CHAPTER 1
FOUNDATION
The Purpose of Figure Drawing
Life drawing, or drawing from life, is the practice of drawing a living, breathing human being, live, in person, and in real time. Generally when a live model is drawn from life in an academic classroom or art studio setting, it is known as a life drawing session.
WHY DRAW THE FIGURE AT ALL?
The figure is merely a subject to study, but it is such an incredibly deep and complex subject. Because of this depth and complexity, every core fundamental of drawing, and of art itself, can be learned from studying and drawing the figure. Everything, from making quality lines to lighting to composition, is a necessary part of the figure drawing process. So, in short, if you want to become a better artist, drawing the figure can be a path to get there. This has been true for me and for many of the great artists throughout time.
WHY DRAW FROM LIFE?
The main benefit of drawing from life versus drawing from a photo, or even memory, is that the figure can be studied and observed in its natural state and in the round. This means that you can physically see the figure in all three dimensions. In a life drawing session, the poses are arranged with a time limit, which has many benefits for the art student.
The first benefit, and why it is so important, is that timed poses create a structure to the artist’s practice. Having structure in any serious practice has many advantages. Setting a time limit forces the artist to fully concentrate on the model and the task at hand. For example, if I know I have only three hours to draw from a live model, then I will focus on and appreciate each pose in the time I have with the model. If each pose is limited in time (e.g., a one-minute pose), then I will be even more focused. If I want to make a meaningful drawing, I know I have to put maximum thought and concentration into each and every mark.
The second benefit is repetition. To learn any skill, especially a new motor skill that involves muscle and neural patterns (such as drawing with a pencil), many repeated attempts are required. In a three-hour life drawing session with timed poses, especially short times such as one, two, or five minutes, the model can make more than one hundred unique poses. Each pose is a new and fresh opportunity to practice a drawing skill.
Because there are so many unique opportunities (sometimes one hundred or more poses) in a typical three-hour life drawing session, there is less pressure or expectation to finish a drawing, or to make a good drawing. This frees up the mind to either focus on a specific skill or experiment and take risks because no matter how the drawing turns out, eventually there will be a fresh new pose, and there will be many new opportunities to try and try again.
The third benefit, and what I enjoy most, is the time pressure. With unlimited time for a drawing or a pose (or any task), the mind can easily become distracted and lose focus. When the artist has limited time, and knows that the pose will soon change, there is pressure, or a sense of urgency to accomplish the task. This sense of urgency imposes more focus on the pose and on every mark the artist makes, which makes each drawing, and the practice session as a whole, much more productive.
The purpose of life drawing is to study the human figure and learn as much as possible about the figure and the drawing process. The main goal of timed life drawing is practice and repetition. Like the gym or exercise, it is in a life drawing session where we get our “reps.” The goal is not to make a finished drawing, a perfect drawing, or even a good drawing. In fact, the goal is to try to fail as many times as possible. This is especially true if you are new to life drawing, or if you are experienced and trying something new, experimenting, taking risks, or generally trying to improve.
In short, don’t put any expectations or pressure on yourself when you are in front of a model. Instead, focus on the moment, focus on the task at hand. Focus on the materials you have, focus on the model, what the pose is giving you, and what you have to work with. Have your end goal in mind, but be fully present and absorbed in the process.
A two-hour figure drawing from life. Pastel on newsprint.
The Structure of a Life Drawing Session
Typical life drawing sessions in an academic (school or learning) model are two to three hours long. When I organize life drawings, I book a model for three hours and break up the time into various pose lengths.
Generally the session starts with short poses, which allow the artists and students to loosen up and warm up. Short poses have much lower expectations for the artist, freeing up the mind to simply draw and be in the moment and prepare the mind and body for more complex drawings during longer poses. The first two hours typically consist of short poses of ten minutes or less. In the last hour, I like to include twenty- to twenty-five-minute poses. This gives the students an opportunity to practice and refine more complex tasks, such as proportion, anatomy, lighting, and shading.
Life drawing class, Vassar College, c. 1930. Courtesy of Archives and Special Collections, Vassar College Library.
Below is an example schedule of a life drawing session:
Total time with model = 3 hours
Hour 1
1. One-minute pose x 25 (Five-minute break for model to rest)
2. Two-minute pose x 12 (Five-minute break for model to rest)
Hour 2
3. Five-minute pose x 5 (Five-minute break for model to rest)
4. Five-minute pose x 5 (Five-minute break for model to rest)
Hour 3
5. Ten-minute pose x 2, five-minute pose x 1 (Five-minute break for model to rest)
6. Twenty-five- to thirty-minute pose (or remainder of the three hours) x 1
This is not the only way to structure a life drawing session. This is simply one way that is commonly used.
Recommended Materials
To produce the best results and make practice time more productive, using the right set of materials is a must. The recommended materials on this list are designed to maximize your drawing time with the model and to teach good fundamental skills and techniques. When I was first exposed to this set of materials, I felt like my eyes were opened to a new world of possibilities. I was able to make new marks and use new techniques that were previously foreign to me. Over a few months and with consistent practice using these new tools, my dexterity and skill level improved dramatically. Because these materials are so effective and versatile, I, and many professionals, use and recommend them.
