Foreshortening Forms

Michael Whynot. Study in Foreshortening, 2013. Red chalk.

Foreshortening is a powerful tool for the draftsman to add dimensionality to their drawings. When forms recede from our view in space they become smaller. We are so accustomed to seeing this optical trick in nature that our minds take it for granted and immediately notice, in a drawing, when this isn't done.

When handled properly, by using overlapping forms, the drawing gains dimensionality, with the nearer forms appearing to be in front of the more distant forms. And the form will appear shorter than we know it to be, instead of simply looking out of proportion.

The above study was a five minute study from life.

Overlapping Forms.

Michael Whynot. Figure study, 2013. Red chalk.

Michael Whynot. Figure study, 2013. Red chalk.

Some poses are inherently more challenging to draw than others: namely, any pose where foreshortening and perspective come into play (hint: most of them). Much of the knowledge we learn about proportion goes out the window with these poses. This is where the draftsman's ability to measure comparatively, by eye, comes into play (see my previous post on measuring). And even this can be a challenge, since depth is the most difficult measurement to judge. But describing the forms with a sense of dimensionality or volume can be achieved by a solid understanding of the forms and clarifying which form is in front and which is behind.

Overlapping forms is an aspect of drawing which is easily overlooked by the beginning draftsman. In an academic approach to drawing the figure, he or she is often taught to carefully draw the contour of the figure and, in so doing, they usually combine the contours of separate forms into one with a continuous line, flattening out the drawing and confusing the viewer.

The ability to see how one form fits into another allows the draftsman to emphasize the separation between the two. Taking a constructionist approach to the figure allows the draftsman to understand these forms. From this point there are several ways to clarify the overlapping forms: line weight and sensitivity being the foremost, but also emphasizing the forward form with tone and the use of atmospheric perspective.

The two drawings, above, are from Sunday's life drawing session and were each approximately 20 minutes long. Notice how I try to emphasize the line weight of the forward forms and subdue the weight of line on the forms which pass behind the forward forms. This is a process which takes much practice and must be utilized over every part of the figure (something which I haven't totally achieved on either drawing).

There are many elements to consider in a good drawing- overlapping forms is but one of many- and they must be considered simultaneously and completely internalized, so that they are done without thinking. This is a long process, and one reason why a constructionist approach to drawing the figure takes longer to become proficient in than an academic approach. But the results from a constructionist approach are usually more dimensional and beautiful (beautiful and accurate are not the same thing).

But all of the elements of good drawing stem from proper seeing by the draftsman. And seeing is akin to understanding and visa versa (see my previous post on drawing well). For, if the form is not clear in your mind's eye, it will never be clear in the viewer's eye.

Life Drawing Session: January 27.

Michael Whynot. Figure Study, 2013. Red chalk with white highlights.

Michael Whynot. Figure Study, 2013. Red chalk with white highlights.

I'm posting two drawings from this mornings life drawing session. Both were twenty minute poses and the model earned his pay, indeed, as the heat was not working well.

During the break, I was asked about my feelings concerning measuring when drawing. I've written a previous post on the subject, but the most often neglected and difficult measurement to gauge in drawing is depth, since perspective and foreshortening play such a major role in its calculation. Once again, this is a measurement that you must learn to take by eye. But the key to describing depth is learning to see the overlapping forms. Concentrate on which form is in front and which ones are behind. By emphasizing this overlapping of forms, the depth will become clear to your viewers. It is the illusion of depth that will give your drawings a sense of volume. Two dimensional seeing, leads to two dimensional drawing. Learn to see in three dimensions.