Figure: constructive analysis 
Automatic translate
What is a picture?
What is remembered first of all when asked what a picture is? “This is the foundation of all kinds of fine art.” So - simply, without further explanation - many educational publications by drawing begin. Because for the explanations it will be necessary to dive into the foundations of all types of fine art, understand their design, understand what proportion of the drawing is in it (which is a concrete affair, not a literary outpouring). After which it will be absolutely clear that the drawing is the core around which all kinds of fine art are formed, the main element of their construction.
Why do we say that we draw with a pencil and write with paints? What is the difference? The anatomical structure of a person does not change due to the clothes with which it is hidden - the function and image of the shells change. So the picture is not a figurative shell, but the main form. Drawing is much more than we imagined before or can imagine now. Why can’t most painters theoretically explain their type of activity? Because color and techniques are not painting, but merely elements of the foundation, which is the picture.
This tutorial is intended for a wide range of users, but it will be especially useful for students of the faculties of design, architecture, as well as for students of graphic art departments who need to know the theory and methodology of teaching drawing.
The development of volumetric-spatial thinking, which is so necessary for these specialties, begins with drawing lessons. If you are familiar with training programs for designers in the oldest and most respected Russian educational institution, which is the Art and Industrial University named after Stroganov, then you can pay attention that the discipline "Drawing" is equal to the number of hours (the time of training of specialists) discipline "Design".
The plasticity of the perfect creations of nature is a treasure trove for the designer and architect. One of these creations is man. Not for nothing that there are so many productions connected with a person in drawing program tasks. Also such science as bionics is engaged in this object.
The design method in design and architecture (functional analysis) is very similar to the constructive analysis method in the figure. Getting complete information about an object, learning to see the simple in the complex, and then leading the drawing (or the design process) along the path “from simple to complex” is one of the main methods of working on both a drawing and a project. Therefore, drawing as an object in the preparation of a designer and architect plays a significant role.
There is a big problem that is associated with the lack of educational literature on drawing, and especially with the absence in this literature of questions of a constructive drawing as a base or foundation for a drawing in general.
Almost all respected drawing theorists mention in their writings a constructive analysis in the drawing. But always the same thing surprises. Open some tutorials: after the topic of plotting the centerlines in the drawing of the head or figure of a person, the topic of constructing shadows and tonal elaboration always follow. Although you are strongly encouraged to pay attention to the design of the object, that is, the form.
Understanding the importance of the design in the drawing, however, no one will show or tell you what it is (with the exception of a few illustrations of drawings made by artists of the Renaissance and editions of the art and industrial university). Therefore, most drawing tutorials, including some academic ones, look rather strange. The strange thing is that there is a feeling that some of the pages were removed from these publications. Like, here’s the first stage of the drawing with the mass and the main axial lines - and here’s the final stage and the grandfather with the mustache, as if alive.
In the student training program, the drawing block “Constructive analysis” is followed by the block of tasks “Still life drawing”. This is due to the fact that the knowledge for drawing a still life is laid from childhood in the traditional manner of sketching, as a result of which the tasks in this drawing are performed by students with a certain amount of inertia, due to the peculiarities of thinking.
Between the tasks “Still life drawing” and “Human head drawing” there is a border, having crossed which the student falls into the field of a different spatial and spatial thinking, based on constructive analysis.
The lack of preparedness for conscious drawing causes a painful state, greatly inhibiting the process of cognition of the drawing. It is impossible to teach a student to draw well during the period of study at the institute. But to teach him to think in terms of drawing and, especially, the basics of constructive analysis is possible. This will become his guiding thread, and especially in design.
Most importantly, the drawing as a form is finite. The design of the shape of the picture is known in it, as in music, “seven notes and infinity of possibilities”. Without a constructive analysis of the form, there is no drawing at all, just as there is no architectural structure without a foundation. Mastering the methodology of constructive analysis in the figure is the number one task. But this process is quite specific, because it requires both a teacher and a student to be creative.
Understanding the design of the object being drawn is always based on our own experience. Without experience, the teacher’s constructive understanding of the shape of the subject can turn into a template or diagram. That is why the skills of a teacher with developed spatial and spatial thinking, who owns the basics of a constructive drawing, are so necessary here.
Next Construction (lat. Constructio) - construction, addition.