Scribd Logo
Upload

Welcome to Scribd!

  • The Artist's Guide To Human Anatomy

    Uploaded by

    Paola
    6 views142 pages

    Original Title

    The Artist's Guide to Human Anatomy

    Copyright

    © © All Rights Reserved

    Available Formats

    PDF or read online from Scribd

    Did you find this document useful?

    Is this content inappropriate?

    Report this Document

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    Download as pdf
    6 views142 pages

    The Artist's Guide To Human Anatomy

    Uploaded by

    Paola

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    Download as pdf
    of 142
    The Artist’s Guide to HUMAN ANATOMY Gottfried Bammes Dover Publications, Inc. Mineola, New York Translated from the German by Judith Hayward in association with First Edition Translations Ltd., Cambridge, England. Copyright German-language edition copyright © 1990 by Ravensburger Buchyverlag Otto Maier GmbHt English-language edition copyright © 1994 by Transedition Books, a division of Andromeda Oxford Limited All rights reserved. Bibliographical Note ‘This Dover edition, fist published in 2004, is an unabridged republication of the English translation originally published by Chartwell Books, Inc. Edison, ‘New Jersey, and Transedition Books, Oxford, England, in 1994, The original German edition was Studien zur Gestalt des Menschen, published by Ravensburger Buchverlag Otto Maier GmbH, Wiener Neudorf, Austria, in 1990, Library of Congress Cataloging-in- Publication Data Bammes, Gouied [Studien zur Gestalt des Menschen. English] ‘The anst’s guide to human anatonyy / Gotfied Bammes. pen Originally published: Abingdon, Oxfordshire : Transition Books, 194, Includes bibliographical references and index ISBN 0-886-43641-1 (pbk) 1. Anatomy, Artisti. 2. Drawing Technique. 1. Tile 1NC760,82813 2004 74349-4622 2004052768 Manufactured in the United States of America Dover Publications, In, 31 East 2nd Street, Mineola, N.Y. 11501, List of contents Introduction /7 1, studies of proporion/9 2. studies of sanding and seated poses in repose /20 3. sues of iocomotv and expressive movements /32 , sete ofthe stl and head /36 + Studies ofthe construction, function and plastic behavior of the leg/44 6. suis oftne construction, function and movement of the torso / 55 7 suds of te stleton based on viulzaton/69 8, stuies ofthe construction, functioning and plastic behavior ofthe hand and arm /75 9, seuties othe whole gue /107 List of contents Introduction ‘This book presents the reader with almost 20 study drawings which demonstrate that a confident working understanding of anatomy can bean invaluable tool forthe artist. The drawings were produced over a period of four semesters of weekly three hour lessons. Te standard achieved after one year of study was tested by an intermediate three-part exam lasting four hours partly based on visual imagination, and the second year was concluded bya drawing projet, again in three pars and again party based on visualization For the tests a the end of the second semester (rst year), students were allowed a short time with a model to study his or her pose and analyze the constructional skeletal forms, the ‘groups of functional muscles in action and the ving form ofthe leg (see fig, 63) The final exam atthe end ofthe fourth semester (second year) followed the same procedure — extended to the ‘whole figure — with a special bias (see ig, 162) relevant tothe student's area of stud. This book also contains examples of ‘work produced by students attending Bammes intensive courses at Zurich and Salzburg, ‘What training and educational objectives, beyond anatomical knowledge, do the drawings reproduced in this book demonstrate? ‘When faced with a nude model, beginners ~as well as feeling embarrassed — are usualy confused about where to begin. The information about proportion provides important basic guidance suggesting thatthe figure be approached as an articulated entity in which the parts reat to the whole (figs. 1-13). The forms of the human body have varying characteristics and interactions, ‘Values relating to impression and degrees of visual weight are discovered, to do with the main forms andthe subsidiary, {intermediate and transitional forms that accompany them. We ‘work out a hierarchy of forms — not only in the context of studies of proportion — and the connections that exist within it “Anatomy for atts aims to highlight what unites rather than ‘what separates, and itis only to work toward this end that we undertake studies of individual pars Another priority for becoming Nuent in figure drawing is familariy with the way the figure a rest and in motion invariably conforms to certain rules (gs. 17—41). The rules Jeamed when studying proportion can easly be extended and applied to the body t must be realized that a standing or sitting position (igs. 3-16 and 28-34) isnot just a question of ‘mechanics — there is always a psychological aspect a well. The person drawing must always empathize with the model's gestures, sharing in the experience and endurance of tension, and its release. This book provides introductory examples and ‘methods of procedure that are practicable even for beginners Introduction Ofcourse thes fist ife drawings and wha they can achieve