Problem

Balance Proportion

Have pulled off a slipper, looking around with a startled expression. Perhaps the hands can do something to emphasize fear. To get an idea of a chorus costume, go to a movie of a musical comedy. Look up some clips of chorus girls. After you have decided on a pose or arrangement of the subject, get someone to pose for some studies or snaps. Use a photo flood lamp. Plan the light as though it were the only light in the room, shining over the dressing-table. You can get dramatic effects with your...

Illustrations

Two M et hods of A pproacl i 132 Defining Form with Just Tone and Accent 133 Relating One Contour to Another 141 Defining by Edges and Shadow without Outline 142 IX. THE KNEELING, CROUCHING, SITTING FIGURE 145 The Incomplete Statement May Be Interesting 147 Kneeling and Twisting or Bending 151 Getting Full Value Range with Ink and Pencil 152 Ink and Pencil in Combination 153 A Looser Treatment 155 X. THE RECLINING FIGURE 159 Sketches of Reclining Poses 160 Coarse Grain Paper Studies - 164...

Of Movement

The source of your knowledge, as mentioned before, is immaterial. Why put a model through the ordeal of trying to keep a vivacious smile on by the hour No one can hold such a pose. We can learn more about a smile from the camera in five minutes than we can in five years of trying to catch it with the eye alone. Limbs move too fast for the naked eye to record. Expressions change and are gone in an instant. The camera is the one means of nailing these down so that we can study them by the hour....

Should Mevcabc Equal Give Onedc Edge

Templates For Drawing Caricatures

Here the camera lends us a helping hand by showing the actual light as it falls on a simplified form. The form has been rounded to give you the gradation from light through halftone to shadow. Number 1 is a front lighting, corresponding to the treatment of a flat and unshaded outline drawing. The only shadow, under the chin, occurs because the light was raised a little to allow the camera to be placed under it. Camera and light, of course, could not have been placcd in the identical spot. Had...

The Mechanics

Movement can be straight as an arrow, or curved like the path of a skyrocket. Either suggests powerful motion. The vital quality to have in your drawing is the spirit of movement. You cannot be successful as an artist if you remain seated in your chair, nor can your drawings be successful if the figures you draw remain static. Nine times out of ten the picture you are asked to do will call for action. Art buyers love action. It adds zest and pep to your work. A number of...

In Costume

Costumes will keep changing, but, the human figure remains the same. You must know the form beneath the folds of the clothing. You must familiarize yourself with the methods of cutting flat material and fitting it over the rounded figure. The drape of the material is caused by the manner in which it is cut and joined. Material cut on the bias drapes differently from that cut on the weave. Try to understand what makes the material do what it does in the ruffle, the pleat, the flounce, and in...

An Opening Chat

For many years the iieo< l of a further book on the subject of figure drawing has been apparent to me. I have waited for such a book to appear which could be recommended to the many young artists with whom I have come in contact. Finally, I have come to the realization that such a book, regardless of one's ability as an author, could be written only by a man actually in the field of commercial art, who in his experience had met and countered with the actual problems that must be clarified. I...

Two Methods Oe Approach

Here are. two approaches which will produce entirely di pferent re.sultts. try both. line 15 really the forte of the praughtsm > n,WHILe tone. > 3 the ally of the painter tone is more. difficult and should not bevakedt the.re can be. many happy combinations of both -

Measuring The Subject

Establish two points on your paper as tlu desired height of pose (top and bottom) Draw a perpendicular through these points as the middle line of subject. 2. Locate the middle point of line (& ). Now, holding pencil at arm's length, find the middle point on the subject before you. From the middle point get quarter points (up and down). 3. Take the greatest width of the pose. Compare it to the height. In my drawing it come, just above the right kneecap (about JS). Lay the width equally on...

Typical

A typical problem worked out with an art editor of a fiction magazine The art editor says, I have picked for illustration this paragraph from the manuscript The last act was over. Jackie was removing the scant costume she had worn in the final chorus. She was alone in her dressing-room, or so she thought, until, by some inexplicable instinct, she turned quickly toward the jumble of costumes hanging in her wardrobe. There was unmistakable movement in the glitter of sequins.' Now, continues the...

