Professional Documents
Culture Documents
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'1M ft-zlr 10I3i0 (m, Iw symhr:shed
4S I"", ''',-,",ed '"arrgkt Her JWO/ik
u.ll/w mOO' muptuouJ </tid Ihlt!
of 1m j,ips willlw ""'''' "",Ik Ilul1I rI
", ... ,'s. U110J you mall'lIlf!jtmah
Jorw, Iwt p J'Il mi"d ,Ilal ,Is cdgoo.J
should be Ir pnmoullced, rllld mtlrt
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The UPPER alzd LOWER
LIMBS
D
rawing arms and legs meri ts a few remarks
bee.lUSt! it may problems with
proportion. The best way to draw the: limbs is to
analyze them based 011 circular or oval shapes. By
maki ng a prdimil1<lry sketch. m: C3il distingui sh
bc:twct:1l three wl;: ll- ddim:d a r C3S of any limb.
The upper 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 fluId! of
owls Ihal will pron' '''''>' '",ju/ '" drawillg the muscular
a"a/om), if tlicsr it! their (])Trer/ proporrions.
Yo .. (1111 uSf' "" (lXi, Or" $Imighlline Ilrot
mm thmllJlhout Ihe liml, it! orner 10
situate the ]0'"/$ itJ Iheir prof'f'r
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 wi ll
be able to recognize e:lch of them.
The lower li mbs are made up of t\\'O essential
pllrts: the thigh, where the quadriceps :lnd the
sartorius muscle lit'S, and the leg itself, which consists
of the bulk of the tibiae and the calves. The knee lit:li
between these twO parK The knee is the joint that
articulates both of tht'Se parts, and it should look
rounded and prominent when it is drawIl. Notice
that if you measure the length of 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 draw 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.
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Women's Limbs-
The:: fe::male arm is ''Cry differem from th31 of Ihe
male: il is clmracle:: rized by 3n absence of
prominent mUKulatun:, by the regularity of its
propo rtiol15, and the delicacy of the line
defines its contours. The areas of Ihe: d bow and
wriS! joints narrower 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::rstated, sofler tlun a man's, so the
ci rcle t hat for ms the knee should stand OUi only
barely. In the: lower leg, the: graceful calvcs also
taper 35 they appro:ach the: hc:cl. Ge:nerally,
,",,'Omen's cal\l\."'S are not \'Cry prominent , 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 ntOR suMp IfIIIMU/m wlit! tlnfl tl glf'illn
,wrnII""R lilliif' wriw m/J m,kh
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n.c vo lumenic
treatment .. r the
I 'I';",1u ;",,;,, ;f
)UU consider t he
shape or the arms
and legs as an
I assemblage or
thrcl.' cylindrical
parb or diffl.'r'l"flt
sizes.
I" order 10 d""" /1" It!! /lfld m'''''' (orrtttlJ\
irs import"'ll ,/url J'O" hi' tlbk 10 disli.rguish
lire (iIdo.m fJlld diffrrtr'litllr Ik
positions tlia! Iht Ii",m dtpl'.I1;ng
OIl Ihe p!.
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HANDS:
STRUCTURE I I 1111 OUTLINE
A
t (he \'ery ("ud of the arms an: rhe ha nds... The
human hand has nearly as nuny import'.lnl
expressive possibil ities as the: facc. The hand is the part
of rhe body that offers the greatest number of djlTcrem
posit ions. It 's to master its structure and
shape, because when dl"Jwing the human fib'Urt' . the
hands and feet often end up in very poor shape. The
Il!.!ophyte will oftcn fOfC:b'O the former, or mcrely
suggest their shape:, putting them inside: 1 pocket or
hiding them behind the: mooel's
The Hand's Dimensions
If you tlke the total dimensions of :lII opcn Nnd,
viewed from the: b.:ack, with the: palm and fi ngers
extended, yo u will find that rhe: distance: between the:
wrist and knuckles is similar ro rhe: distance: bet\';een
the knuckles and the rip of the middl e finger. T his
isn't the only fact that you c:m by simply
opening up the p3hn of the hand. For inst3nce, you
will fi nd that, wi th the fi ngers 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 the: index finger.
".", ",nul, PWfI /d N
dim,'" In " propmtiOfltJl
",/"Iicru"ip II> 1M mt if
IIU' body. I I en" N oj grml
"rip to fol'o", 11K' gmnal
mit- Ihal $pijia l/r", Ihr
oj 11,1' /,m,d u.Of/1d
"" "i"al fil lhal oj Ihl'
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Hi- kg;" wil l, 0 SIJ' UIff' lIud adtI" trapaoi<I ( I). III tIlt upper
plIJ'I Pj tl,l' If ,ombut...., dmu,,, lI<1Vt' 10 IIrt> riJ!lJI. mId slmlilfRj,.,." II
di'Wl"ra/ U'K'. " "' d""" tl,1' r/rumb (2). Pll)f" IIII' l ip of 11,1'
1I'IImb "'I' prop l mrl>ll" .. rll .... IIIdlrn';"1! ,lrl' 1>111111 ",1,,-" ' IIM' ji"gns
immIXI 1""m oj tl,e III11Id.lii- II,is r"IlI(' j"'1>fom (mJ
pmjrtllhr (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 IUlfJd jJ rompktd
with II u..'ff.rh if tIw fi' tgm. u4rilh art
rqlUmllrd by OI-...u "h;( h tIlfTNpollll 10 (,,11"1,
or phalaux.
Configuration of the Hand
The hand is contle:cn:d lO the: :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 (humb, which
has only I\vo. This forces the
amateur artist to take pause and
study the particular form of these
bones; in doing so, you will
discover, for instance, that the
bonl'S arc thinner in the middle:
than at the: t:nds.
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Synthe!>is of the Hand
you draw a hand, try to
reduce rhe nlt:r:!carp:!1 area to a
square unit from which the fingers
extend in 3 radial pattt::r n,or
Otherwise, start from the ov31-
based sketch discussed above. You
can then continue your sketch of
the hand by representing each of
the fingers by three ovals, olle for
each Or i LS scgmcnts. lf you do so,
it will bc easier for you to dr.lw a
foreshortened hand. The position
of the fingers is based on a sketch
m3dc lip of a of concentric
arches that make it to
resolve the form in any pmition. If
you can make a weU proportioned
gt:omcrric sketch it will be very
casy to adj ust the details little by
li nle until you finish the drawing.
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an
unfinished hand
makes sense in a
nude drawing.
Think oflhe
fingers as minor
details compared
to the other parIS
of the body.
Afk, slurlrillg II'f Iwtufi; 5InKlI"l', il is imf>ouallllO
I'rlUliu dmJvi llj! lite ),,,,,,/ ill dlffneul p1SiriolU.AII
imelC$lillg is '" 11/ala- a !!fCo",rlrir
brfow hegillt,jllg II,r dtjiniliw draw;,,&. w lI",r)'VI<
(all wlflmMlld ils SInIEIIIW ",itlwIII dUlt'lIing on '''I'
de/ails. 'His I,,,,ula ,,1,0 ."" 10 obse,...,. iI,al
tile joinrs ill II,r fingers "",laid mil i" lIte fo,m <1 n
rum'.
T
he hip is anotha main dement in drawing the
human fi gure. It ti lts on the axis of the spi ne. and
coincidt:$ with the point where the: legs flex in this arl"a .
.9'hb PELVIS:
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THE SHAPE ,0/''t,1(' HIPS
The Protrusion of the Hipbone
Because thc: pelvis is connected to rhe he.n l by the:
backbone, it is constitutes the body's axis. Sever:al
muscles o f the: torso. the thighs, and the legs I1lcd at
the pel vis, which Sc!"VeS thc main support point for
this area of the body. O ne of the: Illost impoTllnl
p<l rt.'l of the pdvis, and the one: which most
noticeably affects the OUl er appearance of rhe fi gure.
is the iliac crest , which li nc.-'S up with the hipbone.
Don't forget to dr:nv this bone, particularly ill female
fib'Ul'eS and slillUlltt mo dels. Because a woman's pelvis
is wider than a man's. hcr hi pbone is much more
visible. marking a roft curvat ure: from the: pubic area
to the top or the bUtlOCKs.
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[" "WI prclimiuary skmll,
11'1" ,..iII 10: lrow i' ''pUlul
d, r "'I(S lI",rkiuS /11(
'''''''"a/;''', if lilt' "ips tmd
III( pubil lw"" I(. As "'"
<kurkp dll' Jmu';,rg.
I . ,rw(tuoal UMJ in
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1_ala ,1IM' .... ,
."" ,ro/lrd
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IW maW a IMli,","",)' sJ..'tIt I,p a
dmll,;.rg, i"'portal" 10 UlJ..'f j"", d{(out"
/111' "r IIII' s/I(lO.ldm <!lId Iht
hips. 71!t lill U"I"I ",arks IIII'
I'quilibrilm, of lit(' posf.
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Hi> Ilu>I<l</" 'I jol),'f'1 10
/lUl,k 1111" hip lill( 11M.
dmwi,lS a batk ' 1/" 11\
rid,,,, HtIr, IIII' 11""
marks fht uri/Smidt if tilt'
bul lotks bMtmn imporfOt.,
as .. <clI. foJt>l'u 1M
ill/emli,lS Iti'lIIgu/m
irrdetllafWr' Ilral forms j l/Sf
IIbove tht bul/Clf/u.
The Line o f the Hips
Thc position of the hips marks an
imaginary line in the body that
we must take into account when
.... 'C draw. T he line of the: hips is
seldom hori7.ontaL It tilts on the
:is of the backbone, coinciding
with the point at which the legs
bend in this aI'ClII , and when the
hi pbone til ts, thc backbone
doesn't remain straight. but instead
acqui rt."S a soft curv.atun: 3t its
base. It almost always adopts a
slight til t, especially when the
body is in a resting position,
which makes part of t he wei ght o f
the body come to rest on one leg,
whilt: the mht:r Il"g remai ns flexed
and rdaxcd. T his pose: is call ed
contmposto.
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If )'OU altend a live
model drawing
session in an art
school. it's important
to pnc:tice drawing
the hips in isolation.
Undentanding the
\. tilt of the hi pbone b
es",ntial to correctly
,/
dn w;"s body ;"
any pou..
The pc/Pis is (Ot1l1rttn/ IO thr
br I/l r ,',lrI,m/ mlu",,,
or back/x",f', wllirll is ol,1'lfYJ
I
,;siblr fhr rider fliol
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.
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Thr a' to U IIiit' a t"mcoled PJ"f'mitl,
witll a /alJlf' base anti a narrow vmo ... A
U sho'ff'r Olltl wi.kr 111m. a mil" \
a110"'1 us to s IIIr s"rdler "",,,n j" 1M hip
a Ioyn if fot.
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FEET:
INNER STRUCTURE am! FO
T
he feet :are not as difficult 10 draw .as hands.
This is ix-c:ausc the feet have much ft.'V."Cr
possibilities o f movement . This limil:ltion tnm;lat cs
into a more homogeneous and continuous form with
fewer problems and inconsistCllcit:S.
Confi gu ratio n of the Foot
As a gencr.li reference for drAwing the foot , \ve think
ofil as consisting of thn:c " .. dl-dirrerentiatcd ;lTCU:
the tarsal or hc:el, the mCUCl rsal. and the area o f the
toes. The silhoued t: of the fOOl is conditioned in large
pari by its skeletal strucrure. The top of the fOOl: is
wi th tendons and tensor muscles. but the
joints, al though Ihey an: C\lCY bit as complex .as those
of the hand, don't display a struClUrr .as readily visible
as they do in the hands.
Synthesizing the Foot
The geometric sketch of the (001 is si milar 10 the ont:
we use for the hand: it begins with circle or oval
that corn.'Sponds to the hed, anothc.: [, more elongated
oval for the nlt:tatanal, l ud various lint.'$ or s.mallish
cylinders to represent the tocs. Once the sketch is
donc, you com .... ,ork o n the: form, profile, protrusions,
and roundncssc:s o f the: foot. If you want to give the
foot In athletic appearance, dr.J.w a prominent hed
and svdte toes, with very pronounced joints and
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TIw J!roInrlrit s/.."C"ldlfor lilt' fOOl i, sion!"/m 10 ,,;edflll IIII'
I"md. r, sllOu/d lit' definrd by (irrie IholrorlQl'tlf,d$ 10 lilt 111
Ml'Q, o"olllff tlfJtlifor 1I1f melalArsm boo,t, and JI'I",ml $mallisJJ OI%1ls
for IIv loa.
if)'Ol4 Jet, .... '"
10 make mislokt
i" tllrfoolt
propoTIicms, (0"
di,.;Jc it ;11/(1 IIII'(t'
ports of l'qual
I"'WIl, jl/u,f,ill" Ilt
finl JItlrl U,WS lip
willi lilt 11 1, IIIl'
SffOIuI romSfIO'IdJ
10 III#" miJdk 1idt1
of 11"'/001, oud lilt'
/as, marX.! tilt'
1nlj!II, if tlK' lotS..
,
Fim, we ,""SI dmw a rettalw.lcjor lilt" Irg,
WIt;'II , rombi"rd 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 ron,lU
fa Iitt fOUr,lkd lillf" r/ tilt" Irttl .A 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'
Is (J).
The Foot in Profile and Back Views
Drawing foot in profile is simple. A triangle
cO\.'Crs it almost entirely. The shapt: of the foot is
marked by the angle of the heel, part of the foot
which supporrs most of tht: 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 on other hand, some
due to the foreshortening of the tocs. But
here, too, you can sketch a simple triangular shape,
although it will be much n3rroweT compared to that
of the profile. The back view is the simplest, and it
should haVt': as its main reltrt:nce poi nt thc protrllsion
of the and slight indication of the roes at the
other end.
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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
aU bknd into a common that spans the arch on
the bottom of the foor. This part of the foot has a
very rounded appearance due to the greater visibili ty
of the hed and the fit--shy, cushioned parts of the
bonom of the fOOl. When drawing the bonom of the
foot, remcmber that the skin ht:TC has a
textllTe than on any other 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" I}"IX' if ad;,rily il rior",s. Our pmri"'<$
gmlllet,it skrllhrs "'illltrip Iff 10 adapl 10 /J,P$C "l'U' am .. ",lat!trS (A a"d 13). I-/m>, as ,,1""')'5, the
p"pntditular di,ridi,'R li"e is if greOI/lell' i" coIJSlmdi"g jorm ""d emuri,w r/'al. a, wilh the
II", loes Jcscriht,,, CUIV<' a"d ""I a str"ighl (C, D, ""d E).
