Drawing

Drawing the Figure

Learning some simple tips of proportion and design is a great way to start the exploration of figure drawing.  Human bodies have many dimensions in common, regardless of their actual shape or size.

Quick drawings will get you started.  Capturing quick poses and movement in figures is a great warm-up exercise.  These drawings will loosen your hand and mind.  Figure drawing requires accurate observation and can easily become stiff and awkward, but you can bring energy to your work by carrying the bold, purposeful marks in these exercises into longer poses.  The drawings can be done in 30 seconds or so.  Not much time you say?  Well, that is time enough to train your eye to see the “big picture” and get your mind thinking of the planes, shapes and contours of the body.  This style of drawing is called gesture drawing.

It sounds bizarre to do a sketch that fast, but the sense of urgency it creates adds energy to your work.  You have no time to think about any extemporaneous details. 

First look at the main axis of the body. From the top of the head to the tailbone try to indicate with a single stroke the flow of the spine. Note with quick strokes the plane of the shoulders and hips.  You might place an imaginary line through the knees and feet to facilitate portions.

Experiment with using charcoal in different ways – a broad sweep using the side of the stick or a linear fashion. Draw with your whole arm, standing comfortably back from the easel. If working small, use as much arm and hand movement as possible.

There are two main approaches to abbreviated form - internal and external. Take the internal approach by 'seeing' the skeleton first—just directional lines showing the direction of the spine and limbs, and indicating the tilt of ribs and pelvis, will be sufficient to capture the pose. Depict external forms by using minimal lines to indicate the main contours—keep them loose and flowing.

When drawing heads is your interest, first become familiar with the basic proportions. Traditional rules of proportion show the face divided into six equal squares, two (wide) by three (high). The upper horizontal division is roughly at the 'third eye' level mid-forehead, the lower at the base of the nose. The eyes sit on the horizontal center, the mouth on the center of the lower third.

If you are skeptical of such simple methods, try it out on some photos in magazines; it works!  While this is an idea which does not account for individual variations, observing these basic proportions gives you a starting point to measure against.  By ensuring your basic proportions are correct to begin with, you will avoid major mishap at a later stage of the drawing.

The tools you use will greatly affect the results.  Charcoal, graphite stick, conte crayon and the like are great for studies and practice work (visit www.generalpencil.com and www.savoirfaire.com).  Their cost is insignificant.  The paper you use can be of any quality you like, but many students use newsprint until they are working on a more serious project.  If, however, you become fond of the quick studies, you may want to use a better grade of paper because such drawings are very salable. (visit www.bordenandriley.com and www.strathmoreartist.com). 

You might be surprised at the response to your study work.  Ink drawings of the figure are very popular and are considered collectibles by many art lovers.  Once matted and framed, they become charming and elegant additions to any collection.

Exhibition:  Lucian Freud:  The Painter’s Etchings is at the Museum of Modern Art, New York City, through March 10.  One of the foremost figurative artists working today, Freud has redefined portraiture and the nude through his scrutiny of the human form.  Although best known as a painter, etching has become integral to his practice.  The exhibition presents the full scope of Freud’s achievements in etching, including some 75 examples.

Copyright ARTtalk Vol. 18 No. 4 — February 2008