We are at Otis College of Art Design and my name is Chris Warner.
Today we're gonna work with measuring the figure in Life Drawing.
Here's a demonstration and discussion
of methods for making sure that our observational drawings of the human figure
are proportionally accurate. This technique is often referred to as measuring,
but it's not as though we're taking out a tape measure and measuring the length
and width of our model in inches or millimeters,
rather we will select an element from the figure that we will then use
as a unit to compare with and judge by both the individual parts and the figure
drawing as a whole.
First let's look at the canon of proportions of the human figure.
As it is described and illustrated in most anatomical references,
typically the unit of measurement or comparison being used as the length
of the head. Getting the proportions correct in a pose such as the seated pose on the
right is a bit more challenging than your extended figure on the left.
Here then are summary sketches or gesture drawings of two poses, one standing
and one seated.
I believe it's important to draw initially using our native observational skills,
and then subject the light sketch to an analysis
of comparative proportions and dynamic balance.
First assess the angle
observe from common point to come point across the figure.
For example, the horizontal axis line from shoulder to shoulder,
or hip joint to hip joint, knee to knee,
elbow to elbow, and so on using your pencil held between your
eye and the model to first observe and then record the precise angle with the line
between common points.
This is what we call axis lines. To observe and record
plumb lines, which is another word for vertical reference lines,
hold your pencil in a perfectly vertical position at a distance from your eye
so that it encompasses the length of the figure reaching from the top to the bottom.
I encourage my students to observe and record as many as three plumb lines in a
drawing, but for sure start with one
that descends through the middle core of the upper torso.
Also record angle sightings that run from point to point throughout the figure. Remember
your pencil or angle citing must always remain perpendicular to your
line of sight
like hands on a clock, the only record two-dimensional directions.
Create an envelope of angle sight lines around the entire figure.
To observe consistently accurate ratios and proportions, we must be careful
to keep the distance from our sighting instrument to our eye always the same in
countenance, so lock your elbow so your arms fully extended.
Once using the head length as our unit of measurement
with your citing arm fully extended position the tip
your pencil to the top edge of the model's head and adjust your thumb
down to the bottom edge of the chin. Now keep your arm fully extended,
always the same distance from your eye, and begin the process of counting the
number of head lengths
for the full length of the figure. As you observe each new head length position, you'll
make a mark at each corresponding interval along the vertical plumb line.
Now working off the length units, create a grid of squares two units wide
with the central vertical plumb as the mid-line.
We may observe the width or lateral distance across the model by locking our arm at full length,
finding the head length and then with our arms still fully extended, rotating our hands so our pencil is horizontal.
Now it is possible to count how many head lengths or units
wide something is. Often are observed ratio of
units must include fractions such as a half head or third of a head.
These smaller fractional units are guesstimations at best,
yet they add to your overall analysis in a collective way.
Once the modular grid has been established
you make check the relative size and position of any part of your figure
to confirm that it is
proportionally consistent with the unit of measurement and the figure composition as a whole.
For instance, how long is the foreshortened leg on the seated figure?
Remember, you're citing instrument cannot mimic the three-dimensional thrust
of the foreshortened limb. Imagine your pencil is like a propeller which can only turn
on a single-axis. Dial your pencil to the angle aligning with the limb and
compare its length to the unit of the head. All these lines that I'm making now
are lines that should be drawn lightly.
I'm drawing a little heavier here because of the demonstration just so you
can see what I'm doing
but in the end you're gonna draw these a little bit more lightly,
but at the same time I consider these drawings to help
build out the complexity of the drawing in the end,
and they're almost like a three dimensional matrix - they start to create
a palpable sense of space,
rather than a cleanly single line, outline,
flat shape you have - just through the employment of all these angle sights,
plumb lines,
and modular measurement, you've created this
sort of, sense of a space that you can enter
walk around and emerge through the other side.