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- C H A P T E R 8
Figure 8.1 A live model could not hold this pose for more than a fraction of a second.
- ✎
Dynamic Figure Drawing
F
igure Artist brings a whole new dimension to posing a figure that
would be nearly impossible in real life. With Figure Artist, the ability
to catch an action pose is limitless. In real-life situations, about the best
an artist can do is ask the model to perform an action and then try to capture
the action with a camera, which is a haphazard approach at best. Figure 8.1
shows a pose taken from a model in Figure Artist that would be impossible
for a live model to hold for more than a fraction of a second.
This chapter deals with creating dynamic figure poses that would not be pos-
sible with live models. My hope is that it will help you to unlock a world of
possibilities that goes beyond those available in a life-drawing situation.
Limitations of a Live Model
Although a live model is always the preferred situation for drawing the figure,
there are limitations to what you can have a model do. Live models are humans
who live in a real world. They get tired. Even a relaxed pose can’t be held indefi-
nitely. The following are just a few limitations you will find when posing a live
model:
✎ Gravity affects everything in life, including a model, causing
fatigue. Some poses are easier to hold than others for long
periods of time. Out of respect and compassion for the live
model, most figure-drawing situations tend to be poses that
the model can hold without a great deal of difficulty. Dynamic
poses are often short, giving the artist little time to fully
develop the figure.
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- Figure Drawing with Virtual Models
✎ Some poses, such as floor. I guess it would ✎ Models are people, and
running or jumping, be possible to put the because they are peo-
can’t be held at all model on an overhead ple, they come in a
because they happen in glass platform, but I variety of shapes and
the air. Again, gravity is haven’t seen too many sizes. You might not be
the problem. I guess if of those. able to find just the
there were a life-mod- ✎ Time is also a limitation right person for your
eling class on the space for live models. Not drawings. In addition,
station the model could only is there the prob- the person you find
hold an action pose, lem of fatigue men- might not be able to
but until artists can tioned a moment ago, perform the required
work in the weightless- but there is also the poses because of lack
ness of space, a live fact that models can’t of training or ability.
model can only hold a always be around For example, you
pose when planted on when you want them. might want to have
the ground. Even rig- They have lives of their someone pose for a
ging a harness to sus- own, so drawing time graceful ballet pose,
pend the model doesn’t has to be scheduled but you might not be
work very well because well in advance. Thus, able to locate a quali-
of the distortions and if you have a great idea fied model in your
view obstructions the for a drawing, you area.
harness causes. might have to wait ✎ A living person will
✎ Viewing the live model before you can pose a tend to move even if it
is usually limited to a model. is only a little bit.
range near eye level. ✎ Another limitation of a Holding a pose is hard,
Not often can an artist live model is the fact and often the model
view the model from that there is usually an will shift or lean a little
directly above because expense involved in while posing. When the
most studios or classes hiring the model. Few model takes a break
are not equipped with models work for free. and then tries to reas-
catwalks or other over- Modeling is work, and sume a pose, he or she
head platforms for the models deserve to will never be in exactly
drawing. Likewise, be paid for the time the same pose as
drawing from directly and effort involved in before.
below the figure is modeling for artists.
impossible because of
a thing we call the
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- Dynamic Figure Drawing
Figure Artist does not solve every year later and load the pose, it will needs it as reference. What is
limitation of live models, but it be exactly the same. more, the artist can adjust the pose
does go a long way toward solving as needed to fine-tune the action.
many problems. A model in Figure Figure 8.2 shows a pose of a char- Figure 8.3 shows another such
Artist can hold a pose indefinitely, acter in the act of jumping in the pose.
no matter how difficult the pose. air. This is a good example of a
Holding a pose indefinitely is a pose that could not be held by a You can see from these examples
great advantage because the artist live model, but can be held by a that dynamics of figure movement
can study the figure in detail. virtual model. that go beyond the sedate, static
What’s more, when a model from poses of the life-drawing class are
The virtual model can hold this now available to the artist through
Figure Artist is posed, it doesn’t
action pose for as long as the artist Figure Artist.
move at all. If you come back a
Figure 8.2 The virtual model can hold a pose indefi- Figure 8.3 This is an example of an action pose.
nitely.
