Stars Portraits - Drawing Hands and Feet tutorial

Page 10f2

Stars Portraits - Drawing Hands and Feet tutorial

Lls_ea_r_ch_ ...
www.woerther.de www.HumanOesignForUsAll.com

__J[]

Shorty Fallminenstift. Portarnina, Mechanical pencil. made in Germany

Human Design. Amazing New Book, Free Software Readings, Trainings & Materials Teo + Namfah Gallerv Contemporary Art Cambodia. Thailand & Mongolia

www.teonamfahgalierv.com

AdChoIces [> Members Home Gallery Stars Community Tutorials Shop

I Username

I Password
[E] Remember me

Tutorials

Submit a tutorial

Recent portraits: Don Cheadle

Stars Portraits> Tutorials> Drawing Hands and Feet

I Login I

Forgot password?

Drawing Hands and Feet
by Daryl jun Basarte
Register now! Author: DarylJun Basarte Tutorial submitted on August 20, 2006 Some useful explainations and tips about how to draw hands and feet.
100% free!

Today's portrait

Share this page:

Many thanks to Uchuucacahuatefor this amazing tutorial. Checkout his DeviantArt gallery.

How to draw hands?
Demi Lovato Original WYeth Works Original works by Andrew Wyeth Jamie Wyeth and N.C. Wyeth
www.awyeth.com

~

LOVE [> ANIM.E?

I
JOIN NOW!
Yolande Moreau

TinierM~

~ ~
FREE to play./

Backto top

http://www.stars-portraits.com!enltutoriallhands-

feet.html

22/09/2011

back..com!enltutoriallhands- feet.lly as long or longs r.:\ . Dra~!"Ig .e108S 'and Ihe"ur'ldefSid'e of I ha kn ucktss s~ol:ll d . curs stub.html 22/09/2011 .' ~ S .r1IJU part s lik..h.Stars Portraits . I.Drawing Hands and Feet tutorial Page 2 of2 Ads by Goog Ie Learn to Draw Learn Drawing How Draw Faces Drawing Pencil How to draw feet? <:I1J. The tliffsrenee IS It et ThQ t08 fleX!: Fe" ~Iso hm mea. The hnl..S' .• inner part.• <I' little .i I.. purpose of too. Step by Step Draw written permission..a fo!)l (Ii"I ~t'S toes'is'ttick~ sirnce:the I o~~m.0 10. No portions Links Hosted by Nuxit of this site may be used without creation: www.se '01 thl? t DSS. \ ' T~. © 2005-2011 Stars Portraits .com Website Back to top http://www.Iiltl.ftw-design.. Both I. T(les. U· Ih e n.e h.th' pinkY 5 .ae~ is 1'101 right ~ngl'a_ a benitld I h 8 fool. "'ejghl. T'h.ovin~. a nd '~'ortz"g the olJ'tside 'DHh'E! f~ot are: tho poddiog oft •• fool. \ ~ Useful pages Donate Taes coolrlbu!e io VEr. the bin 0no is ~ct". lilil.:are like fmge(s. of 11" length of the fo 01. I he length 10{ Ihf! toes quickly !~p8r-$ ()~I.stars-portraits. kind of bulb for Ihe body 10 tOglJth8[ about toe·$ are "Ouch tlo~. su PPO" OllC~'ha"kl. - The heel portrudes out . The big to. The outer part ctthe oit'Lt is l'o'l\l'et'1han JJ. S.9 !!itep s."~""~.All rights reserved. "forms: ~. is· on Iy about a slxth 10 a rifth or touch the noor e Back to tutorials home page Recent comments Gallery Stars See also Share this site FAQ Legal information Site map Report a bug Guestbook Contact Community Tutorials Shop Become a member Best portraits ..>"' . ls LO sl abiliziEi UIIe fO'01 iMIen !'i'I~in. All" Ihal. Ads by Google· Drawing Anatomy Sketch Drawing expressed. ihe "on d..SI bend' . Ihe ~.

