Figure It Out! Drawing Essential Poses_ The Beginner’s Guide to the Natural-Looking Figure ( PDFDrive ) (1)

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Figure It Out!

Drawing Essential Poses

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The Beginner's Guide to the Natural-Lool<ing Figure

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$19.95 us

$22.95 CAN

Figure It Out!

Drawing .
Essential Poses

The Beginner's Guide to the
Natural Looking-Figure

Make your figure drawings more lifelike with
best-selling author Christopher Hart! In this
essential guide to drawing natural and realistic
poses, you' ll find :

• Access ible and specific step-by-step tutorial s

• Foundation Figures that show you how to
easily change an arm here or move a leg
there to gradually achieve a more interesting,
believable form

• Guided drawing steps highlighted with color
to pinpoint key concepts

• Instruction on drawing a variety of common
positions such as standing, sitting, reclining,
arms folded, legs crossed, hands on hips,
and more

• Deeper concepts such as perspective, illusion
of depth, casting shadows, and foreshortening

• No esoteric "art poses" that are often found in
figure-drawing books - the focus here is on the
gestures of real people in natural-looking poses.

RICHMOND ~-H[.J -~t
PUBl~C l.08RAfff'•

AUG 19 2016 .!

CENTk:i4L UkjkHKV .
905-884-9288

Figure It Out!

Drawing
Essential Poses

I\

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I

Figure It Out!

Drawing
Essential Poses

THE BEGINNER'S GUIDE TO THE NATURAL-LOOKING FIGURE

sixth&spring lbooks

NEW YORI<

An imprint of Sixth&Spring Books ~ICHMOND M~tr ·~
161 Avenue of the Americas, New York, NY 10013
sixthandspringbooks.com PUBLIC l~BRAR' 'l

Editorial Director Vice President AUG 19 2016
JOAN l<RELLENSTEIN TRISHA MALCOLM
CE~\fff<AIL. t!J BRi-\~)1

_J905-884~9288

Managing Editor Publisher
LAURA COOKE CAROLINE KILMER

Art Director Production Manager
DIANE LAMPHRON DAVID JOINNIDES

Assistant Editor President
JACOB SIEFERT ART JOINNIDES

Design Chairman
ARETA BUI< JAY STEIN

Production
J.ARTHUR MEDIA

Copyright © 2016 by Cartoon Craft, LLC
All rights reserved. No part of this publication may be reproduced or
used in any form or by any means-graphic, electronic, or mechanical,
including photocopying, recording, or information storage-and-retri eval
systems-without written permission of th e publisher.

The written instructions, photographs, designs, projects, and patterns
are intended for the personal, noncommercial use of the retail purchaser
and are under federal copyright laws; they are not to be reproduced in
any form for commercial use. Permi ssion is granted to photocopy content
for the personal use of the retail purchaser.

Library of Congress Cataloging-in-Publication Data
Figure it out! drawing essential poses : the beginner's guide to the

natural-looking figure I Christopher Hart.

pa~es cm
ISBN 978-1-936096-99-2

1. ART/Techniques/Drawing . 2. ART/Subjects & Themes/Human Figure.

3. ART/Techniques/General.
NC765 .Hl87 2016

743.4 - dc23
2015042532

Manufactured in China

1 35 79108642 RICHMOND HILL PUBLIC LIBRARY
First Edition
32972000044521 RH

Figure It outl drawing essential poses :

)

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I'd lil<e to thanl< everyone +
at Soho Publishing .-A
for mal<ing this bool<
series a pleasure to
write and draw.

0

.....••••••
.••»I ••••e•••••••e ••••••e •••••e••••••e•••••
. . . . . .I •••••

ontents

Introduction 8

Head and Body Basics 10

Proportions of the Head 12 The Must-Know Info 36
Side View 13
Front View -Male Face 14 Contracting and Stretching 38
Front View-Female Face 16 Alignment 40
Change of Angles 41
Side View-Male Face 18 Creating Variations 42
Arranging Arms and Legs 44
Side View - Female Face 20 Putting It Into Practice 46
The Head and Neck as a Unit 22
Turning the Head 23
The Framework 24
Draw ing the Muscles 25

Opposing Forces 48

It All Starts Here 50

Opposing Forces 51
Forces (Side View) 53
More on Posture 55
Drawing Exercise : Full Figure - Side 56
Small Changes Produce Big Results 58
Back Vi ew 60
Major Forces and Minor Forces 62

