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26
Section One
The Fundamentals
As Oliveira explains,
T he image of
the
human figure is the vehic le
with which I
can
most
positively
relate. My concern fo r the f ig
ure is
primarily
a
formal
one,
growing out of
the problems
of
painting itself. 7
The Schematic Sketch
Whereas
gesture
or
action
sketches are
pri
marily an expression of
the
body s
energy
and
movement
and are often visual ly distin
guishable by
flamboyant
gestures and
fluid
line, the schematic sketch
plots
or
diagrams
the configuration
of
the pose and the body s
underlying
geometric
structure. The
lines
are
II
j
tCl.(u.f generally straight and tran.,::cribed
with
a
crisp and abrup ccato
action
that e otes
asequential chain
0 made calcuJa
r \ -
tions. eye ~ t e pos. ibrrs a n ~ e l -
pV ~ ~ s s of one
point
on boCly
to
another,_
the
information
is
quickly
and
simply
stated
a s
structural
l ine:a5illustrated ln
a sketctl bY
J\IIatisse (Figure
2 17
He;:e-the
lines-a-reprr
marily indicators of
posiflon
angles, ana
the
outer pe Jmeter:
of
iOf J . Starting ~ light,
tehtative indicators of shape, the
lines
become
bolder as the sketch progresses.
Although
still
executed rather quickly, the
schematic
sketch
is
often
punctuated
by stops for
making
visual
comparisons and a lign ing points of refer-
, ence, one to another.
n Although
drawings
are
viewed al l
at once,
they are constructed in sequential stages.
What
a schematic sketch
effectively does is
help di-
\
vi
the
complexity of drawing
the figure
into
simple
steps
where
different aspects
of
the
drawing
problem
can be
dealt with one
at a
I
t ime. F igures 2 8 and 2 19 illustrate
two
steps
in
this process. They allow
the
art ist to
index,
or
prioritize,
the
information, f irst plot-
ting the body s
two-dimensional
configura
t ion, then def in ing i ts interior structure and
volumetric
characteristics.
The schematic
process can
in
turn become the
foundation
for
a more detailed, finished
drawing where
contour lines are refined and
softened
and
value added
to
create a convincing rendering
of light and
volume.
~
I
,
2 7
Henri Matisse.
ude Study
Graphite pencIl.
The Metropolitan Museum of Art.
Gift
of Mrs.
Florence Blumenthal (10.76.3) Succession
H. Matisse, PanS/Artists RIghts Society ARS),
New York. (
t U t I (,,, Lr-- .A.-.:
e . . ~ N V \ N U
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l
\
\V
,
f
' I
hapter Two A Sketch to
Build
n
2 18
Plotting the body's
configuration.
2 19
Expanded schematic
sketch.
When drawing it is best
to
proceed
from
the general
to the
specific or, Matisse pu t
i t. 'Fit the
parts
together,
one
into the other,
and
build
your
figure
as a
carpenter
builds
a
house. 8 When bui ld ing a house
one
first
makes a plot
plan
a. l-d-lays out the founda-
tion. Then the floo joists,Ywalls, and rafters
are
framed
in.
Only after
this framework has
been constructed
and evaluated
as true
and
square
are the outer,
visible
surfaces
applied
and
finished
A schematic drawing
often
has the appear
ance
of
an architectural framework or scaffold
ing,
with
one
l ine buttressing
or tying into
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8 SectIOfl
n
The Fundamentals
,
another, as seen in Lin X Jiang s drawing Fig
ure 2.20). Here, the drawing of the model s
right
leg suggests the early sketch of th e
two
dimensional configuration whereas
t he t or so
shows
how
the a rt is t has c arr ie d h is drawing
further
into a study of volumetric
relation
ships . As
well
as being
informative
Jiang s
line has a brisk and
lively
rhythmic
quality.
Notice,
t oo t he r emnant s of some
original
plotting lines, which established visual con-
nections from knee
to
knee, shoulder
to
knee,
and so f or th.
The schematic sketch provides a particu
lar ly useful approach
to
th e
study
of propor
tions
and
how those
proportions
appear when
t he f igur e is v ie we d i n perspective. The next
chapter expands on t he s chemat ic approac h
to
drawing the figure
an d
discusses more fully
its practical
application in establishing
a
solid
beginning fo r an accurate assessment
of
what
the artist sees.