in terms of conceptual complexity have their limits, In order to understand how the human body functions, students must also familiarize themselves with te structure of its individual part, Only close studies supported by analytical methods enable students to convey form and function as they interact. If for example, you want to understand the essence of what happens to the form ofthe knee when it bends (gs 57, 59-65), you must have a thorough knowledge ofthe construction ofthe skeleton ofthe knee a5 regard form, components, structure and mechanics. The same is true ofthe torso (gs 83-95), pehis (igs 58-60), ib cage and the mechanics ofthe spinal column, The behavior ofthe soft, Neshy forms can then be inferred. Thus, we have to construct the figure from depth if we want more than a clever but facile result. Tat is why the forms of the human {framework must be simplified as far as possible, and why I always pat greater emphasis on the abstractve skeleton forms than on ‘the musculature (figs 79, 80, 82, 66, 102-109). Of cours, once inlvidual pants ofthe body are known to the student (and can be drawn from a mental image of them), they have to be fited back into the whole. Consequently the sequence of drawings contained in this book demonstrates that all graphic studies of parts ofthe body or the body asa whole ‘must ist be supported by the ability to draw the constructional forms. They area distillation of form, conveying information regarding what sor is not possible in functional and plastic terms. Conveying how the organism responds tothe demands ‘made upon itto perform also becomes the purpose of the drawing Ifyou consider depicting forms of the body to bea kind of structural drawing, then it is even more important to have an architectural understanding of the lve appearance ofthe body in onde to portray it (igs 152, 87, 153-159). Ibis a question of| ‘working out the structural inerpay between supporting and supported forms, between the relatively constant framework forms tat provide tablty and the changeable, pendulous forms ofthe soft pars of the body. This applies not only tothe sirctural processes ofthe gure asa whole, but koto the functional ones. In other words the body conceived asa building must evoke inthe person crawing it the main elements of a building, the solid core shapes and the container shapes, and at the same time it must be possible to see through these so that ‘each individual item i assigned to is proper pace. ‘Constructional form determines appearance and isa component cof essential form, Drawing form constructionally may bea valuable training exercise but there are other prospects and purposes implicit in it, The behavior ofthe sof, fleshy forms i a consequence ofthe behavior ofthe framework. In architectonic form — which Adolf Hildebtand saw as a form of attic nature study — this consequence does not produce showy muscular figures, nor the limp forms of dead matter which always crop up in artists anatomy even today. Anatomy for artists conceived in tis way has promoted an illustrative outer appearance of form, not «essential form, Perceiving form architecturally may be seen as a special way of understanding nature, asa statement about nature. The spirit behind the concept of something constructed also favors this approach (gs 182-184, 78), So, once more, efor is needed ifthe artist isto be free of otal dependency on a model, When | nsist that students must be able to construc a figure purely from their imagination without the presence ofan actual model, they have tobe such masters of their craft that they can draw the figure in is natural, human form (fig, 19). But this does not mean that from then on they can dispense with a model. Only once the fundamental facts have been filly absorbed can the unique form ofeach and every model ~ the head, arm, hand or complete figure —be fully ‘experienced and elaborated. The capacity for personal and subjective interpretation can ‘come into play only once students have a command of the complete repertory of rch practical knowledge and the ability to visualize — combined with the development ofthe inner eye. At that point the wide field of artistic creativity opens up before them, Ofcourse no amount of teaching can succeed in transforming the ‘mortal col’ into a work of art. Everyone must «embark on that journey alone, but we can take the student near to the cross-over point (gs 171,174, 182-185, 194). The naked hhuman body as an ‘object’ of ie study sas great a mystery a8 art itsele. 