| Figure drawings begin with a stick figure, a | | | | books, which exhibit exaggerated poses and |
| skeleton of sorts that will hold all components of | | | | postures. Dynamic figures simply mean illustrations |
| the composition in the subsequent stages. An | | | | that adhere to the basic harmony of elements, |
| important factor of this stick figure is the action | | | | like perspective, line, and proportion. Artists advise |
| line, which will take up most of the figure's body: | | | | trainees to take time in shaping their characters, |
| from the neck to a single foot. It is an | | | | to take special care on a figure's balance in |
| uncomplicated and sweeping line that will crucially | | | | relation to its pose. It must be observed that all |
| determine the pose of the figure. | | | | the elements of composition, including volume--the |
| The action line also determines the personality of | | | | illusion of a character's mass--do not conflict each |
| the figure in that characteristics are adequately | | | | other. |
| portrayed in the manner a line is bent or | | | | In determining a figure's balance, the artist decides |
| stretched. Heroic figures are usually rendered with | | | | on the center of its gravity. From then on, |
| a strong vertical stroke; the weak-bodied, including | | | | proportion must adhere to this suggestion. Even |
| the evil-genius, is usually drawn like a bow that is | | | | without the use of shadows, it must be without a |
| being strung. This often proves effective in | | | | doubt that a figure of whatever personality is |
| portraying characters through silhouettes. | | | | portrayed positioned firmly upon its center of |
| From the stick-figure stage, the artist has already | | | | gravity. |
| determined the height proportion of the subject. | | | | Paying close attention to the lines used |
| The average height of a human male figure is | | | | determines the figure's success. An artist must |
| usually rendered to be around six heads high. In | | | | understand the basic uses of the line from the |
| doing this, the artist measures his figure's head | | | | stick-figure stage of his drawing. Horizontal lines |
| and calculates six of these stacked above the | | | | are usually lines of rest. Though there are a |
| other. The normal female human figure stands at | | | | multitude of actions a figure can be drawn in on a |
| five heads; and the human child at four. This is | | | | horizontal plane, it is customary for both viewer |
| easily done when the figure is meant to be drawn | | | | and artist to envision one in repose with this line. |
| standing up and viewed on a normal perspective. | | | | Verticals are also considered lines of rest, but |
| At a foreshortened perspective, however, this | | | | suggest a surge of energy ready to flow. Upright |
| measurement is not applicable and the part of the | | | | figures in a standing pose portray this suggestion. |
| figure closest to the viewer is usually the largest | | | | Diagonal lines are the lines of action. A walking |
| drawn. | | | | figure is made up of two legs diagonally spread |
| Artists often are known to insist on dynamic | | | | apart. The action line of a runner is a slash, and so |
| figures, and many beginners relate this type of | | | | is every limb of its body. |
| drawings to the figures seen in heroic comic | | | | |