How To Draw Fairy Tales-Viny

Pr esen ts
how to draw and Paint
Master the proportions, poses,

bones and muscles of animals
Discover how you can

draw and pose figures
in proportion
Volume 1
From
head
to Foot
How to draw and connect the simple
shapes that make up the human body
Learn how to
transform your
sketch into a
digital image
85 pages of
workshops
Learn practical drawing skills and
techniques from professional artists
If you’re reading this, the chances
are you’re an aspiring artist on
a journey of self-improvement.
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, it’s years of attending art college
distilled into one magazine.
Interactive links throughout the issue provide 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 ImagineFX. And if you have any questions or
comments about this special issue, please get in touch with me at the
email address below. It’d be lovely to hear from you!
Claire Howlett, Editor

claire@imaginefx.com
From the makers of
We’re the only magazine

dedicated to fantasy and sci-fi
art. Our aim is to help artists to
improve both their traditional
and digital art skills.
Visit www.imaginefx.com
to find out more!
Now you read the digital version of ImagineFX
on a range of devices! Find out more on page 27
The finest artists in the world offer you the best

guidance and to share their techniques and
Contents
22
inspiration in our figure-drawing workshops
Human anatomy
Practical advice from head to toe…
16 Basic forms
Improve the way you draw figures
with easy ways to establish the
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 The legs
Master your depiction of the limbs
that support the body and drive it
forward 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
Don’t allow the complex interaction
of muscles here distract you from 54
the guiding principles of anatomy
44 The forearms
It may seem like a simple area of
the body, but the forearm is more
sophisticated than you suspect
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
54 The head
Discover how to break the skull and 38
facial features into simple forms to
get the proportions spot-on
6 Art spectacular!
A feast of great figure-
based images – and the
artists behind them
4 Presents Anatomy
Volume 1
60
Animal anatomy
Your complete guide to creatures…
60 Basic forms
Begin your exploration of creature
anatomy by seeing the shapes
beneath the skin and fur
72
66 The torso
Find out how the core of the animal
body operates and how you can use
it to bring life to your animal art
72 The hind legs
Explore the rear-wheel drive of
animals, and how this part of the
body can propel your art forward
78 The forelegs
Use your observation, skills and
knowledge to build the pillars of
balance and grip in animals
90
84 The neck and head
Discover what part of the animal
body tells you about the creature –
and the traits all animals share
90 Animal faces
Find out what animal faces have in
78 common with human faces, and the
crucial ways in which they differ
Digital art skills Artist Q&A

Help and advice from figure artists Real-world issues solved
98 Creature features 108 Quick guides
Combine human and animal Our artist panel helps you to…
anatomy to create a fine-art portrait • Paint realistic hands
of a monster with Justin Gerard • Draw a screaming face
• Avoid static lgures
102 Top ten fantasy poses • Master heroic proportions
Whether you’re drawing a hero or • Draw realistic eyes
a villain, we’ve got the gestures and • Give characters mass
silhouettes to help you out and weight
104 Strike a pose • Draw expressions that show
Warren Louw explains how to fill the right emotions
your characters with energy by • Pose lgures in motion
learning the art of posing • Shade faces better
109
Presents Anatomy 5
1
Paul Bonner
LocaTIon: Denmark
WeB: www.paulbonner.net
emaIL: bonner@mail.dk
meDIa USeD: Watercolour
“Most of what I do stems

from a childhood passion
for fairytales, myths and
legends,” says Paul. “They
sparked a myriad images
and incessant scribbling, trying to draw
my own versions.”
Since then, with the help of brushes
and tubes of watercolours, Paul has
been continuing along that same path.
“Always knowing what I wanted to do
made it an easy path to follow,” he says.
Paul has made a successful career for
himself that’s at least partially a result of
his stubborn self-direction.
Apart from the need to try and empty
a cluttered imagination, Paul’s driving
force is the basic thrill of creating
something out of nothing. Obviously
this nothing is not absolute: “It’s made
up of a myriad influences that seep in
over the years.” Books, films, other
artists, music and nature are all-
important ingredients.
The challenge is to make something
believable. “I deal in myths and
legends,” says Paul, “and if I can get
people to suspend disbelief and accept
the reality of what I’m painting although
they know otherwise… Well, then, I’m a
happy guy.”
1 Drakar och Demoner
15x22in, watercolour on paper
© Riotminds
Paul revels in the chance to paint rocks,

