DOI Page / Citation link:
https://doi.org/10.11588/diglit.25606#0013
PRINCIPLES OF DRAWING.
‘Pal [ouches
aiv b°nes Winn j
noujli, and midlh
;edeaf ie-seasations
d.fal1 p'theiig,
J>npam orunea.
r,the loul is viabl,
?nts which are Q.
ition.
Preserve a just symrnetry and harmonious correspondence
in all the parts of the figure, by forming them in due propor-
tions to one another ; not one arm bigger or longer than the
other, or of a size ill adapted to any of the other parts. Not
plump and strong limbs, with a shrivelled face or decayed
body, or broad Herculean shoulders with the wasted limbs of
a fribble. Take notice of the bowings and bendings of the
body, and contrast the opposite parts answerabie thereto. If
the belly bends in, the body must stick out: if the knee bends
out, the ham must fall in : and so of every other joint in the
body. Sketch your outline at sirst: very faint, marking the
general appearance and proportion of the most conspicuous
and remarkable particulars with ssight touches, and afterwards
introduce the minute parts by tracing it over again, corredlino-
the first: Iketch by little and little, until the whole contour be
finished with admirable exadtness. A steady even light is al-
ways to be chosen, that no glare may come on the original or
on your own work.
DY.
one face and
one
e and one third,
• ^le other arm to
h part the length
rej m. from*the
one: thence to
the navel, one:
ence to the mid-
3a rt of the knee,
ice to the bottom
-a fared breadth-
lows, viz. From
t: thence to the,
of the stoulderj*
: thence to the
>e<fts srom those
is less than that
! and belly are
st to the navel,
, and the thigh
iadth, a woman
d her haunches
are larger: the
ian’s, but down-
: are less.
bur heads long,,
d it is about five
ises with its age,
1 attains its full
i agreeable to
mal it may be
test, is double
le that of the
tours of parts
ie arm is bent,
,ie os the foot
In drawing a naked body, whatever muscles appear, must
be exprested agreeable to the rules os anatomy. They must not
be subdivided into smali sedfions, but kept as entire as polsi-
ble, only the principal muscles, and those which are of signi-
fication to express that adlion which is represented, should be
made to appear. The motion or ad ion of the figure, must
always be considered in drawing the muscles ; for they rise
and sink, and are either less or more apparent, according to
the different motions of the body. The muscles of the leg
which supports the body, or of an arm that lifts a weight, are
fuller or more svvelled than in the leg or arm which are not
■i }
so employed. Those of the breast become more or less visible /
by lifting up or holding down the arm.
In drawing young persons, the muscles must not ap-
pear7 so manisestly as in those who are elder and full
growrn. The same is to be observed in fat and ssesliy people,
and in sucli as are very delicate and beautiful. In women
and children, scarce any muscles at all are to be ex-
prested, and but faintly when swelled by a forcible aeftion.
In persons of an hardy and robuss: make, they are most:
apparent.
i
SEVENTH LESSON.
OF DRAPERY.
GTE
the general rules,
r, the distanceof
n another ;
lion to each other,
direclly unset tW
they {land s®1®1
preser^
N cloathing your figure, or casting the drapesy over them
with elegance and propriety, it siiould be considered, that the
beauty of draperies consist not in the multitude of folds, but
in their natural order and plain simplicity. i. The drapery
must encompass the parts loosely; when it sits too strait or
close, it gives a stiffness to the figure, and seems obstrudive
to its motions. 2. Draw the plaits large, and following the
form of the limbs underneath, that they may be distinguished
from others, by a due management of the light and shades.
The extremities of the joints, as the shoulders, elbows, knees,
&c. should be so marked as to be apparent, as far as art and
probability will permit, notwithstanding they are covered.
This is so material a consideration, that many artists first
sketch the naked figure, and afterwards put the drapery 011 it.
