Imaginefx How to Draw and Paint Anatomy 2010

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Creature drawing skillsMaster the proportions, poses, bones and muscles of animais

FROM HEAD TO FOOTHow to draw and connect the simple shapes that make up the human body

K pages ofWORKSHOPS

Learn practical drawing skills and technicjues from professional artists

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ANATOMYW e l c o m e . . .

Ifyoure reading this, the chances are youre an aspiringartist on a journey of self-improvement. Whether you're at college, hoping to become a professional artist or just want to create art for yourself, youve come to the right place.

The following pages in this special edition of Im agineFX are

filled to bursting point with the best anatomy advice around. Every page is packed with easy to follow, step-by-step guidance on how to create better human and creature figures, written and illustrated by professional artists. Essentially, its years o f attending art college distilled into one magazine.

The accompanying disc provides you w ith an opportunity to get closer to the annotated sketches, watch videos of anatomy drawing in action, and see high-resolution digital art files to help you learn how to take your sketches into digital art software.

For those of you who are new to the world o f ImagineFX, turn to page 97 to see just a fraction of the digital art workshops that we feature every month in ImagineFX.

Also, make sure you check out page 115 for a sneak preview of what's coming up in our FIowTo Draw And Paint series. We're sure you'll love them ali. Ifyo u have any questions, please get in touch w ith me at the em ail address below.

Claire Howlett, Editor [email protected]

From the makers o f

W e're the o n ly m agazine dedicated to fan tasy and sci-fi

art. O ur aim is to help artists to im prove both th eir trad itio nal

and d ig ita l art sk ills.V isit w w w .iin ag in e fx .co m

to fin d out m ore!

mailto:[email protected]

http://www.iinaginefx.com

FANTASY SCI-FI DIGITAL AR I

AP R E S E N T S

The finest artists in the world offer you the best guidance and to share their techniques and inspiration in our figure-drawing workshops

Human anatomyPractical advice from head to toe...

16 Basic formsImprove the way you draw figures with easy ways to establish the underlying structure of the body

22 The torsoWith the figure framework in place, it's time to set your focus on the core of the human bc

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r

3ody

28 The legsMasteryour depiction of the limbs that support the body and drive it forward into action

34 ThefeetDiscover how to use form to create

^ solid-looking feet - and why you shouldn't draw too much detail

38 The shouldersDont allow the complex interaction of muscles here distract you from the guiding principies of anatomy

44 Theforearm sIt may seem like a simple area of the body, but the forearm is more sophisticated than you suspect

50 ThehandsMany artists fear this part of the body, but applv the principies here and you'11 see now easy it can be

54 The headDiscover how to break the skull and facial features into simple forms to get the proportions spot-on

. \rosen i E PIA CF.TO SIIARE Y O U » M O ITAL ART

6 Art spectacular!A feast of great figure- based images - and the artists behind them

Subscribe to ImagineFX today and save money off every issue! S<

U S and C an adian readers: please turn to page 96

Imagine Presents Anatomy

Volume 1

Digital art skillsHelp and advice from figure artists

98 Creature featuresCombine human and animal anatomy to create a fine-art portrait of a monster with Justin Gerard

102 Top ten fantasy posesWhether you're drawing a hero or a villain, we've got the gestures and silhouettes to help you out

104 Strike a poseWarren Louw explains how to fill vour characters with energy by íearning the art of posing

Artist Q&AReal-world issues solved

108 Quick guidesOur artist panei helps you:• Paint realistic hands• Draw a screaming face• Avoid static figures• Master heroic proportions• Draw realistic eyes• Give characters mass

and weight• Draw expressions that

show the right emotions• Pose figures in motion• Shade faces better

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Animal anatomyYour complete to creatures...

„ 60 Basic formsBegin your exploration of creature

. anatomy by seeing the shapes V / beneath the skin and fur

... 66 The torsoFind out how the core of the animal body operates and how you can use it to bring life to your animal art

72 The hind legsExplore the rear-wheel drive of animais, and how this part of the body can propel your art forward

78 The forelegsUse your observation, skills and knowledge to build the pillars of balance and grip in animais

84 The neck and head4 Discover what part of the animal

body tells you about the creature - and the traits ali animais share

90 Animal facesFind out what animal faces have in common with human faces, and the crucial ways in which they differ


ON YOUR DISCSketches and videos to help you learn... Turn to page 114 for more

: r Paul BonnerLOCATION: Denmark W EB : www.paulbonner.net EMAIL: bonner a mail.dk MEDIA USED: Watercolour

“ Most of what I do stems from a childhood passion for fairytales, myths and legends,” says Paul. "They sparked a myriad images

and incessant scribbling, trying to draw my own versions.”

Since then, with the help of brushes and tubes of watercolours, Paul has been continuing along that same path. “Always knowing what I wanted to do made it an easy path to follow,” he says. Paul has made a successful career for himself that’s at least partially a result of his stubborn self-direction.

Apart from the need to try and empty a cluttered imagination, Paul's driving force is the basic thrill of creating something out of nothing. Obviously this nothing is not absolute: " lt ’s made up of a myriad influences that seep in over the years.” Books, films, other artists, music and nature are all- important ingredients.

The challenge is to make something believable. “ I deal in myths and legends,” says Paul, “ and if I can get people to suspend disbelief and accept the reality of what l’m painting although they know otherwise... Well, then, l’m a happy guy.”

1DRAKAR OCH DEMONER15x22in, watercolour on paper

Paul revels in the chance to paint rocks, stones and water, and these guys in a boat were a great opportunity. This piece was painted for Riotminds.


http://www.paulbonner.net

The Gallery

2ELD OCHSOT15x22in, watercolour on paper

“ Dwarves, trolls, stones carved into figures or runes,” says Paul of this piece for Swedish RPG makers Riotminds. “That just about sums it ali up really.”

3TRUDVANGS STIGAR13x25in, watercolour on paper

This dwarf is in a bit of trouble: he’s been captured by some trolls. But this piece for Riotminds gave Paul a chance to paint one of his favourite things: “ Nature again... stones and roots.”

4CONFRONTATION27x16in, watercolour on paper

Paul admits that this piece, painted for miniatures company Rackham, was a nightmare to draw, given ali the figures. “ But it was fun trying to give so many individuais good reasons to be there.”

Imagino Presents Anatomy

The Gallery■ TomKiddLOCATION: US W EB : www.spellcaster.com EMAIL: tkiddasnet.net MEDIA USED: Oil on panei

nTom realised he could draw when he was very young. Anything he set his mind to, he could copy - but he quickly realised that could

be accomplished by robots or machines. To differentiate himself from the Xerox, Tom began making things up to draw, and so a career was born.

TonVs role models as he grew as a person and an artist included Chesley Bonestell and Norman Rockwell. Taking on their influence, Tom began working towards the goal of becoming a fantasy illustrator. He won a scholarship to Syracuse University, but dropped out after two years and moved to New York, intent on making a career for himself. After a short while, he began to see success in his chosen path.

Tom has worked for a number of publishers, Baen Books, Tor and Marvel among them. He’s won a World Fantasy Award (Best Artist 2004) and seven Chesley Awards. He’s also busy with a personal project, which he describes as “my favourite and most time-consuming obsession." Called Gnemo: Airships, Adventure, Exploration, you can see lots of art for this project on TonVs website.

8

1 HERCULES VS THE HYDRA16x20in, oil on panei

Part of a mythology series Tom painted. The other characters he painted are Odysseus, Theseus and Perseus.

2 PEINDEER EXPRESS13x28in, oil on panei

If you receive Christmas cards from Tom, you’ll already be familiar with this image. “As I painted it, I came up with a children’s book idea to go with it," he says. “ It’s an attempt to rationally explain Santa Claus, but as the story goes on it, becomes quite convoluted and even less plausible.”


http://www.spellcaster.com

The Gallery

D Duc Truong HuyenLOCATION: Vietnam W EB : fxevo.deviantart.com EMAIL: truong.huyenduc a gmail.com SO FTW ARE USED: Photoshop

Although Duc has studied

Aat Ho Chi Minh City’s University of Architecture, he had never drawn anything seriously until senior year in high school, when he

finally picked up a pencil in a bid to improve his chances of being accepted to study architecture.

“At first, drawing was my hobby," says Duc. “ That was until I saw Ryan Church, Dylan Cole and Daniel Dociu’s masterpieces.” The result was profound and immediate. “ I was in awe, and decided to buy an Intuos 3. This decision has completely changed my life.”

Although he’s self-taught, Duc says he's had some help along the way. “Thanks to ImagineFX, DeviantART and CGTalk, I have many sources to study and improve my skills, not to mention my knowledge from architecture."

1 ENTRANCE OF COVEREDlllustration for a personal project.

“ It’s about a girl who owns a fairy tale book, which is actually a gate to connect two worlds together."

2 ADERAAli Duc wanted was a playful

portrait “ with strong warm and cool colour values to present my character, the Seeker of Balance”.


The Gallery

Sophia KolokouriLOCATION: Luxembourg W EB : http://mysideworld.com EMAIL: mysideworlda yahoo.com SO FTW ARE USED: Photoshop

After studying animation and design at Gobelins in Paris, Sophia started working at Walt Disney films. In 2007, having

worked as an animation producer and art director, Sophia returned to her personal work: "And l'm now working as a digital hand painter and designer.”

Sophia would like to combine her animation skills with a photo-realist aesthetic: “ This is something I wish to explore much more and push forward my technique. I am still learning."

Sophia is keen to work with 3D software that gives photo-realistic results for humans, and there’s a book of painted fairytales on the drawing board.

1MOTHER NATURElt’s a sad fact, says Sophia, that

humanity is its own worst enemy. “ Humanity commits suicide by destroying its lungs, its health, its inheritance. Mother Nature is praying for us. She is praying for our sake, hoping one day we will finally succeed in living in harmony with our environment before it’s too late.”

2 THE LADYBIRD"The challenge here,” explains

Sophia, “was to find a balance between the bird and the human.” So, keeping focused on the flamingo-inspired creature, “ I tried to bring a fantasy and romantic touch to the scene, while keep the pose elegant.”


http://mysideworld.com

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The Gallery

í l W alter 0 ’Neal IIILOCATION: USW EB : no-sign-of-sanity.deviantart.com EMAIL: [email protected] MEDIA USED: Acrylics

As a kid, Walter always had his nose in a comic book, immediately in love with anything that dealt with fantasy or the supernatural.

Superheroes, vampires, aliens, demons: "Any subject that deals with beings endowed with fantastic abilities or dark powers,” he laughs, “ and Pm sold!”

When it comes to his own work, he says it’s ali about the detail: "I try to pack as much as I possibly can into a piece. I want you to forget that you’re looking at a painting.” Crucial to that is the rendering: “ I shoot for a kind of stylised realism.”

IOU SCRATCH11x16in, acrylic on illustration board

Walter was commissioned by the fantasy sculpting duo The Shiflett Brothers for this portrait of their OI’ Scratch character. “ Brandon and Jarrod Shiflett are such great guys,” he says.

MEDUSA’S DAUGHTER11x16in. pencil and gouache on paper

“This shows Medusa’s Daughter (for Narrative Ink) making a futile attempt to tie down her wild hair using some makeshift straitjackets,” says Walter.


© Na

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ntThe Galleryt e Lucas GracianoLOCATION: USW EB : www.lucasgraciano.com EMAIL: lucasgraciano a yahoo.com MEDIA USED: Oil

Lucas grew up with the works of great fantasy artists such as Frank Frazetta and Boris Vallejo. Straight from high school,

he started his art career as a caricature artist at theme parks and special events.

Later, having attended the Watts Atelier of the Arts in Southern Califórnia, he started work on storyboarding and concept design in the games industry. Working mostly digitally at that time, Lucas wanted to attain the foundation skills that come with working in a traditional medium. He soon fell in love with the traditional process and has nearly completely switched over.

Lucas continued his training at the Atelier and was soon asked to teach. After developing his skills further, he moved into fantasy illustration and began freelancing while he taught. He landed his first illustration job on the very first set of the World of Warcraft card game, and has since worked for companies such as Sony, Wizards of the Coast and White Wolf.

1PSYCHOPOMP16xl2in, oil on hardboard

This piece was done for the book Drawing and Painting the Undead. As simple as it is, Lucas thinks it's one of his stronger pieces. “ Its strong graphic read helped it get on the cover of the UK version of the book.”

2VALEMAIDENS20x24in, oil on hardboard

“ I like doing work for Sony," says Lucas, “ because they give me a free reign.” The only description on this assignment was ‘six or seven female dryads guarding a tree.’ “ They will often hand me their low-res, in-game models as reference and say ‘Make this look cool!’ I think that’s the kind of thing almost every artist wants to hear!"


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The GallerySEND US YOUR ARTWORK!Every issue of ImagineFX features a selection of fantastic artwork from talented artists - and you could join them. For a chance to see your artwork included in ImagineFX, send your work to us, along with an explanation of your techniques, the title of each piece, a photo of yourself and your contact details.

You can email your work to fxpose oim aginefx.com . Bear in mind that attachments must be no more than 5MB in total, or we won’t receive them. You can also send images on CD or DVD to: FXPosé ImagineFX 3 0 Monmouth St Bath, BA1 2BW UK

W e prefer 300dpi T IFF or JP EG files if possible. All artwork is submitted on the basis granting Future Publishing a non-exclusive worldwide licence to publish, both in print and electronically.

3 WORD OF PAIN24x18in, oil on hardboard

“ I like to keep my fantasy work more grounded,” Lucas says. “ Pve never been a big fan of the bright flashy colours of magic, so I try and imply it in more subtle ways.”

4 KALADIM W IZARD12x16in. oil on hardboard

Lucas is a huge Tolkien fan. “Any chance I get to paint an epic battle scene with armoured dwarves, Pm very happy!” He’s even got a small collection of armour that he “ slaps onto some willing friends for photo reference".


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Human anatomyA complete workshop on bringing your body drawings to life

lmaginé Presents Anatomy

The more knowledge you have, the easier it will be to reach dear-cut solutions for any drawing you make &Ron Lemen on drawing the body, page 16

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Your human anatomy expertRon Lemen has worked in the entertainment and illustration industries for over 16 years. With his wife Vanessa, he runs the Studio 2nd Street art school and is in demand as an art instructor at drawing and painting classes across Califórnia. w w w .s tu d io 2 n d s tre e t.co m

WorkshopsExplore the body in eight parts

16 Basic formsImprove the way you draw figures with easy ways to establish the

jUí underlying structure of the body

22 The torsoWith the figure framework in place, its time to set your focus on the core ofthe human body

28 The legsMasteryour depiction of the limbs that support the body and drive it forward into action

34 ThefeetDiscover how to use form to create solid-looking feet - and why you shouldn't draw too much detail

38 The shouldersDon't allow the complex interaction of muscles here distract vou from the guiding principies of anatomy

44 Theforearm sIt may seem like a simple area of the body, but the forearm is more sophisticated than you suspect

50 ThehandsMany artists fear this part of the body, but applv the principies here and you'11 see how easy it can be

54 The headDiscover how to break the skull and facial features into simple forms to get the proportions spot-on


http://www.studio2ndstreet.com

afy o u w ant to illustrate stories

or bo ok covers, design conceptually for gam es or

draw storyboards, it's v ita l to

grasp the foundations o f representational art. W ith m ost stories yo u 'll com e across

invo lv ingpeople, its im p ortantto

understand how to draw the hum an figure, both in a static pose an d in action.

There are several techniques for draw ing

the hum an body, ali lead ingto a sim ilar goal: a three-dim ensional,

realistic figure. W hile it's not necessary to

be an expert on anatom y to produce illustrations, the m ore know ledgeyou

have, the easier it w ill be to solve

problem s and reach dear-cut solutions for an y draw ing you make.

W hat you lack in the foundations o f your know ledge w ill show up in your work - in other words, the lack o f understanding o f

certain key principies w ill be ali too

apparent in your fin ished piece. An artists style can be reflective o f their lack o f

understanding just as m uch as it can be

a show case for the total sum o f their know ledge. Avoid that trap.


Basic forms

RonLem enCOUNTUY: US

See more of RorTs work at his website www.studio2ndstreet.com

On the discFind a video and sketches in the

Drawing Intro folder inside Human Anatomy

Figuring it out: two ways to drawThere are tw o distinct approaches to figure drawing: observational and formulaic. It pays to master both...

Observational drawing in practice, using a pencil to

measure the body’s dimensions.

L e arn in g to d raw the h u m an fo rm can b e a d au n tin g p rospect fo r a n y fle d g lin g

artist. T herefore, it's im p ortan t to kn ow w h at m eth o d s are a va ilab le to yo u . The tw o ap p roach es to fig u re d raw in g that

I feel to be d istin ct are the o b servatio n a l ap p roach an d th e fo rm u la ic approach .

O bservational draw in g has its origins in

the sight-size m ethodology, w hich trains the eye to v ie w a subject w ith accuracy,

placing the object and the d raw ing side by

side forcom parative analysis. P lum b lines, leveis, a fixed point and a m easuring line

are used to help the artist in understanding

dim en sional an d sp atia l m easuring.O bservational d raw ing is a com plex

process that requires a great deal o f

reference m aterial to accom pany the w ords to be fu lly explained. In this part o f our

anatom y workshop, I'm going to take a

detailed look at tw o o f m y favoured m ethods o f form ulaic drawing.

Form ulaic figure d raw ing uses abstract

rhythm s or interlocking shapes - basically

design concepts - to build on. O nce these form ulas are m em orised by draw ing from

life, you have a set o f tools to recall, en ab lin gyo u to design from your im agination ify o u w is h .

It's im portant to have a solid understanding o f both approaches if

you tru ly w ant to be free as an artist. O bservational draw in g sharpens the eye

and m ind to capturing a likeness w ithout using

abstract concepts; form ulaic d raw ing gives

you a set o f tools to develop both from life

and, m ore im portantly, from your m in d se y e .

Formulaic figure drawing systems involve using abstract rhythms or, as shown above. interlocking shapes. to construct the human body. Those shapes can then be built upon and fleshed out for a full human figure.



Human anatomy

REILLY’S SIX LINES TO THE TORSO

Exploring the Reilly method for figuresIn this drawing system, you build a framework of overlapping lines to create the basis of your figure

T here are as m an y w ays to con stru ct a h u m an figu re as th ere are artists, but tw o system s in p articu la r fo rm th e basis o f

m an y artists ' w o rk in g practices. O v e rth e page, y o u 'll ex p lo re the In d u stria l

D esign m eth od ; but first, let's

lo o k at th e R eilly m ethod.Frank Reilly w as an illustrator

and instructor in the early- and

m id-20th century. H e created a

system o fteach in gth at enabled students to qu ickly and easily digest

the problem s o f d raw ing and painting,

g iv in g abstract concepts labels and defm able schem atics, and b u ild in ga

notew orthy step-by-step course o f action

to create figure drawings. H is system

éé Frank Reilly's fígure drawing approach is a linear one, starting with the structure of the figure and advancing on to the anatomy §§

cam e from several sources, starting with D ean C ornw ell and Frank Bran gw yn , as w ell as G eorge Bridgem an (one o f Reilly's

teachers) and Frank Vincent D uM ond.

Frank R eilly s system becam e a fash ionable m ethod in rnost o f the

Am erican art schools o f his day. His figure draw ing approach is a linear one, starting w ith the structure o f the figure before

advancing 011 to the anatom y, then shading

and fin ally detailing. H is approach started with the core o f the figure: the torso.

C apturing the action o f the pose is

probably the m ost im portam concern. The action begins w ith the head and radiates

through the spine into the lim bs. To start the draw ing, you need to m ake six lines: the

head; the centre o f the head and

neck; th e sh o u ld erlin e ; the spine; the line relating the

shoulders to the base o f the

pelvis; and, finally, the line show ing the neck and hip

relationship. These lines design

and define the core o f the pose.

Arms and legsO nce the core o f the p ose is

established, the arm s and legs are attached to com plete the action.

This sim ple construction creates

the structure o f the pose. The

Capturing the action of the character‘s pose should be foremost in your mind. The action begins with the head and radiates from there


Here's an illustrated guide to the Reilly method of drawing the human torso.

Starting with the head, lines are systematically added to build a template

that forms the basis of your figure

Once you’ve leamed the Reilly method, you can go on to create figures in a range of different poses. In this sketch of a kneeling woman, you can still see the construction lines. based on the sequence above.

Basic forms

an atom y is then depicted vvithin the structure youV e created.

M uscles are w oven like a fabric

to the skeleton, connected to the bones w ith tendons - rope-like

attachm ents. The point where the

tendon attaches to the bone is d efined as the insertion point. l he figure abstraction

heips place the m ajor m uscle groups into

an organised and fluid pattern, m aking it quite sim ple to invent com plex, realistic-

looking figures.

The head has its ow n set o f abstractions that requires a w orkshop o f its o w n to fu lly

understand. We look at techniques for

d raw ing the head on page 54.

Beyond ReillyThe fundam entais o f the Reilly m ethod are easy to grasp, but it's flexib le enough to

adapt as you r d raw ing skills develop.

O nce you properly understand the figure abstraction un derp in n in gth e system , you'll

fin d that you '11 constantly change and

rearrange lines to suit every p ose and every situation. The standard set o f lines you start

w ith are charts for learn ing - they're just

one set o f possibilities, a stock vocabulary

The body’s anatomy is designed into the

structure you create, weavíng in muscles and tendons and gradually

building up details.

Its important to practise as much as possible, so that you can perform with clarity

that w ill constantly flex, grow and reinvent

itse lfw ith each new im ageyou create.I cannot stress enough that th is is just

a system to learn from . A li system s o f

d raw ing are designed for teaching and should be left behind as soon as

they're mastered, like stabilisers 011

a bicycle. Too m any carefully fo llow ed rules can lead to pictorial

sterility. it's very im portant that

you train and practise as m uch as possib le until the rules becom e

background noise, so that w hen

w e perform , w e can do so w ith total clarity and focus on the more

im portant aspects o f m aking a

picture - the story content and the pictorial intent.

Ify o u w ant to do som e additional research on the R eilly m ethod, 1 recom m end that you look up the work o f A ndrew I.oom is, a fam ous m id-20th cen turyA m erican illustrator w h o covers

som e o f these principies in his figure draw in g m anuais, and offers a great m any useful techniques besides.

As you construct your figure, try to use long, flowing lines so that the drawing starts to feel alive, even at this early stage.

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USE LANDMARKS TO FIND YOUR W AYAROUNDTHE HUMAN BODY

Once you've learned the Reilly method of creating e figure, you can move on to creating more flexible figures and poses from different angles. Here, I point out a few anatomical landmarks to help. On the disc are three videos, each on creating a figure from various viewpoints. Abstract 1. mp4 deals with the front torso. Abstract 2.mp4 the back. and Abstract 3.mp4 the side.

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The large dots in this sketch are anatomical landmarks. If you study your own body in

the mirror. you'll see that these are the bones that show through the skin.

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Use the anatomical points along with the Abstract 2.mp4video on the disc to create the perfect back view.


Human anatomy

Here the figure is rendered with hatch lines. creating an immediate illusion of form. The lines Crossing over the form are Crossing in the short stroke direction.

