' .

outward onto both thighs, From th e're I' 'tbl€

ink'] · d d 'h [

. - , . -, I - . ..', I ...• l! I - ,". , . ~, •

wr e.s swmg es ownwarc across . e ower

legs", especially on 'the figure's straight meg, at left,

T1,e, radial wrinkle pattern of ,tl,e bent knee repeats exactly on the bent elbows of the'

arms, as they prcject backward 'from a foreshortened space, The elbow (like the knee) is a central stress 'point that forces loose sleeve material to 'flow ar-ound outward and downward in a radial sequence olf wrinkles.

Let's '10 o· k at the W·· '0' 'lI'T'Ii !:Ii ", f' or'" ;ova m .. " .. 'p' les of st ',..,g~ Ii2. p'"O~JA'''''''''

r. _:. a , ~ ~: ~.l .,"!L.m :.L.aLL.Ul...L. ","' ~A:·. ,_:_"',,IL;':' ,'. I.:.jp. i.·bi.31~, : .. ·.i.:.LI~~~

'U,a.t create radialwrinkles. In a three-quarter rear view 'we see Iller arms in bend positions. The elbows project toward USI creating the illlu,sion of foreshortening, The clotted, ovals show the backward, thrust of the elbows, Flowing curved ,~,.,"'_:_'LlIgc move outward ra r di ... ,ny, .. fro a··'m'"

" "~I '. !liA..LV. . ·w rlllJ..Ji!.J,,",,~ " . ,.,. .'. ~., .. .1, '. c:LJll ,. '--

the elbows and turn inward to the wrist, The flexible skirt reveals the outward buttock 'pressure, and from this are's we can again observe large wrinkles flowing IMOUlld and downward on the, striding' leg.

Now locate the various elements at work in the man's sleeve (top ri,g'tt't box), See the elbow shown with a dotted oval and the flITOWS given as, guide<s for the radial 'wrinkle system. To the left, back and, shoulder wrin !d .. OCl. e" 'm-;' iIOiI,' f'g'-'·'LlI. fro' .. un .. ' un ider ,I;.h--: II2Ii arm pit anchor

_' ,.c ~~ . _ !!I;;: "\."., .." ",: " .. ,!!6,' Ii. ..,_ c;".1"" ...., ,U. , .!!i.-. . .... , .•

An interesting radial wrinkle system emerges from the belt across the middle of the bottom ,fi.gure at right. 'The armpit anchor initiates wrinkles in all directions, Wrin1des curl upward from the chest, The groin sque~~ causes """,rr-! ...... kles "to r ad iate dow .. 'n ward to ,I.L81ofirlo and

~Ul 'li::Ji,,"-bJ! Y'¥'~llll\l;~'· _' U.:_'_~, ~ "'_:_ "._ . '.:I~, . ." I. U"ll~ ~ lL."_ . __

right like wheelspokes, Look at the thitglliand, knee, where the knee front (see oval) shows the forward pressure of the' leg, Below, the inside knee ben .. d creates, a cramped radial wrinkle system on 'the real' lower leg,

50

~ ",....

..

,51

.-- .

hi ... fO" d 'h

II, trun I;', 11' '. emonstrates tel

rhythmic wrinkle pattern created W' ~ en the l.eflt ,8.r_ - is b Itt down land, he right is, bent up.

Observe tha .. t halfway [down the

ri I cage ~OI'W sleev. ancno P _lints t r bot U "~po r arms gem rate f: Ids that flare' up and outwa'rd -, I th .. IP 01';

each upp' 'r arm, Note that th right arm show . an angul l P ard

COIU - e that moves from the elbow II tile wrist, Th ' wrinkles (see I ITOW ) repe'at 'UUs ri ing thJu It fore, "

The left arm clearly show " a

lin ~ d

' en e mOlve'm _In ang gln\\-rar_

d d dTh inkl h

an aownward,"t e wrinkles here

- -

(se. arrow) expt '·5 thls do vnwarncurving reverse pas age .. 'Yet ach sid of t arm is coven d with balanced curves, See how th left ... 0["" right back curve s move ' toward th:, upliftec ~ ~~I.~1 (left)/' then swing, I,n tho round buttock contour; and drivel

ward t,l_ in: _ ird lea ' ity 0 th _ be -It rig,h t knee ~

In sum .. ,a g ,. ddrawing i . one th t

conve'y an overall s. nse of rhythmic flow and coherence of form, The

d 'sig _ I,' wrin_' . S C ',1- trib _ tl '_.

markedly to this result.

his three-q uarter side view prr-es.en ts ,a. kneeling 16em,ale fi1,gure attired in denim pants and bulky outerwear jacket, Ti1~ forward thrust of the figurels 11 -D't knee: in light pants produces predietably

th.f - f

.. "' '·'1-.. _:_ _ !!!Il

• ", I -- - . . . - • I 'I' . I . -- , '_ .'.- . -" - - --' .- I' -:-. - - -::-. -,

smonrn, flattened sur aces on the top thighs and

knees of both legs, At the crotch-seam anchor points, di,ver,ging. wrinkles are sent Upl to the groin and around th .. ' Iower belly ..

At mid torso I the 'ligh,tness a f the iracke~ waj uband and pants create

h ~ t 'I' ~ ~-. TIl

I _ . .:, ,d. -': 1""1' ",-' _"; .-. ," ,l: ,'j" " ..... :-.:_. '.

- on_zon,a, com.pn:~SSlon , OJllce -)~ _.e

wrinkles on 'the inner ~eg at right [om,· i from till .low inside crotch seam, but the outsid e wri nkles of the leg at !Ieft are formed in response to tIle stress

fo ,-,.,. at (h ." ~ .... , uto k -' - and the 'Of'W-c·_...11 S-~~'~S ol-n t'h-'

Olt: ,C.L. . e IDU, _!!,. C, I! .. _ .' "~.' . _ . aJJlbIl ' ut;::.5 I.e

'leg sends wrinkles driving to the knee, On th'e lower sections of the legs, tight shin wrinkles flow

be kward fro 1m the knee' and circle 'Ulp and around the calf areas, ending at the cuffs ..

Ordinarily, sleeve wrinkles are both numerous and curved: This i,guuls;, bulky s·ll .. eves,

howt v'erJ Cf1- a' -e rela ti vely f ··w wrmkles that are thick and angular, Also note that the armpit anchors are ~ ·.w 'red into the' sides

of the jack l, wh .. ell- the seams tend to diverge, and wrinkles slip down to' the waistband >c rea" Small wrinkles are t'h'us limi tied to the area around the waistband.

33

W'

he soft-weave sweat uit 'thi youngwoln m is wearing permi .. - coursing wrrnkl s to easily e rfold tn' b "dy forms, 'TI1,e downwardly b mt knee causes a gr up 0'=

eurvin · . 'e to move from the outer hip et left to the

knee, TI, 1 g b nd £'. 'res a reverse thrust into the bacl - knee area cau ing creases and underleg fold'S that move toward tl1€ elastic ankle band in the lower rear leg, Now, higher OIl the straightened leg at right, two small, relaxs c

wrinkles curve inward, revealing a. rising contour of th ,~~~ thigh, whichdescends gent-y b ... hind the ,aC' ive thrust of the bent knee,

TIle sway of the figur. 1, hip at right generates a wave of ripple folds moving up toward the shoulder at left, This is. the . ey to the rhythmic design I. f' the figure': a CUIVI 'h _.t

enga.ges the wrinkles flowing up from the legs, rising inward toward t'h sleeves and up t.. the smiling face.

The sleeves themselves have no anchor other than

their connection at the sid t. rso, just above the waist.

This excess creates a large w'ingH~e undersleeve that subsides into. a drOO,_1 or -' wag form, which i created b,y the force of gravity~

_/

These drawings of a cowgirl challenged 'by a bronc present a complex 0' direct thrust wrinkles and bend

lnkl Fii' t let' 1 k Ii< h· 1 dr · t ~ ht

lVTID·_ es, '-, 5'1, ,1t;L S ',' "0" at ne arge c :awn1g a Ig_.

TIl. woman, is being' lifted high out of the saddle, Her' extended arm, at right 1101d . the reins, producing a

. equence of long, direct thru t wrinkles that curve inward and follow the direction of thrust from s11 uld er to wrist.

54

--

All other body forms are bent, creating short, twoway thrusts. Th foreshortened leg's are co zered

with spiraling wrinkles. 'Wri'nkles in the upper portion of the c wgirl's chaps are created by the stress curves of the 'buttocks and outer leg acting on the inner thigh at right, while stress wrinkles on the inner thigh at left emerge from anchor points a. t tho

ch d ~ Th 1 ~

crot earn an groin. 'eWIQ wer Jlegs mov

backward from the projecting kne _·S;. releasing at back-spiraling wrinkl flow from. tile knees to the boots. The side flaps of the fringed chaps fly

backward as the tossed figure begins 'to plunge d O\AlJl ward m

T'h all" t flO> - 1 f ~ b -""I... ~

_ . I.e snlJ- . mse.gur.· at e' t IS aa~-'Vlew

version of the larger drawing, The wrinkle systems here t nd to repeat those seen in, the larger drawing. For example, observe the long, direct thrust wrinkles on the straight arm, and the short r, twowa,y thrust wrinkles on the bent members, Promthis

. h h b d inkl directi

• • J'.' .••• -~.'. - i " .' . . -..' . ", .. - -. ,- . / . '. . r . -. '.' ,'.- . ~ ,- ~'. -: .