3. The great folds must be drawn first, and afterwards broke
and divided into Idler ones ; and great care be taken that they
-do not cross one another improperly. 4. Though in general
the folds should be large, and as few as postible, vet thev must
be greater or lest, according to the quality of the sluff os
which the drapery is snpposed to consist; some, as coarse
woollens make their folds abrupt and harsh, and others, as
silks and fine linens more soft and easv: the sursace of some
has a lustre, others are dull; some are pliable and transpa-
rent, others strong and solid. The quality of the person is
likewise to he considered in the drapery. Is they are magi-
strates or dignisied personages, their robes or draperies should
be large and ample ; if ladies and nymphs, thin, soft, and
pliable; if county clowns, ordinary people or staves, they
ought to be slout and coarse,, 5. Suit the garment and folds
to the posture of the body, and the sway or adlion of the
limbs, crooked or strait, or bending one way or another, ac-
cording to their various portions, in such manner as will best:
express their attitude and motion. Different postures and
motions vary the folds, and bring them into new forms ; and
•whatever posture the body is snpposed to be in, should be ex-
prested by an artful Complication of them; when they are
well imagined, they give much spirit to every adfion. 6. A
great likeness and motion of the drapery, are only proper for
figures in great agitation, or exposed to the wind. The loose
apparel in this case mnst all ssy one way, and that part of the
garment which adheres closest to the bodv, should be drawn
before the loose part which flies from it, in order to secure the
true position of the figure. 7. The closer the garment sits to
the body, the narrower and smaller must be the solds. 8. The
draperies which cover those parts that are exposed to great
light, must not be so deeply shaded as to seem to pierce them ;
nor should the limbs in that sttuation of light be crosted by
folds that are too strong, lest the great darkness of the shade
give them the appearance of being broke. 9. Whenever the
drapery is adorned with iich ornaments, they should be intro-
duced with judgment and propriety, suitable to the character
of the sigure, and in general be used sparingly. It is altoge-
ther improper and debating to use them in the imaginary re-
presentation of angels, the dignity and grandeur of whole dra-
peries, ought rather to consist in a noble ssow of-the folds,
than in rich ssuff and the glitter os ornaments.
c 2 EIGHTH
- aw Tea Facets,
‘Pal [ouches
aiv b°nes Winn j
noujli, and midlh
;edeaf ie-seasations
d.fal1 p'theiig,
J>npam orunea.
r,the loul is viabl,
?nts which are Q.
ition.
Preserve a just symrnetry and harmonious correspondence
in all the parts of the figure, by forming them in due propor-
tions to one another ; not one arm bigger or longer than the
other, or of a size ill adapted to any of the other parts. Not
plump and strong limbs, with a shrivelled face or decayed
body, or broad Herculean shoulders with the wasted limbs of
a fribble. Take notice of the bowings and bendings of the
body, and contrast the opposite parts answerabie thereto. If
the belly bends in, the body must stick out: if the knee bends
out, the ham must fall in : and so of every other joint in the
body. Sketch your outline at sirst: very faint, marking the
general appearance and proportion of the most conspicuous
and remarkable particulars with ssight touches, and afterwards
introduce the minute parts by tracing it over again, corredlino-
the first: Iketch by little and little, until the whole contour be
finished with admirable exadtness. A steady even light is al-
ways to be chosen, that no glare may come on the original or
on your own work.
DY.
one face and
one
e and one third,
• ^le other arm to
h part the length
rej m. from*the
one: thence to
the navel, one:
ence to the mid-
3a rt of the knee,
ice to the bottom
-a fared breadth-
lows, viz. From
t: thence to the,
of the stoulderj*
: thence to the
>e<fts srom those
is less than that
! and belly are
st to the navel,
, and the thigh
iadth, a woman
d her haunches
are larger: the
ian’s, but down-
: are less.
bur heads long,,
d it is about five
ises with its age,
1 attains its full
i agreeable to
mal it may be
test, is double
le that of the
tours of parts
ie arm is bent,
,ie os the foot
In drawing a naked body, whatever muscles appear, must
be exprested agreeable to the rules os anatomy. They must not
be subdivided into smali sedfions, but kept as entire as polsi-
ble, only the principal muscles, and those which are of signi-
fication to express that adlion which is represented, should be
made to appear. The motion or ad ion of the figure, must
always be considered in drawing the muscles ; for they rise
and sink, and are either less or more apparent, according to
the different motions of the body. The muscles of the leg
which supports the body, or of an arm that lifts a weight, are
fuller or more svvelled than in the leg or arm which are not
■i }
so employed. Those of the breast become more or less visible /
by lifting up or holding down the arm.