The Compositional Sketch:
Figure Frame
Relationship
Equally important to
an art ist s
ability to
cap-
ture
the model s pose
is
th e
wa y in which
th e
drawing
itself
is composed. Th e figure is de
fi ne d i n
part by
the space in
which
it exists.
Some art is ts call this the figureground rela
tionship
referring
to
the figure s position
within and against
its bac kground. O ther
artists
prefer to
think of
this
relationship as
positivenegative form
or
yinyang Whatever
the
term.
there
is
a universal recognition that
the subject of
th e
drawing is def ined no t
only
by the space
it
occupies bu t also by i ts r ela-
tionship
to
th e
surrounding
space.
Therefore yo u need
to
i nt er pr et t he dy -
namics of the body s
form with
sensitivity
to
how the pose relates
to
th e
picture
plane in
which it
is
going
to
exist. As an
actor
on
a
stage r emains c onsc ious of t he p er im et er s
within
which
to
perform
so
the artist
must
b e aw are of the
boundaries
of th e drawing
surface.
2 2
Lin
X
Jiang. Untitled. Graphite.
24
x , 8 .
Counesy of the artist.
A figure can be completely contained
within
th e
space
of
th e
page,
affecting com
position p ri m ar il y b y
it s
position in
reference
to
th e borders. O r the fram e can encroach on
the
body
a nd e ve n crop parts of it so that th e
composition
is
determined
by
the interaction
of the
body
with
th e
f rame s phys ical edge.
W it h a ny s in gl e pose,
there
exists a
multitude
of compositional possibilities. an d
even
though the figure remains stationary the
artist
can literally r earr ange t he
surrounding
space
an d
change th e
way
we perceive th e
subject. For
example depending
on
ho w
th e
body is framed.
it may appear to
be distant
or
near.
It may seem pa rt of
a l arge r e nvi-
ronment
or
provide al l of the composition s
structural
elements . The
sketches that follow
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IN THE
STUDIO
Gestural Line Sketches (Action Drawings)
os
1
minute
each
lor to 15 posesl
edi -
conte,
charcoal. or graphite on newsprint
one
drawing
per
side of sheet
In
this exercise, you are encouraged to draw large,
placing only one pose on each
Side
of the paper.
The larger the paper, the better. The goal
is
again
~ the dominant gestyral movement in the
pose. but this time to transcribe
it
with a-more
fluid, continuous, repetitive action.
As
your eye
scans and moves with the model s action. your
drawing hand should move with a corresponding
gesture, creating a line on your paper that follows
the movement of your eye. This drawing is
as
much about your gesture and movement
as
it
is
about those of your model. Imagine that you are
Blind Gesture Sketches
os
1
minute
each
to
5 IXlseS
edi - conte,
charcoal,
or graphite on newsprint lone
drawing
per
side of
sheetl
This is a good exerCise for developing eye-hand
coordination and for learning to loosen up and be
spontaneous. Its name derives from the fact that
you draw
without looking at the paper. Position
yourself so you can see the model without seeing
your drawing paper. Place your drawing tool on the
paper, then, without looking at or lifting your hand,
allow it to trace your eye movement as you scan
the pose, drawing over and through the form.
Work quickly and don t hesitate to redraw several
times as a continuous expression of the move
ment of your eyes. Expect the results to
e
dis
torted and humorous. The goal
is
not realism but
rather exploration of the connection between eye
and hand movement.
Chapler Two A Sketch to Build
On
35
to ded icate several sessions
or
even weeks
of
sessions at the
beginning of
a
drawing
course, and the f ir st f ift een or thirty minutes
of each
session thereafter,
to practicing quick
sketches.
This
is
the
warm-up,
the
artist s cal
isthenics, when you l imber your drawing
\ .
hand, sharpen your eye. and open your mind
to the
myriad
possibilities
inherent in draw
in g the
figure.
sketch is a
means of testing
a
hunch, gather
ing
information, taking visual notes to be
am
pli fied and
developed. The
sketch
provides
a
way to
f loat an idea. It
is the means by
which an artist can
muse
and ponder,
con
temp la te and make
new
discoveries. For al l
these reasons, many teachers feel the best
place to begin drawing from
life
is with
quick
sketching exercises. It is
therefore
common
The most common philosophy and procedure in
both academic life drawing courses and less for
mal, self-taughl drawing groups is that the natural
way
10
begin drawing from the model is with
qUIckly
e>.ecuted.
nonprecious sketches. A sketch,
by definition, is unpretentious, exploratory--even
disposable. Sketches deal
with
generalities rather
than delails, suggestions rather than affirmations.