VI W, owever, the .- en wr <. es reverse direction,

They b. g! :1 to swing frontward, moving over the calf curves to the ankles,

55

"N •

w

III.,LI

I

56

he legs of this farmer show aspects of bend wrinklet . in twa 'ways: His leg at right is clearly bent, but th 1. ,g at left is in an ambiguolu.s position .. Let's m010 '.' a little closer and compare both leg; in, d " tail

There's no doubt that the leg at right is bent, TIle knee juts forward and is outlined by the cloth; wrinkles em' .. rg" from the crotch seam and. travel d,. wn toward th' inner thi,g11 and 'up the gr{)i:rL Also note the cr., lase behind. the knee bend, it creates a, downward flow of wrinkles from knee to ankle at the back of the

1 In h rul f "h fum' ff

ego 'sum, t - e es 0 t - e two-way .. ' -_ st are m e ect,

The leg a - eft, however, is apparently shown from the front, creating ·th im ·r ssion of ext nsion. Note, however, that the knee' bulge is gi'v,e'n some emphasis, although it is not enhanced, The rear kn se crease appears as a depression between side

"' •. -::.,..,.1..1 ',' bovr ," d" 'boo -11- .. -, th--' . kn O· , tll.;.·· thi ,}- . ". '.'. ·f:- fold -. wnnxies above an ,. row . e x ee.,:n, n, ,IS, a group a O. S

sweep from the crotch seam to the' outer leg; at this midpoint, the knee intervenes and wrinkles continue to th outside of the lower h:~g. Observe the shaded tone on the low', r '~eg at left. It is there to enhance perspective ... creating the illusion of depth. This illusion is used 'to show that the leg i . ru t really straight, but is bent slightly backward.

Th basic ele~]ents of. b.o~h tlli. > ect B11d two-way thrust wrinkles can

be' seen in this example of a frontiersman encountering a rattler. The frontiersman has an extended member-s-the pi tol arm=-tl iat is a perfect example of the direc thrust wrinkle pattern .. This pattern is repeated in buckskin garments of th '. leaning body and the outstretched leg.

TIlle" mo T'"iO c '0' , mp .. li c a teo d b ... n d:

. , ,'. ,J. ~ _ ." _ _' _ _ _ -_ ,__". . . ~ 1

wrinkle sy " .. m ere at· d by the twowaythrust, can be s'een on the figure's bent 1, ;g at left and bent arm at right. Each f'th·- .' forms, ho , . the mid oint forcetensinn, 'O.n,€, at the knee, the other at the e bow. These midpoints initiate the angular reve -sal of forms that create the conlp ression creases in the innerelbow sleeve break, and the back knee bend. AI , two-way thrust

+.

'wrinkles radiate across the thigh

and down the calf.

-

•

-

'7

eM

ne of the most subtle and comple .. iystems among tile patterns of wrinkles, we are I.' '. plori :tg are

iii Ii

eros gwr_' "

Let's examine the b~L'- lie mechanism of this system and :_. scribe he crossing patt m in simple terms: Put your

} ands to " ether palms op cD,; now, lace your fingers

b,' ~ 1 ,. d ili TI ..

tog- ttl' r in an alternating.dove-tei Ill@;, arrangt ment, . 115

weavir g together of 'the' fingers (interdigit'Qtiol1) is the basic mo .1.1 . or the crossing wrinkle pattern." An ther way to see tiu'-, i- . to imagine . ~e pattern a pair . If,ki leave Inthe

snow, This zigza . 0 IS, something like a herringbone

design, - nd it is the ba 'ie p tt ern us ed in dr wins crossing 'wrinkle- .. '

Cros tng wrinkles gen rally occur in 1008. or open materia 1 on active bod.y f _. rms. The' tension that. reates crossing 'wrinkles comes from the .intersection of two compr ·ting wrinkle pattern . tha meet while trE.il_ lin. I in opposi directions=-an example is seen in ,tho stresse .. on a "pan leg that c .. mefrom the pull of the 'two sides . -·f a rhlgh. The ten . ic n for-ces emanating &€Jm the left - nd ri,gh,t outlines of the leg, going toward each other and

alternating inward, generat the classic crossing' wrinkle ..

Th ' critical juncture in the £ rmation Q crossing

wrinkles CO mes when tbe pattern- moving a,w,·~,Y from two .\ __ ... " points mOiVe toward each othre!r. In the

moment when a collision seem possible ... the leadiJ.ng edge' .! '. - tl , -' wrmkle patterns end to aveid direr t

impact and impl.· swerve. around ,the potential meeting point, They then veer away from direct

~ h · .. ",~ ..... L .. l I •

contact, creating .- rei crossing wrmxie S· :8J.gna_t:ure

zigZEl,g pattern.

The crossed 1 gs of this sailor g .. tt±n,g positioned to paint the hull of freighter giv' u a chance to stud', M.' different sets of cr -'!i:sin;g wrinkles. Wh·en: aBie Ie' era sses

. ·ver another, · for' e act i •. , It -;e trousers ..

As the top leg '. lides a ass the I ·'wer/ "o'lc 'the upward drag fOTc'€! working through the blip leg from ankle to knee to c - tcb on the underplan of the trouser. Note also the minor wrinkles alternating with th.€' major wrinkles of ·th·e leg" including those o-n th,· turned-up cuff, Conversely, the bottom leg shows a downwar-d. friction d ~g: ASI the top leg slid '.' . over it, ths b: 'tom trouser is pulled down, rubbing against the tap trous - r as, it is being pull- rd UPlO Observe how ,two contrary drag forces affect both I,egs:' TIle upper

oecom . high and ti. ~ht; th .. · bottom, low and IDose'.

Thr 10. 'SJE! blouse Ion tho man reacts to the .slig··ot np·war.-_ rotation of the body and the direct upward and front 'thrusts of the arms, !h.eS€! ar-e fairly .simple,. singl·· direction

.... &l'!F'l ~1' 0- "'IFIII~' IIE!i.'Vrf"IIe'·p· ,I.. for those a" t IL'-"II rD w' ai "I..ll ...... e W,L, BrIO the lone! iDl 1l,;~J..LW ,.I.1~, ~A~" ~ t. '1.,. U~II- '_ UL~' ,"'_.' " tW;:L I. . _·J,l~ '~. Ll-~ '. U~l~

material goe - Into crossing wrinkl ." _ .;:uoughout the

figure, the ~~: 11· d-up cuffs of sleeve and trousen give us the .zigzag pa tterns of the crossing wrmkle,

C .. 101 ".1, . IN'. 'W ','" I N II L I I.

-- ----_._

ook for conflicting 'tension

, r-oes in. the drawing I. i- the

m· .~,~I - ~O' ntal ~o o· '1, . 'ii"'iiI,J', h "'iii'

- ~IJ jJ. .'. '., "U ._~ '_ 10 f I!! t •• " ,". • I'~. 11 '_

wrinkles from ou t side and insid ' the figure" s strain ht :~.eg a t 1·. ft m.VI· toward the' center of th leg 1[,5H~' ,arro! __ .~s;)~, - 0' 'e how th . thigh

area o . the figur . ,I S bent I 's art' ri.gll t shows s tre 6S forces of alternating directions heading inw Ii -_ to he kn e bulge,

TIle' two, wrinkle sources ~ citing 011 each leg are not equal in

10 rc e 'hecla use the !igur. is

__ ovh ,g , _:Hl greater - ohasis

Ion ill particular side ot _ body form, This far-ce factor produces stronger; deeper wrinkles from 100n.· of the two sources, lik .. those on t-l ~ outsid - .. J the fi.g;uJ lSlle',g at left , In g~neraL one of: the two C:f05S"'S tresses th at crea .. te eros .j n,g wrinkles is dominant and points lout he area. I .. ' ' . .I -._\at·tes,t a.ctivj· - .~

To distinguish between the results of the two stresses, which form ICOO . sing wrinkles, we lie' ,Ier to

I .,ng slde w.rj-. ')IS as Ith . =e:.u1.'l

, .:_ ·th major f'or '1 and . hart side wrinkles as the result of, he

mi or fa (I .. ,

. nee '~le understand major fore: - 'wrinkle I the minor ,- no, Jesser ; olds If, he o ossin __ rinkle s stern ,are, lc _I . Ibo

disl'~inguish, 211'11- to work through 'with assurance,

In the d .... awing of 't-h-::-'1i2II wo .: man on the pho .•. n note

JlI. .1 .__ ~ ~ T.V 1L!..~,.. _. ~" ell" ... I .11 ,. t . ... 1~!L;;

t -11 . action of the 'u'plper ' orso a .Id the ~,1e, _~twa_ d am 1_

, iese forms move i.n Ian upward 5,wmg fr-om 1.- ft· t.OI right. Now look at th major wr ink] es, which emphasize and reinforce this direcnor, 0['1 the shoulder and the bod' under the rm, Take [1,1' tie of the minor wrinkles eros s,mS' fro _ ~ _ fh op'p 0 ,i:te '.: ~ die (right to left) .. Lower on the figlITEt" the hips and legs are in a terce thrust position. that moves the body

