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The artist who wi hes to achieve wide popular success must be able to draw the human figure. The artist who has mastered drawing of the human figure can call human per analities to life.
The artist who wi hes to achieve wide popular success must be able to draw the human figure. The artist who has mastered drawing of the human figure can call human per analities to life.
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Attribution Non-Commercial (BY-NC)
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The artist who wi hes to achieve wide popular success must be able to draw the human figure. The artist who has mastered drawing of the human figure can call human per analities to life.
Copyright:
Attribution Non-Commercial (BY-NC)
Verfügbare Formate
Als PDF, TXT herunterladen oder online auf Scribd lesen
Famous Artists Course
Fomous Artists School, Ine, Westport, Connecticut
Drawing the human form _ tesso-
Albert Dorne
Fred Ludekens
Normen Rockwell
Al Porker
Ben Stahl
Stevan Dohanos
Jon Whitcomb
Robert Fawcett
Peter Helck
George Giusti
Austin Briggs
Harold Von SchmidtThe human figure
The artist who wishes to achieve wide popular succes: must be
able to draw the human figure.
‘alanis and many gallery artists who never seriously attempt
to draw the figure. They are content 10 restrict themselves to
product illustration and decorative design, on the one hand ot
{landscapes and all ile on the other. But few serious artists
ate willing to limit themseles to tha extent
(Go ehrough a representative group of magazines, and you will
see that there are few drawings which da not include people. In
‘most sory illustrations the accent ison people ~ their actions,
their emotions The reason for this emphasis is eaxy to under
stand, Since we ae human beings, ee are more intereed io
Fellow human beings than in anything ele. We wat to know
how other people look, fel, move, and act. Popular magazines
are designe wo satisfy this natural curiosity.
ven the adversing illustrations in these magarnes usually
include people. Advertisers have discovered that figures, no mat
ter how small, are able to "stop the reader. Figures also help
demonstrate the product, pointing out its chet features and
Stoning how itis wed, which may lead the reader to accept
Tris eternally true that thee i no other vehicle wo subtle or
There are, of course, come
so elective for the erpresion of human thoughts and emotions
Ss the human figure. The artist tho has mastered drawing ofthe
hhuman figure can call human personalities to lite at will and
pict the specific atitudes, ations, mood, and emotions which
‘ill best express the picture story he wants to portray. He can
Uansport he reader to a world far removed {rom immediate
‘experience, and enable him to live, momentarily, an imaginary
texlnence with imaginary peopl. The grea arts are dramatists
in paint who consistently help thee fellow amen bridge the gap
between innagination and. reality. If you hope to become that
Kind of arts, you mast learn to control the human figure for
Your own purposes
From previous experiments, you may have concluded that
drawing the figure isan extremely dificult jo. We are going to
Show you that it can be much easier than you think. But you
rust be willing to progress one step ata time, mastering each
step as you go-along, Ifyou are patient, and follow very cre
fully the procedure presente inthis and the following lesons
‘you will Gnd chat your progres wil amaze you,
“The chiet reson most students have trouble mastering the
human figure is very simple: They wane to start right all by
drawing a fully clothed model in = complicated pose. They
spend great deal of time worrying about details of feature,
Snatomy, and drapery. But in their concern about dheve details
‘they low all sense of proportion, construction and move ofall
‘the solid form of the figure
“There is only one sound way to approach the problem of
raving the human figure. You must begin by having a ery
clear concept of its basicfarm. ‘The human Body is not 2 two.
dimensional symbol on a Rat surface: nor is ea paper doll with
such decorative duals as hair, eyes, teeth, clothes, shoes, et
Arawn on top of i. The human figure is fst and primarily
Uicedimensional objec. solid object with bulk and weight
Tis cetainly ay threedimensional au 2 ptce of sculpture in
‘wood, marble, or bronze,
“The solid form ofthe human Body looks complex. 1 js obvi
‘ously not a single sphere or cube or eylinder. But when we
‘examine i we discover that this complex form i actually con
struction of very simple forms, These simple forms are closely
related tothe spheres and cubes and cylinders you learned 10
recognize and draw in Leson 2. If you can draw those forms
‘well, you wil have no dificulty poting them together to make
‘he total human form.
Th this lewon we will show you how to analyze the human,
figure in erms of these simple, basic forms. We will show yout
‘what the proportions ofthese individual forms at, in relation
to the toal fore. We wil ilstate the methods by which thee
individual forms are connected, aut demonstrate howe the part
imove. In other word, we wil explore the basie contraction of
the figure ‘Then we will show you how yo can daw this base
human form in any postion and any kind of activity. We will
alto explain how the form changes as it develops from ehild into
{adult and show you how to draw eat iferent stages.
