Creative Variations | The Long-Line of the Body | Vertical T | Horizontal 'C | Diagonal 'S' | Ideas from Basic Body Lines | Ideas Also Flow | Shoulder and Hip Track Variations | Turning Tracks | Tilting Tracks | Twisting Tracks | Track Variations (Examples) | The Zigzag Body-line | Two Key Angles | Three Key Lines | Five Key Variations | Zigzag Changes Evolve from | The Seat | The Knees | The Back | Uncommon Points of Support | Multiple Points of Support | Unsupported Figures | Action Out of Control | Borderline Silhouettes | How the Body Talks | Shoulders Create Impressions | Torso Positions | Muscular Tension | Physical and Mental Tensions

CREATIVE VARIATIONS

of the body do not stem from thinking only in terms of being drastically different. True creativity is the art of doing the usual in an unusually effective fashion ... with a shade of distinction.

When this is accomplished your work has an intangible rightness and no one but a fellow creator can detect what has made it so.

A creative body position is enchanting. You do not stop with a critical eye at any one part. It is a fresh interpretation of a position you know is possible, but haven't seen very often. It is just right and right up to the last detail.

You, who have already delved into crea­tive posing, have you ever stopped to won­der at what point something ceases to be ordinary and takes on the qualities of the craftsman? If you are like most creators, you have been too busy producing results to understand how you arrived at that point. But if you are among those who probe the hows and the whys, you have probably found that creativity stems from digging deeper and deeper into a subject. Curiosity seeks out basics and their poten­tials for change down to minutiae and then - not by luck, accident or happenstance -you have achieved great sensitivity and can sense every subtle change that makes the big difference. For when you can recognize wisps of attitudes and can see variances through detail they become yours to use.

The body-line is the first and most prom­inent stroke on the page. It is the theme-line of your picture. It is established with a specific purpose in mind and serves as a basis of creative departure for other parts of the body. It can be a long-line, a zigzag or perhaps a borderline combination of the two.

Have you noticed that all of these theme-lines create both physical and mental im­pressions? To a fine degree, you sense atti­tudes, character and vitality in each. For that reason we say that the body talks. It is much more than a trunk to which the limbs are attached, it is the stem through which design and story must flow smoothly ... enhanced rather than hindered.

To the discerning eye (and most eyes that read a picture are more discerning than we realize) every mood and expression is evi­dent in the body.

Every movement made by a posing model is read by the way it relates (in conformity or opposition) to ...
other parts of the body, elements surrounding the body, story or purpose of the picture, picture mood and feeling and composition of the page.

As you carefully study or scan our diagramatic illustrations, you find that even in silhouette, you do sense attitudes and can feel life within and throughout the body, and when necessary, you can com­plete the details from your heightened imagination.

So, whether you prefer orthodox or off­beat attitudes, you find, of necessity, that you must be a kind of photographic physi­cian with the ability to examine a pose, diagnose it quickly, and prescribe correc­tion without disturbing its unity.

Let us expand our original T, C and 'S' concepts of body-lines and examine the mental attitudes each reflects as well as their possibilities for physical change.

DIAGRAM   OF FRONT VIEW VERTICAL ‘I’ SILHOUETTE

THE LONG-LINE OF THE BODY to the inexperienced eye, offers but little opportunity for change or variation. The reason being, that those who cannot re­cognize what is basic, cannot measure change. Basic long-lines of the body, as we have mentioned in the first section of the book, conform to three symbols the body can duplicate: an T, a 'C or an 'S\ Each symbol can assume a vertical, hori­zontal or diagonal position in relation to the frame of the picture. Thus, basic long-line potentials for body position are nine: Diagonal Diagonal 1   \ (     /   \ 'S'           Horizontal

These nine basic long-line body positions have infinite possibilities for variation. Here is a list of five ideas for creative de­parture which are easy to remember when you associate each variation to the number of parts of the body to be changed. Try this simple count-down before shooting. 5           4          3          2          1......click!

5 views which change the outline of the body as it turns (front, -J front, side, | back, back).

4 limbs (two arms, two legs) which vary the basic silhouette with their placement.

