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There is usually more than one correct answer. After all, drawing figures is not solely an analytical activity, but an interpretive and intuitive one aswell. However, within the myriad of possible correct answers, there may be amost efficient and effective way of beginning a drawing, which will become easier to identify with practice.

Inthis second example I have used the same strategy: I began with a basic ovalshape for the head. To clarify the position of the head in space I indicatedthe chin, jaw and center line of the face. I then located the line of theshoulders before drawing the main action line of the pose, placing the feet toestablish the height of the figure, and drawing the center line.

When viewing the figure from the front, the line of the shouldersis found along the visible line created by the clavicle bones, belowthe triangular outline of the shoulders created by the trapezius muscle. Muscleslie on top of the skeletal structure of the body. We can mimic this order inour drawings by indicating the line of the clavicles first, and adding thetrapezius muscle on top of that construction line later.

When a pose has a very distinct, expressive movement that you want to communicate, you may choose to begin with a gestural line that describes the major action occurring in the pose. An easy way to identify this major action is to ask yourself, "What is the figure doing?" or "What is happening in this pose?"

In this case the figure is seated on a chair, leaningslightly forward and to the left, and looking at the ground. One leg isextended forward while one is flexed back. I can describe this movement mostsimply by drawing a sweeping C-curve that begins at the head, curves around thetorso and continues on to connect the torso to the sole of the foot. Notice therepetition of this movement in the left side of the body and in the curvatureof the spine.

Poses that are compressed or foreshortened (for example,when the figure is seated or reclining) may not have a long, sweeping majoraction line. Instead, their gesture may be best communicated by drawing the shapethat the pose fits into.

You can start these types of figure drawings by blocking in a specific shape, paying close attention to its proportions and angles (thetriangle below is not an equilateral one!). Then, imagine that you are asculptor chiseling away excess areas of the triangle to reveal the form of thefigure.

Taking your time to observe and draw these elements will createa successful foundation for the rest of your block in, the construction of thefigure, and the eventual rendering of the drawing.

A figure drawing is a drawing of the human form in any of its various shapes and postures using any of the drawing media. The term can also refer to the act of producing such a drawing. The degree of representation may range from highly detailed, anatomically correct renderings to loose and expressive sketches. A life drawing is a drawing of the human figure, traditionally nude, from observation of a live model. Creating life drawings, or life studies, in a life class, has been a large element in the traditional training of artists in the Western world since the Renaissance.

Graphite pencil is also commonly used for figure drawing. For this purpose artists' pencils are sold in various formulations, ranging from 9B (very soft) to 1B (medium soft), and from 1H (medium hard) to 9H (very hard). Like charcoal, it can be erased and manipulated using a stump.

The human figure has been the subject of drawings since prehistoric times. While the studio practices of the artists of antiquity are largely a matter of conjecture, that they often drew and modeled from nude models is suggested by the anatomical sophistication of their works. An anecdote related by Pliny describes how Zeuxis reviewed the young women of Agrigentum naked before selecting five whose features he would combine in order to paint an ideal image.[4] The use of nude models in the medieval artist's workshop is implied in the writings of Cennino Cennini, and a manuscript of Villard de Honnecourt confirms that sketching from life was an established practice in the 13th century.[4] The Carracci, who opened their Accademia degli Incamminati in Bologna in the 1580s, set the pattern for later art schools by making life drawing the central discipline.[5] The course of training began with the copying of engravings, then proceeded to drawing from plaster casts, after which the students were trained in drawing from the live model.

In the late 18th century, students in Jacques-Louis David's studio followed a rigorous program of instruction. Mastery in drawing was considered a prerequisite to painting. For about six hours each day, students drew from a model who remained in the same pose for one week.[6] "Eighteenth-century drawings, like that attributed to Jacques-Louis David, were usually executed on tinted paper in red or black chalk with white highlights and a darkened ground. The models' poses tended to be active: standing figures seem about to stir and even seated figures gesticulate dramatically. Close observation of the model's body was secondary to the rendering of his gesture, and many drawings - consistent with academic theory - seem to present a representative figure rather than a specific body or face. In comparison, academies produced in the nineteenth century [...] were typically executed in black chalk or charcoal on white paper and are meticulous depictions of the particularities and idiosyncrasies of the body of the live model. Evidence of the artist's hand is minimized and, although reclining or seated poses are rare, even standing poses are comparatively static..."[7] Before the late 19th century, women were generally not admitted to figure drawing classes.[8][9]

Figure drawing instruction is an element of most fine art and illustration programs. Academies of fine art in Italy have a scuola libera del nudo ("free school of the nude") which forms part of the degree program but is also open to outside students.[13] In a typical figure drawing studio classroom, the students sit around a model either in a semicircle or a full circle. No two students have exactly the same view, thus their drawing will reflect the perspective of the artist's unique location relative to the model. The model often poses on a stand, to enable students to more easily find an unobstructed view. Depending on the type of pose, furniture and/or props may be used. These are typically included in the drawing, to the extent that they are visible to the artist. However, backgrounds are commonly ignored unless the objective is to learn about placement of figures in an environment. Individual models are most common, but multiple models may be used in more advanced classes. Many studios are equipped to allow a variety of lighting arrangements.

When taught at the college level, figure drawing models are often (but not always) nude (aside from small jewelry, props or other inconspicuous items). While posing, the model is usually requested to remain perfectly still. Because of the difficulty of doing this for an extended period of time, periodic breaks for the model to rest and/or stretch are usually included in longer sessions and for more difficult poses.

At the beginning of a figure drawing session, the model is often requested to make a series of brief poses in rapid succession. These are called gesture poses, and are typically one to three minutes each. Gesture drawing is a warm-up exercise for many artists, although some artists sketch out the gesture as the first step in every figure drawing. These broad strokes are not just done by the flick of a wrist, but by using the whole arm to capture the motion of the model. It also helps to keep the artist focused on the model instead of the paper. When it comes to the human body, artists are painfully critical; the proportions of a still life do not have to be drawn perfectly to look authentic, but even the slightest error in human proportions will be easily detected.

Modern and contemporary artists may choose to exaggerate or distort proportions to emphasise the gesture or perceived mood of the models' pose. The outcomes can be regarded as a finished artwork, expressing both the subject, the observational, emotional and mark making response to the artists figure drawing experience.

Anatomy is only the first level of concern in life classes. Figure-ground relationships and other aspects of composition are also considered. Balance of a composition becomes more crucial and therefore more understood through life drawing. The artist's kinesthetic response to the pose and how this is conveyed through a choice of art media is a more advanced concern.Since the purpose of figure drawing classes is to learn how to draw humans of all kinds, male and female models of all ages, shapes, and ethnicities are usually sought, rather than selecting only beautiful models or those with "ideal" figures. Some instructors specifically seek to avoid the sort of models preferred by fashion photographers, seeking more "realistic" examples and to avoid any implication of sexual objectification. Instructors may also favor models of particular body types based on the unique contours or surface textures they provide. The variety of models hired may be limited by the need for them to hold a pose for extended periods (eliminating restless children and frail older persons), and concerns of modesty and legality when models pose nude (restricting the use of minors).

This article contains everything an Art student needs to know about drawing in one point perspective. It includes step-by-step tutorials, lesson plans, handouts, videos and free downloadable worksheets. The material is suitable for middle and high school students, as well as any other person who wishes to learn how to draw using single point perspective. It is written for those with no prior experience with perspective, beginning with basic concepts, before working towards more complex three-dimensional forms. 2b1af7f3a8