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D ING THE HUMAN BODY
fL Slcrl ing Publishing Co., Inc.
NEW YO RK
'- .. I
Librar), of Congre" Call1loging-in~PubliClll ion Data Anilable
10987654321
Publ ished in 2004 by Stefl",!; l'ublishillg C..o., lnC". 381l'ark A''l'flur SOUlh, N~'WYork. NY 101.116 O,,~Uy published in Spain in 200J under ,"" l ilk Dibt<JO M l'iJIum H ununa by l':lrnmon Edicioona, S ..... , Bored-on .. , SiUlI1 Copyri.,nl 0 2003 by 1'2rnIllIon Edic:ioncl, s.". English In rublioo copyrislu 0 2004 by Stcrlong Publishing Co.. Inc. Distributed in Canaoh by Scerling Puhli shing clo C>"wian M3nt:b Croup One "tlantic Avenue, Suite 105 10«"'['\ Ont:lrio, Canado M6K JE7
Dimibtlwd in Creal Uritain by C hry»lis Book:! 64 BI't'Wff)' Rood, llHldon, Eugl.:md N7 'INT
l>isIribun:d in "U5mIIU by CapnC()I'"n Link ("'~raI.G) l'ty ltd. I!O Box 704.Wind!o.-.A"strili. NSW 2156
Pf)ntl-d li t S~jn
All roghTS I"e>C'f\'Cd
Slc.HIlS ISBN: 1-4027- 1148-4
.,. ..
ING THE HUMAN BODY
lnlroduction 6
STUDY OF THE NUDE FIGURE 8 The Body and Its Proportions 10 Pmbl"llU in Drawing Ih" Human Figure 12 B3sic HUIll31l l'roportio'L~ 14 Proportions of th" Fcm~ l" Figure 1 H TIl" Child Moe'd 20 Elderly .1ond Obese r-igures n
Basic Anatomy and Synthesis 24 Tho, Head and Face 26 Th" l bno: From and I3ack Views 111 The Uppc:r and Lo\,:er u rnbs 30 The I-b n<b: Structure and O utline 31 The Pelvis: 'n ,c Shape of the Hips ]4 The FeL't: Inner Structure and Form ]6
CONSTRUCTING THE FIGURE 38 A Well-Proportioned Drawing 40 The Unil S}1item: MeOl5uring the Body 4~ Gcornelry of the: Human Body 44 The Gc:omelric Sketch; Structuring th" Whole
from Simple Forms 46 Symho,tic Colltour and {jnc Control. 48 The Virtues of Doing Studie$: A Good Form of Pnctice 50
Lines and Rhythm of the Figure 5~ 'n le Inn"," Rhythm of the Figure 54 111e Soft line ~nd l IS Modu\alion 56 Turning SpOtS into Forms 58
III
IV
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ATTITUDES Of THE HUMAN fiGURE: THE POSE 60 Analp:ing Poses and Gcsllircs 6z 111,' F.'1 ui libmull of th., 1'oM- 14-V,II)'iuI: d ... '! \>llli of V, ... \\, (>I,
'" C:o"nlt'n l~,I<I : I)r:lwm~ Nq~.1U\'t' Sp ...... 1>11 WJ~'" ofSo.·.·iul! th., I' il-"m:: Open amI C los.:d .... ppro:lches 70 11,.-~."Htill~ I'll'" UI" CUIIII':lpc><rn 71 s.·J ..... t ~n" 1l .... ·1illllllo: Fi)!lIn-s 74 I~l<t· .m.! MOlion :'!"h.' I!xpn."lo~i ..... tine 7(1 I)r;lWUl): lill' H id,I" 1I I'"n. "f,11(' Botly 7~ Fo,", ... horr.·nin)!: 1lr.1\\ ;111-\ lh,' Nmk ill I\ 'rs!":c!!"", Ro
LIGHT AND SHADOW IN THE HUMAN f iGURE 82 Tonal Techniques R4 Th.' EtK·(1 uf U)!ht 0 11 till" N ud.· X6 Sh'[d'IIlt!" '1' }II:lIIlr.l \\'i l ll: loiN Th., I'run-..s of H.ltchm~ C":~{mt! V"hunc ')0
EIT'X'b of Volum,· ').!.
l :hialUsnlru Effn:I~: Workiu)! w llh Absol.u., CoUIT::I$1 94
The Clothed Human Figure 96 StudyiU)! the Inne r StnlCn'n' o f d l<' Body 98 (:IOfhin~ ami 11.,IJs: Cn:~ti llg T ... lI:l ll r:d Effccu 100 Th~ Dr.'I"·; Rhrthtll~ ~tld Wr;lIkk-t to'! Th .. · I'i~ltn .. :lml 11_, <';<>1110::)(1 104
TEXTURES AND EFFECTS 106 The Artis l'~ Resources 108 It .:ndainJ! 1111' II l tllO!oph .... ,,· Aml1ll<1 the Fij..'Urt: 110 Cn·ating Vohllll .. · wilh Ac ..... ·1tt~ III C"'r~rnnh Wilhmll Er.lsiUI( 114 UI"'1l('in~ to Di,,'olw COlli ours IU') Er.lsill~ 0l'milll( Up Spaces li S [:I;I1I\:,-. i\,<, Li,I<'~: Il..Il)·Ihm am' Tcll~ioll 129 Hair T.·)(tl1 rt' Ill ":. The Q\la l ilte~ ofdl<' Skin 124 (. , .
STEP BY STEP 126 Til .. Nud ... Figl ln' ill Charco.11:T hc O ll ll ;n<, I~II
Uu;lding:l fip;un' fmlll Gl-"()III<"ITIC r"nm~. 130 Dr.'Iwillg ~ SL1 l1din,:: Figure: T he ( Al41Ir.1posttl Ip TIlt" Figure Fo.-.. ... hnT\CIIl--d: Dr~w",};
tit" 1;"l1Ial" Nude 114 Uuikling Olt Suins 13ti Fil,'l.I f'" wi th 01l~~lIro Effl'CU I )~ n", M11e Fib'Ure frol1l thc\V,!ist Up 140 Th" profile:Th" ImporL1ncc ofConlol1r 14:t A C lo thl .. ) FiKllrr: f-01<l,' .mdT .. ·lm,r.-,; 14-1 Moddins the Figu .... in I~~ds and C halk 14ti lillI' Dr-twing of a I' igure 148 Modding FI~h Tones 150 Fib'lIre of a Young Woman .ll1d :I Girl on lit" Lkach Ip Imnior with At1111"l'hc ri c l: i ~Lm .. 1!i4 Port r~i t 0(:1 Fi!!lln' in Silv • ."rl'ni lll ISf)
Index 159
•
YIW FIGURE
Drawing the human figure requires a
curious gaze and a will to keep practicing
even if our first drawings fail.
Observing and d rawing the human
figure regularly allows us to adjust our vuual
memory 10 physkal forms, body language, and facial expression s in diffcrcm siruations.
AS ARTISTS OBJECTIVE
T he popularity that drawing the human figu re has achieved over the course of histo~ is rcl\.~OIl enough to
~ttract the arti.~t to its practice. Drawing with the perfection th"' t we observe in the great masters is a seemingly difficult task, for there arc technical challenges in drawing the human figu re that are absent with other subjt:cts. This compels us to put into practice I.--vt:rything we know about drawing in order to <ldcquatcly solve: such problems as the proportion of the limbs in rel<ltion to the whole body and the representation of volume. joints, and muscle tonc. Dnwing the human body pn.'Sents a greater challenge than any other subject. bcc;luSC bOth artist and vit"Wt.'T arc intim3t"ly ramiliar with the body's proportions and the physiology or the human figure. Here, evcn a small mi~take in drawing become; evident. For th is reason, an artist who GIn masterfully draw landscapt"S, still l i~"S, or interiors may make mistakt'S when drawing the human figurc.We oh:en find the artist exaggerating depth and ro rms- which cannOt always be read as a product orhis particui:lr interpretation, but o r the need to disguise shortcomings and inexperience in drawings or this n!lturt'. ....
Wc wi ll show in this book IhM drawing thc human body m:w nOI be so d ifficult. S l~ rti ll g fro ln a simple base and ~pplying a ~rks of t..icks and tt-clmiques, Ihe reader will find himself :l.ble to adequatdy rcnd~r a nude fib'\ue. The IltIde is 10 be considered an ideal model fo r :I. full sludy o f for1l1~ and light. For th~ l'l'ason, when drawing ~ nude bod~', il is impoTullt to study the model's llnatonlY, and also the lighting, bccllusr ligllting plays a ro le 111 l1lakil1~ the ~ll'>C of deptll and rcl il· f 1Il0rc--or Icss-promine nr.
Pnict icing dlis kind of dnwing sharpens vim:!1 perceptio n al tlw same time that it CXl·rci.~C'$ o ur abil ity to <kpict fomL'o.Thc human figure is a highly suggest i\'C aud C\'OC1Iti\'c subject, which l-an be appro:1chcd from m any different perspectives and individulll styles wid lout dilu ting It~ l"S~ncc . From an acadcmic poim of view, dnwing the lll1d(' i~ Ihe bcst form of disciplillc because it forces the mist to pay attention to proportion and tcadll'S the skillful a k ulation of orgotnically coordinatcd forms and sizes; from In iuterpreti\,(, point o f view. it allows liS 10 give free rein to form and comour.
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STUDY OF THE
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~ · . N ~ 8 0 N~ · , ~-• • ~1 · . ~1 · . . ~ .u
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PROPORTIONS
I n onk-r to propt'rly introduce the study or the human figure. let us SCI forth a few gcncnl guidclinC'S that will allow us to
draw any figure. using 3 system of proportions that can be adjusted 10 the view \ Ile have :1[ any given moment. Proportion is the equilibriulll of mc~surclllc ntl; that l'Stablish h~rlllony among objects-in this C3SC. among the p.IrtS of the human body. Although today artistic licensc <l lIow$ the dr.lwillg of figu~ with specific stylistic quirla. it will be easier for the novice to begin by following a sct of rules that will help him to draw a wcU-pmportiom:d figure.
, E • £ • " , j ~
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PROBLEMS t/l/ DRAWING II/{, HUMAN FIGURE
I n any given era, learning to draw the human figure. wlK'tller nude or clothed. is perhaps the foremost
gool of any painter. The nude is the most beautiful and complex of subjects. and is oltcn considered the arti~('s greatest challenge. Although drawing the nude figure is widely coll$idcrcd to be very difficult, it is in fact generally easier than than a portrait, b<x:al1.~C it docs not require that tile artist focus on (aLia! details.
Figural Problcnu Drdwing tllt~ human body t«juircs the artist to g.1thcr all of her skills in working with real form :lI1d volume. As a subject. the hUIIl;m figure rc..-quires that we put into practice an entire set of representational skills as we arrange the limbs in a proportional relationship [0 the body; it also lUjuircs dlC representation of VOllllllc:5. articulatiolL~, planes, and simple forms and their combination into more complex ones. Once we can accurately render the hum:m figure, it i~ SlIfe to say that we can also take on any other subject, no maner how complicated it may appear.
Syulhesis, M redudugj01It1S 10
1111:;. "Ss",,;,,1 (ffl,lenl, is " kry .forM.;II Jmll~"1$! (M'frt/y.
,I
In ""orr 10 ,,,,d'TSI<I/,d Ilu:jig.,.", iI ;s first lI«essary 10 ,,,,dm lll,,d ii, i""", slmll" /"/'. Ht mllSI oosr'rW IIIId ilifCr ",hal is biMrn Imdrmcallr <Vt7)' ptJ5t.
!.
i " \.
r , By {"''''';'';''.~ .ynlltt·sis ",jIll 'l"""a"cit}~ IWO tld,i<vc' " Hlt>rr f').l'rt1.J.;W fi1!"If',
Slnrtil'!/lj.om" S;""'" aurUnt', 'l" r ... , ..w.V' " ~,.it sktrll if lilt'
/""- body.
The Secret of Simple Forms Here's a strategy for approaching till: challcnges of representing the human fib'llrc: first. figu~ out a surting point for the fib'1.l I"C based on siInplc fo rms that adjust to the comoul"S of the body (we will sec this in the: following d laptcrs); d1t.'fl , work with these forms until you arrive at a convincing and recognizable structure. From there, lhc proportions Illilst be carefully cst:lblishcd. making sure that the fi guTt· has a proper equilibrium; this is especially imporum when d rawing sr:lIldillg figures. Don't be d iscouraged by your first drawings, which will most likely look like crudely made dolls-a jumble of skCldl),. ill- fittin g fo rms. The best way to sun is to reduce complex fonm into simpler OIlI"S.
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A t""awing or the hUlllan figure , hould ~larl with "n 0>",1 represcllling the head, amI then" "ertic~1 liue ror the body. We the ll add the 111Of'll< " nd the line or the h ips. which C(lnnl.'(.'f5
the upper and lower el<lremic;cl.
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BASIC HUMAN PROPORTIONS
A dr:'l\vUlg IS collsidcn'd i1l ~proportioncd wilen the figure's hCJd appl':\rs I;u"gcr than Ilormal.or when
thl' arms seelll too long or too short--in other words, when the fib'lln' dcviatl':S from what We'
consider norm.'lI . To avoid d~~proporti0I1.1Iit)', we look to the Jaws of proportio n :\s rcprcscntlx\ in :10 idl':\]izcd, cQIl\'cntionnl drawing oftlle hl1 ll1;\u form, ill other \\'ord~, Olle which possesses :l perfect relationship bctween the body's me;!SIlrc5. The way we rcpn'SCU! [he hum,," figurt' roW)' is ba~cd on a Greco-R oman model , thl' cbsskal Grcck law of proportion , which w:~~ ;tdopted by thl' Romans :lnd h tcr rcSllrf:u:cd during the Rcnais.uncc after ccnnl ric$ o f disusc.
Body Height Tho.: law of proportion for the human figur\' is based on a unit of mcao;urClllcnt Ih,\I corresponds precisely to the measurements of till' head. According to the d assicallaws o f propol'tion. the to tal height of dw h UlIl ;m body should be.- t'CJual to seven and a half hcad~. or sc"en ;md a half uni ts. l'r.lxitclt:s's law csrabl .~hcd a .ww idealization of the ho.nan body: aceonling (0 this model, the 10ClI height o f the
,human body must equal eight he3ds. ln the e~rly twentieth centu ry, sciel]tif.c analysis set r1w proper h,,"ight of the hum,1n body at eight and a h .. .Jf h,,"ads. All o f tht'$(' models arc V31id, bur for our purposes. we win usc the measurement of l'ight h e-Ads to simplifY our ~tudy of the acadt'1l1ic fi gure.
n,e law 41,mll(J't ja" oo,M all c;J:/" Iw"ds ),jdds" P'O/~'r1jollil'e "7''''St' /lliItj"II ,jt/w /"'IIIm ' bot/yo TI,e /ljllisj"" of III(" bi>tly ;1110 lInilS st1"1'1':1 /IJ 0 rifNt"1(f' for ("'rrflly dil ll jblll;'1j! mc/, c-k, .... ,,' if I/~ body.
()fir". ""ists ,dJ/ IIsr iI lilW ifl!nJI)""i~" /l"sed "', 'N' "n!<Is 1N" ,I,r 1m",,,,, ,,,,,Jr. >u:J.~slj"J: " mon' SI )1jzcd. (w"1!'lfed fi1!"" ,pith /I 1111)" rxprmior,jslit (1ItJf""n.
L 'i'1f~ - I
Mat('hin~ Units A 1.\\\1 of pwpurtinn il.1SCci 011 un;'" I.~ u!ldid primarily bc.'(;all~c it allows you 10 (:Ol1lp;lr<' th{' rod311omilip between the l'xtrcnllul~ by rdi:rrlllg to the di \' ,~ions between th t' IIn it~.
In a prururuonallllo<ld. thl' figuro: will be ci~ht unit, (;111 ,\11.1 two UIl1 t); w ide . EJdl UIlU is l" jllli to ttw: Il'II~>1 h 01 th" h ... :Id. Th,' mppk .. (oute,de- With Ulil t number twu. The armpi ts .lIsa cOlllcld(' W ith tinbord"riin,' bctwf','!l th,' ~c:colld :Ind third umn; and 1m.' na\'C1 IS iu.:;u.-d in Ulli l nUIllbc.·r fo ur. Ulll t IllllnDcT fnur .I1~t) 1II,lrk .. th l: i'lOlOltiun uf thl' dbows. and is a f.,l rI )· I'rcn'IC lIlark lor tht, hl· .gllt of the \\,;II~I . Tlw h;lJ llll~ .IS lOll!.: as the facl'. :lIId Ill" I IOC.l ll,d ~' i~htly :lhCWl' Ih~ r.ixth unit . The l..nces .. loc.lled III t1w clivI,ling line bc.'hVl,,'1l thl' Sixth and s('vcmh tJ1Jil~.
The IIml ')'~I{'m alo;o kts U~ refe rt'nc~ oth~r ~1~ l1lic,l1I( PO IIII.~ thai .m: o f ~rc ;lt hdp in unucrst:mding anatolll), ami 6(i lit;lli n~ tlw Tl'pn~nlallon tlf tlw lipln'; thc)' aft' al!\O :. 'rscilII Width n:fen:nce wilen WI: Iln...l to cheo.:k tile D1«tt' IIll portol lll <k l lllrcJIIOn~,
lltt' SW' p/IJK J,..",/ 1"''/ ,I.r ~I '" 11K diJM»ff'f /o(".'f'rt. f"l" l • ., ,IN b.Jy ..... ... 'l/f"oIJ"mI ;'~IJ. ~ ,...1101 'IJ,"" 11'1" ;""1"1' Imu~/N IJ,.'S€ "..",.,,., .... <1 """,,,,,.,,.,..
nprril1l/y II,,· " ... ns",r", ... m ~., ,I ... Jrri,C/" ""d lI'idlll .f II.r b.Jdy (whd, 41 ,..-r f('(dll, 11"'11/'/ r" ,~.II"., Ilr,,,It),
I
711f' ~"1I' i~i"a'Y li,l'I' I/MI di,';Ja III,. fmmal
''''''',11111'/111<". i"", ,,"'. /1I1/If'S w" als<> 1"')1'('11 ill II,r n'Qr virw '!i II ... 1>,,,1), '111(' liur is
"h'li' "jsiblr ill I},r n'lor '~(11' 11"",'oU '" II,r ,jt!~" f ll'I ' spillr.
11,r Ii,,.. 1/101 m/!rl:s ,,,," spi .... ,/""lft! fir J.m~' <IS lite lUis if /)1", .. rl,)·; ,M. u'"Y. i, ,viU srm- as " ,rf"mr for plati,,!! 1/1(' '''7r'~ ,11/1(' h.mJ' ,." ,';I/,r, /!II!! of I"l' h"Jy.
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1
1 "11 ... fIIrW Ihal
tlnnilJ6 Ih~ Spill". mid IIII' r;>;ll'I"",,,
f{ 'lu"s Ii",· dot'.?"(1 IIlt'jt-rl. iJ il !luidto ft. WI',,,ri,,!! II", flgllrr's ,f!C$,,,rr "S
/1;(11'(11 fw", r/, l'
"Dr.
The Back W hen a figure is pictured from the back, rlw first feature that \\"l ' no t ice is the d ,:ar dcfinitiOIl of the fi gure's wrtical ~xis. The line marking the vertical axis i ~ aCCL' I1Hlatec! by tile backbone, by thl' ridh'C that the spine fo rms, by the separarioll o f t hl.' bUllocks. ~nd by till' line describing the insidl' o f the legs.
T he Q utliuc of the Bo dy The outline that marks the limits of the body is dcscribt-d by the llIuscul1r n:lie& of th .... body. Muscles an.' fles hy Illasses tlut mold the body. made up of a special tis.\ue tha t ha!i the pmpt' rly o f conrraeting and changmg shape when the fi~'lIn' performs ~ 11 action. T he forms we appreciate 0 11 t ile surface of the body result from the volume of all dle muscle 111 :L~$t'!l, inclucling Iht, deepcst o nl'S, bu t t h~' ones clO$(.-st to lilt' surfal'e are o f grcater imel"t$! to the artist ,
r. 'f)\ 'J (\ r\ /1 I
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( ( ) ~ --..
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Muscle P airs
n.e l l JllI )(' if IIII' body U dtjiltl:d by ,I~' bc>tre strut, ... r mulillt' la)n if nmstk (mmng il. 1Jxo mruck u 11'/,.,>1 givu lilt' IK:>dy ju (otIIO" O'.<. UkI' IIIl' 0,/1" parIS
if IIII' bed),. li lt' !llllpl' vf I/~ m",£Its ((m Ills/'! hfo bl'l'ill'Il do"", and sI.:rlrlird t''OHWlrital/y.
All ,miSfits orr poim/ muI S)'Hltlletrirnl, mll,,_:S ""ljLfcs "'" 1m protW.mud, d,i(/, lrfrnlS tilt ftmtoun if 110" l,.,.!y.
When drawing the volume of [he body, it is imporrnfl[ to TCmember th ~ r ,"-'Very muscle belongs ( 0 a pair. If you draw a fib'1.ll'l" from the front, the muscles should be symmetrical. Another imporullI thing to I"Cmember is that the mU5C1cs ill the extrcmitks arc long and overlapping, while muscle. in the roTSO ;uc fu[ :and expansive. Even though a woman's Ill\1sculamrc is essentially the sallle as a man's, the female body has a laye r of subcutaneous fat that ~ofi:cns the external (orlll. For this rcas.on, the male body will always d isplay 11 morc pronounced, voluminous musculature.
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When d rawing a
r •• - --', standing figure.
,.~. ~~I:~.c to J properly j ,. di:slributcd. To
disr-ributc the I) ... e igh t correctl)·,
L-'! { -=---,J keep the line of the neck, the
\
hips. and the f«t aligned, no matler how much thc body twists.
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ROPORTIONS /1'(/1-('
~j'£;!TI E MAL E FIGURE ,i.l;.;r.llq,roponio", of the Illale
body are not
r~;:'~,~:;;~'~~~'~']~"';,,~;main l' lies in the
p"",'he,nale ',. the fcmalc'§ w~ist on dividing line
between the third and fou rth units, although a woman's waist is narrower and d oser to the chest than a mans.ViL'Wcd from the side, the arch of the back is more pronounced than a man's, and as a result, the buttocks appear more pTO.nincm. O ne of the IllOSt important facton in making a a good drawing of the fema le figure is placing the waist at the r ight height. somewhat lower than a man's;"this is one of the anatom.ical featllrt:S that gives the female body its characte ristic for m .
1ll ll' lna/e
botlr j () /IDw 1M II "altl,m<gh 1M
II afla/",,,ical rnie( is differNI,ftom 'he m,,'c~
The Outliue, Back and From The female o utline is softer th;;111 the male in its transitions bcmten one are:ll and another. The buttocks protrude beyond the \'t.Tticai line marked by the shoulders, and the outline of the legs describes a diagonal Ihal is Ie$!, pronounced than the male's. Viewed from behind, the most Qutstanding characteristic o f the /i:male form is the dear conlour ofthc back ;100 hips, which is clearly defined by the w:a isl.The rdief of the felmle torso is far Ies.~ d ictated by the shape of the muscles.
The Female H ead There an: several features that cle:arly d istinguish the female he:lld from the male. A man's head is usu;lUy mon:: anb'1.ll;lr than a woman's, which is generally roullder: nle bone structure, especially the [mmal bone, is more pronounced in a mail's face; :II \\IOman's profile has softer features, ;Ill oval fa ce, and a mo re bulbous fon:head. l=Urthermon:, ;I man's neck is robust, while a wo man's is more delicate.
Drawing I~ ftmtlle fonn oo~d Otl
grometrir srhr,m:s makts il nuir, 10 dtl8mi,,1' Iht sin /It,d posirioo if Nth pan if IhI' boJ)t
A MY<" if SubnlIQIJro"S fl t givts tht J IM/"
body w/"JlI_S, 1'0",,41'4 fo nns Je,ItluJII/td by '''' lIN iltld a
n,,,",?, oulli,~.
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Drawing rrom m-al $h3PC~ is u~rul in est:tbllihing the main reatu res or the remale body, and is 311
imJX>rtant ~km to practice.
T he law of proportion is important for dr:3wing children, but it is k"SS reliable: than it is for ldult
fib'1.lres. During childhood the body is constantly evolving. and anatomical proportions changt" a great deal in a shon period of time.
[TA& CHILD A bdry ~ body fiat llm "'-"Y routukd fomos l/r",
1/'",11 fltr folds if n'<TJ'
r I ,
I •
I , -I 7
r
L
MODEL A (hiIJ~ hrad IJrKil1s willi hl'P 0' '''/1, eme.for Ilv "1111('1 skllll, .lfId ttlwfhf'T for lilt: jaw mId (hCfks.
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Basic Proportions Glle of the basic differences between a child'~ body and [hat of an adu lt is the head: a child's head is mudl more volumiIlOU~ compared to the rest or llis body. This fenure is attenuated as the body grows. In general, a m:wborns height is only three times the siu of his head. Whell the child is approximately one year oM, the tot:rol length orhis body is three and a halftimes the length or his head. Compared to the head and the tOIK\ his legs are rdatively short. At four years, the head is still \'Cry large in proportion to the rest of the body, but because the child is taller, his body now comprise:! "\'C uniu.At tv.'CIve, the child 's total height is seven times [he length of his head, and the middle o f his body descends toward the h ips.
Tht /"'" if proporlic!IJ is imporltlUl .mtll d"''''''!e thlld figllm, btll il is 1m miabk IIu1II ;/ ufo, lilt' fiKJ'" if all "d,JI. dut' Jo
Iht grr,,' d!fJ"rHtn in proporliorrs 1M/ 0r«U,
du' ;' oggn:>u.1h .
As air (/lild~ body d .. "..I(lpJ. "'I' middlr '!I IIII' body domuk -He miMI .. of" JI<I/)y~ body is loca/cd a/ she "",vol. "~JCI'1'''S till' ",iddl" of Q
11 ...... "'f'·)'l'a'-cIJ~ body is sligMy ahovt 'he p'./,Iie /IN'''.
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Children's Forms When attempting to draw a child figure, be aware of ill rounded forms, and avoid sharp, angular lines. It 's better to magnify the wavelike motions oflh e {;hild's conto urs than £0 worry too much about getting the: Pl'; rfl';ct proportions. Children are in a process of anatomiul development. so iT is useless (0 try to
represent the shape oftheiT bodies with the same precision that you would with an adult figure, male o r female.
The Middle of the Dody If you draw a horizolltal linf down the middle of a body from childhood through adulthood, you 'U see clearly how the middle of th e: body moves downward from the stomach. At eight years, the middle lies somewhere above the hips. The head ch~nges very slightly, while the arms and legs grow longer. The drift of the middle of the body is basjcally the Tl..'sult of the g rowth of the leg; during adolescence.
The Trouble with Live Models C hild models present several special problems fo r the artist, flo t the least of which is the fact th~t children- especially snull children-can never stay put for long. So it is necessary to take frequ ent breaks, keep them entertained with toys o r other items, and make sure that they assume the pose that is most comfortable for them.
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ELDERLY (flit! OBESE
FIGURES The shape of the human body dcpcnJs a grcat deal
on i t.~ ~t ructurc, so when you t ry t.o d raw a figure corn:ccly, it is es.~en rial to u nderstand your modd 's anatomical fea tures and physical complexion, which arc: specific to their age and body type. in orde r to pcrsollalizc the figure.
The Elderly Model The body of an elderly person is d istinctly d ifferent from the proportions of an adult figllIe. The foreh l':ad is more ample as a resull of hai r loss, bag; appear under the eyes, the skin is Jess taut than before, the che>t appears to sag, the limbs arc flat:cid,a nd the bone stru{;turc is morc visible. Very little m uscle mass remains, so the shape of the body is determined entirely by the skeleton. As a penon grows old, his skin loses its elasticity and begins to sink, g iving the impressio n that the bOIl I."S 3rc closer to the surface.
The skin 's wTinkled , naccid texlUrc crates shadows ill the model, w hich you can draw by millig gr.ly h.1tch ing.
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III old 'W, Ihe 1IIJ1StiCS Ilffamf jlmcid o"d lilt< IK»I~ Sin"'''''' man; cvid/"lli. ·l1le body hmll/res OVf", mId shoW$ i,llipi,..,1 diformilie.s.
·ne pe is /I~'1Tt' old ogt" is ,,"'Sl "",dily visiblr. so il i,· importo", la par spa;o/ o/letlli",! 10 ilSfoolures. ·H f bulky dOlhrs /I,..,,, by {he r/dl'dy disguisr Ihr Imlisfo" lI<Ilic>II of Iltrir "I/olOmy.
1l1r m<>pr of tht body is ' lIJ,itmbiy "lD<Iiflnl whmjl/ 1lClN", .. IlI'(3 illtl,r fIoWHl . stllm<llh, b.m",kJ, tJild rh'll'u. ~t1t"" dmu."g tlll ,"~ jig""' lilt !.Nt 11""11 to do is Itl jrarr wilit tl si'tlr/, bl1$rd 011 owl SlrllpN.
Obese Figures There is a layer offal between the musck s and the skin thaI fi Us in th e &IPS and sofiens the shape of the bones. T he fat is barely visible 11\
the body of an arh1cu c pct'5()n, b«<lu.~ it add:; only slightly to the person 's girth; but in an obese penon. it can amount to as much as fi ve or six inches, so it plays an es.~n tial role in shaping the volulue and girth of the body.
This layer offal is not evenly distributed throughom the body. In mell , it is gcncrally concentrate(! in the chest, accentuating the profile of the clcfl just below the pectoral area; in the area below the chin; in the stomach; and in Ihe buttocks. In women, fal lends to affect the shape of the bream (which grow disproportionately and look more fla ccid) , the chin, the stomach, the thighs, and especially the area around the pelvis and up to the end o f the gluteus muscles. For this reason, the part of the body Ihal stands out mOSI in an obese woman is the exaggerated width of the hips and the large behind. T he other parts ofthc body tend to look morc cylindrical , and the folds around thejoi ntli are more pronounced br..-"C:IUSC the Ilcsh there is fattier. The same thing happens with the person's facial fea tures, which tend to swell generally; body fat is particularly visible in the cheeks and chin.
FW'itl/fiu (tlll groo v 10 Ihe p<'im of lOlllpklrly obwIri,W lilt' tJlI1lliill
JMpt'f oJ tl,t I,u",,,u bod)< 'n". ..... 0 1.nlNth lilt' (h,,, ... U/ 1M II4lk 0J,11(' ntl'k Il'IIJ III Jl.o", rl" gmtltsl
nm."wl<lliOll oJjoI.
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W hen you draw the race uf an
r~"'c----', elderly pen on . do no t hc, il ~tc 10 make the nO~e and un big:
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Ihese are the only I .... 'U part!; of the hod)' Ihal do l10t stop growing w hen we reach atht llhood.
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n it' obNc' bod)'fllII tlbD k .,.,furrd 10 (,ret., nud 0111/1,
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AND SYNTHESIS
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T he shape of the human body depends a great deal 011 i ~ structure, so an artist 's knowledge of anatomy i.~ useful
though nOt necessary-when he attempts to draw a human figure correctly. If you have no knowledge of anatomy, observation and synthesis is 31so a good \vay. Learning to observe your model is fundame ntal for undersranding how the figure is articulated , and synthesis is essential for summarizing or breakillg down a subject to its essential parts, into the cicmC': nts of the figure that havc a plastic and pictorial value and into the thillgs that convey the pn.'SCIlCC
and attitude of the figure. The power of synthesis is an enormously usefu l tool for drawing, beGiusc it allows the arti~t to quickly represent a figure in a spontaneolls attitude at allY place or time.
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mz(~, HEAD alld FACE
D rawing the head and face is all intimidating prospect, because faci al expressions change so
quickly that capturing them precisely is a b'Oal that only the most capable artist can attain. Hence. this section will dt"vote no time ro ~tudyi llg the action offacial features but will concentrate insu~ad on the relationship of the head. considered as a voJUIllC, to the rest of the body,
The Proportions of the H ead According to the law of proportion. the human head equals three and a half times the lellgth of the forehead. so we will divide the height of the head into three and a half ul1i~. From this division we derive the following references. which will hdp you to dnw a wdl-proportioned hc:ad: the tOp of the head. the natural hairl ine. the position of the eyebrows. the height of the ears, the base of the nose, and the profil e of the chin.
Viewed from the front. the human head is like a I't..-cbngle three units wide and three and a half units uIJ. By searching for tv.'O lines that divide the rectangle vertically and horizontall}, you will find the location of the e)'es on the horizonGllline, and the central axis of the nose 011 the vertic"lline. It is important to notice that the distance berwcell the l:}'l.'S is d ose to the width of one eye, and that the lower edge o f the lip coincides with a line that
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'111t s/6rti,eg poillt for drawi,eg a fact iJ Iht ti/I 1i,1t' Jw lilt vtrtital 4Xis. Slorti,tgjlOnl d,u /i,Ii', whide divi.ks 1M foa ;'1
few, YO" tatl btgill /() distribute 1M rtsf oj ,llt jaci81 jtafwm
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~l -;; ,-,' '( , U~'r tMt of fl~ J'II",r, I//f' law if pfOpOttior' for lilt' hlll"a" I"'ad is ",mk lip oj a sd ifmea.lllrc",""u {If 1",itJ II,M dfft', ,,,i,1i' lIS
ptopcrri<>ns.
divid the 1'.00 cqua lit I halves in he 100vcr UI
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Q,,<t}'lll' ~ dnm~1 the""'" if Iht htad. draw a Jtmtir' lillt goi.tgfro", 1/", frmkad 10 1M /osmo <hi .. , [)jvitk 1M (WI 1m" Ihln' and a IuJj parts. '111t ''PJ'ft' lillt will JtrW kI
deltrm;,,,, whtrr the hairli,,,, btgiw; lilt $e(aluJ dividing fiue .lIarkJ the localio" if tl,e ryt:f; Ihe fhim dtsWtlll fl'S Ihe 'lOSt; aeuJ tht Iml showJ "'~ lilt' ,hill should go. "lllt ,,.,.,tn if /ooiltJ ire 1M vny cmltr if Ihe
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: It'l a good tonal Drawing fro m the General to the Particular When drawing the hCld, one should wOrk from the genenito the p;a.rocular. You must lirsl sKL'tCh the basic structure of the held: search for ih; generic fonn, its mQlit pronounced or prominent angles. h's enough to draw l set of liTles marking the location of l'ach of the dements that will nuke up the face.
