If you have little experience in drawing, then today we will fix it. We will show a child how to draw a person, so that any beginner will master this lesson. This is not as difficult as it might seem at first. If you are already at a more serious level, then you can try the lesson where it is shown. And all beginners stay with us, and we continue.

All we need is a sheet of paper and pencils. Forward!

Step 1. At the top of a sheet of paper, draw an oval with a pencil. This will be the head.

Step 2 Now draw a rectangle and connect it to the oval with a small segment. Later it will be the human body. As you can see, everything is simple, not only a beginner, but also a child can draw it. Let's move on to the next step.

Step 3 Draw lines down from the corners of the rectangle. So they drew primitive legs.

Step 4 Let's draw now primitive hands of the person. To do this, draw straight lines from the upper corners of the rectangle. At the end of the lines, add a few small segments for the fingers.

Step 5 In the area of ​​\u200b\u200bthe hands, we will draw a couple more lines.

Step 6 At this stage, we draw in more detail the legs of a person.

Step 7 Let's add ears on the head. To do this, draw small semicircles on the sides of the oval.

Step 8 We draw a hairstyle for our character. Here you can show imagination, so it is not necessary to follow the example.

Step 9 Let's add detailed details to the ears. We draw a pair of curls inside each ear.

Step 10 Now let's pay special attention to the face. Let's draw the eyes, eyebrows, nose and mouth. It's not hard at all if you look at the example. Therefore, a child or a beginner can easily draw a person's facial features with a pencil.

Step 11 Now we will draw a shirt. To do this, carefully look at the example and do the same. Don't forget to draw the neck and collar.

Step 12 Let's draw the palms and fingers on the hands.

Step 13 At this stage we will draw trousers and boots. Please note that the trousers have folds in the knee area. On the boots, do not forget to show the lacing.

Step 14 We only have a little left. We erase all the extra lines that we drew on early stages, circle the main kennel. After that, color the drawing with colored pencils.

Our drawing is ready. I hope so detailed step by step instructions helped the child draw a person in stages. Beginners shouldn't have any problems either.

If, nevertheless, any difficulties arose during the task, then the video lesson will clearly show how it was necessary to draw a person correctly with a pencil in stages. Watch and compare with your results

It is very difficult to talk about the proportions of the human figure, because each person is individual and differs in proportions from others. Moreover, there are significant age differences in the proportions of the human figure.

But still, you need to know some basic rules for drawing a person.

For a unit of measurement of the human body used to take the head. In young children, the head fits in the body 4 or 5 times. It all depends on the age and development of the child. To more accurately determine the proportions, it is necessary to use the sighting method.

In a teenager and a short adult, the head fits in the body 7 times.

On a vertical sheet of paper, draw an axis of symmetry with thin lines and divide this line into seven equal parts.

First determine where the belt and knees will be. With light lines, define the chest and outline the legs.

Please note that there are NO round holes at the junction of the arms with the body.

The arms are below the waist, the hands end just below the middle of the thighs (observe nature).

Elbows either on the line of the belt or slightly higher.

The length of the shoulder is usually equal to the size of the head laid on its side. When building, use the sighting method more often.
The line (4), passing through the hips, divides the human figure in half.

After finishing the construction with thin lines (without pressing, so that it is easier to erase with an eraser), the person must be dressed. Do not try to draw a person in a bathing suit or in a short dress the first time. Try to draw the pants and sweater first, hiding the details of the body. Pay attention to the proportions in the first work.

In an adult, the head in the body fits seven to eight times. If with the help of sighting you determined the number eight, then the figure above shows how the figure of a person is divided into equal parts in this case.

Please note that the middle of the figure is again determined by the line of the hips (4), and the elbows are at the waist or slightly higher.

11. DRAWING THE HUMAN FIGURE.

Sequence in pencil drawing.

(part 2).

On the previous pencil drawing lesson(part 1) we talked about the initial stages of drawing a human figure. drawing school Artintent offers you a continuation of the lessons of drawing nature.

DRAWING A FIGURE. DRAWING SEQUENCE.

The model was chosen and placed, appropriately illuminated, you examined it properly, “captured” it in your imagination, mentally drew it, as it were, did a series of exercises, that is, you were enriched with some knowledge, necessary for the artist Beginning to draw a human figure.

Now you need to draw it and draw it thoroughly, that is, bring your pencil drawing to completion, conveying the resemblance to the model in front of you, its movement, proportions, shape and character. The task is serious, a lot will have to be overcome in the drawing of such a complex object as the human figure. You can get confused, which often happens, especially for beginners to draw. Here, as in any business, order and consistency are required in the course of all work on the drawing.

