willy poganys
DESCRIPTION
this book shows how to draw a human figure.TRANSCRIPT
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CONTENTS
THEDOT ¿ THEEARS
PERSPECTIVE E THENOSE
SHADING 26 THEHANDS
THEHEAD 28 THEFEET
PORTRAITURE 3ó THEFIGURE
THE EYES 40 BALANCE AND MOTION 70
THE MOUTH 42 FIGURE SKETCHING 74
44
45 :
SKETCHES AND SIUDIES s7
.6).G'..+.TJ
Published in the United States of America'by Madison Books
@ 1996 by Madison Books
Published in 1912by Littlefield Adams & Co.
Library of Congress Cataloging-in-Pubücation Data
Pogány, Willy, 1882-1955.The art of drawing / Willy Pogány.-Rev. and enl. ed.
including sketches and studies.p. cm.
1. Drawing-Technique. I. Title.NC650.Pó 1996 741.2-4c2O 96-139'14 CP
ISBN 1-56833-059-6 (pbk. : alk. paper)
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THE DOTA dot is the simplest thing to drow - so let us begin with the dot.
Toke o smoll writins pod.
Teor ouf o couple of poges.
Drow o dot onywhere on one of these blonk poges.
LIKE THIS BLANK PAGE
fry to drow o dot on the other blonk poge in extrctly the someposition.
Do not troce. Do not meosure - except wirh your eye.
You con see how wrong it
would be to ploce the dot inony one of these positions.
lf you iudge with your eye theright distonce from the edgeof the poper, your dor will be
in the right spof.
BUT
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'uotUodo.¡d puo uortf,a.¡!( 'eruo¡srq ¡o ¡ueu6pnl.¡no,( 6urdole^op ur ,(¡toel6 plD lll/t\ e:r¡lold sryl 'uotlle1
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PERSPECTIVE
We know thol q cube hos six sides.
We know olso fhot eoch side is o perfecl squore, but if we drow o cube os
we know il lo be, it does not look like o cube.
For exompfe, here ore six perfect squores but this drowing does not look
l¡ke o cube.
We know thot o mon hos o fronl ond o bock, but we hove never seen6oth
front ond bock ot lhe some lime.
We know thot o lin con hos o circulor fop ond o circulor bottom of equol
size, but we must odmif thot we never hove seen o tin con like th¡s.
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'1NlOd CNIHSINVA D Pollor sr e6ie^uo) saurl lallDiod qrrt/\^ clur {urod oti1
'turod D olur JDeddosrp ol uJeas salod
eql puD slrDrl aql ^llour.t lrlun apef,ai Aeql reqtroJ aql rollDurs puo rallDrxs 6ur¡1e6
sa¡od eql ,rs o/v\ puo'reqlouD auo ol ieJoou puo Jojoau 6urlle6 sltrDll aql ,as a/\^ ll!lS
'ltOratl ur ¡onba lnogD llo orD se¡od qdor60lol orll toyl nou4 oM
'oull otjl Duo¡o ¡¡o lrodo e)uDlsrp auos egl aro Aeql lDrli ool nou4 oM
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'INlOd DNIHSINVA o PallD) sr o6re^uof, seurl lellorDd r1:rqr* clur lurod aql
'¡ulod o olul 'roeddosrp o¡ urees se¡od
or.ll puo sllort aql ,(¡¡ouu lltun apolar Aeqt ratuD' aql,lallotrrs Puo rellours 6ur¡¡e6
se¡od arlt aas efpuo ,reqlouo euo ol JaJoau Puo laloau 6ur¡¡eO slf,ojl aW aas am l[!l$
'l!6rat¡ ur ¡onbe InoqD llo oro se¡od qdor6alel aql l'oll monE oM
aurl agl 6uo¡o ¡¡o ¡'rodo efuolsrP auros aql elo Aeqt lDtll ool 6Louq aM
'¡e¡¡otcd ero slro.¡t eql fotll mouT aM
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Here is o simple woy to [ind the center of o squore or on oblong.
Drow the diogonols ond they will intersect in the center.