1 see drawing human forms primarily as an organizational task. Understood in tis way it can capture an important piece of vividness fom our world whichis becoming ever les vii. Creating order through drawing means wresting a smal bit of cour world away from chaos and making itacessble to scrtiny and cerainy. Seeing with understanding and drawing with understanding may at present be regarded with suspicion as having a science- based, therefore indiscret, relationship with the body. The veil covering a great mystery sifted ever so slightly Studies of proportion ‘The approach we adopt rules out any rigid theory of proportion with set basic measurements (modules) and an established esthetic canon, Instead we use a method that tats with the individual proportions ofeach quite different model, The total height ofthe model is structured by establishing measuring pints and checking the sections marked of by them for Coincidences or similarities. in practical terms this means that we frst establish the overall height of the igure from the soe ofthe foot to the erown ofthe head, draw the middle axis ofthe body 4s. connectng lin and mark off on its horizontal es the lengths measured from the mosel that re alike o similar (height proportioning) The geometric center ofa womans body is certain to coincide with the position ofthe pubic bone, i. the length ofthe upper pat ofthe boxy cortesponds with that of the lower par. ‘After the frst basic proportioning, other reference points ia the upper and lower pars ofthe body are investigated, For example we find the postion ofthe nipples (gs 1-6) litle below the top quarter ofthe body, while the lower edge ofthe ‘kneecap (coinciding with the interartcular space) isin the bottom quarter, which means thatthe length ofthe upper legis equal to that ofthe lower le pls the foot. Height proportioning is further refined as indicated. The height ofthe head (chin to the top ofthe sku, the length ofthe neck, the position ofthe navel and the waist, the length ofthe knee as an intermediary form between the upper and lower leg and the height of the inner ankle are also noted Once thas been established, the head height (is an appropriate measuring unit or module for determining other ‘measurements and assessing how far an individual model conforms tothe canons of proportion. Figs 1-6 show thatthe ‘models used conformed to the 8H canon in proportion. ‘Measurements that ae less than one head height can be expressed a fractions of it: neck-length c. /;—"/H, height of ankle /4H, and so on. As wellas being referred to the H module all measurements should be compared with one another Once the height proportions have been established, a similar process is carried out to ascertain the widths of the hoszontal axes of the body, Typically the widest measurement ina female body is acros the broadest pat ofthe hips, often exactly 2H, while the narrower measurement between the edges ofthe shoulders is often approximately 1/4H. Since the widest body measurement on a woman (across the hips) does not exceed 2H, a rectangle 2H wide by 8H high can be blocked in as a check onthe igure; subsequent freer proportion stuties can then be sketched into provide a broad ‘overall view the widest points ofthe horizontal measurements are joined, a simple proportioned figure consisting of ‘geometrzed forms emerges This simple guide to proportion is not 2 rigid dogma, and can be applied to every model Itis extremely important to work out the rough, broad forms of the sections of the body (e.g, the rectangle of the torso, the ‘trapezoid of te hips, the intermediate shape of the stomach, the ovoid shape of the head, etc): ‘© Simple forms are easy to remember and eye-catching ‘© The fact that simple forms are easy to visualize help you to understand functional processes (figs. 18-22). Only once they have been understood will you be able to convey the bchavior ofthe forms of the soft, eshy pats ofthe body clearly and convincingly, eg. compression and stretching ‘After drawing up the geometrized proportioned figure, two further stages are necessary: (© Making sense of the contours and formal accents by drawing in extremely simpiifed skeleton forms (Big 4, blue lines). ‘These represent the bass for the formal structure of each section ofthe body and for understanding organic and functional processes (igs 17-24). © Fling in characteristic subsidiary forms (e.g, breasts, layers of faton the hips, fanks and knees, igs 3,5) on the outine figure. Iris good idea to master all these stages using broad lines to avoid creating indeterminate images and to achieve precision of form, Only now is it appropriate to undertake three-dimensional studies ofthe body in both front and back views (figs 6,8): ‘Study the spatial gradations and draw inthe forms of the body nearest tothe observer and those around them using denser or lighter shading, ‘Drawings that have an almost pictorial quality (Bigs 9,16) can be achieved by producing 2 composite whole figure (these are not silhouette cut-out}. New problems relating to proportion arise when we come to the profile. As wel as the procedures that have already been covered we have to consider the rhythmic patter of the body (figs 10-15) (© ‘The figure is constructed around the structural line that runs through the opening ofthe ear and the joints ofthe shoulder, cow, hip, knee and ankle ikea plumbline, (The slanting axes formed on the side of the stomach by the volumes represented by the ib cage and pehis create an cbtuse angle (0 there must be no vertical stratification). ‘© The buttocks, front of the thighs and the calves along with the upper body form shapes that project alternately to back and from. Chapter 1 Studies of proportion 1. GEOMETRICALLY SIMPLIFIED PROPORTIONED FIGURE This study is executed in red chalk crayon using long unbroken lines so as not o get lost in anatomical details. The procedure for marking off height proportioning can be recognized ftom the lightly drawn horizontal axes Student of stage design, first semester ‘2 GEOMETRIZED