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CONSTRUCTING THE
"l:\1e mllst measure tile body: standing and aliI/(',
wI/ere/ely, in !lint! parts ",illl respect to its length. r"Or
able tlafllre has shaped mati in SI/(h tl wa), that the jit
foutld ill the highest place, film it be admired alld
offer the othe-r JXl rts of tile body the prillciple of ils
meaSllre.
I'omponi S<wlpture, 1504.
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A WELL-
PROPORTIONED
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very drawing must be organized within an mIion:;i and
comprehensible order, in order to establish a
comforrablc and appealing path for the eyes to follow. In
order to draw a well- proportioned figure, the arlin searchL"S
for an ideal ofbc3Ury, and finds hi s tools in the objective
methods founded upon geometry and measuremCilt. But
opposi tc the pllt"tly theoretical systelll$ of proportion, there
is what we might call an "intuitive" proponion based on
visual comparison and comroJl ed distortion, and we can
transl:ltc and accommodate the natural structures of the
body in a looser, morc expressive. and less mechanical way
than tilt' model descri bed by the classical bws of
proportion.
f7J" UN IT SYSTEM:
MEASURING
T
he law of proport ions for the hunull body '''I(l ltld
be oflittle i f this knowledge could not be:
llS(>d wi th real-life lllodds. Thcory is an inestimable
help. bot it is the application of tocory to a real
model that determine'S the fi nal result of :l11y drawing.
Applying the Law of Proportio ns
Thanks to its the law of proportions is
tnl ly a useful tool for becomi ng familiar with (and
mcmori:ling) the of the rdative size of
the pans of a figure in relation (Q the whok Even if
the proportiol1l!i of a real figure do not match those of
a classical mood, there is still an 3<lj ustcd
correspondence bct\vecll the division of the figure
into ullits and the location of different anatomical
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BODY
components sllch as the height of the shoulders, the
dlt'SI, the dbows, hips, etc. , whidl we have to
consider. For this it's
important to first proj ect body's of
symmetry; on it, will mark different
of law of proportion. If the figutt
is sl,owl, from tilt' back, we the
that line is aJready by
I" <I J' ",u/illg pou, imogi.uuy m1itnlli.1f!S
DR tmr.r1Ctol)' reJd to gi ... to
backboM m.d Ilw /0"'" lX'mllilia, in on:Irr
to pl= "lKJ>' ,/rrm 1m. (onf'Jpmufing
or IHrru'Ilt'm<'trlJ for r11 ,mil.
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Cross Sectio ns
We are not ahvays able to find standing fi gures, which
lend thelllsdves to the application of the law of
proport ion, so we must develop a set of rules Ihal
allows us to appl y the tmit system to fi gures that are
se;1tl'd or lyi ng down. A practi cal method is to draw
CI'OlIi sections 011 the is, to draw
"horizontal comours" onto nude bod y to show
the imagmary "diCe!!" tim corrc.-spond to the different
measuremems descrilx.-d by the law of proportion, In
ot her words, we follow the sallie method as v,-e
would if we were to build a cylinder- based form.
In a seated figure, these cua arc in the folds
of the sleeve, the shirt collar, the belt around the
w2ist, etc.
Measurement Problelns
Som(."[i llle!! we \vi ll find that the figure.' does not
prc.-cisd y match the classical male, eighl- and- a- half_
head modcl. This is normal. It is onl y logical thaI
reaJ..life should bt- solllewhat beneath claS5ical
mea5Uretllcnts bc:catlS{-, after all, cl assical laws deal in
kX.':I1 proportions, nOI ones. What is IliOSl
impoltl m is not whet her the fi gure 1ll(.':Isures seven
Of eight h(.-ads, but that the disuibution of Ihe units
be truly proportional.
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Thl' dlWit"41 pTCfHl",'()flJ of
a 5Imuli"gfiguTf' de "a,
m,,,II, "0 mal/(1
11OII! """It lilt I.>vrl)'
J'tI'ul/4 <II assrmlt'S
ro"'l'iit""Itt/ JKlllllfr1. 71lu
fyslem if mranm:" " !'Jti (a"
be 4 gr.>oJ rifl"f('tla'.
\
lilt 11Io"4S"mo1l'l11S
oflhr dlWit"41 1411' if
pmp<>rtion is (01tI1'1it"nud
"0/,,,,, a/Wllft is silllug, 1),,".1:
dOl"", or fo,rsl"mrned. lu
11,1'$1' (451'S, 11'1' ,mut dml!' Ihr
jigufl''s SI'IIIHl rliug i,,"l"
s/metol1/' in a U'4lrd pcsitwn
mod tTY /0 ndjmt Iht
1IIo"d.{"mN(JII S
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Am>IIIfT $)'$/flll for ,"r
(/aSliml Imil IJIl'tUW"'IIl't>IS II Ihl'
(!I'l'rl4ylng '" l'a"WCQal slim, or ouu-
SIicru. 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 or 1)"18 JHlSil iou.
,
.,
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GEOMETRY
HUMAN BODY
T
he 11\l1nan {ib, rurc can be broken down into
simple geometric figure!; that easily adjust to ilS
descr iption. Every pose <I gencl:a1 sketch that
SllOlild encompass ;matomy in JUSt a few strokes.
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
a composite omli nf;'-in other words, a $imple
geometric shape Oil which we can inscribe wllatever
po:sc the figure assumes. In this way, tbe work will
pn;scll t from tile start a more satisfactory visual
layouL The use of compositional outlines in sketching
is an efficient method for arranging the subjeCt and
:ldeqll3tely lip rhe pi ctorial space. tlms
hdpillg to organize the demcnts of the drawing so
that tile attention, 31l d the focal point of the
drawing, is whcre
v.'C \1I31lt it to be
'nw IJ(lSis if r.''''''y rtlm'(1
I'I'lIflcri'lJ: of Ilw f't"J't' is ,br
""dcrs,.,,,,liug if ils
SlmrlJlrr.
Thr It"",,, ,, 1mIj' in i,s
w/",,,rttU: wpresrnrmi,," ;s
madr "p if 51""'1';111,
rrliudriwl, aud ",rhog''''''/
suti,rf'S. Thest' 51"'1"'5 aJl' ,br
Joul1dm;(JII Jor drmvi"g t/ir
eXIJ'e,,,ilip.s,/w,,d, "lid IOTStt if
tllc /xJdy r"angl'S posi,;"", ,,/I
1'-" /"'tIf' 10 da is adjHSI r1w
poillf af ,';nlt of ilic rcamtg!cs,
m lJeS, Qr q limlm.
The Essence of Synthesis
Once the compositional outlinc is complctc, v.'C add
new gt:omctric Sh 3JlCS [0 dcscribc each part of the
body: an oval for lht, head. a rectangle for the thor:l x,
cyl indtrs for the arms. a trapezoid for the pel vis.
Gt'Oml'tric shapes contain the essence ofsYll1htsis.
The goal is to combi ne simpk forms which
thc form as \vdl as thc pmponiollS of thl' All
ofthl'Sf: geometric fit;ures are arti culated amollb'St
by observing the straight li nes which
ddine the height ofthe and the tilt of thc
hips. and the curve that dC5Cribcs the backbone.
which, as we know, is not 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 of thc drawi ng
a:;; an articulate wholc that can be developed
simulcml'Ollsly in all of ill; parts, and in whiel, no
single pan is more important than any other.
"
As an au:tl"iliary
systl'm. you can
uSC a .... "Q()(f(.'tl
mO(\cI that you
can PO:1SC hO\n .. ... 'Cr
)":Iu lih. ' Illese
models are b>Ood
for practicing
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...,,uT pHIS. 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.,
."
F
or thl' :un:1l CUf artist, the b'Comctric: skt' lch of a fi gure is seldom an
Illsk; 11 0111'thckss. it can bt' simpli fied by followi ng a few tips. To begin,
thl' bl"st to do is try m SCt' the fi gure lIS whole and not in
such :IS dl t' posi tion of the feCI or the shape of the hair. Only after
drawing the gl'llcral outline of ti l(: model , when the problems of form
have been OVt 'rcOll1C and the proportions are approximately corn:cl . sho l11d
WI;:' address thl' deuikTo llIakl a geometr ic sketch IS to understand thc
drJwi ug an articubtcd whole, .. 11 parts of whi ch can dll:n b(' dc\'elo pcd
sIIll u1tancously and of which no pan is more important than any other.
.7J,. GEOMETRIC SKETCH:
STRUCTURING Ih, WHOLE
SIMPLE FORMS
Proportions and Background
A fi !,FUI'I."S proportions be harmonized with
of Iht" background. to make that
Wl' adjust the to the back!;ruulld in a natllnl
marmer, and avoid having lhe of the
cut ofT a pan of the becausc we didn '{ clwck
t h l ' Illt'lIsurt: lllcnlll Wt' can
stain the blank using a p3per stul1lp--also called
(>
\
JJtoforr a"y
s.,"'",etn'{ sk(ul" it is
1",1'''''''''' 10 11,,,,hl'$l.u tilt
fis"", la IT)' 10 ill(l14dt tilt
l lu .. ",lhj(Or1ll II';II,i,ja
JimJHt /lfY"IIrui( jO",I .
Cromtlrir.fo,nu <1f'!' ' /MtI
jOf tlJIIlroIU"g rml1C,'imU.
a IOrtiIl Oll --() r wit h om tu limit the space
that the figure wi ll occupy, Thes!! ini ti al marks are
guidclint'S that suggest the posit ion and dllll(' nsi()lls of
each part of the body, as wdl 3$ t il e IOlall rnb<th of
thr modd. The sketch includ('s a
clicuial ion ofthl' figure's pmporrious. which should
be reflected in Ill(' outline.
A t"rtillon. or
L'"."n a charcoal-
staine.I dOlI!. b
an excell ent 1<101
for Ilralticing
geometric
sket ches. 11
pro.luCC!s soil
line. that an: ea)y
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1tf1 -r I
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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 IlrCpIictu
c"d fowt ell fir, ;"''" Mt4ib if II,.. fifOll r (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.-jill il i, ,, CII //;,II' (8).
TheVertical Lines of the Body
The fir.; t thing we must do before
sketchmg is lIlake series of llJarks
indicating the 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
shoulder.; and the head. It is
usually t'wer to draw from the
top down. From there we will
work downward through the
r
-I .. ....
... ,..jrt: .... ,..
bod)" drawing syntht'tic shatx-s 0 11
a standing surface, paying special
anemion to the vertical lines. Wt'
should look for directions and
rhythms and sec them as abstract
forms.
Verifying Dimensions
Drawing freehand allows us to
\'\Tify thl' precision o h he
drawing's proportions during tht'
early sketching phases. When
drawing freehand, the pencil
should be Ildd vt'rtic:.rolly with the
arm extended before the figure,
with the fingertip at o ne end and
the tlnll nb measllring at the other.
TIlis will help you confirm the
,
, .
proportional relationshi ps of the .I .
real model From these I ..
ml'aSlI re1l1ents we can draw by
transferring those proportions l'
onto the paper. Once the sketch IS
done, we once again place t1u,
peocil over it to m:.roke sure that
the proportional relationships ! . -'
between the different parlS'of the ' ....
modd art: correct. )', .' N. rI ''J"
;l
Awcilial)' li''''1 ta" ",. ' lJl'd
,PI ..... dmwi,'S " gromnril:
s""pr, JUlh /IS _ Iital
ami af
Nflitl. KrVn /IS au u:iJ a"d
rail ",. " Jed tJS a rifffttttt
poim /a rot""",r disl"'lfes.
II.
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SYNTHETIC CONTOUR
(m(1 LINE CONTROL
D
rawi ng is one of the most intel1..'Sting
cxen::ises for an artist to practice, because it
Cl.'1lters oll r attention on the foml's limits and
providl'S a focus that we can concentrate on
regardless of details, lonal values, or modeling
effects.
/
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The rollIO," $iw,,/d be ou <!IJ/omorir,
f\'I'$lmal drowiug, (OIun,cd 1,rillloril), wilh
II", f,">",,,,1 dilmlCl(T oflllC ,node/ mid ils
('xpt1'$5;Oll mlher Ihau ",;Ih IIU orarouu-,
ptrj'tdiootiSI mulrriltg.
Met hod
Tile best way to pr:Jctice drawing the contour is to
lake a fine point pencil and start drawing the profile
of a figure from a detl'rminate point of vie-v, without
taking the penci l off pagl'. The line should be
unbroken and continuous, without ernSl1 res,
overlapping lines, or tremors.Your eyesight should
follow the contour of the fi guTC while the pencil
works on the page, responding to e:ich of your
thollghts. When starting on the contour or inner
silllOuettc of a new part of the body such as the
Ilands or breasts, yOll can refer to the drnwing in
order to find the point at which the new comOll r
should begin. Continue in this way until completi ng
the contour of the figure.
FOlllty I'lUp<Jrtiom are 'rp;(O/;II IIIB '1'1Jl" of
d'<!Ivillg, bllt ,vilh prafl;cr, tl' f at/iSI will
<lI"'ltl;re., Ioo$tr, morr rolltrollcd /iue.
A Great Disa ppointment
I, is very likely , hat your fi m attempts at this type of
drawi ng will prove a great dil;.appointlllem. Don', be
discour.tged: keep ill mi nd that this method requires a
great of pract ice. O nce you have gained more
experience. you wiU be able to vary your speed
according to your reactions, and your line will be
more fi nn and de<;isive. T he imporum thi ng is the
experience that )"Ou acquire while pr.lcti ci ng this
eXttCise. Once you 1lU$[er the ability to symhesize
using this technique. you will be able to make swdies
and sketches in the studio from memo ry. and WOn't
miss having a lIlodd to draw from.