This sequence is dictated by the basic setting in relation to the drawing, which contains both the nature of looking at nature and the attraction necessary knowledge and the ability to draw from start to finish. drawing school Artintent offers a simple principle: from the general - to the particular - then again to the general, that is, from the original general to the transfer of details and then again to the general, but already including the details and enriched by them.

Where do we start our drawing?
First of all, you need to take care of the layout of the figure in the format of the sheet of paper you took for drawing. Then you should determine the scale of the figure, its upper and lower points, and do not go out of the taken size, outlining all parts of the figure inside given size. This is very important point: you will learn, in this way, to constantly associate the scale of the drawing with the size of the paper or canvas.

After you have set the size and determined the location of the shape, you need to place it. The figure should not appear to be falling. To do this, pay attention to the position of the tracks in relation to the plane of the floor or podium and their position in relation to the entire mass of the figure. If the traces are marked incorrectly, then the whole figure cannot be drawn correctly - the legs will turn out to be one shorter than the other, and such a mistake made and not corrected from the very beginning will lead to a major alteration of the entire drawing. The position of the traces must be determined at the very initial stage of the drawing and certainly in their perspective reduction, of course, from your point of view.

In the first stage of your drawing (fig. 11) take the task of posing the figure, determining its height, proportions, location and begin to build it. With a light touch of a pencil, show the total mass of the figure. This notation should by no means look like soft doll. Knowing the backbone, already at the very beginning of the drawing, find the articulation of the figure, using its reference points, which will make it possible to see proportions and at the same time feel the connection of forms, their correspondence to the main movement of the model. Reference points are located on the figure as follows: jugular fossa (behind - the seventh cervical vertebra), pubic junction, upper edges of the iliac crest of the pelvic bones (two paired points). The length of the neck can be marked with paired dots lying on the axis of the auricles. In the construction of the head, it is most correct to be guided by the section line, more precisely by the plane passing through the sagittal suture of the parietal bones.

We find the proportions of the thigh and lower leg by noting the large trochanters of the femur, kneecaps, ankles, internal and external, calcaneus and fingertips.
The proportions of the arms are established by marking the heads of the humerus, the elbow and the lower heads of the ulna. In the hand, the reference points are the protruding bones of the joints and the ends of the fingers.
More reference points could be indicated, but at first, to cover the figure as a whole, we can limit ourselves to these (Fig. 15).

Starting drawing the total mass of the figure, you need to show the main line of construction, and for exact definition the trail of the supporting leg - the line of the center of gravity, taking it along the plumb line from the jugular fossa (you already know how to do this).

I would especially like to emphasize that at the first stage of drawing with a pencil, when the total mass of the entire figure is outlined, it is necessary at all costs to cultivate the ability to see the figure as a whole, that is, touching any place in the drawing with a pencil, do not lose sight of the whole nature and the whole drawing as a whole. When you look at nature, do not rest in one place, but lead your eyes from bottom to top and from top to bottom, “absorbing” the whole figure into yourself.

If at first this way of looking at nature seems difficult for beginners to draw, then in order to understand it, practice on a simpler object.

Our school recommends this exercise. On paper attached to the wall, draw a circle with a diameter of at least one and a half meters with a pencil and place a clearly visible dot in the center of it. Being at such a distance from the circle from which it is well, completely covered by the eye, try to see the circle, and not see the points in the center; then, looking at the point in the center, turn off the line of the circle from the field of view. Then look at the point in the center, but try to see the whole line of the circle at the same time - the whole circle. Do this experiment several times until you learn to control your vision - the ability to look at nature. Then you will understand how it is possible, looking at the detail and drawing it, to see at the same time the whole figure.

Make it a rule to mark all paired parts at the same time, determining their size, distance and direction. And from the very beginning of the drawing, perceive nature as a form that has three dimensions and is located in space. It must be remembered that the line and spot (when you move on to hatching) are only means of conveying a living form.

At the initial stage of drawing with a pencil, without leaving the given size, you began to draw the total mass of the figure, found the place for the traces, placed the figure and, guided by the reference points, outlined its proportions.

