ANIMATION NCII – Animation 11a

Governor Pack Road, Baguio City, Philippines 2600

Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT CCS 11A
Email: email@uc-bcf.edu.ph; Website: www.uc-bcf.edu.ph

MODULE 8 – Ani11a Subject Teacher: Lovely Jenn A. Reformado

Clothing

Objectives: At the end of this lesson, students shall be able to:

1) Identify the factors that affect the way one should drawing clothing;
2) Understand the concepts of creases and folds; and
3) Apply the concepts and principles by drawing clothing for the original male and female
character.

Factors in Drawing Clothing

• Introduction
o Drawing clothing does not have a specific, set rule
▪ There are a lot of pieces and styles of clothing, and is continually evolving
▪ The steps for drawing one type of clothing does not apply to every other type of clothing
▪ The way that clothing behaves is based on the character and their movements
▪ Having a repertoire of how to draw clothing is impractical
o As such, what can be done is to look for some criteria that can affect the way one would
draw clothing
▪ These criteria would help zone in the aspects on how to approach and draw the clothing
necessary
▪ Even then, it is not foolproof, as the some factors may contradict others, and would not
exactly state on how to draw said clothing
▪ For a more accurate drawing, it is highly recommended to use references
o Factors in drawing clothing
▪ Joints
▪ Fit
▪ Material
▪ Tension
▪ Others:
- Environment (sun, snow, wind, etc.)
- External factors (humidity, water, etc.)
- Other clothing (layering different clothing)
• Joints
o A lot of movement tends to happen within the joints
o As such, folding and creasing tends to happen within and near
the joints
1. Neck
2. Rotator cuff
3. Elbows
4. Wrists
5. Waist
6. Pelvis
7. Knees
8. Ankles
o Creases and wrinkles can appear as well near the joints
▪ The farther away from the joints, the lesser can be seen
o Folding tends to happen more if the joints are bent / moving a lot
more
▪ Clothing near elbows and knees tend to have the most
▪ The waist does not have a lot of folding

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 ANIMATION NCII – Animation 11a
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT CCS 11A
Email: email@uc-bcf.edu.ph; Website: www.uc-bcf.edu.ph

MODULE 8 – Ani11a Subject Teacher: Lovely Jenn A. Reformado

• Fit
o Pertains to the space between the clothing and the actual body
o Can be affected by layering and the material
o Fit clothing tend to have lesser folds
▪ This is because there is enough space between the clothing and the skin wherein smaller
movements does not touch the clothing
▪ Examples: T-shirts, polo shirts, “fit” jeans
o Skin-tight clothing tend to have more folds
▪ This is because smaller movements within the body is reflected in the clothing as well
▪ Examples: tank tops, socks, skinny jeans
o Loose clothing tend to have more folds
▪ This is mostly because of tension
▪ Examples: scarves, capes, baggy jeans

• Material
o Pertains to the type of fabric that the clothing is made out of
o Can be affected by the fit and other external factors (sweat)
o Usually the factor that is least taken into consideration
o Materials like cotton, nylon, linen, and polyester tend to have lesser folds
▪ This is because the following materials tend to have some structure and is not susceptible to
change towards some movement
▪ These
▪ Most top clothing is made out of this material, and tends to fit better to the body
▪ Examples: t-shirts, dress shirts, leggings
o Softer materials tend to have more folds
▪ Some fabric include silk and chiffon
▪ This is because the following materials are very thin and do not have structure
▪ Thus, they are susceptible to change towards little movement
▪ The folds tend to be more curved compared to harder materials
▪ There are more folds when the fit is loose
▪ Examples: female polos, dresses
o Harder materials tend to have lesser folds
▪ Sample fabric include denim, wool, leather, and tarlatan
▪ The materials are very sturdy and would take some force to create folding
▪ However, when there is folding, it is the most apparent amongst all types of materials
▪ The folds tend to be more angular compared to softer materials
▪ Examples: boots, jeans, skirts
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 ANIMATION NCII – Animation 11a
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT CCS 11A
Email: email@uc-bcf.edu.ph; Website: www.uc-bcf.edu.ph

MODULE 8 – Ani11a Subject Teacher: Lovely Jenn A. Reformado

• Fit and Material

Fit Material Descriptive Result Some Example(s)
(tight, fit, loose) (thin, in
between, hard)
Tight Thin Many folds Tank top
Tight In between Apparent folds near the joints Tight t-shirt
Tight Hard Not frequently used due to very
limited movement
Fit Thin Few folds Blouse
Fit In between Few folds Fit t-shirt
Fit Hard Huge folds within the joints Blazer
Loose Thin Many folds due to tension and Scarf
bunching of material
Loose In between Many folds due to tension
Cape
Loose Hard Few folds due to tension
Skirt
• Tension
o Force that is being applied to certain points which tends to stretch clothing
o Mostly applicable to loose fit clothing and/or thin fabric clothing
o If clothing has tension, then it creates more creases
o Tension could come in through:
▪ Gravity
▪ Distance from joint
o Types of tension:
▪ One-point
▪ Two-point
▪ Linear

