Imaginefx How To Draw and Paint Anatomy 2010 PDF

I F A N T A SY S C I-F I D IG IT A L A R T
P R E S E N T S
>3- 0 -* H D W T O D R A W A M H PATM T
Creature
drawing skills
Master the proportions, poses,
bones and muscles of animais
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How to draw and connect the simple
shapes that make up the human body
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WORKSHOPS
Learn practical drawing skills and
technicjues from professional artists
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IIO W T O DRAVV A M D P A IN T
ANATOMY
W e lc o m e ...
Ify o u re reading this, the chances
are yo ure an aspiringartist on
a journey o f self-improvement.
W hether you're at college, hoping
to become a professional artist or
just w ant to create art for yourself,
yo u ve come to the right place.
The follow ing pages in this
special edition o f Im agineFX are
filled to bursting point w ith the best anatom y advice around. Every
page is packed w ith easy to follow, step-by-step guidance on how to
create better hum an and creature figures, w ritten and illustrated by
professional artists. Essentially, its years o f attending art college
distilled into one magazine.
The accom panying disc provides you w ith an opportunity to get
closer to the annotated sketches, watch videos o f anatom y drawing
in action, and see high-resolution digital art files to help you learn
how to take your sketches into digital art software.
For those o f you w ho are new to the world o f Im agineFX, turn to
page 97 to see just a fraction o f the digital art workshops that we
feature every m onth in Im agineFX.
Also, make sure you check out page 115 for a sneak preview o f
what's com ing up in our FIow T o D raw And Paint series. W e're sure
yo u 'll love them ali. Ify o u have any questions, please get in touch
w ith me at the em ail address below.
Claire Howlett, Editor

claire@imagincfx.com
From the makers o f
W e're th e o n ly m ag azin e
d ed icated to fa n ta sy an d sci-fi
art. O u r aim is to help a rtists to
im p ro ve b o th th e ir trad itio n al
an d d ig ita l a rt sk ills.
V isit w w w .iin a g in e fx .c o m
to fin d ou t m ore!
Subscribe to Im agineFX today and save
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U S an d C an ad ian readers: please turn to page 96
FANTASY SCI-FI DIGITAL AR I
A
P R E S E N T S
The finest artists in the world offer you the best

guidance and to share their techniques and
inspiration in our figure-drawing workshops
Human anatomy
Practical advice from head to toe...
d 16 Basic form s
Improve the way you draw figures
with easy ways to establish the
underlying structure of the body
22 The torso
W ith the figure framework in place,
it's time to set your focus on the core
of the human bc 3ody
28 The legs
Masteryour depiction of the limbs
r that support the body and drive it

forward into action
34 T h e fe e t
Discover how to use form to create
^ solid-looking feet - and why you
shouldn't draw too much detail
38 The shoulders
Dont allow the complex interaction
of muscles here distract you from
the guiding principies of anatomy
44 Th eforearm s
It may seem like a simple area of
the body, but the forearm is more
sophisticated than you suspect
50 T h ehand s
Many artists fear this part of the
body, but applv the principies here
and you'11 see now easy it can be
54 The head
Discover how to break the skull and
facial features into simple forms to
get the proportions spot-on
. \rose
n i E P IA C F.T O SIIA R E Y O U » M O ITA L ART
6 A rt sp ectacular!
A feast of great figure-
based images - and the
artists behind them
Imagine Presents Anatomy

Volume 1
ON YOUR DISC
Sketches and
videos to help
you learn...
Turn to page O o íiu A ' \ r
114 for more
pt«£ tuei.?
Animal anatomy
Your complete to creatures...
„ 60 Basic form s
Begin your exploration of creature
. anatomy by seeing the shapes
V / beneath the skin and fur
... 66 The torso

Find out how the core of the animal
body operates and how you can use
it to bring life to your animal art
72 The hind legs

Explore the rear-wheel drive of
animais, and how this part of the
body can propel your art forward
78 The forelegs
Use your observation, skills and
knowledge to build the pillars of
balance and grip in animais
84 The neck and head

4 Discover what part of the animal
body tells you about the creature -
and the traits ali animais share
90 A nim al faces
Find out what animal faces have in
common with human faces, and the
crucial ways in which they differ
Digital art skills Artist Q&A

Help and advice from figure artists Real-world issues solved
98 Creature features 108 Q uick guides

Combine human and animal Our artist panei helps you:
anatomy to create a fine-art portrait • Paint realistic hands
of a monster with Justin Gerard
• Draw a screaming face
• Avoid static figures
102 Top ten fan tasy poses • Master heroic proportions
Whether you're drawing a hero or
• Draw realistic eyes
a villain, we've got the gestures and
• Give characters mass
silhouettes to help you out and weight
• Draw expressions that
104 Strik e a pose
show the right emotions
Warren Louw explains how to fill
• Pose figures in motion
vour characters with energy by
• Shade faces better
íearning the art of posing

:r Paul Bonner
LOCATION: Denmark
W E B : www.paulbonner.net
EM A IL: bonner a mail.dk
M ED IA USED : W atercolour
“ Most of what I do stems

from a childhood passion
for fairytales, myths and
legends,” says Paul. "They
sparked a myriad images
and incessant scribbling, trying to draw
my own versions.”
Since then, with the help of brushes
and tubes of watercolours, Paul has
been continuing along that same path.
“ Always knowing what I wanted to do
made it an easy path to follow,” he says.
Paul has made a successful career for
himself that’s at least partially a result of
his stubborn self-direction.
Apart from the need to try and empty
a cluttered imagination, Paul's driving
force is the basic thrill of creating
something out of nothing. Obviously
this nothing is not absolute: " lt ’s made
up of a myriad influences that seep in
over the years.” Books, films, other
artists, music and nature are all-
important ingredients.
The challenge is to make something
believable. “ I deal in myths and
legends,” says Paul, “ and if I can get
people to suspend disbelief and accept
the reality of what l’m painting although
they know otherwise... W ell, then, l’m a
happy guy.”
1
DRAKAR OCH DEMONER
15x22in, watercolour on paper
Paul revels in the chance to paint rocks,
stones and water, and these guys in a
boat were a great opportunity. This
piece was painted for Riotminds.

The Gallery
2 ELD O C H SO T
“ Dwarves, trolls, stones carved into
figures or runes,” says Paul of this piece
for Swedish R PG makers Riotminds.
“ That just about sums it ali up really.”
3
TRUDVANGS STIGAR
This dwarf is in a bit of trouble: he’s been
captured by some trolls. But this piece
for Riotminds gave Paul a chance to
paint one of his favourite things: “ Nature
again... stones and roots.”
CONFRONTATION
4 27x16in, watercolour on paper
Paul admits that this piece, painted for
miniatures company Rackham, was a
nightmare to draw, given ali the figures.
“ But it was fun trying to give so many
individuais good reasons to be there.”
Imagino Presents Anatomy

The Gallery
■ Tom Kidd
LOCATION: US
W E B : www.spellcaster.com
EM A IL: tkidd asn et.n et
M ED IA USED : Oil on panei
Tom realised he could draw
n
when he was very young.
Anything he set his mind
to, he could copy - but he
quickly realised that could
be accomplished by robots or machines.
To differentiate himself from the Xerox,
Tom began making things up to draw,
and so a career was born.
TonVs role models as he grew as a
person and an artist included Chesley
Bonestell and Norman Rockwell. Taking
on their influence, Tom began working
towards the goal of becoming a fantasy
illustrator. He won a scholarship to
Syracuse University, but dropped out
after tw o years and moved to New York,
intent on making a career for himself.
After a short while, he began to see
success in his chosen path.
Tom has worked for a number of
publishers, Baen Books, Tor and Marvel
among them. He’s won a W orld Fantasy
Award (B e st Artist 2 004) and seven
Chesley Awards. He’s also busy with a
personal project, which he describes as
“ my favourite and most time-consuming
obsession." Called Gnemo: Airships,
Adventure, Exploration, you can see lots
of art for this project on TonVs website.
1
HERCULES VS THE HYDRA
16x20in, oil on panei
Part of a m ythology series Tom painted.
The other characters he painted are
Odysseus, Theseus and Perseus.
2
PEINDEER EXPRESS
13x28in, oil on panei
If you receive Christmas cards from
Tom, you’ll already be familiar with this
image. “ As I painted it, I came up with a
children’s book idea to go with it," he
says. “ It’s an attem pt to rationally
explain Santa Claus, but as the story
goes on it, becomes quite convoluted
and even less plausible.”

The Gallery
D Duc Truong Huyen

LOCATION: Vietnam
W E B : fxevo.deviantart.com
EM A IL: truong.huyenduc a gmail.com
S O F T W A R E U SED : Photoshop
Although Duc has studied

at Ho Chi Minh City’s
A
University of Architecture,
he had never drawn
anything seriously until
senior year in high school, when he
finally picked up a pencil in a bid to
improve his chances of being accepted
to study architecture.
“A t first, drawing was my hobby,"
says Duc. “ That was until I saw Ryan
Church, Dylan Cole and Daniel Dociu’s
masterpieces.” The result was profound
and immediate. “ I was in awe, and
decided to buy an Intuos 3. This decision
has completely changed my life.”
Although he’s self-taught, Duc says
he's had some help along the way.
“ Thanks to ImagineFX, DeviantART and
CGTalk, I have many sources to study
and improve my skills, not to mention
my knowledge from architecture."
1
ENTRANCE OF COVERED
lllustration for a personal project.
“ It’s about a girl who owns a fairy tale
book, which is actually a gate to connect
tw o worlds together."
2
ADERA
Ali Duc wanted was a playful
portrait “ with strong warm and cool
colour values to present my character,
the Seeker of Balance” .

The Gallery
Sophia Kolokouri
LOCATION: Luxembourg
W E B : http://mysideworld.com
EM A IL: m ysideworlda yahoo.com
S O F T W A R E USED : Photoshop
After studying animation

and design at Gobelins in
Paris, Sophia started
working at W alt Disney
films. In 2007, having
worked as an animation producer and
art director, Sophia returned to her
personal work: "And l'm now working as
a digital hand painter and designer.”
Sophia would like to combine her
animation skills with a photo-realist
aesthetic: “ This is something I wish to
explore much more and push forward
my technique. I am still learning."
Sophia is keen to work with 3D
software that gives photo-realistic
results for humans, and there’s a book of
painted fairytales on the drawing board.
1
MOTHER NATURE
lt’s a sad fact, says Sophia, that
humanity is its own worst enemy.
“ Humanity commits suicide by
destroying its lungs, its health, its
inheritance. Mother Nature is praying for
us. She is praying for our sake, hoping
one day we will finally succeed in living
in harmony with our environment before
it’s too late.”
2
THE LADYBIRD
"The challenge here,” explains
Sophia, “ was to find a balance between
the bird and the human.” So, keeping
focused on the flamingo-inspired
creature, “ I tried to bring a fantasy and
romantic touch to the scene, while keep
the pose elegant.”

The Gallery
© Narrative Ink
íl W a lte r 0 ’Neal III
LOCATION: US
W E B : no-sign-of-sanity.deviantart.com
EM A IL: w.onealiii@att.net
M ED IA U SED : Acrylics
As a kid, W alter always had

his nose in a comic book,
immediately in love with
anything that dealt with
fantasy or the supernatural.
Superheroes, vampires, aliens, demons:
"Any subject that deals with beings
endowed with fantastic abilities or dark
powers,” he laughs, “ and Pm sold!”
W hen it comes to his own work, he
says it’s ali about the detail: "I try to
pack as much as I possibly can into a
piece. I want you to forget that you’re
looking at a painting.” Crucial to that is
the rendering: “ I shoot for a kind of
stylised realism.”
I
O U SCRATCH
11x16in, acrylic on illustration board
W alter was commissioned by the
fantasy sculpting duo The Shiflett
Brothers for this portrait of their OI’
Scratch character. “ Brandon and Jarrod
Shiflett are such great guys,” he says.
MEDUSA’S DAUGHTER
11x16in. pencil and gouache on paper
“ This shows Medusa’s Daughter (for
Narrative Ink) making a futile attempt
to tie down her wild hair using some
makeshift straitjackets,” says Walter.
fe Shiflett Brothers Originais

The Gallery
t e Lucas Graciano
LOCATION: US
W E B : www.lucasgraciano.com
EM AIL: lucasgraciano a yahoo.com
M ED IA USED : Oil
Lucas grew up with the

works of great fantasy
artists such as Frank
Frazetta and Boris Vallejo.
Straight from high school,
he started his art career as a caricature
artist at theme parks and special events.
Later, having attended the W atts
Atelier of the Arts in Southern Califórnia,
he started work on storyboarding and
concept design in the games industry.
W orking mostly digitally at that time,
Lucas wanted to attain the foundation
skills that come with working in a
traditional medium. He soon fell in love
with the traditional process and has
nearly completely switched over.
Lucas continued his training at the
Atelier and was soon asked to teach.
After developing his skills further, he
moved into fantasy illustration and
began freelancing while he taught. He
landed his first illustration job on the
very first set of the W orld of W arcraft
card game, and has since worked for
companies such as Sony, Wizards of
the Coast and W hite Wolf.
©2008 Quarto Publshing
1
PSYCHOPOMP
16xl2in, oil on hardboard
This piece was done for the book
Drawing and Painting the Undead. As
simple as it is, Lucas thinks it's one of
his stronger pieces. “ Its strong graphic
read helped it get on the cover of the UK
version of the book.”
2
VALEM AIDENS
20x24in, oil on hardboard
“ I like doing work for Sony," says Lucas,
“ because they give me a free reign.” The
only description on this assignment was
© 2008 Sony Onlne Entertairvnent
‘six or seven female dryads guarding a

tree.’ “ They will often hand me their
low-res, in-game models as reference
and say ‘Make this look cool!’ I think
that’s the kind of thing almost every
artist wants to hear!"

The Gallery
SEND US YOUR
ARTWORK!
Every issue of Im agineFX features
a selection of fantastic artwork
from talented artists - and you
could join them. For a chance to
see your artwork included in
Im agineFX, send your work to us,
along with an explanation of your
techniques, the title of each piece,
a photo of yourself and your
contact details.
You can email your work to
fxpose oim aginefx.com . Bear in
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submitted on the basis granting
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worldwide licence to publish, both
in print and electronically.
3
W O RD OF PAIN
24x18in, oil on hardboard
“ I like to keep my fantasy work more
grounded,” Lucas says. “ Pve never been
a big fan of the bright flashy colours of
magic, so I try and imply it in more
subtle ways.”
KALADIM W IZA R D
4 12x16in. oil on hardboard
Lucas is a huge Tolkien fan. “ Any chance
I get to paint an epic battle scene with
armoured dwarves, Pm very happy!”
He’s even got a small collection of
armour that he “ slaps onto some
willing friends for photo reference".

<D c r, i
t»*V«
r
Human anatomy
A complete workshop on bringing
your body drawings to life
lmaginé Presents Anatomy

Your hum an
The more knowledge you have, anatomy expert
Ron Lemen has worked
the easier it w ill be to reach dear-cut in the entertainment and
illustration industries for
solutions for any drawing you make & over 16 years. With his
wife Vanessa, he runs
Ron Lemen on drawing the body, page 16 the Studio 2nd Street art
school and is in demand
as an art instructor at
drawing and painting
classes across Califórnia.
w w w .s t u d io 2 n d s t r e e t .c o m
Workshops
Explore the body in eight parts
16 Basic form s
Improve the way you draw figures
with easy ways to establish the
jUí underlying structure of the body
22 The torso
W ith the figure framework in place,
its time to set your focus on the core
ofthe human body
28 The legs
Masteryour depiction of the limbs
THE that support the body and drive it
forward into action
34 T h e fe e t
Discover how to use form to create
KtoífcégfóU) solid-looking feet - and why you
shouldn't draw too much detail
38 The shoulders
Don't allow the complex interaction
of muscles here distract vou from
the guiding principies of anatomy
44 Th eforearm s
It may seem like a simple area of
the body, but the forearm is more
sophisticated than you suspect
50 T h eh an d s
Many artists fear this part of the
body, but applv the principies here
and you'11 see how easy it can be
54 The head
Discover how to break the skull and
facial features into simple forms to
get the proportions spot-on

fy o u w a n t to illustrate stories There are several techn iq ues for d raw in g W hat you lack in the fo u n d ation s o f y o u r
a o r b o o k covers, design
con cep tu ally fo r gam es or
d raw storyb oard s, it's v ita l to
grasp th e fo u n d ation s o f representational
art. W ith m ost stories y o u 'll co m e across
th e h u m an body, ali le ad in g to
a sim ila r goal: a three-d im ension al,
realistic figure. W hile it's not n ecessary to
be an expert on an ato m y to produce
illustrations, the m ore k n o w led g ey o u
k n ow led ge w ill sh o w up in y o u r w ork - in
o th er w ords, th e lack o f u n d erstan d in g o f
certain key p rincipies w ill be ali too
apparent in yo u r fin ish ed piece. A n a rtists
style can be reflective o f their lack o f
in v o lv in g p eo p le, it s im p o rta n tto have, the easier it w ill be to solve u n d erstan d in g just as m uch as it can be
un derstan d h o w to d raw th e hu m an p roblem s an d reach d ear-cu t solu tion s a sh ow case for th e total sum o f their
figure, bo th in a static p ose a n d in action. for a n y d raw in g y o u m ake. know ledge. A void that trap.

Basic forms
Ron
Figuring it out:
tw o ways to draw
Lem en
COUNTUY: US
See more of RorTs work

at his website
www.studio2ndstreet.com
There are tw o distinct approaches to figure drawing:
On the disc
Find a video and observational and formulaic. It pays to master both...
sketches in the
Drawing Intro folder
inside Human Anatomy L e a r n in g to d ra w th e h u m a n fo rm c an Form ulaic figure d raw in g uses abstract
b e a d a u n tin g p ro sp e c t fo r a n y fle d g lin g rh yth m s o r interlocking sh ap es - b asically
artis t. T h erefo re, it's im p o rta n t to k n o w design concepts - to b u ild on. O nce these
w h a t m e th o d s a re a v a ila b le to y o u . T h e fo rm u las are m em o rised b y d raw in g from
tw o a p p ro a c h e s to fig u r e d r a w in g th at life, y o u have a set o f to o ls to recall,
I feel to b e d istin c t a re th e o b se rv a tio n a l e n a b lin g y o u to design from y o u r
ap p ro a c h a n d th e fo rm u la ic a p p ro a c h . im agin atio n ify o u w is h .
O bservation al d raw in g h as its o rigin s in It's im p ortant to h ave a solid
th e sight-size m eth od ology, w h ich trains un d erstan d in g o f bo th ap p roach es if
the eye to v ie w a subject w ith accuracy, you tru ly w a n t to be free as an
p lacin g the object an d th e d raw in g sid e by artist. O bservation al
sid e fo rco m p ara tiv e an alysis. P lum b lines, d raw in g sh arp en s the eye
leveis, a fix ed p o in t an d a m easu rin g line an d m in d to c ap tu rin g a
are used to help th e artist in un derstan d in g liken ess w ith ou t using
d im en sio n a l an d sp a tia l m easuring. abstract concepts;
O bservation al d raw in g is a com p lex fo rm u laic d raw in g gives
process that requires a great d eal o f y o u a set o f tools to
reference m aterial to acco m p an y the w ords develop bo th from life
to be fu lly explain ed . In th is part o f o u r an d , m ore im portantly,
an ato m y w orksh op , I'm g o in g to take a from y o u r m in d s e y e .
Observational drawing in
practice, using a pencil to
detailed look at tw o o f m y favoured
measure the body’s dimensions. m eth o d s o f fo rm u laic d raw in g.
Formulaic figure drawing systems

involve using abstract rhythms or, as
shown above. interlocking shapes. to
construct the human body. Those
shapes can then be built upon and
fleshed out for a full human figure.

Human anatomy
REILLY’S SIX LINES TO THE TORSO
Here's an illustrated guide to the Reilly

method of drawing the human torso.
Starting with the head, lines are
systematically added to build a template
that forms the basis of your figure
Once you’ve leamed the Reilly method, you

can go on to create figures in a range of
different poses. In this sketch of a kneeling
woman, you can still see the construction
lines. based on the sequence above.
Exploring the Reilly

method for figures
In this drawing system, you build a framework of
overlapping lines to create the basis of your figure
T h ere a re as m a n y w a ys to c o n stru c t a A m erican art sch o o ls o f his day. H is figure
h u m a n fig u re a s th e re are a rtists, but tw o d raw in g approach is a lin ear one, startin g
s y ste m s in p a r tic u la r fo rm th e b a sis o f w ith th e structure o f th e figure before
m a n y a r tis ts ' w o r k in g p ractices. O v e r t h e ad van cin g 011 to the anatom y, then sh ad in g
p age, y o u 'll e x p lo re th e In d u stria l an d fin a lly detailin g. H is approach started
D esig n m e th o d ; b u t first, let's w ith the core o f the figure: the torso.
lo o k at th e R e illy m eth o d . C ap tu rin g the action o f the p ose is
Frank R eilly w a s an illustrator probably th e m ost im p o rta m concern. T he
an d instructor in th e early- an d action b egin s w ith th e head an d radiates
m id - 20 th century. H e created a through the spin e into the lim bs. T o start
system o fte a c h in g th a t enabled the draw in g, y o u need to m ak e six lin es: the
students to q u ic k ly an d ea sily digest head ; th e centre o f th e head and
th e p roblem s o f d raw in g an d pain tin g, neck; th e sh o u ld e rlin e ; the
g iv in g abstract concepts labels and spine; the lin e relating the
d efm ab le schem atics, an d b u ild in g a shou ld ers to the base o f the
n otew o rth y step-by-step cou rse o f action p elvis; and, fin ally, the line
to create figure draw in gs. H is system sh o w in g the neck an d hip
relationship. T h ese lines design
éé Frank Reilly's fígure drawing approach is a an d d efin e the core o f the pose.
linear one, starting with the structure of the Arm s and legs
O nce th e core o f th e p o se is
figure and advancing on to the anatomy §§ established, the arm s an d legs are
attached to com plete the action.
cam e from several sources, startin g w ith T h is sim p le con stru ction creates
D ean C o rn w ell an d Frank B ra n gw yn , as the structure o f the pose. T he
w ell as G eo rge B rid gem an (on e o f Reilly's
teachers) an d Frank V incent D u M o n d .
Capturing the action of the character‘s pose
Frank R eilly s system b ecam e a should be foremost in your mind. The action
fash io n ab le m ethod in rnost o f the begins with the head and radiates from there

Basic forms
USE LANDMARKS TO FIND YOUR

an ato m y is then depicted vvithin W A Y A R O U N D T H E HUMAN BODY
th e structure y o u V e created.
M uscles are w o ven like a fabric
Once you've learned the Reilly
to th e skeleton, connected to the method of creating e figure, you
b o n e s w ith ten d on s - rope-like can move on to creating more
attachm ents. T h e point w here the flexible figures and poses from
different angles. Here, I point out
tendon attaches to the b o n e is d efin ed as
a few anatomical landmarks to
th e in sertio n p oint. l h e fig u re abstraction help. On the disc are three videos,
heips place the m ajo r m uscle g rou p s into each on creating a figure from
various viewpoints. A b stra ct 1.
an organ ised an d flu id pattern, m ak in g it
m p 4 deals with the front torso.
qu ite sim p le to invent com p lex, realistic- A b s tra c t 2.m p4 the back. and
lo o k in g figures. A b s tra c t 3 .m p4 the side.
T h e h ead h as its o w n set o f abstractions
that requires a w ork sh op o f its o w n to fu lly
un derstan d. W e lo ok at tech n iq u es for to (
d raw in g th e head on p age 54 .
Beyond Reilly
T h e fu n d am en tais o f th e R eilly m ethod
are e a sy to grasp, but it's flexib le en ou gh to
adapt as y o u r d raw in g sk ills develop. • - w h e r c
O nce y o u p rop erly u n derstan d the figure

p ro cÉ S S
abstraction u n d e rp in n in g th e system , y o u 'll The body’s anatomy is
v a j/ -V n S .
designed into the
fin d that y o u '11 con stan tly ch an ge an d structure you create,
rearrange lin es to suit every p o se an d ev ery weavíng in muscles and -T V c s e p o»n + s
tendons and gradually
situation. T he stan dard set o f lin es y o u start building up details.
w ith are c harts fo r learn in g - they're just
o n e set o f p ossib ilities, a stock v o c ab u la ry
Its important to practise as 4VW +
much as possible, so that you

can perform with clarity ■toe
I
that w ill con stan tly flex, gro w an d reinvent
itse lfw ith each new im a g e y o u create.
I can n o t stress e n ou g h that th is is just
a system to learn from . A li system s o f
d raw in g are d esign ed for teaching an d The large dots in this sketch are anatomical
sh ou ld be left b e h in d as so o n as landmarks. If you study your own body in
the mirror. you'll see that these are the
they're m astered, like stabilisers 011 bones that show through the skin.
a bicycle. T o o m an y carefu lly
fo llo w ed rules can lead to pictorial
sterility. it's v e r y im p ortan t that
yo u train an d practise as m uch as
p ossib le u ntil th e ru les b ecom e
backgrou n d noise, s o that w h en C *rv \U
fra to e .
w e p erfo rm , w e can d o s o w ith
total clarity an d fo cu s o n th e m ore
im p ortan t asp ects o f m ak in g a
picture - th e story content an d the
p ictorial intent.
Ify o u w an t to d o so m e ad d itional
research on the R eilly m eth od , 1
recom m en d that y o u lo ok u p th e w ork
Use the anatomical points
o f A n d rew I.o om is, a fa m o u s m id- 20 th along with the Abstract 2.mp4
c e n tu ryA m eric a n illustrator w h o covers video on the disc to create the
perfect back view.
so m e o f these p rin cip ies in h is figure OP t m E"
d raw in g m an u ais, an d offers a great m an y CV
u sefu l tech n iq u es besides. T ■=*«.l . j

T .* r T >**)
•n v
>T (ku.
As you construct your figure, try to use long,
flowing lines so that the drawing starts to feel
alive, even at this early stage.

