Imaginefx How to Draw and Paint Anatomy 2010

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How to draw and connect the simple shapes that make up the human body

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Learn practical drawing skills and technicjues from professional artists

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Ify o u re reading this, the chances are yo ure an aspiringartist on a journey o f self-improvement. W hether you're at college, hoping to become a professional artist or just w ant to create art for yourself, yo u ve come to the right place. The follow ing pages in this special edition o f Im agineFX are filled to bursting point w ith the best anatom y advice around. Every page is packed w ith easy to follow, step-by-step guidance on how to create better hum an and creature figures, w ritten and illustrated by professional artists. Essentially, its years o f attending art college distilled into one magazine. The accom panying disc provides you w ith an opportunity to get closer to the annotated sketches, watch videos o f anatom y drawing in action, and see high-resolution digital art files to help you learn how to take your sketches into digital art software. For those o f you w ho are new to the world o f Im agineFX, turn to page 97 to see just a fraction o f the digital art workshops that we feature every m onth in Im agineFX. Also, make sure you check out page 115 for a sneak preview o f what's com ing up in our FIow T o D raw And Paint series. W e're sure yo u 'll love them ali. Ify o u have any questions, please get in touch w ith me at the em ail address below.

Claire Howlett, Editor [email protected]

From the makers o f

W e're th e o n ly m ag azin e d ed icated to fa n ta sy an d sci-fi art. O u r aim is to help a rtists to im p ro ve b o th th e ir trad itio n al an d d ig ita l a rt sk ills. V isit w w w .iin a g in e fx .c o m to fin d ou t m ore!

Subscribe to Im agineFX today and save m oney o ff every issue! S< U S an d C an ad ian readers: please turn to page 96

FANTASY

SCI-FI DIGITAL AR I

A P R E S E N T S The finest artists in the world offer you the best guidance and to share their techniques and inspiration in our figure-drawing workshops

Human anatomy

Practical advice from head to toe... 16

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Basic form s

Improve the way you draw figures with easy ways to establish the underlying structure of the body

22 The torso W ith the figure framework in place, it's time to set your focus on the core of the human bc 3ody

28 The legs Masteryour depiction of the limbs that support the body and drive it forward into action

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34 T h e fe e t ^

Discover how to use form to create solid-looking feet - and why you shouldn't draw too much detail

38 The shoulders Dont allow the complex interaction of muscles here distract you from the guiding principies of anatomy

44 Th eforearm s It may seem like a simple area of the body, but the forearm is more sophisticated than you suspect

50 T h ehand s Many artists fear this part of the body, but applv the principies here and you'11 see now easy it can be

54 The head Discover how to break the skull and facial features into simple forms to get the proportions spot-on

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n i E P IA C F.T O SIIA R E Y O U » M O ITA L ART

6 A rt sp ectacular! A feast of great figurebased images - and the artists behind them

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Presents Anatomy

Volume 1 ON YOUR DISC

Sketches and videos to help you learn... Turn to page 114 for more

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Animal anatomy Your complete to creatures... „

60 Basic form s Begin your exploration of creature anatomy by seeing the shapes beneath the skin and fur

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... 66 The torso Find out how the core of the animal body operates and how you can use it to bring life to your animal art

72 The hind legs Explore the rear-wheel drive of animais, and how this part of the body can propel your art forward

78 The forelegs Use your observation, skills and knowledge to build the pillars of balance and grip in animais

84 The neck and head 4 Discover what part of the animal body tells you about the creature and the traits ali animais share

90 A nim al faces Find out what animal faces have in common with human faces, and the crucial ways in which they differ

Digital art skills Artist Q&A

Help and advice from figure artists 98 Creature features Combine human and animal anatomy to create a fine-art portrait of a monster with Justin Gerard

102 Top ten fan tasy poses Whether you're drawing a hero or a villain, we've got the gestures and silhouettes to help you out

104 Strik e a pose Warren Louw explains how to fill vour characters with energy by íearning the art of posing

Real-world issues solved 108 Q uick guides Our artist panei helps you: • Paint realistic hands • Draw a screaming face • Avoid static figures • Master heroic proportions • Draw realistic eyes • Give characters mass and weight • Draw expressions that show the right emotions • Pose figures in motion • Shade faces better

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Paul Bonner

LOCATION: Denmark W E B : www.paulbonner.net EM A IL: bonner a mail.dk M ED IA USED : W atercolour

“ Most of what I do stems from a childhood passion for fairytales, myths and legends,” says Paul. "They sparked a myriad images and incessant scribbling, trying to draw my own versions.” Since then, with the help of brushes and tubes of watercolours, Paul has been continuing along that same path. “ Always knowing what I wanted to do made it an easy path to follow,” he says. Paul has made a successful career for himself that’s at least partially a result of his stubborn self-direction. Apart from the need to try and empty a cluttered imagination, Paul's driving force is the basic thrill of creating something out of nothing. Obviously this nothing is not absolute: " lt ’s made up of a myriad influences that seep in over the years.” Books, films, other artists, music and nature are allimportant ingredients. The challenge is to make something believable. “ I deal in myths and legends,” says Paul, “ and if I can get people to suspend disbelief and accept the reality of what l’m painting although they know otherwise... W ell, then, l’m a happy guy.”

DRAKAR OCH DEMONER 15x22in, watercolour on paper Paul revels in the chance to paint rocks, stones and water, and these guys in a boat were a great opportunity. This piece was painted for Riotminds.

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The Gallery

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ELD O C H SO T 15x22in, watercolour on paper “ Dwarves, trolls, stones carved into figures or runes,” says Paul of this piece for Swedish R PG makers Riotminds. “ That just about sums it ali up really.” TRUDVANGS STIGAR 13x25in, watercolour on paper This dwarf is in a bit of trouble: he’s been captured by some trolls. But this piece for Riotminds gave Paul a chance to paint one of his favourite things: “ Nature again... stones and roots.”

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CONFRONTATION 27x16in, watercolour on paper Paul admits that this piece, painted for miniatures company Rackham, was a nightmare to draw, given ali the figures. “ But it was fun trying to give so many individuais good reasons to be there.”

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The Gallery ■

Tom Kidd

LOCATION: US W E B : www.spellcaster.com EM A IL: tkidd asn et.n et M ED IA USED : Oil on panei

Tom realised he could draw when he was very young. Anything he set his mind to, he could copy - but he quickly realised that could be accomplished by robots or machines. To differentiate himself from the Xerox, Tom began making things up to draw, and so a career was born. TonVs role models as he grew as a person and an artist included Chesley Bonestell and Norman Rockwell. Taking on their influence, Tom began working towards the goal of becoming a fantasy illustrator. He won a scholarship to Syracuse University, but dropped out after tw o years and moved to New York, intent on making a career for himself. After a short while, he began to see success in his chosen path. Tom has worked for a number of publishers, Baen Books, Tor and Marvel among them. He’s won a W orld Fantasy Award (B e st Artist 2 004) and seven Chesley Awards. He’s also busy with a personal project, which he describes as “ my favourite and most time-consuming obsession." Called Gnemo: Airships, Adventure, Exploration, you can see lots of art for this project on TonVs website.

