A figure figure is a human shape image in various shapes and postures using one of the image media. The term can also refer to the action of producing such images. The level of representation can range from very detailed rendering, correct anatomy to loose and expressive sketches. A "living picture" is a picture of a human figure from the observation of a living model. Figure figures can be either composed artwork or character studies done in preparation for more finished work such as painting. This image image is arguably the most difficult subject that artists often encounter, and the entire course is dedicated to the subject. The human figure is one of the most enduring themes in the visual arts, and the human figure can be the basis of portraits, illustrations, sculptures, medical illustrations, and other fields.
Video Figure drawing
Approach
Artists take various approaches to drawing human figures. They can draw from a live model or from a photograph, from a skeletal model, or from memory and imagination. Most instructions focus on using the model in a "live drawing" course. The use of photographic references - although common since the development of photography - is often criticized or discouraged because of its tendency to produce "flat" images that fail to capture the dynamic aspect of the subject. Drawing from the imagination is often praised for its encouraging expressive, and criticized because of the inaccuracies introduced by the lack of artist's knowledge or limited memory in visualizing the human figure; artist experience with other methods has a major influence on the effectiveness of this approach.
In developing the image, some artists focus on the form created by the interaction between light and dark values ​​on the surface of the body. Others take the anatomical approach, beginning with estimating the internal frame of the figure, overlaying the internal organs and muscles, and covering those forms with the skin, and finally (if any) the clothes; Internal anatomical studies of humans are usually involved in this technique. Another approach is to build the body freely from geometric shapes, such as balls for skulls, cylinders for the torso, etc. Then refine the shapes to make them more like human shapes.
For those who work without visual reference (or as a tool to check someone's work), the proportions usually recommended in the drawing image are:
- The average person generally has a 7-and-a-half height (including the head). This can be illustrated to students in the classroom using paper plates to visually show their body length.
- The ideal character, used for the impression of glory or elegance, is drawn on 8 high heads.
- The heroic figure used in the depiction of gods and superheroes is eight and a half high heads. Most of the additional length comes from larger chests and longer legs.
Note that this proportion is most useful for standing models. Pose that introduces the foreshortening of different parts of the body will cause them to be different.
Maps Figure drawing
Media
French salons in the 19th century recommended the use of Conta © crayon, which is a wax stick, oil and pigment, combined with specially formulated paper. Erasure is not allowed; instead, the artist is expected to portray the figure with light movements before making the marks darker and more visible.
A popular modern technique is the use of a charcoal stick, made from special vines, and a rougher paper form. The charcoal is loosely attached to the paper, allowing very easy removal, but the final image can be preserved using a "fixative" spray to keep the charcoal from rubbing. Stronger compressed charcoal can produce more deliberate and precise effects, and passing tones can be produced by smudging with the fingers or by a cylindrical paper tool called a stump.
Graphite pencils are also commonly used to draw pictures. For this purpose, artist pencils are sold in various formulations, ranging from 9B (very soft) to 1B (soft medium), and from 1H (medium hard) to 9H (very hard). Like charcoal, it can be removed and manipulated using stumps.
Ink is another popular medium. Artists will often start with a graphite pencil to sketch or draw an outline, then the finish line work is done with a pen or brush, with permanent ink. The ink can be diluted with water to produce a gradation, a technique called ink washing. The pencil marks can be removed after ink is applied, or left in place with the dark ink that prevents it.
Some artists draw directly with ink without the preparation of pencil sketches, preferring spontaneity from this approach despite the fact that it limits the ability to correct errors. Matisse is an artist who is known to have worked in this way.
The preferred method of Watteau and the 17th and 18th century artists of the Baroque and Rococo era is to begin with a tone of tones between half white and black, and to add shade in black and highlight in white, using pen and ink or "crayon".
History
Human figures have been the subject of images since prehistoric times. While the practice of the studio of artists of antiquity is largely a matter of conjecture, that they often draw and imitate naked models suggested by the anatomical sophistication of their works. An anecdote associated with Pliny explains how Zeuxis reviews young Agrigentum naked women before choosing five whose features he will combine to paint the ideal picture. The use of a nude model in medieval artist workshops is implied in the writings of Cennino Cennini, and the manuscript of Villard de Honnecourt confirms that sketching of life was a well-established practice in the 13th century. The Carracci, who opened their Accademia degli Incamminati in Bologna in the 1580s, sets the pattern for an art school at a later date by making life draw central discipline. The training course begins with a copy of the engraving, then begins to draw from the cast, after which the students are trained in drawing from the living model.
At the end of the 18th century, students at Jacques-Louis David studios attended a strict teaching program. Mastery in drawing is considered a prerequisite for painting. For about six hours each day, students draw from a model that stays the same for a week. Before the end of the 19th century, women were generally not welcome to draw drawing classes.
Academy Figure
A academy number is a picture, painting or sculpture in a literal way, from naked bodies using a live model, usually at half-life.
This is a common practice that students need in art and academy schools, both in the past and present, hence its name.
Female
Historical accounts reveal that naked models for aspiring female artists are largely unavailable. Women are forbidden from certain institutions because they are considered unfit and may even be dangerous for them to learn from naked models. Although men were given access to both naked men and women, women were limited to learning the anatomy of casts and models. It was not until 1893 that female students were given access to living images at the Royal Academy in London, and even then the model had to be partially wrapped.
Limited access to naked figures hampers the career and development of female artists. The most prestigious forms of painting require an in-depth knowledge of anatomy that is systematically rejected by women, thereby being degraded into less-respected forms of painting such as genre, still life, landscape, and portraiture. In Linda Nochlin's essay, "Why There Is No Great Female Artist", she identifies limited access that women should draw bare figures as a significant historical barrier to the artistic development of women.
Contemporary studio instruction
Drawing drawing instructions is an element of most art programs and illustrations. The fine art academy in Italy has scuola libera del nudo ("bare free school") which is part of the degree program but is also open to outsiders. In a typical drawing studio image class, the students sit around the model in either a semicircle or a full circle. No two students have the exact same view, so their image will reflect the artist's unique location perspective relative to the model. The model often poses, to allow students to more easily find unobstructed views. Depending on the type of pose, furniture and/or props can be used. These are usually included in the picture, as far as they are seen by the artist. However, the background is generally ignored unless the goal is to learn about the placement of figures in an environment. Individual models are the most common, but some models can be used in more advanced classes. Many studios are equipped to allow various lighting arrangements.
When taught at the college level, the image figure model is often (but not always) naked (aside from small jewelry or other unattractive items). When posing, the model is usually asked to remain silent. Due to the difficulty of doing this for long periods of time, regular breaks for models for rest and/or stretching are usually included in longer sessions and for more difficult poses.
At the beginning of the drawing drawing session, the model is often asked to create a series of short poses in rapid succession. This is called a movement pose, and usually each one to three minutes. Gesture drawing is a warm-up exercise for many artists, although some artists describe the movement as the first step in any drawing. This broad stroke is not only done with wrist movement, but by using the whole arm to capture the motion of the model. It also helps to keep the artist focused on the model, not the paper. When it comes to the human body, artists are very critical; the proportion of silent life should not be drawn perfectly to look authentic, but even the slightest mistake in human proportions would be easily detected.
Modern and contemporary artists may choose to overestimate or distort proportions to emphasize the movement or perceived feelings of the model pose. The result can be thought of as a finished work of art, expressing the subject, observation, emotional response and marking for the artist's drawing experience.
Source of the article : Wikipedia
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