Claudia Curl, 2008, by Fred Hatt
“Negative space” is what we call the parts of the picture around and between the primary subject. In the image above, all the green and blue spaces are negative spaces. Here, because the subject goes beyond all four edges of the paper, and there’s a hollow in the middle, we have a balanced set of five shapes, no two alike. The bright color keeps them optically connected and emphasizes the pattern they form. The drawing below is a similar pose and composition, but the forward bend of the body gives the negative spaces around it a less balanced, more active feel. The hollow formed by the space between the front of the body and the arms and thighs is a more complex kind of negative space, with more distant parts of the body showing through the arch.
Lilli Grotto, 2009, by Fred Hatt
Negative spaces can be very useful in figuring out a pose on the page. Doubles poses, for instance, are notoriously challenging to draw. The spatial relationships are not just doubled, they’re multiplied. Here’s an analytical sketch of a doubles pose. You’ll notice an overall framing shape, lines showing the angular relationships between various points, and carefully delineated negative spaces, not just between the two bodies, but also between the contours of the bodies and the framing shape. Clearly seeing the negative spaces can help an artist to overcome some of the confusion that comes of trying to see the parts of the body as we think they should be, rather than as they are.
Marianna & Emma, 2009, by Fred Hatt
Certain poses are challenging to draw because of multiple crossings of limbs, or foreshortening, or because they’re seen from up close or at an unusual angle. Looking at the body itself can be quite confusing in these situations, but the negative spaces are simpler and their spatial relationship is clearer, so we can start from the negative spaces and then fill in the body details.
Stanley Folded, 2008, by Fred Hatt
Jiri Twisted, 2009, by Fred Hatt
The negative space can be developed to suggest the three-dimensional environment of the model, as in the drawing below, where there is a close vertical plane on the right and a more distant vertical plane on the left.
Theresa by Corner, 2009, by Fred Hatt
Or the negative space can be elaborated as a sort of complement or mirror of the positive space. In the drawing below, the folds in the fabric become almost biomorphic, reflecting the wrinkles and multiple roundnesses of the twisted feet.
Maria's Feet, 2007, by Fred Hatt
Clearly seeing negative space is about shifting the focus from presence to absence. Finding the figure by looking at the negative space is one of the many artistic applications of the Hermetic principle “As above, so below” or “As within, so without”. All reality exists on the cusp between interior and exterior, between past and future, or between any polarity you care to examine. To draw is to surf on the points of contact.
All drawings in this post are aquarelle crayon on paper, 50 x 70 cm.