V. P.
--'--l\[email protected]¿otll/
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These diogroms show how to repeot squores or oblongs in perspective'
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Eye level
\/Dv. | . Eye level
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uorsr^rP Jo slurod rnoÁ e9 lll^ B-v ssorf sourl 0uroje^uol esat]l olotlrN'J lurod sl!+ ol seurl OurPr^lP rnoÁ llo MDjC
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Use the some sysiem of repeoting squores
or oblongs in drowing these orches, windows ond checker boord.
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V. P.
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lf you look up ot o group of high buildinss you will find the
cenfer vonishing point for abo','e your eye level.
'tó
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'la^el o^o frLlpq sr lurod'6utgstuo,r urou rnol, 'u,nop 6ur1oo¡ uaqM
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PERSPECTIVE DRAWING CFNote thot the circles seem
A CYLINDER
flotter os they come neorer to eye level.
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,ñ.Ai eye level we see only the edge of the circle os o horizontol line.Above eye level we see the botfom of the circle.
TRY THIS EXPERIMENT.
Roíse o gloss verticolly ond observe how rhe circulor rim chonges shopeuntil it becomes o stroight line ot eye level.
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II
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'sol3.rl jo e^rllodsled otl ,(¡toe¡: r*otls orDMsso¡0 1o sOutmol6
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HERE IS THE SOLUTION CF A SIMPLE PRCBLEM IN PERSPECTIVE
The problem is to ploce o few Íigures ot some distonce oport; we wont themstonding on the spots morked A, B ond C.
Eye_]e_ve!
Ai
First, we tind c Vonishing Point by drowingot the foot of the tigure, ocross poinf A to eye
Drow line from X, to VP for height of figure.
Eye level
F-r
o proiection line from point X,leve l.
B
+
20
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,
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'J tods 1o aln6q ul MolP ol louuDt'tl au:os :-poo3old .B-B a.¡nOr.l eql Jo llOraq etlt noÁ enrO ¡llrla' uB-tB tull lorrlra' : --'dA- tX
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We meosure obiects by stretching out our orm ond, holding our pencilverticolly,indicoting ihe proportionofe size wirh the thumb - l¡ke this,
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Suppose we stonci beÉore on open v¡indow. On the window sill is c poi offlowers ond, in the distonce, c house rhci we wish to drow.
\flhotever the size of our drowing the proportions will remoin the some. In thisinstonce the house wrll be obout one-fifth ihe size of the flower ond the pot,ond the [lower rn¡ill be oimost four times os high os the pot. Allobjects ond rheirproporlions ore meosured in the some wcy.
After you hcue been drciwing for some time you will seldom ;-reed fo meosure inthis woy. Your eyes will become so cdiusted thot only occosionolly will youneed to checI by me:suring.
24
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'3utu:t1,tot¡stto.{ pall ol st uorlrolsrp lDnst^¡n /r
'n' ¡ ,n¡ln '¡l oPr(j ueljo Puo uorlroaoto Jo Ino og ol
'no,( pto,v'o1 6uruoa¡ sr 1tal9o uD uatMsrr1l 'lrDg roytrDJ arD toql slroo oril
Luaas ',(¡lolnlou 'no,( .¡seroou s¡tod agl
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SHADING
The shope of o sphere is o circle like th¡s -->-However, the outline shows only its shapc, shoding is necessory to show its lorm.
These spheres ore lighted ot diÉferent ongles by o single light source.
There ore, roughly, [ive distinct lones of
ob ject:
1. Lighted surfoce
2. Shode
3. Shodow
4. Retlection
5. Cost-shodow
The cost-shodow is the dorl<est shode.
On the lighted surfoce we usuolly f¡nd
----- High light
-1 2
3
,4
shoding thot chorocterize o llghted
,/Hish lisht
26
o brillicnf spot colled o high-light.
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THE HEADThe humon heod is ovol-shoped l¡ke on egg. V¡ewed from the fronl il is obout
one-lhird longer thon ot its widest poinls'
There ore vorious methods of drowing its ideal proportions.
