figure drawing for artists making every mark count
TRANSCRIPT
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FIGUREDRAWINGFORARTISTSMakingEveryMarkCount
ST EVEHUST ON
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Contents
INTRODUCTION:GETTINGCOMFORTABLEWITHYOURMATERIALS
partone:THEELEMENTSOFDRAWINGCHAPTER1:STRUCTURE
CHAPTER2:BASICGESTURE
CHAPTER3:ADVANCINGTHEIDEAOFGESTURE
CHAPTER4:PERSPECTIVE
CHAPTER5:THELAWSOFLIGHT
parttwo:BREAKINGDOWNTHEHUMANBODYCHAPTER6:THEHUMANBODY:ANOVERVIEWOFBASICFORMS
CHAPTER7:THEHEAD
CHAPTER8:THETORSO
CHAPTER9:THEARMSANDHANDS
CHAPTER10:THELEGSANDFEET
CHAPTER11:FINISHINGDETAILS:LIGHTANDSHADOWS
CONCLUSION:FIVEMINUTES
ABOUTTHEAUTHOR
ACKNOWLEDGMENTS
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INTRODUCTION
GETTINGCOMFORTABLEWITHYOURMATERIALS
Whatisart?Itcouldtakethiswholebooktoanswerthatquestion.Infact,itcouldtakeawholelibrary—anddoes.Criticsandtheoristscontinuouslyaddtothecanonexploringandexplainingart.Theiressaysarethoughtprovokinginmanyways,buttheirtheoriesdon’tturnusintobetterartists.Theirtheoriesdon’tcoaxthepencilintomakingbettermarks.
Karen,c.2001,bySteveHuston.Charcoaldrawingofarecliningfemalefigure.
ArtIsanIdeaIlovedrawing,alwayshave—so,Ichoseitasacareer.Thatmadethewhole“whatisart”thinganimportantissueforme.
Ineededananswerthatmademythumbnailsketches,lifestudies,comps,andfinishesexcellent.Andmore,Ineededananswerthatledmetowardaprocessthatspokewithonevoice,onevision—onestyle.
Artcriticismhelpedme,butnotinthatpursuit.So,Ididwhatanyself-serving,creativetypewoulddo:Imadeupananswerthatwould.
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Ididn’tcarewhethermyanswerhelduptotherigorsofcriticalthinking.Infact,itdoesn’t.I’mheretotellyouwhatI’mofferingispuremake-believe.
AndIbelievethat’sexactlywhyitworks.
Fantasy,myth,make-believe:noneistrueforthehead.But,theyarealltruefortheheart—andtheheartiswhereartthrives.Artisnotdesignedtoconvincetherationalmind.Sciencehandlesthat.Art,atitsmostpowerful,appealstotheemotions,asmythologydoes.
Andmythologyhasonlytworequirements:
1.Nomatterhowfantastictheworldorworldviewis,itneedstobeabsolutelyconsistent.Onlythen,willtheheadrelaxandletthehearttakecontrol.
2.Thehero(andaudience)takesajourneythatshowstheworldworksthroughsomesecret,simpletruth.Atruthsuchasit’ssometimesanupside-down,absurdplacewelivein,ormagichidesinplainsight,or,even,there’snoplacelikehome.
Make-believetruthsliketheseareimportant—critical,really.Theyactasemotionalroadmaps,helpingusnavigateourmessyday-to-dayaffairs.Adultsneedtheminsomewaysmorethanchildrendo.Thebestroadmapsshowushowtobecometheheroofourownlives.Afterall,evenswitchingjobsorstartinganewhobbyisarealadventure.
Rightthismoment,you’rereadingamake-believestoryforadults.You’renearlytothepartaboutthesecrettruth—two,actually.Asthepagesturn,you’llreadthattheworldofdrawing,thoughitpresentsogre-sizeproblems,isafarsimplerplacethanyoususpected.Simpledoesn’tmeaneasy,though.Where’stheadventureineasy?
Thisyarnsaysthecraftofdrawingthehumanbodysucceedsthroughonlytwoideas(herearetwoofthesecrettruths):gestureandstructure.Itsaysthesetwoideasworkforthebiggestpartsofyourdrawing,andforthesmallest.
You’llreadaboutthingsliketheeyesocketisawhistlenotch,thearmisacleverlycurvedtube,themanypartsofthebodyareconnectedthroughinvisibledesignlines—thesearethedesignsoflife.Theseareallliesasfarasthescientistisconcerned—andyet,Ibetyou’llseethattheyringtrue.Andthey’llallowyoutodrawwithavisionandcontrolyoucan’tgetanyotherway.
Mypromisetoyouisthis:Ifyou’rewillingtowearoutafewpencils,thisbookcanhelpyounavigatethedifficultlandscapeofthedrawnfigure.
ThelasttruthI’llsharefornowisthatIdidn’tmakeanyofthisup.TheOldMastersdid.We’vebeenstaringattheseheartfelttruthsforcountlessgenerations,butforthelastseveralwesimplyhaven’trealizedit.
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Greatartwithitsgreatstylisticdifferenceshasbeentellingthistalesincethebeginning.TotheOldMasters,itwascommonknowledge.It’sjustbeenforgotten.Whatagiftthesetwofundamentalideas—structureandgesture—inalltheirincarnations,giveusthroughthegreatestvoicesinhistory.
Art,then,isreallyjustanotherlanguage.Justasthewordsexpressconcepts,thelinesandtonesartistsmakedothesame.Thisbookexistssowe’llknowwhatwe’retalkingabout.
Withpractice,alotofpractice,youcanbegintellingyourownstory.Startthinkingoftheframearoundyourartworkasawindowintoyourworld.Themarksyoumakeexplaintherulesofthatworld.Theyhadbetterbeconsistent.
SO,HOWTODOTHAT?Drawingthehumanbodyisnoteasy.Weneedtoapproachitcarefully.Thepremiseforthisbook,andformyentirecareerasanartistandteacher,isthatthedrawingprocessreducestothosetwofundamentalideas—gestureandstructure.Tomakesenseofthem,then,weneedtoplumbthemsystematicallyanddeeply.Keepinmind,structureandgestureare,inasense,twosidesofthesamecoin.Iftheydon’tworktogether,theydon’twork.
Iwillbeginthisexplorationbyfirstexplaining,anddemonstrating,structureatitsmostbasiclevelandfollowwithanequallyaccessibleexplorationofgesture.Then,we’lldigalittledeeperintostructure,andthendeeperintogesture,andsoon.Thisisamethodthatcantakeyoufromthesimplestquicksketchtothemostfinishedofrenderingsandmakethembothringtrue—butonlyifyoulearnitstepbystep.
Thismethod,inonewayoranother,isthemethodoftheOldMasters.Somewherealongtheway,itbecamearcaneandmysterious.Idon’tbelieveitshouldbe.That’swhyIwrotethisbook.That’sthereasonIthinktheseideas(whicharenotmyideas)arewonderful,beautiful,and,mostofall,useful.
Therearecertainimmutabletruthsingreatworksofart.Ifyouknowwhattolookfor,youcanseetheminthemasterpiecesofeverygreatartmovement.YouseethosetruthsplayoutinvariouswaysinmovementssuchasCubismandPost-Impressionismand,likewise,inmanyofthemodernisttalentsoftoday.
WhatIwanttogiveyouisachancetoachieveyourpotential,tomasteryourcraft,andtofindyourvoice.Thisplanetneedsmorecreativevoices.
So,insteadofbeingintimidatedintoinaction,let’sbreakfreeandexpressourselves.Let’slearntospeakeloquentlyinthelanguageofstructureandgesture.
Withthatinmind,turnthepage,dipyourtoesintoart’sdeepwaters,andwadetowarditsshiningdistantshore—anddon’tworry.Ihavethelifepreserverrighthere.
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StandingNude,1998,bySteveHuston.AlphacolorandContéchalkonStrathmore,Bristolfinish.
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Sara,1998,bySteveHuston.AlphacolorandContéchalkonStrathmore,Bristolfinish.
MakingArtaRitualTheart-makingprocessistiedtoritual,andthatrepetitionputsyouinthecorrectmind-set.
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Thereareendlessmaterialsfromwhichtochoose.I’llgiveyouafewofmyfavorites,but,everysooften,grabanewpenorpenciltotryout.Testnewpapers.Standratherthansit.
Artislikealchemy.Thealchemistattemptstomakesomethingpreciousfromthemundane—artists,too.Ritualwasall-importantinalchemy—theprocesswasconnectedintimatelytothematerialsused.That’strueforanyspiritualorcreativeendeavor.
Youneedtodevelopyourownritualformakingart.Cleanthestudioormakeitmessy;sharpenyourpencilswitharazorbladeorcrumbleupyourpastel,smearitonwithyourfingers,anderaseitmostlyaway.Experimentwiththeprocessuntilyouhaveapracticethatworksforyou.ThatalsoincludestheprocessIdemonstrateinthisbook.Butmyprocesswon’tworkforyouunlessyouchopitup,mixitaround,throwoutsomethings,andaddsomethingsin;inotherwords,itwon’tworkforyouuntilyoumakeityourown.
WheretoWork?Ifyoudon’thaveastudiowithtwenty-footceilings,northern-facingwindows,andapersonalassistanttosharpenyourpencils,usethecornerofabedroomorsitatthediningtable.
Youcanstandataneasel.Youcansitataneasel.Youcanbuyatiltingdraftingtableorhavea3/8-inch-thick(1cm)pieceofplywoodor1/4-inch-thick(0.6cm)pieceofMasonitecuttoabout20x26inches(51x66cm)longandgrabacoupleofalligatorclamps.Laythebottomedgeacrossyourlapandleantheboardagainsttheedgeofadiningtable.Ifthat’salittlelow,useakitchencounter.You’rereadytowork.
Iusedtohavetofallbackwardfrommycanvasbackchairontomybedtogetupfrommyworkstation.Youcouldspendafortuneontheperfectsetup,but,really,youdon’tneedmanyresourcestobeanartist.Startsimply.Startcheaply.Youcanalwayseaseintomassivedebtlater.There’snohurry.
MaterialsandToolsEverymaterialhasitslimitations.Don’ttrytogetdeepdarksfromahardpencil.Don’tdoaminiaturerenderingwithasquarestickofcharcoal.Takethetimetoexperimentandlearnwhatyourmaterialscando.Herearethebasictoolsandmaterialsyou’llneed.
1.CarbOthelloPencils.Iusepencilsinearth-tonecolors.Why?Abrightlycoloredpencildoesn’tworkwellforshading.Shadowistheabsenceoflight.Brightcolorssuggestlight.Thetwodon’tmix.OtherpencilbrandsIlikeareGeneral,ContéàParis,Faber-Castell,andPrismacolor.Theselasttwoareslightlywaxyandwon’tworkwellonnewsprint.
Paper:Copypaper(anybond),newsprint,vellum,andmarkerpaperaregreat.Also,Iliketonedpaperinlighttomiddlevaluesandearthtonesforthesamereasonasstated
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previously.IlikeStrathmore500series,Ingres,andCansonbrands.Cansonhastheheaviesttextureand,so,isalittlehardertoworkwith.Youalsowantsomethingwithminimaltoothtoit.It’smuchhardertodoanykindofrenderingordetailwhilefightingarough-texturedpaper.
2.ContéàParissticksinH,HB,and2B.Notethat2Bisasofterchalkandgivesyoudeeperdarks,butit’salsomessier.HandHBareharder,butyoulosethedeepervalues.
Paper:YoucanusealloftheprecedingpaperslistedaswellasStrathmore,Bristolfinish,1-plyandup,andillustrationsheets,butnotplateorhotpress.Thesehavenotoothtoholdthechalk,andthepigmentwillcomerightoff.Oruseanyhigher-quality,acid-freepaperdesignedfordrawing.Again,youwantminimaltexture.
3.Alphacolor.Really,anybrandofpastelswilldo.Blackandearthtonesworkfordrawing.And,ofcourse,youcanworkinfullcolorfor“drypainting”pastelwork.Usethebetterbrandsforpaintingandthecheaperfordrawing.Alphacolorarebig,clunky,andnotdesignedforsmall-scaleworkorfinedetail.
Ididthisbook’scoverdrawingusingStrathmoreBristolpaperandAlphacolorforthedeepdarks.IusedContéchalkandastumpforthefinelineanddetail.
Paper:Youcanusealloftheprecedingpaperslisted.Canson,withitstoothiness,isgreatforholdingmorepigment.Pastelsbuildupquickly.You’llfindthechalksblowawaywithasneezeifyouuseasmoothstock.
4.Ballpointpen,anycheappen,orfountainpenwithbrownorblackink(makesureyouusefountainpenink).Pensareafavoriteofmineforsketchbooks.Ilikenotbeingabletoerase.Ilikehatchinginthevalue.ItsuggestsbrushstrokestomeforwhenIswitchtopaint.
Paper:Youcanusealloftheprecedingpaperslistedandalmostanythingyoucanthinkof,suchasthebackofanenvelopeorcopypaper.Iuseacid-freescrapbookpaperalot.Ithasacardstockthickness,andIcandolittlepaintedstudiesingouachealongsidetheinksketches.
5.Graphitepencils.Anyofabout3millionbrandsarefine.IlikeHorHBforhardness.Youwon’tgetcharcoaldarksoutofit:youneed4Bto6Bforthat.Butgraphitegetsalittleglossywhenitgetsdark.Iuseitforunder-drawingforgouacheorwatercolorpaintingsortolayinaninkdrawing.Mainly,IuseitwhenIwantasensitivetechnique.Itdoesdelicateanddetaillikenoothertool.
Oneofthebestwaystolearntovaryyourpaintstrokesisbyusingpenandink.
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StudyforDraw,c.2004,bySteveHuston.AlphacolorandContéchalkonStrathmore,Bristolfinish.
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StudyforCaryatid,c.1998,bySteveHuston.AlphacoloronStrathmore,Bristolfinish.
6.Craftknife,sharppocketknife,orone-sidedrazorblade.Youneedsomethingtosharpenyourcharcoalpencilswith—andno,notamanufacturedelectricsharpener.I’llshowyouhowthesharpenedpencilshouldlookhere.
7.Kneadederaserandharderaser.Eitherwillwork,butIlikethekneadederaserbecauseitissimilartoputty—youcanshapeittogetintotightareas.Itissoftandwon’ttakeyourpaperbacktowhiteifthereisalotofpigmentdown.That’swhatharderasersarefor.You
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canevenuseelectriceraserstobuffawaystubbornstains.And,yes,allthepigmentsdiscussedwillstainyourpaper.Actually,applyingpigmentcandamagethepaperfibers.Oncethathappens,youmaybestuckwithit.
8.Sandpaperorasandingpad.Youcanbuylittlesandingpadsfromtheartstore.Iusesandpaperfromthehardwarestore.Itsharpensyourpencilstoafinerpointthanjustusingaknife.IsanddownalittlebitofanAlphacolorsticktoloadpigmentontomystump.
9.Stumps.Thesecylindricaldrawingtools,madeoftightlyrolledpaperinapencilshape,areusedtoblendorsmudgemarks.
10.Markers.Chooseacoupleofgraystoshadeoveryourpendrawings:that’swhatautodesignersandentertainmentdesignersuse.Thethingwithmarkersisyoucanstartwithalightgrayandkeepmarkingdownanewlayerovertheoldtogetdarkeranddarker.It’sagreatwaytoeaseintothecorrectvalues.
11.Touchdisplaycomputer.IuseoneformydigitalteachingatNewMastersAcademyinCalifornia.IusedaWacomTouchformostofthisbookandPhotoshopandSketchBookProforsoftware.Theymimicmyriadtools.
AstudyfrommyShadowBoxingseries.WatermanParisfountainpen,veryfinenib,onoatmeal-colored,acid-freescrapbookpaper.
ThePencilMark
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Holdthepencilasifyou’rewritingaletterbutrelaxyourfingers.Don’tpinchthembackinatightgrip.
Arelaxedgripissoimportantbecauseyouwanttomakesweepingstrokeslikeanorchestraconductor,meaningfromyourshoulderandnotyourwristorfingerjoints.Yourlinequalitywillbenervousandscratchyifyourdrawfromyourfingers.Practicethisasyouwouldatennisstroke.
Ahard,crisplineandathick,softline—thesearetheonlytwomarksyouneed.Now,forthegradation.
Thezigzagtechniquewillgiveyouagradationinanymediumyoucaretouse.Hardedgesandsoftedges—masterthoseandyou’vemasteredyourmedium.
Trythesenewstrokes:Sketchahouseholditem—acoffeecup,screwdriver,pencil,orasliceofbread.Learntodrawtheshapesyousee.Canyoudrawtubes,boxes,andballsfromyourhead?We’regoingtopracticealotofthatinthenextchapter.Youwantacatalogofsimpleshapestorelyonasyousketch—thebiggerthementalcatalog,thebetter.
That’sallyouneedtoknowtogetstarted,solet’s!
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Leaveapproximately1/4inch(6mm)ofcharcoalorleadexposed.Someartistsprefermore.Itendtobreakthemiftheygetlonger.Youwantthewoodcarvedbackatataperedangle.Thisallowsyoutomakethemarksyouneed.Itendtousethepencil-across-the-palmgrip(seeright).
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Thepencil-across-the-palmgrip.
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Figuredrawingataneasel.
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Turnthepencilagainstthestrokeandworkthepencilbackandforth.You’vemadeasoftzigzagline.Doitagain.Now,compressthezigzagandslowlylightenthepressureonthepage.Bycompressingthelineontopofitselfwhilelighteningyourtouch,youmakeagradation.
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Turnyourpencilinthedirectionofthestroke,andyou’llgetahard,crispline.Turnthepencilagainstthestroke,andyou’llgetathick,softline.Thisiswhythewoodhastobecarvedbackasitis.
Usealayerofatleastsixorsevensheetsofpapertodrawon.Theextrasheetsunderneathprovideaslightpillowingeffectthatwillmakeyourmarkmaking,especiallygradations,easier.Trydrawingwithandwithouttheextrasheets.Canyoutellthedifference?
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PART oneTHEELEMENTSOFDRAWING
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CHAPTER1STRUCTURE
Wehaveideaswewanttogetdownonthepage,butweneedmaterialstodothat.And,weneedsomelevelofcontroloverthosematerials.That’swhatthischapterisabout.We’llstartwithareviewofafewmaterialsandthencouplethosewithafewbasictechniques.Thisbookisnotjustaboutmakingmarks.It’saboutmakingtherightmarksfortherightjob.And,really,it’snottoodifficult.Wejustneedtomakesurethematerialsdon’tgetinthewayasweworkthroughourbigideas.
RecliningNude,c.2000,bySteveHuston.AlphacolorandContéchalksonStrathmore,Bristolpaper.
EssentialIdeasinDrawingStructureandgesturearethetwoessentialideasofdrawing.So,howcanwedefinethem?
Tounderstandandusetheideaofstructurewell,it’sbesttothinklikeasculptor,meaningwebuildourdrawingandpainting(asinsculpture)throughaseriesofconstructedforms.Structure,then,isthedistinctthree-dimensionalpart(s)ofanyparticularobject.Atreewouldhaveaseriesofpartsknownastheroots,trunk,branches,leaves,and,possibly,fruitornuts.
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Forthisbook,structureisanyandallpartsthatmakeupthehumanbody.
TheSages,c.1996,bySteveHuston.BrushandinkonStrathmorepaper,kidfinish.Todrawwellfromyourimagination,youmustbeabletoconceiveofsimplestructuresinspace.
Gestureisadifferentidea.Gestureisthelifelineembeddedinsideanylivingformandmimickedinmostorganicones.Thisgesturalideamakesyourartlooknatural.Youdon’tneedtoworryaboutgestureifyou’redrawingsomethinglikeaskyscraper.Everythingthereisstiffandmechanical.Thepiecesjuststackorlocktogetheronastraightaxis.Youdostillhavetoworryaboutthosemeasuringpointsandvanishingpointsthathappeninperspective,though.
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Sometimesthebiggestthingshavethesimpleststructures.Eventhemightiestskyscraperusuallyisjustmadeofboxes.
Ifwe’redrawingathumbnailsketchof,forexample,ariverinalandscape;orananimal;orabreakdownofthelightandshadowpatternsonanude;orastudyforafine-artpainting;oranaerodynamicjetairplane;orafantasyillustration;orathousandotherobjects,weneedtounderstandsomethingaboutgesture—andthemoreweunderstand,thebetter.We’lldeepenourunderstandinginchapter2.
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Everyfinefigurepaintingstartswithawell-constructedfigure.
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Alandscapeandafigurearenotasdifferentasyoumightthink.Bothcontainnature’sbeautifulorganicdesign.
Wheredoyouthinkengineersgettheiraerodynamicdesignideas?
WhatIsStructure?Let’stakeacloserlookatstructure.
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Structureisthepartsandthepieces—thethree-dimensionalforms.Initssimpleststate,structurecanbereducedtoballs,boxes,andtubes.Thegoalistotranslatetheworldintosomethingmanageable.Onlywhenyoutranslateitdoyouhaveanideaofitsmeaning.That’sstructure.That’sthefirstofourtwoideas.
Westartwiththesimplestpossibleforms.
Structureinthehumanbodyisdefinedasthejointedparts.Forexample,fromshouldertoelbow,that’stheupperarm,fromshoulderstowaist,that’stheribcage,andsoon.We’llgetabreakdownofthefullfigureinchapter6.
Thisconstructedwayofworkingcanbelooserortighter,fullfiguredorsmallvignettes.Itworksforthumbnailsketches.Itworksformonumentalmuralcommissions.Structureisgoingtobecomeoneofyourtwobestfriends.Youjustneedalittletimetogettoknoweachother.Letmeintroduceyou.
Volume,mass,three-dimensionalconstruction,form,structure:theygobymanynames.Thenamesdon’tmatter.Thepointistogettheideaontothepaperassimplyandeasilyaspossible,tostayincontrol,andtomakeitworkforyouonwhateverlevelyouneedittowork.Thinkofitasthescaffoldonwhichtohangyourdesignsandrenderingtechniques.
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Injustafewlines,wewanttofindalltheessentialelementsthatmakeupaspecificposeandeventhetypeofmodelinthatpose.
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FigureDrawing,c.2002,bySteveHuston.AlphacolorandContéchalkonStrathmore,Bristolfinish.Itcomesdowntothefactthatwewon’tmasterthiswithanykindofconsistency...
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...unlesswestartwithsomethinglikethis.
DimensionHere’swhatthree-dimensionalstructuremeanswhenworkingonflatpaper:Ifthemarksmadeonthepapermovetheviewer’seyeovertheform,thenshefeelsasolidthree-dimensionalstructure.Ideally,everymarkwemakeshowstheviewerstructure(or,aswe’llseeinthenextchapter,gesture).Thegoodnewsisthisisaloteasierthanitsounds.
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Turkeyfingersdon’tworksowell,dothey?Theylayflatbecauseoureyegoesaroundthefingershapeslikeashadowonthewallinsteadofoverthem,asthatsimplecylinderdrawingdemonstrates.
Constructedformsautomaticallyfeelthreedimensionalwhendonewellbecausethelinesmoveovertheform.Anotherwaytothinkofitisthateverymarkwemake,whethercarefullyrenderedorlooselysketched,shouldactasavisualarrow.Themoreconsciousweareofwherethearrowspoint,themoresuccessfulourdrawingswillbeintermsofstructure(andeventuallygesture).
Structure=movementovertheform.
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Everylinewemakeisavisualarrow.
TheThreeBasicFormsLet’slookmorecarefullyatourthreeconstructedforms:
1.Thesphere
2.Thetube
3.Thebox
Variationsofthesefoundationalstructuresreplaceandsimplifythetrickyanatomyofthehumanbody,makingwhat’sverycomplexsimpler.
Tryit.Ifyouneedto,rereadtheprevioussectiontoreviewtheprinciplesofmarkmaking.
Withpractice,wecandrawanythingwiththismethod.Usingever-greatervariationsofourthreefundamentalforms,we’llbecomeevermorecomfortableintheseeingandtranslatingprocesscalled“drawing.”