Posture 28 Arm and Shoulder Poses 64

Classic Posture (Side View) 30 Shoulder Movement 66
How Real People Stand 32 Drawing From a Basic Con struction 68
Back Vi ew 34 Counterpoi se 70

Full-Figure Arm-Based Poses 72 Depth 98 101
Crossed Arms 73 102
Problem Solved! 76 Depth-Side View 100
Straight Arm 78 Shifting the Center Line - Side View
Locked Arm 80 From Construction to Finished Figure
Shoulders Raised 82 Turning the Torso-Side View 104
Shoulders Pulled Back 84 Overlap and Depth 105
One Shoulder Up, the Other Down 86 Handling the Details 106
Forward and Back 108
The Back - Easy Solutions 109
The Bells and Whistles 110
The Hidden Half 112

Seated Poses 114

Posture 116
Sitting on the Ground 117
Sitting in a Chair-Side View 118
Sitting in a Chair-Front View 120
Sitting with Legs Together 122
Crossed Legs on the Floor 124
Sitting - Three-Quarter View 126

eg Poses 88 90 Exercises 128 ...... . . . . .••'I••••e•••••••••••••••••••••••••••••e••••
• •• •• t
Legs and the Mechanics of the Body Front View 130
The Walk 92 Three-Quarter View (Front) 132 t •••••
Variations on a Pose 93 Three-Quarter View <Back) 134
Turning the Feet 94 Turn a Pose into an Action 136
The Shift at the l<nee 96 Standing Poses 138
Bending the Leg 97 Seated Poses 140
Variations 141
Rough Sketches 142

ntroduction

Thi s practical guide w il I teach you For the aspiring artist who
how to draw the types of poses you'l I struggles with stiff-loo king poses, it 's
actua l ly use in yo ur artwork. There are puzzling. Why is it difficult to create
no drawings of nudes in improbab le a natural looking drawing of someone
positions su r rounded by folded fabric . simply standing? The fact is that there
Instead, you' II find realist ic poses are many forces at play in the human
that are true t o the way people carry
themselves . If you want your figures body at al I times that work to keep
to look natural rather than stiff, if
you want them to show depth rather it upright. These forces push and pu 11
than to appear flat, if yo u want th em aga inst each other. Therefore, th ere
to be dynam ic rather than stati c, th en is actually a lot going on in a simp le
you need the easy-to- learn techniques st anding pose . I' ll show you how
contained in th is book. to identi fy these mechanics, and to
draw them in a way that is accurate,
engag in g, and easy to do .

)

~

8

We'l I start off with the basics: Seemingly difficult gestures, such
a chapter on drawing the male as drawing the arms folded across the
and female body. Then we dive chest, are famous for driving artists
into the techniques on poses. The nuts. I ' II break them dow n for you, so
co ncepts include: drawing the body the on ly people going nuts are your
at different angles, types of posture, friends who see that you can draw
t he use of counterfo rces, equilib r ium, complex gestures wh ile they can't.
foreshortening, standing poses,
dramatic poses, seated poses, Whether you're a figure-drawing
shou Ider poses, arm poses, and leg artist, an illustrator, a comics artist,
poses. You ' ll want this useful, a cartoonist, or a manga artist, this
complete resource in your art book can transform the way you draw
book collection to refer to again people, making them appear lifelike
and aga in. and engaging. And it's fun, too! So
grab a pencil, and let's start drawing.

.....••I'I ••.•••e••••••.•••e•••••.•••e•••••••.•••e•••••.•••e•••••.

9

- -- ' - -

............. ......• ...

•
•......•

..·...·...·..... --~----,.,.......:-------­
..... ..... .

~-\-~ri '~]'~ . I~_

). Head and \

..

.··\::Body Basics

et's begin with a good warm up for
drawing poses: drawing basic heads and
bodies. This will give you some important
tips about proportion and structure. With a basic
knowledge of how to draw the figure, you go on
to create poses without the struggle.

.....,•.·.·······••••••••••••

•'••.•.•.•••...••••..•.•••.•..•••.•..•••.