Hoir lines
Eye browEye line
End of nose
Mouth
Here is o very simple method:
1. Divide the ovol verlicolly ond horizontolly into holves.
L D¡v¡de the horizontcl into five equol ports'
3. Divide the verticol into ten equol porls - tive obove ond five below
the ''holf-|ine.''
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'ul Palllj sornlDaj aqi lll/\^ slo^o all o,: =_:_
PDeq oql Jo odDgs eloulxorddo oql no^ a^ro lll/\^ ozrs or.uDs eql Jo slo^o o^ l'tlOlt1 sl lr sD ePr/v\ so lnogo sr oPls oYl uror1 Pa^^or^ Pooq aql
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To drow the heod intelligently, you should know ot leosf the elementoryfocts obout the skull ond the fociol muscles.
Here ore the nomes of the different porrs of the skull:
1 FRONTAL
9 NASAL3. ZycoMATtC (MALAR)4 MAXILLIAR5 MANDIBLE
ó SPHENOID
7. TEMPORAL
B PARIATAL9 OCCIPITAL
Copy the skull Írom both views A ond B on opposife poge-then fry fodrow them from nt,em.ory.
Here ore the nomes of the fociol m,:scles ond their lrunctions:
1. FRONTALIS
Elevotes eyebrow, wrin kles foreheod.9. TEMPORALIS
Roises mondible (iowbone).3. ORBICULARIS (oculi)
Closes eye, stretches skin of foreheod.4. LEVATOR (lobii)
Lifts upper lip upword ond outword.5. ZYGOMATICUS
Roises upper lip ond pulls it oufword (loughing).ó. MASSETER
Roises lower jow ogoinsf upper with greot force.7.'BUCCINATOR
Presses Iips ogoinst feeth.B ORBICULARIS (oris)
Closes lips.
9. DEPRESSOR LABII InferiorDrows lower lip down ond outword.
10. LEVATOR LABII InferiorRoises lower lip ond protrudes it forword; olso wrinkles chin.
The heod in lower right corner shows ot points A, B, C ond D where thebones of the skull oppeor just under the skin.
30
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As the heod, being sphericol in shope, lurns ond is seen from diFferent ongles,
our imoginory dividing lines will follow the some lows of perspeclive os ony
other circulor morking or cross-sections of o sphere.
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PORTRAITUREAlmost everyone who studies drcwing would like to drow portroils. A portroit,
noturollv, should look like the person it represents.
To creote o good likeness we must remember thot besides getting lhe correct shope ond
proportions of the heod ond feolures, it is importont to study the clturact,'r ond c.t'prtssiottoI the sitter.
Before beginning o portroit, study your siller's foce lrom diÉferent ongles. Select the
ongle thoi will bring out oll the desired chorocteristics'
Lighting is oI grect importonce.
Ploce your model in o spot thot is well lighred from o singlc sourcc. This w¡llgive you
shorp light ond shode, defining cleorly the form oieoch feoture.
D¡Éfused light, which does not gi,re ony shorp controst ol light ond shode, should be
orrnilecl hv the heoinner.v/ ,,,v vvv
Be sure thot both you ond your model ore cor[ortoble. lt is unnecessory lo hondicop
yourself by working in on uncom[ortoble posrtion.
Wolk owoy from your work frequently; olso let fhe srtler rest oi intervols. Tolk to h¡m
now-cnd-then io keep him olerl ond interesfed.
Be most coreIul to obserue ond study the eyes ond the mouth.
The mouth is perhops the mosl importont feoture oI the foce since it expresses the mood
ond chorocter oI the person.
Wotch your sitier's mouth os he tolks ond loughs. Shut your eyes ond try to remember
ond visuolize its shope cnd expression.
Do the some with the eyes. Wotch their-proporlion lo the foce, their dislonce from the
nose ond their dislonce from eoch other.
Wotch lhe spof of highl,ght on the rris.
lf you wish the eyes of your portroil toJ'ollo;' the onlooker, houe lhe sitter look strcight
tilo lour eyes wnen you ore drowing iis.
Don't be ofroid to emphosize chorocteristic troits.
Don't ot,¿rc ntp¡asizc os in mcking o coricoture; but "prettying" will give you bod ond
inortistic hobils.
