Assignment #7 Figures in boxes

TODAY'S TOPIC :
The Figure in Perspective

     "The Three Masters":
          Flow, Volume, Silhouette

1. FLOW, aka
    Rhythm
    Gesture
    "Energetic ghost"

    Line of Action
2. VOLUME, aka
    Solidity
    Form
3. SILHOUETTE, aka
    Shape
    Outline

Reviewing contrapposto, line of action,
importance of “drawing through,” of using reference without copying.
Banishing “ideas from nowhere”: Purge the things you “know for sure that just ain’t so” (Mark Twain), e.g. symmetrically pinched-off “sausage” limbs, bow-tie feet, Chiclet toes, etc.


Homework #7

Complete 3 nude figure drawings in good proportion using...


2 point perspective - reclining figure,
2 point vertical - walking figure.
3 point perspective - (EDIT) SEATED figure,

They should be a variety of ages and body types. Give your figures natural – not wooden – poses. Make your drawings as clear and neat as possible, using one line for contours. This does not that you should omit all detail inside the outline: please draw people as if you enjoy people, are interested in them, and are generally in favor of their existence.

Same standards of perspective apply (especially regarding vanishing point placement). Use subdivision to divide the Box or “card.” Use projection toward the VP to check scale of head in relation to feet, for instance.

Keeping the VPs well outside the drawing, where possible (i.e., not in one-point) can make this assignment much easier.

I suggest:

1) Thumbnailing a few alternate poses, each with the Box and VPs, for each of the four drawings--less than a minute each.

2) Sitting down with plenty of figure reference and looking through it aimlessly for 10 minutes or so, observing things you already have observed about the figure, giving yourself credit for knowing them, while letting yourself be surprised by new facts too. Sketch some isolated body parts that happen to be about in the positions you want for your drawing.

3) Draw your made-up people as people, not mannequins. Include toes, nails, nipples, genitals, wrinkles and folds in the skin--even hair and body hair if you like.

MILLION-DOLLAR TIP: In all your figure drawing, always--in every drawing, from every angle, every body type--find the collar bones and the “t-shirt collar” and always find the cylinder of the neck (this attachment area is too important to abandon to chance.)

$500,000 TIP: Rough in full shape and position of limbs (even bent ones),  each as a unit, in earliest stages--don’t feel your way down them, losing your sense of direction as you go. Plan.


FUN FACT: Most muscle are fattest in the middle, rather than near one end. (exceptions are the biceps, vastus medialis, which are bulbous close to the joint). Almost all begin and end on different bones, usually across a joint.

REQUIREMENTS:
    •    Full figures, obviously
    •    Submit copies of your ref, stapled, for at least two of the drawings. 

    •    Put box on overlay, subdivided at least once.
    •    Image area of each drawing is at least 9 x12 in.
    •    Present drawings neatly, with box or card on an overlay. Use space of paper well (no tiny figures on big sheets). VPs need not be on final art or overlay. 

    •    Include horizon in overlay for 2pt reclining drawings. Boxes and cards must be subdivided at least once and all edges indicated (not just the ones on the near side). Halfway line must be indicated on all four planes.
    •    Horizon must not cross or pass near figure in 2ptV and 3pt. VPs should be well outside drawing in these two drawings
    •    No big, obstructive hair

    •    Vary the body types. Nice exmples by Gustav Klimt and in photos, below


FOR “EXTRA CREDIT”:
Include convincing form shadow and properly plotted cast shadows

REMEMBER: One of the drawings may be left at the layout stage to save time.

Best of Luck, you guys!

JH

EXAMPLES OF VARYING BODY TYPES:

 

(Note the weight distribution in different phases of the walk cycle in these walking poses.)

 

and below, a guide to childrens' proportions from the Famous Artists' course.