The text advises artists to start by capturing the essence of a figure with light strokes because models can tire and shift. It suggests mastering both action and movement before perfecting details, and sometimes waiting for a model to assume a natural position is beneficial. Emphasis is placed on correct placement, observing proportions, and ensuring natural variations in form to reflect the diversity in nature.
Principles
One must, as previously mentioned regarding the study based on academy sketches, immediately focus on capturing the outline or movement of the figure with a light stroke, because the model may tire and shift, especially when preparing for the art of composition. One of the greatest merits is to effectively convey action and movement. However, when striving to perfect detail execution, it can be sometimes advantageous to wait and finalize your lines until the model has settled into a comfortable position that they will likely return to naturally. This goes against the advice of those who prefer capturing the first movements of action, resulting in easier study of parts that remain consistently viewed. This statement may initially seem contrary to traditional teachings, but it is based on experience.
Therefore, the same precautions previously indicated should be taken to place all parts correctly, both in position and plan, and complete the assembly of the figure while observing general proportions. Additionally, visible muscles should be indicated by more assured contours and pencil strokes. It is important to avoid equalizing forms, as nature itself does not possess equality; meaning, one form is always balanced by another larger or smaller one that highlights it.