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Thethreebasicforms.
IfyoudrawatubelikeIdo,youstartwiththelength,addthewidth,andthenbuildontheends.Wedrawthetwo-dimensionalsidesandthethree-dimensionalends(theendofthetubeisthe“movementovertheform”idea).Untilwebuildthoseendsontotheconstructedshape,itwon’tmovetheviewer ’seyeoverthevolume.Itliesflat,incomplete.
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Buildingtheendsontotheconstructedshapemovestheviewer’seyeoverthevolume.
Whenweworkwithcomplicatedsubjectssuchasthehumanfigure,wewillcompleteeachstructurebeforeaddinganewone.
I’llleaveyoutoworkthroughtheotherforms.Butkeepinmind,justaswithballsandeggs,youcandrawtubesandboxeswithouteverdrawingastraightline.Thisiskeytodrawingorganicformssuchasthehumanbody(moreinchapter2).
Areminder:NoticehowI’vedrawnseverallinesforeachstepinconstructingmyshape.ThisslowsmedownandallowsmetoreallyseethewholestructureI’mdrawingandnotgetlostinrandommarkmaking,whichisveryimportanttoavoidbutveryeasytogetsuckedinto.
ADVANTAGESOFDRAWINGTHEWORLDWITHSIMPLECONSTRUCTEDFORMS
•Wegetourcompositionsorunderlyingdrawingdownquickly.Iusethisverymethodtodrawbigger-than-lifeheroicfiguresonthecanvasbeforeIpaint.
•Wecandesignandredesignvariouselementstoourheart’scontent,makingthemmorefluid,morestreamlined,moreheroic,morechallenging,ormoreofanyqualityyouwanttoinstillinyourart.
•Drawinglikethisallowsyoutoanimatetheobject.That’sright—thisisthestyleofchoiceforalmosteveryanimationartistintheworld.Howelseareyougoingtodrawacharacter40,000timesinincrementallydifferentpositionsandgetitright?Andevenif,likeme,youaren’tananimator,youcan“animate”yourdrawingintoslightlyorgreatlymoredynamicposes.
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•And,probablymostimportantforbeginners,theconstructionlinesactasthevisualarrowscriticaltomovingtheviewer ’seyeoverthepartsinexactlythewayneeded.Theybecometheroadmapforourrendering.Theygiveimmediatecontrolandexcellentcriteriaforcorrectingamistake.
Completeeachstructurebeforemovingon.Whenyoubecomeamaster,takeanyshortcutsyouwant.
Keepinmindthattwo-dimensionalstructureisjustasvalidanideaasthree-dimensional(3-D)structure.Wearefocusingon3-Dherebecauseitgivesusabetterunderstandingofhowtotranslatetheworldandmorecontroloverrenderingitinaconvincingmanner.
ChoosingtheRightFormsWenowhaveasenseofhowtodrawabeginningstructureandwhyit’simportant.So,howdowechoosetherightstructurefortherightjob?Afterall,therearenearlyendlessvariationsofourthreebasicstructures(sphere,tube,andbox).
Which,exactly,arethebestchoicesforanyparticulardrawing?
Whenshouldweuse,say,atubeinsteadofasphere?Andjustwhatkindoftubeshoulditbe?Long?Short?Taperedintoacone?Bentlikeagardenhose?
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Ifthatsoundsabitintimidating,it’sreallynot.Wejustreduceittotwocriteria:simpleyetcharacteristic.Here’swhatthatmeans.
BadgerandMolefromTheWindintheWillows,twentiethcentury,PhilipMendoza(1898–1973).Privatecollection/LookandLearn/BridgemanImages.
SIMPLEWewanttopickthesimplestpossibleformwecan.Simpleissimplyeasier—noteasy.Thinkofitthisway:Wouldyouratherdrawtheorbicularisoculi,thezygomaticarch,thecorrugatormuscles,andawholelotofothertongue-twistinganatomicalfeatures,orwouldyouratherdrawaballinahole?Thatisyourchoicewhentacklingtheeye.
Here’swhatelsesimpledoesforus:
Simpleisquick.That’sgreatfordeadlinesorforpeoplewithshortattentionspans.It’salsogreatforseeingwhetheryou’restartingyourdrawingwell.Ifit’snotworking,it’sarelativelyquickfixtoreplacetheproblemareawithanothersimplesolution.
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Simpleallowsustoconstructanythingwiththesamemethodsandprinciples.Forexample,it’sinterestingtothinkBadgerandMole(top)arebuiltthroughthesameprinciplesasApollonios’sBelvedereTorsoatright.
Thinkaboutit.Rubens“animated”hismodelsintodynamicpositionsjustascomicbookdraftsmen,illustrators,andmostotheraction-ormovement-basedartistsdousingthesameprinciples.Thatsumsupmythoughtsonsimple.
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CastoftheBelvedereTorso,originalbyApollonius(firstcenturyBCE).Plaster.UniversityofOxford,UK/BridgemanImages.
CHARACTERISTICCharacteristicisthesecondcriteria.Ifsimpleweretheonlyissue,we’djustdrawsnowmen.Butwewantthestructurewechooseforthehead,orthefingers,orwhatever,tobeascharacteristicaspossible.Findingstructurescharacteristicofwhatthefinishedproductwillbeensureswe’reontherighttrack.Itmeansfarlessworktofinishitoffinwhatevermediumwe’reworking.Itmakessure,rightaway,thatourpartsfittogetherwell.Fittingtogether,bytheway,isalsoimportantforgesture,butI’mgettingaheadofmyself.
TakeabrieflookbackatsomeofthedrawingsIdidandlookmorecarefullyatthesimpleyetcharacteristicformsused.
NoticethisLucaCambiasodrawingissimplebutnotalwayscharacteristic.Somethingthisoversimplifiedisfinefordesigningacomposition—includingpointofview,asCambiasointended—butnotforbuildingfigurestoberenderedincharcoal,paint,orclay.
ChristLedAway,sixteenthcentury,LucaCambiaso(1527–1585).Penandinkwithwash.NationalMuseums,Liverpool/BridgemanImages.Cambiasoisfamousforhisbox-headcompositions.Wewanttotakethingsabitfurtherforourpurposes.
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Itissometiculousthat,tobeginadrawingwiththismuchdetail,itissimply(punintended)overwhelming.Theotherthingaboutfocusingontoomuchdetailtoosoonisitleadsyoutocopythesubjectratherthantranslateit.Andthen,theregoestheunderlyingidea.ThishighlyanatomicaldrawingbyAlbinusiscertainlycharacteristic,butagain,alittletoomuch.
Avoidthesekindsofradicalstylizationsoroverwhelmingdetailsuntilyou’vemasteredthesimpleyetcharacteristicprinciple.
Noneofthegreatartistsorartmovementscopiednature.Infact,Albinuswascriticizedforlettingtheengraverputinfancifulbackgrounds.Theiruniquevisioniswhywerecognizetheirwork.It’swhytheyhadstyle!Allofthatembodiesthesimpleyetcharacteristicprinciple.Eachofuswilldoitdifferently,andthatisagoodthing.
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Musculature,illustrationfromTabulaesceletietmusculorumcorporishumani,1741,byBernhardSiegfriedAlbinus(1697–1770),publishedbyJ.&H.Verbeek,bibliop.,Netherlands.Engraving.HumboldtUniversityofBerlin/BridgemanImages.
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OLDMASTERstudyOnthesefinalpagesineachchapter,wewillcloselyexamineanOldMasterpiece.ThroughthelineworkthatI’veaddedontopofeachpainting,youcanseehowourfundamentalconceptsfordrawingapply.Onthefacingpages,you’llfindsuggestedpracticeexercisesthatwillhelpyouapplyourconceptstoyourwork.WebeginwithawonderfuldrawingbyRaphaelSanzio.
TheTriumphofGalatea,sixteenthcentury,Raphael(RaffaelloSanzioofUrbino)(1483–1520)(after).Redchalkonpalebuffpaper.UniversityofOxford,UK/BridgemanImages.Thesesimpleyetcharacteristicchoicesarejustright.
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I’vemarkedoffjustafewoftheballs,boxes,andtubesinRaphael’slovelycomposition.Canyoufindothersbylayingtracingpaperoverit?
GIVEITATRY:Exercise1
Laytracingpaperoverthisdrawingandcopythesimpleboxes,balls,ortubes.FindtheonesIdidn’t.Then,tryitwiththeOldMasters.SeewhetheryoucanfindthesimplestructuralsolutionsforallthatstuffourgoodfriendMr.Sanziotossedourway.
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Awell-constructedfigurehappensonestepatatime.
GIVEITATRY:Exercise2
Startasketchbookdrawingeverydayobjectsaroundthehouseoroffice.
Almostanythingiseasiertodrawthanthehumanfigure,butwegetwhateverwechoosetodrawonthepageusingthesamemethod.
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CHAPTER2BASICGESTURE
“Structureandgesture”arefancywaysofsayingthepartsandtherelationshipbetweentheparts.Ifyouholdontothosetwoideas,ifyouusethemtoguidethemarksyoumake,youwillexecuteexceptionaldrawings.If.Justif.
StructureisIdea1(seechapter1).GestureisIdea2,whichwefocusonhere.
Westartedwithstructurebecauseit’seasierthangesture.Gestureismorefundamentalandmoreimportantthanthesimple-yet-characteristicstructurewemightchoose.Gestureistheconnection,therelationshipbetweentheshapes.Gestureisthelifeline.Itkeepsourdrawingsfromlookingstiff,mechanical,andpiecedtogether.It’swhatgivesthesubjectalivelyandorganicquality.Bylivelyandorganic,Isimplymeandrawingstructureswithlongaxiscurves.We’lldigdeepintothisshortly.
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Lynn,c.2004,bySteveHuston.AlphacolorandContéchalkonStrathmore,Bristolfinish.There’snothingmorebeautifulthanafiguredesignedoffafewgracefulcurves.
Whyisthecurvedqualityofgesturesodifficultandsocritical?It’sdifficult,amongotherreasons,becauseit’ssneaky.Noviewers,andpreciousfewartists,canactuallyexplaintheideaofgesture.It’sliketherhythmsofafinebassguitarist.Wejustfeelit,yet,it’scritical.It’stheonlywaytobringourdrawings,paintings,andsculpturesalive.
Whymustitbecurved?
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Anythingaliveis,mainly,water—fluid.Thehumanbodyisabout60percentwater.
Everyorganicthing—rivers,clouds,fire,smoke,drapery,branches,vinesandflowerpetals,rockandsoilformations,abladeofgrass—hasthatwateryquality.Organicstructuresevolve,stress,weather,calcify,aresubjectedtochaostheoryandwindshear,andsoalmostneverdevelopsymmetrically.Organicthingsgrowoffaxis,acquiringthatexquisitefluidity:wanderingthiswayandthat,surprisinganddelightingusintheirinfinitevariations.Ofcourse,thereareexceptions,butaslongasthestructurehasanasymmetricaldesignorsitsinadynamicposition,itwill,inalllikelihood,havealongaxiscurve—agesture.
TheIdyll,c.1997,bySteveHuston.BrushandinkonStrathmore,kidfinish.Theworldisfullofwaterydesignlines.Justlookaround.
Forartists,thismeanstheessentialqualityofanyliving,organicthingisitswatery,fluid,graceful,curveddesign.Assumeithasagestureandfindit.Seehowyourforearmrisesandfallsalongitswave-likecontour.Lookatthecurvatureofthespine.
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NoticethatifIomitsomeofthelesserstructuresinthisdrawingwedon’tmissthem.But,ifIfailwithevenonegestureline,Imaylosetheessenceofthefigure.
Thestructureitself—thebones,muscles,andsinewoftheforearm,thevertebraeofthespine—isinherentlyimbuedwithafluiddesign,notjustwobblysurfacevariations.Thesestructuresshowtheirwateryorigins.
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Thefirstlineshowsafundamentaldesign.Theotherlineshowsinterestingvariationalongwhatisstill,essentially,astraightstretch.Wealwayswanttogetthebigsimpleideasdownbeforeweindulgeinthesmall,complexones.
Eveninaquicksketch,therecanbealotgoingon,andgestureshowsupinonlyverysneakyways.Tryingtounderstanditcanbeblink-back-the-tearsdifficultifit’snotapproachedtherightway.Wecandobetter.Let’sstartslowly.
ThechallengeforusbecomeshowtokeepyourcarefullystructuredfiguredrawingfromlookinglikeFrankenstein’smonster(below).Whydoyouthinkwecallcorpses“stiffs?”
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Withoutdoubt,stiffnessisthebiggestknockagainstaconstructedstyle—andrightlyso.
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Ifyoufollowatwo-stepprocessofgesture/structure,youavoidboththestiffstructuresandstickfigures.
Ontheotherhand,ifyoutrytoputgestureintoyourartwithoutagoodstrategy,youendupwithastickfigure(above)thatismainlyuselessforbuildingon.Gestureneedstoaccomplishtwothings:
1.Thegesturelinemustactasthefundamentaldesignline.
2.Thegesturelinemustactastheconnectingline,somethingtowhichthestructurecanattach.
Putsimply:
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gesture=thelongaxiscurveofanystructure
Gestureprovidesthefundamentaldesignlines.
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ThrowingaJab,c.1999,bySteveHuston.AlphacolorandContéchalkonStrathmore,Bristolfinish.Nomatterhowbeautifullyexecutedthefinalproductis,thegesturehastobethereorthedrawingdoesn’tcomealive.
Let’slookagainatourthreebasicforms.
Rememberhowwedrewthelength,width,and,then,depthtogetourtubeandboxforms?Theballtookcareofitselfintermsofprocess.Fortheothertwostructures,thetubeandbox,wedrewthetwo-dimensionalsidesandthenthethree-dimensionalends.Ifwesimplycurvethesidesabit,wehavegesture.And,notice,wecandrawaboxformwithouteverdrawingastraightline.Thatmakesitlivelyandorganic—notmechanical—andthat’sexactlywhatweneed.
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Payattentiontotheredlinesthroughouttherestofthebook.Theirpurposeittohelpyoumapthestructuralandgesturalmovementsinthevariousartworksshown.
Herearethethreepossiblesolutionsforgettinganoverallcurved,longaxis—agesture—toanyform.
Foreachcurveddesign,thereisabulgingsideandabindingside,orrather,onesideisconvexandtheotherisconcave.I’mdefiningourgestureasthebulging(convex)side.
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Don’tallowthesidestoopposeeachotherunlessthestructureisaneggshape.Thatwillcanceloutyourfluidgesture.
Here’sanotherthoughtaboutthatcurved,longaxis,orstructure:alwayserronthesideofthemoredynamic.Thatmeans,ifthegestureiscurved,makeitmorecurved.Iftheshadowisdark,makeitalittledarker.Thinkaboutit:whenwritingacomedy,it’sbetterandsafertomakethejokestoofunny.Infact,canyouevenimaginecomingoutofatheaterwiththatcomplaint?
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Downed,2010,bySteveHuston.Oiloncanvas.Gesturecanbringnotonlylifebutactiontoyourwork!
Itispossibletobendalongaxiscurvetoomuch,butoddsareyouwon’t.Ninety-fivetimesoutofahundred,youwillstiffenratherthanloosen.Icanalmostguaranteeit.Andifyoudooverplayitabit,evenquiteabit,whenyouaddallthelumpsandbumpsofdetail,itwillnaturallystiffenupanyway.So,fornow,livealittle.Pushthatcurve!
Wheredoesthatleavetheballforms?
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Thegoalisalwaystokeepthestructurewhilestillgettingthegesture.
Noticetherearethreewaystogetanicelongaxiscurve.Justchoosetheonemostcharacteristicofwhatyousee.Anywouldlooksuitablyaliveforthehumanbodyoranysuchorganicform.
Rememberthestraight,redlineinthatballshape?Ifthesidesopposeeachother,theycanceloutthefluiddesign,andthere’snogesture.Sooddlyenough,thecurviestformofall,theball,isstraightandstiffasfarasgesturegoes.
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Avoidopposingcurvesthattakeupmostorallthelengthofyourjointedpart.
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Gesturecanorganizeseveralsmallstructuresunderonebigidea.
Takeafewminutestostudythesefiguredrawings.I’vefloatedsomeredlinestoshowwheresomeofthegesturesareandhowtheytrack.Keepinmindthateverystructurewithanysubstantiallongaxishasalongaxiscurveworthcapturing.Canyoufindtheothers?Trylayingtracingpaperoverthepage.We’llbuildonthisinlaterchaptersaswelayoutthestructureandgestureofeachbodypart.
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Theviewer’seyeflowsovertheforms,asoverawaterfall,whenthegesturesarewellconceived.
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Thelongerandmoregracefulthegesturalcurve,themoresmoothlytheeyemovesoverthevariousforms.
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OLDMASTERstudy
Don’tbefooledbyallthelittlewobbles.Wewantthebigsweepingcurvesthatdefinethebigstructures.Andtrytolookpastthatincrediblelinequality...okaydon’t!Pontormowasphenomenal,wasn’the?Canyouevenfindastraightlineinthiswholedrawing?Now,thisisalive!
StudyforaGroupofNudes,byJacopoPontormo(1494–1557).Chalkonpaper.Galleriedell’Academia,Venice/BridgemanImages.
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Remember,useonlyonelongaxiscurveforeachjointedpart.
GIVEITATRY:Exercise1
Laytracingpaperoverthisdrawingoroveranydrawinginthechapter.TrytofeelthelongaxiscurveineachjointedbodypartinthisBoucher.
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NudeYoungWomanSitting,Asleep,byFrançoisBoucher(1703–1770).Chalkonpaper.Privatecollection/BridgemanImages.
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CHAPTER3ADVANCINGTHEIDEAOFGESTURE
Sofar,we’vefocusedongesture(thefundamentaldesignline)asawaytogivelifetoeachbodypartandlinktothestructure.Whenconsideringthehumanbody,itismadeupoflotsofparts,andtheyallneedtoworktogether.Inchapter1,Idefinedstructureas“themovementovertheforms.”Thinkofgestureasthemovementbetweentheforms.
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HerculesStranglingtheNemeanLion,c.1620,PeterPaulRubens(1577–1640).Chalk,ink,andgouacheonpaper.TheClarkArtInstitute,Williamstown,Massachusetts/BridgemanImages.
TheDesignofLifeGesture’sgreatestgiftistoshow,onafundamentallevel,howtomovegracefullyanddynamicallyfromtheheadtotheneck,fromtheribcagetothehips,allthewaythroughthebody.Gestureiswhatmakestheseparatepartsonewhole.Inotherwords,gesturecomposes.
Ideally,apainterdoesn’tpaintsevenpeachesandanapple.Shepaintsonestilllife.Awriterdoesn’twritetwelvecharactersintosixty-fourseparatescenes.Hewritesonestory.MozartsoundslikeMozartonlywhennotesandinstrumentsareorchestratedtogether.Anyartistwhojustfocusesonthepiecesendsupwithpieced-togetherresults.
Art’sjobistoorchestratelifeintosomethingpowerful,effecting,andmeaningful—somethinggreaterthantheindividualparts.Artchallenges,harmonizes,ordramatizes.Itcanbecathartic,itcanbeinfuriating,butit’salways,alwayscomposed.Onesong.Onestory.Onedance.Onemeal.Onefigure.Gestureisthechef’ssecretsauce.Gestureisthedesignoflife!
So,thenexttimeyougetoutyourpencil,grabholdlikeit’saconductor ’swandandgetreadytoplay.
THEWAVEWe’velearnedthatanythingaliveismainlywater—fluid.Thatmeanslifeisdesigned,fundamentally,offthelongaxiscurve.Howdoesthatwaterydesignideaworkinacomplexofstructures?Itworksthroughthewave.
Likeallanimals,thehumananimalisdesignedtobeabletoholdstillinhopesthecavebeardoesn’tseeitandthentobeabletorunlikethedickenswhenitdoes.Allanimalsneedthestabilityofatreeandtheexplosivepotentialofatension-filledspring—togofromstillnesstoactionintheblinkofaneye(orthegrowlofabear).Thewavedesignaccomplishesthismarvel.Thewavedesignisthedesignoflife.Itstabilizeslivingforms,yetallowsforquickmovement.
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Thehumanbodyisabalancingact.
Anysetofformswithanasymmetricaldesignorinadynamicposeisabalancingact.Whenalltheformswithinthatsethavealongaxiscurveasthebasisoftheirdesign,thebalancingactbecomesawavedesign.
Followtheturquoiselinesfromheadtotoeinthefigureatlefttoseeallthelongaxisgesturesforallmajorbodyparts.Noticeanythinginteresting?Gesture1(G1)ishighandtotheleft.G2islowerandtotheright.G3islowerstillandtotheleftagain,andsoonallthewaydown.Ifwetakethosegesturesandmovetheminside...thereisthatmarvelous,wondrouswave.
Thewavebecomesazigzagifwecompressit.Noticeeachzigandzagisstillalongaxiscurve.Thewaveislifeinrelaxationorsubmission.Thezigzagislifeinactionoraggression.Thereisthedesignoflife,andwearegoingtofinditstwoincarnationsthroughoutthebodyunderlyingthebigsimpleideasandthesmallcomplexones.
Intheimageopposite,seehowthebodycroucheslikeacoiledspring.Whenthatpotentialenergyreleases—WHAM!—itthrowsoffgravityandmovesthebodyintoflightorfight,ordancingthatSlavickickdance.
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MotionStudy:BoyJumpingtotheRight,1884,ThomasCowperthwaitEakins(1844–1916).Gelatinsilverprint.PhiladelphiaMuseumofArt/BridgemanImages.Thezigzagis,generally,theessentialelementingettingmovementintoyourart.
LandscapeSketch,c.2004,bySteveHuston.Oilonpanel.Anexampleofthewavedesign.
Thewavemakesthepaintingaboveseemcalmandrelaxed.Artistsusethewavedesigninmanysituationstoevokejustthatkindoffeeling.(Bytheway,simplifyingthedetailandmakingyourdesignhorizontalratherthanverticalalsorelaxesthemood.)
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Aboutmy“calm”landscapepainting:Itreallylookslikeastormiscoming,doesn’tit?Itriedtoquietitdownevenmoreinthisoilsketch.ButIcan’tseemtostayawayfromthoseaggressivezigzagmarks.Seewhetheryoucancalmthestormbysketchinginmorewavesandpullingoutmostofthezigzags.
StraightShot,2011,bySteveHuston.Oiloncanvas.Youcanseehowzigzagsarethebreadandbutterformyboxingpaintings.Eventhepaintstrokesthemselvesaremainlyzigzags.
CONTRAPPOSTOWhenIfirstheardaboutcontrapposto,Ithoughtitwasapastadish.Actually,itmeans“counterpose”andcomestousfromtheGreeksandRomansbywayoftheRenaissance.
Let’slookatthekouros(nudemaleyouth)figureatright.OurearlyGreekfriendisveryproperandsetinaperfectlysymmetricalpose.Hisfeetareplantedsquarelyandhiscenterofgravityissetrightbetweenhislegs.He’sstable.Lifeisbalanced.Suchbalanceandsymmetrydon’tshowofflife’sdesignprinciplesverywell.Theydon’tcurve.Andifyouwalkpasthimfortheninety-ninthtimeonyourwaytotheBacchanalia,he’salmostboring.
However,Ms.deMiloshowsussomethingverydifferent.IimaginesomeanonymousGreekgeniusstormingaroundhisstudio,furioushehastocarveanotherkouros.Andbeinganervousfellow(likeallartists),hekeepsshiftingfromfoottofootashecomplains.Hehappenstoglanceintoamirrorandseeshisweighthasshiftedmoretoonefootthantheother—whatadiscovery!Theideastrikeshimlikeathunderboltfromhisfavoritedeity.Contrapposto!—it’swhatRodincalledtheclassiccurve.
