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Introduction 7

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Shape-Masses of the Figure 9

Shape-Masses of the Head: Ball and Wedge 9

Barrel Shaped Rib Cage 12

The Wedge Box of the Pelvis 21

Column Forms of the Arms and Legs 26

Wedge Masses of Hand and Foot 37

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The Torso is Primary 45

The Legs are Secondary 48

The Arms are Third in Importance 55

The Head is Last 59

Exercises in Notation 61

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Overlapping Forms 65 Form Flow and Form

Unity 68 Interconnection Lines 68 Outline

and Contour 95 Tone Gradation 100

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Cylindrical and Barrel Forms 105

The Cylinder as a Rational Form 105

Finding Constant Factors 107

Width of Form as a Constant Factor 107

The Arms

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T he Circle in Space: T he Ellipse 135

The Joint as Pivot; The Member as Radius 136

The Isosceles Triangle Measuring Device 144

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P aralle l P rojection of Solid Forms 152

Deep Space Projection of the Figure in Action 154

Figure Invention by Reversible Projection 156

Perspective Projection of the Figure 159

Phase-Sequence Projections: The Multiple Action Figure 165

Chin Thrust Leads Body Action 168

The Hand in Phase-Sequence Projection 174

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The Hands 120

The Joints 127

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Most art studentsand too many professional

artistswill do anything to avoid drawing the

human figure in deep space. Walk through the

life drawing classes of any art school and you’ll

discover that nearly every student is terrified of

action poses with torsos tilting toward him or

away from him, with arms and legs striding

forward or plunging back into the distance;

twisting and bending poses in which the forms

of the figure overlap and seem to conceal one

another; and worst of all, reclining poses, with

the figure seen in perspective!

These are all problems in foreshortening,

which really means drawing the figure so that it

looks like a solid, three dimens iona l object

which is moving through real spacenot like a

paper doll lying flat on a sheet of paper.

Drawing the figure in deep space fore-

shortening is not a mere technical trick, not a

mere problem to be solved;

it’s the essence of figure drawing as perfected

by Leonardo, Michelangelo, Tintoretto,

Rubens, and the other great masters of the

Renaissance and Baroque eras.

But most art students would greatly prefer to

draw the figure as if it were a soldier standing

at attention, with the axes of the body and

limbs parallel to the surface of the drawing

paper, like a building in an architectural

elevation. Well, no, they don’t

in-ten-easy-lessons, but it is a magical book.

Here, for the first time, is a logical, complete

system of drawing the figure in deep space,

presented in step-by-step pictorial form. I’ve read

every figure drawing book in print (it’s my job)

and I

Particularly revealing are the multiphase

drawings like mult ip le e xposure

photographsin which figure movement is

dissected, broken down into a series of

overlapping views of the body, "frozen" at

various stages of movement, so that the reader

can see how forms change at each critical

phase. Learning to see movement as a

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the reader can draw the figure more

convincingly because he knows what happens

to body forms at each stage of the process. The

reader ultimately finds that he can

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without a model were created before the eyes

of hundreds of awestruck students.

And surely the most stunning thing about

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the

figurefrom any viewpoint and in any stage of

any actionas systematically as an architect

projects a building in a perspective drawing.

Burne Hogarth’s achievement in

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is that Burne Hogarth

to invent figures as the great

masters did. After all, Miche lan ge lo didn’ t ask

his models to hang from the ceiling or hover in

the air as he drew! He invented themand this

is what the author demonstrates in the carefully

programmed series of drawings (with analytical

text and captions) that sweep across these pages

with the speed and graphic tempo of an animated

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is the creation of a rational

system which eliminates the guesswork that

plagues every student of the figure. This system

isn’t a shortcut, a collection of tricks to

memorize in order to produce stock solutions to

drawing problemsfor nothing can make

figure drawing

easy. The human figure

remains the most demanding of all subjects for

the artist. What

in the author’s own

words, shows the artist "how to fool the eye, how

to depress, bend, and warp the two dimensional

plane" of the drawing paper so that a figure

drawing springs from the page in the same way

that the author’s remarkable drawings bound

from the pages of this book. He demonstrates

how to create the illusion of roundness and depth

by light and shade, by the overlapping of forms,

by the transitions from one form to another, as

well as by the accurate rendering of individual

body forms. He explains how to visualize the

figure from every conceivable angle of view,

including the upviews and the downviews that

baffle students and professionals alike.

