drawing people for the absolute beginner a clear & easy guide to successful figure drawing
TRANSCRIPT
DrawingPeoplefortheAbsoluteBeginner
AClearEasyGuidetoSuccessfulFigureDrawing
MarkandMaryWillenbrink
Cincinnati,Ohiowww.northlightshop.com
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VIOLINPLAYERGraphitepencilondrawingpaper12"×9"(30cm×23cm)
Contents
SpecialOffers
Introduction
Pencils
Paper
PencilSharpenersandErasers
AdditionalSupplies
Setup
CHAPTER1
TechniquesandPrinciplesSketchingApproaches
Structural,Value,ContourandBlack-and-WhiteSketching
CombiningApproaches
TracingandTransferring
PositiveandNegativeFormsandLostEdges
DevelopingtheStructuralSketch
Proportioning
Aligning
ComparativeImages
LightEffects
CreatingDepth
CHAPTER2
ProportionsandFeaturesMaleandFemaleComparisons
BoneStructure
MovementandFlexibility
FlexPoints
Balance
ActionFigures
Mini-Demonostration:MaleFigure,FrontView
Mini-Demonostration:FemaleFigure,SideView
BodyTypes
HeadsandShoulders
FemaleHead,NeckandShoulders
Arms
Hands
Mini-Demonostration:Hand
Legs
Feet
Mini-Demonostration:Feet
Clothes
Mini-Demonostration:Cloth
ShirtsandPants
Dresses
Mini-Demonostration:Shirt
Mini-Demonostration:Pants
HatsandHeadgear
ShoesandBoots
PostureandBodyLanguage
SportsActionPoses
CHAPTER3
Let’sDrawPeople!CommonMistakes
Demonstration:TheProfessor
Demonstration:ToddlerWithWateringCan
Demonstration:TheCavalier
Demonstration:DancerSitting
Demonstration:GirlReadingaBook
Demonstration:YoungManReclining
Demonstration:BalletDancer
Demonstration:GuitarPlayer
Demonstration:WomanSitting
Demonstration:YoungManSitting
Demonstration:YoungManRunning
Demonstration:Violinist
Demonstration:VictorianDress
YourFinishedDrawing
Conclusion
Glossary
AbouttheAuthors
Copyright
IntroductionThehumanformissimplyamazing!WhileworkingonDrawingPeoplefortheAbsoluteBeginner,wewerecontinuallyimpressedbytheintricacyofthehumanbody.Asyoujourneythroughthisbook,wehopeyouareinspirednotonlytodrawthehumanfigureaccurately,butalsotoappreciatetheuniquequalitiesofeveryperson.Withsimpletoolsandbasicprinciples,thisbookwillhelpdevelopyour
drawingskills.Funtricksandtechniqueswillbeintroducedalongthewaytohelpyoudrawpeople,evenifyouareanabsolutebeginner.Drawingisaskillthatcanalwaysbeimprovedupon,whetheryouarean
absolutebeginneroraseasonedartist.Nomatteryourskilllevel,wethinkyouwillenjoythisbook.Everyoneisanartist,includingyou,sogetreadytohavefun!
MARKUSGraphitepencilondrawingpaper12"×9"(30cm×23cm)
WhatYouNeedPencilandpaperareallyouneedtostartlearninghowtodrawpeople.However,youmaywantadditionalsuppliestomakeyourexperienceeasierandmorefun.
Paper8 ⁄ "×11"(22cm×28cm)copierpaper9"×12"(23cm×30cm)medium-texturedrawingpaper9"×12"(23cm×30cm)medium-texturesketchpaperPapermaybetrimmedifneededformini-demosanddemos.
Pencils2B,4B,6Band8Bgraphitepencilsmechanicalpencil,.05mmgraphite
OtherSuppliesbulldogclipsdividerorsewinggaugekneadederaserlightboxmaskingtapemattingandframingslipsheetsprayfixativestraightedgetracingpapertransferpapervaluescale
OptionalSuppliesdrawingboardeaselpencilextenderpencilsharpenerplasticeraserwoodenmannequin
1 2
PencilsYourchoiceofthepencilsandpapertousewillbedeterminedbytheintendedresultofadrawing.Contentandhardnessofthecorearetwoconsiderationsinchoosingthebestpencilsforaparticulardrawing.Drawingpencilstypicallyhaveawoodcasingthatsurroundsthecore.The
coreisalsoreferredtoaslead,thoughnoactualleadisusedinpencils.
GRAPHITE,CHARCOALANDCARBONGraphite,charcoalandcarbonpencilsmaybesimilarinappearancebuthavedifferentcores.Graphitepencilshavefirmleadmadeforcontrolledlinework,buttheyleave
ashinygrayappearance.Thesoftnessofcharcoalpencilscanproducetrueblacks,buttheysmear
easilyandmakedetailedlineworkhardtoachieve.Theleadofcarbonpencilsismadeoflampblackcarbonandmayinclude
graphiteorcharcoal.Theleadcanmaketrueblacklikecharcoalwithfirmerandmoresolidlead.Graphite,charcoalandcarbonarealsoavailableassticks,whichcanbeused
ontheirendsfornarrowstrokesorontheirsidesforbroadcoverage.Theydonothaveawoodenoutercasing,sothestickscanbemessytohandle.
COLOREDANDPASTELPENCILSColoredpencilsareavailableinblack,whiteandgrayaswellasavarietyofcolors.Dependingonthetype,theymayhavealeadthatishardandwaxy,makingthemgoodfordetailedlineworkbutdifficulttoblendorerase.Pastelpencilsdifferfromothercoloredpencilsbecausetheyhaveasoftchalk
leadthatmakesthemeasiertoblendanderase.
MECHANICALPENCILSMechanicalpencilsuserefillablegraphite,whichproducesnarrowlinestrokes.Leadholders,alsoreferredtoasclutchpencils,areatypeofmechanicalpencilusingrefillablegraphitethatiswidelikeatraditionalpencil.Unlikeothermechanicalpencils,leadholderscanproducevariedlinewidthssimilartotraditionalpencilsbecauseoftheirwidelead.
Graphite,CharcoalandCarbonChoicesPencilsthathavegraphite,charcoalorcarbonastheircorearealsoavailableinstickform.
MechanicalPencilsandLeadHoldersThenarrowleadofmechanicalpencilsproducesnarrowlinestrokes.Leadholders,alsoreferredtoasclutchpencils,canproducewiderlinestrokesbecauseoftheirwiderlead.
ColorOptionsDrawingingraysorcolorscanbedonewithcoloredorpastelpencils.
WOODLESSGRAPHITEPENCILSThethickgraphitecoreofthesepencilsiscoatedwithlacquer,sothereisnowoodcasing.Thethickcore,whenusedonitsside,canproduceextremelywidepencilstrokes.
PENCILEXTENDERSApencilextenderisahandlewithasleevethatslipsoverashortenedpencil,allowingyoutogetmoreuseoutofit.Similardevicesareavailableforholdingcharcoalsticks.
PENCILHARDNESS
Pencilleadsareratedfortheirhardness.TheharderleadsarelabeledHforhard,andthesofterleadsarelabeledBforblack,withFandHBleadsinbetween.Thenumbersrefertothedegreeoftheirsoftnessorhardness.Thegreaterthenumberonthepencil,themoreevidentthesoftnessorhardness.Thismeansthatan8Hpencilhasaharderleadthana2Hpencil,andan8Bpencilhasasofterleadthana2Bpencil.Thehardleadpencilscanretainasharppointduringuse.However,theycan’t
maketherichdarksthatsoftleadcanmake.Forthisreason,havingavarietyofpencilsofdifferenthardnessisusefulforcreatingarangeoflinequalitiesforfinisheddrawings.
StudentGradevs.ArtistGradeSomeartsuppliesarecategorizedbyqualitysuchasstudentgradeorprofessional/artistgrade,withtheprofessional/artistgradebeingthebetterofthetwo.
WoodlessGraphitePencilsWiderthanaveragestrokescanbemadewithwoodlesspencils.However,theyarepronetobreakingbecausetheyhavenooutercasing.
ExtendYourPencilUsePencilextendersallowyoutomakeuseofpencilsthatwouldotherwisebetooshorttohold.Thesleeveofapencilextenderfitsovertheendofthepencil,soitcanbeusedtotheveryend.
HardtoSoftLeadsPencilleadsrangefromveryhardtoverysoft,withmoderateleadsinthecenter.
PaperSketchinganddrawingpapersvaryinweight,contentandsurfacetexture.Besideswhite,papersarealsoavailableinoff-whites,graysandcolors.
WEIGHTPapersarecategorizedassketchordrawing.Sketchpapertypicallyrangesinweightsof50to70lbs.(105gsmto150gsm),whereasdrawingpapercanweigh90lbs.(190gsm)ormore.Thickerthansketchpaper,drawingpaperbetterwithstandserasingandheavypencilpressureforafinisheddrawing.
CONTENTPapersusedforsketchinganddrawingaretypicallymadefromwoodpulporcottonoracombinationofthetwo.Papermadefromwoodpulpcontainsacid,whichcausesdeteriorationandyellowingovertime.Cottonisacid-freeandisabetteringredientforpapersinceitwillnotagelikewoodpulp.Towithstandtheeffectsoftime,thebestdrawingpapersaremademostlyorentirelyofcotton.
SURFACETEXTUREAlsocalledtooth,thesurfacetexturereferstotheroughnessofthepapersurface.Paperswithasmoothsurfacetextureworkwellfordetailedlineworkappliedwithpencilsthatarenottoosoft,suchasgraphite.Paperswitharoughsurfacetextureworkwellforsoftpencilssuchascharcoal.
SIZEANDFORMATSmallpaperpadsareconvenient,portableandgoodforsmall,quicksketchesorfinisheddrawings.Thesheetscanberemovedindividuallyandattachedtoadrawingboardwithbulldogclips.
DRAWINGBOARDSDrawingboardsprovideahard,smoothsurfacetosupportasheetofpaperforsketchingordrawingandtocontroltheamountofpencilpressure.TheboardsaremadeofMasoniteorlightweightwood.Somedrawingboardshaveclipsattachedtothem,butyoucanalsoholdthepaperinplacewithbulldogclips.
PadOptionsDifferentsizesketchanddrawingpadsareusefulforquicksketchesandfinisheddrawings.
SupportfortheArtistWhensketchingordrawing,itisimportanttohavethesupportofaflat,hardsurface.Masoniteandwooddrawingboardsprovidesupportforsketchanddrawingpaper.
WarmUpWithCopierPaper
Copierpaperisagoodalternativetoapadofsketchpaper.Itscheappricemaybelessintimidating,anditworkswellforquickwarm-upsketching.
PencilSharpenersandErasersPencilsharpenersanderasersaresuppliesthatyouneedtohaveeasilyaccessible.Asyoudraw,sharpenyourpenciltokeepanicepointonthetip.Youmaybeinthehabitofusingtheeraserattheendofyourpencilwhile
sketching.Thoughthisbuilt-inerasermaybeconvenient,itmaydomoreharmthangood.Whenerasingisnecessary,useonlygooderasers.
PENCILSHARPENERSYoucansharpenpencilswithelectricsharpeners,manualsharpenersorwithacraftknifeandsandpaperpad.Sharpeningwithacraftknifeworkswellifyouwanttoexposemoreoftheleadortosharpenmorefragilesoftleadpencilsthatdon’talwayswithstandregularsharpening.Sharpeningtheleadofaleadholderisdonewitharotarysharpener.
ErasersErasingcandamagethesurfacetextureofthepaperandaffectthelayofthelinework.Forthisreasonit’sbesttolimittheamountoferasingwhendrawing.Oneapproachtosketchinganddrawingistostartwithlightpencilstrokesandgraduallymakethemdarkerthemoreconfidentyouareoftheirplacement.Withthismethod,thereislessneedtoerase.However,whenerasingisnecessary,trytobegentleandcarefulnotto
wrinklethepaperintheprocess.Beasstingyaspossiblewhenusinganeraser.Twotypesoferasersarekneadedandplasticorvinyl.Kneadederasershavea
puttylikeconsistencyanddon’tleavecrumbs.Theyarebestforliftinglightpencillinesbypressingtheeraseragainstthepapersurfaceorgentlyrubbingbackandforthovertheareatobeerased.
Plasticorvinylerasersareusefulonareasthatarehardertoerase.Theseerasersleaveresidualstringsratherthancrumbsbehind,makingiteasiertocleanupaftererasing.
KeepingSharpPencilsharpenerscomeindifferentshapes,sizesandcolors.Somearesmallandportable,makingthemgoodforoutdooruse,whilelargeandelectricsharpenersareforstudiouse.Therotarysharpener,shownontheright,isspecificallydesignedtosharpenaleadholder.Justinsert
theleadholderinthetopandspintosharpenthelead.
KneadedandPlasticErasersKneadederaserscanremovelighterpencillines,whileplasticeraserscanremovedarker,moredifficultpencillines.
SharpeningWithaCraftKnifeandSandpaperPadTosharpenapencilbyhand,holdthepencilfirmlyinonehandandthecraftknifeintheother,withthebladefacingawayfromyourthumbandtowardtheendofthepencil.Alwaysusecautionwhenhandlingacraftknife.Pushthethumbholdingthepencilagainstthethumbholdingtheknifetocreateleverage,trimmingasectionofthewoodaroundthelead.Rollthepencilinyourhandtorepositionthepencilforanothercut.Continuetrimmingthewooduntiltheleadisevenlyexposed.Shapetheleadintoapointusingthesandpaperpad.
AdditionalSuppliesTheseadditionalsuppliescanmakeasketchingordrawingsessiongomoresmoothly.
PROPORTIONINGDEVICESTheprocessofsketchinganddrawingcaninvolveproportioning,whichisthegaugingandsizingofthesubjectelements.Thesimplestdevicefordoingthismaybetheshaftofapencil,whilemoreaccuratedevicesortoolsincludedividersandsewinggauges.Adividerissimilartoacompassandcanbeeasilyadjustedtocomparesizes
andproportionswhenworkingfromphotographs.Asewinggaugecanbeusedinasimilarmannertocomparesizesand
proportionswhenworkingfromphotographsoralivemodel.
VALUESCALEAvaluescaleshowsarangeofdifferentvalues.Placethissimpledeviceoverthedrawingandthesubjecttocomparethevalueswhiledrawingtheartwork.
TRACINGANDTRANSFERRINGSUPPLIESTocompleteadrawingyoumayneedtotraceandtransferastructuralsketch.Alightboxilluminatestheimagefrombehind,allowingyoutotraceastructuralsketchontodrawingpaper.Anothermethodistotransferastructuralsketchontodrawingpaperwith
transferpaper(alsocalledgraphitepaper).Tousetransferpaper,placeitbetweenthestructuralsketchandthedrawingpaper(onthebottom).Redrawthestructuralsketchwithahardleadpencilsotheimageispressedontothedrawingpaper.Transferpapercanbepurchasedreadyforuse,butyoucanalsomakeyour
Transferpapercanbepurchasedreadyforuse,butyoucanalsomakeyourownwithtracingpaperandagraphitepencil:Coveronesideofasheetoftracingpaperwithsoftgraphite,thenwipeacrossthesurfacewithacottonballslightlydampenedwithrubbingalcoholtobindthegraphitetothetracingpaper.SeeTracingandTransferringinChapter1formoreinformationaboutusinga
lightboxandtransferpaper.
MASKINGTAPEWhentracingortransferring,usemaskingtapetoadherethesheetsofpapertogetherandkeeptheminplace.Namebrandmaskingtapeisbestbecauseitgripsthepaperwellandreleaseswithouttearingthepaper.
FIXATIVEFixativebondsthelineworktothepaperandpreventsthesmearingoffinisheddrawings.Charcoalandpastelaremorepronetosmearingthangraphitebecausetheyaresoftandpowdery.Alwaysapplyfixativeinawell-ventilatedarea.
ProportioningDevicesThoughapencilwilldo,formoreaccurateproportioning,adividerorasewinggaugecanbeused.
LightboxandTransferPaperAlightboxandtransferpaperaretwooptionsfortransferringastructuralsketchontodrawingpaper.
ValueScaleAvaluescalewillhelpyoutoknowwhethertolightenordarkenyourdrawing.
SetupDrawingistheprocessofrecordingwhatwesee.Thesubjectcanbedrawnbystudyingalivemodelorfromphotographsandstudysketchesusedasreferencematerial.I(Mark)finddrawingfromalivemodelfluidandessential,whereasworkingfromphotosismoretechnicalandprecise.
WORKINGWITHALIVEMODELFortheartistthereisperhapsnobetterdrawingexperiencethanfirsthandfigureobservationusingalivemodel.
WORKINGFROMPHOTOGRAPHSANDSKETCHESIfalivemodelisn’tavailable,thenextbestthingistoworkfromphotosandsketches.Close-upandangledimagescanaidinthestudyofthesubject.Workingfromphotosandsketchesallowsstudyinganddrawingthesubject
withoutbeinglimitedtothemodel’spersonaltimeframe.
