Human anatomy in painting. Plastic anatomy: the foundation of the artist's skills

If earlier the structure of the human body was known to a few, and only anatomical atlases existed for its study, now everything is much simpler: you can get an idea of ​​\u200b\u200bwhat is inside us, say, in an art gallery or at a fashion show. Moreover, the authors invite us to get acquainted with the anatomy of creatures that do not even exist in nature! This article is a selection of variations on the theme of anatomy in contemporary art.

Jake Parker was inspired by watching the animated film "Cars" and decided that his characters simply could not be inanimate pieces of iron. So an anatomical illustration was born, where "Lightning McQueen" appeared in the form of a living creature with internal organs.

Jason Freeny is also haunted by cartoon characters. What would the skeletons of Nemo the fish or the alien from Toy Story look like if they were real? To answer, just look at the sculptures of the author.

“Vegetables are all your body needs,” says the International Vegetarian Union, and illustrates this postulate in its advertising campaign for clarity.

The Belgian street artist manages to combine both the appearance of an animal and what is inside it in one image. It all depends on the angle from which the viewer looks at the graffiti.

The fashion world, as usual, does not stand aside either. What is the collection "Dreamy Anatomy" (Rachel Wright) worth: it can be used to study the human structure as well as any textbook!

Sarah from Toronto, who has chosen the nickname beatblack for herself, is engaged in the creation of jewelry from polymer clay. Probably, not everyone dares to wear pendants in the form of a digestive tract or cufflinks in the form of a brain, but there are enough originals among us - otherwise beatblack jewelry would not be in demand.

The Netherlands has the amazing Corpus Museum, the world's only museum of the human body. During the tour, visitors seem to fall into the middle of the human body and can see, hear and feel his work. Particular realism is achieved through sound effects and the technique of creating three-dimensional space.

A NATOMY

VERA VELICHKO

MAN AS ART

BUILDING BASICS

KEY FORMS

SECRETS OF THE LIVING BODY

TIPS FOR BEGINNERS

Moscow "Polygraph"

VERA VELICHKO

A NATOMIA

FOR ARTISTS

Moscow "Polygraph"

Velichko V. A.

A 00 Anatomy for artists. Tutorial. Moscow, Poligrafinya LLC, 2013. 209p.

© Vera Velichko

ISBN 000-0-00000-000-0

Every artist has an anatomy book on their shelf,

And perhaps not alone. However, few have studied these books in detail - most often we do not have enough time or energy for this. We close these books, frightened by the volume of materials,

And we say to ourselves - “as soon as I have free time, I will read it from cover to cover” This book was written to save you time.

and psyche. About is a collection of practical advice presented in a visual system. About easy to use, understandable even for novice artists,

And useful even for the experienced.

So, happy reading!

8 INTRODUCTION

2 0 A NATOMIA BRUSH

GENERAL CONTOUR MAIN VOLUME TRAJECTORY OF MOVEMENT CHARACTER OF VIEWS

5 4 FROM SHOULDER TO WRIST

GENERAL CONTOUR MAIN VOLUME SHAPE FEATURES VIEWS

7 4 MEN'S BODY

10 2 WOMEN'S BODY

GENERAL CONTOUR MAIN VOLUME DYNAMICS REDUCTION FORMS

INTRODUCTION

ON THE ART OF TRANSFER OF HUMAN NATURE

Michelangelo

Buonarroti Creation of Adam

INTRODUCTION ABOUT THE ART OF TRANSFER

HUMAN NATURE

The human body is a complex system of volumes in constant motion. It is not enough just to study anatomy - you need to know (or even feel) how these volumes interact with each other in different poses, how muscles change in a tense or relaxed state.

All this is body language that tells the viewer about what is happening in the picture. And the mistake of the artist will lead to an incorrect interpretation of what is happening.

Michelangelo

Buonarroti Creation of Eve

The nature of the image

In this painting by Michelangelo, we see not only the plot, but also the character of each character. I vividly imagine this scene - how Eve is trying to explain something to God, he is trying to explain something to her, and he himself is no longer glad that he created a woman, and Adam is asleep, hoping that everything will be decided by itself. He doesn't care at all, he's still too young. The character is conveyed not only by the pose, but also by the personal characteristics of the characters - physique, facial expression, demeanor, etc. We can create an initial impression of a person based only on his appearance. There are stable types, such as "Young successful mother", "Angry old man", "Dreamer", "Naive girl" ...

