Draw Wberry 001

8/11/2019 Draw Wberry 001

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IN

THU N

~ RMETHODS

SOURCES

CONCEPTS

GUIDE T DR WING

FROM LIFE

WILLI M RRY


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STUDY 4. C ON TO UR D RAWI NG

You should observe th e e nt ir e f or m of th e modelcarefully before beginning a contour drawing.Actually walk around th e model to gain an idea o fth e disposition of th e form in space. After you returnto your easel select a point somewhere on th e outeredge of the model s form. Place your crayon onth e drawing paper imagining as you do so that th epoint your crayon touches is th e same point thatyou see on the model. It is important to imagine thatyou are actually touching the model, fo r in this wayyou can benefit from simulating th e child s learning

process. Instead of adually touching th e model, as achild m ig ht d o, you are us ing your eye as an extension of your sense of touch . Keeping this in mind,slowly draw th e crayon across t he p ap er while yo usimultaneously follow th e m od el s c on to ur, withyour eye and hand in close coordinat ion. When thecontour on th e model changes direction, your handshould also change direction. As you extend the contour line, you may notice that, though it originatesfrom th e edge or ou tl ine) of th e form, i t does no tnecessarily remain along the edge. The contourl ine probably turns inward on the form, at th e samet im e c urv in g a ro un d t he v ol um e of the f igure. Aswith drawing th e outline, yo u should no t break yourconcentration by glancing back at the page while youare drawing Figure 3-3).

When you can no longer see th e progression of th econtour on the model, stop fo r a moment to regainyour bearings. l t th e crayon and go back to th e pointon th e draWing at which the contour departs from th eoutline. With the crayon placed on that point, relocate th e corresponding p oin t on th e form of th emodel before drawing t he n ex t contour. The secondcontour will probably also turn inward from th eo ut li ne . W he n you are u na bl e t o see this contour

clearly enough to follow it further, stop again an drepeat th e process. With practice you w ill soon beable to follow contours far inside th e outline shape ofth e figure.

Wrinkles or creases in th e skin may offer theclearest visible clues to thecontoursof th e body. Theyare of ten not iceable in those portions of th e bodythat bend, such as th e waist or the joints of the limbs.If a crease line l ies near the apparen t outline of th ef igure, the contour may appear to turn sharply as itnears the o ut er l im it of th e silhouette. Contours of

Materials:

Reference:

Suggesled lime:

36 ->


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STUDY RAPID CONTOUR DRAWING

The starting position of the crayon on the drawingpaper does not mat te r in this exercise, but it is Vitallyimpor tan t to allow your eye to freely scan the entirelength and breadth of the model as you draw and toavoid concentrating on small body features. Thecrayon should move continuously and in unison withthe eye as much as possible. This does n ot p er mi tyou to look back at the drawing pad, fo r it wouldspoil the continuity of your eye movement, forcingan i nt er ru pt io n n ot o nl y in t he m ovem ent of yourhand bu t also in the unified development of thedrawing. The crayon, keeping pace wi th t he eye, will

leave many trails that eventually will develop into awiry structure clearly related to the general contoursand attitude of the model figures 3-8, 3-9, 3-10, and3-11) Remember that, as in the slow contour drawing study 4), a great many contours Jo no t lie on theedgeof the f or m. T ey may ratnerwrap ~ r o u t e

volum. s locat etweer, the o ~ i edges qf theform.

it h th e same basic drawing concept in mind, youcan also create contour drawings with a brush. Thetechnique of th e brush as a drawing instrument, is sodifferent, however, that it is advisable to employ it ina separate study.

It is of particular relevance to drawing that the eye,as it moves and gathers information, seems at times tofix on points along the contours of forms Figures3-6 and 3-7). From this visual information the brainconstructs a mental model of the object. Exactly ho wthe brain constructs this model and perceives it is on eof the mysteries of science: to understand it fullywould require an explanation of consciousness. Yet itis bel ieved that what is consciously perceived is the

model, not the retinal image: that is, the continuouslymoving eye supplies the brain with visual information, bu t the eye itself does not see- the brain does.This modern concept of vision suggests a contourdrawing exercise designed to take full advantage ofnatural rapid eye movement.

