The Human Figure as Geometric Forms – Master Copy
©2012 Kevin Grass
Objectives: The human figure is particularly difficult for beginning students for several reasons:
1) students tend to draw what they expect rather than what they actually see, 2) students do
not understand the characteristics of the forms that they are drawing and their relationships to
one another, and 3) students tend to address too many variables at one time, which ultimately
leads to frustration. The best way to overcome these problems is to conceive of the figure as a
series of simpler, blocky geometric forms when the drawing is initially blocked in. A blockier
interpretation of the figure will help clarify how values should function when they are
addressed in the middle and later stages of the drawing.
The following are the objectives for the assignment:
Begin the drawing with a light, quick, gestural block-in of the subject.
Address form and proportion by initially identifying the rib cage, pelvis, and head.
Secondary forms may be addressed after the three primary forms have been accurately
developed.
Clearly rendering large and small elements clearly in terms of simple geometric figures.
Develop accurate proportional relationships within the figure.
Make sure that all parts are logically articulated.
Use a consistent system of perspective throughout the drawing.
Render the subject using a full range of values that are dictated by changes in plane
rather than light and shadow.
Develop background values to enhance the illusion of form and space.
Create a well-unified, solid sense of form.
Maintain a consistent drawing style throughout the piece.
Estimated time for the assignment: 4-6 hours each.
Medium: Graphite on white paper or charcoal on white or toned paper.
Size: Two drawings, each on an 18” x 24” sheet of white or toned paper.
Technique: Use a Wolff’s Carbon B pencil or an HB graphite pencil to begin the drawing,
completing a quick, relatively blocky rendering that addresses placement and proportions. (A).
The largest forms should then be addressed as simple geometric figures. It is important to use
blocky forms as much as possible to clarify changes in plane (B). The smallest planes and forms
are addressed and a full range of values are developed for changes in plane (C). Values and
gradations need to be developed within all of the shapes, including the background.
A
B
C
Subject: The subject for this assignment must be a high quality reproduction of a fully
developed figure drawing or painting by a master artist that works in an academic style. Art
books and art magazines are the best places to find high-quality reproductions – quality is very
inconsistent on the internet and to some extent depends on the quality of your printer. You
must not use a drawing or painting that was done from a plaster cast or sculpture, a
photograph of a piece of figurative sculpture, or a photorealistic drawing or painting. The
original image must include at least ¾ of a nude male or female figure, seen from the front or
the back, and must include a full range of values.
If you choose to use a drawing from a source other than our textbook it will need to be
approved before you begin your work. Good artists to research for this drawing are
Michelangelo, Raphael, Durer, Pontormo, Ingres, Rubens, Anthony Ryder, and Robert Liberace.
You may want to visit the Art Renewal Center online (artrenewalcenter.com) to find links to
more contemporary realist artists.
Design: This drawing must utilize a closed horizontal or vertical composition. In other words,
the subjects must fit on the page without being cut off at the edges of the paper, approaching
the edges too closely, or touching the edges. You should keep at least 1 ½” to 2” between the
subjects and the edges of the picture plane.
B
Additional instructions: Drawings may be either horizontal or vertical in their orientation.
Though drawings need a significant amount of contrast, they need not be as extreme as the
examples illustrated above.
Remember that you are not completing a highly detailed photographic rendering, you are
instead completing a relatively blocky simplification of the subject. This means that the drawing
must retain a sense of the geometric forms that were used to build the subject. Forms must be
clearly resolved, with highly refined values/gradations.
Also remember that values are determined by changes in plane rather than lighting. Notice how
the values in the copy above correspond to the values used for the drawing of the cube. It is a
good idea to complete a drawing of a cube before beginning the values in you finished drawing
so that you can use it to help you keep the values consistent throughout the drawing.
It would also be a good idea to print out a copy of the Proportions of the Human Figure PDF,
located in the Outside Assignment 4 folder in the Outside Assignment folder in Lessons, so that
it is easy to reference while you are completing the drawing.