3 'p's - (P)urpose, (P)rops and (P)osition of theCamera. Three external influences for change.

2 tracks (shoulder and hip) which affect subtle changes in proportion and meaning.

1  body-line which varies by how much the head and leg-line bend the basic silhouette.

For instance, here is the count-down applied to the first of the nine positions. The vertical 'I' silhouette The diagram itself has a feeling of formali­ty and elegance. Our count down on this basic T gave us the following variations: 5. Front view used (others were possible). 4. Arms conform to the vertical and horizontal edges of the page. A few diagonals were used to spark interest. Legs were separated in different degree, used together or crossed. 3. Purpose... to maintain the feeling of formal elegance, high style design. Props... none. Position of Camera... same for each pose. 2. Shoulder-hip movement... none. 1. Variation of body-line... none.

By varying only numbers 5, 4 and a part of 3  we created the panel of vertical ‘I’ posi­tions to the right.

The long-line T silhouette is an interest­ing paradox; the novice can think of noth­ing else to do, while the experienced wel­come its exciting possibilities.

Its appearance varies with the skill with which it is used. For a beginner it often comes out stolid, heavy or awkward, while those who handle it expertly bring out vibrancy, strength and assurance.

It is the oldest of all body positions; the long, vertical line has been associated with elegance, spirituality and grandeur down through the ages ... and yet, it is as ultra­modern, as timeless as tomorrow.

Vertical T silhouettes are quite adapt­able when the body is to be part of a design, for their straight line can repeat the lines of columns, doorways or other properties.

Before we apply a count-down to the

Horizontal 'C Silhouette . . .

we should recognize the fact that it may appear (as illustrated to your left) with both ends up or with both ends down.

The count-down for varying the 'C long-line in these positions, produced the follow­ing variations:

5 views were possible. We restricted all positions to the side-view, relying upon other sources for variation.

4 limbs added much. Legs repeated each other to help complete the 'C. Arms were varied to sup­port objects or the body .. .some extended, some repeated the body's line while others added re­laxation or expression.

3 important 'P's. Props included a rounded mound, a hammock, a springboard, a step and the floor. Position of the camera... raised, lowered. Purpose of the panel was to show the horizontal 'C in side-view only.

2 tracks (show shoulder and hip change in the first illustration only).

1 body-line (curve remained approximately the same in each picture with the head and leg lines angled in inverse proportion to maintain it.)

The 'C is an easy line to work with, for the body bends naturally at the waist with the head forming one end of the curve and the show-leg completing it. Its flowing line puts movement in a picture even when the action of the subject is restricted to repose.

Diagonal 'S' silhouette . . . variations with the 'S' in a regular position or flowing backward. The diagonal 'S' silhouette is an artistic line in itself. Its set of reversed curves im­part a feeling of variation even before other parts are placed. It has aesthetic grace and expresses fluid action (especially evi­dent in the diagonal position).

Our count down (below) produced the sample variations to the right:

5. As the previous illustrations did not incorporate it we used a 3/4 hack view.

4. The show-leg, used on the opposite side of the body from the head balances it. The arms were used in some of the positions to elongate the 'S' curve, in others, to balance it both pictorially and physically. Some support the body ...one set of arms repeats two lines of the page while the body flows between them.

3. Props (a ladder and a cane) were used to sup­port the stationary diagonal positions while the others, balanced in action, maintain themselves. Position of camera - raised, lowered.

2. Shoulder and hip tracks were varied to control body proportions and add flexibility.

1. The body-line was varied by tilting head and show-leg tilt for balance and action.

IDEAS FLOW FREELY FROM BASIC

VERTICAL OR DIAGONAL BODY-LINES

IDEAS ALSO FLOW

3/ 4   FRONT VIEW

SIDE VIEW

3/ 4   BACK VIEW

BACK VIEW

HORIZONTAL ‘I’ SILHOUETTES

from basic horizontal body-lines and can surpass the vertical and diagonal positions in variety since both the legs and the arms are free to multiply arrangements.

