Sketching-People

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LEANING AWAYWhether showing aloofness, defiance or disconnectedness,these people are all resisting whatever theyare being subjected to. Without context, we are leftto guess what’s going on around them, but how theyfeel about it is fairly clear.
DEALING WITH SYMMETRYPeople sometimes position themselves in a symmetricalpose. When drawing them, it’s better to alter the positionof their arms and legs so each side doesn’t mirror the other.We naturally tend to design symmetrically, but things are farmore interesting to look at if they aren’t uniform. If symmetryis important to the pose, approaching it from an obliqueangle will make it more interesting.Make sure thesilhouette ofyour figure is notsymmetrical.THREE-QUARTERS VIEWIn both of these examples, the model is sitting in asymmetrical position. If the drawing had been fromthe front, each side would be a mirror of the other. Bymoving to a three-quarter view, the silhouette is notsymmetrical, even though the pose is.
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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
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STEPS TO GESTURE DRAWINGEXERCISEDev
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FINISHED GESTURE DRAWINGThis first
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A FEW LINES CONVEY POSE AND EXPRESS
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SPHERICAL FORMSThe sphere is more t
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SPHERICAL FIGURESOnce you understan
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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
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: LEANING INIf a person is leaning in
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
Page 123: GALLERY
Page 129 and 130: THE BEST IN ART INSTRUCTIONCOMES FR
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