The term 'foley' was devised by Jack Donovan Foley, who made sound effects for live radio broadcasts. Foley focused on creating realistic sounds with the tools he had around him rather than using generic sounds made in other programs.
When the “talkies” came around in the 1920s, studios wanted to create authentic sound effects for their films. Microphones used on set, were only used to record dialogue so sound effects would have to be recorded after the film was shot.
Three types of Foley
Foley artists do not create every sound in a film. Complex sounds like car engines or computer noises fall under the direction of a Sound FX Editor, who uses a library of sounds. The foley artists focus on three key areas: footsteps, movement, and specific props.
1. Footsteps
In order to capture the natural sounds of walking. Foley artists wear certain shoes and walk on specific surfaces to attain the right sounds for a film.
These surfaces are called foley pits, which offer all sorts of different flooring types. Foley artist can then record the sounds of a character walking across a lawn, onto a pavement, and into a home, even the footsteps of animals, e.g. galloping horse hooves.
2. Movement
Sound can be recorded to what the character is wearing. If a person were wearing jeans, the sounds of crossing legs or moving on a chair could be captured based on that specific texture. The same goes for different clothing, ranging from a knights armor to a scientist's lab coat.
3. Props
Foley artists also tend to work with props the character interacts with, e.g. cigarette being pulled out of a packet, or a sword being unsheathed.
Marko Costanzo, a foley artist, shows how he used leaves to create the swirling sound of the witch from Into the Woods and how he cracked celery to create the sound of breaking bones for The Big Lebowski.
Reference: https://www.premiumbeat.com/blog/art-of-making-sound-effects/
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