After that, be sure to carefully check the drawing. Now it is possible to compare what has arisen on paper with nature. So, a look at nature, then at the drawing. Look critically, strictly, as if you are checking not your own, but someone else's drawing.
Especially carefully check the setting of the figure and, before it's too late, make the necessary changes right now.
And then you can continue drawing (Fig. 12). Start to refine the proportions, focusing on the reference points of the skeleton. At this stage, a few more points can be added to these points: nipples, navel, abdominal folds and, when drawing a figure from the back, gluteal muscles. When specifying the proportions, you can use the ancient canon or the canon of Michelangelo, taking into account, of course, your sitter's deviations from it.

The division of the figure of the ancient canon provides for the following order:
1 - head;
2 - from the chin to the line of the nipples;
3 - from the nipples to the navel;
4 - from the navel to the pubic junction;
5 - from the pubic joint to the middle of the thigh;
6 - from the middle of the thigh to the bottom of the knee;
7 - from the bottom of the knee to the bottom of the calf muscle;
8 - from the lower part of the calf muscle to the sole.

In this case, the head is taken as the unit of measurement of the figure, which fits eight times along the height of the figure, and the division male figure into two almost equal parts will be at the level of the pubic junction. As you can see, some places of dividing the figure coincide with the reference points of its construction (Fig. 16).

Here it would be appropriate to talk about the possibility of accurately checking the proportions, but only as a method of control, since it is necessary to develop the eye, by all means. In the Artintent drawing school, proportions are checked by a “natural” scale, from the point of drawing distance from nature. If the sculptor, while sculpting a figure, can, approaching the sitter, measure the proportions with a compass, then the painter can, without leaving his place, take the exact size of the figure, but already on a scale dictated by the distance of your drawing from nature. Holding in outstretched hand pencil, mark the parts of the figure and accurately set them aside in the margins of the drawing or on a separate piece of paper, where as a result there is an outline of the proportions of the entire figure “in full size”, but from your place. This value will be less than the intended size of the figure in your drawing (if you are at a distance of at least two or three of her height from the model). By scaling up the natural scale appropriately for the size of your drawing, you can accurately check the proportions. But since this method will have a mechanical character, it can be used only for the purpose of checking what first of all and always should be done by eye.

Continuing drawing, gradually move on to the parts of the figure and start working on the details, not forgetting to refer all parts to the general. Here you will have to meet with one phenomenon, which may turn out to be a kind of brake, a delay in work. It is possible that after determining the general appearance of the figure, you will be overcome by timidity or satisfaction with what has been done, or a conscious unwillingness to destroy the general that has been outlined in the drawing in the "freshness" characteristic of the initial sketch. There appears to be a threshold, but it must be crossed. To linger on the drawing of the general, to linger artificially in no way. It must be remembered that if the general dictates the size and location of the detail, then the detail also helps to clarify the general. Everything is interconnected.
“The particular is eternally subject to the general; the general must always conform to the particular,” as Goethe said.

Don't be afraid to get into the details. It’s not scary if the general you received is lost in the drawing for some time, variegation will appear. This is natural in the period of learning to draw. This is, so to speak, growing pains, and it will pass as you gain experience, in this case - in the drawing of the figure. Then you will learn to generalize, it would be something to generalize. In the further development of the drawing, refining the shape of the figure from large to small, it is necessary to pay special attention to the axes of the various parts of the figure. For example, let's take the sitter's supporting leg. Its general direction from the skewer to the sole of the footprint will be as in Fig. 17. But this direction will not be a common axis for all parts of the leg. Take a closer look, and then you will see that the axes of the parts of the leg, although they will be connected with its general direction, will retain their position characteristic of each part. The thigh has its own axis, the knee will have its own axis, and the lower leg, and the foot will have its own axis, and each finger will have its own axis. And so it will be for all parts of the figure. To convey this diversity of axes and directions within the unity of the general means to draw even closer in drawing to the transmission of a living form.

And at this stage of the lesson, it is necessary to draw with light lines, avoiding pressure and blackness in the drawing. This will make it easier to see errors and fix them more easily.
In the general course of work on drawing a figure with a pencil, it gets very serious question about hatching (shading), about modeling the form by means of a spot, or, as they say, by means of a tone.

True, drawing a figure with a pencil can be done with one line without shading (hatching), and in the hands of an experienced and talented master, the relief of the figure (its shape) will also be expressed by a line. We know a lot of such drawings, we admire their freshness and ease of execution. But after all, these are drawings by masters who have studied nature a lot and constantly, who have gone through the school of drawing, who have understood the form, as a result of which only such an easy transfer of the figure in the drawing with mean lines is possible. It should not be forgotten that this expressive line in the drawings of the masters could appear only as a result of a correctly seen, studied and understood form, its creative generalization, characteristic of the individual character of each talent. Sometimes we also learn how to make such drawings. There is reliable information that V. A. Serov for the drawings for the fables of I. A. Krylov made very detailed, detailed drawings of animals from life, and then, transferring them with the help of tracing paper to new sheets, discarded the “extra”, reaching, thus way, captivating expressiveness by extremely minimal means.

