Character Costume Figure Drawing

Step by Step Drawing Methods for

Theatre Costume Designers 3rd Edition
Tan Huaixiang
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 Character Costume
Figure Drawing
Character Costume Figure Drawing is an essential guide that will improve your drawing skills and costume
renderings. Step-by-step visuals illustrate the how-tos of drawing body parts, costumes, accessories, faces,
children, and different character archetypes, such as maternal, elderly, sassy, sexy, and evil. By focusing
on the foundations of drawing bodies, including body proportion, bone structure, body masses, facial
expressions, and appendages, this guide shows you how to develop sketches from stick figures to full-blown
characters.
The third edition features a new chapter, Digital Mixed Media Costume Rendering. This chapter
introduces the basic usages of Photoshop tools to enhance and improve costume designs, in order to provide
easy delivery design ideas to the director and design team, provide easy changes and alterations during
the design process, virtually apply actual fabric swatches over costume sketches, and help visualize lighting
effects.

Tan Huaixiang is a Professor in Costume & Makeup Design and Technology in the Theatre Department,
School of Performing Arts, at the University of Central Florida, USA. She holds an M.F.A. degree in costume
design from Utah State University, USA, and a B.F.A. degree from the Central Academy of Drama in Beijing,
China. Tan has received costume design awards including the Kennedy Center American College Theatre
Festival National First Runner-up, Kennedy Center ACTF Meritorious Achievement Awards, Regional
Outstanding Teaching Artist, and Distinguished Achievement awards. She was recognized by Central
Washington University, USA, for her teaching excellence and was a recipient of Teaching Incentive
Program Awards from the University of Central Florida. Tan was a USITT Golden Pen Award nominee for
her first edition of Character Costume Figure Drawing. Tan is a member of United Scenic Artists, Local 829.
Taylor & Francis
Taylor & Francis Group
http://taylorandfrancis.com
 Character Costume
Figure Drawing
STEP-BY-STEP DRAWING METHODS
FOR THEATRE COSTUME DESIGNERS
THIRD EDITION

Tan Huaixiang
ROUTLEDGE

Routledge
Taylor & Francis Group

NEW YORK AND LONDON

Third edition published 2018
by Routledge
711 Third Avenue, New York, NY 10017

and by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN

Routledge is an imprint of the Taylor & Francis Group, an informa business

© 2018 Taylor & Francis

The right of Tan Huaixiang to be identified as the author of this work has been asserted by her in accordance with
sections 77 and 78 of the Copyright, Designs and Patents Act 1988.

All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic,
mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any
information storage or retrieval system, without permission in writing from the publishers.

Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for
identification and explanation without intent to infringe.

First edition published by Focal Press 2010

Second edition published by Focal Press 2013

Library of Congress Cataloging-in-Publication Data

Names: Tan, Huaixiang, author.
Title: Character costume figure drawing : step-by-step drawing methods for theatre costume designers / Tan Huaixiang.
Description: Third edition. | New York : Routledge, Taylor & Francis Group, 2017. | Includes bibliographical references
and index.
Identifiers: LCCN 2017009040| ISBN 9781138211704 (hbk : alk. paper) | ISBN 9781138211711 (pbk : alk. paper) |
ISBN 9781315452371 (ebk : alk. paper)
Subjects: LCSH: Costume. | Costume design. | Drawing—Technique.
Classification: LCC PN2067 .T36 2017 | DDC 792.02/6—dc23
LC record available at https://lccn.loc.gov/2017009040

ISBN: 978-1-138-21170-4 (hbk)

ISBN: 978-1-138-21171-1 (pbk)
ISBN: 978-1-315-45237-1 (ebk)

