Learning to Paint Drapery like Leonardo da Vinci

In this video I try to make a study of Leonardo da Vinci's Drapery study from the Louvre Museum.

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For this painting I used the following materials:
Oil colors(Ivory Black, Lead White, Hansa yellow deep), Linseed oil,
Brushes:
main blending brush is a cheap 7/8” no 8 round camel hair watercolor brush I literally found in the garbage but can be had from most art supply places.
Size 6 Kolinsky Sable fan brush
Size 0 white nylon liner
Size 4 Sable filbert
Linen, Acrylic gesso, 10x9” Plywood board, graphite transfer paper.
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Leonardo studied with the Florentine sculptor Andrea del Verrocchio and remained in his workshop after his apprenticeship for several more years. As might be expected, the pupil absorbed the master’s manner of drawing. Giorgio Vasari writes that Leonardo specifically copied from Verrocchio “heads of women, beautiful in expression and in the adornment of the hair.” In addition, Leonardo absorbed from the older artist a number of distinct drawing skills. During the 1470s, Leonardo learned from Verrocchio to make drapery studies on fine linen in brush and ink and gouache in order to reproduce the fall and flow of cloth around the human body. The most celebrated of them, Drapery Study for a Seated Figure (figure 3-1), was one of nineteen exhibited at the Louvre museum in 1989.

Paradoxically, Leonardo’s approach was anything but naturalistic. The cloth to be studied was first moistened in wet clay, then arranged around a clay mannequin, and stiffened. In reality, the drapery studies are essays in modeling, the use of chiaroscuro to build solid form—the realm of the sculptor. Instead of hatching lines, smooth gradations made possible by a soft brush separate light from dark. The grand masses in Drapery Study for a Seated Figure emerge from darkness, and like many of the other drapery studies seem to glow in moonlight. The eerie highlights give no clue about the texture of the material. Leonardo subsequently began writing a treatise on chiaroscuro and the mysteries of light, subjects that became a hallmark of his art.

[from Thomas Buser's textbook History of Drawing]

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