Line Control
To achie\lt'" an interesting line in a study, the artist
mu\t use either a ver y fi ne instrument or a ver y thick
one. In ei ther case, you have to work quickly, and
foI.low the subject's forms with a continuous line.You
can usc the til t of the pencil or gn.phi te to modulate
the lint'" by altering the 'width of the stroke. A 1l1arp
penci l produces a sensual, fragile drawing, whereas
gnphite. which has a thicke .. line, will yi eld a more
intense, energetic drawing. The result should be a
sati!;factory, uniform line that provides all the
inron nation )"Ou need for obtaining tht model's post
and anatomy.
..
1M gmpl1ilr pmril is if 1M ffl(OSf
lOll''''''"1y "JI'd "'fdia for .. ,nking Ii,,,,
drawing1, "'" liltlt br lilllt, 1M bdl-pcilll
pI'Il htu f ormd a Ilifl lt IIInol!fS
1rotll'rofissiolUJ ""im ,Imllks Iv Ih, fillt,
ill/row, mId It.lfmiw lillrs 11u" il
Sr"lllel'" (OI/lOllri. !,g is ,,..rr 'lSiful for
lIlakilJS quick J/,uJits, wm:" 1/",
ionmcJi(J()l iftht
moJrI ..... (ll" p"'",i"",.
Gmphilt P"'"'s IMI1'
fXptcssilll' 111/10, (l pmril
mooe f TP11l /Ile S(lm{'
Ill(llm(lllH"rmuf il
provides lillcs pf /I
grr'akr mllgt if wid/hs
muJ ilttl115i,i,s.
A eKercise
ror li"e
d .... wing 10 Iry
to render figure
with , ingl e line,
without limnt: the
le3d rn >lll the
p3pcr. as ir we
.... ere drawing the
figure's "rome
with 3 ullgle
!'ieee of yarn. TIus
hd ps U$ dl ... -.: lop
our
impl"O\isational
skills
synthesis.
.g'h& VIRTUES P/'
NG STUDIES:
( GOOD FORM /y' PRACTlCE
T
he best way to approach a figure and the probleJll.\ of
representation t h:l f it entails, is through the practice
of making studies of 3 model. Smdying t he figure based
on a rough sketch is a for m of constant learning and
perfecting for the artist.
A Minimum of Lines
In a of a model , you should situate the prinCIpal
lines with a minimum of snokes, with no concerns over
whether the resulting drawing looks unfinishtd. Doing
studies is a val id pract ice in itself and needn't be' justified
by a later work. The grace and spontalleity of studies
hav(' been apprecIated by professionals and amateurs ali ke
throughout the ages.
TIle T it ne Fact o 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 anatomical
requirement.'fhe leisurely,
inconsequential tone of a quick
study makes It Clipcciall y
appealing. Often it
becomes a series of
small shows of dexterity
and visual sh:upnes,<;, On
thc odlcr the easiest
$lUdies t o make are those
for which the're is no time'
limit at all.
Yo", lkr'ullbfloks II/mild ".. foil if U/r<n,
QI,d doodl(!f Il-;/h " " "PP"tn" oroer, ".".
any gool Grhn IlulII 10 Ci1f"liIt {o>rccpts olld (';I:rrrist
)'til" s/,r>,",-
I
\
T he Use of Ha tc hing in a Study
In a >; rudy, til l' SkClcll bo;: light, never o\'I.'rdollc.
It i. 1lt."Ct. ... s;' ry to find blend oflighl and shadow
Ihat compOOl'l' the wi th its csS('ntial d el11cnts.
An ill SistC1J(T 011 hatching is 1I problem that
afflicts IIIcxpcrienccd artists, l11:1king Ihdr (lnlwi ngs
mnfu>; mg. If you work III graphi lt\ it is sufficient 10
nuk,' a Silllpll', hUIllC>gent."Ous g ray hatching; if using
charcO;tI, Iry darkemllK tht." areas wi th a
6ngt:rtip smint.-d with charcoal.
"'''r f"rpt11f' <f" muir is ' 1(>/ te, look II fiuislu-d
dr;nlli"x, bill '" sl .. "" 1M (,..1",11>1' 'f '/,r fil:""" /1 . lr",tI/f
{mlSfl/l"" "lfil"I",(/"""'.for III"'" d"/><l m" d'llIl1i",'(.<. or
J'T II swdr ,Ylllr
Tlw Imlclting .111 SIUdy
l'lmll!d III' lIIilli",,,I. " i$
slIfflfinllln dij/;' ,r""-,,,r
llit l' l'a(lr,/ ilfr<1S fir IIsiug
II sill'plr,gmy IWlrhill,(!
""",ill l' I Ilt r III/lilr ifll,r
!A,ill, R'pmmls I/Ir
li.!i"M,,,,,rs..
>.
r
i {I
II' I'
Iv r the bcgimro;: r
iT i. good
(O "llIke
of
10
["hoose model
who ;'\11', 100
Ihin. A
model i.
to d ..
dcmaud_ s realer
anatom'["31
c)(pc.ricnCt' on the
pari of thc "";$1.
HtII{/!i"S wilb rmll'tfP/p, /t'rs 1'''' '1"ickiy lIn
parliNI if II,,' IIrG,/d IG ,,,,,uI' IIIHtI ill
HUml{rJ tlrmi/J,
7111' i'lSlnmomlS for I/wki'/j! !wdin W(IIt/d III' 1iJ.:/,t .,,111
,,,,,,,,bh-, 1111 II Idea 10 olll"')," mrl")'"
jn l'll'" pJ.",
..
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OF THE FIGURE
I
n figure drawing the mastery arline is very important because.
besides defining [he c;om;rcte {;on(ours of volumes
neating 3 scn.<;e o f direuion or vital impulse in the drawing. it
creates tensions and particular cadt..'flces of the
figure. A knowledge ofthese dynamic gives [he figure a
sensc of COIlt.1incd motion and a rhythmic 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 though sometimes
overwhelming, gives meaning to the post' and unitt's all of the
linear elements of the figure.
"
----------
R
hydun is an important concept in drawing, taken from the
world of music. As in music, it is created by alternating
between accents, silencts, and neuml pasugcs.A pose has rhythm
when it is harmonically dynamic, full dyrumic alternations. The
distribution of these alternations determines the attraction and
intt'mt of the drawing'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 of rhythm.
INNER RHYTH
FIGURE
The Line of Action or 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 imagi nary linc that extends
across the Icngth of the figure. in oruer to articulate ill; rhythmic
effect. This structunlline. known as the line of action, should be the
bam for any dnwing of a pose or movemcnt. Working with lines of
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 Illot ion that
would probably not be perceptible in a rigid. conventional pose.
111 " bock I'ieu\ ,Iv
illlfl'nal rlryrJllfI
is rlmrl" /fu,jll.R"'s/rcd
by t/ir /jilt: desaibi"g
rl,e badlbotrt
'-
J
/,
\'
1M rl'ythltl is 111<I.wd by 1111 immw//ille IlulI s1''''/!.
11K bc>dr fmtn I, tad 1(lliw ftc' 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
In order to capture the rhyt hm of
a figure, it is essential to learn to
dr:1w its gesturc.Yoli r drawing
rJlOuld be nuid, like a doodle,
capturing the internal form of the
figure and reflecting its intentions.
Mter drawing the line of
strength, attune the gestures of the
drawing to each otller and capture
the essellce o f the body: don't
allow considerations such as the
figure's contours or measures to
confuse YOll . The drawing should
be quick and interesting,
preferably with no consideration
given to the contours or forms
outside the figure, attuned to its
rhythms through the gestures
COIl\'C}ed by your hand.
TIw lim; of actio" is the imagi.",ry rl'yllrmi
UHf IIUlI fpatlS lire 1",'8'/' of the fw",t 10
,-lUll' tlU! tjftrt" """iot . / .. tl" Jel of
modrh NIOII; lhi. /iJl e is mooified l'llCo,diJl8
10 rlw acriD" ~ i f O f m f d by the body.
"
I f we furce the
rhytlunic line of
the body, it
assumes a nlOre
forced tomon,
which mlnslates
into a more
expressionistic
rendering.
W71fr1 HUlling" gtvIIU'lm
skrcl" it is NSfJltiallo"
into atUJUnl tM ,Iryt/lm of
the figure. 1k my/hm will
N lkstribfd by CIiTIIt$ ami
qlluk strokes marking the
inlf>Htion if Il, .. body.
I
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SOFT LINE
AND ITS MODULATION
T
he' rhythm of a line and its modulat ion is an
importam value in figulT dr.iwing. An inlctt'S1 in
the fon ru of a nude should be by the
chOlTm of the linC' strokes. This expression
demands some C'xagger;arion, or even
all of whi ch are completely leb<1tilll3tc if they
iruclIsity the visual quality of the \vork. T he'
d lllr:tCteristics of a line used 10 defi ne a contour can
transmit the l1:tturc of the [oTm, its materiality, surface
texture, and visual charge.
Descriptive Contours
Descriptive lines art" those whose ollly and
function to drscribe the profi le of forms and their
\'[)lulIle$. These lines arc responsible for the styli7..:ltion
of the forms that v.-e have- prt:viously discO\,'('lTd , and
they rdlect dIe u ri5ts perron.1l l visio n and stylistic
essence'. contour develops an authent ic
creation and organizat ion of anatomical form.
l \lnr" It(l/ 1"I'SI ally SIIm..'I' ",ill 11",
"nl(./it'l' /i,/tj bt'lcoW Irft rtpn'$Ctll tl)(' mMI rommOll stroJ,.('J
' WI*" artists-lilt')' art" brot'ftl <l/tlllll'S'-'aHl. l1tr
fou, 00' ,III' IIII' ki .. ds ifli,tC'1 alllalrll, amSIS maIM
uri,,,. jar:fi,."., bill mritd III tllri, ImmSlfy autl Iititlmtll.
)
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,. _---
Drstnl";'''' ...,.""',, is r.\-ptmnI &y a """ IIIIICUS lilll" SI.w.'t'
Qtulltas a pmt'/y rornpomlw,,01 jiluJill'. /1 fimtlWtIS itf n
p,tt'ric sI. ... ,tlt tkst:, ibiui! III( pn!fi1r if I," J'Rmr II1i,I,....,
"1!,<ffff jiw ils uvI""'l" (md 1I,oo,/i"g.
Modula/cd Jtrokts I!{frYI /lrr df1,tlt iftllr lillI'S. "I1,c;/
Ihi(lmcss ""irs rlrpl'lldluJ: ,}II "",WIlier llie mra /)('IIIJ:
1$ ill liJ:/rt a, sltarl/!'U'.
/'
0.101' )'011 Iw,'t pmnitt with d!tforrll' ki", /J.f
JIniTs, )'1111 williif' oUr /0 ,"Mlliall' ,II,. li,U' til$i'y <!J )'A'
d""" MMII/oli,,!! 1/11' .mir 11 ...... 11 <ury";",!! flu> ,,,em,,,' fIt,d
thirl...,1nS iflll( ,j"l' tmWt/j,'E /0 r/lt',rfft!s if thl' d,m",,,!!. iI,
lIftltr t .. dtwilot' rlU' wlm".. if,/,r jig"" ""d ilJ '!WI
liS"ifK"''' l(>tllll rlllllt(!n..
Ajillf' js IIl' MrS Os.wr;old will, r/," I,.rml ti1i!llll
"" "'1' flJZ'If"; i, to/III'S nJ 110 mrp.;se, Ihm,li'iI' "filiI' /'"(,
""S "led /0 muir. 1/,(, 1"4i1r if ,IJr
A Ihid.: lill" 1t'/'ri'll'rr/s" grmlcr .. ,,(r if I IIlU/"II' mill,
rllIlS, II!I',kf {I ""ul, ",0,.. .tlji";/;,,,, /rrKf', w;, I, <1
gt>,rro,u SIrc!'(.
"
Contour Intensity
If a line is tht' same consistency throughout, it
encloses the nude too coanely, ;md to express lhe
nuances oflight :tnd Sh3dow. A drawi ng rendered in
soft linL'S should thick lines with finer ones.
Fi ne li nes suggest a lighttd art'a, whil e thi ck lines arc
perceived as describing shadexl pans. You can
emphasizc a line by rt'tracing if to give an illusion of
depth or create shwows. If the of the linc is
and fhe tracing is agile. the line will have
'Suffitient appeal that it will only require a fe-. ...
additions in ill> h:uching .
Line and Synthesis
Drawing in li nes is in large part a synthet ic
exercise in selecting contours. Linear symhl'Sis play:;
3n important prKtic:11 role whell dr.\wing fhe human
figure it allows us to quickly n:nder a figure
in a spomancous attitude at 3ny time or pl ace. A
s}'Iuhcfic figure or scene contains aU the necessary
information for the viewer to rccq,'TlilC the figure's
different actions and b'CStUIl.'S, capturing tht gnee of
its motion.
For If bmf' .",dmlm.d"!I: ef"/(' lm.Ycdl"f,; (l!WJ, roll$ldrr
'his drf/d, '!r ,/rr smnr fif.ll.rr, III whi(J/ liglo,rr/ ""d s""ded
11,...11$ art' d .. mly IJif[rrt'II,ill,rr/ Iw" If""""J smy ""u/""s.
An "'1l)'
, - .. , - '1 of mastering the
soli line is to dnow
. the sinlOl.lcttc of.
figure without
)
taking into a count
7,/ iu solidity or an)'
r otht ... internal
I'rojeaion. Follow
the OUl er edge,
ignOfing what b'OCS
on ill$ide. The
or the
o.;on!Our d r.winG is
to :lChie,c .. n e"lICt
eorll.'Spondenc:e
bctW\.'CIl the what
the e)" 5t'('$ :0$ ;t
rOll(lw$ the
of a fi:.'n' and the
]illc the hand draWl
to repfeSenl il.
V
oI umr
on
what
Shading
SPOTS
If a fi gure is li ghted powerfully, it can be sketched
with spots of color, with hardly any lines at alL The
should be a synthesis oflight and shadow. of
ligln rd areas whi ch we Ieav'e blank 011 the page and
the that we stain using cll;lI1::oal or a piece o f
chalk laid full . This process omits the details
altogether, but incl udes the spc.:ctrum of middle grays.
The limits of the shadows a also as good a reference
a'i rhe linl'S of a box-skcrch, pan icubrly in models
thaI a wdl defincd outline whose contour
prcsenlli a dear C0l1tr:l51 with the background.
