By Walt Reed
Walt Reed bestselling classical method of determine drawing accommodates conventional educating tools for wonderful artists in education.
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Additional resources for The Figure: The Classic Approach to Drawing & Construction
Remember to think of the head as a simple sphere. Remember the law of balance and equilibrium. Remember to draw all these forms through to the other side. If you follow these principles, you will find it very easy to develop convincing drawings of the human figure in action. Even the most complicated poses can be reduced to the simple solid forms that make them up. Foreshortening When drawing from a model or a photograph, beginning with basic figure construction provides an excellent means of understanding and locating foreshortened forms or those parts of the body that are partly obscured from view.
To make objects seem three-dimensional, you must also draw in depth, as shown in the three-dimensional cube at the far left. Construction vs. outlining: An object that is ʺwell constructedʺ has depth, as well as height and width. If we say that the construction of your drawing is bad, we will mean either that you have merely outlined your forms, forgetting about depth, or you have made mistakes in the basic structural lines. Proportions: Each separate form in the drawing at the extreme left is properly proportioned, but the different forms are not properly ʺrelatedʺ to each other.
In the female, the shoulders are not as broad and the collar bones shorter and straighter: this accounts for the more sloping shoulders and the longer and more graceful neck in the female. The male arms are longer in proportion to the trunk than those of the female due to the longer humerus or ʺupper arm boneʺ and because of this the elbow is lower. The length of the torso in the male is proportionately shorter than that of the female. The legs are longer and the skull larger. The center of the male figure is at the pubic bone (just above the crotch) while in the female it is slightly higher.