Master the proportions, poses, bones and muscles of animais FROM HEAD TO FOOT How to draw and connect the simple shapes that make up the human body WORKSHOPS Learn practical drawing s
Trang 1Master the proportions, poses,
bones and muscles of animais
FROM
HEAD
TO FOOT How to draw and connect the simple
shapes that make up the human body
WORKSHOPS
Learn practical drawing skills and
technicjues from professional artists
Trang 3rum rt jMQi
Trang 4W 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 az in e
d ed icated to fa n ta sy an d sci-fi art O u r a im is to help a rtists to
im p ro ve b o th th e ir tra d itio n a l
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!
Trang 5FANTASY 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
16 B asic 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
Masteryour depiction of the limbs
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 eh an d 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 ectacu lar!
A feast of great figure-
based images - and the
artists behind them
Subscribe to Im agineFX today and save
m oney o ff every issue! S<
U S an d C an ad ian readers: please turn to page 96
Imagine Presents Anatomy
Trang 6Volume 1
Digital art skills
Help and advice from figure artists
98 Creature features
Combine human and animal
anatomy to create a fine-art portrait
of a monster with Justin Gerard
102 Top ten fan tasy poses
Whether you're drawing a hero or
a villain, we've got the gestures and
silhouettes to help you out
104 Strik e a pose
Warren Louw explains how to fill
vour characters with energy by
íearning the art of posing
Artist Q&A
Real-world issues solved
108 Q uick guides
Our artist panei helps you:
• Paint realistic hands
• Draw a screaming face
• Avoid static figures
• Master heroic proportions
• Draw realistic eyes
• Give characters mass and weight
• Draw expressions that show the right emotions
• Pose figures in motion
• Shade faces better
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
Imagine Presents Anatomy
ON YOUR DISC
Sketches and videos to help you learn
Turn to page
114 for more
Trang 7legends,” 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.”
1DRAKAR 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
Imagine Presents Anatomy
Trang 8The Gallery
2ELD O C H SO T
15x22in, watercolour on paper
“ 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.”
3TRUDVANGS STIGAR
13x25in, watercolour on paper 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.”
4CONFRONTATION
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
Trang 9The Gallery
■ Tom Kidd
LOCATION: US
W E B : www.spellcaster.com
EM A IL: tkidd asn et.n et
M ED IA U SED : Oil on panei
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
8
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 cam e 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.”
Imagine Presents Anatomy
Trang 10Although Duc has studied
Aat Ho Chi Minh City’s
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."
2ADERA
Ali Duc wanted was a playful
portrait “ with strong warm and cool
colour values to present my character, the Seeker of Balance”
Imagino Presents Anatomy
Trang 11working 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
1MOTHER 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.”
Imagine Presents Anatomy
Trang 12"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.”
IO 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
Imagino Presents Anatomy
Trang 13Lucas 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
1PSYCHOPOMP
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.”
2VA LEM A ID ENS
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
‘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!"
Imagine Presents Anatomy
Trang 14The 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
W e prefer 300dpi T IF F or JP E G files if possible All artwork is submitted on the basis granting Future Publishing a non-exclusive 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.”
