Figure Drawing Step-By-Step

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CONTENTS3Introduction 4Gating Started 5Equipment 6Proportions: Front View &Proportions: Stde Vie* 9Proportions: Thriv-gu-iitcr View 111Proportions: Back Vic* IIDrafting the Male Torso- Front View 12Drawing the Female Torso: Front View 13Drawing the Male Torso: Three-quarter View 14Drawing the Female Torso: Three quarter View 15Drawing the Male Torso: Side View 16Drawing the Female Torso; Side View 17Drafting the Male HeadIXDrawing the Female Head 19Drawing the Male Ann and Hand 2»Drawing the Female Arm and Hand 21Drawing the Side Leg and Fool 22Drawing the Ferrule Leg and Foot 24Drawing the Male Figure 26Drawing the Female Figure 30Pencil Drawing 34Demonstration I. Standing Male Figure 36Demonstration 2, Standing Fcmak Figure 40Demonstration 3, Seated Female Figure 44Chalk Drawing 48Demonstration 4. Berating Male Figure 50Demonstration 5- Kneeling Female Figure 54Demonstration 6. Female Bark 58Charcoal Drawing 62Demonstration 7. Twisting Male Figure 64Demonstration S Crouching Male Figure 68Demonstration 9, Reclining Female Figure 72Demonstration 10. Seated Male Figure 76lighting 80

INTRODUCTIONFigure Drawing. From the linn* f the ancientGreeks, artists have regarded the mule and it'male nudefigure as the ultimate statement of humanity's ideals ofheroism and beauty. Many great artists have devotedtheir entire lives, in painting, sculpting, and drawing dienude figure. For die forms of the human I tody are end lessly fascinating. Every pose, gesture, and view pre sents a new challenge, Thus, artists km- to draw thenude not only because the beauty of the human body isso hypnotic, but because there's always something newto leam In fact, many teachers feel that drawing thenude is the bear way to leam how to draw.Proportions. Before you begin to draw the figure, it’simportant to establish a clear mental image of the proportions of the male and female bodies, The traditionalsystem is in measure in head lengths. The figure drawings in this hook are based on the rate that the height lthe figure is roughly eight times the length of the head.Artists usually say thai the figure is "eight heads tall."The legs. arms, ami other sections of the body are alsomeasured in heads Figure /Mnrr’flv begins by present ing this system of proportion-, in a series of drawings ofstanding male and female figures, seen fn m differentangles.Learning to Draw the Body. Next, you'll watchnoted artist IJldis Klavins demonstrate bow to draw thevarious parts of the body step by step. Looking at thebody from various views—front, three-quarter, andside Klavins demonstrates how to draw the male andfemale torso, bend, arm and hand, and leg and foolDrawing the Total Figure, Having shown how rodraw the components of the figure. Klavins then goeson ro demonstrate how to assemble all this informutionin complete drawings of Ihc male and female figure.You'll watch hurt construct all the forms nf the figurefrom head lo toe. applying the systems of proportionand the step by step draw ing methods you've learned inearlier pages. These complete figure demonMraikm,like the preceding demonstrations of the various partsof the body, chow the four fundamental stages in ex ecuting a figure drawing. First Klavins shows you how to establish the major forms with simple guidelines.Then lie shows yiHJ how ro refine these lines In makethe loons more accurate He Mocks in the broad areasof shadow. And then he completes the drawing by re fining contours, strengthening the shadows, and addingdetails.Step-by-Step Demonstrations. In a series of moredetailed demonstrations. Klavins then shows \uu how4lo draw ten different figures step by step He beginswith simple poses, gradually intrtxJusing mure complexones, The first three demonstrations arc pencil draw ingsof standing male and female figures, and a sealed fe male figure The next throe demonstrations are chalkdrawings: u bending male and a kneeling female figure,and a back view of a scaled female figure And the lastfour demonstrations arc charcoal draw ings of a twistingmale figure, a crouching male figure, a reclining femalefigure, and a seated male figure. Tin* ten demonstra tions show every drawing operation in precise detail.Drawing Media. These ten step-by-step demonstra tions are executed in a variety of pencil, chalk, andcharcoal techniques to reveal the full range of pos sibilities in these versatile media. You’ll see how tobuild contour. form. and light and shade with variouscombinations of lines, strokes, and blended tones Andihc drawings are executed on a variety of papers it shim you tfie effects of varied drawing surfacesFinding Models, As most artists and an students havediscovered, people aren’t nearly as shythey used tobe. Members of ymr family, rnends. and aeguamlances air accustomed to today's icvcalirtg beachwcarand resort fashions, and so they're often llatlavd by aninvitation to pose. If you prefer to draw a professionalmodel, check your nearest art school, college, or uni versity to see whether they've got a so-called life classwhich you can pin, Sometimes a life draw ing class induties the services of an instructor, but it's also ciunirhm for a school 10 hire a professional model andsimply provide a studio in which a group of students orserious amateurs can draw for several hours, merelypaying a modest admission fee. You can also form yourown life class w ith fnends. working in someone's homeand sharing the cost of die model's fee To fmd a pro fessional model fir your own life class, you might cullyuur local art school, college, or university to find outwhere they get their models. EYolessionaJ artists oftencontact dance or drama schools whose students arc will ing to model to finance their professional training. Tileimportant thing is to work from the1 living figure—notfront phdogmphs—and to draw ,»s often as you can Ifyou join a life class— or form your own bo sure to goat least once a week. When you go to the beach «* tothe swimming pool, take your sketch pad Ask permis sion to make drawings at dance classes and the localgym. If there's a museum nearby whose collection in cludes Greek or Roman sculpture, you’re especiallylucky: you cun draw beautifully proportioned modelswho never get tired and never move!Urheberrechtlich geschiit