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HERCULES VS THE HYDRA 16x20in, oil on panei Part of a m ythology series Tom painted. The other characters he painted are Odysseus, Theseus and Perseus.

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PEINDEER EXPRESS 13x28in, oil on panei If you receive Christmas cards from Tom, you’ll already be familiar with this image. “ As I painted it, I came up with a children’s book idea to go with it," he says. “ It’s an attem pt to rationally explain Santa Claus, but as the story goes on it, becomes quite convoluted and even less plausible.”

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Duc Truong Huyen

LOCATION: Vietnam W E B : fxevo.deviantart.com EM A IL: truong.huyenduc a gmail.com S O F T W A R E U SED : Photoshop

Although Duc has studied at Ho Chi Minh City’s University of Architecture, he had never drawn anything seriously until senior year in high school, when he finally picked up a pencil in a bid to improve his chances of being accepted to study architecture. “A t first, drawing was my hobby," says Duc. “ That was until I saw Ryan Church, Dylan Cole and Daniel Dociu’s masterpieces.” The result was profound and immediate. “ I was in awe, and decided to buy an Intuos 3. This decision has completely changed my life.” Although he’s self-taught, Duc says he's had some help along the way. “ Thanks to ImagineFX, DeviantART and CGTalk, I have many sources to study and improve my skills, not to mention my knowledge from architecture."

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ENTRANCE OF COVERED lllustration for a personal project. “ It’s about a girl who owns a fairy tale book, which is actually a gate to connect tw o worlds together."

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ADERA Ali Duc wanted was a playful portrait “ with strong warm and cool colour values to present my character, the Seeker of Balance” .

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Sophia Kolokouri LOCATION: Luxembourg W E B : http://mysideworld.com EM A IL: m ysideworlda yahoo.com S O F T W A R E USED : Photoshop

After studying animation and design at Gobelins in Paris, Sophia started working at W alt Disney films. In 2007, having worked as an animation producer and art director, Sophia returned to her personal work: "And l'm now working as a digital hand painter and designer.” Sophia would like to combine her animation skills with a photo-realist aesthetic: “ This is something I wish to explore much more and push forward my technique. I am still learning." Sophia is keen to work with 3D software that gives photo-realistic results for humans, and there’s a book of painted fairytales on the drawing board. MOTHER NATURE lt’s a sad fact, says Sophia, that humanity is its own worst enemy. “ Humanity commits suicide by destroying its lungs, its health, its inheritance. Mother Nature is praying for us. She is praying for our sake, hoping one day we will finally succeed in living in harmony with our environment before it’s too late.”

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THE LADYBIRD "The challenge here,” explains Sophia, “ was to find a balance between the bird and the human.” So, keeping focused on the flamingo-inspired creature, “ I tried to bring a fantasy and romantic touch to the scene, while keep the pose elegant.”

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© Narrative Ink

The Gallery

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W a lte r 0 ’Neal III

LOCATION: US W E B : no-sign-of-sanity.deviantart.com EM A IL: [email protected] M ED IA U SED : Acrylics

As a kid, W alter always had his nose in a comic book, immediately in love with anything that dealt with fantasy or the supernatural. Superheroes, vampires, aliens, demons: "Any subject that deals with beings endowed with fantastic abilities or dark powers,” he laughs, “ and Pm sold!” W hen it comes to his own work, he says it’s ali about the detail: "I try to pack as much as I possibly can into a piece. I want you to forget that you’re looking at a painting.” Crucial to that is the rendering: “ I shoot for a kind of stylised realism.” O U SCRATCH 11x16in, acrylic on illustration board W alter was commissioned by the fantasy sculpting duo The Shiflett Brothers for this portrait of their OI’ Scratch character. “ Brandon and Jarrod Shiflett are such great guys,” he says.

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fe Shiflett Brothers Originais

MEDUSA’S DAUGHTER 11x16in. pencil and gouache on paper “ This shows Medusa’s Daughter (for Narrative Ink) making a futile attempt to tie down her wild hair using some makeshift straitjackets,” says Walter.

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The Gallery t e Lucas Graciano LOCATION: US W E B : www.lucasgraciano.com EM AIL: lucasgraciano a yahoo.com M ED IA USED : Oil

©2008 Quarto Publshing

Lucas grew up with the works of great fantasy artists such as Frank Frazetta and Boris Vallejo. Straight from high school, he started his art career as a caricature artist at theme parks and special events. Later, having attended the W atts Atelier of the Arts in Southern Califórnia, he started work on storyboarding and concept design in the games industry. W orking mostly digitally at that time, Lucas wanted to attain the foundation skills that come with working in a traditional medium. He soon fell in love with the traditional process and has nearly completely switched over. Lucas continued his training at the Atelier and was soon asked to teach. After developing his skills further, he moved into fantasy illustration and began freelancing while he taught. He landed his first illustration job on the very first set of the W orld of W arcraft card game, and has since worked for companies such as Sony, Wizards of the Coast and W hite Wolf.

PSYCHOPOMP 16xl2in, oil on hardboard This piece was done for the book Drawing and Painting the Undead. As simple as it is, Lucas thinks it's one of his stronger pieces. “ Its strong graphic read helped it get on the cover of the UK version of the book.”

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© 2008 Sony Onlne Entertairvnent

VALEM AIDENS 20x24in, oil on hardboard “ I like doing work for Sony," says Lucas, “ because they give me a free reign.” The only description on this assignment was ‘six or seven female dryads guarding a tree.’ “ They will often hand me their low-res, in-game models as reference and say ‘Make this look cool!’ I think that’s the kind of thing almost every artist wants to hear!"

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The Gallery SEND US YOUR ARTWORK! Every issue of Im agineFX features a selection of fantastic artwork from talented artists - and you could join them. For a chance to see your artwork included in Im agineFX, send your work to us, along with an explanation of your techniques, the title of each piece, a photo of yourself and your contact details. You can email your work to fxpose oim aginefx.com . Bear in mind that attachments must be no more than 5MB in total, or we w on’t receive them. You can also send images on CD or DVD to: FXPosé Im agineFX 3 0 M onm outh St B ath, BA1 2BW UK W e prefer 300dpi T IF F or JP E G files if possible. All artwork is submitted on the basis granting Future Publishing a non-exclusive worldwide licence to publish, both in print and electronically.