4KALADIM W IZ A R D
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"
Imagino Presents Anatomy
Trang 15<D c r , i
r
t»*V«
Human anatomy
A complete workshop on bringing
your body drawings to life
lmaginé Presents Anatomy
Trang 16The more knowledge you have,
the easier it w ill be to reach dear-cut
Ron Lemen on drawing the body, page 16
THE
KtoífcégfóU)
Your hum an anatomy expert
Ron Lemen has worked
in the entertainment and illustration industries for over 16 years With his wife Vanessa, he runs the Studio 2nd Street art school and is in demand
as an art instructor at drawing and painting classes across Califórnia
28 The legs
Masteryour depiction of the limbs 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
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
Imagine Presents Anatomy
Trang 17a o r b o o k covers, design
con cep tually 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
in v o lv in g p eo p le, it s im p o rta n tto
p roblem s an d reach d ear-cu t solu tion s for a n y d raw in g y o u m ake
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
u n d erstan d in g just as m uch as it can be
a sh ow case for th e total sum o f their know ledge A void that trap
Imagine Presents Anatomy
Trang 18Drawing Intro folder
inside Human Anatomy
Figuring it out:
tw o ways to draw There are tw o distinct approaches to figure drawing: observational and formulaic It pays to master both
Observational drawing in
practice, using a pencil to
measure the body’s dimensions
O bservation al d raw in g h as its o rigin s in
th e sight-size m eth od ology, w h ich trains the eye to v ie w a subject w ith accuracy,
p lacin g the object an d th e d raw in g sid e by sid e fo rco m p ara tiv e an alysis P lum b lines, leveis, a fix ed p o in t an d a m easu rin g line are used to help th e artist in un derstan d in g
d im en sio n a l an d sp a tia l m easuring
O bservation al d raw in g is a com p lex process that requires a great d eal o f reference m aterial to acco m p an y the w ords
to be fu lly explain ed In th is part o f o u r
an ato m y w orksh op , I'm g o in g to take a detailed look at tw o o f m y favoured
m eth o d s o f fo rm u laic d raw in g
Form u laic figu re d raw in g uses abstract
rh yth m s o r interlocking sh ap es - b asically design concepts - to b u ild on O nce these
fo rm u las are m em o rised b y d raw in g from life, y o u have a set o f to o ls to recall,
e n a b lin g y o u to design from y o u r
im agin atio n ify o u w is h It's im p ortant to h ave a solid
u n d erstan d in g o f bo th ap p roach es if you tru ly w a n t to be free a s an artist O bservation al
d raw in g sh arp en s the eye
an d m in d to c ap tu rin g a liken ess w ith ou t using abstract concepts;
fo rm u laic d raw in g gives
y o u a set o f tools to develop bo th from life
an d , m ore im portantly, from y o u r m in d s e y e
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
Imagine Presents Anatomy
Trang 19Human anatomy
REILLY’S SIX LINES TO THE TORSO
Exploring the Reilly method for figures
In this drawing system, you build a fram ework 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
h u m a n fig u re a s th e re are a rtists, but tw o
s y ste m s in p a r tic u la r fo rm th e b a sis o f
m a n y a r tis ts ' w o r k in g p ractices O v e r t h e
p ag e, y o u 'll e x p lo re th e In d u stria l
D esig n m e th o d ; b u t first, let's
lo o k at th e R e illy m eth o d Frank R eilly w a s an illustrator
an d instructor in th e early- an d
m id -20th century H e created a system o fte a c h in g th a t enabled students to q u ic k ly an d ea sily digest
th e p roblem s o f d raw in g an d pain tin g,
g iv in g abstract concepts labels and
d efm ab le schem atics, an d b u ild in g a
n otew o rth y step-by-step cou rse o f action
to create figu re draw in gs H is system
éé Frank Reilly's fígure drawing approach is a
linear one, starting with the structure of the
figure and advancing on to the anatomy §§
cam e from several sources, startin g w ith
D ean C o rn w ell an d Frank B ra n g w yn , as
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 Frank R eilly s system b ecam e a fash io n ab le m ethod in rnost o f the
A m erican art sch o o ls o f his day H is figure
d raw in g approach is a lin ear one, startin g
w ith th e structure o f th e figu re before
ad van cin g 011 to the anatom y, then sh ad in g
an d fin a lly detailin g H is approach started
w ith the core o f the figure: the torso
C ap tu rin g the action o f the p ose is probably th e m ost im p o rta m concern T he action b eg in s w ith th e head a n d radiates throu gh the spin e into the lim bs T o start the draw in g, y o u need to m ak e six lin es: the
head ; th e centre o f th e head and neck; th e sh o u ld e rlin e ; the spine; the lin e relating the shou ld ers to the base o f the
