The art-of-drawing-the-human-body

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Library of Congres Catsloging-i-Publication Data Available
1987654521

Published 204 by Seng Publi Co, lc
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‘Seating ISBN 14027-11884

5. THE HUMAN BODY |

6. Introduction 6

STUDY OF THE NUDE FIGURE 8
‘The Body and Its Proportions 10

Problems i Drang the Homan igure 12.

Baie Human Proportions 14

Proportions ofthe Female Figure 48

‘The Child Model 20 ig
79009) and Obese Figures 22

Basic Anatomy and Synthesis 24
The Head and Face 26.

‘The Tors: Front and Back Views 28
“The Upper and Lower Limbs 30

‘The Hands Strocure and Outline 32
“The Pelvis The Shape of dhe Hips 34
‘The Feet: Inner Structure and Form 36

CONSTRUCTING THE FIGURE 38
A Well-Proportioned Drawing 40
The Uni Sytem: Measuring he Body 42
Geometry ofthe Human Body 44
“The Geometric Sketch Structring he Whole
From Simple Forms 46
‘Synthetic Contour and Line Control 48
‘TheVitues of Doi Studi A Good Form of Price $0

and Rhythm of the Figure 52
“The laser Riychm ofthe Figure 3

‘The Sof Line and ls Modulation 54.
“Turing Spots ino Form 38

7. ATTITUDES OF
THE HUMAN FIGURE: THE POSE 60
Analyzing Poses and Gestures. 62

“The aan ofthe Pose at

Varying the Pant of View 66

A Corral Drag Negative Space 68

Way of Sein the Figure: Open and Closed Appresches 70
‘The Sanding Pose or Contrposto 72

Set and Rec

Pc and Motion

HUMAN FIGURE 82 9

/ LIGHT AND SHADOW IN THE
Tonal Tech

Serhinga Tal Den
The Proces of Hatching.

The Gt tm ae 6
CC RE o Bese

"Be

Figure The Compost 13%
ne

Billing on Stains 136
mi igure with Chiaroscuro Ec 138

The Desp: Khychms amd Wrinkles 102 Th Node in Chace 0)
en gure fom Geometrie Fo
“The Fe and es Contest ie bes

TEXTURES AND EFFECTS 106 Th rie fhe por of Cae 14
/ vea Roc 18 Reseed pe ale 오
apr ware Le Da Pewee
Crain fn HE
NON Tp gon sil nie 10

06 with Atmospheric Pague 134
Pore of Figure Siherponn 16

Index 159

8. Introduction

The FIGURE

AS ARTIST'S OBJECTIVE

[penuh desing human figure ha
achieved over the course of history is reason enough to
attract the artis to its practice. Drawing with the perfection
‘hat we observe in the great mister isa seemingly dificult
task, for there ae technical challenges in drawing the
human figure that are absent with other subjets, This
‘compels us to put into practice everything we know about
“desing in order to adequately solve such problems as the
‘proportion ofthe limbs in relation tothe whole body and
the representation of volume, joints, and muscle tone.
Drawing the human body presents a greater challenge than
any other subject, because both artist and viewer are
intimately familiar with he bodys proportions and the
physiology of the human figure. Here, even a small mistake
in drawing becomes evident. For this reason, an artist who

‘Sn misc de Dre il reso ro may
Dring hm | mn dw nes oe en
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ipl be ct ‘cannot always be read as à product of his particular

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drawing the human
igure regulary allows

10 adjust our visual
memory to physical
forms body language,
and facial expressions
in diferent stations,

9. We il show in this book that drawing the human body
‚ed not beso difficult Starting from à simple base and
applying a series of ticks and techniques the reader will
find himself able to adequately render 3 nude figure. The
rude is 10 be considered an ideal model fr fill study of
forms and light. For this reason, when drawing a mide
body is important o study the models anatomy, and aso
thelighting because lighting plays a rol in making the
sense of depth and relief more—or lese—prominent

Practicing this kind of drawing sharpens visual perception
atthe same time that i exercises our ability to depict
forms The human figure is a highly suggestive and
Sat subject, which can be approached from many.
lftrent perspectives and individual styles without dilating
lo esence. From an academic point of view, drawing the
tue the best form of discipline because i forces the
ús to pay attention to proportion and teaches the sul
‘slebtion of organically coordinated forms and ies from
in interpretive point of view i allows us to give fice re
10 form and conto

Y

10. STUDY OF THE

Nude

addition, any deletion, any cha

sain rational harmony of ll the pans ofthe body such that any
with pr an we attain beauty.”

ly compron

portion

De Re Aube 145

13. PROPORTIONS

Jet us set forth afew general guidelines that wil allow us to
raw any figure, using system of proportions that can be
no. adjusted to the view we have at any given moment, Proportion
4 isthe equilibrium of measurements that establish harmony.

e Torio open introduce the wwdy of he human Bor,

Pr Among obje in this cs among the part of hc huma
body Although today 20460 ene allows the drawing ol

AS fem, Fis pl pci sie au. bear re

NTFS, novice o begin by following a set of roles hit wil hep him to

eo draw a well-proportioned figure

14. PROBLEMS DRAWING

de HUMAN FIGURE

given ea amino daw he human gre,
nde e old. props the fonts
any pune, The mude the mo bei
Sd complex of secs and often ondo he
Ars ate challenge. Although doing bc node
fre hwy comic be ey da bie
flr poly euer han han porta bes e
doce require tht thes faces on ca del

body requires the artis to gather
king with real form and
volume. Asa subject, the human figure requires that

complex ones. Once we can accurately
human figure, it is safe to say that we can also take on
“any other subject, no matter how complicated it may
appear.

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15. “The Secret Simple Forma) (y à Adami
Her ae for approaching O à human gure
the challenge rpg die CV | =
Han gr, Bre out a | KL ER
seran precie [CU mi
On spe ems dat adj o the EEE
ean ed es HER
thin the flowing hapten): Ae body We
then, work with these forms uni / tenet
you ave at convincing snd ted
Loge strate From there, lng ofthe hp
the proportions must be crea se

‘sul: making ue chat he
figure has a proper equilibrio;
din especial important when
drawing standing figures. Dont be
icoungd by our ist
‘drawings which wal mo tkdy
look tik crudely made dba
Jumble orskechy Ging forms.
“The best way to start isto reduce
complex forms int simpler ons

Tower extremes

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16. BASIC HUMAN
PROPORTIONS

AE à considered it-propertond wn he
figures head appear larger than normal, or when
the aris seem to long or 100 short in other
‘words, when the figure deviates fom what we
consider normal To avoid disproportionality. we look
to the avs of proportion as represented in an
idcalized, conventional desing ofthe human form,
in other words, one which posses a perfect
tclationship between the body's menores. The way
ave represent the human Figure today is based on a
Greco-Roman mode, the 02940 (00606 law of |
proportion, which vos adopted by the Romans and
later resurfaced during the Renansance ar

centuries of disse

Body Height
“The law of proportion forthe human figure is based
‘on a unit of measurement that corresponds precisely
to the measurements of the head. According to the
Clasieal hws of proportion. che total high ofthe
‘human body should be equal to seven anda half
heads or seven and à half uns. Pmsiteless ka
Stabliched a new idealization ofthe human body
according to this mode, che total height ofthe
human body must equal eight heads Inthe early
wentieth century senti analysis set the proper
height ofthe human body a eight and a hal heads
All of these models are valid, but for our purposes, we
will use the measurement of eight heads to simply
‘our study ofthe academic figure.

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17. Matching Uni
A iw of proportion based on units is cl primarily
peca allows you to compare the relationship
kctvcm the extremities by retrri o the divisions
between the unit

In à proportional model, the figure will be
unit ll and tw units wide. Fach uni sequal to
he length ofthe head, The nipples comcide wich
unit number two, The armpit ako coincide with the
borderline between the second and third units; and
Ihe nel s located im unit number four. Unit
number four ako marks the position of the elbows,
india fly preci mark for che height of the
waist The hand is om as the acc. and the kag
located slightly abone the sch unit The knees ate
located an the dividing line betwen the sixth an

seventh units

The uni system also lt ws reference othe
icant poms that ar of great help in
understanding anatomy and factating the
representation ofthe figure; they are alo au
wth reference when we need to check the
important demarcaions

The ise ofthe howd

meme nih y 3 prion me he ap
the meses fh et od a the bly i a
egal ne ha)

18. The same
mie lc
‘isthe fon
‘wo te bly
me m habs |
cl beso ine p
ter via fhe \|

bed The fe \

mera te |
vr |

The lin that mass spine
shed be da the xi of
Symmes ay all
me nu fe ane
‘he prt ofthe by on eier
Inf ef the ads

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dts the pi
nd the execs
iis ine dun o
thee ae
Forcing te
re tac
he fom he

The Back
When a figure is pictured from the back, the fist
feature that we notice is the lea definition ofthe
figure’ vertical ax The line marking the vertical ax
is accentuated by the backbone, by the ride thatthe
spine forms by the separation ofthe buttocks. and by
the line describing the inside ofthe legs.

The Outline ofthe
‘The oun that mark he iis of the body e
deserted by the sea i ofthe bd Mus
are Hey mass due rol the body made vp of
‘pei ae tht ls the propery of contacting and
pre went eet
ce fo the ame ofl he mle mat
Encoding the deep ons ut ones close 00
dea of poner inert othe are

19. Muscle Paies

When drawing the volume of the body ts important 10
remember that every muscle belongs to a pair. Ifyou draw a
figure from the front, the muscles should be symmetrical. Another

important thing to remember is that the muscles inthe

extremities ae long and overlapping, while muscles in the tono
are fat and exparsive. Even though a woman's msculature is

essentially the same 36 a mans, the female body has
à ayer of subcutaneous fat that sofens the
external form. For this reason the male

Body will always display a mote

prend elaninots

‘The shape ofthe body is
fied by the bee strane
and the eof re
ri i Te made
trates the dy
cae Lie the te pots
ie ody the shape ofthe
mc can aio eben
um nd sted
comely.

A es pie nd
Somat bl «women
neos er es perno,
hi feo te ots ef
er body

When deawing a
sending Bure,
the weight of the
body should be
properly
ebest
but the
‘weigh correctly,
Keep the line of
neck, the

20. jons of the male
female body are not
las ‘main

1 Ne den de
„nd der hm

‘slightly lower in
easy land male
male, the females waist,

‘on the dividing line

the third and fourth

“units although a womans waist is
wert csr enue chee
than a man’ Viewed fom the
side, the arch ofthe back is more
Pronoupced than a mani, and as à
‘alte butocks appear more

meee
¡good drawing of the female figure
ds placing the waist ac the right

arena
annie he

I fens giv the
ina fs dana

21. The Outline, Back and Front
The female outline is softer than
the male in ts transitions between.
one area and another. The
buttocks protrude beyond the
vertical ine marked by the
shoulders, and the outine ofthe
legs describes a diagonal that is.
les pronounced than the male.
Viewed from behind, the mest
outstanding characteristic ofthe
female form is the clear contour
ofthe back and hips, which s
clearly defined by the waist The
lief of the female tono is far less
dicated by the pe ofthe

Y

“The Female Head
‘There are sever features that
ley ding the fae head
from the male À man head is
may more angle ana
stomant, which generally
rounder bone Sucre,
"Specialy the ont bone, more
France naman Bowe
Norman profil as of Eyes
an oval face anda more Bullous
forehead. Furthermore man
nec robust, le a woman i
tore diate

Drawing the fale
Jom baden
ran heno
eo
‘rine the ie
and psn ef ech
71

runde om
‘omit by
sine oe

Drawing for
PT
TH
‘talking the
train feature of
‘he female body,
PT

portant skill o.
practice.

22. deal in a short period of me.

The CHILD

A dé head sis
‘th vo ao fr
th upper ah and

©... Til of proportion sport or ding
ren, bu is les reliable than its for adult

figures. During childhood the body is constantly

«evolving, and anatomical proportions change a great

MODEL

therfore ja
2000

Basie Proportions
One of the basic differences
between a childs body and that 6
an adult is the head: a childs hea
is much more voluminous
‘compared tothe rest of his body
‘This feature is atenuated as the
body grows. In general,
newborns height is only three
times the size of his head. When
the child is approximately one
year old, the total length of his
Body is three and a half times the
length of his head. Compared to
the head and the torso, his legs a
relatively short. At fou year the
Head is il very large in
proportion o the rs ofthe bod
but because the child i aller, hs
"body now comprises five units À
che, the child’ total eight is
seven times the length of his hea
and the middle of is body
‘descends toward the hips.

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Children’s Forms
‘When attempting to draw a child figure, be ave of
its rounded forms, and avoid sharp, angular lines Ich
better to magnify the wavelike motions ofthe childs
contours than to worry too much about getting the
perfec proportions. Children ae in a process of |
anatomieal development, so it is uses to try
represent the shape of their bodies with the
prison that you would with an du figure male

“The Middle ofthe Body
Ifyou draw a horizontal ine down the mide of a
body fom childhood trough adulthood, yout ee
early how the middle ofthe body moves dovmward
from the stomach. At eight yeas the mide es
somewhere above the hips The head changes very
Slightly while he ams and legs grow longer The
ri ofthe middle ofthe body is basically the result
‘ofthe growth ofthe legs during adolescence

‘The Trouble with Live Models
Child models presen several special problems for the
artist, not the least of which is the fact that

Children especially small children—ean never stay
‘put for long, So ts necesary to take frequent
‘breaks, keep them entertained with toys or other
items, and make sure that they assume the pose that i
amet comfortable for them.

24. ELDERLY wv OBESE

FIGURES

Tiare human bay depends great dea
‘on its structure. so when you ty to dra figure

110 understand your model’
ind physical complexion, which
are specific to their age and body type in order to
Penonalire the Figure

‘The Elderly Model
The body of an elderly person is distinctly different
fom the proportions ofan adule figure. The forehead
is more ample aa result of hair loss bags appear
under the eyes, the skin 1 les taut than before, the
chest appears ro sag, the limbs are faceid, and the
bone structure is more visible. Very litle muscle mass
remains, the shape ofthe body is determined
wereiy by the skeleton. Asa person rows old, his
skin loses its elasticity and begins to sink, giving the
thar the bones are closer tothe surface.
is wrinkled, faced texture crates shadows
in the model, which you can draw by wsing gray
hatching

correctly itis een
anatomical feature

Im ld ag the mcs be ai andthe on sc mn
cin The dy wie ee and eus nica defor

‘Th fi is wher ld ge mo iy ve, impera
te py special eet Ws feats Te aly as vor by
the ley digs the arnt of th onto

25. he shape of th kedy is eeewty mad
fa cat in the eset, ech,
ud, and When dci a ee
ur, hs hn od st sti à
ch bad ol shapes

bese Figures
here sa layer of fat between the muscles and
pe skin that fils in the gps and sofens the
rape of the bones. The fats barely visible in
he body ofan athletic person, because it adds
nly slightly o the person’ girth but in an
bese person, it can amount to as much as ie
rsx Inches, 50 i plays an esential role in
raping the volume and girth of the body.

This layer of at is not evenly distributed
woughout the bods: In men, es generally
oncentrated in the chest, accentuating the
mflc of the clef just below the pectoral aca:
the arca below the chin; inthe stomach and
the buttocks. In women, ft tends to affect.
reshape ofthe breasts (which grow
sproportionately and look more flaccid), the
hn, the stomach, the thighs, and especialy
1 arca around the pelvis and up to the end of
gluteus muscles. For ths reason the part
the body that stands out most in an obese
oman isthe exaggerated width of the hips
1d the lage behind. The other pars of the
cdy tend to look more cylindrical, and the

ing happens with the person’ facial features,
hich tend to swell generally: body ft is
aticulaely visible inthe cheeks and chin,

Fat cn the
pai mie
‘hcg the ce
‘ape of the han Bd
‘The me heath the in.
andthe bck of he neck
lend ser he gt
‘suman 7

When you draw
the face of an
elderly person, do
make the nose
tod can bi
these ae the only
vo pats ofthe
100) hat do mot
stop growing
sten we reach
20000.