stones and water, and these guys in a
boat were a great opportunity. This
piece was painted for Riotminds.
6 Presents Anatomy
2
3
© Riotminds
2 eLD och SoT
“Dwarves, trolls, stones carved into
figures or runes,” says Paul of this piece
for Swedish RPG makers Riotminds.
“That just about sums it all up really.”
3 TrUDvangS STIgar
This dwarf is in a bit of trouble: he’s been
captured by some trolls. But this piece
for Riotminds gave Paul a chance to
paint one of his favourite things: “Nature
again… stones and roots.”
4 confronTaTIon
Paul admits that this piece, painted for
miniatures company Rackham, was a
nightmare to draw, given all the figures.
“But it was fun trying to give so many
individuals good reasons to be there.”
© Riotminds
4
© Rackham
Presents Anatomy 7
Tom kidd 1
LocaTIon: US
WeB: www.spellcaster.com
emaIL: tkidd@snet.net
meDIa USeD: Oil on panel
Tom realised he could draw

when he was very young.
Anything he set his mind
to, he could copy – but he
quickly realised that could
be accomplished by robots or machines.
To differentiate himself from the Xerox,
Tom began making things up to draw,
and so a career was born.
Tom’s role models as he grew as a
person and an artist included Chesley
Bonestell and Norman Rockwell. Taking
on their influence, Tom began working
towards the goal of becoming a fantasy
illustrator. He won a scholarship to
Syracuse University, but dropped out
after two years and moved to New York,
intent on making a career for himself.
After a short while, he began to see
success in his chosen path.
Tom has worked for a number of
publishers, Baen Books, Tor and Marvel
among them. He’s won a World Fantasy
Award (Best Artist 2004) and seven
Chesley Awards. He’s also busy with a
personal project, which he describes as
“my favourite and most time-consuming
obsession.” Called Gnemo: Airships,
Adventure, Exploration, you can see lots
of art for this project on Tom’s website.
© Harper Collins 2001
2 1 hercULeS vS The hyDra
16x20in, oil on panel
Part of a mythology series Tom painted.
The other characters he painted are
Odysseus, Theseus and Perseus.
2 reInDeer exPreSS
13x28in, oil on panel
If you receive Christmas cards from
Tom, you’ll already be familiar with this
image. “As I painted it, I came up with a
children’s book idea to go with it,” he
says. “It’s an attempt to rationally
explain Santa Claus, but as the story
goes on it, becomes quite convoluted
and even less plausible.”
8 Presents Anatomy
2
Duc Truong huyen
LocaTIon: Vietnam
WeB: fxevo.deviantart.com
emaIL: truong.huyenduc@gmail.com
SofTWare USeD: Photoshop
Although Duc has studied

at Ho Chi Minh City’s
University of Architecture,
he had never drawn
anything seriously until
senior year in high school, when he
finally picked up a pencil in a bid to
improve his chances of being accepted
to study architecture.
“At first, drawing was my hobby,”
says Duc. “That was until I saw Ryan
Church, Dylan Cole and Daniel Dociu’s
masterpieces.” The result was profound
and immediate. “I was in awe, and
decided to buy an Intuos 3. This decision
has completely changed my life.”
Although he’s self-taught, Duc says
he’s had some help along the way.
“Thanks to ImagineFX, DeviantART and
CGTalk, I have many sources to study
and improve my skills, not to mention
my knowledge from architecture.”
1 enTrance of covereD
Illustration for a personal project.
“It’s about a girl who owns a fairy tale
book, which is actually a gate to connect
two worlds together.”
2 aDera
All Duc wanted was a playful
portrait “with strong warm and cool
colour values to present my character,
the Seeker of Balance”.
Presents Anatomy 9
1 2
Sophia kolokouri
LocaTIon: Luxembourg
WeB: http://mysideworld.com
emaIL: mysideworld@yahoo.com
SofTWare USeD: Photoshop
After studying animation