These exercises encourage you to respond to your
natural drawing impulses and to let them provide
the impetus and foundation for the more detailed
study of l ife drawing that is to follow.
Dominant Action Sketches
os to S secoods each for
approximately
5
minutes
edi - bold
and
thick
conte,
charcoal,
or graphite
on
newsprint
In
this exercise, the model changes from one pose
quickly into the nex . Place four to six poses on the
same piece of paper.
Each
drawing may
be
6 to
S
high. Allow sketches
of
different poses to overlap
one another. The intent is to state quickly and effi
ciently what you feel is the essential element
of
the whole pose.
To
do this, use a bold line or lay a
short piece of conte, charcoal. or graphite flat on
the paper to make a broad value band through the
core of the body. Do not attempt to draw the con
tour or edges of the body. Instead, try to see the
movement through the center,
arcore,
of the
body.
Get a feeling for the tlioverrtent and gesture
of the pose, then record. In seconds, its key com
sltlOnal eTement After filling a page with these
rapi
changing
o y
configurations, you can ap
preciate the comparison of these exercises with
an aerobIC
warm-up. They offer
an
excellent inter
active begmnlng to any draWing
seSSion.
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36
SecllOl lOne The
Fundamentals
drawing over and through the body s action. Do not
attempt to outline the body. You w an t t o feel t he to
tali ty of the body s action and express it as directly
as
you can with the action of your line.
vO \o J This exercise can be expanded in a number
of
ways by incorporating m ov em en t i nt o t he pose.
q
Have the model take three related poses in suc
cession, holding each for only about thirty seconds
or a minute. Using line only, capture each pose as
overlapping gesture, allowing your line to move and
f lo w f ro m one pose i nt o the next.
Another alternative is to sketch t he pose f ro m
memory. In this situation, the model holds a pose
for about f ift een seconds. Do n ot draw w hi le th e
model is posing. Rather,
when
the model stops,
begin sketching the pose from memory. Develop
ing your visual memory
is as
important when draw
ing as a verbal or phonetic memory is for reading. It
also helps you develop the abili ty to focus in on the
key visual relationships within each pose.
Sketching Volume with Circumscribing
line
os
-
2minutes
edia
-
conte. charcoal, or graphite
on
newsprint
The goal
of
this exercise is to build a sense
of
vol
ume and mass through an accumulation of lines
that appear to be circumscribing wrapping around)
the body s form. Begin by quickly suggesting the
overall action and key components of the inner
pose,
as
wi th the gestural line sketch. Then de
scribe the full breadth and depth
of
the body
with
gestural lines that cross over and around the con-
tour of the body. Imagine that you are actually
drawing on the model and that your line is wrap
ping physically around the body like string. See Fig
ure 2.29 for an example.
Value Sketches: Gesture
and
Mass
ose
-
1minute
e h
to
10
posesl
edia
- conte,
charcoal, or
graphite on new5prinllmay
be
done
with
ink
or
watercolor
washesl
Use your drawing stiCk, approximately long, held
lengthwise against the paper to create a broad
value area. The idea is t o de pos it your p ig me nt in
wide, grainy areas. Draw the figure without using
line. At first. work lightly, trying to record the con
figuration of th e en ti re pose. Think of the grainy
texture of the drawing medium as representing the
dense molecular structure
of
the body in an atmo
spheric space. As your eyes rescan the pose, make
alterations
as
needed by expanding or darkening
the form to express its gesture and mass. If you
f ind yourself focusi ng on smaller aspects. rather
than on the whole, try squinting at t he model in
order to slightly blur the edges and details.
line and
Value Gesture Sketches
ose
5 minutes each 3 to 4
posesl
edia
-
conte, charcoal, or graphite
on
newsprint may also
be
done with ink
or
watercolor washes)
In
this exercise, use both line and value
as
comple
mentary element s. First, d o several drawings,
starting with value t o suggest the mass and ges
ture of the overall pose. Then dr aw back in to the
9
Cynthia Limber. Student drawing. Circumscribing line.
