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QUICK SKETCH O! Nts
Although quick sketch is not an exact science, any particular pose of the figure
may be solved by considering the following general relationships.
Miseean c ns Rema e Cc Ceeiciiond
The Big Shape Long Lines Drawing Through
Line 1/ Line 2 Rhythms Construction
Parallels Abstractions The Mannequin
Negative Shapes ‘Mass (Patterns of Light & Dark) Anatomy
Having a specific order of construction will help your quick sketches regardless of the pose. If you're stuck try
drawing the figure in this sequence.
1. The Head
2. Angle of Shoulders
3. Line of Action (longest line of pose)
4, Angle of Hips
5. Line 1/ Line 2 of Torso (often 4 lines i.e.. shoulders to crotch & neck to hips)
6. Line 1/ Line 2 of Arms & Legs
The simplest lines are found on the side of the figure that is stretched as opposed to the side compressed Sketch Part 2: Gesture/ Rhythm
‘As | mentioned before, having a specific order of construction will help your quick sketches regardless of the pose. | will
demonstrate that sequence here
1. The Head
2. Angle of Shoulders
3. Line of action (longest line of pose)
4. Angle of Hips
5. Line 1/ Line 2 of Torso (often 4 lines i.e.. shoulders to crotch & neck to hips)
6. Line 1/ Line 2 of Arms & Legs
182 3 4
When establishing the gesture, look
through the contour and try to see the
action or fluidity, Simplify the contour
down to an average, and draw the action
as asimple c-curve, s-curve, or straight.
Anything more complicated than a s-curve
and you are getting caught up in surface
detail, Establish what the figure is doing
first, there is always time for refinement
and detail in longer drawings.
‘When laying in your quick sketch there is not a lot of time to measure, so we need to find other, faster ways of finding our big
proportional relationships (minute proportional inaccuracies are to be expected in quick sketch, and could always be refined given
more time). Plumb lines are a great quick measurement tool, {ook for anything in your subject that Lines up either vertically or
horizontally, In this instance there are many, but the one that jumped out at me is the pit of the neck being directly above her
left hip. Negative shapes are also very useful, there are not many here but the shap= between her right (oot and Lert side ane arm
‘yas andy. One more that | use often is parallels, definitely not many of those here, but I did see her s/ioulder tilt and hip Ut
as being very close. ick Sketch Part 3: Structure & Mass
Before we move forward, let’s take a half step back. Last time we went over gesture, if we are to
define gesture it would be as the movement between forms, as seen in diagram @). Now we will move
on to structure, which we will define as the movement around or across the form, diagram ©). Another
term for this is mannequinization. With gesture we were primarily interested in action and orientation.
1 With structure we will develop simple form, constructing the figure out of primitives i.e. cubes,
spheres, and cylinders. 2 Lastly we develop mass, or the representation of light on form. The goal is to
design the shadows into shapes that are at once aesthetically pleasing and clearly represent
the forms present. We will discuss this design in the next installment.
diagram c
Anatomical indications should be
kept to a minimum, but when
found necessary design the
anatomy in such a way as to best
reveal the larger, underlying forms.
For example notice the way the
sandbags drape over, and further
reveal the form of the barrel
The anatomy of the breasts can
can be used in a similar way to
better show the form of the
ribcage.
