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 Character Costume
Figure Drawing
Character Costume Figure Drawing is an essential guide that will improve your drawing skills and costume
renderings. Step-by-step visuals illustrate the how-tos of drawing body parts, costumes, accessories, faces,
children, and different character archetypes, such as maternal, elderly, sassy, sexy, and evil. By focusing
on the foundations of drawing bodies, including body proportion, bone structure, body masses, facial
expressions, and appendages, this guide shows you how to develop sketches from stick figures to full-blown
characters.
The third edition features a new chapter, Digital Mixed Media Costume Rendering. This chapter
introduces the basic usages of Photoshop tools to enhance and improve costume designs, in order to provide
easy delivery design ideas to the director and design team, provide easy changes and alterations during
the design process, virtually apply actual fabric swatches over costume sketches, and help visualize lighting
effects.

Tan Huaixiang is a Professor in Costume & Makeup Design and Technology in the Theatre Department,
School of Performing Arts, at the University of Central Florida, USA. She holds an M.F.A. degree in costume
design from Utah State University, USA, and a B.F.A. degree from the Central Academy of Drama in Beijing,
China. Tan has received costume design awards including the Kennedy Center American College Theatre
Festival National First Runner-up, Kennedy Center ACTF Meritorious Achievement Awards, Regional
Outstanding Teaching Artist, and Distinguished Achievement awards. She was recognized by Central
Washington University, USA, for her teaching excellence and was a recipient of Teaching Incentive
Program Awards from the University of Central Florida. Tan was a USITT Golden Pen Award nominee for
her first edition of Character Costume Figure Drawing. Tan is a member of United Scenic Artists, Local 829.
Taylor & Francis
Taylor & Francis Group
http://taylorandfrancis.com
 Character Costume
Figure Drawing
STEP-BY-STEP DRAWING METHODS
FOR THEATRE COSTUME DESIGNERS
THIRD EDITION

Tan Huaixiang
ROUTLEDGE

Routledge
Taylor & Francis Group

NEW YORK AND LONDON

Third edition published 2018
by Routledge
711 Third Avenue, New York, NY 10017

and by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN

Routledge is an imprint of the Taylor & Francis Group, an informa business

© 2018 Taylor & Francis

The right of Tan Huaixiang to be identified as the author of this work has been asserted by her in accordance with
sections 77 and 78 of the Copyright, Designs and Patents Act 1988.

All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic,
mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any
information storage or retrieval system, without permission in writing from the publishers.

Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for
identification and explanation without intent to infringe.

First edition published by Focal Press 2010

Second edition published by Focal Press 2013

Library of Congress Cataloging-in-Publication Data

Names: Tan, Huaixiang, author.
Title: Character costume figure drawing : step-by-step drawing methods for theatre costume designers / Tan Huaixiang.
Description: Third edition. | New York : Routledge, Taylor & Francis Group, 2017. | Includes bibliographical references
and index.
Identifiers: LCCN 2017009040| ISBN 9781138211704 (hbk : alk. paper) | ISBN 9781138211711 (pbk : alk. paper) |
ISBN 9781315452371 (ebk : alk. paper)
Subjects: LCSH: Costume. | Costume design. | Drawing—Technique.
Classification: LCC PN2067 .T36 2017 | DDC 792.02/6—dc23
LC record available at https://lccn.loc.gov/2017009040

ISBN: 978-1-138-21170-4 (hbk)

ISBN: 978-1-138-21171-1 (pbk)
ISBN: 978-1-315-45237-1 (ebk)

Typeset in Bodoni
by Florence Production Ltd, Stoodleigh, Devon, UK
Contents
Foreword vii Garments and Textures in Relation to the Body in Heavy Body Types 122
Preface viii Action 58 Thin, Tall, or Short Body Types 125
Acknowledgments ix
Introduction x CHAPTER 2 CHAPTER 4
What Makes a Good Theatrical Costume CREATING THE FACE 67 HANDS, FEET, AND ACCESSORIES 128
Designer? x Proportions of the Face—Front, Profile, and Heads and Hats 129
The Importance of Personality and Body Three-Quarter Views 68 Hands, Gloves, and Props 139
Language x
Step One: Establish the Head as an Abstract Hand Proportions 140
Philosophy for Drawing x
Form or Mass 68 Relationship Angle between Hand and
Step Two: Block in the Features 70 Wrist 141
CHAPTER 1 Step Three: Contour the Features 72 Feet and Shoes 149
DRAWING THE FIGURE 1
Types and Characteristics of Faces 81
Proportions of the Body 2 Facial Expressions 86 CHAPTER 5
The Basic Bone Structure of the Body 6 CHARACTER COSTUME DESIGN
How Can Proper Facial Expression Be
The Joints of the Body 6 Achieved? 86 CREATION 158
The Head, Chest, and Pelvis 6 Emotions 86 What Is the Best Way to Begin? 159
The Relationships between the Limbs and Proportion, Action, and Movement 160
Positioning the Head and Neck and Directing
Body Masses 9 What Is the Figure Doing Beneath the
the Eyesight 105
The Balance of the Body 9 Garments? 161
Weight on Both Legs 9 CHAPTER 3 Detailed Costumes 162
Weight on One Leg 15 FIGURE AND FACIAL Outlining the Garment 162
The Body Leaning on an Object 20 VARIATIONS 107 The Details 163
Figures in Action 23 Characteristics of Different Age Groups 107
CHAPTER 6
Abstract Stick Figures in Action 23 Children’s Faces and Body Types 108
Contouring the Stick Figure 24
RENDERING TECHNIQUES 173
Teenagers’ Faces and Body Types 112
Contouring the Stick Figure from Head to Youths’ Faces and Body Types 112 Creating Highlights and Shadows 173
Feet 25 Middle-Aged Faces and Body Characteristics of Materials and Drawing
Figures in Dance 35 Types 112 Strokes 177
Figure Poses Change through Time and Elderly Faces and Body Types 121 Painting Costumes 183
Fashion 49 Characteristics of Different Figure Types 122 Painting from Light to Dark 183
vi  CONTENTS