Every picture made is subject to limi­tations of many kinds; poor props, impro­per lighting, lack of time, wrong equip­ment, problem backgrounds, client, layout, etc. Whatever the conditions may be, how­ever, that impose restrictions and close the door on any one position of the human body, several variations will always be available when you try the count down ...

5 views (through which the contour of the body can be changed as it turns by degrees from its slender side view to its broadest full-front or back view).

4 limbs (which can conform to the attitude or line the body has established or can oppose that line and add emphasis or interest. Limbs can be used to correlate the body's relationship to other parts of the picture).

3 'p's (Purpose, Props and Position of Camera) which are the important external elements that add to the final appraisal of the picture. Purpose must be established - it's like taking aim. Props must be selected for utility or artistry or signi­ficance. Position of Camera must take advantage of all technical and physical considerations relevant to a good picture.

2 tracks (shoulder and hip) offer subtle and vast opportunity for body change.  Explore them!

1 body-line (which can be varied in any of its nine basic positions by increasing, decreasing or reversing its curves).

Remember, when one of the above sugges­tions becomes an invariable, it is time for another variation to enter your picture. Have you experimented with the changes that become possible through count down number 2, for example? Have you tried varying hip and shoulder tracks for differ­ent effects?

SHOULDER AND HIP TRACK VARIATIONS

add style to a picture. Only the expert suspects or knows the full extent of their elasticity. The pictures that reflect their adept use are seldom a result of lucky accident, but the distinct mark of know-how and can-do.

Their relationship to each other and to the horizontal edges of the finished picture warrants deliberate inspection. Let us examine the turn, tilt, twist movements which establish the positions of shoulder and hip tracks and vary their relationships.

TURNING

Shoulder and hip tracks

remain in a single plane which revolves before the camera. If the body were a pup­pet or marionette, it would require but two strings to effect this simple turn.

One string would be attached to the left ends of the shoulder and hip tracks and the other connect the right ends of the tracks. A movement of either string, toward or away from the camera, would move the hip and shoulder on the same side in unison ... parallel to each other and the floor.

Even though the tracks remain parallel to each other as they turn, they appear to tilt toward each other as the body moves into any 3/4position. The greater the turn of the model, the more noticeably the tracks tilt in the picture. If the lines were extended, they would meet each other at a vanishing point whose location would depend upon the amount of turn and the proximity of the camera. The camera is busy flattening the third plane into two dimensions. Perspective can alter shoulder and hip tracks that have not actually changed.

When a puppeteer has but few strings on a doll it can walk, bend, turn in jerky stilted movements which repeat frequently; the lack of strings limits its action.

The more strings the more independently and smooth­ly the parts move.

If, in arranging a pose, we want to enjoy greater freedom of movement, more variety of positions and have more control of the body in operation, we must also attach more strings and learn where they go and what they can do.

Let us attach four strings instead of two to our model, one to each end of the hip track and one to each end of the shoulder track - and see what we can do.

TILTIN G

Shoulder and hip tracks

Very interesting! We find that we can tilt them at an angle with the floor (yet keep them in the same plane and parallel to each other) with either end high.

They can be tilted toward each other (at either end) and remain one over the other or with one sliding out from under the other (still in the same plane).

For delicate differences, we can tilt the shoulder track and let the hip track remain parallel to the horizontal line of the page.

We can reverse this procedure and tilt the hip track and let the shoulder track remain horizontal to the page.

For even more variation, we can com­bine any of these positions with the turning body and let the camera add some varia­tions of its own in the ? views. A great number of usable variations are at hand when your imagination or creativity pulls the strings.

Interesting effects also result when we move the shoulder in one plane and the hips in another ...

HIPS  FACING  CAMERA SHOULDERS  TURNED AWAY

TWISTING SHOULDER AND HIP TRACKS independently puts fluidity into any body-line. The torso, in its elasticity, picks up a sense of action that makes the picture a living, vibrant thing. We will not need to attach any new strings to our marionette to experiment with this twisting movement. In fact, we can simplify the manipulation of the strings by attaching a control-bar to the tops of each pair of strings. One control-bar for the shoulder track and one for the hip track. With our puppet, each control-bar would be capable of revolving in a com­plete circle. In humans, however, the degree of twisting done by the shoulders and hip tracks is limited by the flexibility of the model. As each control-bar revolves, the hips or the shoulders revolve with it and the circumference of the imaginary circles (in­scribed by the ends of the tracks) are parallel to each other, even though one track may turn to the right, the other to the left.

