Human Figure Powerpoint High School Art Slideshare Human Figure Drawing
5 Ways to Start a Effigy Drawing
Drawing Figures:
Drawing past Paul Beaudry
I of the challenges of drawing figures is that it is a problem solving activity that requires united states of america to be flexible in our approach.
Because no two drawing scenarios are the same, we must learn to creatively think of various solutions to solve each individual "drawing problem".
When working from life, we likewise face the added claiming of having to practice thisquickly, every bit we rarely have unlimited time with the model.
With practise yous volition learn to generate as many solutions every bit at that place are poses. You will brainstorm to place the most of import elements in a pose, and recognize which to start with that volition allow the residue of the drawing to progress efficiently and smoothly.
For example, if the line of the shoulders is very prominent, you lot may choose to begin your cartoon at that place. Peradventure there is a dynamic movement essential to the gesture of the pose that you start with. Very complicated poses can be simplified past starting time with an "envelope" to betoken the surface area that the figure occupies, as well as the major angles of the pose. These are simply a few examples of the possibilities.
There is commonly more than 1 correct reply. Later all, drawing figures is not solely an analytical activity, but an interpretive and intuitive 1 as well. However, inside the myriad of possible correct answers, there may exist a about efficient and effective way of kickoff a cartoon, which will get easier to place with exercise.
Let's look at 5 strategies to "solve" the beginning of a effigy cartoon.
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five Ways to Start Drawing Figures
one. You tin can brainstorm cartoon figures with the caput and neck.
Perhaps the most common and logical way to begin a figure drawing is to work from top to bottom - to initially betoken and place the model'southward head.
Completed drawing on the left by William Adolphe Bouguereau
If I were to draw a pose such as the 1 in the above drawing, I would brainstorm by indicating the full general shape and angle of the head with a elementary oval or egg. Notice that my oval does not include the hair. The egg shape represents the skull, upon which the hair will exist added afterward on.
Once I have established the full general shape, I give the oval the correct tilt and a sense of perspective past drawing the heart line of the confront and indicating the chin and jaw lines. Notice how this minimal information establishes the position of the caput in infinite and starts to create a sense of 3-dimensionality.
It is good practice to build upward all areas of a drawing simultaneously then that in that location is aplenty opportunity to compare the proportions, angles and accuracy of the drawing before delving into further item. Following this principle, I leave the caput at this signal to move on to the line of the shoulders, paying particular attending to the bending of the shoulders and the distance between the chin and the shoulder line.
When I am confident in the angle of the shoulders, I motion on to drawing the main activity line and gesture of the pose, and placing the feet.
Completed drawing on the left by Kenyon Cox
In this second example I have used the same strategy: I began with a bones oval shape for the head. To clarify the position of the head in space I indicated the chin, jaw and middle line of the face. I then located the line of the shoulders before drawing the main activity line of the pose, placing the feet to establish the height of the figure, and drawing the center line.
Advantages of Beginning a Figure Drawing with the Head
In that location are some distinct advantages to start your drawing past blocking in the head, such as:
The tilt of the head and bending of the shoulders are often of import in establishing the gesture of a pose.
You tin extend a plumb line from the caput to decide how far in each direction the torso extends. In the above drawing, do yous see the vertical line that runs through the figure's nose? You can apply it to place the figure's hip, for example, past observing how far to the right of the plumb line the hip is located. Observing the negative space between this plumb line and the outline of the effigy can also help yous achieve a more accurate drawing.
The head can also exist used as a unit of measurement to make up one's mind the height and width of the pose, also as many of the smaller proportions on the effigy.
2. Y'all can begin drawing figures with the shoulder line.
In poses where the shape of the head is partially or completely obscured and the line of the shoulders is a more prominent feature, the latter can be an ideal identify to begin the cartoon.
How do you find the line of the shoulders?
When viewing the figure from the forepart, the line of the shoulders is found along the visible line created past the clavicle basic, below the triangular outline of the shoulders created by the trapezius muscle. Muscles lie on height of the skeletal structure of the body. We can mimic this order in our drawings past indicating the line of the clavicles first, and adding the trapezius musculus on top of that construction line later.
