Body proportions

Basics of human proportions

It is usually important in figure drawing to draw the human figure in proportion. Though there are subtle differences between individuals, human 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 'head', which is the distance from the top of the head to the chin. This unit of measurement is credited 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 across the knuckles, with 18 fists from the ground to the hairline on the forehead. This canon was already established by the Narmer Palette from about the 31st century BC, and remained in use until at least the conquest by Alexander the Great some 3,000 years later.

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

• An average person is generally 7-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 tall.
• A heroic figure, used in the depiction of gods and superheroes, is eight-and-a-half heads tall. Most of the additional length comes from a bigger chest and longer legs.

Measurements

There are a number of important distances between reference points that an artist may measure and will observe: These are the distance from floor to the patella; from the patella to the front iliac crest; the distance across the stomach between the iliac crests; the distances (which may differ according to pose) from the iliac crests to the suprasternal notch between the clavicles; and the distance from the notch to the bases of the ears (which again may differ according to the pose).

Some teachers deprecate mechanistic measurements and strongly advise the artist to learn to estimate proportion by eye alone.

It is in drawing from the life that a canon is likely to be a hindrance to the artist; but it is not the method of Indian art to work from the model. Almost the whole philosophy of Indian art is summed up in the verse 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 canon then, is of use as a rule of thumb, relieving him of some part of the technical difficulties, leaving him free to concentrate his thought more singly on the message or burden of his work. It is only in this way that it must have been used in periods of great achievement, or by great artists.

— Ananda K. Coomaraswamy, The Transformation of Nature in Art

Ratios

[Proportion] should not 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 simple ratios for a complete proportion system, often with a linear basis at odds with the areal approach of Greek geometry

— Richard Tobin, The Canon of Polykleitos, 1975.

Many text books of artistic anatomy advise that the head height be used as a yardstick for other lengths in the body: their ratios to it provide a consistent and credible structure. Although the average person is 71⁄2 heads tall, the custom in Classical Greece (since Lysippos) and Renaissance art was to set the figure as eight heads tall: "the eight-heads-length figure seems by far the best; it gives dignity to the figure and also seems to be the most convenient." The half-way mark is a line between the greater trochanters, just above the pubic arch. Legs (floor to crotch) are typically three-and-a-half to four heads long, arms measure to about three heads long, and hands are as long as the face.

• Hip-to-shoulder ratio: the head-on lateral width ratio varies by biological sex. The average ratio for women is 1:1.03, for men it is 1:1.18.
• Leg-to-body ratio: the leg-to-body is seen as indicator of physical attractiveness but there appears to be no accepted definition of leg-length: the 'perineum to floor' measure is the most used but arguably the distance from ankle bone to outer hip bone is more rigorous. On this (latter) metric, the most attractive ratio of leg to body for men (as seen by American women) is 1:2, matching the 'four heads:four heads' ratio above. A Japanese study using the former metric found the same result for male attractiveness but women with longer legs than body were judged to be more attractive. Excessive deviations from the mean were seen as indicative of disease. "High class fashion 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 depict the lower orders, as such, or the comic, he draws people with exaggeratedly short limbs and makes them fat."
• Waist-to-height ratio: the average ratio for US college competitive swimmers is 0.424 (women) and 0.428 (men); the ratios for a (US) normally healthy man or woman is 0.46–0.53 and 0.45–0.49 respectively; the ratio ranges beyond 0.63 for morbidly obese individuals.
• Waist-to-hip ratio: artist's conception of the ideal waist–hip ratio has varied down the ages, but for female figures "over the 2,500-year period the average WHR never exited 'the fertile range' (from 0.67 to 0.80)." The Venus de Milo (130–100 BCE) has a WHR of 0.76; in Anthony van Dyck's Venus Asks Vulcan to Cast Arms for Her Son Aeneas (1630), Venus's estimated WHR is 0.8; and Jean-Léon Gérôme's Birth of Venus (1890) has an estimated WHR of 0.66.