The artist must know what features this or that type has, and use them consciously - otherwise, a little red riding hood with the face of a complete bitch or an inappropriately good-natured maniac may appear on your illustration.

Prophet Isaiah

Delicate facial features, graceful gestures, ease in posture. Impression: Intellectual, likes to philosophize on any topic.

Prophet Joel

Focused on reading, refined but stern features. Impression: A philosopher, a bit of a snob, does not like being distracted in vain and talking nonsense.

Prophet Ezekiel

Large facial features, reddish nose, dynamic posture. Impression: Argumentative, a bit of a rebel, perhaps a narrow-minded mind.

Prophet Jeremiah

Large body, dark face, slightly slumped shoulders, looking at the floor.

Impression: Silent and strong character, much

By the way, if this influx is removed, and the press is tightened, the feeling will be different, as if he is trying to stay in the fall. The thigh of the left leg is also relaxed, and displaced by the influx down. And so on...

Abbreviations

Another important point is the ability to work correctly with abbreviations. In our picture, the boy's left shin

shorter than the right, the left hand goes into contraction. In some poses, the human body gives us surprises - a combination of contractions and positions of different parts of the body gives a completely unexpected result, the figure becomes not like itself. Pay attention to the boy's back, how the left shoulder blade behaves. Such forms are difficult to predict, even if you know the anatomy thoroughly.

I will tell you about some of these moments in this book, but, of course, I cannot cover all of them. Therefore, remember the main rule - draw as much as possible from nature. Always go with a notepad at hand, do not be lazy to sometimes devote weekends to going to the sculpture museum - there is a lot of nature, and all of it is motionless. And even when you are not drawing, look carefully at people, notice features, try to remember what it looks like. You must “feel” the human body, study its habits, understand the logic of its structure.

And then even when drawing from your head, you will intuitively understand what is right and what is not.

A NATOMIA BRUSH

OR THE MOST DIFFICULT IN MAN

The course is a detailed adapted analysis of the schemes of the brilliant anatomist Gottfried Bammes by illustrator Yaroslav Klepikova and lessons on drawing from life by the teacher of the Moscow Art Academy named after. S. G. Stroganov Alexander Bezin. Immersion in the logic of these schemes, the study of the volumes and planes of the human body, their location in three-dimensional space, the study of lines of force and the principles of motion mechanics will allow you to meaningfully and realistically draw the human body, and completing tasks based on drawing from nature will allow you to better understand the features of applying your knowledge to practice.

• 34 lessons
• 30 minutes of daily activities
• 11 weeks

What will you learn

1. Learn to draw a human figure from nature or from a photo.
2. Learn about the human anatomy.
3. You will analyze in detail the drawings and diagrams of the body and face of a person, taking into account the proportion, structure, facial expressions and changes in movement.
4. Get the scientific information you need for practical work.