But at the beginning of educational drawing for beginners, the solution of such a problem will be premature and unbearable. Therefore, study and convey the form by means of both lines and hatching. But at the same time, it should be noted that hatching is inseparable from the line in the figure.
You can not draw a finished outline first, and then shade it. As soon as the staging, proportions and construction of the figure are determined in your drawing, start introducing hatching (shading) along the way - let the line and tone unite together and lead the drawing along the path of approaching the transfer of the live form and character of the model. But the light, semitone, shadow and reflex that we see in nature are not shapeless spots; they are inextricably linked with plans, facets of form. Therefore, when laying them and shading them, it is necessary, if I may say so, to draw with hatching, that is, to sculpt a form, as if chasing it.
The Artintent drawing school uses a similar technique, which aims to develop three-dimensional vision, and will force you to look not at the lines between which this or that form is enclosed, but “keep in the eye” the entire form.

In the transition to the modeling of the form, students and beginners usually meet with two erroneous positions.

First, when drawing on the plane of the sheet, they forget about the need to destroy this plane and draw a figure in space. As a result, it turns out that this is a bas-relief of a figure glued to the surface of the sheet, and the shapes of the figure do not continue deep into the sheet. This happens because, without cultivating a three-dimensional vision (the importance of which has already been repeatedly mentioned), the student sketches, transfers to paper visible spots of light, halftones and shadows within the plane of the facade of the figure facing him. As a result, the figure "sticks" to the paper. The point here is not that the ratios of light, semitone and shadow can be taken incorrectly. The main mistake is, as mentioned above, in the inability to correctly imagine the form in space, in the first place, and from the inability to associate this form with the background in the drawing itself. The second serious mistake is that, when modeling the shapes of a figure, a beginner to draw, having studied them insufficiently, gives them an unnecessarily rounded appearance. The shape is obtained as if turned on a lathe.

Therefore, while modeling the form, examining it carefully and reinforcing this work with knowledge of the anatomical structure of the form, look and mark in the drawing its plans facing you under different angles(in relation to your point of view).
The edges of these plans - the "faces" of the form - must be drawn, marking, without losing sight of them during the entire time of work on the drawing, until its completion.

When we say in drawing lessons that all forms of a figure can be reduced to the simplest forms, this does not mean that the head needs to be modeled like a ball, a hand, like a cylinder, etc. The head has certain edges due to its structure (you already you know), also the hand, and any other part of the figure. These are edges softened, but still edges, plans facing differently, located in different directions. If you imagine one or another part of the figure, say, an arm or a leg in its cross section, then their "facetedness" will be quite obvious.
Let's say you start drawing the torso of a figure and gradually refine its modeling. At first glance, the torso seems to have no edges; but start going around the figure, and you will see that part of the torso will belong to the front facade of the figure, the other part will turn to the side, forming side surface, some part belongs to the rear facade of the figure, etc. And somewhere, after all, there will be boundaries of these transitions, as if the edges of the faces (plans) of the torso, facing in different directions. (In drawing lessons in our drawing school, we strongly recommend that you consider, bypassing, nature completely.) So, when outlining the torso from a certain place, you need to draw these plans - faces - immediately, starting with large, basic ones, and do not lose them during detailed modeling out of sight.

In one drawing by Durer, made undoubtedly for explanatory purposes, we see that the torso in its upper part is, as it were, enclosed in the contours of a “box” with a clear designation of its faces (Fig. 18).

Look carefully at the fingers of the hand, and it will be clear to you that each finger has edges, sometimes softened, indistinctly expressed, but still edges, and it will be illiterate to model fingers as cylinders.
And so - you need to learn how to draw each shape from large to small.

To see the facets of a form, its plans - this is, in essence, to see the form, volume, and the line of "margin" from a certain point will be nothing more than a greatly reduced facet of the form.
If the faceted form is transferred, its plans are drawn, your drawing will look somewhat angular at some point. Then, from drawing to drawing, you will find a measure of this "angularity", its different degrees in the transfer various forms, learn to see and convey a variety of forms that enrich the general, which must be preserved at the end of the drawing.
Advancing the work along the path of further refinement of the drawing and detailed working out of the form, it is necessary to make it a rule to constantly check the drawing as a whole and at all moments of its execution. It is impossible to think that, having done one or another drawing lesson, one can consider the teaching of drawing complete, correctly solved, and not return to clarifying it.