and design at Gobelins in
Paris, Sophia started
working at Walt Disney
films. In 2007, having
worked as an animation producer and
art director, Sophia returned to her
personal work: “And I’m now working as
a digital hand painter and designer.”
Sophia would like to combine her
animation skills with a photo-realist
aesthetic: “This is something I wish to
explore much more and push forward
my technique. I am still learning.”
Sophia is keen to work with 3D
software that gives photo-realistic
results for humans, and there’s a book of
painted fairytales on the drawing board.
1 moTher naTUre
It’s a sad fact, says Sophia, that
humanity is its own worst enemy.
“Humanity commits suicide by
destroying its lungs, its health, its
inheritance. Mother Nature is praying for
us. She is praying for our sake, hoping
one day we will finally succeed in living
in harmony with our environment before
it’s too late.”
2 The LaDyBIrD
“The challenge here,” explains
Sophia, “was to find a balance between
the bird and the human.” So, keeping
focused on the flamingo-inspired
creature, “I tried to bring a fantasy and
romantic touch to the scene, while keep
the pose elegant.”
10 Presents Anatomy
1 2
© Narrative Ink
Walter o’neal III
LocaTIon: US
WeB: no-sign-of-sanity.deviantart.com
emaIL: w.onealiii@att.net
meDIa USeD: Acrylics
As a kid, Walter always had

his nose in a comic book,
immediately in love with
anything that dealt with
fantasy or the supernatural.
Superheroes, vampires, aliens, demons:
“Any subject that deals with beings
endowed with fantastic abilities or dark
powers,” he laughs, “and I’m sold!”
When it comes to his own work, he
says it’s all about the detail: “I try to
pack as much as I possibly can into a
piece. I want you to forget that you’re
looking at a painting.” Crucial to that is
the rendering: “I shoot for a kind of
stylised realism.”
1 oL’ ScraTch
11x16in, acrylic on illustration board
Walter was commissioned by the
fantasy sculpting duo The Shiflett
Brothers for this portrait of their Ol’
Scratch character. “Brandon and Jarrod
Shiflett are such great guys,” he says.
2 meDUSa’S DaUghTer
11x16in, pencil and gouache on paper
“This shows Medusa’s Daughter (for
Narrative Ink) making a futile attempt
to tie down her wild hair using some
makeshift straitjackets,” says Walter.
© Shiflett Brothers Originals
Presents Anatomy 11
Lucas graciano 1
LocaTIon: US
WeB: www.lucasgraciano.com
emaIL: lucasgraciano@yahoo.com
meDIa USeD: Oil
Lucas grew up with the

works of great fantasy
artists such as Frank
Frazetta and Boris Vallejo.
Straight from high school,
he started his art career as a caricature
artist at theme parks and special events.
Later, having attended the Watts
Atelier of the Arts in Southern California,
he started work on storyboarding and
concept design in the games industry.
Working mostly digitally at that time,
Lucas wanted to attain the foundation
skills that come with working in a
traditional medium. He soon fell in love
with the traditional process and has
nearly completely switched over.
Lucas continued his training at the
Atelier and was soon asked to teach.
After developing his skills further, he
moved into fantasy illustration and
began freelancing while he taught. He
landed his first illustration job on the
very first set of the World of Warcraft
card game, and has since worked for
companies such as Sony, Wizards of
the Coast and White Wolf.
© 2008 Quarto Publishing

2
1 PSychoPomP
16x12in, oil on hardboard
This piece was done for the book
Drawing and Painting the Undead. As
simple as it is, Lucas thinks it’s one of
his stronger pieces. “Its strong graphic
read helped it get on the cover of the UK
version of the book.”
2 vaLe maIDenS
“I like doing work for Sony,” says Lucas,
“because they give me a free reign.” The
only description on this assignment was
© 2008 Sony Online Entertainment
‘six or seven female dryads guarding a