3-6. Unknown Egyptian anist ead a Queen from maroagypt c. 1370 .c. Sandslone. high. Berlin Slaatliche Museen.

3 7. Dr.....Ifred Yarbus. Record eye movemen S during freeexam;nalion a photograph the sculptured Head of a ueenIFigure 3-61 r 2 mint/tes. The photographic recording wasmade by means of a small mirror attached to th e eyeball. Darkerspots on the trails indicate fixations or shor t pauses in the eyemovemenl during which visual information is gathered. Althoughthe trails of eye movement o not follow Ihe contOllrs of thehead Figure 3-6) precisely nevertheless they suggesl an as yetunexplained relationship between eye movement and drawing. photographs courtesy of Dr. Ifred l. Yarbus Institute forProblems of Information Transmission Academy of Sciences ofIhe USSR.

Malerials:

Reference:Suggesled time:

36 -x-24 newsprint drawing padeasel or straightback chairMasonite or plywood board andclampsdrawing crayonmodel1-3 minutes


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STUDY 6. RAPID CONTOUR DRAWING WITHTHE BRUSH

Squeeze ou t a small amount of black pigment inlo th esaucer and dip the brush in th e water. Use t he w etbrush to dilute some of t he p ig me nt until a blackwash appears in th e saucer. load th e brush moderately with th e wash an d you are ready to draw. Thedrawing procedure is essentially th e same as in th epreceding rapid contour study f this your firstattempt 10 draw with a brush, however, you mayneed to learn how to hold il.

In order to experience th e u ni qu e f re ed om ofmovement possible with th e brush, try holding it inth e oriental manner near th e top of th e shaft between t he t hu mb and the middle joint of the firstfinger (Figure 3-12). It should be held almost vertically,with th e drawing pad flat on a table. This arrangementenables you to d ra w b ot h with th e large, swingingmotions of th e arm an d wrist and with th e finermovements of th e fingers. Under no circumstancesshould your hand or arm rest on t he p ap er or table:this would limit your motion.

Held high on th e shaft, th e brush registers even th eslightest movements of th e fingers. In fact, it seems tomagnify such movements. So assertive of movement isth e line quality of brush drawings that it tends todominate other aspects of th e drawing. This allowsgreat spontanei ty of effect, bu t you may find thatcontrol of form is rendered more difficult. This maybe due to th e fact that th e sensation of touch an d contact with th e drawing surface is minimal. Considerable practice may be necessary to get th e feel of th ebrush ( figure 3-13). The special qual iti es of brushdraWing, however, make th e effort worthwhile.These qualities are often apparent in th e calligraphyof th e far East where brush draWing an d writingar e closely related expressions (f igures 3-14 an d3-15), as well as in t he m or e familiar master drawings(figures 3-16 an d 3-17).

Some art students may feel that the results produced by t he c on to ur m et ho d lack finish of execution. Such a reaction is understandable. You areaccustomed to seeing drawings that are designed tocommunicate information in an instantly comprehensible way. Often the information to be conveyedhas little to do with art bu t requires a detailed rendering-a highly finished draWing-to make it clear. Suchfinish is wholly inappropriate for many types of drawing, particularly rapid contour drawing or preparatorydrawing for works of art in other media. What mattershere is th e qu ity rather than th e qu ntity of visualinformation. Even for purposes of exhibition a drawing that communicates th e intended eff i:ct is complete regardless of its degree of finish. Moreover,lack of finish in a work of art has long been appreciated as an expressive quality in its own right. Plinyinforms us that certain unfinished paintingsby Aristides an d Apelles, impor tant painte rs ofancient Greece ar e more admired than those whichthey finished, because in them are seen the preliminary draWings left visible and the artist s actualthoughts s

