Figure Drawing - Posing the Figure

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Figure Drawing - Posing the Figure

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The human figure is an expressive form. Often you can tell what people are thinking by how they stand or hold themselves. When doing figure drawings, you will be confronted with the choice of how to pose your figures. This decision can be critical to the success of the drawing. Look at the difference between the stances shown in Figure 5.1. Can you describe the emotion of each figure? The human body has an expressiveness that communicates through an unspoken language often referred to as body language. As an artist, you must learn this language and become as expressive with...

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C H A P T E R 5 Figure 5.1 The figure’s emotion is expressed by his stance.
✎ Posing the Figure T he human figure is an expressive form. Often you can tell what people are thinking by how they stand or hold themselves. When doing figure drawings, you will be confronted with the choice of how to pose your figures. This decision can be critical to the success of the drawing. Look at the difference between the stances shown in Figure 5.1. Can you describe the emo- tion of each figure? The human body has an expressiveness that communicates through an unspo- ken language often referred to as body language. As an artist, you must learn this language and become as expressive with it as a writer is with words. Much of the choice of how you want to pose the figures in your drawings is determined by the purpose or goal of your drawing. It begins with the creative germ of an idea that is developed sometimes well before a pencil is put to paper. Sometimes the idea developed is wholly the artist’s, although many times the artist has influence from outside sources, such as in the case of commissioned work or commercial art. Another important aspect of posing a character is the physical association of the body with the environment. Because we live in a physical world, our bodies are subjected to a number of physical forces, not the least of which is gravity. A pose that is off balance or ignores the effects of gravity can often make for an awkward- looking drawing. While this may not be as much of a problem when drawing from life, it does become a problem when posing a figure in a virtual setting. The third element to posing a figure that will be covered in this chapter is beauty. The human form is considered by many to be the ultimate expression of beauty. It has the potential to inspire the mind and enrich the soul, but like any subject, it can also be seen as awkward or unsettling depending on how it is portrayed. 75
Figure Drawing with Virtual Models What Pose? the information you need to create beautiful works of art without the One of the great advantages of a software program such as Figure When faced with a white sheet of expense of hiring a model. If you Artist is that it has almost unlim- paper that is supposed to become a need a model for your work, ited possibilities for setting up fig- figure drawing, one of the first Figure Artist can help you work ures as reference for your drawing. questions an artist must answer is out the lighting and poses prior to Not only can you pose the figures what pose the figure should be in. your model session so there is in Figure Artist in almost any posi- This is true whether the drawing is much less wasted time and less tion possible for the human form, a commissioned portrait or a sim- chance of not getting the best pose you can also change the figures ple figure study. for your art. themselves for a huge variety of looks, from fat to thin and from Many elements go into determin- muscular to frail. A variety of cos- ing the pose for a drawing, but tumes and facial expressions for they all begin with the purpose of the virtual mannequins are also the drawing. Maybe the drawing is available. But with all of this free- commissioned to illustrate a story. dom there is also a danger because The artist has to visualize the story the figure may not look natural or and think of how the people in it like it fits into its environment. will interact with each other. The characters in the story have to be In a real-world situation, the artist envisioned. The situations need to has to follow natural laws, such as be explored. The mood of the story gravity. In a virtual situation, the should also be taken into consider- artist has to remember that these ation. For example, the story might laws exist and simulate their begin with a woman waiting for a effects. If the artist does not plan friend to arrive. Figure 5.2 shows a for the effects of gravity or perspec- female figure dressed in casual tive, then the pose can look odd or clothing, with an attitude of wait- even uncomfortable to the viewer. ing for something or someone. For example, in Figure 5.3 the seated figure is not in the same Using Figure Artist as a tool, the perspective as the chair, making artist has the ability to explore a the pose seem very out of place. number of visual options in detail before embarking on the task of creating the drawing. Using Figure Artist, you can explore creative Figure 5.2 The pose is of a girl possibilities for posing the figures with the attitude of waiting. in your drawings to help give you 76
