h a n g e Vi h a n g e Vi

XC e XC e
F- w F- w
PD

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er

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!

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y

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to

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w w
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c u -tr a c k c u -tr a c k
 uopuoT . {JoA,4ilaf{. ureque-I
/,t'
,'f
a
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1
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/
$ uveL,lr
r I
./
c u -tr a c k c u -tr a c k
.c .d o .c .d o

o
o

w
w

w w

m
m

w
w

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C

lic
lic

k
k

to
to

bu
bu

y
y

N
N

O
O

W
W

!
!

er
er

PD
PD
w e XC
F- w e XC
F-
h a n g e Vi h a n g e Vi
f- h a n g e Vi h a n g e Vi
XC e XC e
F- w F- w
PD

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er

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!

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y

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bu

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TO
to

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w

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m

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6l"inn

CONTENTS
THEDOT ¿ THEEARS 44

PERSPECTIVE E THENOSE 45
:

SHADING 26 THEHANDS

THEHEAD 28 THEFEET

PORTRAITURE 3ó THEFIGURE

THE EYES 40 BALANCE AND MOTION 70

THE MOUTH 42 FIGURE SKETCHING 74

SKETCHES AND SIUDIES s7

.6)
.G'..+.
TJ
Published in the United States of America'
by Madison Books
@ 1996 by Madison Books
Published in 1912by Littlefield Adams & Co.
Library of Congress Cataloging-in-Pubücation Data
Pogány, Willy, 1882-1955.
The art of drawing / Willy Pogány.-Rev. and enl. ed.
including sketches and studies.
p. cm.
1. Drawing-Technique. I. Title.
NC650.Pó 1996 741.2-4c2O 96-139'14 CP
ISBN 1-56833-059-6 (pbk. : alk. paper)

I
 h a n g e Vi h a n g e Vi
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N

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y

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to

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lic

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w

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m

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w w
w

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o

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c u -tr a c k c u -tr a c k

THE DOT
A dot is the simplest thing to drow so let us begin with the dot.
Toke o smoll writins pod.
-
Teor ouf o couple of poges.
Drow o dot onywhere on one of these blonk poges.

LIKE THIS BLANK PAGE

fry to drow o dot on the other blonk poge in extrctly the some
position.
Do not troce. Do not meosure except wirh your eye.
-

You con see how wrong it lf you iudge with your eye the
would be to ploce the dot in BUT right distonce from the edge
ony one of these positions. of the poper, your dor will be
in the right spof.
 'uotUodo.¡d puo uortf,a.¡!( 'eruo¡srq
¡o ¡ueu6pnl
.¡no,( 6urdole^op ur ,(¡toel6 plD lll/t\ e:r¡lold sryl 'uotlle1
-red o¡ osoli ouJof no,( ¡r¡un est3loxe e¡durrs styl a)tlf,old
'se>¡o¡sru::noA
eto¡ 'tq6t¡ egt sprD/v\o¡ dn qlog ploq puD s¡op ¡ourOuo
all Dao lr ero¡d ,(dor rnoÁ 1o ,bo:n:ro oql llorls 01
'safuolsrP lfojrol orll e6pnl o1 L.r¡ ¡snl
etrojl Jo oJnsoouJ lou oc
-
'leoqs uoelf D uo ueLl{
Jo llo ,(do: uagl
I
a'
<- sryl el!l 0urLl¡auios
e6od uooll o uo
-
tuoPuor lD sloP lDlo^as elorx lxeN
c u -tr a c k c u -tr a c k
.c .d o .c .d o

o
o

w
w

w w

m
m

w
w

C
C

lic
lic

k
k

to
to

bu
bu

y
y

N
N

O
O

W
W

!
!

er
er

PD
PD
w e XC
F- w e XC
F-
h a n g e Vi h a n g e Vi
 h a n g e Vi h a n g e Vi
XC e XC e
F- w F- w
PD

PD
er

er
!

!
W

W
O

O
N

N
y

y
bu

bu
to

to
k

k
lic

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C

C
w

w
m

m
w w
w

w
o

o
.d o .c .d o .c
c u -tr a c k c u -tr a c k

PERSPECTIVE

We know thol q cube hos six sides.

We know olso fhot eoch side is o perfecl squore, but if we drow o cube os
we know il lo be, it does not look like o cube.
For exompfe, here ore six perfect squores but this drowing does not look
l¡ke o cube.

We know thot o mon hos o fronl ond o bock, but we hove never seen6oth
front ond bock ot lhe some lime.