A jiw , /lOIs an' j .!/flliml for Ihr
h"",nll "''''/(lfII)lfj '"" """,/ It> shaM
quu-kl" ' j/f' (an uS<' ,ht t/cwic J?WY Muhi.rg.
",hkh if JII'f'uhn if pmnIld ",nth
J""" ilK' 1(I[/Jlrd "'MS nrt Itji bI""k,
wilh oolf1r "'I')' lilla or mtnlu.
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 mil l if 11N'1l' II1m'
l'lIJI'S spoti .w.k /0 l/",pt '''l
"IOllltl(t ,md post' if f!R"""
Hatching
In a rough sketch, hatching ean be
madc with a motion that mimics
your first. tentative lines, lCtlkving
l preliminn y tonal and 1l1odelifl8
intention.T he strokes ean be
dt:cisive or Shlley. This techni<Jue
relates the construction of
shadows to the expn:ssivt: lll'SS of
the stroke. so il is linked with
calligraphic muters closer ro the
realm of wri ting. This a1l0\\l5 for
much gll:ater gestural expression
in a sketch based on h.;uching.
Drawing with Water colo rs
A good way of setting up the
drawing il; by practicing tonal
w.ltercolors. Before starting the
drawing itself, we place the modd
in fronl of l single source of light,
lX:C:llIse shadows become
confusing if there an: several
sources ofl ight at one hllle.
&.forc: hatching, we can lightly
draw the outline of the fi gure in
order to have a tempbte or
guiddine for working. TIlen, U!iing
a flexiWe brush. we quickly and
nimbly apply dark watercolor on
the areu of the body that are
shaded, preserving the white of
the paper for the more brightly
lighted n e a . ~ . 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 the figure. The line
strokes combined with the spots
give the drawing greater
consistency and solidity. T hl'Se
Slrolet.'S were made wi th a pencil
the same color as the Spots.
1
1. In these three sequences we
shall see hO\v to practice sketching
with spots. First, using a tortilloll
or a conon ball lightly stained
with chalk, we draw the shaded
parts of rhe model on the paper in
a highly synthetic, simplified
manner, leaving the lighted :P.relS
blallk.
2
2. The tones th.u serve as the basil;
for the sketch are 1l00V complete.
The series of SpOts traces tht'
structure and pri nciple ma.sses of
the fi gure and providl'S information
about the localiol1 of the light
source.
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 B a t t i ~ t a Alberti: '/ lIe 'l1m" Books <f l'h;IJ/;"g, ]435.
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ANALYZING
POSES
.,
T
here are no limits to the possibilities for creating imercSling, striking
poses. Capruring the energy and dynamics inll crent in the mood
depends in great measure upon the artist's dlOlce of pose and gesture. When
speak of gesture we refer not only [Q the or the
features of the face, but to the entire body. Every person has a parti cular \V3.y
of walki ng, sitting. posing, and manifesting herself physically; these arc the
unequivocal marks of her person, and we call these marks gest ures. The
gesrure of a figure transmits lIS way of being alive, its action. By defining the
expressive angk':S and directions of the body, we can capture the essenti al
gesture of a pose, implying its intention and energy in a natural way.
,<
gJc EQ!)ILIBRIUM
.o/f;',' POS E
T
he equilibrium orthe nude is a vcry import:lnt L1Ctor-t hc
verisimil itude and slabi lity of thl' composition dcpclld on it . Evcry
Ill"V pose p"-'SCllts a different problem to be Mlh-cd ill its compositional
balance.
The Stability or the Figure
The t-quili briulll or lh(' pose is an important f.1 ctor when drawing a
fi gurc. T lwrl arc limits to 110w much a hU1l1all bcillg can tiit to 011(' side
or another withmll falling over. T ilt> task. , 111t.'n. is to CQllt roll hc stability
,
of t ht' fi gu re so that it dO\;s not appear to Ix ' idli ng to
all<: of its sides. The (lll l'Stion of equilibrium is
!lot a problem i f the fib'U!T scated or lying
down. TIl(" risk of imbal ance OCCIi Tli when
ti l<' nude is standing. part icularly ill poses
that involve any violent 1ll0\'cmcnt in
the Ub'1lrc. ln [his type of llose,i t IS
possible to become disorkllt cd and
lose the horizontal axis. creati ng an
appearance of instabili ty.
A f l"nlll r,ri{/ll m"'fK'S-;"Nr / !1Nrllff J:'f'I1'"
slabilily 11"'/ IlIIlmU'l'. III otl;SI;'
symlllrlry .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
if WIlli
"nt .. lillt" if J!fI1I.11r
J/1II11J IIIf' INIj!II. if lilt'
jl$!mf' jiPIII "'11 h>
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!.
III a 1 1/ "K'''' oj n 'lUdt, lilt li,l<' (tml(d Ily
'11r bnrklJPllr {/III /J( ,,;cd <If " " a..:ir trf
J)'mml'''}" olln""'1J! IIJ /11 bninll(r 1/",/KIf'.
-c..r
,
'.
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Firmness o f the Feet
The matter what pose it aSSUlIles, comcs
into ("ontact wit h a Stlp(lOrti ng surface through one or
bOl h feet, tile or the TIll' manner ill
which this conn c! is produced expbins the support :tl;
well as Ihl' cohcTl'Il("e of Ihe pose through
tquilihn ullI, so the entire lxxIy should appear
coheTCnt with to Ihe position of the
txtrcmitics. A frequem error when drawing sCl ndil1g
figun.'S h that thl:y do not appear to be touchillg tht""
!':round, and look as though they arc float ing or
imbahnced.
The Cent er o f Gravity
A ratioll al IIl l'thad of the e{111ilibriullJ of a
Ilude's pose to find its cemer of gt:l vity. Tl1C center
of gr.l.Vity is found ill the abdominal for
standing fib'llreS, or :1.1 the base of the spine for a nude
vil'Wro from till' back. To check thl' stabil ity 01 the
figure, all Olle has (0 do IS imagine that 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 fi gure has a good e<]uili briulll; otherwise,
titt f('prt."Sent:llion is imbabncccl and the nude is
un:tble (0 support itself on its feel.
Symmetry
[11 a flat and in a fiunt:ll view, the
hllrnall body SllOWS a series of visible corrt'spolldell cc5
:md thllt (he fl!,'lITe 1I b'1"cat scnse of
conlpcns.1tl-cl l'qui librhllll. For this anlilysis, (he most
important linc is the o ne [hat di vidl""S the hurn.:m
6gure in two when vlewcd from lit e front.
A
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A fn.'<Illcnt
mismkc that
M tiUJ
Ilr:lkc is It> til t the
figure forw"rd. To
m'oid this
miuake, you have
to project tm, lin ..
1
L
_____ __ -,J uf gravity omo
the sko.tch.
.-f
To ",/"',,,r 1I11'f"II-bIl/a"rl""fwuc,
;"'JI"'/allT 11111/1/11" l)/lsi/iIl" IIJllw I?!s Ix-
(a.w;",;.'.': I1mlllll1l Ilwfirl 1".fi""I),
JIIIII'''''l"d..", 1111" fj" ... ,akr II,,.,..
ju' on ;mp <11"(.'",,, ;11 //tr skru/" 1111" ,nt <1
t"t hutr 51It'll1d appro' /",/a'I(NI.
"l7tr /i"1" g,m,'y 11/1<11, ,, 'IS Ie> rmllrol,l,.. ("q"i/ib,;"", "f ,/,t"
/" II,r.fim ,(I$(', 11,f' /ill l" if J,:1Il1.;I)" ill ,rtl,folls OI"$i"r ,f tilt
fioN slll'l'llr/ilt;t.: 11,(" l 'llSr, If) al'l)/,ilr1 ;"'M/I1I/ll"d rl1).
On 1/11" Mllrr IImlll, if foils illlmlll pflllt" /i", if ):IIl,i'J. (IJ
S/'Ollll illlllr tim,,;)!\.' br/llll : it ",ilium a,l/}('a( ;1II""II1I)rrd (1J).l1or
rqlli/iitrilllll oflllr ""dl" ((111/>1" ,rrifil"dlry Jmll';,,!; Iltr 1'f'Ilim/lj"r If
gtm';l), alld t ltk;'1j! """"/WI il plls ",jl/,ill Ilrl" /lim 41ltr Jm, .
SIIl'JlONiug fl.t" flt",r (C}.
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VARYING flu'
POINT q/'
VIEW <
W
hether the sketch is static or in Illotion, it is
to draw the 6gure from different
points of view and walk around the fi gure it as you
Every point of view offers the opt ion of a
different pose. Drawing the fi g\l re frolll the front ,
from the or in profile impl it'S a different
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. chiaroscuro, movement, etc. Certain
poses allow one to develop some of these 2Spt' Cts
belter than others. as we haw aln'ady said. II is
interesting to obseT\'C: the model from different points
of view and walk amund the figure as }'Qu sketch.
The best exercise for determining the focus is to look
at the scene as a around the model.
cho()sing the most {'xprcssivc and effective angle,
Every poim of view constit utes a different
Technicall y, every pose requi res diff .... rent
with a or k-sscr role assigned to dr:lwing,
color, or chiaroscuro, "
/
I
,
77M' firmrlll vift,' is anlOl Ig fhe mllll a flmcri l)t 10 aM"'; trol
Pllly aM,S il l'mtidt' a view if IIl r JOO', bUI a/rolllal vir", if'
IIII' llOdy l'I'W'IIfS "liifs and drlll;lj f/ wl l/rl' haftl,illg
nom mMrliug of tire figure mrnr illlrn1rillf,l.
til I'IfIftr UI IJnUT ,u,dmumJ modd, r'" IIIWI' /0 study it
fU a and onaIy.u Ut( SQtII(' pcoc}ioo' stl f'mI difJM'nl
poinu (If IIiru; tI'<I/.I.';ng o""md tIll' model 01U1 il
;n ill I'II I;rrly.
The Frontal View of a Figure
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':SSion.
The Nude in Profile
We could almost $;\y the opposite about the nude in
profile. The contour is the dominant aspect of a
dnwing of a pose in profile: the form of the head,
facial features, shoulders, torso, abdomen, thighs-in
shon, of the entire figure. rhCU' clements can be
represented wi th a sill gle, continuous line.This does
not mean that the volume and modeling are
unimportant . but dlt.'}' subo rdinate to
the lille of the [I is worth remember ing,
however, that a figure is rardy enti rel y in profile.
Some parts of Ihe whole appear only in a frolllal or
back view, making a three- quarters view advisable.
The Nude Figure Vi ewed from Behind
The back view of a nude, especially the female nude,
is a recurring subject in the b'Cllre 0(imil1l3te figure
dmving. T hese drawings cre:ue the effect of a figure
bring observed by the viewer without her
This impressiou of naturalness pTOVei to be of
great psychological interest. Technically speaking. a
rendering of the or female--can
rile analomy to a degree that it becomes
interesting in its own right.
.,," Jrgtlff! infron/Ill ,,;tIl' mt"im II I!IIIIl'
11nW.1<lI;:ud / U'lItmrnr '!f rhr}xr /Iud II I l..'f'Ir/lirr
mullIJCI! if 11K' rt'S/ citllf" bcdj.: flit ",vdtl in
,,"!fill', en /II(' IWHd, rrqHira" IIIC1I'
d"'llikd /U'"',,,rnl iftllr alll/Cllr$.
""""-
1 __
,.-
\
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,
i
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If we find it hard
tn understand the
figure from
different
posi tions, \\'C can
usc ;\ model like
WUodell
m:ulncquin. an
e"ercis<:, il very
10 I'l:t(;c
Ihe dummy in Ihe
SlIm" pose ;t)
live model,
l uming ;t
making
of if from
different of
view.
tll..,k of rr'l,,;m
IlfrWlInli;rmic" Iml n glrnl dml if
lIloor/i"g w Iwll' drwil" llor ,,,,Iumr!
'!f llof bIIdy.
<
( COUNTERMOLD:
DRAWING NEGATIVE SPACE
O
ftt'11, thc succC!;S of:l pose lil-'1 in its negati ve
in noticing and renderi ng the for m of the
background, the empty spaCt:s surrounding the fi gure.
If we <in\\' Iht! forms oflhc.:st, various spaces, we
also end up drawing the fib'l1rt':, bUI wilh grcottc r case.
We sulve the problem of composition (hus: Ihe spaces
and the arc ullited whell we give equal
impon ance to all the pieces of the puzzle wi thi n t he
that limit the format .
AIl31)':.r.: ing the Counterlnold
T hl' Important thill g isn't dr:awing an an n or t he
position of the.' legs, but rather taking up the form of
lhc.'SC body parts by relating t hl'lll abstractly to the
space- that surrounds thelll, looking for t he Ilcg<ltive
fornls, or (OUlllermo]d, of t he figure. Therefore, in
order 10 unJnsund the forms of the modd we must
know how to identify the fi b" JTe'S coumcrmold.
We SUID,'Cst n very simpl e e xerc ise thnt consists of
reprcscllti ng tht, hum:1II Ub'1.1re in the choscn POSt.' by
dmwi ng t he different chi aroscuro of the shapes
t hat sur round t he model, wi thout using lines (Q give
t he111 their countcrs----simpl y using hatching bnsed on
tr.lcillgs that reduce the cont ours ofthe body. We
reali:le it isn't easy to scp.u :Jte t he fi gure 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,. js Ie' fi'IJ:f"I 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 lml toid i" II,.. hl1lr" i",f $11Ifl<';S " """,,,()/I
<ifnI fill rmillS, II,,' 00frt';1If' 1" III/,iel, is 10 ""tkrJ,,.. M IIOIIrl ami
Imfi/f'J h), IlSj"R INI(JI (O"'nul.
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Solvi ng Foresho rt eni n g
Problems
We propose the foll owing method
a!i the most effeclive means for
solvi ng SOIll!:: particularly di fficult
problems, such :Jli fon:shortcncd
figufC'!i. l 11e only realistic soluti on
to lile problem of fOre!ihOTtcning
is to draw the fi b'll fe just as ic is,
not as one imaginC5 it to be; to sec
it as a geoUlt."tric figure, observi ng
the negative space sur rounding it.
Only dexteri ty and exper ience
hel p one to really sec and
w rrt.'Cdy render a foreshorten!::d
11mb.
