Anatomy of the face: angles, emotions, races. The basics of anatomy for the image of a man base plastic anatomy

Human drawing can be the brightest and in-depth experience in the life of the artist. Today we prepared for you advice from the famous Italian artist Giovanni Chivardi from the book "Drawing a person's figure." Let these knowledge become a source of inspiration and a creative stimulus that helps to transfer the mood and memories in the form of a picture.

Draw a person's figure and a portrait by any materials - from pencils to watercolor. Pencil is the most common tool due to its low cost and versatility. Coal is perfect for performing fast drawings with strong tonal contrast and less suitable for studying small parts. For carcasses, dense and smooth paper of good quality is recommended. Mixed technique is the simultaneous combination of different materials in one drawing.

Experiment in search of our own techniques that will achieve the greatest expressiveness, and try to benefit from random effects.

Basics of plastic anatomy

Artists explore anatomy with a view to a meaningful image of a person's figure. To reproduce it reliably, you need not just to see, but also to understand what you draw.

Thanks to the knowledge of the anatomy, the image becomes more convincing and alive than the nature itself.

In general, the body shape is determined by the skeleton as the main carrier structure, muscles, tosing it, and the upper layer consisting of bodyproof. It is useful to learn and remember the relative dimensions of the articular bones and their proportions relative to each other and the entire skeleton, because without this information it is impossible to "shift" the figure on paper and purchase the skill logically and consistently depicting it.

Below are the main bones of the skull and neck together with the skin, cartilage, fat, muscles, hair and other layers.

Skeleton of a male torso, enclosed in body contours, in frontal, lateral and dorsal planes. These drawings will help to expand the understanding of the body shape.

Upper and lower limbs in different planes. As in the previous figure, the skeletal structure is shown inside the body contours.

The artist is important to take into account the three main aspects of the muscles: their appearance (shape, size, volume), location (where it is relative to the skeletal structure and neighboring muscles, how deep or superficially) and its mechanism (function, the direction of muscle thrust corresponding to the form changes and etc.).

Proportions

In order for the drawing to be plausible, it is necessary to take into account the proportions of the body and head. Height of the head from the forehead before the chin is often taken for a unit of measurement to determine the proportions of the body. The growth of the standard figure is approximately 7.5-8 heads. Remember a few more proportional relationships: the head is stacked three times in the overall height of the body with the neck, the length of the upper limbs is also equal to the three heads, and the lower - three and a half.

Despite the differences between individual individuals, they can be divided into three main types of types with similar characteristics inside each - ectomorphs, mesomorphs and endomorphs.

Brushes and feet

It is easy to understand why the hands and feet with their device and a variety of possible gestures are considered to be the most difficult for convincing reproducing parts of the body, both in the figure and in painting and sculpture.

Draw your brushes and feet - the best way to learn them as detailed as possible. You can make sure that there are quite decent pieces comparable to face patterns, and maybe even more expressive.

First, a quick (but diligent) sketch is performed in the desired perspective and position, then with its "geometrization" transmit the necessary anatomical information and the volume, after which the details and individual outlines are specified.

Just as for the head and body, knowledge of the struggle of the bones of stop and brushes will be helpful.

Pourish your own hand and foot brushes in different positions. You can use a mirror. Take different items in hand and transmit the dynamics and mood of the gesture in the picture.

Head, face, portrait

The main interest for the artist always represented a face and figure. Portrait is not just playing physical features in order to recognize a specific character. This is a story through the Mimici about his personality, thoughts and emotions.

How to draw your head and features, we told in detail in the article.

Sketch of man in sketchbook

The sketch is called a fast, spontaneous pattern from nature, made in a short time by several informative lines. Draw people in a natural setting that do not positive specifically and certainly do not realize that they are considered and depicted, at first it will seem difficult. But there is no real reason to be afraid or led - it is unlikely that someone will pay attention to what you are busy.

The ability to portray unfamiliar people in any posture and in any circumstances is important for the development of technical skills and evaluation judgment. And, of course, the regular practice of sketches will rejoice out the gift of observation and interpretation, teach to look deeper and make quick, confident, understandable and accurate solutions.

Several short tips on how to do sketches from nature:

• Start the habit of always carrying a pencil and a small sketchbook - such that will easily fit in a bag or pocket, in case something will attract your attention or seems interesting.
• It is worth striving to increase the observation and the ability to extend the main thing and at the same time coordinate the visual perception, the estimated judgment and movement of the hand during the execution of the picture.
• Do not try to reflect all what you see on kind. Given the limited amount of time and the risk of changing the position of the model at any second, focus on the main thing.
• To learn how to use your memory to reproduce the sequence of basic phases of motion, you will need the maximum concentration in the observation of people.

