Instruction
Draw a vertical line on a sheet of paper, the top of which coincides with the top of the head. human, and the lower one with the feet. Divide this line into eight parts - each part is equal to the height of the head human.
The widest point of the figure is equal to two whole and one third of the width of the head. Using the guides you created to guide you, start the shape human, taking into account all the ratios of body parts.
The waist should always be slightly wider than the head, and the elbows should be in line with the navel. Place the lower edge of the knees at a distance of one quarter of the figure from the point of the feet, and draw the shoulders at a distance of one sixth from the point of the crown.
Place the navel on the figure below the level of the waist, and place the elbows just above the navel. All these moments make the female figure distinguishable from. Try the female and figure from different angles - front, back and side. This will allow you to get the most adequate idea of the proportions and their combinations.
Sources:
- The proportions of the human head
Drawing a female body requires special attention and respect for proportions. It is not enough to draw beautifully, it is important to do it right. However, no matter how difficult this process may seem, it is quite possible to learn, it is enough to follow the instructions and gain some experience.
You will need
- Pencil, paper, model
Instruction
With the body, observe proportionality. As a result, its shape should resemble an hourglass. Give roundness to the shoulders and hips, and elegant refinement to the waist. Make all lines smooth and natural. Perform a convex bend of the body to the line of the breasts and a concave bend in the region diagonally. When drawing the hips, make their inner part flatter than the outer part.
Display shoulders with a smooth slope. Make the lines of the hands soft, embossed, trying to accurately display the structure of the muscles. Change the thickness of the arm throughout its entire length. Near narrow it, and then expand again.
Depict the upper part of the leg thickened and rounded, narrowing closer to the knee. Make the muscles on the lower leg and calf protruding.
note
Avoid flatness of the image, its averaging. Pay special attention to the structural display of the elbows and knees.
Helpful advice
To simplify the process of drawing arms and legs, first draw their skeletal outline from ovals, and then outline its outline, detail all the bends and dimples. To draw up a diagram, use ovals rather than cylinders. This will help to more clearly, more correctly convey the real shape of the hips, shins, forearms. Transfer the relief of the muscles with the help of chiaroscuro.
Sources:
- Artist recommendations in 2019
To believably draw a feminine body, it is necessary to observe proportions and be very careful. After all, you need to draw not only beautifully, but also correctly. And yet, no matter how difficult this process may seem, learning to draw a female body quite possible. The main thing is to follow the instructions and practice a little beforehand.
You will need
- - a simple pencil;
- - a sheet of A4 paper;
- - eraser.
Instruction
When depicting the body, try to maintain proportionality. Schematically, it should resemble an hourglass in its shape. Give roundness to the shoulders and hips, and elegant refinement to the waist. Try to make all lines smooth, soft and natural. Perform a concave bend of the body in the abdomen and a convex bend to the chest line diagonally. When depicting the hips, make their inner part flatter than the outer part.
The shoulders should be displayed with a smooth slope, and the lines of the arms should be soft and embossed. Try to depict the structure of the muscles as accurately as possible, but just do not overdo it. Still draw body, but not . Vary the thickness of each arm throughout its length. Slightly narrow it towards the elbow, then widen it again and narrow it again towards the hand.
note
Avoid averaging, flatness of the image, on the contrary, try to make it three-dimensional, voluminous. Pay special attention to the structural display of the knees and elbows.
Helpful advice
To simplify the process of depicting the limbs, first draw them schematically, from ovals, then outline the contours, detail all the curves and muscles, and after that remove the extra lines with an eraser - an eraser. And the muscle relief can be distinguished with the help of chiaroscuro, shading.
A person is one of the most interesting objects for drawing, so a novice artist definitely needs to learn how to portray him. It’s worth starting work by studying standard proportions. Using this knowledge, you can believably depict any person, regardless of the features of his figure and face.
Instruction
Study the theoretical foundations of the issue. There are standard proportions of the human body, which vary depending on the figure of a particular human. To build a standard human body, draw a vertical axis. Divide it into 8 equal segments. On the first segment from above, draw a head, designate it as an oval, and then expand the upper half of the skull.
