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    How to Draw and Paint Anatomy Vol 2

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    How to Draw and Paint Anatomy Vol 2

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
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    58 views116 pages

    ImagineFX How To Draw and Paint Anatomy Vol 2

    Uploaded by

    cg king
    How to Draw and Paint Anatomy Vol 2

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    of 116
    GESTURE SKETCHING How to create expressive figure _ - studies from memory DRAWTHE HUMAN / BODY IN MOTION Master oss eet and Seay te FIGURE DRAWING: Discover the structures and rhythms of the human form to create’ dynamic figures in Ron Lemen's easy-to-follow workshops LEARN TO DRAW _ Flexible wrists Curvy, strong hips © Nee ar ca Clothing & folds © WORKSHOPS Learn essential traditional and digital art techniques to draw and paint the human body Rea ———»-e-« HOW TO DRAW AND PAINT >¢-e=—— ANATOMY Welcome... Thisis the second time weve teamed up with the fantastic artist Ron Lemen to present his ‘workshops on drawing the human body. In this special edition of ImagineFX you'll find Ron's methods for drawing figures from life and then from memory - it’s essential reading for aspiring or professional artists alike. We couldn't resist digging deeper into Ron's amazing knowledge on the subject and sharing it with you here. In this collection of new anatomy tutorials, Ron takes his thinking astep further and explains how the human body moves. In these ‘workshops you'll learn his method for breaking the human body apart into simple shapes, then how they connect through rhythmic lines to draw the body in motion e Ron, artist Chris Legaspi has a passion for figure drawing so we've presented his ideas for capturing gesture, as well as rendering light and shade, when figure drawing, These workshops, found on pages 66 and 70, complement Ron's deeper anatomy teaching, Ifyou want to take your arta step further, we've also included workshops and guidance from leading illustrators on transferring your traditional art skills into digital using Photoshop and Painter, Full of unmissable advice, they start on page 86, Ifyou've enjoyed this special edition of ImagineFX, check out page 115 for details of the other issues in our How to Draw and Paint series. Were sure you'll love them! Claire Howlett, Editor claire@imaginefx.com liviasini LAL eLX imagine |X The nt ass inthe woofs youthe bes gudance are thertetigues nd fl eto our tony Workshops Practical advice from professional artists in 15 step-by-step guides 20 Ron Lemen’s anatomy Lean the methods of memorising anatomy ‘Draw the shoulders Drawing and pesina the back Drawing the wrist inmotion Draw curvy, strons ere eee inmotion } Maztering drapery = Beemeers \ = fees 64 Figure drawing techniques ae he il daw gus rom fe 66_Drawina aesture RUA Ee 76 Core drawing skills Peete ee oe) 7 Thmart of ening: Z By 2 Theat owing: 86 Traditional to digit Sore ee arate ashe rn ant 98._Moctraitional and mall parane eee ‘med Wem EXTENDED 6 Imaginative figures The masters of tnagined anatomy share their work including Frank Frazeta Portrait and figure techniques... Lauren K cannon The American painter share'sher techniques foraddingirecles wo aface and rendering dark complexions Joel Carlo ‘Corea tems such a fmato and chiaroscuro are just Some ofthe Subjets expired by lel Marta Dahlig Here Stara explains how to create lively poruaitsand add skin tone highlights to your paintings . Cynthia Sheppard Varied colourshadingin your painted figures and foreshortening tps are tackled by Cynthia. Mélanie Delon The Pench artist explores ways to paint realisticflowinghait and facial proportions in profile Jeremy Enecio Soret ways acu almospheric eflets to your digital art. areoullined by fren. USING YOUR VIDEO AND RESOURCE FILES Sketches and videos to help you learn at the