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D R AW I N G P R O G R A M Figure Drawing Phase II: Basic Figure Construction— Drawing from Photos—Female

OVERVIEW The objective of this lesson is to learn to draw properly from photo reference of nude models. You will be working on what we refer to as the lay-in phase. The objective will be to use angles, plumb lines, and negative/positive shapes to learn to navigate the human form. Remember to draw upon the concepts learned in Phase I. You may even come to the conclusion that a refresher course on some of those earlier concepts is in order. This is always an option and not a bad idea. This will be the same process used when working from live models, so take note and really ingrain these concepts.

Preserving the Traditions of the Masters

© Watts Atelier of the Arts, LLC, 2013

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ASSIGNMENT 10: DRAWING FROM PHOTOS—FEMALE

The object will be to replicate the drawing I executed from the same photo reference I used. The female form will lend itself to long, sweeping rhythm lines. Try to find some strategic straight lines as well. Part 1: Watch the videos. Part 2: Print out image or use iPad and attach to your reference holder. 1) Spend 40 to 90 minutes on these lay-ins if you are new. 2) Take note of my calligraphy, the way my drawing looks as I interpret the photo. 3) Women are more subtle, as we all know, so be discreet with your information. When in doubt, leave it out. Part 3: You may wish to try these several times—once from the photo without looking at my drawing and another working directly from my drawing without the photo. Just a thought. Note: Take special notice of how I am working from head, to neck, to shoulders, to crotch, to ground. Once you have made it to the ground successfully, go back to the top and make another pass, then another, each time layering on top more information. This is one of the most sound methods of navigating a figure drawing. Enjoy.




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Notice how I vary the line weight around the outside of the forms. You will not see this on the model, you will need to invent it. It is an acquired skill best picked up by watching someone like myself do it. It will be second nature before you know it.

Remember, we are using comparative measurement, not sight size. Keep it light so you can move your shades around without committing too much. This is a challenging stage, so stay relaxed yet present and alert.




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Keep an eye out for the core shadows fluctuating from thin to thick as they pass along the forms. You can see this as the core shadow passes down the thigh or quadricep area. The study of anatomy will help you to know how to expand and contract the core shadow.

Notice how all of the shadow mapping ties together nicely. I often use mapping hand in hand with the lay-in to help locate shade as well as keep everything clean and easy to read.




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This is a three-quarter back pose. Notice the foreshortening of the body. We have not covered this thoroughly yet, but we will in later phases. Think of it this way, as things come towards us, they get larger; away from us, they get smaller. The key is having a very in-depth knowledge of anatomy so you know the relative size relationships of parts of the body.

Again, notice the variation in the shadow mapping. This is most of the work. If you get this right, inserting a middle value and bringing it up to a finish is a cinch.




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