Sketching-People

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DYNAMIC LANDMARKSWhen a person is in a dynamic pose, thedistances between the bony landmarkswill appear to change two-dimensionallyas the figure stretches in some areasand compresses in others, but thedistances will remain the samealong the centerline of thethree-dimensional figure.LANDMARKS SHOW MOVEMENTThe bony landmarks will help you see howthe body is twisted and tilted in space.
MUSCLESLearning the muscles is part of learning to draw the human form.Anatomy books are an important part of educating yourself aboutanatomy, and I’d suggest you buy a book specifically geared forartists. But even that won’t tell you the whole story. Understandingthe muscles does not mean memorizing all of their names.Learning the muscles means understanding how the human formis designed. Muscles on a model never look like they do in an anatomybook—they stretch and flex, are foreshortened or twisted and,most importantly, have volume and shape that contort as a persontakes a different pose. Use anatomy books to help you identifymuscles, to help you understand what you are looking at and whatto look for, but use your observational skill coupled with your knowledgeto draw the figure. This is the first step in moving beyondcopying your observations to re-creating what you have observed.Eventually your obser vations will give you enough knowledgeto allow you to draw what you have seen only in your mind.THE HUMAN FORMThe muscles are the body’s substructure. They area big part of what gives the figure its shape and form.Understanding what goes on beneath the surface willhelp you see important details that might have goneotherwise unnoticed.
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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 12 and 13: “Talent! What they call talent is
Page 14 and 15: SKETCHING POINT-TO-POINTEXERCISEPoi
Page 16 and 17: ALIGNMENTS | POSITIVE & NEGATIVE SH
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
Page 62 and 63: CREATING INERT FOLDSWhile the blank
Page 64 and 65: SIMPLIFYINGThough every wrinkle, fo
Page 66 and 67: 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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