SetupWithaLiveModelSketchinganddrawingalivemodelcanbedoneusinganeaseloranarthorse(donkeybench)tosupportthepaperanddrawingsurface,orbysittingandholdingthepaperanddrawingsurface.AFrencheaselwithadrawingboardattachedisespeciallyusefulbecauseitisportableandhasadrawerforstoringandcarryingsupplies.Suppliescanincludesketchordrawingpaper,drawingboard,pencils,erasers,pencilsharpenerand
bulldogclips.Themodel’sposeshouldbeeasyforthemodeltokeepsoshedoesn’tgettiredandachyafteran
extendedperiodoftime.Astickorstaffcanbeusedforthemodeltosupportherarms.Itworkswelltosetupyourdrawingsurfacesothesubjectappearsnexttothepaperratherthanabove
orbehind.Youwillmoreeasilycomposeyourdrawingwhenlookingbackandforth,fromdrawingtosubject.
SetupWithPhotographsandSketchesSupplieswhenworkingfromphotosandsketchesincludesketchordrawingpaper,drawingboard,pencils,erasersandapencilsharpener.Youcansitatatableorstandataneasel.
SketchingontheGo
SketchingontheGoAllyoureallyneedtosketchwhileoutandaboutisasketchpadandpencilforquick,observationalsketches.
CHAPTER1
TechniquesandPrinciples
Thischapterwillexploresketchinganddrawingtechniquesaswellasprinciplesincludingperspectiveandvalues.Sketchinganddrawingaresimilar,yetdifferent.Sketchingmaybequickandlooseforthepurposeofobservingthesubject,planningadrawing,anddevelopingtheskillofdrawing.Drawinghasagoalofmakingafinishedworkofart.
PencilGripsandStrokesThegripofthepencilaffectslinequalitywhensketchinganddrawing,creatingavarietyoflinesfromtightandcontrolledtolooseandsketchy.Furthermore,theangleofthepencilcaninfluencelinewidth.Heldupright,apencilmakesnarrowlines,whileapencilheldatalowanglemakeswiderlineswithmoreoftheleadincontactwiththepapersurface.Youmayholdthepencildifferentlydependingonhowyouaresketchinganddrawing.Whenwarm-upsketching,choosetheloosegriporthepalmgripforloose,free-flowinglines.Forpreciseandcontrolledlinework,choosethehandwritinggrip.
LooseGripHoldthepencilbythefingertipsorclosertothepalm.Morecontrolledlinestrokescanbemadebyholdingthepencilclosertothepoint.Becauseofthelowangleofthepencil,widelinesarepossible.
PalmGripTheendofthepencilrestsinthepalmforthisgrip.Widelinesarepossiblebecauseofthelowangleofthepencilagainstthepapersurface.
HandwritingGripHoldthepencilasifforhandwriting.Morecontrolledlinestrokesarepossiblebyholdingthepencilclosertothepoint.Becausetheangleofthepencilisupright,onlythetipoftheleadisincontactwiththepaper,whichmakesfornarrowlines.
SketchingApproachesThereareavarietyofapproachestosketching.Gesturedrawingorsketchingisquickfreehandsketchinginitsrawestformandisn’tspecifictoacertainlinestyleorappearance.Otherapproachesincludestructural,value,contourandblack-and-white
sketching.Whiletheseapproachesmaybedonequickly,theiremphasisisoninterpretingthesubjectthroughlinestyleoronobservingcertaincharacteristics.
GESTUREDRAWINGFreehandsketchingorgesturedrawingisquicksketchingusedtoloosenupforlifedrawingsessionswithoutregardtoproportionsormeasurements.Theintentofthistypeofsketchingistostudytheessenceofthesubjectandtocaptureitsactionorgestures.Gesturedrawingwilldevelopyourobservationanddrawingskills.
TimedSketchingExercises:FreehandSketchesYoucandogesturedrawingasaseriesofquick,freehandsketches,producingoneafteranother,typicallyinonly30secondsto2minuteseach.Trydoingthisexercisepriortoamorelengthydrawingsession.Thegoalofgesturedrawingisn’taccuracybutobservingandcapturingtheessenceandmovementofthesubjectwhilekeepingtheactionofsketchingfluidandconstant.
Structural,Value,ContourandBlack-and-WhiteSketchingThesedifferentapproachestosketchingcanbeusedtostudythesubjectorasfinisheddrawingstyles.
StructuralSketchingAstructuralsketchdefinestheformofthesubjectthroughlinesthatemphasizeaccurateproportionsand
placementoffeatures.Byitself,astructuralsketchhasnovaluestocommunicatethelightsanddarks.Startastructuralsketchbyblockingintheoverallform,thenprogressivelyaddingsmallerfeatures.
ValueSketchingAvaluesketchinterpretstheformofthesubjectthrougharangeoflightsanddarks.Thegeneralizationofthevaluesistheemphasisratherthanthestudyoftheplacementofthefeaturesandproportions.
ContourSketchingAlsocalledcontinuouslinesketch,acontoursketchdefinestheformofthesubjectthroughacontinuousline.Thistechniquedevelopsyourobservationalskillsdifferentlythantheothersketchinganddrawingapproachesbecauseofitsemphasisonshapesratherthanvaluesorproportionalaccuracy.
Black-and-WhiteSketching(Chiaroscuro)Ablack-and-whitesketch,alsocalledchiaroscuro,isamoreextremeversionofavaluesketchandinterpretsthesubjectthroughhighlycontrastingvalues.Theresultsofthisapproachcanbeboldanddramatic.
CombiningApproachesSketchingapproachescanbecombinedtocreateafinisheddrawing.We’llusethisprocessthroughoutthedemonstrationsinChapter3,wherewe’llworkupastructuralsketch,thencombineitwithanothersketching/drawingapproach,eitherbyaddingvaluesorwithcontourdrawing.
MakeaStructuralSketchWorkupastructuralsketchofthesubjectwithattentiontoaccurateproportionsandplacementoffeatures.Atthisstagedon’taddanyadditionallinework.
CombinedWithAnotherDrawingApproachUsethestructuralsketchasaguidefortheplacementofthefinishedlinework.Inthisexample,thestructuralsketchcombineswithvaluestocreatethefinisheddrawing.
TracingandTransferringYoucancombinethestructuralsketchwiththefinishedlineworkonthesamesheetofdrawingpaper;however,thismayinvolveerasing,whichcanalterordamagethesurfaceofthedrawingpaper.Toavoidunnecessaryerasingonthedrawingpaper,youcanworkupthe
structuralsketchonasheetofsketchpaperandthentraceortransfertheimageontothedrawingpaperforthefinallinework.Asanaddedbonus,youcanuseacopiertoadjustthesizeofthestructuralsketchbeforetracingortransferringforthefinaldrawing.
TracingaStructuralSketchTousealightboxtotracethestructuralsketchontothedrawingpaper,tapeasheetofdrawingpaperoverthestructuralsketchandplaceitonthelightbox.Itslightwillallowtheimagetoshowthrough,whichyoucanthensketchontothedrawingpaper,minusanyunwantedlines.
canthensketchontothedrawingpaper,minusanyunwantedlines.
TransferringaStructuralSketchTotransferasketch,tapethestructuralsketchtothedrawingpaper,theninsertasheetoftransferpaper(alsocalledgraphitepaper)graphite-sidedownbetweenthestructuralsketchanddrawingpaper.Usea2Hpenciltogooverthenecessarylinesofthestructuralsketchtotransfertheimageontothedrawingpaper.Tomakeyourowntransferpaper,evenlycoveronesideofthetracingpaperwithlinesfromthe2B
pencil.Tobondthegraphiteofthepenciltothepaper,smearacottonball,slightlydampwithrubbingalcohol,overthesurfaceofthetracingpaper.
alcohol,overthesurfaceofthetracingpaper.
PositiveandNegativeFormsandLostEdgesPositivedrawingdefinesthesubjectbybeingdarkonalightbackground,similartoasilhouette.Negativedrawingistheoppositeofpositivedrawing,definingthesubjectaslightagainstadarkbackground.Alostedgeoccurswherethesubjectblendsintothebackground.Adrawingcanuseacombinationofanyorallofthesetechniques.
PositiveFormThisfigureisdrawnasapositiveformbybeingdarkagainstalightbackground.
NegativeFormThisfigureisdrawnasanegativeformdefinedbythedarkofthebackground.
CombiningPositiveandNegativeFormsandLostEdgesThisdrawinghasbothpositiveandnegativeareas.Mostofthebottomhalfofthefigureisapositiveform,
Thisdrawinghasbothpositiveandnegativeareas.Mostofthebottomhalfofthefigureisapositiveform,drawndarkagainstalightbackground,whereasthetophalfisexpressedwithanegativeformbecauseitislightagainstadarkbackground.Lostedgesoccurwherethesubjectblendsinwiththebackground,suchaswheretheshapeofthefigure’srightfootandalsothebackofthefigureblendintothebackground.
UsingIdentifiableFormsThoughasubjectmaybeofinterest,theimagemaybemoredifficulttoidentifythanitneedstobe.Visualizethesubjectinsilhouetteformandconsiderwhetheritsshapeisdifficulttoidentify.Ifitis,chooseadifferentposeorangleforthesubjectthatiseasytoidentifyinsilhouetteform.Thefirststeptocreatingasuccessfuldrawingistotakeintoconsiderationthattheouterformofthesubjectiseasilyidentifiable.(SeemoreonthissubjectatthebeginningofChapter3.)
DevelopingtheStructuralSketchTodevelopastructuralsketch,you’lluseblocking-in,proportioningandaligning.Youcanthenusethestructuralsketchasthefoundationforafinisheddrawing.
BLOCKING-INBlocking-ininvolvessketchingthegeneralformofthesubjectthroughbasiclineandshape.You’llincreaseaccuracythroughouttheprocessbyproportioningandaligningalongwithstructuraldetails.
LookforBasicShapesStarttoblockinthesubjectbysketchingtheoverallformusingthemostobviouslinesandshapes.Proportioningandaligningcanbeusedtoensuretheaccurateplacementofthefeatures.
DeveloptheFormDeveloptheformbyprogressivelyaddingsmallerfeatures.Theproportionsofthepreviousstepmustbeaccurateforthepropersizeandplacementofthesefeatures.
AddtheDetailsNowadddetailstocompletethestructuralsketch,whichcanbeusedasthefoundationforafinisheddrawing.
ProportioningProportioningprovidesaccuracytothesketchbycomparingandmeasuringthefeaturesofthesubject.Thoughtheprocessesforproportioningalivemodeloraphotoimagearesimilar,thetoolsaredifferent.Thetoolsusedtoproportionalivesubjectincludeapencilorsewinggauge,whilethetoolsusedtoproportionaphotoimagemayalsoincludeadivider.
ProportioningaLiveModelWhenproportioningalivemodel,lockyourarmforwardwithapencilheldstraightupanddown.Viewthetopofthepenciltothetopofthesubjectandslideyourthumbdownthepencil.Holdyourthumbinplacewhenyou’vechosenaunitofmeasurement.Nowyoucanusethatmeasurementtodeterminethelengthandwidthofsomeofthefeatures.Youcanuseasewinggaugeinsteadofapencilforsimilarresults.
FindaUnitofMeasurementFindafeatureofthesubjectthatcanbeusedasaunitofmeasurement.Inthisexample,weusethedistancefromthetopoftheheadtothetopofthelegasaunittocomparemeasurementsofotherfeatures.
CompareWiththeUnitofMeasurementTaketimetolookforsimilarwidthsandlengthsinyoursubjectwhenyouarebeginningasketch.Inthisexample,ifwecomparetheunitofmeasurementoftheheightofthekneetothetopofthehead,wefinditisthesamedistanceasthekneetotheelbow.Youmayfindsomethingelseinthefiguretomeasuretouseasaproportioningunit.
AligningAligningcomparestheplacementofelementsofasubjectthroughlinecomparisons.Vertical,horizontalandanglearethreecomparisonstolookforthroughoutthesketchinganddrawingprocesses.
VerticalAligningUseapencilplacedstraightupanddowntolookforelementsthatalignvertically.Inthisexample,thefacealignswiththestomachandtheheel.
HorizontalAligningUseapencilplacedstraightacrossforhorizontalaligning.Inthisexample,theelbowalignswiththetopofthelegandtheknee.
AngleAligning
AngleAligningForanglealigning,observeanyfeaturesofthesubjectthatlineuporangle.Inthisexample,theforeheadalignswiththekneeandthetoes.
ComparativeImagesOnetechniqueforproducingaccuratesketchesanddrawingsistoviewthesubjectalongsidethedrawingsurface.
ComparingaLiveSubjecttotheDrawingTocomparetheimageofalivesubjecttothedrawing,positionthedrawingboardtothemodelsothatbothappearsidebysideatrelativelythesamesize.Placehorizontallinestoalignthesubjectwiththedrawingfromtoptobottom.
ComparingaPhotototheDrawingTocomparetheimageofaphotographtothedrawing,holdthephototothesideofthedrawingsothatbothappearsidebysideatrelativelythesamesize.Placehorizontallinestoalignthesubjectwiththedrawingfromtoptobottom.
MannequinForms
MannequinFormsOnemethodofblocking-inistosketchthefigureinmannequinformwithindividualbodyparts.Asmallwoodenartist’smannequinmayalsobeofuseinobservingbasicbodyproportions.
ThePerfectModelAlivemodelcanbearelative,aneighbororsomeoneyouobserveinacafé.Thebestmodelcanexpresspersonalityjustthroughhisappearance.Whileitisimportanttounderstandthehumanform,itisn’tnecessarytodrawnudemodelstolearnfiguredrawing.Youmayneedtoworkoutsomeoftheformofthebodyunderneaththeclothestogainamoreaccurateinterpretationofthemodel.Thiscanbedonebylightlysketchingthebodyformbeforeworkingoutthedetailsoftheclothes.
LightEffectsLightandshadowappearancecanchangebydifferentapplicationsoflightinascene.Depthcanalsobesuggestedthroughformwiththeeffectsoflightandshadowonthesubject.Elementstowatchforandstudyincludelightsource,highlight,formshadow,
castshadowandthearealightenedbyreflectedlight.LightSource.Ifoutdoorsinthedaylight,theoriginoflightinascenewouldbethesun.Therecanbemorethanonelightsourceforascene.Highlight.Abrightspotorareathatappearsonsomethinginthescene.FormShadow.Ashadowthatdisplaysthedepthanddimensionoftheformofsomethinginthescene.CastShadow.Ashadowthatiscastfromsomethingontoanothersurface.ReflectedLight.Lightthatisreflectedoffasurfacethatlightensanothersurface.
LightFromFront,TopLeftByobservingthecastshadowonthegroundbehindthefigure,youcandeterminethatthelightsourceisfromtheupperleftinfrontofthefigure.Withthisangleoflight,thefigureiswelllitfromthefront,withshadowsthatdisplaytheformoftheface,handsandclothes.Noticethehighlightsonthefaceandhandsandthearealightenedbyreflectedlightattheundersideofthesleeve.
LightFromBehind,TopRightThecastshadowinthissceneisonthegroundtotheleftinfrontofthefigure,whichmeansthelightsourceisfromthetoprightbehindthefigure.Withthefigurebeingmostlyinshadow,theformsarenotasnoticeableandthefigureisdarkerandmoremysterious.Noticethehighlightsontherightsideofthefaceandthetopoftherightsleeve,andtheundersideofthesleeveislightedbyreflectedlight.
CreatingDepthDepthcanbeexpressedinfiguredrawingbyapplyingtheprinciplesoflinearperspectiveandforeshortening.Depthisalsoexpressedwiththelightandshadowsofthesubject.
LINEARPERSPECTIVELinearperspectiveimpliesdepththroughthesizeandplacementofelements.Closerelementsappearlargertotheviewer.Horizonandvanishingpointsarefeaturesoflinearperspective,thoughtheyarenotalwaysobvioustotheviewer.Thehorizonlineiswherethelandandskymeet,andvanishingpointsare
whereparallelelementsconvergeinthedistanceonthehorizon.Thoughitishelpfultounderstandtheprinciplesoflinearperspective,itis
seldomnecessarytoplotoutthehorizonandvanishingpointswhendrawingfigures.
LookingAcrossWiththisstraight-onview,theobserverislookingacrossatthescene.Thehorizonisattheeyeleveloftheadultfemalefigurewithasinglevanishingpointbehindthefigure.
LookingAcrossatanAngleBymovingthevanishingpointtothefarright,thefiguresareseeninthree-quarterview.Fromthisview,asecondvanishingpointisnoticeableontheleft,makingthisatwo-pointperspectivedrawing.Thoughviewedatanangle,thehorizonstillrestsattheeyeleveloftheadultfigure.Noticethatthefiguresofthisscenedisplaymoredepththanthepreviousexample.
LookingDownatanAngleFromthisviewyou’relookingdownonthesceneatanangle.Noticethatthevanishingpointsarealongthehorizon,thesameasthepreviousdrawing,butthehorizonhasmovedabovethefigures.Lookingdownatthisanglecanmakethesubjectfeeldistantorremovedfromtheviewer.
FORESHORTENINGForeshorteningimpliesdepthbyshorteningthelengthoftheindividualfeaturesofasubjectwhenviewedstraighton.Foreshorteningusestheprinciplesoflinearperspectiveonspecificfeaturesofthesubject.
ShortenedFeaturesInthisdrawing,theportionofthearmthatisextendedoutwardtowardtheviewerappearsshortenedandthussuggestsdepththroughforeshortening.
