mylittledoxy: Check out the first part of this Hip/Femur...
// Art and Reference point
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|Alexander Yakovlev (1887-1938) Mirza Dolik|
|Portrait of Mirza Dolik (detail)|
Alexander Yakovlev Salek Ibn Mohamed
sanguine and pastel on paper 29x21.5 in.
- how to draw arms
- How To Draw Hands
- hands hands hands
- more hands
- another hand tutorial
- How to draw butts&thighs
- draw knees
- draw feet
- Kneeling + Sitting ref
- Body anatomy help
- The male torso
- Muscular male with bow stock photos
- Lots of Stuff
- All about the human body
- Pose studies
- 100+ anatomy references
- Sitting poses
- pose reference blo
- realistic woman body ref
- male body
- Pose Maker
- hundreds of pose references wowie
- a guide to figure drawin
- torso reference
- How to draw penis
- Penis ref
- Kissing ref
- Drawing expressions
- Creating expression
- Avoiding same face
- How to draw faces
- contouring and highlightin
- drawing eyes
- *How To Draw Noses
- drawing ears
- how to draw profiles
- *How To Draw Lip
- lips ref
- Drawing clothe folding
- How to draw folds
- Folding ref
- how to draw jeans
- hat ref
- *How To Draw Fabric Folds/Creases
- how to draw shoes/feet
Other (Person Related):
- Flower crown tutorial
- Drawing horse/animal legs on humans
- Anatomy of mutant humans
- Mass art ref
- Drawing human wings
- draw wings
- *How To Draw Cuts And Bruises
- How to draw ice
- Drawing clouds
- Creature design
- Tutorial masterpost (100+)
- How to colour
- Drawing ref masterpost (10+)
- paint blood
- shadow help
- draw grass
I made this most for my own benefit to organize this stuff, and have no idea how to make a masterpost!
Carl John Arnold, Adolph Menzel
In the Morgan Library and Museum, use Zoom tab or download link.
Menzel gives us a superbly adept rendering in pencil. The drawing feels at once finished and casual.
Either the subject had a large head, or Menzel — after focusing on the portrait — compressed the figure somewhat to fit it on the paper.
I'm not a napping kind of person. When I'm up, I'm up and I want to be doing something or on the go. That's usually the kind of body drawing that I'm pulled to as well--muscles torqued, body indicating action, and an underlying sense of movement. That being said, I do recognize and advocate for drawings that show the body at rest.
|Doppelganger by Michael Grimaldi, 14 x 18, pencil drawing, 2005.|
There's something beautiful and quietly sensual about the human form lying prone or supine--a landscape of soft lines and no tension in the body. But in order to truly represent this kind of lassitude and ease when drawing human body sketches or studies, I need to be better equipped when it comes to figure drawing.
|Nude Study by Edward Minoff, 16 x 12, |
charcoal drawing, 1999.
I realize now that the body at rest is just as complicated as the body in action. Understanding how to draw a human body in both ways does an artist a good turn because you witness and take note of the body's muscles and bones in its widest spectrum of motion. That is always a good thing so that no matter what a model does or how they are positioned, I can "unpack" the form through anatomy so to speak.
If you want to really sink into knowing how to draw the anatomy of the body in all of its softness and sensuality as well as its power and movement, consider the Figure Drawing Master Class Mini-Kit. We at Artist Daily can't recommend it highly enough. You'll find a guide to drawing human forms from head to toe from favorite instructor Dan Gheno, showing the body in various stages of activity and position. Plus a year's subscription to Drawing magazine, where anatomy drawing is approached from an artist's perspective--giving you knowledge of the visual landmarks on the body and a sense of proportions that you'll want whenever you draw the figure. Enjoy!
In figure drawing and painting, knowing the ins and outs of the human body is essential. There's no way around that fact, and honing our skills with anatomy drawing helps us understand and truly see the body more accurately than any other endeavor.
|Drawing by Stephen Schultz. |
I was flipping through one of my eye-candy books, The Perception of Appearance: A Decade of Contemporary American Figure Drawing, trying to figure out a way to convey the importance of human anatomy for artists. As I thumbed through the book, I saw so many different interpretations of the body. Some sketches, such as those by Stephen Schultz and Don Southard, were crudely drawn; others, by such artists as Kent Bellows and Stephen Assael, were more fully realized.
