ING

THE HUMAN BODY

Sterling Publishing Co., Inc.

NEW YORK

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Translated from~e:Spanish by Edgar Loy Pankbonaer

Library of Congress Ca,taloging-in-Publica,tion Data AvaiJable

10 9 8 7 6 5 432 t

Published in 2{J04 by Sterling Publishing Co .. Inc. 387 Park Avenue South, New York., NYWU16

Originally published in Spain in 2003 under the title Dihuj.(l de Pigura Humans by Parrarnon Edidones, S.A., Barcelona, Spain

Copyright © 2003 by Parramon Ediciones, S.A

English translation copyright © 2004 by Sterling Publishing Co., Inc. Distribuced in Canada by SeerlingPnblishing

c/o Canadian M.md:o Group

One Adanric Avenue, Suite 1 U5

Toronto, Ontario, Canada M6K JE7

Distributed in Great Brjrain by Chrysalis Books 64 .Brewe!I)' Road, London. England N7 9NT

Distributed in Australia by Capricorn Link (Australia) Pty Ltd. P.O. Box 704,Windsor;AustraUa NSW 2756

Printed in Spain AU rights reserved

Stedlng ISBN: 1-4027-1l48-4

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ING

THE HUMAN BODY

Introduction 6

STUDY OF THE NUDE FIGURE 8

The Body and Its Proportions 10

Problem; in Drawing the Human figure 12

Basic Human Proportions 14 Proportions of the female Figure IR The Child Model 20

Elderly and Obese Figures 22

Basic Anatomy and Synthesis 24- The Head and Face 26

The Torso; Front: and Bad: Views 28 The Upper and Lower Limbs 30

The Hands: Structure and Outline 32 Tile Pelvis: The Shape of the Hips 34

The Feet: lnner Structure and Form 36

CONSTRUCTING THE FIGURE 38

A Well-Proportioned Dmwing 40 'The Uilit System: Measuring the Body 42- Geometry of the Human Body 44

The Geometric Sketch: Structuring the Whole from Simp le Forms 4.6

Synthetic Contour and Line Control 48

The Virtues of Doing Studies: A Good Form of Practice 50

Lines and Rhythm of the Figure 52 The Inner Rhythm of the Figure 54

The Soft Line and Its Modulation 56 Turning: Spots into Forms 58

III

AlTITUDES OF

THE HUMAN FIGURE: THE POS-E 60

AnaJyzing Poses a.nd Gestures 62 Tile EquilibriullI of rhc Pose' ()oj.

Varying the Point of View no

A Countermold: Drawing Ncg;~tivc SP:1C(_' 6S

\'Ihy~ OfSt'l-ing the Figure: Open and Closed Approaches 70 The St:mdillg Po~.: or Contmposro 72

Seared and 1~.A~dj!lillg; Figures 74

I)H~ aud Moriou.The Expressive line 76

Ik,will!i rhe Hidden Part'; of the Body 7~ forcshortcuing; Drawing the Nude in P(_·I'Sp.:ctlve Ro

IV

LIGHT AND SHADOW IN THE HUMAN FIGURE 82

Tonal Techniques 84

Tilt' Etfut"t of Light on tilt' NmiL- X6 Skerching a T011~al Dr;l~ v ing Sl'l

The PI'OCt ... s ofHJl:ching:: Crt'atingVolwue 90 Effect, of Volume ,)2

Chiaroscuro Effect!;; Working with Absolute Contrast 94

The Clothed Human Figure 96

Studyillg the lnner Structure of the Body 98 Clothing and Folds: Creating Textural Effects lOO Tilt' Drape: Rilytium and Wrinkle; 102

The Figure> and Its Contexc 104

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TEXTURES AND EFFECTS 106

The Artist's Resources 108

Ilendt"l'ing- rhe Amlo:>pl~I(_~:rt' Around the Fj~'Ure Creating Volullil' with Accents 112

Correcting Wirhom Erasing- 114

Blending to Dissolve Coutours 1 [6

Erasing: Opening Up Spaces 1~8

E"Pl'CS-.~ivt' Lines.Rhyalun ,an~ Tension r~Q

Hair Texurre J.22 .. l~

The Qualities of the Skin 124 . -'t: .:

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STEP BY STEP 126

The Nude Figure iu Chcrcoal.The Ont.line!i:::> Building ;'figure fium Ceomerric Forrus IJO Drolwing a Standing FigUH';· The Contraposto T P The: Figtl~ Foresberrened: Dl.'otwing

c.h~ Female Nude 1-34 13uilding On Stains 136

Figure with Chiaroscuro 'Effl·ctS 1)8

The Male Fi.~,re from ~heWhist Up 140

The Profilei'The Importance of'Contour 142 Ii Clothed Pignre: Folds and Texmres .1 U Modehng the figure- in IJilStds and Chalk [46 Line I )rav.-ring of a Figl1l,€ 148

Modeling Flesh TOiles !jO

Figure ofaVoungWomalt .1Itd ;1 Girl 011 the Beach 1S:: lnrerior with Annospheric fig;urc J)4

Portrait of a Figure ill Silvcfpoim [_:if)

Index ]59

6

yAD FIGURE

AS ARTIST'S OBJECTIVE

Drawing the human figure requires ill curious gaze and a will to ke-ep pra.cticing even if OUr 6rst drn:'WingsfuiL Observing and drawing the human figure regularly allows us to adjust our visual

memory to physical forms. body language. and facial expressions in different situations,

The popularity that drawing the human figure has achieved over the course of history is reason enough to attract the artist to its practice. Drawing with the perfection that we observe in the great masters is a seemingly difficult task. for there are technical challenges in drawing the human figure that are absent with other subjects. This compels us to put into practice everything we know about drawing in order to adequately solve such problems as the proportion of the limbs in relation to the whole body and the representation of'vohrme.joints, and muscle tone. Drawing the human body presents a greater challenge than any other subject, because both a:rti~t and viewer are intimately familiar with the body's proportions and die physiology of the human figure. Here, even a small mistake in drawing becomes evident. For this reason, an artist who can masterfully draw landscapes, still lives. or interiors may make mistakes when drawing the human figure. We often find the artist exaggerating depth and mrms-which cannot always be read as a product of his particular interpretation, but of the need to disguise shortcomings and

inexperience; in drawings of this nature. "

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We will show in this book that drawing the human body need not be so difficult. Starting from a simple base and applying a series of tricks and techniques, the reader will find himself able to adequately render a nude figure. The ned is to be considered an ideal model for a full study of fonm and light. For this reason, when drawing a nude body, it is important to study the model's anatomy, and also the lighting, because lighting plays a role in making the sense of depthand relief more-s-or less-prominent.

Practicing this kind of drawing sharpens visual perception at the same time that it exercises Our ability to depict fonus.The human figure is 3. highly suggestive and

evocative subject, which can be approached from many different perspectives and individual styles without diluting its essence. Prom an academic point of view, drawing the nudeis the best form of discipline because it forces the artist to pay attention to proportion and teaches the skillful calculation of organically coordinated forms and sizes; from .m interpretive point of view, it allows us to give free rein to form and contour,

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STUDY OF THE

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II

PROPORTIONS

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In order to properly introduce the study of the human figure, let us set forth a few general guidelines that will allow us to draw any figure, using a system of proportions that can be adjusted to the view we have ar ally given moment. Proportion is the equilibrium of measurements that establish harmony among objects- +in this case.among the parts of the human body. Although today artistic license allows the drawing of figures with specific stylistic quirks, it will be easier for the novice to begin by following a set of rules that will help, him to draw a well-proportioned figure.

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PROBLEMS tll/ DRAWING

tltr HUMAN FIGURE

In any given era, learning to draw the human figure, whether nude or clothed.js perhaps the foremost goal of any painter. The nude is the most beautiful and complex of subjects, and is often considered the artist's greatest challenge. Although drawing the nude figure is widely considered to be very difficult, it is in fact generally easier than than a portrait, because it does not require that the artist focus on facial details.

Figura1 Problems

Drawing the human body requires the artist to gather an of her: skills in working with real form and volume. As a subject. the human figure requires that we put into practice an entire set of representational skills as we anange the limbs in a proportional relationship to the body; it also requires the representation of volumes. articulations, planes, and simple forms and their combination into more complex ones. Once we can accurately render the human figure, it is safe to say that we can also take on any other subject, no matter how complicated it m.ay appear.

SY'lihf'sis, 01' mlucift,gforms to their flsmtivi content, is II key jaCUJr in dm!l1{r« correa/y.

JI1 order to ImQers!l;'f/fl tlte jigil:re, If isfir:;t Jt~SSm"y co urUlel'!ll(ll'ld its inner struaure, Hk must observe Iltul t'iter what is ltiJJrn w-ufeffICilth every pose.

The Secret of Simple Forms Here's a su"ategy for approaching the challenges ofrepresenting the human figure: first, figure out a starting point. for the figure based on simple forms that adjust to the' contours of the body (we will see this in the following chapters); then, work with these forms until you arrive at a convincing and recognizable structure. from there. the proportions must be carefully established, making sure that the figure has a proper equilibrium; this is especially important when drawing standing figures. Don't be' discouraged by your first

dravvings, which will most likely look like crudely made dolls-a jumble of sketchy, ill-fitting forms. The best way to start is to reduce complex forms into simpler ones.

By combining SYNthesis with sp',ntaneily. tile .d,il."l)(" a mote t!'-l'r:essilJe jigmc.

SS<lftingjrom 1I silliJik' outline, lW Cllr! make a ,teomctri! sk('td, if the hmntlrl Irody;

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A drawing of the human figure should tart

with an oval representing the head, and then a vertical line for the body. We then add the thorax and the Iine of the hips. which connects the upper and lower exrremldes,

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j:: BASIC HUMAN PROPORTIONS

Adrawing is considered ill-proportioned when the figure's head appears larger than normal, or when the arms seem too long or too short-- +in other words, when the figure deviates from what we consider normal. To avoid disproportionaliry; we look: to the laws of proportion as represented in an idealized, conventional drawing of the human form. in other words, One which possesses a perfect relationship between the body's measures. The way we represent the human figure roday is based on a Greco-Roman mode], the classical Greek law of proportion, which was adopted by the Romans and later resurfaced during the Renais s ance after centuries of disuse.

Body Height

The law of proportion for the human figure is based on a unit of measurement that corresponds precisely to the measurements of the head. According to the classical taws of proportion. the total heighr of the human body should be equal to seven and a half heads. or seven and a half units. Praxiteless law established a new idealization of the human body: according tothis model, the total height of the ,human body must equal eight heads. In the early

twentieth century. scientific analysis set the' proper height ofthe human body at eigllt and a half heads .. All of these models are valid, but fur our purposes, we will use me measurement of eight heads to simplify oU[:!itudy of the academic figure.

TI,e law tf pm{)orli!m based ,IJ'I eiJ?ht heads yito/ds a prop1rrioflate n?j)rcs01tation q{ till: {mlllal! hOlly. The iJilljsioH C!f tue borly into units scnes as a nfermcr for wrredly di SlIihIffilig cach elemen; oj 1111! botly.

Q'fif'I1, artists will lISe II lilW Ii PlVpottioll based Oli ten heads Jor till' hWfla.rl 111)(/)" sUj!ge's toilt& ,l IJIOI'€ stylized, elongated figure with a more expressionistic rlJamrrcl:

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Matching 'Units

A l,Jw of pmjiortion based on unirs is useful prinlarily beCJUSe it l110\VS you t:o cOlllllut"tbe relationship

bet\ .. .ecn the I;xlfC'minl,'!i. by rcfcning to the divisions between the units.

III a propurtiou;}1 mrn.id, till' fihtll1re will be eight units tall and ~\. .. :o unirs wide. E,al'h unirE is equal to

the leng[h of the head. The nipples coincide with

unit nomber [\\-0. The anupits also coincide with the borderlieeherween the second and third units: and the navel is l:ot:Jtcd in unit rnnuber four. Unit number fotlr;ll:m marks the posjrion of tht: elbows, and isa f.'liriy precise mark fOT the height of the

waist, The hand is as lon~ as the face, and the located slightly above the sixth unit. The kUl"L'S located in thl' dividing line between the sixth seventh units,

The unit ~.ystcm also lets us reference other signitkant poin~ th:.n are of ~ore;:lt hdp in undcT$tJindinl:!: <lI1l:.lt:omy and facilimtill1g the reprrsentasion of ehe figure; they are :llso a use - '\-1clth reference when we need to check the m important demarcarions.

Tt« sizr '?! t.trr: 1'(11111 (/Jul' Ihe fl".fl 1'.( flit rli$llttU"tS J~/Wl'r-ll Jldrts ,!t',irt' way r.u, IJf! tlk'lb:llrl'd II'ifil a I't'udl. 11,£,11, II"" silJlply Irr.r,,!!li'r dU!$CI'fflJ'f."';fllll c'lIfel 'lie JKIIk'r. uprti(lfl)' tIll' tHMSIII""It!'"r$ _~Ir r/r!'" 'Iri.~u tu.ld If,j,d,1i f!{ ",r l~ (uirif:h, {I$ )'Olf Ifl4Y: rccall, S,IWIITtI i'iJlla1 m~~ hrmM,

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i IfJl1,({i nllry Ii III:' 111<11 J iI/idlls JlII'frontal llif'IfJ t?f the IIIJdy int» tllm "tlllJfS (lin also be seen in The rcar view qJ-,ltl' /Jod:" TIre- fine is IflLll'[' IlisiMe ;'1 "tl' rellr vicw ;/wnks to the ri4{!f 4thI' spine.

The line tha! I1Inrks 1/1,(, spine sllm/fff be ,haJj'" ,IS the o. is of symmdrjl; this U/(J)I. it will ,erVl' I1S <I refrrence for plaring the pafts ,j tl1(: m,d,! 011 either Iwif of the bod)'.

TIle curie that describes tire spine. and the (!J.-Uilsio# if/hi£ JJm: flown to tile Jed, ts a _l?Hidr for capt.llring tJ1C figllre'S gestUI'f?Il.5 'Ji rUled Jmm tile rear.

The Back

When a figure is picrnred 'from the back, the-first feature that we notice is the clear definition of the figure's vertical axis. The line marking the vertical axis is accentuated by [he backbone, by the ridge that the spine forms. by the separation of the buttocks. and by the line describing the inside of the legs.

The Outline of the Body

The outline that marks the limits of tbe body is described by the muscular reliefs of the body. Muscles are fleshy masses that mold the body, made up of a special tissue that hasthe property of contracting and changing shape when the figu[t" performs all action. The forl1lS we appreciate 011 the surface of the body result from the volume of all the muscle masses, including the deepest ones, but the onesclosesr to the surface are of greater interest to the artist.

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dg, l1I:d by the bone struclure lind the layer ~ muscle wllEritlg it. The muscle ts lIi/wt gives tilt hmiy its wn/vlm., Like the otlier parts oj thi' body, tJ1e sh(Jpc rf the I1lllsdes am aiso be broken. down and S~,.ctrJled geometrically.

When drawing :I stal1ding figure.

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the weight of the

body should be properly distributed. Th distribute the weight correctly, keep the line, of

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the neck, the

hips, and the feet aligned.no matter how much the body twists.

All musdes (l1l:~ pairM and sYlfflf.cttim/, bu! a 1»oman~ musdes (nt' less pronounced, whfi:h Sqftl!flS the (OlttO~'1S Qf 11('1" body.