11

The most useful proportion for drawing the head is the placement of
the eyes. The rule is that the eyes are drawn halfway up the head.*
By establishing this simple proportion at the outset, the rest of the
features fall into place. Conversely, if you were to wait until you were well
into your drawing to check the proportions, your picture might very well
end up like the Leaning Tower of Pisa - a beautiful effort, but with a bad
foundation that is hard to hide.

Eye Line Eyes spa:
one eye-
length ap

L. )J

POSE POINT Eye Placement

The horizontal guideline is called the The eyes are spaced one eye-
Eye Line. Use it, along with the vertical length apart. This rule of thumb
Center Line, to roughly outline your initial will help you create features that
drawings or sketches. look right as well as consistent.

* There are many more useful proportions in my book, Figure It Out:
Human Proportions, which is also published by Sixth&Spring Books.

12

'< >I

;pace Front View-Slender Side View-Wide
re-
1apa The top half of the head The top half of the head
is drawn as a circle. is drawn as an oval.

Side View with Neel< ,I

The bacl< of the head extends Flow of the Neel<
past the bacl< of the necl<.
POSE POINT
~ ide - MiBw 'J.... • • • • ·'
The width of the cranium causes
I n the side view, the head appears wide, the line of the necl< to create a
and this affects the way the line of the pleasing, sweeping curve.
neck is drawn. The neck is thicker than
many people think it is, because they are . . . .. . ... ..I •••••
used to seeing it from the front view, which
makes it seem thinner. But it's a sturdy .
section of the body that flows directly into
th e thick muscl es of the upper back. 13

Step 1

The top half of the head is dome- \I
shaped; it's the bottom half
that generally gets people into The red guideline is drawn at the angle of
trouble. Of course, you already know the jaw-the point at which the bottom
that the jaw tapers to the chin. But do
you know where the tapering begins? of the jaw angles inward.
Let's check it out. Step 3

Step 2

)

Simplified features, mainly for placement.

The indentation of the upper lip is
centered under the nose.

14

Step 4

Keep the hair close to the scalp.
You don't want to add too much
height to the head, which would

throw off the proportions.

Step 5

A touch of shading is all that's .,................ .• • •••••••I e e e e e I
needed to make the image come
alive. Shade lightly around the • • • • • •• • • • • •~ ••••• t
areas of the face that protrude
.' •...•.•...•.•. .• '
and the areas that dip.
15
\

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I

Step 1

I like to soften the angle of the jaw _ < W ) ·-1-----
on some female faces. However,
there's no rule for this. Some female I upper
heads are quite tapered, while others jaw line
have a square look. Therefore, while
your approach may vary, the proportions Tapered
remain the same for everybody. lower

Step 2 jaw line

High, Horizontal
arching chin
eyebrows
Step 3
Use a simple
line to establish -tI .~. " Emphasize th e
the position of I eyelashes at
the edges of
the lips. Then ,_Ij1, the eyes.
fill them out.
~·r
16

Step 4

FEATURE
FOCUS

Rather than focusing only on the
features to draw an interesting
face, let the hairstyle do some of
the work for you.

Draw lightly Step 5
to indicate
the bridge of •••••• ••••
the nose.
······=·=···•• • • • •• • • • • •l •••••
The eyebrows, the bridge of
the nose, and the eyes are • • • • • •I e e e e e
drawn with a darker line for
emphasis. It makes the eyes . . . . . .> •••••

the center of attention. 17

the

it

[)f

I'm often asl<ed to comment on
the drawings of aspiring artists.

One thing I've noticed is that
expression lines are commonly used
on drawings of the face. Unless the

subject's face has naturally deep
creases, shows signs of age, or is
mal<ing an expression, these lines
can be a distraction. It's better to

do too little, than too much.

Step 1 Step 2

\ )

The jaw has three For placement,
angles, which are remember that the
easily seen from bacl< of the jaw runs
up to the ear canal.
the side view.
Step 3
The side view is entirely
different from the front The brow
view. The features, in the projects slightly
side view, are drawn along further on males
than on females.
the edge of the face. This
In a relaxed
angle doesn't show much expression,
the lips slope
I depth, and therefore there's slightly.

I less need for shading. The necl<
attaches to
I the chin at a
right angle.
I

I

18

Step 4

,.,._
·~
#' ~

(

\ There are two deep
I indentations at this angle:
at the bridge of the nose
and between the lower lip
and the top of the chin.