The setting of the figure, which was determined at the very beginning, should be checked until the end of the drawing; in the same way, proportions, and the movement of the figure, etc.
Drawing details and detailed characteristics form is inconceivable without their connection with the figure as a whole, and should contribute to a more faithful transfer of exactly the integral, common in the whole figure: in the set pose, its movement, its character. Therefore, the noticed errors must be corrected in the process of all work on the drawing. The task of drawing is not to “make” a drawing, but to learn, through constant comparison made with nature, to see mistakes and be able to correct them, thus acquiring the opportunity to move on and improve your skills from drawing to drawing. .

Approaching the end of the drawing, you will need to pay special attention to the moment of transferring the general, but the general, enriched with a number of details characteristic of the human figure, that is, your drawing, as it were, enters the last stage of drawing. And this stage will be the necessary generalization, which presupposes natural harmony, the artistic coherence of all the particulars in the drawing of the figure, as it is in nature itself. Let's say that plans of light, semitones, shadows, reflexes appeared in your drawing, with which you sculpt a form. Perhaps, variegation, fragmentation of the form appeared, and this will cause you a feeling of anxiety. For example: you are modeling the torso of a figure, passed pectoral muscles, drew depressions at the ends of the chest, marked the protruding ribs, abdominal muscles. You tried very hard to draw it carefully, and compared each of these details with the general one, but it turned out motley. But in nature there is no such variegation, everything is in place. Here it is necessary, moving away from the drawing, to quickly look from drawing to model, then from model to drawing. And you will see: something in the drawing was not reached, something was intercepted. Or maybe some places “jump out” of the drawing, some, on the contrary, “failed” - which means you should check if the shape of the torso has been disturbed. It is necessary to pay attention to this and to eliminate the noticed variegation; where it is necessary to strengthen something, weaken something or correct the size and direction of the plans of some forms.

So, you need to see the whole picture. Checking will help in conveying the general tone of the picture, in its tonal scale (in this case, the tonal scale is taken in relation to the conditional background of a sheet of white paper). Finishing drawing, trying not to lose sight of the transfer of the integrity of the figure, you need to remember the connection of forms, their subordination to the main movement of the figure in this setting.

The following drawing lessons will be devoted to the subordination of the details of the figure to its main movement.
But we consider it necessary to pay attention to this important point right now, since it must be taken into account when transferring a figure in any, the simplest pose.
It is quite possible that some of the parts of the figure will look as if isolated in the figure, their connection with each other may escape your view, the internal rhythm, which is palpable in the movement of a living figure, will be disturbed. Indeed, in the human figure, with a variety of parts, everything is imbued with unity, while in our drawing there may be diversity, but without unity. So, at some point, the sense of the common was lost. And this is quite natural at the beginning of learning to draw, since you need to work a lot, draw, and most importantly, take care of yourself all the time, control yourself throughout the entire execution of the drawing, so that the details are worked out and at the same time the general is not destroyed. Mistakes in this regard must be corrected immediately, and especially at the end of the drawing, when the question arises of a generalized, harmonious drawing. Then you need to strictly, without pity for your work, compare the drawing with nature and, without blurring the details, include them in the general rhythm of the movement of the human figure.

During the period of completion of the drawing, when the drawing from a number of moments seems to be assembled into a single whole, attention should be paid to the possibility of a more accurate expression of the shape of the figure. This applies to drawing any objects. And it is better if the understanding of what will be discussed is already learned on simpler subjects (see the above pencil drawing lessons). And again this is connected with the way of looking at nature. You already know that a figure is perceived as an object in space, and its outer contour will be obtained as a result of the correct transfer of the form, that is, the reduced plan, the edge of the form, will be its “outskirts”.
Consequently, considering a figure as a collection of various forms, we see not lines, but forms located at different distances from us, as if entering one into another. This is due to the anatomical structure of the figure and its position in relation to the point of view of the painter (anatomy and perspective). drawing school Artintent conducts a cycle of classes on perspective, where issues with perspective contractions of nature are dealt with in detail.
Therefore, approaching the refinement of the external contour in the drawing based on the study of the form, pay attention to how one form enters another, some form is closer to us, the next one is further away, some turned this way, others turned differently - everything lives, shimmers, and we feel the beauty of the plasticity of a living organism. In any case, they should feel (Fig. 19).

