rANTASY SSCL iWeLX ane! =< HOW TO DRAW AND PAINT > ae _ =~" Creature * drawing skills M the ea Discaver haw you. can draw ana pte Tgures Un preporcitn, TO FOOT | : How to draw and connect the simple shapes that make up the human body ied ite NEON UL) i | eam. a eta ia § ‘ | is raat als gic Unage SSUES tical drawing skills and rachel from professional artists D isImagine! x ———"e« HOW TO DRAW AND PAINT >0-—— ANATOMY Welcome... Ifyou're reading this, the chances are you're an aspiring artist on a journey of selfimprovement Whether you're at college, hoping, to become a professional artist or just want to create art for yourself, you've come to the right place. The following pages in this special edition of ImagineFX are filled to bursting point with the best anatomy advice around. Every page is packed with easy to follow, step-by-step guidance on how to create better human and creature figures, written and illustrated by professional artists, Essentially, ifs years of attending art college illed into one magazine ‘The accompanying disc provides you with an opportunity to get closer to the annotated sketches, watch videos of anatomy 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 of you who are new to the world of ImagineFX, turn to page 97 to see just a fraction of the digital art workshops that we feature every month in ImagineEX. Also, make sure you check out page 115 for a sneak preview of what's coming up in our How To Draw And Paint series. We'e sure you'll love them all, Ifyou have any questions, please get in touch with me at the email address below. Claire Howlett, Editor claire@imaginefx.com and di wo fin ice i We're the only magazine dedicated to fantasy and sci-ft art. Ouraim is to help artists to Oh “improve both their traditional Visitwwesimaginet.comSubscribe to ImagineFX today and save ‘money off every issue! Se page 27 Ima meLX ( { { at RESENT O eC i Y S Human anatomy Practical advice from head to toe... ~)) 16 Basic forms I Improve the way you draw figures (XY _ with easy ways to establish the JO) underlying structure of the body 22. The torso ‘With the figure framework in place, it's time to set your focus on the core of the human body 28 Thelegs Master your depiction of the limbs a that support the body and drive it forward into action 34 The feet Discover how to use form to create solid/ooking feet — and why you SX shouldn't draw too much detail 38 The shoulders Dontallow the complex interaction of muscles here distract you from the guiding principles of anatomy sophisticated than you suspect. 44 The forearms it may seem likea simple area of the body, but the forearm is more 50 The hands Many artists fear this part of the body, but apply the principles here and you'll see how easy it can be Discover how to break the skull and facial features into simple forms to ‘get the proportions spot-on 5 x ig 54 The head Read 4 6 Art spectacular! Afeast of great figure: based images ~ and the artists behind them ad X Presents Anatomywows Ne/fo) hol Us do) ives Score dept Poni) S Sp, PRU > as rates \ ices Animal anatomy Your complete to creatures... . 60 Basic forms ans by ang tess beneath the skin and fur 66 The torso Find out how the core of the animal body operates and how you can use itto bring life to your animal art z= 72. The hind legs > Explore the rear-wheel drive of animals, and how this part of the se“ body can propel your art forward (CW, 78. The forelegs Dy}e=) Use your observation, skills and balance and grip in animals Sg 84 The neck and head es, << Discover what part of the animal body tells you about the creature ~ and the traits all animals share ES, 90 Animal faces Find out what animal faces haven ‘common with human faces, and the crucial ways in which they differ nel helps you: liste static figures ‘* Master heroic proportions + Draw realistic eves « Give characters mass, and weight + Draw expressions that show the right emotions ‘Pose figures in motion + Shade faces beterSHOWCASING ANATOMY AND FIGURES IN FANTASY ARTD US YOUR |uman anatomy A complete workshop on bringing your body drawings to life a. f Videos \ fa skeiches@@ The more knowledge you have, the easier it will be to reach clear-cut solutions for any drawing you make 98 Ron Lemen on drawing the body, page 16 Your human anatomy expert Ron Lemen has worked in the entertainment