Some sketches were developed solely with line and contour as in the work of Charles Cajori while others from Fred Dalkey were hewn with gradation and shading and seemed to be carved out of the very paper they were drawn upon. But each drawing, no matter how it was rendered, belonged in the book because they all exhibited a strong knowledge of how to draw a human body.
|Model Looking at the Light by Fred Dalkey, |
2011, silver point drawing with sgrafitto,
9 5/16 x 7.
A subscription to Drawing magazine is a great place to start your explorations of how to draw a human body or to brush up on your knowledge of human anatomy for artists. Almost every issue takes on an essential area of the body from the artist's perspective and makes exploring anatomy drawing a focused, pinpointed endeavor as you strengthen your skills. Enjoy!
|Ernest Meissonier, Self Portrait|
Okay! I'm going to try to answer this best I can, but before I do, please remember I am just a humble animation student and by no means a professional artist or a seasoned expert, so this might not be the correct way to do things or be extremely accurate. This is just how I do it, and a couple tips I've picked up from teachers at school.
First of all, getting familiar with the anatomy of legs helps a lot! (I know this is the dreaded answer to every art question) I don't know too much about the muscles of the legs other than the basics, so I don't talk about them here because I don't want to look like an idiot. They're very worth studying though, especially the muscles that form the inside of the thigh and back of the calf.
Those are some leg studies I did from life in class last year, with the key parts labelled.
Chances are you've tried to draw legs and??
Unless you're going for a certain style, legs that look like straight tubes or 90 degree angles are gonna look a bit weird.
As you can see with the life drawings above, legs have certain natural curves and rhythms to them! None of the bones in the legs are straight or tubular, so your legs should not be either.
Sorry for the really mediocre pelvis it's not my strong suit oh god. It's easy to characterize the legs as something like this:
Remembering that the knee is a hinge joint and that it has a sort of curved offset from the upper leg to the lower leg really helps.
So when you keep that offset in mind and apply some curves over the muscle and fat layered on top of those BEAUTIFULLY RHYTHMIC bones, you get dynamic flow in your legs. The hip (trochanter), kneecap (patella) and ankle (fibula/tibia malleolus) are good landmarks to keep in mind.
So by applying some curves, you get a softer/more dynamic/rhythmic feel to the legs that makes your figure look a lot less static even if they are standing entirely still. It's also worth noting most people shift their weight onto one hip or another, position their feet weirdly, etc etc.
Hope that helps!
Cecilia Beaux — an American portrait painter active in the late 19th and early 20th centuries — is, like her contemporaries John Singer Sargent and William Merritt Chase, receiving something of a revival of appreciation for her place in the history American Art.
Unlike them, however, she still suffers from the fact that her contribution has rarely, if ever, been sufficiently acknowledged, largely because she was a woman.
Beaux was one of the best portrait painters of her time and, in my estimation, one of the finest American painters in history. Not only do I hold her in similar regard to painters like Chase and Thomas Eakins — who was one of her teachers — I can't help but think of her name as a fourth party whenever I hear the common grouping of the "Masters of the Loaded Brush": Sargent, Sorolla and Zorn.
Beaux was particularly adept in her portrayals of women, and was noted for her full-length and 3/4 length portraits in the "Grand Manner".
For more on my high opinion of Beaux as a painter, and why it deepened on seeing the extraordinary show of her work at the Pennsylvania Academy of the Fine Arts in 2008, I'll refer you to my 2008 post on Cecilia Beaux.
In this post, I'm taking advantage of the occasion of her birthday to display more examples of her work and point out some of the newer sources of images that have appeared on the web since my previous post. Unfortunately, they are still less than I would hope for a painter of her stature, and too few of them are large enough to appreciate her breathtaking command of the brush.
The image above, bottom, is one of her self-portraits.
There are a few books on Beaux, mostly out of print but available used from online sources:
Cecilia Beaux: American Figure Painter (2007)
Cecilia Beaux: A Modern Painter in the Gilded Age (2005)
Cecilia Beaux and the Art of Portraiture (1995)
The Cecilia Beaux Forum, named after the artist, is "a committee of the Portrait Society of America dedicated to the promotion of women in the arts".