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THE BASIC HANDBOOK

OF FIGURE DRAWING

Students, professional artists, Sunday painters

here is the definitive book on the basic principles
and techniques of fine figure drawing.

John R. Grabach, the author and illus-

trator,has taught life drawing, figure and
landscape painting for twenty years at
The School of Industrial and Fine Arts in
Newark, New Jersey.

Henry Gasser, who wrote the Introduc-

tion, is the author of the successful How
to Draw and Paint, recently published by
Dell (#FE54).
/
HOW TO
DRAW
THE HUMAN
FIGURE
by JOHN R. GRABACH
with an Introduction by HENRY GASSER
Published by
DELL PUBLISHING CO., INC.
750 Third Avenue
New York 17, N.Y.

© Copyright, 1957, by John R. Grabach

Laurel © TM 674623, Dell Publishing Co., Inc.

All rights reserved

Photographs by Jackson O'Sullivan

The author acknowledges the assistance of Stephen Haff.

Dedicated to: GWYNNE LENNON

First printing
Second printing
——
August, 1958
November, 1958
Third printing
Fourth printing
——August, 1959
March, 1963

B-383

Printed in U.S.A.
 INTRODUCTION

It was my have had John Grabach as my

good fortune to
teacher. Years later, our happy association was renewed
when I became Director of the Newark School of Fine and
Industrial Arts where Grabach was the head of the Draw-
ing Department. During his twenty-five years on the faculty
he has taught drawing and painting to more than four thou-
sand students. A
superb draftsman, he possesses also that
priceless attribute of every really good teacher —
the ability
to inspire his students.
Today, when "isms" flourish and drawing is often con-
sidered secondary, Grabach is a reassuring landmark to stu-
dents seeking a meaningful path in the multi-directional
world of art. He stresses the fact that time spent in drawing
the living figure is never lost. In this book he sets forth his
sound principles of good drawing, constantly emphasizing
the importance of the search for the key line. It is the knowl-
edge of this line in the drawing of the figure, he points out,
that gives a vigorous strength to the structure of the drawing.
The key may be straight, convex, or triangular. A line
line
that may appear to be concave will be visualized by the art-
ist as though it were composed of a number of convex or
straight lines.
Throughout the book, Grabach analyzes each drawing
to show the key-line foundation. Once this is determined, the
realization of the volumes that create the form follows, al-
ways looking for the big masses or shapes. Only when all
this has been put on paper are the details added.
While the student should not limit himself to one medium,
charcoal is the most versatile of these. It is particularly
adapted to making drawings with tonal qualities ranging
from the palest gray to the most velvet of blacks. Charcoal
is unsurpassed for preliminary sketches and studies for sub-
sequent paintings.
If the student has acquired a slovenly manner of work-
ing, slurring over diflficult passages, Grabach recommends
drawing with a lead pencil of not too soft a quality as a
means of acquiring discipline. His chapter on silver point
and pencil drawing gives an excellent approach to this
medium.
Generous space given to anatomy from the artistic point
is

of view, and to the drawing of drapery. Too frequently this

latter subject has been neglected. The influence of the un-
derlying figure on the drapery is shown with excellent ren-
derings, again employing the key line in determining the
folds of various materials.
The on painting is presented in color and shows
section
step-by-step guidance from the painting of simple mono-
chromatic studies to the use of full color.
With a bare minimum of text (a gratifying accomplish-
ment for any artist) Grabach has created a book that I am
confident will be of inestimable assistance to those who are
seriously interested in improving their mastery of drawing
and painting.

Henry M. Gasser, N.A.

 THE ART OF DRAWING
FROM THE FIGURE

Art is to be found in all objects, the ordinary and unpleas-

ant as well as the strange and the beautiful. We

consider the
rose a thing of beauty, but not the toad; yet the toad has in
its appearance potentialities for artistic invention as much

as has the rose — perhaps more, because it is less static.

Art is the artist's expression of delight in what he sees,
and his attempt to communicate that feeling to others. As
a means of expression it is infinitely varied. The student
may express his art in any number of styles, and still work
within the realm of today's art.
Differing states of the public mind lead to the emphasis
of different styles of art at various periods, but there is no
era, except one of utter decay, in which sound draftsman-
ship will not be recognized. Because representation of the
human figure is the most difficult of all drawing, the artist
who can draw figures well is necessarily more skilled than
those who do other subjects.
Accurate drawing is not copying the model, as if one were vf
a photographer. Mechanical copying of a figure is rigid,
satisfying neither the artist nor the observer. Instead, one
should draw freely, with enthusiasm, exercising the facul-
ties of interpretation and expression. The superior drafts-
man never indifferent to his subject. Development of his
is

