The Classic Approach to Drawing & Construction ae Rae ML Walt Reed“Te igre. Cape 176, 1984 ty nde A Seni. ne Maire ne Se Anech Ase re Np th bn ye pa Sem by fey ern michel en ag bron sage nd il mn et [reson wating em the pablo by evans oy te Bt page Somme lhc! By Nor igh kon ep c= Pte, #70 ae (Cote rs acs Cn 4230 (60) EP UM, Rat er san HK te Se Sen igh Bek we le en your lta gp to St fom ipinhes v0 08 or oe {teary of Congres han aia ane elit hoe Me cy eee Me eure 1 Ra nt NGWSIRT 7A 764545 ISIN 13-478 6B OD Sakon pet ISIN 0: 0.4918-0868 Gardener oh pepe BREE ors emi Or ays. ae peel ISDN 40 9.491360772 tha ope) aay METRIC CONVERSION CHART ‘ecoment © ware. BY inches Contes a8 Contes Ics a fet Corinetas 2s Gentes fet rr) Yess Men w Mees Yass u Sy lees $5 Cobian: 45 Sy Comtesse 06 Sift $3 Mears ay Spee: Sy fet a Sy Yah 55 Mews o 5 Mews $4 Yew 2 Pures iogans os kgs Peds 2 Owns: Gas Ba Cees Ose. osCONTENTS introduction ne www acure 9 chapter 1 rie exsic ror ncure 11 romantic 2 the inde pats 14 structural ferences, male and female 6 relative proportions at waious ages 18 contruction. arm, le, hand, foot, ha 29 moveabie parts 2 suggested practice 2 foreshortening u practical uses 36 {rawing the basic form figure 3 thre artists craw the same figure a2 o's and don'ts “4 chapter 2 svarowy ano Fiauae craven 47 relative proportions ofthe adult figure 46 bones and mascles afect the surface ofthe figure 50 the skeleton figure 2s a whole st the muscles ofthe bedy st the head and neck 56 the torso 8 the shoulders and arm the hand an wast the leg and foot Figure drawing. step-by-sien xeaechapter 4 we Faure in monow {he joints anc hows they move towing the fare in baence smoxernent of the sire and boy sessing and tuning Toreshartening Siting —bending—kneetng ‘walking are running ‘gesture drawing the importarce of the sthouette rood symbols sact the most descriptive pose points to remerier innecpreations ot the toute 117 ne 120 12 1a 26 128 130 132 34 136 138 140 1a chapter 3 nzans ano nanos blocking in the head rawing the head flere postions movement af the head helolu reminders in drawing the head planes af the head the features the oe the nose the mouth the eer the chin light end shade on the heard male and female heals—dfferences haw the head changes, trom infant to teenager you earn to draw by drawing creating mary types four tre same model fac character expression selbpataitve the hand—its powers of expression blocking in the hand “bumanizing® the biock forms coverving the hand trom d#lerent vewpoints ‘oa's and don'ts hands expeess feelings and character rechtich ry 16 8 82 222588 2 100 302 104 108 108 10 nz 14 chiitztes MaterThere is no other vehicle so subtte or x0 efnctive for the expression of human theughts and emotions as the human figure The erist who hes mastered drawing of the human fiqute ean call human personalities to life at witl, and depict the specific atinudes, actions, mood, ard emotions Which will bat express the situation he wants to porway. He transports the viewer ta world that may ke for removed fram immediate experience, and enables him to live, momentarily. an imaginary existence wich imaginary people. The great aris are dramatists i paint, wha con help the: fellow men bridge the gap between imaginaton ard realy. From previous attempts. you may have concluded that drawing tho Figura it extrerely difficult. This book wil show you that it can be much easier than you think, But you must be willing fo progress. one sep ot» te, mastering each step as you go along. The chief reason mott students have trouble mastering the human figure is very simple: They want fo start Tight oF by drawing fully clothed model in acompliceted pote. They spend a great deal of rime worrying about tails of features, anatomy, and drapary. They ty to engsute tha expratsion on the modal's face, get a good likeness, ond render textures convincingly. Sut in their concern shout these details they lose all sense of Proportion, construction — and, most ofall the soli form of the figura The soundest way to epprcech the problem of drawing the humen figure isto begin with a very lear eancept of the Basic form. The human body is nat a two- simpasional symbol on a far surface; nor is ita paper doll with tueh decarative detlls as hat, eyes, teeth. clothes, shoes, et, deawn on top of it. The Furman figure is feet end primarily a three dimensional object, eli object with bulk ard weight. 