See this event on our calendar at Meetup site.
This is a 6 week/12 hr Skeleton & Figure Study. The idea is to focus on both the model (Alessandra) and the Skeleton (working name 'Fat Albert'). Ale and FA will be in the same pose for 2 separate 1hr blocks per session, and we'll simply work from the top down with different angles and rotations.
Right now I'm thinking 6 people (5 plus myself), so we can get in close. But I may open it up to more after the first meeting because we may end up having enough room to go 360 around Ale and not just 180.
Supplimentary Info from "Wir zeichnen den Menschen" by Gottfried Bammes
The large correspondences between measured distances of body forms.
In construction of a figure after life, we play with what knowledge we have and focus with a priority on understanding the general interrelation of all the parts. We dedicate ourselves to this task with a very distinct energy and also to the practice of using artistic working methods in our experiments.
Leonardo da Vinci (1452—1519): The So-called Vitruvian man, around 1485—1490
Albrecht Dürer (1471—1528): Woman of eight headlengths, constructed 1509
The most famous examples; both artistically and didactically are those of Leonardo da Vinci (above) and Albrecht Dürer's (below). We owe our current useful working procedures to both. They are based on representation of the organic arrangement of the figure. With aid of the comparison of same or similar measurements we gain an overall-view and order. We orient ourselves thereby by measuring after that living model and discover (see illustration below):
The symmetry line of the figure's center (strong red line from vertex to sole) stops in the female figure at the height of the pubic bone and/or large process of the hip bone (trochanter major) (= geometrical body center, red arrows) and bisects the figure vertically into an equivalent long upper and lower division.
The lower part (leg length) is interrupted by the pushed in intermediate form of the knee. The lower edge of the kneecap(= situated at the knee gap, strong black arrow) marks the center of the lower length (= a body quarter)
In the Large upper part the nipple axis in most cases is under the upper body quarter (broken line).
Frequently the point of the chin halves the upper quarter (strong black arrow). From it a proportional rule (canon) results, according to which in our example the head amounts to an eighth of the overall length. It is a suitable basic dimension (module) for further distance investigations after height and depth (for this, see also the profile figures).
From the accepted arrangement in body quarters it follows: Sitting on a chair reduces the bodily height by a quarter (thigh length), and sitting on the ground by half of the overall height.
The greatest width expansion from hip-socket to hip-socket measures hardly up to a full body quarter.
The different arrow forms point to differently important classification points:
- red arrows: classification points of 1st rank
- full black arrows: classification points of 2nd rank
- linear arrows: classification points of 3rd rank,
- thin arrows: Classification points of 4th rank.