tree.’ “They will often hand me their
low-res, in-game models as reference
and say ‘Make this look cool!’ I think
that’s the kind of thing almost every
artist wants to hear!”
12 Presents Anatomy
3
SEND US YOUR
ARTWORK!
Every issue of ImagineFX features
a selection of fantastic artwork
from talented artists – and you
could join them. For a chance to
see your artwork included in
ImagineFX, send your work to us,
along with an explanation of your
techniques, the title of each piece,
a photo of yourself and your
contact details.
You can email your work to
fxpose@imaginefx.com. Bear in
mind that attachments must be no
more than 5MB in total, or we
won’t receive them. You can also
send images on CD or DVD to:
fxPosé
Imaginefx
30 monmouth St
Bath, Ba1 2BW
Uk
We prefer 300dpi TIFF or JPEG
files if possible. All artwork is
submitted on the basis granting
Future Publishing a non-exclusive
worldwide licence to publish, both
in print and electronically.
4
3 WorD of PaIn
“I like to keep my fantasy work more
grounded,” Lucas says. “I’ve never been
a big fan of the bright flashy colours of
magic, so I try and imply it in more
subtle ways.”
4 kaLaDIm WIzarD
Lucas is a huge Tolkien fan. “Any chance
I get to paint an epic battle scene with
armoured dwarves, I’m very happy!”
He’s even got a small collection of
armour that he “slaps onto some
willing friends for photo reference”.
Presents Anatomy 13
Human anatomy
A complete workshop on bringing
your body drawings to life
14 Presents Anatomy
Your human
The more knowledge you have, anatomy expert
Ron Lemen has worked
the easier it will be to reach clear-cut in the entertainment and
illustration industries for
solutions for any drawing you make over 16 years. With his
wife Vanessa, he runs
Ron Lemen on drawing the body, page 16 the Studio 2nd Street art
school and is in demand
as an art instructor at
drawing and painting
classes across California.
www.studio2ndstreet.com
Workshops
Explore the body in eight parts
16 Basic forms
Improve the way you draw figures
with easy ways to establish the
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 The legs
Master your depiction of the limbs
that support the body and drive it
forward 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
Don’t allow the complex interaction
of muscles here distract you from
the guiding principles of anatomy
44 The forearms
It may seem like a simple area of
the body, but the forearm is more
sophisticated than you suspect
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
54 The head
Discover how to break the skull and
facial features into simple forms to
get the proportions spot-on
Presents Anatomy 15
PART 1
CreatIng
basIC forms
Improve the way you draw figures by learning easy ways
to establish the underlying structure of the human body
f you want to illustrate stories There are several techniques for drawing What you lack in the foundations of your
I or book covers, design

conceptually for games or
draw storyboards, it’s vital to
the human body, all leading to
a similar goal: a three-dimensional,
realistic figure. While it’s not necessary to
knowledge will show up in your work – in
other words, the lack of understanding of
certain key principles will be all too
grasp the foundations of representational be an expert on anatomy to produce apparent in your finished piece. An artist’s
art. With most stories you’ll come across illustrations, the more knowledge you style can be reflective of their lack of
involving people, it’s important to have, the easier it will be to solve understanding just as much as it can be
understand how to draw the human problems and reach clear-cut solutions a showcase for the total sum of their
figure, both in a static pose and in action. for any drawing you make. knowledge. Avoid that trap.
16 Presents Anatomy
Part 1 Basic forms
ron
Figuring it out:
two ways to draw
Lemen
Country: US
See more of Ron’s work

at his website.
There are two distinct approaches to figure drawing:
Direct link for observational and formulaic. It pays to master both…
workshop files
http://ifxm.ag/abasicf
Learning to draw the human form can Formulaic figure drawing uses abstract
be a daunting prospect for any fledgling rhythms or interlocking shapes – basically
artist. Therefore, it’s important to know design concepts – to build on. Once these
what methods are available to you. The formulas are memorised by drawing from
two approaches to figure drawing that life, you have a set of tools to recall,
I feel to be distinct are the observational enabling you to design from your
approach and the formulaic approach. imagination if you wish.
Observational drawing has its origins in It’s important to have a solid
the sight-size methodology, which trains understanding of both approaches if
the eye to view a subject with accuracy, you truly want to be free as an
placing the object and the drawing side by artist. Observational
side for comparative analysis. Plumb lines, drawing sharpens the eye
levels, a fixed point and a measuring line and mind to capturing a
are used to help the artist in understanding likeness without using
dimensional and spatial measuring. abstract concepts;
Observational drawing is a complex formulaic drawing gives
process that requires a great deal of you a set of tools to
reference material to accompany the words develop both from life
to be fully explained. In this part of our and, more importantly,
anatomy workshop, I’m going to take a from your mind’s eye.
Observational drawing in
practice, using a pencil to
detailed look at two of my favoured
measure the body’s dimensions. methods of formulaic drawing.
Formulaic figure drawing systems

involve using abstract rhythms or, as
watch this!
shown above, interlocking shapes, to
construct the human body. Those
shapes can then be built upon and
http://ifxm.ag/fig-drawing
fleshed out for a full human figure.
Presents Anatomy 17
Human anatomy
reIlly’s sIx lInes To The Torso
Here’s an illustrated guide to the Reilly