You need to learn to see this and draw, reinforcing what you see with knowledge of anatomy. Then in your drawing (of course, not immediately) a correct understanding of the external contour will appear, it will become alive, somewhere almost imperceptible, somewhere more clear, the contour will not be indifferently the same line that outlines the boundaries of the form.

In the drawing lessons in our drawing school, the following phenomenon was noticed. In an effort to approach the transfer of the unity of the diverse forms of figures in the drawing, novice artists, solving the problem of detailed modeling of forms, lose sight of the fact that in terms of mass they are different forms, and should be modeled differently. Beginners in drawing have a tendency to look at everything with the same care and cut everything with the same care. Meanwhile, to look carefully means to see and convey the contrast of various forms. For example, the thigh cannot be modeled in the same way as the knee joint, the foot must be worked out differently than the lower leg; hip like big shape will require a freer wide molding; the foot as a form with a number of small detailed articulations should be worked out more dryly, in small plans.
A variety of modeling of figure forms that differ in the nature of their device, while maintaining the unity of the whole, will also contribute to the appearance in the drawing of vital and truthful features of living nature.
The whole course of work on the drawing of a figure, both naked and dressed: staging, proportions, construction, modeling of form, and so on, does not mean at all that the drawing should not take care of conveying the character of the model and its similarity. You can't draw any shape at all. Each time we have before us a living person with characteristic features inherent in him and only him, as already mentioned earlier. Therefore, the desire to convey in the drawing the similarity with the model, to convey characteristics it is this model that should be the concern of the novice artist from start to finish. Finishing drawing, you definitely need to see if this similarity has been lost, if some figure has turned out in the drawing at all, to check what caused the loss of similarity, why the character traits of a person have been lost. And, if something can be corrected, it must be done.

Such a reservation: "if possible" - is given because it will be difficult at first to solve a number of problems equally successfully in one drawing, and for a beginner to draw a figure, perhaps, very difficult. Therefore, whether you will draw in a group or alone, draw up a specific program, drawing courses with a sequence of performances, including a number of auxiliary, short-term drawings that will help strengthen your understanding and ability to solve certain problems associated with drawing the entire figure. . So, for example, a row quick drawings can be devoted to the staging of the figure, that is, the emphasis should be on the transfer of the staging. You can also make a series of drawings to practice conveying proportions. This kind of auxiliary drawings, in which attention is focused on certain moments of drawing, on individual terms from total amount tasks of figure drawing as a whole, will provide significant assistance in maintaining a long-term drawing, where the experience gained in auxiliary tasks will be transferred. Of course, these exercises should go along, in parallel with long lessons in drawing nature.
It is very important that classes pencil drawing carried out systematically, preferably daily. And how good it would be if the constant desire to draw from nature accompanied the artist’s entire life, no matter what area visual arts he did not choose himself.
When compiling a program for yourself according to a drawing, break it into several sections, in which you will enter a more detailed list of productions.

drawing school Artintent conducts the following classes in the program for the figure drawing course:
1. Drawing lessons - Standing figure.
2. Drawing lessons - A figure in strong movement.
3. Drawing lessons - Seated figure.
4. Drawing lessons - Figure in perspective.
5. Drawing lessons - A group of two figures.

Each of these sections can include several productions. Let's say, in the "Standing figure" section, the first setting will be a figure in a classical pose with an emphasis on one leg. The next setting can be complicated by introducing an additional point of support, then put the model in a simple movement, etc. So you need to diversify the settings in each section of the program on the indispensable condition that the poses will be natural, plastic, as already mentioned above and what you would like especially emphasize.

The backgrounds of the productions can also be different; if in the first exercises it is better to use a light neutral background, then in the following settings the background can be taken in relation to the figure as darker; it is interesting to use drapery and, finally, to put the model in space against the background of the room. With all the variety of productions, you need to remember that the figure of a person will be the main thing here, and you need to focus all your attention on it, and highlight it with all the means at your disposal: lighting, draperies, background.

can lead big number educational productions different times and schools, drawings, diverse in nature and tasks. Many of them have been published in relevant publications. Some of the educational drawings made by artists who later became outstanding are on display. art galleries and museums.

After drawing from the sitter in a simple classical pose with an emphasis on one leg, the staging can be somewhat complicated, approximately as can be seen in the drawings of A. A. Ivanov.