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W O RD OF PAIN 24x18in, oil on hardboard “ I like to keep my fantasy work more grounded,” Lucas says. “ Pve never been a big fan of the bright flashy colours of magic, so I try and imply it in more subtle ways.” KALADIM W IZA R D 12x16in. oil on hardboard Lucas is a huge Tolkien fan. “ Any chance I get to paint an epic battle scene with armoured dwarves, Pm very happy!” He’s even got a small collection of armour that he “ slaps onto some willing friends for photo reference".

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Presents Anatomy

See more of Ron's work at his website

action in three lines: th e gesture, the

centre o f th e chest, o r th e sternum , and

w id th an d th e d epth. O nce the gesture

con tinues th rou gh the lin e that splits the

w w w .s tu d io 2 n d s tre e t.c o m

or action o f the pose has been established,

ab d o m in al m uscles d ow n to th e pelvis.

On the disc

th e lim bs are then attached to

4 * ^ Find reference W sketches by Ron in the Torso folder inside Human Anatomy

T h e centre lin e is v e ry im p ortan t to

com plem en t th e tw ist, turn o r sw ivel o f

draw. It fin d s th e m id d le o f th e visible

the torso. W ith the head attached, you can

surface to m atch an d align th e fo rm s on

m easure o f f th e height an d vvidth o f the

either side o f it, an d it's a lso an an ch o r

torso m ore appropriately, o r adjust the

an d ap ex for m atch in g rh yth m ical lin es

The torso from eith er sid e o f th e body. N eglectin g to d raw th e centre line in y o u r s t r u a u r e

GETTING THE PECTORALIS MUSCLE RIGHT

is like forgetting to b rin g th e m an ager alon g to th e big gam e. If y o u d on 't u se boxes to d esign the p elvis an d th e ribcage, th e next step is to fin d the

The pectoralis mfiscle sits on the upper half of the ribcage, and inserts onto the uppe? arm borte, or humerus, around the upper third division of its length. The muscle wraps undemeath the humerus towards the back of the arm, and is a f ive-sififed shape.

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three-qu arter lin e o f th e figure, or w h ere th e fig u re tu rns from th e frontal p lanes to

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the side o f the body. In m an y poses, this lan d m ark can b e as im p ortan t a s th e centre line: it’s a m ajo r breakin g p oint in form , criticai to bo th the perspective a n d the align m en t o f th e lim b s from th e left side to th e right sid e o f th e figure.

Torso muscles T h e fro m o f the b o d y is m ad e up o f six m ajo r v isib le m uscle grou p s: th e p ectoralis m uscles, the ab d o m in al m uscles, th e o b liq u es, th e serratus m uscles, the trap eziu s m u scles an d the lattisim us m uscles, w h ich y o u can see i f th e arm s are lifted. U nfortunately, tw o o f these m uscle grou p s have m ultiple heads to them , but are w ell organised , so ren derin g them is just a m atter o f fin d in g the larger sh ap e that keeps the sm a ller on es organised an d harm on ised . The b o d y w edges d o w n from the acrom iu m processes - the b u m p s at the shou ld ers - an d tap ers to th e b ase o f the crotch. T he vvedge fo rm s th e true front p lan e o f th e b o d y ; th e m asses on eith er side o f th e w ed ge taper at a sh arp angle, an d

Its striations, or muscle fibre divisions, radiate in a fan-like shape, with the clavicular portion sitting on top of the mass. The female breast sits on top of the pectoralis. roughly between the seventh and eighth rib. It has a comma-like shape. tapering back under the arm toward the scapula.

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THE COATHANGER METHOD i is $ back ?the shoulders and baçkTof the neck. The visible pçrfion orr either side of the neck creates %coathanger-l!fce rhythm. which goes from the acromium processes at the shoulders to above the seventh cervical vertebrae. along the clavicles and across the stemal notch. From threequarter view to profile, the trapezius muscle is a ramp. taking up about half the space of the top plane of the torso. The ramp varies in height depending uponathletic build. The trapezius

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FINDING THE BIG RELATIONAL SHAPES IN POSES WHERE THE FIGURE ISNT STANDING For compressed or seated poses. I like to start the gesture ofthe pose by finding the big shapes - or, in this case. the shape - that both legs create together. This abstraction helps to strengthen the relationship between the limbs. as well as keeping the legs relating to each other dynamically and proportionately.

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Human anatomy T h e k neecap itse lf is a sm a ll free-

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S-curves are found alloverthe body, and the legs are no exception Here, the S-curve is found not only In large muscle rhythms. but also in the bones and their connections. The bones through the knee into the shln bone. and the smaller bones around the kneecap, hips and ankles exemplify this.

flo atin g bo n e that hovers o v er th e head o f th e fem ur an d is attached to the le g b y ten don s co m in g from ab ove an d b e lo w the cap. T h e m ost p rom in en t o f these ten don s is th e large rope-like cord that exten ds b e lo w th e k n eecap to th e fo rw ard



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but w ith th e t o e sstill m ak in g co n tact w ith th e g rou n d p lane. T h e big toe poin ts

The ankles can be thought of as a stirrup shape to help relate them to one another. The inside anklebone (maleolus) is higher in elevation than the outside ankle bone.

To achieve a more solid dimensional form. bear in mind that the foot is a full shape with six sides.

sh o w n th e con n ection from a front p erspective in these exam ples. T he a n k les con n ect th e feet to the

in tow ards the o th er fo u r toes, an d these

legs. For easier an k le d raw in g, it

toes ben d tow ards th e big toe.

helps to th in k o f them as a stirrup-

D on't forget that th e foot is a full

lik e shape. T he in sid e an k leb o n e is

sh ap e w ith s ix sides, like a block, w ith

m ore elevated th a n th e outside one.

corresp on d in g sh ad in g planes. D raw

Feet have typ ically been th e b a n e o f

throu gh th e form to generate a m ore

m an y artists. So m e illustrators h id e them

so lid -lo o k in g an d d im en sio n a l form .

w ith sm oke, p ush them into silhouettes

W hen y o u 've perfected y o u r feet,

an d sh ad o w s o r even crop th e im age to

yo u '11 w a n t to add them to th e rest o f the

avoid d raw in g them . But w h en an artist

character. N o w 's th e tim e to c on sid er

can d raw them correctly, h o w m uch

a n k les a n d legs. See in m y d iagram s

character th e y ad d to th e im age! Tine

a b o v e h o w l've d raw n the right fo ot and

h a n d s an d feet can say just as m uch as

started to attach it to th e right leg. I've

a co n v in cin g facial expression.