Checi.-up on your drowing by holding it before o mirror. You will be surprised how
your mistokes willstond out when you see your drowing in reverse.
lf you ore not sotisfred with your drowing ond you tind thot you ore unoble to correcl
it, hove the couroge to discord it cnd siorl oll ouer ogoin. Alwoys remember thot we
leorn by our misickes.
3ó
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38
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ót
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THE EYES
It would be very eosy to drow the humon eyes if it were not for
The eyebolls themselves ore simply sphericol shopes set into the eye
woy thot permits them to revolve in oll directions.
The eyes function l¡ke o comero ond ore similorly construcled. The
eye ore the eyeboll, ihe lens, the iris, ihe pupil ond the corneo.
the eyelids.
sockets in o
porls of the
tio
ffiI ris
0Len s Coineo
The iris is the colored disc of the eye wh¡ch vories in color in diÉferent indi-
viduols. lt is o circulor-shoped diophrogm with o block hole, colleC the ptt.pil,in
its center. Beh¡nd the pupil ¡s the lens wh¡ch connot be seen.
The iris is covered by o tronsporenr cup colled lhe cornea.The corneo usuolly
reÉlects some bright lighr which mokes the eyes brilliont ond, ot times, even glossy
in oooeoronce.
The eyelids oct lrke curtoins over the eyes. The upper lid moves up-ond-down
like o shutter or l¡ke the top of o roll-lop desk. The lower lid scorcely moves.
Studv the eyelids in their diÉferent positions os they open ond close, noting their
perspeclive from difrerent ongles. Drow their shopes core[ully ond do not over-
look their thickness.
The eyeloshes should be drown with core ond not merely os c number of rondom
lines. Remember thot the eyeloshes grow on the outer edge of the lrds ond thot
they rodiote from o center.
At the inner corner oIeoch eye is the lriongulor-shoped teor glono.
Eve Eyeboll
40
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*-*w'q"**-/ ¡
,¡16*-"----J \*"aq:!f;'1^*/
w\*=¡*--..
:-¡&t*. -*..É.,'
.- _**_:.¿tf ^, sp/
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THE MCUTHTo drow lhe humon mouth, when qt rest wilhout ony porticulor expression, is
simple enough ond should not present ony speciol diÉficulty. ll is necessory only
to be coreful obour its proportions ond the perspeclive of ils curved surfoces.
42
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e?
'loPorü u^\o rno^ e9 PUo rorjrru o olur lool oisr suorssardxe asje^rP q3ns Llll^ I /\^ojp puo qlnoui eql Ápnls ol o/\^ lseg oql
'uo os puD 6urllsrrlr* '6ur>1oeds
'6ur¡not1s 'rell6no¡ 'etnsoe¡d /ulod 'ta6uo /ssauu.lll6 ssetdxe '1nod :o a¡ru.ts
ll!rrl ll 'uorsse:dxa auros ur 6ur1:o¡ r.,Joplas sr puo ollgor.ir,(¡eu:etlxa st qlnou orll
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THE EARS
When drowing the humon eor be coreful obout plocing it on the righl spot ond
ot the correct ongle. The eor is ploced ot the outeredge of the ¡owbone ond the
ongle runs porollel with the length of the nose. A well-drown eor is o thing of
beouty. The curved forms should be very corefully obserued ond followed'
Mony o tine srudy of the humon heod is spoiled by sl¡pshod drowing of the eor'
1. Helixn A .. I Iz-. Anlr-nelrx
3. Trogus
3o. Anti-trogus
4. Lobule
5. Concho
it;.,!
AA
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\ *S¿r* -{
1t1
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pooo o /\^oJp ol 1uo,rn nol,Jl os /erDJ l,raneio sfrlsuallDroq: ¡uo¡rodur Á¡euLerlxe
alo asou ell Jo suor¡todotd puo edoqs oql 'sazrs puo sedogs snouoA Jo alo sosoN
f-: ¡ ¡í >-' -. -. r!r: ,' i ':._ J'
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THE HANDSThe hond, ofter the heod, is of primory interesf to the ortisi' Copy these ono-
fomicol chorts repeotedly until you L"'ecome lhoroughly fomilior with oll the
minute detoils of the hond - then drow it from memory:
1. Pholonges
2. Metocorpols
3. Wrist bones
i^\\\\
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Bock of hqnd
Polm of hond-'\/\
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46
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i "/,\
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THE FEET
The muscles, bones, ond tendons of the foot ore comporotively
smo ll.