method of drawing the human torso.
Starting with the head, lines are
systematically added to build a template
that forms the basis of your figure.
Once you’ve learned the Reilly method, you

can go on to create figures in a range of
different poses. In this sketch of a kneeling
woman, you can still see the construction
lines, based on the sequence above.
exploring the reilly

method for figures
In this drawing system, you build a framework of
overlapping lines to create the basis of your figure
There are as many ways to construct a American art schools of his day. His figure
human figure as there are artists, but two drawing approach is a linear one, starting
systems in particular form the basis of with the structure of the figure before
many artists’ working practices. Over the advancing on to the anatomy, then shading
page, you’ll explore the Industrial and finally detailing. His approach started
Design method; but first, let’s with the core of the figure: the torso.
look at the Reilly method. Capturing the action of the pose is
Frank Reilly was an illustrator probably the most important concern. The
and instructor in the early- and action begins with the head and radiates
mid-20th century. He created a through the spine into the limbs. To start
system of teaching that enabled the drawing, you need to make six lines:
students to quickly and easily digest the head; the centre of the
the problems of drawing and painting, head and neck; the shoulder
giving abstract concepts labels and line; the spine; the line
definable schematics, and building a relating the shoulders to the
noteworthy step-by-step course of action base of the pelvis; and, finally,
to create figure drawings. His system the line showing the neck and hip
relationship. These lines design
Frank Reilly’s figure drawing approach is a and define the core of the pose.
linear one, starting with the structure of the Arms and legs
Once the core of the pose is
figure and advancing on to the anatomy established, the arms and legs are
attached to complete the action.
came from several sources, starting with This simple construction creates
Dean Cornwell and Frank Brangwyn, as the structure of the pose. The
well as George Bridgeman (one of Reilly’s
teachers) and Frank Vincent DuMond.
Capturing the action of the character’s pose
Frank Reilly’s system became a should be foremost in your mind. The action
fashionable method in most of the begins with the head and radiates from there.
18 Presents Anatomy
Part 1 Basic forms
watch this!
http://ifxm.ag/sshapefig
Use landmarks To FInd yoUr
anatomy is then depicted within
the structure you’ve created.
way aroUnd The hUman body
Muscles are woven like a fabric
once you’ve learned the reilly
to the skeleton, connected to the method of creating a figure, you
bones with tendons – rope-like can move on to creating more
attachments. The point where the tendon flexible figures and poses from
different angles. here, I point out
attaches to the bone is defined as the a few anatomical landmarks to
insertion point. The figure abstraction help. see my three videos on
helps place the major muscle groups creating a figure from various
viewpoints: the front torso, the
into an organised and fluid pattern,
back and the side.
making it quite simple to invent complex,
realistic-looking figures.
The head has its own set of abstractions
that requires a workshop of its own to fully
understand. We look at techniques for
drawing the head on page 54.
Beyond Reilly
The fundamentals of the Reilly method
are easy to grasp, but it’s flexible enough to
adapt as your drawing skills develop.
Once you properly understand the figure
abstraction underpinning the system, you’ll The body’s anatomy is
designed into the
find that you’ll constantly change and structure you create,
rearrange lines to suit every pose and every weaving in muscles and
tendons and gradually
situation. The standard set of lines you start building up details.
with are charts for learning – they’re just
one set of possibilities, a stock vocabulary
It’s important to practise as

much as possible, so that you
can perform with clarity
that will constantly flex, grow and reinvent
itself with each new image you create.
I cannot stress enough that this is just
a system to learn from. All systems of
drawing are designed for teaching and The large dots in this sketch are anatomical
should be left behind as soon as landmarks. If you study your own body in
the mirror, you’ll see that these are the
they’re mastered, like stabilisers on bones that show through the skin.
a bicycle. Too many carefully
followed rules can lead to pictorial
sterility. It’s very important that
you train and practise as much as
possible until the rules become
background noise, so that when
we perform, we can do so with
total clarity and focus on the more
important aspects of making a
picture – the story content and the
pictorial intent.
If you want to do some additional
research on the Reilly method, I
recommend that you look up the work
Use the anatomical points
of Andrew Loomis, a famous mid-20th along with the video on
century American illustrator who covers creating the perfect back view.
some of these principles in his figure

drawing manuals, and offers a great many
useful techniques besides.
As you construct your figure, try to use long,