There are two sets of materials recommended for two different settings. The first set is for using in an art studio setting. This is the set I would bring to a life drawing session, regular life drawing class or workshop, or for use in my home studio. The second set is what I use for sketching out in the field, or any situation where portable, lighter materials are needed. For beginners or anyone new to life drawing, I highly recommend starting with the studio set of materials.
SET 1: STUDIO MATERIALS
Drawing Pencils (A)
The first and most important tool is the drawing pencil. The pencils I use and recommend come in three forms:
1. Pastel
2. Conté
3. Charcoal
Besides the material, the most important part of the pencil is how it is sharpened to a long lead point (more on this later). For pencil brands and grades, I recommend:
1. Wolff’s Carbon, 6B
2. STABILO CarbOthello, black and earth tones (dark brown or dark red, pictured)
3. Conté à Paris, B
4. Faber-Castell Pitt Pastel, black
If these brands aren’t available in your area, try to find a comparable brand and test them. As long as the material is either pastel or charcoal and produces the marks needed (see Making Marks) it will be suitable for life drawing. As a last resort, you can use the more commonly available sketching materials listed in Set 2 (see here).
Paper (B)
The paper I recommend is smooth newsprint. smooth newsprint. Yes, I mentioned smooth twice because it is that important. Newsprint is generally available in two textures: smooth and rough. Smooth produces the best result and is the best for practicing tones and edges. Rough newsprint will be very difficult to use and will lead to frustration. If you are already using newsprint and your marks look rough, it may be because of the rough paper texture.
The paper size I recommend is 18" x 24" (46 x 61 cm), or international size A2 (42 x 59 cm). This large format allows plenty of space to make long marks and strokes using your whole body and arm. With the larger-size paper, you can draw multiple smaller studies during short poses or larger drawings for longer poses.
Kneaded Eraser (C)
I recommend soft, pliable erasers. A soft eraser will erase and edit marks and still be gentle on the paper. I and most professionals use kneaded erasers (pictured).
Drawing Board (D)
To support my paper and give me a stable drawing surface, I use a wooden drawing board. The most common is masonite (pictured), but any thin and light hardboard will work. Pre-cut drawing boards are available at most art stores, and they easily accommodate 18" x 24" (46 x 61 cm) paper.
Clips (E)
To hold your newsprint paper on your board, I recommend large binder clips (pictured) and bulldog clips. These can be found in most office or stationery stores. Use the largest size available, which are approximately 2" (5 cm).
Other Accessories
Pencil Extender (F)
A pencil extender extends the life of a pencil when it becomes too short to hold comfortably.
Single-Edge Razor Blades (G)
To sharpen my pencils to a long point, I use single-edge razor blades and sandpaper. Single-edge blades are much safer to use than double-sided blades and are relatively inexpensive. If single-edge razor blades aren’t available, I recommend a box cutter. How to properly sharpen a pencil will be covered later in this chapter.
Medium Sandpaper (H)
To smooth, sharpen, and refine my long pencil lead, I use a medium grade (80–120 grit) sandpaper. Most art stores also have pre-made pencil sanding blocks that also work well.
SET 2: PORTABLE/FIELD SKETCHING MATERIALS
For beginner students, or anyone new to life drawing, I recommend starting with the studio materials, especially the long-leaded pencils (see here). However, those materials may be difficult to find or may not be available at all in your area. Studio materials are also quite large, so they require more space and can be difficult to carry if you are traveling.
For cases in which smaller, portable sketching materials are needed, I use a separate set of more commonly found materials and tools.
Pencils (A)
The pencils I draw and sketch with the most are graphite pencils and colored pencils.
1. Graphite pencils are the most common and are readily available. I use mostly 2B and HB grades (pictured). For convenience, I often carry and use a mechanical pencil.
2. Colored pencils are very common and easy to find, but vary dramatically in quality. I use and recommend Prismacolor, black (pictured).
Ballpoint Pen (B)
Ballpoint pens are my favorite drawing tool. The large majority of my sketching is done with ballpoint because of its feel and versatility. Ballpoint, unlike gel or felt-tip pens, allows for more pressure sensitivity and is able to produce very light marks. In this way, this pen mimics drawing with charcoal or pastel pencil. Ballpoint pens come in many brands and colors. At the art store, I look for Bic or Pilot brand, size 0.5 or smaller, in black.
Markers (C)
I use markers mostly for tones. Because they can fill a shape or area quickly with a dark value, they are ideal for value and shadow studies. For some examples of shadow studies, see chapter 5. I use Sharpie brand for blacks and Prismacolor and Copic brand for grays.
Felt-tip and Brush Pens (D)
Unlike a ballpoint pen, felt-tip and brush pens make dark, uniform, and permanent marks. I use felt-tips mostly to practice my line drawing. Brush pens are great for sketching and practicing the undercup grip, which will be covered later in this chapter. The marks are dark, thick, and permanent, so there’s no room for mistakes and no way to erase or undo a mark. This makes brush pen drawing a great exercise for practicing how to make careful and confident marks. The felt-tip brands I recommend are Faber-Castell Pitt Artist and Sakura Pigma. For brush pens, I like Sakura (pictured), Tombow, and Pentel.