SubtletiesofForeshorteningForeshorteningwillnotlookawkwardifdonecorrectly.Inthisdrawing,thearmsandlegsofthefigureareforeshortenedinplaces,mostevidentlyinthearmandlegjustabovetherightknee.Theotherarmandlegareforeshortenedalso,althoughnotasnoticeable.Foreshorteningdoesn’tjustapplytofigures.Inthisdrawing,theguitarisalsoforeshortened.
CHAPTER2
ProportionsandFeatures
Studyingtheproportions,formsandfeaturesofthehumanbodywillbenefitthedrawingprocess.Thoughproportionsmaydifferdependingonthegender,ageandbodytype,allpeoplesharecommonstructureandmovement.
ADULTPROPORTIONSFortheaverageadult,thelengthofthelegscompriseshalftheheight.Theheightofthehumanfigureisaboutthesameastheheadheightcountedoutseven-and-a-halftimes.
MaleProportionsNoticetheplacementoftheelbowsandkneesaswellaswherethehandsrestinrelationtotheupperlegs.Themaleformhaswideshouldersandnarrowhips.Itcanhaveabulkyappearancewiththickfeaturesincludingalargetorsoandalowwaistline.Wheninterpretedindrawing,themalefigurecanshowanangularfeelandchunkyfeaturestoemphasizethemuscularform.
FemaleProportionsThefemaleform,whencomparedtothemale,hasnarrowshouldersandwidehips.Havingahighwaistline,thefemaleformhasasmallertorsoandlargerabdomenthanthemalefigure.Thefemalefigurecanhavealookofgracefulness,whichincludesdelicatefeatures.
Self-ReflectionsIfyouhavealargemirrororacamerawitharemoteshutterrelease,youcanuseyourselfasamodelforfiguredrawings.
MaleandFemaleComparisonsThoughhalftheheightofbothmaleandfemalefiguresismadeupofthelengthofthelegs,theplacementofthewaistisdifferent.Menhavealowwaistlinewithhigh,broadshoulders,makingforalargetorso.Womenhaveahighwaistlinewithlow,narrowshoulders,makingasmalltorsoandlargeabdomen.Thoughtherecanbemanygeneralizationsconcerninggenderdifferences,perhapstheonlyconsistentdifferencebetweenmaleandfemaleappearancesistheplacementofthewaistline.Forthesakeofcomparison,we’reshowingthemaleandfemaleillustrationsoverlappingoneanotheratthesameheight,thoughmenaretypicallytallerthanwomen.
FrontComparisonWiththefemalefigureplacedinfrontofthemale,sizecomparisonsofthefeaturesaremorenoticeable,especiallyintheupperbody.Thefemaleneckisthinandlong,makingtheshoulderslowerthanthemale.Thefemaletorsoissmallwithahighwaist.Theleglengthandthefallofthehandsinrelationtotheupperlegisthesameforbothfigures.
SideComparisonFromtheside,theslenderfemaleformisnoticeableinfrontofthethickermaleform.Thearms,legsandneckofthemalearealsothickerthanthoseofthefemale.
BoneStructureIt’seasiesttoseethebonestructureofthebodywherethereislessmusclearoundthebones,suchasthehands,wrists,feetandankles.Theouterformofthebodyisalsonoticeablyinfluencedbythebonestructureintheshoulders,elbows,ribs,pelvis,upperlegs,hipsandknees.
MaleandFemaleBoneStructureExceptfortheirsize,thebonestructuresofthemaleandfemalefiguresappeartobeverysimilar.Uponcloserexamination,however,themalehaswideshouldersandalargeribcagewhereasthefemalehasa
closerexamination,however,themalehaswideshouldersandalargeribcagewhereasthefemalehasalarge,widepelvis.
MovementandFlexibilityAlthoughthestructureofthehumanbodyhasarigidskeletalformmadeupofsolidbones,themusclesandtendonsconnectedtothosebonesallowthebodytobecapableofmovement,permittinganinfiniterangeofposes,posturesandpositions.
ArmandLegMovements
Viewedfromthefront,thepositionsoftheadultformareevident.LeonardodaVinci’sVitruvianMandrawingisanearlierstudyoftheproportionsandmovementsofthehumanform.
FlexPointsJustasawoodenmannequinhasjointsthatallowittobend,thehumanbodyhasflexpointsthatallowformovement.Thisflexibilityisperformedthroughactionsinvolvingthejoints,musclesandtendonsincooperationwiththebones.Jointsareintheshoulders,hips,elbows,knees,wrists,anklesandspine.
ElbowsandKneesTheelbowsandkneesarehingejoints.Theelbowsallowthearmstobendforward,whereasthekneesallowthelegstobendbackward.
SpineMovementismadepossibleforthevertebraeofthespinethroughglidejoints.Asafiguregoesfrombeinguprighttobentover,thewaistlinegoesfromhorizontaltoalmostvertical.In
thesameaction,thehipsandupperlegsshiftbackwardinanefforttokeepthefigurebalanced.Thenextpagesexplainmoreaboutbalanceandthehumanfigure.
ShouldersandHipsTheshouldersandhipsareball-and-socketjoints.Theyallowformoreflexibilitythanelbowsandknees,whichhavehingejoints.
BalanceWhenupright,thehumanbodyintuitivelyadjustsitselftokeepinbalance.Thisbalanceismaintainedbykeepingthecenterofbalanceoverthefeet,whichactasasupportbase.Thelinethatrunsthroughthecenterofbalancetothecenterofthesupportbaseisthelineofbalance.
BalanceWhenStandingThecenterofbalanceforastandingfigurewitharmsrelaxedislocatedaboutatthenavel,betweenthefrontandbackofthebody.Men,havingalargertorso,generallyhaveahighercenterofbalancethanwomen.Thelineofbalancerunsthroughthecenterofbalancetothecenterofthesupportbase,thefeet.Thewiderthefeetareplacedapart,thesturdiertheformwillbebecauseithasabroadersupportbaseto
straddlethecenterofbalance.Thecenterofbalancecanchangeormayevenbeoutsidethebodydependingontheformandactionofthebody.
FindingBalanceFiguresviewedfromthesidedisplayhowthelineofbalancepassesthroughtothefeet,whichactasthesupportbase.Todeterminethelineofbalance,simplydrawaverticallineupthroughthefigurefromthefloorwherethefeetareresting.
WrestlingWithBalanceAwrestler’scrouchedstance,withfeetplacedfarapart,givesthebodyalowcenterofbalanceandawidesupportbase.Holdingthispose,theathleteishardtoknockoff-balance,yetisreadytospringintoaction.
BalancingActThoughthecenterofbalanceofthisposeislocatedcentraltotheform,thefiguredistributesitsweightoutwardinanactofmaintainingbalance.Thefigure’sarmsandlegareextendedtoequalizethebody’sweightsothecenterofbalancestaysover
thesupportbase,whichisjustthefrontportionofonefoot.
ShiftingtheBalanceThoughthelineofbalancerunsthroughthecenterofthisfigure,thebalancehasshiftedbecauseonelegissupportingmostofthebody’sweightwhiletheotherlegisrelaxed.Indoingthis,thehipdropsovertherelaxedlegandthelineofthehipstiltsasthebodyadjuststomaintainbalance.Whenwalkingorrunning,thisshiftingandbalancingoccursinmotionasafigurekeepsitsstride.
UpsettingtheBalanceAfiguremayappearoutofbalanceifthecenterofbalanceisnotoverthefeet,whichactasthesupportbase.Exceptionstothisrulemayoccurwhenafigureisinmotionsuchaswhenrunningorjumping.Thelastdrawingcouldbevisualizedasslippingonabananapeelorridingasurfboard.
ActionFiguresTomakeafigureappearinaction,movethelineofbalanceawayfromthesupportbase.Walkingandrunning,observedfromthesideandthefront,displayhowactioncanaddinteresttoafiguredrawing.
WALKINGMovingthelineofbalanceforwardofitsstationarypositionsuggestsmotion.Thegreaterthemomentumofthefigure,themorethelineofbalancediffersfromitsstationaryposition.Armsandlegsswingandbendinrhythmastheweightofthebodytransfers
fromonelegtoanotherwhenitisinmotion.
WalkingFigure,SideViewAsafigurewalks,thelineofbalanceisforwardcomparedtoastationaryfigure.Theforwardmomentum,alongwiththefluidmovementsofthearmsandlegs,keepstheforminbalance.Opposingarmsandlegs
moveinunison(e.g.,theleftarmswingsforwardastherightlegmovesforward).Othercharacteristicsofthewalkingfigureincludeacentralformthatisuprightwitharmsandlegsthatarerelativelystraight.Astheweighttransfersbackandforth,onefootisalwaysincontactwiththepavement.
WalkingFigure,FrontViewAsthefiguremovesforward,thearmsandlegsmovetopasstheweightbackandforthandtokeepthebalance.Thehipstiltinresponsetothechanges.Theshouldersmayappearangledduetotheswingingofthearmsandthemovementoftheframe.
thearmsandthemovementoftheframe.
RunningWhenrunning,thefigurehasalineofbalancethatisfartherforwardthanwhenwalking.Momentumandbodyformkeepthefigurebalanced.Musclestightenandflexduetotheextrastrainuponthem.
RunningFigure,SideViewThestanceofarunningfigureismoreextremeandexaggerated,withthetorsobentforward.Armsandlegsarebentmorethanwhenwalking.Astherightlegcarriesthebody’sweight,theleftlegbends,risesandcomesforwardinanticipationoftakingtheweightandpushingthebodyforward.Duringtheprocessofshiftingtheweightfromonelegtotheother,bothfeetmayleavecontactwiththepavement.
RunningFigure,FrontViewWhenafigureisrunning,theanglesoftheshouldersandhipsaremorepronouncedthanthoseofawalkingfigure.Theweightisshiftedandthekneeisbroughtupandforward.
walkingfigure.Theweightisshiftedandthekneeisbroughtupandforward.
MINI-DEMONSTRATION
MaleFigure,FrontViewThisisabasicfrontviewofanadultmalestandingupright.Forthisdemonstrationtheheadheightwillfirstbeestablishedatone-eighththetotalheightofthefigureandthenslightlyincreased,tomaketheheadincorrectproportion.
Materials10"×8"(25cm×10cm)medium-texturedrawingpaper2Bgraphitepencilkneadederaser
STEP1:PlacetheBasicProportionsWitha2Bpencil,sketchaverticalbalancelinetokeeptheimagestraight.Addhorizontallinesforthebaseofthefeet,topoftheheadandthecenterline.Sketchahorizontallinebetweenthetoplineandthecenterline,makingupone-fourththetotalheight.Sketchanotherhorizontallinebetweenthetoplineandthepreviousline,makingupone-eighththetotalheight.Addonemorehorizontallineslightlybelowthelastlinetouseforthesizeofthehead.Youcanuseaproportioningdevicetocheckthattheheightofthefigureisseven-and-a-halfheads.
STEP2:AddtheBasicShapesandLines
Addthebasicshapeoftheheadandlegs.Sketchhorizontallinesfortheshouldersandwaist.
STEP3:AddtheFeaturesAddthetorso,neckandhips.Sketchovalsfortheknees.Thebottomsofthekneesrestapproximatelyhalfwaybetweenthecenterlineandthebottomline.Sketchthearmsandhandswiththefingersrestinghalfwaybetweenthecenterlineandthelowerbottomoftheknees.Addthefeet.Addlinesfortheplacementoffacialfeatures.
STEP4:DeveloptheFormDevelopandrefinetheformandaddfeaturesincludingtheclothesandlinesfortheplacementoffacialfeatures.
STEP5:AddtheValuesEraseunwantedlinesandfinishthedrawingbyaddingthevalues.
MINI-DEMONSTRATION
FemaleFigure,SideViewTheproportionsofanadultfemalearesimilartothoseofthemalefigure.Thelegsofthefemalefiguremakeuphalfitsoverallheight,whichisequaltoseven-and-a-halftimestheheadheight.
Materials10"×8"(25cm×20cm)medium-texturedrawingpaper2Bgraphitepencilkneadederaser
STEP1:PlacetheBasicProportionsWitha2Bpencil,sketchaverticalbalancelinetokeeptheimagestraight.Addhorizontallinesforthebaseofthefeet,topoftheheadand
straight.Addhorizontallinesforthebaseofthefeet,topoftheheadandaddacenterline.Sketchahorizontallinebetweenthetoplineandthecenterline,makingupone-fourththetotalheight.Sketchanotherhorizontallinebetweenthetoplineandthepreviousline,makingupone-eighththetotalheight.Onemorehorizontallineaddedslightlybelowthelastlinewillbeusedforthesizeofthehead.Aproportioningdevicecanbeusedtocheckthatseven-and-a-halfofthehead’ssizemakesuptheheightofthefigure.
STEP2:AddtheBasicShapesSketchtheformoftheheadwithastraightlineforthefrontoftheface;addtwoverticallinesforthethicknessofthetorso.Sketchcirclesforthe
addtwoverticallinesforthethicknessofthetorso.Sketchcirclesfortheshouldersocketofthearmandforthekneewithattentiontotheirplacementinrelationtothebalancelines.Sketchtwoshorthorizontallines,oneforthewaistandanotherfortheplacementofthefingertips.
STEP3:AddtheFeaturesAddmoreformtothefrontandbackofthetorsoalongwiththeneck,arm,legsandfeet.Adddetails,includingthehandandlinesforthe
arm,legsandfeet.Adddetails,includingthehandandlinesfortheplacementoffacialfeatures.
STEP4:DeveloptheFormDevelopandrefinetheoverallformandadddetailsincludingfingers,clothesandlinesfortheplacementofthehairandfacialfeatures.
STEP5:AddtheValuesEraseunwantedlinesandfinishthedrawingbyaddingthevalues.
BodyTypesChoosingmodelsforfiguredrawingisaboutcelebratingouruniquebodytypesandtheindividualpersonalitiesthatshinethrough.Manyofthefiguresinthisbookareeverydaypeople,andforthesakeofeducationwewilllookataverageproportionsasastandardtoworkfrom.
EverydayPeopleWeallsharesimilarcharacteristics.Thougheachofthesebodytypeslookdifferent,theyareproportionally
Weallsharesimilarcharacteristics.Thougheachofthesebodytypeslookdifferent,theyareproportionallyquitesimilar.Eachfigure’slegsmakeuphalfofitsheight.Eachoneisseven-and-a-halftimesitsheadheight.Noticethateventhelengthsofthearmsareconsistentwiththefingertipsrestingatthemiddleoftheupperlegwhenthebodyisrelaxed.
Age-AppropriateProportionsAschildrengrowintoadulthood,theirheadsgrowlittlecomparedtotheirbodies.Toddlersmaybefourheadshigh(one-quarteroftheirheightbeingtheirhead)andmaturetoseven-and-a-halfheadshighasanadult.Childrenhavewideheadsandchubbybodieswithshortarmsandshortlegs.Withyearsofgrowth,thelowerportionofthebodylengthensmorethantheupperportion.
ComicBookandFantasyFiguresWemaybesousedtocomicbook,fantasyandfashionimagesthatwedon’tquestiontheirreality.However,whenweexaminetheirproportions,wecanseehowunrealistictheyare.Thesefigureshaveamazingproportionsthatarewaybeyondaveragebodyproportions.Themaleis
bulkywithflexedmusclesandbroadshouldersaccentuatedbyathinwaist.Thefemaleisslenderwithabnormallylonglegsandlargebreasts,alsoaccentuatedbyatinywaist.Thoughbothofthesefiguresaredrawnatseven-and-a-halfheadshigh,comicbookandfantasyfiguresmaybedrawnwithsmallerheadstomakethemeighttonineheadsinheight.Comparethesefigureswiththeotheradultfiguresinthischaptertofullycomprehendtheirunrealisticproportions.
FashionFiguresFashiondrawingstretchesthefigurewithunnaturalproportionsforanappearancethatisthinandleggy.Thisfigureisnineheadsinheightwithlegsthatmakeupmorethanhalfoftheheight.
HeadsandShouldersAswithallofthefeaturesofthefigure,theheadandshouldersrelyoncorrectproportionstolookrealistic.Rememberthatyoucanuseaproportioningdevicetoachievecorrectproportionsforyourdrawings.
AdultFrontViewAdultheadproportionsaresimilarwithslightvariationsthatdisplayindividuality.Eyewidthcanbeusedasaunitofmeasurementtoworkouttheoverallproportionsofthehead,withtheheadbeingaboutseven
asaunitofmeasurementtoworkouttheoverallproportionsofthehead,withtheheadbeingaboutseveneyewidthshighandfiveeyewidthswide.Thedistancebetweentheeyesisequaltothewidthofoneeye.Eyesarelocatedapproximatelyhalfway
betweenthedistanceofthetopoftheheadtothechin.Thetopoftheearslineupwiththeeyebrows,andthebottomoftheearslineupwiththeendofthenose.Thebaseofthenoseisaboutthesamewidthasthewidthoftheeyes.Thewidthofthemouthcanbe
drawnasthesamewidthasthecenterofthelefteyetothecenteroftherighteye.
MaleandFemaleFrontViewsMentypicallyhavelargerheadsthanwomen,aswellaslargernoses,earsandeyebrowsandsquarerjaws.Womentypicallyhavethickerlips,butotherwisetheyaregenerallysmallerandhavemoredelicatefeaturesthanmen.