Overlap the toes when the foot is not drawn straight on. This will avoid the 'clump of bananas’ look. and help the foot look less cartoony.

Because o f th eir co m p lex ity an d gesture o r action, feet u su ally becom e a secon d ary

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o r tertiary fo cu s in a figu re draw in g. It's a g o o d idea to tackle these d iffic u lt issues

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e a rly o n an d id eally m ake it secon d nature to d esign them con vin cin gly. Y ou w ould

th est

be su rp rised h o w m an y peop le w ill co m m en t o n h o w w ell feet are d raw n i f 2

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th ey really are; it's not ev ery d ay that you fin d an artist w ith a real u n d erstan d in g o f th e grou n d th ey stan d upon .

Imagine

Presents Anatomy

Human anatomy

DRAWING THE SHOULDER AND UPPER ARM

DorVt allow the complex interaction of muscles in this area to distract you from anatom y’s guiding principies

Ron Lem en COUNTRY: US

o fa r w e've seen h o w to d efin e

th e shoulder, o n e o f the m ore com plicated

shapes, the m uscles have n ow here to start

See more of Ron's work at his website

I th e a rm atu re o f th e figu re

spots 011 the b o d y to draw. T he place to

o rterm in a te . Keep in m in d that the

w w w .s tu d io 2 n d s tre e t.c o m

start is at the skeletal structure.

d iagram s I have d raw n are m ostly fleshed

On the disc

© 1

U nd erstan d th e sh ap e o f th e scap ula an d an d its u n d e rly in g gesture, h um erus, esp ecially the edges o f the

before startin g to flesh o u r

figu re out w ith th e torso an d legs. We

attach are covered - but the shap es are

scap u la an d the e n d s o fth e h um erus.

solid an d d irectio nal, because o f w here

YVithout k n o w in g th e b o n es an d their

the m uscles attach to th e bones.

con tin u e o u r jo u rn e y w ith th e u p p er part o f th e arm s an d th e w a y th e y con n ect to

Imagine

over, so th e p oin ts w here th e m uscles

Presents Anatomy

•

Find sketches by Ron in Shoulders and Upper Arms inside Human Anatomy

Pari Shoulders &upper arms

Learning the relationships between muscle and bone Drawing the shoulders to complement the action of the upper arm muscles D raw in g th is part o f th e b o d y begin s

w eigh tless o r com p etin g against the

m uch lik e an y o th er part. First gesture in

action y o u w ant to depict.

th e p ose, th en accent th e lin es y o u feel go o d ab ou t u sin g for th e fin a l p ose before

Shoulder structure

startin g to d efin e th e b o d y m asses in

T h e sh o u ld er flo ats over th e ribcage, w ith

m ore d etail.

o n ly the clavicle at th e sternum on the

W hen d raw in g th e figure, a clear

ribcage actin g as an an ch o r for th e entire

u n d erstan d in g not just o f th e m uscles,

arm . T h is m ean s that th e arm has

but w h at th e skeleton looks like beneath

a lot o f free m o tio n o ver th e ribcage.

ali th e m uscle m asses is needed to d raw

W hen d raw in g th e arm connected to

m uscles w ith an y b e lievab le v isu al action

the body, you need to first fin d the correct

to them . W ithout th is u n d erstan d in g an d

action o f th e sh ou ld er to avoid a stiff-

observatio n , th e m u scles can en d up

lo o k in g d raw in g. F o rex am p le, ifth e

d raw n as b u b ble sh ap es that are lifeless,

arm is w in d in g up to th row a bali, the

This drawing is ali about the shoulders and the upper arms. Note how the shape and form of the forward-pointing left arm is entirely different to the right. Think about how the muscles and bones are moving and interacting with the skin and the light.

The shoulder tes quite a bit of movement around the ribcage. Here you can s e e w e e positions of the arm. The first is forward, moving the attachment of the deltoid forward and stretching the shoulder muscles. The second is in a reference position, by the side of the ribcage. More of the back of the arm and shoulder show when the arm is relaxed in this position. Meanwhile, for the third position, the shoulder is pitched back behind the body. The shoulder is now behind the ribcage, stretching the pectoralis muscles and serratus muscles.

éé Doirt memorise the muscle chart. Memorise the muscle insertions and connections to the bones Here we see the shoulder from behind the ribcage. Line A of the first ribcage represents the rhomboid and trapezius muscles. bunched up between the spine and the spine of the scapula. Line B represents the crease under the scapula that follows the serratus muscles. Line C splits around halfway between the shoulder muscles perpendicularly.

Imagine

Presents Anatomy

Human anatomy PERSPECTIVE AND DYNAMISM IN MUSCLE DESIGN

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Here are the two approaches previously described to start the figure drawing: the abstraction method. and the shape-finding or Industrial Design method. Both methods lead to very similar conclusions. Remember: the most important concept you can get from both is that it's only about starting the figure to get it set up for the finish. where the drawing really counts.

*■ *

sh ou ld er w ill b e tow ards th e back o f

th e ribcage. I f th e a rm has released the b a li in th e throw, th e sh ou ld er w ill be m ore forw ard o ver th e ribcage. I f the

term in ates at (or crosses over an d inserts

ha n d s are h eld h ig h ab ove th e head, the

onto) the u p p er arm bo ne, k n o w n m ore

shou ld ers are clo ser to th e ears.

fo rm a lly as th e hum erus.

Each set o f m u scles crosses o ver from

FOLLOWING THE RHYTHM OF MUSCLES

T he m uscles o f th e upp er arm originate

o n e b o n e to an other. For exam ple, the

bo th on the h u m eru s an d on the scapula,

sh o u ld er starts in th e torso, con n ects to

an d term in ate on th e tw o forearm bones,

th e c la v ic le a n d th e sca p u la , and

k n ow n as th e u ln a an d the radius. T h e

éé When drawing the arm connected to the body, we need to first find the correct action of the shoulder in order to avoid a stiff looking drawing If h a n d s an d feet are a few places on the b o d y w here the m uscles are referred to as intrinsic: th ey stay w ith in the b o n e m ass. O th erw ise, m uscles connect tw o or m ore different b o n e group s together. T he scap ula floats o ver the serratus m uscles, w h ich w e see as little b u m p m uscles on the ribcage u n d e r each arm , or th e 'superhero m uscles'. lh e sh ou ld er m uscles ali start o n th e spin e edge o f the These lines represent the rhythm lines, or the abstraction lines that flow between the muscles once the architecture has been designed. These lines help harmonise the muscle forms to create a seamless rhythmical movement of muscles, bones and ligaments.

