Sketching-People

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CREATING INTERLOCKING FOLDSIn order to invent interlocking folds, youfirst have to find places where fabric isbunching up and folding over on itselfdue to compression. Here, I createdan interlocking fold at the elbow andmore behind the arm where the fabricis bunching up as a result of beingpulled up by the figure.
SPIRAL FOLDThe spiral fold is a series of folds that wind around theunderlying form. The folds appear perpendicular to thedirection of the compression. For example, if a shirtsleeveis pushed up the arm, the excess fabric will create foldsthat coil around the arm.BASIC SPIRAL FOLDThis diagram shows how fabricmight spiral around a cylindricalform such as an arm or leg.FOLD THICKNESSWhen drawing folds (above), be sureto show that the fabric has mass. Manyartists make the mistake of depictingfolds as lines rather than forms thatwrap around the body.LOOK FOR SPIRALSBoth the shirtsleeve (1) and the dress(2) spiral around the body where thefabric is compressed.12
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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 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 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 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
Page 76 and 77: HAIR GROUPINGSWithout gels or spray
Page 79 and 80: Chapter SixBODY LANGUAGEDrawings be
Page 81 and 82: CATEGORIZING POSESThough a subject
Page 83 and 84: LEANING INIf a person is leaning in
Page 85 and 86: DEALING WITH SYMMETRYPeople sometim
Page 87 and 88: HANDSOur hands are designed to be u
Page 89 and 90: HANDS: CONSTRUCTIONOnce the gesture
Page 91 and 92: Chapter SevenSTAGINGFor a visual ar
Page 93 and 94: SIMPLE SETTINGS PROVIDE HINTSSettin
Page 95 and 96: CHARACTER BLOCKINGCharacter blockin
Page 97 and 98: ANGLEDAn angled pose allowsthe char
Page 99 and 100: VANTAGE POINTThe vantage point is t
Page 101 and 102: PROXIMITYYour angle may be predeter
Page 103 and 104: 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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