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- Figure Drawing with Virtual Models
Posing the exaggeration is okay when posing
dynamic figures, but overdoing it
action. These art forms have con-
sistently pushed the human figure
Dynamic Figure might push your drawing from into more and more extreme move-
dynamic to grotesque. To create a ment to add drama and suspense
Dynamic figure poses are different good dynamic pose, you need to to art. Take a look at the three fig-
from other poses in that they push push the limits of human move- ure poses shown in Figure 8.4.
the envelope of human movement. ment, but not break them.
In other words, dynamic figure You can see from these pictures
poses are at the extremes of the For years comic book artists and that the beginning and end of an
motion that the human body is animators have known that the action are more dynamic than the
capable of performing. extremes of movement are the pose that is partway through the
most dynamic depictions of human punch.
Extreme
Movement
Dynamic figure posing really has
two main components that the
artist needs to work with to be suc-
cessful. The first is exploring the
extremes of human motion with-
out going beyond the physical
restraints of the body. The second
is establishing a strong action line
that conveys a consistent momen-
tum within the figure.
The joints of the body have natural
limits to movement. The arm, for
example, only bends at the elbow
in one direction. Contortionists
may defy the natural limitations of Figure 8.4 The beginning or end of an action holds the most dynamic
the human body, but drawing a pose.
limb that is pushed way beyond its
natural limits will often result in a
drawing that looks odd or disturb-
ing rather than dynamic. Some
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- Dynamic Figure Drawing
The Action Line All good dynamic poses start with You don’t necessarily have to draw
a good dynamic action line. The the action line first, but you do
Now let’s take this example even action line is the unifying element need to see it in the pose of your
further and push the dynamics a that ties the figure to a consistent figure. A good way to work with
little. Take a look at Figure 8.5 and motion. A good, strong action line the virtual models in Figure Artist
notice how making the action will give a figure a sense of finesse is to create the pose and then draw
extreme increases the feeling of and grace. Try to think of the fig- an action line over the model, like
drama and power. ure as a single line. Look at the line the lines drawn over the model in
to see whether it conveys the Figure 8.6. You should be able to
If you remember from Chapter 5, a
dynamic quality that you want to see readily whether your model has
pose that has a strong action line is
have in your drawing. If the under- a strong action line. If it does not,
more dynamic than one that does-
lying action line does not express a you can then work on the pose
n’t. Figure 8.6 shows the action
strong sense of dynamic motion, some more to get a better line.
lines superimposed over the figure
the overlaying figure won’t either.
pose. Even the lines seem dynamic.
Figure 8.5 This punch seems more dramatic. Figure 8.6 The action lines seem dynamic.
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- Figure Drawing with Virtual Models
After you have a strong action line,
drawing the dynamic figure
becomes easier. Figure 8.7 shows a
drawing of the figure from the
action pose.
Figure Artist comes with a number
of poses for both the male and
female models. These poses range
from relaxed, mundane actions to
dynamic comic book–style poses.
To help you learn how to increase
the drama in your own poses, I
suggest that you load a few of the
poses and adjust them. See
whether you can make the poses
more dynamic. Work on the action
lines and see whether you can cre-
ate some expressive dynamic poses
for your drawing from the poses
that come with the software.
Figure 8.7 After establishing the action line, the figure is
then drawn.
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- Dynamic Figure Drawing
Posing Multiple
Figures
Posing one figure is a challenge,
but often the artist will want more
than a single figure in the drawing.
Sometimes multiple figures can
cause problems for the artist
because they have to be drawn in
relation to each other.
You can set up scenes with live
models to have multiple figures,
but two models usually cost twice
as much as one model. With
Figure Artist you can add as many
figures as you like, and they don’t
cost any more than the purchase
price of the software.
Let’s take a look at the punch pose
again. What good is a punch if it
doesn’t actually hit anything?
