The same procedure as day 3, but longer poses and an attempt to make the shapes look more like those of THIS person. Notice how forms overlap creating depth. Notice that each section has a certain shape, thicker in some places and thinner in others. Notice the characteristic bumps formed by the ends of bones at the joints which help clarify the structure. Observe proportion which means RELATIVE SIZES. Don’t “count heads” as a device---SEE and judge. If the torso is this long, how long is the upper arm in relation to it? Poses about 15 minutes.
STUDENTS: Beware common mistakes: The femur is long; everyone sit, bend all the way forward. Where are your shoulders in relation to your knees? Feet and hands are big. Put one hand at the base of your neck where the clavicles make two bumps, and put the other hand on your shoulder; are they at the same level? Put two hands on your jaw bone right under your ears; how wide is a neck in relation to the jaw? Observe carefully, and correct and correct and correct; even Michelangelo did. YOU ARE BUILDING A CONVINCING STRUCTURE ON PAPER, which is basically like us. (Briefly taking the same pose as the model deepens perception.) Knowing how the figure is constructed enables you to figure out and draw the seemingly difficult, impossible poses. To draw these, you must analyze, you can’t guess at anything; therefore, these often result in the best drawings.
HOMEWORK:(#4) PROPORTION. Draw 3 figures constructed in the same manner as today. 1st drawing in “average proportion”, which sometimes exists; most people are variations on this “norm”. (The average gives us a base-line by which we can better perceive variations.) Draw 2nd and 3rd figures hugely out-of-proportion any way you want. (Better to experiment with many figures than to labor long over a few.)
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