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D R AW I N G P R O G R A M Figure Drawing Phase II: Basic Figure Construction— Drawing from Models–Male

Preserving the Traditions of the Masters

© Watts Atelier of the Arts, LLC, 2013

www.wattsatelier.com

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D R AW I N G P R O G R A M Figure Drawing Phase II: Basic Figure Construction— Drawing from Models–Male

On this back pose, I have injected a middle tone into the mapping. I often take my 25minute class demos up to a faux-finish. This is extremely difficult, especially while talking. Don’t try this in your classes. I would be thrilled for a first or second year student to have a great lay-in even if it takes the whole class.

On this close-up of the legs, you can really see the use of lost edges. This edge is great for adding mystery and depth to your drawing. I know it sometimes feels like cheating, but take it where you can get it. Remember, you study anatomy so thoroughly to use it strategically. Don’t overuse it!




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D R AW I N G P R O G R A M Figure Drawing Phase II: Basic Figure Construction— Drawing from Models–Female




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In this pose, notice the simple yet elegant implication of the hands. Also, take into consideration where I am emphasizing subtle straights. This model has a very muscular–yet at the same time feminine– type. Keep the dominant line-use to curved lines, but really key into where the straights are.

This close-up of the legs show a nice rhythmical “flow.” Notice how the feet are placed at an angle to help make for a more elegant staging. You can pick up the long, sweeping lay-in lines underneath the mapping. Keep an eye on the fluctuation of the core shadows as they play their way down the forms.




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Notice the amount of mapping happening around this figure. Try to keep your head on as you are analyzing. Remember: SCAN, IDENTIFY, PREDICT, DECIDE, EXECUTE. This is the sequence you should ingrain until it is totally intuitive. It will take a lot of concentration and patience until it takes hold.

This close-up of the legs is very elegant with the weight being placed on the toe. You can refer to artists like Gil Elvgren or Alberto Vargas to see how to ramp a lower leg attractively. Drawing is all about embellishing to give you the most ideal version as is possible.




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D R AW I N G P R O G R A M Figure Drawing Phase II: Basic Figure Construction— 2Drawing from Models–Female




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For many artists, the back can be very intimidating. Try to distill it down into its large muscle masses. When we get into the next couple of phases of quick sketch, you will see some more advanced abstractions I have created. Until then, follow along as best you can. This is frustrating, but try to be patient. You simply can’t have all the tools at once.

You can see me drawing from side-to-side and around the pelvic area. This helps to tie together or lock down the shapes while reaffirming the solidity of the form. Notice how three-dimensional it already looks even without shading.




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Focus on staying light. You shouldn’t be gripping the pencil too hard. Relax, take a few deep breaths, and start the process. You can see remnants of the abstraction all around this drawing.

Notice on the right leg, as we view the above image, how little information was used to explain this complex leg foreshortening. Also, look at how I exaggerated the angle of the calf. I like to play around with the form. Chances are you’ll have a tendency to be too literal. Relax, you will free up with time.




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This is one of my favorites of the bunch. The abstraction is set up and left in. Notice how it is not only left in, but because it was used so effectively, it actually adds a bit of a design element to it. The head is quite far along for such a short demo. Look at how I use the core in the cheek to make it look like the reflected light is present.

A nice pair of elegant long legs. Don’t dumb down the pose; always look to accentuate the body. In this case, stretch the legs out a bit. Never shorten a female’s legs. I know, I left a few toes out, but the big shape is still intact.




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Another nice pose. Look carefully at all of the shape design representing the back musculature. Notice how I try to always contain the shapes. If it is a half-tone shape, I am always looking to contain it or link it into another shape.




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This is some tough foreshortening. Do your best to follow along. In time, you’ll get it. Anatomy will go a long way to helping. Make sure to really establish your perimeters on poses like this. They almost don’t fit vertical, but there is way too much wasted space if you work horizontal. You just have to be spot on.




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