Using the head height as a measurement the figure height is about 6.5 - 8 heads total. Various markers on the body fall along this interval.
A description of the horizontal axis will provide a closer representation of the pose, distribution of weight etc. Notice how the adjustment of the weight causes these Axi to no longer be parallel.
An example of the head measure being used to describe the length of the arm.
Plane- a flat or level surface (no elevations or depressions WITHIN). An area of a two-dimensional surface having determinate extension and spatial direction or position.
Spatial direction and position are important terms for us to consider. This allows the eye to read if a plane is sloped toward or away, what angle , and what the profile of the shape is. Joining of multiple planes begins to create form or the impression of three dimensions. A simple example is to think of a diamond (the precious stone) it has a form that is composed of a multitude of planes or facets. Drawing the human body can be approached this way, thinking of the three big masses (head, rib cage, pelvis) as blocks with cubic limbs extending. Gradually more and more subtle planes can be added making more complex transitions and form. It is best to WORK FROM BIG TO SMALL- the whole to the detail, the big body masses to smaller masses, etc. The following examples are all from Bridgman's Complete Guide to Drawing From Life. These are also presented in an order of process , more or less. Remember basic to more complex.
The 3 Masses of the body (Head, Rib Cage, and Pelvis) note how they are consider blocks (and their proportions) and their stacked position. The twist and bend are easy to see and describe as the relationship of these blocks turn or lean. Essential for carrying the basic movement of the figure. Horizontal Axis of shoulders, pelvis, knees. This gives an understanding of where the balance is, how the body manages to distribute its weight evenly, and where the body opens or compresses etc. Basic example of planes going up the back and side (almost two sided at its simplest).What is important to notice is the forward and backward slope as it moves upward or downward. This is a good way to think about each body part, as a cross section. Is its mass similar to a cylinder, box or pyramid- round, square, triangle. Further example of this shape of mass. Notice how the shapes alternate as they transition through a limb. This example of the arm is interesting to see how planes can rise up and dip down as they meet another mass. To use Bridgman's term, they wedge together and interlock. Planes of the leg from behind, notice how the planes begin to describe muscles. The torso is a complex structure with a multitude of planes describing its surface. these planes all change as the torso twists and bends. Again we see the muscle groups beginning to be described by planes.
Gesture drawing seeks to capture the essence of the pose, its action, its distribution of weight, its dynamism. Expressive use of line , and a basic understanding of proportion and anatomy, accomplishes this. The idea is to observe and capture this through minimal but specific use of mark and not over doing it. It is NOT the goal to go after detail.
Bridgman's "Constructive Anatomy"
Here we see an example of the three masses of the body and how they inter-relate. The three are : Head, Chest, and Pelvis. They can be thought of as blocks connected by the spine." In their relations to each other, they are limited to three possible planes of movement. That is, they may be bent forward and backward in the sagittal plane, twisted in the horizontal plane, or tilted in the transverse plane. Almost invariably, in fact, all three movements are present, to different degrees." - George G. Bridgman
Bridgman's "Constructive Anatomy"
Luca Cambiaso- From Robert Beverly Hale "Drawing Lessons from the Great Masters"
Here we see an example of the board planes of the body. Very simply, imagining each body part as cubic will allow the structure to be constructed easier (and value applied). This allows the artist to see the front and side planes as well as up and down planes and directionality.
Francisco Goya
A good example of the dynamic action of the pose. Notice the point of the foreground figures's swing, highest , furthest back before the forward motion- the body in full stretch before release the potential energy.
Degas
A very refined yet simple drawing of the figure in repose. An example of a short pose and what can be accomplished. Notice the attention to anatomy, proportion, and the quality of line and slight use of value.
Raphael
Another moment of action in the pose. Note the relationship of pelvis to chest to head, the twist and tilt can be seen clearly. Also the concentration of values and lines indicating the pressure and compression in the pose.
Value is the relationships of lights and darks within an artwork.
Key terms:
Simultaneous Contrast- The area of darkest dark adjacent to the lightest light, thereby enhancing the power of the other. This area will draw the eye first and have the most force in an artwork visually.
