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The
Dictionary of Human Form equips the figurative artist with vitally
important information about human structure. Structure is a completely
different subject from anatomy. Rather than what we don't see beneath
the skin, structure analyses what we see, the organisation and
appearance of the organic surface, how the body is made and the effects
of its different actions. The body is complex and the subject is vast.
It could be said that if you wish to ''speak'' about the body,
structure is your vocabulary. To represent the body convincingly, you
will need to develop a structural way of seeing and understanding it.
This Dictionary is a much more comprehensive structural analysis than has ever appeared before. It will eventually change figurative art.
Introductory chapters are as follows - please click on a page link to open the related page from the book...
The basic principles of structure. Beginning roughly two millennia in the past, artists have understood that the body is a highly organised creation. From the macro to the micro levels, it functions as a unified organism through incredibly complex interactions.
Links... page 7... page 8
What this book is not about. The knowledge of structure is but one vitally necessary subject among many others that must be assimilated by an artist wishing paint and draw the body convincingly. Link... page 9
The universality of structure. The structures of the body are universal, every human being has the same structures. The proportional parameters change for each. Links... page 11... page 12
Unity and specialisation in the body. The body functions as a unified organism. each element has its function, and all must be coordinated. Links... page 11... page 14
Continuity. Human structures are interwoven and connected in a continuous manner, without blockages. Link... page 13
Planes, blocks and perspective effects. There are no flat surfaces on the body, and no sharp angular edges, and therefore no planes. However, it can be useful to imagine the body as tilted blocks in space. Links... page 13... page 16... page17
Tapering of structures. All body structures are tapered. They constantly vary in widths. Links... page 17... page 18
Non-parallelism of human forms. No two sides of structures are ever parallel. Parallel forms are man made and inorganic.
Links... page 17... page 18
The asymmetry of human forms. Forms whose shapes are identical on either side of a central axis do not exist on the body.
Links... page 19... page 20
Diagonal arrangements of forms on the body. Structures are aligned diagonally on the body along attenuated twisting curves.
Links... page 19... page 20
The integration of structures. All body parts are knitted together. It is more organic, for example, rather than defining a hand as something separate, to think of a hand section, inserting up into the lower arm. Links... page 21... page 22
The uses of leverage. Muscular structures do not attach at the joints, producing the forms of a pop-in doll.
Links... page 21... page 22
The growth of forms. The forms of the body grow outward, as if from a central seed. They are characterised by a fullness, an amplitude. Links... page 23... page 24
Layered forms. Structures grow as layered, from a largest underlying mass to ever smaller and smaller sub-forms toward the surface.
Links... page 23... page 25
Rounding and Ending sequences. All structures are to some degree rounded. All structures have a definite recognisable shape. Therefore these shapes are delimited by endings. Links... page 23... page 27
Similar structural shapes. Structures are grouped on the body in families of similar, but not identical shapes. For example, a family of cheek shapes, nose shapes, etc. Links... page 26... page 28
Suturing.Where two structures meet, each sends out very small connective structures, knitting two masses together.
Links... page 26... page 30
Pathways. All structures are arranged on the body along curving ''pathways.'' These are oriented in different directions, twisting in elongated S-curves around the body. Links... page 31... page 32
The multi-directionality of pathways.
It is useful to remember that each light direction will emphasise certain pathways and somewhat hide others.
Links... page 33... page 34
Pathways as architecture. The body has requirements common to architectural design. The arrangement of pathways on the body express architectonic characteristics. Links... page 33... page 35
Modular building blocks. Nature employs certain modular shapes to fulfil specific functions. Links... page 36... page 37... page 38
Modular portraitistic shapes. Each individual grows from a matrix proportional ratio, which can be seen everywhere on the body.
Links... page 36... page 39
The nature of gesture. Gesture is the bodily expression of an intention. Links... page 40... page 41... page 42... page 46... page 47
Active and passive modes. The actions of the body produce active and passive effects on structures.
Links... page 40... page 43... page 44... page 45
The sense of form. There is a style of human form. Other styles of form are non-human, inorganic, unnatural.
Links... page 48... page 49
This Dictionary is a much more comprehensive structural analysis than has ever appeared before. It will eventually change figurative art.
Introductory chapters are as follows - please click on a page link to open the related page from the book...
The basic principles of structure. Beginning roughly two millennia in the past, artists have understood that the body is a highly organised creation. From the macro to the micro levels, it functions as a unified organism through incredibly complex interactions.
Links... page 7... page 8
What this book is not about. The knowledge of structure is but one vitally necessary subject among many others that must be assimilated by an artist wishing paint and draw the body convincingly. Link... page 9
The universality of structure. The structures of the body are universal, every human being has the same structures. The proportional parameters change for each. Links... page 11... page 12
Unity and specialisation in the body. The body functions as a unified organism. each element has its function, and all must be coordinated. Links... page 11... page 14
Continuity. Human structures are interwoven and connected in a continuous manner, without blockages. Link... page 13
Planes, blocks and perspective effects. There are no flat surfaces on the body, and no sharp angular edges, and therefore no planes. However, it can be useful to imagine the body as tilted blocks in space. Links... page 13... page 16... page17
Tapering of structures. All body structures are tapered. They constantly vary in widths. Links... page 17... page 18
Non-parallelism of human forms. No two sides of structures are ever parallel. Parallel forms are man made and inorganic.
Links... page 17... page 18
The asymmetry of human forms. Forms whose shapes are identical on either side of a central axis do not exist on the body.
Links... page 19... page 20
Diagonal arrangements of forms on the body. Structures are aligned diagonally on the body along attenuated twisting curves.
Links... page 19... page 20
The integration of structures. All body parts are knitted together. It is more organic, for example, rather than defining a hand as something separate, to think of a hand section, inserting up into the lower arm. Links... page 21... page 22
The uses of leverage. Muscular structures do not attach at the joints, producing the forms of a pop-in doll.
Links... page 21... page 22
The growth of forms. The forms of the body grow outward, as if from a central seed. They are characterised by a fullness, an amplitude. Links... page 23... page 24
Layered forms. Structures grow as layered, from a largest underlying mass to ever smaller and smaller sub-forms toward the surface.
Links... page 23... page 25
Rounding and Ending sequences. All structures are to some degree rounded. All structures have a definite recognisable shape. Therefore these shapes are delimited by endings. Links... page 23... page 27
Similar structural shapes. Structures are grouped on the body in families of similar, but not identical shapes. For example, a family of cheek shapes, nose shapes, etc. Links... page 26... page 28
Suturing.Where two structures meet, each sends out very small connective structures, knitting two masses together.
Links... page 26... page 30
Pathways. All structures are arranged on the body along curving ''pathways.'' These are oriented in different directions, twisting in elongated S-curves around the body. Links... page 31... page 32
The multi-directionality of pathways.
It is useful to remember that each light direction will emphasise certain pathways and somewhat hide others.
Links... page 33... page 34
Pathways as architecture. The body has requirements common to architectural design. The arrangement of pathways on the body express architectonic characteristics. Links... page 33... page 35
Modular building blocks. Nature employs certain modular shapes to fulfil specific functions. Links... page 36... page 37... page 38
Modular portraitistic shapes. Each individual grows from a matrix proportional ratio, which can be seen everywhere on the body.
Links... page 36... page 39
The nature of gesture. Gesture is the bodily expression of an intention. Links... page 40... page 41... page 42... page 46... page 47
Active and passive modes. The actions of the body produce active and passive effects on structures.
Links... page 40... page 43... page 44... page 45
The sense of form. There is a style of human form. Other styles of form are non-human, inorganic, unnatural.
Links... page 48... page 49