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 initially 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.

Figure 2.1. Use a simplified skeleton like the one shown here to start your drawing.


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.

Figure 2.2. Make your skeleton the correct proportions.


This simplified figure is very useful in roughing out figures and figuring 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.

Step-by-Step

1.
Start by creating a pose in Figure Artist, similar to the one shown in Figure 2.3.

Figure 2.3. Pose and render a figure from Figure Artist.


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 muscles, as shown in Figure 2.4.

Figure 2.4. Start by drawing an oval for the ribcage.


3.
Next draw a line for the spine and attach another oval for the head, as shown in Figure 2.5.

Figure 2.5. Add the spine and head to your drawing.


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 counterbalances the upper torso.

Figure 2.6. Draw the hips next.


5.
Now draw lines indicating the shoulders and arms across the top of the ribcage.

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.


7.
The last step is to draw simple shapes for the hands, feet, and knees, as shown in Figure 2.8.

Figure 2.8. Draw in the hands, feet, and knees.



The skeleton that you just drew should fit over the top of the figure, as shown in Figure 2.9. In fact, a useful exercise for beginning artists is to use a piece of tracing paper and define the skeleton of photographs from magazines and other sources.

Figure 2.9. The skeleton and figure should match up with each other.


The nice part about drawing the skeleton first is that you can use it to create a number of very expressive figures in very little time.

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