Human anatomy
Exploring the
Industrial Design
drawina method
Use basic geometric shapes to make your
figures feel solid and three-dimensional
H ere, I'm g o in g to lo o k at a sec o n d
ab stra c t a p p ro a c h to fig u r e d ra w in g :
th e In d u str ia l D e sig n m e th o d . Its
o r ig in s a re a g e -o ld , b u t it w a s
p erfecte d at th e A rt C e n te r o f P asa d e n a
in th e 1950s.
I fin d In dustrial D esign th e m ost
practical tech n iq u e to u se w h en creating
the figure for an y p u rpo se. It m akes it ea sy
to control th e p o se an d ach ieve con vin cin g
fo resh orten in g painlessly.
First, y o u need to sort the head, neck an d
shoulders. ITiese p rovid e a startin g p o in t to
b u ild the figu re gesture from . V iew ed from
th e front, th e head is an o v al shape, w h ile
in p rofile o r sid e view , it's a bloated
tria n g u la r fo rm . T he corn ers o f th e trian gle This cartoon character is fully realised using the
depict th e tilt o f th e head. shape design approach from life drawing. The
technique can be used for any figure.
T he p an ei b e lo w sh o w s so m e exam ples
o f cylin d er figures in gesture poses, w hich It sh ou ld b e graceful, an d is id eally
Here the figure is rendered with hatch lines.
creating an immediate illusion of form. The lines is w hat y o u have to fin d n exi. T h e gesture o f established in o n e o r tw o c u r v y lines.
Crossing over the form are Crossing in the short th e p ose is a flu id , flo w in g line: it s th e big A dd to y o u r first line a secon d line,
stroke direction.
sw eep in g m ovem en t th a ts m ade betw een w hich describ es the w id th o f the p ose. T h is
th e u p p er an d th e low er h alves o f th e body. helps establish the o verall vo lu m e o f the
figure - h e av y o r lean. T hese tw o lines
should m irro rea ch other, m o v in g in
DRAWING CYLINDER relation sh ip to o n e another. Lin e three is
FIGURES IN GESTURE POSES the centre line o f th e pose, attached to the

pit o fth e neck.
W ith a centre lin e d raw n , y o u can n ow
draw an ellip se o r o v a l. T h is d escribes the
depth o f th e fo rm . T h e centre lin e gives you
an o th er point y o u can n ow c o n v in cin gly
attach th e oval to, tu rn in g y o u r three lines
into an active cylin d rical form .
C ylin d ers are easier to d raw th a n a cube
Usecylindrical
forms to start every fo rm , as y o u need to k n o w perspective to
figure if you can. m ake cubes look con vincin g. C ylinders,
Cylinders are easy
to draw and can i f d raw n correctly in perspective, g ive the
easily be broken v iew er a strong sense o f position in space.
down into three-
dimensional forms. T h e should ers are th e top p oint o f the
In extremely cylin der, the p elvis its bottom . T he p elvis
foreshortened
poses, overlapping varies in sh ap e d ep en d in g on w hat
ovais representing character y o u re d raw in g. It can be d raw n as
the lengthier forms
will work. a soft, sphere-like sh ap e - th in k o f it as a
m arsh m a llo w - o r c a n be m ore d efin ed .
Y ou r su b jects g en d er d eterm in es the
p elvis shape. l-em ale p elvises are m ore bell-
o r skirt-shaped; m ale p elvises are m ore
box-sh aped . T h e front o f the p elvis
term in ates in a bullet-like shape. T h is is
d raw n inside the b o d y c ylin d er shape,

Basic forms
You can map shadows to the shapes

you design on the scaffolding of the
figure, with the patterns falling
appropriately over the shapes youVe
drawn rather than drawing exactly what
THE FIGURE AS
you see. The illusion of the drawing can
suffer if you stick too rigidly to what you
AN S-SHAPE
see without really thinking about how
the forms are functioning in 3D space. Draw the ribcage as if looking
up at it, with lines arching
crests, th e n avel an d th e arm pits. I f y o u r upward. Draw the pelvis with
lines arching down. This keeps
figure’s back is visible, th e scapulae, the the forms tilted correctly to the
d im p les o f th e sacrum , the ob liq u es an d viewer from straight-on.
th e base o f th e p elvis are also help fu l to

u se as lan dm arks.
If the figu re is tw istin g o r turnin g,
y o u can ea sily depict th is m ovem ent
in th e cylin d er b y p in ch in g on e
side, o r b y creating an accordion-
like relation sh ip betw een the
ribcage an d p elvis m asses.
T h e o b liq u es p la y a role in
sh ap in g th e c y lin d e r th e y are the
third b u lg e on the com pressed side
o f th e cylin der. T h ese bulges are
describ ed u sin g S -c u rv e d lines (see the
p an ei to th e right), th e o n ly lin e typ e
in d raw in g that can generate p erspective
in its o w n w avin ess. T h e S -c u rv e starts
against th e outside o f o n e shape, then
sw in gs o ver an d com pletes its circuit
be lo w o n th e next succeed ing shape. Each
S-cu rve generates a m ore con vin cin g These drawings are
fleshing out the dynamic
illu sio n o f overlap p in g form s. movement in each pose.
You sh ou ld sw itch often betw een Using cylinders and
dividing each segment of
gesture a n d stru cture to strik e a b alance the cylinders into thirds.
the scaffolding of the body
is ready for muscles to be
éé If a figure is twisting or turning, laid over them. The cross-
contour lines help guide
you can easily depict this movement in the muscles correctly

around the form.
the cylinder by pinching one side 99

cutting in on either sid e to sh o w the hip o f form an d m ovem ent, h o p e fu lly in a
bones, th e iliac crests. s im ila r d y n a m ic to M ich elan gelo o r
N o w d raw an e g g sh ap e to indicate the R u bens - but w ith a m od ern flair, like
ribcage, attaching it to th e sh o u id er line that o f C la ire W en d lin g o r B ru ce T im m .
an d o n ly breach in g th e cylin d er form if' O nce th e structure is d efin ed , m ove
th e b o d y is com pressed o r tw istin g. T he into gesture again, d raw in g th e cylin ders
rest o f th e torso is bu ilt u p u sin g ellipses o f the a rm s a n d th e legs. W hen y o u r
o r traversin g lin es across the centre line, lim b s are d raw n in, m ove b a c k into
to sq u are u p the tw o h a lv es o f th e torso structure a n d d efin e th e m uscles, then
an d pelvis. gesture again to d escrib e the m ovem ent
T h e im p ortan t lan d m ark s to indicate o f th e sh ad o w patterns over th e m uscles,
are th e nipples, th e tenth ribs, th e iliac then structure to tighten them up.

he torso is th e core o f th e bo d y: head has m ore chance o f com p lem en tin g d raw in g to a m ore correct scale
O i th e co m p lex centre fro m

w h ich ali o u r d an g ly parts
originate. O u r p hysical
action s also originate from th is core -
therefore, y o u typ ic ally start w ith the
Pon
Lem en
COUNTRY: US
th e action o f the body.
First, y o u need to fin d th e action o f the
pose. T his step isc a lle d th egestu re. lls in g
th e In dustrial D esign m ethod, as
describ ed o n page 20, y o u can fin d this
th rou gh ou t th e pose.
N ext, d raw a centre lin e th rou gh the
m id d le o fth e torso. (Sim p ly put, th e
centre lin e o f th e b ack is th e spine.) T he
fron t o fth e b o d y is d ivid ed through the
torso in figure d raw in g to w ork out the action in three lines: th e gesture, the centre o f th e chest, o r th e sternum , and
See more of Ron's work
d yn am ics o f y o u r pose. at his website w id th an d th e d epth. O nce the gesture con tinues th rou gh the lin e that splits the
T h e head is the ruler that y o u m easure w w w .s tu d io 2 n d s tre e t.c o m or action o f the pose has been established, ab d o m in al m uscles d ow n to th e pelvis.
th e b o d y from ; th e b o d y is th e p rim a ry th e lim bs are then attached to T h e centre lin e is v e ry im p ortan t to
On the disc
essence o f th e pose. Both are im p ortant 4 * ^ Find reference com plem en t th e tw ist, turn o r sw ivel o f draw. It fin d s th e m id d le o f th e visible
to d raw from the start, but the head can W sketches by Ron in the torso. W ith the head attached, you can surface to m atch an d align th e fo rm s on
stiffen u p q u ic k ly w ith no reference to the the Torso folder inside m easure o f f th e height an d vvidth o f the either side o f it, an d it's a lso an an ch o r
Human Anatomy
body. Ify o u design th e b o d y first, the torso m ore appropriately, o r adjust the an d ap ex for m atch in g rh yth m ical lin es
lmai>ine Presents Anatomy

The torso
from eith er sid e o f th e body. N eglectin g

to d raw th e centre line in y o u r s t r u a u r e GETTING THE PECTORALIS MUSCLE RIGHT
is like forgetting to b rin g th e m an ager
alon g to th e big gam e. The pectoralis mfiscle sits on the upper half of the ribcage, and inserts
If y o u d on 't u se boxes to d esign the p elvis

onto the uppe? arm borte, or humerus, around the upper third division of
its length. The muscle wraps undemeath the humerus towards the back
■s+arts
an d th e ribcage, th e next step is to fin d the of the arm, and is a f ive-sififed shape.
three-qu arter lin e o f th e figure, or w h ere

th e fig u re tu rns from th e frontal p lanes to Uv ic v ; u a R
the side o f the body. In m an y poses, this
lan d m ark can b e as im p ortan t a s th e centre
line: it’s a m ajo r breakin g p oint in form ,
criticai to bo th the perspective a n d the
align m en t o f th e lim b s from th e left side to
th e right sid e o f th e figure.
Torso muscles
T h e fro m o f the b o d y is m ad e up
o f six m ajo r v isib le m uscle grou p s:
th e p ectoralis m uscles, the ab d o m in al
m uscles, th e o b liq u es, th e serratus m uscles,
the trap eziu s m u scles an d the lattisim us
m uscles, w h ich y o u can see i f th e arm s are
lifted. U nfortunately, tw o o f these m uscle
grou p s have m ultiple heads to them , but
are w ell organised , so ren derin g them is
just a m atter o f fin d in g the larger sh ap e
that keeps the sm a ller on es organised
an d harm on ised .
The b o d y w edges d o w n from the
Its striations, or muscle fibre divisions,
acrom iu m processes - the b u m p s at the radiate in a fan-like shape, with the F e m a u e : V • )
shou ld ers - an d tap ers to th e b ase o f the clavicular portion sitting on top of the
mass. The female breast sits on top of
- V --- '
crotch. T he vvedge fo rm s th e true front the pectoralis. roughly between the \ f> o j M M A S H A P f
seventh and eighth rib. It has a
p lan e o f th e b o d y ; th e m asses on eith er side
comma-like shape. tapering back under <>\TS o\je* W 6R.
o f th e w ed ge taper at a sh arp angle, an d the arm toward the scapula.
rttwp o v ? e a c M i x z
becom e a part o f th e side p lanes o f the
figure. T he w ed ge form p asses through
THE COATHANGER METHOD

The trapezius i is $ back
?the shoulders and T R A f> S
baçkTof the neck. The
visible pçrfion orr either side of the neck
creates %coathanger-l!fce rhythm. which
goes from the acromium processes at the
shoulders to above the seventh cervical
vertebrae. along the clavicles and across
the stemal notch. From three-
quarter view to profile, the
trapezius muscle is a ramp. T <r^
taking up about half the space
of the top plane of the torso.
The ramp varies in height
depending uponathletic build.
■ fK / p U T ..
Tb? LfcT
(
IW M
Imáçtné Presents Anatomy

Human anatomy
éé Neglecting to draw in the GETTING THE TORSO STARTED

centre line is like forgetting
to bring the manager along
to the big game I f
rc x u c
Here are a few ways to start the torso. The first is
angular, the second box-like, the third spherical.
There is no right or wrong set of shapes. but there • - *7
may be confusion in the structural design if there
are too many shapes to start with. A more
harmonious way is to maintain a shape design
consistency throughout. These shapes are
flexible. bending on the spinal axis.
th e ob liq u es, o r w hat w e u su a lly call

th e spare tyre m uscles. T hese m u scles are
th e so ft m ass betw een th e ribcage an d th e
p elvis. T h ey tap er in n arrow ly at th e ribcage
an d w id en at the hips, resting atop th e iliac
crest. T h is w ed ge can b e lin ked to th e tw o
lin es that form the neck in a rhyth m ical
relation sh ip that h elps keep th e o b liq u e
m u scles from b e co m in g to o u n u su a l in
their sh ap e d esign. T he o b liq u es form true
sid e w a lls - p erp en d icu lar p lan es to the
fron t a n d b ack p lanes o f th e b o d y - and
víAÍM OMIOVi
blen d w ith the a n g u lar sides o f t h e ribcage.
T h e torso is e x trem ely p liab le betw een p ush th e rhythm b etw een these tw o
th e ribcage an d pelvis. T he fu rth e ry o u shapes, th e m ore c o n v in cin g th e action
design w ill feel. T he m uscles on th e front
DRAWING THE o f th e b o d y are v e ry p liab le an d can be

stretched an d tw isted as m uch as needed
HUMAN FIGURE: A to help en h an ce th e gesture o f th e pose.
FOUR-STEP GUIDE It's v e ry im p ortan t to start th e p o se w ith

th e gesture first, to s eize th e m o m en t and
th e action. T hen y o u can proceed to the
structure o f th e pose, an d fin a lly th e design
an d articulation o f t h e m uscle grou p s in
th e body.
If th e gesture is d yn am ic, th e m uscles
m ust fo llo w that d yn am ic. D on't stiffen up
C .-L - the design at th is point in the d raw in g.
Everyth in g is pliable, no m atter how
geo m etrically you m ight d raw yo u r
pictures, an d the sh ap es y o u design for
the m u scles m ust not stiffen up in the
d yn am ic gesture y o u V e created. M an y
com ic b o o k im ages sh o w this latter trait,
esp ecially com ics fro m th e 80 s an d 90 s. If
you can fin d a few exam p les, they serve » ■
Here’s how to build up a complete figure,

starting with the core. Use a rhythmical cylinder
form to start the pose (A), then find the ribcage
and pelvis forms within the rhythm lines; look for
key bony points to keep the shapes squared up
from top to bottom, and to find the compression
between them. Then the perspective is designed
(B ) with the three-quarter line drawn into the
figure to help keep the muscle forms from
drifting too close to the right arm The muscle
rhythm lines are then added to fill out the
anatomy structure (C). Ali this should be done
lightly so it can be easily removed when the final
rendering takesform. When everything is
finished. most of the anatomy will not be visible
(D), but the bumps and little dark markings
drawn in the pose will have a more visual
believability and more accurate design to them.

The torso
w * r e w b e f c ,T W t ;
3abdominal muscles frB E ftUL.
each ftave a different type of contour. The
top twp muscles are^ôngular: the top heads « jr e e T O íe b ,.»
predominantly face up over the ribcage and
the second set of heads face downward.
The middle heads face flat forward and
the lower abs bulge at the top in a rounded
taper towards the base of the pelvis. The
muscles have this structural design to help
when the body leans forward.
The figure on the far right has been f -pr
drawn using construction forms to keep ^ 1 ’
the anatomy geometric, planar and simple.
The right side is pinching or bending in; as
a result, the shapes on the right profile
1 'u e v jP -
ali take on a bulging appearance from
compression. The left side of the figure is
stretched out, and the shapes relate to this. C.o T t\ « 0 O frV \
- T V e S U R F E S P .O .
á v ir e tfe-UVlC
e.
AU. th c
CAN WORKING THE SIX-PACK
Ali the abs stacked up on each other have a
rhythmical relationship to one another. asall the
head divisions can be connected together at a
point to the side of the body. This relationship
keeps ali the muscle heads organised in the
W V\< , T t M P Í S ' architecture of the bones of the torso.
f\ c p h m o ü
!Krr
mDW
v j / v jM E i*
■SU D 6& M V S C lE '
P l E X V M StJ V O w WtÜL
th e frm The serratus muscles
connect the scapula to the
UPTEb S c a P U tA ribcage from beneath the
scapula. The muscle heads
< A T T ftC r t originate along the inside
edge of the scapulae on the
iu i * j o < s it> e o f back, closestto the spine,
TO and terminate halfway
along the first nine ribs.
TH6 \S+ °\ These muscles insert snugly
into the obliques, and
radiate in an arc on the side
of the body, with aII the
^ U T U S muscles fanning out from
top to bottom.
- p L A iB -
O v J T " «i.
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T r tE N R fte fU F X E t?
tmaçiriè Presents Anatomy

Human anatomy
The obliques are the big muscles that bend and rotate the torso of the body. The ftank portion of the
muscle sits between the ribcage and pelvis on the sides of the body. The flank drapes over the iliac crest,
giving the pelvis what looks like a downturn on the tops, rather than the upturn of the bones' design.
They have three distinct visible planes from the side of the torso. The rest of the oblictue traveis up the
ribcage and laces together with the serratus muscles. and blends to the abdominal appaneurosis.
i ‘fcrfcTfcs ^RPA TU S
Ôfc&o- RHWTHM
n u s "pa r t
lçwds.
vAj/4,efcRwv<*
OV4 B J Ç V J T S \ O 0
M v^-LtS
« M ? * * -mvs
Q K % V JU 6 ^ S xu ?*«■ < * "
a s u a s ^ ts
ll£t> W
- T H Q e A < lC ^
— O lu iA V ® -p"LAMlL The drawing is never
u w e s m ia V "P l^ E T C SF correct until the whoie
has been established.
\JP TO THÇ This means that to
understand the
u e tx ! relationships of the
parts, you must see them
ali assembled together.
Don't become criticai
oBu & vje: \*\ O K )
of one drawn line; try
t^LAMC to draw the entire pose
-dca P K . awefc <>vt)g ât>^ quickly, then assess as a

whole what can be fixed
TL.TA C o f t u fi<v)6' or altered to create
«i-ae^ r -3T « e T t*r\€ S a stronger, more
convincing pose.
C V 0 5 6
DN
O * U M ? tf
Z -b \ S T n J c f
?U \ N £ S
. as a g o o d lesson in w hat 1101 to d o

The muscles on the front of the
í
w h en an ato m y m eets gesture.

A s alw ay s w ith an atom y, n o m atter
h o w m uch y o u know , there's a lw ay s m ore
body are very pliable and can be
to learn. Rem em ber: the key is to practise,
practise an d practise som e m ore - an d to
stretched and twisted as much as
have fu n d oin g it. # needed to help enhance the pose If

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Live in the US or Canada? Please turn to page 96

lniat>mé Presents Anatomy
DRAWING
THE LEGS
at his website
w w w .5 tu d io 2 n d s tre e t.c o m
On the disc
Find reference
Master your depiction of the limbs sketches by Ron in
the Legs folder inside
that drive the rest of the body Human Anatomy
he legs p rovid e su pp ort fo r the as an axle. R em em ber that both sides o f
O b o d y an d p o w er m uch o f its
m ovem ent. Like th e a rm , the
leg has g roups o f m uscles that
o p p o se o n e an oth er in their action . For
exam ple, th e q u ad ricep s at th e fron t o f the
th e hips are fu sed together, u n lik e the
shoulders, w h ich float in d ep en d en tly o f
each other. T he tilt o f the hips o p p o ses the
an gle o f th e shoulders, m e a n in g that the
action at th e top o f th e b o d y is counter-
b o d y are u sed to exten d th e leg, w ith the b alanced b y th e p osition o f th e low er body,
bicep fem oris, sem i m em b ran osis an d w h ich creates stability. T h e hip s can be
ten d on osis actin g as flexo rs. Both th e arm s d raw n as on e o f several d ifferent m asses,
and th e legs start w id e at th e torso and d ep en d in g on y o u r preferred d raw in g
tap er to about h a lf that w id th at th e w rists m ethod ology, but th ey a li serve th e sam e
an d ankles. T he biggest structural fun ction : v o lu m e an d con struction .
differen ce is th e o rganisation o f m uscles
arou n d the kneecap, w h ich d iffers to the Leg bones and muscles
ridge o r rotator m uscles in th e elbow. The p elvis is a n arrow sh ap e fu n n ellin g
Now, w ith o u t gettin g too caught u p in inw ard tow ards its base. T h e w id e p oint o f
th e n am es, let's get d o w n to d isc u ssin g th e th e hips is created b y th e fem u r an d the hip
shap es a n d rh y th m s in a leg, breakin g the m uscles, w h ich are m ostly responsible for
d raw in g d o w n into ea sy steps. c o n n ectin g th e leg to the body, an d fill in
Y ou sh ou ld start w ith a sim p le gesture: th e space betw een the p elvis an d femur.
a lin e con n ected to th e h ip s w ill d o. T he These h ip m uscles fla ir o u t in an A shape
hip s a i? th e pij[ot p o in t fo r th e legs, an d act an d act in a bro ad ly sim ila r w a y to the
THE RELATIONSHIP BETWEEN

HIPS AND SHOULDERS IN POSES
In a typical standing pose, unless the legs are
spread. one foot always sits directly below the
skull for balance at the two polar extremes of the
body. Notice how the hips move to
compensate for the tilt of the
shoulders. If the legs are spread.
they maintain an A-shape,
distributing the weight of the
figure evenly across the ground.
vje\G çH r/
Ç C l o v ;
OKI
Part The legs
éé Remember that
both sides of the
hips are fused
together, unlike SH O vtO tfc. i. j
y
Drawing ares between ali the joints and key
features relates the left and right sides
TO r ( X f T
the shoulders, • ofthe pose. Understanding figure
proportions related to skull size can
help you to interpret these ares
which float with much greater clarity.
independently of
each other
sh ou ld er m uscles, w h ic h w e lo ok at in m ore ■SH
d etail on page 38 .
M o v in g d o w n lh e legs, the fem urs both
tap er inw ard, fo rm in g a sem i-V sh ap e
betw een them . T he fig u re lo o k s knock-
kneed at th is stage, but that’s n orm al until
w e place m uscles over th e b o n es. In a
stan d in g p osition , th e k nees are alm ost
d irectly b e lo w the iliac crests o f th e pelvis.
T h e th igh is d ivid ed into three m ajo r
m asses: th e front m ass, w h ich consists
m ostly o f th e q u ad ricep s an d sartoriu s
m u scles; th e in s id e o f the th igh , o r adductor
m u scles; an d the back o f the thigh, o r the
bicep m ass. A li o f these m u scle grou p s start I
ou t large - th e m u scle h ead s account for
abou t tw o third s o f th e length o f the leg
an d tap er arou n d th e knee as th e m uscles
term in ate in ten don s, ex p o sin g m ore b o n e
th a n th e y cover.
FINDING THE BIG RELATIONAL SHAPES IN

/\t£>-Vr* t ..
POSES WHERE THE FIGURE ISNT STANDING
For compressed or seated poses. I like to start the gesture

ofthe pose by finding the big shapes - or, in this case. the
shape - that both legs create together. This abstraction
helps to strengthen the relationship between the
limbs. as well as keeping the legs relating to each
other dynamically and proportionately.
c vu n s& xz
\N I T H

Human anatomy
■ T h e k neecap itse lf is a sm a ll free-

S-curves are found
alloverthe body, flo atin g bo n e that hovers o v er th e head o f
and the legs are no th e fem ur an d is attached to the le g b y
exception Here, the
S-curve is found not ten don s co m in g from ab ove an d b e lo w the
only In large muscle cap. T h e m ost p rom in en t o f these ten don s
rhythms. but also in
the bones and their is th e large rope-like cord that exten ds
connections. The <-V\^Vwvç b e lo w th e k n eecap to th e fo rw ard
bones through the
knee into the shln p rotuberance o f th e tibia, o r shin bone.
bone. and the smaller N iL a v jt fÇ
T he k neecap or p atella is shap ed
bones around the
kneecap, hips and C Ç 2 £ A T £ -S som ew h at lik e a pen tagon . W hen the
ankles exemplify this. k nee is bent, th e larger shape o f th e leg
coN uecn oH s m ass betw een the fem ur an d th e shin

-— bo nes ech oes th e sh ap e o f the
th é
F o // patella w ith a five-sided form . In
this p osition , th e side w alls are
m ore flat th a n angled.
The low er leg is m ore
trian gu la r than cylin d rical in its
S-FORMS IN LEG MUSCLES cross-section. T h e sh in b o n es form a
When drawing the leg, keep in mind that the muscles spiral over the wedge, w ith the sh arp edge facing
FM
V
form in an S-like rhythm. This rhythm is universal throughout the body,
but it*s particularty noticeable in the arm and leg muscles, so it's good forw ard an d the w id e sid e as th e c a lf
to bear that in mind while drawing these areas. Rhythm keeps any
form from getting too stiff in its design. One o f these S*curves is the
sartorius muscle, which is attached to the iliac crest and spirals down
ISA m uscles. T h e lo w er h a lf o f the
leg is about tw o third s m uscle
m ass, tap erin g to a block
and around the inner wall o f the leg. It acts as a major landmark,
dividing muscle masses and surfaces like a fence between tw o form at th e an kles, w ith th e inside o f
gardens. The iliotibial band does the same thing on the outside o f the the an k le high er than the outside. T he
leg. These divisions are usually where the strongest shadow patterns
low er leg fo rm s a b o w lin g pin shape,
are formed on the legs, regardless of how active the pose is.
sim ila r to the forearm , an d the foot fits ■*
COMPARING LEG MUSCLES TO

THE ARM STRUCTURE, AND
Notice how the leg and the arm are
similar to one another in their
MAPPING OUT THE KNEE
physical structure. The biggest The arm and leg have quite
differences between them are at similar proportions with
the joints, but the majority of regard to tendon mass
muscle masses resemble each versus muscle mass; even
other in their structure. the upper and lower
portions o f the limbs have
similar divisions. The
upper tw o thirds of each
segment is muscle mass. I E U L fc
T f« rv e m e the upper third usually
contains the largest bulk of
l» \ * * € fe E V l£ E muscle and the lower third
is mostly made up o f bone
■ fc e rv o e e w t and tendon. The upper
L s if O T H tM is e T part of each segment is
rounded like a cylinder.
fcsr \ffcUN sim ilar.I and the lower parts (wrists
and ankles) terminate with
a block form.
The knee can be

designed with three
vertical planes and three
horizontal planes, looking
like the top of a diamond.
Structuring the knee in
this way makes it much
easier to map the
undulating furrows of
the bones.

The legs
Here you can see how the sartorius on the

inside of the leg splits the barrei shape into
tvvo parts, while the iliotibial band on the
outside of the leg divides the front from the
back. These two prominent separations are
usually visible, so don't ignore them.
view
...TV iívn ■ S p iit

+'r\C b a r M
'a b s p c w /
6 c o v n íc o (
"á a i V o f w s
f» v js < M W
Although the legs are independent limbs, the muscles of both

share rhythms harmoniously. There are common rhythms that can
be found easily, but look deeper - the more the two legs can be
related, the more harmonious and fluid the entire pose feels.
USE PISTON SHAPES TO CAPTURE

THE REGULARITY OF THE SHIN
As bony as it looks. the shin is surrounded with
muscles. The outside surface has the most intricate
complexity to it, with a repetitious. organised pattern
of piston-shaped muscles.
2, M U SU t
Z ' <J -

Human anatomy
Start the pose off with cylinders: they’re

simple enough for anyone to draw. Once
the cylinders are placed and youVe found
their centres, divide them into planes.
Beginning with simple surfaces is much
easier than trying to start with the
muscles. and the legs look more
organised as a result
éé Stick to muscle groups rather than

individual muscles. Only the muscles
that are being used show more detail,
expanding as their fibres bunch §§
* in n eatly at th e base o f the pin.
W hen d ev elo p in g the legs, stick to
the m u scle g roup s rather th an fo cu sin g in
o n in d ivid u al m uscles. O n ly th e m uscles
[ -TH E< £- that are b ein g u sed shou ld sh o w m ore
d etail, ex p a n d in g as th eir fibres bun ch
together. If un u sed o r not fu lly taut, the
H tE T
Twt o ^ rro u t, m u scles blen d into th eir respective g roups
i »S VettTV TVWCK.) or, i f really relaxed, back into th eir biggest

basic shape.
j- &rr iNSíbE. THE O n e im p ortan t point: rem em b erth at
V 'BüILT IN legs com e in pairs. Be sure to relate the tw o
\ V T E P j ) ARE. legs to each o th er throu gh out the early
stages o f th e d raw in g, m ak in g sure that the
action doesn't d estroy the p rop ortio ns an d
k ) vau ô jt
b alan ce o f the pose. If the legs look o f f from
t r t i i o M e
each other, then the en tire p ose feels off.
k /U O U ffc T V A F T O Í~ B alan ce starts from th e b ottom up, so i f you
start the d raw in g w ith sim p le fo rm s an d Using the simple rules of form and function, you
so u n d placem ent, th e rest p ractically takes should soon be able to work yourself up a pretty
fine pair of legs. Just don’t forget to take
care o f itself. % proportion and muscle use into account.

