In my first post on drawing the human figure from the imagination, I described some of the shortcomings of traditional approaches to teaching this subject. Proposing a better solution, I suggested that artists learn to draw a broad and defined repertoire of poses and views of the figure, particularly those that can serve as references for even more variations.
Though most instruction does not emphasize pose variations, most artists do learn to draw different poses and views of the figure. The problem is, they usually learn the poses or views that merely interest them, not those that would strategically benefit their development as artists. In many cases, these poses and views have no relation to each other or to a larger system for drawing the figure, which makes the learning process slow and haphazard.
Most artists do learn to draw different poses and views of the figure. The problem is, they usually learn the poses or views that merely interest them, not those that would strategically benefit their development as artists.
In seeking a more efficient approach, I’ve attempted to identify those poses and views that are most strategically useful in a figure drawing repertoire—that is, those that are not only common poses, but jumping-off points for other variations. When these strategic poses and views are cross-indexed with each other as pose/view combinations (such as, standing pose/frontal view), they provide a framework for drawing the figure that is systematic, methodical, and easy to learn.
This system of poses and views, however, is just a way of getting organized. In order to learn from this approach, it’s necessary to have a clear and accurate model drawing of the human figure for each pose/view combination. These model drawings must also identify (through notes and graphics) any important visual relationships, anatomical features, or other characteristics specific to that pose or view. By copying these drawings and studying the companion notes and observations, an artist can learn to draw each pose/view from memory and adapt it to his or her own purposes and style.
A Medieval Model Book for the 21st Century
Fig. 1. Page from the sketchbook of Villard de Honnecourt. Bibliothèque nationale de France.
The model drawings are the foundation for ultimately learning to draw a broad repertoire of poses and views of the figure. To a degree, they act very much like a medieval model book, those illustrated tomes created during the Middle Ages containing stock images of figures and other subjects for artists to copy. The famous sketchbook of Villard de Honnecourt is one example (fig. 1).
From an instructional perspective, however, and as I’ll describe in forthcoming articles, there is much more to learning to draw the figure through the approach I’m describing than merely copying drawings like a medieval artist. Most importantly, the topic of how the human body moves or articulates at the joints must be stressed as a means for drawing the figure in more varied poses. However, to the degree that the system does rely on a catalog of drawings, I think a comparison to the old model books is fitting—a medieval model book for the 21st century!
A Strategic Learning System
We discussed the meaning of “strategically useful” poses and views in the previous post, and the word “strategic” is important to many aspects of this figure drawing approach. Along with the importance of joint articulation, which will be discussed in a forthcoming article, the emphasis on strategic poses and views provides an acronym for this learning system—the StArt Figure Drawing System. As in…START DRAWING. Do it. Now!
But one last thing—I want to mention another use of the word “strategic” that applies to the StArt System. You see, it’s best to think of this learning system as less of a specific method of drawing the figure and more of a broad strategy for learning to draw different poses from many different views.
If you already have some background in drawing the imagined figure, you can use most any drawing process—whether gestural, stereometric, structural, anatomical, or some combination of these—in this learning system. You can also adapt it for widely different styles, from drawing Manga characters to classically realist figures.
On the other hand, if you’re relatively new to drawing the figure from the imagination, each model drawing will be preceded by a tutorial showing the creation of the drawing from start to finish. These tutorials will guide you through the process that I follow in creating the model drawings.
We’ll start that first tutorial in the very next post. I hope that these first two articles have provided a clear overview of the StArt System, and that you find the discussion engaging.
“Most artists do learn to draw different poses and views of the figure. The problem is, they usually learn the poses or views that merely interest them, not those that would strategically benefit their development as artists”
What poses or views are most beneficial if you had examples?
And I really liked how you exaggerated ART every time you said StArt.
Ethan,the poses and views that are most beneficial are ones that fit into a defined system. So, for example, the front view, three-quarter view, and side view are all extremely useful, because they fit within a system of views of the figure every 45 degrees, from one side to the other (remember, the side view and three-quarter view can just be reversed to create a view from the left or from the right). By learning to draw these views, you could probably draw any of the views that lie in-between.
However, let’s say you learn to draw a haphazard selection, such as a character standing from a front view, running from a side view, and throwing a punch from a three-quarter view. Though each of those drawings might be useful in themselves, none of them is going to help you draw the figure from other views or in other poses. As a result, your repertoire of figures will be pretty limited and you’ll find yourself repeating some of these same stock poses and views.
So it’s not any one pose or view that is more beneficial than another–it’s learning a selection of poses and views that fit within a system. I hope this answers your question.
Hello, I was wondering if the sketches in (fig 1) seem a bit stylized, the artist used a triangle to get a rough estimate of the figure. Is this a common tendency for the times? Or was this just a personal tactic used by Villard de Honnecourt?
Also I really enjoyed the step by step process of drawing the lower half of the figure, I found it most helpful for a class I’m in.
I think it’s fair to call the drawings in Villard de Honnecourt’s sketchbook stylized, Vinny. When you ask if it was a common tendency for the times, I’m not sure if you mean stylized imagery in general, or using a triangle as the basis for a drawing. In the first instance, I’d say yes, the common practice during the later Middle Ages was for artists to copy from model or pattern books, a process which favors stylization. As far as using a triangle, I don’t think this would qualify as common practice.
