D ING

THE HUMAN BODY

fL
Slcrling Publishing Co., Inc.
N EW YO RK
 .,. .

'- ..I

Librar), of Con gre" Ca ll1loging-in~Pu bliClll ion Data Anilable

10987654321

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 ING
THE HUMAN BODY
lnlroduction 6

STUDY OF THE NUDE FIGURE 8

The Body and Its Proportions 10
Pmbl"llU in Drawi ng Ih" Huma n Figure 12
B3sic HUIll31l l'roportio'L~ 14
Proportions of th" Fcm~ l" Figu re 1 H
TIl" C hild Moe'd 20
Elderly .1ond Obese r-igu res n

Basic Anatomy and Synthesis 24

Tho, H ead and Face 26
Th" l bno: From and I3ack Views 111
The Uppc:r and Lo\,:er u rnbs 30
The I-b n<b: Structure and O utline 31
The Pelvis: ' n ,c Shape of the Hips ]4
The FeL't: Inner Structure and Form ]6

CONSTRUCTING THE FIGURE 38

A Well-Proportioned Drawing 40
The Un il S}1item: MeOl5u ring the Body 4~
Gcornelry of the: H uman Body 44
The Gc:omelric Sketch; Struct uring th" Whole
from Simple Forms 46
Symho,tic Colltour and {jnc Control. 48
The Virtues of Doing Studie$: A Good Form of Pnctice 50

Lines and Rhythm of the Figure 5~

'n le Inn"," Rhythm of the Figure 54
111e Soft line ~ nd lIS Modu\alion 56
Tu rni ng SpOtS into Forms 58
 ATTITUDES Of
III THE HUMAN fiGURE: THE POSE 60
Analp:ing Poses and Gcsllircs 6z
111,' F.'1 ui libmu ll of th., 1'oM- 14-
V,II)'iuI: d ...'! \>llli of V, ... \\, (>I,
'" C:o" nlt'n l~,I<I : I)r:lwm~ Nq~.1U\'t' Sp...... 1>11
WJ~'" ofSo.·.·iul! th., I' il-"m:: Open amI C los.:d .... ppro:lc hes 70
11,.- ~ ."Htill~ I'l l'" UI" CUIIII':lpc><rn 71
s.·J.....t ~n" 1l....·1illllllo: Fi)!lIn-s 74
I~l<t· .m.! MOlion :'!"h.' I!xpn."lo~i ..... ti n e 7(1
I)r;lWUl): lill' H id,I" 1I I'"n. "f, 11(' Botly 7~
Fo,",... horr.·nin)!: 1lr.1\\ ;111-\ lh,' Nmk ill I\ 'rs!":c!!"", Ro

LIG HT AND SHADOW IN THE

IV HUMAN f i GURE 82
Tonal Techniques R4
Th.' EtK·(1 uf U )!ht 0 11 till" N ud.· X6
Sh'[d'IIlt!" '1' }II:lIIlr.l \\'i lll: loiN
Th., I'run-..s of H .ltchm~ C":~ {mt! V"hunc ')0
EIT'X'b of Volum,· ').!.
l :hialUsnlru Effn:I~: Workiu)! w llh Absol.u., CoUIT::I$1 94

The Clothed Human Figure 96

St udyiU)! the Inne r St nlCn'n' o f d l<' Body 98
(:IOfhi n~ ami 11.,IJs: Cn:~ti llg T... lI:lll r:d Effccu 100
STEP BY STEP 126
Til .. Nud... Figl ln' ill Charco.11:T hc O ll ll;n<, I~II
Th~ Dr.'I"·; Rhrthtll~ ~tld Wr;lIkk-t to'!
Th..· I'i~ltn.. :lml 11_, <';<>1110::)(1 104 Uu;lding:l fip;un' fmlll Gl-"()III<"ITIC r"nm~. 130
Dr.'Iwillg ~ SL1 l1din,:: Figure: T h e ( Al41Ir.1posttl Ip
TIlt" Figu re Fo.-..... hnT\CIIl--d: Dr~w",};
tit" 1;"l1Ial" N ude 114
Uu ikling Olt Suins 13ti
Fil,'l.If'" wi th 01l~~lI ro Effl'CU I )~
n", M11e Fib'Ure frol1l thc\V,!ist Up 140
TEXTURES AND EFFECTS 106
V The Arti s l'~ Resources 108
It.:ndainJ! 1111' II ltllO!oph....,,· Aml1ll<1 the Fij..'Urt: 110
Th" profile:Th" Impor L1ncc ofConlol1r 14:t
A C lo thl.. ) FiKllrr: f-01<l,' .mdT..·lm,r.-,; 14-1
Moddins the Figu.... in I~~ds and C halk 14ti
Cn·ating Vohllll ..· wilh Ac .....·1tt~ III lillI' Dr-twing o f a I' igure 148
C"'r~rnnh Wilhmll Er.lsiUI( 114 Modding FI~h Tones 150
UI"'1l('in~ to Di,,'olw COlli ours IU') Fib'lIre of a Young Woman .ll1d :I Gi rl o n lit" Lkach Ip
Er.lsill~ 0l'milll( Up Spaces li S Imnior with At1111"l'hc ri c l:i ~Lm.. 1!i4
[:I;I1I\:,-. i\,<, Li,I<'~: Il..Il)·Ihm am' Tcll~ioll 129 Port r~i t 0(:1 Fi!!lln' in Silv•."rl'nilll ISf)
Hair T.·)(tl1 rt' Ill ":.
Th e Q\la l ilte~ o fdl<' Skin 124 (.
,. Index 159
 •

YIW FIGURE
AS ARTISTS OBJECTIVE
he popularity that drawi ng the human figu re has
T achieved over t he course of histo~ is rcl\.~OIl enough to
~ttract the arti.~t to its practice. Drawing with the perfection
th"' t we observe in the great masters is a seemingly difficult
task, for there arc technical challenges in drawing the
human figu re that are absen t with other subjt:cts. This
compels us to put into practice I.--vt:rything we k now about
drawing in order to <ldcquatcly solve: such problems as th e
proportion o f the limbs in rel<ltion to the whole body and
the representation of volume. joints, and muscle tonc.
Dnwing the human body pn.'Sents a greater challenge than
any other subject. bcc;luSC bOth artist and vit"Wt.'T arc
intim3t"ly ramiliar with the body's proportions and the
physiology or the hu man figure. Here, evcn a small mi~take
in drawing become; evident. For th is reason, an artist w ho
Drawing the huma n
GI n masterfully draw landscapt"S, still l i~"S, or interiors may
figure requires a make mistakt'S when drawing the human figurc.We o h:en
curious gaze and a find the artist exaggerating depth and ro rms- w hich
w ill to kee p practicing cannOt always be read as a product orhis particui:lr
even if o ur first interpretation, but o r the need to disguise shortcomings and
drawings fail. inexperience in drawings or this n!lturt'. ....
Observ ing a nd
d rawing the human
fig ure regu larly allows
us to adjust o ur vuu al
memory 10 physkal
forms, body language,
and facial expression s
in diffc rcm siruations.
 ,

Wc wi ll show in this book IhM drawing th c human body

m:w nOI be so d ifficult. S l~ rti ll g fro ln a simp le base and
~pplyi ng a ~rks of t..icks and tt-clmiques, Ihe reader will
find himself :l.ble to adequatdy rcnd~r a nud e fib'\ue. The
IltIde is 10 be considered an ideal model fo r :I. full sludy o f
for1l1~ and light. For th ~ l'l'ason , w hen drawi ng ~ n ude
bod~', il is impoTullt to stu dy the model's ll natonlY, and also
the lighting, bccllusr ligllting plays a ro le 111 l1lakil1~ th e
~ll'>C of deptll and rcl il·f 1Il0rc--or Icss-promine nr.

Pnicticing dlis kind of dnwin g sharpens vim:!1 perce ptio n

al tlw same ti me that it CXl·rci.~C'$ o ur abil ity to <kp ict
fomL'o.Thc human figure is a high ly suggesti\'C aud
C\'OC1Iti\'c subj ect, which l-a n b e appro:1chcd from m any
different perspe ctives and individulll styles wid lout dilu ting
It~ l"S~ncc . From an acadcmic poim of view, dn wi ng the
lll1d(' i~ Ihe bcst form of disci plillc beca use it forces the
mist to pay attention to propo rtion and tcadll'S th e skillfu l \
a k ulation of orgotnicall y coordinatcd forms and sizes; from
In iuterpreti\,(, point o f view. it allows liS 10 give free rein
to form and comour.
•

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STUDY OF THE
"

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 "

PROPORTIONS

I n onk-r to propt'rl y introduce the study or the human figure.

let us SCI forth a few gcncnl guidclinC'S that will allow us to
draw any figure. using 3 system of proportions that can be
adjusted 10 the view \ Ile have :1[ any given moment. Pro portion
is the equilibriulll of mc~surclllc ntl; that l'Stablish h~rlllony
among o bjects-in this C3SC. among the p.IrtS of the human
body. Although today artistic licensc <l lIow$ the dr.lwillg of
figu~ with specific stylistic quirla. it will be easier for the
novice to begin by following a sct of rules that will help him to
draw a wcU- pmportiom:d figure.
 , "
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•
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~

PROBLEMS t/l/ DRAWING

II/{, H UMA N FIGURE
Igoolnw any given era, learning to draw the human figure.
lK'tller nude or clothed. is perha ps the foremost
of any painter. The nude is the most beautiful
and complex of subjects. and is oltcn considered the
arti~('s greatest challenge. Although drawing the nude
figure is widely coll$idcrcd to be very difficult, it is in
fact generally easier than than a portrait, b<x:al1.~C it
docs not requ ire that tile artist focus on (aLia! details.

Figural Problcnu
Drdwing tllt~ human body t«juircs the artist to g.1thcr
all of her skills in working with real form :lI1d
volume. As a subject. the hUIIl;m figure rc..-quires that
we put into practice an entire set of representational
skills as we arrange the limbs in a proportional
relationship [0 the body; it also lUjuircs dlC
representation of VOllllllc:5. articulatiolL~, planes, and
simple forms and their combination into more
complex ones. Once we can accura tel y render the
hum:m figure, it i~ SlIfe to say that we can also take on
any other subject, no maner how complicated it may
appear.

Syulhesis, M redudugj01It1S 10
1111:;. "Ss",,;,,1(ffl,lenl, is " kry
.forM.;II Jmll~"1$! (M'frt/y.

,I

In ""orr 10 ,,,,d'TSI<I/,d Ilu:jig.,.", iI ;s first

lI«essary 10 ,,,,dm lll,,d ii, i" "", slmll" /"/'.
Ht mllSI oosr'rW IIIId ilifCr ",hal is biMrn
Imdrmcallr <Vt7)' ptJ5t.
 "

The Secret of Simple Forms A t""awing or the

He re's a strategy for approaching hUlllan figure
till: challcnges of representing the , ho uld ~larl
h u man fib'llrc: first. figu~ o ut a with "n 0>",1
surting point for the fib'1.l I"C based represcllling the
o n siInplc fo rms that adjust to the head, amI then"
comoul"S of the body (we will sec "ertic~1 liue ror
this in the: following d laptcrs); the bo dy. We
d1t.'fl, work with these forms until the ll add the
you arrive at a convincing and 111Of'll< " nd the
recognizable structure. From there, line or the h ips.
which C(lnnl.'(.'f5
lhc proportions Illilst b e carefully
the upper and
cst:lblishcd . making sure that the
lower el<lremic;cl.
fi guTt· has a proper equilibrium;
this is especially imporum w hen
!. d rawing sr:lIldillg figures. Don't be
i d iscouraged by your first
" drawings, w hich will most likely

\. look like c rudely made dolls-a

r
jumble o f skCldl),. ill- fittin g fo rms.
The best way to sun is to reduce
co mplex fonm into simpler OIlI"S.

,
By {"''''';'';''.~ .ynlltt·sis ",jIll 'l"""a"cit}~
IWO tld,i<vc' " Hlt>rr f').l'rt1.J.;W fi1!"If',

Slnrtil'!/lj.om" S;""'" aurUnt', 'l"

r..., ..w.V' " ~,.it sktrll if lilt'
/""- body.
I
 "

BASIC HUMAN
PROPORTIONS
dr:'l\vUlg IS collsidcn'd i1l ~ proporti oncd wilen the
A figure'shCJd I;u"gcr than
appl':\rs
thl' arms seelll too long o r too sho rt--in other
when Ilor mal.or

words, when the fib'lln' dcviatl':S from what We'

consider norm.'lI. To avoid d~~proporti0I1.1Iit)', we look
to the Jaws of proportio n :\s rcprcscntlx\ in :10
idl':\]izcd, cQIl\'cntionnl drawing o ftlle hl1 ll1;\u form,
ill other \\'ord~, Olle which possesses :l perfect
relationship b ctween the body's me;!SIlrc5. The way
we rcpn'SCU! [he hum,," figurt' roW)' is ba~cd on a
Greco-R oman model , thl' cbsskal Grcc k law of
proportion , which w:~~ ;tdopted by thl' Romans :lnd
h tcr rcSllrf:u:cd d uring the Rcnais.u ncc after
ccnnl ric$ o f disusc.

Body Height
Tho.: law of proportion for the hu ma n figur\' is based
on a unit of mcao;urClllcnt Ih,\I corresponds precisely
to the measurements of till' head. According to th e
d assicallaws o f propol'tion. the to tal height of dw
h UlIl ;m body should be.- t'CJual to seven and a ha lf
hcad~. or sc"en ;md a half uni ts. l'r.lxitclt:s's law
csrabl .~hcd a .ww idealization of the h o.nan body:
aceonling (0 this model, the 10ClI heigh t o f th e
,human body must equal eight he3ds. ln th e e~rly
twentieth centu ry, sciel]tif.c analysis set r1w prope r
h,,"ight of the h um,1n body at eight and a h ...Jf h,,"ads.
All o f tht'$(' models arc V31id, bur for our purposes. we
win usc the measurement of l'igh t h e-Ads to simplifY
our ~tudy of the acadt'1l1ic fi gu re.

n,e law 41,mll(J't ja" oo,M all c;J:/" Iw"ds ),jdds"

P'O/~'r1jollil'e "7''''St'/lliItj"II ,jt/w /"'IIIm ' bot/yoTI,e
/ljllisj"" of III(" bi>tly ;1110 lInilS st1"1'1':1 /IJ 0 rifNt"1(f' for
("'rrflly dil ll jblll;'1j! mc/, c-k, ....,,' if I/~ body.

()fir". ""ists ,dJ/ IIsr iI lilW ifl!nJI)""i~" /l"sed "',

'N' "n!<Is1N" ,I,r 1m",,,,, ,,,,,Jr. >u:J.~slj"J: " mon'
SI)1jzcd. (w"1!'lfed fi1!"" ,pith /I 1111)" rxprmior,jslit L 'i'1f~ - I
( 1ItJf""n.
Mat('hin~ Units
A 1.\\\1 of pwpurtinn il.1SCci 011 un;'" I.~ u!ldid primarily
bc.'(;all~c it allows you 10 (:Ol1l p;lr<' th{' rod311omilip
between the l'xtrc nllul~ by rdi:rrlll g to the di \' ,~ions
betwee n th t' IIn it~.
In a prururuo nallllo<ld. thl' figuro: will be ci~ht
unit, (;111 ,\11.1 two UIl1 t); w ide . EJdl UIlU is l" jllli to
ttw: Il'II~>1 h 01 th" h ...:Id.Th,' m ppk.. (oute,de- Wit h
Ulil tnumbe r twu. The armpi ts .lIsa cO lllcld(' W ith tin-
bord"riin,' bctwf','!l th,' ~c:colld :Ind third umn; and
1m.' na\'C1 IS iu.:;u.-d in Ulli l nUIllbc.· r fo ur. Ulllt
IllllnDcT fnur .I1~t) 1II,lrk .. th l: i'lOlOltiun uf thl' dbows.
and is a f.,l rI )· I'rcn'IC lIla rk lor tht, hl·.gllt of the
\\,;II~I . Tlw h;lJ llll~ .IS lOll!.: as the facl'. :lIId Ill" I
IOC.lll,d ~' i~htly :lhCWl' Ih~ r.ixth unit. The l..nces . .
loc.lled III t1w clivI,ling line bc.'hVl,,'1l thl' Sixth and
s('vcmh tJ1Jil~.
The IIml ')'~I{' m alo;o kts U~ refe rt'nc~ oth~r
~1~ l1lic,l1I( PO IIII.~ thai .m: o f ~rc ;lt hdp in
unucrst:mding anatolll), ami 6(i lit;lli n ~ tlw
Tl'pn~nlallon tlf tlw lipln'; thc)' aft' al!\O :. 'rscilII
Width n:fen:nce w ilen WI: Iln...l to cheo.:k tile D1«tt'
IIll portol lll <k l lllrcJ IIOn~,

lltt' SW' p/IJK J,..",/ 1"''/ ,I.r ~I '" 11K diJM»ff'f /o(".'f'rt. f"l" l •., ,IN b.Jy ..... ...
'l/f"oIJ"mI ;'~IJ. ~ ,...1101 'IJ,"" 11'1" ;""1"1' Imu~/N IJ,.'S€ "..",.,,.,.... <1 """,,,,,.,,.,..
nprril1l/y II,,· " ...ns",r", ...m ~., ,I... Jrri,C/" ""d lI'idlll .f II.r b.Jdy (whd, 41 ,..-r
f('(dll, 11"'11/'/ r" ,~.II"., Ilr,,,It),
 The Bac k

1 W hen a figu re is pictu red from the back, rlw first

feature that \\"l ' no t ice is the d ,:ar dcfinitiOIl of the
fi gure's wrtical ~xis. The line marking the verti cal axis
i ~ aCCL'I1Hlatec! by tile backbone, by thl' ri dh'C that the
spine fo r ms, by the se pararioll o f t hl.' bUllocks. ~ n d by
till' line describi ng th e insidl' o f the legs.
711f' ~"1I'
i~i"a'Y li,l'I' I/MI
T he Q utliuc of t he Bo d y
di,';Ja III,. fmmal
The o utline that marks the limits of the body is
''''''',11111'/111<". dcscribt-d by the llI uscul1r n:lie& of th .... body. Muscles
i"", ,,"'. /1I1/If'S w" an.' fles hy Illasses tlut mold t he body. made up o f a
als<> 1"')1'('11 ill II,r
special tis.\ue tha t ha!i the pmpt'rly o f conrraeting and
n'Qr virw '!i II...
1>,,,1),'111(' liur is changmg shape w hen the fi~'lI n' performs ~ 11 action.
"h'li' "jsiblr ill I},r T he forms we appreciate 0 11 tile surface o f the body
n'lor '~(11' 11"",'oU '"
result from the volume of all dle muscle 111 :L~$t'!l,
II,r ,jt!~" f ll'I' inclucling Iht, deepcst o nl'S, bu t t h~' ones clO$(.-st to lilt'
spillr.
1 surfal'e are o f grcater im el"t$! to the artist ,

11,r Ii,,.. 1/101 m/!rl:s ,,,," spi.... "11... fIIr W Ihal

,/""lft! fir J.m~' <IS lite lUis if tlnnilJ6 Ih~ Spill".
/)1",.. rl,)·; ,M. u'"Y. i, ,viU
srm- as " ,rf"mr for plati,,!!
1/1(' '''7r'~ ,11/1(' h.mJ' ,." ,';I/,r,
/!II!! of I"l' h"Jy.
mid IIII' r;>;ll'I"",,,
f{ 'lu"s Ii",· dot'.?"(1
IIlt'jt-rl. iJ il !luidto
r.

'J
'f)\
r\ 0
ft. WI',,,ri,,!! II",
flgllrr's ,f!C$,,,rr "S
/1;(11'(11 fw", r/,l' (\
"Dr.

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(
\
(
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, (
I ,r
)
--..
~

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 "

n.e l l JllI)(' if IIII' body U When d rawing a

dtjiltl:d by ,I~' bc>tre strut,...r r • •- --', standing figure.
mulillt' la)n if nmstk
(mmng il. 1Jxo mruck u
11'/,.,>1 givu lilt' IK:>dy ju
,.~.
to J
~~I:~.c
properly
(otIIO" O'.<. UkI' IIIl' 0,/1" parIS j ,. di:slributcd. To
if IIII' bed),. lilt' !llllpl' vf I/~ disr-ributc the
m",£Its ((m Ills/'! hfo bl'l'ill'Il I) ...e igh t correctl)·,
do"", and sI.:rlrlird { -=---,J
L-'! keep the line of
t''OHWlrital/y. the neck , the
h ips. and the f«t
aligned, no matler
how much thc
body twists.

\1 , All ,miSfits orr poim/ muI

S)'Hltlletrirnl, mll,,_:S
""ljLfcs "'" 1m protW.mud,
d,i(/, lrfrnlS tilt ftmtoun if
110" l,.,.!y. \

·r)
Muscle P airs
When drawing the volume of [he body, it is imporrnfl[ to
TCmember th ~ r ,"-'Very muscle belongs ( 0 a pair. If you draw a
fib'1.ll'l" from the front, the musc les should be symmetrical. Another
imporullI thing to I"Cme mber is that the mU5C1cs ill the
extrcmitks arc long and overlapping, while m uscle. in the roTSO
;uc fu[ :and expansive. Even though a woman's Ill\1sculamrc is
essentially the sallle as a man's, the female body has
a laye r of subcutaneous fat that ~ofi:cns the
external (orlll. For th is rcas.on, the male
body will always d isplay 11 morc
pronounced, voluminous
musculature.
J ---------
j "

ROPORTIONS /1'(/1-('
~j'£;!TI EMAL E FIGURE
,i.l;.;r.llq,roponio", of the Illale
body are not

l'r~;:'~,~:;;~'~~~'~']~"';,,~;main
lies in the

p"",'he,nale',. the fcmalc'§ w~ ist

on dividi ng li ne
between the third and fou rth
u nits, although a woman's waist is
narrower and d oser to the chest
than a mans.ViL'Wcd from the
side, the arch of the back is more
pronou nced than a ma n's, and as a
result, the buttocks appear more
pTO.nincm. O ne of the IllOSt
im portant facton in making a a
good drawing of the fema le figure
is placing the waist at the r ight
height. somewhat lower than a
man's;"this is one of the
anatom.ical featllrt:S that gives the
female body its characte ristic
for m .

1llll' lna/e
botlr j ()/IDw 1M
II "altl,m<gh 1M
II afla/",,,ical rnie(
is differNI,ftom 'he m,,'c~
 "

The Outliue, Back and From The Female H ead Drawing rrom
The female o utline is softer th;;111 There an: several features that m-al $h3 PC~ is
the male in its transitions bcmten cle:arly d istinguish the female h e:lld u~rul in

one are:ll and another. The
buttocks protrude beyond the
\'t.Tticai line marked by the
shoulders, and the outline of the
legs describes a diagonal Ihal is
Ie$!, pronounced than th e male's.
Viewed fro m behind, the most
Qutstanding characteristic o f the
/i:male form is the dear conlour
ofthc back ;100 hips, w hich is
clearly defined by the w:aisl.The
rdief of the felmle torso is far Ies.~
d ictated by the shape of the
muscles.
from th e male. A man's h ead is est:tbllihing the
usu;lUy mon:: anb'1.ll;lr than a main reatu res or
woman's, w h ich is generally the remale body,
roulld er: nle bone structure, and is 311
imJX>rtant ~km to
espe cially the [m m al bone, is more
practice.
prono unced in a mail's face; :II
\\IOman's profile has softer featu res,
;Ill oval fa ce, and a mo re bulbous
fon:head. l=Urthe rmon:, ;I man's
neck is robust, w hile a wo man's is
more delicate.

(
Drawing I~ ftmtlle
fonn oo~d Otl
grometrir srhr,m:s
makts il nuir, 10
\
dtl8mi,,1' Iht sin
/It,d posirioo if Nth
pan if IhI' boJ)t

I
I
A MY<" if
SubnlIQIJro" Sfl t
givts tht J IM/"
body w/" JlI_S,
--
,,--

l
1'0",,41'4 fo nns
Je,ItluJII/td by
'''' lIN iltld a
n,,,",?, oulli,~.
 he law of proportion is important for dr:3wing
T children, but it is k"SS reliable: than it is for ldult
fib'1.lres. During childhood the body is constantly
evolving. and ana tomical proportions changt" a great
deal in a shon period of time.

[TA& CHILD A bdry ~ body fiat llm

"'-"Y routukdfomos l/r",
1/'",11 fltr folds if n'<TJ'
.iei.lI.
MODEL
A (hiIJ~ hrad IJrKil1s Basic Proportions
willi hl'P 0''''/1, eme.for Glle o f the basic differences
Ilv "1111('1 skllll, .lfId between a child'~ body and [hat of
ttlwfhf'Tfor lilt: jaw an adu lt is the head: a child's head
mId (hCfks. is mudl more vol umiIlOU~
compared to the rest or llis body.
This fenure is attenua ted as the
body grows. In general, a
m:wborns height is only three
times the siu of h is head. Whell
the child is approxima tely one
year oM, the tot:rol length orhis
body is three and a halftimes the
length or his head. Compared to
the head and the tOIK\ his legs are
rdatively short. At four years, the
head is still \'Cry large in
proportio n to the rest of the body,
but because the child is taller, his
r body now comprise:! "\'C u niu.At

, I tv.'CIve, the child's total heigh t is

seven times [he length of his head,
and the middle o f his body
•

I
-
I 7
,
I descends toward the h ips.

r "-\
•
Tht /"'" if proporlic!IJ is imporltlUl .mtll
d"''''''!e thlld figllm, btll il is 1m miabk
I I IIu1II ;/ ufo, lilt' fiKJ'" if all "d,JI. dut' Jo

L ! Iht grr,,' d!fJ"rHtn in proporliorrs 1M/

du' ;' oggn:>u.1h.
0r«U,
 "

-
-
As air (/lild~ body d.."..I(lpJ.
middlr '!I IIII' body domuk -He
"'I'
miMI.. of" JI<I/)y~ body is loca/cd a/ - -
she "",vol. "~JCI'1'''S till' ",iddl" of Q
11 ...... "'f'·)'l'a'-cIJ~ body is sligMy
ahovt 'he p'./,Iie /IN'''. - -
,.
-
-
-
_J -v
-
Children's Forms
When attempting to draw a child figu re, be aware of
ill rounded fo rms, and avoid sharp, angular lines. It's
better to magnify the wavelike motions o flh e {;hild's
conto urs than £0 worry too mu ch about getting the:
Pl'; rfl';ct proportions. Children are in a process of
anatomiul deve lo pme nt. so iT is useless (0 try to
represent the shape oftheiT bodies with the same
precisio n that you would with an adult figure, male
o r female.

The Middle of the Dody

If you draw a horizolltal linf down the middle o f a
body from ch ildhood thro ugh adulthood, you 'U see
clearly how the middle o f th e: body moves downward
from the stomach. At eight years, the middle lies
somewhere above the hips. The head ch~nges very
slightly, while the arms and legs grow lo nger. The
drift of the middle of the body is basjcally the Tl..'sult
of the g rowth o f the leg; during adolescence.

The Trouble with Live Models

C hild models present several special problems fo r the
artist, flo t the least of w h ich is the fact th~t
children- especially snull children-can never stay
put for lo ng. So it is necessary to take frequ ent
breaks, keep them entertained with toys o r other
items, and make sure that they assume the pose that is
most comfortable for them.
 "
i"
1
>
;g
;t
c

ELDERLY (flit! OBESE

FIGURES
he shape o f the h uman body dcpcnJs a grcat deal
T on i t.~ ~t ru cturc, so when you t ry t.o d raw a figure
corn: ccly, it is es.~en rial to u nd erstand your modd 's
anato mical fea tures and physical complexion, which
arc: specific to their age and body type. in orde r to
pcrsollalizc the figure.

The E lderly Model

The body of an elderly person is d istinctly d ifferent
from the proportions of an ad ult figllIe. The foreh l': ad
is more ample as a resull of hai r loss, bag; appear
under the eyes, the skin is Jess ta ut than before, the
che>t appears to sag, the limbs arc flat:cid,a nd the
bone stru{;turc is morc visible. Very littl e m uscle mass
remains, so the shape of the body is determined
en tirely by the skeleton. As a penon grows old, his
skin loses its elasticity and begins to sin k, g iving the
impressio n that the bOIl I."S 3rc closer to the surface.
The skin 's wTinkled , naccid texlU rc crates shadows
ill the model, w hich you can draw by millig gr.ly
h.1tch ing.

\,
,\
III old 'W, Ihe 1IIJ1StiCS Ilffamf jlmcid o"d lilt< IK»I~ Sin"'''''' man;
cvid/"lli. ·l1le body hmll/res OVf", mId shoW$ i,llipi,..,1 diformilie.s.

·nepe is /I~'1Tt' old ogt" is ,,"'Sl "",dily visiblr. so il i,· importo",

la par spa;o/ o/letlli",! 10 ilSfoolures. ·H f bulky dOlhrs /I,..,,, by
{he r/dl'dy disguisr Ihr Imlisfo" lI<Ilic>II of Iltrir "I/olOmy.
 ..

1l1r m<>pr of tht body is 'lIJ,itmbiy "lD<Iiflnl

whmjl/ 1lClN",..IlI'(3 illtl,r fIoWHl . stllm<llh,
b.m",kJ, tJild rh'll'u. ~t1t"" dmu."g tlll ,"~ W he n you draw
jig""' lilt !.Nt 11""11 to do is Itl jrarr wilit tl the race uf an
si'tlr/, bl1$rd 011 owl SlrllpN. r~"'c----', elderly pen on . do
no t hc, il ~tc 10
make the nO~e
and un big:
,
I: \ (
Obese Figures Ihese are the onl y
.

~J
There is a layer offal between the musck s and I....'U part!; of the
the skin thaI fi Us in th e &IPS and sofiens the hod)' Ihal do l10t
shape of the bones. T he fat is barely visible 11\ stop growing
the body of an arh1cu c pct'5()n, b«<lu.~ it add:; w hen we reac h
only slightly to the person 's girth; but in an atht llhood.
obese penon. it can amount to as much as fi ve
or six inches, so it plays an es.~n tial role in
shaping the volulue and girth of the body.
This layer offal is not evenly distri buted
throughom the body. In mell , it is gcncrally

~,
concentrate(! in the chest, accentuating the
profile of the clcfl just below the pectoral area;
in the area below the chin; in the stomach; and
in Ihe buttocks. In women, fal lends to affect
the shape of the bream (which grow
disproportionately and look more fla ccid) , the
chin, the stomach, the thighs, and especially
the area around the pelvis and up to the end o f
the gluteus muscles. For this reason, the part
of the body Ihal stands out mOSI in an obese
woman is the exaggerated width of the hi ps
and the large behind.T he other parts ofthc
body tend to look morc cylindrical, and the
folds aro und thejoi ntli are more pronounced
br..-"C:IUSC the Ilcsh there is fattier. The same
thing happens with the person's facial fea tures,
which tend to swell generally; body fat is
particularl y visible in the cheeks and chi n.

,
Jl
FW'itl/fiu (tlll groo v 10 Ihe
p<'im oflOlllpklrly
obwIri,W lilt' tJlI1lliill n it' obNc' bod)'fllII tlbD k
JMpt'f oJ tl,t I,u",,,u bod)< .,.,furrd10 (,ret., nud 0111/1,
'n". .....0 1.nlNth lilt' (h,,, IWIIISt' I"""""I>INII
...U/ 1M II4lk 0J,11(' ntl'k 'r/(lti'~lsltip filII II(' ,urird
Il'IIJ III Jl.o", rl" gmtltsl
"''',/ )"'" If'''''/' lilt' t/rgm' of
nm."wl<lliOll oJjoI. ob.'Ji' I' JIIO"''' I/('f'f'.
 "

AND SYNTHESIS

he shape of the human body de pends a great deal 011 i ~

T structure, so an artist's knowledge of ana tomy i.~ useful-
though nOt necessary-when he attempts to draw a h uman
\
figure correctly. If you have no knowledge of anatomy,
.) obse rvation and synthesis is 31so a good \vay. Learni ng to
observe your model is fundame ntal for undersranding how
th e figure is articulated , and synth esis is essen tial for
summarizing or breakillg down a subject to its essential parts,
into the cicmC': nts of the figure that havc a plastic and
pictorial value and into the thillgs that convey the pn.'SCIlCC
and attitude of the figure. The power of syn thesis is an
e normously usefu l tool for drawing, beGiusc it allows the
arti~t to qu ickly represent a figure in a spontaneolls attitude
at allY place or time.
 I
<
~

-I - -
HEAD
mz(~, ( II )
~I '-':
"
- -
\

alld FACE ~
j ,)
-;;~l ,-,'
D rawing the head and face is all intimidating
prospect, because faci al expressions change so LJ " •
-
H-- -
'( ,
quickl y that capturing them precisely is a b'Oal that
only the most capable artist can attain. Hence. this U~'r tMt of fl~ J'II",r, I//f'
section will dt"vote no time ro ~tudyi llg the action law if pfOpOttior' for lilt'
offacial features but will concentrate insu~a d on the hlll"a" I"'ad is ",mk lip
relationship of the head. considered as a voJUIllC, to oj a sd ifmea.lllrc",""u
the rest of the body, {If 1",itJ II,M dfft',,,,i,1i' lIS
ptopcrri<>ns.
The Proportions of t he H ead
According to the law of proportion. the human
head equals three and a half times the lellgth of the
foreh ead. so we will divide the height of the head
into three and a half ul1i~. From this division we
derive the following refe rences. which will hdp you
to dnw a wdl- proportioned hc:ad: the tOp of the
head. the natural hairline. the position of the
eyebrows. the height of the ears, the base of the nose,
and the profil e of the chin.
Viewed from the front. the human head is like a '111t s/6rti,eg poillt for
I't..-cbngle three units wide and three and a half units drawi,eg afact iJ Iht ti/I
uIJ. By searching for tv.'O lines that divide the 1i,1t'Jw lilt vtrtital 4Xis.
rectangle vertically and horizontall}, you will find the Slorti,tgjlOnl d,u /i,Ii',
location of the e)'es on the horizonGllline, and the whide divi.ks 1Mfoa ;'1
central axis of the nose 011 the vertic"lline. It is few, YO" tatl btgill /()
important to notice that the distance berwcell the distribute 1M rtsf oj ,llt
l:}'l.'S is d ose to the width of one eye, and tha t the jaci81 jtafwm
lower edge o f the lip coincides wi th a line that
divid the 1'.00 cquaI halves in he 100vcr UIlit

- / ' r-.....-
- /+- if Iht htad.
- ti "'- Q,,<t}'lll' ~ dnm~1 the""'"
draw a Jtmtir' lillt goi.tgfro", 1/",frmkad

\ t '\4 19 10 1M /osmo <hi.., [)jvitk 1M (WI 1m" Ihln'

and a IuJj parts. '111t ''PJ'ft' lillt will JtrW kI
deltrm;,,,, whtrr the hairli,,,, btgiw; lilt
\ ./1-
-- - $e(aluJ dividing fiue .lIarkJ the localio" if
tl,e ryt:f; Ihe fhim dtsWtlll fl'S Ihe 'lOSt; aeuJ
tht Iml showJ "'~ lilt' ,hill should go. "lllt
,,.,.,tn
if /ooiltJ ire 1M vny cmltr if Ihe
laSl StgI!W>",
-
Drawing fro m the General to the Particular : It'l a good tonal
When drawing the hCld, one should wOrk from the • exc. cilC to dnw a
genenito the p;a.rocular. You must lirsl sKL'tCh the
basic structure of the held: search for ih; generic
fonn, its mQlit pronounced or prominent angles. h's
I (~':l! In,mi':.~'
--:. 'It:' ,
'"
tonCi. Thil
practice COIms!s
of omen,;ng the
enough to draw l set of liTles marking the location of
l'ach of the dements that will nuke up the face. . model attentivei)'
and atlempting to
The Face divide the
If you draw freehand, the dupe of the face from the differen t tonal
fTom should fit INithin an o\'al. areas into
If you trace a vertical line to divide the face in two. imaginary
geometric $hape'
}'Ou can l'Stablish an axis of symmetry that will allow
an d tlM: 11 coloring
you [ 0 place the facial features in a proportionate
them in.
manner; of course, this is only possible if you draw
the face from the frollI.
The base of the nose is located on a line dividing
the face down the middle, :md the mouth is
somewhat above the chin line. To these lines, you call
then add a line for the eyebrows. which will then
give you an adcquate outline for drnwing the head
and facial features.