5GETTING STARTEDKeep It Simple, The best way to start drawing is toget yourself just two things: a pencil and a pad of w hitedrawing paper about twice the size of the page you'renow reading. An ordinary office pencil will do—buttest it to nuke sure chat you can make a pale gray lineby gliding ii lightly over the paper, and a rich black lineby pressing a bit harder If you'd like to huy somethingat the art-supply store, ask for an HU pencil, which is agood all-purpose drawing tool, plus a thicker, darkerpencil fur bolder work, usually marked 4B. 5B, or bB,Your drawing pad should contain sturdy white paperwith a very slight texture—not as smooth as typing pa per, I Ask for cartridge paper in Britain ) To get startedwith chalk draw itig, all you need is a black pastel pencilor a Conte pencil. And just two charcoal pencils willgive you a good taste of charcoal drawing: get onemarked "medium" ami another marked ‘ soft." Youcan use all these different types of pencils on the samedrawing padPencils. When uc talk ab*an pencil drawing, wc usu ally mean graphite pencil. This is usually a cylindricalstick of black, slightly slippery graphite surrounded hya thicker cylinder of wood. Artists' pencils arc dividedroughly into two groupings: soft and hard A soft pencilwill make a darker line than a hard pencil, hioft pencilsarc usually marked B, plus a number to indicate the de gree of softness—31) is softer and blacker than 2B.Hard pencils are marked H and the numbers work thesame way—3H is hander and makes a paler line than2H HB is considered an all-purpose pencil because itfalls midway between hand and soft. Most artists usemore soft pencils than hard pencils. When you're readyto experiment with a variety of pencils, buy a full rangeof soft ones from HB to 6B. You can also buy cylindri cal graphite sticks in carious thicknesses to 111 intometal or plastic holders. And if you’d like to work withbroad strokes, you can get rectangular graphite sticksabout as long as your index lingerChalk. A black, pastel pencil or Conte pencil is just acylindrical stick of black chalk and, like the graphitepencil, it's surrounded by a cylinder of wood. But onceyou’ve tried chalk in pencil form, you should also get arectangular black stick of hard pastel or Conic crayon.You may also want to buy cylindrical slicks of blackchalk that hi into metal or plastic holders.Charcoal. Charcoal pencils usually come in twoforms. One form is a thin stick of charcoal surroundedby wood, like a graphite pencil. Another form b a stickof charcoal surrounded by a cylinder of paper that youcan peel off in a narrow strip to expose fresh charcoal asthe point wears down When you want a complete pal ette" of charcoal pencils, get juvl three of them, marked"hard." "medium," and "soft.” tSome manufacturersgrade charcoal pencils HB through 6B, like graphitepencils: HB is the hardest and 6B is the softest. Youshould also buy a few sticks of natural charcoal Youcan gel charcoal "leads" to fit into metal of plasticholders like those used for graphite and chalkPaper. You could easily spend your life doing wonder ful drawings oo ordinary white drawing paper, hut youshould try other kinds Charcoal paper has a delicate,ribhed texture and a very hard surface that makes yourstroke look rough and allows you lo blend your strokesto create velvety tones. And you should try *omereallyrough paper with a ragged, irregular "tooth" dlut makesyour strokes look hold and granular. Ask your artsupply dealer to show you his roughest drawing papers.Buy a few sheets and try them out.Erasers (Rubbers). For pencil drawing, the usualeraser is soft rubber, generally pink or while, whichyou can huy in a rectangular shape about the st/e ofyour thumb or in the form of a peocil. surrounded by apcel-ofl paper cylinder like a charcoal pencil For chalkand charcoal drawing, the bcsl eraser Is kneaded rubber(or puny rubber), a gray square of very soli rubber thatyou can squeeze like clay lo make any sfuipe that's con venient A thick, blacky- soap eraser is useful for clean ing up the white areas of the drawing.Odds and Ends. You also need a wooden drawingboard to support your drawing pad—or perhaps a sheetof soft fibciboard to which vuu can tack loose sheets ofpaper. Get some single-edge razor blades r a sharpknife (preferably with a safe, retractable blade) foesharpening yuur drawing tools: a sandpaper pud (like »little hook of sandpaper) for shaping your drawingtools; some pushpins or thumbtacks t drawing puts inBritain); a paper cylinder (as thick as yuur thumb)tailed a stomp, for blending tones: and a spray can offixative, which is a very thin, virtually invisible varnishto keep your drawings from smudgingWork Area. When you sit down to work, make surethat the light comes from your left if you're righthanded. and from yiwr right if you're left-handed, soyour hand won’t cast a shadow on your drawing paper.A jar is a good place to store pencils, sharpened end upto protect the points. Store sticks of chalk or charcoal ina shallow1 ho* or in a plastic silverware tray with conve nient compartments—which can be good for storingpencils too To keep your erasers clean, store ihem apart from your drawing tools—in a separate little box orin a contpartment of that plastic tray.Ut

