Hey everyone,
Just wanted to add that there is a great figure drawing book out there that talks specifically about the comments circulating in this thread. The book is by Nathan Goldstein and is called
Figure Drawing: The Structure, Anatomy, and Expressive Design of Human Form.
The following is an old write-up that I did on it for college:
"This is
the sourcebook for anyone wanting to learn more about figure drawing. Goldstein divides the study of the figure into four factors that are interdependent on one another. The four factors are: Structural, Anatomical, Design, and Expressive factors. He says that most successful figure drawings contain these four factors to some degree.
In the Structural factor, the figure is broken down to its basic components, using shape to show form. He writes,
'A preoccupation with re-presenting such surface actualities (generally in a high polished manner) blinds the student to the geometric core of forms. Moreover, the beginner's awe of the figure, which is quite rightly regarded as complex, important, and beautiful, and the subtlety with which the figure suggests its pure solids, makes an analytical search for them difficult.'
The Anatomical factor is comprised of a thorough knowledge of the anatomy and how this effects of the surface of the figure. Goldstein stresses the point throughout the book that no one factor is more important than the other. They all work together to create a whole image. Each contributes and enhances the others. For example, he comments on many art students' study of anatomy as being "dispassionate diagrams of the human mechanism" and that these illustrations do not breath the "living spirit" of the human form. He goes into great detail in his discussions on anatomy, however he disregards all inner anatomy that does not effect the surface of the figure. These discussions are accompanied by many old and contemporary master drawings and diagrams of the bones and muscles.
The third factor, the Design factor, covers the importance of composition, and unity. Goldstein describes a drawing's design as "the consequence of its abstract and figural occurrences - the visual nature of the tensions, movements, and the relationships that exist among the drawing's marks and meanings." He separates design from expression by saying that the above occurrences are felt by the viewer is what creates expression - design influences expression."
I personally feel the figure must begin with the gesture. The gesture is the key to expression. Once the gesture and overall feeling is down, then construct the figure to fit onto this "framework" and build from there. I used to draw exactly as Goldstein said, I would start out with a fine detail of the figure and build from there. My drawings would grow across the paper like some fungus, rather than materializing as a whole. All of my drawings then were disconnected, smaller visions that had no purpose as a whole. The parts didn't relate to one another and give an idea of the whole let alone, an expression. I think of drawing the figure now as like building a house. You have to start with a frame before you can put the cabinets in the kitchen!
Hope you enjoyed my old college write-up. This book is definitely an informative source on figure drawing. Good luck in your search for it. Unfortunately, according to Amazon, it's out of print.