The te bed ab be
edu es ond vc,
toos papencnl
‘lato con be vid
ti you ach he age of
testy her

27. AND SYNTHESIS

AG

"ese fie haan ty depends gra eon
e a Le ts ct
dou oc mese wen he ups dr à human
fe conc you have no Knowle anatomy,
Chenin sl vi boa prod o Lem o
bee your model fname o nera how
the Bu are and yates cuenta or
am or aking dct» mec 0 emcee pars,
To
Pictorial valu and ito hing that some te preence
Shc ande ofthe figure The power of yes an
‘Socom ch el or desing bee Wali the
PoE Bm la manco tude
Any ace oe

28. The HEAD
and FACE

ng the bad and co san ing
Draps berne cal ein chango to
90900 tat spain thers peces gu tat
nly the meat pb are cn st Hence he
‘ection wil devote no time to dying the ation
‘fc ete but wl concentrate stead onthe
Feen ofthe head conidred a vole. to
thera the bod

‘The Proportions of the Head
‘According to the Law of proportion, the human
head equal three and a half times the length ofthe
forehead, so we will vide the height ofthe head
into three and a half units. From this division we
derive the following references, which will help you
10 draw a well- proportioned head: the top of the

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tall. By searching for two lines that divide the line for the vertical eis es 1
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lower edge of the lip coincides with a line that i

dde he no equal Tales inthe ower unit.

i

One ju hav u he ofthe hl,
ra rh gig foo e focal
6 tea Did the wa nt te
end hol pt The ver wl see
ermine the btn es; he
‘ond ig ine mak the ion of
ley de the dente the nse nd
the at sows where the chin hd Ts
moth i eae in the very ner ef he
las

29. Drawing from the General to the Particular
‘When drawing the head, one should work from the

general tothe particular You mus fit sketch the

base structure ofthe head; search for its generic à
form, is most pronounced or prominent an

enough to draw a set of lines marking the locaton of |
tach ofthe elements that wall make up the face.

res
Pel ae itm
ee
the face from the front. ia 더
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era |
Cette ia Y
Sate een
sens | À
ones レ

fd then coloring
em in

‘The Head in Profile
‘The established proportions for the head in frontal
view can alo be used for drawing the head in profile.

{All you have to do is extend the horizontal lines and
‘raw each element of the face, only this time, from
the side.The same horizontal divisions used for the

77001 dans of the had in
fen wiive te 0r change in
th fu meant hen mos

frontal view also match the placement of the parts of
the face in profile

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roy fi en ng pets ief ai ee tha
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even yu ve ug thine meseros he La
Prin,

30. She TORSO:

FRONT ww BACK vig

fyou analyze a frontal view of the torso you will 4
ER |
etn mn st of thc ie el

cle st pi whch expand o ont when
Bear ae sed orloweed Not the
tee of vlomes tne rf and espanion of
the tho orm he Font the back an ow he
‘Moulder tanec note teat tn
‘ile potion depending on these The neck
isthe tone à peat reine qu and we
Pre pen the Bei of bet
‘nts b hm braking Don te yey
tard y de sine

31. “The Body's Axis
Ifyou analyze the rear view of the
tone, you ill notice that che
spine describes the body avt
is ine of symmetry from which
the fundamental meastrements of
the body ae established,

‘Starting rom this straight
perpendicular, we have
constructed à rer view ofthe
tors. taking ino account the
following factor: che distance
‘berween the shoulders and the

continuous whole from the
‘Shoulder blades tothe lower part
fof the lumbar are, where you can
“appreciate the flesh ofthe
oc.

“The Female Torso.
From both the front and the rer,
the reli of the female torso is less
‘conditioned by the muscular
Structure than the male torso:
it the transitions between volumes.

spine shouldbe equal even if u
there is à slight incline; the are smoother. Two of the pores]
shoulder blades re the par ofthe distinguishing features ofthe of gues, ested
back that stands out most and is male torso are the lower Poleras
acc mot evident when the shoulders and more prominent en
‘ode has his arms open. The his. This contour can be easly we
hour Made istrimgularand represented by two triangles Per
Should be accentuated with alight joined by hei vertices. These. Images and Bnd
Tasching ts important to notice tangles should then round out the locaton of
that the waist is more clearly thee profile to achieve the curved the pin and the
marked in the fontal view than in 1010 characteristic ofthe female Tine of he bps

the rear view, because from the

anatomy

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a end tages Hor rf
nl be me olpc and te
She hips iB ne ii la
‘mar Whe yeu un he fle
es oe ied ia es
‘Howl es pond mes
DP

32. The UPPER ww LOWER
LIMBS

ing the arms and legs merits afew remarks
because it may present problems with
proportion. The best way to draw the limbs sto
analyze them based on circular or oval shapes. By
making a preliminary sketch, we can distinguish
berween three well-defined ares of any limb.
‘The upper limb comprises the shoulder, which is
characterized by the deltoid muscle; the arm, which
derives is volume from the presence ofthe biceps
and the forearm, which is shaped by a more
clongated cirdle For the leg, we can divide it into the
thigh; the knee, and the calves

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ate the ot per mece
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mw and he une of he mes.

‘The Problem of the Lower Limbs
“The muscles in he lower limbs present a more
complex form, but after à detailed analysis you will
be able to recognize each of them.

“The lower limbs are made up of two cm
parts: the high, where the quadriceps and the
Sartorius muscle lies, and the lg itself, which consists
fof the bulk ofthe übiae and the calves The knee lies
between these wo parts The knee isthe join hat
articulates both ofthese parts, and it sould look
rounded and prominent when ts drawn, Notice
that you measure the length of the leg om the
hhamsting to the ankle, he knee is not located in the
‘middle ofthe leg, but a bit further down, so when
you draw the thigh you should make it longer than
the ealf-The ealf muscle are prominent in the lower
part ofthe leg They begin jue behind the knee nd
nd at the Achilles heel

33. “The volumetric
presten of the

Thy | limbs is ease ir
you consider the
Shape ofthe am
and legs a an
assemblage of
thee

pars of different

Imre da thes nd rms coa,
13 importa tha ou Be ale ig
E the ed cade ad freie de
“The female arm is very diferen from that ofthe Pine pasos
male i characterize by an absence of | je nl =
prominent musculature, by the rgulriy ofits

proportions, and the delicacy of che lin that
defines is contours. The areas of the elbows and
‘wrist joints are narrower in the female arm. And
the shape of the muscles ina woman’ les is
barely visibles the thigh tapers delicately sit
approaches the knee, and the lines ofthe leg
muscle are understated, softer than a mar, so the
¿rele that forms the knee should sand out only
barely. In the lower leg, the gracefl cales also
taper as they approach the Mel. General
‘women’ caves are not very prominent, but they
do become rounder and gan in volume when a
‘woman wears high heel

‘Women’s Limbs

Wenn tink armor eat and hy ily

mere
(4
\ し

raring the i and an

N

34. The HANDS:

STRUCTURE ww OUTLINE

tthe very end of the arms are the hands The
wuman hand has nearly as many important
expresse possibilities a the face. The hand i the pare |

fof the body that offers the greatest number of different hal ーー
positions. Is important to master is structure and
hands and feet offen end up in very poor shape. The |

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“The hand sul e
oun proprio 3 4
lap ere of
the body can e ua hain with gure onda pei shape (1) the upper
ap liegen pan ofthe seb we daw cat the it and ting fm à
‘al that pt ti agonal nd theta (2). Fo he ip of the
Tey ofthe and sul tbe jet anther cae indi he pot he he fos
eg tha ofthe itr wh the pd ofthe and dde his ctf am
fe rote rem fs (9- he rc rat ns
(nda he had on trig fm hat ute (8

Tie merk sec of ean sped
Tre sd fs ae

Nom nich oc
“te as

35. Configuration of the Hand
‘The hand is connected to the arma
by the carpal bones, which form
the wrist joint. The hand has eo
faces to consider: the back, where
the tendons and the muscles from
the top ofthe forearm end, ad
the palm, which has many small,
fleshy muscles The fingers are
made up ofthe small bones
teach, except forthe thumb, which
as only te This forces
amateur artist to take pause and
Study the particular form of these
bones in doing so, you will
discover, fr instance that the
ones ate thinner in the middle
thn atthe ends

Synthesis ofthe Hand
Whenever you dra’ hand ry to
reduce the metal are to 2
{Gare une Rom which che gero
rend ina rada pattern, or
here sar fom he ul
Based sketch dened above You
tan den comin your dash of
the hand ly reg cach of
the fingen by tree ma one for
ch of sages yo do 0,
ivi be mer for you to dev
foraorened and Th postion
ofthe finger ited o etch
made up of seres of concerne
anche tha make cer to
tole te form in any poso. IF
Jou <a male a vel proportioned
Geometric sac i wl be ery
Es to ju the deta ae by
Hl nt you fn he drawing

Sometimes an
fished hand
makes sense in a
‘nude devine,
“Think of the
fingers as minor
esas compared
10 the other pats
‘of the Body,

Af sig has man, porn
ra vag ie hd indica pts Ar
Ec be o male 2 oma id

fe er fe devino hat yu
ov ndenand ie mamwr who dling the
the Ths ie ho als yu to les a
the jt fos rd ut he for of

36. The PELVIS:

"Ts anche ain element in ding the
human figure Te on the axis ofthe spine,and

‘coincides with the point where the legs lex in this re,

THE SHAPE we HIPS

‘The Protrusion of the Hipbone
Because the pelvis is connected tothe head by the
backbone its constitutes the body’ axis. Several
muscles of the torso, the thighs, and the legs meet at
the pelvis, which serves as the main support point for
this area ofthe body One of the most important

of the pelvis, and the one which most
noticeably affects the outer appearance ofthe figure,
is the ilac crest, which lines up with the hipbone.
Dont forget to draw this bone, particularly in female
figures and slimmer models, Because 3 woman pelvis
‘i wider than a mans, her hipbone is much
visible. marking a so curvature from the
to the op ofthe buttocks.

When we mat inna hth fr a
ring prt taint aint

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| à 1 1
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Pia" 7 _ Sure,
indnaton of i hips and À made the undnid of the
ei km A we ‘been
pasaria |, am Nee he
rode dees ariel
Jan ofa tere j ‘eal ao ur

‘ented ne ‘ove de atc.

37. The Line ofthe Hips
The postion of the hips marks an
magna ine hc Body tht
veus fake into account when
we dr The lin of the hips is
idm horizons Its othe
si ofthe backbone, com
vith he point which the ey
alin dare, nd when he
Irene th love

remain sigh bot tend
cues sft curva at
I men alas adopts à
ih ik peca whe he
dy iin a esting potion,
shih makes part the weight of
ne body come to rest on one le,
sl the eer lg remain Boxed
md riawd This pose i called
00100.

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ih lee be and a nern vere. woman
eis here end wider tha manch
ls 1 se he male hos th ip eg
2 of betas a.

38. nae

The FEET:

INNER STRUCTURE ww FO

he ft are nota difficult to draw asthe hands

“This i because the fet have much fewer
possibilite of movement. Tis imitation translates
Into a more homogeneous and cos

Configuration of the Foot
Asa general reference for drawing the foot, we think
of as consisting of three well-diferentiated areas:
the tara or heel the metatarsal and the area of the
toes, The silhouette ofthe foot is conditioned in lage
part by it skcltal structure. The top ofthe foot is
‘covered with tendons and tensor muscle, but the
Joints although they are every bi as complex as those
‘of the hand, don't display a structure as readily visible
as they do in the hands.

Synthesizing the Foot
‘The geometric sketch ofthe foot is similar to the one
ave use forthe hand: it begins with a circle or oral
that corresponds o the heel, another, more elongated
‘oval for the metaarsal, and various lines or smallish
hlinders to represent the toes. Once the sketch is
‘done, you can work on the form, profil, protrusions,
and roundneses of the foot. Ifyou wan

foot an athletic appearance, draw a pros
and svelte 106, with very pronounced joint and
phalanses

ie

_

‘The gamer ht fr the fot ssi the oe ned fo he
Pad hole df y cc tha pond the hc
a, anther nl for he tts ee, and el sli es
Freno.

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conf gemido le form of
the ot (D Mn ad o ame es
des se, ir eewd of ih cc
tothe mde ne fe hc. ih nl
ds fie fr sing the wes (2).
the ue he tated Inc nd vy
shut da the cutie of he ft is tine
dsg te proton fie le and de
hos),

39. ‘The Foot in Profile and Back Views
Drawing the foot in profile is very simple A triangle
coves it almost entirely The shape ofthe foot is
marked by the angle ofthe heel the part ofthe oot
‘which supports most of the bodys weight The toc
aca kes up slighty les than one quarter of the
length ofthe foot from the heel to the Gp of the big
toc. frontal view, on the other hand, presents some
problems due to the foreshorcning of the to. But
ber, to, you can sketch a simple triangular shape,
although i will be much narrower compared to that
‘ofthe profile The back view isthe simplest, and it
Should have as te main reference pon

ofthe el sight indian athe woes athe
other end,

the protrusion

The Bottom of the Foot
“The bottom of the foot is ako covered with muscle;
however, these muscles are not as visible because the
skin on this pare ofthe body is very thick, and they
AU blend into s common mass that spans the arch on
the bottom ofthe foot This part ofthe foot has a
very rounded appearance due tothe greater visibility
fof the heel and the fleshy, cushioned parts of the
bottom of the foot. When drawing the bottom ofthe
foot, remember tha the skin here has a rougher
texte than on any other part ofthe body.

leg dc at rt eof empl ret sd has the fot hang
presen depending the oof ew oro pe Y iio pes. Our rvs
ce ts my pu o aap hee mn (A nd). Ha, eas the
Tender ding (gr ga 10 ont the fr and ening hte wih he
‘Joao thes dare ace and ot sight ine (Dyed E

40. CONSTRUCTING THE

42. A WELL-
PROPORTIONEI

Cartan, sw wi Ti Fiore, 202,
Ce ns pastel wäh une in whe

43. D) y
と ey ding mu be opie wi mon sd
fi ee aro se
on
en
nee
U methods founded on geometry and ec Por
Son le mua es
eS
vi» al ol col ur
ml rasa and accommodate the natural structures oF Ose
Pee ee cern ツ

than che model described by the elasial laws of
Proportion.

44. The UNIT SYSTEM:

MEASURING

Ne of proportions or te human body would
TE cé nee Lago nee
100 with LE model More ar aimable
Hi be à the pletion of tony tos eal
Sil ht deters he al O any demi

人

"Hs messunemens the hw of proportions is
truly a wel nvl for becoming famila wih (and
meaning the don oe eae ie of
{he pares of figure in elton tothe whole Even if
{he proportions ofa el igre do not match hot of
3 él model, there ell an austed
orrspondence between the division ofthe figure
foto une and the locaton of differen, anton

the B O DY

components such as the height of the shoulders, the
‘est, the elbows, the hips, et, which we have to
consider For this type of geometrie sketch i

important to first project the body’ line of
symmetry;on it, we will mark the diferent
measurements of de law of proportion, IF the figure
is shown from the back, we have the added advantage
that the ine ofsymmetry is already marked by the
backbone,

Im sing poe mag verti ns
at cemmony wed ie portion he
chine ad he arr estes onder
{plac pon thon te copending
pme reac fr ch wt

45. Cross Sections
‘Weare not always able to find standing figures, which
lend themselves t the application ofthe aw of
proportion, so we must develop a set of rules that
allows us to apply the unie system to figures that are
seated or lying down. practical method isto draw
‘ros sections on the body —that isto draw

‘horizontal contours" onto the mude body to show
the imaginary “slices” hat correspond to the diferent
measurement described by the lof proportion, In
her word, we follow the same method as we
‘would if we were to build a cylinder based form.

In a seated figure these cus are visible in the folds

‘ofthe sleeve the shir colb the belt around the
vai te,

Measurement Problems
Sometimes we will find thatthe figure does nor
precisely match the chsical male, eightand-a-half-
head model. This is normal. es only logical that
reabife figures should be somewhat beneath clasica
measurements because, afterall, classical laws deal in
ideal proportions, not exact ones. What is most
important not whether the figure menores seven
or eight heads but cha the distribution of the units
be uly proportional,

The dae porn of
sang fg vet
hang mh, mater
tae mach he dy
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comple estes Ths
Spe of omc em

Tea geod none

Abe tement
She dass a of
Properties
th fi ng hing
doo, o face 四
tse cy mer dr be
wm sopping incr
inte a eed potion
nd y o aa
‘crap sn

Ari or pi ie
‘lel it meme the
‘sean mann en rm
‘eons, Or sh of he fe
tre dh he fins oft secs.
va cando le gent the
‘sil med dr to sub he
repented ats of fi in
cin or in pote.

46. GEOMETRY Ye

HUMAN BODY

he human figure can be broken dow

simple geometric figures that easily 20
description. Every pose suggests a general sketch that
should encompass the anatomy in just a Few strokes,
Teshould be a simple form (an oal,a polyhedron, a
‘pyramid shape, et) thats sufcienly rich to suggest
the position of diferent body parts.