ability to express and interpret will continually give him

greater power.
In working from the figure, the artist must be in the
main a realist. Though outward understanding of appear-
ances cannot be his only goal, he still must be able to render
those appearances, to express their substance, to represent
softness and hardness, lines and masses, design, and the in-
terrelationship of the whole.
The best progress in drawing the figure can be made by
use of the living model; no other subject yields as much
practical experience. Drawing from the living model will
develop force in handling, enlarge one's capacity for in-
terpretation, and continually add to one's knowledge of the
figure. From the living model one can get the most highly
idealized of all artistic expressions.
Drawing can be a and many-sided performance or
vast
a shallow affair, depending on how much the artist sees in
the figure and how well he can express it. The true drafts-
man applies all his will and energy to the work, concen-
trating his entire attention on the subject and seeking to
express everything that can be represented. His precise and
accurate rendering must express through line, form and
rhythm the variety of tones created by light and shade, vol-
ume, substance and texture, and must translate color values
into black and white. More, the true draftsman will seek to
express the inner meaning, the very soul of the subject.
Line, form and rhythm are all of vital importance, and
their handling is an essential part of what this book endeav-
ors to impart. How much can be expressed in the simple line
is shown by the figures ornamenting the best Greek vases.
Delineation, that representation through the use of the
is,

simple line, differs absolutely from the method used by the

masters of the Renaissance. The Renaissance masters used
the most rapid means of expression, indicating shading by
sure but rude means, a few hasty strokes of charcoal or
crayon. They caught the form, but paid no attention to the
outline that is so essential in delineation.
Rhythm is produced by the interplay of fast and slow
lines, stiff and flowing lines, strong and weak lines, and of
forms, all in proper relationship to the subject. A straight
line is fast, while a helical resembling a coiled spring,
line,
is slow. The more one stretches out the spring the faster the

line; the more closely it is coiled the slower the line. This
is because the eye moves faster over a straight line than

over a curved one, and the more complex the curvature the
more slowly the eye moves. (See "Speed of Line," page 30.)
In drawing textures and substances the use of Hnes of
varying speeds is essential. For instance, thin drapery will
have faster lines than heavier material. Surfaces can be ex-
pressed by placing many lines together. Contrast empha-
sizes and heightens the effect of various lines. A stiff line
seems doubly stiff when next to a flowing line. A slight curve
becomes more pronounced when placed beside a straight
line. Good artists make use of the principle of contrast, and
both the most delicate grace and the sturdiest strength are
derived from observance of this principle.
Form, outline and rhythm are all made clear in this vol-
ume, so that the reader can obtain a summary of the whole
with reference to the time at his disposal. This gives
strict
more and allows freer play for per-
latitude to originality
sonal qualities in one's drawings. It will lead to the bold
exaggeration of strength which is a part of artistic expres-
sion, giving emphasis to the drawing and a strong spirit, an
individual accent to the work.
No important principle can be ignored in drawing the
figure, but when a student sees detail too clearly he is often
led into excessive analysis. In this dangerous, if not fatal,
state he perceives detail that he should not express. He is
blinded to the larger masses that are the primary key to suc-
cessful interpretation. He draws an aggregation of frag-
ments instead of the whole, like one who is so busy count-
ing leaves he cannot see the shape of the tree.
The artist can only express light and dark in proper pro-
portion by controlling each shade in relation to the whole.
As the light and dark in drawing must be relative, they are
translated synthetically from the actual light and darkness
perceived on the model. Students will help their work if they
use artificial lighting of the figure to concentrate the scat-
tered forms into large planes, binding all the fragments
together. The arrangement of good forms is strikingly ap-
parent in first rate figure drawing, and arrangement is one
of the distinctions separating good drawing from the me-
chanical or mediocre. It should be realized, too, that con-
trasting forms modify each other, just as contrasting lines do.
 It is well for the artist to study anatomy, as the increased

knowledge of the muscular structure of the body will assist

in correct modeling. To model or shade each part so that
it stands out or recedes in correct proportion to each other

part of the whole is an essential part of drawing. The pro-

jection of each form must be expressed in correct relation-
ship to all other projecting parts.
The eyes, at their best, see things all together in their
correct relationship. Artists are strong as they adhere to
such perception, weak in direct proportion to their failure
to see the whole. Understanding is the prime requisite, with
good eyes and skillful fingers next in importance. Individual
temperament has much to do with an artist's product, which
is so peculiarly the product of an individual. The necessary

concentration of one's faculties on one subject over a long

period of time comes easily to some, while to others it
proves virtually impossible.