The foot is constructed in o series of orches.
These orches form o remorkoble "engineering" slruclure, mok-
ing it possible for lhe feel to support the weight of the entire
bodv.
When drowing o foot, t¡rst "block out" its generol shope.
With¡n this outline "block out" the Íorms of the sections cfthe foot, moking sure f hey ore correct in proportion ond ongle.
Be especiolly coreful obout the proportions of the toes - olso
the posilion of the onkles.
THE BCNES CF THE FCCT
Á/'\/^ll. \Js Lorcls
2. Astrogolus
3. The bones of the Torsus
4. Metotorsoi Bones
5. The Pholonges of the Toes.
The muscles of the
The muscles of the
MUSCLES
sole, the abductors,
instep, the eilcn,sors.
bend the toes.
streich the toes.
52
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rJ.f/
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THE FIGUREHere ore the proporfions of the mole ond [emole odult tigures. The octuol
proportions ore neorer seven ond one holf heodlengths, bui here we use
eight heodlengths, becouse it is eosier to divide eight into equol ports.
Furthermore, thrs elongotes the figure ond mokes it more oppeoling. We
put fhe center division (see chort) ot the crotch, but in reol life i1 usuolly
comes obove the crotch.
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-*\-il- i\
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gOnortll tlrnol eq+'aull+srD^^ etll qOnorLll Prrql alll'lsoerg etl Jo elddru aqt
qOnortt seoO glOuelPoeq Puolos et1l +DLll Pulj lllM no'( puo slrot{l eqt I'pnt5
osorr so deal o¡ no^ es npo ptno^ '"ffi;::; l:T1:;li'':::;";'¡oepl eroul PuD pa06e¡-;e6uo¡
ernOq aql solotir 'sqt6ua¡poat 196re 1o uot¡rodord aqt puo 'uotstnlP sltll
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PRCPCRTIONATE HEIGHT OF FIGURES IN DIFFERENT POSITIONS.
I
2
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s¡rror6 Pllqr oql sD.raouol loo sur.rD a9l Puo soe¡ eql'APoq all ^ oL{ o)rlou
lll/\^ no,( lrDgl etl lo Our¡oo1 s¡,n,ol6 Pllq) aql so aouotl: suot¡lodold osotll
'l.ror.ls,(tan eto sOe¡ puo srJllo aql puo 'Ouo¡ sl oslol
aql/aO.¡ol sr PDot st¡ 'st1tOua¡pDeY oarql A¡arro:s ornsDeu lll^ luoJur uV
'a6o o1 6urplo::o ,(lón I'poq s,Plltll o Jo suoll.lodold oql
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BONES
1. Skull
9. Clovicle
3. Humerus
4. Rodiusr I ll). utno
ó. Corpus
OF THE SKFRONT VIE\I
-tllI/. lvlefocorpolsR Dh^ l^ ^^o.9. Sternum
10. Ribsñlll. relvts
1 2. Femur
ELETCN
13. Potello4 / T.lt+. I toro4- T.l Ilf . rrbulo
1ó. Torsols
17. Meiotorsols18. Pholonges
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Spots indicofe where bones oppeor iusl
OU
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.{1 il!-J
ur>ls otll laPun lsnl rosddo seuoq alaqM olo)rPUr slooS
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FRCNTAL MUSCLES OF THE ARM1. DELTOIDEUS
Front Seclion pulls ond rotofesorm inword.Back Section l¡fts ond roiotesorm ouiword.
2. B\CEPS BRACH\\Turns, brings orm forword,bends ond turns foreqrm.
3. TRICEPS BRACHIIExtends foreorm, brings ormforword ot shoulder joint.
4. BRACHIALISBends foreorm.
5. SUPINATOR LONGUSTurns hond, polm outword.
ó. EXTENSOR CARPI RADIALISExtends ond turns hond, bendsforeorm.