Muscle Pairs

When drawing the volume ofthe body, it is important to remember that every muscle belongs to a pair. If you draw a figure &om the front, the muscjes should be symmetrical.Another important thing to remember is that the muscles in the extremities are long and overlapping, while muscles in the torso are flat and expansive. Even though a. woman's musculature is essentially the same as a man's. the female body has

a layer of subcutaneous fat that softens the

external form. For this reason, the male

body will always display a more pronounced, voluminous musculature.

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PROPORTIONS (l/Ih:c'

) ,EMALE FiGURE

he prop,ortions of the male

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The main ~iliUOlnicW difference lies in the

_ 6!male body's narrower shoulders .' ~nd;wider hips. .

. ~. [,Jie chest is slightly lower in

~ the-female body than in the male.

• tiJc€ tl'i~ male's, the female's. waist is lcx:at~(l on the dividing line betWeen the third and fourth unIts, although a woman's waist is narrower and closer to the chest than a man's.Viewedfrom the side. the arch ofthe back is. more pronounced than a man 's, and as a result. the buttocks appear more prominent, One of the most important factors in making a a gooe drawing of the female figure is pIagmg the waist at the right heignt. somewhat lower than a man's;-this is one of the

ana: unucal features that gives {he female body its characteristic form.

Despite ihe differences between. the male htldfotlmlt. <fnatom~ they both folloW ik eight-Ju:.ad law oj propo,tiot1,. altlimjgh the '<:o.lfrgllrtltiDn of the ftmald anatomical reli~f

,[ J is noticeably differentfi:om the ma'e~~.

The Outline, Back and Front The female outline is softer than the male in its transitions between one area and another, The buttocks protrude beyond the vertical line marked by the shoulders, and the outline of the legs describes a diagonal that is less pronounced than the male's, Viewed from behind. me most outseanding characteristic of the female form is the dear contour of the back and hips, which is dearly defined by the waist. The relief of the female torso is far less dictated by the shape of the muscles.

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The Female Head

There are several features that clearly distinguish the female head from the male. A man's head is usually more angular than a woman's, which is generally rounder. The bone structure, especially the frontal bone, is more pronounced in a, man's face; a woman's profile has softer features, an oval face. and a more bulbous forehead. Purthermore, a man's neck is robust, while a woman's is more delicate.

Drawing from oval shapes is useful in

• establishing the main features of the female body. and is an important skill to practice.

Dmwil~ the female form ,Mse.d on geometric schemes makes it l'.tJSier to determine the siz't. and ptJ;siti{}1I qf,each part if the body..

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A lartr of subcut<lIleotis fat gilJt's the ftmale botly llaINptUOr4S, TI}lmJed .forms aOmil'kltea by curves mltl a sinewy (lU,(linf.

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CHILD

A babyl body features very l1Junded forms that shc:;nl the folds of fl'eT), jOllrr.t.

MODEL

A chilli'S hem! begirt) with (WO OlJQr.s, onEfor the upper skl/U. aM atlother jof the jaw am/cheeks.

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Basic Proportions

One of the basic differences between a child's body and that of an adult, is the head: a child's head is much more' voluminous compared to the rest of his body This feature is attenuated as the body grows. In general, a newborn's height is only three times the size of his head. When the child is approximately one year old, the total length of his body is three and a half times the length of his head. Compared to the head and the torso, his legs are relatively shol"t~At four years, the head is still very large in proportion to the rest of the body, but because the child is taller, his body now comprises five units. At twelve, the child's total height is seven times the length of his head, and the middle of his body descends toward the hips.

The Jaw 'If proportiD,j is importan; uhen draw!'tJg child Jigure~ bJlt if is less reliable than it is for the figure 0/ all adulf" due 1.0 the groo( d!IJeteuccs In pnportiOl1s that OWl' during gyowth.

As tile cllild ~~ body iJ:nr.rf()ps. tr~e middle 0/ tilt' body JC'Jcenn.s. The middle rf a Inrl!ys body is locat(~d at the fUll!€f, uhereas the middle qf a trurlllc-yeay-old'i h«fy IE 5UgJuly abo!N ffll! pulJit area.

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Children ~sFornlS

When attempting to maw a child figure. be aware of its rounded forms, and avoid sharp, angular lines. It's better to magnify the wavelike motions of the child's contours than to worry too much about getting the perfect proportions. Children are in a process of anatomical development. so it is useless to try to represent the shape of their bodieswith the same' precision that you would with an adult figure, male or female.

The Middle of the Body

If you draw a horizontal line down the middle of a body from childhood t1100ugh adulthood, you'll see dearly how the middle of the body moves downward from the stomach.At eight years, the middle lies somewhere above the hips. The head changes very slightly, while the arms and legs grow longer, The drift of tile middle of the body is basically the result of the growth of the legs during adolescence.

The Trouble with Live Models

Child model s present several special problems for the artist, not the least of which is the factrhat children-especially small children+can never stay put fo.f long .. So ir is necessary to take frequent breaks, keep them entertained. with toys or other items, and make sure that they assume the pose that is most comfortable £01' them,

ELDERLY {In(/ OBESE

FIGURES

The shape of the human body depends a great deal on its structure, so when you try to draw a figure correcrly, it is essential to understand your model's anatomical features and physical complexion, which are' specific to their age and body type, in order to personalize the figure.

The Elderly Model

The body of an elderly peISOn is disrinctly different from the proportions of an adult figure, The forehead is more ample as a result of'hair loss. bags appeal' under the eyes. the skin is less taut than before, the chest appears to sag, the limbs are flaccid, and the bone structure is more visible. Very little muscle mass remains, so the shape of the body is determined entirely by the skeleton. As a person grows old, his skin loses its elasticity and begins to sink, giving the impression that the bones are closer eorhe surface.

The skin's wrinkled. flaccid texture crates shadows i.n the model, which yOll can draw by using gray hatching.

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In old age. the lIIusdes lJeUm11' jla.r:dd tJm1 the hone 5rXHau.M more eviiJem. TIle f,OOr htltlches over.and shows iUllpielil difomlities.

The..fi:ue. is where old age is mostlt:aai/y visi1Jle, so it is lmporttJUl 1.0 pay spl'dat ouenuc« to it> featum. I11e bulky liOlIies 1IJ,&i11 by the ddt:rly disguise the Jml'l:sfontJati01I if !lIe,', .:natOH:!}'

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1111' S],11pf '!f tire bod}' is noticeably liwtfifi:ed whrnjJf oaumulates If! die fumml, 5((1IIW"I, bultocks, £I11t1 thigh!. .When dmwillg lm cbese Jlfltire,. the best thi'"1g to do is to $tarl wifh a .skeJih based 01'1 om] shopes..

Obese Figures

There is a layer of far between the muscles and the skin that fills inthe gaps and softens the shape' of the bones. The fat is barely visible m the body of an athletic person, because it. adds only slightly to the person's girth; but in an obese person, it can amount to as much as five or six inches, so it plays an essential role in shaping the volume and girth of the body.

This layer of fat is not evenly distributed throughout the body: In men, it is generally concentrated in the chest, accentuating the profile of the cleft just below me pectoral area; in the area below the chin; in the stomach; and in the buttocks.Tn women, fat tends to affect the shape of the breasts (which grow disproportionately and look more flaccid), the chin, the stomach, the thighs, and especially the area around the pelvis and up to the end of the gluteus muscles. For this reason, the part

of the body that stands out most in an obese woman is the exaggerated width of the hips and the large behind. The other parts of the body tend to look more cylindrical, and me folds around the joints are more pronounced because the flesh there is fattier. The same thing happens with the person's facial features, which tend to swell generally; body tat is particularly visible in the cheeks and chin.

Facial fa! am grow 10 the point of completely ohsclmf!g the essential shapes if dIe hlJt/uJH body. The arEa tteflMth tI~e dlil! amJ the hack ,,;if.rhe neck WIlli 10 sITow IItegrear.est ammlUlaticllt If jato

When you draw the face of an

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The olJt!St' body llllI al,o be rcdumf to drdi'S and owls, wflo.>r ,proporlj'ollaJ rclatit,"ship mil be llari,'lf Hut;1 }'QII read1 lilt' degree cf P/Jt'S; fy sf/oullT /14'1'1' •.

AND SYNTHESIS

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The shape of the htl~;Ul body depends a great ~eal on its structure, so an arnsr s knowledge of anatomy IS usefulthough not uecessary-+when he attempts to draw a human figure correctly. If you have no knowledge of anatomy, observation and synthesis is also a good v.'ay. Learning to observe your model is fundamental for understanding how the figure is articulated, and synthesis is essential fOI" summarjzing or breaking down a subject to its essential patE, into the elements of the figu.fe that have a plastic and pictorial value and into [he things that convey the presence and attitude of the figure. The power of synrhesis is an enormously useful tool for drawing; because it allows the artist to quickly represent a figure in a spontaneous attitude at any place Or time.

[The' HEAD and FACE

D tawing the head and .faoe is an ~ncim:idating prospect, because facial expressions change so quickly that capturing them precisely is a goal that only the most capable artist can attain. Hence, this section will devote' no time to studying the action offadal features but will concentrate instead on the relationship of the head, considered as a volume, to the rest of the body;

The Proportions of the Head

.According to the law of proportion, the human

head equals three and a half times the length of the forehead, so we will divide the height of the head into three and a half units. From this division we derive the following references, which will help you 'to draw a well-proportioned head: the top of the head; the natural hairline, the position ofthe eyebrows. the height of the ears, the base of the nose, and the profile of the chin,

Viewed from the front, the human head is like a rectangle three units wide and three and a half units tall. By searching for two lines that divide the rectangle vertically and horizontall)~ you will find the location of the eye'S on the horizontal line, and the central axis of the nose on the vertical line'. It is important to notice that the distance between the eyes is dose to the width of one eye, and that the lower edge of the lip coincides with a line that

divide the two equal halves in he lower unit.

Uk~ that <?ftlu;f1fUfe. the law tifproportioH- for the human ilead is made up of tI set qf measurements or units Ulat determine its pmpm1ioru..

"T1i£st4rling pmtlt jor drawit~ iI foce i$ the ,till title for the vertical axis. SttJrtingfiom this line, which divides the face in two, you (til.! IJegin to dfslribuu the reSl qf rhe focialfoatures.

Ollee )'011 hove draw" the (Jf.!I:1J oj tire /read, draw Ii straight line going from tile forehea() to the lowe.r chin. Divide the omJ i:nM three and a half pints. The upper line will SeI'Vt' to detentdnf where the hairlille ~in.s; the second dividing line marks th.e location of tile eyes; the thi,d ,a~ignates the nose; and the last. show, where ihe chin shClu14 go. The mO~jlh is Joalted in thellf'1 tenser if the lmt 5egmellt.

Drawing :&om the General to the Particular When drawing the head, one should work from the general to the particular. You must first sketch the bask structure of the head; search fOI" ltl; generic forl11, its most pronounced or prominent angles, It's enough [.0 draw a set of lines markingthe location of each of the elements that willmake up the face.

The Face

If you draw freehand, the shape of the face from the tront should fit within an oval

If yourra,ce a vertical line to divide the face in two. you can establish an axis of symmetry that will allow you to place the facial features in a, proportionate manner; of course, this is only possible if you draw the face :from the fiont~

The base of the nose is located on a line dividing the face down the middle, and the mouth is somewhat above the chin line. To these lines, you can then add a line far the eyebrows, which will then give you an adequate outline for drawing the head and facial features.

The Head in. Prof"de

. The established proportions forme head in frontal view can also be used for drawing the head in profile. All you have to do is extend the horizontal lines and draw each element of the face, only this time, from the side. The same horizontal divisions used for the frontal view also match the placement of the parts of the face in profile.

These four dmwir~ qf the head in l1ifferem positiom shou: the .changcs in the flces measurements :UJi1l?1~ it moves.

It!s a good ronal exercise to draw a

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t' ~ head usil1g flat 'll tones. This

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and anemptil1g to divide the different ronal areas into imagjnary geometric shapes and then coloeing them in.

Uwferstanditlg the in!/' if pwportiol1 for tile head in prqfiJe tan be very i.IS¢illl.Ju:tt drawing portraits 51«11 as this ofle. It is then a matter I?f simply adapting the Jeatm-es. anJ P'llpo,Ucms ~f lire person }"OlJ o1J-e drawing to tile' initial measuremenls oftiu; law of proportio/i .

:7h~~ TORSO:

If you analyze a frontal view of the torso you will, find that this part of the body comprises the pectoral muscles, a set of thick, wide, pentagonal muscles ser 111 pairs, which expand Or contract, when the arms are raised or lowered, Notice the distribution of volumes, the profile and expansion of the thorax" fj'om the fi'ont and the back, and how the shoulders insert themselves into the thorax in different positions depending on the view. The neck gives the torso a great expressive quality, and its musculature implies the flexibility of the head, so it must ah~.ys be shown breaking from the symmetry marked by the spine',

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TIle skelches below show how 10 bqziJI a drawing i/f the mall' fono. B~jl1 by cJtabJisllillX.a I!("rtical il.'i: is. Hum tfli'l'l'. use SYl1t/lcticIorms to fit the l'ectrrtljzular forrll If t11f' torso wifhitl d,is sdu?lIIa; tile anw, of the fOtcW rlCPC'fltil on till! pOJiliotl Ura( t'IC fiJlIll1! I1JS1mW$, For III frmnal vieu,; skcrrll II,e I"JIOrc pmmlrli'llf 1I:I1I:5ml(l1'

textures, sudl as the peiCtota1 musdes, the abdlllll;m:rt IIlHsdC'.>, and tIll.' l)ubi'{ line. In tlu: ncar vielV In'loIII, t'u' spine ma,k:s t{,C bod)' 1 axis.

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The Body's Axis

If you analyze the rear view of the torso, you will notice' that the spine is describes the body's axis: it is a line of symmetry from which the fundamental measurements of the body are established.

Starting from this straight perpendicular, we have constructed a rear view of the torso. taking into account the following factors: the distance between the shoulders and the spine should be equal, even if there is a Slight incline; the shoulder blades ale the part of the back. that stands out most" and its rdiefis most evident when the model has his arms open.The shoulder blade is triangular and should be accentuated with alight hatching. It's important to notice that the waist is more dearly marked in the frontal view than in the rear view; because from the

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rear, the surface of the back is a continuous whole from the shoulder blades to the lower part ofthe lumbar area, where you can appreciate the flesh of the buttocks.

The Fenta'le Torso

From both the front and the rear, the relief of the female torso isIess conditioned by the muscular structure than the male torso; in it, the transitions between voh:nnes are smoother. Two of the distinguishing features of the female torso are the lower shoulders and more prominent hips. This contour can be easily represented by two triangles joined by their vertices. These triangles should then round out their profile to achieve the curved lines characteristic of the female anatomy.

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The.fltlUllr torso can be synthesizeJ as fl~J{iif'iil!treJ triat,gles. Her pndil£. !!rill be more voluptuous aml the line oj her hips will b.e I1Wre visible than a man's. ~i you draw dtf'fomale wr.w. keep in mind tlwr its edges 511(1ulO be less pm'flvJ1t!r£!'!, aNd more ,sjnctl~y dum a lIIafl~.

A good exercise j~ to find images of figures, seated or standing. nude or dressed. put a sheet of tracing paper over rue images. a.nd find the location of the spine and the line of the hips.

