26

Section One The Fundamentals

As Oliveira explains, "The image of the

human figure is the vehicle with which I can
most positively relate. My concern for the figure is primarily a formal one, growing out of
the problems of painting itself."7

The Schematic Sketch

Whereas gesture or action sketches are primarily an expression of the body's energy
and movement and are often visually distinguishable by flamboyant gestures and fluid
line, the schematic sketch plots or diagrams
the configuration of the pose and the body's
underlying geometric structure. The lines are
II j tCl.(u.f'generally straight and ~ tran.,::cribed with a
crisp and abrup
ccato action that e otes
asequential chain 0
made calcuJar \ - tions. A~ eye no~ t e pos. ibrrs an~el,!pVNM ~~shi s of one point on ~ boCly to another,_
the information is quickly and simply stated
a's structural line:a5illustrated'ln a sketctl"bY
J\IIatisse (Figure 2.17). He;:e-the lines-a-reprrmarily indicators of posiflon angles, ana the
outer pe"Jmeter:' of iOf!J). Starting ~ light,
tehtative indicators of shape, the lines become
bolder as the sketch progresses. Although still
executed rather quickly, the schematic sketch
is often punctuated by stops for making visual
comparisons and aligning points of refer, ence, one to another.
Although drawings are viewed all at once,
they are constructed in sequential stages. What
a schematic sketch effectively does is help divide the complexity of drawing the figure into
simple steps where different aspects of the
drawing problem can be dealt with one at a
I
time. Figures 2.18 and 2.19 illustrate two
\
steps in this process. They allow the artist to
index, or prioritize, the information, first plotting the body's two-dimensional configuration, then defining its interior structure and
volumetric characteristics. The schematic
process can in turn become the foundation
for a more detailed, finished drawing where
contour lines are refined and softened and
value added to create a convincing rendering
of light and volume.

~'
I

2.17
Henri Matisse. Nude Study. Graphite pencIl.
The Metropolitan Museum of Art. Gift of Mrs.
Florence Blumenthal (10.76.3) Succession
H. Matisse, PanS/Artists RIghts Society (ARS),
New York.
(

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e..~NV\NU-

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.A.-.:

Chapter Two A Sketch to Build On

27

.4

I
2.18
Plotting the body's
configuration.

\V
,

'f:

' I

2.19
Expanded schematic
sketch.

When drawing, it is best to proceed from

the general to the specific or, as Matisse put
it. "'Fit the parts together, one into the other,
and build your figure as a carpenter builds a
house. "8 When building a house. one first
makes a plot plan a.!l-d-lays out the foundation. Then the floo joists,Ywalls, and rafters

are framed in. Only after this framework has

been constructed and evaluated as true and
square are the outer, visible surfaces applied
and finished.
A schematic drawing often has the appearance of an architectural framework or scaffolding, with one line buttressing or tying into

28

I,

SectIOfl One The Fundamentals

another, as seen in Lin X. Jiang's drawing (Fig

ure 2.20). Here, the drawing of the model's
right leg suggests the early sketch of the two
dimensional configuration, whereas the torso
shows how the artist has carried his drawing
further into a study of volumetric relation
ships. As well as being informative, Jiang's
line has a brisk and lively rhythmic quality.
Notice, too, the remnants of some original
plotting lines, which established visual connections from knee to knee, shoulder to knee,
and so forth.
The schematic sketch provides a particu
larly useful approach to the study of propor
tions and how those proportions appear when
the figure is viewed in perspective. The next
chapter expands on the schematic approach
to drawing the figure and discusses more fully
its practical application in establishing a solid
beginning for an accurate assessment of what
the artist sees.

The Compositional Sketch:

Figure-Frame Relationship
Equally important to an artist's ability to capture the model's pose is the way in which the
drawing itself is composed. The figure is de
fined in part by the space in which it exists.
Some artists call this the figureground rela
tionship, referring to the figure's position
within and against its background. Other
artists prefer to think of this relationship as
positivenegative form. or yinyang. Whatever
the term. there is a universal recognition that
the subject of the drawing is defined not only
by the space it occupies but also by its relationship to the surrounding space.
Therefore, you need to interpret the dynamics of the body's form with sensitivity to
how the pose relates to the picture plane in
which it is going to exist. As an actor on a
stage remains conscious of the perimeters
within which to perform, so the artist must
be aware of the boundaries of the drawing
surface.