H ere, I'm go in g to lo o k at a second

ab stract ap p roach to fig u re d raw in g : the In d u stria l D esign m eth o d . Its o r ig in s are age-o ld , bu t it w as

perfected at th e A rt C en ter o f P asad en a

in th e 1950s.I fin d Industrial D esign the m ost

practical technique to u se w hen creating

the figure for an y purpose. It m akes it easy to control the pose and achieve convincing

foreshortening painlessly.

First, you need to sort the head, neck and shoulders. ITiese provide a starting point to

build the figure gesture from . View ed from

the front, the head is an oval shape, w hile in profile o r side view , it's a bloated

trian gu lar form . The corners o f the triangle

depict the tilt o f the head.The panei below show s som e exam ples

o f cylinder figures in gesture poses, w hich

is what you have to find nexi. The gesture o f the pose is a flu id, flow in g line: its the big

sw eeping m ovem ent th ats m ade between

the upper and the lower halves o f the body.

DRAWING CYLINDER FIGURES IN GESTURE POSES

Usecylindrical forms to start every figure if you can. Cylinders are easy to draw and can easily be broken down into three- dimensional forms. In extremely foreshortened poses, overlapping ovais representing the lengthier forms will work.

This cartoon character is fully realised using the shape design approach from life drawing. The technique can be used for any figure.

It should be graceful, and is ideally

established in on e or tw o cu rvy lines.Add to you r first line a second line,

w hich describes the w idth o f the pose. T his

helps establish the overall volum e o f the figure - heavy o r lean. These tw o lines should m irroreach other, m oving in

relationship to on e another. Line three is

the centre line o f the pose, attached to the

pit o fth e neck.W ith a centre line draw n, you can now

draw an ellipse o ro va l. T his describes the

depth o f the form . T he centre line gives you

another point you can now convincingly attach the oval to, turn in g you r three lines

into an active cylindrical form.C ylinders are easier to draw than a cube

form , as you need to know perspective to

m ake cubes look convincing. Cylinders, i f draw n correctly in perspective, g ive the view er a strong sense o f position in space.

The shoulders are the top point o f the cylinder, the pelvis its bottom . The pelvis

varies in shape d epending on what character y o u re drawing. It can be draw n as

a soft, sphere-like shape - th ink o f it as a m arsh m allow - o rca n be m ore defined.

Your subjects gender determ ines the pelvis shape. l-emale pelvises are m ore bell-

or skirt-shaped; m ale pelvises are more box-shaped. The front o f the pelvis term inates in a bullet-like shape. T his is

draw n inside the body cylinder shape,


Exploring the Industrial Design drawina methodUse basic geometric shapes to make your figures feel solid and three-dimensional

Basic forms

éé If a figure is twisting or turning, you can easily depict this movement in the cylinder by pinching one side 99cutting in on either side to show the hip

bones, the iliac crests.N o w draw an egg shape to indicate the

ribcage, attaching it to the shouider line and o n ly breaching the cylinder form if'

the b o dy is com pressed or twisting. The

rest o f the torso is built up u sin g ellipses

or traversing lines across the centre line, to square up the tw o halves o f the torso

and pelvis.

The im portant landm arks to indicate are the nipples, the tenth ribs, the iliac

o f form and m ovem ent, ho pefu lly in a

s im ilar dyn am ic to M ichelangelo or Rubens - but w ith a m odern flair, like that o f C laire W endling or B ruceTim m .

O nce the structure is defined, m ove

into gesture again, d raw ing the cylinders o f the arm s and the legs. W hen your lim bs are draw n in, m ove back into

structure and d efine the m uscles, then gesture again to describe the m ovem ent o f the shad ow patterns over the m uscles,

then structure to tighten them up.


You can map shadows to the shapes you design on the scaffolding of the

figure, with the patterns falling appropriately over the shapes youVe

drawn rather than drawing exactly what you see. The illusion of the drawing can

suffer if you stick too rigidly to what you see without really thinking about how the forms are functioning in 3D space.

crests, the navel and the arm pits. I f your

figure’s back is visible, the scapulae, the dim ples o f the sacrum , the obliques and

the base o f the p elvis are also helpful to

use as landm arks.If the figure is tw istin g o r turning,

you can easily depict this m ovem ent

in the cylinder b y p inch ing one side, o r b y creating an accordion-

like relationship betw een the

ribcage and pelvis masses.The obliques p lay a role in

shaping the cy lin d e r they are the

third bulge on the com pressed side o f the cylinder. These bulges are

described u sin gS-cu rved lines (see the panei to the right), the on ly line type

in draw ing that can generate perspective in its ow n w aviness. T h eS -cu rve starts

against the outside o f on e shape, then

sw ings over and com pletes its circuit below on the next succeeding shape. Each

S-curve generates a m ore convincing

illusion o f overlapping form s.You should sw itch often between

gesture an d structure to strike a balance

THE FIGURE AS AN S-SHAPE

Draw the ribcage as if looking up at it, with lines arching upward. Draw the pelvis with lines arching down. This keeps the forms tilted correctly to the viewer from straight-on.

These drawings are fleshing out the dynamic movement in each pose. Using cylinders and dividing each segment of the cylinders into thirds. the scaffolding of the body is ready for muscles to be laid over them. The cross- contour lines help guide the muscles correctly around the form.

Ohe torso is the core o f the body: i the com plex centre from

w hich ali ou r dan gly parts

originate. O ur physical actions also originate from this core -

therefore, you typ ically start w ith the torso in figure d raw ing to work out the dynam ics o f yo u r pose.

The head is the ruler that you m easure

the b o dy from ; the bo dy is the p rim ary essence o f the pose. Both are im portant

to draw from the start, but the head can

stiffen up qu ickly w ith no reference to the body. Ify o u design the bo dy first, the

PonLem enCOUNTRY: US

See more of Ron's work at his website w w w .s tu d io2 n ds tre e t.co m

On the disc4 * ^ Find reference

W sketches by Ron inFind reference sketches by Ron in

the Torso folder inside Human Anatomy

head has m ore chance o f com plem enting the action o f the body.

First, you need to fin d the action o f the

pose. T his step isca lled thegesture. lls in g the Industrial Design m ethod, as

described on page 20, you can fin d this

action in three lines: the gesture, the w idth and the depth. O nce the gesture

or action o f the pose has been established,

the lim bs are then attached to com plem ent the twist, turn or sw ivel o f

the torso. W ith the head attached, you can

m easure o f f the height and vvidth o f the torso m ore appropriately, or adjust the

draw ing to a m ore correct scale throughout the pose.

N ext, d raw a centre line through the

m iddle o fth e torso. (Sim ply put, the centre line o f the back is the spine.) The

front o fth e b o d y is d ivided through the

centre o f the chest, or the sternum , and continues through the line that splits the

abdom inal m uscles dow n to the pelvis.

T he centre line is very im portant to draw. It fin ds the m iddle o f the visible

surface to m atch and align the form s on

either side o f it, and it's a lso an anchor and apex for m atching rhythm ical lines

lmai>ine Presents Anatomy


The torso

GETTING THE PECTORALIS MUSCLE RIGHTfrom either side o f the body. Neglecting

to d raw the centre line in y o u rstru a u re

is like forgetting to bring the m anager along to the big gam e.

If you don't use boxes to design the pelvis

and the ribcage, the next step is to find the three-quarter line o f the figure, or w here

the figure turns from the frontal p lanes to

the side o f the body. In m any poses, this landm ark can be as im portant as the centre line: it’s a m ajor breaking point in form ,

criticai to both the perspective and the alignm ent o f the lim bs from the left side to

the right side o f the figure.

The pectoralis mfiscle sits on the upper half of the ribcage, and inserts onto the uppe? arm borte, or humerus, around the upper third division of its length. The muscle wraps undemeath the humerus towards the back of the arm, and is a f ive-sififed shape.

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U v i c v ; u a R

Torso musclesThe from o f the bo dy is m ade up

o f six m ajor v isible m uscle groups: the pectoralis m uscles, the abdom inal

m uscles, the obliques, the serratus m uscles,

the trapezius m uscles and the lattisim us m uscles, w hich you can see i f the arm s are

lifted. U nfortunately, tw o o f these m uscle

groups have m ultiple heads to them , but are w ell organised, so rendering them is

just a m atter o f fin d in g the larger shape

that keeps the sm aller ones organised and harm onised.

The b o d y wedges d ow n from the

acrom ium processes - the b um ps at the shoulders - and tapers to the base o f the

crotch. The vvedge form s the true front

p lane o f the body; the m asses on either side o f the w edge taper at a sharp angle, and

becom e a part o f the side planes o f the

figure. The wedge form passes through

Its striations, or muscle fibre divisions, radiate in a fan-like shape, with the clavicular portion sitting on top of the mass. The female breast sits on top of the pectoralis. roughly between the seventh and eighth rib. It has a comma-like shape. tapering back under the arm toward the scapula.

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THE COATHANGER METHODThe trapezius i is $ back

?the shoulders and baçkTof the neck. The

visible pçrfion orr either side of the neck creates %coathanger-l!fce rhythm. which goes from the acromium processes at the shoulders to above the seventh cervical vertebrae. along the clavicles and across the stemal notch. From three- quarter view to profile, the trapezius muscle is a ramp. taking up about half the space of the top plane of the torso.The ramp varies in height depending uponathletic build.

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Human anatomy

GETTING THE TORSO STARTED

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éé Neglecting to draw in the centre line is like forgetting to bring the manager along to the big game If

Here are a few ways to start the torso. The first is angular, the second box-like, the third spherical.

There is no right or wrong set of shapes. but there may be confusion in the structural design if there

are too many shapes to start with. A more harmonious way is to maintain a shape design

consistency throughout. These shapes are flexible. bending on the spinal axis.

the obliques, or what w e u su ally call the spare tyre m uscles. These m uscles are

the soft m ass between the ribcage and the

pelvis. T hey taper in narrow ly at the ribcage and w iden at the hips, resting atop the iliac

crest. T his wedge can be linked to the tw o

lines that form the neck in a rhythm ical relationship that helps keep the ob lique

m uscles from becom ing too u n usual in

their shape design. The obliques form true side w a lls - perpen dicular p lanes to the

front and back planes o f the b o d y - and

blend w ith the angu lar sides o fth e ribcage.The torso is extrem ely pliable between

the ribcage and pelvis. The fu rth eryo u

Here’s how to build up a complete figure, starting with the core. Use a rhythmical cylinder form to start the pose (A), then find the ribcage and pelvis forms within the rhythm lines; look for key bony points to keep the shapes squared up from top to bottom, and to find the compression between them. Then the perspective is designed (B) with the three-quarter line drawn into the figure to help keep the muscle forms from drifting too close to the right arm The muscle rhythm lines are then added to fill out the anatomy structure (C). Ali this should be done lightly so it can be easily removed when the final rendering takesform. When everything is finished. most of the anatomy will not be visible (D), but the bumps and little dark markings drawn in the pose will have a more visual believability and more accurate design to them.


víAÍMOMIOVi

push the rhythm betw een these tw o

shapes, the m ore convincing the action

design w ill feel. The m uscles on the front o f the b o d y are very p liable and can be

stretched and tw isted as m uch as needed

to help enhance the gesture o f the pose.It's very im portant to start the pose w ith

the gesture first, to seize the m om ent and

the action. Then you can proceed to the structure o f the pose, and fin a lly the design

and articulation o fth e m uscle groups in

the body.If the gesture is dynam ic, the m uscles

must fo llow that dynam ic. D on't stiffen up the design at this point in the drawing.

Everything is pliable, no m atter how

geom etrically you m ight draw your pictures, and the shapes you design for the m uscles m ust not stiffen up in the

dynam ic gesture youV e created. M any com ic book im ages show this latter trait,

especially com ics from the 80s and 90s. If

you can find a few exam ples, they serve » ■

C .-L -

DRAWING THE HUMAN FIGURE: A FOUR-STEP GUIDE

The torso

3 abdominal muscles each ftave a different type of contour. The top twp muscles are^ôngular: the top heads predominantly face up over the ribcage and the second set of heads face downward.The middle heads face flat forward and the lower abs bulge at the top in a rounded taper towards the base of the pelvis. The muscles have this structural design to help when the body leans forward.

The figure on the far right has been f -pr drawn using construction forms to keep ^ 1 ’ the anatomy geometric, planar and simple.The right side is pinching or bending in; as a result, the shapes on the right profile ali take on a bulging appearance from compression. The left side of the figure is stretched out, and the shapes relate to this.

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WORKING THE SIX-PACKAli the abs stacked up on each other have a rhythmical relationship to one another. asall the head divisions can be connected together at a point to the side of the body. This relationship keeps ali the muscle heads organised in the architecture of the bones of the torso.

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The serratus muscles connect the scapula to the ribcage from beneath the scapula. The muscle heads originate along the inside edge of the scapulae on the back, closestto the spine, and terminate halfway along the first nine ribs. These muscles insert snugly into the obliques, and radiate in an arc on the side of the body, with aII the muscles fanning out from top to bottom.

tmaçiriè Presents Anatomy

Human anatomy

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The drawing is never correct until the whoie has been established. This means that to understand the relationships of the parts, you must see them ali assembled together. Don't become criticai of one drawn line; try to draw the entire pose quickly, then assess as a whole what can be fixed or altered to create a stronger, more convincing pose.

The obliques are the big muscles that bend and rotate the torso of the body. The ftank portion of the muscle sits between the ribcage and pelvis on the sides of the body. The flank drapes over the iliac crest, giving the pelvis what looks like a downturn on the tops, rather than the upturn of the bones' design. They have three distinct visible planes from the side of the torso. The rest of the oblictue traveis up the ribcage and laces together with the serratus muscles. and blends to the abdominal appaneurosis.

í . as a good lesson in what 1101 to do

w hen anatom y meets gesture.As alw ays w ith anatom y, no m atter

how m uch you know, there's alw ays more

to learn. Rem em ber: the key is to practise,

practise and practise som e more - and to have fun doing it. #

The muscles on the front of the body are very pliable and can be stretched and twisted as much as needed to help enhance the pose If

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DRAWING THE LEGS

Master your depiction of the limbs that drive the rest of the body

See more of Ron's work at his websitew w w .5 tud io 2 nd stree t.com

On the discFind reference sketches by Ron in

the Legs folder inside Human Anatomy

Ohe legs provide support for the

b o d y and pow er m uch o f its m ovem ent. Like the arm , the

leg has groups o f m uscles that oppose on e another in their action. For exam ple, the quadriceps at the front o f the

b o dy are used to extend the leg, w ith the

bicep fem oris, sem i m em branosis and tendonosis acting as flexors. Both the arm s

and the legs start w ide at the torso and

taper to about h a lf that w idth at the wrists and ankles. The biggest structural

difference is the organisation o f m uscles

around the kneecap, w hich d iffers to the ridge o r rotator m uscles in the elbow.

Now, w ithout getting too caught up in

the nam es, let's get dow n to d iscussin gthe shapes an d rhythm s in a leg, breaking the

draw ing dow n into easy steps.

You should start w ith a sim ple gesture: a line connected to the h ips w ill do. The

hips a i? the pij[ot point for the legs, and act

as an axle. Rem em ber that both sides o f

the hips are fused together, u n like the shoulders, w hich float independently o f

each other. The tilt o f the hips opposes the

angle o f the shoulders, m ean ing that the action at the top o f the b o d y is counter-

balanced b y the position o f the low er body, which creates stability. T he hips can be draw n as one o f several different m asses, depending on your preferred draw ing

m ethodology, but they a li serve the sam e function: volum e and construction.

Leg bones and musclesThe pelvis is a narrow shape funn elling inward towards its base. The w ide point o f

the hips is created by the fem ur and the hip m uscles, w hich are m ostly responsible for

con n ectingthe leg to the body, and fill in

the space between the p elvis and femur. These h ip m uscles fla iro u t in an A shape

and act in a broadly sim ilar w ay to the

THE RELATIONSHIP BETWEEN HIPS AND SHOULDERS IN POSES

In a typical standing pose, unless the legs are spread. one foot always sits directly below the skull for balance at the two polar extremes of the

body. Notice how the hips move to compensate for the tilt of the shoulders. If the legs are spread. they maintain an A-shape, distributing the weight of the figure evenly across the ground.

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Part The legs

éé Remember that both sides of the hips are fused together, unlike the shoulders, which float independently of each othershoulder m uscles, w hich w e look at in more

detail on page 38.

M oving d ow n lh e legs, the fem urs both taper inward, form ing a sem i-V shape

between them . The figure looks knock-

kneed at this stage, but that’s norm al until w e place m uscles over the bones. In a

standing position, the knees are alm ost

directly be low the iliac crests o f the pelvis. The thigh is divided into three m ajor

m asses: the front m ass, w hich consists

m ostly o f the quadriceps and sartorius m uscles; the in s id e o f the thigh, or adductor

m uscles; and the back o f the thigh, or the

bicep m ass. A li o f these m uscle groups start I out large - the m uscle heads account for

about tw o thirds o f the length o f the leg

and taper around the knee as the m uscles term inate in tendons, exposing m ore bone

than they cover.

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i. j Drawing ares between ali the joints and key y features relates the left and right sides

• ofthe pose. Understanding figureproportions related to skull size can

help you to interpret these ares with much greater clarity.

FINDING THE BIG RELATIONAL SHAPES IN POSES WHERE THE FIGURE ISNT STANDING/\t£>-Vr* t ..

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For compressed or seated poses. I like to start the gesture ofthe pose by finding the big shapes - or, in this case. the shape - that both legs create together. This abstraction

helps to strengthen the relationship between the limbs. as well as keeping the legs relating to each other dynamically and proportionately.

Human anatomy

S-curves are found alloverthe body, and the legs are no exception Here, the S-curve is found not only In large muscle rhythms. but also in the bones and their connections. The bones through the knee into the shln bone. and the smaller bones around the kneecap, hips and ankles exemplify this.

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S-FORMS IN LEG MUSCLESWhen drawing the leg, keep in mind that the muscles spiral over the form in an S-like rhythm. This rhythm is universal throughout the body, but it*s particularty noticeable in the arm and leg muscles, so it's good to bear that in mind while drawing these areas. Rhythm keeps any form from getting too stiff in its design. One o f these S*curves is the sartorius muscle, which is attached to the iliac crest and spirals down and around the inner wall o f the leg. It acts as a major landmark, dividing muscle masses and surfaces like a fence between two gardens. The iliotibial band does the same thing on the outside of the leg. These divisions are usually where the strongest shadow patterns are formed on the legs, regardless of how active the pose is.

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■ The kneecap itse lf is a sm all free- floating bone that hovers over the head o f the fem ur and is attached to the le g b y tendons com ing from above and below the

cap. The m ost prom inent o f these tendons

is the large rope-like cord that extends below the kneecap to the forw ard

protuberance o fth e tibia, or shin bone.

The kneecap or patella is shaped som ew hat like a pentagon. W hen the

knee is bent, the larger shape o f the leg

m ass between the fem ur and the shin -— bones echoes the shape o f the

patella w ith a five-sided form . In

this position, the side walls are m ore flat than angled.

The lower leg is more triangular than cylindrical in its

cross-section. T he shin bones form a

Vwedge, w ith the sharp edge facing

forward and the w ide side as the c a lf m uscles. T he low er h a lf o f the

leg is about tw o thirds m uscle m ass, tapering to a block

form at the ankles, w ith the inside o f

the ankle higher than the outside. The low er leg form s a bo w lin g pin shape,

sim ilar to the forearm , and the foot fits ■*

Notice how the leg and the arm are similar to one another in their

physical structure. The biggest differences between them are at

the joints, but the majority of muscle masses resemble each

other in their structure.

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The knee can be designed with three vertical planes and three horizontal planes, looking like the top of a diamond. Structuring the knee in this way makes it much easier to map the undulating furrows of the bones.

COMPARING LEG MUSCLES TO THE ARM STRUCTURE, AND

MAPPING OUT THE KNEEThe arm and leg have quite similar proportions with regard to tendon mass versus muscle mass; even the upper and lower portions of the limbs have similar divisions. The upper two thirds of each segment is muscle mass. the upper third usually contains the largest bulk of muscle and the lower third is mostly made up of bone and tendon. The upper part of each segment is rounded like a cylinder. and the lower parts (wrists and ankles) terminate with a block form.

I E U L f c


The legs

USE PISTON SHAPES TO CAPTURE THE REGULARITY OF THE SHIN

Here you can see how the sartorius on the inside of the leg splits the barrei shape into tvvo parts, while the iliotibial band on the outside of the leg divides the front from the back. These two prominent separations are usually visible, so don't ignore them.view

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Although the legs are independent limbs, the muscles of both share rhythms harmoniously. There are common rhythms that can

be found easily, but look deeper - the more the two legs can be related, the more harmonious and fluid the entire pose feels.

As bony as it looks. the shin is surrounded with muscles. The outside surface has the most intricate complexity to it, with a repetitious. organised pattern of piston-shaped muscles.

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Human anatomy

Start the pose off with cylinders: they’re simple enough for anyone to draw. Once the cylinders are placed and youVe found their centres, divide them into planes. Beginning with simple surfaces is much easier than trying to start with the muscles. and the legs look more organised as a result

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éé Stick to muscle groups rather than individual muscles. Only the muscles that are being used show more detail, expanding as their fibres bunch §§* in neatly at the base o f the pin.

W hen developing the legs, stick to the m uscle groups rather than focusing in

on individual m uscles. O nly the m uscles

that are being used should show m ore detail, expandin g as their fibres bunch

together. If unused o r not fu lly taut, the

m uscles blend into their respective groups or, i f really relaxed, back into their biggest

basic shape.

O ne im portant point: rem em berthat legs com e in pairs. Be sure to relate the two

legs to each other throughout the early

stages o f the draw ing, m aking sure that the action doesn't destroy the proportions and

balance o f the pose. If the legs look o f f from

each other, then the entire pose feels off. Balance starts from the bottom up, so i f you

start the d raw ing w ith sim ple form s and

soun d placem ent, the rest practically takes care o f itself. %

Using the simple rules of form and function, you should soon be able to work yourself up a pretty fine pair of legs. Just don’t forget to take proportion and muscle use into account.


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PART4DRAWING FEETDiscover how to use form to create solid-looking feet - and why you shouldn’t use too much detail when you draw them

Oet’s clear the a ir aboul feet -

the ugly cousins to the hands

and a part o f the b o d y that

m an y artists dread to draw. T h ey ’reb ony, th e y re co m p le x a n d , le ts

face it, they're not the nicest th ings to look

at. But an yon e w h o s serious about figure draw ing is going to have to tackle feet at

j som e point. F,ven ify o u intend to on ly ever draw characters w h o have shoes on,

you r draw ings w ill on ly be convincing i f

you have a good grasp o f how to structure the feet inside the shoes.

Storyboards, pin-ups, covers, character

designs, m ovie posters, com ic b o o k s ... ali o f these are instances w hen you m ight

want to d raw a full figure from head to toe. T his m eans that you have to put feet

011 the legs. As pain fu l as this can be to master, it is a must-do, must-learn situation. I lere are som e helpfu l hints and

solutions to tackling these little beauties,

helping you on your w ay to ach ieving the sweetest feet.

See more of Ron’s work at his website w w w .s tu d to 2n d stree t.com

On the discFind reference sketches by Ron in

the Feet foider inside Human Anatomy


http://www.studto2ndstreet.com

The feet

Get a foothold: drawing perfect feetPut feet into perspective and start with footprints as the foundation for the correct overall pose

The footprint is as long as the entire skull from top to bottom - the same way the hand is the same length as the face from hairline to chin.