Typeset in Bodoni
by Florence Production Ltd, Stoodleigh, Devon, UK
Contents
Foreword vii Garments and Textures in Relation to the Body in Heavy Body Types 122
Preface viii Action 58 Thin, Tall, or Short Body Types 125
Acknowledgments ix
Introduction x CHAPTER 2 CHAPTER 4
What Makes a Good Theatrical Costume CREATING THE FACE 67 HANDS, FEET, AND ACCESSORIES 128
Designer? x Proportions of the Face—Front, Profile, and Heads and Hats 129
The Importance of Personality and Body Three-Quarter Views 68 Hands, Gloves, and Props 139
Language x
Step One: Establish the Head as an Abstract Hand Proportions 140
Philosophy for Drawing x
Form or Mass 68 Relationship Angle between Hand and
Step Two: Block in the Features 70 Wrist 141
CHAPTER 1 Step Three: Contour the Features 72 Feet and Shoes 149
DRAWING THE FIGURE 1
Types and Characteristics of Faces 81
Proportions of the Body 2 Facial Expressions 86 CHAPTER 5
The Basic Bone Structure of the Body 6 CHARACTER COSTUME DESIGN
How Can Proper Facial Expression Be
The Joints of the Body 6 Achieved? 86 CREATION 158
The Head, Chest, and Pelvis 6 Emotions 86 What Is the Best Way to Begin? 159
The Relationships between the Limbs and Proportion, Action, and Movement 160
Positioning the Head and Neck and Directing
Body Masses 9 What Is the Figure Doing Beneath the
the Eyesight 105
The Balance of the Body 9 Garments? 161
Weight on Both Legs 9 CHAPTER 3 Detailed Costumes 162
Weight on One Leg 15 FIGURE AND FACIAL Outlining the Garment 162
The Body Leaning on an Object 20 VARIATIONS 107 The Details 163
Figures in Action 23 Characteristics of Different Age Groups 107
CHAPTER 6
Abstract Stick Figures in Action 23 Children’s Faces and Body Types 108
Contouring the Stick Figure 24
RENDERING TECHNIQUES 173
Teenagers’ Faces and Body Types 112
Contouring the Stick Figure from Head to Youths’ Faces and Body Types 112 Creating Highlights and Shadows 173
Feet 25 Middle-Aged Faces and Body Characteristics of Materials and Drawing
Figures in Dance 35 Types 112 Strokes 177
Figure Poses Change through Time and Elderly Faces and Body Types 121 Painting Costumes 183
Fashion 49 Characteristics of Different Figure Types 122 Painting from Light to Dark 183
vi  CONTENTS
Rendering Sheer Material 193
Painting from Dark to Light 194
Painting with Markers 201
Creating Texture 209
Creating a Pinstriped Suit and Plaid Dress 209
Creating Rough-Texture Fabrics 210
Painting the Head and Face 215
Decorating the Background of the Costume
Design 217
Drawing Supplies 228
CHAPTER 7
CHARACTER COSTUME FIGURES IN
STYLE 229
Sketches and Renderings 230
Constructing Character Costume Figures in Musical
Productions 230
Creating Character Costume Figures for the
Musical The Most Happy Fella 230
Character Costume Figures for the Musical
The Boy Friend 241
Character Costume Figures for the Musical
Leader of The Pack 253
Character Costume Figures for the Musicals
Once on This Island and Pippin 264
Character Costume Figures for the Musical
Pippin 271
Character Costume Figures for a
Drama/Tragedy 280
Character Figures for The Visit 280
Character Figures for Marisol 289
Character Costume Figures for a
Comedy/Farce 293
Character Figures for The Learned
Ladies 293
Character Costume Figures for Children’s
Plays 300
Character Costume Figures for Just So 300
Character Costume Figures for The Lion,
the Witch, and the Wardrobe 306
CHAPTER 8
DIGITAL MIXED MEDIA COSTUME
RENDERING 313
Introduction 313
Basic Functions of Painting Tools in Photoshop
314
Choose and Create Painting Brushes 317
Create Beads/Pearl and Sequins Brushes 318
Create Fur Brush 320
Create Feather Boa Brush 322
Create a Lace Brush Tip and Seamless Pattern
Fill 324
Process of Painting a Costume Sketch 332
Step One: Scan or Import Sketch 332
Step Two: Check and Close Any Broken
Sketching Lines 336
Step Three: Paint on Layers 336
More Design Samples of Using the Paint Bucket
Fill on Costume Renderings 349
Step One: Enlarge the Chest 349
Step Two: Pinch the Waist 350
Step Three: Erase the Mustache and Add
Background 351
Adopt Actor’s Headshot into Costume Character
Sketch 358
Apply and Manipulate a Fabric Swatch Over a
Costume Figure Sketch 362
Create Repeat Pattern Fabric Fill 362
Define Repeat Pattern Fill on a Piece of
Crooked Fabric Swatch 366
Create Repeat Pattern Fill from Irregular Print
Pattern 368
Save Repeat Pattern Fill 371
Puppet Warp Pattern Fill 372
Add Highlights and Shadows with Dodge
and Burn Tools Over the Fabric Fill 379
Change Pattern Fill as Costume Design
Option 381
Organizing Layers 382
Make a Copy Merged Layer File 383
Warp Fabric and Displacement Map 387
Fill with Image 393
Conclusion 400
CHAPTER 9
COSTUME RENDERING GALLERY 401
Index 431
Foreword
T
he art of costume design is multifaceted.
However, many designers would agree that
drawing the human body is the part of the
process that is as thrilling as it is frustrating.
Costume design renderings not only demonstrate
the overall approach to a particular production, but
provide the details and expression that illustrate
each individual and nuanced characteristic.
The importance of the costume rendering as a
vital collaborative tool cannot be underestimated.
It must communicate concepts to the director, other
designers, and the actor with the clarity and
precision required for the makers, tailors, and
artisans who will bring each idea to realization.
Although there are some who come to costume
design already accomplished in drawing the human
form, many do not. For young students and seasoned
designers alike, creating a large quantity of
evocative and detailed drawings is an ambitious
undertaking. Indeed, freelance designers may find
themselves working on multiple productions
simultaneously, with less time than they would
prefer to complete sketches to their satisfaction.
Young students new to costuming may be
continually frustrated with their inability to
communicate strong ideas with weak drawing skills.
What is exceptional about Character Costume
Figure Drawing is that Tan’s approach is accessible
and attainable, even for the least experienced
illustrator. Her discussion of the drawing process is
directed toward those very attributes that costume
designers must master in their renderings: clarity,
character, detail, and motion. Tan focuses on the
movement of the body centered through the spine,
establishing a framework within which all students
can begin to think about the actor in costume.
While meeting for lunch at a conference, Tan
began to tell me that she was working on a new
chapter covering digital rendering. As a teacher who
utilizes Tan’s methodology and book with all of my
own graduate and undergraduate students, I was
struck by the clarity and ease with which she walked
me through her use of Photoshop. It was clear that
she was able to enhance her renderings in a way that
retained the integrity of her hand-drawing style.
Based on solid information and real practice in
digital rendering for the costume designer, the
highly relevant third edition of Tan’s Character
Costume Figure Drawing addresses the use of
Adobe Photoshop. With her virtuosity for drawing
the human figure, Tan transports us into another
method of communication.
Due to its cost- and time-effectiveness, digital
rendering is quickly becoming a standard method
for costume designers to get their deliverables into
the hands of directors, designers, and costume
makers long-distance, making needed changes
quickly while remaining faithful to the original
rendering. Tan’s third edition is important in that it
approaches digital rendering with a standard that
combines the beauty and animation of the drawing
with the expeditious communication of digital tools,
thus preserving the complementary relationship
between art and design that is essential to effective
costume rendering.
It is with enthusiasm and confidence that I share
Tan’s new edition with students and begin to apply
its methods and ideas into my own professional
work.
Linda Pisano
Professor of Costume Design,
Head of Design & Technology,
Indiana University Theatre, Drama & Contemporary
Dance
Preface
I
genuinely appreciate the valuable suggestions
and advice from all my friends, colleagues, and
readers, who helped me to develop this third
edition.
It’s beneficial for costume designers to
continually learn and grow in their craft, while
keeping up with the latest in technology, especially
when it can help them become more efficient, better
artists. In recent years, I have colored my costume
renderings with Photoshop Painting Tools. I use
Photoshop as an aid to enhance and accelerate my
costume design process. Most importantly, using
Photoshop painting tools provides options for
alterations during the design process. Most of my
costume renderings are not painted in a “precise/
perfect” way. My intention is that they portray a
sketchy look. In the new Chapter 8—Digital Mixed
Costume Rendering—I provide an introduction to
Photoshop painting tools. I am continually exploring
and learning new things as I go.
Through my experience teaching theatre costume
design students at the university level for many
years, I have witnessed time and time again that
students struggle and become frustrated when
drawing human figures. I know they need guidance
and instruction as they are practicing their drawings
in order to improve their skills as costume
designers. I feel like it’s my responsibility to write
this book to guide students when they’re struggling,
and I hope that this book will greatly help all
prospective designers out there.
My goal for this book is to provide a simple,
efficient, and straightforward approach. Because
English is my second language, it has been quite
difficult for me to precisely express myself, so I
hope the visual images will help out. Some days
I felt like it was impossible to finish and wanted to
give up, but the desire to help students inspired me
to continue.
The illustrations throughout this book
demonstrate my methods in an easy-to-follow, step-
by-step format. I have incorporated numerous
examples of my own costume designs into each
subject to further illustrate how to utilize line
quality, form, and texture to create facial expression,
body language, character, and attire.
I hope this book can be useful to both students
and casual readers. Students and professionals who
are interested in a variety of character drawings may
use it as a refresher or as a source of inspiration. I
hope that this third edition will encourage students
and foster in them enjoyment of the process of figure
drawing and design artwork. If this can be achieved
for each student, it will be very rewarding for me.
Acknowledgments
I
thank Focal Press for allowing me the oppor-
tunity to write and publish the third edition of
Character Costume Figure Drawing and for their
unending support and encouragement along the way.
I extend a special thanks to Bonnie J. Kruger,
who introduced me to Focal Press for my first book;
otherwise, I wouldn’t have had the opportunity to
write the second and third editions.
Special thanks to Professor Bill Brewer for all his
support and mentoring regarding this edition and to
Linda Pisano for her valuable suggestions.
I thank all my professors at the Central Academy
of Drama in Beijing, China, including: Hou Qidi,
Ma Chi, Xing Dalun, Wang Ren, Li Chang, Zhang
Bingyao, Qi Mudong, Zhang Chongqing, He Yunlan,
Yie Ming, An Lin, Wang Xiping, Sun Mu, and Li
Dequan. They are the ones who laid the foundation
for me to pursue my dreams and achieve what I have
today. They nurtured and motivated me to start my
costume and makeup design career, and their
influence has changed my life.
I thank the professors in the Department of
Theatre Arts at Utah State University—Colin B.
Johnson, Sid Perks, Voce Call, and Bruce E.
McInroy—for their kindness, advice, patience, and
support. They helped me endure and overcome
graduate school, a difficult period in my life. They
provided opportunities for me to work on many
productions and created many learning experiences
for me. Their guidance has led me to accomplish
what I have today.
I want to thank all of my former theatre
department chairmen in the United States with
whom I’ve worked for encouraging and guiding me:
Sid Perks, Utah State University; Bruce A. Levitt,
Cornell University; Buck Favorony, University of
Pittsburgh; Wesley Van Tassel, Central Washington
University; and Donald Seay, Joseph Rusnock,
Roberta Salon, Steven Chicurel-Stein, Christopher
Niess, and Jeffrey Moore, University of Central
Florida; and a big thanks to my colleague Earl
Weaver for his unconditional support all these years
at the University of Central Florida.
Many thanks to the entire faculty and staff at the
Theatre Department, School of Performing Arts; and
especially to Arlene Flores, Maureen Landgraf, and
Samuel Waters for helping me when I needed it
most.
I thank my dear friends Xiangyun Jie, Julia
Zheng, Helen Huang, Peiran Teng, Dunsi Dai,
Liming Tang, Haibou Yu, Wenhai Ma, Lu Yi, and
Rujun Wang for their unconditional love and
support and wise advice. You all put a smile on my
face when I needed it most.
I thank my parents for teaching and disciplining
me to become the strong person I am today. I owe a
big thanks to my dear, talented daughter, Yingtao
Zhang, for proofreading my manuscript. Her
inspiration and creativity continually sparked ideas
for the book. Additional thanks to my husband, Juli
Zhang, for his unconditional love and support
towards my professional career.
Finally, I thank all my students for their
tolerance in allowing me to be their instructor and
allowing me to continue to learn and grow in my
career.
Introduction
T
he third edition contains the following new
visual images: (a) replaced figures 4–7 to
4–11, and 4–27 to 4–31 in Chapter 1; (b)
replaced character figures for The Learned Ladies
Figure 7–8A to G; (c) a new Chapter 8, Digital
Mixed Character Costume Rendering, which
demonstrates selective Photoshop render
techniques; (d) Costume Rendering Gallery:
removed 9–3A, 9–7A to D, and added 13 new
costume renderings.
The new Chapter 8, just like the first and second
editions, provides a simple visual guide that focuses
on selected Photoshop rendering techniques and
demonstrates different ways of painting costumes.
Throughout all the illustrations, you will see
dimension and diversity in the characters. Facial
expressions, body language, body action, and props
are incorporated to clearly characterize each figure.
Photoshop painting techniques include: create
brushes, pattern fills, puppet warp and warp fabric
swatches over the costume figures, render costumes,
and create backgrounds.
WHAT MAKES A GOOD THEATRICAL
COSTUME DESIGNER?
I would never say that a person who draws beautiful
pictures is a good costume designer. A good
costume designer must have many other qualities
and capabilities, such as imagination and knowledge
of theatre, world history, theatre history, costume
history, and literature. The designer must retain
good communication and organization skills; possess
research and technical skills like drawing,
rendering, computer graphics, costume construction,
crafts, millinery, and personnel management; be a
good team player; and even be in good health. All
these factors make a wonderful, even ideal costume
designer. Drawing and painting skills are tools for
helping a designer develop and express visual
images and design concepts. Renderings are not the
final product—the final product is the actual stage
costume made suitable and proper for the actors.
THE IMPORTANCE OF
PERSONALITY AND BODY
LANGUAGE
To capture the impression of a character’s spirit is
always a goal when developing character figure
drawings. By nature, we all relate to human emotion,
because we all experience it. Characters are human
beings, and human beings all possess personalities.
To portray a character’s emotions and personality
on paper is a challenge, but well worth the results.
When I create costume designs, I try not only to
illustrate the costumes, but also to portray a
completed characterization. I try to manipulate every
body part to build compositional beauty and
artistically express the power of a character’s sub-
stance. Every gesture, action, facial expression, and
accessory will add meaning and entertainment to the
design. People say that we should not judge a person
by his or her appearance, but when an actor appears
on stage, his or her appearance becomes significant.
The character’s body language reflects the soul and
spirit of the character, and an interesting gesture
helps display the style of the costumes. Using body
language to emphasize the personality and status of
a character is to give the character an exciting
appearance. Character figures enhance and adorn
the costume designs, and they communicate with the
director, actor, other designers, and the production
team. Expressing the personality of the character in
your drawings is like the saying that “a picture is
worth a thousand words.”
PHILOSOPHY FOR DRAWING
Drawing human figures should be fun. Nobody was
born an innate artist and nobody will become one
overnight, but I believe that with some effort, any-
body can draw. Although improving your drawing
skills requires tremendous effort, enjoying it and
being interested will greatly help. When you are
driven to do well, you will. Watch, listen, and absorb.
To develop a more positive attitude, consider
this: just do it. Work helps. Avoid a pessimistic and
sluggish attitude. Desire and dedication are the
discipline of a career, and work is the language of
that discipline.
POSITIVITY!
CONFIDENCE!
PRACTICE!
SUCCESS!
1
Drawing the Figure

