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Why ought to the artisan study the anatomy of the humane body? The answer to this question is rather simple. Indeed, without a minimum amount of anatomical psychological result of perception learning and reasoning you will never be capable to draw persons on the fly. In principle, if we use the so-called grid method to draw the humane figure, we would need very little psychological result of perception learning and reasoning of the anatomy of the figure. Good observation (or “seeing”) together with the support of the grid suffices to render an anatomically consistent drawing. However, using the grid method implies that we have a photograph of the subject so that we may draw a grid on it. If you want to draw persons on the fly (for example, in the mall or a restaurant) the grid method does not apply. It is here that your anatomical psychological result of perception learning and reasoning will come in handy. Why is this so? Well, it is a fact that all surface features (i.e., the forms the artisan is supposed to draw) of the body are determined by what lies beneath the surface. That means, the forms to be drawn are determined by the underlying bone and muscle structures. So, a minimal understanding of those underlying features is in order. Anatomical noesis lets you draw each feature of the body with more confidence. Also, when for numerous reason (e.g., lack of time or clarity) you cannot directly observe sure distinct features of the figure you are drawing, you may fill in the gaps by relying on your anatomical knowledge. In fact, this noesis ought to serve you well even when using the grid method. Sometimes it is difficult to sort out the dissimilar coalescing forms. Very often, observation together with anatomical psychological result of perception learning and reasoning will grant you to solve the puzzle. Anatomy may be studied in numerous dissimilar ways. One logical approach is to begin with the bone structure. We could learn the minimum amount in regards to the bone structure necessary to go to the next step, i.e., the muscle structure. From the muscle structure we may without apparent effort progress to the surface features it represents. So, a logical progression to study the anatomy of a sure body feature is (1) study the underlying bone structure, (2) from here glide into the study of the matching muscle structure, and (3) finally, see how the bone and muscle structures shape the surface feature itself. It is to be understood that the study of anatomy for the artisan is not the same as a “medical” treatise. The point is that for the artisan it is the surface feature that is ultimately of concern. Therefore, everything you learn regarding anatomy must be in function of the uttermost goal, i.e., bettering the artist’s capacity to draw the surface features of the body. A word of caution. Drawing the rectify anatomy ought to never become a goal in itself. It must stay an support to being convincing in your drawings. In other words, there is no gain in attempting to be anatomically rectify at all costs if you are going to loose your identity in the process. Ultimately, through much practice, your anatomical psychological result of perception learning and reasoning must become second nature and be integrated in your style. Your style must not be cramped by attempting to be anatomically correct. The body is more than just anatomy. The sum of the constituents is always more than the parts by themselves. |