The H ead in Profile

. The c..'stablished proportions for the head in frontal
view can ..Iso be used for df1l\ving the head in profile.
All ),ou have to do is extend the horilontal lines .. nd
draw each c1cmenc of the face, only this time, from TIrsr fou r Jmwitrgs of 1M lINd ill
the side. Th~ same horizontal divisions used for the diffnrm poJilw,u show I/Il' rl.tlllgr$ in
tJ",fou~ IIIf'n,srtn'flltr.,s U~Jf'O' il ,lOOIn
frontal view also nutch the placement of the parts of
the face in profile.
/,

Um/ffllm.d,·,tg Iht-/all' of PI'OpOI1Wn for lire Iltad in ImJilr ((III br

.. 4..". d""","S pol1mits SUi" as Ihis 0I1f'. 1/ is Iho. a
l't"r), r~fi'/
mann of.imply adtzpting ' M- jetrlUra (Iud p<t'P""iOlu if III("
pmtIfl Ill" (J~ d""",,,S ,,, 1M jlliri(l/ _IUU"'MIIIS if II", ""', if
propol1iorr.
 - " ,
,
0
0
I

(
/?he TORSO: ,I

f you anaiy£e a frontal view of t he torso you will

Ipectoral
find that Ihi~
part of the body comprises the
tnusd t.-s, a set of thick. wide.
pClltagonai
muscle'S set ill pailS. which expand o r contract when
\ ,
the an us arc raised or 100ven:d. Notice the The skr,rlra 1>1'/0'" fllO"'/""" /0 IlQ!ill a r/rm",,,g if tllr
distribution of VOiUl lJCS, the profile alld expansio n of 1Il,,1e /ono. Bq;iu hi' rJlnWs/tillJ! <I !la/iclll (IX;$. Fnmr
the thorax, from rhe from and the back, and how the ,//('rr, ~ J rlll/~lic.fof1lu 10 fit lilt rrclntr,:II/1JTforn' tf
shoulders insert themselves into the tho rax in ,/1<' I<mO ,,.;/1,;,, riliJ Sf/WI""; 11K' rom' of l/no 101:«>
difTcrem positions depending on the view. The neck drpC1lds 011 II,~ !'OJ;I;O" 111111 1/'1' fiJ!"" mmlllrs. For tl
gi\lt."S the torso :1 great expressive quality, lind irs froural "i,,"; j/..'(Ic/' It.r 1/101","''''';11...11 Ilillil"lnr
mu\Culature implies the Oexibility of the head, so it I~XI"rn, SI«I, tIS lhe ptrtoml lII'UCin, 1/'( 1Ibt/"III;II<l1
nllJ:O;t always be shown breaking from the sym metry ,,,mcln, <Iud 11K' J'''b;c /itH'. I II II,.......". ,.;.." , brlooll IIII'
m:ukcd by the spine. spi"" m(lrk! lilt" 'xnfy\ axis.

I,
"

II
1
\I
j
i

f
The Body's Axis
If you analyze: the: rt:ar view of the
torso, you will notice that the
spin~ is dc:$Cribes the body's axis; it
is a line o f symmetry from which
the fundame ntal ITIeasurt:menu o f
the body an: established.
Starting fro m this straight
pc:rpc:ndicular, we have:
comtructc:d a ""aT vicw of the:
IOrso, taking into account the
following factors: the: distance
bt:tv:een the: shoulders and the
spine should he equal. t.'Ve1l if
there is a sligh t incline:; the:
shoulder blades are the part of the
back that stands out most, and its
rdief is most evidc nt when the:
model has his arms open. The
shoulder bbde is rria ngular and
should he acccntm red with a light
hatching. it's important lO notice
that the waist is mon: dc:arl y
marked in the frontal view than in
the rc~r view, because: from the:
1/ r
',~/A .
P
rear, the Sl1TfaCl' of the bac k is a
continuo us w hole: from [he:
shoulder blades to the: lowt:r part
of the lumbar area, where you ("I n
apprecia te: the flesh o f tht,
bUlrocks.
T h e Fem a le Torso
From both rhe front and the rea r,
the relief of rile fenule torso is less
conditioned by rhe muscular
structure than the: nuk tor.;(); in
it, rhe transi tio ns between volumt.'S
are smoorhe:r.Two of the:
,- A good exercise
is to find ima~s
d i5tinguish il1g features of the: of figuro.'S , seated
female toUO are the lower Or standing, nude
shoulders and Illore promi llt:n t Or <h~~, pm a
hips. This contour can be easily ~heet oftracing
represented h)' two rriangles paptt O"~r the
joined by thei r vertices. These image5, and find
tri:lII1g.les should then round Oll l the location o f
their profile [ 0 ac hieve the curved the spine and the
lines characteristic o f the fClm le line of the h ips.
anatomy.
-,
\ \l i'I'

ij'
tl :;
,
}· ~··~/ ~~~;~
-.~

',.ri'
'," I
\ , <~
,
",.
I '.
~
i ' ') ,
\
-;.
..,.,'' , ..
,

-r .d
'1M ft-zlr 10I3i0 (m, Iw symhr:shed
4S I"", ''',-,",ed '"arrgkt Her JWO/ik
u.ll/w mOO' muptuouJ </tid I~ Ihlt!
\
1 \

~~ ~4
of 1m j,ips willlw ""'''' "",Ik Ilul1I rI
",...,'s. U110J you mall'lIlf!jtmah
,Is
Jorw, Iwt p J'Il mi"d ,Ilal cdgoo.J
\ should be Ir» pnmoullced, rllld mtlrt

I
simwy 1110" " JJJ""~.

I
 ,.
£The UPPER alzd LOWER
LIMBS
rawing d1t~
arms and legs me ri ts a few remarks
D bee.lUSt! it may pre~tlt
problems with
proportion. The best way to draw the: limbs is to
analyze them based 011 circular or oval shapes. By
ma ki ng a prdimil1<lry sketch. m: C3il distinguish
bc:twct:1l three wl;: ll- ddim:d a r C3S of any limb.
The u ppe r limb compristS the shoulder, which is
characterized by the deltoid musek; the: arm, which
dt:rives its volume from the pr=ncc of the biceps;
and the forearm, which is shaped by a more
elongated circk For the leg, we: can divide it into the
thigh , the: knee, and the cal vt:'!..
'fht upper alld lower /;,,,b$ call be redUft'd /0 a flu Id! of
owls Ihal will pron' '''''>' '",ju/ '" drawillg the muscular
a"a/om), if tlicsr "''''"~ it! their (])Trer/ proporrions.
Yo .. (1111 uSf' "" (lXi,$Imighlline Ilrot
Or"
mm thmllJlhout Ihe liml, it! orner 10
situate the ]0'"/$ itJ Iheir prof'f'r m~Qsun'
w,d 10 iN:lter lOttlroi Ih" dfotl of
symmetry t1ttJ 11,1' OUllittc if lite mH..,df!.
The Problem of the Lower Limbs
Tht: musclt:li in tht: lower limbs prelit:nt a mort:
complex form, but :lfter a detailed analysis you will
be able to recognize e:lch of them.
The lower limbs are made up of t\\'O essential
pllrts: the thigh, where the q uadriceps :lnd the
sartorius muscle lit'S, and the leg itself, w hich consists
o f the bulk of the tibiae and the calves. The kn ee lit:li
between these twO parK The knee is the joint that
articulates both o f tht'Se parts, and it should look
rounded and prominent w hen it is drawIl. Notice
that if you measu re the length o f the leg from the
hamstring to the ankJe, the knee is not locatt-d in the
middle of the leg, but a bit further down, so when
you d raw the thigh you should make it longer than
the calf. The calf muscles art: prominent in the lower
part of the leg. Tht)' bt-gin just behind the knee :llld
t:lld at the Achilles heel.
\ (
....
o~
/'
#'
 "

n.c vo lumenic
treatm ent .. r the
I ~l'I';",1u ;",,;,,the
)UU consider
shape o r the arms
;f

and legs as an
I assemblage or
thrcl.' cylind rical
parb o r d iffl.'r'l"flt
sizes.

I" order 10 d""" /1" It!! /lfld m'''''' (orrtttlJ\

irs import"'ll ,/url J'O" hi' tlbk 10 disli.rguish
Women's Lim bs- lire body~ (iIdo.m fJlld diffrrtr'litllr Ik
The:: fe::male arm is ''Cry differem from th31 of Ihe positions tlia! Iht Ii",m tlSS"'~. dtpl'.I1;ng
male: il is clmracle:: rized by 3n absence of OIl Ihe p!«.
prominent mUKulatu n:, by the regularity of its
propo rtiol15, and the delicacy of the line rh~ t
defines its conto urs. T he areas of Ihe: d bow and
wriS! joints ~n: na rrower 111 the fe nmle ar m. And
the: shape of the muscles in a woman's legs is
barely visible: the thigh tapers delicately ;as it
approaches the Knee::, and Ihe lind of the leg
muscles an: unde::rsta ted, sofler tlun a man's, so the
circle t ha t for ms the knee should stand OUi only
barely. In the: lower leg, the: graceful calvcs also
ta per 35 they appro:ach the: hc:cl. Ge:nerally,
,",,'Omen's cal\l\."'S are not \'Cry promine nt, but they
do become rounder and gain in volume:: when J
woman wears high bed s.

l{iHllI'J' ~ limbs tlW mOft ddWllt, tl"d IIIrf diJpll1)'

tI ntORsuMp IfIIIMU/m wlit! tlnfl tl glf'illn
,wrnII""R lilliif' wriw m/J m,kh
•
 ;
"j

HANDS:
STRUCTURE I I 1111 OUTLINE
(he ("ud of th e arms an: rhe ha nds... The
A hu man hand has nearly as nuny import'.lnlis
t \'ery

expressive possibilities as the: facc. The hand

of rhe body that offers the greatest numbe r of d jlTcrem
the part
I I
\ ~\
positions. It's impor~nt to master its structure and
shape, beca use w hen dl"Jwing the hum an fib'Urt' . th e
hands and feet often end up in very poor shape. The
Il!.!ophyte w ill oftcn fOfC:b'O the fo rmer, or m crely
I
suggest th eir shape:, putting th em inside: 1 pocket or
hiding them behind the: mooel's b~ c k .

The Hand's Dimensions - "- ~

If you tlke the total dimensions o f :lII opcn Nnd, ,
viewed from the: b.:ack, w ith the: palm and fi ngers
extended, yo u w ill find that rhe: d istance: between the:
wrist and knuckles is similar ro rhe: distance: bet\';een
the knuckles and the rip of the middle finger.T his
isn't the only fact that you c:m a.~ertain by simply
opening up the p3hn of the hand. For inst3nce, you
will fi nd that, wi th the fingers outstretched, the length
of the index finger is equal to tllar oCthe ri ng fi nger,
and that the tip ofthe pinky coincides lines up with
\
the final joint of th e: index finger.

".", ",nul, PWfI/d N

dim,'" In " propmtiOfltJl
",/"Iicru" ip II> 1M m t if
IIU' body. I I en" N ojgrml
"rip tofol'o", 11K' gmnal
mit- Ihal $p«ijia l/r", Ihr
1(tI~", oj
11,1' /,m,d u.Of/1d
"" "i"al fil lhal oj Ihl'
J«I'.
, •
Hi- kg;" will, 0 SIJ'UIff' lIud adtI" trapaoi<I sh,,~ ( I). III tIlt upper
plIJ'I Pj tl,l' If,ombut...., dmu,,, lI<1Vt' 10 IIrt> riJ!lJI. mId slmlilfRj,.,." II
Jtr"~j" di'Wl"ra/ U'K'. " "' d""" tl,1' r/rumb (2). Pll)f" IIII' lip of 11,1'
1I'IImb "'I' prop l mrl>ll".. rll .... IIIdlrn';"1! ,lrl' 1>111111 ",1,,-" ' IIM'ji"gns
immIXI ,,~II, II,~ 1""m oj tl,e III11Id.lii- d;,~dl' II,is r"IlI(' j"'1> fom (mJ
pmjrtllhr re",a;"I"l!ji,,~ (J). Hi- /11l'fI mul' Ih,' .·,mrlllmlli,1l:J
ami dmlll '/If /umd am", 1/(/r/;"g1"'111 III (""melniSl« mll/illl' (4).

Th(' gt'OIIIf1ric skl'lilt if I/~ IUlfJd jJ rompkt£d

with II u..'ff.rh if tIw fi'tgm. u4rilh art
rqlUm llrd by OI-...u "h;( h tIlfTNpollll 10 (,,11"1,
~""' " or phalaux.

Configuration of the Hand
T he hand is contle:cn:d lO th e: :lrm
by the: c:lrp:ll bones, which form
the: wrist joim. The hand has (wo
f3cc:S lO cOllside:r: (he: back, whe:re
the: le:ndOlll; :ltld the: Illusde:s from
the top of the fOrt::lrm end, :lnd
the p:!lm, which has many SITI3IJ,
Ilc:shy muscles. The fingl'rs 3re:
made up of three small bones
each, except for the (h u mb, wh ich
has only I\vo.This forces th e
amateu r artist to take pause and
study the particu lar fo rm of these
bones; in doing so, yo u w ill
discover, for instance, th at the
bonl'S arc thinne r in the middle:
than at the: t:nds.
\
I
) I'
"
Synthe!>is of the Hand
Wh~ l1t~vc r you draw a hand, try to
reduce rhe nlt:r:!carp:!1 area to a
square unit from which the fingers
Soonetime~ an
unfinished hand
makes sense in a
nude d rawing.
~~
(H~~~'
extend in 3 radial pattt::r n,or Think oflhe
Otherwise, start from the ov31- fingers as minor
based sketch discussed above. You details compared
can then continue your sketch of to the other parIS
of the body.
the hand by representing each of
the fingers by three ovals, olle for •: ~
each Or iLS scgmcnts. lf you do so,
it will bc easier for you to dr.lw a
foresho rtened hand. The position
of the fingers is based on a ske tch
m3dc lip o f a seri ~ o f concentric
arc hes that make it ea~ ier to
resolve the form in any pmition. If
Afk, slurlrillg II'f Iwtufi; 5InKlI"l', il is imf>ouallllO
you can make a weU propo rtioned I'rlUliu dmJvillj! lite ),,,,,,/ ill dlffneul p1SiriolU.AII
gt:omcrric sketch it w ill be very imelC$lillg f'Xf1ri5~ is '" 11/ala- a !!fCo",rlrir ~kerrl,
casy to adj ust the details little by brfow hegillt,jllg II,r dtjiniliw draw;,,&. w lI",r)'VI<
linle until yo u finish the drawing. (all wlflmMlld ils SInIEIIIW ",itlwIII dUlt'lIing on '''I'
de/ails. 'His I,,,,ula ,,1,0 "lIo,,~ ."" 10 obse,...,. iI,al
tile joinrs ill II,r fingers "",laid mil i" lIte fo,m n<1
rum'.
 l
•

he hip is anotha main dement in d rawing the

T h uma n figu re. It ti lts on th e axis o f the spine. and
coincidt:$ with the point w h ere the: legs flex in th is arl"a .

.9'hb PELVIS:
THE SHAPE ,0/''t,1(' H IPS
The Protrusio n of the Hipbo n e
Because thc: pelvis is connected to rhe he.n l by th e:
bac kbone, it is constitutes th e b ody's axis. Sever:al
muscles o f the: torso. th e thighs, and th e legs I1lcd at
the pelvis, wh ich Sc!"VeS a.~ thc main suppo rt po int fo r
th is area of the bod y. O ne o f the: Illost impo Tllnl

\~
p<l rt.'l o f the pdvis, and the one: w h ich most
no ticeably affects the OUl e r appearance o f rhe figure.
is the iliac crest, w h ic h li nc.-'S up with the hipbone. \ 'ji
D o n't forget to dr:nv this bone, partic ularly ill female
fib'Ul'eS and slillUlltt mo dels. Because a woma n's pelvis .\
is wider than a man's. hcr hi pbone is m uch more
visible. m arking a roft curvat ure: fro m the: pubic area
:t'
to th e top or the bUtlOCKs.
I~ IW maW a IMli,","",)' sJ..'tItI,p a
dmll,;.rg, il ~
i"'portal" 10 UlJ..'f j"",
d{(out"
I /111' li.~fomrnJ "r IIII' s/I(lO.ldm <!lId Iht
hips. 71!t lill ~lbolh 4 1/1I~sr U"I"I ",arks IIII'
./ I'quilibrilm, of lit(' posf.

~, \i
!

,
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I
,
,

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I 1\ ~I
,
• Hi> Ilu>I<l</" 'I jol),'f'1 10
I [" "W I prclimiuary skmll,
11'1" ,..iII 10: lrow i'''pUlul
/lUl,k 1111" hip lill( 11M.
dmwi,lS a batk '1/"11\
I d,r "·' I(S lI",rkiuS /11( rid,,,, HtIr, IIII' li,~ 11""

I
••
'''''''"a/;''', if lilt' "ips tmd
III( pubil lw"" I(. As "'"
marks fht uri/Smidt if tilt'
bullotks bMtmn imporfOt.,

I I
<kurkp dll' Jmu';,rg.
. ,rw(tuoal UMJ J~. in
1_ala ,1IM' ~plj ....,
II~ as ..<clI. foJt>l'u 1M
ill/emli,lS Iti'lIIgu/m
irrdetllafWr' Ilral forms j l/Sf
I ."" ,ro/lrd li.~. IIbove tht bul/Clf/u.
 "

The Line o f the Hips

T hc position of the h ips marks an If )'OU altend a live
imaginary line in the body tha t model d rawing
we must ta ke into account whe n ~ session in an art
....'C draw. T he line of the: hips is school. it's im portant
seldom hori7.ontaL It tilts o n the to pnc:tice d rawing
»:is o f the backbone, coinciding the hips in isolation.
with the poin t at w hich the legs U nd entand ing the
bend in this aI'ClII, and w hen th e \. tilt of the hi pbone b
hi pbone til ts, thc b ackbone es",ntial to correctly
doesn 't rema in stra igh t. but instead dn w;"s "~ body ;"
acqui rt."S a soft c urv.atu n: 3t its any pou..
base. It almost always ad opts a
slight til t, especially w hen the The pc/Pis is (Ot1l1rttn/ IOthr
body is in a resting position, s~'C/et~" br I/lr ,¥',lrI,m / mlu",,,
which makes part of t he weight o f ,/
or back/x",f', wllirll is ol,1'lfYJ
the body come to rest o n o ne leg, ,;siblr 11!f()u.~ fhr rider flio l
whilt: th e mh t:r Il"g re mai ns flexed
and rda xcd . T his pose: is called
contmposto. I ruus dOll/l1llir lIIiddlr ifllir
Mrk. Thr back of til<' pc/IV is
OOllm'tI by a lIIuMI.. IHtW o"d
by Ihrpi iflll<' huIIOll.'S, wllil/I
mr lIIud,IIWf't pill"",), mill
,mmdrtl I" a "',,,,,m, ~ body.

i
,I '" \

J f "

\
,
•

,
~

\ ~
,,,
Thr ~/'U a' to U sllll~d IIiit' a t"mcoled PJ"f'mitl,
base anti a narrow vmo ... A wo"w,, ~
witll a /alJlf'
~Ms U sho'ff'r Olltl wi.kr 111m. a mil" \ ,,~icli
a110"'1 us to s« IIIr s"rdler "",,,n j" 1M hip tllro~1
a Ioyn if S"bcll'(/"~OIlS fot.
 \

.9h(~ FEET:
INNER STRUCTURE am! FO
he feet :are not as d ifficult 10 d raw .as th~ ha nds.
T This is ix-c:ausc the feet have much ft.'V."Cr
possib ilities o f movement. This limil:ltion tnm;latcs
into a more ho mogeneous and continuous form with
fewer problems and inconsistCllcit:S.
TIw J!roInrlrit s/.."C"ldlfor lilt' fOOl i, sion!"/m 10 tl,~ ()/~ ,,;edflll IIII'
Config u ra tio n of the Foot I"md. r, sllOu/d lit' definrd by ° (irrie IholrorlQl'tlf,d$ 10 lilt 11«1
As a ge ncr.li reference for drAwing the foot, \ve th ink Ml'Q, o"olllff tlfJtlifor 1I1f melalArsm boo,t, and JI'I",ml $mallisJJ OI%1ls

o fil as consisting o f thn:c "..dl-dirrerentiatcd ;lTCU: fo r IIv loa.

the ta rsal or hc:el, the mCUCl rsal. and th e area o f the
toes. The silho ued t: o f the fOOl is conditioned in large
pari by its skeletal stru cru re. The top o f the fOOl: is
c~red wi th tendons and tensor muscles. but the
joints, al though Ihey an: C\lCY b it as com plex .as those
if)'Ol4 Jet, ~ ....'"
o f the hand, don't display a stru ClU rr .as readily visible
as they do in the hands.
°
10 make mislokt
i" tllrfoolt
propoTIicms, ~II (0 "
Synthesizing the Foot di,.;Jc it ;11/(1 IIII'(t'
The geometric sketch of the (001 is similar 10 the o nt: ports of l'qual
we use for the hand: it begins with ~ circle o r oval I"'WIl, jl/u,f,ill" Ilt
that corn.'Spo nds to the hed, anothc.:[, mo re elo ngated finl JItlrl U,WS lip
oval fo r the nlt:tatanal, l ud various lint.'$ or s.mallish willi lilt 11« 1, IIIl'
cylinders to represent the tocs. O nce the sketch is SffOIuI romSfIO'IdJ
donc, you com ....,ork o n the: form, profile, protrusions, 10 III#" miJdk 1idt1
and roundncssc:s o f the: foot. If you want to give the of 11"'/001, oud lilt'
foot In ath letic appearance, dr.J.w a prominent hed /as, marX.! tilt'
and svdte toes, with very prono unced joints and 1nlj!II, if tlK' lotS..
phalan.~.

I
Fim, we ,""SI dmw a rettalw.lcjor lilt" Irg,
WIt;'II, rombi"rd ,,~III a Iriouglf, will
ro'Y;&"'t lilt geometric s/{tkll of lilt form r/
IIv fOOl ( /). Hi: 111m add 111'0 (IIrlltd /i,,1'1
10 Iilis ikelCh, lilt" Jt"(ooJ if 1I ~,illl ron,l«U
fa Iitt fOUr,lkd lillf" r/ tilt" Irttl.A ri~'f o"gll
is sufficinll fer sj" ."tiIJg tilt I<>fJ (2). U.
din, rmsr 1M strurfuruJ/ilrl'1 otuI '\'J)'
slowly tImw 11.. flUlli,lt" if /lit fool, IIIiJ Ii_
dtltli/inii! lilt protnuiorl ifillt ...ddt o"J tilt'

, , I«s (J).
 "

The Foot in Profile and Back Views
Drawing th~ foot in profile is V~Ty simple. A tria ngle
cO\.'Crs it almost entirely. The shapt: of the foot is
marked by the angle of the heel, th~ part of the foot
which supporrs most of th t: body's weigllt. T he toe
area tlkes up slightly less than one quarter of the
It!l1gth of the foot from the heel to the tip of the hig
toe. A frontll \fi ~w, o n t h~ o ther hand, pres~nt:l. some
probl~lll s due to the fo reshortening of the tocs. But
here, too, you can sketch a simple triangula r shape,
although it will be much n3 rroweT compa red to that
of the profile. The back view is the simplest, and it
should haVt': as its main re ltrt:nce point thc protrllsion
of the h ~el and slight indica tion of the roes at the
other end.
The Bottom of the Foot
The bottom of the foot is also covered with muscles;
however, these muscles arc not as visi ble because the
skin on this part o f the body is very thick, and [h~y
aU bknd into a common mas.~ that spans the arc h o n
the bottom of the foor. This part of the foot has a
very rounded appearance due to the greater visibility
of the hed and the fit--shy, cushioned parts of the
bonom of the fOOl. When d rawing the bonom of the
foo t, remcmbe r that the skin ht:TC has a rou gh~r
textllTe than on any o ther part of the body.

Aldumgh;1 Joes ,,0/ prNn,1 a dfgrct if (o,np/exily asgH'al Qj II,.. h""ds, lire fOOl rJl<lug<'S its
"f'P/'<'TG"«' Jepa"I;"g 0" IIIe"m1ll of'rieu' or 0" Ih~ I}"IX' if ad;,rily il rior",s. Our pmri"'<$
gmlllet,it skrllhrs "'illltrip Iff 10 adapl 10 /J,P$C "l'U' am..",lat!trS (A a"d 13). I-/m>, as ,,1""')'5, the
p"pntditular di,ridi,'R li"e is ifgreOI/lell' i" coIJSlmdi"g Ih~ jorm ""demuri,w r/'al. a, wilh the
fi"~1$,
II", loes Jcscriht,,, CUIV<' a"d ""I a str"ighl li,,~ (C, D, ""d E).

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/

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4C = ~ : ""!900
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CONSTRUCTING THE

"l:\1e mllst measure tile body: standing and aliI/(',

w I/ere/ely, in !lint! parts ",illl respect to its length. r"Or
able tlafllre has shaped mati in SI/(h tl wa), that the jit«
i~ foutld ill the highest place, ~o film it be admired alld
offer the othe-r JXlrts of tile body the prillciple of ils
meaSllre.
I'omponi C~ urico: S<wlpture, 1504.
 f

/
,
I
\.'
•

A WELL-
PROPORTIONED
 "

),
(
{., very drawing must be organized within an mIion:;i and
E compre hensible order, in order to establish a
comforrablc and appealing path for the eyes to follow. In
order to draw a well- proportioned figure, the arlin searchL"S

d
fo r an ideal ofbc3Ury, and finds his tools in the objective
- I, methods found ed upon geometry and measuremCilt. But
oppositc the pllt"tly theoretical systelll$ of proportion, there
iff is w hat we might call an "intuitive " proponion based on

\ ( '
visual comparison and comroJled distortion , and we can
transl:ltc and accom modate the natural stru ctures of the
body in a looser, morc ex pressive. and less mechanical way
than tilt' model descri bed by the classical bws of
proportion.
f7J" UN IT SYSTEM:
MEASURING
he law of proport ions fo r the hu null body '''I(lltld
T be o flittle U~ if this know ledge could no t be:
llS(>d wi th real-life lllodds.Thcory is an inestimable
help. bot it is the application of tocory to a real
mod el that determine'S the fi nal result of :l11y d rawing.
Applying the Law of Proportio ns
Thanks to its m e~Stlrcmcl1ts, the law o f proportions is
tnl ly a useful tool fo r becoming fam iliar with (and
mcmori:ling) the di~triburion of the rdative size o f
the pans o f a figure in re lation (Q the w ho k Eve n if
the proportiol1l!i of a real figure do not match those of
a classical mood, there is still an 3<ljustcd
correspond ence bct\vecll the d ivision o f the figure
into ullits and the location of different anatomical
-
BODY
components sllch as the height of the sho ulders, the
dlt'SI, the dbows, tI~ hips, etc., whidl we have to
consider. For this ~ of gcom~tric sk~tch it's
important to first proj ect th~ body's Iin~ of
symmetry; on it, W~ will mark th~ d ifferent
m CaSllr~1llCms o f th~ law of proportion. If the figutt
is sl,owl, from tilt' back, we ha\'~ the 3dd~d adv.lIlt.1~
that (h ~ line ofsymm~try is aJready ma rk~d by th~
b:l ckbon~.
I" J'",u/illg pou, imogi.uuy m1itnlli.1f!S
<I
DR tmr.r1Ctol)' reJd to gi... ~, to I/~
backboM m.d Ilw /0"'" lX'mllilia, in on:Irr
to pl= "lKJ>' ,/rrm 1m. (onf'Jpmufing
J~"f'IIIS or IHrru'Ilt'm<'trlJ fo r r«11 ,mil.
l•
\J \
\
 "

\
Cross Sectio ns
We are not ahvays able to find standing figures, which Thl' dlWit"41 pTCfHl",'()flJ of
lend thelllsdves to the application of the law of a 5Imuli"gfiguTf' de "a,
proportio n, so we must develop a set of rules Ihal d",,,~ m,,,II, "0 mal/(1
allows us to apply the tmit system to fi gures that are
se;1tl'd or lyi ng down. A practical method is to draw
11OII! """It lilt I.>vrl)'
J'tI'ul/4 <II assrmlt'S
,
CI'OlIi sections 011 the Ixxly-th~ t is, to draw ro"'l'iit""Itt/ JKlllllfr1. 71lu
"ho rizontal comours" onto th~ nude bod y to show fyslem if mranm:" " !'Jti (a"
the imagmary "diCe!!" tim corrc.-spond to the different be 4 gr.>oJ rifl"f('tla'.
measuremems descrilx.-d by the law of proportion, In
other words, we follow the sallie me thod as v,-e
would if we were to build a cylinder- based form.
In a seated figu re, these cua arc vi.~ibl e in the folds AppJyil~ lilt 11Io"4S"mo1l'l11S
of the sleeve, the shirt collar, the belt around the oflhr dlWit"41 1411' if
w2ist, etc. pmp<>rtion is (01tI1'1it"nud
"0/,,,,,
a/Wllft is silllug, 1),,".1:
Measurement Problelns dOl"", or fo,rsl"mrned. lu
Som(."[illle!! we \vill find tha t the figure.' does not 11,1'$1' (451'S, 11'1' ,mut dml!' Ihr
prc.-cisd y match the classical male, eighl- and- a- half_ jigufl''s SI'IIIHlrliug i,,"l"
head modcl. This is normal. It is o nl y logical thaI s/metol1/' in a U'4lrd pcsitwn
reaJ..life flgu~ should bt- solllewhat beneath claS5ical mod tTY /0 ndjmt Iht
mea5Uretllcnts bc:catlS{-, after all, classical laws deal in ~poudi~ 1IIo"d.{"mN(JIIS
kX.':I1 proportions, nOI ~xact ones. What is IliOSl lol,.
impoltlm is not whethe r the figure 1ll(.':Isures seven
Of eight h(.-ads, but tha t the disuibution of Ihe units
be truly proportional.

.L
,\

IJ Am>IIIfT $)'$/flll for aJlJlII~IIg ,"r

(/aSliml Imil IJIl'tUW"'IIl't>IS II Ihl'
(!I'l'rl4ylng '" l'a"WCQal slim, or ouu-
S«Iicru. Ontt> II", 5krldl if lilt figllft
II't d",.., till' li'l(3 if dint wtioru,
\
wl,illl 11Wtnpmuli0 In,. MEmn,U (j lilt'
(Lwiro/ ,,,odd, iu ani... 10 Shldy till'
profI('ftioow re/aliotlShips if" figutl ill
o Jm~t/IIIg or 1)"18 JHlSil iou.
 .,,
,
t

GEOMETRY /f(~{'
HUMAN BODY
he 11\l1nan {ib,ru rc ca n be broken down in to 'nw IJ(lSis if r.''''''y rtlm'(1
T simple geometric figure!; that easily adjust to ilS
descr iption. Eve ry pose Sllggest~ <I gencl:a1 sketch that
I'I'lIflcri'lJ: of Ilw f't" J't' is ,br
"rti5t ~ ""dcrs,.,,,,liug if ils

SllOlild encompass dlt~ ;matomy in JUSt a few strokes. SlmrlJlrr.

It SllOUld be a simple form (all oval, a polyhedron. a
pyr:.mid shape, etc.) that is sufficiently rich to suggest
the position of different body parts.

The Geometric Sketch:

Structuring the Whole [roln Sinlple FOrlTlS
To sketch a geometrical model we begin by selecling Thr It"",,,,, 1mIj' in i,s
a composite omlinf;'-in other words, a $imple w/",,,rttU: wpresrnrmi,," ;s
geometric shape Oil which we can inscribe wllatever madr "p if 51""'1';£111,
po:sc th e figure assumes. In this way, tbe work will rrliudriwl, aud ",rhog''''''/
pn;scll t from tile sta rt a more satisfactory visual suti,rf'S. Thest' 51"'1"'5 aJl' ,br
layouL The use of compositional outlines in sketching Joul1dm;(JII Jor drmvi"g t/ir
is an efficient method for arranging the subjeCt and eXIJ'e,,,ilip.s,/w,,d, "lid IOTStt if
:ldeqll3tely br~3kill g lip rhe pictorial space. tlms tllc /xJdy r" angl'S posi,;"", ,,/I
hdpillg to organize the demcnts of the drawing so 1'-" /"'tIf' 10 da is adjHSI r1w
that tile vi ~wer '~ attention, 31ld the focal point of the poillf af ,';nlt ofilic rcamtg!cs,

drawing, is w hcre m lJeS, Qr q limlm .

v.'C \1I31lt it to be
 "

T he Essen ce of Sy nthesis As an au:tl"iliary

Once the compositional outlinc is complctc, v.'C add systl'm. you can
new gt:omctric Sh 3 JlCS [0 dcscribc each part of the uSC a ...."Q()(f(.'tl
body: an oval for lht, head. a rectangle for the thor:l x, mO(\cI tha t you
cylindt·rs for the arms. a trapezoid for the pelvis. can PO:1SC hO\n.....'C r
Gt'Oml'tric shapes contain the essence ofsYll1ht·sis. )":Iu lih. ' Illese
The goal is to combi ne simpk forms which ~tabl ish models are b>Ood
thc form as \vdl as thc pmponiollS of thl' fi gu~. All for practicing
ofthl'Sf: geometric fit;ures are articulated amollb'St
th<'lll5Ch~ by observing the straight lines which
ddine the height ofthe ~hou lde..,. and the tilt of thc
hips. and the curve that dC5Cribcs the backbone.
which, as we know, is no t rigid, but rather produces a
tipping of the ischion and the hips. and a rotation or
spin that allccts thc orientation of the head.
Geometric .~yTlth csis consist~ of ~eing thc d rawi ng
a:;; an articulate wholc that can be developed
simulcml'Ollsly in all of ill; parts, an d in whiel, no
single pan is more important than any o ther.

I" Q grtJ/1U'lri((l1 "prt'Sl'''Mlio.! of

Iht j"'JJlQI! body, "hslmlliG"
fl"",/d "'""",... ,"'Iii "'I'tlOli,,,,
QJ " flgr," ,"<Ilk "" rllfirrir <f
si...,,u·TpHIS. VIII, by /ill"', 11,1'
boJio ",ill ' .11' iot(gn" rtSNtJJr
oWs 01 JPht'rn <lim ",ill brr_
.Mrt flo;"". r:cpm.Ji'"
JI,..ct",n.,
 ."

or thl' :u n:1l CUf artist, th e b'Comctric: skt' lch of a figu re is seldom an c~sy
F Illsk; 110 111'th ckss. it can bt' simplifie d by fo llowi ng a few tips. To begin,
th l' bl"st Ihi ll~ to do is try m SCt' th e fi gure lIS ~ w hole and not gCl lo~t in
dct:\i l ~ such :IS dl t' positio n of the feCI o r the shape of the hair. Only after
drawing the gl'llcral outline of ti l(: model, when the ba.~ic problems of form
have been OVt 'rcO ll1 C and the proportio ns are approxima tely corn:cl . sho l11d
WI;:' address th l' deuik To llIakl· a geometr ic sketch IS to understand th c
drJwi ug a.~ an articubtcd w hole, .. 11 parts o f w hich can d ll:n b(' dc \'elo pcd
sIIll u1tancously and of which no pan is more important than any o the r.
\
.7J,. GEOMETRIC SKETCH: ~'
STRUCTURING Ih,· WHOLE JJtoforr ",aki,,~ a"y
s.,"'",etn'{ sk(ul" it is

SIMPLE FORMS 1",1'''''''''' 10 11,,,,hl'$l.u tilt

fis"", la IT)' 10 ill(l14dt
l lu ..",lhj(Or1ll II';II,i,ja
JimJHt /lfY"IIrui( jO",I .
tilt

Proportions and Background Cromtlrir.fo,nu <1f'!' '/MtI

A fi !,FUI'I."S proportions ~hou l d be harm o nized w ith jOf tlJIIlroIU"g rml1C,'imU.
th~ dim~llsions o f Iht" background . to make SUT~ that
Wl' adjust the fi ~tl«." to the b ack!;ruulld in a natllnl
marmer, and avoid having lhe m ar~ins of the pap~r
c ut ofT a pan of the fi~'ll1"e becausc we didn '{ clwc k
t h l ' Illt'lIsurt: lllcnlll b~forehan d. l fncc cssa ry, Wt' can
(>
stain the blank pa ~e using a p3per stu l1lp--also called
a IOrtiIlOll--() r wit h om fill~'Crtips, tu limit the space
th at th e figu re wi ll occupy, Thes!! ini tial marks are
guidclint'S that suggest the positio n and dllll(' nsi()lls of
each part o f the bod y, as wdl 3$ t ile IOlallrnb<th of

I) k ~ \----_\:5~(j\
thr modd. The ~omt·u lC sketch includ('s a
clicuial io n ofthl' figure's pmporrious. which sho uld
be reflected in Ill(' outline.

1tf1 -r ~
A t"rtillon. or
L'"."n a charcoa l-
,
stain e.I dOlI!. b
an excelle nt 1<101
for Ilral·ticin g
geometric
" I
sket ches. 11
pro.luCC!s soil
line. that an: ea)y
"
A gcwlll'lrif d.ylt:/, lOll/ira a Ji,npl.. f,...,t",ml ,,';11, d(fuill'
JIK>ka. ' K> ""'II (Cllr"'''lllr "" II" J10K ami Iht IlrCp«Iictu
c"d fowt ell fir, ;"''" Mt4ib if II,.. fifOllr (A). 'n/(' pi;/e-
tlm,,,,uS J/,c<./d br a fotJffl p.rlim;",,'1 orJ!ff'"II/<JI",II
" if 'ht model ",Ioiflr 11Ii1l1tf!/p UJ 10 cd"lII(t IOfI'IJ, d
--... ~IIIC" dnci/cd, d.-jillil i, ,, CII//;,II' (8).
 "

1 '.
.,.
,-
TheVertic a l Lines of the B ody .,,,'
The fir.;t thing we must do before
sketchmg is lIlake ~ series of llJarks
indica ting the lI1 e3 s u rc mellL~ to
which we cail refer throughout
the enti(C sketchi ng phase. Qne
su(Cfire way to begin your
drawing is to find the line of tile
shoulde r.; and the head. It is
usually t'wer to draw from the -I .. ....
... ,..jrt: .... ,..
r
J
• '•
...
top down. From there we will
work downward th rough the • r· ,
bod)" drawing syntht'tic shatx-s 0 11
a standing surface, paying special
\
r
anemion to the vertical lines. W t'
should look for directions and
rhythms and sec them as abstract
forms.