M
y objective in writing this book is to show how to draw figures using a simple and
easy drawing method. Specifically, the book is intended to help theatre students
improve their drawing skills so that they can give effective design presentations.
Most theatre students do not have any solid drawing training, or any human anatomy or
figure-drawing courses in their curricula. Drawing requires a lot of practice and knowledge
of the proportions of the human body. I believe that with effort, anybody can draw.
Theatre students typically have to do production assignments and work in the shops,
helping to build either scenery or costumes for the production. Their time is occupied
with those assignments, leaving them little time to improve their drawing skills. That is why
I am trying to find a short, easy, and fast way to help them improve their drawing abilities.
The methods in this book can be used without a model. However, if theatre students have
the opportunity to draw the human figure from live models, they should do so. Drawing live
models is a tremendous help in understanding the human body.

1
2  CHAPTER 1
PROPORTIONS OF THE BODY
There are many concepts or methods for measuring
the divisions of the human body. The eight-heads-
tall figure proportion method is often used by artists
or fashion illustrators. Some fashion drawings may
use eight-and-a-half- or nine-heads-tall figures to
demonstrate the garments, using a slim,
sophisticated image. Realism is not the intent of
fashion designers or illustrators. Rather, their
objective is to create a stylized or exaggerated
version of reality, which today is a tall, slim, and
athletic figure, with a long neck and long legs.
Fashion illustrations emphasize the current ideals or
trends of fashion beauty. The thin body and specific
poses are designed to enhance the garments.
Fashion illustrators are creating the images of
fashionable products to stimulate customers to
purchase the garments. Beautiful illustrations can
impress and influence customers to buy and wear
the advertised clothing.
Costume designs for theatrical productions are
quite different from fashion illustrations. The
costume designer uses the history of fashion as a
reference for creating costumes for many varieties
of characters or groups of characters in plays.
The characters are everyday-life people: young or
old, thin or heavy, short or tall, with different
nationalities and particular personalities. Costume
design for productions requires creating practical
garments that are going to be worn on stage by
believable characters who have well-defined
personalities. Sometimes a well-defined character
costume design can inspire the actors and enhance
the design presentation for the production team.
In my drawings and designs, I try to emphasize a
realistic style of body proportions, but I use
slightly exaggerated facial features and body
language to create characters with personality.
The real creative challenge is how to express
personalities of characters.
Most of the proportions of the body that I used in
this book are based on the theories of proportions
used in many other art books. There are fantastic art
books from which you can learn about the
proportions of the body and about figure drawing
techniques, such as Bridgman’s Complete Guide to
Drawing from Life, by George B. Bridgman (Sterling,
2001); The Complete Book of Fashion Illustration,
by Sharon Lee Tate and Mona Shafer Edwards
(Prentice Hall, 1995); The Human Figure:
An Anatomy for Artists, by David K. Rubins
(Penguin, 1975); Drawing the Head and Figure,
by Jack Hamm (Perigee, 1982); and Drawing on the
Right Side of the Brain, by Betty Edwards (Tarcher,
rev. ed. 1999). These books helped me improve my
understanding of the human body and taught me
how to present the body well. You can study the
rules and principles of figure drawing, but you have
to learn how to use them through practice.
To give my characters a realistic appearance,
I slightly change the size of the head. Compared
to the eight-heads-tall proportions, I enlarge the
head to extend outside the usual boundary of the
first head area. This enlarges the head in proportion
to the top half of the body. I keep the feet within
the bottom-half portion of the body. When I start the
foundation of a figure, however, I still start with
the eight-heads-tall method because it is an even
number and easier to divide for calculation
purposes. My divisions on the body may differ from
other books, but the measurements work for my
figure drawings. My primary intent is to have a
system that is easy to use.
The key for developing a character figure drawing
that is in proportion is to keep the top half (from the
crotch up to the top of the skull) equal to the bottom
half (from the crotch down to the bottom of the feet).
The crotch is the main division point. The head can
actually be made either a little bigger or smaller.
A small head will make the figure look taller or
thinner; a bigger head will make the figure look
shorter or chubbier. When keeping these measure-
ments in mind, the figure will always look right.
I recommend that you use the following steps to
create a figure drawing until you become familiar
with body proportions. Refer to Figures 1–1 and 1–2
as you complete these steps:
1. Place two marks on the paper—one on the top
portion of the page, one on the bottom portion of
the page—to indicate the height of the body.
Then draw a vertical line from the top mark to
the bottom mark. The composition of the figure
should be considered; that is, keeping the figure
centered or off-centered, more to the left or to
the right side, and so on. These guidelines
control the figure height.
2. Draw a mark at the middle point of the vertical
line to find the middle point of the body. This
mark is where the crotch is located and is also
the half-height of the body. I am going to call
the area from this mark up the upper half of the
body. To me, this mark is the most critical
reference point for good proportions of the body.
(See Figure 1–1, mark #5.)
3. Divide the upper body from the top mark to the
crotch line into four equal parts. This creates
five marks but four portions. Number all the
marks: The very top mark, mark #1, is the top
of the skull; we won’t use mark #2; mark #3 is
the armpit; mark #4 is the waistline; and mark
#5 is the half-body mark (it is also the crotch,
pelvis, or hipline). The very bottom mark drawn
in step 1 is mark #6. I will refer by numbers to
these six marks extensively in the discussion
that follows.
 Drawing the Figure  3

4. Make the head bigger compared to mark #2 9. Divide the distance between the waistline shoulders. The male hip width is less wide than
(usually considered the chin in measurement (mark #4) and the crotch or hipline (mark #5) the shoulders. For both males and females, the
systems used in other drawing books). The head into four equal parts. The first mark is the top width of the top of the pelvis usually equals
will be increased by adding a distance of the pelvis (see letter G in Figure 1–1). The the width of the bottom of the rib cage or chest.
approximately the size of a chin from mark #2 male pelvis width is different from the female. The bottom of the pelvis/hipline/crotch line is
down (see letter A on the sketch in Figure 1–1). The female hip width is usually wider than her wider than the width of the top of the pelvis
This shortens the neck. Fashion drawings
usually are just the opposite, showing a longer
neck. The mark at letter A is going to be the 1–1 Proportion of the Body, Marks A through H
bottom of the chin.
5. Draw an egg-shaped frame between the top
mark and the chin mark, A, to indicate the
shape of the head.
6. Divide the distance between mark #2 and the
armpit line (mark #3) in half and mark it as
letter B; this mark is going to be the shoulder
line or collarbone. Generally speaking, the
width of the shoulders is a measurement about
two heads wide for females and two-and-a-half
heads wide for males. Measure the width of the
shoulders and add two marks (see letter C in
Figure 1–1).
7. Divide the distance between mark #2 and the
shoulder line, B, in half and add another mark.
This mark helps to establish the shoulder-slope
line (see letter D in Figure 1–1). Look at the
sketch and review this in detail.
8. Divide the distance between the armpit (mark
#3) and the waistline (mark #4) into four equal
parts. Now you have drawn three marks to
create four parts. The first mark from the top
of this group is the bustline (see letter E in
Figure 1–1); this mark usually refers to the
nipples position or bustline. The third mark
from the top is the bottom of the rib cage
(see letter F in Figure 1–1). The second mark
is not used.
4  CHAPTER 1
(see letter H in Figure 1–1). The hipline’s width
will depend on whether you are drawing a female
or male. The other two marks are not used.
10. Treat the chest/rib cage as a tapered box (refer
to Figure 1–2). Connect the shoulder line with
1–2 Proportion of the Body, Marks I through M
the bottom of the rib cage to make a tapered-
down box. The shoulder should be wider than
the bottom of the rib cage. Keep both sides of
the body symmetrical with the body centerlin e.
The pit of the neck is at the middle of the
shoulder line—it is the body centerline.
11. Treat the pelvis as a tapered-up box. Connect
the top of the pelvis line with the bottom of the
pelvis line (mark #5, also the hipline/crotch
line) to draw a tapered-up box. The female
hipline is wider than the male hipline.
12. The area from the crotch down will be for the
legs and feet. The legs join the pelvis at the
hipline. Before starting to draw the legs, divide
the distance between mark #5 (crotch line) and
mark #6 (the bottom of the feet) into four equal
parts. Then mark them from the top down (see
letters I, J, and K in Figure 1–2).
13. Divide the distance between K and mark #6
into three equal parts. The feet are drawn in the
bottom third (see letter L in Figure 1–2).
14. Draw two lines from both corners of mark #5
(hipline/crotch) down to letter L to indicate the
legs. Keep them symmetrical. Then divide these
two lines in half; the middle marks on these two
lines are the knee positions (see letter M in
Figure 1–2). This method of drawing leg length
avoids the leggy look of fashion-illustration
figures. Our objective is to create a realistic
look corresponding to the actors, rather than a
fashion ideal.
15. The arms join to the chest at the shoulder line.
In human anatomy theory, the upper arm from
the shoulder to the elbow is longer than the
distance from the elbow to the wrist. In my
method, I treat them as two equal parts in
length for an easy calculation ratio. When the
arm is hanging down, the elbow usually lines
up with the waistline. The measurement from
the shoulder to the elbow should equal the
measurement from the elbow to the wrist.
From the elbow joint, measure down to indicate
the placement of the wrist.

