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TheHumanFigure 10251736 PDF
TheHumanFigure 10251736 PDF
FI GU RE
By JO H N H . V AN D E R PO E L
I n t ruc t o r i n D r
s aw i ng an d
Pa i n t i n g. L e c t ure r o n t he
D ra w i n g a n d C o n s t ruc t i o n
o f t he H u m a n F i g ure A r t
,
I n s t i t ut e o f C hi c a g o
FO U RT H E DI T I O N
CHI C A G O
T HE IN L A N D P R IN T E R CO M P A N Y
19 1 1
ns n x c u nn TO
W . M . R . F R E N CH ,
TO W H OS E CO N S T A NT E N CO U RAGE M E NT r m'
A UT H OR I S D E E PL Y I ND E BT E D .
P LA T E I . P E NC I L D RA W I N G O F F E M ALE FI G U RE .
BY J . H . V AN DE R P O E L .
D RA W I N G T H E H U M A N
F I GU R E
1 UCCE S S F UL L Y to bu ild u p the human figu re
in a drawing painting or statu e either from
, ,
’
not to be wondered at that the student s eye is
readily blinded to the hidden construction of the
form .
’
A t this stage of the student s advancement a
carefu l stu dy of artistic anatomy as elucidated ,
’ ’
The artist s or illustrator s final obj ective is
the p ictorial and he u ses any and all technical
,
’
E very stroke of the artist s bru sh should p rove
his understanding of the form of the subj ect
matter dep icted ' this includes insight into the
character of the model understanding of his a o ,
that the stu dent may the m ore read ily u nderstand
the construction of the figu re as analyzed in the ,
’
ment o f the stu dent s skill as a draftsman that
he vary the means according to the end requ ired .
mended to stude n ts .
CH I CAGO I LL , June , 1 9 0 7 .
THE H U MAN F I GU RE .
CO N T E N T S
D e d i c ati on
D rawi ng th e H uma n F i gure — A uth o r ’
s P refa c e an d
A d v i c e t o the S tu d en t
C HAP T E R I .
Th e E y e s
C HAP T E R I I .
Th e No s e
S tu d e n t s N o te s
’
C H AP T E R I I I .
Th e Mo uth a nd C h i n
S tu d e n t s No te s
’
CHA P T E R I V .
The E ar
CHAP T E R V .
The H ea d
S tu d en t s No te s
’
CH AP T E R V I .
Th e B on y S t ru c ture o f t he Tru nk
S tu d en t s N o te s
’
C HAP T E R V I I .
Th e S tu d y o f th e T ru nk .
C HAP T E R V I I I .
T ru nk F r on t a n d B a ck
S tu d en t s No te s
’
CHA P T E R I X .
T ru n k —B a c k a nd H i p s . 89
S tu d e n t s No te s
’
92 , 9 3, 94, 9 5 , 9 6 , 9 7 , 9 8
14 CONTENTS .
P A GE
C HAP T E R X .
N e c k T h r o a t a n d S h o u l d er s
, 0 0 0 0 0 0 0 0 0 0 0
S tu d en t s N o te s
’
C H AP T E R X I .
T he S h o ul d er s a n d C he st 0 0 0 0 0 0 0 0 0 0 0
C HAP T E R X I I .
Th e S h o u l d er a nd A rm 0 0 0 0 0 0 0 0 0 0 0
S tu d en t s No te s
’
C H AP T E R X I I I .
The A rm W ri st a n d Ha nd
, .
C HAP T E R X I V .
Th e Ha nd a n d W ri st 0 0 0 0 0 0 0 0 0 0 0
S tu d en t s No te s
’
C H AP T E R X V .
The L eg
S tu d e n t s No te s
’
1 33, 1 34,
CH AP T E R X V I .
The Foo t
S tu d e n t s No tes
’
1 3 9, 1 40,
C HAP T E R X V I I .
T he F i gure a s a W h o le .