We know thot o lin con hos o circulor fop ond o circulor bottom of equol
size, but we must odmif thot we never hove seen o tin con like th¡s.
 h a n g e Vi h a n g e Vi
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F- w F- w
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w

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c u -tr a c k c u -tr a c k

l0
 '1NlOd CNIHSINVA D Pollor sr e6ie^uo) saurl lallDiod qrrt/\^ clur {urod oti1
'turod D olur JDeddosrp ol uJeas salod
eql puD slrDrl aql lrlun apef,ai Aeql reqtroJ aql rollDurs puo rallDrxs 6ur¡1e6
^llour.t
sa¡od eql ,rs o/v\ puo'reqlouD auo ol ieJoou puo Jojoau 6urlle6 sltrDll aql ,as a/\^ ll!lS
'ltOratl ur
¡onba lnogD llo orD se¡od qdor60lol orll toyl nou4 oM
'oull otjl Duo¡o ¡¡o lrodo e)uDlsrp auos egl aro Aeql lDrli ool nou4 oM
'lollDrDo erD s>1f,Drl orlt lDrll ñ1"0u4 oM
lf \
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puo ,|a6ro¡ sn joou sll: - -
'u))s
'urDlunou.r aql uorll Joorol asnoq aql ,rs a/!\ oql uotll la6lDl uDrx otl i. - =
PUD asnoq
/esnoq atl i\^o,' :
Inq uoYl reorol tlnur sr oluolsrP roJ eql ur urolunouj oYl loql oslo
'pur^c.-=.:
c u -tr a c k
aql ul uou aql uDgl raoiol AlgoraPlsuo3 sr af,uolsrP all u! asnol eql loll 'n]u:. - c u -tr a c k
.c .d o .c .d o

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 r1:rqr* clur lurod aql
'INlOd DNIHSINVA o PallD) sr o6re^uof, seurl lellorDd
'¡ulod o olul 'roeddosrp o¡ urees se¡od
6ur¡¡e6
Aeqt ratuD' aql,lallotrrs Puo rellours
or.ll puo sllort aql ,(¡¡ouu lltun apolar am l[!l$
,reqlouo euo ol JaJoau Puo laloau 6ur¡¡eO slf,ojl aW aas
se¡od arlt aas efpuo
c u -tr a c k
aql l'oll monE oM c u -tr a c k
.c .d o .c .d o

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o

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'l!6rat¡ ur ¡onbe InoqD llo oro se¡od qdor6alel w

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k
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aql elo Aeqt lDtll ool

to
to

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aurl agl 6uo¡o ¡¡o ¡'rodo efuolsrP auros

N
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'¡e¡¡otcd ero slro.¡t eql fotll mouT aM

PD
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 h a n g e Vi h a n g e Vi
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 h a n g e Vi h a n g e Vi
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Here is o simple woy to [ind the center of o squore or on oblong.
Drow the diogonols ond they will intersect in the center.

V. P.

---'")
--'--l\n@.-
t¿otll/

Holf

These diogroms show how to repeot squores or oblongs in perspective'

a
U c
/lJq_ n v-/ ,/'
.r'
t-ldlf l¡ne
'z ./ z -'v-
l-
-f-*
3
'n,t \/D
v. | . Eye level

2 t,t;
I
I

Eye level
 tt
uorsr^rP Jo slurod rnoÁ e9 lll^ B-v ssorf sourl 0uroje^uol esat]l olotlrN
'J lurod sl!+ ol seurl OurPr^lP rnoÁ llo MDjC
lo^el o^l a9l ol B raujo3 qonorql luotuernsootu lsDl eql uorj ourl D Morc
'ourl srtll uo slueulelnsoeur logL!nu
Jo PellsoP 3ql LllDnba llDW
'y qonorql lo^al eÁl ol lellDrDd ourl D orc
^
a
'd'A =--=
<_ ,ñ A3
' r,
lo^el
I ),.\
,l
Bi
\,.-\
-( - l- + -)'l
,,1,
|99V V
--'á-
'sa:ods ¡onba olut PoPl^lp sr 6uo¡9o uD /\\oq rvrotls stuor0DlP eseql
I
I
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---t
\<-uj€
c u -tr a c k c u -tr a c k
.c .d o .c .d o

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F- w e XC
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 h a n g e Vi h a n g e Vi
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m

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c u -tr a c k c u -tr a c k

Use the some sysiem of repeoting squores

or oblongs in drowing these orches, win
dows ond checker boord.

l4
 h a n g e Vi h a n g e Vi
XC e XC e
F- w F- w
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 h a n g e Vi h a n g e Vi
XC e XC e
F- w F- w
PD

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W

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c u -tr a c k c u -tr a c k

V. P.
*

V. P.
¡

lf you look up ot o group of high buildinss you will find the

cenfer vonishing point for abo','e your eye level.

'tó
 ¿l
'd'A
*
l9/\9
tl
| aAl
c
'd'A
'la^el o^o frLlpq sr lurod'6utgstuo,r urou rnol, 'u,nop 6ur1oo¡ uaqM
c u -tr a c k c u -tr a c k
.c .d o .c .d o

o
o

w
w

w w

m
m

w
w

C
C

lic
lic

k
k

to
to

bu
bu

y
y

N
N

O
O

W
W

!
!

er
er

PD
PD
w e XC
F- w e XC
F-
h a n g e Vi h a n g e Vi
 h a n g e Vi h a n g e Vi
XC e XC e
F- w F- w
PD

PD
er

er
!

