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Variant Male Body Types Drawing Types

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Proportions of the homo torso in art

This article is about proportions of the human torso in fine art. For medical use, run across trunk shape. For the wider topic of body measurement, encounter anthropometry. For mode and dress, encounter clothing sizes.

While there is meaning variation in anatomical proportions between people, certain trunk proportions accept become canonical in figurative art. The study of torso proportions, as part of the study of artistic anatomy, explores the relation of the elements of the human being body to each other and to the whole. These ratios are used in depictions of the human being figure and may become part of an artistic canon of body proportion within a culture. Bookish art of the nineteenth century demanded shut adherence to these reference metrics and some artists in the early twentieth century rejected those constraints and consciously mutated them.

Basics of human proportions [edit]

Human proportions marked out in an illustration from a 20th-century beefcake text-volume. Hermann Braus, 1921

Drawing of a human male, showing the social club of measurement in training for a figurative art work (Lantéri, 1903)[i]

Information technology is usually important in effigy drawing to draw the human figure in proportion. Though at that place are subtle differences betwixt individuals, human being proportions fit within a fairly standard range – though artists have historically tried to create idealised standards that have varied considerably over time, according to era and region. In modern figure drawing, the basic unit of measurement is the 'caput', which is the distance from the top of the head to the chin. This unit of measurement is credited[2] to the Greek sculptor Polykleitos (fifth century BCE) and has long been used by artists to establish the proportions of the human figure. Ancient Egyptian art used a canon of proportion based on the "fist", measured beyond the knuckles, with xviii fists from the ground to the hairline on the forehead.[3] This catechism was already established by the Narmer Palette from well-nigh the 31st century BC, and remained in apply until at to the lowest degree the conquest by Alexander the Great some 3,000 years afterwards.[three]

One version of the proportions used in modern figure drawing is:[4]

  • An boilerplate person is generally seven-and-a-half heads tall (including the head).
  • An ideal figure, used when aiming for an impression of nobility or grace, is drawn at 8 heads alpine.
  • A heroic figure, used in the depiction of gods and superheroes, is eight-and-a-one-half heads tall. Most of the boosted length comes from a bigger chest and longer legs.

Measurements [edit]

There are a number of important distances between reference points that an artist may measure and will detect:[1] These are the distance from floor to the patella;[a] from the patella to the front end iliac crest;[b] the distance beyond the breadbasket between the iliac crests; the distances (which may differ co-ordinate to pose) from the iliac crests to the suprasternal notch between the clavicles;[c] and the distance from the notch to the bases of the ears (which once more may differ according to the pose).

Some teachers deprecate mechanistic measurements and strongly propose the artist to larn to estimate proportion past eye lonely.[five]

It is in drawing from the life that a canon is likely to exist a hindrance to the artist; but it is not the method of Indian fine art to piece of work from the model. Well-nigh the whole philosophy of Indian art is summed up in the poetry of Śukrācārya's Śukranĩtisāra which enjoins meditations upon the imager: "In order that the form of an image may be brought fully and clearly before the mind, the imager should medi[t]ate; and his success will be proportionate to his meditation. No other way—not indeed seeing the object itself—will achieve his purpose." The catechism then, is of use equally a rule of thumb, relieving him of some office of the technical difficulties, leaving him complimentary to concentrate his thought more singly on the message or burden of his work. It is only in this manner that information technology must have been used in periods of great achievement, or by great artists.

Ratios [edit]

[Proportion] should non be confused with a ratio, involving two magnitudes. Modern usage tends to substitute "proportion" for a comparison involving two magnitudes (e.g., length and width), and hence mistakes a mere grouping of unproblematic ratios for a complete proportion arrangement, often with a linear basis at odds with the areal approach of Greek geometry.

—Richard Tobin, The Canon of Polykleitos, 1975.[7]

Many text books of artistic anatomy advise that the caput height be used as a yardstick for other lengths in the body: their ratios to it provide a consequent and credible structure.[eight] Although the boilerplate person is seven one⁄ii heads tall, the custom in Classical Hellenic republic (since Lysippos) and Renaissance art was to set the figure equally eight heads alpine: "the eight-heads-length figure seems by far the best; it gives dignity to the figure and too seems to be the nearly convenient."[8] The half-way mark is a line between the outer hip bones, just above the pubic arch.[8]