S tu d en t s No te s
’
1 5 0 , 1 5 1 , 1 52 , 1 5 3 ,
16 I LL U S T RA T I O N S .
P A GE
P LA TE XX —T hree ' uarter V i ew ' B on e s o f T ru nk
a n d D ime n si on s —O utli n e a nd S ha d i ng
-
P LA T E XX V I —C on stru c ti on o f N e c k
P L A TE XX V I I —C on stru c ti on o f N e c k
P LA TE X X V I I I — C on stru c ti on o f N e ck a nd S h o ul d er s 1 06
P LA TE XXI X C on stru c ti on o f A rm
P LA T E XXX —C on stru c ti on o f A rm
P LATE XXX I —C on stru c ti on o f A rm a n d Ha nd
PLA TE XXX I I —C on stru c ti on o f H a n d
PLAT E XXX I I I — C on stru c ti on o f L eg
P LA TE XXX V I I —C h ar co a l D rawi n g o f M a l e T o r se ,
S h o wi n g W e dg e Fo rmati on by J H V a n d er po e l , . . . 1 45
S tron g L i g ht a n d S ha d e by J H V a nd er po e l
, . . .
fro m L ife by N ed Ha d le y
,
.
P LA TE X L I I —Char co a l D rawi n g o f M a l e F i gu re ,
fr o m L i fe b y Eli z a b eth L a n e
,
.
I LL U S T RA T I O N S .
P LA TE X L I I I — Ch ar co a l D raw i ng o f M al e F i gure ,
fr o m L i fe by Emi l A J o h n son
, .
fr o m L ife b y N P W S wa n son
, . . .
fr o m L i fe b y L o u i se P errett
,
P LA TE X L V I I — Oi l S tu d y o f M ale T o r se fr o m L i fe
, ,
by P er c y B ewl ey
P LA TE X L V I II — P e nc i l D rawi ng o f F emal e T o r se ,
S h o wi n g F r on t o f W e dg e a n d B uttre ss i n S ha do w ,
by J H Va n d er po el
. .
P LA TE X L I X P e nc i l D rawi ng o f R ecl i n i ng F i gu re s ,
b y J H Va nd er po el
. .
P LA TE S L L I L I I L I I I L I V — Ch ar co al D rawi ng s
, , ,
f o r M ura l P a i n ti n g Th e V i n ta g e F e sti v al b y
, ,
'
J H V a nd er po e l
. . . 1 64 1 65 1 66 1 67
, , , ,
1 68
T H E H U M A N FI G U R E
CH AP T E R I .
T H E EYE S .
wh ich it is containe d .
H aving stud ied the orb ital plane and the man
ner in which it affects its contents the eye itself ,
’
The draftsman s p r o blem in conveying a pi c t o
rial representation of a l iving form l ies in hi s
u nderstanding of the structural form depicted .
the ball .
end .
which the bridge and the end are but sl ightly fel t
as deviation from the general d irection the l ine ,
follows .
widest .
E NOSE .
TH E H U MA N F I G U RE .
E NOSE .
P LA T E V I . C O N S T R U C T IO N O F M O U T H .
THE H U MA N F I GU R E .
rou nded .
l a ri ty .
'
The len gth of the upp er lip is u sed in this
d iscu ss ion for convenience to indicate the central
space from t he nose to the mouth the region ‘
'
the upper rim Of the bowl ' continu ing its descent ,
BY J H V A N DE R P O E L
. . .
CH AP T E R V
T H E H EAD .
c i a t ed,
enable the student the more readily to
understand the relationship of the planes that
bound it We find the same skeleton o r bony
.
it in a vertical p os ition .
’
l ine drawn throu gh the length of the animal s
h ead ru ns d iagonally through th e median line ,
give it substance .
in shadow .
BY A B I GA I L L AN
HO M .
P LA T E XI I . P E N C I L D RA W I N G O F Y O U N G W O MAN .
BY J . n . V A N DER POE L .
TH E H EAD .
higher than the middle ' but whe n the head leans
back all these relationshi p s are revers ed
, We .
BY I SA B E L T E M P LE .
