How to arrange the posture of a human model

Author: Gao Shengkui
Publisher:
Publish Date: 2003-12-01
Features: The poses of the human model are diverse, ranging from relaxed and flowing to coiled and reserved, from bold and expressive to subtle and profound, truly a thousand forms. Therefore, in the process of human figure painting or photography, how to design and arrange the poses of the human model to make the work directly convey its theme has become the key to the success or failure of the creation. Model poses are generally divided into two categories: static and dynamic. In paintings, the human model mostly adopts stable and comfortable poses that can be maintained for a long time. Even if there are dynamic poses, they are created based on the artist's instantaneous memory. In photographic works, the poses of the human model are primarily "captured" dynamic shots, with relatively fewer "staged" ones. However, this is not absolute. As long as the photographer has a unique touch and captures the essence of the work effectively, it can equally reflect the artist's craftsmanship. In static posing, models can generally be categorized into standing, lying down, lying on the back, kneeling, and sitting, with occasional poses that are neither sitting nor kneeling, depending on the theme the author wishes to express. A still-life oil painter may spend a week repeatedly arranging his still-life objects to achieve a composition that perfectly matches his creative design. Dynamic poses are instantaneous changes based on static poses—such as those of dancers, highly exaggerated, or even abstract variations of certain parts. The author can quickly capture these in a matter of seconds, creating timeless works. The ever-changing dynamics may seem unpredictable, but they actually follow inherent patterns. This requires the author to possess noble and healthy moral cultivation, rely on the artistic skills built through accumulated effort, have keen and insightful emotional perception, and possess lightning-fast flashes of inspiration. Photography and painting are sister arts, both forms of flat visual expression. Compared to other photographic arts, the relationship between human figure photography and human figure painting is particularly close. As a photographer, if one only learns by imitating peers and ignores the works of painters, it can be considered a major oversight. Similarly, painters also need to draw inspiration from excellent works in photographic lenses, especially dynamic ones, as the models in their paintings cannot help complete certain works. Visiting a painting exhibition or looking through a few painting albums can be as effective as visiting a photography exhibition. This photography collection is just a reference for friends who are interested in art photography, as only photography can, to a large extent, reflect the static and dynamic poses of the human model. This is also the reason why this book uses photographic works to demonstrate how to arrange model poses. The author, Gao Shengkui, is an experienced photographer who has shot a large number of human figure photographs, receiving widespread acclaim. This book is richly illustrated with images and uses concise and clear language to share insights into the nuances of human figure photography. It is hoped that this will serve as a springboard for further exploration.