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Human anatomy
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H A U H K .» '
•Cj o u * v Ao
PART4
Lc l L / u
DRAWING FEET
Discover how to use form to create solid-looking feet - and
See more of Ron’s work
at his website
w w w .s tu d to 2 n d s tre e t.c o m
why you shouldn’t use too much detail when you draw them
On the disc et’s clear th e a ir ab o u l feet - j so m e point. F,ven ify o u intend to o n ly w ant to d raw a full figure from head to
Find reference
sketches by Ron in
the Feet foider inside
Human Anatomy O th e u g ly cou sins to th e hand s
an d a part o f th e b o d y that
m a n y artists d read to draw.
T h e y ’re b o n y , th e y r e c o m p le x a n d , le ts
face it, they're not th e nicest th in g s to look
ever d raw characters w h o have sh oes on,
y o u r d raw in gs w ill o n ly b e c o n v in cin g if
yo u have a g o o d grasp o f h o w to structure
th e feet inside the shoes.
Storybo ard s, pin-ups, covers, character
toe. T h is m ean s that y o u have to put feet
011 the legs. A s p ain fu l as th is can b e to
master, it is a m ust-do, m ust-learn
situation. I lere are som e h elp fu l hin ts and
solu tion s to tack lin g these little beauties,
at. But an y o n e w h o s seriou s about figure designs, m o v ie posters, com ic b o o k s ... help ing y o u o n y o u r w ay to ach ievin g the
d raw in g is g oin g to have to tackle feet at ali o f these are instances w hen you m ight sweetest feet.

The feet
Get a foothold:
drawing perfect feet
Put feet into perspective and start with footprints
as the foundation for the correct overall pose
Let's start b y lo o k in g a t s iz e . T h e ty p ic a l B o o ts a n d sh oes u su ally cover th e feet, them apart from each other. U se sim p le
fo o t is b e tw een 10 an d 1 2 in ch es in but I recom m en d that y o u start w ith the ton es o r light gradation s to jo in th e m ass
le n g th . R o u g h ly s p e a k in g , th a t's a b o u t foot w ith ou t a cover over it, so th e re s a an d separate th e toes.
a s lo n g as th e e n tire s k u ll fro m to p to p roper scale o f fo ot size to th e figure T oes step d o w n w ard like stairs from the
c h in . T h e fo o t's w id th is a b it le ss th a n before a n y d istortion created b y the sh oe m etatarsal b o n e to th e toe's tip. T here are
h a lf th e w id th o f th e h e ad , o r a b o u t th e design occurs. Feet are so m e tim es d raw n m a n y little co m p lex surfaces, from bo n e
s a m e w id th as th e h a n d 's fo u r fin g e rs oversized for w eig h tin g o r stylistic to p to knuckles and nails, that can be
(e x c lu d in g th e th u m b ). Y o u can re a d ily reasons, but I w o u ld still d raw th e fo ot rendered o r shad ed to give th e feet m ore
se e th e se m e a su re s fo r y o u r s e lf w ith d im en sio n an d com plexity.
y o u r o w n h a n d a n d fo ot.
To start a fu ll-figu re d raw in g o r even
Begin with the ground Defining the toes
a three-qu arter d raw in g o f a figure, it plane to work out the correct Be carefu l not to add too rnuch d etail to
w o u ld be w is e to begin w ith th e grou n d
p lan e to w o rk out th e correct perspective perspective in the shot th e toes i f th e foot is sm a ll in the
illustration: too m uch ren derin g in such
in th e shot, relating th e fig u re to th e rest concentrated spaces can force th e rest o f
o f th e en viro n m en t so it feels tru ly bare before coverin g it w ith a th e illustration tow ards a direction o f
p lanted in the w orld. ITie p erspective w ill big sh o e d esign, so that th e foot over-rendering. It can also p ush th e fo cu s
h elp keep th e fo ot in correct scale to how relates back to the scale o f the rest to th e bottom o f th e picture in th e sam e
y o u see th e action, to th e character's head, o f the character. w a y as un der-scalin g th e feet, u n less you
a n d to th e view er, as w ell as keeping it at Toes are b u lb o u s at th e end, catch the m istake early en ough .
th e correct skew - i f there is a n y - from w h ich m ean s they're rou n d ed like a T he bottom o f th e fo o t h as an arch on
cam era distortion . bu b ble, but sq u ish flat w h e n pressed the in sid e an d tw o separate p ad s that
I b e g in b y d raw in g footprin ts o n th e again st a surface. W hen th is h app en s, th e sq u ish to w h atever th e y press against,
flo o r (o rstep s, o rs lo p e ; w h e rev erth e foot toe m ass spreads out a bit fu rth e r th an the creating a straight line. T he toes bend
is to b e located ). T h is can m ake it easier to toe's actu al size, u su ally jo in in g toes about a th ird o f th e w a y back b eh in d the
d raw th e legs w ith th e right foreshortened w h ere th e y com e together. I f th is is the bali o f th e foot. W hen th e toes spread, the
lo ok to them an d w ith th e correct action case, don't d raw lin es in b etw een each biggest sep aration occurs betw een th e big
to the pose. toe: th is h a s the v isu a l effect o f spreadin g toe an d the secon d toe. T h e little toe is
u su a lly d raw n as a b u lb o u s sh ap e. It
ty p ic a lly flo ats a bit m ore o f f the
As the figure’s leg lifts. the toes on the

ground spread out - one of the few times
they can be drawn separated.
The footprint is as long as the entire skull from top to

bottom - the same way the hand is the same length as
the face from hairline to chin.
Drawing the footprint first helps you ground

the foot to the surface it’s connected with.
The toes bend behínd the bali of

the foot. not in front of it.

Human anatomy
FEET FROM THE GROUND UP: USING FORM AND PERSPECTIVE
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Draw the foot with straight lines

along the surface it’s pressed
against, rather than drawing
Sf RELATING A FIGURE
fi< TO THEGROUND
Whether they’re drawn from head to toe
^T à or cropped, ali figures have a better
►* chance of looking convincing if they Z z .
\ V are reiated to a ground piane.
v Everything in space is reiated
^ to perspective: the figure is terms of the
no exception. Once the ground plane to help
ground plane is established, elevate the foot correctly,
» stamp out the footprints on it and draw in relationship to the
^ your figure to meet them, or draw up surrounding space and to
from them to complete the figure the viewer. Drawing from
pose. This also applies to feet the footprint to the torso
i W elevated from the ground plane. sometimes helps solve tough
’’ Determine where the figure is in foreshortening problems.
Relating your figures to footprints drawn along a

ground plane will help maintain a sense of perspective
and make characters more believable.

The feet
Like the foot itself. the toes are
CONNECTING block-like. Start with simple

shapes to achieve a sense of
THE FOOT TO THE mass and dimensionality, then

create more bulbous forms.
LEGS OF YOUR
CHARACTER
Tkefeofler
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éé Start without boots or shoes to get

a proper scale of foot size that relates
to the rest of the character
grou n d w h e n th e fo ot is arch ed up, sh o w n th e con n ection from a front
U> but w ith th e t o e sstill m ak in g co n tact p erspective in these exam ples.
w ith th e g rou n d p lane. T h e big toe poin ts T he a n k les con n ect th e feet to the
in tow ards the o th er fo u r toes, an d these legs. For easier an k le d raw in g, it
toes ben d tow ards th e big toe. helps to th in k o f them as a stirrup-
D on't forget that th e foot is a full lik e shape. T he in sid e an k leb o n e is
sh ap e w ith s ix sides, like a block, w ith m ore elevated th a n th e outside one.
Overlap the toes when the
The ankles can be thought of as a stirrup shape corresp on d in g sh ad in g planes. D raw Feet have typ ically been th e b a n e o f foot is not drawn straight on.
to help relate them to one another. The inside throu gh th e form to generate a m ore m an y artists. So m e illustrators h id e them This will avoid the 'clump of
anklebone (maleolus) is higher in elevation than bananas’ look. and help the
the outside ankle bone. so lid -lo o k in g an d d im en sio n a l form . w ith sm oke, p ush them into silhouettes foot look less cartoony.
W hen y o u 've perfected y o u r feet, an d sh ad o w s o r even crop th e im age to
yo u '11 w a n t to add them to th e rest o f the avoid d raw in g them . But w h en an artist
character. N o w 's th e tim e to c on sid er can d raw them correctly, h o w m uch
a n k les a n d legs. See in m y d iagram s character th e y ad d to th e im age! Tine
a b o v e h o w l've d raw n the right fo ot and h a n d s an d feet can say just as m uch as
To achieve a more solid started to attach it to th e right leg. I've a co n v in cin g facial expression.
dimensional form. bear in
mind that the foot is a full Because o f th eir co m p lex ity an d gesture
shape with six sides. o r action, feet u su ally becom e a secon d ary
~x
o r tertiary fo cu s in a figu re draw in g. It's a
g o o d idea to tackle these d iffic u lt issues
S it» e e a rly o n an d id eally m ake it secon d nature
th est to d esign them con vin cin gly. Y ou w ould
HAVÍ-NO- be su rp rised h o w m an y peop le w ill
co m m en t o n h o w w ell feet are d raw n i f
(ÜXW.') 2 F (?o *^ r th ey really are; it's not ev ery d ay that you
fin d an artist w ith a real u n d erstan d in g o f
th e grou n d th ey stan d upon .

Human anatomy
DRAWING THE
SHOULDER AND
UPPER ARM
DorVt allow the complex interaction of muscles in this area Ron
Lem en
to distract you from anatom y’s guiding principies COUNTRY: US

o fa r w e've seen h o w to d efin e th e shoulder, o n e o f the m ore com plicated shapes, the m uscles have n ow here to start
©
at his website
I th e a rm atu re o f th e figu re spots 011 the b o d y to draw. T he place to o rterm in a te . Keep in m in d that the w w w .s tu d io 2 n d s tre e t.c o m
start is at the skeletal structure. d iagram s I have d raw n are m ostly fleshed
On the disc
U nd erstan d th e sh ap e o f th e scap ula an d over, so th e p oin ts w here th e m uscles Find sketches by
1 an d its u n d e rly in g gesture,
before startin g to flesh o u r
figu re out w ith th e torso an d legs. We
h um erus, esp ecially the edges o f the
scap u la an d the e n d s o fth e h um erus.
YVithout k n o w in g th e b o n es an d their
attach are covered - but the shap es are
solid an d d irectio nal, because o f w here
the m uscles attach to th e bones.
• Ron in Shoulders
and Upper Arms inside
Human Anatomy
con tin u e o u r jo u rn e y w ith th e u p p er part

o f th e arm s an d th e w a y th e y con n ect to

Pari Shoulders &upper arms
Learning the relationships

between muscle and bone
Drawing the shoulders to complement
the action of the upper arm muscles
D raw in g th is part o f th e b o d y begin s w eigh tless o r com p etin g against the
m uch lik e an y o th er part. First gesture in action y o u w ant to depict.
th e p ose, th en accent th e lin es y o u feel
go o d ab ou t u sin g for th e fin a l p ose before Shoulder structure
startin g to d efin e th e b o d y m asses in T h e sh o u ld er flo ats over th e ribcage, w ith
m ore d etail. o n ly the clavicle at th e sternum on the
W hen d raw in g th e figure, a clear ribcage actin g as an an ch o r for th e entire
u n d erstan d in g not just o f th e m uscles, arm . T h is m ean s that th e arm has
but w h at th e skeleton looks like beneath a lot o f free m o tio n o ver th e ribcage.
ali th e m uscle m asses is needed to d raw W hen d raw in g th e arm connected to
m uscles w ith an y b e lievab le v isu al action the body, you need to first fin d the correct
to them . W ithout th is u n d erstan d in g an d action o f th e sh ou ld er to avoid a stiff-
This drawing is ali about the shoulders and the upper arms. Note how the shape and
observatio n , th e m u scles can en d up lo o k in g d raw in g. F o rex am p le, ifth e form of the forward-pointing left arm is entirely different to the right. Think about
d raw n as b u b ble sh ap es that are lifeless, arm is w in d in g up to th row a bali, the how the muscles and bones are moving and interacting with the skin and the light.
The shoulder tes quite a bit of

movement around the ribcage. Here
you can s e e w e e positions of the
arm. The first is forward, moving the
attachment of the deltoid forward and
stretching the shoulder muscles. The
second is in a reference position, by the
side of the ribcage. More of the back
of the arm and shoulder show when
the arm is relaxed in this position.
Meanwhile, for the third position, the
shoulder is pitched back behind the
body. The shoulder is now behind the
ribcage, stretching the pectoralis
muscles and serratus muscles.
éé Doirt memorise the muscle chart.

Memorise the muscle insertions and
connections to the bones
Here we see the shoulder from
behind the ribcage. Line A of
the first ribcage represents the
rhomboid and trapezius muscles.
bunched up between the spine
and the spine of the scapula. Line
B represents the crease under the
scapula that follows the serratus
muscles. Line C splits around
halfway between the shoulder
muscles perpendicularly.

Human anatomy
PERSPECTIVE AND DYNAMISM IN MUSCLE DESIGN
- qCVrutS
-*R M
Here are the two approaches previously described to start the figure drawing: the abstraction
method. and the shape-finding or Industrial Design method. Both methods lead to very similar
conclusions. Remember: the most important concept you can get from both is that it's only about
starting the figure to get it set up for the finish. where the drawing really counts.
*■ * sh ou ld er w ill b e tow ards th e back o f

th e ribcage. I f th e a rm has released the
b a li in th e throw, th e sh ou ld er w ill be
m ore forw ard o ver th e ribcage. I f the term in ates at (or crosses over an d inserts
ha n d s are h eld h ig h ab ove th e head, the onto) the u p p er arm bo ne, k n o w n m ore
shou ld ers are clo ser to th e ears. fo rm a lly as th e hum erus.
Each set o f m u scles crosses o ver from T he m uscles o f th e upp er arm originate
o n e b o n e to an other. For exam ple, the bo th on the h u m eru s an d on the scapula,
sh o u ld er starts in th e torso, con n ects to an d term in ate on th e tw o forearm bones,
th e c la v ic le a n d th e sca p u la , and k n ow n as th e u ln a an d the radius. T h e
FOLLOWING éé When drawing the arm connected to the body,

THE RHYTHM we need to first find the correct action of the
OF MUSCLES shoulder in order to avoid a stiff looking drawing If
h a n d s an d feet are a few places on the
b o d y w here the m uscles are referred to as
intrinsic: th ey stay w ith in the b o n e m ass.
O th erw ise, m uscles connect tw o or m ore
different b o n e group s together.
T he scap ula floats o ver the serratus
m uscles, w h ich w e see as little b u m p
m uscles on the ribcage u n d e r each arm ,
or th e 'superhero m uscles'. lh e sh ou ld er
m uscles ali start o n th e spin e edge o f the
scapula, an d cross o ver to the top o r the
These lines represent the rhythm lines, or
the abstraction lines that flow between the up p er third o f the h um erus. These four
muscles once the architecture has been m uscles help rotate the u p p er arm rotate
designed. These lines help harmonise the
muscle forms to create a seamless rhythmical out and in from o u r b o d y - w h en you
movement of muscles, bones and ligaments. hold both y o u r arm s out like a cross, »

Draw muscles with simple geometry to understand and memorise them,

or to tum them into something that you can remember easily. Here are
the four muscles inside the scapula. Each muscle is drawn individually
to help you understand the shape. where it starts - or where it's connected
- and where it goes to. This is important information to remember, because ali
the lumps, bumps, dark spots and highlights you see on the back only show up
when the arm is active.
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Human anatomy
HOW MUSCLES CONNECT, MOVE AND INTERACT
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for e xam ple, o r w h en y o u put both

h a n d s b e h in d y o u r back, as ifh a n d c u ffe d .
T he deltoid covers p art o f these m uscles
an d w rap s aro u n d the to p o f the a rm . It
fu n c tio n s as a sw ivel m uscle, o r th e
m u scle th at en ab les y o u to sw in g y o u r
Here, the arm is pulled behind
the body. causing several arm rou n d like a w h eel. T hen w e h ave the
creases to occur. These biceps an d triceps. T hese m u scles cross
creases run perpendicular to
the muscle striations of the over to the forearm bo nes at the top third
muscle heads. The three - S E ^ atv»
o f th e the h u m eru s. T he triceps e xten d o r
creases here are along the
base of the oblique; under the straighten out th e arm ; the biceps fle x it
serratus muscles and through vAa íò C
o r d raw it into th e body.
the lattisimus and the
rhomboid; and under the I urge caution in le arn in g an d d raw in g
scapulas base edge. m u scled istrib u tio n . D o n t m e m o ris e a
éé The muscles should be drawn

only when active, not charted and
shaded like a muscle diagram 99
m uscle chart. M em orise the m uscle shoulder. T h ese m uscles in p articu lar T he m uscle ch arts you see in an an ato m y
insertion s an d con n ection s to the sh ou ld be d raw n o n ly w h en active, not b o o k are based 011 m ed ically ideal bodies.
bones, o r w h ere th e m u scles originate charted an d shaded like a m uscle In reality, th e size an d scale o f each
from an d w h ere th ey en d on the d iagram : m ost h u m an s don't n o rm a lly m uscle v a ry from person to p erso n, based
skeleton. Learn th e ir fu n ctio n an d look th is w ay, even w h en w ell d eveloped. on their p erso n al activity, diet an d oth er
action an d grou p th em so y o u are B od y-bu ilders create a Livin g H um an factors. T h e a n ato m y b o o k s start us at an
not d raw in g ev ery m uscle. A n ato m y C h art w ith their bodies, an d we ideal p oint o f reference.T o accom m od ate
sh ou ld th a n k them to so m e degree - but ali p ossib le b o d y typ es, y o u w ill have to
Shoulder structure keep in m in d that these m uscles are v eer aw ay from these an d use y o u r eye
<ÍCSS
l.et's n ow have a look at the d evelop ed to th eir lim its, an d are not an d g u id in g p rincipies instead. Art rules
\ni/
an ato m y o f th e upp er arm an d the sh ap es w e e asily id en tify w ith. are a startin g p oint, o n ly m eant to

RELATIONSHIPS WITH THE SKIN

Here we see the shoulders in two positions: forward and behind. The left image
shows the vertical striations over the muscles where the skin should fold (line A over
the shoulder blade, and line B where the rhomboid meets the shoulder blade). The
right image shows the muscles from the scapula stretching with the action.
'T o t j
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SHEATHING
OVER THE
MUSCLE MASS
Anatomy books and live models are
very different to look at. Here are a few
poínts to help make studying easier.
First, anatomy books have no skin. A
quarter-inch of volume, if not more,
needs to be added to the muscle mass.
Think of ít as a blanket resting on the
muscles. This brings up the second
point: skin is a cover. When the arm is
pulled behind the body, the skin creases
vertically through the shoulder instead
of following the muscles horizontally
across the back. The muscle fibres go
one way; the skin creases perpendicular
be altered w ith care to en h an ce o u r i This version of the shoulders shows the arms from in front and below the figure
to them. This occurs every where on the Note how the muscles of the deltoids. pectoralis. serratus and. eventually. the abs
body. Finally, more important than in d ivid u al w ays o f w ork in g, w h ich are ; and obliques ali f low seamlessly together in their striations, and radiate from the
memorising the muscles is as u n iq u e as w e are to o n e another. j shoulders through to the pelvis on either side of the body. using the shoulder as the
knowing when to draw point of radiation. The deitoid muscles are draped over the amns, seen both from in
them. A chart shows you
By e x a m in in g not o n ly th e lim b, but front and behind. Think of the muscle draped like a towel over the shoulder.
how the human each an d e v ery p art o f the lim b, y o u w ill
machine works, have a better u n d erstan d in g o f w h at to needn't b e d ifficu lt on ce y o u con q uer the
but muscles
d raw an d h o w to m ake th e actions basics. B reak in g each lim b d o w n into
are only
clearly 1. look con vincin g. Stu d yin g the section s not o n ly helps you tak e in the
visible lim b s o n e section at a tim e inform ation quicker, but also helps to
when active.
m ak es learn in g an d isolate th e im p ortan ce o f each part o f the
At rest, the muscles
blend into a more m em o risin g the b o d y an d the im p ortan t in d ividual
generic, simpler shape, in form ation m uch characteristics related to th o se regions.
similar to the visual
easier to digest. Practise 'til it hurts, then practise som e
metaphors you’re using to
decipher drawing the body. A n ato m y is a large m ore. M ileage is th e k ey to artistic
subject to tackle, but it progress. linjoy!

Human anatomy
DRAWING THE
FOREARMS It may seem like a simple area of the body,
but the forearm is more sophisticated -
and elegant - than you suspect
FILE
O
n the p revious b o d y operates the next on e d o w n the
i section, I w em chain. For exam ple, the m uscles o f the
over th e actions sh ou ld er fu n ction to lift th e arm , the
o f th e u p p er arm , biceps an d triceps operate the forearm ,
startin g w ith the shou ld er an d the forearm m uscles dictate the
See more of Ron s work
at his website blade. T h is tim e w e '11 tou ch on action s o f the hand . T h is ru le is im p ortant
w w w .s tu d io 2 n d s tre c t.c o m th e rest o f th e arm , from the to rem em ber w h en draw in g: it h e lp sy o u
elb o w d o w n to th e w rist. to avoid stiffn ess in y o u r com p osition by
On the disc
Find reference B efore d iscu ssin g th e specific m a k in g y o u th in k not so m uch o f
• sketches by Ron
in the Forearms folder
inside Human Anatomy
an atom y, how ever, I w an t to
m ention so m e th in g about
fu n ction . Each segm ent o f the
in d ivid u al segm ents, but o f the action as
a w hole. T his is s o m e th in g w e can th in k
about an o th er tim e, but it's im p ortant to

The forearms
MUSCLE MOVEMENT
This diagram shows the way the muscles cross over the
bones, or spiral from one side of the arm to the other.
The muscles as a group are ali attached in roughly the
same location. then spread across the wrist before
terminating in the hand or at the f ingertips.
The muscles of the

shoulder function to lift the
arm; the biceps and triceps
operate the forearm
MUSCLE SEGMENTS AS LINKS OF A CHAIN
or
\ THE
\í>
The muscles on this cast are over-developed to

emphasise their artistic shape and construction.
The slightly rounder forms also lend themselves
to more dynamic and fluid rhythm lines.
k n o w a n d con sider w hen le a rn in g h o w

to dictate h u m an anatom y.
A fu n ction u n iq u e to the arm is the
w ork o f th e rotator m uscles, also k now n
as th e ridge o r su pin ator m uscles. In
o p p osition to th is g rou p o f m u scles is
th e p ron ator teres - a m u scle that's on the 'B o W Ç S ot= ■mfc
inside o f th e arm b e lo w th e biceps. T h is

grou p o f m u scles o ccupies th e u p p er third «JCEfcTÇ Y f jM M
o f the forearm . T he supin ators originate

ab out a th ird o f th e w a y d o w n th e

Human anatomy
h u m eru s an d split th e b iceps and

triceps. T hese m uscles rotate the h an d left
an d right, an d flex o re x te n d it. Now,
con trary to w h at 1 see d raw n a lot, the
ridge m uscles d on 't have a crease
in them w hen the arm is bent. T he crease
y o u see is sk in fo ld in g, n ot the
m uscle. T h in k o f t h e m u scle as a
cable o r a piston - neit her o f these
ob jects fo ld o ver on them selves.
Instead, th e y go slack. A s a rule,
skin fold s p erp en d icu lar to
m uscle fibres, a n d th is is w hat's
tak in g place in th is region. T he
skin folds, th e m uscle stays
th e sam e sh ap e - just
com pressed a little bit m ore.
W hen the h an d is
pronated, th e ridge
m u scles cross o v er from
This arm was drawn from a photo of a body- th e o utside to the inside
builder, so the muscles are more visible in their edge o f th e arm . T h e ridge
construction than in the average person
Weightlifters idealise their bodies. sculpting m u scles attach just b e lo w
the muscles to perfection under the the skin,
th e th u m b so, as a ru le o f
like walking anatomy charts. Here is an arm drawn from the underside, with
th u m b (sorry, cou ld n't help the ulnar crest over-emphasised to show where
it is and how it separates the flexor and extensor
it), w herever th e th u m b is,
muscle groups. This bone ridge is over-
the ridge m u scles are emphasised to show how the bone traveis
from the elbow to the wrist.
p oin tin g to it. T h e ridge
m u scles break u p th e even
sym m e try b etw een th e arm 's
o utside an d inside edges.
O n e w a y to rem em ber w here
an d how ali these m uscles w ork
togeth er is to th in k o fth e arm as a series
o fc h a in lin ks. F.ach link alternates
éé Contrary to what I see drawn a lot, the ridge

muscles do not have a crease in them. The crease
you see is the skin folding, not the muscle 99
direction, an d th a ts w hat the arm d oes
from sh ould er to hand. For th e arm to
fold in on itself, o r flex, th e m uscles
NOTING HOW MUSCLES have to be p osition ed to interlock w ith

each o th er to prevent an y con flict o f
CHANGE WITH ACTIVITY space b etw een ali th e m eohanical
Muscles involved in a particular parts w ith in th e arm m ass. Exam p les
activity will tense - or the
on p age 45 sh o w th is further.
muscle form will accentuate -
more than the muscles not
directly reiated to the action. Ridge muscies
The body shouldn't be drawn
T he ridge m uscles share in th e p rofile
like a muscle chart, or it won't
look convincing. Use the o f the flexo rs an d th e extensors,
anatomy you learn only to fix blen d in g into b o th sides in the upper
problems in a drawing or to simplify
third o f th e fbrearm . T h e inside o f th e
complex posing. Use your
knowledge in moderation reiated to arm seats the flexo r grou p - the set o f
the action of the pose - otherwise m uscles that flexes th e h an d tow ard the
you should leave it out. body. T he brachiorad ialis - the
biggest m uscle o fth e g roup -
overlap s on to th e inside surface
o f the arm , the o p p o sin g m ass to the
flexo r grou p and pronator teres. Both
these sets o f m uscles fu n n el together