Rendering Sheer Material 193 Character Costume Figures for a Step Two: Pinch the Waist 350
Painting from Dark to Light 194 Comedy/Farce 293 Step Three: Erase the Mustache and Add
Painting with Markers 201 Character Figures for The Learned Background 351
Creating Texture 209 Ladies 293 Adopt Actor’s Headshot into Costume Character
Creating a Pinstriped Suit and Plaid Dress 209 Character Costume Figures for Children’s Sketch 358
Creating Rough-Texture Fabrics 210 Plays 300 Apply and Manipulate a Fabric Swatch Over a
Painting the Head and Face 215 Costume Figure Sketch 362
Character Costume Figures for Just So 300
Decorating the Background of the Costume Create Repeat Pattern Fabric Fill 362
Character Costume Figures for The Lion,
Design 217 Define Repeat Pattern Fill on a Piece of
the Witch, and the Wardrobe 306
Drawing Supplies 228 Crooked Fabric Swatch 366
CHAPTER 8 Create Repeat Pattern Fill from Irregular Print
CHAPTER 7 Pattern 368
CHARACTER COSTUME FIGURES IN DIGITAL MIXED MEDIA COSTUME Save Repeat Pattern Fill 371
STYLE 229 RENDERING 313 Puppet Warp Pattern Fill 372
Introduction 313 Add Highlights and Shadows with Dodge
Sketches and Renderings 230 and Burn Tools Over the Fabric Fill 379
Basic Functions of Painting Tools in Photoshop
Constructing Character Costume Figures in Musical Change Pattern Fill as Costume Design
314
Productions 230 Option 381
Choose and Create Painting Brushes 317
Creating Character Costume Figures for the Organizing Layers 382
Create Beads/Pearl and Sequins Brushes 318
Musical The Most Happy Fella 230
Create Fur Brush 320 Make a Copy Merged Layer File 383
Character Costume Figures for the Musical
Create Feather Boa Brush 322 Warp Fabric and Displacement Map 387
The Boy Friend 241
Create a Lace Brush Tip and Seamless Pattern Fill with Image 393
Character Costume Figures for the Musical
Fill 324 Conclusion 400
Leader of The Pack 253
Character Costume Figures for the Musicals Process of Painting a Costume Sketch 332
Once on This Island and Pippin 264 Step One: Scan or Import Sketch 332 CHAPTER 9
Character Costume Figures for the Musical Step Two: Check and Close Any Broken COSTUME RENDERING GALLERY 401
Pippin 271 Sketching Lines 336
Character Costume Figures for a Step Three: Paint on Layers 336 Index 431
Drama/Tragedy 280 More Design Samples of Using the Paint Bucket
Character Figures for The Visit 280 Fill on Costume Renderings 349
Character Figures for Marisol 289 Step One: Enlarge the Chest 349
Foreword
T
he art of costume design is multifaceted. What is exceptional about Character Costume Due to its cost- and time-effectiveness, digital
However, many designers would agree that Figure Drawing is that Tan’s approach is accessible rendering is quickly becoming a standard method
drawing the human body is the part of the and attainable, even for the least experienced for costume designers to get their deliverables into
process that is as thrilling as it is frustrating. illustrator. Her discussion of the drawing process is the hands of directors, designers, and costume
Costume design renderings not only demonstrate directed toward those very attributes that costume makers long-distance, making needed changes
the overall approach to a particular production, but designers must master in their renderings: clarity, quickly while remaining faithful to the original
provide the details and expression that illustrate character, detail, and motion. Tan focuses on the rendering. Tan’s third edition is important in that it
each individual and nuanced characteristic. movement of the body centered through the spine, approaches digital rendering with a standard that
The importance of the costume rendering as a establishing a framework within which all students combines the beauty and animation of the drawing
vital collaborative tool cannot be underestimated. can begin to think about the actor in costume. with the expeditious communication of digital tools,
It must communicate concepts to the director, other While meeting for lunch at a conference, Tan thus preserving the complementary relationship
designers, and the actor with the clarity and began to tell me that she was working on a new between art and design that is essential to effective
precision required for the makers, tailors, and chapter covering digital rendering. As a teacher who costume rendering.
artisans who will bring each idea to realization. utilizes Tan’s methodology and book with all of my It is with enthusiasm and confidence that I share
Although there are some who come to costume own graduate and undergraduate students, I was Tan’s new edition with students and begin to apply
design already accomplished in drawing the human struck by the clarity and ease with which she walked its methods and ideas into my own professional
form, many do not. For young students and seasoned me through her use of Photoshop. It was clear that work.
designers alike, creating a large quantity of she was able to enhance her renderings in a way that
evocative and detailed drawings is an ambitious retained the integrity of her hand-drawing style. Linda Pisano
undertaking. Indeed, freelance designers may find Based on solid information and real practice in Professor of Costume Design,
themselves working on multiple productions digital rendering for the costume designer, the Head of Design & Technology,
simultaneously, with less time than they would highly relevant third edition of Tan’s Character Indiana University Theatre, Drama & Contemporary
prefer to complete sketches to their satisfaction. Costume Figure Drawing addresses the use of Dance
Young students new to costuming may be Adobe Photoshop. With her virtuosity for drawing
continually frustrated with their inability to the human figure, Tan transports us into another
communicate strong ideas with weak drawing skills. method of communication.
Preface
I
genuinely appreciate the valuable suggestions designers. I feel like it’s my responsibility to write
and advice from all my friends, colleagues, and this book to guide students when they’re struggling,
readers, who helped me to develop this third and I hope that this book will greatly help all
edition. prospective designers out there.
It’s beneficial for costume designers to My goal for this book is to provide a simple,
continually learn and grow in their craft, while efficient, and straightforward approach. Because
keeping up with the latest in technology, especially English is my second language, it has been quite
when it can help them become more efficient, better difficult for me to precisely express myself, so I
artists. In recent years, I have colored my costume hope the visual images will help out. Some days
renderings with Photoshop Painting Tools. I use I felt like it was impossible to finish and wanted to
Photoshop as an aid to enhance and accelerate my give up, but the desire to help students inspired me
costume design process. Most importantly, using to continue.
Photoshop painting tools provides options for The illustrations throughout this book
alterations during the design process. Most of my demonstrate my methods in an easy-to-follow, step-
costume renderings are not painted in a “precise/ by-step format. I have incorporated numerous
perfect” way. My intention is that they portray a examples of my own costume designs into each
sketchy look. In the new Chapter 8—Digital Mixed subject to further illustrate how to utilize line
Costume Rendering—I provide an introduction to quality, form, and texture to create facial expression,
Photoshop painting tools. I am continually exploring body language, character, and attire.
and learning new things as I go. I hope this book can be useful to both students