16. Add hands to the wrists. The fingertips usually
stop at letter I (the fifth head in other books).
Asian people often have shorter arms, African
people usually have longer arms, and
Caucasians often have arms that are longer than
Asians’ but shorter than Africans’. There are
many variations and exceptions to any racial
generality.
1–3 Proportions of the Body, Stick
Structure, Front and Back
Views
17. As shown in Figure 1–3, contour the body
according to the basic bone/stick structure
(see the section, “Contouring the Stick Figure”).
Figures 1–4 and 1–5 show the contouring lines
for the male and female body, respectively.
The proportions of the body, either seven or eight
heads tall, work only for the body standing in a
1–4 Contouring Lines for the Male
Body, Front and Back Views
Drawing the Figure  5
straight position. When the body is bending or the
head is facing up or down, you cannot apply the
measurements to the body because of
foreshortening.
The body measurement methods used in this
book are not the only methods you should follow,
but I recommend you use my system as a guide or
reference for drawing stage costumes.
1–5 Contouring Lines for the
Female Body, Front and Back
Views
6  CHAPTER 1
THE BASIC BONE STRUCTURE
OF THE BODY
The bone structure in this book is symbolic and
abstract. It is not my intention to copy the real
human skeleton. My objective in using a simple
and abstract bone structure is to make it easier to
draw and understand, and easier to obtain the
proper proportions of the figures. The shape of the
human body is complex. To draw it well, you need
to spend extensive time studying bones and
muscles. Unfortunately, in most cases, theatre
students don’t have a long time to study the human
anatomy. The simplified abstract bone structure
used here is going to help students to better
understand the human body and its movements
(see Figure 1–6).
The skeleton dominates and directs all surfaces
of the body, and the bone joints determine and
dominate all the movements of the body. We must
discuss the basic bone structure of the human
body to understand body movements. To keep it
clear and simple, my discussion is focused on the
basic length and width of the outer edges of the
skeleton, and on the major joints of the skeleton.
The outer edges of the skeleton include the outline
of the skull and the outline, or frame, of the chest
and pelvis masses. The major joints include the
spine, shoulder, elbow, wrist, hip/leg, knee, and
ankle. In real life, the chest and pelvis are
irregular shapes. In this book, I am going to use
either boxes or abstract shapes to demonstrate the
body parts. Small circles will be used for each
joint. Abstract sticks will be used for the length of
the bone. The length of the bones between the
forearm and upper arm, and between the lower leg
and thigh, may differ in real skeletons, but I will
make them equal distances here because it will be
easier to calculate the proportion ratio.
1–6 The Abstract Skeleton of the
Body and Its Joints
The Joints of the Body
Joints connect or hinge together two things. There
are many joints on the human body. The spine joins
the head mass, chest mass, and pelvis mass. The
collarbone, shoulder blade, and arm are joined
together at the shoulder and connected with the
chest as a unit. Joints are capable of moving in
many directions within their limitations. Each arm
has its own joints: shoulder, elbow, wrist, and
finger. Each leg also has its joints: hip, knee, ankle,
and toe. Each joint directs body movements. In
figure drawing, when joints are in the correct
positions, they will show comfortable movements
and body rhythm with natural expressiveness as a
whole. Incorrect positions will make the figures
seem stiff or lopsided. Through our experiences
during our daily activities, we know how joints work.
But showing the joints properly through drawing is
critical and requires practice. The bone joints allow
us to move our body parts comfortably and also
inform us of the limitations of our joints. Consider
and study how your own joints work; practice stick
figure drawings to analyze the joint functions and
limitations in different positions.
The Head, Chest, and Pelvis
There are three major masses of the human body—
the head, chest, and pelvis. They are joined together
by the spine, which controls the movements and
turning directions of the head, chest, and pelvis.
The significant fact here is that these three masses
are able to move independently of one another (see
Figure 1–7).
Making the three masses move in different
directions will add dramatic excitement and
personality to the figure. When the body moves, the
balance has to be maintained. The proper angles
between the body masses maintain this balance.
The neck area of the spine usually has more
flexibility than the lumbar spine. The flexible spine
allows the head, chest, and pelvis to face up, down,
or sideways, or to turn around. When each mass
faces in different directions, you will see twisting
movements.
When the body is in action, the body centerline
becomes curved. This line can also be called the
action line. When the body bends or twists, it
creates angles or curves between each mass. If the
body is in a standing position, you will see the level
of each mass forming a 90-degree right angle to the
spine—the centerline of the body. When the body

1–7 The Body Masses and Their Movements
bends forward, it brings the front of the chest and
the front of the pelvis close together to form an
angle, while stretching the distance between the
back of the chest and pelvis, forming a curved line.
When the body bends to either side, it brings one
side of the chest and one side of the pelvis close
together, forming an angle between them, and
stretches the distance between the other side of the
chest and pelvis, forming a curved line. You will see
the same pattern when the body bends backward.
When the body is in a twisting position, the body
centerline and the outline of the body become curvy
lines rather than sharp angles. The three masses can
be turned and twisted in different directions within
spine limitations, but the chest and pelvis always
move in opposite directions from each other in order
Drawing the Figure  7
to keep the body in balance; otherwise, the body
would fall.
The head, chest, and pelvis are joined together
by the spine and move independently of one
another. Make the blocks move in different
directions to add dramatic excitement and
personality to the figure.
8  CHAPTER 1
A small turn of the body gives some action to the
figure. A full or exaggerated turn or twisting of the
body increases the dramatic action and attitude of
the character, and gives a loud or screaming
emotional statement. Try to manipulate these three
1–8 Turning the Three Body Masses
masses by turning them in different directions,
allowing them to speak for your characters’ actions.
When you make the three masses face different
directions (see Figure 1–8), you will immediately
see your character alive and active. It is essential in
character drawing to establish the relationships of
the head to the torso, the head to the neck, the head
to the chest, and the chest to the pelvis. These
relationships portray a great deal of the personality
of the character.

The Relationships between the
Limbs and Body Masses
We have discussed how the arms are joined to the
chest, and how the legs are joined to the hipbone/
pelvis. Therefore, when the chest and pelvis move
in different directions, the arms should follow the
chest as a unit, and the legs should follow the
pelvis as a unit. The limbs cannot be considered
as separate objects from their units (see Figure
1–9). For example, when the body is in an erect
standing position, the chest and pelvis masses
are in horizontal lines parallel to each other.
The joints of the shoulder, elbow, and wrist as
well as the joints of the hip, knee, and ankle will
be parallel to their units. But when the chest
moves in a direction that makes the right side
of the shoulder higher than the left side, the right
shoulder and arm will go higher as well. When
many students draw this position, they draw the
arms at the same level. They forget the arms are
connected to the chest mass.
Arm and leg movements also partially control
the levels of the chest and pelvis. When one arm
rises higher than the other arm, the shoulder of
the rising arm will go higher. When one leg
supports the weight of the body, this leg will
push this side of the pelvis higher and in a tilted
position. The pelvis can be pushed up because
the flexible lumbar spine allows the pelvis to be
tilted. The relaxed-leg side of the pelvis line and
hipline will be dropped. The nonsupporting leg
usually steps forward, keeping a relaxed or
bending position to compensate for the length of
the weighted leg and the drop of the pelvis mass.
Most costume designers create their figures for
designing costumes without live models. They
draw the figures from their heads or from
reference books or magazines. Once you
understand how the human structure and joints
work, you will feel at ease and comfortable with
your drawings. You will be able to create your
own characters of motion in a variety of positions
in order to demonstrate the costumes and
personalities of the roles in the play.
THE BALANCE OF THE BODY
The human body is uniquely and symmetrically
balanced. The human body also has a natural
balance ability. The weight of the body often
swings back and forth from one leg to the other
when the body is walking. When the body is
turning or twisting, it creates angles and curves
in order to keep the body balanced. This
principle is like the balance in a sculptured
object. If the bottom portion of the sculpture
leans to one side, then the top portion of the
sculpture must lean in the opposite direction
to maintain the balance of the whole piece. To
create a more sophisticated sense of movements
or actions, define the body language by
employing twisted angles and curves facing in
Drawing the Figure  9
different directions. To keep the body well-
balanced, locate the center of gravity for the
figure. These are the important elements in
helping us understand and draw human figures.
Keep the movement liquid and the balance solid.
Weight on Both Legs
The spine is the centerline of the body, from
where all body parts are symmetrically balanced.
The joints of the body are lined up and parallel to
each other. Due to the force of gravity, no matter
how the body moves, there is always a center of
gravity line from the pit of the neck directly down
to the ground. This gravity line will never change
to curved or angled, but the body centerline will
change to curved when the body is in action.
When the body is standing straight, all body
weight is distributed equally on two legs (see
Figure 1–10). The body centerline is straight.
The center of gravity line overlaps with the body
centerline, starting from the pit of the neck and
extending directly down between the middle of
the two feet to the ground, whether the feet are
in a closed or open position. All the horizontal
lines (the shoulder line, bustline, waistline,
pelvis line, hipline) are parallel to the ground
and form 90-degree angles with the body
centerline.
Figures 1–11 through 1–16 are design
samples showing weight on both legs.
10  CHAPTER 1