10
 BEGINNING THE DRAWING

Before you start your drawing get a clear conception of

the figure before you. Study the model from different an-
gles. Understand what the figure is doing and the nature of
the action. This will be the real beginning of your drawing.
Have the drawing board straight up and down. Sit away
from it at arm's length. Give your arm full play, so that you
can draw from the shoulder and get freedom in your line.
Start about an inch from the top of the paper, and draw
from the top down to an inch from the bottom. Do not
get too far away from the model. If you do, you will miss
the fine gradations of the form. See that you have a good
light on your paper and a strong, direct light on the model.
A diffused light fails to tie the forms and masses together,
leaving too many fragmentary details.
Start with the head; it gives the scale for your drawing.
With the head drawn in first you can get the proper propor-
tions for the rest of the body. It is wrong to try to place the
head on the body after the torso is drawn. Some students
have acquired this habit, and once adopted it is hard to
break.
Be careful not to place the model in a strained pose that
cannot be held for twenty minutes at a time. Various marks
can be noted on the figure that will guide you in making
correct measurements. Place the model on the stand so that
the center of the figure will be at eye level, giving some
perspective with an arch. In making measurements, extend
the arm straight out, and keep your eye as close as possible
to the shoulder. Use your charcoal stick to register cor-
rectly each space you want to measure. With practice you
will become extremely accurate in judging angles and pro-
portions.

n
 Do not depend on the kneaded eraser for lights. The
eraser should only be used to get the sharp lights where
muscles go over or under each other. If it is used to obtain
the light masses the drawing will be chalky. Let the paper
make all the lights possible.
Kneadthe eraser between two fingers until it has a sharp
edge, which is the only part that should be used. Rub as little
as you can with the eraser for too much rubbing will kill
the surface of the paper. Use the hand and fingers to form
your shading. In very small parts of the figure, such as the
head or hands, the stump can be used, but on all larger sur-
faces the hand will produce the best effects.
Some charcoal will not stay on the paper as well as it
should. If that should happen, it is best to try another stick
of charcoal. In time one learns to pick out good charcoal. If
you rub over the charcoal and it has a soft, smooth, silky
feeling, you can be sure that it is a desirable stick.
The value of charcoal as a medium is its distinctive char-
acteristic ability to fill broad masses of shadows rap-
in the
idly, and the luminous quality of shadows and delicacy of
halftones it produces. It is the first of all media, offering
the greatest freedom of use and effect, limited only by the
ability of the artist to use it.

Don't be desultory in your work. Once you start your

drawing, stick to it. The drawing of the figure is difficult,
but becomes so fascinating that a student captivated by it
finds it hard to stay away from figure drawing.
If you are located where there is no school that has a
figure class, get together a few congenial friends with an
interest in drawing. Models can be obtained without too
much difficulty, and use of this book will provide reference
material that should suit anyone's needs.

12
The Charcoal

Material used in charcoal

drawing includes soft,
medium and hard sticks of
charcoal, a drawing board
19 by 25 inches,
Michelangelo* white
charcoal paper (or a
similarly good grade),
charcoal fixative, an
atomizer, or convenient
'^'^*
Tuffilm Spray
Fixative in pressurized
spray can, a large
rag, stumps, and a
kneaded eraser.

*Trademark of
M. Grumbacher, Inc.

To sharpen charcoal
draw the knife toward you.
This keeps the
point from breaking.

The thumb is used to

produce roundness, and
gives a splendid texture
to the charcoal.

13
 This plate shows the
use of the side
of the hand in shading
charcoal. The back of
the hand is used
for a large
surface for getting
breadth and roundness.

To remove any
part of the drawing
do not rub,
but dust off the
drawing with the rag.

14
The Kneaded Eraser

Knead the eraser

with the two fingers to
a sharp thin edge.

The eraser pressed or

kneaded into a sharp edge
is used to create
a sharp light line
accenting and modifying
a form.

15
 The Knife

Use the back

of the pocket knife to
shade small parts
of the drawing, parts
that are too small
for use of
the fingers. The
knife will give a fine
tonal modulation
to the small forms.

The Stump

To shade
and round small
forms.

16
PLACING THE FIGURE

Placing the figure too far to the Too far to the left of paper
right of paper and too low. and too low.

Too high and too far to the Correctly placed on the paper.
left ot paper. Notice the space at the top
and bottom of the figure
17
 ^

HOW CHARCOAL IS USED

IN MODELING THE FORM

(T) (?) and (?) show how charcoal

is applied in a flat black mass.
shows how the edge of the mass

>
(4) is

rounded into a finished form.

18
/
19
 "'^Vs

/ .,/

'"""'V!^

The most delicate grays •-*fe». !l! -«W^w

to velvety black
can be produced with charcoal N
\.
20
/

21
 /--

Here we see
the complete simplification
of the form.
One half of the figure is

in the dark form

while the other is in the light form.
Think of two planes,
one dark, the other light.
\
X
 Notice the simplicity
in the use of black for the
heavy shadows. The interesting
surface is then modeled into the form.
(The model was in a very strong light.)