Verifyin g Dimensions
Drawing free hand allows us to
\'\Tify thl' precision o h he .• (:.~
[
• ..
fl .....: '
"\.~....
• '.
Ir'r
,
r'

drawing's proportions during tht' ,

early sketching phases. Whe n
drawing freehand, the pencil
• -..<: .J ( I
'l'J :
"t '.
j'

should be Ildd vt'rtic:.rolly with the

arm extended before the figure,
with the fin gertip at o ne e nd and
the tlnll nb measllring at the other.
TIlis will help you confirm the
proportional relationshi ps of the .I .
, . •' . I
...-,

real model From these I

ml'aSlI re1l1e nts we can draw by
transfe rring those proportions
onto the paper. Once the sketch IS
done, we once again place t1u,
l'
)~ ..
~,J,~
"'I'

peocil over it to m:.roke sure that ~

the proportio nal re lationships ! . -'
between the different parlS'of the • ' ....
modd art: correct. )~ )', .' N. rI ~ ''J"
.~
~-:
;l
~ ,~.

Awcilial)' li''''1 ta" ",. ' lJl'd

,PI..... dmwi,'S " gromnril: ~ ...
,"j~

s""pr, JUlh /IS Ih~ _ Iital II.

ami hori~ou lalli, ~ ~Ir af • "

Nflitl. KrVn /IS au u:iJ a"d I. .

rail ",. " Jed tJS a rifffttttt I'
poim /a rot""",r disl"'lfes.
i
i
..,
" .~

,""
 ¥, ."
1,

J
SYNTHETIC CONTOUR
(m(1 LINE CONTROL
rawi ng co [](ou~
is one of the most intel1..'Sting Met hod
D cxen::ises for an artis t practice, because it
to
Cl.'1lters ollr attention on the foml's limits and
T ile best way to pr:Jctice drawing the contour is to
lake a fin e point pencil and start drawing the profile
providl'S a focus that we can concentrate on of a figure from a detl'rminate point of vie-v, without
regardless of details, lo nal values, o r pos.~iblc modeling taking the pencil off tllt~ pagl'. The line should be
effects. unbroken and continuous, without ernSl1 res,
ove rlapping lines, o r tremors.Your eyesight should
follow the contour of the fi guTC while the pencil
works on the page, responding to e:ich of your
thollghts. When starting on the conto ur o r inner
silllOuettc of a new part of the body such as the
Ilands or breasts, yOll can refer to the drnwing in
o rder to find the point at which the new comOllr
sho uld begin. Continue in this way until completi ng
the contour of the figure.
/
I
----.........

FOlllty I'lUp<Jrtiom are 'rp;(O/;II IIIB '1'1Jl" of

d'<!Ivillg, bllt ,vilh prafl;cr, tl' f at/iSI will
<lI"'ltl;re., Ioo$tr, morr rolltrollcd /iue.

The rollIO," $iw,,/d be ou <!IJ/omorir,

f\'I'$lmal drowiug, (OIu£n,cd 1,rillloril), wilh
II", f,">",,,,1 dilmlCl(T oflllC ,node/ mid ils
('xpt1'$5;Oll mlher Ihau ",;Ih IIU orarouu-,
ptrj'tdiootiSI mulrriltg.
 ..

A Great Disa ppointment A ~ eKercise

I, is very likely , hat your fi m attempts at this type of ro r nla~tl,. i ng li"e
drawi ng will prove a great dil;.a ppo intlllem . Don', be d .... w ing i~ 10 Iry
discour.tged: kee p ill mi nd that this me thod requires a to rend er ~ figure
great de~ 1 of pract ice. O nce you have gained more with ~ , ingl e line,
experience. you w iU be able to vary you r speed witho ut lim nt: the
according to you r reactions, and you r line w ill be le3d rn >lll th e
more finn and de<;isive. T he imporum thi ng is the p3pcr. as ir we
expe rience that )"Ou acquire w hile pr.lcticing this .... ere d rawing the
eXttCise. Once you 1lU$[er the ability to symhesize figure's " ro me
using this tec hn ique. you will be able to m ake swdies with 3 ullgle
and sketches in the studio from memo ry. and WOn't !'ieee of yarn. TIus
miss having a lIlodd to d raw from. hd ps U$ dl...-.: lop
our
Line Control im pl"O\·isational
skills ~ nd m~stcr
To achie\lt'" an interesting line in a stu dy, the artist
synthesis.
mu\t use eithe r a ver y fi ne instru m ent or a ver y thick
one. In eith er case, you have to work quick ly, and
foI.low the subject's forms with a continuous line.You
can usc the til t of the pencil or gn.phi te to modulate
the lint'" by altering the 'width of the stroke. A 1l1arp
pencil produces a sensual, frag ile drawing, w hereas
gnphite. w hic h has a thicke .. line, will yield a more 1M gmpl1ilr pmril is (If~ if1M ffl(OSf
intense, energetic drawing. The result should be a lOll''''''"1y " JI'd "'fdia for ..,nking Ii,,,,
sati!;factory, uniform line that provides all th e drawing1, "'" liltlt br lilllt, 1M bdl-pcilll
inron nation )"Ou need for obtain ing th t model's post pI'Il htu f ormd a Ilifl lt IIIno l!fS
and ana to my. 1rotll'rofissiolUJ ""im ,Imllks Iv Ih, fillt,
ill/row, mId It.lfmiw lillrs 11u" il prru.~da.

Sr"lllel'" (OI/lO llri.!,g is ,,..rr 'lSiful fo r

lIlakilJS quick J/,uJits, wm:" 1/",
ionmcJi(J()l ~Id ~iWt,ts.J if tht
moJrI ..... (ll" p"'",i"",.

Gmphilt P"'"'s IMI1'

fXptcssilll' 111/10, (l pmril
mooe f TP11l /Ile S(lm{'
Ill(llm(lllH"rmuf il
provides lillcs pf /I
grr'akr mllgt if wid/hs
muJ ilttl115i,i,s.
 .g'h& VIRTUES P/'
NG STUDIES:
•
( GOOD FORM /y' PRACTlCE
he best way to approach a figure and the probleJll.\ of
T representation t h:l f it entails, is through the practice
of making studies of 3 model. Smdying t he figu re based
on a rough sketch is a for m of constan t learning and
perfecting for the artist.

A Minimum of Lines
In a ~tudy of a model , you should situate the prinCIpal
lines with a minimum of snokes, with no concerns over
w hethe r the resulting drawing looks unfinishtd. Doing
studies is a valid practice in itself and needn't be' justified
by a late r work. The grace and spontalleity of studies
hav(' been apprecIated by profess ionals and ama teurs alike
th ro ughou t the ages.

TIle T itne Fac to r

Quick studies are notes taken ill the shono[ time
possible. Wi th practice. the lund becomes more
assured, so du! it learrl!i how £0 find
solutions to any ana tomical
requirement.'fhe leisurely,
inconsequential tone of a quick
study ma kes It Clipccially
appealing. Often it
becomes a series of
small shows of dex terity
and visual sh:upnes,<;, On
thc odlcr h~nd , the easiest
• $lUdies t o make are those
• for w hich the're is no time'
limit at all.

Yo", lkr'ullbfloks II/mild ".. foil ifU/r<n, JI~Ii~

QI,d (mmt'i~ doodl(!f Il-;/h " " "PP"tn" oroer, ".".
any gool Grhn IlulII 10 Ci1f"liIt {o>rccpts olld (';I:rrrist
)'til" s/,r>,",-

I \
 >.

T he Use of H a tc hin g in a Study Tlw Imlclting .111 SIUdy Iv r the bcgimro;:r

In a >;rudy, til l' SkClcll ~hou ld b o;: light, never o\'I.'rdollc. l'lmll!d III' lIIilli",,,I. " i$ iT i. ~ good ;de~
It i. 1lt."Ct....s;'ry to find ~ blend oflig hl and shadow slIfflfinllln dij/;',r""-,,,r r (O "llIke st urJie~

Ihat compOOl'l' the fi~ure wi th its csS('n tia l d el11c nts.

An l'xcC"\~i\'C illSistC1J(T 011 ha tching is 1I problem that
llit l'l'a(lr,/ ilfr<1S fir IIsiug
sill'plr,gmy IWlrhill,(!
II
~ of fc m~ 1c fil:ure~
~ l1d ' IJn'fcrJbl)', 10
afflicts IIIcxpcrienccd artists, l11:1king Ihdr (lnlwings
mnfu>;mg. If you work III graphi lt\ it is sufficient 10
Iltr III/lilr ifll,r
""",illl'I
,~••!A,ill, R'pmmls I/Ir i {I ["hoose ~ model
who ;'\11', 100
nu k,' a Silllpll', hUIllC>gent."Ous g ray hatching; if using li.!i"M,,,,,rs.. II' I'•
•
Ihin. A ~ki"" y
charcO;tI, Iry d arkemllK tht." ~h3ded areas wi th a model i. h~rdcr
6ngt:rtip smint.-d with charcoal. to d ..~", ~nd
dcmaud_ s rea ler
anatom'["31
c)(pc.ricnCt' o n the
pari of thc "";$1.

"'''r f"rpt11f' <f" muir is ' 1(>/ te, look Ii~~' II fiuis lu-d
dr;nlli"x, bill '" sl.."" 1M (,..1",11>1' 'f '/,r fil:""" /1 . lr",tI/f
{mlSfl/l"" "lfil"I",(/"""'.for III"'" d"/><lm" d'llIl1i",'(.<. or
J'TII swdr ,Y lllr d'fillirir~' I"'jt.
HtII{/!i"S wilb rmll'tfP/p, /t'rs 1'''' '1"ickiy «lIn 1I/i1r;r.~·
parliN I if II,,' IIrG,/d ",iII"'lIIl,tII,j,~~ IG ,,,,,uI' IIIHtI ill
HUml{rJ ~r tlrmi/J,

7111' i'lSlnmomlS for I/wki'/j! !wdin W(IIt/d III' 1iJ.:/,t .,,111

,,,,,,,,bh-, 1111 II ~ Idea 10 olll"')," mrl")'" Jb«h"'~'k
jn l'll'" p«J.",
..
\
\

,,
\, \,
,
\
\
\ \
\
\, ,
\• \ \

\
,
\

\,
 "

OF THE FIGURE
n figure drawing the mastery arline is very important because.
Ineating
besides defining [he c;om;rcte {;on(ours o f volumes
3
~nd
scn.<;e o f direuion or vital impulse in the drawing. it
creates tensions and rca(tiol1.~he particular cadt..'flces of the
figure. A knowledge ofthese dynamic [cn siol1.~ gives [he figure a
sensc o f COIlt.1incd motion and a rhythmic se~tion that C:lll be
of great compositional and interpretive interest. Thus, figures
appear to be described by a str.mgc equilibrium dominated by
action, in a constant emwined 1ll00ion and violent inflections
time alC propelled by a force that, al tho ugh sometimes
overwhelming, gives meaning to the post' and unitt's all of the
linear elements of the figure.
 £
"
----------
•

hydun is an important concept in d rawing, taken from the

R world of music. As in music, it is created by alternating
between accents, silencts, and neuml pasugcs.A pose has rhythm
when it is ha rmonically dynamic, full dyrumic alternations. The
distribution of these alternations determines the attraction and
intt'mt of the draw ing's rhythln Accents in a drawing are the-
a\ttt;ltions of its continuity; for example. a diagonal inlerrupts a
vertic.alline. and vice versa. A static, symmetrically positioned
figured is the ant.ilhe~is of rhythm.

[7lu~ INNER RHYTH

FIGURE
The Line of Actio n o r Strength
For a figutt to attain an impression of equilibrium and rhythm. it is
Ilt:Ces.sary for it to have an ifl[ernallinc, an imaginary linc that extends
across the Icngth of the figure. in oruer to articulate ill; rhyth mic
effect. This structunlline. known as the line of action, sho uld be the
bam for any dnwing of a pose or movemcnt. Working with lines of '-

J
force allows us to approach the internal rhYlhm without the ftgure
becoming unbala nced. When constructing a pose. it is preferable to
first exaggerate the line of force and then take it to a more realistic
position; thus, we endow the figure widl an energy and Illotion that
\'
would probably not be perceptible in a rigid. conventional pose.

111 " bock I'ieu\ ,Iv

Jrg"re~ illlfl'nal rlryrJllfI
is rlmrl" /fu,jll.R"'s/rcd
by t/ir /jilt: desaibi"g
rl,e badlbotrt •
/,

•1M rl'ythltl is 111<I.wd by 1111 immw//ille IlulI s1''''/!.

11K bc>dr fmtn II~ I,tad 1(lliwftc' muJ (01/1'1'1'1 rl,l'
,,/IllUde if tile 1"'Si' or (I(/i"" rarricd "Ill by rl,( fii!."re.
n,js imag£ slwws /I slTirs if /l/IS/lbJe wa<>6f11 ..wdlls
/lkmgsidr tlwir ("'rtSp".uJillR myl/""ir lilln
 "

The Expression of Gesture If we furce the

In order to capture the rhyt hm o f rhytlunic line of
a figure, it is essential to learn to the body, it
dr:1w its gesturc.Yoli r drawing assumes a nlOre
rJlOuld be nuid, like a doodle, forced tomon,
capturing the internal form of th e which mlnslates
figure and reflecting its intentions. into a more
Mter drawing th e line o f expressionistic
strength, attune th e gestures of the rendering.
drawing to each otller and capture
the essellce o f the body: don 't
allow considerations such as the
figure's contours o r m easures to
confuse YOll . The drawing should
be quick and interestin g,
preferably with no consideration
given to the contours or fo rms
outside the figure, attun ed to its
rhythms thro ugh the gestures
COIl\'C}ed by yo ur hand.

W71fr1 HUlling" gtvIIU'lm

skrcl" it is NSfJltiallo"
TIw lim; of actio" is the imagi.",ry rl'yllrmi£ into atUJUnl tM ,Iryt/lm of
UHf
,-lUll' tlU!tjftrt"
IIUlI fpatlS lire 1",'8'/' of the fw",t 10
"""iot•. /.. tl" Jel of
modrh NIOII; lhi. /iJle is mooified l'llCo,diJl8
the figure. 1k my/hm will
N lkstribfd by CIiTIIt$ ami
qlluk strokes marking the
10 rlw acriD" ~ifOfmfd by the body. inlf>Htion if Il,.. body.
 II
I ! )
l \

SOFT LINE
AND ITS MODULATION
T he' rhythm of a line and its modulation is an
importam value in figulT dr.iwing. An inlctt'S1 in
the fon ru of a nude should be C'xpm.~d by the
chOlTm of the dr.lwing~ linC' strokes. This expression
demands som e C'xagger;ario n, ~i mpl i fica tio n , or even
chang~, all of which are completely leb<1tilll3tc if they
iruclIsity the visual quality of the \vork. T he'
d lllr:tCteristics o f a line used 10 d efine a contour can
transmit the l1:tturc of the [oTm, its materiality, surface
texture, and visual charge.

D escriptive Contours
,,. _-------->
Descriptive lines art" those w hose ollly g~1 and
function i~ to drscribe the profile o f forms and their Drstnl";'''' ...,.""',, is r.\-ptmnI &y a """ IIIIICUS lilll" SI.w.'t'
\'[)lulIle$. These lines arc responsible for the styli7..:ltion Qtulltas a pmt'/y rornpomlw,,01 jiluJill'. /1 fimtlWtIS itf n
of the forms that v.-e have- prt:viously discO\,'('lTd , and p,tt'ric sI.... ,tlt tkst:,ibiui! III( pn!fi1r ifI,"J'Rmr II1i,I,....,
they rdlect dIe u ri5ts perron.1ll visio n and stylistic "1!,<ffff jiw ils uvI""'l" (md 1I,oo,/i"g.
essence'. Dcsc ripci~ contour develops an authentic
creation and o rga niza t ion o f ana tomical form.
Modula/cd Jtrokts I!{frYI /lrr df1,tlt if tllr lillI'S. "I1,c;/
l\lnr" IImt";,!~ lItoot.Jarcl1li",·~, It(l/ 1"I'SI ally SIIm..'I' ",ill 11", Ihi(lmcss ""irs rlrpl'lldluJ: ,}II "",WIlier llie mra /)('IIIJ: ,lm"~1
"nl(./it'l' /i,/tj bt'lcoW Irft rtpn'$Ctll tl)(' mMI rommOll stroJ,.·('J
a,
1$ ill liJ:/rt sltarl/!'U'.
1~,II,y 'WI*" artists-lilt')' art" brot'ftl <l/tlllll'S'-'aHl. l1tr
fou, 00' ,III' ~tlarr IIII' ki..ds ifli,tC'1 alllalrll, amSIS maIM
uri,,,.jar:fi,."., bill mritd III tllri, ImmSlfy autl Iititlmtll.

,I
I

\
I
I (
 "

Contour Intensity
If a line is th t' same consistency throughou t, it
encloses the nude too coanely, ;md f~ils to express lhe
nuances oflight :tnd Sh3dow. A drawi ng rendered in
soft linL'S should ~ I terna te thick lines with finer ones.
Fine lines suggest a lightt·d art'a, while thick lines arc
perceived as describing shadexl pans. You can
emphasizc a line by rt'tracing if to give an illusion of
depth o r create shwows. If the thi ckn~ of the linc is
I~~ u la ted and fhe tracing is agile. the line will have
'Suffitient \'isu~1 appeal that it will o nly require a fe-. ...
sllml ~ary additions in ill> h:uching .
•
Line and Synthesis
Drawing in ~ofi- lines is in large part a synthetic
exercise in selecting contours. Linear symhl'Sis play:;
3n important prKtic:11 role whell dr.\wing fhe human
/' figu re be C',1u~c it allows us to quickly n:nder a figure
0.101' )'011 Iw,'t rm"t~1 pmnitt with d!tforrll' ki",/J.f in a spomancous attitude at 3ny time or place. A
JIniTs, )'1111 williif' oUr /0 ,"Mlliall' ,II,. li,U' til$i'y <!J )'A' s}'Iuhcfic figure or sce ne contains aU the necessary
d""" MMII/oli,,!! 1/11' .mir 11...... 11 <ury";",!! flu> ,,,em,,,' fIt,d information fo r the viewer to rccq,'TlilC the figure's
thirl...,1nS iflll( ,j"l'
tmWt/j,'E /0 r/lt',rfft!s if thl' d,m",,,!!. iI, different actions and b'CStUIl.'S, captu rin g tht· gnee of
lIftltr t.. dtwilot' rlU' wlm".. if,/,r jig"" ""d ilJ '!WI its motion.
liS"ifK"''' l(>tllll rlllllt(!n..

Ajillf' I~ js IIl'MrS Os.wr;old will, r/," I,.rml« ti1i!llll For If bmf' .",dmlm.d"!I: ef"/(' lm.Ycdl"f,; (l!WJ, roll$ldrr
"" "'1' flJZ'If"; i, to /III'S nJ 110 mrp.;se, Ihm,li'iI' "filiI' /'"(, 'his drf/d, '!r ,/rr smnr fif.ll.rr, III whi(J/ liglo,rr/ ""d s""ded
""S "led /0 muir. 1/,(, I~fi-I"md 1"4i1r if ,IJr Ji.~"Tf' brl~m 11,...11$ art' d ..mly IJif[rrt'II,ill,rr/ Iw" If""""J smy ""u/""s.
A Ihid.: lill" 1t'/'ri'll'rr/s" grmlcr I'n~ ..,,(r if I IIlU/"II' mill,
rllIlS, II!I',kf {I ""ul, ",0,.. .tlji";/;,,,, /rrKf', Ilmll~r w;,I, <1
gt>,rro,u SIrc!'(. An <! m~t:t i\'<! "'1l)'
, - .., - '1 of mastering the

~
soli line is to dnow
. the sin lOl.lcttc of.
figure without
tak ing into a count
7,/ iu solidity or an)'
) r otht... internal
I'rojeaion. Follow
the OU l er edge,
ignOfing what b'OCS
on ill$ide. Th e
objt~cti\'e or the
o.;on!Our d r.winG is
to :lCh ie,·c .. n e"lICt
eorll.'Spondenc:e
bctW\.'CIl the what
the e)" 5t'('$ :0$ ;t
rOll(lw$ the ~-dcn
of a fi:.'n' and the
]illc the hand draWl
to repfeSenl il.
 oIumr
V on
wha t

SPOTS

Shading
If a fi gure is lighted powerfully, it can be sketched
with spots of colo r, with hardly any lines at alLThe
d~wing should be a synthesis oflight and shadow. of
ligln rd areas which we Ieav'e blank 011 the page and
the sh~ do\','s that we stain using cll;lI1::oal or a piece o f
chalk laid full . T his process o mits the details
altogether, but incl udes the spc.:ctrum of middle grays.
The limits of the shadows a« also as good a refere nce
a'i rhe linl'S of a box-skcrch, pan icubrly in models
thaI hl\~ a wdl· defincd o utline whose contour
prcsenlli a dear C0l1tr:l51 with the bac kground . W """, liN' fiR"" 11M JlUfI'p lOtlll<l$lS
ill fig/I', i, mil br Jknt/It'd ",.,h Jp<'Ii
IIIJ'toQ r{ /i,1n, III mill if 11N'1l' II1m'
l'lIJI'S ',~ spoti .w.k /0 l/",pt· '''l
A jiw ,/lOIs an' j.!/flliml for JI~lillg Ihr
"I¥Ollltl(t ,md post' if ',~ f!R"""
h"",nll "''''/(lfII)lfj '"" """,/ It> shaM
quu-kl" 'j/f' (an uS<' ,ht t/cwic J?WY Muhi.rg.
",hkh (~lIsij/J if JII'f'uhn if pmnIld ",nth
N~lilt J""" ilK' 1(I[/Jlrd "'MS nrt Itji bI""k,
wilh oolf1r "'I')' lilla or mtnlu.
 Hatching
In a rough sketch, hatching ean be
madc w ith a motion that mimics
your first. tentative lines, lCtlkving
l preliminn y tonal and 1l1odelifl8
intention .T he strokes ean be
dt:cisive o r Shlley. This techni<Jue
relates the construction of
shadows to the expn:ssivt:lll'SS of
the stroke. so il is linked with
1
calligraph ic muters closer ro the
realm o f wri ting. This a1l0\\l5 for
much gll:ater gestural expression 1. In these th ree sequences we 2. The tones th.u serve as the basil;
in a sketch based on h.;uching. shall see hO\v to practice sketching fo r the sketch are 1l00V complete.
with spots. First, using a to rtilloll The series o f Sp Ots traces tht'
Drawin g with Wate r colo rs or a conon ball lightly stained structure and pri nciple ma.sses of
A good way o f setting up th e with chalk, we draw the shaded the figure and providl'S info rmation
drawing il; by practicing tonal parts of rhe model on th e paper in about the localiol1 of the light
w.ltercolo rs. Before starting the a highly synthetic, simplified source.
drawing itself, we place the modd manner, leaving the lighted :P.relS
in fronl o f l single source of light, b lallk.
lX:C:llIse shadows become
confusing if there an: several
sou rces o fl ight at one hllle.
&.forc: hatching, we can lightly
2
draw th e outline of th e figure in
order to have a tempbte or
guidd ine for workin g. TIlen, U!iing
a flexiWe b rush. we q uickly and
nimbly apply da rk watercolor on
the areu of the body that are
shaded, preserving th e white o f
the paper for the m ore brigh tly
lighted nea.~. You will hlve to
forsake any intermediate tones:
precision is unimportant in this
drawing, so don't waste time
repairing forms and outlines.

3. rinally, we can add a few

strokes deuiling the structure and
prolile of th e figu re. The line
strokes comb ined with the spots
give the drawing greater
consistency and solidity. T hl'Se
Slrolet.'S were made wi th a pencil
the same colo r as th e Spots.
ATTITUDES OF THE
HUMAN FIGURE:

"As paiuters, we seek to usc I/le motions oj tile bod}' to

sl/ow tile motions oj tllc soul ( ... ) 'DillS, it is mldal
rl/at painters have a perfcct knowledge of the mot/oIlS oj
tile body and learn from nature in orner /0 imitate,
however dijJiwlt it may be, file IImltiple motions if the
soul. "
Leon Batti~ta Alberti: '/ lIe 'l1m" Books <f l'h;IJ/;"g, ]435.
 ,
~1
., £ . f
1/ . . ..
.
I 'it'
;;$"
,. I l ;
.
'
ANALYZING
POSES
 .,

here are no limits to th e possibilities fo r creating im ercSling, striking

T poses. Capruring th e energy and dynamics inllcrent in the mood
depends in grea t measure upon the artist's dlOlce of pose and gesture. When
~ speak of gesture we refer not only [Q the model'~ ll1an n erislll~ o r the
features of the face, but to the e ntire body. Every person has a particular \V3.y
of walki ng, sitting. posing, and manifesting h erself physically; these arc the
unequivocal marks of her person, and we call these marks gestures. The
gesrure of a figure transmits lIS way of being alive, its actio n. By defining the
expressive angk':S and directions of th e body, we can capture the essential
gesture of a p ose, implying its inte ntio n and energy in a natural way.
 ,<

gJc EQ!)ILIBRIUM
.o/f;',' POS E
he equilibrium orthe nude is a vcry import:lnt L1Ctor-thc
T verisimilitude and slability of thl' compositio n dcpclld on it. Evcry
Ill"V pose p"-'SCllts a d ifferent problem to be Mlh-cd ill its com positional
balance.

The Stability or the Figure

The t-quili briulll or lh(' pose is an im portant f.1 ctor w hen drawing a
figurc. T lwrl· arc lim its to 110w mu ch a hU1l1 all bcillg ca n tiit to 011(' side
or another w ithm ll falling ove r. T ilt> tas k. , 111t.'n. is to CQllt roll hc stability
of t ht' figu re so that it dO\;s no t appea r to Ix· 'id ling to
all<: of its sides. T he (llll'Stion of equilibrium is
!lot a problem if the fib'U!T i~ scated o r lying
down. TIl(" risk of imbalance OCC Ii Tli w hen
ti l<' nude is standing. part icularly ill poses
that involve any violent 1ll0\'cm cnt in
the Ub'1lrc. ln [his type of llose,it IS
possible to become d isorklltcd and III a 1« 1/ "K'''' ojn 'lUdt, lilt li,l<' (tml(d Ily
lose the horizontal axis. creating an '11r bnrklJPllr {/III /J( ,,;cd <If " " a..:ir trf
appearance of instability. J)'mml'' '}" olln""'1J! IIJ /11 bninll(r 1/",/KIf'.

A f l"nlllr,ri{/ll m"'fK'S-;"Nr / !1Nrllff J:'f'I1'"

slabilily 11"'/ IlIIlmU'l'. III otl;SI;' rlm",j,(~,
symlllrlry ~1r",1M .In! ht-1)('!(rrI. "I111" 1II0S1
mll/lII,lI' miulillll is I" dir,.,J{/(f' Illl' dim:lioll if ',----
Il,r Ilroo Of "'~ of rh ornu 10 tlIl{'ir/ 011 ~(ffrl
if WIlli Jy,~m('rry. \
-c..r ~I
"nt.. lillt" ifJ!fI1I.11r
~
INIj!II. if lilt'
J/1II11J IIIf'
jl$!mf' jiPIII "'11h>
botIOf,I,jmw lilt I I("(I/ I<>
\
,

\
IIIf' Ionyo of ,I,f'
s"I'IJPrt;'1j! 1f"R, on rllllilk
11,(' "'1*111 '!f Illl' IlOdy
rest!. ,
'.
 .,
,
Firmness o f the Feet
\ A fn.'<Illcnt
The figll~,llo matte r w hat pose it aSSUlIles, comcs ')., mismkc that
into ("ontact w it h a Stlp(lOrti ng surface through one or ~ f, ~nlll l eu r M tiUJ
bOlh feet, tile b uttock.~. or the hand~. TIll' m anne r ill Ilr:lkc is It> til t the
which this con n c! is produced expbins the support :tl; 1 figure forw"rd. To
well as Ihl' cohcTl'Il("e of Ihe pose th rough ~,. m'oid m~king this
tquilihn ullI, so the entire lxxIy should appear
coheTCn t w ith ~pCCI to Ihe position of the
d'
-.;
miuake, you have
to project tm, lin ..
txtrcmitics. A frequem erro r w hen drawing sClndil1g • _ _ _ __ _ _-,J uf gravity omo
figun.'S h that thl:y do not appear to be touc hillg tht""
1 L
the sko.· tch .
!':round, and look as tho ugh they arc float ing or
imbahnced .
.-f
The C ent er o f Gravity To ",/"',,,r 1I11'f"II-bIl/a"rl""fwuc, ir ~
A ratiollal IIll'thad of ~r ifYi n g the e{111ilibriullJ of a ;"'JI"'/allT 11111/1/11" l)/lsi/iIl" IIJllw I?!s Ix-
Ilude's pose i~ to find its cem er o f g t:l vity. Tl1C center (a.w;",;.'.': I1mlllll1l Ilwfirl 1".fi""I),
of gr.l.Vity is u~ua lly found ill the abdominal a~a fo r JIIIII'''''l"d..", 1111" fl'~". fj" ... ,akr II,,.,..
standing fib'llreS, or :1.1 th e base of the spine for a nude ju'on ;mp <11"(.'",,, ;11 //tr skru/" 1111" ,nt <1
vil'Wro from till' back. To check thl' stability 01 the t"t hutr 51It'll1d appro' /",/a'I(NI.
figure, all Olle has ( 0 do IS imagine th at center of
gravity and extend an imaginary venical linc from it;
if tht" line diviclcs the arca supporting olle or both of
the feet. the figure has a good e<]uili briulll; o therwise,
titt f('prt."Sent:llion is imbabncccl and the nude is
un:tble (0 support itself on its fee l.
"l7tr /i"1" ~rg,m,'y 11/1<11,,, 'IS Ie> rmllrol,l,.. ("q"i/ib,;"", "f ,/,t"f~"rr.
Symmetry /" II,r.fim ,(I$(', 11,f' /ill l" ifJ,:1Il1.; I)" tlm"~1 ill ,rtl,folls OI"$i"r ,f tilt
[11 a flat ~presc nta tioll and in a fiunt:ll view, the fioN slll'l'llr/ilt;t.: 11,(" l'llSr, If) 1IIIlIIIII".fi~I'rr al'l)/,ilr1 ;"'M/I1I/ll"d rl1).
hllrn all body SllOWS a series of visible corrt'sp olldellcc5 On 1/11" Mllrr IImlll, if tIlrfi,~lIIf foils illlmlll pflllt" /i", if):IIl,·i'J·. (IJ
:md ~ym lll e tries thllt gi v~ (he fl!,'lITe 1I b'1"cat scnse of S/'Ollll illlllr tim,,;)!\.' br/llll : it ",ilium a,l/}('a( ;1II""II1I)rrd (1J).·l1or
conlpcns.1tl-cl l'quilibrhllll. For th is anlilysis, (he most rqlli/iitrilllll oflllr ""dl" ((111/>1" ,rrifil"dlry Jmll';,,!; Iltr 1'f'Ilim/lj"r If
important linc is the o ne [hat di vidl""S the hurn.:m gtm';l), alld tlt«k;'1j! """"/WI il plls ",jl/,ill Ilrl" /lim 41ltr Jm, .
6gure in two when vlewcd fro m lite front. SIIl'JlONiug fl.t" flt",r (C}.

A c
"
 M

VARYIN G flu'

POINT q/'
VIEW <
hether the sketch is static or in it is
Illotion, I
W i nt('~till g
to d raw the 6gure from different
points of view and walk around the figure it as you
~ketch . Every point of view offers the opt ion of a ,
different pose. Drawing the fig\l re frolll the front ,
from the b~ck . o r in profile implit'S a diffe rent
technic:!1 and psychological tedlll[{lue.

Studying the Pose

Ikforc drawing a nude. the an ist must consider
which 2lipectli he wana lO develop in his work: linc,
hatching. color. c hiaroscuro, movement, etc. Certain
poses allow one to develo p some of these 2Spt'Cts
belte r than others. as we haw aln'ady said. II is
interesting to obseT\'C: the model from different po ints
o f view and walk amu nd the figure as }'Qu sketch.
The best exercise for determining the focus is to look
at the scene as a whok~lo \~ lk around the model.
cho()sing the most {'xprcssivc and effective angle,
Every po im of view constit utes a d ifferent pos.~i bility,
Technicall y, every pose requi res d iff.... re nt solution.~,
with a grc~cr or k-sscr role assigne d to d r:lwing,
co lo r, or chiaroscuro, "

77M' firm rlll vift,' is anlOl Ig fhe mllll a flmcril)t 10 aM"'; trol
Pllly aM,S il l'mtidt' a view if IIlrJOO', bUI a/rolllal vir", if'
IIII' llOdy l'I'W'IIfS"liifs and drlll;lj f/ wl '1'IIl.l.~' l/rl' haftl,illg
nom mMrliug of tire figure mrnr illlrn1rillf,l.

til I'IfIftr UI IJnUT ,u,dmumJ t~ modd, r'" IIIWI' /0 study it

fU a u41l)~, and onaIy.u Ut( SQtII(' pcoc}ioo' stl f'mI difJM'nl
poinu (If IIiru; tI'<I/.I.';ng o""md tIll' model 01U1 ~'sUilIi.>: ing il
;n ill I'II I;rrly.
The Frontal View o f a Figu re
To draw the nude from the from implies personalizing
it, transforming it into a particular person rather than a
generic model. T hus, this type of pose more clo5ely
resembles the idea of a portrait. Although the purpose
may nO[ be to make a portrait, the fTOntil view of:l
nude forces the artist to pay serious considen.tion to
the face, and this means endo,.... ing it wi th exprt':SSio n .
.,," Jrgtlff! infron/Ill ,,;tIl' mt"im II I!IIIIl' If we find it hard
The Nude in Profile
11nW.1<lI;:ud / U'lItm rnr '!f rhr}xr /Iud II I l..'f'Ir/lirr tn understand the
We could almost $;\y the opposite abou t the nude in
mullIJCI! if 11K' rt'S/ citllf" bcdj.: flit ",vdtl in figure from
profile. The contour is the dominant aspect of a different
,,"!fill', en /II(' ()/Il~ IWHd, rrqHira" IIIC1I'
dnwing of a p ose in profile: the form of the head, d"'llikd /U'"',,,rnl if tllr bcdy~ alll/Cllr$. posi tions, \\'C can
facial features, shoulders, torso, abdomen, th ighs-in usc ;\ model like
shon, of the entire figure.· rh CU' clements can be Ihi~ WUodell
represented wi th a sillgle, continuous line.This does m:ulncquin. A~ an
not mean that th e volume and modeling are e"ercis<:, il i~ very
unimportant. but r~ lh er. t h ~ 1 dlt.'}' ~re subo rd ina te to I'r~cl:icl\ 1
10 I'l:t(;c
the lille of the fi~ure. [I is worth remember ing, """"- Ihe d ummy in Ihe

1_ ~
however, that a figure is ra rdy entirel y in p rofile. SlIm" pose ;t) ~
Some parts of Ihe w hole appear only in a frolllal or • live model,
back view, making a three- quarters view advisable. luming ;t ~lld
makin g ~ut(;h(;,
The Nud e Figure Viewed fro m B ehind ,.- of if from
The back view of a nude, especially the female nude, different poin~ of
is a recurring subject in the b'Cllre 0(imil1l3te figure view.
dmving. T hese drawings cre:ue the effect of a figure
bring observed by the viewer without he r
kn(J\,\~et\,'e.
This impressiou of naturalness pTOVei to be of
\
\ ),
great psychological interest. Technically speaking. a

i
rendering of the back--m~le o r female--can
:w:cemu~ te rile analomy to a deg ree that it becomes
interesting in its own right.
\;>
~--.
tll..,k ~;I'U' of tlJI},~'U' rr'l,,;m lilll~
IlfrWlInli;rmic" Iml n glrnl dml if
lIloor/i"g w Iwll' drwil" llor ,,,,Iumr!
'!f llof bIIdy.
 <

( COUNTERMOLD:
DRAW ING NEGAT IVE SPAC E
ftt'11, thc succC!;S of:l pose lil-'1 in its nega ti ve
O ~pacc, in noticing and rende ri ng the for m of the
background, the empty spaCt:s surrounding the figu re.
If we <in\\' Ih t! forms o flhc.:st, various spaces, we
also en d u p draw ing th e fib'l1rt':, bUI wilh g rcottc r case.
We sulve the problem of composition (hus: Ihe spaces
and the fo rm.~ arc ullite d w hell we give equal
impo n ance to all the pieces o f the puzzle wi thi n t he
m argi ll~ that limit the format.