Drawing the footprint first helps you ground the foot to the surface it’s connected with.

As the figure’s leg lifts. the toes on the ground spread out - one of the few times they can be drawn separated.

The toes bend behínd the bali of the foot. not in front of it.

Let's start by lo o k in g at s ize . The typ ical fo ot is betw een 10 and 1 2 inches in length . R o u g h ly sp e ak in g , that's ab ou t

as lo n g as the en tire sk u ll from top to ch in . The fo ot's w id th is a b it less than h a lf th e w id th o f th e head , o r ab o u t the

sam e w id th as the hand 's fo u r fin gers (exc lu d in g th e th u m b ). You can read ily

see th ese m easu res fo r y o u rse lf w ith

y o u r o w n h an d an d foot.To start a full-figure d raw ing o r even

a three-quarter d raw ing o f a figure, it

w ould be w ise to begin w ith the ground plane to w ork out the correct perspective

in the shot, relating the figure to the rest

o f the environm ent so it feels tru ly planted in the world. ITie perspective w ill

help keep the foot in correct scale to how

you see the action, to the character's head, an d to the viewer, as w ell as keeping it at

the correct skew - i f there is an y - from cam era distortion.

I begin b y d raw ing footprints on the

flo o r (orsteps, o rs lo p e ; w hereverthe foot

is to b e located). This can m ake it easier to draw the legs w ith the right foreshortened

look to them and w ith the correct action

to the pose.

B oots and shoes usually cover the feet,

but I recom m end that you start w ith the foot w ithout a cover over it, so th eres a proper scale o f foot size to the figure

before an y distortion created b y the shoe design occurs. Feet are som etim es draw n oversized for w eigh tin g or stylistic

reasons, but I w ould still draw the foot

Begin with the ground plane to work out the correct perspective in the shotbare before covering it w ith a

big shoe design, so that the foot relates back to the scale o f the rest o f the character.

Toes are bulbous at the end, w hich m ean s they're rounded like a bubble, but squish flat w hen pressed

against a surface. W hen this happens, the toe m ass spreads out a bit fu rther than the toe's actual size, usually jo in in g toes

w here they com e together. I f this is the case, don't draw lines in betw een each

toe: th is has the v isu al effect o f spreading

them apart from each other. U sesim ple tones or light gradations to join the m ass

and separate the toes.

Toes step d ow nw ard like stairs from the m etatarsal bone to the toe's tip. There are

m an y little com plex surfaces, from bone

top to knuckles and nails, that can be rendered or shaded to give the feet more

dim en sion and com plexity.

Defining the toesBe careful not to add too rnuch detail to

the toes i f the foot is sm all in the illustration: too m uch rendering in such

concentrated spaces can force the rest o f

the illustration tow ards a direction o f over-rendering. It can also push the focus

to the bottom o f the picture in the sam e

w ay as under-scaling the feet, un less you catch the m istake early enough.

The bottom o f the foot has an arch on

the inside and tw o separate pads that squish to w hatever they press against,

creating a straight line. The toes bend

about a third o f the w ay back behind the bali o f the foot. W hen the toes spread, the

biggest separation occurs between the big

toe and the second toe. T he little toe is u su ally draw n as a bulbous shape. It

typ ically floats a bit m ore o f f the


Human anatomy

FEET FROM THE GROUND UP: USING FORM AND PERSPECTIVE

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Draw the foot with straight lines along the surface it’s pressed

against, rather than drawing

S f RELATING A FIGURE fi< TO THEGROUND

Whether they’re drawn from head to toe T à or cropped, ali figures have a better

►* chance of looking convincing if they\ V are reiated to a ground piane. v Everything in space is reiated to perspective: the figure is

no exception. Once the ground plane is established,

» stamp out the footprints on it and draw ^ your figure to meet them, or draw up

from them to complete the figure pose. This also applies to feet

i W elevated from the ground plane.’ ’ Determine where the figure is in

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terms of the ground plane to help elevate the foot correctly, in relationship to the surrounding space and to the viewer. Drawing from the footprint to the torso sometimes helps solve tough foreshortening problems.

Relating your figures to footprints drawn along a ground plane will help maintain a sense of perspective and make characters more believable.


The feet

CONNECTING THE FOOT TO THE LEGS OF YOUR CHARACTER

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Like the foot itself. the toes are block-like. Start with simple

shapes to achieve a sense of mass and dimensionality, then

create more bulbous forms.

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The ankles can be thought of as a stirrup shape to help relate them to one another. The inside anklebone (maleolus) is higher in elevation than the outside ankle bone.

To achieve a more solid dimensional form. bear in mind that the foot is a full

shape with six sides.

éé Start without boots or shoes to get a proper scale of foot size that relates to the rest of the character

ground w hen the foot is arched up,

but w ith the toesstill m akingcon tact w ith the ground plane. The big toe points

in towards the other fo u r toes, and these

toes bend towards the big toe.D on't forget that the foot is a full

shape w ith s ix sides, like a block, w ith

corresponding shad ing planes. D raw through the form to generate a m ore solid-looking and dim ensional form .

W hen you 've perfected you r feet, you '11 w an t to add them to the rest o f the

character. N ow 's the tim e to consider

ankles and legs. See in m y d iagram s above h ow l've draw n the right foot and

started to attach it to the right leg. I've

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show n the connection from a front

perspective in these exam ples.The ankles connect the feet to the

legs. For easier an kle draw ing, it

helps to th in k o f them as a stirrup- like shape. The inside anklebon e is

m ore elevated than the outside one.

Feet have typ ically been the bane o f m any artists. Som e illustrators hide them

w ith sm oke, push them into silhouettes

and shad ow s or even crop the im age to avoid draw ing them . But w hen an artist can draw them correctly, how m uch character they ad d to the im age! Tine

hands and feet can say just as m uch as a convincing facial expression.

Because o f their com plexity and gesture

o r action, feet usually becom e a secondary o r tertiary focus in a figure draw ing. It's a good idea to tackle these d ifficu lt issues

early on and ideally m ake it second nature to design them convincingly. You w ould be surprised how m any people w ill

com m ent on h ow w ell feet are draw n i f they really are; it's not every day that you fin d an artist w ith a real understanding o f

the ground they stand upon.

Overlap the toes when the foot is not drawn straight on. This will avoid the 'clump of bananas’ look. and help the foot look less cartoony.


Human anatomy

DRAWING THE SHOULDER AND UPPER ARMDorVt allow the complex interaction of muscles in this area to distract you from anatomy’s guiding principies

©o far w e've seen h ow to define I the arm ature o f the figure

1 and its un derlying gesture, before starting to flesh our

figure out w ith the torso and legs. We

continue ou r journey w ith the upper part o f the arm s and the w ay they connect to

the shoulder, on e o f the m ore com plicated spots 011 the b o d y to draw. The place to

start is at the skeletal structure. U nderstand the shape o f the scapula and

hum erus, especially the edges o f the

scapula and the ends o fth e hum erus. YVithout k n ow in g the bones and their

shapes, the m uscles have nowhere to start orterm inate. Keep in m ind that the

d iagram s I have drawn are m ostly fleshed over, so the p oints where the m uscles

attach are covered - but the shapes are

solid and d irectional, because o f where the m uscles attach to the bones.

RonLem enCOUNTRY: US

See more of Ron's work at his website w w w .s tu d io2 n ds tre e t.co m

On the disc

• Find sketches by Ron in Shoulders

and Upper Arms inside Human Anatomy



Pari Shoulders & upper arms

Learning the relationships between muscle and boneDrawing the shoulders to complement the action of the upper arm musclesD raw ing this part o f the b o d y begins

m uch like an y other part. First gesture in the pose, then accent the lines you feel

good about using for the fin al pose before

starting to d efine the b o d y m asses in m ore detail.

W hen d raw ing the figure, a clear

understanding not just o f the m uscles, but w hat the skeleton looks like beneath

ali the m uscle m asses is needed to draw

m uscles w ith any believable visual action to them . W ithout this understanding and observation, the m uscles can end up

draw n as bubble shapes that are lifeless,

weightless or com peting against the

action you want to depict.

Shoulder structureThe shoulder floats over the ribcage, with o n ly the clavicle at the sternum on the

ribcage acting as an anchor for the entire

arm . T his m eans that the arm has a lot o f free m otion over the ribcage.

W hen d raw ing the arm connected to

the body, you need to first fin d the correct action o f the shoulder to avoid a stiff-

lookin g drawing. Forexam ple, ifth e

arm is w in ding up to throw a bali, the

This drawing is ali about the shoulders and the upper arms. Note how the shape and form of the forward-pointing left arm is entirely different to the right. Think about how the muscles and bones are moving and interacting with the skin and the light.

éé Doirt memorise the muscle chart. Memorise the muscle insertions and connections to the bonesHere we see the shoulder from behind the ribcage. Line A of the first ribcage represents the rhomboid and trapezius muscles. bunched up between the spine and the spine of the scapula. Line B represents the crease under the scapula that follows the serratus muscles. Line C splits around halfway between the shoulder muscles perpendicularly.

The shoulder tes quite a bit of movement around the ribcage. Here you can seewee positions of the arm. The first is forward, moving the attachment of the deltoid forward and stretching the shoulder muscles. The second is in a reference position, by the side of the ribcage. More of the back of the arm and shoulder show when the arm is relaxed in this position. Meanwhile, for the third position, the shoulder is pitched back behind the body. The shoulder is now behind the ribcage, stretching the pectoralis muscles and serratus muscles.


Human anatomy

PERSPECTIVE AND DYNAMISM IN MUSCLE DESIGN

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Here are the two approaches previously described to start the figure drawing: the abstraction method. and the shape-finding or Industrial Design method. Both methods lead to very similar conclusions. Remember: the most important concept you can get from both is that it's only about starting the figure to get it set up for the finish. where the drawing really counts.

*■ * shoulder w ill be towards the back o f the ribcage. I f the arm has released the

bali in the throw, the shoulder w ill be

m ore forw ard over the ribcage. I f the hands are held h igh above the head, the

shoulders are closer to the ears.

Each set o f m uscles crosses over from on e bone to another. For exam ple, the

shoulder starts in the torso, connects to

the c lav ic lean d thescapu la, and

FOLLOWING THE RHYTHM OF MUSCLES

term inates at (or crosses over and inserts onto) the upper arm bone, know n more

fo rm ally as the hum erus.

The m uscles o f the upper arm originate both on the hum erus and on the scapula,

and term inate on the tw o forearm bones,

know n as the u lna and the radius. The

éé When drawing the arm connected to the body, we need to first find the correct action of the shoulder in order to avoid a stiff looking drawing If

These lines represent the rhythm lines, or the abstraction lines that flow between the muscles once the architecture has been designed. These lines help harmonise the muscle forms to create a seamless rhythmical movement of muscles, bones and ligaments.

hands and feet are a few places on the

bo dy where the m uscles are referred to as intrinsic: they stay w ith in the bone m ass.

O therw ise, m uscles connect tw o or more different bone groups together.

The scapula floats over the serratus

m uscles, w hich we see as little bum p

m uscles on the ribcage under each arm , or the 'superhero muscles'. lh e shoulder

m uscles ali start on the spine edge o f the

scapula, and cross over to the top o r the upper third o f the hum erus. These four

m uscles help rotate the upper arm rotate out and in from ou r bo dy - w hen you hold both you r arm s out like a cross, »



Draw muscles with simple geometry to understand and memorise them, or to tum them into something that you can remember easily. Here are the four muscles inside the scapula. Each muscle is drawn individually

to help you understand the shape. where it starts - or where it's connected - and where it goes to. This is important information to remember, because ali

the lumps, bumps, dark spots and highlights you see on the back only show up when the arm is active.

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HOW MUSCLES CONNECT, MOVE AND INTERACT

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Here, the arm is pulled behind the body. causing several creases to occur. These creases run perpendicular to the muscle striations of the muscle heads. The three creases here are along the base of the oblique; under the serratus muscles and through the lattisimus and the rhomboid; and under the scapulas base edge.

for exam ple, o r w hen you put both hands beh in d you r back, as ifh and cu ffed .

The deltoid covers part o f these m uscles

and w raps around the top o f the arm . It fun ction s as a sw ivel m uscle, or the

m uscle that enables you to sw ing your

arm round like a w heel. Then w e have the biceps and triceps. These m uscles cross

over to the forearm bones at the top third

o f the the hum erus. The triceps extend or straighten out the arm ; the biceps fle x it

o r draw it into the body.I urge caution in learn ing and d raw ing

m uscledistribution . D o n t m em o risea

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éé The muscles should be drawn only when active, not charted and shaded like a muscle diagram 99

m uscle chart. M em orise the m uscle insertions and connections to the

bones, o r w here the m uscles originate

from and w here they end on the skeleton. Learn their function and

action and group them so you are not draw in g every m uscle.

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Shoulder structurel.et's now have a look at the anatom y o f the upper arm and

shoulder. T hese m uscles in particular should be draw n on ly w hen active, not

charted and shaded like a m uscle diagram : m ost hum an s don't norm ally look this way, even w hen well developed.

Body-builders create a Living H um an

A natom y C hart w ith their bodies, and we should thank them to som e degree - but

keep in m ind that these m uscles are

developed to their lim its, and are not the shapes we easily identify with.

The m uscle charts you see in an anatom y book are based 011 m edically ideal bodies.

In reality, the size and scale o f each

m uscle vary from person to person, based on their personal activity, diet and other

factors. The anatom y books start us at an

ideal point o f reference.To accom m odate ali possible b o dy types, you w ill have to

veer aw ay from these and use you r eye

and guid in g principies instead. Art rules are a starting point, o n ly m eant to



RELATIONSHIPS WITH THE SKIN

SHEATHING OVER THE MUSCLE MASSAnatomy books and live models are very different to look at. Here are a few poínts to help make studying easier. First, anatomy books have no skin. A quarter-inch of volume, if not more, needs to be added to the muscle mass. Think of ít as a blanket resting on the muscles. This brings up the second point: skin is a cover. When the arm is pulled behind the body, the skin creases vertically through the shoulder instead of following the muscles horizontally across the back. The muscle fibres go one way; the skin creases perpendicular to them. This occurs every where on the body. Finally, more important than memorising the muscles is knowing when to draw them. A chart shows you how the human machine works, but muscles are onlyclearly 1.visible when active.At rest, the muscles blend into a more generic, simpler shape, similar to the visual metaphors you’re using to decipher drawing the body.

be altered w ith care to enhance our

individual w ays o f working, w hich are as u n ique as w e are to one another.

By exam in in g not on ly the lim b, but

each and every part o f the lim b, you w ill have a better understanding o f w hat to

draw and h ow to m ake the actions look convincing. Studying the

lim bs one section at a tim e

m akes learning and

m em orising the inform ation much

easier to digest.

A natom y is a large subject to tackle, but it

Here we see the shoulders in two positions: forward and behind. The left image shows the vertical striations over the muscles where the skin should fold (line A over the shoulder blade, and line B where the rhomboid meets the shoulder blade). The right image shows the muscles from the scapula stretching with the action.

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i This version of the shoulders shows the arms from in front and below the figure Note how the muscles of the deltoids. pectoralis. serratus and. eventually. the abs

; and obliques ali f low seamlessly together in their striations, and radiate from the j shoulders through to the pelvis on either side of the body. using the shoulder as the

point of radiation. The deitoid muscles are draped over the amns, seen both from in front and behind. Think of the muscle draped like a towel over the shoulder.

needn't be difficult once you conquer the

basics. Breaking each lim b dow n into

sections not on ly helps you take in the inform ation quicker, but also helps to

isolate the im portance o f each part o f the

b o d y and the im portant individual characteristics related to those regions.

Practise 'til it hurts, then practise som e

m ore. M ileage is the key to artistic progress. linjoy!


Human anatomy

FILE

See more of Ron s work at his website w w w .s tu d io 2 n d s tre c t.co m

On the disc

• Find reference sketches by Ron

in the Forearms folder inside Human Anatomy

On the previous i section, I wem

over the actions

o f the upper arm , starting w ith the shoulder blade. T his tim e w e '11 touch on

the rest o f the arm , from the

elbow d ow n to the wrist.Before d iscussing the specific

anatom y, however, I w ant to

m ention som ething about function . Each segm ent o f the

b o d y operates the next one dow n the

chain. For exam ple, the m uscles o f the shoulder function to lift the arm , the

biceps and triceps operate the forearm ,

and the forearm m uscles dictate the actions o f the hand. T his rule is im portant

to rem em ber w hen draw ing: it h e lp syou

to avoid stiffness in your com position by m ak in gyo u think not so m uch o f

individual segm ents, but o f the action as

a whole. T his is som ething w e can think about another tim e, but it's im portant to


DRAWING THE FOREARMS

It may seem like a simple area of the body, but the forearm is more sophisticated -

and elegant - than you suspect

http://www.studio2ndstrect.com

The forearms

MUSCLE MOVEMENTThis diagram shows the way the muscles cross over the

bones, or spiral from one side of the arm to the other. The muscles as a group are ali attached in roughly the

same location. then spread across the wrist before terminating in the hand or at the f ingertips.

The muscles of the shoulder function to lift the arm; the biceps and triceps operate the forearm

MUSCLE SEGMENTS AS LINKS OF A CHAIN

or\ THE

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The muscles on this cast are over-developed to emphasise their artistic shape and construction. The slightly rounder forms also lend themselves to more dynamic and fluid rhythm lines.

k n o w an d consider when learn in gh ow

to dictate hum an anatom y.

A function u n ique to the arm is the

work o f the rotator m uscles, also know n as the ridge o r supinator m uscles. In

opposition to this group o f m uscles is

the pronator teres - a m uscle that's on the inside o f the arm below the biceps. This

group o f m uscles occupies the upper third

o f the forearm . The supinators originate about a third o f the w ay d ow n the

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Human anatomy

éé Contrary to what I see drawn a lot, the ridge muscles do not have a crease in them. The crease you see is the skin folding, not the muscle 99

hum erus and split the biceps and triceps. These m uscles rotate the hand left

and right, and flex o rexten d it. Now, contrary to w hat 1 see draw n a lot, the

ridge m uscles don't have a crease in them w hen the arm is bent. The crease

you see is skin folding, not the

m uscle. T hin k o fth e m uscle as a

cable or a piston - neit her o f these objects fo ld over on them selves.

Instead, they go slack. A s a rule, skin folds p erpendicular to m uscle fibres, an d this is what's

taking place in this region. The

skin folds, the m uscle stays the sam e shape - just

com pressed a little bit m ore.

W hen the hand is pronated, the ridge

m uscles cross over from

the outside to the inside edge o f the arm . T he ridge

m uscles attach just be low

the thum b so, as a ru le o f thum b (sorry, couldn't help

it), wherever the thum b is, the ridge m uscles are

pointing to it. The ridge

m uscles break u p the even sym m etry betw een the arm's

outside and inside edges.

O ne w ay to rem em ber where and how ali these m uscles work

together is to th in k o fth e arm as a series o fch a in links. F.ach link alternates

Here is an arm drawn from the underside, with the ulnar crest over-emphasised to show where it is and how it separates the flexor and extensor muscle groups. This bone ridge is over- emphasised to show how the bone traveis from the elbow to the wrist.

direction, and th ats what the arm does

from shoulder to hand. For the arm to fold in on itself, or flex, the m uscles

have to be positioned to interlock with

each other to prevent an y conflict o f space betw een ali the m eohanical parts w ith in the arm m ass. Exam ples on page 45 show this further.

Ridge musciesThe ridge m uscles share in the profile

o f the flexors and the extensors, blending into both sides in the upper

third o f the fbrearm . T he inside o f the

arm seats the flexor group - the set o f m uscles that flexes the hand toward the

body. The brachioradialis - the

biggest m uscle o fth e group - overlaps onto the inside surface

o f the arm , the opposing m ass to the flexor group and pronator teres. Both these sets o f m uscles funnel together

This arm was drawn from a photo of a body- builder, so the muscles are more visible in their construction than in the average person Weightlifters idealise their bodies. sculpting the muscles to perfection under the the skin, like walking anatomy charts.

NOTING HOW MUSCLES CHANGE WITH ACTIVITY

Muscles involved in a particular activity will tense - or the

muscle form will accentuate - more than the muscles not directly reiated to the action.

The body shouldn't be drawn like a muscle chart, or it won't look convincing. Use the

anatomy you learn only to fix problems in a drawing or to simplify complex posing. Use your knowledge in moderation reiated to the action of the pose - otherwise you should leave it out.


The forearms

FITTING THE MUSCLES TOGETHER^ If the muscles are grouped together, they can ali be paired to make drawing them f easier to manage. The forearm is drawn foreshortened to show the relationship

between the generic shape design and the significant anatomy underneath. The anatomy design is missing the pronator muscle to show how the flexors and extensors

are separated by the bone structure.

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Human anatomy ------------------------------------------------------

UNDERSTANDING HOW MUSCLES WORK BENEATH THE SKIN

Study anatomy from every book you can find, including muscle magazines and fitness books. Don't just copy the

drawings: examine the construction, memorise the names and the bones.

Then practise whenever you can. redraw the charts and labei them from your head. Drawing the chart once or

twice is not enough to memorise them.Drawing from memory helps you reflect

on how much has been absorbed.

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* ' belovv the bicep to form the pocket it sits inside o f w hen the arm is bent. The

exten sorcarp i m uscles - tw o more

m uscles belon gin g to the ridge group - blend in w ith the extensors at the e lbow

and then across the top o f the arm . On

the other side o f the arm , the extensors and flexors are separated b y the u lna

bone - a split in the m uscles know n as

the u lna crest.The flexors originate at the elbow on

the inside bum p (know n as the m ediai

epicondyle) o f the hum erus, the bone that connects the arm to the shoulder (also

often know n as the upper arm ). The

m uscles cross over the tw o bones o f the forearm - the u lna and radius. M ost

éé As flexing, gripping, holding and so on are the primary functions of the hand, more muscles are attributed to assist in these actionsflexors term inate at the fingertips, w hile

a few term inate in the palm o f the hand. There are m an y layers o f flexo r m uscles.

Because the flexin g o fth e hand - for

gripping, holding and so on - is its p rim ary functions, m ore m uscles are

assigned to assist these actions.

The extensors originate from the outside bum p o f the arm (the lateral

epicondyle) and cross over the tw o bones

o f the forearm , spreading out across the topside o f the arm and term inating at the

fingertips. These m uscles are responsible for open in g the h and and pulling back in a halt position - the opposin g functions

o f the flexor group, in other words. The extensor group is the m ost active o f the forearm m uscles. lfyo u 're d raw ing


The forearms

Figure 1 locates the arm in space and its action. Figure 1b then describes the simple cylinder forms fleshed over the action lines. Figure 2 is a simple version of what the muscle shapes might look like as other shapes. Figure3 is the anatomically fleshed out version of the arm. The next step (not shown here) would be to flesh out the rendering and lose most of the anatomy chart to light and shade.

superheroes o r som e other idealised bo dy form , the inside o f the arm

(flexors) is a big ball-type shape, vvhile

the extensors are a series o f pipes radiating from the elbow.

A li o f the forearm m uscle tendons are

protected as they pass over the vvrist by the retinaculum . T his m ight look like a

w rist band, but it attaches separately to

both the top and the bottom o f the hand. T his keeps the tendons from popping out

an y old w ay from the arm.

