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- C H A P T E R 2
Figure 2.1 Use a simplified skeleton like the one shown here to start your drawing.
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Figure Construction
I
n this chapter I will cover how to construct the figure using some sim-
plified methods to make the process of drawing a little easier. I will start
by showing you how to build a simple structure as the basis for defining
dimension and proportion. This structure will become the foundation of your
figure drawings. You will then be able to use it to develop a finished figure
drawing.
Drawing from the Inside Out
At the beginning of every figure drawing, the artist is faced with a daunting task in
defining a subject that is painfully complex yet supremely organized. Without ini-
tially simplifying the figure, the artist may become overwhelmed.
It is very important in the initial stages of a figure drawing to be able to use some
kind of simple framework to define the dimensions and proportions of the figure
on the paper. The artist needs a simple and accurate system for starting the figure
on paper without getting bogged down in too much detail. One way of doing this
that works well for me is to go back to the foundation of the figure itself and draw
a simplified skeletal structure. Figure 2.1 shows a simplified skeleton; notice that
it isn’t too much more complex than a simple stick figure.
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- Figure Drawing with Virtual Models
The simplified skeleton should be
proportionally correct, as shown in
Figure 2.2, where I have overlaid
the same proportion chart used in
Chapter 1.
This simplified figure is very useful
in roughing out figures and figur-
ing out compositions. It is easy to
draw and doesn’t get bogged down
in detail. Here is an example of
how you can use it in conjunction
with Figure Artist.
Figure 2.2 Make your skeleton the correct proportions.
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- Figure Construction
S T E P - B Y- S T E P
1
Start by creating a pose in Figure Artist, simi-
lar to the one shown in Figure 2.3.
2
Using the posed figure for a reference, start
with the figure’s ribcage by drawing a simple
oval with a few lines to indicate the front of
the ribcage and the overlying pectoral mus-
cles, as shown in Figure 2.4.
Figure 2.3 Pose and render a figure from Figure
Artist.
3
Next draw a line for the spine and
attach another oval for the head, as
shown in Figure 2.5.
4
At the base of the spine, draw a
block for the hips, as shown in
Figure 2.6. The hips will usually be
rotated from the ribcage because the
back is flexible and the lower part of
the human torso usually counterbal-
ances the upper torso.
Figure 2.4 Start Figure 2.5 Add Figure 2.6 Draw
by drawing an the spine and the hips next.
oval for the head to your
ribcage. drawing.
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- Figure Drawing with Virtual Models
5 7
Now draw lines indicating the shoulders and The last step is to draw simple shapes for the
arms across the top of the ribcage. hands, feet, and knees, as shown in Figure
2.8.
6
Draw the legs coming down from the hips, as
shown in Figure 2.7.
Figure 2.7 Draw the legs and arms of the figure. Figure 2.8 Draw in the hands, feet, and knees.
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- Figure Construction
The skeleton that you just drew
should fit over the top of the fig-
Gesture Gesture drawing is the foundation
of good figure drawing. A gesture
ure, as shown in Figure 2.9. In Drawing drawing is a quick drawing of the
fact, a useful exercise for beginning figure focusing on just the figure’s
artists is to use a piece of tracing One of the most important aspects action. It doesn’t need to be accu-
paper and define the skeleton of of learning to draw the figure is rate, but it does need to get the
photographs from magazines and getting the feeling of life and action feeling of life and movement that is
other sources. in your drawings, as shown in inherent in any figure.
Figure 2.10. This is often referred
The nice part about drawing the to as capturing a gesture or gesture
skeleton first is that you can use it drawing.
to create a number of very expres-
sive figures in very little time.
Figure 2.9 The skeleton and figure should match up Figure 2.10 The skeleton can show action.
with each other.
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- Figure Drawing with Virtual Models
The first step in doing a gesture are really not very precise. They are The entire process of creating a
drawing is to establish the action almost sloppy. That is okay. gesture drawing should take only
line of the figure. The action line is Sometimes a good scribble has about 30 to 60 seconds. It is very
a single line that shows the direc- more feeling than a well-planned important to set a time limit and
tion of the main movement of the line. push yourself when doing gesture
body. Figure 2.11 shows an action drawings. The time limit forces the
line for a figure. Once you have an idea of general artist to focus only on the main
proportions, you can draw the action and not on the detail. Figure
On top of the action line, the actual skeleton, as shown in Figure 2.14 shows a page of gesture draw-
skeleton can be roughed in quickly, 2.13. ings from a live model. Each draw-
as shown in Figure 2.12. You will ing was limited to 30 seconds.
notice that the construction lines
Figure 2.11 The action line estab- Figure 2.12 Quickly scribble in the Figure 2.13 The skeleton is drawn
lishes the action of the body. skeleton over the action line. in over the construction lines.