AIl31)':.r.:ing the C ounte rln o ld

T hl' Im porta nt th illg isn 't d r:awing an an n o r t he
position of the.' legs, b ut rather ta king up the form of
lhc.'SC body parts by relating t hl'lll abstractly to the
space- that surrounds thelll, looking for the Ilcg<ltive
fornls, o r (OUlllermo ]d , o f t he figure . Therefore, in
order 10 unJnsund the fo rms o f the modd we must
know how to identify the fib" JTe'S cou mc rm old.
We SUID,'Cst n very sim ple e xerc ise thnt consists of
reprcscllti ng th t, h u m:1II Ub'1.1re in the choscn POSt.' by
d mwi ng t he d ifferent chi aroscu ro val ue~ o f the shapes
t hat sur round t he model, wi th o ut usin g lines (Q g ive
t he111 their countcrs----simply using hatch ing bnsed o n
tr.lcillgs that reduce the co nto urs o fthe bo dy. We
reali:le it isn't easy to scp.u :Jte t he fi gu re from sp:Jce,
but wi th a bit of concentratio n and practice it can be
done,

II ,!!('<!(f uilly If' nlln/y.u lis,. I~'S" js Ie' fi'IJ:f"I 111~'II1 tI... ;lIIrwnl jllf!"I
rf ,hr " ",ar l 111111 (()/Ilfmmlr ('" ill l>njilc, d",,,,j,,gjl'O'" II,r IlIllf/tillg
of llw <'I" llIy Ip<I(n ,liar mwlrp II"' j Wlllc.

'n,(" (J1'I,/i((lIj'l/1 .1 /I (f'll/ l lmltoid i" II,.. hl1lr" i",f $11Ifl<';S " """,,,()/I
<ifnIfill rm illS, II,,' 00frt';1If' 1" III/,iel, is 10 ""tkrJ«,,.. M IIOIIrl ami
Imfi/f'J h), IlSj"R INI(JI (O"'nul.

"\ ,
-t\
"
Solvi ng Foresho rtenin g
\
Abo\'e I II else,
Problems kee p in rnind d ie

~
We propose the following me th od sp aces cOlllaill"d
a!i the most effeclive means fo r J,. i n~id e the figu re.
solvi ng SOIll!:: particularly di fficu lt Iflhey do 110 1
problems, such :Jli fon:shortcncd ..: malc h the lam e
figufC'!i. l 11e only realistic solution fo rm II. those ill
to lile problem of fOre!ihOTtcning Ihe n:al model,
is to draw the fib'llfe just as ic is, "171(' ""piirilli!'ft if .. the fi gure hili nOl
not as o ne imaginC5 it to be; to sec ct>.",tm oold if C'1pfrinlly been i ketdled
it as a geoUlt."tric figure, observing uJifl'/ 1i41C" ,It..fif(llrt' COT1't'Ct ly.
the nega tive space sur rounding it. prnrllls romplrx prun SUi/'
O nly dexteri ty and exper ience QJ ,lIPS(' Ii'l' Ilbsn~'C' ill"

c~n hel p one to really sec and
w rrt.'Cd y rende r a foreshorten!::d
11mb.
""'lmpasICL I" 1/1tJt (""1'3,
u'"' will/,y /0 ",wlllizr lit ..
""'ply SI'Il((~S i" IhcJi,Rllrt ~
(xlcl iO!' hI ,mlrr Ie' ro,raf')'
sfIllllI fir,. I)(ISC.

A s~1th shoo/d not Iw a "'pn!1tnMIWn of

<In Udnfrdjil!""' b"l nil inlnnttiOl1 OJ IM
f lJlu", wilh I/J,. " m ounding spntt, Da,1I
/inN in tht b<l{k,RRIlmd spa" also kIp M
<kji,~ Ihf profile of/Ill' hetUI and s/Jem/den.

i -
 ~

"',,
,
<

WAYS (q/ SEEING I!t£, FIGURE:

OPEN ({lit! CLOSED APPROACH ES
ow an arlist m e body will "se(,.~" determ ine
H which he o r she~ pproach
take in expressing
will
the figure. Among o ther L"1C(On., tht;: artist wi ll have [0
dccidl' if the drawi ng will haw an obj l..'(:tive,
descr iptive then II':. or a mon: subjective alld O p CIl
interpretation .
TI,e rlosed fig"'!' is
1)1'ifird II)' II /inf:llr
T he Closed or Descriptive Drawing Irrlll",elll o;f II,P
The finish ed o r dl..'Scr iptivc drawing pn:sc nlS the fig/lrr ~ Q"tlillc and ~
visible rea lity o f thl' figure in a way that shows off tbe rirJ. illierim ",,>drill/g.
Illastery and ability o f the artist. T he radicalizatio n of It is II,l' (/"5(,S/ I,> a
the analytical fim ction magnifies the finished effect of r/cwiml 01" rt£adFm;(
t ill: drawing. The profile o f <I descriptive figure tends /I"('{/I" ,eul.
to be iinl..-ar ami clost-d, iC'Jvi ng no space fo r
improvisa tion and subj ectivity; it is ii:r niH:d to the
re-creation of visual experience. Descrip tive drawi ngs
disp lay a constant effort to forsake co nvent iOIl alld I
give gn::ater importance to )lleticulo us allalysis, SO
that the dldwings translate in to an exact rendering of
the human figu re.

A $!.romclri< s/..oelrll nil' ralllOWr of IlIl' fiJ<."'" is

madr wilh dosrd ,,,,,,,lIy dcpirttd fillly in II
figurrs fi'OI'idt'S dosed dmr,';n$!..AII if ll!l"
Jolidfi$!.l'rcs willi f1J?l''''~ """1"",),, " S u",11 '"
Ihi{k lim's 111111 tht' 1iJ<.1Ir /llDlj"lIs DIIIIIl"
fI{(rntHatr IliriT bad)", /If(" r/c,,/lr JcJi"Cti,
owtlinN aud leovi,,!.: /il/le 10 lilt'
I'OI..nuolfit ;"'''/<.;11111;011 "f /ile ";l"W<'r.

Ink prod uces a

uniform, lastin g.
worn-aWlly line
Ihat prm'cs ve ry
atl mcti\'C w hcn
making ~uggcsti\'e,
rough skcu::hc. o f
open figures.
 "

The Open Drawing

11" oprnji&"re is" lJidfor roct l};
ingl'll"ity. 11m! ,""tivity instr<U1 ~f
«adem;ri!m.fo, lIIJ!g(!slion. mt/u!r tl"ln
nltional (ltd..,.
In suggcsti ng th c for m instcad of
explaining it com plcrcl y, [he open
d raw ing requi res a ma rc poctic
treatme nt. allowing tilt.· spcctato r to
romplctc it in her own im aginatio n.
The o pcn drawing, th rough its
brevity and un mt..<Jiacy, can al~o be a
medi um fo r crystallizing idc-$. It is
accom plished by suggt."Sting ccrtai n
art.-as rather than completing the m,
subtracting a fragme nt o f the
drawing for the purpose of
interesting the viewer or drawing
hcr au cntio n toward that po int and
allow:ing he r imaginatio n to deduce
o r co mpletc it. Suggcsting the form
means rcspo nding quickly and
spontaneously to the artist 's v:ision
o f the Illodel and traci n g thc precise
mo ment o fthar visio n onto the
paper. Natu rally, th is Illt.'ans tha t the
artist's compOSitional problem is
IIl On: o r koss solved. and thc
geo met ric sketch of the model is
i ln.-ady more or less correct.

Oprn ji$!l</f"S tire cill1miflT;;ud by " "("'" A .•

IIW,IU' .flines ill Ilw lightf'd I!atl, if 1m,
body. $(> Ihl1l Ihe sllf'<:Mlor must I$t"b/ish wI,el"<'
II.r jiglJre rnds and III.. bfllkgroomd begi"s. '.',

Agtomet,;, skeICh if'ln oprtl /IJ!IU'f is .u"'''l's /

suggt'lli.... and SO>Itru-h", ;"dlji"ilr, l1"d should
Y
,.
lock "'ifi,,;slw. ,,01 quile solid.

.
• ;Y"

l . •~
.c· .<ii§.
. ,.". " -
\
 ,.
i,.
,
j

he standlllg figure b'CneraJly ~nts (cwe'e r problems, ~ca llSC

T each part of the body can be d early visualized. In C3Sl'S Whr:R
there is a problem with the body's proportions, we can always tum
to the classical law o f p roportio n.

STANDING
[?he'
POSE CONTRAPOSTO Of'

Synunetricftl or Asymmetrical Figures

Representations of the huma n body an: rarely symmctriclil. Artilits '''''l' 1'/
try to draw the model when it is Ollt of babnce, m.... king 1 motion
its arms, or ill a d<.'.1:CTlIlin:u c position. T he frontal, symilletrical vil.:w is
used only in ha ndbooks for study ing thc body's p roportions and
practicing d rawing in general, and is rarely represen ted Oll[:;ide
this contt'xt.

A Jron/Ill "1" t$ffllilli/m if filL

Jlnndin1!.f",," t sl,.,,,ld lll'oir/ txlrn;,'I'
f )"!,..,l lry; J}."lttfl,i<nI pmn ilK

Min J"j,~d 10 t1n1ll""')' 11'Xtb.xJu

than nmJl jc dmuri~.

During the carly

~tagcs
o r Icamillg.
it i$ a good
eXl!ttUe to copy
classical \

V
s<:ulpturcs in
pluter, w hich
diminalcs d ,e
problem of co lo r
in the dr..wing . . . ..,~
TIle plaster
model is ideal fo r
p racticing form
I\1
J\ Any WIlY ifIlIOI.mrall
and the pmmlnl by rile J/(rnd;"I!
r l.'J'f"CK'Ilf3 l'OIl of fiJ!Utr t body is dett-r",;rwd by
light and shadow. I/,r COfI1mlw/o. 1(1 tqJmfII l
"'Off! forcfd l"lMS ;1 "'ffu:rs 10
","m ll llll'" Illf !I"pe if I!,r Iinl':J
oJ 111t' shouldell <!lId llips.
 "

The C ontrapos[O
Contraposto is one of till: most ifll'l'l1Iul/yzr 11i( bo,Iy's skelaoll, u \' fi"d 11101 if IIIl: , ....ij:/II of
commo nly drawn P Ost'S. T he liI( body rem on one Ir~ nw~ Ilion Ihe 01/1l'T, Ihc /111'/'0111' line
contraposto or ischiatic position is lil15 10 0111' sidr (1). IVhcu ,I,au';'Ij; II~ 101$0, Itllill" lillJ ill I"~
determi ned by and inclinatio n of o1'1'osll( dlf'C(ri,m, mlll;,'X IIII' rolll'''IwSlo P<'silioll (2). ·n.r UI'I1tT
the torso in th e: Oppositl' ru re('li o ll lorx> U d carly difiurd by IIIC lillc '!i I/Ie s/wuldcrs, ,v/,il,· '''e /1lWr'T
from the pelvis. It is so na med pari is dgilll'd by IIII' li"r of III€ "ip/xme; ",ii/, I"is III milld,
because the ishion, a bone located IIOlitr /""" ",illl III( lill if IIII' !.ips. lilt kllers 1Ip/>Cllr 10 IJf III
diff"",'1 IlIj~11/5 (3).
in the l lpper pelvis, tilts to one
side o r the o ther depending on
the position of the: figuw. T hus, , ,
the weight of the body rt'Sts on
one leg while the o ther leg
appear!; reia x(.'d, in an atti tude
similar to a sold ier at ease. T his
tilting motio n of the hips is
U5ually accompanied by the tiltms
of the thorax in o pposjrio n to the
pelvis. Yoli can put this to the tcst
at home if you like. Stand in fron t
of a large lIIirror. Keep yo ur ft.'et
apart so that all of your weight is
evenly distributed, and tht:n rest
all of your weight o n your left leg.
You will fi nd that yo ur hipbone
tilts upward at the same time as
the shoulder line tilts down , and
vice versa. ,\
.. ..
,\

'nlC c(JI11rapo5lo Is ""I' .fllrr mOSI comm,,,, posesfor

!landi"RflJ!Urt'; it U lilt po5f' Ihlll b",ilks lhe dJect
of symmeny lI"d gl= n crrltli" rl,}'II,m ilJid
mOlIfllICIII 10 I"" body. \.
,
, , .1

I
r '\
•

'Ini, brit{Sl'qumte show tile pnx~ IlIlIl

~r nrtisl should follow wilen d""";'lJ! n
figurr in ronlmp<lsln Fi~t, il U "l'rmnry 10

I~
5il,,(11( rl~ /i"es if I/~ ,/rou/dm and
/llpbol!€ (1). After milking I/lt J!fi""I'lri(
SJwtd" U~ IJrom'd 10 Ihe ()lhn pam iflht
bod); /uqJ;'lJ! in mi"d rllal t/le kn" ofl/lt
IfR Ilull "'We,,', rlit btldy t wri~hl is hl~lln

.J
lilim rhl' .'liIer (2). u.stly, ,"'" emst' Iht
SlTutlUmJ IiI!€J lI"d "",dn IIII' muswlm
rdlif synilitlimlly (J).
 S EATE 0 rrl/{! RECLINING
J
FIGURES
eated o r resting figures ayoy special favor among
S amateur artistS. among other reasons bci:ausc: tht-y
present few composi tional difficulties, and the body
scKlolll prl'Scms excessive tel1sious bcousc the
muscular anatomy is relaxed. The bTfCatl"St problem that
" 'C might encounter when drawing th is kind o f pose
is foreshortening, but we will discus.~ ~h is bter 0 11.

The Scaled Figure

The Sl'a t Cc:\ fib'tll"e involvcs several di(fcrclll
complications beyond those of the standing fi b'll rc; in
iI, the joints and mt:mbcrs arc flOl shown as extensions
of the body. but as dillCrent surfaces lilat must be
conncCled 10 each other through \in c and shadow. It is
necessary to pay attention to the dorm ohhe joints
and the cxisu:ncc of hidden areas, buausc these w ill
rc." wal to use where each limb begins. -I
In th t· male figure:, the musdt'S lose their rigid
appearance beGl usc tlus im pliL'S h ardl y any muscular ,
tension; hen.;, the hatchi ng softens th e inte nsity of till'
anato m ical relief. In th e female figun.', the brt'aSts
appear smoother, k"li/; tense. Drawing the cha ir 011
which the modd is seated is no t absolutely necessary,
but if you decide to do so. do flot diminish t he
ccntr.ality of the figu re itself and Tftnder the chair o nly
~t'tchil )', leaving out the details. ..,
Sntld ~..., tilt' tdSiol 10 dRIll' /:!rrMU(' 1/1(' mtJdtl)

A quklllMy if slln(j,i,'i<! 0 willed/'R"" U 10 tsfo!JIisj, a IilJr (If

7 il
""'Sib "1lptM IIII' ItIOSI ".WmI; JO(ItICIIrtku, 11K')' rtlJ"i"
grmltr ""IIIM oj >1Iffl'U;'~ s..rfocn, mill fcrct IIII' o,tisl
II> dm!!' II'Ililt ilna;cilJ~ IIffl2< hiJd.." by d~ bndy.
trltlra/ lUis II,al dMdf'S lilt body ;11111\1 m,d snllrs II> IlIllnnlt Illt
(If'S('. '1 1"" djffcrelff linN 5"Tmlmdi'W liM' body sm~ 10 lO'ify I/lr
tl/i,I,Yllllml nml ~)f'rt'5p;mdrIJ{f IIeIWW, d!ffin'"' po j"ts 'ltl II~ ooq"

As WI' know, Slmed fiJ!UrfS pr£Sn11 d(ff~ullif'S U41D1

il/'I'I);,,/! II~ Ill"" if proporlion, Jl) diffrrn.1 IfItlllCds mm,
lit USffl jn ordrr II> skuh il prlriSlfy in/O ",1S;tion. Otrt'
such mrllJOd;s to hq;" willI a poelilllillDfr dm"li~
dq*,i"" " ~ lill 'f till' body Qrld II ... lillI'S if tilt' lripb.>nr
m,4 sho,,14m ( I). TIlI'rI, lilt' Intj;IIr if tilt' txlmfr;l~ U
mttfmrM Qrld lIlt)' il l' skruhd inlD pia« (2). 1llt' J/udy
;s a,mpklftl b), Jmwillg oftw slrnn"mllinf'S a,,4 ,m/yillj!
IllI' mtltOfm" flf lllt' fiJ!U1l' (3).
 "

Q hjCC!s related to
The Reclining Figure
T he: reclini ng o r r ..'Sting fi gure r-~~--', a scaled o r
rt.'cli u ing figure
COn\"e)'5 :a semc o f calm , w h ich can be of greal
:a\1ows fo r a mon: n:lalttd focus he lp, If the f lgliTe
than when tht' model i~ in an is reclilling On a
lllKomfortabk' position. In this bcd, the
typ e of pose it is han:lcr to find rectangular plane
vlsual alterations such as L_~-..J of tile bc:d ClII
contortioru. n r foreshorten ing, help ach ic....'C the
b«'ausc L...·erythinf! lies relatively cor ....'Ct degree of
insidc a p.1.ralld plane. In tl us case, receSliioll fo r th e
the objects related to th e fi gu re / -~ . figure lying 011 il.
d r:lwn can be o f gteat help. If die
figu re is lying o n a sofa, the
rectangular plane of the sofa helps
~~ . / A few .u.rokes a n'
,,'lIoogl1 to
insinuate Ihe
1$ to find the TIgh t degn:e o f ",pporting
ilKlination in th e f("s(i ng body. .!' ... rf..ce.

In al most evcry draw ing of

SCltt'<l or resti ng figures, we find tJ rl" rai;u;'IJ!/IJ:UI"i'" SNI,/rom rJ,r back, "it bacltbont
angles or pL1l1 t'S that recede into mlllkllll'
prr>1"J 'III iU'l'm/juJl rorulnlll;,,, fIX;S. \lit (till

space, so mt'limt'S very abruptly, so pwP;>,'iontlll«alion if di/frrrnl P"TU if Ihr bod~ in

the point of view imp lied by th e rrlllli,>n 10 lliu Ih,t.
fib'1.l rc is very important.

1M m:/inin$!/IJ!.II1f' ,.' ru.nJ/mm l/or

b«/t u dlt' 'OOfI ;tI'p"rAAI<I1 JXIM' for <I
1fI(JI/t/, m H"II m 1/"' ,_ ,11<11 rl'qHim
II" 1!,rI't1trJ.1 mm"" tj I,ur and lIw4d'u1!,.

-.~
 i \~........
",I I'' ,
~\ J '

;('
.,: ~~
'f~\ .."
J' 'ij,1 ~ I
':.-r t !~

,{ P(0 SE ---({lu/¥, ,OTION:

\.~;.\,"'\
~
\;
~".
'\\..~ ~\\~~. ~ ,-hr> ' EXPRESS IVE
~ '~..L .... ~ _~
U NE
"s..:o.; -it'"
'l' \
"-"'\ -
.'1;, x":.. "!to
...... . "1,:, t oJ
"i~
~,... .......... .......*-
\, ..
~ .t:" ,....
~ D rawing thc figure in motion mcan~ dr:twing a
' .. , ~
.. .$!..'~ l .... ~-!- -? ....~ ..I""'-'" ' living fib'lJrt::· E\'l:T}' 1lI00'(.'1 ncm CXpl'nSt"'i
, t.. ~t ": ii-,...... 'IOmething.T hl' mi~oll of ewry artl\ ! is 10 k ,lfIi how
F~ ~ "- f - to rt:prescn t this 3l"[ iOIl or that cxpn~~ion . To R'present
J~
"
\ '~ ',- y,JP
tI )
.: •
'f" •
m()VCment is to undl'l"'SCl nd t lit- group ofbcnds ;lnd
extensions that take place within a lI)OtiOIl-rlH.~
, \.'f~ ~;; .... ;
~ ~ ..,~ i,it~> ~~1~~
bends alld CXICIl$lOIl$ corR'Spomling to ewry pose.
\
--."--._

~
~~,-? • .1
U~
',' t ....:
~'
"\ 'a" D rawin g t he Muscles
,
.""
---..., .. T • ....--...
/;
l: ~!> -
,
' jJle muscles an: the dr iving force of th t, bo dy, putting
.. ~ 01""" •~ t, t"' .,.~ the figure 11\ action. in motion . Kilowinp; how th ey
- . ' . ~- ~ 'l. ..'1."
.;... ,; t J, move is a grr:lt help. because drawinl;': tigurc~ in
. !' . ,"-.
" ...
tJ."" .... .#-.~.,""-:', motion means putting visual Illl' UlOry imo pr:lctic~,
J:t; ~ ~
.. 1
.'t t :i
»:'""-.l) .4
~
even wil<.'u the period of tillll' is very brief,The
intcrnting part of drawing thing'! in 1I100ioll is
discovering. and k'3 rning how to dl1)io , thl' e~nce
~/..,!l, of that luo\'Cmcnt: the tenst' musdr:s of ,111 athlct(" the
't{'-J. l .i' equilibrium of a ballerina. tht, SJX'l'Ci of a n llll ll'r.Thc
~,\.". -::-:.<::':J.;' dilTcR:n t muscula r tensions arc lIUdC I'SCOI'I.!d by thc
!f '1 :'1" intensity of the hatching.Tht: grea ter the contraction
~ '" 0«1 ~_' of the muscles, the greater the energy th:lt m ust be
, ' " 1.i rcpn.'M.'nted by the CO ntrast between light and ~hadow.

~"f'ffIUJ~"'" ill
.".J).iJ>,j,,,/jm-
dtJ(ribn Ihf- k'" ~
i,ml'f diylhlll.
1 & i

h/
//
l4I1'clI dmwi'l~ II
fiR"'" ill mot,"lI!,
WI' I/IUsl P'" ",ide
propo,tillusjo. lIlt
JlIJ..'C' ifjrolm"-s'
spm/llm;,y. and nit t}f«t.{ a It'q<<tlKt in " WI;"', j,mijiN mawJ"1! II snllly.f n
rllyllm', """, if fiR""" in III/' fOOrJI' ifprrfi'nn;uc Ill' n";",o. III litiS (tlJt, I"" 1HUl<1g<'
,willI: so /limns '!Ili,1ft r!luI lilt 11('''''' riff "'plf'U"lJlrd <I.f II SIIffNJ;rlll .{,,,,m l/"'l

",
tlrj"" II;"J! SOl"" de"J(!fISlllvr. /iit tlifft'rr'" Slfps Inkm br IIKfi~~'''' 'u",.'" 1""iffllllJillg II
pam if IIII' mcdrl . tim....·.
. ".
 "

Quick. t:nergt'rie
--,----', 1im.~ gi\'C lin:
r scm~lion of
1I100'e1l10:1l l 10 11
figu re. Notice
how a tj uick ly
"===",J drnw n ~[ch.
r.lthcr Ihan a
dctll i1t:d.
If 11'1' d"""1Ii."tI'" in ,,""ion, mcriculous
;1 is imJX"flll<f UI ,,..00. £('1M drnwiug. is better
skclf/1t'J s,d tU 11/eSt'. ,<ilI;,-11 301 cxprcu.ing
mm/I'n t~" if lilt' posilifJlIJ JnO\'cmcnt in a
Illr body <UJ~ "U'$ III t/,r OOUM figure,
if prrfom""~ IlIr ~lifJn .

Deform a tio n
When drawing a figu re in motion,
the artist sho uld gt: t Gl rried away
by die vision o f the moment and
forgt-"l academic co nsiderations.
"lbc ariisl GI ll b'O so far as to altef
the bodY'1i pro po rtions as a
[II dmwil1gJ
dC'Kribilig 111"''''",
"1(' linl'f if slKngd,
slHlU/d be PITy
DJWmll'f'; I/If')' (til'

function of 1ll00'C menl; increase nn! bto tx'W"'ud

the \vidth o f an arm or leg, ,,, gi, 'f' lilt fiJ:Uff' II
CXill;b'Ctatc the curvature of d ie d~ if dr!Oflllll y.
oock, or suppn."'SS unn l"Ct-s.<i3ry
details. SOIllclime. the trajectory
of a ~ i ngle line explains Illudl
more tha n an accumulat io n of
traces. lf tbe line is lively, it
cOl\veys du~ figure itself, giving it a
more vital gl'UUrc.

Successive Images
Thill technique represents
ITtO\~ml'Ol throut,;h successive
Ullab~, with each figure in a
difft:rcl1l position placed on the
same piane in o rder to rep resent
1ll0VC IllCI11 sequentially. 'nrc b/II'If'O"r
u ..Jm.std IIII~>(, is
Vanish in g II lItry ""HIIIOI1
Vanishing, o r fad i n~ the contours I«hniqur for
of the fib'U rc. is a commo n I"ggtsliliR mofiotl.
technique for sUg(,'<.'Uing action. Thu I«lIniqut is
TIle source o (lhis effcct is die lilt' c,,"nffrptll" in
blurry o r unfocused iUlag<-'S seen dmu.;I'RP tiN'
in pho lobrraphy.Thc dispersion of ll'llltl" if rlN'
Ihc fib'll~S con lOUT imbues il wilh blr'"l'i~i"
an cfrCCI o f vibr3l101l, movcmClll, pllologravll)l
and d isplacclllcl1l.
i -~------.-

I
DRAWINGthA;
:~b.4!dEN PARTS ,o/tAf' BODY
o metimes. when dr.twing a figure, it is necessary [()
S draw li nes where th ere are none, 01", to be more .........
precise. w here we do not ~e them. In some sated or
reclining poses some parts of the body disappear fro"!)
view and remain hidden behind the body. T h us, in
order to understand the structure o f the figure, we
m ust construct an imagi nary contour that cros.'ie~ the
body in order to male the visible limb to the olle
that n:mains hidden &om view.
Advanced artists perform this process me n tally, but
the beginner can make use of a dnwing depicting die
line and structure of the figure to understand hOW'
the hi&:k n parts of the body arc articulated. To too
end. it is often useful to dr..tw the model as oit were
transparent, drawing the vit."WS of the body that
felll2in hidden [0 the spectator.
)

Drawing flit J.gurt Q$ if it wtfI' ImlUp<1l't'" should ~ dont

I<si'W II si!/i. elMn /i .... Ihal (<It! bt tTastd t,ui/y. Onct lht
Slrnduml drawing isJirl'lhed, Iht lintS of /he Mdt/tn Wy
pilrts Clln be ~J.

_""",
lhis ItdlniqW is

P JIlIlIyinlllJld
utIdtrsll2miing I~
innto' JlnKf.itI' of
Ihtfigure.
 /' ~J
/---:~
...rJ--')' %
)?~
/ .
Whm"",
practi~ drawing
ttansp;ll"CTlt
bodit'S, you
ihould uart by
reducing the
Tht most d!lflCM{' pnr1 if IhiJ dFl2Witrg mdlwd ls "'",;;M figure 10 simple.

~
ji"ding Ikjlvc points ...4 lht pla«s Ql which 1M
geomettic
_ .J!MPl/s COII' rro ",Iht body in onItr kJ produa <I
shapes--primu.
~tdn>WitW. spheres., and
Studying the Joints ~ parallelepiped$.
If a figure is nOl in an upQght position, it presents j
several problems of some compleXity, in particular with
regard to the composition of the legs, and especiallY, in
those places that hide o ther pat;ts of the body (an
unseen knee, a foreshortened arm, a leg hidds; lx:hind
ili. body). f
W he n drawing, it is impoJUnt to pay attention.to
the shape ofthejoinu and the existence of hidde n r -
p;iru of the body, bec:luse they reveal where elleh pa1j
of the body begins. A good ~y of rendering the ......
structure o f a figure w hen some afiu parts are h idden
from view is to d",w the figure as if it \\o'ere transparent.
Doing so makes it casier to place the hidden parts
within the context of the drawing: we a n thcn draw
\he details o f the dr.lwing within the limits defined by
these lines. This method of drawing requires a g~ t
deal of observ.ltion in order ro d etermine where each
of the lines in the dr:lwing originates. to locate the
joints o r flex points. and to no te where they come to
rest withi n the structure o f the body.

1M wmiqur if lranspattnl dIGwiOW iJ '"~

Ina.. .... o:rrciM jor stwdying the strwa,,~ if tM
m(ldcl. ~ arlists also .. ~ il III IIt1 irunprtfM
pari if .. ptf$OMl ~ sfylt .
li'Chmque or III
 •

FORESHORTENING:
DRAWING
ne or the gn.-atest probkms in drawing sealL'<i o r
O redining figures is foreshortening--
I"('prest'nting the hunun figutt" o r one of its p::l115 ill
perspective. The art of foreshortening consistS of
representing the human body from points of viC'\\I at
which its dimcmiolls are diminished by per.;pectivc.
Bm fomhonl'ning i.~ not the same as ordinary
per.;pcnive--there is 110 need for vanishing points or
any of the IIlclhoill cmplo}'t:d in linear perspective.
IlIr' NUDE IiI PERSPECTlVE
Keeping Proportions in Mind
To render a foreshorieTled figure, it is necessary to
know the figure's proportions. as we h~ seen. Having
the proportions at hand nu kes it l-asier to imcrprct the
diminished proportions produced by foreshont:lli ng
without making mistakes or distorting the figure . But
it is as imponant to pay attl'11tion to w h ~[ we see
whe n we study a posl:-;md loyally rende r all of its
pcculiaritu.- s-for the n.-sui( 10 appear n·iJisric.

A1te red P roportions

To approach a drawing of a foreshoncned figure.
we must make a greater effort to adapt the
different proportions of tile' figure on the page.',
because the diffl'rcnt parts ohhe body arc
-.
altlTed considerably by pcrspeCtivC-:1IO arm
or a leg th::u seems to adv.mcc towan:l us, a
hind o r a foot in which th c nngen or lOCOS
are perpcndicubr to our linc of sight.
Knowing this, 1111.' artist has a new factor to
L.\I
consider w hen choosing the pose best
suited to her intentions.

If "... hm.... ptrJIJ,,"SdmwillR tl fom'IOfIOlcd

l'rl/in;uKi'S""" lilt kslll,;nK 10 tkI is n,do~ IIII'
figw"';11 tl hex drau" ;11 IlfflIJ«li,'t. 'f1U! /xrx tu15 ru
nguidt for ",duc"l<1 Iht size "Jlht j,'.ni>s Ih""W/'
d" rJJixt if pmpttlivc (A).
Oru the pmimilll!rr skettl, is dOtot, lUI! rail ........
Ilot slmil",.,1 u,,~ and shade i" IMfil[l<>e (B).

Tht p"'flt1io u oJlhr hex in ~nJ>f(Ii'-'t Itlls 1<$ ""II'

mml adjuj( lilt proportiom 10 the dispo:!Itiatr
lUI! if
1M figurt'. 1.. I/,is "",>" till' p<1r1 if lilt drml'ing {~I
10 1M JorriFOlmd always tmis lip folJdy mltlFR"" i..
mnl ion In IIII' ""'" ,rufJl.. 1 pnrlJ oJ lM body (CJ.

A tom""'''lalmiqutfol drau';"K Iht jo,n !.orlmrd

JogUrt is 10 ~Ii't grto/tr defini/Ion 10 IN fottgtoolld
olld krM 1111' middIt- or h«1<![rm,nd ,kelthi.., ""d
Ilna>1omf. Comjl<lrt 1M ''''ntn=/ of 1M jw ill Ihis
dmwmg lo /11f' Of/Il'I! (D).
 ..

The Foreshortening Box

Perhaps tilt" theory o(foresho n c:n ing
is most easil y understood if the
figufC is enclosed in a box divided
into e<lU;\1 uni ts along d1l' baek.
W hcll the box is stret(: hcd out wi th
tht· fl'l'! ill the fon..~rou nd, tIle units
grow sm aller as thl"y n..'Ccdc from t he
viewer. Therd"on':. the gel"1el':.l.l rule is ./
10 make the viewer see the parts of
the figu re closest to him as larger. or
oversized---<11most cxaSl,'Cralcdly so.
u\<
, " -oJf :: In recl ining figures
Tile most (:OHllllon (:omp1ctc1 y • ~. 11 IS 00111111011 rot
fon.'shortem:d ~ is th e lying figure , some parIS o r the
observed from abml:. From th is body to be
position. the d osc..'St (limensions rorcsho n ened. In
appear mu(: h larger than the moll.' thU caJe, the
r~5honened arm
distant o n!':!;; it is nt.'Ct.'SSa1)' 10 always
n..osp<:(:t th e figurt.""'s appeara nce loob oversized
without trying to corrett its and aPJ>Cars 10 be
ccaching loward
app<lrc nt defo rma tions t h::.t ma ke th n.
the roreground or
kind of pose inte rt.'sting and give it
the duwing.
mc::. ning.

The Dynamics of
Fo reshortening
Foreshorte ning is an exceptio nal
mediu m for rcp rest'nt illg
movcment, the ('nl'rb'), and d r.un::.
derived rrom Ille h um an body.
T his is how tile great masters Ii3W
it w ilen they in dud('d in their
paintings figllres seen from the
most varied poin ts of vit'w and
in the II10U dynam ic po5C.OS.

1..(/ ~ lokI' a k>tW at " pmtt~aJ i'X""rplt if

forn/ltlfu?li.rg. '/1". jig"rrs '" righl ..... slanding 01'
"II ornloll'f. TIrl'fourf"J ,,' IIIr' lop if dlt' l'$talal~
an! los /crnllGTll'tll'd 1111111 IlliJiit dlJUSI 10 II,~
iH,/Ilml, ,,~,;(h RiJJt1 us III' 1I11t1(JJ1 atTial vitl~ oJ
II,em. 'nlls se/ba(k rIll' ~ OIItIrO /ll,' by tIIt/osi.W
lilt jigmrs in 00""$ "",llom/i'lV Ihr li,1(: if 11,1'
Iwrizao, <II llu' fOP cfl~ fjCal<llM.
•

IN THE HUMAN FIGURE

TONAL
 >.

A s you g:1i n confill cnCl' III your abilit y to l"CpR'l;Cm th e human figure in
flan exact Ilmnncr, you will ineviTably W<l lll to give you r work a g reater
sense of thrce-dimcilsionality. This can be adm:vClI by means o fli ght and
tone. and, concretely. w ith (h e rcpn..'Sclltalion of hatching. wh icl1 c~ n provid e
volum e, drmna, atlllosp hcrt:, solidity, and grea ter depth to the corporali!)' of
th e object. Tile <1 ppcaram:c of shadow in the figure br=ks tl1 c boundlri(:s of
the d rawi ng, cstablishes ne:lr- pictorial Cltq,'ori cs, and reinforces the
o bjective, tangible cOllcept of the re presentation.
 he lighl source is a fUIlda.ncnlai pari that must be
T considered carefully whl'n rende ring the shadows
on the 1xx.Iy. These shadows define the form of the
surface on w hich they appear, or g ive nuance to fOfm
admirably, indicate the ti llle of day, create dramatic
effects o r express a determined emo tional atmosp here
in the drawing. T he direction of the light in the
drawing should be studied well in o rder for :tll thc
shadow'S to appear on the side opposite of the 1ll00in
light source. In a Iatcn] position. the light leaves the
opposite side of the modd ill shadow, and the volume
and relief cn.'ated by the shadow~ projected.

.97ie EFFECTff'
LIGHT Oil tAc , NUD
The Effect of ligh t
Form o nly becomes visible as a function oflight.
II is lDIfItlimt$ irllnnfilrg
Light creates \'olume and other effects; it is ;m
essential part of any artistic represellt:ltion of the
for Mgi,,,,;ni ../ists '0
"IDkto siH,plijird sknthu
nude. With enough light it is pomble to identify s,O(h /U litis 0I'1l' itt of'Iln 10
C\'cry re lief of the figure 's body. That is why we Illust Itn .., Ioow 10 plOl't lIlt
study th ~ path of the light. Fin t, locate both the sluldool <H solid bIorks. as
d3Tkc..'S t areas in the figure and thOM: that arc m(Y.;t if lloey II'trt 1001l101.'('I/£0/IJ
~xpoS(:d to light. Then, establish an ort.kr for the " S/(/iI11 "·Ihis r).'t'I'filt is
different intermediate values visible in the figure. This wry .. 4 ..1 ill
comparison is always based upo n the idea of contrast: ""ifns","di.rg ,lor
"one shade darker than .another," or "one shade rl'u,tiOl'llbip ~twtm llot
liglm-r tha n another." dirl'ttiotl if ,lor lixlr' alld
II ... ptr?j«rioll if shodlJU'S
Shadows a" allAl}'S proj«ftd omo flw silk appot.ift IIw
<It/ thtfIJll1" .
ojlixlr f. !f ,1'1' wry tIlt i"muity olul dirtnior/ if
lOI" lI'
1M I~hl. IW wi/ijillll tlull fbI' fw'f't~ DpJ>tIImrtU also
(hmwrs, txf,ibit;,rg sifrnfral"reS.}ix iml<l,,(I'. or moot
dml1ralu- rjJrtts. dtpnllliug 01', lilt (lilt.
fit ralt Itm~'t' //r~II,jllgl ,,/II <;f 5/111111'1115 Reflections
a/""e, "mil/i/~~ ~1/ Ibt" JrrUC5 III /incs Bright rdk·ctio m and proj ~ct~ d shadows arc as
I/,m mmk Ibcfi.~III'I' ~ mllllllm. HCII". important as th~ eff~ct of direc t light o n the figul"t.".
/ISing ~ dcttny l y"lbni( ~lrN"l ....... T hese effece; arc a constant ill re:llity: ('VCTY object is
/w,r /"wl((1 nllli /illlil~illl,,' affected by reflectio ns and shadows tll~t 3 1t~ r ie; color.
shod,'" nteo$ 1<> Mili,..... ~ The 5ame is true of t he figure .To render il with a
",;,,;mlt/ '""1m'ssi"n ~r'b~ single source ofligllt is all artificial techlliq ue.
fig"" . The colors surrounding ~ nude
proj ect their sll ~ dows and
rellections onto It; light creales
surpr ising harm onics and
effects. and reflects on tll ~
surface of objects. giving
d arity to the fi gu re from
Illany d iffeI"Cn t po ints.
:md creating ~Iladowj\
that a lt~ r the
Direct and Re flected Light contin Ui ty of the
Oil1."(;( light ~heds light o n the body, so in thos~ areas ligh ted for ms.
where it falls we must use the lightt."St Y.1 111es--o&en.
the blan k surface of th ~ paper. wi th no h ~tchi ng at
all). Sh:lclows COllll" lat~ r, through a progressivc
gradation of darker ~h ades or a decisive contrast wi th
the liglm:r arras. Apa rt tmlll tht.'SC fu nd1mental lightl,t
shadt.-s. re f1 ~Cli on s almost alW<l),!, appcar in the shad~d
AA."a~ of the figure-areas lightly j]]uminated by the
rdkctions ofli)dlt on th ~ surfac~s surroun ding the
figure. R eflections arc nl'Wt as d~Tk as dl·t·p shadows:
thl..'ir ton~ is in between that of t h~ da rkest slladows
and tile most well- lightl'd 3rc:lS of th ~ figu re.
Shadows on the IlIlde create a true drawi ng. a
Sl.'l·ics of no n- anatomical CO lli ours that give t he figu re
a M.'me of dr:l lll:l.