Step 5.

ly
es
!S.

With the guidelines erased, ...........''~•••.·•••.·•••··•••··•••··•••
the features are aligned,
and they appear correct. . . . . . .• • • • • •I •••••

I ••• e e

19

Side View-Female Face

Step 1

- - d : . - .. As in the front Step 2
view, the eye is
\ the halfway point \ ____J!!t
of the head as
measured from In the
top to bottom. side view,
the lips
)- appear to
diverge.

Step 3

'\
( ) __ 4'\ /'".._,......,I~
~ The angles in the
outline of the face are

\~ --- [\ generally softened.

\ t/

~r ·.___

20

Step 4

There's a good Extend the eyelids
deal of space past the eyes for a
between the ear hint of glamour.
and the front of
·--------·
the face. Drawing the
Details
Step 5 If you try to draw
every strand of hair,
w, you'll have to use
s the same amount
of detail for the
to rest of the face
for consistency.
!. Instead, focus on
the overall shape of
the hairstyle, and

.. ________ ..articulate a few
wisps of hair.

The eyebrow naturally
takes a slight angle
downward, toward the
bridge of the nose.

.....,·.·.··.··.··.··.'''~•••.·..·•••.·..·•••.·..·•••.·..·••·•...·•·••.

21

The head and neck work as one unit; the position of one will always affect
the other. When the head tilts, twists, or turns, it puts stress on the neck.
We can show this in a variety of ways.

Head Tilt - Side to Side

Neutral Tilts Left Tilts Right
Symmetrical When the head tilts left, the When the head tilts right, the
neck crimps on the left side. neck crimps on the right side.

Head Tilt-Forward and Backward

Neutral Tilts Forward Tilts Back
Symmetrical When the head tilts forward, the When the head tilts back, the
back of the neck and the upper back back of the neck crimps, which
blend to create a single line, which
gives the appearance of length. gives the appearance of a
shorter line.

22

I t's a natural occurrence, in some poses, that the neck appears longer
on one side, but shorter on the other. Unfortunately, some people
correct for this by making them identical, which looks wrong. Let's
follow this simple guide for drawing them so that they'll look right.

c. )It

-- - .:). - . ----- _ __~ -z_.I

Head Neutral Head Turned Right
The necl< is of even length The necl< appears shorter in the
direction that the chin is turned.
on both sides.

~POSE POINT

The forward/backward head tilt
worl<.s differently than the side-
to-side tilt in that it primarily
affects the way the bacl< of the
necl< is drawn.

Head Turned Left . . . . . .I ••• e e
The necl< appears shorter in the
direction that the chin is turned. 23

The shoulders The shoulder/neck
extend past muscle creates
the frame of a slope to the
the torso. shoulders.

- - - - -+----~.--:;.-+---- Halfway point Draw the limbs
of the figure with subtle
(Important
proportion!) curves, so that
the figure

does not lool<
lifeless.

The ankle joint
is smaller than

the knee .

. ·----------------Neel< Region Detail I

When drawing the basic figure, first I
sketch the overall form. Make a quick
assessment, then make any revi sions I
before you add and define the musculature.
The neck and -::;- ;:;;, (
24
Ocan be thought \ /J

of as one section.

/~ 1,~~~ I

0 Collarbone (clavicle) I
I
Q Back muscles (trapezius) I

I

~----------------

:I<

IS Even a well-posed figure needs
some definition. This is done by
Inner knee suggesting the shape and location
muscle {vastus of the muscles, bones, and ligaments.
medialis) And yes, this can also be suggested
on clothed figures as well, as we will
soon see.

Line of
the chest
(pectoralis
major)

Hollow of
ribcage

•• . . . . . .t •••••

r -------H-ip-De-ta-il ------~ 25

Simplify the pelvis by
drawing it as a bathing
suit, which will emphasize
its depth.

( ) Draw the top of the hips to
show depth {gray area).

Q The holes for the legs are

drawn on a diagonal.

• • ~ -----------------·

Because of its width, the back musTchleessphyorualdmeidr at ifll/'f /."
view can be a powerful-looking the big joint at the
pose. When the shoulder blades 1
are spaced well apart, a broad look is baclc of the neck
emphasized. Unless it is flexed or heavily
muscled, the back is generally less well (the 7th vertebrae).
articulated than the front of the torso.