Measure 4 more segments down - at this level the inguinal region is located human. If you go up a third of the segment above, you will find the level of the fingertips. Consider the fact that even in a relaxed state, the human hand is slightly bent.
From the bottom of the vertical axis, go up two segments and mark the location of the knees. By determining the proportional ratio of all parts of the body, you can more clearly work out their shape.
To learn how to draw figure in various poses, try changing the outline to only lines. Bend and unbend body parts, maintaining their original size.
When drawing bent parts of the body, it is necessary to take into account the peculiarities of the work of various muscles. A minimal knowledge of anatomy will come in handy if you want to draw people perfectly.
After the outlines of the figure are built, it will be necessary to give the object volume. To do this, it is worth considering the features of the distribution of light on surfaces that are different in shape and texture. You also need to study the features of the material you are working with. For example, to achieve a natural skin tone in a drawing, watercolor, pastel, and oil must be mixed and applied in different ways.
The perception of the picture will be influenced not only by how the body is drawn, but also by the image of the clothes. Carefully work through all draperies, taking into account the shape of the body under the fabric and the softness or rigidity of the fabric itself - then the image will be realistic.
In colloquial speech, under the shoulder usually means the distance from the neck to the shoulder joint. However, a more precise meaning of the term implies the area of \u200b\u200bthe arm from this joint to the elbow bend. It is surrounded by a lot of muscles. If you want to learn how to realistically depict a person, study and draw this part of the body.
You will need
- - paper;
- - pencil;
- - eraser;
- - watercolor;
- - palette;
- - brushes.
Instruction
Draw the axes on which the drawing will be built. The segments can conditionally depict the bones of the hand, around which you need to draw a shape. Using sighting, measure the proportional ratio of all parts of the arm and torso, record the results in the figure.
With approximate contours, outline the outlines of the left hand. The thickness of the arm at the base of the shoulder is half the length of the humerus. The arm gradually narrows towards the elbow.
Divide the length of the arm to the elbow in half. The upper half is occupied by the deltoid muscle. She looks good in the photo. Draw its shape resembling a triangle. Make the upper part of the muscle more convex - it should protrude beyond the shoulder joint and, as it were, cover it.
Step back from the top of the triangle by about a quarter of its length. This is where the biceps brachii muscle overlaps. Since it is not tense, the hand in this place has a smooth rounded shape. The muscle on the underside of the arm looks the same. Draw it a little more convex at the base.
To convey the volume of an object, shade it or fill it with paint. Softer outlines and smooth color transitions will be obtained if you choose watercolor or acrylic. Mix in the palette shades of sepia, red, yellow, brick in such proportions that you get skin color. Make several "portions" of mixed colors of different saturation. First paint over the lightest areas - near the elbow and along the left side of the deltoid muscle.
Drawing a person can be the most vivid and profound experience in an artist's life. Today we have prepared for you tips from the famous Italian artist Giovanni Civardi from the book Drawing the Human Figure. Let this knowledge become a source of inspiration and creative stimulus, helping to convey mood and memories in the form of a drawing.
You can draw a human figure and a portrait with any materials - from pencils to watercolors. The pencil is the most common tool due to its low cost and versatility. Charcoal is great for fast drawings with strong tonal contrast and less suitable for fine details. Thick and smooth paper of good quality is recommended for ink. Mixed media is the simultaneous combination of different materials in one drawing.
Experiment to find your own techniques that will achieve the most expressiveness, and try to take advantage of random effects.
Fundamentals of plastic anatomy
Artists study anatomy in order to make meaningful representations of the human figure. To reproduce it reliably, you need not only to see, but also to understand what you are drawing.
Thanks to the knowledge of anatomy, the image becomes more convincing and alive than nature itself.
In general, the shape of the body is determined by the skeleton as the main supporting structure, the muscles that fit it, and the upper layer, consisting of a fatty cover. It is useful to know and remember the relative sizes of the articulating bones and their proportions relative to each other and the entire skeleton, because without this information it is impossible to “transfer” the figure to paper and acquire the skill to depict it logically and consistently.
Below are the main bones of the skull and neck, along with skin, cartilage, fat, muscle, hair, and more, in layers.