p elvis; and, fin ally, the line
sh o w in g the neck a n d hip relationship T h ese lines design
an d d efin e the core o f the pose
Arm s and legs
O nce th e core o f th e p o se is established, the arm s an d legs are attached to com plete the action
T h is sim p le con stru ction creates the structure o f the pose T he
Capturing the action of the character‘s pose should be foremost in your mind The action begins with the head and radiates from there
Imagine Presents Anatomy
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
Trang 20Basic forms
an ato m y is then depicted vvithin
th e structure y o u V e created
M uscles are w o ven like a fabric
to th e skeleton, connected to the
b o n e s w ith ten d on s - rope-like
attachm ents T h e point w here the
tendon attaches to the b o n e is d efin ed as
th e in sertio n p oint l h e figu re abstraction
heips place the m ajo r m uscle g roup s into
an organ ised an d flu id pattern, m ak in g it
qu ite sim p le to invent com p lex, realistic-
lo o k in g figures
T h e head 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
u n derstan d W e lo ok at tech n iq u es for
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 ough to
adapt as y o u r d raw in g sk ills develop
O nce y o u p rop erly u n derstan d the figure
abstraction u n d e rp in n in g th e system , y o u 'll
fin d that y o u '11 con stan tly ch an ge an d
rearrange lin es to suit every p o se an d ev ery
situation T he stan dard set o f lin es y o u start
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 cab u la ry
The body’s anatomy is designed into the structure you create, weavíng in muscles and tendons and gradually building up details
Its important to practise as
much as possible, so that you
can perform with clarity
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
sh ou ld be left b e h in d as so o n as
they're m astered, like stabilisers 011
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
w e p erfo rm , w e can d o s o w ith
total clarity an d fo cu s on 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
o f A n d rew I.o om is, a fa m o u s m id-20th
c e n tu ryA m eric a n illustrator w h o covers
so m e o f these p rin cip ies in h is figure
d raw in g m an u ais, an d offers a great m an y
u sefu l tech n iq ues besides
As you construct your figure, try to use long,
flowing lines so that the drawing starts to feel
alive, even at this early stage
a few anatomical landmarks to help On the disc are three videos, each on creating a figure from various viewpoints A b stra ct 1
m p 4 deals with the front torso
A b s tra c t 2.m p4 the back and
A b s tra c t 3 m p4 the side
Imagine Presents Anatomy
Trang 21Human anatomy
Here the figure is rendered with hatch lines
creating an immediate illusion of form The lines
Crossing over the form are Crossing in the short
to control th e p o se a n 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 fig u 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 depict th e tilt o f th e head
T he p an ei b e lo w sh o w s so m e exam ples
o f cylin d er figu res in gesture poses, w hich
is w hat y o u have to fin d n exi T h e gesture o f
th e p ose is a flu id , flo w in g line: it s th e big
sw eep in g m ovem en t th a ts m ade betw een
th e u p p er an d th e low er h alves o f th e body
DRAWING CYLINDER
FIGURES IN GESTURE POSES
Usecylindrical
forms to start every
figure if you can
Cylinders are easy
to draw and can
It sh ou ld b e gracefu l, an d is id eally established in o n e o r tw o c u r v y lines
A dd to y o u r first line a secon d line,
w hich describ es the w id th o f the p ose T h is 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 shou ld m irro rea c h other, m o v in g in relation sh ip to o n e another Lin e three is 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 g ly 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
fo rm , as y o u need to k n o w perspective to
m ake cubes look con vincin g C ylinders,
i f d raw n correctly in perspective, g ive the
v iew er a strong sense o f position in space
T h e shou ld ers are th e top p oint o f the cylin der, the p elvis its bottom T he p elvis varies in sh ap e d ep en d in g on w hat character y o u re d raw in g It can be d raw n as
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 jec ts 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,
Imagine Presents Anatomy
Exploring the Industrial Design drawina method Use basic geom etric shapes to make your figures feel solid and three-dimensional
Trang 22Basic forms
éé If a figure is twisting or turning,
you can easily depict this movement in
cu tting in on either sid e to sh o w the hip
bones, th e iliac crests
N o w d raw an e g g sh ap e to indicate the
ribcage, attaching it to th e sh o u id er line
an d o n ly breach in g th e cylin d er form if'