flowing lines so that the drawing starts to feel
alive, even at this early stage.
Presents Anatomy 19
Human anatomy
exploring the
Industrial design
drawing method
Use basic geometric shapes to make your
figures feel solid and three-dimensional
Here, I’m going to look at a second
abstract approach to figure drawing:
the Industrial Design method. Its
origins are age-old, but it was
perfected at the Art Center of Pasadena
in the 1950s.
I find Industrial Design the most
practical technique to use when creating
the figure for any purpose. It makes it easy
to control the pose and achieve convincing
foreshortening painlessly.
First, you need to sort the head, neck and
shoulders. These provide a starting point to
build the figure gesture from. Viewed from
the front, the head is an oval shape, while
in profile or side view, it’s a bloated
triangular form. The corners of the triangle This cartoon character is fully realised using the
depict the tilt of the head. shape design approach from life drawing. The
technique can be used for any figure.
The panel below shows some examples
of cylinder figures in gesture poses, which It should be graceful, and is ideally
Here the figure is rendered with hatch lines,
creating an immediate illusion of form. The lines is what you have to find next. The gesture of established in one or two curvy lines.
crossing over the form are crossing in the short the pose is a fluid, flowing line: it’s the big Add to your first line a second line,
stroke direction.
sweeping movement that’s made between which describes the width of the pose. This
the upper and the lower halves of the body. helps establish the overall volume of the
figure – heavy or lean. These two lines
should mirror each other, moving in
drawIng cylInder relationship to one another. Line three is
FIgUres In gesTUre poses the centre line of the pose, attached to the
pit of the neck.
With a centre line drawn, you can now
draw an ellipse or oval. This describes the
depth of the form. The centre line gives you
another point you can now convincingly
attach the oval to, turning your three lines
into an active cylindrical form.
Cylinders are easier to draw than a cube
Use cylindrical
forms to start every
form, as you need to know perspective to
figure if you can. make cubes look convincing. Cylinders,
Cylinders are easy
to draw and can
if drawn correctly in perspective, give the
easily be broken viewer a strong sense of position in space.
down into three-
dimensional forms.
The shoulders are the top point of the
In extremely cylinder, the pelvis its bottom. The pelvis
foreshortened
poses, overlapping
varies in shape depending on what
ovals representing character you’re drawing. It can be drawn as
the lengthier forms
will work.
a soft, sphere-like shape – think of it as a
marshmallow – or can be more defined.
Your subject’s gender determines the
pelvis shape. Female pelvises are more bell-
or skirt-shaped; male pelvises are more
box-shaped. The front of the pelvis
watch this!
http://ifxm.ag/cylindricalf
terminates in a bullet-like shape. This is
drawn inside the body cylinder shape,
20 Presents Anatomy
Part 1 Basic forms
watch this!
http://ifxm.ag/sshapefig
You can map shadows to the shapes

you design on the scaffolding of the
The FIgUre as
figure, with the patterns falling
appropriately over the shapes you’ve
an s-shape
drawn rather than drawing exactly what
you see. The illusion of the drawing can
suffer if you stick too rigidly to what you
see without really thinking about how
the forms are functioning in 3D space. Draw the ribcage as if looking
up at it, with lines arching
crests, the navel and the armpits. If your upward. Draw the pelvis with
lines arching down. This keeps
figure’s back is visible, the scapulae, the the forms tilted correctly to the
dimples of the sacrum, the obliques and viewer from straight-on.
the base of the pelvis are also helpful to

use as landmarks.
If the figure is twisting or turning,
you can easily depict this movement
in the cylinder by pinching one
side, or by creating an accordion-
like relationship between the
ribcage and pelvis masses.
The obliques play a role in
shaping the cylinder: they are the
third bulge on the compressed side
of the cylinder. These bulges are
described using S-curved lines (see the
panel to the right), the only line type
in drawing that can generate
perspective in its own waviness. The
S-curve starts against the outside of one
shape, then swings over and completes its
circuit below on the next succeeding
shape. Each S-curve generates a more These drawings are
fleshing out the dynamic
convincing illusion of overlapping forms. movement in each pose.
You should switch often between Using cylinders and
dividing each segment of
gesture and structure to strike a balance the cylinders into thirds,
the scaffolding of the body
is ready for muscles to be
If a figure is twisting or turning, laid over them. The cross-
contour lines help guide
you can easily depict this movement in the muscles correctly