W hen d raw in gth e arm , you should keep in m ind that grouping the m uscles

together is a better w ay to begin than

d raw in gth e individual shapes. D raw ing the figure one m uscle at a tim e is pain fu l

and m ore than likely going to grow into

its ow n un ique shape - on e that doesn't necessarily resem ble a real figure. The

visual sym bols in the im ages here should

help m ake som e sense o f what I m ean by this. Study the m uscles as one exercise,

but learn to consolidate them into groups

as another exercise - and as a m antra for you r work.

D raw ing is not about parts: draw ing is

about suspension o fd isb elie f, fo o lin gth e eye into be lieving what is seen. We study

parts to identify them as a function, on ly

to throw them back into the p ile o f tools called intuition. 9

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BUILDING UP THE ARM IN FOUR SIMPLE STAGES

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RonLem enCOUNTRY: US

See more of Ron's work at his website w w w .s tu d lo2 n ds tre e t.co m

On the discFind videos and sketches by Ron

in the Hands folder inside Human Anatomy

PART 7DRAWING THE HANDSMany artists fear drawing this part of the body, but apply the principies youVe learned and learn the anatomy, and youll find the process much easier

Oefore d ivin g into further

d raw in gadvice, le ts think

about a few concepts to help m ake the process o f draw ing

a com plex shape such as the hand easier.

The hand actually has very few m uscles in it: its m echanics are guided b y the

forearm , and its design is based m ostly

on bone and fatty tissue. The thum b is a distinct shape rooted to the h and m ass

and should be draw n into the im age after

the bigger m ass has been designed. The fo u r m ain fingers ali radiate toward a

com m on point: the index finger and the

p inkie curve toward each other, and the other tw o fingers fit som ew here betw een

them . The fingers are not parallel with

each other, although som e actions m ay

m ake it seem that way. Fingernails and knuckles are details: leave them until last.

Its im portant to keep steps in their

particular order w hile you absorb the process behind them : w hether the

d raw ing yo u re m aking is sim ple or

com plex, i f som ething falls apart, it's easier to detect w here it went w ron g in the

process. O nceyou 're confident and well-

trained in your craft, its up to you to find y o u r ow n w ay o f w orking, and you m ay

w ell deviate from theacadem ic or school- taught way. T his is where you w ill find your independent style - not in copying

others, but in reassessing your working

order. Learn it right, then break the rules

and tools ify o u choose, and find your o w n voice.

H ands can be convincingly draw n

interacting w ith objects or surfaces. I can't stress enough that learning from life is the

key to understanding everyth ing yo u ’ll

ever need to know in art. W hile art books m ight give a cool trick for gettinga certain

look or appearance, solving the problem

d im en sionally or from every angle w ill give so m uch m ore w isdom and insight.

I f you can't take an art class, use a mirror.

You can use you rse lf to study from , and you don't have to pay a m odel fee.

Starting with the overall gesture of a pose helps you design realistic hands.


http://www.studlo2ndstreet.com

The hands

Getting to grips with the anatomy of hands

' P EA natom y is im p o rtan t - but m ore s o to a d o cto r th an to an artist. The p art o f an ato m y you sh o u ld be first con cerned w ith is the sh ap e d esign , an d h ow can you s im p lify y o u r th in k in g an d d raw in g d ow n

to the core essence o f th ese shapes.

Finger bones have a particu lar design to them . The fingers are m ore than 60 per cent

v isible b one shapes defin i ng w hat we see, so understanding the finger bone or knuckle

shapes is key in m aking a m ore convincing

drawing. The finger joints are spool-shaped,

depressed slightly in the m iddles for the tendons o f the extensor m uscles o f the

forearm . The m etacarpal knuckle - the big

one the finger is attached to - is barrel- shaped, not totally spherical, and the

tendons that sit in the grooves o f the spool

shapes on our fingers sit on top o f the barrel-shaped knuckle. A s research, look at

N orm an Rockw ell's hands in his paintings. He did it better than alm ost an y other

illustrator out there.

The hand has a squ ishy side and a firm

side. The squ ishy side - the palm - is where the m ajority o f m uscles o f the hand are

ôcated. The o ther v isib le soft spot is

BONE SHAPES

betw een the thum b and index finger on

the h and 's back, or dorsal, side. These soft areas are the p oints on the hand that flex and change shape w hen active w ith an

object orsurface. The hand then conform s to the shape o f the object it holds. T his last detail can really throw o f f the best o f

us at tim es - unless you rem ind yo u rse lf o f a few basic concepts o f construction that you can fali back on.

Mechanics of anatomyD ifferent hands can look like they are different shapes - babies' hands, for

exam ple, are chubbier than old people s.

But w e are built sim ilarly, ou r hands included. T he h and is b locky b y nature: it

has m ass, a top, a bottom , sides, a front

and a back. T he hand is also circular, a s it sw ivels an d pivots in the wrist.

W hen the fingers are pressed together,

the hand looks like a spade. T his is where you w ant to start d raw ing the hand.

Im agin ing the hand as a soft, b locky form , som ething akin to a sponge in

texture, helps you to rem em ber what

y o u re d raw ing is a physical object.

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HAND HOLDING A BALL JStart with the object to be held (the bali. top). Next. add the arm rhythms and the bali shape for the palm of the hand. then attach the finger wires to the bali mass. These wires should represent the absolute middle pro contour. the middle of the finger mass

Now flesh out the ▼forms. This meansadding dimension to theshapes by giving themplanes. To locate the finger \segments. find the arclng lines: thesesegments arc more than 90 per cent of thetime. The ares determine the relationship ofeach particular band of knuckles - próxima!.middle or distai - from finger to finger KnuckUare knobby: either round or blocky. However.you may find that stylising will change thisblocky appearance

■J2

Imàginé Presents Anatomy

A

WIRE HAND DESIGNS

DRAW AN OVERALL POSE

One method of drawing the hand interacting with an object is to draw the hand print on the object first

Human anatomy

* I f you ran 't rem em ber the anatomy, rem em ber the concepts: they'11 getyou

through an y doubts you have about what you're drawing.

The fingers are roughly the sam e length

as the hand m ass. R em em bering this is a good check-and-balance to m ake sure your

d raw in gs proportions are right, even w hen

the fingers are folded and the hand is foreshortened. Proportions have a w a y o f

being understood even when obscured.

The hand is attached to the arm , and the arm is an extension o f the torso, so starting

w ith an overall gesture o f the pose ensures that the design you pick for the final hand

is correct. The hand position is relative to the rotation o f the arm (or its pronation or supin ation). The sketch h o pefu lly solves

the d ilem m a o f how to start the design o f

the hand. I som etim es th ink o fdesign in g the hand in action by d raw ing the object

first. O nce I know where the object is,

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the same length as the palm ofthe hand

relative to the p ose o f m y character, I can Í4j work out the rest o fth e action.

dl k t* ', ***<- Interactive hands

; A nother w ay o f establishing the hand's interaction w ith an object w ould be to draw

L the object, d raw a hand print on the object

A so you know where to d efin e the details,1 then build up o f f o f the hand print ali the

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The hand is connected to the wrist. and so to the rest of the body - so you can begin by sketching an overall pose to ensure you pick the right hand design. (Don’t take too long: lt‘s just a sketch.)

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The hand is spade- or diamond-shaped when the fingers are closed together.

Details sit better on the fingers when they are well designed dimensionally. Draw them last

CONSTRUCTING A HAND

^ G t o r V c T w t \s +

much you see a little space between the joints, don't make them important.Use the weld lines.

DRAWING GRIPPING HANDSDrawing the object first helps you when drawing the hand in action. Here. I Ve begun with the object before using the weld line (shown in blue) to connect the hand and object correctly.

. r t V S A C T t * . Ü V E

form al shapes, the hand block, the finger

m asses, and so on.The line that show s the connection w ith

the object is the w eld line. Press it firm ly

against the object, show in g o f f the object’s form m ore than the hand. N o m atter how

m uch you see a little space betw een the

joints, don't m ake them im portant. M ake the w eld line show o f f the action.

D raw details - fíngernails, knuckles,

w rink les - last. T hey sit better 011 the fingers w hen they are w ell designed

d im ensionally. Before this, render the

surfaces: fin d th esh ad o w patterns, and use planes to chart values across the

surfaces. This is what it m ean s to render

a form ; m aking a stronger v isible shape, n o tad d in g details.

Next, it's time to sub-divide surfaces. Here, l'm using the plane structure method to chart values and tones across the surfaces, working up from flat values.

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Only when ali o f this is done do I begin to shade and detail the hand. Once I have the hand shape rendered. I can then add details such as creases, fingernails and knuckles to make it look realistic.

The different-coloured lines here indicate the gesture of the hand and the character. showing how the object sits in relation to the character.

4-


More at ebook-free-download.net or magazinesdownload.com

The head is one of the most important parts of the body to draw. so practise as much as you can.

Break the skull and features into simple forms to get the proportions right

http://ebook-free-download.net/

it 8 The head

©hen draw ing the hum an body,

one th in g th ats essential to

perfect is you r m ethod for draw ing the head. The skull

is the traditional academ ic m easuring

stick o f the hum an form : form ulae have been created that enable artists to use the

skull as a tool from w hich to draw the rest

o f the figure w ith confidence, helping you to m aintain the correct proportions and

scale for the figure as a whole.I lere, I'm g o in gto ta lk y o u through

m y basic process for creating w ell-draw n

heads. T lie theory is im portant and can offer a certain degree o f freedom from

reference - but, as I’ve said before,

nothing beats hands-on practice. G et a

friend or fam ily m em ber to m odel for

you at every opportunity, hire a m odel or, w ith the help o f a m irror or photos,

draw yourself. T heory alone cannot give

you enough experience as an artist to work through every problem you ’ 11

encounter in you r career.

PROFILE

See more of Ron’s work at his website w w w .s tu d io 2 n d s trcc t.co m

On the discFind reference

'C sketches by Ron in the Heads folder inside Human AnatomyShape up: basic

head forrrisPut your head in a box to ensure that youVe got the correct dimensionsB elo w is m y sketch o f a head in fron t

an d side p ro file s, sp lit into three ro u gh ly even section s. M easu rin g the

sk u ll fro m the side (in c lu d in g th e nose)

it fíts ro u g h ly into a sq u are box (as you can see to th e right). From th e fron t but ex c lu d in g the ears, it's ab o u t tw o-th ird s

the w id th o f that bo x at its w id est point.W hen children draw a head, they

usually start w ith a vaguely oval or 'egg'

shape. The head is really neither an oval

nor a block, o f course, but th in kin g about both w h ile designing the sku ll w ill help

you achieve realistic dim ensions.

So, like a child, begin w ith an oval. D raw a line to fin d the inside corner o f

the face, o r the change o f plane from the

front to the side. T his is u su ally where portraits fa li apart: w ithout a three- quarter line, the features drift from the

TO *

front to the side o f the head, and proportion, direction o f gaze and

sym m etry ali fali out o f alignm ent.

N ow draw a centre line. T his helps keep

the features squared up on the face plane and is especially necessary w hen the head

istip p ed o rtilted .D raw perpendicular lines attached to

the top and bottom o f the centre line

Cf

T in ^ i n í ,-THEVieCk The first centre line

helps to keep the features squared up on the face. You can then add centre lines for specific features. such as the nose.


http://www.studio2ndstrcct.com

Human anatomy

THE NOSE AND EYE SOCKETS

< * M B T

* • to forehead an d chin. The skull shape

should n ow b e divided into three visible surfaces; th is w ill help get the proportions

m ore accurate for the sm aller shapes.

D raw a second, m oreorgan ic, centre line to d efine the centres o f the extruded

features - the lifted brow, nose, tooth

cylinder and chin.The first feature to start w ith is the split

between the eyes: this is know n as the

glabella. Typically, it's a wedge shape between the eyebrows, just above the

bridge o f the nose. I choose to begin here

because the glabella establishes an overall w idth for ali the rest o f the features. Next,

attach a horizontal line to the top o f the

glabella wedge to establish the tilt o f the eye sockets in relation to the centre line

(a perpendicular relationship).

Drawing the noseD raw ing the n ose is tricky, but good

organisation w ill m ake it a w hole lot easier. Start w ith a tall triangle, flat

against the face p lane as though y o u v e

shaved o f f the nose. The top o f the triangle overlaps the glabella and creates

the interior line o fth e eye sockets.

K now ing the perspective o f the head m akes it easy to d raw the perspective o f

the nose. Extrude the bridge in the sam e

direction as the side plane o f the head.

This ensures that the nose stays centred betw een the eyes correctly.

The bottom s o f the eye sockets are next

to draw: m ake these parallel to the top line, intersectingthe nose about halfw ay

dow n its length. Extend the top line

around to the side planes, keeping it at the sam e elevation to the top o f the head.

The eye sockets should look som ewhat

like sunglasses in their design. Take the bottom line and do the sam e thing you

did w ith the top one. Both o f these lines

fram e where the ear should be placed on the side p lane in correct elevation to the

top and bottom o f the head.

Cheeks and teethThe cheeks and tooth cylinder can be draw n together in a rhythm , starting with an arc that crosses through the face plane

from cheek to cheek. From directly in

front, this rhythm can be draw n as a cirde ; m ore w ork is needed from the side

view , since the cheek shares its rhythm

with both the front and side planes. The ears are used to help design the cheeks

(see the d iagram to the right).

The tooth cylinder is connected to this cheek and drops dow n toward the chin,

arcing across the centre line and u p the

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•• •

it 8 The head

HEAD AND SHOULDERSU nless yo u ’re d raw ing a disem bodied head, there w ill com e a tim e

when you 'll want to attach it to the rest o f the body, w hich m eans adding the neck, ribcage and shoulders.

Attaching the neck and shoulders to the head can be a tricky

business. lfyo u 're d raw ing the head first, it'sat this point that the rest o f the pose is about to be drawn. ITiis connectiòh w ill help

you to develop and defin e the shapes o f that pose, ensuring that it

fits correctly w ith the head you ’ve already got.Attach the head (bali) to the neck (cylinder), then attach the

cylinder to the ribcage (bali), l he shoulders float over the ribcage.

The o n ly point where tw o bones connect together is at the pit o f the neck, w here the clavicle connects to the ribcage. Therefore, the

ribcage is the m ost im portant structure after the head and neck.

ADDING THE HAIRLINE, AND USING BLOCK SHAPES FOR DIMENSION

lt’s important to see the hairline as a geometric shape. Visualise it as part of the facemask Cabove) to help you position it correctly on the skull.

other side, leaving enough space for the bali o fth e chin.

The m outh extends from the face like a m ound. O ften, it is m ore cylindrical than

rounded, w hich is w h y it's com m only know n as th e to o th cylin der in life-

d raw ing m anuais.

the head as a basic shape, and attach the

face like a m ask, w ith the hairline fram ing

the upper h a lf o f the m ask shape.It's just as im portant to see the hairline

as a geom etric shape as it is an y o f the

other features. V isualising the hairline as part o f the facem ask can help attach the

When drawing anything organic, it's best to think about the shapes with edges and comers first. The top of the skull can be drawn as a blockThe top o f the skull, w hile rounded, can

actually be draw n as a block. W hen draw ing the hair 011 to the head, th in king

about the skull as a block can add extra

dim ension to the hair mass.The best w ay to draw the hair is to start

w ith the hairline. I do th is as follow s (refer to m y sketch b e lo w to help): draw

h air correctly to the skull and keep

everyth ing lined up around the head.W hen d raw in g an yth in g organic, th ink

about the shapes w ith edges and corners

first. The perspective o f a form is found m uch m ore easily i f there are points to

use as landm arks, and a straightish line conn ectingthem .

Z. A

While the top of the skull is rounded. it can be drawn as a block. Thinking

» _ - of it this way helps give extratAA4VÍJ*4 K /C dimension when it comes to

adding the hairline.

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éé Whether you draw or paint, knowledge of anatomy and form will enable you to get your ideas into images f fMarshall Vandruff on animais, page 60

Your animal anatomy expertMarshall Vandruff is a freelance illustrator who’s worked for Warner Bros, Hanna- Barbera and Dark Horse among many others. Marshall has trained professional artists and students in Southern Califórnia since 1984. www.marshallart.com

WorkshopsExplore animais in six parts

60 Basic formsBegin your exploration of creature anatomy by seeing the shapes beneath the skin and fur

. 66 The torso, Find out how the core of the animal

body operates and how you can use it to bring life to your animal art

72 The hind legsExplore the real-wheel drive of animais, and how this part of the body can propel your art forward

78 The forelegsUse your observation, skills and knowledge to build the pillars of balance and grip in animais

84 The neck and headDiscover what part of the animal body tells you about the creature - and the traits ali animais share

90 Animal facesFind out what animal faces have in common with human faces, and the crucial ways in which they differ

ir

lmàgine Presents Anatomy

http://www.marshallart.com

Animal anatomy

PARTI

BASIC FORMSBegin your exploration of creature anatomy by seeing the shapes beneath the skin and fur

limais are something I love

to draw, especially from imagination. Foryears, 1 had

no idea how animators,

comic-book artists and old masters could not only draw animais without copying

what they saw, but actually make animais look thicker, stronger, funnier and more alive than anything they could see. Then I

learned that there are secrets to animal anatomy - old secrets, well-known to a few. These workshops reveal the secrets o f

inventing animais. W hetheryou draw,

paint, sculpt, model or animate, basic knowledge o f anatomy and form will

enable you to get your ideas into images.

W hen you can create any animal you see in your mind's eye, thats mastery.

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Part 1 Basic forms

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PROPORTIONSuN0eEJT/\N'0!NC THE ÍIMIMCJTOf A ^ õ OiFPBlENCK WiTHín PONÇ CJLOUK CAn LEAD t o GUEArçCL A m ATOm i CAl AW/4BjENKí...

Mammals, reptiles and birds share most

of the same bones and muscles, but at different sizes and ratios. That's w hy you should study proportion. When you look

at two-legged beasts (bipeds) like humans, or other plantigrades that plant

feet on the ground, you can begin with

front views. But creatures who run around on four legs (quadrupeds) don't take to

being studied from the front. Its

like trying to judge the length o f a ship by looking down one end.

Proportions reveal what an

animal does. Our bones show that people are designed to

stand up: we have long legs, shallow ribcages, shoulder blades 011 our backs, and

arms that are good for playing

instruments, drawing and hugging, but not made to

support our weight. Four-legged

animais have deep ribcages with shoulder blades on the sides, and arms that act as

legs. Different functions, different forms.

HOMEWORKASSIGNMENT

MasterproportionDiagram an animal from the side. Measure a box th a t f its th e big parts o f the torso: th is tra ins you to see b ig th ings first.By reducing heads, hind legs and ribcages in to boxes, triang les and eggs, you learn to see com plex com ponents as sim ple shapes. Tha t’s the underly ing secret to m astering p ropo rtion .

* ►


Animal anatomy

BONES AS FOUNDATIONPO NEf OON*r 0B_ fTEJETCH - TH EY fPAY A í c o n í t a n t a í r p c ic. ço çrwoY r n e M r r i t t . .

Over-complicated anatomical charis full of ribs and gnarls can confuse the more

delicate learner students. The diagrams

below leave out the more exacting details and hidden bumps, and simplify the

hard-surface architecture that artists can

use. Theres plenty o f time to get into the details later.

For now, compare the colour coding on

the diagrams to see the analogies between human and animal bones. They are often

quite striking.

P e lv is (h ip bone)

S cap u la (shoulder blade)

F e m u r (upper leg)

Radius & Ulna (forearm bones) fused together on hoofed animais

Tibia & Flbula (low er leg bones) fused toge ther on hoofed animais

Draw stick- figure animaisDraw skeletons as stickfigures. Keep them simple: de ta ils and textures d o n ’t help, length and positions do.A rtis ts o fte n do bestwhen they beg in w ith loose lines to ge t p ropo rtions and rhythm srig h t - Mke an author b ra instorm ing an idea.then w riting it out.

Sanei iHAif rwr ckurji' tur toxtlarj, ik it Kti <rf «npla jAc

H n v t t »


Part 1 Basic forms

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MUSCLES & TENDONSHow THEY ATTACH, ano How THEY ÜjEMTE ro each otheil.

Muscle charts are more confusing than

bone charts - not just because there are more muscles, but because muscles are

layered. Surface muscles can be so thin

that the>' disappear on a fleshed creature, while buried-deep muscles can show as

large bumps on the surface.Let's start proceedings with some

general observations:

• Muscles anchor close to the trunk

(proximally), and insert distant from the trunk (distally) to move the limbs.

• Muscles are thick near the trunk, lean as

they moveaway. On hoofed animais, the distai limbs look like shrink-

wrapped bones.• Muscles can be simplified by grouping

them. Several extensors with hard-to-

remember Latin names can make a

single easy-to-remember egg shape.• Muscles work in pairs that pull against

each other, shown in the illustrations

usi ng complementary colours.We'11 study specifics later. First, look at

these images to see how they work.

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Animal anatomy

FORESHORTENINGHow to k-eep f>e.opoejroK'f coejiEcr wHem orAmngANimAlí PELOM DlFFeeJcMr NCLEf...

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The longest measurement o f anything - a bone, a limb, or an entire animal - is its major axis. W hen you look

along something, its length appears to collapse until you

can't tell how long it is. Artists keep track o f this so that they can tip, swivel and roll objects around, yet keep them

lookingtrue.

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U nfi, K n ji p r t tn m e n j M.U «rm<r < m \tr rv jftu .

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prttcrut. i t t i m e..

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Learn from lhe rabbitLook at a side view o f an animal. Now draw it as if sw ivelled in to a th re e -q ua rte r foreshortened pos ition. It's d ifficu lt, bu t no t im possible.Rem em ber to reduce com plex form s to sim ple ones to help you visualise th e perspective . i


Part 1 Basic forms

Ç íM P U FY / \ N lM ^ L ANATO M Y INTO RAttC íTkXJCTVIíEÍ.:

Mastering classic animal drawing enables

you to invent as well as observe. The secret is to learn simple forms - cylinders,

blocks, and spheres that are based on

anatomy - then assemble them into complex beasts. After ali, what are

animais but 3D creatures in a 3D world?

You can build them from 3D forms - any way you like! #

Ona urulerimnJ. f k rí'jtn.fnskij? httmtr. rks ihyts & U fnp vm w t f /m wujrsti, yr* c«n. kytsí rr ftesk rhem a«r tn.fr nrJ. rtAunc «if/tfwa.FORMS

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Animal anatomy

PART 2

THE ANIMAL TORSOFind out how the core of the animal body operates and how you can use it to bring life to your animal artwork

■ l

©hen I first saw a famous art

i teachers approach to figure drawing - human torsos with

no limbs, strange-looking

bean-bodies twisted and floating - it baffled me. It took me years to

understand the value o f that approach.

There are several sound ways to draw the figure, but beginning with a solid

torso is a good one thats shared by

Michelangelo, Rubens, Tmtoretto and scores o f other masters. It puts the big

parts o f anatomy first - which is the best

place to start. This approach should be applied not only to human figures, but to

animais. They have torsos much like ours,

but are different in ways that enable them to run faster, jump higher, kick harder,

and have trouble standingup orsitting in chairs. Here, I approach them simply, namingthe basic parts, helpingyou to

leam theirstructure and understand their

functions. In later lessons, IT1 get to the limbs, but let's begin with the big parts.