Any bend in the
torso occurs
just under the
ribcage.

POSE POINT

For variety, add a bend to the waist.
In upcoming chapters, you'll see
how this slight variation becomes
the l<ey element across a wide range
of poses.

r----------------------------------- ~
Drawing Other Angles (

If every drawing of (
the figure were a front (
view, things would get
pretty boring. So it's Front View Three-Quarter I
necessary to know how View I
to draw the body from The centerline I
different angles. Let's is perfectly When we turn I
see what happens to straight. the body, the
the figure when we turn Center Line (
it from a front view to becomes bumpy,
a three-quarter view. articulating the (
various contours
along the torso. (

I
I

~----------------------------------- ~

26

Shoulder /\
blades
1\
Lower bacl<
muscles- 1I\
inner
;
Lower bacl<

muscles
cover the
lower back.

I 'I

- ........''•••••• ••• ••• ••••I'
•• •• •t
I .. . . . . . .I e • e • e
• •• •• t

I• • •• •

Final Back-View Drawing
with Muscle Definition

27



Posture

ou'd think it would be easy to draw
an ordinary standing pose, but there's
actually a lot going on with the body that
occurs when a person is simply standing still. If

these elements are not incorporated, the result

can be a stiff-looking figure. This chapter on
posture will give you the tools you need to draw
natural-looking standing poses.

·•.·.•·.•.......• •••••

. . . . .. .I'•••.••.•••.•.•••••.••••.•.•••••.••.•••

29

I n order to portray someone standing up straight, you need to draw
curves. Sounds wrong, but it's true. Let's compare what happens when
you use straight lines versus curved lines to create posture.

Stiff Pose Natural Pose

Well, he's standing with There's counterbalancing
straight posture all right. But going on here. As the torso
he also looks like he'd tip curves outward, the legs
over in a strong breeze. This curve inward, as represented
is the approach you often see by the Line of Action (red
beginners take, because it's guideline). It's a small
intuitive. But unfortunately, adjustment, but it makes
it doesn't work. a world of difference.

30

Shoulder
drawn a good
distance
from chest

_ower

:eek

____, ~...,,.. To the average viewer, this ..................•'I••••••••••••••••••••••••••,'I
figure appears to be standing
We can divide the straight, but it's actually built . . . . . .. . . . .• • • • • •I •••••
direction, or angles, of the ~ on a series of curves.
0 bacl< into three planes. '

:ed 31

POSE POINT

To lool< comfortable, the posture needs
to show an overall flow.

The classic posture, outlined on the previous page, isthe way
you stand when your doctor measures your height. In real
life, the body relaxes and settles. This causes the hips to
move forward and the chest to sink. Let's try it.

Shoulders

There 's -
a slight,
bacl<-leaning Hips slightly
tilt to the forward

torso.

POSE POI T

Clothing often obscures the details of a figure.
But for the purposes of drawing posture, it's no
impediment. The overall flow of the pose creates
the impression, not individual pieces of clothing.

32

Chest
slightly in

I

Finished drawing with ' ............
color added ••••• I

33

r--------------- -~

Spine Comparison

When the body is relaxed, Straight Flexible
the pose looks natural. spine- spine-
Create a flow between yeah!
the upper and lower bodies so meh.
that they move as a flexible unit.

A curved, rather ~----------- ----~
than straight,
Center Line Note the
running down left/right
the back. curves of the

spine.

Instead of drawing a static sticl< Prominent
figure as a starting point, we'll contour around
the inner knee,
incorporate the posing principles
from the very beginning. from the
back view.
POSE POINT

The Center Line dictates the position of the
upper and lower body. Note how the hips
shift slightly right, while the upper body
shifts slightly left-just like the Center Line.

34

Because the The right
shoulders shoulder
overlaps the
turn slightly
t o the left, the back.
back overlaps

the left
shoulder.

e

t
the

I•

The final pose is ..... .. . . .. .••'I•••••e•••••••e•••••••••e•••••••e•••••••e•••••••I
appealing and is the
result of incorporating t• • • • • 4
these techniques about
posing in the first step. 35

L-

The Must-l<now Info

aving covered some important basics
in the first two chapters, we're now
going to take the next step. The must-
know techniques in this section will give you
highly effective tools to work with. The concepts
are clearly illustrated and carefully described
in order to make them easy to understand.
By adding these approaches to your skill set,

you will actually simplify things, not make them

more complicated.

