{"id":1015,"date":"2026-09-26T13:14:58","date_gmt":"2026-09-26T13:14:58","guid":{"rendered":"https:\/\/gaelle-artstudio.com\/plog2026\/?p=1015"},"modified":"2026-10-26T08:42:34","modified_gmt":"2026-10-26T08:42:34","slug":"exercise-6-3-three-figure-studies","status":"publish","type":"post","link":"https:\/\/gaelle-artstudio.com\/plog2026\/exercise-6-3-three-figure-studies\/","title":{"rendered":"Exercise 6.3 \u2022 Three figure studies"},"content":{"rendered":"\n
Brief<\/summary>\n
Exercise 3: Three Figure Studies\nUsing a variety of tools, materials and supports, work on three large (at least A3) drawings of your model, using the following poses:\n\n- Standing\n- Seated\n- Lounging\n\nThe aim is to make interesting studies of the figure to show you\u2019ve understood the basic structural principles, and are able to incorporate these using whichever style or approach fits your subject.\n\nSpend about an hour working on each study. Use poses that are comfortable for your model. Let them take breaks every 15 minutes or so.\n\nEnsure you have a good light source to help you observe the tones and shadows that fall across and underneath the body, emphasising its structure, form, weight and position within the overall scene.\n\nBefore you start on the larger sheets, spend some time looking at the stance, posture, movement, or stillness of the figure. Move around the model assessing interesting viewpoints. Look for positions that may cause a challenge through foreshortening, for example lounging. Position yourself at a slight angle, so that you\u2019re looking down, along and across the body in different ways. Observe the difference in the scale of the head and feet depending on your own viewpoint. Remember that there are often hidden parts that may be difficult to suggest, for example the shoulder furthest away when viewing from the side.\n\nDraw small marks onto the sheet of paper indicating the outermost points of the figure (the top of the head, the angle of the shoulders, the tips of the toes, knees, etc.). This will give you confidence that you\u2019ve measured the proportions correctly and that the whole body will fit into the rectangle.\n\nKeep checking the body measurements up, down and diagonally, comparing one part with another, for example the length or width of the head compared to the hand. Remember that the lengths and widths that you see (the visual measurements) are often very different to the \u2018actual\u2019 physical measurements due to viewpoint and perspective.\n\nWhile you\u2019re drawing, think about the skeleton that supports the body and the muscles and skin that soften the shape into something living. Also look closely at the shapes between and around the parts of the body and the room.\n\nReview your completed drawings and make some notes on your experience of this exercise in your learning log.\n\nHow accurately did you depict the overall proportions of the figure?\n\nDid imagining the sitter\u2019s skeleton and muscles help you to convey the figure\u2019s structure and form?\n\nHow well have you captured the characteristics of the pose?\n\nDoes the body have sufficient weight and presence?\n\nDo the proportions look right? If not, how will you try to improve this?\n\nCan you tell from the drawings where the weight is being carried?\n\nDoes the figure feel connected to the world?\n\nTip: Measuring the Figure\nThe technique of measuring by holding a pencil against the thumb and then at arm\u2019s length is a traditional method and used by many, but not everyone finds this useful, so careful observation of the subject should be your foremost concern. It is much better to use the body you\u2019re drawing as its own measure. For example, you can measure the head and then use that as a unit against which other parts of the body can be double-checked. It is crucial to note at this point that gender, age, ethnicity, body weight, disability, and many other factors moderate any general rules of proportion you may come across. <\/code><\/pre>\n<\/details>\n\n\n\n
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I don’t have a model to work from but I’m interested in how the female figure is represented in women’s magazines. I discover I have access to the Vogue archives through my university and started to add images to my image folder<\/a>. I’m sure it would be better to work from a live model but it’s a luxury I can’t afford.<\/p>\n\n\n\n
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Standing figure<\/h1>\n\n\n\n
As a warm up I got “acquainted” with my model in my A4 sketchbook. I used a neon pink background (I love that colour!), and willow charcoal. <\/p>\n\n\n\n
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I liked the curves of the legs but I am aware this was not fully capturing the pose and the head is really out of proportion.. There’s a tension in the original photograph that my drawing did not capture. <\/p>\n\n\n
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Next I decided to try and upscale but use a grid as a scaffold to me more precise. I thought that using a frame on my paper that had the same proportions as my viewfinder might help me with “finding my marks”.<\/p>\n\n\n\n
I used a graphite stick which allowed me to be more precise as well. I admittedly lost patience with the tights… I can see lots of departures from the model (the curve on the pants, the curvature of the front, the shape of the head, the curvature of the back…). The energy of the figure which got me to pick this image is lost in my depiction. Even the weight of the hair which seems to balance the position is lost in my picture which is still too straight. At this stage, I thought I should project the image on my page to get the lines “right” but then I thought I wouldn’t be learning anything doing that. However, I was frozen for days after that.<\/p>\n\n\n\n
Two interesting insights came to me as this was hanging in the studio: <\/p>\n\n\n\n