)*lt jO ( v r o m m f Müi tlv ít vlcw n 'tnt, a dc ttrrun. Ych’ü wvfarítwui tw ttw y í f í t íjy Arwvng fntn lUffcren*- Im íiry nlcny, iAf HrJ, /cwn Wr fim. WiÒnA.


Part 2 The torso

See the spineDraw a series o f animais w ith a single line - the spine. It's easiest from th e side view, bu t do n ’t fo rg e t to see the convexity o f the curve - and d o n 't expect it toimpress anyone. It ’s an exercise to deve lop the X-ray vision o f artists who know anatom y. W hen it gets easy, make it tougher by add ing theribcage and pelvis.

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PGLVif, A N Cs TH e SPINE THATCONNHTT THEm...Vertebrate animais grow out from the ignore the little bumps on the pelvis that

spine, which runs from the base o f the are mostly hidden and the individualhead to the tail, connecting the ribcage ribs that do you no good until youve

(thorax) and pelvis (hip j ^ established the simplified ribcage. Here

bone). Study these ÍM H are some observations about animalparts generally: \\ \ j A torsos to set you off.

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Animal anatomy

TORSO MUSCLESf?ONEÇ O O N 'r M OVE V7NDEE. rH E lB - OWM POWER. - T H E Y M OVE ffY T H E T E N ÍfO N OF HlOOEN CO RJX...

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We have muscles in our backs, bellies and

haunches to hold us upright. Four-legged

animais have the same muscles, but in different proportions and for different

reasons. They are made to move forward

more efficiently than we are.Torso muscles include thin layers that

don't show 011 the surface. I'!l focus here

on the core functional set o f three.Straight muscles, like those on the back

and belly, simply pull to straighten or

bend the torso. But spiral or oblique

muscles, like those on the side, pull to

spin or twist the torso, allowing it to lean and tum. These muscles can barely be

seen on a fleshed animal, but study them

to know what goes on under the surface, so you can exaggerate convincingly.

llnlike bones, muscles change shape.

Think o f them as rubber straps. They eilher stretch and get thinner, or squash

and get thicker.

Mix movement and anglesTry draw ing varia tions o f the p itch , yaw and roll m otion d iagram s from d iffe re n t angles: above,a t eye-level. below, and in various foreshortenedpositions. If you use pho to reference, see ifyou can catch glim pseso f the to rso muscles atwork. They‘re subtle and usually covered w ith fur, bu t they occasionally show up in extrem elyw e ll-cu t short-ha iredanimais, like racehorses.

• A s animais travei, they adjust their( f movement in the same three ways as •_ ,

j t ' aeroplanes. Pitching describes the H H, forward and back movement - the

j... back and beHy muscles at work. Yawmeans heading to the left or right. muscles on one side pull the torso toward

that side. Rolling (also called banking) happens when muscles on each side pull to twist the ribcage so that it leans into a tum.

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http://ebook-free-download.net/

Part 2 The torso

O D— II

HUMAN

TORSO FORMSu N Ü B L í r / W O f N G m v lT T P lE V iE W í B v i l õ i n ç f r p m

Ç lM P L E C O M P O N E N íT T .. .

Studying side views isn't enough - they only give us two dimensions

o f a three-dimensional animal. We need anotherview to see width measurements, as witnessed in theexamples above.

- fJed.'

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Tktrt's mr tKt czrríct fci-tn frítmjrkvr m cm stnvtuy nn nnurwl f f w w , fa f sctne une ymr< usef4 t lw .

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HORSE

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f~tyw( jn f Ao*v fAí aln<r liMOví AfpibC rt

rnue tÜ xffw um ytuii *rU*rsnuU t k Twtvititvm /tr m Ãiútf nrjttrn^y tkre<-íUtn(KSLoutl

Animal anatomy

Sort out the big things firstAnalyse reference o fhorses and cats. You'll f ind tha t horse torsos fit

rig id . Cats however tw is t around, so you ‘ll need separate form s fo r the pelvis and thorax. Solvethose b ig fo rm s beforeyou concern yourself w ith lim bs o r textures.

MORE TORSO FORMSLMSLN TO D M W T H E CO M Pu M T E OT H IN G Í P y aM k j n g t h e m Çi m P lE.-

Look for the basic structure that simplifies

bone and muscle into a single form. It can be a big bean from which appendages

emerge, or any invented form that helps

you twist or add body to the spine.The important thing to remember is

that torsos are complex, so you must simplify them enough so that they can be drawn in any position you

care to choose.

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Part 2 The torso

ram are the vsM-ce <tf the w Mr The huuüeyi, iurtleys, u c k arU heaM. ítnqye in m tf. in. the n-ext t*v wrislvps, well study the lemirs <rf fs*j~lejye£ wMnvús anA. cw^jwe fM n n ow cvwv, íw w u u M M tk hwJiem.

hfiáf>iné Presents Anatomy

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ORSO FUNCTIONSWEVe DokíE ove. TECHmiCAl HomEvvobjc - n o w lET^í TCice /\ fu jech loo ic /\r wHy we ?twdy ro R ío f f i r s t .

A torso serves several functions: as a core for the body; a

hub forthe limbs; a trunk from which branches emerge; a chassis to support a craning neck. A ribcage is a cage to

contain soft parts and protect them. A spine is a spring

(especially with cats), or a bridge, or a flatbed truck that can carry a load. A bird's sternum is both a boat’s keel and an anchor for muscles... t

Fim í ynv twn, aitni»vu>m ftt {'sr. urU uuifhc The rfcrexnvtty u ínAÍmy cowcfMni. AnAtttr y <vU funr *re teckrucxl iLU’, wheie/u 'inniayiei me uemwe.

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Animal anatomy

PART 3

THE HIND

The H lnd Legs fo ld e r inside A n im al Anatom y

Explore the rear-wheel drive of animais, and how you can use this part of the body to propel your artwork forward

©hen the first artists drew

i animais, they drew the way ali children still draw, with

outlines around the shapes

they could see. That's the foundation o f drawing: charm ingand primitive. As

drawing evolved, artists worked to make

their illusions seem real, as if the picture

was a window into a world o f animais with meat on their bones.

Look at an anim ais hind leg, and you'll

see a shape. Cartoonists capitalise on that. You’11 also see a surface with colour and

texture: short hair, long hair, rough skin,

smooth skin, mottled, groomed, light,

dark... Painters and photographers care deeply about such surfaces.

However, I'll begin with bones and

muscles. I'll explain how these affect the living anim ais rear-wheel drive system:

its hind legs.

Omwcny, Itíe m y eututic tlciupLne, rtqw ti cvriTrwUcnry lluili 'Ni slrw jí«vv/j/ f í r j i c< irtfi<üy tu le itm rke


Whichever names you choose to use to

refer to the bones in the leg - femur, fibula, tibia, tarsal mass, or others - they

still have the same job: to support and

propel the animal, and, occasionally, to enable it to kick out at an aggressor.

In most animais, there are two bones

in the lower leg. The bigger one is the tibia; the smaller one is the fibula. This is

different in hooved animais, however. A

horse's fibula fuses right into the

tibia, and so

it can hardly be thought o f as

a separate bone. Artistically, however, you are less concerned with the number o f

Tkt ku> u tk t fxii/u. Tkt ftnwr u tkt Kffer Itty. rk i int:tjvint u trfttn. ítf tkt s tifit- Tkt m H s m á kttl, u cftlUii tkt bsdr-.

bones in the lower leg, and more

concerned with the fact that hooved animais don't wiggle their toes or retract

theirclaws. This means that they dont

need a wide lower leg to anchor those extra muscles.

Foot bonesYok cttn. i tv A y k ttw tt> v 'o t tn d 20

im és n fm t, 6u f it s m u r tvynM p tketn. Tkt inwf- «npcrMW <\rt tkt

kttl ícá « kk0 <W ítM t (t*Us) ísmts, cdiMrtd- ktrt ftr jÁíw tk tu

yhvtim rJt w á- fitncticn.P U n tiq r í td ti p la n r t k t u f t t t »v t k t

j r iM tU . w t cull t k t u f t t t , f t t t .

O u jtr iy r iU ti M tli. m t k t w ih y c n ; n i a t l

t k e w f t t t p w i . u n y A x r t i m l í cn. *t v t M i í cr (we, tv k ic k m í c a ll krnvtí.

Leg mechanicsT k t m t m y ftr u t U t n t w U A n a u ísy t k t i r

f i tn c w s n . Try nr í t t t k t t n m fü r ftc H y l a g M í L

w e í í c W ‘vstwMes.

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HIND LEG BONESFONE M A C H iN E ZT. VNOEU. ALL T H A T F L E íH If Am e c h a n iç m o f t o c x e n , h i n c e í , l e v e e j a n d íp o o l í . . .

The fttrwr luis X UU ttr LtS Pf. Tkt ftlvLi kai a iccítt Tktít ftryn a ptrftct kíUijk. Jtr jt t t in y HrmuL.

Tkt Mí-mÁ-iwíce^jnnt o f tkt Uf> tnAÜei tk t ^ppti- Itg ir sivuiy tvU imíkI, Lickuyp iMt (f tk t lUt-

Knee bonesTkt hvtt u n kuwtjwnt, k*t ut utCt fixtd liit <? kínft. Tkt inttcxj> (fxvtiU) fMÜí on n itrap rt k f t tk t Icwtr Ity.

t»

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X Iíjitl it y cmutíteat tk tw y M H -t t k t u r i.


A kew i kirU [çj u reyrwhiky iu r Jw n <7 wrwCs, nviudy íecx*.se kew mlw

Ma m - tkeu- feet cm- tkejrnwd-.

Animal anatomy

jl ' Qjw lnibeil tr*udt cMrti ' ní£ (U fferent m tm tó ftr

' tke Mruttmrj. ÍMt tkere Hr( fWf cmwSCefityrwjn

• tke frty jw t ik tke lApjxr ley, W tke smaller jms

eu tke lw(r Im .

HwmAim <4N0 lEGí ffOTH MOVE £Y THE ÇAm GÍOUE£ E - THE PULL OF MUÍCLEC...

MUSCLE GROUPSThere are over 16 muscles in the hind leg that artists can study - but even if you carne to know every one o f them, it would help you less

than knowledge o f their groups and functions. Here are the simplified

structures for understanding hind legs.

^liuvlncepi kwwtnM i jrçnj> ir f tke íçy. The .

A big pairíí/y tke n^íiui

fMVÍrLCtpi (re/)tke frm t t f tke tkiyk /mII m- tke hxei’.c4f> n itrALjkte*- tke Itwer itj. Tke katnitrinys Çyreen) u»v tke frnck. t f tke tktyk fmII tn tke bpuer ley Unes n herJ. tke Içy.

Camjwre tke cctmv trvyi t f tke kiAtrjtr. nîlcleqnuts U tkme t f tke ktrse <W tke íe*r.

Target the musclesOnce you understand the basic groups, you can separate them in to ind iv idua l muscles. For exam ple, the ham strings are d iv ided in to tw o parts: the m edia i (inner) and la teral (ou ter) sets. The m edia i set actually d iv ides in to tw o more: the sem itendinosus and semim em branosus. Names like tha t can put o ff de lica te learners. bu t no te tha t, on a horse, the sem im em branosus muscle alone is la rger than a hum an’s entire upper leg.

A smaller pairThe ctiíf ntU ertemcrjnMjn uuert cmv tke feet. They w i le«Mr tknn tke tkiyk tnusda íecume tkey ktti/e leu »n/tt! n iw í | ^

g r i f a iG r e v fi /i-fe f o / f T

The urcrutr j n n f lifti <r fmt, w i /m IIi tva íttcL Tke temUn.i t f tke ex te rn ctver twst t f tke jnvilt /nnjcía w. tke fmt

Tke keel t f tke ktríe, híe m y kmved- fmjrjií, u kiyk lk tke nu-.Tke jrrtjmtLHK u very ikfferent fnn\ n kunwn. Içj, but 11 ktv nviny ‘tMÍcywl fivn. tíemerrder tkitr mesclei nre tÎíoer ruew tke ttrlt and letiMr nt rkçy tna/e d-unn tke LtrA.

TkeImIU

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cxifyaMp tfn animal

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GfÚÜpnè Presents Anatomy

Part 3 The hind legs

Exercise your X-ray visionChoose your favourite pho tographs o f animaisin various positions. Place vellum o r tracing paper over them, o rmake a layer in Photoshop, and try to draw the pelvis. femur. patella, tib ia , fibu la, andankle bones in the irproper positions. Youm ay find it tough, bu t the a ttem p t w ill help you tosee the substance under

Naming partsZvery detadjets a m w âtnes let nr p i f tkoxys c*t and talí aífn f tkem.

t W A S T f c N V Ç -K W \ L L £ S

T I S K J D íJKI

INTERNAL STRUCTUREt h e w s l f a c e o f a n a n i m a l is o e t e i l m in e o py t h e í w g a ^ c E inííioe, ?o d ev e lo p x - r /iy Vis io n r o o h a w wtx A A vrH om ry ...

Study animal anatomy from books, and

you'11 find that four books may use four

names for the same part. The part that 1’ve labelled pelvic crest on this cat can be

found in any book - but it may be called

the pelvic point, the tuberosity o f the iliac crest, the tuber coxae or the anterior

superior iliac spine. If youre trying to

impress people, you should learn ali the names. But ifyou're trying to master

drawing, any name will do. Yourconcern

isn't the name, but that its the wide point

ofan anim ais haunch. Pelvic crest is fine.Most names, however, are consistem.

The ischium is the ischium - theres no

need to distinguish it as the ischial tuberosity. But you do need to know that

its the back-most part o f an animal's

haunch, and always narrower (on the X measurement) than the pelvic crest.

W eu A

O f f im J f

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Knee clarityi<~nees htve seventl fmnfí t k t t altemate fcr atUMurn. Tke fatelU (kníe-caf) u tke rrutst pntrw.erf fiant, 6>*t vt ítrnitfcts J (tt tke m se t f tke tina, wktck u a fix'ed friAtry m. tke *Ivwer ley. Tke <Mter sêll ck tk i fenwr, and tk< fa t f>ad tka t asven tke patella \ */ken a kvrse U rebwed, can ali seem kU tke ínee.

Sausage legsCnartúlei dnCt kave intecaps, j<r tke ÍMe deesnt kave tke cns/> plarve-lrreak. tka t "e see en. a dvy nr a deer. /?«f tkey hwe tke iatne kasu> bme.t as ntker ivw-lçêd anuwls.

tuice tkew owUrtceys tend<mi ccnsiect dcrectif n tke tá w Lhe a hlt-straj?, tkey kave

tevertwe and can nwe very fast-

Repositioning*v he^yçví j t t jw d- atvtMaltsuiy tke wUeAyu^ im.es, Py repfliMusy tke[eys and redrawiny tkerr.


Wired formsGet ou t those favouritephotographs tha t you used to exercise your X-ray Vision (page 7 5). Instead o f look ing fo r the bones inside the legs, try to w rap w ires around the Iegs. If you find it tough, trea t each part o f the leg as a bar o r a block, and visualise a rubber bartdaround it. From there, it begins to take on form .

Animal anatomy

HIND LEG FORMSp o e jv iç l e t y o v i n v e n t l e c í p - M r o o K J ’r e x i í r - u n t i l y o w c r b a t e t h e m ...

When we dream, or daydream, we imagine

realistic images. The trick is to get those images onto paper. There's no better way to master this

than to use wireframe structures based 011 simple

forms. Anatomy is complex - but ifyou can see the bulk o f the upper leg as an egg, the calf _ f as a bowling pin and the foot as a stick and bali, then you simplify your task fhand turn the leg into a

somethingreal. .

'■ R o u n d ito u tY Huut Ítfí to n t fact fom arit in nmson they iplity

<Mt H<r< I a way ftr idv< if- ■ t e Acw tntir{ Udyr f tb c f i f í l m v a cyLm lcr.

SegmentationThe -fUÍL ftrrtn t f tke kiiy tatus ilvxpe ífjo* w w w i t anÀ- woriL m tack part as a xparatt mdt~

Block it upBlack, /srmj fvrcíjovi íaítt ifxufic

cktutí aim t jpÍAn< írtah, and kelj> j cku<l tke fonn intv cnsfntss. i

n«T also that frttn htkurjL, ym I can í« tke legs facunj ruf a t a 1

50-<).o anale. 1

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'A PJC

lmaîné Presents Anatomy

Part 3 The hind legs

Artuti mwir sisnplcfy n ^ndentand. ífWy aWj íUwiny.I m á j c UVí x i th^tt he a y.ynnny twf tM rpntiew: fjhere thejzlM I nr(, twU h<nv fhll hMf-fMvinyed- íe/^s wU itvínas tv je t «ííoKf.

Vm ,

Q o < < ic o (x 4

Ron’s robotMy It^dent 6j«- Creen uwinted- thu cm tnw tún. <ts strmye, h*t «-iefA fsr iw U ritrtm iíny hvw fa. ttnürwl leWS frirtn UJ - huví leys. Tíy^ycur uvm, bttsed- <rn OMtvrny- J

Forelimb fandangoWí íteuwL cn. 8w hir~d IçyJ Hnd,«,!( (MC <vmi w vl Ivtruü tr

jK» ptrftrtn*- deltatte tnih

warU,. (iMdnWÀs swxd-m thew tvtns. The dcfftrtMts ktween.

« \ i m d -fvrelitnfa tvew w ttr tluvx

' W kvw en. l(jl WÂ- huut Içm. In, the next CMf>t<r, >ve’tl itv4y the ftreLirós: anní m leys.

Spontaneous artT he crd y *wty n yn m te r ÀM W tA^ u tn drtXM,

Ànw < W drtw - k ncr n Mrefuüy- OjutL. aettural stwkei ^Lthjxn nmi m i durCr alíewjfUH tvjetf*uy, env,e w l fvc, w í th e y f r z t t c t j / o k fm tn cren txn y í íW t v t retC > w i.

theit Imil di'.fui - nlvit )ne Wenthedy edisttWlderiny". You’ II lA ftfnjíOvo- jhlll ky

abm/ung uwnttàxrely fn m kfe, wfr<4i£ptUe «rd> MtU tV it rniM íe.

THE FUNCTION OF HIND LEGSrHEY JUMP, THEY V\MLX, T>(EY RWN, THEY tc/Oc...

Once you know how they’re made and how they're shaped, you can go back to

the reason legs exist. Legs help support an

animal. They get it moving to find food, or to keep it from becoming food. In the

blink o f an, eye they can become a weapon. A lever. A catapult. A spring. Rear

wheels. O r a bludgeon. Seeing legs

through their functions reminds us w hy they're worth studying. •


Animal anatomy

PART 4

THE

On the disc

• F ind sketches by Marshall in

The Forelegs fo lde r inside An im al Anatom y

Use your knowledge and observation to balance and grip for the animal kingdom

build the pillars of

©ometimes you have to take

things apart if you want to knovv how they work. With

animais, that gets messy.

Beatrix Potterand herbrotherdissected dead animais together, which served her

well as an illustrator. But dissection is not

an easy business: you can end up smelly and confused.

There are better ways to study animal

anatomy. One is to observe museum skeletons from varying angles to be sure

o f their forms and connections. But

assembled skeletons are often poorly put together and locked into a single position

that teaches you next to nothing about

how bones move. Another solution is to

assemble bones on your own. I've assembled a horse's leg bones with glue

and rubber bands. It's full-sized, it's real

and it impresses friends and family, but I could never have done it without at least a

reasonable amount o f book knowledge.

The lessons that follow will help you understand bones and muscles enough

to look at living animais and see their

structure, so you can exaggerate proportions, make planes crisp and invent your own animais - imaginary

beasts with real legs to stand on.Let's have a look at how forelegs are

made, and how they work.

'Ne stnf w ny tke swrfnct <íf nr. anwvil n see •vlvtt tnxieí w w ri Artutit w jttm y ieyuns *mtk ti^ sí/letm..The wsre -fiwuluvycu. art fJutk tke inmcfJtri, tke w ot u n JmU tke M y nrmnd tke bhhíi.


Part 4 The forelegs

sp/we 0 FS d K fU L /y

C L tH \cie

fiK D lU SC W H . u s ,* e t n

OLfC^MOW r fftO CÉÍJ / o f

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M m k l

FORELEG BONESa n i m a i s h a v e íH o v L ü e e i a n o a il m ç u n e uç, g v rWirH A O/FF0UENCE: TH EY WAuc ON TH EM ...

O l c c r * * » *p r o t » .* 5

i>ir f

S t í * " '

- t/JnS (c*< v l 8 ***7

f h « U « xf h o M

SZ ST M

We have shoulder blades on our backs;

quadrupeds have them 011 their sides. The

shoulder blade (scapula) connects to the upper arm bone (humerus). This is

obvious in a bone diagram, but on a

fleshed animal, the upper arm is buried

in the side o f the body. That means you

may mistake the lovver arm bones (radius or ulna) for an upper arm unless you can

see through the surface.

Legs, limbs and armsAnitruil fsrelejs vtvy *ntr< tkdn, kiíuí ItyS. Prttmtes drU tke nncoent

j f t w i i jfcrA IsAxm Uve w j nnA, knt\Âi Ne 11 W. nr nnn meclutws rov tltí next fm t - m t first, netu* tk t t tkere tve fwt ítrnes un. tke ftrenrty-.. rke «l<ut Ul tke frty iW y n t tke M w tlvit tm/w n n imnll 1Wy> a t tke littie-jinyer súe t f tke kntut. The rtyÜMS u n Jrwll spuwuy MtÀe tke eléw, wktck iivelís n kcU tke wrut ímes n t tke tíwrni uAe r f tke knÛ.

Unruii, níK/tjiy klwe 2-9- ítMÍ. tei/eml s f tkein in tke Mrut yr^Su <t luryle Torir* wlled- tke wjxxl mmj

Hitf&l nnimth knve m îk iimjrler strv\ct*res. Tkeur mdvAí wvl v<.Im are {s-id ttjetker m tt a unyle fyrenrm. í« t we itill dunnf*uk tke eüw jusrtviK n\ tke <Am , and- tke m s t fHtrtun. m tke nUiKj.

Not ali is bone: cartilage happensHirnei nmC vtker !mrfe<C munAs (my^Lttes) kai/e ovtdnê a t tke tnf>0/ tkecr íkwUer bMei- OvHUae êars wny, st nwse^tr- lume suletm.s w-Ay njfenr tv knve tke n f part t f tke m fÛ ckcptred- cff. uvwy kqrsei hwe úryer ikvuUer bUdes tknn tkeir dJfU reUtu/es.

fo tLûm d

liriaginé Presents Anatomy

Animal anatomy

BONE MECHANICSFOKjElEGÇ FOB. tJA üU N C . iF THEY <4líC h a v e r o íPlIsl OR. CRJP, THEY NEED MOBjE COMPlEK ÍTRA/CTV>RJE{...

O f tke fwir / í w t n bma, tke Ana is otdy n kínye. Anitrjtli wttk krtrjü ‘tilt W H rítdiMl tkxt ífiní.