When viewing the effigy from the back, look for the point of the shoulder where the clavicle meets the acromion process of the scapula. This is normally adequately like shooting fish in a barrel to locate because there is a protrusion which tin can often be seen on the surface of the body, right where the clavicle ends and articulates with the scapula.
On some people, the bending of the shoulder straightens out considerably in this expanse, making the line of the shoulders easier to locate. Connect these points on both shoulders with a straight or arcing line to notice the shoulder line.
Here is another example of a drawing scenario in which you may choose to begin with the shoulders instead of the head:
Completed drawing on the left by Nikolai Blokhin
three. You can begin drawing figures with a gesture line
When a pose has a very distinct, expressive move that you want to communicate, you may choose to brainstorm with a gestural line that describes the major activity occurring in the pose. An easy mode to identify this major action is to ask yourself, "What is the effigy doing?" or "What is happening in this pose?"
Completed drawing on the left past Paul-Louis Clarin
In this case the figure is seated on a chair, leaning slightly forrard and to the left, and looking at the ground. Ane leg is extended forward while ane is flexed back. I can describe this move most simply by drawing a sweeping C-curve that begins at the head, curves around the body and continues on to connect the torso to the sole of the foot. Discover the repetition of this movement in the left side of the body and in the curvature of the spine.
Once I have established this movement, I can detect the angle of the shoulders, the shape of the caput, and where the trunk ends. The arms and legs can be indicated initially with gestural lines.
Completed drawing on the top left by Juan Adan Morlan
In this like scenario, the primary action line in the above drawing is a sweeping C-curve that is repeated in the right side of the body, the spine, and even in the position of the right arm. After drawing the overall motion of the pose with a gesture line, I movement on to detect the line of the shoulders, the opposing compressed action in the right side of the trunk, and the anxiety.
four. You tin can brainstorm cartoon figures with a shape.
Poses that are compressed or foreshortened (for example, when the figure is seated or reclining) may non accept a long, sweeping major action line. Instead, their gesture may be best communicated by drawing the shape that the pose fits into.
You can starting time these types of effigy drawings by blocking in a specific shape, paying close attention to its proportions and angles (the triangle below is not an equilateral one!). Then, imagine that you are a sculptor chiseling away excess areas of the triangle to reveal the grade of the figure.
Completed drawing on the left by Anthony van Dyck
five. You can begin drawing figures with an "envelope".
As the championship of this strategy suggests, an "envelope" envelops the pose. I employ the envelope when drawing a challenging pose that I desire to brainstorm more analytically rather than intuitively, in order to increase my chances of drawing it accurately. Similar to the to a higher place shape method, the envelope shows us the area that the figure occupies. To draw the envelope you can utilise straight lines, curved lines, or a combination of the ii to map out the boundaries of the figure.
Completed drawing by Charles Gleyre
Discover that a new line begins wherever at that place is a major angle change in the pose.
Completed drawing on the left by Kenyon Cox
Are you lot starting to discover whatever patterns? No matter how I begin my cartoon, the essential information that I try to find as quickly as possible in my first 10 or so lines is:
the full general shape and tilt of the caput
the line of the shoulders
the main action line and gesture of the pose
the placement of the feet
the gauge meridian and width of the pose
Taking your time to find and describe these elements will create a successful foundation for the rest of your block in, the construction of the figure, and the eventual rendering of the cartoon.
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Drawing Figures: Choosing a Strategy
If you're having difficulty deciding which strategies to employ to begin cartoon figures, here are a few things to consider:
Begin with what inspires you.
What you begin with depends on what is most important to you in the pose. Earlier you fifty-fifty pick up your pencil, get-go identify what interests you: Why exercise y'all want to describe this pose? What is information technology that inspires yous about this detail pose that you lot wish to communicate in your drawing? If it is the dynamic movement, for case, then maybe begin with a gesture line to limited that idea with your initial pencil marks.
Start with the easiest, well-nigh axiomatic variable.
You tin can also begin with whichever variable is nearly evident to yous. Which element from the above list of "must-haves" do you think will be easiest to draw accurately? If the shape and tilt of the head seem clear and obvious to you lot, for instance, brainstorm in that location. Perhaps it is the distinct angle of the shoulders that stands out to you lot.
With practice, determining how to begin your drawing will become a artistic and exploratory endeavour.
Happy Drawing,
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