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 ANIMATION NCII – Animation 11a
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT CCS 11A
Email: email@uc-bcf.edu.ph; Website: www.uc-bcf.edu.ph

MODULE 8 – Ani11a Subject Teacher: Lovely Jenn A. Reformado

Creases and Folds

• Introduction
o To make clothing look more natural, the presence of movement is necessary
o The way clothing moves can be through the following:
▪ Fold
- Stacking of clothing due to movement
- Some pieces of clothing can be on top of another
- Can create triangle shapes
▪ Crease
- Indentation within the clothing
- Caused by folds
- Extension of folds
▪ Bunching
- Also known as gathering
- Clothing is folded multiple times towards a small space
- Described with very apparent creases
- Some pieces of clothing do not stack up
- Example: pelvis of the jeans
▪ Wrinkle
- Type of crease
- Caused when a material is folded for a very long time without any other tension
- Example: back of the elbow of the jeans; unironed shirt

• Main Actions
o Pinch
▪ Main tension point
▪ Basis for the creation of the folds
o Drag
▪ Movement within the clothing caused by the pinch
▪ Basis for the creation of the creases

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 ANIMATION NCII – Animation 11a
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT CCS 11A
Email: email@uc-bcf.edu.ph; Website: www.uc-bcf.edu.ph

MODULE 8 – Ani11a Subject Teacher: Lovely Jenn A. Reformado

How to Draw Clothing (Sample)

• Preparation
o Draw the character in the pose that is necessary
▪ Focus on only drawing the proportions and basic
shapes
o Study with how the clothing will move based on the body
and the pose
▪ Identify the joints that are in the drawing
▪ Consider the different tension points and places where
folds shall be added
▪ Understand how the folding will be done
o Consider the material of the clothing that shall be created
▪ This step is optional, but would help in terms of the
amount of folds that shall be created
o The illustration showcases the sample character and pose
that needs to be added clothing
• Initial Shape
o Draw the initial shape of the clothing that shall be added
to the character
o Utilize basic shapes only
o Consider how close the clothing is to the human body
▪ Example: On the forearms, one can see that the upper
part sticks with the skin, but the bottom part has some
space, which would indicate the fit
o Divide the clothing based on how the clothing is pieced
▪ Example: The sleeves are a separate piece compared
to the actual body of the jacket – so a line around the
armpit separates those pieces
o For sleeves, detail the direction of the shape as well
▪ Utilize eye shapes instead of ellipses as this would
emulate better the behavior of sleeves
• Pinch Point(s)
o The pinch points are usually located near the joints
o Create either points or lines where the folding shall happen
within and near the joints
▪ Examples: elbows, shoulders (rotator cuffs), waist
o Look for instances where tension is also placed, and add a
pinch point there as well
▪ Example: The clothing in the forearm has some folding
due to it being near the elbow and because there is a
tension point
o Indicate the direction of the creases as well for easier
detailing later
▪ Consider the gravity and the reasons for the creasing
- The creasing by the shoulders should be going
upwards, to also mimic what is happening
- The one on the waist is going towards the center of the body; while one direction from
the breasts would go outwards the body

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 ANIMATION NCII – Animation 11a
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT CCS 11A
Email: email@uc-bcf.edu.ph; Website: www.uc-bcf.edu.ph

MODULE 8 – Ani11a Subject Teacher: Lovely Jenn A. Reformado

• Draw Folds
o Based on the placement of the pinch points, draw the
folds
o Folds are done by drawing triangular shapes at the top of
the surface of the clothing
▪ Make sure that they are random when it comes to size
and angle to make it look more natural
▪ Consider the direction of the creases to orient the tails
of the folds towards that
▪ Softer materials tend to have a more curved tip, whilst
harder materials tend to have a sharper tip
▪ It is recommended to only utilize around a maximum of
three (3) folds per pinch point
o Place triangles on the opposite side of the pinch points
▪ However, the opposite side would have lesser number
of folds
• Extending Creases
o Using the ends / tails of the folds, draw the creases
▪ Consider the direction of the pinch points and utilize
that in creating the creases
▪ One can add more than one crease per end of the
fold
▪ Make sure that the creases are not parallel to one
another to make it look more natural
o When drawing the creases, make sure to use a tapering /
feathering motion to make it look more natural
▪ Start at the tip of the fold, and then flick the wrist
▪ This creates a line where the base (end of the fold) is
thicker while the tips are thinner, almost disappearing
▪ The lengths should also be random to make it look
more natural
o Make sure not to draw too many creases
• Adding Bunching and Wrinkles
o This step is optional, particularly if the clothing is fitted and
made of hard fabrics
o Bunching can be done by adding more creases towards
one specific fold
▪ Examples can be seen through the shoulders
o Wrinkles can be added in between the creases, drawing
rounded V and C-shapes
▪ Examples can be seen at the elbows
o One can also connect creases from two opposing sides,
and also adding wrinkles
▪ Example is seen towards the waist
o One can also add stitching to add more detail
▪ Examples include the stitching for the armpit and the
line running through the upper arm until the base of the
sweater
o Minimize the drawing of these details to prevent overloading

