Mastering Drawing THE HUMAN FIGURE From Life, Memory, Imagination with Special Section on Drapery By Jack Faragasso Instructor at The Art Students League of New YorkFirst Edition Copyright 1998 by Jack Faragasso Library of Congress Catalog Card Number 98-90798 ISBN: 0-9667113-0-0 (paperback) All rights reserved No part of this work may be reproduced or used in any form or by any means ~ graphic, mechanical or electronic/computer scanning including photocopy- ing, recording, taping or information storage and retrieval system without written permission from the author. All drawings by the author. Layout and design by Peter J. DeWeerdt ACKNOWLEDGEMENTS Tnust first acknowledge my great debt to Frank J. Reilly for this book would not have been possible without his teaching and inspiration. 1am also indebted to my students, for as the old Roman. saying goes, “as we teach we learn.” Ihave learned much from them. Credit must be given to Peter J. De Weerdt for his comprehensive layout of the book and his, advice and help in its production, I would also like to thank Karen Bonacorda for the typing of the man- uscript as well as for her intelligent editorial com- ments. Thanks also to Joan Reutershan, Susan. Grosse and Julie Hannibal for their help in proofing, the manuscript. Twish to acknowledge the work of Hans J. De Weerdt for his advice and guidance on computer technology without which this book would not be possible,TABLE OF CONTENTS WHO Tats 600K 1S FOR ‘BACKGROUND HOW TO USE THis BOOK ‘A WORD OF CAUTION INTRODUCTION CHAPTER ABOUT MATERIALS = eG CHAPTER HOW TO SHARPEN A PENCIL - VARIETIES OF LINE — VARIETIES OF STROKES '4 PORTFOLIO OF DRAWINGS SHOWING USE OF LINE FIGURE DRAWINGS SHOWING LINEAR VARIATION TO EXPRESS FORM AND FORESHOPTENING ‘QUICK SKETCHES EMPHASIZING LINE = LINE SHOWING MINIMUné USE OF LINE TO CAPTURE THE POSE. 12 CHAPTER EXPLANATION OF WHAT ARE RELATIONSHIPS: ) WHY RELATIONSHIPS LINEAR RELATIONSHIPS RELATIONSHIPS OF LINE TO LIGHT & SHADE RELATIONSHIPS OF LINE TO FORMS PLANES ~ A WORD OF ADVICE RELATIONSHIPS: CHAPTER j THE PRINCIPLES OF GROWTH WITHIN PLANTS, ‘SHELLS, BIDS, HUMANS GROWTH CHAPTER ‘BASIC FORMS AND THEIR COMBINATIONS BASIC FOAMS OF THE HUMAN BEING ‘ TORSO ARMS -LEGS FORM 18 22 26 CHAPTER . EXPLANATION OF PLANES - EXAMPLES OF - BASIC PLANES AND FOAUS OF THE HEAD PLANES: 30 CHAPTER PRINCIPLES OF — UNIFICATION OF SHADOWS ON THE FIGURE, ; casr acon THE ONTaN The HALMONE PROPORTIONS OF THE HEAD ~ OF THE FEMALE FIGURE ‘PROPORTIONS "ADJUSTING FOR PHOTOGRAPHIC DISTORTION 46 CHAPTER DEFINITIONS OF THE TERM “ACTION’ ~ PROCEDURE ~ ACTION OR . STATION POINTS LARGE FORMS IN ACTION ~ THE ACTION OR CENTER LINE ~ ACTION OF THE FIGURE, TILTING, BENDING, RELAXED, STRAINED ‘PORTFOLIO OF