Use these bars parallel to each other as you explore the possibilities of this wonder­ful movement.

Remember that as one shoulder twists away from the camera, perspective will automatically make that shoulder appear tilted, while a reverse movement would make a tilted shoulder appear straight and parallel to the bottom of the picture.

When you arrange a pose, do you take advantage of the possibilities of this twist­ing movement and its effect on the body's attitude and outline?

SHOULDERS FACING CAMERA HIPS TURNED AWAY With this twisting movement you can change the two-dimensional proportions of the body or the relationship of the parts to each other. In a picture we think of the body not only in relation to external objects appear­ing with it, but in relation to its own pro­portions. We measure the size of the hips in relation to the size of the shoulders: the size of the waistline in relation to the hips, head or shoulders. Notice the illustration on the left. The hip track is facing the camera and is paral­lel to the floor. The shoulder track has revolved, bringing one shoulder toward the camera and one away from the camera. Although the shoulder track on the subject remains parallel to the hip track they ap­pear tilted toward each other in the sil­houette because of the turn ... and some­thing more important happens. The shoul­ders, that were at one time wider than the hips, now appear smaller in outline and proportion!

To the right, the illustration shows that the twist has been reversed; the shoulders face the camera and the hips are turned away. This again alters the proportions of the body. The shoulders now appear broad­er and the hips have been slenderized in turning away from the camera.

Some use the shoulders and hips to add fluidity to the body, some to correct defects in proportion, some to dramatize parts.

We all know that a man's shoulders should appear wider than his hips (fashion*s-fleet-ing-fancy may demand that a woman be pictured this way). We also know that a voluptuous bustline and rounded-out hip puts forth that fully-feminine-feeling. We should never forget that the picture we want comes from pulling the right strings!

LEGS  APART           LEGS CROSSED
	TRACK VARIATIONS (SHOULDER AND HIP) created upon a pre-determined pattern, provide a source of variation that can be unique. By setting up an imaginary problem we can illustrate with a very real solution. The problem To create twelve different 'S' body-posi­tions. Unique solution Build each pose on a diagram of shoul­der-hip track variation. First, draw three pairs of lines to represent:
These represent three very different positi­ons for the shoulders and hips. If you thread a forward 'S' body-line and a backward S body-line through each pair of lines…
... you have doubled possibilities and now have ideas for six different poses.

At this point we decided to construct a pose on each diagram in which the girl's body faced in a certain direction. In the left panel each pose is directed left and in the right panel some look right and others are front-view. By adding the model's right and left stance we have arrived at the required twelve different basic ideas for the poses. In order to follow these patterns, all three movements of the shoulder-hip tracks -turn, tilt and twist - were employed. (By setting the pattern on the flat picture surface it is easy to get what you want.) Just for good measure, we decided to get further variety by letting all of the pictures on the left side of each panel have the feet apart and all of the pictures in the right of each panel have the feet crossed: then we fit­ted a pose into each pattern or diagram. Vari­ety? Of course! They all have to be different. Perhaps you'd like to try some poses of your own on these same patterns. It's fun!

Also try:

shoulder-track   slanting   up
to   the   right,      _____
hip-track   horizontal.
shoulder-track   horizontal,        _____
hip-track slanting 
up to the right.

Interlace a forward or a reverse 'S' body-line through each set of lines, decide what body view you want and in which direction the model is to face. Fit a pose into each one. Don't overlook the 'C and ‘I’ body-lines that might also be used.

Possibility for shoulder-hip track change can never be exhausted. Countless posi­tions can be created by pre-determining shoulder-hip track patterns on the finished picture.

THE ZIGZAG BODY-LINE

found in sitting, kneeling and other con­tracted postures, offers a definite challenge to a director's adroit manipulation of his model and camera as well as to the model's ability to create and visualize her position from the camera's view.

