Drawing: Structure, the Foundation of Form.

Michael Whynot. Portrait study. Red chalk.

Michael Whynot. Portrait study (early stage). Red chalk.

A good drawing begins with gesture: a unifying thrust flowing through the form. But, once the gesture is captured, the draftsman must shift their attention to the skeletal structure underlying the form. Whether this is something they draw in any detail depends upon the individual draftsman. The better they understand the structure, the less they need to actually draw it. And, this rule applies to anatomy in general: the better you understand it, the less important it becomes, because you internalize the entire process.

Above, top, is a one hour drawing I did earlier today and the initial, block-in stage, beneath it, showing some of the bone structure which occupied my thinking as I began.

But, again, once you know the structure, you don't need to consciously consider every bone and and muscle; you understand where they are, so you see and use them without thinking - like following your familiar route home at night.