DRAWINGS OF THE FIGURE IN ACTION ‘THE CONCEPT OF ACTION ‘DRAWINGS FROM THE SKETCHBOOK: ACTION 56 CHAPTER [BASIC FIGURE STRUCTURE DIAGRAMS AND PROCEDURE, FRONT, BACK, SIDE = THREE QUARTER VIEV SIMPLIFIED CONCEPTIONS OF THE LARGE FOFNS IN "ACTION ~ SIMPLIFIED STRUCTURE ~ SHEEPIG RELATIONSHIP LINES |) BASIC STRUCTURE = THE USE OF KNOWN QUANTITIES OF THE FIGURE DRAWINGS FROM THE SKETCHBOOK BASIC STRUCTURE 68 CHAPTER STEP-BY.STEP DEVELOPMENT OF THE PLANES (OF THE TORSO—FRONT, SIDE, BACK. THREE-QUARTER VIEW PLANES OF THE TORSO 98THE LARGE FORMS OF THELESS AND THEIR ATTACHMENT TO THE TORSO LEGS IN PERSPECTIVE STRUCTURE: THE LEGS 106 CHAPTER ) ‘STEP BY-STEP CONSTRUCTION OF THE PLANES OF THE LEG LIGHT AND SHADE ON THE PLANES OF THE LEG PLANES OF THE LEGS 108 CHAPTER consraucTiow oF FORMS ANO PLANES OF THE ARM LIGHT AND SHADE ON THE PLANES OF THE STRUCTURE AND PLANES OF THE ARM 112 CHAPTER CHAPTER ‘DRAWN AND CONSTRUCTION OF HANDS AND FEET PORTFOLIO OF BRANINGS! HANDS AND FEET ‘Gralimios PROM THE sKETOHBOOR. HANDS STRUCTURE: IANALYQIS OF HANDS FROM MEMORY PoRTEOLIO OF DRAWINGS. NUDE STUDIES SOME EXAMPLES HANDS AND FEET OF PUNE Bhawohtas UNG PREVIOUS PRINGIPLES THE CONSTRUCTION OF THE SKULL THE RELATIONSHIPS OF THE ANATOMICAL FORMS ‘SIDE, FRONT, TOP AND BOTTOM VIEW THE SKULL AND ITS CONSTRUCTION 114 134 CHAPTER CHAPTER Q CHAPTER ‘STEP BY STEP CONSTRUCTION OF THE FORMS AND PLANES OF THE "HEAD ~ FRONT, SIDE, TOP BOTTOM AND BACK VIEW [EXPLANATION OF FORMS ON FORMS THE PLANES AND PHOTO SERIES OF A CAST IV LIGHT & SHADE SHOWING PLANES & FORMS ‘DRAWINGS FROM THE SKETCHBOOK. THE SKULL FORMS OF THE HEAD IDEAS ORAVIN FROM MEMORY AND IMAGINATION THE CONSTRUCTION AND PLANES OF THE *¥212 onanwas pnow re sxzrouBcox: FEATURES OF THE HEAD THE EYES THE PLANES AND FORMS OF THE NOSE, EAR TENTION OF FAIR TOE LANES OF TE HEAD aa tu esata moms a PLANES OF Ie THE CONSTRUCTION, DRAWING AND" "Sethinaersow mi kercnBok Han riveree Dnaines Or ansTViee 4 BEARDS RENDERING OF HAIR AND BEARDS PORTFOLIO OF ORAWINGS: THE HEAD 136 176 196 CHAPTER PURPOSE OF - “SQUARING UP" PROJECTING UP THE WORKING DRAWING 214 CHAPTER CHAPTER ‘DRAWINGS FROU THE SKETCHOOOK: MEMORY “A SELECTION OF DAAMINGS FROM MEMORY DRAWINGS FROM THE SKETCHEOOK. IMAGINATION DRAWING FROM ‘A SELECTION OF DRAWINGS FROM IMAGINATION DRAWING TO MUSIC MEMORY AND IMAGINATION EXAMPLES OF DRAWINGS EXECUTED TO MUSIC ‘SOME PRINCIPLES OF ~ BASIC FOLDS ON THE FIGURE — LIGHT & SHADE ON FOLDS THE EYES'OF DRAPERY — RINGS: HAL FULL. INTERLOCKING ~ DIRECTION OF FOLDS PULLING FOLDS - HANGING FOLDS ~ BENDING, TWISTING. TUNNELING FOLDS EXCESS MATERIAL ~ DRAPERY ON THE FIGURE ~ PULL POINTS ~ PANTS ~ SKIRT PORTFOLIO OF ORAWINGS: DRAPERY DRAPERY DRAWINGS OF DRAPERY UTILIZING PREVIOUS PRINCIPLES 216 228