24
 \

J
 THE QUICK SKETCH

The drawing on the opposite poge

was made in five minutes.
It was made with heavy, soft charcoal,

about one-quarter of
an inch thick. It was
twice the size of the reproduction,
but quick sketches can be
made very much smaller.
The quick sketch is possibly
the best training for the student.
In such work as this,

the student will

cultivate a rapid memory.
It also gives an easy
feeling to the drawing,
as well as a free rhythm.
Try to make a sketch
in say two or three minutes,
and from as many angles as possible.
Quick sketching is to the artist
what practicing scales is to the musician.

26
 Three-minute sketch

28
Five-minute sketch

29
 SPEED OF LINE

Drawing is a combination of fast and slow lines.

The straight line is fast; the sharper the curve,
the slower the line movement.

© ©
® Fast line.

©A little slower line.

(?) Much slower line.

(4) Very slow line.

30
 HOW THE KEY LINE IS USED

Straight line opposite curved line.

Straight line with curved line above.

Angle line.

Curved line

opposite straight line

The capital D contains

in itself the rudiments
of the key lines.
The letter D consists of
one perpendicular line,
and one curved line.
There can be
any number of key lines
In ony pxjrt of the figure.
There are no concave
lines in the figure.
All lines
are straight or convex.
Notice how the
straight line and curved
line are used.

31
 VU] I ^.

The angle is used as one key line.

First sketch of drawing on opposite page.

The key lines were used
in the order of their importance.
The first line used
on this drawing was key line no. (T)

32
33
 The Three Key Lines

Once the three key lines are

established, the movement of the
figure will fall into place.

34
J
A

35
 ' ?^ .v>N ><

Key Lines Simplified

In this drawing there are

four key lines. The numbers show
the scale of their importance.

36
\

37
 Crouching figure in the shape of the pyramid,
with lines limited by points, surfaces limited by
line, and the solid limited by surfaces. All surfaces
are in relationship to each other. The substance
of the figure is held throughout to the pyramid.
38
 r^ {.
p^ *^> "^^x

39
 A variation in the
action of the figure.

The line (T) gives the

slight movement to the

figure. Here we have a
departure in the use
of the key line.
In the pyramid we have a
firmness of structure.
The form is arranged
to compress the pyramid
shape, a device that
has been used by
many of the Oriental
artists in the best
periods of their art.

An
Locate key lines
in this

drawing.

41
 V
L>
i^^}^.f
Locate use of
wedge In this drawing
 The key lines are used to
give a feeling of speed of movement
OS well OS structural division.
This principle v/as
employed by the Greek sculptors.

44
/
45
 Key lines of drawing
on this page.

46
47
 Perspective lines that retreat,
whether above or below the eye, will meet at
a point called the center of vision.

48
49
 In this drawing the structure
has been built up by the

use of the circle. On the torso

the complete circle has
been used to make the foreshortening.
Notice the rhythm in the design.

50
51
-o
c
53
 drawing we see the figure
In this

in an easy pose, with simple lines. The figure

is constructed in circles and ovals.
 '^Jv

/ \

X
^-
xJ|*»'

55
 In this drawing
the oval and the circle

have been used throughout. It is

a splendid way to lay out a drawing.

56
^^f-f-
eye is in the
center of the figure,
the center wi
make the point of a
circle. All the

circles above the

center will go up, a
below the center
willgo down.
59
 All this form is constructed on the
circle, which produces a perspective
that causes the torso to lean back.

60
^m-^

61
 THE PAINTER'S
APPROACH
Form
In the painter's approach the
line is a result of
developing the form.
He sees shape,
then form.
To make it more clear,
let us say the head
is egg-shaped,
and the eyes, nose,
mouth, and ears
are the form in the shape.
The principle is

to see all shape,

then form, and line last.

In drawing hair
we see the shape, then
develop the small
strands of the hair.

Line

62
 AN INTRODUCTION
TO OIL PAINTING

The palette is best arranged systematically on the left

side the Thalo®* Blue, French Ultramarine, Burnt Sienna,
Yellow Ochre and Alizarin Crimson, Golden; in the center
Zinc White, next to the White on the right, either Vermilion
or Cadmium Red, Light; next Viridian and then Lemon
Yellow and Cadmium Yellow, Light. Use a purified linseed
oil; turpentine alone is not recommended
since it reduces the
brilliancy of the color. Some use a 50-50 mixture of
artists
linseed oil and turpentine.** It retains the brilliancy, adds
fluidity, and does not slow the drying as does 100% linseed
or poppyseed oil. For general painting the color should be
applied with a reasonably heavily loaded brush and a mini-
mum amount of oil. Use linen or a good grade of cotton
canvas or canvas board. The grain of the canvas is a matter
of preference. Too absorbent not recommended.
a ground is