2.20
Lin X. Jiang. Untitled. Graphite. 24 x , 8'.
Counesy of the artist.

A figure can be completely contained

within the space of the page, affecting com
position primarily by its position in reference
to the borders. Or the frame can encroach on
the body and even crop parts of it so that the
composition is determined by the interaction
of the body with the frame's physical edge.
With any single pose, there exists a multitude
of compositional possibilities. and even
though the figure remains stationary, the
artist can literally rearrange the surrounding
space and change the way we perceive the
subject. For example, depending on how the
body is framed. it may appear to be distant
or near. It may seem part of a larger environment or provide all of the composition's
structural elements. The sketches that follow

Chapler Two A Sketch to Build On

sketch is a means of testing a hunch, gathering information, taking visual notes to be amplified and developed. The sketch provides a
way to "float" an idea. It is the means by
which an artist can muse and ponder, contemplate and make new discoveries. For all
these reasons, many teachers feel the best
place to begin drawing from life is with quick
sketching exercises. It is therefore common

35

to dedicate several sessions or even weeks

of sessions at the beginning of a drawing
course, and the first fifteen or thirty minutes
of each session thereafter, to practicing quick
sketches. This is the warm-up, the artist's calisthenics, when you limber your drawing
\ .
hand, sharpen your eye. and open your mind
to the myriad possibilities inherent in drawing the figure.

IN THE STUDIO
The most common philosophy and procedure in
both academic life drawing courses and less formal, self-taughl drawing groups is that the natural
way 10 begin drawing from the model is with
qUIckly e>.ecuted. nonprecious sketches. A sketch,
by definition, is unpretentious, exploratory--even
disposable. Sketches deal with generalities rather
than delails, suggestions rather than affirmations.
These exercises encourage you to respond to your
natural drawing impulses and to let them provide
the impetus and foundation for the more detailed
study of life drawing that is to follow.

Dominant Action Sketches

Pose - 10 to 1S secoods each (for approximately 5 minutes)
Media - bold and thick conte, charcoal, or graphite on
newsprint
In this exercise, the model changes from one pose
quickly into the nex!. Place four to six poses on the
same piece of paper. Each drawing may be 6 to S
high. Allow sketches of different poses to overlap
one another. The intent is to state quickly and efficiently what you feel is the essential element of
the whole pose. To do this, use a bold line or lay a
short piece of conte, charcoal. or graphite flat on
the paper to make a broad value band through the
core of the body. Do not attempt to draw the contour or edges of the body. Instead, try to see the
movement through the center, arcore, of the
body. Get a feeling for the tlioverrtent and gesture
of the pose, then record. In seconds, its key com... sltlOnal eTement After filling a page with these
rapi
changing body configurations, you can appreciate the comparison of these exercises with
an aerobIC warm-up. They offer an excellent interactive begmnlng to any draWing seSSion.

Blind Gesture Sketches

Pose - 1minute each 13 to 5 IXlseS)
Media - conte, charcoal, or graphite on newsprint lone
drawing per side of sheetl
This is a good exerCise for developing eye-hand
coordination and for learning to loosen up and be
spontaneous. Its name derives from the fact that
you draw without looking at the paper. Position
yourself so you can see the model without seeing
your drawing paper. Place your drawing tool on the
paper, then, without looking at or lifting your hand,
allow it to trace your eye movement as you scan
the pose, drawing over and through the form.
Work quickly and don't hesitate to redraw several
times as a continuous expression of the movement of your eyes. Expect the results to be distorted and humorous. The goal is not realism but
rather exploration of the connection between eye
and hand movement.

Gestural Line Sketches (Action Drawings)

Pose - 1 minute each (lor 10 to 15 posesl
Media - conte, charcoal. or graphite on newsprint (one
drawing per side of sheet)
In this exercise, you are encouraged to draw large,
placing only one pose on each Side of the paper.
The larger the paper, the better. The goal is again
~I" the dominant gestyral movement in the
pose. but this time to transcribe it with a -more
fluid, continuous, repetitive action. As your eye
scans and moves with the model's action. your
drawing hand should move with a corresponding
gesture, creating a line on your paper that follows
the movement of your eye. This drawing is as
much about your gesture and movement as it is
about those of your model. Imagine that you are

36

SecllOl"lOne The Fundamentals

drawing over and through the body's action. Do not

attempt to outline the body. You want to feel the totality of the body's action and express it as directly
as you can with the action of your line.
This exercise can be expanded in a number of
ways by incorporating movement into the pose.
Have the model take three related poses in succession, holding each for only about thirty seconds
or a minute. Using line only, capture each pose as
overlapping gesture, allowing your line to move and
flow from one pose into the next.
Another alternative is to sketch the pose from
memory. In this situation, the model holds a pose
for about fifteen seconds. Do not draw while the
model is posing. Rather, when the model stops,
begin sketching the pose from memory. Developing your visual memory is as important when drawing as a verbal or phonetic memory is for reading. It
also helps you develop the ability to focus in on the
key visual relationships within each pose.

vOJ\o. J., G\
Il
q

Sketching Volume with Circumscribing line

Pose - 2minutes
Media - conte. charcoal, or graphite on newsprint
The goal of this exercise is to build a sense of volume and mass through an accumulation of lines
that appear to be circumscribing (wrapping around)
the body's form. Begin by quickly suggesting the
overall action and key components of the inner
pose, as with the gestural line sketch. Then describe the full breadth and depth of the body with
gestural lines that cross over and around the con-

2.29
Cynthia Limber. Student drawing. Circumscribing line.

tour of the body. Imagine that you are actually

drawing on the model and that your line is wrapping physically around the body like string. See Figure 2.29 for an example.