Classic Proportion As with Redman's "'Everyman" concept. that ability is developed over time via practice and hard work. With those shapes and their relationships established. and for helping to exaggerate those unique aspects by giving the artist a "starting point" from which to depart as much as possible. I still think the eyes are a crucial element. all the other features fall into place and follow along.. working within it's all encompassing field of gravity. Head shapes have several of these tricks for both initial observations and exaggeration. and it is more easily accomplished that way.How to Draw Caricatures: Head Shapes I Tom's MAD Blog! Page 1 of 11 « More about the Modbook Sketch O'The Week» How to Draw Caricatures: Head Shapes Part Three: The Importance of Head Shapes When I first started drawing live caricatures I felt that the eyes were the most important part of the face. but digging a little deeper it's accurate to say that the head shape is "Shape I" and the other four shapes are planets to it's sun. http://www. and better interpret it in their drawing. Considering that the head shape is a single shape. The heavy lifting of all exaggeration is accomplished via the shape of the head. I have spoken of the "5 Shapes" and the importance of their relationships already. This is important both for helping to see what makes a given face unique by comparing it to those "normal" proportions. and I put a lot of emphasis and focus on them. and the importance of drawing those shapes accurately to capture likeness and to create a convincing drawing. Still. but over the years I've come to believe that the head shape is the most important part of a caricature. Many work for any feature or "shape" within the face.tomrichmond. but it's really the "T Shape" and the head shape together as a whole that acts are the basic foundation of a caricature. there are a few techniques and tricks I have learned that can help artists to better see what is in front of them.comlblog/2008/03111/how-to-draw-caricatures-head-shapesl 22/09/2011 .. but some are specific for individual features. If a caricaturist can "see" and exaggerate the head shape. Again. it's important to have an understanding of classic human proportion an anatomy to have a springboard from which observations can be made. By stretching and exaggerating the head shape. Seeing the Head Shape I talk endlessly about seeing shapes within the features and the face. you create the framework within which your other features and their relationships are drawn to achieve your caricature. In the last lesson I talked about the "T" shape being a focal point of the basic caricature. it's difficult to teach anyone to "see" . it is easier to recognize how that shape differs from "normal" and it is easier still to draw a corresponding simple shape that exaggerates those properties as opposed to the more complex multiple relationships of the features. the rest of the caricature quickly follows suit. The head shape is the fulcrum upon which a caricature hinges.

knowing that once I have found these points I need only to make sure tbe rest of the head shape lies in between them.How to Draw Caricatures: Head Shapes I Tom's MAD Blog! Page 2 of 11 . The distance. The back of the jaw and sides of the chin will often have these points. hair. I will refer to it often. This eliminates the details and forces you to see only vague shapes and forms. Simple shapes are easier to draw.E"''I'1oN/M&I-E With the head shape.I<. brow. Using this imaginary dividing line. Points of Reference I look for these with every feature I draw. Squint Your Eyes This is an old portrait artists trick. jawline. etc. . Finally. Try to associate the head shape of your subject with the shape of some inanimate object you are familiar with. Maybe tbis person has a head shaped like a lightbulb (small. I don't mean you draw a light bulb with the face on it. and keep it as simple as to them.e. It's easy to get hung make initial observations and ··'ORW~\l. and how much below. While these are all important elements of the whole. The head is exactly divided in half at the eyes. Here are some tricks to help come up with a simple head shape: 1. chin. I will also look for straight lines along the contour of the head shape.· C~"'~H: ~f' 1>. Each feature has unique points of reference. forehead. Shape Association This is a strange but effective way of grasping a simple head shape. 2.tomrichmond. it's easy to see how much of the head lies above that lie. What I mean by "points of reference" is finding a specific point or part of a feature to use as an anchor point from which you can make your observations. 3.. and for exaggerating it at the same time. cheeks.. but can be anywhere from the cheekbones to just above the ears. is a crucial part of the head shape as it relates to caricature. or more accurately the "mass" of the head above and below the eyes. The head is five eye widths wide. but rather use your imagination and keep that object in mind as a template for the head shape you draw. Any or all of these points of reference can help you "see" the rest of the head shape by comparing what is around it to the point of reference you have established. but in general things like horizontal or vertical dividing lines can always be used for this purpose. and the widest point is typically at the temples. and how those two areas relate. Squint your eyes or close them so you are looking through your eyelashes at your subject. http://www. slightly flattened along the top.comlblog/2008/03111/how-to-draw-caricatures-head-shapesl 22/09/2011 . and draw them accordingly. at tbis stage we need to treat the head as a single shape possible. I will look for points along the face contour where there is an angular change of direction. I also will look for the widest point of the head shape. control and manipulate than ones with a lot of complex elements up on the details and not be able to see past them to the underlying foundation. That makes it easier to see the simple shapes and drawn them. the horizontal line create by the eyes is a good point of reference. Simplifying Shapes The head shape is really made up of a lot of different features including cheekbones. narrow bottom of the face with a big forehead) or that person's head shape may remind you of a peanut (squeezed at the temples). *'- e·· The classic adult head is an oval. Whatever strikes you. meaning there is equal distance from the horizontal line of the eyes to both tbe top and bottom of the head.

