An understanding of the parts of the body is necessary if one is to make a successful drawing of the human figure. I have observed the difficulty encountered by the art student because of insufficient knowledge of the structure of the figure. Before him he sees a human being made up of a series of complex parts functioning as a whole. He fails to realize that these many parts may be seen as large, simplified masses fitting together and working together. After one's eyes have been opened sufficiently so that the figure may be seen in its bigness, drawing from the model becomes much easier, allowing for more freedom and greater personal expression. A common fault of most figure draughtsmen is that they fail to realize that the model is a solid body which has a front, back and two sides-and should be thought of as such. To them the figure does not exist beyond its profile edge. This edge is really the border of a solid form which continues around the figure from the front to the back. By eliminating all linear thought and constantly reminding himself of the solidity of the volumes before him, the artist will soon discover that his drawings of the figure have taken on a solid expression that formerly had been lacking. To be a successful draughtsman, one must learn to see the bigness of the figure-the tree, mountain or whatever he may be drawing. He must see the rhythmic relation of the simple masses which make up the whole; then, and only then, will he begin to modify these masses, always bearing in mind the first big conception.