Pentimenti: Exploring Composition.

Michael Whynot. Study of foot. Red chalk.

Michael Whynot. Study of arm. Red chalk.

Michelangelo.

Michelangelo.

Pentimenti (singular pentimento) is the italian word for repentance. These are the traces of exploration that the artist has entertained on the road to a finished composition. They are not so much a mistake as they are a weighing of possible variations on the composition.

Michelangelo, da Vinci and Raphael all used drawing to explore aspects of the figure and of the larger compositions as a whole. This is one factor which I believe set them apart from lessor draftsmen and freed them from a total reliance on the live model. Great works of art are created in the mind of the artist, not copied slavishly from nature. It is the artist's role to pick and choose those aspects which contribute to the beauty of the whole and transcend nature and, in so doing, uplifts the human spirit.

A Milestone Reached.

Michelangelo. Creation of Adam.

Beauty is a value as important as truth and goodness. I think we are loosing beauty and there is a danger that, with it, we will loose the meaning of life.    (Roger Scruton)



This blog reached a milestone today: ten thousand page views during the last twelve months.

When I began posting, last August, I meant to explore my ideas concerning the beauty inherent in natural forms - particularly the human form - and to chronicle my journey toward attaining the abilities necessary to depict that beauty in drawing, painting and sculpture, much as Praxiteles, Leonardo da Vinci, Michelangelo and Raphael had done before me.

I have come a long way, but have much further, yet, to go. I would like to thank everyone who has been following my posts, these last twelve months. I hope that you will continue to follow my journey; I hope my work proves worthy of your interest.

Drawing Upon Imagination.

Michael Whynot. Study of male reaching. Red chalk, 2013.

To 'draw' implies everything the word stands for: to pull or to drag or or to draw forth, as from the earth, a vein, or well.   (Lance Esplund)



Where are ideas born; from whence does inspiration spring? The imagination is little understood, but would seem to be a distillation of the remembered experiences of our lives. Hence, the infinite variety and scope of individual creativity.

Drawing is the ideal way of exploring the imagination: pulling new ideas to the surface, examining unfamiliar pieces of a puzzle until they fall into place. Da Vinci, Michelangelo, Pontormo; they all understood the link between drawing and the imagination, though its source remained mysterious to them - divine.

The drawing, above, was done this morning from imagination, and, like those masters five hundred years ago, I, too, have no conception of how it arose.

There are so many ways that a drawing can fail, that I am led to contemplate the hand of God in my work - the minor miracle exposed - when I actually succeed.

The Lure of Anatomy: Part 2.

Michael Whynot. Study of Arms At Rest and in Tension, 2013. Red chalk.

Michelangelo. Study for Haman.

Raphael. Study for the Massacre of the Innocents. 

Rembrandt. Seated Old Man in Armchair.

Today I had a question from one of the newer readers of this blog, asking if I had any tips on drawing muscles.

In a previous post (The Lure of Anatomy), I discussed, at length, when and why I believed that the study of anatomy is most beneficial to a new draftsman.

Muscles are no different than any other form: the better you understand the form, the better you will draw it. And the more frequently you draw it, the better you will understand it. It is a cyclically beneficial method of learning: drawing leads to understanding, understanding leads to better drawing, which leads to better understanding...(See my previous post on The Act of Drawing Well).

Having said that - drawing muscles well, like any other form, is best accomplished with a multi-pronged approach.

Draw from the live model as frequently as possible - there is no substitute to drawing from life. But understand that the amount of information on the live model will be immense and confusing for the new draftsman. And complicating the process will be colour, value, poor lighting, etc.

A good anatomy book will prove indispensable. It will help you to understand the confusing wealth of information on the live model.

Drawing from (i.e. copying- it is not a bad thing) master drawings. This is one of the most beneficial exercises that the new draftsman can practice. Artists throughout history have been doing it. It is how we learn to see what they saw - which elements they emphasized, which elements they downplayed or eliminated, altogether. Learn from Michelangelo, Raphael, Da Vinci and Rembrandt - there are no finer teachers, so utilize them.

In regards to drawing muscles, per se - they are rendered the same as any other form: they are three dimensional volumes with a width, height and depth and should be drawn as such. But remember that muscles change their appearance constantly, so simple recipes for drawing them are mostly useless.

I have included a study of two arms to illustrate the difficultly of drawing muscles. Remember, a muscle at rest is shaped differently than the same muscle in tension. Note in my study, that Biceps Brachii, in the arm at rest, is longer and flatter, while in the arm in tension, it is shorter and higher. This is the nature of muscles and applies to every one of them.

Orientation of the muscle in space will also affect how we draw them: look at your own biceps, from above, and then rotate to view it from the side - a totally different shape and relationship to the surrounding forms.

There is no easy way to learn to draw the human form. Study from life and from reference and, from that point on, it's all repetition, repetition, repetition.

