comes up. Photographs illustrate this clearly. The relaxed leg is bent at the knee as it swings forward. It docs not straighten out until after it has passed the other knee. This is very well defined in the side views of the walking poses. The legs are both fairly straight at the extremes of the stride. Here again is that paradox, that the legs seem to express most motion at the start or finish of the sweep described in the last chapter. Note particularly how much the girl's flying hair adds to the movement in the running poses. Also, tlie girl runs with arms bent, although in walking they swing naturally as they hang down.
Try to base walking and running poses on photos of actual movement. They are well worth obtaining—and those given here will prove valuable for reference in a pinch. To get all the action that is in a stride would require a slow-motion sequence, with page after page of pictures reproduced to any practical size. I feel this is hardly necessary; careful study of the two following pages should suffice.
Start drawing mannikin poses. See if you can, in a series of small framework sketches, draw all the way through a complete stride. In drawing back views of walking poses, remember that the pushing leg in back of the figure is straight until the heel leaves the ground, the heel and toes being lifted by the bending knee.
The use of cameras by artists is a controversial subject. Yet the demands on the present-day artist for action, expression, and dramatic interpretation are so exacting that it seems a bit ridiculous to fake these things when the actual knowledge is so easy to obtain by means of a camera. I do not admire a photographic-looking drawing, but I certainly detest a drawing that is meant to have virility and conviction but is inane and static through ignorance or laziness on the part of the artist. The fact that you can learn things of value from the camcra is reason enough for you, as an artist, to have and use one.
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