Value Sketches: Gesture and Mass

Pose - 1minute each 15 to 10 posesl
Media - conte, charcoal, or graphite on new5prinllmay be
done with ink or watercolor washesl
Use your drawing stiCk, approximately l' long, held
lengthwise against the paper to create a broad
value area. The idea is to deposit your pigment in
wide, grainy areas. Draw the figure without using
line. At first. work lightly, trying to record the configuration of the entire pose. Think of the grainy
texture of the drawing medium as representing the
dense molecular structure of the body in an atmospheric space. As your eyes rescan the pose, make
alterations as needed by expanding or darkening
the form to express its gesture and mass. If you
find yourself focusing on smaller aspects. rather
than on the whole, try squinting at the model in
order to slightly blur the edges and details.

line and Value Gesture Sketches

Pose- 5 minutes each (3 to 4 posesl
Media - conte, charcoal, or graphite on newsprint (may also
be done with ink or watercolor washes)
In this exercise, use both line and value as complementary elements. First, do several drawings,
starting with value to suggest the mass and gesture of the overall pose. Then draw back into the

Chapter Two A Sketch to Build On

sketch wrth line. AVOid simply OUtlining your value

drawing; let your line draWing be a new response
to the model's gesture. After you have completed
several draWings, reverse the steps, starting with
line and following with a value drawing over the line
drawing. Each element should complement and
amplify the statement made by the other.

Schematic Configuration Sketches

Pose - 1 minute each 15 to 7 poses)
Media - charcoal or graphite pencil 00 newsprint
The gool of this exerCise is to create a quick
schematic diagram of the body's configuration. The
three-dimensionality of the figure is flattened and
traced as large, simple two-dimensional shapes.
The goal IS to lightly sketch what you see as the
plot plan for the figure on your paper. The process
and purpose are analogous to a surveyor's defining
the footprint or foundation for a house on a building
site. Begin by mapping the large primary shapes
and lines, then add secondary ones. For expediency, lines representing outer contours can be simplified. Light lines can also be used to indicate
horizontal, vertical, and diagonal alignments of one
part of the body to another. Some artists indicate the
position of landmarks on the body, such as joints,
with a small circle. Detailed areas, such as the
head, hands, and feet, are reduced to simple geometric notations. The primary goal is to indicate the
size and location of what you observe. Forms are
first defined in terms of their basic geometry, with
the idea that they will be rounded off and details
will be added later. Refer to Figure 2.18 for an
example.

Volumetric Schematic Sketch

Pose- 5 to 10 minutes
Media - charcoal Of graphite 00 newsprint
This exerCise begins WIth a schematic configuration sketch, but the goal here is to literally expand
the two-dImenSional plot plan, to fill it out, to give
volume and depth to the figure on the paper. This
is accomplished by using your lines to suggest the
body's three-dimensional structure. First, look for
forms that overlap, surface planes that turn, ridges
or recesses that appear. Cross-eontour elliptical lines
can suggest the cylindrical nature of the body's form.
This sketching process is analogous to that of the
stone carver, where the form is first "blocked out~
or Mrough cut. ~ Refer to Figure 2.19 for an example.

37

Compositional Sketches: Figure-Frame

Relationship
Pose - 5 minutes each 16 to 8 skeu:hes 011 posel
Media - conte, charcoal, or graphite 00 newsprint
The purpose of this exercise is to help you see
more clearly the interrelationships between the
body's configuration and the picture plane of your
...
paper. Draw SIX to eight small rectangles (approximatety 5 x 7") on a piece of large drawing paper!2- ,:> Y
varying the format between horizontal and vertical.
Then, drawing from the model. create a new sketch
' ')
within each small rectangular picture plane. Attempt
to see the pose as a compositional component in
relationship to the frame of your drawing paper and
the space around the figure. Draw quickly, considering how the dynamics of the composition may
change by placing the figure in a different part of
the picture plane or by changing the size of the figure in relationship to the frame.

/q- /'

Extended Gesture Sketch

Pose - 5 to 15 minutes
Media - conte, charcoal. graphite, or ink pen and brush on
newsprint
The extended gesture sketch begins with the same
concerns you dealt with in the previous exercises.
It requires that you respond quickly and intuitively
to transcribe your feelings about the body's gesture
and mass, and lhat you consider how the figure relates to the rectangular picture plane. In fact as you
begin your drawing, there should be little difference
from how you would begin a one- or two-minute gesture or schematic sketch. What distinguishes an extended gesture drawing is not how it begins but,
rather, how it develops. Over the extended period
of trme, your drawing should evolve into an expanded statement.

Independent StudV

Take a sketchbook out to draw people as they

go about their daily activity: working, playing ball,
shopping, walking. Draw quickly, filling each page
with many small drawings. Concentrate more on
sketching their activity than on their personal appearance. 6 DraWing larger (one figure per pagel,
attempt to record in your sketchbook the activity of
people you have observed in seconds, before they
move; then use your memory to see what details
you can add about the individuals whose actions
you have recorded.