The skeleton of the male torso, enclosed in the contours of the body, in the frontal, lateral and dorsal planes. These drawings will help expand your understanding of body shape.
Upper and lower limbs in different planes. As in the previous figure, the skeletal structure is shown inside the outlines of the body.
It is important for an artist to consider three main aspects of muscles: their appearance (shape, size, volume), location (where it is in relation to the skeletal structure and adjacent muscles, how deep or superficial) and its mechanism (function, direction of muscle pull, corresponding changes in shape and etc.).
Proportions
In order for the drawing to come out believable, it is necessary to take into account the proportions of the body and head. The height of the head from the forehead to the chin is often taken as a unit of measurement for determining the proportions of the body. The growth of a standard figure is approximately 7.5-8 goals. Remember a few more proportional relationships: the head fits into the total height of the body with the neck three times, the length of the upper limbs is also three heads, and the lower ones are three and a half.
Despite the differences between individual individuals, they can be divided into three main groups of types with similar characteristics within each - ectomorphs, mesomorphs and endomorphs.
Hands and feet
It is easy to understand why the hands and feet, with their arrangement and variety of possible gestures, are considered the most difficult parts of the body to convincingly reproduce, both in drawing and in painting and sculpture.
Drawing your hands and feet is the best way to study them in as much detail as possible. You will be able to make sure that quite worthy studies are obtained, comparable to face drawings, and maybe even more expressive.
First, a quick (but diligent) sketch is performed in the desired angle and pose, then with the help of its “geometrization” the necessary anatomical information and volume are transmitted, after which the details and individual outlines are refined.
As well as for the head and body, knowledge about the structure of the bones of the feet and hands will be useful.
Draw your own hands and feet in different positions. You can use a mirror. Take different objects in your hands and convey the dynamics and mood of the gesture in the drawing.
Head, face, portrait
The main interest for the artist has always been the face and figure. A portrait is not just a reproduction of physical features for the purpose of recognizing a particular character. This is a story through facial expressions about his personality, thoughts and emotions.
How to draw a head and facial features, we described in detail in the article.
Outline of a person in a sketchbook
A sketch is a quick, spontaneous drawing from life, made in a short time with several informative lines. Drawing people in a natural setting, who do not pose on purpose and probably do not know that they are being viewed and depicted, will seem difficult at first. But there is no real reason to be afraid or lost - hardly anyone will pay attention to what you are doing.
The ability to portray strangers in any position and under any circumstances is important for the development of technical skills and value judgment. And, of course, the regular practice of sketching will hone the gift of observation and interpretation, teach you to look deeper and make quick, confident, understandable and accurate decisions.
A few quick tips on how to sketch from life:
- Get in the habit of always carrying a pencil and a small sketchbook—one that fits easily into your bag or pocket—in case something catches your eye or seems interesting.
- It is worth striving to increase observation and the ability to isolate the main thing and at the same time coordinate visual perception, value judgment and hand movements during the execution of the drawing.
- Do not try to reflect on paper everything that you see in nature. Given the limited amount of time and the risk of changing the pose of the model at any second, focus on the essentials.
- To learn how to use your memory to reproduce the sequence of basic phases of movement, you will need maximum concentration in observing people.
If you are still confused by the thought of drawing people from life (note that if someone notices what you are doing, some may be flattered and others will leave in displeasure), drawing statues can help prepare for this mentally and gain some confidence. and sculptures in museums or monuments in public places.
Check if the museum allows you to sketch, and if so, feel free to go there and sketch the sculptures from different angles.
This is how they teach drawing in Paris - in the courtyard of the Louvre with sculptures.
Stages of drawing
If you are drawing a whole figure (clothed or naked), you can first draw some quick, light lines to outline the space that it will take on a piece of paper (maximum height, maximum width, etc.). Then outline the main parts of the body (head, torso and limbs) taking into account relative proportions.
Finish the drawing with essential contours, shadows and details that cannot be left out. Erase guide lines if needed.
In the book "Drawing the Human Figure" each section is analyzed in as much detail as possible, there are detailed images of the human skeleton in different planes. It is described in detail how to draw a figure of a man, a woman, a child, an elderly person, how to depict a nude and a person in clothes.