!
W

W
O

O
N

N
y

y
bu

bu
to

to
k

k
lic

lic
C

C
w

w
m

m
w w
w

w
o

o
.d o .c .d o .c
c u -tr a c k c u -tr a c k

PERSPECTIVE DRAWING CF A CYLINDER

Note thot the circles seem flotter os they come neorer to eye level.

-.ffi

r .
,r\\.
,ñ.
Ai eye level we see only the edge of the circle os o horizontol line.
Above eye level we see the botfom of the circle.

TRY THIS EXPERIMENT.

Roíse o gloss verticolly ond observe how rhe circulor rim chonges shope
until it becomes o stroight line ot eye level.

l8
 h a n g e Vi h a n g e Vi
XC e XC e
F- w F- w
PD

PD
er

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!

!
W

W
O

O
N

N
y

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bu

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to

to
k

k
lic

lic
C

C
w

w
m

m
w w
w

w
o

o
.d o .c .d o .c
c u -tr a c k c u -tr a c k

'sol3.rl jo e^rllodsled otl ,(¡toe¡: r*otls orDMsso¡0 1o sOutmol6

) &\

I
I
 h a n g e Vi h a n g e Vi
XC e XC e
F- w F- w
PD

PD
er

er
!

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W

W
O

O
N

N
y

y
bu

bu
to

to
k

k
lic

lic
C

C
w

w
m

m
w w
w

w
o

o
.d o .c .d o .c
c u -tr a c k c u -tr a c k
HERE IS THE SOLUTION CF A SIMPLE PRCBLEM IN PERSPECTIVE
The problem is to ploce o few Íigures ot some distonce oport; we wont them
stonding on the spots morked A, B ond C.

Eye_]e_ve!

A
i

First,we tind c Vonishing Point by drowing o proiection line from point X,

ot the foot of the tigure, ocross poinf A to eye leve l.

Drow line from X, to VP for height of figure.

Eye level

-r F
B

20
 ,
I
i T
\
i-
lo^ol eÁl
rlt
0r
'J tods 1o aln6q ul MolP ol louuDt'tl au:os :-
poo3old .B-B a.¡nOr.l eql Jo llOraq etlt noÁ enrO ¡llrla'
uB-tB tull lorrlra' : --
'dA- tX uorl:eford ol ourl lDlrue^ o MorP Lg lutoo txorl 'dA- V -
"ul¡ rxoJJ
oull loluozlJotl A\DlP $ lods uo elnOtl ¡nn'c':
aurl uollfofotd o¡ B
-+-
f
¡ene¡ eA3
'y etn6q lo1 suottlodo:d ¡¡o sn a'rtb ll!^ V'lulod lD eurl lDri'-=
o uaql'lulod 6urqsruo¡ sltil ol saurl uorlfolold fuossereu llo a,rDlP ortl'
''\;'
c u -tr a c k c u -tr a c k
.c .d o .c .d o

o
o

w
w

w w

m
m

w
w

C
C

lic
lic

k
k

to
to

bu
bu

y
y

N
N

O
O

W
W

!
!

er
er

PD
PD
w e XC
F- w e XC
F-
h a n g e Vi h a n g e Vi
..-l
 h a n g e Vi h a n g e Vi
XC e XC e
F- w F- w
PD

PD
er

er
!

!
W

W
O

O
N

N
y

y
bu

bu
to

to
k

k
lic

lic
C

C
w

w
m

m
w w
w

w
o

o
.d o .c .d o .c
c u -tr a c k c u -tr a c k

,\
*' -'"-
tr* - '. -i,,
rJ
t
I
--
nü
ls
¿¡

evel

22
 h a n g e Vi h a n g e Vi
XC e XC e
F- w F- w
PD

PD
er

er
!

!
W

W
O

O
N

N
y

y
bu

bu
to

to
k

k
lic

lic
C

C
w

w
m

m
w w
w

w
o

o
.d o .c .d o .c
c u -tr a c k c u -tr a c k

{
3

*&

_t
.j

""n 'd'A
o

tz
 h a n g e Vi h a n g e Vi
XC e XC e
F- w F- w
PD

PD
er

er
!

!
W

W
O

O
N

N
y

y
bu

bu
to

to
k

k
lic

lic
C

C
w

w
m

m
w w
w

w
o

o
.d o .c .d o .c
c u -tr a c k c u -tr a c k

We meosure obiects by stretching out our orm ond, holding our pencilverticolly,
indicoting ihe proportionofe size wirh the thumb l¡ke this,
-
'\.
\
'::t \
,?
I )'
1..
. ii, ,
'í
-^
- *-; ; " -1, ":,

-*,
"\r-¡. '-" 1i
: i.. ."

.' .o--t

Suppose we stonci beÉore on open v¡indow. On the window sill is c poi of

flowers ond, in the distonce, c house rhci we wish to drow.

\flhotever the size of our drowing the proportions will remoin the some. In this
instonce the house wrll be obout one-fifth ihe size of the flower ond the pot,
ond the [lower rn¡ill be oimost four times os high os the pot. Allobjects ond rheir
proporlions ore meosured in the some wcy.

After you hcue been drciwing for some time you will seldom ;-reed fo meosure in
this woy. Your eyes will become so cdiusted thot only occosionolly will you
need to checI by me:suring.

