be chosen. Again, in drawing groups, one figure may not make harmonious composition with the others, and consequently must be changed. Obviously, it would be wasted labour to put in details of the features before the pose is right.
The following remarks on the various parts of the body will serve to recall to the student and the practising artist the salient features
of each part, and indicate their special treatment in fashion drawing.
They are not intended to be exhaustive, nor is every part considered, and for more complete details the student should
refer to one of the standard works on anatomical or figure drawing.1
ARM AND HAND
When hanging freely, the arm reaches to about midway down the thigh. The thumb points forwards and inwards, and the palm faces the body. The humerus (elbow) is on a line with the umbilicus, and when the hands are folded together before the body they rest on the centre of the figure. The arm flows naturally through the wrist into the hand, so that the limb from shoulder to fingertip makes one rhythmic whole. The thumb reaches to the middle joint of the first finger. The end joints of fingers and thumb turn up a little at the ends, and the little finger in woman is particularly graceful. The whole arm and hand in woman is rounder and more tapered than in man, and much more expressive.
BACK AND SPINE
The backbone is not straight and stiff, but flexible and mobile. In bending forwards, a woman moves the upper part most; a man the lower part.
BREAST
Although definitely a feature of the female figure, the breast is not so important in suggesting sex as are the general proportions and pose, nor is it made much of in fashion drawing. It must, however, be particularly observed that the nipples are not central but towards the sides, and point outwards. The breast must not be placed too high, although in depicting youthful figures a small high breast emphasizes their youthfulness.
EAR
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