th e b o d y is com pressed o r tw istin g T he
rest o f th e torso is bu ilt u p u sin g ellipses
o r traversin g lin es across the centre line,
to sq uare u p the tw o h a lv es o f th e torso
an d pelvis
T h e im p ortan t lan d m ark s to indicate
are th e nipples, th e tenth ribs, th e iliac
o f form an d m ovem ent, h o p e fu lly in a
s im ila r d y n a m ic to M ich elan g elo o r
R ubens - but w ith a m od ern flair, like that o f C la ire W en d lin g o r B ru ce T im m
O nce th e structure is d efin ed , m ove into gesture again, d raw in g th e cylin ders
o f the a rm s a n d th e legs W hen y o u r lim b s are d raw n in, m ove b a c k into structure a n d d efin e th e m uscles, then gesture again to d escrib e the m ovem ent
o f th e sh ad o w patterns over th e m uscles, then structure to tighten them up
Imagino Presents Anatomy
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 you see The illusion of the drawing can suffer if you stick too rigidly to what you see without really thinking about how the forms are functioning in 3D space
crests, th e n avel an d th e arm pits I f y o u r figure’s back is visible, th e scapulae, the
d im p les o f th e sacru m , the ob liq u es an d
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 c h 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
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 su cceed ing shape Each S-cu rve generates a m ore con vin cin g illu sio n o f overlap p in g form s
You sh ou ld sw itch often betw een gesture a n d stru cture to strik e a b alance
THE FIGURE AS
AN S-SHAPE
Draw the ribcage as if looking
up at it, with lines arching upward Draw the pelvis with lines arching down This keeps the forms tilted correctly to the viewer from straight-on
These drawings are fleshing out the dynamic movement in each pose
Using cylinders and dividing each segment of the cylinders into thirds
the scaffolding of the body
is ready for muscles to be laid over them The cross- contour lines help guide the muscles correctly around the form
Trang 23Oi 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 ically start w ith the
torso in figure d raw in g to w ork out the
d yn am ics o f y o u r pose
T h e head is the ruler that y o u m easure
th e b o d y from ; th e b o d y is th e p rim a ry
essence o f th e pose Both are im p ortant
to d raw from the start, but the head can
stiffen up q u ic k ly w ith no reference to the
body Ify o u design th e b o d y first, the
Pon Lem en
COUNTRY: USSee more of Ron's work
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 action in three lines: th e gesture, the
w id th an d th e d epth O nce the gesture
or action o f the pose has been established,
th e lim bs are then attached to com plem en t th e tw ist, tu rn o r sw ivel o f the torso W ith the head attached, you can
m easure o f f th e height an d vvidth o f the torso m ore appropriately, o r adjust the
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 centre o f th e chest, o r th e sternum , and con tinu es th rou g h the lin e that splits the
an d ap ex for m atch in g rh yth m ical lin es
lmai>ine Presents Anatomy
Trang 24The torso
GETTING THE PECTORALIS MUSCLE RIGHT
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
is like forgetting to b rin g th e m an ager
alon g to th e big gam e
If y o u d on 't u se boxes to d esign the p elvis
an d th e ribcage, th e next step is to fin d the
three-quarter 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
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
The pectoralis mfiscle sits on the upper half of the ribcage, and inserts onto the uppe? arm borte, or humerus, around the upper third division of its length The muscle wraps undemeath the humerus towards the back
of the arm, and is a f ive-sififed shape
■s+arts
Uv i c v;u aR
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 group s:
th e p ectoralis m uscles, the ab d o m in al
m uscles, th e ob liqu es, th e serratus m uscles,
the trap ezius 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
acrom iu m processes - the b u m p s at the
shou ld ers - an d tap ers to th e b ase o f the
crotch T he vvedge fo rm s th e true front
p lan e o f th e b o d y ; th e m asses on eith er side
o f th e w ed ge taper at a sh arp angle, an d
becom e a part o f th e side p lanes o f the
figure T he w ed ge form p asses through
Its striations, or muscle fibre divisions, radiate in a fan-like shape, with the clavicular portion sitting on top of the mass The female breast sits on top of the pectoralis roughly between the seventh and eighth rib It has a comma-like shape tapering back under the arm toward the scapula
THE COATHANGER METHOD
The trapezius i is $ back
?the shoulders and
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
taking up about half the space
of the top plane of the torso
The ramp varies in height
depending uponathletic build