PROPORTIONED FIGURE, IN A VARIATION OF THE STANDING POSITION The new directions ofthe limbs and the shapes ofthe intermediate spaces enclose by axes produce useful check points in the drawing ofthe figure. Student of stage design, fist semester 3 DRAWING IN SUBSIDIARY, INTERMEDIATE AND TRANSITIONAL FORMS ON! THE PREUMINARY PROPORTIONED FIGURE This phase uses what has already been learnt to introduce 2 stronger suggestion of individualized ive appearance From the Salzburg intensive course, 1988 4 MAKING SENSE OF THE QUTUNE OF THE FIGURE BY INSERTING SIMPUFIED SKELETON SHAPES ‘The geometrized shapes should not be adopted by the student as schematic forms without any further thought. The ‘comers, or accents, of the outline shape are given a primary anatomical and organic justification. Student of Pinting/graphic at, first semester Chaprer! Tt ‘Studies of proportion 6 EXTENDING THE STUDY OF PROPORTION BY EXAMINING THE BODY FROM A THREE. DIMENSIONAL VIEWPOINT ‘The pats ofthe body that protrude farthest are indicated using different ‘weighs of shading, The proportional construction ofthe body is now primary based on estimation. From the Salzburg intensive course, 1988 7 STUDY OF ALTERED PROPORTIONAL RELATIONSHIPS IN BACK VIEW ‘The horizontal axis atthe middle ofthe body is still the basic guideline. The horizontal crease made bythe buttocks is below that level. The line ofthe shoulder ‘bones runs down from the tip ofthe shoulder From the Salaburg intensive course, 1988 ‘5 COMPLETED STUDIES OF THE PHYSICAL APPEARANCE OF TWO DIFFERENT MODELS Tis lar from the Rgures that the ‘exile’ method of recording propor tions has nothing to do with stereotyped ‘proportion templates’. Straight and rounded contour lines join up. From the Salzburg intensive course, 1988 8 STUDY OF PROPORTION WITH MORE DIFFERENTIATION, Itis not only extemal forms that are diferentiated; intemal shapes are also perceived three-dimensionally in very subtle gradations relating to spatial rather than anatomical fctors, Light, open areas indicate concavities From the Salzburg intensive course, 1988 Gaperi He ‘Studies of proportion 9 PROPORTIONAUITY UNKED WITH SURROUNDING SPACE ‘The two figures sketched inthis study of proportion ar placed in spatial relation to one another (the intervening space) and the surrounding space the foor surface and the patton). The kinetic hatching is no longer ted to the linear sithouette From @ Bammes course atthe Schule fiir Gestaltung, Zurich 44, apreri Studies of proportion 10 RHYTHMIC PATTERN OF THE BODY IN PROFILE Awareness of proportional factors is linked with the balance ofthe masses ying one under another and projecting both forward and backward, Red chalk applied lengthwise gives the direction of the masses as they fist strike the viewer, ‘not relying on mechanical hatching, From the Salzburg intensive course, 1988 11 RHYTHMIC PATTERN OF THE BODY AS A COHERENT FLOW ‘To tum the sequence of forms into something really uid use a well primed watercolor brush and trace the contours ‘ofthe body varying the pressure use ‘The igure materializes in a matter of seconds — the brush snot lifted and there has been no previous calculation of proportions. From the Salzburg intensive course, 1988 112 RHYTHM OF THE FIGURE IN THREE-QUARTER VIEW. As well as emphasizing the curves, itis necessary here to pay attention to spatial ‘considerations such asthe falling axis of the shoulder and the rising axis of the surface on which the model s standin, Rough proportioning guidelines can sil beseen From a Bammes course at the Schule fr Gestaltung, Zurich 13 INTEGRATING SPATIAL FACTORS. INTO THE RHYTHMIC PATTERN (OF THE FIGURE bristle brush halfiled with opaque paint sa good medium for producing a + profile that can be executed quickly, and by using stronger or more muted shading you can convey a sense of depth of perspective From the Salzburg intensive course, 1988 14 COMBINATION OF PROPORTIONING, RHYTHM. ‘AND PSYCHOLOGICAL EXPRESSIVENESS INA STANDING POSE You can follow the rapid change ina standing pose in profile by using an adaptable medium, inthis case powdered Sepia applied with the finger. The loose forms can be stabilized with afew contour lines. The psychological state of ‘models evident even when he or she is working, and this should not be overlooked rom the Salzburg intensive course, 1988 Chapter! 47 Studies of proportion 15 RHYTHMIC PATTERN OF THE BODY CONVEYED BY LUNE ONLY Some antists are able to give rhythmic ‘definition tothe human form using liner flow only. This study of two nudes shows the requisite mastery of outer and inner closeness, of inks and breaks between 116 PROPORTIONAL PLANNING AND PSYCHOLOGICAL EXPRESSIVENESS IN A FRONTAL STANDING POSE A free execution witha bristle brush supported by the broad division ofthe body into quarters concentrates on the {gestures ofthe sure, self-confident pase. In this case the figure i not defined by line, but by a combination of tonal effets and open spaces From a Bammes course at the Schule fir Gestaltung, Zurich Caper Studies of proportion & 2. Studies of standing and seated poses in repose Implicit in what has been said of proportion and the accompanying studies ae structural problems relating to the body's equilibrium which are particularly relevant when the ‘model's