and illustration industries over 6 years. With his wife Vanessa, he runs the studio 2nd street art alifornia. wu studioandstreet.com Workshops Explore the body in eight parts & 16 Basic forms Improve the way you draw figures 3 ‘with easy ways to establish the FM ig. underiying structure of the body 22. The torso With the figure framework in place, ith time to set your focus on the core ofthe human body 28 Thelegs Master your depiction ofthe limbs ‘that support the body and drive it forwant into action 34 The feet 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 principles of anatomy 44 The forearms Itmay seem like a simple area of the body, but the forearm is more sophisticated than you suspect 50 Thehands Many artists fear this part ofthe iy, but apply the principles here andyou'll see how easy tean be 54 Thehead Discover how to break the skull and facial features into simple forms to getthe proportions spoton AEH reyou want ta lustre series ox book covers, design conceptually fr games or law storyboards isa 10 saep the foundations of epresentational ant With rst ovis youl come ars Involving people i's imporantto tundertand howe ode human Fique, both ina state pose and in action “There aresevera techniques fordraing the human body all leading’ similar gzal:athice-dimension realistic gure While is nocnecesary 0 bean expert on anatomy produce ilutratons, the mote knew you have the eae itl be to sive problems and reach lear cut solutions foranydeawingyou make “what you lickin he foundations of knowledge will show upin your workin ther words, the lak of understanding of certain key principles wil beall 100 pparent in your Finished pies An atis’s stylecanbereflectie of thet ako ‘understanding justas much asitcan be ashowrase fr the otal um ofthe knowledge void that tap.Basic forms Figuring it out: two ways to draw There are two distinct approaches to figure drawing: observational and formulaic. It pays to master both.. Poors Leamingto draw the human form can Forms igre dea thea daunting prospect for any Med rhythms ox ineocking shapes. tit Therefore ifs important. ki design concepts o build, Uwhatmethodsare available you. The formulas are memorised by deawing from two approaches o figure drawing that fe you havea sc ofool tea el to be distin are the observational enabling you to design fom your approach and the formulaic approach. imagination ifyeu wish ‘Obsersationaldrawinghaslisorginsin_-simporanc i havea soll thesightsize methodology which tains understanding ofboth approaches theeyetoview asubjet with accuracy, you tly want tobe ree san Placing theobjetand the drawing sideby as Observational Sie for comparaveanaiyss Pun lines, drawing sharpens the eve levels afiepointandameasuringline and minctocapturinga 7 areused cohelp hearst in undestanding, Menesswithoutsng | Aimensional ana spatial measuring abstract concepts Observational drawingisacomplex formulaic drawinggves process that requires great del of youssetoftookto Teference mterlal to acompany the words develop both from le tobefully explained In thispartofour and, more importaney, anatomy workshop, fm goingtotakea from your mind eye on etal lookac woof my fvoured esufebeted/rdmeene | methods offormulaic drawingHuman anatomy Explorin the Reilly method for figures In this drawing system, you build a framework of overlapping lines to create the basis of your figure “There areas many ways to construct an igure as there ae artists, but two, ji stems in particular form the basis of syatit' working practices. Over the age youl explore the tnt ‘Design method: but fist lets Sj Joka the Reilly method. Fein reeteeiioree Frank Reilly's figure drawing approach is a linear one, starting with the structure of the figure and advancing on to the anatomy 8 came from several sources, stating with Dean Coenrll and Franke Brangy, 38 vwellas George Beidgeran (one of Rell’ teachers) and Frank Vincent DuMond, Tank Reillyseysem bocamea fachionable method in most ofthe Snacanral SS) seit anton ‘Arms and legs Once the cre athe poses Erie ihe Reena upc abi ble AROMA LUM PROCESS FAN. seer nestage Feyate: ee ~ BRAT Deportes rash between he \6 COMMA SHAPE SITS OVER LOWER OLE OF PECTORALS: METHO TRAPS CREATE A CORT MANGE SHAPE! Tears Go ovee 1th Cemvicee VERT BE pe TRAPEZIUS FROM IN FRONT — TOR LED OF THEOHuman anatomy © Neglecting