‘The Geometrie Sketch:
Structuring the Whole from Simple Forms

‘To sketch a geometrical model we begin by selecting
4 composite outline—in other words, simple
‘geometric shape on which we can inscribe whatever
Pose che figure asume. In this way, the work will
present fiom the sare a more

layout. The use of compos
an eficient method for

factory visual
‘outlines in sketching
ing the subject and
al pace. thus
lements of the drawing so
„and the focal point ofthe

The bos omy ara
renege fe e
i undenanding of

“The haan By
sel rote is

thew do a ee
ein ff he ane,
fate lier

47. ‘The Essence of Synthesis
Once the compositional outline is complete, we add
new geometric shapes to describe each part of the
body: an oval for the head, rectangle for the thorax,
Qlinder for the arms, trapezoid for the pelvis,
Geometric shapes contain the essence of synthesis
‘The goal isto combine simple forms which esablich
th form as well as the proportions ofthe figure. All
‘ofthese geometric figures are articulated amongst
themselves by observing the straight lines which
define the height of the shoulders and the il ofthe
hips, and the curve that describes che backbone,
which, as we know is not rigid, but rather produces a
ping ofthe ischion and the hips. and à rotation or
spin that affects the orientation ofthe head.

‘Geometric synthesis consists of seeing the drawing
as an articulate whole that can be developed
Simulancously in allo ts parts, and in which no
single pati more important than any other

model that you
can pose however
you ike These
‘Models are Road

Ine cone rca of
the mar ad oon
‘shoud sn ni weave
afr mete wp td
Sipe om Lie by eth
ed wl ele sem
fais pr wl Bre
er fie pre

48. or the amateur ati che geometric tch of fixe seldom an easy
‘ask nonethcles,t cn be simplified by following a fee ps To begin,

ihe best thing 00 sy to sce the figure sa whole and not ge ost.

etai such ss the postion ofthe fect or the shape of he kar Only ater

drawing the general outine ofthe model, when the basic problems of form

fave been overcome and the proportions are approximately corect,chould | AN

wwe addres the deta To make à geometric eich 5 to undetand the

ring an articulated whole, al parts of which can then be developed

Simultaneously and of which no partis more important thn any or.

7%. GEOMETRIC SKETCH: 00
STRUCTURING ^ WHOLE ee

corte,
from SIMPLE FORMS Ex:
사사구

ota niga ee

A torilon, oe
sen a charco
ned clothe
an excellent tool
for practicing
Eeemetric
etches le
produces soft
line that are ey

modif.

IN

Tin

oi se pie simple me wi ee
‘soe rat oe on he oan he propos
end fe al th etal ofthe fe (A) Te guido
rang hou a one prier nen
ofthe mode ich vil lp ue ada toed
moe de, fi eue (D

0

N
ME

49. 1 Vertical Lines of the Body

€ st thing we must do before

tching is make a series of marks

eating the measurements to És

ich we can refer throughout ¿
entire sketching phase, One poe À

sfire way to begin your

wing i to Rnd the line of the ¿

et and the head. es ar

ally easier to draw om the ie

down. From there we will - pred

rk downward through the

dy drawing synthetie shapes on
nding surface, paying special

ction to the vertical ines, We y

ul look for directions and i

chs and see them as abstract

ifying Dimensions 1

sg fechand allow us to

19 the precision ofthe 1

Wings proportions during the

ly sketching phases, When

wing cha, the pencl

md be held vertically withthe

extended before the fig,

the fingertip atone end and
‘messing atthe other.

wil help you con6rm dhe

portional relationships ofthe

Frode: rom these

aremcnt we can dr by

seing those proportions

6 de paper Once the sth is

pe we once again place the

i oer ae sie that {
proportional relationships

ween the different parts of the

del are correct. x A PP.

ly Kine con bed

dug roer

och a he vl
onlin ea of

eta mas end

ke wol free

yo ampare tas

50. SYNTHETIC CONTOUR
and LINE CONTROL

the me Method

51. A Great Disappointment
Teis very likely that your frst atempts at this type of
eawing will prove «great diappointmenc Don't be
courage: keep in mind that his method requires à
{great deal of practice, Once you have gained more
experience, you will e able to vary your speed
according to your rections and your line will be
‘more firm and decisive. The importan thing isthe
experience that you acqui while practicing this
exercise Once you master the ability to synthesize
‘wing tis technique. you will be able to make studies
and sketches inthe studio from memory, and won't
miss having a model to draw from.

Line Control
To shine an intereng line in a study artist
rast une either very fine instrument o a very tick
‘one: In ether cs, you have to work quickly and
fallow dhe subject forms with continuous line. You
can we the dk ofthe pencil oF graphite o modulate
{he line by altering the width ofthe smoke sharp
penal produces sensual, agile drawing, where
Fri which has a thicker ne, wil yl a more
Ant, energetic drawing The reat should be a
‘Stator; uniform fine that provides dl the
Information you need for obtining the models pose

and anatony.

Spree conten ery afl or
‘mang qui di, un he
mer nd ep of the
‘mel ren

The grite pens nee mest
commen wed meda for making ine
‘rings be ley it thea pint
on ha und ic amg
‘mpfr thas the fe,
nn, nd na ine tha pds

plie poses mere
rs tha a po
‘male fom he some
‘mal cor
rides In fe
art ge ft

A good exercise
for mastring Hine
ein o
Lo render» figure
with à single ine,
Without ang the
{ead fom the
paper aif we
tree drawing the
Figures profile
wi a angle
piece of yarn This
bs us develop
Improvisational
shill and masse

52. The NURTUES of
STUDIES:

OOD FORM „/ PRACTICE

Tris bt say apron a fur and eh problem of
representation that it ents is through the practice
‘of making studies of a model. Studying the figure based
fon a rough sketch i à form of constant learning and
perfecting for the artis

A Minimum of Lines.
You should situate the
‘of strokes, with no

“The Time Factor
Quick dir ae notes aken in the shorts time
posible. With practice the hand becomes more
Sed, so that it ears how o find
Solutions 1 any atomica!
premenc The loser
Tndonsequenial tone ola quick
study mates especaly
ppealing Ofen it
comet’ series of
Stall shows ol dexterisy
and visa ares. On
the ether band! the 60000
Studies o make ae those
or which there i no me
Tinie aah

ih o apart x er

53. “The Use of Hatching in a Study The hang ja dy For the begimer
Ina sud che sketch should be light. never overdone, shld ie ini Ir Kinn pod hea
Fei necesity to ind a blend of ight and shadow nf emi | somal sie
that compos the figure with ts essential elements. the stl nas yi | oFtemate figures
“An excesivo isitence on hatching is problem that single wy hating | ad pretest
ic inexperienced ars making hr drawings ext lie ofthe EN | chooses moda
config. you work m graphite, sufcient to dee | ん | who oo
ma ple homogeneous way hatching. sing, lo (Ame
areodLmy derkening dhe shaded arcs with a ri er
Fingertip stained with charcoal fo aoe
은
‘experience on the
Dar ofthe ate

“The pape ys ot ek he fished
ig bu sh the ern Fr. eld
comi string ofr mo laters dain oF

fora sy me dive pos

axing th tne you ily vn age
rin the model hare o wry cbt 내
mames da

‘Timers o main si sh a nd
rte god ica al y e ros
fn yeu pet

55. OF THE FIGURE

n figure drawing che mastery of in i very important because,

besides defining the concrete contours of volumes and
creating a sense of direction or vial impulse inthe drawing, it
creates tensions and reactions —he particular cadences of the
figure. A knowledge ofthese dynamic tensions gives the figure a
sense of contained motion and a thythmie sensation that can be
Of great compositional and interpretive interest Ths, figures
appear o be described by a strange equilibrium dominated by
action, ina constant entwined motion and violent inflections
that ae propelled by a force that although sometimes
‘overwhelming, gives meaning to the pose and unites all of he
linear elements ofthe figure.

56. ps
tn

distribution ofthese alternations determines the attraction and

Sess fis a gen Y
ee J グ .
The INNER Ravel!

of the FIGURE

‘The Line of Action or Strength |
Fora figure io attain an impression of equilibrium and rhythm, es f
recu for itt me an ttl ine an 00000 ine tha extends

across the length of he figure, in order to articulate ie thythnnie
ct. This structural ine. known asthe line of action, should be the <
bass for any drawing of pose or movement. Working with lines of 、
force allows us o approach the internal rhythm without he figure

Becoming unbalanced. When constructing a pos, ts preferable to

fist exaggerate the line of force and then take it 10 a more realistic \
position; thus, we endow the figure with an energy and motion chat

‘would probably not be perceptible in a rigid, conventional pose. \

I aa es he
our inma iy
dey 10090
ly be ne dering

AZ

“The shyt i men ml ie hat pn
‘the body Jam the had othe fet nd om the
inde of he ee action cared eu yh une
Dhs mas ous ses of psa econ meda
lose ei open tance

57. ‘The Expression of Gesture
In order to captur the rhythm of
tis cent} to leam to.

figure and reflecting its intentions
ARer drawing the line of
strength, atune the gestures of the
drawing to each other and capture
the essence ofthe bodys dom
allow considerations such as the
figure’ contours or measures to,
confise you. The drawing should
bbe quick and interesting,
preferably with no consideration
wen tothe contours or forms
“outside he figure attuned to ts
silos through the gestures

‘comeyed by your hand,

‘Then con s th iia in
ne tha ans the tof the er
sce the tof motion. In he tf
ad belo Mr bw model erg
{othe ete pme by e bo

Ae we fre the
as wef
the had
doce oni,
sich anne
sien
に つつ

When mange geome
sec i ese th
Int acu the to of
these, The yt ell
te dered by oes and
ue ser making he
Intention ofthe bch

58. The SOFT LINE

AND ITS MODULATION ^

Titi oa hue and is modulation an
important value in figure drawing An interest in
the forms ofa nude should be expresied by the

‘charm ofthe drawing’ line strokes, This expression
demande some exaggeration, simplification, or even
changes al of which ate completely legitimate if hey
intensify the visual quality of the works The
characteristics ofa line used to define a contour can
transmit the nature of the form, its materiality, surface

texture and visal charge,
Descriptive Contours

Descriptive lines ae those whose only goal and
function is to describe the profile of forms and their

‘umes: These lines ae responsible for ce siadion
‘ofthe forms that we have previously discovered and
they reflect the atts personal vison and api
once Deine conto develope an authenie
Creation and organization of atomic! form,

Who dein medal ns, est any ce il e
The ue hs bla ft pent the mt 0060
seed by ee aretha olen and esr. The
run the ih rte kind ines 0000.09 shld
‘ie rim, bed oil ninety ad those.

Lad
|

Drive con ed bya comin i se
end has pac patin eig fons es
ee rei dering poe thee sito
Food fs a nd dein,

Moda ros fc the dy of the es Toi
thio vr dpi en her he re ing dm
‘si fig or shad

59. ve yu ha eno price ren ind of
yal be al 1 med the Bie oy ou
on Medan th ac ma yg he rest ad
ths ofthe codi the ned of aia
dr pec th u fer nd mos
‘oon nl dane

A fin me ap sid wi he pe a
où fe comes sv epi, er ke fe
‘hs 1 ner he fand ple of te fi blo
A de ine rss te ree la ad,
ln man me ini c,d wi
sore sl,

Contour Intensity

Ia line ithe same consistency throughout it
encloses the mude to coarsely, and fils to expres the
‘nuances of ight and shadow: À drawing rendered in|
soft lines should alternate tick lines with fer ones.
Fine lines suggest lighted area, while thick lines are
perceived as describing shaded parts You can
emplasize à line by retracing it to give an illusion of
{depth or ereate shadows the thicknes ofthe line is
‘modulated! and the racing is agile the line will have
Sufficient visual appeal hat i will only require a fee
mary additions ini hatching

Hine and Synthesis

‘Drawing in soft lines is in large part a synthetic
exercise in selecting contours. Linea synthesis plays
an important practical role when drawing the human
figure because i allows us to quickly render a figure
in a spontancous attitude atany time or place. A
‘synthetic figure or scene contains ll he necessary
information for the viewer to recognize the figures
different actions and gestures, apturing the grace of

Fer er undoing ofthe ing cs oie
hs she of he sae ig, which ied had
wm aly fen om ey hth

‘a lec way
of mastering the
{ef ine lato demo
the siheucte of
figure without
taking into à count
sl oran
100 internal
precios. Follow
the outer ed,

what goes
de The
Shine of the
‘contour drawing it
to achieve an ext
correspondence
tren the wat
fhe eye sees ae
Fallows he edges
of a form ad the
Tine he hand draws
to represent it

60. Shading
Ifa figure is lighted powerful it can be sketched
‘with spots of color, with hardy any lines ar al. he
drawing should be a synthesis of ight and shadow, of
lighted areas which we leave blank on the page and
the shadows that we sain using charcoal or a piece of
chalk id dat. This process omits the details
altogether, but includes the spectrum of middle grays
“The limits of the shadows are aso a good a reference
as the lines of a box-sketch,particuitly in models
that have a well-defined outine whose contour
presents clear contrast with the background.

A fo ot oe fet foraging the
‘aman enon: ur wnt shade
‘iby cn csi py hatching,

hi const Y sees pl mark
it hw the ied as rf 4
val ay oy es er mar

ie th ep cnt
dla, cad wi ts
int fins In ch fr ore
100 ep yk e pe e
‘pena end po he fiw

61. Hatching
Ina rough sketch, hatching can

made wath à motion that mi
your fist, tentative lines, ac

à preliminary tonal and n し
intention. The strokes can be

|
개
Bine,

1. In these three sequences we 2. The tones that serve as the}

ina: pa das shall see how to practice sketching for the sketch are now complete.
etch based on hatching, Vi pot in eing a orilon © ‘The series of pox trace he
wing wit lis: ‘or a cotton ball lightly stained structure and principle masses of |
Ding with Watercolor idee dev best their mdp fran
ing is by practicing tonal parts ofthe model on the paper in about the location of the light

a highly synthetic, simplified source.
Seelen Before sting the

ding el, we place the model atte leaving the gd areas

in front of a single source of light, ™
Escaneado become

Config thre ae sever

Sours fige stone ime ‘
alr cing we can gay

dr the oui ofthe gre >

dert haves template r

Biden for working Then, ing

$ext be we quickly and

my spy dk varier on
Bann te body that are
Shaded preserving he white of |
the paper for the more beighely k
led ret You wal have to

forsake any intermediate tones: LA
cho e impor in is

Sing so dent wae tie
reali forme nd ones

3. nally we can adda few
trots dang te arate and
Profle ofthe Age The line
ok combined with the spots
ne tod aT
Stokes were made wit à pen
thesame color atthe poe

62. ATTITUDES OF THE
HUMAN FIGURE:

64. ANALYZING

N

POSES

\

65. Gestures

"Ts ano limi de posites Gr ring interesting sen
poses. Capturing the energy and dynamics inkerent in the model
“depends in great measure upon the artists choice of pose and gesture. When
‘we speak of gesture we refer not only to the models mannerisms or the
features ofthe face, but tothe entire body: Every person has a particular way
‘of walking, sitting, posing. and manifesting herself physically; these are the
“unequivocal marks of her person, and we call these marks gestures. The
geste ofa figure tanomi is way of being alive is action. By defining the
Tree angles and directions of the body; we can capture the essential
‘gesture ofa pose, implying its intention and energy in à natural way

66. The EQUILIBRIUM

of the POSE
he equity af th md a ery import Gaor he

verisiiltude and stability of the composition depend on t Every
new pose presents different problem to be solved in its compositional
balance.