Posing the Figure Figure 5.3 Inconsistent perspective makes the scene Figure 5.4 This guy looks like he is about to fall. uncomfortable. Balance and wrong. More than likely, the char- acter might not be completely bal- Being off balance is not always a bad thing. If you are working on Weight anced or there might be a lack of an action drawing, you can use weight to the figure. balance as a point of action. Say, For a figure to look right in its sur- for instance, that you are working roundings, it needs to have balance on a picture of a person running. and look like it has weight. One of Balance When a person runs, their weight the problems with posing a figure If the character is off balance, view- is shifted forward in an off-balance in a virtual setting, whether it is ing it will be uncomfortable position. Standing still in that posi- with a software program such as because there will be a feeling of an tion would likely cause the runner Figure Artist or with a wooden impending fall. This is not always to topple over. The viewer recog- mannequin, is the fact that it is bad if there is a good reason for the nizes the off-balance position of easy to pose a figure that looks off-balance pose, but it is bad if it the person and interprets it as part slightly odd or out of place. There is the artist’s oversight. In Figure of the running motion. could be a number of reasons for 5.4 the character is leaning to one this, but the most common one is side. He looks as if he is about to Comic book artist often have their that the figure may not look like it fall. The viewer might feel the need superhuman characters in impossi- fits in the setting. The perspective to try to catch him. ble poses. The exaggeration of the could be off. The lighting might be 77
Figure Drawing with Virtual Models pose can give the picture the feel- ing of movement and superhuman powers. Figure 5.5 shows a charac- ter in an action pose. Not only is the character not balanced, but he is flying, something that a normal human can’t do. Because artificial environments don’t have gravity (this includes your drawings), you have to com- pensate by learning how to keep your drawings balanced. You do this by locating the center of mass of the body and then determining whether it is supported by the fig- ure. To find the center of mass, look to the person’s hips. Even though the chest or upper torso of some characters might be larger than the hip area, the hips are what really determine the balance of a figure. Following is an example of how you might check the balance on your figures. Figure 5.5 Some poses are off balance on purpose. 78
Posing the Figure S T E P - B Y- S T E P 1 The first step is to pose the figure that you want to draw. Figure 5.6 shows a sample fig- ure in a balanced pose. Figure 5.6 Pose the figure. 2 Draw a circle centered on the figure’s hips, as shown in Figure 5.7. The circle locates the center of mass for the figure. Figure 5.7 Draw a circle around the hips. 79
Figure Drawing with Virtual Models 3 Now draw a vertical line that bisects the cen- ter of the circle, as shown in Figure 5.8. Although the line might not fall directly between the figure’s feet, it does fall between them. Most poses have more weight on one foot than on the other, so the line will rarely be in the exact center. You also need to think three-dimensionally. In this example the char- acter is standing at an angle to us, so that will affect the center line as well. Figure 5.8 Draw a vertical line through the cen- ter of the circle. 4 Now draw the action line that shows the line of motion for the figure, as shown in Figure 5.9. Compare the action line with the vertical center of mass line. A balanced standing fig- ure’s action line and center of mass line will be roughly the same. The closer these two line are, the more evenly distributed the body weight will be between the figure’s legs. Use these lines to check the balance of your character. Figure 5.9 Draw the action line. 80