• exc. cilC to dnw a
I ~': In, mi':.~' ( l! tonCi. Thil --:. 'It:' , practice COIms!s
'" of omen,;ng the . model attentivei)'
and atlempting to divide the different tonal
The Face If you draw freehand, the dupe of the face from the fTom should fit INi thin an o\'al. If you trace a vertical line to divide the face in two. }'Ou can l'Stablish an axis of symmetry that will allow you [ 0 place the facial features in a proportionate manner; of course, this is only possible if you draw the face from the frollI.
The base of the nose is located on a line dividing the face down the middle, :md the mouth is somewhat above the chin line. To these lines, you call then add a line for the eyebrows. which will then give you an adcquate outline for drnwing the head and facial features.
The Head in Profile . The c..'stablished proportions for the head in frontal view can .. Iso be used for df1l\ving the head in profile. All ),ou have to do is extend the hori lontal lines .. nd draw each c1cmenc of the face, only this time, from the side. Th~ same horizontal divisions used for the frontal view also nutch the placement of the parts of the face in profile.
TIrsr four Jmwitrgs of 1M lINd ill diffnrm poJilw,u show I/Il' rl .tlllgr$ in tJ",fou~ IIIf'n,srtn'flltr.,s U~Jf'O' il ,lOOIn
Um/ffllm.d,·,tg Iht-/all' of PI'OpOI1Wn for lire Iltad in ImJilr ((III br l 't"r), r~fi'/ .. 4..". d""","S pol1mits SUi" as Ihis 0I1f'. 1/ is Iho. a mann of .imply adtzpting ' M- jetrlUra (Iud p<t'P""iOlu if III(" pmtIfl Ill" (J~ d""",,,S ,,, 1M jlliri(l/ _IUU"'MIIIS if II", ""', if propol1iorr.
areas in to imaginary geometric $hape' and tlM: 11 coloring them in.
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/?he TORSO:
I f you anaiy£e a frontal view of the torso you will find that Ihi~ part of the body comprises the
pectoral tnusd t.-s, a set of thick. wide. pClltagonai muscle'S set ill pailS. which expand or contract when the an us arc raised or 100ven:d. Notice the distribution of VOiUl lJCS, the profile alld expansion of the thorax, from rhe from and the back, and how the shoulders insert themselves into the thorax in difTcrem positions depending on the view. The neck gi\lt."S the torso :1 great expressive quality, lind irs mu\Culature implies the Oexibili ty of the head, so it nllJ:O;t always be shown breaking from the sym metry m:ukcd by the spine.
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,//('rr, ~ Jrlll/~lic.fof1lu 10 fit lil t rrclntr,:II/1JT forn' tf ,/1<' I<mO ,,.;/1,;,, riliJ Sf/WI""; 11K' rom' of l/no 101:«>
drpC1lds 011 II,~ !'OJ;I;O" 111111 1/'1' fiJ!"" mmlllrs. For tl froural "i,,"; j/..'(Ic/' It.r 1/101","''''';11 ... 11 Ilillil"lnr I~XI"rn, SI«I, tIS lhe ptrtoml lII'UCin, 1/'( 1Ibt/"III;II<l1 ,,,mcln, <Iud 11K' J'''b;c /itH'. I II II,.......". ,.;.." , brlooll IIII' spi"" m(lrk! lilt" 'xnfy\ axis.
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The Body's Axis If you analyze: the: rt:ar view of the torso, you will notice that the spin~ is dc:$Cribes the body's axis; it is a line of symmetry from which the fundamental ITIeasurt:menu of the body an: established.
Starting fro m this straight pc:rpc:ndicular, we have: comtructc:d a ""aT vicw of the: IOrso, taking into account the following factors: the: distance bt:tv:een the: shoulders and the spine should he equal. t.'Ve1l if there is a slight incl ine:; the: shoulder blades are the part of the back that stands out most , and its rdief is most evidcnt when the: model has his arms open. The shoulder bbde is rriangular and should he acccntmred with a light hatching. it's important lO notice that the waist is mon: dc:arly marked in the frontal view than in the rc~r view, because: from the:
rear, the Sl1TfaCl' of the back is a continuous whole: from [he: shoulder blades to the: lowt:r part of the lumbar area, where you ("In apprecia te: the flesh of tht, bUlrocks.
T h e Fem ale Torso From both rhe front and the rear, the relief of rile fenule torso is less conditioned by rhe muscular structure than the: nuk tor.;(); in it, rhe transi tions between volumt.'S are smoorhe:r.Two of the: d i5tinguishil1g features of the: female toUO are the lower shoulders and Illore promi llt:n t hips. This contour can be easily represented h)' two rriangles joined by thei r vertices. These tri:lII1g.les should then round Oll l
their profile [ 0 achieve the curved lines characteristic o f the fClm le anatomy. -,
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,-A good exercise is to find ima~s of figuro.'S, seated Or standing, nude Or <h~~, pm a ~heet oftracing paptt O"~r the image5, and find the location of the spine and the line of the hips.
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'1M ft-zlr 10I3i0 (m, Iw symhr:shed 4S I"", ''',-,",ed '"arrgkt Her JWO/ik u.ll/w mOO' muptuouJ </tid I~ Ihlt! of 1m j,ips willlw ""'''' "",Ik Ilul1I rI
", ... ,'s. U110J you mall'lIlf!jtmah Jorw, Iwtp J'Il mi"d ,Ilal ,Is cdgoo.J should be Ir» pnmoullced, rllld mtlrt
simwy 1110" " JJJ""~.
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£The UPPER alzd LOWER LIMBS
D rawing d1t~ arms and legs meri ts a few remarks bee.lUSt! it may pre~tlt problems with
proportion. The best way to draw the: limbs is to analyze them based 011 circular or oval shapes. By making a prdimil1<lry sketch. m: C3il distinguish bc:twct:1l three wl;: ll-ddim:d a r C3S of any limb. The upper limb compristS the shoulder, which is characterized by the deltoid musek; the: arm, which dt:rives its volume from the pr=ncc of the biceps; and the forearm, which is shaped by a more elongated circk For the leg, we: can divide it into the thigh , the: knee, and the cal vt:'!..
'fht upper alld lower /;,,,b$ call be redUft'd /0 a flu Id! of owls Ihal will pron' '''''>' '",ju/ '" drawillg the muscular a"a/om), if tlicsr "''''"~ it! their (])Trer/ proporrions.
Yo .. (1111 uSf' "" (lXi, Or" $Imighlline Ilrot mm thmllJlhout Ihe liml, it! orner 10 situate the ]0'"/$ itJ Iheir prof'f'r m~Qsun'
w,d 10 iN:lter lOttlroi Ih" dfotl of symmetry t1ttJ 11,1' OUllittc if lite mH..,df!.
The Problem of the Lower Limbs Tht: musclt:li in tht: lower limbs prelit:nt a mort: complex form, but :lfter a detailed analysis you will be able to recognize e:lch of them.
The lower limbs are made up of t\\'O essential pllrts: the thigh, where the quadriceps :lnd the sartorius muscle lit'S, and the leg itself, which consists of the bulk of the tibiae and the calves. The knee lit:li between these twO parK The knee is the joint that articulates both of tht'Se parts, and it should look rounded and prominent when it is drawIl. Notice that if you measure the length of the leg from the hamstring to the ankJe, the knee is not locatt-d in the middle of the leg, but a bit further down, so when you draw the thigh you should make it longer than the calf. The calf muscles art: prominent in the lower part of the leg. Tht)' bt-gin just behind the knee :llld t:lld at the Achilles heel.
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Women's Lim bs-The:: fe::male arm is ''Cry differem from th31 of Ihe male: il is clmracle:: rized by 3n absence of prominent mUKulatun:, by the regularity of its propo rtiol15, and the delicacy of the line rh~ t defines its contours. T he areas of Ihe: d bow and wriS! joints ~n: narrower 111 the fe nmle arm. And the: shape of the muscles in a woman's legs is barely visible: the thigh tapers delicately ;as it approaches the Knee::, and Ihe lind of the leg muscles an: unde::rsta ted, sofler tlun a man's, so the circle t ha t forms the knee should stand OUi only barely. In the: lower leg, the: graceful calvcs also taper 35 they appro:ach the: hc:cl. Ge:nerally, ,",,'Omen's cal\l\."'S are not \'Cry prominent, but they do become rounder and gain in volume:: when J
woman wears high bed s.
l{iHllI'J' ~ limbs tlW mOft ddWllt, tl"d IIIrf diJpll1)' tI ntOR suMp IfIIIMU/m wlit! tlnfl tl glf'illn
,wrnII""R lilliif' wriw m/J m,kh
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n.c vo lumenic treatment .. r the I ~l 'I';",1u ;",,;,, ;f )UU consider the shape or the arms and legs as an
I assemblage or thrcl.' cylindrical parb or d iffl.'r'l"flt sizes.
I" order 10 d""" /1" It!! /lfld m'''''' (orrtttlJ\ irs import"'ll ,/url J'O" hi' tlbk 10 disli.rguish lire body~ (iIdo.m fJlld diffrrtr'litllr Ik positions tlia! Iht Ii",m tlSS"'~. dtpl'.I1;ng OIl Ihe p!«.
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HANDS: STRUCTURE I I1111 OUTLINE
A t (he \'ery ("ud of the arms an: rhe ha nds... The human hand has nearly as nuny import'.lnl
expressive possibil ities as the: facc. The hand is the part of rhe body that offers the greatest number of d jlTcrem posit ions. It 's impor~nt to master its structure and shape, because w hen dl"Jwing the human fib'Urt' . the hands and feet often end up in very poor shape. The Il!.!ophyte w ill oftcn fOfC:b'O the fo rmer, or m crely suggest their shape:, putting them inside: 1 pocket or hiding them behind the: mooel's b~ck .
The Hand's Dimensions If you tlke the total dimensions o f :lII opcn Nnd, viewed from th e: b.:ack, w ith the: palm and fi ngers extended, yo u w ill find that rhe: d istance: between the: wrist and knuckles is similar ro rhe: distance: bet\';een the knuckles and the rip of the middle finger. T his isn't the only fact that you c:m a.~ertain by simply opening up the p3hn of the hand. For inst3nce, you will fi nd that, wi th the fingers outstretched, the length of the index finger is equal to tllar oCthe ring fi nger, and that the tip ofthe pinky coincides lines up with the final joint of th e: index finger.
".", ",nul, PWfI/d N dim,'" In " propmtiOfltJl ",/"Iicru" ip II> 1M m t if IIU' body. I I en" N oj grml "rip to fol'o", 11K' gmnal mit- Ihal $p«ijia l/r", Ihr 1(tI~", oj 11,1' /,m,d u.Of/1d "" "i"al fil lhal oj Ihl' J«I'.
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, • Hi- kg;" will, 0 SIJ'UIff' lIud adtI" trapaoi<I sh,,~ ( I). III tIlt upper plIJ'I Pj tl,l' If ,ombut...., dmu,,, lI<1Vt' 10 IIrt> riJ!lJI. mId slmlilfRj,.,." II
Jtr"~j" di'Wl"ra/ U'K'. " "' d""" tl,1' r/rumb (2). Pll)f" IIII' l ip of 11,1' 1I'IImb "'I' prop l mrl>ll" .. rll .... IIIdlrn';"1! ,lrl' 1>111111 ",1,,-" ' IIM' ji"gns immIXI ,,~II, II,~ 1""m oj tl,e III11Id.lii- d;,~dl' II,is r"IlI(' j"'1> fom (mJ pmjrtllhr re",a;"I"l!ji,,~ (J). Hi- /11l'fI mul' Ih,' .·,mrlllmlli,1l:J ami dmlll '/If /umd am", 1/(/r/;"g1"'111 III (""melniSl« mll/illl' (4).
Th(' gt'OIIIf1ric skl'lilt if I/~ IUlfJd jJ rompkt£d with II u..'ff.rh if tIw fi' tgm. u4rilh art
rqlUmllrd by OI-...u "h;(h tIlfTNpollll 10 (,,11"1,
~""'" or phalaux.
Configuration of the Hand T he hand is contle:cn:d lO the: :lrm by the: c:lrp:ll bones, which form the: wrist joim. The hand has (wo f3cc:S lO cOllside:r: (he: back, whe:re the: le:ndOlll; :ltld the: Illusde:s from the top of the fOrt::lrm end, :lnd the p:!lm, which has many SITI3IJ,
Ilc:shy muscles. The fingl'rs 3re: made up of three small bones each, except for the (humb, which has only I\vo.This forces the amateur artist to take pause and study the particular fo rm of these bones; in doing so, you w ill discover, for instance, that the bonl'S arc thinner in the middle: than at the: t:nds.
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Synthe!>is of the Hand Wh~l1t~vc r you draw a hand, try to reduce rhe nlt:r:!carp:!1 area to a square unit from which the fingers extend in 3 radial pattt::rn,or Otherwise, start from the ov31-based sketch discussed above. You can then continue your sketch of the hand by representing each of the fingers by three ovals, olle for each Or iLS scgmcnts. lf you do so, it will bc easier for you to dr.lw a foresho rtened hand. The position of the fingers is based on a ske tch m3dc lip of a seri~ of concentric arches that make it ea~ ier to resolve the form in any pmition. If you can make a weU proportioned gt:omcrric sketch it will be very casy to adjust the details little by linle until you finish the drawing.
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Soonetime~ an unfinished hand
makes sense in a nude d rawing.
Think oflhe fingers as minor
details compared to the other parIS
of the body.
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Afk, slurlrillg II'f Iwtufi; 5InKlI"l', il is imf>ouallllO
I'rlUliu dmJvillj! lite ),,,,,,/ ill dlffneul p1SiriolU.AII imelC$lillg f'Xf1ri5~ is '" 11/ala- a !!fCo",rlrir ~kerrl,
brfow hegillt,jllg II,r dtjiniliw draw;,,&. w lI",r)'VI< (all wlflmMlld ils SInIEIIIW ",itlwIII dUlt'lIing on '''I' de/ails. 'His I,,,,ula ,,1,0 "lIo,,~ ."" 10 obse,...,. iI,al
tile joinrs ill II,r fingers "",laid mil i" lIte fo,m <1 n
rum'.
T he hip is anotha main dement in drawing the human figure. It ti lts on the axis o f the spine. and
coincidt:$ with the point where the: legs flex in th is arl"a .
.9'hb PELVIS:
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THE SHAPE ,0/''t,1(' H IPS The Protrusio n of the Hipbo n e Because thc: pelvis is connected to rhe he.n l by the: backbone, it is constitutes the body's axis. Sever:al muscles o f the: torso. the thighs, and the legs I1lcd at the pelvis, which Sc!"VeS a.~ thc main support po int fo r th is area of the bod y. O ne of the: Illost impoTllnl p<l rt.'l o f the pdvis, and the one: which most no ticeably affects the OUler appearance of rhe figure. is the iliac crest , which li nc.-'S up with the hipbone. Don't forget to dr:nv this bone, particularly ill female fib'Ul'eS and slillUlltt mo dels. Because a woman's pelvis is wider than a man's. hcr hipbone is much more visible. marking a roft curvature: from the: pubic area to the top or the bUtlOCKs.
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• [" "W I prclimiuary skmll, 11'1" ,..iII 10: lrow i'''pUlul d,r "·'I(S lI",rkiuS /11( '''''''"a/;''', if lilt' "ips tmd III( pubil lw"" I(.As " '" <kurkp dll' Jmu';,rg. II~
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I~ IW maW a IMli,","",)' sJ..'tIt I,p a dmll,;.rg, il ~ i"'portal" 10 UlJ..'f j"", d{(out"
/111' li.~fomrnJ "r IIII' s/I(lO.ldm <!lId Iht hips. 71!t lill ~lbolh 41/1I~sr U"I"I ",arks IIII' I'quilibrilm, of lit(' posf.
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Hi> Ilu>I<l</" 'I jol),'f'1 10 /lUl,k 1111" hip lill( 11M.
dmwi,lS a batk '1/"11\ rid,,,, HtIr, IIII' li,~ 11"" marks fht uri/Smidt if tilt' bul lotks bMtmn imporfOt., as .. <clI. foJt>l'u 1M ill/emli,lS Iti'lIIgu/m irrdetllafWr' Ilral forms j l/Sf
IIbove tht bul/Clf/u.
The Line o f the Hips Thc position of the h ips marks an imaginary line in the body that we must take into account when .... 'C draw. T he line of the: hips is seldom hori7.ontaL It tilts on the »:is o f the backbone, coinciding with the poin t at which the legs bend in this aI'ClII , and w hen the hipbone til ts, thc backbone doesn 't remain stra igh t. but instead acqui rt."S a soft curv.atun: 3t its base. It almost always adopts a slight til t, especially w hen the body is in a resting position, which makes part of the weight o f the body come to rest on one leg, whilt: the mht:r Il"g remains flexed and rdaxcd. T his pose: is called contmposto.
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If ) 'OU altend a live model d rawing
~ session in an art school. it's im portant
to pnc:tice d rawing the hips in isolation.
U ndentand ing the \. tilt of the hipbone b
es",ntial to correctly
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dn w;"s "~ body ;" any pou..
The pc/Pis is (Ot1l1rttn/ IO thr s~'C/et~" br I/lr ,¥',lrI,m/ mlu",,, or back/x",f', wllirll is ol,1'lfYJ
I ,;siblr 11!f()u.~ fhr rider flio l ruus dOll/l1llir lIIiddlr ifllir Mrk. Thr back of ti l<' pc/IV is OOllm'tI by a lIIuMI .. IHtW o"d by Ihrpi iflll<' huIIOll.'S, wllil/I mr lIIud, IIWf't pill"",), mill ,mmdrtl I" a "',,,,,m, ~ body.
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Thr ~/'U a' to U sllll~d IIiit' a t"mcoled PJ"f'mitl, witll a /alJlf' base anti a narrow vmo ... A wo"w,, ~ ~Ms U sho'ff'r Olltl wi.kr 111m. a mil" \ ,,~icli a110"'1 us to s« IIIr s"rdler "",,,n j" 1M hip tllro~1 a Ioyn if S"bcll'(/"~OIlS fot.
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.9h(~ FEET: INNER STRUCTURE am! FO
The feet :are not as d ifficult 10 d raw .as th~ hands. This is ix-c:ausc the feet have much ft.'V."Cr
possib ilities o f movement. This limil:ltion tnm;latcs into a more homogeneous and continuous form with fewer problems and inconsistCllcit:S.
Configu ra tio n of the Foot As a gencr.li reference for drAwing the foot , \ve th ink ofil as consisting of thn:c " .. dl-dirrerentiatcd ;lTCU: the ta rsal or hc:el, the mCUClrsal. and the area o f the toes. The silhoued t: o f the fOOl is conditioned in large pari by its skeletal strucrure. The top of the fOOl: is c~red with tendons and tensor muscles. but the joints, al though Ihey an: C\lCY bit as complex .as those o f the hand, don't display a struClUrr .as readily visible as they do in the hands.
Synthesizing the Foot The geometric sketch of the (001 is similar 10 the ont: we use for the hand: it begins with ~ circle o r oval that corn.'Sponds to the hed, anothc.: [, more elongated oval fo r the nlt:tatanal, l ud various lint.'$ or s.mallish cylinders to represent the tocs. O nce the sketch is donc, you com .... ,ork o n the: form, profile, protrusions, and roundncssc:s o f the: foot. If you want to give the foot In athletic appearance, dr.J.w a prominent hed and svdte toes, with very pronounced joints and phalan.~.
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TIw J!roInrlrit s/.."C"ldlfor lilt' fOOl i, sion!"/m 10 tl,~ ()/~ ,,;edflll IIII' I"md. r, sllOu/d lit' definrd by ° (irrie IholrorlQl'tlf,d$ 10 lilt 11«1 Ml'Q, o"olllff tlfJtlifor 1I1f melalArsm boo,t, and JI'I",ml $mallisJJ OI%1ls
for IIv loa.
if)'Ol4 Jet, ~ .... '" 10 make ° mislokt i" tllrfoolt propoTIicms, ~II (0"
di,.;Jc it ;11/(1 IIII'(t' ports of l'qual I"'WIl, jl/u,f,ill" Ilt finl JItlrl U,WS lip willi lilt 11« 1, IIIl' SffOIuI romSfIO'IdJ 10 III#" miJdk 1idt1 of 11"'/001, oud lilt' /as, marX.! tilt' 1nlj!II, if tlK' lotS..
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Fim, we ,""SI dmw a rettalw.lcjor lilt" Irg, WIt;'II , rombi"rd ,,~III a Iriouglf, will ro'Y;&"'t lilt geometric s/{tkll of lilt form r/ IIv fOOl ( /). Hi: 111m add 111'0 (IIrlltd /i,,1'1 10 Iilis ikelCh, lilt" Jt"(ooJ if 1I ~,illl ron,l«U fa Iitt fOUr,lkd lillf" r/ tilt" Irttl .A ri~'f o"gll is sufficinll fer sj" ."tiIJg tilt I<>fJ (2). U. din, rmsr 1M strurfuruJ/ilrl'1 otuI '\'J)' slowly tImw 11 .. flUlli,lt" if /lit fool, IIIiJ Ii_ dtltli/inii! lilt protnuiorl if illt ... ddt o"J tilt' I«s (J).
The Foot in Profile and Back Views Drawing th~ foot in profile is V~Ty simple. A triangle cO\.'Crs it almost entirely. The shapt: of the foot is marked by the angle of the heel, th~ part of the foot which supporrs most of th t: body's weigllt. T he toe area tlkes up slightly less than one quarter of the It!l1gth of the foot from the heel to the tip of the hig toe. A frontll \fi~w, on t h~ other hand, pres~nt:l. some probl~lll s due to the foreshortening of the tocs. But here, too, you can sketch a simple triangular shape, although it will be much n3rroweT compared to that of the profile. The back view is the simplest, and it should haVt': as its main re ltrt:nce point thc protrllsion of the h~el and slight indication of the roes at the other end.
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The Bottom of the Foot The bottom of the foot is also covered with muscles; however, these muscles arc not as visible because the skin on this part o f the body is very thick, and [h~y aU bknd into a common mas.~ that spans the arch on the bottom of the foor. This part of the foot has a very rounded appearance due to the greater visibili ty of the hed and the fit--shy, cushioned parts of the bonom of the fOOl. When drawing the bonom of the foot, remcmber that the skin ht:TC has a rough~r textllTe than on any o ther part of the body.
Aldumgh;1 Joes ,,0/ prNn,1 a dfgrct if (o,np/exily asgH'al Qj II,.. h""ds, lire fOOl rJl<lug<'S its "f'P/'<'TG"«' Jepa"I;"g 0" IIIe"m1ll of'rieu' or 0" Ih~ I}"IX' if ad;,rily il rior",s. Our pmri"'<$ gmlllet,it skrllhrs "'illltrip Iff 10 adapl 10 /J,P$C "l'U' am .. ",lat!trS (A a"d 13). I-/m>, as ,,1""')'5, the p"pntditular di,ridi,'R li"e is if greOI/lell' i" coIJSlmdi"g Ih~ jorm ""d emuri,w r/'al. a, wilh the fi"~1$, II", loes Jcscriht,,, CUIV<' a"d ""I a str"ighl li,,~ (C, D, ""d E).
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CONSTRUCTING THE
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"l:\1e mllst measure tile body: standing and aliI/(', w I/ere/ely, in !lint! parts ",illl respect to its length. r"Or able tlafllre has shaped mati in SI/(h tl wa), that the jit« i~ foutld ill the highest place, ~o film it be admired alld offer the othe-r JXlrts of tile body the prillciple of ils
meaSllre.
I'omponi C~urico: S<wlpture, 1504.
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A WELLPROPORTIONED
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E very drawing must be organized within an mIion:;i and comprehensible order, in order to establish a
comforrablc and appealing path for the eyes to follow. In order to draw a well-proportioned figure, the arlin searchL"S fo r an ideal ofbc3Ury, and finds his tools in the objective methods found ed upon geometry and measuremCilt. But opposi tc the pllt"tly theoretical systelll$ of proportion, there is w hat we might call an " intuitive" proponion based on visual comparison and comroJled distortion , and we can transl:ltc and accommodate the natural structures of the body in a looser, morc expressive. and less mechanical way than tilt' model described by the classical bws of proportion.
f7J" UN IT SYSTEM:
MEASURING The law of proport ions fo r the hunull body '''I(l ltld
be oflittle U~ if this know ledge could no t be: llS(>d wi th real-life lllodds.Thcory is an inestimable help. bot it is the application of tocory to a real model that determine'S the fi nal result of :l11y drawing.
Applying the Law of Proportio ns Thanks to its me~Stlrcmcl1ts, the law of proportions is tnl ly a useful tool fo r becoming fam iliar with (and mcmori:ling) the di~triburion of the rdative size of the pans of a figure in re lation (Q the whok Even if the proportiol1l!i of a real figure do not match those of a classical mood, there is still an 3<ljustcd correspondence bct\vecll the d ivision of the figure into ullits and the location of different anatomical
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BODY components sllch as the height of the shoulders, the dlt'SI, the dbows, tI~ hips, etc., whidl we have to consider. For this ~ ofgcom~tric sk~tch it's important to first proj ect th~ body's Iin~ of symmetry; on it, W~ will mark th~ different mCaSllr~1llCms of th~ law of proportion. If the figutt is sl,owl, from tilt' back, we ha\'~ the 3dd~d adv.lIlt.1~ that (h~ line ofsymm~try is aJready mark~d by th~ b:l ckbon~.
I" <I J'",u/illg pou, imogi.uuy m1itnlli.1f!S DR tmr.r1Ctol)' reJd to gi ... ~, to I/~ backboM m.d Ilw /0"'" lX'mllilia, in on:Irr to pl= "lKJ>' ,/rrm 1m. (onf'Jpmufing J~"f'IIIS or IHrru'Ilt'm<'trlJ for r«11 ,mil.
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Cross Sectio ns We are not ahvays able to find standing figures, which lend thelllsdves to the application of the law of proport ion, so we must develop a set of rules Ihal allows us to apply the tmit system to fi gures that are se;1tl'd or lying down. A practical method is to draw CI'OlIi sections 011 the Ixxly-th~ t is, to draw "horizontal comours" onto th~ nude bod y to show the imagmary "diCe!!" tim corrc.-spond to the different measuremems descrilx.-d by the law of proportion, In other words, we follow the sallie method as v,-e would if we were to build a cylinder-based form.
In a seated figu re, these cua arc vi.~ibl e in the folds of the sleeve, the shirt collar, the belt around the w2ist, etc.
Measurement Problelns Som(."[i llle!! we \vi ll find that the figure.' does not prc.-cisd y match the classical male, eighl-and-a- half_ head modcl. This is normal. It is only logical thaI reaJ..life flgu~ should bt- solllewhat beneath claS5ical mea5Uretllcnts bc:catlS{-, after all, classical laws deal in kX.':I1 proportions, nOI ~xact ones. What is IliOSl
impoltlm is not whether the figure 1ll(.':Isures seven Of eight h(.-ads, but that the disuibution of Ihe units be truly proportional.
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Thl' dlWit"41 pTCfHl",'()flJ of a 5Imuli"gfiguTf' de "a, d",,,~ m,,,II, "0 mal/(1 11OII! """It lilt I.>vrl)' J'tI'ul/4 <II assrmlt'S ro"'l'iit""Itt/ JKlllllfr1. 71lu fyslem if mranm:" " !'Jti (a" be 4 gr.>oJ rifl"f('tla'.
\ AppJyil~ lilt 11Io"4S"mo1l'l11S
oflhr dlWit"41 1411' if pmp<>rtion is (01tI1'1it"nud "0/,,,,, a/Wllft is silllug, 1),,".1: dOl"", or fo,rsl"mrned. lu 11,1'$1' (451'S, 11'1' ,mut dml!' Ihr
jigufl''s SI'IIIHlrliug i,,"l" s/metol1/' in a U'4lrd pcsitwn mod tTY /0 ndjmt Iht ~poudi~ 1IIo"d.{"mN(JIIS
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Am>IIIfT $)'$/flll for aJlJlII~IIg ,"r (/aSliml Imil IJIl'tUW"'IIl't>IS II Ihl' (!I'l'rl4ylng '" l'a"WCQal slim, or ouuS«Iicru. Ontt> II", 5krldl if lilt figllft II't d",.., till' li'l(3 if dint wtioru, wl,illl 11Wtnpmuli0 In,. MEmn,U (j lilt' (Lwiro/ ,,,odd, iu ani ... 10 Shldy till' profI('ftioow re/aliotlShips if" figutl ill o Jm~t/IIIg or 1)"18 JHlSil iou.
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GEOMETRY /f(~{'
HUMAN BODY T he 11\l1nan {ib,ru rc can be broken down into
simple geometric figure!; that easily adjust to ilS descr iption. Every pose Sllggest~ <I gencl:a1 sketch that SllOlild encompass dlt~ ;matomy in JUSt a few strokes. It SllOUld be a simple form (a ll oval, a polyhedron. a pyr:.mid shape, etc.) that is sufficiently rich to suggest the position of different body parts.
The Geometric Sketch: Structuring the Whole [roln Sinlple FOrlTlS
To sketch a geometrical model we begin by selecling a composite omlinf;'-in other words, a $imple geometric shape Oil which we can inscribe wllatever po:sc the figure assumes. In this way, tbe work will pn;scll t from tile start a more satisfactory visual layouL The use of compositional outlines in sketching is an efficient method for arranging the subjeCt and :ldeqll3tely br~3killg lip rhe pictorial space. tlms hdpillg to organize the demcnts of the drawing so that tile vi~wer '~ attention, 31ld the focal point of the drawing, is w hcre v.'C \1I31lt it to be
'nw IJ(lSis if r.''''''y rtlm'(1
I'I'lIflcri'lJ: of Ilw f't" J't' is ,br "rti5t ~ ""dcrs,.,,,,liug if ils SlmrlJlrr.
Thr It"",,, ,, 1mIj' in i,s w/",,,rttU: wpresrnrmi,," ;s madr "p if 51""'1';£111, rrliudriwl, aud ",rhog''''''/ suti,rf'S. Thest' 51"'1"'5 aJl' ,br Joul1dm;(JII Jor drmvi"g t/ir eXIJ'e,,,ilip.s,/w,,d, "lid IOTStt if tllc /xJdy r"angl'S posi,;"", ,,/I 1'-" /"'tIf' 10 da is adjHSI r1w poillf af ,';nlt ofilic rcamtg!cs, m lJeS, Qr q limlm .
The Essen ce of Synthesis Once the compositional outlinc is complctc, v.'C add new gt:omctr ic Sh 3 JlCS [0 dcscribc each part of the body: an oval for lht, head. a rectangle for the thor:lx, cylindt·rs for the arms. a trapezoid for the pelvis. Gt'Oml'tric shapes contain the essence ofsYll1ht·sis. The goal is to combine simpk forms which ~tabl ish thc form as \vdl as thc pmponiollS of thl' figu~. All ofthl'Sf: geometric fit;ures are articulated amollb'St th<'lll5Ch~ by observing the straight lines which ddine the height ofthe ~houlde..,. and the tilt of thc hips. and the curve that dC5Cribcs the backbone. which, as we know, is not rigid, but rather produces a tipping of the ischion and the hips. and a rotation or spin that allccts thc orientation of the head.
Geometric .~yTlthcsis consist~ of ~eing thc drawing a:;; an articulate wholc that can be developed simulcml'Ollsly in all of ill; parts, and in whiel, no single pan is more important than any o ther.
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As an au:tl"iliary systl'm. you can uSC a .... "Q()(f(.'tl
mO(\cI tha t you can PO:1SC hO\n ..... 'C r )":Iu lih. ' Illese models are b>Ood for practicing
I " Q grtJ/1U'lri((l1 "prt'Sl'''Mlio.! of Iht j"'JJlQI! body, "hslmlliG"
fl"",/d "'""",... ,"'Iii "'I'tlOli,,,,
QJ " flgr," ,"<Ilk "" rllfirrir <f si...,,u·T pHIS. VIII, by /ill"', 11,1'
boJio ",ill ' .11' iot(gn" rtSNtJJr oWs 01 JPht'rn <lim ",ill brr_ .Mrt flo;"". r:cpm.Ji'" JI, .. ct",n.,
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For thl' :u n:1l CUf artist, the b'Comctric: skt' lch of a figure is seldom an c~sy Illsk; 110111'thckss. it can bt' simpli fied by fo llowi ng a few tips. To begin,
thl' bl"st Ihi ll~ to do is try m SCt' the fi gure lIS ~ whole and not gCl lo~t in dct:\i l ~ such :IS dl t' posi tion of the feCI o r the shape of the hair. Only after drawing the gl'llcral outline of ti l(: model, when the ba.~ic problems of form have been OVt 'rcOll1C and the proportions are approximately corn:cl . sho l11d WI;:' address th l' deuik To llIakl· a geometr ic sketch IS to understand thc drJwiug a.~ an articubtcd w hole, .. 11 parts of which can d ll:n b(' dc \'elo pcd sIIllu1tancously and of which no pan is more important than any o ther.
.7J,. GEOMETRIC SKETCH: STRUCTURING Ih,· WHOLE
SIMPLE FORMS Proportions and Background A fi !,FUI'I."S proportions ~hou ld be harmonized w ith th~ dim~llsions of Iht" background. to make SUT~ that Wl' adjust the fi ~tl«." to the back!;ruulld in a natllnl marmer, and avoid having lhe mar~ins of the pap~r c ut ofT a pan of the fi~'ll1"e becausc we didn '{ clwck t h l ' Illt'lIsurt: lllcnlll b~forehan d. l fncccssa ry, Wt' can stain the blank pa~e using a p3per stul1lp--also called
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JJtoforr ",aki,,~ a"y s.,"'",etn'{ sk(ul" it is 1",1'''''''''' 10 11,,,,hl'$l.u tilt fis"", la IT)' 10 ill( l14dt tilt l lu .. ",lhj(Or1ll II';II,i,ja JimJHt /lfY"IIrui( jO",I . Cromtlrir.fo,nu <1f'!' ' /MtI jOf tlJIIlroIU"g rml1C,'imU.
a IOrtiIlOll--() r wit h om fill~'Crtips, tu limit the space that the figu re wi ll occupy, Thes!! ini tial marks are guidclint'S that suggest the posit ion and dllll('nsi()lls of each part of the bod y, as wdl 3$ t ile IOlall rnb<th of thr modd. The ~omt·ulC sketch includ('s a clicuial ion ofthl' figure's pmporrious. which should be reflected in Ill(' outline.