around the form.
the cylinder by pinching one side

cutting in on either side to show the hip of form and movement, hopefully in a
bones, the iliac crests. similar dynamic to Michelangelo or
Now draw an egg shape to indicate the Rubens – but with a modern flair, like
ribcage, attaching it to the shoulder line that of Claire Wendling or Bruce Timm.
and only breaching the cylinder form if Once the structure is defined, move
the body is compressed or twisting. The into gesture again, drawing the cylinders
rest of the torso is built up using ellipses of the arms and the legs. When your
or traversing lines across the centre line, limbs are drawn in, move back into
to square up the two halves of the torso structure and define the muscles, then
and pelvis. gesture again to describe the movement
The important landmarks to indicate of the shadow patterns over the muscles,
are the nipples, the tenth ribs, the iliac then structure to tighten them up.
Presents Anatomy 21
PART 2
DRawing
the toRso
With the figure framework in place, it’s time When you draw a torso, you
should take into account not
to focus on the core of the human body only the muscle tone, but the
age of the subject too.
he torso is the core of the body: head has more chance of complementing drawing to a more correct scale
t the complex centre from

which all our dangly parts
originate. Our physical
the action of the body.
First, you need to find the action of the
pose. This step is called the gesture. Using
throughout the pose.
Next, draw a centre line through the
middle of the torso. (Simply put, the
actions also originate from this core – Ron the Industrial Design method, as centre line of the back is the spine.) The
therefore, you typically start with the Lemen described on page 20, you can find this front of the body is divided through the
countRy: US
torso in figure drawing to work out the action in three lines: the gesture, the centre of the chest, or the sternum, and
dynamics of your pose. See more of Ron’s work width and the depth. Once the gesture continues through the line that splits the
The head is the ruler that you measure at his website. or action of the pose has been established, abdominal muscles down to the pelvis.
the body from; the body is the primary the limbs are then attached to The centre line is very important to
Direct link for

essence of the pose. Both are important complement the twist, turn or swivel of draw. It finds the middle of the visible
to draw from the start, but the head can the torso. With the head attached, you can surface to match and align the forms on
stiffen up quickly with no reference to the workshop files
http://ifxm.ag/a-torso
measure off the height and width of the either side of it, and it’s also an anchor
body. If you design the body first, the torso more appropriately, or adjust the and apex for matching rhythmical lines
22 Presents Anatomy
Part 2 The torso
from either side of the body. Neglecting

to draw the centre line in your structure
is like forgetting to bring the manager
GettinG the pectoralis muscle riGht
along to the big game. The pectoralis muscle sits on the upper half of the ribcage, and inserts
onto the upper arm bone, or humerus, around the upper third division of
If you don’t use boxes to design the pelvis its length. The muscle wraps underneath the humerus towards the back
and the ribcage, the next step is to find the of the arm, and is a five-sided shape.
three-quarter line of the figure, or where

the figure turns from the frontal planes to
the side of the body. In many poses, this
landmark can be as important as the centre
line: it’s a major breaking point in form,
critical to both the perspective and the
alignment of the limbs from the left side to
the right side of the figure.
Torso muscles
The front of the body is made up
of six major visible muscle groups:
the pectoralis muscles, the abdominal
muscles, the obliques, the serratus muscles,
the trapezius muscles and the lattisimus
muscles, which you can see if the arms are
lifted. Unfortunately, two of these muscle
groups have multiple heads to them, but
are well organised, so rendering them is
just a matter of finding the larger shape
that keeps the smaller ones organised
and harmonised.
The body wedges down from the
Its striations, or muscle fibre divisions,
acromium processes – the bumps at the radiate in a fan-like shape, with the
shoulders – and tapers to the base of the clavicular portion sitting on top of the
mass. The female breast sits on top of
crotch. The wedge forms the true front the pectoralis, roughly between the
plane of the body; the masses on either side seventh and eighth rib. It has a
comma-like shape, tapering back under
of the wedge taper at a sharp angle, and the arm toward the scapula.
become a part of the side planes of the
figure. The wedge form passes through
the coathanGer method