“The Stability of the Figure
“The equilibrium of che pose is an important Éctor when drawing a
figure. There ar limis te how much a human being can tk to one side
ana witout law xr The ek then ie ontol he aby
ofthe figure so that it does not appear o be fling to
‘one oft sides. The question of equilibrium is
‘not à problem he figure s sated or ying
down. The risk ofimbalance occurs when.
the nude is standing, particulary in poses
that imolve any violent movement in
the figure In this type of ports
possible 10 become dsortented and
Tose the horizontal asis creating an
appearance of instability.

la a ew of vd, len sed by
caco co be ed on wt 7
mem lg lea e por

Tt epee à
lee vo À
my hd ete pt Te et LO w
ce ler eg
ee )
of oral spam J 1
Y / )
ra
PA The line of gravity a Gag À
Erz
E “fee ep 10 |
1: ee ide (
7 |
~ \
ra \ | \(
= AU
Vs SI a

67. Firmness of the Feet
“The figure, no mater what pose it asume, comes
into contact with a supporting surface through one or
both fet, the buttocks, or the hands. The manner in
‘which this contact is produced explains the support as
‘well a the coherence of the pose through

guild e entire body should appear

«obren with respect to the position of the
“remis. A fequent error when drawing standing
Figures i that they do not appear to be touching the
fou and lok a hough they ae Heatneer

The Center of Gravit
A raional method of verifying the equilibrium of
rude pose ito find is center of gravity: The center
‘of gravity k wwally found in the abdominal area for
sending figures, or at the base ofthe spine fora mude
viewed from the back, To check the aabihty of the
ga al one has to do i imagine that center of
ravie and extend an imaginary vertical ine om it:
ifthe line divides the arca supporting one or both of
the fet. the igure has a good equilibrium: otherwise,
the representation s imbalanced and the nude is
tunable to support itself on ie fect.

ina frontal view:the
Human body shows a series of visble correspondences
and symmetries cha give the fre a great sense of
compensated equilibrium. For this analysis the most
important lie tthe one that divides the human
figure in two when viewed from the font

make the
| ure forward To

seid makings
mistake, you have
te project the ie
cf gravity onto
the sketch

Boah awe beled fo 有
imperio ta the een fl ls Be
coman and tht he fet iy
pp fu が we te tii
fares it ae de seth hero of
‘he we shel ope tw

“The i of qv als cto dr ein of te
Jo th fit thie of ity, doe, ill ei ofthe
ft sponsor fe opc oct (A).
(hth eer hand, fi fl mr 9 if gi ot
ln the do bl ne point (The
“lia of he mude on sd ding he veil ne ef
wwiy nd einge fl wnt oa ft fc
“apor feu (O).

68. VARYING “/e *
POINT 0/
VIEW

Wires sich ie on moin ti
interesting to draw the figure rom different
points of view and walk around the figure i as you
Sketch Every point of view offers the option of à
different pose: Drawing the figure from the font,
from the back, or in profile implies a different
technical and psychological technique.

Studying the Pose
Bel dig de ie ar mar
Weich pecs he an to deep in wong,
Te ccc cc momen a coe
= fr one 1 Jeep some ofthese specs
Beer than otra we ve andy sd.
inerating to observe the mode! fom fern pains
Sa wal sound he Eps you teh
‘The box exe for determing te loca took
ithe scone a ha walk sound the ode,
ocn the mou apres and elec ange.
Every point of view comes a een psi:
Frech ry pose regu ieee
wrth pee or leer ok aged e den
hm

“Te fal ws mo the mt active dat
ny dc vide avi of the fat bt a fetal view of
the dy pss wis ond dedo at make he acing
nd ming of he fee mow nesting

in ne tr aden the mad, po hae td
a al, end analyze the sam pos fom se feet
pins ie, ling runde model nd ising
ue

69. The Frontal View of a Figure
To draw the mide from the font implies personalizin

1, tansforming i into particular person rather than à
generic model Thus his type of pose more clschy
resembles the idea of portait Although the purpose
may not be to make a Port, the frontal view of a
nude forces the att to pay serious consideration to
the face, and this means endowing it with expresion.

The Nude in Profile
We could almost gy the opposite about the nude in
profile The contour i the dominant aspect of a
drawing ofa pose in profile: he form ofthe head,
facil features, shoulders, torso, abdomen, thighs—in
short, ofthe entire igure. These clemente can be
represented with a single, continuous line This does
not mean thatthe volume and modeling are
unimportant but rather, that they are subordinate to
the ine ofthe Bute leis worth remembering,
however, hat a figure i rely enel in profile.
Some pars of the whole appear only in a frontal or
tock view, making a three-quarters view advisable

The Nude Figure Viewed from Behind
The lack view of a nude, especialy the female nude,
isa recurring subject in the gente of intimate figure
raving, These drawings crete the effect of figure
being observed by the viewer without her
Knowledge

‘This impression of naturalness proves to be of
eat psychological interes. Technical speaking. a
rendering ofthe back—male or female—can
accentuate the anatomy to a degree that it becomes
interesting in its own right

‘The fein fon sc suis amor
enticed cames e e e and et
enon ofthe ot of heb mod
rile en ie er and ges a more
ad emer te bay eros,

ve Gin ie hard

positions, we can
‘ie à model ike

Tie model,
log de end
making sketches
‘ote Goan
ire points of

A td sof fig regis lie
Pere ht gat el of
red o op dete the vlan

70. “ COUNTERMOLD:

DRAWING NEGATIVE SPACE

Oft suce ofa pose es in ts neat
space, in noticing and rendering the form of the
background, the empty spaces surrounding the figure:

If we dave the forms ofthese various spaces, we
ko end up drawing the figure, but with greater case.
‘We solve the problem of composition thus: he spaces
and the forms are united when we give equal
Importance to al the pieces of the puzzle within the
‘margins that limit the format.

Analyzing the Countermold
“The important thing i drawing an arm or the
position of the legs, but rather taking up che form of
these body pars by relating them abstractly to the
space tha sbrroundk them, looking for the negative
forms, or countermold, of the figure. Therefore, in
order to understand the forms of the model we muse
now how to identify the figures countermold.

We suggest à very simple exercise that consis of
representing the human figure inthe chosen pose by
drawing the different chiaroscuro values ofthe shapes
that surround the model, without using lines to give
thent their counters—simply’dsing hatching based on

cours of the body. We
ic isn't easy’ to separate dhe figure from space,
tor with concerto and practice an be

A goed wy ana pue e to o bt sh ira fo

the pedi nd comer o pro, mie fo the in
ft copy per cl the fe:

The appt fuera th hain se com
ea fats bie fc i dec oe al
role sito conn.

71. ving Foreshortening
bles
€ propose the following method
PE ae man
ing some particular die
conch foreshorened
"The only reali solution
be problem of forshortening
cod hc tet
wis one images Itt be to see
ma geomet gure, serving
© nein space srrounding ie
ny dexterity and experience
nlp one o relly sec and
ch ender armen ia i ie
Gi oy
eee

dich el net be arre of
ole fe bu an nr the
wei he sonando spe Dak
in bak sp to ep
e he profile ofthe head nd heulen.

72. WAYS »/ SEEING ん FIGURE

OPEN ww CLOSED APPROACHES

‘a artist “secs” the body will determine
‘whieh approach he or she wil take in expressing

the figure. Among other actos, the artist will have ©

decide if the drawing will have an objective,

descriptive theme, oF a more subjective and open

Interpreition.

‘The Closed or Descriptive Drawing
‘The Gnished or descriptive drawing presents the
visible reality ofthe figure in a way tha shows off the
mastery and ability ofthe artist The radicalization of
the analytical function magnifies the finished effect of
the drawing. The profile ofa descriptive figure tends
to be linear and close, leaving no space for
improvisation and subjectivity iets hited to the

re-creation of visual experience. Descriptive drawings
display a constant effort o forsake convention and
give greater importance to meticulous analysis so
‘thatthe drawings traslate into an exact rendering of
the human figure,

A gamer seh
eh ded
Fur pies
sold fs with
ic es dt
eeer th
tie end
pres
ding,

Ink produces a
unir, lasting.
oran line À
e À
making este,
rough sketches of
open figures.

The cd ia
id yor
ae of te
nein nda
il ini modi
ise doen we

_
y"
か

/。 め "ば Pe

73. The pn fe à id fo pcr
pel cai nd
clic or mein naar hm
inl er

me eh fa pn fe slo
er end meet df ná 0106
sE sf, gue sad

‘The Open Drawing
In suggesting the form instead of
‘explaining it completely, the open
drawing requires a more poetic
treatment, allowing the spectator to
complete it in her own imagination,
“The open drawing, dough is
brevity and immediacy can ako be a
medium for erysalizing ideas. leis
accomplished by siggeating certain
eas tater than completing the
Suberacting a fragment of the
drawing for the purpose of
interesting the viewer or drawing
her attention toward chat point and
allowing her imagination to deduce
or complete it Suggesting the form
means responding quickly and
spontaneously tothe artists vision
‘Of the model and tracing the precise
moment ofthat vision onto the
paper. Naturally this means that the
artists composition problems

ye or les solved, and the
geometric sketch of the model is
already more of los correct

Ope fur chard by anar
eee ne ine td psf the
Ho hat per mut ch ee
he te end and he gen ein.

74. he sanding ir imremiy pee fever problems eee
Tir tthe boy cn be dey vated ess where
ea Ph ith te boys poporior Canale m
tothe daw of proportion,

The STANDING

POSE
CONTRAPOSTO

Symmes o orme eue

NET ai a ds し

pode Rl oe ttc tas etn
Spe lest rence

A font pronation of be
md fit Jon aid cese
nc peri pss ve
ered oan ets
then atic daring,

During the each
stas of earning,
itis a good
exercise 1 copy
asia!

7
eliminates the
E

‘The plaster
model eal for
ie Ay se mee

rte by be nding
‘Sate boy i deine D
the ont 7 1901.

mr fed pss filo
tent th ey of th ns
fhe hes nd hip

75. The Contraposto
2ontmapastog ome ofthe most ar analyze the fy shee, e fied tha the ei of
ommenly drawn poses The 10619 rats evel mee tan te ie he ile line
Ontraposto.or Illa position is st ne de (1, Wher daring de fri lo i the
termined by and inclination of Pre din, mat the tit ein 2) Te per
rection 。 "weirdke died by he ef the sender u the ver

taro in the oppo
cree int pi on O ed elle done,
fon de pele y e dle ériger
vibe upper pels one Afra hit Oh

de or te ober depending on

he poston ofthe une hu ， 2 E

he weight of the body rests on
ne leg while the other

peat relaxed in an atimde
mir to soldier a case This
Jing motion ofthe hips is

sully accompanied by the tilting
fthe thorax in opposition tothe
vis You can put this tothe test.
home if you lik. Stand in front
Ca large mirror. Keep your feet
pare so that all of your weight is
ve distributed, and then res

of your weight on your left leg
cu wl fnd that your hipbone
Is upward 2 the sme time as
ne shoulder line tits down, and

Te maps ne ofthe mest oman ee für
stand ig pa het beak the fet

isi spe ie rs
era id fl en ig a
pen cota ft mc o
te ies ofthe ss and
toe (D. fer waking te gore
ech, e re the eer prs of th
heen ind that he ee of he
eth super the body wie ler
the ther (2) Lay we mie the
mana net nd ene te mcr
lefa (3),

1

76. SEATED ww RECLINING

FIGURES

cated or resting figures enjoy special favor among,
amateur artists, among other reasons because they

present few compositional dificulies, and the body,

Mom presents excessive tensions because the

‘muscular anatomy is relaxed, The greatest problem that

we might encounter when drawing this kind of pose

À foreshortening, but we will iscuns this iter on,

‘The Seated Figure
‘The eco go Ile several Row
completions beyond those of the andi ge;
‘othe join and member are not shown à estemos
ef the body; but a rene moco da mus be
Sonne o each other throne and shadow. ei
eens o pay attention othe dor of the jos
Ed less of hidden aes bos thse wll
real oi ihre each in eg 4
inthe ne gehe mise le dc gid
appearance beca tis ins hardly ay sear
‘Shion hee the hatching ae the Any ofthe
Staton li nthe eal gre, the bres
pes noc los eme Dring the cha en
ch dhe model std sno ably cesar,
you deed todo so donot min de
cesta) othe gar self and render te cai oly
shel leaing out he deta

A qe ay ig sed fe cl an or
‘end a tht dvd the body in and ame o ae he
se The fer ns smug the bd sev 1 very ie
‘Smt and monde son Er pinto ke od

Seed pss thes 10 den ha models
murs pea th mos relaxed mvs ey gie
10010 number of cese fes, end fre st
tea ae aging ras dn by body.

As we me sete ou ret iis wen
plying the Les of prt, font mods met
aed im re set rich ino poston, Ove
‘uch etd ein wil primer dir
ping ei fe 0100 of he More
and shes (en, be hf he exits is
‘receded they sed nt er (2) Te Sy
ds compl by ring af scl ins an ri
te au cpu 3.

77. Objees related 0

Sand or
me we
coated pest

model in an fete fe

Uncomforabie potion In this sng on

‘of por it harder to ind Lo
Val fotos such a ep ne
Contrtons or orshorening, cite

because everything les relatively
inside a parallel plane. In eis ease,
the cbjec relate tothe Figure
dawn can be of great help. I the
figure sing on a sof,

corres degree of
recesion for the
figure ying on it
A feu sro ore

recargar plane of the sf eps pres
divo nd ie right degree of sport
inclination in the resting body. surface. iis

In almost every drawing of
seated or resting figures we fnd he ml ur se fa he a the ocre
angles or planes that recede into pre an nesting nme avi Mé on mark he
space, sometimes very abruptly, so importen eatin of ifn pts field in
the point of view implied by the lation os ne

figure is very importan

Thee fue viewed fo te
dai het pel pre Jr à

ml, swells te pos ta ees
the rat cono ine and modeling.

78. RE the figure in motion means drawing.

living figure. Every movement exprese.
something. The mision of every arts kto learn how
10 represent this action or that expression. To repre
movement is o understand the group of bends and
extensions that take place within à motion he
‘bends and extersions corresponding to every pose

+, Drawing the Muscles
‘he muscles are the driving force ofthe body putin

“the igure in action, in motion, Knowing how they
move à a great help, because drawing Figures in
‘motion means putüng visual memory into practice,

2 equilibrium ofa bllrinasthe speed ofa rannce The
er Td cd E he
intensity of the hatching The greater the
‘ofthe muscles the greater the energy that mus be
represented bythe contrat between light and ed

The et of segue in moi jus making o ty of
fe i cos of peeing aci. la tse, he pas
"und the rin er pete aa sce poss th

dene the sp tan by th fw il peeing

79. Deformation
‘When denwing a figure in motion,
the aris should get carried ay
ly dhe vision of he moment and
forget academic considerations
‘The artist can go so ar as to alter
the body’ proportions as a.
function of movement increase
the width of an arm or Leg,
‘exaggerate the curvature of the
back, oF suppress unnecesary
ck. Sometimes the trajectory
‘ofa single line explains much
more than an accumulation of
traces. Ihe line i ively it
comes the figure itself,

tore vital gesture.

ngita

Successive Imag
‘This technique represen
trenement though sccesive
images, ai ach Burn
dire postion placed on the
Same plan in oder to represent
movement sequentially
Vanishing
Xanishing or fing the contours
ofthe ire a common

techni x sagging sin.
The wu of tht eect the
tury or unfocne images een
in photography The dispersion of
the figures contour ics it wi
an cl of vibration, movement,
ind daplacement,

Ie dens
dealing tn,
the es of regis
‘howd every
spree ey em
cren be cad
logic e fe à
do em

ick, energetic
に give the
tion of
figure. Novice
how a quickly
drawn sete,
rather than a

oe de fie in met,
eee make see
‘ee sich the, ih
he ch fie postions
9 か sun he suse
mg ese.

‘igure.

Ye
Press
technique fer
st en
e e
sector a
io
ee
ls

80. ~. \ \
~~ pe DRAWING %e__
{ -BHRDEN PARTS /#e BODY

sometimes when drawing ag

rar in ee her ae
precie where we de not see thet
Fecining poses some parts ofthe body dappest 터
view and remain hidden behind che body Ths,
border understand the structure ofthe Bure, ve
‘us construct an imaginary contour dat ros
1000 inorder to cate the vile Limb to de one
hat remains hidden from view,

“Advanced artis perform this process mental.
the beginner can make un ofa drawing depicting
Tine and suture ofthe figure toundersand how
the hidden part of the body ar atest To ths
edit ofen veel 10 dem the model ait we
tcanparen, drawing the views ofthe body that
remain hidden to the spectator.

