by Dan Gheno
Begin to draw with a scribble-like gesture, moving randomly back and forth across the page, rapidly drawing the model from head to toe and from one side of the figure to the other side. Once you have a feeling for where the figure drawing is headed, start to toss in lines of action, sweeping angles that
crisscross through the figure. Begin to gauge FIGURE 1-12: DRAWING BODY IN MOTION the positive and negative shapes.
Angles: Continue to let your hand amble, drawing seemly random, angled lines throughout the figure, trying to find the forms that line up with or contrast with each other. In this case, for instance, notice how the line of the model’s right inner ankle lines up with the outside of her right hip. Observe how the complex angles of the right side of the torso contrast with the figure’s simpler, flatter left side. Don’t limit your use of angles to the inside of the figure. Let them broadly enwrap the outside of the figure. Collectively, the outside angles are called the envelope. Use them to judge the negative space between the limbs and the torso, as well as the general relationship of the ground plane.
Positive and Negative Space: Utilize negative and positive space to help you analyze the forms of the figure. Look at the so-called empty space, or negative space, between the legs, as well as between the left arm and the head. Also look at the space between the right arm and the body. Ask yourself: How big or small are these shapes? Are they long and narrow or short and broad? Do the same for the positive shapes or body forms. For example, how wide are the model’s calves compared to her ankles? To keep the relative sizes of your positive shapes under control, gauge each body part against some other basic unit of measurement (see the section “Proportions for the Face and Body” by Don Jusko). For
instance, how many head units does a leg measure?
The Line of Action: Look for the internal, directional movement of the forms that you are drawing. You can set them up with lines of action such as the ones drawn in the diagram. Don’t be surprised if your initial sketch looks like a stick figure. Sculptors block in their figures in a similar fashion by using what is called an armature—a framework of metallic rods that will govern the thrust of their sculpted clay forms.
Whether you are drawing or sculpting, you 9
can use these very simple lines of thrust as a foundation for the outside curves and to orient the overall gesture of the figure.
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1. On the paper, put a mark where you want to place the top, midpoint, and bottom of the figure. Try to stay within these boundaries when sketching the figure. Observe the center of gravity, which is represented by this vertical line that falls downward from the pit of the neck. Also observe all of the contrasting, shifting subforms of the figure. The head, neck, chest, hips, and legs are balanced back and forth over this line, one on top of the other.
2. You will usually find the midpoint of the standing figure at the hip bone.
3. The hip usually tips upward above the supporting, weight-bearing leg. Notice that the shoulders usually slant in the opposite direction of the hips.
4. Where is the crescendo, or peak, of the curve? It is almost never in the middle of the curve.
5. It’s important to find the ground plane of the floor under the feet.
In conclusion, there are as many ways to start a drawing of the human figure from life as there are artists. The brief outline above is a personal approach to illustrations. It was prepared for students, and has been adapted from an article in American Artist magazine (Gheno).
Understanding the portions of the face and body will lead you to the Art of Makeup. Mastering the proportions of the face will enable you to create and design any look.
In the well known Muller-Lyer Illusion, a straight line with flanges pointed outward
seems longer than the one with them turned inward. The one tugs the attention beyond the line and seems to lengthen it, the other pulls it center and shortens it. Makeup Artists exploit this effect.
For instance, by daubing shadow above the outer ends of the eyes, they draw them further apart. By applying it above the inner corners, they narrow them. (McNeill, 297)
A Makeup Artist will use this principle to compose features that are necessary for the character or beauty makeup. In all areas of makeup, you need to trick the mind as to what is being seen.
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FIGURE 1-15: THE MULLER-LYER ILLUSION
Everyone has their own unique facial features and characteristics. As in drawing, where you place a shadow or highlight represents what you are visually saying about your makeup. In anatomy, the placement of the skeletal and muscle systems in each individual highlights those unique features. Theatre is one of the strongest examples of changing shapes to create characters, although these techniques can be used in all areas of makeup application.
There are five basic face shapes that are used the most often. Many people have a combination of face shapes. Face shapes can be used as a guide, but would also determine where to place shadows and highlights according to what makeup look you are creating. (See Chapter 8: Design.)
The following are the five basic face shapes for you to identify and understand the differences:
Square Face: Large face, straight hairline, square chin, and the cheekbones are not particularly prominent.
Heart Face: Larger on the forehead and smaller at the chin.
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FIGURE 1-18: HEART FACE SHAPE
Oval Face: Evenly spaced.
FIGURE 1-16: SQUARE FACE SHAPE
FIGURE 1-19: OVAL FACE SHAPE
Diamond Face: Smaller in the chin and forehead.
Round Face: No strong angle, widest at the cheekbones.
Eyes can be broken down into six basic shapes:
Even-Set, or Balanced, Eyes: Equals one eye length apart. This is the eye shape that is considered the “perfect” one aesthetically. You can do almost anything with the even – set eye, and not be as concerned with corrective makeup.
dark colors in the crease. Less is more with this eye shape.
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FIGURE 1-23: DEEP SET WITH LIGHT COLOR APPLIED |
Large Eyes: Will in some cases need to look smaller. A large eye conveys surprise and/or shock, which we will cover later in our discussion of expressions. To make the eye appear smaller, use dark colors on the eyelid and eye crease.
Wide-Set Eyes: Are spaced farther apart than the length of the eye. To bring the eyes closer together, place a dark color on the inside inner corner of the eye.
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FIGURE 1-22: WIDE SET WITH DARK COLOR APPLIED |
Deep-Set Eyes: Are recessed farther into the eye socket. To bring them out, place a lighter-color shadow on the upper lids. Use medium colors in the eye crease, and not
Round Eyes: Can handle most colors. It is the eyeliner that will need to be adjusted if you have to make the eye look more almond. Place your eye-shadow color on the eyelid, blending up at the outside corners. You can also place a dark color on the outer top corner.