24
 \* ', #*
cfq
'3utu:t1,tot¡stto.{ pall ol st uorlrolsrp
lDnst^
'n' ¡ ,n¡ln '¡l
¡n /ruorlroaoto
srr1l 'lrDg roytrDJ arD toql slroo oril oPr(j ueljo Puo Jo Ino og ol
Luaas ',(¡lolnlou 'no,( .¡seroou s¡tod agl 'no,( pto,v'o1 6uruoa¡ sr 1tal9o uD uatM
c u -tr a c k c u -tr a c k
.c .d o .c .d o

o
o

w
w

w w

m
m

w
w

C
C

lic
lic

k
k

to
to

bu
bu

y
y

N
N

O
O

W
W

!
!

er
er

PD
PD
w e XC
F- w e XC
F-
h a n g e Vi h a n g e Vi
 h a n g e Vi h a n g e Vi
XC e XC e
F- w F- w
PD

PD
er

er
!

!
W

W
O

O
N

N
y

y
bu

bu
to

to
k

k
lic

lic
C

C
w

w
m

m
w w
w

w
o

o
.d o .c .d o .c
c u -tr a c k c u -tr a c k

SHADING
The shope of o sphere is o circle like th¡s -->-
However, the outline shows only its shapc, shoding is necessory to show its lorm.

These spheres ore lighted ot diÉferent ongles by o single light source.

High light
lisht
,/Hish -----
2
-1
3

,4

There ore, roughly, [ive distinct lones of shoding thot chorocterize o llghted
ob ject:
1. Lighted surfoce
2. Shode
3. Shodow
4. Retlection
5. Cost-shodow

The cost-shodow is the dorl<est shode.

On the lighted surfoce we usuolly f¡nd o brillicnf spot colled o high-light.

26
._.. XC
h a n g e Vi
e XC
h a n g e Vi
e
F- w F- w
PD

PD
er

er
!

!
W

W
O

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N

N
y

y
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to

to
k

k
lic

lic
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C
w

w
m

m
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w

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o

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c u -tr a c k c u -tr a c k

,,>--/"

¿¿
 h a n g e Vi h a n g e Vi
XC e XC e
F- w F- w
PD

PD
er

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!

!
W

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O

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N

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to

to
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lic

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m

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c u -tr a c k c u -tr a c k

THE HEAD
The humon heod is ovol-shoped l¡ke on egg. V¡ewed from the fronl il is obout

one-lhird longer thon ot its widest poinls'

There ore vorious methods of drowing its ideal proportions.

Hoir lines
t<
lv
-T.t
,z
o Eye brow
'1 I
tt +-*'4'+-
l1
Eye line
-l-'

tr ,^"2
l{
End of nose
\-.r-
. lv
Mouth
\t4
\T

Here is o very simple method:

1. Divide the ovol verlicolly ond horizontolly into holves.

L D¡v¡de the horizontcl into five equol ports'

3. Divide the verticol into ten equol porls tive obove ond five below
-
the ''holf-|ine.''
28
 'ul all o,:
Palllj sornlDaj aqi lll/\^ slo^o =_:_
f--
'.-'-1*"-*t-'
PDeq oql Jo odDgs eloulxorddo
oql no^ a^ro lll/\^ ozrs or.uDs eql Jo slo^o o^ l
c u -tr a c k
'tlOlt1 sl
lr sD ePr/v\ so lnogo sr oPls oYl uror1 Pa^^or^ Pooq aql c u -tr a c k
.c .d o .c .d o

o
o

w
w

w w

m
m

w
w

C
C

lic
lic

k
k

to
to

bu
bu

y
y

N
N

O
O

W
W

!
!

er
er

PD
PD
w e XC
F- w e XC
F-
h a n g e Vi h a n g e Vi
 h a n g e Vi h a n g e Vi
XC e XC e
F- w F- w
PD

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er

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!

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W

W
O

O
N

N
y

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bu

bu
to

to
k

k
lic

lic
C

C
w

w
m

m
w w
w

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o

o
.d o .c .d o .c
c u -tr a c k c u -tr a c k

To drow the heod intelligently, you should know ot leosf the elementory
focts obout the skull ond the fociol muscles.

Here ore the nomes of the different porrs of the skull:

1 FRONTAL
9 NASAL
3. ZycoMATtC (MALAR)
4 MAXILLIAR
5 MANDIBLE
ó SPHENOID
7. TEMPORAL
B PARIATAL
9 OCCIPITAL

Copy the skull Írom both views A ond B on opposife poge-then fry fo
drow them from nt,em.ory.

Here ore the nomes of the fociol m,:scles ond their lrunctions:

1. FRONTALIS
Elevotes eyebrow, wrin kles foreheod.
9. TEMPORALIS
Roises mondible (iowbone).
3. ORBICULARIS (oculi)
Closes eye, stretches skin of foreheod.
4. LEVATOR (lobii)
Lifts upper lip upword ond outword.
5. ZYGOMATICUS
Roises upper lip ond pulls it oufword (loughing).
ó. MASSETER
Roises lower jow ogoinsf upper with greot force.
7.'BUCCINATOR
Presses Iips ogoinst feeth.
B ORBICULARIS (oris)
Closes lips.
9. DEPRESSORLABII Inferior
Drows lower lip down ond outword.
10. LEVATOR LABII Inferior
Roises lower lip ond protrudes it forword; olso wrinkles chin.

