. Drawing for beginners . as we have sketched in the angles ofJack draw a faint line down the centre from the back or half-centre of the neck, and this should reach the ball of the rightfoot. (Jack is depending on the chair with his left leg, andhe could therefore lean backward or forward without losinghis balance.) First we glean a general idea of the big angles of the body,and the broad, sweeping line of the spine, the bending thighand leg, and the standing leg and foot (in my sketch drawnon a smaller scale). Then we follow the angles, and find theybreak into large simple curves. We trace th
. Drawing for beginners . as we have sketched in the angles ofJack draw a faint line down the centre from the back or half-centre of the neck, and this should reach the ball of the rightfoot. (Jack is depending on the chair with his left leg, andhe could therefore lean backward or forward without losinghis balance.) First we glean a general idea of the big angles of the body,and the broad, sweeping line of the spine, the bending thighand leg, and the standing leg and foot (in my sketch drawnon a smaller scale). Then we follow the angles, and find theybreak into large simple curves. We trace the great curve ofthe body, its backward thrust, the width of shoulders, andthe comparatively narrow width across the hips, the thickcurve of the thigh and its narrowing line to where the kneebends on the chair, the curve of the calf, and the flatter lineof the knee to the foot where it bends downward in a greatspoon-shaped curve. The right leg has far more delicatecurves. The calf and upper thigh are drawn taut with the40. FijT. 9. Jack 40 Drawing Ourselves and Others very upright position. (If you stand in this position you canfeel the strain of the sinews at the back of the knee and theankle.) The ankle tapers and the toe of the foot is turnedoutward, and thus we see both the back of the heel and thebroad toe turned away in shape something like the bow of aboat. Having noted the main forms and their relation to eachother, we can next devote ourselves to detail. The line ofthe hair follows the upper part of the round bullet-shapedhead. The ear is valuable, coming as it does at the meetingof the jaw and skull, and we note the tiny niche where theneck rises above the collar. Now we can mark down the big shadows—under the loosesleeve of the shirt, at the waistbelt, between the legs and thefolds at the back of the knickerbockers, at the knee, andbeneath the heels. We follow the grip of the hand on thechair, remembering that something solid and big flattens andpushes out the palm.
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Keywords: ., bookcentury1900, bookdecade1920, bookiddrawingforbe, bookyear1920