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:?he UPPER and LOWER LIMBS

Drawing the arms and legs merits a few remarks because it may present problems with proportion. The best v.ray to draw the limbs is to analyze them based on circular or oval shapes. By making a preliminary sketch. we can distinguish between three well-defined areas of any limb.

The upper limb comprises the shoulder, which is characterized by the deltoid muscle; the arm, which derives its volume from. the presence of the biceps; and the forearm, which is shaped by a more elongared circle. FOI: the leg, we can divide it into the thigh, theknee, and the calves ..

The upper and lower limbs can be re4uced to a .~ket,h ii ow'ls th.lt will prot/(! wry uwful in drawing the mr~sculat anatomy of these members if! thei« amect prOportiOflS.

You Cdn use an (Jxls Or a straight lil'le tha.1 nm, tlmmgoout the limb if! onfer w

situate the joitl/'s in thdfJ11'oper measure ~

and tv better COtitre] the @d of

symmetry atili ehe outline oj the muscles.

The Peobleen of the Lower Litnbs

The muscles in the lower limbs present a more complex form, hut after a detailed analysis you will be able co recognize each of them.

The lower limbs are made up of two essential parts: the thigh, where the quadriceps and the sartorius muscle lies, and the leg itself; which consists of the bulk of the tibiae and the calves. The knee lies between these two parts. The knee is the joint that articulates both of these parts, and it should look rounded and prominent when it is drawn. Notice that if you measure the length of the leg fromthe hamstring to the ankle, the knee is not located in the middle of me leg, bur a bit further down, so when you draw the thigh you should make it longer than the calf: The calf muscles are prominent in the lower part of the leg. They begin just behind the knee and end at the Achilles heel.

Women's Limbs

The female arm is very differem: from that of the male: it is characterized by an absence of prominent musculature, by the regularity of its proportions, and the delicacy of the line that defines its contours. The areas of the elbow and wrist joints are narrower in the female 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 the lines of the leg muscles are understated, softer than <l. man '5, so the circle that forms the knee should stand Out only barely. In the lower leg, the graceful calves also taper as they approach the heel Generally, women's calves are not very prominent, but they do become rounder and gain in volume when a woman wears high beels,

Ui;me.n~ limbs are more ddifAle, and they disprilY a more subtle muscular relief and a grolter nt1fh'lII.oing at tile wrists am! atlkles.

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It! o.rder I'll draw Ike legs ami antis (CfJ'etliy, its important that you be able to distjng~jsh the body! cadences mid ,Itfferentiate the positions tllat the li'mbs ilssume, depemlif1£ <011 the 'pose.

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HANDS:

STRUCTURE (f/I~I OUTLI NE

A r the very end of the arms <Ire the hands. The I"l_human hand has nearly as many important expressive possibilities as the face. The hand is the part of the body that offe'.rs the greatest number of different positions. It's important to master i£5 structure and shape. because when drawing the human figuee, the hands and feet often end lip in very poor shape, The neophyte will often forego the former, or merely suggest their shape, putting them inside a pocket or hiding them behind the model's back.

The Hand's Dimensions

If you take the total dimensions of an open hand, viewed !TOln the bade, with the pain'! and fingers extended, you will fmd that the distance between the wrist and knuckles is similar to the distance between the knuckles and the tip of the middle fmger. This isn't the only fact that you can ascertain by simply opening up the palm of the hand. 'For instance, you will find that, with the fingers outsteetched, the length of the' index finger is equal to that of the ring finger, and that the tip of the pinky coincides lines up with the tina) joint of the index finger,

The hands shuuJd be drawn in a proportional reI.1tiOI'lS hip w the rest Ij th .. body. It call be '!f great f,eip to follow flle gmaal mle that specifws that the 1f1I&th of the hand should be equal to that <if the j<1£>I'.

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He begiN witJr tI SljtJefre and (uM a tmpezoicf shape (1), b I the upper part of the rhombus U'f' drmva cunoe 10 !lu: right. muT siottil~gfrom a straight diagonal linc, 'we d11.11,1! tile timmh (2). From the tip qf tllte thumb we project. (lj'Wf1,f't curve uU/lcarillg' 'he poInt. where tk.fingers ifltefSed l~Jjt'l the pl1lm cjJ/u! harut n,t divide t/lis tufVC intofout (md projrxllhc umaifritlgjingers (3). We illClJ erase the slmrtluallill£E lina armlJ the hand flJ1t'W starting/rom its characteristic ourJflit (4).

The gC1ol!letric S.kctdl <if the harld is wmptcleJ with a Jt.'"etdr. <fthcfirlfp'5, whicl: ar/; r2preseJltf;d by o~'als j,j~.j,d1 wncsl'of1d to CIUI:

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Configuration of the Hand The hand is connected to the arm by the carpal bones, which form the wrist joint. The hand has two faces to consider: the back, where the tendons and the muscles &om the top of the forearm end, and the palm, which has many small, flesby muscles. The fingers are made up of three small bones each, except for 'me thumb, which has only two. This forces the amateur artist to take pause and study the particular form of these bones; in doing so, you win discover, for instance, that the 'bones are thinner in the middle than at the ends ..

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Synthesis. of the Hand Whenever you draw a hand, try to reduce the metacarpal area to a square unit from which the fingers extend in a radial pattern, or otherwise, start from the ovalbased sketch discussed above. You can then continue your sketch of the hand by representing each of the fingers by three ovals, one £0:[ each of its segments .. Ifyoll do so, it will be easier for you to draw a foreshortened hand. The position of the fingers is based on a. sketch nude up of a series of concentric arches that make it easier to

resolve the form in any position. If you can make 2. well proportioned geometric sketch it will be very easy to adjust the details little by Hule nnw you finish the drawing.

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Sometimes an unfinished hand makes sense in a

nude, drawing. ,,-

Think. of the fingers as minor details compared to the other parts

of the bodj;

After study.lng tho" Mud's sfrucmre, it is im.rwfAfII' to pra{)ia: drawit!g the hand in dlfforf1U positio!ls,.AfI inrel'l!5ting exrsdse is IV make a geometric sk£(rh ~filTt: bt:gll"ltIlng thr dtjinilive .1rawing, so tJud YO'4 mn .umJersMnd its struaure 'WitIUJlJl dwelling OJI rill' detaits_ This practice also alww$ you If) observe that the joims in t/leJingm are Jair! (lUI if I thefllrm if a ml'W.

The hip is another main element in drawing the human figure .. It tilts on the axis of the spine, and coincides with the point where the legs flex in this area ..

.9ho PELVIS:

THE SHAPE /y'/0r HIPS

TheProtrusion of the Hipbone

Because the pelvis is connected to the head by the backbone, it is constitutes the body's axis. Several muscles of the torso, the thighs; and the legs meet at the pelvis, which serves as the main support point for this area of the body. One of the most important parts of the pelvis. and the one which most noticeably affects the outer appearance of the figure, is the iliac crest" which lines up with the hipbone. Don't forget: to draw this bone, particularly in female figures and slimmer models. Because a woman's pelvis is wider than a man's, her hipbone is much more visible. marking a soft curvature from the pubic area to the top of the buttocks.

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1iV11e11 WI' m.ake a prclirnitlClT}' .sketch for a dy(.wing. it1 important to t,ake imo account the tiNes formed by thl! shouJdi:rs arid the hips, The tilt of both if these lines marks Ilu: eqlliiibrium oj flu: ,,'OS!?

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J% should'I'i forgn to mark the hip linewhro drawfl"lg a ba,,~ vil'jl~

either. Here, the line thot, marks tllc IJrlderside if" the blluNks beaml€S impol"ttml as wd/. Notice the interesting triangular indentation tllat forms jmt above the buJ.tocks.

TheLme of the Hips

The position of the hips marks an imaginary line in the body that we must take into account when we draw. The line of the hips is seldom horizontal. It tilts on the axis of the backbone. coinciding with the point at which the Megs bend in this area, and when the hipbone tilts, the backbone

doesn't remain straight, but instead acquires a soft curvature at lIS

base. It almost always adopts a slight tilt, especially when the

body .is in a resting position,

which makes parr of the weight of the body come to rest on one' leg, while the other leg remains flexed and relaxed. This pose .is called contraposro.

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If you aerend a live model dra\"idn.g session in an art school, it's important to practice drawing the hips in isolation.

Understanding the \, tilt of the hipbone is essential to correctly drawing the' body in

any pore.

TI,e pell?is is u):I'ltIocted iii tile skeleton by the I?effefl-r:al rohmm 01 backbone, which is always MsiWe tlm)ugh th£ ridg.; that fUns down the middle oJ J1re back. TIre hack of the ptl~1s i:> mvere.d by a muscle lnass tlfui by the . .fot qllhe Imuotk!, wl1kh are much more pillowy ana rowuftiJ if! a IVOm<lfl ~bod}l

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The pelvic area IS shaped Uk: a tmtlfIJled pymmid, with a laiJ!e baS$ and a tl<1mw vertex'. A WOffl!lfi ~ pell?l$ is shorter and wider than a rmm:s, whid1 allows us to see the smaller bones in tltc hip t!trough a layer q{ s-ubmtaneol4S fat;

INNER STRUCTURE a/l[/ FO

The ~e~t are not as difficult to draw as the hands. This IS because the feet have much fewer possibilities of movement. This limitation translates into a more homogeneous and continuous form with fewer problems and inconsistencies.

Configuration of the Foot

As a general reference for drawing the foot, we think of it as consisting of three well-differentiated areas: the tarsal or heel. the metatarsal, and the area of the toes. The silhouett-e oCtile foot is conditioned in large part by its skelecl structure. The wp of the foot is covered with tendons and tensor muscles, but the joints, although they are every bit as complex as those of the hand, don't display a structure as readily visible as they do in the hands.

Synthesizing the Foot.

The geometric sketch of the root is similar to the one we USe for the hand: it be:gins with a circle O[ oval that corresponds to the hee], another. more elongated oval for the metatarsal, and various lines or smallish cylinders to represent the toes. Once the sketch is done, you can work on the form, profile, protrusions" and roundnesses of the. tOot. Ifyouwant to give the foot an athletic appea[<lI1ce, draw a prominent heel and svelte' toes, with very pronounced. joints and phalanxes.

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The geometric sketd,.!lir thcjOOt is similar to theone rmd jor the }w,nd. It shouM lie iJgmed by a citric thal corresponds to the heel area, another ovalJor 1J.c metatarsal bmw, and 5f'1!£Ml sHJallish ovals for the toe'S.

If you don't mmt to make a mistake ill the foot's ,proportions, }'QU fan aillide it into three parts of eqlJal length, in wM~h the jlf5l pafl lifl€$ I.!V wia. the heel. the

seamd wrnsJWnds ,to tIlt' middle part if thrfcet, and Ore last itlarkS tilt length if ti,e toes.

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Firs~, we must draw a ,'«{(mgle/of the leg, which, wmbitled ,,>fth a tritU!g/e, will COl'lfigtlfl' the geometric s k.etcn of tfle form of the foot (1). f* then add UI1(j curved litlES

to this sketch, the sewnd cf whicl1 connects to the 7I:l1mdr:t11ine qf tllE: hed.A right angle is _mfficiemfiJf situating the toes (2). Ht then erase the strlKturallitlfS and very stowly draw the outline of IDe foot. thu time tlftai{itlg the ptotrusilJn af the ankle amJ t11e tees (3).

The Foot in 'Profile and Back Views

Drawing the foot in profile is very simple.A triangle covers it almost entirely. The shape of the root is marked by the angle of the heel, the part of the foot which SUpPO[itS most of the body's weight. The toe area takes up slightly less than one quarter of the length of the foot from the heel to the tip of the big toe. A frontal 'View, on the other hand, presents some problems due to the foreshortening of the toes. But here. too, you can sketch a simple triangular shape, although it will be much narrower compared to that of the profile. The back view is the simplest. and it mould have as its main reference point the protrusion of the heel and slight indication of the roes ar the other end.

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The Botrem of t]le Foot

The bottom of the foot is also covered with muscles; however, these muscles are not as 'Visible because the skill on this part of the body is very thick, and they all blend into a common mass that spans the arch 011 the bottom of the foot. This part of the foot has a very rounded appearance due to the greater visibility of the heel and the fleshy, cushioned parts of the bottom of the fOOL \Vhen drawing the bottom of the foot. remember that the skin here has a rougher texture mall on any other parr of me body:

Although iJ aGeE not present a drgree of ';(Jmple:lity tI, JImaJ tiS the hands, thE foot chaNf!'$ its op[J£ltfdHa? depel1(Jing on tile pO/fit q{view 0,- ,m thE type of activity it perfor-ms. Our previous goometric sketches will help IJS to adapt In t/use flew cirr:mmtanccs (II. and fJ). Here, asanl'dY.f. tIle perpem1iwJar dil!idit~ line ~, if great help in constrlltting the fortH and enrurit~ illat, as with til e jl~fS. the toes describe a WTl-1e (lfid no! a !tra~{1t line (C. D, and E). .

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CONSTRUCTING THE

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"Hie 111USt measure the body: standing and alive, concretelJj ir nine pm1s with respect to its length ... For able nature has slUiped man in such a uuy that the face is found I'n the highest place, so that it be admired and offir the ethel' parts if the body tile principle if its measure. "

Pomponi GaUrlCO: Scul'pmre. 151J4.

A WELL~ PROPORTIONED

Every drawin~ must be organized within .an rational and comprehensible order, m order to establ1sh a comfortable and appealing path forthe eyes to follow. In order to draw a well-proportioned figure, the artist searches for an ideal of beauty, and finds his cools in the objective methods founded upon geometry and measurement. But opposite' the purely 'theoretical systems of proportion, there' is what we might call an "intuitive" proportion based on visual comparison and controlled distortion" and we can translate and accommodate the natural structures of the body in :I looser, more expressive, and less mechanical way than the model described by the classical laws of proportion.

!7hF UNIT SYSTEM::

MEASURING

The law of propo. rtions for the human body would be of little use if this knowledge could not be used with real-life models.Theory is an inestimable help, but ir is the application of theory to areal

model that determines the final result oEany drawing,

Applying the Law of Proportions

Thanks to its measurements, the law ofproportions is truly a useful tool for becoming familiar with (ani! memorizing) the distribution of the relative size of the parts of a figure in relation to the whole. Even if the proportions of a real figure do not match those of a classical model, there is still an adjusted correspondence between the division of the figure into units and the location of different anatomical

BODY

components such as the height of the shoulders, the chest" the elbows, the hips, etc., which we have to consider. For this type of geometric sketch it's important to first project the body's line of symmetry; on it, we will mark the different measurements of the law of'proportion. If the figure is shown from the back, W'e have the added advantage thac the line of symmetry is already marked by the backbone.

11'1 a .rtaJ1diflg pose, ima_giIWf)'[)(!rtical/ines lire wmmofll)' lIsed to .cl·ve proportion to the backbone and lite 1000't'r extremities, in order to place upon them. the mfrr:sp;mding .se,grneuts or measurements for each unit,

Cross Sections

We are not always able to find standing figures, which lend themselves to the application of the law of proportion, so we must develop a set of rules that allows us '[0 apply the unit system to figures that are seated or lying down. A practical method is to draw cross sections on the body-that is, to draw "horizontal contours" onto the nude body to show the imaginary "slices." that correspond to the different measurements described by the law of proportion. In other words, we follow the same method as we

would if we were to 'build a cylinder-based form.