22
- Figure Construction
Figure 2.14 Try drawing several gesture drawings.
23
- Figure Drawing with Virtual Models
Beginning figure artists tend to then you might be just right for Now it is time to do a little practic-
draw stiff figures that have little or figure drawing. ing. Figures 2.16 through 2.21
no life in them. Your drawings will show examples of our virtual mod-
improve dramatically if they have a Think of the body as a series of els posed in some action poses.
good gesture drawing as their curves. Some of the curves have Time yourself and draw a gesture
foundation. The timed gesture sharper angles than others, but drawing with the simplified skele-
drawing focuses on the continuity they are all curves. There is a curve ton. Give yourself only about 30
in the figure, rather than the dis- that goes through every joint, seconds to do each drawing. You
continuity of the joints. including the elbow and knee might need to draw them more
joints. The limbs of the body than once to get a good gesture
Often a figure will seem stiff and should flow into each other, even if drawing in that short of a time, but
awkward because the artist will they are bent at extreme angles. hang in there until you have cap-
focus on the joints rather than the Take a look at the example in tured the action in each figure.
line that goes through the joints of Figure 2.15. The figure in this
the body, causing a stiff robotic example has his legs bent sharply, In Figure 2.16, the model is stand-
look. The human form is made up yet as you can see from the over- ing in a power position with his
of curves. There is really nothing laid lines, the joints can still flow feet spread and his arms to his
straight about it. If you complain into each other. sides. See whether you can capture
that you can’t draw a straight line, the power behind the stance.
Figure 2.16 Try to capture the power behind the
model’s stance.
Figure 2.15 The joints should flow into each other.
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- Figure Construction
In Figure 2.17, the model has Can you capture the tension and Each of the poses I just used as
shifted his stance and is reaching drama of the pose in your draw- examples is part of the library of
up with his right arm. See whether ing? poses supplied with Figure Artist.
you can capture the weight and You can find them and many more
pressure in the model’s legs and his In Figure 2.20, the model is on the CD that came with this
arm straining in the action. crouching low, looking to spring book. Figure Artist is a great
into action. This pose might be resource for working with the
In Figure 2.18, the model has just more of a challenge because of the action of a figure and then drawing
completed a punch. His weight is overlapping limbs, but give it a try the result. You can use the sup-
supported on his left leg, but the and see whether you can capture plied poses or come up with some
power behind the punch came the coiled tension of the pose. of your own. In Chapter 5, we will
from the right leg. Notice the twist- cover posing the virtual models in
ing of the torso. In this last pose in Figure 2.21, the
more detail.
model is sagging as if she were very
In Figure 2.19, the model is in a tired. Maybe she was just hurt and
dramatic pose with both her arms is trying to get up. See whether
extended to the sides as if she were you can put these aspects of the
a sorceress casting a major spell. pose into your drawing.
Figure 2.17 The model moves into action. Figure 2.18 Look to which leg is supporting the
model’s weight.
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- Figure Drawing with Virtual Models
Figure 2.19 Try to capture the drama of this pose. Figure 2.20 Try to draw the overlapping limbs in this
crouching pose.
Figure 2.21 This pose is more of a sagging, tired
pose.
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- Figure Construction
Creating the add some flesh and muscle to your
drawings.
You will notice that in my manikin,
a lot of detail such as fingers, toes,
Manikin and facial features are omitted.
Figure 2.22 shows a male manikin. This is because the purpose of the
The next step in drawing figures is You can use this for an example of manikin is to establish the figure
to create a simplified manikin of how to draw your manikin. on the paper, not to deal with
the body. The manikin is like the detail. The detail will come later.
simplified skeleton in that it uses The manikin does not need to be
Artists use the manikin as a simpli-
only minimal detail, but unlike the very detailed to work well; it just
fied figure for working out compo-
skeleton that works mostly with needs to show the bulk and
sitions and for quickly sketching
inner structure of the body, the dimension of the figure. You can
their ideas and inspiration.
manikin deals more with surface simplify your manikin beyond
detail. Drawing simplified skele- what I have done here if it will When you draw the manikin, sim-
tons and gesture drawings is fine, make it easier to draw. plify the muscle groups. Think of
but at some point you will want to
Figure 2.22 The manikin adds surface detail to the beginning stages of the figure drawing.
27
- Figure Drawing with Virtual Models
them as lying over or around the across the chest are the pectoral press will work the pectoral mus-
bones of the skeleton. In Chapter muscles, and they pull the arms for- cles, and rowing will work the lats.