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Chapter
Two A ketch to Build On
37
sketch wrth line.
AVOid
simply OUtlining your value
drawing; let your line draWing e a new response
to the model s gesture. After you have completed
several draWings, reverse the steps, starting
with
line and following
with
a value drawing over the line
drawing. Each element should complement and
amplify the statement made by the other.
Schematic Configuration ketches
ose
1
minute each 15 to 7 poses
Media - charcoal
or
graphite pencil 00
newsprint
The gool of this exerCise is to create a quick
schematic diagram of the body s configuration. The
three-dimensionality of
the figure is f lattened and
traced
as
large, simple two-dimensional shapes.
The goal IS to l ightly sketch
what
you see
as
the
plot plan for the figure on your paper. The process
and purpose are analogous to a surveyor s defining
the footprint or foundation for a house on a building
site. Begin by mapping the large primary shapes
and lines, then add secondary ones. For expedi
ency lines representing outer contours can be sim
plified. Light lines can also be used
to
indicate
horizontal, vertical, and diagonal alignments of one
part of the body to another. Some artists indicate the
position of landmarks on the body, such as joints,
with a small circle. Detailed areas, such
as
the
head, hands, and feet, are reduced
to
simple geo
metric notations. The primary goal is to indicate the
size
and location
of what
you observe. Forms are
first defined
in
terms of their basic geometry, with
the idea that they wi ll be rounded
of f
and details
will be added later. Refer
to
Figure
2.18
for
an
example.
Volumetric Schematic Sketch
ose 5 to
minutes
Media -
charcoal
Of graphite
00
newsprint
This
exerCise begins WIth a schematic configura
tion sketch, but the goal here is
to
literally expand
the two-dImenSional plot plan, to fil l it out,
to
give
volume and depth
to
the figure on the paper. This
is accomplished
by
using your lines
to
suggest the
body s three-dimensional structure. First, look for
forms that overlap, surface planes that turn, ridges
or recesses that appear. Cross-eontour elliptical lines
can
suggest the cylindrical nature of the body s form.
This
sketching process is analogous to that of the
stone carver, where the form is f irst blocked
or
Mrough
cut. Refer
to
Figure 2.19 for an example.
Compositional Sketches: Figure Frame
Relationship
ose
5
minutes
each to 8
skeu:hes
posel
Media - conte charcoal or graphite
00 newsprint
The purpose of this exercise is
to
help you see
more clearly the interrelationships
between
the
body s configuration and the picture plane
of
your
paper.
Draw
SIX
to
eight small rectangles (approxi-
...
matety 5 x 7 ) on a piece
of
large drawing
paper 2
>
varying the format
between
horizontal and vertical.
q /
Then, drawing from the model. create a
new
sketch
within each small rectangular picture plane. Attempt
to
see the pose as a compositional component in
relationship
to
the frame of your drawing paper and
the space around the figure. Draw quickly, consid-
ering how the dynamics of the composi tion may
change by placing the figure in a different part of
the picture plane
or
by changing the size of the fig-
ure in relationship
to
the frame.
Extended Gesture Sketch
ose 5 to
5
minutes
Media - conte
charcoal.
graphite or
ink
pen and
brush
on
newsprint
The extended gesture sketch begins with the same
concerns you dealt with in the previous exercises.
It requires that you respond quickly and intuitively
to transcribe your feelings about the body s gesture
and mass, and lhat you consider how the figure re
lates to the rectangular picture plane. In
fact
as you
begin your drawing, there should e little difference
from how you would begin a one- or two-minute ges
ture or schematic sketch. What distinguishes
an
ex
tended gesture drawing is
not
how it begins but,
rather,
how
it develops. Over the extended period
of
trme, your drawing should evolve into
an
ex
panded statement.
Independent StudV
o Take a sketchbook out
to
draw people as they
go
about their daily activity: working, playing ball,
shopping, walking.
Draw
quickly, fil ling each page
with many small drawings. Concentrate more on
sketching their activi ty than on their personal ap
pearance.
6
DraWing larger (one figure per pagel,
attempt to
record in your sketchbook the activity
of
people you have observed in seconds, before they
move; then use your
memory
to see what details
you can add about the individuals
whose
actions
you have recorded.