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CHAPTER 12

CARYING THE HUMAŃ FIGURĘ

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Wc all think we know the human figurÄ™.

Afrcr all, possession of a human framc would seem to qualify us. However, unless we have madÄ™ a conscious study of the way it fits together - usually by Iife drawing or modelling from life or perhaps by anatomical study - we most of us have only a hazy idea. We are taught to namc the parts of the body but are not taught how the parts are shaped or fit together. For instance, for most of our purposes the word ‘arm’ will do. Wc can identify parts such as shoulder, clbow, upper arm, forearm, wrist, but there is no demand on most of us to know their shapes and how they change when doing different work. Unless we have a superb visual memory we need to make an effort to learn these things (Figs 12.1-12.4).

Whether or not we know the human form well enough, however, many carvers attempt it. This chapter is therefore designed to draw your attention to the things to iook out for so that in attempting the project you get morÄ™ right than wrong.

Of coursc, a deliberate simplification of the forms is acceptable. A matchstick man will do as a symbol. But most carvings of people sccm to be done with a view to capturing the beauty, the power or the movement of the form in a fairly literaÅ‚ way. This means that if obscrvation or memory fails the shapes havc to be fudged. To achieve your aims morÄ™ nearly, knowlcdgc is essential.

LEARNING ABOUT THE HUMAN Form

The best way to learn is by years of life drawing. If you do not have acccss to a life class you will at least need an anatomy book and photographs of the nudÄ™. Try to usc diagrams which look three dimcnsional - many such books are written with painters most in mind and are not so helpful to the sculptor. Similarly, sonie photographs are not very informative, looking rather fiat.

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