Schedule

1. Basic human proportions. Front view, side view. Basic volumes. S-shaped line of the spine.
2. Contrapost. Changing the main lines of the shoulder and hip girdle.
3. Drawing of a figure of a person standing with support on one leg. sketch part.
4. Compositional search in a sheet. Proportion ratio. Structural building.
5. Comparison of male and female figures. Proportions, basic volumes, their differences.
6. Introduction to the laws of linear perspective. Cube as a universal model of three-plane space. Principles of parallel lines in drawing.
7. The figure of a man in perspective. The main lines of the body in linear perspective.
8. Human pose with twist. Change in the volume of the chest and pelvis relative to each other. Basic planes.
9. Basic proportions of the human face. planes of the face. Principles of construction of eye sockets, lower jaw, nose and mouth.
10. Basic proportions of the human face. Front and side views.
11. Quick sketches of the head: face up, rear view, top view. Features of the implementation of the volume.
12. Drawing a head from nature. sketch part. Compositional arrangement in the sheet. Construction. Tone work.
13. Rib cage. Front and side view. What is the shoulder joint formed by? Ribs. Clavicles. Basic planes.
14. Rib cage. Back view. Shoulder blades. Ribs. Basic planes.
15. Shoulder girdle. View from above. The movement of the shoulder blades and clavicles during adduction and abduction of the arms.
16. Drawing of a portrait with a shoulder girdle in color. sketch part. Compositional arrangement in the sheet. Construction. Tone work.
17. Pelvic bones. Structural features. Basic planes.
18. The structure of the pelvis. Rear and bottom view. Basic planes. Guides. Ilium, ischium and pubic bones.
19. Torso, rear view. Muscular volumes of the chest and pelvis.
20. Torso, major muscle groups. Formation of planes and volumes of the chest, abdomen, arms.
21. Female torso. Breast glands. Construction principles.
22. Twisting of the shoulder and forearm. Basic volumes and planes.
23. Elbow joint. Back view, front view. Outer and inner sides of the hand. Rotation of the elbow joint. Construction schemes.
24. Wrist. Construction principles. Basic planes. General planes of the fingers. The thumb is the antagonist.
25. Various positions of the hand. Twisting. The ratio of the planes of the shoulder and forearm to each other.
26. Wrist. Various finger positions. Construction features. Brush rotation. Fist.
27. An overview of the leg from hip to foot. Volumes, reliefs, proportions. Bone composition. soft tissue volume. S-shaped arc. Power line. Front view. Back view.
28. Knee-joint. Big and small tibia.
29. Knee cap. The position of the patella during flexion and extension of the knee joint.
30. Foot. Composition and location of the main bones of the foot. Calcaneus, tarsus, metatarsus, toes.
31. Form features. Basic planes.
32. Movement of the ankle joint: the ratio of the bones of the foot, tibia and tibia.
33. View of the ankle joint in various positions of the foot.
34. General view of the foot. Features of the construction of planes. Arches of the foot. Volume creation.
35. Changing the position of the foot: on the toe, on the heel. Support points. The arch of the arch of the foot. Basic planes. Construction schemes. Toes.

Necessary materials and tools

• Pack of A4 office paper
• Album A3 flip on a spring with a hard cover (in order to use as a substrate)
• Compressed charcoal packaging
• Charcoal in pencil: soft
• Pencils: 2H, H, HB, B, 2B
• Eraser Kohinoor
• klyachka

How is the training

Training takes place in a Facebook group and includes homework and their analysis in group webinars. the course assumes a free, but organized schedule. You need to watch lectures, ask questions on Facebook - a closed group will be organized for students and the teacher, do homework - the teacher will check them, comment and give advice on how to improve the work. After completing the course, you will receive a certificate.

What is the result

Assimilation of complex material through work on inevitable mistakes. Mastering basic anatomy will improve your drawing skill, make it more accurate and professional, and provide a good basis for new artistic experiments.

The teachers worked for

Examples of teachers' work

Student work

Alumni Opinions

Julia Chistyakova

Yaroslava, thank you so much for this course! I can't even believe it's already over. You taught me to look at the human body differently, to see patterns in place of "random" forms. It remains to collect all the knowledge together and learn how to put it into practice :)

Julia Ezopova

During the classes, the hand began to behave more confidently and draw lines in a completely different way, many questions sorted out in my head :) Over time, of course, in our frantic pace of the metropolis, it’s hard, especially at the very beginning of classes. But then we managed to find the necessary amount of time and set a good pace for the work. :) In fact, during the entire period of study, I always had pencils and paper in my backpack so that I could devote time to them in my spare time :) Even on vacation, I took the entire set of beginner artists with me :) And it was amazing!!! :) Until now, paper and pencils are always and everywhere with me :) For a long time I tried to study the drawing of a person on my own (about 5 years !!!), but the gaps in knowledge and experience turned out to be huge! And in the fall of the previous year, I became a student of the bangbangeducation library and enrolled in a human anatomy course :) This is where my horizons expanded !!! :) After the anatomy course, a burning desire came to develop further both in academic drawing and in creativity in general :) I became I am more resolute in my desire to change my occupation (I am an engineer) and I am slowly moving towards this :) Thank you for an excellent school, an excellent anatomy course and attentive attitude towards students :)

Mara Freebus

I would like to thank you so much for the clear and detailed explanations, for informative corrections, answers to questions and a lot of knowledge gained during this course! It seems to me that I got the most important thing - how to think correctly in order to draw something. Thank you!