Figure 8.8 shows a virtual model Figure 8.8 This punch landed.
punching and another virtual
model getting punched.
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- Figure Drawing with Virtual Models
A great advantage of Figure Artist Now let’s try a more dynamic pose
is that the models are to scale, NOTE for our two models. Instead of the
which helps to keep the figures in light tap that our models used, let’s
your scenes in scale with each These poses are other exam- see some real action and reaction.
other. The perspective in Figure ples of poses that would be Take a look at Figure 8.9. One of
Artist is automatic. difficult to achieve in a live our virtual models has just finished
modeling session. Not too a powerful punch, and the other
many models will be willing model is feeling the effect.
to have their jaw dislocated
Are you starting to see how moving
just so the artist can get a
a pose to the extreme of its motion
good look at a fight scene.
enhances the action in the pose?
However, the virtual model
doesn’t really feel pain, so you
can beat him up as much as
you like, and he will still
come back for more.
Figure 8.9 Now that is a powerful punch.
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- Dynamic Figure Drawing
Moving the Point becomes very evident in pictures in become more dramatic. This view
which there are two or more char- of the scene has a lot more drama
of View acters. than the one shown in Figure 8.9,
Not only can the pose be dynamic, without changing the poses of
A view in Figure Artist is associated either model.
but the view can be as well. A
with a camera. By moving the cam-
static view from the side, such as
era, you are moving your point of You should never accept the first
the one shown in Figure 8.8, might
view. Take a look at Figure 8.10. view you come up with of a scene.
not always be the best view of
The only thing that has changed is Always explore different angles to
dynamic action. Although the
your point of view. see whether you might find a bet-
action lines may be strong, the pic-
ter view. Figure 8.11 shows the
ture can look less dramatic because In Figure 8.10, the action is head- scene from the back of the punch-
it is viewed from a perpendicular ing more toward us, making the ing model. Although it has the
angle. Poses tend to look more picture more dramatic. Notice that same (if not stronger) diagonal
dynamic if the view is at an angle as you turn the scene, the figures lines as Figure 8.10, it doesn’t have
other than a flat view of the action. start to overlap each other. The as much drama because the action
Although it is not as noticeable in diagonal lines in the scene also is going away from the viewer.
single-character pictures, this
Figure 8.10 Change your point of view to increase Figure 8.11 Receding action is not as dramatic as
drama. approaching action.
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- Figure Drawing with Virtual Models
Figure Artist has no restrictions as Moving your models around can environment. A pose that might
to the angles from which you can give you a better view, and it can look right from one angle often
view your poses. You can even also give you an opportunity to doesn’t look as good from another
become creative and view the view your pose from other angles unless you pose your model and
action from a sky shot, as shown in to see whether it looks right. The look at it from multiple angles.
Figure 8.12, or you can look at the virtual models simulate a real 3D
action from below, as shown in
Figure 8.13.
Figure 8.12 You can view the scene from up top. Figure 8.13 You can also view the scene from down
below.
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- Dynamic Figure Drawing
Posing with act. These objects are by no means
a complete set of objects for any-
Objects thing you might want to do, but
they do form a basic set of shapes
When you are drawing figures, you that you can use. For example,
might want to also add some Figure 8.14 is using a box object
objects. Figure Artist has a number from the available objects as a prop
of simple objects with which you with the figures.
can have your virtual models inter-
Figure 8.14 Props can also be added to scenes.
167
- Figure Drawing with Virtual Models
The view of the scene is kind of they can strain at something as pushing and pulling a heavy
static because it is taken from the hard as you like without ever get- object. The hunched stances and
side, but you should be able to see ting tired. If these guys were real off-balanced positions of the three
how adding a prop can help with models, fatigue would cause them pulling imaginary ropes clearly
putting a group of figures together. to only be able to hold a pose like show their exertion. The two push-
Figure 8.15 shows a more dramatic this for a few minutes. ing the box show by their posture
view of the models pulling and that they are leaning hard against
pushing the box. Virtual models might have the the back of the box.
drawback of not showing the
In this scene there are five figures intense muscle strain of individual With a little work you can have
struggling to move the box. From muscles, but the models can be set your virtual models interact with
the amount of effort these guys are up to show the overall stress put props in a very realistic manner. A
putting into it, the box must be on the body with extreme exertion. lot depends on how you set up
very heavy. An aspect of virtual From the poses with the box, you each pose in relation to the object.
models that works very well is that can clearly tell that the models are
Figure 8.15 Changing the view helps to show dimension of the box.