Various Standards Of Proportion

You can see at a glance why the actual or normal proportions arc not very satisfactory. All academic drawings based on normal proportions have this dumpy, old-fashioned look. Most fashion artists stretch the figure even beyond eight heads, and in allegorical or heroic figures the superhuman type nine heads may be used effectively. Note at what point, or head unit, the middle of the figure falls in each. It would be well to draw the side and back in these various proportions, using the previous...

Begnne

An overabundance of small fuzzy line. Do not pet in your line, draw it cleanly with long sweep. Do not shade with a multitude of little pecky strokes. Use the side of the lead with the pencil laid almost flat for your modeling and shadows. 3. Features misplaced in a head. Learn what the construction lines of the head are and how spaced. (See Head Drawing.) Build the features into the correct spaces. 4. Rubbed and dirty, usually in a roll. Spray with fixative. If on thin paper, mount on heavier...

The Standing Figure

Much of the essential equipment for professional figure drawing is described in the preceding chapters. You have now learned a means of expression, but your use of that knowledge is just beginning. From this point onward you must learn to express yourself individually, showing your particular taste in the selection of models, choice of pose, dramatic sense and interpretation, characterization, and technical rendering. Routine knowledge and fact thus become the basis for what is often referred...

True Modeling Of Rounded Form

Sketch Light Form And Space

The simplest way to explain the fundamental principle of rendering light and shadow is to think of a ball with light focused upon it just as the sun lights the earth. The area on the ball closest to the light is the high light (A), comparable to noon. If we move on the surface of die sphere away from the high light in any direction, we find that the light begins imperceptibly to fade into the halftone arca (f ), which may be compared to twilight, and then to last light (B+), and on to night...

The Approach To Figure Drawing

As we begin the book, let us take note of the broad field of opportunity afforded the figure draftsman. Starting with the comic or simple line drawings of the newspaper, it extends all the way up through every kind of poster, display, and magazine advertising, through covers and story illustration to the realms of fine art, portraiture, sculpture, and mural decoration. Figure drawing presents the broadest opportunity from the standpoint of earning of any artistic endeavor Coupled with this fact...

Info

The painter dispenses with outline because he can define contours against other masses or build out the form in relief by the use of values. You must understand the difference between contour and line. A piece of wire presents a line. A contour is an edge. That edge may be a sharp limitation to the form (the edges of a cube) or a rounded and disappearing limitation (the eon-tour of a sphere). Many contours pass in front of one another, like the contours of an undulating landscape....

Xl The Head Hands And Feet

The head, perhaps, has more to do with selling a drawing than anything else. Though the figure drawing you submit may be a splendid one, your client will not look beyond a homely or badly drawn face. I have often worried and labored over this fact in my own experience. Once something happened that has helped me ever since. I discovered construction. 1 discovered that a beautiful face is not necessarily a type. It is not hair, color, eyes, nose, or mouth. Any set of features in a skull that is...

Ur Studio

This is also true of lithographers. It is important to remember that a newspaper uses line or coarse-screen halftone. Pulp magazines must use a coarser screen than other magazines. This means keeping fairly contrasting values to assure good reproduction. In all halftone reproduction the whites of your subject gray down somewhat the middle tones flatten a little and the darks become somewhat lighter. Watercolor is about the best medium for reproduction since it has...

About Yc

Classroom by looking it up alphabetically under S and getting the file number. Without a filing system, hours upon hours can be lost looking through hundreds of clippings to find a single one. It is a good investment for the artist to subscribe to a number of magazines. By keeping your copics in order, they eventually become valuable. For instance, if I should need material to illustrate a story laid in 1931,1 could go back to the styles worn in that period without difficulty. Or to interiors....

R Prices

The changes are often unreasonable and are matters of opinion, but do not grumble, at least aloud. A chronic grumbler is an unpopular fellow, and soon the jobs go to the man who seems to be more cheerful, especially if his work is equally good. Again, enthusiasm and cheerfulness add their own qualities to your work. Robert Henri said, Every stroke reflects the mood of the artist at the moment. lie is confident or hesitant, happy or somber, certain or peq> lexed. You...

Do it y

Were as beautifully executed as any fine English water color. Simple things such as a few garden vegetables, a vase of cut flowers, an old barn, present all the problems there are to master. Each of these may be a vehicle for your individual expression. Each can be so beautiful as to be worthy of a place in a fine arts gallery. That is the scope of things to be seen, felt, and set down. Clouds were there for Turner they are here for you and will l> e here for your great-grandson. The...