The heod in lower right corner shows ot points A, B, C ond D where the
bones of the skull oppeor just under the skin.

30
PD
F-
XC
h a n g e Vi
e
.z
w F-
XC
h a n g e Vi
e w

PD
er

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!

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W

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O

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N

N
y

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to

to
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k
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C
w

w
m

m
w w
w

w
o

o
.d o .c .d o .c
c u -tr a c k c u -tr a c k
 h a n g e Vi h a n g e Vi
XC e XC e
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PD

PD
er

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!

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W

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O

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N

N
y

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bu

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to

to
k

k
lic

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C
w

w
m

m
w w
w

w
o

o
.d o .c .d o .c
c u -tr a c k c u -tr a c k

As the heod, being sphericol in shope, lurns ond is seen from diFferent ongles,
our imoginory dividing lines will follow the some lows of perspeclive os ony
other circulor morking or cross-sections of o sphere.

'-*
- --'..
,tt'.

% ¡! 1

--"d" q;¿

o
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32
 h a n g e Vi h a n g e Vi
XC e XC e
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tc
 h a n g e Vi h a n g e Vi
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t.,
a
.,_f¡ .¡

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t:
*-""-
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{
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34
 h a n g e Vi h a n g e Vi
XC e XC e
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N

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I
I
!¡
:i
',!
il
{i \*l /
? ''.,.,'
ré ',{:,
i,:
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c u -tr a c k c u -tr a c k

PORTRAITURE
Almost everyone who studies drcwing would like to drow portroils. A portroit,
noturollv, should look like the person it represents.
To creote o good likeness we must remember thot besides getting lhe correct shope ond
proportions of the heod ond feolures, it is importont to study the clturact,'r ond c.t'prtssiott
oI the sitter.
Before beginning o portroit, study your siller's foce lrom diÉferent ongles. Select the
ongle thoi will bring out oll the desired chorocteristics'
Lighting is oI grect importonce.
Ploce your model in o spot thot is well lighred from o singlc sourcc. This w¡llgive you
shorp light ond shode, defining cleorly the form oieoch feoture.
D¡Éfused light, which does not gi,re ony shorp controst ol light ond shode, should be
orrnilecl hv the heoinner.
v/ ,,,v vvv

Be sure thot both you ond your model ore cor[ortoble. lt is unnecessory lo hondicop
yourself by working in on uncom[ortoble posrtion.
Wolk owoy from your work frequently; olso let fhe srtler rest oi intervols. Tolk to h¡m

now-cnd-then io keep him olerl ond interesfed.

Be most coreIul to obserue ond study the eyes ond the mouth.

The mouth is perhops the mosl importont feoture oI the foce since it expresses the mood
ond chorocter oI the person.
Wotch your sitier's mouth os he tolks ond loughs. Shut your eyes ond try to remember
ond visuolize its shope cnd expression.
Do the some with the eyes. Wotch their-proporlion lo the foce, their dislonce from the
nose ond their dislonce from eoch other.
Wotch lhe spof of highl,ght on the rris.

lf you wish the eyes of your portroil toJ'ollo;' the onlooker, houe lhe sitter look strcight
tilo lour eyes wnen you ore drowing iis.
Don't be ofroid to emphosize chorocteristic troits.
"prettying" will give you bod ond
Don't ot,¿rc ntp¡asizc os in mcking o coricoture; but
inortistic hobils.
Checi.-up on your drowing by holding it before o mirror. You will be surprised how
your mistokes willstond out when you see your drowing in reverse.
lf you ore not sotisfred with your drowing ond you tind thot you ore unoble to correcl
it, hove the couroge to discord it cnd siorl oll ouer ogoin. Alwoys remember thot we
leorn by our misickes.

3ó
 h a n g e Vi h a n g e Vi
XC e XC e
F- w F- w
PD

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er

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W

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\
 h a n g e Vi h a n g e Vi
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38
 ót
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.--:4. l '. \.
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lic
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er

PD
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h a n g e Vi h a n g e Vi
 h a n g e Vi h a n g e Vi
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PD

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THE EYES
It would be very eosy to drow the humon eyes if it were not for the eyelids.
The eyebolls themselves ore simply sphericol shopes set into the eye sockets in o
woy thot permits them to revolve in oll directions.
The eyes function l¡ke o comero ond ore similorly construcled. The porls of the
eye ore the eyeboll, ihe lens, the iris, ihe pupil ond the corneo.

tio

0 ffi
Len s I ris Coineo

Eve Eyeboll

The iris is the colored disc of the eye wh¡ch vories in color in diÉferent indi-
viduols. lt is o circulor-shoped diophrogm with o block hole, colleC the ptt.pil,in
its center. Beh¡nd the pupil ¡s the lens wh¡ch connot be seen.