Imagine

Presents Anatomy

scapula, an d cross o ver to the top o r the up p er third o f the h um erus. These four m uscles help rotate the u p p er arm rotate out and in from o u r b o d y - w h en you hold both y o u r arm s out like a cross,

»

Pari Shoulders &upper arms

Draw muscles with simple geometry to understand and memorise them, or to tum them into something that you can remember easily. Here are the four muscles inside the scapula. Each muscle is drawn individually to help you understand the shape. where it starts - or where it's connected - and where it goes to. This is important information to remember, because ali the lumps, bumps, dark spots and highlights you see on the back only show up when the arm is active.

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Presents Anatomy

Human anatomy HOW MUSCLES CONNECT, MOVE AND INTERACT T fe A P E ^ V S D E L T tX b

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e£AO\\&.u^ -TTpAPS for e xam ple, o r w h en y o u put both h a n d s b e h in d y o u r back, as ifh a n d c u ffe d . T he deltoid covers p art o f these m uscles an d w rap s aro u n d the to p o f the a rm . It fu n c tio n s as a sw ivel m uscle, o r th e Here, the arm is pulled behind the body. causing several creases to occur. These creases run perpendicular to the muscle striations of the muscle heads. The three creases here are along the base of the oblique; under the serratus muscles and through the lattisimus and the rhomboid; and under the scapulas base edge.

m u scle th at en ab les y o u to sw in g y o u r arm rou n d like a w h eel. T hen w e h ave the biceps an d triceps. T hese m u scles cross over to the forearm bo nes at the top third

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o f th e the h u m eru s. T he triceps e xten d o r straighten out th e arm ; the biceps fle x it o r d raw it into th e body.

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I urge caution in le arn in g an d d raw in g m u scled istrib u tio n . D o n t m e m o ris e a

éé The muscles should be drawn only when active, not charted and shaded like a muscle diagram 99 m uscle chart. M em orise the m uscle

shoulder. T h ese m uscles in p articu lar

T he m uscle ch arts you see in an an ato m y

insertion s an d con n ection s to the

sh ou ld be d raw n o n ly w h en active, not

b o o k are based 011 m ed ically ideal bodies.

bones, o r w h ere th e m u scles originate

charted an d shaded like a m uscle

In reality, th e size an d scale o f each

from an d w h ere th ey en d on the

d iagram : m ost h u m an s don't n o rm a lly

m uscle v a ry from person to p erso n, based

skeleton. Learn th e ir fu n ctio n an d

look th is w ay, even w h en w ell d eveloped.

on their p erso n al activity, diet an d oth er

B od y-bu ilders create a Livin g H um an

factors. T h e a n ato m y b o o k s start us at an

action an d grou p th em so y o u are not d raw in g ev ery m uscle.



The muscles on this cast are over-developed to emphasise their artistic shape and construction. The slightly rounder forms also lend themselves to more dynamic and fluid rhythm lines.

k n o w a n d con sider w hen le a rn in g h o w to dictate h u m an anatom y. A fu n ction u n iq u e to the arm is the w ork o f th e rotator m uscles, also k now n as th e ridge o r su pin ator m uscles. In o p p osition to th is g rou p o f m u scles is th e p ron ator teres - a m u scle that's on the

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inside o f th e arm b e lo w th e biceps. T h is grou p o f m u scles o ccupies th e u p p er third

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o f the forearm . T he supin ators originate ab out a th ird o f th e w a y d o w n th e

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Presents Anatomy

Human anatomy

h u m eru s an d split th e b iceps and triceps. T hese m uscles rotate the h an d left an d right, an d flex o re x te n d it. Now, con trary to w h at 1 see d raw n a lot, the ridge m uscles d on 't have a crease in them w hen the arm is bent. T he crease y o u see is sk in fo ld in g, n ot the m uscle. T h in k o f t h e m u scle as a cable o r a piston - neit her o f these ob jects fo ld o ver on them selves. Instead, th e y go slack. A s a rule, skin fold s p erp en d icu lar to m uscle fibres, a n d th is is w hat's tak in g place in th is region. T he skin folds, th e m uscle stays th e sam e sh ap e - just com pressed a little bit m ore. W hen the h an d is pronated, th e ridge m u scles cross o v er from This arm was drawn from a photo of a bodybuilder, so the muscles are more visible in their construction than in the average person Weightlifters idealise their bodies. sculpting the muscles to perfection under the the skin, like walking anatomy charts.

th e o utside to the inside edge o f th e arm . T h e ridge m u scles attach just b e lo w th e th u m b so, as a ru le o f th u m b (sorry, cou ld n't help it), w herever th e th u m b is, the ridge m u scles are p oin tin g to it. T h e ridge m u scles break u p th e even sym m e try b etw een th e arm 's o utside an d inside edges. O n e w a y to rem em ber w here an d how ali these m uscles w ork togeth er is to th in k o fth e arm as a series o fc h a in lin ks. F.ach link alternates

éé Contrary to what I see drawn a lot, the ridge muscles do not have a crease in them. The crease you see is the skin folding, not the muscle 99 direction, an d th a ts w hat the arm d oes from sh ould er to hand. For th e arm to fold in on itself, o r flex, th e m uscles

NOTING HOW MUSCLES CHANGE WITH ACTIVITY Muscles involved in a particular activity will tense - or the muscle form will accentuate more than the muscles not directly reiated to the action. The body shouldn't be drawn like a muscle chart, or it won't look convincing. Use the anatomy you learn only to fix problems in a drawing or to simplify complex posing. Use your knowledge in moderation reiated to the action of the pose - otherwise you should leave it out.

have to be p osition ed to interlock w ith each o th er to prevent an y con flict o f space b etw een ali th e m eohanical parts w ith in th e arm m ass. Exam p les on p age 45 sh o w th is further.

Ridge muscies T he ridge m uscles share in th e p rofile o f the flexo rs an d th e extensors, blen d in g into b o th sides in the upper third o f th e fbrearm . T h e inside o f th e arm seats the flexo r grou p - the set o f m uscles that flexes th e h an d tow ard the body. T he brachiorad ialis - the biggest m uscle o fth e g roup overlap s on to th e inside surface o f the arm , the o p p o sin g m ass to the flexo r grou p and pronator teres. Both these sets o f m uscles fu n n el together

Imagine

Presents Anatomy

Here is an arm drawn from the underside, with the ulnar crest over-emphasised to show where it is and how it separates the flexor and extensor muscle groups. This bone ridge is overemphasised to show how the bone traveis from the elbow to the wrist.