‘Once you have learned to contro the base form, the ret will
he fairly simple. But don't give in to temptation and rush right
‘on to attempt sketches bled with anatomical dete Tn the fol:
lowing lesons we will study simple anatomy and the special
problems involved in drawing individval pares ofthe bey sich
Sethe head, the hands, andthe feet. Concentrate for the present
fm the basic form figure until you can do anything you want
With i. Draw itn a8 many postions as pow, Look for iin
ota of pepe ming and above al nthe people
“The information presented inthis leon isso important chat
itis not enough for you merely to read it. We augge that you
learn every detail thoroughly. You ean do this mont effectively
simply by making dovens of drawing, both while you are study
ing this Iewon and alters, in our spare time. Most of these
practice drawings can be done in jst a few minates. Practice of
this kind sil help train your hand and your mind in the pro
portions construction, and relationships ofthe individual forms
to that you will never forget shem,
“These ewenia! farts abou the human form areas baie and
Invaluable to you, as an artist 2s the knowledge of words i 10
the writer. You will be drawing the human figure the rest of
your life, so build your knowledge and contol of i a solidly
Ss you cam. You will nd the rewards well worth the eBThe basic form figure
The drawing at the right shows you the simple basic forms
that make up the lager form of the human body. Every dis
teacting detail has been eliminated — only the important forms
remain, These are the head and neck; upper toro and lower
toro: upper arms, lower arms and hands per le, lower les
tnd feet. Think of exch form ofthe
fut of something sold. Do
ova ard that ic ocupes
Let's compare the f
wre wit were carved
fat form has thre dimen
re with the photograph of the i
fgg model to the lel. Are the movel and the baie form figure
similar in base mass and construction, withthe same asocation|
fof parts? Ves I both mosel and form figure the neck, the arms,
{he legs andthe torw are ewentilly modified cinder, similar
to thowe you drew in Leson 2. The head is baialy simple
sphere, The hands cam be reduced to cubic forme, while the feet
are combined cone and cube forms
Tt is extremely important in the beginning to view the body
of these simple, basic forms, understanding the ewer
‘placing thee in their
= For the present you rat
{gnore Hai and features, aswell asthe more subtle curves result
ing trom underying bone ad muscular structure Once you ea
control an draw the basic forms propery, you will have litle
‘rouble drawing the details ofthese forms
‘he drawing hs ean roa
Be Sees geeFemous Arti Cour
Drawing the human form
men 4
7-head division
8-head division
i wt oh he
1. Proportions
The artist uses the human head as his asic unit of measure
ment forthe entire human figure. ‘The head can be viewed in
too ways, however —in erm of it height, and its weidth. The
height of the head from chin to top of skull is the ruler by
which all yeitical measurements are made. For example, the
is speaks ofan “eighthead figure,” by which he means that
the figure is eight vetcal heads high. Tt ie more convenient
to we the width of the head in making horizontal measure
you look at she people around
that they differ considerably in propor
head which we think is lange for his body, another has head
hich seems smaller than normal. The great majority of people
however, ae reasonably similar in proportions and shape at any
ven age, Tis because of this fc, of cure, shat itis pombe
realy made”
dreves. Mow people can be ted into standard patterns suc
adjustments,
for clothing manufacturers to design suite and
‘estully with only
(On this bais we could ensly arrive a average
for the adult figure. There isa dininct difference
tween the andthe
sverige ies” Arist have always sgh
to discover the ideal the perfect figute. The Greek sculptors or
‘ample, established a “canon for he human figure, This canon
wear a set of proportions for the ial gure. Inthe same way
Tater arti, suc a6 Leonardo and Diirer set up thelr own can
A proportions for the Heal Figure. In sunny respects the
Concept the Hal changes
period to period, The hety, vo
Iorals were much admired in their day. then women were
yi they ad monumental proportions
Today popular taste has swung in the opponite direction
ce we are attempting to draw people who wil seem ad
some and beautiful to the average person of today, we must set
vows beauties of the Rubens
tip 4 canon of proportions based on. presently taste. This
‘anon nee not necenarily be the same ae the measurements of
the preentday average man or woman. In the photograph onLesson Fomovs Arise Cour
Drawing the human form
the opposite page the model is welldleveloped male of average
height: He isa "sevensheud fur” People today. however, do
not considera seven head figure tall enogh to sail ther con
eighthead figure, which they
heal figure whichis sed in moter illustration
‘On the righthand sie of the Lacing page you will see how
the eight head figure looks. To make this gure the sae height
as the severhead figure we divide the height into eight parts
(ne of these parts serves as the basic head measurement unit
Alter drawing in the hea, we positon the other parts of the
bly along the vertial axis. The body alone, Irom neck 1 fet,
row menses seen head nts. ivtead of sx The parts ae all
slightly elongated because of this, and ay a rest the figure
seems much better proportioned,
The eight ead Bure i today considered the idea." 1s this,
set of proportions which we will expect you to follow through:
fou the Course, unless we specially request different propor
tions. Occasionally you wil want to draw people who are obvi
founly nok average, Ifyou want to caricature a person, or show
that e is shorter than average or taller than average, you can
“ely Se snaonip he ane! poof
Ao this very easily by retaining the same width measurements
tise to draw the eight ead figure, but reducing the height to
five or six heads, or increasing the height to nine or ten heads
However, any departure trom the eight bead formula should be
Aeliberate. The trawings above show you how the eighehead
basic form figure looks sn diferent views
‘Rely on your eyes for correct proportion. The head asa uni
‘of mease is convenient an helpfl while you are Rist lear
Ing figure proportions. You must realize, though. that you do
thot make figure drawings with a par of dividers oF arler. You
imuke them with your pencil and youreyes! Actually, the only
time you can Iierally mean the body aad ace how many heads
long it ss when the figure is standing bolt upright, ina post.
