Sketching-People

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“Talent! What they call talent isnothing but the capacity for doingcontinuous work in the right way.”—Winslow HomerSTUDIO SKILLSDrawing from a model in a studio is the best way to learn to sketchpeople from observation. Because the model stays relativelymotionless for a period of time, you have an opportunity to studythe figure’s contours and accurately translate them into a drawing.This fifteen-minute sketch gave me time to study the model’sform. I could focus on one area for a few minutes without worryingthat the pose would change unexpectedly.
POINT-TO-POINTPoint-to-point is an excellent method for exactly re-creatinga subject in a drawing. It allows you to “grow” a picture bystarting with one small element and using that as a referenceto add additional lines. By plotting where corners and planechanges occur in relation to other lines and objects alreadyestablished, the drawing will expand from one small partto a complete image.The key is to look at the subject as if it were two-dimensional.Ignore the fact that you are drawing something yourecognize and just draw the contours as you see them.Many people run into trouble when they try to “correct” thedrawing by forcing the lines to conform to the way they thinkit should look instead of how it actually looks. Instead, lookat how the contours relate to each other two-dimensionally,taking measurements from parts already established in yourdrawing. If you don’t take the time to measure, you will drawwhat you think the subject should look like and not howit actually appears.USING POINT-TO-POINTWhen you are drawing something complex, you may beoverwhelmed by its many parts at first. Just start with somethingthat has a clear length and width that will establish aunit of measure in the drawing. Then look for other lines thatare parallel, that intersect or that align with that edge andcontinue with them. You may find it helpful to actually placedots on the page where lines begin and end to help youanalyze the line’s length, angle and how it intersects withwhat’s already established before you draw the line. You canalso use the point-to-point technique with loose lines. Resistthe temptation to be too rigid.USING A MODELWhile people out in public won’t hold still long enough for you to be ableto use the point-to-point technique, a model will. In this drawing, I had timeto carefully plot out and construct the figure. I had time to check alignments,measure distances and widths, and make corrections as the drawing developed.
Page 2: SKETCHINGPEOPLE
Page 6 and 7: ACKNOWLEDGMENTSI’d like to thank
Page 8 and 9: Chapter Five66 | EXPRESSIONSWhen we
Page 10 and 11: SKETCHING MATERIALSYour choice of m
Page 14 and 15: SKETCHING POINT-TO-POINTEXERCISEPoi
Page 16 and 17: ALIGNMENTS | POSITIVE & NEGATIVE SH
Page 18 and 19: DYNAMIC LANDMARKSWhen a person is i
Page 20 and 21: MUSCLE AND SKINThe human form is la
Page 22 and 23: STEPS TO GESTURE DRAWINGEXERCISEDev
Page 24 and 25: FINISHED GESTURE DRAWINGThis first
Page 26 and 27: A FEW LINES CONVEY POSE AND EXPRESS
Page 28 and 29: SPHERICAL FORMSThe sphere is more t
Page 30 and 31: SPHERICAL FIGURESOnce you understan
Page 32 and 33: CUBIC FORMSThe cube is the most dim
Page 34 and 35: FIGURES BUILT FROM BOXESThese two s
Page 36 and 37: THINK OF A CYLINDER AS A SPRINGAlon
Page 38 and 39: MORE COMPLEX FORMSThe figure here i
Page 40 and 41: EXERCISEPRACTICE BASIC FORMSPractic
Page 42 and 43: 3| Anatomical FormsShape and mold t
Page 44 and 45: ALIGNMENTIn order for the gestalt p
Page 46 and 47: STATIONARY SUBJECTSPeople who aren
Page 48 and 49: TENSION & COMPRESSIONFolds are crea
Page 50 and 51: CREATING PIPE FOLDSPipe folds are e
Page 52 and 53: CREATING SWAG FOLDSFind places on y
Page 54 and 55: CREATING INTERLOCKING FOLDSIn order
Page 56 and 57: CREATING SPIRAL FOLDSThis figure’
Page 58 and 59: CREATING ZIGZAG FOLDSJust above whe
Page 60 and 61: CREATING BILLOWING FOLDSIn this sim
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CREATING INERT FOLDSWhile the blank
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SIMPLIFYINGThough every wrinkle, fo
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FROM GESTURE TO SKETCHEXERCISEJust
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SIMPLIFIED EXPRESSIONSI think the f
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disgustconfusionangersadness
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4| Specific Shapes and ClothingOnce
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SIMPLIFIED FORMThe simplified head
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HAIR GROUPINGSWithout gels or spray
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Chapter SixBODY LANGUAGEDrawings be
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CATEGORIZING POSESThough a subject
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LEANING INIf a person is leaning in
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DEALING WITH SYMMETRYPeople sometim
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HANDSOur hands are designed to be u
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HANDS: CONSTRUCTIONOnce the gesture
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Chapter SevenSTAGINGFor a visual ar
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SIMPLE SETTINGS PROVIDE HINTSSettin
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CHARACTER BLOCKINGCharacter blockin
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ANGLEDAn angled pose allowsthe char
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VANTAGE POINTThe vantage point is t
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PROXIMITYYour angle may be predeter
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EXERCISESIMPLE STAGING, ONEA good w
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STAGING PEOPLEStaging is a tool to
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BUILDING A SCENEAs people crowd int
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3| Extend the Setting, If Necessary
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Chapter EightVALUELight’s vibrant
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LOCAL VALUEEverything has an inhere
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DIRECT LIGHTThis system of light is
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LIGHT & SHADOW SIDESLight divides t
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COMPRESSING VALUESOnce the light an
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CONCLUSION: ON CREATIVITYSome peopl
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GALLERY
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THE BEST IN ART INSTRUCTIONCOMES FR
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Sketching-People

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