The forearms

FITTING THE MUSCLES TOGETHER ^

If the muscles are grouped together, they can ali be paired to make drawing them easier to manage. The forearm is drawn foreshortened to show the relationship between the generic shape design and the significant anatomy underneath. The anatomy design is missing the pronator muscle to show how the flexors and extensors are separated by the bone structure.

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Presents Anatomy

Human anatomy ------------------------------------------------------

UNDERSTANDING HOW MUSCLES WORK BENEATH THE SKIN y(0 ^ 1 S

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Study anatomy from every book you can find, including muscle magazines and fitness books. Don't just copy the drawings: examine the construction, memorise the names and the bones. Then practise whenever you can. redraw the charts and labei them from your head. Drawing the chart once or twice is not enough to memorise them. Drawing from memory helps you reflect on how much has been absorbed.

* ' belovv the b icep to form th e pocket it sits inside o f w hen the arm is bent. T he e x te n so rc a rp i m u scles - tw o m ore m uscles b elo n g in g to the ridge group blen d in w ith th e exten sors at the e lb o w and then across th e top o f th e arm . On the o th er side o f th e arm , the e xten sors an d flexo rs are separated b y th e u ln a

éé As flexing, gripping, holding and so on are the primary functions of the hand, more muscles are attributed to assist in these actions

b o n e - a split in th e m u scles k n ow n as

flexo rs term in ate at the fin gertips, w h ile

epicondyle) and cross over the tw o bones

the u ln a crest.

a few term in ate in the p alm o f th e hand.

o f the forearm , spread in g out across the

T here are m a n y layers o f fle x o r m uscles.

topside o f th e arm an d term in atin g at the

th e in sid e b u m p (k n o w n as th e m ediai

B ecause the fle x in g o fth e hand - for

fingertips. T hese m uscles are responsible

epicon d yle) o f the h u m eru s, the b o n e that

gripp in g, h o ld in g an d so on - is its

for o p e n in g th e h a n d an d p u llin g back in

con n ects th e arm to th e sh o u ld er (also

p rim a ry fu n ction s, m ore m uscles are

a halt p osition - the o p p o sin g fu n ction s

often k n o w n a s th e u p p er arm ). T he

assign ed to assist these actions.

o f the flexo r group, in o th er w ords. T he

T he flexo rs o riginate at the e lb o w on

m u scles cross o ver th e tw o bo nes o f the fo rearm - th e u ln a an d radius. M ost

Imagine

T h e exten sors originate from the o utside b u m p o f th e arm (the lateral

Presents Anatomy

exten sor gro u p is the m ost active o f the forearm m uscles. lfy o u 're d raw in g

The forearms

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A n a to m y is im p o rta n t - bu t m o re s o to

SOFT SPOTS

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shap es is k ey in m ak in g a m ore con vin cin g d raw in g. T he fin ger jo in ts are spo ol-shap ed,

Mechanics of anatom y

depressed slig h tly in th e m id d les for the

D ifferent h a n d s can lo ok like th e y are

ten d on s o f th e exten sor m uscles o f the

differen t sh ap es - babies' han d s, for

fo rearm . T h e m etacarp al k n u ck le - th e big

exam ple, are ch u b bier th a n old people s.

o n e th e fin ger is attached to - is barrel-

But w e are bu ilt sim ilarly, o u r hand s

shap ed , not to tally spherical, an d the

included. T h e h a n d is b lo ck y b y nature: it

ten d on s that sit in th e grooves o f th e spo ol

has m ass, a top, a bottom , sides, a front

shap es on o u r fin gers sit on top o f the

an d a back. T h e h a n d is also circular, a s it

barrel-shap ed knu ckle. A s research, lo o k at

sw ive ls a n d pivots in th e wrist. W hen the fin gers are pressed together,

N o rm an R o ck w ell's h a n d s in h is paintings. H e d id it better than alm o st a n y oth er

th e h a n d lo ok s like a spade. T h is is w here

illustrator out there.

y o u w a n t to start d raw in g the hand.

T h e h an d has a sq u ish y sid e an d a firm

Im ag in in g th e h a n d as a soft, b lo c k y

side. T he sq u ish y side - th e p alm - is w here

fo rm , so m e th in g akin to a sp o n ge in

the m ajo rity o f m u scles o f th e h a n d are

texture, helps y o u to rem em ber w hat

^ocated. T he o th er v isib le soft spot is

y o u r e d raw in g is a physical object.

BONE SHAPES

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HAND HOLDING A BALL J Start with the object to be held (the bali. top). Next. add the arm rhythms and the bali shape for the palm of the hand. then attach the finger wires to the bali mass. These wires should represent the absolute middle pro contour. the middle of the finger mass

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Now flesh out the ▼ forms. This means adding dimension to the shapes by giving them planes. To locate the finger \ segments. find the arclng lines: these segments arc more than 90 per cent of the time. The ares determine the relationship of each particular band of knuckles - próxima!. middle or distai - from finger to finger KnuckU are knobby: either round or blocky. However. you may find that stylising will change this blocky appearance

Imàginé

Presents Anatomy

■J2

Human anatomy *

I f y o u ran 't rem em ber the anatom y,

T h e h a n d is attached to th e arm , an d the

rem em ber th e concepts: th ey'11 g e ty o u

arm is an exten sion o f the torso, so startin g

through a n y d ou bts y o u have abou t w hat

w ith an overall gesture o f th e p ose ensures

you're d raw in g.

that the d esign y o u pick for the fin al hand

T he fin g ers are ro u g h ly th e sam e length

is correct. T h e h an d position is relative to

as the h an d m ass. R em em b erin g th is is a

the rotation o f th e arm (o r its pronation or

g o o d check-an d-balan ce to m ake sure yo u r

su p in atio n ). T he sketch h o p e fu lly solves

d ra w in g s p rop ortio ns are right, even w h en

th e d ilem m a o f h o w to start the design o f

the fingers are fold ed a n d th e h an d is

the hand. I som etim es th in k o fd e sig n in g

foresh orten ed. P ro po rtio n s have a w a y o f

th e h an d in action b y d raw in g the object

b ein g u n derstoo d even w hen obscured.

first. O nce I k n o w w here the object is,

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relative to th e p o se o f m y character, I can Í4j * * o v * w tT' o*

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CONSTRUCTING A HAND

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The hand is spadeo r diamond-shaped when the fingers are closed together.

fo rm al sh ap es, th e h a n d block, th e fin ger

D raw d etails - fín gern ails, knuckles,

m asses, an d so on.

w rin k le s - last. T h ey sit better 011 the

T he lin e that s h o w s th e con n ection w ith

fin gers w h en th e y are w ell designed

th e object is th e w eld line. Press it firm ly

d im en sion ally. Before this, ren der the

against th e o bject, sh o w in g o f f the o b ject’s

surfaces: fin d th e sh a d o w patterns, and

fo rm m ore th an th e h and. N o m atter ho w

u se p lanes to chart valu es across the

m uch y o u see a little space betw een the

surfaces. T his is w hat it m ean s to render

joints, don't m ak e them im p ortant. M ake

a fo rm ; m ak in g a stronger v isib le shape,

the w eld lin e sh o w o f f th e action.

n o ta d d in g details.