If you are still confused by the thought of drawing people from nature (keep in mind that if someone notices what you do, some can be flattered, and others will get away with discontent), prepare for this psychologically and gain some confidence can help drawing statues and sculptures in museums or monuments in public places.

Specify whether it is possible to make sketches in the museum, and if so, we boldly go there and sketch sculptures from different angles.

So teach drawing in Paris - in the courtyard of the Louvre with sculptures.

Stages drawing

If you draw a figure of a whole (in clothing or nude), you can first spend some quick, light lines to schedule the space that it will take on a sheet of paper (maximum height, maximum width, etc.). Then notice the main parts of the body (head, torso and limbs), taking into account the relative proportions.

Finish the drawing with essential contours, shadows and details that cannot be omitted. Erase the auxiliary lines if necessary.

In the book "Drawing a person's figure", each section is disassembled as detailed as possible, there are detailed images of a human skeleton in different planes. It is described in detail how to draw a shape of a man, a woman, a child, an elderly person, how to portray naked nature and man in clothes.

Human Anatomy Drawing Course

Picture a person is the most important task of the artist. In order to learn the principles of realistic drawing, it is worth examining the basics of plastic anatomy. It is necessary not only to perceive the fact that on the surface and simply copy forms, but to know the patterns of the inner structure, to understand how it affects the plastic.

What does plastic anatomy study?

The study of plastic anatomy begins with an understanding of what is formed by the appearance of a person: his skeleton and muscles, deliberates into the details and main movements, proportions. And also engaged in the development of the image of the figure of the figure on the basis of anatomical bases:

• The structure of the skeleton - it consists of bones, which are more than 200, they are bonded by a connective tissue. The skeleton performs various functions that are conventionally divided into several groups: mechanical and biological;
• Types of joints - as the joint affects the outer shape of the body, it is important to know its structure and visible parts;
• Muscle mass - which forms the foundation and changes the shape of the figure while reducing or relaxing.

Understanding how the body works can be understood as the bone or muscular system affects plastic and shape.

Basic sections of plastic anatomy

In plastic anatomy, close attention is paid to visible forms, body movements and its individual parts, which is very important for the artist. The meaningful place is occupied by questions that do not cover the sections of medical anatomy:

The main place in the study on the study of plastic anatomy occupies the study of constructive schemes, which represent the basis for memorizing the structure of a person and are convenient for use in practice.

A consistent study of all basic sections will be the foundation for the development of the personality of the artist and its professional skills.

Course program

The bases of plastic anatomy are lessons on the development of art anatomy from the "Academic Figure" series. Course participants will receive practical skills about the image, various shape transformations, analysis and modeling. As well as:

• Learn to determine the main proportions of the human body and make sketches of figures;
• Will get acquainted with the anatomical features of the structure of the skull and facial muscles;
• Learn to depict the bone structure of the head and its musculature;
• Study the anatomical structure of the torso;
• Could portray the bone structure and muscles of the torso.
• Learn the anatomy of the limbs, make sketches and image;
• And also learn what the composition of the angles and black and white study.

The teacher of the Art Studio is young and creatively gifted artists who are constantly practicing and have reached certain results in their work.

Recording on the course, you can first visit the first test lesson, which will help make the final decision to go through the entire course. Classes take place both individually and in group. At the end of the course, a certificate of its passage is issued. Leave the request or call - and perhaps love for drawing will become a profession and the matter of life.

A high-quality figure of a person is impossible without knowledge of the anatomy of the human body. Jeff Mell, the artist and the author of the book "How to draw people", allocated a number of the rules of image anatomy for beginners who would help you to start painting more realistic images for the shortest possible time. Enjoy!

Anatomy image for beginners may seem insurmountable at first glance, since there are a lot of muscles in the body. When you look at the model and see a lot of bends on the body, you may have a desire to get a book on anatomy to understand what is under the skin.

Think out the drawing in simple volumes.

Getting Started with your drawing, you need to start with the basic volumes using spheres, cubes and cylinders. Starting with these simple foundations and then gradually complicating them, you can make your drawing volumetric.

If you are copying the contours of the figure, then most likely you have a flat drawing.

(The drawing on the left overly emphasizes the muscles of the model, and it looks more like a drawing from the book on anatomy than on the figure. The artist, first of all, you need to think about the three-dimensional (volumetric) muscle form to give the image the illusion of volume)

Remember: Use an anatomical reference only to understand what is under the outer body covering, but also think about each muscle in three-dimensional space. Do not draw muscles as a number of ordinary lines. Imagine them in the form of spheres, cubes and cylinders.

