The Pieta in France: A Regional Study of Fifteenth- And by William H. Forsyth

By William H. Forsyth

Booklet by way of Forsyth, William H.

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That will how 30 LESS< >NS I ROM REILLY to tell you connect the forms. Let the lines flow freely and gracefully in your search for and relationships. making curved lines using your whole arm not just your wrist. the action Practice — DRAWING 31 Most Connectors and Action action happens such as the direction, or the wrist) rib cage, the is at the connectors pit of the neck. action —points where the the of the neck shifts A connector pit (like usually smaller than the forms it connects (the head to the twist tilt.

DRAWING 41 HOW TO HANDLE PARTICULAR FORMS With forms with a center "bump" like the kneecap, make sure: When the form goes back, the bump moves up. • When the form comes forward, the bump moves down. • OM*u sOtST ^V Always make one ^um> A^djL. -d+tLf- -^vuu

Be sure to draw rec- the two tangles, as this will enable you to line up all the steps at the end. In this first step, you place the features in the on The width of the nose equals the width of one eye, and the ends of the mouth line up with the correct average position the head. center of each eye. In the profile view, the front of the neck goes from the bottom axis of the head to the brow over the eyes, while the back of the neck goes to the axis at the top center of the head. Now, on another sheet of tracing paper, copy this di- 2.

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