Through my experience teaching theatre costume and casual readers. Students and professionals who
design students at the university level for many are interested in a variety of character drawings may
years, I have witnessed time and time again that use it as a refresher or as a source of inspiration. I
students struggle and become frustrated when hope that this third edition will encourage students
drawing human figures. I know they need guidance and foster in them enjoyment of the process of figure
and instruction as they are practicing their drawings drawing and design artwork. If this can be achieved
in order to improve their skills as costume for each student, it will be very rewarding for me.
Acknowledgments
I
thank Focal Press for allowing me the oppor- whom I’ve worked for encouraging and guiding me:
tunity to write and publish the third edition of Sid Perks, Utah State University; Bruce A. Levitt,
Character Costume Figure Drawing and for their Cornell University; Buck Favorony, University of
unending support and encouragement along the way. Pittsburgh; Wesley Van Tassel, Central Washington
I extend a special thanks to Bonnie J. Kruger, University; and Donald Seay, Joseph Rusnock,
who introduced me to Focal Press for my first book; Roberta Salon, Steven Chicurel-Stein, Christopher
otherwise, I wouldn’t have had the opportunity to Niess, and Jeffrey Moore, University of Central
write the second and third editions. Florida; and a big thanks to my colleague Earl
Special thanks to Professor Bill Brewer for all his Weaver for his unconditional support all these years
support and mentoring regarding this edition and to at the University of Central Florida.
Linda Pisano for her valuable suggestions. Many thanks to the entire faculty and staff at the
I thank all my professors at the Central Academy Theatre Department, School of Performing Arts; and
of Drama in Beijing, China, including: Hou Qidi, especially to Arlene Flores, Maureen Landgraf, and
Ma Chi, Xing Dalun, Wang Ren, Li Chang, Zhang Samuel Waters for helping me when I needed it
Bingyao, Qi Mudong, Zhang Chongqing, He Yunlan, most.
Yie Ming, An Lin, Wang Xiping, Sun Mu, and Li I thank my dear friends Xiangyun Jie, Julia
Dequan. They are the ones who laid the foundation Zheng, Helen Huang, Peiran Teng, Dunsi Dai,
for me to pursue my dreams and achieve what I have Liming Tang, Haibou Yu, Wenhai Ma, Lu Yi, and
today. They nurtured and motivated me to start my Rujun Wang for their unconditional love and
costume and makeup design career, and their support and wise advice. You all put a smile on my
influence has changed my life. face when I needed it most.
I thank the professors in the Department of I thank my parents for teaching and disciplining
Theatre Arts at Utah State University—Colin B. me to become the strong person I am today. I owe a
Johnson, Sid Perks, Voce Call, and Bruce E. big thanks to my dear, talented daughter, Yingtao
McInroy—for their kindness, advice, patience, and Zhang, for proofreading my manuscript. Her
support. They helped me endure and overcome inspiration and creativity continually sparked ideas
graduate school, a difficult period in my life. They for the book. Additional thanks to my husband, Juli
provided opportunities for me to work on many Zhang, for his unconditional love and support
productions and created many learning experiences towards my professional career.
for me. Their guidance has led me to accomplish Finally, I thank all my students for their
what I have today. tolerance in allowing me to be their instructor and
I want to thank all of my former theatre allowing me to continue to learn and grow in my
department chairmen in the United States with career.
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Introduction
T
he third edition contains the following new good communication and organization skills; possess on stage, his or her appearance becomes significant.
visual images: (a) replaced figures 4–7 to research and technical skills like drawing, The character’s body language reflects the soul and
4–11, and 4–27 to 4–31 in Chapter 1; (b) rendering, computer graphics, costume construction, spirit of the character, and an interesting gesture
replaced character figures for The Learned Ladies crafts, millinery, and personnel management; be a helps display the style of the costumes. Using body
Figure 7–8A to G; (c) a new Chapter 8, Digital good team player; and even be in good health. All language to emphasize the personality and status of
Mixed Character Costume Rendering, which these factors make a wonderful, even ideal costume a character is to give the character an exciting
demonstrates selective Photoshop render designer. Drawing and painting skills are tools for appearance. Character figures enhance and adorn
techniques; (d) Costume Rendering Gallery: helping a designer develop and express visual the costume designs, and they communicate with the
removed 9–3A, 9–7A to D, and added 13 new images and design concepts. Renderings are not the director, actor, other designers, and the production
costume renderings. final product—the final product is the actual stage team. Expressing the personality of the character in
The new Chapter 8, just like the first and second costume made suitable and proper for the actors. your drawings is like the saying that “a picture is
editions, provides a simple visual guide that focuses worth a thousand words.”
on selected Photoshop rendering techniques and
demonstrates different ways of painting costumes. THE IMPORTANCE OF
Throughout all the illustrations, you will see PERSONALITY AND BODY PHILOSOPHY FOR DRAWING
dimension and diversity in the characters. Facial LANGUAGE
expressions, body language, body action, and props Drawing human figures should be fun. Nobody was
are incorporated to clearly characterize each figure. To capture the impression of a character’s spirit is born an innate artist and nobody will become one
Photoshop painting techniques include: create always a goal when developing character figure overnight, but I believe that with some effort, any-
brushes, pattern fills, puppet warp and warp fabric drawings. By nature, we all relate to human emotion, body can draw. Although improving your drawing
swatches over the costume figures, render costumes, because we all experience it. Characters are human skills requires tremendous effort, enjoying it and
and create backgrounds. beings, and human beings all possess personalities. being interested will greatly help. When you are
To portray a character’s emotions and personality driven to do well, you will. Watch, listen, and absorb.
on paper is a challenge, but well worth the results. To develop a more positive attitude, consider
WHAT MAKES A GOOD THEATRICAL When I create costume designs, I try not only to this: just do it. Work helps. Avoid a pessimistic and
COSTUME DESIGNER? illustrate the costumes, but also to portray a sluggish attitude. Desire and dedication are the
completed characterization. I try to manipulate every discipline of a career, and work is the language of
I would never say that a person who draws beautiful body part to build compositional beauty and that discipline.
pictures is a good costume designer. A good artistically express the power of a character’s sub- POSITIVITY!
costume designer must have many other qualities stance. Every gesture, action, facial expression, and
CONFIDENCE!
and capabilities, such as imagination and knowledge accessory will add meaning and entertainment to the
of theatre, world history, theatre history, costume design. People say that we should not judge a person PRACTICE!
history, and literature. The designer must retain by his or her appearance, but when an actor appears SUCCESS!
1
Drawing the Figure