. rom. lef to right,

Each ~,. g; shows decisive SI"_ -0;'[1181 folds o,rigina-ing from the '[-ft. These are the m - Jar _' • in :: e '~ Once' y'OU have observed these, note the shorter minor wrinkles" which ·lDomlr! in, fro:m the right :8i.: ~ I . i

1 ~emal,e fj,-:J\, ,OJ, - he ant ski I t Pi _ ents , ' , "'ng~

activ ~ ·t~', ,t,·' 1 upward, This act causes a -- ,'~r,r "", .="- ~, for ~~m Ith, crotch: mchor _.\0' tt, ~ -, cres tes 00,'_' .", oree -'h~ [- rn 'VI

"t. . tho . left, h· - for ,e is ;~ .. t . It in the lower ,aliea 1_' , mat ria " anr_ ther ,~~, RJ·. :PI_' oslnonunt 1. material n lite thigh area loo iem I (and tho

b ittom wrinklee I. .1. - ~ --ce)'--'then the interaction of :'~8:S1 . b ;'~i ~ Th

1

minor f ree fl. ,m the outside' of the thigh at left. - -at ,.:, wrinkl . comtns

in and aero ,., but they are checked IT1Jm b low, More wrinkles attempt to com ,.":, and down from the outside but a second, w eak If check a1 0 corn .. , frm the long wrinkles going' down th insid, of th .leg. The tWOI

, 1 db d til' h 'hbl '" h i h d d thi

p'_ tt rn Inti ri ace anc eenc un ~ .the tig ,t -et cine l r· acn ' anc __ 1'-11

circular' wrinkles take ave, 'HI

---------------- !

t!:;;:i:n::=~::='~i~~:l!:~e~~b

systems of cr-ossing wrinkles,

1" Let's s tart with the legs and take special. note of the major wrinkle thrusts. The striding leg at left motivates 'the' major force 'WT,,:" ... ,'I_, .. les: these start 8' t the crotch anch "0'" r

-', .·,lll~'.~~,l ~_ '_~~~ ~l'.g._ ~ ': . ,U.:l.·· ',.-: · .. t·, 1.,_ .. ' __ '_ .. ',

point and travel in a sequence of long' thrusts down 'tOI the ankle, The weak, minor wrinkles make an a,ppeaI',aTIce in the groin (the belly at left'); the'y split on the

, high, ,gettin,g smaller on the

'way down as: the major folds get longer,

2., On the straight leg

at right, the force emanates from the SblUIU:h hip at right, which starts a long sequence of major 'wrinkles that move angularly down toward theinside leg. Sec the

_, .... 1"1. • 1L.1

sn ld.ll minor wrmxies

edging in rightward,

3" The dueling garb is made of

loose materia on which full", billowing forms are easy to detect, But note the wide elastic waistband. The stress of the hip at right sends long' major wrinkles I eftw ard; als o '" the

W~, ~ stb ~ n d ~ '0' g' ht compressi o n p-' erm it ~

~_~'. !,: A· ." .. '" 1i3 " .. >: _.~ ~ _ .. ,' " .. 1 "~"" ",~ci~, ; .... : >,,: . JL.LLL.. idI

only it few mU\or wrinkles to cross in from the left,

4. Observe the sword ... bearing arm, and hand at left as they make an inward, rotating twist with the blade, This inside turn, generates decisive left to right curve folds, TI,e minor folds from the bottom upward are less, emphatic, And 'the high, shoulder rise at left motivates ,a;I1 undersweep of the' side torso that travels down to the belt. Compare: these to the minot' wrinkles erupting from the belt'.

62

..

9l\is seama.~,at work..o.· n a ~ailj~g vessel is i~a I contrapositional twist, with ~h torso mov. ng

rightward and the legs going left .. Crossing wrinkles \

show on both of these body forms"

In the drawing, the upper torso, chest, and arms show a dominant tum to . he r.jlgl1t~ Remember that the .tron er directional forces produce the dominant major wrinkles. Major force wrinkles start on the arms and chest a t left and move' in long thrusts to the right; curving upward (see arrows), Shorter wrinkles interlace wi.th these, goiJ',g le ft.

But the lower hips and legs reverse the action, Hip and leg, orces start from r,ight and make a strong, aggressive set of wrinkles curving

leftward, The shorter interlacing 'wings are minor force wrinkl 's! go,ing toward the right (see arrows).

hi drawins f t - .. -

.. 5 .'._raw·mg· "ea.' ures a woman

pulling upward all. the side' 0'£ her dress at rigllt in response to tile playful dog, A strong sequellce of curved. swag forms

tr avel across the front of the garment, On the left sid e of he drawing, drag tension reacts agains·t the right upward pull. Observe that as the se contr ary' forces are about to collide they weave past each other, lose forcer and retreat backward, The result is the irregular herringbune pattern of crossing wrinkles" The 'mellor wrinkles are on the rigl1t; the 'minor wrinkles, on the' left. Not also the straight pull of the plucky dog's _ga.mb,it Slower fold. curves flow 0'1'\ tl1.€ dress around the strong ten.51,Oll created, by this

ex temal force.

~ • II j

-

he garnl1eJlt on this hik r, who has stopped to admire a butterfly, is made of sturdy twill materia l~ which tends to promote

~ 11. .. '1 :' f I k ~ d d II!,. •• .•. k '-l d

wrmxung o an angu arm ano 'I~O mamtain a wnnx eo state,

because of the cuff-tabs that shorten the sleeves and shorts,

The primary stress factors in this figure are the raised ~eg and bent arm, both at I" ~'t.. TI,e raised 1, ,g causes the buttock to s -nd strong forces toward the '~hjg.h; creating a major wrinkle pattern, Similarly, the shoulder is affected 'by 'the bent arm, sending major wrinkles to the underarm area, These' 'wrinkles tn,en , ", ,: , - - l' ,~' "Ill.. ," ',' d- ,L'Il..- db' k o ,·Ii!.h ,'Ik.., .. lds , curve ug:n aroun uwe arrn ,an" _:_'2iJ('_ OJ'\( er ~,_, e snout ier,

See also thl. ' bark and shoulder a It righ where the wrinkles move iron; rh waist toward the shoulder rise .. N-ote how pressure from the buttock at right crea tes stress C1JnJes rightward below the belt, Also, the straight Ig (right) and the ru,g.h hip create tilg:ht curves tha travel righ ward from the otcb to the I,. uter leg; contou r,

'The weaker, J'n i'110r wrinkles on. this figurE' s clothes interlace with the

. f ld ~ h ., b

major ,0,· S In a nerrmgeone pattern,

I

..

c

D

.

W'

- --

---_.

66

h -. crossins wrinkles a -, -I tar 011 old clo1tn:, , as . een o 11 this workman ~ th olds and C~, ases seem 0 ~all into established, ii e p t; rn: " U the clothes W,·! ' "brok 'n In." A subtle interior

I" · ci 1:11]1 ,.,- msible fo(- hi "well-worn" look,

In he drawing.tl e figure sln 'V\" eel" ,~

predefined c ·,tl urs in theb n and ( hest, the

sleev s.an ,_j- th contours of t·, ' s .. Th arms}, ':r example, show crossing wrinkles, but the majo .' and minor wrinkle '-_ re not easy tc te I apart becau of wear in the clo _: hing,

The heavy workp nts alsc " . mj I ", I past

actio __ s, e:·',--i~n .!Q ' -]1 tro " r lei, ,_ rieht,

TI1Ht~ wrinkles a'pp ear in diminis bed pa tterns because' of inhibited crossin ,forc' . Only

.m the ower b. nt leg ~. t left do w· see the leffectS· of stron -bc dy preSS'L1F,'1 that are DrL_ edi te - u .,' t l:ft Olver frc 1

earlier wea ~

111 orward leg r . 'th'!' girl dancing in: t. e,.

wid -spread ski t glve UI, an exampl • f

virtu, Iy mrnetri c .1 ere ·ring wrinkles, Thi ' leg is central to OU'l field ,of 'vi - ion, c nd the h ft and r~ght j. -CI , ',' , : , ms are if ee U, J ti :_'n i In .. Thi -, c' t -' an

Pinr-u'-, Je- ~. -I '~',idedc u' "C' '[ -f I' -, 'S--:'~~1'1II1-' - '-, rink e i '_""11 ;Ji;~

- "'1' . :I. . ' ,.. ., - er '-' ,.:lIlIILltI. 1 . ~ • ~

he w' t' l· :. ymm'e·try' of the fore _ 'CUfV1e's wor'.- out; we are hard out to decid _ _ hich side is ma] . r .,r minor. The forces acting on the loose, hand-l eld wings of the kirt, J" 'wever, are not .. 'qual. The hand J 1 'i~ is raised, hi . her and

I •

far ler I. u t _h,~' =1 ~ h on. ~ ~ I rieh t"

I:~ eatim ' '11 op-n" pull d- .

crossins wrinkles, The hand a , rig:h-t is held lw . r and closer to ,th" body,

m1~~~""""_' and ,S! 'balanced zigzag pa tern is

immediatelv app"rer t Desnite ~ ..' . s;, ndanties I. :,f [., ' 1_, 0

wrinkle syst .. n11' t rat l,in to

.' reate cr '.' sin I inkl "S,.'· re are sure that the major force :. omes £rOIC' ',I, righ"- I which jc ,W nen the pull tension OCCllf· , ,~

- --

- .~---

--'''5' doc - ... looki r.. mng f ·U ... ~ . "':':~' lle··'8~ d· , .