tap of a fi Serer Resource files anette i I think I'll be remembered for my imagination, drama and not being afraid to take a chance Retina Rnitarans eh ko mit) een e cm ny ty pesthiee- tea ere eeRTU ORTH Liter) oe ee ea anes) Donato Giancola a Gallery I can't say enough Plume uu Beets Biren Wistar (one crocnrigaclrem disaster and woe Lucas Graciano more stable down Toa verte eae) a Lucas Graciano/JP Targete | | JP Targete betes of NSO I'm seein; the real world as a giant library of sight and feeling Jeff Simpson ‘he muy depth fhe agnaion ‘ome ooking prs tereematon el people Though eee has deep Tihinkifny psonal work became ry act wok wuld be happy Sormyselffin” rete does ete inating calc The things we find scary or inexplicable are more interesting: they invite us to think, wonder and question. I've failed if a work is simply pretty’ Im very fortunate to work on products which let me evoke the fantastical ImagineFX subscription offer FANTASY &)SCF-1 FI 1 e OR SUBSCRIBE TO IMAGINEFX AND GET 3 ISSUES FOR JUST £5/$10 Subscribe today and get your first three issues for just £5/$10, plus continue to save, with 13 issues per year delivered to your door for just £13.49/$31.25 every three months. That’s a saving of up to 40 per cent off the shop price! © Get three issues for £5/$10 and continue to save! ® The latest on news, trends, painting techniques and digital art products ‘® Every issue delivered direct to your door - FREE! © Word-free covers that are exclusive to subscribers UK: 3 issues for £5, then pay £13.49 every 3 months SAVE 31%* Europe: £65.49 a year Rest of the World £74.79 a year US/Canada: 3 issues for $10, then pay $31.25 every 3 months SAVE 40%"* UK, Europe and Rest of the World readers, please visit www.myfavouritemagazines.co.uk/ifxx1d Alternatively, call 0844 848 2852 and quote ifxxld EU/RoW readers, call +44 (0) 1604 251045 and quote ifxxId US and Canada readers, please visit www.imsnews.com/imaginefx-2022 Or call toll-free on 1-800 428 3003 and quote 2022 = ‘Ron Lemen -Teetirer in anatoriy ‘and figure éawing. Fon Lemen sa passionate teacher andere he shores his techies ondmethods for raving accurate human figures fom memory Workshops How to draw Sno’ anatomy 22. Draw the shoulders Faye Heaney tetas, Simple shapes and symbols ona Hie asia how apy ther, 28 Drawing and posing Hoven nb to cont pose ad draw thehaman bade +34 Drawing the wrist inmotion Discover the techniques to describe how the wrist moves, 40 Draw curvy, strona, From boxes to blocks and skin fod, howto dw arog wally 46 ae Sener nee imovewith linear and anata Ups of Roemer ae 2p 58 Howto draw So as beat 66 Remember that figure drawing Semmgoeryaniihe imation. should be learned from life 99 Ron Lemen, page 29 a Ron Lemen’s anatomy Prver Pour DRAW THE SHOULDERS Learn how to make one of the more difficult areas of the human form easy to decipher and to draw, with Ron Lemen 1. SHOULDER SKELETON positions have " been observed we can see the places to connect other Thekekongjeey component | often). ane meda tings inden method to wok. | ds (E) the davies (Cth sts ncing bw choc aredpedand | end (Sande scone ce A) ‘harshapeandheacion en is | Base ofbdy wiht and physi the Invade Once pstonshave | acy and pose arn sl ewer teen observed the'landman’ shapes | postion. Regus of whether they ae shapes together 99 ened wecansetbepacsto | seenorno hey extn ae in Comectmanyaibershapesiogter, | sce Wea to inthe unas Theselandmarsfthe shoulders aeshe_| sosecan phe res othe by together cron shes ores (8) the spines | when and spd Draw the shoulders JRING THE SHOULDE! ‘Weeanesinsieigd nd es par ofthe salsa the ‘mesiemenggs Wes proportions | tamed the cae ete he setting roanypose Thee | sepa Teg ofthe ple evenlalrentappoacherto | oughy hale pt tthe age, ‘meaning btallothemiinohe | Thins tbespae beer he ‘tosh an be memories, ‘ghana unk fms Tas {Mhogh youve olamand ‘qu hecunks of mene aos ‘reortisby dango ie | fomacomion