1 48 thtee-cimensianel asa piece of sculpture in weed, marble, or bronze. This tcl form of tha human bedy lacks complex 11s obviously nat a single sphere or cube or cylinder. INTRODUCTION The Human Figure But when we examine It we discover that this complex form is actually a combination of very simple forms which anyone ean drow. Once you can draw thase forms swell, you will heve ne diffeutry paling them together to mvake the total human form, This chapter will show you how to analyze the human figure in terms of these simple, basic forms. It will show you shat the preperlions of these individual forms ara, in relation to the total form. tt will illustrate the methoeis by which these indivicaat forms are connected, and demonstrate how the parts move. In other words, we will explore the basic construction of the figure. Then you will be shown how to draw this basic human form in any position. engaged in any kind of activity. Concentrate 190 this barie form figure until yeu ean do anything you son with it Dr as mony positions as possible Look for it in photographs of people, paintings, and sbove oll in the peuple you see around you Inthe following chapters devaited studios of anatomy will be presented, exarninirg the bone and muscle structures which hold the totic form together and make in move. This book wil! also consider special problems involved is drawing individual ports of the body, such at the head, rhe hands, and the foot The infermetion presented in this chapter isso important that itis not endugh for you merely to read it. You should actually memorize every detail thoroughly, You can do this most eftectively simply by making dozens of drawings, Most of these prectice drawings con be dong in ust 8 few minutes. Practica of this kind will help tain your hard and your mind in the prepertions, construction, and rnlationships of the individual forms 40 that you will never Forge? them. These essential Facts about the human form are ax basic and invaluable to you, a8 on arftt, as the simple multiplication table 8 10 the mathematician. You may be drawing the human figure the rest of your Ifo, $0 build your knowledge and contret af it ax so you can.sees i Leonardo Dane's hand human properions, as. CHAPTER 1 The basic form figure The basic form figure.on the let demonstrates the alle important principle emphasized throughout this book ~ the tact that the human body is made vp of simple, solid forms. The bat form figure presents the body in its cestential masses. Every distracting element has been eliminated. Think of the form figure as if it weve carved out of heavy wood: i is slid, three-dimensionsl, In this drawing the form figure has been pulled apert, or “exploded,” to emphasize the various separate elements They consist of head and neck; upper torso and lower torso; upper arms, lower arms, and hands; upper legs, lower legs, and feet. ‘Compare the form figure with the phatograph of the living model to it left. Note that the model and the basic form figure ate similar in basie mass and construction, with the same association of parts. In both model and form figure the neck, the armt, the legs, and the torso are ‘essentially modified cylinders. The head is basically @ simple sphere. The hands can be reduced to cubic forms, While the feet are combined cone and cube forms, It is extremely important in the beginning to view the body in terms of these simple, basic forms, understanding the essential massas of rhe separate parts, ond placing these ip their proper proportions and reletionships. For the present you can ignora hair and features, as well 1 the more subtle curves resulting from underlying bone and muscular structure, Ones you ean control and draw the basic forms properly, you will have litle trouble crawing the detels of these for ‘The artist uses the human head ax his basic unit of measurement for the entire human figure. The head can be Viewed in two ways, however ~ in terms ofits height, ‘nd i's width. The height of the head from chin to top of skull is the ruler by which all vertical measurements are made. For example, the artist speaks of an “eight- head figure," by which he means that the figure Is eight vertical heads high. It is more convenient to use the width of the heed in making horizontal measurements. The shoulders, for instance, are three head width across If you took st the people around you in reat life, you will 20e that they differ considerably in propertion ‘One man has a head which we think is large for his body, another has @ head which seems smaller than normal The great majority of