Trang 25-éé Neglecting to draw in the
centre line is like forgetting
to bring the manager along
to the big game I f
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 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 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
th e ribcage an d pelvis T he fu rth e ry o u
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
Imagine Presents Anatomy
víAÍM OMIOVi
p u sh th e rhythm b etw een these tw o 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
o f th e b o d y are v e ry p liab le a n d can be stretched an d tw isted as m uch as needed
to help en h an ce th e gesture o f th e pose.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 articu lation o f t h e m u scle 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 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 u p 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 80s an d 90s If you can fin d a few exam p les, they serve » ■
C L
-DRAWING THE
HUMAN FIGURE: A
FOUR-STEP GUIDE
Trang 26The torso
3 abdominal muscles
each ftave a different type of contour The
top twp muscles are^ôngular: the top heads
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
ali take on a bulging appearance from
compression The left side of the figure is
stretched out, and the shapes relate to this
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 architecture of the bones of the torso
The serratus muscles connect the scapula to the ribcage from beneath the scapula The muscle heads originate along the inside edge of the scapulae on the back, closestto the spine, and terminate halfway along the first nine ribs
These muscles insert snugly into the obliques, and radiate in an arc on the side
of the body, with aII the muscles fanning out from top to bottom
tmaçiriè Presents Anatomy
Trang 27n u s " pa r t lçwds vAj/4,efcRwv<*
M v^-LtS -mvs
?*«■ < * "
a s u a s ^ t s ll£t> W
of one drawn line; try
to draw the entire pose quickly, then assess as a whole what can be fixed
or altered to create
a stronger, more convincing pose
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
í as a g o o d lesson in w hat 1101 to d o
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
to learn Rem em ber: the key is to practise,
practise an d practise som e m ore - an d to
have fu n d oin g it #
The muscles on the front of the body are very pliable and can be stretched and twisted as much as needed to help enhance the pose If
Trang 28Exclusive introductory offer!
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lniat>mé Presents Anatomy
Trang 29DRAWING
THE LEGS
Master your depiction of the limbs
that drive the rest of the body
See more of Ron's work
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 sketches by Ron in the Legs folder inside Human Anatomy
Ohe legs p rovid e su pp ort fo r the
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 u scles 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
b o d y are u sed to exten d th e leg, w ith the
bicep fem oris, sem i m em b ran osis an d
ten d on osis actin g as flexo rs Both th e arm s
and th e legs start w id e at th e torso and
tap er to about h a lf that w id th at th e w rists
an d ankles T he biggest structural
differen ce is th e o rganisation o f m uscles
arou n d the kneecap, w h ich d iffers to the
ridge o r rotator m uscles in th e elbow
Now, w ith o u t gettin g too caught u p in
th e n am es, let's get d o w n to d isc u ssin g th e
shap es a n d rh y th m s in a leg, breakin g the
d raw in g d o w n into ea sy steps
Y ou sh ou ld start w ith a sim p le gesture:
a lin e con n ected to th e h ip s w ill d o T he
hip s a i? th e pij[ot p o in t fo r th e legs, an d act
as an axle R em em ber that both sides o f
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 alanced b y th e p osition o f th e low er body,
w h ich creates stability T h e h ip s can be
d raw n as on e o f several d ifferent m asses,
d ep en d in g on y o u r preferred d raw in g
m ethod ology, but th ey a li serve th e sam e
fu n ction : v o lu m e an d con struction
Leg bones and muscles
The p elvis is a n arrow sh ap e fu n n ellin g inw ard tow ards its base T h e w id e p oint o f
th e hips is created b y th e fem u r an d the hip
m uscles, w h ich are m ostly responsible for
c o n n ec tin g th e leg to the body, an d fill in
th e space betw een the p elvis an d femur These h ip m u scles fla ir o u t in an A shape
an d act in a bro ad ly sim ila r w a y to the
THE RELATIONSHIP BETWEEN HIPS AN D 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
Ç C l o v ;
vje\G çH r/
OKI
Trang 30Part The legs
éé Remember that
both sides of the
hips are fused
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 sartorius
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 uscle group 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
SH O vtO tfc.