36 ..x24 newsprint pa d (orwatercolor paper in a large sizejf expense no problemtable or deskJapanese bamboo-handledbrush, size 6 or largermason jar half filled with watersmall jar of india ink or tube ofwatercolor blacksaucer 10 hold black washesmodel1-3 minutes

Materials:

ReferenceSuggested time:

3-12. HokuS


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BODY FORMS

STUDY 7. THE fiGURE S A CONSTRUCT SMALLER UNITS

Although it is relatively easy to interpret the bodyforms as ovals, it may require pradice to relate thoseforms to the whole configuration of the drawing. Theoval method may at first tend to produce drawingsof a somewhat doll-like, segmented charader. Toovercome this difficulty, begin by making a rapidcontour drawing with faint crayon lines, establishing

th e gener al form of th e figure, before drawing theoval constructs.It is also possible to utilize other shapes as con

structs. Artists such as lucas Cambiaso and Durerproduced many drawings based on rectangle and boxconstructs. likewise, some instructional anatomybo oks use th e block as the basic construct of thefigure. Arcimboldo, an Italian painter of th eRenaissance, conceived each construct as a separateobject in itself, creating what amounts to a welltold visual joke (figure 3-19). The twentieth-centuryartist Conrad Marca-Relli stresses unit constructs ofform in his work by adopting the medium of collage,which seems to require them (figure 3-20). In collageth e units of form ar e often separate piecesof paper orcanvas pasted in place on th e pidure surface. large

3-18. Student drawing. Crayon on newsprint paper. 3 6 ~x 4 ~Familin body forms can be drawn as overlapping oval constructsthaI suggest spalial sequence. A similar concept of form was .expressed by Hokusai (Figure 1-8).

36 x24 newsprint drawing padeasel or straight-back chairMasonite or plywood board anddampsdrawing crayonmodel3-5 minutes

Materials:

eferenceSuggested time:

Up to this point line has been considered s it relatesto edge out li ne and to the turning surface of anobserved form contour . It can also be consideredas a means of visualizing a form. Extensive knowledgeof anatomy s no t necessary in order to visualize th e

parts ofth e body

asstruaural

units ofform units

that are also familiar as common words, such as th ethigh, th e calf, th e hip. The following study suggestsa way of drawing the figure in terms of such visualunits by means of a single formal construct the oval.

No m or e than five minutes are needed to completethis study, so you may choose to set th e model ina pose of ad ion or movement. Once the pose isset, observe body contours that appear as parts ofrounded form. The calf, for example, can be interpreted as a continuous ovoid (egg) form and drawn asan oval. The same is true of th e other segments of th elimbs, such as th e thigh. The trunk, by virtue of itsskeletal construction, is most readily conceived as twogeneral ovoid masses, one corresponding to t he eg gshape of th e rib cage and the other enclosing th emore irregular pelvic mass of th e lower abdomen.Both can be further broken down into smaller com-ponents but it is helpful to keep the two essent ialmasses in mind. Between th e two masses are th e spineand abdominal muscles, which bend an d changeshape with the body s gesture.

Begin with a lightly drawn, rapid contour sketch ofthe entire figure to establish a frame of reference forplacing the oval constructs. It is best to draw rapidlywith this method as it lends itself to th e most gen-eralized aspects of th e figure. ven th e head with allof its subtle complexities of form, can be reduced toan oval construction. s far as possible, however, youshould strive for a correspondence be tween the ovalshape and th e observed form. The oval discussed hereis not th e perfect and fixed form of geometry bu t aplastic form adaptable to th e character of th e formalunit ob se rv ed. The c ha ra ct er of th e formal u n i t -rather than th e ch aracter of any line or individualcontour i s th e aim of this study ( figure 3-16). Theoval is merely a convenient graphic symbol, suggested by th e rounded form of many s hap es of th ebody.

