Figure Drawing for Children

Figure Drawing for Children
Published in 1893. This book is addressed to the young artist but because the author takes care to completely address the process of drawing the young figure it is of interest to any artist beginning to draw figures.
From the chapter on drawing the Head - Front View:

THE HEAD - FRONT VIEW. Draw several ovals like Fig. 43, by one quick sweep of the pencil or chalk. If on paper, let them be not less than a finger long; if on the blackboard, a hand and a half in length.
Repeat this exercise many times, drawing first from the right and then from the left until a free flowing line and good form are secured.
While not absolutely necessary to complete the line of the egg-shaped oval without lifting the pencil after it has once touched the paper, the result is likely to be more pleasing than one made up of several patched lines, and also more accurate.
After a little time spent in drawing the ovals rapidly, you will, by comparison, detect where you vary most from the correct outline — for though so familiar and simple a form, you will probably not succeed with it at first.
After noting where you have a tendency to go astray, resume the same free swift drawing, bearing in mind just where you need to proceed carefully, and in the work (Fig. 43) which follows a change for the better will be evident.
Continue to draw and criticise, until satisfactory ovals are produced. Froni these select the best, and mark the center by a short line at each side, half-way between the top and bottom, as in Fig. 43. The position of the eyes in the head of a young child is just below the center, so a little below this half-way line they must be located. At first indicate them merely by two curved lines which shall stand for the upper lid (Fig. 44).
It will be very easy for you to give them their correct position after fixing in mind the two following rules : first, the (Fig. 44. Fig. 45.) eyes must have a space between them equal to the length of an eye; second, there must be a space two thirds the length of an eye between the outer corners and the outline of the oval.
The chin proper may next be added. It should be shown in this plan by another short curved line, like those of the eyes, only “upside down,” near the lower end (Fig. 44).
Avoid making the chin large or heavy. Sometimes, it is true, a peculiar kind of strength is gained by departing from correct form in this rspect, but here, and always at the start, it is best to learn the correct and normal form. The lower line of the original oval forms C,, the under chin, or marks where it joins the neck. (Fig. 46.) Next find the point half-way between the chin line and the eye lines, and there locate the end of the nose. This may be expressed by two small curves, or tiny half- circles, for the nostrils, as they are the noticeable part of this feature in the front view (Fig. 45). (Fig. 45.) The nostrils are drawn thus, instead of with nearly horizontal lines, because the nostrils open forward in a child’s head, and we see into the passages; they assume the more horizontal appearance, as with the change of maturity the nose elongates and the nostrils open downward.
A little below the nose draw the curved lines for the mouth, as in (Fig. 45.) Be careful not to leave too much space between the nose and the mouth.
To the eyes now give a second curved line, nearly parallel to the first, to corn- plete the upper lid; and under it, partly concealed (Fig 48.) by it, place a small circle with a dot in the center, to represent the iris and pupil, or colored part of the eye (Fig. 46).
Above the eyes draw curved lines for the eyebrows, and let the highest parts, which should be near the outer ends, be about the diameter of the iris above the eye (Fig. 46).
The ears are seen upon the original oval in two curved lines reaching no higher than the eyebrows and no lower than the nostrils (Fig. 47). In good forms, the projection of the ears beyond the head is not conspicuous after the hair is well-grown.
From the Table of Contents

PROPORTIONS OF THE CHILD-FIGURE
ACTION BY MEANS OF SINGLE LINES
AGE AND ACTION IN THE SINGLE-LINE FIGURE
THE SOLID FORM
THE SOLID FORM, SIDE AND BACK
ACTION IN THE. SOLID FIGURE
THE HEAD FRONT VIEW
THE HEAD SIDE VIEW
THE HEAD — BACK VIEW, AND EXPRESSION
THE ARM, FORE-ARM AND HAND
THE THIGH, LEG AND FOOT
FORESHORTENING AND COMPOSITION

A timeless introduction to drawing the young figure for the artist. $3.95

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