On one of them, a figure with a slight turn of the torso (Fig. 20), on the other, it slightly leans with a bent arm on a stand (Fig. 21),

in the drawing by A.P. Losenko, both hands of the sitter lie on a stand, one leg holds the entire weight of the torso (Fig. 22).

I. E. Repin in "The Model with a Sword" saw and conveyed the connection of forms associated with the nature of the main movement of the whole figure (Fig. 23).

The methods of execution of these drawings are different. A. A. Ivanov models forms with strokes; at A.P. Losenko - mean, but energetic modeling; drawing by I. E. Repin is distinguished by soft modeling. The connection between the figure and the background is also solved in different ways. In two drawings by A. A. Ivanov: “Young sitter with a stick in his outstretched right hand” and “Young sitter with a raised right hand and a stick in the left” — the background is dark. In A.P. Losenko, the background is touched only in places. In the drawing “The Model with a Sword” by I. E. Repin, the figures are “tied” to the background of the paper.

In conclusion, I would like to say once again that the ability to draw human figures with a pencil is acquired only in the process of studying nature. The Artintent School of Drawing constantly follows this principle in the drawing curriculum.

Proportions of the human figure have been of interest to artists, philosophers and educators for the past 20 centuries or more. The Roman architect Vitruvius wrote at the beginning of the 1st century AD: “Nature so well put together the human figure that the face, from the chin to the roots of the hair, is a tenth of the whole body.” He also argued that the navel is the center of the body, so a circle drawn around this point would touch the outstretched fingers and toes of a person lying on his back. This theory was illustrated in famous drawing by Leonardo da Vinci below.

Unfortunately, theory only works in practice. if the arms are at a very specific angle. However, it can be seen that when the arms are stretched out to the sides, the distance between the tips of the fingers is about the same as between the crown of the head and the soles of the feet. This useful rule when determining arm length.

During the Renaissance, human anatomy became the subject of detailed study, and artists became involved in the search for meaningful mathematical relationships between sizes different parts body. Comprehensive approaches have been devised to determine " perfect figure". Since then, hundreds of such approaches have been developed using various parts of the body as units of measurement, including the head, face, legs, forearms, forefinger, nose, spine and so on. But since no one approach was universal, because one cannot deny the obvious fact that all people are different, these approaches are of interest only to the classics. Accepted ideal proportions figures Also are changing from one generation to another. Therefore, we must generally resort to observing a wide range of sizes and shapes of people that we see around us.

For our purposes, however, it is useful to study the figure of medium size, as this gives us a base on which to build proportions.

The most common method— the use of head height as a unit of measurement for relative measurements of various parts of the body. The average figure is seven heads, but a range between six and eight heads is also considered normal. In fact, most often in drawing guides, the "ideal" figure is depicted eight heads high- mostly, I suspect, because then you can divide the body vertically into eight convenient parts: chin, nipples, navel, crotch, mid-thigh, knees, calves and feet, which makes life easier for the instructor!

However, rules are there to be broken! We can admire the wonderful achievements of Roman architects and renaissance painters/mathematicians, all of whom should offer us a handy check of proportions, but it would be foolish to limit ourselves to this method.

Proportions of children

When drawing children, you will find that head occupies much a large share from all height. The head of a newborn baby is about a quarter of the total height, and the length of the legs is much less. But as the child grows, the legs increase in length much more than other parts of the body in relation to the total height of the body, so that the head becomes proportionately smaller.

Subcutaneous fat distribution

In childhood, male and female forms bodies are very similar. The shape of the average body of an adult male is mainly dictated by size. muscle mass, while the figure average woman depends mainly on the size of the fat masses. When girls reach puberty, there is an increase in fat deposits in very specific places to give roundness to the breasts and hips of an adult woman.

Below are illustrations of where it is deposited subcutaneous fat in woman and man. Both sexes have reserves high on the back between the shoulder blades, which are manifested by the obese people of both sexes with hunched shoulders and a short neck. However, other places where fat accumulates differ between the sexes. Overweight men are more characteristic of the waist than the hips. excess fat in men stored above the hip bone on the back on either side of the spine and on the upper abdomen. overweight women, on the contrary, as a rule, they gain more at the hips than at the waist. Their main fat storage sites are the lower abdomen, buttocks and thighs, as well as the chest and back between the shoulder blades, just like in men.

The distribution of fat in a woman

Proportions of the elderly

In old age flexor muscles, usually, are shrinking, become shorter. It makes the body bent when it is in its normal standing position. The shoulders are rounded, in the thoracic spine its natural curve increases and the neck pushes the face forward. Even when the body is relaxed, the arms and legs remain slightly bent.