A shoo/d not Iw a "'pn!1tnMIWn of
<In Udnfrdjil!""' b"l nil inlnnttiOl1 OJ IM
f lJlu", wilh I/J,. " mounding spntt, Da,1I
/inN in tht b<l{k,RRIlmd spa" also kIp M
Ihf profile of/Ill' hetUI and s/Jem/den.
"171(' ""piirilli!'ft if ..
ct>.",tm oold if C'1pfrinlly
uJifl' / 1i41C" ,It .. fif(llrt'
prnrllls romplrx prun SUi /'
QJ ,lIPS(' Ii'l' ill"
""'lmpasICL I" 1/1tJt (""1'3,
u'"' will/,y /0 ",wlllizr lit ..
""'ply i"
(xlcl iO!' hI ,mlrr Ie' ro,raf')'
sfIllllI fir,. I)(ISC.
i
\
Abo\'e I II else,
keep in rnind die
spaces cOlllaill"d
J,. the figu re.
Iflhey do 110 1
..: malch t he lame
form II. t hose ill
Ihe n:al model,
-
t he fi gure hili nOl
been i ketdled
COT1't'Ct ly.
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WAYS(q/ SEEINGI!t, FIGURE:
OPEN ({lit! CLOSED APPROACH ES
H
ow an arlist me body will determine
which he or she will take in expressi ng
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 all d Op CIl
interpretation.
T he Closed or Descriptive Drawing
The finished o r dl..'Scr ipt ivc drawing pn:scnlS the
visible reali ty of thl' figure in a way that shows off tbe
Illastery and abili ty of the artist. The radicalization of
the analytical fimction magnifies the finished effect of
t ill: drawing. The profile of <I descriptive figure tends
to be iinl..-ar ami clost-d, iC'Jvi ng no space fo r
improvisation and subj ectivity; it is ii:r niH:d to the
re-creation of vi sual experience. Descriptive drawi ngs
display a constant effort to forsake convent iOIl alld
give gn::ater importance to )lleticulous all alysis, SO
that the dldwings translate into an exact rendering of
the human figure.
A $!.romclri< s/..oelrll
madr wilh dosrd
figurrs fi'OI'idt'S
Jolidfi$!.l' rcs willi
Ihi{k lim's 111111
fI{(rntHatr IliriT
owtlinN aud
I'OI .. nuolfit
Ink produces a
uniform, lasting.
worn-aWlly line
Ihat prm'cs very
atl mcti\'C whcn
making
rough skcu::hc. of
open figures.
I
nil' ralllOWr of IlIl' fiJ<."'" is
,,,,,,,lIy dcpirttd fillly in II
dosed dmr,';n$!..AII ifll!l"
"""1"",),, " S u",11 '"
tht' 1iJ<.1Ir /llDlj"lIs DIIIIIl"
bad)", /If(" r/c,,/lr JcJi"Cti,
leovi,,!.: /il/le 10 lilt'
;"'''/<.;11111;011 "f /ile ";l"W<'r.
TI,e rlosed fig"'!' is
1)1'ifird II)' II /inf:llr
Irrlll",elll o;f II,P
Q"tlillc and
rirJ. illierim ",,>drill/g.
It is II,l' (/"5(,S/ I,> a
r/cwiml 01" rtadFm;(
/ I"('{/I" ,eul.
11" oprnji&"re is" lJidfor roct l};
ingl'll"ity. 11m! ,""tivity instr<U1 ~ f
adem;ri!m.fo, lIIJ!g(!slion. mt/u!r tl"ln
nltional (ltd..,.
Agtomet,;, skeICh if'ln oprtl /IJ!IU'f is .u"'''l's
suggt'lli .... and SO>Itru-h", ;"dlji"ilr, l1"d should
lock "'ifi,,;slw. ,,01 quile solid.
,
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The Open Drawing
In suggcsti ng thc for m instcad of
explaining it complcrcl y, [he open
drawing requi res a ma rc poctic
treatment . allowing tilt. spcctator to
romplctc it in her own imagination.
The opcn drawing, through its
brevity and unmt..<Jiacy, can a l ~ o be a
medi um for crystall izing idc-$. It is
accomplished by suggt."Sting ccrtai n
art.-as rather than completing them,
subtracting a fragment of the
drawing for the purpose of
interesting the viewer or drawing
hcr au cntion toward that point and
allow:ing her imagination to deduce
or co mpl etc it. Suggcsting the form
means rcsponding quickly and
spontaneously to the artist 's v:ision
of the Illodel and traci ng thc precise
moment ofthar vision onto the
paper. Naturally, this Illt.'ans that the
artist's compOSitional problem is
IIl On: or koss solved. and thc
geomet ric sketch of the model is
i ln.-ady more or less correct.
Oprn ji$!l</f"S tire cill1miflT;;ud by " "("'"
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.
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A .
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T
he standlllg figure b'CneraJly (cwe'er problems,
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 of proportion.
[?he' STANDING
POSE
Of' CONTRAPOSTO
Synunetricft l or Asymmetrical Figures
Representations of the human 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:CTlIl in:uc position. The frontal, symilletrical vil.:w is
used only in handbooks for studying thc body's proportions and
practicing drawing in general, and is rarely represented Oll[:;i de
this contt'xt .
A Jron/Ill "1" t$ffllilli/m if filL
Jlnndin1!.f ",," t sl,.,,,ld lll'oir/ txlrn;,'I'
f )"!,..,l lry; J}."lttfl,i<nI pmn ilK
Min 10 t1n1ll""' )' 11'Xtb.xJu
than nmJl jc
During the carly
or Icamillg.
it i$ a good
eXl!ttUe to copy
classical
s<:ulpturcs in
pluter, which
diminalcs d,e
problem of color
in the dr..wing . ...
TIle plaster
model is ideal for
practicing form
and the
r l.'J'f"CK'Ilf3 l'OIl of
light and shadow.
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Any WIlY if IlIOI.mrall
pmmlnl by rile J/(rnd;"I!
fiJ!Utrt body is dett-r",;rwd by
I/,r COfI1mlw/o. 1(1 tqJmfII l
"'Off! forcfd l"lMS ;1 "'ffu:rs 10
","mll llll'" Illf !I"pe if I!,r Iinl':J
oJ111t' shouldell <!lId llips.
The Contrapos[O
Contraposto is one of till: most
commonly drawn POst'S. T he
contraposto or ischiatic position is
determi ned by and incl ination of
the torso in the: Opposi tl' rure('li oll
from the pelvis. It is so named
because the ishion, a bone located
in the l lpper pelvis, tilts to one
side or the other dependi ng on
the position of the: figuw. Thus,
the weight of the body rt'Sts on
one leg while the other leg
appear!; reiax(.'d, in an atti tude
similar to a soldier at ease. T his
tilting motion of the hips is
U5ually accompanied by the tiltms
of the thorax in opposj rion to the
pelvis. Yoli can put this to the tcst
at home if you like. Stand in front
of a large lIIi rror. Keep your ft.'et
apart so that all of your weight is
evenly distributed, and tht:n rest
all of your weight on your left leg.
You will fi nd that your hipbone
tilts upward at the same time as
the shoulder line tilts down, and
vice versa.
'Ini, brit{ Sl'qumte show tile IlIlIl
nrtisl should follow wilen d""";'lJ! n
figurr in ronlmp<lsln il U "l'rmnry 10
5il,,(11( /i"es if ,/rou/dm and
/llpbol! (1). After milking I/lt J!fi""I'lri(
SJwtd" IJrom'd 10 Ihe ()lhn pam iflht
bod); /uqJ;'lJ! in mi"d rllal t/le kn" ofl/lt
IfR Ilull "'We,,', rlit btldyt is
lilim rhl' .'liIer (2). u.stly, ,"'" emst' Iht
SlTutlUmJ IiI!J lI"d "",dn IIII' muswlm
rdlif synilit limlly (J).
"
ifll'l' l1Iul /yzr 11i( bo,Iy's skelaoll, u\' fi"d 11101 if IIIl: , .... ij:/II of
liI( body rem on one Ilion Ihe 01/1l'T, Ihc /111'/'0111' line
lil15 10 0111' sidr (1). IVhcu ,I,au';'Ij; 101$0, Itllill" lillJ ill
o1'1'osll( dlf'C(ri,m, mlll;,'X IIII' rolll'''IwSlo P<'silioll (2). n.r UI'I1tT
lorx> U dcarly difiurd by IIIC lillc '!i I/Ie s/wuldcrs, ,v/,il, '''e /1lWr'T
pari is dgilll'd by IIII' li"r of III "ip/xme; ",ii/, I"is III milld,
IIOlitr /""" ",illl III( lill if IIII' !.ips. lilt kllers 1Ip/>Cllr 10 IJf III
diff"",'1 (3).
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'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.
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S EATE 0 rrl/{! RECLINING
FIGURES
J
S
eated or resting figures ayoy special favor among
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 probl em that
" 'C might encounter when drawing this kind of pose
is foreshortening, but we will bter 0 11.
The Scaled Figure
The Sl'at Cc:\ fib'tll"e involvcs several di(fcrclll
complications beyond those of the standing fi b'll rc; in
iI, the j oints and mt:mbcrs arc flOl shown as extensions
of the body. but as dillCrent surfaces lilat must be
conncCled 10 each other through \inc and shadow. It is
necessary to pay attention to the dorm ohhe joints
and the cxisu:ncc of hidden areas, buausc these will
rc."wal to use where each limb begins. -I
In tht male figure:, the musdt'S lose their rigid
appearance beGl usc tlus impli L'S hardl y any muscular ,
tension; hen.;, the hatchi ng softens the intensity of till'
anatomical relief. In the female figun.', the brt'aSts
appear smoother, k"li/; tense. Drawing the chair 011
which the modd is seated is not absolutely necessary,
but if you decide to do so. do flot diminish t he
ccntr.al ity of the figure itself and Tftnder the chair only
leaving out the details. ..,
A quklllMy if slln(j,i,'i<! 0 willed/'R"" U 10 tsfo!JIisj, a IilJr (If
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 10 lO'ify I/lr
tl/i,I,Yllllml nml IIeIWW, d!ffin'"' poj"ts 'ltl ooq"
Sntld tilt' tdSiol 10 dRIll' /:!rrMU(' 1/1(' mtJdtl)
""'Sib "1lptM IIII' ItIOSI ".WmI; JO(ItICIIrtku, 11K')' rtlJ"i"
7 il grmltr ""IIIM oj s..rfocn, mill fcrct IIII' o,tisl
II> dm!!' II'Ililt IIffl2< hiJd.." by bndy.
As WI' know, Slmed fiJ!UrfS prSn11 U41D1
il/'I'I);,,/! Ill"" if proporlion, Jl) diffrrn.1 IfIt lllCds mm,
lit USffl jn ordrr II> skuh il prlriSlfy in/O ",1S;tion. Otrt'
such mrllJOd;s to hq;" willI a poelilllillDfr
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' U
mttfmrM Qrld lIlt)' illl' 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).
The Reclining Figure
The: recl ini ng or r .. 'Sting fi gure
COn\"e)'5 :a semc of calm, which
:a\1ows for a mon: n:lalttd focus
than when tht' model in an
lllKomfortabk' positi on. In this
type of pose it is han:lcr to find
vlsual alterations such as
contortioru. nr foreshortening,
b'ausc L ... erythinf! lies relatively
insidc a p.1.ralld plane. In tl us case,
the objects related to the fi gure
dr:lwn can be o f gteat help. If die
figure is lying on a sofa, the
rectangular plane of the sofa helps
1$ to find the TI ght degn:e of
ilKlination in the f("s(i ng body.
In al most evcry drawing of
SCltt'<l or resti ng fi gures, we find
angles or pL1l1 t'S that recede into
space, somt'limt'S very abruptly, so
the point of view implied by the
fib'1.l rc is very important.
1M m:/inin$!/IJ!.II1f' ,.' ru.nJ/mm l /or
b/t u dlt' 'OOfI ;tI'p"rAAI<I1 JXIM' for <I
1fI(JI/t/, m H"II m 1/"' ,_ ,11<11 rl'qHim
II" 1!,rI't1trJ.1 mm"" tj I,ur and lIw4d'u1!,.
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tJ rl" rai;u;' IJ!/IJ:UI"i'" SNI,/rom rJ,r back, "it bacltbont
prr>1"J 'III iU'l'm/ juJl rorulnlll;,,, fIX;S. \lit (till mlllkllll'
pwP;>,'iontlllalion if di/frrrnl P"TU if Ihr in
rrlllli,>n 10 lliu Ih,t.
"
QhjCC!s related to
a scaled or
rt.'cli uing figure
can be of greal
help, If the f lgliTe
is reclilling On a
bcd, the
rectangular plane
of tile bc:d ClII
help achic. ... 'C the
cor .... 'Ct degree of
receSliioll for the
figure lying 011 il.
A few .u.rokes a n'
,,'lIoogl1 to
insinuat e Ihe
",pport ing
.!' ... rf..ce.
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':.-r t
i ........
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,{ P(0SE-- -({lu/, ,OTION:
\ ,"'\ \; EXPRESS IVE U N E
"-"'\ - "!to "1,:, t oJ ....
"s..:o.; -.'1;, x ...... .. \, .. t:" ,....
'l' \ it'" ":.. .......... .......*- . D rawing thc figure in motion dr:twing a
' .. , .. l .... -? .... ' living fib'lJrt:: E\'l:T}' 1lI00'(.'1ncm CXpl'nSt"'i
, t.. ": ii-,...... 'IOmething. Thl' of ewry artl\ ! is 10 k ,lfIi how
"- f - to rt:prescnt this 3l"[ iOIl or that To R'present
',- y,JP .: m()VCment is to undl'l"'SCl nd t lit- group ofbcnds ;lnd
" tI ) 'f" extensions that take place within a
, .... ; bends alld CXICIl$lOIl$ corR'Spomling to ewry pose.
.. \
" b'l\'CS U$ a vancty
I" of strokes: drawing
with a , hilTpened
point (A). a dull
point (IJ). wi th
A
the point
Il completdy tilted
onto its side (q.
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AND
" Wi,I. rjJrcrs, bil'lItfi"j? tllltl slI/CJ(I lflinX. 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. "
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THE ARTIST'S
f
....