EQUIPMENT6Pencils.The common graphite pencil comes in manyforms. Looking from right lo left, you see the till-purposeChalk. Shown here are four kinds of chalk Looking fromthe lower right lo the upper left, you see the small, rec HH pencil, a thicker, softer pencil that makes a broader,tangular Conte crayon, a larger, rectangular stick of hardblacker mark: a metal holder that grips a slender, cylindricallead: a plastic holder that grips a thick lead, and finally arectangular stick of graphite that makes a broad, bold markpastel: hard pastel in the form of a pencil that's convenienton the paper It's worthwhile to buy some pencils as well astwo or three different types of holders to see which ones feelmost comfortable in your handfor linear drawing: and a cylindrical stick of chalk in a metalbolder. All these drawing tools are relatively inexpensive,so it’s a good idea to try each one to see w hich one you likebest.Charcoal. This versatile drawing medium comes in manyErasers (Rubbers),forms. Looking up from the bottom of this photo, you see acylindrical stick of natural charcoal, a rectangular slick ofnatural charcoal; a charcoal pencil; another kind of charcoalmon .soap eraser, best for cleaning broad areas of bare pa*per; a harder, pink eraser in pencil form for making precisecorrections in small areas of graphite-pencil drawings; apencil—with paper which you gradually tear away as youwear down the point, and a cylindrical slick of charcoal in ametal holder. Natural charcoal smudges and erases easily,bigger pink eraser with wedge shaped ends for makingso it’s good for broad tonal effects- A charcoal pencil makesfirm lints and strokes, hut the strokes don't blend as easilyfrom left to right, you see the com broader corrections: and a square of kneaded rubber (punyrubber) that's best for chalk and charcoal drawing. Kneadedrubber squashes like clay t as you see in the upper right) andcan take any shape you want Press the kneaded rubberdown on the paper and pull away; scrub only when neces sary-