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STUDY 8 DRAWING TH E MODEL FROM ORY

Once y ou a re f am il ia r with th e method described inthe preceding study, you can apply it to drawing th emodel from memory. Drawing from memory is mucheasier to do than yo u may imagine. [n a sense yo u arealready experienced at memory drawing for everytime th t you look at th e p per while you dr w youare uti l iz ing your shorHerm m em or y t o recall formsthat yo u have just seen. This exercise makes use ofshort-term memory in th e same way but to a greaterdegree

The model s ho ul d b e set in a simple pose, preferably with an ordinary gesture such as bending over toti e a shoe. When th e pose has been decided upon besure t o mark the position of t he f ee t with chalk orpieces of tape. Th e reason f or t he marks will becomeclear in the second phase of the study. When th e poseis set, observe the m odel fo r a bo ut t hr ee minuteswithout drawing at all. During that time it may beh el pf ul t o walk around t he m od el to gain a c learersense of the disposition of body form. There are alsotw o simple mental exercises that many students havefound helpful: 1 imagine yourself performing thesame gesture as t he m od el ; 2 pretend that yo u aredrawing while yo u observe the model . Both exercisesrely on you r natural ability to recall actions. By reinforcing your visual memory they can assist yo u in remember ing body forms as yo u d ra w t he m later.

As soon as the t ime is up have the model step downf ro m t he stand, and you are ready to commencedrawing. The draWing procedure is almost the same as thatin study 7. A l igh t indica t ion of the gesture with arapid contour sketch can help set up the figure butth e oval constructs constitute th e final drawing.Drawing time should be limited. For best resultsallow a maximum time of five minutes. On e advantageof the oval-construct method is that changes can beeasily made w hile the draWing is in progress, particularly in th e early stages when th e constructs arestill very general in nature.

When yo u have comple ted the memory study, it isinstructive to make a second drawing of the samepose from life. Since th e position of th e feet is markedon the model stand, th e model can resume th e samepose fo r another five-minute draWing session. It isvital that the second draWing be made immediatelyaft er the first in order to resolve any problems whilethey are sti ll f resh in y ou r m in d.

Materials:

Reference:Suggested lime:

36 x 24 newsprint dr wing p deasel or straight back chairMasonite or plywood board andclampsdrawing crayonmodel5 minutes fo r e ch drawing

The importance of memory studies cannot be overstressed. Not only do they exercise the student sshort-term memory bu t they also develop the longt e rm memory of body forms and their relative sizesknowledge that can also be used in making studiesfrom life. One memort..s1udt.per drawing session isrecommen : IFie significance memory ~mg is i llus trated by the of ten overlooked fact thatth e great majority of al l drawings are done frommemory (or, if yo u prefer from imagination). Constructs such as th e oval serve as th e basis for many ofthem even though such constructs may no t be visiblein the f in ished drawings . This is as valid fo r WaltDisney s Mickey Mouse drawings as fo r classicalfigures o n G re ek vases.

Despite the importance of m em or y t o many drawing methods memory-drawing exercises are oftenomitted in art-instruction courses. This may be partlydue to the western emphasis on what is consideredto b e em pi ri ca l observation of objective reality.Whatever the reason, the omission reflects a misunderstanding of the role that memory can play in figurative art: Visual memory differs from [Visual) perception because i t is based primari ly on stored ratherthan on current information but it involves th e samekind of synthesis. Although the eyes have been calledthe windows of the soul, they are no t so much peepholes as entry ports, supplying raw material fo r theconstructive activity of the visual system. i In someways human visual memory is similar to the memoryof th e modern digital computer which also consists ofstored information though it is exclusively numerical.A large computer memory is necessary to producedrawings (projections) of a complex three-dimen

sional form such as th e human figure (Figure 3-21).Remembering the general forms of the body can be