tion of atention, Any other time ~ which means most of the
ime ~ the figure or parts of i are foreshortened to some extent
Fhereore the only way to gabe proportions is with your eyes.
ie Jaks right ici right, By all menne study the chart above
and fx in your mind the sizeof one part ofthe body compared
‘with another, but put your ruler away when you sart to draw.
Never forget for a moment that skill drawing js simply sil
ful seeing, transferred o the surface of your papertence 4 Famous Ai Coune
Drawing the human form
Structural differences—male and female
the male figure propor
etal, Roth figures are shown the same height i
tions below in onder vo make direc comparisons.
woman is drawn slightly shorter than the man beside hi
th ng the ee farm ou a onc ‘er
tvith a smaller base head measurement than the manRelative proportions at various ages
‘When a child is born, some parts of ts bady are much further
developed than other. Its ead, for example, is quite large as
‘onapared with the length offs arms and legs. By the te the
baby ea year old, his body from neck to fees about three and
‘oneal times the length of hina head. Ia other words, he is
about four and one half heads high. is legs are sil quite short
Sompared to the Leng of his head and torso: the center of Bis
boy is a line through the stomach, rather than the crotch,
As the child grows older his legs and arms become much
longer. By she time he is eight the center of his body has moved
dove to line above the hips. At the age of twelve, he fs about
seven heads high, and the center of his body falls atthe crotch,
From this time on, until he bocomes a full grown ad, he
broadens out in addition to becoming taller,leven 4 Fame Ati Couie
10 Drawing the human form
2. Construction12
4 Drawing the human form
The hand
The hare, like the foot, cannot be reduced 1o a single basie
form quite as easily as can the eter pars ofthe body. However,
it ema be imterpreted forthe present ata combination of simple
forms which represents the real Rand with reasonable accurcy
Ac the lef it is treated asa wedgeshaped form divided inco 0
pl: the lower, tapering wedge suggests the mass ofthe fingers.
The wedge of the pul, viewed alone sa nearly perfect
‘The finger wedge is about as long as the palm wedge. The
visible part of the thumb is about the length ofthe tle finger
This simplied preenttion of the hand will serve for our basic
fore drawings Later, in Lean 6, we will acu the fren and
structure ofthe hand in detail
The foot
The foot has the same exential structure a8 the hand, with
the importane difference of propor ely a
Jong 2s the head is high. The upper
reclaced quite logically to a cone th
point where the top of the foot meets the ankle. This cone is
fot symmetrical the back rites almost straight up. while the
front is quite slanted. The t
ot the
foot ate best cach to the
will stay the actual foot in detail when you reach Leson 5
foot wil serewan 4 Fomous Arie Coure
Drawing the human form 13
The head
OF all the parts of the human body, the head is
tindoubiedly the mos. important from the viewpoint aS —
fof the artist. In later esos we will make a thorough /
study of the head and how to place and drat the fea
tures and the hair, For the present, however, itis {
txtremely important for you to think of the head only eee
solic and miss and Keep the = .
the head is sphere — actualy
se on the cylindrical column of
m the surface . Pe
n the placement of the few ~~ fT VU
tures and sow their lative postions as ween from the cD i
front and from the side, Notice that the egg ea is
slightly diferent in the sie view and tha iti led.