to draw in the centre line is like forgetting to bring the manager along to the big game 8% >> the obliques or what we usually call hespareyre mueles These musces ae the soft mass between theribeageand the pelvis Tey taperin nasty atthe ibeage and widen atthe his resting atop theliae Sasser & ® @ ‘hip tht pep oe } ® Ss truss rom becoming too uns in their shape design. The obliques form true eOteuseD! silewall- perpendicular plans tothe Sains ecu e ed a eae Dien ih de angular des ofthe rae The trois exteney plablebeween eee eee push therhythmbereen these two shapes the more convincing the ation ‘esign ll fe. The muscles on the front ‘of he body are very pliable and can be ‘srtched and wie as much as needed tohelp enhance the gesture ofthe pose us veryimportanto stare pose with ‘the geste fr to seize the moment and theaction. hen you can proce io the structure of the pose and finally the design land articulation ofthe muscle groups in thebosy dhe gestures dynam the mosces rns follow that dynamic Dont tien wp the design at this point in the deawing. Everythings pllable no mater how asometeclly you might dane your Pletures andthe shapes you desig for the muscles must notin up the dynamic este youve created Many comicbook ages show this late tai ‘especially camiesfrom the 80s and 90s. 1F ‘you can Finda fewexarples, they serve 2 Ain eng rhino Use yee cerThe torso PINCH HERE, A Uo eae = ae SAMES ORE Au SSeereie + vee SLIDER MUSCLE PULLS SCAPULA Frome 28S IF “SeRRATS, » SERRATVS, Cohen Ea ERRATS, fucewaens anton a Toten eae an 7) TERMINATE IN AN ARL a: THEY ME FLEXEDHuman anatomy [creusves | BENDS € Rowetes “TORSO - secrion OBUOVE HAS 2 DIsTINGT PUNES 6 The muscles on the front of the body are very pliable and can be toiean Renenberthekeyiswopscie. Stretched and twisted as much as irene" “needed to help enhance the pose 9%lm: SCI-FI DIGITAL ART imagine ImagineF x is the only magazine for fantasy and sci-fi digital artists. Each issue contains an eclectic mixture of in-depth workshops from the world’s best artists, plus galleries and interviews, community news and product reviews. Never miss an issue: have the magazine delivered direct to your door every month Stay up-to-date with all of the latest fantasy art news and techniques DVD with videos and workshops with every issue Get exclusive word-free subscriber covers! £13.62 £54.47 £84.00 £96* Ss Subscribe securely online today: Or call our order hotline: Outside the UK? Call +44 1858 438794, quoting PO52 Live in the US or Canada? Please turn to page 96 IiagiMEHX Presents AnatomyHuman =~ ~ THE LEGS Master your depiction of the limbs that drive the rest of the body hes provide suppor forthe hod and power much ofis| ‘movement. Like the arm the Jeghas groups of muscles tha ‘oppose one another in sei action For example the quadriceps atthe font of the ‘ody ate used to extend the leg withthe bicep femoris semi merenoxis and tendonosis ating aslexors. Both the arms ann thelegy sar wideat the wrso and taper to about half tht wid athe writs and ankles. Thebes structural Aitference ihe organisation of muscles sound the knecap which difersto the Fidge or reator muscles in thee None without ting oo exh pin the names ls get downto discussing he shapes and dythms ina eg, breaking the Araveing dven into easy tp ‘Youshoul stare witha simple gertute Aline connected the hips will do. The hip ppp rele. aac sana. Remember that both ses of the hips ae fused together, unlike the shoulders, whieh lat independently of ‘exch ther. The tl ofthe hips opposes the angle othe shoulders, meaning that the {action atthe op ofthe bys counter ‘alanced by the poston ofthe lower bay, ‘which creates stability. The hips canbe drawn avone of veal diferent moses, ‘depending om your prefered drawing ‘methodologs but theyallservethesame function: okie and consrtion, Leg bones and muscles The pelvisis anatow shape funneling inward tears. Te ede point of the pss created by the emurand the hip muscles, which are most sponsible for connecting the lego the body an illin the pace Detween the pevis and eu These hip muscles laroutinan Ashape and actin a broadly similar way to he Tar Nok nae eos eto@@ Remember that both sides of the hips are fused together, unlike the shoulders, which float independently of each other’ ‘shoulder musces, hich we lok tin more ‘etal on