The iris is covered by o tronsporenr cup colled lhe cornea.The corneo usuolly
reÉlects some bright lighr which mokes the eyes brilliont ond, ot times, even glossy
in oooeoronce.

The eyelids oct lrke curtoins over the eyes. The upper lid moves up-ond-down
like o shutter or l¡ke the top of o roll-lop desk. The lower lid scorcely moves.

Studv the eyelids in their diÉferent positions os they open ond close, noting
their
perspeclive from difrerent ongles. Drow their shopes core[ully ond do not over-
look their thickness.

The eyeloshes should be drown with core ond not merely os c number of rondom
lines. Remember thot the eyeloshes grow on the outer edge of the lrds ond thot
they rodiote from o center.

At the inner corner oIeoch eye is the lriongulor-shoped teor glono.

40
 *-*w
'q"**-/
¡
\*"aq:!f;'1^*/ ,¡16*-"----J
w
\*=¡*--..
:-¡&t*.
-*..É.,'
.- _**_:.
¿tf sp/
^,
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c u -tr a c k c u -tr a c k
.c .d o .c .d o

o
o

w
w

w w

m
m

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w

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C

lic
lic

k
k

to
to

bu
bu

y
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N
N

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O

W
W

!
!

er
er

PD
PD
w e XC
F- w e XC
F-
h a n g e Vi h a n g e Vi
 h a n g e Vi h a n g e Vi
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PD

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THE MCUTH
To drow lhe humon mouth, when qt rest wilhout ony porticulor expression, is
simple enough ond should not present ony speciol diÉficulty. ll is necessory only
to be coreful obour its proportions ond the perspeclive of ils curved surfoces.

42
e?
'loPorü u^\o rno^ e9
PUo rorjrru o olur lool oi
sr suorssardxe asje^rP q3ns Llll^ I /\^ojp puo qlnoui eql Ápnls ol o/\^ lseg oql
'uo os puD 6urllsrrlr* '6ur>1oeds
'6ur¡not1s 'rell6no¡ 'etnsoe¡d /ulod 'ta6uo /ssauu.lll6 ssetdxe '1nod :o a¡ru.ts
'uorsse:dxa auros ur 6ur1:o¡ r.,Joplas sr puo ollgor.ir,(¡eu:etlxa st qlnou orll
ll
ll!rrl
c u -tr a c k c u -tr a c k
.c .d o .c .d o

o
o

w
w

w w

m
m

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C

lic
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k
k

to
to

bu
bu

y
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N
N

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O

W
W

!
!

er
er

PD
PD
w e XC
F- w e XC
F-
h a n g e Vi h a n g e Vi
 h a n g e Vi h a n g e Vi
XC e XC e
F- w F- w
PD

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c u -tr a c k c u -tr a c k

THE EARS
plocing it on the righl spot ond
When drowing the humon eor be coreful obout
of the ¡owbone ond the
ot the correct ongle. The eor is ploced ot the outeredge
well-drown eor is o thing of
ongle runs porollel with the length of the nose. A
obserued ond followed'
beouty. The curved forms should be very corefully
by sl¡pshod drowing of the eor'
Mony o tine srudy of the humon heod is spoiled

1. Helix
n A .. I
z-. Anlr-nelrxI

3. Trogus
3o. Anti-trogus
4. Lobule
5. Concho

it
;.,
!

AA
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pooo o /\^oJp ol 1uo,rn nol,Jl os /erDJ l,raneio sfrlsuallDroq: ¡uo¡rodur Á¡euLerlxe
alo asou ell Jo suor¡todotd puo edoqs oql 'sazrs puo sedogs snouoA
Jo alo sosoN
c u -tr a c k

]SCN ]HI c u -tr a c k

.c .d o .c .d o

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THE HANDS
the ortisi' Copy these ono-
The hond, ofter the heod, is of primory interesf to
fomilior with oll the
fomicol chorts repeotedly until you L"'ecome lhoroughly
minute detoils of the hond then drow it from memory:
-

1. Pholonges
2. Metocorpols
3. Wrist bones

i^\
\\\
I r,\

Bock of hqnd

Polm of hond
/\-'\
J\
t\

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ly li
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ii\, ;l
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46
 h a n g e Vi h a n g e Vi
XC e XC e
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'slro^\ Puoq aql /r\otj sl slul

ttr
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t

trv
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.,'*'J'),

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48
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k

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N
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er

PD
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{..

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50
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THE FEET
The muscles, bones, ond tendons of the foot ore comporotively
smo ll.

The foot is constructed in o series of orches.

These orches form o remorkoble "engineering" slruclure, mok-

ing it possible for lhe feel to support the weight of the entire
bodv.

When drowing o foot, t¡rst "block out" its generol shope.

With¡n this outline "block out" the Íorms of the sections cf

the foot, moking sure f hey ore correct in proportion ond ongle.
Be especiolly coreful obout the proportions of the toes olso
-
the posilion of the onkles.