To how to draw a person, even in full growth or only half, standing, sitting or in motion, you first need to know the proportions of its various parts. In the case when an artist draws a person without knowledge and definitions of sizes, the drawing is doomed to failure in advance. Every time you sit down to work on your image - first of all, you need to measure out all the proportions and sizes. Further, in this human drawing lesson, I will teach you how to do it right:
Proportions of the male body:
The concept of the human body includes such components as the head, torso and limbs - arms and legs. For measuring body proportions artists apply head height. When you have decided on the size of the head height, you can measure all other parameters based on further calculations. In a word, the proportions of the human body are measured by the number of heads that fit in the torso, arms or legs.
1. The full height of a person (including the head) is equal to the height of his head, multiplied by 7.5 times.
2. The length of the male arm is equal to the height of the head, multiplied by 3.25 times.
3. The length of the male leg is equal to the height of the head, multiplied by 3.5 times.
4. The length of the male torso is equal to the height of the head, multiplied by 3 times.
Now, with regard to the width of the body of a man. Here, too, there are sizes, starting from the same height of the head.
1. The width of male shoulders is equal to the height of 2 heads.
2. The width of the male waist is equal to the height of 1.25 heads.
3. The width of the male hips is equal to the height of 1.5 heads.
The proportions of the female body:
female proportions measured in the same way as men's, using the height of the head, only, of course, with other digital values. Do not forget about the style of drawing a woman. Unlike the drawing of a man, the lines here are smoother, more delicate and lighter. Everyone knows that at different times there was a different fashion for female beauty, but in our time, a tall, slender and long-legged model is considered the standard. In this regard, the proportions of the female body are adjusted to this type.
The proportions of the height or length of the elements of the body of a woman are almost the same as those of a man, with the exception of two.
1. The full height of a tall, modern woman is equal to the height of her head, multiplied by 8.5 times.
2. The length of the legs increases by one height of the head, i.e. multiplied by 4.5 times.
Now, as for the width of the female body:
1. The width of a woman's shoulders is 1.5 times the height of her head.
2. The width of the female waist is equal to the height of 1 head.
3. The width of a woman's hips is equal to the height of 1.5 of her head.
Came to the end of another drawing lesson. This time we have sorted out the proportions of the human body, so now, when drawing a person, you should not have any special problems. Follow the news of the site, subscribe to updates to keep abreast of the latest lessons.
The human body is capable of performing a wide variety of movements: walking, running, jumping, doing some work.
With all these movements, changes in the external shape of the body occur. Changes in shape occur even without any noticeable movement of the figure. A living person cannot remain motionless for a long time. Muscles, being in static tension, get tired much more strongly, therefore, a person, remaining in any position, constantly changes it slightly.
This is the complexity of the drawing from the figure of the sitter in comparison with the drawing of gypsum. Here you need to know the form well. No careful mechanical copying gives the image a real plastic connection - the image turns out to be sluggish, lifeless.
Therefore, before starting to work on a drawing of a living nude model, it is necessary to study everything that forms the forms of a living organism and on which the regularity of its movements and statics depend. To study not only from the outside, visually, but to study the skeleton, the joints of the bones among themselves, the muscles of the body.
Such study gives knowledge of what is required to be depicted. Then we will depict what we know, we will not copy the model, but use it.
It is better to start drawing a figure by drawing a standing figure without complicated movement. Before you start drawing a figure, you need to examine it from different points of view in order to clearly imagine the position of the body in space. For a better understanding of the sitter's body structure, it is necessary to get used to this pose, repeat it with your own body. Only then can one begin to determine the composition of the sheet, the center of gravity, the area of support, the movement of the figure, etc.
As an illustration, you can get acquainted with the modern method of constructing a human figure, which is offered by R.P. Kurilyak, who teaches plastic anatomy at the St. Petersburg Academy of Art and Industry V.I. Mukhina (Fig. 24-33).
We draw a vertical line and divide it in half. We mark one-eighth of the vertical from above, which is the size of the head. If we draw a figure based on one leg, then our vertical coincides with three points: the jugular fossa (notch), the pubic bone (pubic fusion), the inner ankle (tibia) and the heel. On the vertical from the heel, we mark the height of the rise to the ankle joint, which is equal in proportion to almost half the height of the head.