peopla, however, ara reascnably timilar ip proportions and shape at any given age. It is because of this fact, of course, that it is possible for clothing manufacturers to design “ready.mada” suits and dresses, Mos! people can be fitted into standard patterns successfully with only minor adjustments (On this basis we could easily arrive at average propartions for the adult igure. There isa distinct difference, hawever, between the “average” and the ideal.” Artis have always sought to ditcover the perfect figure, The Greek sculpters, for example, established 4801 of proportions for their idealized figures of gods and goddesses. In the sare way later artists, such Leonardo and Durer, set up their own canons of propertions for the ideal igure. In mary respects the ‘concept of the ideal changes from nation fo nation, and from period to period. The hetty, woluptuous beauties ‘of the Rubens murals were much admired in theie day, when women were considered beautiful only if they had schieved monumental proportions, itis ebvious that todey popular taste hes swung in the opposite direction. "7-head divisi Ta nade ita maw of metoge beight ond god phy The head eth Seue wit by which she Byer it mace Sa Denlpaaat Hes us Rego noon Bae rad, Im the Neodwait “Yaler” above, the weal ejget Ak head you ran it him secondly in Spit ot the head ie sted fe mate ert! mesma: feel fe you won cause bm weliovoprioned, Te sneoh at the hat me ay That Te model We “sevenbese Baur In atterpting to draw people who will seem ideal 10 the average person of today, we must sof up a canon of proportion bared on prevent.day taste. This canon need not necestarily be the s8me ar the measurements of the present-day average men or women. In the photograph silhouetted above, the model ise well-developed male of average height. He isa "severshead figure.” Matt poopie today, however, do not corsider a coven. head figure tall encugh to satisfy their concept of the ideal. They prafer the eight-hesd figure, which they feel hhandsomer or mote elegant ‘On the right hand side of thete two pages, you will tee how the eight-head figure looks, To make this igure the same height ¢3 the severshead figure we divide the height into eight parts, One of these parts serves a3 the atic heed mesturement unit, Attar deawing in the head,8-head division 1 the ial gue the bad gh umes the height (SE head, en me hae dngtomed above. Mate hat Whevgh ths tatl Nht oF ghebwod Agere H (tome ox hot ef fe serena igure hel Ihe ste sf the toad hey teen tedvid inthe sigh Boal Gasre Al te wher part af me gure eve Meee aengeted popomone tor soon tim aed rose we position the ether parts of the bady along the vertical axis, The bedy alone, Fram neck to feet, now measures sever head units, instead of six. The parts are all slightly elongated beceute of this, and as a rerult the figure seems much better proportioned ‘The eight head figure i the set of proportions upon which we will base most of the instruction in this book Occasionally you will want to draw people who are obviously not average. If you want #9 caricature # perzan, ‘or show that he is shorter than average er teller than average, you can do this very easily by retaining the same width measurements used 10 draw the eight-head figure, but reducing the hoight to five ar sox heads, or increasing the height 10 nine or ten heads. However, any departure from the eightshead formula should be deliberate. Rely on your eyes for correct proportion. The head 3s I te tor the pore 2 ynit of mosture is convenient ond helpful while you ‘are first learning figure propertions, You must raalize, ‘though, that you da net make figure drawings with a pair cf dividers er » ruler. You make therm with your pencil ‘and your eyes. Actually, the only time you ean literally measure the body and see how many heeds long it, Ja when the figuee is standing bolt upright, la a position fof attention. Any other time — which maans most of the time — the figure oF parts of it are foreshortened to. some extent. Therefore, the arly way to gauge proportions is with your eyes. IF it leoks right itis right. By all means study the char’ and fix in your mind the size of ‘ene part of the body compared with another, but put your tralet away when you ttatt to-draw. Never forget for a moment that skiliful drawing is simply skillful seeing, ‘wansterred 10 the surface of your paper. 