When the torso forms have been sketched in, the pelvic wedge must be clarified as to structure and direction, with the midline division well laid in so that the legs can be given their relevant attachment. In this figure, the upper rib cage barrel has been lightly indicated. The lower torso the pelvic wedge on the other hand, has been explicitly defined, with the legs set into each side of it. This series of figures shows the wedge block of the pelvis initiating the attachment of the legs.
Notice how the cylindrical thigh form of the upper leg enters the pelvic mass well below its box-like front comer. When we attach the legs to the sides of the the base of the belly. Because of the apparent pelvic wedge block, note the large, protruding pressure, the belly rises high in the basin. The secondary form, the centrally located lower figure to the right emphasizes the high belly belly actually the mass of the small intestine , insert in an action figure: when the legs move, which is encased in the hollow of the pelvic the wedge may spread to accommodate the basin.
The figure to the left shows a change of position. The round protru sion, schematized version of the bulging belly box high in the sides of the legs, is the great mounted in the opening of the hip flanges. The trochanter, the bony eminence which lets us center figure relates this belly bulge to the legs.
The two figures to the right show how the In the small, erect figure to the left, the front leg side view leg is easily interpreted in both front is characterized by a B-shape.
The side leg in a and back positions. The upper figure presents a raised bend position has an S-curve line. Both front view leg in a deep bend, which is rhythms are shown in the dotted lines. The described with a B-shape curve. This series of action figures allows to see the stance of the foot from number of viewing angles.
In this front view leg, notice how the mid-axial connection the waist. The foot convincing support. Note the thrust of the foot as the ankle connection reverses the bearing of the leg and thrusts the support. In this summary series of sketches, which show leg and torso positions and actions the reader is asked to let his eye range casually over each figure.
Can you identify easily which of the legs is drawn from a side view S-line orientation and which from a front view B-shape orientation? In making your judgment, do you observe how the anklebone relates to each leg view —whether the bulge is inside or outside the outline of the leg?
As you look at the lower legs, are you aware of the outward thrust of the feet? Earlier, we spoke of the structure rhythm of the double underarm curve.
This, together with tapered cylinder forms, is a rudimentary de- scription of the arm. Free-swinging as they are, their position in the region of the shoulder is secured with fiber and tissue. The shoulderblade scapula to which the arm is attached is itself unanchored, and the lesser attachment of arm to collarbone is a variable connection. The arms at this juncture are inde- pendent of the frame, but the collarbone is anchored in the breastbone sternum , and here, all the way down to mid-chest, the junction is firmly secured and cannot be displaced.
The only real movement here is equal to that of a fixed hinge. In the small figure upper left , the arms are indicated in strong line with a light line cylindrical overlay. Cylinders are replaced by arm forms dotted lines. The armature yoke of the coupled arms is still emphasized. The total figure has been advanced and tightened up.
Here is another example of the linking of the arms. The smaller schematic drawing is taken to an advanced stag in the larger figure, reinforcing the interconnecting transit of the linked arms through the chest barrel. In drawing the arms, it is important to combine the coupled arms in the collarbone yoke with their structural rhythm. The structure of the arms, upper or lower, has a consistent and similar curved rhythm, starting from the base of the elbow.
A double curve develops see dotted lines , holding to the underarm exterior position of the member. The arms in a rear view figure. The linked arms and the underarm curves hold true but with one modification: since the collarbone yoke is obscured, we invert the armature and join the arms on the contours of the upper shoulder holding the boundaries of the trapezius muscles.
The dotted line through the shoulders, from arm to arm, is added to show the torso tilt. Here, the double underarm curve and the linked arms are shown in a variable sequence. See how easily the arms are put into a concise form with these conceptual devices. Three rear view figures in completed form, Here we see a notational sketch of WKH drawn in notational sequence.
The upper figure armature yoke — inverted—on the shoulders. The important thing to the facility of the approach. This figure shows three optional head positions.
These head positions, imposed on the torso, do not limit the possible variations of head placement, but they do show how an effective figure may be held until a desired head meets the logic of the action.
Here, two figures with deep tor bends give overviews of the figure from the front and from the back. The super imposition of each of the heads, in a] number of trials, can proceed with ease and directness when the figure initially laid in. Indicating the he. The two head; however, suggest the extreme use which may be advanced within the context of the figure.
Without resorting to visual aids, a runner in a phase-sequence or "filmic" series illustrated references, photos, or models, start a animated, provocative. The extremities should of changes. This approach—a figure going series of action sketches, giving vitality and be free and open; forms should stretch, extend, through a number of related, sequential acts, liveliness to the forms of the torso. When you thrust, exert. Your figures should convey energy none alike in their mobile, momentary add the legs and the arms, try to avoid passive, and vigor.