Halthi"x is II,,' "("1'1/ll>rur ill {he "mlil/illg ""d pn:filr "f nfixmt". 8)' pI/HillS ,I!{fcrel/{ t1r:crres if J!rcssmr Oil
HalrhillX "'(hlliqll~l nl'l' mil/file.," (tI1I1 Ulric/I. (",d IbrrrfOll' dese"", Ille (/mlk. ,... [(II! obltt;" t1;ffrmll J(~I>I
sp«ial allrlJllOllfmm II,r tttliS!. ime,,;iliN in itttlt/u""g.
 ! . ........
.~
" .
,
,!
~

SKETCH
Cl

~
~ A "'"0/''' of ShilllOtv1 is II
",oootI IfIn/,oJ/or sludying
"If' nif /ribuli ,,,. 0",1

o
;"'rllsil), oJ IIIark,'" on Q

.hillfr. 77,(, l lU'I'M' ;1 '0

olSS;"'" roth ""/lle 'dhl',Kn/
;11 flrf' Ul"iI1t'J" at lift /0 ,I...
(O,tf'slH'"tfi"g p<lrtI of fl...
bod)" _,,",iflR /0 '/11,. ~
t>jlig/rtj'Jg.

h:trcoal m akes the task o fh :llching muc h easier: the

C thic k, tlat t race of the c harcoal stick makes it pos.~ibl e
to render shadl:d surfacoo ve ry simply, reducing the terms of
light.

The M ap of Shadows
The easic:;t proccdurt, for modeling o r "sclilpting" a figure
When dl1lwing with
is to or!9llizc a set o f to nal swa th~ ofli ght and shadow. This
the Oat length of a means breaking down the image into defi ned areas, using
stick of cJmlk or ligh t. imcrmcdiall" tOIl(."S, ;!'Ild shadows--both those 011 the
chllrcoal. the figure and those it projects. The result of this analysis is a
important thillg is " map" that can serV!.' as a sta rting point fo r latl"r correctio ns
to ~u~taill a or improvt' lllellts. Making thi\ sketch rcqllircs you to
continuous line, reduce the man y different t O I1(.'S present in the IiV!.' model
''3r)ing the pm:ition to just a few toncs. As a gcneral rull', it i~ n 't necessuy to
of the stick in havl" many gradations in contrast in o rdl"r to create t he
rela non to the page.. illusion of depth i n a d n.wing.
Working with the Flat of the C halk
Olll' of thl' IlIOs[ ,1[U':Ictive ways ofbcgin ni ng a figul~
dr:twinS is ,h" fhll St:. il l pl\)dU(:~d b)' (11')' ml'di:. Sitch ~s
charco.11 or p~st~ls. Widl ch::trco::tl betWl'l'n }'<>Ilr finger.;,
il is possibk to ou tl i l l ~ ,h ~ rmin forms ora figun' ill a
highly s)' nlh('~i 7ed W:l)" :lltern:.tin g u~e o f the thi ckn es~
ofi LS fbI SUn.1CC' with dw line of ics point 10 rende r the
fOrm only 1'0 Ihl' point of ime lligi biliry. Thl' (r:tin of I h~
fl.1t sidt, of the d 13rco.11 helps render Ihe (larklle<.M'S o f
the: body. '111(" f~w(' r lin~s o r stains art' 1I!.l'd. tht, fewt'l
t~re wil11x:: (0 co rrect. OncC' the figurt' h:L( 1>«11
sketche(l, the ~t o f tht, drawing Ill'ed 1101 be T(' ndercd
with this d cgn.'C' o f intt:llsity. Som~ arca~ ~holi i d be The lx:.~1 WlI)'
rt:l1dl.'1'C'd as 3 h~nl, charcoal i nci~ion o n 11K, page. 10 rcn<kr a
allowing you to rl'i nforce the mailllim's o f lh,' fi gurt:. I'rdil1lill3l), naill
i. 10 apply
Rendering Uroad Tonal Groups COill ill11011S
To bl'gin hmchilll:\ a fi gure we must ~voi d tl1l' hatching with
asslgn nlt'nt o f wIlles according to 3 sequemi~ 1 rt·gimcn. c h:lrco.11
which imphe~ maki ng the (Irawmg section by sc:ction comhined wi th
and CTeateS the risk of q U:lrtC'r ing the fi gure and ;m.,nsc lilleal
obscuring the reading of the lxxIys vol ume.The best stroke.
mel/loo is 10 l'Stablish brood (Onal groups before
manip ulating their smaller. constitutive tom'S. To (10 so,
Wl' l'Sublish each lo n31 incremC'nt by addi n).: a Iaycr of
hatching and rcpt':ltin!,: t hi~ opc:ration until we arr ive at
the (l{'Sired (L1l'kness.

,
If "" n''I''r II,/, rirlllrl""/ .. ,,10 ,1,1' ~ml' ""'",,,.. ,Irn"w,/'iI" , ,...
,rri,il1 f" 'I'I}' '''1'1111. /r:>.·//IIftll"."h, (OJ ~Ilnnr (A) . if r... J!III ,II"'"
I''''SSIl((' .'/1 ,,/II' .1ill l'tI.I.'('5, II .. <>bini" n j,,,,lIn,}!mnrn IlroJ..'t' if
dtn1'OlllI.~ illll'us;/)' (Il) .

E1o;II"',* cfl,,~~ II> /,,>In II lliforr cf

(harroo/III d,m" wll" ill Jik.
Elite PROCESS 0/
HATCHING: 'c REATING VOLUME
A draw ing made' o nly w ith li m.'S d()t"; oat
fi.su ffick lllly dcfint· tht' volumt' of til l' object
r~pn'l>c:llIcd. I-latching is till' lI10st common tool for
modd il l~ fornu. lll1d ~bo ont.' of th l' skills that take~
the 100lg<'S[ to pl':lcricc dllrin g th e It-aming stages. It is
nccl'S....l ry 10 shack alo11g (11(,' elll ire fi g ure wi tholll
slOppi llg to work on Illl' {i{'ta ils, lookin g for spots of
slwdow that e:m give t hl' r. ~Irt' its total volullle ill
sllch a lVay til:!!, a nn ' till' co nlOw"!> have bl'l'll pllt
i.no pbee. il will hardl y be I1CCt.'Ssary to consult the
mudd in orner to 3d,! dll' l'Sscntial Sh;ldO\vs.

D ragging the Wid th of the Da r

T he most commo n \\'3y o fhatciling w ith charcoal, n~ Jim IInfflli,!}! J/",,,/J
chal k, or pam' l~ is to d rag the \\;dth o f the bar across /)r "(>tJf'qrlitklr 1I.,Ir lJ.r
the p.1b'C, lIsi ng it to create a dlid:, broad ~trok(" that JIM if lilt sritk. liIlU'll
r{'\'t'als th l' t(,,>;ture of th l' paper. Depe ndin g on the dm",j'lR ,." pt!J1f'f ,,,;/1,,,
forn with whic h the bar is clr.lssed, it is pOM.ible 10 luibk J,'ffli... IIIl' lul/t/ling
vary th e inll' nsi ty of the trace, and C\l'n fill Out an ".11{'X/ribi, 11" 'II/trnnng
sptTkkd //,:\'"",',
an'a cllu n'!Y until the groin of th c paper is closed.

r-.'oIia tI,r d~
IKfll'R't' rnm/,~t(lIing,
",f,itl, ",.,tI'1L6 "
dl"ltl''';'-, "",flllSf;'!.I?
tjJ«t (A ); ""tI "s;"g
IM;,u ,liar al/e"'ia.
, n"ooth;"R {If Nr"tli"J:
"ml " stulpltd rffict 0"
IIrr b.Jd~ (B).

,
"
 , -
H"tc hing Versus Ton,,1 Drawings Onn- t/J/~--fin.1 plUUN ~j
We can hntch using n Illotion that milllics the curvatuI'C sr";ning OR compkll1f, /h!'
of the object, and t hus, achievc a strong, moddcd te):rure. dm",illJ< lI'q,,;m /l'ftlIU
T he hatc hing c:lTecr allows fo r better gcsrural e):llression pmision in nfliwl/Wn. nt
th:m (Irawing wi th :>culpt"cd to nl-:l. W hen using Cr0s5- mn tI,t'f, ' /.W' II,r rdgr ",
hatcl nng, o r hatching across the o riginal shading in a l!(Jim tf r/,r lJ1Il11.! 1(1 m ilt'!'
reiler:ni ve way, we cover the entire surface of the paper """.. difj"i/i, ... ",an.ir!('S in
f ill}, On'll.
:l1ld giVI' gl'l':lter imcnsity to tile h:ltching. We musl be
coher"llI wi th till' directio n of the t r:lces in order 10
unilt' th t: c1ifft' rellt tO nal :lI1:a5 and gi\'e coherence: to the
dr:awi ng. The: lo n:ll or Stlin- b:lSt'd draWing, created
mainl y with smoot hed and blended spotS of cllarcool,
ch.1lk.or p.1SteIs, servcs a~ prcp;II';ltion for a paiming o r fot
a d r:lwing of greater brc:\dth. When considering the
application of dlarcO:lI. pastel. o r chalk srains on the
1)'1 pcr, bcb>in by ap plyi ng liglll pressure o n the' piece: :lIld
gl-adll:lJl y increase tht, pressure :IS the drawing progre~s.
This llK'thod of hatchillg :lchie\'t'S an atlllospheric
trealmen t Witll a grain)' textu n.' and no lines o r abrupt
ton.11 changes, with no rr.lce of Ihe individual «roke•
.,
Studying Values
In:l tradi rional drawing, the stu(ly ofva1ut'S is IlL1 mly
approached o nce the prcl i m i ll ~ ry sketch is finished and
the till' como urs of the fi gure Ilave bet'll c.:stablishcd w ith
a strllctu ral liue. Evaluation is 3 way of creating VOltU)It'S
b)' ma king grad:lIions wi thin a single tOile. W ilen l
speaking of naluario n. we Illust think o nly abo m bl1d
and white and fo rget about colors. SL1rting from tltis
mo nochro matic gradatio n. It can be said that \':llues:lff'
tOIlt'S, o r, to be more pn.'Cise, till' different intensities of
tones. T hese ,,';lIm's enable the representa tion onighl :.ad
slla{low by incn':lsillg or diminishing their intensity.

1b creale a fIgure
wilh I rich gradation
of \ '31110.$, we muSt
forgel abo ul lines and
conceptualize the
A , model in hl3ck and
white. TIle graphite
n rr:=7:;O
pencil's great varielY
.' of harnesses and
TIU' dirrrt;oo r!tllt Iltlflhini dqwmb on 111l't'X1mtaI formaUi makes il a
rrlirf if lIlt fig..,r. F", iruUi"u, if 11'1" drmv tI sp preferred lrutl'ument
jorm . Illr Illlfrll;n1,! slu,.dd IN (jm"~)I ;" ti ()'lindrkal for hatching, with a
suifare, Ihr hQlrl!!fI!: s/IOH/d Ills~ d<'$l"fi/!(' a lHrvr (8); if wide ' pectrum of
IIII' Jr<,fou' is jlal, I/lf iJallhing s/Itl,,/d drsrrilx-" slmiJ<h/ possible 101les.
c /inr (C).
 '"

EFFECTS
~
,o/ VO LUME
ften , when we dl
tIll' h Ulll an figllTt', fi lial dH~
O rt'sul t :' PPC;II; nat :md umcalistic. This is a
serious problem for man y ;lI"tisrs: thl' h \l nl~l l fi gu rl'
should have a rou ndcJ ~ thfcc:- d imcilsional forlll_
I
Modeling ~
T lw Icch mquc of moddillg is used very frcqUl' nd y
by artists w ho aspire to a sculRlUral corporality in the
n ude. to an almost 13ctile sens.al io n that the (ofms :I T{'
curved mid OCctlpy deep space j l~ t he re prese ntatio n .
"anal grad<llioll k a~ to modefllg the I lUdl~il l
other words, to creating the die" o f voluml'.
Modeli'lg is a diRT! co nscqucnc"e-.ef the ~ad a tio n of
light :md shado\\" on the body of ttie fi gu~. l f Wt'
' walll our port raits to appc:lr mo re dll'cc- dinW llsional
\ 1' ...... o r morc solid, Wl' can " model" them with , k l.re Q:! ] or
'to .. l't'llcil and thell fu se t he h ;nchi n g 'wlth a tortillon. or
••~>i eve n wirh o ur fin ge rs. ;...~
;I r~~ .,
.~\: '~-,- , ... . ·~~\l
;;;." . ~ 'I' ~'•
... " :; H~l!'u u.. w"der /I.e <\1/..",(' -n.t1!~mt'r ,/'f romm>r III 11,(,
.if 1/1<' u~i,,~'I,'s ill i1.fi~uTl'~ ",O'driluS, 1/1(' f!.rI'aler Ille rJf«t
(lol/,iuS, I~'ii",'. gmt/illS U" :P~ ,"1'" '
of I/leltg"rr~ I/m'f'-
iull'mily ~(II", .l.'liIys, i l is
"Iso'uli,,/I,' (<>I" .. '/liIe
/.IP diJUl1IsiO/llIlity will /J('.

"t......... tlilotli,'u '!( llu- ;1",tlilfj!1. "/7,(

'.:'" mi$j,tl.' 4'~"" III(s will! a
.~rop/'il" I,,',,(il
is drlim't: <llId For be l le r
m'"" .s.rCW~~Pt 1f'l1lI/ shift•. m odeling, il is
p..., re rable 10
" .IT./ work with
i'" c harcoa l sti cks
ralher Ihan a
c harcoal pe ndl.
C harcoa l Slick s
sm ooth and " lend
e asily, wh ile the
p re sse d c hHc.oa l
or a pencil
prod uces ve r y
intense lines that
arc hard to b lend.
Forcing Contrasts .\ lmkl;"x 1I.,"'I1S
A ric hn~ o f n'flectio us al1<1sha<Io\\'l Gm bt.- S(1oil',i"g ",,/1, S4!fi
produced 11), thc art ist 11)' surrou nd mg the liguTt' wilh lon""i';''''1 ",'I'J(I"
d ement<; Ihal eK':lIe Imanet'S on th .. sk in. T llc ",,,I ,IUIlh'l
rt'flcction of lighl on a whirl,' dOlh makt."S shadows ,oroJ'lfi'Ig" "'''ilf
lightcr: if rhe cloth i~ red , tilt" sh:l(Iow.. arr tinted wi th "1't't'IU,lIlfr;1I II...
th is color and ~hadc the body \\ ilh its tonc. Simib...ly, .r.1l,,~lI r $0' thin II>

if an object imer rupts th c trJj~'C tor)' of til(' light, its trxl",n ""d ,hr
shadow will be cast u n the nude, crl'ati ng :ln d lect } rlds if Illr sk", ",..
,(wnlrtf Ily ,hr
with pou' ntb l piclorb l mt.:'rt."SI.
I~"" ,,>, i,.~IIJ ,",
11",111 .
Tr.msitions Between Shadows
Tr.lIlsitiolls !x'twl'c n sha(lowl ---fiulll l i~ht to dark and
clark to light--arc pro(Iuccd th ro ugh difl~ n.'111 means
dq )cnding 0 11 the ll1l'dia l'l1Iplo)'l'd. ln pe ncil, tl1l'SC
grad.1tiollS a ....: ac hicwd by ti ghto.: lli ng Ihl' [I':Ice amI
3CCUlll ub ti llg cl\)SShald ll's to darken the slwdow;
wit h ch:lrcoal, till' (b rkcnillg is madl' by illlcnsi ryi ng
Ihe imprcssion of the nic k, and tIll' Ira llSitions arc
prod uccd by Gd illg Ihe staill o f till' charcoal; tht'
procl.~~ wilh chalk or pa~It'J s is vt.' ry simila r. Till'
6dillg e:l.Il also be do nc wilh a lo rtillo n. Thr tffi"n ~r Imooll,i"Ji is
rum/."I itt d",/CI~pillJ!" (,'mYI
Controlling the Direc tion of the Stroke IIIddrlillg. HI/,r" 11ll' 1" "WlIft' if
To produn' the effect of\'oll1lllc o n a figure, we mu~ lJ.r Ii".. is JI'PI'~' II... INlIlI
conu-ol thc di rcction o f Ihe sno ke. It is no t sufficit,nt <JJrrtf J!,i"" ,_inma',
10 appl)' hatching; Wt' must impress upon il til<' proattti,'f!" IIIOf<' ,.;m.linl
propt.'!" direction. For insClncc, thc h.1lr hi ng of an arm q[«t ill IIw:h"".
sllOold be .:locular, In a cun't.-d surface slIc h as Ihe
aixlom l.'n or bUllOCks, il should also d.,.-scribe a curvc.
O n thc otht'r hand, if the surfan' is f\a ([er, sud} as a
back or a torso, thc hatchi ng sho uld be stra ight. As. 3
result, the rorm of these su\)kes should be consistl'l1I
with the w:w('s and re licf'; o r the body.

Modr/illR is bawd "" Il,l' «,.m-I dnniJ!fin" if I/lf rrli,.il if

II ... III",wII figl/'f, " "d it />fRi1lS 1.,;,1. ,I/IfloC'lh Im". ;I;t>1/S M
Kmdmi~II' Ildwr."CI' /ollr.s..
 h iamscum is till' gr.l(i.1tion . 1 •
C from white- usua ll y g ivell :IS the blank
to the most intense bl:tck [h;1t we obtain by

CHIAROSCURO EFFECTS:
WORKING ((}(/,1 ABSOLUTE CONTRAST
A Dramatic Effect
C h iaroscuro is the most dr.lmatil- oflightillg dTt'crs. It
consists of subjecting the IlU{k' to :1Il illll'OSC light
source that divides the :In:ltomy into wry brigh tly lit
an:as ami and a total (b rknL'!>.~ that blends into du:
b:lckgrolllld. Tilis effect was used freque ntly by the
p.1intcrs ohhl' Baroqul' period to illtcmi/y the dr~ l1la
and expr<-'SSivc nl~ of their works. Tll(~ mon~ intCllSt.' ti ll'
chlaroscuro--h:lt i~, the g rca tl'T th .. COIl(r:t~t b l'(\.\'('(- n
light :l l ld dark ,,-:.Iues- the greater the reml ting ~nsc of
VolWllC, and the more ('Videm the effect ofligh t 0 11 the
figuT(; will be. Similarly, a gn-atcr co ntrast bdwecil light
;md shadow product'S a great.:r number of i lll enmxliatl~
va lu l'$ tlla t IllUSt be inciudt"l:i fi)r thl' forms to maimaill
a co ntinuous ~urf.'1cl;'. Tl l i s also holds for th e VOllllllL-S of
tlw nude, w hich are fOumk-d and in w hich thl'
tra nsi tioll from lightio'St to most shaded i~ prcxhlCed in a
smootn, progres.~iV(' manner: when this tmnsition is
im crruptl.'d abruptly, th e shadow appears sh arp{~r and
the effect is a con tour.

'r" ",,,,k willi

(ilim'l!SClIrO 1110,,·
emilj.,J«,u a
Ji,,~/r, inlc""'/ig/"
SOlUTe "'" IIII'
hurc ~ siM.

By (lpNlillg "I' u,f,i'f DIem Willi a iif/ rmslT

Oil a I1mll'IIR mol1r 11.,/1 imrl!5r fliarfOliI
Im'c/,;"s, .... [011 p.ool<fC a t/,iOmKUm <:Ifni
ill ,hc jrgmr, "/,,,imi/,S illlnmrr/inir 10111'1.
 '111n1' IWI' d",...,il1,R' if" (I sl" lrrr (II/Oil' u, ro bcllrr
IIl1dcrs/(ll1d ,'', difli'rn-r N 'IUft1' (I ''O/ilmt n'lld~n:d
1/;11, modr/il1g <K $LIllI'''''''' rffms (A ) lind ,,;111
(lJifl¥OSl"ro tifrrn (B), 'n", jmHtr o:lribils smoolh
1(N1II/1","siticm, wllt"n'af in til(' /aftrr, IIIl' (m,/mj /
bt"l'ft'I1111(' lighted /lIuI Jil(llkd ""'<IS is IIIOff'
, ''''''''''''I(td,
"

It Slim,}! ronlllUl/J('n ......... light tlltd sJt(I(/l'd

<JmU (1,,11(> n.~ of f1k'IlkfinJ: prM•• n '"
dm.ltlIrir, m rprisi ng qfrrI in lilt fiR /Uf'.

Sh;lfp a nd Smooth Con t roisU

The group of chiaroscuro values
employed in :I drawing cOIlniwtes
a spect ru m , within w hich v.<e can
choose a lighte r or darker to ne, o r
accentuarr the contrast bc:t"'~CIl
the vailies closest to white or
black. The spectrum of tOiles that
appear in the draw lllg affects the
intensity. harmony. and
aunosphere of the compcWuon.A
wide sJ>CctnllTl with a large
number o f intermediate tones is
m OTC fertile 3nd visually lI ttncri\'t',
but if it is too rich, tho"t: is a
danger o fbreak illg up the IInlty
and harmo ny o f the whole.

Light and Dark Areas

In :I chiaroscuro, the light areas
must always be fIl':c of pigment,
but if we make a mistake, \I.-'t: can
partly recover d lest': areas with a
soft L'F.ISe r. The da rkest areas
ShOllld also be: given spl'cial
rreatrn~nt . OIlC~ W~ hav~ achieved
an im~l1se to ne, we leave the area 111 II r t.iQ1l)J(U/Il, tl~
definitively and do not touch it lighll'J (IT(/IJ sl_1d
aga m, to avo id Jl.'"ducing the bt lift ""t(lj~ltd,
absorballcy of the paper, which N o,itr h"", lilt
would m.1 ke it impos.sible to mOilS liglitillJ! 1'1,,",1
achi ~ a (Luker tO i le, 00 mailer "'f
dil.fOl, "I'J fiJ!lIrr~
how hard \O.l! try, ollt/illl' 0" its ,igllt-
IUlnd sidr,
•

THE CLOTHED
 ht' sn ldy of till' figure SllOUJd 1101 be re1 c!,':Jlcd to dr.lwing nudes. We
T shouldn 't forget dothnl figun:s lkpictt'd in ewryday situatio ns. For the
arn:m.'II Tartist , (his Sll bjl'ct presents /Tom th (~ ou tse t a simpkr n'ndcring
solution t],an the nude. bl'callS\.' clothing obscuTl:'s thl' Illodel's 31lalOlIlical
rd id s 3m\IllUscuia r protlle. TIlt' goalls not only to dr:.w a wdl-
proportioned body and lilt' posture it :ll;SUmCS, but also IllC draping oric:
{lrt~s.~ ,:lIl d tilt: U CaSL'lI ,md fold~ that it produces. f'urtlll'rmoR", till.' clothing
that drcssL'S a fi gure Silould bl' represented cOllvincingly: irthe model miSL'S
h is ann , t h l~ wr il lkk-s il l hi s jacket sho uld matc h tlll' lim b's m otio ll.
 i •
,i

•
e
-
<

STUDYING (fit' INN ER STRUCTURE (

~!

BODY ~:::t
J'-:iL ~
L.~~,
-
1--
'v
P erhaps the hardest task for the am.1 t t'lir ;m ist
dn.wing the clothed figuIT is rl1m~sc ntlllg the
form Iliddcn undernea th tht., d othillg. ln 3 clo thed l\
fig ure. Ihe problems [11:11 ar ise h:lVe to do wit h the ~ '.
quality of the textiks of the cloth ing, with their ) ~
w rinkles ,uld curved SUn.1Ces, w hich make it difficul t . '~,
to undcrstm ld till" pose o r altitude tha t the body /1 j. s/wuld nWIIl<lf/' tllr rlol/led figuR' 1
assUln es in (c rt;! in situatiollS.
"sr11'1n IImlr, 1~"(!fIIIR Ih, foMs 111 II,r
Understanding t he Structure of the Figure rll'/lulI}! m,d 1<'10/(;"11 luslrl//1 " I till" pesr
In ils nllirr/)'
As with the Ilude hU ITl.1n fi~\Jre . it is neCl'SS:uy to
UlldCrst:'llld the model as an o rb'a nic w ho le, but with a
dod u,'d figure we ha~~ an advalltage in that, if a part
oftht, bOody remains hidden or seems coufilsing, we fjll l(' ilJ!l'rrs In ,I,.. d""""8 mr '''f'Ifrillllioosr (/l'l/rirl,e il ""'Y""
call try (0 imagi ne its inner stnlCtu re. the position dfOiml1 10 ''IS,,,Ji-tt Ilmr 1",1l'f strut/II" (A), ".,J.fw II,is mTJClfI i,
tlL1 ! the limbs adopt in :l nude pose. To do so, it hdps ,041/ N- l{KIf"I //rlp '0 IN' "'J:i,,"i,~ afliIl '0 i'''''Ii'1f' "it ..lObi
to draw simple geometric SII<l I>t"S th<lt cOIl5[itu tc the lIudt', M d ' T)' 10 dim" ,"from wrll (KIM' rtltl, f{ ,/1f' ptullw,u if,/..
dnwi llg's in/Tastructurc. From the re, the gool is to J;",bs (n). fj "u"dl'l'JjiuJ<," 'hr fiP" is '<10 {(!IfIl'limrrd "lid u.- "fI'
<ld:l pt till: clothing to the IllOdd .Very few ga rmellts "II,,/>Ir MJ!'1f'U m "U' Ii",b ~ ICI'm;rw/s Ofl ,II" "'ISis if IlIr 10h& /Iwy
(f<!" lr ill Il,r tlorlu',,);, I.... COli '''01 10 " gOJlI'ffri( J~'I'rr/l, /llId Iry '0
reVl':ll lhe dl'uils of tile ,m:l I Om~', SO th c for m o f th e
,mdrntalld tI'r body em tlK' Nulr ,!j's;IIIp/r ",I"mr,ri.. i /mJJt'J (C) .
body <ll ld the w ri llkl ts :Ire detl'TIllincd by thc rypc of
garmclll \NOm by the fib'lltc and the weigllt and
rigidiry o f its fabric I
\ I
11
I 'I,

A
"
I c
 The Folds of the JOloU
Depending on tilt: type o f gar ment or fabr it:
th;lt covers the body, the motion of the figure
will be more or k'!\.~ evident: it is easier to
discover a shape underneath a silk d ress than a
woolen 0I1C. ElastIC ~}1 nlll:nts such <'IS those
worn by gymnasts or cyclists. mold the body
\ but also confine it. T he fold\ in the cloth ing and
\ the (omours of tight garments arc a good index
'for finding the body's volume. as well as the
~1J1( of several factors, such as the rigidity of
the f.,bric and the pby of the body's
artjc ulalions and joints. Kee p in mind that the
brea~ts, dbows, :lIld km:e$ arc suggested by
cn..":lSt';S ill the doth; the wr inkles and tensions in
thc.fab,ric actually explain the bends and
l1'05"i[iol1, of the limbs.
\ \

*
tClpthing Reveals About Personality
A rticubr d o thing style call tell us a great
dea lout the person we"ring it; likcwisc. w h"t
~ w~ ,,\Jb. influenct:S thc way we fcd and
Illovt:. A:"~ong;~oosc dn:s,~ gives <I woman a
ccrtain g~ee, and llris is rcflce tt'd in the way silc
sits. Wca rini!i.tca~nd informal d othing, the
same person ,WJ'"fed complctdy diffcrcut, and
this will bc rdlehed in " mon: rdaxt:d pose.
Likewisc, a m"n in a suit and tic tends to sit in a
more r igid m.anner than o nt' wearing informal
dorh Cli.

n,r I..ry ".",i ill dm"~IIg dotl' fd

Ji.gum ;s ''J ;ml'l!fiCtlt;oJl. " Hi-
mllsm't ,,,ake Ihe m;51aJ.... if
d""";"8 details "lid 1,";}(h" N. It ;s
ffSt:mial thaI "'''fint draw tI
sh' /(I, if Ihr poY (lJulJrom il
df, ..lop a 5J.... /(h II"" ;,ulllda a
IJn'/i.. ,itlaTY SIIIdy if tllf
g.<UialiollS if ligl" "lid shadow.

Today, ",Melv rlolhill8 Imds 10

III: rlas/ic, ""d it "di,ms rlrnly ,
/0 'III" IIOlIy, so i/ dOf'SII ~ oI'5LII'" J
1111"fig"l1' ~ O.JaIO'''''al J'lofile.
CLOTHING FOLDS:
CREAT I NG TEXTURAL EFFECTS
I\'" ti« in II,is If'riN if he IllOSt illl portant :tSpt.'Cts of the
"""'';''XJ ,I... tI!ffi'n''''
IIlIUt.i11Jl, ",,"iMi/if'1 fot
T c1othl'd fib,\l rc are the dr..pillg of
t h e g:l rmt'1ll and (hl' type'S o f Cfl>;ISl.'1
"lJR..tll(;"g (lNhi'~ "Y o r w rin kles that it fornK A IOwl: l.
dq,it,jJlg i/1 nt'<!J('J ~Ull
j :1ckel . shroud, o r silk dn'S~ look ~ vcry
IO·IIIrt'J. n ... jim dirrcn,m from bare flesh.
l.ta/lPlrul '!( tl... /iXllll';/
rl,e skrlth, (IIul/hrl'(' Is
D raw ing C reases
I/oli,illg Ill'ltt. ,11m,
1) r.l wil1~ of c101hing, f.1b r ia. :1nd
lI.i,~ lil t jim s;," ,.if ,,,,
o rn:lI llt'rl LS of ally kind prese nt a
(Iw/~' /0 ohMi" l Y'rlh('lit
St.- riOllS challenb'l! thM mer its
11lI/(/.jll1! cffi'rll. A '"" discussion. TIle creases Iha l eTJvelo p a
J/rokn nrt' t,~,,~Jr It}

IIIarl.: r/,.. dim:ti"" ,!111f' fib'tm: ca n appear thi ck and r ib<id or

~ubdt: and v.l pomus, ~"\1.'al i n~ tl'll-
'"= forms or the body undcrnc:llh.
Lighter fu brics such 3S ~ lk o r cotton
cn!;u e many slIlall wrin kles. ,nllt I h~y
usuall y pn!SCI11 \'l'ry fine ton~ t \":llues;
vd w r :lI1d wool. 011 till' OIht'r h:md ,
produce m ore rigid, SCp~ I':1 t ('
wr inkles,Tht, CrtllSes and fo td~ o f
thin , tr.mstll e~ nt r.,brics :H~ softer and
ilIOn! n umerous; heavier labrics ha\'e
ft'we r and larger fo lds, A i-,'OOO
cxe ~ is to mak~ studies of
wri nkled ).:'Irmcnl5 that ),011 find in
your dr:aw(' r; h), doing so, you will sec
fo r yound f that c\'Cry fabric h;'!~ I~
own , di~tincrjw propl,rtil"S dq>Cllding
o n the quality o f th eir fold~. how they
fall. and the dcgr('(' to wh ich the)'
~bsorb or refl ect lighLThe illlp<.Jrt~nt
tlllllg is th;'! t you r penni Tl~po nd to
the SCns.1lio ll o f th e IIlmt'rial o n the
clothed fib'Ure,
~
,
.;1 \
1'Of''' ,...".. dt;flIilrd d",,,,j";R lI'illl rlf(tI~',IW (111/
, 1St' II... $m~III{lHiIiOIi '<' r,tl"md ","I ~1I1",~ ,111'
SfIIJ'J. ";, tim'" ,uri.lklr$ n.mrlr. 'w 1/1"'1111 lor

~
m ' tTlI' d,,,, I/I('Y ,mv/,Off' JI.,w.'11'S. "",/,/'''' III,.y
<lise s/"..,' "ON'S." <11m.< iIII ntlkll II,r IW" jilts
tfilf'{rly,
 0"'

Clothing and Anatomy To anal)'7.e the

The rendent:y to usc:: s),nd1t:ti( materials in the folds of an item

"
~
manuf.1chlrC or all kinds or g;trmcnts crcat ..-s many ofdothina;. il is a
varied shines :lIld reflections to rendcr in d rawing. ~j good excrci$C 10
EVl'n Ille \\Irinkle~ or cre:lSeS created by loos..·-fi tting fin t make a linear
athletic clothes an: rypicd of me ;\rtifi cial mMerials treatmem of the
they arc made of. T ight dothinJ; Cllnno t hide
;marol1ucal delects. A too- high hipbonc.
disproportionate ar ms, o r poorly d nr.wn ft'C l will
be immediately noticeable. Tight clothing tcuds
(k \ /
{
J
' figure, drawing all
On" w ';nkk. .,
C0l110111'$. in tltis
.,...ay. we will

'/' ~:.::? J, ~~~:::~:~:

not to show wTinkies and describes the
an.1tomy pcrfl·ctly. by revealing rhe profik, and
because the muscle Ol;\SS can be seen through
the garmen t. toose-fittinJ; clothing, / . ma terial with
however, hides the allatom ical re lief of the
... ~ p which the
body and shO\\15 more folds. Wrin kles I ./ L~ 1.";lI"m(''711 wu
made.
produce ~ had O\vs. ;md in their crests. areas
o n which light f.1 11s directly. This creates the I ' /"
need to analyze the tonal '/llues and
c::arefull y nuance "'very surface more
meticulously than tight clothing.

I
-'
G m,>llilr I'nlril;s II,e "'tlJl "/~!Il'/"it!lr mrdim" fo r
drlkmr 'Klfk. Ht WII ",,,, j, ,1,,· lilllili '/ ~/,mlrr/ "'1'<U
allJ fill rwh '!flhNn in ",;111 gray ha/rlli,I.\:. 1/ is
'IC'I'r.SJary /0 grndr Gild ,."",.,... " ....y J"!hr, S<~/lNi,1K'I
ItT)' rnnimwru/y, bmmir II,.. gmdalil'lu if "~,,IIi'r
IlfNil <Ill' I"'y.l;,.,.;n mtlJl <_3.

n,t ball-poi'" fIOl ;S Ilnll"". IIII'

00, .XII*, if all d""'ffl,e
immmrnlls, IJlII i , is "',.... 'Iu1ru
fmJ' fftll/y "srd by 1~1i'1
a",'JfS. liS slrit,ly /i,WtJ, Mlnlirs
ftwrr Iht "UistiO ".,,1..... IMUhin/{
011 (/",/Ii"J! bturd AI JlfrlllirJ if
OI'frl"T'pi,'S lilld
 /

o RAP •

RHYTl-r NKLES': :'"

ht.. trad itional co nlplclIlt'nt to
T nud t.' figure is the drape and
Ih.11 it producClI. lrs nlllctio n i~
ere""
simply • ~
:mccdoral: It IS ~ (annal . thM allows on~~_
to har moni ze and forms of the K
:tdding 1I (Ouch th e i I .,
ncccs.<;.;1I)'.
.~
Drawing the Drape
Dr.lwiug the dr:lpt: is :mother
of f.1shion today. which, ~l~:~;;:I~~
Irad ilional1y expected .t ~ oon'!olSD
III pellCt! or charcoal the folds and the general (onn
of a cloth hanging o r (;ll\ing OVCf a <:hair or 5(001. T he
purpose ofthi!; exercise is to C)(t!rcl.'ie the student'S
skill III renderi ng light alld srndow, and in creating a
comphClled and ddailed volume. Drapt:s an: also
mlcl'CS!il.!,; /Tom a compositional paim of view,
b Cc;l Il S{' if necessary, they allow for a balancing
picto ri ;'!! spac!!' by compensating Ihe excessive
of the forms of the figu re through the cr;'"cro,';n
thei r folch.

'I~ rr('lnn" " ""/sf ,,'IPrl!

«!.r{i.//), <'" •
.~m.M"I>fIS " "'/ "I""ing "1' slrml a f ·'
,hr /"&/IIIgl,,..,/ f/tM!.