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- Dynamic Figure Drawing
Adding Clothing NOTE
Not all figure drawing is of nude
figures. In fact, artists have to deal The clothing in Figure Artist should not be viewed as an exact refer-
with clothed figures more often ence of how cloth hangs off the figure, but rather gives a general
than with nude ones. The clothing idea of how the figure would look clothed. If you are interested in
for the models in Figure Artist is getting a more accurate simulation of cloth on the human form, you
similar to the props in that there is will need to upgrade from Figure Artist to the full version of Poser.
not an endless set, but there is Poser has a very sophisticated cloth simulation system.
enough to represent a good array
of options for clothed figures.
The real benefit of clothing simula-
tion in Figure Artist is that you can
pose your figure, save the file, and
then add the clothing and save the
file again. You then have a good
view of the underlying structure of
the body and another of the over-
laying cloth. For example, Figure
8.16 shows a scene with two fig-
ures in a dancing pose.
Figure 8.16 Pose the figures before adding clothing.
169
- Figure Drawing with Virtual Models
In Figure 8.17, I have added cloth-
ing to the figures.
I can use the two sources from
Figure Artist as reference for a
drawing. The pose reference is
good for developing the underlying
structures and defining the figures,
and the clothed pose is good for
working on the overlaying shapes
and textures.
Figure Artist uses a system called
conforming clothing. Each article of
clothing is actually a 3D model
separate from the virtual model.
When the clothing is applied to the
figure, it conforms to the figure as
closely as the 3D model will per-
mit. For this reason, some articles
of clothing will not work with
some poses because the range of
movement of the clothing model is
not as robust as that of the virtual
model. You will need to experi- Figure 8.17 Clothing is added over the figures.
ment to see how each article of
clothing works with your pose.
The clothing in Figure Artist does
not simulate the way cloth folds at
joints or gathers around the hip
and waist. Unfortunately, these
aspects of figure drawing are better
dealt with in real life than they are
in a software simulation. Figure
Artist is better suited to the study
of the undraped human form than
it is to clothed figures.
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- Dynamic Figure Drawing
Ending Note live figure, but it is a great tool for
an artist to use in planning, devel-
This book is just the launching pad
for all of the creative development
Exploring dynamic poses for figure oping, and creating figurative art. It possible using a virtual model for
reference can be a freeing experi- is a tool that can expand the artist’s drawing reference. I, for one, look
ence for the artist who has only vision and increase the artist’s forward to the impact that a tool
had sedate figures from which to knowledge of the figure. Used such as Figure Artist will have on
draw. When you think of all the properly, Figure Artist can become figurative art in the future. I believe
possibilities available through a a valuable ally in the struggle to that its impact will be felt as artists
tool such as Figure Artist, you will understand one of the most com- use it to gain a better understand-
quickly notice that many of the plex and difficult subjects in art, ing of the human form in 3D
limitations of live models are elimi- the human figure. space. I wish you luck in your
nated or reduced. study of figurative art, and I hope
As you read this book, I hope that that this book has helped you in
Figure Artist is not and should not you took the opportunity to your journey.
be a replacement for studying the explore some of the vast possibili-
ties presented by the virtual model.