In a seated figure, these cuts are visible in the folds of the sleeve, the shirt collar, the belt around the waist, etc.

Measurement Problems

Sometimes we win find thar the figure does nor precisely match the classical male, eight-and-a-halfhead model. This is normal. It is only logical that real-life figures should be somewhat beneath classical measurements because, after all, classical laws deal in ideal proportions. not exact ones. What is most important is not whether the figure measures seven or eight heads, but that the distribution of the units be truly proportional,

The cillSsiml propo.rfions of ,. stQJltlingfigure do r101- dillflj[€ mrJ£h, tW mailer how mudi the body stretclU'!~ 01" assumes mmpJ.icated postures: This system of measurement am be II good re_fcrrn<£.

Appiying till? l1I.ea,w"emml.s if the dassiw( 11111' of prolJOriion is w:mplicate.d II'hel1. a f~ur!.' is sitting, /yitl£ dOUJJ1, or jomflOrtl!l1ed.ln these (".sO', we mus; draw the .figure's supporting jlltleT stmcture in III sf;lIted position and try /.0 adjust the corresponding measrJY!;mems to it.

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Anotlwr syst.em for applyin;!!, the c1assiml !mit IJIletlStlr.fment$ is the overl"ring if trQJ1Sl/cnai .Ilias, til CY(.I55- sections: Onti> the sketch of the fi&'-II'f: 11'<' draw the lil1eS if tllese sec/JfJJ'/S. 1I'l1l'ch correspend to the segmmts c1 the dit5~ical model, III vrd~r to ~tudy tlte propo.rt.iol"!al relationships if ilfilJllYe it! a kneeling' Of lying position.

GEOMETRY {oj'lh(~

HUMAN BODY

TI:e hl1man6gu~ can be broken ~own .into . SImple geOlnetnc figures that easily adjust to Its descripuon. Every pose suggests a general sketch that should encompass the anatomy in just a few strokes. It should be a simple form (an oval, a polyhedron, a pyrJmid shape, ete.) that is sufficiently rich to suggest the position of different body parts.

The Geometric Sketch:

Structuring the Whole from. Simple Forms

To sketch a geometrical model we begin by selecting a composite outline-e-in other words, a sirnple geometric shape on which we can inscribe whatev-er pose the figure assumes, In this way. the work will present from the start a more satisfactory visual layout. The use of compositional outlines in sketching is an efficient method for arranging the subject and adequately breaking tip the pictorial space. thus helping to organize the elements of the drawing so that the viewer's attention. and the focal point of the drawing, is where We want it to be. '"

TIJ(! basis of every (om", rt'ru/en'rlg if the figure is the artist's llfuleJ~taJuli fig if its struasue.

The humen body 111 it! robmu;'tri( ;"'Pr('Sent~tiCifi j$ made up of ipheriM.I. c:ylindri[(l/, rmtf ortlwgvrwl SI,!ifaCCS. These sl!apf!i at{' the _fotmdatiol! jor armriflg the exuemlties, hcad. (/rid (Q/~()' if the &oaf dwnges positioll, all I!!I' have ro dD is a{tius! rile pOi1it qf vil?W of tile r«tanglo'S, rubes, or cyfindtn

The Essence of Synthesis

Once the composkional outline is complete. we add new geometric shapes to describe each part of the body: an oval for the head. a rectangle for the thorax. cylinders fOE the arms, a trapezoid for the pelvis .. Geometric shapes contain the essence of synthesis, The goal is to combine simple forms which establish the form as well as the proportions of the figure. All of these geometric figures ace articulated amongst themselves by observing the straight lines which define dIe height of the shoulders and the tilt of the hips, and the curve that describes 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 affects the orientation ofthe head.

Geometric synthesis consists of seeing the drawing as an articolate whole that can be developed simultaneously in all of its parts, and in which no single part is more important than any other.

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As a:n auxiliary system, you C311 use a '\VQOdOll model that you C<;In pose however }'QU like. These models are good for practicing geometdc sketches.

In a geomelncaf n;presf.fltatiol'l of th« humaN body. abstmmm slwNld continue ""til we aaive at a figtli'e tfl.m'ie Mp mtire1y of simpl£r fo.mH. Hull! by Cit#e, the bodies will tID long" !'<'sfmU{' cuhl:S Or spheres ami UliJl become 1'fJ"'~ flexiblt, exprrn;iw sttuaures:

For the amateur artist, the geometric sketch of a fiHUre is seldom an easy task; nonetheless, it can 'be simplified by following a few tips. To begin, the best thing to do is tty (Q see the figure as, a whole and not get lost in details such as the position of the feet or the shape of the hair. Only after d:ravving the gene-ral outline of the model. when the basic problem s of form have been overcome and the proportions are approximately correct, should we address the details. To make a geometric sketch is to understand the drawing as an articulated whole, all parts of which can then be developed simultaneously and of which no part is more important than any other .

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. 7h.c GEOMETRIC SKETCH:

STRUCTURING I/f{~, WHOLE

SIMPLE FORMS

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Proportions and Background

A figure~s proportions should: be harmonized with

the dimensions of the background, to make sure that we adjust the figure to the background in a natural manner, and avoid having the margins of the paper cut of I a part of the figure because we didn't check the measurements beforehand. If necessary, we can stain the blank page using a paper stump-also called a rortillort+-or with our fingertips, to limit the space that the figure will occupy- These initial marks are guidelines that suggest the position and dimensions of each part of the body, as well as the total length of

the model. The geometric sketch includes a calculation of the figure's proportions, which should be reflected in the outline.

A tortillon, or even a charcoalstained doth. is an exeellenr tool for practicing geometric sketches, It produces soft lines that are easy

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Btfore maki,rrg any geometric sketch. it is important to symJu:size rlle fig/om, to lry to include till: ensemble form withill il ,slmpll! geometric form. Crolllc.tri'cjorms are used fOlo mnlr;)fling_ proportions.

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A geofflctrir 5ketc11 'C£jI.J.!res a simple tn'afmrllJ' Illilh decisilJl: strokes. J.te mUs,l ({iI1,entfllte on the post;' .mil {he proportions and forget aU the inner de-til ils .if the figHIC (A). The guij/edrawing should oc a ro,red plt:timi'1ully eepresentation

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The Vertical Lines of the Body The firstthing we must do before sketching is make a series of marks indicating the measurements to which we can refer throughout

the entire sketching phase. One surefire way to begin your

drawing is to find the line of [he shoulders and the head. It is usually easier to draw from the top down. From there we will work downward through the body, drawing synthetic sha~es on a. standing surface, paying special attention to the vertical lines, We should look for directions and mythrns and see them as abstract forms.

Verifying Dimensions

Drawing freehand allows us to verify the precision of the drawing's proportions during the early sketching phases. When drawing freehand, the pencil should be held vertically with the arm extended before the figure, with the fingertip at one end and the thumb measuring at the other. 'Ibis will help' you confirm the proportional relationships of the real model, From these I measurements we c-an draw by transferring those proportio~s _ onto the paper, Once the. sketch ts done, we once again place chq pencil over it ro make sure that the proportional relationships between the different parts-of the model are correct.

AuxHiatJ' IIHf$ can In? used whe« dmudug II gl!ometric shape, sud« as these vertical and Iwri;;>;cnl4llines, eadl of which serves as (in axis and can be Il$ed (IS a reJetetiCe paint to (orl1p(rre dl'StnJIICe!;,

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SYNTHETIC CONTOUR a/l£/ LINE CONTROL

Draw:ing contours is.one o[th~ most inl:e~ting exercises [01" an artist to ,practlce, because It centers Our attention on the form's limits and provides a focus that we can concentrate on

regardless of details, tonal values, or possible modeling effects.

Method

The best way to practice drawing the contour is to take a fine· point pencil and start drawing the profile of a figure from a determinate point of view, without taking the pencil off the page. The line should be unbroken and continuous, without erasures, overlapping lines, ortremors, YOllr eyesight should follow the contour of the figure while the pencil works on the page, responding to each of your thoughts. When starting on the contour or inner silhouette of a new part of the body such as the hands or breasts, you can refer to the drawing in order to find the point at which the new contour should begin. Continue in this way until completing the contour of the figure.,

Faulty proportions are I);piati hT tlli~ I]pC of {Imu.>ing, but with pmc/ice, till! arlist will <14Juin: a (",mer, mil,re rontf<llled lim.

The arntow- s1uJ!,!d be an dtJtom.atic, gestNrai diawit>-iJ IX'I1CIT:lled 1:Jlimarily wi~/1 the g.tl1eral.:l1arat.ter of II ie model and its e;)tpressiclI! mlher than with an amde»lic, perje.:tjonjSf rnulen'ng.

Syn.theU, amtot<l'i'1g is very usiful fOt making qifick studies, wheti tire jmmelliacy ~nd expressivmess if fl1(:' model lire at a pl'(!fuium.

A Greas Disappointment

It is very likely that your first attempts at this type of drawing will prove a great disappointment. Don't be discouraged: keep in mimi that this method requires a great deal of practice. Once you have gained more experience. you will be able to vary your speed according to your reactions, and your line will be more firm and decisive. The important thing is the experience that you acquire while practicing this exercise. Once you master the ability to synthesize using this technique. you will be able to make studies and sketches in the studio from memory. and won't miss having a model to draw from.

Line Conerol

To achieve an interesting line in a study, the artist muse: use either a very fine instrument or a \'ery thick one. In either case, you have to work quickly, and follow the subject's forms with a continuous line.You can use the tilt of the pencil 0[' graphite to modulate the line by altering the width of the stroke. A sharp pencil produces a sensual, fragile drawing, whereas graphite, which has a thicker line, will yield a more intense, energetic drawing. The result should be a satisfactory, uniform line that provides all the information you need for obtaining the model's pose and anatomy.

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A good exercise for mastering line drawing is ro try to render' a figure with a single line, without lifting the lead fi:o:m the paper, as if we 'Wel:'e drawing the figure's profile

wi th a single piece of yam. This bell'S us develop our' improvisational skills and master synthesis,

The graphi.te pellal is one of dte ftlO# ,onwlonl)! used media 1M making Title dytlwiffgS, but oWe bl' little, the MJl-pllint pm hasfourul il niihe amo,"!&, nOllprofossional ilrtists tlumks (0 t11£ jIm.', intens-e" ana tentaiive lines that il provides.

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Cmphite proves more exprl'SSitt€ tlurl'/ a pf'1lcil madefrom lhe same I1Wt£yiol because it provides lillI'S of a greater nmgel!f widths and iniensities:

.!7lzb VIRTUES p/ N,G STUDIES:

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~ GOOD FORM (q/' PRACTICE

The best way to approach a figure and the problems of representation that it entails, is through the practice of making studies of a model. Studying the figure based on a rough sketch i<; a form of constant learning and perfecting fO£ the artist.

A Minimum. of lines

In a study of a model, you should situate the principal lines with a minimum of strokes, \viith no concerns over whether the resulting drawing looks unfinished. Doing studies is a valid practice in itself and needn't be justified by a later work. The gnce and spontaneity of studies have been appreciated by professionals and amateurs alike throughout the ages.

Th,e Tilne Factor

Quick studies are notes taken in the shortest time possible. With practice, the hand becomes more assured, so that it learns how to find

solutions to any anatomical requirement-The leisurely. inconsequential tone of a quick study makes it especially appealing. Often it becomes a series of

small shows of dexterity and visual sharpness. On the other hand, the easiest studies [0 make are those for which there is no time limit at all.

Hlur sketchbtJoks shoulcl be fitll of i.dells, Suggestilli!

arid attractive dwdfes with tlO npparent order, no, any g(lal "the, dum to capture concepts {mel exercise I'm., :s:tr.,k£s-

The Use of Hatching in. a Study

In a study, the sketch should be light, never overdone, It is necessary to find a blend of light and. shadow

that composes the figure with its essential dements. An excessive insistence on hatching is a problem that afllicts inexperienced artists, making their drawings confusing, If YOll work in graphite., it is sufficient to make a simple, homogeneous gray hatching; if using charcoal, try darkening the shaded areas with a fingertip stained with charcoal.

Th" purpose /'!f a srwiy is uo; w fI.,.!k IlkI' ajillisll{yl d(m!fin,~, bMI to slimp rllf fwiutiol1 lif tftc figure. I, $hfluld constitun: a smfjfl!g' pm'm for more daiwrmf drl1wings. or _fi.)f 11 sfw1}, ~f Ihe dfjini rive pose.

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TIle /wJdlif!g qf a sllldy 5i1OUld be minlmal. 11 is 5uf}.ident to diffollcn tiate th« ~.iUlderl m'('o:1..' by using <i sImplf, gray hnuhing against the white. 4 the pogl', mftir1r rtpfCSenrs ITlI' Ugfllt.'rl pam.

for the beginner .--_-=_---!:.., mt is a good idea

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r~, of female figures

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part of the artist,

HauMl1g with uxuercolo« leis rOil qUickly allJrr a/mgl! portion if the lI10dd withoat IUlllit!!? if! IIh1r!'JI .l1bmll iJ5 nIJ<JI1(t"~ Of de.r;ail5.

Till' j nsfnli,j,fN{J fill' Ifwkin,e studies "~lwuM be '!i,~hl 'l/id porlabJe. It IS tl good idea to a/willis (an}' a sketchbook I'll your pocket.

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OF THE FIGURE

In fi.gurt' dra~ing the mastery ofline is .. very im .. portant because, besides defimng the concrete contours of volumes and creating a sense of clirectiolil Or vital impulse in the drawing, it creates tensions and reactions-e-the particular cadences of the figure, A knowledge of these dynamic tensions gives the figure a sense of contained motion and a rhythmic sensation that can be of great compositional and mterprerive interest Thus, figures appear to be described by a strange equilibrium dominated by action, in a constant entwined motion and violent inflections that are propelled by a force that, although sometimes overwhelming, gives meaning roche pose and unites all of the linear elements of the figure.

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Rhydun is an important concept in drawing, taken from the world of music. As in music, it is created by alternating between accents, silences, and neutral passages. A pose has rhythm when it is harmonically dynamic. full dynamic alternations. The distribution of these alternations determines the attraction and interest of the drawing's rhythm.Accents in a drawing are the alterations of its continuity; for example, a diagonal interrupts a vertical line, and vice versa. A static. symmetrically positioned figured is (he antithesis of rhythm.

fTlwINNER RHYTH

The Line of Action or Strength

For a figure to attain an impression of equilibrium and rhythm, il: is necessary lOr it to have an internal line, an imaginary line til.a( extends across the length of the figure. in order to articulate its rhythmic effect.This structural line, known as the line of action, should be the basis for any drawing of a pose or movement. Working with lines of force allows us to approach the internal rhythm without the figure becoming unbalanced. 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 dle figure with an energy and motion that would probably not be perceptible in a rigid, conventional pose.

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In 11 back vreUj the J'&Ufi''s inrenwl rhythm is dearly distinguished by th« line describing the b~(kll(,l1Ie.

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The rflytJlIn is mm'ked by ali i#itl't1ialline tha; spans the bed)' from tJ1e head to tllefeet (mil conveys the af.titude of the pose "I" llltiOl1 amid 0111 It}' the figure. This jm/l'~ shows a series tfpt:isable woodefl mooels alongsMc their .(vrnsporuJil'lg rJll'lhJllir lines.