ChildrenFrontViewsChildren’sheadsaresmallerthanadults’;however,anadolescentmalemayhavethesamesizeheadasanadultfemale.Veryyoungchildrenhavewideheadsthatareproportionallylargeratthetopwitheyesthatareplacedwellbelowthecenterline.Thesizeoftheeyeschangeslittle,thoughtheyseembiggeronchildrenbecausetheirheadsaresmaller.
SideViewsWhenviewedfromtheside,noticethatthesizeoftheheaddoesn’tchangemuchfromyoungchildtoadult,althoughtheplacementandsizeofthefeaturesdochange.
HeadThree-QuarterViewsStructurallinesfortheplacementofthefeaturesarethesameforthefrontandsideviewsaswellasthethree-quarterview.Whendrawingviewssuchasthese,itisimportanttobeconsciousofwhetheryou,theviewer,arelookingup,downorstraightatthesubject.
Neck,Shoulders,MusclesandBonesAswiththerestofthehumanbody,theneckandshouldersaremadeupofmusclesandbonesthatworktogethertoflexandmove.Therearetwoprominentsetsofmusclesintheneckandshoulderregion.Onesetattachesthebackofthe
headtothetopoftheshoulders.Theothersetextendsfromthesidesofthehead,behindtheears,wrappingdowntothetopofthefrontcenterofthechest,nearthepitoftheneck.Twohorizontalbonesextendoutwardinoppositedirectionsfromthepitofthenecktotheshouldersabovetheupperarmsockets.
AdultMaleNeck,FrontViewAman’sneck,atthefrontandsides,cangenerallyappearthickandmuscularwithvisiblemuscles.
AdultFemaleNeck,FrontViewAwoman’sneckistypicallyslenderwithlessvisiblemuscles.
AdultMaleNeck,SideViewAman’sneckwhenviewedfromthesideanglestheheadforwardwithavisibleAdam’sapple.
AdultFemaleNeck,SideViewAwoman’sneckwhenviewedfromthesidemaybemoreangledthanthemaleneck.
MINI-DEMONSTRATION
FemaleHead,NeckandShouldersTakingtimetodetailthelightanddarkcontoursofthebonesandmusclesofthehead,neckandshouldersgivesthefiguredepthandalifelikequality.
Materials10"×8"(25cm×20cm)medium-texturedrawingpaper2Bgraphitepencilkneadederaser
STEP1:SketchtheBasicProportionsWitha2Bpencil,sketchshortlinestoplacetheouterproportionsoftheface,whichisseveneyewidthshighandslightlylessthanfiveeyewidthswide.Sketchaverticallinefromthecenterofthefacetobelowthe
wide.Sketchaverticallinefromthecenterofthefacetobelowtheshoulders.Sketchahorizontallineforthetopoftheshoulders.
STEP2:FormtheMainShapesandAddtheFacialFeatureLinesAddlinestoformtheshapeofthehead,neckandshoulders.Addhorizontallinesfortheplacementoftheeyes,noseandmouth.
STEP3:AddMoreFeatureLinesAddmorelinestoestablishthewidthoftheeyes,noseandmouth.Addahorizontallinefortheplacementofthebrows,andcontinuethehorizontallineforthenoseacrosstheface.Theearswillgobetweenthesetwolines.
STEP4:AddtheFacialFeaturesAddeyes,eyebrows,nose,mouth,lipsandears.
STEP5:ShapetheHair,NeckandShouldersSketchtheshapeofthehairanddefinetheformoftheneckandshoulders.
STEP6:AddtheValuesEraseunwantedlinesandcompletethedrawingbyaddingthevalueswitha2Bpencil.
ArmsThearmsandhandsofthesubjectcanexpressbodylanguage,mood,attitudeandaction.Thedistanceofthearmandhand,fromshouldertoptothefingertips,islessthanthelengthofthelegs,whichishalfthetotalheightofthebody.Malearmsaregenerallymorebulkyandmuscular,whilewomen’saregenerallymoreslenderwithlessmuscledefinition.
ArmPortionsandMovementsTheupperarmislongerthantheforearm.Whenthehandisbroughtuptotheshoulder,itisnoticeablethattheupperarmisslightlylessthanthelengthoftheforearmandhand,tothefirstrowofknuckles.Thetipoftheelbowmovesforwardastheforearmisbroughtup.Thisisbecausethetipoftheelbowisactuallytheendoftheforearmbone,ratherthanthetipoftheupperarmbone.Theinsideknoboftheelbow,whichisnotvisiblefromthisview,isthetipoftheupperbone.Itchangespositiononlywhentheupperarmismoved.Whenrelaxedinadownwardposition,thearmisslightlybentattheelbow.
MuscleFormoftheArmTheformofthearmchangeswithitsposition.Whenthearmisbroughtup,themusclesarecontracted,causingtheinnermusclestohavecurvatureandform.Whenthearmisstraight,thetopmusclesarelengthenedandflattenout.
AFlipoftheWrist
Usuallywhenthewrististurnedsothethumbispositionedawayfromthebody,theelbowwillbeturnedintowardthebody.Whenthethumbisturnedintowardthebody,theelbowwillbetiltedoutawayfromthebody.
ArmViewsandPosesThesubtledifferencesofformandshapearemorenoticeablewithcertainposesandviews.Forexample,whenthearmisflexed,themuscleformismoreaccentuated.
ArmsandtheBodyArmbuildreflectsthebodytype.Apersonwithaslenderformwillhaveslenderarms,justasapersonwithamoremuscularformwillhavemusculararms
HandsLikefacialexpressions,handshaveawayofexpressingmoods,suchasthreateningwithaclenchedfistorvulnerablewithanopenpalm.
Fingers,KnucklesandWristThehandismadeupofbones,musclesandtendons.Observingthewaythefingers,knucklesandwristworktogetherwillincreaseyourabilitytodrawthesefeaturesofthehumanbody.Thewristandknuckles,shownwithanovalandcircles,allowflexibility.Thebonesofthewristareinthelowerportionofthehand,connectingthebonesofthehandtothebonesofthearm.Thefingerbonelengthsreduceproportionallyastheygooutward.Thethumbhasonelessbonethanthe
otherfingers,thushasonelessknuckle.Whenexaminedasgroupings,thebonesandknucklesarenotstraightacross,butlineupascurves,withthecurvesmorepronouncedastheygooutward.Thefingernailcuticlebeginshalfwaybetweentheknuckleandthefingertip.
HandandHeadProportionThelengthofthehandisequaltothedistanceofthechintotheupperforehead.Thedistanceofthewristtothetipofthethumbisequaltoabouthalftheheadheight.
HandandArmProportionThehandmakesupmorethanathirdofthedistanceoftheforearmfromtheelbowtothefingertips.
Bones,Muscles,Tendons,VeinsandArteriesSomehandstendtobebulkyandbonywhereasothersaremoreslenderandgraceful.Besidesthebonesandmuscles,tendons,veinsandarteriesalsoinfluencethevisibleformofthehand.Thesefeaturescanbemademorenoticeablebyaddingvalues.
CurvedRowofKnucklesHandscanbeblockedinbysketchingtherowsofknuckleswithcurvedlines.Notethatknucklesdonotnaturallylineupinstraightlines.
FingerGroupingsTomakeadrawingeasier,itiscommontoseehandswithfingersthataregroupedtogether.Simpledrawingsofhandslikethisshowthehandasanoutlinewithoutlinesseparatingthegroupedfingers.
TaperedWhenFlatWhenflattenedandviewedfromtheside,thehandtapersfromthewristtothefingertips.
MINI-DEMONSTRATION
HandUsethesedemonstrationinstructionstotrysketchingyourownhand.Thestructuralsketchofthehandstartsasasimplemittenshape.Beforesketchingtheindividualfingers,blockinthegroupingsoftheknuckles.Ifyoupreferwiderpencillines,youcansketchwitha2Bpencilonmedium-texturesketchpaperratherthanthemechanicalpencilwithcopierpaperspecifiedinthematerialslist.
Materials11"×8 ⁄ "(28cm×22cm)copierpapermechanicalpencilkneadederaser
1 2
STEP1:ProportiontheFormWithamechanicalpencil,sketchtheouterproportionsofthepalm,indexfingerandthumboftheopenhand.
STEP2:SketchthePlacementLinesSketchcurvedlinesfortheplacementofthefingertips,knucklesandskinbetweenthefingers.Thehandisrelaxed,sothefingersaren’tstraight.
STEP3:SketchtheThumb,Fingers,PalmandWristSketchlinesfortheindividualfingersandthumb.Completetheouterformofthepalmandaddlinesforthewrist.
STEP4:DeveloptheFormDeveloptheoverallformandaddstructuraldetailssuchaswrinklesandcreases.
STEP5:AddtheValuesUseakneadederasertoeraseunwantedlines,andaddthevalueswithamechanicalpenciltofinishthedrawing.Datethebackofyourdrawing.
FrontandBackDifferencesTheproportionsofthefrontofthehandcomparedtothebackmayappeardifferentbecauseofvisualdifferencesthatincludetheskinbetweenthefingersandtheformofthepalmatthebaseofthehand.
LegsTaketimetostudyhowyourlegsandfeetareconnectedandformed.Yourfeetandhandsarealwayswithyou,soyouareneveratalossforsubjectmattertoobserveandsketch.Makinguphalftheadultbody’soverallheight,thelegsarecurvy,taperingin
widthastheyreachthefeet.
ProportionsoftheLegsTheupperlegislongerandthickerthanthelowerleg.Withtheupperlegfoldedagainstthelowerleg,itisnoticeablethatthelengthoftheupperlegisaboutthesamelengthasthelowerlegwhenincludingtheankleandheel.
ViewsandPosesTheupperleghasmusclessurroundingthebone.Thelowerleg,however,doesn’thavemusclescoveringthewholearea,leavingthefront/innersectionofthelowerlegtobedefinedbythebone.Becauseofthelackofmusclesurroundingtheknees,theirouterformisinfluencedbythebonesandtendons.Whenthelegisstraight,themusclesmayappearflatterandlesscurvedthanwhenbentandflexed.Whendrawingthelegs,takeintoconsiderationwhetherthemusclesarestretched,flexedorrelaxed,allofwhichinfluencethelegs’appearance.Thekneehasnoticeableprotrusionsatthefront.Thekneecap,alongwiththeligamentthatconnectsitto
thelowerleg,isprominentwhenthelegisstraight.
FeetWithnoeasygeometricpatternsvisible,feetarechallengingtodraw.Thispartofthebodyhaslittlefatormuscle,whichcausestheouterformtobedeterminedbythebonesandtendons.Thestructureofthefeetissimilartothehands,onlyelongated.Thebonesofthetoes,likefingers,areproportionallyreducedinsizeastheygooutward.
Foot,HeadandHandProportionsThelengthofthefootisslightlylongerthantheheightoftheheadandconsiderablylongerthanthelengthofthehand.
FeetandAnklesThemostdominantfeatureoftheanklesistheknobsthatprotrudefromthesides.Theknobsaretheendsofthelegbones,whichmeetthebonesoftheankles(drawnasovals)andallowmovementofthefoot.Noticethattheseknobsarenotstraightacrossfromeachother,butangled.Whenviewedfromtheback,anotherfeatureoftheankleistheverticaltendonsthatconnecttheheelbonestothelowerlegmuscles.
ViewsandPosesThetoes,ballofthefoot,archandheelareallaspectsofthefoottoobservewhenyouarestudyinghowtodrawthefoot.Doesthefootthatyouarestudyinghaveanarch,andcanthisarchbeseenontheoutsideofthefoot?
MINI-DEMONSTRATION
FeetIt’stimetogetcomfortable,putyourfeetupandrelaxforthisdemonstration.Propyourfeetuponareclinerorottomanandfollowthesestepstodrawthem.Drawbothfeetatthesametime,notindividually.Theyappearsymmetrical.Forthisdemothelightsourceisdirectlyfromtheright,sopositioningalampontherightsideofyourfeetwouldbeideal.
Materials8"×10"(20cm×25cm)medium-texturedrawingpaper2Bgraphitepencilkneadederaser
STEP1:ProportionBothFeetWitha2Bpencil,sketchtwohorizontallines,oneforthetopofthebigtoesandtheotherfortheheels.Sketchfourverticallines,twofortheoutersidesofthefeetandtwofortheinsidesofthefeet.
STEP2:SketchtheOuterFormsoftheFeetandToesSketchcurvedlinesfortheoutertipsofthetoesandforthelowersidesofthefeet.Addtwocurvedlinesforthealignmentofwherethetoesmeetthefeet.
STEP3:AddLinesfortheToesandLegsandDeveloptheFormAddlinesfortheindividualtoesaswellaslinesforthelegs.Developtheouterformsofthefeet.
STEP4:AddtheStructuralDetailsAddthestructuraldetailsincludingtoenailsandlinestodistinguishtheshadows.
STEP5:AddtheValuesEraseunwantedlineswithakneadederaserandaddthevalueswitha2Bpenciltocompletethedrawing.Placethedateonthebackofyourdrawing.
ClothesThoughclothescovertheform,theyarepartoftheoverallfigureandexpressthepersonalityofthewearer.Whetherthecostumeissimpleorelaborate,thematerialisaffectedbythelightsourcethatilluminatesthefolds,causinghighlightsandshadowsthatgivedepthtotheform.
FOLDSSeldomisclothingflatandformless;instead,itisfulloffolds.Foldsoccurwheretheclothinggathersoriscreased,creatingalandscapeofconcaveandconvexforms.Whenaddedtoafiguredrawing,foldscancreateasenseoffluidityandmotiontothesubject.Concavefoldsgoinward,asrecesses,whereasconvexfoldsprotrudeoutward.
Whenfoldsarebuncheduptogether,suchaswherethekneebends,theclothingmayappearaswavesofconcaveandconvexmaterial.Concavefolds,drawnwithdarkrecesses,appeartohavedepth,whileconvex
folds,drawnwithhighlights,causethematerialtoappeartobecomingforward.
TheGreatCover-UpThebody’sframesupportstheoutercoveringoftheclothesapersoniswearing.Althoughaffectedbygravity,anarticleofclothingwon’tjusthangonapersonasitwouldifitwereonahangerinthecloset.Rather,thematerialmoldsaroundtheshapeofthefigure,respondingtothepositionorposeofthefigure.Lookatthearmsleeveoftheclothingyouarewearingatthemomentyouarereadingthis.Noticethevaluesofthehighlightsandshadows.Nowchangethepositionofyourarmandseethosehighlightsandshadowschangeshape.
ConcaveandConvexInwardfoldsareconcaveandoutwardfoldsareconvex.Concavefoldsappearasdark,shadowedrecesses.Convexfolds,beingforward,appearlight.Simplecurtainfoldsareanexampleofclotharrangedinaseriesofconcaveandconvexfolds.
FollowtheLightWheneverdrawing,beconsciousoftheinfluencethatthelightsourcehasonthesubjectyouareobserving.Thelightsourcewillaffecttheappearanceofthesubject,whetheritlooksflatorhaswell-definedhighlightsandshadows.SeeLightEffectsinChapter1.
MINI-DEMONSTRATION
ClothAsimplewhiteclothisthesubjectforthisdemonstrationexaminingthesubtletiesoffolds.Tryyourownclothstudysetupbydrapingmaterialontheseatofachairandclippingittothebackofthechairsoitdoesn’tslipduringyourstudysession.Thelightforthisdemoiscomingfromtheupperleft.
Materials10"×8"(25cm×20cm)medium-texturedrawingpaper2Bpencilkneadederaserchairwhiteclothmaterialbulldogclip
STEP1:SketchtheBasicShapeWitha2Bpencil,sketchtheouterformoftheclothwithsimplelines.
STEP2:AddtheFoldsSketchlinesforthemostnoticeablefolds.
STEP3:RefinetheFormandAddtheDetailsRefinetheoverallformandaddstructuraldetailsandsomeshadowlines.Eraseunwantedlineswithakneadederaser.
STEP4:AddtheLighterValuesWitha2Bpencil,addthelightervaluestothedrawing.
STEP5:AddtheMiddleValuesAddthemiddlevaluesbybuildingupthepencilstrokes.
STEP6:AddtheDarksContinuebuildingupthepencilstrokestoadddarkervalues,givingdepthandformtothesubject.Useakneadederasertolightenareasbyliftinggraphite.Datethebackofyourcompleteddrawing.
ShirtsandPants
SHIRTSShirtmaterialhasfewerfoldswhenthearmisstraightthanwhenthearmisbent.Whenthearmisbentattheelbow,theshirtgathersandbunchesupattheinsideofthearmbutispulledattheundersideofthearm.
PANTSThecharacteristicsofapairofpantsaresimilartoshirtsbecausetheyarealsoinfluencedbythepullofgravity,thebody’sformandthelightilluminatingthesubject.
ShirtStructureObservehowthebody’sformunderneathaffectstheoutershapeoftheshirt.Noticethattheshirt’sformisdifferentwhereitisincontactwiththebodycomparedtowhereitisawayfromthebody.
ShirtValuesThelightsourceaswellasthebody’sformunderneathinfluencethevaluesoftheshirt.