3The individual parts Ce ‘The fan it shoal gr rec ROOE Mamie: smart lanl the bend 8 8 Hil over tori hea. 4 ‘un sihttaad male decider The chart on these two pages presents the individual parte of the idealized eight head figure sil by side, so thar you can compare the parts directly and see how large they ere in relation 70 esch other, The upper torte, tha upper leg, and the lower lea inctuding the foot are ell approximately two heads high. Tho upper arm, and the lower arm inciuding the hand are slightly tess than two heeds high. The lower torso is fone head high, oF halt as ong as the eper torso, the upper leg. and the lower Hea. Use the heads at tho fap of the page to mooture the \wicth of the parts. It's important that you have a good visual idea of how wide each pert isin relation to its length. and io comparison with the width ofthe other parts. Urheberrechtlich geschiitztes Materiaa - Sedat of alas tamale fies ter age fo by Inge: locion fom At Momma Structural differences—male and female point we have presented the male igure exclusively. The female figure is constructed in the tame manner, following the aight-head formula Important eifferences between the male and female form are considered on these pages. Both figures are shown the same height on the rights hand page in cedae to make dieect comparison ‘Normally the woman is drawn slighity shorter than. the man botide her. To da this, using the eight-haad formule, you should construct her with a smller basic hhead measurement than that ofthe man.7 Jrheberrechtich geschiitztes MaterialThe Omg Ceca, sree of Fe At, Bont, Ma Relative proportions at various ages 18 When a chile is born, some parts ofits body are much further developed than others. Is head, for example, i quite large 25 compared with the lengthy of its arms and legs. By the time the baby is a year old. his body from neck #9 fae! it about three ard one-half Haws the length of his own head. in other words, he is about four and anehalf heads high. His legs are alll quite short compared to the length of his head and torsa; therefore the center of his body Is ata line through the stemach, rather than atthe erotch, ‘As the child grows older his logs and arms become much longer. By the time he is eight, she center of his body has moved down to line above the hips. At the age of twelve, he is about seven heads high, and the ‘center of is body falls at the crotch. From this time on, Until he becomes a Full grown edult, he broadens out in addition to becoming taller. The proportions given here ate for the “ideal” children. Actually, of course, tis very difficult to be specific about the proportions of s child at a particulae age. Some chilciren grow much more rapially than others, and gitls tend 10 develop faster than boys. In practice the Infant is often mace chubbier than he might be in real life, and the child of ten of twelve Is sometimes given a mature grace. Desphe individual variations, the proportions shown here are satisfactory for matt purposes,E] 7! ter te natn the rlatontio ot Mime feo Toren. get tee ordinary enka, one twice x high on the I thie drawing you sea Kew the tors of the tone BY inde the too {louse Tho tore form look msn [hair hee dinensonal becewe they aupy the rene of gece yor here fred ty droge gi ree rhage Se ater deConstruction I is helpful ¥9 raduce all ebjeets ta their simple basic, forms of cube, core, sphere, or cylinder. This can be done asily even when the object seems quite compli- cated. On these pages we will demonstrate how to think of the torso, arms, and legs as mod fied eylince the hands end fest as cubic shapes, and the head simple sphere. If you can draw the basic forms you can draw the bumen body.The arm You can earily visualize the upper and lower parts of the atm a5 modified cylinders, represented by the shapes of two drinking glasses, The shapes are longer and slimmer than those repreventing the torso, but the here, the cylinders laced in any position thar might be assumed by the erm. It is the shape of the /tenes aac view A similar vertical furrow marks the center of the back for is full length. The depth of this furrow is caused by the large moss of muscle which projects on each side oF it and gradually inreases in width but loves in prominence 2s it progresses upward. AV the upper part of the buttocks the furrow gives place to @ slightly depressed ares, below which it again becomes the deep furrow which teparates the buttocks. The back of the forte presents many prominences and depressions. This is due to the number of thin layers of muscle which cross and recross is bomy structure. the movement of the