00,
the
'l",
shapes. The
Tl"Suh is a synt hetic outl ine
in which the pose that the figure
assunlt.'S and its for ms an: made
much mon- comprehensible.
Srani ng from t his sketch, we
continue to add new (orms
<It.-taili ng the volume of the body
aud till: si lhouette of t ile limbs
with gl'COlter prtti.sion.
FORMS
<hecv,,", 01 of
:. ' the forms of the very simplifil-d
very few lines. There is no 0" ".., the human body
that is t OO complex to be
the fon m of the body
shapes thai can Ix-
means
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3. All that L\ IIOW to complet ..: the
out line is to seeml' the prill eiple lint's of
the fi gure, without ddaili ll g lIll illl poTunr
(Orl IlS such t ilt' fingers. If YOl l you
can :. ppJ ying haldullg 3t this
poi lll.This pron'lOs Cl i l be done very
quickly [Ising till' edge of stick of
gmphitc. drawillg with the nat Slllf.1C(t
of the stick alld t hen snlll clging the
rt'sub with yOll r hall d. Mah- sure that
the i!leiinati on of the bodv is correct
by <.:hcckill the lines 0( ;'1(:
shoulders, the breasts, and the
hipbone.
4. In this final imagt' we sec how, when
the plOfi le is rendcn-cJ with more si newy
li nes and the body is modd ed with
hatching, the b>'eomctric outli ll e St3rls to
dis.a ppcar. alld ill its pl ace we find the
body of a well proportioned figmc.
Emmrrs iu
IWI ou/r JIlT
Or d;m;um;u,e
lilies. Ur tI,,/JI,;u,e Il,e
'!f 11l" p"per 1/';11, a
r/wrroo/. /I'/' mil
IVIlif1{, SOIllC wry
ill/m-Sl ill,!! 10llal
GIUI "111/(1.>1'/' 1'';';
1f('(Is.
_""' __ """L _ f
a drawing
ways of .'.
. I is with practifc,
I by obser ving how a -
fOl"($horlcllcd ugllTc in charcoal.
exercise;' is [0 fi rst Outli ll l' the fi gure wi th
to situate conto urs by considering its
i.'
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. first step is to L'StatJll Sh l ht:' outline of the
1 we begi n Wi'th2g. hite pencil.To do
. nuke usc of the bY n fami li ar geometric
draw an ation of the
i profil e we draw a soft _ mOllT 111 graphite pencil
based 0 11 thcpl'cvi outline, remembering rhal
because.' the fiSt! ying in bed with her legs closer
to the "iewer, t ey will appear larger. The sho:c ofhcr
head \3W reduced because it is furt her
.
2. We contilllic treating the empty sIXlC(.'S ,uOl lnd the
figure with new tonal fields. At this Sl;l.gc it is
neccss:Jry to emphasize the light wit hi n the darker
areas of the drawing. Using crude charcoal as wd l as
stick of pressed charcoal, it is possible to combine
Sllins and lines of varyi ng intensity.
3. Th(' <i:lrk<'St pam of the f.1ct' an.- 111<1d('
wi th a tortillol!, with link pn. .... ,urc,
soft lint'S :llIa w (0 11no [hc
ljustlll l"l f i n
pur ill this
is to colllpll'k' thl'
oHant'S crc:lt Cll by the d'<lTl;oal
<.
4. Complt'II WIl(;lry
m<lke it so th<lt whell d\l"y occ ur
adj 3Ccnt to bri ght tOIlt'S, cbrk
tones wilt :lppear ilion' de llsc.
The s.a me thillg to light('[
(OIU:S, which IIIll Ch b r ightl'f
whcn th ... ,), :l(lj;l('e tll to da rk
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If \\11rkilll; with
r
-----" charcoal
wC take
the precaution of
cven if
lift htl y, the
g"'l'hi l('
thc
drawing. ' I1,C
11.' (, b)" tI,C
graphite pcllci l
an: o il)" and wiJ\
keel) the chaTCNI
(rom 1;lkilll; 10
Ihe papcr.
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BUILDING
I STAI NS
O
lll' oft hl' Ill ost au ractive ways ofbegi li ll ing a drawi ng is by llsing
rill' Ibt of any dry 1l 1l'ltiwll in for m, as or
chalk. Irs spect rum of tOil es is broad, but b" c3 usc of its c010r, it looh
lIl li ch Ihan eh'lI1:oal, and bri!;hrer. LCl\ see for oUhc1 n:s the
of drawi ng wi th by observing how Ether Ohvt- dl'
I' lli g a SC31t'd f(' 1II3h: fi b'll f!." wil h ber'Wl' U light
Mi d
y
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I , Lk fofl' bq;illll illg TO
dl:!"', thl' makes
51llall sh ,tehes. If whl' n we
make the li ne we
kel'p ill lllind Ihe line
do:snibill g ti ll: b:ll'kbone.
ill the b:lst:d Olt
SL'lius the li lll'S l in t ser ve
as gllidepos[\ fOl' the
drawi ng will be Ihe dark
",hill' thl' light
wi ll be Id i unl'Oucilt' d,
2. J)1'Jgging thl' b;l r length wise we l'l a th in Ii tie;
by Ihe (' min.' wiclth of t h .. b,n rtrross
pagl ', Wl' ere'l tl'.J Ihick, alll ple line that illlill edirttci y
fdl .. ets t he text l1re of tile pap .. r. A cor rect I1 SC or th e
t1at bar allow!, I1 S to rt:l1titT COlllpiL-X forllls in just;)
few Ill Olll ellts. we ca n see ill tllis state, it. i
. COllst nl cti\'e. The cleCJ ils ;t fe ull illl por t311l: olI.
Illa([c rs JfC l hl' stai ns and tht' i lll illcdiate
. o f t ill' pose.
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3. We conslruni ng lhl'
figure wit h 111(' lengt h of tht' bolr.
\Vto have IlOC unti l this point U'lt.'<I
lines at aiL In a toual (h:lwiug. Ihe
grain of tht' p.1p<: r and tlu' p",-'SSun:
of OI'k'S hand give th(' fi b'1.lrt' Ib
lont'S. IAvcnding on tht' foret' WI.'
apply to the we \':Ity Ihl.'
brighlll t':S5 of the dr.lwing, Oy not
using li nt'S, tht' profill" of
tht' figure is d .... fined by il'i
CQntr.lst. and till' t'!Hpty sl):lCe o r
background surrounding the
fib'll rc is n..I)r(. ... eml'(\ with gr.ly
hatching.
4, With ewry new nrokc, the
previolls tayCrli of shadow art'
T ht, arc t'!ip t'Clally
ill the silk of the
body: Ihe dark('St slwdows appt':1I'
011 lhe ar lll, lht' abdomen , ti le
head, and th .... neck. Allhis Slaw,:,
Wt' combme the marooll stam
with somc lim.'S.
thl" point of the st ick makes
il easil"r 10 m ee thc fina) linl.'S that
define the fi gures profile. In th ....
sketchl.'"l<. It IS
nccess.lry to pay as much
to tht' dark an'as :Il> to the p:arts of
the body with intensc whites.
3
SaUb'1.linc i.. u .... ally
applil.-d to
textured. bon ......
colored
,,'
FIGURE mr(} CHIAROSCURO
EFFECTS
1
2
O
llct> tht.'" olidill C ,tIl el li lt" preli minary sketch all: dOlle, we can now
examine how 1O propt.. Tl y shade the fi b'lITC. The first rhillg we must
{<I ke into account when drawi ng a figure with chiarQScllfO effects is that
light not elJvelop the entire body cx]uall y. One part of the body is
exposed to thl' rays of light, and it is here that ti le lighted arca occur.; ,
while the other part of the body :l ppc:II"S in shadow. To give shape to this
idea, Oscar S:lIl chis l iSe'S a burnt Si CIl Il:l pastel , which is sll fficielltly soft to
give its line a good (brkness agai nst <:aImed p:lpcr.
\
1. The sketch ofrll e model should be complete
before situating the because the shadows
shoili d bl: appl ied 011 a perfectly constructed sketc h.
Shadows are distributw llIlifonnl y usill g the fbt
side of tile bar to mark off the li ghted
wi thout applying excl.. .... bllt all owing for
l)Crwccn objects ;md l'St.1bli shillg the
middle tOIlCS in the drawi ng.
2. berwcell the flat o f the oor and the
lines, we darken the hatching. For a
of the diffeI"Cnt COIlt r;lsts that appear on
thc p.1pcr. we Gill the tOIlC th:lt
the b.1Ckgroulld; the briglltest, whi ch is
represellt(.'d by the color of thc Jnd the
intermediate: lOne, o f the fil"St, soft lines of the
fi rst b yer.
3. Using tIle flat of the pastel again, we finish
extending the background tones so that they
the figure and creatt: the ;atmosphere and
chiara.curo effect . The lighted an..-as appear al most
ulllouch .. :d , s.:allle color the paper.
To accenwate the b[ighte5t burstS of li ght coming
off the andIe, we color the li ghted area with whitc
chalk :lIld !lms cmphasize the effect o f r.uliant light. If
apply this effect indisc[imin:ltdy throughout the
painting, W(' can lose the luminous CffL'(;t we wert'
striving for.
4
4. The filUl n..'Sult shows th:lt ch:l lk an offer:l b'1'C3t
tonal r ichnL'SS th:lt st retchl.-s the limitS of pictori:l l
qual ity. We have gi\l\.'n nU:lllCe to the fi nal leXlun: by
using a [onillon to smooth out d JC mnsitions in tone
and the edgt!s of the shadow'S.
3
T o OCCCllb,
wc can a
piece of while
dmlk wi lh a
cUt! er.l-\ivinillhc
chalk puint
fOf
drawinl-\ fillcr,
more prcci:;e
l ill('s.
1
MALE FIGURE
I
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II t !l i\ cxcn:.isc \\'e wi ll work drawing ,\ 111:11.(' fr:om t he
w:mt li p !Ism!,'!: charcoal.md whm' chalk.ll1c (Omblll:ltIon 01 thest"
two mareri"ls \\- ill alll>w II' [0 study the ;neick-un: o fli!2,hl 0 11 rhl: tor.,o
:\JJJ the appli cation of :l lirst modd ing, albeil a very \ tructmniisl onl", Thl'
;Il ILhol" of [Ill s omwlIl g.. Esdl<'T R odriguez, shows us hoI\' to render the
:mJ.tolll y and Ill<:' pb y ,md sll :lclow on a hlllli atl torso in :l very
d fecti vc, synthcric WJY, without lunal mnsitions. which can bt of gfl' at
11\ 0: to hq;i uuiug.
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2. The sketch gin: way 10 a first.
31"cll tc nr:uivc, tonal analysis wi th
but bl, rOn- this IS done, each of thl' ck' lI\cnls
0( \11\; fi gllTc Sl10uld Ix perfectly wel l
defi ned ami proporl iOllal<' in rdatiol ] to the
whol.,.
3. Wi th dw dr.lwillg S(curc. we begin to the
first dnrk.: lled ThL'SC will us to study tht
more <lcl'ply nnd accen tU:l te the areas that
arc cxpoSl:d to light. T he light source is on the r ight-
hand side, so we should begin drawing the dark areas
011 the Idi: wit h the stick bid-compk tdy
flat.
1. 1kgin b)'
dr .. wi llg rhe
omlir w a
stick of charn,a!.
keq)ing ill mind
rh" l ih " f tlK'
shoulders :Illd
hips.
WAIST UP
3
4. Wl' mlOO(h ti lt' and control
tilt of t il l' wit h uur
finb'Cr.;. prodUCIII!-: !,:rcat of tonc.
SrnOOl hi np, ICIl(1\ 10 connect differem paTu 10
(";Je h other. and thus lchic'TS :I ullity ill till'
fib'l Hl.' and soft lI100dlll g ()f1 thc reliefS of
body.
St:lrtin!(: from tlw pn:\ ious \kt' lch , new
sHlrly of tlw modeling liS to :mal y7.e
the fi gure's 11ll1so lbt urc. We draw till' figun"s
lighter [QrK'S Wi t h a \ Iick of white chalk. 111
this \vay, the spL't' t nll H oftOlll"i broadcncd
to includc both the li gll leS! .ltl(1 d.1rkCSI of
gr.ty!i ;111<1 til\' imcr 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:l rp
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 thl' light should lx
\tlldiLxi C:1R' fi ,lI y Ihat all shadows arc
silLLJtcd oppooi l c t he 111.1in light source.
When smoo(hing
a charcoal
hatching.
),our finb'Cn t o
' "IIf)' (he intl'"l15ity
of t he lone.
".
4
2
."
PROFILE:
,77tr IMPORTANCE,ry"CONTOUR
I
n this step-oy-step exercise, we will sec at the lund
of Malt! Bru how to usc a black COlltc pencil to
draw a figure from a strictly i inc;lT point of view, wi th
no hatching whatsoever. TllC characteristi cs of t ile
line uscd to define the contour c;ln transmit the
natur.tlncss of the form, its material ity, surface texture,
and visual charge. To do so, all one must do is contlol
the widlh and intensity orthe line on t1w paper.
1
1. As opposed to other cxcr-ciSC'S, in this case .. , ... c do not
begin the design of 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 ini lial lilll.'S will be
very soft, which allows for casy {"r.!Sure and const<l n[
corrections. We tIlust first dnw thl' contours that arc
essential to underst.1l1ding and rt.l'rcscnting the form. \Ve
win do whatever to usc the lines
In the preliminary 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 on 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 continuous or have J uniform intensity.
A line can disappear 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 expressivcll css when we vary the width of the line.
3. We fi nish dI':olwing the lines
and internal ,omours Ih:! t
docribc the aJ"aI1Cl' or rctn'at
of (-.Id] pl rl and aIm the
parti cular character and tacril c
scnsation orthe 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;J lity of each
form in relief :.Ind the quality of
the modeling. lfwc use a
modullw .. "<I linc to gi\.'I.' the line
dnwi ng the effect of volulI\e, we
sllOllidn't fi lrgct ,hal the shaded
an.'3S will hav, to be CXp rcssL't]
\ \ ~ t h thi ck, inl t."I1sc lines, whereas
lighter areas will be sug8t.-slcd by
[enUOllS, fine lint.'1I .