page 38 Moving down the eg, the emuts both taper mar Frminga semi shape Ierween them. The gute looks knock eed at thisstage, ur thats normal unt sweplicesmsclsoverthe bones ina ‘Sanding posion,theknes are almost ‘ect below te ac cress of the pelvis. The thigh isvided into three major masses the ont mass, hich consis mostly ofthe quavceps ad sartrius muscles the inside of the thigh, or adductor rscle and thebackof the thigh, or the bicep mas All ofthese muscle groups start ‘outage the muscle beads account for ind of he length ofthe leg, Atsstraction ps 3 Full goss To Fair FELT | SHOVLDER Lhe FINGERS (ties = CYLINDERS co oe ie AO x,Human anatomy the anklehigher han the quisige The Aowerleg forts a bowing pa shape, similartothe forearm, and thefoottits COMPARING LEG ee tee 8 TQ THE ARM STRUCTURE. MAPPING OUT. mS KNEEHuman anatomy \u/ SIMPLE SHAPES TO EXPRESS THE FES OUT STARTINeg wy Basic SHAPE DESIGN! @ Stick to muscle groups rather than individual muscles. Only the muscles that are being used show more detail, expanding as their fibres bunch 9% ‘>> inneally athe baseof thepin When developingthe gs, tick ‘hemusle groups ather than focusingin con individual muscles Only themusces —THese that arebing se shoal show moe Muscues \ etal expanding as thee bes bunch VNATURLLY Hage together unused or na lly au the THE CONTOUR, EIN INS eras sciatica eae a ale ereemy tek) ON really eased, back io their biggest basishape ~ BUT INSIDE THE ‘One important point: remember that SANPES BUILT IN legacomein pais. Be suet late the 190 STEPD) ARE now It eachother droughour the eal SIC REM TS sages ofthe drawing, making sue that the te deton doen’ estoy the ropertons and Paseo peeeaar Balance ofthe pose The legs look from = THIS ONE IS sch other den the entire peel OVER THE TOR~ Talance stars fram the bottom up, fou sartthedrawingwith simpleformsand | Gingueameauolams caeofitsell @ ocanon dmc aa reeliviainié ec & Log out ora ME | GALLERIES | FORUPES | BLOGS | WORSHDPS | ITERVIEWS | REVIEWS | DOWNLOADS | DIRECTORY | SAN ca ack. ovt fr this vpn Upload your portfolio today for free and share your artwork with thousands of professional and amateur artists. .. www.imaginefx.com GALLERIES | FORUMS | BLOGS | WORKSHOPS | INTERVIEWS | REVIEWS | DOWNLOADSHuman anatomy Extensor WHS BREUIS UearaK 3 [ | Aenare Fabrac Donk Ugaenr Inrenoserus senwens- exreweo, ieroa4 ALCANe uM eons Passe (E) soe TE we * AePyer oe Tease nerenonseis nals cn) panier muvee Atpycroe Weber: Discover how to use form to create solid-looking feet - and why you shouldn’t use too much detail when you draw them ctscleetheairaboutfeet- | some point Even fyou intendio-only | want a draea fll igure frm head the ugly causineto thehands | ever driv charcterewha have shoes, | toe. This means hat you ave to put fet anda partofthebodythat yourdrawings will only beconvincingif onthe ls. As painfl as this canbe to mangas dreadto dw, | youhaveagood grxpofhowto stature maser isa mus do, mst lean Theyrebony, theytecomplexand, lets the fet inside the shoes. situation. Hete are some helpful hintsand facet, theytenottheniesthingstolock Storyboards pin-ups covers character solutions to tackling theselitle beauties, si Butanyone who serious about figure designs, move postr, comic books. helpingyot on your way to achieving raving going io haveto tackle feetat | alloftheveaeinstances when youmnght | sweets fet.Get a foothold: drawing perfect feet Put feet into perspective and start with footorints as the foundation for the correct overall pose Let start by looking at foot is etween 10 and Pee pee eee eee eat rin | but Trecommend hay tat withthe Tenet, Roughly speklog tars about | fot without a coer veri oihesésa eee betray distortion created by he shoe hatfmewidh ofthhead or aout the | design occur, Ft aresines rn Pesersetete nt ee eee renter eee a pe etd ae sexes neste frou ih seni yourown and sd fo. © Begin with the ground “Tosa afldigre ding orev aihwe-quarerdawngotarguek Plane to work out the correct pee reece ive i rinvwuiuizcnapencne Perspective in the shot 9% nets ae Pieri tater pees ‘once paces cance testo | them apart from each other. Use simple | | | | ‘ofthe environmentso lees truly bare before coverngitwith | theitstacon owandsadliecon of tones light gaatons jin the mass and separate the oes. “oes sep downward lke stairs fom the metatarsal