Posing the Figure This method of checking the bal- match the center of mass line. For the figure from other angles, the ance of a figure is a good way to example, look at the three views of lines diverge distinctly. One of the understand whether your drawing the figure in Figure 5.12. advantages of having a virtual 3D will look right. Let’s see how it model to draw from is that you can works for a figure that is off bal- The figure is definitely not bal- check the model from multiple ance. Look at Figure 5.10. I have anced, yet in the first view on the angles to make sure it is correct drawn in the center of mass line. left, the lines correspond well to before you start your drawing. Notice how it is shifted to the right. each other. However, if you look at The figure looks like he should be sitting or leaning on something. When the action line is drawn, you can see that it does not match the center of mass line very well, as shown in Figure 5.11. The more deviation between the action line and the center of mass line, the more likely the character is out of balance. One caution about this method is worth mentioning: You need to examine the figure from several different angles. Figures exist in 3D space even though your draw- ings will be in 2D. Often from a specific angle, the action line will Figure 5.10 The center of mass Figure 5.11 The action line deviates line is shifted to the right. far from the center of mass line. Figure 5.12 Make sure to check the figure for balance from several angles. 81
Figure Drawing with Virtual Models Hip and Shoulder off-balance. Because the spine is Guide that helps the artist to see Relationship flexible, it bends and shifts the the relationship of the hips to the weight of the upper torso to com- shoulders. The shoulders are repre- One of the most interesting aspects pensate and counterbalance the sented by a blue rectangle and the of the human body is the spine. tilting of the pelvis. hips are represented by a yellow The spine is a flexible segmented rectangle. When this feature is series of bones that runs from the Usually the hips and pelvis move turned on, it is easy to see the posi- pelvis to the skull. The spine con- in opposite directions to try to tion of the hips in relation to the nects our upper body with our keep the body in balance. In art, shoulders. The guide is pictured in lower body. One of the advantages this opposing movement is called Figure 5.13. of flexibility in the spine is that it contrapposto and often an artist will helps us to keep our balance while accentuate the shift because it cre- In this example, the skeleton is in standing or walking. For example, ates a more interesting pose. the act of walking. Notice how the when a person walks, the hips will right hip is up while the right tilt from side to side. If the spine Figure Artist has a feature called shoulder is down. Figure 5.14 were not flexible, the tilting of the Hip-Shoulder Relationship shows the curvature of the spine. the pelvis would throw the body Figure 5.13 The Hip-Shoulder Relationship Guide Figure 5.14 The spine twists and turns as a person helps to show the shift of the hips and shoulders. walks. 82
Posing the Figure Weight model will often seem to have no In essence, the figure needs to look weight. This can be a problem if like it is interacting with gravity to Every figure in life has some you are working toward a realistic give it a sense of weight. weight unless it is floating in outer picture. When posing a figure, you space. Weight is closely related to have to take weight into account. Weight is better understood when balance in that without weight, drawing the nude figure. balance is not an issue. A figure’s Figure 5.15 shows a figure in the Sometimes the tension of the mus- weight is a combination of mass act of lifting an object. Even cles can play a big role in giving and gravity. Gravity is constantly though the object is missing, there the body a sense of mass and pulling a figure toward the ground. is a sense of weight to both the fig- weight. In the next example, you The figure’s skeletal and muscular ure and the object. This is because will be using Figure 5.16 as a pose systems work together to help the the figure is firmly planted on the for a drawing. The pose is an figure stand, move, and essentially ground and his body is bent to action pose in which the figure’s fight the effects of gravity. When indicate that there is tension in the foot is pushing off in the beginning working with a virtual figure in a arms and legs. of a run. Notice how the push-off virtual setting, you’ll find that the leg is powering the figure against gravity. Try drawing this figure. Figure 5.15 The pose shows weight by how the fig- Figure 5.16 The muscles of the leg fight against grav- ure interacts with gravity. ity in a running pose. 83
