Sketching-People

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A FEW LINES CONVEY POSE AND EXPRESSIONStudy these drawings. Do you see how only a few lines are necessaryfor the mind to perceive a whole figure? Aim for this simplicity andfluidity in your own work.
Chapter ThreeBASIC FORMSOnce you have established a gesture, you will want to begin to define itdimensionally. By going through the drawing a second time, you can usespheres, boxes and cylinders to establish how the figure is positionedspatially. While a gesture gives you a feeling for a pose, it’s the basic formsthat begin to make the figure seem like it has mass.Though the body isn’t made up of spheres or boxes or cylinders, these willlater help you to sculpt out muscles, bone and flesh from the flat page. They alsoserve as a surface on which to hang details such as the nipples, the bellybutton,scars or tattoos. Ultimately, you need to develop a model of a figure in your mind thatyou can draw from any angle, in any pose and to any level of detail without havingan actual person in front of you. Once you achieve this, drawing is just a matterof altering shapes to conform to your specific subject.When you are drawing from life, your drawing must ultimately emulate what youobserve. But conceptual drawing is necessary to re-create on a flat page what you seein reality. You are melding the two techniques of drawing—drawing what you seeand drawing what you know—and one is not more important than the other.Being able to construct a figure from imagination givesyou the control to alter what you see and the freedom toinvent figures and environments. You aren’t limitedby what’s in front of you; you can drawwhatever you imagine. But using yourobservations gives you new inputs so youaren’t repeating the same drawings overand over again.The techniques in this chapter willhelp you to better translate what yousee into a drawing that appears tohave actual volume and dimension.BASIC FORMS CREATE A SENSE OF VOLUMEThis figure was created by building basic forms on top of a gesture.For example, the square knees, the round breasts and thecylindrical limbs all have the basic forms as their foundation.“Art does not reproduce the visible;rather, it makes visible.”—Paul Klee
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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 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 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
Page 68 and 69: SIMPLIFIED EXPRESSIONSI think the f
Page 70 and 71: disgustconfusionangersadness
Page 72 and 73: 4| Specific Shapes and ClothingOnce
Page 74 and 75: 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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