A t"rtillon. or L'"."n a charcoalstaine.I dOlI!. b
an excellent 1<101
for Ilral·ticing geometric
sketches. 11 pro.luCC!s soil
line. that an: ea)y
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JIK>ka. ' K> ""'II (Cllr"'''lllr "" II" J10K ami Iht IlrCp«Iictu c"d fowt ell fir, ;"''" Mt4ib if II,.. fifOllr (A). 'n/(' pi;/e
tlm,,,,uS J/,c<./d br a fotJffl p.rlim;",,'1 orJ!ff'"II/<JI",II
" if 'ht model ",Ioiflr 11Ii1l1tf!/p UJ 10 cd"lII(t IOfI'IJ, d
--... ~ IIIC" dnci/cd, d.-jill il i, ,, CII//;,II' (8).
TheVertical Lines of the B ody The fir.;t thing we must do before sketchmg is lIlake ~ series of llJarks indicating the lI1 e3 surcmellL~ to which we cail refer throughout the enti(C sketching phase. Qne su(Cfire way to begin your
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drawing is to find the line of tile shoulde r.; and the head. It is usually t'wer to draw from the top down. From there we will work downward through the • r·
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bod)" drawing syntht'tic shatx-s 0 11
a standing surface, paying special anemion to the vertical lines. Wt' should look for directions and rhythms and sec them as abstract forms.
Verifyin g Dimensions Drawing freehand allows us to \'\Tify thl' precision o h he drawing's proportions during tht' early sketching phases. When drawing freehand, the pencil should be Ildd vt'rtic:.rolly with the arm extended before the figure, with the fin gertip at o ne end and the tlnllnb measllr ing at the other. TIlis will help you confirm the
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, . proportional relationships of the .I . real model From these I )~ .. ml'aSlI re1l1ents we can draw by ~,J,~ transferr ing those proportions l' onto the paper. Once the sketch IS
done, we once again place t1u, peocil over it to m:.roke sure that ~ the proportional re lationships ! . -'
between the different parlS'of the • ' .... modd art: correct. )~ )', .' N. rI ~ ''J"
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Awcilial)' li''''1 ta" ",. ' lJl'd ,PI ..... dmwi,'S " gromnril: s""pr, JUlh /IS Ih~ _ Iital ami hori~ou lalli,~ ~Ir af Nflitl. KrVn /IS au u:iJ a"d rail ",. " Jed tJS a rifffttttt poim /a rot""",r disl"'lfes.
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SYNTHETIC CONTOUR (m(1 LINE CONTROL
D rawing co[](ou~ is one of the most intel1..'Sting cxen::ises for an artis t to practice, because it
Cl.'1lters ollr attention on the foml's limits and providl'S a focus that we can concentrate on regardless of details, lonal values, or pos.~iblc modeling effects.
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The rollIO," $iw,,/d be ou <!IJ/omorir, f\'I'$lmal drowiug, (OIu£n,cd 1,rillloril), wilh II", f,">",,,,1 dilmlCl(T oflllC ,node/ mid ils
('xpt1'$5;Oll mlher Ihau ",;Ih IIU orarouu-,
ptrj'tdiootiSI mulrriltg.
Method T ile best way to pr:Jctice drawing the contour is to lake a fin e point pencil and start drawing the profile of a figure from a detl'rminate point of vie-v, without taking the pencil off tllt~ pagl'. The line should be unbroken and continuous, without ernS l1 res, overlapping lines, or tremors.Your eyesight should follow the contour of the fi guTC while the pencil works on the page, responding to e:ich of your thollghts. When starting on the contour or inner silllOuettc of a new part of the body such as the Ilands or breasts, yOll can refer to the drnwing in order to find the point at which the new comOllr should begin. Continue in this way until completing the contour of the figure.
FOlllty I'lUp<Jrtiom are 'rp;(O/;II IIIB '1'1Jl" of d'<!Ivillg, bllt ,vilh prafl;cr, tl' f at/iSI will
<lI"'ltl;re., Ioo$tr, morr rolltrollcd /iue.
A Great Disappointment I, is very likely ,hat your fi m attempts at this type of drawing will prove a great dil;.appo intlllem . Don', be discour.tged: keep ill mind that this method requires a great de~ 1 of pract ice. O nce you have gained more experience. you w iU be able to vary your speed according to your reactions, and your line will be more finn and de<;isive. T he imporum thing is the experience that )"Ou acquire while pr.lcticing this eXttCise. Once you 1lU$[er the ability to symhesize using this techn ique. you will be able to make swdies and sketches in the studio from memo ry. and WOn't miss having a lIlodd to draw from.
Line Control To achie\lt'" an interesting line in a study, the artist mu\t use either a very fi ne instrument or a very thick one. In ei ther case, you have to work quick ly, and foI.low the subject's forms with a continuous line.You can usc the til t of the pencil or gn.phi te to modulate the lint'" by altering the 'width of the stroke. A 1l1arp pencil produces a sensual, frag ile drawing, whereas gnphite. which has a thicke .. line, will yield a more intense, energetic drawing. The result should be a sati!;factory, uniform line that provides all the inron nation )"Ou need for obtaining th t model's post and anato my.
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1M gmpl1ilr pmril is (If~ if 1M ffl(OSf
lOll''''''"1y " JI'd "'fdia for .. ,nking Ii,,,, drawing1, "'" liltlt br lilllt, 1M bdl-pcilll pI'Il htu f ormd a Ilifl lt IIIno l!fS
1rotll'rofissiolUJ ""im ,Imllks Iv Ih, fillt, ill/row, mId It.lfmiw lillrs 11u" il prru.~da.
Sr"lllel'" (OI/lOllri.!,g is ,,..rr 'lSiful for lIlakilJS quick J/,uJits, wm:" 1/", ionmcJi(J()l ~Id ~iWt,ts.J iftht moJrI ..... (ll" p"'",i"",.
Gmphilt P"'"'s IMI1'
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Ill(llm(lllH"rmuf il
provides lillcs pf /I grr'akr mllgt if wid/hs
muJ ilttl115i,i,s.
A ~ eKercise ro r nla~tl,. i ng li"e d .... wing i~ 10 Iry
to render ~ figure with ~ , ingle line, without lim nt: the le3d rn >lll the p3pcr. as ir we .... ere d rawing the figure's " rome with 3 ullgle !'ieee of yarn. TIus hd ps U$ dl ... -.: lop our impl"O\·isational skills ~nd m~stcr
synthesis.
.g'h& VIRTUES P/' NG STUDIES:
•
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( GOOD FORM /y' PRACTlCE
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T he best way to approach a figure and the probleJll.\ of representation t h:l f it entails, is through the practice
of making studies of 3 model. Smdying the figu re based on a rough sketch is a for m of constant learning and perfecting for the artist.
A Minimum of Lines In a ~tudy of a model , you should situate the prinCIpal lines with a minimum of snokes, with no concerns over w hether the resulting drawing looks unfinishtd. Doing studies is a val id pract ice in itself and needn't be' justified by a later work. The grace and spontalleity of studies hav(' been apprecIated by professionals and amateurs alike throughout the ages.
TIle T itne Facto r Quick studies are notes taken ill the shono[ time possible. With practice. the lund becomes more assured, so du! it learrl!i how £0 find solutions to any anatomical requirement.'fhe leisurely, inconsequential tone of a quick study makes It Clipccially appealing. Often it becomes a series of small shows of dexterity and visual sh:upnes,<;, On thc odlcr h~nd , the easiest $lUdies to make are those for w hich the're is no time' limit at all.
Yo", lkr'ullbfloks II/mild ".. foil if U/r<n, JI~Ii~ QI,d (mmt'i~ doodl(!f Il-;/h " " "PP"tn" oroer, ".". any gool Grhn IlulII 10 Ci1f"liIt {o>rccpts olld (';I:rrrist
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T he Use of H a tc hing in a Study In a >;rudy, til l' SkClcll ~hou ld b o;: light, never o\'I.'rdollc. It i. 1lt."Ct. ... s;' ry to find ~ blend oflighl and shadow Ihat compOOl'l' the fi~ure with its csS('n tia l d el11cnts. An l'xcC"\~i\'C illSistC1J(T 011 ha tching is 1I problem that afflicts IIIcxpcrienccd artists, l11:1king Ihdr (lnlwings mnfu>;mg. If you work III graphi lt\ it is sufficient 10 nuk,' a Silllpll', hUIllC>gen t."Ous g ray hatching; if using charcO;tI, Iry d arkemllK tht." ~h3ded areas wi th a 6ngt:rtip smint.-d with charcoal.
"'''r f"rpt11f' <f" muir is ' 1(>/ te, look Ii~~' II fiuis lu-d dr;nlli"x, bill '" sl .. "" 1M (,..1",11>1' 'f '/,r fil:""" /1 . lr",tI/f {mlSfl/l"" "lfil"I",(/"""'.for III"'" d"/><lm" d'llIl1i",'(.<. or
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to d .. ~", ~nd dcmaud_ s realer anatom'["31 c)(pc.ricnCt' on the pari of thc "";$1.
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7111' i'lSlnmomlS for I/wki'/j! !wdin W(IIt/d III' 1iJ.:/,t .,,111 ,,,,,,,,bh-, 1111 II ~ Idea 10 olll"')," mrl")'" Jb«h"'~'k jn l'll'" p«J.",
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OF THE FIGURE I n figure drawing the mastery arline is very important because.
besides defining [he c;om;rcte {;on(ours of volumes ~nd neating 3 scn.<;e o f direuion or vital impulse in the drawing. it creates tensions and rca(tiol1.~he particular cadt..'flces of the figure. A knowledge ofthese dynamic [cn siol1.~ gives [he figure a sensc of COIlt.1incd motion and a rhythmic se~tion that C:lll be of great compositional and interpretive interest. Thus, figures appear to be described by a str.mgc equilibrium dominated by action, in a constant emwined 1ll00ion and violent inflections time alC propelled by a force that, al though sometimes overwhelming, gives meaning to the post' and unitt's all of the linear elements of the figure.
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R hydun is an important concept in drawing, taken from the world of music. As in music, it is created by alternating
between accents, silencts, and neuml pasugcs.A pose has rhythm when it is harmonically dynamic, full dyrumic alternations. The distribution of these alternations determines the attraction and intt'mt of the drawing's rhythln Accents in a drawing are thea\ttt;ltions of its continuity; for example. a diagonal inlerrupts a vertic.alline. and vice versa. A static, symmetrically positioned figured is the ant.ilhe~is of rhythm.
[7lu~ INNER RHYTH FIGURE
The Line of Actio n o r Strength For a figutt to attain an impression of equilibrium and rhythm. it is Ilt:Ces.sary for it to have an ifl[ernallinc, an imaginary linc that extends across the Icngth of the figure. in oruer to articulate ill; rhythmic effect. This structunlline. known as the line of action, should be the bam for any dnwing of a pose or movemcnt. Working with lines of force allows us to approach the internal rhYlhm without the ftgure becoming unbala nced. When constructing a pose. it is preferable to first exaggerate the line of force and then take it to a more realistic position; thus, we endow the figure widl an energy and Illotion that would probably not be perceptible in a rigid. conventional pose.
111 " bock I'ieu\ ,Iv Jrg"re~ illlfl'nal rlryrJllfI
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• 1M rl'ythltl is 111<I.wd by 1111 immw//ille IlulI s1''''/!. 11K bc>dr fmtn II~ I,tad 1(lliw ftc' muJ (01/1'1'1'1 rl,l' ,,/IllUde if tile 1"'Si' or (I( /i"" rarricd "Ill by rl,( fii!."re. n,js imag£ slwws /I slTirs if /l/IS/lbJe wa<>6f11 .. wdlls /lkmgsidr tlwir ("'rtSp".uJillR myl/""ir lilln
The Expression of Gesture In order to capture the rhythm o f a figure, it is essential to learn to dr:1w its gesturc.Yoli r drawing rJlOuld be nuid, like a doodle, capturing the internal form of the figure and reflecting its intentions.
Mter drawing the line o f strength, attune the gestures of the drawing to each otller and capture the essellce o f the body: don 't allow considerations such as the figure's contours o r m easures to
confuse YOll . The drawing should be quick and interesting, preferably with no consideration given to the contours or fo rms outside the figure, attuned to its rhythms thro ugh the gestures COIl\'C}ed by yo ur hand.
TIw lim; of actio" is the imagi.",ry rl'yllrmi£ UHf IIUlI fpa tlS lire 1",'8'/' of the fw",t 10 ,-lUll' tlU! tjftrt" """iot •. / .. tl" Jel of modrh NIOII; lhi. /iJle is mooified l'llCo,diJl8 10 rlw acriD" ~ifOfmfd by the body.
"
I f we furce the rhytlunic line of the body, it assumes a nlOre forced tomon, which mlnslates into a more
expressionistic rendering.
W71fr1 HUlling" gtvIIU'lm skrcl" it is NSfJltiallo" into atUJUnl tM ,Iryt/lm of the figure. 1k my/hm will N lkstribfd by CIiTIIt$ ami qlluk strokes marking the inlf>Htion if Il, .. body.
I ! II
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SOFT LINE AND ITS MODULATION
The' rhythm of a line and its modulat ion is an importam value in figulT dr.iwing. An inlctt'S1 in
the fon ru of a nude should be C'xpm.~d by the chOlTm of the dr.lwing~ lin C' strokes. This expression demands som e C'xagger;arion, ~impl i fica tion , or even chang~, all of which are completely leb<1tilll3tc if they iruclIsity the visual quality of the \vork. T he' d lllr:tCteristics of a line used 10 define a contour can transmit the l1:tturc of the [oTm, its materiality, surface texture, and visual charge.
D escriptive Contours Descriptive lines art" those w hose ollly g~1 and function i~ to drscribe the profile of forms and their \'[)lulIle$. These lines arc responsible for the styli7..:ltion of the forms that v.-e have- prt:viously discO\,'('lTd , and they rdlect dIe u ri5ts perron.1ll visio n and stylistic essence'. Dcscripci~ contour develops an authentic creation and o rganizat ion of anatomical form.
l \lnr" IImt";,!~ lItoot.Jarcl1li",·~, It(l/ 1"I'SI ally SIIm..'I' ",ill 11", "nl(./it'l' /i,/tj bt'lcoW Irft rtpn'$Ctll tl)(' mMI rommOll stroJ,.·('J 1~,II,y 'WI*" artists-lilt')' art" brot'ftl <l/tlllll'S'-'aHl. l1tr fou, 00' ,III' ~tlarr IIII' ki .. ds ifli,tC'1 alllalrll, amSIS maIM uri,,,. jar:fi,."., bill mritd III tllri, ImmSlfy autl Iititlmtll.
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Modula/cd Jtrokts I!{frYI /lrr df1,tlt if tllr lillI'S. "I1,c;/ Ihi(lmcss ""irs rlrpl'lldluJ: ,}II "",WIlier llie mra /)('IIIJ: ,lm"~1 1$ ill liJ:/rt a, sltarl/!'U'.
/' 0.101' )'011 Iw,'t rm"t~1 pmnitt with d!tforrll' ki",/J.f JIniTs, ) '1111 williif' oUr /0 ,"Mlliall' ,II,. li,U' til$i'y <!J )'A'
d""" MMII/oli,,!! 1/11' .mir 11 ...... 11 <ury";",!! flu> ,,,em,,,' fIt,d thirl...,1nS iflll( ,j"l' tmWt/j,'E /0 r/lt',rfft!s if thl' d,m",,,!!. iI, lIftltr t .. dtwilot' rlU' wlm".. if,/,r jig"" ""d ilJ '!WI
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"
Contour Intensity If a line is th t' same consistency throughout, it encloses the nude too coanely, ;md f~ils to express lhe nuances oflight :tnd Sh3dow. A drawing rendered in soft linL'S should ~ I terna te thick lines with finer ones. Fine lines suggest a lightt·d art'a, while thick lines arc perceived as describing shadexl pans. You can emphasizc a line by rt'tracing if to give an illusion of depth or create shwows. If the thickn~ of the linc is I~~ula ted and fhe tracing is agile. the line will have 'Suffitient \'isu~1 appeal that it will only require a fe-. ... sllml ~ary additions in ill> h:uching .
• Line and Synthesis Drawing in ~ofi- lines is in large part a synthet ic exercise in selecting contours. Linear symhl'Sis play:; 3n important prKtic:11 role whell dr.\wing fhe human figu re be C',1u~c it allows us to quickly n:nder a figure in a spomancous attitude at 3ny time or place. A s}'Iuhcfic figure or scene contains aU the necessary information for the viewer to rccq,'TlilC the figure's different actions and b'CStUIl.'S, capturing tht· gnee of its motion.
For If bmf' .",dmlm.d"!I: ef"/(' lm.Ycdl"f,; (l!WJ, roll$ldrr 'his drf/d, '!r ,/rr smnr fif.ll.rr, III whi(J/ liglo,rr/ ""d s""ded 11,...11$ art' d .. mly IJif[rrt'II,ill,rr/ Iw" If""""J smy ""u/""s.
An <!m~t:t i\'<! "'1l)'
, - .. , - '1 of mastering the
~ soli line is to dnow
. the sin lOl.lcttc of. figure without
)
tak ing into a count 7,/ iu solidity or an)' r otht ... internal
I'rojeaion. Follow the OUl er edge, ignOfing what b'OCS on ill$ide. The objt~cti\'e or the o.;on!Our d r.winG is to :lChie,·c .. n e"lICt eor ll.'Spondenc:e bctW\.'CIl the what the e)" 5t'('$ :0$ ;t rOll(lw$ the ~-dcn of a fi:.'n' and the ]illc the hand draWl to repfeSenl il.
VoIumr on
what
Shading
SPOTS
If a fi gure is lighted powerfully, it can be sketched with spots of color, with hardly any lines at alL The d~wing should be a synthesis oflight and shadow. of ligln rd areas which we Ieav'e blank 011 the page and the sh~do\','s that we stain using cll;lI1::oal or a piece o f chalk laid full . T his process omits the details altogether, but includes the spc.:ctrum of middle grays. The limits of the shadows a« also as good a reference a'i rhe linl'S of a box-skcrch, pan icubrly in models thaI hl\~ a wdl· defincd outline whose contour prcsenlli a dear C0l1tr:l51 with the background .
A jiw , /lOIs an' j .!/flliml for JI~lillg Ihr
h"",nll "''''/(lfII)lfj '"" """,/ It> shaM quu-kl" ' j/f' (an uS<' ,ht t/cwic J?WY Muhi.rg. ",hkh (~lIsij/J if JII'f'uhn if pmnIld ",nth N~lilt J""" ilK' 1(I[/Jlrd "'MS nrt Itji bI""k, wilh oolf1r "'I')' lilla or mtnlu.
W """, liN' fiR"" 11M JlUfI'p lOtlll<l$lS
ill fig/I', i, mil br Jknt/It'd ",.,h Jp<'Ii
IIIJ'toQ r{ /i,1n, III mill if 11N'1l' II1m'
l'lIJI'S ',~ spoti .w.k /0 l/",pt· '''l
"I¥Ollltl(t ,md post' if ',~ f!R"""
Hatching In a rough sketch, hatching ean be madc with a motion that mimics your first. tentative lines, lCtlkving l preliminn y tonal and 1l1odelifl8 intention .T he strokes ean be dt:cisive o r Shlley. This techni<Jue relates the construction of shadows to the expn:ssivt: lll'SS of the stroke. so il is linked with calligraphic muters closer ro the realm of wri ting. This a1l0\\l5 for much gll:ater gestural expression in a sketch based on h.;uching.
Drawing with Wate rcolo rs A good way of setting up the drawing il; by practicing tonal w.ltercolo rs. Before starting the drawing itself, we place the modd in fronl o f l single source of light, lX:C:llIse shadows become confusing if there an: several sources ofl ight at one hllle. &.forc: hatching, we can lightly draw the outline of the figure in order to have a tempbte or guiddine for working. TIlen, U!iing a flexiWe brush. we quickly and nimbly apply dark watercolor on the areu of the body that are shaded, preserving the white o f the paper for the more brigh tly lighted nea.~. You will hlve to forsake any intermediate tones: precision is unimportant in this drawing, so don't waste time repairing forms and outlines.
3. rinally, we can add a few strokes deuiling the structure and prolile of the figu re. The line strokes combined with the spots give the drawing greater consistency and solidity. T hl'Se Slrolet.'S were made wi th a pencil the same colo r as the Spots.
1 1. In these th ree sequences we shall see hO\v to practice sketching with spots. First, using a to rtilloll or a conon ball lightly stained with chalk, we draw the shaded parts of rhe model on the paper in a highly synthetic, simplified manner, leaving the lighted :P.relS b lallk.
2
2. The tones th.u serve as the basil; fo r the sketch are 1l00V complete. The series o f SpOts traces tht' structure and principle ma.sses of the figure and providl'S info rmation about the localiol1 of the light source.
ATTITUDES OF THE HUMAN FIGURE:
"As paiuters, we seek to usc I/le motions oj tile bod}' to sl/ow tile motions oj tllc soul ( . .. ) 'DillS, it is mldal rl/at painters have a perfcct knowledge of the mot/oIlS oj tile body and learn from nature in orner /0 imitate, however dijJiwlt it may be, file IImltiple motions if the soul. "
Leon Batti~ta Alberti: '/ lIe 'l1m" Books <f l'h;IJ/;"g, ]435.
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ANALYZING POSES
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T here are no limits to the possibilities fo r creating im ercSling, striking poses. Capruring the energy and dynamics inllcrent in the mood
depends in great measure upon the artist's dlOlce of pose and gesture. When ~ speak of gesture we refer not only [Q the model'~ ll1annerislll~ or the features of the face, but to the entire body. Every person has a particular \V3.y of walking, sitting. posing, and manifesting herself physically; these arc the unequivocal marks of her person, and we call these marks gestures. The gesrure of a figure transmits lIS way of being alive, its action. By defining the expressive angk':S and directions of the body, we can capture the essential gesture of a pose, implying its intention and energy in a natural way.
,<
gJc EQ!)ILIBRIUM .o/f;',' POS E
T he equilibrium orthe nude is a vcry import:lnt L1Ctor-thc verisimilitude and slabi lity of thl' composition dcpclld on it . Evcry
Ill"V pose p"-'SCllts a d ifferent problem to be Mlh-cd ill its compositional balance.
The Stability or the Figure The t-quilibriulll or lh(' pose is an important f.1 ctor when drawing a figurc. T lwrl· arc limits to 110w much a hU1l1all bcillg can tiit to 011(' side or another w ithm ll falling over. T ilt> tas k. , 111t.'n. is to CQllt rollhc stability
,
of tht' figu re so that it dO\;s not appear to Ix· ' id ling to all<: of its sides. T he (lll l'Stion of equilibrium is
!lot a problem if the fib'U!T i~ scated or lying down. TIl(" risk of imbalance OCCIi Tli w hen
ti l<' nude is standing. part icularly ill poses that involve any violent 1ll0\'cm cnt in the Ub'1lrc. ln [his type of llose,i t IS
possible to become disorklltcd and lose the horizontal axis. creating an appearance of instabili ty.
A f l"nlllr,ri{/ll m"'fK'S-;"Nr / !1Nrllff J:'f'I1'" slabilily 11"'/ IlIIlmU'l'. III otl;SI;' rlm",j,(~, symlllrlry ~1r",1M .In! ht-1)('!(rrI. "I111" 1II0S1 mll/lII,lI' miulillll is I" dir,.,J{/(f' Illl' dim:lioll if Il,r Ilroo Of "'~ of rh ornu 10 tlIl{'ir/ 011 ~(ffrl if WIlli Jy,~m('rry.
"nt .. lillt" if J!fI1I.11r J/1II11J IIIf' INIj!II. if lilt'
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Firmness o f the Feet The figll~,llo matter what pose it aSSUlIles, comcs into ("ontact with a Stlp(lOrting surface through one or bOlh feet, tile buttock.~. or the hand~. TIll' manner ill which this conn c! is produced expbins the support :tl;
well as Ihl' cohcTl'Il("e of Ihe pose through tquilihn ullI, so the entire lxxIy should appear coheTCnt with ~pCCI to Ihe position of the txtrcmitics. A frequem error when drawing sClndil1g figun.'S h that thl:y do not appear to be touchillg tht"" !':round, and look as though they arc float ing or imbahnced.
The C ent er o f Gravity A ratiollal IIl l'thad of ~rifYi ng the e{111 ilibriullJ of a Ilude's pose i~ to find its cemer o f g t:lvity.Tl1C center of gr.l.Vity is u~ua lly found ill the abdominal a~a fo r standing fib'llreS, or :1.1 the base of the spine for a nude vil'Wro from till' back. To check thl' stabil ity 01 the figure, all Olle has (0 do IS imagine that center of gravity and extend an imaginary venical linc from it; if tht" line diviclcs the arca supporting olle or both of the feet. the figure has a good e<]uilibriulll; o therwise, titt f('prt."Sent:llion is imbabncccl and the nude is un:tble (0 support itself on its fee l.
Symmetry [11 a flat ~prescnta tioll and in a fiunt:ll view, the hllrnall body SllOWS a series of visible corrt'spolldellcc5 :md ~ymlll e tries thllt giv~ (he fl!,'lITe 1I b'1"ca t scnse of conlpcns.1tl-cl l'quilibrhllll. For this anlilysis, (he most important linc is the o ne [hat dividl""S the hurn.:m 6gure in two when vlewcd fro m lite front.
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A fn.'<Illcnt mismkc that ~nlll l eu r M tiUJ
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To ",/"',,,r 1I11'f"II-bIl/a"rl""fwuc, ir ~ ;"'JI"'/allT 11111/1/11" l)/lsi/iIl" IIJllw I?!s Ix(a.w;",;.'.': I1mlllll1l Ilwfirl 1".fi""I), JIIIII'''''l"d..", 1111" fl'~". fj" ... ,akr II,,.,.. ju'on ;mp <11"(.'",,, ;11 //tr skru/" 1111" ,nt <1 t"t hutr 51It'll1d appro' /",/a'I(NI.
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fioN slll'l'llr/ilt;t.: 11,(" l 'llSr, If) 1IIIlIIIII".fi~I'rr al'l)/,ilr1 ;"'M/I1I/ll"d rl1). On 1/11" Mllrr IImlll, if tIlrfi,~lIIf foils illlmlll pflllt" /i", if ):IIl,·i'J·. (IJ
S/'Ollll illlllr tim,,;)!\.' br/llll : it ",ilium a,l/}('a( ;1II""II1I)rrd (1J).·l1or rqlli/iitrilllll oflllr ""dl" ((111/>1" ,rrifil"dlry Jmll';,,!; Iltr 1'f'Ilim/lj"r If gtm';l), alld t lt«k;'1j! """"/WI il plls ",jl/,ill Ilrl" /lim 41ltr Jm, . SIIl'JlONiug fl.t" flt",r (C}.
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VARYIN G flu'
POINT q/' VIEW <
W hether the sketch is static or in Illotion, it is i nt('~tillg to d raw the 6gure from different
points of view and walk around the figure it as you ~ketch . Every point of view offers the opt ion of a different pose. Drawing the fig\l re frolll the front , from the b~ck . or in profile implit'S a different technic:!1 and psychological tedlll[{lue.
Studying the Pose Ikforc drawing a nude. the an ist must consider which 2lipectli he wana lO develop in his work: linc, hatching. color. chiaroscuro, movement, etc. Certain poses allow one to develop some of these 2Spt'Cts belte r than others. as we haw aln'ady said. II is interesting to obseT\'C: the model from different points of view and walk amund the figure as }'Qu sketch. The best exercise for determining the focus is to look at the scene as a whok~lo \~lk around the model. cho()sing the most {'xprcssivc and effective angle, Every poim of view constitutes a d ifferent pos.~i bility, Technically, every pose requi res d iff .... rent solution.~, with a grc~cr or k-sscr role assigned to d r:lwing, co lo r, or chiaroscuro, "
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77M' firm rlll vift,' is anlOl Ig fhe mllll a flmcri l)t 10 aM"'; trol
Pllly aM,S il l'mtidt' a view if IIlr JOO', bUI a/rolllal vir", if' IIII' llOdy l'I'W'IIfS "liifs and drlll;lj f/wl '1'IIl .l.~ ' l/rl' haftl,illg nom mMrliug of tire figure mrnr illlrn1rillf,l.
til I'IfIftr UI IJnUT ,u,dmumJ t~ modd, r'" IIIWI' /0 study it fU a u41l)~, and onaIy.u Ut( SQtII(' pcoc}ioo' stl f'mI difJM'nl poinu (If IIiru; tI'<I/.I.';ng o""md tIll' model 01U1 ~'sUilIi.>: ing il ;n ill I'II I;rrly.
The Frontal View o f a Figure To draw the nude from the from implies personalizing it, transforming it into a particular person rather than a generic model. T hus, this type of pose more clo5ely resembles the idea of a portrait. Although the purpose may nO[ be to make a portrait, the fTOntil view of:l nude forces the artist to pay serious considen.tion to the face, and this means endo, .... ing it wi th exprt':SSio n.
The Nude in Profile We could almost $;\y the opposite about the nude in profile. The contour is the dominant aspect of a dnwing of a pose in profile: the form of the head, facial features, shoulders, torso, abdomen, th ighs-in shon, of the entire figure.· rhCU' clements can be represented wi th a sillgle, continuous line.This does not mean that the volume and modeling are unimportant . but r~lh er. t h ~ 1 dlt.'}' ~re subo rdinate to the lille of the fi~ure. [I is worth remember ing, however, that a figure is ra rdy enti rely in p rofile. Some parts of Ihe whole appear only in a frolllal or back view, making a three-quarters view advisable.
The Nud e Figure Viewed fro m Behind The back view of a nude, especially the female nude, is a recurring subject in the b'Cllre 0(imil1l3te figure dmving. T hese drawings cre:ue the effect of a figure bring observed by the viewer without her kn(J\,\~et\,'e.
This impressiou of naturalness pTOVei to be of great psychological interest. Technically speaking. a rendering of the back--m~le o r female--can :w:cemu~ te rile analomy to a degree that it becomes interesting in its own right.
.,," Jrgtlff! infron/Ill ,,;tIl' mt"im II I!IIIIl' 11nW.1<lI;:ud /U'lItm rnr '!f rhr}xr /Iud II I l..'f'Ir/lirr mullIJCI! if 11K' rt'S/ citllf" bcdj.: flit ",vdtl in
,,"!fill', en /II(' ()/Il~ IWHd, rrqHira" IIIC1I'
d"'llikd /U'"',,,rnl if tllr bcdy~ alll/Cllr$.
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If we find it hard tn understand the figure from different posi tions, \\'C can usc ;\ model like Ihi~ WUodell
m:ulncquin. A~ an e"ercis<:, il i~ very I'r~cl:icl\ 1 10 I'l:t(;c Ihe dummy in Ihe SlIm" pose ;t) ~
live model, luming ;t ~lld making ~ut(;h(;,
of if from different poin~ of view.
tll..,k ~;I'U' of tlJI},~'U' rr'l,,;m lilll~ IlfrWlInli;rmic" Iml n glrnl dml if lIloor/i"g w Iwll' drwil" llor ,,,,Iumr! '!f llof bIIdy.
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( COUNTERMOLD: DRAWING NEGATIVE SPAC E
O ftt'11, thc succC!;S of:l pose lil-'1 in its negative ~pacc, in noticing and rendering the for m of the
background, the empty spaCt:s surrounding the figure. If we <in\\' Ih t! forms oflhc.:st, various spaces, we
also end u p drawing the fib'l1rt':, bUI wilh g rcottc r case. We sulve the problem of composition (hus: Ihe spaces and the form.~ arc ullited whell we give equal impon ance to all the pieces of the puzzle wi thi n the margi ll~ that limit the format.
AIl31)':.r.: ing the C ounterlnold T hl' Im portant thillg isn 't d r:awing an an n o r the position of the.' legs, but rather taking up the form of lhc.'SC body parts by re lating thl'lll abstractly to the space- that surrounds thelll, looking for the Ilcg<ltive fornls, o r (OUlllermo]d, of the figure . Therefore, in order 10 unJnsund the fo rms of the modd we must know how to identify the fib" JTe'S coumcrmold.
We SUID,'Cst n very simple e xerc ise thnt consists of reprcscllti ng th t, hum:1II Ub'1.1re in the choscn POSt.' by d mwing the d ifferent chiaroscuro value~ of the shapes that sur round the model, wi tho ut using lines (Q g ive the111 their countcrs----simply using hatching bnsed o n tr.lcillgs that reduce the contours ofthe body. We reali:le it isn't easy to scp.u :Jte t he fi gure from sp:Jce, but wi th a bit of concentratio n and practice it can be done,
II ,!!('<!(f uilly If' nlln/y.u lis,. I~'S" js Ie' fi 'IJ:f"I 111~'II1 tI ... ;lIIrwnl jllf!"I rf ,hr " ",ar l 111111 (()/Ilfmmlr ('" ill l>njilc, d",,,,j,,gjl'O'" II,r IlIllf/tillg of llw <'I" llIy Ip<I(n ,liar mwlrp II"' j Wlllc.
'n,(" (J1'I,/i((lIj'l/1 .1 /I (f'll/ l lmltoid i" II,.. hl1lr" i",f $11Ifl<';S " """,,,()/I <ifnI fill rm illS, II,,' 00frt';1If' 1" III/,iel, is 10 ""tkrJ«,,.. M IIOIIrl ami Imfi/f'J h), IlSj"R INI(JI (O"'nul.
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Solving Foresho rtenin g Problems We propose the following method a!i the most effeclive means fo r solving SOIll!:: particularly di fficu lt problems, such :Jli fon:shortcncd figufC'!i. l 11e only realistic solution to lile problem of fOre!ihOTtcning is to draw the fib'llfe just as ic is, not as one imaginC5 it to be; to sec it as a geoUlt."tric figure, observing the negative space surrounding it. Only dexteri ty and experience c~n help one to really sec and w rrt.'Cdy render a foreshorten!::d 11mb.
A s~1th shoo/d not Iw a "'pn!1tnMIWn of <In Udnfrdjil!""' b"l nil inlnnttiOl1 OJ IM f lJlu", wilh I/J,. " mounding spntt, Da,1I /inN in tht b<l{k,RRIlmd spa" also kIp M
<kji,~ Ihf profile of/Ill' hetUI and s/Jem/den.
"171(' ""piirilli!'ft if .. ct>.",tm oold if C'1pfrinlly uJifl'/ 1i41C" ,It .. fif(llrt'
prnrllls romplrx prun SUi/' QJ ,lIPS(' Ii'l' Ilbsn~'C' ill"
""'lmpasICL I" 1/1tJt (""1'3, u'"' will/,y /0 ",wlllizr lit .. ""'ply SI'Il((~S i" IhcJi,Rllrt ~
(xlcl iO!' hI ,mlrr Ie' ro,raf')' sfIllllI fir,. I)(ISC.