  • the ratio of hip width to shoulder width varies past gender: the average ratio for women is 1:1, for men information technology is one:one.8.[nine]
  • legs (floor to perineum) are typically iii-and-a-half to four heads long; arms about three heads long; hands are as long as the face up.[9]
  • Leg-to-body ratio is seen as indicator of physical attractiveness but at that place appears to be no accepted definition of leg-length: the 'perineum to floor' measure[d] is the virtually used merely arguably the altitude from ankle bone to outer hip bone is more rigorous.[11] On this (latter) metric, the most bonny ratio of leg to body for men (as seen past American women) is 1:1,[11] matching the 'four heads:four heads' ratio above. A Japanese study using the former metric establish the same upshot for male bewitchery but women with longer legs than body were judged to be more bonny.[12] Excessive deviations from the mean were seen equally indicative of affliction.[12] "High class manner journals depict women with an extreme length of limb, and decorative art does the same for both men and women [...]. When the artist wishes to draw the lower orders, as such, or the comic, he draws people with exaggeratedly curt limbs and makes them fatty."[thirteen]
  • Waist-to-height ratio: the average ratio for Usa college competitive swimmers is 0.424 (women) and 0.428 (men); the ratios for an (Us) normally salubrious human being or woman is 0.46–0.53 and 0.45–0.49 respectively; the ratio ranges across 0.63 for morbidly obese individuals.[xiv]
  • Waist–hip ratio: creative person's conception of the platonic waist–hip ratio has varied down the ages, simply for female figures "over the 2,500-year period the average WHR never exited 'the fertile range' (from 0.67 to 0.80)."[xv] The Venus de Milo (130–100BCE) has a WHR of 0.76;[15] in Anthony van Dyck's Venus Asks Vulcan to Cast Arms for Her Son Aeneas (1630), Venus'south estimated WHR is 0.viii;[15] and Jean-Léon Gérôme's Birth of Venus (1890) has an estimated WHR of 0.66.[15]

Body proportions in history [edit]

Venus of Brassempouy, about 25,000 years agone

The earliest known representations of female figures date from 23,000 to 25,000 years ago.[16] Models of the homo head (such every bit the Venus of Brassempouy) are rare in Paleolithic art: nigh are similar the Venus of Willendorf – bodies with vestigial head and limbs, noted for their very loftier waist:hip ratio of 1:1 or more.[xvi] Information technology may be that the artists' "depictions of corpulent, centre-aged females were non 'Venuses' in any conventional sense. They may, instead, take symbolized the promise for survival and longevity, within well-nourished and reproductively successful communities."[16]

The ancient Greek sculptor Polykleitos (c.450–420 BCE), known for his ideally proportioned statuary Doryphoros, wrote an influential Canon (at present lost) describing the proportions to be followed in sculpture.[17] The Canon applies the basic mathematical concepts of Greek geometry, such as the ratio, proportion, and symmetria (Greek for "harmonious proportions") creating a system capable of describing the homo grade through a serial of continuous geometric progressions.[18] Polykleitos may have used the distal phalanx of the little finger equally the basic module for determining the proportions of the human trunk, scaling this length up repeatedly by √2 to obtain the ideal size of the other phalanges, the mitt, forearm, and upper arm in turn.[xix]

Leonardo da Vinci believed that the ideal human proportions were determined by the harmonious proportions that he believed governed the universe, such that the ideal man would fit cleanly into a circle as depicted in his famed drawing of Vitruvian Homo (c. 1492),[20] every bit described in a book by Vitruvius. Leonardo'southward commentary is about relative body proportions – with comparisons of hand, pes, and other feature'south lengths to other trunk parts – more than than to actual measurements.[21]

Golden ratio [edit]

Information technology has been suggested that the ideal human being figure has its navel at the golden ratio ( ϕ {\displaystyle \phi } , about 1.618), dividing the body in the ratio of 0.618 to 0.382 (soles of feet to navel:omphalos to peak of caput) ( 1⁄ ϕ {\displaystyle \phi } is ϕ {\displaystyle \phi } -ane, about 0.618) and da Vinci's Vitruvian Man is cited equally prove.[22] In reality, the omphalos of the Vitruvian Man divides the figure at 0.604 and nothing in the accompanying text mentions the golden ratio.[22]

In his conjectural reconstruction of the Catechism of Polykleitos, fine art historian Richard Tobin adamant √2 (about 1.4142) to be the of import ratio between elements that the classical Greek sculptor had used.[23]

Boosted images [edit]

  • Proportions of a human male face

  • a 1½-year-old child

  • an adult homo

  • Drawings by Avard T. Fairbanks developed during his teaching career. This image was used in Eugene F. Fairbanks' volume on Homo Proportions for Artists.[24]

  • Avard Fairbanks drawing of proportions of the male head and neck, 1936

  • Avard Fairbanks drawing of proportions of the female head and neck, 1936

  • Growth and proportions of children, one analogy from Children's Proportions for Artists

Bibliography [edit]

  • Gottfried Bammes: Studien zur Gestalt des Menschen. Verlag Otto Maier GmbH, Ravensburg 1990, ISBN 3-473-48341-ix.
  • Édouard Lantéri: Modelling : a guide for teachers and students. London: Chapman & Hall Ltd. 1902.
  • Fairbanks, Eugene F. (2012). Children'southward Proportions for Artists. Bellingham, WA: Fairbanks Art and Books. ISBN978-0972584128.