Erasers (E)
Kneaded erasers (pictured) will easily erase graphite and partially erase or lighten colored pencil. For erasing colored pencils, I recom-mend a Staedtler Mars eraser or any hard plastic eraser.
Sketchbook (F)
Sketchbooks come in many shapes, sizes, and paper types. There is an almost infinite range to choose from. The best way to find a sketchbook that is right for you is to try as many as possible, draw every day, and fill them up! For beginners, start by choosing a size that is comfortable and portable and has a neutral white paper with a smooth texture.
I bring my sketchbook everywhere with me, so most of mine are around 5" x 7" (13 x 18 cm) or 6" x 8" (15 x 20 cm) in size because they are easy to carry and store. Brands I have used include Strathmore and Moleskine, but even ordinary unlined journal books from a stationery store can be great for sketching and life drawing.
Copy Paper (G)
Besides drawing in my sketchbook, I use and enjoy ordinary copy paper/printer paper. I use U.S. letter size 81/2" x 11" (22 x 28 cm) or A4 international size. Copy paper is great for drawing students because it is inexpensive and easy to find.
Clipboard (H)
To support my stack of copy paper, I use an ordinary clipboard. Most clipboards come in a standard size that supports letter-size (or A4) paper.
Using Your Materials
LONG-LEAD PENCIL
One of the most useful ways to draw the figure is with a long-leaded pencil. A long lead can be as long as 2" (5 cm), but for most artists new to drawing with long leads, I recommend sharpening and drawing with lead anywhere from 1/2" to 1" (1 cm to 2.5 cm) in length.
The beautiful thing about long lead is it allows for a wide variety and range of marks, specifically the ability to make sharp lines and also broad strokes of soft tones. This versatility is useful when drawing from life because it allows for line drawing and shading with a single tool, which saves time. A long lead also simulates a brush, which is great for preparing a drawing student for learning to paint. This variety of marks can also be achieved with drawing sticks such as charcoal or pastel, but pencil gives much more control for smaller marks and details if needed.
Needle Point and “Heel”
There are generally two shapes of long leads. The first is the long “needle” point (A), and the second is the “heel” (B). The needle point looks like a long needle while the heel has a flat surface. Both shapes can create the same marks needed for life drawing. I encourage you to try both until you arrive at a preference.
HOW TO SHARPEN YOUR PENCIL
Step 1: Expose the Lead
The first step is to slowly remove, or whittle away, the wood of the pencil to expose the lead. Using a single-edge razor blade, hold the blade with your thumbs on top (A and B). Turn the pencil with your fingers as you shave the wood (C). Once you have exposed enough lead (about 1/2" to 1" [1 cm to 2.5 cm]), shape the wood so that it tapers from the lead to the pencil (D).
Step 2: Sharpen the Lead
The next step is to shape and sharpen the tip of the lead. This step takes a lot of practice, so if you’re new to hand sharpening, proceed slowly and with caution. With a single-edge razor blade, start by holding the blade with your fingers on top and your thumb underneath (A). Shave and whittle the lead to make a smooth and sharp point (B). Continue to the shave the lead and turn the pencil with your fingers until you achieve a sharp point and smooth taper (C). When finished, the shape should resemble a long needle (D).
Step 3: Sand and Refine
To get the sharpest edge and smoothest lead, use a sanding block or medium-grain sandpaper. The goal in using sandpaper is to smooth out any bumps or irregularities on the lead and make the sharpest point possible.
Start by laying the lead flat on the sandpaper (A). Move the pencil back and forth and turn the lead with your fingers as you sand (B). After the lead is smooth and sharp (C), I shave the wood again to make a smooth taper (D). This allows you to lay the pencil flatter and use more of the side of the lead. Finish by wiping the lead with tissue paper to remove any excess dust.
HOLDING YOUR PENCIL
The common way to hold a pencil is with the thumb underneath and the fingers above. This is how most people hold a pencil to write and draw. For the purpose of figure drawing, and for any aspiring art students, we want to begin holding the pencil in a nontraditional grip known as the “undercup,” or “painter’s,” grip.
To accomplish this, simply adjust the way you hold and use the pencil. For example, by using the side of the long lead you can make broad strokes and soft marks (A). To make firmer marks, hold the pencil closer to the lead to get more pressure in your stroke (B). To make fine lines, raise the pencil to use more of the tip (C). Of course, when needed to draw small details, you can always go back to a traditional pencil grip.
With the undercup grip, you can make full use of the long lead of the pencil and achieve a wide range of marks, from lost and soft tones to sharp lines.
If you are new to using the undercup grip, it will take a lot of practice to get used to holding a pencil in this way. With consistent practice, your control and marks will improve, and your overall dexterity will improve because you will have gained fuller use of your hand.
Later in this book, I share some drawing exercises to help improve dexterity and speed up the learning curve with undercup drawing.
Unlike the more common writing grip, the fingers are supporting, or “cupping,” the pencil from underneath, and the thumb is on top. This is also how trained painters hold the long handle of a paintbrush.