PantsStructureWiththestraightleg,thematerialhangsdown,makinglittlecontactwiththebody.Forthebentleg,thematerialbunchesupbehindandbelowtheknee.
PantsValuesWithvaluesadded,thefoldsandformofthepantshaveamorerealisticappearanceofdepth.
DressesDressescanbeshortandtightorlongandflowing.Somedressesaresobigandfullthattheirouterformisentirelydifferentthantheunderlyingbodystructure.Thoughthebodystructuremaynotbenoticeableunderneaththematerial,itisimportanttoremembertheproportionsofthebodyfortheoverallstructuralfoundationofthefiguredrawing.
FullDressSketch
FullDressSketchAroughsketchofthebodyformunderneaththedressisdonetohelpplanthebody’sproportions.Withthissketch,theheadwascountedouttobeseven-and-a-halftimestheheightofthebody.Noticethatthedressgoesoutwardaroundthehips,startingslightlyabovethewaistline.
FullDressDrawingThelowerportionofthisperioddressshowsnoneofthecontoursofthebodyunderneath,thoughcorrectproportionsofthebodywereimportanttoestablishthecorrectheightandplacementofthewaistforthefigure.
ShortDressSketch
ShortDressSketchThisdressisshortandloosefromthewaistdown.Thoughhiddenfromview,theupperlegsareroughlysketched,aswellascirclesfortheplacementofthekneestoensurecorrectproportionsofthefigureandthedress.
ShortDressDrawingProperproportionsandbelievablefoldsofthedressareattainedbyacorrectsketchofthebody.
MINI-DEMONSTRATION
ShirtThesimpleT-shirtinthisdemonstrationhasnumerousfolds.Theshapeisinfluencedbythebodystructureunderneath,whichhasthefigure’srightshoulderforwardcomparedtohisleftshoulder.Youmaywanttolightlysketchtheformofthebodybeforesketchingtheshirt,thoughitisn’tnecessaryforthecompletionofthisdrawing.Thelightsourceiscomingfromtheupperright,causingtheshirttobedarkerontheleftsideofthebody.Useavaluescale(seeGlossary)togaugeyourlightsanddarks.
Materials10"×8"(25cm×20cm)medium-texturedrawingpaper2Bgraphitepencilkneadederaser
STEP1:SketchtheProportionsWitha2Bpencil,sketchlinesforthetopofthehead,chin,shouldersandshirttail.Sketchtwoshortverticallinestoestablishthewidthoftheshoulders.
STEP2:SketchtheMainShapesSketchanovalfortheshapeoftheheadandlinesfortheshoulders,neckandsidesoftheshirt.
STEP3:RefinetheFormRefinetheouterformofthefigure.
STEP4:AddtheStructuralDetailsAddthestructuraldetailsincludingthefolds.Drawingthefaceandarmsisoptional.Eraseunwantedlines.
STEP5:AddtheLightandMiddleValuesWitha2Bpencil,addthelightandmiddlevaluestotheshirt.Thelightisfromtheupperright,sotheindividualfoldsaredarkerontheleft.
STEP6:AddtheDarksandDetailsBuildupthepencillinestocreatethedarksandadddetailstotheshirt.Addhighlightsasneededbyliftinggraphitewithakneadederaser.Datethebackofyourdrawing.
MINI-DEMONSTRATION
PantsThisdemonstrationisafrontviewofamanwearingbluejeans.Withtheleftlegangled,therightlegsupportsmostofthebody’sweight.Notethattherightfootisunderthewaistandnotofftotheside.Useavaluescaletomakesureyouareusingafullrangeoflightsanddarksinyourdrawing.Thelightsourceisfromtheupperright,causingtheleftsidesofthepantlegstobeshadowed.
Materials10"×8"(25cm×20cm)medium-texturedrawingpaper2Bgraphitepencilkneadederaser
STEP1:SketchtheProportionsWitha2Bpencil,sketchhorizontallinesforthepants’waistandshoebottoms.Sketchverticallinestomarkthewidthofthewaist.
STEP2:SketchthePantLegsSketchlinesfortheoutershapesofthepantlegs.Noticehowbothlegsareangled.
STEP3:DeveloptheFormDevelopthepreviouslysketchedformtoincludesomeoftheformsofthefolds.
STEP4:AddtheStructuralDetailsAdddetailstothestructureincludingthebeltandfolds.Eraseunwantedlines.
STEP5:AddtheLightandMiddleValuesWitha2Bpencil,addthelightandmiddlevalues,darkeningtheleftsidesofthepantlegs.
STEP6:AddtheDarksandDetailsCompetethedrawingwiththedarksanddetailsandbyremovingsomeofthegraphitewithakneadederasertocreatehighlights.Datethebackofthedrawing.
HatsandHeadgearThoughtheycoverthehead,hatscantakeonashapeoftheirownthatisnotmoldedtotheactualshapeofthehead.Itisgoodtodrawthefoundationoftheshapeoftheheadbeforeaddingthedetailsoftheheadgeartoyourfiguredrawing.Thisisespeciallyimportantsoyoucanaccuratelyproportiontheheightofthepersonandthefacialfeatures,ensuringthatthemeasurementsoftheheightdonotincludetheheightofthetopoftheheadgearandensuringthattheeyesareplacedcorrectlyontheface.
TopHatSketchthestructureofthehatinitsentiretytoensuretheaccuracyofthedrawing.Thestructurealongwiththevaluesaddedtothetopportionofthehatcreateitscylindricalform.
GreekFisherman’sHatTheclothportionofthishatformsaroundtheheadtomakeauniqueshape.
InterestingHatsHatscanexpressthepersonalityofthewearerandaddinteresttoadrawing.
ShoesandBootsTheoutershapeofshoesfollowstheformofthefeetforthemostpart.Thoughitmaynotbenecessarytodrawthefeetinsidetheshoes,understandingtheformofthefeetisessentialtodrawingtheshoes.
DressShoesThissketchwiththedrawingshowshowtheformoftheshoesisinfluencedbytheshapeofthefeet.
FootwearEverywhereFootwearcanvaryandcanbeasuniqueasthewearer.Manytimesapersonalityaspectofthewearershowsupinherchoiceofshoes.
PumpedUpHighheelsorpumpscanchangetheappearanceofthefeet,anklesandlegs.Withoutpumps,thefeetareflattothepavement.Whentheshoeshaveaheelthatishigherthanthefrontofthefoot,theanklesandlegslooklongerandtakeonadifferentshapethanwhenflat-footed.
PostureandBodyLanguageTheattitudeofapersoniscommunicatedthroughherbodylanguage,notjustherfacialexpressions.
CapturingtheMoodAperson’spostureandposecancommunicatedifferentmoods,suchasangry,victorious,pensiveorfearful.
SportsActionPosesThestudyofsportsactionposeswillhelpyoudevelopyourfiguredrawingskills,evenifyouaren’tasportsfan.
CapturetheMomentSportsandactionposescancapturethemovementofthefigure.Whiletheseactionposeslooknatural,iftheyweretobeperceivedasstationary,someofthemmightappearoff-balance.
CHAPTER3
Let’sDrawPeople!
Ineachofthedemonstrationsinthischapteryouwillbeginwithastructuralsketchandthenaddvaluestocreatethefinisheddrawing.Whendevelopingthestructuralsketch,startwithlightandloosepencilstrokes,darkeningthelineworkasyoubecomemoreconfidentinyourexpressionoftheimage.Atthisstage,leavingincorrectpencilstrokesratherthanerasingthemcanguideyouindeterminingthecorrectplacementofthestructurallines.Refertothemini-demonstrationsforstep-by-stepinstructionsofindividualsubjectsasyouworkthroughtheselessons.Takeprideinyourwork.Itisuniqueandsoareyou.Signanddateyour
sketchesanddrawingssoyouareabletoseeaprogressionofyourskillsovertime.Also,byviewingyourartworkatalaterdate,youwillnotbeasinfluencedbyyourinitialexpectations,andyoumayhavearenewedappreciationforit.Photographpeoplesoyouwillhavereferencematerialtosketchathome.
Becausesomepeoplebecomestiffwhentheyrealizeyou’regoingtophotographthem,considertakingtheirpicturewhiletheyarerelaxedandinteractingwithothersaroundthem.Youwillhavesomefriendsandfamilywhomakenaturalmodels.Askthesewonderfulpeopletoposeforyouwhileyousketchthem.Remembertoallowthemtoposeincomfortablepositionsthatwon’tputastrainontheirbodiesastheykeepstillforyou,andtakeaphotooftheposesoyoucanworkonthefiguredrawingafterthemodelingsessionisover.
STREETPERFORMERSGraphitepencilondrawingpaper11"×14"(28cm×36cm)
ThinkforYourselfDon’tjustduplicatethematerialinthisbook—putintopracticewhatyou’velearned.Considerthestructureofthefigureandtheformoftheclothes.Noticethevalues,comparingthemtoavaluescalewhileyouconsidertheplacementofthelightsourceandtheshadowsofyoursubject.Observeforyourselfandcreateyourowncompositionsasyouworkthroughthisbook.
CommonMistakesForthebeginner,it’seasytomisjudgetheplacementofthelinesforadrawing,especiallywithsomuchinformationtocomprehend.Hereareafewcommonmistakestowatchforandavoidwhendrawingfigures.
HeadMisproportionsTheeyesaretoohighontheface.Theeyesfortheaverageadultareapproximatelyatthecenterwhenmeasuringtheheadfromtoptobottom.Drawingtheeyesinthewrongplacethrowsofftheplacementoftheotherfeatures.
ProperHeadProportionsProperproportionsoftheadultheadhavetheeyesplacedatthecenter,allowingtheotherfacialfeaturestobeintheircorrectpositions.RefertoChapter2formoredetailedinformationaboutcorrectheadproportions.
FigureMisproportionsTheheadandfigureareproportionallyincorrectatsix-and-ahalfheads(ratherthanseven-and-a-half).Thelegsarealsoshortlegs(theyshouldmakeuphalfofthetotalheight).Thesemisproportionsmaketheadultfigurelookchildlike.
ProperFigureProportionsProperproportionsoftheadultfigurewillmeasurethelegstomakeuphalfoftheheightofthefigure.RefertothebeginningofChapter2formoredetailedinformationaboutcorrectfigureproportions.
Difficult-to-RecognizeShapesWhenviewedasasilhouette,thissubjectisdifficulttocomprehend.Therecognitionofthesubjectreliesonthedetailsofthesubject,ratherthanonitsshape.
Easier-to-RecognizeShapes
Easier-to-RecognizeShapesBychangingtheangleofthesubject,boththedrawinganditssilhouetteformareeasiertoidentify.Together,theouterformandthedetailsenhanceeachothertobringclaritytothedrawing.
TheProfessorForthestructuralsketchofthissubject,firstproportionthefigurefullyclothed,thensketchinthebodythatissupportingthoseclothes.Thiswillensureproperplacementandproportionsofthefeatures.Asforthebalanceofthefigure,theweightisequallydistributedtobothlegs
sothatthecenterlinerestsbetweenhisfeet.Thelightsourceiscomingfromtheupperleftandnoticeablyaffectsthehat,
face,coatandpants.Remembertouseaslipsheet(seeGlossary)torestyourhandonwhile
drawingtopreventsmearingthegraphiteonthepapersurface.
MaterialsPaper:12"×9"(30cm×23cm)medium-texturedrawingpaperPencils:2Bgraphite,6Bgraphite,8BgraphiteOtherSupplies:kneadederaserOptionalSupplies:12"×9"(30cm×23cm)fine-ormedium-texturesketchpaper,lightboxortransferpaper,straightedge,tracingpaper
RelatedInterests
LightEffectsHandsHatsandHeadgear
STEP1:PlacetheBasicPortionsUsinga2Bpencil,sketchshorthorizontallinesforthetopofthehatandabaselinewheretheheelsoftheshoesrest.Sketchalineforthechinandalineforthetopofthehead,whichishiddenbythehat.Sketchacenterlinehalfwaybetweenthetopoftheheadandthebaseline.Thelegswillbesketchedinbetweenthecenterlineandthebaseline.Addaverticallineasthelineofbalance.
STEP2:SketchtheHeadandTorsoSketchanovalfortheshapeofthehead.Sketchahorizontallineforthetopoftheshouldersandverticallinesforthewidthofthetorso.
STEP3:AddtheBasicShapesoftheArms,Hands,LegsandFeetContinuingwiththe2Bpencil,sketchbasicshapes.Addthearmsand
Continuingwiththe2Bpencil,sketchbasicshapes.Addthearmsandhandswithattentiontotheanglesofthearmsandtheplacementofthehands.Addthelegsandfeettothebottomhalfofthefigureinasimilarmanner.
STEP4:DeveloptheFormoftheBodySketchsomeoftheformofthebody,includingtheneck,arms,hands,kneesandlegs.
STEP5:SketchtheClothesDeveloptheformofthehat,coatandpants.Addlinesforthecane,whichyoucansketchinusingastraightedge.
STEP6:AddandRefinetheDetailsStartaddingdetailsthroughoutthesketch,includinglinesforthefeaturesofthefaceandrefiningtheformsoftheclothes.
WhichPenciltoUseThroughoutthesedemonstrations,continueworkingwiththepencildescribedinthepreviousstepsunlessanotherpencilissuggested.
STEP7:AddMoreDetails,EraseUnwantedLinesorTraceorTransfertheImageWitha2Bpencil,continueaddingdetailsincludingfoldsandshadowlines.Eraseunwantedlinesifworkingdirectlyonthedrawingpaper.Ifyouareworkingonsketchpaper,traceortransfertheimageontodrawingpaper,omittingunwantedlines.Addlinesforthecastshadowofthefigureatthelowerrightofthescene.
STEP8:AddtheValuesWitha2Bpencil,addthelightandmiddlevaluesthroughoutthedrawing.Avoidgoingtoodarkatthisstageoryoumaylosethedetailandfoldlinesunderneaththeappliedpencilstrokes.
STEP9:AddtheDarksWithan8Bpencil,addthedark,shadowedregions.Whereoneformmaybecomelostbecauseitisinfrontofanequallydarkform,considerlighteninganedge.Youcandothistotheedgeofthehatbrimandalsothesleevethatisinfrontofthecoat.
DrawingWithaFullRangeofValuesRemembertoputyourvaluescaletousebycomparingthevaluesonthevaluescalewiththatofyoursubjectandalsotoyourdrawingsothatyouwillcreatearealistic-lookingmasterpiece.
ProfessorAlbionGraphitepencilondrawingpaper12"×9"(30cm×23cm)
STEP10:AddtheDarksandDetails,MakeAdjustmentsWitha6Bpencil,addthedarksanddetailsthroughoutthedrawing.Ifneeded,makeadjustmentsbylighteningsomeareaswiththekneadederaser.Signthefrontofyourdrawingandwritethedateontheback.
ToddlerWithWateringCanChildrenofthisagehavethatendearingqualitythatshowswonder,curiosityandinnocence.Simpleprops,suchasthiswateringcan,addinterestandcanaddtothestoryofthescene.Thisdrawingisinprofilewiththelightsourcecomingfromtheupperright.
Youcandrawitasitappears,withouthavingtoplanandsketchthebodystructurebeneaththeclothes.
MaterialsPaper:12"×9"(30cm×23cm)medium-texturedrawingpaperPencils:2Bgraphite,6BgraphiteOtherSupplies:kneadederaser,OptionalSupplies:12"×9"(30cm×23cm)fine-ormedium-texturesketchpaper,lightboxortransferpaper
RelatedInterests
BodyTypesHeadsandShouldersClothes
STEP1:DeterminetheProportionsWitha2Bpencil,determinetheoverallproportionsbysketchingaverticallineforthefrontofthebody,thenaddinghorizontallines,oneforthetopoftheheadandanotherforthebottomofthechin.Usingthatdistanceasaunittomeasureby,thetotalheightisslightlymorethanthree-and-a-halfheads,andthebodythicknessisslightlylessthanonehead.Sketchshortlinestoplacetheseproportions.
STEP2:FormtheHead,BodyandLegsWithcurvedlinesratherthananoval,formtheheadwiththeverticallinerightofcenter.Addacurvedlineforthebodyandanotherlineforthelegs.
STEP3:AddLinesfortheHands,Arms,LegsandFeetContinuingwitha2Bpencil,sketchlinesforthegeneralformofthehandsandarmswithregardtotheirpositionsinrelationtotheotherelements.Addlinestodistinguishthepantlegsandforthefrontoftheshoes.
STEP4:SketchthePlacementLinesfortheFace,Fingers,ShirtandWateringCanSketchlinesfortheplacementoftheeyes,noseandear.It’simportanttoplacetheselinescorrectlyforthedrawingtohavetheappearanceofatwo-year-old.Addlinesfortheprominentfingers,wristandshirttail.Addlinesfortheouterproportionsofthewateringcan.
STEP5:DeveloptheFormDeveloptheformoftheface,hands,arm,shoes,clothesandwateringcan.Startaddingthemostnoticeablefoldsandfeaturessuchasthepantspocket.
STEP6:AddMoreDetails,EraseUnwantedLinesorTraceorTransfertheImageWitha2Bpencil,adddetailsincludingfolds,facialfeaturesandstripestotheshirt.Eraseunwantedlinesifworkingdirectlyonthedrawingpaper.Ifworkingonsketchpaper,traceortransfertheimageontodrawingpaper,leavingoutunwantedlines.