Here’showitworks:Whentheweightshifts,evenalittle,toonesupportingleg,theotherlegrelaxes,flexes,andthehipfallscomparedtothesupportingside.Thattiltisthenbalancedbytheshoulderstiltingtheotherway.Onesideofthetorsoendsupstretching,theothersidepinching—contrapposto.That’sthewave.Exactlywhereeachcurvebeginsandendsdepends
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onhowthevariouspartsarticulate.But,it’sthere.AndeveryartistsincewellbeforeMs.deMilo’screationhasusedittocomposeafigurativeworldintoagracefulanddynamicwhole.
MarbleFuneraryStatueofKouros,c.sixthcenturyBCE,Greek.NationalArcheologicalMuseum,Athens/BridgemanImages.Beautifulorboring?
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AphroditeofMilos,knownas“VenusdeMilo,”c.secondcenturyBCE,Greek.Marble.Louvre,Paris/BridgemanImages.Whendealingwiththeconceptofcontrapposto,it’sallaboutsymmetry,whichmeansdynamicdesign.Andthat’sthewave!
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Seethecontrappostonow?
Here’sthegreatthing:Asyouwalkaroundthesculpture,nomatterwhatviewyoutake,thatcurveiscomposingtheheadandtorsointothosetwo,bigsimple,opposingrhythms.Thelimbsworkwithoragainstthoserhythmswiththeirownlesserrhythmslikegoodsubplotstothemainstory.
Whyisthissoimportant?Becauseassoonastheweightshifts,theposebecomesdynamic.Itbecomesasymmetrical.Theposehasmorepotentialenergy,andthatfeelsmorealivetous.
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It’stheplaybetweensymmetryandasymmetrythat’stherealmeatofgooddesign.Itimplieschangeisabouttohappen.That’sinteresting.Instorytelling,theycallitdrama,anditwillkeepyoubusyfortherestofyourcareer.
RearViewofAphrodite,the“VenusdeMilo,”c.secondcenturyBCE,Greek.Marble.Louvre,Paris/BridgemanImages.Thoughtherearealwaysseveralgesturesineverypose,thetwokeygesturesaretheribcagetothehipandthehiptotheleg.
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OLDMASTERstudy
Rodin(oneofmyfavorites),waskeenlyawareoftheOldMasters,particularlyMichelangelo.AsMichelangelotookfromApollonios’sBelvedereTorso,RodintookfromMichelangelo.Bytheway,Michelangelo’snicknamebyotherartistswas“IlDivino,”thedivineone.
InAgeofBronze,Rodintooktheclassiccurveabitfartherbycarryingitupthroughthatraisedarm.Seehowthehiptoelbowgestureplaysohsosubtlyagainsttheopposinghipandleg?Infact,hecarriedthatsecondgesturealittlefartheraswell.Itgoesupalmosttothechest.Thedivineandtheaugust—quiteapair!
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AgeofBronze,c.1877,AugusteRodin(1840–1917).Plaster.StateHermitageMuseum,St.Petersburg/BridgemanImages.
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AfineexampleofwhatRodincalled“theclassiccurve,”whichiswhatIcall“thegesture.”CanyouseehowthesetwoprimarygesturelineswerethefoundationsforRodin’sentiredesign?
GIVEITATRY:Exercise1
Laytracingpaperovertheimagesonthesetwopagesanddrawwell-constructedformsoverthemajorbodyparts.
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Don’tgetseducedbythebulgingmuscles,forexample.Wewanttolookforthesinglelongaxiscurvethatrepresentsthecompletepartorparts.Gettingthatlongaxisgesturerightismoreimportantthanpickingthisorthatsimplestructure.Findasmanygesturesaspossiblewithaneyeonthatside-to-sideswing.Thisishowwebuildourall-importantwaveorzigzagactions.
Remembertotakeitonelongaxiscurveatatime.Ifyouhavetrouble,gobackandreviewthePontormoanalysisfromthepreviouschapter(seehere).
Dagmar,1911,byAndersLeonardZorn(1860–1920).Oiloncanvas.Privatecollection/BridgemanImages.
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CHAPTER4PERSPECTIVE
We’velearnedourbasicapproachtodrawingbeginswiththesimple-yet-characteristicidea.Now,weneedtolayeronperspective.Mostofusthinkofperspectiveasmathpretendingtobedrawing.Butthisisn’ttheoldvanishingpointperspective.It’spretendperspective.
RecliningMaleNude,c.twentiethcentury,NikolaiFechin(1881–1955).Charcoalonpaper.UniversityofOklahoma/BridgemanImages.Whentheposemovesintoadynamicposition,proportionscanchange.Inthiscase,pickaconvenientstructureinthepose(thehead,ahand,orafoot)andusethatasyouryardstick—howmanyhandsdownuntilyoureachtheforeshortenedbellybuttonandsoon.
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TrianglesandT-SquaresAsideLet’sdefineourterms.Perspectiveisjustacomplicatedwayofsaying“position.”Inathree-dimensionalworld,therearethreepositionsinspace:lean,tilt,andface.
Remember,we’redrawingthehumanbody.So,we’renotconcernedwithabackgroundwithvanishingpoints,stationpoints,oranyofthestickytanglesoftraditionalperspective.Allweneed,infact,isoneeyeandthepenciltest.
Tobeclear,therearewaystomakeformalperspectiveaccessibleand,yes,evenfun.AndIabsolutelyencourageyoutopursuethatwhenyou’rereadytogofromsketchingtofull-blownpicturemaking—justnottoday.
You’vealreadybeendoingperspective,bytheway.We’vebeenworkingwiththree-dimensionalstructuresforafewchaptersnow.Threedimensionsarethreepositionsinspace.Andremember:
position=perspective
Ifyouknowhowastructureleans,tilts,andfacesagainstaflatverticalwallliketheoneattheendoftheroomyou’reinrightnow,thenyouhavealltheperspectiveyouneed.Whenyoudraw,justimaginethesurfaceofyourpaper—calledthepictureplane—isawindowonthatwall.Themodelfacesaway,leansagainst,andtiltsinandoutrelativetothatplane.That’sit.Whatfollowsismeremindingyouwhatyoualreadyintuitivelyknow.Infact,afterafewshortparagraphs,youwon’tseetheword“perspective”fortherestofthebook.Ipromise!
Let’sconsiderourthreepositions.Structureisallaboutcorners.Themorecornersyouhave,themorestructureyouhave.Tomakethatdefinitionasusefulaspossible,I’mgoingtoaddthatstructureisnotthesameasthree-dimensionalform.Instead,we’lldefineitthisway:
structure=form+position
Pretendallfourformsintheimageonthispagehaveplentyofvolume.Infact,theyarerenderedperfectly,madeoftitaniumsteel,andevenweighthesame.Thespherehasweight,volume,andmass.Ithasform.But—byourdefinition—ithasnostructure.Theboxhasformandithasalotofstructure.What’sthedifference?Corners.
Intheimagebelow,theredlinestellthetale.Aswelookatthelonelysphere,wecan’ttellwhetherwhatweareseeingisitsfront,side,top,orbottom.Weknownothingaboutitsposition.Meaning,wecan’ttellifit’sleaning,tilting,orfacing.Newsflash:sphereshavenocorners.(Iknowyouknowthat;I’mjustputtingitincontext.)
Theegg,tobeanegg,hasalongandashortaxis.Wefeeltheinteriorcornercreatedbythemeetingofthelongandshortaxes.Weknowoneofitspositionsinspace.Weknowitleans.
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Thetubehasthesamelongandshortaxis.Itleans.Wealsoknowitstoptiltsintothepictureplanebecausethebottomplanecreatesacorner.Wenowknowasecondpositioninspace—andyou’reprobablyaheadofmehere.Theboxhastheleaningpositionandthetiltingposition.Butbecauseithassideplanes,weareaffordedanothercorner,andsoweknowthethirdpositioninspace:howitfaces.
Leaning.Tilting.Facing.Threepositions.Threedimensions.That,myfriends,iswhatwecallperspective.
Thesphere,theegg,thetube,andtheboxinposition
THEPENCILTESTForthis,it’sbesttouseatubularpencil,ormarker,orsuch,somethingwithanicestripeofcolororametalerasercasingthatclearlytracksaroundthewidthofthetubularstructure.Now,setitdown.Wedon’tneedit...yet.
Let’sstartwiththefacingposition.Lookatthecenterlineofthefaceortorsointhefigurebelow.Bothareintuitive,but,sometimes,weflubthem.It’seasiestwhendrawingthefaceinanykindofthree-quarterpositiontolooktothefareyesocket.Howmuchsocketdoyouseeonthefarsideofthenose?That’swhereyou’llseethecenterlineveryclosetothefarsideofthehead,andsoyou’venaileddownthefacingposition.
Forabackview,howclosedoestheearcrowdthefrontoftheface?That’saboutit.Profiles,front,andbackviewstakecareofthemselves.We’llsavethemoredynamicpositionsforlater.
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Usingthepencilformorethanmarks
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Tofindthefacingpositionsofthetorso,weneedtolooktothewaistandnottheshoulders.
Thefront,back,andprofilepositionsofthetorsoareobvious.However,theshoulderscanfoolusinanykindofthree-quarterview.Eveninaprofile,theshoulderscanfoolyouintothinkingit’sathree-quarterview.
Thetrickistolooktothewaist,astheturquoisearrowsshow.Howclosedoesthecenterline(thespineorbellybuttontocrotch)cometothefarsideofthewaist?Whenyouhavetocheckproportionsvisuallyorotherwise,alwaysmeasureontheshortornarrowside.It’seasier.Nomatterhowwidetheshouldersget,youareonlyconcernedwithdrawingawaist-widetubefortheribcageuptothepitoftheneck.And,ofcourse,itcantaperintotheneckbywayofthebottleshapeifyouwish.Itisnotaffectedbythewidthoftheshouldergirdle.(We’lllookatthismorecarefullyinchapter9.)
Whataboutthelimbs?Thelimbswillorientbythecorrectplacementofthekneesandelbowsandbyhowtheyattachtothetorso.That’sitforthefacingposition.
Usingthepenciltofindtheleaningposition
Fortheleaningposition,wedoneedourpencils.Looktothecenterlinesagain,inthiscase,forthetorso.Usethelongaxislandmarksasshowninchapter3.Startwithaconvenientsectionifyou’redealingwithalongaxiscurve,asyouusuallywillbe.
Closeaneye.Leanthepenciltomatchtheleanofthebodypartyou’redrawing.Bringthepencildowntoyourpaperwithoutalteringthepencil’slean.Drawtheangle.Itcanbethe
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centerlineoroneofthesidesifit’satubeorbox.Youcanbuildoutthefullgesture,sectionbysection,byrepeatingthesteps.Itwillendwiththecurvedidea,justachiseledversion.I’veshownthatonthefigureoppositewiththedottedredlinesaboveandbelowthesolidone.You’redonewiththelean.
Theleangivesusourtwo-dimensionalsides.Withthetilt,weaddthree-dimensionalends.Thetiltgivesusthemosttroublebecausewearetelling,ineffect,alie.Thepaperisflat.Ithasnodepth.Andyet,wewantouraudiencetofeelthetorsobendingandtiltingintothatflatplane.Aswebuildoutthedrawing,wewantthemtofeelthatmuscleandbonebulgeoffthesurface.Wearen’tcreatingdepth,space,oranythinglikethat;wearecreatingtheideaofit—curvesandcorners,myfriends,curvesandcorners.
Returntothefigureatleft.Closeoneeye.Lineupyourpencilwiththetopofthebodypartyou’reworkingon.Tiltthepencilinthesamemannerthatthebodyparttilts.Ifthepitoftheneckisfartherfromyouthanthebellybutton,tiltthetopofyourpencilthatway.It’sbesttoexaggeratethetiltabit.So,whenindoubt,erronthesideofthemoredynamic!Pushitintoadeepertiltthanyouthinkitreallyis.Idon’texpectevenaNewYorkartcriticwillcomplainthatyourdrawinghastoomuchdepth,doyou?(Right,theyprobablywould.)Pushingyourideas,however,caneventuallybecomethebasisofyourstyle!
So,thatisallthreepositions:facing,leaning,andtilting.Congratulations!Youhavedecipheredperspective.
EYELEVELThereisasecretaspecttoperspectivethatsometimeseventheprosmiss.Thereisthepositionoftheformitselfasexplainedbyfacing,leaning,andtilting.Wejustdidthat.But,thereisalsoourpositiontotheform.Andbyour,Imeanbothartistandaudience.
Thissecondaspectiscritical.Withoutit,you’llneverbeabletoplaceyourfiguredrawinginaconvincinglyreal-worldenvironment.
Thinkaboutit.Ifaguardstandsatattention,histhreepositionsarefixed.Wecanwalkaroundhim.Obviously,thefacingdimensionchangesinrelationshiptoourmovement.But,whatifwedecidetolieonourstomachtodrawhim?Whatifweclimbaladder?Bothwouldbe,shouldbe,verydifferentdrawingseventhoughhehasnotmovedamuscle.
Whatweneedtoknowtodrawanyforminafullystructuredposition,then,isoureyelevel.It’snothard.It’ssimplyoneofthosequiettruthsthatbecomesapparentonlywhensomeonepointsitout.Otherthanliningupthetopofyourpencilendwiththetopofabodypart(ifyou’relookingatsomethingbelowyou,you’lllikelywanttosightbottomtobottom),it’sthesamethingasourtiltingtest.Fromnowon,justdothemasonestep.Thepenciltesttakescareofthisone,too.
Thethinkinggoeslikethis(seeFig.A):Ifweseeatubeinaperfectlyverticalpositionintermsoftilt,inperfectalignmentwiththepictureplane,asinschematic1(S1),andoureye
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leveldropsunderneathit,thenwedrawtheribcageasIdidindrawing1(D1).
Fig.A.Therearethreevariationstoconsiderwhenunderneaththesubject.
But,ifoureyeleveldropsunderneathitandit’stiltingawayfromusatthetopasinschematic2(S2),thentheunderneath-ness,thecurvatureoftheends,doublesupsotospeak,andweendupwithamoredeeplytiltingpositionlikedrawing2(D2).
Holdyourpencilverticallyandliftitsoitsflattopalignswiththetopofthetubularribsandtiltitintothepictureplaneastheribsdo(seeFig.B).Asalways,it’sbettertoerronthesideofthemoredynamicandoverdothetilt.Anycurvingstripeacrossthepencilwillshowyouhowtoconstructyourthree-dimensionalends.(Testtheideaagainstsomereal-worldobjectseveralfeetaboveyou.Afewinchesmightbesosubtlethatthepencilendlooksflat.)
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Fig.B.Drawingwiththeeyelevelinmind.
Last,ifthetubetiltstowardusatthetopandremainsaboveoureyelevel,asinschematic3(S3),thenweendupwitharibcagethathasmoreorlesscanceledthedepthcluesandwedrawflatends,asindrawing3(D3).
Ihopeyoucanseehowtheeyelevelalwayshasaneffect.ThelittlefigurebeforethegiantRomancolumninFig.Cseeseachsegmentinadifferentpositionrelativetohiseyelevelandsomustdraweachsegmentwithdifferentthree-dimensionalends.Whentheeyelevelishigh,thelogicisthesame.Forthenextset,I’lljustusestraighttubes.
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Fig.C.Usingthethree-dimensionalendswitheyelevel.
Ifweseeatubeinalignmentwiththepictureplane,Fig.D,asinschematic1(S1),andoureyelevelrisesaboveit,thenwedrawtheribcage,moreorless,asIdidindrawing1(D1).Ifit’stiltingawayfromusatthetop,asinschematic2(S2),thenthe“ontop-ness”cancelsthingsoutagain,moreorless,andweendupwithsomethinglikedrawing2(D2).Andlast,ifthetubetiltstowardusatthetopandremainsbelowoureyelevelasinschematic3(S3),thenweendupwitharibcagethathasdoubledupandwedrawdeeplycurvingendsasindrawing3(D3).
Fig.D.Drawingfromahigheyelevel.
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DoesFig.Elooklikeatubetoyou?Ihavetotellyouit’satubebecausethecontourdoesn’tsay“tube.”Ofcourse,Icouldrenderitwiththeappropriategradations.But,thedesignitselfisnotsupportingtheideaoftube-ness.
Fig.E.Canyouguesstheproblemindrawingstraightlinesforthethree-dimensionalends?
Let’srevisitthetouristinFig.C.Noticeonlythehorizontalsegmentathiseyelineisstraight.Thesegmentbelowthatlinecurvesdown,andthesegmentsaboveitbowsup.ThatmeansonlyoneendofthattubedrawinginFig.Ewouldbestraight.Theotherwouldbecurvedslightly,atleast.Thisisabetterdesign.
Betteryetwouldbeamoredynamicdesign.Tiltthewholestructureslightlyinoroutofthepictureplane.Ifit’ssocloseitlooksflatonthepage,thenpushingitonewayortheotherwill
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readilybeacceptedbytheaudience.Ijustpushittowardmydesignidea.Forexample,ifit’smostimportanttometoshowviewersthey’reaboveorbelowtheform,thenItiltitwiththatinmind.Ifit’smostimportanttoshowtheformbreakingthepictureplane,thenIgowiththatidea.Butremember,thisisjustforclosecalls.Ifit’sclearlytilting,stickwithwhatyouseeandusethepenciltesttodrawit.
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OLDMASTERstudy
StudythislovelyBoucher.We’relookingdownonit,aren’twe?Infact,oureyeleveliswellabovethetopofthepage.Forfun,I’vedoneasomewhatsimplerredrawwithoureyeleveljustoverthetopofthefigure’shead,andanothersmalleronewithanevenlowereyeline.Inboth,I’veremovedthedraperyforclarity.Theturquoiselinesshowtheapproximateeyelines.They’requitedifferentdrawings,aren’tthey?
RecumbentNude,c.eighteenthcentury,FrancoisBoucher(1703–1770).Pencilandchalkonpaper.Privatecollection/BridgemanImages.
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SeeingtheBoucherfromdifferentperspectives.
GIVEITATRY:Exercise1
TrythesamewiththisWatteau.Let’ssaywe’reatthebottomofherseat.Trygoingevenlowerandexaggeratethetiltintothepaper.Ortrycominguphigherandbackingoffthatdepth.Keepinmind,theposeitselftilts,andyouwouldhavetocomewayoverthetoptogethertorsobackinlinewiththepictureplane.
Thepointisnottogetitmechanicallyright,buttofeeltherearedistinctdifferencesinthepositionoftheposeasourpositiontoitchanges.
Ifitstumpsyou,don’tworry:it’stricky.Instead,practiceabasicconstructionasWatteauconceivedit.That’sworkenough.
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Flora,c.1716,JeanAntoineWatteau(1684–1721).Chalkonpaper.Louvre,Paris/BridgemanImages.
GIVEITATRY:Exercise2
DoananalysisoftheNicolaiFechindrawing(seehere)atthestartofthechapter.Canyouchangetheeyelevel?
Or,drawsimpletubes,boxes,andsphereswiththree-dimensionalendsthatshowtheformstiltingdeeplyintothepaper.Noticetheendsmaybecurvingbecausetheformistiltingdramaticallyorbecauseyoureyelevelisdramaticallylower,orhigher,toit—orboth!
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CHAPTER5THELAWSOFLIGHT
I’vebeenveryclearthatIdeviseself-servingdefinitions.Obviously,thebodydoesn’thavetubeshiddeninsideitnoraretherelongaxiswiresflowingthroughit.Wecreativetypesperformallsortsofmentalgymnasticstogetahandleonthisthingcalled“art.”
Butthelawsoflightaresomethingwecantakeintothelaboratoryandprove.It’sscience.Natureworksbyphysicallaws.Peoplediscoverthem.Soon,wecometodependonthem—thescientistsandtheartists.Theselawsaresoconstanttheytakeusintotheouterrealmsofspaceorinnerrealmsofquantumphysics.But,thinkaboutthis:anotherwordforlawsisrules.Anotherwordforrulesisformulas.
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AMaleNudeSeatedwithHisBackTurned,c.sixteenth/seventeenthcentury,byAnnibaleCarracci(1560–1609).Chalkonbuffpaper.PrivateCollection/BridgemanImages.
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TheJumpRoper,1998,bySteveHuston.CharcoalandchalkonStrathmoreBristolpaper.
FormulasUsingTwoorThreeValuesUsingformulasisconsideredolderthanoldschoolandit’satotalpartykillerforthecoolcrowd.But,it’salsoaveryimportantbaseline.Laws,rules,formulas—thisisthemechanismbywhichnatureactsnatural.Naturalisconsistent.It’sdependable.Andifyouplantomakeartwithevenamodicumofrealism,youneedtoknowafewofthelawsofnature.
YoumaybeplanningtogoallPicassoafteryoufinishthisbook.Finewithme.IlikePicasso.Thelawsofnatureareagreatplacefromwhichtomakethatjump—asPicassohimselfdid.It’sthatwhole“youhavetoknowtherulestobreaktherules”cliché.Clichésaretruismssotruetheynolongersurpriseus.Theybore.So,it’sourjobasartiststofreshenthingsup.So,backtoformulas:Rule1...
Rule1:DifferentValue=DifferentPlane
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Allthingsarepossibleinthisworld.Butforthisbook,andfrankly,formostrealisticartwork,theartistusesonedirectlightsource.
Lightcomingfromonlyonedirectionmakestheprocessinfinitelyeasier.Twoplanesequallyfacingthedirectionofthelightsourcelookequallylight.But,whenoneplaneturnsawayfromthelight,thatplanegetsdarker.
Rule1:differentvalue=differentplane.
Fromthislittleideacomesgreatthings!
Itmayseemimpossibletotheuninitiated,buttheruleofdifferentvalue=differentplaneletsartiststakebrushorpenciltoflatpaperorcanvasandmakeitlooklikerocks,orwater,orafigure,orallofthosethings.
Whenthosevaluesarepushedtowardtheextremesoflightanddark,asinthisfiguredrawingatright,it’scalledchiaroscuro,aRenaissancetermmeaninglight-dark.Itmeansplayingonevalueagainstthenextfordramaticeffect.
Alwaysknowthedirectionofthelightsourcebeforebeginningyourshadowwork.
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Molly,c.2000,bySteveHuston.AlphacolorandContéchalkonStrathmore,Bristolfinish.Thechiaroscuro(lightandshadeindrawingandpainting)designisinfinitelyeasiertorenderand,ofcourse,moredramatic,thansubtlelighting.
Ifwetrytocaptureallthesubtlevaluesonemarkatatime,aswemightassumeZorndid,it’soverwhelmingandwe’llalmostcertainlyfail.So,wefallbackononeofourearlieststrategies:bigandsimple,followedbysmallandcomplex.Westartwiththefoundationalideasandsavethesubtledetailsforlater,ifatall.
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Weonlyhavetworesponsibilities:separatinglightfromshadowandforegroundfrombackground.That’sit!Andevenbetter,thisisafigure-drawingbook,notadrawing-the-whole-worldbook,sowedon’tneedtoworryabouttheforeground/backgroundrelationships.Leavingblankpaperaroundthedrawnfiguredoesalltheseparatingneeded.
Itdoesn’tevenneedtobedoneverywell.Thereisnolineinnature.Therearenohatchingtextures.Natureisfullofcolor.But,becausewehavethebigsimplefoundationalideasdownclearly,allelseisforgiven.Andtheloosey-gooseytechniquecanevenbecharming.It’swhatwecallasketch,lettingtheprocessshowwhilestillrespectingthebigideas.
Thebeautyofasolidmethodiswedon’tneedtosweatthesmallstuff,asthesayinggoes.Startbig—ifyouwantto,staybig.
Addingabackgrounddistinguishestheforegroundandrootsanobjectinspace.
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Whenwedrawtheshapeoftheshadowontheball,theballlooksbetter(meaningalittlemorereal).Ifwedrawitwithasoftedge,asIdidinthelastball,itlooksbetteryet.(Ifyouneedareviewofhowtomakesoftedges,rereadtheIntroduction.)