·n Ulrh),t hm of
Lh" trace a~ ;t r'--- --,
COIII"~ ~'HI b'OCS
Ca n he used to
render a drnpc
whi le also
c re ating an
au rael;,"" l:ib'"Ug
efli:cl. Z igzalli:ing Lf''''----'
IhM.... call ~UGf::CS1
cn: ~!iC. a"d folds
rhythmicall y aud
fairl), n an,rnll)·.
 '"

Abstract Drawing Dr"P"f nl'!' " '"or»'

Drawing the drape c:m be considen:d an ~utheJlti c twnKti,., romp"'IU'IIIIO
abstract d rawi ng, given tht: geomdric complexity 0011, C/O/hid fiJ!.mf'$ Imd
inherent in the folds and thc iT imlcpendcncc from tllllft.. "11"" add d ''try

tile figurative for ms. In th is sense, it is intell."Sting ma",,("f"{'d dffOl'llli,y

when drawing tht' drape to find that th t: problt:ms of iffm 111111 millis lilt
line. chia roscu ro. and modeling an: nakedly t:vident 4igz~ C!J'ml IIl'Ilbtsq"t.
ht:Tt'. 'Illt' exact construction of folds and their
shadows is inesse ntial; it is more interesting to
interpret drapes in an abbrcviatt:d. skt.'l.chy ma nner, in
agn:t:ment with the char.l(:teristK lightness o f these
secondary clements of a figure dra\vtng.
Altho ugh you may sC"(' this ;!$ a complex pro lJlem,
do not be d isco uragt:d. Look at tile' objt:ct as all
abstraction and redu ce it to sim ple forms and
sur6 ces. The key is to obst:rve the way th:,t clothing
falls :md adjusts to the for ms of the body. It is a
nllltter of tra ining )'Our Lj't: to appreciate the str ucture
and form of wrinkks with clarity, as a w ho le lnd
individu:illy. T h is cohcn:nt vision allow'S us 10 sec it all
dearl y: a tucked-in pan here. a protrusion there,o\'('r
here a broad conc:avily, etc.

if )'O" ohscJ"lor Ihe dmpe:s

nlld (I'!'tUN of(101/';"8 ill
iso/II';o", )"'" rml look at
as /ltl abwwl
litrlll
w'"I"'S"',,,,,,TIll' ,,,rul
illl".,rlm" Ihi,~ is 10
rofllidn 111m- sl",wln' o"d
, !(If forgrl II~ Jir«tfull of
"it (Iollri",,: mrwd. I!.MI}'
,"";"klts (A ), ,mil l lmighl.
,"'1h(m (ltAA'S (H).

if )'LII/ IIII' dm,villg afiKUre

l>'1'tl, "UI"y rwurI, )"'''
11111>, r/1OOSt 10 Slma,,1'!' till'
;'iformotiou. l ht Jint 5tq!
is 10 mdlu til, OIdlilN' oj ",
d~ modtI ""d ww* U;l/'
simplt forms ;nd,mf j'tg tilt'
form olld posilicol iftnth , -
~. "'' tII,
palintllr,
r.>:tmd ti" IWI(lnllg Ihll/
PUnlWaln mId gi'>t$
voI,m'l til lilt <!mi .
 ••

FIGURE
(f/l(! ITS CO NTEXT
OM spo ntaneous fi!-:lIrc drawings aTe t:l kt'n from
M ewryd1Y life, All yOIl have to do is observt: the
~t
fib>1.m: home, on the SIn'l't, or at work, and find i~
pictor;:.1 asPt'cts, In f.1ct, one of thl' most interesting
su bjl'Cl~ for drawing smdit.:s is tile intnion; of public
buildings---b;u'S, restall rant, cafe(eria,~, dance halls, etc.
In Ihl'Se sllfrounding;, fib'lll-eli appear in mOT{' na tural
PO:;o', rcVt':11ing tlleir char~Cl t'r and sociabilit y, Drawing
the backgro und in which you find the figure is of great
help in drawing the figure lateT,

Drawing Arc hi tec h lre

Drawin~ fib'l,rcs in an interior ofil'n in\'o[ws dealing
with the pcr.;pl'ct.i\"e of the setting. But pcrspecriw
need not lx- a prolJleUl, for iI, too, can Ix: used to
~blish a d ear background, and t hus the COllllXlrison
of the size of th(' figu re wi th (he objects in the if i'll/end cf ''''''~·hl.l! ill slmI."t"1I /1tJ1 d,,~rl)' tk/U l("(ttt' rllf fi..r.:rl.rs'
oockground can Ix: cxtTemdy practical in achieving a ,,,moors, )"" tim", IlwlJf wi,1I a blUrT"(, alrl~JfI"ir I'm/i"", 1"'"
JTa!istk n.-pn.'SCntltlon of the figure itself ;md its (JI;1Ii",,.
a jlrrtJlrr i/ll'"1!fI(Ili(nI if '/It".fi.l~"'· alltl il s ""'kgmlllld,
surroundings.
" lls variation is of particular inten:st:: the
participation of architl'cture In (h(" cOIllpt».ition of (he
n:btionship bcrv.ecn thl' figure and the dccor can be
so signific.ant th.at to ib,"on: it IS to dmy the dr.I\ving
what could potentially be one of its IllOs( nOlable traits,

Pm/Iffli.'t' is n l")' focI", ill rqlft'XfJlil1Sfigllrrs jll mil/lXI,

II/ Slnlf3 f ' l(l, m: flois omt', mllkt' tJe/e of ItOUll/l f fw"rrs J!ro...
Jmallrr a"d g,,,,~ Jl"'Rr=ivrj), d;Sloloml I/U'filfllo.., /111')' j!t'f
from II'f jOffg""md, J
~~ .(

/ I
 ,.,

Com;retion a nd Indeterillin3cy To draw qu ick

TI1t~ figu re: is genemll y rmdered concn:tdy slUdics. a graphite
whik' itl; surroundin gs ~rc left sketchy and pellcil is among
indett'TllIinate. Its co ncretion dOt'Sn't the most
necessaril y IIlcan we- II- defined conto urs, recommcnded
""d;",,,,. A

~
but ruther a 1l10rc illlense line (:I. very

~I"
common error ~Illong beginners is 10 draw ' g~aphi tc pc"~1
:I. defimle COntour around the fib'1.lrc, :l.nd " b'l\'CS U $ a vancty
thus dcuch ing it completel y from the of strokes: drawing
backgmund). light conditions un ll1:1.kt i~;;:==:!It: with a , hilTpened
so that parts of the figurc appe;!r to meld point (A). a dull

~
into till' backgrou nd, and part ohhe ' point (IJ). ~ wi th
wcct!SS o f a drawi ng dcpends on softClling the point
it5 lIl:lrgins and omitting dCtllils, leaving
~olll e thin gs to the vicwt'T's imagination.
The backgrou nd that contt' xrwIJi zt.'S the
Il
A completdy tilted
onto its side (q.

fi b'l.1re may includ~' just a few lint:.'; or

,

c~
ma rks, but Ihl'f\! is ~ 1111 OSI :llw:l.)'S some
indication Ihal something more lics behind
thelll,

A Stlldy ifh'rrs i" nil lime" fmrtfJCtrpt' iJ

II<! MSy lllSk.f.... ,IH' fiJ!u rrs nrt' nnorT stilf.
This j<,f(n II~ nw 'sI ," ",. JCkt,i ..... tim,,, ill
Jyr,fl'Nis, nUll "ay aflrllli(III, I""i£ally, 10 ' hr
nl/;lI/or cf "If 1II,.arf IIUO 1<1 II" olljrr:/J
nrmmtf Mm .
'Ow I'n{rlr if Ihr (W)OI fw,lIIrs sll,>'1JJ
mOlt ill/rom', IIIOI,,,,,'1(rt/ 1i,'f'S, IlllIirl, I,rlps
10 oiffi'mlfin("lhrrn fit"" II,r h«k)1r<xmo,

,
t 1,1
AND " Wi,I. rjJrcrs, bil'lItfi"j? tllltl slI/CJ(IlflinX. (lt1)II";'~(! SII,I,.\ 'fSlilig jllm/()/JiIiIY. 1MbililY,
8m"il)'. densiry, tI"dfimlllr.ss, disappears mId is tli/rlled ill 'he jlllitf (III/I
i/lulI/giMe-a illlllil1(ms lIibmtioll Iltal Imllsfa/rs (Iff Ille nppl'll mllctS tif tilt'

• worM. "
,.

THE ARTIST'S
 00,

W('xpn:ss :md rcpn:st.·1]( the va ri Olls IClo;WI1.:S :llld

h ~n {Ir.lwi llg th e hllm ~ tl
fi gure, o ne of th e :l1'list's biggL'St challenges is to
wm~ fOlllld o n the h UllIall
body, sl1ch as ~ kin pigme ntation , w r inkk"S. and body and f.1cial hair. To do ~n. d ie
artiH IK"Cd re ly 'iOldy on the b.uic d r.lw ing Icdll li<III L'S o f linc, blcndinl,:. \'olullle,
• er.l~illg. aud gr:ldalioll--:\lI of w hich can .. Iso bt, :applit'd ill dr:lwi n,"", to ('R-all'

.... auno~ h cR."-to achieve his o r her artistic intcrprt'L1fion of till' h uman IlIOtld .

f
 ,

RENDERING Iii" ATMOSPHERE

AROUND /Rc
FIGURE
T ht" atmosphere of;r. dnwing
dL'JlCl1ds on th ~ h:lTIlIony that
dom inates thc scene and L,,\'oktli a !( " If' blrlld .cmys
determinate SCl lUl iol1 Qf light,a itllo ("11(/1 /'IIIrr,
faClOr of :lrtis(ic qU:llity th:!t is diOlljullIillX nllf
importan t to observe. illUIIsr I/(I{"t"S, Ihe
Nonetheless, 1I1.mrt fro m the f1JZm" lOll'S
illtclisi ty ami qua lity o f the dtjillilillil bill J!'I'i",
lighting, there li re o th er f.,ctors (hit IlIllKlS,>llrrr.
conditiOfl tht, lltll10spllCric climate:
dlt." intonation of color.;., the
chiaroscuro dfccl , contrasts, a r.."i"/If ddi".d, diffitlt' ,woJi'" IIt<l/II' ,";/h s41linN
greater o r lesser usc o f modeling, ;,,/log,a/I' 1111'/"."1' /0 IIII' u~,i" if/lwo papn,J!iviR,fl;' '''
'''. IlIllKl$phnit rffivl.

Drawing the Air

Around the Figure
The <Itlllosphcn: should Ix: prt.'SCnt
in the work ;IS ;111 ;liT surround ing
the figure. The effect o f ;ulllosphcrc
is an opti(;l.\ illusion prodIlCL'i.\ by
\v:ltcr v.lpor and the dust panick s
in the ai r. w hich discolors and ~
partly blurs the forms and profile;
of the figl.ln·.l1lis IS tht' opposite o f
t , ""
the 1t.1rd contours lmd precisio n of l
the d nwi ng. ' nI l,' atmosphere
I
~.
shoukllx: fluid. cOlltiIlUOUS,
unified, and uninterrupted . The

, ~
~
absence of clari ty i~ the kL')'. W ith a
,,"
(on"eet tOnal Lv.l luatiOIl of each of
the dr~\Villg's pIaIlL"S. we can
recrea ttO in the m a li!:\h tcr or (kl1."t!T
---. ) -#
f
atmosp here, decidi ng o n the basis ~
of the intclISiry ofi l~ to nes w hat
SP«"trulll of gr:tyS should occupy -,
each pbnc.

"0 ",hifllf' an afllWl'hrrit ("fol, tI~ gm)'S

¥..'
/:"'~ ..- ,/
.-:;r-
aud lomll J!f"Mallo.lS sho,,1d ".. IJemled (IIId
~",oo//lrd ow, 11'1111 II" ",siiJl! SlroJ..lf'J, a"d
wft ImllsitiC'1ls M/I I'I'tII 11>11/'1..
 '"

Atmospheric Hatching Ch~ rco~ 1 is used

An 3t1ll osphe ric effect ckpe nds a ~I'\'at dea l in
above :111 elSt' " 11 our skill dll r ing at" ""'pl,eric
the hatching process, a~ we drawings bc";'lI 'IC
il1( I'C a..e th e prt'l;.~lIfe on Ihe ;( miJ(cs mul bill'"
charcoal, pa~l el, or t'h ;llk ;md ca~i l y and

impress it!. sirokc UpOI1 th t, paper, po'''''SSCS rich

The goal is to s h~(ll' or to color, lonal qualities.
pas.~in g g rndu 311 y fro m a lighte r
lone to the nn;t darker Olle, 311d
so 0 11. Ead l phase shuu ld lx,
Kcompan icd by a hght fi llgertip
blendin g t" a",,,id abru pt shi fts in
tOll C,

Blcnding
The difference betw een
smooth ing and ble nd ing lil'S in th e
purpO!ie of each, [loth ope r:llions
requ ire tkll we run an objecr--a
cottOIl r:lg. a fingl'rt ip, d C-QVe r a
spot of pigmellt on Ihe page. [lut
AI",o$jJI"~irfi,~"rrs {ml <llso
smoot hing is illlended 10
/,.. ,,(IIit1~,tl ll"'''',~11 lillN.
withdmw ,md c"tl'nd color.
wherea~ t he purpose of bk nding is
I~II II,e Ii"", I/I"SI M,r ,ilia
to mix th e lliffen:m tOlll'S by
0/''iI''''' III<' I',,~j/r if Ibr
.fi.~II""I",'tl"';u,~ ,10u~1 0111/
repeatedly rubbmg the co lor, W ith
,,/"(IIt;,t1! ;/5 I' /;UI ;I',,1
blcn(ling. til t: llatdling or colo rmg sllllpn
also grows softer, but nOt as ll lUCh
as it does wi th ~moot hin g.

T he Hazy Drawing
C harc"al is th e idt'allllcdi ullI for
producing a hazy drawing, This
term refe rs to Ill:lki ng \'ery subtle
tonal grada ti on~. dl'Kribin g forms
without d rawlllg conto urs o r
ou tlin es, T his techniq ue. w hich
produC(;s w ry foggy. o bsClire
figu ll.-'S, consists of imistclltiy
ru bbing th e su rf::lCe of the paper
wi th OI1C 'S fingertips n ntil the
figure's appearance bt'Collll's
v'-porous and atmosp he ri c. The
absence of visible pellci l strokes
im bues th e draw ing w it h pi(tOri~J
finish,

'f1,( ba;;d"t'SS if lilis " m",j",~ ,~i,~'S il"

l!icM,i,,/ q,mlily, "I,f rffra iSM/,;rw<l by
;m;"m,/y u. ..tI;",~ Ibe gmys.
CREATING VOLU
s
U
~illg w hi ll' chalk Oil ulluTt'd paper is 011 (;' way to
Cfl'ate ;len'Il l'S , bll t lHi:-:ing w h ite ch:tlk w ith other
co lors or wi th (.:h,m.:oal allows fo r ilion: intl' rlll cd iatt"
tonl·~. 11I cn:.uing 'Kl'cn LS. we GlI! play wi th the
int c r;lCliOll of d U'l.T ditfl'CC]J[ f.1 C1ors: th e la nt" of the 11'1,;,,> IIm'lIIS.~;,~>
p.l per, l'h l' 11 ~.' o f chan' o'li or . '010 1"cd chalk, ;m d t he use
II")(~""'" II/'''''
of w hi te ch"lk. We (";111 th ncfon- j Un e,ISl" rh e rnngc of ,,,,IIIII/drir
to nal v'lilles, w h ich an: llsed tu <:fl':lCC volullll" in th e "I'II<',rntll«', I,,'r,"'sr
figure. II,,')' ",",,'mil,"" '''~
mm"'.-I Iw"'o ',." it,'
Accents in White C halk l~lI",,'d mltl ,11,"/1'0
An acccm i~ the "dllilio n of a [OI l l ' lIIuch brighte r thm 1"!rI~_ I" stlU/i,·S
the papt'T a nd the o rh.']" mcdi:l Iised . W hen we dr.lw o n lllUl ,J..,'lritrs ,lid,
a colored bKkg rol1lld, the t O lll 'S Wt' (":Ill ma ke with the II.' 1/11',(·, ,""'11/$ mil
charcoal o r ch:tlk ;Ill: lill lill'c\ by lh t." lllt"diu llI :mel by II<' 1II<1<lr lI,ill,~ ,I,,'
till' color o f th., pa pl:r itsdf None theless, th is pro blcl ll ,f/," sid,· .~r flw
can b~ o\'crconll' by nddi n g tOllches of w h ite; till" ,IMIt",,1 or r/",'k.
COIllTllS[ is th ~1l so sh arp thnt th e drnwi n g bc:comes
newly intt'fl.'S[ill g_
 ".

111,;,,· , /",Ik «~"h"'f'<1 ,,~II, ",/".. r.>I,.1'1 .'1(11 "''0'/" "'on: I'n"CiloC
1'<""'';'/'' II,,· ,/r,,,..,IX ".,/, , I ",,,,I, hrt~H1"r . ._ _ _ _.... lI<:<'"", <, i, t_
/~lIr11.· if ".<r'/ ,m ,I (,./,nrrllt.u-i..:I!" nmd. 1'n:I;,ral>l(' 10 nSf'
w h ilc ro lorc,I
1>Clll'il inMel/,1 "I'
Ih" mltli,ilHI;!1
L ____ ' ch~]k or 1'3"<:1.

111,;11' d",lk (, '" "/.<0' lor Il..",/,iur rl ill "

$;II.~I,· ,lnlll';II.'I "~'/, d" ",,~I/. If II .. """, I"
I"''''~''' ,,,,,.,I.~m.I,,,,,,,,. ""'Iim ...",..",1 IIw
d",m~" " ,1/(/111 1,<1 (III/I 11,m SIlI)('f;IIII~>5"
NI"rl.'1 IIhI" " ".;,/, "I"ll~ " ..,," ,I,,, ",lwl
"")"mllll,,l.

Lighter GradatiOlls
Tn Hl.·;,U· l J.:r:ldl tlOIl b...·cwC\· n ,'hl n'o l l <l nd w hi tl'
,'h:lll-.., \\'\' liNt d r:lw with eh;!lk rro m o ,,~ ~iJl' to
.lI1othl......lppl yin J.: It',s p re~lI Tl.· wit h e:lc h p:lSS. ~lId
thn l ~h :l(k rim b ye r w ilh cll:'l rCOll , bu t this l i ll l ~ Wt'
:'\pply tl w Inust pn"slll"l' onto Ih l' e h:1n:oal w ltc rl' th e
k ast I'R"'\III"C w:.~ .\ppticd to the clt:.lk . and vice ,·~rsa .
I-I n\\,.: w r. it j, not (ht, ""'1111('" tln ng to ap pl y c.: h :u CO:l1 t.o
chalk .IS to :.ppl)' ,·halk to c h al"l.:u al: a di ffer('"1It rt'!'" h i ~
produn 'd d L'\>C 1lJi ,, ~ o n th t· Orol' l" in w hich t hl'y :.re
~ pp l i nl; u lIl y w ith pl~l <,ri o.:e (Iol's OIK' grow
,IC(l(S(OIIll'd to tll l·i.. im er .•ctioll ,

Acc ent Effects

Accen ts ill dlal k C,ln lx' :lll"tied in swaths o f lillt'~,
wilh (il- IISt' ~ I ~ ills n fl ig h. ill the rO rln o f po ints, o r by
d l':l~i n ~ th e ch"lk owr a give n area. so that il
acquin's a g re<lll' r !,.'l.' lIl'ral b ri ghul<'ss, Acce llls ha\'c 110
effect Whl' lI tht')' :In..' di~pl· rs~·d gr.l tll iWlIsl)' ove!' th e
emil'(" Sllrf.1l'l' o rth l" drawing; thl'Y only st:l11d o ut
W ll l' lI 1111,:')' an.: l'{IlICl' ntratl"d ill thOSt., parts o f the
dr:lwi ng t haI h l'lp prodllt:t' all illl'rc;li't'd rO lltrJ~1 .md
:Il'l'l'iltllaU' the vo lumc of th l' tigllTe. 0 11 so m e
ol'c;\siollS. it ilia), CVl'U be Il<'cl"s'I;( ry to add a light
hatching " TUuml tI](' acce nt.

/)eli'<I/" "",rk , I",ultl/", t/"ur ill IvI,;/,· wl"ro-'/ ,)(,Iu;ls,

lu'f"" U' 1I';,1r litr", it is ,~I~;/Jk,,, ",,,Ia' I~,,I, ,:harp 1i,H's
"ml ':'/'\''l{<'JI;w 11" ""m~. B)' I'fIryill~ 1/1(' /'''''~''11' ,Ir", ,...'"
al'I")' ,,, III<' IIt'IHi/. )'<III (,1/1 "u 'ill.~lIis" lilt imcmwdi",c
'M rs Jr.'''' ,lie I~,ims .!f " ",,xi ll/IIIN /',i)!'fIIlCSS.
j
" .
.~
<
~

RRECTING
'1IJilloft! ERAS IN G
uring the pn)co.'SS of iLS CTl'ntioll , the

~
D drawillg llnd e rgoe~ COIlMant l'hangcs,
10 the point that the initial outh n~ St'r\1.'S
" o nly as a perdl; it is therdo n- illlpo rt:lIlt for
the artist to transfo rm the work com t:mtly,
each tlme o.'Sta blishi ng mo re forcefu lly tht"
line that constitutes the drawillg's pl:lI1l'S
\ and forms,
As the fiml profile of till' (i r.lwing begins
to take shape, the li nes that co n~ti tlil c it
begin to OVI:rb p with earlier lines, in ~ u ch a
w:ly that the process can Ix- S/,' L' n ;IS a
continuous correction of for lllS, IIl1 tll they
overpower the earlier tines, maki ng it
U1 J1lecnsary to cra.~ till'lIl ,

The M.istake as an Expressive Factor

In the work of many profeS!;io nnt nrtists,

!r
cOrrt.ctio ns and repcritions arc dcliber:ltdy
left ill the final drawing as a prnctic.ll
. resourcl' tllM t e n d~ vitality to till' dr:lwi ng.
or cven su ggcst.~ action or 11I 0V,' lI1l' lII in thc
fib'llre; these corrcctioll~ art" known a(
'~ pentimenti. o r regrets.
PelllimcnD express a strnngc f;b('iwltiun
with unflnishednes.<i o r skt"tchinC'SS, :lIId
w ith thc procl.'SS of dr.l\\ ing iudf, mther
t han the carefully fi nished pr()(luct, a
temlenc), that reveals the romantic in all of
us.Tbcrefo~ , whe n we make llli.~rnkL'S it is
prefer:lble to forget about the m and draw
m Orl' precise, vigorous lilles alollj:.tSide them .
Every drawing should be ~n l'xpcrillletltal.
ever~c hallgiJl g process, To tryout a form
te ntatively, and then make adj u5t lll c nt.~ and
correctio ns to ir-thl."'Sc arc fundamental
pans of c\'Cry c reativc proc~.

CI,,,I(OO/ IIWkn it lJ(>f.jilHr '" t'rrUr '''1'

]i.e"¥('
If'ptnlttlly ill <'<lin '" ~M IIru' lillI'S 'Il llwd!fl' ,II{'
I'rtI';('IIS OlltS; llOu""",,, ill lids s/.Y'lr/" , III' I'llr/irr
mnrks "If' still " tiblt alall~s;,k "'I' /lfII' (1111'S.

Phantom Lines
Drawillgs in chan:oal arc l1l:lde by
:ldding one ovcrl apping line after
:lnother, w hich are c rast-.:l or
corfL"Ctoo over the co urse of
nca tillg the drowing. This
ac(.:u muiatiOIl of discarded lincs-
"phanto m" li nes---crea[(;.'S an
int(.:rt"Sting tOllal cfft.'(:t on the
foundation of the page, and
someti rnt.'S even IelldS a greatc r
expressiveness :lnd adds variety to
the drawi llg.The result is a ft.ow
confidellt, powcrfullincs that
emerge from w hat has, in fact,
heen an imense process of
drawing and redmwing.
Sol llt" m1i$1> usc pelllilrK'l'li lIS
"""Ihn menliS ,1 exprrssio". 111
uris lllSf", IIIf ,in",lln"':ily of Ihr
legs gi,~ II", jiRu," a.<t"llJt" 0/
mOliali .
.. ,
All Intuitive Drawing The complete
The contillued practice o f drdwillg erasure that is
the nude event ually giVt~ the artist r - - - -'l orten practiced in
,\11 intui tive knowledgc o f the male the earl y phases
and female :lllatomics, whic h allO\\'$ of drawing wi th
hc r to render virtua lly allY pose charcoal is
autom3tiGllly and render all of its actually done to
reliefS in tlll..-ir correu place and creale phantom
proportions. This knowledge is lines lhal se/"\'C as
a basc for Ihe
gaint.";! by noticing and correcting
the mi~takcs one makes, a.lld by nexi i tagc of the
drawi ng.
aiw3Ys keepi ng in mind the basic
sket( h o f proportions and the
body's essential anatomi(.:al
configurat ion.
Petll;mrllli allow liS 10 wulrollllld Iile ~llIdy 115"
lir';".!!. (rl"III;rc 1"'l(t·ss ill tl.'IIS/llll1 r/, ...d''1",,,·,,I,
III/,;(h/ol((5 115'0 U'1{"(r lIud 111111..... drrisi,,"s n/Jt'"1
I/,e ({lrlITl ,J/«emelll ifl/re Iim/J.! ill /"tIlI' Imt'.
,
Nfw liUN alf" , III'("liltlllOS(d Oil ,h," ;lIilinl
''''I'S, IIl1d modify II,rjiJ.:"tf~ nl'I'rnml/lt" II,,'il
Iht'desired Il115t' i$ Ill/nil/cd. WNf/l WOrkillg'lII
a slIIdy, lilies on'srld"", .-msrd, ,,",ie/,,,/1011'S
us 10 srr / Il(" , )m«jS tlIIlI 11,1'JiJ:l'''' /'115
uuder.gi"'~Jrom II,r SInn (til Iii" ~Iudy III
n"gill, ;1 ;5 sliIIl'0ss;hir 10 SU I/,c IJreiim;IInry
pmil;oll if lh" 1';/;5 "lid Iwk).
 ... ",
"
","/
•

'I~
•,
\.

,I
BLENDING
." ,, " "-,, /0 DISSOLVE CONTOURS
'.
stum p, o r terrilloll , is:l stick made of soft. :lbsorbl'lJ{

"
A pape r w ith a poilll at eith er c nd, used to ru b :m d
bic lld TOnes, (0 p rodllt:e a gr.J.yillg o r liglut' liinl; of 'Irt~as
drawn ill pencil, charcoal, pa~(ds , or c halk. Cotto n balls
:-, or swab:<; can also be IIsed for blend ing :lnd prod uce
slllootlH.'r. mo re subd c n'sults th:lIl the tc rt ille n.
I .,
'\ T he Correctio n Effect
Stlllnpin p; is ill itsel f " Imost a form of corret:tioll. W h:lt

I
\ we art' in fact doillg w hell we lise a torrillon is reilloving
dust that wo uld o lilelwisc a<lIlcrc to the p;lpcr. Th i~ type
of correct io n changes till,' dTcct o hhe line ~nd ra n even
elim inate it altogdhc r. Stum ping can also b: IIsl'd 10 fill
holes- th ose :lrc:t.~ thaI \wrc previo usly free of d l'lrco:11
llklldi"g 11';111 0I1" ~fi".I!rr/;JlS., if ,lour
o r chalk. This reduce'S the p:lpcr's capacity for more
\ illsislt'IIllr. mn liRI"ru 1/'(' IIG/d,i,'R
IIIIIde 1I~/1r c/'",ro;,l.
h:ltc hing o r colo r ing ill I:u er ~ppl i ca tions_

.
'

•
!,
71wsr fiJ.!lIfC's IIl('n'
armed rllli,...l" /'V
~II"UJI;".~ Ijllrs ,ufldr
,,';/1, "'"11~'" pnslrl;
ajirm m'l, I,> R j,'( I/ll'
fiJ.!u"'S "",rr mrp"mUI )', \
1/'" I,m r fld,/r,1 fl f r lV
/ill1'5 t/Jm "",/rrsw,...
,1I..ir p"!(ifrs.

.
, ~
~ ...
 '"

Opening Wllite Spaces and

Blending Lines
The ch:l.oco.'\l Slick (.-:l ll be smoothed
with a tortilloll , fillh'Crtips, o r a
p.1illtbrl1sh .W h t'11 (hnt"(""o~ l is
~ lIoothcd . it bC W LIlt'!i ligh ter ; th is is
alrnQ<;( the ollly w;!y of c:n.":l.Iing
grarotio lls, oc-causc the c hanl,'t" ill
intClisity is b.1rcly notict'ablc wiLen .v,,""'f,;''Jl iJ i1 / IrN/"U 11,.,1 tJI.",-s ,Ilr 11I1i$!
one tr.lC(.'S m ore or k<o:s m loothly 011 I" nwklll,r j/ffill' 1"'1fS 'f II~./i.eurr br
the paper. I-llgh- illl t"1lSity soft "",killl: sm..,..,h '''''lS;/fu"s '" I,,,,r Ih,'1 Ilrll'
graphite {'lUl :Ilso br smoothed WiUl ,,, t,,·r/."" Ilir ">/,,,nn ,,,u/ rrlirJ if lilt'
3 tOltillo ll, w hich "llows lintS to be I"ml.", bod,'.
Intq!r:tltxl and d imin.. ll l"S thl' whitl'
'i(:W:<."S bcl wt'CII thcIII. By {,'f:1ding
tht' ton l"S, the tOI'lillon creates it
pt' n<'"Ct rcpn.'St'nr:llion of an objeCt;'
\-oI IIIIIC. All y Tllbbi ng tl'clmi{Jut' l-:ln 111m, "",killS"
be uscd to sm ooth dw lin (.'S of this smtfr, "1'11' Rmrs
in'itnllncl1l. bill it is ilI-~cki<;(.-d to ,md iI Jwipl' cf'/,r
O\erusc this tt'c h n i'lIW becausc It I,,,I"!.,,, ilrr '''"'1'
GIn drJin the fi lial d rJ\\ ing ofi~ Ilstfillfi...
li\l~111ICI>'l. dfffi'fwrjllliu:Il It is w","lh noting
1(~I"td QR'M Jn~"
thai the
Twu " la),s or Smoothing sluukd""u pou ibili liCll of
'Jbcrc arc two bask ways 10 p ractICe slumping incrc~w:
smoothing: lo o;ofi:<."tl Ill<' h<.-J\·y linl'!; w hcn rOil usc
or p m fiJt" of a mode l, w e sho n]cl vinc ch~ rcoa l
usc the lip of a torlillo n: lo slIl ooth i n~ l e~d o r
out large O1I"t.'a\, wt' liS\.' the wide part cOl11 p rc~sed
o f till' turtill on .T hl· m o tio ns o f the charcoa l in "ick
ha ud ~h<ll1 ]d fo llow tilt" \"OIUllIl"S of nr !,<'IId ! forill.
tht' bocI}~ W he n \\"Orki np: 0 11
inlpn:ciSl' fOUIl(bliolls o r ~1Il00th
'Illrfaccs.. lh c h<lnd ~h ou ld make a
cirrubr Inolioll.

Smc.n/liuJ! mil ,,"ly "NI'f"J sll",k ,..,,111

~IS, "III "Iw x;~'". Illr 1,,!fi>tr "" "1f/11uilJl"
lc.w"w. l lJr " I" ",t/(oll' Y'''''·fiJ:'''f"J 1/';/1,
drI"!. "",/ btiJ.""Ilf"fJ.
 ,,'

ERASING:
OPE NIN G UP SPACES
he C .-;lSI'" (3 11 pby :lll importa nt c ons[nu::ti v~ mlc in dl~IWlllg th t,
T h u ma n fi gure . It Sl'TveS:lS .. drawiug ln stHllllcllt in itself, lIsefu l for
\Vo rk illg wi th til e: q U:lliry of the li n l' and tone. We on lISC it to ".- k aT an
an:a, \moo th out a linc, o r drJw ill II c~;J t ivc. dmwing the oU[linc ohhe
figure by erasin g 0 11 previously colo red arc<lS. III the ,allK' way that we
CHI prodllCl' diffcrt'J11 1.1ual iti(:!; of bbcks depe nding 011 the p ressure we:
apply to the d l:Ul'U"1. the l'raSlT allows for all illvcr;c o f the sallie
t<..'chni{1t1t'; the Illore pressl!re yo u npply, till' whi tt'" the ('rasure will be on
th e p.. ~.::_ l r[ht." <-"rasu re is sofi , w he ll tilt.' eraser passes sofdy over the
color jug it slllootllt:s it out lightly. Au crasu r,' shows us how we can
<:Ollstrm:t a forlll usi ng bright lights on a d;lTker b:lckgroull<t.

All rrllSl'r (,m II(·

IIsl·r/Ji'r "'",.. 1111111
(ro",·(lillS 1" "'Il":
",..(,,," ,m''' /0
1(111",." ,,,ItI
mor/,", 1/", ".Iief
'!( II"./Wdy.

D,.:.:Ir",,,s liSe .if,l,t elll$rr min's I/,r

,""WiltS ,!( Ihr I""'y, lirll'iHJ.: /" creme ""
<If(1 ,1"" n·",illds m 'if C ll'fo- R",,,,,,,
"'>s-ulip.

o.,(C 11,(" 1"/11' i.< $I"(",II! <'111, 11'1' InKt II,,·

"/l/Ii/lc of ,hcJigllll· IlSill.C, 1/1 crllSer tIIlt!
"" " k ;IS I>rlglll sJX'IS /'1' I1llpiylll.1! '!If,tler
j m c lIS II'!' tms('.
 '"

Creating Effects with a n E rase r

We can ac h i~'w v.~r i IlU' ~I i tli:r<, nt enc..:t.~ w ith :11\ l'rascr, Using Olll' ofits
sharp ~'d",,\:s, t(lr eX.1111pk. we nil c reate th ick !illL'lI: if we r ub thl' l' uri!"\'
widt h of tlw ~rasn all thl' p;lpc:r, \W Gill llI.1 ke.1 broad swath: ,Ind wl' Clll
Illa k~ finl' !illl"; by traci nj,:. with iN ed~e o r us i n~ l n'tr.Ktabk l'rlSer,
Rl'trJct:lhlc ef:lSl'1'li an' \'l'ry lI:.o:flll lOr drJwlIlg on a pn'viollsiy colon'd
or ~h3dl'd ~ur[1 ce, l n diffilSl: drawill);, the shine ofthl' skin is rdnforced
by npl' niu); li p w hite ,lTeaS wit h (he eDscr, as \\.cI1 ali by 1I1(Kld i n ~ forms ~mOOlh . An ... rase r

and n...,;pn.:tin!! (hOM.' an'a~ th,l( ~ utolll;ltic:l ll y ,..-reau' ~ ll.Idows. Finally, ,~ can also be u'lCd
a_~ ~ hloller of
o n ~ivc g n:all' r nuam;l' to ti ll' ~h:lrpcs( of CO lltr.:l.sts by snli!)' applying;r
.\(lTU, crcal;ns
p,:n..:il n r ..:h;.lk :a nd following the form oftlw ~ n ~toll1ka l nlrf.1ce,
1'!.'<lU res and
r~pe~l; n g "
Working with C h a rcoal previously
The 11II1 ;!ell ;IIlIlCSivelil'SS o f dl;lrcool m akes it very ha rd to t"r.1se. [11 th('S~
Illodeled ti~urc
GlSL'lI,.1 soft ",'1.1111 el'.1St'r is t'S.<;\.-' n ti;l! . bl'cUl sc not only C,1I1 it bl' IIsed to (111 <l ens<: dmn:ool
corrcc.:t m istakc~ -, b Ui il is also IIsdill for ()pl' U;n~ lip \V ll ite Sp~Cl'S wi th in ha ldlin g .
.1 h ~tch i ng o r bknd to re~t orc ti,e color of til l' p:lpl'r C\'CIl afte r it ha s
~l-' ll (lr.lwn upon ,

/irll)~T1 "rI' ,111" "IIt"";I(~ ill""""".",, 'I1,1'f

"IT''' IIIt'/i"", ji>r II~"I.-ill~ ".jll, 'lit qU,l/lly
.fII /jllt "II "r,>I"n'rII~/(/..:(n'"",'.

111,..., flIt tRIm is mMrnI s<"'y "" " I",""i".'.! ,Of'

(,>It,,;,,!!, il ~"k""" t' i, ,~II '1.\./'fly, 1J "'" IIIr 11ti~ <:ITff'
flJflj;,l/y. ' ... (nt' l~l'\'Of flit miMic 11111/ tfn,/"'/"I flttU'S.
 , ~

EXPRESSI NES:
fU1YT HM a/l{l TE N SION
he im crprctlltion of the model with expressive
T linC'S cm p llasiz(:s its rOTm~ 1 properties :U1d imbu e!;
the drawi ng wi th Ch:lr.lctc r. A dr.l\\ri ng Il l,."(."<l not only
refer to represcntations :md Strul;lu rcs in tile physical
world..- it can also cxprt.'Ss some of the person al trailS
of the artist: his e mo tiolls, imagination. perceptions,
and personality. The :lbstract q ualities of fo rm ,
rhyth m, and color always have :m emo tive responsc
fo r a perce ptive artist.