EQUIPMENT7Drawing Board and Pad. Drawing paper generallycomes in pads that are hound on one edge like a book. Mostconvenient is the spiral binding like the one you see here,since each page folds behind the others when you’ve finished a drawing. The pad won't be stiff enough to give youproper support by itself, so gel a wooden drawing boardfrom your art-supply store—or simply buy a piece ofplywood or hberboard If you buy yciur drawing paper insheets, rather than pads, buy a piece of soft flberboanl towhich you can tack your paper.Storage. Store your pencils, sticks of chalk, and sticks ofcharcoal with care—don’t just toss them into a drawerwhere they 'll rattle around and break The comportments ofa silverware container (usually made of plastic) providegood protection and allow you to organize your drawingtools into groups. Or you can simply collect long, shallowcardboard boxes—the kind thai small gifts often come in.Knife and Sandpaper Pad. The pencil at the right hasStomps and Cleansing Tissue. To blend pencil, chalk,or charcoal, you can buy stomps of various sizes in anygood art-supply store. A stomp is made of tightly rolledpaper with a tapered end and a sharp point. Use the taperedpan for blending broad areas and the lip for blending smallareas. A crumpled cleansing tissue can be used to spread asoft tone over a large area Natural charcoal is so soft thatyou can dust off an unsatisfactory area with lhc tissuebeen shaped to a point with a mechanical pencil sharpener.The oilier pencil has been shaped to a broader point with aknife and sandpaper The knife is used to cut away the woodwithout cutting away much of the lead. Then the pencilpoint is rubbed on the sandpaper to create a broad, flat tip.Buy a knife with a retractable blade that’s safe to carry Tothe right of Lhc knife is a sandpaper pad that you can buy inmost ait-supply stores; it's like a small book, bound at oneend so you can tear off the graphite-coated pagesJrhsborrechtlich qeschCitztes Materia:

PROPORTIONS: FRONT VIEWMale Figure. Although no two models arc exactly alike,it’* helpful to memorize the proportion* of an “ideal" figureand keep these proportions in mind as you draw. Mc»: art ist* use the head a* the unit of measurement. They generallyvisualize a figure that’* eight head* tall. The lorso is aboutthree heads tail from the chin to the crotch, divided intothird* at the nipple line and navel. The upper leg is twoheads tall, and so is the lower leg. At its widest point, theshoulders, the ideal male figure measures just over two beadlengths.8Female Figure. The ideal female figure is also about eightheads tall. though you can see that she's just a bit shorterthan the ideal male figure at your left. At its two widestpoints, the shoulders and hips, she measures about two headlengths. In both these figures, notice that the elbows arcapproximately three head lengths down from the top of thehead and align with the narrowest point of the waist, whilethe wrists align w ilh the crotch. Naturally. these alignmentschange when the model bends her arm.Urheberrechtlich geschOtzles Material

PROPORTIONS: SIDE VIEWMale Figure. The proportions are essentially the samewhen you see the figure from the side Note that the loweredge of rhe chest muscle comet about halfway down theupper arm. The lower edge of the buttocks is slightly morethan four heads down from the top of the figure—i bit far ther down than the crotch- As the model bends his arms, theelbows no longer align with the waist but rise farther up.Seen from the side, the foot measures slightly more thanone head length.9Female Figure. In profile, the female figure has the sameproportions as the male figure, although she’s slightlysmaller Once again, you can see that the breast comesabout halfway down the upper arm. and the lower edge ofthe buttocks is just below the midpoint of the figure. Fromthe shoulder to the wnsf, the arm length is slightly underthree heads, which means that the uppet and lower armsshould each measure roughly one and one-half heads. As inthe male figure, the female foot is jusi over one head longThe outstretched hand is slightly less than one head long.Urheborrechtlich geschCitztes Materia!