Dang he figure a if were tempe shal be
tg fea ne tha ca be sd ely. Onc
Src din e id th ines of the iden |

pas canbe

81. b pre drawing
si arene
pr
\ pos
Them af is ig mal anil
inn de fx pas eps hh de es
Ea cme thal ek peas —
SS rn di eee
デ N De rallelepipeds.
udying the Joints. YA In 3

+ figures notin an upright posan ie presents)
er robles of some compo pric
prd to the composition of the legs, and especialy, in
ose places that hide other pants of the body (ant
seen knee, foreshortened armya leg hidden behind
e body). 4

When devil importar to PES,
shape ofthe joints and the existence of Hidden
"5 of the body because they reveal where each part
the body begins. A good way of rendering the

ucture of figure when some of ts parts are hidden
im view isto draw the figure as Fit were transparent.
ing so makes it easier to place the hidden parts

thin the context ofthe drawing: we can then draw
> details of the drawing within the limits defined by
se lines This method of drawing requires a great
2 of observation in order to determine where each
the lines in the drawing originates, to locate the
mts or lex points, and to note where they come to
€ within the structure of the body.

than an cor fo staying the ste of be
me Some ee ae wet an near
Techniques pan of peronal render syle

82. FORESHORTENING:

DRAWING ん NUDE > PERSPECTIVE

Orme bles in devine sented or
reclining figures is foreshortening —
representing the human figure or one ofits parts in
perspective The art of foreshortening consists of
representing the human body from points of view at
iich ie dimensions are diminished by perspective
But foreshortening is not the same as onary
perspective—there is no need for vanishing points or
Any of the methods employed in linear perspective

Altered Proportions
To approach a drawing ofa foreshortened figure,
‘we must make a greater effort to adap the
differen proportions ofthe Figure on the page,
because the diferent parts ofthe body ate
altered considerably by perspective an arm
ora leg that seems to advance toward us,
hand ora foot in which the finger or toes
are perpendicular to out line of sight.
Knowing his the artist as a new factor to
consider when choosing the pose best
suited to her intentions

Ire have protons ding a rene
aii fp, o thing dos cee he
ur ee di priv The Bt as
“ide reci these othe mk hm
the fet ef peeve (4)

One the pinay seth i dove, we can ese
the strato ines and shade nh foe 8.

‘The pei hs perpetuo
wet ej repens othe dion of
{he fe ls, the pao the ding lest
oe fom ls ens flyer im
tio 1 th mer it art the 107.

A connen tique fr die rabat
wrtrw gie rt to oh gend
‘ad eve te mad and rnd
tiled, Compare dz tent of he et is
Ang he ete (D

Keeping Proportions in Mind
‘To render a foreshortened 6gure itis necessary to
now the figure’ proportions as we have seen. Having
the proportions at hand makes teaser to Interpret the
diminiched proportions produced by foreshortening.
without making misakes or distorting the Figure, But
its as importa to pay attention to what we see
chen we study a pose—and loyally render all oF ts
pecuiaities—for the resulto appear realistic,

83. into equal units along the back
‘When the box is stretched out with
the feet inthe foreground, he units
grow smaller a they recede from the
viewer. Therefore, the general rule is
to make the viewer se the parts of
the figure closest to him as larger, or
‘oversized-—alost exaggerated so.
‘The most common completely
foreshortened pose isthe lying figure
observed from above. From this
position, the closest dimensions
Appear much lager than the more
distant onesit is necesary to always
respect the figures appearance
‘without eying to correct
apparent deformations that make this
ind of pose interesting and give it
meaning.

‘The Dynamics of
Foreshortening.
ortcning I an exceptional

derived from the human body
“This i how the great masters save
st when they included in their
paintings figures seen from the
most varied points of view and
in the most dynamic poses

Le tbe a ok patil example of
Sos Te figues sra ae sanding cn
cate The iur at he tp of te cl
‘les free tha as des 1 the
tom, ich ies sos ria ew of
thee Ths bat be ree by eg
‘theses n Bs end ting the of ie
rion athe op of he exc

84. IN THE HUMAN FIGURE

86. TONAL

87. + yu Bin confidence in your abi, 10 represent the human Sure in

ou wil meta want fo give Your work a Breuer
sonality This can De achieved by means oF ight and
tone. and, concretely. with dhe representation of hatching, which cn provide
volume, rama, atmosphere, solidity. and greater dep 0 dhecorporaly or
the object The appearance of shadow in the 6040 breaks the bound of
the drawing establishes ner pictorial categories and rires the
‘objective, tle concept o the representation.

88. 그 source 4 ündamene par dt mus be
«considered carefully when rendering the shadows
‘on the body These shadows define the form ofthe
surface on which they appear, or give nuance to form
diiraby indicate the me of day, create dramatic
ects or expresa determined emotional atmosphere
inthe drawing The direction of the light inthe
drawing should be studied well in order for al the
stadows to appear on the side opposite of the
light source. In a lateral postion the light leaves the
‘opposite side ofthe model in shadow, and the volume
and relief created by the shadows projected.

The EFFECT of

トコ
LIGHT ox the oe

“The Effect of Light
Form only becomes visible as a function of ight.
Light creates volume and other effets it is an
‘sential part of any atisi representation of the
‘nude With enough light itis posable to identify
‘every relie of the Bgure body That why we must
study the path of the light. Fis, locate both the
darkest areas in the figure and those that are most
‘exposed to light. Then, establish an order forthe
ierent intermediate values visible in the figure This
comparison is always based upon the idea of cones
“one shade darker than another” or “one shade
Tighter than another”

¡Shades ar lys myewe ct th side epost the
eae of igh are ay the inten and ton of

the ih wl fd thet the fe paren lo

¿hon oileme fer features for es, mee

rate ft, depending on 13004

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mine inte,
forging arto to i
‘moked setter |
e ls ero
Teas hw to pa de
‘Shades esi Ho, es
uy vr homage
"gan This oi
ery ad in
dentin the
ni ete he
ten of he a an
the pret ade
on ef.

89. tof tad
ae mi te es Hine
ha man th center He

ing cay ye fer, we

hr kr ed mid te
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alt et wahren
iin pn ef the
we

Direct and Reflected Light
Direct light sheds ight on the body, so in those areas
where i alle we must we the lightest values offen,
the blank surface ofthe paper with no hatching at
a), Shadows come ater, through a progressive
gradation of darker shades or a decisive contras with
he lighter areas. Apart from these fundamental lighter
sudo, reflections alos always appear in the shaded
es of the Mgure —areas lightly ilominated by the
surfaces surrounding the
ers dark a deep shadows:

gure Reflections are

cr tone sin betwcen that ofthe darkest shadows

and the most well-ighted areas ofthe figure.
Shadows on the nude create 3 true drawing, 3

ries of non-anatomical contours that give
eme of ramo,

igure

Hating sth nest ps 10 th ing and oe ffi
Hauling aigue empl end sere ond hero de
peel ante rn he ro

Reflections
Bright reflections and projected shadows ate as
importan asthe effect of dire light on the figure
These effect are a constant in reality every object
affected by reflections and shadows that alter is color
“The same is true ofthe figure To render it with a
single source of light is an artificial technique
The colors surrounding a mude
project their shadows and
reflections onto ight creates
Surprising harmonies and
effects and reflets on the
Surface of objects, giving
clarity to he figure fom,
many differen points,
and creating shadows
that alter the
continuity ofthe
lighted forms.

by puting
the leon bi fe ht
nes cin

90. A inp” of shades is
cod med fr studying
the don nd
intensity of sheds on a
Fre The purpose sto
sign cad mr fee
dh suas tf te
opening part of the
ody ang te de
ie.

harcoal makes the tsk of hatching much easier: the
thick, Mat trace ofthe charcoal sick makes it posible
to render shaded surfaces very simply, reducing the terms
Tight.

The Map of Shadows
‘The easiest procedure for modeling or “sculpting” a figure
is to organize a set of tonal swaths of light and shadow. Thi
‘means breaking down the image into defined areas, using
light, intermediate tones, and shadows—both those on the
figure and those it projects. The result ofthis analysis ia
map” that can serve 352 starting point for
or improvements, Making this sketch requ
reduce the many different tones preso
to just a few tones. As a general rule,
have many gradations in contrast in
illusion of depch in à drawing.

91. Working with the Flat of the Chalke
One of the mos attractive ways of beg
drawing i the fat ain produced by dry media such as
charcoal or patch With charcoal between your fingers.
ii possible to outline the man forms of figure in a
highly syndhesized vay alternaing use ofthe thickness
of sft surface with the line of ts point to ender the
form only tothe point of intelligibility The stain oF the
fac side of the charcoal helps render the darkness of
the bod The fewer lines or stains are used, the fewer
there will beto correct. Once he figure has been
sketched, the rest of the drawing nced not be rendered

with this degree of intensity: Sonne aras should be “The best way

rendered asa hard, charcoal incision on the page, tomnder a

allowing you to reinforce the mainlines ofthe fig prelinary sain
Bo y,

Rendering Broad Tonal Groups
To begin hatching a igure we mst avoid the
assignment of values according to à Sequential regimen,
which implies making the drawing section by section
and eeates the risk of quartering the figure and
Olscuring the reading ofthe boxy volume. The best
methods to establish broad tonal g

manipulaing their smaller

we establish each tonal increment by addi
hatching and repeating this operation until we arrive a
the desired darkncs.

stoke

Ie the cho with he ome presi gh ve
ee hy bou, ed sts de A), ut mor
pr en a of les in abad, aed of
turing iy (5

Example of ho hel pie of
ac dr the,

92. Ze PROCESS /
HATCHING: CREATING VOLUME

only with lines does not
the volume ofthe object
isthe most common tool for
the skils that takes
ie eaming stages. eis

the deals looking for spots of
iv the figure ie total volume in
nce the contour have been put
arly be necessary to consult the
add the esencial shadows,

shadow that ca

idth of the Bar
non way of hatching with charcoal,
sto drag the width of the bar across

“Theft hatching shld
A dove qui wt the
Jas of tei Men
arin per ne
isle a he hain
willed on iting
‘peel ev

force with which the barf ragged its posible u
sary the intensity ofthe trace, and even fil out an
area entely untl the grain of the paper is closed.

Nee the free
fate chang,
ih pbs à
o erg
et (Aja wing
pains tht lle o
met er Nene
a aso on
the dy 1)

93. Hatching Versus Tonal Drawings One thei plies 0:

Ve can hatch using motion that mimics the curvature “ining ae pl, te
f the object, and thus, achieve a strong, modeled texture sing ques ge
he harching etc allows for better gestual expression cin at ME

me ae he eo
in fe da mae
dive mag i
ah ma

tudying Values
ya traditional drawing, the study of values is mainly 上
ppreached once the preliminary sketch is finished a
ne the contours ofthe figure have been established with >
structural ine. Evaluation isa way of creating volumes
gradations within a single tone. When
aking of evaluation, we mus think only about black
nd white and forget about colors, Starting from this
ronochomatie gradation, e can be sid that values are
nes, or, to be more precise, the different intensities of 内
nes. These values enable the representation of ight <
adow by increasing or diminishing their nens

~, |
Ment =
SES
d 노조 d fi

model in black and
she. The graphite
pencils great varier

‘of hassen and

“Te dition of th hing doped one eternal fos makes ica
refe the fe. Fr int, ede a pa preferred instrument
Jom. latin seal ecc A irc Tor hatching, with a
su, thang nd lo dere à ave (E); Y ‘wide spectrum of

‘thse fa, the aching seul ders sight

poste ones
ine.

94. EFFECTS

ee ne
de Cpl ted ponte
2 even with our Fingers 4

A kn ‘ ‘agit
pS à E
PT TT in the
de nest ames lei the at the fet

‘ing besides edge,
testy of he ry
‘el con te
Sion ofthe eig Oc 고

Some sa lors wih
pte oul à dite ad
re ala hn sf

fhe fe de.
imesienaiy wi

For beter
modeling. ts
preferable to
work wih
‘charcoal sticks
rather than a
‘charcoal pen
‘Charcoal sticks

smooth and blend
cas while the
pres charcoal
of pencil
produces very
Intense tines that
fare hard to blend

VOLUMI

95. Forcing Contrasts

\richnes of reflections and shadows can be

voduced by the artis by surrounding the fire with
‘nuances on the skin, The

‘of ight on a white cloth makes shadows

fan object interrupts the trajectory ofthe
ado willbe cst on the nude, creating an eflect,
sath potential pictorial interes

fransitions Between Shadows
anstions between shadows—for light to dark and
tk to light—are produced through diferent means
pending on the media employed. In pencil, these
radations ae achieved by tightening the trace and
<cumulating croshatches to darken the shadow
sth charcoal the darkening is made by intensifying
he impresion of the stick, and the transitions are
woduced by fang the sain of the charcoal: the
roce with chalk or pastel very similar The
ding can abo be done with a tortilon

Controlling the Direction of the Stroke
o produce the effect of volume on a figure, we
ontol the direction ofthe stroke. I isnot sufi
o apply hatching: we must impress upon t the
roper direction, For instance, the hatching of an
hould be circular In a curved surface such a the
domen or buttocks, it should aso describe a curve
On the other hand, if the
ack or torso, the hatching should be straight. Asa
Sul, the form of these stokes should be consistent
vith the waves and relies ofthe body:

ong i bed te ot dun ft li of
enn fin, nd eins ith aot ato oF
aie Ie fe

Moen means
seating wth fh
mie of ht
and dote
aline ie
us hs ws
‘ets a the
[i of the in oe
eve te
Tih ofl
ps

The fe of sein is
sell adsl em |
‘ned When the rere of |
the ine speed he al
‘fs gain rine,
produc 0 pti

‘fet inthe fr. à

96. tothe met ieee Black tat we obtain by Ging

CHIAROSCURO EFFECTS:

WORKING “ww ABSOLUTE CONTRAST

A Dramatic Effect
‘Chiaroscuro ithe most dramatic of

consis of subjecting the nedc to an
Source that divides the

tomy into very Brightly it
arcas and and a total datknes hat Mende into the

esa greater number
Sales hat ms be inched forthe forms o m
à continuous surface This lo ho cham of
the mude, which ae rounded and in which dhe
transicion fiom lightest ro most shaded i produced in a
smooth, progressive manner: when this transition 5
interrapted abruptly the shadow appears sharper and
the ft a contour.

ok ih

cai fae

97. A song et been eh and shad
as atthe expe mode pus a
“anti fet the fe

Sharp and Smooth Contrasts
The group of chiaroscuro values
employed in a drawing constitutes
a spectrum, within which we can
choose lighter or darker tone, or
accentuate the contrast between
the values closest to white or
back, The spectrum of tones that
appear in the drawing affects the
intensity, harmony, and
mosphere ofthe compesion.A
wide spectrum with a Bree
number of intermediate tone i
more fertile and visually attractive,
but Fit is too rich, there sa

of breaking up the unity
id harmony ofthe whole.

Light and Dark Areas
in a chiaroscuro, the light areas
mus always be fre of pigment,
but if we make a mistake, we can
marly recover these areas with a
oft erser. The darkest arcas
hould ako be given special

nt. Once we have achieved
nse tone, we eave the area
Key and do not touch it
in, avoid reducing the
bsorbancy ofthe paper which
vould make it impossible to
chieve a darker tone, no matter
ov hard we ery.

Ina dass the
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Nee hw te
sre iting en
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10000 fe Km e ole mar
ri mig rua eft (A) and ui
ir fc (8). Te me 008.
‘enti hase at he tat
ewe the ied ond shaded eas man

98. pd os
OE PS a omg po ana

THE CLOTHED

99. Human

IG >

Td sf re on ro be ga odin des U
À should font clothed gres depicted in everyday stations For he
7 amasur ad subject prestas fe the out a simple enden
A Solution han the nude. because clothing obscures he models anatomia
ae ‘i and muscu profile The oa not on todaw wel

his ar, the wrinkles in his jacket should match the hmbt motion.

100. ya NN STRUCTURE 을
of the ノット
4 Sia

e shoul aa the ded we

A

figure, the problems that arise have to do with the er,
quali of the excl ofthe clothing, with their
wrinkles and curved surfaces, which make i difcule

.
Understanding the Structure of the Figure Sell le

As with the nude human figure, it is necessary to e +
Et 上

ie fe dig ne wating se ting it may be
‘a ie he me tu (A), ad hse à
til bef et ip oth ining ott 1 image meda
de end y te dvr fom a ps ado ef the poston of be
links (mine fut cmp and ar er
nel ques sh mb fomi Bs of th lds ty
te ine del we am tr oer ach, nd m 10
dran be on the ba pe out shops 人

101. ‘The Folds of the Joints
Depending on the iype of garment or fabric
that covers the body the motion ofthe figure
‘will be more or les evident it is easier to
discover a shape underneath a sik dress than a
‘woolen one. Elstic garments such as those
‘worn by gymnasts or cyclists, mold the body

\ bu also confine st. The fold in the clothing and
the contours of tight garments are a good index
for finding the body volume, as well as the
‘sult of ever] factors, such as the rigidity of
the fabric and the play ofthe body's
articulations and joints. Keep in mind thatthe

» breasts, elbows, and knees are suggested by
creates in the cloth; the wrinkles and tensions in
(he fabrie actually explain the bends and

gestion fe ibs

Clothing Reveals About Personality
A Rare clothing se can tell sa gen
deafybout the person wearing Hews, what
sre bya nee the way we ela
Tove Aiongloore dren ge woman a
certain git, and ie rec inthe way the
sis Weng jan foal den
same complet dierent,
{his il be refitted in a more eased pose
Likes man sit and ee es os a
more rigid manner than one wearing informal
ac

“The hey wd ig tied
ee "UE
man male me
‘ing e ond tex I
sel tha we ft de à
‘Bet fhe pose a fom i
‘dcop seth nude à
cmt andy of te
grados of ight ad tad

Tady bi ding tna AC
eli nd aja pe 4
lo te hd doo he

the fos antic pe.

