Anatomy ad­vice

Are you hav­ing trou­ble pre­sent­ing a dif­fer­ent side to your fig­ure art? Then fol­low Chris Le­gaspi’s ex­pert ad­vice on draw­ing side and twist­ing poses

ImagineFX - - Contents - Chris is ob­sessed with fig­ure draw­ing and paint­ing, and loves shar­ing his knowl­edge of art. www.learn-how­to­draw.com

Draw tricky side poses.

Side poses are chal­leng­ing be­cause they of­ten con­tain less in­for­ma­tion in terms of anatomy and de­tails than other views of a fig­ure. As such, I’ve found it use­ful to ap­ply a com­bi­na­tion of draw­ing tech­niques.

I kick things off by fo­cus­ing on the ribcage and pelvis. De­scrib­ing the ribcage and the re­la­tion­ships with the hips is help­ful for bend­ing and twist­ing poses. For neu­tral poses I de­scribe the an­gle of the ribs and pelvis. The ribs nat­u­rally tilt back­wards and the hips tilt for­ward. I’ll of­ten ex­ag­ger­ate this tilt to cre­ate more ten­sion and ges­ture in the pose.

I start the ac­tual draw­ing by sim­pli­fy­ing the torso us­ing C-curves and straights. C-curves de­scribe the ges­ture and curve of a side pose. Straights add a con­trast and ten­sion to the pinch side.

A bend­ing or twist­ing pose can also be dif­fi­cult to de­pict and so I start with a box con­struc­tion for the rib cage. This en­ables me to de­scribe the front plane of the torso. I also de­scribe the cen­tre­line: this is an imag­i­nary line that runs from the pit of the neck to the groin.

I add anatomy, limbs and de­tails in lay­ers. The first is the sim­pli­fied torso and rib con­struc­tion. The sec­ond is the ma­jor mus­cles of back and chest. The third is limbs, neck and head. Then I em­pha­sise over­laps or in­ter­sec­tions in anatomy, which add depth, re­al­ism and life.

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