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The different-coloured lines here indicate the gesture o f the hand and the character. showing how the object sits in relation to the character.

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DRAWING GRIPPING HANDS

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ÜVE Drawing the object first helps you when drawing the hand in action. Here. IVe begun with the object before using the weld line (shown in blue) to connect the hand and object correctly.

Next, it's time to sub-divide surfaces. Here, l'm using the plane structure method to chart values and tones across the surfaces, working up from flat values.

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Only when ali o f this is done do I begin to shade and detail the hand. Once I have the hand shape rendered. I can then add details such as creases, fingernails and knuckles to make it look realistic.

much you see a little space between the joints, don't make them important. Use the weld lines.

Imagine

Presents Anatomy

The head is one of the most important parts of the body to draw. so practise as much as you can.

Break the skull and features into simple forms to get the proportions right

More at ebook-free-download.net or magazinesdownload.com

it 8 The head n o th in g beats h an d s-on practice. G et a

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o f th e fig u re w ith con fiden ce, help in g y o u

is th e trad itional acad em ic m easu ring

m y basic process for creating w ell-d raw n

d raw you rself. T h eo ry alon e can n ot give

stick o f th e h u m an fo rm : fo rm u la e h ave

heads. T lie th e o ry is im p ortan t an d can

you en ou gh exp erien ce a s an artist to

been created that en ab le artists to u se the

o ffer a certain degree o f freedo m from

w ork th rou gh ev ery problem y o u ’ 11

sku ll as a tool from w h ich to d raw th e rest

reference - but, as I’v e said before,

en coun ter in y o u r career.

hen d raw in g th e h u m an body, on e th in g th a ts essential to

to m ain tain th e correct p ro p o rtio n s an d

frien d o r fa m ily m em b er to m od el for

perfect is y o u r m eth od for

scale for the figu re as a w hole.

y o u at ev ery op p ortu n ity, hire a m odel

d raw in g th e head. T he sk u ll

I

lere, I'm g o in g to t a lk y o u through

PROFILE

or, w ith the help o f a m irror o r photos,

See more of Ron’s work at his website w w w .s tu d io 2 n d s trc c t.c o m

On the disc

Shape up: basic head forrris

Find reference 'C sketches by Ron in the Heads folder inside Human Anatomy

Put your head in a box to ensure that youVe got the correct dimensions B e lo w is m y sketch o f a h e ad in fro n t

shape. T he head is really n either an oval

a n d sid e p ro file s, sp lit in to th ree

n or a block, o f course, but th in k in g about

r o u g h ly ev en s e c tio n s. M e a s u rin g th e

b o th w h ile d esign in g th e sk u ll w ill help

s k u ll fro m th e sid e (in c lu d in g th e n o se)

y o u ach ieve realistic d im en sion s.

it fíts r o u g h ly in to a s q u a re b o x (as y o u

So, like a child, begin w ith an oval.

c a n se e to th e rig h t). From th e fro n t bu t

D raw a lin e to fin d th e inside corn er o f

e x c lu d in g th e ea rs, it's a b o u t tw o -th ird s

th e face, o r th e ch an ge o f p lan e from th e

th e w id th o f th at b o x at its w id e st p o in t.

front to th e side. T h is is u su a lly w here

W hen children d raw a head, th ey u su ally start w ith a v ag u ely o v al o r 'egg'

p ortraits fa li apart: w ith ou t a threeq u arter line, th e features d rift from the

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front to th e side o f the head, and prop ortio n , direction o f gaze and sy m m e try ali fali ou t o f alignm ent. N o w d raw a centre line. T h is helps keep the features sq u ared u p o n the face p lane

an d is e sp ecially n ecessary w h en th e head is tip p e d o r tilte d . D raw p erp en d icu lar lin es attached to th e top an d bottom o f th e centre line

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The first centre line helps to keep the features squared up on the face. You can then add centre lines for specific features. such as the nose.

Imagine

Presents Anatomy

Human anatomy THE NOSE AND EYE SOCKETS •• •

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* • to forehead a n d chin. T he sku ll sh ap e

d irection as the side p lan e o f the head.

sh ou ld n o w b e d ivid ed into three visible

T h is en su res that the n ose stays centred

surfaces; th is w ill help get th e p rop ortio ns

betw een th e eyes correctly.

m ore accurate fo r the sm a ller shapes.

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T h e bottom s o f the eye sockets are n ext

D raw a second, m o reo rg an ic, centre line

to d raw : m ake these parallel to the top

to d efin e th e centres o f th e ex tru d ed

line, in tersectin g th e nose about h a lfw ay

features - th e lifted brow, nose, tooth

d ow n its length. Extend th e top line

cy lin d e r an d chin.

aro u n d to the side planes, keep ing it at

T he first feature to start w ith is the split

th e sam e elevation to th e top o f th e head.

betw een th e eyes: th is is k n ow n as the

CHEEKS AND EARS

T h e eye sockets sh ould look som ew hat

glab ella. Typically, it's a w edge sh ap e

lik e su n glasses in their d esign. T ake the

betw een th e eyebrow s, just ab o ve the

bottom lin e and d o the sam e th in g you

bridge o f the nose. I ch o o se to begin here

d id w ith the top one. Both o f these lines

becau se th e glabella establishes an overall

fram e w here th e ea r should b e placed on

w id th fo r ali th e rest o f th e features. N ext,

th e sid e p lan e in correct elevation to the

attach a ho rizon tal line to the top o f the

top an d b o tto m o f th e head.

C h e & tis

glab ella w ed ge to establish the tilt o f the eye sockets in relation to th e centre line

Cheeks and teeth

(a p erp en d icu lar relation sh ip).

T h e ch eeks an d tooth c ylin d er can be

to

d raw n togeth er in a rh yth m , startin g w ith

Drawing the nose

an arc that crosses throu gh the face plane

D raw in g th e n o se is tricky, but g o o d

from cheek to cheek. From d irectly in

organisation w ill m ak e it a w h o le lot

front, th is rhythm can be d raw n as a

easier. Start w ith a tall trian gle, flat

cird e ; m ore w o rk is need ed from th e side

against th e face p lan e a s th o u gh y o u v e

view , since th e cheek shares its rh yth m

shaved o f f the nose. T h e top o f the

w ith both the front an d side planes. T he

trian gle o verlap s the g lab e lla an d creates

ears are u sed to help design the cheeks

th e interior lin e o f t h e ey e sockets.

