Once the compositional outline is complete, we add new geometric shapes to describe each part of the body: an oval for the head, a rectangle for the thorax, cylinders for the arms, a trapezoid for the pelvis. Geometric shapes contain the essence of synthesis. The goal is to combine simple forms which establish the form as well as the proportions of the figure. All of these geometric figures are articulated amongst themselves by observing the straight lines which define the height of the shoulders and the tilt of the hips, and the curve that describes 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 affects the orientation of the head.
Geometric synthesis consists of seeing the drawing as an articulate whole that can be developed simultaneously in all of its parts, and in which no single part is more important than any other.
In a geometrical representation of the human body; abstraction should continue until we arrive at a figure made up entirely of simpler forms. Little by little, the bodies will no longer resemble cubes or spheres and will become more flexible, expressive structures.
For the amateur artist, the geometric sketch of a figure is seldom an easy task; nonetheless, it can be simplified by following a few tips. To begin, the best thing to do is try to see the figure as a whole and not get lost in details such as the position of the feet or the shape of the hair. Only after drawing the general outline of the model, when the basic problems of form have been overcome and the proportions are approximately correct, should we address the details.To make a geometric sketch is to understand the drawing as an articulated whole, all parts of which can then be developed simultaneously and of which no part is more important than any other.
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