R way

You will also have materials never dreamed of, subjects that we cannot now imagine. You will have new purposes for art that have never before existed. I believe the human body has been increasing in beauty, although it is hardly discernible to us. Think of how standards change, for example, and of a modern girl beside a buxom maid of Rubens' time. It would be a little hard to imagine one of his beauties walking down Main Street in slacks. I doubt whether his favorite...

Variety In

There is no book in the world that will do a job for you. There is no art director who can do your job. Even though the art director may go so far as to lay out the general idea, spacc, and placement, he still is asking for your interpretation. Again, there is no piece of copy that you can lay down in front of you which will completely answer your needs. Another mans work was done for his own purpose and for another problem. The principal difference between the amateur and the professional is...

Block Forms Planes Foreshortening And Lighting

The transition from outline and specific construction to tlie figure rendered in light and shadow is quite a hurdle. Often the student is unable to make this jump. The difficulty arises from a lack of conception of the solid. Yet there are intermediate steps that can make the rendering of the third dimension (thickness) fairly simple. How can a solid form be set into space How do we conceive of it so that we know it has bulk and weight that we can pick it up or bump into it The answer is that...

Shoulder Proportion

Keep untouched areas scrupulously clean with a kneaded eraser. 5. Too many mediums in same picture. Make your subject in one medium. Do not combine wax .crayons with pencil, or pastel with something else. Make it all pencil, all crayon, all pastel, all water color, or all pen and ink. It gives a certain consistency. Later on you may combine different mediums effectively but do not start that way. 6. The tendency to use tinted papers. A black and white...

Head Building

Post Corrugator Muscle

DRAW A ALL. PIVIpE 9 gt ALL INTO SECTIONS 50THAT you HAVE A MlDOLfc LINK. OIVIDINC OALL 3 WAN'S LIN A,BAHDC . TAVCfi ONE FOR. MCOOLQL UN6 OP ACE.TM . or HCL It. T VO WILL BC AM CAR. LINfe ANfc A LlNR OP ERQWS. DROP MtODLfe MNO. Q PACE ofp oall. otvioia. into parts that app r equal f each part equal to halp op THE ptdTANCfe PROM 0ROWUNRTOTOP OF FALL, .ICJ amp OE5 BV amp ROPPIMG tLAH LlMfc 5TRA CHT DOWN. PLACE CAR AT INTEIC5EOT OrA Or LINKS A ANO C . NOW Ul Lf gt NJAW...

The Muscles In Light And Shadow

Drawing Lessons Proportion

STUDIES OF AN ANATOMICAL CAST WHITc th ese ade to how ths anatomy of the hhad lm its solid asp oct, oras form in ught and .shadow. if you can draw from casts, it is recommended todo so. many st oents skip the ahtique Class , not realuimc ts true vauue . it 1 advantage ts that the suoject develops solidity and excellent for study of values- i suggest yoo 1 laks. some care pul free.ha.mt9 Duplications op these prawiwcts if you have. no similar casts mear.

Balance Rhythm Rendering

Balance is a physical attribute each of us must possess. If a figure is drawn without balance, it irritates us subconsciously. Our instinct is to set firmly on its base anything that is wobbling and likely to fall. Watch how quickly a mother's hand grasps the teetering child. The observer recognizes quickly that a drawing is out of balance, and his inability to do anything about it sets up a negative response. Balance is an equalized distribution of weight in tlie figure as in anything else. If...

Requirements Of Succ

Humps and bumps are and why they are there. Otherwise your drawing will have the look of inflated rubber, or a wax department-store dummy. The final work 011 any commission of importance should be drawn from a model or good copy of some kind, since it must compete with the work of men who use models and good copy. Most artists own and operate a camera as a help. But it will not do the whole job. Outlines traced from a photograph, l gt ccause of the exaggerated foreshortening by the lenses, have...

Make Studies Like These Of Your Friends

THELRfe AWL ho flCC TS IN WUW-IN HEADS. PtIMT COMES AN Ut4-D amp RSTANQINO Of A PARTtCUUR 5KULL. KCXT TO C N3T UCTAV UDIV DUAL O 1 COHRBCTLy PLACED WITHiN THAT GKtHJL. THfiN COMtSTMC K amp NDOR.INC OP TN OV THfc. PAC PLANUS OF L lt CMT HALPTONa AMl gt .SHADOW. BV JtY PkANfc I A PART OP THE WHOLi TWfc LIGHT IM lt 7 3HOUI.O BE y SlMPLfi. THft HBAO IS DlPPlCUUT Hnouoh wrrnooT adojnc THfe COMI gt LWinrY OP MANY LtOHTff.

