Fruge drawing - Figure Notation in Deep Space

Shape-mass, on the other hand, demands to be understood as volume structure in three dimensions; this makes it possible to draw the figure in deep space projections, putting the human form into the most inventive and varied conceptions of foreshortening, advancing and receding in space. Conceiving the figure as shape-mass permits the artist to manipulate the figure creatively, part by part, making changes according to his desire.
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Fruge drawing - Figure Notation in Deep Space In Chapter we attempted to show the major forms at will. But more important, he can body forms as shape-masses, conceiving them according to their differences as VROLGREMHFWVLQ choose to introduce radical innovations of form, VSDFH This means that we have tried to define To do this, at least experimentally, the artist must approach his drawing with a QHZRUGHURI IRUP He must give up certain uncritical)LJXUH1RWDWLRQLQ form as three dimensional volume, not simply as flat body silhouette. conventions and preconceived notions of figure HHS6SDFH Seeing the body as a flat silhouette drawing. For instance, he must put aside encourages a simplistic description of the figure as a mere DUHD and a drawing of this flat shape starting the figure by sketching in the head. He must give this up, firmly. According to the commonly assumes the character of an outline, method which I propose, the WRUVR above any or contour, drawing only. Shape-mass, on the other form, is of primary importance. With this other hand, demands to be understood as premise, let us initiate the new order of form volume structure in three dimensions; and assert the opening rule. . . this makes it possible to draw the figure in deep 7KH 7RUVRLV3ULPDU space projections, putting the human form into the most inventive and varied conceptions of foreshortening, advancing and receding in The reason for this statement will become clear space. after a few exploratory sketches have been made, and when we work out the following propositions. 7KH WRUVR PDVV LV WKH FHQWUDO Conceiving the figure as shape-mass permits GRXEOH IRUP WR ZKLFK DOO RWKHU IRUPV DWWDFK the artist to manipulate the figure creatively, part by part, making changes according to his desire, ZLWKRXW FRSLQJ or using file reference Any movement in the upper or lower torso will material. Like a sculptor working with modeling immediately throw the secondary forms—the clay, the artist can structure and compose by legs, arms, and head—out of their previous building-up. He can alter the actions and positions and into a new relationship. projections of separate forms. He can revise and modify his Here are four structured torsos, showing the torso mass is instrumental. The merest ease with which figure notation may be movement of the rib barrel produces an indicated in a sequence of movements from left immediate displacement of arms and head, to right, front to back. It must be obvious now while a pelvic shift compels total deployment why the double of all the body forms.An important drawing aid, in accommodatingthe changes of direction in the two-part torso, isthe FHQWHU OLQH of the body. In this two-stagedrawing, the primary torso masses are on theleft, the completed figure on the right. Ofcrucial interest here is the insertion of themidline in both figures. Notice how thismidline, or center line, gives unity and directionto the independent movements of the separatemasses (right).In movement, the separate torso masses neednot face in the same direction. The midlineinsertion can produce RSSRVLWLRQ between theupper and lower forms. The clue to thisopposition is the VSLUDO or S-line connection.Startin ...