The Expression of Gesture

ln order to capturethe rhythm of a figure. it is essential to learn to draw its gestuee.Your drawing should be fluid, like a doodle, capturing me internal form of the figure and reflecting its intentions.

After drawing the line of strength, attune the gestures of the drawing to each other and capture the essence of the body: don't allow considerations such as tl1e figure's contours or measures to confuse you. The drawing should be quick and interesting. preferably with no consideration given to the contours or forms outside the figure, attuned to its rhythms through the gestures conveyed by your hand.

The line if action is the imlilinary rI,yfllm1c line th~t ~JUIns the lenglh ()f the figure to proou«" the iffect of mouo«. In the set qf models he10t!1 thfj line is modified al"itJming to the <lawn peJfi11med by #U!irody.

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If we foroe the rhythmic Iiml of the body,. it assumes a more forced torsion, which translates into ill more expressionistic reodering,

Men making a g,:ometric skekh, it is essential to take into aa;ount the rhythm if the figure. The mythm will be Jesaibeil by lUf't.1e.l' and quick strokes markttlg the intention qfthe #Mdy.

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~ SOFT LINE

~e AND ITS MODULATION

The rhythm of a line and its modulation is au. important value in figure drawing. An interest in the forms of a nude should be expressed by the charm of the drawing's line strokes. This expression demands some exaggeration, simplification, or even changes, all of which are completely legitimate if they intensify the visual quality of the work. The characteristics of a line used to define a contour can transmit me nature of the form, its materiality. surface texture, and visual charge.

Descriptive Contours

Descriptive lines are those whose only goal and fimction is to describe the profile of forms and their volumes. These lines are responsible for the stylization of the forms that we have previously discovered, and they reflect the artist's personal vision and stylistic essence. Descriptive contour develops an authentic creation and organization of anatomical form.

Hlhcl'l rimJ.l.ling IIIMlJlared lines, fWl ji.l!it a11)' ~trnke will do. The five lines beJoul 141 N!lJteSfnt tht" most COm molt slrok,c:> used by Homer: ~rtfm-thcy m-e brokeli afuf hesitai«. The jour Ofl the right are the kinds qfliJU.'s amateur artists sho,,1d slrillCjor:ji'll', bill ~-arietf in tkir imen:sity and tJli&n.es$.

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Desaiptiu: contou« is (?;"presscd by a continuous line stwife ana has (I p~llcll' ctltl1J1ositiollol fil1a/if)" l.tfulI.ti;)J1S as il gt:llmetric sketch rlescrilJiljg Ihe pnyl1e oj 'he jlgllfe WilllOut teJ(ardfilf its iIi.?{ul/1e mitt lIIo(lelil'lg.

j'vIodulllfEil stmke5 4fed tJu' oq:Jti, if rIle fines. Tileir thickness Hlfics JeperJdfflf? on lI"u;lher ti~c area being drl!lllll IS m ,light or ~h'llfblV,

Ouce )IOll 11,01'1: cnough pmcifce with dl(forclll kinrls if stml.oes, )'OfJ will be alJJc /0 IJwd'uil1i'l! the Ihre ftIsiJj' as you draw: ,'W...auiatitlg .tIl(: lmcc weans 1,-aryjJ'~ tIle 11rtssme (,IfuJ thidmess fir tile linc (lC({lrifillg to the needs ,if tJ11' (/tallJiJ1,g,_ iT! order 10 describe the '141bmJC qj'thrji£IU'C aNd.its mos: _~jgtlififXmt tonai dUlIlges"

Afim: trace is alr/l,ll's associated with tile prese/I(('f!(figh, on rl!e.fwrlre; it comes (IS no surprise; rJU:rI, tlwt afinc line 1l/llS used to YI:'11i!er lI,e lifi-Jlfinrl Jl'f!filc .f flie ji.~lire bdou:

A Ihick fine rcpresems a grrnter prescHer of shadou: ana, thus, 1IIa1'ks a mudl wore J~",!Jtive rm(c, rl/:l:IlIiJ~ witl! Ii ;getlI'WIJ.> stwke.

'17

Contour Intensity

[f a line is the same consistency throughout, it encloses the nude too coarsely, and fails to express the nuances of light and shadow. A drawing rendered in soft lines should alternate thick lines with finer ones. Fine lines suggest a lighted area, while thick lines are perceived as describing shaded parts.You can emphasize a line by retracing it to give an illusion of depth or create shadows. If the thickness of [he line is 11:L~ulated and the tracing is agile. the line will have :suffiCient visual appeal that it will only require a few l\U111~ary additions in its hatching.

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Line and Synthesis

Drawing in soft lines is in large part a synthetic exercise in. selecting contours. Linear synthesis plays an important practical rule when drawing the human figure because it allows us to quickly render a figure in a spontaneous attitude at any time or place. A synthetic figure or scene contains all the necessary information fur the viewer to recognize the figure's different actions and gestures, capturing the grace of its motion.

For a beuer Hfld;ersrmu!ing, qI- tile preceding ({ISCS, [(",sider tM: skefcl, f.{,dlft same figure, in ,Phirji Ji.t?hJI'1I and IlIadi'd arrns ClrP deafly dif{ermritlled loJI a Itlt/WilS £1m}' IWfdlil1g:

An effective way ....--_-::- _ ___._, of mastering the

, ~ofi; line :is 1:0 draw

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the outer edge. ignoring what goes on imide. The objective of the contour drawing is to achieve an exact correspondence between the what the eye sees as it follows the edges of a form and the line the hand draws to represent it.

_SPOTS

Shading

If a figure is lighted powerfully, it can be sketched with spots of color, with hardly any lines at alL The drawing should be a synthesis of light and shadow, of lighted areas which we leave blank on the page and the shadows that we stain using charcoal or a piece of chalk laid flat. TIlls process omits the details altogether. but includes the spectrum of middle grays. The limits of the shadows are also as good a reference as the lines of a box-sketch, particularly in models that have J. well-defined outline whose contour presents a dear contrast with the background.

A ftw ,)11015 are sl~ffi{ient for SljKw!stjng the human IlHGJ{1nI}J; If we want to shade quit;klJi we elm ust' the classic gray hatchi'lg, which WlIsists .of stretJ:hes of pnmllef marks.

Noller! IKW tIle ,lighf~d areas are hit bIcmk, with Imrdy lIUl' litle'S or marks.

H1wtl rilcJigurI' has SMrp contrasts inlig/lI, ,1't (till lie skeldretl with spots instead if lines: In cam of tlle!flHree cases the spots !Vork to shape the IIppear(lna' and pose .g.thejigure.

Hatching

In a rough sketch, hatching can be made with a motion that mimics your first, tentative lines. ad1i'eving a preliminary tonal and modeling intention. The strokes can be decisive or shaky. This technique relates the construction of shadows to the expressiveness of the stroke, so it is linked with calligraphic matters closer to the realm of writing .. This allows for much greater gestural expression in a sketch based on hatching.

Drawin.g with Watercolors

A good way of setting up the drawing is by practicing tonal watercolors. Before starting the drawing itself, 'we place the model ill front of a single source of light, because shadows become confusing if there are several sources oflight at one time.

Before hatching, we can lightly draw the outline of the figure in order to have a template or guideline for working. Then, using a. fiexiblebrush, we quickly and nimbly apply dark watercolor on the areas of the body that are shaded. preserving the white of the paper for the more brightly lighted areas.You will have to forsake any intermediate tones: precision is unimportant in this drawing.so don't waste time repairing forms and outlines.

3. Finally; we can add a few strokes detailing the structure and profile of the figure. The line strokes combined with the spots give the drawing greater consistency and solidity; These strokes were made wirh a pencil the same color as me spots.

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1. In these three sequences we shall see how to practice sketching with spots. First, using a tortillon or a cotton ball lightly stained with chalk, we draw the shaded parts of me model on the paper in a highly synthetic, simplified manner, leaving the lighted areas blank,

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2. The tones that serve as the basis for the sketch are now complete. The series of spots traces the structure an d principle masses of the figure and provides information about the kacation of the light source+

ATTITUDES OF THE HUMAN FIGURE:

4'As painters. we seek to use the motions £!.f the body to show the motions if the soul ( ... ) Thus, it is crucial that pahuers kave a peifoct knowledge of the motions of the body and team from nature in order to imitate} however difficult it ma)! be; the multiple motions qf the soul. J.'

Leon Battista Alberti: The Three Books of Painlillg, 1435.

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ANALYZING POSES

There are no limits to the possibilities for creating interesting, striking poses. Capturing the energy and dynamics inherent in the model depends in great measure upon the artist's choice of pose and gesture. When Vile speak of gesture we refer not only to the mooers mannerisms or the features of the-face, but to the entire body. Every person has a particular way ofwalk:ing, sitting, posing, and manifesting herself physically; these are the unequivocal marks of her: person, and we cal] these marks gestures. The gesttlre of a. figl.l.re transmits its way of being alive, its action, By defining the expressive angles and directions of the body. we can capture the essential gesture of a. pose, implying its intention and energy in a natural way.

me EQUILIBRIUM

/y"/ilc PO S E

The equilibrium of the nude is a very important factor+-the verisimilitude and stability of the composition depend on it. Every new pose presents a different problem to be solved in its compositional balance.

The Stability of the Figure

The equilibrium of the pose is an important factor when drawing a figure. There are limits to how much a human being can tilt to one side or another without falling over. The task, {hen. is to control the stability

of thefigure so that it does 110t appear to be falling to one of its sides. The question of equilibrium is not a problem if the figure is seared or lying down.The risk of imbalance OCClWS when the nude is standing, particularly in poses

that involve any violent movement in the figure. In this type of pose.Jt is possible to become disoriented and lose the horizontal axis, creating an app earance of insta bility

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A 5pnmcrricaJ {omposi/ion pn~seuls ,t:I'(.'af.er sralliUly aNd Im/(mrf. III (I1"tisli. dmllling, sY1JWMry slwutd 1'101' be PI'!{fft, Till' IIIPst tOI/IIIIOtI solution is to displacc tile dircdiou of ,till:' helle/ 0' one 4' tile !!f!llS 10 avoid at! effect C!.f [or(/l symmelry.

The line oiJ1f.(JviJ'I spans the rel'il~/h (1J 1111:

Ji"p,IJre.from (op to bo{mm.ftC)!jl tile l!ixk W the base '2f the sJlpporljrlg Jc~. on till! jell the weighr of the body rests..

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F.u:mness of the Feet

The figure. no matter what pose it assumes, comes intocontact witha supporting surface through one or both feet, the buttocks, or the hands. The manner in which this contact is produced explains the support as well as the coherence of the pose through equilibrium, so the entire body should appear coherent with respect to the position of the extremities.A frequent error when drawmg standing figures is that they do not appear to be touching the ground, and look as though Liley are floating or imbalanced.

The Center of Gravity

A rational method of verifying the equilibrium. of a nude's pose is co find its center of gravity. The center of gravity is usually found in the abdominal area for standing figures. or at the base of the spine for a nude viewed &nUll the back. To cl1eck the stability of the figure. all one has to do IS imagine that center of gravity and extend an imaginary vertical Hue from it; If the line divides the area supporting one or both of the feet. the figure has a good equilibrium: otherwise, the representation is imbalanced and the nude is unable to support itself on its feet.

Symmetry

In a flat representation and in a fiontal view, the human body shows a series of visible correspondences and symmetries that give the figure a great sense of compensated equilibrium. For this analysis, the most important line 15 the one that divides the human figure in two when viewed from the front .

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A frequent

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amateur artists make is to tilt the figure forwar~ .. 'To avoid making this mistake, yon have to projectthe line of gravity onto '-------- ...... the sketch,

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10 (1fh!n'i" a IJ'eU·rwlall[efl.fig.lJ:re, it's importal1t tfwl the po5ilionof tIlt: leg5 be ""rllJilldrlf andtkar the Jeer be.}irmfy supJ1Drterl on fllf'.flom; !f 1.IIe take Ihese jt";lors i11lCl <1C£.Qflm ill the sketch, the' rest of I1teJigm(; Sh{lMfd appear Imlmrrcd.

The lille if gmvit)1 allows us tv iiOtltJlll tIre c<]lIilibrflllll of tfrr.r.1!IIJ'c. Iii tlw.firsl alse, the line oj gmvUy, dl'(lU'11 in Fcd,jirf1£ outsi.de r:.f ')IC fool supporting the pme, so th,,( a,cy,r;Hff' appe<lrs flll!ltl;mu;ca rAJ. On the other ham!, if tile figurcfolls ill from if/he line r:f gmvity. a..s s/WWi'l #1 the d milling ldow, it 111m not appear illl IllIu,na:rl (B). Thc eqlJililwiwlI oj the lJ ude can be jj{;,rified by drawing tile I'erlicaf tine qf gmvil)' (11111 checking wh.et/lel itfolls !I'iffrill the alTa of the fOOl

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. . VARYIN G tile {t'

POINT [?/ \.

VIEW

~ y Jhether the sketch is static or in motion, it is W interesting [0 draw the figure from different points of view and walk around the figure it as you sketch. Every point of view offers the option of a different pose. Drawing the figure from the front, from the back, of in profile implies a different technical and psychological technique.

Studying the Pose

Before drawing a nude, the artist must consider whicb aspeershe wants to develop in his work: line, hatching, color, chiaroscuro, movement, etc. Certain poses allow one to develop some of these aspects better than others, as we have already said" It is interesting to observe (he model from different points of view and walk around [he figure as YOIl sketch. The best exercise for determining the focus is to look at the scene as a whole---to walk around the model, choosing the most expressive and effective angle, Every point of view constitutes a different possibility Technically, every pose requires different solutions, with a s=s= or lesser role assigned to drawing, color, or chiaroscuro, ....

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The_tmmal mell' is atmmg the most arlraaive to draw: not only does it prolMt. a view of tile fote, but a fl'Otlinlview ~f the JJOdy pte.scms ff!liifs lIHd details that. make tIl(! Jrat(.hing and l1uuleling if the figure morrinretl!:stin,'!:

In i.lrder to better ul'ldnsttmd tile model, you haoe to study it as a whole, and anaCyze the SlImf pose jr!Jm several different points cf !lieH; 11"a/king around the model and vfsllaiizing it In its e.fltiretj(

The Fronwl View of a Figure

To draw the nude from ehe fronr implies personalizing it, transforming it into a particular person cat11er than a generic model. Thus, this type of pDse more dosely resembles the idea. of a portrait. Although the purpose may not be to make a portrait, the frontal view of a nude fOrces the artist to pay serious consideration to the face, and this means endowing it with expression.

The Nude in ProfIle

We could almost say the opposieeabour the nude in profile. The contour IS the dominant aspect of a drawing of a pose in profile: the form of the head. facial features, shoulders, torso, abdomen, thighs-in short. of the entire figure. These elements can be represented with a single. continuous line. This does not mean that the volume and modeling are unimportant, but rather; that they are sebordinate to' the line of the figure. It is worth remembering, however, that <I figure is rarely entirely in profile. Some parts of the whole appear only in a frontal or back view, making a three-quarters view advisable,

The Nude, Figure Viewed from Behind

The back view of a nude, especially the female nude, is a recurring subject: in the genre of intimate figure drawing. These drawings create the effect of a figure being observed by the viewer without her knowledge.

This impression of naturalness proves to be of great psychological interest. Technically speaking. a rendering of the ba.ck-'I11,;11e or fumale-.can accentuate the anatomy to a degree that it becomes interesting in irs own right.