PROPORTIONS: THREE-QUARTER VIEW10Male Figure. When the male figure turns to a three-quarterFemale Figure. Here you can see clearly how the kneeview. the vertical proportions remain the same, but the hofironta! proportions change The shoulders are less than twoheads wide, and the entire torso has narrowed slightlyarms are each approximately one anJ one-half heads long,while the hand is just under one head long As the armdrops slightly as the leg bends. In the three-quarter view,the shoulders and hips arc no longer two heads wide, huthave become narrower (As the model keeps turning towardthe side view, those widths become narrower still.) Thelower edge of the breast comes about halfway down theupper arm The elbows align more or less with the navel,bends, the elbow rises above the midpoint of the figure, andthe wrist no longer aligns with the crotch. When one leghends and the other remains straight, the knee of the bentalthough the female navel is usually slightly lower than thatof the male. The lower edge of the knee is two heads upfrom the heel.Study the proportions of the Sent amt the upper and lowerleg tends to drop slightlyUrheberret ihllich oeschCitzles Mate

Male Figure. Seen from behind, the figure displays thevime proportions as in the front view—with some subtledifferences. The lower edges of the buttocks fall slightlybelow the midpoint of the figure—unlike the crotch, whichis usually just four heads down from the top of the head.The horizontal creases at the backs of the knees, dividingthe upper and lower legs, arc slightly more than two headsup from the heel—in contrast with the lower edges of thefront nf the knees, which are a bit farther down. Note thatthe tower edges of the shoulder blades are two heads downfrom the lop of the figure, which means one head downfrom the neck. The shoulders measure a shade over twohead lengths, while the hips measure about one and onehalf.Female Figure. In this view, you can see one of the majordifferences between the male and female figures, In themale figure at your left, the shoulders arc distinctly widerthan the hips, while the female figure is equally wide at bothpoints—roughly two head lengths. Once again, you can seethat the crease that divides the upper and lower tegs in hackis distinctly higher than the lower edge of the knee that yousee in the front view Ohs iously, nut every model will havethe ideal proportions you see in these drawings. But if youstay reasonably close to these measurements, making someadaptations to suit each model, your figure proportions willalways he convincing.Urheberrechtlich geschiitzles M

DRAWING THE MALE TORSO: SIDE VIEW16'-Hi iiI\Step 1. The torso ii a upenng box. with a slanted rectanglethen out again at the buttocksStep 2, The blacky shapes of the "diagram" are roundedoff in the realistic line drawing. The neck normally Leansforward, the upper torso leans backward, and the lowertorso leans slightly forward again to meet the upper torso.Step 3, The light comes from the right, placing the leftsides of the forms in shadow, which the artist blocks in withparallel strokes Study the alignments: the paint of thethe contours with the pencil point—you can see the grada tion of light, halftone, shadow, and reflected light mostshoulder is dirccth above the center of the hip,dearly on the chest muscle, shoulder, and hip,for the chest muscle and egg shapes for the shoulder andhip The hack curses nui at the shoulder, in at the waist, andStep4. When the artist builds up the tone*'—accentuatingUrheberrechtlich geschiiMaterial