3
III mille lille
dmwinl\$ the
system used to
reprt' M'1lt forms
recalb a
topq:raphic map.
with difTe""'"1
lilies indicating
different levels
and I l l U ~
represellting the
relief of t he land.
.. ,
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I
\
\
L
...
( CLOTHED FIGURE:
FOLDS ((//(/ TEXTURES
I
II the following step-by- step c\r.lwing, Ml'TCcdcs Gaspar shows tiS how
to cl othed fi gure. C harcoal om: ofdlt' preferred media (or
this the cOlllbin:ttiun of lim's and tonal gradations th:.!
it olllr. (<lptUrt:s tht, crc:tses .1Ilt! wnnk1cs in rlothi ng.Thl" dr.lwi ng of
thl' fij.,'lIn:. Illadl' 011 co1orec\ p:1Jl('r, is cOlJlpkmc mcd by :lcccms ill wll ite
c1wlk 10 give it a llI otC n:tUl n l,
j
1
I
t . First " T make a sll1:tll. prdinunar y . ketch of th e
model . \ V" hcgin by drawing t he line of the backbone
and t he oval oflile he:l(l, :l11d around this st ructure
sill' wi ll insert the (t ifft'rent parts ohhe body. T IKIl,
using t hl' It'ngth of a piece of wlli te chal k. we
imruduct t he lights that gIVe bri ghtness to
tlw back.
2. The fi rst on the papl'r should have a strict ly
constmct iVt' fllnction. We c! " IW thl' lint." of the
b;lCkbone ,md tll C oval of thc head. In n skd chy
mallll er, \ V(; rcsolw 11le prolile o( (he body ;'\nd (he
posil ion ofthl' arms with little more than ;'\ cur ve and
an oval. Wl' us,' the charcoal stick so not [0
overdr:l\V, so we C;t n then make correGt ions
1
2
3
3. Till' Im<.':10 of !l1\' outline- mul r:iply wt'
3ttt"IIIP( to adjust the SiZl'li of rliffl:n.'nl
an"l); and gil'!.' plUlx)r!mn to ... ;u:h p:m of
ml' ix:xly. To end, we haw marked IIU'
waiSI line and 1Ill' ill Ih<' 'I n ns. The
drawmg of Illl' cOlllour remain
open, wi dlOUIColIII<'crmg t h t" iilll'li
cOlll pll'ldy. 'IJ Ih,11 il k'aw'I the option of
rounding (lUI tit .. I,mn by h,Hehi ng,
inslt':,Ii .
w ... u ..... dw tl.11 uf ttw payi ng:
31[t' mioll 10 till" o f Ihe mood's
drt."S.'>. Tlw d(XClII l ill whil e chalk
compk'I1ICTlI IIll' halchlllg,
highliWltmg thl' [l' xtun: and till'
Vol Ullll:tric k)Clk O(,hl' d o thi ng.
4
4. in dCI:, i) :lllli using thl'
tip ofdK' white ,"halk , we TC' llb- t hl' {Irt:lils
of d'l" dothm!t. that in order to
XCl' mUJl l ' the [C).: lUll' nf the d orhiut.t. it is
u<;(."fiJ l lQ add 3 to tilt' ;rn."nts
and 10 tlw ,, In.'';,
of <"3( 11 wrinkk (mill its I';l rt . The
end T\.."'Iull j, <')(Cl' I!,"m drJwing Ihal
smooth '\01llt:"wha{
t!ath "r, a,H' Ut<i; th," whole is
wit h mbtk acccrllS in wlli te
'"
U II.-C 'hc
COlIIO" "
<lnwII" Ihos<' Ihal
will he
wilh
hal Chill)! . hcml<i
he boonc over
with Ih.,
charcoal. We U<e
3 1 ...... 1111011 10
make Ihcse firo; l
ha,ching.
IIIl"
pil!:",,"m
on the I'''per, II is
" " oul.:h ltl ruh a
slip;hd), dirl y
lortillor1 on the
1<' $' lighled
2
1M
, FIGURE if I, PASTELS and CHALK
"
P
astels arc usually combilll:d wi th other drawing media such
as cha1k or charcoal, to broaden their to nal spectrum.
Because of its color, a pastel is Illuch smoother, brighter, and
warmer than charcoal. In the present Marta Bermejo
Teixidor shows us how [ 0 build me flesh t Ol lL'S of a modd from
a combination ofpastd with Illaroon and black chalk.Tlll'!;C
three colors combined with the white oCthe paper are more
than sufficient for making sketches, studies, and works that
require a dctaik-d chromatic
1. Just as we have done until
fl OW, the outliile is the first step
ill making the dr.l\ving, a few
gcnerai lincs in which we group
together simple
fonns that little by li ttle will
take shape until they configure
the profile of the figure.
,----- 1-
2. With small pi eces ofbbck chalk and pastels. W (" ..elnfoTce the
hatching in the empty spaces that envelop the
r. wc make hatching with pastels or chalk, we will
::;;;d;,;,ii;":;;; with a light touch and increase the pressure
!; using the lines of 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 paper without first
considering the del icate play of
light and slladow on the fi gure.
thus avoiding cOvt: rillg its most
lighted 3reas. We then bl end e3ch
new 3ddition of chalk into the
other colors using our fingertips,
to 3c!Jil:ve an even tone and a
more pictorial efTe[:t overall.
3
4. ofhaf ching
m and pastel, we blend
Iho:: volumetric effecl. lf we
[Oil", using a cottOil rag. we achieve ..
.... The general tone of the bl ended
hli chil}S is darker Ih:m when we usc a
.." onillon. Noncthck-ss. il is these fil'S[ . blenck-d
hatchings dl3.t we will usc to represent t ho:'
middle 10n t'S. The contrasts of the body should
be dnwn progn:ssively, fi nding the tonal val Ul-S
of each piane depending on the li ght that (.1115
on each one of them.
s. Th, [,,,, 1 dh, of ;, 5
black chalk, which creaCt:!> t he sharpcst contrasts
bcfWt.'t-"u light :lI1d shadow in the kft-hand
profile of the bod)'. and which we usc to draw
the projl'Cted shadows 011 the floor and wall .
The different smooth traces made with the t ip
of the chalk sketch the {;adal features and
distinguish the profi le of the outlint: of the
fi gure from the background. lIl ost visibl y ill the
kgs. The f;'nd mllil is a drawing with cl ear
pictorial intensity.
.. ,
4
Us;n!,: an e!<lscr.
we open up the
shil le in the flesh
of lhe fi gure.
During the
process of
drawing. " 'e have
created
slTlOOlh Ia)'CTS of
gray and reddish
duiOt (hM have
darkellcd Ihe
lone of the p3pt!r.
'Il ,C acct'fllS we
make wit h the
eraser heighten
the of
, 'Olu",c ;11 the
fi gure.
,,"
T
Ilt> purposes of linc drawing; are many, and they
vary depending on the artist: it can be a medium
fOf hatching, mudding, and tonal analysis or haw"
purd y descriptive role. In tile following exercise we
will sec, at the hand of Mercet.ks Gaspn, how to use
<I graphite pencil and develop the possibili ties of the
line, with no smomhi ng whalSot:ver, ro make a quick
sketch of a female nude fi gaR:.
LINE DRAWING
FlGURE
I. The step is [0 fi x the m05t significant
con touTS, the linL'S that best capture the general
movement o f the fi gure. In a preliminary study, thL1"C
is 110 need to (face a previous skctch-bccausc the
sketchy nature of the study makes it unnecessary,
31t1lOug11 it is helpful to ma ke" mental calculation of
the IIlCa$Un..'S ;md proportions of the figure.
2. Often, the design of 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 of the contour linc.
i
,,(
1
(.\
f \
"LI\
,
,
,
\
"
..
t
- ,. "
'\:: . I, - --
: J' <: 1
,
' X'lI- , '.
! I,
'.
2
3. The gencrnl pencll lillt."S much a way of
cxpres)ing \'Ohunr they are a boc nrrnl intonation of
a base which we.' GIll thell aCeentllate ill sih'11ifi c lnt
pbccs. As we drnw we fed for the volunw almost by
intuition , appl ying more or J...-ss pressure to thc penci l.
If we b'TIP till' plnci l fully on the inside of the ham\.
we cm control the din:ction of thr line ami keep it
froll1 being too intense.
-"'"
3
.. 0
4. This drnwing. based on SOUl e ligbt
pendl hatchi ng, SUgJ:l"Sts the profile of
the fi b ... ln: :lIld the force of the 1lIassc5,
without representing them wit h 100ai
It :lcccntuatcs the voluUlcs and
of the body while avoidi ng sharp.
ehi:m:lSCuro contrasts and observi ng thc
unity of the forlll.
When
or
is Ihe
dominant reatu.e
.... in OIl r dr.owings,
we kL"'Cp
the
profiles rrom
geu ing lost by
muking them
whcrc\'Cr Ihere il
,
.. (old or a ,-cry
dl.ildcd area.
I
,
\
MODE'LIN.e{ ,
",
r---... -------., I" nude fi gur,c, we encounter all of the robleills inherent I
. g the: flesh, which appears as a fal ' uni form surface; its
volumes arc 11 evident, but we 1l1ust grade them ..
colori ng of flesh, \\l hich:l t 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 of color. The goa! is therefore [Q exerc' r
our eye until we' are to see dearly where the vol.umes of the b ".i
:Ire produced, and to bri ng dlem out by uSlIlg color,just as Esther, ' ve
V "
/ '
2
/
---
f
de Puig de!).lOll strates in [his exercise.
\
,
1. We make a sketch using
maroon pasteJ, profl!ing the
comour wi thl a firm, assured
srroke. T he trPtment of thc figure
---
is qui 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 gre:ltCr expressh't':lless.
2. Using the fJat' ofthe pastel we
apply a light pink tonc that will
correspond to the middle tones in
the drawing. first sbi llS are
made quickly)?t wi th confi dent
motions. I
, ,.
3. T ile greatest di(fICulty lies ill
grading thckkin 011 rhe basis of
color.;, bec,1l1Se it must
translate
into mo'f pronounced volUq'les
, ,
and (orlm, based on differenll,
chromatic values. h isn't essentl
to lise tpc color spectnnn
suggested by the color of the
model-rather, we can U5C colors
far removed from the nuances of
the skin to create a dynamic work
througll color contr.lst.
,
'.
\
r
/
" t
q \
graduall y CO\'t!I the figure in color,
we wOTkil,lg on
Following the (rearing it chromatic
' vi brali oll:-throughou! the wOrk, we make the
.background ,.tllow. 'Ule background color is
5pread delicately in order to nQt disrupt the
of figure. right. profIle of the
figure. the lower breasts, and the pubis are
underscored with wide of lIlaroon so
that Some these parts ohhe fi gure do not
blur iTUO the background. We should gnde
the figure's tones \'OlumetricaUy in the same
11,':1)' tlUlI we \\'Ould t he curvature of it vase.
When coloring where there is shade, the flesh
tone i>e<;omes cb.rker with the presence of
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.'Cten the
trallsi riolls between tones by smoothing the
flesh lones with rhe pads of our fingers. Then,
using the ti p of the '\'\'e redraw the lines
orthe f.1ce. Once the drawing is fi nalized,
there is a visible chromatic variety in how we
sUgge'>tlhe culor and quality of the fi gures
as well as a ton:d contrasl between the
areas wi th shine and the darkest shadows.
'"
"
Ir ro ur finb'CTS are
dirry with color
and th. nexi step
is blending a liglll
oolor, be sure to
d ean them off
with a rag berore
you do so.
,
".
)'
,
t
FIGURE//r{ WOMAN all{/a GI RL
rYrt lt1c BEACH
C
harcoal is .. quick, direct medium. It is also among the most
bcousc by n;I(Ure, it ","311 be lIsc(1 to make wide.
undetailcd lines. T he wide spectrum of possible tOile; is another one of
its Jtb':lctions. ln this dcmQllstr:ltion. Mercedes Gaspar makes :l
composition of two 6guro with pronoulltt<I tonal effects 111 .. , a
great expn:ssiveness to the drnwing. It is to pay att ention 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.
1
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 on 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 ini tial geoll1etTic for ms !O a
prdi min.u y sketch ill which can al ready begUl to
sec OlJll im: oflh e adult fi gure.
Charco.,1 is the petf<:et medium for findillg the
form without working on any of the det:lils. With it,
.... -e em stain the p:lpcr :md the guiding outlines
of the two figures while comparing the proportions,
mglC5. and ind in:ltions of the body.
2
3
4
'"
We tl..,
cff .. s of folds
and in
the wOluan's dress
by
lines,
... ..l .. with Ihe poim of
a d ,arcnal
on top of
ilhading.
(
2. Thanks to the skctclJiliS
we di d in the pn.vious Sh' p.
we were aNe 10 estl blt\h th. ..
profIles of Ih(' fi b'tUl"S and the
linear harmony of Ih,:ir two bodirs
as a unifit:d whole. T he fin! hatching
complet(."5 the rounded Qu ritllC of till: fOlm.
These fi rst few hatchings. which will be vcry
crude, should be made wil h a fh l charco:.l b:l
,.
3. thick lines, we cover the
with a soft layer of charco.11. which \W t9ClI
511100lh wi th our We acce ntuafe the
cont:r.lsts o f the ili..1d ows imide rll e fi gu re; we
can obt:l in uniforlll tonal W*b tions by
softening or lightening thc hatching wi th a
torrill on. The background tone is an
refcnmce point for giving gre:.tcr or
intensity to the h:llching of the fIgure<;.
4, 10 fi nish the sketch of the oce;m, it
suflicient to add sOllle more intense tOil e:.
opcn SOllll' whi te areas in the crest of the
W:LVCS. We appl y the soft, dl'n$C linl' of the
crumbling charcoal in the final St:lges of the
dr:lwing, at the same ti me as we constrUt;t the
facLal featu res and the Cre:\S(.'S in the dOl hing
with sli ght tonal contrasts. The fi nished dr:lwing
sllOWS .:II si mplified tonal spt.-clnUJl in which 1.hc::
dark tones form solid m.'lSSC$ to unify the
image.