102. CLOTHING and FOLDS:

CREATING TEXTURAL EFFECTS

Nee srs of
tear he nt
Iain posite fr
ringer by
ig ee and
texte The fo
cin oft fe
‘eset ed her
eigen
in th fide of he
‘lt étain ptite
Hungen. for
stele eo
nate cto ofthe

"Ti os imporant aspect of the
dthed figure are the draping of
the garment and the types of creases
or wrinkles that it forms. towel,
Jacket, shroud, or ik dress looks very
‘ferent from bare flesh,

Drawing Creases |
Draving of clothing, bris, and
foramicntsof any kind present a
serious challenge that mori
discussion. The ereases hat envelop a
Figure can appear thick and rigid or
subde and vaporous, revealing the
forms of the body underneath,
Lighter fabrics such as sik or cotton
‘create many small wrinkles, and they
‘sully present very fine tonal values
‘wool, on the other hand,
more rigid, separate
rinklerThe cmaw and fold of
thin, translucent fabrics are softer and
more numerous; heavier Fabric have
fever and larger fold A good
exercise à to make studies of
tha you find in
oing so, you will ce
y fabri has its
ie depending
olds, how they
Band the degre o wh
absorb or reflec ight. The important
that your pencil respond to
the sensation of the material on the
clothed Figure

er a e dtl ing ale cam
106 the sl on xian and ad 1
oT dan tine sl fe
‘She tho they pode ha hat hey
the se“ as the it al
PP

103. ial inthe
manufacture ofall Kinds of garments creates many
ried shines and relctions to render in drawing.
Even the wrinkles or creates created by loosing
shietic clothes are typical ofthe artifical mater
hey are made of Tight clothing cannot hide
‚natomucal defects A too-high hupbone,
lisproportionate arms, or poorly drawn fet will,
pe immediately noticeable. Tight clothing tends

pot to show wrinkles and deseribes the

inatomy perfectly by revealing the profile and
because the muscle mass can be seen through

he garment. Loose-iting clothing,

powever hides the anatomical relief ofthe

body and shows more folds, Wrinkles

produce shadows, and in their cress, areas

bn which Hight fal directly This erates the 2
need to analyze the tonal values and

rrRuly nuance every surface more

meticulously than tight clothing,

A

pipas ae mes eric mean fr
hate sl ME cn mo es of shaded es
nd i each of ha i gy thing I

a ode and muon ery sta, mein
‘ery matey, ae the gates pepito

eo er ie oe

‘The tli pis pos the
Lasa rele ofl deg
‘naman ii nenes
rue by presio
ati ri no pri
Jo the a me aig
on hing hse en ses Y
aig ins.

To ande the
{olde of an em
of thing tis a
good exercise ta
Ent make near
treatment ofthe
Figure, drawing ll
cof ts wines as
contour In dis
ae wi
enfin tha de
{eld ao vario
depending on the
‘nati with
‘which the
armen was
male

104. The DRAPE age
RHYTHMS”

he
nude iy
it produces. le function j
“ta a formal
te harmonie and accent
adding a touch of color (8 ive the compostig
necesany

Drawing the Drape
Draw
‘of fashion today. which

ditionally expected te

Penal or charcoal the

à cloth hanging or falling over a
pos of ht exo oe es
Sin tendering light and shadow and creating &
complicated and detailed volume: Drapes are alo
interesting from a compesitional point of view,
Because necessary they allow fora balancing of
pictorial space by compensating the excesive
‘of the forms ofthe figure thtough che
ther fol,

a pue a pe cri mu TES
any on i eng by mat ab ™

sd serio up ees th or
the hie as

comes and goes
can be wed to
render a dnpe
while so
creia
ataco algzag
eier Zigzag
ines can su
cress and folds
Amica and
105 maca

105. Abstract Drawing peso oro

Drawing the drape can be considered an authentic tne ample te

abstract drawing. given the geometric compleity Fi the ad
ere in the folds and their independence fiom md They ao very
figurative forms. In this sense ts interesting mand dene |

when drawing the drape to find thatthe problems of dia hat ral de

line, chiaroscuro, and modeling are nakedly evident eam ofan ents,

here. The exact construction of folds and their

haractenisic lightness of thee
secondary elements ofa figure drawing;

“Although you may ee this as complex problem,
do not be discouraged. Look atthe object a an
abstraction and reduce it to simple forms and
surficesThe key is to observe the way that clothing,
fil and adjusts to the forms of the body eis a
matter of taining your eye to appreciate the structure
and form of wrinkles with clarity as a whole and =
individually This coherent vison allows us to see it all
clearly:a tucked-in pare here, protrusion there, over
here a broad concavity, ee

yen ame te dps]
and ar of ting a
‘ean

om son tat
compi The mos
imperios gis
‘cide er mau

ot ft the dition of
the den, k
aides (A), ond

me des tose de À
Infomation. Th ft sep
lso make anule] 人
themed and wok th

Simple os ining e

form end pain of ech

‘ae The pou

td the hating et
acts nd gts

lame he an

106. The FIGURE

and ITS CONTEXT

panne time dein retaken om
Mr youve do observe he
gues hom on the am oa work sed fs
oral specs Into of the mow eine
es for driving audi the inerion of public
Flames bar iure, fer, danos hal
In des surroundings, gar appear in more ati
penes cub ater a 00 Deming
thetackground in which you Gd the iur of get
pn emi he Rm er

Drawing Architecture
Deine an er of man ding
‘withthe perspective ofthe veing. But perspective
‘need not be problem, fr to can be wed to
Saba clear background, and dus the comparison
ofthe size of the figure with dhe objects the Y ma feine in ket ety ete th

background can be extremely practical in achicving a ‘ents, yd th wih oy moler cui, y
realite representation ofthe Figure self and eor à rat ington of th nd ee
surroundings

가
er

ee

ORG

E potentially be one ofis most notable wit.

Pompa fer nesting fein como
In nes ach ls on, mike nt of hte Fs ee or
mala and pose fmd the futher hey get gg
from th forged.

107. li ios AN en
er any moe mer 스시) MEN rn
en eh onanism ンー に こつ
iene nn m
pe eh are >|/ ee

background) Light co ‘make ¡TA
hat Par of the figure appear to meld
nto the background, and part of the
ucces of drawing depends on softening
Is margins and onsitng det, leaving
ome things to the viewer’ imagination,
“The background that contextalizes the
igure may include just a few lines or
marks, but thcre i almost alvays some
nication that something more les behind

peo 3

‘with a sharpened
point (A) » dll
oi (Be with

A uy fus no eee nde it
way fe figs are nee il
Tis fest 1 este, in
yates and y stent, bs
ide ofthe ral and 1 jc
mm be.

Th rofl fh ss fos es
or into, pre i ih cp
french fom he hound

108. “With fs, Mending and smosthing, anything suggesting immobility stabil
gravity, density, and firmness, diseppeas and is dite inthe fluid and

tangible luminows vibration thet transletes al the appecrances of the
word.”

add Ar 1

110. THE ARTIST'S

111. ILESOLU CES

RZ devine de human ur, one ofthe an ge cl
‘expres and represent the various textures and tones found on the human
boy such as lá

‘of which can ako be applied in dmwings to
his or her artistic interpretation ofthe human n

112. RENDERING “ ATMOSPHERE

AROUND z.
FIGURE

"Tica cta den
dependk on the harmony that
dominates the scene and evokes
{determinate sensacion of light à
factor of artistic quality hat
important to observe.

Nonetheless apar from the
prensity and quality of the
img. there are other factors that
condition the atmexpherie climate
the intonation of colon, he
chiaroscuro effet, contests a
greater or leer use of modeling,

Drawing the Air
Around the Figure
‘The simenphere should
nthe work aan
the un The ect of amore
isan opal don produced by
tater por and the Gat pares
inthe am which dacoon and
rary Nr the for and pri
Eth gue The the opi of
the hand coc and potion of
the drawing The amore
should bef contin,

iid and unir The
eme ef diy we key Wh à
Game tonal ein ofeach of
the ding pone we can
fect in them a Tee or deer
somos deciding om he bass
ofthe me of tones whan
spectrum of gays should occupy
ch plane

To ah on ati fa, o
and el dato td Be ede and
Sethe et, with ne ile sl ond
‘ft ir bene oe

ve Bed gs
int the
ie es
cmd

4

10 fie, fi pres made with of in
inet ge te eof he opening 8

mest df
BER,

113. Atmospheric Hatching.
An atmospheric effect depends
bone all eke on our sil during
the hatching proces as we
inerese the pres on the
charcoal, pastel, or chalk and
impres is stroke upon the paper.
The goal to shade oro color.
Fasing gradual from Tighter
tone to the next darker one, and
20 on. Each phase should be
accompanied by a hight fingertip
Blending to avoid abrupe shifts m

harco is used
at del in
sphere

FPN
mins and ur
0000 and
possess rich
tonal qualities.

E

Blending
The difference between
soothing and blending es inthe
purpose of ach Both operations
gue hat we run an ejecta
2 fingertip crever a

ment on the page But
mooihink stented o
withdraw and extend colon
wees he purpose of ending is
mt diferent tones by
ately rang de los th

ending the hatching or coloring
ako grows softer, but not as much“
i dos with smoothing

Ame ins co al
brachen in
ne es mus Br
ls pe fhe
is ppd

stop

The Hazy Drawing
Charceal the ideal medium for
producing a hazy Graine This
term refers to making very subi
ional gradations, describing forms
without drawing contours or
outnes, This technique, which
produces very foggy,obrcure
Fees, consis ol insisto
rubbing the surice ofthe paper
with ones fngerups until dhe
gure’ appearance becomes
aporous and atmospheric The
sence of visible pencil strokes
mbues the drawing with pictorial
ish

Th asics of his die is a
ei quel Uh fe ied by
na Hedge gy.

114. SREATING VOLU

oii ACCENTS

sing whe chal
Use scene but
color or with caread

ie ent ioe

paper. the use of charcoal or colored chalk and the use cf one
fof white chalk We can therefore increase the range of 이
tonal values, which are used to ereate Volume in Ne pa ram
figure. ley ante he

betes
Accents in White Tiled nd shaded
An accent i the addition ofa tone amu ti sd
the paper end athe me
‘colored co, wet cam
‘harcoal or chal a e Ve made wine he
the color of the paper itself Nonetheless, 6 Ma side of the

‘can be overcome by addi het eel
“contrasts then so sharp that the denving becomes

newly interesting,

115. Aie chal comino with te

TA
ig nine wn sl. が er mer te
man tonal diz af exe Me
mel bah nd he prise
teed mae calle

Lighter Gradations
To create a gradation between charcoal and white

chalk, we fixe draw with chalk from one ide to

another, applying les pressure with each pas, and 2
then shade ths ayer With charcoal, but this cine we À
apply the most pressure onto the charcoal where the 7
least pressure was applied to the chalk, and vice vers

However its not che same thing o apply charcoal to

chalk as to apply chalk to charcos a different results

produced depending on the order in which they are

applied; only with practice docs one grow >
accustomed to ther interaction,

Accent Effects <e
Accents in chalk can be applied in swaths of lines,
with dense stains of light inthe form of points or by ~

dragging the chalk over a given arca so that i
acquitesa greater general brightness, Accents have no
effect when they are dispersed gratuitously ever the
entire surface ofthe drawing: they only sand aut
when they are concentrated in those parts of the
dnwing th oduce an increased contrast and
accentuate the volume of the figure. On some
occasion, it may even be necessary to add light
hatching around the accent,

Delite work shold be dein wit ed pai
Arcana cm i psi ke bt ha ines
end ug tg By vaine the pr ht ys
ay othe pel, po con dni intermedia
sons othe pons of mina Ines

For more prc
ne toa
bis colored

ponci instead
{he wien
‘halk pose

116. ~ ERASIN(

Ding pres oí reine
ravi undergoes constant changes,
110 the point thatthe inital outhme server

ly xs perch ies therefore important for
the artis to transform the work constant
‘each time establishing more forcefully the
Tine cha constitutes the drawing’ planes
* and forms,

As the final profile of the drawing begins
to take shape, the lines that constitute it
begin to overlap with caricr lines, in such a
way that the process can be seen asa
continuous correction of forms, untl they
‘overpower the caler lines, making it
‘unnecessary to erase them,

“The Mistake as an Expressive Factor
In the work of many profesional arts,
corrections and repettions ar deliberately

ei the final drawing a practical

| resource that len sity to the drang,
fr even suggess action or movement in he

Bthee corections are known 36

yg fascination
ines, and

with the process of draw
than the carefully finished product, à
tendency tha reveals the romantic in all of
vs Therefore, when we make mistakes i

preferable to forget about th
more precise, vigorous lines alongside th
Every desi be

proces. To!
then make adjust
corrections to it- "these are fundamental
parts of every creative proces.

Chat mes poi 8 es he fg
‘peel in ee add we es o md
ros ors hee, is seth, he ear
‘mak al sie aoe th cw nc

117. Phantom Lines
Drawings in charcoal are made by
adding one overlapping line ater
another, which are erased or
corrected over the course of
creating the drawing. This
accumulation of discarded
“phantom” lines—creates a
interesting tonal effect on the
foundation of the page, and
sometimes even lend a greater
expressiveness and adds variety to
the drawing The resul few
confident, powerful nes that
emerge from what es in fact,

been an intense proceso
drawing and redrawing.

Same tts se print es
ster ans of expen I
th se he vay de
be ee the fee ec of

An Intuitive Drawing.
The continued practice of dravin
the nude eventually gives the att
an intuitive knowledge of the male
And female anatomics which allows
her to render virtual any pose
automatically and render all ofits
reli in their correct place and
proportions. This knowledge is
{ined by noticing and correcting
the mistakes one makes, and by
always keeping in mind the basic
Sketch of proportions and the
body’ essential anatomical
‘conta

he compete
À crane ati
‘fen practiced in
the catty phases
cf og with
ral ie
scaly done to
‘rate phantom
“dut serve a
| a base fore
À next sage of the
drawing.

Paint lle andes he sly a
Fig rate pres ant desee,
voi fos us and ma dein hot
there part of th lm e oh pe,

New ies a sed en the nti
cs. ily sacan nl
the dese poe and. When ringen
uy ns som 000. ch ls
151050 He ps tte fl
dene om e sr Gn te ty ot
righ poe te mia
tin of te ay ond bc)

118. BLENDING

vo DISSOLVE CONTOURS

ng thee fais done
Fast hen oe ching

ewes mee coy

stump, or torllon is a sick made of soft absorbent

used to rub and
ys of areas
drawn in pencil, charcoal, paste, or chalk, Cotton ball
or swabs can ako be used for blending and produce
Smoother, more sabale kewl than the torils,

“The Correction Effect
Stumping sn ssl almost a form of correction. What
we are in fact doing when we use atorüllon i removing
se tht would otherwise adhere to the paper This type
‘of correction changes the effect of the line and can even
climinote it alkogether Stumping can ako be used to fill
hholes—those areas chat were previously fe of charcoal
fr chalk This reduces the papers capacity for more
hatching or coloring in later applications.

Thos fe se

crac cy by
snp es made
‘ot ra ps,
fern, ee he

er br aed af
Tie thar under
ther profes

119. tha tor, er ora
ric Wien Saal
reoded becomes Mers is
mow the only wy of reine
ans, base the hang
key» Bar ota when
pe ones mor or ks Go on
paper ren sof
fhe ca slo be mooted wih
cil which lows nes tobe
ested and clint the hte
M brave tha. by gang
cs torn cats
ec open of a ejects
ne. Any rubbing tein

tnd vo moot te
erent, bu ni
ers is chi beens it
oda the al doing el
ere

Wo Ways of Smoothi
hee are tw basic way to practice
oothw To soie the heavy lines

profes ofa model, we should

the tip ofa torn. To smooch

u ange arcas, we use the wide pat

the tortllon The motions ofthe
and should follow che volumes of

body When working on
prise foundations or sth

faces the hand should make à
rubr motion. 次 À
Sincthin not only cats sa sonal #
fos aie he war er aree j

Ven Use er pe fus äh

Sect pcs tht ls ai
o mod th fey prs of thf hy
‘aking um mis tow tha ep
{expla holas md cif he
man tod

Whe maig
stud forges
and snp fh
tele a ery
til fe
Airing
Tighe re fom
sled ee

lts worth nosing
that dhe

when you use
sie charcoal

instead of

‘or pel (rm.