DRAWING THE FEMALE TORSO: SIDE VIEW17VStOp 1. The female figure shows the same angular *‘mnvcmcm" as that of the male. The neck tilts forward, the uppertorso leans hack, and the lower torso tilts forward to meetthe upper torso at the waist.Step 2. The pencil point defines the edges of the forms andthe contours of the shadows within the forms The femalebuttocks protrude more than those of the male, hut the cen ter ol the shoulder still aligns with the center of the hip.Step 3. The light source is at the left, illuminating the frontof the figure and placing the hack—as well as much of theside—in shadow The artist follows the shadow guidelinesStep 4. The finished torso shows the gradation of light,halftone, shadow, and reflected light, plus the cast shadowof Step 2 as he blocks in the tones.suggest anatomical detailbeneath the breastWithin the lighted abdomen. halftones seberrechtlich ge schutzies Malarial

DRAWING THE MALE HEAD18yi IN %I./V \ }/ /I '\ —rStep 1. The artist draws an egg shape with a vertical centerline Horizontal lines locate the features: the eyes arc half way down: the underside of the nose is midway betweeneyes and chin: the division between the lips is one-thirddown from nose to chin. Over these guidelines, he placesthe features, squares up the yaw . and indicates the hair.Step 2. Study the proportions of the realistic head, drawnover the guidelines of Step I. The height of the head, fromchin to crown, is one and one-half limes the width fromcheek to cheek. At its midpoint, the head is “five eyeswide.” The space between the eyes, and the underside ofthe nose, arc both 'one eye wide." The cars align with theeyes tor eyebrows) and mouth.guidelines you saw in Step 2. The light comes from theright, and so the shadow is on the left side of the head. TheStep 3. The artist blocks in the shadows, following theStep 4. The shadows on the left sides of the forms arc dark ened So are the undersides of the forms that curve inward,away from the light the eye sockets, hottom of the nose,eye sockets and upper lip curve away from the light, and sothey contain deep shadows. The comer of the nose casts aupper lip. underside of the lower lip. and chin. The artiststrengthens the halftones in the lighted areas, defines the de slanted shadow to the left: (he chin casts a shadow acrossthe neck in the same direction.tails of the features, and reinforces the outer contours.Urhcberrechtli'

DRAWING THE FEMALE HEAD19Step 1. The head is turned slightly lo the left in this three'quarter view. Again* the artist draws an egg shape with avertical center line—which moves to the left as the headturns—plus horizontal lines to locate the features Then thefeatures go over these guideline*. The artist indicate* theOver the egg. the artist traces the curses of theforehead, check, jaw. and chin: delines the eyebrows andeyelid*, adding the irises ami pupils, indicates the tip of thenose and the nostril wing as separate, rounded shapes Hedraws the wing shapes of the upper lip: the fuller, lower lip:shape of the shadow that runs down the forehead, cheek,and the internal detail of the earStep 2.and yaw.Step 3. The light comes from the left, anJ so the artistblocks in the big shadow that runs down the right side of thehead, including the car He places shadows in the comers ofthe cvc sockets: on one side or the nose and beneath it: onthe upper lip. which tills away from the light; beneath thelower lip. and at the lip of the chin. Finally, he darkens thehair.Step 4. The anisi reinforces the shadow shapes, faithfullyfollow ing the shadow edge that first appeared in Step IWiih duster* of curving strokes, he darkens the big shadowshape on the side of the head and then intensifies the shad es on the feature* The pencil point completes the hair,adds the details of the features, and reinforces the contoursUrheborrechtlich geschutzfes M

DRAWING THE MALE ARM AND HAND20r,f)Step 1.The art t visualizes ihc upper and lower arms ascylinders He draws a center line through the upper arm toalign the elbow and the center of the shoulder—which heStep 2. When the artist draw s the realistic contours, he re tains the spherical form of the shoulder muscle and the ta pering shape of the tower arm. adding the curves of thedefines as a sphere. The bask of the hand is drawn as asquare fmm which the Lhumh projects Straight lines definethe lingers Parallel guidelines align the knuckles.tidier muscles. As he draws the hand, he follows the cursingguidelines ol the knuckles. The thumb is only half thelength of the handt the up of the thumb stops where the lin gers begin./Jf ,} If., fjgyStep 3.Blocking in the shadows, the artist follows thecurves of the spherical shoulder muscle, the rounded backof the upper arm. and the tapered cyI inder of the forearm I nthis view, the back of the hand and the first joints of theStep 4.The artist renders the shadow as a continuous,(lowing shape that follows the curves of the muscles downto the protruding knob of the wrist, which catches the lightlingers bend .twav from the light, so they’re in shadow Thelight strikes the protruding knuckles, plus ihe second andHe accentuates the shadow t on the bock of the hand and be hind the knuckles The pencil point reinforces the contoursof the arm and hand, and then sharpens the details of thethird joints.knuckles and fingernailsUrheborrechtlich geschutzies Malarial