Alexander Karpov

Julia Zilbert

Since childhood, I dreamed of learning how to draw, but in my busy schedule (choreography, English, music school) there was never time for this, and at some point I already resigned myself to the fact that I was not given to draw, but I took a chance and signed up to Lena Ker's course in fashion illustration. As they say, it was, it wasn’t, despite the fact that the schedule didn’t get easier over the years, but here, first of all, I was attracted by the opportunity to study remotely, at a convenient time for me to watch video lessons, do homework and, of course, a wonderful feedback from the teacher. In a month, I took not just a step, but a huge leap in my quest to learn how to draw. If someone told me that I could do this, I would not believe him. I still can't believe I'm drawing this! That person who couldn’t really hold a pencil in his hands, let alone draw a person was beyond me for me.

Margarita Strelkovskaya

I chose the course because I felt the lack of a strong base. I studied only at an art school, and there the emphasis was mainly on building the head, there were not enough other details. I noticed that it is often impossible to transfer images from the imagination to paper: human figures seem to fall apart, they lack integrity. Most of all, I was waiting for a video about building feet and hands: I had special problems with this. I mistakenly thought that the rest would be more clear and easy. However, in the end, the exercises with rotation-twisting and building the pelvis from different angles became the most useful for me. It turns out that I had no idea about the pelvis at all. Thanks a lot for the course! I think for conscientious beginners this is just a treasure. But just in case, I will recommend it to those who have already developed the habit of drawing every day.

Ludmila Zayakina

I would like to thank you for a great course! For me, it was a real pleasure to study there. The teacher's hints for homework were especially pleasing: nuances that helped to better understand the diagrams and how to draw them. At first, homework took a lot of time: there was a feeling that I took a pencil in my hand for the first time. But it has become bolder “in line”. Much in the human figure became clear: which lines are explained by which cartilage-bones. I really liked the tasks where it was necessary, by analogy with the diagrams from the lesson, to draw other angles. Too bad there weren't many of these. Now I am more confident in drawing a person from nature, regardless of the pose that this person takes. Previously, difficult angles terrified me, and I tried to avoid them as much as possible. With pleasure I will continue to practice the received theory in order to load it deeper into the subcortex.

It will not be difficult for many novice artists to draw flowers, trees, houses. But when it comes time to depict people on paper, they get lost. Because they don't know how to draw a human body correctly. If you don't succeed either, don't even think about giving up. Thanks to several techniques, you can quickly learn this.

They are quite simple. At the same time, these useful tips will help you cope with the necessary task:

• Even if you don't plan to turn your sketches into color illustrations, still use a pencil at the very beginning. He will allow you to correct the drawing at any time.
• Don't push hard. Do all movements only with light strokes. If you make a mistake or want to redraw an element of the picture, you do not have to suffer by erasing thick lines with an elastic band.
• Practice every day. Don't be discouraged if you don't know how to draw a body. Believe in yourself!
• Watch your posture. You cannot give all your attention to the drawing by sitting incorrectly.
• If you're serious about art, study other people's techniques, go to art galleries, buy themed books. Experienced artists are well acquainted with how to draw the human body.
• If you are copying from an already finished drawing, do not be afraid to make mistakes. Remember that you don't have to portray the exact same character. It will be much better if it turns out differently.

body proportions

At all times, special attention was paid to the relationship between the figures. Before drawing the body, you need to know its correct proportions. The height of the figure of an adult is 8 of his heads, of a teenager - 7. This part of the student's body can be positioned 5 times in length, the baby - 4. The size of the arms should reach the middle of the thigh, while the elbows should be on the same level with the waist, and the knees should be exactly in the middle of the leg. The length of the legs is 4 heads, and the head, together with the body, is half the height of the entire figure. The fingers of the lowered hand are located in the region of the middle of the thigh. The height of the foot is the size of the nose. And its length is the same as that of the forearm. The height of the female head is equal to the distance between the prominent points of the chest, the male - half the width of the shoulders.