pocestoacomion {dnt tes The | procs. hm ise Yuan hen fucsvrilabraysendupsiffand | tweaethe wih of esol to ‘mieten dont sem'o | sommes mal ores rellyandieambaetodiortand | erga, boro weaker Pahtbelalinoasoitiienss, | pomesfal-The poral scomeced “Tete istwthdsibeeicof | otwoshinsthe nh fice thereage From orld ofthe] andthe doi icomneced othe Ssa23iao wecaneublihabeigh_| fren onechind ofa own gh techn uti scion races. swecan dvethissqre digonallyin a and {hisisou lel shape and space fate seapul Fo acti sel io medial eo tat, measure, bowers to confident dae sich pleco we ec tating pol. This {lag tote hatha de procs eee fered Ryhms ocurin every way within caput of raving om bythe] tring aration 0 ‘hein design othe inthe Eseythingwe doting man il hasesome thi askin betwen he prin vey aon we concent ae erent iain ining tc Tins can make contri human form fom memory ese, WE wae nec ME a Ron Lemen’s anatomy Draw the shoulders [Ragas AND SYMBOLS | The deltoid _can be seen as an inverted soft | tiangle®9 Ron Lemen’s anatomy Thema * | agethlignhsrm body a Coa en eee eerie peters toes ape eee eee ae aaa aoe ae alc rhig ener he Crinipaeastactenpsotcp | soll ected hed eee ae fo ea eee ea ore ea ene ERES MAJOR xem nso Lars DOS! posTanoR, ew 1 sremon An | FIN) cre aus fauguEs ds) © Keep the anatomy correct when drawin; superheroes ABDOMINAL Draw the shoulders The doi ses and sie am. The fone head pull the afr and ‘eter we tec ead rsd The orp ithe am lately an hess te oad ‘san imate | thehameris Teinfaspinasones | thes ely and extends the st arm. Thistsartachad othetopofthe | tera Te tes tir ul beam ‘maorpllsthe arm wd te boy and "ote cian loveringthe aed am. ‘The bakean bebeoten down ina acre fthce ger planes in beth orzo and erica ‘sctons: Teme fhe back ema age ha dhe font simple pane. Fp vinaliz the ig es for tte portions, ‘hensubdde te sree sale fics. The sal he spinal Tinedawing te costo ings oftveplansabetervaize her ‘ier and det, “The ia deals verte mace bones Ee eel ered tne per ht connec ote ies of ‘hebones muck nd enon ‘When heanmsape sie thesia the {nits ection The knell perpen tothe muclefves thea eden bck theshouler ll uta ll am ae ee eesti noes the pratenove draw back ‘hear look when the ar fed above the sour Viethen le cee arena alan thao perigee Insert tothe ded mice, I Vrms EXERCISE. Ron Lemen’s anatomy Fig drawin; should be learned from life - to understand the process, memorise the formulas and poses Posing the back | | DRAWING AND POSING THE BACK The back is a complex space, so breaks it down into conceptual formulas to make drawing and posing it easier PROFILE an she Ind ste ten insomany ays salting ey ‘treading hist longth theshookdr moi 2) hope you understand whee ng, tethallf thse ane Set eee advantage, Remember tht i dang ‘Should barbs om he Tobe deep ours a Ron Lemen’s anatomy Everything can be broken down into basic shapes and the body is | no exception Posing the back e 3. GESTURE DRAWING “ys E w > & ye 8 a ° SENT {HSC Nors a Ron Lemen’s anatomy DRAWING THE WRIST IN MOTION Drawing the wrist can be surprisingly hard to get right. Get under the skin of this tricky body part as Ron Lemen shows how to draw it in motion est maya smal prtof | undersand he wri you ee fit thebodybuticcancatse | loot thelawer amis tytn nd smears | howe hee ee esate emer tee Graces an on formations that ef howe | pars and break up ino simple shapes sdhendbehareandlodk To. | cnnecsonsand mene, eee ee ete eee una ied whihe rods onde name RE The wr alsa pa ig pl bones pl the wap and ones wbichastsevehthe radi. We a a ri” The wrist in motion pesagaceeetee eee raving ges. There are handy tricks, like the golden ratio, that i when drawing the arm © This area is considered to be as difficult to represent as the face, and the expressions even more tricky to capture 99, eres The wrist in motion | | din the bones of the wt ‘hocmegesinnseyinde se ‘owngpin or drumsticeeshpeto str Tsong piesa