Shoulders and elbowsrAc lííü ítckrJMnt r f fA< íkwUer Mltwi sttr e n ftttcn ftr itn i » ít j/>ot ro- í-ímsA onf

nr tke lUe, <u well «ti ivrwnnL <W átóL

IS ® « l / -

a-jy ton S5Pn ií

M T<

Stick-boneforelegs

usually best to draw the

sim ple com ponents.

ulna before the radius, because the radius doesn’t a ffec t the u lna‘s position. Keep it simple. Don t t ry to learn fore leg anatom y by draw ing fore legs: rather. learn by draw ing the ir

Arm mechanicsfirmí fireivmi ipin nrmrji. ! tw lf>ui n kit. Sttne tire fiXÚL Ui tt ftrwttni f)tiUitK.

HOMEWORKASSIGNMENT

5 0 fM U K T ) 9 t f

fVl i)f~OÔCiidt


P*/m d a v J/1 -b J f

jK f r <11 I w leps k t t /e tw t fam a, s t t o lawer <tr m . r k e to f fe r e iu e u t fW - we

l ^ j f t r t tw ttln<! Ivi-tk w Içyi, è u f use ou r tírtn i t t j n t s f l to v l

rke Am toesrit sfttv. Ml i t «o», to u ketU *vU stmtykten tke ttrm vkt r<\ÀV*s, IS sejxtmtz ttwi revtL/fí ttrmtuí tke ni/ul t t Sftn tke W . wAtfn. it) ptrMltl n tke Am , nctk tke tlwynh c*t tv tke sUe, ws sûie- wken tke nttons crwes tver tke Am , CíVrtytM tke tk»*trd ttwurd tke ktdy, w) j>nne.

i V

g l & f A T O o í r C o '/ ô

QjvUnyeto ui tkeur wdtíy (1r sfun tktu- Ivtrjfa. Cttts to Lt tpute êll, tops M t "is well. HttfM nnur^L w í t Sfin tkeur ftrelçys ttt ML. Tkeir rtvU*s 6me u Ív.setL irjv tk t Àtut, Itcked. st th t t tkey atn. ruK, (fn-t n tt rexck t*t wuk tm «j/reuseM- jxti/n.

Part 4 The forelegs


FORELEG MUSCLESTHB m v SCUES IN! FOfcRECí ç im ilA r. FOIl A ll A n i m A l í, e v r r H e v a zjAttonç a h e m a n y...

d nChest muscleThe jU cixm Li in yo r Anchers on the chest And uuerts in tt the Iw tntruj (r f>Àl the <Áffcr Arm i íw v ar-Á íc fr the imdy. irs the SAmt m *sdej<M me tn iU <rg fM tluyi. i f j/kwj on the m rftvt Ai fwr vAtyiny ftrm i tn ecther

sU c t f the e w t n itr^ 0/ th e chest- On the htrne, M tice the rhythm t f ctn vef A tvl cm cnve lü iei. The cviter

cmUTMr.í tenÀ n ie m tre cani/ex. The u in er iim h frvm the f m t i/LfH M ve

M ticeAÜ y mure ctncAVity.

Human arms and animal forelimbs have many, but not ali, muscles in common.

Not only do our upper arms extend out

from our bodies, but they reach above our heads. It takes a deltoid, anchored to

clavicles and scapulae, to lift our arms.

lfo'l<Í

Quadrupeds have smaller and simpler deltoids than humans and apes.

Our lower arms spin partly from the

pull o f two special muscles called supinators, which make up the ridge o f

the extensor group.

The trajxnM ! m á U tw urw s d tn . Apjreexr

íaiye on- AKAtvmicAl pintei, (W have U ttie e ffe c t on the ftrm 1 1t f AKt,míife. rh e

tmfeOMS u th ífi And a n sver the t f t f dcefer n e c i m^lcíes. The lAtlSlLmui * íw lly

Á uftpfem a í i t h*ys the fone-, i* r t t cak (Aow *f> aí a cm vtx iL v ír cn the siÁe.

By the ton e w e je t t i the metAcArpAl cn An w-y^ítxte (m a lcyeu.1 ( r cmr h an d), the

nwsclei « a deef And thw , th a t artuts d e n t Stw iy them . The ítn ei, urA ffed tn

LyA m ent MÁ- ilu-n, crente the ftrrm.

M í d f l jM Íl ítM S. The m q cr muscle 7W u t f a herses ihoulder Are the tncefs And

detniÁ . Here */e see th a t they fath Anchcr tn, the ica/mU. The d e ittU jMlls the

ívreley w y fn m the Udy. The m ceps

extend the ftreiey. Eten rh o y h lurnet CAnt .1fin . th eir w w , they hai/e A sliyhtiy

helue-m j>edgnM f A t the rU ge hke *>e d t .

What arms do to handsBíTtnjars fMÜ cn the k<vk- iid t cf th e httnd. f^lttfrs fM.ll m the j>A.{in Side. denchj/nur

fvst, AndifcU lL fie l the fíew rs cn^yow UUIÁe

fureArm lutrden.On tn a t m u m Ii, the fiertrs Are (Mcked-

w id er the tnjU e t f thew fvr{Arm<, frAreiy

vuiMe cn the MtitÁe.

Simplify complexity<i*j>uvitm Are A, ynMf> tf twrnwicíes. Ç m m m Are a t f

three- Ftertri c m , ire sepAmted tnrt- ~fwe tr mure, lW th a t s tw trw ch Ln.firfníttWH. They Mirk. Ai

jrn u fs , Io surnfkfy.

Animal anatomy

Horse legsC ollect a dozenpho tographs o f horses th a t include the irshoulders and fore lim bs.The im ages can be low- resolu tion - in fact, th a t’san advantage, as i t w ill keep you from being tem p ted to copy surfaces. Try to drawthe w edge fo rm o f the shoulders, the blockfo rm o f the carpal mass,

fe tlo ck jo in t. W hen you can d o it successfully.m ove to the next great challenge - draw the shoulders and fore legs ina new. unseen position. To m aster fore legs, you m aster the ir form s.

FORELEG FORMS/4N/VTOMY FOR. rtRJTíTT fí V/ÇÇLKí UNLEfÇ THE ÊJÍfrCiV/Ef íTFO ItM ...The scapula and humerus create the point o f the shoulder. The scapula hugs closely

to the centre line at the top and spreads out to the sides as it goes d ow n ... but that

gets complex. When you construct a

horse, it helps to simplify by seeing a wedge form, which is true enough to the

anatomy o f horse shoulders, but simple enough to master from memory. #

5 K w \ d t r

Breaking down kneesHcrse kneei <v-e very bvy becM.se tke ctvftil knes nre <Ki<WW tn. rwr frexbiHe w tkn t threctiy x f fu t tke fm-m. niate tkn t tke fetieck.jtwts <ve <îte spkenuti.

\ v ta ie- A MS a f £

The problem with catsC*tts tve Jt fien b ie tkxtjpau c tu ít m e tke

ítw yle MeÀge firtn you. *se f jr krrse skwUers

Its iU ff\o 4 t nr suryU fy s*ck fiu u í nnunrtLí tr Jv in * firrtns - tkey tire tw re ciytinLC, ttnd

qrefKter clvillenye- Yew rrw jt see tkrv^yk nr tkeu- frmes, ÍM t yov< c« v tkis w itk íunf>le

stick. ftm res. For tkree-ifw vter voems, fMM, .

tke stic k cntz fzies, d n y e srnê fie ik m tr I

tke pqiei, n r ji tuU/ cnsi-cmtTMrs tt be l«re 1

crrf tke tkcckness. I

From form to functionA cttt i W<v k*s textwe nrul s*rfau tkx t 11 « « nr see, ow m h nwst lewn nr see tke fim*.. An/ttryry kelt>s, évt vt rw yoet wneceswrtly crtnblejc. A f w li <? sunfile Meck., « w tv tke fnmt, like n wkiiky fieuk- Moiwotm. km/e <r unynníon tk*Tf- kelfsjfu see tke frrtn, «v*ntwe, mÀ- dnw it.

vke reltftvnuktjf r f whisky fÍAih nr <t atts f w enÀs tkere tkey kme very tUfferefit functicn.!. Cnts knve cUws tv survive tkraviyk vlAence. Ç ven jw kmsecnt, wktse mdjf renitrn fvr M t ettiny^yM- u tk a tjw re nnr Uiye, cak da

jç\a lerurns dAtrAyeFor fAnctim, t t ytjm be better nr see n cnts j>w <u » stnpler, iwuzMlrUe

tr Twr cf tkese <ve nr /Mree. Tive rf tktnn tve sjnny-íxwUd Ali tkree remmti kí r f nlutt n cittiv tUes.


Part 4 The forelegs

FORELEG FUNCTIONSFORJcLECí WPPOBj; CWHlON A FALL, WAuc, SPRjNG, SCRATCH, POWND...

A stronq support for shouldersTke fm t Creet ítW vu luU m pedestnls:tkey,J*st went strALykr tr.tv tke kw- Aíthey ei/aived, they « « ju/en feet.

é iM ttm a lDCUuf

Qt/Mr

The piercingck»vI y w y cnr o/ (VJ t t Snf- <,/irMícles cAn, vrdy fx4 i, Acw cat* they prvject A clsw ckc <W- íiiv<iy frwn isviy1 11 tAÍes ivtk. ertenurs (tv p A l ía c í tke /pkalxrs, vr

fin y e r bvnt) ArU- ftexvrs (tv fM ll ôwrt. the

cl/w ) w rím y tvyetker tt renc-k Tku dv rwn jAcwr kçw c t ) done.

O r x e jw . Ltow Acvv a cA t citw tvwlb,j/iM

ía k fvryet ur atU fkiupn, aijtoh like. ShCj/vu.

nw -it^-t fv r je t tke fw s tiv K . a c h w u a set a f knw ei tv itvjxúe, cr A ifAÁe tv t y , vr A AccjL.

Lvny Íífvre Creeí ícIhíjwí, am im I fvrílçyi were pdlw ftr A prAzttcAl reAim. - tnvre tktm, t o per cent <tf tke kemts netgkt reta vn tke iwelçys, aímC pülan areM tvrt.cu.liy I t r m y .

From pillars to spokesPiÍk/3 imy f>*t. 'tjxslui revdi/e And jnvUe a wnjutenr stnny Mfflcrt fvr a pwniny ivAetí - tke lAtne Ai A itrAiykt fvreley Wv An A^MndÂllvjliny At k lfk speed.

t) )

w keH jfau. iee a km rf as a fv r m ,y v u . c a k d m w

i t " c t k s fA tv .l c r e tk id i ty . 'N k e n jv * see i t a i a

livre vr A c leA t vr A lf>ÜU vr A sleíjyekAtnm er,

tb v M yk .jv * . c a k eXAyyerAte i t w . tk m eA ncny .

Fcrelçps hv/e funttvcni: f>dUn, slwiei, kmis, jbwo, lUdes AsJ, ij/AiCei, ^renckei atjI fiken, cUtrys, vices, wa/wm, skueUi, fAtodei,Cvif>S a s A - ío w lj...

Yiwjvk u nvt tv cvfy ilutt^jvu. iee, k*r tv wvtentArjt ww.tyiM see - Atuí tv use ycur ihili tv creAte Mwreverjcts. clmie.

Iiríaginé Presents Anatomy

Animal anatomy

PART 5

NECKS AND HEADS*!• -• -

PÍÍÒFILE

B S U B

tn fktSt téSSffnísj/UH drffvv (r trwk/ * ffat w f n & t Icu Jl h J u t f tv tn ^ rv v tn - fir n w c r U

<rf r{M W iW Vfll. Thcs U ítm iK f

ptHéJ 4/vi fUíh rkw yh cwcfiM. tbvtlystj cind- rtcklcu WHjUk.

Discover what this part of the animal body tells you about the creature - and the traits ali animais share

: try to make animal anatomy easier by comparing animais to humans. Unfortunately,

many artists barely know human anatomy. Robert Beverly Hale pointed out that an artist who knows

human anatomy can learn animais

relatively easily. Part o f the emphasis should be on 'relatively': it's still

something o f a task. But the most efficient

and fun way is indeed to see creatures as people who run around 011 ali limbs,

noses forward, fast and strong.

You can tell a lot about an animal by the position and proportion o f its skull.

©have incredible noses and teeth. But the big differences between animal and

human heads are that animais have a

snout that leads, and their brains, rather than being on top o f their heads, are more

towards the back. They hunt and run.

They gra/.e. They don't read magazines or draw pictures or concoct fantasy worlds

and write them down to enchant others.

In thischapter, you'11 study head structure - but we begin with how necks

emerge from the torso, and hold heads

that face the world.

Human heads rest on our necks because

we stand upright, and we have large craniums because we rely on our brains.

Apes have smaller brains and greater jaws;

and because they lean forward on their knuckles, their skulls sit slightly forward

from their necks. Quadrupeds are

horizontal - their skulls extend from their bodies.

From these basic conditions, skulls

vary according to an animal's need to survive and thrive. Cats, for example,

have alarming eyes and teeth. Wolves


Part 5 Necks & heads

THE NECK BONESM O fr meck goK/Eí *ele deep a n o H id o s n , e v r n h e yA P F Ç C T T H E Í V t iF A C Ç W H E N MOV/E...

HOA S

O M E W O lH ■SIGNMENT

Get familiar with the neckTreat th e neck bones as a sim ple line, beg inning iow, usually w ith a b it o f an 'S' to the curve. When you can see the co re o f the neck, you know what parts o f the flesh squash, and which parts stretch.

Mice have seven neck bones. So do

giraffes. So do humans. So do almost ali mammals. They’re called cervical

vertebrae. In a human, the top one

(that s C l, for Cervical 1) isso deep it can't be seen, but in many

animais it spreads out near the

head and can be felt on the side, behind the ears. it’s also known as

the Atlas bone. Its wide, and may

even look like part o f the head.

" R o M o + > * \ h < ip r*j

Connfcts -b M . sK o ll

(cccvicil)veffcbr*c

Sri*b c fa t A

Thestretching neck

A lutie movement between, eack neck. bcne <vUi n a Itrtrf mm'.ment for tke nkde neck-,6wf n th n y mm.cn k*ppcnJ «tf tke AtUs farne.

'r t o d '

p i V t f f / f ls io e .

lie n<-cK

Taking the head to the groundCm iír g ftru/nPtl\ lutt/e necis tkttt reiich tk e jrc w Á . A h in tern ai

lia w n e n tje e í fnrtn tke fin e in .tr tke in v i t f tke kífuL like t\ U ije , fiiT iiU tvjrber íw U , en nblin f M Íl tv ítretck

dw n . nr t k e jr m n fee<L.hvtn n HtXiÜe neck. wmU never r(tv,k tk e ^ n u n d rn <t

kune i f tke vertebm e beyeu'. «tf tke tt/>. Tkey begir. íew,

altm st katfw ay dirwn, tke fr m t f f tk e slw U en

»■>


Animal anatomy

ANATOMY AND FORM OF THE NECKl&avç complex neoc an ato m y ro t h e veterjni^kj.-an - ^ b jk tt c a n íimPl/PY NEC*. FOItMÇ POR.THE IMPOILM^TTON rHEY NEEO...

cephalo humeral (from head to humerus)

or other variations.The names must not bogyou down

from your concerns. Lets look at what

animal necks have in common that artists need to know.

s / j Neck muscles have inconsistent

names because the structures f T O . vary. The muscle that goes

\ from your collar bone to the

a . bump behind your ear is ' Í V j the sterno-cleido mastoid.

Cleido refers to the part that

connects to your clavicle - but most animais don't have clavides, so that

muscle may be called the sterno-mastoid

(sternum into mastoid process) or the

A shoulder baser k c tcrsc u t k t fiM irM ttv m i f !

tk t neck-, mkick mtAr-.i t k n t V

W í usuxüy ítst n tfyu i «ttk, tk t ferirj s f t k t sknuUer n c r tA tt

A n tc k - l^ tc k l A r t k iw tlly A h t tk c c k tr

tVHArd, t k t VASt un, cnsi-stctun: t k t y u r t

n v e t í / tu s u t ( l i^ A tn tn t , nw -ícit AnÀ-

f n t ) , S cy rew u y pulli t k t m i / v f r

A d t fk H y t tA n ln f i- lc v i in f skupt.

A core of bonesA í w ctk AÍÍ A M tcm y, dçr. t wvrry

Atmut k u U e n tltfrull unltisycu rt fa in a rtstArck. í t t i t k t sitn fk a ty

if tk t neck- csrt T k x t ccmts first,

tk tn . tnu.scltj.

'f h iM c y t r í* n u k V t r k w e .

>fc cx**fKy~ .• 4 *00/& M fi yooclfe*) t fc k i

A rolator set and a throal networkr k t r t A r t m A n y neck. tM ic le i t k r t t cv trU y ( e v k trtktr. Tkt ynm t A sstr tw t U

t k t j r c u f i C>vttk i/Arytna nstm es) t k x t sfim ls frctr. k tkm jí- t k t tA r

L t k t skcu U tr jK ísx t Tkt tk r c A t U n w l t up trf nw sc lt, ttnjicn, k j M ^ t n t ,

CArtilAyl, Arul t u t n A flcAtiny U ne, but uts w u tf t tv unylijy k t r t .

W l Tkt t k r m t ü A p A M y tw ty , A k a t cr, k t t t t r sn il, A funntl. i t m str ts

W ítV H ttr i t k t spirAlhny neck. jr v u p .

\ 'fh ro q f if(1oC o U t o r j j r ô u p

Squash and stretchYou CAn. stt tk t Anwwtcrs prmafle f f stfuAík A rJ,

strtttk irvst omWy A t

tk t neck.. Wktn. A kcrst tums uts ktAÀ, (r Imk. frtkíwi. utstif, ene stt t f sUt muscles cmtmcts, nkile tk t ctktr íUt rthvCtS


ns.l r i r f - i i -5 Í l z li * 3 4 §f f f l l I fcH i í f f I*» J I I5 5 S > 5 2 f§- S ' g 1 ^ ' 1

§ - f

’ 3 * ! • s ; j « í

i i 1 1 : ' t % 3 3-: j» S f I

Part 5 Necks &

heads

Animal anatomy

1 jo in f

ANATOMY AND FORM OF THE HEAD

^ /5 o /w A f l^

crA»ités

^ ò u J ÍKCKH\H£S

C M W LK i t #

A N im A l H5A0S HAVE M A N Y MfcMTTONf, A FEW COMMONWUTÍK - AND THRJEE OiMENtr/ONÇ /Kl EVEfcY CASE...

Skulls have many parts, so you must simplify. The cranium is the brain case. lt's egg-shaped, which is obvious in

human and ape skulls, but not in many

animais because it can't be seen. It's very small, buried under a cranial ridge, and

covered with a large muscle (the

temporalis) on the side o f the head. The eye sockets

(orbits) face forward on most predators,

and to the side on most prey animais. The upper jaw is made up o f the long

protruding nasal bone and the maxilla, which simply hokls the teeth. The lower jaw (mandible) is the only moving part

on a skull. It has its hinge, the temporal- mandibular joint, just below and in front oftheear. •

Multiple views reveal formsTke sL4l prwUes tke structure ftr tke ketU, u stuAy tknt beforejv* itvUy tke fextweí ut knuses- As usuM.jiu. need n^Ãnple i/uew

Yjw cwrCt see tke wUtk <rf n kewt, fm r. <r sUe v w jz u Med n tip vie* tv ikw tk*t tke nUest pnnt ok. tku Iccns ke*td us tke ckeeiíme (íyyvym tic wck). Y«w cm ít see tke */Utk t f tke reetk fmm tke sUe

j/o* need. #T fnrut Vie*> fr ikw tkxt tke upper avur.ei nre MLder tkwi tke lipMer cAncnes. Andynu. c m ’r telí tke keiykt <rf tke c.rnn<Á rUye fnvn <t tvp w<iv jau. need * iUe M * fur tm t. Multiple vt€*/s eM Íie js u nr drtw n kctU un. spwe *nd keep tra ti <rf tke pnpotians.


Part 5 Necks & heads

lt’s tricky to tipT ippinf ene of tnese rtw lnple Vtf*/s u i i/m-e u w .je t ir^ in d -fretlin yly ccmj>U/. Tke scUtvtn. u n rtd M { k i*U fr k y fcrtns íefcre pU ciny smnll parts. G e r je w kenA

<\rwntL tktí, ‘tnd-jpau.re well <rn,j/ow ítt mPUtertny kend, tnovement.

Relying on XNiirfWí tknt wketker n crentv-ns n w tk l i

c/x f. cr clcsed-, tke * lines (tAcwrt. kere m crtungt) d fjy s s ty ccnsutent TÍwt am heipjM wkeH-JMre wrk.ru/ cn et (ífíkai cnntwes kemi nrvCjc* nted, tc iccnt< tke dtítnnt avur-t.

1/ Placingeyes'h e eyes cn prty tvattvtll Uch m t tc tke suie - Scrt tf. rf ct

«*« ( M f surrpV’., n cfluvler dcrcss tke sÍm II *vcntó scit/e tkeur pliteerneM-. Om, m/at prey (tnvwiís, tke eyes w e M t ctsmpiereiy w r

tc tke sute, k *f nimeil skyktiy frrmrd,. rfj/vu. pUce a cetxtre pcuit eirni crente tw ccnes duüryuM frct« tknt centre, jc * Ivive a stmctwe uv which tc fb w eyefaüs.

Take the antidoteA li tk u tw ü y tic n l m rk. u Mcessnry fc r

tw vteiy, b * t t t ’s n«f tk e erU of w. Wken y c ^ v e nM tchvy encuyh tc ccntrd

tke fvrtns j c * crente, dcK t fc iy e t tc tnke

tke etntU ote fc r fin ichiness. òm w fts r ; A m h reckessly, A n w fcr f* n . Ycvi Yw y <ár

r kest m r í w k e n jm le t jc cf^ycw-

irj-ellect w Js fM cw jew unpÀses.


Animal anatomy

PART 6

ANIMAL

Imagine

Find out what animal faces have in common with human faces, and the crucial ways in which they differ

Presents Anatomy

Draw from lifes/wf- t f n tntflel trr i fir m Icfe

le m n * ûsur u cm trr r t i lM ife f n r k

'M .tkjw r sk/nkM i, nnd-ynHl fin il pier.ty o/ iVilltnf iwjects. M if jpcnfw/trtHS ianbtou w A -

w s r t uru-tUptk i t w U t I.

Tiuj a n fxncã irw ung t f n fitcetív tr M i e r t d r t v fe r n f^ N weelu-

N ew L t) Itrfcly u n p ru stn td on f f t f t r ,

tu/uljuw « v lume trwHt.

observing the world - the fact that living

phenomena come to us in mirrored halves. Faces are essentially symmetrical.

If they were simply flat, artists would still

need perspective to represent them in three-quarter views tipped away from us.

But they are far from flat: they are made

ofseveral 3D components, like a puzzle o f sculpture.

To draw faces from any position other than head-on, and even to draw them head-on if you want them to lookr r p r l í K N r c n l i r l r p H u r t» t h p m tr»

simple forms based on anatomy. Then,

when you have a solid structure, find expression: glorious, fearful, attractive or

amusing symmetry.

As in previous chapters, we begin here with technical lessons - including how

perspective applies to the structure of a

skull and how features themselves are made o f three-dimensional forms - but

weare heading toward a common artistic

purpose: to create pictures that channel feeling. I leads display faces - our final

study o f animal anatomy.