STEP7:AddtheFacialDetailsThesubtleformssuchasthecurvesofthenoseandnosebridgeandthepointoftheupperlipareallpartoftheprofileoftheface.Bepatientandtakeyourtimetodevelopthedetails.
takeyourtimetodevelopthedetails.
STEP8:AddtheLightValuesWitha2Bpencil,addthelightvaluestothefeatures,keepingsomeareaswhitesuchasaroundthetopoftheheadandthetoppartsofthewateringcan.Theshirtwillbedarkwithwhitestripes.However,youmayfinditeasiertodrawtheshirtlightwithdarkstripes.
STEP9:AddtheDarks:Witha6Bpencil,addthedarkstoareassuchastheshirtandpantsandtheholeinthetopofthewateringcan.Addingthemiddlevaluesbeforethedarkvaluesmaycausethedetailandfoldlinestobecomelost.
STEP10:AddtheMiddleValuesWitha2Bpencil,addthemiddlevaluesthroughoutthedrawing.
TheKidWiththeWateringCanGraphitepencilondrawingpaper12"×9"(30cm×23cm)
STEP11:AddtheDetailsandMakeAdjustmentsWith2Band6Bpencils,adddetailsthroughout,blendingthedifferentvaluessotheytransitionfromonetoanothersmoothly.Lightenareas,ifneeded,withakneadederaser.Signyourdrawingonthefrontandwritethedateontheback.
TheCavalierTheanglesoftheheadandbodydisplaytheperspectiveofthisfigure,especiallyevidentwiththeplacementofthefeet.Byobservingtheshadow,youcandeterminethatthelightsourceisdirectlycomingfromtheupperleft.Thoughonlythehiltoftheswordisvisible,itiseasilyrecognizedbecauseofthesword’sshadow.
MaterialsPaper:12"×9"(30cm×23cm)medium-texturedrawingpaperPencils:2Bgraphite,6BgraphiteOtherSupplies:12"×9"(30cm×23cm)medium-texturesketchpaper,lightboxortransferpaper,kneadederaser
RelatedInterests
LinearPerspectiveClothes
STEP1:PlacetheBasicProportionsWitha2Bpencilsketchaverticalline,whichwillbethelineofbalancegoingfromthepitofthenecktothespacebetweenthefeet.Sketchshorthorizontallinesfortheplacementofthetopofthehead,forwardtoes,chin,distanttoesandcenterofthefigure.
STEP2:SketchtheHeadandWidthoftheBodySketchtheformoftheheadbetweenthetoptwohorizontallineswithattentiontoitsplacementinrelationtothebalanceline.Addtwoverticallinestoindicatethefullestwidthofthebody.
STEP3:AddtheShapesIncludingHands,ArmsandLegsContinuingwitha2Bpencil,sketchinovalsfortheshapesofthehands,linesforthearmsandtheslopeoftheshoulders.Addangledlinesforliningupthetoes,kneesandboottopsinperspective.Notethattheforwardfootlookslargerbecauseitisclosertotheviewerthanthedistantfoot.
STEP4:StartDevelopingtheFeaturesStarttodevelopthearmsandsleeve,legs,feetandcirclesfortheknees.Sketchalinefortheloweredgeofthevestjustabovethecenterline.
STEP5:ContinueDevelopingtheFeaturesContinuetodevelopthevest,distantbootandpantsattheknees.Sketchlinesfortheplacementofthefacialfeatures.
STEP6:RefinetheFormandStartAddingtheDetailsRefinetheformthroughoutandstartaddingdetailsincludingthemug,swordhilt,rose,hairandfacialfeatures.Addtheshadowonthepavementtotherightofthefigure.
STEP7:AddMoreDetailsandEraseUnwantedLinesorTransfertheSketchWitha2Bpencil,continuetoadddetailstotheface,handsandclothing.Eraseunwantedlinesifworkingdirectlyonthedrawingpaper.Ifyouusedsketchpaperforyourstructuralsketch,traceortransfertheimageontodrawingpaper,omittingunwantedlines.
STEP8:AddtheLighterValuesWitha2Bpencil,addvaluestothelighterregionsofthefaceandtheclothes.Atthisstage,avoidgoingdarkwiththepencillinesbecauseyoudon’twanttolosethestructurallinesyouhavepreviouslysketched.
STEP9:AddtheMiddleValuesGraduallydarkenthefeaturesandaddthemiddlevalueswitha2Bpencil.
STEP10:AddtheDarksWitha6Bpencil,addthedarksthatarenoticeabletotheface,hairandclothes.
DonJuanGraphitepencilondrawingpaper12"×9"(30cm×23cm)
STEP11:AddtheDetailsandMakeAdjustmentsWith2Band6Bpencils,darkenareassuchastheshadowedregionsandaddthedetails.Makeadjustmentsusingakneadederasertolightenareasifneeded.Signthefrontandwritethedateonthebackofthedrawing.
DancerSittingWewilluseproportioningandaligningtechniquesforthisdrawingtoensureaccurateplacementofthefeatures.Fordrawingssuchasthis,itcanbehelpfultodrawcirclestoplacethekneesandelbowsduringtheprocessofthestructuralsketch.Thelightsourceiscomingfromtheupperleft.
MaterialsPaper:12"×9"(30cm×23cm)medium-texturedrawingpaperPencils:2Bgraphite,6BgraphiteOtherSupplies:kneadederaserOptionalSupplies:12"×9"(30cm×23cm)medium-texturesketchpaper,lightboxortransferpaper
RelatedInterests
Blocking-InProportioningAligning
STEP1:PlacetheBasicProportionsWitha2Bpencil,sketchhorizontallinesforthetopoftheheadandforthetoes.Alsoaddlinesforthechin,shouldersandhip.Next,addverticallinestoindicatethewidthoftheshouldersandthesideofthedistantknee.
STEP2:SketchtheHead,TorsoandJointsSketchanovalfortheheadandcurvedlinesforthefrontandbackofthetorso.Addcirclesfortheplacementofthejointsoftheupperarms,shoulders,elbows,hipandknees.Theseshapeswillhelpintheplacementofthearmsandlegs.
STEP3:AddtheArms,Legs,NeckandShouldersWithsimplelines,sketchinthebasicshapesofthearms,legs,neckandshouldersusinga2Bpencil.
STEP4:SketchShapesfortheHandsandFeetandLinesfortheFeaturesSketchbasicshapesforthehandsandfeet.Addlinesfortheplacementofthefacialfeatures,chestandtheseat.
STEP5:DeveloptheFeaturesDevelopthehands,feet,face,chestandclothes.
STEP6:RefinetheFormandAddtheDetailsRefinetheoverallformofthefigureandaddthedetailsincludingfingers,slippersandshadows.
STEP7:AddMoreDetailsandEraseUnwantedLinesorTransfertheSketchWitha2Bpencil,addmoredetailssuchasshadowlines.Ifworkingdirectlyonthedrawingpaper,eraseanyunwantedlines.Ifyouusedsketchpaperforyourstructuralsketch,traceortransfertheimageontodrawingpaper,leavingoutanyunwantedlines.
STEP8:AddtheLighterValuesWitha2Bpencil,beginaddingvaluesstartingwiththelighterregionsofthehead,shoulders,arms,legsandseat.
STEP9:AddtheMiddleValuesGraduallyaddthemiddlevalues,darkeningfeaturestodevelopthecontoursofthefigurewitha2Bpencil.
STEP10:AddtheDarkValuesWitha6Bpencil,startdarkeningthehair,clothesandshadowsofthe
Witha6Bpencil,startdarkeningthehair,clothesandshadowsofthedrawing.
IreneGraphitepencilondrawingpaper
Graphitepencilondrawingpaper12"×9"(30cm×23cm)
STEP11:AddtheDetailsandMakeAdjustmentsContinueaddingthedarksandaddanyadditionaldetailsandadjustmentsusing2Band6Bpencils.Lightenanyareasasneeded,liftinggraphitewithakneadederaser.Signthefrontofthedrawingandwritethedateontheback.
GirlReadingaBookThelightsourceforthissceneiscomingfromtheupperright,castingashadowfromthefiguretothelowerleft.Thefigureisinperspectivewiththeviewerlookingslightlydownatathree-quarterviewatthegirl.Achild’sproportionsaredifferentfromanadult’sproportions.Noticethatherheadislargerincomparisontothebody.
MaterialsPaper:12"×9"(30cm×23cm)medium-texturedrawingpaperPencils:2Bgraphite,6BgraphiteOtherSupplies:kneadederaserOptionalSupplies:12"×9"(30cm×23cm)medium-texturesketchpaper,lightboxortransferpaper
RelatedInterests
Blocking-InProportioningLinearPerspectiveFolds
STEP1:BeginPlacingtheBasicProportionsWitha2Bpencil,sketchhorizontallinesfortheplacementofthetopofthehead,lowerknee,chinanddistantforearm.Sketchverticallinesfor
thewidthofthehead,linesforthewidthofthearmsandalineforthedistantknee.
STEP2:AddtheHead,Shoulders,ArmsandKneesSketchthebasicformsofthehead,shoulders,armsandcirclesfortheknees.
STEP3:SketchtheLegsandBookContinuingwitha2Bpencil,sketchthebasicformsofthelegsaroundthekneesandangledlinesforthefoundationalformofthebook.
STEP4:SketchtheHair,Hands,FootandClothesSketchtheformsofthehair,handsandfoot.Sketchthebasicformsoftheclothes.
theclothes.
STEP5:SketchPlacementLinesfortheFace,Fingers,Toes,
ClothesandBookSketchlinesfortheplacementofthefacialfeatures,fingersandtoes.Sketchlinesforthefoldsoftheclothingandthebookanditspages.
STEP6:RefinetheFormandAddtheDetailsRefinetheoverallformandaddthedetailsincludingthefacialfeatures.
STEP7:AddMoreDetailsandEraseUnwantedLinesorTransfertheSketchWitha2Bpencil,addmoredetailstothehairandfolds.Eraseany
Witha2Bpencil,addmoredetailstothehairandfolds.Eraseanyunwantedlinesifworkingdirectlyonthedrawingpaper.Ifyouusedsketchpaperforyourstructuralsketch,traceortransfertheimageontodrawingpaperomittinganyunwantedlines.
STEP8:AddtheLighterValuesWitha2Bpencil,addthelightervalues.Forthisdrawing,theonlyareastobekeptwhitearethesidesofthepagesofthebook.
tobekeptwhitearethesidesofthepagesofthebook.
STEP9:AddtheMiddleValuesGraduallydarkenthecontoursofthefigurebyaddingthemiddlevalues.
STEP10:AddtheDarkValuesWitha6Bpencil,begintoaddthedarkregionssuchastherecessesofthefoldsandothershadowedareas.
thefoldsandothershadowedareas.
ReadingTimeGraphitepencilondrawingpaper12"×9"(30cm×23cm)
STEP11:AddtheDetailsandMakeAdjustmentsAddfinaldarks,detailsandadjustmentswith2Band6Bpencils.Useakneadederasertolightenanyareasthatneedadjusting,includinghighlightstothehairandclothes.Signthefrontofthedrawingandwritethedateontheback.
YoungManRecliningSoftlightingisfallingonthissubjectfromtheupperright.Thepatternsoftheshirtfollowthecontoursofthefolds.
MaterialsPaper:9"×12"(23cm×30cm)medium-texturedrawingpaperPencils:2BgraphiteOtherSupplies:kneadederaserOptionalSupplies:9"×12"(23cm×30cm)medium-texturesketchpaper,lightboxortransferpaper
RelatedInterests
ProportioningFolds
STEP1:PlacetheBasicProportionsUsinga2Bpencil,sketchhorizontallinesforthelowerhipandtopofthehead.Sketchverticallinesfortheplacementofthebackandtipofthefoot.Noticethatthisproportionisaboutoneandahalfthedistancefromthelowerhiptothetopofthehead.Addahorizontallinejustbelowthehiplineastherestingplacefortheheeloftheboot,andaddanotherlinefortheplacementofthelowerjaw.
STEP2:SketchtheHead,Back,Hip,Knee,HeelandaLinefortheHandSketchtheshapeoftheheadandacurvedlinefortheback.Addcirclesforthehip,closestkneeandheel.Sketchashorthorizontallinefortheplacementofthefingertips.
STEP3:SketchtheArm,LegandFootContinuingwitha2Bpencil,sketchtheshapeofthearmwiththeshirtsleeve.Addtheshapeofthelegincludingthepantsalongwiththebackshapeofthefootwiththeboot.
STEP4:SketchtheTorso,BackLeg,FeetandHandsSketchadiagonallineforthefrontofthetorso.Addmorediagonallinesfortheformofthebackofthelegandtohelpalignthetopofthekneewiththechin.Sketchthevisibleshapeofthebackfootattachedtothebackleg.Roundofftheshapeoftheboot.Sketchtheformsofthehands.
STEP5:DeveloptheFaceandHandsDevelopthefacialfeaturesincludingtheearaswellasthehands.
STEP6:AddtheDetailsandRefinetheFormsStartaddingthedetailsthroughoutthefigureincludingthefoldsandrefinetheforms.
STEP7:EraseUnwantedLinesorTransfertheImageandAddthePatterntotheShirtEraseunwantedlinesifworkingdirectlyonthedrawingpaper.Ifyouareworkingonsketchpaper,traceortransfertheimageontodrawingpaperabsentanyunwantedlines.Startaddingtheparallellinesthatmakeupthepatternoftheshirt.
STEP8:ContinueAddingthePatterntotheShirtAddparallellinesthatcrossthepreviouslinesforthepatternoftheshirt.Continueusinga2Bpenciltoshadeinthepatternoftheshirt.
STEP9:AddtheLighterValuesThroughoutWitha2Bpencil,addthelightervaluestothehat,face,arm,hands,pantsandboots.
STEP10:AddtheMiddleValuesBeginaddingthemiddlevaluestoplacessuchasthefolds.
STEP11:AddtheMiddleandDarkValuesAddmoremiddlevaluesalongwithdarkvaluesthroughoutthefigureincludingtheshadowedareasusinga2Bpencil.
AlexGraphitepencilondrawingpaper9"×12"(23cm×30cm)
STEP12:AddtheDetailsandMakeAdjustmentsAddthedarksanddetailsthroughout,includingthecastshadowsunderthefigure.Lightenasneededwithakneadederaser,includingthehighlightstotheclothes.Signthefrontandwritethedateonthebackofthedrawingwitha2Bpencil.
BalletDancerThegracefulstatureandposeofaballetdancerisanaturalsubjectforfiguredrawing.Mostoftheweightofthefigurerestsonthedistantleg,withtheforwardlegcounterbalancingtheextendedarm.Themostdominantlightsourceilluminatingthesubjectisdirectedfromtheupperleft.
MaterialsPaper:12"×9"(30cm×23cm)medium-texturedrawingpaperPencils:2BgraphiteOtherSupplies:kneadederaserOptionalSupplies:12"×9"(30cm×23cm)medium-texturesketchpaper,lightboxortransferpaper
RelatedInterests
Blocking-InProportioning
STEP1:SketchtheBalanceLineandtheHeadWitha2Bpencil,sketchaverticallinethatwillbethebalancelineofthefigurethatextendsfromthepitofthenecktothearchofthedistantfoot.Sketchtheshapeoftheheadleftofthebalanceline.Theheadtakesontheshapeofacirclebecauseitistiltedback.Sketchshorthorizontallinesfortheplacementofthepitoftheneckandalsoforthebottomofthedistantfootalongthebalanceline.
STEP2:AddLinesfortheShoulders,Hips,HandsandFootSketchanangledlineforthetiltedshouldersandanotherlineforthehips,whicharealsotiltedbutnotasmuchastheshoulders.Sketchlinestoplacethefarthestextensionofthearms.Anotherlineisaddedforthefarthestextensionoftheforwardleg.
STEP3:SketchtheTorsoandtheForwardLegContinuingwitha2Bpencil,sketchtheshapeofthetorso,andnoticetheanglesandformsofthelinesthatmakeuptheleftsideandforwardlegofthefigure.
STEP4:SketchtheArms,Leg,NeckandChestSketchthebasicformsofthearmsandthedistantleg.Addlinesfortheneckandchest.
STEP5:SketchtheHandsandFeetandPlacementLinesforOtherFeaturesSketchellipsesasthebasicformsofthehandsandfeet.Addcirclesandellipsesfortheplacementoftheelbows,kneesandankles.Addacurvedup-and-downlinetoindicatethecenterofthefronttorsoalongwithadiagonallineforthechest.Sketchlinestoindicatetheplacementofthefacialfeatures.
STEP6:DeveloptheFormandAddtheDetailsDeveloptheoverallformandbeginaddingdetailsincludingfacialfeaturesandclothes.
STEP7:EraseUnwantedLinesorTransfertheImageIfworkingdirectlyonthedrawingpaper,erasetheunwantedlines.Ifworkingonsketchpaper,usea2Bpenciltotraceortransfertheimageontodrawingpaper,leavingoutunwantedlines.
STEP8:AddtheLighterValuesWitha2Bpencil,addthelightervaluesovertheentirefigure.