more of an egg for14
‘nn
3. Movable parts
Important points at which mosion occur nthe
body are indicated by white dots onthe figure at
the lef. The individual parts are connected by
three distinctly diferent types of joints 1) the
ballandzocket joint, which appears 3 the shoul
ders and hips: 2) the hinge joint found at the
Knees and elbows: and 3) the fesble column,
term tne to describe the spine and the neck
‘The action of the first to of thee joint is
itlurated om the opposite page
ah of these joint varies considerably in the
type of motion it allows, The ballandsocket
fount is extremely Bexible. The part of the body
attached to it can be swung around or back and
forth in every diecion — just ab though fe were
attached toa ball evolving in a socket. However
the amount of motion depends on the construc
tion of the individual joint. Although mot ball
ndsocket joints, the wrist and_ankle joints
permit similar rotary movement
PETC hinge join at the elbow and knee works
rch like an ordinary door hinge. Ht allows the
forearm to swing forward and the lower leg to
bend backward and then to reverse these move
sents until each mb is back in a traght Tine
Bgain, However, it does not permit the forearm
tor lower leg to bend sideways. Try these move
‘ments younelt ad observe the diferent ways the
Dalland socket joints and the hinge joints work
"The third kind of joint i the flexible column
‘of the spine. This connects the upper a! lower
halves ofthe body. The spine i involved in any
tion which requires site in weight, ach at
seating. running and jumping Since if highly
‘exible it permits no only a turning motion
ll directions but also a twisting motion through:
‘ut it entire length. The upper par of the spine
isin the neck, which controls all motions of the
hea,
"The diagrams on this page are intended to
remind you of the various posibiliies which
these ince diferent joints provide. Hamever, you
fan suady the postbiliies and imitations of mo:
tion in the human body best by experimenting to
sce how the vaious portions of your oxn body
‘move. ‘Test out thew diagrams for yours
a
"
iLLesson Famous Ais Couse
16 4 Drawing the human formFomovs Artis Courts
Drawing the human form
teen 4
How to draw the basic form figure and head
The drawings on these two pages show you haw to get stared
drawing the basi gure and head. Work freely at first, without
attention to details or the exact placement of ind
Your fe lines are simply “wat
suggest the sive of the figure and
oven, you can make the form more acu
dual tines.
you we them merely to
pote, Once you have these
~
How to draw the m
basic igure
ipscss
the figure
Draw in pencil and don’t hesitate co erase and change. I's amis.
he wo ty to "Tree" or tighten wp your sketch too quickly. Try
to fel the action, Above all, Keep the solidity ofthe forms in
‘mind and drave them through. This isthe best way we know 9
‘teate the illusion of thycedimensional gute.ton Fonos Aros Cou
24 4 Drawing the human form
Many lines or few— but the forms are soli
These pictures — each one by a diferent artist — vary greatly in syle and draw-
ing technique. All, however, have one thing in common. They show that these
artts pons «thorough knowledge ofthe form of the human figure,
"The arts’ feling for form isthe main reason each one of these drawings is
convincing. Whether he portayed his subject with just 4 few sketchy lines or | ~
‘many painuakingly drawn details, he wel his penll to create the illusion of
solid form. As he worked, he thought of his pencil as traveling around and
Along the solid form of the body, wansferting it to paper. The result is that no
‘matter how mich detail headed, the unverlyng form ofthe figure shows through26
Lesion 4
Fomovs Art Coun
Drawing the human form
Seven artists draw the same figure
Each of the drawings on these pages was made by 2 diffrent artist,
‘working from the figure shown at the lef. Here are (wo important
points which you should gain from your study of these draseings and
ply to your own work:
1. Each art hs drawn the fgure in his own personal way. He
sed sgl that is easy and natural for hie
Mon important of all cach drawing clearly shows that the
arts Tas thought of the Bure and drawn it as though it were made
Up of solid three dimensional forms.
Because the feeling for form has now become a habit with these
artists, they no longer find it necessary to draw the arms, egy, too.
tes as separate cylinders, Neverthelew their pictures clearly show they
Sl think of them in these terms as they dra
“To make slid, convincing gure drawings, you must concentrate on
Tearning the basic forms ofthe figure which we have carefully described
‘on Pages 5 through 15, At this stage of your training you will benefit
fom by making drawings which are generally similar to those on
re experience drawing
ml unconsciously develop
your ow styleDraw from life every chance you get
27Lonon 4 Fomees Arie Coure
Drawing the human form
28
5. Do's and don‘tsThink with tracing paper
“Tracing paper is often called the artist's best fiend
eis am ileal material for experimenting with picture
ideas for planning and perfecting your drawing,
tnhether of the human figure or any other subject. es
Inexpensive and pencil lines on it are easy to erase
with a kneaded rubber.
‘Occasionally 4 teacingpaper sketch will become
rest because of many erases, All yous have to doit
slip the sketch under cleat sheet of tracing paper
trace of the lines you want. If You are working
fom an illustration with several Rgures, you can adjust,
thie positions in relation to exch other by drawing
them om separate sheets of tracing paper and shilting
these around tll the figures lok right Then you can
trace them on single fresh shee.
‘On these pages we show you some ways to we trae
ing paper that we hope will make this material your
bat frend, 100.
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