Foreshortening is one of the most difficult views for artists do achieve when drawing from the model and Carmean is a master of foreshortening as can be seen from these drawings. His approach was to first view the figure from a completely abstract view point (otherwise you get caught up in what you know and not what you are actually seeing) and then, starting from the furthest point in back of the figure, you start defining the abstract shapes observed, and then systematically work your way to the front of the figure. The forms of the model, such as the head, arms, torso, etc. can be seen as much like hills, each one with its own unique silhouette, one in front of the other. The artist starts with the furthest "hill" and methodically works his way forward.
Another thing Carmean did when dealing with foreshortening was to define the foreground and background space around the model, basically to set the stage for the the strong three-D aspect of the foreshortened figure. If you look at these three drawings you will notice how the environment surrounding the figure is suggested and the signature always place in the foreground (to help further define the three dimensionality of the pose). These are some of the methods Carmean used when teaching foreshortening in his classes at Art Center and it was an approach he himself used with great success.