3, “Figure Anatomy,” we will cover ward. The large muscles of the Sometimes it is a good practice for
human anatomy in more detail, back are called the latissimus dorsi the artist to go to the gym and
but for now just do the best you muscles, or lats for short. They are work the different muscle groups
can with what you already know. used to pull the arms back. These to see how they affect movement.
are just three of the many muscles You will know which muscles you
The human body is made for used to move the arm. worked because they will be the
movement. The muscles are placed ones that ache the next morning.
so that they can contract and move If you do any weightlifting, you
various limbs or other body parts. know that lifting weight above Figure 2.23 shows the female
The muscles at the top of the your head will work your deltoid manikin. If you compare her to the
shoulders are called deltoids. They muscles and make those muscles male version, you can readily see
pull the arm up. The muscles more pronounced. The bench that she is very different than the
male.
Figure 2.23 The female manikin is different than the male manikin.
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- Figure Construction
Although male and female bodies deeper than on the male. The male manikin. As you become
have many similarities, they are female waistline is higher than the more familiar with the male and
also very different. A single male’s. The female ribcage is female figures, you will notice
manikin will not work well for smaller and the shoulders are nar- other differences.
drawing both figures. You should rower. The female’s arms are gener-
develop your own manikins for ally more slender than the male’s,
both the male and female figures. but her upper thigh area is often Drawing the
Some of the main differences thicker. Her legs tend to have more
between the two manikins are in of an overall taper from the hip to Manikin
the pelvis. On the female, the hip the ankle. Her hands and feet are
Let’s take a look at drawing the
bones are higher, wider, and often smaller than those on the
manikin.
S T E P - B Y- S T E P
1
Start with the action line, as shown in
Figure 2.24.
2
Over the action line, draw the simpli-
fied skeleton of the figure. Make sure
you establish the gesture in your skele-
ton. Don’t worry about being exactly
accurate. The two things you are look-
ing to accomplish at this stage are cap-
turing the figure’s gestures and defin-
ing the general proportions of the
figure (see Figure 2.25).
Figure 2.24 The action Figure 2.25 Capture the
line establishes the gesture with the simpli-
dynamics of the figure. fied skeleton.
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- Figure Drawing with Virtual Models
Figure 2.26 Draw the manikin over the top of
the skeleton.
3
Over the skeleton draw the manikin. Just like the action line is
a guide for drawing the skeleton, the skeleton is a guide for
drawing the manikin. Each step builds on the preceding one.
The manikin is shown in Figure 2.26.
NOTE
In this drawing exercise, I drew the action line and skeleton much darker than I would normally draw
them so that you could see them. Typically I draw the action line, skeleton, and manikin very lightly so I
can do a finished drawing over the top of them. You will notice that in Figure 2.26 the action line and
skeleton are much lighter. I went in with a kneaded eraser and pulled much of the graphite off the page
so that you could better see the manikin drawing. I usually don’t erase when I draw because it has a ten-
dency to disturb the paper fibers, causing unwanted textures. By drawing the initial stages very lightly, I
can establish my figures without needing to erase the construction lines, and I can still create delicate
drawings.
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- Figure Construction
Draw the manikin a number of The manikin is a very useful tool Be aware that in learning to draw
times until you become comfort- for the figure artist. With it, you the manikin, you need to con-
able with it. Figure 2.27 shows the can quickly (and in most cases, stantly work on getting the overall
male and female manikin in some accurately) sketch and build up proportions right. If the propor-
action poses. ideas for your drawings. Working tions are off, the drawing will look
with a manikin helps you draw odd or awkward. As you draw,
Try filling your sketchbook with better from reference because it measure your drawing and com-
manikin figures drawn from your builds confidence in figure draw- pare it to the basic proportions of
imagination and from reference. ing. One of the reasons why begin- the body to keep it correct.
Figure Artist can be a valuable tool ning figure artists experience prob-
because you can set up the figure lems sketching the figure is that As you can see from this chapter,
in a number of poses and create they are afraid that they will draw the idea is to learn to draw the fig-
sketches of it. Try sketching the something wrong. By learning how ure from the inside out. You start
same pose from different angles. A to draw the manikin, the artist can with the action line and then build
big advantage that Figure Artist has overcome that fear and focus a gesture sketch using simplified
over photographs for figure refer- instead on learning to draw the fig- skeletons over the top of it. The
ence is that you can set up a figure ure well. skeleton establishes the gesture
and then look at it from any angle. and the proportions of the figure
without any surface detail. It can
be done in a matter of seconds.
On top of the skeleton you draw
the manikin, which adds flesh to
the bones. The manikin defines the
shape and mass of the body. Major
muscle groups are lightly defined
in the manikin, but most surface
detail, such as facial features and
fingers, are omitted. The manikin
can be used for drawing from ref-
erence and for developing figures
from your imagination.
Figure 2.27 Draw the manikin in action.
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