M
y objective in writing this book is to show how to draw figures using a simple and
easy drawing method. Specifically, the book is intended to help theatre students
improve their drawing skills so that they can give effective design presentations.
Most theatre students do not have any solid drawing training, or any human anatomy or
figure-drawing courses in their curricula. Drawing requires a lot of practice and knowledge
of the proportions of the human body. I believe that with effort, anybody can draw.
Theatre students typically have to do production assignments and work in the shops,
helping to build either scenery or costumes for the production. Their time is occupied
with those assignments, leaving them little time to improve their drawing skills. That is why
I am trying to find a short, easy, and fast way to help them improve their drawing abilities.
The methods in this book can be used without a model. However, if theatre students have
the opportunity to draw the human figure from live models, they should do so. Drawing live
models is a tremendous help in understanding the human body.

1
2  CHAPTER 1

PROPORTIONS OF THE BODY The real creative challenge is how to express The crotch is the main division point. The head can
personalities of characters. actually be made either a little bigger or smaller.
There are many concepts or methods for measuring Most of the proportions of the body that I used in A small head will make the figure look taller or
the divisions of the human body. The eight-heads- this book are based on the theories of proportions thinner; a bigger head will make the figure look
tall figure proportion method is often used by artists used in many other art books. There are fantastic art shorter or chubbier. When keeping these measure-
or fashion illustrators. Some fashion drawings may books from which you can learn about the ments in mind, the figure will always look right.
use eight-and-a-half- or nine-heads-tall figures to proportions of the body and about figure drawing I recommend that you use the following steps to
demonstrate the garments, using a slim, techniques, such as Bridgman’s Complete Guide to create a figure drawing until you become familiar
sophisticated image. Realism is not the intent of Drawing from Life, by George B. Bridgman (Sterling, with body proportions. Refer to Figures 1–1 and 1–2
fashion designers or illustrators. Rather, their 2001); The Complete Book of Fashion Illustration, as you complete these steps:
objective is to create a stylized or exaggerated by Sharon Lee Tate and Mona Shafer Edwards 1. Place two marks on the paper—one on the top
version of reality, which today is a tall, slim, and (Prentice Hall, 1995); The Human Figure: portion of the page, one on the bottom portion of
athletic figure, with a long neck and long legs. An Anatomy for Artists, by David K. Rubins the page—to indicate the height of the body.
Fashion illustrations emphasize the current ideals or (Penguin, 1975); Drawing the Head and Figure, Then draw a vertical line from the top mark to
trends of fashion beauty. The thin body and specific by Jack Hamm (Perigee, 1982); and Drawing on the the bottom mark. The composition of the figure
poses are designed to enhance the garments. Right Side of the Brain, by Betty Edwards (Tarcher, should be considered; that is, keeping the figure
Fashion illustrators are creating the images of rev. ed. 1999). These books helped me improve my centered or off-centered, more to the left or to
fashionable products to stimulate customers to understanding of the human body and taught me the right side, and so on. These guidelines
purchase the garments. Beautiful illustrations can how to present the body well. You can study the control the figure height.
impress and influence customers to buy and wear rules and principles of figure drawing, but you have
the advertised clothing. to learn how to use them through practice. 2. Draw a mark at the middle point of the vertical
Costume designs for theatrical productions are To give my characters a realistic appearance, line to find the middle point of the body. This
quite different from fashion illustrations. The I slightly change the size of the head. Compared mark is where the crotch is located and is also
costume designer uses the history of fashion as a to the eight-heads-tall proportions, I enlarge the the half-height of the body. I am going to call
reference for creating costumes for many varieties head to extend outside the usual boundary of the the area from this mark up the upper half of the
of characters or groups of characters in plays. first head area. This enlarges the head in proportion body. To me, this mark is the most critical
The characters are everyday-life people: young or to the top half of the body. I keep the feet within reference point for good proportions of the body.
old, thin or heavy, short or tall, with different the bottom-half portion of the body. When I start the (See Figure 1–1, mark #5.)
nationalities and particular personalities. Costume foundation of a figure, however, I still start with 3. Divide the upper body from the top mark to the
design for productions requires creating practical the eight-heads-tall method because it is an even crotch line into four equal parts. This creates
garments that are going to be worn on stage by number and easier to divide for calculation five marks but four portions. Number all the
believable characters who have well-defined purposes. My divisions on the body may differ from marks: The very top mark, mark #1, is the top
personalities. Sometimes a well-defined character other books, but the measurements work for my of the skull; we won’t use mark #2; mark #3 is
costume design can inspire the actors and enhance figure drawings. My primary intent is to have a the armpit; mark #4 is the waistline; and mark
the design presentation for the production team. system that is easy to use. #5 is the half-body mark (it is also the crotch,
In my drawings and designs, I try to emphasize a The key for developing a character figure drawing pelvis, or hipline). The very bottom mark drawn
realistic style of body proportions, but I use that is in proportion is to keep the top half (from the in step 1 is mark #6. I will refer by numbers to
slightly exaggerated facial features and body crotch up to the top of the skull) equal to the bottom these six marks extensively in the discussion
language to create characters with personality. half (from the crotch down to the bottom of the feet). that follows.
 Drawing the Figure  3

4. Make the head bigger compared to mark #2 9. Divide the distance between the waistline shoulders. The male hip width is less wide than
(usually considered the chin in measurement (mark #4) and the crotch or hipline (mark #5) the shoulders. For both males and females, the
systems used in other drawing books). The head into four equal parts. The first mark is the top width of the top of the pelvis usually equals
will be increased by adding a distance of the pelvis (see letter G in Figure 1–1). The the width of the bottom of the rib cage or chest.
approximately the size of a chin from mark #2 male pelvis width is different from the female. The bottom of the pelvis/hipline/crotch line is
down (see letter A on the sketch in Figure 1–1). The female hip width is usually wider than her wider than the width of the top of the pelvis
This shortens the neck. Fashion drawings
usually are just the opposite, showing a longer
neck. The mark at letter A is going to be the 1–1 Proportion of the Body, Marks A through H
bottom of the chin.
5. Draw an egg-shaped frame between the top
mark and the chin mark, A, to indicate the
shape of the head.
6. Divide the distance between mark #2 and the
armpit line (mark #3) in half and mark it as
letter B; this mark is going to be the shoulder
line or collarbone. Generally speaking, the
width of the shoulders is a measurement about
two heads wide for females and two-and-a-half
heads wide for males. Measure the width of the
shoulders and add two marks (see letter C in
Figure 1–1).
7. Divide the distance between mark #2 and the
shoulder line, B, in half and add another mark.
This mark helps to establish the shoulder-slope
line (see letter D in Figure 1–1). Look at the
sketch and review this in detail.
8. Divide the distance between the armpit (mark
#3) and the waistline (mark #4) into four equal
parts. Now you have drawn three marks to
create four parts. The first mark from the top
of this group is the bustline (see letter E in
Figure 1–1); this mark usually refers to the
nipples position or bustline. The third mark
from the top is the bottom of the rib cage
(see letter F in Figure 1–1). The second mark
is not used.
4  CHAPTER 1