These tend to be If figure ideas are hard to come by, perhaps the unimaginative and governing motif of a sports A series of side view figures might be a good statement. These figures show a further and was inserted before the final stretch and way to begin in an opening exercise. The important things in this see a running figure gathering impetus for a To compress the action of the athlete and three-part finish are 1 having a pool of leap and jump.
In figure 2 has been dropped. Because of this con- function to meet a required goal. It is at this this five-phase action statement, the figure 1 densation, the running action has a greater second point that the art student becomes the leans forward, 2 runs hard, 3 takes off, 4 concentration of drive and thrust.
The leap of artist—when he is able to assert a definite leaps, and 5 projects forward to a mark. This is a PHWKRG of shown as an initial stage in working a working, a two-stage procedure where figure to a completed stage. Compare the artist explores and probes in a the sizes of each of the figures—the tentative, searching series of rough small, "thumbnail", primary figure sketches, then breaks off to resolve ideas—with their enlarged, developed and finish his concept.
There are times when a notation sketch is sketch has such a concentrated visual impact placed on the work surface in its final large that the figure will go flat, or stale, if its size, rather than in a smaller size. In this case, development is inhibited. In this illustration, a the same sketch idea is carried through, without group of figures, from small to increasingly interruption, in a continuous sequence from larger sizes, have been sketched in a spiral probing to finish.
The advantage of this second pattern which evolves to a center workup. This three-stage sketch shows how the forms of effect; the expanding and compressing effect the figure change when they are foreshortened.
The segmented and discontinuous. In this last figure figure on the left gives a predominantly side right , the forms seen on end tend to divide and view; the form effect shows an easy transition, detach; the array of dissimilar elements especially in the extended members. Advanced embedding details, examples, and help!
Includes index "A new approach to drawing the moving figure in deep space and foreshortening"--Cover The definitive body forms -- Figure notation in deep space -- Figure unity in deep space: interconnection of forms -- Figure invention: controlling size in foreshortened forms -- Figure intervention: controlling length in foreshortened forms -- Figure projection in deep space 'Dynamic figure drawing' is the most essential - and the most difficult - of all skills for the artist to learn.
The hardest problem is to visualize the figure in the tremendouse variety of poses which the body takes in action, poses which plunge the various forms of the body into deep space and show them in radical foreshortening. Foreshortening itself is, in fact, the single most challenging aspect of figure drawing.
This book introduces the author's own revolutionary system of figure drawing - a system which makes it possible to visualize the forms of the human body from every conceivable point of view as they interlock in deep space.
With this system you will be able to draw an incredible variety of poses, actions, and gestures without a model, and with the correct relationships between forms. Reviewer: C. Berry - favorite favorite favorite favorite favorite - October 19, Subject: Wonderful Thank you for having this book. The a vantage of putting in the essential body planes is that it permits us to see clear the correct angle of placement and ho to attach the secondary forms.
In the sketches, the masses are structure firmly, then tipped in greater or less degree, and shown in three quart front views. The rudimentary head, arms, and legs are indicated here to 1 the viewer grasp the over-all working of the total figure. Shape-mass, on the other hand, demands to be understood as volume structure in three dimensions; this makes it possible to draw the figure in deep space projections, putting the human form into the most inventive and varied conceptions of foreshortening, advancing and receding in space.
Like a sculptor working with modeling clay, the artist can structure and compose by building-up. He can alter the actions and projections of separate forms. He can revise and modify his Here are four structured torsos, showing the ease with which figure notation may be indicated in a sequence of movements from left to right, front to back.
It must be obvious now why the double forms at will. For instance, he must put aside starting the figure by sketching in the head.
He must give this up, firmly. With this premise, let us initiate the new order of form and assert the opening rule. The merest movement of the rib barrel produces an immediate displacement of arms and head, while a pelvic shift compels total deployment of all the body forms.
In this two-stage drawing, the primary torso masses are on the left, the completed figure on the right. Of crucial interest here is the insertion of the midline in both figures. Notice how this midline, or center line, gives unity and direction to the independent movements of the separate masses right. In movement, the separate torso masses need not face in the same direction. Starting with a simple bend only figure on extreme left , this series of torsos shows an 5line spiral insertion expressing a swivel, or twist, between the contrary views of the body masses: the rib barrel view on one side, the pelvic wedge pivoting to the opposite side below.
Legs, arms, and head have been added here to show how the torso, as the primary figure form, governs the positioning of the secondary parts. Our initial assertion has been that the torso is first in importance. It works against the pull of gravity, expressing weight, pressure, and tension; it needs leg support to sustain it.
Without this support, the figure may not be able to project a convincing demonstration of exertion, effort, and dynamism. This fact also calls for a more emphatic use of the pelvic wedge than has previously been discussed.
When the torso forms have been sketched in, the pelvic wedge must be clarified as to structure and direction, with the midline division well laid in so that the legs can be given their relevant attachment.