See also [edit]

  • Allometry – Written report of the human relationship of body size to shape, beefcake, physiology, and behavior
  • Anthropometry – Measurement of the human private
  • Arm bridge – The distance from finger tips to finger tips
  • Trunk shape – Full general shape of a homo body
    • Female trunk shape – Cumulative product of the human female skeletal construction and distribution of musculus and fat
    • Male body shape
  • Nude (art) – Piece of work of art that has equally its primary field of study the unclothed man body
  • Physical attractiveness – Aesthetic cess of physical traits

Notes [edit]

  1. ^ human knee-cap
  2. ^ pelvic bones on either side of stomach
  3. ^ neckband bones
  4. ^ The sitting torso ratio (SBR) is also quoted, where the body is measured with subject sitting on a flat chair or table, and the leg-length determined by subtracting tabular array height from standing elevation.[ten] This is well-nigh the same as distance from the perineum but without the need to impact an intimate surface area.

References [edit]

  1. ^ a b Édouard Lantéri (1903). Modelling; a guide for teachers and students. London: Chapman and Hall. pp. 100–111.
  2. ^ "Hercules: The influence of works by Lysippos". Paris: The Louvre. Retrieved 4 October 2020. In the fourth century BCE, Lysippos drew upwardly a canon of proportions for a more elongated effigy that that divers by Polykleitos in the previous century. Co-ordinate to Lysippos, the height of the head should exist one-8th the pinnacle of the body, and non ane-seventh, every bit Polykleitos recommended.
  3. ^ a b Smith, W. Stevenson; Simpson, William Kelly (1998). The Art and Compages of Ancient Egypt. Penguin/Yale History of Art (tertiary ed.). Yale University Press. pp. 12–13, note 17. ISBN0300077475.
  4. ^ Devin Larsen (January nineteen, 2014). "Standard proportions of the human body". makingcomics.com . Retrieved September vi, 2020.
  5. ^ Anthony Ryder (2000). "Using measurement". The Artist'southward Complete Guide to Figure Drawing. New York: Watson-Gupthill. pp. 53 to 65. ISBN0-8230-0303-5.
  6. ^ Ananda Coomaraswamy (1934). "Artful of The Śukranĩtisāra". The Transformation of Nature in Art. Cambridge, Mass.: Harvard University Press. pp. 111–117. cited in Mosteller, John F (1988). "The Study of Indian Iconometry in Historical Perspective". Journal of the American Oriental Order. 108 (one): 99–110. doi:10.2307/603249. JSTOR 603249. Retrieved 7 October 2020.
  7. ^ Tobin, Richard (1975). "The Catechism of Polykleitos". American Journal of Archaeology. 79 (iv): 307–321. doi:ten.2307/503064. JSTOR 503064. S2CID 191362470. Retrieved 2 October 2020.
  8. ^ a b c Joseph Sheppard (1975). "Proportion". Anatomy A Consummate Guide for Artists. New York: Watson-Gupthill. pp. 7 to thirteen. ISBN0-8230-0218-seven.
  9. ^ a b Stepan Ayvazyan. "Human Body Proportions". drawingforall.net . Retrieved 12 September 2020.
  10. ^ Andrea Chrysanthou (27 July 2017). "How to Measure Leg-to-Torso Ratio". Sportsrec.com . Retrieved 30 September 2020.
  11. ^ a b Thomas M. Chiliad. Versluys; Robert A. Foley; William J. Skylark (16 May 2018). "The influence of leg-to-body ratio, arm-to-body ratio and intra-limb ratio on male human attractiveness". Royal Society Open up Science. The Royal Society Publishing. 5 (five): 171790. Bibcode:2018RSOS....571790V. doi:10.1098/rsos.171790. PMC5990728. PMID 29892373. S2CID 47018307.
  12. ^ a b Kiire, S (2016). "Effect of Leg-to-Body Ratio on Body Shape Bewitchery". Archives of Sexual Behavior. 45 (4): 901–910. doi:ten.1007/s10508-015-0635-9. PMID 26474977. S2CID 40574546.
  13. ^ Leitch, I. (1951). "Growth and health". British Journal of Nutrition. five (1): 142–51. doi:x.1079/BJN19510017. PMID 14886531.
