SEATED ami Reclining

Seated or resting figures enjoy special favor among amateur artists, among other reasons because they present few compositional difficulties, and the body seldom presents excessive tensions because the muscular anatomy is relaxed. The greatest problem that we might encounter when drawing this kind of pose is foreshortening, but we will discuss this later on.

The Seated Figure

The seated figure involves several different complications beyond those of the standing figure; in it, the joints and members are not shown as extensions of the body, but as different surfaces that must be connected to each other through line and shadow. It is necessary to pay attention to the dorm of the joints and the existence of hidden areas, because these will reveal to use where each limb begins.

In the male figure, the muscles lose their rigid appearance because this implies hardly any muscular tension; here, the hatching softens the intensity of the anatomical relief. In the female figure, the breasts appear smoother, less tense. Drawing the chair on which the model is seated is not absolutely necessary, but if you decide to do so, do not diminish the centrality of the figure itself and render the chair only sketchily, leaving out the details.

Seated poses are the easiest to draw because the model's muscles appear the most relaxed; nonetheless, they require a greater number of successive surfaces, and force the artist to draw while imagining areas hidden by the body.

A quick way of sketching a seated figure is to establish a line or central axis that divides the body in two and serves to balance the pose. The different lines surrounding the body serve to verify the alignment and correspondence between different points on the body.

Human Body Point

As we know, seated figures present difficulties when applying the laws of proportiont so different methods must be used in order to sketch it precisely into position. One such method is to begin with a preliminary drawing depicting the tilt of the body and the lines of the hipbone and shoulders (1). Then, the length of the extremities is measured and they are sketched into place (2). The study is completed by drawing a few structural lines and verifying the contours of the figure (3).

Reclining Figure Drawing

If the reclining figure is seen from the back, the backbone proves an interesting constructive axis. We can mark the proportional location of different parts of the body in relation to this line.

Objects related to a seated or reclining figure can be of great help. If the figure is reclining on a bed, the rectangular plane of the bed can help achieve the correct degree of recession for the figure lying on it. A few strokes are enough to insinuate the supporting surface.

The Reclining Figure

The reclining or resting figure conveys a sense of calm, which allows for a more relaxed focus than when the model is in an uncomfortable position. In this type of pose it is harder to find visual alterations such as contortions or foreshortening, because everything lies relatively inside a parallel plane. In this case, the objects related to the figure drawn can be of great help. If the figure is lying on a sofa, the rectangular plane of the sofa helps us to find the right degree of inclination in the resting body.

In almost every drawing of seated or resting figures, we find angles or planes that recede into space, sometimes very abruptly, so the point of view implied by the figure is very important.

If the reclining figure is seen from the back, the backbone proves an interesting constructive axis. We can mark the proportional location of different parts of the body in relation to this line.

The reclining figuré viewed from the back is the most impersonal pose for a model, as well as the pose that requires the greatest control of line and modeling.

Reclining Body

The reclining figuré viewed from the back is the most impersonal pose for a model, as well as the pose that requires the greatest control of line and modeling.

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