The forearms
FITTING THE MUSCLES TOGETHER

^ If the muscles are grouped together, they can ali be paired to make drawing them
f easier to manage. The forearm is drawn foreshortened to show the relationship
between the generic shape design and the significant anatomy underneath. The
anatomy design is missing the pronator muscle to show how the flexors and extensors
are separated by the bone structure.
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131
Human anatomy
------------------------------------------------------
UNDERSTANDING HOW MUSCLES WORK BENEATH THE SKIN
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E-yre Study anatomy from every book you
can find, including muscle magazines
CAf f and fitness books. Don't just copy the
drawings: examine the construction,
memorise the names and the bones.
Then practise whenever you can.
redraw the charts and labei them from
your head. Drawing the chart once or
twice is not enough to memorise them.
'\ !o s Drawing from memory helps you reflect
o
polhót E-v Vova^ / -E.PÍ on how much has been absorbed.
* ' belovv the b icep to form th e pocket it

sits inside o f w hen the arm is bent. T he
e x te n so rc a rp i m u scles - tw o m ore
m uscles b elo n g in g to the ridge group - éé As flexing, gripping, holding and so on are the
blen d in w ith th e exten sors at the e lb o w
and then across th e top o f th e arm . On
primary functions of the hand, more muscles are
the o th er side o f th e arm , the e xten sors
an d flexo rs are separated b y th e u ln a
attributed to assist in these actions
b o n e - a split in th e m u scles k n ow n as flexo rs term in ate at the fin gertips, w h ile epicondyle) and cross over the tw o bones
the u ln a crest. a few term in ate in the p alm o f th e hand. o f the forearm , spread in g out across the
T he flexo rs o riginate at the e lb o w on T here are m a n y layers o f fle x o r m uscles. topside o f th e arm an d term in atin g at the
th e in sid e b u m p (k n o w n as th e m ediai B ecause the fle x in g o fth e hand - for fingertips. T hese m uscles are responsible
epicon d yle) o f the h u m eru s, the b o n e that gripp in g, h o ld in g an d so on - is its for o p e n in g th e h a n d an d p u llin g back in
con n ects th e arm to th e sh o u ld er (also p rim a ry fu n ction s, m ore m uscles are a halt p osition - the o p p o sin g fu n ction s
often k n o w n a s th e u p p er arm ). T he assign ed to assist these actions. o f the flexo r group, in o th er w ords. T he
m u scles cross o ver th e tw o bo nes o f the T h e exten sors originate from the exten sor gro u p is the m ost active o f the
fo rearm - th e u ln a an d radius. M ost o utside b u m p o f th e arm (the lateral forearm m uscles. lfy o u 're d raw in g

The forearms
v e & sree-T w e
T 1 l+<aà
f\ b o w t e s ^ e - f c
'g . v lã o w r ik ) 'P e t ó P e t - T t v Ç '
BUILDING UP THE ARM

IN FOUR SIMPLE STAGES
Figure 1locates the arm in space and its

action. Figure 1b then describes the simple
cylinder forms fleshed over the action lines.
Figure 2 is a simple version of what the muscle
shapes might look like as other shapes. Figure
3 is the anatomically fleshed out version of the
arm. The next step (not shown here) would be
to flesh out the rendering and lose most of the
anatomy chart to light and shade.
u u ja p .
superh eroes o r so m e oth er idealised C&gST
b o d y fo rm , th e insid e o f th e arm
(flexors) is a big b all-typ e shape, vvhile
the exten sors are a series o f p ipes
radiatin g from th e elbow .
A li o f th e forearm m u scle ten d on s are togeth er is a better w a y to begin th an but learn to con solid ate th em into groups
protected as th ey p ass o v er th e vvrist b y d ra w in g th e in d ivid u al shapes. D raw in g as an o th er exercise - an d as a m an tra for
the retinacu lu m . T h is m igh t lo ok like a th e figu re o n e m uscle at a tim e is p ain fu l y o u r w ork.
w rist ban d , but it attaches sep arately to an d m ore th a n lik ely goin g to g ro w into D raw in g is not ab out parts: d raw in g is
bo th th e top a n d the b ottom o f th e hand. its o w n u n iq u e sh ap e - o n e that doesn't ab out susp en sio n o fd is b e lie f, fo o lin g th e
T h is keeps th e ten don s from p o p p in g out n ecessarily resem ble a real figure. T he eye into b e liev in g w hat is seen. W e study
a n y old w a y fro m th e arm . v isu a l sym b o ls in th e im ages here should p arts to id en tify them as a fun ction , o n ly
W hen d ra w in g th e arm , y o u shou ld help m ak e so m e sen se o f w hat I m ean by to th row th em back into th e p ile o f tools
keep in m in d that grou p in g th e m uscles this. Stu d y th e m uscles as on e exercise, called intuition . 9

PART 7
Ron
Lem en
COUNTRY: US
DRAWING
THE HANDS
at his website
w w w .s tu d lo 2 n d s tre e t.c o m
On the disc
Find videos and
sketches by Ron
in the Hands folder
inside Human Anatomy
Many artists fear drawing this part of the body, but apply
the principies youVe learned and learn the anatomy, and
youll find the process much easier
O
efore d ivin g into further them . The fingers are not p arallel w ith others, but in reassessing y o u r w ork in g
d raw in g ad v ic e , le ts th in k each other, althou gh som e action s m ay order. Learn it right, then break the rules
about a few concepts to help m ak e it seem that way. Fin gern ails and an d tools ify o u ch o ose, an d fin d y o u r
m ak e th e process o f d raw in g knu ckles are d etails: leave them until last. o w n voice.
a com p lex sh ap e such as the hand easier. Its im p ortan t to keep steps in their H an d s can be c o n v in cin gly d raw n
T h e h an d actu ally h as v e ry few m u scles p articu lar order w h ile y o u ab so rb the interacting w ith ob jects o r surfaces. I can't
in it: its m ech an ics are g u id ed b y the process b e h in d th em : w h eth er the stress e n ou gh that learn in g from life is the
fo rearm , an d its d esign is based m o stly d raw in g y o u r e m ak in g is sim ple or key to u n d erstan d in g ev ery th in g y o u ’ll
o n b o n e an d fatty tissue. T h e th u m b is a com p lex, i f so m e th in g falls apart, it's ever need to k n o w in art. W h ile art b o oks
distin ct sh ap e rooted to th e h a n d m ass easier to detect w h ere it w en t w ro n g in the m ight give a coo l trick for g e ttin g a certain
an d sh ou ld be d raw n into th e im age after process. O n c ey o u 're con fid en t an d w ell- lo ok o r ap pearance, so lv in g the problem
th e bigger m ass h as b een designed. T he train ed in y o u r craft, its u p to you to fin d d im en sio n a lly o r from ev ery an gle w ill
fo u r m ain fin gers ali radiate tow ard a y o u r o w n w a y o f w ork in g, an d y o u m ay giv e so m uch m ore w isd o m an d insight.
Starting with the
co m m o n point: th e in d ex fin g er an d the w ell deviate from th e ac ad em ic o r school- I f y o u can't take an art class, use a m irror. overall gesture
of a pose helps
p in k ie cu rve tow ard each other, an d the taught way. T his is w here you w ill fin d You can use y o u rse lf to study from , and you design
o th er tw o fin gers fit so m e w h e re betw een y o u r independen t style - not in cop yin g y o u d on 't h ave to p ay a m o d el fee. realistic hands.

The hands
Getting to grips with

the anatomy of hands 'P E ' ANt>
A n a to m y is im p o rta n t - bu t m o re s o to b e tw een th e th u m b an d in d ex fin ger on
a d o c to r th a n to an a rtis t. T h e p a rt o f th e h a n d 's back, o r dorsal, side. T h ese soft
a n a to m y y o u s h o u ld b e fir s t co n c ern ed areas are the p oin ts on th e h an d that fle x
w ith is th e sh a p e d e sig n , a n d h o w c a n y o u an d ch an g e sh ap e w h en active w ith an
A
s im p lify y o u r th in k in g a n d d r a w in g d o w n ob ject o rsu rface. T he h a n d then con form s
to th e co re e ssen c e o f th e se sh ap es. to th e sh ap e o f th e object it holds. T his
Finger b o n es h ave a p articu la r design to last d etail can really th row o f f th e best o f
th em . T he fin gers are m ore th an 60 p er cent u s at tim es - u n less y o u rem ind y o u rse lf
v isib le b o n e sh ap es d efin i ng w h at w e see, o f a few basic concepts o f con struction SOFT SPOTS .( V
so u n d erstan d in g th e fin ger b o n e o r knu ckle that y o u can fali back on.
shap es is k ey in m ak in g a m ore con vin cin g
d raw in g. T he fin ger jo in ts are spo ol-shap ed, Mechanics of anatom y
depressed slig h tly in th e m id d les for the D ifferent h a n d s can lo ok like th e y are
ten d on s o f th e exten sor m uscles o f the differen t sh ap es - babies' han d s, for
fo rearm . T h e m etacarp al k n u ck le - th e big exam ple, are ch u b bier th a n old people s.
o n e th e fin ger is attached to - is barrel- But w e are bu ilt sim ilarly, o u r hand s
shap ed , not to tally spherical, an d the included. T h e h a n d is b lo ck y b y nature: it
ten d on s that sit in th e grooves o f th e spo ol has m ass, a top, a bottom , sides, a front
shap es on o u r fin gers sit on top o f the an d a back. T h e h a n d is also circular, a s it
barrel-shap ed knu ckle. A s research, lo o k at sw ive ls a n d pivots in th e wrist.
N o rm an R o ck w ell's h a n d s in h is paintings. W hen the fin gers are pressed together,
H e d id it better than alm o st a n y oth er th e h a n d lo ok s like a spade. T h is is w here
illustrator out there. y o u w a n t to start d raw in g the hand.
T h e h an d has a sq u ish y sid e an d a firm Im ag in in g th e h a n d as a soft, b lo c k y
side. T he sq u ish y side - th e p alm - is w here fo rm , so m e th in g akin to a sp o n ge in
the m ajo rity o f m u scles o f th e h a n d are texture, helps y o u to rem em ber w hat
ôcated. T he o th er v isib le soft spot is y o u r e d raw in g is a physical object.
BONE SHAPES ME N» h C Í
■ M PTA C M b l ~
■J2
HAND HOLDING
A BALL J
Start with the object to be held (the
bali. top). Next. add the arm rhythms and
the bali shape for the palm of the hand. then
attach the finger wires to the bali mass. These
wires should represent the absolute middle pro
contour. the middle of the finger mass
Now flesh out the ▼

forms. This means
adding dimension to the
shapes by giving them
planes. To locate the finger \
segments. find the arclng lines: these
segments arc more than 90 per cent of the
T í w Í onA
time. The ares determine the relationship of
each particular band of knuckles - próxima!.
middle or distai - from finger to finger KnuckU
SpccA are knobby: either round or blocky. However.
you may find that stylising will change this
blocky appearance
Imàginé Presents Anatomy

Human anatomy
* I f y o u ran 't rem em ber the anatom y, T h e h a n d is attached to th e arm , an d the

rem em ber th e concepts: th ey'11 g e ty o u arm is an exten sion o f the torso, so startin g WIRE HAND DESIGNS
through a n y d ou bts y o u have abou t w hat w ith an overall gesture o f th e p ose ensures
you're d raw in g. that the d esign y o u pick for the fin al hand
T he fin g ers are ro u g h ly th e sam e length is correct. T h e h an d position is relative to
as the h an d m ass. R em em b erin g th is is a the rotation o f th e arm (o r its pronation or
g o o d check-an d-balan ce to m ake sure yo u r su p in atio n ). T he sketch h o p e fu lly solves
d ra w in g s p rop ortio ns are right, even w h en th e d ilem m a o f h o w to start the design o f
the fingers are fold ed a n d th e h an d is the hand. I som etim es th in k o fd e sig n in g
foresh orten ed. P ro po rtio n s have a w a y o f th e h an d in action b y d raw in g the object
b ein g u n derstoo d even w hen obscured. first. O nce I k n o w w here the object is,
« S i* * vosg (st± n .h ir n jr ò
>xV LU /#-'.
k 0* T H t TO ít t r » R
E 1 -ü i TWe-BfcTP-IUS
k l* *
The finger wires are about
the same length as the
palm ofthe hand
relative to th e p o se o f m y character, I can

Í4j w ork out the rest o f t h e action.
dl k t* '
* * o v * w tT' , ***<- Interactive hands
o*
; A n o th er w a y o f estab lish in g the han d 's
interaction w ith an object w o u ld b e to d raw
L th e object, d raw a h a n d p rin t on th e object
A so y o u k n o w w here to d efin e the details,
1 then b u ild u p o f f o f th e h a n d print ali the
DRAW AN OVERALL POSE

The hand is connected to the wrist. and so to the
rest of the body - so you can begin by sketching
an overall pose to ensure you pick the right hand
design. (Don’t take too long: lt‘s just a sketch.)
A C T IO N t < _ * A * .A C re X
L i> Je i
One method of
drawing the hand
interacting with an
object is to draw
the hand print on
the object first
. OT t iu t b
X lk U lN l.
-nm*. S M c rfW f 4
ioor í t t *
cr nm * * o* not.'
UV ,T
u '. /

The hands
Details sit better on the fingers

- V* *JE Ç * T fc k J V . T > \ 6
*-«NfeS o * - m c when they are well designed
• fte s o w t» t w
T r tC U\M&S w Jo v )l.b ftt-L
w e iíT Ç ^ p o i M r >'
dimensionally. Draw them last
~ W>Nb t s P IA M o N li u te l
t>im e the CONSTRUCTING A HAND
. -ûvA6 \S vi Ma>^wí
_ To M > D - iM -m vs
c í v e 4 T ( V ^ '• 'V A
l e i w ^ ^ y u w c iaa«> íi !
fiMMxH APfc>vjkwa^
PftfCT! M
The hand is spade-

o r diamond-shaped
when the fingers are
closed together.
fo rm al sh ap es, th e h a n d block, th e fin ger D raw d etails - fín gern ails, knuckles, ^ G to rV cT w t \s +
m asses, an d so on. w rin k le s - last. T h ey sit better 011 the The different-coloured lines here indicate
T he lin e that s h o w s th e con n ection w ith fin gers w h en th e y are w ell designed the gesture o f the hand and the character.
showing how the object sits in relation to
th e object is th e w eld line. Press it firm ly d im en sion ally. Before this, ren der the the character.
against th e o bject, sh o w in g o f f the o b ject’s surfaces: fin d th e sh a d o w patterns, and
4-
fo rm m ore th an th e h and. N o m atter ho w u se p lanes to chart valu es across the
m uch y o u see a little space betw een the surfaces. T his is w hat it m ean s to render
joints, don't m ak e them im p ortant. M ake a fo rm ; m ak in g a stronger v isib le shape,
the w eld lin e sh o w o f f th e action. n o ta d d in g details.
DRAWING GRIPPING HANDS .rtV S A C T t* .

ÜVE
Drawing the object first helps you when drawing
the hand in action. Here. IVe begun with the
object before using the weld line (shown in blue)
to connect the hand and object correctly.
Next, it's time to sub-divide surfaces. Here,
l'm using the plane structure method to
chart values and tones across the surfaces,
working up from flat values.
+ e c \ < k * '1
r «nç>
Only when ali o f this is done do I begin to

shade and detail the hand. Once I have the
hand shape rendered. I can then add
details such as creases, fingernails and
knuckles to make it look realistic.
much you see a little

space between the
joints, don't make
them important.
Use the weld lines.

Break the skull and features into simple
The head is one of the most important parts of the
body to draw. so practise as much as you can. forms to get the proportions right
More at ebook-free-download.net or magazinesdownload.com

it 8 The head
hen d raw in g th e h u m an body, o f th e fig u re w ith con fiden ce, help in g y o u n o th in g beats h an d s-on practice. G et a
© on e th in g th a ts essential to
perfect is y o u r m eth od for
d raw in g th e head. T he sk u ll
is th e trad itional acad em ic m easu ring
stick o f th e h u m an fo rm : fo rm u la e h ave
to m ain tain th e correct p ro p o rtio n s an d
scale for the figu re as a w hole.
I lere, I'm g o in g to t a lk y o u through
m y basic process for creating w ell-d raw n
heads. T lie th e o ry is im p ortan t an d can
frien d o r fa m ily m em b er to m od el for
y o u at ev ery op p ortu n ity, hire a m odel
or, w ith the help o f a m irror o r photos,
d raw you rself. T h eo ry alon e can n ot give
you en ou gh exp erien ce a s an artist to
PROFILE
been created that en ab le artists to u se the o ffer a certain degree o f freedo m from w ork th rou gh ev ery problem y o u ’ 11 See more of Ron’s work
sku ll as a tool from w h ich to d raw th e rest reference - but, as I’v e said before, en coun ter in y o u r career. at his website
w w w .s tu d io 2 n d s trc c t.c o m
On the disc
Shape up: basic

Find reference
'C sketches by Ron in
the Heads folder inside
Human Anatomy
head forrris
Put your head in a box to ensure that
youVe got the correct dimensions
B e lo w is m y sketch o f a h e ad in fro n t shape. T he head is really n either an oval
a n d sid e p ro file s, sp lit in to th ree n or a block, o f course, but th in k in g about
r o u g h ly ev en s e c tio n s. M e a s u rin g th e b o th w h ile d esign in g th e sk u ll w ill help
s k u ll fro m th e sid e (in c lu d in g th e n o se) y o u ach ieve realistic d im en sion s.
it fíts r o u g h ly in to a s q u a re b o x (as y o u So, like a child, begin w ith an oval.
c a n se e to th e rig h t). From th e fro n t bu t D raw a lin e to fin d th e inside corn er o f
e x c lu d in g th e ea rs, it's a b o u t tw o -th ird s th e face, o r th e ch an ge o f p lan e from th e
th e w id th o f th at b o x at its w id e st p o in t. front to th e side. T h is is u su a lly w here
W hen children d raw a head, th ey p ortraits fa li apart: w ith ou t a three-
u su ally start w ith a v ag u ely o v al o r 'egg' q u arter line, th e features d rift from the
TO *
front to th e side o f the head, and

Cf
prop ortio n , direction o f gaze and
sy m m e try ali fali ou t o f alignm ent.
N o w d raw a centre line. T h is helps keep
the features sq u ared u p o n the face p lane
an d is e sp ecially n ecessary w h en th e head
is tip p e d o r tilte d .
D raw p erp en d icu lar lin es attached to
th e top an d bottom o f th e centre line
T in ^ i n í ,-
THEVieCk The first centre line

helps to keep the
features squared
up on the face. You
can then add
centre lines for
specific features.
such as the nose.

Human anatomy
THE NOSE AND EYE SOCKETS
••
•
< *M B T
Í jo í- K TS
St A P T ^
L jO c fc lV JG f
* • to forehead a n d chin. T he sku ll sh ap e d irection as the side p lan e o f the head. o \ r V Jo sg

sh ou ld n o w b e d ivid ed into three visible T h is en su res that the n ose stays centred
surfaces; th is w ill help get th e p rop ortio ns betw een th e eyes correctly.
m ore accurate fo r the sm a ller shapes. T h e bottom s o f the eye sockets are n ext
D raw a second, m o reo rg an ic, centre line to d raw : m ake these parallel to the top
to d efin e th e centres o f th e ex tru d ed line, in tersectin g th e nose about h a lfw ay
features - th e lifted brow, nose, tooth d ow n its length. Extend th e top line
cy lin d e r an d chin. aro u n d to the side planes, keep ing it at CHEEKS AND EARS
T he first feature to start w ith is the split th e sam e elevation to th e top o f th e head.
betw een th e eyes: th is is k n ow n as the T h e eye sockets sh ould look som ew hat
glab ella. Typically, it's a w edge sh ap e lik e su n glasses in their d esign. T ake the
betw een th e eyebrow s, just ab o ve the bottom lin e and d o the sam e th in g you
bridge o f the nose. I ch o o se to begin here d id w ith the top one. Both o f these lines
becau se th e glabella establishes an overall fram e w here th e ea r should b e placed on
w id th fo r ali th e rest o f th e features. N ext, th e sid e p lan e in correct elevation to the
attach a ho rizon tal line to the top o f the top an d b o tto m o f th e head. C h e & tis
glab ella w ed ge to establish the tilt o f the
eye sockets in relation to th e centre line Cheeks and teeth to
(a p erp en d icu lar relation sh ip). T h e ch eeks an d tooth c ylin d er can be
d raw n togeth er in a rh yth m , startin g w ith
Drawing the nose an arc that crosses throu gh the face plane
D raw in g th e n o se is tricky, but g o o d from cheek to cheek. From d irectly in
organisation w ill m ak e it a w h o le lot front, th is rhythm can be d raw n as a
easier. Start w ith a tall trian gle, flat cird e ; m ore w o rk is need ed from th e side
against th e face p lan e a s th o u gh y o u v e view , since th e cheek shares its rh yth m
shaved o f f the nose. T h e top o f the w ith both the front an d side planes. T he
trian gle o verlap s the g lab e lla an d creates ears are u sed to help design the cheeks
th e interior lin e o f t h e ey e sockets. (see the d iagram to the right).
K n o w in g the p ersp ective o f th e head T h e tooth cylin d er is con n ected to this
m akes it e a sy to d raw th e perspective o f cheek an d d rop s d o w n tow ard th e chin ,
th e nose. E xtru de th e bridge in th e sam e arcin g across the centre lin e an d u p the
THE TOOTH CYLINDER RELATIVE TO THE NOSE

r e flc a t
♦*© \%UL
+ 1* (9 «Mi tim cewAof

it 8 The head
o th er side, leavin g en ou gh space fo r th e th e h ead as a basic shape, an d attach th e

b ali o f t h e chin. face like a m ask, w ith the h a irlin e fram in g
T h e m ou th exten ds from th e face like a th e u p p er h a lf o f th e m ask shape. HEAD AND SHOULDERS
m ou n d . O ften , it is m ore c ylin d rical than It's just as im p ortan t to see th e h a irlin e
rounded, w h ich is w h y it's c o m m o n ly as a geom etric sh ap e as it is a n y o f th e U nless y o u ’re d raw in g a d isem b o d ie d head, there w ill com e a tim e
k n ow n a s t h e to o t h cy lin d e r in life- o th er features. V isu alisin g th e h airlin e as w hen yo u 'll w ant to attach it to the rest o f the body, w hich m ean s
d raw in g m an u ais. p art o f th e facem ask can help attach the ad d in g th e neck, ribcage an d shoulders.
A ttachin g the neck an d shou ld ers to the head can be a trick y
When drawing anything organic, it's business. lfy o u 'r e d raw in g th e head first, it'sat th is p oint that the
rest o f th e p ose is ab out to be d raw n . ITiis con n ectiòh w ill help
best to think about the shapes with y o u to d evelop an d d efin e the shap es o f that pose, en su rin g that it
fits correctly w ith the head y o u ’ve alread y got.
edges and comers first. The top of the Attach th e head (bali) to the neck (cylind er), then attach the
c ylin d er to the ribcage (b a li), l h e shou ld ers float over the ribcage.
skull can be drawn as a block T he o n ly p oint w here tw o bo nes connect together is at th e pit o f
the neck, w h ere th e c lavicle con n ects to th e ribcage. Therefore, the
The top o f th e sku ll, w h ile rou n d ed , can h a ir correctly to the sku ll an d keep ribcage is the m ost im p ortan t structure after the head an d neck.
a ctu ally be d raw n as a b lock. W hen e v e ry th in g lin ed u p aro u n d the head.
d raw in g th e h air 011 to th e head, th in k in g W hen d raw in g an y th in g organic, th in k
about th e sku ll as a block can ad d extra ab o u t th e sh ap es w ith edges an d corners
d im en sion to the h air m ass. first. T h e perspective o f a form is fo und
T h e best w a y to d raw th e h air is to start m uch m ore easily i f there are p oints to
w ith th e hairline. I d o th is as fo llow s u se as lan dm arks, an d a straightish line
(refer to m y sketch b e lo w to help): draw co n n ec tin g th e m .
Z. A
ADDING THE HAIRLINE, AND USING

BLOCK SHAPES FOR DIMENSION
While the top of the skull is rounded.

it can be drawn as a block. Thinking
» _ - of it this way helps give extra
tAA4VÍJ*4 K / C dimension when it comes to
adding the hairline.
<r^>9F
O F ____ „ — ^
"THE
CofcvjefcS IN Ç L v u .
\ / 1 0 w i «s.
lt’s important to see the hairline as a geometric

shape. Visualise it as part of the facemask Cabove)
to help you position it correctly on the skull.

Your animal
anatomy expert
éé Whether you draw or paint, knowledge Marshall Vandruff is
a freelance illustrator
of anatomy and form will enable you who’s worked for
to get your ideas into images f f Warner Bros, Hanna-
Barbera and Dark Horse
Marshall Vandruff on animais, page 60 among many others.
Marshall has trained
professional artists and
students in Southern
Califórnia since 1984.
www.marshallart.com
Workshops
Explore animais in six parts
6 0 Basic forms
Begin your exploration of creature
anatomy by seeing the shapes
beneath the skin and fur
. 66 The torso
, Find out how the core of the animal
body operates and how you can use
it to bring life to your animal art
72 The hind legs
Explore the real-wheel drive of
animais, and how this part of the
body can propel your art forward
78 The forelegs
Use your observation, skills and
knowledge to build the pillars of
balance and grip in animais
ir
8 4 The neck and head
Discover what part of the animal
body tells you about the creature -
and the traits ali animais share
9 0 Animal faces
Find out what animal faces have in
common with human faces, and the
crucial ways in which they differ
lmàgine Presents Anatomy

Animal anatomy
PARTI
BASIC FORMS
Begin your exploration of creature anatomy by
seeing the shapes beneath the skin and fur
limais are something I love learned that there are secrets to animal
O to draw, especially from

imagination. Foryears, 1 had
no idea how animators,
comic-book artists and old masters could
anatomy - old secrets, well-known to a
few. These workshops reveal the secrets o f
inventing animais. W hetheryou draw,
paint, sculpt, model or animate, basic
not only draw anim ais without copying knowledge o f anatomy and form will
what they saw, but actually make animais enable you to get your ideas into images.
look thicker, stronger, funnier and more W hen you can create any animal you see
alive than anything they could see. Then I in your m ind's eye, thats mastery.
l 4r<yi/ the sliíletw. fntr. rfPtl

Amtrtcnn ucn inna <ir the
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flMÍMÍU ( r tg k r ) U W . (Strcu< Ln.
fxn/KctiM í r tvuttvny. The
jXMil rimUnM t f the hemi- u n
ir f íwv the fieshed
UMtvrt lui]/í ImbeM-,

Part 1 Basic forms
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n r f r - f HtvUe n crrM Í, A f t j £ 4 n r ( ; t CK
íkeit kíej Arjí ími p rw jíl Mffnjt£tíí w i
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'Nken. f*c s<< irnsic slut/fcí, we (o
see s*Me <Ufftreyicei, / f f f '/)» /(
HOMEWORK
PROPORTIONS ASSIGNMENT
Master
uN0eEJT/\N'0!NC THE ÍIMIMCJTOf A ^ õ O iFPBlEN C K W iTHín PONÇ
proportion
CJLOUK CAn LEAD t o GUEArçCL A m ATO m i CAl AW/4BjENKí... D iagram an anim a l fro m
th e side. M easure a box
Mammals, reptiles and birds share most being studied from the front. Its arms that are good for playing th a t fits th e big p a rts o f
th e torso : th is tra in s you
o f the same bones and muscles, but at like trying to judge the length o f instruments, drawing and
to see b ig th in g s first.
different sizes and ratios. That's w h y you a ship b y looking down one end. hugging, but not made to By re d u cin g heads, hind
should study proportion. W hen you look Proportions reveal what an support our weight. Four-legged legs and ribcag es in to
boxes, tria n g le s and
at two-legged beasts (bipeds) like animal does. O ur bones show anim ais have deep ribcages
eggs, you le arn to see
humans, or other plantigrades that plant that people are designed to with shoulder blades on the co m p le x c o m p o n e n ts
feet on the ground, you can begin with stand up: w e have long legs, sides, and arms that act as as sim p le shapes. T h a t’s
th e u n d e rlyin g secret to
front views. But creatures who run around shallow ribcages, shoulder legs. Different functions,
m aste ring p ro p o rtio n .
on four legs (quadrupeds) don't take to blades 011 our backs, and different forms. *►

Animal anatomy
BONES AS Over-complicated anatomical charis full

o f ribs and gnarls can confuse the more
use. Theres plenty o f time to get into the
details later.
FOUNDATION delicate learner students. The diagrams

below leave out the more exacting details
For now, compare the colour coding on
the diagrams to see the analogies between
P O N E f OO N*r 0B_ fTEJETCH - T H E Y fPA Y A í and hidden bumps, and simplify the human and animal bones. They are often
c o n í t a n t a í r p c ic. ço çrw oY r n e M r r it t . . hard-surface architecture that artists can quite striking.
P e lv is (h ip bone)
S c a p u la (shoulder blade)
F e m u r (u p p e r leg)
Radius & Ulna (forearm bones)

fused to g e th e r on hoo fed animais
Tibia & Flbula (lo w e r leg bones)

fused to g e th e r on h oo fed animais
Sanei iHAif rwr ckurji' tur

Draw stick- toxtlarj, i k it Kti <rf «npla jAc
figure animais
D raw skeletons as stick
figures. K eep th e m
sim ple: d e ta ils and
te x tu re s d o n ’t help,
le n g th and p o sitio n s do .
A rtis ts o fte n d o best
w hen th e y be g in w ith
loose lines to g e t
p ro p o rtio n s and rh yth m s H n vt t»
rig h t - Mke an a u th o r
b ra in s to rm in g an idea.
then w ritin g it out.