171
- I N D E X
90-degree angles, 92 ligaments, 33 artists, 5
muscles, 33–34, 40–48 knowledge, 6–7
A skeleton, 34–40 vision, 8–9
soft and hard tissue, 33 visualization abilities, 2
abdominal muscles, 43 studying, 2 assumptions and drawing, 7
absorption, 135 tendons, 33 Atlas, 36
Achilles tendon, 44, 56 understanding, 33 Axis, 36
action, 126 upper arm, 34
action focus, 126 anger, 88–89 B
action lines, 29, 31, 80–81, ankle, 37, 52
91–94 anterior notch, 70 balance, 77–81
defining, 150 architects and people represent- checking, 79–80
dynamic figure, 161–162 ing scale, 101 composition, 114
establishing, 22 Aristotle with a Bust of Homer, formal, 115–117
expressing sense of dynamic 128 hip and shoulder relationship,
motion, 161 arms, 29 82
as guide to mannequin, 95 accomplished dancers move- hips, 78
lightly drawing, 30 ments, 40 informal, 118–120
matching mass line, 81 female and male, 40 pelvis, 82
observing people in life, 92 muscles, 53 as point of action, 77
roughing in skeleton, 22 shading, 152 spine and, 82
secondary, 92–93 simplified figure, 20 base manikin, 84
virtual models, 161 tension in, 83 basic proportions of human
action poses, 24, 78, 83, art form, 9–15
157–158 history and human figure, 2 beauty
AFA Pornography Web site, 4 little things making biggest dif- composition, 90
American Decency Web site, 4 ferences, 9 drawing, 94–97
analogous colors, 125 mundane scenes made interest- general accepted standards, 90
anatomical reference tool, 5 ing, 8 grace, 90
anatomy, 3, 6 physical act, 6 lighting, 90
bones, 33 versus pornography, 4–5 ultimate expression, 75
complexity, 49 artificial environments and grav- biceps, 34, 43
elbow, 34 ity, 78 biceps femoris, 44
hands, 52–55 artistic anatomy, 49 blending edges, 113
jawbone, 33 artistic vision, 8–9
172
- Index
blocking in figures, 14
body
C fulcrum lever principle,
118–120
divided in height by four, 11 calcaneus, 37, 56 good or bad, 100
grace and beauty, 90 calf muscle, 43 informal balance, 118–120
locating center of mass, 78 cameras, multiple, 4 pathways, 127–129
moving parts, 1 capturing gesture, 21 picture plane, 100
physical association with envi- cardiac muscles, 40 placement, 102–114
ronment, 75 carpals, 52 purpose, 100–101
as series of curves, 24 cartilage, 68 confident swagger, 86–87
symmetry, 115 cast shadows, 85, 97, 112, conforming clothing, 170
body language, 75, 86–87 140–141, 149 confusion, 88
bones, 1, 33 adjusting, 144 construction guides and placing
affecting shape of body, 38 number and location of lights, features, 63–65
ankle, 52 143 construction lines, 85, 151
calcaneus, 56 center of mass, 78–79 contour lines, 151
carpals, 52 chin, 60 contrapposto, 82
curves, 38 Christ and the Woman Taken in contrast, 111
female, 38 Adultery, 119 adjusting, 85
foot, 56 circle, 106 drawing attention, 123
hands, 52–53 clavicle, 34, 42 highest, 123
metacarpals, 52–53 closer, 113 thin lines, 103
metatarsals, 56 clothed pose, 170 contrast focus, 123
phalanges, 56 color focus, 125 copyright laws, 4
skull, 59–60 color wheel, 125 copyrights, 4–5
smaller and more slender, 38 colors core shadows, 139, 149, 152
talus bone, 56 determining, 135 corners, 104
very close to surface of skin, 59 intensity, 125 cranial bones, 34
wrist, 52 commercial art purposes, 101 cranium, 60
brachioradialis, 44 complimentary colors, 125 cultures and generally accepted
brain, 59 compositions, 6, 90 standards for beauty, 90
breastbone, 36 balance, 114 curved lines, 91
breasts, 46 blatant devices to draw atten- curves, 24
tion, 126 bones, 38
focal points, 121–126 joints, 24
form, 110–112 lines, 104
formal balance, 115–117 thick and thin lines, 104
foundation of, 99