Start drawing with charcoal. When the drawing is satis-

factory, apply a fixative to keep it from mixing with the
colors. It is always best to use an easel, inclined forward to
prevent shine or reflected light from striking the canvas.
The easel can be a studio type or a portable one, such as
those used for outdoor sketching. The palette is usually
either oval or square. Once your palette has been arranged,
retain the sequence of colors for future work. Heavy, dry
paint can be scraped off with the palette knife, which should
have a pliable blade. This knife is used as well for arranging
color and mixing tints. With some painters it takes the place
of a brush when applying color.
Use the brush as much as possible. Most painters prefer
brushes made of white hog hair bristle. Flat brushes with
short bristle hair are called "Brights" and are generally pre-
*©Registered Trademark, M. Grumbacher, Inc.
**Grumtine "l^M fPaf. Pending) is an organic solvent used for all paint-
ing purposes. It is superior to turpentine.

63
ferred, though for some purposes "Rounds" are useful.
"Flats" are brushes which have the "Brights" shape but with
long bristle. Red sable brushes which have the same shape
as bristle brushes are useful for blending of areas and for
glazing. After use, brushes should be washed with Grum-
tine '^'^* or turpentine and then with mild hand soap. Stroke
the brush on the soap and work up a lather on the palm of
the hand. Repeat the process with occasional rinses until no
color remains in the brush. Use a lukewarm-to-cold water
and press the hairs of the brush back into the original shape.
A brush in which the color has been allowed to dry is diffi-
cult to clean and is permanently damaged.
A mahl-stick can be used to steady the hand while paint-
ing details. A conveniently hung mirror will prove useful
too. It enables the artist to detect faults in drawing which
he may otherwise fail to observe.
Buy you can afford, and use only those
the best colors
that are permanent. The color chart of a reliable manufac-
turer will give the key to permanency.
Learn as much as you can about mixing colors to obtain
new combinations from the palette. You may then add a
new color to your palette in order to increase your color
range. Eliminate a color when you discover a substitute
that more pleasing to you. Do not limit your experiment-
is

ing, but exhaust all the possibilities of each color before

adding a new one to your palette.
For example: while Zinc White is vital to my perma-
nent palette, I have recently experimented with MG®
White,** which is especially made for rapid drying. I find
it excellent for underpainting and for all texture-impasto

techniques. I now supplement my Zinc White with this new

MG® White.** Alizarin Crimson, Golden is another recent
addition. Unlike the regular Alizarin Crimson which has a
purple cast when mixed with white. Alizarin Crimson,
Golden retains the vital red hue and gives a beautiful rosy
effect.

*Manufacfured by M. Grumbacher, Inc.

**MG® White is a titanium white for textured underpainting and
direct painting. Dries rapidly (2 to 4 hours) in moderate thickness. Made
only by M. Grumbacher, Inc.

64
 YELLOW

BLUE

Color Chart courtesy of M. Grumbacher, Inc.

Brushes • Colors • Artists' Material

Technically, any color can be made by mixing the primary

colors, yellow, red,and blue. Each of the secondary colors,
orange, violet,and green, is made by mixing the two primary
colors on either side of it.

Mixing primary and secondary colors produces the inter-

mediate colors, yellow-orange, red-orange, red-violet, blue-
violet, blue-green, and yellow-green.
The complement of each color is directly opposite it. Mix-
tures of complements make grays.
Colors containing a greater proportion of yellow or red
are considered "warm." Conversely, colors containing a
greater proportion of blue are "cool."

65
 COLOR-MiXING

A. The three primary colors, yellow, red, and blue, mixed

together neutralize each other to make a gray.
B. The three secondary colors, orange, violet, and green,
mixed together neutralize each other to make a gray.
C. Two primary colors, in this case yellow and red, mixed
together make a secondary color (orange).
D. Two primary colors, in this case blue and yellow,
mixed together make a secondary color (green).
E. A primary color (yellow) mixed with a secondary
color (green) makes an intermediate hue (yellow-green).
F. Two primary colors, in this case red and blue, mixed
together make a secondary color (violet).
G. Two colors opposite each other on the color wheel
(complementary colors) mixed together neutralize each
other to make a gray. In this case yellow and violet were
mixed to produce a gray.
H. When black is mixed with a color, it grays the color
to produce a neutralized hue. In this case black was added
to red to make a neutralized red.
I. When a neutralized color is mixed with a color, it grays
the color to produce a neutralized hue. In this case a deep
brown was added to blue to make a neutralized blue.
J. Here is another neutralized color mixed with a color to

produce a neutralized hue. In this case a reddish brown was

added to violet to make a neutralized violet.
The color chart illustrating the above mixtures was exe-
cuted with water color. However, by simply adding white
paint to each color the same results are obtained with oil
paints.