. uu - .J - - . I ' - . i'. I . ..

,S everal .. xampf 5 of. ossin wrinkl ' .. "

TIle a. - ". of our figun -. reduce ITI.· '.,~- g rinkles basec " the stres .~. ac- i n or s ch bent member, -I-, _ iU"Dl at i.·'f" '--'. ac 'he .~, Iorw rd",' "n: - 8/, an .. '

rotates inward, a,· the hand is pla .. ced on t-he rear leg, , hese move . cause

a . J- of s~ . iple i .- '-,es, t, I ---, ",r, _;12 from the armoi ,a _I~ 1_ r eoinl OJ ~- [ he

. - ---:, bene s and turns} cr ssin .. ·. wrinkles t,ax, over on the' outside . Ieeve, while tho inside olds t •. nd to mainn s ; Ith,. f,., rward thru t,

The bend 'in't I. 'ar ... t righ,t --IU'15_ major stress m the un lerarm, leaving long wrinkles '0(1, the' upper inside sleeve

(' ~.:', .. thl. 1.- rar stress) [ .ml'~·l wri kle on the - .. ,nl_

u d erarm .. In c ·n trast t ... t ,'- '- J short minor wrinkles aplp

on the outer sle' ve of th,· tor :. f the ,a'· mall.' also the

inner sleev 10:' he bo to . fore m, T, ese _LD "'roin ... typ-"'cal c 0 sing wrinkL ,So

StIles. ' f., ·IlC·.S created - . the _ rso S.· ltd wrinkh -s curving ar und the figure's collar and down into I th ., armpit at right; ,:len out abruptly, Th tors '. - tress "

, I' wnw· -d be ,a" - · i link ... ~_ :1_ _ coat butt \ __

anchor point; from tJl,li = the te m ·iOI11,_ oe s r-": _c htward to th· hanc in the _ ocket, Then, .. :- how the rnajo ~ fo ice 5 n .. , a . oi,ng, straight wrinkl U1PW','rd, ending iust

b. fon th back of the coat, On th thum -:. edi e of the

, .

h d . -.. l ..... ._._!.~.~~'I ............ 1..

,-II :_ I .' I ,"a,lm' n';a _ .. ' ·wrtn_~.J·._S ~LU I' ' I. ,I' 'Ig : __ i ! '.-

higher, Meanwhile .. the hand in the pocket . ets up a s· 'v,eJie ICJlO a-barrier (running an"g ,3r'.]Y d . :,vm-' ard) t.. ,st· p' the horizontal coat wrinkles at th .

. ·-I~et bu l; -' ~

B .th bent lleg ," ... rms Io itsid left and right) giv,e u hYo~way' thrust wrtn des, _.: _"1 we 'j. ramine the ng

wrinkles, especially 011 the low r .le,1 -.' . j 11, .-·."'ever", :._1 ·t! th ~ , , .. lor minor

, , _ ink . S playmg .. lt. ' - ately a .. inst th ~ long '. nle coming & .--- - ehind.

,hi se - ork to'ge'_her 't ,.folrm C ossingw "n=· .. s,

The ext nde d crossed legs C. enter) r:, veal dO'Wl1 ward , Iide i he tl., I g~ Thr _' inkle b t· W b 1m.1 - re 'au' a tdoull ',.

upwar-d '[I' .... aus of the drag snsion. But hi,. er on the loose

material i pushed t,oi , .. - ther, thjs array tend Ito for - .. a zigz ,g -,'attem.,

"he exn nded OIW"e' Ie!-' is simil [to the top, bu it· long wrinkles gOI downward. and forward, as the trous r is P . ssed 'by the t .p leg. Minor

'. ~ I. le show r , ,. e contact ,re,"C .,·f [two I '. ~ lbl pper secti of t I

rop leg ha '. a cl j orwar thru t .. This c.resrt·· .wnnkles on the ~ ... IP leg

that . lid:' _ up and ORI: S on the b ·t'tom leg that I !. freed d own ..

I!

In. this drawing two athletes are getting dressed in a. Locker room after exercising .. Lees look first crt the foreground figure and think about what happens to a coa t as one puts it. on, The arms .. one after the other, must g'o into the sleeves, Then, before the coat gets settled 0111 the shoulders, there is a looseness in, the collar, The right arm' is completely through its sleeve, and this man pull his lapel tohelp 'his left arm through its cuff, Now the right sleeve is loosely set; but because the coat is still no t

quite settled on the shoulder, the excess material goes in I~O' a contracted s··,aqu"e····l··1j"'!1i!l of crossin g

", .. " '. ~I , _ ,t.. . _l ~'._ t !p~ .\;',,_, .. ~., .. I. ·LL.....· ....... .:I' .'

wrinkles .. As yOll will see, the major 'wrinkl ' stress in the fight sleeve comes forward, from the bottom of the sleeve 'to interlace wit], a minor counterclockwise wrinkle system, Small fragmentary wrinkle . appear from, the outside of the arm and, ease into the

. kl h d id f th

wrm ... ,. ,.@S on t '. .e uno ersic eo" tn e ann ...

The 'back torso and shoulders are lively with stress fo:rms. See the strong CUfV'!f! . down the back that repeat ~11e looping actton of the collar, which curls from Ieft to Tig11t in response to the action of the up·Ii~fted, arm .. On. the up'per bent trouser legs 'of ,this figul",e are wrinkles with major folds that emanate rrom the 'rear area. of the trousers, The' lower legs, of the' trousers SllOW

- · 1 d· t tr '. akl ,

:' . .- · .. ·1· '.' ,.~: ...•. ,' ."",_ ..... :. ... "_. - ., ....

typica , .' _,tree. c siess Will '.' es"

Now look at the background figure, who is fur' her along in, terms of getting 11:i s jacket on, Hi s sleeve s are almost in place. Note the taut" angular foldstha t spread from the hand that acts as. a fum anchor. Cross wrinkles are present 'on, the cy,~ind.rica1. foreshortened arms, 'which show curved Interlaced forms, N"e.te

as well the zigzag wrinkles onthe , ,

up.per trousers, which be,g;_n. ill:' ~E ,.:\'-' ~

crotch anchor and are, quite clood~ the result of tension caused by·

outward-spreading legs., ' .'

Finally, you may be -V(i)~!ie~B about the' sweatshirt an ,th b~I:in,·

the foreground and the socks Ot1 the floor, These wrinkled forms are of a different order and will be covered 'in, chapter 1.0~

hen rna terial is chemically

, treated for wa ter resistance, it iiLCq aires a c risp lex ture, S IT-e~, UOlJlS a nd acti ve [J,;S,c_ of ' -u eh m t,' 'rw,8] ~ results ill C[{) s.in,g wrinkles tha t tend I-to' be ~l~~l, .. and d ,~Bp" AJ',,'-, ,"Iii

c:.,I,. _l • ~ ~ ~L:.lK.. 1£11" ,,' - ~I~ _"I! i' .IU,.

angular forms with squarish cornets take the place of curves when a change in drrecnon of a f'ol,d occu rs,

In this d rawing, th e crossing

'W rinkles ]11 :U118 arm s a 11 d ~ egs of the upper climbing figure reflect th,E!' texture ,f the materia lSI especially in angular eros s~ng wrmkles I,', '7 lie body jacket, which

appeer to be the most pervasively fractious and resistant to stresses,

The clothes of the lower figlUE she I'W a Dl.011, : ,8' ;x,-wJ)],e l"esp, mse to '~llis vig .rr '''u . action, But I, ·VI. en here, 'j f we 10., ' k close] y at the reactive minor wrinkles (011 the leg ,al t, left, for example), ,til . cornerlng 0 .~ wrinkle contoun is evident, \,!ob:!' the material Din the ~~If:!' of th 'mow' er figure; observe

I~U,lL.!Llj::J·, '~, I,. .W.', " III;,; :, '~, :' 'lll~,;!i" I~'", 'b

the stubborn, ICOllH', teractive forn of this unyielding weave.

F =d:~:~~~:~:p~~~::r ::5!~!:e~:~;I~S

f " '-:_11..11

o erossmz WI-U.ILN:es,.,

lO-

Th .. kb f d- 1- "h h h- ~, k

'I' ' -,' "" , ,---:' ---:' ,-, - "'I' , ", - - , -:-' ~, ,',' ' , " ~' '-: -,

ne laiC,." aoots 0 .. stur ,.,y eatt er S .ow t I,C',

crosslng wrinkles above the'ls,p"UTS at the ankles latn,d lower legs, These wrinkles are. typ:ica"lIy of a compressed character;' the major wrinkles head frontward and are derived from the stress of the strong forw ~a'''d movement 0'" 'f both legs Minor

~1bJ. "_ I, - 1'.. '.' _~". .: _, ,~.", 'I!I." -' ',·I~ I!!,i;;", ! '_' ilL, I, ,-Ii

wrinkles ICI·,m from the action 10 the rear ankl s, comple ~ g tl,e' zi.g,zag pat-e:rn~

The de ~p'j upwardly curved folds, Olf' ,th .' pantaloon (under the top leg and gauntleted hand)

reveal the major '_ tresses coming from the lower area of tile le'g and knee, These are countered with short

, fold .. d _...::I Th di l- ~ l .. , II!. ~

mmlor '.,. s' ,GJo~n,g I.' lown'w',a]:1:.l ~ " , _-,e ,1.1_ JiU:'I~n_'IL. Ja"c~leIL. IS

covered with uneven crossing wrinkle - because of nne,qual forces in marteri!a~ over the leg" waiS't,,~ nd chair, These wrinkles are responding: to the w'eight, of the heavy sword,

'TI,e bent' arm above shows II more predictable crossing wrinkle :system,. The-major wrinkles start f - , m the underarm, while the minor wrinkles m'h~; -[. -. from above '··0' form the classic zigzag '

, ., r: a,lCe , , ,... - - - - - - '0- ,.

pattern. S, -e also th,·, , reg;ularity· 'D' forces on the

foreshortened arm at right.