(see letter H in Figure 1–1). The hipline’s width the bottom of the rib cage to make a tapered- 11. Treat the pelvis as a tapered-up box. Connect
will depend on whether you are drawing a female down box. The shoulder should be wider than the top of the pelvis line with the bottom of the
or male. The other two marks are not used. the bottom of the rib cage. Keep both sides of pelvis line (mark #5, also the hipline/crotch
the body symmetrical with the body centerlin e. line) to draw a tapered-up box. The female
10. Treat the chest/rib cage as a tapered box (refer The pit of the neck is at the middle of the hipline is wider than the male hipline.
to Figure 1–2). Connect the shoulder line with shoulder line—it is the body centerline.
12. The area from the crotch down will be for the
legs and feet. The legs join the pelvis at the
1–2 Proportion of the Body, Marks I through M hipline. Before starting to draw the legs, divide
the distance between mark #5 (crotch line) and
mark #6 (the bottom of the feet) into four equal
parts. Then mark them from the top down (see
letters I, J, and K in Figure 1–2).
13. Divide the distance between K and mark #6
into three equal parts. The feet are drawn in the
bottom third (see letter L in Figure 1–2).
14. Draw two lines from both corners of mark #5
(hipline/crotch) down to letter L to indicate the
legs. Keep them symmetrical. Then divide these
two lines in half; the middle marks on these two
lines are the knee positions (see letter M in
Figure 1–2). This method of drawing leg length
avoids the leggy look of fashion-illustration
figures. Our objective is to create a realistic
look corresponding to the actors, rather than a
fashion ideal.
15. The arms join to the chest at the shoulder line.
In human anatomy theory, the upper arm from
the shoulder to the elbow is longer than the
distance from the elbow to the wrist. In my
method, I treat them as two equal parts in
length for an easy calculation ratio. When the
arm is hanging down, the elbow usually lines
up with the waistline. The measurement from
the shoulder to the elbow should equal the
measurement from the elbow to the wrist.
From the elbow joint, measure down to indicate
the placement of the wrist.
 Drawing the Figure  5

16. Add hands to the wrists. The fingertips usually 17. As shown in Figure 1–3, contour the body straight position. When the body is bending or the
stop at letter I (the fifth head in other books). according to the basic bone/stick structure head is facing up or down, you cannot apply the
Asian people often have shorter arms, African (see the section, “Contouring the Stick Figure”). measurements to the body because of
people usually have longer arms, and Figures 1–4 and 1–5 show the contouring lines foreshortening.
Caucasians often have arms that are longer than for the male and female body, respectively. The body measurement methods used in this
Asians’ but shorter than Africans’. There are book are not the only methods you should follow,
many variations and exceptions to any racial The proportions of the body, either seven or eight but I recommend you use my system as a guide or
generality. heads tall, work only for the body standing in a reference for drawing stage costumes.

1–3 Proportions of the Body, Stick 1–4 Contouring Lines for the Male 1–5 Contouring Lines for the
Structure, Front and Back Body, Front and Back Views Female Body, Front and Back
Views Views
6  CHAPTER 1

THE BASIC BONE STRUCTURE 1–6 The Abstract Skeleton of the and body rhythm with natural expressiveness as a
OF THE BODY Body and Its Joints whole. Incorrect positions will make the figures
seem stiff or lopsided. Through our experiences
The bone structure in this book is symbolic and during our daily activities, we know how joints work.
abstract. It is not my intention to copy the real But showing the joints properly through drawing is
human skeleton. My objective in using a simple critical and requires practice. The bone joints allow
and abstract bone structure is to make it easier to us to move our body parts comfortably and also
draw and understand, and easier to obtain the inform us of the limitations of our joints. Consider
proper proportions of the figures. The shape of the and study how your own joints work; practice stick
human body is complex. To draw it well, you need figure drawings to analyze the joint functions and
to spend extensive time studying bones and limitations in different positions.
muscles. Unfortunately, in most cases, theatre
students don’t have a long time to study the human
The Head, Chest, and Pelvis
anatomy. The simplified abstract bone structure
used here is going to help students to better There are three major masses of the human body—
understand the human body and its movements the head, chest, and pelvis. They are joined together
(see Figure 1–6). by the spine, which controls the movements and
The skeleton dominates and directs all surfaces turning directions of the head, chest, and pelvis.
of the body, and the bone joints determine and The significant fact here is that these three masses
dominate all the movements of the body. We must are able to move independently of one another (see
discuss the basic bone structure of the human Figure 1–7).
body to understand body movements. To keep it Making the three masses move in different
clear and simple, my discussion is focused on the directions will add dramatic excitement and
basic length and width of the outer edges of the personality to the figure. When the body moves, the
skeleton, and on the major joints of the skeleton. balance has to be maintained. The proper angles
The outer edges of the skeleton include the outline between the body masses maintain this balance.
of the skull and the outline, or frame, of the chest
The Joints of the Body The neck area of the spine usually has more
and pelvis masses. The major joints include the Joints connect or hinge together two things. There flexibility than the lumbar spine. The flexible spine
spine, shoulder, elbow, wrist, hip/leg, knee, and are many joints on the human body. The spine joins allows the head, chest, and pelvis to face up, down,
ankle. In real life, the chest and pelvis are the head mass, chest mass, and pelvis mass. The or sideways, or to turn around. When each mass
irregular shapes. In this book, I am going to use collarbone, shoulder blade, and arm are joined faces in different directions, you will see twisting
either boxes or abstract shapes to demonstrate the together at the shoulder and connected with the movements.
body parts. Small circles will be used for each chest as a unit. Joints are capable of moving in When the body is in action, the body centerline
joint. Abstract sticks will be used for the length of many directions within their limitations. Each arm becomes curved. This line can also be called the
the bone. The length of the bones between the has its own joints: shoulder, elbow, wrist, and action line. When the body bends or twists, it
forearm and upper arm, and between the lower leg finger. Each leg also has its joints: hip, knee, ankle, creates angles or curves between each mass. If the
and thigh, may differ in real skeletons, but I will and toe. Each joint directs body movements. In body is in a standing position, you will see the level
make them equal distances here because it will be figure drawing, when joints are in the correct of each mass forming a 90-degree right angle to the
easier to calculate the proportion ratio. positions, they will show comfortable movements spine—the centerline of the body. When the body
 Drawing the Figure  7