TO r ( X f T
■SH
i. j Drawing ares between ali the joints and key
y features relates the left and right sides
• ofthe pose Understanding figureproportions related to skull size can help you to interpret these ares with much greater clarity
FINDING THE BIG RELATIONAL SHAPES IN POSES WHERE THE FIGURE ISNT STANDING
/\t£>-Vr* t
c v u n s & x z
\N I T H
Imagine Presents Anatomy
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
Trang 31Human anatomy
S-curves are found
alloverthe body,
and the legs are no
exception Here, the
S-curve is found not
only In large muscle
rhythms but also in
the bones and their
connections The
bones through the
knee into the shln
bone and the smaller
bones around the
kneecap, hips and
ankles exemplify this
S-FORMS IN LEG MUSCLES
When drawing the leg, keep in mind that the muscles spiral over the
form in an S-like rhythm This rhythm is universal throughout the body,
b ut it*s particularty noticeable in the arm and leg muscles, so it's good
to bear that in mind while draw ing these areas Rhythm keeps any
form from g ettin g too s tiff in its design One o f these S*curves is the
sartorius muscle, which is attached to the iliac crest and spirals down
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
gardens The iliotibial band does the same thing on the outside o f the
leg These divisions are usually where the strongest shadow patterns
are formed on the legs, regardless of how active the pose is
is th e large rope-like cord that exten ds
b e lo w th e k n eecap to th e fo rw ard
p rotuberance o f t h e tibia, o r shin bone
T he k neecap or p atella is shap ed som ew h at lik e a pen tagon W hen the
k nee is bent, th e larger shape o f th e leg
m ass betw een the fem u r an d th e shin -— bo nes e ch oes th e sh ap e o f thepatella 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 cross-section T h e sh in b o n es form a
Vwedge, w ith the sh arp edge facing
forw ard an d the w id e sid e as th e c a lf
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 form at th e an kles, w ith th e inside o f the an k le high er than the outside T he low er leg fo rm s a b o w lin g pin shape, sim ila r to the forearm , an d the foot fits ■*
Notice how the leg and the arm are similar to one another in their physical structure The biggest differences between them are at the joints, but the majority of muscle masses resemble each other in their structure
The knee can be
designed w ith 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
COMPARING LEG MUSCLES TO THE ARM STRUCTURE, AN D MAPPING OUT THE KNEE
The arm and leg have quite similar proportions with regard to tendon mass versus muscle mass; even the upper and lower portions o f the limbs have similar divisions The upper tw o thirds of each segment is muscle mass
the upper third usually contains the largest bulk of muscle and the lower third
is mostly made up o f bone and tendon The upper part of each segment is rounded like a cylinder
and the lower parts (wrists and ankles) terminate with
a block form
I E U L f c
Imagine Presents Anatomy
Trang 32The legs
USE PISTON SHAPES TO CAPTURE
THE REGULARITY OF THE SHIN
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
TViívn ■ S p iit +'r\C b a r M ' a b s p c w /
6 c o v n íc o (
"á ai 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
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
Trang 33Human 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
* 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 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 u n u sed o r not fu lly taut, the
m u scles blen d into th eir respective g roups
or, i f really relaxed, back into th eir biggest basic shape
O n e im p ortan t point: rem em b erth at legs com e in pairs Be sure to relate the tw o legs to each o th er throu gh ou t 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
b alan ce o f the pose If the legs look o f f from each other, then the en tire p ose feels off
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
so u n d placem ent, th e rest p ractically takes care o f itself %
Using the simple rules of form and function, you should soon be able to work yourself up a pretty fine pair of legs Just don’t forget to take proportion and muscle use into account
Imagine Presents Anatomy
Trang 34Logyed ir> is Vou
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Trang 35at But an y o n e w h o s serious about figure