STEP9:AddtheMiddleValuesContinuetousea2Bpenciltograduallyaddmorevaluesoverthepreviousvaluestodeveloptheformsandshadows.
STEP10:ContinueAddingtheValuesContinuebuildingupthevalueswithattentiontotheirsubtlechangesanddifferences,rememberingthelightsourceiscomingfromtheupperleft.
BalletDancerGraphitepencilondrawingpaper12"×9"(30cm×23cm)
STEP11:AddtheDetailsandMakeAdjustmentsWitha2Bpencil,addthedarksanddetailsthroughoutincludingthehairandcastshadowsontheflooratthelowerright.Withakneadederaser,liftgraphitefromanyareastobelightened.Signthefrontandwritethedateonthebackofthedrawing.
GuitarPlayerForthisdemo,toensuretheaccuracyoftheproportions,sketchtheentirefigureeventhoughwe’llcroptheimageforthefinaldrawing.Thefinishedsizeissmallerthantheotherdemosinthisbookbecausethebackgroundisdarkandrequiresmoreattentionwiththeapplicationofgraphite.Thelightsourceforthisiscomingfromthetopleft.Thebackgroundisdarkenedforthepurposeofgivingcontrasttothepersonandguitar.
MaterialsPaper:12"×9"(30cm×23cm)medium-texturedrawingpaperPencils:2Bgraphite,4Bgraphite,6BgraphiteOtherSupplies:kneadederaser,slipsheetOptionalSupplies:12"×9"(30cm×23cm)medium-texturesketchpaper,lightboxortransferpaper,straightedge,valuescale
RelatedInterests
PositiveandNegativeFormsandLostEdges
STEP1:SketchtheBasicProportionsUsinga2Bpencil,sketchshorthorizontallinesforthetopoftheheadandthebottomofthefeet.Addaverticallinedownfromthepitoftheneckasthelineofbalance.Addanotherhorizontallineasthecenterline.Addalineatthechintoestablishthesizeofthehead.Becausethefigureisbentover,theheadsizeappearsbiggerthanusualandisaboutone-sixththeoverallheight.Sketchacurvedlinefortheshoulders,justabovethelineforthechin.
STEP2:SketchtheHead,Torso,HipsandUpperLegsSketchanovalfortheshapeofthehead.Addlinescomingdownfromtheshoulderstoformthetorso,hipsandupperlegs.
STEP3:AddtheArms,LegsandNeckContinuingwitha2Bpencil,addlinesforthearmsandlegs.Addcirclesfortheplacementanddevelopmentoftheelbowsandknees.Drawadiagonallinefromtheheadtotheshoulderstoindicatetheneck.
STEP4:SketchtheGuitarSketchtheguitarwitharectangleforthebodyandparallellinesfortheneckoftheinstrument.Theguitarisangled,goingupwardattheneck.
STEP5:AddtheHands,Feet,GuitarFormandFacialLinesAddbasicshapesfortheplacementofthehandsandfeet.Formtheshapeoftheguitarandaddlinestothefacefortheplacementofthefeatures.
STEP6:AddtheDetailsAdddetailsincludingfacialfeatures,fingersandfeaturestotheclothingandguitar.Thestraightedgecanbeusedtosketchthestraightlinesoftheguitarneck.Addlinesfortheplacementoftheshadows.Becausethedrawingwillbecropped,detailsbelowthekneearenotnecessary.
STEP7:AddMoreDetailsandEraseUnwantedLinesorTransfertheImageEraseunwantedlinesifworkingdirectlyondrawingpaper.Ifworkingonsketchpaper,usea2Bpenciltotraceortransfertheimageontodrawingpaperomittingunwantedlines.Adddetailstotheguitarandtotheshadowedareasofthefaceandclothes.
STEP8:AddtheLighterValuesContinuingwitha2Bpencil,addthelightervaluestothefigureandtheguitar.Whenaddingthesevalues,avoidgoingsodarkthatthedetaillinesofthestructuralsketchbecomelostintheshading.
STEP9:AddMoreValuesAddmorevalues,graduallydarkeningtheimageintheshadowedareas.
STEP10:DarkentheBackgroundWitha6Bpencil,begindarkeningthebackground.Whileworking,remembertorestyourhandonaslipsheettoprotectyourdrawingfromunwantedsmearingofthegraphite.
STEP11:ContinueDarkeningtheBackgroundContinueusinga6Bpenciltodarkenthebackgroundthatsurroundsthefigureandtheguitar.
STEP12:DeveloptheValuesBuildupthevaluesofthefigureandtheguitarusingboth4Band6Bpencils.Youmaywanttouseavaluescaleinthissteptogaugethelightsanddarks.
GuitarPlayerGraphitepencilondrawingpaper6"×9"(15cm×23cm)
STEP13:AddtheDarksandDetails,MakeAdjustmentsWith2B,4Band6Bpencils,addthedarksanddetailsthroughout.Youmayneedtolightensomeareaswithakneadederaser.Signthefrontandwritethedateonthebackofyourfinisheddrawing.
WomanSittingThebodyisangledandsomeofthefeaturesareforeshortened,whichmakesthisfigurestudymorechallengingtodrawthanastraight-onorsideview.Thelightsourceiscomingfromtheupperleft,whichcausesmostfeaturestobelighterattheupperleft,graduallygettingdarkergoingtothelowerright.Blockinthefigure,thenaddthechair.
MaterialsPaper:12"×9"(30cm×23cm)medium-texturedrawingpaperPencils:2Bgraphite,4BgraphiteOtherSupplies:kneadederaserOptionalSupplies:12"×9"(30cm×23cm)medium-texturesketchpaper,lightboxortransferpaper
RelatedInterests
Blocking-InProportioningHeads
STEP1:PlacetheBasicProportionsWitha2Bpencil,sketchhorizontallinesforthetopoftheheadandthelowestplacementofthetoes.Sketchaverticalline,fromtoptobottom,atthesideoftheface.Sketchahorizontallineatthebaseofthechin.Thisdistancefromthechintothetopoftheheadcanbeusedasaunittomeasureandcomparedistance,thoughitisnotatrueheadheightbecauseitincludesthehair.Addtwomoreverticallines,onefortheplacementofthekneeontheleftandtheotherforthearmontheright.
STEP2:SketchtheHead,Shoulders,ArmsandLegContinuingwitha2Bpencil,sketchtheformoftheheadbyaddingcurvedlinesfortheforeheadandtheoutershapeofthehair.Sketchmorecurvedlinesfortheshouldersandtheouterformofthearms.Addastraightlinefortheundersideofthefrontleg.
STEP3:AddtheHair,Arms,LegsandNeckAddmoretotheformofthehair,andsketchthearms,legsandashortcurvedlinefortheneck.Addcirclesfortheclosestelbowandtheknees.
STEP4:AddtheFacialLines,Hands,FeetandClothesAddlinesfortheplacementoftheeyes,noseandmouth.Sketchbasicshapesforthehandsandfeet.Addlinesforthecuffsandedgesoftheclothing.
STEP5:SketchtheChairContinuingwitha2Bpencil,startsketchingtheformofthechairasabasicshapewithattentiontoitsplacementinrelationtotheformofthefigure.
STEP6:RefinetheFormandAddtheDetailsRefinetheformandstartaddingdetailstotheface,fingers,shoes,clothesandchair.
STEP7:EraseUnwantedLinesorTransfertheImageandAddMoreDetailsEraseunwantedlinesifworkingdirectlyondrawingpaperortransferthesketchontodrawingpaperusinga2Bpencil,leavingoutunwantedlines.Addmoredetailsincludinglinesforshadowsandherhair.
STEP8:AddtheLighterValuesUsinga2Bpencil,beginaddingvaluesstartingwiththelighterregionsincludingtheface,neck,hands,pantsandchair.
STEP9:AddtheMiddleValuesContinuingwitha2Bpencil,addthemiddlevalues,graduallydarkeningareasanddevelopingtheformthroughoutthesubject.
STEP10:AddtheHighlightsRemovegraphitetocreatehighlightsinthehairandonthepantsbypressingthetipofthekneadederaserdownanddraggingitalongthepapersurface.Ifthegraphiteistoodark,itisdifficulttoliftoffwiththekneadederaser.Thisiswhywehaven’taddedthedarkstothehairyet.
STEP11:AddtheDarksWitha4Bpencil,startaddingdarks.Placethedarksofthehairaroundthepreviouslyhighlightedareas.
MaryGraphitepencilondrawingpaper12"×9"(30cm×23cm)
STEP12:AddMoreValuesandDetailsWith2Band4Bpencils,continueaddingthevalues,includingdarks,detailsandtheshadowunderthechair.Lightenbyliftinggraphitewithakneadederaserifnecessary.Signthefrontandwritethedateonthebackofthefinisheddrawing.
MaryWatercoloroncold-pressedwatercolorpaper12"×9"(30cm×23cm)
BEYONDDRAWINGTheunderstandingyougainthroughdrawingthehumanfiguredoesn’thavetobelimitedtodrawing,butitcanbecarriedovertootherartmediums.Itookthisdrawingastepfurtherandturneditintoapainting.
YoungManSittingThisdemoisacontourdrawing.Afteryouworkupthestructuralsketch,youwilluseitasthefoundationforthelinework,appliedasacontinuouslineoringroupsofcontinuouslines,tocreatethecontourdrawing.Usealightboxtoilluminatethestructuralsketchthroughthedrawingpaperduringtheentirecontourdrawingprocess.Analternativeapproachistolightlyworkupthestructuralsketchonthedrawingpaperandthenapplythecontourdrawingwithaninkpendirectlyoverthestructuralsketch.Whenyou’vecompletedthelinework,erasethestructuralsketchtofinishthedrawing.Thelightsourceisprimarilycomingfromtheupperrightwithasecondary
lightsourcefromtheupperleft.Afterworkingupthestructuralsketch,youmaywanttopracticethecontour
drawingonascrapofpapertogetafeelforthetechniquebeforestartingtheactualfinisheddrawing.Thisdemocanalsobecompletedwithvaluesratherthancontourline,as
showninthebookintroduction.
MaterialsPaper:12"×9"(30cm×23cm)medium-texturedrawingpaper,12"×9"(30cm×23cm)medium-texturesketchpaperPencils:2BgraphiteOtherSupplies:kneadederaser,lightbox,maskingtapeOptionalSupplies:inkpen(ifnotusingalightbox)
RelatedInterests
ContourSketching
Blocking-InProportioning
STEP1:PlacetheBasicProportionsWitha2Bpencil,sketchtwohorizontallinesonsketchpaper,oneforthetopofthehead,theotherforthebaseoftheforwardshoe.Sketchahorizontallineforthebaseofthechin.Thedistancefromthetopoftheheadtothechin,whichcanbeusedasaunitofmeasurement,iscountedaboutfiveandthree-quartersofthedistancefromthetopoftheheadtothebaseoftheshoe.Sketchverticallines,onefortheplacementofthelowerback,theotherfortheplacementofthedistantknee.
STEP2:SketchtheHead,Waist,TorsoandLegsContinuingwitha2Bpencil,sketchtheshapeofthehead.Sketchalineforthewaistandlinesfortheshoulder,backandforearmtoformthetorso.Addlinestoformtheshapeoftheupperlegs.
STEP3:SketchtheArmsandLegsSketchlinesforthearmsandlegs.Addcirclesatthejointsfortheelbowandknees.
STEP4:AddtheHands,ShoesandStoolAddbasicshapesfortheformsofthehandsandshoes.Sketchthestructureofthestool.Beconsciousofwherethebaseofthestoollegslineupinrelationtotheshoes.
STEP5:DeveloptheFormDeveloptheoverallformincludingsketchingfaciallinesfortheplacementofthefeatures.Beginaddingdetailstotheclothesandshoes.
STEP6:ContinueAddingtheDetailsAdddetailsthroughoutincludingfacialfeaturesandlineworkindicatingshadowsandfoldsintheclothingwitha2Bpencil.
STEP7:StarttheContourDrawingTapethedrawingpaperoverthestructuralsketchandplacethisoverthelightboxtoilluminatethestructuralsketchthroughthedrawingpaper.Beginfollowingthestructuralsketchwitha2Bpencil,keepingthepencil
Beginfollowingthestructuralsketchwitha2Bpencil,keepingthepenciltothepapertofollowtheformsandcontoursasafluidline.Analternativeapproachistoplacethecontourdrawinglineworkdirectlyonthestructuralsketchwithaninkpen,withouttheuseofthelightbox.
STEP8:ContinuetheContourDrawingContinuetofollowthestructuralsketchforthelineworkofthecontourdrawingwitha2Bpencil.Darkerregionsmayhavemoreconcentratedlineworkthanthelighterregions.
M.C.Graphitepencilondrawingpaper12"×9"(30cm×23cm)
STEP9:CompletetheContourDrawingContinueusinga2Bpenciltocompletethecontourdrawing.Keepthestoolsimple,drawingitmostlyinoutlineform.Erasepencillinesifyouoptedtodrawwithinkdirectlyoverthestructuralsketch.Signthefrontandwritethedateonthebackofthedrawing.
YoungManRunningThisdemonstrationcapturestheenergyofarunnerinmotion.Noticethatthisfigureiscapturedinmidstride.Theweightofthebodythathasjustbeencarriedbytheleftfootisnowbeingtransferredtotherightfoot,withbothfeetabovethepavement.Remembertoalignthefeaturesthroughoutthedrawingprocesstoensuretheaccuracyoftheform.Thelightsourceisfromtheupperright,causingsomeofthelowerleftareasofthefeaturestobeinshadow.
MaterialsPaper:12"×9"(30cm×23cm)medium-texturedrawingpaperPencils:2BpencilOtherSupplies:kneadederaserOptionalSupplies:12"×9"(30cm×23cm)medium-texturesketchpaper,lightbox,maskingtape
RelatedInterests
ProportioningAligningAdultMaleRunning
STEP1:SketchtheBasicProportionsWitha2Bpencil,sketchahorizontallineatthebaseoftherightheelandanotherhorizontallineforthetopofthehead.Sketchanotherhorizontallineforthebaseofthechin,whichisslightlylessthanone-sixththedistancebetweenthetwopreviouslines.Sketchasinglecurvedlinethatwillrepresenttherightsideofthefaceandthetorso.Addacircleforthehipregionthatisconnectedtothepreviousline.
STEP2:SketchtheHead,TorsoandUpperLegsContinuingwitha2Bpencil,sketchtheremainingformoftheheadalongwithlinesforthebackofthetorso,shouldersandupperlegs.Thelinesfortheleftlegaresketchedasacontinuationofthelinesofthetorso.
STEP3:SketchtheLowerLegsandHandsSketchcirclesforthekneesandaddlinesforthelowerlegs,endingwith
Sketchcirclesforthekneesandaddlinesforthelowerlegs,endingwithstraightlinesasthesolesoftheshoes.Addashorthorizontallineabovethelowestlinetoallowfortheproperplacementoftheleftshoe.Addcirclesfortheplacementofthehands.
STEP4:AddtheArms,FeetandBalanceLineSketchlinesforthearms.Addcirclesfortheplacementoftheelbows.
Sketchlinesforthearms.Addcirclesfortheplacementoftheelbows.Blockintheformsofthefeet.Addalineofbalancedownfromthepitofthenecktothepavement.Noticeitsplacementinrelationtothetorsoandthearmsandlegs.Addahorizontallinebelowtherightheellinefortheplacementofthecastshadowonthepavement.
STEP5:DeveloptheFormandAddFacialLinesandFingersDeveloptheouterformandclothesofthesubject.Addlinesfortheplacementoffacialfeaturesandlinesforthefingerswitha2Bpencil.
STEP6:EraseUnwantedLinesorTransfertheImageandAddMore
DetailsEraseunwantedlinesifworkingdirectlyonthedrawingpaper,ortransferthesketchyouwantontodrawingpaperusinga2Bpencil.Adddetailssuchasshadowlinesandfacialfeatures.
STEP7:AddtheLighterValuesUsinga2Bpencil,addthelightervaluesovertheentirefigure.
STEP8:AddtheMiddleandDarkValuesBuildupthepencillinestoaddthedarkandmiddlevalues.
JoshGraphitepencilondrawingpaper
12"×9"(30cm×23cm)
STEP9:AddtheDetailsandMakeAdjustmentsWitha2Bpencil,continueaddingvaluesandaddthedetailsincludingtheshadowunderthefigure.Lightenbyliftinggraphitewithakneadederaserifnecessary.Signthefrontandwritethedateonthebackofyourfinisheddrawing.
ViolinistWe’lluseamechanicalpencilthroughoutthesketchinganddrawingprocessofthisdemo.Thefinelinesofferedbythemechanicalpencilcanbedrawnclosetooneanothertoproduceevenregionsofvalues.Youcanusea2Bpencilinsteadifyouwanttoworkwithwiderpencilstrokes.Youcandrawthisfigurewithouthavingtoplanoutthebodyunderneath.The
pitoftheneckisdirectlyoverthefigure’srightfootasitcarriesmostoftheweight.Thefigure’srightarmisslightlyforeshortened,whereashisleftarmismoreforeshortened.Theshadowsaresubtlewiththelightsourcecomingfromtheupperright.