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 ANIMATION NCII – Animation 11a
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT CCS 11A
Email: email@uc-bcf.edu.ph; Website: www.uc-bcf.edu.ph

MODULE 8 – Ani11a Subject Teacher: Lovely Jenn A. Reformado

• Rendering and Completion

Tips in Drawing Clothing

• Factors in Drawing Clothing
o Always analyze the clothing that is meant to be created before drawing it
o Arrangement is usually:
▪ Look into the joints and tension point first
▪ Then, look into the fit; this can be optional
▪ Looking into the material is the last factor and is usually optional
o Look into other important external factors that can affect the movement of your clothing
• Character Action
o Another important aspect for drawing clothing is the action of the character
o Smaller movements do not create a lot of folds (walking, sitting, etc.)
o Very fast and high-energy movements can create many folds, but tend to disappear entirely
o If a lot of pressure is being placed on a joint for a very long time, then the creases can
become longer and wrinkles become visible
o See if the character has been moving previously as well
• Prevent Overdrawing
o Prevent doing too many folds and creases as it would make the drawing look unnatural
o Usually, around 1-3 folds is used
o Short-stroked creases are also used
o Bunching is optional
o Wrinkles is almost never drawn
• Randomize Folds and Creases
o This would make the clothing more natural
o Create different size, shaped, and angled folds
o Creases should be drawn sparingly and around the folds
o Prevent from having too many lines that are parallel from each other
• Use References
o There is no set rule on how to draw clothing
o As such, utilizing references is a way for one to understand how a certain clothing works and
to validate the drawing created
o Reminder that referencing is different from copying
▪ Referencing utilizes IDEAS from the original source and then MODIFIES it to make it unique
and fit the drawing being created
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 ANIMATION NCII – Animation 11a
Governor Pack Road, Baguio City, Philippines 2600
Tel. Nos.: (+6374) 442-3316, 442-8220; 444-2786;
442-2564; 442-8219; 442-8256; Fax No.: 442-6268 Grade Level/Section: ICT CCS 11A
Email: email@uc-bcf.edu.ph; Website: www.uc-bcf.edu.ph

MODULE 8 – Ani11a Subject Teacher: Lovely Jenn A. Reformado

▪ Copying does not take into account creativity and simply uses a cookie-cutter method
and does not consider how the rules in the original source could differ from the drawing
being created

References:
• Lee, S., and Buscema, J. (1984). How to draw comics the Marvel way: First Fireside Edition. New
York : Simon & Schuster, Inc., 1984
• Technical Education and Skills Development Authority (2018 February 27). Training Regulations
for Animation NCII – Version 02. Quezon City

ACTIVITY 8: Clothing for Male and Female Character

Note: This activity shall be integrated into Activities 9 (Full-body Turnaround – Male) and 10 (Full-body
Turnaround – Female). As such, there is no individual activity for Module 8.

Instructions: Draw the clothing on the male and female full-body turnaround.
• The clothing that shall be created is according to the design of the student.
• The design should reflect or be appropriate according to the design of the full-body turnaround.
• The overall clothing design should be decent and appropriate and should not show any explicit
or implicit content or message.
• Ensure consistency of the design between all three views.

Rubric (per activity):

Clothing
10 (excellent) – Output showcases an excellent understanding with utilizing clothing as the factors
and folds are taken into consideration; design is consistent amongst all three views
8 (above average) – Output showcases an above average understanding with utilizing clothing as
the factors and folds are mostly taken into consideration; design is mostly consistent amongst all
three views
6 (satisfactory) – Output showcases a satisfactory understanding with utilizing clothing as there is
evidence of utilizing the factors and folds for the most part; design is consistent amongst all three
views, but there are significant outliers
4 (fair) – Output showcases a fair understanding with utilizing clothing as there is few evidences of
utilizing the factors and folds, but there is a need for significant improvement; consistency is not
observed amongst all three views
2 (needs improvement) – Output showcases that the student needs to have a better
understanding of how to utilize clothing factors and folds before undergoing the activity

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