back i limited 0 the extent thet the bony structure of the spine allows. From the reat the torso presenis 2 gieat wedge with its epex pointed downward, the bate of the wedge being at the shoulders. This wedge is driven in between the butteasses of the hips tnd frem this ragion come all the important actions that the human body is capable of, The hip and pelvis form the paints of tranumission of action frm the lewer tothe upper pert of the body. While the muscles of the chest have a great deal of rmcees effect on the form of the breast, i1s the mammary gland which gives the breast its individual shape, In the male breast we find at either tide and at about on a line with the lower end of the sternum (breast benel. the location points for the breast. The gland that develops this point is small it has a definite but soft form that lies Tower center and just at the corner where we locate the pels. The bresst of the female is noticeably different in its character. The rib cage, being smaller in the female, gives more space between the arm and the torso proper. The ‘mammary glands in the female are uch larger and fuller; however, the mistake is often made of drawing them too large. Another mistake in drawing the breasts from @ front view is is placing the nipples in the center — they are at the side and near the auiline of the breasts. The fomsle broatt projects like @ half-sphera that is rather conical in shape dve 10 the nipples. The breast does not lie on the ftont plane ef the chest but rather at the junction of the front and side planes of the torso, This ‘causes the breasis 10 point slightly away from each other. ‘anssiaus Dow! sumutor toncusTre bar of etn in Bats malas ane lemaie 6 eivided hy song atThese woedeut drawings of the skeleton are reproduced from illustrations for an early meciical treatise by the Renaissance scholar, Andreas Vesolius, Many of the deawings for the trestice were produced by the studio of Titian and they combine medical accuracy with a remarkable artistic quality that makes them especially valuable for the actsts study of anatomy,NA re cos sma \ feecrareen emer (wn bone Festa moior The shoulders and arms The combination of bones and muscles that make Up. the shoulder girdle is one of the most complex in the body. Together with the action of wrist and fingers of the hand, the possibilities of moverrent seem almost without Hiei The shoulder girdle is comprised of the reed of the sternum (breast Bone), the ciavicles (collar bores) and the two scapulas (shoulder blades). tis the means of connecting the arms with the trunk. The junction af the humerus (orm bone) with the scapula (shoulder blade), ‘and the teapola with the clavicle shou'd be carefully studied so that you can understand the planes presented in the living model. Parts ef these bones thow on the tur- face emul to be drawn correctly they must be understood. The entire length of the clavicles can be seen under the skin and especially af the points not far from the ends of the thoulders. Thare is always a small V-shape depression ot these points which mack the separation of the pectoral (chest muscles) from the deltoid (shoulder muscles). The junction of the scepula and the clavicle is also quite visible and the head of the humerus, which forms the apex of the ahoulde:, can be easly fel! beneath the deltoid muscle. The extreme width aeress the shoulders les at these points. The only connection the shoulder blades have with the ‘chest is through the clavicle. The clavicles are attached. fo the sternum in front and have a wide range of move iment in all directions, including e slight rotary movement The base of the atm is in the shoulder girdle. Its one bone, the humerus. is slightly curved, with ts head firing into the cupshaped cavity of the shoulder blade. 1 has 4 ball and rocket joint which is covered with a lubricating ‘capsule and is held together by strong membranes and ligements which cross at different angles and brace the arm as well as allow it great freedom of movement, The lower end texminates at the elbow in 2 hinge joint Tae oan wage he doris ean boPele side The muscles of the forearm may be divided into two ‘groups, flexors anc extensors. These operate upon the wrist and hand through tendons, which pass under the wrist bend of angular ligement. The two most important muscles in the forearm are frst, the supinaigr, the long ‘outside muscle extending fram the west 19 one-third the way up the humerus. and second, the pronator teres. a shor