eee eee ‘tthe forearm bagiveso ination af ‘rice deton Wenced to dhe four plaraispmsn anelipcts 66 We need to draw the four polar axis points on an ellipse to assist in finding the surfaces 99 stn nding tbesurfaces nga perpen» shapeto repent he ‘igactmjprand minors ‘Wier inetthehand here anelipsoioin smi oaballand ‘ck the sole, ese magni The anatomy ofthe fear i ‘sy comples, bt bere weshal kat sbatct and sce ‘oop iketone lp yo function ofthe mcs Inks mos spied sor the var an ar ‘pea inction and Siting instbiingie peeeeete ra Meeps group andanextemoy pinto soup pthc ham. The ikon exh fing theentorsexendthe Fnges ander hethumb ordi aay fran the hand. aoe a Ron Lemen’s anatomy Ismtan ow genes wha pat | [psec ms end, draw aline hom one edge ofthe | makingthe centre ine af the ong a8 finder te oter tug the cee. | Iabeltbethanb ide vl confi inside to outside TP RUDGE = SIANAT IO) GRU The wrist in motion | | SKIN FOLDS —p When thewrie WHEN ma ed isbent theskin WYER; EXTENDED will crease to alleviate the ee a Ron Lemen’s anatomy DRAW CURVY, STRONG HIPS’ Learn how to create curvy hips on your female figures, add the pillar of strength to your heroic male characters, and everything in between with Ron Lemen hiprat pice sand sar thik ofthe asthe see be ag Thi Snell design thie sparebaed upon 2 funaion has peatrthan sting rvcining The round boo val 2 Ices and ha no semble 9 what sreptslyce Thien Beso “icles dra tspace wt ‘mangitlok ata woe ef he body We are ing toe te mechani of thiapce, andthe atic thaper weil need o merase to mae {hispatofte body socal and Peay ats) corcaeony Tis siping complex Sexto gee boron you undenand ‘hese symbol and shapes 66 Stop thinking about hips as a place to sit and start thinking of them as the shoulders for the legs 99 Draw curvy, strong hips | | SKELETON OF THE HIPS se pons Tis shape iyi dvsn of pce ie ogee ose eee ona shape that might closely resemble a butterfly 99 ie a Ron Lemen’s anatomy SURING THE HIPS “Thepeisis roughly he eight teal Serva tsa clove othe same wih Astheskal eum he alse ‘ul snap been thee eat rough thesane gh. Fe these tbe robe stat the gluteus msc change Shape and sel athe sell hake ndging proportion wo meaiing find mer pao bebo thatmeasuestpothewidhandjorthe eighth per. Jens otrining ors sie isa ‘ooltharrequsa een senseat ‘aon oleae thing to fiom another aelpoaf too gainan tundsanding of portion Look emer ogspa stevie neta CALING AND ME, @ A foolproof tool to gain an understandin; of proportion ‘indingte pein he plow shape we ‘an ilizete stron she me ‘shoot, an fromthe sromion roast thease ofthe csc. The (Grin eten the tose ones, ‘hep shape desined the ‘iqesand he pels "rom hese poe thei te and ssh aarp ha oer and ‘rere lace and down el he tesoand a op vo thee hth of AL equa ‘be found by 3 eonrinoaas rhythmical ine ‘hatsansr the sel ges oud the cael cnties edigthe ea ‘thet macle a back ithe ‘tytn bated i agen ss than seven ine, Draw curvy, strong hips | | a Ron Lemen’s anatomy PRO ; © Fhe terra ate esate flexor forse high nd stabilizes the cet eft nce Teme merino wing abiies Sndasiatinesaonote lead acon he The joreosmsimon he powe ms ong ice cing be Ie lacing they an hinge pede © The legs start from 3," under the iliac crest, the leg muscles are attached on the bone structure 99 or HBA of body the estar fom tect sen ea our sean way we lace the nde the plow tthe hye exended an iad chew when see, But the gs Sas ner teins athe leprae tached this 45 degrees ofthe bovdy Theater lnsasd the Oblique Only woof he planes are vise fom he fon vw ef he eal thee planes seve, Jf Saas SHomirewuiwoworson \ itenyoeeka eet Draw curvy, strong hips | | 8. THE HIPS SKIN AND SURFACE DEFINITION ‘Sestmelvlegndsharene evar ican ioe On BSc eeest cere, a Ron Lemen’s anatomy DRAWING THE BODY IN MOTION Make your figures move with realism by understanding how the body works, Ron Lemen explains the ins and outs of movement. repeated eeclesnyourmentlgm ‘Msc