INTERIOR mtlR
ATMOSPHERIC FIGURE
2
T
he nch spectnltn of lonal values can be achieved when a figure
imegr:-.tcd into the atmosphere that surrounds it can be enriched
even further using gmphi te pencils of diOcrent h:l ronesses. Even though
Carlan! dr:lw$ figure in Wl' might say it has an :l uthcntic
pictorial effect thanks to the atmosphere created by gr:-.ys. With this
outli ning, its forms arc lIot d osed Ull to themsel ves, but instead relate to
and meld into their surroundi ngs, creari ng a sense of wllOlcness and a
uni fi ed imonation in the drawing.
t . The initi al li nes created
with an 1-113 graphite pencil
have an orient:l.tive character:
they first situate the
ardlitectural trame around the
figure based on perspct:tival
lines: the frame ohhe wi ndow,
the angle of the wall , :llld the
stone bench. Onto the!>e initial
geometric lines we layer those
of the figure in ir.; correct
proportions--rcnlell1ber the
technique of dr.lwing as if the
figure were 'I'P'""".
2. By holding the gr.tphite
pencil hori zontaUy, we can
quickly cre:lte :In are:l with :l
uniform tone, with 110 guiding
marks; we gr.l.dually fill in lhe
main (brk are:tS, di sregarding
the reli ef of the forms or the
outl ines of the figure. The goal
is to cre:ltc a diffuse Stain that
SllOWS tht grain of the paper
3 . A lOrtill on will hel p us 0 elimi nate any
semblance of line> in the and
create smootll lr.msitions between one;.
4
4. Placing thl: point a pendl o n its side,
WI" usc rol:uing mOllon 10 gradually dukcn the
inlcl'"ior shadows {hal contr:m with ti l<.' outli ne o f the
figure. Most prefer (0 create dl C 3UllOSpht"n' of
the drawmg usi ng the ICXlUrc of the paper, produci ng
a highl y accOIuplldwd g.1 mut ofl onC". ln reahty, by
!.imply gr.tzing the paper with the rip or the gn.pbik
we de"elop different to ti ll ' hatching. U5ing a
gr.tdual hatchin/-:. l-:l l1 obt:Ull blclldl'd [ol1ai
effects. II IS also pos.o. lblc to sofien the tOIlCS by
rubbi ng wi th a fi ngertip. Thl' of ligll! Oil [he
fac(' of lhc fi gure by openi ng up whllte
Meas with a :;oil craser.
5
5. A drnwlIl g as tim one GIn bl' thou!!ll! of:ls;'\
sum of ovcrbpping c:u: h of wbich lcaves
mark Oil paper and t he l1 ext layer
smoother :md richer; the fil1:'IIII1:"1rk!; 3Cccn(U:"I(e the
nmd.,nll:ntal fCil tmes of the fi b'1..rc:: the texture of dle
d othlrlg and hair. thl' lead u ;"\r5 o f the window. and
the configur..tion of the hands.
Many artius grow
ae<:1.nonlt.'<l to
"",i"l; graphite
fX'ncils of a
hardlM'l'li. sud. as
2U 01' 4lJ, and do
11\ >1 exploit the
possibilities o(
a ' .. rict )' of
diflcrcm of
graphile within
.he drawing.
TIll' COnlr:ut
i)t,twccn the finc
o( a 21-1
g"'l'hitc pencil
and thc dcn!iC.
black lines 1>( a (,I)
yields ,'Cr),
auraeth'c results.
PORTRAIT pl'a FIGURE
1/1
T
o gain mme pr.lcticc with lim.' alld to dt' mo nstratc the \'lilli e of
pt:'lltiull"uti in drawi uK. we will rt'pnxilice. at the h;mrl of Carlallt
,md usi ng a ft nd e figure holdi ng a dog. This is :t method
allows fOT R'w correctIOns, so if any arc made, they must be
rectifi ed by adding new lincs:li> <10 t his excn: ise we need silwrpolOt ,
avaibblc at allY jewelry store, or we can insert :l copper wire in a
medl.1l 1ical pl'ncil. We wi ll sdcct a r il!id, fine- grain paper :md cover il
with:t [Ol)'t.' T of white zinc pi gmen t or gouache. T he h ycr we apply
should be di luted wi th water: the shmt ld 110t. Once the p:l pcr
i t is l'C:lrly (0 usc.
L
\
)
I . \Vc bq!in t he composi li ollai stu<Iy of the model by
drawing masses based on simple geometric an
0\1111 (or the gIrl's h.::l.d, a circle for the head of the
<log, and a few more curves and to <1eS(:ribe
thl' locatloll of the other memi>crs. Afier making a
gCOl llltrk oudine, \Y'e begi n our first apllro.ach to the
forllls of the model. T his si mple composi ti onal and
outlining exercise s.hould done on a separate sheet of
pnpcr, because silverpoint Jines cannot be corrected
ollce they on the paper.
2. This prclirninal)' study wi ll el1.\ure a IllOTe
ebborate drawing in which w{ can d early distinguish
(he comoul's of t il e figure. If, with other media, the
prel iminary penci l sketches or OUt!i Jll"S are m ...ver
definitive, when using sil verpolllt every line we draw
is permanent.
2
SILVERPOINT
3
3. Once tht pn:limill<l ry drawi ng complete. we
gndu:\Uy shade in the: diffcrcllt p:t rts of the: drawing.
applyi ng stretches of overlapping lines. The sharpened
silver lead gives the dl"3wing a vcry fine. detlik, l linc,
pc.--rh.1PS the nlOSt dd icate of lines possible in :my
drawing medium. Silvl'rpoint li nes can be erased to a
(Xlint if they are made on an adJu:ltc surf.,cc, but
don't rely on this too much whell drawing.
4
4. The progn'SSion of dark shades excl usively
on the pressure we ;IPl'ly to the instrument , because
s.iJ\'erpoinc doesn't in diffcrenl hardnesses or
gradation ... like pencils do. Before finishi.ng, remember
that li nes 1It:I(k' with :l sil ver cutter gCI darker over
lime because they rust when thLY oxidize--when
they come imo cont:lCI wi th the :tir--just
sil\'erv.'are does,
'"
If you wi, h to
aCCCfItWIIC the
IC!( (IJr'e and
din.'Ct ion of a
or hair.
,ake a blade and
pnoctice adding
(J\crlapping laye ..
or paint .
resull.\ will
slIrprise you.
Ace ....... 112-113
A .. ,dnw.ng. 110
24-37
cloth",!; .nd. 101
(ctt,llt- .17
I .. nck, .\2- 3.1
he;wllf""c, '21,..27
Ii ........ JO.--31
rrMs.34-J!o
tOOl(>, 28-29
A",h" tun:, dn.,,,ng. 1114
Auno<ph"", around ligun:, 110--111, 154- 155
A:c .. ,ofh<><l)',1fl,29
Ibd:
body oxi<. l b. 29
prop<M. ion., 16, 19
'0,.,.0 ."d. 211-29
Blend,,,!\. 111. l lli- l l7
Hoo)' I""I;'", 14
Hody.,,,,!,,, ... 1""' 17, 19
Ill'n>b. of ......... f't!U ..... 2)
em,.,. of 6S
Ooall. (JICreis<'. j.W .... 147
a...rroal , HH.II9, 111. 115, 119, 128-129
0" .. ,*,,,.0 d"",,,,-?4-95. I3R-Il'I
Child {'fill""" 20-21. 152-1!>3
CIoM-d (<k:w.:"p'''''') dr.""ing<. 711- 71
CIotl,ed f'll"to. 96-105
mme:Cl .nd. l n4-105
dr.l""".nd, I02- 103
fcllh .nd. I (n.- In!. 144-145
pn><>n.liry . nd, 9?
>1.><1)',"101 jm"" bod)' '"'-'CIu", of. 'lH--'I'l
COlO' r <."Ilon. I 05
C""'''un
,looK. opt''''', So6-S7
d;...olving. by hlo:nd.o& l1 h-1I 7
II>(Cf,,1I)' .,.., 57
Ii .... 49
.,.,.,. 11.,';",48-19
.
___ ...... .. 73,132--1:n
C" .. rcrUIlI! miol.kcs. Sn- M;,t<kn
COI"nc' 68-(>9
O"(ur",.".,.,, n
'W
r"",ilibrlUm of peon. 64-6S
"1'><;..,118-11 9
Ex",,,,,he 76-n. 120--121
fori.I. ,,.,,,,,,}",26-27
1'>.,23
l"'m.M figu=:
boork/from, 19.29
1"""",19
lun"' .. \1
nlUOCubn,..,, 17
.""ti,1e. 19
proportions., 18-19
,-"
w,isu, III
h gl, .. 1 probic",...12
tones. 150- 151
"".10..99, 100-101 .1 02-10..'. 144 14S
' ;''''''I'''''<,,,inl:069. Hfl../! I, 134- 1:\5
1'n:>t, .. 1 virw.66,67
O;oo, .... ric okId"". I), 44--45
clooc:d "'f'pI"<*'h. 10
ko ...., 6!IU"". 19
"""' "",,"*,h,71
and. S4-S5
" "'ph,,,), >C.'Cm, II
GeuUTU.''''I)-ting. 63. S<T 01", I'u5e!.
H.ir 122- 123
1-I. nd.,32 33
H ehinp. 51. 59.I!? 81'1. 90----91. 111
Hny dnwing. 1\1
H<
_ 0111)0; 26-27
childn:n. ::!O
k ,rW<- f .... ....n, 19
In profole, 27
111,20
Joint>. 79, 99
Light .rod slloldow, 7. St<' air<> Clothed fl gl""s
chi.:lr<lllCuro eflCcts. \14-95. 1311-139
forcing conI ...... 93
hatchiJ'g .nd, \10-91
ligl,t cflCcl>.86-87
flec' ion S7
.ketchil ex=;"'. fI8-ll9
. kin 'Iw.li" ... nd, 125
vol"me .nd. 90-91. 92-93
Limn., 30-31
Li .....
of ac';on. 54.55
C<>1Irolling. 49
cxpr=i" .. ,76-77. 120-121
115
soli. 56-57
synti>e<is ."d. 57
M.1e fl gl' ''' u<rci!.<". 140-141
M.p of oJudows. 88
Miruk ..
COTr<;(ting without .. mi ng. 114- 115
cr:>sing. II 8-1I9
.u error, 114
"'limping. 11 6
Modcting t<-c hniqu ... 92. 93
Motion.76-77
MU$(uut"",
bod)' olltli"e . nd, If,
d,..wing.76
cldcrly fi(;u ..... 22
fcllUIe figures, 17
li",bu nd,30-31
muscle pai .... 17
Obc$<: fil(Ure:<, 2J
Open dnr",ing<. 71
OpcniJ'g"",cc>.117. 118-119
Ov.1$, 19,20
"""",Bo>. 14f>- 147
""1,';<, 34-35
Pm . i",,,"ti. 114, l iS. 156
Plunh,,," lilles. 115
fbint of
"'"'
closed approach. 70-71
conmpooo. 73.132- 133
cOlmt .... mold.
t''1uilibrium of.
frontal
!plum .nd, 63
moti"" .nd. 7(-,- 77
open approKh.71
profik "icws, 67. 142-143
<lining. 75
$<':l",d.74
$l.>nding. 72- 73. 132-133
uudyi,,&66
, 'aryi"" pcint of "icw,66-67
view &om behind,67
P,..:<itt:les, law, 14
Pr</,k "ic"",67, 142-143
Pmporti<>ns.l (1-23
hack ride, 16, 19
h2ri<: hum. n. 14- 18
budy hoight, 14
body outline. 16-17, 19
children, 20-21
defined, 11
ckktly flg""'"- U. V
f"n,,1e fi gt,"'. 18-19
fO .... horten;ng ."d, 69.80-81. 134-135
ofl ..... <I. 2(,. 27
l ..... d- ba.cd.14.15.18,20
intui l ive.41
m'l, hing IIlI i, ;, 15
mll",1t: ""i,.., 17
oo.e." figt' rn. 23
synthetic (",,'ouri ng, 48-49
unil _ystem, IS. 42-43
R.aciol types. 125
R""r. view frollt. 67
Reclining figu=. 75
Rdlect Kms.87
Rhythm. 54-55. 102. 120. 12 1
s...",d fi gure:<, 74
Seoing flgur.,.. 70-71
Sl .. ding.58
Shadow .. ';ff liglu and _h,dow
Silv<rpcin' t'Xcrcist;. 156-157
Simple form, ",,,et, 13
figu,...,.,49
Skin qualitin. 124-125. ISO-l SI
Sm.,.,u,ing. 111. 117
Soft line. 56-57
Spine. So>
S .. biliry. "(fi!(UI", 64
Suim. bo.rildiIlK QIl. 136-137
Standing flgu ..... 17. 6$. 72- 73, 132-133
Snok. dit<CIion.93
98
Siudies, "i.t""" of. 50-5 1
Srlllllping. 11 6
$0.",,,,,,,;, ... ing ... n
Synunctry.65
S)'nlhesi<. 12, 45, 57
Synthetic oollt<>uring,4S-49
'fCIIS&<>nS, S3
'Ii:::<tun;s/dli:cts
""(cn';, 112- 113
,,,,;st.....,urcn for. 1(1;1
. ""''''''he .... around figu re, 11(1-1 11.
154- 155
blendi ng, 111. 116_117
co,""'lillg. St<' M .... .
upr=ive line<, 76-n . 120-121
fold,.99. 100-101. 102-103. 144- 145
h";r.I22-123
. ki n, 124- 125. ISO-lSI
Tonalledllli'I' teS. 8S. s.... at", ligl" .lId
Tono,28-29
T",,,,,,.,,,,,, d r.wing. 78-79
Un,uy>tcm.1S.42-43
Val".,. .cudyi ng. 91
Va,u.J,ing (fadirljl,) (()nruu"'. n
V<>Ium<
wi, h accentS. 11 2- 113
clk<;o; of. 92-93
wi th lutching. 90-91
w"iu.celllaic figuT<;>. 18
w"tcrrulor d",wi"g. 59
White >C(Cn ... 112, 113
Whi'e "",,,,,,,,,,,,,,, ;ng. 117
Woman/girl 011 bnch .><ore;"'. 152- 153
Wri"klc..U.102- 103.&r 0/", f'<llm