ATWO-VALUESYSTEMAsstatedpreviously,theonlyvalueswe’reobligatedtoshowouraudiencearethelightandshadowvalues.Andwe’rethinkingbigandsimple,soweonlyneedtofindtwovalues;onevalueforthelightandonevaluefortheshadow.
Wecancertainlyaddrendereddetailontothosetwovalues.Infact,wecanaddasmuchdetailaswewant.Thatbecomesanaddedstepbyturningthetwovaluesintotwovalueranges.Let’sstart,though,withatwo-valuesystemandathree-stepprocess:
1.Drawtheshapeoftheform.
2.Drawtheshapeoftheshadowontheform.
3.Givetheshadowadarkervalue.
So,you’vedrawntheformandtheshapeoftheshadowontheformandthengiventheshadowadarkervalue.Howdoweknowwhenit’sdarkenough?Thebestthingtodoistakea
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cuefromthechiaroscurocrowd.Weusethe“squinttest.”
TakeamomenttosquintattheZornpainting,Dagmar(shownhere),thatstartedthischapter.Noticethatthelightandshadowonthefiguredonotseparatefromeachotherverywell.Rather,theforegroundfigureseparatesfromthebackgroundwhenyousquintatit.Thatonechoicemakestheconstructionofaconvincingfiguremuchmoredifficult.Asyousee,itcanstillbedone,andbeautifully.
It’sstillallaboutvalue.Zornusedsubtlervalues,meaningmoreroomformistakes.Bettertostartwiththedramaticchiaroscurostrategyandensurealltheshadowsgroupagainstallthelights,evenifthereisrendereddetailgoingoninoneorboth.
Now,lookatZorn’sMadonnaattherightandsquint.Despitethedetails,theshadowslookdarkandthelightslooklight,andthetwodon’tcompete.
Themasterartistmaychooseamoresophisticatedwayofdealingwithforeground/backgroundandlight/shadowrelationships,althoughrealismdemandsitbebasedontheruleofdifferentvalue=differentplane.Andwhensketchingideasorobservations,sometimestheshadowsdon’tseparatewithgreatcontrast.Looktotheearlierchaptersandyou’llseeplentyofexamples.Theyarestillbeautiful.Manyaremasterpieces.
However,nothingbeatschiaroscuroforthedramaticeffectofshowingforminspace.It’stheeasiestwaytoaddvalue,complexity,andrealismtoyourwork.Ifthelightandshadowsdonotseparate,thentheformwon’tpopoffthepage.ThinkaboutdaVinci,Giorgone,Caravaggio,Rembrandt,vanDyke,Gainsborough,orSargentportraits,Innesslandscapes,andmyriadothers—theyallpassthe“squinttest.”And,ifyouwanttolearnquicklyandefficientlytoharnessthepowerofvalue,yourdrawingsandpaintingsshouldtoo.
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Underanylovelyrenderingorfantastictechniquearetherealbonesofthework,andthatiswhatpainterscallthetonalcomposition.Theeasiestwaytoputatonalcompositioninplaceiswithourtwo-valuesystem:separatinglightfromshadowthroughthesquinttest.
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Madonna,1899,byAndersLeonardZorn(1860–1920).Oiloncanvas.Privatecollection/BridgemanImages.
BOXLOGICLookattheimageabove.Justsowe’reclear,theredlinesshowthecorners.Youcansee,intermofrendereddetail,theballandtubearestillveryboxy.Onlytheircontourssay“round.”That’softenasfaraswe’lltakeasketchbookdrawing.And,oddlyenough,thevieweraddstheroundnessforus.Oneofthenicethingsaboutartisifwegetthebeginningright,theaudiencewillfinishtherest.
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Ourrule,differentvalue=differentplane,turnstheform,anyform.NoticeIdrewaballandatubewiththesameprocessIusedforthebox.Icallthisboxlogic.Inotherwords,byfindingtheedgebetweenlightandshadowonanyform,we’vefoundtheprinciple“corner”forthatform—anotherarbitrarydefinition,butausefulone.
Herearesomesimpleconstructedformsdonewiththethree-stepprocess,butwithdifferentshadingtechniques.
Bythinkingofthebeginningofanyshadowasacorner,wehavecomebacktoourdefinitionofstructure.Cornersarecornerswhetheryoucreatethemwithlineortoneandwhetheryouintendtoroundoffthosecornerslater.Notice,too,thedrawingdoesn’thavetobedonemasterfullytogettheideaacross.Itcanbeasketch.Ibetyoucandoitjustaswell,probablybetter.
Findingtheshapeoftheform,findingtheshapeoftheshadowontheform,andthengroupingtheshadowsdarkeristheonlyresponsibilitywehaveforachievingrealism.Findingtheshapeoftheformandtheshadowestablishesacorner,andshadowgivesaninstantanddeepsensethatwhateveryou’redrawingisafullythree-dimensionalform.
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Thesefive-minutedrawingsusethethree-stepprocesstoaddshadowshapestoabasiclay-insoyoucanseetheapplication.Wewillwalkthroughhowtomakebelievableshadowsonfullfigures.
Halftones,Highlights,andaNewRuleTwotypesofvaluesmakeupthelightsideofanobject—halftonesandhighlights.Let’slookateach.
HALFTONESThehalftoneiseverythinginthelightsidethatisnotahighlight.Thismeansthehalftonecanbealmostasdarkastheshadowandalmostaslightasthehighlight.Whetheryouaddalittleoralot,thecharacterofthehalftoneisgradation.
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Ifthebeginningoftheshadowisacorner,thenthehalftone’smostimportantjobistoroundthecorner.Themoregradation,theroundertheformgets.Thatmeanswecanrenderthosespheresandtubessotheyarecompletelyconvincing.Ourtwo-valuesystembecomestwovaluerangesonceweaddhalftone.(Bytheway,itstillneedstopassthesquinttest.)
Timetomakethethree-stepprocessafour-stepprocesswiththehalftoneadded.
Theillustrationatrightshowssomecommonmistakesartistsmakewhenaddinghalftones.Theseinclude:
A.Drawingthecoreshadow(beginningcorner)withahardedgeratherthanasoftedge.
B.Drawingastraight-linecoretodescribearoundform;curvedformsgenerallyneedcurveddetailstoexplainthem.
C.Drawingthewholeshadowsolightthattheviewerdoesn’tgetthatchiaroscuropop.
D.Drawingthecoreshadowmuchdarkerthanthebodyoftheshadow.
E.Notaccentingthecornerwithaslightlydarkerbeginning.
F.Makingtheoutlinesignificantlydarkerthantheshadowvalue.
G.Makingthehalftonedarkerthantheshadow.
IrepeatedE,F,andGinmarker(H,I,andJ)tomakethepointthatit’sthefundamentalswe’retalkingabout.Thetechniqueormediumhasnothingtodowithit.
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Thesedrawingsshowsomecommonmistakes.
Keepinmind,thesquinttestsolvesmostoftheseproblems.Itensuresthelightsstaylightandthedarksstaydark,andthetwodon’tcompetewitheachother.
It’skeythatyoudrawthebeginningoftheshadowshapeasanicesoftedge.Thatsetsthingsupforthehalftonerendering.
HIGHLIGHTSTounderstandhighlightsweneedapooltable.
Lightstrikesanobjectandbouncestooureye.That’showweseeboththevalueandthecolorofanyobject.
Studytheimageatright.Thinkofthepoolcueasthelightsource,theballasthelightcomingfromthesource,thefarbankastheobjectbeinglit,andthepocketsasthepositionoftheartist/viewer.
Thelightsourcewashesovertheform.Astheformslowlyrollsawayfromthelightsource,thelightglancesoffofitwithanever-weakeningeffect.Thatisourhalftonegradation.
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Togettheballintopocket1,youhavetobounceitoffthefarcushion.Lightworksthesameway.Itbounces.
Thehighlightisalittledifferent—ittendstostayintheareamostdirectlyfacingthelightsource.But,thereisroomformovementinthathotspot.That’sgoingtobeagoodthingforus.
Noticethatifneitherthelightsourcenortheobjectmovesbuttheviewerchangespositions,thenthehighlightcanshift.Theturquoisetrajectoryintopocket1showsthis,asopposedtotheredlinetrajectoryintopocket2.
Allthisistosaythatlightbounces.Or,astheysayinthebusiness,lightreflects.Reflectinglightexplainshowthehighlightcanmovearound(didImentionthatwasagoodthing?)anditexplainswhyshadowsaren’tdeadblack!
BOUNCINGLIGHTLightbounces.Itbouncestooureyessoweseewhatwesee.Italsobouncesintoanythingelsethatturnstowardit.ThatbringsustoRule2.
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Ifwedecidetorevisitthatdreadedforeground/backgroundidea,thingsgetmorecomplicated.
Rule2:EverythingthatReceivesLightIsaSourceofLightAsthelightstrikesthestairsteporanoff-camerawall,itbouncesbackintotheballsittingthere(seetheturquoisearrow),atleft.Itwon’tbounceintothelightsidebecauseit’saweakerlightsourcethanthespotlightorsunlightthat’spoweringthescenetobeginwith.
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Thewayitworksis,thelightthatbouncesupoffthestepwilllightentheplanesthatfacedown.Thelightthatbouncestotherightfromtheoff-camerawallthatfacesrightwilllightentheplanesthatfaceleft.Asyousee,theballisalittlelighterthanthecoreatthebottomandbottom/left.
Thiscangetconfusing,Iknow.Foranintroductiontodrawing(evenafairlycomprehensivebookasthisis),messingaroundwithbouncinglightonafaceorbodyistoomuchtohandle.
TherearetworeasonsImentionthis.Weneedtoknowthatlightbouncessowecantakecontrolofthehighlights.Andwearealreadygivingagoodrepresentationofbouncinglightwithouteventrying!
Thatshadowcornerweaccentwithacoreofdarknessdidseveralthingsforus:
•Itmadesurewespottedthecornerforourstructure.
•Itwascreatedasasoftmarktorenderourhalftonegradationsmoreeasilyoutofit.
•Itcreatedasenseofbouncinglightwithoutgettingboggeddownwiththetheory.
Whenonemarkcanserveseveralpurposes,it’sagoodmark.
That’smorethanenoughtomakeourartworklookimpressive.Infact,rememberdaVinci,Caravaggio,Rembrandt,andtherestofthosemastersofchiaroscuro?Whatwejustdidiswhattheymostlydidfortheirfinishes.
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Inthetwocentralfiguresinthissketch,theshadowsgetverylightandbegintocompetewiththelightside.Theselightsanddarkscanbemadetowork.Butinthebeginning,keeptothetwo-valuesystemandoursquinttesttodeterminelightsanddarks.
HIGHLIGHTSAGAINI’llmakethisquick.Becausehighlightsmovearound(ifyouforgetwhy,itdoesn’tmatter),wearegoingtomakethemworkforus.
Aswecanseeintheimagetotheright,highlightsarecorners.Highlightsarestructure!
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Usingwhiteanddarkcharcoalontonedpaperisanexcellentpreparationforpainting,andyougettoplaywithhighlights.
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Thebeginningoftheshadowisacorner.Weknowthat.Well,thehighlightisacorneraswell.It’sjustacornerbetweentwoplanesinlight.
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JoeinCostume,c.1999,bySteveHuston.AlphacolorandContéchalkonStrathmore,Bristolfinish.TherearelotsofhighlightsontheheaddrawingIdid.Howmanyyoucanmapout?I’llgofirst.Wherethesideofthenosemeetsthefrontofthenoseonthebridge,wehaveahighlight.Threeplanescometogetherwherethetop,front,andcornerplanesmeetatthehighlightonthetipofthenose!
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Trackthosehighlights.Iftheyarenotquiteataperfectcorner,it’llmostlikelybecloseenough.
Remember,highlightsmovearound.Thetrickistokeepthemawayfromtheshadowcorner.Thatway,thehighlightalwayssuggeststwoplanesinlight.Theprocessshouldbeshadow,halftone,andhighlight,eachhavingitsownspace.
Highlightsdootherthings,too.Theycanblastoutahalftoneareatomakeitpopawayfromtheshadowsevenmore.Highlightsandhalftonescangradatedownacurvetoshowit’sfading
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outoflight.Theycanalsogradateacrossaflatplanesuchasatabletoptomovetheeyeinandoutofspacealittlemorenaturally.
Noticethateveninthequicksketchesonthesetwopages,Ikeepalittleofthepaper’stonebetweenthepenandinkshadowsandthewhitechalkhighlights.
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OLDMASTERstudy
ThisportraitbyJohnSingerSargentfeaturesawell-constructedhead.ImagineallthelittledetailsSargentleftoutandyou’llbegintoappreciatethevisioninvolved.Asalwaysinchiaroscuropieces,theshadowsanchortheimage.Lookhowthedarkspullthecheekandskullintosideplanes—likewiseforthebottomplanes.
AndlookatthatfinehighlighttrackingdowntothecornerofMr.Brabazon’snose.Lookhowthehighlightonthechinstaysawayfromthecoreshadowcorneronthechin.Also,thehighlightsonthechinandlowerliparemuchreducedcomparedtothatonthenose,whichI’veaccentedforemphasis.
Theearhighlightisalonggesturefinishinginstaccatostrokesateitherend.Thefarmuttonchopandmustachehighlightisalongzigzagthattiesthetwoformstogether—there’sagreatdealofvarietytokeepourinterest.Fineworkthroughout.
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HerculesBrabazon,c.twentiethcentury,JohnSingerSargent(1856–1925).Oiloncanvas.NationalMuseumWales/BridgemanImages.
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Laytracingpaperoverthisdrawingandtryalittletrick:thickenupthehighlightonthenosesoit’sabitfatter.Dothesameforthecoreshadowthathelpsdescribethehollowofthecheek.Now,boththehighlightandthecorehavebecomelittlecornerplanesinandofthemselves.Areyoustartingtoseethepossibilities?
GIVEITATRY:Exercise1
Findonesimpleshapeinsomeofthedrawingsfromthischapter.Maybeit’satubeforanupperarmoraneggforahip.Andthen,addtheshadowshapetoyoursimpleconception.Ifyouchoosewell,yourshadowshapeshouldbeveryclosetotheshadowshapeinthesourcedrawing.Ifnot,tryanothersimpleshape.
GIVEITATRY:Exercise2
Getsometonepaperandwhitechalk.SeethesupplylistintheIntroductionforsuggestions.Drawsimpleballs,boxes,andtubes.Drawthesamewayyouwouldonwhite
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paper.Addtheshadows.Then,addalittlewhite.Keepawayfromtheshadowcorners.It’sbettertoaddtoolittlethantoomuch.
Whenyougetcomfortablewiththat,tryabodypartortwofromthischapter ’sdrawings.Remember,westillhavetofigureouthowtocomposetheshadowonmashed-upbodyparts.
RecliningNude,c.2002,bySteveHuston.Carb-OthellopencilonStrathmoretonedpaper.
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PART twoBREAKINGDOWNTHEHUMANBODY
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CHAPTER6THEHUMANBODY:ANOVERVIEWOFBASICFORMS
Tocapturetheessenceofthehumanbody,eveninbasicposes,weneedastrategyfordividingitintomanageablepieces.It’showtheOldMastersconceivedofthefigure,andisthesametechniqueusedbytoday’sanimators.
Kouros(sideview),525–550BCE.Greek.Sculpture.NationalArcheologicalMuseum,Athens/BridgemanImages.Wewillprimarilyanalyzeourfiguresfromformalpositions,likethisGreekkouros.
HowtoBegin
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I’lltakeyouthroughthebodyfromjointedparttojointedpart,alwayswithaneyetoourmethod:gesture/structure,gesture/structure.Thischapterisourpracticalbeginningandlaysthefoundationforprogressingfromsimpletodetailed,fromformaltodynamic,andfromlinetotone.
Awordaboutthechallengeofproportions:thelooking,themeasuring,themeasuring,thelooking,well,I’vesavedthatuntiltheendofthechapter.Measuringisthelastthingweneedtoworryaboutwhilejumpingheadfirstintothecomplexitiesofthehumanbody.Fornow,justobserveanddraw.Doyourbestwiththeinformationathand.Partofourgoalhereistobuildgoodinstinctssotheartcomesnaturally.
Here’sasuggestionasyouread:Stopandsketchafewoftheinstructionaldrawingsaftereachsectiontotestthesenewideas;itisonlybydrawingthatyouwillsoakupthematerialinalastingway.Ifyouwanttogotheextramile,aftereachnewsectiongobackandreviewsomeofyourdrawingsfromearliersectionstoseehowyoudid—andcelebrateyourprogressandimprovement.
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Eve,c.twentiethcentury,AugusteRodin(1840–1917).Bronze.Privatecollection/BridgemanImages.
Thiskindofdedicationteachesyoutoseewhat’sinfrontofyouinadeepway.You’llbeamazedbywhatyoumissedbeforeandatyourgainsasyoumoveforward.Workthosecreativemuscles,andyouwillseeasyou’veneverseenbefore!
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Aswebegin,scanthesefiguresandmentallytickoffthebigsimpleformsyousee.Theartisthasaneyethatconstantlyseesandtranslates.
AsIpointoutthedifferencesbetweenmaleandfemalestructures,keepinmindthenumberandcharacterofthebonesandmusclesinbothsexesarethesame.Theproportionsandconstructedformsofeachsimplyvaryabitduetodifferingfatdepositsandmusclemasses.However,thegesturesstaysubstantiallythesame,thoughwiththegenerallyless-muscle-boundfemalethosegesturescanshowsomesubtlevariationsinthecurvesofthelimbs.Thereisahugeamountofdiversityintheworld,makingforamazingvariationsonthesethemes.WhatI’mgivingyouhereis,ofcourse,thebasics.Thespecificsforeachbodypartaretackledindetailbeginningonthenextpage.
RecliningRedhead,c.2005,bySteveHuston.Gouacheandpenandinkonscrapbookpaper.
TheHead,theNeck,andtheShoulderLineBecauseIsaidthatthegestureismoreimportantthanthestructure,wewon’tlookateachpartintotalisolation.Remember,theideasofstructureandgesturereallymeantheparts
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andtherelationshipbetweentheparts.Gettingeverythingtofittogetheriswhat’stough.Weneedtoconsiderthatrightfromthestart.
FRONTVIEWAswefindthefirststructure(S1),wewantalreadytohavedrawnthefirstgesture(G1).So,theprocessbecomes:G1/S1,G2/S2,G3/S3,andsoon.
This,then,becomesthetwo-stepprocessthatisourdrawingmethod.Gotit?Good.Youmasterthisbasicapproach,anditwillhelpkeepFrankensteinfromkickingdownyourstudiodoor.
Forthehead,thegesturelineisconceivedasaverticalcenterlinethatrunsthroughthespotwheretheeyebrowsmeetthebridgeofthenosetowheretheundersideofthelowerlipmeetsthechin(seeFig.A).Theheadisbuiltontoitsgestureasaneggwithahorizontalcenterlinefortheeyelevel—gesture/structure.Noticehowthetiltoftheheadtorquestheneckandcoaxesourbelovedcurvebackintoexistence.
Fig.A.Thecenterlineofthehead
Whenyouhaveasymmetricalsituation,asinthefrontalorbackpositions,thegesturelinebecomesstraightandstiffforthehead,neck,andtorso.Youareforcedtosacrificethecurvedgestureidea—agreat,butnecessary,loss.Ofcourse,youhaveallsortsofchancestogocrazywiththelimbsorevenhavethehairblowinthewind.YoucanalsomaketheeggintoacapsuleshapewithflatsidesasFig.Ashows.Ittracksthegesturelinebetter,whichisnotabadidea.
SIDEVIEW
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IntheFig.Bside-viewsketch,drawing1(D1)risksbeingtooroundedintheface,creatingaslopingforeheadandaweakchin.Drawing2isfine.Really.Itdistinguishestheroundcharacteroftheskullfromtheangularplanesoftheface.That’sagoodthing.Ipreferthetriangularsailshapeindrawing3,however,becauseit’ssimpler.It’salittlepointyinback,butI’lladdacoupleofbellsandwhistlesandmaybeyou’llchangeyourmind—ornot.
Fig.B.Simpleyetcharacteristic.Aslongasyoufulfillthesetworequirements,therearealwayschoicesforanygivenbodypart.
Drawasmalllinebackfromthechinasitflowsintotheneck(thislittleundersideplanekeepsthemaskofthefacefromlookinglikeapapercutout).Thegesturelineoftheneckisgenerallyanicefullcurvethatswingsdownovertheomittedwindpipetothepitoftheneck.Theneckconstructioniscompletedbyanothercurvecomingoffthebackoftheskull(moreonthatfollowing).
Notice,inprofile,howthegesturelineinFig.Chasmovedtothesimplifiedcontouroftheheadandisnolongerstraightlikethefrontview(shownwithredlines).Alsonoticetheearanglesbackabitfromthatgestureline.Payattentiontohowthelongaxisoftheskullgoesbackandslightlyupasitmovesfromfronttoback—acriticaldetail.
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Fig.C.Everythinglooksalittleflatwithoutourtrademarkends.Theheadistoughtogetright.So,whenindoubt,simplify.
Evenmoreimportanttodrawingasuccessfulprofileistomakesurethebackoftheskullstayshighcomparedtotheplacementofthechin.Lookingstraightahead,useyourfingerstofeeltheplaceinbackwhereyourskullmeetstheneckatthetopofthespine.Nowdragyourfingeraroundfront,stayinghorizontal.Yourfingershouldenduprightoveryoureyeball.Whateverconstructedshape(s)youuse(andyoucouldcertainlyfindothersolutionsthanthese),makesuretheskullsetshighinback.Withoutthat,theneckneverfitsasitshould.
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Whistlenotchdrawings
Addingspecificfeaturesgetstrickyso,first,let’slearnhowtodraw“whistlenotches”torepresentthem.
WhistleNotchImaginecuttinganotchoutofatube.That’sthewhistlenotchidea.Thisideabecomestheeyesocketthathousestheeyeball.We’llfindthateachfeaturehasitsownbasicstructure.
Thereasonthewhistlenotchissoimportantisallfeatures,excepttheear,areonthefrontoftheface.Drawingafaceonapaperbagwillgiveyoutheidea.Whenyoujuststartdrawingfeaturesofabasicprofile,oddsarethey’lllookflatandcartoony.Notgood.Notstructural.Remember:structureneedscorners.Thewhistlenotchactsasthecornerfortheface.
Ifyouusetheeyebrowandthecheeklineasitmeetsthelowereyelid,that’llgiveyouthenotch.Asthecheekdescends,itsuggestsenoughofthecornerfortheviewertofeelthefrontalfeaturesareastheyshouldbe.
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Cartoonydrawing
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Eyesockets
THREE-QUARTERVIEWAswiththeprofile,thetriangleconstructionalsoworksgreatforathree-quarterview.
Thisbackthree-quarterviewshowshowthosefeaturesarehidingaroundthefront.Noticehowthewhistlenotchhasbecomethebarestdivot.Also,noticehowtheearbeginstocrowdthefrontoftheface.It’smarkingoffthesetwolandmarksthatturntheheadcorrectly.
Whatyouhavetobemindfulofinathree-quarterfrontviewisthecenterline.Alwaysmeasurehowcloseitgetstothefarsideoftheface.
Startwitha“T”madefromthecenterlineofthefeaturesandtheeyebrowline.Then,markoffthefeatureswithappropriatelyplacedconstructionlinesendingwiththechintomakesurethe
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lengthiscorrect.Allareonthefrontplaneoftheface,somakesurethey’reparalleltoeachother.
Ifyoudrawinthehairline(simplyormorecharacteristically)tomeetthejawline,theearattachestothesideburnarea.You’rewelcometodothisontheprofileaswell.Theneckcomesfrombehindtheear,bothfrontandbackviews.Ifitfeelstoofatortoothin,youknowthewidthofthefaceisoff.
Astheearssitonthesideoftheface,relatingthembacktotheeyeoreyebrowlinegetsyouafairlyaccuratecornerfordynamicpositionsofthehead.Placethecornerattheendorarchoftheeyebrowforbestresults.