mcs wil ald upandthe {oli Lie rang demands ich) van which shold be memory Arawingtbesane exis and muscle fe ad shes ene ae ve ag. ndbelping you inerpet how the human machine works and spear esl ngs thy describe speci tons help the avomation wo Suck Tost with ook athow deen fe tailed understating how we note the we can patitaltoger © Circumduction is a circular motion attributed to parts of the body that are round in design 99 a Ron Lemens anatomy Sei Sything hat we cree fom ‘prairie Looking ately in {hefistinstace eps makea connection wh theimagined ag elveln ot rds We te stempang to minstbe ‘human machine and ces dren yyemotions sk sgood practe ost eh ea ayer gue ree inanngthen ein igen action Fin theese isthe atom ‘heres pat ofthe bad that dost so the shoulders, wrists, hips, the neck and the spine can all act as pivot points 66 Circumduction is circular, * consonance ay Snel the {dierent prot Rody acto ‘hemovemen thee sho be some yt opal esionship othe deco the primar acon, The ‘heen booger enough sbarscion and implied ine deg, ts “Themes oth arenen tor ater eae shy al sebettopaherto an action, ad wa 66 The muscles of the body are woven together rather like a rope, so they will Tenigiopemer to an action KS eee ial — ‘gy saints ge sro Shank odes. uote CONN Shc ramducionis cela wean {andthe spine a px point fr our animations Teng them he ing inhibi mon fthecxcamdacton spd ‘tee dimensional ace mene ound In Alorthese cones ate conde by ‘ld besinple snd oe a yal * ‘aninaion ill no lngebe ‘etching but someshing moe dynamic Inthe, Change dhe wo ania ‘hangoupexeption ets. eacng a fom beater pio? ‘ehicheontolsthescon very ‘pecially pespeciecnece sell sherseho the plneieate ech ‘tery volume distance ad ve. Draw the body in motion g Kapareo// TREE Consider how an object can stretch out to support a motion, or squish up into itself! a Ron Lemens anatomy 66 A combination of sweeping lines and sturdy straights or rigid corners helps to create a more realistic image 9° ion ctempinginetand | belinablefoms coming tees stdyatirisenen ten | palo pemtv ani ‘rte amore ean aicimage In| animation and moment Int hee Photoshop import Rubens or ‘st canbe costed the fst. Michlanele mage and pin over the | anima ouare wanes to sighs Theimape peavey robber, | brngaseltie pet and mai These aie indersoodhwioring._| thew the ait have mentioned semethingioheusingesiour wih | heveate woth vesting Draw the body in motion | | can free you from reference and make your mental = notes clearer a Ron Lemen’s anatomy MASTERING DRAPERY IN FIGURE DRAWING Breaking down clothes into composite shapes, understanding tension and the core shapes of folds, Ron Lemen dresses up figure drawing eee retding ls ote arm tir design anda way ofeaniningand process for dying the, lth eigen ee ae to consistency nour fire rng, which nr esto rmemoaton an then kx ® very archtectural Levabepinbyundertandingmatril. | _ When foe svic back oralfockon Materialismadeupof es taingin | serach the ends whee the materia ‘wo directions teal cll thewe | tavenesbacklecallo thee fhe fl, sh longitudinally cllehe warp. These | ands Ws ownlitebilwe shape design, bopinvence ee ache of | caingin he pose canteen thefld Tevidgeorthe nk thar” | open kate cnet one fold ater isinflieooed | The pes ten thepipe ae bythe warp had plpor winger am ean be Folds ate ppeshape by nature ‘sani and ipl rani ane khong the ones tated oud, | cline The Ms and he pies Sndthe ones krmedby ight ted | connetd gether by acanaion Convllsstarrearaleappefi but | sep that ates based upon wheter Spearethey a ralingie rms | ope or onthe bom wal peo mh ike aeeveinebeocendhachas | mates ad elon og he oF rays cd thedothing Drapery and figure drawing | | 2. MATERIAL PROPERTIES _ Vain surface, © We want to recognize the special properties material has to generate stronger illusions in our art a Ron Lemen’s anatomy anes S Bre fol setansane : Pie “Nattnestor heegriened depending on the