hone othe oestip There are ‘many lle complex sures, fom Dane ‘opto knuckles and nals thatcan be rendered oe shaded to ive the feet more ‘imension and complexity. Defining the toes Recarefil not o dd too much dtailco the toes ifthe fois small in he planted inthe world. Theperspecvewill_ | bigshoe design sothat the foot ‘overtendering, ean alo push the focus Ihelpkeepthefoot in conectscaletohowe | elsterbackto the sae ofthe rest tothehotiom ofthe picture nthe same youseethe action, tothe charsctershead, | ofthe character. ‘way asunder scaling the et, unless you andio the viewer aswellaskeepingitat | Toes are bulbous atthe end, ‘atch the mistake early enovgh the correct skew =ifthereinany=fiom which means they'e rounded ike a “Theotiom of he fot hasan arch on ‘camera dstorcion. bubble but sql flat ehen pressed the inside and wo separate pads that begin by drawing footpintson the | againstasurface When this happens the Noor (orstepsorslopershereverthefoot| toe masn spreads ota bt urter than the squish to whatever they press against, creating straight ine, The toes bend about tad of theway back behind the ball ofthe foot When the toes spread the biggest separation occurs between the bi toeand the second oe Thelile els ‘usually drawn asa bulbous shape I ‘ypicallyfloasabitmoreoffthe >> Istohe located) Thiscan make teaslerto | weactal ze, usually joining oes daw thelogs with the ight forshortened | where they come together Ith isthe Jook to them and withthe cortect action | case, andra lines inbetween each tothepore toe: thishas the vial efecto spreading Otpatseno esiace Reconnect wthHuman anatomy rhea ting SP tee direction perpewicbar L M1 bck. of Cook t “foe oe are @ Fa aitagect sprecding HH) They Can oC es tet Toes abavet or sees ete” sated \ oes Went will make Wn perspective, © RELATING A FIGURE TO THE GROUND.@ add ankles Low odd ovtside™ curve For Sean PLANES Get pad & puny toe oF THE CRONT SURF News S From iw Gey the of enck to ig nina ike = eulinder tro chow volume of Forms) ’ r The feet sdivvee s “ceatroniatentrre J ALO Seqevat 2, = Brae Te x” < Teak the toes os Dlex odd * esse i we Bato a. ctin = rutin Gallons around St theta roteg aie trek to See lone oreate Toos tun in foward eadn otter Big toe towards all He otter tote! Start without boots or shoes to get a proper scale of foot size that relates to the rest of the character 99 b> pound viral acidop, we Tisai ick elite aes vate ped pre Teg rps eee viens eee Sas ow fgets eff spew abled Ss (eaten a at gee mere eee yarloaate alam Utne aa erie See Rance ranean aeons eS i Bk i These 5 WEND- Not eS 4 Goin! ca sie shown the connection fom a front ee ‘The ankles connect thefextto the legs For enser ankle drawing, it Peeeheeectiereetestet likeshape- The insieanklebone's ‘me clevated than the outside one Feechave peal been the bane of ‘many artists. Some lusratorshide them with srcke, push chem ico silhowetes and shadows or even crop the image to avoid deawing them. But when an ats ‘an raw them corey, ow mich character they ato the image! The hands and fet can sayjust as much a conwincng fal expression Because of their complexit ad gesture fraction. fee ually become a secondary ortertary focus ina igure drawing Ws ood teat tackle these fica ses lyon and ideally mae icsecond nate | te design them convincingly. You would be turpiced how may people will ‘cotnment on how well fet ate drawn if they relly ar snot everyday that you fied anartistwitha real undentanding of the ground they sand upon. |Human anatomy DRAWING THE SHOULDER AND UPPER ARM (aos Don't allow the complex interaction of muscles in this area to distr fi i I O:Shoulders & upper arms Learning the relationships between muscle and bone Drawing the shoulders to complement the action of the upper arm muscles Dr ing age the Don't memorise the muscle chart. Memorise the muscle insertions and connections to the bones 99Human anatomy terminates at (or crosses over and inserts the upper arm bone, known more Fach eof muscles crosses over fom muscle of the upper arm originate ‘one bone to another. Fo example the both onthe humerus and on thescapula, shoulder stars inthe torso, connects and terminate onthe two forearm bones, ‘theclvile and theseapula, ana known asthe ulnaand theradius The 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 9° hands an fst are few