Expression in the Figure

Expression is a diffic \J lt concept to de fi ne in a few
wo rds wi thout giving rise to ambigui ty. A figure
drawi ng is expressive w h(:n it pOSS<.."S.5(..'S " life," an inner
vit:lli ty; whe n t he model appears animated and is no t
reduced to pUI'C, cold repreSl"nta tio n. Expressio n COlJl
III onkT 10 properly "ooA'(' all O:P"JS'w <lmUl;" }?, i' is
be achieved in several d iOcrcm ways: by using usdi./1o/lfartirr Ihf' j!ml'l,i( q'UlIi,y of' /'t lillt' ;,wl/.
salU ratcd colo rs; with intense. out of control lines; o r
through fo rmal distortion.
mid st/ldy ilS "' /elmly III'"<lillYl'llIl.

11..los,m,~ /1"11<" js 0"

!'SSe",;rrI JJ..'i/l "~!('II
J"'dr from
dllJlviJI.fZ 0
f!fr.rspOO"II-,' !fIH·
((Imidn- thot ill JJI/7JJ),
f<tIt'J, ;1 is Jlf'a-unry ' tl
worn quickl)' 1J((/ll!Sf'
poJlUfCf tll1' rpm
jlcrt;US:.
 ,"

Linear Ma rks
To achit:vt: ,II] expressive Ji ne in
OIlT dr:IWiLlgs, Wl' lImq work
qUkkly. ~ lJ(l barel y litl the pencil
fiu m the page, o r sh;ldc. and
follow the m;!in lines of the
SUbjl'ct with a l o~, carefree,
ncrVO\l~ stmh' of till' Pl·llCil.
ExpTe:<.\i ve ne~s is 1I1;1l1i(l'Stlxl
th.anks to percep t u~ 1 q uickn ess
and u n consc i Oll~ work. which
,III OW5 for the im provis.1 rion o(
li nl'S wi th a livcli nl'ss and streIJh>th It is advi~ahl e 10
that arc i l1lpns.~i bk to produce alw3Ys can y 3
with a slower, moJ1;' ml, thodic~ 1 ~k~ tc h book wi rh
exeClltio n. YOll. By ob!iCTvin g
In this type o ( drawing. li nes arc people and
l'xpn'sst:d quickly, and the (orm is d ... w ing [hem
captured and represented in its rrequentl y. YOll
lOtaliry, with no dl't;lils, bm in its w ill huild a visual
full, d ynamic anio n. Its (eatures memory o r
:II~ dt:cisivt: and the press ure physica l fur ms
app lied to tht· lille vaT ilos and ex pressions,
depend ing on the emotional £"/)'-':.<$;'''' dmll<iIY:.< aft· Ilw IIW$I aJ!pmpri<lle j,r Imllsll!illi'~ rllr
and rou w ill g><in
rc(]ext'S o f the artist: the line is /IIn/inli ,if aJiXHrr. 'nr lillrs ill l/ri, kind of 5~"I'/(11 mlf'rla/', rrmlill.~ prnctice in using
dt-cisivc and flex ible if we c~n loSt: a quick ,
Inr!fir slmUllml rPllfj'5""'.
ourselves in the impulse of a sp on taneous
fleet ing perception. stro ke.

.H<lki,,~ 1':<1' ....$5i"'·

sfwkN joffi'$ III M .~
,
,
?
I'f'",/(rll,r liul'
q"i(kly, di$rc.~){IrtfiIiS
IWy
_v~
'", (
./-
IIIf d,.wils <llId
£
i,,>trad pl/sillg 0"
IlIr rllyll"" ,!lid
Shllll"'" ~r II,r
}1}!1I1i'.

\
'I " 111111.."1' <III
r''1!1l:ssi''l'dm,,<ing,
il is l>rllrr 10 !l'ork
1I~'111 lIre pi'llril ~
poilll lilrM sUg/III
",MeI, gives !I,r liur ) 1'-'1<:-
XI'f'I1/rr pU'WlU"t' <ll1d
lI/adlll"lioll.
 H -,

" ".
/;(
./
"
",
,,

air is a mal!cabk coverin g. It variu grc:ltly

H depending o n a person's r.u:;~
and comcs in a
wide array of fo rms aud textu res tha t be aem
chalkllgc for the amateur artist. H air Gm be
n:prcscnll:c.i ill three ways: first, dr:lw mg in synthesis,
while dctCflllinillg only thc dlccts oflight aud
slladow; s«olld. n::ndering the effectS of ligh t al1d
shadow, the tonal values, modeling the forms. light,
and shine that determine the quality of thc hair; and
third, renclcring th c hairstyle by controlling the
direction o £dlt: line.

HAl R TEXTURE
Haif Tones
No matter how dark the hai r is, ....-e must never draw 'l1,n"mr ......'fr!)/
it in a tone ~o intc ll$C that it contrasts c)(<:asivcl y ",rlhoos for gi,;,rg
with the IOIl(,."S o f the face. We must sofi en th is dark .'01""" 10 III, hmr
colo r, making il as light as the most darkly shaded ofJi,,;sirf'tlfigmf$.
tones o f the face o r ncck, to illtcgratc the tonal values T he 1110$1 dfrlliw
of the hair w ith those o r the r(:5t of rhe figurC , Subtle if 11u:g ;s 10
variariol1.~ iu lig ht alld shadow Ildp expreu the tOf1ll'i ....II,,,I«/..., if
texture and vo lume o r tllt' hai r. We can achieve tht! hair <Il if Ilory ..-nt
c{fect o r SOrOlCSS wi th a blurry o r unfocusc.:d p rofile 1!Ir,.-kl, alld model
o r by add iug a satiny shine to give the h~ir a silky Mth alI'a s"/>I1mtrlr
appc:trance. Will, its ,,,m
figlll
.wd wadtd ports.

III a q"ick sn"/l, I/l(' In.:fUTf

cf l~ lIa;, is lrea/cd 01,1)' ~ru-'t' IWII IIO
mil,;,MlI),; il (a" br ,.." de1l'd "11trS('1I111~
w;11I a $;",,'/r hlflt l';"J! ",ad, IncIU,.. of
111(' irair.
up of di,Mio"a/I;nN, wt' musl 1101 fOl$<'1
IIult lilt' 1)(',KiI /jilts
"''' I I a lllW)'S flo'"
in III( f<1mr
diml;"'1<Il fhr
hair. Wlt('11 dmu ; ,,,
(Urir Ila;" /<,,
illlllfmr, If,,, /illtJ
",USf ~ fIIrvt'd.
The Direction of the Stroke
Tht' c\in:etio n of the stroke must follow the logic~ l
directio n of the hairstyle; therefore, we mus t t<lke into
"e(OUI1l th t' sh:lpe of t he style e\'Cry ti1l1e \ \IC dr:lw
tbe Il"ir: wilh slr:light h"ir. the li nes will be very
str.1ight, willie with wavy h ~ir the lines will be
CUT\'t.x I. Curly h"ir C~J1 be rendcn·J wi th sw irls, .,nd
vcry kinky hair c;ln be rendered III very finc doodles.
Th us, we achieve h;lir (hat s(''CIlIS to TCJlly o rig illlllc III
the SCI!P. On the other h;lnd, it can al'iO be intcI'CSting
to ~ ppl y 100S(' lr.lCC$ 10 expre$ the liglltness of lht'
hair, ;I\'oiding:t solid. 0\'t....Jy "hc"vy" form .
Body Hair
When dr:lwing t ht' h"ir on the brow!'. arltlpi~ , or
pubic area. do not uy to draw c"ch h.1ir individu<l ll y.
You sholiid make thesl' t r.lCl~ only ~rticli la ic cll u ugh
so that th t'Y iHlit:lIe the textli TC of the skin cOVl'red in
hair ;md the different tonal iut('nsitil'5 d13( Ih t."Sl' an':\S
exhibit compared to o thers. Tht." hair 011 ;a m ali 's kg)
;a nd chest C'd n be rcndcn:d with shon , light.
directioll:ll li nl~ or by sllIudg ing uf l:ireuiar or
irregular traces :lppliCtI with :l light touch of the
pc::nc il.
Lilla t/c5lribl".I! /Jail ,/",,,id,,', IN-
"1I!(oml;'1 is mo'" ':("1Ii<.. '" I'llI")' 111(;'
illl(,lIIily n/lll Slll/' ,,, If(Sl.i/w (I silky
Ir"" Hll' IWf'/ Oil III<' ;."it/r//cr ,11':f/mj.1S
I(~I" "II il~ S"!((I(f'.

DrJl !ilt'iff 1II1f!f'tlmfl(t'ill rro/ /i/r, /JOir

wJor ',,' IS' ,mIT 1I/'PI'tlr ...... y '11Imst'.
Ht >lUISI il1lC'1!f'lIt' ils "'.'" /lfImlNlic<ll1y
'0 11'111 f!I' llIr jntr as tI .~KJk. M " I('
IlUU/J lilly ''''1(''/111" if II,.. body.

n ll'f" tlrr I•..., j,,/jj( 1>\1)'>' to rrprrstnl

bed)' IJllir; 1'fH' IS 'lilian .";IIJ IIllo:siK,
tIrI)' Ilt!ltlJi./;C. 1f1i1~ pmulld Irtrin;ei;
1/". lItlw. il Itt Sid" II)' IINOOI/"'IJ! III"
/III«lIi'l1: ",il" afi'l~ip ltal//rtl",il"
(/wWIII. '/Jlr t/mu .;,,~ .n ri,f!;IlI shot,..
boIlJ PIIJjiM/ilin.
 '"
,
i <

.J
I
1 •

/.)
[77;{' QVALITIES (~ . . ,il
' I,,
' \
,.:;

,oj'f!;,' SKIN
he skin is Ih" olltl' r d ressin~ lh:lt covers the
T human body completely, giving Ih(" body the

'J
appearallce of a singie, colored su rf~c. Although this
is 1101 al (~t."[hCT Ihe Cl~C, [his surface prcsclllS wore
or lt$li pronounCt:d volumes. Eve ry individual has ..
unique skm color. bUl light al1ccb the colo r through
wh i(h it is \X'rcdwd, creating diITt'rcnl 10 n ;l] vaJ UI.'S. ) t
F lesh Sh o uld Look Like Flesh tit
WI1C:n dnwi ng.! !ludc. the 11(:5h sl10uld look like
flt.'li h . W hc: n (lecd with rcpl'l:scl1lin l;l: the ~ kin, co nsider II/}
~ .
the fu ll owing f,lctOrs: the wavy rcliclS o f the muscles,
w rinkle;, the na\'el, ~nd the creases and joinll; in the
limbs,:1$ well <IS the a~e Jnd r:l<;t' of the pcrsc:!11 :iJ,'i" rot ..,.,." I~II, lJOdr II/li, sJ", .. /d t..
picturt:(1. The fla ccid . \\lTinkh l ski n o f an elderly Ifml"" d :ruliil)l TIU' 11f'SI1l,;"g is lei
person will not look Iht' same :IS the sm()()(h. but al/rml" w nrmr /I~ai,,)' IIZJ'fTcf
skin of a child; silTIibrly, a persall of colo r will hold rf"llmu f7 ",IMUII ,11<' 1,'r!I' if",1Ir
differe nt IOnal vari~tics than a white person, T he (/"'"001 ltirl.: 011 tltr I~tlw
\u lulIlcS of the body's flc.<;hy arca~ depend, above all rprrMrd litl<' ,'i,III,I/I'", ,III' lllIiry
dsc, 0 11 the lIl usck-s, tissues, and the texture ami (I><'('ri"Ji ,!f".r ski" r~.,.l' tjJrclh'f'II"
firnll1t:ss ofth ~ skin, A lIIore Lvidcllt,l;cner.,1 fac tor to
consider i ~ th~ appearance ofwrinklcs with llb'C, the
fb ccidity of tilt' skin in certain arc:u, a nd the prese nce
ofb.'l(;S, p;:!rticub rl), in the checks and neck.

'Ur '0 1"1,.11 r!1I"';"klN ru,d (n'<IJrS <IS

tlifillitr fomlS I>/td IlWid "1"('1(1111'1$ l/lftH
11$ /ld'il"")' li,~ "', lilt" mifiu' if" 11K'
"dn.

!
 u,

Different Racial TYllCS

T he law!> of proportio n o r ~ n~ l ol1\y
do.:scr ibcd at Ihe beginlling o f dIe book
aren't V3lid for L'\l:ryunc. T hc facia l
fcaUlR."S of a Black person are ilio n'
pronounced than those of ~ CllICa~an;
smub rly, in ;1 C hinese pe rson , the height
ofthe body equals som e scven :md a half
r.lthc r th.l l1 ci",h t and ;, half 1 1 C;ld~.
Somcnmcs, \w tind it difficu lt to dr.lw
fact's or bodks of ('lces o ther 11...1 11 o u r
own for dlC sim ple n:ason that we are so
[., ,111liar with our OWl l
proportio n!> IIiat ou r pe,n :p tioll
wile n dr.lwmg o ther.; becomcs
lillliu::d . T he only solution i~
to face th is iS~lIc and seck
m.:w models. O nce you Ila\,\:
progn-ssed as an arti~1 and
ck:vclopcd you r powt:rs o f
obsc.-rv:mon and anal~s.
drawing diffcITnt r.ldal f)'lX"li
will become easier.

Shado ws and Light

T ht- fl esh tones o f a nudl'
should always be at th c
st.."J'ViCl..' o f the expressio n
of light and sh.,duws
0 11 ttl/,' ;an.atomy. lt
goes wi thout s;aying
that sh:tdo\vs c;an bc
dCL1' :tnd dense. or
son and tr.lIlsp;m:nt,
and th:tt light can
be inu:nsc, d irect,
or imlircct. We
must ;also consid('T
d1,1t tho:: tOnt.'S u f the
body \.;'lry depending
a ll the colo r
surrounding tho:: figu TC.
This effL'Ct on t hen be
atte nuated or into::nsificd by
surrou ndmg tht" fib'll TC wit h Ol hc r colon
thu CO ntrast wi th its profIle-. T hcn..f orc. II iJ IlJif1d 10 IIlTJ(tjao dnnvillJ! IIlClfris <1 difTi"f'IIl
ski n color is ;a cn."atio n borne o f me rll",ifilirs. I .. d,,;,'1! W, "'" diJ(<I"v 1/'''1 II.r skill "'''r
d1ron' ~ t ic treat mcllt of the wo rk. and o n IlI1w tli{1't'I'C'!If /(Illn/ ''''/IIC'I, a" d ii/....,!fr sli~I,'
be: m od ifi ed ;lIld affi rTlled as the: d .... w ing di{1'rmll'G fro'" ,llc (wssk"I I",,'! rfl'lOl~)rlia".
p TO{,'TCSSt.'S, :lu Cll ua till1!. co rn:ctillg. o r ,~' rli(HI"rly nJ f<lll(cm s / ' IC f"u.
intensifyi ng lhat colo r.
 BY
I "AI 1m indeterminate fIOUf;!rolll a Silllree kl/oll''' to /IS 10001'. the work oj an illeluctably COllies illlo /1,1'
ulrlrld. Cold mfmlalioll, spots tlun (,nlpl into disorder, malllcnlatimlly exact collstnlc/ioll- --{/en( or
rrco"dile-Ioud or silem (/ralVing, smlJmlo«s IlI()rk/IJamhip,Jmifart's oj c%r or piallissimo oj wille,
tml1qllil, briule sl/riaces."
W. Gn)h","n" 3nd \v.t;.!;ily Kand; ,," ,y: M ibn, II ~jtll"'f', 19SY.
 /7,(' NUDE FIGURE /1/
CHARCOAL:
,TII{, OUTLINE
he o utline i~ the fi rst ~I ~p Ih~ anist must t~ kc on the pagl'. II
T con~ ist~ o f (t r:lw ing t Ilt" form~ l structure of t he n lo(kl, laking
imo ~(COI1111 its lilllits nlld propurtiom, ~s G"bri d Ma nin has do ne
in this t'xcrcisc. ln order to l1lah~ an adeq uatt· u ud illl', it is necessary
ro calculate. (" ,:tI Llatc, synt h ~i ;.;c, sketch, ~ l1d try 10 umk rst:m d how
forms an: an inilatcd . lf tht" otl tli nt' is Ilot rt'nckred co rn:cdy. it w ill
bt: ncarly 1I11possihk to corrcer the d r.Jwin g b tl'T.

1. T Ile o l ltlilK' should fi r.<l be:

madt' w ith til l ' thi ck sid(' o rthl'
dl;l n:oal stic k bcrwccl1 your

1 fi llg<.T S. T hc basic forms of tIll"

fi guR" ;m~ oudi llcd n~ ry
~yllt hct ka ll y. As YOll d r.I \" with th l'
d l.l n:o.l ] stick, yo ur fingerti ps
SllOUJd blur th e iJli ti.tl linc ;Illc\
blend it inlo the pJpl' r. 11l th e
l:oLllposi rioll, we shoilid keep in
milld Ihe illcii lle of the b~ c k ~ n d
th e zigzag cOllllX>Si tioll th.1( till'
I ,,~ ck:<cribl' ill rda tioll TO the
body.

2
2 , T he go~1 is 10 mt:aSl1Je, erase, and co rrff t [he
drawing ;,$ yO ll 6'0 alo ng, lint ii, liu k by link, th e
dr.lwing looks li ke the 111()(ld. W lll'n , Jli:o.: r sl'vtTa l
~tI ('l n pts, we fi nd tIle corl1.'CI lilil', this ]illl' ~holl ]d bt'
m nrked as "' k ..u im:isioll w ith til l' point o f th e
cha Jeoal on th e paper, whkh wi ll :dl ow you to
rrinton:e the fi gurc:>'s contOllr,
 Q
"Oli"./· .
'.. "'
~
".
~. .. ."
.....
. 11'/

.'~

111...11 uo.rki,!( ",jill rl".mw "ir~'J.I',Mk ,1/1'111 im"

smaller I,irr('l ,,, mal'/' it (mirr ,,, mm"'''' .... )'1m'
slm/.."", "11 thr /lil/W'. 3
3.00 11'1 wo rry If you h:wc to m~ kc corTt'c ti OTl~:lo 'Hake a
{"orn 'CI o u thne 011 the fir;r try IJ h -s a g rea t dl'~1 of
p f:lClicc: it i~ "OllIl,th ing yo u will aelli.:\'c o lily :lfll'f m ilch
dr:lwm ~. Do n'r 1I 'iC an c r.tScr w hcll makinA yo ur O\lt l in l~
a r.ll; wi ll sliffin'. Alld n -II H.'m bc:r how imerl'Stll lg
pcntim c utl e m ht:.

4 . T he final Tt'SUII of this {'Xen ' ISt'

i~ an o utline thaI capu m.... till'
1)Ol;lU IY and .lttitud l" o f th l' modd ,
w itho ut ib't1o r ing tl u: co rn 'C!
proportional n -b rio illoh ips of lll·t
body. 'Ill<: IIU pOftl lll til ing In:I'I,' is
to achieve an :KClU-:l t l'. synt hetic.
tirm {"omour line, ami a d l~l w ill g
Ill:!! doesn 't get lost in til(:
clt,tails- Holin.- how thl' dr;l \\ illJ.:
ob";ntn ti n: r:1("1~1 fca [U r~s. I Ja 1l(!s.
illl1t: r c1~ (n ; ls of the ligure. ~'VC I1
the fee t. .
The 1i.,;1 OUlline
should lw mad e
with the th ick
side o rt he

4
c h.IITo., 1 stick. 10
m~ ke the lim's
fi .."r and more
"(}nl rt>ll ~bl.· .

.:;..---"
 '"
j

BUILDING
FORMS
~~~:~l:~~~~
:. '
<hecv,,", 01 ~'~~'''I.~.'wvhich consi~ts of
the forms of the very simplifil-d
very few lines. There is no 0 " ".., the hu ma n body
tha t is t OO complex to be
the fon m of the body
shapes thai can Ix-
means
i ,

HISS we must draw are the

of the shouldcn and the hipbone.
both somewhat tilted. We dr.tw an
oval to represent the head, a
nX1:angic for the torso, and two . - /

i"~~~~~~~~:~r
Tl"Suh is a
shapes. Thethe
'l",
synt hetic outline
in w hich the pose that the figure
assu nlt.'S and its fo r ms an: made
much mon- comprehensible.
Sraning from t his sketch, we
continue to add new (o rms
<It.-tailing the volume of the body
aud till: si lhouette o f tile limbs
w ith gl'COlte r prtti.sion.
 '"

3 3. All that L\ m:~ded IIOW to com plet..: the &a~itlg a drawing

•....r",i;,
out line is to seeml' the prilleiple lint's o f comp lClcl)' is
the fi gu re, without ddaili llg lIllilll poTunr recommc nded
(O rl IlS suc h a~ t ilt' fin ge rs. If YO l l wi~ h , you wh"n wc inlcnd
can :t l.~o st~rr :.ppJ ying haldullg 3t th is 10 cor" CCI
poilll.This pron'lOs Cl i l be done ve ry impmpc:rl)'
quickly [Ising till' edge of ~ stick of silU31"d Ii"".; Ihis
g mph itc. drawillg with the nat Slllf.1C(t wa)'. wI' b"coml'
of the stick alld t hen sn lllclging the 3wa", o flb"
rt'sub with yOllr halld. Mah- sure that re f"renc" poin .."
the i!leiination of the bodv is correct w" sh o uldn 'l US",
and at th" sat""
by <.:hcckill£ the lines 0( ;'1(:
tim " correct
shoulders, the breasts, and the
possihl" lIIi~ !ah'S
• h ipbone. in tl>" o udint:.

4. In this final imagt' we sec how, w hen

the plOfile is rendcn-cJ w ith more sinewy
li nes and the body is modd ed with
hatc hing, th e b>'eomctric outli ll e St3 rls to
dis.a ppcar. alld ill its place we find the
body o f a well proportioned figmc.

Emmrrs iu <1 llrt1",ill.~ <1'~

IWI ou/r 'l5~rul JIlT
I(eillfllil{~ Or d;m;um;u,e
lilies. Ur tI,,/JI,;u,e Il,e
sll~e '!f 11l" p"per 1/';11, a
~Sl<!ill""",;II,
r/wrroo/. /I'/' mil
IVIlif1{, SOIllC wry
ill/m-Sl ill,!! 10llal
GIUI "111/(1.>1'/'1'';';
1f('(Is.

_""'_ _"""L _ f
 st~ndillg
n poses, th e lillt's of tilt' shou lde rs and h ipbone :lrC rardy
Ith ecom plt'tdy ho riw ntal. Allllost always,
o ll e :lSSU11l C ~
show n here. these li nl-'S
especiall~'in re b xed POSCli like
slight lIldin:nion so (h:1I p:ln of
the body's weiglu I"eSts on OIW leg. while tlK" orhl'r kg is £l=lxi and
appeal'" more rela xed .'rhis type of pa;Ul rc, ~s \vt: II:!vc seen, is k"oWTl as
th e comraposto or isch iatic position, h ere rendered ill grap hite pellcil by
CarbllL

DRAWING {{

STANDING FIGURE:
,771" CONTRAPOSTO
1
I. [kforc st.1'lmg (Q dr:lw, we
should llI:!kc :Ill t"ffort to
umkP.il;md th e body's posm re
llsing ~ simple, synthetic skckto ll
to Jdltlc it. The first ~t cp is to
pbce the oval for t il{' head ,1110 th e
an: h de!'(: ri bing th e backbone. In
the contr:lpo:;to position, the lilIes
ofthe shou lders ;md hips alw;l)'s
tilt in opposite dil"CC tioIlS.l11C first
lirlL'S should have a purely
COllS[Hl c tiV(~not descr i ptiV(.~
functio n.

2. Arrer placing the structural li m.."!\

of the bod\,. rt beco mes e;!sie r to
2
draw tht;: f~rms of the llIodeLWe
begin with the head , on wh ich we
will mark the 10r.;3tion of th e faci:! 1
fe:!tll res. then work down tu th e
sho ulders, kceprng irr mind th;!t
1
th e di~tance from each of rhern to
dre backbone shOirld be the sam e,
t.."I'C'I1 w ilen tiltt..-d. Then we reach
the hipborll·s. w hidl tilt frum tire
b.1ckbone at t he same point :It )
which the Iq,'S ben{L
 Itl s,'me l>I1m of II" , "'la/OJ")',
IIIC liue rlisal'/Jt'111'S " 1 a rt'm /l if
i IUJUI,iu-,!. ,,4,i(/, ,,1/01115
sm",,//J~r, upo" (o"/,,,/Icd
~mrll1/jolls ;11 ll,e IUI/d,;,'.'!.

/)
,./ " .-.' f
3. Using :m er~ser wc diminatc the
, ."..
~" /
/ stn lCllll-al lillL'S that we used as:l guide.
The light, linear draw ing &om the
;~ prt~vious stage III the drawi ng now gives
t{ W:ly to the modeling of shadows (which
helps li S lllldersbnd the fOrm s through
the dr:twing). 13m before doing so, each
of the body's volumes Ill ust be perfectl y
defillt;'d and proporriOrlL-d in relation to
the rest: the heiglll o f the pectorals, the
armpits, the abdomen. (l,e pubic are a, 3nd
the knees. Use ti le l'Cference po ints of the
classical law of proportio ns to properl y
situate thC'S L' clements.

3 In con(rnposto
poses, Ihe (ill of
the hips is ~ I so
re flected ill the
knees. As a
response £0 (his
lilting. o ne o f (he
knees a l wllY~
appear.; some",h~1
hig her (han the
oth er.
 1.1 1

FIG U RE 1';-''''''~£-'. ,- ;~:;;{"-h'_j.

:7"///> -,
,
t_/ / / <-

F0 RE SH 0 RT E1N;T E17\ ~".;~~:;Nx':'/-::-;,,\~:.

't', L..J. )- ': -;,' .' -.:~'''' ~.:~:'. ~"'!.
DRAWlNG /1t)n;_EMALc-NUDE "?
~ .... '>; "'....; '.'. .. /j
ile apphc:lt1on o f the lawS' or proportion to' the iUlinan figure is -
T ahcred when t he model 15 foreshortcl1cd- n1c:tJnng. whe n t he
re lationship between rhe measurementS 'S'lllodifidby the rules
•

[f.~j:~::r;~~~I~~:f'~~~:~~.(::~~~~""~~'~~~'~d;iffCn:ll t
I by obser ving how
fOl"($horlcllcd ugllTc in charcoal.
. I is w ith practifc,
ways ofa .'. -

exercise;' is [0 fi rst Outli ll l' the fi gu re wi th

to situate il~ conto urs by considering its co"""n"' ~
i.'
" -

f
\ \

1 \')
- --
. first step is to L'StatJll Sh l ht:' outline of the
1 we begi n Wi'th2 g .hite pencil.To do
. nuke usc o f the bY n fami liar geometric
~;;;iu;:'- ;:~ draw an app~ ation of the modcl'~
i profile we dra w a soft _m OllT 111 grap h ite pe nc il
based 0 11 thcpl'c vi outline, re membering rhal
becau se.' the fiSt! ying in bed with he r legs closer
to the "iewer, t ey will appear larger. Th e sho:c o fhcr
head \3W be · ~Olllewh;1l reduced because it is furt her
aw~ .

2 . We contilllic treating the e mpty sIXlC(.'S ,uOl lnd the

figure w ith new tonal fields . At this Sl;l.gc it is
neccss:Jry to emphasize the light w ithi n the darker
areas of the d rawing. Using crude c harcoal as wd l as
stick of pressed cha rcoal, it is possible to combine
Sllins and lines of varyi ng inte nsity.
 1.\ \

3. Th(' <i:lrk<'St pam of the f.1c t' an.- 111<1d('

3 If \\11rkilll; w ith
wi th a tortillol!, w ith link pn.....,urc, IlSiH~ -----" charcoal ~ticb,
soft lin t'S th~ t :llIa w I I~ (0 11no [hc r wC ~holi id take
r i~h, ljus tlll l"l f in tom~. Th e the precautio n of
pur ofblelldi H~ ill this cra~i llg, cve n if
d~",g is to colllpll'k' thl' ~alc lifthtl y, the
oHant'S crc:ltCll by the d'<lTl;oal g"'l'hi l(' tra("c~
h~ t('hi ng. thc 1>n:\·~lO.I~
<. draw ing. 'I1,C
tr.u;~, 11.'(, b)" tI,C
4. Complt'II WIl(;lry COlltraSl~
m<lke it so th<lt whell d\l"y occ ur graphite pcllcil
adj 3Ccnt to brig ht tOIlt'S , cbrk an: o il)" and wiJ\
tones wilt :lppe ar ilion' de llsc. keel) the c haTCN I
(rom 1;lk illl; 10
The s.ame thillg h:lppcn ~ to lig ht('[
Ihe papc r.
(OIU:S, which appc ~ r IIIllCh b r ig htl'f
whcn th ...,), ~ n:.' :l(lj;l('e tll to da rk
 ' J"

BUILDING
I STAI NS
lll' oft hl' Illost au ractive ways ofbegi li llin g a d rawi ng is by llsing
O rill' Ibt ~ Iain of any dry 1l 1l'ltiwll in ~tic k fo r m , ~l1 c h as pa~l e l s or
chalk. Irs spectru m o f tOiles is broad, bu t b" c3 usc o f its c010r, it looh
lIllich ~o fier Ihan e h'lI1:o al, and bri!;h re r. LCl\ see for o Uhc1 n:s th e
po~~i bil it i es o f d rawi n g wi th ~t,l i ll 5 by o bserving h ow Eth er Ohvt- dl'
I'llig Klldcr~ a SC31t'd f('1II3h: fi b'llf!." w il h ~h a r p (O lllr:l~ts be r'Wl' U lig ht
M i d ~h; ldow.

'Jr
! 1
I , Lk fofl' bq;illllillg TO >.
d l:!"', thl' ~rtisl m akes
51llall sh ,tehes. If wh l' n we ,111
.
m ake the li ne J I~l wi n g we
kel'p ill lllind Ihe line
do:snibillg ti ll: b:ll'kbone.
ill the ~tlld y b:lst:d Olt
SL'lius th e li lll'S l in t ser ve
\ as g llid epos[\ fOl' th e

)
'.
d ra wi ng will be Ihe dark
an'a~, ",hill' th l' light ,Ift:a~
wi ll be Id i un l'Oucilt'd,

2 . J)1'Jgging thl' b;lr length wise w e £l'l a th in Ii tie;

by (tfa K~ill p; Ihe (' m in.' w iclth of t h .. b,n rtrross t h ~'
pagl', Wl' ere'l tl'.J Ih ick, alll p le line th at illlilled irttciy
2
fdl ..e ts t he text l1re o f tile pap .. r. A cor rect I1SC or th e
t1a t ba r allow!, I1S to rt:l1titT COlllpiL-X fo rllls in just;)
few IllOllle llts. A~ we ca n see ill tllis state, it. il l terl~f
i~ . CO llstnl c ti\'e. Th e cleCJ ils ;t fe ull illl po r t311l:
i
olI.
•,
Illa([c rs JfC l hl' stai ns and th t' illl illcdia te
.•<i~l~\'·' " o f t ill' p ose.
 3
3. We fini~h conslruni ng lhl'
figure wit h 111(' lengt h o f tht' bolr. SaUb'1.linc i.. u....ally
\Vto have IlOC unti l this point U'lt.'<I applil.-d to
lines at aiL In a toual (h:lw iug. Ihe textured. bon ......
grain of tht' p.1p<: r and tlu' p",-'SSun: colored p~pcr.
of OI'k'S hand give th(' fib'1.lrt' Ib
lont'S. IAvcnding o n tht' foret' WI.'
apply to the _~tick . we \':Ity Ihl.'
brighlll t':S5 of the dr.lwing, Oy not
using li nt'S, tht' li~htl'd profill" o f
tht' figure is d .... fined by il'i
CQntr.lst. and till' t'!Hpty sl):lCe o r
background surro unding th e
fib'll rc is n..·I)r(....em l'(\ with gr.ly
hatchin g.

4, With ewry new nrokc, the

previolls tayCrli of shadow art'
imt'"n~ifit'(1. T ht, SpO l~ arc t'!ip t'C lally
i mt'll.~ ill the Icfi ~ haml silk o f the
body: Ihe dark('St slwdows ap pt':1I'
011 lhe ar lll, lht' abdo men , ti le
head , and th .... neck. Allhis Sla w,:,
Wt' com bme th e m arooll stam
with somc ~t rorlgc r clefi n i n~ lim.'S.
Us ill~ thl" point of th e st ick m akes
il easil"r 10 m ee thc fin a) linl.'S tha t
define the figu res profile. In th ....
prd imin~ry sketch l.'"l<. It IS
nccess.lry to pay as muc h ~ncnn olt
to tht' dark an 'as :Il> to th e p:a rts o f
the body with intensc wh ites.
 ,,'

FIGURE mr(} CHIAROSCURO

EFFECTS
llct>tht.'" o lidillC ,tIlel lilt" preli minary sketch all: dOlle, we can now
O exam ine how 1O pro pt..Tl y shade the fib'lITC. The first rh illg we must
{<I ke into accou nt w hen d rawi ng a figure w ith chiarQScllfO effects is that
light cloc~ not e lJvelop the entire body cx]uall y. O ne part of the body is
exposed to thl' rays of light, and it is here that ti le lighted arca occu r.;,
w h ile the othe r part o f the body :lppc:II"S in shadow. To give shape to this
idea, Oscar S:lIlchis l iSe'S a burnt Si CIl Il:l pastel , wh ich is sllfficielltly so ft to
g ive its line a good (brkn ess agai nst <:aIm ed p:lpcr.

1 \
1. The sketch o frll e model should be complete
before situating the l igh t~. because the shadows
sho ilid bl: applied 0 11 a perfectly constru cted sketc h.
Shadows are distributw llIlifo nnl y usillg the fbt
side o f tile bar to mark o ff the lighted slllfKe~,
wi th o ut applying excl......~i vc pre~~ure. bllt allowing fo r
scp~ra tio n l)Crwcc n objects ;md l'St.1blish illg the
middle tOIlCS in the drawi ng.

2. A.I tcl"ll ~ t ing berwcell the flat o f the oor and the

2 lines, we darke n the prcvioll ~ hatching. Fo r a

rOlllp~rison o f the diffeI"Cnt COIltr;lsts that appear on
th c p.1 pcr. we G ill app rcci ~te the d~ rkt:St tOIlC th:lt
flood~ the b.1Ckgroulld; the b riglltest, w hich is
re presellt(.'d by the colo r of thc p~pcr i t.~e1f; Jnd the
in termed iate: lOne, th~t o f the fil"St, soft lines o f the
first b ye r.
 3 T o crc ~t e OCCCllb,
wc can ~harpcn a
piece of while
dm lk wilh a
cUt! er.l-\ivinillhc
chalk ~ puin t
~uilablc fOf
drawinl-\ fillcr,
more prcci:;e
lill('s.

3. Using tIle flat of th e pastel again, we finish

extendin g the background to nes so th at they
~urround the figure and creatt: the ;atmosphere and
chiara.cu ro effect. The lig hted an..-as appear al m ost
ulllouch ..:d , th~ s.:allle color ~ the paper.
To accenwate the b[ighte5t burstS of light coming
off the andIe, we color the lighted area w ith wh itc
chalk :lIld !lms cmphasize th e effect o f r.uliant light. If
\\~ apply th is effect indisc[imin:ltdy th roughout the
painting, W(' can lose th e lumin o us CffL'(;t we we rt'
striving for.

4
4. The filUl n..'Sult shows th:lt ch:llk an offer:l b'1'C3 t
tonal r ichnL'SS th:lt stretchl.-s the limitS of picto ri:ll
qual ity. We have g i\l\.'n nU:lllCe to the fi nal leXlun: by
using a [onillon to smooth o ut d JC mnsitions in to ne
and the edgt!s of th e shadow'S.
 ••

MALE FIGURE
I WAIST UP
wi ll wo rk thr~JU~h draw ing ,\ 111:11.( ' fi!?ur~' fr:om t h e
II t !l i\ cxc n:.isc \\'e
I w:m t lip !Ism!,'!: charcoal.md whm' chalk.ll1c (Omblll:ltIon 0 1 thest"
two ma reri"ls \\- ill alll>w II' [0 study the ;neick-un: o fli!2,hl 0 11 rh l: tor.,o
:\JJJ the application o f :l lirst modd ing, albeil a ve ry \ tructmniisl on l", Thl'
;IlILho l" of [Ills omwlIlg.. Esdl<'T R odriguez, shows us hoI\' to render the
:mJ.to lll y and Ill<:' pb y o n i~hl ,md sll:lclow o n a hlllliatl torso in :l ve ry
d fecti vc, synthcric WJY, witho ut lunal mnsitions. wh ich ca n bt· o f gfl' at
11\ 0: to hq;i uu iug. a rti~I S_

1 2 1 . 1kgin b)'
dr .. wi llg rhe
omlir w \\~Ih a
stick of charn,a!.
keq)in g ill mind
rh" lih " f tlK'
shoulders :Illd
h ips.
I
/
I I

~I
\
3
2 . The ske tch ~ho u 1d gin: way 10 a first.
31"cll tc nr:uivc, tonal ana lysis wi th sll:l dow~:
but bl,rOn- this IS done, each o f th l' ck'lI\cnls
0( \11\; fi gllTc Sl10uld Ix perfectly well
defi ned ami proporl iOllal<' in rdatiol] to the
w hol.,.
3 . Wi th dw d r.lwillg S(·curc. we c~ n beg in to ~dd the
first dnrk.:lled ~ reas. ThL'SC will ~lI ow us to study tht
a n~to my more <lcl'ply nnd accen tU:l te the areas that
arc cxpoSl:d to ligh t. T he light so urce is o n the r ig ht-
ha nd side, so we sho u ld begin drawin g the dark areas
011 the Idi: w it h th e c h an:;o~ 1 stick bid-com pk tdy
flat.
 ".

4. Wl' IlIU~ t mlOO(h tilt' h~t c hill g and control

tilt· ~prt'adillg of til l' dl ~r,o.11 wit h uur
finb'Cr.;. prodUCIII!-: !,:rc at ~w;r; tI'l\ of tonc.
SrnOOl hi np, ICIl(1\ 10 connect diffe re m paTu 10
(";Je h other. and th us lc h ic'TS :I ullity ill till'
fib'lHl.' and soft lI100dlllg ()f1 thc reliefS of du~
body.
St:lrtin!(: from tlw pn:\ io us \kt'lch , ~ new
sHlrly of tlw modeling :l llow~ liS to :mal y7.e
the figure's 11ll1so lbt urc. We draw till' figun"s
lighter [QrK'S Wi t h a \ Iic k of w hite cha lk . 111
th is \vay, the spL't' t nll H oftOlll"i i ~ b roadcncd
to includc both th e ligllleS! .ltl(1 d.1 rkCSI o f
gr.ty!i ;111<1 til\' imc r lll ccli:lfC £ r3)'$ ~ well.
Whi te eh;!lk \hould Lx· used sparingly.

5. US(' the tip of till' , h;,":o.1.] (Q mah· sh:lrp

lines that define till' fi gun-'s profile and
contrast the halchlllg of ti ll' fact'. m:ck, :Illd
pectorals. Tht' din:ct ion of th l' light sho uld lx·
\tlldiLxi C:1R'fi ,lIy ~o Ihat all shadows arc
silLLJtcd oppooi lc the 111.1in ligh t so urce.

W he n smoo(hing
a charcoa l
hatching. u~c
),our finb'Cn t o
' "IIf)' (he intl'"l15ity
of the lo ne.
 ."

PROFILE:
,77tr IMPORTANCE ,ry"CONTOUR
n this step-oy-step exercise, we will sec at the lund
I of Malt! Bru how to usc a blackpoint
draw a figure from a strictly
COlltc pencil to
o f view, wi th
i inc;lT
no hatching whatsoever. TllC characteristics of tile
line uscd to define the contour c;ln transmit the
natur.tlncss o f the form, its mate riality, surface texture,
and visual charge. To do so, all one must do is contlol
the widlh and intensity orthe line on t1w paper.

2 1. As opposed to other cxcr-ciSC'S, in this case .., . .c do not

begin th e design o f the dJ"oIwing usJng simple geometric
shapes. The right outline is made directly with the line of
tile pellcil, practi6ng a contOUf. T Ill'sC inilial lilll.'S will be
ve ry soft, which allows for casy {"r.!Sure and const<ln[
corrections. We tIlust first dnw thl' contours that arc
essential to underst.1l1ding and rt.l'rcscnting the form. \Ve
win do wha tever pos.~iblc to usc the fl,.~\'!.'St lines pos.~iblc.
In the preliminary snucUJ~, it is important to consider
the rig/..ag form described by the body's poSUJre. as we
call sec in the sketch above.
2. Based o n the pn;vious sketch, we can construct the
whole profile of the figure linearly. The n ,lce of the line
dO<.'Sn't have to be contin uous o r have J uniform intensity.
A line can d isappear behind a curvc or be interruptL-d by
another contour. Al though the true drawing of the
contour provides a single lille value, the repR'SCnt.1tion
gai ns expressivcllcss w hen we va ry the width of the line.
 ..,

3. We fi nish dI':olwing the lines

and internal ,omo urs Ih:!t
docribc the aJ"aI1Cl' or rctn'at \
of (-.Id] pl rl and aIm the
particula r character and tacril c
scnsatio n o rthe clothing.The
inu.:r ior lines accentuate the
expn..·••sivcnt'Sli o f t h t" VOlll illC and
conUllUni catc till' thn:c-
dimc:ns.ional qU;Jlity of each
form in relief :.Ind the q ua lity o f
the modeling. lfwc use a
modullw.."<I linc to gi\.'I.' the line
dnwi ng the effect o f volulI\e , we
sllOllidn't filrgct ,hal th e shaded
an.'3S will hav, to be CXp rcssL't]
\\~ th thick, inlt."I1sc lines, whereas
lighter areas will be sug8t.-slcd by
[enUOllS, fine lint.'1I.
I \

3
\
III mille lille
dmwinl\$ the
system used to
reprt'M'1lt fo rms
recalb a
topq:raphic map.
with difTe ""'"1
lilies ind ica ting
diffe rent levels
and IllU~
represellting the
relief o f the la nd .
 ...

L ( CLOTHED FIGURE:
FOLD S ((//(/ TEXTURES
IthisIIto the following
dr~w :l
step-by- step c\r.lwing, Ml'TCcdcs Gaspar shows tiS how

~·;oc rc i s~'. l.x-ca ll5c

i~
clothed fig ure. C harco al om: o fdlt' preferred media (o r
the cOlllbin:ttiun o f lim's and tonal gradations th:.!
itolll·r. (<lptU rt:s tht, crc:tses .1Ilt! wnnk1cs in rlothi ng.Thl" d r.lwi ng of
th l' fij.,'lIn:. Illadl' 011 co1orec\ p:1Jl('r, is cOlJlpkmc mcd by :lcccm s ill wll ite
c1 wlk 10 g ive it a llI otC n:tUl n l, th IT~· -dil1w n sion;ll lo{)k .

2
j 1 I
t . First " T m ake a sll1:tll. prdin u nar y .ketch o f th e
model. \V" hcgin by drawing t he line o f the backbone
and t he o val o flile he:l(l, :l11d aro und th is st ructure
sill' will insert the (tifft'rent parts ohhe body. T IKIl,
using thl' It'ngth o f a piece of wllite chal k. we
im rudu ct· ~h·t t:h ily t he lights that gIVe b ri ghtness to
tlw lJlodd '~ back.

2. The fi rst lint'~ on the pa pl'r should have a strictly

co nstmctiVt' flln ctio n. We c!" IW thl' lint." o f the
b;lCkbone ,md tll C oval of thc head. In n skd chy
mallller, \ V(; rcso lw 11le p ro lile o( (he body ;'\nd (he
posilion ofthl' arms with little more tha n ;'\ cur ve and
an oval. Wl' us,' the charcoal stick so a~ not [0
overdr:l\V, so we C;tn then make corre Gtions e:t.~i l)".
 '"

3 U II.-C 'hc
COlIIO" " ~""
<lnwII" Ihos<' Ihal
w ill he
~n""nlll "le<1 w ilh
hal Chill)! .• hcml<i
he boonc ove r
~~~i n w ith Ih.,
cha rcoa l. We U<e
3 1......1111011 10
ma ke Ihcse firo;l
h a,chin g. ~ 1I{1
~"......,ad IIIl"
chuco~ 1 pil!:",,"m
on the I'''per, II is
" " oul.:h ltl ruh a
slip;hd ), dirl y
lo rtillor1 o n the
1<'$' lighle d a......,~s.