66
Color Chart courtesy of M. Grumbacher, Inc.
Brushes • Colors • Artists' Material

67
 Color-Mixing Exercises

Before working with the full range of your palette, you

should familiarize yourself with the possibilities of each color.
An excellent start is to take a warm and a cool color and
do a complete painting limiting yourself to these two colors.
A good combination is Cobalt Blue and Burnt Sienna or
French Ultramarine and Burnt Umber. You can use water
color or oil; for the latter, white paint must be added. Im-
provise a landscape or build one from an outdoor sketch that
you may have on hand. With blue as the cool color and
brown as the warm, begin to paint the picture.
In some areas you will use the colors pure; in others, they
will be combined. You will be amazed at the number of color
variations that can be achieved with so simple a palette. Most
important, you will discover the numerous shades of warm
and cool grays that are obtainable.
For the next exercise, use three colors and explore their
possibilities. Cobalt Blue, Light Red, and Yellow Ochre
should allow you plenty of scope compared to the two-color
exercise. Again, add white paint if you use oils. By painting
the same subject used before, you will more readily realize
the added possibilities of a third color.
Experiment along these lines by making up your own lim-
ited color combinations. Add a fourth color, and so on, until
you acquire a working knowledge of all the colors you plan
to useon your palette.
One important point will become apparent: The fewer
colors you use, the easier it is to obtain color harmony. Every
time a new color is added the risk of creating discord is
increased.
When starting to paint, limit the palette to a single color. You
will discover that this approach will simplify the painting pro-
cedure. The illustrations on this page were painted with Burnt
Sienna, an excellent color for such an approach. Note how only
the main areas of light and dark are first indicated and then
the halftones are added. This applies to whatever you paint.
Devote much of your time to painting with a single color, experi-
menting not only with Burnt Sienna but Burnt Umber, Raw Umber,
and so on. After you have learned something about the handling
of one color it willbe much easier to enlarge upon your palette.

69
 After a period of painting with a limited palette you can venture
into painting in full color. Some time should be spent drawing in

charcoal or pencil to indicate the division of light and shade and

general arrangement. An approximate color of the background
is then painted. This is followed by a rough indication of the
shaded areas in the figure, using Burnt Sienna very thinly. In the
final painting the color is applied in a heavier manner, impart-
ing a substantial feeling to the entire picture. In your first full

color paintings do not be too concerned about details— simplify

and concentrate on the large masses.

70
 X
The basic principles of painting a head are shown in these four
stages. First, a careful detailed drawing is made, depicting the
arrangement of light and shade. Second, the background is
painted. At the same time, the hair is painted to establish a dark
note in relation to the background. In the third step, the shad-
owed areas are painted, leaving the white canvas to indicate the
light areas. The fourth stage is devoted to the painting of the
halftones. When the entire head area is covered with paint the
highlights and accents are added, completing the portrait.

71
 Glazing is the laying of thinly transparent color, diluted with your
working medium, which allows the work beneath to appear
through, tinged with the color of the glaze. The painting is ad-
vanced as far as possible with solid, opaque color. When dry,
ground is glazed repeatedly with thinned, transparent color.
The process is generally effected by the application of diluted,
transparent color, but semi-transparent color is also used.

Scumbling resembles Glazing in tfiot a very thin coot is lightly

spread over portions of the work, but the color used is opaque
instead of transparent.

72
 V.,N^

These plates illustrate the four steps for painting the head.
Above left. Fully rendered drawing showing the form and indica-
tions of the shadows. Above right. First use of color after the
drawing is made. Background is painted in first around head.

Colors used are Burnt Sienna, Thalo* Blue and Yellow Ochre.

6e/ow left. While background wet, head is painted with

is still

Burnt Sienna; all form is Background is brushed into

painted in.

shadow part to eliminate any cut-out look. Below right. In fin-

ishing the head, color is laid on with careful fusing and brought
together into one unit. Head is completed in warm colors, with
paint applied heavily. *(B)Reg. Trademark, M. Crumbacber, Inc.

HF^V
 Drawing is first made in charcoal with masses indicated. Start to
paint by laying in background first, as illustrated above. Then lay
in mass of figure, using Burnt Sienna and Thalo* Blue. Be
careful not to use too much Thalo* Blue; it is a very strong
color. Fuse tones with background, then lay in a middle tone
with Yellow Ochre, White and some Burnt Sienna, a little Blue,
as well as a very small amount of Alizarin Crimson, Golden.
Follow most marked and characteristic accents of form of body.
Model edges into background. Fuse tone into tone. When finished,

use a deliberate touch to put in highlights.

* ® Reg. Trademark, M. Grumbacher, Inc.