because the slightest change in the head shape can radically change all otber aspects of the face. Any change to tbe head shape from the "normal" shape has a very high impact to the viewer. you can take that "one observation" about the head and follow through with the rest of the head shape. and the features.. http://www. We know that in a "normal" proportioned head the mass is equal. Visual Weight One key to exaggerating the head shape is to decide where the "visual weight' of the head lies. My analogy of the head shape being a "fulcrum" is an apt one. Imagine you have sculpted a perfectly proportioned head out of wet clay. but you have used up all your clay. so you want to make the jaw bigger. Here is one rule that never changes. However how we perceive the face is different than it's physical measurements. it is relatively easy to make those exaggeration decisions and execute them. Your head is done. That is the law of constant mass. taking away from the size of the top to make the bottom bigger. are forced to follow suit and become exaggerated. That can be as simple as using the afore mentioned line of the eyes as a reference point and asking yourself "does more of the face lie above the eyes. It could be as simple as observing that the model has a skinny face.comlblog/2008/03111/how-to-draw-caricatures-head-shapesl 22/09/2011 . all you really need is ONE observation about it to build your caricature upon. or below?" That is visual weight. Unlike tbe interior features of the face.tomrichmond. it's a fun exercise to draw those objects with faces on them just for fun and practice. however.. You decide you want to create a caricature rather than a realistic bust of your subject. by way oftbeir necessary relationships within the head shape. When exaggerating the head shape. but one strong one is all you need because it will create a cascading effect with your drawing to define your caricature. Exaggerating the Head Shape I mentioned earlier that the head shape is a place where exaggeration is most easily applied to the greatest effect. Where do you get it from? You take it from the top of tbe head. Doing that helps your ability to spot those associations within your subject's head shape. 2.. The Law of Constant Mass There are very few "rules" tbat are universal as it applies to caricature . the head shape is a constant that only changes with the angle of the head.. Here are some methods of seeing and exaggerating the head shape: 1. and it's a powerful tool to create convincing exaggerations . you need to get that clay from somewhere to pack on to the jaw and make it larger. With no more clay to work with. Because the head is treated as a single shape. Whenever you can depart from the equal mass rule it's important to do so. which change with expression. Multiple observations are great.How to Draw Caricatures: Head Shapes I Tom's MAD Blog! Page 3 of 11 Of course. By using it. or a small forehead. This is because altering the head shape to any appreciable degree creates a drawing radically different than a portrait. Looking at tbe model you decide they have a large jaw. things like expressions.. the law of constant mass. . and then only as any object will change when rotating in space. tbe placement of head mass relative to some point of reference like the line oftbe eyes. or a large chin. That is caricature. posture and unique physical attributes make it almost impossible to be able to say "this is always true".

The effect of this is that the head bulges out on tbe top and bottom. This book is 184 fully illustrated pages of comprehensive. You can follow any responses to this entry through the RSS 2. Rubber Concept Anotber way to tbink about how the entire head shape is affected by a single observation is to imagine a head made of soft.. http://www. otherwise your exaggeration will be awkward and a lot less clear.. What is good about this method is that if we imagine tbe features of our subject also molded into the initial rubber head. keep it coming. Likewise someone with a big forehead will also have a smaller bottom of a face. because they must now fit within he exaggerated head shape. making good decisions on where to place the visual weight and exaggerating that shape is central to an effective caricature. DCirnick says: March 11.tomrichmond. with respect to the width of a face . Both comments and pings are currently closed. Accurately observing the head shape.. Fantastic .. It's important to trust the follow through of the cause and effect associated with tbe exaggeration of the head shape via the law of constant mass and/or the rubber concept when drawing a caricature. This "How to Draw Caricatures" tutorial and others ofthe same series on this website are part of a complete book on drawing caricatures live and in illustration. This serves to create exaggerations of higher impact.. the result is the top and bottom get sucked in. .. we need to squeeeeze our rubber head like a vice to make it narrower.. It's the same concept as when a gray value appears closer to white when surrounded by a much darker value and looks darker when surrounded by white. 3. we pull tbe outsides out. goo filled rubber. If we squeeze the forehead. A person with a big chin will automatically have a smaller top of a head. 2008 at 1:00 am and is filed under Tutorials. March 11th.. since tbe perception of a large jaw is made more pronounced when the top of the head is smaller. The law of constant mass also works sideways.. it is important to follow through with that moving of tbe mass if you want to emphasize that jaw and maintain a balance in your drawing . Even if that lantern jawed subject does not appear to have a small top of the head. Share on: 32 Likel@ Tags: How to Draw Caricatures. Part 3. The shape of the head is a crucial element to a good caricature . stretching and it's consequences. but whatever the reason. You can pre-order the book HERE. and goes far beyond the information provided in these tutorials. tutorial This entry was posted on Tuesday.How to Draw Caricatures: Head Shapes I Tom's MAD Blog! Page 4 of 11 The head has only so much mass. Maybe you have a hidden agenda and are secretly brainwashing all of us .. 15 Responses to "How to Draw Caricatures: Head Shapes" 1.comlblog/2008/03111/how-to-draw-caricatures-head-shapesl 22/09/2011 . 2008 at 7:09 am Tom.0 feed. in-depth instruction on the art of caricature. we can see how they will faithfully follow the squeezing. If we decide the head is wide. Now if we make the observation that our subject has a narrow face. the jaw bulges out. entitled The Mad Art of Caricature! shipping in September of 2012. Of course this will also affect the relationships of the interior features. arguably THE crucial element. it still amazes me that you put so much of your time and "secrets" into your blog for the benefit of all your readers. if the face is very wide you need to take mass from both the top and bottom to create that width.. You cannot make one area bigger or smaller without affecting the other areas.

Sign up to vote on this title
UsefulNot useful