Com­pres­sion and grav­ity ef­fects

Patrick J Jones re­veals how to draw the ef­fects of real-world forces on the body, re­sult­ing in more re­al­is­tic-look­ing fig­ures

ImagineFX - - Contents -

Draw the ef­fects of real-world forces on the body. Patrick J Jones is your guide.

Wel­come to part three of my eight-part se­ries for Imag­ineFX on draw­ing the fig­ure. To­day we’ll draw Alana and fo­cus on the torso and breasts, par­tic­u­larly on how the breasts change shape due to com­pres­sion and the ef­fects of grav­ity.

On first im­pres­sion these sim­ple forms look easy to draw, and for that rea­son they’re of­ten drawn poorly. A com­mon mis­take is treat­ing them as solid globes, in­stead of shape-shift­ing mounds that move, fall, bounce and flat­ten out. An­other com­mon er­ror is draw­ing them as if both are fac­ing front like a pair of eyes, when in fact each breast sits on the curve of the ribcage. I’ve cho­sen this pose to demon­strate the chang­ing shape of the breasts due to their shift­ing weight against a solid rib cage, and the pull of grav­ity, ev­i­dent even on a young, phys­i­cally fit woman.

The ef­fects of shift­ing forms

Apart from draw­ing the il­lu­sion of soft flesh against a hard sur­face, we’ll also deal with re­la­tion­ships of form. Al­though the ribcage ex­pands when we breathe, the hips and ribcage are ba­si­cally solid, with all the twist­ing done by the ab­dom­i­nals and obliques (the waist side mus­cles). These hard shapes against soft shapes cause pinch­ing flesh, most no­tice­ably at the waist.

In the photo (above left) I’m mea­sur­ing Alana for an on­line class­room. I mea­sure the forms by eye, com­pare their shapes – their boxy or tubu­lar na­ture – then draw the big­gest shapes first and mea­sure on the pinch side of the fig­ure where shapes are closer to­gether. Learn­ing pro­por­tions is im­por­tant for the fig­u­ra­tive artist, but I don’t see it as an in­flex­i­ble rule.

If we keep all these ideas in mind as we draw, we’ll cre­ate a flu­id­look­ing fig­ure that still feels as if it’s com­posed of flesh and bone. Above is a por­tion from a large oil paint­ing fea­tur­ing Alana, to show what can be achieved by learn­ing how to draw the fig­ure. Okay, let’s get started…

Patrick mea­sures the pro­por­tions of his reg­u­lar life model Alana by eye, for an on­line class. De­tail from Patrick’s paint­ing Obla­tion, which has its foun­da­tions in stand­ing and re­clin­ing poses cre­ated by Alana.

Newspapers in English

Newspapers from Australia

© PressReader. All rights reserved.