Encyclopedia of Business and Finance, Vol. 2 by Burton S. Kaliski

By Burton S. Kaliski

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By Burton S. Kaliski

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Is not nec- You must, know the basic geometric shapes make up the areas of the eyes, nose, of course, that mouth, and ears. You need never want you see. You features. will see The eyes Look draw what for a model. in the mirror, study the forms, more than anatomical and mouth particularly reveal emotional expression. Special understanding of the subtle eye qualities the artist. is of You paramount importance to certainly cannot stop with anatomical knowledge here. Get out your mirror again. Scrutiny of the reflection of your eyes will reveal more to you than any other method of study.

Appear in our drawings, or we have not understood them. 45 own position, as models, draw them performing countless They are not difficult to draw well. It merely takes respect and understanding to give ////M" /A ,u y. /iiti / j\ f ,/' / //////' 46 them life. A rm The length, arm, suspended from juncture with the shoulder, swivel only from that point point. At other points its point of may bulge or relax with flexing but these movements are re- The wrist allows for many hand movements, but has very little effect on the position and movements of the arm.

Now a horizontal line across the center of the vertical line. Then divide the lower half of the oval into three equal parts with 33 two more horizontal lines. ) Now you are ready to lay out the features that will humanize this diagram. Cheeks. The shape of the cheeks will vary depending on the shape of the cheek- bone and the jawbone, as well as the mood of the subject. The movement of the mouth when it is m ^ V\^\ $ V I i^K-y ' eating, smiling, talking, singing, ture in as economical a fashion as possible or cry- the emotions they betray.

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