1–9 The Relationships between the Limbs and the Three Masses
 Drawing the Figure  11

1–10 Weight on Both Legs

12  CHAPTER 1

1–11 Design Sample of Weight on Both Legs— 1–12 Design Sample of Weight on Both Legs—
Look Homeward, Angel Look Homeward, Angel
 Drawing the Figure  13

1–13 Design Sample of Weight on Both Legs—Tintypes 1–14 Design Sample of Weight on Both Legs—Tintypes
14  CHAPTER 1

1–15 Design Sample of Weight on Both Legs—Tintypes 1–16 Design Sample of Weight on Both Legs—Tintypes
 Drawing the Figure  15

Weight on One Leg 1–17 Weight on One Leg

Weight on one leg is a common pose for costume
design figure drawings (see Figure 1–17). It gives
the figure characteristic action and attitude for
showing the costumes. There are many designs
using one leg support, but the principle of
balancing the body is the same. When the body
weight shifts to one leg, the pelvis swings out to
the side of the weight-supporting leg. The swing
causes the body centerline to become curved
and separate from the center of gravity line
(the center of gravity line overlaps with the body
centerline in the two-leg support pose). This
curved body centerline is considered an action
line as well. The degree of the curve is based on
half or full actions/movements. A half action/
movement will show a soft or shallow curve at the
body centerline; a full action/movement will show
a deeper curve at the body centerline. To balance
the body so it doesn’t fall, the weight-supporting
foot will naturally be located where the center of
gravity line ends on the ground. We discussed
that the center of gravity line goes directly down
from the pit of the neck to the ground. Therefore,
the weight-supporting foot should be located
there. This is a rule for balancing the body in
figure drawings. You will read similar
information in all art books on figure drawings.
The center of gravity line is the key to balancing
the body, figuring out a stable-standing figure,
and checking if the weight-supporting foot is in
the correct location—where the center of gravity
line ends on the ground.
16  CHAPTER 1

We discussed how the chest and pelvis masses 1–18 Design Sample of Weight on One Leg—Tintypes
work and the relationship between the limbs and the
masses. I will highlight the important points one
more time: the head, chest, and pelvis are joined by
the spine but move independently to offer us a
variety of bodily movements and positions. When
body weight is on one leg, this side of the pelvis
swings out and tilts toward the relaxed leg because
the weight-supporting leg pushes the pelvis up.
The relaxed side of the pelvis drops down, and the
joined leg follows. The knee and ankle of this leg
will be lower than the knee and ankle of the weight-
supporting leg. The nonsupporting leg may also be
in a bending or relaxed position.
When the pelvis tilts to one side, the chest will
tilt in the opposite direction in order to balance the
body. This creates an angle between the chest and
pelvis and causes the body centerline to be curved.
The shoulder line, armpit line, bustline, elbows,
wrists, and hands are parallel. In the pelvis unit,
the pelvis line, hipline, kneecaps, and ankles are
parallel and move in the same directions because
the pelvis and legs are a unit, just like the chest and
arms are a unit. When they move, they move
together as a whole.
Figures 1–18 through 1–24 are design samples
showing weight on one leg.
 Drawing the Figure  17

1–19 Design Sample of Weight on One Leg—Tintypes 1–20 Design Sample of Weight on One Leg—Tintypes
18  CHAPTER 1

1–21 Design Sample of Weight on One Leg—Tintypes 1–22 Design Sample of Weight on One Leg—Tintypes
Another random document with
no related content on Scribd:
slag f’rdiend, één middag.. Hai skunnigde alles noàr ’t
buiteland.… hai hep d’r wacht, tut ie onster mi de pet
in de ooge heb sitte sien!.…

—Je most d’r je stroopbek moar houe, woedde Dirk

tegen Grint, jai.… jai!.… ’r sit d’r gain oasem nie soo
goekòòp aa’s jai in Duinkaik.… en bestige grond da’
die vent hèp … swoare en lichte.… alles d’r aife
bèstig … god’s kristus!.. aa’s d’r onse de half soo
waa’s gaf ik d’r main pink veur … moar da rooit nà
niks.…

Dirk gifte zich uit. Hij hield van z’n brok grond, maar de
woede, dat ’t zoo belabberd was met afwatering en ie
toch óók niet heelemaal kon werken voor zich zèlf,
maakte ’m doodonverschillig. Hij gunde d’r geen korrel
zand van aan Piet of z’n vader.… En nou ’t zoo
beroerd ging, moest de boel maar waaien. Toch hield
ie jaloersch, heet-veel van ’n brokkie tuin voor zichzelf
en ’n wijf, als ie maar zoo iets ’n hoek had als Grint;
vet, vruchtbaar, doorwaterd, warmpies in ’t zonnetje
en licht.

—Nou jou lap is t’r àn de Beek ook bestig.… kermde

Grint.

—Ferrek jai!.… mesiek! mesiek!… aldegoar bluf! doar

motte wai àf.… of tie da’ nie weut hee?.… en kaik
erais wa’ doar van de oarepels komme is?.… die
hemme nou self poot!.… gain bloas!.…

—Wa’ ken main dat skele, jai beskait je land nie

hee?.… suinige jop!.. moar heè? jullie sien nou dâ die
 mof van ’t stetjon d’r ook nie meer gaift.… aa’s
veertien sint ’t kilo.…

—Krik f’rdorie, riep Steyne verbaasd en angstig,—en

gister hep ie nog sestien sint betoald.… is die fint nou
heuldegoar daas?.… [159]

—Daa’s net, moar nou sien die da d’r te veul is.… nou
goan ie onster an ’t knibbele hee?.… wa motte d’r wai
mee?… aa’s je ’t nie goed vin.… la’ ie je stoan!.… Je
ken je bakke tug nie je kooters te suige gaife?

Dirk bleef stom, lurkte aan z’n pijp die niet halen wou..
zoog en blies blauw-duisteren nevel rond de herriënde
babbel-tronies.—

—Main nog ’n bakkie leut! riep Grint dof.—

—Daa’s kom naige!.… lachte stikkerig ingehouen de

lange bediende, nou.… die suipt gain borrels meer.…
die goan d’r mi’ sain neus allainig in de koffiewind.…

Dirk zoog behaaglijk reutelige haaltjes door z’n pijp,

uitkraterend zwarten walm en vonksterren.—Zure
stank broeide rond, dat de kerels kuchten.

—Main ’n brandewaintje mi’ suiker.… riep Rink schor,

zich schurkend met z’n reuzige schoften tegen
bankrug òp.—

—’n Bestige segoar! en ’n brandewaintje mi’ sonder

suiker.. mi’ suiker smoakt ie màin te lekker, ke’k nie
finte!
 —Nou sullie wachte d’r, tû je weeròm bin,.… vast
hoor, schaterde een achter bankrug.… Seg Hassel.…
weneer sel je hooi overend sain?

—Da’ wee’k nie, bromde Dirk.

Ventersgroep drong uit donker doorrookte

boeghoogte, klompbonkerend voorbij kerels op
middenbank, naar kajuitstrap.—

Naast Grint bij den ingang, rumoerden stoeiige

krijschkerels die om waar streden, zoo hevig, dat
Klaas voorover moest bukken naar Dirk om te
verstaan.

—Wa’ sai je?.…

—Daa’k nie weut.… wanneer wai ’t hooi of’rend

hebbe! wai motte d’r nog één daik.… hooi is bestig.…
sit van onder ’n strootje in.… moar bestig hoor!

Zoon van schenkster, aan punt van de middenbank,

waar de kerels zaten te zuipkonkelen, drentelde nog
met koffie door de kajuit, ingebukt z’n kop op borst.

—Toe skiet op! main die koffie!.. barstte Dirk

ongeduldig uit, toen ie den kerel zag voorbij stappen
met zìjn bak dampende leut.— [160]

—Mo’ je van main nou nog wa’ mooie duiveke’s

hewwe?.. vroeg de venter achter bankrug, met halve
tronie er boven uit, oogen en neus strak gericht op
Grint.
—Niks gedaan!.… ik hep d’r net waa’k ankèn hee?.…
daa’s achtien bos!

—Mo’ je de mand pieterselie nog veur ’n kwart?.… mit

’n slokkie d’r op! krijschte uit de kajuitstrap, ’n rood-
bukkende kop, boven zwaar-tonnigen buik, van ’n
groenboer, schreeuwend naar ’n volgerookten
kajuitshoek. Met hakkenstommel rumoerde hij op
bovenste koper-beslagen tree.

—Mit ’n happie d’r òp is ’t daan, krijschte uit rookdiep

hellend achterend ’n stem terug en ’n paarsige
zuipkop op mager lijf, donkerde vóór, uit nevel van
boeghoek.