The Bones And Muscles

The further you go in the study of anatomy, the more interesting it becomes. Made of soft and pliable material, elastic yet strong, capable of unlimited movement and of performing countless tasks, operating on self-generated power, and repairing or renewing itself over a period of time in which the strongest of steel parts would wear out the human body is indeed an engineering miracle. On the opposite page the male and female skeletons have been set up. I have kept the head units alongside so...

Blocks And Planes

Perfect Proportion

T SOME CLAV AND MOOELTHfe PL amp NB.S SO YO CAN UCMT THEM DIFFERENT WAV3. rwe.N DRAW THEM. EEPER. ACK TO PAG 5 AND 73. THE SIMPLE PORM DEVELOPED TO THE COM PLEV, THROUGH THE USE OP PLANES. THESE AVERAGE PLANES 3MOULO BE LEAR.N ED THEY ARE THE BASIS FOR. klCHTI NO .

J

It is really plain old courage, standing on one's own feet, and forever seeking enlightenment courage to develop your way, but learning from the other fellow experimentation with your own ideas, observing for yourself, a rigid discipline of doing over that which you can improve. I have never found a book that stressed the importance of myself as the caretaker of my ability, of staying healthy mentally and physically, or that gave me an inkling that my courage...

Sketching The Figure In Action From Imagination

Drawing Figures Action

And setup the figure in action is not as dl ffi cult as it looks and setup the figure in action is not as dl ffi cult as it looks DRAW SOME OF THESE, BUT DRAW MANY OF YOUR OWN keep your drawing's fr.e b, and sketchy. draw many figures at various eye leve-ls. keep your drawing's fr.e b, and sketchy. draw many figures at various eye leve-ls. a s mpl way of Getting female proport ons-take to knees- to waist, to topof head. 3 fiy X TOP OP HI6A0 THE MAIN DIFFERENCE BETWEEN rHE MALE AND FEMALE...

Flat Diagram

Proportion Human Body For Sketch

Skadouux com bo draco . b fcW plan.It is a or Ike solid jk perspective the flat diagram is no more than a tracing m otf a shadow-with only two dimensions- jw b 0t it 15 our k ap we can't do without it - wty vc Divide diaqonqls ortt.'l V J M J A tftfk ' ikerc ar 8 cross spaces. V V h V Draw D 0 fot1 lt il AlUru D h E.L So on. uwTul fc Ulave ra j S spaces . Flat D toq ra kK Sitting pose 3 plqk j TWo w ii i of- rv id lt rrivtc tkc Box'oMtoc FUit Diaqrarrt vt pev-spec-btvc.You or lt 5 urq lt rd to...

Line In Another Contour

You Wl ll Fl NP THE average su amp ject full-of RHYTHM ip YOU look for it. keep YOUR, pencil. down on the paper The feeling of rhythm is of tremendous importance in figure drawing. Unfortunately, it is one of the easiest things to miss. In music we feel tempo and rhythm. In drawing it is much the same. Considered technically, rhythm is a flow of continuous line resulting in a sense of unity and grace. We call the rhythmic emphasis on a line or contour picking up. The line of an edge, observed...

Now Take A Common Object

Low Poly Model

50 IN DKAWrMQ WE MOST ALWAYS T V TO FEEL THE MIDDLE CONTOURS AS WELL A5 THE EDGES. THE OUTLINES ALONE CAN 5UC1GEST SOLIDITY. WATCH HOW EDGES' PASS ONE ANOTHER THE OUTLINES OF EACH PLANE MAY BEVERY DIFFERENT, BUT PUT TOGETHER, FORM TME SOLID. THIS WILL NOT BE EASY UNTIL YOU BECOME ABLE TO THINK ALL AROUND THE THING YOU HAPPEN TO BE DRAWlNG,TRULY KNOWING ALLOF THE FOR-M The foregoing has given us a general framework to which wc can now add a simplification of the bulk or solid aspect of the...