72

" '"Ieen fun deep s:paoe.r-' foreshorb n -Id orms (the arms

> - on both of the 'e duelists, for exampl )I!, ~ ispl ay

IClOSSin:g wrinkles that are ti.:g:h·tly curled and circu ,8 r in, character .. Indeed, these close ... knit, hooplike rlng patterns ideally represent the strong illusion of deep spa,ce'" Remember that when forms shorten, elliptical patterns in clothe's are replaced by circular curves"

-_ ere are some other ds vice" for sugg;le;s:tmg; S ~atia~ recessio ' :

1,,, ,~-I srm over form blocks and obstructs, hl this

d ra w i.J.l g, · tu dy the overt ap pi 118 '1.~gs of 'tile duelists and the raised arm and overlapping head of the foregrou 'nd figLlre~

2 .. Change of direction cr 'ate' con tra st. Look at the background .6gu_re and study the e.'fleet of his left arm and body as thlely S '.' m tOI push -hroll.,g.'l his

•

. ,a,nng cape,

3" Sltr,a,ip'ht, hard-edged forms pla ed against curved

ID ,- . I

forms alter rparialperception. Note the hard ... edged

blades crossing against the soft-edged curv-es, of arm, body, bel t, an d. 1 eg,.

Clan you find other examples of devic s 'used to IcoD'v,ey the Illusion of d e'p space?

•

)

/ ,..

he i!Jo.mpl\·.g < ! ,on \VIi nkl ~ i similar to th cro sing wrinkle in several 'ways: First, the forces, that aetivat •. · compressi In em" na te from tV.l'OI directions on Ell [g.~v~ n member, 'movilng left to, r~'.ghl; !1-1CO - d~ compf:_' sion lNfinkl,es also interlac .. ·~ forming zigzag patterns; and third, compression wrin'kl s are composed of both major and minor IN'"finkl~SII Ii I ternatmg folds crest .'~ bi)' the sereeaes olf ,grea't Jr' and m SSI ,Ir forces,

Til unique as =e-'- t f compression wrinkl s is 'It hi if origin in the au . h fo c I winch acts 0;11, fabric like the squ·eez!f! of an accordion. 'Th_ .. crush Jorce

.. eates a dllsltDl,ct visual qualny t~ . It ,epara tes the ,coim . 're . liofn

"fj;.III"r:i .... I ... _·~,i1!!11 fro --m-·. the crossing wrinkl ,

."." ~-UJ~c _' il. LJl..1! a~ _ . I _. __ " __ = .. 1. . III

n= he most common ,I_B' 'ec't of the crossing wrinkh is its outward pull (like the open movement of an '._ ccor dion) ,i. The action Ol.f. the' compression wrmkl " is Fst the

•. '" ~ II!- ~ ~ !I.'"

" "pposlle; m.·l~ IS ill con I~ w. til 1,,(n8;

movement that ICR'Sb!-·

cor gatioIDs===-:n!ot extensions or

expansi An 11:' ~A "HI j UI!.I.U,;aL ~lil

The long' gIov'es 0.1 ,an elegant woman, in. evening dress present a -,qu,:nce 01'" cam' .Ire.ss,~.o{n folds ..

-,L..t! -~g'h s'~yle 0' the ,gl.ea·min,g

black satin ,gl.IOV',- _c. can be depended on tit) provide the compresslon wrinkles with 131 , uent sweepl of brilliant hilgl1Jigh·ts,~

The folds and Cf' ases of the glov .. 5, a:re 'C[OI's,e!y I' Ilgn d, progressing with a Ii~gu larily akin to :symmetry, so Itha't' ,th,ey become remarkably decorative,

'. robably 'the most common

. object where we can observe the compression wrinkle system is a leather boot The thickness and, resistance 0,£ leather make it a g: rood

, "

example-but the best reason to study

it is 'that it is a vertical sheath in constant wear. TIle cylindrical tube of' Ieather; saggin,g dOlNl1W8f1d to the ankle, tends to' geuerate the natural crush force that forms sidelong, alternating ridges and folds" This ridge formation m .. ay not be regular" as seen 'in 'this example, 'but "ther-e

is 'DO doubt, about the effect of the sag and eollapse pattern that begins higher on the leg .. Predictably, as th;€ sag' widens on, the ankle, this looser section g'oes into a contraction mode from top' to bottom, The result is the compression wrinkle pattern,

See also the compressed accordion crease folds of 'the' trouser section (top), This compression ,grou'p occurs because of a similar crush, force .. In this case, the boot, pushes upward, causing a reverse crus},

on 'the trouser material,

76

ompression wrinkles can b .•

, observed all through the gear of this armed man from an earlier era" Let's pursue these' examples .from the bottom up:

I. 'The conden .', d corrugations at the ankles reflect patterns seen in "most boots. But observ .' the loose, open drop-folds of the leatl er thigh

covers; these are induced by gravity, They Bag frontward around th ' knee,

2. The leather breeches exhibit the classic crossing wrinkle zigzag pattern, How .. ver, the stance of the unmovin g fi-"0111l"O permits tho 1'0" .C!.a,

.. : ' ':",' ·O'--..J,I~ '. ~ U LlL~j" ,'L,.", .. ~~

thigh secrio " s to sag and collapse downward, creating a. compression wrinkle pa ttern similar 'tOI that of the boot form' "

3. On the sleeves, the loose material creases In . he bend action of the

I" b C' . . .. • ,,-:.,..,. 11 .... "

e ':OWS.- ompression wnnkies are

produced as the arms squeeze the material. This action works to initiate corrugation in the upper land lower parts of both anns ..

4" The cowl headpiece shows condensed forms on thehead, as well as creased folds around. the neck and collar. The e are all manifestations of compr - SiD activi , as are the fragme'n tary rifts on the tunic

around th . bel ted waist.

------

, -

,

, et's I aok at this 6guf_re],axmg I against a table, There are four compression wrinkle 'pa'ttems in the man's attire:

1., '11'1_ first ap'pears as a ti;ght

s,erjj} s ,of compression zigzag folds ~~n - tne lower' part of f ie 'lgurre~ s arm at r],g'ht The' fonv,aJrd crush f,or'c,e, stopped at the pocket, creates these folds,

2. Now shift to the midsection of the adjacent coatpocket, where Y"Li have a li,g'hi' SI. ueeze in, the wafs:-' area that pushes fra, gm,e n '. ,i!01Id-' s to Il-'h- ~ ,f'i\f"1;~ II!r button

"Ii.' ._.IJ,. ,t· ~. '!Ii.. "Ii..-U'H t .1_," -Ii. . I ..

3. TIle forearm .. receiving support from the "hlp at right, is p'ushed.

- _ .. _ t' til - t b 't- t- - - )- ich

~1~~!&''rIns,1 i ",D ~lO' '~' "I ~I'~' -'llnn ·W'.' iiII .:

"!!I'DIU... - . . ,,'!b, ~ .. , rd... . '!Ii.4I. ,V'~"I' _ '.'

" ~ I .... ill '" .

creates compression WTlllN,es just

under the ope~n. A.~fr,ont o,f Ith~' jacket and down the' inside o:f the

log at '11~·ft No to how th ""I;"1"g- h

~!lk.J.;.~: ~Il· l~l~ "!Ii ,;'.'::1," Ib ,lll.'._ ':"0' L. illll_ L.I.IL .'~. '

overlaps on the leg at right; it is, Iike Ian irregularly squeezed accordion=closed inward [open !QUtW,8'rd",

4,. Observe how the crush force drops down the inside of the arm at left; the entire sleeve is covered with, a downwardly shrinking compression wrin kle 'pa' tern, ending ar~ the wrist,

9Ypic:a~ comp~ssion WTI,~I'ldes come from, active wear, such as, those

I, 'we' see as ankle and to, crease s in a shoe or boot, 'But there are

IcruSJ1 orms th!at occur in clothu -,:g W10rn t('olst,anl1y in _-" damp orr wet environment. Also, by extended use over time a fabric lor material 'n1'i"gI1't 'become impressed with, wrinkles that will not all out or alter. These,

too, are compression wrinkles, 'but of a different order, as 'we note in

the' gear worn, by' th'is, sea hand aboard a saihng vessel.