he lpful in evaluating observations of a particular form.R od in c re di te d his fac il ity as a draftsman to thememory t ra in ing he received as a young art studenti n t he classes of lecoq de Boisbaudran: . . . at home inthe evening be fo re g oi ng t o bed, i t was his customto practice what Lecoq de Boisbaudran had recommended reproducing from memory what he hadstudied during th e day. 8 Degas, though a master ofd ra wi ng f ro m life believed that memory played aspecial role in the draWing process. Commentingon this role, he wrote: I t is all very well to copy whatyo u see; it is much better to draw what you see only inmemory. There is a transformation during which theimagination works in conjunction with the memory.You p ut d ow n only what made an impression on you,that is to say th e essential. Then your memory andy ou r i nv en ti on are f reed from the domina ting influence of nature. That is wh y pictures made by ama n with a trained m em or y w ho knows thoroughlyboth the masters and his ow n craft are almost alwaysremarkable works


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UOY 9. VISUAL MEASUREMENT OF ANGLES

this study two preliminary steps are advisable: 1)rapid twominute) contour drawing of the figureestablish the placement an d size of the intended

awing; 2) a vertical and a horizontal line d rawnrough the center of the figure as a useful referenceint for your first visual measurements. Thesees should be drawn as lightly as possible, sincerk tones might interfere with further developmentform. Very light indications can be achieved bylding the crayon on its side Figure 323) and slid

g it sideways across th e paper. The two referencees can be drawn by holding the crayon on its sided pulling it lengthwise across the pad. Use theges of your drawing pad as a guide for properrtical and horizontal alignment. You should checke alignment of your drawing pad on the easel:ake sure that it is not tilting or wobbly. A clampay help hold th e drawing pad in place.Begin the study by examining the form of th e model

large contours that can also be interpreted asgles. At this point it is best to ignore smaller

dentations or angles contained within th e largerntours. oncentrate on visualizing th e larger anglesly. Isolate on e angular feature and draw it by o l ~g the crayon sideways on the paper so that itrallels the line observed on th e model Figure 3 ~ 2 3 .nce your first visual measurement serves as aference line for the rest of th e drawing, take timed care with it. Consider carefully the direction of

line that you observe in the model. [s it verticalhorizontal? f neither, how much does it depart

m the vertical or horizontal?lO After you haveswered these questions, use the vertical and h o r i ~ntal reference lines in your preliminary drawing

a guide for drawing th e line. The crayon itself cana useful instrument of angular measure. Hold it onside as before so that its length parallels the line

at you wish to draw. 11 Move it across th e paper onside to produce a line with th e same direction. The

cond line of the angle can be d rawn in th e samey. The sharp, angular intersection of t he two linesould represent your estimate of the contour of theodel. lis accuracy or inaccuracy) depends uponw closely the drawn lines parallel th e imagined linesthe contours.After you have drawn the first angular intersection,u can shift to another part of the figure in which

3-23. Studenl using ang lar measurement. The denl o l ~lhecrayon on its side and examines Ihe model lor COnlOlJrS Ihalcan e interpreled as slr.aighl lines. P.arallel.alignmem ollhec r.ayonwith Ihe observed line facilil.ales visu.al correspondence e-lween the model .and lh e dr.awing. NOle Ihe relalionship of Ihecr.ayon 10 lhe line dr.awn JUSI above it. The first line indic.ates Ihespin.al column. II was used .as Ihe reference line for delermining the gener.al pl.acemenl of all.a


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STUDY 10. THE ROTATING MODEL

The contour line is an appropriate vehicle fo r drawing a form in motion, fo r it suggests the continuity ofsurface beyond th e visible side of th e figure, evenif the drawing presents th e figure from a singleviewpoint. By logical extension the contour can beuseful in representing the figure from several pointsof view simultaneously. The transparency peculiarto line drawing makes it especially effective in representing overlapping an d superimposed forms whichare characteristic of simultaneous vision.

