Seeing The Figure As A 2D Object

Seeing The Figure As A 2D Object
(continued from page 2)

Recognizing the Elements
Let's look at some elements related to this approach. Since you are reducing the subject of your observation to 2D elements, the openings between forms and the space around the forms become equally important. These are called negative shapes. You could, in effect, draw your subject by drawing the space around it, i.e. the boundary between the positive and negative space. The 2D contour of either the positive or negative space gives us the same information. Some basic art school exercises to develop this skill in observation include cutting out the shapes with a pair of scissors the way children do with a silhouette drawing in grade school, copying photographs upside down, drawing with your left hand to make you look more carefully, and drawing a specific contour without looking at the paper. The point of all of these is to teach you to see 2D relationships while looking at a 3D object. It is extremely important that you develop a high degree of skill in doing this. It is this 2D shape or silhouette in your drawing that is needed for a clear reading of the action. The shape is also the area that most clearly reflects the basic design of your drawing. The shape of the form is equally as important as the volume.

In measuring, unlike most drawing tools we have discussed, there are some basic rules. First, measuring is not difficult but you must be consistent and careful or it will work against you. The standard unit of measurement is normally the size of the head, although it could be any convenient unit that you wish to use. The width of the head is another popular basic unit of measurement used by many artists. We are not talking about inches or centimeters but relative sizes. Let us use the head size as an example. To find the center of the figure, or any other point on the figure, hold your arm straight out. You must keep your arm straight. Any variation in distance between your hand and eye will give you a false size relationship. Study the illustration below. The top of your pencil should be at the top of the head, the tip of your thumb at the bottom of the head. You can now move your arm down, turn it sideways, diagonally, placing it visually anywhere you wish on the figure to establish any point or size relationship in comparison to the size of the head, i.e. the navel three heads down, or the shoulders one head apart in this particular pose.

Proportions have been an integral part of the artist's education for thousands of years. The study of human proportion has taken two distinct directions: the real or normal proportions and the ideal proportions of man. Real proportions are, of course, average proportions and should be taken as such. As individuals, we all exhibit slight variations on this norm, but, in general, we all do fall fairly close to the average. This average is a good starting point from which the student to work. The proportions that I have presented here are a seven and three quarters head high male figure and a seven and a half head high female figure. These are in line with the seven and a half heads of Richter, the famous French anatomist, and the idealized eight heads of Michelangelo, the famous Italian Renaissance artist. Many artists have used greater extremes in both directions. These extremes, or ideals of proportion, are used for expressive purposes. The three head high figures in animation and cartoons create children's cuteness. Some of the Mannerist artists of the past, contemporary fashion figures, and super heroes of the comics create ten high figures.

First, get a sense of the real so that you do not make accidental proportional statements that contradict your intentions. Then use proportions to make your statement.

In the next three lessons the emphasis will be on the use of tone to describe forms in space.

Glenn Vilppu teaches figure drawing at the American Animation Institute, the Masters program of the UCLA Animation Dept., Walt Disney Feature Animation and Warner Bros. Feature Animation, and is being sent to teach artists at Disney TV studios in Japan, Canada and the Philippines. Vilppu has also worked in the animation industry for 18 years as a layout, storyboard and presentation artist. His drawing manual and video tapes are being used worldwide as course materials for animation students.

Glenn Vilppu first wrote for Animation World Magazine in the June 1997 issue, "Never Underestimate the Power of Life Drawing." His drawing manuals and video tapes may now be purchased in the Animation World Store.