mati ZIG FOLD fowbey heute a ee A/S HALF LOCK FI Ad PIPE ; Fold RC epipat % ie amen a 2 seit 0 | ee E fold en Eas a TNERT FOLD Drapery and figure drawing | | The sleeves are ape xine yh dec: The bn inane curvilinear enough to clearings ont ani een eh thet QD define the cross contour SMeothelin othe lingsltte acon hex ae ethene Drapery ise ofthe elements thatelp define he woime oF thebody without needing ary vale The ear eauretbe ae es tothe ine forms of carbs Wheterciea see, cola che ea hele (show) then ellipse apa raw vough, will Fatp define the by ase and we fhe clea ne ofthe cla fndthe bom ofthe coat Noe Tow hese ie laf ‘nought define the cose ‘oma othe arn vng hem Ron Lemen’s anatomy Use shortcuts iggoiasl * PM tory cishinghas 1 may variable ioe hat opiate ee eee nice Remembering theft pasbeween he pesase pening as te body weave dite oto eth body andthe contour fhe maxima dh thedathingan exp ott These como ‘pth length ofthe bao he fw tees. photoguptialypoomed oct photographically Desig the lw ape ot oot To “els on the sgn se cos ores aos ‘hepa fom ele the oe ying Sth of ones of sin he ne ay ing Alte noe open apaer, Ee ee et eee reene ido, and ike select ke_| tension pine afl te sure and hoe ‘examine phocovand decide what ype | sera fl pote atthe ension ‘fmaion mightbetakingplaceby "| point nerating the fl the boy ere ate thsi ction osu resi, he mae overt dy wl Dependingupon heat ofthe | ick omer ike gsevingin he movement, hele wilboth attache wind Hewes ching up othe tension pot oiagibe meio | dor ls the bake the bay seers stion and owbehind | Tae ted mage show Tie asmoke al ibe body etek in| deren oldest direc of tight keasktebouder spinning 540_| boy moremens These dese eget the fsa compres. | withthe folds redced spe ne from ha pointe acres, | movement oftefos ard down ot thefldswil fw aosthe body inthe | ented rom the creo te action ttn fhe foe fon "Thebny moving nati ine el rece sehr ve rm te fot oF thebodyta theback othe bd Inthe. 7 Muscle Regt THE ee oe pe > a like to reference video like a detective 99 Drapery and figure drawing ‘wahopwthasempiteharisto | mannequin oeretop othe | amwesving ‘ay sarewithamanoegin.under | primary boy Thefina sage canbe found in Mithediapery thebeme decide |" Ondapetdhisnowshap design! | one oftwo way: Te oie sr Spontowmachngiion he | wevon nding enson pins | sume edge othe ceneline fo Cshinghss sway fiom thebody | andehesceamascetbearer | the petri be dren owe fndhuwiopertheflsto flow | wherethemaenal il ade om | cherie dese the vokime Wwidvordeciethe scion snder | ota tlokoraneaeing ines | ofthe land these distortion Temata Whethermalecr | thtnighpaatinigh mcetian | reqived fore type ofa we Female sigleliyerofchingoe | ome mb andiethemtogeheris |e doing ese eee ee ceed eel Theater approach stows tbe ‘wh chemannen | rtiaonn efaldsand push cha_| shadow pars and map out the Nesttlcatethemassoftbe | dynamieasmichasponseto | tangle digs oer the ation ahi oro | iatetheposeseetieand | rhythms what ou might ee Inaximimexpanonis ane at | Il ry conringeverydcson | | what one mip be ey Imuchotthebdyspaceelaed vo | can, eeliinatigany counter | ive dueto pshingte design thatgamee wah thve gies net Hythe ora eerste | forthe ke ofthe davies fers bese to beter the ‘espn the nage ter | enhancing beunderhng averent or by showing what ‘Would normally bes cece ld ures inched ya wtp fig Wem eee eel tobe ns aitlein the perp othe ection tele Isuaveling aces the body Tis ene no contin tothe viewer a ely aii the at the ge denen Th ening ‘estab es cable Braet allows ee les ne Ron Lemen’s anatomy HOW TO DRAW IMAGINED FIGURES Ron Lemen explains how memorising, observation and structures of composition will help you take your anatomy knowledge a step further a peg a tetera ws rom Fat ttetina oss ae armen a saias ae ceieeed aay erica Pr Up Ain so wha sho | Lctamtl language, hs ial roxshareacommon ong Wes frame hs agua vou ins mols and ther ypesof graphic ‘nmunietion oem subeoncoun theytin fata ancien The ance both dae ack a esate Tee bcthfiesecmcps ie pattie! | ta they did conse thepoces ofdawingtobe | for ring he grew have roasinoll mes cones Our Shape sappingmetal or empl ‘oct ahipandso eh nosing ee Whe the smo maybe news @ Artis a visual language that can be understood by others with whom we do not share a common tongue simplified means to consncingy achieve ‘ifiatend eh have sod the test ote alae Bo Ee ee om es feat emu andewo ables | used the gent mass thoughout Thisishe poms user tying Som Hor eng im pote “rang the movements fom lowe | {it around beween sages nd wo tight orgaturaltoanalyealand. | methodsas| dia bu tats because Seek agin. Te proces uf dawing J eos costing) concur Tec mot (igh). pndon | mowers ean yo can coon the (lose) and acenighght (ah). | “his processcam then belvaen ‘ett woke 90 ‘Sova hap belinga ishing cechatepinadeibene manner am downto morestges-saring with | moveabito reac Lam experi mote thecmarcion andthe nots ations per dpe ofc othe Ibegestshape fine ten ering dn | ite sale shapes = what ost paleo stenghen your ca | Seaview call des Smmmetite mesh tht nine testes once theyhave ben nase sie then forget nner make rat response ages: Ron Lemen’s anatomy Toimone away hm ferences we needs to ended thescee you wan so cape 43 potaleplnert perience toa don ava get any.Asan cane am nocapring hese tiles inne, The practices ne lies bu the eshte end sou allan sempsstpension of “bbe orale their sey ‘ince them his oment se deh wlestceu cya. “Fat - oe et rhesten sea ooktie The fling Something dense tha tis To move away from references, exercises to understand “Tobias om anges, yoo cel inden aig fie “slong ont nintomation you nok dh, urement at yon eet (Ceoupuy wharjou tough yu sa This smemoriaton Yousteakeady Tooting and carping so so thai sesunot to capture yoursene io bllesing viet scsia rely ofthe masts of hig a GlataristsTepoi Dean Comniel and Norn cate These ats versed Tsing inspation asthe basis thet ection The applet Ihave proved severe Iypeat xampks These ral Frome ofeose Now testis. yourpad pin nates prof hero omen ‘heroom yu fra your ve ain ‘whatyoucan then goanddaw i asyou Tea how tin fron fr anger SM fre fom he een hal ‘mo tat dat ong esinilar thing beating sfc ie | onceyouhave al he times tat oul aero home christ ding eal tistime ete fom memory. ‘eal rach you co foe tele ‘heme yoni member this incl ous cing oc cone @ A good memory exercise is to sketch from life and fl ae i from: WIDTHS] HE\G HTS =MATOR RHYTHUS Hino, RHYTHMS: ACCENT RHYTHMS = WEIGHT DISTRIBUTION Foot oRieNTArION — PILLOW DYNAMICS ‘dreary xc kc fom re od pt gn oe ‘gated rine _and corrected using.a mirror. Any sketch | Redraw the citcle and mark your position Peete tea eee od compu thantoe at [iste tometecibecee va eed |store en Tht ee cee aii err yalieteaet Seceeseieeeteenes epee yeeros Compare a sketch done from memory with the initial reference to help correct your judgment 99 ‘other Now imagines ick dawn | Searing ofthe pio shape cov ‘sounds mode onthe loo hi isthe | sndisbeneandsach sce Tink Camertidk iske sate here ou | Snourhe tin andthe inde es Seieteetr ieee) ‘hey make ther slid Geen Inicxeyoarlocton shoul Be athe ‘hepato heme positon, a then fone centre the cc empath nee rng eth he ‘Onthatsamectcle pee second ‘ginal ene Do thy eke they Bath msi adiflrent ple onthe cre | belong tothe sae 360 dee view NaS ieee ‘hebalance ore the weigng “rang From the oriial postion, et ‘cnet rth linbconecttthe papi inhecicediding into | kaon ordidyoutevsethem? > —— a Ron Lemen’s anatomy 66 Draw an imaginary sphere |‘ around the subject, and just as with our pivot/rotation diagrams, you will use the model as the pivot “THE CIRCLE 1S REALLY : Romane PuHeke _ ss | Your P.O, Drawing from imagination | | . ‘e * 6. GRIDDING WITH ABSTRACTION TE aoa ect et fer en et ere ee ne toe ofyousho a tyingto your | dsgned nan ancent rao hat has