THE BCNES CF THE FCCT

Á/'\/^l
l. \Js Lorcls
2. Astrogolus
3. The bones of the Torsus
4. Metotorsoi Bones
5. The Pholonges of the Toes.

MUSCLES

The muscles of the sole, the abductors, bend the toes.

The muscles of the instep, the eilcn,sors. streich the toes.

52
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54
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THE FIGURE
Here ore the proporfions of the mole ond [emole odult tigures. The octuol
proportions ore neorer seven ond one holf heodlengths, bui here we use
eight heodlengths, becouse it is eosier to divide eight into equol ports.
Furthermore, thrs elongotes the figure ond mokes it more oppeoling. We
put fhe center division (see chort) ot the crotch, but in reol life i1 usuolly
comes obove the crotch.

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PRCPCRTIONATE HEIGHT OF FIGURES IN DIFFERENT POSITIONS.

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BONES OF THE SK ELETCN

FRONT VIE\I
1. Skull /.
-tllI
lvlefocorpols 13. Potello
9. Clovicle R Dh^ l^
^^o.
4 /
t+. T.lI toro
4- T.l
3. Humerus 9. Sternum lf . rrbulo
I

4. Rodius 10. Ribs 1ó. Torsols

).
r I ll
utno ll. ñl
relvts 17. Meiotorsols
ó. Corpus 1 2. Femur 18. Pholonges

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Spots indicofe where bones oppeor iusl under the skin.

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FRCNTAL MUSCLES OF THE ARM 15, RECTUS ABDOMINIS

1. DELTOIDEUS Drows chest downword, pelvis
Front Seclion pulls ond rotofes up.
orm inword. 1ó LINEA ALBA
Back Section l¡fts ond roiotes Divides Rectus Abdominis ver-
orm ouiword. tico lly.
2. B\CEPS BRACH\\ 1I OBL\QUUS
Turns, brings orm forword, Compresses obdomen, pulls
bends ond turns foreqrm. chest forwqrd.
3. TRICEPS BRACHII 1B INGUINAL LIGAMENT
Extends foreorm, brings orm
forword ot shoulder joint. FRCNIAL MUSCLES CF THE LEG
4. BRACHIALIS 19 PSOAS ILIACUS
Bends foreorm. Bends thigh, roJotes ond pulls
5. SUPINATOR LONGUS hip-¡oint inword.
Turns hond, polm outword. 20 PECTINEUS
ó. EXTENSOR CARPI RADIALIS Brings thigh forword.
Extends ond turns hond, bends 91, ADDUCTOR LONGUS
foreorm. Brings forword ond rototes
7 PRONATOR TERES th ig h.
Turns foreorm inword, bends 92 GRACIALIS
elbow ioint. Bends knee, lilts thigh, rototes
B EXTENSOR DIGITORUM leg inword.
Extends tingers ond wrist. 23. SARTORIUS
9. FLEXOR CARPI RADIALIS Rototes thigh outword, flexes
Flexes wrist. thigh ond leg.
10. FLEXOR CARPI ULNARIS 24. RECTUS FEMORIS
Bends ond brings wrist forword. Stretches leg ot [<nee ond body
on h ips.
11. FLEXOR POLICIS LONGUS
Bends thumb. 25. VASTUS MEDIALIS
Works some os Rectus Femoris.
FRCNTAL MUSCLES CF IHE TCRSC 2ó VASTUS LATERALIS
Works some os 24 ond 25.
12. PECTORALIS GROUP
Brings forword ond rototes or¡.n 27 PATELLAR LIGAMENT
inword, olso pulls shoulder eB. GASTROCNEMIUS (Colf)
blode forword or ribs upword. Bends knee, exfends, lifts ond
13. LATISSIMUS DORSI turns down foot.
Brings orm forword, exlends 20 SOLEUS
qnd rototes orm inword. Siretches, l¡fts ond turns down
14. SERRATUS ANTERIOR foot.
Drows shoulderblode forword, 30. EXTENSOR DIGITORUM LONGUS
rototes lower point o[ shoulder Flexes onkle, stretches the four
blode outword. smoller toes.

62
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SIDE VIEW CF MUSCLES OF ARM

1. Deltoideus
9. Biceos Brochi¡
3. Triceps Broch¡i
4. Broch¡ol¡s
5. Supinolor Longus
ó. Extensor corpi rodiolis
7. Pronotor teres
9. Flexor corpi rodiolis

SIDE VIEW CF MUSCLES OF TORSC

1 2. Pectoro I is
'13. Lotissimus Dorsi
14. Serrotus Anterior
15. Rectus Abdominis
17. Cbliquus
18. Inguinol Ligoment

SIDEVIEW OF MUSCLES CF LEG

31. Gluteus medrus' Drows thigh oside ond
rototes it inword
32. Gluteus moximus: Stretches thigh, drows
it forword ond rototes ii outworo
33. Tensor fosioe lotoe: StiÉfens ouier side oÉ
thigh ond rototes it inword
24. Rectus Femoris
2ó. Vostus Loterolis
34. Biceps Femoris: Bends knee-ioint, strelches
thigh ond rototes l"g outword when
knee is bent
28. Gostrocnemrus
35. Peroneus Longus: Supporfs orch of foot,
strelches, lurns ond drows foot outword
zy.
^^al Joleus
30. Exfensor Digitorum Longus

