Sketching-People

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4| Specific Shapes and ClothingOnce all the volumes are established, you can now define thefeatures. Keep in mind the original gesture drawing to retainthe energy and authenticity of the original expression. Clothingcan be added over the underlying volumes.5| DetailsFinal surface elements such as clothingdetails, facial hair and shadingfinish the drawing.
SKULLThe skull is the foundation of the head. It’s the solid formthat the dynamic muscles and skin slide over to createexpressions. The eyeball sits in a rigid socket that doesn’tmove. The bridge of the nose stays firmly in place as thenostrils flare and stretch. The jaw may hinge, but the teethand muzzle don’t move as the lips do. Because of this,to successfully draw expressions, you’ll need to be ableto draw the skull.STUDY THE SKULL’S VOLUMES AND PLANESWhile some areas are simplified on these two skulls, thevolumes and planes are clearly established. Knowing howthe skull is built is important when drawing a face because itprovides a firm underpinning for the features to hang on.FACIAL FEATURES RESIDE IN THE SKULLThe thin skin on this gaunt face really shows the importanceof understanding the skeletal structure when drawing the head.The sunken eyes show how they sit in their sockets and thecheekbone, bridge of the nose and muzzle are quite prominent.
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SKETCHINGPEOPLE
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ACKNOWLEDGMENTSI’d like to thank
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Chapter Five66 | EXPRESSIONSWhen we
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SKETCHING MATERIALSYour choice of m
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“Talent! What they call talent is
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SKETCHING POINT-TO-POINTEXERCISEPoi
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ALIGNMENTS | POSITIVE & NEGATIVE SH
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DYNAMIC LANDMARKSWhen a person is i
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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
Page 68 and 69: SIMPLIFIED EXPRESSIONSI think the f
Page 70 and 71: disgustconfusionangersadness
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
Page 105 and 106: STAGING PEOPLEStaging is a tool to
Page 107 and 108: BUILDING A SCENEAs people crowd int
Page 109 and 110: 3| Extend the Setting, If Necessary
Page 111 and 112: Chapter EightVALUELight’s vibrant
Page 113 and 114: LOCAL VALUEEverything has an inhere
Page 115 and 116: DIRECT LIGHTThis system of light is
Page 117 and 118: LIGHT & SHADOW SIDESLight divides t
Page 119 and 120: COMPRESSING VALUESOnce the light an
Page 121 and 122: CONCLUSION: ON CREATIVITYSome peopl
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GALLERY
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THE BEST IN ART INSTRUCTIONCOMES FR
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