Bij de kajuitstrap bonsden ze tegen elkaar-op. Dikke

zuiper graaide centen òp van mageren zuiper, stopte
den kooper ’n mandje zoet-geurende pieterselie in de
knuist. Gretig slurpten ze hun borrel in, al klaargezet
op buffetplankje door schenkster, die ’r klanten kende.
—

—F’rek, daa’s nog hardstikke vol hier, bromde de

dikbuik, met ’n zwiersmak z’n glaasje op buffetje
bonzend. Strompelend wrong ie zich, snuivend en
hijgend, door eng trapje naar ’t hek.—Magere
pieterseliekooper stapte weer harkerig terug naar den
kleurig-duisteren boeghoek. Telkens dáár, ’n ander
nevelbrok van rooksfeer schemerde wolkerig òp,
tusschen lichtkrinkels en wit-vuur van zonnespuiende
open kijkgaten; weefde in diffuus licht, violet-
zilverende damp, flakkerend en geheimvol tintfijn
boven de donkere diepte van babbelkoppen,
rookmonden, haar en handen. Eén wolkerige sfeer
 van rookglans rond duistere, in woelige diepte
verdompelde menschen.

Van rechts schreeuwde ’n vrouw, midden uit ’n kakel-

groep, naar den rookboeg tegen ’n kerel, ’t meest
voorop in den damp:

—Nee!.… da’ waa’s ’t snuitwerk van Henk.… hai

kwam ’n kiekie loere onder de trap hee?.… moar ’t
waa’s vast Henk de koalbuik!

—Henk de koalbuik? lachte de kerel, Henk?.… Heé

joa’ twee brandewaintjes mi’ suiker veur de doames …
en nóg twai [161]veur main aige hail hee?.… Nou
Oàf!.… ik seg je dàn.… da die Henk d’r sain aige
beeste la’ f’rhongere!—

—Nou, daa’s main ’n merk! de fint is d’r tuureluurs.…

in de eeuwighait in de loorem.…

—Daa’s klesseneere, daa’s klesseneere, bulderde de

vent uit rookhoek naar ’t vrouwengroepje, hai lait s’n
borrel glad.… hai likt s’n urretje op sàin menier.…
moar de fint.… ken d’r puur sain honde nie te vraite
gaife.… s’n aigeste beeste.. da benne d’r vaif!.…—
Hee.… hee!.… Dirk.… hai jai hoort da’ die
trekhonde.… van.… vàn Henk.. de koalbuik.… da die
d’r twai skoape van Jaanse van de Lemperwai hep
afmoakt.… se hebbe de baiste puur van malkoar
skeurt!

—Nou.… wa nou?.. schreeuwde Rink terug.… daa’s

tug krek eender.… al die honger-meroakels.… die
tuinders doar.… die Lemperhoek uit.… se hebbe d’r
vast selfers niks, te fraite.. Is d’r netuurlik, daa’s sullie
d’r honde snachts skiete loate! kenne sullie d’r aige
potje soeke.… en woest aa’s die krenge binne.… se
f’rskeure je.… van malkoar.… Bi-jai-’t-Hain!

—Nou ’t is d’r ’n klussie, blerde de breivrouw knorrig,

dwars door ’t roezemoezige gekakel van andere
schelle stemmen uit ’t vrouwentroepje,—’t is main ’n
klussie.… main baiste legge d’r vast.… en fraite d’r
aige vetje.—

—Wa’ sa’ je màin d’ran jokke.… laikt t’met of sullie ’n

botertonnetje inslikt hebbe, soo ke’ je hullie ribbe aa’s
hoepels deur d’r pins siene hainsteke.…

—Nou, zeurde een venter met geknepen schor geluid,

wai binne aldegoàr noakend!.… die beeste motte f’r
aige kossie skarrele.… se hebbe d’r gain fraite veur..
voed jai d’r noà hullie g’noege! vaif kaire t’met.… Se
benne d’r soo ellendig sterk.… en bloeddorstig.…
enne uithongerd.…

Van boeghoek waggelden de kerels òp, uit donkeren

achtergrond, en dwars door de groen-violette
wolksfeer, in ’t oogen-vuur der kijkgaten, sloegen de
lijven en handen van opstaande en gaande kerels,
een storm van lichtschokken, groot-donker in de
rooksfeer, die zacht gloei-kwijnde in dampigen flakker
[162]bòven de banken.—Meer kerels stapten op, met
d’r koppen zoldering rakend, sloegen door den walm
heen, waggelden naar voren, bij trapje, plots onder ’t
felle lichtgat uit kajuit-schemer, áángloeiend in
zengend zonnegoud. De boel bleef leeggeslemperd,
vermorst-suf op de banken staan.
 Groote stad was in zicht, en van alle kant grepen de
venters hun goed bijeen, manden, pakken, kisten. In
groepjes, achter elkaar, drongen ze eng kajuitstrapje
af, en met koopwaar op nek en schouders, rumoerden
ze zich in woesten woel, los over ’t dek.

[Inhoud]

III.

Tusschen gewar van melkbooten aan ’t Westerdok,

stuurde kaptein de stadshaven in. Tegenover
„Tuinders Geluk”, waren al de drie andere booten,
binnengeankerd.

Over den dwars dooreengestapelden warrel van

kisten en manden sprongen de venters en vrouwen
heen en weer, in woeligen stroom, overgolfd door
snik-heete stanken. Van den „netoares” kreeg elk
veiler ’n papiertje in de handen gestopt, waarop stond,
hoe veel en van wie hij te vorderen had, bij teruggang
naar Wiereland.—

In gistenden warrel, als ’n opgejaagde horde begon

uiteenkluwing van kisten en manden, weggesjouwd,
verdragen op nekken en koppen.—

Aan den walkant, in ’t zomerochtendgloeien, wemelde

’t van licht-bruine handkarren, waar de verhuurder in
z’n zonnig-wit overhemd, bedrijvig doorheen
manoeuvreerde, met elk venter wat snaterend en
 lollend. Vischvrouwen in kort-blauwe, roodbaaien
rokken, en witflodderige jakkies, kanaljeus-aanhalig
gekapt met de stijfbereepte haarkrullen, drongen,
woelden in gillerigen kakel en ratel tusschen de enge
karrengangetjes, opgejaagd, verhit snuffelend en
schetterend, vastgrijpend de groenboeren om
aardbeienwaar. Halsbloote Zeedijkers en
stadsventers, [163]met lawaaierige blousen, opgedirkt
in heeten lok en streel met rooie strikjes om blank
naakt, verdrongen de losse kijkers, paften vooruit, met
hun borstzwaren zwel van lijf, pronkend in ’t vroolijke
getinkel en gerammel van hun koralen snoertjes met
gouden slootjes, in glans begoten. Op één hoek
drongen samen, jodenmannetjes en jodenvrouwtjes,
schuchter-brutaal,bang-overmoedig tegelijk. Van de
boot àf, dromden, bonkten en zwoegden de venters,
botsend tegen elkaar op, in gejaagden loer, ieder naar
zijn huurkar. Telkens vàn hun plaats, joegen ze weer
naar de boot, rukten en bonkten hùn waar uit den
burcht van kisten, stormend in stortvloed terug, weer
tegen elkaar opbonkend met nieuwe bakken en
manden, dat ze verknelden tusschen hun eigen
vrachten. Woest krijschten de vrouwen en mannen,
die bakken of manden hadden gegrepen van anderen,
er niet meer verder mee wilden sjouwen.

—Hassel.. hier:.. Has.. selll!.. jou bakke!

—Bierbrouwèr!.. pak d’r an!

—Bier.. broùwèrr! schreeuwde een naast den eersten

krijscher, die ook ’n bak van dien venter had
losgewoeld,—pak-àn! jou bakke!
 Tusschen de aangolvende massa, waar gloeiender
tempo van koortsige jacht en verkoophartstocht
doorheen zwol, ging woelender angst van niet-gauw-
genoeg bij hun markt te zijn. Zon laaide, priemde,
verzengde alles, sloeg in fellen kleurbrand de
golvende, wemelende scharrelmassa. En telkens
àndere kerels sjouwden atlas-vrachten àf, van de boot
naar hun karren, duwden in vloek en krijsch de
Zeedijkwijven en joodjes op zij, die brutaler en heeter
rond hun bakken en waàr opdrongen.—Eindelijk, na
de eerste ontkronkeling van kisten en sjouwers,
dobberden weer, met hebzucht-haat elkaar be-
venijnend, de koopsters rond de groenboeren.—Tuk
op aardbei, barstte er ’n heete dingdrift los, van allen
tegelijk, als één vloedstorm, één aanrukking van feros
jaagleven, brandend lawaai van stemmen, in de
klater-schroeiende zon, die begloeide de kleurkleeren,
de vruchten, en te zengen vlamde in de bakken.
Breed bejakte vischwijven; joodsche mummieïg
verdroogde groenteventertjes, [164]met broeistank van
zomersche zwoegmisere, verwalmend van d’r
geteisterde lijven; kruiers, leegloopers met loenschig
heeten oogstaar, venters en tuinders, woelden en
krioelden rond de boot en aardbei-bakken.—Uitpuil-
oogen gretigden overal waar vruchtjes òpgesjouwd
werden. Vraat-zuchtige monden beefden rood-wreed
en verwrongen van zenuwtrekken. Koop-hartstocht
gierde en raasde door den zonne-brand van poer en
scharrel. Van alle hoeken, nu manden en bakken
losgestapeld rondgingen, sloeg ’t vruchtenrood uit, ’t
gloeivuur van aardbei, tegen ’t blauwe hemelvuur van
smoor-heeten Juli-brand. Op koppen en ruggen, de
vruchten, sla, tuinboonen, aardappelen, doppers en
 wortelen, werden versjouwd, en hitsender, helscher
joeg ’t schorre gekrijsch van kerels met verkeerde
bakken, door de losgewoelde groepen.