The draWing procedure recommended fo r this

study is essentially th e same as th e rapid contourme tho d study 5 . Il is helpful to observe th emodel con tinuously, check ing the locat ion of yourcrayon o nl y w he n necessary. It is advisable, however,to draw more rapidly here, du e to th e special natureof the pose. The model should hold a simple standingpose that can be turned 45 degrees approximatelyevery tw o minutes figure 3-37 . This can be ac complished by actually rotating the model stand or byhaVing th e model change position and resume th esame pose with each change. After t en mi nut es t hemodel will have rotated 180 degrees . The draWingexecuted during this interva l should consist of a

partial or complete contour description of th e fivedifferent views of t he m od el . As a consequence, thedrawing may exhibit a considerable amount of superimposed form as well as dislocated shapes figure3 38 . It may also convey an overa ll symmetry ofform that results from t he m od el s r ot at io n, a symmetry similar to that of lathe-turned wood.

ot tion implies an axis-a stationary line aroundwhich the form turns. In this case th e figure turnsaround a line axis that runs vertically through th ecenter of th e body. Axis m or e c om m on ly refers tothe longitudinal centers of three-dimensional forms,

including th e forms of t he b od y. Since the contourline often appears t ur n a ro un d a drawn form,the idea of rotation of fo rm around an axis is closelyassociated with t he c on ce pt of contour. In a senserotation simulates th e way yo u see things in dailylife, fo r it enables you to see forms f rom diffe ren tpoims of view. This changing viewpoint is especiallynoticeable when yo u move rap idl y. As yo u mayhave observed from the side window of a movingautomobile, people and objects appear to turn, orrotate, as yo u travel past them. The same apparentrotat ion occurs when yo u wa lk , t ho ug h it is lessobvious. M otio n o f this kind is an important aid in

Materials:

Reference:Suggested time:

36 ->


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STUDY 11. SIMPLE MOVEMENT: A DOUBLE POSE

A simple shift of w ei gh t f ro m one foot to the otherwhile standing in the same place can cause a remarkable change in body posture and po siti on: it is amovement of g stur The standing model canperform th e movement with relative ease if you explain clear ly that the feet are to remain in place. Tom ov e t he feet would change th e focus of the studyand make i t d i ff icu lt to see th e movement specificallyi nv ol ve d i n t he gesture. It is recommended that th emodel shift weight at regular one to two minuteintervals fo r a period of twenty minutes. If an additional gesture, such as lifting th e arm, is included inthe movement (Figure 3-40), the one minute inter-val is preferable fo r th e model's sake.

The double pose has certain special advantagesfo r th e first-year art student. Knowing that the posewill change momentarily you are encouraged t o o b-serve keenly and to draw rapidly, even in a relativelylong session. Since the pose is continually changing,it is best to work only on th e draWing that corre-sponds to the pose then being held. In this way youcan return the other drawing with renewed interest, as each drawing enhances your understandingof th e forms d ra wn i n t he other.

The ai m of the study is to suggest movement byrepresenting the figure at two stages of th e gesture.The rapid contour line method is well suited to thisaim. You can begin with a rapid contour drawing ofth e first position. It is especial im ortant even in theearly stages of tneCfrawin to indicate the generalorms orthe Iower portion 0 t e fiiiUre 8eforl: --yoU

can complete d e drawing of thelirst position, th em ode l w ill move to th e second position. This is nocause fo r concern however, as th e model will laterresume the first pos it ion, and you can continue theoriginal draw ing. The motion is one of shiftingweight no t of walking so it is appropriate to drawth e figure's feet in th e same location in both positions. For this reason you may wish to begin thesecond draWing by indicating the forms of the lowerlimbs, which will necessarily overlap those in th efirst drawing.

