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Drawing The Female Figure
The next step after you’ve gathered your materials together is to decide how you’re going to use them.
In a sketch club or art school, the model is usually set up on a model throne so that everyone can see it.
In this case don’t get the model too close to the throne as the perspective will be very distorted.
The best position to sit (or stand) in is one in which you can comfortably take in the entire pose in one glance, that is, your gaze follows the model’s head and her legs in one glance.
If you are arranging the pose and background yourself, you should avoid any overly elaborate background that will distract the eye. The fabric is best hung preferably on a blank wall or behind the model.
You can then study shapes, lengths, shades and silhouettes without trying to find where certain shadows blend into the background, such subtleties can come much later if you wish.
You should also try to get a very simple effect of light and shadow without too many dark shadows on the shape, you only need enough to show the shapes clearly.
Everything that distracts you and increases your difficulty should be avoided, so make simplicity your goal. avoid any confusing light, ie light that comes from two or more sources
And as a result, contrasting shadows are generated, which is likely to cause complications.
When your exploration becomes more experienced this more complex lighting setup can be very interesting and give completely different, but complex effects.
This is not a problem that you should worry too much about, the most difficult problem is how to draw; Not the one with whom to paint.
However, if you are in doubt here are some methods that you can use to help you.
I stress that you shouldn’t worry too much about your technique, especially in the beginning.
Pick something simple and stick to it.
If you’re having trouble, it’s probably because drawing is way too difficult and it’s not your equipment’s fault if things go wrong!
Let’s start with paper. There are many types of cartridge paper, from smooth to very rough.
Medium surface white paper purchased in sheets or in sketch books is most commonly used for pencil drawing.
You can also use Ingres or Michelet paper, which has a rough surface and is similar to the paper used by 18th-century draftsmen.
It is great for all types of charcoal or chalk drawings and I have used this type for many of the illustrations in this book.
Augustus John often drew on Whatman “knot” paper using pencil. Many artists work on blocks of detail paper, this is semi-transparent paper with a smooth surface, very useful if you are doing a large number of quick studies.
If you’re going to use a sketch book, don’t go too small – about 14″ X 10″ is the smallest size you should use.
What to paint with is a burning question and, as I have already said, one always blames the tools chosen for one’s mistakes in one’s painting and is always on the lookout for the medium which will give all help and sympathy to one’s painting.
Alas, perhaps the perfect tool hasn’t been invented yet (unless maybe it’s a camera!). In the meantime, here are some that artists have been battling and cursing for a long time.
First, there’s the lead pencil. You may sometimes be misled in older books on art, as brushes are called pencils.
Sir Joshua Reynolds says: “Pick up your pencil” when he means your brush.
So the correct term for this ubiquitous tool is lead pencil. A grade 2B or 3B will probably be most useful for a start.
After a while you can try a softer or harder grade, if you’d like. Some of the greatest masters of this instrument have been Ingres and Augustus John.
| Writer | Francis Marshall |
| Language | English |
| Pages | 100 |
| PDF Size | 30.3 MB |
| Category | Art |
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Drawing The Female Figure Pdf Free Download