Local Value- The actual overall value of the object (for example blue jeans are medium value, and a white cup is high value) Corresponding values within the object will relate to this (shadows will be darker in blue jeans versus the shadows in a white cup)
Halftone- The intermediary tones or middle values, not the highlights or darkest shadows. Think Light Halftones and Dark Halftones.
Halation- An effect of placing an opposite value in the background (negative space) adjacent to that value area of the subject (positive space).
Sfumato- A Leonardo Da Vinci term used to describe a blending of values in transition. The word has connotations of "Smoky" in Italian. "Without lines or borders in the maner of smoke, or beyond the focus plane"- Da Vinci
Chiaroscuro- A term broadly understood to describe the strong contrast in illumination between light and dark in an artwork. In Italian it translates to "light-dark". It also has a reference to light IN dark.
Basic example of light falling across a form (light comes from the upper right). Consider the values from right to left: Highlight, Light Halftone, Dark Halftone, Shadow, Reflected Light, Shadow.
Composition is the arrangement of elements within the rectangle. At its most basic, the rectangle must be considered in a vertical format (a statement) or a horizontal format (a story.) We can begin by thinking of the square/ rectangle as having certain inherent energy zones- the center and four corners. Deciding how these are activated is the function of composition. It is created to move the viewer in and around the image, create interesting balance and harmony. When beginning to layout a compositional idea, it is important to consider the big shapes that make up the internal skeleton of the drawing (both positive and negative space.) Below we will see examples of how artists use composition.
The Raft Of Medusa- Gericault. The composition has strong diagonals, pointers, and geometric shapes (specifically multiple triangles.) On the right, the grouping of figures form a triangle shape mirrored by the rigging and sail of the left. On the apex of the right triangle we find the focus or destination of the composition (further emphasized with the figure having the high value contrast.) Beyond the architectural layout, notice the organization of lights and darks, how these move you through the composition.
The Assumption of the Blessed Virgin- Titian. This composition reinforces the concept of the painting, The Virgin Mary's ascension to Heaven. To assist the story, Titian used a specific red to sequence the viewers gaze. Follow the red on robes of the men at the bottom, as it appears again higher in the Virgin's robe, as it reappears in the robes of God above.
The Rape of the Daughter of Leucippus by Peter Paule Rubens. In this example we can see the strong vertical lines (parallels) in the arms and horses legs. We see diagonals running through the hands, body, horse's feet in both directions. Finally there is the arc of movement or swing lines, follow the arc as it traces from the figure's head (angel) at left as it comes around to the head of the lower women at right. All the heads of the figures rest along this arc.
Another classic example of Rubens using diagonals, pointers, and light dark orchestration. All the diagonal spears point to the focal area (lion's bite) it is almost a wheel hub with spooks. Notice how certain edges of form rest on compositional diagonals. A classic example of a zigzag progression through the artwork in this case a print by Hiroshage.
A Degas pastel in which the clear use of diagonals to leads us around the drawing through one dancer to another. Here we see Degas using repetition of shape. Each dancer makes a circle-ish (maybe a hexagon) shape with their arms, legs, skirts and even the negative space between two dancers.
Degas was heavily influenced by prints from the the far East, and in this example displays a unique use of balance. The composition is heavily loaded on the left side with and equally interesting weight of emptiness on the right. He further enhances the composition with diagonals and scale of shape (horse and rider.) Jose Clemente Orozco's study for his Prometheus mural. Here we can see the skeleton of the drawing and more importantly how he organizes his composition. His goal is to make sure the eye visits all portions of the design and aligns certain elements to direct those movements. He sets this up first by laying out diagonals connecting different edges of his work surface. At its basic he draws a line between opposite corners and through the half way points of both vertical and horizontal edges (this is sometimes referred to as the British Flag layout). He goes much further and subdivides. Eventually he begins his drawing and uses these lines as guidelines as to where to place elements, rest limbs, etc. Below is the finished mural.
Here is an example of a Diego Rivera mural in which we can see symmetry worked into the composition. Each side reflects basic positioning and shapes of the other creating a parallel. A silhouette by Kara Walker again showing the symmetrical approach.
Below is an example of Marcel Zama, a more contemporary approach to composition, presenting and almost rococo setting (an overwhelming amount of elements and detail.)