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\ Abo\'e I II else, keep in rnind d ie
~ spaces cOlllaill"d
J,. i n~id e the figu re. Iflhey do 110 1
..: malch the lam e fo rm II. those ill Ihe n:al model,
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the fi gure hili nOl been i ketdled COT1't'Ct ly.
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WAYS(q/SEEING I!t£, FIGURE: OPEN ({lit! CLOSED APPROACH ES
H ow an arlist "se(,.~" me body will determ ine which ~pproach he or she will take in expressing
the figure. Among o ther L"1C(On. , tht;: artist wi ll have [0
dccidl' if the drawing will haw an obj l..'(:tive, descr iptive then II':. or a mon: subjective alld O p CIl
interpretation .
T he Closed or Descriptive Drawing The finish ed o r dl..'Scr ipt ivc drawing pn:scnlS the visible rea li ty of thl' figure in a way that shows off tbe Illastery and abili ty of the artist. T he radicalization of the analytical fim ction magnifies the finished effect of t ill: drawing. The profile of <I descriptive figure tends to be iinl..-ar ami clost-d, iC'Jving no space fo r improvisation and subjectivity; it is ii:rniH:d to the re-creation of visual experience. Descrip tive drawings display a constant effort to forsake convent iOIl alld give gn::ater importance to )lleticulous allalysis, SO that the dldwings translate in to an exact rendering of the human figure.
A $!.romclri< s/..oelrll madr wilh dosrd figurrs fi'OI'idt'S
Jolidfi$!.l'rcs willi Ihi{k lim's 111111
fI{(rntHatr IliriT owtlinN aud
I'OI .. nuolfit
Ink produces a uniform, lastin g.
worn-aWlly line Ihat prm'cs ve ry atlmcti\'C w hcn
making ~uggcsti\'e,
rough skcu::hc. o f open figures.
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nil' ralllOWr of IlIl' fiJ<."'" is ,,,,,,,lIy dcpirttd fillly in II
dosed dmr,';n$!..AII if ll!l" f1J?l''''~ """1"",),, " S u",11 '"
tht' 1iJ<.1Ir /llDlj"lIs DIIIIIl" bad)", /If(" r/c,,/lr JcJi"Cti,
leovi,,!.: /il/le 10 lilt' ;"'''/<.;11111;011 "f /ile ";l"W<'r.
TI,e rlosed fig"'!' is 1)1'ifird II)' II /inf:llr Irrlll",elll o;f II,P fig/lrr ~ Q"tlillc and ~ rirJ. illierim ",,>drill/g. It is II,l' (/"5(,S/ I,> a r/cwiml 01" rt£adFm;(
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11" oprnji&"re is" lJidfor roct l};
ingl'll"ity. 11m! ,""tivity instr<U1 ~f «adem;ri!m.fo, lIIJ!g(!slion. mt/u!r tl"ln nltional (ltd..,.
Agtomet,;, skeICh if'ln oprtl /IJ!IU'f is .u"'''l's suggt'lli .... and SO>Itru-h", ;"dlji"ilr, l1"d should lock "'ifi,,;slw. ,,01 quile solid.
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The Open Drawing In suggcsting thc form instcad of explaining it complcrcly, [he open drawing requi res a ma rc poctic treatment. allowing tilt.· spcctato r to romplctc it in her own im agination. The opcn drawing, through its brevity and unmt..<Jiacy, can al~o be a medium for crystall izing idc-$. It is accomplished by suggt."Sting ccrtain art.-as rather than completing them, subtracting a fragment of the drawing for the purpose of interesting the viewer or drawing hcr au cntion toward that point and allow:ing he r imagination to deduce o r co mpletc it. Suggcsting the form means rcsponding quickly and spontaneously to the artist 's v:ision of the Illodel and tracing thc precise moment ofthar vision onto the paper. Naturally, th is Illt.'ans that the artist's compOSitional problem is IIlOn: or koss solved. and thc geometric sketch of the model is i ln.-ady more or less correct.
Oprn ji$!l</f"S tire cill1miflT;;ud by " "("'" IIW,IU' .flines ill Ilw lightf'd I!atl, if 1m,
body. $(> Ihl1l Ihe sllf'<:Mlor must I$t"b/ish wI,el"<' II.r jiglJre rnds and III .. bfllkgroomd begi"s.
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T he standlllg figure b'CneraJly ~nts (cwe'er problems, ~callSC each part of the body can be d early visualized. In C3Sl'S Whr:R
there is a problem with the body's proportions, we can always tum to the classical law of proportion.
[?he' STANDING POSE
Of' CONTRAPOSTO Synunetricftl or Asymmetrical Figures Representations of the human body an: rarely symmctriclil. Artilits '''''l' 1' / try to draw the model when it is Ollt of babnce, m .... king 1 motion its arms, or ill a d<..'1:CTlIl in:u c position. T he frontal, symilletrical vil.:w is used only in handbooks for studying thc body's proportions and practicing d rawing in general, and is rarely represented Oll[:;ide this contt'xt .
A Jron/Ill "1" t$ffllilli/m if filL
Jlnndin1!.f",," t sl,.,,,ld lll'oir/ txlrn;,'I' f )"!,..,l lry; J}."lttfl,i<nI pmn ilK
Min J"j,~d 10 t1n1ll""')' 11'Xtb.xJu
than nmJl jc dmuri~.
During the carly ~tagcs or Icamillg.
it i$ a good eXl!ttUe to copy
classical s<:ulpturcs in
pluter, which diminalcs d ,e
problem of color in the dr..wing . ... .,~
TIle plaster model is ideal for
practicing form and the
r l.'J'f"CK'Ilf3 l'OIl of light and shadow.
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\1 Any WIlY if IlIOI.mrall
pmmlnl by rile J/(rnd;"I! fiJ!Utr t body is dett-r",;rwd by
I/,r COfI1mlw/o. 1(1 tqJmfII l
"'Off! forcfd l" lMS ;1 "'ffu:rs 10 ","m ll llll'" Illf !I"pe if I!,r Iinl':J
oJ 111t' shouldell <!lId llips.
The C ontrapos[O Contraposto is one of till: most commonly drawn P Ost'S. T he contraposto or ischiatic position is determined by and inclination of the torso in th e: Oppositl' ru re('lio ll from the pelvis. It is so named because the ishion, a bone located in the l lpper pelvis, tilts to one side or the o ther depending on the position of the: figuw. T hus, the weight of the body rt'Sts on one leg while the o ther leg appear!; reiax(.'d, in an atti tude similar to a soldier at ease. T his tilting motion of the hips is U5ually accompanied by the tiltms of the thorax in opposjrion to the pelvis.Yoli can put this to the tcst at home if you like. Stand in fron t of a large lIIi rror. Keep your ft.'et apart so that all of your weight is evenly distributed, and tht:n rest all of your weight on your left leg. You will fi nd that your hipbone tilts upward at the same time as the shoulder line tilts down , and vice versa.
'Ini, brit{ Sl'qumte show tile pnx~ IlIlIl ~r nrtisl should follow wilen d""";'lJ! n
figurr in ronlmp<lsln Fi~t, il U "l'rmnry 10
5il,,(11( rl~ /i"es if I/~ ,/rou/dm and /llpbol!€ (1). After milking I/lt J!fi""I'lri( SJwtd" U~ IJrom'd 10 Ihe ()lhn pam iflht bod); /uqJ;'lJ! in mi"d rllal t/le kn" ofl/lt IfR Ilull "'We,,', rlit btldyt wri~hl is hl~lln lilim rhl' .'liIer (2). u.stly, ,"'" emst' Iht SlTutlUmJ IiI!€J lI"d "",dn IIII' muswlm rdlif synilit limlly (J).
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ifll'l' l1Iul/yzr 11i( bo,Iy's skelaoll, u\' fi"d 11101 if IIIl: , .... ij:/II of liI( body rem on one Ir~ nw~ Ilion Ihe 01/1l'T, Ihc /111'/'0111' line lil15 10 0111' sidr (1). IVhcu ,I,au';'Ij; II~ 101$0, Itllill" lillJ ill I"~
o1'1'osll( dlf'C(ri,m, mlll;,'X IIII' rolll'''IwSlo P<'silioll (2) . ·n.r UI'I1tT lorx> U dcarly difiurd by IIIC lillc '!i I/Ie s/wuldcrs, ,v/,il,· '''e /1lWr'T pari is dgilll'd by IIII' li"r of III€ "ip/xme; ",ii/, I"is III milld, IIOlitr /""" ",illl III( lill if IIII' !.ips. lilt kllers 1Ip/>Cllr 10 IJf III diff"",'1 IlIj~11/5 (3).
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'nlC c(JI11rapo5lo Is ""I' .fllrr mOSI comm,,,, posesfor !landi"RflJ!Urt'; it U lilt po5f' Ihlll b",ilks lhe dJect
of symmeny lI"d gl= n crrltli" rl,}'II,m ilJid mOlIfllICIII 10 I"" body. , ,
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S EATE 0 rrl/{! RECLINING
FIGURES J
Seated o r resting figures ayoy special favor among amateur artistS. among other reasons bci:ausc: tht-y
present few composi tional difficulties, and the body scKlolll prl'Scms excessive tel1sious bcousc the muscular anatomy is relaxed. The bTfCatl"St problem that " 'C might encounter when drawing this kind of pose is foreshortening, but we will discus.~ ~h is bter 0 11.
The Scaled Figure The Sl'a t Cc:\ fib'tll"e involvcs several di(fcrclll complications beyond those of the standing fi b'll rc; in iI, the joints and mt:mbcrs arc flOl shown as extensions of the body. but as dillCrent surfaces lilat must be conncCled 10 each other through \inc and shadow. It is necessary to pay attention to the dorm ohhe joints and the cxisu:ncc of hidden areas, buausc these will rc."wal to use where each limb begins. -I
In th t· male figure:, the musdt'S lose their rigid appearance beGlusc tlus impliL'S hardly any muscular , tension; hen.;, the hatching softens the inte nsity of till' anato mical relief. In the female figun.', the brt'aSts appear smoother, k"li/; tense. Drawing the chair 011 which the modd is seated is no t absolutely necessary, but if you decide to do so. do flot diminish the ccntr.ality of the figu re itself and Tftnder the chair o nly ~t'tchil )', leaving out the details. ..,
A quklllMy if slln(j,i,'i<! 0 willed/'R"" U 10 tsfo!JIisj, a IilJr (If
trltlra/ lUis II,al dMdf'S lilt body ;11111\1 m,d snllrs II> IlIllnnlt Illt
(If'S('. '1 1"" djffcrelff linN 5"Tmlmdi'W liM' body sm~ 10 lO'ify I/lr tl/i,I,Yllllml nml ~)f'rt'5p;mdrIJ{f IIeIWW, d!ffin'"' poj"ts 'ltl II~ ooq"
Sntld ~..., tilt' tdSiol 10 dRIll' /:!rrMU(' 1/1(' mtJdtl) ""'Sib "1lptM IIII' ItIOSI ".WmI; JO(ItICIIrtku, 11K')' rtlJ"i" 7 il grmltr ""IIIM oj >1Iffl'U;'~ s..rfocn, mill fcrct IIII' o,tisl II> dm!!' II'Ililt ilna;cilJ~ IIffl2< hiJd.." by d~ bndy.
As WI' know, Slmed fiJ!UrfS pr£Sn11 d(ff~ullif'S U41D1
il/'I'I);,,/! II~ Ill"" if proporlion, Jl) diffrrn.1 IfIt lllCds mm, lit USffl jn ordrr II> skuh il prlriSlfy in/O ",1S;tion. Otrt' such mrllJOd;s to hq;" willI a poelilllillDfr dm"li~
dq*,i"" " ~ lill 'f till' body Qrld II ... lillI'S if tilt' lripb.>nr m,4 sho,,14m ( I). TIlI'rI, lilt' Intj;IIr if tilt' txlmfr;l~ U mttfmrM Qrld lIlt)' illl' skruhd inlD pia« (2). 1llt' J/udy ;s a,mpklftl b), Jmwillg oftw slrnn"mllinf'S a,,4 ,m/yillj! IllI' mtltOfm" flf lllt' fiJ!U1l' (3).
The Reclining Figure T he: reclining o r r .. 'Sting fi gure COn\"e)'5 :a semc of calm , which :a\1ows fo r a mon: n:lalttd focus than when tht' model i~ in an lllKomfortabk' position. In this type of pose it is han:lcr to find vlsual alterations such as contortioru. n r foreshortening, b«'ausc L ... ·erythinf! lies relatively insidc a p.1.ralld plane. In tlus case, the objects related to the fi gure d r:lwn can be o f gteat help. If die figu re is lying on a sofa, the rectangular plane of the sofa helps 1$ to find the TIght degn:e o f ilKlination in the f("s(i ng body.
In almost evcry drawing of SCltt'<l or resting figures, we find angles or pL1l1 t'S that recede into space, somt'limt'S very abruptly, so the point of view implied by the fib'1.l rc is very important.
1M m:/inin$!/IJ!.II1f' ,.' ru.nJ/mm l/or b«/t u dlt' 'OOfI ;tI'p"rAAI<I1 JXIM' for <I
1fI(JI/t/, m H"II m 1/"' ,_ ,11<11 rl'qHim II" 1!,rI't1trJ.1 mm"" tj I,ur and lIw4d'u1!,.
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tJ rl" rai;u;'IJ!/IJ:UI"i'" SNI,/rom rJ,r back, "it bacltbont prr>1"J 'III iU'l'm/juJl rorulnlll;,,, fIX;S. \lit (till mlllkllll' pwP;>,'iontlll«alion if di/frrrnl P"TU if Ihr bod~ in rrlllli,>n 10 lliu Ih,t.
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Q hjCC!s related to
r-~~--', a scaled or rt.'cliu ing figure can be of greal help, If the f lgliTe
is reclilling On a bcd, the rectangular plane
L_~-..J of tile bc:d ClII
help ach ic. ... 'C the cor .... 'Ct degree of receSliioll fo r the figure lying 011 il. A few .u.rokes a n'
,,'lIoogl1 to insinuate Ihe ",pporting .!' ... rf..ce.
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,{ P(0 SE ---({lu/¥, ,OTION: \ ,"'\ \; '\\..~ ~\\~~. ~ ,-hr> ' EXPRESS IVE U N E .~;.\ ~ "-"'\ - ~". "!to "1,:, t oJ ~ '~..L .... ~ _~ "s..:o.; - .'1;, x ...... .. "i~ \, .. ~ t:" ,.... 'l' \ it'" ":.. ~,... .......... .......*- . ~ D rawing thc figure in motion mcan~ dr:twing a ' .. , ~ .. .$!..'~ l .... ~-! - -? .... ~ ..I""'-'" ' living fib'lJrt::· E\'l:T}' 1lI00'(.'1ncm CXpl'nSt"'i
, t.. ~t ": ii-,...... 'IOmething.T hl' mi~oll of ewry artl\ ! is 10 k ,lfIi how F~ ~ "- f - to rt:prescnt this 3l"[ iOIl or that cxpn~~ion . To R'present
J~ \ '~ ',- y,JP .: • m()VCment is to undl'l"'SClnd t lit- group ofbcnds ;lnd " tI ) 'f" • extensions that take place within a lI)OtiOIl-rlH.~
, \.'f~ ~;; .... ; bends alld CXICIl$lOIl$ corR'Spomling to ewry pose.
~ ~ .. ,~ \ i,it~> ~~1~~
~--."--._ • .1 ~~,-? ',' t .... : "\ 'a" D rawin g the Muscles ."" U~ /; ~' , ,
---..., .. T • ....--... l: ~!> - ' jJle muscles an: the dr iving force of th t, body, putting .. ~ 01""" • ~ t, t"' .,.~ the figure 11\ action. in motion . Kilowinp; how they
- 'l. '1." ,; J, move is a grr:lt help. because drawinl;': tigurc~ in - . ' . ~ ~ .. .;... t
. !' . ,"-. tJ."" .... .#-.~. motion means putting visual Illl'UlOry imo pr:lctic~, " ... ,""-:',
.. 1 J:t; ~ ~ even wil<.'u the period of tillll' is very brief, The
~"f'ffIUJ~"'" ill .".J).iJ>,j,,,/jm
dtJ(ribn Ihf-k'"~ i,ml'f diylhlll.
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l4I1'clI dmwi'l~ II fiR"'" ill mot,"lI!,
WI' I/IUsl P'" ",ide propo,tillusjo. lIlt
JlIJ..'C' if jrolm"-s' spm/llm;,y. and rllyllm', """, if ,willI: so /limns
tlrj"" II;"J! SOl"" pam if IIII' mcdrl .
.'tt :i ~ intcrnting part of drawing thing'! in 1I100ioll is »:'""-.l) .4 discovering. and k'3 rning how to dl1)io , thl' e~nce ~/..,!l, of that luo\'Cmcnt: the tenst' musdr:s of ,111 athlct(" the 't{'-J. l .i' equilibrium of a ballerina. tht, SJX'l'Ci of a n llll ll' r.Thc ~,\.". -::-:.<::':J.;' dilTcR:nt muscular tensions arc lIUdCI'SC OI'I.!d by thc !f '1 :'1" intensity of the hatching.Tht: greater the contraction ~ '" 0«1 ~_' of the muscles, the greater the energy th:lt m ust be , ' " 1.i rcpn.'M.'nted by the COntrast between light and ~hadow.
nit t}f«t.{ a It'q<<tlKt in " WI;"', j ,mijiN mawJ"1! II snllly.f n
fiR""" in III/' fOOrJI' if prrfi'nn;uc Ill' n";",o. III litiS (tlJt, I"" 1HUl<1g<' '!Ili,1ft r!luI lilt 11('''''' riff "'plf'U"lJlrd <I.f II SIIffNJ;rlll .{,,,,m l/"'l
de"J(!fISlllvr. /iit tlifft'rr'" Slfps Inkm br IIKfi~~'''' 'u",.'" 1""iffllllJillg II
" , . ". tim .... ·.
Deform atio n When drawing a figure in motion, the artist sho uld gt: t Gl rried away by die vision of the moment and forgt-"l academic considerations. "lbc ariisl GI ll b'O so far as to altef the bodY'1i pro po rtions as a function of 1ll00'Cmenl; increase the \vidth of an arm or leg, CXill;b'Ctatc the curvature of die oock, or suppn."'SS unnl"Ct-s.<i3ry details. SOIllclime. the trajectory of a ~ i ngle line explains Illudl more than an accumulat ion of traces. lf tbe line is lively, it cOl\veys du~ figure itself, giving it a more vital gl'UUrc.
Successive Images Thill technique represents ITtO\~ml'Ol throut,;h successive Ullab~, with each figure in a difft:rcl1l position placed on the same piane in o rder to represent 1ll0VCIllCI11 sequentially.
Vanish in g Vanishing, o r fad in~ the contours of the fib'U rc. is a commo n technique for sUg(,'<.'Uing action. TIle source o(lhis effcct is die blurry or unfocused iUlag<-'S seen in pho lobrraphy.Thc dispersion of Ihc fib'll~S con lOUT imbues il wilh an cfrCCI o f vibr3l101l, movcmClll , and d isplacclllcl1l .
[ II dmwil1gJ
dC'Kribilig 111"''''", "1(' linl'f if slKngd, slHlU/d be PITy
DJWmll'f'; I/If')' (til'
nn! bto tx'W"'ud ,,, gi, 'f' lilt fiJ:Uff' II d~ if dr!Oflllll y.
"
Quick. t:nergt'rie
r--,----', 1im.~ gi\'C lin:
scm~lion of 1I100'e1l10:1l l 10 11
figu re. Notice how a tj uickly "===",J drnwn ~[ch. r.lthcr Ihan a dctll i1t:d. mcriculous drnwiug. is better 301 cxprcu.ing JnO\'cmcnt in a figure,
If 11'1' d""" 1Ii."tI'" in ,,""ion, ;1 is imJX"flll<f UI ,,..00. £('1M skclf/1t'J s,d tU 11/eSt'. ,<ilI;,-11 mm/I'n t~" if lilt' posilifJlIJ Illr body <UJ~"U'$ III t/,r OOUM
if prrfom""~ IlIr ~lifJn .
'nrc b/II'If'O "r u .. Jm.std IIII~>(, is
II lItry ""HIIIOI1
I«hniqur for I"ggtsliliR mofiotl.
Thu I«lIniqut is lilt' c,,"nffrptll" in
dmu.;I'RP tiN' ll'llltl" if rlN'
blr'"l'i~i" pllologravll)l
i -~------.-
I
DRAWINGthA; :~b.4!dEN PARTS ,o/tAf' BODY
)
Sometimes. when dr.twing a figure, it is necessary [() draw lines where there are none, 01", to be more .........
precise. where we do not ~e them. In some sated or reclining poses some parts of the body disappear fro"!) view and remain hidden behind the body. T hus, in order to understand the structure o f the figure, we must construct an imaginary contour that cros.'ie~ the body in order to male the visible limb to the olle that n:mains hidden &om view.
Advanced artists perform this process mentally, but the beginner can make use of a dnwing depicting die line and structure of the figure to understand hOW' the hi&:kn parts of the body arc articulated. To too end. it is often useful to dr..tw the model as oit were transparent, drawing the vit."WS of the body that felll2in hidden [0 the spectator.
Drawing flit J.gurt Q$ if it wtfI' ImlUp<1l't'" should ~ dont I<si'W II si!/i. elMn /i .... Ihal (<It! bt tTastd t,ui/y. Onct lht
Slrnduml drawing is Jirl'lhed, Iht lintS of /he Mdt/tn Wy
lhis ItdlniqW is _""", P JIlIlIyinlllJld utIdtrsll2miing I~ innto' JlnKf.itI' of Ihtfigure.
pilrts Clln be ~J.
/' ~J
/---:~ . ..rJ--')' % /
)?~ . Tht most d!lflCM{' pnr1 if IhiJ dFl2Witrg mdlwd ls "'",;;M
~ ji"ding Ikjlvc points ... 4 lht pla«s Ql which 1M
_ .J!MPl/s COII' rro ",Iht body in onItr kJ produa <I
~tdn>WitW.
Studying the Joints ~ If a figure is nOl in an upQght position, it presents j several problems of some compleXity, in particular with regard to the composition of the legs, and especiallY, in those places that hide o ther pat;ts of the body (an unseen knee, a foreshortened arm, a leg hidds; lx:hind ili. body). f
W hen drawing, it is impoJUnt to pay attention.to the shape ofthejoinu and the existence of hidden rp;iru of the body, bec:luse they reveal where elleh pa1j of the body begins. A good ~y of rendering the ...... structure of a figure w hen some afiu parts are hidden from view is to d",w the figure as if it \\o'ere transparent. Doing so makes it casier to place the hidden parts within the context of the drawing: we a n thcn draw
\he details o f the dr.lwing within the limits defined by these lines. This method of drawing requires a g~t deal of observ.ltion in order ro determine where each of the lines in the dr:lwing originates. to locate the joints o r flex points. and to no te where they come to rest within the structure of the body.
Whm"", practi~ drawing ttansp;ll"CTlt
bodit'S, you ihould uart by reducing the figure 10 simple. geomettic
shapes--primu. spheres., and parallelepiped$.
1M wmiqur if lranspattnl dIGwiOW iJ '"~ Ina.. .... o:rrciM jor stwdying the strwa,,~ if tM m(ldcl. ~ arlists also .. ~ il III IIt1 irunprtfM
l i'Chmque or III pari if .. ptf$OMl ~ sfylt .
•
FORESHORTENING: DRAWING IlIr' NUDE IiI PERSPECTlVE
O ne or the gn.-atest probkms in drawing sealL'<i o r redining figures is foreshortening-
I"('prest'nting the hunun figutt" or one of its p::l115 ill perspective. The art of foreshortening consistS of representing the human body from points of viC'\\I at which its dimcmiolls are diminished by per.;pectivc. Bm fomhonl'ning i.~ not the same as ordinary per.;pcnive--there is 110 need for vanishing points or any of the IIlclhoill cmplo}'t:d in linear perspective.
A1tered P roportions To approach a drawing of a foreshoncned figure. we must make a greater effort to adapt the different proportions of tile' figure on the page.', because the diffl'rcnt parts ohhe body arc altlTed considerably by pcrspeCtivC-:1IO arm or a leg th::u seems to adv.mcc towan:l us, a hind or a foot in which thc nngen or lOCOS are perpcndicubr to our linc of sight. Knowing this, 1111.' artist has a new factor to consider when choosing the pose best suited to her intentions.
If " ... hm.... ptrJIJ,,"S dmwillR tl fom'IOfIOlcd l'rl/in;uKi'S""" lilt kslll,;nK 10 tkI is n,do~ IIII' figw"';11 tl hex drau" ;11 IlfflIJ«li,'t. 'f1U! /xrx tu15 ru nguidt for ",duc"l<1 Iht size "Jlht j,'.ni>s Ih""W/' d" rJJixt if pmpttlivc (A).
Oru the pmimilll!rr skettl, is dOtot, lUI! rail ........ Ilot slmil",.,1 u,,~ and shade i" IMfil[l<>e (B).
Tht p"'flt1iou oJlhr hex in ~nJ>f(Ii'-'t Itlls 1<$ ""II' lUI! mml adjuj( lilt proportiom 10 the dispo:!Itiatr if 1M figurt'. 1 .. I/ ,is "",>" till' p<1r1 if lilt drml'ing {~I 10 1M JorriFOlmd always tmis lip folJdy mltlFR"" i .. mnl ion In IIII' ""'" ,rufJl .. 1 pnrlJ oJ lM body (CJ.
A tom""''' lalmiqutfol drau';"K Iht jo,n !.orlmrd JogUrt is 10 ~Ii't grto/tr defini/Ion 10 IN fottgtoolld olld krM 1111' middIt- or h«1<
..
The Foreshortening Box
./ u\<
Perhaps tilt" theory o(foresho n c:n ing is most easily understood if the figufC is enclosed in a box divided into e<lU;\1 uni ts along d1l' baek. W hcll the box is stret(:hcd out wi th tht· fl'l'! ill the fon..~rou nd, tIle units grow smaller as thl"y n..'Ccdc from the viewer. Therd"on':. the gel"1el':.l.l rule is 10 make the viewer see the parts of the figu re closest to him as larger. or oversized---<11most cxaSl,'Cralcdly so. Tile most (:OHllllon (:omp1ctc1y fon.'shortem:d ~ is the lying figure observed from abml:. From this position. the d osc..'St (limensions appear mu(:h larger than the moll.' distant o n!':!;; it is nt.'Ct.'SSa1)' 10 always n..osp<:(:t the figurt.""'s appearance without trying to corrett its
,," f : In recl ining figures • ~. -oJ : 11 IS 00111111011 rot
, some parIS o r the body to be rorcshonened. In thU caJe, the r~5honened arm loob oversized and aPJ>Cars 10 be ccaching loward the roreground or the duwing.
app<lrcnt deformations th::. t make thn. kind of pose inte rt.'sting and give it mc::. ning.
The Dynamics of Fo reshortening Foreshortening is an exceptional medium for rcprest'nt illg movcment , the ('nl'rb'), and d r.un::. derived rrom Ille human body. T his is how tile great masters Ii3W
it wilen they indud('d in their paintings figllres seen from the most varied points of vit'w and in the II10U dynamic po5C.OS.
1..(/ ~ lokI' a k>tW at " pmtt~aJ i'X""rplt if forn/ltlfu?li.rg. '/1". jig"rrs '" righl ..... slanding 01' "II ornloll'f. TIrl' fourf"J ,,' IIIr' lop if dlt' l'$talal~
an! los /crnllGTll'tll'd 1111111 IlliJiit dlJUSI 10 II,~
iH,/Ilml, ,,~,;(h RiJJt1 us III' 1I11t1(JJ1 atTial vitl~ oJ II,em. 'nlls se/ba(k rIll' ~ OIItIrO/ll,' by tIIt/osi.W lilt jigmrs in 00""$ "",llom/i'lV Ihr li,1(: if 11,1'
Iwrizao, <II llu' fOP cfl~ fjCal<llM.
•
IN THE HUMAN FIGURE
TONAL
>.
A s you g:1in confill cnCl' III your ability to l"CpR'l;Cm the human figure in flan exact Ilmnncr, you will ineviTably W<l lll to give your work a g reater sense of thrce-dimcilsionality. This can be adm:vClI by means o fli ght and tone. and, concretely. w ith (he rcpn..'Sclltalion of hatching. whicl1 c~n provide volum e, drmna, atlllosphcrt:, solidity, and greater depth to the corporali!)' of the object. Tile <1 ppcaram:c of shadow in the figure br=ks tl1c boundlri(:s of the d rawing, cstablishes ne:l r- pictorial Cltq,'orics, and reinforces the o bjective, tangible cOllcept of the representation.
The lighl source is a fUIlda.ncnlai pari that must be considered carefully whl'n rendering the shadows
on the 1xx.Iy. These shadows define the form of the surface on which they appear, or g ive nuance to fOfm admirably, indicate the ti llle of day, create dramatic effects o r express a determined emotional atmosphere in the drawing. T he direction of the light in the drawing should be studied well in o rder for :tll thc shadow'S to appear on the side opposi te of the 1ll00in light source. In a Iatcn] position. the light leaves the opposite side of the modd ill shadow, and the volume and relief cn.'a ted by the shadow~ projected .
.97ie EFFECTff' LIGHT Oil tAc , NUD
The Effect of ligh t Form only becomes visible as a function oflight. Light creates \'olume and other effects; it is ;m essential part of any artistic represellt:ltion of the nude. With enough light it is pomble to identify C\'cry re lief of the figure 's body. That is why we Illust study th~ path of the light. Fin t , locate both the d3Tkc..'St areas in the figure and thOM: that arc m(Y.;t ~xpoS(:d to light. Then, establ ish an ort.kr for the different intermediate values visible in the figure. This comparison is always based upon the idea of contrast: "one shade darker than .another," or "one shade liglm-r than another."
Shadows a" allAl}'S proj«ftd omo flw silk appot.ift IIw lOI" lI' ojlixlr f. !f ,1'1' wry tIlt i"muity olul dirtnior/ if 1M I~hl. IW wi/ijillll tlull fbI' fw'f't~ DpJ>tIImrtU also (hmwrs, txf,ibit;,rg sifrnfral"reS.}ix iml<l,,(I'. or moot dml1ralu- rjJrtts. dtpnllliug 01', lilt (lilt.
II is lDIfItlimt$ irllnnfilrg
for Mgi,,,,;ni .. /ists '0 "IDkto siH,plijird sknthu s,O(h /U litis 0I'1l' itt of'Iln 10
Itn .. , Ioow 10 plOl't lIlt sluldool <H solid bIorks. as if lloey II'trt 1001l101.'('I/£0/IJ
"S/(/iI11 "·Ihis r).'t'I'filt is wry .. 4 .. 1 ill ""ifns","di.rg ,lor rl'u,tiOl'llbip ~twtm llot dirl'ttiotl if ,lor lixlr' alld II ... ptr?j«rioll if shodlJU'S <It/ thtfIJll1" .
fit ralt Itm~'t' //r~II,jllgl ,,/II <;f 5/111111'11 15
a/""e, "mil/i/~~ ~1/ Ibt" JrrUC5 III /incs I/,m mmk Ibcfi.~III'I' ~ mllllllm. HCII".
/ISing ~ dcttny l y"lbni( ~lrN"l ....... /w,r /"wl((1 nllli /illlil~illl,, '
shod,'" nteo$ 1<> Mili, ..... ~ ",;,,;mlt/ '""1m'ssi"n ~r'b~ fig"" ..
Direct and Reflected Light Oil1 . ."(;( light ~heds light on the body, so in thos~ areas where it falls we must use the lightt."St Y.1 111es--o&en. the blan k surface of th~ paper. wi th no h~tching at all). Sh:lclows COllll" lat~ r, through a progressivc gradation of darker ~hades or a decisive contrast wi th the liglm:r arras. Apart tmlll tht.'SC fu nd1mental lightl,t shadt.-s. re f1 ~Clion s almost alW<l),!, appcar in the shad~d AA."a~ of the figure-areas lightly j]]uminated by the rdkctions ofli)dlt on th~ surfac~s surrounding the figure. R eflections arc nl'Wt as d~Tk as dl·t·p shadows: thl..'ir ton~ is in between that of t h~ darkest slladows and tile most well- light l'd 3rc:lS of th ~ figure.
Shadows on the IlIlde create a true drawing. a Sl.'l·ics of non-anatomical CO lli ours that give the figure a M.'me of dr:l lll:l.
Halthi"x is II,,' "("1'1/ll>rur ill {he "mlil/illg ""d pn:filr "f nfixmt". HalrhillX "'(hlliqll~l nl'l' mil/file.," (tI1I1 Ulric/I. (",d IbrrrfOll' dese"", sp«ial allrlJllOllfmm II,r tttliS!.
Reflections Bright rdk·ctiom and proj~ct~d shadows arc as important as th~ eff~ct of direc t light on the figul"t.". T hese effece; arc a constant ill re:llity: ('VCTY object is affected by reflections and shadows tll~t 3 1t~ r ie; color. The 5ame is true of the figure .To render il with a single source ofligllt is all artificial techllique. The colors surrounding ~ nude proj ect their sll ~dows and rellections onto It; light creales surpr is ing harmonics and effects. and reflects on tll ~ surface of objects. giving d arity to the fi gure from Illany diffeI"Cn t points. :md creating ~Iladowj\ that a lt~ r the continUi ty of the lighted for ms.
8)' pI/HillS ,I!{fcrel/{ t1r:crres if J!rcssmr Oil
Ille (/mlk. , ... [(II! obltt;" t1;ffrmll J(~I>I ime,,;iliN in itttlt/u""g.
! " .~ . ........ . , ,!
~
SKETCH
~ ~
o
When dl1lwing with the Oat length of a
stick of cJmlk or chllrcoal. the
important thillg is to ~u~taill a
continuous line, ''3r)ing the pm:ition
of the stick in relanon to the page..
Cl
A "'"0/' '' of ShilllOtv1 is II
",oootI IfIn/,oJ/or sludying "If' nif /ribuli ,,,. 0",1 ;"'rllsil), oJ IIIark,'" on Q
.hillfr. 77,(, l lU' I'M' ;1 '0 olSS;"'" roth ""/lle 'dhl',Kn/ ;11 flrf' Ul"iI1t'J" at lift /0 ,I ... (O,tf'slH'"tfi"g p<lrtI of fl ... bod)" _,,",iflR /0 '/11,. ~ t>jlig/rtj'Jg.
C h:trcoal m akes the task o fh :llching much easier: the thick, tlat t race of the charcoal stick makes it pos.~ible
to render shadl:d surfacoo very simply, reducing the terms of light.