The further course of our reflection is as follows: we determine the direction of the shoulder and pelvic girdle, their degree of inclination in opposite directions; the line of the shoulder girdle will pass through the jugular fossa with an inclination to the side, and the line of the pelvic girdle will pass through the pubic fusion from the greater trochanter of the supporting leg with an inclination towards the free leg.
We determine the width of the shoulder and pelvic girdle, which will later change slightly and be refined. In the meantime, the width of the pelvic girdle in relation to the height of the entire figure is determined to be one sixth, the width of the shoulder girdle is one fifth of the height of the entire figure.
If you connect the trace from the heel of the supporting leg with the point of the greater trochanter with a light line, you will get an almost axial line of the entire volume, however, in the future, undergoing major changes and additions. On the shoulder girdle above the supporting leg, we connect its edge with the edge of the pelvis of the belt above the free leg.
The whole course of our thinking, with a pencil in hand, occurs very fluently and quickly, lightly touching the paper, without pinching it or blackening it.
One of the main tasks for the painter is to determine the line of the "big movement". It is depicted as an arcuate line running from the jugular fossa towards the pubic bone and further from the pubic fusion in the opposite direction of the arc to the heel of the supporting leg. If the head is tilted towards the supporting leg, then the arcuate line running from the pubic fusion to the jugular fossa can be continued to the parietal eminence of the head.
Now it's time to outline the hands in the movement in which the model is. It is already possible to draw a contour of the skating leg, covering large volumes of the shin of the knee joint, to show the plastic transition from the opposite side of the chest to the side of the skating leg to its silhouette with access to the knee joint and covering the shin of the calf.
We outline the free leg, its axial foot, and also specify the position of the pelvis, its axial ones, coordinate the location of the patella of the supporting leg with the free knee joint.
The free limb is determined by large volumes along its main plastic directions: from the ilium (its upper spine) with access to the inside of the free leg, which almost coincides with the direction of the sartorius muscle; covering the contour edge of the thigh (the epiphysis of the femur), we continue the arcuate line to the outer side of the lower leg and then, at the level of the ankle joint, we draw a line to the internal condyle of the tibia with an oval coverage in the cross section of the entire lower leg at this level.
On the inner side of the free leg from the pubic bone, contouring the thigh with an arcuate line, direct it, intersecting with the tailor's line, and go to the outer side of the thigh, coinciding with the arc with the external thigh muscle (quadriceps), and through the edge of the upper patella we draw an arcuate line to the inner the edge of the lower leg of the free leg, emphasizing the calf muscle. Now, if we carefully look at our scheme, we clearly read S-shaped, arched, “serpentine” lines in it in a curious ratio between long and short segments of this very S-shaped one. All ratios will correspond to the principle of the golden section, which, in fact, is the principle of harmony. This is easy to verify if you measure any of the S-shaped lines of our volumes diagonally. This principle is that the ratio of the general to the greater part must necessarily be equal to the ratio of the greater part to the lesser.
First of all, I would like to warn that if we are talking about the golden ratio, about logic and pragmatism, then this only means one thing - such signs and understanding should be present at the level of “forgotten”, that is, unobtrusive, but conscious drawing, which is one of the main ways mastery of drawing.
The contour of the whole figure is already clearly visible in the drawing: the supporting leg, as the main natural core of this setting, acquires clarity in silhouette and in separate volumes, such as: thigh, lower leg, foot. The thigh, in particular, may be shown by the clarity of the quadriceps muscle, the lower leg by the external character of the anterior tibiofemoral muscle and the long peroneal muscle; the inner side of the lower leg is drawn primarily by the triceps muscles of the calf. It should also be noted that in this figure the entire volume of the knee joint is already outlined in detail. The chest is already well and clearly visible, the pectoralis major muscle is outlined on the right side of the model near the shoulder, the broad back muscle along with part of the shoulder blade, giving a clear outline of the left side of the model. Since the left hand is closest to the drawing in relation to the front plane, we pay more attention to it both in tone and in drawing; a feature of the elbow joint is the triceps muscle of the shoulder. Softer in tone, but quite attentively and with full “respect”, we treat the right side of the model, and already at this stage of drawing we refine (show) the shoulder and forearm, outlining the hand as well. The knee joint of the free leg is especially clearly drawn.