74
The head should be drawn
slightly under life size. If

it is drawn in actual size,

the optical illusion will

make the head look over

life size. On the right is

shown the procedure in

painting the head, with the

background painted first in

Yellow Ochre, White, a

small amount of Thalo*
Blue and Burnt Sienna. For
the coat, Prussian Blue,

Yellow Ochre, Burnt Sien-

na and a very small
amount of White is used
to make the color opaque.
As the painting pro-
gresses, warmer colors are
added to the flesh area
with Alizarin Crimson,
Golden and Cadmium Red,
Light being the principal
colors The features
used.
are carefully rendered
and the entire head area
gradually refined. Ac-
cents of the ears, eyes,
nostrils, and so on, are
put in to complete the
painting.
* ®Reg. Trademark,
M. Grumbacher, Inc.
 Draw the head first with
charcoal and indicate the
shadows; dust the charcoal
off if it is too heavy. The
painting is then laid in

with Burnt Sienna and

a touch of Thalo* Blue.
On the right, the head has
been painted with a free
stroke of the brush. The
background is painted
first, followed by the shad-
ows, which are painted
into thehead to give form.
The plate below shows the
painting of the middle
tones. The dark tones run
into the background to
give roundness. The brush
is used freely and vigor-
ously; all the white of
the head is covered to
give the tonal value of the
flesh. The details of the
eyes and brows are then
rendered, followed by the
nostrils and the mouth.
The area below the head
is allowed to remain the
color of the background,
thus directing all of the in-

terest to the head.

* ® Reg. Trademark,

M. Grumbacher, Inc.

76
r^

FORM

Use of the triangle

and the square
as essential forms
for the back.

From the shoulder to

the tuberosity of the
Sacrum (T) we get a
triangle or wedge that
covers all of the back.
The Gluteus Moximus (T)
is made in a square

or box shape.
This lets the torso move
in any direction.
Using the principle
of the wedge and the
square will give the
drawing a sound
and strong structure.

77
 The three blocks
that make the torso.
The blocks
are In relation \
to three planes that
make the movement of the back.

78
 \

^
79
\
 It is well to think of the square
for the major forms.
Note how the square passes
into the round form, and the
wedging of the square into the
distribution of all
the masses of the figure.

80
^^ 81
The plate shows the effect of light
In the tone values.
The gradations are kept extremely
sensitive in the low values of
the drawing. The wedge of
the back and the use of
the block give force and solidity.
 i-/

/
/

83
 Masses showing the build-up of the bock.

84
 The change of position of
the leg when pulled up, representing
a foreshortened perspective.

88
X

89
ANATOMY

Skeleton of the bock of drawing opposite.

90
.01.
 Spine of Scapula

Trapezius

Gluteus
Maximus

92
^-?»

93
 Anatomy structure principles,

and key lines.

94
 ,>
.^wM^. ^/^^mi
ir

95
The wedging and locking of
the back of the arm.
^^^^
^ I
"1^*

\
 "^
i
\t
i«|, ;,
/ -v

\
J-
A'
f
X
Showing the first spontaneous sketch
of hands on opposite page.

98
 f

^^^r W^

99
100
/

101
 ' ^\^':^^
N/

,N4^

Key Lines in Composition

Importance of the key lines

in the composition
of the hands; notice how
the key lines take in all

the hands in the

composition. This applies
to figure groups
as well,
102 forming a design or unit.
 /

^
103
 Key Lines
Palm of hand

Key lines

Back of hand

104
105
 Showing anatomical construction and manner
of using key lines and oval.

^
I
"^.-
- -y

The above is foreshortened

and is based on the
circle. One can

only get foreshortening

by use of
the circle or oval.

Phalanges

Muscles Adductor pollicis

interossel
Extensor
longus pollicis

106
107
Convex

(T) In the foreshortening

of the arm each step of

the form is made with the oval.
The foreshortening could not
be accomplished without its use.

© On the left side of th(

we have the convex line.
On the right the arm is concave,
but the structure of the two straight lines
takes away the concavity. Within the
two straight lines are many small convex lines
that give structure and power.
The concave line is deficient in strength.
108
\:A

109
 ^ ^v.

/ ^^
-U
I

X The Foot

is
no
 /..

sr

v/
\ \

\^
\

m
 I

112
113
Wedge structure of the knee in action.

114
115
 Styloid process
of Temporal bone

Sterno-mastoid

Trapezius

Sterno-mastoid
Omo-hyoid Sternum
Digastric
Digastric

The neck is a cylindricai shape.

From behind each ear the sterno-mastoid
descends to the root of the neck,
and they almost meet each other at the sternum.
The trapezius, a large back muscle,
rolls over the shoulder to the neck.

116
 I . /

^'
^''

Study of the Neck

117
 (

The Skull

3 Frontal

X> Parietal

2) Temporal

(£) Zygomatic
;
S^ Maxilla

(£) Mandibula

® Nasal

_1_L2_
The Cube
in Constructing the Head

The head when built on a cube has

solidity and balance. Each side
is a duplicate of the other half.

