excerpt from:

The Art of Composition

by Trinka Margua Simon

Creative Foreshortening Exercise

Pages 100-107

Copyright © 2008
ISBN 978-0-615-23934-7

http://www.trinkamarguasimon.com/
 CHAPTER TWO / OBJECT FOUNDATIONS
EXERCISE 2.5

Exercise 2.5 is an example of how the manipulation of a flexible

foundation is often applied to figure drawing. Although exercise
2.5 is more advanced, its main purpose is still to practice
manipulating an object foundation for creativity. In this case, A
the objects will simply be the individual parts of the body. Each
part will be treated as a separate object that can be moved
independently of the others.

∙ First, review the definitions and theory of foreshortening

below.
∙ The procedure for 2.5 will begin on pg. 104.
∙ Experience in figure drawing is useful.

DEFINITIONS AND THEORY

Foreshortening is the manipulation of objects so some parts

will appear to be closer and other parts will appear to be farther
away from the viewer. In (A) to the right, the leg on our left is
more foreshortened than the one on our right. Although the
paper is, of course, flat, an illusion is created to make the left
foot appear closer to the viewer than the knee.

A great deal of the illusion of foreshortening comes from the

apparent overlapping of objects. Look at the circles below. The
circles in the left pair are side by side. In the other two pairs, the
circles appear to overlap, making it appear that one is in front of B
the other.

Accurate size and

Overlapping can easily be applied to the figure. First, look at placement of foot
example (B) to the right. This is the original accurate placement
of the figure.

Now compare (B) with drawings (C) and (D) on the facing page.
(Also, compare their accompanying object diagrams.) The
amount of overlapping has increased in both (C) and (D), but in
two different ways. This gives the artist two different creative
options when working.

In (C) the overlapping was increased by moving the foot up. By

contrast, the overlapping in (D) was increased by making the
foot and leg larger.

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 EXERCISE 2.5
C
Notice that when the foot is simply moved up, as in (C),
the distance between the knee and bottom of the foot is
shorter than it is in the accurate original drawing.
h However, when the foot and leg are enlarged, as in (D),
the distance is the same as in the accurate original.
Compare (f) in both.
f
Also, notice that when the foot is simply moved up, as in
(C), the height of the entire figure becomes shorter on
the page. However, when the foot and leg are enlarged, as
in (D), the height remains the same as in the accurate
Foot moved up
original. Compare heights (h) in both. These are equally
Increased overlapping
valuable creative options for the artist.
Total height is shorter

Using overlapping to exaggerate foreshortening, as in

(C) through (F), an artist can freely manipulate both the
size and placement of each individual part of the figure
(objects) while retaining an illusion of reality. The artist
can literally choose to make any part larger or smaller,
giving the figure artist an incredible range of options
D while working.

Of course, the degree of foreshortening as well as the

amount of realism depend entirely on the artist’s
personal taste. However, even if realism is desired, the
h
artist need not be restricted to placing the parts of the
figure accurately. An artist can place each individual part
of the figure anywhere he chooses and then simply add
f the appropriate degree of foreshortening to preserve
believability.

Foot and leg enlarged

Increased overlapping Note, often what looks correct in the real three-
Total height not shorter dimensional world does not look correct on the two-
dimensional surface of your paper. This will often make
accurate placement actually appear remarkably “wrong.”
It is extremely useful at these times if the artist can alter
the figure to make it look right.

E F
Of the sketches (B) through (F), which do you prefer?
(B) is the accurate original, parts of (C) were made
smaller and parts of (D), (E) and (F) were enlarged.
Which figure do you think fills the page best? Do you
like the accurate original best? Do you feel any have
been foreshortened too much? As always, there is no
“right” answer. You are only trying to manipulate your
drawing until it looks good to you.

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 CHAPTER TWO / OBJECT FOUNDATIONS
Overlapping can also be applied to a single part of the
figure if the front and back are treated as separate objects.
Compare (A) and (B) and their accompanying diagrams.
A B
The red circles represent something akin to a rubber
band wrapped around the model’s knee and ankle. In (B)
the two bands overlap more than they do in (A). The leg
in (A) is less foreshortened.

Students often assume that the illusion of foreshortening

can only be achieved by shortening the object. However, an
artist can also widen an object and achieve an equally
successful illusion.

Drawing (C) to the right is the original accurate

representation of the figure. Notice the lower leg piece
(diagramed in red) is fairly long compared to its width.
Now look at (D) and (E). In order to increase
foreshortening in (D), this leg piece has been shortened;
however, the same lower leg piece in (E) has been widened.

Compare these red leg pieces in isolation. Notice that

when a box is drawn around each piece, the
foreshortened leg pieces from drawings (D) and (E) have
the exact same height-to-width ratio. One is smaller, one is Accurate
larger, but the resulting proportions are the same. This Original C
means the artist can choose to shorten or widen each
piece – and the same effect of foreshortening will occur.

Again, this has far-reaching implications for the artist.