Skin and subcutaneous fat become thinner and muscles contract. Elbow joints and wrists appear larger, and veins may become prominent and protrude from under the skin. All body fat on the body and face become softer and tend to sag at the elbows and under the chin.

From the next lesson we move on to human drawing practice.

Hope you enjoyed this tutorial! Leave your comments and remarks about the course.

The following materials were used in the article:
- Ron Tiner "Figure Drawing without a model";
- Loomis E. Nude. Drawing guide.

This method is by no means the best, much less the fastest, but from the point of view of most artists, it is correct. He slowly but surely helps to draw a person with a pencil in stages.
At the end of the article you can watch video About,
This method of drawing is aimed at stimulating the imagination and forming an idea of ​​the human body in three-dimensional space, well suited for beginners and for people who are assiduous and patient.
Almost all novice draftsmen start drawing a human figure from the head, thereby making a gross mistake. And they are very surprised when, as a result, it turns out that there is absolutely no room left for the feet on paper - this method will save you from such unpleasant situation.

Consider the ideal proportions of the human body:

So head in people tall fits along the length of the body 8 times, in people of average height - 7.5 times, in people of short stature - 6-7 times.
Head fits in body length 2.5 times, in the length of the legs - 3-4 times.
Stretched along the body hand should touch mid-thigh.
Shoulder width in an adult male is usually two head lengths and more hip width.
Thigh length corresponds leg length with foot, A lower leg - two lengths of the foot.
The female figure, unlike the male one, has a lower average height and shorter limbs.
hip width women usually have more shoulder width.
The head of a woman is relatively and absolutely smaller than that of a man.

Schematic representation of a person:

A song from the cartoon "Octopussy": "Stick, stick, cucumber, it turned out a little man ..." every child knows!
And do not underestimate this phrase.
Schematic little men display very important characteristic- proportions of body parts. And in order to avoid logical discord in our wand-shaped men, it is necessary to observe the so-called "artistic canon".
Now let's take a closer look at our sketchy little men:

Schematic Man #1
Everyone has drawn such a little man at least once in their life.
This is the so-called basic man.
But there isn't much you can do about it.
Unless you practice keeping the proportions of the head, torso, arms and legs.


Schematic Man #2
Here, the proportions of the forearm, thigh, lower leg and foot are additionally outlined.


Schematic man #3
The perfect wand man!
I'm sure you've hardly seen any child draw a little man in this way.
The shoulders and pelvis of this figure already have a certain width.

Exercise:
In order to understand how accurately you keep proportions in your work, draw a few schematic people.
Thus, simply and quickly, without being distracted by details (clothing, hair, etc.), you can evaluate how well you know the proportions of the human body.
In addition, you can immediately determine whether the figure will fit on the sheet.

I think now you understand how important it is to master the proportions. And what an important role in future picture playing sketchy men.

Human posture:

It's time to revive and make our hero do something. So before you start working on a character, with the help of schematic drawings, you can try many poses and choose one.
Below are some examples of schematic people in action.

The picture shows a person walking.
Pay attention to the movement of the hip joints. As a rule, the shoulders move in the opposite direction.

The person lies on his side with support on one arm. Thus, rib cage"hangs" on the shoulder and the spine, bending, draws a curved line.

In order to draw human body it is necessary to know the features of its structure.

The skeleton is the foundation

head
rib cage
spine
pelvis
joints
hands
brushes
legs
feet

Notice the curvature of the spine
(to make it better visible, we will not draw a hand).

The skeleton can be drawn in a simplified form:

Having an idea about the structural features of the skeleton, moving on to muscle and/or fat , if we get lucky…).
To display body parts, we will use all kinds of shapes: cylinders, ellipses, etc.

Now you can visually evaluate

The whole process from sketching (creating a schematic man) to volumetric drawing based on a schematic drawing:

Also, this method will help you work with the details. For example, in drawing the hands and feet:

That's all!
main idea of this lesson - for drawing it is important right foundation.
And to achieve this goal, it is necessary to discard all unnecessary and present it in a schematic form.
And schematic little men will help you with this!
The main advantage of this method is that you can easily and quickly try on many poses for your character.
Choose the most suitable pose and already at the first stage decide on the composition.
This article is suitable for those who want to learn how to draw a person in full height or in general how to draw with a pencil step by step
Thank you for your attention.