In this figure, the upper rib cage barrel has been lightly indicated. The lower torso the pelvic wedge on the other hand, has been explicitly defined, with the legs set into each side of it. This series of figures shows the wedge block of the pelvis initiating the attachment of the legs.
Notice how the cylindrical thigh form of the upper leg enters the pelvic mass well below its box-like front comer. When we attach the legs to the sides of the pelvic wedge block, note the large, protruding secondary form, the centrally located lower belly actually the mass of the small intestine , which is encased in the hollow of the pelvic basin. The figure to the left shows a schematized version of the bulging belly box mounted in the opening of the hip flanges.
The center figure relates this belly bulge to the legs. Notice how the legs, entering the hips, tend to squeeze the base of the belly. Because of the apparent pressure, the belly rises high in the basin. The figure to the right emphasizes the high belly insert in an action figure: when the legs move, the wedge may spread to accommodate the change of position.
The round protru sion, high in the sides of the legs, is the great trochanter, the bony eminence which lets us see the origin of the leg as it swivels, bound yet free, in the socket of the hip. Let us review the structure rhythms of the leg. In the small, erect figure to the left, the front leg is characterized by a B-shape. The side leg in a raised bend position has an S-curve line. Both rhythms are shown in the dotted lines. The large, center figure faces left with both legs in a side view position which are expressed with Scurve notation lines.
The two figures to the right show how the side view leg is easily interpreted in both front and back positions. The upper figure presents a front view leg in a deep bend, which is described with a B-shape curve. This series of action figures allows to see the stance of the foot from number of viewing angles. The foot stance is shown in the dotted ellipse.
We have mentioned the enormous flexibility of the two body masses the torso, which effect extreme move ment in the mid-axial connection the waist. When the body weaves sways, or gyrates, it is important give the leg pillars an effective a convincing support. Note how the long leg arrows reverse at the ankle, then bear the foot stance in outward direction from the leg.
In this summary series of sketches, which show leg and torso positions and actions the reader is asked to let his eye range casually over each figure.
Can you identify easily which of the legs is drawn from a side view S-line orientation and which from a front view B-shape orientation? In making your judgment, do you observe how the anklebone relates to each leg view —whether the bulge is inside or outside the outline of the leg?
As you look at the lower legs, are you aware of the outward thrust of the feet? Earlier, we spoke of the structure rhythm of the double underarm curve. This, together with tapered cylinder forms, is a rudimentary description of the arm. Free-swinging as they are, their position in the region of the shoulder is secured with fiber and tissue. The shoulderblade scapula to which the arm is attached is itself unanchored, and the lesser attachment of arm to collarbone is a variable connection.
The arms at this juncture are independent of the frame, but the collarbone is anchored in the breastbone sternum , and here, all the way down to mid-chest, the junction is firmly secured and cannot be displaced.
The only real movement here is equal to that of a fixed hinge. In the small figure upper left , the arms are indicated in strong line with a light line cylindrical overlay. Cylinders are replaced by arm forms dotted lines.
The armature yoke of the coupled arms is still emphasized. The total figure has been advanced and tightened up. Here is another example of the linking of the arms. The smaller schematic drawing is taken to an advanced stag in the larger figure, reinforcing the interconnecting transit of the linked arms through the chest barrel.
In drawing the arms, it is important to combine the coupled arms in the collarbone yoke with their structural rhythm. The structure of the arms, upper or lower, has a consistent and similar curved rhythm, starting from the base of the elbow. A double curve develops see dotted lines , holding to the underarm exterior position of the member.
The arms in a rear view figure. The linked arms and the underarm curves hold true but with one modification: since the collarbone yoke is obscured, we invert the armature and join the arms on the contours of the upper shoulder holding the boundaries of the trapezius muscles.
The dotted line through the shoulders, from arm to arm, is added to show the torso tilt. Here, the double underarm curve and the linked arms are shown in a variable sequence. See how easily the arms are put into a concise form with these conceptual devices. Three rear view figures in completed form, drawn in notational sequence.
The torso masses, supported by the legs, are followed by the armature yoke — inverted—on the shoulders. The student is urged to experiment with the linked arms on this page, if necessary! The upper figure shows one arm over the other; the lower figure shows the am paired, flexed, closed, and folded to gether.
The important thing to remem ber in the treatment of overlapping forms is the value of being able to see, transparently, the origin of at tached members and the construction of obscured parts. This figure shows three optional head positions. These head positions, imposed on the torso, do not limit the possible variations of head placement, but they do show how an effective figure may be held until a desired head meets the logic of the action.
Here, two figures with deep tor bends give overviews of the figure from the front and from the back. The super imposition of each of the heads, in a] number of trials, can proceed with ease and directness when the figure initially laid in. Indicating the he.
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