SkunkyArt | ziinyu — ABSTRACTION Basics

Envelope
The envelope describes the most simple shape that could completely contain the figure, a geometric outline that surrounds the body or a grouped part of the body. Usually the least lines possible are used, defining the shape with three if possible, at most six (this is refined later, most commonly through some form of the "Block-In".

To start out, find the basic shape of the figure, imagine they are enshrouded in a tight cloth, what are the edges of this fabric? - How are they defined by the parts of the body, which forms jut out to hold in place the turns of the fabric? Think about this in a two dimensional sense, look at the projected figure, not the form with depth (at least initially). If the figure had no depth, was simply or a shape or silhouette, what would the most simple form of that silhouette be? Once the initial envelope is established, find interior envelopes, grouping parts of the body that stand out as being related in their spacial relationships. Do NOT group elements by their function, do not always envelope the legs separately from the arms and torso, group shapes based on what you see, on their visual locations.

For each envelope that you draw on the page, you should be able to picture it surrounding your figure, as well as the figure existing within it. Compare the physical lines as imagined on the model with the lines you have drawn. Do the shapes match? - Is your envelope to wide? - Does it have the correct rotation? Does it have the same balance? - If you found the center of your shape, would it be the same as the center of the shape on the figure?

Continuing and refining these envelopes on smaller and smaller forms is a method of "Blocking-In" the figure.

Point
The point method is very similar to the envelope method, but rather than being concerned with line, it is concerned with points. Each point that is drawn must physically exist somewhere on the figure, and with the placement of each point, it must be related to all surrounding points (usually this is simplified to a relation between two or three close points and one or two distant points, so that localization does not occur).

First place the four points that define the uppermost, lowermost, leftmost, and rightmost points of the figure. If you were to encase it in a rectangle aligned to the frame or your perspective, where would it intersect? (Notice that these are often the same points that define the outermost envelope.) This sets you up with the bounds of your figure, and allows you to position it on the page in a way that suits your desired composition. You have established the space in which your figure will occupy, and all further points will relate to this space. Next look for prominent points on the figure and position those.

To place each point find its relationship to surrounding points (also on the figure), then find those supporting points in your drawing, develop the same relationship. This will allow each point to be placed accurately. The following are a series of relationships to note :

Closest Points
How does the new point relate to the points nearest to it? - What angles does it form when connected to these points?

Existing Lines
Does your point lie on any lines connecting points you have already placed? - If so, how far along the line? - Halfway? - Twice the current distance? - Does it exist at the intersection of two lines?

Plumblines and Horizontals
If you were to drop a line straight down or across from your new point, how does it relate to existing points? - Is it to the left or right of their plumbline; above or below their horizontal? (This is especially useful to relate distant points on the figure.)

Midpoints
If you were to draw the vertical line between the horizontals of two points (say the highest and lowest point), what level would the midpoint be? - What would be above the midpoint and what would be below it? (The same goes for horizontal midpoints.)

Negative Space
Instead of drawing the positive space of the figure, draw the negative space around it. This makes abstraction much easier, as we cannot recognize the form of negative space, only its shape. Often the negative space is also more compressed (such as the space between extended elements, such as the appendages of the figure), allowing easier relationships to be made.

Usually this mentality cannot be applied on its own without an underlying structure, it is often connected with an envelope or a point foundation.

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ziinyu — ABSTRACTION Basics - :Figure: [NSFW]