Given the above, you do not have to always draw spheres and cubes on the page. If you take a look at such an artist as Harry Carmen, notice that, although it sometimes depicts the body schematically, it is obvious that the artist thinks about three-dimensional (volume) properties of the pattern.

2. Do not focus your attention only on the muscles.

Many artists pay great attention to anatomical elaboration in their works, because of which the characters are obtained by muscular or too lean. Figures often look as if they have no skin and fat. Muscles are needed in order to give more realism to the image, but they should not be the main focus of the image.

Use muscles to enhance action in the picture.

In the center of the image should be transferred, emotion or personal qualities of the subject. You do not want the public to watch only some parts of your drawing; You need the observer to enjoy the whole figure and wondered what makes this figure and who she is.

To correctly focus on action, it is always advisable to start all your drawings from the image of the television. This is a kind of action plan. All that happens after will help clarify and consolidate this action.

The muscles should be directed to strengthen the movement of the drawn figure, but should not attract attention. A good example is the characters of comics, which artists are depicted with exaggerated anatomy, so that their strength is most clearly represented.

More successful are those comics that do not describe the muscles of the hero, but demonstrate the power of the character in any story. Muscle volume is designed primarily to attract attention through the body of the character to the point of action. The reader does not stop to look at the well-developed muscles of the main character.

(Note that the muscles in the figure on the right reflect the television depicted on the left. Muscles are used to enhance the action of the figure, they are not focus drawing)

Remember: Anatomy is needed not only so that the drawing seems more realistic, but also for transmitting the action and position of the whole figure.

Artists, applying basic forms to create a figure, are often mistaken to use the same forms to build each shape.

Adjust to your own subject

Creating a figure, you need to search and fit the desired material to the subject you create. You are not going to use the same forms for the image of the bodybuilder, as it will be similar to the Sumo Fighter or Runner.

You must look at the subject and find out which forms are suitable for creating an image. For example, some people have a square-shaped head, which should be built from cubes, while others - a circular shape obtained from spheres.

(These two figures are in the same position, but created from different forms. The figure on the right is built from large blocks, which makes the image more strong)

Remember: No need to constantly follow the formulas. On the contrary, adjust the shapes to your own item.

4. Do not copy what you see

If you are copying what you saw, you will never create what you imagine. There is no point to replicate the photo in the drawing. Why duplicate what already exists when you can interpret and adapt the image at your own discretion?

Create seen on your page

Observation skills are important not only for copying seen. Use these skills to analyze the unique forms of your image so that you can transfer them to the page. This means that you do not just duplicate body parts. On the contrary, you recreate the shape on a sheet from scratch. You start with the adoption of the television, rebuild the figure three-dimensional way with the help of basic areas, cubes and cylinders, then convert the figures into anatomical forms. This is a completely different process than a simple repetition of what you see.

You are combining what has seen with your three-dimensional knowledge of anatomy to recreate the figure on the page. It will not only help you develop a drawing with a mass, but will allow you to adapt and change the figure to create something new.

(This is a funny drawing that helps illustrate the importance of understanding 3D shapes of the figure in order to recreate in on a sheet. This is a completely different way of thinking than a simple copying of the contours)

Remember: The work of the artist should not repeat what he or she sees. When you depicting the figure, you bring your knowledge of the anatomy and volumes in the figure, and not just copy the contours. This makes your work valuable.

5. Pay attention to the proportions and anatomy.

To draw a realistic figure, you need to pay attention to the exact adoption of proportions and the anatomy of the figure. This is happening both from learning anatomy and from good observation skills.

Do not be too tough

Anatomy and proportion are important. But individually they will not make an interesting picture. The figure of the figure, which looks like a person or looks dynamic, will be more interesting than the one that contains the observance of all rules.

Anatomy and proportion play a supporting role in the path of the television. The main thing is to pass the dynamics, movement, pose of the figure, and the details are secondary. Each step of your drawing should consist in creating a single figure that has energy, even if it requires a change in proportions or anatomy.

(This figure has exaggerated proportions - similar to those used when drawing fashionable clothes. It does not matter that it is wrong if the solution to exaggerate is targeted. You can find many examples of artists who distort and exaggerate the proportions for stylistic reasons)

Remember: When drawing anatomy, artists create realistic figures, which seem at first glance, have the actual mass and volume. However, the anatomy should only add the illusion of the movement of the shape and not to distract attention from this.

Now that you have a better understanding of the image anatomy for beginners, go from theory to the practice of drawing human figures.