placeson the body were the miscles ane refered to ac inisic they stay within the one mass ‘Otherese, muscles connect wo or more Alfreton group together. ‘Theseapul lat oer the seats muscles which we se aslielebump ruscles onthe ribcage under each arm corthe superhero muscles. The shoulder ‘musclesallstarton thespine ge ofthe scapula, and cos everto the top othe ‘upper thied athe humerus. These four sce help rotatethe upper arm rotate te hholdboth your arms out lke cos,Shoulders & upper arms SHOVL tee) sqeesinahs| vnFra spins —Treres Minor eres, ——> Maier | Te Oey wor supe opts Behind wend in G I Vere St Wi ph stabilizess rotates epee sim coay FRM "BonyHuman anatomy SxtensoR pert BADIALIS LONG CORACORRACHIRUS ‘>> forexample orwhen you purboth hands behind yourkackasifhandcufed “Thedetoid coverspart of these muscles and eraps around the top ofthe arm, functions asaswivel musce, or the muscle thatenables you towing your Fae eS biepsand reps. These muscles cross ‘over ta the forearm bones at thet tind GING Ham as inne te stain ou the arm, the biceps flexi ordrawitinto the body, Inge caution n karningand deaeng Ls. ‘muscle distribution, Dan’ memorse a © The muscles should be drawn only when active, not charted and shaded like a muscle diagram 99 rusclechart Memorsethe muscle | shoulder These musclesin particular | The muscle carts ou see inserionsand consectionsiothe | should bedrawnonly when active, not book are hased on medial hones orerethemusclserginte char and shaded a muscle Inet. thesize ana from andwheretheyendonthe | iagam-moxthumans don normally mcevary rom person to person, bated slelton Lernsherfuncion and lookthiswaeven when well developed. | onthe petsanal evi detand eer Jed oneet notdrvingevery marie Anatomy Char with her bodies, ard we | eal point freee To acimodate shouldthankthem some dgieebut_allposble boy ype, you wl havea Shoulder structure cepinmindtharhesemusclesare _eeraway om these and use youreye Letsnowhawwaokatthe | dewloped thi lini and arnok___ a quinine stead A Us °P anatomy oftheupperarmand | theshapesweeas dey with feasting pony only eanShoulders & upper arms beara with cate oeHuman anatomy DRAWING THE , FOREARMS DS i may seem like a simple area of the body, but the forearm is more sophisticated - and elegant - than you suspect Sees.© The muscles of the shoulder function to lift the arm; the piers and triceps operate the rearm 99 PReNATION leno and consider she ta dicate human anatonsy ’sfunetion uniquetothearm st worcof the restr muscle, als known asthe ge or aupinator muscles. In ‘opposition otis group of muscles is the pronatocteres ~amuack thats onthe "Bowes. of TE Inaie ofthe arm below the biceps This FRR group ofmusclescceupiestheupperthint | Ceetvé % SHARE ‘ofthe forearm. Thesupinators originate aboutathtdafthewaydown the 3Human anatomy >> humerusand spite biceps and teceps. These muses rotate the hand ef and right and flexor extend it Now, ontary o what see dana othe ridge muscles dont havea cease inther when the arm is ben. The cease yo se esi okng noc the muscle Thinkof the muscle asa eabeor piston - neither of these ‘objets fld over on themes Tested. they go sack. Asal skin fis perpendicularco rmueefibves, an this is what's ‘aking place in this region. The skin folds, the muscle stays A the same shape = just compres alitlebic more When thehandis pronated, the ridge nudes ross over fom the outset the inside cee ofthe arm, The ie nucle attach just below thethumb so, asa rule of thumb (ser, coulda help peer(s ‘here muscles are pointing wit Theridge eee symmetry bere the arms ‘outsideand inside edges. es and howal these muscles wok together iso thinkofthearmasasris cofehain links Each linkslternats 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 Alietin, and hat what the arm does ouklertohand. For the arm to self or flex, theres osioned a interlock with each other to prevent any conflict of spice between al he mechanical prs within the arm mass Examples ‘om page 45 show this ure Ridge muscles ‘Therldge muscle sharein the profile oftheflexors andthe extensor, blending into oth sides in the upper ‘hind ofthe foreaen. Te inside ofthe arm seats the flexor group ~thesetof ‘scl that flexes the hand tad the body The brachioraialis—the biggest marl of che group — overlaps onto the inside surface ofthearm, the opposing massto the ‘exer group and pronstrteres oth these st of muscles funnel togetherForesbortene) ee) Round Block When the nan’ aces down ahe "ridge" musdes are - downward AN —— Supinstors, When the orm 1s supwmnate) the ridge muscles re UR Ward oA Prachi ghisHuman anatomy Apove cm a Rice Voscles el Fleer fe ~Reaciscsdvle cap rade wipe " point { et Extergar Core Radialis Lov Cau’ Radial Very a. Nias Adductor tt Extencov ee Retinacu >> below the bicep oform the pocketit sli inde ofwhen the arm is bene. The cextensorcarpi muscles ~ wo more eels © As flexing, gripping, holding and so on are the Hedinwiditccsenseratteebos primary functions of the hand, more muscles are anu then across the tp fhe ae On i es g theathersdeofthearntheewenes attributed to assist in these actions 98 and flexors are sepurated by the wna bbone-asplicinthe misc known ss exorsterminate a he fingertips, while «picondyle) ad cross overthe two bones the vlna ces afew terminate thepalm ofthe hand ofthe forearm, spreading oat acrosthe Thefleesoriginaeattheelbow on | Thete are many ayers of Flexor muscles, topside ofthe arm and tminating athe theinsdebump (known asthe medial Recausethe flexing ofthe han for fingertips These muslesare sponsible spicondys) ofthe humerus the bone that gripping, holdingand soon ists foe openingihe hal and pling back ia connects thearmto theshoulder (also primary functions, more muscles are halt pestion —the opposing functions often mown astheupperarm)-The __asignd oasis thes actions. cftheflexor group in ether wordsThe ‘murdescros overthetwobones ofthe |The extensors originate rom the extensor groups the mos active of the forearm theulnaand adi Most | outside up ofthe arm (the Ltr fovearm muscles. yout drawingRngthm lines cylinder —— iw PERSPEeTiVE Elbow Tesiguen BY THE Bone STRICTURE: Bone superheroes or some other idealised Ooi bendy frm, tein ofthe arm (lex is bigbalypeshape while theenteore ates of ber radiating fom the eo Allofthefrearm muscle ends.ne | wgeerisa beer eyo bein hn ere ee ree el a therenaclin Ths ight look ikea | thefigiteone mck ata tne pun toric band, bt itataches sepa. and monet likly ging to grow no both thetpandhe bot ofthe hand. | own une shape one that doesn Thi tespethe tenders rom poppingaut | nee seme a rei gue The anyold wn fromthe arn ‘sual symbols inthe ages ee should ‘Whendawingtheanm,youshould | hlpmakesome eae of wa mean by leepinmind that roupingthe maces tht Siudythe mune atone xe The forearms oe Raper SHAPE WW Tensrectve but eam wo consolidate he asanother exercise ~and 36a your work, Drawing isnot about pac: dawg is about suspension of dsb, footing the tye int believing hati seen. We study prrsto identify them asa fonction only to throw them back no the pile of ooka DRAWING == THE HANDSThe hands Getting to grips with the anatomy of hands HARD Sip AND Anatomy is impow bewseenthethunb andindexfingeron | adoctorthan to an thebands ack of dorsal side These sot anatomy yu should ves atthe pointe haa hat Mex tenis the shape design and how can you | anche shape when active with at Simplify yourthinking and drawingdown objet or surface Thehad then cons {orthecoreesenee ofthese shapes totheshapeoftheobjeithols This | Finger Dones havea parila design to. | last dele eal dow of thebestof | them: Theinges ate morethan6O percent usatimesulestyou emind Youre | ‘nblebone shapes defining what wesc, ofafew bk concepts ofconstucton Soundersandingthe ingerboneorknucke| that you can fallback on ‘hapesis yn making more convincing ‘wing The ing insare spool shaped, Mechanics of anatomy ‘epresed slightly in themiddes forthe | Different hands can look like hey are terdonsoftheestensormuclesof the | ferent shapes ~ babies’ hand, for forearm. The metacarpal keke =the ig example ate chubier than lal people's ‘onethefingeris attached oisbarel- | Butwearebuiktsimilaf, ourhands tendons thasitin che grooves of thespool | hasmass atop, abotton, side, font shapeson ourfingersscomtopofthe | anda back The and isa cicua, ast barre-shaped knuckle srecarch,ookat swivels and pivots inthe wri. Norman Rockwel/shandsinbis paintings, When the Fingers ae pressed together, Hediditbeuershan almostany other dheharadlooks ikea spade. Thisis where ikstrtor ot there, you want to start drawing the hand, Thehand has squishy side and afiem imagining the hand a sof blocky side Thesqulshy de -the palm -lewhere | form, somethingakln oa spongein Jemajoriyof muscesofthehandare texture helpsyou to remember what hee Raieainestyete” | jotedawigrepineaiet # | | | | | pete eed nena ie See edad lee edad lard> Ifyoucartremembertheanatomy, | remembertheconcepstheyigetyou | ‘through any doubts youhave about what | soute drawing | The fingersare oughly thesame eng | asthehand macs. Rememberingthisies | food check ndbalanceto makestre your | aang’ proportions are right. even when the fingers are folded andthe and is foreshortened Proportions havea way of being undessiod even when obscured Human anatomy The hand satachedtothearm, and the anmisanextension of the wis, so starting % ‘with an overall gesture ofthe pose ensures that the esgn sou pick Forde final hand iscotrectThe band postion sete to ‘thetotation ofthe arm (orits pronation or supination). The sketch hopefly solves ‘hedlilerma of how wo star the design of thehand. |scmetimes think of designing, thehandin action by draving the object, Fist, Once now where the abject ~ Man Pose (Guanes roid SIDES, ~ bereewinie wagon hero See saat relative tothe pose of my character ean ‘workout the rest of theaction, FREY SSgRR SShesthteractive hands _ Another way of establishing the hand's Sebuldupatatetantpoeal be bea Towalmttoaureyeuoarnergias te ‘ages Bars "She wor Tiare UF, ae acu FORMS TO ar Seer nS pr PAVE 00 rss anionyThe hands SUNN, Desai si beter on the ines when they are well designed dimensionally. Draw them last °% . “EaneKies Dive AUD @ wlboLe salts raw decals = fngenals, knuckles wrinkles ~ lst. They scbecer on the “Thelinethatshows theconnection with | Fingers shen they ar well designed theobjectstheweld lie Pressiiemly dimensionally Before dhs rede the ‘againstihe objet showsngoffthe objects surices: find the shadow pater. and form more than thehand.Nomaterhow | useplanesochart valves across the rch you scealilespacebesween the sifaes,Thsiswhatit ‘form; makinga svonge notading detail @ nstorender ble shape,hen drawing the aman body, ‘one thing hase rfetisyourmet en skull ast! fem whic theres | reference but as ve saidbeo Shape up: basic head forms Put your head in a box to ensure that you've got the correct dimensions Below fs my shetch ofa headin front frontto these ofthe head, and roperton, ciection of gaze and syrmetr al al ou of aligament [Now daw centeline This helps hep the features squared upon the face pane and sespeially necessary when the head istpped oriedHuman anatomy ~ “LL ‘t+ Pavalle) staer of RED & Nose To eae he seer Lock inte extrvie| Lune GUeseS “erioge >> wiorheadan chin Thesulshpe | diecionathesteplaneathehed, OF None a aro are sear in emeae oom eat e Beer eee eee f eee cee eee Demat Draw second, more organic cenareline | wo dave make these parle 1 the top e- ee eee eee ere eee oe ates Hel ae es eho ie Sinica See eal ee ee ie er a eee ce . (Base pS aN ie ec | we mato ieee ee a eee setae ie tae CFs ese Re ney eee en ae rf a ese eee ee tach ahorizontal linet the top ofthe | | topand bottom of the head. c\ Cheeks shaban bet of he Senter relaoring ‘eye sockets in relation to the centre line ‘Cheeks and teeth thay th to ow Cainer Peer ieec timate See aang thenoveis tricky but good, rom cheek to cheek, From direct in | Drawing the nose | amare that crosses through the fae plane npn will make itathalelot | front thishythoecan be den aa ier Sart with al ering, lat cil; more wore s needed fom the side against thefaceplaneas though youve | view, since the checkshares its hythm | shaved off the nore. The top ofthe ‘with both the front an side planes The twang overapsthe glaellaandcteaes | enrsareused ta lp design the checks St the interior ine ofthe eye sockets, (eee diagram w theriaht. Kowingthe perspeciveafthehead | Thetaoth ender connected to this makes iteasyi daw te perspectiveaf | cheek and drops down toward the chia, thenose Exirudethebridgeinthesame | arcingacross the cnteline and up the of i teeta candor JE wavs ross‘others lewving enough spaceforthe | thehead asabasieshape and attach the bullae chin faceliea mas, withthe altine faming The maith extends from thefaclike 3 theupper half the mask shape round Ofen tismorecylindical than Is jst as mportantto wee the hain rounded which sw itscommonly asa eometscshape asitisany ofthe Iknown athe tooth tinder Iie other features. Visualising the ailine as