Figure Drawing Fundamentals

Figure Drawing
Fundamentals

Erik M. Gist www.erikgist.com

Notes to the reader

This book is not meant as a step by step or a formula (art is not a formulaic pursuit) so do not study as such. This book is also not meant to
solve all your problems, which can only be done by you through diligent
study and hard work. This book is intended to be a guide through the
world of figuredrawing. Careful practice of the principles documented in
this book will improve your drawings more than copying the drawings
used to demonstrate these points. The best way to use this book is to find
a good piece of photo reference, or better yet get into a life drawing class
and apply what you have learned in this book to the problem in front of
you. It does you little good to copy the drawings inthis book because for
the most part the problems have already been solved for you.
It is more important for you as an artist to learn the principles behind
what I do and the reasoning used to govern my, or any one else’s “style”.
In so doing you will begin to produce original art, and not just mimic,
what has come before. In art there are no rules. Rules are what we often
use to simplifykey principles and concepts for those newly initiated into
the fraternity of artists. Always try to get from any instructor why they do
what they do, not how they do it. Why we do what we do is what makes
us good artist’s, how we do it makes us individuals. If you simply draw
how someone else draws you will never be an individual. So when you
study from an artist or an artist’s work try tofigure out why the make the
choices they do, not merely copy the decisions they make.
My recommendation to you is get out your sketchbook, read through
the following pages all the way to the end, and make notes where you feel
necessary. Then put away the book, and get out a good piece of photo reference and your drawing pad and get to work. Only get the book out
when you run into a problem. Thisis the best way to test how much of the
material you have retained. Every time you get out the book make a mark
on the chapter you needed to review, this will show you the areas you still
need to study. Next get your butt into a life drawing class... this is the best
way to learn.
Good luck,
E-

Erik M. Gist www.erikgist.com

Gesture

Erik M. Gist www.erikgist.com

Chapter 1: TheGesture

There are few things in art more challenging than drawing the human figure. I have
found that when facing a daunting challenge
the best thing to do is attempt to break the
process down and simplify. That is what I am
going to try to teach you in the following chapters; to break down the process into separate but
interwoven steps and principles. The reason for
doing this, is so youonly have to worry about
on thing at a time rather than fifty.
The first step in this process is to establish the gesture or linear lay-in. This is the most
important step of the drawing because it dictates all other steps in the process.
Before going any further, lets define gesture. In it’s simplest form, gesture is the action
of the pose or movement between its forms.
However, this is toovague because gesture
should also establish the length, width and
direction of all the masses of the figure. In a
more abstract sense, the gesture is the life, flow
and energy of the figure. This is why I say gesture is the most important step of the drawing
process. If your linear lay-in doesn’t have the
forementioned elements neither will your finish.
As you take your drawing towardcompletion, it
will typically become more stiff and uptight, so
try to give your gesture as much energy as you
can with out sacrificing accuracy.
Lets begin to capture the gesture. The
gesture should be established using the longest
lines possible. Anything else is a scribble not a
line. In the first pass through the figure you
should find the triangular or pyramid shape of
the pose. Almost...