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  • Ok, so again I'll start with the angles of the shoulders. Just a straight line that connects

  • one corner to the other. Can't see the acromion because they are above our eye level, but

  • that's ok, it's still fairly easy to judge that angle.

  • From the shoulder, down to the waist where you see the pinch. To the other side where

  • it's stretching.

  • A few quick rhythm lines for the hips

  • Angle of the arms

  • And the legs. Getting that elegant S curve sweeping down the entire length of the leg.

  • Really common to see people making this too straight. Remember, in the gesture phase of

  • the drawing, you want to exaggerate a bit because once you start adding details it becomes

  • stiffer. So look for the motion between the forms and construct it with simple C curves,

  • S curves or straight lines.

  • Measuring the centerline of the spine and getting a general angle of the lumbar region.

  • And same thing in the thoracic region.

  • Finding the sweep of the trapezius. Starting from the neck down to the acromion.

  • And basic shape for the head.

  • So now I'm thinking about the pelvis as a cylinder and finding the cross contour line

  • to establish the perspective of hips. Also trying the make that curve pass through the

  • landmarks at the PSIS - the dimples in the back at the corners of the iliac crest. And

  • then connecting those dimples to the tailbone to form the triangle of the sacrum.

  • From the acromion follow the angles down the spine of the scapula. And connect it over

  • to the other side. Always relate the two sides of the body for symmetry.

  • Then find the angle of the medial border of the scapula. On the right side it's really

  • easy to see that bottom corner since it's poking out and you see that deep shadow.

  • Same thing on the other side, and again relating the two side.

  • Trying to find the border of the rib cage not including any of the muscles on top. On

  • the right side I see a corner at the bottom of the rib cage. The 10th rib pokes out and

  • stretches the external oblique

  • Also seeing the iliac crest poking out on the right side there. So, I really want to

  • emphasize these bony protrusions. It's going to add structure to the drawing and make her

  • feel solid.

  • Again there's those dimples of the PSIS. Just want to double check to make sure they relate

  • correctly to the iliac crest indication I just put down.

  • Start with a straight for the tendinous area, curve out for the muscular part to the bones

  • in the knee.. And down to the Lateral Malleolus.

  • A shape for the bottom plane of the foot. I'm ignoring the high heel and imagining what

  • that foot looks like.

  • The gluteus is relaxed on the right side, so I'll draw it relaxed transitioning to the

  • leg. The left side is compressing because the weight is on that leg, so I'll draw this

  • U shaped connection to the leg indicating tension.

  • Coming back to the left hip and leg, I want to better define these shapes. Looking a little

  • closer at the contours, the anatomy and redesigning the shapes there.

  • And in here you've got the Olecranon, or the elbow. And her elbow is bend a little so you're

  • starting to see a triangular relationship between the 3 bony points there.

  • On the other side, not bent as much, but a very subtle bend so bringing those closer

  • to a straight line.

  • You can see the 7th Cervical pretty clearly there. And actually can see the 1st thoracic

  • vertebra too..

  • Alright that's it! If you want to see how I take this drawing further by adding the

  • anatomy and 3 other landmarks examples check out Premium membership gets

  • you access to all the extended videos of the Figure Drawing Fundamentals series.

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Ok, so again I'll start with the angles of the shoulders. Just a straight line that connects


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B1 中級

地標範例--一步步來 (Landmarks Example - Step by Step)

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    vulvul 發佈於 2021 年 01 月 14 日