The next stage is connected with the refinement of the spatial and constructive perception of the figure on the sheet and the refinement of the fragments: the foot of the free leg, the contour of the thigh from the inside are outlined taking into account the falling shadows. In a word, this stage of the drawing may be on the verge of completion. On it, we solve the planning, front and side platforms of the structure of both the entire figure as a whole and its individual parts.
Completion in any business is a convention, because you can complete it indefinitely. And this is true, but in this case we are talking about such a completion when what we have drawn gives us a clear picture of an object or person.
At the final stage, one should also remember about graphic culture, that is, about such a performance in which the object should be beautifully read by the viewer.
At the end of our reasoning, it must be emphasized that learning to draw begins with the simplest preparatory exercises, with a consistent and gradual visual mastery of the knowledge and skills of artistic mastery in the visual arts. We must always remember that the task of drawing is to show the three-dimensional volume of the form on the two-dimensional plane of the sheet. And this can be done either in tone - in full force correlating light and shadow, - or in line and tone, without overloading the drawing.
After getting acquainted with the forms of the human body in the drawings of a standing figure, you can move on to drawing nature in action. Only by working on the figure of a person in motion, from any angle, do we better understand the relationship between external form and internal movement. We understand how the external posture of the body changes from the position of the skeleton, from the work of certain muscles. Knowledge of anatomy, a good understanding of body structure and knowledge of the basic proportions of the figure, in other words, the knowledge that we talked about above, will be of great help in such drawings.
To master the drawing of a figure in motion, it is very useful to make small sketches and sketches of the body in one position or another, analyzing it from a constructive point of view (Fig. 34). In such sketches, much attention is paid not so much to the external analysis of the posture as to the internal movement of structurally important parts of the body: the spinal column, chest, pelvis, shoulder girdle, limbs. Such an analysis of the pose will simplify the task of depicting the figure from a perspective, since it will give us an idea of the position of the axes in space. And the wonderful teacher Chistyakov believed that for a correct image of the form, it is necessary to start the drawing by finding the internal axes on which the form should be increased. Feeling the internal axes, more precisely, the direction of the movement of the masses, is absolutely necessary throughout the entire work on the drawing, since it is the axes that allow you to create the correct volume solution on the plane. Without identifying the internal axes and checking the image along them, the drawn form inevitably loses that plastic basis, the absence of which turns any construction into a transfer of the external surface.
It is very useful to check the degree of mastery of the image of the figure to make drawings from memory, and then from imagination.
To make it easier to navigate in such drawings, we can suggest that you familiarize yourself with the method of drawing a person as an image of a combination of simple geometric bodies. Even the Renaissance artist Dürer suggested looking at the shape of the human body more simply, reducing it to a number of simple geometric bodies. These individual bodies, which bear a rough resemblance to human parts, he proposed to study by drawing them in such movements and foreshortenings that can only be observed in the human body. This idea was also developed by S. Holloshi (Fig. 35). He divided the figure into a number of basic forms. So, the neck, interpreted as a cylinder, supported the head truncated by planes, was inserted into the torso cylinder, which rested on the pelvis, depicted as a combination of a cube and a truncated prism, etc. All these forms were depicted in relation to the middle line of the figure, which served in the work as the basis for constructing the volume of the body.
Consider this approach to the image on the example of building a standing figure. We start the drawing with the composition of the figure and the definition of its general shape. We very generally outline the size of the figure in the sheet and the design of the pose (Fig. 36). After that, we determine the position of the center of gravity, the area of \u200b\u200bsupport and the main axes of the figure. On the basis of geometric bodies, we outline the main masses of the body (Fig. 37). Upon completion of such an analysis of forms, we proceed to concretizing the details of the figure, building them on the basis of geometric shapes (Fig. 38).