DRAWING THE FEMALE ARM AND HAND21\Step t. The upper arm is drawn as two parallel guidelineswith a curse for the shoulder. The lines of the forearm taperto the wriM. The palm is a box I ike shape: a curve defines thebulge of the muscle that connects to the thumb, Parallellines locale the fingers. The palm and fingers are crossed bycurving lines that locale the creases behind the knucklesStep 2. The shoulder and upper arm How together in a sin gle cursing line. The shoulder muscle overlaps the upperarm and flows into the breast. The forearm isn't exactlystraight, but bends slightly as it approaches the wrist. Thecurses of the fingers follow the guidelines of Step I. as dothe creases that cross the hand. The length of the thumb isroughly equivalent to the palm.Step 3. A slender shadow runs along the underside of thearm. continuing along the edge of the hand The shadowyedge of the chest muscle flow s into the breast A strungshadow emphasires the roundness of the big muscle thatconnects to the thumb. The fingers begin to look cylindricalas the arusi adds hints of shadow to their edges.Step 4.The artist darkens the shadowy edges and then addssubtle halftones in the lighted areas to suggest additional de tail such as the inner edges of the shoulder muscle and theslender cords of the wrist. The fingers become rounder as heintensifies the shadows. The pencil point reinforces- thecreases in the palm, the insides of the knuckles, and the fin gernailsUrhcberrechtlich qeschLitzfes Material

DRAWING THE MALE LEG AND FOOT22.Step 1 The preliminary line draw ing visuali/es ihc upper and lowerlegs as cylinders, that taper towardthe knees and ankles. In this pose,one knee is slightly lower than theother: (he artist draws a sloping linebetween the knees to establish thisrelationship As seen from the side,the foot is a inangle with a blocksheel and a circular knob for the pro truding unklcbone. The other foot,seen from the front, is a short,hlncky wedge. Notice how the artistadds vertical center lines to boththighs and Id one lower leg, just ashe docs when he draws the head ortorso,Step 2, The realistic line drawingemphasizes the muscular bulges ofthe thighs and the characteristiccurves of the lower legs. The bulg ing muscles of the inner thigh andinner calf are particularly importantin making a lifelike drawing of Ihcleg In drawing the feet, the artistrounds off the heels as separateshapes and emphasizes the bulgebehind the big toe. Notice how thetoes of the fool at the left all comedown to the cursing guideline thatdefined the end of the foot in Step I.jborreclschutiMaterial

DRAWING THE FEMALE FIGURE32Stop 3. The artist observes that the light is coming from theupper right, The tops and nght sides of the forms face thelight. while the left sides and undersides turn away intoshadow. You can sec this most clearly in the head, wherethe face turns away from the light and all the features are inshaduw: the light strikes only one side of the forehead,check, and jaw. as well as the car and the very tip of thenose, which juts nut of the shadow to pick up a small tri angle of light In the same way. the breasts turn upward andreceive the light, but their undersides curse downward andaway from

Drawing the Female Arm and Hand 21 Drawing the Side Leg and Fool 22 Drawing the Ferrule Leg and Foot 24 . Drawing the Male Figure 26 Drawing the Female Figure 30 Pencil Drawing 34 . Demonstration I. Standing Male Figure 36 Demonstration 2, Standing Fcmak Figure 40 Demonstration 3, Seated Female

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