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Backthree-quarterview
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Frontthree-quarterview
Twoboxed-outheads
BACKVIEWThebackviewmaybethemostdifficultofany.Youseeverylittleoftheface.Theskullblocksitandtheneckdoes,too.Andtheshruggingmusclesthattoptheshoulderlineoverlapagain.
Asyoucanseeintheimageatright,theskullbecomesaballshapefromtheback.Theneckisasimpletube(againwithoutits3-Dends).Weseeaweebitofthefacepeekingoutoneithersideoftheneck.I’vecolor-codedthemwithanochrecolor.Finally,addasimpleconstruction
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linefortheshouldersandthesaggingtrianglefortheshruggingmuscles.Thatlastcanbendandchangeshapewithvariouspostures.
Eventually,thearmsandtorsowillbuildoffoftheshoulderline,asinthedrawingbelow.Makesureyoutakesometimetogetthehead-neck-shoulderconnectioncorrectfirst.
Step-by-stepofthebackview
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Simpleyetcharacteristicmeans,inpart,anyobjectyoubegintosketchshouldbesuggestiveofthesubtletiesyettocome.Itmeansyoucanmoveseamlesslyfrombeginningconstructiontofinishedrendering.
TheTorsoThetorsoincludestheribcage,waist,andhips.Thisiswherethesexesshowtheircleareststructuraldifferences—again,withthequalifier,onaverage.
FRONTVIEWTherearemultiplewaystoconceiveoftheribcage.Itexpandsfromthenarrownecktothewiderwaist.Beyondthat,seeingamodelwitharibcagethatbulgesawayfromthewaistorseamlesslyblendsdownintoitguidesmeinchoosingthemostcharacteristicformforthejob.Seetheimagesbelowandonthetopofthenextpage.
Inthedrawingofthetorsosabove,noticehowI’vedrawnthewaistastwosimplelineswithouttheconstructedends,verymuchasIdidwiththeneck.Letthesolidmassesoftheribsandthehipsdothework.Themiddledrawingwiththebulgingwaistismoremaleincharacter,theothertwo,morefemale.
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Startwithagestureline,straightandstiffaswedidwiththehead,andhaveittouchtheshoulderline.Justremember:simpleyetcharacteristic.
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Thereisnostructuraldifferencebetweenamaleribcageandafemaleribcage.Youmay,ofcourse,observethattheribsonaparticularfemalelooksmallandaparticularmale’slookbig.It’sagoodgeneralization.Intheclassicideal,themaleistopheavyinribsandshouldersandthefemaleisfullerthroughthehips,bycomparison.
Forthehips,thebulgingboxisthemosttypicallymaleofthethree,butitcanbeagoodfemalesolutionincertaindynamicposes.Thekeydifferencebetweenthesexesisthemaletendstocollectalittlemoremuscleandalotmorefatatthewaist—affectionatelycalledlovehandles.Thefemalehaslessbulkatthewaist,butmoreatthelowerhips.Theseoftencreateclearstructuraldifferencesbetweenmenandwomen,butnotalways.Again,payattentiontothespecificmodelandhowthemodelconformsto,ordepartsfrom,thesegeneralities.
Onewaytotightentheconnectiontothehead-and-shoulderassemblyistousethebottleneckstructurefromtheribsuptoaroundthenippleline.Noticehowittakesyourightthroughtheshoulder-girdleinterruption,whichmightotherwisefightyouonconstructingacohesivewhole.Itcreatesahiddenconnectivitythatwillbeinvisibleinthefinisheddrawing.
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Maleandfemaletorsos
SIDEVIEWOnekeytocapturingtheprofileviewisthattheribs-to-neckconnectioninbacksitsveryhigh,whileit’smuchlowerinfront(seetheimagesonthenextpage).Thisissetupbythathighbackoftheskullwetalkedaboutinthesectiononthehead(seehere).Ashirtcollarornecklacehangsinthesamehigh-to-lowmanner.Wemustcapturethisatonceifwewantthatgesturalflowtokeeponkeepingon.
Noticetheshouldersarelostinsidethecontouroftheribsintheprofileposition.Thebottleshapethatletstheneckflowintothewiderribsisparticularlyusefulhere.Keypoint:Makesurethebottlebendsstronglyintotheneckfromthisposition—animportantdifferencefromafrontorbackview.
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Frontviewsoftorsoarticulationswiththebottleshape
Anotherkeyistopaycarefulattentiontothebackoftheribsand,inanuprightposesuchasthis,makesuretheconstructedribcagehasaverticalsectiontoitthatcorrespondstotheplacementoftheshoulderblades.Thestomachandlowerbackalsohavethatverticalitybeforethedynamictiltofthehipskicksin.I’veaddedturquoiselinestocallthemout.Oddsareyourstandingfigurewillfeellikeit’stippingoffthepageiftheseverticalmomentsaren’tshown.
Anyofthevariousshapescanworkformaleorfemaleribcages.Iuseabulgingboxshapeoraneggforthehips(noticethetilt).Thebulgingboxtendstoworkforthefemale,andtheeggforthemale.But,afigureinadynamicpositioncanchangethat.Ineithercase,makesurethehiptiltsinoppositiontotheribs.Thecurvinggesturecreatesabalancingact.Itiscriticalwecaptureitcorrectly.
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Makesureyourdrawingskeepthiscorneratthepitoftheneck(PoN)forasharpchangeintotheforwardthrustoftheribs.
Asinthefrontview,Fig.Ashowsafewsimplearticulationswithamash-upofthebasicshapes.Ifwesimplifytheprofileabitmore,weseethatstapleofcuteanimalanimation—thebeanbag.
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Fig.A.Sideviewarticulationofthetorso
BACKVIEWNoticehowthathighback-to-neckconnectionwekeeptalkingaboutshowsupinFig.Bwhenthetopoftheribcageendsslightlyabovetheshoulderline.Ifyouwant,makethepitoftheneckinfrontdropslightlybelowit.
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Fig.B.Torsobackviewwithvarioushipshapes
Ofcourse,allthesilhouettedshapesforthebackviewarethesameasthoseonthefront.But,becauseofthecurvingspine,amongotherthings,thesearedealtwithalittledifferently.Forone,thestomach,legs,andpubicareadon’tblockthehipsastheydofromthefront.Thatmakeslifealoteasier.Also,noticehowthehipstipupandtheribstipdowntobindintothelowerback.Theconstructedendscurveaccordingly.
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Hereweseetheaccordionactionoftheunjointedspineandflexiblewaist.
TheArmsandHandsThearmsoriginateinthetorso,ofcourse,andareengineeredtododifferentjobsatdifferenttimes.Theyneedtheflexibilitytomaneuverthosefantastictoolswecallhandsintotherightpositiontoarticulatewhattheyneedtoarticulateormovewhattheyneedtomove.Theyneedthespanto,occasionally,helpbalanceaparticularbodypose.And,theyneedadifferentkindofflexibilityandstrengthtosupportorpropelthefullbodyfromadead-weightpositionintobalanceorevenaction.Thedesignofthearmsandhandsshowsanearmiraculousmixtureofthesevariousnecessities.
THEUPPERARMSForallitscomplexity(andlaterwe’llseehowcomplex),theshoulderassemblyisprimarilycorners,tostartthearms.Whenbuildingthearmsontothetorso,always,always,alwaysmakethatcornerconnectionstrong.Later,intherenderingprocess,youcanrounditoff.
You’reprobablywellconvincedbynowthatIdon’tlikestiffandstraight,especiallywhenitcomestoanasymmetricalformsuchasthearm.Asyouseeonthedrawninserts,bycappingthearmwiththeshouldershapeyougetthatniceflowbackthatweassociatewiththebody.
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Thefrontviews(thebackview,too)showarmconstructionsthatarestiffandstraight—averyrareoccurrenceasyoushouldknowbynow.Asyouwillseefollowing,thesideviewtakesusbacktoanicecurvedgesture.
Theupperarmisprobablytheeasiestparttodraw.It’sjustatubewithsidesperfectlyparallelfromshouldertoelbow.Youcanseetheshouldercapminimizedandmaximizedfromarmtoarm.Takeyourpick.
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Here’saschematicoftheshouldergirdleassemblyjustsoit’sclear.
Onecaveat:Sometimesyou’vedrawnafigurewithcurveaftercurveandyoujustfeelitmightbenicetomixthingsup.Onthoseoccasions,findingastubbornlystraightgesturemightbetheverythingthosecarefullyflexedlinesneed.Sometimestheaesthetic,thedesign,justwantssomethingthatallthewonderfultheoryhasspentalotoftimefighting.Theoryisgreat—butdon’tletitstopyoufromdoingwhatyourartneeds.
Here,thearmbecomesnaturallycurvedagain.Remember,curvesgiveusgestures;cornersgiveusstructures.
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Noticehowtheshoulderbladeunitcreatesastrongcorneragainstthebackoftheribcageandasubtlecurvemovingintothearms.
THELOWERARMSANDHANDSNoticetheadditionoftheforearmtakesusrightbacktoacurvedgestureoffthestraightorstraighterupperarm.I’mpostponingthechallengeofdrawinghandsbygivingyouasimplifiedversionhere.Wewillexplorethehandindetailinchapter9.
Armsandhandssupinatedandpronated
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Backviewvariations
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Profileviewvariations
BASICARTICULATIONANDTHEELBOWTESTOncewe’veconceivedofthejointedpartsassimplegesturesandstructures,it’snotahugejumptobeabletoarticulatetheminbasicways.Noticewhentheelbowpointsdown,boththeupperandthelowerarmswingup.Whentheelbowpointsup,theupperandthelowerarmswingdown.Whentheelbowisclosertothetopcontour,again,theupperandthelowerarmswingdown.Andwhentheelbowisclosertothebottom,uptheygo.That’stheelbowtest.Useitandyou’llalwaysgetthegestureofthearmcorrect.
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Studythesedrawings,thensketchvariouselbowarticulations.
Whatistherealsecretofsuccess?Alwayscompletethegesture/structurestepsforthefirstpart(G1/S1)—inthiscase,theupperarm—beforebeginningG2/S2fortheforearm.Don’tfudgetheconnection.Then,andonlythen,gototheoutsidecorner.Theeasiestplacetoconnectthenextgestureisusuallytheoutsidecornerofthelaststructure.
TheLegsandFeetAlthoughthearmscantakeupthetask,usuallythelegsdothemajorityofworkmaintainingthebody’sstabilepositionordrivingitintoexplosiveaction.Thearmsareabletomovethebody’sweight,butonlywithgreatdifficulty.Thelegs,however,easilyhandlethatweightandplentymorebesides.Anydrawingofalegmustshowthepowertosupportand,yet,thepotentialenergytomovequicklyinanydirection.Allthewhile,thefootactsasbothaplatformofsupportandashockabsorbertosoftenthewearandtearfromdecadesofaction.
THEUPPERLEGSThethighscomeoutofthemiddletotopareaofthehips,dependingonhowthehipsareconceivedandhowthelegsarearticulating.Thethighstartsasasmoothflowoutoforasubtlebumpawayfromthehip.Eitherchoiceisgood.
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Fromaprofile,seehowthelinedropsofffromthetopoftheconstructedhipbeforecurvingintothemeatofthethigh.Someverymuscularthighswilldoawaywiththatdrop.Butifyouseeitonyourmodel,itspeakstoananatomicalconnection,andforusgivesamorenuancedand,therefore,moreconvincingconnection.
Malehipsinback,front,andsidepositions
Morenuancedconnection=good!
Alwaysgiveextraattentiontohowyoubeginandendaconstructedpart.Wewantouraudiencetofeelconfidentinhowtheymovefromoneparttothenext.Finishingthestructurecorrectlymakesforabetterconnectionforthenewgesture.
Comparethefiguresinthetoptwodrawingsatright.Noticehowthedifferencesbetweenthemaleandfemaleconstructionsshowup,mainly,inthehipsandnotinthethighs.
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Femalehipsinfront,back,andsidepositions
Neverstickthethighontothebottomofthehip.Itwillfeellikeitwantstobreakawaywhenittriestoarticulateagainstthehip.Asyousitreadingthis,noticewhereyourlaprests.It’sclosetothetopofthehips,right?Thatisthewayweneedtodrawit.
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Incorrectattachmentofthethightothehip
THELOWERLEGSANDFEETFromtheprofile,youseethefullthighcurvethrustingforward,thenapullbacktothethinshin.Fullthigh,thinshin—thatgivesthesimplegesturalS-curvefortheleg.
Fromthefrontorback,youcanseethedouble-bumpsilhouetteofstandinglegs.Drawabig,full,bulgingcurvefromthemiddleortopofthehiptotheknee—thegesture.Then,addanotherbig,bulging,fullcurvefromthekneetotheankle—anothergesture.Thatgivesyoua“B”design.
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Seehowthelowerleghasamightygesturalcurvefromkneetoankle?Thisgestureisusuallythemostofanyofthefourlimbsections.Almosteveryoneisalittlebowlegged.Don’tunderstatethat.
Andwhatabouttheknee?Doesthekneebelongtotheupperlegorthelowerleg?We’llexplorethatveryimportantquestioninchapter10.Fornow,groupthekneeareawitheithertheupperorthelowerleg,whicheverseemsmoreappropriate.Andtheappropriatenesswillvarydependingonanglesandarticulations.
Let’slookatthelowerlegalittlemoreclosely(seeFig.Aontheoppositepage).I’vedrawnitasjustatube.That’ssimpleyetcharacteristicofwhatIsee.But,bycarefulobservation,Icangetevenmorecharacteristic.And,ofcourse,thatisexactlywhat’shappeningineachsuccessivedrawing.
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Fig.A.Anever-greaterrefinedtubeintoalowerleg
Thisishowwebuildourcraftinstructure.Wewanttofindsolutionstowhatwe’reseeingthatareevermorecharacteristic.Thisisprimarilywhy,whenwelookattheOldMasters,weseldomseelay-ins.They’vedonetheirhomework.Theyknewthestructuresofthehumanbodysowelltheywentdirectlytothemostcharacteristicchoice—somethingclosetoafinalcontour.
DidtheythinkitthroughexactlythewayI’vejustdescribed?Inmostcases,probablynot.ButthisisthebestwayIknowtounderstandtheirresults.Afterall,thebodyismadeofrealvolumesinrealspace,fittingtogetherinaveryspecificway.Thatiswhythismethodworksforsculptors,animators,andchiaroscuropainters.It’sthemethodbehindthemadness!
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StudyofLegs,c.sixteenthcentury,byJacopoCarucci,knownasPontormo(1494–1557).Drawing.UffiziGalleryMuseum,Florence/BridgemanImages.NoticetheBdesignsontheselovelylegs.Whenthelegbends,thatB(orS)willbreakagainsttheknee’scorner.
IstudiedwithBurneHogarth—anincrediblytalentedandverygivingteacher.HetaughtmetheB-andS-curveideasforthegesturaldesignofthelegs.It’sagreatwaytorememberhowtokeepthoselegsniceandfluid.
THEFEET
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Thefootisasimplesaggingtrianglefromtheprofileanglingbrieflybackattheheelandswingingforwardtothetoes.Fromthefront,drawitasasimpletaperingconethatcutsoffatthetoes.Addthetoesgroupedintoasingleshape.Thebackviewhastheheelandattachingtendon.Itlookslikealittlechimneystackifyousquaretheheel.Thefootshapepeeksfrombehind.Thisisgoodenoughfornow.
There’saterrificgesturaltransitionfromankletofoot.Thinkofitasabumpyorsmoothskislopetakingtheviewer’seyedowntothefinishline.
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Footconstructions
ARTICULATINGTHELEGSThefull-thigh,thin-shintrickworksformostpositions,evenbentones.Isay“most”positionsbecauseifthelegbendssomuchthatthebackofthethighpushesthemassofthecalfforward,itcanreversethatcurve.
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I’vejustthrownyouabitofacurve(punintended).Noticetheselegdrawingsaremorecomplicatedthanthearms.Laysometracingpaperoverthemandfindthesimplestlay-inshapesyoucan.Losethekneecap,theanklebones,theeggadditionsforthecalves,andsoon,andseehowmuchyoucandistillitdown.Then,takethesimplestofthelay-insandbuilditbackup.
Legsflexingattheknee
Whatyouwantistofindthehappymediumbetweensimpleandcharacteristic.Itwillvaryfrompersontopersonandfromsituationtosituation.Yourchoiceswillevolveovertime,asyoubecomemoreandmorethedrawingninjayouaremeanttobe.Ittakespracticeandabitofexperimentation.Here’stheequation:
timein=craftsmanshipout
ProportionsProportionsareveryuseful,especiallyasameanstodouble-checkyourdrawing.Theyarealsolikegoodethics:botharesituational.Along,languidpose,suchasIngres’sLaGrandeOdalisque,mightneedfiveextravertebraetomakeitwork.ThewealthyoldwomanofaJohnSingerSargentportraitmayhaveneededthelongneckanddeepeyesocketsofHera,QueenoftheGods,tofulfillthecommission.
TheartistsIlovedon’t“capture”life(asifsuchathingwereevenpossible).Instead,theytranslateit.Theyshowsomethingnewaboutit.Thereisarhythmtogoodproportionthatmakesitringtrueinawaycalipersandpinchingfingerswithoneeyeclosedjustcan’t.
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Thereareallsortsofwaystoproportionthehumanbody.Thereareallsortsofcanonsofbeauty.I’vepickedonethatusestheheadastheyardstickandchosenproportionsthatfitreasonablywellwithmostpeople’saesthetics.Seetheimageshownhereforthefemaleequivalent.
So,evenasIshowyouthepinchingfingersstuff,trustyoureyeandyourgutfirst.Drawitlightlyfirst.Then,ifitdoesn’tfeelright—measure.
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NudeinAction,JohnSingerSargent(1856–1925).Charcoalonpaper.DavisMuseumandCulturalCenter,WellesleyCollege,Massachusetts/BridgemanImages.
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OLDMASTERstudy
WhatyouseewithouroldfriendslikeRaphaelistheywouldcompress.Theywouldskipstepsbecausetheywere,well,masters.But,whenwelookbackattheirworkwithgroundedanalysis,it’sallthere.
Thatbringsupanotherpoint.Youcouldjustdrawaway—especiallyifyou’veinternalizedthisstuffthroughpractice.Andthen,whenyouneedtogobacktotroubleshootaproblemarea,thismethodisreadytohelp.Youdon’thavetodrawthisway—myway.Butmaybeyoudon’tfeelthesolidityyoushouldintheribcageyousketchedout.Nowyouknowhowtocheckit.Iftheconnectionfromtheneckdoesn’tfeelasthoughitfitsnicelyintotheribs,youcanfixit.
Andthatistheprocessforthewholehumanbody...fornow.Masterycomesthroughimmersion.Themoredeeplyyouwanttoconnecttothismaterial,themoreyouneedtolivewithit,becomefriendswithit.Read,copy,andtrytoconceiveitfrommemory.Allthattestsyourknowledgeanddeepensyourunderstanding.Then,whenithasclicked,moveontotheexercisesopposite.
BattleScenewithPrisonersBeingPinioned,c.sixteenthcentury,RaphaelSanzio(1483–1520).Penandinkoverchalkonpaper.UniversityofOxford,UK/BridgemanImages.
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Raphaelusedconstructedformsandgesturalrelationshipsinhisart.
GIVEITATRY:Exercise1
Laytracingpaperoverthestep-by-stepdrawingswestudiedinthischapter.Followtheprocessofmakingmarksthatareassimpleandascleanasyoucan—thatis,simpleyetcharacteristic.Feelfreetotryothershapes.Lookatyourfavoriteartistsandseehowtheysolvedthisproblem.
Ifyoumessup,grabanothersheet(ordoitdigitally).Startwiththeheadanddrawthesimpleconstructionsandsimplepositionsuntilyoudoitwithoutthinking.Then,startonanewbodypart.
It’slikepunchingthebaginthegymordancing.It’sallaboutmusclememory.Knowthemoves.Knowtheforms.Workthroughthiswholechapterforamonth,maybeless,andyou’llhaveitdown.
Now,mixuptheorder.Startwiththestructure.Then,drawthegesture.Drawtheendsbeforethesides.Inventyourownshapes.Playwithit.
I’vesaidthisbefore:Readandstudythisbook;makeityourown.Makeyourownmethod.Startwithmine.Maybekeepalotofit.Butthishastofityou.Ithastoconnectwithyouandflowoutofyouandontothepagelikeanybeautifullyfluidgesturemust.
Ifyouworkhard,somedayyou’llfindyoudon’tagreewithmeoneverything.Thatiswhereyouwanttobe.Thatmeansyouarefindingyourownvoice.Weneedyourvoice.
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Asyougoaboutit,bepatient.Havefun.Cherishthelittlevictoriesevenwhenyousometimeslosethewar.Andkeepatit,alittleeveryday.Itonlyhastobealittleforthatnesttoquicklygettoosmall.
GIVEITATRY:Exercise2
Don’tforgettodosomeobjectdrawing.Keepbuildingthatmentalwarehouseofgreatandinterestingshapes.
Ifyou’reablubberingpuddleoftears,gobacktothechaptersongestureandstartagain.You’llgetthere.
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CHAPTER7THEHEAD
Nowthatwehaveenoughstructure,it’stimetohangfeaturesonit.
Remeberthatthebestheaddrawingintheworldisuselessifitdoesnotflowbeautifullyintothebody.Makesureyoutrackthatlifelinewecallgesture.Itmakesallthedifference.Makeahabitofsketchingpartoftheneckandshoulderssoyou’realwaysthinkingabouthowtoconnect.
Gatti,1997,bySteveHuston.CharcoalandContécrayononStrathmoreBristolpaper.Whenit’stimetotakeyourdrawingalittlefurther,awell-structuredheadbecomesamapforthedetailstocome.
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Thebigsimplestructuresoftheskullmeetthebigsimplestructuresoftheface,andweendwithfrontplanes,sideplanes,tops,andbottoms.Thatgivesuswhatweneedforthefeatures.
Inaformalfrontalorbackpose,there’snothingtoconsider.But,movetowardthedynamicprofileand—wow!—thatwaveactionkicksininabigway.Intheimagesabove,notehowtheneckjoinsthegestureofthefrontofthefacewhenthechinliftsortheribcagepullsback.Likewise,theneckjoinsthebackoftheribcagewhenthechinmovestowardthechest.Makesureyoucatchwhichbiggerstructuretheneckgesturejoins.Itoftenmakesorbreakstheheadtoribcageconnection.
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Theshouldergirdlehidesthemuchmoreimportantconnectionofheadtoribcage.Let’sconsiderthatmorecarefully.
Theseposesareabitmoredynamic,buttheprincipleisstillthesame.
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Asyouseebytheredlinegestures,there’salotgoingon.Wewilllookateacharea.
ThePrimaryStructuresoftheHeadTheheadisacombinationoftwolargemasses:thecraniumandtheface.Byfirstmappingthebroaderlandscape—thecranium—wecanthenmoreeasilyconceiveandplacethefeaturesontotheface.Gettingoutthetrustymeasuringstickcanhelpusplottheproportions,butitwon’ttellthewholestory.
Thetrickforaddingsecondarydetailtoourworkisthesametrickwe’veusedallalong.Wedrawthebigsimplestructuresbystartingwiththebigsimplegestures.Itdoesn’tchangeforthesecondarystructures.Itneverchanges.
Thelesserformsflowfromtheirlessergestures.Thewaterydesignoflifecomposesastructureateverylevel,fromahangnailtoaroomofartistsdrawingthemodel.That’sthegreatsecretofthegestureandstructurepartnershipandjustanotherreasonthegestureisthefundamentaldesignline.
Whatwe’lllookforisthecornerwheretwoplanesmeet.Cornersarestructure.But,ifwetraveldownacorner ’slongaxis,itbecomesagesture.So,youcanimaginewe’llwanttomakethosecornerswithcurvedlines,asshownatright.
Structure/gesture.Corners/curves.Allthemarksthatwillmakeupourinteriordetailwillpotentiallybeintheserviceofbothideas.