People who first try to draw a person's hands face a number of difficulties. How to understand the shape of the hands? How to assimilate regularities in their structure? In these issues, plastic anatomy for artists helps to understand. In this article, I made a number of anatomical patterns, sketches and schemes that will help beginner artists to understand the foundations and pay attention to key aspects. I tried to set out this material as simple as possible and essentially. I do not exclude that a small inaccuracy could be allowed somewhere, but the point of this does not change.

1. Main names

Hands consist of three main parts:

• shoulder;
• forearm;
• brush.

The forearm consists of two bones:

• elbow bone (thickening at the elbow);
• rady bone (thickening at the wrist).

Main muscles:

• deltoidal muscle (raises the whole hand);
• biceps or double-headed shoulder muscle (bends his hand in the elbow);
• triceps or three-headed shoulder muscles (extension hand in the elbow);
• muscles responsible for the movement of the brush, fingers and the rotation of the forearm with the brush (imposition-supination).

Two main muscle groups of forearm:

• from the outside of the outdoor bracers of the shoulder bone is a group of muscles (a), which includes the extensors of brushes and fingers;
• from the side of the internal brace of shoulder bone there is a group of muscles (b), which includes brush and finger bends;
• these two muscle groups are well noticeable and clearly separated by the elbow bone.

2. Anatomical structure of hand. Main muscles

The shape of the hand depends on the shape of bones and muscles. Therefore, in the process of drawing a person, you need to pay attention to the anatomical structure of the hands. It is important to "see" what muscles where are located. For an understanding of plastic anatomy, the following drawings can help, on which the skeleton and muscles are depicted. In each such drawing, I added a scheme in which I highlighted the key key, well-notable muscles. These muscles are pronounced, so they must be viewed in the figure of a person. Of course, the muscles of female hands will be more sophisticated and miniature than men. In addition, there are people full, but there are thin and "housing". This means that both muscles will also be different. But the main muscles marked in the drawings will be viewed to one degree or another each person.

3. Pronation and supination

If you stop and pay attention to how the hands are moving, then it can be noted that it can rotate. That is, we can turn hands with palms upstairs, and we can turn down the book with palms. If it is up, then this position of the hand is called supination. And if the book is the pronation. In this case, the radiation bone of the forearm moves around the elbow bone. For clarity, I made a conditional schematic drawing, showing how it happens.

In the process of drawing, you need to constantly compare the dimensions. It helps to correctly transmit proportions. Drawing hands - no exception. If we talk about the forearm - then in its widest part of its parts are concentrated muscle abdomen, and in the narrow - tendon (although some muscles there are also there). Knowing this feature, drawing a person's hands will be easier.

5. Shoulder and forearm arranged at an angle relative to each other

When a person keeps his hand straight, then the hand will not be absolutely straight. This is explained by the fact that the shoulder and forearm are located at an angle of each other.

6. The connection of the shoulder and forearm is similar to the connection of the chain links

An example with a chain helps to understand the shape of the hands. How is the wide part of the shoulder turn on the widest part of the forearm? It is clearly visible on a schematic drawing. If you remember this feature of the structure of the hand, then further drawing hands will be given much easier.

The elbow joint provides the moving joint of the shoulder bone, elbow and radial. The principle of its work is well visible on a schematic figure. The head of the elbow dice is similar to a wrench. The connection of radiation and shoulder dice resembles a ball and a cup, because the radial bone rotates around the elbow, and also moves up and down, like the elbow bone, providing bending hands in the elbow.

8. Three visible points in the elbow joint

Some beginner artists may ask: "Why do you need to know the structure of the joint, if it is still not visible?" The answer is simple - the joint affects the shape of the hand, on its movement, and also the three elements are visible. Internal mysteries, outdoor sumpers and elbow bone head. If the elbow and internal mums are visible to a greater or lesser extent at any position of the hand, the outer sumpers are noticeable with a bent hand. When the hand is straight - it hides in the hole. These nuances affect the appearance of the hand, so important in the picture.

9. Pictures of hand with a pencil

After studying the anatomical features, you need to be able to apply knowledge in practice. Therefore, in the conclusion of this article, I cite as an example drawings with a pencil, in which the hands of a person are depicted in various positions. Pay attention to the hatching. It seems to repeat the shape of the muscles of the hand, rich surface. This is an important point in the technical side of the drawing. If we talk about lighting, then both on your hand and on individual muscles you need to learn how to see light, half, shadow - as well as in the drawing of a jug or geometric shapes. However, that the drawing becomes confident and professional, you need to train a lot. Time is needed to gain skills in drawing.