The boots revealcompression " of the expected kind a 1~7 the ankles and toes-s-in deep, alternating rifts 2l11d creases, But we can observe tight compression wrinkles OIl the oilskin trousers, stubborn material that deDect- curves, but admits obliqu '" anguls r change in Zil,gz3;g m,o'_~~o., ICIO~-ip'-:l ssion 'C- eases

also appear in the sleeves, a- mptts, neck, and body; these show ill the heavy woo, sweater, and hat, which ha . thick welav' 's, that are susce,pti·bi,e 1'0 dampnes s and moisture. Note also the compression in the canvas _ .. ~"!!fIIIi!\w

burket under the leg at right,

ompression 'wrinkles in the

.. clothes of 'this Spanish dancer IOCC"ur in the sag compression of the boots. The tension of gravity on the leather' creates the sidewise zigzag pattern and the inevitable accord ion-like c1orruga. tion ..

Another set of compression forms can 'be seen on the shoulder at right in the narrowed folds of the serape, but not on the vertical folds lower down, This is because 'tile lower folds are opening up; on the shoulder, the compression is inward, and the wrinkles are pushed. together, The Ij,ft of the arm causes a tru e crush force to act on the high part of the shoulder, But lower, near the chest, the sleeve is being pulled outward III an, underarm stretch: this part is not compression=tt is a tension force,

A re the 'blouse a- n d s .. L.;::'-+'

~ .. - . ~RLb .", ... ,[bl~ _"" _ Nl--1L

performing compression? No!

These are pulled by the active tension of leg force outward, These are ,p'ullj not

. .::_1. .... 11

com pres sion, wr 1l.1.5.JleS '"

he action of putting on a. jacket or coa t=-or taking off a sweatshirt-> giv'es us' a rewarding look. at an interesting' variety of compression wrinkles. Let's observe this drawing for 'the varied moments of dress change.

1. Tile first man (front left) is putting on a zipper jacket, "Note the grasp of hands on the jacket, the cramp of the material on the inside lining and outstd .: e leather panel showing the pressure of fingers. Most of the 'wrinkles

refl ect 't' '19i~ ~ stro nc:t.·. p - ull tension,

-,._ ," 1~,.1~.~!·· .. ·0· . . ,._ ..... "'111

Note also the torque of the 'body iII, the sweater, and the stride acting from. the crotch stress to the 'upiper legs, forming fragmented crossing wrinkles" The sleeve on the ann 13 I left seems tOI bel developing compression forms; the arm action is rearward, and deep creases are turning' into zigzag wrinkles.

iiiiI

2. The' seatedman, pulling a sweetshirt over 'his head shows good examples of compression wrinkles, See the convincing crus.' as he rU_l'~s M'tllhis arm at teEt; there ts an overlapping' of deep, loose folds. TIle arm at right has Ioose compression w-rinld:es, while the rigl1 t back ~ s decidedly in, a ,til,g.1,t compressi In"

3,. The, man ,a .. t rear left gets ready to tift a turtleneck shirt over Ills head, The .fO['eamt at 'right is being pulled

~ -'~ ,. h -,L d 1.., d

nl~O piece VVlt --, tJU! ann ano IIIBlD' _' a

'[effr. Note the lo,ng wrinkles, (on the

« 'll"£iit:li,'rm,- ~, --! - - t-) "11"'} e rear part 0' ~"L,.::.,.., w:O(~,~~': '!P.l.' 'ng I .' ~ IL]" "' __ ', ~ ~U ',' I' IUllilUj!

arm is in a rare crush/squeeze mode,

4., Observe' the man with a tile' trear ri,gh t). H,_ is in , n acti vie' ta e, 5'0

most' 'wrinkles are in thrust and te'DSIO.J1 forms, A gain st these,

ho we Vier, the arm sleeve a left is not fully' adjusted, and therefore shows a sequence of :p\B S5,i. ve compressions.

IE

51.1- N:j , u·

W.I NK

-- ----

- ---

82

n action c. ne from. all. arlier ··ral where a 'LII·_ .... dier clutches a fla ~.~ provides an unusual

example iof' .... I, -. ressi _1"_ . 'rm~Je' .~ Til 'J:r . ful

'COli pression f the flag by the I - nclosing fina ' . s creates an implosion that strangl "~'. th man rial in, crumpling inhibition, while the balance-r f th .

b - :'E'r -we ,a , I. and slu '--,< in def .. ~ eld

malformation. The only other example of ,CnJ. 'h '-crces,· t won 'P ars an the leg,ings, in, a

.. ng arras 0 'i. ht, Int .' 'rl . 'in " , :i ,k' es . ,I.'.: ~ the knee to the ankl '"

'The figur-e as a whole; garbed in a uniform with .:~ ctive, f: ro ful stress

. inkI 'S, i- in ~. violent u st rge Ii . ~ _ st fierce resis a _' ~'CII ~ - w hich all forms cons pire In r' pulsions.

This drawing shows an . ighteenth.· ..... e ' ntury officer we. r1'10'8, the t01P b ~1[):tSI ,0'.' tile' :militl~l . horseman,

B' - -, _ _ .~I . can I~' '!,gin tOI _' ~ :_ ioate th . tigh·t i. - '-2

d ld ..' d f

'arm' .' n uc ew '.' ZlgZ ,g IS sreac 10 cc ..... P

wrinkles at the an: '" les in leath er boots _. The kn - and calf muscl .. '] have i --': --ess·, ,~- their fo _ .. - on the

~ - - -- - - .

boc ts ab .' v',e U1 '- nkles. ' hes .. I however, lare n.'Oit

c impressa :ns; thes impressions onl . erve to sh that ,el .hi,ng, in any' texture or material, is reall: just . II~h. r kind of bOI, , Y .' 'fD1,., but wi _ a n w

, urface,

Note Ute wrist creases in ,the soft leather berw '·1 the glo've~! and the ruffs .. ,f be th , .aun, tle " hi .. c _" like a kle Icre __ .: ... · ..... _

boot " tend to become , _nIta_I' impressed forms. The' c ·n,·ptessi. ·.n wrinkle patterns in

th 1-,a[alllc,:-i of the' '. " '" orm laprpe,· r as

small cnn , ormsin rhe kne 'n, arm bend areas, md a, t the horizon tal midwaist sash,

- eJo ; .... the b. : t AU ,o,t~het

EO .. d'

wnn .: ,S - .-e·p· me to som

force aspect of tension; which l' . not that 0_' . liJftm'- - 'p'~' ' .... -' In form - " .

~ 'U ' JI.. ~ "_' ., )t ~_.

~ I f

I ragmentation wrinkles do not occur for one reason only: that is, tl,ey don I t occur because of special kinetic forces alone. These wrin .les develop for several reasons,

Th·:ES ba sic ca use of "!'iI' fr ~ zmen tation

.. 'L, _ ~.i;;J". ,'. ~ _ ~'.' V Q' iii::'lO-~' . I~,~ a·',·'

wrinkle pattern lies in the deeay of the lcinetic forces that energize other wrinkle ,s,ys terns. in effect, fragments tion happi :ns 'when an aeti n ts uncertain, indecisive, incensisten t, or perfunctory

A second occasion for the development 0 ~ &,3,gmenta,ti.on comes when it garm!e'nt hal'· been worn persistently for some time, allowing sweat, soil, grime, or ,grerlse to g'~;t worked into fabrics, These impurities tend

to reinforce tile varieties of movements t11i1:~ become impressed on the garment .. Habitual wrinkles move wH:h new kinetic force! and are ruptured, by' the impurities in the fabric .. Incomplete forms work through the old, and incoherence' 'builds into fracnonated splmters of uncertain combinations.

\Vhen a. 'variety of weavesf textures, fabrics, and materials are involved in clothing, we might see an effect' on th 'wrinkles pattern tll;a't leads 'ta &,a.,gmentation. All of' these fac tors work to g,et11 eJ.'" to crea te the indecisive forms that make up ira"gmenta tion wrinkles

Let's looka t the shirt of this, blacksmith, We have here an energetic pair of actions in the arms=e drawing back of thehammer by' the, arm a,t left, and the forward thrust of. the, to.ngs and horseshoe by the arm at rig'h,t! Altho'ugh these are decisive' movements, the shirt patterns, alone seem inconclusive. The .figuret s sleeve at left has more effective wrinkles; 'the' sleeve at right is, somehow unsure, The shirt front has a splintered center area, This might 'be' the 'resuI't of sweat, soil, and Igrim~ in 'the unwashed shirt acting aga:ins,t certain ing,rained movements,

The le-ather apron of the man is instructive, See how Its close ,fit on the body has created an im . res d pattern on 'the' wais], The legs,tlugh's!j knees, and, shins can be' read through th,e thick apron" which 'is imposed on the lower body' like the, shape of a hand on a glove, Further, the fragmenta'I'Y pattern of wrinkles on the b ell y' and groin .tg't"Q contr '-;q,'f'U' to th i!!:!I leg a' ""lJ'O'f1"=-·~·th, ii!lIi strid lie Af'~

~~U,L.. ·~Ul£L. '~'Jj ,_IU ~ -~ .~. _.J L'U .. ~. ~ ~ ,. - __ ~ u.

thefiP1-l'~1 in this scene is not present, And

ID'~>~ ,

the wandering rifml between 'the legs ,of the

man almost appear to be a series of flow wrinkles, a's if he were lying on 'the grcrtmd ..