3. Till' Im<.':10 of !l1\' outline- mulr:iply a~ wt'

3ttt"IIIP( to adjust th e SiZl'li of rliffl:n.'nl
an"l); and gil'!.' plUlx)r!mn to ...·;u:h p:m of
ml' ix:xly. To Ih i~ end, we haw marked IIU'
waiSI line and 1Ill' cn:J~'" ill Ih<' 'I n ns. The
drawmg of Illl' c Olllour ~h o uld rem ain
open, widlOUIColIII<'crmg t h t" iilll'li
cOlll pll'ld y. 'IJ Ih,11 il k'aw'I the option of
round ing (lUI tit .. I,mn by h,Hehi ng,
inslt':,Ii.
w. .· u..... dw tl.11 u f ttw .~t i c k. payi ng:
31[t' mioll 10 till" Cn::I~l>S o f Ihe mood's
drt."S.'> . T lw d(XC lII l ill while chalk
compk'I1ICTlI IIll' pn'viou~ halchlllg,
highliWltmg thl' [l'xtun: and till'
VolUllll:tric k)Clk O(,hl' d o th ing.

4. WOrkm~ in ~n'a lCl' dC I:, i) :lllli using th l'

tip ofdK' white ,"halk , we TC ' llb- th l' {Irt:lils
of d'l" dothm!t. R ('C~ II that in order to
4
XCl' mUJl l ' the [C).: lUll' nf the d orhiut.t. it is
u<;(."fiJ l lQ add 3 l i~ lt ha(dlin~ to tilt' ;rn."nts
and (hu~ 10 l' kJ I I~ lli ~lI llJ..:u ish tlw l i ~h t , In.'';,
of <"3( 11 wrin kk (mill its Sl l'l dt~t I';l rt . The
end T\.."'I ull j, ~ n <')(Cl'I!,"m drJwing Ihal
ah(1'n~I''''' smoo th bl l"ndin ~ ~nd '\01llt:"wha{
t!ath "r, d~' rc",,1 a,H' Ut<i; th ," w ho le is
llu~Jlccd w it h m btk accc rllS in w lli te ch ~ lk "
 ~MODELING 1M
~ , FIGURE ifI, PASTELS and CHALK
" astels arc usually combilll:d wi th o ther d rawing media such
P as cha1k o r charcoal, to broaden their to nal spectrum.
Because of its color, a pastel is Illuch smoother, brighter, and
warmer than charcoal. In the present ~crcise. Marta Bermejo
Teixidor shows us how [ 0 build me flesh t O l lL'S o f a modd from
a combination o fpastd with Illaroon and black chalk .Tlll'!;C
three colo rs combined with the white oCthe paper are more
than sufficie nt fo r making sketches, studies, and works that
require a dctaik-d chromatic expr~ioll.

1. Just as we have done u ntil

fl OW,the outliile is the first step
,----- 1-
ill making the dr.l\ving, a few
gcnerai lincs in which we group
together simple ~,'comcuic
fonns that little by little will
take shape until they configure
the profile o f the figure.

2. W ith small pieces o fbb ck chalk and pastels. W (" ..elnfoTce the
P~::~~~~:dl:~~wing. hatching in the empty spaces that e nvelop the
r. wc make hatching with pastels o r chalk, we will
::;;;d;,;,ii;":;;;
!;
with a light touch and increase the pressure
using the lines o f the sketch as a guide.

3. These first touchl.>S of chalk

should be added very carefully,
because there is no need to cover
the pape r without first
co nsiderin g the del icate play o f
light and slladow on the figure.
thus avoiding cOvt:rillg its most
lighted 3reas. We then blend e3ch

2 new 3ddition of chalk into the

o ther colors using our fingertips,
to 3c!Jil:ve an even tone and a
more pictorial efTe[:t overall.

3
 ..,

Us;n!,: an e !<lsc r.
we open up the
sh ille in the flesh
o f lhe figu re.
D urin g the
process of
drawin g. " 'e have
~ra dl.lll n y created
slTlOOlh Ia)'CTS of
gray a nd reddish
duiOt (hM have
darke llcd Ihe
lo ne o f the p 3pt!r.
'Il ,C acct'fllS we
make with th e

4 eraser heighte n
the ilI ,,~ jo" of
, 'Olu",c ;11 the
fig ure.

4. "' ·~' fon , b;", d;>if'm,,'laycr~ ofhaf ching

mo~~,"~,~,'~:;~':
Iho::
and pastel, we blend
volumetric effecl. lf we
bI~n d [Oil", using a cottOil rag. we achieve ..
.... 'aifli:rent. cff~ct. The general tone of the blended
• hli chil}S is darke r Ih:m when we usc a
.." onillon . No ncthck-ss. il is th ese fil'S[ . blenck-d
hatchings dl3.t we w ill usc to represent t ho:'
middle 10 n t'S. The contrasts of the body should
be dnwn progn:ssively, finding the to nal val Ul-S
of eac h piane dependin g o n th e light that (.1115
on each one of them .

s. Th, [,,,, 1dh, of ,~Ium" "h;,~,d 5

;,
black chalk, w h ich creaCt:!> t he sharpcst contrasts
bcfWt.'t-"u light :lI1d shadow in the kft-hand
profile of the bod)'. and which we usc to d raw
the projl'Cted shadows 011 the floor an d wall.
The different smooth traces made w ith the t ip
of the chalk sketch the {;adal featu res and
distinguish the profile of the outlint: of the
fi gure from the background. lIlost visibl y ill th e
k gs. The f;'nd mllil is a d raw ing with clear
picto rial intensity.
 ,,"

Ilt> purposes of ~ lin c d rawing; are m any, and they

T vary depending o n the artist: it can be a medium
fO f hatching, m udd ing, and to nal analysis o r haw"
purd y descriptive ro le. In tile following exercise we
w ill sec, at the hand o f Mercet.ks Gaspn, how to use
<I grap hite pencil and develop the possibilities of the
line, with no smomhing whalSot:ver, ro make a quick
sketch of a female nude fi gaR:.

LINE DRAWING
FlGURE
I. The fir~t step is [0 fi x the m05t significant
con touTS, the linL'S that best capture the ge neral
movemen t o f th e figure. In a preliminary study, thL1"C
is 110 need to (face a previous skctch-bccausc the
sketc hy nature of the study makes it un necessary,

i
31t1lOug11 it is helpful to ma ke" mental calc ulation of
the IIlCa$Un..'S ;md proportions of the figure.

j~
2. O ften, the d esign o f the cOntour and the first

~~~- ~~
Illolld ing linl.-'S are simultaneous. T hl:y both occur <I t
every moment, so <I shaded u ea or volume !;:Om be
made solid by simply varying the strokL-S and
suggestion o f the contour linc.

f \ 2
(.\
"LI\
~~--"­

,,( ;I~. ,
1 ~

- ,. " ,,

~/
'\ :: . I, - -- \

: J' <: ,
1 ~

" .. - ~
~

, '.lI-
'X·' t
~jl
! I,
'.
 .. 0

3. The gencrnl pe ncll lillt."S ~re ~s much a way of

cxpres)ing \'Oh u nr a.~ they are a boc nrrnl intonation o f
a base which we.' GIll thell aCee ntllate ill sih'11ifi c lnt
pbccs. As we drnw we fed fo r the volun w almost by
intuition , appl ying more or J...-ss pressure to thc pencil.
If we b'TIP till' pl·nci l fully on th e inside of th e ham\.
we cm control the din:ction of thr lin e ami keep it
froll1 being too intense.

-"'"
4. This drnw ing. based o n SOUl e ligbt
pendl hatchi ng, SUgJ:l"Sts the profile of
the fi b...ln: :lIld the force of the 1lIassc5,
witho u t represen ting th em w it h 100ai
p~ci~ ioll . It :lcccntu atcs the voluUlcs and
~Ii efs o f the bo d y while avo idi ng sharp.
e h i:m:lSCuro contrasts and observing thc
un ity of th e forlll.

When ~ n
~bulldance or
linc~
is Ihe
r~--:-----', dominant reatu.e
,
.... in OIl r dr.owings,
we ~hould kL"'Cp
the b'cner~1
profiles rrom
geu ing lost by
muking them
whcrc\'Cr Ihere il
.. (old or a ,-cry
dl.ildcd area.
 MODE'LIN.e{ ,
", ,,~LE5HTO~p ~.
r---...-------·., I" '~e nude figur,c, we encounter all of the
repr~
I
robleills inherent
. g the: flesh, which appears as a fal ' uniform surface; its
volumes arc 11 evident, but we 1l1ust grade them .. t ~.tSS . Tlle
colo ri ng o f flesh, \\l h ich:lt first glance :lppears unifOl: ·mroughout.
contains a series 'f nU:lnce; t hat are hard [0 appreciate by :In eye
un:lccUSlomed (0; 'the properties o f colo r. T he goa! is therefore [Q exerc' r
our eye until we' are abl~ to see dea rly w here the vol.umes of the b ".i
:Ire produced, and to b ri ng dlem out by uSlIlg color,just as Esther, ' ve
de Puig de!).lO llstrates in [his exercise.
~
\ ,
1. We make a sketch using
maroon pasteJ, profl!ing the
comour wi thla firm, assured
srroke. T he trPtment of thc figure '~,
is q ui te free; e)1ere is a dC:lr and
intentiona! d4:propor tionally
betwccn the tpp and bottom parts
---
of the body. so. rendered to
achieve a g re:ltCr expressh't':lless.

2 . Using the fJat' ofthe pastel we

V " apply a light pink tonc that will

correspond to the middle tones in
the drawing. Th~ first sb illS are

/' 2 made quickly)?t wi th confident

motions.
,
I
,. \

/ 3. T ile greatest d i(fICulty lies ill

I, --- f
grading thc·kkin 011 rhe basis o f
color.;, bec,1l1Se it mcarui~\'e must
translate ~is monochro~surface
into mo'f pronounced volUq'les ,,
r
/
\ and (orlm, based on differenll,
chromatic values. h isn't essentl
to lise tp c colo r spectnnn
suggested by the colo r o f the
model-rather, we can U5C colors
far removed from the nuances of
the skin to create a dynamic work
th rougll colo r contr.lst.

,
'.
 '"
"

Ir ro ur finb'CTS are
dirry w ith colo r
and th.· nexi step
is blending a liglll
oolor, be sure to
d ea n them off
with a rag bero re
you do so.
"t
q\
~~. g raduall y CO\'t!I the figure in color,
we be~n wOTkil,lg on I ~ Jja&ground .
Following the theme~of (rearin g it ch romatic
' vi bralioll:-througho u! the wO rk, we make the
.b ackground ¥,.tllow. 'Ule backgro un d colo r is ~
5pread delicately in order to nQt disrupt the
~ o f t~ figure. T~~ right. profIle of the
figure. the lower breasts, and the pubis are
underscored with wide ~vaths o f lIlaroo n so
that Some these parts ohhe figure do not
blur iTUO the background. We should gnde
the figure's tones \'O lumetricaUy in the same
11,':1)' tlUlI we \\'Ou ld t he curvatu re of it vase.
W hen coloring where there is shade, the flesh
tone i>e<;omes cb.rker with the p resence o f
blues :lnd maroons; where there is light, it
grow brighter and W;\rmer tklnks to the use
of oranges, pinks. and yellm,,"'S.

5
5. Alter the lu(chi ng process, \ \Ie swt.'Cte n the
trallsiriolls between tones by smoothing the
flesh lones with rhe pads o f o ur fingers. The n,
using the tip of the p~tel , '\'\'e redraw the lines
orthe f.1ce. Once the drawin g is fi nalized,
there is a visible ch romatic variety in how we
sUgge'>tlhe culor and quality of the fi gures
~in, as well as a ton:d contrasl between the
areas wi th shine and the darkest shadows.
 , ".
,
)'

FIGURE //r{ WOMAN all{/a GI RL

rYrt lt1c BEACH
harcoal is .. qu ick, direct medium . It is also among the most
C ~pontancous, bcousc by n;I(Ure, it ","311 be lIsc(1 to make wide.
undetailcd lines. T he wide spectrum of possible tOile; is another o ne of
its Jtb':lctions. ln this dcmQllstr:ltion. Mercedes Gaspar makes :l
compositio n of two 6guro with pronoulltt<I tonal effects 111.., gi~ a
great expn:ssiveness to the drnwing. It is nec~ary to pay attention to the
changi ng directions of the lights. shadows, and reflections 011 the f.1ce
:Uld clothing, because these fa ctors describe the volume of the bodies.

t . '10 draw the body of the adult figure. we stlrt with
all ill\lcr!cd (;onc; for the head, a cirde. For tile body
of the little girl , we draw:t circle and cone o n itS side
to conVi')- the projection or her sh:.dow. We refine on
the comour, cClSing and doing it over if necessary.
until we :nljusl [he initial geoll1etTic for ms !O a
prdimin.u y sketch ill which W~ can al ready begUl to
sec th~ OlJllim: oflh e ad ult fi gure.
Charco.,1 is the petf<:et medium for findillg the
form without working on any of the de t:lils. With it,
....-e em stain the p:lpcr :md ~c~ the guiding o utlines
of the two figures while comparing the proportions,
mglC5. and ind in:ltions of the body.
 '"

2
3
We ~d, jc:\~d tl..,
~~~_..i, cff..« s of folds
an d wrinklc~ in
the wOluan's dress
by ~dJillg
~j v.agging lines,
.....l....:.~ with Ihe poim of
a d ,arcnal ~I ick ,
on top of bI~'mlc:<I
ilhading.

4 2. Thanks to the skctclJiliS

we di d in the pn.vious Sh 'p.
we were aNe 10 estlblt\h th...
profIles o f Ih(' fi b'tUl"S and the
linear harmony o f Ih,:ir two bodirs
as a un ifit:d w ho le. T he fin! hatching
complet(."5 the rou nded Qu ritllC o f till: fOlm.
These fi rst few h atchings. w hich will be vcry

3. U~i ng
,.
crude, should be made w ilh a fh l cha rco:.l b:l

th ick lines, we cover the b~ckgrotlnd

with a soft layer o f charco.11. which \W t9ClI
511100lh wi th o ur fin~,'c rti ps. We acce ntu afe the
cont:r.lsts o f the ili..1d ows imide rll e figu re; we
can o bt:lin uniforlll to nal W*b tions by
softening or lightening thc hatching with a
torrillon . The background tone is an ~ntial
refcnm ce point for giving gre:.tcr or k'S.~r
intensity to the h:llching of the fIgure<;.

4, 10 fi nish the sketch o f the oce;m, it t~

su flicient to add sOllle mo re inte nse tOile:. ~nd
opcn SOllll' whi te areas in the crest of th e
W:LVCS. We apply th e soft, dl'n$C linl' o f the
crumbling charcoal in the final St:lges o f the
d r:lwing, at the same ti me as we constrUt;t the
fac Lal featu res and th e Cre:\S(.'S in th e dOl hing
with slight to nal contrasts. The fi nished dr:lwing
sllOWS .:II simplified tonal spt.-clnUJl in w hich 1.hc::
dark to nes form solid m.'lSSC$ to u nify the
image.
INTERIOR mtlR

ATMOSPHERIC FIGURE
he nch spectnltn o f lonal values Ih~t can be achieved when a figure
T i.~ imegr:-.tcd into the atmosphere that surrounds it can be enric hed
even fu rthe r using gmphi te pencils o f d iOcrent h:lronesses. Even though
Carla n! dr:lw$ thi ~ figure in g~' Jlhilt:. Wl' might say it has an :luthc ntic
pictorial effect thanks to the atmosphere created by [h~ gr:-.ys. W ith this
outli ning, its forms arc lIot d osed Ull to themselves, but instead relate to
and meld into their surroundi ngs, crearing a sense of wllOlcness and a
uni fi ed imo nation in the drawin g.
t . The initial li nes created
with an 1-113 graphite pencil
have an orient:l.tive characte r:
they first situate the
ardlitectu ral trame around the
figure based o n perspct:tival
lines: the frame ohhe wi ndow,
th e angle o f the wall, :llld the
stone bench . Onto the!>e initial
geometric lines we layer those
of the figure in ir.; correct
proportions--rcnlell1 ber the
tech n ique o f dr.lwing as if the
figure were 'I'P'""".

2. By ho lding the gr.tphite

2 pencil hori zontaUy, we can

quickly cre:lte :In are:l with :l
un iform tone, with 110 guiding
ma rks; we g r.l.dually fill in lhe
main (brk are:tS, disregarding
the relief of the forms or the
outlines o f the figure. The goal
is to cre:ltc a diffuse Stain that
SllOWS tht· grain of the paper
undern e~ th .

3 . A lOrtillon will hel p us £0 elimi nate any

semblance of line> in the h:ltc hin~ and
create smootll lr.msitions between £one;.
 Many artius grow
ae<:1.nonlt.'<l to
"",i"l; graphite •
fX'ncils of a si"gl~'
hardlM'l'li. sud. as
2U 01' 4lJ, and do
11\ >1 exploit the
possibilities o(
lJ ~i ng a ' .. rict )' of
diflcrcm gr~des of
graphile within
.he ~~mc drawing .
TIll' COnlr:ut
i)t,twccn the finc
linc~ o( a 21-1
g"'l'hitc pencil
and thc dcn!iC.
black lines 1>( a (,I)
yields ,'Cr),
auraeth'c resu lts.

4
4. Placing th l: point a ~ofi ~r:tp hltc pendl o n its side,
WI" usc ~ rol:uing mOllon 10 grad ually dukcn the
inlcl'"ior shadows {hal contr:m with til<.' o utli ne o f the
figure. Most 3 rl i~l~ prefer (0 create dl C 3UllOSpht"n' of
the drawmg usi ng the ICXlUrc of the paper, producing
a highl y accOIuplldwd g.1 mut ofl o nC". ln reahty, by
!.imply gr.tzing the paper with the rip or the gn.pbik
we de"elop diffe rent lI uan c~ to ti ll' ha tch ing. U 5ing a
gr.tdual hatchin/-:. ~ l-:ll1 obt:Ull ~ofll )' blclldl'd [ol1ai
effects. II IS also pos.o.lblc to sofien the tOIlCS by
rubbi ng wi th a fi ngertip. Thl' spot~ of ligll! Oil [he
fac(' of lhc figure ~rc ~c h ic\'cd by openi ng u p wh llte
Meas with a :;oil crase r.

5
5. A drnwlIlg ~ lIc h as tim one GIn bl' thou!!ll! of:ls;'\
sum of ovcrbpping gr~ys. c:u:h o f wbich lcaves it.~
mark Oil tllt~ paper and Ill a kc~ t he l1ext layer
smoother :md richer; the fil1:'IIII1 :"1rk!; 3Ccc n(U:"I(e the
nmd.,nll:ntal fCiltmes of the fib'1..rc:: the texture of dle
d othlrlg and hair. thl' lead u ;"\r5 o f the window. and
the configur..tio n of the hands.
 ••

PORTRAIT pl'a FIGURE

1/1 SILVERPOINT
o gain m me p r.lcticc with lim.' alld to dt' mo nstratc the \'lillie of
T pt:'lltiu ll"uti in drawi uK. we will rt'pnxilice. at the h;mrl of Carlallt
,md using ~il"crpoi lH , a ft nd e figure ho ldi ng a dog. This is :t method
I h~ 1 allows fOT R'w correctIOns, so if any lIli~tl kl"!i arc made, they must be
re ctifi ed by adding new lincs:li> <10 t his excn:ise we need silwrpolOt,
avaibblc at allY jewelry store, or we can inse rt :l copper wire in a
med l.1l1ical pl'ncil. We wi ll sdcct a r il!id , fine- grain pa per :md cover il
with:t [Ol)'t.' T of w h ite zinc pigmen t or gouac he.T he fi~1 h ycr we app ly
shou ld be diluted with water: the ~ccond shmtld 110t. Once the p:lpcr
dric~ . it is l'C:lrly (0 usc.

L
\
)

I . \Vc bq! in t he composi liollai stu<Iy o f the model by

drawing masses b ased on simple geome tric Sh llP L~: an
0\1111 (o r the gIrl's h.::l.d, a circle fo r the head of the
<log, and a few more curves and clJip~c,<; to <1eS(:ribe
th l' locatloll of the other me mi>crs. Afier makin g a
gCOl lll·trk oudine, \Y'e begi n o ur first apllro.ach to the
forllls of the model. T his simple compositional and
outlining exercise s.hould done on a separate sheet o f
pnpcr, because silverpoint Jin es cannot be corrected
ollce they ~re on the paper.

2. This prc lirninal)' study wi ll el1.\ure a IllOTe

ebborate drawin g in which w{· can d early distinguish
(he comoul's of t ile figure. If, with o ther media, the
p reliminary pe ncil sketc hes or OU t!i Jll"S are m...ve r
definitive, when using sil verpo lllt every lin e we draw
is permanent.

2
 '"

3 If you wi, h to
aCCCfItWIIC the
IC !( (IJr'e and
din.'Ct ion of a
~tr.md or hair.
,ake a blade and
pnoctice adding
(J\·crlapping laye ..
or paint. 'nll~
resull.\ w ill
slIrprise you .

3. Once tht· pn:limill<lry drawi ng i~ complete. we

gndu:\Uy shade in the: diffcrcllt p:trts of the: drawing.
applying stretches of overlapping lines. T he sharpe ned
silve r lead gives the dl"3wing a vcry fine . detlik, l linc,
pc.--rh.1PS the nlOSt dd icate o f lines possible in :my
drawing medium. Silvl'rpoint lines can be erased to a
(Xlint if they are made on an ad«J u:ltc surf.,cc, but
don't rely on this too muc h w he ll drawing.

4
4. The progn'SSion of da rk shades depelld~ exclusively
on the pressure we ;IPl'ly to the instrument , because
s.iJ\'erpoinc doesn't COl1U~ in d iffcrenl hard nesses or
gradation... like pencils do. Befo re finishi.ng, remember
that lines 1It:I(k ' with :l silver c utter gCI darke r over
lime because they rust w he n thLY oxidize--when
they come imo cont:lCI wi th the :tir--just a.~
sil\'erv.'are does,
 'W

Ace ....... 11 2-113 r"",ilibrlUm of peon. 64-6S

A..,dnw.ng. 110 "1'><;..,118-11 9
",,~t()I''Y. 24-37 Ex",,,,,he l i l ~ 76-n. 120--121
cloth",!; .nd. 101 fori.I.,,.,,,,,,}",26-27
(ctt,llt- .17 1'>.,23
I..nck, .\2- 3.1 "" ~'1,J6-37, M
he;wllf""c, '21,..27 l"'m.M figu=:
Ii ........ JO.-- 31 boork/from, 19.29
rrMs.34-J!o 1"""",19
28-29
tOOl(>, lun"'..\1
A",h" «tun:, dn.,,,ng. 1114 nlUOCubn,..,, 17
Auno<ph"", around ligun:, 110--111, 154- 155 .""ti,1e. 19
A:c .. ,ofh<><l)', 1fl,29 proportions., 18-19
Ibd:
body oxi<. ~I>d. l b. 29
,-"
w,isu, III
p rop< M. ion., 16, 19 h gl, ..1 probic",...12
'0,.,.0 ."d. 211-29 ~l.'S h tones. 1 2~ . 150- 151

Blend,,,!\. 111. l lli- l l7 "".10..99, 100-101 .1 02-10..'. 144 14S

Hoo)' I""I;'", 14 ';''''''I'''''<,,,inl:069. Hfl../! I, 134- 1:\5
Hody.,,,,!,,,... 1""'17, 19 1'n:>t,..1 virw.66,67
Ill'n>b. of ......... f't!U ..... 2) O;oo, .... ric okId"". I), 44--45
em,.,. of ~-nYity. 6S £hiknl~ 20
Ooall. (JICreis<'. j.W.... 147 clooc:d "'f'pI"<*'h. 10
a...rroal, HH.II9, 111. 115, 119, 128-129 ko •...., 6!IU"". 19
0"..,*,,,.0 d"",,,,-?4-95. I3R-Il'I obcw~~2J
Child {'fill""" 20-21. 152-1!>3 """' "",,"*,h,71
CIoM-d (<k:w.:"p'''''') d r."" ing<. 711- 71 rI>t~ho" and. S4-S5
CIotl,ed f'll"to. 96-105 " "'ph,,,), >C.'Cm, II
mme:Cl .nd. l n4- 105 GeuUTU.''''I)-ting. 63. S<T 01", I'u5e!.
dr.l""".nd, I02- 103 H.ir l ~"'u rc. 122- 123
fcllh .nd. I (n.- In!. 144-145 1-I. nd.,32 33
pn><>n.liry . nd, 9? H • •ehinp. 5 1. 59.I!? 81'1. 90----9 1. 111
>1.><1)',"101 jm"" bod)' '"'-'CIu", of. 'lH--'I'l H ny dnwing. 1\1
COlO' r <."Ilon. I 05 H<»
C""'''un _ 0111)0; 26-27
,looK. opt''''', So6-S7 childn:n. ::!O
d;...olving. by hlo:nd.o& l1 h-1I 7 k ,rW<- f ........n, 19
II>(Cf,,1I)' .,.., 57 In profo le, 27
Ii.... ~ool'rcl.nd. 49 ~,-=don, I ".15, 111,20
.,.,.,.11.,';",48-19

.___...... ..
---~?,.. ~"Ir.Jp<""o, 73,132--1:n
C".. rcrUIlI! miol.kcs. Sn- M;,t<kn
COI"nc' ,,~,I"'. 68-(>9
O"(ur",.".,.,, n
Joint>. 79, 99 «<lining. 75 'fCIIS&<>nS, S3
Light .rod slloldow, 7. St<' air<> Clothed flgl""s $<':l",d.74 'Ii:::<tun;s/dli:cts
chi.:lr<lllCuro eflCcts. \14-95. 1311-139 $l.>nding. 72- 73. 132-133 ""(cn';, 11 2- 113
forcing conI ...... 93 uudyi,,&66 ,,,,;st.....,urcn for. 1(1;1
hatchiJ'g .nd, \10-9 1 , 'aryi"" pcint of "icw,66-67 . ""''''''he .... arou nd figu re, 11(1-1 11.
ligl,t cflCcl>.86-87 view &om behind,67 154- 155
« flec'ion•• S7 P,..:<itt:les·, law, 14 blendi ng, 111. 116_ 117
.ketchil¥ ex=;"'. fI8-ll9 Pr</,k "ic"",67, 142-143 co,""'lillg. St<' M .... «.
. kin 'Iw.li"...nd, 125 Pmporti<>ns.l (1-23 upr=ive line<, 76-n . 120-121
vol"me .nd. 90-91. 92-93 hack ride, 16, 19 fold,.99. 100-101. 102-103. 144- 145
Limn., 30-31 h2ri<: hum. n. 14- 18 h";r.I22-123
Li..... budy hoight, 14 . ki n, 124- 125. ISO-lS I
of ac';on. 54.55 body outline. 16-17, 19 Tonalledllli'I'teS. 8S. s.... at", ligl" .lId
C<>1Irolling. 49 children, 20-21 ~.oow
cxpr=i"..,76-77. 120-121 defined, 11 Tono,28-29
p1"'"'()1'~ 115 ckktly flg""'"- U. V T",,,,,,.,,,,,, d r.wing. 78-79
soli. 56-57 f"n,,1e figt,"'. 18-19 Un,uy>tcm.1S.42-43
synti>e<is ."d. 57 fO....horten;ng ."d, 69.80-81. 134-135 Val".,. • .cudyi ng. 9 1
M.1e flgl' ''' u<rci!.<". 140-141 ofl ..... <I. 2(,. 27 Va,u.J,ing (fadirljl,) (()nruu"'. n
M.p of oJudows. 88 l ..... d- ba.cd.14.15.18,20 V<>Ium<
Miru k.. intui live.41 wi, h accentS. 11 2- 113
COTr<;(ting without .. mi ng. 114- 115 m'l, hing IIlI i, ;, 15 clk<;o; of. 92-93
cr:>sing. II 8-1I9 mll",1t: ""i,.., 17 wi th lutching. 90-91
.u e"~" error, 114 oo.e." figt' rn. 23 w"iu.celllaic figuT<;>. 18
"'limping. 11 6 synthetic (",,'ouri ng, 48-49 w"tcrrulor d",wi"g. 59
Modcting t<-c hniqu ... 92. 93 unil _ystem, IS. 42-43 White >C(Cn ... 112, 113
Motion.76-77 R.acio l types. 125 Whi'e "",,,,,,,,,,,,,,, ;ng. 117
M U$(uut"", R""r. view frollt. 67 Woman/girl 011 bnch .><ore;"'. 152- 153
bod)' olltli"e . nd, If, Reclining figu=. 75 Wri"klc..U.102- 103.&r 0/", f'<llm
d,..wing.76 R dlectKms.87
cldcrly fi(;u ..... 22 Rhythm. 54-55. 102. 120. 12 1
fcllUIe figures, 17 s...",d figure:<, 74
li",bu nd,30-31 Seoing flgur.,.. 70-71
muscle pai .... 17 Sl .. di n g.58
Obc$<: fil(Ure:<, 2J Shadow..';ff liglu and _h,dow
Open dnr",ing<. 71 Silv<rpcin' t'Xcrcist;. 156-157
OpcniJ'g"",cc>.117. 118-11 9 Simple form, ",,,et, 13
Ov.1$, 19,20 Singlc _lin~ figu,...,.,49

~d. """",Bo>. 14f>- 147 Skin qualitin. 124-125. ISO-l SI

""1,';<, 34-35 Sm.,.,u,ing. 111. 117
Pm . i",,,"ti. 114, l iS. 156 Soft line. 56-57
Plunh,, ," lilles. 115 Spine. So> Ba~k
fbint of '~fW, (-'(~7 S.. biliry. "(fi!(UI", 64
Suim. bo.rildiIlK QIl. 136-137
"'"'
closed approach. 70-71 Standing flgu ..... 17. 6$. 72- 73, 132-133
conmpooo. 73.132- 133 Snok. dit<CIion.93
cOlmt .... mold. fQT.~ Stm~t=.offil(U"" 98
t''1uilibrium of. &4~ Siudies, "i.t""" of. 50-5 1
frontal ~.f>6.67 Srlllllping. 11 6
!plum .nd, 63 $0.",,,,,,,;,... in»g... n
moti"" .nd. 7(-,- 77 Synunctry.65
open approKh.71 S)'nlhesi<. 12, 45, 57
profik "icws, 67. 142-143 Synthetic oollt<>uring,4S-49