Part 1 Basic forms
Otflér/W
CrwcW<Jí
v b ^ O
MUSCLES &
TENDONS
How THEYATTACH, ano How
THEYÜjEMTEro each otheil.
Muscle charts are more confusing than
bone charts - not just because there are
more muscles, but because muscles are
layered. Surface muscles can be so thin
that the>' disappear on a fleshed creature,
while buried-deep muscles can show as
large bumps on the surface.
Let's start proceedings with some
general observations:
• Muscles anchor close to the trunk
(proximally), and insert distant from
the trunk (distally) to move the limbs.
• Muscles are thick near the trunk, lean as
they m oveaway. On hoofed animais,
& ///* the distai limbs look like shrink-
f„ StU H k-of wrapped bones.
( fk fy • Muscles can be simplified by grouping
them. Several extensors with hard-to-
remember Latin names can make a
single easy-to-remember egg shape.
• Muscles work in pairs that pull against
each other, shown in the illustrations
to bo<i/ I*") usi ng complementary colours.
We'11 study specifics later. First, look at
these images to see how they work.

Animal anatomy
FORESHORTENING
How to k-eep f>e.opoejroK'f coejiEcr wHemorAmng
ANimAlí PELOMDlFFeeJcMr^NCLEf...
-
10b '* * * * * * n c «1
,r í /tf> f^ Ç /ÍX /s
The longest measurement o f anything - a bone, a limb,

or an entire anim al - is its major axis. W hen you look
along something, its length appears to collapse until you
can't tell how long it is. Artists keep track o f this so that
they can tip, swivel and roll objects around, yet keep them
lookingtrue.
F j i í w r A í í ú z i v a i U n e , ruU- tur< k n v r k t y siu.fr <1 r k

k c r íts k í / U n w e : L( n m t r t U t i t n j I n f l K tW M n. tk tí<
U n fi, K n ji p r ttn m e n j M.U «rm<r < m \tr r v jftu .
T'ht iteret fvftreikrrttruM

u rt rftinu cin yifs ftnw
ni sayytt m a, k it bUcti
KM CmUnjiO]
T h e le n y r k trf r k *
Learn from lhe rabbit «fpMr rv tfarrtn nhtn. It Cftrjí
L o o k at a side vie w o f an anim al. N o w d ra w it
fumuni TÁ/rr’; fvrahrtlniny
as if sw ivelled in to a th re e -q u a rte r fo re s h o rte n e d
p o s itio n . It's d iffic u lt, b u t n o t im possible. Bçjwntnftnr it ienmi
R em em ber to reduce co m p le x fo rm s to sim ple S tv jU n n AVri. tr . t f . M * lt< n
ones to help yo u visualise th e pe rs p e c tiv e . i
prttcrut. i t t i m e ..

Part 1 Basic forms
Ona urulerimnJ. f k rí'jtn.fnskij?

httm tr. rks ihyts & U fn p v m w t f /m
FORMS wujrsti, yr* c«n. kytsí rr ftesk rhem a«r

tn.fr nrJ. rtAunc «if/tfwa.
Ç íM P U F Y / \ N l M ^ L AN ATO M Y
INTO RAttC íTkXJCTVIíEÍ.:
Mastering classic anim al drawing enables
you to invent as well as observe. The
secret is to learn simple forms - cylinders,
blocks, and spheres that are based on
anatomy - then assemble them into
complex beasts. After ali, what are
animais but 3 D creatures in a 3 D world?
You can build them from 3 D forms - any
w ay you like! #
$ -b rrfi/ a * dhr*mj'v0J
c°n1 reûlf- in j-fif-f cnnjvres.
/ ■ / " Care-
-f -b r f t i M t * r 's ;
Animal anatomy
PART 2
THE ANIMAL TORSO
Find out how the core of the animal body operates and
how you can use it to bring life to your animal artwork
hen I first saw a famous art parts o f anatomy first - which is the best
© i teachers approach to figure

drawing - human torsos with
no limbs, strange-looking
bean-bodies twisted and floating - it
baffled me. It took me years to
place to start. This approach should be
applied not only to hum an figures, but to
animais. They have torsos much like ours,
but are different in ways that enable them
to run faster, jump higher, kick harder,
understand the value o f that approach. and have trouble standingup orsitting in
There are several sound ways to draw chairs. Here, I approach them simply, )*lt j O ( v r o m m f M üi tlv ít
■ l the figure, but beginning with a solid
torso is a good one thats shared by
nam ingthe basic parts, helpingyou to
leam theirstructure and understand their
vlcw n 'tnt, a dc ttrrun. Ych’ü
wvfarítwui tw ttw y í fí t íjy Arwvng
Michelangelo, Rubens, Tmtoretto and functions. In later lessons, IT1 get to the fntn lUffcren*- Im íiry nlcny,
scores o f other masters. It puts the big limbs, but let's begin with the big parts. iAf HrJ, /cwn Wr fim. WiÒnA.

Part 2 The torso
Tí«. CcrTt jn sv fri/fd i sf>*C. \í cW«X

/ f lü p t o r ç C c rtc m /c - ™
f U t f f / k c s ' (< / * rs < rl z fíc ic v f
frv r* i- h C rr> f< . c

J5 Q C f J M
'f h fh c r / )
/> *
A H<e
ç p if ie
ç rA R T w trH r n e cou£ o f t x e pooy: r n e tu s c a c e and

PGLVif, A N Cs T H e SPINE THATCONNHTT THEm... See the spine
D raw a series o f anim ais
Vertebrate anim ais grow out from the ignore the little bum ps on the pelvis that
w ith a sin gle line - th e
spine, which runs from the base o f the are mostly hidden and the individual spine. It's easiest fro m
head to the tail, connecting the ribcage ribs that do you no good until you ve th e side view , b u t d o n ’t
(thorax) and pelvis (hip j ^ established the simplified ribcage. Here fo rg e t to see th e
c o n v e x ity o f th e curve
bone). Study these ÍM H are some observations about animal - and d o n 't e xp e ct it to
parts generally: \\ \ j A torsos to set you off. im press anyone. It’s an
exercise to d e v e lo p the
X-ray vision o f artists
w h o know anatom y.
W hen it g e ts easy, m ake
it to u g h e r b y a d d in g th e
rib c a g e and pelvis.
nnr trwticn. M ffenj ut
W » Mütéfmt The /xkís u «
StiU furtn, rk f riiw<ft Minnr so,
iW cr expHfUs h r trvttnuw-
tz f/trfwkiS
r J P '/ í 1o * r
P í c - h ft r l t* n c < e t +> "
p j t I S r J » I * * U íf'^

Animal anatomy
TORSO MUSCLES W e have muscles in our backs, bellies and

haunches to hold us upright. Four-legged
animais have the same muscles, but in
bend the torso. But spiral or oblique
muscles, like those on the side, pull to
spin or twist the torso, allowing it to lean
f?ONEÇ O O N 'r M O V E V7N D EE. rH E lB - OWM POWER. -
T H E Y M O V E ffY T H E T E N ÍfO N O F HlOOEN CO R JX ... different proportions and for different and tum . These muscles can barely be
reasons. They are made to move forward seen on a fleshed animal, but study them
more efficiently than we are. to know what goes on under the surface,
Torso muscles include thin layers that so you can exaggerate convincingly.
don't show 011 the surface. I'!l focus here llnlike bones, muscles change shape.
)fr <r‘' $*•<** on the core functional set o f three. Think o f them as rubber straps. They
Straight muscles, like those on the back eilher stretch and get thinner, or squash
and belly, simply pull to straighten or and get thicker.
B /\C K
3 Ç c ro '
Mix movement R fb c ív s / ) b J w w
and angles
Try d ra w in g v a ria tio n s o f
th e p itc h , yaw and roll
l£ lL l
m o tio n d iagram s fro m
d iffe re n t angles: above,
a t eye-le vel. below , and
in variou s fo re s h o rte n e d
p o sitio n s. If you use
p h o to reference, see if
yo u can ca tch glim pses
o f th e to rs o m uscles at
w o rk. T h e y‘re su b tle and
usually cove re d w ith fur,
b u t th e y occasionally
show u p in e xtre m e ly
w e ll-c u t s h o rt-h a ire d
anim ais, like racehorses.
• A s animais travei, they adjust their

(f movement in the sam e three ways as •_ ,
j t ' aeroplanes. Pitching describes the H H
, forward and back movement - the
j... back and beHy m uscles at work. Yaw
means heading to the left or right.
muscles on one side pull the torso toward
that side. Rolling (also called banking) happens when muscles
on each side pull to twist the ribcage so that it leans into a tum.
More at ebook-free-download.net or magazinesdownload.com

Part 2 The torso
O D— II Hmei w the vppnvrt >fape n
crni - n U ; n t (V* fxlvu, >W
M m w *f- tk< A
o -cg = c^r> o i
f~tyw( jn f Ao*v fA í aln<r liMOví AfpibC rt

rnue tÜ xffw u m ytuii *rU*rsnuU
HUMAN HORSE
t k Twtvititvm /tr m Ãiútf nrjttrn^y
tkre<-íUtn(KSLoutl
TORSO FORMS
u N Ü B L ír /W O fN G m v lT T P lE V iE W í Bv il õ in ç fr p m
Ç lM P L E C O M P O N E N í T T . . .
Studying side views isn't enough - they only give us two dimensions
o f a three-dimensional animal. W e need anotherview to see width
measurements, as witnessed in theexam ples above.
f c m i G é M bt.
h tn u rh n *y -~ 's < **b **s
5 , M p k b * fp v s S t c f ! < r < & V
Tktrt's mr tKt czrríct fci-tn

frítmjrkvr m cm stnvtuy
nn nnurwl f fw w , fa f
sctne une ymr< usef4 t lw .
ttfarS- VK wlutreiKr fprtfii
jrov. n«d, tr cr(Ht{ ckiw
stntctwçs firA lÁtw <m-
yiiK tt-tf-vu w . clw te «Aítr
- fJed.' «WW ÁwW ír

ttm nyi w >wy
)$
*>

Animal anatomy
MORE TORSO
Sort out the
big things first
FORMS
LM SLN TO D M W T H E C O M P u M T E O
A nalyse refe ren ce o f
horses and cats. You'll
T H IN G Í P y aM k j n g t h e m Çi m P lE.-
fin d th a t horse torso s fit
Look for the basic structure that simplifies
bone and muscle into a single form. It can
rig id . Cats how ever tw is t
a round , so y o u ‘ll need
be a big bean from which appendages
separate form s fo r th e emerge, or any invented form that helps
pelvis and th o ra x. Solve you twist or add body to the spine.
those b ig fo rm s b e fo re
The important thing to remember is
yo u conce rn yo u rse lf
w ith lim b s o r textures. that torsos are complex, so you must
simplify them enough so that they
can be drawn in any position you
care to choose.
A bt * «. it e r s it r r r ftM tsrer
tM K K yrsrt confies iml»,

i r r . f n * nty
E iffn i f u seani IttH nve,
ie*m - w iJutrti
íltnfU íhjye iw il èflf ftr
- fty í r f f f i r *rm a

Part 2 The torso
ORSO FUNCTIONS
WEVe DokíE ove. TECHmiCAl HomEvvobjc - n o w lET^í
TCice /\ fu je c h lo o ic /\r
w H y w e ?twdy ro R ío f f i r s t .
A torso serves several functions: as a core for the body; a
hub forthe limbs; a trunk from which branches emerge; a
chassis to support a craning neck. A ribcage is a cage to
contain soft parts and protect them. A spine is a spring
(especially with cats), or a bridge, or a flatbed truck that
can carry a load. A bird's sternum is both a boat’s keel and
an anchor for m uscles... t
Fim í ynv twn, aitni»vu>m ftt {'sr.

urU uuifhc The rf
crexnvtty u ínAÍmy cowcfMni.
AnAtttr y <vU funr *re teckrucxl
iLU’, wheie/u 'inniayiei me uemwe.
\eeu\? rht relanm<kf> íetêen. <i htn<

* i-ji a rszk e t. ir a pttt f ln r f n síu\ Jw,
htips «í e x te rn nr
TíWy JfrwfWif, HrJ,

c-mywe W ( r vtker
ltn*c-t*re! í)ní
líestfns heve
■ftutvtetwu. si to
« h xtjv* c*j \ ti i/nt
them atui .<se thtyr,
ram are the vsM-ce <tf the w Mr

The huuüeyi, iurtleys, u c k arU heaM.
ítnqye in m tf. in. the n-ext t*v wrislvps,
well study the lemirs <rf fs*j~lejye£
wMnvús anA. cw^jwe fM n n ow cvwv,
íw w u u M M tk hwJiem.
hfiáf>iné Presents Anatomy

Animal anatomy
PART 3
THE HIND
Explore the rear-wheel drive of animais, and how you can
use this part of the body to propel your artwork forward
hen the first artists drew their illusions seem real, as if the picture smooth skin, mottled, groomed, light,
© i animais, they drew the way

ali children still draw, with
outlines around the shapes
they could see. That's the foundation o f
drawing: charm ingand primitive. As
was a w indow into a world o f animais
with meat on their bones.
Look at an anim ais hind leg, and you'll
see a shape. Cartoonists capitalise on that.
You’11 also see a surface with colour and
dark... Painters and photographers care
deeply about such surfaces.
However, I'll begin with bones and
muscles. I'll explain how these affect the
living anim ais rear-wheel drive system:
drawing evolved, artists worked to make texture: short hair, long hair, rough skin, its hind legs.
The H lnd Legs
fo ld e r in side
A n im a l A n a to m y
Omwcny, Itíe m y eututic tlciupLne,
rtq w ti cvriTrwUcnry lluili 'Ni slrw
jí«vv/j/ f í r j i c< irtfi< ü y tu le it m rk e

Foot bones
Yok cttn. i t v A y k ttw tt> v 'o t t n d 20
i a í ^ r' *
% .e im és n fm t, 6u f it s m u r tvynM p
: , f o o í ^ tketn. Tkt inwf- «npcrMW <\rt tkt
kttl íc á « k k 0 <W ítM t (t*Us)
fv i1^' ísmts, cdiMrtd- ktrt ftr jÁíw tk tu
yhvtim rJt w á- fitncticn.
h e jA - b '* 9" P U n tiq r ítd ti p l a n r t k t u f t t t » v t k t
j r i M t U . w t cu ll t k t u f t t t , f t t t .
% • O u jtr iy r iU ti M tli. m t k t w ih y c n ; ni a tl
t k e w f t t t p w i . u n y A x r t i m l í cn. *
t v t M i í cr (we, tv k ic k m í c a ll krnvtí.
Leg mechanics
T k t m t m y ftr u t U t n t w U A n a u ísy t k t i r
fitn c w s n . T ry nr í t t t k t t n m fü r ftc H y l a g M í L
w e í í c W ‘vstwMes.
The fttrwr luis X UU ttr LtS

Pf. Tkt ftlvLi kai a iccítt
HIND LEG BONES Tktít ftryn a ptrftct kíUijk.

Jtr jt t t in y HrmuL.
FO N E M A C H iN E Z T . VNOEU. A LL T H A T F L E íH If A Tkt Mí-mÁ-iwíce^jnnt
m e c h a n i ç m o f t o c x e n , h i n c e í, l e v e e j a n d í p o o l í... of tkt Uf> tnAÜei tk t ^ppti-
Whichever names you choose to use to bones in the lower leg, and more
Itg ir sivuiy tvU imíkI,
refer to the bones in the leg - femur, concerned with the fact that hooved
Lickuyp iMt (f tk t lUt-
fibula, tibia, tarsal mass, or others - they animais don't wiggle their toes or retract
still have the same job: to support and theirclaws. This means that they d ont
propel the animal, and, occasionally, to need a wide lower leg to anchor those
enable it to kick out at an aggressor. extra muscles. Knee bones
In most animais, there are two bones Tkt hvtt u n kuw tjwnt, k*t ut utCt fixtd liit <? kínft.
in the lower leg. The bigger one is the Tkt inttcxj> (fxvtiU) fMÜí on n itrap rt k f t tk t Icwtr Ity.
tibia; the smaller one is the fibula. This is
different in hooved animais, however. A
horse's fibula fuses
right into the
tibia, and so
it can hardly
be thought o f as (ott“ fej)
a separate bone. Artistically,
however, you are less t» 4 j iVí.Wt. Ml kirvpa, tjktr.
concerned with the number o f t k t kvrJs i^ u x y l, t k t
X Iíjitl it y cmutíteat
tk tw y M H - t t k t u r i.
Tkt ku> u tk t fxii/u. Tkt ftnw r u tkt
Kffer Itty. r k i int:tjvint u trfttn.
ítf tkt stifit- Tkt m H s m á kttl,
u cftlUii tkt bsdr-.
(\itM |ey>

Animal anatomy
MUSCLE GROUPS
HwmAim <4N0 lEGí ffOTH MOVE £Y THE ÇAm G
ÍOUE£ E - THE PULL OF MUÍCLEC...
There are over 16 muscles in the hind leg that artists can study - but
even if you carne to know every one o f them, it would help you less
jl ' Qjw lnibeil tr*udt cM rti
than knowledge o f their groups and functions. Here are the simplified
' ní£ (U fferent m tm tó ftr
structures for understanding hind legs.
' tke Mruttmrj. ÍMt tkere
Hr( fWf cmwSCefityrwjn
• tke frty jw t ik tke lApjxr
A big pair ley, W tke smaller jm s
^liuvlncepi kw w tnM i íí/y tke n^íiui eu tke lw(r Im .
jrçnj> ir f tke íçy. The .fMVÍrLCtpi (re/)
tke frm t t f tke tkiyk /mII m- tke hxei’.c4f> n
itrALjkte*- tke Itwer itj. Tke katnitrinys
Çyreen) u»v tke frnck. t f tke tktyk fmII tn tke
bpuer ley Unes n herJ. tke Içy.
Camjwre tke cctmv trvyi t f tke A kew i kirU [çj u reyrwhiky iu r Jw
n <7 w rw C s, nviudy íecx*.se k ew mlw
kiAtrjtr. nîlcleqnuts U tkme t f tke
Ma m - tkeu- feet cm- tkejrnwd-.
ktrse <W tke íe*r.
A smaller pair Tke keel t f tke ktríe, híe m y kmved- fmjrjií, u kiyk lk tke nu-.
The ctiíf ntU ertemcrjnMjn uuert cmv tke feet. Tke jrrtjmtLHK u very ikfferent fnn\ n kunwn. Içj, but 11 ktv nviny
They w i le«Mr tknn tke tkiyk tnusda íecume ‘tMÍcywl fivn. tíemerrder tkitr mesclei nre tÎíoer ruew tke ttrlt
Target the tkey ktti/e leu »n/tt! n i w í |^ and letiMr nt rkçy tna/e d-unn tke LtrA.
muscles g r if a i
O nce you u n d erstand
th e basic gro u p s, you
G r e v fi
can separate th e m in to /i-fe
in d iv id u a l m uscles. For
fo / fT
e xam ple, th e ham strings
are d iv id e d in to tw o
parts: th e m e dia i (in n e r)
a nd la teral (o u te r) sets.
The m e dia i set actually
d ivid e s in to tw o m ore:
Tke cxifyaMp
th e sem itendinosus and ImIU tfn animal
sem im em branosus.
K v c ts sMt its tw,
Nam es like th a t can pu t
’n Á prtfieLt it -
o ff d e lic a te learners. b u t
n o te th a t, on a horse, th e
sem im em branosus
m uscle alone is la rg e r The urcrutrj n n f lifti <r fmt, w i /m IIi
than a h um an’s e n tire
tva íttcL Tke temUn.i t f tke e x te r n
u p p e r leg.
ctver twst t f tke jnvilt /nnjcía w. tke fm t
GfÚÜpnè Presents Anatomy

Part 3 The hind legs
Naming parts
Zvery detadjets a m w âtnes let nr p i f tkoxys
c*t and talí aífn f tkem.
K W \L L £ S
tW A S T fcN V Ç -
T I S K J D íJK I
INTERNAL STRUCTURE
t h e w s l f a c e o f a n a n i m a l is o e t e i l m in e o py t h e í w g a ^ c E Exercise your
inííioe, ?o d e v e lo p x - r/iy V is io n r o o h a w wtx A A v rH o m ry ... X-ray vision
Choose yo u r fa vo u rite
Study animal anatomy from books, and drawing, any name will do. Yourconcern p h o to g ra p h s o f anim ais
you'11 find that four books m ay use four isn't the name, but that its the wide point in va rio u s p ositions.
Place vellu m o r tra cin g
names for the same part. The part that 1’ve o fan anim ais haunch. Pelvic crest is fine. pa p e r over them , o r
labelled pelvic crest on this cat can be Most names, however, are consistem. m ake a layer in
found in any book - but it m ay be called The ischium is the ischium - theres no P hotoshop, and try to
d ra w th e pelvis. fem ur.
the pelvic point, the tuberosity o f the iliac need to distinguish it as the ischial
patella, tib ia , fib u la , and
crest, the tuber coxae or the anterior tuberosity. But you do need to know that ankle bones in th e ir
superior iliac spine. If youre trying to its the back-most part o f an animal's p ro p e r p o sitio n s. You
W eu A m ay fin d it to u g h , b u t the
impress people, you should learn ali the haunch, and always narrower (on the X
a tte m p t w ill help you to
names. But ifyou're trying to master measurement) than the pelvic crest. see th e substance un d e r
O f f im J f
"N 0té -—
O fT lK ti
Knee clarity
Sausage legs i<~nees htve seventl fmnfí t k t t
Cnartúlei dnCt kave intecaps, j<r tke ÍMe deesnt kave tke altemate fcr atUMurn. Tke
cns/> plarve-lrreak. tka t " e see en. a dvy nr a deer. /?«f tkey fatelU (kníe-caf) u
hwe tke iatne kasu> bme.t as ntker ivw -lçêd anuwls. tke rrutst pntrw.erf Repositioning
tuice tkew owUrtceys tend<mi ccnsiect dcrectif n tke fiant, 6>*t vt ítrnitfcts J *vhe^yçvíj t t jw d- a t
tá w Lhe a hlt-straj?, tkey kave (tt tke m se t f tke vtMaltsuiy tke wUeAyu^
tevertwe and can nwe very fast- tina, wktck u a im.es, Py repfliMusy tke
fix'ed friAtry m. tke * [eys and redrawiny tkerr.
Ivwer ley. Tke <Mter sêll ck
tk i fenwr, and tk< fa t f>ad
tk a t asven tke patella \
*/ken a kvrse U rebwed,
can ali seem kU tke ínee.

Animal anatomy
HIND LEG
FORMS
p o e jv iç l e t y o v i n v e n t l e c í p - M r o o K J ’r
e x i í r - u n t i l y o w c r b a t e t h e m ...
W hen we dream, or daydream, we imagine

realistic images. The trick is to get those images
onto paper. There's no better way to master this
than to use wireframe structures based 011 simple
forms. Anatom y is complex - but ifyou can see
the bulk o f the upper leg as an egg, the calf _ f
as a bowling pin and the foot as a stick
and bali, then you simplify your task fh
and turn the leg into a
somethingreal. .
'■ R o u n d ito u t
Y Huut Ítfí to n t fact fom arit in nmson they iplity
<Mt H<r< I a way ftr idv< if- ■ t e Acw tn tir{ Udy
r f tb c fifí lm v a cy L m lc r.
Segm entation
The -fUÍL ftrrtn t f tke kiiy
tatus ilvxpe ífjo * w w w
i t anÀ- woriL m tack part Block it up
as a xparatt mdt~ Black, /srmj fvrcíjovi íaítt ifxufic
cktutí aim t jpÍAn< írtah, and kelj> j
cku<l tke fonn intv cnsfntss. i
n«T also that frttn htkurjL, ym I
can í « tke legs facunj ruf a t a 1
50-<).o anale. 1
Wired forms
G et o u t th o se fa vo u rite
p h o to g ra p h s th a t you
used to exercise yo u r
X -ray Vision (p a g e 7 5).
Instead o f lo o k in g fo r th e
bones in side th e legs, try
to w ra p w ires aro u n d th e
Iegs. If y o u fin d it to u g h ,
tre a t each p a rt o f th e leg
as a bar o r a block, and
visualise a ru b b e r bartd
aro u n d it. From there, it / £ F fir jS
b e g ins to take on form .
'A PJC
lmaîné Presents Anatomy

Part 3 The hind legs
Ron’s robot
My It^dent 6j«- Creen uwinted- thu
cm tnw tún. <ts strm ye, h*t «-iefA fsr
iw U ritrtm iíny hvw fa. ttnürwl leWS fr irtn UJ -
huví leys. Tíy^ycur uvm, bttsed- <rn OMtvrny- J
V
m ,
Q o < < ic o (x 4
Artuti mwir sisnplcfy n ^ndentand. ífWy

aWj íUwiny.I m á j c UVí x i th^tt he a
y.ynnny twf tM rpntiew : fjhere thejzlM I
nr(, twU h<nv fhll hMf-fMvinyed- íe/^s wU
itvínas tv j e t «ííoKf.
Spontaneous art
T h e cr d y *wty n y n m te r À M W tA ^ u tn drtXM,
Ànw < W drtw - k ncr n Mrefuüy- Forelimb fandango
OjutL. aettural stwkei ^Lthjxn nmi m i Wí íteuwL cn. 8w hir~d IçyJ Hnd,
durCr alíewjfUH tvjetf* u y, env,e w l fvc, w í «,!( (MC <vmi w v l Ivtruü tr
th e y f r z t t c t j / o k f m t n c r e n tx n y í í W t v t retC > w i. jK» ptrftrtn*- deltatte tnih
theit Imil di'.fui - nlvit )ne Wenthedy edis
ttWlderiny". You’II lA^ftfnjíOvo- jhlll ky warU,. (iMdnWÀs swxd-
abm/ung uwnttàxrely fn m kfe, wfr<4i£ptUe m thew tvtns. The
«rd> MtU tV it rniM íe. dcfftrtMts ktween.
« \ i m d -fvrelitnfa
tv e w w ttr tluvx
' W kvw en. l(jl
WÂ- huut Içm. In,
the next CMf>t<r,
>ve’tl itv4y the
ftreLirós: anní
m leys.
THE FUNCTION
OF HIND LEGS
rH EY JUMP, THEY V\MLX, T>(EY RWN, THEY tc/Oc...
Once you know how they’re made and blink o f an, eye they can become a
how they're shaped, you can go back to weapon. A lever. A catapult. A spring. Rear
the reason legs exist. Legs help support an wheels. O r a bludgeon. Seeing legs
animal. They get it m oving to find food, through their functions reminds us w hy
or to keep it from becoming food. In the they're worth studying. •

Animal anatomy
PART 4
THE
Use your knowledge and observation to build the pillars of
balance and grip for the animal kingdom
ometimes you have to take how bones move. Another solution is to
On the disc
© things apart if you want to
knovv how they work. With
animais, that gets messy.
Beatrix Potterand herbrotherdissected
dead animais together, which served her
assemble bones on your own. I've
assembled a horse's leg bones with glue
and rubber bands. It's full-sized, it's real
and it impresses friends and family, but I
could never have done it without at least a
F ind sketches b y well as an illustrator. But dissection is not reasonable amount o f book knowledge.
• M arshall in
The F orelegs fo ld e r
in side A n im a l A n a to m y
an easy business: you can end up smelly
and confused.
There are better ways to study animal
The lessons that follow will help you
understand bones and muscles enough
to look at living animais and see their
anatomy. One is to observe museum structure, so you can exaggerate 'Ne stnf w n y tke swrfnct <íf nr. anwvil
skeletons from varying angles to be sure proportions, make planes crisp and n see •vlvtt tnxieí w w r i Artutit
o f their forms and connections. But invent your own animais - imaginary w jttm y ieyuns *mtk ti^ sí/letm..
assembled skeletons are often poorly put beasts with real legs to stand on. The wsre -fiwuluvycu. art fJutk tke
together and locked into a single position Let's have a look at how forelegs are inmcfJtri, tke w ot u n JmU tke
that teaches you next to nothing about made, and how they work. M y nrmnd tke bhhíi.