IMENI

w

--

- _. - ._-- _. . -

[aruma] skins this man wear are no" a '

form fitting as clothing tha is measured and cut from loome d weaves .. TI1e furred skin is l}T'egularly' patterned throughout, dry and resistant in, texture, and. w ll-worn .. showing body contours f rom COIl tan t use" This skin is a medley of form " but it is adequat for a hunter in a "state 0' nature."

The belly and groin wrinkl seem Ita respond to compression forces, Horizontal rifts are the effects of cru 1, a - d bene forces, but th 'yare somewhat

dis j in ted and inconsis tent. A pe ttern of c ur ling' wrinkles winds from the thi ghs inward on the long, irregular triangh of coarse-grained fur. The fur has a tough, buckram-stiff group of warped curves that 11, rv not been a, -ti vated by any body movement, Also} the tor '.0 covering is rut to no integral body design, The raised arm is coverec for warmth: the arm 'with the stick a ~ left is open a nd geare1d for 't.i cti 11. The fur behind the thrusting straight leg is a clump of superfluou s, brushlike matter, These se Ied, ,fragmentary wrinkles were formed in times past, and their stiffness is such tha t 11D action willchange their sha p, j

Compare the brittle, warped quality of the fur skin on th hunter and th , soft, pliable furry hide of the live bear cub, This will help you feel the difference. The fur an t1112 man act" inconsistently with regard to ~he body action. TIle fur on the cub directly

ponds to the tight grip of 'the hunter,

his so 1 dier r . ou tf tis furrowed wi th a multitude of crossing wrinkles, Tile system " however, are further riven through with fragmentation form. There 'is a prec ominaut 'wrinkle form, but th . overall effect is oru •. ·f repe ti tious small-sea l. . creases,

This fractive tendency i not typical 'Of wrinkle systems ill most ea . s. But his can hap sen when ClJ1 individual, under force of circumstances, spends a prolongec period living in his or 11:eI" clothes ..

Let's look at the chest area o· the tunic: The figure is in a p'a, stvr tance, yet the wrinkle sy'S tern fn m the collar to the belt area is cut thrc ugh with folds and wrinkles

I. ~ nkl d cl ]' · 11

t nat suggest wrmxaeo . lot lLng, rattler

than clothing expressing an immediat movement of a

special kind .. This figure is coverer wit - a s[equence of past-action wrinkle Erra,gment5 left ov r from sleep, work, weathr r, and, . .onflict.

Wrinkles of pt ... - [. , io -

. - a,gm_en a,DDD fa _9 tend to appear in clothing 'that molds to tile body of a figure, Longterm wear impresses such clothing Mille the forms

of the bQdy~ ~~~~

87

88

eee a racing skier wearing lightweight, windresistant, water-repellen t clothing begins a grmdingt blinding, powdery downhill descent fhmug:h it crystalline spray (I't 'ice and snow, During his sVI'mftt lig:htn'ing s~/e,. pto the _ inish, he and his garments g101 through a swift :sequeIllce 0,- angular, kaleidoscopic jerks, bends, wrenches, pulls, and surg'e.i. Fragmentation wrink les (and compression creases and rift.s,) are bound to occur when a fig,rmre' gC:fS,'tAToIUg,h fi st. and powerful motions ,0

changing direction .. Sp ntan -O'U5 deviations and aberrations in prevailing rnovemen t invariably produce eccentric impulses in fabric.

Study this figure carefully, then imagine what rragmen'ted wrinkle patterns milght OCCl1l,r as, a restdl of th. ~Iolt~ng gyr'atio"n'·~ IO~ ,a broncobuster:

or the she- ing, iiOSUin:g clash of a, football ~.a!~~'i-,

scrimmage on Ute gioalline; ,OT the dashing urg'~ and drive of a basketball players dodge, break, and toss for the hoop: 'or a. free-for-all me~,ee of 'bashing players in ,.' hocke'y' g,am. '" Ima,gin,e t .. Ie characteristic Sl~ _ tu~n,ces iO.E ff3,:gDru~n tation wrinkles in these cirrcum stances"

, e, baseball pitcher is about '~O deliver a asfball. He has taken his stance, reared back on one leg, lifted the other leg, H],ting, and balancing 'hi body.

f e pia uses mementaril y; h 'is, 'p!i~clli.ng ann is dra wn , - k h' '. b - .J[ I . ;::i'1If"Ii ~ at the w '=:11·' if:! t n ~I - - - - - - . - - - I ] - •. ""

. ClC1, .. lSO'U Y "IIlLIli. rfJJI' . 'L:' . ~I[,~!., . '_I~ mo . le:n II' ,lIS

lliyes will shi ·t " 0 the 'batter and he'Il wheel anc deliver the ball downward, in, a blurred fast whip. The ball will proba bly zip past the ba tter at well over 90 miles :pc't hOiUT..,

'I n this arre ,It -d momen t bef .: I:r,e the ~:h'~ .. IW~ an indecisive half-second :g:,e.n'er" . es a splm er d wrin de sequ - nee 'up the pitcher's enfire left arm,

The Ii f d 1 f·' 'l ,,~ '-b ~ ~ h .' ft

ne Jl,. te . e t ,eg IS just begtnmng to s '-'1""

downward, and the wrinkles on, the tl:tigll

.~,(1' _. h~ OJ T]' ~_1l,,"'" , '.

reflect t ~ts, motion. nese wrinkles ar getting

thin and d tached, meager and indistin t Look at the pitching arm, You will .• e the sug,g' stion ofa changing wrinkle pat ern that reflects, subtly, the change in the direcdon of the arm's motion, Again, arrested, split-s cond actions invariably result in

fra ... mented patterns ..

89

wayfaring gypsy~ roadwise and heading for

' he ter, gives us fragmentation wrinkles on t·h shoulder cape at left. The ann itself 'has ambiguous crossing wrinkles that dissolv - into rifts and breaks, The serarpe, draped over the

shoulders, abounds with, elongated, subdivided parts, while the patched, 'worn 'trousers reveal the truncated, curved, ingrained pattern of forms that have seen extended 'wear over weary miles,

TIle total figuration of the garm.en.-ts reveal outwardly theimpressed inner body mold of the figure, in which the contours of the clothes become the ima ge of the inner form.

• _. - 'I

In U:l cold, dam . climat of northw .. '_ ern European lowlands s the traditional clothing of this N· th rland r is abunde nt ill size - n· bulk TIle

j- eke t, more rorm flttins , than the, -'0.'1', shows

,coo • .. ,in. wrinkles in ':_ ':.1 tric zigza . 'p _ . ti I.! . ms Ol1L th I ~. - -. and. ront body p. mel,

The loose olting sI : v .. - show rn mdering, sla .. lk: wrinkl s that ar stagge rr d with thi ' .. '--,sts and

, nove tha 0' asio ally ,plit inti .' ". no -, d Ira·· . -1_nO_~II' but .hes ' .r" l e exceptio .. ~ TI1t, .

- d: of the co It ... h. ,_. 'VI. f~1 is cover d '. · tIt", ,gm~ . ta tio.n wrl . :: I, . .. .'. ote an ind .. ci· ~.- ,e min·li ,g ofright-h fit wrinkle s movine trom the arm "t area. at r~' ht, This gr10up quickly

Ioses for [ I as it travel l 'w'er1- d i .... ulving ln ,0 segments,

Th b .oad pantaloon . how a s t of largo I rratic

ha,g n a ito wri ' ~ different from .:_n~ we

.'. 't en _ .. un tered, Thl le at le 't, ,f,: rr .' :._~_-_C" ple, shov "15 1- , t 'amght£orw2Ir . ' •.. iC;· n,ere bu :11 c.· I s-rif .1'. from Illjg1, to the low crotch area ar-e ,- trange crossin wrinkles meandi r across the 1 ,'. ~ d.rif wnward, an - t erminate ,', fEd It , ing, " .. li, rue

zm nts

. a..1

I'l e . tau l,e h support ]e,g all r~g'b:t 'm c vered with low-paced curve ''! A,t

·_t· g s, 'they digress and 'break 0 f. These I I'L user .... are, at b st, miss' _ p n,

91

CIlIAPI.,.

7

.

92.

I

d'h" . kJ'

'wag an - _,lBl1.:gmg wnn .... es

should be' considered togetl,er bee '¥'''I 'I s:e' both tvnes ofwrinkle

L.r. flU.. - "1 I 'IiI!] r-" ,1:::1 .' 1'''''£U~AJ1~

systems are' activated by the rorce of gravity' and both are

:f d Ii

rouru ill

,

p,assl,ve or

~tation,ary forms.,

The sw~g wrinkle is, made up of curved" downw,a.rrl=slagging loop ,~, em anati -g'. ";t....-m-,· , !~,Ii; '''o'''-p-- oin - t-

',' .-\.1 1~1 ~ g_ D.JlU,'l':~l .~I"~ .~~, II;~. . "1 -', .