120. :RASING

OPENING UP SPACES

"Te coser coro an important conamete ae in drain th
human figure. It serves a a drawing instrument in itself, uschl for
york with he awho ofthe ine and tone We can we tio daran
area, smooth out a a online of the

figure by erading on previously colored arcas. In the same way chat we
an produce different qualities of backs depending on the pressure we
apply to the charcoal, the erascr allows for an inverse ofthe same
technique; the more pressure you apply, the whiter the erasure wil be on
the page. Ifthe erasure is soft, when the erasr passes 5005 over the
coloring it smoothes it out lightly, An erasure shows us how we can
construct a form using bright lights on a darker background.

An xs con be

Des we ofthe enseres the
volumes of the bd pie an am
fe tha eid sof Coco Rom
OM

と
ear

; \)
>

Sas
de

PS

One the oe i rad en, ec the
‘line of th u sig ese and
mais eg spots by spying er
Joue as we ere

!

121. eating Effects wit
le can achieve various dire
hr cages. For example, we can €

Eraser

ke

で We with an ers. Us
te thick lines if we

ys by tracing With is edge oF using a reracable aser

ub the entire
ith of the eraser on the paper, we can make a broad swath:and we can

tractable erases ate very useful 106 drawing on a previously colored

rhadcd surface

nd respecting
in give greater nuance to the sharpest of contras by
cel or chalk and following the form of the

Vorking with Charcoal

he hinted adhesiveness of charcoal makes it very hard to erase. In these

ses, a soft gum eraser is essential, because not only ca
onet mistakes, but it aso ukefal for open

hatching or blend to estore the color of the pape
cen down upon.

medi ros
fa nc coed

Whe le es ied iyo
sig isms to hl 9 w er hs et
ra econ ge te mid nd dae tes

use drawing, che shine of te si
y opening up white areas with the eraser as wells by modeling forms
hose arcs thu automatically erate shadows, Finally, we

‘oly apply

atomical surface,

it be used to

em after has

is reinforced

‘up white spaces within

Se

“te ates

of charcoal males
icone of te best
bases fora

drawing based on
rare, wheter

can ao be used
ara blower of
Sorts erating
textures and
repeating à
psa
NN
fom dense charcoal
ha

122. EXPRESSIVE LINES:

RHYTHM ww TENSION

We Interpreten of the model with expire
“Dies comptes fon properde and imbues
ti desing with charte. A owing nec nt ony
‘sir to representation ad structures nthe pla
old can ao expres some ofthe personal is
the at his encore inugiatonpererpioan
and persona The abuso quai of ren
ia and color sony ve an emotive eaponse

fora perceptive artist,
Expression in the Figure

Expression is a dificult concept to define in a few

‘words without giving rise to ambiguity.A figure

‘drawing is expresive when ic possesses “life an inner

vital; when the model appears animated and is not
reduced to pure, cold representation. Expression can
be achieved in several different ways: by using
saturated colors; with intense, out Of contol lines; or
through formal distortion

In ner ropeh meh en ers ding i
cfd opt gel guy of the pr ck
and dy ls ly ad ton,

Mastering ine an
enti al ten
ing dy from
We opel ue
cod at in mary
eg cena lo
sao qu bean
pos ae fin

om

123. inear Marks
che experts oe
drag es work
ick bar the pei
nthe pao sae, nd
ot min fins ofthe
jee with oon ec,
eros ake of ths pone
Sprint anal
iro peep quickness
nd ungemein work, which
ows for he impovision of
nes with ancl and sen
tare mowih to produce
ith lower more method
secan.

in hope of devil are
ms aan de fr
jap, wah dea is
dl dynamic action. eres
deci and he ee
piled tothe ine ars
reading on he costal
ches of the ate In

cie and flexible ifwe can lose omic conn,
selves in the impulse of 3 -
eting perception.

se ge gr the mot ppp or tasting the
mtn of fre Th nan hi id of ech nk oi

Mol ei
Ske fore un
render ise
‘ily dni
the dant
inte og o
‘he syn end
sima fe
fon

124. isa malleable covering le varies greatly
ending on a person ace and comes ma
‘wide ray of forms and textures ha cn be a

forthe amateur ar
represente way tim
he dcr

and shine that determine d
third, rendering the hairstyle by controlling the
direction ofthe line.

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125. The Direction of the Stroke
The direction ofthe stoke must follow the logical

the lines vibe
dered with sits, and

to apply Toose traces to express
Fur aiding a soli, every “heavy” form.

Die app in ma if ar
lors ee ape ny te.
Wet gate ds on men
otha of te ao wh we
ral cher port fie ey

“Tea bs ups to pr
Body one sum nd a das,
90 hing wg poll xin:
fe tei sa ys the
aig with np ine with
‘haa The dog igi sas
toa sia

We
shtnes ofthe

Body Hair
When drawing the hair on the brows, armpie oF
ppubic area, do not uy to draw cach hair individual:
You should make these taces only articulate enough |
0 that they imitate the texture ofthe skin covered in
Hair and the different tonal inensiis cha these ares
exhibit compared to others The hair on a man' legs
and chest can be rendered with short light,
ection nes or by smudging of circular or
Grregular aces applied with alight touch ofthe
pencil

Lines ding hi id be
ans mor fr toy hi
“ey md go deste ly
ext sd end noe of ein
Ti om far

126. The QUALITIES

SKIN

Stl

Tis utr din tat cover the
human body completely giving the body the
appearance ofa single, colored surface, Although thi
‘Shot altogether the ease, this surface presents more
for less pronounced volumes, Every individual has a
unique skin color, but light 0006 the color through
‘which is perceived, creating diferent tonal value

Flesh Should Look Like Flesh
‘When drawing a nude, the ech should look like

flesh, When faced with representing the skin, consider
the following Ecror he wavy 08406 ofthe muscles,
‘wrinkles, the nave, and the erases and joints in the
Timbs aswell asthe age and race of the person
pictured The faccid wrinkled skin of an elderly
person will no look the same a the soot taut
skin of child: similar a person of color will hold
‘ferent tonal varieties than à white person. The
volumes ofthe body’ fleshy areas depend, above all
he. on the muscles sues, and the texture and
firmness ofthe skin’ A more evident, general factor to
‘consider is the appearance of wrinkls with age, the
flacidity ofthe skin in certain areas and the presence

‘of bags, particularly in the checks and neck,

sis
yale
Ue

‘Shin rd ith ody hi dB
ta sii The bet ing |
np or gy le of
“eon hy ing te de
ha kn he ae
ipl fe ma ry
ering fe lan very fe,

pin of cd ee
ie fms nd wi ging te
hie ie vie anf fie

127. escribed at the begin
rent valid for every

tures ofa Black person are more
ronounced than those of a Caucasian;
my in a Chinese person, the eight
thc body equals some seven and a hal
hr than eight and hal hea
ometimes, we find 11 ice to draw
ces or bodies of races other than our
wm for die simple reason that we ae so
mlar with our own

he drawing others becomes
ited The only
> face this isue and sek.
ew modes, Once you have
rogresed a an arte and
evcloped your powers of
bseruaion and analysis,
erent nnl types
A become easier

ers ond ha
een
ou a bee the
ee of fe een
fight toon
a
Se
Free
mpd dee
fond orar,

nat ao comider
ete tons ofthe
ody ar dependiog
nthe color
eng
refer ca then be
inated or nerd by
rounding he figure with other colors
comma ih poll. There,
Rn colors raton borne ofthe
hromate weten ofthe work, and can
codified and airmed the ving
Tores tet, correcting or
cnn ha ol

ri mf pra sing mod frena
lcs eig der he a ay
ee fer val vs ent silt
{fees fm he esl as proprio,
pate sc tf

128. sure known to us today, the work of art inelucally comes into the
world. Cold calculation, spots that enupt into disorder, mathematically exact construction dear or

Ganar and Wash Kandi: Ml, 7 Sept, 1959

130. NUDE FIGURE
CHARCOAL:

OUTLINE

he outline isthe ist step the artist mst take on the page. I

commis of drawing the formal structure ofthe mode, king
into account is nits and proportions, as Gabriel Martin has done
inthis exercise Im order te make an adequate outing, i is necesary
to calcula, esaluate synthesize sketch, and ty to understand howe
forms are araiculated. Ite outline i not rendered correct twill
be nearly imposible to correct the drawing later

1. The oudine should fine be
made with the thick side ofthe
charcoal stick between your

ers The basic forms of the
Figure are outined very
synthetically. As you draws with the
del sick, your fi

| Y fee

composition, we should Keep in
ind the incline ofthe back and

the zigzag composition thatthe

lex describe in elation to the

body.

2

2. The goal isto measure, eras, and correct the

2 you go along, une by hit, he
10010 Mke the model. When, air several
attomps, we find the correct in, this ine shoul be
marked sa hard incision with the point ofthe
charcoal on the paper, which will allow you to
reinforce the figures contour

131. Wh woking it celtics bok to ne
smal plese i et ace our
era pope

if you have to make corrections. To make a
on the first try takes a great deal of
practice: you will achieve only afer much
rating, Dont une an eraser when making your outline —
arag will suffice. And remember how interesting
pentiment can be

3. Dont wor

“The final result ofthis exerise
6 that capos the
asi of the model,
hou ignoring the correct
proportional relationships of her
portant ching here e
cea accurate, synthetic
m contour line, and à desing
that doesn't get os in the
details notice how th
the facial ators i

the feet.

Side of the

A
I

controlable

The int cali
should be made
‘eth the ick

Charcoal sick, to
take the ines
finer and more

132. which consis of
in very simplified
jes with very few lines. There is no pe the human body

sme that is too complex to be red

es Therefore, the form of the body,
ental geomdricshapcs

¡portan thing sto
pose in
jonate manner, s the fi
gs we must draw re the lines, >
‘ofthe shoulders and the hipbone,

both somewhat ilted We draw an,

‘oval to represent the head a
rectangle for the torso, and two,

a
SER

result isa highly synthetic outline
in which the pose thatthe figure
‘assumes and its forms are made
much more comprehensible,
Staring from this sketch, we
continue to add new forms
detailing the volume of the body
and the silhouere ofthe limbs
‘with greater precision.

133. 3. All hat is needed now to complete the
‘outline ko secure the principle lines of
the figure, without deviing unimportant
forms such as the fingers I you wish, you
can ako start applying hatching at is
‘point, This proces can be done very
"quickly wm the edge ofa sick of
“graphite, dawing with the fst surface
‘Of the stick and then smudging the
result wich your hand. Make sure that
‘the inclination of the body correct

rasing a dmawing
completly is
recommended
Shen we intend
improperly
stated ins: his
Way. we become.
san ofthe
reference points
should sc,
and a the une

410 his final image we see how, when
the profile is rendered with more sinewy

lines and the body is modeled with
1, the geometric outline starts ©
sppear and in it place we find the
body of a well proportioned figure,

Es ba win ee
cl wil for
laden min
nc By dating the
cate pe un a
‘apne th
‘daa cn
ac s vy
“cti tol
nd ameno
as

134. Tre noses th in ofthe soni and hie ae rc
[completely horizontal Almost always, especially in sche poses like
the one showin here these lines assume alight inclination so that part of
the body's weight rest on one leg while the other leis xed and
appears more relaxed. This type of poste, a we have seen, knowin as
the contraposto or schati position, here rendered in graphite pencil by
Conant

DRAWING «
STANDING FIGURE:

Tie CONTRAPOSTO

1, Before starting to dra, we
should make an effort so
vandenstnd the bodys pos
‘sing Simple, synthetic seleton
to define ie The Fist step ito
place the oval for the head and the
arch describing the backbone. In

the contrapesto position, the fines
ofthe shoulders and hips alga
ble in opposite directions The fist
lines should have a purely
constmuctive— nor descriptive
netion

¿env the forms ofthe model We
begin with the head, on which we
sil mark the location ofthe ficial
vo the
shoulders, Keeping. in mind that
the dice fom cach of hem to
the backbone should be the same,
‘oven sehen tied. Then we reach
the hipbones, which glt fom the
Eachbone a the same point at
which the les bend,

135. In some pots of the neem,
Meine dope as eal of
‘taping bc ls

oo mor cmd
dais in in

〆

octal Ines hat we used as guide

Reli dei tom he
previous sage inthe drawing now gives
‘way to the modeling of shadows (whieh
lps us understand the forms through
the drawing). But before doing so each
fof the bodys volumes rust be Perfecdy
defined and proportioned in relation to
the rest: the height ofthe Pectonls the
armpits, the abdomen, che pubic area, and
the knees. Use the reference points of the

\ clasica bw of proportions to properly

À te these elements.

4

DW 3

In contraposto
poses, he ror
te hip sao
reflected inthe
nes. a

136. FORESHORTENED:

DRAWING /. FEMALE NUDE

he rino of se al Front hia gas
Tera when te mode arte mise whe

relationship between the bodyk measurements is modified by the rules
of linear perspective. We explained earlier several different ways of 一
Approachin

ue best say-of le
Óscar Sunchiga true prof

exercise ls to fist outline the figure with FOURS
to situate its contours by considering its counter al

ofthe
e pencil To do
familiar geometric

prof we Hour in graphe pene
based on the previ remembering that
because the fig cr legs close
to the Giewer, Wey will appear larger. The size of her
head vibe somewhat reduced because its further
away”

2. We continue treating the empty spaces around the
figure with new tonal els At this sage des
necessary to emphasize the light within the darker
areas of the drawing. Using crude charcoal as well as
Stick of presed charcoal, iti possible to combine
stains and lines of varying inten

137. car much righter 1
cent to dark

138. BUILDING

STAINS

Opens mest atraco ways af ing a dawn by wing

the 1101 sain of any dry mechun in stick form, such as pastels or

chalk is spectrum of tones i broad, but because ofis color it looks

much softer than chancoal, and brighter. Lets see for ourselves the

posibili of drawing with stains by observing how Ether Olivé de

Puig renders a seated female figure with sharp c
shadow

rant between light

1. Before beginning to 3
rau; the arte makes #
small skeaches when we E
make the lnc dr
Keep in mind the line
> describing he backbone A
in the study based on
stains the

nes tha serve E

deposts forthe

‘raving will be the dark

2 Arcs, while the light arcs
willbe kt untoniched,

2.Dr lengthwise we get a thin line a
by dragging the entre width of the bar
page, we create thick, amp line that
feflecs the texture of the paper. A corre
fa bar allows us o sender complex forms in just a i
few moments. As we can sec inthis stat, it terest

is purely comtructive. The details are unimportant: >

SU AE matters are the stains and the inmediate

Gy of the pose

ジン ン

>

139. We irish constructing the
gre with the length othe bar
ihe nx unl ons nd
nes al Ina tonal rang he
in ofche pape and the presre
A hand gv the gate is
once Depending on he force we
pp tothe ick, we vary the
ebenen ofthe imwing By nee
sing line, he hte profile of
he ine k defined bys

re represented wth gray
sdhing

. With every new stroke, the
revious layers of shadow are
ersifed_ The spots are especially
ense in the left-hand side ofthe
cdy the darkest shadows appear
the arm the abdomen, the
and he eck AC ap,
À combine the maroon sain
id some wwonger defining lines.
ing the point of the sick makes
sir o trace the final lines that
fin the figures profile. In the
elimina sketches
ceesary o pay as much attention
the dark areas s to the parts of
1 body with intense whites.

140. amine how to property shade the ig

the and he preliminary ske

hare done, we can now

The is hing we most
a figure with chiaroscuro effect is hat
‘body equally: One pate ofthe body is

posed to the rays of light, and i is here that the lighted area occurs,

des, Oscar Sanchís ses a burn senna pastel, which i 5
give is linea good durkness against colored paper.