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reveals is the inherent logic of the figure, and

the author proposes a system of study that is

built on this logic. The system takes time and

patience and lots of drawin g. You’ ll want to

reread

prefer to

draw it that way, but the dynamic, three

dimensional, foreshortened figure is so

forbidding that most students are inclined to

give up and stick to wooden soldiersthough

silently longing for some magic key to the

secret of foreshortening.

Burne Hogarth’s

many times.

Give this remarkable book the dedication it

deserves and the logic of the human figure will

finally become second nature to you. Your re-

ward will be that you go beyond merely

rendering figures and begin to invent them.

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doesn’t pretend to be a magic key-to-three-

dimens iona l-f igure-draw in g

Donald Holden

that there’s no book like it. The

system and the teaching method have been

perfected over the years in the author’s classes at

the School of Visual Arts in New York, where

many of the dazzling drawings in this book

immense, life-size figures which the artist

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teaches the

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Figure drawing in depth is accomplished with

ease and authority only when the student

becomes aware of the characteristic body forms.

He must train his eye to see three kinds of forms

in the human figure:

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forms (egg, ball, and

other and studied separately according to

their individual differences. Comparisons

should be made with respect to relative

shape, width, and length and special

emphasis should be placed on variations in

bulk, thickness, and volume. This is an

approach which seeks to define the body as

the har-monious arrangement and

interre lat ionsh ip of its separate and

ind iv idua l defined parts.

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forms (cylinder and

forms (box, slab,

and wedge blocks). These three kinds of forms

should be distinguished from one an

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cone structures); and

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At some point in the art student’s development,

figure drawing reaches a stage where better

performance becomes the norm. With his work

at this level, the student may be able to draw a

variety of natural forms (those usually seen in

landscape and still life) in space. Capable as his

work appears at this point, the student should

develop a deeper insight into the forms and

interrelationships of the parts of the figure. He

may be thoroughly familiar with figure work in

conventional attitudes, with depicting the posed

movements and gestures of the art class model;

but these, if the student is aware, begin to look

predictably dull and static.

It takes a different kind of effort to conceive

and draw the figure in

involves more than contour drawing only.

Since shape which is delineated only by

outline is two dimensional and has no volume,

it cannot express form in depth; but when the

forms of the figure are visualized as being

three dimensional in space, the result is a

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Inherent in the concept of shape-mass is the

idea that the body is a defined mass, a three

dimensional volume existing in space and

depth, which is made up of a number of parts.

Each of these parts is also a three dimensional

volume existing in space and depth. It follows

that the figure is a mult iform comp le x of

shape-masses, all independently formed and

all related. It will be our first task to research

the form properties of each of these shape-

masses which go into the formation of the

over-all shape-mass of the figure. In observing

the partsthe shape-masses of the human

figure, we shall try to look at them from new

angles, from a series of changing viewpoints,

describing them especially with a "filmic"

concept of vision in motion.

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form-over-form spatial recession. If the student

is called upon to show the unexpected and

unfamiliar actions of the body those seen

from high or low angles he feels taxed to the

limit of his resources. At times, in direct

confrontation with the live figure, he may do

passably well by copying the model in the see-

and-draw studio method; but this approach is

not always successful or satisfying. To invent,

to create at will out of the storehouse of his

ima ginationthat is the challenge which so

frequently eludes the most intensive efforts of

the art student.

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Different views of the head expose different

dominant forms. The cranial ball, for instance,

is usually considered fairly equal in size to the

lower facial wedge. This is especially apparent

in straight-on, front views. But when the

cranial ball is seen from an overhead angle, it

presents a far more impressive bulk than the

facial wedge.

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The significance of foreshortened form lies in

describing three dimensional volume rather than

in delineating flat shapes. Our approach,

therefore, in

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