The figure It!fimttal view requires a· more persotll1fi;;;;;ea treatmem of the.fate ana a .sketcilier renditiotl if the rest if the body; thi.' model in l'~le, on the other haml, requires a mort" detailed treatment 0" tile body~ contours.

If we find it: hard to understand the 6gw:e from different

positions. we can use a. model like this wooden mannequin. As an exercise, it is very practical to place the dummy in the same pose <IS a Liv~ model, turnjng it and making sketches of it from different points of view"

A back tiel!' of a figure requires litlle perSl.malizatfOlI bl1l a.greal deaf if modeling to help describe melkJl!ltnes if ill<:! &>djl.

t COUNTERMOLD:

DRAWING NEGATIVE SPACE

O Hen, the success of a pose lie'S in its negative space" in noticing and rendering the form of the background, the empty spaces surrounding the figure.

If we draw the forms of these various spaces, we also end up drawing the figure. but with greatet ease. We solve the problem of composition thus: me spaces and the forms are united when we give equal importance to all the pieces of the puzzle within the margins that limit the format.

Analyzing the Countermold

The important thing isn't drawing an arm or the position of the legs, but rather taking up the form of these body parts byrelating [hem abstractly to the space that surrounds them, looking for the negative forms, or countermold, of the figure. Therefore" in order to understand the forms of the model we must know how to identify the figure's countermold.

We suggest a very simple exercise that consists of representing the human figure in the chosen pose by drawing the different chiaroscuro values of the shapes that surround the model, without using lines to give them their counrers-e-simply using hatching based on tracings that reduce the contours of the body. We realize it isn't easy to separate (he figure from space, but with a. bit of conceruration and practice it can be done.

A good 11411' tv {l/1t1lyz~ th« post' is to j..wgef about 1/1(: illff11u,1 fOlills if Ihe mood and (01/(l'lltl:(lfl: 011 its pn,fik, drml-'il~flftow rile ilarc/Jirlg 41/11: ewpl)' s.p!Jtl?S .,IIdf t',II'veiop the figure.

Tile applimtitm 11 a wlllrtewrold in the hmrllillg 5tage .15 (/ C(lllll/l0l1 f£{fetl.fi'" artists, the objerril11' f!.f IV/lid, is to '~lldl!rsCOff CONrOIl'S 111111' p~(lfil.es 1'"J' us"~g touol contrast.

Solving Foresho:rtening Problems

We propose the following method as the most effective: means for solving some particularly difficult problems, such as foreshortened figures.The only realistic solution to the problem of foreshortening is to draw rhe figure' just as ir is, noe as one imagines it to be; to see it as a geometric figure. observing the negative space surrounding it. Only dexterity and experience can help one to really see: and correctly render a foreshortened limb. '

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The tlppliMli(li1 '?fa cowuem101t1 i~ I'spedtilly usefi4i wlwN (lie figure presents complexposes such as those we observe in a COfltl1.1p,j$W.lf! these cases, we will try in Jlisui1Ii:ec [(u; empry SPfI(.es in the jigurd eaerio« 1,':1 order W "'r!l;;ttIy swlpt lile PO$c.

Above an else.

,.-- ...._, keep ,in mind the

spaces contained ins,iide the figure. If they do not match rhe same L.-_~_:::__...,...J form as those in thereat model. the figure bas not been sketched correctly.

A sketth SI1OU1c11Wl be ,Q representation oj an ,frolaled figun! b,~t .:If! int.era{fion of the figure Will, the. surrounding space. Dark lillI'S in the background space also 11elp to difitli' the profile oJthe head ana shoulders.

WAYSt?I' SEEING tAe FIGURE:

OPEN {flul CLOSED APPROACHES

How an artist "sees" the body will determine which approach he or she will take in expressing the figure. Among other factors, the artist will have to decide if the drawing will have' an objective, descriptive theme, or a more subjective and open interpretation,

The Closed or Descriptive Drawing

The finished or descriptive drawing presents the visible reality ofche figure in a way that shows off the mastery and ability of the artist. The radicalization of the analytical function magnifies the t~nished effect of the drawing. The profile: of a descriptive figure tends €o be linear and dosed, leaving no space fot improvisation and subjectivity; it is limieed roche re-creation of visual experience. Descriptive drawings display a constant effort to forsake convention and give greater importance to meticulous analysis. so

that the drawings translate into an exact rendering of the human figure.

A geometric $/..'t'fch madr witb dosed figures prwides solid figme with IJrick lint'S dUlt llaentuatr their ()~tlinf5 alld wlrml-fm(

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uniform, lasting, worn-away line that proves very attnu:nve when

making $~ggestive, rough sketches of open figures.

TIll! dosed_nglln' is typified 11)' a linear treall/reIIr '~f ri11' figure's ourline l1t!d a rich interior 1'[loJ.d'iflg. It is l{t,., dOJcsl to a da.~~'i(fll or r.mdemic:

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The {()ntOJIJ" of the figure is IISUail}1 depictei1fidf{y in a dosed dmwiflg;AU (ffhl:' fiJ:ure '.s anilfomy, as wefl a, the light that foIls 011 tlie btld}/, ase denny drfiHCd, JeawfJg little fO tlie imagination (~f the Vi'CWCt.

111e ope.n: fif.lIre .15 (! lJid Jor poetry,. j~ljjlY, lind CTe'ilti!!ity instead of lUademiciill'i,foT suggestion, rafher than mtiolwt oli'ler.

The Open Drawing

ln suggesting the form instead of explaining it completely the open drawing requires a more poetic treatment, allowing the spectator to complete it in her own imagination. The open drawing, through its brevity and immediacy; can abo be a medium for crystallizing ideas. It is accomplished by suggesting certain areas rather than completing them, su btracting a fragment of the drawing for the purpose of interesting the viewer or drawing her attention toward that point and allowing her imagination to deduce or complete it. Suggesting the form means responding quickly and spontaneously to the artist's vision of the model and tracing the precise moment of that vision onto the paper; Naturally, this means that the artist's compositional problem is more or less solved. and the geometric sketch of the model is already more or less correct.

Opt'1! figures lire cI.!lIlc1lJerized by <1 nt"<1r absence if lines it! the lighted pafts (Jf the body, so that the ~pectru(JT mmtesttiliUsh where the _figure ends and tlre barkground begins.

A geNlIetric sketm if an open figure is always jJjggtstive tmd somewhat. indtjinite, tlnd sh<'lild look wifinisrwd, fiN q~tite ~olfd,

71

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The standing figure generally presents fewer problems. because each part of the body can be dearly visualized. In cases where there is a problem with the body's proportions, we can always turn to the classical law of proportion.

£The' STANDING POSE

UP

CONTRAPOSTO

Symmetri.cal or Asymmetrical Figures tit

ReP.l'esen .. rations of the hU.ll la.~ ~Od}. ,ar. e rarel}.' symmetrical. fu~iS ... t$. a~r.lYs ~. ., .. try to draw the model when it 1$ out of balance, making a motion With ... ,

its arms, or in a determinate position. The frontal, symmetrical view is .

used only in handbooks fOT studying the body's proportions and .. :iLF, --'.,,;H'

practicing drawing in general, and is rarely represented outside . '

this context.

A frontat represe'Ht4ticn if the st!.1lulillgjlJiUI'esl/Quld IWoid excessive .symmetry; symmelrif41 po~~s (Ire heupr suited to anatom), textbooks than artistic dfllwing.

Dueing the early sblges. of Iearning, ic: ill a good exercise to copy classical sculptures in plaster, which eliminates the problem of (:010.:

in the drawing ....... __

The plaster model is ideal fOr practicing form and the representation of light and shadow.

Arl)1 sense rif tMltemcllt presented by the siafuiil'lJ: figure's body is determined by Ille tolllmposto. To repreSf!it more jora:41'oses it s~fftces to acccl'ltHate the slope if the lines of the slwufdru ami hips.

The Contraposto

Conrraposto is one of the most: commonly drawl' poses. The oonlIaposro or ischiatic position is determined by and inclination of the torso in the opposite direction from the pelvis, It is so named because the ishion, a bone located in ehe uppet' pelvis, tilts to one side or the ocher depending On the position of the figure. Thus, the weight of the body rests on one leg whi1e the other leg appears relaxed, in an attitude similar to a soldier at ease.This tilting motion .of the hips is usually accompanied by the tilting of the thorax in opposition to the pelvis.You can put this to the test at home if yOll like. Stand in front of a large mirror. Keep your feet apart so that all of your weight is evenly distributed, and thenresr

:ill of your weight on your left leg. You will find that your hipbone tilts upward at the same time as the shoulder line tilts down. and vice versa.

This brirf seqUffla show tIle ptoms IlMt every artist slu:mld follow when drawing tl figure in rommpostil: First, it Is lif'CefSary to simatJ; [he lilies qf the shouftlcrs drld hipbom (1). A}ier making tiu; go.1metric sketch, we prm:eed to the Nher pans of the body. heping if I mini! tf:at the knee of d1f~ leg tlwt supper;s the bodysweight is higher that! the other (2). Lastly. we emst the stmaumJ Lines tind render Jfll'! mu>c:ular reUif s}'uthetimfly (3).

ff we afull}'2e the body ~ skeleton, wefimf (hat if Iheweig/l1 Df tlu.' body rests on Me Jeg more than the othel; the hipbone Cine tilts to 011~ sid'" (1). VVJ,et1 drmvllig tIre tosso, Us line lirl.i .il! tire opposite 4irediol1., crootl'rIg the rontraposto positiou (2). Tile upper torso is dearly d4inea by the: liNe qf the smulders,wMl;; tlie lower pnrt. is difim::d bl' tilt? line of {he flipbolw;witil this ill milld, noti.:!' how with the till of the Ilips. Jlle knees appea.r ro be at diff~'ef/ t l'1t:igllts (3).

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The .t:{mlmpos to is (we if the most common poses for stamlingfijgmes; it is the pose 'trill break> llie t;ffed if sytJ'J mfiry (ind gives (j certtliH rhylhm tll'lif mOVffllell·t to the lmdy.

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SEATED (fll{! RECLINING

FIGURES

Seated or resting figures enjoy special bVor among amateur artists, among other reasons becausethey present few compositional difficulties, and the body seldom presents excessive tensions because the muscular anatomy is relaxed. The greatest problem that we might encounter when drawing this kind of pose

is foreshortening, but we will discuss this later on.

The Seated Figure

The seated figure involves several different complications beyond those of the standing figure; in it, the joints and members are not shown as extensions of the body. but as different surfaces that must be connected to each other through line and shadow. It is necessary to pay attention to the dorm of the joints and the existence of hidden areas, because these will reveal to 'Use' where each Iimh begins.

In the male figure, the muscles lose their rigid appearance because this implies hardly any muscular r tension; here, the hatching softens the intensity of the anatomical relief III the female figure. the breasts appear smoother, less tense. Drawing the chair on which the model is seated is not absolutely necessary, bur if you decide to do so, do not diminish the centrality of the figure itself and render the chair only sketchily; leaving out the details.

A quick: Wily if skf:tdling a sealed figure is to est.aL/ish a tine or cerl1mr axis that di1)ides the body ill iln) mill Set1Jt!S to balance the JiO-,c. The Jfjf('feni llnes ~lArroUruJiy!!? the body serve to verifY du.' al/glltnmt mui Wflcsporu/fll(f betwenl different p"i.l'lts on tfle bod}'

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Seated po.ses fire the easies: to drflw bfcausf the model's mr.mles apl'e'.Ilr tile most rclilxed; nonetheless, tlrey requhe II greater Iwmber of successive slJ;jau:s.. arid fone the artist to arml! while imagining areas M£1d,m Iry! the hoefJl.

As i~ kn.aut, seated figNres present d!ffu;uJties wilet1 applying th.e laws of ptopottion, so ,f!ffirent Ilrelliods must be used:it! oTd'ev to sketch it precisely /,11.0 position. Olle $uch mdJwiJ is to begin wid, a preliminary dmwing depicting the tilt of the body a.nd the llnes if'the hipOOfIC and shmddcn (1). Then, the let1gth {if the ex,trclfIities is measured aniJ tlley (lre sketdred inUl pfarc (2). 11J1'study

j,g Cl.1fflpWte.d by drawfng a few stflfct!~rai lines !'IIlt! wrifyi'ng the Cl.1i1tDurs of the figlm: (3).

The Reclining Figure

The reclining or resting figure conveys a sense of calm, which allows fora more relaxed focus than when the model is in an uncomfortable position. In this type of pose it is hamer to find visual alterations such as contortions or foreshortening, because everything lies relatively inside 21. parallel plane. llJ this case, the objects related to the figure drawn can be of great help. If the figure is lying on a sofa, the rectangular plane of the sofa helps us to find the right degree of inclination in the resting body

In almost every drawing of seated or resting figures. we find angles or planes that recede into space, sometimes very abruptly, so the point of view implied. by the figure is very important.

75

Objects related to a seated or

,--------,-:-,.,---____._,

reclining figure

can be ofgreat help. If the figure is reclining on a bed, the rectangular plane '------r' of the bed can

help achieve the correct degree of recession fOT the figure lying on it. A few strokes are

enough to insinuate the supporting surf are •.

if the m;litliHgJiglJre is seen from tnt! IM:*.. tJreMckbot!(;' PfOOCS an. interesJilij! (;QlVlimctjJ,'C axis. rn caN mark the ptvpt>rlicmnl WMti{lfl if d!fferwt parts of the hody in relaricm to tl1is line.

The redini ng figure vietw.a ft,1IU tlii' had? i~ Ihe mos: itlipersoilal pore jor n model, (IS !l'dl (}5 the P05C that requires the greatest c.mrrol rf iilw (!lid modding;

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'\.' I ~, ~. - '1r.~.-; ~ ~~. L~: '1;1" J ~.' ~" D r-J,:wmg ,the figure in l1l!OrlOfi, 111,: cam d,r.twing a

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'\:.~~'-~ if'i'- i ",. • ~-";_'f ~ ""T--~~~"'A~ , • , living figure. Every movement expr~sses

"- -1!'V~:" _ ~ 't ~ ~['~~J; ~ something, The mission of every artist is to Iearn how

1,'~~ ~ (. ~ ~~,;.'~~ ~ to represent this action or that expression. To reprc:'Sellt

.J l '\. t:.:Lr- '." ~ movement is to understand the group of bends and

~ f .,,' \ 'i:; 1.... ·~_f.:.,,:t extensions that ta~e place within.a motion-the

\~~~ \. t~.. _ ;~ ..... _ bends and extensions corresponding to every pose.