Full Height

A s'lMtple v etUod of fiHdmq oi-extended liVubi.UW A s'lMtple v etUod of fiHdmq oi-extended liVubi.UW Set point for feat of 2d fiqure. Place avujtower Establjsk Vieiqkt of first fvejure. CAnq Weight Tttenbacfcto'A .Ercct perpendicular of bp 1st Figure oFc'cb is amp hqore Build fiq r sJf TaKea i ttarpoint Divide asyoudid you wawtwiore- VtWC'-feHorizow. before Build your picture to saw Horizon Pule HoruoK mJJsfc cross all similar fiqurcs ovtaJevel plane at Ike s amp m po dt. lt h e, Aknees HOW TO...

How To Draw Heads

Draw Heads

IT IS SUCICeSTEp THAT YOU PKAW YOUR OWN pEET IN MANY PTOSES , SETTING A MIRROR. ON THE. FLOOR. Ai-SO.THACT YOU SET UP SHOES AN 7 pfcAw THEM FROM MANY ANGLES ANF VIEWPOINTS. A typical problem outlined by an art buyer We always need artists who can draw heads well. Good drawings of heads are required in almost all advertising, for illustrations on magazine covers, and litho displays. An acceptable head must be in good drawing, to be sure, but that's only the beginning of its job. If it's a pretty...

Pencil Drawings

Mea8urc by holding pcnol always at arm s lfc.ngrm iemcmbejl this plan gives the actual live proportions. make any adjustments you wish a3 you co alonq. usually add a little in length. cot two ftloht angles from some stiff cardboard, mafcic off in inches an0 cup together. .tws cam adjusmcmtgives proportionate width tohelcht. iemcmbejl this plan gives the actual live proportions. make any adjustments you wish a3 you co alonq. usually add a little in length.

Oyr Yrs

These proportions have been worked out with a great deal of effort and, as far as I know, have never before been put down for the artist. The scale assumes that the child will grow to be an ideal adult of eight head units. If, for instance, you want to draw a man or a woman about half a head shorter than you would draw the man with a five-year-old boy, you have here his relative height. Children under ten are made a little shorter and chubbier than normal, since this effect is considered more...

The Ficure In Action Turning And Twisting

Every good action pose should have a suggestion of sweep. Perhaps I can best describe sweep by saying that the movement which immediately precedes the pose is still felt. On the following pages I have tried to show this sweep or the line that the limbs have just followed. The cartoonist can add terrifically to the sense of motion by drawing his sweep with lines back of a moving hand or foot. The only way to get sweep in the line is to have your model go through the entire movement and observe...

Standing Pose

Self-conscious girl has the feeling that she never knows what to do with her hands. The unimaginative artist, too, does not know what to do with the hands of his figures. But the girl can put her hands on her hips, finger her beads, fix her hair, pull out her vanity case, apply lipstick, smoke a cigarette. Hands can be most expressive. If you show legs, let them be interesting even in the standing pose. Drop one knee. Raise a heel. Do anything except keep them glued to the floor side by side....

Urfac Porm

Draw Ideal Sense Proportion Figure

THERE IS NO SET OF PLANES WHICH WILL FIT THE FIGURE AT ALL TIMES, SINCE WE SURFACE FORM CHANGES WITH MOVEMENT SUCH AS BENDING AT THE WAIST,MOVEMENT OF THE SHOULDERS, ETC. THE PLANES ARE GIVEN MAINLY TO SHOW HOW THE FORMS CAN BE SIMPLI Fl ED EVEN WHEN YOU HAVE the LIVE MODEL OR. COPY , VOU STILL WORK FOR THE MAIN PLANES OF LIGHT, HALFTONE AND SHADOW OTHERW I5E YOU MAY HAVE AN OVERPOWERING CONFUSION OF TONES. WHEN WORKING WITHOUT A MODEL OR COPY,YOU DRAW THE PLANES FOR. THE UCHT, HALFTONE AND...

Sitting Figure

In this chapter we are concerned with qualities other than motion. Almost the whole gamut of feeling can be expressed in a seated figure. It can suggest alertness or composure, fatigue, dejection, aggressiveness, timidity, aloofness, uneasiness, boredom. Each would be expressed differently. Sit down or have someone do so, and see how you would dramatize each of these. It is of paramount importance, at this point, to understand the shifting of the weight from the feet to the buttocks, thighs,...

Sful Figure Drawing

Perfect Proportions

Shorter than I would instinctively draw them. The essence of successful male figure drawing is that it be kept masculine plenty of bone and muscle. The face should be lean, the cheeks slightly hollowed, the eyebrows fairly thick never in a thin line , the mouth full, the chin prominent and well defined. The figure is, of course, wide shouldered and at least six feet eight or more heads tall. Unfortunately, it is not easy to find these lean-faced, hard-muscled male models. They are usually at...