weight is supported on one leg. {you make cutouts ofa proportioned figure using ifferent- colored overlaying pieces of paper (igs 17, 1), this aso gives you negative outlines ofthe figure. You can then follow through the steps involved in structural and functional changes tothe body by cutting up the positive silhouette figures into the basic geometric shapes you have aleady worked out; you can then simulate the processes of center of gravity shift and its implications for form: * Overa negative silhouette ofa igure standing on both feet lay the trapezoid ofthe hips of the positive igure so thatthe ‘center of gravity which is located inthe middle ofthe pelvis is directly above the sole of the foot ofthe standing le, * All further consequences, such s the lowering ofthe pelvis on the unsupported side, the slanting postion ofthe standing Jeg, the compensating position of the taling leg, the way the ‘upper body leans over toward the side ofthe standing eg, ete follow from this, This exercise makes it clear how supporting and supported forces, accents (the way the hip juts ut on the side ofthe standing leg), compression and stretching (gaps round the intermediate form ofthe stomach) originate. Breaking the figure down into movable, adjustable individual cutout pars inthis .wayis preferable tothe fashionable but iltevsed schematic ‘methods proposed in some stuios. Ifyou cut your proportioned figures out of fil and allow for ‘overlapping pivotal point you can even develop an articulated ‘mobile igure which you cn use to test structural and dynamic attitudes in movement (igs 19-21). Another similar approach involves printing; make geometric shapes of parts ofthe body (in the form of potato cuts, lincuts or woodcuts) and use them to make prints following through what happens in different standing positions (fig 20), Printing with blocks of movable proportioned part of the body encourages you to iden with the expression of the movement, especialy ifyou are one of those people who cannot immediately apply what you have learnt about proportion to different standing poses. Closely related to the two elementary intermediate stages of ‘cut-out exercises and printing is working with chalk: this is applied in broad lines to convey a rapid sequence of changes of pose by the model (ig. 21; ‘Take piece of chalk which isthe right length to give the rectangle ofthe upper body ina single stroke when used on itsside “By twisting the chalk and applying it with varying pressure you ‘an create the forms assumed by the body in different poses: ‘compressions, tension, relaxations, directions and precise formal accents ‘The point ofthis exercise would be lost i you just produced a preliminary drawing and then filled i in with mechanical hatching, Though contrapposto studies tend to be decried today as academic, a great deal can sil be learnt from them in terms of understanding the interdependency of proportional principles and the functional working ofthe body (fig. 2). Is crucial to ‘construct the figure according to structural rules, ic to convey the relationships berween the position ofthe center of gravity and the weight carrying surface (the sole ofthe foo). ‘The procedire is as follows: * Decide how to break the gure dow. * Mark the weightcarrying sole and the center of gravity which isdirectly above it. * Bxtablsh the direction ofthe standing leg, the curve described by the central axis ofthe body and the ditections of the cross axes intersecting it aa varey of angles. ‘Once this structural framework has been established, {incorporate the geometrized sections ofthe body nto it before proceeding with any further differentiation of form. Rather than Cutining the external forms, make the relationship between the core pars quite leat Ii important throughout these exercises that movement and changing form should emerge from our pirely funciona studies with a live and coherent Row, be imbued withthe expression ofthe interdependency of the forces at work and carry conviction ofthe model’ ability to stand and not suggest instability or toppling over! There are many possible ways of achieving this. t may be useful — using the structural framework —to work up a igure using chalk on its sie. Staring from one center (say the trapezoid of the hips) you can gradually expand upward and ‘outward until you reach the contours (do not make a preparatory outline drawing; keep the lines broad and fat). You Can use a graphite stick on is sie to putin the curving main ‘masses and directions, stabilizing the form by sketching ina very few lines (Hg. 24), A mast appealing method i to use a paintbrush: the smooth, quick, shorthandt.ke abbreviations can grasp what is most ‘essential (Bg. 23) The brush must immediately work with volumes applied with varying weight, and not be used as a pencil to provide a preparatory drawing. ‘Try always to experiment with expressive exaggeration to capture the essence, while working in pen and ink or combined techniques (gs 25-27) too. When drawing you must constantly be onthe lookout for changes, and this applies equally to seated ‘poses (figs 28-34). The model should help students grasp the ‘expressiveness ofa pose by rapid changes of position which will force them to observe very quickly and prevent them from. getting