d raw in g is g oin g to have to tackle feet at
j so m e point F,ven ify o u intend to o n ly ever d raw characters w h o have sh oes on,
y o u r d raw in g s 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 designs, m o v ie posters, com ic b o o k s
ali o f these are instances w hen you m ight
w ant to d raw a fu ll figure from head to 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, help ing y o u o n y o u r w ay to ach ievin g the sweetest feet
See more of Ron’s work
Trang 36The feet
Get a foothold:
drawing perfect feet
Put feet into perspective and start with footprints
as the foundation for the correct overall pose
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
As the figure’s leg lifts the toes on the ground spread out - one of the few times they can be drawn separated
The toes bend behínd the bali of the foot not in front of it
To start a fu ll-figu re d raw in g o r even
a three-quarter d raw in g o f a figure, it
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
in th e shot, relating th e figu re to th e rest
o f th e en viro n m en t so it feels tru ly
p lanted in the w orld ITie p erspective w ill
h elp keep th e fo ot in correct scale to how
y o u see th e action, to th e character's head,
a n d to th e view er, as w ell as keeping it at
th e correct skew - i f there is a n y - from
cam era distortion
I b e g in b y d raw in g footprin ts o n th e
flo o r (o rstep s, o rs lo p e ; w h e rev erth e foot
is to b e located ) T h is can m ake it easier to
d raw th e legs w ith th e right foreshortened
lo ok to them an d w ith th e correct action
to the pose
B o o ts an d sh oes u su ally cover th e feet, but I recom m en d that y o u start w ith the foot w ith ou t a cover over it, so th e re s a
p roper scale o f fo ot size to th e figure before a n y d istortion created b y the sh oe design occurs Feet are so m e tim es d raw n oversized for w eig h tin g o r stylistic reasons, but I w o u ld still d raw th e fo ot
Begin with the ground plane to work out the correct perspective in the shot
bare before coverin g it w ith a big sh o e d esign, so that th e foot relates back to the scale o f the rest
o f the character
Toes are b u lb o u s at th e end,
w h ich m ean s they're rou n d ed like a
bu b ble, but sq u ish flat w h e n pressed again st a surface W hen th is h app en s, th e toe m ass spreads out a bit fu rth e r th an the toe's actu al size, u su ally jo in in g toes
w h ere th e y com e together I f th is is the case, don't d raw lin es in b etw een each toe: th is h a s the v isu a l effect o f spreadin g
them apart from each other U se sim p le ton es o r light gradation s to jo in th e m ass
an d separate th e toes
T oes step d o w n w ard like stairs from the
m etatarsal b o n e to th e toe's tip T here are
m a n y little co m p lex surfaces, from bo n e
to p to knu ckles and nails, that can be rendered o r shad ed to give th e feet m ore
d im en sio n an d com plexity
Defining the toes
Be carefu l not to add too rnuch d etail to
th e toes i f th e foot is sm a ll in the illustration: too m uch ren derin g in such concentrated spaces can force th e rest o f
th e illustration tow ards a direction o f over-rendering It can also p ush th e fo cu s
to th e bottom o f th e picture in th e sam e
w a y as u n der-scalin g th e feet, u n less you catch the m istake early en ough
T he bottom o f th e fo o t h as an arch on the in sid e an d tw o separate p ad s that
sq u ish to w h atever th e y press against, creating a straight line T he toes bend about a th ird o f th e w a y back b eh in d the bali o f th e foot W hen th e toes spread, the biggest sep aration occurs betw een th e big toe a n 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
Imagino Presents Anatomy
Trang 37-r w V < v V ^
e»W - h3Ç S * v » A \ Ç * o \ \ < M ' * ' ' * ' ' '
c J r " a ^ ) T i e s o v ) ^ + o i u « s p o » A +
Draw the foot with straight lines
along the surface it’s pressed
against, rather than drawing
S f 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
\ V are reiated to a ground piane
v Everything in space is reiated
^ to perspective: the figure is
no exception Once the ground plane is established,
» stamp out the footprints on it and draw
^ your figure to meet them, or draw up from them to complete the figure pose This also applies to feet
i W elevated from the ground plane.