7 PRONATOR TERES
Turns foreorm inword, bendselbow ioint.
B EXTENSOR DIGITORUMExtends tingers ond wrist.
9. FLEXOR CARPI RADIALISFlexes wrist.
10. FLEXOR CARPI ULNARISBends ond brings wrist forword.
11. FLEXOR POLICIS LONGUSBends thumb.
FRCNTAL MUSCLES CF IHE TCRSC
12. PECTORALIS GROUPBrings forword ond rototes or¡.ninword, olso pulls shoulderblode forword or ribs upword.
13. LATISSIMUS DORSI
Brings orm forword, exlendsqnd rototes orm inword.
14. SERRATUS ANTERIORDrows shoulderblode forword,rototes lower point o[ shoulderblode outword.
15, RECTUS ABDOMINISDrows chest downword, pelvisup.
1ó LINEA ALBADivides Rectus Abdominis ver-tico lly.
1I OBL\QUUSCompresses obdomen, pullschest forwqrd.
1B INGUINAL LIGAMENT
FRCNIAL MUSCLES CF THE LEG
19 PSOAS ILIACUSBends thigh, roJotes ond pullship-¡oint inword.
20 PECTINEUS
Brings thigh forword.
91, ADDUCTOR LONGUSBrings forword ond rototesth ig h.
92 GRACIALISBends knee, lilts thigh, rototesleg inword.
23. SARTORIUS
Rototes thigh outword, flexesthigh ond leg.
24. RECTUS FEMORIS
Stretches leg ot [<nee ond bodyon h ips.
25. VASTUS MEDIALIS
Works some os Rectus Femoris.
2ó VASTUS LATERALIS
Works some os 24 ond 25.
27 PATELLAR LIGAMENT
eB. GASTROCNEMIUS (Colf)
Bends knee, exfends, lifts ondturns down foot.
20 SOLEUS
Siretches, l¡fts ond turns downfoot.
30. EXTENSOR DIGITORUM LONGUSFlexes onkle, stretches the foursmoller toes.
62
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SIDE VIEW CF MUSCLES OF ARM
1. Deltoideus
9. Biceos Brochi¡
3. Triceps Broch¡i
4. Broch¡ol¡s
5. Supinolor Longus
ó. Extensor corpi rodiolis
7. Pronotor teres
9. Flexor corpi rodiolis
SIDE VIEW CF MUSCLES OF TORSC
1 2. Pectoro I is
'13. Lotissimus Dorsi
14. Serrotus Anterior15. Rectus Abdominis
17. Cbliquus18. Inguinol Ligoment
SIDE VIEW OF MUSCLES CF LEG
31. Gluteus medrus' Drows thigh oside ondrototes it inword
32. Gluteus moximus: Stretches thigh, drowsit forword ond rototes ii outworo
33. Tensor fosioe lotoe: StiÉfens ouier side oÉ
thigh ond rototes it inword
24. Rectus Femoris
2ó. Vostus Loterolis
34. Biceps Femoris: Bends knee-ioint, strelchesthigh ond rototes l"g outword whenknee is bent
28. Gostrocnemrus
35. Peroneus Longus: Supporfs orch of foot,strelches, lurns ond drows foot outword
^^alzy. Joleus
30. Exfensor Digitorum Longus
64
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MUSCLES CF IHE BACK
37. Tropezius: Turns lower ongle of shoulderblode ouiword ond foreword, drows the
shoulderblodes toword eoch oiher, ele-votes outword top of shoulder blode,extends tfre heod
Infrospinotus : Rototes orm oulword
Teres mojor: Ro.tofes orm inword
Rhomboideus: Elevotes shoulder, rototeslower port of shoulder blode inword,drows shoulder blodes toword eoch other
13. Lotissimus Dorsi
3'[. Gluteus medius
32. Gluteus moximus
^^^ll Iz t. Aooucror rongus
2ó. Vostus Loterolis?L R i.o^. Fo-^ri.v ,, e,vvYJ
28. Gosirocnemius
^r ñ |J). reroneus Longus
41 . Ach illes tendon
38.