! began this animal workshop

with basic forms, then worked from the torso to the

hind legs, forelegs, neck and

head. We now finish with the the most emotive and expressive entity in life: the

face. When William Blake wrote:

Tyger! Tyger! burning bright In the forests o f lhe night,What immortal hand or eye Dare frame thy fearful symmetry?...I le put into words a mystery that has

©

Part 6 Faces

UNDERLYINGSTRUCTURENECW H olô HEAOÇ, A n d HEAM H olD FAC&.l e t ’í rjeview b a íic í to jc tu c ^ í . . .

HOMA SSI

O M E W O lH ■ G N M E N T

Box clever to carve a headChoose tw o views o f an animal head. Draw the sim plest box in to which each w ill f it. Then try carving ou t sections to leave the rem aining form o f the head.

Bones provide the hidden structure o f

the body - most obviously with the

head, where the skull makes most o f the form. There are many small and interesting parts on an anim ais head,

but 110 matter how perfectly a nose, an eye or even an expression is

drawn, it looks awkward if it doesn't

fit onto the skull. So we’11 begin with simplifications that enable you to place

features where they belong.

Thinking inside the box <íWÍS Ari ctmfliX; tícxil Ari ümfili. a c m flír fcrm oifr a ínx kilpsjM ktip triwk. t f MÀ-th ArÁ diprh luíes. A inx u iutffÁikny ftsr priasi a n itn vtw i, ArUtrAtíiny tke Lnií CAf. m A k ijw tfucci slutCMM meri AZCMTAti

Useful reductionsHir{ «ri stMj>U,Í !í<tWW t f m tniiy, IwmAn ArJ- chonjr sh4ís Rj them (r thttr itrviciwtil ft^rUAtuns (M ilií j/ck tt td t A hlAii- mírr

mmy M * fxsSuticni, <vhiri referina u lackiil intv A siHfii pttsaw*.

Forms firstP y AÍi chi A ttiM vsnjt* Lhí nr íwmps Atui-

jrw li And detAils. ifll miAn thvrjw dmWLtvji ivdi iirfriss jutpii, tMt W m#y ikítrActj<M from tbc Íaíu. stnu-twi rM f

[ yqu must mXSfír first■ <f ctMuUnny a kewb\ AS A ktX, A ÍaII or ah i j y siim s tn SUnpU,| «<tcr víK tãjtH try WS A sU fficAt ÍmT\ riw rdw y fm L D ifficA t iacmsi thi

mnítiry t f Itaslc ftrmi m y tokt mmtks t f Stwiy, riweirdiny bicA^Si tk i kuUin.srrwtw-i t f shdi ferms ecffitts tk i jnSLtim. t f ii/iry ditAii cm. An AnimA ’s hvU.

Eggs, boxes and cylindersUsing the same heads as above fo r reference. draw the cranium as an egg , the facial structure as a box o r cylinder, and the eye sockets as cylinders o r cones. A li o f th is is prepara tion fo r features. Always build the house before you s ta rt hanging curtains...


Animal anatomy

THE FORM OF FEATURES

E Y E í, EARS, M O fB ANO M O v/P -fí H A V E R JE M A fc M g t Ê V /A rjE T Y , A n o a c o m m o n ío u o íTY...

Features are not painted on like colours or textures. They have their

own shapes and thicknesses. Here are some observations to help you see them not as surfaces, but as smaller forms within bigger forms.

Eye as baliAli eyebntli nre spheres.The \U. u n shenth, níMÚy mther thu-i, thnt MrnpsnrewÁ the M i

Thick, not flatwhen. eyes nre m n fin t

fUne. ns they (nlnvnrí nre cm, h*mj&is nnA- npes, tlw r

sumplufies fureskemníny.fiVif ok with

nMmC hemií, the tUítAKt eye wrnps nreuntl the

nwUness i f the sh*ü.

Curved surfaceEver. th&yh mor t f the eyehtâ rests tn. the stcíet. the surface u stiM c*wed. Cet thu cMn/e !><yy<A isefsre renÀtriHy.

" . í ( / t i b f « It

a jrf[e r SaonJ/t

4 n J M ’r b w c - f ? r s [ / s * f a f f l

Making sense of earsÇm nre tnwk of i/nryukuU s t f sLn-, cnrtdnye, fn t nmi (ftr these enrs th tt mcve) severnl rtwscks- Su f ftr nrtuts, nn enr u vnnÁe t f me Mce - n vntiUfietl Mrn. thnt a used txjnther seunA.

f / b ^ <ZA(5 q f t i y f r w c i j - f f t y t b l c

filo / opm, f fo f c l o x J

ImatJfne Presents Anatomy

Part 6 Faces

Snouts stick outO*/- neses Hre measly arMWíd- fr fnojf- w m - the tnncíie of an anunal j Mie cwd mouth fryects ftmard. 11 kelfl fr see it as a pyluuür cr a ta". tyhen <? nw zilt LI ta <í three-ÇMrter pcStftcn, tkepUv*ei w tk detwis, Liejc*ái w netnls, «vttt yivrjfcw a r/w-<;<r- íUrr^nJunAl m < íp f r h eifjc* ccnfçrm tke detadi f r f A í j f 7 M £ ( w / .

Hcrse MStrdl, kíe tkeur eyes, ja u scme^kere tret een iumard a n d tt-tke-sUe. T?v»r ccnes cnn Mpj/ou fcreskcrten tknt complex arranpement, ír*t u i sctne extreme ccwhucm n h e n a kcrse u rH ruuny, tkets M Strd l may a o n fc rw a rd lú u sUtyvin torreis.

Jaw s as hingesJíftvi are lU ^fle frcm. tk e lU e tk e y rt k n y e jn n ts . Fnrm ctker anyles, tkey nv\y appear qîre tnAnyÀAr - Moder a t tke back a n d n arre* a t tke frvnt. You m u if a n «set*. wkere tke sUe

a n d fn n t t f tke ywMtk m eet f r m ulu

a ckanye v f planes. in. tkree- (fvw ttr

voe^s, cam nes m ake <? ccm/envent írreak, acti^ y <11 fr m t ccmers cf tk e JW . »->

Trunks and boxesAn eíephants ncse Ci a fm nk, whtch cok ckanye duecttcn. Heres on anMysu o/ Acw fu HpjlentmÀ- the bendtsy fcnm. Tke kcxes are c<Ànwr-ctsM nr kelpjc* keef> track. o/ tke duapjrearing f>lanei. The fcldl and wrtrjdei cn tke fiesly tnvik. act <1! crcss-ccntmrs - fmpectvw Unes that d ef ine tke tht kness ali ahsny.


Animal anatomy

Compare and contrastG ather reference o fanimal faces, and drawthem as people. Them ost com m on surpriseis how small humanmuzzles seem com paredto animais. Seeing thed iffe rence helps younotice th e form s.

ANIMALS AS PEOPLEHvmMnjí A n o S E A m HAVE THE íA m E PARTS i n VAnyiNÇ P Z D P O R IiO N Ç . LFT Ç COm MBJE...

Socially, it might not be a good idea to compare your friends and family with

animais. Artistically, it's a very good idea if you want to understand facial features.

There are so many variations o f animal

features that it could take a career to learn

them ali. Comparisons are the most

efficient shortcut, and the most fun -

as long as they don't end up in hurt feelings or violent responses.

These metamorphoses, courtesy of www .banedarkart.com , make the point.

Precious pigletÍOWVftMít A ÍMnvtn 7 W LtUpUrfí At\ah um I a «Mmhey, a tntuie, a lutren,A CM&, A WASel, A c k u r fA !M {< - A f t < r aU,

K/htt u A cImJiá M r A tnllunf A n u n A Í*

Big bear aspirationsrf y m IacÍ. ~ftr uUas «wm.

criA tm f ckArACtm. nr i f ■fxtU-^yavself ix. A m f

tftA tvny tke IAIT4 luMrwn

diAi-ACtir mt r Atid w , try iMUny am uwL fAtts fnr

cnípWAtvm- Tnty cak pnvnj>t vinii/tnfiL ArJ, MnJJfM /rtcple-ty/XS.

MorphingmagicTry pa in ting a m orph betw een an animal and a human face, like Bane has in his studies on this page. The challenge - and the leam ing - happens during tha t trans ition stage in the m idd le illustra tion .

lmat>tne Presents Anatomy

http://www.banedarkart.com

Part 6 Faces

EXPRESSION IS THE KEY TO THE FACETH E FACE t í T H E O U W N íin g ÍO GETTiNG TH EEXMLJFfífON ÍU GH T WILL GlVE YOUR.OMW INÍG LIFE ANO M E A N IN G ...

Pencil headI Iwi tT d rw : i?'s *rv iMtiít i«r fíiknyl < W n pUyyrtMnil ftr uCems.

Draw stuff you like'NkntW ir fn kn fjrcH k a v {,jw . CM, on/y briny it

tu f « ífA prncnct. T h í n viri {rêyíiHt the j>nvnce

U, fh e more ItkeLy i t ll tk w jtU tí. i& p <tf i t

It doesn't take a trained artist to draw an

animal face. Children do pretty well -

not because o f their skill, but because o f their emotional connections to faces.

Most children, however, hope to have

the grown-up skills that we've studied in these six workshops.

Technical skill helps you understand

anatomy, so that you can keep the bones

hard when the flesh stretches. Technical

skill helps you understand forms so you

can point a snout toward or away from you, or exaggerate a creature into

absurdity, yet keep it looking real.Technical skill is useful for anyone who

makes a living at creating animais, but it’s

only the structure - the heart and arteries. By itself, it's dead. F.motion is the blood.

Get to it!'Nitk d l the vnncty t f nrujnnis f t uwettf, <t

Icfetum ikesrir sum fw e Icnf tM w k...

Animal faces evoke feelings. Their

mystery, strangeness, terror and

splendour are more marvellous than we could ever imagine on our own. The more

you feed your imagination, the more you

can reflect their power in your work.I hope these pages have helped you to

draw animais, and inspired you to give

your viewers the best you have to offer! Q


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Digital art skillsExpert advice from professional arfists, written especially for you

S upportfiles for

these guides J are on the 1

disc

éé It extends and energises your characters personalityffWarren Louwon posmg figures: page 104

WorkshopsThe sort of advice you'11 find in every issue of ImagineFX...

98 Creature featuresCombine human and animal anatomy to create a fine-art portrait of a monster with Justin Gerard

102 Top ten fantasy posesWhetheryou re drawing a hero or a villain, we've got the gestures and silhouettes to help you out

104 Strike a poseWarren Louw explains how to fill your characters with energy by íearning the art of posing

108 Artist Q&AOur artist panei solves real-world anatomy issues, including painting realistic hands and drawing eyes


Digital art skills

t _ V X t /X A > / f i y C /

CREATUREFEATURESCombine human and animal anatomy to create a fine-art portrait of a monster with Justin Gerard

Oet's assume that you’ve been i approached by a wealthy

' monster w h ow a ms to commission you to paint its

portrait. (Unlikely, perhaps, but I've had

stranger requests.) I.et's say that he feels he's been misrepresented in film and

literature, and unjustly categorised on the

whole. He wants to commission you to

execute his portrait, to show the world that he is really a civilised and noble

creature at heart.The followingdemonstration in

watercolour and digital will help you deal

with just such an event. After ali, it pays

to be prepared, just in case.ITI be doing an underpainting in

watercolour and scanning the irnage onto

the Computer, where ITI add the colours,

refine the lighting and work on the final details in Photoshop.

Justin GerardCOUNTRY: US

■ Justin Gerardis an illustra to r

j w ho enjoys s to ry-driven

- illustra tion .His w o rk has been featu red in Spectrum , Society o f lllustra to rs and Exposé, and he is currently a rt d ire c to r fo r Portland Studio. www.Justlngerard.com

On the disc

• F ind Justin 's screen grabs in the

Creature Features fo lde r inside D ig ita l A r t Skills

® Drawing from lifeBefore I begin working on my

monster, I warm up by doing studies from life. In this case, ITI be using pictures of

wild animais as reference.

The goal o f these studies is to form a better understanding ofthe elements

and characteristics o f my subject matter.

Wild animais are excellent reference for monsters, because they personify human

characteristics taken to extremes.I don't spend too long on any one

study. The goal is to commit the forms

and details o f these creatures to memory, so that I can work from my imagination without the aid o f reference.

v Tight sketchThis particular monster looks promising. 1 now do a more

careful, detailed drawing using a Generais 2B pencil. I spend as much time as is necessary on this step to arrive at the right look. The drawing

is the most essential element if an illustration is to succeed. There are ways to finish an illustration from a poor drawing, but it would be like wrestling a baboon into a lunchbox. > >

2 Thumbnails and ^ exploratory work

N ow I throw out ali of my reference and burn m y studies, and start drawing

completely from m y head. ITI use my

reference later, but for the time being,I want to work completely from my

memory and imagination.I work quickly, using eilher ballpoint

pen or a 0 .7mm IIB (number 2 ) pencil.

This drawing is often the most fun for me.

The possibilities ofw hat could beare almost always more interesting than what

is, and I try to get down as m any ideas as

I can. Eventually there are 20 or so two- or three- inch monsters to pull from.


http://www.Justlngerard.com

Monster portrait

Digital art skills

4 Adjusting proportionsNovv that I have a sketch that l'm

pleased with, I'm ready to transfer it to my watercolour paper. Before doing this,

theresonedevilish little trick that I use

that hastotally reinvented my work. I scan the drawing into Photoshop, mirror

it and adjust it before I print it back out and transfer it to paper. This minor readjustment often spells the difference

between glorious success and miserable,

shivering failure. Before adding this step, ali my pieces had an odd tendency

towards disproportion and unbalanced composition. So after I mirror the image,I select areas that don't look right and,

usingtheTransform function, alterthem until they look right, before flipping back.

g Setting up thew atercolour

Now 1 leave the Computer and turn to

setting up my watercolour. For this

illustration, I'll be using Strathmore 500 - series Bristol and working at 8.5 x 9.5in.

This Bristol is an excellent paper that can

take a lot o f abuse, and enables precise linework. For this piece, I want to tone my

canvas before I transfer my sketch to it.

One o f the strengths o f working digitally over a watercolour is the wonderful

texture that watercolour lends to a digital

piece: it respondsbeautifully to dodging and burning. For the wash, I mix up burnt

stenna and Prussian blue. As it's drying,

I fleck water over the surface to create blossoms 011 the surface for the interesting

patterns they create in the background.

y W orking in sepia’ I'm not concerned with adding

colours at this particular stage, because

I'm effectively treating this watercolour as an underpainting. I'U add the final

colours and effects later in Photoshop; for now, establishing the forms within the composition through value is the most

important task.

I could add the colours in watercolour as well if I wanted to, but I want to play to

the strengths o f each medium for this

portrait. Digital paintingisgreat for bright, intense colours, but it can tend

towards looking plastic, for reasons l'll touch on later. Watercolour, on the other hand, struggles with achieving bright

colours but can generate beautiful

textures as the water dries on the surface, and gives linework a wonderful variety.

g Transferring the drawingThere are dozens of ways to transfer a drawing to paper: light tables, graphite

transfer, Artograph, freehand and even methods o f printing directly from a Computer

onto watercolour paper. Any o f these methods are good, but I usually go with the ever- dependable Artograph. Whenever I'm transferring a drawing, I spend only as much time as is required to establish the basic shapes and outlines. Then I finish as much o f it

as possible freehand: drawings that rely too heavily on the transfer tend to lose their

soul. After I've transferred the basic outlines to my watercolour, I begin working freehand. I first focus on refining the forms and doing a more accurate drawing.

PRO SECRETSLayer flairKeep your layers organised. Some layer types can be m erged toge ther w ith o u t negative ly a ffec ting the im age. Several M ultip ly o r Screen layers can be m erged. Try to keep your PSD file clean, so tha t if you find la ter tha t you need to add m ore shadows to an area, you can create a new M ultip ly layer, add your shadows and m erge th is in toyour existing M u ltip ly____layer. This w ill save you headaches la ter on.

o O paque highlightsW j Once l’ve established the shadows, I use a white watercolour

or gouache to add opaque details and highlights. This opaque highlighting step could also be done on the Computer, but 1 enjoy

the feel o f a natural brush a little more than a Wacom tablets pen.

(One day, when Wacom in its wisdom releases a digital brush with fibre-optic hairs that works like a traditional brush, 1 will happy to

do this on m y Computer.)

a Scan and adjustN ow that Ive arrived at a watercolour underpainting that I'm

satisfied with, I'm ready to scan it. After its scanned, I use a Curves layer to pull back some o f the depth that was lost in the scan.

Next, I add a host o f layers to get the image to look correct before

moving on. The key issue is to make sure that no areas on the image at this point are absolute darks or absolute lights. I want the image to

occupy a midtone range. To do this, I create a Lighten layer filled with

a midtone ochre colour and set it to a lower opacity. This Lighten layer helps to scale back some dark pencil work that's too intense.


Peat

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bo

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Monster portrait

# Sh adow sOnce the image has been adjusted,

Fm ready to begin laying in the shadows. t want them to be deep, with the sense of a classical Edwardian-era portrait. I want

the scene and the image itself to feel as

though it were lit by a candle, so I can make a natural focal point o f our monster's face through lighting.

Often I work with dozens o f layers to arrive at the final Multiply layer. i work

using a textured, soft-edged brush or an

airbrush, and I erase out areas that aren't to be affected. I then take down the layer's

opacity until it looks correct, and begin

again 011 a new layer. This process gets repeated dozens o f times.

To colour a m onster■There are many methods o f applying colours. For this

illustration, I'm going to use layers ofSoft Light. 1 like working with

Soft Light because it approximates the feel o f colour glazing in oils, and I want to maintain the look o f classical portraiture. I build slowly,

using as m any layers as necessary. Often Fll paint an area, take the

layer's opacity down to 15 or 20 per cent, and repeat the process.

/ j g r *

S ta g e lightingNow it's time to make the monster

glow. In m any ways, this stage is the inverse o f the Multiply/Shadow stage, and

it's where the watercolours texture really

shows its worth.Using Colour Dodge layers and a dark

grey, I work in much the same way as I did

011 the Multiply layers, brushing in and erasing out on several different layers

until the image looks right. Colour Dodge

reacts wonderfully with watercolour, pulling up the contrast on the texture and

the grain.I use the effect sparingly, and only in

areas to which i want to direct the viewers

attention. If you use this ali over the

image, the illustration will lack focus.

131The hairy details

now begin to work in my finalhairy details. I paint using Screen and

Normal layers. I work on the basis that shadows are to be painted transparently,

and highlights are to be painted opaque. This helps maintain which areas are to be focal points, and which are to recede into

the background. I try not to use too much

Normal layering. If I work too opaque in Photoshop, the piece takes on the plastic

look thats the bane o f most digital art.Yet there are some details that absolutely need to be sharp and opaque: the

highlights on metal or teeth, the rim o f

a horn, the areas around the eyes.Along with using Normal to sharpen

details in the eyes, I use it in subtle glazes

to diminish areas where the texture is too obvious. I11 the background, l've laid in a thin layer o f darks.

n n A

SECRETSM i n o r d e t a i l sD on’t w o rry abou tde ta iling every single b it o f your illustra tion .W hile th is levei o f de ta il m ay be im pressive on itsown, it doesn’t alwayshelp the im age overall.W hen you focus on alithe m inor deta ils o f anim age you lose a sense o f the whole; and if youtry to focus on the whole * ; 7 ^ .

o f an image, you loseyour sense o f the details.A successful illus tra tionm ust reconcile the tw o.

Diameter: 100% Roundness: 100% Spacing: 49%SHAPE DYNAMICSAngle Jitter: 38% Control: D irection

ÍCOLOUR DYNAMICS

OTHER DYNAMICSOpacity J it te r Pen Pressure Flow J it te r Pen Pressure

I use this brush fo r shading and b lending. Its tex tu re allows fo r the b lending pow ers o f the airbrush, bu t w ith o u t the synthetic look tha t so o ften accom panies it.

1 4 Colour balancingAt the end, 1 colour-balance the

image. I try not to use too m any colour- balancing effects: if they are used too

much, they burn out an image, scorching

the texture and exaggerating the highlights. This too is a bane o f digital

painting, and one to be careful of. I use it very sparingly at this stage o f a painting.I lere 1've used it to pull the painting into a

slightly warmer and darker range, and Fve

turned the opacity on the layer down to 50 per cent.

Now were finished. Its time to take the

image to the printer, and hope that the client doesn't eat me. %

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Imàgiriè Presents Anatomy

Digital art skills

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FANTASY ART

Whether you’re drawing a hero or a villain, weVe got the gestures and

silhouettes to help you out...

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This is a beautifully balanced and elegant pose. The extended leg is long and straight, and is at

a right angle to the staff, giving the character added balance and strength. The right arm balances the body as it leans forwards, while the slope of the shoulders creates a diagonal almost parallel with the line of the leg. The staff is gripped with a strong hand, giving the pose a focal point.


6

\

PREPARING TO STRIKEThe extended

arms stretch the chest and stomach, and the muscles are clearly defined as a result. The raised leg counterbalances the sword held behind the

body. It follows that as the

\ sword falls, the leg will drop down and back in response.

- feeding more power into the attacking action.

5EVILSORCERESSThe arms are raised in twin claws of menace and evil intent, while

the face is impassive and coolly confident. This pose suggests an imminent strike.

M

4 WALKER IN THE WOODS

Both the left arm and the left leg extend forward to suggest stillness (motion is

represented by simultaneous i _ movement of opposing ^ ^ a r m s and legs), creating a

diagonal hip line and strong B k leg shape. The right arm

pulls back, causing the | | shoulders to pull together.

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SCALING A WALLViewed from above, we see the gripping hands and arm muscles taut with the strain

of clinging to the wall. The raised left leg balances the leading right arm. The upturned face and concentrated stare hint at a sense o f purpose and also help create the illusion of height, as the character looks to his destination.

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2VILLAIN CREEPINGKeeping low, the torso is held parallel to the ground.The

arms are ready to lurch forwards and grasp the prey.i t

1VICTORYSuccessful in battle once again, the mighty

hero raises his muscled arms and shouts his victory to the heavens. The straight limbs create a X-shaped silhouette that adds dynamism. %

FantasyanatomyThese poses come from the book Anatomy for Fantasy Artists by Glenn Fabry. w w w .davidand charles.co.uk

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Warren LouwCOUNTRY: South A frica

f W arren is a professional illus tra to r who spends his spare tim e

reverse-engi neeri ng fem in ine beauty.wrrtnkHiw.____________deviantart.com

On the discFind sketches by W arren in the Strike

A Pose fo lde r inside D ig ita l A rt Skills

©r

k hat I'm about to tell you are the

i crucial basics, the foundations o f your characters. If you're

not getting this right, don't

expect too much else to get better. Posing greatly extends and energises the

personality o f your character, giving you

the control you need to deepen the relationship that they have with the

viewers. This is where you give your

characters life. This is where it begins.Be very specific about what you want

and what you like. Study it,

understand it, make it a part o f you and expand with

it. Nothing is random. Everything has a purpose. Aim

high. Aim beyond

Digital art skills

STRIKE A POSE


1 STATE YOUR INTENTIONBefore you even pick up a pencil, the most important thing to consider is intention - visualising and knowing

what you want to achieve. You have to be very specifíc about what you want, you have to believe you can do it, and

you must expect it to manifest. Aim the highest you possibly can, higher

than anything thafs ever been achieved in the history of mankind on Planet

Earth. This way you charge the process with positivity, and you’ll be sure to get

things o ff to a great start.