" :.' - - .~, d' ~ .", ... ;1- - . , - c' . '[ .-. " - 1- ,

suspension anUlCI'S~ .:- Lear_YI

g;ravity pulla 'the clothlnto an inverted arc shape as ti, result of

:t ~

~UCl1, suspension,

Hanging wrinkles are tlSUall:y' s:tr,aight forms that :hang 'verlic,ally from .an.e' suspension anchor .. The mest common pattern in the

l-l~' "=II 'M, m·iiIi"I;·1l' "lilit"i"~;_Jl.._'l' iB, ~y1E' ,J,B,'Ii"!r'IiI 1" ~ the ~~I.~~..;II."D' "y,- U iU'U.1!I..; g' .. " ~ Ii.,~ Ii , ~ iii. . 'lib

Drg3 ... pip - f'old~ which resembles

m~'I"IIy tubes '1'-- ...... ,AI , P In' . ~ ro'l:·II.Ji'

.. ~, ... ' 'll.uthJ.·a ml~L u·. :, ~ .. '. "Y';"~

S·· i"I:!l V' "!:iiI 0' and hs -- ... . g'" wrin __ l . '. -. -'-'

J '" 'li'!UltJ ~_u l- . ,angm; '. '.~. L .1L,n.mes it re

crea ted by the pose of this dancer. N ote the stationary posture of the figure. The d aneer is momentari _ y ba Ian ced ~'f'I, d- '1'111 nrn ·O'VIn·'·' ~ 'g."c. TIt· ici,

. I UblbLll!i-L I ~IL' _. ~-l_ ," '_ -' "11 .. _L.

, '.

poised supporting leg Glvies, us a

sequen,ce' of s'traigllt, 'vertical folds, The folds ,classic,all.y have the

. -. .' - ,-, .'" -. '-, fc , "', H'", ._ th -' .,,j.._._:t.

Drg,an'pIpe rorm.: iere . eysrart

out narrow around the hip-bulge anchor point and, are' pulled downward by' gra'vity~ Each fo,l,d spreads out s]1,gllt1y atthe lower base of t11e' skirt,

As the leg at right '~win,S5 u'pward and holds, 'the l€%panding skirt formsi a se'ne;s, of descending loops .. These loops become 5W8,8 wrinkles, which arch backward from, hlp anchor points bJI toe

I 1- d- lb- he 1 ch

ower' eg,an·. renee anc '-,01:;",

Note that the de~p part of each ellipticaJ sweep develops ,I

vertical grlvitywrinldel behind 'the

L_ .,1 d.·+J.-A, ." ",.

AJ:lce "see . ottea arrowi.

W G"

, ' ' I

I ,,_" ,

w '.

- -----

-------

, , left' side of this Roman-era figure shows a straight organ: ... pipe fold seq'uence 'that is developing because of the force of gravi ty. The material coming from under tile breastplate e,xpresses, the :firnmess IOf' the shoulder anchor point,

The' ,', t -, __ ~.".1 '·1 ,;I.'1..,~, _', ' th , ft,· ,- " '" - ,]L,."

, ' ma., erlaJ.. COU]lJ.Illg __ .. e '_' gure wor~s as

three layers: The' top layer comes down to the , ", " , f 'ld' L t the kn '"" -'I" 1 ' , d '[ ,:" fh the n iiddl : over 0" a - e ,,', ,e,eJ, Ltn"emea.t, , - ,€ ml"., "e

layer drops to the ankle and slips 'to the foot, the bottom, layer falls in. narrow folds just, touching t111e base of the carving, These are all

· d' 1- f i f ld

• -, , "" , ' .-. .' • ' - - ,,,. " " " ~ " ' 1 ' , ' '.,' . ,

vane", examp es {}I. org:an"'p.llpe '.0" s,

Can 'you s-pot a11.,y s'wn,g wrinkles in the curved folds Ion the figure' s side at rigllt? Direct tension wrinkles act on the body at

. I·t- b - - t h kn - - b -t~ ,- ~ -'" -- 'Id - -

, I ..... I., . '. .., . I I ' '. I " . • ~ .,. ': .

rig I, a. cove . · e s : ee, :U· swa.g wrmx es are

'II , - - - d ,-, - - - - - - ~ - b -'1· iii. '1,- - 11...,,0_, - - .. -, - -

,1.0 we, , I .•. ·,ownj lcunrmg-el'ow 'll.J.le Mll.ee.. ere;

the retracted leg allows the material to hang loose; gravit:Y takes Olver, making the downward sag of the cloth form uninhiblted

inkl

• ' • I .' • [_.' '. ~ .'. . I ~

swag wr es .

he walking woman (hili) suspends a lightweight skirl from her hand. Her arm, is, set in an unmoving display gesture, while tI,e lega move altema ,ely~ If the ~pa.lce between the hand and, leg remains consistent ,d'llrin.g her straight walk forward the curved swag 'wrinkles will maintain their pattern

( " t k . fl tu -, ) It t

'-, c " ," " 'I' '.' I -," .",. ,,' " I" ",-' - :- ' ,. C' ,- " " - , - - , - -

give or . a ·.·e so,me' mmor .. uc '. ianon. 'i .' mus',

be emphasized that these wri .. nkles depend

h ' .... 'L • •

on 't,. e suspension ancnors remairnng at a,

constant height.

In .L'Li!;::!ii f'l"'01.',,'fI'J"'PI ' " shown from the back s'··w···o.o

" LU~ ~O .......... ·_l . -' .... ~ .UI. '- - 1IJ.,.-~!tIII.~,Ii' - go

wrinkles start high on the rear hip cur-vel and buttock (right); this area acts as a broad

.' .... 1:..

suspen~i1on ancnor ..

Leftward, the thumb and fingers resting' on

,1,,1...0 leg a' ct ~s -, ~, ch .. ", ,i' - ,.',' ,,:11 . , d '. , ,",', i.,

U~h;; "_ ._1 CI. anc . ors In a.n,gtlJtar I. escen i a

f th h - ..

sequen.c,e 0 ott er ancnors contmue

downward in traction, or drag, p .. ositions to

. l·· ~

the knee, Between these anchors, me' t and

right, two-point swag curves emerge, Note that the skirt bottom Cb:y the r-ear leg' at far right) shows a final organ-pipe fold, or

h . "";:,_1'",,''11 D h . "1' ...

angmg Wl-11JJ,(d;!". ·0 you see t-Ile S1D\1.wf

organ pipe forms on the skirt at fa.r left?

display of drapery can appe·.il'l' las single,

plete swag wrinkles (se '. first three folds at 'top). The wrinkles might also b. iricompfete swag (s ',e the folds below the third one), which are actually crossing wrinkles.

Are a11 crossing wrinkles swag wnnkles? No!

Crossing wrinkles, cease to be swagwrinkl .. when forces other ti18'11 gravity energize the folds. 'Usually this motivation comes from the action of tile human form, mid th ese strong forces violate the passive force of gravity .. This is, what we see here.

This nineteenth-century F ench ,gown S,hOV1lS a gathered section of tho skirt material, tucked 'under a belt loop at front, that produces a wide spread of hanging wrinklei tha gradual '--om larg display size at center to narn 'W, mod, . I't f olds a't th " sides of the figtITe; and they : pread unobtrusively across the floor,

Of the ga'thered material below the waist, the grad. d bulge at right is . complex of compressed eros sing wrinkles. The material opposite the bulge is not gathered, but is allowed to fall in narrow, tapered .squ,eeze forms that descend modestly'

to the side.

-- -~-----

-- ~--

96

[1 ....

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HANGI'IID

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98

his drawm,g of ,Oian of Alit in me ieval garb presents Ian excellent sequence of organ-pipe hanging wrinkles on the lower skirt One of the requirements for the rna nifes,ta tion o:f these forms is. an D:pen, free space ~ In the rear ama,l for ex ample, a functi ", nal

spae exigi, where the tube w~, ths of wrinkles lop~n It'D la, wid " - extent than, those formed closer to the

leg; 'SIf2e how the' tu bes nea r the sword are smaller and more constrained,

The' cape-flows tOI the r -.,~_ 'r of ' he bo:dya'fie u' elike, bu - I he' mo -i,o-, of ' ttl be -'-y and Itble raising of the arms have upset the vertical equilibrium TI,e forms thus cease to he hangirlg wrinkles, In a

similar manner.the series of four

l.'Jt.'::rk ~'-Ill'~p. ension forms 0-- In- the LJJ1UL f·., U!I. !WI1. ~.~ ~lJJU.. . .l~i" ."~ .JLIl..1I.D1 .""".. . L __ ~

OOlUar 1,[11 'the rear are also in a s ta t '.,~, of 1Il ctua tlon, Had t' ley be n s ~'t wle would have seen them in Ii) cO[llplr!b!Iyp~HJS ive ha n;ging;' sta te.

~~:!~a::~h::~;::nin

atti'rude of arrested aetion,

Let's study the effect: The leg at left has halted, while the OlD,' at rigmrt' is on e move, The transient lleg a -m,: l:t. has thrust wrinkl ,\v,ilh scompelling sweep, Th side motion in, Iti'UE! skirt at ,r,j"gb t _! s abruptly stopped by the center drop fold in line with the inside

Ifg a.~ left ~

At this P ',inlr. the' stationary Ieg fO,rtes a Iap se into hanging

wrin'k~'e in all the folds at lft bu one. Follow the bottom pull 10' the skirt (by the leg at rigl1.t) that disturbs the vertical folds at left, See' how the angular swing (just

b~ ft, of the mid line vertical brea k)

g , ,', upward and seems 'tal gem1'm-,eunreEd in ,th· leftward Ields. This. phenomenon of irnls1tabili'ty tends I 10 persist throu gh

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