The M ap of Shadows The easic:;t proccdurt, for modeling or "sclilpting" a figure is to or!9llizc a set o f to nal swa th~ ofli ght and shadow. This means breaking down the image into defined areas, using light. imcrmcdiall" tOIl(."S, ;!' Ild shadows--both those 011 the figure and those it projects. The result of this analysis is a " map" that can serV!.' as a sta rting point for latl"r correctio ns or improvt' lllell ts. Making thi\ sketch rcqllircs you to reduce the many different t O I1(.'S present in the IiV!.' model to just a few toncs. As a gcneral rull', it i~n 't necessuy to havl" many gradations in contrast in o rdl"r to create the illusion of depth in a dn.wing.
Working with the Flat of the C halk Olll' of thl' IlIOs[ ,1[U':Ictive ways ofbcginning a figul~ dr:twinS is ,h" fhll St:. il l pl\)dU(:~d b)' (11')' ml'di:. Sitch ~s charco.11 or p~st~ls. Widl ch::trco::tl betWl'l'n }'<>Ilr finger.;, il is possibk to outl i l l ~ ,h~ rmin forms ora figun' ill a highly s)' nlh('~i 7ed W:l)" :l ltern:. ting u~e of the thi cknes~ ofi LS fbI SUn.1CC' with dw line of ics point 10 render the fOrm only 1'0 Ihl' point of imelligibiliry. Thl' (r:tin of I h~ fl.1t sidt, of the d 13rco.11 helps render Ihe (larklle<.M'S of the: body. '111(" f~w(' r lin~s o r stains art' 1I!.l'd. tht, fewt'l t~re wil11x:: (0 correct. OncC' the figurt' h:L( 1>«11 sketche(l, the ~t of tht, drawing Il l'ed 1101 be T(' ndercd with this dcgn.'C' o f intt:llsity. Som~ arca~ ~holi id be rt:l1dl.'1'C'd as 3 h~nl, charcoal i nci~ion on 11K, page. allowing you to rl'inforce the mailllim's of lh,' fi gurt:.
Rendering Uroad Tonal Groups To bl'gin hmchilll:\ a fi gure we must ~void tl1l' asslgnnlt'nt of wIlles according to 3 sequemi~ 1 rt·gimcn. which imphe~ making the (Irawmg section by sc:ction and CTeateS the risk of q U:lrtC'r ing the fi gure and obscuring the reading of the lxxIys volume.The best mel/loo is 10 l'Stablish brood (Onal groups before manipulating their smaller. constitutive tom'S. To (10 so, Wl' l'Sublish each lo n31 incremC'nt by addin).: a Iaycr of hatching and rcpt':ltin!,: t hi~ opc:ration until we arr ive at the (l{'Sired (L1l'kness.
, If "" n''I''r II,/, rirlllrl""/ .. ,,10 ,1,1' ~ml' ""'",,,.. ,Irn"w,/'iI" , , ... ,rri,il1 f" 'I'I}' '''1'1111. /r:>.·//IIftll"."h, (OJ ~Ilnnr (A) . if r ... J!III ,II"'" I''''SSIl((' .'/1 ,,/II' .1ill l'tI.I.'('5, II .. <>bini" n j,,,,lIn,}!mnrn IlroJ..'t' if dtn1'OlllI.~ illll'us;/)' (Il) .
The lx:.~1 WlI)'
10 rcn<kr a I'rdil1lill3l), naill i. 10 apply COill ill11011S hatching with ch:lrco.11 comhined wi th ;m.,nsc lilleal stroke.
E1o;II"',* cfl,,~~ II> /,,>In II lliforr cf (harroo/III d,m" wll" ill Jik.
Elite PROCESS 0/ HATCHING: 'c REATING VOLUME
A drawing made' o nly with lim.'S d()t"; oat fi.su ffick lllly dcfint· tht' volumt' of til l' object r~pn'l>c:llIcd. I-latching is ti ll' lI10st common tool for moddil l~ fornu. lll1d ~bo ont.' of th l' skills that take~ the 100lg<'S[ to pl':lcricc dllring the It-aming stages. It is nccl'S. ... l ry 10 shack alo11g (11(,' e lll ire fi gure wi tholll slOppi llg to work on Illl' {i{'ta ils, looking for spots of slwdow that e:m give thl' r. ~Irt' its total volullle il l
sllch a lVay til:!!, a nn ' till' conlOw"!> have bl'l'll pllt i.no pbee. il will hardly be I1CCt.'Ssary to consult the mudd in orner to 3d,! dll' l'Sscntial Sh;ldO\vs.
D ragging the Wid th of the Da r T he most commo n \\'3y ofhatciling with charcoal, chalk, or pam' l~ is to d rag the \\;dth o f the bar across the p.1b'C, lIsing it to create a dlid:, broad ~trok(" that r{'\'t'als th l' t(,,>;ture of th l' paper. Depe nding on the forn with which the bar is clr.lssed, it is pOM.ible 10 vary the inll'nsi ty of the trace, and C\l'n fill Out an an'a cllun'!Y until the groin of thc paper is closed.
r-.'oIia tI,r d~ IKfll'R't' rnm/,~t(lIing, ",f,itl, ",.,tI'1L6 " dl"ltl' '';'-, "",flllSf;'!.I? tjJ«t (A ); ""tI "s;"g IM;,u ,liar al/e"'ia. , n"ooth;"R {If Nr"tli"J: "ml " stulpltd rffict 0" IIrr b.Jd~ (B).
, "
n~ Jim IInfflli,!}! J/",,,/J /)r "(>tJf' qrlitklr 1I.,Ir lJ.r
JIM if lilt sritk. liIlU'll dm",j'lR ,." pt!J1f'f ,,,;/1,,, luibk J,'ffli ... IIIl' lul/t/ling ".11 {'X/ribi, 11" 'II/trnnng sptTkkd //,:\'"",',
H"tching Versus Ton,,1 Drawings We can hntch using n Illotion that milll ics the curvatuI'C of the object, and thus, achievc a strong, moddcd te):rure. T he hatching c:lTecr allows for better gcsrural e):llression th:m (Irawing with :>culpt"cd tonl-:l. W hen using Cr0s5-
hatclnng, or hatching across the o riginal shading in a reiler:nive way, we cover the entire surface of the paper :l1ld giVI' gl'l':l ter imcnsity to tile h:ltching. We musl be coher"llI wi th ti ll' directio n of the t r:lces in order 10
unilt' th t: c1ifft' re llt tOnal :lI1:a5 and gi\'e coherence: to the dr:awing. The: lo n:ll or Stlin-b:lSt'd draWing, created mainly with smoothed and blended spotS of cllarcool, ch.1lk.or p.1SteIs, servcs a~ prcp;II';l tion for a paiming or fot a dr:lwing of greater brc:\dth. When considering the application of dlarcO:lI. pastel. or chalk srains on the 1)'1pcr, bcb>in by applying liglll pressure on the'piece: :lIld gl-adll :l Jly increase tht, pressure :IS the drawing progre~s. This llK' thod of hatchillg :lchie\'t'S an atlllospheric trealment Witll a grain)' textun.' and no lines or abrupt ton.11 changes, with no rr.lce of Ihe individual «roke • . , Studying Values In:l tradi rional drawing, the stu(ly ofva1ut'S is Il L1 mly approached once the prcl im i ll ~ ry sketch is finished and the ti ll' comours of the fi gure Ilave bet'll c.:stablishcd with a strllctural liue. Evaluation is 3 way of creating VOltU)It'S
b)' ma king grad:lIions within a single tOile. W ilen l speaking of naluario n. we Illust think o nly abom bl1d and white and forget about colors. SL1rting from tltis monochromatic gradation. It can be said that \':llues:lff' tOIl t'S, o r, to be more pn.'Cise, ti ll' different intensities of tones. T hese ,,';l Im's enable the representation onighl :.ad slla{low by incn':lsillg or diminishing their intensity.
A
c
, .'
TIU' dirrrt;oo r!tllt Iltlflhini dqwmb on 111l't'X1mtaI rrlirf if lIlt fig..,r. F", iruUi"u, if 11'1" drmv tI sp jorm . Illr Illlfrll;n1,! slu,.dd IN (jm"~)I ;" ti ()'lindrkal suifare, Ihr hQlrl!!fI!: s/IOH/d Ills~ d<'$l"fi/!(' a lHrvr (8); if IIII' Jr<,fou' is jlal, I/lf iJallhing s/Itl,,/d drsrri lx-" slmiJ<h/ /inr (C).
, -Onn- t/J/~--fin.1 plUUN ~j sr";ning OR compkll1f, /h!'
dm",illJ< lI'q,,;m /l'ftlIU
pmision in nfliwl/Wn. nt mn tI,t'f, ' /.W' II,r rdgr ", l!(Jim tf r/,r lJ1Il11.! 1(1 milt '!'
""" .. difj"i/i, ... ",an.ir!('S in f ill}, On'll.
1b creale a fIgure wilh I rich gradation
of \ '31110.$, we muSt forgel aboul lines and
conceptualize the model in hl3ck and n rr:=7:;O white. TIle graphite
pencil's great varielY of harnesses and
formaUi makes il a preferred lrutl'ument for hatching, with a
wide ' pectrum of possible 101les.
'"
EFFECTS
I
~
O ften , when we dl tIll' h Ulllan figllTt', dH~ fi lial rt'sul t :'PPC;II; nat :md umcalistic. This is a
serious problem for many ;lI"tisrs: thl' h \l nl~l l fi gurl' should have a roundcJ~ thfcc:-d imcilsional forlll_
Modeling ~ T lw Icch mquc of moddillg is used very frcqUl' ndy by artists w ho aspire to a sculRlUral corporal ity in the nude. to an almost 13ctile sens.al ion that the (ofms :IT{'
curved mid OCctlpy deep space j l~ the representatio n . "anal grad<l lioll ka~ to modefllg the I lUdl~il l
other words, to creating the die" of voluml'. Modeli' lg is a diRT! conscqucnc"e-.ef the ~adation of light :md shado\\" on the body of ttie figu~. l f Wt'
\
' walll our port raits to appc:lr more dll'cc-dinWllsional 1' ...... or morc solid, Wl' can " model" them with , k l.re Q:! ] or
'to .. l't'llci l and thell fu se t he h ;nchin g 'wlth a tortillon. or •• ~>i eve n wirh o ur fin gers. ;...~ ;I r~~ ., .~\: '~-,- , ..... ... ·~~\l
;;;." .~ 'I' ~ ' • ... " :; H~l!'u u .. w"der /I.e <\1/ .. ",(' -n.t1!~mt'r ,/'f romm>r III 11,(,
.if 1/1<' u~i,,~'I,'s ill i1.fi~uTl'~ ",O'driluS, 1/1(' f!.rI'aler Ille rJf«t ~ '" ' (lol/,iuS, I~'ii",'. gmt/illS U" :P ,"1 of I/leltg"rr~ I/m'f'-
iull'mily ~(II", .l.'liIys, i l is /.IP diJUl1IsiO/llIlity will /J('. "Iso'uli,,/I,' (<>I" .. '/liIe
"t......... tlilotli,'u '!( llu- ;1",tlilfj!1. "/7,( '.:'" mi$j,tl.' 4'~"" III(s will! a
.~rop/'il" I,,',,(il is drlim't: <llId
m'"" .s.rCW~~Pt 1f'l1lI/ shift •.
" .IT./
i'"
For bel le r modeling, il is p..., re rable 10 work with c harcoa l sti cks ralher Ihan a c harcoal pendl. C harcoal Slick s smooth and " lend e asily, while the p ressed c hHc.oal or a penci l prod uces ve ry intense lines that arc hard to b lend.
,o/ VO LUME
Forcing Contrasts A richn~ of n' flectious al1<1 sha<Io\\'l Gm bt.produced 11), thc art ist 11)' surroundmg the liguTt' wilh d ement<; Ihal eK':lIe Imanet'S on th .. skin. T llc rt'flcction of lighl on a whirl,' dOlh makt."S shadows lightcr: if rhe cloth i~ red, t ilt" sh:l(Iow .. arr tinted wi th th is color and ~hadc the body \\ ilh its tonc. Simib. .. ly, if an object imerrupts thc trJj~'C tor)' of til(' light, its shadow will be cast un the nude, crl'ating :ln d lect with pou'ntbl piclorb l mt.:'rt."SI.
Tr.msitions Between Shadows Tr.lIlsi tiolls !x'twl'cn sha(lowl---fiulll l i~ht to dark and clark to light--arc pro(Iuccd through difl~n.'111 means dq )cnding 0 11 the ll1l'dia l'l1Iplo)'l'd. ln pencil, tl1l'SC grad.1tiollS a .... : achicwd by tighto.: lli ng Ihl' [I':Ice amI 3CCUlllub ti llg cl\)SShald ll's to darken the slwdow; with ch:lrcoal, ti ll' (brkcnillg is madl' by illlcnsi rying Ihe imprcssion of the nick, and tIll' Ira llSitions arc produccd by Gdil lg Ihe stail l of ti ll' charcoal; tht' procl.~~ wilh chalk or pa~It'J s is vt.' ry similar. Till' 6dillg e:l.Il also be donc wilh a lo rtillon.
Controlling the Direc tion of the Stroke To produn' the effect of\'oll1lllc on a figure, we mu~ conu-ol thc di rcction of Ihe sno ke. It is no t sufficit,nt 10 appl)' hatching; Wt' must impress upon il til<' propt.'!" direction. For insClncc, thc h.1 lr hing of an arm sllOold be .:locular, In a cun't.-d surface slIch as Ihe aixlom l.'n or bUllOCks, il should also d.,.-sc ribe a curvc. O n thc otht'r hand, if the surf an' is f\a ([er, sud} as a back or a torso, thc hatching should be stra ight. As. 3 result, the rorm of these su\)kes should be consistl'l1I with the w:w('s and re licf'; o r the body.
Modr/illR is bawd "" Il,l' «,.m-I dnniJ!fin" if I/lf rrli,.il if II ... III",wII figl/'f, " "d it />fRi1lS 1.,;,1. , I/I floC' lh Im". ;I;t>1/S M Kmdmi~II' Ildwr."CI' /ollr.s..
Thr tffi"n ~r Imooll,i"Ji is rum/."I itt d",/CI~pillJ!" (,'mYI IIIddrlillg. HI/,r" 11ll' 1" "WlIft' if lJ.r Ii".. is JI'PI'~' II ... INlIlI
<JJrrtf J!,i"" ,_inma', proattti,'f!" IIIOf<' ,.;m.linl q[«t ill IIw:h"".
.\lmkl;"x 1I.,"' I1S S(1oil',i"g ",,/1, S4!fi lon""i';''''1 ",'I'J(I" ",,,I , IUIlh'l ,oroJ'lfi'Ig" "'''ilf "1't't'IU,lIlfr;1I II ...
.r.1l,,~ lI r $0' thin II>
trxl",n ""d ,hr } rlds if Illr sk", ",.. ,(wnlrtf Ily ,hr I~"" ,,>, i,.~IIJ ,", 11",111 .
C hiamscum is till' gr.l (i.1tion . 1 •
from white- usually g ivell :IS the blank to the most intense bl:tck [h;1t we obtain by
CHIAROSCURO EFFECTS: WORKING ((}(/,1 ABSOLUTE CONTRAST
A Dramatic Effect Chiaroscuro is the most dr.lmatil- oflightillg dTt'crs. It consists of subjecting the IlU{k' to :1Il illll'OSC light source that divides the :In:ltomy into wry brightly lit an:as ami and a total (b rknL'!>.~ that blends into du: b:lckgrolllld. Tilis effect was used frequently by the p.1intcrs ohhl' Baroqul' period to illtcmi/y the dr~ l1la and expr<-'SSivc nl~ of their works.Tll(~ mon~ intCllSt.' ti ll' chlaroscuro--h:lt i~, the grca tl'T th .. COIl(r:t~t b l'(\.\'('(- n
light :l l ld dark ,,-:. Iues- the greater the remlting ~nsc of VolWllC, and the more ('Videm the effect oflight 0 11 the figuT(; will be. Similarly, a gn-atcr contrast bdwecil light ;md shadow product'S a great.:r number of i lll enmxliatl~ va lul'$ tlla t IllUSt be inciudt"l:i fi)r thl' forms to maimaill a continuous ~urf.'1cl;'. Tl l i s also holds for the VOllllll L-S of tlw nude, w hich are fOumk-d and in w hich thl'
transi tioll from lightio'St to most shaded i~ prcxhlCed in a smootn, progres.~iV(' manner: when this tmnsition is im crruptl.'d abruptly, the shadow appears sh arp{~r and the effect is a con tour.
'r" ",,,,k willi (ilim'l!SClIrO 1110,,·
emilj.,J«,u a
Ji,,~/r, inlc""'/ig/" SOlUTe "'" IIII'
hurc~ siM.
By (lpNlillg "I' u,f,i'f DIem Willi a iif/ rmslT
Oil a I1mll'IIR mol1r 11.,/1 imrl!5r fliarfOliI Im'c/,;"s, .... [011 p.ool<fC a t/,iOmKUm <:Ifni
ill ,hc jrgmr, "/,,,imi/,S illlnmrr/inir 10111'1.
,
It Slim,}! ronlllUl /J('n ......... light tlltd sJt(I(/l'd <JmU (1 ,,11(> n.~ of f1k'IlkfinJ: prM •• n '"
dm.ltlIrir, m rprisi ng qfrrI in lilt fiR /Uf'.
Sh;lfp and Smooth Con troisU The group of chiaroscuro values employed in :I drawing cOIlniwtes a spect rum, within which v.<e can choose a lighter or darker tone, o r accentuarr the contrast bc:t"'~CIl the vailies closest to white or black. The spectrum of tOiles that appear in the drawll lg affects the intensity. harmony. and aunosphere of the compcWuon.A wide sJ>CctnllTl with a large number of intermediate tones is mOTC fertile 3nd visually lI ttncri\'t', but if it is too rich, tho"t: is a danger ofbreakillg up the IInlty and harmony of the whole.
Light and Dark Areas In :I chiaroscuro, the light areas must always be fIl':c of pigment, but if we make a mistake, \I.-'t: can partly recover d lest': areas with a soft L'F.ISe r. The darkest areas ShOllld also be: given spl'cial rreatrn~nt . OIlC~ W~ hav~ achieved an im~l1se tone, we leave the area definitively and do not touch it agam, to avoid Jl.'"ducing the absorballcy of the paper, which would m.1ke it impos.sible to achi~ a (Luker tO ile, 00 mailer how hard \O.l! try,
111 II r t.iQ1l)J(U/Il, tl~
lighll'J (IT(/IJ sl_1d bt lift ""t(lj~ltd, N o,itr h"", lilt mOilS liglitillJ! 1'1,,",1 dil.fOl, "I'J "'f fiJ!lIrr~ ollt/illl' 0" its ,iglltIUlnd sidr,
"
'111n1' IWI' d",...,il1,R' if" (I sl" lrrr (II/Oil' u, ro bcllrr IIl1dcrs/(ll1d ,'', difli'rn-r N 'IUft1' (I ''O/ilmt n'lld~n:d
1/;11, modr/il1g <K $LIllI'''''''' rffms (A) lind ,,; 111 (lJifl¥OSl"ro tifrrn (B), 'n", jmHtr o:lribils smoolh 1(N1II/1","siticm, wllt"n'af in til(' /aftrr, IIIl' (m,/mj /
bt"l'ft'I1111(' lighted /lIuI Jil(llkd ""'<IS is IIIOff'
''''''''''''I(td,
•
THE CLOTHED
T ht' sn ldy of till' figure SllOUJd 1101 be re1c!,':Jlcd to dr.lwing nudes. We shouldn 't forget dothnl figun:s lkpictt'd in ewryday situations. For the
arn:m.'II T artist , (his Sll bjl'ct presents /Tom th (~ outset a simpkr n'ndcring solution t],an the nude. bl'callS\.' clothing obscuTl:'s thl' Illodel's 31lalOlIlical rdid s 3m\IllUscuiar protlle. TIlt' goalls not only to dr:.w a wdlproportioned body and li lt' posture it :ll;SUmCS, but also Il lC draping oric: {lrt~s.~ ,:lIld tilt: U CaSL'lI ,md fold~ that it produces. f'urtlll'rmoR", till.' clothing that drcssL'S a fi gure Silould bl' represented cOllvincingly: irthe model miSL'S h is ann, t h l~ wrillkk-s il l his jacket should match tlll' limb's m otio ll.
i •
i , • e -<
STUDYING (fit' INN ER STRUCTURE ~! (
BODY ~:::tJ'-:iL ~ L - 'v .~~, Perhaps the hardest task for the am.1 t t'li r ;m ist 1--
dn.wing the clothed figuIT is rl1m~scntlllg the form Iliddcn underneath tht., d othillg. ln 3 clo thed l\ fig ure. Ihe problems [11:11 ar ise h:lVe to do with the ~ ' . quali ty of the textiks of the clothing, with their ) ~ wrinkles ,uld curved SUn.1Ces, w hich make it difficul t . '~, to undcrstmld ti ll" pose o r altitude tha t the body /1 j. s/wuld nWIIl<lf/' tllr rlol/led figuR' 1 assUlnes in (crt;! in situatiollS.
Understanding the Structure of the Figure As with the Ilude hUITl.1n fi~\Jre . it is neCl'SS:uy to UlldCrst:'llld the model as an o rb'anic w ho le, but with a dodu,'d figure we ha~~ an advalltage in that, if a part oftht, bOody remains hidden or seems coufilsing, we call try (0 imagine its inner stnlCture. the position tlL1 ! the limbs adopt in :l nude pose. To do so, it hdps to draw simple geometric SII<l I>t"S th<lt cOIl5[itutc the dnwillg's in/Tastructurc. From the re, the gool is to <ld:lpt ti ll: clothing to the IllOdd . Very few garmellts reVl':l l lhe dl'uils of tile ,m:l IOm~', SO thc form o f the body <ll ld the w ri llkl ts :I re detl'TIllincd by thc rypc of garmclll \NOm by the fib'lltc and the weigllt and rigidiry o f its fabric I
\ 11
I 'I,
A
"sr 11'1 n IImlr, 1~"(!fIIIR Ih, foMs 111 II,r rll'/lulI}! m,d 1<'10/(;"11 luslrl//1 " I ti ll" pesr In ils nllirr/)'
fjll l(' ilJ!l'rrs In ,I,.. d""""8 mr '''f'Ifrillllioosr (/l'l/rirl,e il ""'Y"" dfOiml1 10 ''IS,,,Ji-tt Ilmr 1",1l'f strut/II" (A), ".,J.fw II,is mTJClfI i, ,041/ N- l{ KIf"I //rlp '0 IN' "'J:i,,"i,~ afliIl '0 i'''''Ii'1f' "it .. lObi lIudt', M d ' T)' 10 dim" ," from wrll (KIM' rtltl, f{ ,/1f' ptullw,u if,/ .. J;",bs (n). fj "u"dl'l'JjiuJ<," 'hr fiP" is '<10 {(!IfIl'limrrd "lid u.- "fI' "II,,/>Ir M J!'1f'U m "U' Ii",b ~ ICI'm;rw/s Ofl ,II" "'ISis if IlIr 10h& /Iwy (f<!" lr ill Il,r t lorlu',,);, I .... COli '''01 10 " gOJlI'ffri( J~'I' rr/l, /llId Iry '0 ,mdrntalld tI'r body em tlK' Nulr ,!j's;IIIp/r ",I"mr,ri .. i /mJJt'J (C) .
I
I " c
The Folds of the JOloU Depending on tilt: type of garment or fabr it: th;lt covers the body, the motion of the figure will be more or k'!\.~ evident: it is easier to discover a shape underneath a silk d ress than a woolen 0I1C. ElastIC ~}1nlll:nts such <'IS those worn by gymnasts or cyclists. mold the body
\ but also confine it. T he fold\ in the clothing and \ the (omours of tight garments arc a good index 'for finding the body's volume. as well as the ~1J1( of several factors, such as the rigidity of the f.,bric and the pby of the body's artjculalions and joints. Keep in mind that the brea~ts, dbows, :lIld km:e$ arc suggested by cn..":lSt';S ill the doth; the wrinkles and tensions in thc.fab,ric actually explain the bends and
l1'05"i[iol1, of the limbs. \ \
*t Clpthing Reveals About Personality
A rticubr d o thing style call tell us a great dea lout the person we"ring it; likcwisc. wh"t ~ w~ ,,\Jb. influenct:S thc way we fcd and Illovt:. A:"~ong;~oosc dn:s,~ gives <I woman a ccrtain g~ee, and llris is rcflce tt'd in the way silc sits. Wcarini!i.tca~nd informal d othing, the same person ,WJ'"fed complctdy diffcrcut, and this will bc rdlehed in " mon: rdaxt:d pose. Likewisc, a m"n in a suit and tic tends to sit in a more r igid m.anner than ont' wearing informal dorhCli.
n,r I..ry ".",i ill dm"~IIg dotl' fd Ji.gum ;s ''J ;ml'l!fiCtlt;oJl. " Himllsm't ,,,ake Ihe m;51aJ. ... if d""";"8 details "lid 1,";}(h" N. It ;s ffSt:mial thaI "'''fint draw tI sh' /(I, if Ihr poY (lJulJrom il df, .. lop a 5J. ... /(h II"" ;,ulllda a IJn'/i .. ,itlaTY SIIIdy if tllf g.<UialiollS if ligl" "lid shadow.
Today, ",Melv rlolhill8 Imds 10 III: rlas/ic, ""d it "di,ms rlrnly /0 'III" IIOlIy, so i/ dOf'SII ~ oI'5LII'" 1111" fig"l1' ~ O.JaIO'''''al J'lofile.
, J
CLOTHING FOLDS: CREATI NG TEXTURAL EFFECTS
I\'" ti« in II,is If'riN if """'';''XJ ,I ... tI!ffi'n'''' IIlIUt.i11Jl, ",,"iMi/if'1 fot "lJR..tll(;"g (lNhi'~ "Y dq,it,jJlg i/1 nt'<!J('J ~Ull
IO·IIIrt'J. n ... jim l.ta/lPlrul '!( tl ... /iXllll';/ rl,e skrlth, (IIul/hrl'(' Is I/oli,illg Ill'ltt. ,11m, lI.i,~ lil t jim s;," ,.if ,,,, (Iw/~' /0 ohMi" l Y'rlh('lit
11lI/(/.jll1! cffi'rll. A '"" J/rokn nrt' t,~,,~Jr It}
IIIarl.: r/,.. dim:ti"" ,!111f'
'"=
~
. ;1
~ , \
~
T he IllOSt illlportant :tSpt.'Cts of the c1othl'd fib,\l rc are the dr..pi llg of
the g:l rmt'1ll and (hl' type'S o f Cfl>;ISl.'1 o r w rinkles that it fornK A IOwl: l. j :1ckel . shroud, or silk dn'S~ look~ vcry dirrcn,m from bare flesh.
D raw ing C reases 1) r.l wil1~ of c101hing, f.1br ia. :1nd o rn:lI llt'rl LS of ally kind prese nt a St.- riOllS challenb'l! thM mer its discussion. TIle creases Ihal eTJvelo p a fib'tm: can appear thick and r ib<id or ~ubdt: and v.lpomus, ~"\1.'al in~ tl'llforms or the body undcrnc:llh. Lighter fu brics such 3S ~ lk o r cot ton cn!;ue many slIlall wrin kles. ,nllt I h~y
usually pn!SCI11 \'l'ry fine ton~ t \":llues; vdw r :lI1d wool. 011 till' OIht'r h:md , produce m ore r igid, SCp~ I':1 t (' wrinkles,Tht, CrtllSes and fotd~ o f thin , tr.mstll e~nt r.,brics :H~ softer and ilIOn! numerous; heavier labrics ha\'e ft'we r and larger fo lds, A i-,'OOO cxe~ is to mak~ studies of wrinkled ).:'Irmcnl5 that ),011 find in your dr:aw(' r; h), doing so, you will sec fo r youndf that c\'Cry fabric h;'!~ I~ own, di~tincrjw propl,rtil"S dq>Cllding on the quality o f their fold~. how they fall. and the dcgr('(' to which the)' ~bsorb or reflect lighLThe illlp<.Jrt~nt tllll lg is th;'! t your penni Tl~pond to the SCns.1lio ll o f the IIlmt'r ial on the clothed fib'Ure,
1'Of''' , ...".. dt;flIilrd d",,,,j";R lI'illl rlf(tI~',IW (111/
, 1St' II ... $m~III{lHiIiOIi '<' r,tl"md ","I ~1I1",~ ,111' SfIIJ'J. ";, tim'" ,uri.lklr$ n.mrlr. 'w 1/1"'1111 lor m ' tTlI' d,,,, I/I('Y ,mv/,Off' JI.,w.'11'S. "",/,/'''' III,.y <lise s/" .. ,' "ON'S." <11m.< iIII ntlkll II,r IW" jilts tfilf'{rly,
Clothing and Anatomy
0"'
To anal)'7.e the folds of an item
~ ofdothina; . il is a " ~j good excrci$C 10 fin t make a linear treatmem of the
The rendent:y to usc:: s),nd1t:ti ( materials in the manuf.1chlrC or all kinds or g;trmcnts crcat .. -s many varied shines :lIld reflections to rendcr in drawing. EVl'n Ille \\Irinkle~ or cre:lSeS created by loos .. ·-fi tting athletic clothes an: rypicd of me ;\rtifi cial mMerials they arc made of. T ight dothinJ; Cllnnot hide ;marol1ucal delects. A too-high hipbonc. disproportionate arms, or poorly dnr.wn ft'C l will be immediately noticeable. Tight clothing tcuds not to show wTinkies and describes the
/ { ' figure, drawing all ( k \J On" w ';nkk .. ,
C0l110111'$. in tltis .,. .. ay. we will
'/' ~:.::? J, ~~~:::~:~: an.1tomy pcrfl·ctly. by revealing rhe profik, and because the muscle Ol;\SS can be seen through
/ . material with the garment. toose-fi ttinJ; clothing, however, hides the allatom ical re lief of the body and shO\\15 more folds. Wrinkles produce ~hadO\vs. ;md in their crests. areas on which light f.1 11s directly. This creates the need to analyze the tonal '/llues and c::arefully nuance "'very surface more meticulously than tight clothing.
... ~ p which the I ./ L~ 1.";lI"m(''711 wu
made.
I
-'
I ' /"
G m,>llilr I'nlril;s II,e "'tlJl "/~!Il'/"it!lr mrdim" for drlkmr 'Klfk. Ht WII ",,,, j, ,1,,· lilllili '/ ~/,mlrr/ "'1'<U
allJ fill rwh '!flhNn in ",;111 gray ha/rlli,I.\:. 1/ is 'IC'I'r.SJary /0 grndr Gild ,."",.,... " .... y J"!hr, S<~/lNi,1K'I ItT)' rnnimwru/y, bmmir II,.. gmdalil'lu if "~,,IIi'r IlfNil <Ill' I"'y.l;,.,.;n mtlJl <_3.
n,t ball-poi'" fIOl ;S Ilnll"". IIII' 00, .XII*, if all d""'ffl,e immmrnlls, IJlII i , is "',.. .. 'Iu1ru
fmJ' fftll/y "srd by 1~1i'1 a",'JfS. liS slrit,ly /i,WtJ, Mlnlirs
ftwrr Iht "UistiO ".,,1... ... IMUhin/{
011 (/",/Ii"J! bturd AI JlfrlllirJ if OI'frl"T'pi,'S lilld
o RAP •
RHYTl-r NKLES': :'"
ere"" T ht.. trad itional conlplclIlt'nt to nud t.' figure is the drape and
Ih.11 it producClI. lrs nlllctio n i~ :mccdoral: It IS ~ (annal
simply • ~ . thM allows on~~_
forms of the K to harmonize and :tdding 1I (Ouch ncccs.<;.;1I)'.
the i .~
Drawing the Drape Dr.lwiug the dr:lpt: is :mother
of f.1shion today. which, ~l~:~;; :I~~ Irad ilional1y expected .t ~ oon'!olSD III pellCt! or charcoal the folds and the general (onn of a cloth hanging or (;ll\ing OVCf a <:hair or 5(001. T he purpose ofthi!; exercise is to C)(t!rcl.'ie the student'S
skill III rendering light alld srndow, and in creating a comphClled and ddailed volume. Drapt:s an: also mlcl'CS!il.!,; /Tom a compositional paim of view, b Cc;l IlS{' if necessary, they allow for a balancing picto ri ;'!! spac!!' by compensating Ihe excessive of the forms of the figu re through the cr;'"cro,';n thei r folch.
'I~ rr('lnn" " ""/sf ,,'IPrl! «!.r{i.//), <'" • . ~m.M"I>fIS ""'/ "I""ing "1' slrmla f ·' ,hr /"&/IIIgl,,..,/ f/tM!.
·n Ul rh),t hm of Lh" trace a~ ;t r'-----,
COIII"~ ~'HI b'OCS
Ca n he used to render a drnpc
whi le also c reating an
au rael;,"" l:ib'"Ug efli:cl. Z igzalli:ing Lf''''----'
IhM. ... call ~UGf::CS1 cn: ~!iC. a"d folds rhythmically aud
fair l), nan,rnll)·.
/
I .,
Abstract Drawing Drawing the drape c:m be considen:d an ~utheJltic abstract d rawing, given tht: geomdric complexity inherent in the folds and thciT imlcpendcncc from tile figurative for ms. In th is sense, it is intell."S ting when drawing tht' drape to find that th t: problt:ms of line. chiaroscuro. and modeling an: nakedly t:vident ht:Tt'. ' Illt' exact construction of folds and their shadows is inessential; it is more interesting to interpret drapes in an abbrcviatt:d . skt.'l.chy manner, in agn:t:ment with the char.l(:teristK lightness of these secondary clements of a figure dra\vtng.
Dr"P"f nl'!' " '"or»' twnKti,., romp"'IU'IIIIO 0011, C/O/hid fiJ!.mf'$ Imd tllllft .. "11"" add d ''try ma",,("f"{'d dffOl'llli,y iffm 111111 millis lilt
4igz~ C!J'ml IIl'Ilbtsq"t.