...·.··.··.···••••• •••
. ... . ... . .'•.• • • • • •I ••••• 4'•••••e•e•e••'I

••• • •
... . . . .~

37

Torso contracts left, Torso contracts right, Static pose-torso is
stretches right stretches left relaxed on both sides

Stretch

An obvious way to avoid drawing
a stiff figure is to put a bend in
it. Add a bend at the waistline
on one side. On the other side, stretch
the torso. The contrast between the two
sides of the torso creates the appealing

look.

Application with
posed figure

L

38

..._

The Line of The Line of
.~ction bends Action bends

t oward the toward the
side that side that

: ontraction

Straight, contraction
rather than
stretched

The male figure doesn't Construction of torso with
always exhibit the same contraction on opposite side
degree of contraction in a
pose as the female figure. But . . . . .. .....I •••••
even the subtle application
of this principle is enough 39
to significantly increase the

appeal of a pose.

Shoulder Slightly
alignment Uneven

Chest Uneven
alignment

Elbows
alignment

Knees
alignment

Ankles POSE POINT
alignment
Even when the body is drawn unevenly,
Use measuring lines to much of it still remains in alignment.
avoid a lopsided drawing.

By lightly sketching guidelines across the important points along a figure,
you create a simple grid for keeping the body in alignment. However,
many poses are intentionally drawn out of alignment in order to create a
dramatic look. In such cases, other areas of the body can remain unaffected, such
as knees and ankles.

40

ere is a simple standing pose, which
ltly I've drawn in silhouette to highlight an

H1en important principle: simply by turning
the figure from a front pose to a three-quarter
pose, the overall effect is more engaging. The
takeaway is this: if your pose appears static,
keep the pose but adjust the angle!

1en

Static
(Front View)

Dynamic ,•..·..·.··.··.··••••••••••••
{3/4 View)
. . . . ..,'I••.•e•••.e•••.••••.e•••e•••'

41

Changing the positions of the arms, legs, or both is an
excellent way to create variations in poses. Another is
to shift the weight slightly to one side or the other, bend
a knee inward, or move a leg nearer or further from the body.
Even a slight shift can create a more dramatic pose.

I

'!

'I M UaiR • ...tW'eetttn

Static Variation: arm down,
leg slightly bent
42

Static )

Variation: shoulder dips and leg
bends inward

Static Variation: leg away ,................

43

This pose may not appear basic, but it is. She's standing with Hands
her weight distributed evenly without so much as a bend overlap head
at the waist. The pose is completely symmetrical. So what
gives it a dramatic look? The bold placement of the arms and legs.

Choose one hand to
be on the bottom, and

one to rest on top.

Raised arms travels into
reveal the the shoulder

bacl< muscles, muscle.

called the

/atissimus
dorsi.

Legs cross
at the calves

Align the The foot in front
shoulders, hips, is drawn lower
than the foot in
and l<nees. bacl< because of
perspective.

44

·-------------·
Creating Var· s
To create new poses, reinvent
existing ones. It doesn't take
a big revision to achieve a
legitimate, new pose. Something
as simple as raising or lowering
a limb can do it.

of
1st
1to I

Ider

!.

I

Though it's a static pose, ._____________ .. . . . . . .I •••••'
the position of the limbs

gives it a cool lool<.

45

Torso People often think of a pose as a conspicuous
leans left stance. They don't realize that every stance
is a pose - even one where the figure is
as well simply standing. This tutorial will show you how to
draw a standing pose so that it exudes a pleasing
and casual attitude.

POSE POINT L A bent
knee
When the The Center Line conveys
figure leans curves as it follows a lack of
left, the hips the path of the pose. tension in
push back. a pose.

46

·I ------Do-n-'t O-ve-rd-o I-t -----·I

I We've covered many techniques in this I

I chapter, but it isn't necessary, or even I

I advisable, to try to use all of them in every I

I drawing you create. Keep it simple, and the I

I results will be better. I

~-----------------·

· ---·~

A relaxed pose mal<es the figure ...... . .. . .••••••••••• ••••• • • •I e. e e • '
appear friendly and approachable.
• • • • • •• • • •• •I ••••• '

.• • • • • •I • • • • • '

47

f

I

)