TheSecondaryStructuresoftheHeadThecraniummeetsthefaceattheeyeline/cheekbonearea.Thisisaswideastheheadgenerallygets.
Therisingcheeksnarrowslightlyintotheforeheadandlikewisecascadetothemuchnarrowerchin.Thismaskconstitutesthemultifacetedfrontplanesoftheface.Andthelong
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axesofthosecornersbecomethegesturalmovementsbetweentheforms.I’vemarkedtheseinredinthefigureatright.
Theskullcapintrudesintothecenteroftheforeheadfromabove.Thistransitionsthefrontplaneintothetop.Thefrontalcapmayswellfromorbecompletelysubmergedintothebroader,squarer,browridge,dependingonthecharactertype.
Whenwelookclosely,weseethefaceisbuiltfromanamazingsetofformsthatflowintoandlockovereachother.
Wecanthinkoftheforehead,cheek,andchinstructuresasrounderorsquarerandsimplerormorecomplicated.Themoreweplaywiththosecharacteristics,themoreopportunitiesopenup.
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Thecheeksandchintransitionbacktothetemple,ears,andjaw,creatingthesideplanes.Thesecanberounded,chiseled,orevenconcaveincharacter.Thinkofthecheeksasonewiderollingplanewiththewedgeofthenoseandbarrelofthemouthstackedontop.
Consideringhoweachuniquestructuremovesintothenextishowgesturecomesbackintothemix.I’msureyouwon’tbesurprisedtolearnthatthisstepiscritical.Weneverquitwalkingthattightropebetweencornersandcurvesnomatterhowdetailedweget.
Thegestureshouldn’tjustgoovertheform.Itrollsoverit.ThinkofdrawinganS-curveonarollofpapertowels.AstheSflowsdowntheform,italsodescribestheroundcharacteroftheform’svolume.
Obviously,theskullhasmuscles,fatdeposits,andskinclothingit,letalonehair,wrinkles,compressionpoints,shadowshapes,andevenpencilstrokes.Allcanaddsubtlenewgestures,butthekeyrhythmsarecreatedbytheskullasdescribedpreviously.
ThegesturalrhythmsareoftenS-curvesorevencompoundcurvesasopposedtothesimplecurvesweexperiencedwiththejointedbodyparts.That’sbecausewe’redealingwithseveralsubtleformsblendingtogether.Youdecidehowdetailedyouwantittobeandhowboxyorfluid.Justremember:whenindoubt,simplify.
Thegestureshowsusnewwondrousrhythmswitheverychangeofposition.Drawingfromlifeletsyoutapthatever-changingsource.Capturingtheserhythmspullsourdrawing
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togetherandmakesitringtrueonthedeepestpossiblelevel.
Whenyoulookatphotographs,anatomicaldrawings,ormasterworks,trythesekindsofredlineanalyses.Youwantarichanddiversecatalogofpotentialrhythms.
Whenyoustudyanatomy,thinkofitasthesourceofgestureaswellasstructure.FollowtheredlinestoseewhatImean.Therearealmostendlesspossibilities.
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Therearesurprisingnumbersofgesturalroutestochasedependingonthestyleyouwantandthecharacteryou’reafter.However,itmustfollowthetopography.Andkeepinmind,themoreyouseparatethelesserstructures,themoremale-likeandolderthefacewillgenerallyappear.
Hereweseehowthoseexquisiterhythmsbegintoshiftastheposeshifts.They’restillthesamegestures.Theysimplylookalittledifferentnowastheytrackovertheforms.
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It’sagoodtimetorevisitthoseoverlappingstructuresofshruggingmuscles,neck,andhead.Theoverlapsstaystrong.Thisisjustamorenuancedtakethanwe’veseenbefore.
Alittledisclaimer:Thedrawingsherearemyconceptions,withalittleaddedflair,ofbasicanatomyforabooknotpredominatelyaboutanatomy.Meaning,aninterestedpartycouldfindafewanatomical“errors.”Iputerrorsinquotesbecauseaslongasthemarkstrackgestureorstructure,andaslongasthey’redonewithconsistency,theaudiencewon’treadthemaserrors.They’llreadthemastheworkofastylist—whichisexactlywhatyouwant.BravoBuonarroti!
TheEyesThekeytoconstructingbelievableeyesisknowingtheyare,basically,ballsinholes.
Infact,allfeaturesmustbeconceivedassimplestructuressittingonthebiggerstructureofthehead.That’swhyitissoimportanttomapoutthefacialarchitectureinparticular.
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Somethingaspressure-packedasdrawingtheeyesisstillprimarilyaboutstructureandgesture.Ifyoubeginwiththosetwofundamentalideas,evenportraiturebecomesmoremanageable.
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StudiesfortheLibyanSibyl(recto),c.1510–1511,MichelangeloBuonarroti(1475–1564).Chalkonpaper.MetropolitanMuseumofArt,NewYork/BridgemanImages.Michelangelohadtosethiseyebackintotheplaneofthefaceandawayfromtheinsideedgeoftheeyebrow.Inotherwords,hehadtogiveussubtlecluesthatthesmallereyestructurerestedinthelandscapeofthebiggerface.
EYESTRUCTUREWealwaysworkfromthecenterlineoutwardtodrawawell-constructedface.
TakeacloselookatthepartialheadinFig.A.Theredkeystonestepsbackfromtheforeheadtostartthenose.Itseparatestheeyebrowsand,so,theeyes.Thesphericalshapeoftheeyeshowsitselfclearly,whethertheeyelidisopenorclosed.Theeyesocketiscoveredbythe
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skin.Theonlyrealsenseofitscave-likequalityishowfarbackintothesockettheeyeballsits.
Otherthingstonotice:Thesidesofthenoseendatthecheek.Someofthecheekisvisiblebeforetheeyeballsstart(markedinred).Theinsidecorneroftheeyelidanglesdownslightlybecauseitisofftheballatthatpoint.Thelowerlidnicelytracksoverthebottomoftheeyeball.Makesurethereisplentyofcheektotheoutsideoftheeyeballs(again,markedinred).
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Fig.A.Itstartswiththemostimportantlandmarkonthehead.That’sthekeystoneshapebringingtheforeheadandnosetogetherandkeepingtheeyesapart.
THEPROFILEOFTHEEYEWehavetolookforthethicknessofthelidsanytimewecanseethem.
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NoticeinthedrawinginFig.BthatIcaneasilyfitanothereye/eyelidshape(inred)infrontbeforereachingthecontourofthenose.Alsonoticehowfarbacktheeyeballsitsfromtheeyelid.Thisistoshowthegreatthicknessofthatawningstructure.
Fig.B.Theupperlidanditslashesactlikeanawningdressingastorewindow.Itshadesandprotectstheeyeball.
Infact,fromtheeyebrowtothecreaseoftheupperlid,totheupperlid,totheeyeball,everythingstepsback.Thisisbecausethebrowridgepushesforwardtoprotecttheeyeasdoesthecheektoalesserdegree.
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Iexaggeratedthethicknessofthelidshereandtheylookjustfine,don’tthey?Alwaysknowwhichwaytoscrewup—inotherwords,whichwaytopushtheidea!
NowlookatthoseeyesinprofileinFig.C.Thepupilandiris—theblackandthecoloredcirclesthatare,ineffect,paintedontheball—becomeverythinellipseswhenseenfromtheside.
Fig.C.Here’sanalternatestructurewhenathickerupperlidexists.
THEFRONTVIEWInthefrontviewoftheeye,thelids,again,hintattheballshapeunderneath.Careful,though—themorelinesyouadd,themoreyouageyourmodel.YoucanseeI’veagedthisyoungwomanaboveabouttenyearswithmy“extras.”
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Noticetheinnereyelidstepstotheoutsideoftheplacementoftheeyebrow(shownwiththetworedverticallines).Thisgivesthefeelingthattheeyeisbackintothatsocket.Theinnermeetingoftheeyelidsisoftenalittlelowerthantheoutermeeting(shownwiththetworedhorizontallines).
Forbeingasimpleballinahole,theeyedisplayssomeveryinterestingasymmetries.Andaswe’llsee,sometimeslessismore.
Itisusuallybesttodrawtheeyelashesasonemassratherthanindividualhairs.Noticethetwistedribboneffectbetweenthemassoflashesandthethicknessoftheupperlid.Noticealsohowintherenderingthisawningoftenshadestheirisandpupilintoagroupingvalueofdarkness,allowingthehighlighttopop.
IntheprofileeyeballI’vesketched(aboveleft),youcanseehowournaturalcontactlens—thecornea—coversthepupilandiris.Thisdistortstheupperlid,creatinganapextothelid’scurvethatshiftstotheinside.
Thelowerlidsitstoolowtobeaffected,butrathertucksuptightlyintotheupperlidattheoutside.Inthisway,ithasanapexfavoringthatdirection.Thetiltingredlineshowsthisasymmetry.
THETHREE-QUARTERVIEWInthetopreddrawinginFig.A,noticethethicknessofthelidcomingintoviewasitgoesaroundthefarside.I’vetakenawaytheverticaldroptomakeitmoreapparentinthisthree-
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quarterview.
Weneedatleastone“out”fromeachfeature.The“out”isthegesturalmovementtakingofffromthefeatureandontothesurroundingstructure.Theeyehasafew.TheS-curveoftheeyelashesisone.Itcomesofftheballandontothecheekwiththatgracefulsweep.Itworksbestonfemalemodels,asyoucanimagine.
Becausethelidswrapoveraball,theyshowtheirfullthicknessonthefarsideandfalloffdramaticallydowntheverticalityoftheball(showninredline).
Thereareseverallinescomingofftheinsideoftheupperlidthatsweepintothebridgeofthenose,aroundtheeyeball,andontothecheekbelowit.Examinetheredlinearrowsonthetopleftdrawing.Another“out”istheeyebrow,whichcantakeusintothefurrowedbrowline.
Whetherit’stheeyesorwhateverdetailedstructureyou’reworkingon,makesureyouplanforouts.Itwilllookmoresophisticatedandlesscartoon-like,guaranteed.
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Here’sanotherfuller-liddedmodel,meaningnodramaticcreasetostarttheupperlid.IsayfullerlidbecauseitmaynotbeanAsiancharacter.Forexample,gravitypullstheupperlidcreaselowerasthecharacterages,andgettingpunchedintheeyeforyourjobbuildsscartissueoverit.
Noticehoweacheyeisdrawnwithabsolutefidelitytoitsstructureand,yet,Imakesuretoshowthevisualpathway(thegesture)offtheeyeandbackintothegreaterstructurethatsupportsit.
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Anydetailwechoosetoaddmustactassmallergesturesandstructuresthatsubmittothepositionandcharacterofthefacefromwhichtheyoriginate.
TheNoseThenoseandthebarrelofthemouthtogetherconstitutethemuzzle.
Thegesturelineoftheface(G1)actuallypassesthroughthekeystoneandthepointatwhichthebarrelmeetsthechin(showninredlineinthedrawingbelow).Thesilhouettedlikenessofapersonisbasedlargelyonhowthemuzzlebuildsandthenrecedestothechin.
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Fromaprofile,weseethatthenosestartsontheplaneoftheface,butthrustsoutfromitonceitmovesdownfromthekeystone.
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Thenoseisawedgethatsitsonthebiggerplaneofthecheeks.Itbeginsatthesamekeystonelandmarkfromwhichwebuilttheeyes.
Thebridgeofthenosebeginsfromthekeystone.Itdescendslikeadaggerblade,piercingtheballofthenose.Theballendcanberounderorsquarer,butitcan’tbejusta“tip.”Meaning,itmusthavefront,side,andbottomplanestobecomefullyrealized.Withtheball,thewingsofthenosespanthebarrelofthemouth,creatingbridge-likestructuresthenostrilshidebeneath.
Takespecialnoteoftheredlinearrowsshowingthemouthbarrelemergingfromunderthewingsinthefigureabove(showninghostedlinestotheright).Thesideplanesofthebridge/wingsbevelout,andbothcanbeseenfromafrontview.Theydon’tcutintothecheeks,butrollsmoothlyontothem.
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Let’srevisitacoupleofthosemoredetaileddrawingsIshowedyoupreviouslysowecanunderstandhowthepartsofthenoseconverge.
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Herearesomeanglestoshowhowstronglythemouthbarrelaffectstheendofthenose.
TheMouthWejustsawhowthestartofthemouthisconnectedintimatelytotheendofthenose.Aspartofthatmuzzle,themouthbulgesoutofitsbeginningsandseparates,sometimesstronglyandsometimeslessso,fromthelowercheekandjaw.
Thechinpushesupfrombelowandthebottomofthebarrelsagsovereithersidelikealooseshirtoverabigbeltbuckle(seeFig.A).Onamatureorgrinningface,thebarrelripplesintoeachsideofthejaw,creatingthedimplelines(shownwithredlinesbelow).Thephiltrumisasmalldivotintheupperbarrelandnicelymarksitscenterline.
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Fig.A.Thekeytothemouthisthebarrelstructureroundsoverfromlefttorightandfromtoptobottom.Seeingtherichvarietyoflipshapescanhidethatbulgingcharacterifwearen’tobservant.
Thelipsstair-stepoverthebarrelwhilethelineofthemouthtracksperfectlyoveritsvolumefromwhateverpositionyoudrawit(seeFig.B).Theupperlipfallsintoshadowquickly,asdoestheplanefromthebottomedgeofthelowerlipbacktothechin.
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Fig.B.Fromeveryangle,themouthbarrelbulgesofftheplaneoftheface.
Thecontouroftheupperlipandthelineofthemouthbothtendtolooklikestretched-outcapitalMs.(SeeFig.C.)Thecenterthirdorsoofthebottomofthelowerlipbecomesastrongstraighthorizontallineortiltedtowhateverangletherestofthefrontplanefeaturesareconstructedon.
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Fig.C.Thelipsaremembranesand,so,haveadeepercolorandgreatertexturethanskin.Theirpillowyformsarefullinyouth,butthinwithage.Theupperlipcanbebrokenintotwoorthreedistinctshapes(showninred).
YoucanseefivedarkaccentsalongthelinesofthemouthinthemiddleleftinFig.D.Thisiswheretheupperandlowerlipshapesdon’tsealtightly.Drawingyourlinedarkerhereisagoodstrategy.
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Fig.D.Practicefindingthestructureswejusttalkedaboutundermycarefulrendering.
TheEarTheear’sshapecanchangeradically,butthefundamentalstructureissurprisinglyconsistent.Thinkofitasasliceofftheendofacylinderandthencutastraightedgeoffthat.Itcanbesquarer,rounder,short,long,orwobbly.Whateveritscharacter,itattachesandflowssmoothlyintothecheekplane(showninredarrowlineinFig.A).
Fig.A.Theearissimilartoasliceofacylinderconstruction.
Now,whattodowithallthoseconvolutionsthatgiveanearitscharacter?StartwithaC-shapethathasthecharacteryouwant.Addaquestionmarkjustinsideit.Makesureitwandersalittle.Wedon’twantthemtotrackinaparallelfashion.Rather,makeitpinchandspread,astheredlinesegmentsshowinFig.B.
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Fromtheback,weseethebigdishshapethatfunnelsinthesoundandthesmallbowlthatconnectsittotheskull.
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Fig.B.TheearsaremadeupofCsand?s.
Addanotherquestionmarktighttothefirst.Addathird,butletittiltforward.Don’tgiveitaperiod.Instead,wrapthetailrightintoanotherlittleC-shape.Thisgivesusanouterandaninnerrim,andthelittleflapthatblendsintothecheek.
Lastly,takealittledivottomakeaYoutoftheinnerrimandwraptheouterrimdownintotheinsidebowl.
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It’sabeautifullandscape,isn’tit?Itjusttakessometimetolearnhowtotraverseit.
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OLDMASTERstudy
Michelangelo’sStudyfortheLibyanSybilisoneofthemostfamousdrawingsinarthistory.Lookattheabsolutefidelitytostructureandgesture.Allthebigandlittlefrontplanestrackalmostperfectly.Becausethey’reorganic,theydon’thavetobeperfect.
Asistypical,thesideplaneswanderaround,butstillrespectthecorner.That’sboxlogic.Thegesturesgocrazygettingoneformtoflowintothenext.Andlookatthose“outs.”Ilovethisguy!
StudiesfortheLibyanSibyl(recto),c.1510–1511,MichelangeloBuonarroti(1475–1564).Chalkonpaper.MetropolitanMuseumofArt,NewYork/BridgemanImages.
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Isthereabetterdrawingfromwhichtolearnaboutthehead?It’saveritablemaster’sclassofknowledgeandfacility.
GIVEITATRY:Exercise1
AsIjustdidontheMichelangelo,doyourownstructuralandgesturalanalysesonthisfineself-portraitbyFantin-Latourbylayingtracingpaperoverit.
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Self-Portrait,1859,IgnaceHenriJeanFantin-Latour(1836–1904).Pencilonpaper.UniversityofCambridge,UK/BridgemanImages.
GIVEITATRY:Exercise2
HereisapageofsketchesshowinghowImightbeginadrawingwheretheheadconstructioniscarefullytiedtothebodygesture.Findthosegesturallinesanddrawsomeofyourown.
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Apagefrommysketchbook.Fountainpen,brownink,whiteCarbOthello,andgouacheonoatmeal-coloredscrapbookpaper.
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CHAPTER8THETORSO
Let’stalkgesture.Again.
ChristontheCross,c.sixteenthcentury,MichelangeloBuonarroti(1475–1564).Chalkonpaper.Privatecollection/BridgemanImages.
Contrapposto:OpposingPositionsWhenartistsusetheterm“contrapposto,”itchieflyreferencesthetiltoftheshouldersagainsttheopposingtiltofthehips.Thisisduetoashiftinbalancesoonelegbecomesthedominantsupport,lettingtheotherlegrelax.Thathip,then,fallsabitwiththerelaxation,andtheopposingshoulderrisesinresponse.
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Theoriginalideaofcontrappostowastobringalittleasymmetryintothepicture(orsculpture)tomaketheposeseemlessformal—morenatural.KritiosBoyisthefirstexampleinhistorywehaveofitsuse.Comparethistothekourosinchapter3—asubtlebutpowerfuldifference.Infact,youarelookingatthemostpowerfulideainfigurativeart.
TheKritiosBoy,c.fifthcenturyBCE,Greek.Marble.AcropolisMuseum,Athens/BridgemanImages.
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Laocoon,firstcentury,Hellenisticoriginal.Marble.VaticanMuseumsandGalleries,VaticanCity/BridgemanImages.
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Here’sasimplebreakdownoftheoriginal“relaxed”contrappostoposeandmoreextremepossibilities.
Asartiststendtodo,theystartedplayingwiththepossibilities.The“opposingpositions”ideathenbecameevermoredramatic,includingthetorsotwistinglefttorightandfronttoback.Suddenly,thefigurecouldbreakthepictureplane.Artworksnowhadthepowertobreakintoourspaceordrawusintotheirs.Toseetwoofthemostfamousexamples,lookatLaocoön(left)orthetragicallybrokenimageoftheBelvedereTorsofromchapter1.
OrjustlookatanythingMichelangeloevercreated!
Contrappostocanshowupinnearlyunlimitedways.
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Becauseofthenaturalcurveofthespine,evenastiffposesuchasthekouroshasasortofcontrappostogoingon.Thestraightfrontviewgivesusachestwherethetoptiltsbackintospace,astomachthatisflattothepictureplane,andhipsthattiltintospaceatthebottom.Astheribsandhipsbalanceoverthesupportinglegs,theytiltforwardandbackinopposingpositions.
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Thespinecouldlookrubberyandyoucouldstillmissgettingtheribsfacinginadifferentdirectionthanthehips.
TWISTItis,ofcourse,thewonderofthespinethatallowsforcontrappostoinallitsvariations.Thetwististheribsturninginadifferentdirectionfromthehips.Thisplaysfastandloosewithourfacingdimensionandcanbeconfusingtodraw.
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Here’sthetrick:AnS-curveisn’talwaysatwist,butatwistisalwaysanS-curve.Onthetorso,youfinditthroughthecenterline.However,tryingtodrawthetorsooffanS-curvecanmakeitlookweird.
Thinkaboutaropeorwringingoutatowel—thetopgoesoneway,thebottomanother,butthewholestructurestaysasimplecurvedtube.
Makesurethecenterlinefortheribsstaysclosetotheactualcenterorcrowdsoneside.Thehips,then,facetheotherway.ThatgetsyoutheS-curveyouwant.
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Thesilhouettemaychangeverylittlefromanon-twistingtorsotoatwistingone.So,IdrawthebasicstructureandaddthecenterlinewithitsdistinctiveS-curve.
We’vetalkedaboutthetorsoasabeanbagconception(seeFig.A).Let’saddthedrumsticktoit.Thedrumstickisathinshapeintrudingintoathicker,morebulbousone.You’llseeitalloverthebody:neckintohead,thumbintohand,andribsandwaistintohips.It’sverysimpleandveryuseful.
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Fig.A.Beanbagsanddrumsticks.Wefindtheseconstructsthroughoutthebody,andtheycanmakedrawingthetorsomucheasier.
AsshowninFig.B,makingafullermassatthebasegives,generally,amorefemininelook.Playitwaydownandstepitinbeforeitreachesthepubicarea,anditbecomesmasculine.
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Fig.B.Asalways,thelongaxisofthestickpartcanbecurved.Makesurethatstomachgoeswaydownintothehips.
INTERLOCKINGTheotheradvantageofthedrumstickisitcreatesaninterlockingconnection.Considerthethreewaysstructurescometogether(asshownintheillustrationatright):
1.Theytouchendtoend.
2.Theyoverlap.
3.Theyinterlock.
Twostructuresinterlockingisthebestkindofconnection.It’slikeawrenchlockingontoanut,orevenbetter,aboltinthenut.Whenoneformintrudesandlocksintoanother,it’sgoodengineering—andanatomyisexcellentengineering.
Bonemeetsboneatthejoint.Butmuscleoriginatesononeboneandintrudesintothemusclemasscoveringtheother.Itmakesforagoodfitandevenbetterleverage.Thishappensalloverthebody.Findtheinterlocks.Usethemwheneveryoucan.
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Thedrumstickshowsupevenmoreofteninthesecondaryformsandlocksthoseformstogether.
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Findtheinterlockingconnectionsinthisdrawing.
THEV-SHAPEDMUSCLEInfitnesscircles,it’scalledthe“lats.”Itlookslikethehoodofacobra.Startingatthearmpits,itcutsacrossandcontoursovertheribs,descendingintothecablemusclesofthelowerback.Thisisoneofthemostvisibleinterlocksonthebody.Careful,though—whendrawnlargetheylookverymale.
Thegreatestthicknessofthelatsisfromthemid-backupuntilthemusclereachesthearmpits.Onceitdescendsfromtheribcage,itthinsquicklyanddisappearsintothebaseofthespine.Itcanbehighlyvisiblemostofthewaydownorhintedatonlybyaveryslightwideningintothearmpits.
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ThelatissimusdorsimusclecreatesaV.
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Thelatscovermorerealestatethananyothermuscle—byfar.
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Makingthelatsvisibleisaterrificwaytotiethearmgesturesintothetorso.However,youcanseehowitcouldquicklyleanintocomicbookheroics.
THEFRONTOFTHERIBYoucanseehow,inmanyoftheribconstructions,thenipplestrackthecornerwherethefrontplanemeetstwocornerplanes.However,intherecliningfemalesketchabove,thebreasthasslippedtothesideandmissesthemark.
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Thepointinchoosingastructureistofindasolutionthattracksthegesturalpath.Aslongasitisgenerallycharacteristicofthehumanform,itwillringtrue.Remember,youaren’tdrawingaribcage.You’redrawingyourideaofaribcage.Itmightfeelintimidatingatfirst,butit’sactuallyliberating.Ifyouletthatbethemotivationforthemarksyoumake,itwillsetyoufree.
