andrew loomis - perspectiva de la figura humana

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The Fundamentals Art is really having its chance. The urge to

draw scems to have tllken hold of many more

thousands today thau ever before. It has spread across the natioo. WhiJe many are interested in

art as a pastime or hobby, othcrs would gladly choose it as a means of livclihood if thcy were convinccd that their ability was ~ufficient to pro­

vide any real hope of success. There will always be a certnin amount of

confusion about what is talent or native ability

in drawing and what is knowledge of the craft. Too often, knowledge is construed as talen t. On the othcr hand, drawing th:lt lacks constructivo

knowlcdgc is seldom successful as drawing. The tntth is that we do not see thc talent until the

means of hril\ging it forth has been developed. That means is a reasonably accurate analysis and

undcrstnnding of the laws of nnture as they ap­ply to man' s vision ..

Drawing is vision on papcr. 1\lorc th:m that, it

is individual vision, tied up with individual per­ception, interest, observation, character, philoso­

phy, and a bost of other qualities all coming from one source. It cannot, and to be successful

should not, be anything else. Drawing is very closcly relatcd to the other c•·cativc arts, all of

whicl1 are outcroppings of a dcsirc to cxpress individual emotion, to make the other fellow conscious of our inner feelings. We want him to listen or look, and we want his appreciation of what we have to offer. Pcrhaps wc wish to re­ceive ndmiration for ouc particuhlr acccmpli~h­ments. Perhaps we have a mcssagc we deem worthy of others' attenlion. Perhnps we see in such nn cffort an enjoyablc men1\S of making oucselves useful, or providing ourselves with the livelíhood that we must achicvc in sorne way.

We who choose art as our mcdium of expres· sion should realize that it has certnin funda­mentals from which we progrcss, just as there are fundamentals of literaturc, drama, or music.

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Unfortuuatcly, the fundnmcntals of an approach

to art havo uot usually bccn so clcarly defined

for practica! study as have those of some other creativo activities. Commcrcial art is a compara­tivcly ncw profession. Howcvcr, tbe lcadcrs in

tl1e ficld are beginning to contribute time and thought to its teaching.

Succcss in the creativc fl olds is always accom­panied by distinctiveness, sometbing that singles

one out usan individual and sets him apart from the crowd. One artist can be as successful as

another in his use of basic knowledge, without rcpcating :tnothcr artist's pcrfonnance. If therc

is any way that one man in the craft can really help nnother, it is by increasing his knowledge

of thc craft itself, not in thc particular qualities of the m:lll's own work. The knowledgc of our

craft must be pooled, as it is in the seienccs and othcr professions, each of us absorbing and in

turn contributing. It is difficult for a man to teach without prescnting his own work as an examplc. But I am ccrtain that ill this book, for

cxamplc, thcre is mucl• material which thc stu­dent can apply lo his own work without refcr­

cnce lo any particular style or tcchnique of mine. Suppose wc havc two drawings before us. Onc

appeals; the other does not. This one is good, the othcr bad. Why? I bclicvc [ c.'n point out undcr­lying rcasons that are perfcctly understaudable. Strangely cnough, the reasons m"e usually not found in art books or taught in classcs. The re­sponse to drawing is related to thc cmotions and experient-e of thc individual, and is wholcly apart, so far as 1 know, from thc tcaching of art. Yet J do 110t bclicvc art cnn go ver y far w\less the artist has some sort of an understanding of this response. An artist can go all his life with­out rcalizing why his work does oot appeal. E ven succcssful a.rtists may not really know why their work does nppeal, though they thank heaven it does.

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PROJECTION OF FIGURES

One of the simplest and yet lcast observed rules of perspectivc is that all figures on the same ground plane must be related in size. To be sure of the correct relation, establish the hcight of a

"key" figure and scale all others from that height. Todo this, draw a line from the feet of one figure under the feet of another to the horizon. Then carry a line back to the first figure.

>-"- FIG lJ R E.J" MAY BE PROJt:CTED O N UN. U PARA LLEL. T0 YI-I'E ~R I :ZON

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-The Rule for Scaling Figures on the Ground Plane

All figures of the same height, when standing the horizon at the same vertical point on the on the same ground plane, will be crossed by figure.

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