Editing Vitruvian Man (section)

===Composition===
The [[drawing]] was executed primarily with pen and light-brown ink, while there are traces of brown wash (watercolor).{{sfn|Bambach|2019a|p=221}}{{refn|Older sources such as {{harvtxt|Kemp|1981|p=116}} and {{harvtxt|Arasse|1998|p=105}} do not mention any watercolor, though this is clearly stated in newer studies such as {{harvtxt|Bambach|2019a|p=221}} and {{harvtxt|Zöllner|2019|p=399}}.|group=n}} The paper measures {{convert|34.4|x|25.5|cm|in|abbr=on}}, larger than most of Leonardo's ''folio'' manuscript sheets,{{refn|Most of Leonardo's ''folio'' manuscript sheets range anywhere from {{convert|29|x|22|cm|in|abbr=on}} to {{convert|31.5|x|22|cm|in|abbr=on}}.{{sfn|Bambach|2019b|p=237}} Bambach notes that many of these smaller ''folio'' sheets were probably once larger, and later reduced in size for bindings.{{sfn|Bambach|2019a|p=224}}|group=n}} while the paper itself was originally made somewhat unevenly, given its irregular edges.{{sfn|Bambach|2019a|p=224}} Close examination of the drawing reveals that it was meticulously prepared, and is devoid of "sketchy and tentative" lines.{{sfn|Isaacson|2017|p=155}} Leonardo used [[metalpoint]] with a [[calipers]] and [[Compass (drawing tool)|compass]] to make precise lines, and small tick marks were used for measurements.{{sfn|Bambach|2019a|p=221}}{{sfn|Isaacson|2017|p=155}} These compass marks demonstrate an inner structure of "measured intervals" which is displayed in tandem with the general structure created by the geometric figures.{{sfn|Kemp|2019|p=85}}

The ''Vitruvian Man'' depicts a nude man facing forward and surrounded by a square, while superimposed on a circle.{{sfn|Palmer|2018|p=153}} The man is portrayed in different stances simultaneously: His arms are stretched above his shoulders and then perpendicular to them, while his legs are together and also spread out along the circle's base.{{sfn|Palmer|2018|p=153}} The scholar [[Carlo Vecce]] notes that this approach displays multiple phases of movement at once, akin to a photograph.{{sfn|Vecce|2003|p=70}} The man's fingers and toes are arranged carefully as to not breach the surrounding shapes.{{sfn|Kemp|2019|p=85}} Commentators often note that Leonardo went out of his way to create an artistic depiction of the man, rather than a simple portrayal.{{sfn|Isaacson|2017|p=156}}{{sfn|Pedretti|2006|p=82}} According to the biographer [[Walter Isaacson]], the use of delicate lines, an intimate stare, and intricate hair curls, "weaves together the human and the divine".{{sfn|Isaacson|2017|p=156}} Pedretti notes close similarities between the man and the angel of Leonardo's earlier ''[[Annunciation (Leonardo)|Annunciation]]'' painting.{{sfn|Pedretti|2006|p=82}}