Although you may sC"(' this ;!$ a complex pro lJlem, do not be d iscouragt:d. Look at tile' objt:ct as all abstraction and reduce it to simple forms and sur6 ces. The key is to obst:rve the way th:,t clothing falls :md adjusts to the forms of the body. It is a nllltter of tra ining )'Our Lj't: to appreciate the structure and form of wrinkks with clarity, as a whole lnd individu:illy. T his cohcn:nt vision allow'S us 10 sec it all dearly: a tucked-in pan here. a protrusion there,o\'('r here a broad conc:avily, etc.
if )'O" ohscJ"lor Ihe dmpe:s nlld (I'!'tUN of (101/';"8 ill iso/II';o", )"'" rml look at litrlll as /ltl abwwl w'"I"'S"',,,,,, TIll' ,,,rul illl".,rlm" Ihi,~ is 10 rofllidn 111m- sl",wln' o"d ,!(If forgrl II~ Jir«tfull of "it (Iollri",,: mrwd. I!.MI}'
,"";"klts (A), ,mil l lmighl. ,"'1h(m (ltAA'S (H).
if )'LII/ IIII' dm,villg afiKUre l>'1'tl, "UI"y rwurI, )"''' 11111>, r/1OOSt 10 Slma,,1'!' till'
;'iformotiou. l ht Jint 5tq!
is 10 mdlu til, OIdlilN' oj ", d~ modtI ""d ww* U;l/' simplt forms ;nd,mf j'tg tilt' form olld posilicol if tnth
~. "'''tII, palintllr, r.>:tmd ti" IWI(lnllg Ihll/ PUnlWaln mId gi'>t$ voI,m'l til lilt <!mi .
,
'"
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••
FIGURE (f/l(! ITS CONTEXT
M OM spo ntaneous fi!-:lIrc drawings aTe t:lkt'n from ewryd1Y life, All yOIl have to do is observt: the
fib>1.m: ~ t home, on the SIn'l't , or at work, and find i~ pictor;:.1 asPt'cts, In f.1ct, one of thl' most interesting su bjl'Cl~ for drawing smdit.:s is tile intnion; of public buildings---b;u'S , restall rant, cafe(eria,~, dance halls, etc. In Ihl'Se sllfrounding;, fib'lll-eli appear in mOT{' natural PO:;o', rcVt':11ing tlleir char~Cl t'r and sociabilit y, Drawing the background in which you find the figure is of great help in drawing the figure lateT,
Drawing Arc hi tec h lre Drawin~ fib'l,rcs in an interior ofil'n in\'o[ws dealing with the pcr.;pl'ct.i\"e of the setting. But pcrspecriw need not lx- a prolJleUl, for iI, too, can Ix: used to ~blish a d ear background, and thus the COllllXlrison of the size of th(' figure wi th (he objects in the oockground can Ix: cxtTemdy practical in achieving a JTa!istk n.-pn.'SCntltlon of the figure itself ;md its surroundings.
" lls variation is of particular inten:st:: the participation of architl'cture In (h(" cOIllpt».ition of (he n:btionship bcrv.ecn thl' figure and the dccor can be so signific.ant th.at to ib,"on: it IS to dmy the dr.I\ving what could potentially be one of its IllOs( nOlable traits,
f
if i'll/end cf ''''''~·hl.l! ill slmI."t"1I /1tJ1 d,,~rl)' tk/U l("(ttt' rllf fi..r.:rl.rs' ,,,moors, )"" tim", IlwlJf wi,1I a blUrT"(, alrl~JfI"ir I'm/i"", 1"'"
(JI;1Ii",,. a jlrrtJlrr i/ll'"1!fI(Ili(nI if '/It".fi.l~"' · alltl il s ""'kgmlllld,
Pm/Iffli.'t' is n l")' focI", ill rqlft'XfJlil1Sfigllrrs jll mil/lXI, II/ Slnlf3 f ' l(l, m: flois omt', mllkt' tJe/e of ItOUll /l f fw"rrs J!ro ... Jmallrr a"d g,,,,~ Jl"'Rr=ivrj), d;Sloloml I/U'filfllo.., /111')' j!t'f from II'f jOffg""md, J
~~ .(
/ I
Com;retion and Indeterillin3cy TI1t~ figu re: is genemlly rmdered concn:tdy whik' itl; surroundings ~rc left sketchy and indett'TllI inate. Its concretion dOt'Sn't necessarily IIlcan we- II- defined contours, but ruther a 1l10rc illlense line (:I. very common error ~Illong beginners is 10 draw :I. defimle COntour around the fib'1.lrc, :l.nd thus dcuching it completely from the backgmund). light conditions un ll1:1. kt i~;;:==:!It: so that parts of the figurc appe;!r to meld into till' backgrou nd, and part ohhe wcct!SS of a drawing dcpends on softClling it5 lIl:lrgins and omitting dCtllils, leaving ~olll e things to the vicwt'T's imagination.
The backgrou nd that contt'xrwIJizt.'S the fi b'l.1re may includ~' just a few lint:.'; or marks, but Ihl'f\! is ~ 1111 OSI :llw:l.)'S some indication Ihal something more lics behind thelll ,
A Stlldy if h'rrs i" nil lime" fmrtfJCtrpt' iJ II<! MSy lllSk.f .... ,IH' fiJ!urrs nrt' nnorT stilf. This j<,f(n II~ nw 'sI ," ",. JCkt,i ..... tim,,, ill Jyr,fl'Nis, nUll "ay aflrllli(III, I""i£ally, 10 ' hr nl/;lI/or cf "If 1II,.arf IIUO 1<1 II" olljrr:/J nrmmtf Mm .
'Ow I'n{rlr if Ihr (W)OI fw,lIIrs sll,>'1JJ mOlt ill/rom', IIIOI,,,,,'1(rt/ 1i, 'f'S, IlllIirl, I,rlps 10 oiffi'mlfin("lhrrn fit"" II,r h«k)1r<xmo,
•
t 1,1 ,
,.,
To draw quick slUdics. a graphite pellcil is among the most recommcnded
~ ""d;",,,,. A
~' g~aphi tc pc"~1
" b'l\'CS U $ a vancty I" of strokes: drawing with a , hilTpened point (A). a dull
~' point (IJ). ~ with
A the point
Il completdy tilted onto its side (q.
,
c ~
AND
• " Wi,I. rjJrcrs, bil'lItfi"j? tllltl slI/CJ(IlflinX. (lt1)II";'~(! SII,I,.\'fSlilig jllm/()/JiIiIY. 1MbililY,
8m"il)'. densiry, tI"dfimlllr.ss, disappears mId is tli/rlled ill 'he jlllitf (III/I i/lulI/giMe-a illlllil1(ms lIibmtioll Iltal Imllsfa/rs (Iff Ille nppl'llmllctS tif tilt' worM. "
,.
THE ARTIST'S
•
f ....
00,
Wh~n {Ir.lwi llg the hllm~ tl fi gure, o ne of the :l1'list's biggL'St challenges is to ('xpn:ss :md rcpn:st.·1]( the va ri Olls IClo;WI1.:S :llld wm~ fOlllld o n the hUllIall
body, sl1ch as ~ kin pigmentation , w r inkk"S. and body and f.1cial hair. To do ~n. d ie artiH IK"Cd re ly 'iOldy on the b.uic d r.lw ing Icdll li<III L'S o f linc, blcndinl,:. \'olullle, er.l~illg. aud gr:ldalioll--:\lI of which can .. Iso bt, :applit'd ill dr:lwin,"", to ('R-all' auno~hcR."-to achieve his or her artistic intcrprt'L1fion of till' human IlIOtld .
,
RENDERING Iii" ATMOSPHERE
AROUND /Rc FIGURE T ht" atmosphere of;r. dnwing
dL'JlCl1ds on th~ h:lTIlIony that dom inates thc scene and L,,\'oktli a determinate SCl lUl iol1 Qf light,a faClOr of :lrtis(ic qU:llity th:!t is important to observe.
Nonetheless, 1I1.mrt from the illtclisi ty ami qua lity o f the lighting, there li re o ther f.,ctors (hit
conditiOfl tht, lltll10spllCric climate: dlt." intonation of color.;., the chiaroscuro dfccl , contrasts, a greater o r lesser usc o f modeling,
'''. Drawing the Air Around the Figure The <Itlllosphcn: should Ix: prt.'SCnt in the work ;IS ;111 ;liT surrounding the figure. The effect o f ;ulllosphcrc is an opti(;l.\ illusion prodIlCL'i.\ by \v:ltcr v.lpor and the dust panicks in the ai r. w hich discolors and partly blurs the forms and profile; of the figl.ln·.l1lis IS tht' opposi te o f the 1t.1rd contours lmd precision of the dnwing. 'nIl,' atmosphere shoukllx: fluid. cOlltiIlUOUS, unified, and uninterrupted . The absence of clari ty i~ the kL')'. W ith a (on"eet tOnal Lv.l luatiOIl of each of the dr~\Villg's pIaIlL"S. we can recrea ttO in them a li!:\h tcr or (kl1."t!T atmosphere, deciding o n the basis of the intclISiry ofil~ to nes w hat SP«"trulll of gr:tyS should occupy each pbnc.
"0 ",hifllf' an afllWl'hrrit ("fol, tI~ gm)'S aud lomll J!f"Mallo.lS sho,,1d ".. IJemled (IIId ~",oo//lrd ow, 11'1111 II" ",siiJl! SlroJ..lf'J, a"d wft ImllsitiC'1ls M/I I'I'tII 11>11/'1..
!( " If' blrlld .cmys itllo ("11(/1 /'IIIrr,
diOlljullIillX nllf illUIIsr I/(I{"t"S, Ihe
f1JZm" lOll'S
dtjillil illil bill J!'I'i", IlIllKlS,>llrrr.
r.."i"/If ddi".d, diffitlt' ,woJi'" IIt<l/II' ,";/h s41linN ;,,/log,a/I' 1111'/"."1' /0 IIII' u~,i" if/lwo papn,J!iviR,fl;' ''' IlIllKl$phnit rffivl.
t ~
"" , l
I ~.
~ ~
,," ---. , ) -#
~ f
¥..' /:"'~ .. -.-:;r- ,/
-,
Atmospheric Hatching An 3t1llospheric effect ckpends above :111 elSt' " 11 our skill dll r ing the hatching process, a~ we il1( I'Ca..e the prt'l;.~lIfe on Ihe charcoal, pa~l el, or t'h ;llk ;md impress it!. sirokc UpOI1 th t, paper, The goal is to s h~(ll' or to color, pas.~ing g rndu311 y fro m a lighter lone to the nn;t darker Olle, 311d
so 0 11. Eadl phase shuu ld lx, Kcompanicd by a hght fi llgertip blending t" a",,,id abrupt shifts in tOll C,
Blcnding The difference between smoothing and blending lil'S in the purpO!ie of each, [loth ope r:llions require tkll we run an objecr--a cottOIl r:lg. a fingl'rt ip, d C-QVer a spot of pigmellt on Ihe page. [lut smoot hing is illlended 10
withdmw ,md c"tl'nd color. wherea~ t he purpose of bk nding is to mix the lliffen:m tOlll'S by repeatedly rubbmg the co lor, W ith blcn(ling. til t: llatdling or colo rmg also grows softer, but nOt as ll lUCh as it does wi th ~moothing.
T he Hazy Drawing C harc"al is the idt'allllcdi ullI for producing a hazy drawing, This term refe rs to Ill:lking \'ery subtle tonal grada tion~. dl'Kribing forms without d rawlllg conto urs o r outlines, T his techniq ue. w hich produC(;s w ry foggy. o bsClire figu ll.-'S, consists of imistclltiy rubbing the surf::lCe of the paper wi th OI1C 'S fingert ips n ntil the figure's appearance bt'Collll's v'-porous and atmospheric. The absence of visible pellci l strokes imbues the draw ing w ith pi(tOri~J finish,
'f1,( ba;;d"t'SS if lilis " m",j",~ ,~i,~'S il" l!icM,i,,/ q,mlily, "I,f rffra iSM/,;rw<l by
;m;"m,/y u. .. tI;",~ Ibe gmys.
'"
Ch~ rco~ 1 is used a ~I'\'at deal in at" ""'pl,eric drawings bc";'lI 'IC ;( miJ(cs mul bill'" ca~i l y and po'''''SSCS rich lonal qualities.
AI",o$jJI"~irfi,~"rrs {ml <llso /,.. ,,(IIit1~,tl ll"'''',~11 lillN. I~II II,e Ii"", I/I"SI M,r ,ilia 0/''iI''''' III<' I',,~j/r if Ibr
.fi.~II""I",'tl"';u,~ ,10u~1 0111/
,,/"(IIt;,t1! ;/5 I' /;UI ;I',,1 sllllpn
CREATING VOLU U
~illg w hill' chalk Oil ulluTt'd paper is 011 (;' way to Cfl'ate ;len'Il l'S , bll t lHi:-:ing w hite ch:tlk w ith other
colors or wi th (.:h,m.:oal allows fo r ilion: intl' rlllcd iatt" tonl·~. 11I cn:.uing 'Kl'cn LS. we GlI! play with the intcr;lCliOll of d U'l.T ditfl'CC]J[ f.1 C1ors: th e la nt" of the p.lper, l'h l' 11 ~.' o f chan'o'li or . '010 1"cd chalk, ;m d t he use of whi te ch"lk. We (";111 thncfon- j Un e,ISl" rhe rnngc of tonal v'lilles, w h ich an: llsed tu <:fl':lCC volullll" in th e figure.
Accents in White C halk An acccm i~ the "dllilio n of a [OI l l' lIIuch brighte r thm the papt'T and the o rh.']" mcdi:l Iised . W hen we dr.lw o n a colored bKkgrol1lld, the t O lll 'S Wt' (":I ll make with the charcoal o r ch:tlk ;Ill: lill lill'c\ by lh t." lllt"diullI :mel by till' color of th., papl:r itsdf None theless, th is problcl ll can b~ o\'crconll' by ndding tOllches of wh ite; till" COIllTllS[ is th~1l so sh arp thnt th e drnwin g bc:comes newly intt'fl.'S[illg_
11'1,;,,> IIm'lIIS .~;,~>
II")(~""'" II/''''' ,,,,IIIII/drir
"I'II<',rntll«', I,,'r,"'sr II,,')' ",",,'mil,"" '''~ mm"'.-I Iw"'o ',." it,' l~lI",, 'd mltl ,11,"/1'0
1"!rI~_ I" stlU/i,·S lllUl ,J..,'lritrs ,lid,
II.' 1/11',(·, ,""'11/$ mil II<' 1II<1<lr lI,ill,~ ,I,,'
,f/," sid,· .~r flw ,IMIt",,1 or r/",'k.
s
111,;,,· , /",Ik «~"h"'f'<1 ,,~II, ",/" .. r.>I,.1'1 .'1(11 1'<""'';'/'' II,,· ,/r,,,..,IX ".,/, , I ",,,,I, hrt~H1"r /~lIr11.· if ".<r'/ ,m ,I (,./,nrrllt.u-i..:I!" nmd.
111,;11' d",lk (, '" "/.<0' lor Il..",/,iur rl ill " $;II.~I,· ,lnlll';II.'I "~'/, d" ",,~I/. If II .. """, I" I"''''~''' ,,,,,.,I.~m.I,,,,,,,,. ""'Iim ... ", .. ",1 IIw d",m~" " ,1/(/111 1,<1 (III/I 11,m SIlI)('f;IIII~>5" NI"rl.'1 IIhI" " ".;,/, "I"ll~" .. ,," ,I,,, ",lwl "")"mllll,,l.
Lighter GradatiOlls Tn Hl.·;,U· l J.:r:ldl tlOIl b ... ·cwC\·n ,'hln 'o l l <l nd w hi tl' ,'h:l ll-.., \\'\' liNt d r:lw with eh;! lk rrom o,,~ ~iJl' to .lI1othl ...... lpplyin J.: It',s pre~lI Tl.· wit h e:lc h p:lSS. ~lId thn l ~h :l(k rim b yer w ilh cll :'l rCOll , bu t this l i ll l ~ Wt' :'\pply tlw Inust pn"slll"l' onto Ih l' e h:1n:oal w ltc rl' the k ast I'R"'\III"C w:.~ .\ppticd to the clt:. lk . and vice ,·~rsa . I-In\\,.: w r. it j , not (ht, ""'1111('" tlnng to appl y c.: h :u CO:l1 t.o chalk .IS to :.ppl)' ,·halk to c hal"l.:ual: a differ('"1It rt'!'" h i ~ produn 'd dL'\>C 1lJi ,,~ o n th t· Orol' l" in which thl'y :. re ~pp l inl; u lIly w ith pl~l <,ri o.:e (Iol's OIK' grow ,IC(l(S(OII ll'd to tll l· i .. im er .• ctioll ,
Acc ent Effects Accents ill dlalk C,ln lx' :l ll"tied in swaths of lillt'~, wilh (il- IISt' ~ I ~ ills n fl igh. ill the rOrln of points , o r by d l':l~in~ the ch"lk owr a given area. so that il acquin's a g re<lll' r !,.'l.' lI l'ral brighul<'ss, Acce llls ha\'c 110 effect Whl' lI tht')' :In..' di~pl· rs~·d gr.l tll iWlIsl)' ove!' the emil'(" Sllrf.1l'l' o rth l" drawing; thl'Y only st:l11d o ut W ll l' lI 1111,:')' an.: l'{IlICl'ntratl"d ill thOSt., parts of the dr:lwing thaI hl'lp prodllt:t' all illl'rc;li't'd rOlltrJ~1 .md :Il'l'l' iltllaU' the volumc of thl' tigllTe. 0 11 som e ol'c;\siollS. it ilia), CVl'U be Il<'cl"s'I;( ry to add a light hatching "TUuml tI](' acce nt.
/)eli'<I/" "",rk , I",ultl/", t/"ur ill IvI,;/,· wl"ro-'/ ,)(,Iu;ls, lu'f"" U' 1I';,1r litr", it is ,~I~;/Jk,,, ",,,Ia' I~,,I, ,:harp 1i,H's
"ml ':' /'\''l{<'JI;w 11" ""m~. B)' I'fIryill~ 1/1(' /'''''~''11' ,Ir", ,...'" al'I")' ,,, III<' IIt'IHi/. )'<III (,1/1 "u 'ill.~lIis" lilt imcmwdi",c
'Mrs Jr.'''' ,lie I~,ims .!f " ",,xi ll/IIIN /', i)!'fII lCSS.
".
"''0'/" "'on: I'n"CiloC .. ____ .... lI<:<'"",<, i, t_
1'n:I;,ral>l(' 10 nSf' w h ilc ro lorc,I 1>Clll'il inMel/,1 "I' Ih" mltli,ilHI;!1
L ____ ' ch~]k or 1'3"<:1.
j " . . ~ <
~
RRECTING '1IJilloft! ERAS IN G
D uring the pn)co.'SS of iLS CTl'n tioll , the drawillg llnde rgoe~ COIlMant l'hangcs,
~ 10 the point that the initial outhn~ St'r\1.'S " only as a perdl; it is therdon- illlport:lIl t for
\
the artist to transform the work com t:mtly, each tlme o.'Stablishing more forcefu lly tht" line that constitutes the drawillg's pl:lI1l'S and forms,
As the fiml profile of ti ll' (i r.lwing begins to take shape, the li nes that con~ti tlil c it begin to OVI:rbp with earlier lines, in ~ uch a w:ly that the process can Ix- S/,' L' n ;IS a continuous correction of for lllS, IIl1 tll they overpower the earlier tines, making it U1J1lecnsary to cra.~ till'lIl ,
The M.istake as an Expressive Factor In the work of many profeS!;ionnt nrtists,
!cOrrt.ctions and repcritions arc dcl iber:ltdy left ill the final drawing as a prnctic.ll
. resourcl' tllM t e nd~ vitality to till' dr:lwing.
r or cven suggcst.~ act ion or 11I0V,' lI1l' lII in thc fib'llre; these corrcctioll~ art" known a(
'~ pentimenti. o r regrets. PelllimcnD express a strnngc f;b(' iwltiun
with unflnishednes.<i o r skt"tchinC'SS, :lIId w ith thc procl.'SS of dr.l\\ ing iudf, mther than the carefully fi nished pr()(luct, a temlenc), that reveals the romantic in all of us.Tbcrefo~, when we make llli.~rnkL'S it is prefer:lble to forget about them and draw m Orl' precise, vigorous li lles alollj:.tSide them . Every drawing should be ~n l'xpcrillletl tal. ever~challgiJlg process, To tryout a form tentatively, and then make adju5t lll cnt.~ and corrections to ir-thl."'Sc arc fundamental pans of c\'Cry c reativc proc~.
CI,,,I(OO/ IIWkn it lJ(>f.j ilHr '" t'rrUr '''1' ]i.e"¥(' If'ptnlttlly ill <'<lin '" ~M IIru' lillI'S ' Il llwd!fl' ,II{' I'rtI';('IIS OlltS; llOu""",,, ill lids s/.Y'lr/" , III' I'llr/irr mnrks "If' still " tiblt alall~s;,k "'I' /lfII' (1111'S.
Phantom Lines Drawillgs in chan:oal arc l1l:lde by :ldding one ovcrlapping line after :lnother, which are c rast-.:l or corfL"Ctoo over the course of ncatillg the drowing. This ac(.:umuiatiOIl of discarded lincs"phantom" lines---crea[(;.'S an int(.:rt"Sting tOllal cfft.'(:t on the foundation of the page, and someti rnt.'S even Ie lldS a greatcr expressiveness :lnd adds variety to the drawi llg.The result is a ft.ow confidellt, powcrfullincs that emerge from what has, in fact, heen an imense process of drawing and redmwing.
Sol llt" m1i$1> usc pelllilrK'l'li lIS
"""Ihn menliS ,1 exprrssio". 111 uris lllSf", IIIf , in",lln"':ily of Ihr legs gi,~ II", jiRu," a.<t"llJt" 0/ mOliali .
All Intuitive Drawing The contillued practice of drdwillg the nude eventually giVt~ the artist , \11 intui tive knowledgc of the male and female :lllatomics, which allO\\'$ hc r to render virtua lly allY pose autom3tiGllly and render all of its reliefS in tlll..-ir correu place and proportions. This knowledge is gaint.";! by noticing and correcting the mi~takcs one makes, a.lld by aiw3Ys keeping in mind the basic sket(h of proportions and the body's essential anatomi(.:al configurat ion.
.. ,
The complete erasure that is
r - - --'l orten practiced in
the early phases of drawing wi th charcoal is actually done to creale phantom lines lhal se /"\'C as a basc for Ihe nexi i tagc of the drawing.
Petll;mrllli allow liS 10 wulrollllld Iile ~llIdy 115" lir';".!!. (rl"III;rc 1"'l(t·ss ill tl.'IIS/llll1 r/, ... d''1",,,·,,I,
III/,;(h/ol((5 115'0 U'1{"(r lIud 111111.. ... drrisi,,"s n/Jt'"1 I/,e ({lrlITl ,J/«emelll ifl/re Iim/J.! ill /"tIlI' Imt'.
Nfw liUN alf" , III'("liltlllOS(d Oil ,h," ;lIilinl ''''I'S, IIl1d modify II,rjiJ.:"tf~ nl'I'rnml/lt" II,,'il Iht' desired Il115t' i$ Ill/nil/cd. WNf/l WOrkillg'lII a slIIdy, lilies on'srld"", .-msrd, ,,",ie/, ,,/1011'S
us 10 srr / Il(" , )m«jS tlIIlI 11,1' JiJ:l'''' /'115
uuder.gi"'~Jrom II,r SInn (til Iii" ~Iudy III n"gill, ;1 ;5 sliIIl'0ss;hir 10 SU I/,c IJreiim;IInry
pmil;oll if lh" 1';/;5 "lid Iwk).
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BLENDING
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/0 DISSOLVE CONTOURS
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llklldi"g 11';111 0I1" ~fi".I!rr/;JlS., if ,lour illsislt'IIllr. mn liRI"ru 1/'(' IIG/d,i,'R
IIIIIde 1I~/1r c/'",ro;,l .
Astump, or terrilloll , is:l stick made of soft. :lbsorbl'lJ{ paper with a poilll at either c nd, used to rub :md
bic lld TOnes, (0 prodllt:e a gr.J.yi llg o r liglut' li inl; of 'Irt~as drawn ill pencil, charcoal, pa~(ds , or chalk. Cotton balls or swab:<; can also be IIsed for blending :lnd produce slllootlH.'r. more subdc n'sults th:lIl the tc rt ille n.
T he Correctio n Effect Stlllnpinp; is ill itsel f "Imost a form of corret:tioll. W h:l t we art' in fact doillg whell we lise a torrillon is reilloving dust that would o lilelwisc a<lIlcrc to the p;lpcr. Thi~ type of correct ion changes ti ll,' dTcct ohhe line ~nd ran even elim inate it altogdhcr. Stumping can also b: IIsl'd 10 fill holes- those :lrc:t.~ thaI \wrc previously free of d l'lrco:11 o r chalk. This reduce'S the p:lpcr's capacity for more h:ltching o r colo r ing ill I:u er ~ppl i ca tions_
71wsr fiJ.!lIfC's IIl('n'
armed rllli,...l" /'V ~II"UJI;".~ Ijllrs ,ufldr ,,';/1, "'"11~'" pnslrl;
ajirmm'l, I,> R j,'( I/ll' fiJ.!u"'S "",rr mrp"mUI )',
1/'" I,m r fld,/r,1 fl f r lV /ill1'5 t/Jm "",/rrsw,...
,1I .. ir p"!(ifrs.
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Opening Wllite Spaces and Blending Lines The ch:l.oco.'\l Slick (.-:l ll be smoothed with a tortilloll , fillh'Crtips, o r a p.1illtbrl1sh .W ht'11 (hnt"(""o~ l is ~lIoothcd . it bCW LIlt'!i ligh ter ; th is is alrnQ<;( the ollly w;!y of c:n.":l.Iing grarotio lls, oc-causc the chanl,'t" ill intClisity is b.1rcly notict'ablc wiLen one tr.lC(.'S more or k<o:s m loothly 011
the paper. I-llgh- illl t"1lSity soft graphite {'lUl :Ilso br smoothed WiUl 3 tOltillo ll , which "llows lintS to be Intq!r:tltxl and d imin. .. ll l"S thl' whitl' 'i(:W:<."S bclwt'CII thcIII. By {,'f:1ding tht' ton l"S, the tOI'lillon creates it
pt'n<'"Ct rcpn.'St'nr:llion of an objeCt;' \-oI IIIIIC. Ally Tllbbing tl 'clmi{Jut' l-:ln be uscd to smooth dw lin (.'S of this in'itnllncl1l. bill it is ilI-~cki<;(.-d to O\erusc this tt'ch ni'lIW becausc It GIn drJin the fi lial d rJ\\ ing ofi~ li\l~111ICI>'l.
Twu " la),s or Smoothing 'Jbcrc arc two bask ways 10 practICe smoothing: lo o;ofi:<."tl Ill<' h<.-J\·y linl'!; or pm fiJt" of a model, we shon]cl usc the lip of a torlillo n: lo slIlooth out large O1I"t.'a\, wt' liS\.' the wide part of ti ll' turtillon .T hl· m o tions o f the haud ~h<ll1 ]d fo llow tilt" \"OIUllIl"S of tht' bocI}~ W hen \\"Orkinp: 0 11 inlpn:ciSl' fOUIl(bliolls o r ~1Il00th 'Illrfaccs.. lhc h<lnd ~hou ld make a cirrubr Inolioll .
Smc.n/liuJ! mil ,,"ly "NI'f"J sll",k , .. ,,111 ~IS, "III "Iw x;~'". Illr 1,,!fi>tr "" "1f/11uilJl"
lc.w"w. l lJr " I" ",t/(oll' Y'''''·fiJ:'''f"J 1/';/1, drI"!. "",/ btiJ.""Ilf"fJ.
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.v,,""'f,;' 'Jl iJ i1 / IrN/"U 11,.,1 tJI.",-s ,Ilr 11I1i$! I" nwklll,r j/ffill' 1"'1fS 'f II~ ./i.eurr br "",k illl: sm..,..,h '''''lS;/fu"s '" I,,,,r Ih, '1 Ilrll' ,,, t,,·r/."" Ilir ">/,,,nn ,,,u/ rrlirJ if lilt' I"ml.", bod,'.
111m, "",killS" smtfr, "1'11' Rmrs ,md iI Jwipl' cf'/,r I,,,I"!.,,, ilrr '''"'1' Ilstfillfi ... dfffi'fwrjllliu:Il
1(~I"td QR'M Jn~" sluukd""u
It is w","lh noting thai the pou ibili l iCll of slumping incrc~w:
whcn rOil usc vinc ch~ rcoa l
i n~ l e~d or cOl11p rc~sed
charcoal in "ick nr !,<'IId ! forill .
,,'
ERASING: OPE NIN G UP SPACES
T he C .-;lSI'" (3 11 pby :lll important cons[nu::ti v~ mlc in dl~IWlllg th t, human fi gure . It Sl'TveS:lS .. drawiug lnstHllllcllt in itself, lIsefu l for
\Vorkillg with til e: qU:lliry of the lin l' and tone. We on lISC it to ".-k aT an an:a, \mooth out a linc, o r drJw ill II c~;J t ivc. dmwing the oU[linc ohhe figure by erasing 0 11 previously colored arc<lS. III the ,allK' way that we CHI prodllCl' diffcrt'J11 1.1ual iti (:!; of bbcks depending 0 11 the pressure we: apply to the d l:Ul'U"1. the l'raSlT allows for all illvcr;c o f the sallie t<..'chni{1t1t'; the Illore pressl!re you npply, till' whi tt'" the ('rasure will be on th e p .. ~.::_ l r[ht." <-"rasure is sofi , w he ll tilt.' eraser passes sofdy over the color jug it slllootllt:s it out lightly. Au crasur,' shows us how we can <:Ollstrm:t a forlll using bright lights on a d;lTker b:lckgroull<t.
All rrllSl'r (,m II(· IIsl·r/Ji'r "'",.. 1111111
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D,.:.:Ir",,,s liSe .if,l,t elll$rr min's I/,r
,""WiltS ,!( Ihr I""'y, lirll'iHJ.: /" creme "" <If(1 ,1"" n·",illds m 'if C ll'fo- R",,,,,,,
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o.,(C 11,(" 1"/11' i.< $I"(",II! <'111, 11'1' InKt II,,·
"/l/Ii/lc of ,hcJigllll· IlSill.C , 1/1 crllSer tIIlt! "" " k ;IS I>rlglll sJX'IS /'1' I1llpiylll.1! '!If,tler j m c lIS II'!' tms('.
Creating Effects with an E raser We can ach i~'w v.~r i IlU' ~I i tli:r<, nt enc..:t.~ w ith :11\ l'rascr, Using Olll' ofits sharp ~'d",,\:s, t(lr eX.1111pk. we nil c reate th ick !illL'lI: if we r ub thl' l' uri!"\' width of tlw ~rasn all thl' p;lpc:r, \W Gill llI.1 ke.1 broad swath: ,Ind wl' Clll Illak~ finl' !illl"; by traci nj,:. with iN ed~e o r us in~ l n'tr.Ktabk l'rlSer, Rl'trJct:lhlc ef:lSl'1'li an ' \'l'ry lI:.o:flll lOr drJwlIlg on a pn'viollsiy colon'd or ~h3dl'd ~ur[1ce, l n diffilSl: drawill);, the shine ofthl' skin is rdnforced by npl'niu); lip white ,lTeaS with (he eDscr, as \\.cI1 ali by 1I1(Kldin~ forms and n...,;pn.:tin!! (hOM.' an'a~ th,l( ~utolll;ltic:l ll y ,..-reau' ~ ll.Idows. Finally, ,~ o n ~ivc gn:all' r nuam;l' to ti ll' ~h:lrpcs( of COlltr.:l.sts by snli!)' applying;r p,:n..:il nr ..:h;.lk :a nd following the form oftlw ~n~toll1ka l nlrf.1ce,
Working with C h arcoal The 11II1 ;!ell ;IIlIlCSivelil'SS o f dl;lrcool m akes it very hard to t"r.1se. [11 th('S~ GlSL'lI,.1 soft ",'1.1111 e l'.1St'r is t'S.<;\.-' n ti;l! . bl'cUlsc not only C,1I1 it bl' IIsed to corrcc.: t mistakc~ -, bUi il is also IIsdill for ()pl' U;n~ lip \V ll ite Sp~Cl'S within .1 h~tch ing or bknd to re~torc ti,e color of til l' p:lpl'r C\'CIl afte r it has ~l-' ll (lr.lwn upon,
/irll)~T1 "rI' ,111" "IIt"";I(~ ill""""".",, 'I1,1'f "IT''' IIIt'/i"", ji>r II~"I.-ill~ ".jll, 'lit qU,l/lly .f II /jllt "II "r,>I"n'rII~/(/..:(n'"",'.
111, ... , flIt tRIm is mMrnI s<"'y "" " I",""i".'.! ,Of'
(,>It,,;,,!!, il ~"k""" t' i, ,~II '1.\./'fly, 1J "'" IIIr 11ti~ <:ITff' flJflj;,l/y. ' ... (nt' l~l'\'Of flit miMic 11111/ tfn,/"'/"I flttU'S.
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~mOOlh . An ... rase r can also be u'lCd a_~ ~ hloller of .\(lTU, crcal;ns 1'!.'<lUres and r~pe~l;ng " previously Illodeled ti~urc (111 <l ens<: dmn:ool ha ldling .
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EXPRESSI NES: fU1YTHM a/l{l TE N SION
T he im crprctlltion of the model with expressive linC'S cm pllasiz(:s its rOTm~1 properties :U1d imbue!;
the drawing with Ch:lr.lctc r. A dr.l\\ring Il l,."(."<l not only refer to represcntations :md Strul;lurcs in tile physical world .. - it can also cxprt.'Ss some of the personal trailS of the artist: his emotiolls, imaginat ion. perceptions, and personality. The :lbstract qualit ies of form , rhythm, and color always have :m emo tive responsc for a perceptive artist.
Expression in the Figure Expression is a diffic \J lt concept to defi ne in a few words without giving rise to ambigui ty. A figure drawing is expressive w h(:n it pOSS<.."S.5(..'S " life," an inner vit:lli ty; when the model appears animated and is not reduced to pUI'C, cold repreSl"nta tion. Expressio n COlJl
be achieved in several d iOcrcm ways: by using salUratcd colors; with intense. out of control lines; or through fo rmal distortion.
11 .. los,m,~ /1"11<" js 0"
!'SSe",;rrI JJ..'i/l "~!('II dllJlviJI.fZ 0 J"'dr from f!fr.rspOO"II-,' !fIH· ((Imidn- thot ill JJI/7JJ),
f<tIt'J, ;1 is Jlf'a-unry ' tl worn quickl)' 1J((/ll!Sf' poJlUfCf tll1' rpm jlcrt;US:.
III onkT 10 properly "ooA'(' all O:P"JS'w <lmUl;" }?, i' is usdi./1o/lfartirr Ihf' j!ml'l,i( q'UlIi,y of' /'t lillt' ;,wl/. mid st/ldy ilS "' /elmly III'" <lillYl'llIl.