l ike a ma p of t he g lo be a simultaneous drawingmanifests unavoidable dislocations and distortions ofth e rounded form. Shapes may seem to join orextendin ways that do not correspond to th e conventionalidea of the f igure seen from on e point of view. Sucha concept of form violates th e canons of European artas they were conceived from the fifteenth t ~ r o u g hth e nineteenth century. Yet it is an idea that flourishedin th e art of India and of ancient Egypt, where differ-

ent views of form appear even in th e description ofthe face. Simultaneity was also important in the de -velopment of cubism in the early part of this century.A key member of this movement was Pablo Picasso,who created many drawings based on the principleof simultaneity (Figure 3-39). Cubism b ro ug ht w it hit a revolutionary change of attitude toward manybasic values of traditional art. S imultanei ty challenged artistic presumptions of time and space inmuch th e same way that th e theory of relativitychallenged scientific opinion on matters of timeand space.

Studies of th e rotat ing model are on e means ofachieving effects of simuhaneity and movement. butrOlation is not th e only way to represent movement indrawing. The movement of the model in the rotatingpose is limited to motion as revolution around an axis:the pose remains th e same. Human movement inspace is not normally so limited. It is more like a linearpathway in space i.e. it advances from one point toanother. In th e next study a way of drawing this typeof linear movement is considered.

Materials:

Reference:Suggested lime:

36 -x-24 newsprint drawing padeasel or straight-back chairMasonite or plywood board andclampsdraWing crayonmodel2 minutes

]-39. Picasso, S e ~ l e dNude 1956. P ~ g efrom a ~ k e t c h b o o kpen-~ n d i n k .42){ ] OTI Counesy of S P A D E M

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3-40. Student d r ~ w i n 8double pose. Crayon on newsprint paper.3 6 ~ {24 .


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STUDY 12. THE WALKING MODEL

sa drawing subject the walking model is similar tothe previous study but it is carried several steps

further-figuratively and literally. Instead of a simpleshift in weight th e model takes two carefully plannedsteps on the model stand. The model should firstwalk across the s tand a few t imes to decide upon themost natural way in which the movement can be performed in th e limited space. The steps ca n b e markedwith crayon SO tha t they can easily be repeated andheld to allow lime for drawing. The walk ing movement, which consists of moving th e body weight inequilibrium from on e foot to th e other can e frozen midway when th e weight is distributed evenly on

both feet s well s when th e weight rests onone foot alone. Th e tw o steps, broken down intocomponent parts, a mo un t t o five different p s ~ No more than on e minute s ou r e allowedfor eachposition and each position should be repeated duringthe drawing session, allOWing yo u to develop th efigures continuously s a single drawing Figure 3-42). s in t he p re vi ou s study th e feet act s pivots fo rthe figure so their positions can serve s referencepoints fo r the p lacement of th e individual figures ofthe draWing. Th e lower limbs sh ould be a primaryobjective in your study Figure 3-43). Observation ofthe model remains a v it al factor in determining th eq uality of your drawing making it imperative that yo uwork o nl y o n t he p ar t of the drawing representing th eposition then held by th e model.

The premise of this study is cinemafic motionmotion inter reted s a seQuence of images th esame subject seen at c li fi eren t point s in t ime. s ~ o r -ca preceaents can be found in some ancient works ofart, notab ly in certain Egyptian reliefs and Greek vasepaintings Figure 3-44), s well s in representationsof the go d Shiva in Indian art in which a multiplicityof similar figural elements suggest t he m o ti on of on eform. In he nine teen th century photographic tech

niques accurately recorded sequential motion for th efirst t ime. The English photographer Eadweard Muybridge an innovator in this technique taught hismethod to the American painter Thomas Eakins Figure 3-45). Although s eq ue nt ia l p ho to gr ap hseventua lly led to th e invention of motion picturesthe stills remain interesting in their ow n right. The unexpected pat te rns and visual rhythms produced insuch photographs were of interest to painters s well s to photographers. Since that time sequentialimagery has been utilized by a number of artists, in -

3 0 . Student drawing study of a walking figure. Compressedcharcoal pencil on newsprint paper. J 6 ~> 4 ~

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