He seems to focus more on the three vertical elements (Flags and two trees) and allow a slight dance of diagonals in the flying birds. Notice that the composition does not extend beyond the edge. It is completely self contained, which is totally opposite to the earlier examples of the Old Masters which presented a 'window' onto a scene.
The 3 Masses of the body (Head, Rib Cage, and Pelvis) note how they are consider blocks (and their proportions) and their stacked position. The twist and bend are easy to see and describe as the relationship of these blocks turn or lean. Essential for carrying the basic movement of the figure.
Horizontal Axis of shoulders, pelvis, knees. This gives an understanding of where the balance is, how the body manages to distribute its weight evenly, and where the body opens or compresses etc.
Basic example of planes going up the back and side (almost two sided at its simplest).What is important to notice is the forward and backward slope as it moves upward or downward.
This is a good way to think about each body part, as a cross section. Is its mass similar to a cylinder, box or pyramid- round, square, triangle.
Further example of this shape of mass. Notice how the shapes alternate as they transition through a limb.
This example of the arm is interesting to see how planes can rise up and dip down as they meet another mass. To use Bridgman's term, they wedge together and interlock.
Planes of the leg from behind, notice how the planes begin to describe muscles.
The torso is a complex structure with a multitude of planes describing its surface. these planes all change as the torso twists and bends. Again we see the muscle groups beginning to be described by planes.
Basic example of light falling across a form (light comes from the upper right). Consider the values from right to left: Highlight, Light Halftone, Dark Halftone, Shadow, Reflected Light, Shadow.
Robert Longo
Student Example
The Raft Of Medusa- Gericault. The composition has strong diagonals, pointers, and geometric shapes (specifically multiple triangles.) On the right, the grouping of figures form a triangle shape mirrored by the rigging and sail of the left. On the apex of the right triangle we find the focus or destination of the composition (further emphasized with the figure having the high value contrast.) Beyond the architectural layout, notice the organization of lights and darks, how these move you through the composition.
The Assumption of the Blessed Virgin- Titian. This composition reinforces the concept of the painting, The Virgin Mary's ascension to Heaven. To assist the story, Titian used a specific red to sequence the viewers gaze. Follow the red on robes of the men at the bottom, as it appears again higher in the Virgin's robe, as it reappears in the robes of God above.
The Rape of the Daughter of Leucippus by Peter Paule Rubens. In this example we can see the strong vertical lines (parallels) in the arms and horses legs. We see diagonals running through the hands, body, horse's feet in both directions. Finally there is the arc of movement or swing lines, follow the arc as it traces from the figure's head (angel) at left as it comes around to the head of the lower women at right. All the heads of the figures rest along this arc.
Another classic example of Rubens using diagonals, pointers, and light dark orchestration. All the diagonal spears point to the focal area (lion's bite) it is almost a wheel hub with spooks. Notice how certain edges of form rest on compositional diagonals.
A classic example of a zig zag progression through the artwork in this case a print by Hiroshage.
A Degas pastel in which the clear use of diagonals to leads us around the drawing through one dancer to another.
Here we see Degas using repetition of shape. Each dancer makes a circle-ish (maybe a hexagon) shape with their arms, legs, skirts and even the negative space between two dancers.
Degas was heavily influenced by prints from the the far East, and in this example displays a unique use of balance. The composition is heavily loaded on the left side with and equally interesting weight of emptiness on the right. He further enhances the composition with diagonals and scale of shape (horse and rider.)
Jose Clemente Orozco's study for his Prometheus mural. Here we can see the skeleton of the drawing and more importantly how he organizes his composition. His goal is to make sure the eye visits all portions of the design and aligns certain elements to direct those movements. He sets this up first by laying out diagonals connecting different edges of his work surface. At its basic he draws a line between opposite corners and through the half way points of both vertical and horizontal edges (this is sometimes referred to as the British Flag layout). He goes much further and subdivides. Eventually he begins his drawing and uses these lines as guidelines as to where to place elements, rest limbs, etc. Below is the finished mural. 
Here is an example of a Diego Rivera mural in which we can see symmetry worked into the composition. Each side reflects basic positioning and shapes of the other creating a parallel.
A silhouette by Kara Walker again showing the symmetrical approach.