bogged down in anatomical detail Gapter2 Studies of standing and seated poses in repose as eee ae is 17 CONTRAPPOSTO POSE BUILT UP FROM PROPORTIONED CUTOUTS ‘Alot canbe learnt from understanding the many regular changes of form that cocur through observing the mutual relationship of the center of gravity, the gravity ine (in white) and the sole ofthe Supporting foo. The disposition of forms {sbased on preserving the balance when the weights supported on one side by the sole ofthe supporting foot Student of set painting, frst semester 18 THE UNITY OF PROPORTION AND FUNCTION ‘The success ofthis study compared with fig, 17is enhanced by the drawing of simple skeletal forms into the ‘geometrized sections ofthe body, encouraging closer observation ofthe pivotal points of movement and making Sense of the shape ofthe outer contours, Student of painting/graphic ary, frst semester Chapter? 94 Studies of tanding and seated poses in repose 19 TWODIMENSIONAL MODELS OF MOVABLE PROPORTIONED FIGURES IN ACTION Besides concentration on proportional * factors, an understanding ofthe way in which body is constructed is promoted by determining the actual pivotal points ‘of movement. At the same time, moving pastions provide information about proportional elatonship and changes. Student of set painting, fist semester 20 PRINTS OF PROPORTIONED e FIGURES IN MOVEMENT Keeping ro the geometrized basic forms block makes expression of movement a playful discovery of fundamental Special school of painting and graphic 21 DRAWING MOVING POSES USING BROAD CHALK LINES These studies are closely inked to previous investigations of proportion is now important to render forms soncsly sos to grasp the important forma accents that devel in movement Student of painting/graphic art, ist semester 22 Chapt Studies of ing and seated poses in repose Kret Chaper? ‘93 Studies of standing and seated poses in repose Chapter? ‘Studies of sanding and seated poses in repose 22 GRAPHIC AND UNEAR CONTRAPPOSTO ‘CONSTRUCTION ‘The structural and proportional framework serves a. basis for introducing refinements of form into a larger wiole. The construction stats from the weight-carrying sole and the ‘central point ofthe mass (center of ‘ray ying above the middle ofthe sole From the Salzburg intensive course, 1988 23 EXPRESSING MOVEMENT IN A STANDING POSE USING A PAINTBRUSH ‘Tiss avery rapid study aimed at seizing the essentials ofthe movement, making ‘much use of abstraction. The directions ofthe limbs and body make the functional circumstances learn an elementary way. ‘Demonstration study by the author, from a Bammes course a the Schule fir Gestaltung, Zurich Chapter 2 2 Studies of standing and seated poses in repose 25 EXAGGERATION OF FUNCTIONAL EXPRESSIVENESS IN STANDING POSES Cutting out deta makes it easier to discover the expression of various forms cof standing, some drawn from the ‘imagination Student of painting graphic ar, frst semester 26 “bapter2 Studies of standing and seaved poses in repose 26 STUDIES OF STRUCTURE IN CONJUNCTION WITH SIMPLE THREE-DIMENSIONAL SKETCHES In three-dimensional views of the model you must conser simply represented body volume. Here again you should avoid any clutter — leaner are only t00 apcto get caught up in poctraying a ‘beautiful nude Student of painting graphic art, rst semester 27 TEST STUDIES TO CHECK THE QUALITY OF SKILLS ACQUIRED From time to time its necesary to check Our mastery of drawing skills by working from the imagination, Quite often tis ‘roduces better results than short-term (or prolonged observation ofa model Student of painting/graphic at, first semester Chapter? 57 Suis of standing and seated poses in repose 28 SKETCHNOTES ON BASIC FORMS OF SEATED POSES ‘The top row shows drawings done during clscussion of proportional, structural anc functional changes ater a picture on the board, The bottom row contains an attempt 0 interpret the form ofthe basic figure in rectangular format. Student of painting graphic art, frst semester 29 CHANGING SEATED POSES ‘This study concentrates on the psychological impression made by seated ‘poses, atthe same time clearly indicating the connection between the pelvis and the rb cage in rapidly changing poses Student of painting graphic art, frst semester 2 WZ. Chapter 2 Studies of sanding and seated poses in repose 30 DECORATIVE FRIEZE FORMED FROM KNEELING FIGURES ‘This work was done after a discussion bout Greek vase painting, The figures are freely invented using a mova tioned block, Student of set painting, first semester 31 STUDIES OF SEATED POSES USING & PAINTBRUSH We are again concerned with fluidity of movement; also with the significance of positive figures. Preparatory drawings were strictly forbidden Student of painting/graphic art, first semester é 1 e 4 ; = Z j a % ‘ 5 - : ‘ - * ; 7 can? BG ‘32 SEATED POSITION WITH A THREE- DIMENSIONAL ASPECT Tn this three-quarter view using ahaldry bristle brush aconcem with intersections receding depth is necessitated, Pans of the body nearest to view are deeper in tone. From the Saleburg intensive course, 1988 33 FLUID BRUSH DRAWING ‘The student takes comfortable, casually relacd siting as subject. Continuous forms lightly and freely executed with a ‘watercolorbrush ae very well suited 10 the task From the Salzburg