The number of options the artist can choose from
increases tremendously when each part of the figure can
be made larger or smaller.
Foreshortened D

Another appealing aspect of this technique is that to

generate your foreshortening illusion, you do not need to
have the object look as if it were viewed from the correct
vantage point. When you move individual parts of the
body, you do not need to rotate parts of the figure
correctly or even logically in space. Foreshortened
E
Compare again (C) and (E). Notice that in (C) it would
seem that the foot is being viewed from a higher vantage
point than in (E). However, the foot is exactly the same
in both pictures. If an artist had to correct the vantage
point, he would have the difficult task of imagining what
the foot looked like from above, or repositioning the
model. In fact, there is no need to rotate the foot
correctly in space. The artist can simply move the foot
wherever he wants, then copy what he sees from his own
vantage point – a very simple task.

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 EXERCISE 2.5
When objects appear to overlap, it is necessary to Look at Fig. 2.11 below. Because the torso overlaps the
eliminate part of the object that is behind the one in exact connection of the legs, the artist can put the legs
front. The object in front must cover up a portion of the anywhere. Notice that in areas (1), (2) and (3), the artist
one in back. Notice below that as the circles overlap has sketched in a number of different possible
more, less of the red circle can be seen. placements for the legs. Although the artist is
experimenting freely with the placement of the legs, the
shoulders and head move very little.

Again, the artist is not “having trouble” placing the legs;

This gives the artist yet another increase in creative he is creatively experimenting with their placement to
freedom because it is the connection between the two discover what appeals to him. Furthermore, because the
objects that disappears. When the circles are side by side, connection is hidden (helped further by a few
as in the first pair above, it is easy to see exactly where strategically placed overlapping folds of material), the
they touch (black arrow). However, when they overlap, artist is not limited to an accurate connection. He can
the exact point of connection can appear hidden. Because freely place the legs anywhere. This cannot be done
the viewer is not certain exactly how the parts connect, when the artist is needlessly bound by accuracy.
the artist can make completely inaccurate connections –
and no one can tell.

1 2

Figure 2.11 COPY

Copy of Study for
Mercury Descending
by Peter Paul Rubens

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 CHAPTER TWO / OBJECT FOUNDATIONS
A

PURPOSE
∙ Practice manipulating an object foundation for creativity.
∙ Practice the creative foreshortening of a figure.

MATERIALS
Pencil, eraser, drawing paper, easel, model

B
SET UP
At first, it will be easier to position the model in a severely
foreshortened pose, such as the one used in the previous
foreshortening review. After a bit of practice, try a more difficult,
less foreshortened pose, such as the one used in the example here.
No specific set up for lighting is required. Set up your easel as in
the previous exercises. You will still need to assess your progress
from a distance, so arrange your model and easel with room to
view both from a distance.
C
PROCEDURE
Quickly sketch in all objects (individual parts of the model)
using a minimum of marks. At first, it may help to think of the
figure as a collection of ovals, such as those used in the diagram
below. Use three for the torso (head, ribs and hips) and three for
each appendage (upper arm, lower arm and hand as well as upper
leg, lower leg and foot.) Make sure each piece overlaps another.

Keep your work as flexible as possible. These are your first

marks. Do not worry about accuracy or a good composition.
Although it is fine to imagine the parts of the figure as ovals and
circles, do not make any effort to sketch perfect little ovals as
diagramed above. Your actual sketch should be quick and contain
the sketchy marks of a very flexible foundation as in (A) through
(C) to the right. Again, do not carefully place the figure. This D
would be ridiculous, as the point will be to practice changing it
randomly numerous times.

At first, make the body parts “transparent”. The overlapping

order for the foreshortening illusion can be determined after the
placement of each part is made. You need not indicate which part
is in front or behind until after the placement of the parts of the
figure has been better established. In diagram (D) to the right, the
first two figures contain transparent overlapping pieces and the
bottom figure has the overlapping order established.

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 EXERCISE 2.5
Manipulate all parts of the figure in as many ways as possible. Use
E the variations discussed in the foreshortening review as a guide.
This includes:
∙ Placement of each part
∙ Height of each part
∙ Width of each part
∙ Size of entire figure on page
∙ Order of overlapping
∙ Degree of overlapping
∙ Amount of elimination of object in back

At first, it may be wise to keep the entire figure full size on your
paper at all times until you are sure to have control of scale. If you
keep the figure touching at least two opposing sides of the work, it will
force you to change the size, as well as the placement, of your objects.
Notice in diagram (A) on the previous page, the width of all three figures
is the same, even though individual parts change. (Later, cropping can be
done on purpose, not accidentally because you cannot control scale.)

F Do not get new paper and start over each time. Make corrections on
one drawing.

At first, move parts of the figure around randomly just for practice.
Do not attempt to make the work look logical. Focus simply on
becoming comfortable manipulating the parts of the figure
independently from each other. Creating quality illusions and creative
patterns will follow.

