presents

Learn how to draw peopLe:

15

Expert Tips on How to Draw a Person

this premium has been published by interweave press.Learn how to draw peopLe Silver and Velvet 2002. (970) 669-7672.com . Kinch this content has been abridged from an original article written by Michael p. collection the artist Drawing Basics how to draw people the classical way by Michael P.artistdaily. co 80537-5655. the contents of this publication may not be reproduced either in whole or in part without consent of the copyright owner. Kinch. loveland. all rights reserved. 11 x 16. copyright © 2009 by interweave press. a division of aspire Media. 2 www.. Fourth st. colored pencil. 201 e.

and Block-In Ryder begins with an envelope of lines connecting a few widely separated points on the figure. Gesture.Learn how to draw peopLe C apturing the human form in graphite drawings may seem intimidating.artistdaily. The envelope establishes the drawing’s general proportions and institutes what the artist calls “point-to-point measurement. 24 x 18. as well as the pitch of the arms and torso. such as the axes of the shoulders and knees.com . private collection. the artist established large. axial relationships. Music 1998. this diagram of Music illustrates breaking down the envelope. but Tony Ryder believes artists can create masterful drawings by taking a three-step approach toward taming the barrage of visual information presented by the human figure. graphite. 3 www. here. Envelope.” the analysis of the relationship between two points as defined by the length and tilt of the straight line that connects them.

but Ryder looks for what he terms “the inner curve. “brings the drawing to life. New york). “When do we really begin to draw the figure? I think we begin before the pencil touches the paper. and according to the same principles. At the same time. Gesture is the heart and soul of figure drawing. This shape. More than anything else.com . Constructed within the envelope. is more fully defined in the block-in.” he says. or even before he draws the envelope. New york. all images this article from The Artist’s Complete Guide to Figure Drawing. with a response to the pose of the model. at this stage I respond to the action or gesture of the model. Ryder is conscious of the gesture of the model. california. The figures in drawings should appear as if they were breathing. It is a complex shape approximating the appearance of the figure. He asks. courtesy John pence Gallery. as if their hearts were beating.” In reality. gesture is an immaterial and invisible energy.” Gesture guides the anatomy of the body into the shape of the pose.artistdaily. by anthony ryder (watson-Guptill publications. graphite. The blockin shapes are strung along the inner 4 www. the block-in is the elaboration and continuation of the envelope. “Capturing gesture. abrupt changes of di- rection. 18 x 24. never making angular. It is the fundamental energy that patterns the whole drawing.Learn how to draw peopLe Paintbrushes 1998. san Francisco. ©2000 by anthony ryder. expressed in its simplest form in the envelope.” an imaginary line that flows like a river through all the forms of the body.

Learn how to draw peopLe Left Ramona 1995. the gestural currents in this drawing alternate from side to side. above Cynthia’s Daffodil 1997. graphite and pastel on gray paper. spiraling around the central inner curve. graphite. 5 www. private collection. 25 x 19.com .artistdaily. private collection. 24 x 18. as shown here.

which he proclaims as “the gestural organ par excellence. graphite. He suggests first drawing the mitten-shaped envelope of the hand.Learn how to draw peopLe Thought Form (detail) 1999.artistdaily. such as the pitch of the arms and torso. 18 x 24.” Ryder remarks. “Fingers don’t look like sausages neatly lined up on a meat counter. which is the 6 www. The second step in Ryder’s figure-drawing method is contour. looking at the fingers as a unit. due to their mobility.” Ryder describes. private collection. so Ryder recom- mends that artists regard the hand as an outgrowth of the gestural shape of the arm.” He refines the blockin until there is a rough but delineated outline of the figure. They “progress and merge into one another along its invisible path. always keeping an eye on the flow of the gesture by estab- lishing large axial relationships.” That mobility and complexity can make drawing a hand intimidating. and then noticing how they taper and overlap. Ryder pays special attention to the hands. “They conduct the curve as if it were a kind of electricity. Hands are one of the most expressive parts of the body and. curve. expressed in the fluid interconnection of shapes as they progress into one another. are similar to a little body in themselves.com . a gestural current.

gradually increasing or decreasing in length.” by which he “sculpts” the Inside Drawing form of the body within the contour through gradations of tone. imposing the curves on the straight-line segments. “Given that we process visual experiences every moment of our waking lives. “The pencil moves like a sewing-machine needle. though not necessarily on a one-to-one basis.” he remarks. can be applied in a private collection. “when it comes to drawing its effects. it seems we should be entirely familiar with the nature and behavior of light. like a violin solo. The most challenging aspect. When the contour is sensitively handled. it can stand alone.” Contour consists of convex curves that delineate the horizon of the model’s body. or tonal progressions. These gradations of tone. Ryder divides the technical aspect of drawing light and shadow into two basic skills: applying graphite to the surface of the paper in a controlled manner and developing washes of shading in a logical sequence. “The contour of the body is extremely subtle. “Hatching is a rhythmic activity. is learning to see light and form.com . students discover that the action of light is almost entirely unknown territory. He notes. inside drawing is developed in tandem with the understanding of the actions of light. and quite fascinatingly beautiful.” Therefore.Learn how to draw peopLe Contour refined outline of the figure. Ryder refers to the final stage as “inside drawing. 19 x 25. Ryder works along the block-in section by section. Crosshatching is hatching on top of hatching. The artist routinely corrects the contour. represent the flow of light and shadow across the figure. 7 www. graphite and pastel on gray of crosshatching that paper. The trick is to get the lines evenly spaced.artistdaily.” he says. with the layers of hatching crossing at an angle. The control is in the deliberate work of hatching and crosshatching. says Ryder. and in the right value range and progression. There’s no limit to Aurora the number of layers 1998. erasing and redrawing small (and sometimes not so small) sections. difficult to describe accurately. Strangely.

they should try not to judge themselves too harshly. graphite feel like apologizing to and pastel on gray paper. Ryder realizes that Phases of Dane learning to draw is not Crescent an easy process. “I always 1998.” he says.com . But. “ordering the form on the inside must be done without lines. New york. to work at a reasonable tempo.” he says. The artist used shadows. visit his website: www. santa the figure in this way is Fe.com. the artist lives in santa Fe. crosshatching can be done very softly. New york). “The body on the inside is subtly structured. simultaneously orderly and complex. he has distilled his drawing techniques in his book the Artist’s Complete Guide to Figure Drawing (watson-Guptill publications. really a lifelong work of devotion. and downturns in the light to organize the model’s back. Progress comes imperceptibly. as if you were applying washes of value with a brush rather than individual lines with a pencil.” The second skill. shading in a logical sequence. But Ryder tempers zeal with an understanding of and respect for the order of the form. organizing them into pathways of form that collectively create a network. For example. the New york academy of art. both in New york city. These networks guide Ryder through the development of the tonal progressions.Learn how to draw peopLe about the artist anthony ryder studied at the art students league of New york. Insofar as possible. There are no lines in nature. drawing.artistdaily. courtesy the news that drawing van de Griff/Marr Gallery.” n 8 www. and with ted seth Jacobs. New Mexico. 25 my students for breaking x 19. “The most important thing is consistent effort. cast-shadow edges. To mist a drawing with value.tonyryder. is not so much manual as it is procedural. For more information. It is also crucial that students learn to pace themselves. in Scott’s Back the landmarks created by muscle and bone catch light and cast shadow to create links within the contour.” Ryder locates landmarks on the inside with nearly invisible micropatches of shading. After creating a finely tuned contour drawing an artist may be eager to start shading. So it should be in our drawings.

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