1–7 The Body Masses and Their Movements

bends forward, it brings the front of the chest and chest and pelvis, forming a curved line. You will see to keep the body in balance; otherwise, the body
the front of the pelvis close together to form an the same pattern when the body bends backward. would fall.
angle, while stretching the distance between the When the body is in a twisting position, the body The head, chest, and pelvis are joined together
back of the chest and pelvis, forming a curved line. centerline and the outline of the body become curvy by the spine and move independently of one
When the body bends to either side, it brings one lines rather than sharp angles. The three masses can another. Make the blocks move in different
side of the chest and one side of the pelvis close be turned and twisted in different directions within directions to add dramatic excitement and
together, forming an angle between them, and spine limitations, but the chest and pelvis always personality to the figure.
stretches the distance between the other side of the move in opposite directions from each other in order
8  CHAPTER 1

A small turn of the body gives some action to the masses by turning them in different directions, character drawing to establish the relationships of
figure. A full or exaggerated turn or twisting of the allowing them to speak for your characters’ actions. the head to the torso, the head to the neck, the head
body increases the dramatic action and attitude of When you make the three masses face different to the chest, and the chest to the pelvis. These
the character, and gives a loud or screaming directions (see Figure 1–8), you will immediately relationships portray a great deal of the personality
emotional statement. Try to manipulate these three see your character alive and active. It is essential in of the character.

1–8 Turning the Three Body Masses

 Drawing the Figure  9

The Relationships between the usually steps forward, keeping a relaxed or different directions. To keep the body well-
Limbs and Body Masses bending position to compensate for the length of balanced, locate the center of gravity for the
the weighted leg and the drop of the pelvis mass. figure. These are the important elements in
We have discussed how the arms are joined to the Most costume designers create their figures for helping us understand and draw human figures.
chest, and how the legs are joined to the hipbone/ designing costumes without live models. They Keep the movement liquid and the balance solid.
pelvis. Therefore, when the chest and pelvis move draw the figures from their heads or from
in different directions, the arms should follow the reference books or magazines. Once you
chest as a unit, and the legs should follow the
pelvis as a unit. The limbs cannot be considered
understand how the human structure and joints Weight on Both Legs
work, you will feel at ease and comfortable with
as separate objects from their units (see Figure your drawings. You will be able to create your The spine is the centerline of the body, from
1–9). For example, when the body is in an erect own characters of motion in a variety of positions where all body parts are symmetrically balanced.
standing position, the chest and pelvis masses in order to demonstrate the costumes and The joints of the body are lined up and parallel to
are in horizontal lines parallel to each other. personalities of the roles in the play. each other. Due to the force of gravity, no matter
The joints of the shoulder, elbow, and wrist as how the body moves, there is always a center of
well as the joints of the hip, knee, and ankle will gravity line from the pit of the neck directly down
be parallel to their units. But when the chest to the ground. This gravity line will never change
moves in a direction that makes the right side
THE BALANCE OF THE BODY to curved or angled, but the body centerline will
of the shoulder higher than the left side, the right The human body is uniquely and symmetrically change to curved when the body is in action.
shoulder and arm will go higher as well. When balanced. The human body also has a natural When the body is standing straight, all body
many students draw this position, they draw the balance ability. The weight of the body often weight is distributed equally on two legs (see
arms at the same level. They forget the arms are swings back and forth from one leg to the other Figure 1–10). The body centerline is straight.
connected to the chest mass. when the body is walking. When the body is The center of gravity line overlaps with the body
Arm and leg movements also partially control turning or twisting, it creates angles and curves centerline, starting from the pit of the neck and
the levels of the chest and pelvis. When one arm in order to keep the body balanced. This extending directly down between the middle of
rises higher than the other arm, the shoulder of principle is like the balance in a sculptured the two feet to the ground, whether the feet are
the rising arm will go higher. When one leg object. If the bottom portion of the sculpture in a closed or open position. All the horizontal
supports the weight of the body, this leg will leans to one side, then the top portion of the lines (the shoulder line, bustline, waistline,
push this side of the pelvis higher and in a tilted sculpture must lean in the opposite direction pelvis line, hipline) are parallel to the ground
position. The pelvis can be pushed up because to maintain the balance of the whole piece. To and form 90-degree angles with the body
the flexible lumbar spine allows the pelvis to be create a more sophisticated sense of movements centerline.
tilted. The relaxed-leg side of the pelvis line and or actions, define the body language by Figures 1–11 through 1–16 are design
hipline will be dropped. The nonsupporting leg employing twisted angles and curves facing in samples showing weight on both legs.
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10  CHAPTER 1

1–9 The Relationships between the Limbs and the Three Masses
 Drawing the Figure  11

1–10 Weight on Both Legs

12  CHAPTER 1

1–11 Design Sample of Weight on Both Legs— 1–12 Design Sample of Weight on Both Legs—
Look Homeward, Angel Look Homeward, Angel
 Drawing the Figure  13

1–13 Design Sample of Weight on Both Legs—Tintypes 1–14 Design Sample of Weight on Both Legs—Tintypes
14  CHAPTER 1

1–15 Design Sample of Weight on Both Legs—Tintypes 1–16 Design Sample of Weight on Both Legs—Tintypes
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E si na festividade
D’aquelle martyr frechado
Se dá á todo o culpado
Remissão e liberdade,
De Deus na Natividade,
Á que já de agora assisto,
Muito mais logar tem isto,
E com tanta mais razão
Quanto vai por medição
De São Sebastião á Christo.

Nós os abaixo assignados

Pedimos com humildade,
Ou fundados na piedade,
Ou na amizade fiados,
Que d’esses grilhões malvados
Por seu duro e infame tracto,
Solteis o prêzo malato,
Porque tem bons fiadores
Nestes vossos servidores,
De que ha de ser bom mulato.
 Á ANTONIA
MOÇA PARDA DE PERNAMIRIM CHAMADA VULGARMENTE
CATONA

Que pouco sabe de amor

Quem viu, formosa Catona,
Que ha nessa celeste zona
Astro ou luminar maior.
Tambem a violeta é flor,
E mais é negra a violeta,
E si bem póde um poeta
Uma flor negra estimar,
Tambem eu posso adorar
Nos céus um pardo planeta.

Catona é moça luzida,

Que á pouco custo se asseia,
Entende-se como feia,
Mas é formosa entendida:
Escuza-se commedida,
E ajusta-se envergonhada,
Não é tão desapegada
Que negue á uma alma esperança,
Porque emquanto a não alcança,
Não morra desesperada.
Piza airoso e compassado,
Sabe-se airosa mover,
Calça que é folgar de ver,
E mais anda a pé folgado:
Conversa bem sem cuidado,
Ri sizuda na occasião,
Escuta com attenção,
Responde com seu desdem,
E inda assim responde bem,
E bemquista a sem razão.