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- Figure Drawing with Virtual Models
D physical act, 6
practicing, 6
elements
changing dynamics of picture,
da Vinci, Leonardo, 2, 113, 115, proportion, 60–66 106
124 shading, 96–97 closer, 113
dark, quality of, 123 standards, 1 diagonal or horizontal, 120
dark areas, defining, 152 unknown or unfamiliar objects, form, 110–112
David, 2, 126 3 lines, 102–105
daydreaming, 88 your own hand, 53 placement, 102–114
defining shapes, 107 drawings points, 102
deltoid muscles, 28, 42 element placement, 102–114 shapes, 105–110
detail focus, 124 feeling of life and action, 21–26 vertical, 120
determined, 89 form, 110–112 visual confusion, 109
diagonal elements, 120 foundation of, 24 emotion, 86
dimension, 111 illustrating story, 76 based on own human experi-
direct light, 134 lines, 102–105 ence, 2
disgust, 89 messages in, 86 lighting, 146
dominant shape, 106 points, 102 portraying, 88
drawing, 5 potential for gracefulness, 90 emphasizing shapes, 106–107
assumptions, 7 purpose or goal, 75, 100–101 erasing, 30
beauty, 94–97 selecting poses, 76 evening lighting, 147
erasing, 30 shapes, 105–110 exaggerating poses, 77–78
facial features, 67–72 structure and components, 6 external oblique muscles, 42
foot, 57 dynamic figure, 160–162 extreme movement, 33–34, 160
framework defining dimensions dynamic poses, 157 eyebrows, 60, 65
and proportions, 17 eyelids, 7
gesture drawing, 21–26 E eyes, 58, 60, 67
hands, 51 construction guides, 65
human form, 2–3 ear canal, 70 distance between, 61
from inside out, 17–21 ears, 61–62, 70 eyelids, 7
knowledge, 6–7 “eight heads high” rule, 10 horizontal lines for, 63
from life, 2–3 elbows, 34 location on head, 6
manikin, 29–31 female and male, 38, 40 pupil set back from lens, 8
people, 2 shape, 7
tear ducts, 7
tips for drawing, 67
174
- Index
F female manikin, 28–29
female skeleton, 38, 40
figures
3D space, 3, 81
face, 60–62 femur, 36–37, 90 action line, 22, 80–81, 91–93
features too high, 6 fibula, 37 adding clothing, 169–170
shading, 96 Figure Artist, 1, 3 average, 10
facial bones, 34 action pose, 157 balance, 77–81
facial expressions, 88–89 anatomical reference tool, 5 base manikin, 84
Family.org Pornography Web cameras, 165 blocking in, 14
site, 4 clothed pose, 170 cast shadows, 85
fat, 46 clothing, 169–170 center of mass, 79
fear, 88–89 conforming clothing, 170 checking balance, 79–80
features darkness of shadows, 144 complexity, 1
drawing, 67–72 default lighting, 143 defining general proportions,
ears, 70 designing lighting, 155 29
eyes, 67 Hip-Shoulder Relationship detail, 84–85
female, 40 Guide, 82 deviation between action line
isolating and drawing, 67 image-based lighting, 146–148 and center of mass, 81
models, 73 library of poses, 25 drawing beauty, 94–97
mouth, 69 models holding pose indefi- evenly distributed weight, 80
nose, 68 nitely, 159 fashion proportions, 15
placing, 58, 63–65 multiple cameras, 4 fat, 46
feet, 29 objects, 167–168 focusing on joints, 24
female, 40 pose reference, 170 foreshortening areas, 84
simplified figure, 20 predefined poses, 162 gestures, 29
virtual models, 57 reflected light, 145 height, 11, 13
female figure, 36, 38, 40 selecting poses, 76 heroic proportions, 15
breasts, 46 simplified figure, 18–21 history of art centered on, 2
fatty tissue, 46 viewing poses, 166 learning to draw, 31
hips, 11 views, 165 light, 143–148
hourglass shape, 46, 48 virtual figure models, 49 lighting, 133
muscles, 46, 47 visual options, 76 line of motion, 80
proportions, 10–11, 12 minor proportions, 84
muscular and skeletal systems,
84
175
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