How To Draw People Figure Drawing Step By Step – When it comes to learning how to draw people successfully, knowing human anatomy is key. Jeff Mellem, artist and author of How to Draw People, shares the dos and don’ts of drawing anatomy for beginner artists so you can start drawing more realistic figures in no time.
Anatomy drawing for beginners can feel overwhelming at first because there are so many muscles in the body. When you look at a model and see a lot of bumps, you might be tempted to pull out an anatomy book to decipher what’s going on under the skin.
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An anatomy book is great for telling you what you’re looking at, but not very useful for telling you the three-dimensional shape of muscles.
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When you first approach drawing figures, you should start by establishing the basic volumes of the figure using spheres, boxes, and cylinders. By starting simply with these basic shapes and then increasing the complexity as you go, you’ll be able to make your design retain its sense of dimension.
If you copy outlines before building the structure, you are guaranteed to end up with a flat looking design.
The drawing on the left overemphasizes the model’s muscles and looks more like an anatomy book than a figure. An artist must think about the 3D shape of the muscles to give the figure an illusion of volume.
Use an anatomy book to understand what lies beneath the surface, but think of each muscle in 3D. Don’t draw the muscles as a series of lines. Draw them as sculpted spheres, boxes, and cylinders.
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That said, you don’t always have to actually draw spheres and boxes on the page. If you look at an artist like Harry Carmean, you can see that even though he sometimes just draws counters on the body, he’s clearly thinking about the 3D qualities of what he’s drawing.
When artists start paying more attention to adding anatomy to their designs, they tend to overemphasize the anatomy. Their faces often look like they have no skin. The muscles are there to add more realism to the figure, but they should not be the focal point of the drawing.
The focus of a drawing should be to convey an action, an emotion or the personality of the subject. You don’t want a viewer to stop and look at parts of your drawing; you want the viewer to see the whole face and be interested in what that face is doing and who it is.
To keep the focus on the action, it’s always a good practice to start all your drawings with a gesture drawing. A gesture drawing serves as a plan for action. All that follows is to help clarify and improve this action.
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The muscles should be drawn to amplify the movement of the face and should not draw attention to themselves. A good example of this is comic book characters whose anatomy is exaggerated to convey their strength.
A successful comic isn’t about the muscle of the character but how they express that character’s power in the story. Muscle movements are designed to lead the eye through the body to a point of action. The reader does not stop to look at the well-developed muscles of the character.
Notice how the muscles in the figure on the right mirror the gestures on the left. The muscles used to reinforce the action of the figure are not the focus of the drawing.
The anatomy is there to add realism but is less important then, conveying the action and attitude of the whole figure.
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When artists start using basic shapes to develop figures, they often begin to fall into a pattern of using the same shapes to build each figure.
When constructing your figure, you must look and adapt your shape to the specific subject you are drawing. You won’t use the same forms for a bodybuilder as a sumo wrestler or a long distance runner.
You have to look at your subject and know which simple shape is the best tool to develop your face. For example, some people have very square heads that should be built into a box shape, while others have a rounder look that should be built into spheres.
These two figures are in the same pose but are built with different shapes. The figure on the right is built in more blocky shapes and gives the figure a more solid feel.
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If you only copy what you see you will never create what you imagine. I never saw the point of reproducing an image in a drawing beyond an exercise to build observational skills. Why copy what already exists when you can interpret and adapt as you see fit?
Observational skills are important but not just to copy what you see. Use your observational skills to analyze the unique shape of your subject so you can reinterpret it on the page. This means it does not copy the body counter. Instead, you are recreating a figure on the page from scratch.
He begins by capturing its movement in a gesture, reconstructing the figure in three dimensions using basic spheres, boxes and cylinders, then sculpting these simple shapes into anatomical forms. This is a very different process than reproducing what you see.
You’ll combine what you see with your knowledge of 3D anatomy to recreate the face on the page. Not only will this help you develop designs that have a mass feel, but it will also allow you to adapt and modify the figure to create something new.
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This is just a fun drawing to illustrate that you need to understand the 3D shape of a figure and then you can trace them on the page. This is a different way of thinking than simply copying the contours you see.
An artist’s job is not to reproduce what he sees. It is to interpret what it understands. When you draw a figure, you bring your knowledge of anatomy and volume to draw a figure instead of just copying contours and values.
To draw a realistic figure, you need to pay attention to correctly capturing the proportions and anatomy of the figure. This comes both from studying anatomy and having good observational skills.
Anatomy and proportions are important. But by themselves, they don’t make an interesting drawing. A drawing of a face that looks like it has personality or looks dynamic will be more interesting than a technically correct one.
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Let anatomy and proportion play a supporting role in drawing the underlying gesture. Every step of your drawing should create a unified face that has energy and attitude even if that means changing the proportions of the face or the anatomy to better emphasize this action.
This figure has exaggerated proportions, similar to those used in fashion designs. It doesn’t matter that it’s not properly proportioned if the exaggerated decision is objective. You can find many examples of artists who distort and exaggerate proportions for stylistic reasons.
Large anatomy drawings help artists create realistic figures that appear to have real mass and volume. However, the anatomy should add to the sense of movement in the face and not distract from it. You must have the skills to be able to draw muscles in 3D to modify and adapt their shape and emphasize the movement and personality of your subjects.
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Please note: This action will remove this member from your connections and report to the site administrator. Allow a few minutes for this process to complete. When it comes to learning how to draw people, start simple to ensure success. And what’s easier than drawing armor? They are almost like glorified bat figures! When you stop worrying about getting the proportions of your torso and legs right or making sure your eyes are the same size and lined up perfectly, you can focus more on the basic idea of the body: where things go, how they work together. , how. they move By starting this way, you can take your time,
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