To begin with, it’s slightly curved down, but in tension the shoulders tense up and the curve can itself turn up and look higher. The shoulder line is about halfway between marks 1 and 2, with the shoulder width 2 to 3 head-widths, but its apparent position can vary a great deal. Two more details here: the nipples fall on mark 2, just inside the sides of the head, and the belly button on mark 3. The width of the oval is roughly the same as the pelvis for now. It’s good to be aware of that and not attach torso and pelvis together like two blocks, as that would "block" your drawing’s range of motion. Simplified, it is an oval that starts halfway between 1 and 2, down to mark 3 but it is best to chop off the lower part of it as shown here to imitate the actual rib cage, as the empty part between the two volumes is important: it is soft and subject to change (flat belly, soft belly, wasp waist) and it is also where the most torsion and movement happens in the spine. The rib-cage-lungs group is the third important volume of the body, after the head and the pelvis. It also helps with placing the muscles at a later stage. This is a very simplified but accurate representation of the actual bone structure, and helps in drawing the natural look of the human leg, which tapers in from the hip, then staggers out at the knee and tapers in again. But this straight line is virtual: to complete the leg, connect the hip joint to the inside of the knee cap, and then again, the outside of the knee to the inside of the ankle (right). When the leg is stretched out, the knee joint is placed on a straight line with the hip and ankle (left). The knee joints sit on mark 6, as that line corresponds to the bottom of the knee caps. Let’s assume this figure is standing with feet vertically aligned with the hip joints. You can now draw the spine connecting the head to this most important part of the body, its center of gravity and stability. Its width is roughly 1.5 to 2 head-widths. The PelvisĪdd the pelvic bone next, simplified as a flattened circle between marks 3 and 4, with the hip joints sitting on 4. It’s rather obvious that very few people are actually eight heads tall (even Northern Europeans, who served as basis for this model, are closer to seven heads), but this is still the best model to start with, as it makes it easier to grasp the alignments. The measurement (ideal male height = eight heads) was set down during the Renaissance as an idealization of the human form. Start by drawing an oval or egg shape (pointy end down) for a head, and mark down eight measurements, the last one being the ground. Draw your own chart with me as we go, it really helps learning the material. Brush Pack Professional volume 4 - Classic Art The Basic Figure Create Your Chart From HeadsĪ well-proportioned figure, regardless of variations due to gender or such, is defined by the alignment of the joints, which is invariable (that is, we perceive something odd if it does vary). If this is the case, may we recommend one of the many Photoshop brush sets available on GraphicRiver, including this Classic Art Brush Pack. If you're drawing digitally, perhaps you want your work to look more like it's created with pencil and paper. The first fundamental to acquire is proportions, and we’re going to be practicing with this basic figure for a while while we become familiar, not only with the conventional "ideal proportions", but also with the way they vary with gender, age, even ethnic background. We’re going to build up this skill from the ground up, in the same order as a drawing process, starting with a simplified skeleton (the basic figure or stick figure), moving on to the volumes of muscle structure, and then finally the details of each part of the body and face. Nobody, therefore, should feel frustrated for having trouble drawing people it is an ambitious undertaking. Not only is it among the most sophisticated animal structures in nature, it is also one of those with most variations: few other species come in so many shapes and colors. Let me say that it will take many sessions to cover the wonders of the human body. We’re going to start giving structure to that feeling-based groundwork by studying the body with a more scientific eye. If you’ve practiced capturing energy in the previous tutorial, you’ll have acquired a good feel for loose sketching of people.
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