Linear Marks To achit:vt: ,II] expressive Jine in OIlT dr:IWiLlgs, Wl' lImq work qUkkly. ~ lJ(l barely litl the pencil fiu m the page, o r sh;ldc. and follow the m;!in lines of the SUbjl'ct with a lo~, carefree, ncrVO\l~ stmh' of till' Pl·l lCil. ExpTe:<.\i vene~s is 1I1;1l1i(l'Stlxl th.anks to percep tu~ 1 quickness and unconsc i Oll~ work. which ,III OW5 for the im provis.1rion o( linl'S wi th a livcli nl'ss and streIJh>th that arc i l1lpns.~ibk to produce with a slower, moJ1;' ml, thodic~ 1
exeClltion. In this type o( drawing. lines arc
l'xpn'sst:d quickly, and the (orm is captured and represented in its lOtaliry, with no dl't;lils, bm in its full, dynamic anion. Its (eatures : II~ dt:cisivt: and the pressure applied to tht· lille vaTilos depending on the emotional rc(]ext'S of the artist: the line is dt-cisivc and flex ible if we c~n loSt: ourselves in the impulse of a fleet ing perception.
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£"/)'-':.<$;'''' dmll<iIY:.< aft· Ilw IIW$I aJ!pmpri<lle j,r Imllsll!illi'~ rllr /IIn/ inli ,if a JiXHrr. 'nr lillrs ill l/ri, kind of 5~"I'/(11 mlf'rla/', rrmlill.~ Inr!fir slmUllml rPllfj'5""'.
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I'f'",/(rll,r liul' IWy
q"i(kly, di$rc.~){IrtfiIiS IIIf d,.wils <llId i,,>trad pl/sillg 0" IlIr rllyll"" ,!lid Shllll"'" ~r II,r
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r''1!1l:ssi''l'dm,,<ing, il is l>rllrr 10 !l'ork
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1I~'111 lIre pi'llril ~ poilll lilrM sUg/III ",MeI, gives !I,r liur ) 1'-'1<:-XI'f'I1/rr pU'WlU"t' <ll1d lI/adlll"lioll.
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It is advi~ahl e 10 alw3Ys can y 3 ~k~ tchbook wirh YOll. By ob!iCTving people and d ... w ing [hem rrequentl y. YOll will huild a visual memory o r physical furms and expressions, and rou will g><in prnctice in using a quick , spontaneous stroke.
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H air is a mal!cabk covering. It variu grc:lt ly depending on a person's r.u:;~ and comcs in a
wide array of forms aud textures tha t em be a chalkllgc for the amateur artist. Hair Gm be n:prcscnll:c.i ill three ways: first, dr:lw mg in synthesis, while dctCflllinillg only thc dlccts oflight aud slladow; s«olld. n::ndering the effectS of light al1d shadow, the tonal values, modeling the forms. light, and shine that determine the quality of thc hair; and third, renclcring thc hairstyle by controlling the direction o£dlt: line.
HAl R TEXTURE Haif Tones No matter how dark the hai r is, .... -e must never draw it in a tone ~o intc ll$C that it contrasts c)(<:asivcly with the IOIl(,."S o f the face. We must sofi en this dark colo r, making il as light as the most darkly shaded tones of the face o r ncck, to illtcgratc the tonal values of the hair w ith those o r the r(:5t of rhe figurC , Subtle variariol1.~ iu light alld shadow Ildp expreu the texture and vo lume or tllt' hai r. We can achieve tht! c{fect o r SOrOlCSS wi th a blurry o r unfocusc.:d profile o r by addiug a satiny shine to give the h~ir a silky appc:trance.
III a q"ick sn"/l, I/l(' In.:fUTf cfl~ lIa;, is lrea/cd 01,1)' mil,;,MlI),; il (a" br ,.." de1l'd w;11I a $;",,'/r hlflt l';"J! ",ad, up of di,Mio"a/I;nN,
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'l1,n"mr ...... 'fr!)/ ",rlhoos for gi,;,rg .'01""" 10 III, hmr of Ji,,;sirf'tlfigmf$. The 1110$1 dfrlliw if 11u:g ;s 10 tOf1ll'i .... II,,,I«/..., if hair <Il if Ilory .. -nt
1!Ir,.-kl, alld model Mth alI'a s"/>I1mtrlr Will, its ,,,m fig lll .wd wadtd ports.
~ru-'t' IWII IIO
"11trS('1I111~ IncIU,.. of 111(' irair.
wt' musl 1101 fOl$<'1 IIult lilt' 1)(',KiI /jilts
"''' I I a lllW)'S flo'" in III( f<1mr diml;"'1 <Il fhr hair. Wlt('11 dmu; ,,,
(Urir Ila;" /<,, i lllllfmr, If,,, /illtJ
",USf ~ fIIrvt'd.
The Direction of the Stroke Tht' c\in:etion of the stroke must follow the logic~ l direction of the hairstyle; therefore, we must t<lke into "e(OUI1l th t' sh:lpe of the style e\'Cry ti1l1e \ \IC dr:lw tbe Il"ir: wilh slr:light h"ir. the lines wi ll be very str.1ight, willie with wavy h~ir the lines will be CUT\'t.xI. Curly h"ir C~J1 be rendcn·J wi th sw irls, .,nd vcry kinky hair c;ln be rendered III very finc doodles. Thus, we achieve h;l ir (hat s(''CIlIS to TCJ lly o rig illlllc III the SCI!P. On the other h;lnd, it can al'iO be in tcI'CSting to ~pply 100S(' lr.lCC$ 10 expre$ the ligll tness of lht' hair, ;I\'oiding:t solid. 0\'t....Jy "hc"vy" form .
DrJl !ilt'iff 1II1f!f'tlmfl(t'ill rro/ /i/r, /JOir wJor ',,' IS' ,mIT 1I/'PI'tlr ...... y '11Imst'. Ht >lUISI il1lC'1!f'lIt' ils "'.'" /lfImlNlic<ll1y '0 11'111 f!I' llIr jntr as tI .~KJk. M " I(' IlUU/J lilly ''''1(''/111" if II,.. body.
n ll'f" tlrr I • ..., j,,/jj( 1>\1)'>' to rrprrstnl bed)' IJllir; 1'fH' IS 'lilian .";IIJ IIllo:siK,
tIrI)' Ilt!ltlJi./;C. 1f1i1~ pmulld Irtrin;ei; 1/". lItlw. il Itt Sid" II)' IINOOI/"'IJ! III" /III«lIi' l1: ",il" afi'l~ip ltal//rtl",il" (/wWIII. '/Jlr t/mu .;,,~ .n ri,f!;IlI shot, .. boIlJ PIIJjiM/ilin.
Body Hair When dr:lwing tht' h"ir on the brow!'. arltlpi~ , or pubic area. do not uy to draw c"ch h.1ir individu<l lly. You sholi id make thesl' t r.lCl~ only ~rticli la ic clluugh so that th t'Y iHlit:lIe the textli TC of the skin cOVl'red in hair ;md the different tonal iut('nsi til'5 d13( Ih t."Sl' an':\S exhibit compared to o thers. Tht." hair 011 ;a m ali 's kg) ;and chest C'd n be rcndcn:d with shon , light. directioll:ll li nl~ or by sllIudging uf l:ireuiar or irregular traces :lppliCtI with :l light touch of the pc::nc il.
Lilla t/c5lribl".I! /Jail ,/",,,id,,', IN"1I!(oml;'1 is mo'" ':("1Ii< .. '" I'llI")' 111(;'
illl(,lIIily n/lll Slll /' ,,, If(Sl.i/w (I silky
Ir"" Hll' IWf'/ Oil III<' ;."it/r//cr ,11':f/mj.1S I(~I" "II il~ S"!((I(f'.
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,oj'f!;,' SKIN
T he skin is Ih" olltl' r dressin~ lh:lt covers the human body completely, giving Ih(" body the
appearallce of a singie, colored surf~c. Although this is 1101 al (~t."[hCT Ihe Cl~C, [his surface prcsclllS wore or lt$li pronounCt:d volumes. Every individual has .. unique skm color. bUl light al1ccb the color through whi(h it is \X'rcdwd, creating diITt'rcnl 10 n ;l] vaJ UI.'S.
F lesh Sh ould Look Like Flesh WI1C:n dnwing.! !ludc. the 11(:5h sl10uld look like flt.'li h . W hc: n (lecd with rcpl'l:scl1lin l;l: the ~ kin, co nsider the fu ll owing f,lctOrs: the wavy rcliclS o f the muscles, wrinkle;, the na\'el, ~nd the creases and joinll; in the limbs,:1$ well <IS the a~e Jnd r:l<;t' of the pcrsc:!11
picturt:(1. The fla ccid . \\lTinkh l skin o f an elderly person will not look Iht' same :IS the sm()()(h. but skin of a child; silTIibrly, a persall of color will hold different IOnal vari~tics than a white person, T he \u lulIlcS of the body's flc.<;hy arca~ depend, above all dsc, 0 11 the lIlusck-s , tissues, and the texture ami firnll1t:ss ofth~ skin, A lIIore Lvidcllt ,l;cner.,1 fac tor to consider i ~ th~ appearance ofwrinklcs with llb'C, the fb ccidity of tilt' skin in certain arc:u, and the presence ofb.'l(;S, p;:!rticubrl), in the checks and neck.
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:iJ,'i" rot .. ,.,." I~II, lJOdr II/li, sJ", .. /d t.. Ifml"" d :ruliil)l TIU' 11f'SI1l,;"g is lei
al/rml" w nrmr /I~ai,,)' IIZJ'fTcf rf"llmu f7 ",IMUII ,11<' 1,'r!I' if",1Ir (/"'"001 ltirl.: 011 tltr I~tlw rprrMrd litl<' ,'i,III,I/I'", ,III' lllIiry (I><'('ri"Ji ,!f".r ski" r~.,.l' tjJrclh'f'II"
'Ur '0 1"1,.11 r!1I"';"klN ru,d (n'<IJrS <IS
tlifillitr fomlS I>/td IlWid "1"('1(1111'1$ l/lftH 11$ /ld'il"")' li,~ "', lilt" mifiu' if" 11K' "dn.
!
Different Racial TYllCS T he law!> of proportion or ~n~ l ol1\y
d o.:scr ibcd at Ihe beginll ing o f dIe book aren't V3 lid for L'\l:ryunc. T hc facia l fcaUlR."S of a Black person are ilio n' pronounced than those of ~ CllICa~an; smub rly, in ;1 C hinese person , the height ofthe body equals som e scven :md a half r.lthcr th.l l1 ci",h t and ;, half 1 1 C;ld~. Somcnmcs, \w tind it difficu lt to dr.lw fact's or bodks of ('lces o ther 11 ... 1 11 our own for dlC simple n:ason that we are so [., ,111 liar with our OWl l
proportio n!> IIiat our pe,n :p tioll wilen dr.lwmg o ther.; becomcs li lll iu::d . T he only solution i~ to face th is iS~lIc and seck m.:w models. O nce you Ila\,\: progn-ssed as an arti~1 and ck:vclopcd you r powt:rs o f obsc.-rv:mon and anal~s. drawing diffcITnt r.ldal f)'lX"li
will become easier.
Shadows and Light T ht- fl esh tones o f a nudl' should always be at thc st.."J'ViCl..' o f the expression of light and sh.,duws 0 11 ttl/,' ;an.atomy. lt goes wi thout s;aying that sh:tdo\vs c;an bc dCL1' :tnd dense. or son and tr.lIlsp;m:nt , and th:t t light can be inu:nsc, d irect, or imlircct. We must ;a lso consid('T d1,1t tho:: tOnt.'S u f the body \.;'lry depending a ll the colo r surrounding tho:: figu TC. This effL'Ct on t hen be attenuated or into::nsificd by surrou ndmg tht" fib'll TC with Olhc r colon thu COntrast wi th its profIle-. T hcn..f orc. skin color is ;a cn."atio n borne o f me d1ron' ~ t ic treatmcllt of the work. and o n be: m od ifi ed ;lIld affi rTlled as the: d .... w ing p TO{,'TCSSt.'S, :lu Cllua till1!. corn:ctillg. o r intensifyi ng lhat colo r.
u,
II iJ IlJif1d 10 IIlTJ(tjao dnnvillJ! IIlClfris <1 difTi"f'IIl rll",ifilirs. I .. d,,;,'1! W, "'" diJ(<I"v 1/'''1 II.r skill "'''r IlI1w tli{1't'I'C'!If /(Illn/ ''''/IIC'I, a" d ii/ .... ,!fr sli~I,' di{1'rmll'G fro'" ,llc (wssk"I I",,'! rfl'lOl~)rlia". ,~' rli(HI"rly nJ f<ll l(cm s / ' IC f"u.
BY I "AI 1m indeterminate fIOUf;!rolll a Silllree kl/oll''' to /IS 10001'. the work oj an illeluctably COllies illlo /1,1'
ulrlrld. Cold mfmlalioll, spots tlun (,nlpl into disorder, malllcnlatimlly exact collstn lc/ioll- --{/en( or rrco"dile-Ioud or silem (/ralVing, smlJmlo«s IlI()rk/IJamhip,Jmifart's oj c%r or piallissimo oj wille, tml1qllil, briule sl/riaces."
W. Gn)h","n" 3nd \v.t;.!;ily Kand; ,," ,y: M ibn, II ~jtll"'f', 19SY.
/7,(' NUDE FIGURE /1/
CHARCOAL:
,TII{, OUTLINE
1
T he outline i~ the fi rst ~I ~p Ih~ anist must t~kc on the pagl' . II con~ ist~ of (t r:lw ing t Ilt" form~ l structure of the n lo(kl, laking
imo ~(COI1111 its lilllits nlld propurtiom, ~s G"brid Manin has done in this t'xcrcisc. ln order to l1lah~ an adequatt· u udilll', it is necessary ro calculate. (" ,:tI Llatc, synth~i ;.;c, sketch, ~ l1d try 10 umkrst:md how forms an: an inilatcd . lf tht" otl tli nt' is Ilot rt'nckred co rn:cdy. it w ill bt: ncarly 1I11possihk to corrcer the d r.Jwing b tl'T.
2
1. T Ile o l ltlilK' should fi r.<l be: madt' w ith til l ' thick sid(' o rthl' dl;ln:oal stick bcrwccl1 your fi llg<.TS. T hc basic forms of tIll"
fi guR" ;m~ oudi llcd n~ry
~yllthctka ll y. As YOll d r.I \" with th l' d l.ln:o.l ] stick, your fingertips SllOUJd blur the iJli ti.tl linc ;Illc\ blend it inlo the pJpl' r. 11l the l:oLllposirioll, we shoil id keep in milld Ihe illcii lle of the b~ck ~nd the zigzag cOlll lX>Si tio ll th.1( till' I ,,~ ck:<cribl' ill rda tioll TO the body.
2 , T he go~1 is 10 mt:aSl1Je, erase, and co rrff t [he drawing ;,$ yO ll 6'0 alo ng, lint ii, liu k by link, the dr.lwing looks like the 111()(ld. W lll'n , Jli:o.: r sl'vtTal ~tI ('l npts, we fi nd tIle corl1.'CI lili l' , this ]illl' ~holl ]d bt' m nrked as "' k .. u im:isioll w ith til l' point o f the chaJeoal on the paper, whkh wi ll :dlow you to
rrinton:e the fi gurc:>'s contOllr,
Q . ' .. "'~. . "Oli"./· ". ." ~. ..... .
.'~
111 ... 11 uo.rki,!( ",jill rl".mw "ir~'J.I',Mk ,1/1'111 im" smaller I,irr('l ,,, mal'/' it (mirr ,,, mm"'''' .... )'1m' slm/.."", "11 thr /lil/W'.
3.00 11 '1 worry If you h:wc to m~kc corTt'c tiOTl~:lo 'Hake a {"orn 'CI outhne 011 the fir;r try IJh -s a g reat dl'~1 of
p f:lClicc: it i~ "OllI l,th ing you will aelli.:\'c o lily :lfl l'f m ilch dr:lwm~. Don'r 1I 'iC an c r.tScr whcll makinA your O\lt l in l~
a r.ll; wi ll sli ffin' .Alld n -IIH.'mbc:r how imerl'Stll lg pcntimc utl e m ht:.
11'/
3
4 . T he final Tt'SUII of this {'Xen ' ISt'
i~ an outline thaI capu m .... till' 1)Ol;lUIY and .lttitud l" o f th l' modd , w itho ut ib't1o r ing tlu: corn 'C! proportional n -b rio illoh ips of lll·t body. 'Il l<: IIUpOftl lll til ing In: I'I,' is to achieve an :KClU-:l t l'. synthetic. tirm {"omour line, ami a d l~lw illg
Ill:!! doesn 't get lost in ti l(: clt,tails- Holin.- how thl' dr;l \\ illJ.: ob";ntn tin: r:1("1~1 fca[U r~s. I Ja 1l(!s. illl1t: r c1~ (n ; ls of the ligure. ~'VC I1 the fee t. .
4
. :;..---"
The 1i.,;1 OUlline should lw made with the th ick side orthe ch.IITo., 1 stick. 10 m~ke the lim's fi .. "r and more "(}nl rt>ll ~bl. · .
'" j
BUILDING
HISS we must draw are the of the shouldcn and the hipbone. both somewhat t ilted. We dr.tw an oval to represent the head, a nX1:angic for the torso, and two .-/
i"~~~~~~~~:~r the 'l",
shapes. The Tl"Suh is a synthetic outline in w hich the pose that the figure assunlt.'S and its fo rms an: made much mon- comprehensible. Sraning from this sketch, we continue to add new (orms <It.-tailing the volume of the body aud till: si lhouette o f t ile limbs with gl'COlte r prtti.sion.
FORMS ~~~:~l:~~~~ <hecv,,", 01 ~ '~~' ''I.~.'wvhich cons i~ts of
:. ' the forms of the very simplifil-d very few lines. There is no 0 " ".., the human body
that is t OO complex to be the fon m of the body
shapes thai can Ix-means
i ,
3 '"
3. All that L\ m:~ded IIOW to complet ..: the out line is to seeml' the prilleiple lint's of the fi gure, without ddaili llg lIll illlpoTunr (O rl IlS such a~ t ilt' fin gers. If YO l l wi~h , you can :t l.~o st~rr :.ppJying haldullg 3t th is poilll.This pron'lOs Cl i l be done very quickly [Ising till' edge of ~ stick of gmphitc. drawillg with the nat Slllf.1C(t
of the stick alld then sn lllclging the rt'sub with yOllr halld. Mah- sure that the i!leiination of the bodv is correct by <.:hcckill£ the lines 0( ;'1(: shoulders, the breasts, and the
• hipbone.
4. In this final imagt' we sec how, w hen the plOfile is rendcn-cJ with more sinewy
lines and the body is modd ed with hatching, the b>'eomctric outli lle St3 rls to
dis.appcar. alld ill its place we find the body of a well proportioned figmc.
Emmrrs iu <1 llrt1",ill.~ <1'~
IWI ou/r 'l5~rul JIlT I(eillfllil{~ Or d;m;um;u,e
lilies. Ur tI,,/JI,;u,e Il,e
sll~e '!f 11l" p"per 1/';11, a
~Sl<!ill""",;II, r/wrroo/. /I'/' mil
IVIlif1{, SOIllC wry ill/m-Sl ill,!! 10llal
GIUI "111/(1.>1'/'1'';';
1f('(Is.
_""' __ """L _ f
&a~itlg a drawing
•.... r",i;, complClcl)' is recommcnded wh"n wc inlcnd 10 cor" CCI impmpc:rl)' silU31"d Ii"".; Ihis wa)'. wI' b"coml' 3wa", oflb" re f"renc" poin .. " w" shouldn 'l US", and at th" sat"" tim" correct possihl" lIIi~!ah'S
in tl>" oudint:.
I n st~ndillg poses, the lillt's of tilt' shoulde rs and h ipbone :lrC rardy complt'tdy ho riw ntal. Allllost always, especiall~' in re b xed POSCli like
the o ll e show n here. these linl-'S :lSSU11l C ~ slight lIldin:nion so (h:1I p:ln of the body's weiglu I"eSts on OIW leg. while tlK" orhl'r kg is £l=lxi and appeal'" more rela xed .'rhis type of pa;Ulrc, ~s \vt: II:!vc seen, is k"oWTl as the comraposto or isch ia tic position, here rendered ill graphite pellcil by CarbllL
{{ DRAWING STANDING FIGURE:
,771" CONTRAPOSTO
I. [kforc st.1'lmg (Q dr:lw, we should llI:!kc :Ill t"ffort to umkP.il;md the body's posmre llsing ~ simple, synthetic skckto ll to Jdltlc it. The first ~t cp is to pbce the oval for t il{' head ,1110 the an: h de!'(: ribing the backbone. In the contr:lpo:;to position, the lilIes ofthe shou lders ;md hips alw;l)'s tilt in opposite dil"CC tioIlS.l11C first lirlL'S should have a purely COllS[Hlc tiV(~not descr i ptiV(.~
function.
2. Arrer placing the structural li m .. "!\ of the bod\,. rt becomes e;!sier to draw tht;: f~rms of the llIodeL We begin with the head , on which we will mark the 10r.;3tion of the faci:!1 fe:! tll res. then work down tu the shoulders, kceprng irr mind th;!t the di~tance from each of rhern to dre backbone shOirld be the same, t.."I 'C'I1 w ilen tiltt..-d . Then we reach the hipborll·s. whidl tilt frum tire b.1ckbone at the same point :It which the Iq,'S ben{L
)
1
2 1
,
Itl s,'me l>I1m of II" , "'la/OJ")',
IIIC liue rlisal'/Jt'111'S " 1 a rt'm/l if i IUJUI,iu-,!. ,,4,i(/, ,,1/01115
sm",,//J~r, upo" (o"/,,,/Icd ~mrll1/jolls ;11 l l,e IUI/d,;,'.'!.
/) " f ,./ .-.'
/ 3. Using :m er~ser wc diminatc the
.".. stn lCllll-al lillL'S that we used as:l guide. ~" / The light , linear drawing &om the ;~ prt~v iou s stage III the drawing now gives t{ W:ly to the modeling of shadows (which
helps li S lllldersbnd the fOrm s through the dr:twing). 13m before doing so, each of the body's volumes Illust be perfectly defillt;'d and proporriOrlL-d in relation to the rest: the heiglll of the pectorals, the armpits, the abdomen. (l,e pubic area, 3nd the knees. Use ti le l'Cference points of the classical law of proportions to properly situate thC'SL' clements.
3 In con(rnposto poses, Ihe (ill of the hips is ~ I so
re flected ill the knees. As a response £0 (his lilting. one of (he knees a l wllY~
appear.; some",h~1
higher (han the other.
1.1 1
:7"///> FIG U RE 1';- . ,- -, t_/ / / <- ''''''~£-' ;~:;;{"-h'_j. ,
F 0 RE S H 0 RT E N;T E 17\ ~".;~~:;Nx':'/-::-;,,\~:. 1 't', L..J. )- -.:~'''' ': ~.:~:'. -;,' .' ~"'!.
DRAWlNG /1t)n;_EMALc-NUDE "?
1
~ .... '>; "' .... ; '.'. .. /j
T ile apphc:lt1on o f the lawS' or proportion to ' the iUlinan figure is -ahcred when the model 15 foreshortcl1cd- n1c:tJnng. when the •
re lationship between rhe measurementS 'S'lllodifidby the rules
[f.~j:~::r;~~~I~~:f'~~~:~~.(::~~~~""~~'~~~'~d;iffCn:ll t ways of .'. . I is with practifc,
I by observing how a -fOl"($horlcllcd ugllTc in charcoal. exercise;' is [0 fi rst Outli ll l' the fi gure wi th to situate il~ conto urs by considering its co"""n"'~
i.' " -
f
\ \
\') - --. first step is to L'StatJllSh lht:' outline of the
1 we begi n Wi'th2g. hite pencil.To do . nuke usc o f the bY n fami liar geometric
~;;;iu;:'- ;:~ draw an app~ ation of the modcl '~ i profile we draw a soft _ m OllT 111 graphite pencil
based 0 11 thcpl'cvi outline, remembering rhal becau se.' the fiSt! ying in bed with he r legs closer to the "iewer, t ey will appear larger. Th e sho:c ofhcr head \3W be ·~Olllewh;1l reduced because it is further aw~ .
2 . We contilllic treating the empty sIXlC(.'S ,uOl lnd the figure w ith new tonal fields . At this Sl;l.gc it is neccss:Jry to emphasize the light w ithin the darker areas of the drawing. Using crude charcoal as wd l as stick of pressed charcoal, it is possible to combine Sllins and lines of varyi ng intensity.
3. Th(' <i:lrk<'St pam of the f.1c t' an.- 111<1d(' wi th a tortillol!, w ith link pn. .... ,urc, IlSiH~ soft lin t'S th~ t :llIa w I I~ (0 11no [hc r i~h, ljus tlll l"l f in tom~. The pur ofblelldiH~ ill this d~",g is to colllpll'k' thl' ~alc oHant'S crc:ltCll by the d'<lTl;oal h~ t('hing. <. 4. Complt'IIWIl(;lry COlltraSl~ m<lke it so th<lt whell d\l"y occ ur adj3Ccnt to bright tOIlt'S , cbrk tones wilt :lppe ar ilion' de llsc. The s.ame thillg h:lppcn~ to light('[ (OIU:S, which appc~ r IIIllCh b r ightl'f whcn th ... ,), ~ n:.' :l(lj;l('e tll to da rk
3 1.\ \
If \\11rkilll; with
r-----" charcoal ~ticb, wC ~holi id take the precaution of cra~i llg, cven if lifthtl y, the g"'l'hi l(' tra("c~ thc 1>n:\·~lO.I~
drawing. 'I1,C tr.u;~, 11.' (, b)" tI,C graphite pcllci l an: o il)" and wiJ\ keel) the chaTCNI (rom 1;lk illl; 10
Ihe papcr.
' J"
BUILDING I STAI NS
O lll' oft hl' Illost au ractive ways ofbegi li ll ing a d rawing is by llsing rill' Ibt ~ Iain of any dry 1l 1l'ltiwll in ~tick fo rm , ~l1 c h as pa~l e l s or
chalk. Irs spectrum o f tOiles is broad, bu t b" c3 usc o f its c010r, it looh lIl lich ~o fier Ihan e h'lI1:oal, and bri!;h re r. LCl\ see for o Uhc1 n:s the po~~i bil it i es of d rawi ng wi th ~t, l i ll 5 by o bserving how Ether Ohvt- dl' I' llig Klldcr~ a SC31t'd f('1II3h: fi b'llf!." w ilh ~ha rp (Olllr:l~ts be r'Wl' U lig ht M id ~h; ldow.
y
'Jr ! 1
\
) '.
I , Lk fofl' bq;illll illg TO d l:!"', thl' ~rtisl m akes 51llall sh ,tehes. If whl'n we m ake the li ne J I~lwi ng we kel'p ill lllind Ihe line do:snibillg ti ll: b:ll'kbone. ill the ~tlldy b:lst:d Olt SL'lius the li lll'S l in t serve as g llidepos[\ fOl' the d ra wi ng will be Ihe dark an'a~, ",hill' th l' light ,Ift:a~
wi ll be Id i unl'Oucilt'd,
2 . J)1'Jgging thl' b;l r length wise we £l'l a th in Ii tie; by (tfaK~ill p; Ihe (' m in.' w iclth of th .. b,n rtrross t h ~' pagl ', Wl' ere'l tl'.J Ihick, alll p le line that illlilled irttciy fdl .. e ts the text l1re o f tile pap .. r. A cor rect I1 SC or th e t1a t bar allow!, I1S to rt:l1titT COlllpiL-X fo rllls in just;) few IllOllle llts. A~ we ca n see ill tllis state, it. il l terl~f i
i~ . COllstnlc ti\'e. The cleCJ ils ;t fe ull illl por t311l: olI. Illa([c rs JfC l hl' stains and th t' i lll illcdiate
.• <i~l~\'·' " o f t ill' pose.
• ,
>. 111 , .
2
3. We fini~h conslruning lhl' figure with 111(' length o f tht' bolr. \Vto have IlOC unti l this point U'lt.'<I
lines at aiL In a toual (h:lw iug. Ihe grain of tht' p.1p<: r and tlu' p",-'SSun: of OI'k'S hand give th(' fib'1.lrt' Ib lont'S. IAvcnding o n tht' foret' WI.'
apply to the _~tick . we \':Ity Ihl.' brighlll t':S5 of the dr.lwing, Oy not using lint'S, tht' li~htl'd profil l" o f tht' figure is d .... fined by il'i CQntr.lst. and till' t'!Hpty sl):lCe o r background surrounding the fib'll rc is n..·I)r(. ... em l'(\ with gr.ly hatching.
4, With ewry new nrokc, the previolls tayCrli of shadow art' imt'"n~ifit'(1. T ht, SpOl~ arc t'!ip t'C lally
imt'll.~ ill the Icfi ~haml silk o f the body: Ihe dark('St slwdows appt':1I' 011 lhe ar lll, lht' abdomen , ti le head , and th .... neck. Allhis Slaw,:, Wt' com bme the m arooll stam with somc ~t rorlgc r clefi n i n~ lim.'S. Usill~ thl" point of the st ick m akes il easil"r 10 m ee thc fin a) lin l.'S tha t define the figu res profile. In th .... prdimin~ry sketch l.'"l<. It IS
nccess.lry to pay as much ~ncnnolt
to tht' dark an 'as :Il> to the p:a rts o f the body with intensc whites.
3 SaUb'1.linc i.. u .... ally applil.-d to textured. bon ...... colored p~pcr.
,,'
FIGURE mr(} CHIAROSCURO
EFFECTS
1
2
O llct> tht.'" o lidillC ,tIl el li lt" preliminary sketch all: dOlle, we can now exam ine how 1O propt..Tly shade the fib'lITC. The first rh illg we must
{<I ke into accou nt w hen d rawing a figure w ith chiarQScllfO effects is that light cloc~ not e lJvelop the entire body cx]uall y. O ne part of the body is exposed to thl' rays of light, and it is here that ti le lighted arca occur.; , while the othe r part of the body :lppc:II"S in shadow.To give shape to this idea, Oscar S:lIlchis l iSe'S a burnt SiCIl Il:l pastel , which is sll fficielltly so ft to g ive its line a good (brkn ess against <:aIm ed p:lpcr.
\ 1. The sketch ofrll e model should be complete before situating the l igh t~. because the shadows sho ilid bl: applied 0 11 a perfectly constructed sketc h.
Shadows are distributw llIlifonnly usillg the fbt side of tile bar to mark off the lighted slllfKe~, without applying excl.. .... ~i vc pre~~ure. bllt allowing fo r scp~ra tion l)Crwccn objects ;md l'St.1blish illg the middle tOIlCS in the drawing.
2. A.I tcl"ll ~ t ing berwcell the flat o f the oor and the lines, we darken the prcvioll ~ hatching. For a rOlllp~rison of the diffeI"Cnt COIlt r;lsts that appear on thc p.1pcr. we G ill apprcci ~te the d~ rkt:St tOIlC th:lt flood~ the b.1Ckgroulld; the briglltest, which is represellt(.'d by the color of thc p~pcr i t.~e1f; Jnd the in termediate: lOne, th~t o f the fil "St, soft lines of the first b yer.
3. Using tIle flat of the pastel again, we finish extending the background tones so that they ~urround the figure and creatt: the ;atmosphere and chiara.curo effect . The lighted an..-as appear almost ulllouch .. :d , th~ s.:allle color ~ the paper.
To accenwate the b[ighte5t burstS of light coming off the andIe, we color the lighted area with whitc chalk :lIld !lms cmphasize the effect o f r.uliant light. If \\~ apply this effect indisc[imin:ltdy throughout the painting, W(' can lose the luminous CffL'(;t we wert' striving for.
4 4. The filUl n..'Sult shows th:lt ch:l lk an offer:l b'1'C3 t tonal r ichnL'SS th:lt st retchl.-s the limitS of picto ri:l l qual ity. We have g i\l\.'n nU:lllCe to the fi nal leXlun: by using a [onillon to smooth out d JC mnsitions in tone and the edgt!s of the shadow'S.
3 T o crc ~t e OCCCllb,
wc can ~harpcn a piece of while dmlk wilh a cUt!er.l-\ivinillhc chalk ~ puint ~uilablc fOf drawinl-\ fillcr, more prcci:;e l ill('s.
1
••
MALE FIGURE I
I II t !l i\ cxcn:.isc \\'e wi ll work thr~JU~h draw ing ,\ 111:11.(' fi!?ur~' fr:om t he w:m t lip !Ism !,'!: charcoal.md whm' chalk.ll1c (Omblll:ltIon 0 1 thest"
two mareri"ls \\- ill alll>w II' [0 study the ;neick-un: o fli!2,hl 0 11 rh l: tor.,o :\JJJ the application of :l lirst modd ing, albeil a very \ tructmniisl onl", Thl' ;Il ILho l" of [Ills omwlIlg.. Esdl<'T R odriguez, shows us hoI\' to render the :mJ.to llly and Ill<:' pb y on i~hl ,md sll :lclow o n a hlllliatl torso in :l very d fectivc, synthcric WJY, without lunal mnsitions. which can bt· o f gfl' at 11\ 0: to hq;iuuiug. a rti~I S_
I / I
2
I
\ ~ I
2 . The ske tch ~hou1d gin: way 10 a first. 31"cll tc nr:uivc, tonal analysis wi th sll:ldow~: but bl, rOn- this IS done, each o f th l' ck'lI\cnls 0( \11\; fi gllTc Sl10uld Ix perfectly well defi ned ami proporl iOllal<' in rdatiol] to the w hol.,.
3 . With dw d r.lwillg S(·curc. we c~n beg in to ~dd the first dnrk.:lled ~ reas. ThL'SC will ~lIow us to study tht an~tomy more <lcl'ply nnd accen tU:l te the areas that arc cxpoSl:d to ligh t. T he light source is o n the r ig hthand side, so we sho u ld begin drawing the dark areas 011 the Idi: w ith the chan:;o~ 1 stick bid-com pk tdy flat.
1 . 1kgin b)' dr .. wi llg rhe omlir w \\~Ih a stick of charn,a!. keq)ing ill mind rh" l ih " f tlK' shoulders :Illd h ips.
WAIST UP
3
4. Wl' IlIU~ t mlOO(h ti lt' h~tchillg and control tilt· ~prt'adillg of til l' dl~r,o.11 with uur finb'Cr.;. prodUCIII!-: !,:rcat ~w;r; tI'l\ of tonc. SrnOOl hinp, ICIl(1\ 10 connect differem paTu 10
(";Jeh other. and thus lch ic'TS :I ullity ill till' fib'lHl.' and soft lI100dlllg ()f1 thc reliefS of du~ body.