’ ’ Determine where the figure is in
Z z
terms of the ground plane to help elevate the foot correctly,
in relationship to the surrounding space and to the viewer Drawing from the footprint to the torso sometimes helps solve tough foreshortening problems
Relating your figures to footprints drawn along a ground plane will help maintain a sense of perspective and make characters more believable
Imagine Presents Anatomy
Trang 38The ankles can be thought of as a stirrup shape
to help relate them to one another The inside
anklebone (maleolus) is higher in elevation than
the outside ankle bone
To achieve a more solid dimensional form bear in mind that the foot is a full shape with six sides
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, but w ith th e t o e sstill m ak in g co n tac t
w ith th e g rou n d p lane T h e big toe poin ts
in tow ards the o th er fo u r toes, an d these toes ben d tow ards th e big toe
D on't forget that th e foot is a full
sh ap e w ith s ix sides, like a block, w ith corresp on d in g sh ad in g planes D raw throu gh th e form to generate a m ore
so lid -lo o k in g an d d im en sio n a l form
W hen y o u 've perfected y o u r feet,
yo u '11 w a n t to add them to th e rest o f the character N o w 's th e tim e to c on sid er
a n k les a n d legs See in m y d iagram s
a b o v e h o w l've d raw n the right fo ot and started to attach it to th e right leg I've
sh o w n th e con n ection from a front
p erspective in these exam ples
T he a n k les con n ect th e feet to the legs For easier an k le d raw in g, it helps to th in k o f them as a stirrup- lik e shape T he in sid e a n k leb o n e is
m ore elevated th a n th e outside one
Feet have typ ically b een th e b a n e o f
m an y artists So m e illustrators h id e them
w ith sm oke, p u sh them into silhouettes
an d sh ad o w s o r even crop th e im age to avoid d raw in g them But w h en an artist can d raw them correctly, h o w m uch character th e y ad d to th e im age! Tine
h a n d s an d feet can say just as m uch as
a c o n v in cin g facial expression
Becau se o f th eir co m p lex ity an d gesture
o r action, feet u su ally becom e a secon d ary
o r tertiary fo cu s in a fig u re draw in g It's a
g o o d idea to tackle these d iffic u lt issues
e a rly o n an d id eally m ake it secon d nature
to d esign them con vin cin gly Y ou w ou ld
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
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
Overlap the toes when the foot is not drawn straight on This will avoid the 'clump of bananas’ look and help the foot look less cartoony
Imagine Presents Anatomy
Trang 39Human anatomy
DRAWING THE
SHOULDER AND
UPPER ARM
DorVt allow the complex interaction of muscles in this area
to distract you from anatom y’s guiding principies
©o fa r w e've seen h o w to d efin e
I th e a rm atu re o f th e figu re
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
con tin ue 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
th e shoulder, o n e o f the m ore com plicated spots 011 the b o d y to draw T he place to start is at the skeletal structure
U nd erstan d th e sh ap e o f th e scap ula an d
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
shapes, the m uscles have n ow here to start
o rterm in a te Keep in m in d that the
d iag ram s I have d raw n are m ostly fleshed over, so th e p oin ts w here th e m uscles attach are covered - but the shap es are solid an d d irectio nal, becau se o f w here the m uscles attach to th e bones
Ron Lem en
COUNTRY: USSee more of Ron's work
Imagine Presents Anatomy
Trang 40Pari Shoulders & upper arms
Learning the relationships
between muscle and bone
Drawing the shoulders to com plem ent
the action of the upper arm muscles
D raw in g th is part o f th e b o d y begin s
m uch lik e an y o th er part First gesture in
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
startin g to d efin e th e b o d y m asses in
m ore d etail
W hen d raw in g th e figure, a clear
u n d erstan d in g not just o f th e m uscles,
but w h at th e skeleton looks like beneath
ali th e m uscle m asses is needed to d raw
m u scles w ith an y b e lievab le v isu al action
to them W ithout th is u n d erstan d in g an d
observatio n , th e m uscles can en d up
d raw n as b u b ble sh ap es that are lifeless,
w eigh tless o r com p etin g against the action y o u w ant to depict
Shoulder structure
T h e sh o u ld er flo ats over th e ribcage, w ith
o n ly the clavicle at th e sternum on the ribcage actin g as an an ch o r for th e entire arm T h is m ean s that th e arm has
a lot o f free m o tio n o ver th e ribcage
W hen d raw in g th e arm connected to the body, you need to first fin d the correct action o f th e sh ou ld er to avoid a stiff-
lo o k in g d raw in g F o rex am p le, ifth e arm is w in d in g up to th row a bali, the
This drawing is ali about the shoulders and the upper arms Note how the shape and form of the forward-pointing left arm is entirely different to the right Think about how the muscles and bones are moving and interacting with the skin and the light
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
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
Imagine Presents Anatomy