And, a final point: anatomy should never be the embarking point for the draftsman. Gesture is the most important, and often neglected, element in drawing. Note, in the beautiful studies above, that the anatomy is wondrous in all three, but prominent in the Michelangelo and Raphael drawings, while, in Rembrandt's drawing, it is mostly hidden beneath drapery - but gesture is the foundation upon which all the other elements are built.

Anatomy is beautiful, in and of itself, but gesture conveys the life of a drawing: neglect it at your peril.

Robert Liberace

Robert Liberace

Robert Liberace

Robert Liberace

Robert Liberace

Robert Liberace

Since I began this blog, last year, I have been documenting my journey as a figurative artist by posting my own work and thoughts on figurative drawing, sculpture and painting, as well as some of my influences from the classical tradition: Michelanglo, Da Vinci and Raphael.

I have shied away from pointing to many living influences, because, often times, such lists can end up looking like a sort of popularity contest. That being said, I would like to suggest that we, as draftsmen, should take a serious look at the work of Robert Liberace, whose work compares very favourably to the classical influences I mentioned, above.

Mr. Liberace's figures capture the elusive aspect of movement, furia, which (along with grace, grazia, and variety, varieta) was one of the cornerstones of renaissance art. During that period, great importance was placed upon the appearance of physical movement as an expression of the movements of the soul. We are now rediscovering these aesthetic values in figurative art, five centuries later.

I have been following Mr. Liberace's work for several years and he and his wife, Lina, have kindly posted a link to this blog on their web site. And, if you are serious about figurative art, you owe it to yourself to view his web site and closely study this master's work.

Emotion of the Drawing

Michael Whynot. Study for A Lingering Doubt, 2013. Red chalk.

A face is not well done, unless it shows a state of mind. (Leonardo da Vinci)


Emotion is a mercurial concept in drawing, but the greatest drawings have it, while mediocre drawings do not. Emotion is an aspect of living, breathing creatures and, if we want our drawings to convey the essence of living things, then we must delve into it.

What is it that draws us(no pun intended) to great art, be it drawing, painting, sculpture, music, literature or poetry? It is the story. We humans love a good story. And what is it that makes a good story? It is, first and foremost, an emotional attachment to the characters. We want to care about the characters; we need to care about them. It is the essence of our true nature.

Emotion brings art to life, so whether it be with a facial expression, a tilt of the head, a subtle gesture of a hand, or the telling curve of the back, endeavour to find the emotional bond to your subject. Emotion, a state of mind, is the mechanism through which we glimpse the inner significance living things; nothing, more or less, than the manifestation of the human soul.

Gesture and Creativity.

Leonardo Da Vinci. Study of battles on horseback and on foot.

Leonardo Da Vinci. Study of battles on horseback and on foot.

Leonardo Da Vinci. Group of riders in the Battle of Anghiari.

Leonardo Da Vinci. Study for the Burlington House cartoon.

Michael Whynot. Gesture Study, 2013.

Michael Whynot. Gesture Study, 2013.

In my last post, I talked about the neglected skill of capturing gesture from life as a foundation for future work. Today, I would like to take gesture one step further and discuss its role in the creative process.

Once the draftsman has a solid grasp on capturing gesture from life, it is a short leap to begin exploring gestures from your imagination. Complex and multi-figure compositions do not always lend themselves to life studies (although individual figures, within the total composition, may do so). The initial design of the composition must emerge from the imagination and is best explored through gesture (see my previous post on nature versus imagination).

Leonardo Da Vinci was a genius, by an standards, and was famous for his use of this brainstorming technique. There are many surviving sheets of his rapid sketches which offer primi pensieri (first ideas) for many of his complex compositions.

I have included three sheets of his battle studies and one study for his Burlington House cartoon. Notice that these are in no way finished drawings - simply quick, explorations of his thoughts made visible on paper.

I have also included two sheets of my own gestures done, this morning, from imagination. They are very loose, done in under 20 seconds per figure. The draftsman should play with them; move them around in space and follow where they lead.

Although the source of creativity is mysterious and complex, drawing appears to focus, direct and enhance this process.

Fascinated By Faces.

Michael Whynot. Facial Study, 2012. Red chalk.

Leonardo Da Vinci. Head of a Girl, c. 1483.

Rembrandt van Rijn. Self-portrait in a cap, with eyes wide open, c. 1630.

Pietro Annigoni. Mr. Rydy. Oil, 1949.

Gian Lorenzo Bernini. Innocent X

The aim of the artist is to represent not the outward appearance of things, but their inward significance. (Aristotle)

A face is not well done, unless it shows a state of mind. (Leonardo Da Vinci)



To be fascinated by the form of the human face is to be fascinated by emotion - for it is through the attitude of its anatomy that emotion is conveyed more readily than through any other part of the body (see my post on hands and feet).

The face is a complex form, made more so by the extensive variety of expressions produced by the facial muscles, and may take the artist years to master.

