With economical line and a limited colour palette, Picasso captures the main lines and forms of two reclining nudes in this uncomplicated image, His technique is bold and decisive. saying: "If you know exactly what you arc going to do, what is the point of doing it?" It is doubtful that Picasso knew what result he would achieve when he started this piece, once. In Femme nue allongee Picasso uses mixed media to create blocks of colour and pattern, his experimental approach enriching the artwork. The nudes are drawn on a coloured background, using only a limited palette, enhancing the purity of line and form. Both women are lost in thought, and Picasso captures their mood with decisive pen-and-ink strokes. Two Nude Women demonstrates Picasso's economic use of line. The works selected here (this page) outline important lessons for the art student. By gaining an understanding of how joints move and which bones fit together, you can create more realistic figure drawings.Ī clear understanding of anatomy allowed Pablo Picasso to base a significant amount of his work around the nude human form. To broaden your knowledge of anatomy, visit a natural-history museum or refer 10 books to make studies of the skeleton, and the joints and muscles that operate to move the bones. When thinking about the figure you may use in a fashion illustration, consider the body shapes that lie beneath the clothes, ll is inspirational to look it the work of Michelangelo and Leonardo da Vinci (facing page) whose observation of anatomy in pen and ink captures the reality and the beauty of the human body. In the twenty-first century, artists and illustrators no longer tend to study anatomy as part of their formal training, I Iowever, a sound knowledge of how the body is constructed can only increase your perception. It is impossible to draw the clothed figure without knowledge of the structure and form of the body underneath. The nude human figure must serve as the basis for all figure study and fashion illustration. Free yourself from what your mind already "knows" and draw only what your eyes see. Look with fresh eyes to achieve an honest drawing, and never rely on memory or what experience tells you is correct. Our drawings vary because we all see things differently. By recording a figure on paper, we cannot help but understand it better. We may think we know the human figure until asked to describe it accurately. An illustrator must understand accurate body proportions before it is possible to create a unique style. However, this is not an excuse to draw a figure with, say, a disproportionately large head because you are In fashion illustration, drawing the figure is more about developing your own style, and creating individual studies that convey personality and meaning, than about accuracy. The result is that, unless a drawing is remarkably accurate, it is deemed poor and the artist loses confidence.Īt its most basic, a drawing is nothing more than a series of marks made on a surface by one person that another can understand. We know the layout and proportions of our bodies so well that we notice inaccuracies instantly. How many times have you heard phrases such as "I can't draw faces" or "I can't draw hands"? In fact, good drawings of figures are not so much the most difficult to achieve as the easiest to judge. It is a common belief that drawing the figure is the hardest artistic talent to develop. If you are relatively new to figure drawing, you may feel daunted by the apparent complexity of the subject. Clothing brings further challenge and diversity to drawing the figure and, from this, the art of fashion illustration has developed. The figure has occurred throughout art history as a central theme for exploration- drawing the nude figure from life has been practised in art academies for centuries.
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