Figure Drawing with Virtual Models S T E P - B Y- S T E P Figure 5.17 Lightly draw the Figure 5.18 Draw the surface Figure 5.19 Begin the shading major proportions of the figure. detail over the mannequin figure. around the figure’s face. 1 2 3 Start by lightly drawing a base One you feel comfortable with The purpose of Steps 1 and 2 mannequin of the figure. The the proportions, you can cre- is to give you guides for draw- base mannequin defines the ate a more detailed line draw- ing and shading the figure. foundation proportions and the ing of the figure. In this stage Once you are satisfied that size of the figure on the paper. the figure’s minor proportions your drawing is accurate, start Pay attention to where the fig- are all defined, such as the applying the shading and ure overlaps and what parts of distances between facial fea- detail. I always start shading the figure are oriented toward tures and the individual fin- around the figure’s face if it is you, such as his right forearm gers and toes. The surface visible in the picture because and left thigh. These areas will detail of the character’s mus- our eyes are naturally drawn need at least some foreshort- cular and skeletal systems is to a person’s face. It is usually ening. Figure 5.17 shows this also defined. Figure 5.18 the most scrutinized part of first step. I have purposely shows this stage in progress. the figure. Figure 5.19 shows darkened the exposure on this the drawing in progress. example so you can see the lines. Typically, these lines are drawn so lightly that they don’t print well in a book. 84
Posing the Figure Figure 5.20 Continue to shade Figure 5.21 Add shading to the Figure 5.22 Do the final touch- the figure. entire figure. ups on your drawing. 4 5 6 Continue shading the figure, Continue shading the figure The last step is the cleanup working your way down from through the hips and legs. and final detail phase of the the head, defining the detail Figure 5.21 shows the figure drawing. This is the only time of the chest and arms. Figure after shading. Notice that I that I will use an eraser on the 5.20 shows the picture in eliminated the cast shadow picture. Here I remove any of progress at this stage. on the figure’s thigh. Some the light construction lines cast shadows on the figure that are still showing in the itself are a problem because highlight areas. I also clean up they tend to obscure the form. the edges and adjust the con- Add just a hint of a cast trast in any areas that need shadow on the ground near balancing. Figure 5.22 shows the figure’s planted foot. the final drawing. 85
Figure Drawing with Virtual Models Body Language his hand, it was a literal sign of trust and friendship. hands are open and turned up. She is leaning away from the source of Body language can be any expres- her surprise, as if she is about When you consider a pose for one ready to run. sive aspect of a person. It can be as of your drawings, you might want simple as a facial expression or as to first consider whether you want Figure 5.26 shows a confident complex as a way of walking. It to express a message as part of your swagger in the figure’s walk. includes the way a person moves drawing. Consider how that mes- and the specific position a person Learning the language of the body sage can come across in the pose of assumes in any given situation. can help to give your drawing a the figure. For example, Figure 5.24 shows a pose of a woman more expressive touch. The best Some aspects of body language are looking at her watch. A drawing of way to learn is to watch. Go out to cultural, such as bowing or shak- her could express impatience. a park for lunch and watch people ing hands, while others are univer- as they interact with each other. sal, such as narrowing the eye- With an understanding of how to See whether you can pick up on brows for anger and slumping the incorporate body language into personality traits just by how peo- shoulders when one is tired. The your drawing, you can express ple move, sit, stand, or play. Take a custom of shaking hands, as shown almost any emotion. The pose in sketchbook with you and make in Figure 5.23, originated back in Figure 5.25 indicates surprise. Her some quick sketches, concentrat- the days when men carried swords body posture and her facial expres- ing mainly on learning the lan- or knives. If someone offered you sion emphasize this emotion. Her guage of the human form. 86
Posing the Figure Figure 5.23 Shaking hands was and still is symbolic Figure 5.24 This pose might be used to express of trust and friendship. impatience. Figure 5.25 In this pose, the figure is surprised. Figure 5.26 The figure has a confident swagger to her walk. 87
Figure Drawing with Virtual Models Facial Facial expressions can have a huge impact on your drawings. Figures opposite—the eyebrows pull away from the center of the face and are Expressions 5.27 and 5.28 show a few exam- lifted. The eyes are open, as is the ples of facial expressions. Figure mouth. With a worried look you Facial expressions play a big role in 5.27 shows an example of three are kind of between anger and fear portraying emotion. Often we wear different emotions. Drawings of in facial expression. Notice that the our emotions in our countenance. each emotion are just below the expression is more subtle, with just Sometimes it is pronounced, as in poses. a slightly pinched look to it. the case of anger, whereas other times it is subtler, as in confusion When a person is angry, he or she Figure 5.28 shows a few more or daydreaming. often displays a lot of tension emotions. Try drawing these and around the top of the bridge of the see whether you can capture the One big advantage of Figure Artist nose. Eyebrows tend to pull feeling of each pose. as a reference for your drawings is toward the center of the face, as that you can pose the figure’s face. does the mouth. Fear is kind of the Figure 5.27 The face can have many emotions. 88