Snapshots Of Walking Poses

ARMi MOVt OffOflTH TO W CJ PACK K OT P0 5 MOT LRAva lt 3tooN cm-viw. FWOH-T K gt OT I rUNTW, ARM5 P amp SS HI ATJ-Af l Tl e Mir 15 CKItViNC WtlOHT KNtd pvor oh l 0 o cjfwyn vct gt on is 5tsrurrk tp AT or 5TWPt AU WAV3 T r L N Of 41-ANCi MAKt T gt 40 HAIk5 O THB B AJ Afov . .

Cemented Tissue Overi Ay Spatter And Brush Drawing

How Sketch People Proportion

Typical problem to solve with an art dealer and representative 1 have a particular commission in mind that I believe you could handle, says an art dealer. My clients have organized a new country club. They are building a beautiful clubhouse. They want two mural decorations for their new dining room. The woodwork will be done in ivory, with a slightly deeper tone of ivory on the walls. There are two doorways into the dining room, over each of which there will be a lunette. The lunettes are...

Ttjrnino And Twisting

This is a quick and simple way of rendering,pen outline with the side of the pencil lead fo . shading, this was drawn on bain br i doe coqutlle 2 this is a quick and simple way of rendering,pen outline with the side of the pencil lead fo . shading, this was drawn on bain br i doe coqutlle 2

Observe Your

Begin now to collect a file of the details that give a setting its atmosphere. Learn to observe significant details. You must lx concerned with more than Martha's hair-dress. Precisely why does Martha in a formal gown look so different in shorts or slacks IIow do the folds of her dress break at the floor when she sits down Watch emotional gestures and expressions. What does a girl do with her hands when she says, Oh, that's wonderful Or with her feet when she drops into a chair and says, Gosh,...

Brush And Spatter Illustration

The problem of equipping yourself to do your job well What is the next step you may inquire. Ix gt ok about at the kinds of work you see displayed everywhere. What kind of work do yon want to do Once you make up your mind, practice that kind of drawing with brush or pencil. Yon arc going to need mental equipment as well as skill with your hand. Try to know more about your subject than the other fellow. Remember you can borrow only a little most of your knowledge must come from your own...

A

Figure posed actainst awmite. background to demonstrate how the form may be defined with ingle licht.withoot obvious use of outline. the outline is drawn very lightly followed by a careful study of tone, edges and accents. A typical problem worked out with an account executive in an ad vert using agency Your work has come to my attention, says the executive of an advertising agency, and, from what I have seen of it so far, I like it very much. I have a new gasoline account, for which we must...

Fine Point Brush Drawing

DRAWN WITH A SMALL CAMEL'S HA.tR BR.U3H AND DRAWING INK ON RlSTOL 130ARP DRAWN WITH A SMALL CAMEL'S HA.tR BR.U3H AND DRAWING INK ON RlSTOL 130ARP A number of typical problems in a contest for sculptural designs 1. The problem is to design a group of figures for a large fountain to be placed in the center of a circular pool fifty feet in diameter. The subject is, I am America. I give thee liberty and a free life. The drawings are to be submitted for interpretation of idea only. The group may...

Drawing The Live Figure Methods Of Procedure

Before you undertake to draw from the living model, be sure you have absorbed all the preliminaries so far discussed. These are The proportions of the idealized figure The general framework The relationship of perspective to the figure Movement and action The mannikin and simplified building of the form The planes by which we build light and The fundamentals of light and shadow The true modeling of form Now when you have to draw something set up in front of you, you must possess still another...

Building From The Skeleton

Human Anatomy Engravings

TH MOST CERTAIN WAV TO L amp ARX TO t AW THE. FiCUR-E. IS TO 5TARTWIT THfc , 3C ILplNG IN TN BONfeS ANC TWEN THJ MA N M 6CW5S OVCfe TH BONfi5. Yoo CAN START WITH CO OY of AfMY icu b A modftlf many pwpbssional feri3t3 bchlp up THftlQ. ICUP. 5 feWDR ADOllSlO THG clothing . try it with vfefty simple. P05fc5 Ar Rftsi. evkNTDALLV THE. BOHH5 AND MOSCLE5 WlkU COM amp rNSTlNCT AS YO D AW. Yoo WILL 3 T W EM AS PLAN amp 5 OP UCHT.HALPTON ANO SHADOW. KHOW THAT IT IS APPARENT TO ANY AWI5TWHO KNOWS ANATOMY...