119
 Planes of the Head

120
 \1^A^

Nose Structure
121
SILVER POINT

Used as early as the sixteenth century,

the silver point was a favorite
of the old masters for sketching.
The metallic lead originally used
is nov/ a piece of
graphite lead, sharpened to a fine point.
An ordinary piece of white paper
coated with Chinese white and allowed to dry
is best for the purpose, though
certain types of art paper carried by most
dealers will serve.
Glazed paper is preferable.
Silver point is a direct method,
and erasure is practically impossible
without ruining the drawing.
The drawing is accomplished
by the placing of many close lines

covering the figure.

Use the natural swing of the hand.
In adding the form keep to the original lines,

being careful to cross none of them.

A regular lead pencil of medium grade
can be substituted
for the metallic lead.
 I
' i
f -I

Silver Point Drawing

123
 /

V
i

> ;

Silver Point Drawing

f-'#| X

124
 /

/
/

l^4>-*.

Stiver Point Drawing

125
BLACK PAPER DRAWINGS

This drawing is made on black paper

with very soft, black charcoal
and white chalk. The charcoal is blacker
than the paper, and consequently can be seen.
The drawing is first laid out
with the charcoal, after which the white chalk
is used for the light portions.
It is best not to rub the chalk with the fingers;
rubbing the white will make it

lose its and look hard. The

quality
beauty of the drawing comes from having
the tooth of the paper show.
The white should be used sparingly.
Too heavy application will produce
unattractive results. Use of black with
the white on the paper gives
value to the drawing, making it less harsh.
The drawing can be sprayed
with fixative, or with Tuffilm '^^* Spray Fixative
as can any charcoal drawing.
Keep about eighteen inches away with the
spraying. After the chalk and charcoal
first

have been partially fixed you can

get closer, but if you are too close
on the first spraying, it will

blow away too much of the loose chalk.

*Trademark of M. Grumbacber, Inc.

 On Gray Paper

128
129
 DRAPERY

The fabric of all drapery will produce

folds of distinctive character.
Heavy drapery v/ill have the oval and never
the angle; silk v/ill have the angle
and also the oval.
Heavy drapery has a slow line; cotton
or silk will have a fast line.
The twisting of folds always makes spirals and
acute angles or ovals. In studying
the character of drapery keep in mind the
difference in the relationship of the materials.
Weight and texture will have much to do
with movement and speed of the folds.
Some folds will be straight, festooned or V-shaped;
folds will fall, cross, or pass each other.
Each drapery has its own laws;
each must be studied as a fixed law and linked
to others in a rhythm. Only the details of
these laws vary. Much depends
upon the material used.
The manner of drawing drapery has
varied during different art periods.
The Gothic used more of the angle than the
oval line, while the Renaissance period
used both the angle and the round line.

The Greeks used long flowing lines

terminating in the angle or the ova^.

130
Gothic Renaissance

Greek Greek

131
 Angle

Showing the use of the angle

that is swift in its movement.

132
 V

t..
*^^

133
 Angle and Oval

How angle and ova

are combined.

134
135
Oval

Showi ng the use of the oval. I

r^
136
\

^ \ \
137
138
139
 John R. Grabach is a native of Massachusetts. He studied

painting and drawing at the Art Students League in New

York, and with George B. Bridgman, Frank V. DuMond,
Kenyon Cox and H. Augustus Schwabe. For more than
twenty years he has been an instructor at the Newark (New
Jersey) School of Fine and Industrial Arts. He has taught
life drawing, figure and landscape painting to more than

4,000 students, many of whom have become well-known

artists.

Among others Mr. Grabach has won the Peabody Prize

of the Art Instituteof Chicago, the Susan Gold Medal of the
Pennsylvania Academy of the Fine Arts, and the Preston
Harrison Prize of the Los Angeles Museum. He has had one-
man shows at the Art Institute of Chicago, the Grand Cen-
tral Galleries in New York, the Memorial Art Gallery of
Rochester, New York, and the Irvington (New Jersey) Art
and Museum Association, of which he was also a Director.
Grabach drawings and paintings now hang in the Art Insti-
tute of Chicago, the Corcoran Gallery, the International
Business Machines Gallery, and in other public and numer-
ous private collections. He has participated in group shows
in New York, Washington, Pittsburgh, Toledo, San Fran-
cisco, St. Louis, Louisville, Richmond, Indianapolis, Buf-
falo and Detroit.

140
/
 . .

BRUSHES -COLORS -ARTISTS' MATERIAL

;., aint with pleasure . .

paint with confidence . .

paint with GRUMBACHER

Colors, Brushes and Accessories
for oil color, water color, casein
•

color and pastel work.

Look for the GRUMBACHER
Label ... for the finest in

artists' material.

AVAILABLE AT LEADING
ART STORES EVERYWHERE

M. GRUMBACHER
460 WEST 34th ST., NEW YORK 1, N. Y