(see the d iagram to the right).

K n o w in g the p ersp ective o f th e head

T h e tooth cylin d er is con n ected to this

m akes it e a sy to d raw th e perspective o f

cheek an d d rop s d o w n tow ard th e chin ,

th e nose. E xtru de th e bridge in th e sam e

arcin g across the centre lin e an d u p the

THE TOOTH CYLINDER RELATIVE TO THE NOSE r e flc a ♦*©

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Imagine

Presents Anatomy

(9 «Mi tim

cewAof

it 8 The head o th er side, leavin g en ou gh space fo r th e

th e h ead as a basic shape, an d attach th e

b ali o f t h e chin.

face like a m ask, w ith the h a irlin e fram in g

T h e m ou th exten ds from th e face like a m ou n d . O ften , it is m ore c ylin d rical than

th e u p p er h a lf o f th e m ask shape.

HEAD AND SHOULDERS

It's just as im p ortan t to see th e h a irlin e

rounded, w h ich is w h y it's c o m m o n ly

as a geom etric sh ap e as it is a n y o f th e

U nless y o u ’re d raw in g a d isem b o d ie d head, there w ill com e a tim e

k n ow n a s t h e to o t h cy lin d e r in life-

o th er features. V isu alisin g th e h airlin e as

w hen yo u 'll w ant to attach it to the rest o f the body, w hich m ean s

d raw in g m an u ais.

p art o f th e facem ask can help attach the

ad d in g th e neck, ribcage an d shoulders. A ttachin g the neck an d shou ld ers to the head can be a trick y

When drawing anything organic, it's best to think about the shapes with edges and comers first. The top of the skull can be drawn as a block

business. lfy o u 'r e d raw in g th e head first, it'sat th is p oint that the rest o f th e p ose is ab out to be d raw n . ITiis con n ectiòh w ill help y o u to d evelop an d d efin e the shap es o f that pose, en su rin g that it fits correctly w ith the head y o u ’ve alread y got. Attach th e head (bali) to the neck (cylind er), then attach the c ylin d er to the ribcage (b a li), l h e shou ld ers float over the ribcage. T he o n ly p oint w here tw o bo nes connect together is at th e pit o f the neck, w h ere th e c lavicle con n ects to th e ribcage. Therefore, the

The top o f th e sku ll, w h ile rou n d ed , can

h a ir correctly to the sku ll an d keep

a ctu ally be d raw n as a b lock. W hen

e v e ry th in g lin ed u p aro u n d the head.

d raw in g th e h air 011 to th e head, th in k in g

W hen d raw in g an y th in g organic, th in k

about th e sku ll as a block can ad d extra

ab o u t th e sh ap es w ith edges an d corners

d im en sion to the h air m ass.

first. T h e perspective o f a form is fo und

T h e best w a y to d raw th e h air is to start

m uch m ore easily i f there are p oints to

w ith th e hairline. I d o th is as fo llow s

u se as lan dm arks, an d a straightish line

(refer to m y sketch b e lo w to help): draw

co n n ec tin g th e m .

Z.

ribcage is the m ost im p ortan t structure after the head an d neck.

A

ADDING THE HAIRLINE, AND USING BLOCK SHAPES FOR DIMENSION

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While the top of the skull is rounded. it can be drawn as a block. Thinking of it this way helps give extra dimension when it comes to adding the hairline.

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lt’s important to see the hairline as a geometric shape. Visualise it as part of the facemask Cabove) to help you position it correctly on the skull.

Imagine

Presents Anatomy

Imagine

Presents Anatomy

éé Whether you draw or paint, knowledge of anatomy and form will enable you to get your ideas into images f f Marshall Vandruff on animais, page 60

Your animal anatomy expert Marshall Vandruff is a freelance illustrator who’s worked for Warner Bros, HannaBarbera and Dark Horse among many others. Marshall has trained professional artists and students in Southern Califórnia since 1984. www.marshallart.com

Workshops

Explore animais in six parts 6 0 Basic forms Begin your exploration of creature anatomy by seeing the shapes beneath the skin and fur . 66 The torso , Find out how the core of the animal body operates and how you can use it to bring life to your animal art 72 The hind legs Explore the real-wheel drive of animais, and how this part of the body can propel your art forward 78 The forelegs Use your observation, skills and knowledge to build the pillars of balance and grip in animais

ir

8 4 The neck and head Discover what part of the animal body tells you about the creature and the traits ali animais share 9 0 Animal faces Find out what animal faces have in common with human faces, and the crucial ways in which they differ

lmàgine

Presents Anatomy

Animal anatomy PARTI

BASIC FORMS Begin your exploration of creature anatomy by seeing the shapes beneath the skin and fur

O

limais are something I love

learned that there are secrets to animal

to draw, especially from

anatomy - old secrets, well-known to a

imagination. Foryears, 1 had

few. These workshops reveal the secrets o f

no idea how animators,

comic-book artists and old masters could

inventing animais. W hetheryou draw, paint, sculpt, model or animate, basic

not only draw anim ais without copying

knowledge o f anatomy and form will

what they saw, but actually make animais

enable you to get your ideas into images.

look thicker, stronger, funnier and more

W hen you can create any animal you see

alive than anything they could see. Then I

in your m ind's eye, thats mastery.

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Animal anatomy

Sort out the big things first A nalyse refe ren ce o f horses and cats. You'll fin d th a t horse torso s fit

MORE TORSO FORMS LM SLN TO D M W T H E C O M P u M T E O T H IN G Í P y aM k j n g t h e m Çi m P lE.Look for the basic structure that simplifies

rig id . Cats how ever tw is t a round , so y o u ‘ll need separate form s fo r th e pelvis and th o ra x. Solve those b ig fo rm s b e fo re yo u conce rn yo u rse lf w ith lim b s o r textures.

bone and muscle into a single form. It can be a big bean from which appendages emerge, or any invented form that helps you twist or add body to the spine. The important thing to remember is that torsos are complex, so you must simplify them enough so that they can be drawn in any position you care to choose.

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Presents Anatomy

Part 2 The torso

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A torso serves several functions: as a core for the body; a hub forthe limbs; a trunk from which branches emerge; a chassis to support a craning neck. A ribcage is a cage to contain soft parts and protect them. A spine is a spring (especially with cats), or a bridge, or a flatbed truck that can carry a load. A bird's sternum is both a boat’s keel and an anchor for m uscles... t

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