Posing the Figure Figure 5.28 Try draw- ing these emotions. 89
Figure Drawing with Virtual Models Beauty Anyone who has studied the ele- gance of the human form will As the old saying goes, beauty is in probably agree that the grace and the eye of the beholder, and so it is beauty of how the body is put with the drawings you create. together is nothing short of amaz- What is beautiful to one person ing. From the skeletal structure to might not be very appealing to the way our muscles attach and another. Some people may love flow, the human body is one of the your work, whereas others may most versatile and ingenious hate it. In general, however, there designs for movement and grace. are some basic concepts that help Take, for example, the femur bone to make your drawings more beau- of the leg and how it is shaped. tiful by our culture’s generally Figure 5.29 shows the femur next accepted standards for beauty. to a straight rod. Notice how much When it comes to posing the fig- more interesting the shape of the ure, beauty can generally be bone is compared to the rod. defined as grace. Capturing the Often beginning artists (and even potential for gracefulness in your Figure 5.29 The femur is a more some professional artists) have drawings is the goal of this section. graceful shape than a straight rod. problems getting their figures to In addition to grace, there are look alive. Their work often looks other aspects of beauty, such as contrived or stilted because they lighting and composition. Lighting don’t follow the natural dynamics will be covered in Chapter 7 and of the figure. This is often the case composition will be covered in when using photography because Chapter 6. it is difficult for a model to hold a The human form is graceful by its dynamic pose, such as the one in natural design, so posing a figure Figure 5.30. to take the best advantage of dis- The idea is to have your poses look playing an aspect of the human natural, not posed. When posing a form can be very beautiful. This is figure, try to keep the action con- one reason why I suspect artists sistent and, where possible, relaxed have been fascinated by the human rather than forced. A good way to form for centuries. It is also why improve your poses is to establish many artists spend a great deal of an action line. time in figure drawing classes and studying the nude figure. Figure 5.30 Try to make your poses flow gracefully. 90
Posing the Figure Action Line A curved line is generally more interesting and pleasing than a straight line. Look at the two lines in Figure 5.31. The curved line is much more expressive than the straight line. Figure 5.31 Curves are more interesting than straight lines. The action line helps artists keep their drawings from becoming stilted by unifying the form. In Figure 5.32, the action line is one continuous arch. All figures have an action line, even when they are at rest. In Figure 5.33, the figure is seated on the ground. Even though the figure is not moving it still has an action line, as shown in the picture. Figure 5.32 Pay attention to the action line in the figure. 91
Figure Drawing with Virtual Models Try looking for the action line when observing people in life. Think in terms of reducing the fig- ure to a single line of motion. You will soon notice that the more defined the action line is, the more graceful the pose will be. When posing the figure, you should avoid 90-degree angles as much as possible. As shown in Figure 5.34, 90-degree angles on limbs give figures a robotic look. A good way to look for graceful motion is to study dance, particu- larly ballet, because of the empha- sis on beauty and grace. Figure 5.35 is a pose of a dancer. See whether you can draw in the action line for this pose. Figure 5.36 shows the action line for the dancer pose. Secondary action lines can also be used to unify the figure and add grace to the pose. Figure 5.37 shows two additional action lines for the arms and the other leg. Try posing a few figures yourself to see whether you can get the feel of establishing action lines in your poses. If you can get the action line Figure 5.33 Even a seated figure has an action line. to work well in the poses you cre- ate, then they will likely translate into good drawings. 92
Posing the Figure Figure 5.34 Try to make your poses flow gracefully. Figure 5.35 Can you find the action line in this pose? Figure 5.36 The action line follows the major curve of Figure 5.37 Secondary action lines can help to unify the body. the form. 93

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