É parda de tal talento,

Que a mais branca e a mais bella,
Podéra trocar com ella
A côr pelo entendimento
A um prodigio, um portento;
E si vos espanta ver,
Que adrêde me ando a perder;
Dá-me por desculpa amor,
Que é femea trajada em flor,
E sol mentido em mulher.
 Á MESMA CATONA
DESPEDINDO-SE O AUCTOR DE PERNAMIRIM PARA A VILLA
DE S. FRANCISCO

Não vos pude merecer,

Pois vos não pude agradar,
Mas eu hei de me vingar,
Catona, em mais vos querer;
Vós sempre á me aborrecer
Com odio mortal e atroz,
E eu a seguir-vos veloz,
Si sois veremos emfim
Mais firme em fugir-me a mim,
Que eu em seguir-vos á vós.

Quizera vos persuadir,

Porque vos saibaes haver,
Que sou mais firme em querer,
Que vós ligeira em fugir:
Eu não hei de desistir
D’esta minha pretenção,
Quer vós o approveis, quer não,
Porque vêr me importaria
Si talvez faz a porfia
O que não fez a razão.
Mil vezes o tempo faz
O que á razão não conveio,
Metterei pois tempo em meio,
Porque elle nos metta em paz:
Vós estaes muito tenaz
Em dar-me um e outro não,
E eu, levado da affeição,
Espero tempo melhor,
Onde o que não obra amor
Vença o tempo, obre a razão.

Catona, a minha esperança

Me dá por conselho são,
Que espere, porque o rifão
Diz que quem espera alcança:
Tudo tem certa mudança,
O bem males ameaça,
O mal para bem se passa,
Que como a fortuna joga,
O braço que hoje me affoga,
Talvez amanhã me abraça.
 Á ANNICA
UMA MULATA DA CAJAHYBA

Annica, o que me quereis,

Que tanto me enfeitiçaes,
Uma vez quando cantaes,
E outra quando appareceis?
Si por matar-me o fazeis,
Fazei esse crime atroz
De matar-me sós por sós,
Para que eu tenha o soccorro,
Que vendo que por vós morro,
Viva de morrer por vós.

Matar-me eu o soffrerei,
Mas soffrei tambem chegar-me,
Que ter asco de matar-me
Jámais o consentirei:
Fugir e matar não sei,
Anna, como o conseguis?
Mas si a minha sorte o quiz
E vós, Anna, o intentaes,
Não podeis matar-me mais
Do que quando me fugis.
Chegae e matar-me já:
Não chegando estou já morto;
Coisa que se me tem absorto,
Matar-me quem não me dá:
Chegae, Anna, para cá,
Para dar-me essa ferida,
Porque fugir de corrida
E matar-me d’essa sorte,
Si o vejo na minha morte,
O não vi na minha vida.

Não sei que pós foram estes

Que na alma me derramastes?
Não sei com que me matastes?
Não sei o que me fizestes?
Sei que aqui me apparecestes,
E vendo-vos com antolhos,
Topei com tantos abrolhos
Na vossa dura conquista,
Que me tirastes a vista
E me quebrastes os olhos.
 Á UMA MULATA
DE PERNAMIRIM CHAMADA LUZIA

Parti o bolo, Luzia,

Que a mim mesmo me acommoda:
Não deis a fatia toda,
Dae-me parte da fatia:
Quem pede como eu pedia,
Pede tudo o que lhe importa
E acceita o que se lhe corta,
E quem dá com manha e arte
Seus dados sempre reparte,
Si tem mais pobres á porta.

Não é bem que tudo eu cobre,

E é bem que um pouco me deis;
Dae-me um pouco e alegrar-me-heis:
Com pouco se alegra o pobre;
Não deis coisa que me sóbre,
Dai-me siquer um bocado;
Mas o que vos persuado
Que deis com manha e com arte,
Dando vós e de tal parte,
Sempre será grande o dado.
Si á todos cinco sentidos
Não tendes coisa que dar,
Dae ao de vêr e apalpar,
Os dois sejam preferidos:
Não deis que ouvir aos ouvidos,
Mas dae aos olhos que vêr
E ao tacto em que se entreter;
Deitemos á bom partir
Os dois sentidos a rir
E os demais a padecer

As mãos folgam de apalpar,

Os olhos folgam de vêr,
Os dois logrem seu prazer,
Os tres sintam seu pezar:
Que depois que isto lograr,
Virá o mais por seu pé,
Que inda que ninguem me dê,
Nem eu o tome á ninguem,
Morrerá vosso desdem
Ás forças de minha fé.
 A ANTONIA
MOÇA PARDA, CHAMADA A MARIMBONDA, QUE MORAVA NA
RUA DA POEIRA, E A VIU O P. NO CAMPO DA PALMA DEBAIXO
DE UMA URUPEMBA EM CASA DE UMA AMIGA. ALLUDE AO
REMEDIO SYMPATHICO DE SE QUEIMAR A CASA DOS
MARIMBONDOS, PARA SE EXTINGUIR LOGO A DÓR DAS
SUAS PICADAS

Fui hoje ao Campo da Palma,

Onde com subito estrondo
Me investiu um marimbondo,
Que me picou dentro da alma:
Era já passada a calma,
E eu me sentia encalmado,
Corrido e injuriado,
Porque sendo obrigação
Metter-lhe eu o meu ferrão,
Eu fui o que vim picado.

Fiz por fecha-lo na mão,

Mas o marimbondo azedo
Me picava em qualquer dedo
E escapava por então:
Desesperada funcção
Foi esta, pois me fui pondo
Tão abolhado em redondo
Por cara, peito e vasios,
Que estou com febres e frios
Morrendo do marimbondo.
Dizem que a vingança está
Em lhe saber eu da casa,
Porque deixando-lh’a em braza,
Um fogo outro abrandará:
Mas temo não arderá,
Por mais que toda uma matta
Lhe applique com mão ingrata,
Porque o que eu lhe hei de pôr
Ha de ser fogo de amor,
Que inda que abraza, não mata.

Nesta afflicção tão penosa

D’onde me virá o soccorro?
Morrerei, pois por quem morro,
Morro uma morte formosa:
Esta dôr tão tormentosa
Me levará de maneira,
Que, ou ella queira ou não queira,
Em chegando á sua rua,
Si acaso se mostrar crua,
Tudo irá numa poeira.
 SAUDOSO
DE PERNAMIRIM, E POR OCCASIÃO DE HAVER VISTO NA
VILLA DE S. FRANCISCO, ONDE ESTAVA, UM MOLEQUE
CHAMADO MOÇORONGO, ESCREVE A UM AMIGO D’AQUELLE
SITIO

ROMANCE

Veiu aqui o Moçorongo

Tão occulto e escondido,
Que não sei si o tenha a elle,
Si a vós por meu inimigo.