In drawing young persons, the muscles must not ap-
pear7 so manisestly as in those who are elder and full
growrn. The same is to be observed in fat and ssesliy people,
and in sucli as are very delicate and beautiful. In women
and children, scarce any muscles at all are to be ex-
prested, and but faintly when swelled by a forcible aeftion.
In persons of an hardy and robuss: make, they are most:
apparent.
i
SEVENTH LESSON.
OF DRAPERY.
GTE
the general rules,
r, the distanceof
n another ;
lion to each other,
direclly unset tW
they {land s®1®1
preser^
N cloathing your figure, or casting the drapesy over them
with elegance and propriety, it siiould be considered, that the
beauty of draperies consist not in the multitude of folds, but
in their natural order and plain simplicity. i. The drapery
must encompass the parts loosely; when it sits too strait or
close, it gives a stiffness to the figure, and seems obstrudive
to its motions. 2. Draw the plaits large, and following the
form of the limbs underneath, that they may be distinguished
from others, by a due management of the light and shades.
The extremities of the joints, as the shoulders, elbows, knees,
&c. should be so marked as to be apparent, as far as art and
probability will permit, notwithstanding they are covered.
This is so material a consideration, that many artists first
sketch the naked figure, and afterwards put the drapery 011 it.
3. The great folds must be drawn first, and afterwards broke
and divided into Idler ones ; and great care be taken that they
-do not cross one another improperly. 4. Though in general
the folds should be large, and as few as postible, vet thev must
be greater or lest, according to the quality of the sluff os
which the drapery is snpposed to consist; some, as coarse
woollens make their folds abrupt and harsh, and others, as
silks and fine linens more soft and easv: the sursace of some
has a lustre, others are dull; some are pliable and transpa-
rent, others strong and solid. The quality of the person is
likewise to he considered in the drapery. Is they are magi-
strates or dignisied personages, their robes or draperies should
be large and ample ; if ladies and nymphs, thin, soft, and
pliable; if county clowns, ordinary people or staves, they
ought to be slout and coarse,, 5. Suit the garment and folds
to the posture of the body, and the sway or adlion of the
limbs, crooked or strait, or bending one way or another, ac-
cording to their various portions, in such manner as will best:
express their attitude and motion. Different postures and
motions vary the folds, and bring them into new forms ; and
•whatever posture the body is snpposed to be in, should be ex-
prested by an artful Complication of them; when they are
well imagined, they give much spirit to every adfion. 6. A
great likeness and motion of the drapery, are only proper for
figures in great agitation, or exposed to the wind. The loose
apparel in this case mnst all ssy one way, and that part of the
garment which adheres closest to the bodv, should be drawn
before the loose part which flies from it, in order to secure the
true position of the figure. 7. The closer the garment sits to
the body, the narrower and smaller must be the solds. 8. The
draperies which cover those parts that are exposed to great
light, must not be so deeply shaded as to seem to pierce them ;
nor should the limbs in that sttuation of light be crosted by
folds that are too strong, lest the great darkness of the shade
give them the appearance of being broke. 9. Whenever the
drapery is adorned with iich ornaments, they should be intro-
duced with judgment and propriety, suitable to the character
of the sigure, and in general be used sparingly. It is altoge-
ther improper and debating to use them in the imaginary re-
presentation of angels, the dignity and grandeur of whole dra-
peries, ought rather to consist in a noble ssow of-the folds,
than in rich ssuff and the glitter os ornaments.
c 2 EIGHTH
- aw Tea Facets,