Iactuallysketchedtheinterlocking-stomach-into-hipsideabackinchapter6,butneverexplainedit.Here,itisrealizedmorefully,andI’veaddedasecondaryinterlocktakingtheribsintotheabdomen.Canyoufeelitsabsoluteconnectedness?
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Whenyourarmsliftaboveyourheadorwhenyouliedown,yourribcagewantstoexpandandthesimpletubeoreggshapechangeslikeso.
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Toreview,gesturecangiveusthesewonderfulrollercoasterridesthatviewersfeel,butonlysubconsciously.Keepinmindtheseareseveralgesturesstrungtogether.
TheHipsThehipsarethefulcrumofthebody.Theyhavethethickestmusclesandtheheaviestbones.Thehipsarethebaseforthearticulatingtorsoandthelocomotivelegs.
Thehipsaretheonlystructureonthebodythatiswiderthanitislong.Squarenessseemsappropriateforitsfoundationalstrength.Ontheotherhand,roundnesssuggestsitspivotalqualities.Thebiggestdifferenceinthemaleandfemalesilhouetteisseenofteninthehips.Amale’shipsmovesmoothlyintothelegswhilethefemale’sresemblesmoreofadiamondshape.
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Thehipsareapivotpointfortheupperandlowerbody.
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Severalmalehipstructures
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Severalfemalehipstructures
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Thehipsinrecliningpositions
RECLININGTohelpvisualizethis,thinkofafoot.Theheelpressesagainsttheground.Theballofthefootandthetoespressagainsttheground.Andthearchliftsoffbetween.
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Thatis,essentially,whathappenswiththehips,ribcage,andwaist.Inthefigureabove,noticewherecontactismadewiththegroundIcutoffthetubeoreggshapetoshowtheweightcompressing.Thisisveryimportant.Youcanaddsomeroundnessintherenderingstage.Youcanalsoaddalittlecontrappostotwist!
PullingItTogetherThetorsohastwomajorstructures,threeifyouseparatethewaist.Therearemanyvariations(morethanI’veshownhere),and,yet,they’reallsimplestructureswithsymmetryaroundthecenterline.Aswe’velearned,secondarystructurescanbeadded,shadowscanbeadded(we’llbringthatbackinchapter11)—youcanpackallsortsofextradetailsintoyoursketches.Staysimple,though.Getthebasicsdown.It’slikepracticingscalesonthepiano.Therestfollowsnaturally.
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Varioustorsodrawingsingouacheandpenandinkonscrapbookpaper
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OLDMASTERstudy
NoticehowMichelangelotooktheideaofcontrappostotothelimitandmaybebeyond.Michelangeloaddedextralengthinthewaist(ashelikedtosometimesdo)togivecredenceandemphasistothatmightyrotation.
Noticealsohowthelegsaredrawnalittlesmall.Isthataproblem?Youdecide.Shouldhehavepuncheduptheproportionsordotheshorterlegskeepthefocusonthatdynamictorso?Itisquiteallrighttoquestionthegreats.That’showyourvisionbecomesyoursandnotsomeoneelse’s!
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ASeatedMaleNudeTwistingAround,c.1505,MichelangeloBuonarroti(1475–1564).Penandinkwithwashonpaper.BritishMuseum,London/BridgemanImages.
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LookatthealmostimpossiblecontrapposopresentedinMichelangelo’swarriorfigureasheturnstowardtheaction.Theseideaswe’reworkingwitharen’tjustcraftconcepts.TheycanusedtomakeemotionallypowerfulstatementsasMichelangelohasdonehere.
GIVEITATRY:Exercise1
Everydayforaweekdoabasicbreakdownofoneofmysketchbookdrawingsorgouachestudies.Youwanttolearntoseepastthecrosshatches,theshadowshapes,thecolorgradation,andalltherestandfindourtwofoundationalideasthatholdittogether:gestureandstructure.
GIVEITATRY:Exercise2
Doaquickbreakdownofonebodypart.Thinkhowfaryoucouldgetinayearbyjustcommittingfiveminutesaday.
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Masteringyourcraftisallaboutmileage,andthere’snobetterwaytogainmileagethanbykeepingasketchbook.Noneoftheworkhastobeperfect.Instead,justsearchforanswersandhavefun.
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CHAPTER9THEARMSANDHANDS
Toachievethefullestrangeofmotion,thearmshavethemostcomplicatedengineeringofthebody.Forthehaplessartist,thatmeansjustknowingthestructureofthearmswon’tcutit.Weneedtoknowabitofanatomyforthemtofeelmobileandnotjuststuckon.Understandingtheinterlockingconnectionsiscrucial.
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StudyofaMan’sRightArm,HisHandHoldingaStick,c.sixteenthcentury,FrancescoParmigianino(1503–1540).Chalkonpaper.ChatsworthHouse,Derbyshire,UK/BridgemanImages.
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Musculature,illustrationfromTabulaesceletietmusculorumcorporishumani,1740,byBernhardSiegfriedAlbinus(1697–1770).Engraving.HumboldtUniversityofBerlin/BridgemanImages.
TheShoulderGirdleThechestandcollarbones,theshoulders,andtheshruggingmusclesandshoulderbladestogethermakeuptheshouldergirdle.Thinkofitasshoulderpadsonafootballplayer.The
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shouldergirdleiswhatcreatesthedelicatebalancebetweenstrappingthearmsfirmlytotheribcageandkeepingthemagileenoughtoscratchyournoseorswingtothenexttree.
Thetrickisthatthearmboneconnectstotheshoulderbladewhiletheshoulderblade“floats”androtatesoverthetopoftheribcagebecauseofaningeniousseriesofmuscles.
Thebasicmechanismisthis:Whenanarmhastoexertforcebypositioningitselfawayfromitsrelaxedpositionsagainstthetorso,theshoulderblademusclesrotateovertheribsastheshouldermuscleraisesthearmtothecorrectangletodoitswork.Itvariesfrompersontoperson,buttherotationispartoflateralmotionsandbeginsasthearmslifttowardahorizontal.Thechestmusclesmovethearminahuggingaction.Thelatsmovethearminayawningaction.
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Itdoesn’tmatterhowtheshouldersmove—theneckandribcagedon’tnecessarilymovewiththem.
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Theredarrowindicatestheshoulderbladehasnotrotatedinthisaction.
TheUpperArmTheupperarmcanbetreatedasasimpletubewithparallelsides.Welearnedthisinchapter6.Herewewilltakeitfurther.
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Theshouldermuscleiscalledthedeltoidbecauseofitsdelta(Đ)shapebelow.Itintrudeswellintothearmand,onanathleticbuild,theaxisofittotheupperarmcrisscrosses,pushingoutlaterallyastheupperarmmovesforwardandback.Thisconceptisvisualizedbestbyturningthearmintoatwo-by-four(5x10cm)board.
Fromthisfrontviewyoucanseehowthetricepsarewiderthanthebicep.Again,thisdifferenceismostapparentwithamusculararm.Thebicepsplitsintothelowerarminmuchthesamewaytheshouldersplitstheupperarm,thoughitisusuallylessdramatic.
Theforearmintrudesfrombelowinmuchthesamewaytheshoulderdoesfromabove.Noticehowbothshoulderandforearmsplitthebicepsandtricepsaway.Themoremuscularthearm,theshorterthedeltoidbecomes.Thebulkybicepandtricepsriseuptheshoulderlikearisingtideonthebeach.
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Therichvarietyofchoicesfortheupperarmcomesfromthedeltoidmuscleaboveandsupinator/extensorgroupbelow.
TheElbowTheelbowisstructurallythecornerbetweentheupperandlowerarm.Whateverbonecomestothesurfaceisrelativelyrounded.DuringtheRenaissance,andforalongtimeafter,theelbowwasdrawnjustthatway.ThedrawingontheleftinFig.Agoesthatway.
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Fig.A.PartofmyprocessincludesworkingonjointswheneverIhavemoretimetodraw.Findingthosesecondarystructuresmakesthetwoprimariesconnect.Ofcourse,bringingthepieceintoawell-conceivedwholeisthehardpart.
Modernconvention,astheotherthreedrawingsshows,oftentiesacoupleoftheroundedheadstogethertomakeasquare.Itspeakstotheideathathardboneshouldbesquarer(andmanytimesdarkerinline)andsoftmusclerounder(withatouchlighterline).Thesekindsofvisualmetaphorsareusefulforcreatinganaesthetic“worldview,”sotospeak.
Whateveryoudo,ifyoucanseetheelbow,distinguishitfromtherestofthearm.
TheForearmWhenthepalmofthehandturnsforwardorup,theforearmgetswideacrossthefrontandnarrowacrosstheside.Whenthepalmturnsbackordown,theforearmbecomesmoreegg-ortube-like.Thewristneverchangesshapeandtendstobelikethetwo-by-four(5x10cm)boardshape.
Rememberthatthefrontoftheupperarmisstiffandstraight,andsoistheforearmforaboutathirdorsoofitslength.YoucanseethatontheinsidecontourandtheredgesturelinejustinsideitinthearmatleftinFig.B.Afterthatinitialcontinuationoftheupperarm’sstraightdesign,theforearmtakesoff,flowingawayfromthebody.
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Fig.B.Supinatedviewoftheforearm
Youcanseeinallconceptionsthattheupperhalfoftheforearmismorebulbousandthewristissleeker—noticethedrumstickshape—followingtheflowofthegesture.
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Whenthearmbendsmorethan90degrees,theelbowcornerbecomestwocornersasthetwopartsofthearmmakethattightturn.We’llseesomethingverysimilarwiththeknee.
TheHandThegesturalconnectionofwristtohandhappensbywayofthetendonsinthewrist.Tendonsaregreat.They’relinesthattakeyouwellintoonepartfromanother.The
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relationshipbetweentheparts—that’sgesture.Tendonsaretailormadetohelpwithgestures.Theplacestheyaremostevidentareinthehands,wrists,ankles,andfeet.
Followthehandconstructionjointbyjoint.
THELAY-INOFTHEHANDThebackofthehandisgenerallywiderthanthewristandaboutthesameshapeandproportionastheribcage.Theknucklelineofthehandandeachjointedsectionflowsoffagesturalcurve.Themorewidespreadthefingersare,thebettertheyalign.Watchforthisinsubsequentdrawings.Itgoesalongwaytowardorganizingthewigglydigits.
Markthehalfwaypointonthehand(shownbydottedlinesinillustrationsabove),makingthethumbsidealittlefatterthanthelittlefingerside.Addthefirstjointofeachfinger.
Asyoubuildfromtheknucklestotheendofthefinger,eachfingerjointisaboutone-quartershorterthanthelast.Thethumbstartswithatriangularwebbinginsteadofthefirsttubeshapethefingershave.Addatubeonthatandahookingtubetofinishit.
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Backofthehandintwocolors
Thepalmsidehasthreesoftpadswiththefingerandthumbsectionshavingtheirown.Theseprotectthedelicatejointsandcreatetractionforgrip.
Thebackofthehandhasatransitionalwedge-likeformasshownbythebluetintonthehandabove.We’llseeamuchmorepronouncedversioninthefoot.ThiswedgewasanegginRenaissanceworks.Christianartbeingalltheragebackthen,theegghadtheaddedbenefitofconnotingthebirthandrebirthidea.Artisalanguageasrichasanyother.
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Palmsideofthehand
THEFINGERSThefingersaresimpletubesuntilyougettothetips.Thesetaperintomoreconicalormorewedge-likestructures.Asalways,youcanmakerounderorsquarerchoices.Andletthatpaddedsidesagatouchtoshowtheirsoftcharacter.
Startwithasimpletubetounderstandthefingertip.Sketchthenailatthetopendofthetube.Thekeyisnottohavetheneatlytrimmednailintrudeintothefrontofthetube.Ifitdoes,itwilllooklikethepoordrawingofftotherightinFig.A.
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Fig.A.Structureinthefingernails
Thebottomdrawinginthesamefigure,theonewiththeredarrow,takesitabitfarther.Here,I’vedistortedtheendofthenailintothecontouroftheendofthetube.Lookattheendofyourowntrimmednailsandyou’llsee,atsomepoint,thenaildoescurvethatway.I’vejustmadeithappenalittlesooner.AsI’vesaidbefore,erronthesideofthemoredynamic;pushthingsasmuchasyoucantowardyouridea.You’llseldombedisappointed.
Whataboutthegestureofthefingersthemselves?Afterall,they’reshort,straighttubes.Abentfingermakesachiseledgesture(seeFig.B).Better,wegetthiswonderfulwaveactionwhenweaddtheknuckles—theirriseandfallreinforcedbythesaggingpads.Maketheknucklessquaredormoredome-like.It’sverymuchlikethewedgeshapethattakesusfromthewristtothebackofthehand.
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Fig.B.Gestureintheknuckles
THETHUMBPuppydoghead,spoon,andkidneybeanarethethreeshapesthethumbcantakeon,dependingontheangle.Themorechoicesyouhavethroughoutthebody,themoresuccessfulthelay-inandthelessworkanyrefinementwillbe.
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Thumbshapes
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Handsacrossthefaceingouacheonscrapbookpaper.
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OLDMASTERstudy
Asround,soft,andfeminineasLely’sdrawingsare,heusesasurprisingamountofboxes.Noticeinparticularhowthehighlightspickoutthoseboxycornerswhilemovingfluidlydownthelongaxiscurves.Forthemasterfulartisan,that’shisjob!Thebentwristhe’streatedintwoways.Inthetopdrawing,he’sgonefortheRenaissanceeggs;forthelowerleft,it’sthebox.
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StudiesofHands,seventeenthcentury,bySirPeterLely(1618–1680).Chalkonpaper.UniversityofOxford,UK/BridgemanImages.
Remember,nomatterhowcomplicatedastructureis,justworkitoutonejointedpartatatime.
GIVEITATRY:Exercise1
Breakdownsomeofthehandandarmstudies,suchasintheexampleonthispage.Payspecialattentiontothejoints.Looktotheinterlocksandworkontheswellingknuckles.
GIVEITATRY:Exercise2
Onceaweek,drawyourownhand,lookingatitdirectlyorinamirror.Don’talwaysjustdrawthewholecomplex.Sometimesdrawthefingerandthumb.Seehowmany
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conceptionsyoucandiscoverasyouturnthemthiswayandthat—buildingthatcatalogofshapes,alwaysbuilding!
Studiesofhands
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CHAPTER10THELEGSANDFEET
ImagineifthestandingstonesofStonehenge,afterholdingstillforsolong,simplydecidedtowalkoff.Thatjustbeginstodescribethemarvelofourhipandlegdesign.Further,imaginethosestonesrootedintosmallflyingbuttressesthatnotonlydistributetheweight,butalsosoftentheimpactofthatactive/inactivedynamic.Thatdescribesthefeet.Thelegsandfeetarebeautiful,powerful,andcanbeachallengetocaptureonthepage.Let’sseehowwecanrefinethosestrategieswe’vealreadydiscussedasweexplorethelowerextremities.
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StudyofaMaleNude,StretchingUpwards,c.sixteenthcentury,MichelangeloBuonarroti(1475–1564).Chalkonpaper.BritishMuseum,London/BridgemanImages.
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You’vegottomakethelegsandthehipsateamwhenyoudrawthem.Together,theyaccomplishamazingthings.
PostandLintelHowtosupportgreatweightandstillimbueitwiththepowerofquickanddecisivemotion?Enterthepostandlintelsystem.ThinkStonehengewithoutthecracks.Noticehowthepelvisintheleftfigurebelowacceptsthelegbonesfromthesidesinsteadofthebottom.Thesinglecolumnofheadandtorsostillsitscomfortablyonthetwinpillarsofthelegs.
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Thebodyneedsarelativelywidebasetobeabletoholditspositionindefinitely.That’swherethismodifiedpostandlintelsystemcomesin.
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Profileschematic.Byforgoingbottomjoineryforside,thelegsareabletoarticulateoffthehipfulcrumandmovetheupperbodyasneeded.
GestureandStructureThereareonlysubtlevariationsofformontheinsideofthelegssotheycancometogetherwithoutdisruption.Theoutsidegoesalittlecrazytoallowforthebigsweepinggesturesofthelowerleg.Thisistruerightdownthroughthefeet.
ThetubestructurethatholdsthekneeinFig.Aandmakesforaneasiertransitionfromthightoshin(seehere–111)alsoleadsusintoimportantsecondarygestures—oneupintothehipandtheotherdowntotheinsideanklebone.FollowtheturquoiselinesinFig.B.
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Fig.A.Frontviewarticulation
Thelegmustshowboththestrengthtosupportitsbody’sweightandafluidgracetobeabletomoveit.Observethisimportantbalancingactinyourfavoriteartists’works.
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Fig.B.Constructionofthelegwithgesturelines
THECORNERSINTHECURVESBecausethecurvedgesturesareorganiccurves,theyareimperfect.Someofthoseimperfectcurvesspeedup,turnmorequickly,andgiveusapexes.Thatequalscorners.WhatI’msayingistherearecornersinthecurvesthatwillkeepanycontourlinefromlookinglikerubber.Itwillmakethemfeelorganic,sophisticated—andreal.TheturquoisearrowsinFig.1showthemajorcornersinthecurves.
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Whereveryouseeabulgingcontour,lookforthecorners,andseewhetheryoucanmakeaneggshapeoutofitagainsttheopposingcontour.I’vemarkedtheminFig.1withturquoiseeggs.
Fig.1.Nature’slittleimperfectionsgiveusachancetoplaywithwonderfulsecondarygestures.
Thecorners-in-the-curvesideaissomethingtolookforthroughoutthebodyand,forthatmatter,throughoutnature.Wetalkaboutroundingoffconstructedcornersallthetime.Infact,that’sthekeytaskofgradation.Now,wecansquareupthecurvesifwelike.
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Noticehowthedifferentideasofstructureandgesturehavesomethingincommon.That’sagoodthing.Therearecornersinthecurvesandcurvesinthecorners.Asartistswithuniquevoices,weshallplaywonderfulgamesbringingourtwoideasclosertogetherorpushingthemfartherapart.
TheKneeThekneenestlesintothegreaterformsinstraight-leggedpositions(seeFig.2).Therelaxedformsinalegwiththejointlockedrippleoverthekneelikewaveswashingoverapebbleinthesand.
Fig.2.Alockedkneejoint
Whenthoserelaxedformsjustbegintoflex,thekneebecomesacorner.Butalso,itshowsoffitstendinousconnectionsintothoseupperandlowerforms.Noticeeverylineyoumakeflowsupordown,tyingthelesserstructuresaroundthekneeintothegreaterlegstructures.
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Thekneebecomesthefull-fledgedcornerweknowandlovewhenthelegbendsdecisively,asinFig.4.Andliketheelbow,aboxyconstructioncanbeagoodwaytogo.
Fig.3.Aslightlyflexedknee
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Fig.4.Bentlegs
Thekneecapanditssurroundingstructurescanseparatefromthebiggerthighstructure.Drawthefulltubeorboxstructureforthethighandthencapthatfullthicknesswiththeknee.Don’tletthethighdeflatedowntoatinykneeending,asshowninFig.5.
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Fig.5.Incorrectstructure
Schematicsandsketchesoffrontandprofileviews
TheFootThefootisasnowshoefortheankle,awideplatformofsupport—withatwist.Itneedsstabilityandmobilityliketherestofthebody.Sothattheentirebroadbasecanflex,ithas
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anarch.Thearchisalsoashockabsorberfortheimpactthefoottakeswhenallthatweightcomesdownonitinaleap,sprint,orwalk.(Seetheimagesabove.)
Thearchworksfronttoback.Butitalsoworkssidetoside,expandingorcontractingasthefeetspreadwideorclosetogether.
Theanklelocksaroundthefootlikeayokearoundabell—and“rings”thesameway(seeFig.A).
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Fig.A.Ankleconnection
Thinkofthebillofacartoonduck.That’swhatthewedgeofthefootlookslikefromthefront(seeFig.B).Torefineit,thewedgeishightothebigtoesideandangleslowertothelittletoeside(shownwiththeredlinearrows).Boththebigtoeandlittletoeknucklesflarewidelytosuggestthatplatformidea.
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Fig.B.Theplatformandwedgeofthefoot
Drawingthebackofthefootissimilartodrawingthebackofthehead.Thereareaseriesofsubtleoverlapsthatarecritical,evenmoresoforthefootbecauseabackviewthruststhetoesdeepintothepictureplane.
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Backviewsofthefoot
TheheelandAchillestendonmakeafireplaceandchimneystructure(markedinpaleyellowinthefigureabove).Behindthatistheankleandanklebonesection(markedinorange).Makesuretheanklebonesorienthigh/lowtoeachother,asshownbytheredlinewitharrows.Theturquoisesectionisthebodyofthefoot.
THETOESUnlikethefingers,thetoeshaveonlyanarrowabilitytoarticulate,sotheystaygroupedcloselytogetherandwehaveonlythreebasicstructures.Whenanyofthosestructurespressesthegroundastheyusuallydo,reallyflattenyourlinetoshowthecompression.
Weconstructthetoesverymuchlikethefingers.Theyhaveapadontheundersideforgrippingandprotection.Imaginethewholeweightofyourbodyslappingthosepoorlittledigitshardonthegroundandyouseewhythepadsareevenmorerobustthanthefingers.Thismakesthetoeendsveryroundedinshape;withthenailinserted,theylooklikecartoonfaceswithparkason!Theyhaveacertainasymmetryasthetoesconvergeonthecenterlineofthefoot.
Constructionsofthetoes
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Toeconnections
Unliketheothers,thebigtoehasaknuckle,generally,thatiscloserincharactertothethumb,anditisoftensquarerincharacter.Whenyouaddtheoriginatingknuckleofthefoot,yougetakindofarchbetweentheplantingballofthefootandthetoe’send,asseeninthetopfigure,opposite.Then,whenwelineupthetoestogether,weseetheirthreestructures.
Noticeinthefigureabovehowtheknucklespushoutoneithersideofthebigandlittletoes.Thisisthatsnowshoeplatformspreadwidebelowthewedgeofthefoot.I’vemarkeditwithredlines.Thetoesexhibitniceinterlockingtothefootstructure.
Thebigtoewithitsarchlookslikeaboxybarbell.Thethreemiddletoesaremorelikefingers.Longandsimple,theycurvedownorstepdowntothetoetips.Iftheygriptheground,theytakeonastrongstair-steppingappearance(theturquoisearrowinthefigureabove).Thelittletoecanlooklikeashorterversionofthemiddlethree.But,moreoften,itlookslikeanegg.
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Thebigtoe
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Bigtoeknuckle
Finisheddrawingofafoot
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OLDMASTERstudy
InthisimagefromRaphael’sSchoolofAthens,thereiscontrappostoeverywhere(followmywhitelines).Icouldn’tresistcallingoutafewexamples.Particularly,noticethewildgesturelinesgoingeverywhichwayonthesprawlingfigureatthebottom.Thehorrorofhissituationcomesacrossmuchmorestronglyfromhisposethanfromtheexpressiononhisface.
Noticehow,asthelegsbendinsupportandaction,thebackhamstringtendonsstretcharoundthelegsandattachbelowthekneelikereinsonahorse.I’vemarkedthesewithredarrows.Thatkindofcuttingacrossattachmentgivesasenseofpower,somethingyoudon’twanttomissinthesekindsofposes.
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ThePanelBeneaththeStatueofApolloin“TheSchoolofAthens,”afteradrawingbyRaphael,c.sixteenthcentury,RaphaelSanzio(1483–1520).Chalkonpaper.ChatsworthHouse,Derbyshire,UK/BridgemanImages.
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Asyoufollowmymarks,don’tjustlookateachindividuallongaxiscurve.Lookatthewholecomplexofcurves.Gestureinitsgreatestsenseisawondrousdanceofrhythms,eachoneneedingtheotherstomakeitallcometogether.Now,lookattheconstructionofthelegsandhowtheyaresmaller,buteverybitasbeautifulasthegesturesinthoselesserforms.Artisallabouttherelationships.
