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

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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.

OtherfineNorthLightproductsareavailablefromyourlocalbookstore,artsupplystoreoronlinesupplier.Visitourwebsiteatfwmedia.com.

eISBN:9781440330216

Thise-bookedition:June2014(v.1.0)