64
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MUSCLES CF IHE BACK

37. Tropezius: Turns lower ongle of shoulder
blode ouiword ond foreword, drows the
shoulderblodes toword eoch oiher, ele-
votes outword top of shoulder blode,
extends tfre heod
38. Infrospinotus : Rototes orm oulword
39. Teres mojor: inword
Ro.tofes orm
40. Rhomboideus: Elevotes shoulder, rototes
lower port of shoulder blode inword,
drows shoulder blodes toword eoch other
13. Lotissimus Dorsi
3'[. Gluteus medius
32. Gluteus moximus
z^^^llt. Aooucror rongus
I

2ó. Vostus Loterolis

v?L,, R i.o^. Fo-^ri.
e,vvYJ

28. Gosirocnemius
ñ
J).
^r
|
reroneus Longus
41 . Ach illes tendon

66
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Without muscles our bodies could not move. We could nof wolk, bend, [<ick,
or even smile.

E"ponded Conlrocted

murcle works like o sprrng. You con see this cction very ploinly when
you
A
expond ond ccnlroct Your bicePs.

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Controcted

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BALANCE AND MOTION

Figure 1 represents o rigid humon body. The three heovy sec-
tions denole the heod, the chest ond the pelvíc section. The
smoller seciions denote the neck, the woistline ond the leg-
loints. HoWever, the humon figure is seldom, iIever, os motion-
less os in Fig. 1.

ln Figure 2 we see thot when the heod tilts one woy the
shoulder lrne immedictely tilts in the opposite direction, ond
the pelvic line tilts opposite to thot of the shoulder line. Th¡s
is on unfoiling rule of perfect bolonce.

This countermovement holds true in every oction, ond in every

direction. For instance, in wolking or running, when the right
foot goes forword, it is the left orm thoi goes forword ot the
some time, ond vice tersa (Figs. 4, 5 ond ó).

Keep strictly fo this principle if you wont true movement, other-

wise your Éigures will be stotic ond pose7,.

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FIGURE SKETCHING
Cne of the most foscincting subiects to drow is the humon figure.
The tine proportions, beoutiful modeling ond delicote bolonce, ond the in[inite vorio-
tions in movement ond repose ore such fhot there is no other living thing to compore
with it.
Through countless oges crfists of oll roces houe drown, pointed, ond modeled the
numon rorm.

lf you hove never done ony [rgure drowing, I would suggest thot you stcrt to drow the
humon [igure in its simplest pose with little or no foreshortening. Th¡s is on upright
stondrng position wiih orms close to the body ond feet together.
McLe up your mind before you begin, how lorge you wont your drowing to be ond
mork on your poper the totol lengrh desired. Your drowing must be exoctly the size
lhot you hcve indicoted on your poper.
Your next slep is to drow o stroight, verticol line connecting lhe two morks. Th¡s w¡ll
indrcote the imoginory line of grovitotion running from heod to foot.
Now rork the center of the bodv bv dividing the verticol line into two equol ports.
Mork your proportions.
Drow in the ovol of the heod.
Meosure rhe width of the shoulders compcred to the length of the body. Drcw in the
shoulder I¡ne. Do the some wrth the hrps'
(To meosure, use o pencil in your outstretched hond, tirst gettrng the width, then
meosuring verticolty the number of iimes the widrh goes into the lotol length oIthe bodv )
Now proceed ro drow the mosses of the chest, hips, legs, etc'
To check on your drowing, wotch the shope of the backgrountl thot surrounds lhe
frgure. See rf these "le[t spoces" (or negotive shopes) correspond with the outline oI
your drowing.
For instonce, whotever the position of your subieci, wotch the shope ond size oI the
s1r(1.f between the orms ond the body; between the t¡lted heod ond the shoulder;
between the two legs, elc., elc'
Ihese will be your lc.l'ts¿(¡.cr. Speciolottention io them will be of greot help in mcking
o correct drowing.

74
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WILLY POGAI\Y
One of the most popular drawing guides ever published, The Art of Drawing
has been an informative and thorough guide to several generations of aspiring
artists. For fifty years, Willy Pogány has given the main principles of drawing
in a simple, constructive way. By following the sequences laid out in the
lessons, students quickly master the art of drawing.

As a further aid, Pogány gives a complete anatomical description of the

body for each section, including a list of all bones and a description of the
muscles and their uses. The Art of Drawing provides a complete drawing
system and includes hundreds of illustrations. Every artist, beginning or
advanced. should own this book.

Cover illustrations used with permission of Sterling Publishing Co., Inc.,

387 Park Ave. S., New York, NY 10016 from Bridgnton's Ct',utplete Gttide tt't Dravittq
from Life by George B. Bridgman, @ 1952 by Sterling Publishing Co.

Cü'er desiqtt bt'The Great Anterican Art Co.

g@Esg. $14.e5
ANT OF DRAWINO