This article will help you master the basic principles of building a human figure. The proportions of the body are the point with which the beginning artist must be most careful in the early stages of his training. But most, including myself during my early creative years, ignore this knowledge. Now it seems to me that Proportions are one of the main points in drawing a person.. This material shows that you need to be more careful with the proportions of the human body (especially the female figure) when you draw. There are many detailed books and websites on the subject, and what you will read here is really just the old way I measure my own drawings. You have probably read about the eight heads rule in many illustrated books. In painting the ideal body is 8 heads high. However, the proportions of the body of each individual person are relative, and sometimes can reach from 7 to 9, depending on the physiological characteristics and the view of the artist. The same goes for cartoon characters. Since comic book art mostly celebrates the perfect human form, the eight-head rule applies to cartoon masterpieces as well. We suggest you start your study of proportions by drawing your characters in simple poses (standing or sitting).
When drawing a human figure, always start your drawing with axes and guides. This will make things easier and you can set the proportions and pose right away without going into too much detail. Once you have mastered the base of your figure, it will be very easy to complete the drawing. Artists often depict women's bodies as slightly curved, with prominent hips and slender waists. In the figure, you must immediately determine the size of the head, this will be your "centimeter" for the rest of the body, which you will use in further measurements. I tend to be as detailed as possible at this stage, but that's my whim, not the rule.
The proportions of the length of the head will be your basis for the rule of eight chapters.
- From the chin to the middle of the chest, the height of one head fits; in a woman, as a rule, this line can indicate the middle of the chest area around the nipples.
- The distance from the chin to the shoulder is usually equal to 1/4 of the length of the head.
- The distance from the chest down to the abdomen (navel area) is also proportional to the height of the head.
- If we postpone our “centimeter” from the navel in descending order, then we will get just to the bottom of the intimate zone.
- Height of one head to half of the hip area.
- A head lower - the upper part of the legs, setting aside one more size of the head, we will find ourselves just below the knees.
- Continuing to postpone the base size, we get more or less half of the lower leg.
- And the last of the eight heads down will hit just below the ankle.
If you notice, the foot is not an element of measurement, that is, an impromptu "centimeter". This is because the length of women's legs can actually vary depending on how high the shoe is. Also, I have noticed that some artists have different length options when it comes to legs, where sometimes different parts can be a little shorter or longer. It mostly depends on anatomical preference.
The width of the shoulders also varies depending on the physiological structure of a person. But usually it is equal to the size of two heads located side by side, one ear to the other. Do not make this size less than two widths, so as not to get a strange silhouette. The hips are also not the same in all people. Their width, like the shoulders, is approximately equal to two head sizes, maybe a little more, but in no way less than two heads together without ears. Contrary to some opinions, a woman's shoulders can indeed look wider, but only in rare cases when her entire body is muscular. Broad shoulders, a thin waist, and relatively wide hips can contribute to a sexy figure. Arm length is not usually a problem for beginners. The distance from the shoulder to the elbow is equal to one height of the head and another half of it. From the elbow to the wrist, you can also set aside the size of the head.
Human beings are made up of basic geometric shapes that ultimately together form one whole. As with, and other parts of the face, we rely not only on the knowledge of proportions, but also on our perception of the world around us, and when building a human figure, the image depends on how you interpret the various parts of the body. For every beginner at an early stage of training, extensive knowledge and understanding in the field of anatomy is required. Imagine a robot and how it is constructed. It has cylindrical shapes for the arms and legs, elliptical shapes for the shoulders and joints such as the knees and wrists. The bust, as you remember, is located on a line removed from the chin down by the size of the head. This is where the middle of the bust will actually be.
Always try to use loose curved lines especially when portraying a woman. There are no straight lines in man. All people are covered with soft muscles on top, and this should be visible in your drawings. At this stage, you can see very clearly if there are things you need to correct: posture, and body. It is important to make any necessary changes now before finishing the drawing. If everything is in order, you can go ahead and put the finishing touches.
To build the figure of the girl, I used an HB pencil because it is easier to scan onto a computer. In general, usually for drawing, I take one sheet of paper, an eraser, a 2H pencil to build my drawing and H or HB pencils for shading. When the figure is built, all that remains to be done is to draw the clothes. Then you should delete the old and unnecessary lines, but for this tutorial I left them to show how everything is done at the drawing stage.