Part 4 The forelegs
FORELEG BONES Legs, limbs and arms

íH o v L ü e e i a n o a il m ç u n e uç, g v r
a n im a is h a v e
W irH A O/FF 0UENCE: TH E Y W Auc ON T H E M ... Anitruil fsrelejs vtvy *ntr< tkdn, kiíuí
ItyS. Prttmtes drU tke nncoent
j f t w i i jfcrA IsAxm U ve w j nnA,
W e have shoulder blades on our backs; fleshed animal, the upper arm is buried
quadrupeds have them 011 their sides. The in the side o f the body. That means you
knt\Âi Ne 11 W. nr nnn meclutws
shoulder blade (scapula) connects to the may mistake the lovver arm bones (radius
rovtltí next fm t - m t first,
upper arm bone (humerus). This is or ulna) for an upper arm unless you can
netu* t k t t tkere tve fwt ítrnes un.
obvious in a bone diagram, but on a see through the surface.
tke ftrenrty-.. rke «l<ut Ul tke frty
iW y n t tke M w tlvit tm/w
n n imnll 1Wy> a t tke
littie-jinyer súe t f tke
kntut. The rtyÜMS u n Jrwll
spuwuy MtÀe tke
eléw, wktck iivelís n kcU tke
0 (e.c(i**ri wrut ímes n t tke tíwrni uAe
fc o c c it r f tke knÛ.
Unruii, níK/tjiy klwe 2-9- ítMÍ.
tei/eml sf tkein in tke Mrut yr^Su
<t luryle Torir* wlled- tke wjxxl mmj
Hitf&l nnimth knve m îk iimjrler
M mk l strv\ct*res. Tkeur mdvAí w vl v<.Im are
{s-id ttjetker m tt a unyle fyrenrm.
- t/JnS í« t we itill dunnf*uk tke eüw
(c * < v l 8 ***7 jusrtviK n\ tke <Am , and- tke m s t
fHtrtun. m tke nUiKj.
f hh «oUM« x
S tí* " '
SZSTM
Not ali is bone: cartilage happens

Hirnei nmC vtker !mrfe<C munAs (my^Lttes) kai/e ovtdnê a t tke tnf>
0/ tkecr íkwUer bMei- OvHUae êars wny, st nwse^tr- lume suletm.s
sp/we 0 F
w-Ay njfenr tv knve tke n f part t f tke m f^ U ckcptred- cff. uvw y kqrsei
S d K fU L / y
hwe úryer ikvuUer bUdes tknn tkeir dJfU reUtu/es.
fo tL û m d
C L tH \c ie
fiK D lU S
CW H. u s ,* e t n
OLfC^MOW
r fftO C ÉÍJ /
of
O lc c r **» *
p r o t » .* 5 K VLNh
i>ir f r)
/*\£-f*cftKfaL5
F |N & t< S * “ t>

* < £ -PHALV-frCí"
liriaginé Presents Anatomy

Animal anatomy
BONE MECHANICS Shoulders and elbows

rAc lííü ítckrJMnt r f fA< íkwUer Mltwi
sttrê n ftttcn ftr itn i » í t j/>ot ro- í-ímsA onf
FOKjElEGÇ FOB. tJ A ü U N C . iF THEY <4líC h a v e r o
íPlIsl OR. CRJP, THEY NEED MOBjE COMPlEK ÍTRA/CTV>RJE{... nr tke lUe, <u well «ti ivrwnnL < W átóL
IS ® « l / - jy n ií 5P nS to
a- M T<
O f tke fwir / í w t n bma, tke Ana is

otdy n kínye. Anitrjtli wttk krtrjü
‘tilt W H rítdiMl tkxt ífiní.
Arm mechanics jK fr <11 I w leps k tt/e t w t fam a, s t t o lawer <tr m . r k e t o f fe r e i u e u t f W - we
firmí fireivmi ipin nrmrji. ! t w lf>ui n kit. l ^ j f t r t tw ttln< ! Ivi-tk w Içyi, è u f use o u r tírtn i t t j n t s f l to v l
Sttne tire fiXÚL Ui tt ftrwttni f)tiUitK. rke Am toesrit sfttv. Ml i t «o», to u ketU *vU stmtykten tke ttrm vkt
r<\ÀV*s, IS sejxtmtz ttwi revtL/fí ttrmtuí tke ni/ul t t Sftn tke W . wAtfn. it)
ptrMltl n tke A m , nctk tke tlwynh c*t tv tke sUe, ws sûie- wken tke
nttons crwes tver tke A m , CíVrtytM tke tk»*trd ttwurd tke ktdy, w) j>nne.
i V
HOMEWORK
ASSIGNMENT
Stick-bone
forelegs
QjvUnyeto ui
tkeur w dtíy (1r sfun tktu-
Ivtrjfa. Cttts to Lt tpute
usually best to dra w the
ulna b e fo re th e radius,
êll, tops M t "is well.
because th e radius HttfM nnur^L w í t
d oe sn’t a ffe c t th e u ln a ‘s Sfin tkeur ftrelçys ttt ML.
position. Keep it sim ple.
Tkeir rtvU*s 6me u
Don t t r y to learn
fore leg an a to m y by Ív.setL irjv tk t Àtut,
dra w in g fore legs: rather. Itcked. st th t t tkey atn.
learn by d ra w in g th e ir
5 0 fM U K T )9 tf ruK, (fn-t n tt rexck t* t
sim ple com p o n e n ts.
wuk tm «j/reuseM- jxti/n.
fVl i)f~ P*/m d a v J /1 -
C o '/ ô
O Ô Ciidt b Jf gl&fAT Ooír

Part 4 The forelegs
FORELEG MUSCLES
THB m v SCUES IN! FOfcRECí ç im il A r. FOIl A ll A n im A l í,
e v r r H e v a z j A ttonç a h e m a n y...
Human arms and animal forelimbs have Quadrupeds have smaller and simpler
many, but not ali, muscles in common. deltoids than humans and apes.
Not only do our upper arms extend out O ur lower arms spin partly from the
from our bodies, but they reach above our pull o f two special muscles called
heads. It takes a deltoid, anchored to supinators, which make up the ridge o f
clavicles and scapulae, to lift our arms. the extensor group.
lfo'l<Í
M í d f l jM Íl ítM S. The m q cr muscle 7W u The trajxnM ! m á U tw urw s d tn . Apjreexr

t f a herses ihoulder Are the tn cefs A nd íaiye on- AKAtvmicAl pintei, (W have U ttie
detn iÁ . Here */e see th a t they fath Anchcr e ffe c t on the ftrm 1 1t f AKt,míife. rh e
tn, the ica/m U. The d e ittU jMlls the tmfeOMS u t h ífi And a n sver the t f t f
ívreley w y fn m th e U dy. The m ceps dcefer n e c i m^lcíes. The lAtlSlLmui * íw lly
exten d the ftreiey. Eten rh o y h lurnet Á uftpfem a í i t h*ys th e fone-, i * r t t c a k
C A nt .1fin . th eir w w , they hai/e A sliyhtiy (Aow *f> a í a cm vtx iL v ír cn the siÁe.
helue-m j>edgnM f A t th e rU ge hke *>e d t. By the to n e w e je t t i the metAcArpAl cn
An w -y^ítxte (m a lcyeu.1( r cm r h an d), the
nw sclei « a d eef And thw , th a t artuts

d e n t Stw iy them . The ítn ei, u rA ffed tn
LyA m ent MÁ- ilu-n, crente the ftrrm.
Simplify complexity
<i*j>uvitmAre A,ynMf>tf twr
nw icíes. Ç m m m Are a tf
three- Ftertri c m , ire sepAmted
W hat arms do to hands
tnrt- ~fwe tr mure, lW th a t s tw
BíTtnjars fMÜ cn the k<vk- iid t cf th e httnd.
trw ch Ln.firfníttWH. They Mirk. Ai
f^lttfrs fM.ll m the j>A.{in Side. dench j/n ur
jrn u fs , Io surnfkfy.
fvst, AndifcU lL fie l the fíew rs cn^yow UUIÁe
fureArm lutrden.
On tn a t m u m Ii, the fiertrs Are (Mcked-
w id e r th e tnjU e t f thew fvr{Arm<, frAreiy
vuiM e cn the M titÁe.
d n
Chest muscle
The jU cixm Li in yo r Anchers on the chest And uuerts in tt the Iw tn tru j (r
f>Àl the <Áffcr Arm i í w v a r-Á íc fr the imdy. ir s th e SAmt m *sdej<M m e tn
iU <rg fM tluyi. i f j/kwj on the m rftvt Ai fw r vA tyiny ftrm i tn ecther
sU c t f the e w t n itr^ 0/ th e chest-
On th e htrne, M tice the rhythm t f c tn vef A tvl cm cnve lü iei. The cviter
cmUTMr.í tenÀ n ie m tre cani/ex. The u in er iim h frvm the f m t i/LfH M ve
M ticeA Ü y mure ctncAVity.

Animal anatomy
FORELEG FORMS
/4N/VTOMY FOR. rtRJTíTT fí V/ÇÇLKí UNLEfÇ
THE ÊJÍfrC iV /E f íT F O ItM ...
The scapula and humerus create the point
o f the shoulder. The scapula hugs closely
to the centre line at the top and spreads
out to the sides as it goes d o w n ... but that
gets complex. When you construct a
horse, it helps to simplify by seeing a
wedge form, which is true enough to the
anatomy o f horse shoulders, but simple
enough to master from memory. #
5K w \d tr
Breaking down knees

Hcrse kneei <v-e very bvy becM.se tke ctvftil knes nre
<Ki<WW tn. rwr frexbiHe w tk n t threctiy x f f u t tke
fm-m. niate tkn t tke fetieck.jtwts <ve <îte spkenuti.
\ v ta ie
-A MS a f£
The problem with cats

C*tts tve Jt fie n b ie tkxtjp au c tu ít m e tke
ítw yle MeÀge firtn you. *se f jr krrse skwU ers
Its iU ff\o 4 t nr suryU fy s*ck fiu u í nnunrtLí
t r Jv in * firrtns - tkey tire tw re ciytinLC, ttnd
qrefKter clvillenye- Yew rrw jt see tkrv^ yk nr
tkeu- frmes, ÍM t yov< c « v tk is w itk íunf>le
stick. ftm res. For tk ree-ifw vter voems, fMM, .
tk e stic k cntz fzies, d n y e srnê fie ik m tr I
tk e pqiei, n r ji tuU/ cnsi-cmtTMrs t t be l«re 1
crrf tke tkcckness. I
Horse legs
C o lle c t a dozen
p h o to g ra p h s o f horses
th a t in clude th e ir
shou lders and fore lim bs.
The im ages can be lo w -
re so lu tio n - in fa ct, th a t’s
an adva ntag e, as it w ill
keep you fro m being From form to function
te m p te d to copy
surfaces. Try to d ra w A cttt i W<v k*s textwe nrul s*rfau tk x t 11 « « nr see, o w m h nwst lewn
th e w e d g e fo rm o f th e nr see tke fim*.. An/ttryry kelt>s, é vt vt rw y o e t wneceswrtly crtnblejc. A
shoulders, th e blo ck f w li <? sunfile Meck., « w tv tke fnmt, like n wkiiky fieuk- Moiwotm. km/e
fo rm o f th e ca rpal mass,
<r unynníon tk*Tf- kelfsjfu see tke frrtn, «v*ntwe, mÀ- dnw it.
fe tlo c k jo in t. W hen you vke reltftvnuktjf r f whisky fÍAih nr <t a tts f w enÀs tkere tkey kme very
can d o it successfully. tUfferefit functicn.!. Cnts knve cUws tv survive tkraviyk vlAence. Ç v e n jw
m ove to th e n e x t g re a t
cha lle n g e - d ra w th e
kmsecnt, wktse mdjf renitrn fvr M t ettiny^yM- u tk a tjw r e nnr Uiye, cak da
shou lders and fo re le g s in jç\a lerurns dAtrAye
a new. unseen po sitio n . For fAnctim, t t ytjm be better nr see n cnts j>w <u » stnpler, iwuzMlrUe
To m aste r fo re le g s, you
m aster th e ir form s.
tr Twr cf tkese <ve nr /Mree. Tive rf tktnn tve sjnny-
íxwUd Ali tkree remmti kí r f nlutt n cittiv tUes.

Part 4 The forelegs
FORELEG The piercing

ck»vI y w y cnr o/ ^(VJ t t Snf- <,/
FUNCTIONS irMícles cAn, vrdy fx4 i, Acw cat* they prvject A

clsw ckc <W- íiiv<iy frwn isviy111 tAÍes
FORJcLECí WPPOBj; CW HlON A FALL, ivtk. ertenurs (tv p A l ía c í tke /pkalxrs, vr
W Auc, SPRjNG, SCRATCH, POWND... fin y e r bvnt) ArU- ftexvrs (tv fM ll ôwrt. the
cl/w ) w rím y tvyetker tt renc-k
Tku dv^rwn jAcwr kçw c t ) done.
A stronq support
for shoulders O r x e jw . Ltow Acvv a cA t citw tvwlb,j/iM
Tke f m t Creet ítW vu luU m pedestnls: ía k fv ry e t ur a tU fkiupn, aijto h like. ShCj/vu.
tkey,J*st went strALykr tr.tv tke kw- Aí CUuf nw -it^-t fv r je t tke fw s tiv K . a chw u a set a f
é iM ttm a lD Qt/Mr
they ei/aived, they « « ju/en feet. knw ei tv itvjxúe, cr A ifAÁe tv t y , vr A AccjL.
Lvny Íífvre Creeí ícIhíjwí,

am im I fvrílçyi were pd lw
ftr A prAzttcAl reAim. -
tnvre tktm, t o per cent <tf
tke kemts netgkt reta vn
tke iwelçys, aímCpülan are
M tv rt.c u .liy I t r m y .
Fcrelçps hv/e funttvcni: f>dUn, slwiei, kmis,

jbwo, lUdes AsJ, ij/AiCei, ^renckei atjI
fiken, cUtrys, vices, wa /wm, skueUi, fAtodei,
Cvif>S a s A - ío w lj...
Yiwjvk u nvt tv cvfy îlutt^jvu. iee, k*r tv

wvtentArjt ww.tyiM see - Atuí tv use ycur
ihili tv creAte Mwreverjcts. clmie.
t
))
w keH jfa u . iee a k m r f as a fv r m ,y v u . c a k d m w

i t " c t k s fA tv .l c r e t k id i ty . 'N k e n j v * see i t a i a
livre vr A c le A t vr A lf>ÜU vr A sleíjyekA tnm er,
From pillars to spokes tb v M y k .jv * . c a k eX AyyerA te i t w . t k m e A n c n y .
PiÍk/3 imy f>*t. 'tjxslui revdi/e And jnvUe a wnjutenr stnny

Mfflcrt fvr a pwniny ivAetí - tke lAtne Ai A itrAiykt fvreley Wv
An A^MndÂllvjliny At klfk speed.
Iiríaginé Presents Anatomy

Animal anatomy
PART 5
NECKS AND HEADS
*!• -• -
Discover what this part of the animal body tells you

PÍÍÒFILE about the creature - and the traits ali animais share
: try to make anim al anatomy Human heads rest on our necks because have incredible noses and teeth. But the
© easier by comparing animais

to humans. Unfortunately,
m any artists barely know
we stand upright, and we have large
craniums because we rely on our brains.
Apes have smaller brains and greater jaws;
big differences between animal and
human heads are that animais have a
snout that leads, and their brains, rather
human anatomy. Robert Beverly Hale and because they lean forward on their than being on top o f their heads, are more
pointed out that an artist w ho knows knuckles, their skulls sit slightly forward towards the back. They hunt and run.
human anatomy can learn animais from their necks. Quadrupeds are They gra/.e. They don't read magazines or
relatively easily. Part o f the emphasis horizontal - their skulls extend from draw pictures or concoct fantasy worlds
BSU B should be on 'relatively': it's still
something o f a task. But the most efficient
their bodies.
From these basic conditions, skulls
and write them down to enchant others.
In thischapter, you'11 study head
and fun way is indeed to see creatures as vary according to an animal's need to structure - but we begin with how necks
people who run around 011 ali limbs, survive and thrive. Cats, for example, emerge from the torso, and hold heads
noses forward, fast and strong. have alarm ing eyes and teeth. Wolves that face the world.
You can tell a lot about an animal by
the position and proportion o f its skull.
tn fktSt téSSffnísj/UH drffvv (r trwk/ * ffa t

w f n & t Ic u Jl h J u t f tv tn ^ r v v tn - fir n w c r U
<rf r{M W iW V fll. Thcs U ítm iK f

ptHéJ 4/v i fUíh rk w y h cwcfiM. tbvtlystj
cind- rtcklcu W HjUk.

Part 5 Necks & heads
THE NECK BONES

M O fr m eck goK/Eí *e le deep a n o H i d o s n , e v r n h e y
A P F Ç C T T H E ÍV tiF A C Ç W HEN M O V/E...
Sri*
Mice have seven neck bones. So do b c fa t A
HO
O M E W O lH giraffes. So do humans. So do almost ali
A■SIGNM
S ENT mammals. They’re called cervical
Get familiar vertebrae. In a human, the top one

with the neck (that s C l , for Cervical 1) isso deep
Treat th e neck bon es as it can't be seen, but in many
a sim ple line, b e g in n in g
animais it spreads out near the The
io w , usually w ith a b it o f stretching neck
an 'S' to th e curve. W hen head and can be felt on the side,
yo u ca n see th e c o re o f A lutie movement between, eack
behind the ears. it’s also known as
th e neck, you k n o w w h at neck. bcne <vUi n a Itrtrf
the Atlas bone. Its wide, and may
pa rts o f th e flesh squash, mm'.ment for tke nkde neck-,
and w h ich p a rts stretch. even look like part o f the head.
6wf n th n y mm.cn k*ppcnJ «tf
tke AtUs farne.
'r t o d '
p i V t f f / fls io e .
lie n<-cK
Taking the head to the ground

Cm iír g ftru/nPtl\ lutt/e n ecis tkttt reiich tk e jr c w Á . A h in tern a i
lia w n e n tje e í fnrtn tke fin e in .tr tke in v i t f tk e kífuL like t\
U ije , fiiT iiU tvjrber íw U , en n b lin f M Íl tv ítretck
d w n . nr t k e jr m n fee<L.
hvtn n HtXiÜe neck. wm U never r(tv,k tk e ^ n u n d rn <t
kune i f tke vertebm e beyeu'. «tf tke tt/>. Tkey begir. íew,
altm st katfw ay dirwn, tk e fr m t f f tk e slw U en
" R o M o + > * \ h < ip r* j
C onnfcts -b M . s K o ll
(cccvicil)veffcbr*c
»■>

Animal anatomy
ANATOMY AND FORM

OF THE NECK
l&avç com plex n eo c a n a to m y r o t h e veterjni^kj.-an - ^ b jk tt
can íimPl/PY NEC*. FOItMÇ POR.THE IMPOILM^TTON rHEY NEEO...
s/j Neck muscles have inconsistent cephalo humeral (from head to humerus)
names because the structures or other variations.
f TO. vary. The muscle that goes The names must not bo gyo u down
\ from your collar bone to the from your concerns. Lets look at what
a. bump behind your ear is animal necks have in common that artists
'Í V j the sterno-cleido mastoid. need to know.
Cleido refers to the part that
connects to your clavicle - but most
animais don't have clavides, so that
A shoulder base muscle m ay be called the sterno-mastoid
r k c tcrsc u t k t fiM ir M ttv m i f ! (sternum into mastoid process) or the
tk t neck-, mkick m tAr-.i t k n t V
W í usuxüy ítst n tfy u i «ttk,
tk t ferirj s f t k t sknuUer n c r tA tt A core of bones
A n tc k - l^ tc k l A r t k i w tlly A h t t k c c k t r A í w c tk AÍÍ A M tc m y , dçr. t wvrry
tVHArd, t k t VASt un, cnsi-stctun: tk ty u rt A tm ut k u U e n tltfrull unltisycu rt
n v e t í / tu s u t ( li ^ A tn tn t , n w -ícit AnÀ- fa in a rtstArck. í t t i t k t sit n f k a t y
f n t ) , S c y re w u y p u lli t k t m i/ v f r if t k t neck- cs rt T k x t ccmts first,
A d t f k H y t t A n ln f i- lc v ii n f skupt. tk tn . tnu.scltj.
'f h iM c y t r í* n u k V trk w e .
>fc cx**fKy~ .• 4*00/& M fi yooclfe*) t fc k i
A rolator set and a throal network

Tkt yn m t A s s tr tw t U
r k t r t A r t m A n y neck. tM ic le i t k r t t cv trU y ( e v k trtktr.
frctr. k tk m jí- t k t tA r
t k t j r c u f i C> vttk i/Arytna n stm es) t k x t sfim ls
L t k t s k c u U tr jK ísx t Tkt tk r c A t U n w l t u p trf n w s c lt, ttnjicn, k j M ^ t n t ,
C A rtilA yl, A ru l t u t n A flcAtiny U n e , but uts w u t f t t v unylijy k t r t .
W l Tkt t k r m t ü A p A M y tw ty , A k a t cr, k t t t t r s n il, A funntl. i t m s tr ts
W ítV H ttr i t k t spirA lhny neck. jr v u p .
\ 'f h r o q f if(1o
C o U to r jj r ô u p
Squash
and stretch
You CAn. stt tk t Anwwtcrs
prmafle f f stfuAík A rJ,
strtttk irvst omWy A t
tk t neck.. Wktn. A kcrst
tums uts ktAÀ, (r Imk.
frtkíwi. utstif, ene stt t f
sUt muscles cmtmcts,
nkile tk t ctktr íUt rthvCtS

l r i r f - ii-
ns.
5Í l zl
i *3 4 §
f f f l l I fc
H i í f f I*
» JI I
5 5 S > 5 2 f
§- S ' g 1 ^ ' 1
§- f
’ 3 * !
•s ; j « í
i i 1 1 :
' t % 3 3-:
j» S f I
Animal anatomy
1 jo in f
ANATOMY AND FORM

OF THE HEAD
A N im A l H5A0S HAVE M A N Y MfcMTTONf, A FEW COMMONWUTÍK -
AND THRJEE OiMENtr/ONÇ /Kl EVEfcY CASE...
Skulls have m any parts, so you must (orbits) face forward on most predators,
^ /5 o /w A fl^
simplify. The cranium is the brain case. and to the side on most prey animais.
lt's egg-shaped, which is obvious in The upper jaw is made up o f the long
human and ape skulls, but not in many protruding nasal bone and the maxilla,
animais because it can't be seen. It's very which simply hokls the teeth. The lower
small, buried under a cranial ridge, and jaw (mandible) is the only m oving part
covered with a large muscle (the on a skull. It has its hinge, the temporal-
temporalis) on the side o f the m andibular joint, just below and in front
head. The eye sockets o ftheear. •
Multiple views reveal forms

Tke sL4 l prwUes tke structure ftr tke ketU, u stuAy tknt beforejv*
itvUy tke fextweí ut knuses- As usuM.jiu. need n^Ãnple i/uew
Yjw cwrCt see tke wUtk <rf n kewt, fm r. <r sUe v w jz u Med n tip
vie* tv ik w tk *t tke nUest pnnt ok. tku Iccns ke*td us tke ckeeiím e
(íyyvym tic wck). Y«w cm ít see tke */Utk t f tke reetk fmm tke sUe
j/o* need. #T fnrut Vie*> fr ikw tkxt tke upper avur.ei nre MLder
tkw i tke lipMer cAncnes. Andynu. c m ’r telí tke keiykt <rf tke c.rnn<Á
rUye fnvn <t tvp w<iv jau . need * iUe M * fur tm t. Multiple vt€*/s
CMWL
eM Íiejs u nr drtw n kctU un. spwe *nd keep tra ti <rf tke pnpotians.
K it#
crA»ités
^ ò u J ÍK
CKH\H£S

lt’s tricky to tip

T ipp in f ene of tnese rtw lnple Vtf*/s u i i/m-e u w .je t ir^ in d -fretlin yly ccmj>U/. Tke
scUtvtn. u n rtd M { k i*U fr k y fcrtns íefcre pU ciny smnll parts. G e r je w kenA
<\rwntL tktí, ‘tnd-jpau.re well <rn,j/ow ítt mPUtertny kend, tnovement.
Relying on X
NiirfWí tknt wketker n crentv-ns n w tk li
c/xf. cr clcsed-, tke * lines (tAcwrt. kere m

crtungt) d fjy s s t y ccnsutent TÍwt am
heipjM wkeH-JMre wrk.ru/ cn et (ífíkai
cnntw es kemi nrvCjc* nted, tc iccnt< tke
dtítnnt avur-t.
1/ Placingeyes
'h e eyes cn prty tvattvtll Uch m t tc tke suie - Scrt tf. rf ct
«*« ( M f surrpV’., n cfluvler dcrcss tke sÍm II *vcntó scit/e tkeur
pliteerneM-. Om, m/at prey (tnvwiís, tke eyes w e M t ctsmpiereiy w r
tc tke sute, k * f nim eil skyktiy frrmrd,. rfj/vu. pUce a cetxtre pcuit
eirni crente tw ccnes duüryuM frct« tknt centre,jc * Ivive a stm ctwe
uv which tc fb w eyefaüs.
Take the antidote

A li tk u tw ü y tic n l m rk. u M cessnry fc r
tw vteiy, b * t t t ’s n «f tk e erU of w. Wken
yc^ ve nM tchvy encuyh tc ccntrd
tke fvrtnsj c * crente, d cK t fc iy e t tc tnke
tke etntU ote fc r fin ichiness. òm w fts r ;
A m h reckessly, A n w fc r f* n . Ycvi Y w y <ár
r kest m r í w k e n jm l e t jc cf^ycw-
irj-ellect w Js fM cw jew unpÀses.