Much has been written, and your own experience has brought the knowledge to you first-hand, on what can happen to the body-lines (especially the leg-lines) in these positions. You have watched distortion dominate the picture as the feet come closer to the camera and the head shrivels away.

You have seen how in response to slight movement perspective (in the finished pic­ture) has altered straight shoulder tracks that were posed parallel to the floor. One end appeared tilted or angled as the body turned. Sometimes only a matter of inches, away from the camera.

True, perspective problems decrease as the distance increases between the subject and the camera. But haven't you found that it isn't always possible to work at a suffi­cient distance to prevent distortion? Thus, to help with the majority of your actual sittings (in which you would like to posi­tion the body without distorted effects) let us continue to confine our posing area, as much as possible, between imaginary panes of glass. Within this sandwich, we will find ample opportunity to expand posing model ideas.

As you study these zigzag body positions you see that their contracted postures can no longer conform to the long-line body symbols (I, C and S) but must be considered and classified by the angles they form: the degree of each and their relationship to each other and to the page.

TWO KEY-ANCLES

in zigzag silhouettes are formed, one at the hip and one at the knee. These angles are evaluated either from the camera view or from the two dimensional picture surface. They cannot be determined by the degree at which a model bends her knee or hip (unless she is in a direct side view), because the camera changes these angles when it transposes her to the flat surface. There are nine primary combinations possible.

            HIP   ANGLES

                acute     obtuse     right

Each little figure can be tipped in any direction on the flat picture surface... effective departures for varying a pose!

THREE KEY-LINES

in zigzag silhouettes (controlled by the de­gree and position of the two key angles) vary visually in importance by their rela­tionship to other elements in the picture. If at least two of these lines are parallel to the page or prop-lines (vertical, diagonal or horizontal) their position acquires signifi­cance and impact.

The length of any one (or all three) of the body lines is at its fullest when it is presented in a side-view to the camera. If a line is foreshortened, be sure the change is compatible with the rest of the picture.

FIVE KEY-VARIATIONS

in zigzag silhouettes are established by placing any primary angle combination on a point, or points of support and exploring the five considerations for change in nu­merical sequence. With emphasis now centered in different areas, let us review the count-down quickly, keeping the zigzag figure in mind:

5 views. The body must be changed gingerly from side to 3/4or full-front and back views, as dis­tortion can become quite a problem. While a front view causes the least problems in a long-line silhouette, you'll find the sideview pre­senting the fewest problems in the zigzag sil­houette. (The direction the body faces is deter­mined by the position of the upper part of the torso or chest box.)

4 limbs. Both the legs and the arms offer maxi­mum advantages for variation in zigzag po­sitions. Since the full length of the body is con­tracted, they usually take up a greater portion of the picture space also.

3 p's (all external elements). Purpose, Props and Position of the camera each assumes vital meaning, especially the last two. The support from which the position stems is the most im­portant prop in the picture and we shall examine it more thoroughly in the next few pages. Camera station is also important and some of its varia­tion of position are explored on page 141.

2 tracks. Shoulder-hip relationships are of ut­most value in varying the zigzag figure.

1 body-line. Although the body-line in the zigzag silhouette is in another form it is still extended and contracted by varying the degree of the angles (hip and knee, in this instance).

In summarizing, it seems that in the zigzag, number 3 of the count-down becomes of foremost interest, numbers 2 and 4 hold their own and numbers 1 and 5 become more or less limited by the third dimension. Since external elements are of prime im­portance in zigzag positions, let us see how...

ZIGZAG CHANGES CAN EVOLVE rom a point of support. You can tip or tilt the zig-zag figure, with credibility, in many directions if you can imagine what would support the body in that position. The supported figure uses a part (or parts) of the body to balance its weight upon a secure external object such as the floor, a chair, wall, etc. for a fleeting or indefinite period of time. The distri­bution of weight limits the duration of the pose. The unsupported figure has no apparent means of support touching it... for the moment. It is in the process of leaving or arriving at a source of sup­port, but at the instant the picture was taken it was in a state of isolation. Even if the support itself is not shown or used, its presence must be felt by the viewer. The viewer seeks understanding and must see or sense the point of support. Two types of body surfaces support its weight for an interval of time. Bone creates the hard surfaces which maintain their shape under pressure, while flesh or muscle create the softer surfaces that conform (in different degree) to the object upon which they rest.