round muscle which passes obliquely downward across the forearm from the inner condyle of the humerus to halfway down the outer border of the radius, These wo mutcias pull the radius with a rotary mation over the wina and back again, carrying the thumb side of the hand toward or away from the body The hand does not join the arm directly, but joins the wrist which in tora attaches to the arn and is always seen 9: 9 wedge-thaped matt in any action. Thus wrist joint is one that is universal in its scope permitting it fo mee ina rotary, up and down or side to side move ment, fn unison with the supinator end pronstor of the forearm, ils range of action i almost unlimited From the armpit, where the arm detaches itself from the body, just apposite tt greatest fullness at the daltsid, the arm gredvally gets smaller in wlth to the elbow, This is mare noticeable in profile then in the front view The Meshy mass of the forearm near the elbow ‘widens in excess of the breadth of the upper arm and Rapredaied am A Hendbeat a! Aaclony Jn turn becomes narrower again at the Wrist. ald Unie en.The cape! boers make Ne or tenn, The hand and wrist ‘The hand it compoted of two master — that of the thumb, and of the hand proper. The double row of carpal bones of the wrist are mortised with thase of the hard, making one unit. The hand always moves with the weit, The wrist, twice 138 wide as itis thick, can also be called a universal joint for it is capable of a side-to-side and up-and-down es well as rotery movement. It also enters into the large movements of the atm, giving It gracefulness and power 1s the action of the arnt is transmitted to the hand by the weist Lay your arm and hand flat on «table, palm down, and rotice that your wrist does not touch the table top. ‘You will 89a that the mats of the weit rite from the hhand af @ slight angle where it joins the arm The thumb side of the hand is larger than the side of the little finger. The hand is broader at the Fingers than et the wrist; however, at the wrist its deeper. You ‘rill also notice on your own hand that the palm is longer than the back of the hand. The palm gives the sppearance of a shallow bow! with square sides, and ir is well cushioned on both sides near the wrist, A line across the wrist at a right angle marks the lower limit of the palm. The upper limit of the palm is alto definitely marked by lines across the bose Of tho fingers. Collectively they form » definite curve ‘which rises highest af the base of the middle finger and then drops to cut the corner of the hand at the base of the little finger to join the curve turning from this point to the wrist The thumb is set into the palm by an independent and a highly mobile “ball cf the thumb,” giving ita greet range of movement, independont of the rast of the hand. eth your hand held with its palm facing you directly, move you thumb in any ditectien. Yeu ean see it on. almost every side. In the palm of the hand most of the modeling is bby a system of cushions and pads with which it f= thickly upholstered. On the front of the thumb and usedfingers, as well at a considerable area ofthe palm, the substence bullt upon the bony foundation Fs literally padding. The fingers all taper, individually and as a group, with the middle finger, being the longot!, forming the apex When the hand is epea. the fingers have a tendency to converge towards the middle fingor. In clenching the hand, notice thatthe fingers ends point fo @ common | Protaras (4 og n RS ° ote ~ Inde tthe Sot — sae tha the anh rine com cee of the fot lao Be fewrenal one ie which he gure ie o nid tree cimeenenst Figure drawing, step by step Now let us review what has keen learned and apply it 1 you wish remake a girl in this photo as your model. Before look the figure over carefully. Study the main lines of action, the direction of the arms, legs, and torso. This preliminary observation is a very valuable part of your whole approach to drawing the figure. When you have # good grasp of your subjed, then start odraw:CHAPTER 3 Heads and Hands Two aspects of the human figure are most impertant in revealing one's individuality and character: the head and, secondarily, the haeds, ‘Almost invariably if you think of tomeone, you think Cf their Face fish. A person's face identifies and sets apart evety single individvel en earth a wall as ourselves, ur own foce is just as much » part of our persenality 0% ‘uF emotions, our thoughts, our likes and our dislikes. These characteristics show plainly