Incidentally, there is some debate over whether Villard’s sketchbook was really used as a model book for other artists to work from. I used it in this post because it is the most well-known book of this type, and is certainly similar to books from which other artists did copy. But Villard’s book may have simply been for his own personal use.
Speaking of his use of the triangle as a schematic device, you might compare his drawings of the two figures in the lower left to the famous method taught by Frank Reilly in the 1950’s and 60’s. I find the similarity remarkably close. Was Reilly looking at Villard de Honnecourt when he came up with his method? It is true that a book on Villard’s sketchbook had been published by, I believe, an American publisher around that time, and surely would have been available in New York where Reilly taught. But I really don’t know if Reilly was looking at Villard de Honnecourt. You can learn more about the Reilly Method here.
Drake, I agree with your and Vinny’s sentiment that the figure from this page of Villard’s sketchbook seems to be stylized, which you explained further that it was common practice during this time period to copy previous works and on purpose or not, continue the same ‘style.’
Of course, I realize that this article is not purely about Villard de Honnecourt, but I couldn’t help but wonder about the purpose of his sketches and the man himself! After briefly researching his work I could only dig up the fact that his sketchbook portfolio of people, animals and buildings is the only remaining artifact tied to him. You mentioned that it is very possible that these were for his own personal use, and I am drawn to believe that; because if it were created as a guide for other artists I think that he would have included a bit of text to explain his drawings, the proportions, etc. Was he an aspiring architect or maybe a manuscript illustrator? Or was his work purely for his own personal recording and enjoyment? We will probably never know the complete answer as it is lost to history, but he definitely leaves many questions behind.
You may want to compare Villard’s sketchbook with some other medieval books that were almost certainly model books, Lindsey. There’s a pretty good selection of model books on the Medieval and Renaissance Material Culture site. The list is in chronological order, beginning with the earliest existing model book, the Reiner Musterbuch (Model Book of Rein), from the early 1200’s. Some of the links on this site didn’t work for me, so you’ll have to weed through them.
I very much enjoyed this article in how it simplifies all of my fears of drawing the figure. As a student in art school I can say that I have had previous instructors teach the figure through learning many different poses, but not focusing on the strategic aspects that would benefit me much more.
In regards to the StArt system, I like how the central idea around it focuses on sitting down and just starting to draw. I believe there is a fear of mistakes that keeps students from experimenting and diving into a drawing head first. Mistakes need to be made to ultimately find a solution to a drawing problem. With the aforementioned theme and instruction of strategic poses, it seems like the perfect recipe to learning to draw the imagined figure quickly and effectively.
Figure drawing classes that use a live model are a very good example of a haphazard approach to drawing different poses and views. Typically for shorter drawings, the model takes whatever poses he or she wishes, or at least poses within a certain group that the instructor calls for, such as standing poses, seated, etc. For longer drawings, the instructor probably determines the pose, which may relate to the skill level of the class. Even here, though, the view any student gets is usually dictated by where they happen to be in the room, and how much space there is to move around or change location.
These factors are not necessarily bad, Matt–I happen to be a huge advocate of drawing from the live model, even under the conditions I just described. But when no consideration is paid to discussing poses and views within a more defined system, then the sheer number of poses and views can be overwhelming and confuse the learning process.
I like your comment about just getting started drawing, and not being afraid of making mistakes. That attitude is right on target. The great drawing instructor Kimon Nicolaides said, “The sooner you make your first 5,000 mistakes, the sooner you will be able to correct them.” More pessimistically, one of my teachers changed that to, “The sooner you make your first 5,000 mistakes, the sooner you can start on your next 5,000!”
Ethan, I was wondering the same thing about the poses too. Drake, your answer to Ethan’s question definitely clears up what is considered a beneficial and strategic pose. It makes more sense to me now, especially since the comparison of drawing haphazard poses was brought up.
I know I’m guilty of that. Over the summer I typically draw caricatures at a theme park and during the duration of my employment I was usually taught individual poses that had very little to do with each other, partially because the customers had different requests and partially because of the reason you discussed. Though learning them was helpful, I think it also has limited me. Is drawing selective poses common for beginner artists? Or is that a problem most artists regardless of skill level face?
Deanna, I think drawing selective poses is most common with beginners and intermediate-level artists. With enough experience, artists do get to a point where they can draw most any pose from any view, not because they have such a huge repertoire of figures, but because they understand how the body moves, how the body should look from certain views, a lot about human anatomy, and because they’ve drawn the observed and imagined figure so many danged times. So repeating the same poses or views becomes less common. It’s getting to that point in your development that is the problem. I believe that having a systematic process for learning makes things a whole lot easier and more efficient.
Stan Lee once said of the great comic book artist Jack Kirby that, because he could draw a superhero in so many different fighting poses, he needn’t worry about ever getting mugged in New York–he could just take some of those poses and defend himself! Talk about someone who didn’t have the problem of drawing the same selective poses.