Animal anatomy
PART 6
ANIMAL
Find out what animal faces have in common with human
faces, and the crucial ways in which they differ
! began this animal workshop observing the world - the fact that living simple forms based on anatomy. Then,
© with basic forms, then

worked from the torso to the
hind legs, forelegs, neck and
phenomena come to us in mirrored
halves. Faces are essentially symmetrical.
If they were simply flat, artists would still
when you have a solid structure, find
expression: glorious, fearful, attractive or
amusing symmetry.
head. We now finish with the the most need perspective to represent them in As in previous chapters, we begin here
emotive and expressive entity in life: the three-quarter views tipped away from us. with technical lessons - including how
face. When William Blake wrote: But they are far from flat: they are made perspective applies to the structure o f a
Tyger! Tyger! burning bright ofseveral 3 D components, like a puzzle skull and how features themselves are
In the forests o f lhe night, o f sculpture. made o f three-dimensional forms - but
W hat immortal hand or eye To draw faces from any position other w eare heading toward a common artistic
Dare fram e thy fearful symmetry ? than head-on, and even to draw them purpose: to create pictures that channel
...I le put into words a mystery that has head-on if you want them to look feeling. I leads display faces - our final
r r p r líK N r c n lir l rp H u rt» t h p m tr» study o f animal anatomy.
Draw from life

s/wf- t f n tntflel trr i fir m Icfe
l e m n * ûsur u c m trr r t ilM if e f n r k
'M .tkjw r sk/nkM i, nnd-ynHl fin il pier.ty o/
iVilltnf iwjects. M if jpcnfw/trtHS ianbtou w A -
w s r t uru-tU ptk it w U t I.
Tiuj a n fxncã irw u ng t f n fitce

tív tr M i e r t d r t v fe r n f^ N weelu-
N e w L t) Itrfcly u n p r u s tn td on ff t f t r ,
tu/uljuw « v lume trwHt.

Part 6 Faces
UNDERLYING
STRUCTURE
NECW H olô HEAOÇ, A n d H E A M H o l D FAC&.
l e t ’í rjeview b a í i c íto jc tu c ^ í ...
Bones provide the hidden structure o f
HOMO M E W O lH the body - most obviously with the
A ■SSI
GNM ENT head, where the skull makes most o f
Box clever to the form. There are m any small and

carve a head interesting parts on an anim ais head,
Choose tw o vie w s o f an but 110 matter how perfectly a nose,
anim al head. D raw th e
an eye or even an expression is
sim plest box in to w hich
each w ill fit. Then tr y drawn, it looks awkward if it doesn't
ca rvin g o u t sections to fit onto the skull. So we’11 begin with
leave th e rem a ining fo rm
simplifications that enable you to place
o f th e head.
features where they belong.
Thinking inside the box <

íWÍS Ari ctmfliX; tícxil Ari ümfili.
Useful reductions a c m flír fcrm o ifr a ínx kilpsjM ktip
H ir{ «ri stMj>U,Í!í<tWW t f m tniiy, IwmAn ArJ- chonjr sh4ís Rj triwk. t f MÀ-th ArÁ diprh luíes. A inx u
them (r thttr itrviciwtil ft^rUAtuns (M ilií j/ck tt td t A hlAii- mírr iutffÁikny ftsr priasi a n itn v tw i, ArU
m m y M * fxsSuticni, <vhiri referina u lackiil intv A siHfii pttsaw*. trAtíiny tke Lnií CAf. m A k ijw tfucci
slutCMM meri AZCMTAti
Eggs, boxes
and cylinders
Using th e sam e heads as
above fo r reference.
dra w th e cra n iu m as an
e g g , th e facial stru c tu re
as a b o x o r cylin d e r, and
th e eye sockets as
cylin d e rs o r cones. A li
Forms first
o f th is is p re p a ra tio n fo r P y AÍi chi A ttiM vsnjt* Lhí nr íwmps Atui- [ yqu must mXSfír first■ <f ctMuUnny a kewb mnítiry t f Itaslc ftrmi m y tokt mmtks
featu res. Alw ays b u ild jrw li And detAils. ifll miAn thvrjw \ AS A ktX, A Í aII or ah i j y siim s t n SUnpU, t f Stwiy, riweirdiny bicA^Si tk i kuUin.
th e house b e fo re you | «<tcr víK tãjt H try WS A sU fficA t Ím T srrwtw-i t f shdi ferms ecffitts tk i jnSLtim.
dmWLtvji ivdi iirfriss jutpii, tMt W m#y
s ta rt han g in g curtains...
ikítrActj<M from tbc Íaíu. stnu-twi r M f \ riw rd w y fm L D ifficA t iacm si thi t f ii/iry ditAii cm. An AnimA ’s hvU.

Animal anatomy
THE FORM OF
FEATURES
E Y E í, EARS, M O f B ANO M O v /P -fí H A V E R J E M A f c M g t Ê
V /A rjE T Y , A n o a c o m m o n ío u o í T Y ...
Features are not painted on like colours or textures. They have their
own shapes and thicknesses. Here are some observations to help you
see them not as surfaces, but as smaller forms within bigger forms.
Thick, not flat

" . í ( / t i b f « It
when. eyes nre m n fin t
a jrf[e r SaonJ/t
fU ne. ns they (nlnvnrí nre
cm, h*mj&is nnA- npes, tlw r
4 n J M ’r b w c -f? r s [ /s * fa ffl
sumplufies fureskemníny.
fiVif ok with
nMmC hemií, the tUítAKt Making sense of ears
eye wrnps nreuntl the Çm nre tnwk of i/nryu kuU s t f sLn-, cnrtdnye, fn t
nwUness i f the sh*ü. nmi (ftr these enrs th tt mcve) severnl rtwscks- S u f ftr
nrtuts, nn enr u vnnÁe t f me M ce - n vntiUfietl Mrn.
thnt a used txjn th er seunA.
f/b ^ <ZA(5 q f t i y f r w c i j -ffty tb lc
filo / opm, ffo f c l o x J
Eye as bali
Ali eyebntli nre spheres.
The \U. u n shenth, níMÚy
mther thu-i, thnt Mrnps
nrewÁ the M i
Curved surface
Ever. th&yh m or t f the
eyehtâ rests tn. the stcíet.
the surface u stiM c*wed.
Cet thu cMn/e !><yy<A
isefsre renÀtriHy.
ImatJfne Presents Anatomy

Part 6 Faces
Snouts stick out

O*/- neses Hre measly arMWíd- fr fnojf- w m - the tnncíie of an
anunal j Mie cwd mouth fryects ftm ard. 11 kelfl fr see it as a
pyluuür cr a ta". tyhen <? n w zilt LI ta <í three-ÇMrter pcStftcn, tke
pUv*ei w tk detwis, Liejc*ái w netnls, «vttt yivrjfcw a r/w-<;<r-
íUrr^nJunAl m < íp f r h eifjc* ccnfçrm tke detadi f r f A í j f 7 M £ ( w / .
Hcrse MStrdl, kíe tkeur eyes, ja u scme^kere tretêen iumard
and tt-tke-sUe. T?v»r ccnes cnn Mpj/ou fcreskcrten tknt complex
arranpement, ír*t u i sctne extreme ccwhucm n h e n a kcrse u
rH ru u n y, tkets M S trd l may a o n fc rw a r d l ú u sUtyvin torreis.
Trunks and boxes

An eíephants ncse Ci a fm nk, whtch cok ckanye duecttcn. Heres on anMysu o/ Acw fu
HpjlentmÀ- the bendtsy fcnm. Tke kcxes are c<Ànwr-ctsM nr kelpjc* keef> track. o/ tke
duapjrearing f>lanei. The fcldl and wrtrjdei cn tke fiesly tnvik. act <1! crcss-ccntmrs -
fmpectvw Unes that d efine tke tht^kness ali ahsny.
Ja w s as hinges
Jíftvi are lU ^fle frcm . tk e lU e tk e y rt
k n y e jn n ts . Fnrm ctker anyles, tkey
nv\y appear qîre tnAnyÀAr - Moder
a t tk e back a n d n a rre* a t tke frvnt.
You m u if a n «set*. wkere tke sUe
a n d fn n t t f tk e ywMtk m eet f r m ulu
a ckanye v f planes. in. tkree- (fv w ttr
voe^s, cam nes m ake <? ccm/envent írreak,
a cti^ y <11 fr m t ccm ers cf tk e JW . »->

Animal anatomy
ANIMALS AS PEOPLE
HvmMnjí A n o S E A m HAVE THE íA m E PARTS i n VAnyiNÇ
Compare P Z D P O R IiO N Ç . LFT^Ç COm MBJE...
and contrast
G ather refe ren ce o f
Socially, it might not be a good idea to them ali. Comparisons are the most
anim al faces, and d ra w
th e m as p eo ple. The compare your friends and family with efficient shortcut, and the most fun - Precious piglet
m ost c o m m o n surprise animais. Artistically, it's a very good idea as long as they don't end up in hurt ÍO W VftM ít A ÍMnvtn 7 W LtUpUrfí At\
is h o w sm all hum an
if you want to understand facial features. feelings or violent responses. ahum I a «Mmhey, a tntuie, a lutren,
m uzzles seem c o m p a re d
to anim ais. Seeing th e There are so m any variations o f animal These metamorphoses, courtesy o f A CM&, A WASel, A c k u r f A ! M { < - A f t < r aU,
d iffe re n c e helps you features that it could take a career to learn w w w .banedarkart.com , make the point. K/htt u A cImJiá M r A tnllunf A n u n A Í*
n o tic e th e form s.
Big bear
aspirations
rf y m IacÍ. ~ftr uUas «wm.
c riA tm f ckArACtm. nr i f
■fxtU-^yavself ix. A m f
tftA tvn y tke IAIT4 luM rwn
diAi-ACtir mt r Atid w ,
try iMUny am uwL fA tts fnr
cnípWAtvm- Tnty cak
pnvnj>t vinii/tnfiL ArJ,
MnJJfM /rtcple-ty/XS.
Morphing
magic
Try p a in tin g a m o rp h
b e tw e e n an anim a l and a
hum an face, like Bane
has in his studies on this
page. The challen ge -
and th e le a m in g -
hap pens d u rin g th a t
tra n s itio n stage in the
m id d le illu s tra tio n .
lmat>tne Presents Anatomy

Part 6 Faces
Pencil head
I Iwi tT d rw : i?'s *rv
iM tiít i«r fíikn yl < W
n pUyyrtMnil ftr uCems.
Draw stuff you like

'N kntW ir fn k n fjrcH k a v {,jw . CM, on/y brin y it
t u f « ífA p rn cn ct. T h í n viri {rêyíiH t the j> n vn ce
U, fh e more ItkeLy i t ll t k w jt U tí. i& p <tf i t
EXPRESSION IS THE
KEY TO THE FACE
T H E FACE t í T H E O U W N íin g ÍO G ETTiN G T H E
EXM LJFfífON ÍU G H T WILL GlVE YO UR.O M W IN ÍG LIFE A N O M E A N IN G ...
It doesn't take a trained artist to draw an hard when the flesh stretches. Technical Anim al faces evoke feelings. Their
animal face. Children do pretty well - skill helps you understand forms so you mystery, strangeness, terror and
not because o f their skill, but because can point a snout toward or away from splendour are more marvellous than we
o f their emotional connections to faces. you, or exaggerate a creature into could ever imagine on our own. The more
Most children, however, hope to have absurdity, yet keep it looking real. Get to it! you feed your imagination, the more you
the grown-up skills that we've studied Technical skill is useful for anyone who 'Nitk d l the vnncty t f can reflect their power in your work.
in these six workshops. makes a living at creating animais, but it’s nrujnnis ft uwettf, <t I hope these pages have helped you to
Technical skill helps you understand only the structure - the heart and arteries. Icfetum ikesrir sum draw animais, and inspired you to give
anatomy, so that you can keep the bones By itself, it's dead. F.motion is the blood. f w e Icnf tM w k... your viewers the best you have to offer! Q

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^ Imagine Presents Anatomy
Digital S u p p o rt
files for
these guides J
are on the 1
disc
art skills
Expert advice from professional
arfists, written especially for you
Workshops
The sort of advice you'11 find
in every issue of ImagineFX...
éé It extends 98 Creature features
and energises Combine human and animal
anatomy to create a fine-art portrait
your characters of a monster with Justin Gerard
personalityff 102 Top ten fantasy poses
Whetheryou re drawing a hero or
Warren Louw a villain, we've got the gestures and
on posmg silhouettes to help you out
figures: page 104
104 Strike a pose
Warren Louw explains how to fill
your characters with energy by
íearning the art of posing
108 Artist Q&A
Our artist panei solves real-world
anatomy issues, including painting
realistic hands and drawing eyes

Digital art skills
t_V X t /X A > / f i y C/
CREATURE Justin Gerard
FEATURES
COUNTRY: US
■ Justin G erard
is an illu s tra to r
j w h o enjoys
s to ry -d riv e n
Combine human and animal anatomy to create a - illu stra tio n .

His w o rk has been
fine-art portrait of a monster with Justin Gerard fe a tu re d in S p ectrum ,

S o c ie ty o f lllu stra to rs
and Exposé, and he is
c u rre n tly a rt d ire c to r fo r
et's assume that you’ve been literature, and unjustly categorised on the with just such an event. After ali, it pays P o rtla n d Studio.
O i approached by a wealthy whole. He wants to commission you to to be prepared, just in case. www.Justlngerard.com
' monster w h o w a ms to execute his portrait, to show the world ITI be doing an underpainting in On the disc
commission you to paint its that he is really a civilised and noble watercolour and scanning the irnage onto F ind Ju stin 's screen
portrait. (Unlikely, perhaps, but I've had
stranger requests.) I.et's say that he feels
he's been misrepresented in film and
creature at heart.
The followingdemonstration in
watercolour and digital will help you deal
the Computer, where ITI add the colours,
refine the lighting and work on the final
details in Photoshop.
• gra b s in th e
C reature Features fo ld e r
in side D ig ita l A r t Skills
Drawing from life 2 Thum bnails and

® Before I begin working on my
monster, I warm up by doing studies from
^ exp lo rato ry w ork
N ow I throw out ali o f m y reference and
life. In this case, ITI be using pictures o f burn m y studies, and start drawing
wild animais as reference. completely from m y head. ITI use my
The goal o f these studies is to form reference later, but for the time being,
a better understanding o fth e elements I want to work completely from m y
and characteristics o f my subject matter. m emory and imagination.
W ild animais are excellent reference for I work quickly, using eilher ballpoint
monsters, because they personify human pen or a 0 .7mm IIB (number 2 ) pencil. v Tight sketch
characteristics taken to extremes. This drawing is often the most fun for me. This particular monster looks promising. 1 now do a more
I don't spend too long on any one The possibilities o fw h at could beare careful, detailed drawing using a Generais 2 B pencil. I spend as much
study. The goal is to commit the forms almost always more interesting than what time as is necessary on this step to arrive at the right look. The drawing
and details o f these creatures to memory, is, and I try to get down as m any ideas as is the most essential element if an illustration is to succeed. There are
so that I can work from my imagination I can. Eventually there are 20 or so two- ways to finish an illustration from a poor drawing, but it would be like
without the aid o f reference. or three- inch monsters to pull from. wrestling a baboon into a lunchbox. > >

Monster portrait
Digital art skills
4 A djusting proportions
PRO
Novv that I have a sketch that l'm
pleased with, I'm ready to transfer it to my
SECRETS
watercolour paper. Before doing this, Layer flair
Keep y o u r layers
theresonedevilish little trick that I use
o rganised. Som e layer
that hastotally reinvented m y work. I ty p e s can be m erg ed
scan the drawing into Photoshop, mirror to g e th e r w ith o u t
n e g a tiv e ly a ffe c tin g the
it and adjust it before I print it back out
im age. Several M u ltip ly
and transfer it to paper. This minor o r Screen layers can be
readjustment often spells the difference m erg ed. Try to keep y o u r
between glorious success and miserable, PSD file clean, so th a t if
yo u fin d la te r th a t y o u
shivering failure. Before adding this step, need to add m ore
ali my pieces had an odd tendency shadow s to an area, you
towards disproportion and unbalanced can cre a te a new M u ltip ly
layer, add y o u r shadow s
composition. So after I mirror the image,
and m e rg e th is in to
I select areas that don't look right and, your ex is tin g M u ltip ly ____
usingtheTransform function, alterthem layer. This w ill save you
headaches la te r on.
until they look right, before flipping back. y W orking in sepia
’ I'm not concerned with adding
colours at this particular stage, because
I'm effectively treating this watercolour
as an underpainting. I'U add the final
colours and effects later in Photoshop; for
now, establishing the forms within the
composition through value is the most o O p aq u e highlights
important task. W j Once l’ve established the shadows, I use a white watercolour
I could add the colours in watercolour or gouache to add opaque details and highlights. This opaque
as well if I wanted to, but I want to play to highlighting step could also be done on the Computer, but 1 enjoy
the strengths o f each medium for this the feel o f a natural brush a little more than a Wacom tablets pen.
portrait. Digital paintingisgreat for (One day, when W acom in its wisdom releases a digital brush with
bright, intense colours, but it can tend fibre-optic hairs that works like a traditional brush, 1 will happy to
towards looking plastic, for reasons l'll do this on m y Computer.)
touch on later. Watercolour, on the other
hand, struggles with achieving bright
colours but can generate beautiful
textures as the water dries on the surface,
and gives linework a wonderful variety.
g Settin g up the
w aterco lou r
N ow 1 leave the Computer and turn to
setting up m y watercolour. For this
Peatured book. The Encyclopaedia of Mammals by David MacDonald

illustration, I'll be using Strathmore 50 0 -
series Bristol and working at 8.5 x 9.5in.
This Bristol is an excellent paper that can
take a lot o f abuse, and enables precise
linework. For this piece, I want to tone my
canvas before I transfer m y sketch to it.
One o f the strengths o f working digitally
over a watercolour is the wonderful
texture that watercolour lends to a digital
piece: it respondsbeautifully to dodging
and burning. For the wash, I m ix up burnt
stenna and Prussian blue. As it's drying,
I fleck water over the surface to create
blossoms 011 the surface for the interesting
patterns they create in the background.
a Scan and adjust

g Transferring the draw ing N o w that Iv e arrived at a watercolour underpainting that I'm
There are dozens o f ways to transfer a drawing to paper: light tables, graphite satisfied with, I'm ready to scan it. After its scanned, I use a Curves
transfer, Artograph, freehand and even methods o f printing directly from a Computer layer to pull back some o f the depth that was lost in the scan.
onto watercolour paper. A ny o f these methods are good, but I usually go with the ever- Next, I add a host o f layers to get the image to look correct before
dependable Artograph. Whenever I'm transferring a drawing, I spend only as much m oving on. The key issue is to make sure that no areas on the image at
time as is required to establish the basic shapes and outlines. Then I finish as much o f it this point are absolute darks or absolute lights. I want the image to
as possible freehand: drawings that rely too heavily on the transfer tend to lose their occupy a midtone range. To do this, I create a Lighten layer filled with
soul. After I've transferred the basic outlines to m y watercolour, I begin working a midtone ochre colour and set it to a lower opacity. This Lighten layer
freehand. I first focus on refining the forms and doing a more accurate drawing. helps to scale back some dark pencil work that's too intense.

Monster portrait
S ta g e lighting
N ow it's time to make the monster
glow. In m any ways, this stage is the
inverse o f the M ultiply/Shadow stage, and
it's where the watercolours texture really
shows its worth.
Using Colour Dodge layers and a dark
grey, I work in much the same w ay as I did Diameter: 100%
011 the Multiply layers, brushing in and Roundness: 100%
Spacing: 49%
erasing out on several different layers SHAPE DYNAMICS
until the image looks right. Colour Dodge Angle Jitte r: 38%
reacts wonderfully with watercolour, Control: D ire c tio n
COLOUR DYNAMICS
pulling up the contrast on the texture and
the grain.
I use the effect sparingly, and only in
areas to which i want to direct the view ers
Í OTHER DYNAMICS
Opacity J itte r Pen Pressure
Flow J itte r Pen Pressure
attention. If you use this ali over the

image, the illustration will lack focus.
I use this brush fo r shad ing and b le n d in g . Its

# Shadow s te x tu re allow s fo r th e b le n d in g po w e rs o f
Once the image has been adjusted, th e airbrush, b u t w ith o u t th e sy n th e tic lo ok
th a t so o fte n accom pan ies it.
Fm ready to begin laying in the shadows.
t want them to be deep, with the sense o f
a classical Edwardian-era portrait. I want 1 4 Colour balancing
the scene and the image itself to feel as At the end, 1 colour-balance the
though it were lit by a candle, so I can image. I try not to use too m any colour-
make a natural focal point o f our balancing effects: if they are used too
monster's face through lighting. much, they burn out an image, scorching
The hairy details
Often I work with dozens o f layers to
arrive at the final Multiply layer. i work
131 now begin to work in m y final
the texture and exaggerating the
highlights. This too is a bane o f digital
using a textured, soft-edged brush or an hairy details. I paint using Screen and painting, and one to be careful of. I use it
airbrush, and I erase out areas that aren't Normal layers. I work on the basis that very sparingly at this stage o f a painting.
to be affected. I then take down the layer's shadows are to be painted transparently, I lere 1've used it to pull the painting into a
opacity until it looks correct, and begin and highlights are to be painted opaque. slightly warm er and darker range, and Fve
again 011 a new layer. This process gets This helps maintain which areas are to be turned the opacity on the layer down to
repeated dozens o f times. focal points, and which are to recede into 50 per cent.
the background. I try not to use too much N ow w ere finished. Its time to take the
■ To colour a m onster Normal layering. If I work too opaque in image to the printer, and hope that the
There are m any methods o f applying colours. For this Photoshop, the piece takes on the plastic client doesn't eat me. %
illustration, I'm going to use layers o fSo ft Light. 1 like working with look thats the bane o f most digital art.
Soft Light because it approximates the feel o f colour glazing in oils, and Yet there are some details that absolutely
I want to maintain the look o f classical portraiture. I build slowly, need to be sharp and opaque: the
using as m any layers as necessary. Often Fll paint an area, take the highlights on metal or teeth, the rim o f
layer's opacity down to 15 or 20 per cent, and repeat the process. a horn, the areas around the eyes.
Along with using Normal to sharpen
details in the eyes, I use it in subtle glazes
to diminish areas where the texture is too 'V
obvious. I11 the background, l've laid in a
thin layer o f darks.
n n A
SECRETS
M in o r d e t a ils
D o n’t w o rry a b o u t
d e ta ilin g every single
b it o f y o u r illu s tra tio n . i:
/jg r * W h ile th is levei o f d e ta il
m ay be im pressive on its
ow n, it d oe sn’t always
h elp th e im a g e overall.
W hen yo u focus on ali
m -H R
th e m in o r deta ils o f an
im age yo u lose a sense
o f th e w h ole; and if you
try to focus on th e w h ole * ; 7 ^ .
o f an im age, yo u lose
y o u r sense o f th e details.
A successful illu s tra tio n
m ust reco n cile th e tw o .
Imàgiriè Presents Anatomy

Digital art skills
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FANTASY ART 7
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Whether you’re drawing a hero or blm te^ fu w ly m- t k e j r w ^ ‘V™'
a villain, weVe got the gestures and t e f w j y tke lUreavm. r f tke ^
clvm cters
silhouettes to help you out...
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9 WARRIOR
This is a beautifully balanced and elegant pose.

The extended leg is long and straight, and is at
a right angle to the staff, giving the character added
balance and strength. The right arm balances the
body as it leans forwards, while the slope of the
shoulders creates a diagonal almost parallel with
the line of the leg. The staff is gripped with a
strong hand, giving the pose a focal point.

PREPARING
TO STRIKE
6 The extended
arms stretch the chest
and stomach, and the
muscles are clearly
defined as a result. The
\ raised leg counterbalances
the sword held behind the
^ body. It follows that as the
\ sword falls, the leg will drop

down and back in response.
- feeding more power into the

attacking action.
EVILSORCERESS
5 The arms are raised in

tw in claws o f menace
and evil intent, while
the face is impassive and
coolly confident. This pose
suggests an im m inent strike. ckest m à slwMder
w u jcies M y e wu h th e
e f f t r t v f s y H w tw y the
c lw *ic w ’s tnsdy W Lfht-
SCALING A WALL
M Viewed from above, we see
the gripping hands and arm
WALKER IN muscles tau t w ith the strain
4 THE WOODS
Both the left arm and
o f clinging to the wall. The raised left
leg balances the leading right arm. The
upturned face and concentrated stare
the left leg extend forward to hint at a sense o f purpose and also help create
suggest stillness (motion is the illusion o f height, as the character looks to
represented by simultaneous his destination.
i _ movement o f opposing
^ ^ a r m s and legs), creating a
diagonal hip line and strong
B k leg shape. The right arm *
pulls back, causing the
| | shoulders to pull together. V
/ Tke j r w ü OTttnf- w U
-füMídi, brckiny d Stedy
y c iií the Fantasy
anatomy
These poses come
from the book
Anatomy for
Fantasy Artists
by Glenn Fabry.
w w w .d avid an d
charles.co.u k
\N A tO M Y
l ANiAbY A K jlStV i
" j K H E ’' — iM
VICTORY
1 Successful in battle
2
VILLAIN CREEPING once again, the mighty
Keeping low, the torso hero raises his muscled arms
is held parallel to and shouts his victory to the
the ground.The heavens. The straight limbs
arms are ready to lurch
forw ards and grasp the prey. it create a X-shaped silhouette
that adds dynamism. %
Digital art skills
STRIKE A POSE
W arren Louw explains how to fill your characters with
energy and dynamism by learning the art of posing...
khat I'm about to tell you are the w h ats ever been achieved in art. Learn from other
© i crucial basics, the foundations

o f your characters. If you're
rnot getting this right, don't
artists around you. Art is about self-expression and
reaching new undiscovered leveis within yourself.
Find your own style. We are ali unique expressions
expect too much else to get better. Posing o f infinite possibilities, so w eall have the potential.
greatly extends and energises the Make sure that you're loving the experience that art is
Warren Louw
COUNTRY: S o uth A frica personality o f your character, giving you bringing to your life, and you will only move forward
the control you need to deepen the W hen you have ali the ingredients in place, you can
W arre n is a
f
relationship that they have with the think about your characters in terms o f their spatial
p rofession al
illu s tra to r viewers. This is where you give your relationship to the world.
w h o spends characters life. This is where it begins.
his spare tim e
Be very specific about what you want
re verse-e ngi neeri ng
fe m in in e beauty. and what you like. Study it,
wrrtnkHiw.____________ understand it, make it a part
deviantart.com
o f you and expand with
it. Nothing is
On the disc
Find sketches by random. Everything
W arren in th e Strike has a purpose. A im
A Pose fo ld e r inside
high. A im beyond
D ig ita l A r t Skills
1 STATE YOUR INTENTION

Before you even pick up a pencil, the
most important thing to consider is
intention - visualising and knowing
what you want to achieve. You have to
be very specifíc about what you want,
you have to believe you can do it, and
you must expect it to manifest. Aim
the highest you possibly can, higher
than anything thafs ever been achieved
in the history of mankind on Planet
Earth. This way you charge the process
with positivity, and you’ll be sure to get
things o ff to a great start.