39.40.
66
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Without muscles our bodies could not move. We could nof wolk, bend, [<ick,
or even smile.
ConlroctedE"ponded
A murcle works like o sprrng. You con see this cction very ploinly when you
expond ond ccnlroct Your bicePs.
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BALANCE AND MOTIONFigure 1 represents o rigid humon body. The three heovy sec-
tions denole the heod, the chest ond the pelvíc section. The
smoller seciions denote the neck, the woistline ond the leg-
loints. HoWever, the humon figure is seldom, iIever, os motion-
less os in Fig. 1.
ln Figure 2 we see thot when the heod tilts one woy the
shoulder lrne immedictely tilts in the opposite direction, ond
the pelvic line tilts opposite to thot of the shoulder line. Th¡s
is on unfoiling rule of perfect bolonce.
This countermovement holds true in every oction, ond in every
direction. For instance, in wolking or running, when the right
foot goes forword, it is the left orm thoi goes forword ot the
some time, ond vice tersa (Figs. 4, 5 ond ó).
Keep strictly fo this principle if you wont true movement, other-
wise your Éigures will be stotic ond pose7,.
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FIGURE SKETCHINGCne of the most foscincting subiects to drow is the humon figure.
The tine proportions, beoutiful modeling ond delicote bolonce, ond the in[inite vorio-
tions in movement ond repose ore such fhot there is no other living thing to compore
with it.
Through countless oges crfists of oll roces houe drown, pointed, ond modeled the
numon rorm.
lf you hove never done ony [rgure drowing, I would suggest thot you stcrt to drow the
humon [igure in its simplest pose with little or no foreshortening. Th¡s is on upright
stondrng position wiih orms close to the body ond feet together.
McLe up your mind before you begin, how lorge you wont your drowing to be ond
mork on your poper the totol lengrh desired. Your drowing must be exoctly the size
lhot you hcve indicoted on your poper.
Your next slep is to drow o stroight, verticol line connecting lhe two morks. Th¡s w¡ll
indrcote the imoginory line of grovitotion running from heod to foot.
Now rork the center of the bodv bv dividing the verticol line into two equol ports.
Mork your proportions.
Drow in the ovol of the heod.
Meosure rhe width of the shoulders compcred to the length of the body. Drcw in the
shoulder I¡ne. Do the some wrth the hrps'
(To meosure, use o pencil in your outstretched hond, tirst gettrng the width, then
meosuring verticolty the number of iimes the widrh goes into the lotol length oIthe bodv )
Now proceed ro drow the mosses of the chest, hips, legs, etc'
To check on your drowing, wotch the shope of the backgrountl thot surrounds lhe
frgure. See rf these "le[t spoces" (or negotive shopes) correspond with the outline oI
your drowing.
For instonce, whotever the position of your subieci, wotch the shope ond size oI the
s1r(1.f between the orms ond the body; between the t¡lted heod ond the shoulder;
between the two legs, elc., elc'
Ihese will be your lc.l'ts¿(¡.cr. Speciolottention io them will be of greot help in mcking
o correct drowing.
74
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Art /$ 14.95
WILLY POGAI\YOne of the most popular drawing guides ever published, The Art of Drawing
has been an informative and thorough guide to several generations of aspiringartists. For fifty years, Willy Pogány has given the main principles of drawing
in a simple, constructive way. By following the sequences laid out in thelessons, students quickly master the art of drawing.
As a further aid, Pogány gives a complete anatomical description of thebody for each section, including a list of all bones and a description of the
muscles and their uses. The Art of Drawing provides a complete drawingsystem and includes hundreds of illustrations. Every artist, beginning or
advanced. should own this book.
Cover illustrations used with permission of Sterling Publishing Co., Inc.,387 Park Ave. S., New York, NY 10016 from Bridgnton's Ct',utplete Gttide tt't Dravittq
from Life by George B. Bridgman, @ 1952 by Sterling Publishing Co.
Cü'er desiqtt bt'The Great Anterican Art Co.
g@Esg. $14.e5ANT OF DRAWINO
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