to others, whether we think to or not. Wa think af, and constantly judge, those we door done! know by what we see in their faces and we cannot deny that in these faces we are. moved by feelings of love, hatred, amusement, disgust and pity ~ i fact, all she ormotians can be observed and felt ‘The primary importance of the head is again epparent Jn that euch important functions as the business of living begin here — the senses of seeing, hearing. tasting and the sence of smell — as well as the head being the store- house of the brain which, of course, controls the voluntary sctions in the human body, White all Faces have a great deal in comeron, its easy to place them in different categories: the broad, the lean, the round. she flat, the strong, the weak, the ugly and the beautiful, Ix most pictures the heed is the focel point of oll attention and through its attitude and expression is found the quickest means of communication. In picture making it expresses the human relatiorshise beluveen people bridging the gap between the subjec! who has beer painted end the petton who views the picture. The eyes are the mos! expressive feature of the face. When the eyes are closed or hidden, the most vital impact of the Face is fast and most means af expression are gone. The eyes can tometimes ell, mare vividly than words, ‘ur emotions and moods, and usually we can tell these ‘emorions even against the will of she subject who does not wish us to know his feelings. The eyes can, more than any orher feature of the face, botray all the emotions from hatred, contempt, indignation ~ ta leve, tragedy and joy; in fact, elmost every human emotion cen be seen ‘and transmitted through the eyes. By subtle shifts in position the eyebrows, along the upper crest of the eye socket, also play a vital role in ‘complementing the exprassion of the eyas and the ather faatures in indicating the subjects mood. Although the nose is stationary except for the capability of a slight movernent in the Je of the nosis, it can be ued very successfully to help portray and davelop. mony human characteristics and types. The ear is deceptively complex end requires @ considerable amount of study and practice to draw properly. The shape of the ear varies mestly at the top ad the bottom. At the tep it may look like a high or shallow arch end the tiring ef the rim may be broad oF narrow. The bottem of the ear forms a lobe or it may simply join the neck without one. The ear has often been compared to.a teathell. cua to itt whorls and convelutions Next ta the eyes, the most expressive feature of the face is the mouth. The easiest way 10 consider the mouth is in repose when its normal shape can be most easly studied, The mauth in mavement can denote many comotions. The lips, turned slightly upwards at the outer fends, may show good humor ~ when turned dawn they denote unhapsiness or melancholy. They can denote determination of frustration, or they can signity, without words, tho desira to ba kissod at well as te show distaste, The mouth laughs ~ it cries ~ it shouts ~ it whispers ~ ® sings. Both nareow anc broad movihs can be beautiful, degendling on their proportion to the rest of the face. The shape of the mouth may alto deckiedly thow charactor in both men and! women. The broad mouths viwally denotes genarosity and friancliness ~ the thin mouth, pettiness of nature. These assumptions are not always true, but in making pictures, they de serve 19 Indicate characier, The chin can have a marked effect upon the character of the face. When it juts forwerd and is pronounced, if ean give 2 fealing of aggressiveness and determination. When ‘t recedes, it cen denote # lack of strength. In women, the rounded chin is considered more desirable, In general, « prominent ling of the jew is more desirable aman than in a woman, Finally, consider the head and hands a3 we examine thelr relation to each other. Stand in front of a micsoe — look at yourself. Then frown, then smile, cry, laugh, look mean, look happy, leok sly, look sick. Try to act these emotions out — and feel whot is happoning to your hands. You find that your hands unconsciously ga through the same emotions. You cannot, for examle, get reslly ‘med without clenching your fists, or feel completely repoced without your hands ralaxing. In a tence, these theories will apply to the drawing of the rest of the limbs. We give you this 1a conditian your mind ia at approach to drawing this — the most important phase of all art — the human equation