MaterialsPaper:12"×9"(30cm×23cm)medium-texturedrawingpaperPencils:.05mmgraphiteleadmechanicalpencilOtherSupplies:kneadederaserOptionalSupplies:2Bgraphitepencil,12"×9"(30cm×23cm)medium-texturesketchpaper,lightboxortransferpaper,straightedge
RelatedInterests
ForeshorteningHatsandHeadgear
STEP1:SketchtheBasicProportionsUsingamechanicalpencil,sketchhorizontallinesforthetopofthehatandthebottomoftheshoes.Sketchaverticallinestartingattheleftlowerpantleguptotheareanearthehead.Sketchanotherverticallinestartingattherightlowerpantleganduptotheareaneartheviolin.
STEP2:SketchLinesfortheHead,Shoulder,ArmandShirtSketchshortangledlinesfortheplacementofthetopofthehatandthelowerchin.Sketchanotherangledlinefortheshoulder.Sketchalinebelowhalfwaydownfortheshirttailandanotherlineontheleftfortheupperarm.
STEP3:AddLinesforthePants,Shirt,HeadandArmsAddlinestoformthehipregionofthepantsandshirtaswellaslinesfortheindividualpantlegs.Sketchastraightlinefortherightedgeoftheshirt.Completetheouterformoftheheadwithlinesforthesides,andsketchlinesforthebasicformsofthearms.
STEP4:AddBasicShapesfortheHands,ShoesandViolinSketchbasicshapesfortheformandplacementofthehandsandshoes.Sketchthebasicshapeoftheviolinwithstraightlinesthatmakerectangularforms.
STEP5:AddLinesfortheFeaturesAddlinesforthefacialfeaturesandthehatbrimandband.Addlinesforthefingersandfortheformofthehandsandarms.Sketchthecurvedformsoftheviolin,andaddlinesfortheshirtandlowerpantcuffs.
STEP6:DeveloptheFormDeveloptheoverallform,includingthefacewithsunglassesandtheviolinbow.Youcanuseastraightedgetosketchthestraightlinesoftheviolinneckandbow.
STEP7:AddtheDetailsandEraseUnwantedLinesorTransfertheImageWithamechanicalpencil,adddetailsincludingthestripesandfoldsoftheclothing.Eraseunwantedlinesifworkingdirectlyonthedrawingpaper.Ifyouworkedupyourstructuralsketchonsketchpaper,traceortransfertheimageontodrawingpaper,leavingoutunwantedlines.
STEP8:StartAddingtheValuesWithamechanicalpencil,startaddingthevalues,beginningwiththelightervalues.ForthisdrawingIstartedatthetopandworkeddown.Atthisstage,avoiddarklineworkthatmaycoveroverandlosethepreviousstructurallines.
STEP9:ContinueAddingtheLighterValuesandAddtheCastShadowContinuetocovertheformwithlightpencilstrokes.Becausetheviolinandshoesaretobedark,itisnotnecessarytocoverthemwithlightpencilstrokes.Addthecastshadowonthepavementbelowthefigure.
STEP10:AddtheDarkerValuesBuildupthepencilstrokestocreatethedarkervalues.Developthedrawingbyfocusingononesectionatatimeorgraduallydarkeningbyworkingontheoverallfigure.
STEP11:ContinuetoAddtheDarkerValuesContinuetoaddandbuildupthepencilstrokestocreatethedarkervalues.Darkentheviolinandshoes.
Close-UpClose-upsketchesofthehandsandarmsaregoodforincreasingyourobservationalskillsasyouproceedtothefinisheddrawing.
ViolinPlayerGraphitepencilondrawingpaper12"×9"(30cm×23cm)
STEP12:AddtheFinishingDetailsandMakeAdjustmentsAddthefinishingdetailssuchasdarkeningthehatband,shirtstripesandtheviolinbow,andaddtotheshadowonthepavement.Makeanyadjustmentssuchaslighteningareasasnecessarywithakneadederaser.Signthefrontandwritethedateonthebackofthefinisheddrawing.
VictorianDressWiththisfigure’slayeredclothing,itcanbechallengingtoplacethefeaturesandproportionscorrectly.Beforesketchingthesleeves,lightlysketchthearmsandthenaddthesleevesoverthearms.Thebodyisforwardontheleft,sothefigureisslightlyofffrombeingsymmetrical.Thelightsourceiscomingfromtheupperleft,causingtherightsideofthe
dresstobedarkerthantheleftside.Becauseofthefullnessofthebellofthedress,ithastheappearanceofdraperymaterial.
MaterialsPaper:12"×9"(30cm×23cm)medium-texturedrawingpaperPencils:2Bgraphite,6BgraphiteOtherSupplies:kneadederaserOptionalSupplies:12"×9"(30cm×23cm)medium-texturesketchpaper,lightboxortransferpaper
RelatedInterests
ProportionsHeadsHandsClothesandFolds
STEP1:PlacetheBasicProportionsUsinga2Bpencil,sketchtwohorizontallines,oneforwherethefeetwouldrestunderneaththedressandanotherhorizontallineforthetopoftheheadunderneaththehat.Sketchaverticallinetokeeptheformbalanced.Addahorizontallineatthecenter,halfwayfromtoptobottom.Sketchanotherhorizontallinefortheplacementofthechintoestablishtheheadheight.Remember,theheightoftheentirefigureisseven-and-a-halfheads.SeeChapter2formoreinfoonheadheightandproportions.
STEP2:SketchtheHead,TorsoandHemoftheDressContinuingwitha2Bpencil,sketchanovalfortheshapeofthehead.Toformthetorso,sketchlinesfortheshouldersandsidesalongwithalineforthewaist.Addacurvedlineslightlybelowthefeetforthebottomhemofthedress.
STEP3:SketchtheUpperSleeves,Collar,HandsandtheWidthoftheDressTostartformingthedress,sketchtheupperportionsofthesleevesandcollar.Toensureaccuracy,roughlysketchthebodyformsuchasthearmsundertheclothes.Placethehandswithovals.Addshortverticallinestothebottomhemofthedresstoestablishitswidth.
STEP4:SketchtheLowerSleeves,DressandHatBrimContinuingwitha2Bpencil,sketchtheformofthelowersleeves,thesidesofthelowerportionofthedressandthecurveofthehatbrim.
STEP5:AddtheStructuralDetailsAddthestructuraldetailstothehatandsleeves.Addtheshirtcollarandlapelstothejacketandtheouterformofthehair.Addlinesfortheplacementoffacialfeaturesandlinesforthefingers.
STEP6:AddMoreDetailsandDeveloptheFormAddmoredetailstothedress,hatandfaceanddeveloptheoverallform,includingthehands.
STEP7:AddMoreDetails,EraseUnwantedLinesorTraceorTransfertheImageWitha2Bpencil,continueaddingdetailsandrefiningtheform.Eraseunwantedlinesifworkingdirectlyonthedrawingpaper.Traceortransfertheimageontodrawingpaperifyouareworkingonsketchpaper.
STEP8:AddtheLightValuesWitha2Bpencil,addthelightvaluestothedrawing.
STEP9:AddtheMiddleValuesBuildupthepencillinestoaddthemiddlevalueswitha2Bpencil.Therightsideofthefigureisdarkerthantheleftsidebecausethelightiscomingfromtheupperleft.
STEP10:AddtheDarksUsing2Band6Bpencils,adddarksthroughoutthedrawingandgivedepthtotheforminareassuchasthefolds.
WomaninaVictorianDressGraphitepencilondrawingpaper12"×9"(30cm×23cm)
STEP11:AddtheDetailsandMakeAdjustmentsAdddetailstotheface,hands,glovesandclothesbydarkeningtheshadowedareaswith2Band6Bpencils.Lightenhighlightareasbyremovinggraphitewiththekneadederaser.Signthefrontandwritethedateonthebackofyourcompleteddrawing.
YourFinishedDrawingOnceyou’vecompletedadrawing,followthesestepstoprotectitformanyyearstocome.
MATTINGANDFRAMINGAmatandframewillfinishandprotectyourdrawingandenhanceitsappearance.Anacid-freematispreferabletoprotectthedrawingfromyellowingwherethematboardanddrawingcomeincontact.Asheetofglassatthefrontalongwithbackingboardandcraftpaperonthebackwillsandwichthedrawingandmatboardinsidetheframe,keepingyourdrawingprotectedfromtheelements.
SPRAYFIXATIVEYoucansprayfixativeoverthesurfaceofadrawingtohelpthemediumadheretothepaper’ssurfaceandpreventitfromsmearing.Onceitiscoatedinfixative,thedrawingcannotbeerased.Thoughfixativecanbeusedongraphitedrawings,itisn’tnecessary.Fixative
ismostusefulwithsoftmediumssuchascharcoalandpastels,whicharemorepronetosmearingandhavingadustpowderthatcanfalloff.Ifyouchoosetosprayfixativeoverthesurfaceofyourdrawing,besureto
followtheinstructionsonthecan.Applyfixativeonlyinawell-ventilatedspace.
GreatPresentationandProtectionPresentingyourartwithaproperframecanmakeagooddrawinglookgreataswellasprotectitforfutureenjoyment.
ConclusionNowthatyouhavereachedtheendofthisbook,don’tstophere.Continuetohoneyourartisticskillsbykeepingyourpencilandsketchpapercloseby.Bepatientwithyourprogress.Observeyourpreviousdrawingstolookfortheimprovementsyouhavemadesinceyoustartedthisbook.YourknowledgeandexpertisegainedthroughDrawingPeoplefortheAbsoluteBeginneraregreatresourcesforlearningnewsubjectsandmediumsasyoucontinueonyourartisticjourney.Havefunandkeepupthegoodwork!
MarkandMaryWillenbrink
GuitarPlayerSketchGraphitepencilondrawingpaper12"×9"(30cm×23cm)
Glossary
AAcid-freepaper:paperthathasnotbeenprocessedwithacid.Acidcancausepapertoyellowovertime.
BBaseline:alinethatestablishestheplacementofasubjecttoworkouttheproportionsofafigure.Black-and-whitesketch/drawing(orchiaroscuro):adrawingthatdefinesthesubjectusingonlyhighlycontrastingvalues.Blocking-in:theprocessofmakingastructuralsketchofthebasicshapesandproportionsofasubject.Bulldogclips:largeclipsusedtoattachpapertoadrawingboard.
CCarbonpencil:apencilwithacarboncore.Castshadow:shadowthatiscastfromanobjectontoanotherform.Centerofbalance:thecenterpointofbalanceforafigure.Centerline:alineusedtodeterminethecenterofafigureoraperson’shead.Charcoalpencil:apencilwithacharcoalcore.Chiaroscuro:seeBlack-and-whitesketch/drawing.Coloredpencil:apencilwithacoloredcore,alsoavailableinblack,whiteandgray.Composition:thearrangementofelementsinartwork.Contoursketch(orcontinuouslinesketch):asketchordrawingdonebykeepingthepencilincontactwiththepaperwhilestudyingthecontoursofa
drawing.Contrast:differencesbetweenthelightsanddarksinacomposition.Copierpaper:inexpensivepaperusedincopymachinesorprinters.Craftknife:asmallknifewithasharp,replaceableblade.Crop:determiningthevisibleareaofapieceofartwork.
DDivider:atoolsimilarinappearancetoacirclecompassusedformeasuringandproportioning.Drawing:afinishedrepresentationofasubject.Drawingboard:asmooth,sturdyboardusedassupportwhensketchinganddrawing.Drawingpad:sheetsofdrawingpaperattachedatonesidewithglueoracoilofwire.Drawingpaper:heavyweightpaperusedfordrawing,usually90lb.(190gsm)ormore.
EEasel:astandtopropartwork.Ellipse:theshapeacircletakesonwhenviewedatanangle.
FFixative:asprayappliedtoartworktopreventsmearing.Formshadow:ashadowthatappearsonanobjectdisplayingitsform.
GGauge:comparingproportionsofafigureorelementsinadrawing.Graphite:asoftblacksubstanceusedinthecoreofsomepencils.Graphitepencil:apencilwithagraphitecore.
HHeadheight:distancefromthetopoftheheadtothebaseofthechin.Theheadheightcanbeusedasaunitofmeasurement;theaverageadultisseven-and-a-halfheadshigh.Highlight:anareawherelightiscastonthesubject,causingabrightspot.Horizontalline:alinethatgoesacrossthepagefromsidetoside.
IIdentifiableform:aformofanimagethatiseasytoidentify.
KKneadederaser:apliable,puttylikeeraser.
LLead:thecoreofapencil.Alsomayrefertoascaleratingthehardnessorsoftnessofapencil.Lightbox:ashallowboxwithaninteriorlightthatshinesthroughatranslucentsurfaceusedfortracingartwork.Lightsource:theoriginofthelightforascene.Lineofbalance:averticallineusedtounderstandthebalanceofafigure.Lostedges:theareaswheretheformofanimageblendsinwiththebackground.
MMechanicalpencil:apencilthatusesrefillablegraphite.
PParallellines:linesthatfollowthesamedirectionandwillnevermeet.Pencilextender:adevicethatattachestotheendofashortenedpencil,extendingthepencil’slength.
Pencilsharpener:adeviceusedtosharpentheendofapenciltoapoint.Plasticeraser:seealsoVinyleraser,asoft,nonabrasiveeraser.Proportionlines:linesusedtohelpobtaincorrectproportionswhendrawingafigure.
RReferencematerial:picturesandphotosfromvarioussourcesthatareusedtoaidinthestudyofasubject.Reflectedlight:lightthatisreflectedfromonesurfaceontoanother.
SSandpaperpad:asmallpadofsandpapersheetsattachedtoahandle,whichisusedforsharpeningpenciltips.Sewinggauge:atoolwithamovablemarkingguidethatcanbeusedformeasuringandproportioning.Sketch:arough,unfinishedrepresentationofasubject.Sketchpaper:lightweightpaperusedforsketching,commonly50to70lb.(105gsmto150gsm).Slipsheet:asheetofpaperplacedoveraportionoftheartworksothehandholdingthepencilcanmoveacrosstheunfinisheddrawingwithoutsmearingtheartwork.Straightedge:atoolusedfordrawingstraightlines,e.g.,aruler.Structuralsketch:asketchofasubjectshowingthebasicformofthefigure.Surfacetexture:thecoarsenessofthesurfaceofpaper.
TTooth:theroughnessofapaper’ssurface.Trace:drawingapreviouslysketchedimageontodrawingpaperbyilluminatingtheimagefrombehind.Tracingpaper:thin,translucentpaper.
Transfer:relocateanimagefromsketchpaperontodrawingpaper.
VValuescale:acardboardorpaperstripthatshowsarangeofvaluesfromwhitetoblack.Valuesketch:asketchthatdisplaysthelightsanddarksofasubject.Values:degreesoflightsanddarksinasketchordrawing.Verticalline:alinethatgoesupanddownonthepage.Vinyleraser:seealsoPlasticeraser,asoft,nonabrasiveeraser.Vinylerasersleavestringsbehind,whileotherplasticerasersleavecrumbs.
WWoodlesspencil:apencilmadeofacylinderoflacquer-coatedgraphite.Itdoesnothaveanouterwoodcasing.
ThreeChildrenGraphitepencilondrawingpaper12"×9"(30cm×23cm)
AbouttheAuthorsMarkandMaryarethebest-sellingauthorsoftheAbsoluteBeginnerseries.Theyenjoysharingthefundamentalsofartinunderstandableterms,encouragingotherstopursuetheircreativepotential.Markisalsoafineartistandteachesartclassesandworkshops.MarkandMarylivewiththeirfamily,bordercollieandtwocatsinsouthwesternOhio.Formoreinformationontheirlatestbooksandworkshops,visitwww.shadowblaze.comandcheckoutMark’sFacebookfanpage.
ACKNOWLEDGMENTSToMaryBostic,thankyouforyourtime,energy,expertiseandwisdomthatyoupourintoourbooks.Yourencouragementandsupporthelpedtomakethisbookgreat.ThankyoutoalloftheF+WMedia,Inc.teamwhoworkedbehindthescenes
tomakethisanotheroutstandingAbsoluteBeginnerbook:designersWendyDunningandHannahBailey,productioncoordinatorMarkGriffin,associateeditorBethErikson,copyeditorJohnKuehn,proofreaderCynthiaLaufenberg,indexerDianaMartin,andmarketingmanagerMeaghanFinnerty.
DEDICATIONLaosDeoPraisetoGodWededicatethisbooktoeveryonewhomodeledforus.Weappreciateyourtimeandyourenthusiasticsupport.Becauseofyou,wearemoreabletoteachandencourageothersintheirartisticendeavors.
FREEBonusDemonstrationVisitartistsnetwork.com/Willenbrink-Drawing-PeopleforaFREEbonusdemonstration.
DrawingPeoplefortheAbsoluteBeginner.Copyright©2014byMarkandMaryWillenbrink.Allrightsreserved.NopartofthiseBookmaybereproducedinanyformorbyanyelectronicormechanicalmeansincludinginformationstorageandretrievalsystemswithoutpermissioninwritingfromthepublisher,exceptbyareviewerwhomayquotebriefpassagesinareview.PublishedbyNorthLightBooks,animprintofF+W,aContent+eCommerceCompany,10151CarverRoad,Suite200,BlueAsh,OH45242.(800)289-0963.FirstEdition.
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eISBN:9781440330216
Thise-bookedition:June2014(v.1.0)