intensive course, 1988 34 FRONT VIEW OF GESTURE IN SITTING The preceding studies of seated poses were in profile and with clear contours, Sitting viewed fronaly requires more powerful aniculation, Thus linear definitions used here 2s wel as indication ofthe main broad masses. Demonstration study by the author, from a Bammes course at the Schule fir Gestaltung, Zurich 30 apver?2 ‘Studies of sanding and seated poses in repose Chapter? By Sues of standing and seated pasesin repase a: Studies of locomotive and expressive movements ‘The transition to locomotive movements i always the consequence of disturbed balance, with the body's center of gravity shifted forward over the tipping edge (the front of the instep). A walking or running stride is essentially the hythmic repetition ofthe body catching ise ait begins to fall forward, This causes a problem for artistic work that i seldom resolved satisfactoniy: the suggestion ofa possible moment ofl with the body leaning forward, perhaps sil atthe very moment when the swinging leg is not yet ready to take the body's weight. This, makes the observer feel uncomfortable. We perceive any such represenation asa disturbing, frozen, chance snapshot, searching for stability. Arthas a significant role to play here, For instance, if we were mentally to convert 2 monumental painting such as Hodler’s Departure ofthe Jena volunteers, with the double support ofthe wide apar legs, into the instantaneous situation of faling, what a disaster it would be! We accep ively, illustrative graphic art far more really, ofthe type used in Sevogt’ Leatherstockng lustations, for example. Kalin Futurists opted to expres relative movement or vital forward ‘movement through phases of movement represented simultaneously which go through the body and seem to tits physical weight. Sty speaking, most representations ofa stride are only ilusionistc movements irespective of whether only one eg is functioning sa supporting, bracing member andthe other asa swinging leg, or both legs are touching the ground atthe same time. You need only call on your own kinesthetic sense to know ‘whether you could not als hold stil in such postion. Usually the answer i yes ‘The behavior not just ofthe legs (igs 35-37) but ofthe upper ‘body too — its upright (igs 36,37, forward or backward positon reduces or reinforces the appearance of motion, the upright position suggesting a brisk march, the forward position haste, and the backward positon with the boy behind the front foo, cdavadling or hesitation. Both figs 36 and 37 confirm tat, in accordance with the decorative character ofthe printed work, the specific tendency in the student's future profession toward enhancing real dynamics of the stride, tothe extent of exaggerating its length (Gg. 37), means tat these are not genuine movements. The dancing movement (ig. 35) shows the transition toward expressive movement, Essential it expresses an atmospheric situation through the simultaneous movement of the limbs for ro explicit purpose, ‘These three decorative works, produced ater looking at an antique vase painting, demonstrate a playful use of printing with ‘motable proportioned blocs, but re not so well adapted to conveying the course of real movement. The everse is true of figs 38-11. Itis obvious from fg. 38 that both the dynamic and psychological components of walking, running and gesture had previously been discussed, Even the relatively small figures {quickly drawn with chalk and brush, especialy their phased sequences, do not cal the ‘eat’ ofthese instantaneous representations into question, even those of fling movements. ‘oa large extent the studies iustated in figs 38-39 are based con visual memory, visualization and sympathetic insight into ‘movement covering hesitant, hasty, dragging, dancing tired, happy, vigorous or affected strides. I need hardy be pointed out that the student can build on particular ciscusions of structural and dynamic rudiments as criteria fr assessing whether figures are standing r falling stable or unstable. These criteria are also applied when undertaking lively imaginative work. ‘The situation i similar inthe stcies illustrated in figs 39 and 41. The model who collaborated sensitively n the work was constantly moving so that students had no time to go into detail ‘The model pulled, fed, pushed, ell ove, carried weights above his head or her back, sometimes standing sill and sometimes moving forward. A suitable medium for conveying thisis the brush which can react quickly t shouldbe repeated thatthe round, wel ied watercolor brush works quite diffeently from the pencil (fg 40). When using a brush you ‘need only apply itand you have a volume, draw it along and you hhave a complete arm, lt it tral and the volume tapers, However, ifthe brush is constantly lifted of the paper and reapplied, no flow of movement wl be created and you will have only splodges. The esthetic appeal wil have been lost, In setting out to convey form and expression the pencil study (fig 40) can work with whole bundles of nes, o ifthe person drawing is confident he or she can define the fow of movement with a Single line. The tip ofthe pencil is also useful when you need to ‘go into individual aspects in more detail orto carifyathree- dimensional effect, foreshortening