Kea! | anatomical elanships and bck and “Cnpoons pater beer diesiosbuitinoiewhiegdsi the | ach btwn allo he dens Ticselysbeacienwikhwehe | exnenandteldiancioexh oie, | Themaeyouenexeie ntact ee Seip ite |e ee ieee cer eater aati ec enter is SStitluniiatagie” | Moutadeewanvewner' "* | @@ Our canvas isasacred Siumtsintacau, | jonimesnsocs opm, | square, designed in a ratio with Umi asnmntivomenmibe | ciganadticrsaueinness | ideal divisions built into it ®9 cenatofapesticr amex” | woth lens weal bee {cekalantamectopabernity | woken he moeyou in eseying de geome ad cmplex “The figneabwrcionaspingpint | ev iaies nage ma Itiieneninanes and teertaltien | hicegahertbecntumoreserinto | fecexclpaning, Mages xampeo hecniqe ssh ‘hated lc gi ac Eepestaciensese este themallinsneway eran Te Shadows— Simeon igh soe @ The fact is that making pictures is Mengwit Socio twelate | NOt easy, It is a science, and it requires soumdarcndaicnisty | a Jot of learning and practise toihiconep gti tobet ‘orealymeansometbing levee | the chance tethen on them thibsbeemmelwamosio thine | agente al som on them, ad a eerie He nee ioe career oct feryovasetoftadvandthengveyou | andres stb ofeaningsod pace spear, past pilosphy ‘mela the ber your wo ate, MEE Quist ee lcoding concept att, Chris Legaspi also runs the Fresh Designer website devotng his tmeto shoring techniques for better igure drawing, Worksho S Improve your figure ee to render your gute draw Sa teats sets “ © Creating the feeling of light and shade, and doing it well, can have a profound effect on the viewer Chris Legaspi, page 70 PART ONE DRAWING GESTURE AND MOTION Excellent figure drawing is a vital skill for any artist. shares some techniques and tips for creating powerful and dynamic figures PKGr te canbe defied athe ILE ‘hs action intent ie force that eee pe of | thetgue Inthe wos seus the cn othe pou "What wy {efiguredong he key quent tigi aname forthe viewer Infigure dein, estes serves to ae outligues esr mores en es ce catia SE TSE primary consideration f we wancour ee ‘Gessneeno only the fist concept Sesto comer ing raving, Batis lb the nl ep = thecomesone fiom whichanarticanbll tee irs ball aso ring your aings ‘ole Les etstaned! Drawing gesture and motion ‘ume fhe spine the dieson of the model faze thedsnbaton of weg. andthe deion ‘heli epg Since geste the tt eee etree ed ‘oxi “What he model doing” Leming how ose propels key wo unlcking the cermin Tie dren Landis lay pins om hebody | The Rely Method eka down ge tharluetomesnrecostictor ae | dawinginofines, pies and rms txherkeypyjinsof anatomy: Someofthe | and ses lines epee the as or leylindmatdtinesethepitofthe | deectio ofthe maa fr ad epee eckthepoinsofteshoolerbones, | the acon ofthe ge To diate Thebovom oftherbeagetbeiisceet | atin ofthe pve, it ete elon | Rhye rete naa Mw of anatomy sharin tna the boy Forex Aline dram the ptr tend theca athe ceneline ti, Tese "se oyna ttn rr the nek ‘oehip, ie singh ook Seve dma, se ythine ‘ber wo locate at, ‘cepa the poe sd phen be AN) Some which as ase of 2) imonemen and belay. wae nen GE (pes ofhipbone thebonom atthe. | axis Thelangass or acon ine ithe ‘och thekneceape, anki bigtes, | lngstunierped ine thats thescrenthcenieatveteeopper | iter thoigh he form or tthe edge of Teck) thecal (holder die), | eto make thelong at orate ndchesscrum ofen seen om bein | Tne kong and ida possible Foor Setwobacedinps) fam, even he smallest, ae along a igure drawing techniques © Exaggerate the areas that bulge out when resting on a ground plane 99 Drawing gesture and motion | | CComtappo isan tan wodthat ‘means oppo omer it ‘cause when bodyweight dsibuted | ‘unre hich aseste angle athe Iie oppose couse he app theshotlde, Lue compposoeo ad freckles but don’t know how. Pat sg y vey acharacersspeed and Answer ‘nespedicmovementsand | testexamplesof motion blurcanbeseen| ere aa eel eee eer er odon bls aneerolyou

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