‘other part of the body appears in shadow Fog

€ shape to this
ty 50610

1. The sketch ofthe model should be complete
before siuatng the lights, because the shadows
should be applied on a perfectly constructed sketch,
Shadows are distributed uniformly using dhe at

side of the bar to mark ff the lighted surfaces,
without applying excessive pressure, but allowing for
separation between objects and establishing the
‘idle tones in the dwring

2. Alternating between the ft of the bar and the
“en te previous hatching Fora

comparison ofthe deren conta tat appear on
the paper we can appreciate the darks toe tat
flood the backgrounds the brightest, which is

presente bythe color ofthe pape athe
intermediate tone da ofthe st fines ofthe
Eine er

141. Using the Bat ofthe pastel again, we finish
ding the background tones so that they
phere and

ro effec. The lighted areas appear almost
ouchcd, the same color a the paper
To accentuate the brightest bursts of light coming
the candle, we color the lighted area with white
ik and dhs emphas ia light 1f
apply this fct indiscriminately ehroughout the
nting we can lose the luminous effect we were
ving or.

The final result shows that
al richness that stretches the his of pictorial

di: We have given nuance to che final texture by
nga tortllon to smooth out the transitions in tone
lth edges ofthe shadh

To creme accents
ve can sharpen a
piece of white
al with a
Suter, giving the
Salk» pone
ab for
rain fier,
Tins

142. 1

MALE FIGURE

[rat cpg charcoal and white cha The co

à exercise we will work through drawing a male figure fom the
sion of these

‘ovo materia will allow us to study the incidence of ight on the toro

nd the application of frst modclin

albeit a very trial one, The

suthor ofthis drawing, Esther Rodriguez, shows us how to render the

anatomy and the play of fight and shadow on ah

mono ina very

eco, Synthetic way, without tonal wanton, which can be of gear

te to begining ar

2, The sketch should give way to a fit,

lit tentative, tonal analysis with shadows

but before this is donc, cach of the elements

‘of the figure should be perfectly wel

“defined and proportions in relation to the

hole

3. With the drawing secure. we can begin to add the

fist darkened areas These will allow us to study the

anatomy more deeply and accentuate the areas that

fare exposed to light. The light source ison the right

hand side, so we should begin drawing he dark area
the left with the charcoal stick lid completely

1. egin by
Aang the
cutting with a
Sick of charcos,
cp in mind
thea ofthe
Shoulders ant
hi

WAIST UP

143. We mast smooth the hatching and control

ges, producing great swaths 0
ehime ende o connect dio
ly other. and thus achieve a unity
we and of fon the relief
y

ring fom the previous sketch
dy ofthe m
Figures

slows uso

im
with a sick of white chalk In
‘of tonics Browdened
est and darkest of
ys and the intermediate grays as well,
ite chalk should be used sparingly

Use the ip of the charcoal to
< that define the figures prof
ars thc hatching of the face, neck, and.
tons. The direction ofthe light should be
ed carefully so that ll shadows are
ated opposite the main light source.

| When

on

a charcoal
Itching, use
your fingers to

144. on $

The PROFILE:

74. IMPORTANCE / CONTOUR

this step-by-step exercise, we will se at the hand
S Marta Bru how to wc a black Conte pencil to
raw a figure fom a sic Incar poi of view; with
no hatching whatsoever The characteristics ofthe
Tine used o define he contour can transmit the
naturalness of the form, ts materiality, surfice texture,
and visual charge To do so al one must dois control
the width and intensity ofthe line on the paper

1. As opposed to other exercises, in this cae we do not
begin the design of the drawing using simple geometric
shapes. The right outline is made directly with the line of
the pencil practicing a contour: These inital ines wil be
very soft, which allows for easy erasure and constant
Corrections We mist fist draw the contours that are
essential to understanding and representing the form, We
twill do whatever posible to use the fewest lines posible
the preliminary structure, es important to consider

gag form described by the body's posture as we

‘an sce the sketch above,

2. Based on the previous sketch, we can construct
‘whole profile ofthe figure linearly The trace of
eqmt have to be continuous or have a uniform intensity
be interrupted
drawing of the
contour provides a singe ine value he representacion
aim expresivencss when we vary the width of the line.

145. Ve finish drawing the lines

internal contours that

lescrbe the advance or retreat

each part and alo

articular character and tactile
Th

146. ‘CLOTHED FIGURE:

FOLDS www TEXTURES

codes Gaspar shows us how
‘of the preferred media for
the combination of lines and tonal gradations that

step draw

sketchy the lights that gave brightness to
iodels bac

2. The first lines on the paper should have a strictly
ive function. We draw the line of the

Ina sketchy
rc body and the
position of the arms with Be more than a curve and
An oval. We use the charcoal tick so as not to
verda; so we can then make corrections easily

147. again ith the
charcoal We use
take these Fist
atching a
spread the
arce pigment
on the paper eis
enough era a
Sight ry
toralon on the
Tes lighted areas

The lines ofthe outline makiply as we
empe to adjust ehe sizes of dieron

and give proportion to cach part of
: bey Tous end, we have marked th
it ine and the ers athe arms.
ing ofthe contour hou remain
en. without à y the lines
pets that it leaves the option of
unding Out he oras by hatching,
ad
We se the tt ofthe stick, payin
entin o the crees ofthe models
>. The accents in white chalk
plement the previous hatching,
hung the texture and the
mc ook ofthe dlot

Working in greater detail
of thew
the clehin

nd using the
halk we render che details

each wrinkle fro is shaded part The

rs an excelent drawing
rats smooth bling and somevshat
ker, chiral accents the whole is

anced with subi accents im white chal,

148. ‘MODELING %e

FIGURE > PASTELS ww CHALK

Pesos sa combined wih ter drain meda such
chalk or charcoal, to broaden their tonal spectrum
Because ofits color a pastels much smoother, brighter, and
warmer than charcoal. In the present exercise, Marta Bermejo
“Teixidor shows us how to build the Mesh tones ofa model from
à combination of pastel with maroon and black chalk, These
three colors combined with the white ofthe paper are more
than sufficient for making sketches, studies and works that
require a detailed chromatic expression.

=!
son the onde he rc ep

in malang the dowing ew |
bee |

Together ample geomeime |

forms that tle by ide will
take shape until they configure
the profile of the figure

2. With small pieces of lack chalk and pastels, we reinforce the
previous drawing, hatching inthe empty spaces that envelop the
figure When we make hatching with pastels or chalk, we will
alvays begin witha light touch and increase the pressure

à radiale ing the lines ofthe sketch as a guide,

3. These fist touches of chalk
should be added very careful
because there is no need to cover
the paper without fist
considering the delicate play of
light and shadow on the figure,
thus avoiding covering its most
lighted areas. We then blend cach
new addition of chalk

‘other colors using our fingertips,
to achieve an even tone and a
more pictorial effect overall

3

tothe

149. ofthe figure
During the
process of
Graine we
gradually crested
smooth layers of
fray and reddid
“us hat have
darkened the
tone of the paper
‘The accents we
rake with the
‘eraser heighten
the lion of
volume ithe
gure,

sé combine different layers of hatching.
¡black ind anärobn chalk and pastel, we blend
pois Sci a volumetric eect If we
end tonics using a cotton rag, we achieve a
fre efec The general tone ofthe Blended
Feng darker than when we use a
ctillon. Nonetheless, itis these first, blended
things that we will use to represent the
iddle tones. The contasts of the body should
denen progressively finding the tonal values
each plane depending on the light that fll
each one of them.

The final effect of volume is achieved e

ck chalk, whieh creates the sharpest contrasts
tween light and shadow in the ef-hand
0616 ofthe body, and which we use to draw

c projected shadows on the floor and wall,

hc different smooth traces made with the tip
the chalk sketch the facial features and
singuish the profile of the outline of the

re from the background, most visibly inthe
5.The end resle à deawing with clear
torial intensity

150. "Tis puren ofa ine di

y

for hatching, mod
purely descriptive rol
al ee, at the hand of Mercedes Gaspar, how to use
à graphite pencil and develop the possiblities of the
line, with no smoothing whatsoever, to make a quick
sketch ofa female nude figure.

LINE DRAWING

グ ィ FIGURE

1. The fire step i 0 Bix the most significant
contours, the lines that best capture the general
movement ofthe figure. In à preliminary such; there
is no need to trace a previous sketch because the
sketchy nature ofthe study makes it unnecessary,
although its helpful co make a menal calculation of |
‘the measures and proportions of the figure.

2. Often, the design ofthe contour and the ist
‘modeling lines are simultaneous. They both occur at
every moment, so a shaded area or volume can be

made solid by simply varying the strokes and
suggestion of the contour line

151. The genera penal ine are a much away of
pening volume as they area general intonation of
tase which we ca the accentuate significant
becs As we draw we feel for the volum ino by
rio applying more or es pre o the pencil
Fe mp the pencil fly on the msde ofthe hand,
can control the direcion ofthe line and beep i
om being eo intenso.

without representing them with total
precision. It accentuates the volumes and
ließ ofthe body while avoiding sharp,
chiaroscuro contrasts and observing the
‘unity ofthe form.

152. i HAN
YX

/ E
MODELING {
、FLESH TONES

Tre aude fg e encounter lf

1 the flesh, which appears as
volumes are nog evident, but we mast grade then Mesegheles: The
coloring of each a fine lance appears union throughout,
‘contains a series I nuances that are hard to appreciate by an eye

‘unaccustomed tthe properties of color The goals therefore to exer
‘our eye until we are able to sce clearly where the volumes of the

fre produced, and to bring them out by using color, just as Esther
‘de Puig demonstrates this exercise,

\

1. We make à sketch using
maroon pastel profiling the

contour witha firmassured 0.
Stroke, The treatment ofthe figure >
is quite re; Ghee isa clear and
intentional dsproportonally

between the app and bottom parts

(of the body so rendered ta

achieve a greater expresivenes.

| A,
a LÉ
a ee

the drang, These 6nt stains are
made quickly bur with confident

grading the skin on the basis of
colors, because it meanwe must
trandate this monochrom surface
into more pronounced vol

eer
ree

model—rather, we can use colors
far removed from the nuances of

N Be ac ques Symi wok
Fm や

153. AD ratty coe he ein elo
«begin working on the Bagkground
A e ge cere
braten throughout die werk we make the
ground yon The background color >
red deal in omer tomes dupe the
le ofthe figure The right profile ofthe
pre the lower ret and he pubis are
plencored with side sath of maroon so
at some these part of the figure do not
ur no the background We should grade
figure tones solumerialy in the same
oar re woul the carvan of er
Jen coloring where there shade, the flesh
rc becomes rk withthe presence of
ves and maroons where her ih.

‘ow brighter and warmer thanks to the use
range, pinks, and yellows

After he hatching process, we sweeten the
sons between tones by smoothing the
sh tones with he pads of our fingers: Then,
ing the tip ofthe pastel, we redraw the lines
the face. Once the drawing i nalzed,

ere isa visible chromatic variety in how we
ggest the color and quality ofthe figure’
ias well as a tonal contrast between the
cs with shine and the darkest shadows.

154. FIGURE 0/7 WOMAN wwv GIRL

On the B EAC H

harcoa ia quick, direct medium. is alo among the mest
spontaneous, because by nature, it can be used to make wide,
undetailed lines, The wide spectrum of posible tones is another one of
its attractions. In his demonstration, Mercedes Gaspar makes à
«composition of two figures with pronounced tonal 00606 that give a
Tes necessary to pay attention to the

‘changing directions of the lights, shadows, and reflections on the ace

ng, because these factors describe the volume of the bodies.

great expressiveness to the drain

1. To draw the body of Ue adult figure, we start with
a imerted cone: forthe head, a cree. For the body
fof the litle ir, we draw a circle and cone on i side
to comey the projection ol her shadows, We refine on
the contour, etsing and doing it over if necessity,
nel we adjust che initial geometric forms to a
preliminary sketch in which we can already begin to
sce the outline ofthe adult figure.

Charcoal isthe perfect medium for finding the
form without working on any ofthe detail, With it,
‘we can stain the paper and trace the guiding outlines
fof the two figures while comparing the proportions,
angles and inclinations of the body

155. OS
len ot ls
fo wrinkle in
the woman’ dre
06000
“erage
À wi he pie of
Peg
À nop of tended

er

3. Using tick ins, e corr be background
ith af ie of cod Mae
Snooth with our fingertips acc y
contrats ofthe shadows 3

<a bein uniform gna
Softening or tering
tortllon The background tone à
reference point for ng sete
intensity othe hatching ofthe

es We apply the sot se

Tending ro de opr
¿leaving athe same me 2 we const the
facial fates and the cres ln e dating
‘vith sgh tonal contra The Gnished desing
‘hows simple onal spectrum in which the
Peer,

に つ Hi

156. INTERIOR 4

ATMOSPHERIC FIGURE

"isch cera oftonl sales hat can be ave when a ur
is integrated into the atmosphere that surrounds i can be enriched
ven further using graphite pencils of different hardnesses. Even though
“Carla draws this figure in graphite, we might sy it has an authentic
pictorial effect thanks to the atmosphere created by the grays, With this
Sutlining, ts forms are not closed unto themselves, but instead relate to
and meld ino their surroundings, creating a sense of wholenes and a
‘unified intonation in the drawing.

1. The inital lines created
wich an HB graphite pencil
have an orientate character:
they fist situate the
Architectural fame around the
figure based on perspectival
lines the frame ofthe window,
the angle of the wall, and the
stone bench. Onto these initial
‘geometric lines we layer those
Of the figure in is correct
proportions remerber the
technique of drawing asf the
figure were transparent.

2. By holding the graphite
penel horizontally, we can
{quickly reste an area with a
Uniform tone, with no guiding
marks; we gradually Ellin the
main dark areas, disregarding
the relie ofthe forme or the =
outlines ofthe Geure The goal
isto create a diffe tain that
shows the grain of the paper
underneath >

A

3. A tortllon will help us co eliminate any à
semblance of lines in the hatching and
create smooth transitions beeween tones

157. ‘Many aris grow
acestomned to
ing graphite ”
penal of Inge
ares such a
2B or 4, and do
rot expt the
possibles of
ting a variety of
lernt grados of
rapto wit

be same dering.
The contrat
hemmen the ine
Tes of 21

rape pen
and the dene,
lack nes of 1

Placing the point a soft graphite pencil on its side,
use à otating motion to gradually darken the
terior shadows that contrast with the outline ofthe
gure. Most artists prefer eo create che atmosphere

ix drawing using the texture of the ape, producing
highly accomplished gamut of tones, In realty,
ny grazing the paper with the tip ofthe graph
develop diffrent muances inthe hatching. Usin
dtml hatching, we can obtain so blended tonal
cts, Is ako posible to soften the tones by
bing with a fingertip The spots of light on the
ce ofthe figure are achieved by opening up white
ee with a Soft creer

A ing such ths one cn be thought ofasa
nf ovetpping grays. ach of whch haves is
ark on the paper and makes the nen ayer
moother and ihr nal mars accentuate the
wanna stores ofthe gure: the texture ofthe
ong and ha, ih ad bar ofthe window and
€ coquin ofthe hand

158. PORTRAIT 2 FIGURE

^ SILVERPOINT

"Tin ome practic with ing and o demoras the val of
pentiments in drawing, we wil reproduce, a the hand of Carla
and sing slverpoint,» female figure holding a dog. This is a method
that allows for few corrections, so if any mistakes are made they must be
rectified by adding new lines. To do this exercise we need silverpoint
available at any jewelry tore, or we can insert a copper wire in à
mechanical pencil We will select a rigid, fine-grain paper and cover it
witha layer of white zine pigment or gouache. The fist ayer we apply
should be diluted with water: the second should not. Once the paper
ries it ready to we

1. We begin the compo model by
drawing mass based on simple geometric shapes; an
어리 or hc girls head, a circle forthe head of the
og, and a few more curves and ellipses to describe
the location of the other members, Aer making a
eon Ye begin our first approach to the
forms ofthe model This simple compositional and
outlining exercise should done on a separate sheet of
paper, because slverpoint lines cannot be corrected
‚Once they are on the paper.

2. "This preliminary study will ensure a more
elborate drawing in which we can clearly distinguish
the contours of the figure. IE with other med
preliminary pencil sketches or outlines are never
‘using sveepoine every ine we draw

2

159. „Once the preliminary drawing is complete, we
dual shade in the different pares ofthe drawing.
plying stretches of overlapping lines. The sharpened
ler lead gives che drawing a very fin, detailed line,
chaps the most deicat of lines possible in any
wing medium. Siverpoint ines ean be ersel o à
int if they are made on an adequate surface. but

nt rely on this too much when drawing.

The progression of dark shades depends exclusively
nthe pressure we apply to the instrument, because
herpoint doesn't come in different hardnesses or
dations lke pencils do. Before finishing, remember
at lines made with a silver cuter get darker over
me because they rust when they oxidize—when

ey come into contact with the air just as

ear does.

yeu wish to
accentuate the
texte and
rection ofa

nd of hi
take a blade and
practice adding

rests wil
Fee

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