The Quick Pose: A Compilation of Gestures and Thoughts on Figure Drawing

the

QUICK POSE

ACKNOWLEDGMENTS

Special thanks to Mary Sauer, Kristal Lindheimer, Michelle Erickson, and Amy Christensen for helping me get my thoughts into words. Thank you to the fantastic models from the Department of Visual Arts at Brigham Young University. Without them, this publication would not exist. Thank you to my students and for their patience with me. Often times I feel as though I am the student. Thank you to my teachers and to those who have taught me throughout my life. I appreciate your willingness to share. Thank you to my family and friends who always show great love and support. And lastly, thanks to my husband, Matt, for his constant love and encouragement.

Copyright

Copyright © 2015 by Erin Meads

All rights reserved.

Artwork, text, and book design by the author.

Drawings are on 18 x 24 newsprint with conté or charcoal.

Bibliographical Note

This Dover edition, first published in 2020, is an unabridged republication of the work originally published by Erin Meads in 2015.

Library of Congress Cataloging-in-Publication Data

Names: Meads, Erin, author.

Title: The quick pose: a compilation of gestures and thoughts on figure drawing / Erin Meads.

Description: Mineola, New York: Dover Publications, Inc., 2020. | This Dover edition, first published in 2020, is an unabridged republication of the work originally published by Erin Meads in 2015.

Identifiers: LCCN 2019039451 | ISBN 0486841367 | ISBN 9780486841366

Subjects: LCSH: Human figure in art. | Figure drawing—Technique.

Classification: LCC NC765 .M395 2020 | DDC 743.4—dc23

LC record available at https://lccn.loc.gov/2019039451

Manufactured in the United States by LSC Communications

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www.doverpublications.com

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CONTENTS

FOREWORD

INTRODUCTION

GESTURE

WEIGHT & BALANCE

SYMMETRY

FORESHORTENING

LIGHT & SHADOW

HEADS

DRAPERY

FINAL THOUGHTS

FOREWORD

by Mary Sauer

I met Erin in 2007 when she and I were both undergraduate art students. We later were apprentices together in the same studio when we were still developing as artists, in an environment rich with talented instructors and mentors. We have been in a number of workshops together over the years in locations as varied as Jackson Hole and Manhattan. As I have looked back over my art education, I see how rare great instruction to art students really is, and how difficult it can be to get a holistic understanding of traditional drawing as skill-based art diminishes in importance throughout the country. Many art teachers would rather spend time discussing the philosophical meaning of a gesture rather than the basic principles of how a drawing achieves convincibility. Frustratingly, distortion and obscurity are encouraged and emotion is valued more highly than expression with accuracy. It was my experience in art departments at universities for both my Bachelor’s and Master’s degrees that the only departments that valued traditional drawing skills were the illustration and animation programs. I find it amazing that many in the art world, including some art teachers, dismiss the need for strong figure drawing skills in these and all other disciplines as commercialism instead of embracing those skills as invaluable to an artist’s development.

I believe that the concepts learned through drawing the figure apply to all aspects of art-making and can be interpreted by every artist differently as they develop their abilities. The figure has always been my favorite subject in art, both in