St:lrtin!(: from tlw pn:\ ious \kt'lch , ~ new sHlrly of tlw modeling :l llow~ liS to :maly7.e the figure's 11 ll1so lbt urc. We draw till' figun"s lighter [QrK'S Wi t h a \ Iick of w hite chalk . 111 th is \vay, the spL't' t nll H oftOlll"i i ~ broadcncd to includc both the ligll leS! .ltl(1 d.1rkCSI o f gr.ty!i ;111<1 til\' imcr lllccli:lfC £r3)'$ ~ well. White eh;!lk \hould Lx· used sparingly.
5. US(' the tip of till' , h;,":o.1.] (Q mah· sh:lrp lines that define till' fi gun-'s profile and contrast the halchlllg of ti ll' fact'. m:ck, :Illd pectorals. Tht' din:ct ion of th l' light should lx· \tlldiLxi C:1R' fi ,lIy ~o Ihat all shadows arc silLLJtcd oppooi lc the 11 1.1 in light source.
W hen smoo(hing a charcoal hatching. u~c ),our finb'Cn to ' "IIf)' (he intl'"l15ity of the lone.
".
4
2
."
PROFILE: ,77tr IMPORTANCE ,ry"CONTOUR
I n this step-oy-step exercise, we will sec at the lund of Malt! Bru how to usc a black COlltc pencil to
draw a figure from a strictly i inc;lT point of view, wi th no hatching whatsoever. TllC characteristics of tile line uscd to define the contour c;ln transmit the natur.tlncss of the form, its material ity, surface texture, and visual charge. To do so, all one must do is contlol the widlh and intensity orthe line on t1w paper.
1
1. As opposed to other cxcr-ciSC'S, in this case .. , ... c do not begin the design o f the dJ"oIwing usJng simple geometric shapes. The right outline is made directly with the line of tile pellcil, practi6ng a contOUf. T Ill'sC inilial lilll.'S will be very soft, which allows for casy {"r.!Sure and const<ln[ corrections. We tIlust first dnw thl' contours that arc essential to underst.1l1ding and rt.l'rcscnting the form. \Ve win do whatever pos.~iblc to usc the fl,.~\'!.'St lines pos.~iblc. In the preliminary snucUJ~, it is important to consider the rig/..ag form described by the body's poSUJre. as we call sec in the sketch above.
2. Based on the pn;vious sketch, we can construct the whole profile of the figure linearly. The n ,lce of the line dO<.'Sn't have to be continuous o r have J uniform intensity. A line can d isappear behind a curvc or be interruptL-d by another contour. Al though the true drawing of the contour provides a single lille value, the repR'SCnt.1tion gains expressivcllcss when we vary the width of the line.
3. We fi nish dI':olwing the lines and internal ,omours Ih:! t docribc the aJ"aI1Cl' or rctn'at of (-.Id] pl rl and aIm the particular character and tacrilc scnsation orthe clothing.The inu.:r ior lines accentuate the expn..· •• sivcnt'Sli o f t h t" VOlll illC and conUllUnicatc till' thn:cdimc:ns.ional qU;J lity of each form in relief :.Ind the quality of the modeling. lfwc use a modullw .. "<I linc to gi\.'I.' the line dnwing the effect o f volulI\e , we sllOllidn't filrgct ,hal the shaded an.'3S will hav, to be CXp rcssL't]
\\~ th thick, inl t."I1sc lines, whereas lighter areas will be sug8t.-slcd by [enUOllS, fine lint.'1I .
3
III mille lille dmwinl\$ the
system used to reprt'M'1lt fo rms
recalb a topq:raphic map.
with difTe""'"1 lilies ind ica ting diffe rent levels
and IllU~ represellting the
relief o f the land .
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L
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( CLOTHED FIGURE: FOLDS ((//(/ TEXTURES
I II the following step-by-step c\r.lwing, Ml'TCcdcs Gaspar shows tiS how to dr~w :l clothed fig ure. C harco al i~ om: ofdlt' preferred media (or
this ~·;oc rc i s~'. l.x-ca ll5c the cOlllbin:ttiun of lim's and tonal gradations th:.! it olll·r. (<lptUrt:s tht, crc:tses .1Ilt! wnnk1cs in rlothing.Thl" d r.lwing of th l' fij.,'lIn:. Illadl' 011 co1orec\ p:1Jl('r, is cOlJlpkmc mcd by :lcccms ill wll ite c1wlk 10 g ive it a llIotC n:tUln l, th IT~· -dil1wnsion;ll lo{)k .
j 1 I
t . First " T m ake a sll1:tll. prdinu nary .ketch o f th e model. \V" hcgin by drawing the line of the backbone and the oval oflile he:l(l, :l11d around this st ructure sill' wi ll insert the (t ifft'rent parts ohhe body.T IKIl, using thl' It'ngth of a piece of wlli te chalk. we im ruduct· ~h·t t:h ily t he lights that gIVe brightness to tlw lJlodd '~ back.
2. The fi rst lint'~ on the papl'r should have a strict ly constmctiVt' flln ction. We c!" IW thl' lint." o f the b;lCkbone ,md tll C oval of thc head. In n skd chy mallller, \ V(; rcsolw 11le prolile o( (he body ;'\nd (he posil ion ofthl' arms with little more than ;'\ curve and an oval. Wl' us,' the charcoal stick so a~ not [0
overdr:l\V, so we C;tn then make correGt ions e:t.~i l)".
1
2
3
3. Till' Im<.':10 of !l1\' outline- mulr:iply a~ wt'
3ttt"IIIP( to adjust the SiZl'li of rliffl:n.'nl an"l); and gil'!.' plUlx)r!mn to ... ·;u:h p:m of ml' ix:xly. To Ih i~ end, we haw marked IIU' waiSI line and 1Ill' cn:J~'" ill Ih<' 'In ns. The drawmg of Illl' cOlllour ~hould remain open, widlOUIColIII<'crmg th t" iilll'li cOlllpll'ldy. 'IJ Ih,11 il k'aw'I the option of rounding (lUI tit .. I,mn by h,Hehi ng, inslt':,Ii.
w ... · u ..... dw tl.11 u f ttw .~t i c k. paying: 31[t' mioll 10 till" Cn::I~l>S o f Ihe mood's drt."S.'>. T lw d(XC lII l ill while chalk compk'I1ICTlI IIll' pn'viou~ halchlllg, highliWltmg thl' [l'xtun: and till' VolUllll:tric k )Clk O(,hl' d o th ing.
4 4. WOrkm~ in ~n'a lCl' dCI:, i) :lllli using th l' tip ofdK' white ,"halk , we TC ' llb- th l' {Irt:l ils of d'l" dothm!t. R ('C~ II that in order to XCl' mUJl l ' the [C).: lUll' nf the d orhiut.t. it is
u<;(."fiJ l lQ add 3 l i~ lt ha(dlin~ to tilt' ;rn."nts and (hu~ 10 l' kJ I I~ lli ~lI ll J..:u ish tlw l i ~h t ,,In.'';, of <"3( 11 wrinkk (mill its Sl l'l dt~t I';l rt . The end T\.."'Iull j, ~n <')(Cl'I!,"m drJwing Ihal ah(1'n~I''''' smoo th bl l"ndin~ ~nd '\01llt:"wha{ t!ath "r, d~'rc",,1 a,H' Ut<i; th ," w ho le is llu~Jlccd with m btk acccrllS in w lli te ch~lk "
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U II.-C 'hc COlIIO" " ~"" <lnwII" Ihos<' Ihal will he ~n""nlll "le<1 wilh halChill)! .• hcml<i he boonc over ~~~in w ith Ih., cha rcoa l. We U<e 3 1 ...... 1111011 10
make Ihcse firo;l ha,ching. ~ 1I{1
~"......,ad IIIl" chuco~ 1 pil!:",,"m on the I'''per, II is " " oul.:h ltl ruh a slip;hd), dirly lo rtillor1 on the 1<'$' lighle d a......,~s .
2
~MODELING 1M ~ , FIGURE if I, PASTELS and CHALK
" Pastels arc usually combilll:d wi th o ther d rawing media such
as cha1k or charcoal, to broaden their to nal spectrum. Because of its color, a pastel is Illuch smoother, brighter, and warmer than charcoal. In the present ~crcise. Marta Bermejo Teixidor shows us how [ 0 build me flesh t O l lL'S of a modd from a combination ofpastd with Illaroon and black chalk .Tlll'!;C three colors combined with the white oCthe paper are more than sufficient fo r making sketches, studies, and works that
require a dctaik-d chromatic expr~ioll.
1. Just as we have done until flOW, the outliile is the first step
ill making the dr.l\ving, a few gcnerai lincs in which we group
together simple ~,'comcuic fonns that little by li ttle will
take shape until they configure the profile of the figure.
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2. W ith small pieces ofbbck chalk and pastels. W (" ..elnfoTce the P~::~~~~:dl:~~wing. hatching in the empty spaces that envelop the r. wc make hatching with pastels o r chalk, we will
::;;;d;,;,ii;":;;; with a light touch and increase the pressure !; using the lines of the sketch as a guide.
3. These first touchl.>S of chalk should be added very carefully, because there is no need to cover the paper without first considering the del icate play of light and slladow on the figure. thus avoiding cOvt: rillg its most lighted 3reas. We then blend e3ch new 3ddition of chalk into the o ther colors using our fingertips, to 3c!Jil:ve an even tone and a more pictorial efTe[:t overall.
3
4. "' ·~'fon ,b;", d;>if'm,,'laycr~ ofhaf ching
m o~~,"~,~,'~:;~': and pastel, we blend Iho:: volumetric effecl. lf we bI~nd [Oil", using a cottOil rag. we achieve ..
.... 'aifli:rent. cff~ct. The general tone of the blended • hli chil}S is darke r Ih:m when we usc a .." onillon. Noncthck-ss. il is these fil'S[ . blenck-d
hatchings dl3.t we will usc to represent t ho:' middle 10n t'S. The contrasts of the body should be dnwn progn:ssively, finding the tonal val Ul-S
of each piane depending o n the light that (.1115 on each one of them.
s. Th, [,,,, 1 dh, of ,~Ium" ;, "h;,~,d 5 black chalk, w h ich creaCt:!> t he sharpcst contrasts bcfWt.'t-"u light :lI1d shadow in the kft-hand profile of the bod)'. and which we usc to draw the projl'Cted shadows 011 the floor and wall. The different smooth traces made w ith the t ip of the chalk sketch the {;adal features and distinguish the profile of the outlint: of the fi gure from the background. lIlost visibly ill the kgs. The f;'nd mllil is a d rawing with clear picto rial intensity.
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4
Us;n!,: an e !<lsc r. we open up the sh il le in the flesh of lhe figure. D uring the process of drawing. " 'e have ~radl.lll n y created slTlOOlh Ia)'CTS of gray and reddish duiOt (hM have darke llcd Ihe lone of the p3pt!r. 'Il ,C acct'fllS we make with the eraser heighten the ilI ,,~ jo" of , 'Olu",c ;11 the figure.
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T Ilt> purposes of ~ linc d rawing; are many, and they vary depending o n the artist: it can be a medium
fO f hatching, m udding, and tonal analysis o r haw" purd y descriptive role. In tile following exercise we w ill sec, at the hand of Mercet.ks Gaspn, how to use <I graphite pencil and develop the possibili ties of the line, with no smomhing whalSot:ver, ro make a quick sketch of a female nude fi gaR:.
LINE DRAWING FlGURE
I. The fir~t step is [0 fi x the m05t significant con touTS, the linL'S that best capture the general movement o f the figure. In a preliminary study, thL1"C is 110 need to (face a previous skctch-bccausc the sketchy nature of the study makes it unnecessary, 31 t1lOug11 it is helpful to ma ke" mental calculation of the IIlCa$Un..'S ;md proportions of the figure.
2. O ften, the design of the cOntour and the first Illolld ing lin l.-'S are simultaneous. T hl:y both occur <I t
every moment, so <I shaded u ea or volume !;:Om be made solid by simply varying the strokL-S and suggestion o f the contour linc.
j~ i ~~~- ~~
~~--"
,,( ;I~. 1 (.\
f \
"LI\ , ~
~/ , ,
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~
" ~ .. -~
t ~jl
- ,. " '\:: . I, - --
: J' <: 1 ,
' X·'lI-, '. ! I,
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2
3. The gencrnl pencll lillt."S ~re ~s much a way of cxpres)ing \'Ohunr a.~ they are a bocnrrnl intonation o f a base which we.' GIll thell aCeentllate ill sih'11ifi c lnt pbccs. As we drnw we fed fo r the volunw almost by intuition , applying more or J...-ss pressure to thc pencil. If we b'TIP till' pl·nci l fully on the inside of the ham\. we cm control the din:ction of thr line ami keep it froll1 being too intense.
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3
.. 0
4. This drnwing. based o n SOUl e ligbt pendl hatching, SUgJ:l"Sts the profile of the fi b ... ln: :lIld the force of the 1lIassc5, without representing them with 100ai p~ci~ ioll . It :lcccntuatcs the voluUlcs and ~Iiefs of the bod y while avoiding sharp. e h i:m:lSCuro contrasts and observing thc unity of the forlll.
When ~n ~bulldance or linc~ is Ihe
r~--:-----', dominant reatu.e .... in OIl r dr.owings,
we ~hould kL"'Cp the b'cner~1 profiles rrom geu ing lost by muking them whcrc\'Cr Ihere il
,
.. (old or a ,-cry dl.ildcd area.
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MODE'LIN.e{ , ", ,,~LE5HTO~p ~.
r---... -------·., I" '~e nude figur,c, we encounter all of the robleills inherent I repr~ . g the: flesh, which appears as a fal ' uniform surface; its
volumes arc 11 evident, but we 1l1ust grade them .. t~.tSS .Tlle coloring of flesh, \\lh ich:l t first glance :lppears unifOl: ·mroughout. contains a series 'f nU:lnce; that are hard [0 appreciate by :In eye un:lccUSlomed (0; 'the properties of colo r. T he goa! is therefore [Q exerc' r our eye until we' are abl~ to see dearly w here the vol.umes of the b ".i :Ire produced, and to bring dlem out by uSlIlg color,just as Esther, ' ve
V " / ' 2 /
--- f
de Puig de!).lOllstrates in [his exercise.
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1. We make a sketch using maroon pasteJ, profl!ing the comour wi thl a firm, assured srroke. T he trPtment of thc figure '~, --is qui te free; e)1ere is a dC:lr and intentiona! d4:propor tionally betwccn the tpp and bottom parts of the body. so. rendered to achieve a g re:ltCr expressh't':lless.
2 . Using the fJat' ofthe pastel we apply a light pink tonc that will correspond to the middle tones in the drawing. Th~ first sbillS are made quickly)?t wi th confident motions. I
, ,. 3. T ile greatest d i(fICulty lies ill grading thc·kkin 011 rhe basis o f color.;, bec,1l1Se it mcarui~\'e must translate ~is monochro~surface into mo'f pronounced volUq'les , , and (orlm, based on differenll, chromatic values. h isn't essentl to lise tpc colo r spectnnn suggested by the color of the model-rather, we can U5C colors far removed from the nuances of the skin to create a dynamic work througll colo r contr.lst.
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" t q \ ~~. gradually CO\'t!I the figure in color,
we be~n wOTkil,lg on I~Jja&ground . Following the theme~of (rearing it chromatic ' vibralioll:-throughou! the wOrk, we make the .background ¥,.tllow. 'Ule background color is ~ 5pread delicately in order to nQt disrupt the ~ of t~ figure. T~~ right. profIle of the figure. the lower breasts, and the pubis are underscored with wide ~vaths of lIlaroon so that Some these parts ohhe figure do not blur iTUO the background. We should gnde the figure's tones \'OlumetricaUy in the same 11,':1)' tlUlI we \\'Ould the curvature of it vase. When coloring where there is shade, the flesh tone i>e<;omes cb.rker with the presence of blues :lnd maroons; where there is light, it grow brighter and W;\rmer tklnks to the use of oranges, pinks. and yellm,,"'S.
5 5. Alter the lu(ching process, \ \Ie swt.'Cten the trallsi riolls between tones by smoothing the flesh lones with rhe pads of our fingers. Then, using the tip of the p~tel , '\'\'e redraw the lines orthe f.1ce. Once the drawing is fi nalized, there is a visible chromatic variety in how we sUgge'>tlhe culor and quality of the fi gures ~in, as well as a ton:d contrasl between the areas wi th shine and the darkest shadows.
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Ir ro ur finb'CTS are dirry w ith colo r and th.· nexi step is blending a liglll oolor, be sure to d ean them off with a rag bero re you do so.
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FIGURE //r{ WOMAN all{/a GI RL
rYrt lt1c BEACH Charcoal is .. quick, direct medium . It is also among the most
~pontancous, bcousc by n;I(Ure, it ","311 be lIsc(1 to make wide. undetailcd lines. T he wide spectrum of possible tOile; is another one of its Jtb':lctions. ln this dcmQllstr:ltion. Mercedes Gaspar makes :l composition of two 6guro with pronoulltt<I tonal effects 111 .. , gi~ a great expn:ssiveness to the drnwing. It is nec~ary to pay attention to the changing directions of the lights. shadows, and reflections 011 the f.1ce :Uld clothing, because these fa ctors describe the volume of the bodies.
1
t . '10 draw the body of the adult figure. we stlrt with all ill\lcr!cd (;onc; for the head, a cirde. For tile body of the little girl , we draw:t circle and cone on itS side to conVi')- the projection or her sh:.dow. We refine on the comour, cClSing and doing it over if necessary. until we :nljusl [he ini tial geoll1etTic for ms !O a prdimin.u y sketch ill which W~ can al ready begUl to sec th~ OlJll im: oflh e adult fi gure.
Charco.,1 is the petf<:et medium for findillg the form without working on any of the de t:lils. With it, .... -e em stain the p:lpcr :md ~c~ the guiding outlines of the two figures while comparing the proportions, mglC5. and ind in:ltions of the body.
2 3
4
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We ~d, jc:\~d tl..,
~~~_..i, cff .. « s of folds and wrinklc~ in the wOluan's dress by ~dJillg ~jv.agging lines,
... ..l .. ..:.~ with Ihe poim of a d ,arcnal ~I ick ,
on top of bI~'mlc:<I ilhading.
(
2. Thanks to the skctclJiliS we did in the pn.vious Sh 'p.
we were aNe 10 estlblt\h th. .. profIles o f Ih(' fi b'tUl"S and the
linear harmony o f Ih,:ir two bodirs as a unifit:d who le. T he fin! hatching
complet(."5 the rounded Qu ritllC o f till: fOlm.
These fi rst few hatchings. which will be vcry crude, should be made w ilh a fh l charco:.l b:l ,. 3. U~ing th ick lines, we cover the b~ckgrotlnd
with a soft layer o f charco.11. which \W t9ClI 511100lh wi th our fin~,'c rti ps. We acce ntuafe the cont:r.lsts o f the ili..1d ows imide rlle figu re; we can obt:l in uniforlll tonal W*b tions by softening or lightening thc hatching with a torrillon. The background tone is an ~ntial refcnmce point for giving gre:.tcr or k'S.~r intensity to the h:llching of the fIgure<;.
4, 10 fi nish the sketch of the oce;m, it t~ suflicient to add sOllle more intense tOile:. ~nd opcn SOllll' whi te areas in the crest of the W:LVCS. We apply the soft, dl'n$C linl' o f the crumbling charcoal in the final St:lges o f the d r:lwing, at the same time as we constrUt;t the facLal featu res and the Cre:\S(.'S in the dOlhing with slight tonal contrasts. The fi nished dr:lwing sllOWS .:II simplified tonal spt.-clnUJl in which 1.hc:: dark tones form solid m.'lSSC$ to unify the image.
INTERIOR mtlR
ATMOSPHERIC FIGURE
2
T he nch spectnltn of lonal values Ih~t can be achieved when a figure i.~ imegr:-.tcd into the atmosphere that surrounds it can be enriched
even fu rther using gmphi te pencils of d iOcrent h:lronesses. Even though Carlan! dr:lw$ thi ~ figure in g~'Jlhilt:. Wl' might say it has an :luthcntic pictorial effect thanks to the atmosphere created by [h~ gr:-.ys. W ith this outlining, its forms arc lIot d osed Ull to themselves, but instead relate to and meld into their surroundings, crearing a sense of wllOlcness and a uni fi ed imonation in the drawing.
t . The initial lines created with an 1-113 graphite pencil have an orient:l.tive character: they first situate the ardlitectural trame around the figure based on perspct:tival lines: the frame ohhe window, the angle o f the wall , :llld the stone bench . Onto the!>e initial geometric lines we layer those of the figure in ir.; correct proportions--rcnlell1ber the technique of dr.lwing as if the
figure were 'I'P'""".
2. By holding the gr.tphite pencil horizontaUy, we can quickly cre:lte :In are:l with :l uniform tone, with 110 guiding marks; we gr.l.dually fill in lhe main (brk are:tS, disregarding the relief of the forms or the outlines of the figure. The goal is to cre:ltc a diffuse Stain that SllOWS tht· grain of the paper underne~th .
3 . A lOrtillon will help us £0 eliminate any semblance of line> in the h:ltchin~ and create smootll lr.msitions between £one;.
4 4. Placing th l: point a ~ofi ~r:tphltc pendl o n its side, WI" usc ~ rol:uing mOllon 10 gradually dukcn the inlcl'"ior shadows {hal contr:m with ti l<.' outline o f the figure. Most 3 rl i~l~ prefer (0 create dlC 3UllOSpht"n' of the drawmg usi ng the ICXlUrc of the paper, producing a highly accOIuplldwd g.1 mut ofl onC". ln reahty, by !.imply gr.tzing the paper with the rip or the gn.pbik we de"elop diffe rent lI uanc~ to ti ll ' hatch ing. U 5ing a gr.tdual hatchin/-:. ~ l-:l l1 obt:Ull ~ofll )' blclldl'd [ol1ai effects. II IS also pos.o. lblc to sofien the tOIlCS by rubbing wi th a fi ngertip. Thl' spot~ of ligll! Oil [he fac(' of lhc figure ~rc ~chic\'cd by openi ng up wh llte Meas with a :;oil craser.
5 5. A drnwlIlg ~ lIch as tim one GIn bl' thou!!ll! of:ls;'\ sum of ovcrbpping gr~ys. c:u:h o f wbich lcaves it.~ mark Oil tllt~ paper and Ill akc~ the l1ext layer smoother :md r icher; the fil1:'IIII1 :"1rk!; 3Cccn(U:"I(e the nmd.,nll:ntal fCil tmes of the fib'1..rc:: the texture of dle d othlrlg and hair. thl' lead u ;"\r5 o f the window. and the configur..tion of the hands.
Many artius grow ae<:1.nonlt.'<l to "",i"l; graphite • fX'ncils of a si"gl~'
hardlM'l'li. sud. as 2U 01' 4lJ, and do 11\ >1 exploit the possibilities o( lJ ~i ng a ' .. r ict )' of diflcrcm gr~des of graphile within .he ~~mc drawing. TIll' COnlr:ut
i)t,twccn the finc linc~ o( a 21-1 g"'l'hitc pencil and thc dcn!iC. black lines 1>( a (,I) yields ,'Cr), auraeth'c results.
••
PORTRAIT pl'a FIGURE 1/1
T o gain m me pr.lcticc with lim.' alld to dt' mo nstratc the \'lillie of pt:'lltiu ll"uti in drawiuK. we will rt'pnxilice. at the h;mrl of Carlallt
,md using ~il"crpoilH , a ft nd e figure holding a dog. This is :t method I h~ 1 allows fOT R'w correctIOns, so if any lIli~tlkl"!i arc made, they must be rectified by adding new lincs:li> <10 this excn:ise we need silwrpolOt, avaibblc at allY jewelry store, or we can insert :l copper wire in a medl.1l1ical pl'ncil. We wi ll sdcct a r il! id , fine- grain paper :md cover il with:t [Ol)'t.' T of white zinc pigmen t or gouache.T he fi~1 h ycr we apply shou ld be di luted with water: the ~ccond shmtld 110t. Once the p:lpcr dric~ . i t is l'C:lrly (0 usc.
L \ )
I . \Vc bq!in the composi liollai stu<Iy of the model by drawing masses based on simple geometric Sh llP L~: an 0\1111 (or the gIrl's h.::l.d, a circle fo r the head of the <log, and a few more curves and clJip~c,<; to <1eS(:ribe th l' locatloll of the other memi>crs. Afier making a gCOl lll·trk oudine, \Y'e begin our first apllro.ach to the forllls of the model. T his simple compositional and outlining exercise s.hould done on a separate sheet of pnpcr, because silverpoint Jines cannot be corrected ollce they ~re on the paper.
2. This prc lirninal)' study will el1.\ure a IllOTe ebborate drawing in which w{· can d early distinguish (he comoul's of t ile figure. If, with o ther media, the preliminary pencil sketches or OU t!i Jll"S are m ... ver definitive, when using silverpolllt every line we draw is permanent.
2
SILVERPOINT
3
3. Once tht· pn:limill<lry drawing i~ complete. we gndu:\Uy shade in the: diffcrcllt p:trts of the: drawing. applying stretches of overlapping lines. T he sharpened silver lead gives the dl"3wing a vcry fine . detlik, l linc, pc.--rh.1PS the nlOSt dd icate o f lines possible in :my drawing medium. Silvl'rpoint lines can be erased to a (Xlint if they are made on an ad«Ju:ltc surf.,cc, but don't rely on this too much w hell drawing.
4 4. The progn'SSion of dark shades depelld~ exclusively on the pressure we ;IPl'ly to the instrument , because s.iJ\'erpoinc doesn't COl1U~ in diffcrenl hardnesses or gradation ... like pencils do. Before finishi.ng, remember that lines 1It:I(k ' with :l silver cutter gCI darker over lime because they rust w hen thLY oxidize--when they come imo cont:lCI wi th the :tir--just a.~ sil\'erv.'are does,
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If you wi, h to aCCCfItWIIC the IC !( (IJr'e and
din.'Ct ion of a ~tr.md or hair. ,ake a blade and pnoctice adding (J\·crlapping laye .. or paint . 'nll~ resull.\ w ill slIrprise you.
Ace ....... 112-113
A .. ,dnw.ng. 110
",,~t()I''Y. 24-37 cloth",!; .nd. 101 (ctt,llt- .17
I .. nck, .\2- 3.1 he;wllf""c, '21,..27 Ii ........ JO.--31
rrMs.34-J!o tOOl(>, 28-29
A",h" «tun:, dn.,,,ng. 1114
Auno<ph"", around ligun:, 110--111, 154- 155
A:c .. ,ofh<><l)',1fl,29
Ibd:
body oxi<. ~I>d. l b. 29
p rop< M. ion., 16, 19
'0,.,.0 ."d. 211-29 Blend,,,!\. 111. l lli- l l7
Hoo)' I""I;'", 14 Hody.,,,,!,,, ... 1""'17, 19
Ill'n>b. of ......... f't!U ..... 2)
em,.,. of ~-nYity. 6S
Ooall. (JICreis<'. j.W .... 147
a...rroal, HH.II9, 111. 115, 119, 128-129
0" .. ,*,,,.0 d"",,,,-?4-95. I3R-Il'I
Child {'fill""" 20-21. 152-1!>3
CIoM-d (<k:w.:"p'''''') d r."" ing<. 711- 71
CIotl,ed f'll"to. 96-105
mme:Cl .nd. l n4-105
dr.l""".nd, I02- 103 fcllh .nd. I (n.- In!. 144-145
pn><>n.liry . nd, 9?
>1.><1)',"101 jm"" bod)' '"'-'CIu", of. 'lH--'I'l
COlO' r <."Ilon. I 05
C""'''un ,looK. opt''''', So6-S7 d;...olving. by hlo:nd.o& l1 h-1I 7
II>(Cf,,1I)' .,.., 57
Ii .... ~ool'rcl.nd. 49 .,.,.,. 11.,';",48-19
. ___ ...... ---~?,.. .. ~"Ir.Jp<""o, 73,132--1:n C" .. rcrUIlI! miol.kcs. Sn- M;,t<kn
COI"nc' ,,~, I"'. 68-(>9
O"(ur",.".,.,, n
'W
r"",ilibrlUm of peon. 64-6S "1'><;..,118-11 9
Ex",,,,,he l i l~ 76-n. 120--121 fori.I. ,,.,,,,,,}",26-27
1'>.,23
"" ~'1,J6-37,M
l"'m.M figu=: boork/from, 19.29
1"""",19
lun"' .. \1 nlUOCubn,..,, 17
.""ti,1e. 19
proportions., 18-19
,-" w,isu, III
h gl, .. 1 probic",...12 ~l.'Sh tones. 1 2~ . 150- 151
"".10..99, 100-101 .1 02-10..'. 144 14S
' ;''''''I'''''<,,,inl:069. Hfl../! I, 134- 1:\5 1'n:>t, .. 1 virw.66,67
O;oo, .... ric okId"". I), 44--45 £hiknl~ 20
clooc:d "'f'pI"<*'h. 10 ko • ...., 6!IU"". 19
obcw~~2J
"""' "",,"*,h,71 rI>t~ho" and. S4-S5
" "'ph,,,), >C.'Cm, II GeuUTU.''''I)-ting. 63. S<T 01", I'u5e!. H.ir l~"'urc. 122- 123
1-I. nd.,32 33
H •• ehinp. 5 1. 59.I!? 81'1. 90----91. 111
Hny dnwing. 1\1
H<» _ 0111)0; 26-27 childn:n. ::!O k ,rW<- f .... ....n, 19
In profo le, 27 ~,-=don, I".15, 111,20
Joint>. 79, 99
Light .rod slloldow, 7. St<' air<> Clothed flgl""s
chi.:lr<lllCuro eflCcts. \14-95. 1311-139 forcing conI ...... 93
hatchiJ'g .nd, \10-91
ligl,t cflCcl>.86-87
« flec' ion •• S7
.ketchil¥ ex=;"'. fI8-ll9
. kin 'Iw.li" ... nd, 125
vol"me .nd. 90-91. 92-93 Limn., 30-31
Li .....
ofac';on. 54.55 C<>1Irolling. 49
cxpr=i" .. ,76-77. 120-121
p1"'"'()1'~ 115 soli. 56-57 synti>e<is ."d. 57
M.1e flgl' ''' u<rci!.<". 140-141
M.p of oJudows. 88 Miruk ..
COTr<;(ting without .. ming. 114- 115
cr:>sing. II 8-1I9
.u e"~" error, 114
"'limping. 11 6 Modcting t<-c hniqu ... 92. 93
Motion.76-77
MU$(uut"",
bod)' olltli"e . nd, If,
d,..wing.76
cldcrly fi(;u ..... 22
fcllUIe figures, 17 li",bu nd,30-31
muscle pai .... 17
Obc$<: fil(Ure:<, 2J Open dnr",ing<. 71
OpcniJ'g"",cc>.117. 118-119
Ov.1$, 19,20
~d. """",Bo>. 14f>- 147
""1,';<, 34-35
Pm . i",,,"ti. 114, l iS. 156
Plunh,,," lilles. 115 fbint of '~fW, (-'(~7
"'"' closed approach. 70-71
conmpooo. 73.132- 133
cOlmt .... mold. fQT.~ t''1uilibrium of. &4~ frontal ~.f>6.67
!plum .nd, 63
moti"" .nd. 7(-,- 77
open approKh.71
profik "icws, 67. 142-143
«<lining. 75
$<':l",d.74
$l.>nding. 72- 73. 132-133
uudyi,,&66
, 'aryi"" pcint of "icw,66-67 view &om behind,67
P,..:<itt:les·, law, 14
Pr</,k "ic"",67, 142-143
Pmporti<>ns.l (1-23
hack ride, 16, 19 h2ri<: hum. n. 14- 18
budy hoight, 14
body outline. 16-17, 19
children, 20-21
defined, 11
ckktly flg""'"- U. V f"n,,1e figt,"'. 18-19 fO .... horten;ng ."d, 69.80-81. 134-135
ofl ..... <I. 2(,. 27
l ..... d-ba.cd.14.15.18,20
intui live.41 m'l, hing IIlI i, ;, 15
mll",1t: ""i,.., 17 oo.e." figt' rn. 23 synthetic (",,'ouri ng, 48-49
unil _ystem, IS. 42-43
R.acio l types. 125
R""r. view frollt. 67
Reclining figu=. 75
RdlectKms.87 Rhythm. 54-55. 102. 120. 12 1
s...",d figure:<, 74
Seoing flgur.,.. 70-71
Sl .. ding.58
Shadow .. ';ff liglu and _h,dow
Silv<rpcin' t'Xcrcist;. 156-157
Simple form, ",,,et, 13 Singlc_lin~ figu,...,.,49
Skin qualitin. 124-125. ISO-l SI
Sm.,.,u,ing. 111. 117
Soft line. 56-57
Spine. So> Ba~k
S .. biliry. "(fi!(UI", 64
Suim. bo.rildiIlK QIl. 136-137
Standing flgu ..... 17. 6$. 72- 73, 132-133
Snok. dit<CIion.93
Stm~t=.offil(U"" 98 Siudies, "i.t""" of. 50-5 1
Srlllllping. 11 6 $0.",,,,,,,;, ... in»g ... n Synunctry.65
S)'nlhesi<. 12, 45, 57
Synthetic oollt<>uring,4S-49
'fCIIS&<>nS, S3
'Ii:::<tun;s/dli:cts
""(cn';, 112- 113 ,,,,;st.....,urcn for. 1(1;1
. ""''''''he .... arou nd figu re, 11(1-1 11. 154- 155
blendi ng, 111. 116_117
co,""'lillg. St<' M .... «. upr=ive line<, 76-n . 120-121
fold,.99. 100-101. 102-103. 144- 145
h";r.I22-123 . ki n, 124- 125. ISO-lS I
Tonalledllli'I'teS. 8S. s.... at", ligl" .lId
~.oow
Tono,28-29
T",,,,,,.,,,,,, d r.wing. 78-79 Un,uy>tcm.1S.42-43
Val".,. • .cudying. 9 1 Va,u.J,ing (fadirljl,) (()nruu"'. n V<>Ium<
wi, h accentS. 11 2- 113
clk<;o; of. 92-93
wi th lutching. 90-91
w"iu.celllaic figuT<;>. 18
w"tcrrulor d",wi"g. 59
White >C(Cn ... 112, 113
Whi'e "",,,,,,,,,,,,,,, ;ng. 117
Woman/girl 011 bnch .><ore;"'. 152- 153
Wri"klc..U.102- 103.&r 0/", f'<llm
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