This text, addressing the art of design and painting, focuses on dressing figures in garments using a wooden model. It explains the use of a wooden mannequin as a practical tool to study proportions and posed garments in art, avoiding the fatigue of live models. The manuscript also outlines the importance of understanding light, shadow, and materials to accurately design clothing drapery in portraits and historical compositions.
THE FOURTH PART.
Of the Light of the Art of Design and Painting WHICH IS DISCUSSED HERE
How figures should be dressed with all sorts of garments in a very easy and better way, with the use of a wooden model.
To the Reader.
In my opinion, in my second and third parts, I have sufficiently talked about the instructions regarding the drawing in this art, touching on human proportions, their reasons, or instructions, in order to be written; briefly, as we say we write an essay on how man is created without shame, and how humans, unlike anything else, cover their nudity; most garments are cold by nature, and they need to be worn to protect against the rigor of coldness, but instead of being worn out of necessity, they are used simply for decoration and give a grand appearance when worn appropriately. In our art, this is reflected in both historical and portrait works. Hence, I desire to show how one must dress figures with a long discourse.
Usage of the Model.
If a person were to live as a model for a long time, they would become bored and irritated, with too much movement and adjustment. For this reason, a great Master in Italy for a singular practice, many years ago, found a brilliant invention: a wooden man, which allows for design and the creation of garments on it, as it stays better in position, able to pose and be governed by certain young styles, and adjust and model as a living form.
This model was made in three ways: A, B, C, G, J, governed with an iron key.
The Operation.
If someone desires to make a figure, it’s necessary to first have a mental design; lay out a paper, place the fabrics, and adjust according to what you can afford, whether it’s made of drapery, silk, tiara, or ornaments; nevertheless, one must have an area with only one light so that shadows can be observed properly. Techniques like carbonare or using black chalk can help produce the primary guidance, ensuring the folds look natural.
One must continually try to see the balance of the figures, make sure the folds are soft and that they hang naturally with the appropriate belt, ensuring the fabric aligns naturally as a draped model would need. Additionally, use light fabric like velvet, and avoid anything that could overly constrain movement.
Insert wisdom into the drawing from talented masters, and always strive for gracefulness in the clothing.