P LA T E X I V . C HA RC O AL D RA W I N G O F Y O U N G GI RL O N
T O N E D PA P E R .
BY '
J. H V A N DE R POE L
. .
TH E H U MA N F I G UR E .
P LA T E X V . C H ARC O A L D RA WI N G O F MA N F R O M L I F E .
BY W A L D O B OW S E R .
PL AT E XVI . C HARC O A L D RA WI N G OF Y O U NG GI R L FR O M
BY M AR Y O RR .
CH AP T E R V I .
rests up on it .
T H E H U MA N F I GU R E .
honette .
dorsal vertebr ae .
is nearly p erp end icu lar and p laced Oppos ite the
chest thou gh not so long
,
Immediately bel o w
.
,
/7
PLA T E XXI V . C O N S T RU C T I O N O F S H O U L D E R S FR O N T
,
AN D B AC K .
CH AP T E R V I I I .
horizontal section .
T H E H U MA N F I GU R E .
'
the neck .
and a ttenu ated ' if t oo soft they will app ear c har
a c terl ess Note the o utward flare all arou nd its
.
T H E S H OU LDER S A ND CH E ST .
w ith the scap ula and scap ula with clavicle should
, ,
T H E S H OU LDER AN D ARM .
t i c i pa t es
in it and becomes in t u rn a p art of the
len gth of the arm .
’
The student s intention should be to convey in
his drawing the great masses of form ' i n the
arm he should l ook f or long lines that will convey
,
'
between them the shaft of the upper arm ' but the
outer d iff ering from the inner line falls short Of
, ,
fi ed by the action .
’
A n artist s arm may almost be in rep ose only the ,
n ec t ed .
the wrist .
TH E L EG .
profile .
straight .
ossifi ed .
BY J H V A N DER POE L
. . .
CH AP T E R X V I I .
T H E F I GURE AS A W H O LE .
extends beyond it .
shorten ing .
S E P ARA T I N G F R O N T F R O M S ID E T H R O U G H S T R O N G
L I G H T A N D S HA D E .
BY J H V A N DE R PO E L
. . .
T H E F I GU R E A S A W H O L E .
an alyzed .
imposs ible that other t han the sal ient l ines that
emphas ize the movement and the great planes that
envelop the substance should b e our first obj ect
in beginning t he dra wing but only the ex pe ,
S H O W I N G W E D G E FO R M A T I O N A N D S U P P O R T I N G
BU TT R E S S
.
BY J H V A N DER POE L
. . .
TH E H U MA N F I G U R E .
F I GU R E A WHOLE .
TH E H U MA N F I G UR E .
TH E H U MA N F I GU R E .
P LA T E X L I C H ARC O AL D RA WI N G O F F E M AL E FI GU RE
FR O M LI FE .
BY N ED H AD LE Y .
PLA T E X L I I . C HAR C O AL D RA WI N G O F M ALE FI GU RE
FRO M LI FE .
BY E LI ' A B E T H L A N E .
PLATE XLI V . CHARC O AL D RA W I N G O F M A L E F I G U R E
F RO M LI FE .
BY N . P . W . S W A N S ON .
P LA T E X LV . CH ARC O AL D R A WI N G O F F E M ALE F I G U RE
FROM LIF E .
BY BE LLE S I L VE I RA .
P LA T E X LV I . C H ARC O A L D RA W I NG O F F E MA L E T O R S E
FROM LIFE .
B Y LOUI S E PERRETT.
P LA T E X L VI II
. P E N CI L D RAW I N G O F F E MAL E T O R S E ,
S H O W I N G F R O N T O F W E D G E AN D B U T T RE S S I N
S H AD O W
.
BY J H V A N DERPOEL
. . .
PLA T E P L A T E S L L I L II L III L I V CHARC O AL
, , , , ,
D RA W I N G S F O R M U RAL PA I N T I N G ,
T H E V I N T A G E F E S T I VA L
' '
.
BY J . H . V A N D ER P O E L .
P LA T E L I I .