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Human Drawing:: A Two-Part Guide
Human Drawing:: A Two-Part Guide
Figure
Drawing:
A Two-Part Guide
by Sadie J. Valeri
drawing board By Sadie J. Valeri
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1 2 A
B E
lines that are easily erased. If you’re This step shows a line (AB) from 3. Establish Midpoints
a beginner, you can use a knitting the model’s forehead to the tip of I try to rely on measurements as
needle to hold up to the model for her nose, down her left shoulder to little as possible but, early on in the
checking the angles. You can do this her rib cage and abdomen. Another process, I do establish midpoints.
by measuring the degree of tilt each long line (AC) travels from the top of First, looking only at my paper and
line has from the vertical or hori- her forehead down the front of her not at the model, I measure and
zontal axis, which you establish with neck to the outside of her right hip make a short mark on my paper at
the knitting needle. However, do try to the tips of her right toes. A long
to match the angles using only your horizontal line (CD) runs from her
eyes. The less you rely on tools, the toes along the front edge of her right Materials
more sensitive your eye will become. shin to just under her knee.Another
Surface: Daler-Rowney Murano
(When you measure angles using a horizontal line (BE) runs along the
Textured Fine Art Papers, the color
knitting needle, be certain to use top of her left thigh.
Storm
a straight arm to keep a consistent Finding these long, straight (I love this paper for charcoal. It’s
distance from the model.) lines in the figure trains the eye to toothy enough to hold the charcoal,
The envelope I drew for this scan all across the form instead of but smooth enough so I’m not fighting
demo corresponds to the model pose focusing on small details. I use each against a texture. And the paper holds
in step 5 (page 5). step in the drawing process to go up to a lot of erasing. Tape three or
back and correct the earlier steps. four sheets to a hard drawing board
2. Build a Web When I’m really struggling, I often for an ideal surface.
When I can clearly imagine the go all the way back to the envelope Charcoal: Winsor & Newton vine
entire figure fitting comfort- ably stage to solve a problem. If I find a charcoal, medium
inside the envelope, I start problem with a small section, it usu-
Other: chamois cloth, kneaded
constructing interior lines with a ally means there’s a problem with
eraser, Sanford Paper Mate Tuff Stuff
“web.” I look for the longest, straight- the larger shapes. retractable eraser
est relationships I can find, cutting
across the form from side to side.
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terminator
3 4
the halfway point (A) from the top using the straight-arm method with (as it would be seen from the point of
of the head to the bottom of the low- my needle to measure the angles cor- view of the light source)—a contour
est point, the tips of the right toes, rectly, I’m creating the major angles line, just as important as the exterior
in this case. If the pose is also wide, in the figure: the angles created by contours of the form.
like this one, I mark the horizontal the head, neck and shoulders, by the Sometimes it’s difficult to see
midpoint (B) as well—along the line bent knees and respective shins; the terminator, especially in diffused
from the tips of the fingers to the tip the angle between the two thighs, light. One trick is to approach the
of the left knee in this drawing. the one between the body and the model (with his or her permission)
Holding up a knitting needle right arm, and so on. I’m careful to and hold up a knitting needle to cast
vertically in front of the model, I remeasure and recheck the angles a shadow across the skin. Where the
then find the vertical halfway point before and after drawing them on cast shadow of the needle disappears
between the top and the bottom, my paper. into the shadow on the model is the
mark that point on the needle with specific point where the light ends
my thumb and make a mental note 4. Draw the Terminator and the true shadow begins.
of a visual landmark on the model. I When the figure has started to take
do the same for the horizontal half- shape, I start to block in the shadow 5. Finish the Contour Drawing
way point. I hold my arm straight, mass. The line between light and The drawing can look geometric and
elbow locked, so the needle is always shadow is called the “terminator” blockish for quite a while with this
the same distance from my eye. because this line is the termina- tion, method. I only start to refine the con-
Throughout the life of the draw- or the ending, of the light and repre- tour when I’m sure my major shapes
ing process, I can recheck that the sents the precise line beyond which are as correct in proportion as pos-
midpoint marks on the paper are the light can no longer touch the sible. I never use curved lines; I just
hitting the correct landmarks on the model. We only see the termi- nator keep segmenting the straight lines
model so that the major proportions as soft and fuzzy because the light until they are smaller and smaller. If
will fall into place. grows slowly darker as the form a knee, elbow or shoulder feels too
At this stage, as I’m drawing in turns away from the light. In fact, sharp, I resist the urge to round it off.
the lines for the contour of the figure, this line is the “horizon” of the form Instead, I use a straight line to “slice”
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Special Note
In the next section, I’ll complete
this piece and share my techniques
for build- ing up values, modeling
form and creating dramatic lighting
effects in a classical drawing. n
5
off a corner. This method requires a students, “If you find a problem with
careful, drawn-out process (no pun an arm, don’t look for the solution in
intended) with small, incremental the arm: Go back to the beginning
adjustments and refinements. and check your envelope and your
As I use smaller segments, and midpoints.” The most grievous errors
add detail, often errors appear—a in figure drawing are often made
leg or a head or a foot won’t fit in due to an unwillingness to go back
the space I’ve made for it. As soon and to correct previous decisions. In
as I feel the the urge to “stretch” or order to progress, we must always be
“squish” body parts to make them willing to go back to previous steps,
fit, I stop, put down my charcoal sometimes to the beginning, and do
and just look. The only way to fix what I call “major surgery.”
the error is to go back and correct
the larger shapes. I always tell my
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drawing board By Sadie J. Valeri
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Keep Drawing 8
Tools Sharp
Work with only very sharp pencils
because a sharp point gets the pig-
ment deep into the crevices of the
paper and creates a smooth, even
surface. A blunt tool leaves too
much texture because it skims over
the the tooth of the paper.
Sharpen your charcoal pencil first
with a knife to cut away the wood,
and then rub the point on sandpa-
per, turning it constantly, to create a
needle-sharp point.
Be careful not to break the pen-
cil while sharpening; this can take
some practice! Sometimes pencil
leads are broken every inch or so
inside the pencil. These pencils
were probably dropped and are
impossible to sharpen, so it’s better
to start with a new pencil.
To sharpen vine charcoal, just rub
it on sandpaper to create a point.
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