Contents Including Illustrations

TIIE APPROACH TO FIGURE DRAWING 21 Various Standards of Proportion 28 Ideal Proportions at Various Ages 29 Proportions by Arcs and Head Units 33 Proportion in Relation to the Horizon 34 Finding Proportion at Any Spot in Your Picture 36 Hanging Figures on the Horizon 37 We Begin to Draio First the Mannikin Frame 38 Movement in the Mannikin Frame 39 Details of the Mannikin Frame 40 Experimenting with the Mannikin Frame 41 Outlines in Relation to Solid Form 42 Adding Perspective to the Solid...

Movement In The Mannikin Frame

Movement The Mannikin Frame

LIFE AND ACTION FROM THE VERY BEG INN INC. DRAW,DRAW- -TRY TO FMU A CENTER. OF GRAVITY WSTR.OOTE THE WE IG HT OVE . A CENTRAL POINT 7 f AKE N UwXtf' STUPES. -TRY TO FMU A CENTER. OF GRAVITY WSTR.OOTE THE WE IG HT OVE . A CENTRAL POINT 7 f AKE N UwXtf' STUPES. THE MAIN LINE OF BALANCE SHOULD LEAN INTHE DIRECTION OF THE MOVEMENT.TRV W NO

Feel Free To Invent Your Own Blocks

amp lockinc n form 5 the, fo n cat i on for all wo k IN M HT AN7 3hacow. tky tokedoce the PQTCM ro I TO SCKiPLESr TERMS, a qhncj whate.vek xt amp gk amp i ck ni h voo wish-kememfccr, a simple clean out statement is oettbr than 3ayinotoo MUCH. Anatomy is stvdied first to heUP you ouild simple formj con vi no ingly. a mannikin will help you now.ottsofle casts. you meed not,at this stage, Attempt li c ht anp shadow, F ITJ TOO OIPPICULT. JOST fKAW BIG I3LOCKV SHAP amp Su TRY TO SENSE THE FORM ALL...

Gre At Trochanter

There 13 no other. way to acquire a knowledge of anatomy than to d g it out. stay with it until you can draw the muscle3 from memory. get further books on the subject. the author recommends the books by ceorge br.idgman as excellent.ther.e is also avery fine book of diagram, 'artistic anatomy by walter f. moses. in these books, the subject is more expertly covered,and much more complete. rr pays to know i'so stay with it NOW JUST PLAY WITH WilAT YOU HAVE LEARNED

Study In Foreshortening

. A ' i lt the drawings on these two pages are intended to pemon3thate how the texture or grain op the paper may 3e utilized to advantage. the deli cate modeling is dome with the point and the broftder masses with the side of the lead. attention is called to the use of dark accents. you cannot invent'yight and shadow. draw wrom life or good copy.

Crossing Lines Of Rhythm

RHYTHM CAN LIFT TOUR ABILITY TO THE. SfclES. potted unes ar tocallvdur attention to the wav contours mfi-y e'woven toceth er. across the. form. no two poses work akl e but when the contours have the feeling of being connected and a. pafi-t of each other then a'symphony'of line ts established. rhythm m draw nc,a5 in mu5ic on ires the whole, SO that the pteung and movement of all becomes more important than any single part. keep feeling for the cor.re.ct and xpfl...

Drawing Figures In Perspective

Nude Photo Ideal Proportion

Many artists have difficulty in placing figures in their picture and properly relating them to each other, especially if the complete figure is not shown. The solution is to draw a key figure for standing or sitting poses. Either the whole figure or any part of it can then be scaled with the horizon. AB is taken as the head measurement and applied to all standing figures CD to the sitting figures. This applies when all figures are on the same ground plane. On page 37 there is an explanation of...

The Reclining Figure

One of the most challenging phases of figure drawing is that of the reclining pose. It offers the best opportunity of all for design, interesting pose, pattern, and foreshortening. We forget the body as an upright figure for the moment and think of it as a means of flexible pattern for space-filling. The head may be placed anywhere within the space at your disposal. The torso may be regarded from any viewpoint. In the drawing of the reclining figure, as in the standing and sitting poses, avoid...