Chegou terça feira á tarde,

Metteu-se em casa de Chico,
Passou a tarde e a noite,
E o peior é que dormindo.

Porque havia de dormir

O Moçorongo maldicto,
Sabendo que estava eu
Desvelado e affligido?

Amanheceu quarta feira,

Chegou o nosso Arcebispo,
Gastou-se toda a manhã
Com visitas e visitos.

Deu meio dia, e fui eu

Para casa dos amigos
Esfaimado como um cão,
E como um lobo faminto.
Quando o cão do Moçorongo
Sahiu do seu escondrijo,
E sem lhe occorrer o encontro
Deu de focinhos commigo.

Alegrei-me, e enfadei-me,
Que ha casos em que é preciso
Que se mostre ao mesmo tempo
Alegre um peito e mofino.

Amofinou-me a traição
Com que elle esteve escondido,
E alegrei-me de encontrar
Com gente d’esse districto.

Perguntei logo por vós,

Por Ignacio e Antonico,
Por Luzia e por Catona,
E mais gente d’esse sitio.

Todos estão com saude,

Me disse o crioulo esquivo,
Um tanto triste da cara,
Pouco alegre do focinho.

Mas eu fiz-lhe muita festa,

Assim por ser seu amigo,
Como por ser cousa vossa,
E neste pasto nascido.

Perguntei si me escreveras,
Zombou d’isso, e deu-me um trinco
Zombou com cara risonha,
Trincou com dedo tangido.
D’isto formo a minha queixa,
D’isto fico mui sentido,
Pois sei que tendes papel,
Tinteiro, penna e juizo.

Mais andar lá nos veremos,

E vereis que de sentido
Vos hei de estrugir a vozes,
E me hei de espojar a gritos.

Meus recados a Luzia,

E que estou já de caminho,
Porque só ella me farta,
E á fome aqui me entizico.
 ESCREVE
TAMBEM QUEIXOSO A SEU AMIGO IGNACIO, MORADOR EM
PERNAMIRIM, EM QUEM FALLA NO ROMANCE ANTECEDENTE.

ROMANCE

Senhor Ignacio, é possivel

Que quizestes desdizer
D’aquella boa opinião
Que eu tinha na vossa fé?

É possivel que um amigo,

De que tanto confiei,
Nem por escripto me falla,
Nem em pessoa me vê?

É possivel que uma ausencia

Tanta potestade tem,
Que ao vivo morto reputa
No que toca ao bem querer?

Si isto em vós a ausencia faz,

Como em meu peito o não fez?
Não sois vós o meu ausente,
Que em meu peito viveis?

O certo é, meu amigo,

Disse amigo, mas errei,
Que não sois amigo já,
Sois o meu socio talvez.
Fostes socio nos caminhos
D’aquella terra infiel,
Onde Luzia traidora,
E Catona descortez,

Me privaram dos sentidos,

E me deixaram crueis
O corpo uma chaga viva
A golpes de seus desdens.

Mas eu me não queixo d’ellas,

Que de nenhuma mulher,
Má ou boa, ha de queixar-se
Homem que juizo tem.

Queixo-mo de vosso tio,

Que se foi por me empecer
Esta terceira jornada
Para acabar o entremez.

Praza a Deus que ache Simoa,

A quem amante foi ver,
Como ha de achar Antonica
Farta de xesmininez.

D’aquella Antonica fallo,

Que pôz no negro poder
Das Quitas, para que a guardem,
E a guardarem ao revez.

Que a Silvestre a entregaram,

O qual, como vós sabeis,
Apezar dos dias sanctos
Lhe deu tanto que fazer.
Mas pois em Pernamirim,
E em suas cousas toquei,
Neste mesmo assumpto quero
Me façais uma mercê.

Dizei-me si está o Antonio

Recolhido a seu vergel,
Onde era geral Adão
Das Evas que Deus lhe deu.

E si acaso tiver vindo,

Vos peço que lhe mandeis
Este romance fechado
Em um molhado papel.

Porque no molhado veja

O chôro com que lancei
Estes versinhos tão tristes
Por amar e querer bem,

A elle, que me fugiu

D’esta casa, ha mais de um mez,
E á Catona que o imita
No esquivo e no infiel.

E com isto, e outro tanto

Que me fica por dizer,
Adeus, até que tenhais
Quem vos traga a meu vergel.
 Á ANTONIO DE ANDRADE
SENDO DESPENSEIRO DA MISERICORDIA

Senhor Antonio de Andrade,

Não sei si vos gabe mais
As franquezas naturaes,
Ou si a christã charidade:
Toda esta nossa Irmandade,
Que á pasmos emmudeceis,
Vendo as obras que fazeis,
Não sabe decidir não
Si egualaes o amor de irmão,
Ou si de pae o excedeis.

Ou, senhor, vós sois parente

De toda esta enfermaria,
Ou vos vem por recta via
Ser pae de todo o doente:
Quem vos vê tão diligente,
Tão caritativo e tão
Inclinado á compaixão,
Dirá de absorto e pasmado,
Que entretanto mal curado,
Só vós fostes homem são.
Aquella mesma piedade,
A que vos move um doente,
Vos mostra evidentemente
Homem são na qualidade:
De qualquer enfermidade
São aphorismos não vãos,
Que enfermarão mil irmãos:
Mas si o contrario se alude
Somente a vossa saude
Foi contagio de mil sãos.

Quem não sarou d’esta vez

Fica muito temeroso,
Que lhe ha de ser mui penoso
Acabar-se-vos o mez:
Ninguem jámais isto fez,
Nem é coisa contingente
O ficar toda esta gente
Com perigo tão atroz,
Que se acabe o mez á vós
Para mal de outro doente.
 AO CAPITÃO
JOÃO RODRIGUES DOS REIS, HOMEM GENEROSO E
ALENTADO, GRANDE AMIGO DO P.

Meu capitão dos Infantes,

Que por vossas boas artes,
Sois homem de muitas partes,
Nascendo só em Abrantes:
Por vossos ditos galantes,
Discretos e cortezãos,
E por largueza de mãos
Á todos nos pareceis
Não sómente João dos Reis,
Si não o rei dos Joãos.

O principe, que de juro

Senhorêa os corações,
Como lá disse Camões,
Que sois vós o conjecturo:
Tanto nisto me asseguro,
Que em ver como procedeis,
Presumo que descendeis
De algum principe de França,
D’onde tendes por herança
Esse appellido dos Reis.