W arren Louw explains how to fill your characters with energy and dynamism by learning the art of posing...

w hats ever been achieved in art. Learn from other

artists around you. Art is about self-expression and reaching new undiscovered leveis within yourself.

Find your own style. We are ali unique expressions

of infinite possibilities, so w eall have the potential. Make sure that you're loving the experience that art is

bringing to your life, and you will only move forward

W hen you have ali the ingredients in place, you can think about your characters in terms of their spatial

relationship to the world.

Character pose tips

4 UNDERSTANDING ÊXACTLY WHAT YOU’RE DEALING WITHW hat needs to happen early on is for you to become familiar with the shapes and forms that you ll be working with. You'11 need to pay attention to ali the curves, joints and body parts, and understand where they need to be in relation to each other. Finding the hidden lines and patterns where certain points meet and join will be your guide to work from. Just remember: every tiny line you draw has a purpose and is designed to work as one w ith the rest. You'll notice that if one thing is out, then others will follow.

I find my skills spontaneously upgrade themselves after Ive worked with a range of alternate styles... 9§

5FLOWEverything has a flow. W ith a bit of attention to anatomy and its rhythm, this will soon become clear. The best way to help your poses have flow is to think o f an S shape, as this will be the flow leading your eye through the pose, and will even help with your overall composition.

2 MALE VS FEMALEIf you can master the feminine, the masculine will be pretty easy. They share many o f the same basic characteristics. When dealing w ith the male. its just a matter of adjusting a few things here and there. I don’t draw males much, but I can do it very effectively because of my work w ith the female figure. Those who focus primarily on males will have a far greater difficu lty achieving feminine beauty and sexiness.

3 LET’S RECTANGLEForeshortening and perspective can be quite the cow for ali o f us artists - don't think the pros are excluded from this difficulty. So here's a good starting point. If you know how to give perspective to a box. or even a rectangle, this should help you give perspective to your figures, since both have a front, sides and a back. Yes, the human form is far more complex than that. with many other things to consider. But if you can keep the proportions within the rectangle guidelines. things will come much easier. Notice the consistency o f the centre point throughout both boxes.

y * í T . W

6 THE ANGLE EFFECTWhen giving your figure an attractive, confident and sexy pose, you have to adjust the angles o f the head, torso, hips and legs. To draw it, you need to understand it. This pose is achieved by the legs shifting, pushing the channelling of the body's weight to the right side. Now the right hip is confidently exposing itself, and w ith the legs w ider apart, both legs are taking a good portion o f her weight.

7 EXPERIMENT WITH A DIFFERENT STYLEAmazingly, you can learn a lot from using a different style. Working from a different perspective on how to approach things can give you a fresh viewpoint. It will only expand your understanding about posing and anatomy in general. I find my skills spontaneously upgrade themselves after l’ve been working with a range o f alternate styles, so this is highly recommended to ali. *■*

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Iniarçmé Presents Anatomy

Digital art skills

8 ADD EMOTIONEmotion and mood are vital elements when creating a piece o f artwork. A pose in itself can convey many emotions w ithout using things like facial expressions. Real emotion is always expressed throughout the rest o f your body as well. There are no exceptíons: it just depends on intensity. So just be aware o f body language.

10 THE FOCUS YOU NEED ~ ^Breaking it down to a simpler scale will give you the focus you need to concentrate on the essentials w ithout ali the details confusing you. Loosen up your technique and just flow with it. When you think too much, you’re acknowledging that you don't already know it ali. You know more than you think, so don’t let thought obstruct you.

9 VISUALISE A VANISHING POINTYou first need to establish the eye levei: you’ll be looking up at everything above it. Try to keep the symmetry o f the body running on the lines. Refer back to the figure’s fron t design to see which areas and elements run parallel with each other.

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Eye LfivEu 12 SILHOUETTINGA great way to check if your

pose is eye-catching or dynamic is to fill it in w ith black or a darker colour and reduce It to a silhouette. This enables you

to see if your pose has flow and impact, and still conveys the same essence that you originally intended, Your focus is being

. ’ centred on the actual form, with no internai affairs to distract you.

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11 BALANCING THAT WEIGHTl’m sure you have been left frustrated sometimes - ali you're trying to do is get a simple pose, right? This is normally a result o f being oblivious to the physics of balancing and centring weight. The solution is p re tty basic: the leg tha t’s the most upright and straightest is the one that takes most o f the weight. So keep your footing balanced in relation to your character's centre, also keeping in mind where the focus o f the weight lies.

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13 LEVEL OFTHE EYEEye levei is really im portant in creating a dynamic pose. Using a low view can make a character seem dominant, heroic or just plain huge. The point from which you view it plays a criticai role in creating a pose, because this is essentially how you want the world to see it.

udu«<í «*<•• o* k» So when deciding on a pose, consider where «nu. o<i« a or w»< you want the eye levei to be, as this can make4D0W& * 4000 W— »* ■» » • " * even a simple pose appear very dram atic.#

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Digital art skills

Jonny DuddleJonny is a freelance illustrator.

|f 9 He's working on a top-secret i 1 project for Aardman, and

j b ■ released the picture book R / The Pirate Cruncher last year.

w w w .duddlebug.com

Andy Park■ ■ 1 Andy is a talented concept

1 artist who works for Sony. H jj# Among the games he has

J worked on is the popular God of War for Playstation 2.

w w w .andyparkart.com

Bobby ChiuBobby Chiu is an independent artist from Toronto, Canada.

P ^ 9 Part of the Imaginism outfit.> * ■ ^ 1 he's involved primarily in film

and TV production. www.im aginism studios.com

Jim Pavelec| Jim Pavelec lives in a world

surrounded by demons, monsters and devils. He's the author of the how-to monster book Hell Beasts.

w w w .jim pavelec.com

Frazer IrvingTop comic artist Frazer

P ” 2 P < - spendslotsof time drawing horrid-looking things on his Wacom Cintiq He's worked for 20 00 AD and DC Comics.

ww w .frazerirving.com

Melanie Delon

( Melanie is a freelance i illustrator who specialises in <■ • * fantasy portraits. Her most 1 recent book cover is for the ^ ebook of A Crown of Swords.

ww w.m elaniedeion.com

Full-size [iQ&A images;

are on your disc

Our paneiMarek Okon

Marek is an experienced sci-fi and fantasy artist. though he

L H M Í started out as a web designer. ■ He has worked as a digital

illustrator for two years. om en2501.deviantart.com

____ v ALearn from the nrofessionals as our nanei ofprofessionals as our panei experts tackle real-world anatomy issues

QuestiotiHow can I make the hands I paint appear more realistic?AnswerM elanie replies

Hands are one o f the most difficult parts o f a character to paint. You should bear in

m ind that they have soft,

round edges, and also that they are a

powerful w ay o f conveying emotions.W hen you begin a hand, think about

the construction lines (they ali com e from the wrist): don't hesitate to use your own

hands as a model. In general, fingers are

halfway along the hand, and they are

more like cylinders than boxes.W hen you're satisfied with your sketch,

start shading. Try to smooth as best as you can here. Use a basic Hard Round brush

The colour scheme fo r a hand is the same as fo r the character, except fo r the extrem ities o f the fingers and the joints, which are redder.

tip for the base and a speckled one for the final blending. The light is stronger and

redder at lhe joints, because the skin is thinner there.

The next step is texturing. This stage is

the most decisive one. I use a basic Hard Round tip with 1 lardness set to 70% and Shape Dynamics set Size litter Control set

to Pen Pressure. I add a few thin lines and

folds on the skin, and some light dots on another layer.


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http://www.jimpavelec.com

http://www.frazerirving.com

http://www.melaniedeion.com

QueslionWhats the best way to draw a screaming face?

AnswerFrazer replies

Ali the way from F.dvard Munch to Jack Kirby, every artist has

their own w ay o f depicting

screams. The type o f scream can vary a great deal depending on the emotion

that drives this reaction: as an artist, you

need to know the differences between a scream o f fear as opposed to a scream o f

anger, or perhaps o f pain. It's not

uncommon for a lazy artist to use the wrong expression for an illustration and cause much confusion in the onlooker,

especially in comics.What ITI do here is takeyou through the

process o f how I construct an angry scream

for a comic, which is ali about the scream and the power behind it.

To do this, I employ standard drawing

techniques next to graphic elemems, in much the same w ay that Munch used swirls

to enhance his Scream painting.Remember, though, that even the most

detailed-looking image is really still

composed o f the most basic elements. The

trick is to identify which aspects of the face convey the idea most effectively.

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Step-by-step: The perfect scream

O

f start with a rather basic sketch. This drawing is

loqse and rough, to effectively cápture and reflect the raw energy tha fs needed to drive the rest of the art. I always find that the initial stage of a drawing - whatever the tone, style or subject matter - provides the fuel for the final image. You mustn't hold back at ali at this point if you want to capture that scream.

#t- .. .

©The next stage in the process is to block in some

Sh^dows on the subjecfs face. Extreme, dramatic lighting can be an incredibly valuable tool when you’re trying to create a particular mood. and is especially useful when defining dramatic lines on the face.Here, I choose to use quite strong side lighting, to imply the conflict of emotion within the character.

O Next, I trace over the sketch on a new layer.

Thpse lines refine the basic shape and the main features, framing the rnouth with a beard and making sure that it reads as simply as possible. A lot of the raw energy from the original sketch is lost at this stage, because of the simplicity of the black line - but this will ali return as I progress to the final piece.

*;• .• -

O The wrinkles stemming out from the eyes are very

im portant in depicting strong expressions. Here I exaggerate the lines on the forehead a little to enhance the anguish, as well as darkening the bridge o f the nose to show tension. These features capture the basies of the scream: after this, ali you need is the right colour palette and a well-chosen background to set it o ff perfectly.


Digital art skills

QuestionWhat does the term 'heroic proportions' mean in the context of character design?

In this painting. I use various tricks to suggest movement. such as adjusting shadows to place vehicles in mid-air, rough brush marks and flow ing fu r and f lags.

QuestionMy figures always look static in my paintings. How can I give them more of a sense of motion and dynamism?

t á

AnsiverJonny replies

Its com m on to find that the more you work o n an image,

the more static the end result

becomes. I often find m yself renderinga successful character sketch, w ith lots o f m ovement and dynam ism , into som ething dull and lifeless. But

there are w ays o f keeping a character lookingdynam ic.

The m ost obvious place to start is the character's pose. To properly convey character, you need to paint figures in poses that suggest their personality and

m ovement. For exam ple, an aggressive

character could be hunched over with

clenched fists and taut neck muscles.Sketch the figure, then revise it w ith a

more exaggerated pose. Keep pushing a pose: it w ill often gain more and more

personality. Use layout paper to trace

Sketch your character, then revise him w ith a m ore exaggerated pose. Real-life action shots o f skateboarders are a good source fo r seeing the human figure in movem ent and under tension.

parts o f the previous drawing, or sketch

digitally and save

different versions. You

can use Photoshops Transform tools to

stretch, scale and distort particular parts o f a

figure's anatomy.

Reference is important.

Look at photographs o f figures in motion.

A nalysing som e o f the incredible photography online or in magazines,

can reap benefits when draw ing dynam ic figures. Skateboarding shots are

a good exam ple: they do a great job o f showing the hum an figure in

movem ent and under lots o f tension and stress.

Lastly, look at artists and art reference books for tips, tricks and techniques. There

are som e wonderful artists, such as Phil

Hale and Jon Foster,

w h o are masters o f dynam ic figure painting. Lookclosely

at how they use composition,

perspective, figure draw ing and mark-

m aking to add

dynam ism to images.


This image shows the proportions o f the average human male. and the musculature

and skeletal structure beneath the skin.

AnswerJim replies

y ^ Heroic proportions are important when working

in comic books or fantasy illustration. A common

unit o f measure when drawing the human body is head height and width. At eye levei, the typical human being is

rough lysix-and-a-half to seven heads

tall, and three heads across at the

Now take a look at our hero. A t between eight and nine heads high and a shoulder span o f about

four heads. he’s the guy you w ant on your side.

shoulders - the body s widest point. But

you don't want your superhero looking average, so design them based on the

principie o f heroic proportions.

A hero should stand anywhere between eight and nine heads high, with a

shoulder width o f four heads across.

The hero's waist is kept the same as the average person's, to help accentuate the

width o f their shoulders and the sweep of their crushing thighs.

QuestionI ve learned how to paint an eye head-on, but there seem to be no workshops on how to paint one from the side. I ve tried and failed. What could I be doing wrong?

AnswerAndy replies

The key to drawing or ■ f l k painting an eye is to think of

^ it in three dimensions.

Although we instinctively think o f eyes as almond-shaped, they're

o f course spherical, with only about a quarter of the sphere visible. The eveball

is basically a sphere with lids that wrap around it. Keeping these things in mind

will help you when you have to illustrate

the eye from different angles - even from a direct front-on view.

Artist Q&A

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Question How do I put realistic mass and weight into my character designs?AnswerBobby repliesP 'W eight' is reallyW P . I gravity actin gu pon ■ H / _ ] a m ass. Therefore,

■«» i the best'w eighted ' character designs accurately

reflect how gravity affects a body.

Looking around you, you can gauge this in a couple o f different

w ays: by looking at the body, and b y looking at how the b od y

affects the environm ent.

In a soft m ass such as a pot belly, where gravity is strong and

the forces holding up the fat are

weak, the greater the weight is, the lower the soft tissue w ill

droop or hang dow n.Also, consider h o w weight

might im pactyoursubject's

surroundings. Ifyo u r character

is heavy, they m ight sink into the

mud or cause the bridge or branch that theyre standing on to bend

noticeably. Ifthey're being lifted (strenuously) o ff the ground, the

vertical forces associated w ith the

action should be tense and taut, to demonstrate how difficult it is

to overcom e the gravitational

forces trying to pull the bod y back to earth.

In a m agical environm ent,

you could guide expectations by m ak in gyo u r heavy character

appear to be m ade o f stone or

som ething else that's very dense. Your view er w ill understand from

association that stone is heavy,

therefore your character must be very heavy as well.

The initial sketch to capture the idea and establish forces. The monk is straining to lift the monster, bu t the m onster does no t budge.

In this later version o f the same image, the we ight o f the

m onster is shown by the m onk’s reaction: there ’s strain on his

face. and his back and legs are stretched w ith tension.

Step-by-step: Painting eyeballs side-on. Here’s a quick sketch of someone’s

right eye. As you can see, there is a circle faintly drawn in, which represents the sphere that makes up the eyeball. There are tw o lids that wrap around the eyeball and, in doing so, cover the majority of it.Take note o f the way in which the bottom lid wraps under the top lid on the side.

© •This is the same eye, seen from the side instead of the front. I've rendered

oyt.the sphere that makes up the eyeball wíthin the eyelids to help to illustrate the three-dimensionality of the form. Again, note how the top lid goes above the bottom lid on the side. It s really im portant to get the eyes right, or else the picture can distort.

Here's the final rendering of the eye. There are a few things that are worth

FiQting here. Because the eye is moist, you need to capture its reflective nature; there's a shadow that the top lid creates on the eyeball; and the whites of the eyes are not solely white - they too need to show elements of form and shadow.


Digital art skills

Suesíionow do I draw facial expressions that convey the

right emotion and don't feel stiff or forced?

AnswerJonny replies

If you're painting

figures, drawing

cartoons or rendering 3 D characters, you

need to make them interesting to

look at. W hether itsevil, sad, happyordeadpan, theirfacial expression could be vital in

com m unicating the story or message in your work.

However different people m ay look, everyone's faces are made up

o f the same set o f bones and muscles. By becom ing familiar

w ith the basic anatom y o f the face,

it can be easier to paint more

believable expressions. You don't

need to name every muscle or identify every component o f the

skull, but with practice, you can get to know the main building blocks o f the face and how they fit together.

Use reference to practise drawing faces. Reference can be anything from photographs you've taken or

in books and magazines, D V D stills

or old-master paintings. While drawing, try to identify the m ain

shapes in the face and how they distort and m ove with different

facial expressions. A lso try exaggerating the size o f particular

features to see h o w subtle modifications can affect the mood.

Try big noses, heavy brows or high foreheads. Small changes can make

a big difference.lt's also worth bearing in m ind

that facial expressions work in

conjunction with body language, so

in most cases you'11 need to ensure the face matches the body.

It ’s a good exercise to draw different facial expressions, whether you try draw ing the same character o r a variety o f different faces from reference

Don ’t be shy: draw yourself! ( If I look a little wonky, th a fs because I am...)

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Try some experimentation. The trunks o f the bodies

do not change: I only adjust the limbs and props

to a position that I like.

QuestionI nave trouble posing figures realistically, particularly when they're in mid-action. How can I make my moving figures better?AnswerBobby replies

■ W hen you show bodies in motion, you must consider

J - f ' I physics. W hat are the effects o f gravity on the pose? What

about inertia or m om entum ? W hich

w ay is the body m oving? Ali o f these

considerations tell you which forces are

acting on our figure, and h ow m uch strain the body should undergo to do

what it wants to do.Next, consider the restrictions

im posed by anatomy. Bodies are

limited in the w ays that they can bend, twist, stretch and rotate. Artistically

speaking, it's acceptable for you to

exaggerate these limits, but not to ignore them altogether. Take a leaping

Even though this body is upright, we understand that the figure is airbom e through the posing o f the limbs relative to the body.

figure: when a b od y is

airbome, gravity pulls it

dow n, led by the trunk o f the figure. Inertia dietates that

the limbs w ill tend to trail behind the torso.

W ith these points in mind, I

sketch out m y figure accordingly.If l'm unsure about how to position

certain parts o f the body, I will attempt

to recreate that part o f the pose

myself, so that I can see how far back an arm or a leg can extend behind the m oving body without it starting

to feel uncomfortable.


Question How can I be more true to life when I paint the shading on my character's faces?

AnswerM arek repliesWhen I wasyounger, i always

wondered w h y artists practised

light and shadows on such simple objects as spheres, cylinders or boxes

instead o f on cool robots. N ow I know that

the simplicity o f those objects enable an artist to fully understand how light casts shadow and then to transform this

knowledge to more complex shapes.Let's take the head, for example. !t's a

complex object with different planes to

consider, which can be really tricky to shade properly. But ifyou break it down

into basic shapes like spheres and cubes, it's much easiertograsp it inyour mind.

I n much the same way, divide complex

scenes or objects into familiar shapes, and

detail them after basic shading is properly done. This will help you greatly in your

efforts to master the art o f shading.

Contra ry to initial impression, the human face is an exceedingly

com plex object, especially when it

comes to an accurate portrayal o f natural

lighting and shadow.

Step-by-step: Add shading detail to

• Start with a basic shape - ideally a roundish cylinder

(the head), attached to another cylinder (the neck) attached to another roundish cylinder (the body). Just to make this easier to understand. le t’s put a simple grid on our shapes and add some basic shading.

a plain face

© Now its time for the basic features. The nose is

basically a triangle sticking out in the middle of the face, while the eye sockets are those two symmetrical depressions.I usually paint these w ith a simple single brush stroke.

© tle t’s shape this face more correctly. Here, l've split

thp surface o f my head into shapes that can be shaded more carefully. Ali of those features are parts of spheres and cylinders that are fairly easy to shade. Just check out the eye area: it looks like I put another sphere into the middle of my eye socket.

O The next phase is to blend the borders between these

shapes, then add some muscle and skin structure to make the face fuller. Don't forget to stick to the shading you did before; its a good base for complex detailing. Finally, you add in ali the details you need. W ith good base shading. this head should look pretty convincing by now.

In every issue o f ImagineFX, our panei solve real-world Creative problems with helpful techniques. Em ailyour question to [email protected] or write to Artist Q&A, ImagineFX, 30 Monmouth St, Bath, BA1 2BW, UK.



On your disc

On your discTo support our anatomy and painting workshops, your disc includes a wealth of resources to aid your Creative process. From how-to videos to step-by-step workshop images, you'11 find this disc essential.

Drawing vid eo sLearn the fundamentais of human figure construction with Ron Lemen

S te p -b y -s te p im agesFollow the artists' steps to creating their paintings in our art workshops

R eferen ce sketch esStudy the drawings from our anatomy workshops in detail as you learn

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| FANTASY SCI H D IG ITAL A R I | A 7

EDITORIALCLAIRE HOWLETT EDITORclaire@ imaginefx.com MARK MITCHELL ART EDITORm ark.m itchell@ futurenet.com PAUL TYSALL COVER DESIGNER paui.tysall@ futurenet.com RICHARD HILL PRODUCTION EDITOR clifford.hope@ futurenet.com SCOTT EWART CD EDITOR scott.ewart@ futurenet com

CONTRIBUTIONSBobby Chiu. Melanie Delon. Jonny Duddle. Justm Gerard. Frazer Irving, Ron Lemen. Warren Louw. Marek Okon, Andy Park.Jim Pavelec. Marshall Vandruff

CONTACT USPOST ImagineFX Presents, Future Publishing Ltd.3 0 Monm outh Street. Bath, BA1 2BW, UK PHONE +44 (0 ) 1225 442244 EMAIL mail@ imaginefx.com W EB .\ ww .im aginefx.com TWITTER: 5>imaginefx FACEBOOK: w w w .facebook.com /im aginefx CD PROBLEMS *4 4 (0 ) 1225 822743 support@ futurenetco.uk

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Your CD hâs b«en thoroughiy &cann«d and testec at ali stages o f its production, but we still recommend you run a vírus checkef and

have an up-to-date backup of your hard disk Future Publishing does not accept responsibiüty for any disruption, damage and/or loss to your data or Computer system that may occur whlle using this disc or the programs and data on it. In the unlikely event of your disc belng defectlve, please email our support team at support dfuturenet.com for further asslstance If you would prefer to talk to a member of our reader support team in person you are invited to call *44 (O) 122S 822743. If you have any comments about the software we inctude. or you have suggestkxis for software you would Nke to see m the future, please emai Scott Ewart at scott. ewart d futurenet com

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f FANTASY SCH lD ICnA LA ITImasineJ P R F . S t N T t

IOWTO DRAW AND PAINT

ANATOMYVideos and reference to

help you develop your draw ing skills

ON THE DISC:D raw ing vid eo s Learn figure construction basics Human anatom y sk( tch cs Study from anatomy masters Croature portraits Combine human and animal forms Stnkc a pes o Sketches to help you position your figures

ptK£ m - f







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1 FANTASY&SCI-FI DIGITAI. ART ■ % 7 " 1

Im arnnerXJ P R E S E N T S

FOUR SPECIAL EDITIONS TO COLLECTWeVe gathered together our finest workshops by the worlcTs leading artists in four

■ m '

-=»s-o-s HOW TO DRAW AND PAINT *-o-»

ANATOMYThe complete guide for artists on how to draw the structures and forms

ofhumans and animais in easy tofollow steps

Whatever your levei, knowing the correct way to draw anatomy is fundamental in bringing your work to life.

In this collection of human and animal anatomy workshops, the finest artists in the world share

essential figure-drawing techniques to ensure you create fantastic images every time.

FREE DISC INSIDE

*HO W TO DRAW AN D PAINT...

C tü w * li 7W sf ea^H cw f r w i Ptwnt WW •.

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Prtnted In tho UK £7.99ifz o i 20K) ISBN 1-85870-323-9

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Documents

Imaginefx How to Draw and Paint Anatomy 2010