Character pose tips
4 UNDERSTANDING
ÊXACTLY WHAT
YOU’RE DEALING WITH
W hat needs to happen early on is
fo r you to become fam iliar with
the shapes and form s th a t y o u ll be
w orking with. You'11 need to pay
attention to ali the curves, joints
and bo d y parts, and understand
where they need to be in relation
to each other. Finding the hidden
lines and patterns where certain
points m eet and join will be your
guide to w o rk from . Just
rem ember: every tiny line you
draw has a purpose and is
designed to w ork as one w ith the
rest. You'll notice that if one thing
is out, then others will follow.
2 MALE VS FEMALE
If you can master the feminine, the I find my skills spontaneously
masculine will be p re tty easy. They
share m any o f the same basic
upgrade themselves after Ive worked
characteristics. W hen dealing w ith with a range of alternate styles... 9§
the male. its just a m atter of
adjusting a few things here and
there. I d o n ’t draw males much, 5F L O W
but I can do it very effectively Everything has a flow. W ith a bit of attention to anatom y
because o f my w ork w ith the and its rhythm, this will soon becom e clear. The best way
female figure. Those w ho focus to help your poses have flow is to think o f an S shape, as
prim arily on males will have a far this will be the flow leading your eye through the pose,
greater difficu lty achieving and will even help with your overall composition.
fem inine beauty and sexiness.
6 THE ANGLE EFFECT

(| CEMT íiO F SALAMCE
W hen giving your figure an attractive, confident and sexy
M l ia m l m Cj to o x io irw J
pose, you have to adjust the angles o f the head, torso, hips
and legs. To draw it, you need to understand it. This pose is
achieved by the legs shifting, pushing the channelling of
the body's w eight to the right side. Now the right hip is
confidently exposing itself, and w ith the legs w ider apart,
both legs are taking a good portion o f her weight.
3 LET’S RECTANGLE
Foreshortening and perspective
can be quite the cow fo r ali o f us
artists - don't think the pros are
excluded from this difficulty. So
here's a good starting point. If you
know how to give perspective to a
box. or even a rectangle, this y * íT .W
should help you give perspective
to your figures, since both have a
front, sides and a back. Yes, the
human form is far more com plex 7 EXPERIMENT WITH A DIFFERENT STYLE
than that. w ith many o th e r things Amazingly, you can learn a lot from using a different style.
to consider. But if you can keep W orking from a different perspective on how to approach
the proportions w ithin the things can give you a fresh viewpoint. It will only expand
rectangle guidelines. things will your understanding about posing and anatom y in general.
com e much easier. Notice the I find m y skills spontaneously upgrade themselves after
consistency o f the centre point l’ve been w orking w ith a range o f alternate styles, so this is
th roughout both boxes. highly recom m ended to ali. *■*
Iniarçmé Presents Anatomy

Digital art skills
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8 ADD EMOTION 9 VISUALISE A

Emotion and m ood are vital VANISHING POINT
elements w hen creating a piece You firs t need to establish the
o f artw ork. A pose in itself can eye levei: yo u ’ll be looking up at
convey many em otions w ith o u t everything above it. Try to keep
using things like facial expressions. the sym m etry o f the body running
Real em otion is always expressed on the lines. Refer back to the
thro u g h o u t the rest o f your body fig u re ’s fro n t design to see which
L1AMN4 ( M M K U A W IX W W nm 1*K|W OK f HBt l*
as well. There are no exceptíons: it areas and elements run parallel •*■!»« IX*"T uso o» « «m wT <*• ■»« i t a o u w í TMJK
« M U W T U M fK M H B X MCST C T 1W V K H M T .fcir « W *
just depends on intensity. So just w ith each other. IX(, (joOO d*
be aware o f bo d y language. Uirr ijKi-
11 BALANCING THAT WEIGHT

10 THE FOCUS YOU NEED ~ ^ l’m sure you have been left frustrated sometim es - ali
Breaking it dow n to a simpler scale will give you the you're tryin g to d o is get a simple pose, right? This is
focus you need to concentrate on the essentials norm ally a result o f being oblivious to the physics o f
w ith out ali the details confusing you. Loosen up your balancing and centring weight. The solution is p re tty basic:
technique and just flow with it. W hen you think too the leg th a t’s the m ost u pright and straightest is the one
much, you’re acknowledging that you don't already that takes m ost o f the weight. So keep your footing
know it ali. You know m ore than you think, so d o n ’t let balanced in relation to your character's centre, also
th o u g h t obstruct you. keeping in mind where the focus o f the w eight lies.
E ye LfivEu 12 SILHOUETTING
A great way to check if your
E Y T L ÍV C L pose is eye-catching or
dynam ic is to fill it in w ith black
o r a darker colour and reduce It
to a silhouette. This enables you
to see if your pose has flow and
impact, and still conveys the same
essence that you originally
intended, Your focus is being
. ’ centred on the actual form , w ith
no internai affairs to distract you.
13 LEVEL OFTHE EYE

Eye levei is really im p o rta n t in creating a
dynam ic pose. Using a low view can make a
character seem dom inant, heroic or just plain
huge. The point from w hich you view it plays
a criticai role in creating a pose, because this
is essentially how you w ant the w orld to see it.
Sn g t f k m a o x r w c f « s u w n - o u r Now v * ate (Xi«T Baom udu«<í «*<•• o* k» So when deciding on a pose, consider where
BE icem toko « r » w d i c i w .'I m . U t n r LEVEL Ar ilM tf ICOlT bMNG «nu. o<i« a or w»< you w ant the eye levei to be, as this can make
m Q u in A (WMAK « M > « 4D0W& * 4000 W— »* ■» » • " *
Ktsecnvç w*». v eucr. even a simple pose appear very d ra m a tic.#

w w w .im aginefx.com
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DIGITAL PAINTING GAME ART DRAWING SKILLS COMICS & MANGA
Digital art skills
____ v A
Learn from the professionals
nrofessionals as our nanei
panei of
experts tackle real-world anatomy issues
Our panei
Marek Okon
Marek is an experienced sci-fi
and fantasy artist. though he
L H M Í started out as a web designer.
■ He has worked as a digital
illustrator for two years.
o m e n 2 5 0 1 .d e v ia n ta rt.c o m
Jonny Duddle
Jonny is a freelance illustrator.
|f 9 He's working on a top-secret
i 1 project for Aardman, and
jb ■ released the picture book
R / The Pirate Cruncher last year.
w w w .d u d d le b u g .c o m
Andy Park
■■ 1 Andy is a talented concept
1 artist who works for Sony.
H jj# Among the games he has
J worked on is the popular God
of War for Playstation 2.
w w w .a n d y p a rk a rt.c o m
Bobby Chiu
Bobby Chiu is an independent
artist from Toronto, Canada.
P ^ 9 Part of the Imaginism outfit.
> *■^1 he's involved primarily in film
and TV production.
w w w .im a g in is m s tu d io s .c o m
Jim Pavelec
| Jim Pavelec lives in a world
surrounded by demons,
monsters and devils. He's the
author of the how-to monster
book Hell Beasts.
w w w .jim p a v elec .c o m
Frazer Irving
Top comic artist Frazer Questioti
P ” 2P <- spendslotsof time drawing
horrid-looking things on his How can I make the hands I
Wacom Cintiq He's worked
for 2 0 0 0 AD and DC Comics.
paint appear more realistic?
w w w .fra ze rirv in g .c o m
Melanie D elon Answer The c o lo u r schem e

fo r a hand is th e same
Melanie is a freelance M elanie replies as fo r th e character,
(
i illustrator who specialises in except fo r the
Hands are one o f the most
<■ • * fantasy portraits. Her most extre m ities o f the
1 recent book cover is for the difficult parts o f a character to fingers and th e joints,
w h ich are redder.
^ ebook of A Crown of Swords. paint. You should bear in
w w w .m e la n ied eio n .co m
m ind that they have soft,
round edges, and also that they are a tip for the base and a speckled one for the
powerful w ay o f conveying emotions. final blending. T he light is stronger and
W hen you begin a hand, think about redder at lhe joints, because the skin is
the construction lines (they ali com e from thinner there.
Full-size the wrist): d on 't hesitate to use your ow n The next step is texturing. This stage is
[iQ & A images; hands as a m odel. In general, fingers are the most decisive one. I use a basic Hard
are o n your halfway along the hand, and they are Round tip with 1lardness set to 70% and
more like cylinders than boxes. Shape D ynam ics set Size litter Control set
disc
W hen you're satisfied with your sketch, to Pen Pressure. I add a few thin lines and
start shading. Try to sm ooth as best as you folds on the skin, and som e light dots on
can here. Use a basic Hard Round brush another layer.

Queslion
Whats the best way to draw
a screaming face?
Answer
Frazer replies
Ali the w ay from F.dvard Munch
to Jack Kirby, every artist has
their own w ay o f depicting
screams. The type o f scream can
vary a great deal depending on the emotion
that drives this reaction: as an artist, you
need to know the differences between a
scream o f fear as opposed to a scream o f
anger, or perhaps o f pain. It's not
uncommon for a lazy artist to use the
wrong expression for an illustration and
cause much confusion in the onlooker,
especially in comics.
W hat ITI do here is takeyou through the
process o f how I construct an angry scream
for a comic, which is ali about the scream
and the power behind it.
To do this, I em ploy standard drawing
techniques next to graphic elemems, in
much the same w ay that Munch used swirls
^ A r t i s t ’s s e c r e t
to enhance his Scream painting.
Remember, though, that even the most
p u p cH z c k . i n p H o r o ç H o p
detailed-looking image is really still
tv r u r lex rt « ^ '
composed o f the most basic elements. The
W » > H irtíSítw i"
trick is to identify which aspects o f the face
drw uv, mU M - i U t Wwr Um. un-r
convey the idea most effectively.
m (xtnvM. A lútU's
sjmt <rnri **5?'
Step-by-step: The perfect scream

f start w ith a rather basic
sketch. This drawing is
loqse and rough, to effectively
O Next, I trace over the
sketch on a new layer.
Thpse lines refine the basic
cápture and reflect the raw shape and the main features,
energy th a fs needed to drive fram ing the rnouth w ith a
the rest of the art. I always find beard and making sure that it
that the initial stage o f a reads as simply as possible. A
drawing - whatever the tone, lot o f the raw energy from the
style or subject m atter - original sketch is lost at this
provides the fuel for the final stage, because o f the sim plicity
image. You m ustn't hold back of the black line - but this will
at ali at this po in t if you want to ali return as I progress to the
capture that scream. final piece.
#t- .. . *;• .• -
© The next stage in the

process is to block in some
Sh^dows on the su b je cfs face.
O The wrinkles stemming out
from the eyes are very
im p o rta n t in depicting strong
Extreme, dram atic lighting can expressions. Here I exaggerate
be an incredibly valuable tool the lines on the forehead a little
when you’re tryin g to create to enhance the anguish, as well
a particular mood. and is as darkening the bridge o f the
especially useful when defining nose to show tension. These
dram atic lines on the face. features capture the basies of
Here, I choose to use quite the scream: after this, ali you
strong side lighting, to imply need is the right colour palette
the co n flict of em otion w ithin and a well-chosen background
the character. to set it o ff perfectly.

Digital art skills
Question
What does the term 'heroic proportions'
mean in the context of character design?
In this painting. I use various tricks to suggest m ovem ent. such as adjusting shadows
to place vehicles in mid-air, rough brush m arks and flo w in g fu r and f lags.
Question
My figures always look static in
my paintings. How can I give
them more of a sense of motion
and dynamism?
Ansiver parts o f the previous
Jonny replies d raw ing, or sketch
Its co m m o n to find that the digitally and save
m ore you w ork o n an image, different versions. You
tá the m ore static the end result

becom es. I often find m yself
renderinga successful character sketch,
can use Photoshops
Transform tools to
stretch, scale a nd distort
This im age shows th e p ro p o rtio n s o f the
average hum an male. and th e m usculature
N ow take a lo ok a t ou r hero. A t betw e en eight
and nine heads high and a shoulder span o f a b o u t
and skeletal structure beneath th e skin. fo u r heads. he’s th e gu y you w a n t on y o u r side.
w ith lots o f m ovem ent and d yn am ism , particular parts o f a
into som eth ing dull and lifeless. But figure's anatomy.
there are w ays o f keeping a character Reference is im portant. Answer shoulders - the body s widest point. But
lo o k in g d yn a m ic. Look at photographs o f Jim replies you don't want your superhero looking
T he m ost o bvio u s place to start is the figures in m otion. y ^ Heroic proportions are average, so design them based on the
character's pose. To properly convey A n a lysin g som e o f the important when working principie o f heroic proportions.
character, you need to paint figures in incredible photography in comic books or fantasy A hero should stand anywhere between
poses that suggest their personality and online or in m agazines, illustration. A common eight and nine heads high, with a
m ovem ent. For exam ple, an aggressive can reap benefits w hen unit o f measure when drawing the shoulder width o f four heads across.
character could be hunched over w ith d raw in g d yn am ic figures. human body is head height and width. The hero's waist is kept the same as the
clenched fists an d taut neck muscles. Skateboarding shots are At eye levei, the typical human being is average person's, to help accentuate the
Sketch the figure, then revise it w ith a a good exam ple: they do rough lysix-and-a-half to seven heads width o f their shoulders and the sweep o f
m ore exaggerated pose. Keep pushing a great job o f sh ow ing tall, and three heads across at the their crushing thighs.
a pose: it w ill often gain m ore and m ore the h u m a n figure in
personality. U se layout paper to trace m ovem ent and under
lots o f tension and stress.
Lastly, look at artists Question
and art reference
bo oks for tips, tricks
I ve learned how to paint an eye head-on,
and techniques. There but there seem to be no workshops on
are som e wonderful how to paint one from the side. I ve tried
artists, such as Phil
H ale and Jon Foster,
and failed. What could I be doing wrong?
w h o are masters
o f d yn am ic figure
painting. L o o k clo se ly Answer o f course spherical, with only about
at h o w they use A ndy replies a quarter o f the sphere visible. The eveball
com position, The key to drawing or is basically a sphere with lids that wrap
perspective, figure ■ f l k painting an eye is to think o f around it. Keeping these things in mind
Sketch yo u r character, then revise him w ith a d raw in g and mark- ^ it in three dimensions. will help you when you have to illustrate
m ore exaggerated pose. Real-life action shots o f
m ak ing to add Although we instinctively the eye from different angles - even from
skateboarders are a g o o d source fo r seeing the
hum an fig u re in m ovem ent and un d e r tension. d yn am ism to images. think o f eyes as almond-shaped, they're a direct front-on view.

Artist Q&A
Question
How do I put realistic mass and weight
into my character designs?
Answer
Bobby replies
P 'W eigh t' is really Q Artisfs secret
W P . I gravity a ctin gu p o n
■ H / _ ] a m ass. Therefore, B A iA N C t
■«» i the b e st'w e ig h te d ' tk ÜK & >nUs ^ ig T 3
character designs accurately U k k u tá * . tf U W « Ll\ , ,
reflect h o w gravity affects a body. **«*■, k « * U M « r - ™ ^ f . bmf T

Lo o k in g around you, you can t r w L lw S .t U w r t * * $ * ^ ^ T r
gauge this in a couple o f different ffiu ^ n Aú*. TUrcm. «*

t y m c f l ^ m U s U f ^ iM ^ t t fí
w ays: b y looking at the body, and
b y looking at h o w the b o d y iw .\/y t k c 15-
affects the environm ent.
In a soft m ass such as a pot
belly, w here g ravity is strong and
the forces h olding up the fat are
w eak, the greater the weight is,
the lower the soft tissue w ill
dro o p or h an g dow n.
A lso , consider h o w weight
m ight im p a ctyo u rsu b je ct's
surroundings. Ify o u r character
is heavy, they m ight sink into the
m ud or cause the bridge or b ranch
that th e y re standing o n to bend
noticeably. Ifth ey're bein g lifted
(strenuously) o ff the ground, the
vertical forces associated w ith the
action sh ou ld be tense an d taut,
to dem onstrate h o w d ifficult it is
to overcom e the gravitational
forces tryin g to pull the b o d y back
to earth.
In a m agical environm ent,
you could guide expectations by
m a k in g yo u r h e av y character
appear to be m ade o f stone or
som eth ing else that's very dense.
Yo u r vie w e r w ill understand from
The initial sketch to capture In this later version o f the
association that stone is heavy, th e idea and establish same image, the w e ig h t o f the
therefore you r character m ust be forces. The m onk m onster is show n b y th e m o n k ’s
is straining to lift the reaction: th e re ’s strain on his
ve ry h eavy as well. m onster, b u t the m onster face. and his back and legs are
does n o t budge. stretched w ith tension.
Step-by-step: Painting eyeballs side-on

. Here’s a quick sketch o f someone’s
right eye. As you can see, there is a
circle faintly drawn in, which represents
© •This is the same eye, seen from the
side instead o f the front. I've rendered
o yt.th e sphere that makes up the eyeball
Here's the final rendering o f the eye.
There are a few things that are w orth
FiQting here. Because the eye is moist, you
the sphere that makes up the eyeball. wíthin the eyelids to help to illustrate the need to capture its reflective nature;
There are tw o lids th a t w rap around the three-dim ensionality of the form . Again, there's a shadow that the to p lid creates
eyeball and, in note how the top on the eyeball;
doing so, cover lid goes above and the whites of
the m ajority of it. the b o tto m lid on the eyes are not
Take note o f the the side. It s really solely white -
way in w hich the im p o rta n t to get they too need to
botto m lid wraps the eyes right, or show elements
under the top lid else the picture of form and
on the side. can distort. shadow.

Digital art skills
S uesíion
ow do I draw facial expressions that convey the
right emotion and don't feel stiff or forced?
fj^ Artisí's secreí
a M ie jt p e .'
tAü névuMi, or n Iti.
Answer
Jonny replies «m m M r j
If you're painting w ith the basic anatom y o f the face, shapes in the face and h o w they Jm L x r imyuiuv t k ywkM *
figures, drawing it can be easier to paint more distort and m ove w ith different M e r& u y in u i.‘v U ^ e tk ie àtrdts
cartoons or rendering believable expressions. You don't facial expressions. A lso try
tt ifcfWHJ»**' Miti,
3 D characters, you need to nam e every m uscle or exaggerating the size o f particular
need to m ake them interesting to identify every com ponent o f the features to see h o w subtle
look at. W hether itse vil, sad, skull, but w ith practice, you can get modifications can affect the m ood.
h ap p yo rd ead p an , theirfacial to know the m ain building blocks T ry big noses, heavy brows or high
expression could be vital in o f the face and h o w they fit together. foreheads. Sm all changes can m ake
com m unicating the story or Use reference to practise drawing a big difference.
message in you r work. faces. Reference can be anything lt's also worth bearing in m ind
H ow ever different people m ay from photographs you've taken or that facial expressions work in
look, everyone's faces are m ade up in books and m agazines, D V D stills conjunction w ith bo d y language, so
o f the sam e set o f bones and or old-master paintings. W hile in most cases you'11 need to ensure
muscles. B y becom ing fam iliar drawing, try to identify the m ain the face matches the body.
Do n ’t be shy: draw yourself! (If I lo ok a little

wonky, th a fs because I am...)
It’s a g o o d exercise to dra w diffe re n t facial

expressions, w h e th e r you try draw ing th e
same character o r a v ariety o f diffe re n t faces
fro m reference
Question
I nave trouble posing figures
realistically, particularly when they're
in mid-action. How can I make my Try som e experim entation.
The trun ks o f th e bodies
moving figures better? d o no t change: I only
adjust th e lim bs and props
to a position th a t I like.
Answer figure: w hen a b o d y is

Bobby replies airbom e, gravity pulls it
■ W hen y ou sh ow bodies in d ow n, led b y the trunk o f
m otion, yo u m ust consider the figure. Inertia dietates that
J - f ' I physics. W hat are the effects the lim bs w ill tend to trail
o f gravity on the pose? W hat behind the torso.
about inertia or m om entum ? W hich W ith these points in m ind, I
w a y is the b o d y m oving? A li o f these sketch out m y figure accordingly.
considerations tell you w h ich forces are If l'm unsure about h o w to position
acting on o ur figure, and h o w m uch certain parts o f the body, I w ill attempt
strain the b o d y should undergo to do to recreate that part o f the pose
what it w ants to do. myself, so that I can see h o w far back
N ext, consider the restrictions an arm or a leg can extend behind
im posed b y anatomy. Bodies are the m oving bo d y without it starting
limited in the w ays that they can bend, to feel uncom fortable.
twist, stretch a nd rotate. Artistically
speaking, it's acceptable for you to Even th o u g h this b o d y is upright, we
understand th a t th e fig u re is airbo m e
exaggerate these limits, but not to
th ro u g h th e posing o f th e lim bs relative
ignore them altogether. Take a leaping to th e body.

Question
How can I be more true to life
when I paint the shading on
my character's faces?
Answer
M arek replies
W hen I wasyounger, i always
wondered w h y artists practised
light and shadows on such
simple objects as spheres, cylinders or boxes C ontra ry to initial
instead o f on cool robots. N o w I know that im pression, th e hum an
face is an exceedingly
the simplicity o f those objects enable an com plex object,
artist to fully understand how light casts especially w hen it
com es to an accurate
shadow and then to transform this portraya l o f natural
knowledge to more complex shapes. lighting and shadow.
Let's take the head, for example. !t's a

complex object with different planes to
consider, which can be really tricky to
shade properly. But ifyou break it down
into basic shapes like spheres and cubes,
it's much easiertograsp it in yo ur mind.
I n much the same way, divide complex
scenes or objects into familiar shapes, and
detail them after basic shading is properly
done. This will help you greatly in your
efforts to master the art o f shading.
Step-by-step: Add shading detail to a plain face

• S tart with a basic shape -
ideally a roundish cylinder
(the head), attached to another
© Now its tim e fo r the basic
features. The nose is
basically a triangle sticking out
cylinder (the neck) attached to in th e m iddle o f the face, while
another roundish cylinder (the the eye sockets are those tw o
body). Just to make this easier sym m etrical depressions.
to understand. le t’s put a I usually paint these w ith a
simple grid on our shapes and simple single brush stroke.
add some basic shading.
© tle t’s shape this face more

correctly. Here, l've split
thp surface o f my head into
O The next phase is to blend
the borders between these
shapes, then add some muscle
shapes that can be shaded and skin structure to make the
more carefully. Ali of those face fuller. Don't forget to stick
features are parts o f spheres to the shading you did before;
and cylinders that are fairly its a good base fo r complex
easy to shade. Just check out detailing. Finally, you add in
the eye area: it looks like I put ali the details you need. W ith
another sphere into the middle good base shading. this head
of my eye socket. should look p re tty convincing
by now.
In every issue o f ImagineFX, o u r panei solve real-world Creative problem s w ith helpful techniques. Em ailyour
question to help@ im aginelx.com or write to Artist Q&A, ImagineFX, 30 M onmouth St, Bath, BA1 2BW, UK.

On your disc
On your disc
To support our anatom y and
painting workshops, your disc
includes a wealth of resources to
aid your Creative process. From
Imasine
f FANTASY SC H lD IC nA LA IT
J PRF.StNTt
IOW TO DRAW AND PAINT
how-to videos to step-by-step
w orkshop images, you'11 find
this disc essential. ANATOMY Videos and reference to
D raw ing v id e o s help you develop your
Learn the fundamentais of <4
human figure construction draw ing skills
with Ron Lemen
S t e p -b y -s t e p im a g e s
Follow the artists' steps to 1
creating their paintings in <!
our art workshops
R efe ren ce sk e tch e s

Study the drawings from our
anatomy workshops in detail
as you learn ptK£ m - f
ON THE DISC:
D raw ing v id e o s Learn figure construction basics
Hum an a n ato m y sk( tch c s Study from anatom y masters
C roatu re portraits Combine human and animal forms
St nkc a pe s o Sketches to help you position your figures
| FANTASY SCI H D IG IT A L A R I | A 7 Your CD hâs b«en thoroughiy &cann«d and

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I F A N T A SY S C I-F I D IG IT A L A R T

Claire Howlett, Editor

From the makers o f

FANTASY SCI-FI DIGITAL AR I

The finest artists in the world offer you the best

r that support the body and drive it

Imagine Presents Anatomy

114 for more

... 66 The torso

72 The hind legs

84 The neck and head

Digital art skills Artist Q&A

98 Creature features 108 Q uick guides

Imagine Presents Anatomy

“ Most of what I do stems

Imagine Presents Anatomy

Imagino Presents Anatomy

Tom realised he could draw

Imagine Presents Anatomy

D Duc Truong Huyen

Although Duc has studied

Imagino Presents Anatomy

After studying animation

Imagine Presents Anatomy

As a kid, W alter always had

Imagino Presents Anatomy

Lucas grew up with the

©2008 Quarto Publshing

‘six or seven female dryads guarding a

Imagine Presents Anatomy

Imagino Presents Anatomy

lmaginé Presents Anatomy

Imagine Presents Anatomy

Imagine Presents Anatomy

See more of RorTs work

Formulaic figure drawing systems

Imagine Presents Anatomy

REILLY’S SIX LINES TO THE TORSO

Here's an illustrated guide to the Reilly

Once you’ve leamed the Reilly method, you

Exploring the Reilly

Imagine Presents Anatomy

USE LANDMARKS TO FIND YOUR

O nce y o u p rop erly u n derstan d the figure

Its important to practise as 4VW +

much as possible, so that you

u sefu l tech n iq u es besides. T ■=*«.l . j

Imagine Presents Anatomy

FIGURES IN GESTURE POSES the centre line o f th e pose, attached to the

Imagine Presents Anatomy

You can map shadows to the shapes

th e base o f th e p elvis are also help fu l to

you can easily depict this movement in the muscles correctly

the cylinder by pinching one side 99

Imagino Presents Anatomy

O i th e co m p lex centre fro m

lmai>ine Presents Anatomy

from eith er sid e o f th e body. N eglectin g

If y o u d on 't u se boxes to d esign the p elvis

three-qu arter lin e o f th e figure, or w h ere

THE COATHANGER METHOD

Imáçtné Presents Anatomy

éé Neglecting to draw in the GETTING THE TORSO STARTED

J s <'<« P0^ '***• ' f

■ sh ou ld er w ill b e tow ards th e back o f