Structure and likeness are the two aspects of the face most easily studied. Likeness is all about comparative measurement, one feature against another, and, as such, can be distilled down to a mechanical process. And structure is built upon the skull - the boney foundation of the face - and lends itself to anatomical study.

But careful measuring and understanding of the form, while producing an accurate rendering, is not enough. The result may prove unsatisfying if the artist ignores the, less tangible, aspect of emotion; state of mind; expression. The artist must endeavour to understand the state of mind of the subject if they are to produce a work that is more than run of the mill.

And here is where many of us falter, since rendering a state of mind has no easily studied rules and does not lend itself to learning or teaching.

But, having said that, I believe that a fundamental interest in human nature is a fine jumping off point from which to embark. Also, time spent watching the sitter (no measuring allowed) will prove beneficial. A final tool (which you may or may not be able to cultivate) is a sensitive temperament, a trait I believe can be nurtured only by studying yourself, not the sitter. But, when taken seriously, the rewards may be manyfold.

A great work of art is universal, for in it, sitter, artist and viewer each glimpse themselves.

The Lure of Anatomy.

Leonardo Da Vinci. A skull sectioned, 1489.

Leonardo Da Vinci. Anatomy of the shoulder and neck.

Leonardo Da Vinci. Muscles of the shoulder.

Leonardo Da Vinci. Anatomy of the shoulder and neck.

Raphael. Study for Adam. Black chalk, 1509.

Michael Whynot. Study of Arm and Shoulder, 2012.

Michael Whynot. Study of Legs, 2012.

Human anatomy is seductive for the draftsman. Its study seems to hold the promise of superior drawing ability, much as a Michelangelo, Raphael, or Da Vinci possessed. But this is a path upon which the draftsman can swiftly become disoriented and lost amid the bones, muscles and tendons. He can spend years learning the latin nomenclature, origins and insertions of muscles; all the while, their drawing abilities languish.

So, can the draftsman improve their drawing ability with the study of anatomy? Yes, I believe they can. If it is studied properly and at the appropriate time.

The study of anatomy will not teach the draftsman how to draw. Otherwise all doctors, nurses and physio therapists would be master draftsmen, which is not the case. You must know how to draw first. You must be able to describe form and bring line to life on a two dimensional surface.

What the study of anatomy will teach you is to understand that which you are seeing. The amount of information available when observing the human form is immense and overwhelming; much more than the draftsman can or should use. The study of anatomy teaches you to understand which information is important, allowing you to simplify and clarify your drawings so that they don't become overworked and lifeless. Good draftsmanship is a matter of seeing and selecting those elements which advance the drawing of which you have conceived.

Notice the wonderful attention to detail and the intricate line-work that Da Vinci rendered in his studies of anatomy which elevated those drawings to true works of art. And see how Raphael has obviously studied anatomy but used it selectively with his beautiful, lively line in the Study for Adam.

I've also included two of my own figure studies done in red chalk.

Learn anatomy with care, but learn to see with abandon, and your line may, one day, transcend simple knowledge to achieve a life of its own. At the end of the day, anatomy is nothing more than five pounds of dust without the grace of the human soul. Endeavour to draw that which gives anatomy meaning: learn to draw the human soul.

Hands and Feet: Drawing Beauty and Complexity

Michael Whynot. Hand Study, c. 2012.

Michael Whynot. Foot Study, c. 2012.

Michael Whynot. Study of Feet, c. 2012.

"The human foot is a masterpiece of engineering and a work of art." Leonardo Da Vinci



Nothing strikes greater fear in the heart of the novice draftsman than the prospect of drawing the human foot or hand. And, in fairness, they are somewhat more difficult to draw well than the rest of the body, owing to their beautiful complexity of form.

The feet can support the figure with a graceful delicacy, sturdy determination, or an awkward shuffle; among the many variations which can reveal the nature of a pose.

And the hands are, perhaps, the most expressive part of the human anatomy, rivalling the face as the most eloquent conveyor of emotion.

Needless to say, the complexity of these two appendages is the major factor in the difficulty encountered in their rendering. The hands, in particular, with the fingers ability to fold in upon themselves, poses unique difficulties.

With understanding of the form, however, the complexity becomes manageable, even if it doesn't totally disappear. In the initial stages of learning to draw the hands and feet, simplification is the key.
Construct the foot with a simple wedge shape, apply perspective, and build the details upon this. Learning to see the simple shapes comprising complex forms can be applied to any part of the anatomy.

When first drawing the hand, draw it with the fingers as a single mass, like a mitten. Once you understand the gesture of the hand as a whole, you can observe the gestures of the individual digits.

And the difficulties encountered in drawing hands and feet often lead draftsmen to invent ways of not drawing them. Ignoring a problem, however, is never the path to improvement. Persistent drawing and understanding of form is the path. Drawing must become an obsession - like a private religion, where line is your God.