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| ....with Artist Alan Tulloch |
| TRANSFIGART |
| ....with Artist Alan Tulloch |
| An Online Connection for "The Figure as Document" Woodlands ArtsFest 2004 |
| All images on this website are copyright to ascribed artists and may not be reproduced without the permision of respective artists. |
| Tutorial 2 - Left Brain Back-up Introduction Tutorial 1 is a Right-Brained approach to drawing the figure. The idea of drawing from the 'Right Side of the Brain' was popularised by Betty Edwards but drawing the human figure from the Right Side of the brain is another book (and course) in itself. In spite of the virtues of 'Right Brain drawing', the artist always has two sides of the brain and they can have profitable exchanges. My experience of techniques is that any method can slip between being Right or Left Brain. If the approach in Tutorial 1 became a 'formula', following verbal rules, it could become an unproductive Left Brain activity. In all of an artist's drawing, 'figure responsive- ness' will win over rules. The drop into Left Brain activity can happen when there is a move from ... qualitative to quantitative spatial to linear strategical to logical metaphorical to literal haptic to sequential (plus other 'opposites' that space does not allow on this page).) In spite of valuing Right Brain drawing and in spite of being aware of how quickly the drawer can slip away from Right Brain activity, there is a place for using the Left Brain (but mainly as a 'back-up'). |
| Body The figure 'can be seen' to be about 7 1/2 head heights as shown in the drawing below. The arm is about 3 head heights as marked. These 'proportions' are for the average or ideal figure. They 'crumple' a bit when the the is seen at anything othre than full frontal or back views. Nevertheless, there is value in being able to compare the size of parts of the figure against other parts - even though they may not be as neat as it might be in this illustration. |
| "Draw" (In the manner of Tutorial 1) 1983 - Alan Tulloch, Pastel on Paper |
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| Step 1 Have someone pose for you at full frontal view. Print off the larger illustration above so that number details can be more clearly seen. Step 2 Draw the head of your model on your page at any reasonable size. Mark 'one head height' below the chin - draw a light line across the page at the height of this marker. This should be the 'nipple line' for an ideal figure. Step 3 Hold your pencil in your hand as in the inserted illustration. Stretch out your arm at full extension and line up the top of the pencil with the top of your model's head. Move your thumb up to level with the bottom of the chin. Mark the pencil with your thumbnail or a marker pen. Check to see if your model's 'nipple line' is exactly (or less or more than) one head height below the chin. Check the shoulder width in relation to the height of your model's head. Step 4 On your paper, draw markers for where the nipples should be in relation to the 'ideal nipple line'. Complete the shoulders and neck in relation to these markers. Step 5 Mark the belly button line for the ideal figure on your paper - another head height down. Use the pencil as in the illustration to see where your model's belly button needs to be placed in relation to the nipple line. Draw the sides of the figure down to the belly button. Step 6 Continue to plot the rest of the body moving down in 'head heights' or part 'head heights'. Note - Never transfer the height measured on the pencil as your drawing's head height. The pencil is used to verify proportions - not to take measurements Proportion (not measurements) is a key for Right Brain thinking. |
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