  14. ^ Stephen A. Bernstein, One thousand.C. United states (Ret.); Michael Lo, MSPH; Due west. Sumner Davis, PhD (1 March 2017). "Proposing Using Waist-to-Height Ratio every bit the Initial Metric for Body Fat Assessment Standards in the U.S. Army". Military machine Medicine. 182 . Retrieved ten September 2020.
  15. ^ a b c d Bovet, Jeanne; Raymond, Michel (17 April 2015). "Preferred Women'due south Waist-to-Hip Ratio Variation over the Concluding 2,500 Years". PLOS One. ten (4): e0123284. Bibcode:2015PLoSO..1023284B. doi:x.1371/periodical.pone.0123284. PMC4401783. PMID 25886537. cited in Stephen Heyman (May 27, 2015). "Gleaning New Perspectives past Measuring Body Proportions in Art". The New York Times. Archived from the original on 1 November 2021. Retrieved ten September 2020.
  16. ^ a b c Alan F. Dixson; Barnaby J. Dixson (2011). "Venus Figurines of the European Paleolithic: Symbols of Fertility or Attractiveness?". Journal of Anthropology. 2011: 1–11. doi:10.1155/2011/569120.
  17. ^ Stewart, Andrew (Nov 1978). "Polykleitos of Argos," I Hundred Greek Sculptors: Their Careers and Extant Works". Journal of Hellenic Studies. 98: 122–131. doi:x.2307/630196. JSTOR 630196.
  18. ^ "Art: Doryphoros (Canon)". Art Through Time: A Global View. Annenberg Learner. Retrieved xvi September 2020. Though we do not know the exact details of Polykleitos's formula, the end result, as manifested in the Doryphoros, was the perfect expression of what the Greeks called symmetria
  19. ^ Tobin, Richard (October 1975). "The Canon of Polykleitos". American Journal of Archaeology. 79 (four): 307–321. doi:10.2307/503064. JSTOR 503064. S2CID 191362470.
  20. ^ "Universal Leonardo: Leonardo Da Vinci Online Essays". 22 April 2010.
  21. ^ Richter, Jean Paul (1970). The Notebooks of Leonardo da Vinci (Reprint of original 1883 ed.). New York: Dover. ISBN978-0-486-22572-two.
  22. ^ a b Donald E. Simanek (December 2015). "Fibonacci Play a joke on". Lockehaven.edu. Lock Oasis Academy of Pennsylvania. Retrieved xiii September 2020.
  23. ^ Tobin, Richard (1975). "The Canon of Polykleitos". American Journal of Archaeology. 79 (4): 307–321. doi:10.2307/503064. JSTOR 503064. S2CID 191362470. Retrieved 2 October 2020.
  24. ^ Fairbanks, Eugene F. (2011). Human Proportions for Artists. Bellingham, WA: Fairbanks Fine art and Books. ISBN978-1467901871.

Further reading [edit]

  • Deriabin, V. E. (1987). "Age-related changes in human trunk proportions studied by the method of principal components". Nauchnye Doklady Vysshei Shkoly. Biologicheskie Nauki (ane): 50–55. PMID 3828410.
  • Bogin, B; Varela-Silva, M. I. (2010). "Leg length, body proportion, and wellness: A review with a notation on dazzler". International Journal of Environmental Inquiry and Public Health. 7 (three): 1047–75. doi:10.3390/ijerph7031047. PMC2872302. PMID 20617018.
  • Alley, Thomas R. (Feb 1983). "Growth-Produced Changes in Body Shape and Size equally Determinants of Perceived Age and Developed Caregiving". Kid Development. 54 (ane): 241–248. doi:10.2307/1129882. JSTOR 1129882.
  • Pittenger, John B. (1990). "Torso proportions as information for age and cuteness: Animals in illustrated children'south books". Perception & Psychophysics. 48 (2): 124–xxx. doi:x.3758/BF03207078. PMID 2385485. S2CID 27929821.

External links [edit]

  • Changing body proportions during growth
  • "Body visualizer". MPI IS Perceiving Systems Department, Max Planck Institute. 2011. Retrieved 23 September 2020.

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Source: https://en.wikipedia.org/wiki/Body_proportions

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