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Figure 2.19 Try to capture the drama of this pose. Figure 2.20 Try to draw the overlapping limbs in this Figure 2.21 This pose is more of a sagging, tired pose. Figure 2.21 This pose is more of a sagging, tired pose. The next step in drawing figures is to create a simplified manikin of the body. The manikin is like the simplified skeleton in that it uses only minimal detail, but unlike the skeleton that works mostly with inner structure of the body, the manikin deals more with surface detail....
The Action Line
Now let's take this example even further and push the dynamics a little. Take a look at Figure 8.5 and notice how making the action extreme increases the feeling of drama and power. If you remember from Chapter 5, a pose that has a strong action line is more dynamic than one that doesn't. Figure 8.6 shows the action lines superimposed over the figure pose. Even the lines seem dynamic. All good dynamic poses start with a good dynamic action line. The action line is the unifying element that ties...
Placement
Placement is the arrangement of pictorial elements within the picture frame. It is not merely the placement of the figure rather, it is the placement of all elements of drawing. The elements of drawing are what make up a picture they include points, lines, shapes, and forms. The smallest mark an artist can make and thus the smallest design element is the point. Some drawings, such as stipple drawings, are made up of nothing but points. A stipple drawing is usually drawn in ink on paper. The...
Info Wro
Once things feel right, you can move forward with blocking in your figures, as shown in Figure 1.18. Figure 1.18 Now block in your figures. Figure 1.18 Now block in your figures. An eight-heads-high figure might be the ideal height, but in some cases it might not be ideal enough. Fashion drawings, for example, may use a character that is closer to eight-and-a-half heads high, and if you are doing a superhuman figure, such as in a comic book, the figure might even be nine heads high. Figure 1.19...
Informal Balance
Objects or characters in a composition don't have to be equal in size or mass to balance a picture. Artists can use the principle of the fulcrum lever in compositions to create a feeling of balance, even though the objects are two different sizes. A fulcrum lever is like a teeter-totter, as shown in Figure 6.35. The center of the teeter-totter is the fulcrum. A heavier person can teeter-totter with a lighter person by moving closer to the fulcrum or having the lighter person move farther away...