Differences between male and female parameters

The average height of a man is about 170 cm, women - 160. The arms of a strong half of humanity are long and muscular, when the hands of girls are a little shorter. But the legs of women are longer (in relation to the body). Men have a strong physique, broad shoulders and a short torso. The female body is longer, the shoulders are often shorter than the hips. Men have a thick neck, girls - on the contrary, thin. As for the muscles, in men it is strongly marked. At the same time, the contours of the body are sharp. At the same time, in women, the outlines are soft, the shapes are round, the fat layer is larger. The male foot is massive, large, the female foot is much smaller in size.

We draw a man

The following master class shows how to draw a man's body:

1. Start at the top. Draw a small circle, draw a curved line from below. You should get the shape of an egg, only turned upside down.
2. Draw the neck by sketching two straight lines. As a guide, take the distance from ear to ear.
3. Draw a long (2-3 head width) horizontal line so that it is perpendicular to the neck. It determines the location of the collarbones.
4. At the end of the two lines, draw small circles of the same size - these are the shoulders. Sketch two ovals a little lower, slightly longer than the height of the head - these are the biceps.
5. In the place where the biceps begin, outline the body of the body. Geometrically, it will look like this: an inverted trapezoid is the chest, vertical straight lines are the torso, an inverted triangle is the pelvis. Mark the place above the last geometric figure with a dot - there will be a navel.
6. On both sides of the triangle, draw two circles (most of them should be outside), and immediately below them - long ovals. They will be hips.
7. Below are two small ovals for the knees. Let it intertwine a little with the hips. And even lower - for the shins.
8. For the legs, draw two triangles, at the very bottom.
9. Try to draw show jumping of the body, add details, come up with clothes for your character.

We draw a woman

Now that you know the basics and have learned how to work with the male silhouette, you can learn how to draw the female body:

1. Start with the most important thing - draw a vertical line. To represent the torso, place an inverted triangle at the top of the torso.
2. Inside the resulting triangle, draw another one looking up. Draw two circles at the corners of the inner figure to represent the breasts. If you did everything right, the first one should be on the right and the other on the left of the line drawn earlier.
3. Just below the main triangle, draw a circle of equal size. Its upper part should go slightly beyond the triangle. This will be the pelvis.
4. To draw the hips and legs, draw two curved lines from the top of the circle. And below - two more, but shorter. Some should look like brackets.
5. Add lines and details, dress up the girl.

Done, now you know how to draw a girl's body.

Summing up

Using the techniques presented above, you can draw almost any person - an adult man and woman, a teenager, a child. The main thing to do is follow the instructions, learn how to work according to the scheme. After a while, you yourself, without anyone's help, will draw beautiful and proportionately correct characters on paper. Don't get discouraged if something doesn't work out for you. You can try again at any time.

Remember another important rule: the artist's work does not end at the moment when he understands how to draw the body. It is also necessary to think over the hairstyle of the character, his style, give him emotions, portray the character. In other words, with the help of a pencil, “breathe” life into it. Learn the art of drawing, improve your skills - and you will definitely succeed!

• Drawings by classical artists Dear users, you can download the graphics of some artists in rar archives. Large images. Update in the Graphics History section.
• vk.com/site. Representation of the site "Graph" in contact. The community has a lot of tutorial videos for artists. New albums of classic graphic artists are constantly added.

Works of the artists of the site "Graph".

Graphic arts- on the one hand - a kind of art, on the other - an occupation that is available to everyone, and all people are engaged in it from a young age. To create a graphic drawing, you need only a sheet of paper and drawing material - a pencil or paint. That is, on the one hand, the graphics are publicly available.

But on the other hand, it is a complex art form that needs to be taught in the same way as painting or sculpture. This is the difficulty and simplicity of graphics. Everyone can draw, but only a few can become masters.
Graphics are divided into two types: printed (print) intended for replication; And unique, implying the creation of works in a single copy.

The most common distinguishing feature of graphics is the special relation of the depicted object to space, the role of which is largely played by the background of the paper, “the air of a white sheet”, in the words of the Soviet master of graphics V. A. Favorsky. A spatial sensation is created not only by areas of the sheet not occupied by the image, but often (for example, in watercolor drawings) and the background of the paper that appears under the colorful layer.

We bring to your attention the section: Library for artists.
In the "Library" you can download books on art, anatomy, art history, drawing and painting lessons for home study.

As well as 100 issues of the Art Gallery magazine in djvu format.