—Joap Kerredaik!—hier hain! donderde rauw in zwel

van drift, ’n stem.

—Vrouw Zeune!.… jai doar!!.. is d’r op kommende

wège!

—Vrouw Engels.… daa’s jou goed! mô jai da’ nie tù je

staike?

Rauw er doorheen brulde ’n venter, barstend van drift,

met verzenuwden zweetmond, z’n kop doortrokken
van bietrooie vlekken, in zwoeghitte:

—Gais Kerredaik kòm! of ik donder je bakke teuge de

grond.… ikke kèn hullie nie langerst hewwe! se benne
d’r swoàr aa’s ’n lokemetief!.…

—Gaa’-ais! Kerre.… dàik! bazuinde ’n ander tuinder,

in rauwen woesten krijsch, ingekneld tusschen
groenboeren en meiden. Vastgebeukt met loodzware
bakvracht, zat ie tusschen drie karren in, en wilder
krijschte hij om verlossing naar Kerredijk, die zèlf
praatjes verlolde met ’n Zeedijkster.

Wilder en ziedender stroomde ’n krioelbende langs en

òm hem zonder dat ie z’n eigen waar kon raken. Te
dansen van moordende drift stond ie, vloekend
bakken tegen buik en keel aangedrukt, z’n zweetkop,
zóó heet en rood-verzwollen, dat ’t leek of ie met z’n
tronie in ’n menie-pot gesmakt was.—
 Bij hoeken en brokken was handel aan walkant al
begonnen. [165]Dirk had ’n bak of tien, niet te
gebruiken voor z’n klanten, verkocht aan ’n dikke
meid, die op z’n karkruk wiegeldijend en breed-uit d’r
zwiepende beenen, met mandjes zat te spelen.—

—Nou seg erijs blondje.… vleide ze zoetig-

Amsterdamsch, dat Dirk ’n huiver van wellust voelde
kruipen door z’n korpus, feur die daar as je d’r nou ’s
drie sint seit!.… drie pop de honderd!.… hai je dèn je
b’komst?

—Bi je bedwaild geep! donder moar op! he jòu neudig!

die vaif veur vier pop!.. gain duut minder!.. je ken d’r
bai main nie figelaire!.…

Dikke dij-meid zat onrustiger op karkruk te wiebelen.

Vòòr d’r neus zag ze Ka al, met ’r blanke jak wurmen
tusschen karren-kronkel, om naar Dirk toe te dringen.
Telkens keek ze van ’r zachten dij-wiebel òp naar Dirk,
die norsch-stom z’n rommel bonkend weer in de kar
terugschikte; rekende ze haastig uit, met mijmer-
oogen luchtblauw in, nàtellend op haar vingers en d’r
witte schort topfijn betingelend, hoe hoog dàn ieder
mandje kwam te staan. Eén dij, schort-omspannen,
drukte nu breed-uit op de kruk, onder plooiigen
wriemel en kreuk van rokken-spul. En telkens
aanhalig, met knipoogjes en zoetig lachje, probeerde
ze Dirk’s kijkers in te staren, geil, verliefderig.—

—Nou blondje.. toe noù!..

Vlak achter de meid opgedrongen, ademhaalde in

snurkerig gerucht, vuilneuzig zusje, dat toekeek,
 bleekgoor en stil. En rond de karren schreeuwden
jochies en meisjes, liederlijk en vuil, als dolle duiveltjes
in schel getier, tusschen elk engtetje en doorgangetje
inkruipend en gierend. Van allen kant was nu de
koopwaar losgebroken en uitgestald; smoorvolle
karren als gloeiende karossen, bestapeld vóór den
wal, beschaterd, en beblakerd van zonnevuur; ’t rood
dat zengde, ’t oranje dat gloeide van hitte en ’t
losgestorte groen, woelzee van gewas en vruchten.
Hoog, in den dampenden gouddag, joelde en broeide
kleurleven en sjacher daar sàmen, in den geluiden
vermokerenden daver van zonne-begloeide stofstad.
Golfwild en steigerend, sloeg en beukte de heete
scharrel van vrouwlui en kerels dooréén.— [166]

Ontzaglijk, in ruwe reuzenmacht van dondergeweld,

zwel van krijsch en stemmenraas, schalden de
geluiden door de snikheete lucht. In grilligen drom,
wrongen de groenboeren tusschen de karren. Van
allen kant klonk gepingel, gekrijsch als van schrei en
lachstemmen, om geld, gèld. Toe- en afslag rumoerde.
In dreun en rhytmus schokten koopers áán,
verdwenen er weer, hier van elkaar geduwd, daar
weer bijééngebotst, verkolkt in passiestroom van
heeten sjacher, onder vloek en raas, tusschen
gedrang en hitte. Schooierende sjouwers en kruiers
wachtten, stoeiden met meiden in vuilen handgrabbel
naar rokkenspul.—Dirk was met z’n vette
schommeldame net afgehandeld. Ze had de bakken
gekregen en breed, voor d’r buik, schort omgevouwen,
werkte ze de kisten van de kar, terwijl hij geen vin
verroerde. Telkens drong ze tusschen de kar-engten
terug, sjouwde ze nieuwe vracht mee.—D’r zware kop
 schudde, ’r stijf bereepte krullen schudden, ’r
oorbellen schudden, en wijder spande jakje òpen, bij
vet-blanken wellusthals. Met ’r ingeperst, naar voren
gebukt lijf, ’r breeë wiegende hangborsten op de
bakken gekneld, armen in breeden span om d’r vracht
uitgebogen, stapte ze zweetzwaar en snelademend
vóórt, op de kort-stevige beenen, dòòr de venters en
vrouw-stoeten heenzuigend; met d’r lijf teruggebonkt,
op zij gewaggeld, toch doorporrend, tot ze bij ’r eigen
kar, dood op en blazend, ’r boel kon neersmakken.

Dirk keek ’r na, loom-kalm. Dat waren de eerste

warme centen in z’n hand, lolde ’t in hem. ’n lekkere
markt.—.… kaike.… da waa’s net effe acht uur, da kon
t’met.… En nou had ie nog ’n lollige reperoatie.. mit de
maid.… ’n afsproàkie veur d’ aêre week.… Da’ gong …
’n vetje!.. lang nie mis.. Heere mejeepie! kaik! d’r
stong sai te haige!… bloas jai moar maid.… da’ mo’k
ook doen veur main kossie!.. kaik.… nou brenge de
kooters d’r nog bakke noà!.…

Overal onder de venters was bestiaal gestoei met

meiden; braakten vloeken en getier los, dierlijk en
broeierig. Tusschen het dondergeraas van groote
stad, ’t mokergeweld van bierkarren, van rijtuigen en
trem-jacht, schel geklinkel en gebengel, [167]bonkerde
de groote stadsscharrel, mokerde ’t havenhart. En
overal rondom, geklakker van paardhoeven op keien
in het barende roezemoes van kreten en schreeuwen,
in den ontwakenden ochtendwemel.—

Tusschen gedonder en gewarrel van melkbooten,

vrachtschepen en tuinders verder op, scharrelden de
 venters, verhit in dollen woordstoei rond de meiden,
onder wellust-schater en vloek, verkoopend hun waar.
En de wijven, zinnen-dronken met d’r bevende
hartstochtmonden, hun felle oogen,—oogen vol van
liederlijk begeeren, rood van kanaljeuze passie-vlam,
—lieten zich bestoeien, soms èven in schijn-afweer
beproestend de knappe boeren van Wiereland, die
grepen en knepen in d’r blanke borsten, in d’r warme
lijven, d’r vette armen, gespannen en saamgesnoerd
in witte jakken, d’r schommel-dijen voluptueus
zwellend onder heet-rooie en blauwe rokken.—

Dol keken de kerels zich op dat blanke vleesch.

Dronken luisterden ze naar de tartende kanaljeuse
meidentaal, en gretig roken, snoven, dronken ze in
den zonnegloei, den zweetwasem van hun blanke
lijven, verblind en bezwijmeld door ’t hel-witte jakkies-
spel, de witte schorten, de rooie lintjes en
kraalsnoertjes, de lichte rokken en boezelaars,
zondoordoopt in felle helheid van barnend zomerlicht.
—

Telkens meer blauwe en rooie onderrokken zwierden

in uitschulpenden zwaai van de karkrukken naar de
boot. Fel gloeiden de kittelende, zwierslaande slootjes
op kralensnoertjes, om de varkenshalzen, en
felketsend, in verblindende hoogheid van begloeid wit,
dromden dan hier, dan daar, de jàk- en blousen-
meiden tusschen ’t vruchtenrood, ’t groen, tusschen ’t
geblaker en gezoem van gonzende, heete kleuren.—

Dirk zocht naar z’n kruier, want alle venters hadden

hun vasten man, die de kar duwde in den
zwoegenden ommegang rond hun stadswijk. Eindelijk
door ’n woeligen drom heen, zag Dirk zijn helper. ’n
Schreeuw, rauw, geweldig, ’n arm-pagaaiend gebaar,
nijdige veeg door de lucht bòven de koppen der
venters, en de kruier wurmde op ’m aan, tusschen ’t
gedrang. [168]

Langzaam hotsten en ratelden de karren weg van den

wal, met de opgestapelde, pronkende waar, de
grommende stad in, stad van gebarsten muren en
hooge huizen, in zonkleurigen gloei van gevelsteen en
beblakerde keien, brandende stad van ratelend
rumoer en gloeistoffige zonnigheid.—

Wijven met karren, armelijk vergeelde joodsche

vrouwtjes, en donkerkrulharige joodsche
groenteventertjes in mandrillig rad beweeg van
uitbuilenden mond, rimpelige voorkoppen en
vooruitgezwollen lippen, donker en harig,—bleven op
’n hoopje elkaar nog wat toeschreeuwen bij den wal,
met heete gebaren en kefferige schorre stemmen.