In pictures (E) through (H), both the size and the placement of parts of
the figure continue to change with no attempt to retain any logical
arrangement. Simply have some fun, be creative, rearrange the parts of
G the figure in as many different ways as you can think of until you are
comfortable doing so. On the following pages a degree of control will be
needed. This will be much easier if you are comfortable with
manipulations.

Remember to alter your drawing first and then erase old marks.
Although you are no longer comparing for accuracy, you are still
comparing. Evaluate what you have done and then change it. The only
difference now is that you are deciding if you like it, not whether it is
simply accurate.

H Visualize as many relationships as possible. Every time you make an

alteration, check as many different relationships as possible. The same
principle applies. If you want all the relationships in your work to appeal
to you, you must look at them all. Whether for accuracy or creativity, the
relationships that will do the greatest harm to your work will be the ones
you do not see. For example, in (H), do you feel the triangle between the
head and two hands fits well into the space of the rectangle, or is it too
cramped? (See the red triangle.) Would you want to change this
relationship or leave the three objects where they are but make them
smaller?

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 CHAPTER TWO / OBJECT FOUNDATIONS
After you are comfortable making fanciful or dramatic changes, it is not
difficult to simply pull back and make changes that are more subtle, if A
desired. Although not as extreme as the sketches on the previous pages,
figures (I) and (J) on the facing page also contain exaggerated foreshortening
to varying degrees. Compare these works and notice how the aspects listed
below change in each. Remember there is no need to correctly adjust the rest
of the figure, correctly modify the perspective, move the model or alter your
position in the room.

Manipulate all parts of the figure in as many ways as possible. This

includes: Overlapped Outlined
∙ Placement of each part
∙ Height of each part
∙ Width of each part
∙ Size of entire figure on page
∙ Order of overlapping
∙ Degree of overlapping
∙ Amount of elimination of object in back

B
Finishing
Choose a few of your favorite arrangements and finish in any manner
you wish. It is completely up to you how much foreshortening to include. As C
you experiment, notice how varying the amount of overlapping affects the
emotional content of your work. Is it long and elegant or long and scrawny? Is
it wide and cramped or wide and intimate?

Four common problems

1 – Outlining multiple objects with a single line reduces the illusion.
Remember, it is the overlapping of separate parts of the figure that increases
the apparent foreshortening. Look at (A) above. Compare the diagram of the
overlapping leg parts with the diagram using only a single outline for the D
entire leg. Outlining is a particular problem when an illusion of foreshortened
is desired because individual parts will not appear overlapped.

Notice (B) and (C) would have the exact same shape if outlined. A single
outline does not reveal which object is closer to the viewer. In (B) the small
foot is in front of the other two larger leg pieces. In (C) it is behind the leg, or
the farthest from the viewer. This is not visible in the outlined version.

Of course, foreshortening is not “right.” It is only an option. Drawing (D) is

made from a single outline starting at the nose and ending on the back of the
head. Although it does appear flat, it is not “wrong.” Try outlining part, or all,
of the figure in a drawing. E

2 – Although the entire edge of an object does not need to be drawn,

the internal lines must indicate which object is in front for the illusion
to succeed. In (E) the edge of each piece is complete. In (F) the lines of each
piece pull into the figure but do not touch. Still, the illusion is visible. Even F
the most subtle of marks can make the objects appear overlapped, but these
marks must be a continuation of the object that is in front. Compare diagrams
(F) and (G). In (F) the lines that pull into the body are a continuation of the
piece in front. However, in (G) straight lines project into the body with no G
indication of which part of the leg they are connected to. With no indication
of which object is in front, as in (G), the leg parts fail to appear overlapped.

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 EXERCISE 2.5
H 3 – Make sure you eliminate enough.
When overlapping objects, part of the object
in back must disappear. At first, you may find
it difficult not to draw part of the figure, but
after a while you will find it does indeed make
the drawing easier if you need only draw a
portion of what you see.

Compare drawings (H), (I) and (J). In (I) the

front shoulder covers more of the chest and
neck than in (H). In (J) the shoulder covers
nearly all the neck.

4 – Do not try to make the vantage point

appear logical. Even though it appears the
artist is looking at the model from a different
vantage point, the shoulder is the same in all
three, as are the head and knees. Again, do
I not make correct, make it look right to you.
Which do you prefer? Is (J) too
foreshortened, too cramped? Or, do you feel
the outstretched arm needs to be
foreshortened a bit more?

Variations as you improve

After you have practiced a while, try
overlapping an increasing number of parts on
the figure. Notice in (I) and (J) the left and
right sides of the chest are treated as two
separate pieces. As the side of the chest on
our left (red) is widened, less of the right side
(blue) is visible.

A complete study of anatomy helps identify

individual parts more easily. Look at the line
J diagram below. Note the numerous
overlapping pieces, each represented by a line
pulled into the figure. A knowledge of which
muscles are in front can be very useful when
exaggerating foreshortening.

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