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~~~,;,..._... "co -. l '::;.- ~ . ....l;. Tl1.t musd~s are, the.dn v m~ force oft~le body, puttmg

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- ~~~;::- ~ ~;-,--;: t ... 1:. move L'\ :\ great help, because' drawing figures in

~.Y'"'~ ¥-~ ,_, ~ -1{ ~.,: ~~.- motion means purring visual memory into practice,

J.~ "'~'" ~ ,r)L' {OO-. '~l. ~ •. '- even when the period of rime is very brief. The

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..... - ... lo_"". -.!'T 1:; !' P (j't).. .. discovering, and learning how to depict, the essence

.. '!" _~rl--k1!f_?" ;fl.:; ! of diat movement: the tense muscles of an athlete, the

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~ ~turlft'S if ~" ,i,", j .:i:;, e. ui i rium of a baUer~n~ the speed of a runner, The

~~ tiIlWCI'IIl'ilf£ sfloilM ~.;.,__. '\ -.._ .. .'f{~f different muscular tensions are underscored by the

';>i':fi br impredse, tl1<"t ,\:'i" intensity of the. hatching. The greater the contraction

pr«ipil.ol;S, with ~~..! ~., ~-' of the muscles, the greater the energy that must be

JUde i1ltentirw paM 'f:' ~_ 'f;>~ represented by th{ contrast between light and shadow

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W1U'1l dmwitlJl a figure in motion,

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sake qf jreshruiss, spofli.(II'1£ity, and #ly"llm; even if doing so mean« d~fOrmiflg sotlle

pans i'1themorJd.

TIp; r;[[at of a sequctlce il1 JliN'i(111_iri!ti/ir:5 makillg a study of 11 figurr i1): tire (;(lUfSe rl petjofllli1'lg all attiou > III til is rase, 111£ ptl5S17gf if thilt: <Inti tile aNion aft' rl'p1I'Jl'tlrcd as' a SII((t'ssioJr 1'1 poses Ihill dr:filonstmre die d{{forllll JJeps takm IJY tJJC jiMmY' 11IJJlfc Pl'ifOflUillg a

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77

Deformation

When drawing a figure in motion, the artist should get carried away by the vision ofthe moment and f~rget academic consideratiocs. The artist can go so far as to alter the body's proportions as a. fiinction of movement: increase the width of an arm or leg. e'J'GIggetate the curvature of the back. Or suppress unnecessary derails. Sometimes the- trajectory of a single line explains much more ehan an accumulation of traces. If'the line is lively, it conveys the figure itself, giving it a more vital. gesture.

Successive Images

This technique represents movement through successive images. with each figure in a different position placed on the same plane in order to represent movement sequentially.

vanishing

Vanishing, or fading the contours of me figure, is a common technique for suggesting action. The source of this efiect is the blurry or unfocused images seen in photography The dispersion of the figure's contour imbues ir with an effecr of vibration, movement, and displacement,

1/ 1/'(' dmw a figure In mofi(lIt, it is frnpQf1.mu to nUlkr SfI,'Cral sketches sud: as these, IMllich analyze eat'l oj the 1!05ititms the bod)! tim/me;< il~ tt!e (QUlSe if I?cljormjn~ tiM! action.

In drawings desaibing INOtiOlJ., the lines qf strength should be I!O)' ~'Xpresril!C; tIler cat!. ·even hI' exqggemfed to gillf the .figutT: a df:igrec of bjormiiy.

Qeick, energetic

'=~.':a

. figure, Notice

how a quickly drawn s.ketch. rather than a

detailed, meticulous drawing, is better

at expressing movement in a figure.

The blurred or rmJlflISed image is (] lIer), mmJ110tl techniquefor suggesting motion.

TIill technique is the counterpart in «rowing Jot the {(1f1tept if the b.!u"y im~c ill ph(Jtogmplly.

~.DRAWIN9tk

~EN PARTS /ytAr' BODY '-

Sometimes, when drawing a figure, it is necessary to draw lines where there are none, or, to be more .... precise. where we do not see them. In some seated or reclining poses some parts of the body disappear from view and remain. hidden behind the body. Thus. in order to understand the structure of the figure, we must construct all imaginary contour that crosses thebody in order to relate the visible limb to the one

that remains hidden from view.

Advanced artists perform this process mentally, but the beginner can make use of a drawing depicting the line and structure ofthe :6gure to understand how

the hidden parts of the body are articulated. To this end. it is of tell useful to draw the model as if it were transparent, drawing the views of the body that remain hidden to the spectator,

Drawing the figure as if it were tl1lmptlrent should be done fJsing a scftj. dean Unt that can be erased easily. Once the structural tlrilWing is Jinishaf, the lines of the hidden body pnrts can be erased.

This tedmique is imm.e71Sely useful for studying lind

lm4ersranding the inner strnaure· if thefiguR.

The most difj'i£#1t part if this ,drawi'1g method is _ fmding the.flex poilll$ and tile placcs <II 'Ivilich the - joints wntIet:t ~tb.e body in order to produce a

- '. '~:,~nt dmwi~.

Studying the Joints" I '''-.;.~ -

If a figure is not in an upright pOsItioll, it presents ""'" several problems of some cQmplexity~ in particular with regard to the composition Df the legs, and eseecially; in those places that hide other pam of the body (an unseen knee. a foreshortened arm. aieg hidden b.c:lri'rl,d

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When. drawing, it is impoream to pay attention' to

the shape ofthe joints and the existence of hidden ___ pate of the body, because they reveal where each pall: of the body begins. A good way of rendermg the structure of a figure when some of its parts are hidden from view is to draw the :figure as if it were transparent, Doing so makes it easier to place the hidden parts within the context of the dr-awing; we can then draw "the details of the drawing within the Iimits defined by

these lines. This method of drawing requires a. great

deal of observation in order to deter. mine where each

of the lines in the drawing originates. to locate the joints or flex points, and to note where they' come to rest within the structure of the body.

When you pmctice drawing transparent bodies, you should start by reducing the figure to mnple, geometric shape8-prisms. spheres. and, parallelepipeds..

"The tedlmque if ttanspaten; dniwJng is more than at! exercise jor $~ud:yjrtg the. strne1ure qj the model. Some artists aJso use it as !'In illrerp.retive tedmique or as part if a: peoonaI ,rnaering sty!e.

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.;:: FORESHORTENING:

DRAWING !:hr· NUDE iii PERSPECTIVE

One ,?f_the greates~ problems in ~rawing seated or: reclining figures IS foreshortening-erepresenting the' human figure' or one of its parts in perspective. The art of foreshortening consists of representing the human body from points. of view at which its dimensions are diminished by perspective. But foreshortening is not the same as ordinary perspective-there is no need for vanishing points or my of the methods employed in linear perspective.

Altered. Proportions

To approach a drawing of a foreshortened figure, we must make a greate'r effort to adapt the different proportions of the figure on the page. because the different parts of the body ate altered considerably by perspective-an arm

or a leg that seems to advance toward us, a

hand or a foot in which the fingers or toes

are perpendicular to our line of sight. Knowing this, the artist has a new factor to consider when choosing the pose best suited to her intentions.

q:Wf' ho,}e prohlems ,dftllJJmg afomir.orte11Bd rriliniugflgUr.e. the best tIling to do is endose tlie figure in a box araWl2 inpel'$pective. The box acts as t1 gUide Jor realAdnR the size of the lI'mbs througll the d{ed ,if perspe.r.tive (A),

Once the prclilflitli~ry sket:di is done, we run eras.e the .struc:tuYtlllines arid .shade in the figure (B).

The prqjtxtioll of the box in perS})ective tells U~ flow we must adjust me proporlil>l1s 10 the disjWsitioti of the figllre. In this WQ}'. the part oj the drawing do.se.st 1'0 the foreground always ends, I,IP _falsely enlarged in reiatien to the more distant parts of the IlOdy (C).

A lOmmon tedillique for drau';tlg the foreshortened figure is til give grearer Jefinitioti IV the JDrogroo nd ami leave the midtIle- or backJ!rrJUna sketchier .md Imc:wcrea. Compan' the tredtmelJ1 of the flet in thisdmwing to the others (D).

Keeping Proportions in. ,Mind

To render a foreshortened figure, it is necessary to know the 6gure's proportions, as we have seen. Having the proportions at hand makes it easier to interpret the diminished proportions produced by foreshortening without making mistakes or distorting the figure. But il: is as important to pay attention to what we see when we study a pose-and loyally render all of its peculiarities-for the result to appear realistic.

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Tbe Peeeshoreening' Box

Perhaps the theory of foreshortening is most easily understood if the figure is enclosed in a box divided into equal units alongthe back. When the box is stretched out with the feet in the foreground, the units grow smaller as they recede from the viewer. Therefore, the general. rule is to make the viewer see the parts of the figure closest to him 3S larger, or oversized-almost exaggeratedly so. The most common completely foreshortened pose is the lying figure observed from above .. From this position, the closest dimensions appear much larger than the more distant ones; it is necessary to always respect the figure 5, appearance without trying to correct its apparent deformations that make this kind of pose interesting and give it meaning.

The Dynamics of Foreshortening

Foreshortening is an exceptional medium fur representing movement, the energy and drama derived from the human body. This is how the great masters saw it when they included in their paintings figutts seen from the most varied points of view and in the most dynamic poses.

Let's take a tooe at a pta(flcal example qf joreshor{ming. Th.efigure.s .. 11' rig/lt are standing O#! illl escala tOI. The fi~Hle.~ at "he top ql the l!strJlaWf are Jess foreshortened r/wn those closest u. tile hl)ftom., whim j!i rJtS us ali ,1Imost tleria! view rj. litem. This se1lxlI:k can he OI!etm1JJe by enditsing the figwps in bDXeS and' JIX'tttif!(l the Une qf the horizrm (J( the top (:{ the crmlator.

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,\' 111 reclining figures

I~;" -.,J it Is common rot

f. ~_ some parts of the

-._I body to be foreshortened. In this ease, the foreshortened arm looks oversized and appears (0 be reaching eoward the foreground of the drawing.

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TONAL

A s you gain confidence In your ability iorepresem the hLID12I11 figure in _l"'l.an exact manner, you will inevitably wantto give' YOtlf work a greater sense of three-dimensionality . .This can be achieved by means of light and tone. and, concretely; with the representation of hatching, which can provide volume, drama, atmosphere, solidity, and greater depth to the corporaliry of the object. The appearance of shadow in the fignre breaks the boundaries of the drawing, establishes near-pictorial categories. and reinforces the objective, ta11gible concept of the representation.

The light source is a. fundamental part that must be considered carefully when rendering the shadows on the body. These shadows define the form of the surface on which they appear. or give nuance to form admirably, indicate the time of day, create dramatic effects or express a determined emot-ional atmosphere in the drawing. The direction of the light in the drawing should be studied wefl in order for all the shadows to appear 011 the side opposite ofthe main light source .. In a lateral position. the light leaves the opposite side of the model in shadow. and the volume and relief created by the shadows projected,

[!he EFFECTg/ LIGHT on tAc' NUD

The Effect of ligbt

Form only becomes visible as a function of light. Light creates volume and other effects; it is an essential pan of any artistic representation of the nude.With enough light it is possible to i.dentify every relief of the figures body. That is why we must study the path of the light. First. locate both the darkest areas in [he figure and those that are most exposed to light. Then, establish an order for the different intermediate values visible in the figure. This comparison is always based upon the idea of contrast; «one shade darker than another," 0:[ .. one shade lighter than another:'

Shadows are aill'tlys projoocd onto Inc side Dpporite the ~oune oj light. !I we vary tile inte.tisitr dflli dinxtiofloj the Ught, we will finil that the fl£ure ~ appr;;m:mce am cnm!geJ, exlribitillg softer jelJiureJ,jor instance, or more drmnal;c e.Di'Cts, depen4ing Oil tlie case.

It is sometimes illfcresti,2g for begitlning artists to make simplified sketches such as this om:: in order to IC(Jint how to J,r«f t'le Sh(1dolJls as solid blocks,. <lS if tll'ey lllcre hos-rlOgellecJlS "stAins. "This exercise is very u5tful iu Imdem.tfllfing the reldtionship betweell the directiollif the light and tlu! projeaiotl if sh ado Il$ on the fis,ure.

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f·H> mit fJUI/...,(' rlrllll'illgs t111t r;.f sllarl"lV.~ aioNe, I'JIlitolJg ,1iJ /Ill.' traces OJ' lilies ,h<1/l11m'k IIJI!}iglln'5; contours, Here, /Ising 11 ((('tiny s I'Ul/w!!', r.tfi'(t, tw

rmw k>({!!ed (md limifed till' sbadl'tllIl'1'oS to (I,MeVl.' a

minimllr l''''prnsiol1 ~f lhe figure.

Direct and Reflected Light

Direct light sheds hght 011 the body, so in those areas where it falls we must use the ligheesrvaluee=often, the blank: surface ofthe paper .. with no hatching at all). Shadows come later, through a progressive gradation of darker shades or a decisive contrast with the lighter areas. Apart from these fundamental lighter shades, reflections almost always appear in the shaded areas of the figure-areas lightlyilluminated by the reflections of light on. the surfaces surrounding the figure_ Reflections are never as dark as deep shadows: dle1:f tone is in between that of the darkest shadows and the most well-lighted areas of the figure,

Shadows on the nude create a true drawing. a

series of non-anatomical contours that give the figure a sense of drama.

RaJ.tMng is IJ,e next phase ill Ille outlin iflg and p,~filc qf IlfigUfI!. Ha,d~i)1~ le.:/w i'lMeJ are WrJlPJc.'X' (lnd vnriea, ana therefore desrn'f! spec/a.! Iltttntioll.fmfn the artist,

Refleceions

Bright reflections and projected shadows are as important as the effect of direct light 011 the figure. These effects are <1. constant in reality: every object is affected by reflections and shadows that alter its color. The same is rrue of thefigllre. To render it with a single source of light: isan artificial technique.

The colors surrounding a nude project their shadows and. reflections onto it; light creates surprising harmonies and effects, and reflects on the surface of objects, giving clarity to the figure fWln

many different points, and creating shadows that alter the continuity of the lighted forms.

By putting ilfffiretlt degrees '!.f pn'ssme 011 rhi' clialk, we can obtaill dijft'm! t ligllt .l'wRl1sitit'S in /r.af(hmg,

I

SKETCH

en drawing with [he flat length of a stick of chalk or cbarx:oal. the important dli.ng is to sustain a continuous line, -rying the position of the stick in lacion 00 the page,

-

A "map" of sh.t1dOlv.~ is a gooll metl1f1dfor _~t!J.d)ling· the dislriblltim~ anti inU'miry oj s/!odO!vs on a fif!ure. TIre p,.j·rpos{: is to aRSigl2 ead, ItaJIlt> ff!.fet'l'Jlced in tile equates at 117ft to th« rom-spo.fldJlIg ptl1:ls of J/w bod}1 CfCotdblR to tile dl'J!!'l"C if lighting:

Charcoal makes the task of hatching much easier: the thick. flat trace of the charcoal stick makes it possible

to render shaded surfaces very simply, reducing the terms of light.

The Map of Shadows

!heeasiest procedure for modeling or "sculpting" a figure IS to organize a set of tonal swaths oflight and shadow. This means breaking down the image into defined 'areas, using 11ght. intermediate tones, and shadows-e-both those on the figure and those it projects. The result of this. analysis is a "map" that can serve as a starting point for later corrections or rmprovements, Making this sketch requires you to reduce the many diffetent tones present in the-live model to just a few tones. As a general rule. it i.,l1't necessary to have many gradations in conrrast in order to create the illusion of depth in a drawing.

Working with the Hat of the Chalk

One of the most attractive ways cf beginning a figure drawing is the flat stain produced by dry media such as charcoal or pastels, With charcoal between your fingers, it is possible to outline the main forms of a figure ill a highly synrhesized way, alternating use of the thickness of its H;!t surface with the line ofits point rorender tile form only to the point of intelligibility. The stain of the flat ~ide of the charcoal helps render the darknesses of the body. The fewer lines or stains are used. the fewer there will be to correct. Once the figure has been sketched, the rest of the dr,;)\ving need not be rendered with this degree ofil1tensity. Some areas should be rendered as a hard, charcoal incisionon the page,. allowing you to reinforce the main lines of the figure.