Zon moordde en zengde tusschen ze in, als

reuzebom, die hel vonkend schroot uitgeslingerd had
naar de, in goud-gloei gewiegde zonne-aárde,
toortswalmige hitte verschroeiend op karwanden,
vruchten en steenen. Alles stond in Juligloei,
dreunenden lichtval, goud en fel wit-vurig. En
hemeldom, strak, tusschen de huisblokken uit, boven
’t Westerdok, waar teerwalm zonnig rookte, barnde als
blauwvuur. Aan overkant, tusschen woeling van
melkbooten gloeide blauw, blauw van vaten.—
Vatengerucht, metaalhol, jolig en dartel klankte òp bij
 bonzingen van karren, tusschen stadsgejoel. Uit de
heet-zonnige straatbrokjes in ’t verschiet, fel-begloeid
in brokkelige gevellijnen van pleister en rooden
baksteen, schetterde òp orgeldreun, kanaljeuze stem
van zonne-stad.—Langs den wal zwermden nog
treuzelende groenboeren van de andere booten,
tusschen melkvaten en karren. Eindelijk, ook dáár
ratelden de karren met de roode en groene furie van
vruchten, de stof-zonnende wijken in, verdwenen
langzaam kerels en waar om straathoeken en
pleinbochten, in ’t hartje van ’t gerucht-zwellende,
gloeiende en dreunende stads-leven.—

[Inhoud]

IV.

In den middag tegen vier uur, stond Dirk weer met z’n
kar aan „Tuinders Geluk”. Loom en doodop, sjouwden
de venters [169]aan, ieder uit ’n andere wijk. Om drie
uur had Dirk z’n kruier afgedankt, ’n daalder betaald,
was ie met al z’n klanten klaar; duizelig en vermoeid
van sjok in brandzon, zuchtend naar drank, in wat
kroegen hier en daar neergesmakt, en eindelijk ’n uur
later, op de boot aangeland. Nou had ie z’n duiten in
den zak, wel zeventig pop, die ie zwaar en warm
voelde proppen in z’n broek. Hij wou, moèst ’r wat
kwijt van. ’t Was ’n heete stroom van geldgrabbel, die
’m bedroesemde. D’r mòst wat gezopen, gezòpen.
Nou kreeg ie straks nog de laatste zending aardbei uit
Wiereland.—

—Tjonge! Tjonge!.… da most d’r moar gauw van

deur.. en dan hè je.. ’t end tug!.. de soàlige soaterdag-
middag.… enne de sondag!…, Bi-jai ’t Hain?—

Hij was de kajuit ingestapt, sukkelig, met handen in de

zakken ’t trapje af, vragend den kaptein, hoe laat hij
de aardbeisloep verwachtte.

—Die ken d’r t’met in ’n ketiertje sain … kaik op dek!..

de lui stoan d’r weer an de kant te dringe!.… kaik die
maide!..

—Wa sou ’t.… in ’t harretje van de groote hoal

hee?.…

Grimmig en nijdig op alles, had Dirk zich in den

hellenden boeghoek neergesmakt, languit z’n been op
’n bank, kop en schouders ingediept tegen ’n richel,
die ’m pijn priemde in den rug.—Even moest ie toch
adem scheppen. Hij zweette als ’n paard.—Z’n hemd
dreef van ’t nat en door z’n lichaam rilden koortsige
vloeiingen.

—Effe luiere.… veur da’ de bakke d’r ingoane, bromde

ie, se’k t’met wel leeg smaite.…—

Al meer kerels doken de kajuit in, jolig opgewonden,

lichtelijk beschonken en paf van hitte. Beemster, met
slaperige oogen en schorre spraak kwam op Dirk áán.

—Allo moàt!.. lolde Beemster, zware kerel, met

lupusneus zwerig afgevreten tot op wangplat,—nou
gaif jai d’r ’n urretje hee?—of.. of.. hai je d’r al de prins
sproke?

—Bestig! Hee Henk.… vaif!.… main brandewaintje!

Lange bediende schoof weer weg in ’t groezellicht van

trap-hol buffetje. [170]

Meer kerels dromden in en zwaar nevelde de kajuit, in

vaal-groenen rook, grijnzeriger, nu de kisten en
manden nog niet van de karren ingesmakt, hurrieden
op den vloer. Telkens donkerden reuzige schoenen,
broekspijpen, lijven, langzaam zakkend neer, uit ’t
licht-felle trapgat, schuifelden de kerels tusschen de
sombere vegen en zweverige warrel van rookmist. De
vrouwen, vermoeid en gebroken van hitte en zwoeg,
vielen als bezwijmden neer, achteruit op de banken.
Zwijnige grapjes zinlijkten wat kerels uit op ’n ventster,
die plat op ’r rug lag te snakken naar adem. ’n Paar
jolige half-beschonkenen drongen òp, maar met
rukken van d’r lompe beenen, trapten en snauwden ze
de kerels de bankrand af.

Is d’r dut ’n hette.… main goed.… brant d’r puur op ’t

laif.… zuchtte vrouw Zeune, donkere rokkenvracht,
klefferig en doorbroeid, van d’r heupen schuddend en
weer luchtigjes vasthakend om ’r vette middel.—

—Daa’s net! ikke sweet d’r aa’s ’n os hee?.… ik ken

d’r gain stap meer! vast nie!

—Pak ’n happie!.. Beemstra gaift ’n rondje!..

 —Bestig, gretigde verhit, met uitgedroogde stem, de
brei-vrouw.

—En jai gele medààm? hep ie de klantjes beet had

hee?.. hep je d’r op gefigelaird.. mô jai ’n happie?

Gele medam bedankte, zat verschrompeld in ’n hoekje

te blazen, met ’r lange wollige mantelmouwen over ’r
vingers verzakt. Haar mond stuipte in zenuwtrekken.
Ze kon geen syllabe uitbrengen meer, òp van
smoorhitte en vermoeiing.

—En jai vrouw Zeune?

—Nou, wel twee, schraapte ze mannerig uit, enne.…

gaif d’r de gele medam ’n affekoatje.… an ’n boere
jònge hep sai ’n sussie dood!

Woeste schater barstte los, rochelend gelach, dat in

de rook-kajuit als schreistemmen verklonk.—Achter
dampgroen gierden de koppen, lichtten de
wellustmonden, flikkerden de oogen en verschoven
kramperig van heete pret, de lijven.—Achter
bankbeschot stampten boerenknuisten grof en
hamerhard, tegen ’t hout, in lol. [171]

—Wai selle d’r ’n affekoatje gaife.… Hee Henk!.. Klus

d’r es ’n aitje.. smait da’ hard-stikke vol mi
brandewain!.… en suiker.… en dan sel sai lurreke.…
hei! medam.… sing d’rais mee!

Enne.… se stonge.… doar op toeters te bloase..

Toe da’ nou waa’s doan
Kwam d’r ’n man veur main stoàn
 Enne die sprak.. wil je rais goàn kniele?.…
Ikke wist d’r nie wa-àt te doene.…
Moar hai.… gaf main ’n soen.…
En sai.… wài rèdde hier.. sie.… ie.… le!..

Schor en valsch-rauw zwabberde z’n stem achter

rookwolkerige duisternis uit, en ’n demonische krijsch
van dronkemans-passie ronkte door z’n lied.…

—Daa’s nou ’n hails-maid.… rochelde z’n dronken

proets, dat als geschrei verdoften in de rook, en z’n
kop gloeide áán plots baardig en donker, in ’n zuig-
ophaal van z’n gouwenaar, die even roodvonkte en
sterretjes vervuurde.—

Klaas Grint bonkerde hakke-zwaar de kajuitstrap af,

met Rink achter zich aàn.—Daarachter nog drie
tuinders en ’n vrouw met ’n steekmuts, doodmager
met krokodillige, bruine kop-snoet, en valschen
oogenloer.

Rink scheerde de zoldering met z’n pofpet al liep ie

ingebukt met z’n kop.

—Krikemejenne!… daa’s s’n afferekòansche smoorte

hee?.. god hait de sege! moar nou bi’k tug t’met
deurmidde loope hee? zuchtte de reus, paf en
onmachtig neersmakkend op ’n bank. Met twee
handen tegelijk schuurde ie ’t zweet van z’n gezicht,
met ’n grauwlinnen zakbrok.

—Moei!.… moei!.… ’t sel wá’.… bromde Dirk, z’n pijp

nijdig uitblazend, dat donkergroene damp z’n kop
omstòòmde.—