HARD BODY PARTS
feet and hands
shoulders
elbows and knees
head
back
SOFT BODY PARTS
buttocks
thighs and calf
stomach
forearm (fleshy part)
upper arm   ,,      ,,

Take the chart of the nine primary angle combinations (page 113) and turn the book so that a different part of the body supports the weight of each position.

Can you see the difference the support makes? These points of support can become points of de­parture.They can make your zigzag positions different even before using a count-down. Let's examine the commonly used points of support and explore their variations.

THE SEAT is the most natural and common point of support for the body. But that does not limit its possibilities for introducing change in any way. In devising poses it is easy to get off the beaten path by arranging different combi­nations of zigzag angles with a body poised on the seat (hip angle). As these variations are combined with the count-down you find changes taking place similar to those in the panel to the right: 5. Three front views, two side views, and four J front views have changed the outline of the fi­gure considerably. 3/4 back and full back views were also available but not used. 4. Arms were used to extend the line of the body, to support the legs, to support the body on the legs, to form patterns with the lines of the page, the body and even to depict a feeling of pleasure in one position. The legs have completed angles of the body-line or have formed patterns of their own, some have offered the body a secondary means of support which reduces strain and adds freedom and believability to the picture as a whole. 3. Props changed, as to the different heights upon which the body rests.

Even the portion of the seat upon which the weight rests is varied. The bulk of the weight can rest on the side, back or front portion of the buttocks.

Positions of the camera were varied to help keep these positions in pleasing proportions.

The purpose and action of each picture is also different as you can see.

2. The shoulder-hip tracks were twisted in almost every picture to make the pose more effective and keep the parts of the body in reasonable proportion.

1. The body-line was changed greatly in its angles. A diagram of each of these illustrations will reveal their variation.

THE KNEES (or knee) are also a very common point of support. Although they provide the body with a hard surface that is not distorted by pressure, they are an uncomfortable area upon which to place weight for any length of time, especially if the support is hard. First, you must decide if one or both knees are to be the body's point of support. From that point many variations of either become possible as you combine primary angles to establish position. Explore further with your count down. 5. All five views of the body are possible with the knee as the point of support, keeping in mind the distortion tendencies of some positions unless they are used for special effects. 4. One or both knees can be used to support the body at different heights, and using different angles. Arms are often used as a secondary means of support to take part of the weight from the sensitive knees. Legs can form interesting geometries, paral­lels and opposing angles. Both arms and at least one leg are usually free to be used in depicting story-telling action or for artistic arrangement.

3. Of the three external elements, the most im­portant (next to the prop or support) is the position of the camera. It must be located care­fully if parts of the body are not to lump them­selves together and become distorted. Remem­ber that as the camera moves, the juxtaposition of lines makes radical changes in the model's position. 'X'-plore the Dutch angles (where the camera is cocked sidewise) as well as the diffe­rent split-level heights possible.

2. The shoulder and hip tracks are most flexible in kneeling positions because neither is used as a means of support (as when the body is resting on the seat or the back). Ingenious combinations of twist and tilt put movement into a position where action is otherwise impossible.

1. Body-line varies, in its combinations of angles, their position on the page, aud by degree.

THE BACK is another common point of support and is often used, for it leaves all four limbs free for artistic arrangement. Positions on the back, which is a broad point of support, are usually comfortable and can be maintained for a long period of time. Where the model must remain almost completely relaxed, this horizontal position is often used, whether the pose (in the fin­ished picture) appears in a horizontal, diag­onal or vertical position. With imaginative arrangement, a pose taken with the figure on its back and print­ed in a vertical position, achieves startling or unusual effects when neither the model nor her garments seem to be affected by the vertical pull of gravity. In spite of the fact that purists criticize such manipulation and decry the practice, many glamorous and alluring 3/4 body and head views are taken every day with the subject resting on her back and the print then inverted for viewing.

After having established the... [Chapter Incomplete]

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