Rendering Broad To.nal Groups

To begin hatching a figure we must avoid the assignment of values according to a sequential regimen. which implies making the drawing section by section and creates the risk of quartering the figure and. cbscuring the reading of the body's volume, The best method is to establish broad tonal groups before manipulaeingtheir smaller. constitutive tones.To do so, we establish each eonal increment by adding a layer of hatching and repeating this operation until we arrive at the desired darkness.

The best 'IiI'<IY

to render a prelinrinary stain is eo apply connnuous harch:iill.g with charcoal combined with incense Hncar stroke,

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If II·'!' apply lh" dwra:m] with the sallie pressure thfOl1j?IIOUt, we ad:kl'c !/lory broail" ,cx!r4l1x! .(lIIt/IA, 451mde (A). ljwe pill nWI'l' prfSSIJre!m O.I1C of irs cdJ!Cs, we oiltaill a broad, graded suoke of de.reasillg itt{CIlSI'1' (8).

E '(ampl(' of Iww iii hold (I piffl' f!.r oIWff{>a1 to draw lvi/h ifs sjr/f',

me PROCESS [!/ HATCHING: CREATING VOLUME

Adrawillg made only with lines does not sufficiently defllle the volume of tile object represented. Hatching is the most common tool for modeling forms .. and also one of ahe skills that takes the longest to practice during the learning stages. It is neces'k1l"y to shade ~long the entire figure without stopping to work on the details, Iooking for spots of shadow that can give the figure its total volume ill such a way that, once the contours have been put into place. it will hardly be necessary roconsult the model in order to add the essential shadows.

Dragging the Width. of the Bar

The most common \v..:ly of hatching with charcoal, chalk, or pastel'> is to drag the width ofthe bar across the page, using it to create a thick, broad stroke that reveals the texture of the' paper. Depending on the forcewith which the bar is dragged, it is possible to vary the intensity of the trace, and even fill out an are .. a entirely until the grain oCtile paper is dosed.

The fir;,l /UftrJJ ill}:' shmdd be ilonl' qUirkly t/Jith tlIe Jllll oj tfre stick. illhftl dmwill)? Oil. palJer witll, .1 j"MWe ;;m;ill, the IwuMilJ! will ('xilihi I' !i11 interestil1g ~?etklcd texture.

N(}ticr the dijferena: be.twl'EtI[f{!ssll!ltWing, wlri(h produCI's a dynamic, wrltrrl!ting tffecl (A); illuf usj"g

} I stains that allow for ',Smootlli ng or b1endil1g mul a 5XJJlpt1't/ gj"ed 01'1 tne hody (Bj.

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Hatching Versus Tonal Drawings

We can hatch using a motion that mimics the curvature

of the object, and thus. achieve a strong, modeled texture. L The hatching effect allows for better gestural expression than drawing with sculpted tones. Whell using crosshatching, or hatching across the original shading in a reiterative way, we cover the entire surface of the paper

and gsve greater intensity to [he hatching. We must be coherent with the direction of the traces. in order to unite the different tonal areas and give coherence ro the drawing, The ronal or stain-based drawing. created mainly with smoothed and blended spots of charcoal, chalk.or pastels, serves 2IS preparation fur a painting or fot a drawing of greater breadth. When considering the application of charcoal, pastel, or chalk stains onthe paper, begin by applying light pressure on the'piece and gradually increase the pressure as the drawing progresses:

This. method of hatching achieves an atmospheric treatment with a grainy texture and no lines or' abrupt tonal changes, with 110 trace of the individual-stroke.

~~

Studying Values •

In a traditional drawing. the study ofvalues is mainly approached once the preliminary sketch is finished and the the contours of the figure have been established With a structural Iine. Evaluation is a way of creating volumes by making gG~dations within a SiJlgle tone. When speaking of evaluation, we must think only about black and white and forget about COIOIS. Starting from this monochromatic gradation, it can be said. that values are tones, or, to be more precise, the different intensities of tones. These values enable the representation of light shadow by increasing or diminishing their imensity ..

~ Onte tlJcjifSt plwses q{ staining are cmnp/rted, ,rill' Gfr1l/1itlg requires .gren ler pr~risi{1I1 it! C'lJGlrmti41n. m CW1 filet)' USf the edge or pJim of the (haik to IV,akr mol'(' J~fitlitjVi' markit~f!s in fach ",ea,

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'T1Ie diilXtifiti. fir thefllltching- kprrtds on tl!c external reliif cf t/ll~ figure. For inswnte.if WI' draw a sphct:jcal form, the haf£mng sl~ould be drwla #l);,.il'f Ii qlilufriw! swja(f, ill/! htltdll'lJg :.llOu{d also desaibe o curve (B)j if tlle surface is jlllt, the /latching slJoultJ dcrm'be (I straight {hie (C).

To creare a figure with a rich gradation

of values, we must

forger about lines and

conceptualize the

model in black and

....... .-,-~~,.,....,

wbite. The graphite

pencil's great variety of harnesses and formats makes it a preferred imtmment !....-.:...J!!l--':..&. ..... for harchlng, with a

wide spectrum of

possible tones.

A

EFFECTS

/I'vo· UME

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Often,\>';'hen we draw the Illln~~ flb"ll~,. the final result appears flat and unrealistic. This IS a serious problem for many arrisrs: the human. 6gure should have a rounded. three-dimensional form.

... .

ModeUflg ill

The technique of madding is used very frequently by artists who aspire to a sculpmral corporality in the nude, to an almost tactile s.ens-i.tion that the forrns are curved arid occupy deep space.it} the representation, Tonal gradation k~ to modeling [he nude-in otherwo;qs, to creating the effe~ of volume, Modeling is a direct consequence of the gradation of li~t and shadow 011 the body of tRefigure. If we

:f want OUl' portraits to appear more three-dimensional ~~* ormore solid, we can "model" them with charcoal OT ,Ii;_i,; ", pendl ana then fuse the hatching'with a eortillon, or

J even wirh our fingers. ~ '-(

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~1(U'li,~g, besides gmJil~g !Ju; :'?~ ~! " gif tl~e.figl~I-e'5 ~J"l'i!-

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~ din'Cfi(l" I~f rIll' SIUidiltgs. The

,~ misiJt~ (if 1'I.,fmltl!s milh a >:l'apili II' ptJIfil is delimli: and ot'(iles fl;J.!l abrupt 11)11111 ,lIifts.

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For berrer modeling, it is preferable to

work wid1 charcoal sticks .--------,-----''--, rather tbun a

charcoal pencil.

, Chan::oal sticks smooth and blend , easily, while the l__.,......lII_.JII---,-I pressed chaecoai

of a pencil produces very Intense lines that are hard to blend.

Forcing Contrasts

A richness of reflections and shadows can be produced by the artist by surrounding the ilgmewith elements that create nuances on the skin. The reflection cf light on a white cloth makes shadows lighter; if the doth is red, the shadows are timed with this color and shade the body with its tone. Similarly. if an object interrupts the trajectory of the light, it-s shadow will be cast on the nude creating an effect with potential pictorial interest.

Transitions Between Shadows

Transitions between shadows-from light to dark and dark to light-are produced through different means depending on the media employed. III pencil. these gradations are achieved by tightening the trace and accumulating crosshatches to darken the shadow; with charcoal, the darkening is made by intensifying the impression of the stick, and the transitions are produced by fading the stain of the charcoal; the process with chalk or pastels is vlC'ry similar. The tading Can also be done with a tortillon.

Controlling the Direction of the Stroke

To produce the effect of volume on a figure, we must control the direction of the stroke. It is not sufficient to apply hatching; WI; must impress. upon it the proper direction, For instance, the hatching of an arm should be circular. In a curved surface such as the abdomen or buttocks, it should also describe a curve. On the other hand, if the surface is flatter, such as a back Or a torso, the hatching should be straight. As a result, the form of these strokes should be consistent with the waves and relief .. of the body

Modelli!)!, is bnscd 011 tlICC' ,,,n:ed descrjptio,·, (}_f the I'eiil!_{s qf

I]le tlilt/lilil figure, (1m! it llCgitlS with 511100#' transitions or gl'l.uTa(iotls l,elwcL"fl wiles.

Till' ljfcct qfmloMflil1g is

esscll(ial in d(!lJetop"lg Q cottea ~ I modeling. H1lim lh£ prr:~fI'f l' _'. tite fine is slIppJt'5sed, the JOll4i 1ffeas gail'! prom i1lEfice, prodJiritl$ 11 more pictiJrial l!.Dixl it! the fi'p'IIYe.

JJoddi '.~l! 1II!'I1I1S scllipliJlg 114tll s(!lt /I1msiriollS !!f I{~ht lilli' ,.Jwd"I1~ /JJvalll:iil,1? a tnt/ill' .1I/pl'artll/a- i.ll {tIC _fi.!.!1I1l' .1'(1 tha: ns

'eX/lifes mrrl {be .{i>fri.f .~r i/rf skill 11ft' rCl'enlcd I,V thc I(~ht as ir_fid/J ()II thelll.

Chiaroscmo is the gradation of shades from white-usually givell as the blank h"'~"''''_ to the most intense black that we obtain by nl~n"'''lO'

CHIAROSCURO EFFECTS:

WORKING (01/11 ABSOLUTE CONTRAST

A Dramatic Effect

Chiaroscuro is the most dramatic of lighting effects. It consists of s'ubjecting the nude to an intense light source that: divides the anatomy into very brightly lit areas and and, a total darkness that blends into the b,!(;:kgroUJ1d. This effect was used frequently by [he painters of the Baroque period to intensifY the dram" and expressiveness of their works. The more intense the chiaroscuro-chat is, the greater the contrast between light and dark values-ethe grt:ate:r the resulting sense of volume. and the more evident die effect of light 011 the figure will be. Similarly, a greater contrast between light and shadow produces a greater number of intermediate values that must be included for the forms to maintain a continuous surface. This also holds for the volumes of the nude, which are rounded and In which the transition from lightest to most shaded is produced in. a smooth, progressive manner; when thistransition is interrupted abruptly, the shadow appears sharper and the effect is a contour.

To Wlllk /1.1/111 chiafoscuro m.ofe easily,fG(Ij'! a sil1;{if', II1IaISf' light sourre 011 dw jiJ?ure's ;ilk.

By Opt'JlIUg up while areas witl! a sqft cro1Sll?r Olio a drawing m adc wi til intense d1(m:o<li hatching, we £.aN ProdH'!? 01 driarmmro 41iYf itl lIte figure, oblt"ulng Inlamedill(l;' tones,

A strong (ontrasr between right and s!laded {m~(IS at tlie expense '!.{ modeling 'produce> 4 Jrarn,aric, 511rprising e.fJett in the jigllrf'.

Sharp and Smooth Contrasts The group of chiaroscuro values employed in a drawing constitutes a spectrum, within which we can choose a lighter or darker tone, Or accentuate the COntrast between the values closest to white Or black. The spectrum of tones that appear in the drawing affects the intensity; harmony, and. atmosphere ofthe composiuon.A wide spectrum with a large number of intermediate tones is more fertile and visually attractive, but ifit is too rich, there is a danger ofbreaking up the unity and harmony of the whole.

Light and Dark Areas

In a chiaroscuro, the light areas must always be free of pigmel1t. but jf we make a mistake, we can partly recover these areas with a soft eraser. The darkest areas should also be given special treatment, Once we have achieved an intense tone, we Ieavethe area definitively and do not touch ir again, to avoid reducing the absorbancy of the paper, which would make it impossible to achieve a darker tone" no matrer how hard we try.

9S

These ilvo drawings 4{ a sphere (lilow HS to better HndeH!(lnd tJll' d!ffeufI(.C' betumeu a I-'Ollime tendered witii modeling or swlpwmJ f![fect5 (A) arulwith fhir110SCU¥O ,tjfocls (B). The fomu~t exhibits smooth tOI1(1l jW11$ititms, whereas il1 Ihe latter, ti,e amtrost betll!'tctl /11/:: lighted and silmfe!f I1mds is 11101'1: pronounced.

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lt1 41 chiarosruro, 111ft lighted (lfI!(IS .should b€ I4't untouched. No/ile how tile Stfllf1g lightil'1g eoen aiIsoM;S tflt: figure's outline on its rigllth.aud side.

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THE CLOTHED

The study of the figure should not be relegated to drawing nudes. We shouldn't forget clothed figures depicted in everyday situations. For the amateur artist, this subject presents from the outset a sjmplcr rendering solution than the nude. because clothingobscures the model's anatomical reliefs and. muscular profile; The goal is not only to draw a wellproportioned body and the posture it assumes, but aka the draping of us <ire.'>.", and me creases and folds that it produces. Purthermore, the clothing that dresses a figure should be represented convincingly: if the model raises his arm, the wrinkles in his jacket should match the limb's motion.

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y 'S:~" STUDYING lAc INNER STRUCTURE ~":t

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Perh. a~s [lie hardest task for t~le amateur. artist J """ ...

drawing me clothed figure is representmg the \'

fortn hidden underneath the clothing. In a clothed n- ~~ • "'\

figure. the problems that arise have to do with the ~'~" "···~~'_'!).i" ~., ",_" .

qual.ity of the textiles of me clothing, with their J 'i~\

wrinkles and curved surfaces, which make it difficult

_ b d 1M: s IIorll& approach flu dotln,d figure JJ.

to understand the pose Of" attitude that the 0,' y lIr{tJi a similar ouuine fJ) 01'11' !.Ill'lImllld

assumes in certain situations. IlSc_fOra nude, igllJwing fhefolds in the ,', ~~

Understanding, the Structure of the Figure, C/o/Iring ond lcoking ins.t&jd at the pose ~_, .:

ill its flui1ef}!

As with the nude human figure, it isnecessary to

understand the model as all organic whole, but. with a

clothed figure we have an sdvanrage in that, if a part of the body remains hidden or seems confllsin~, we can try to imagine its imler structure, the posl~on that the limbs adopt in a nude pose. To do so, It helps to draw simple geometric shapes that constitute the drawing's infrasrructure, From there, the goal is to adapt the clothingto the model. Very fe~ garments reveal the details of the anatomy, so the form of the body and the wrinkles are determined by the type of garment worn by the figure and the weight and

rigidity of its fabric. ,

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') 1/

'I:

l

if thE .fi'Rlm:s in t/JI! dmwitlg IlYl! WfllrilJg TmlSl! clothi,flg, ir. maybe diffi'ailt to visrmliz;e their inner sima/Ire (A). mw fol' t~'iJ ,.~a5(}11 it wil! be if great help to 1'1110 bi'gltll1ing (lrtist to imagilit' the model nude, ami try to dis({}ver jrrJm Clld1 pole each if tlw pmitio'1s C!_f t{u' limbs (B). If"undressing" f.f1e figure' is (1)0 (Cl'lIIpliaucd and we arc U!mMc til gUI'SS (I{ Ihe limb:' tenllifW's 0" tlu: basis OflhcfotJs they CTC(Jte if! tile dothing, we can turn '0 (I,ge;lltlltrric sketch. ami try 10 lIIwcnt.:md the body em lEu: basic oJ si"~pl('vc_)lumetrir shapes (C).

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A n C