or an intersection If you already have some experience of studying the skeleton, you can ‘use the study of movement analytically to examine elementary aspect of function more thoroughly Tn the chapters on proportion, structure and movement we have shown the possiblities ofa combined figural effet andthe figural priorities that you should aim for. In future stdies these are generally not mentioned expressly. They must be assimilated {to your work ‘silently’, present and available asa constant means of selEcorrection. Ghapter3 ‘Studies of locomotive and expresive movements 35. DECORATIVE PLAY WITH, EXPRESSIVE MOVEMENTS Printing with proportioned blocks representing the moving parts ofthe body stimulates an inventive approach to movement and needs to be activated b ‘our kinesthetic sense Student of set painting, fist semester 37 EXAGGERATION OF THE STRIDING POSTURE The wide spacing of the legs makes the movement appear extremely brisk, but in actual fac it would not allow the rear leg to swing over past the dead center. Student of set painting, first semester UI tt IH ea” "a eae a ss. 3 # «i ere 36 STRIDING POSTURE SUGGESTING ‘A PEACEFUL MARCH The upright posture ofthe upper body, ne bent front leg placed supportingly on ground and the ofloading back leg combine to convey a relaxed stride le proportioned blocks is used a in ig 37. Swudent of set painting, first semester Printing with mow Chapter3 a, Siudlesoflocomesive and expressive movements ‘38 PHASES OF THE STRIDE WITH DIFFERENTIATED MOVEMENTS. Itis not only the movement of the legs that provides information suggesting speed or hesitation; the position and form of the upper body also come into py, Student of stage design, first semester ‘39 LOCOMOTIVE MOVEMENTS ‘wishes to convey. But the flow ofthe The directions used in individual activities brush is too often disrupted in making are also of fundamental importance here contrary series of lines. inexpressing the movement the student Student of sculpture, frst semester 4 Chapter 3 Studies of locomotive and expresive movements 40 WORKING MOVEMENTS EXPRESSIVELY EXAGGERATED ‘The fact that a heavy load is being pulled is made clear by the way the body leans fa forward and the bracing lg is stretched out far behind, Kithe Koltwit’s Plowmen was used asa source of ‘expressive inspiration. Student of painting/graphic at, first semester 41 RECORDING MOVEMENTS WITH THE BRUSH ‘This work is more fuent than fg 39, concentrating mainly on the interconnected expression of movement in rapidly changing actions by the model. Student of painting graphic art, rst semester Ridin as Chapwer3 35, Studies of locomotive and expresive movements Studies of the skull and head ‘Whereas the three previous chapters have been concerned with the figure as a whole in ters of proportion, construction and motion, we now come to the structural and anatomical studies ofthe head asa module ofthe whole figure (Once again, in studies ofthe skull and head, establishing sizes and the connection ofthe two sections ofthe skull the cranium and fave — ar of prime importance. The basic forms of these ‘volumes are depicted with the axis ofthe eyes halfway down the head height (crown of head to point of chin, fg 42). Only after ‘becoming thoroughly conversant with the functional and struc- tural systems ofthe skull in profile and front view should the student embark ona study ofthe skull (Rigs 4346). For this you should draw up a three-dimensional reference system (based on the central vertical axis and subsidiary cross axes). Using this three dimensional framework for conveying the three dimensions, ‘construct a view ofthe basic volumes of the cranial box and the facial skeleton two-dimensional, only once this has been done should you move on to subtle, detailed differentiations. ‘The fundamental principle is always to create unambiguous planes to view, establishing the front, side and roof’ planes in their relative postions. They reflect the groundplan of the base ‘ofthe skull depicted in perspective above which the dome ofthe cranium s situate. ll concealed edges and corners should be drawn in as intersections (fig 45). ‘The skulls a marvelous piece of architecture and is facets should be observed and drawn with great attention, Itis a building with supporting columns, consoles, recesses etc. Only ‘by drawing the skull consructionally will you realy discover the foundations on which the living appearance ress ‘Aer the shapes of the mouth, nose, eye and ear have been considered, individual studies of them should be drawn (Figs. 46, 4), and finally studies ofthe head asa whole (gs. 48-52). In undertaking the individual studies and in drawing the head strict attention should be paid to structure (fg. 46): ‘© The nose has a front ridge, side planes, nostrils and a tip hich rejoined to one another by facets (be careful with the intersections at the nosti). (© The visible part of the eyeball is curved as part of sphere with bulky covering pars (the upper and lower eyelid). Here again you should carefully observe the way in which the eyeball and the lids overlap (igs 46, 47). © The mouth isa threedimensional, curved shape, especialy in the notched area ofthe red of the lips, and protrudes and recedes (gs 48, 50,51). In three

    You might also like