GIVEITATRY:Exercise1
RedrawtheMichelangelo(seehere)fromthebeginningofthechapter.Payspecialattentiontohisownredrawoftheright-sidelegandconsiderwhyit’ssomuchbetter.Lookathownicelyhe’sconnectingthefeettotheankles.
GIVEITATRY:Exercise2
FindtheopposingeggsintheSchoolofAthens,opposite.Remember,ifyouseeabulgingcontourontheleftside,findanopposingbulge(eitherhigherorlower)ontheright.Youshouldbeabletofindseveralineachleg.
Areyoustilldrawinginyourobjectsketchbook?Congratulations!Iknewyouwere.
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CHAPTER11FINISHINGDETAILS:LIGHTANDSHADOWS
Chapterafterchapterofgestureandstructurepractice,andstillwehaven’tdonemuchwithshadows.It’stime.
Shadowsarecorners.Theirdarkvaluestietheelementsofacompositiontogetherandgiveitweight.
differentvalue=differentplane
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StudyofaMaleNude,c.1715,GiambattistaPiazzetta(1683–754).Blackchalkheightenedwithwhiteonpaper.DetroitInstituteofArts/BridgemanImages.
TheDarksStayDarkRemember,thedarksstaydarkandthelightsstaylight,andthetwodon’tcompete.Weusethesquinttesttoseethemodel(orthereference)inthesamemanner.
Theartistislimitedtoflatpaper.Naturehasnosuchlimitations.Inaddition,thewhitevalueofthepaperisnowherenearthevalueofsunlightoraspotlight.Wecan’tmatchnature’sscope
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andwecertainlycan’t“capture”itonpaper.Allwecandoisfindavaluerangethatringstruetonature’srelativelightanddarkrelationship.
Putthatrelationshipinsolidplanesdescribingsolidforms,tieittogetherwithcurvedgesturelines,andwehavesomethingworthhangingonthewall.That’swhatpeoplerespondtoinachiaroscuropiece.
BIGANDSIMPLETOSMALLANDCOMPLEXWegetconfused,lost,andfrustratedchasingthesetheories.Remember,whenindoubt,simplify.Focusonthebigstuff.Findtheformsthattakeyouacrossthewholewidthofthatbodypart.That’sthefoundation.That’sallyouneed.Themediumandsmallstructuresfollow(ornot).
Agreatwaytopracticeiswithtwoorthreebigsimpleformsandhowtheyconnect—likethehipandthighortheribcage,waist,andhips.Letmeshowyou.
Toreview:drawthelongaxisgesture(G1)andthenfollowourprocess.I’vesloweditdownevenmore:
1.Connectingoffthegesture,drawthebeginningoftheform.
2.Drawtheendoftheform.
3.Drawtheshapeoftheshadowinthemiddleoftheform.
Thinkofitastellingastorywithabeginning,anend,andamiddleinbetween:Starttheform,endtheform,andfindthemiddleoftheform.
Usethisprocesstoworkacrossasmallcrosssection,andthenmoveupordowntoanewcrosssection.I’vemarkedthatsection-by-sectionprocesswithA,B,andCinthedrawingabove.Youcanseeitplayoutonthemiddlesetoffigureswiththethree-stepprocessoutlinedpreviously,andinmoredetailonthefarrightfigure.
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Usethisprocesstoworkacrossasmallcrosssectionandthenmoveupordowntoanewcrosssection.I’vemarkedthatsection-by-sectionprocesswithA,B,andCabove.
Asingle1(connectinggesture),canplayagainstseveral2s(endoftheform)and3s(shapeoftheshadowinthemiddleoftheform).
Sometimesasidemaybehidden—say,behindthearm.That’sokay.Whatiskeyisfindingtherhythmfromsidetosideandfromsidetoshadow.
Inthesamefigure,lookattheturquoiseballstoseehowthoserhythmsmovelikealoop-the-looprollercoasterthroughthebeginning,middle,andendsequence—that’sveryimportant.Very.
Gestureisdefinedbythelongaxisbecauseallbodypartsconnectendtoend.Thingsdon’tlastlongsidetoside,andtheyhavedefiniteendingsthere.That’sacrosstheform.
Goingdowntheform,astomachmusclerisesup,submerges,thenanotherrisesup,andsoon.Youhavetobuildthevolume,andthenexplainitaway.Makingthosetransitionsfromoneformtothenextistricky.So,workacross,thendown,thenacrossagain,andthendownagain.
Workyourwaythroughtheentirebody,bigsimpleformbybigsimpleform,orstartwiththebigformacrossandthenconstructallthelesserformsacrossontopofit.Whenyou’vefinished,moveontothenextbigsimpleform.
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ThebreakdownsfromFig.A,right,followonthenexttwopages.Noticehowtheproportionsinthebreakdownsvaryfromthesourcedrawing.IliketomixthingsupasIgo—searchingforgreaterheroicproportionsinoneormorelengthinanother.Leanthefigurebackmore,tiltthingsintodeeperspace—I’lldoanythingtofindaninterestingtakeonthematerial.Inotherwords,I’mdoingmybestnottocopyit.I’mtryingtogiveitavision.
Fig.A.FigureStudy,c.2001,bySteveHuston.AlphacolorandContéchalkonStrathmore,Bristolfinish.(1)Findtheshapeoftheform;(2)findtheshapeoftheshadowontheform;(3)givetheshadowadarkervalue;and(4)addhalftonegradations.That’sourfour-stepprocess.
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Whenpeopleseeyourdrawinginabookoronline,youwantthemtoknowimmediatelythatit’syours.
That’salotofinformation.Let’stakeanotherlook.
I’mworkingfromFig.Aandremovingallthoseintimidatinglumpsandbumps.I’mjustgoingbigandsimple(seeFig.B).TherestwillfollowifIhavethetimeandinclination.Keepinmind,I’vedoneacarefullay-inofthewholebody(orasmuchasIplantodrawofit)beforebeginningmyshadingwork.
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Fig.B.Alwaysstartwithasolidlyconstructedfigure.
A.Istartwiththebigsimpleribcage(seeFig.C).Ionlyseeabitofitunderthebreast.That’sallIneed.Followitwith1,2,and3(seetheright-sidedrawing),thenfillitinwith4(theshadow),andmoveon.
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Fig.C.Beginningtoaddtheshadows
B.I’maddingthebreastbecauseit’sintheway.IcouldhavestartedwithitbecauseitisinterruptingthebigsimplestructureIneeded.Followwith1,2,and3—castitsshadowovertheribs.Makesureittracksoverthatsimplifiedsurfacelikeanantoverapicniccloth.I’mleavingouttheshadowvalueonstepBtodistinguishitfromstepA.
Hint:NoticethatIwobbletheshadow(#3)ofthebreasttosuggestthenipple.Idon’thavetostructureoutthenipplebecausethefoundationalstructureofthebreastissolid.Ifyougetthe
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bigstuff,wobbleaway,andthelittlestuffwillusuallytakecareofitself.Butthestep-by-stepprocessisalwaystherewhenyouneedit.
Now,Icankeeprenderingacrosstofindthelesserstructures.I’veaddedsomemoreribs.Theegg-likerhythmsinturquoiseinFig.Dshowhowtheytiebackintothegreaterribcage.Everythingconnects.Thatistheideaofgesture.
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Fig.D.Gettingthelesserstructures
I’veerasedorlightenedthelay-inlines.Normally,I’djustleavethem,butIwantedthenewadditionstobeclear.I’vealsodarkenedandrefinedthecontours.Noticetheaddedribswobbleandsodoesthecastshadowoffthebreast.Forthecastshadow,Ijustdrewadarklineoverthelighterone.Noneedtoerase.
Staylightwithyourlinesforaslongaspossible.Itpaysoff.
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Ontotheshoulderandshoulderblade(seeFig.E).Irefinemylay-inalittle,makingsureeverythingtracks.Then,it’sbacktomyprocess.Alwaystrusttheprocess.Youcanalwaysshortcutlaterwhenyoufeelconfident.ThetinystuffbetweenshoulderbladeandbreastIcanpickupassubtledetail.Givethemaconnectiverhythmtosomegreaterstructureandyou’llbefine.
Fig.E.Addingtheshoulderblade
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Thesafestthingtodo,untilyou’vereallynailedthechiaroscuroidea,iskeeptheshadowdetailsimple.Useline.Stayawayfromthereflectedlightstuff.Itjustmakesdrawingharderinthebeginning.Whoneedsthat?
HighlightsandLighterHalftonesUsingmiddle-valuepaper(notabright,coloredone)givesusagroundonwhichtoaddhighlightsandlighterhalftones.Theyperformmanyfunctionsfortheartist.Theyincreasethecontrastbetweenlightanddark.Pushingthechiaroscuroeffectisusuallyagoodidea.Theyaddnuanceand,potentially,moreroundnessand,evenpossibly,texturetothelightside.Andhighlightsfindmorecorners.
Cornerhighlightshavethemostbenefit.TorepeatwhatI’vesaidpreviously,thecoreshadowistheprimarycornerforthestructure.It’swheretheplanesinlightmeettheplanesinshadow.Ahighlightiswhereatleasttwoplanesmeet,butallplanesareinlight.Highlightsgiveusmorestructure.
Makesurethehighlightstaysawayfromthedarkerhalftoneandthecoreshadowedge.Thinkofthetoneasthecolorvalue.Ifyouaredrawingafigure,thenthetonedpaperistheskintone.
Ithelpstheeffectifyouaddaslightgradationtothehighlightasitmovesdowntheform.Itmightbethedrop-offoflightoraflaringeffectfromtheangleviewed.Eventhatsubtlechangemovestheviewer ’seyeandhewillfeelmorevolume.
Iftheobjectisbacklit,thehighlightmightblastoutthelightswithlittleornogradation.Typically,theartistthenputstherenderingintotheshadowside.JoaquínSorolla’sbacklitfiguresonthebeachareprobablythemostfamousexamplesofthis.
AsI’vementioned,highlightscanbeusedtopushthecontrast.Inthetopleftobjectinthedrawingabove,noticehowthehighlightsnugglesrightuptothecastshadowedgeonthebox,poppingthevaluechange.Thisistotallydifferentfromtheideaofkeepingthehighlightawayfromthecoreshadowedges,asdemonstratedeverywhereelse.
Youcanseeinthefountainpensketchatrightinthebottomleftfigure,thathighlightscanbeusedeveninquicksketches.Justchasethecorners.
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Tonedpaperobjects
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Tonedpaperfigures
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Step-by-stepforrenderingshadowsontonedpaper.Alwaysstartwiththebasicconstruction.
Remembertofollowthegestures.That’sright.Highlightsaregestures,too,astheytrackthecornerdownitslongaxis.Iftheyfollowthecurvedcharacteroftheform(andwehopetheyalwaysdo),that’sthedefinitionofagesture.
Didyoualreadyfigurethatout?Ifnot,don’tfret.Thisbookisaboutonlytwoideas—butthey’rebigideas.Theyarealottoholdonto.
Beawareofthedirectionofthelightsource.Ifit’scomingfromtheupperleft,everythingturningdownand/ortotherightwillgetdarker.Lookwherethehighlightspushupagainstcastshadows,creatingnewcornersawayfromcoreshadows,andtheyworkgreatforcreatingzigzagpinches.
Iusethisstylealot—almostexclusively—inlifedrawing.It’sanoverblownstyleintermsofshapedesignandhighlightuse.Typically,youwanttosubmergebothintoamorecohesivewhole.However,Ihaveabig-budget,Baroque-kindofstyle.AndI’mreallyexaggeratinginthesketchasnotationsforaneventualpainting.Makingthemark“loud”actsasareminder.
Infact,thetonedpapertechniqueisagreattransitionintopainting.Youstartwithamiddle-valueground(thepaper),knockdownthedarks,andaccentwiththelights.ThatishowmostchiaroscuropainterssuchasvanDyke,Rembrandt,andSargentworked.
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Thesamedrawingwithnewhighlights
Hereisthesamefigureagain(above)withtamed-downhighlightsandhalftones.Evenhere,they’restillquitestrong.LookatthePiazzettaatthestartofthechapter(seehere)toseehowtametheOldMastersmadethem.
Everyhighlightisdoingitsstructuralworkofcreatingoraccentingcornersanditsgesturalworkofmovingdownthelongaxisorfindingan“out”fromoneformtothenext.We’retryingtomakeeverymarkcount,remember?
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OLDMASTERstudy
Let’slookattheshadowpatternfromthisCarraccimasterpiecefromchapter5.Noticetheincrediblerestraintintheuseofhighlights.I’veremovedmostofthesecondaryformstomaketheanalysiscrystalclear.
Carracciwasoneofthegreatestdraftsmeninhistory,andthispieceshowsit.Lookathowfaithfultheshadowshapesareintermsofgestureandstructure.Herewegetamuchclearerexampleofhowshadowsshowcorners.
Idustedbackthebulgeoftheshouldermuscletomakethatcornerobviousanddidsomethingsimilartotheknee.Buttherearecornerseverywhereifyouknowhowtolook.Andbynow,youdo!
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AMaleNudeSeatedwithHisBackTurned,AnnibaleCarracci(1560–1609).Chalkonpaper.Privatecollection/BridgemanImages.
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Solidshadowsgiveweighttothemanyvariedpositionsofthisdifficultandnuancedpose.
GIVEITATRY:Exercise1
Warmupbydrawingtheshadowshapesofballs,boxes,andtubesfrommemoryorfrommyearlierattempts.Addshadowshapestothem.Now,gobacktothestep-by-stepanalysesweworkedthroughandselectonlyoneconstructedshapefromthatdrawing—say,aneggfortheribcage.Doour1-2-3process:(1)Drawthebeginningoftheegg.(2)Drawtheendoftheegg.(3)Drawthemiddleshadowshapeoftheegg.Dothiswithseveraldrawings.Thatshouldhelptheprocesssinkin.
GIVEITATRY:Exercise2
Usingtonedpaperandpickingtwoorthreebodypartsfromanyofthedrawingsfromthischapter,doacarefullay-in.Then,breakdownthebigsimpleshadowshapesonthe
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bigsimpleforms.Doitagain.Thistime,addsomesecondaryforms.Doitagain.Addthehighlights.
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CONCLUSION
FIVEMINUTES
HowtoStartIhopeforyoucountlesslittleimprovementsthroughoutalongandfruitfullife.
Artwantsyouforthelonghaul.Paceyourself.Anathleteisoldatthirty-four.Artistsarecatchingtheirstrideatsixty.
There’safamousanecdoteaboutAndersZorn.Itmaybeapocryphal.Zornwenttoartschooleighthoursaday,sothestorygoes.Notenoughforthisprodigioustalent,sohewenthomeandpaintedforfourmore.Twelvehoursaday:that’showmuchdedicationZornputintohiscraft.
Goodforhim,andgoodforyouifyoucandoit.Andyoumaybethetypethatcan.But,ifyou’renot...
You’lltryitforaweek—failmiserably.You’llgiveupyourdream,convincedyouneverhadit,whateveritis.
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VariousfiguresinmarkerpenandbrownandwhiteCarbOthellopencilontonedpaper
Justasthere’sanarttodrawingabeautifulfigure,there’salsoanarttoreinventingyourself.Bothneedaprocesstobuildon.
•Iwanttobeafineartist.
•Iwanttobeananimator.
•IwantahobbyotherthansurfingtheInternet.
•Iwanttodrawmygrandchildorgrandparentandbeproudenoughtoframeit.
Whateveryourdreamis,trythis:Drawforfiveminutesaday.Drawatube.Drawafigure.Drawtheeyeofafigureorwhateveryoucandrawinfiveminutes.Dothatfortwoweeksandonlythat.Ifyoumissadayortwo,forgiveyourselfandstartagain.
Whenyou’veaccomplishedthose,makeittenminutesaday.Dothatforanotherweek.
Thestrangeandwondrousthingaboutthehumanconditioniseachofusneedstomotivateourselvestobecomethepersonwereallywanttobe.Motivate!It’susuallyaboutforming
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goodhabitsandbuildingoncountlesslittleimprovements:improvementsincraft,inworkhabits,incuttingourselvesabreakeveryonceinawhile.So...
•fiveminutes
•tenminutes
•fifteenminutes
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Focusongestureandstructurewitheverymarkyoumakeanditwillleadyoutogreatthings.
Eventually,you’llfindagoodhabithasformed,andyounolongerhavetofoolyourselfintodoingwhatyoureallywantedtodoallalong.You’llalsofindthefiveortenminutesoftenturnintotenorfifteenminuteswithoutevenrealizingit.
Now,howareyoufeeling?Likeawinner?Anartist?Youshould.Artistsdoart,andyou’vebeendoingiteverysingleday.
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Howmanyhoursdofiveminuteseverydayovertwentyyearsequal?Alot.Beinitforthelongterm.Andwhenyou’renotdrawingwithapencil,drawwithyoureyes.Seetheworldasanartistbecauseyouareanartist.Bemodestinyourgoals,atfirst.
Fiveminutesadayandsoonyou’llbeputtinginthelonghourswithouteventhinkingaboutit.Why?Becauseyouprovedweeksagowhoyoureallyare!
So,Iwishforyouthosesmallimprovements.Because,then,Iknowyou’llbemakingnewonesnextyearandtheyearafterthat,justlikeIwillbe.
I’llknowbothofusaremakingourworldalittlemorebeautiful,fiveminutesatatime.
HowtoKeepGoingIhopethisprocessofmakingthingscometogetherbeautifullyhasbeenanenrichingexperienceforyou.Makingthingscometogetherbeautifully—that’sametaphor,isn’tit?MetaphorispartofthemythicideathatIspokeaboutontheveryfirstpageofthisbook.Metaphorsandmythconnectstraighttotheheartandbypassthehead.Andthatisart’sgreatpower,aswell.Havingavisionofhowthingsshouldcometogether,andthendoingit,isanendeavorthatcanseepintothesoulandwhisperlittlewisdomsaboutlife,wisdomswedon’tevenhavethewordstoaskabout.
Don’tgetmewrong.Inbetweenthemeditativemomentsyoumightbetemptedtotearyourhairout.Artcanbehard.But,oh,whenthosesublimemomentscome,itisyouwhofeelsconnected,andthehairlossiseasilyworthit.
“Cometogether.”Thataestheticwisdomdeservesitsownschoolofphilosophy,itseemstome.Well,atleastwecanpreachitwithourpencils!Andthatisnotsuchabaddeal.
I’vespentmylifebeinganartist,mostofitasaprofessional.Iwishthatforyou,aswell,ifyouwishitforyourself.Manyofusmayjustwanttohavefunandimprovealittle,orusetheprocessasalovelyreleaseoftension.Andthatisasitshouldbe.Onwhateverlevelyouchoosetoparticipate,artenrichesyou.Andwhenyouhavethecouragetodoadrawing,whetherit’sfromtimetotimeorallthetime,well,theworldisbetterforit.
It’sbeenaprivilege“talking”artwithyou.Thankyou.Ifeelricherforitaswell.PleaseletmeknowonmyFacebookpagewhereyournewadventuretakesyou.Onwhateverlevelyouchoosetoparticipate,I’veexperiencedwhatyou’reabouttoand,Imustsay,I’malittlejealousaboutwhat’sinstoreforyouasIthinkbacktothoseoldfeelings.
Gohavefun.Gohavethetimeofyourlifeandmakeusallbetterbydoingso.
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AbouttheAuthor
SteveHustonisanativeofAlaskawhoreceivedhisdegreefromtheArtCenterCollegeofDesigninPasadena,California.Hefirstestablishedhimselfasasuccessfulillustrator,commissionedbysuchhigh-profileclientsasParamountPictures,MGM,andWarnerBrothers.
AfterholdingafacultypositionattheArtCenter,inadditiontoteachingcoursesinlifedrawing,anatomy,andcompositionfortheartistsandanimatorsofDisneyandDreamworksSKGstudios,Hustonearnestlybeganhiscareerasafineartist,winningtopprizesattheCaliforniaArtClubGoldMedalShowtwoyearsinarow.Astringofgalleryshowsfollowed,firstinLosAngelesandtheninNewYorkandelsewhere.
Hustoncontinuesexhibitinghisworkwidely.Hisworksarepoetic,poignant,andmasterfullypowerful,andhisfiguresareiconicarchetypesofmasculineandfemininelineandform.Hisworkismuchsoughtafterbyprestigiousprivatecollectors,distinguishedfellowartists,andothercognoscentiofthecontemporaryartworld.Hehasbeenanextraordinarilyeffectivementorwhoseinstructionandguidancehaveproducedanimpressivenumberofaccomplishedacolytes.
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Acknowledgments
AsIofferthisbookasateachingguidetoyou,Iwanttotakeamomenttothankthosewhowereatleastasgenerousintheirguidanceofme.FirsttoVernonWilson,thekindestteacherIeverhadthepleasureofstudyingunder.VernistheonlyartistI’veeverseendrawwiththerhythmandgraceofanorchestraconductor.Vern,theimageofyoudrawinghasbeenaninspirationtomemywholecareer.Thanks,myfriend.You’reagoodman!
ThankstoDanMcCaw.Hestartedasmyteacherandquicklybecamecheerleaderandfriend.Danisthekindofsoulwhowouldgiveyoutheshirtoffhisback.Hiskeenguidanceduringtheyearshasgivenmegiftsfargreater.IalsowanttothankHarryCarmeanforhismasterfuldemonstrationofnotonlyhowtodraw,butalsohowtoremainastudentofartevenintoyournineties.DavidMocarskiforgivinggenerouslyofhistimecritiquingmyworkagoodyearafterIleftschool.Thanks,David.AndtoRichardBunkall.Richarddiedfartooyoung,butwasaphilosophicalcoachformeinhislastmonths.ThankyouRichard.
Andyou,myreaders,willbenefitimmenselybyexploringeachofthesefineartist’sworkontheweb.
Last,Iwanttothankmyfamily,mydearfamily,includingbutnotlimitedtomyparents,mylovelychildren,andtheloveofmylife,mywifeJen.Thankyoumostofall,sweetheart.Forme,thehoneymoonhasneverended!
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AlsoAvailable
TheDrawingClub978-1-59253-911-6
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DrawingandPaintingBeautifulFaces978-1-59253-986-4
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TheUrbanSketchingHandbook:PeopleandMotion978-1-59253-962-8
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“SteveHustonisoneofthemostuniquelypowerfulartistsoutthere...amodernmaster.[FigureDrawingforArtists]isaphenomenalresource.Steve’sinsightandloveforwhathedoesinspires.Thisbookshouldbeineverystudent’slibrary.Thatbeingsaid,it’sforeveryartist—studentsandprofessionalsalike.”
—CarlosHuante,artdirector,IndustrialLight&Magic,adivisionofLucasfilm
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©2016QuartoPublishingGroupUSAInc.
FirstpublishedintheUnitedStatesofAmericain2016byRockportPublishers,anImprintofQuartoPublishingGroupUSAInc.100CummingsCenterSuite406-LBeverly,Massachusetts01915-6101Telephone:(978)282-9590Fax:(978)283-2742QuartoKnows.comVisitourblogsatQuartoKnows.com
Allrightsreserved.Nopartofthisbookmaybereproducedinanyformwithoutwrittenpermissionofthecopyrightowners.Allimagesinthisbookhavebeenreproducedwiththeknowledgeandpriorconsentoftheartistsconcerned,andnoresponsibilityisacceptedbyproducer,publisher,orprinterforanyinfringementofcopyrightorotherwise,arisingfromthecontentsofthispublication.Everyefforthasbeenmadetoensurethatcreditsaccuratelycomplywithinformationsupplied.Weapologizeforanyinaccuraciesthatmayhaveoccurredandwillresolveinaccurateormissinginformationinasubsequentreprintingofthebook.
Digitaleditionpublishedin2016
Digitaledition:978-1-63159-178-5Softcoveredition:978-1-63159-065-8
LibraryofCongressCataloging-in-PublicationDataavailable.
Design:PrancesDesign,Inc.CoverImage:SteveHustonPageLayout:meganjonesdesign.comInteriorIllustrations:SteveHuston,exceptwherenoted.
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