The trapezius muscle is a back
muscle, but sits atop the shoulders and
connects to the back of the neck. The
visible portion on either side of the neck
creates a coathanger-like rhythm, which
goes from the acromium processes at the
shoulders to above the seventh cervical
vertebrae, along the clavicles and
across the sternal notch. From
three-quarter view to profile, the
trapezius muscle is a ramp,
taking up about half the space
of the top plane of the torso.
The ramp varies in height
depending upon athletic build.
Presents Anatomy 23
Human anatomy
Neglecting to draw in the GettinG the torso started

centre line is like forgetting
to bring the manager along
to the big game
Here are a few ways to start the torso. The first is
angular, the second box-like, the third spherical.
There is no right or wrong set of shapes, but there
may be confusion in the structural design if there
are too many shapes to start with. A more
harmonious way is to maintain a shape design
consistency throughout. These shapes are
flexible, bending on the spinal axis.
the obliques, or what we usually call

the spare tyre muscles. These muscles are
the soft mass between the ribcage and the
pelvis. They taper in narrowly at the ribcage
and widen at the hips, resting atop the iliac
crest. This wedge can be linked to the two
lines that form the neck in a rhythmical
relationship that helps keep the oblique
muscles from becoming too unusual in
their shape design. The obliques form true
side walls – perpendicular planes to the
front and back planes of the body – and
blend with the angular sides of the ribcage.
The torso is extremely pliable between push the rhythm between these two
the ribcage and pelvis. The further you shapes, the more convincing the action
design will feel. The muscles on the front
draWinG the of the body are very pliable and can be

stretched and twisted as much as needed
human fiGure: a to help enhance the gesture of the pose.
four-step Guide It’s very important to start the pose with
the gesture first, to seize the moment and
the action. Then you can proceed to the
structure of the pose, and finally the design
a B and articulation of the muscle groups in
the body.
If the gesture is dynamic, the muscles
must follow that dynamic. Don’t stiffen up
the design at this point in the drawing.
Everything is pliable, no matter how
geometrically you might draw your
pictures, and the shapes you design for
the muscles must not stiffen up in the
dynamic gesture you’ve created. Many
comic book images show this latter trait,
especially comics from the 80s and 90s. If
you can find a few examples, they serve
Here’s how to build up a complete figure, c

starting with the core. Use a rhythmical cylinder
form to start the pose (A), then find the ribcage
and pelvis forms within the rhythm lines; look for
key bony points to keep the shapes squared up
from top to bottom, and to find the compression
between them. Then the perspective is designed
(B) with the three-quarter line drawn into the
figure to help keep the muscle forms from
drifting too close to the right arm. The muscle
rhythm lines are then added to fill out the
anatomy structure (C). All this should be done
lightly so it can be easily removed when the final
rendering takes form. When everything is
finished, most of the anatomy will not be visible
(D), but the bumps and little dark markings
drawn in the pose will have a more visual
believability and more accurate design to them.
24 Presents Anatomy
Part 2 The torso
a pinch here, a
stretch there
Seen from profile, the abdominal muscles
each have a different type of contour. The
top two muscles are angular: the top heads
predominantly face up over the ribcage
and the second set of heads face downward.
The middle heads face flat forward and
the lower abs bulge at the top in a rounded
taper towards the base of the pelvis. The
muscles have this structural design to help
when the body leans forward.
The figure on the far right has been
drawn using construction forms to keep
the anatomy geometric, planar and simple.
The right side is pinching or bending in; as
a result, the shapes on the right profile
all take on a bulging appearance from
compression. The left side of the figure is
stretched out, and the shapes relate to this.
WorkinG the six-pack

All the abs stacked up on each other have a
rhythmical relationship to one another, as all the
head divisions can be connected together at a
point to the side of the body. This relationship
keeps all the muscle heads organised in the
architecture of the bones of the torso.
sortinG out
the connections
The serratus muscles

connect the scapula to the
ribcage from beneath the
scapula. The muscle heads
originate along the inside
edge of the scapulae on the
back, closest to the spine,
and terminate halfway
along the first nine ribs.
These muscles insert snugly
into the obliques, and
radiate in an arc on the side
of the body, with all the
muscles fanning out from
top to bottom.
Presents Anatomy 25
Human anatomy
hoW the torso rotates

The obliques are the big muscles that bend and rotate the torso of the body. The flank portion of the
muscle sits between the ribcage and pelvis on the sides of the body. The flank drapes over the iliac crest,
giving the pelvis what looks like a downturn on the tops, rather than the upturn of the bones’ design.
They have three distinct visible planes from the side of the torso. The rest of the oblique travels up the
ribcage and laces together with the serratus muscles, and blends to the abdominal appaneurosis.
makinG
it fit
The drawing is never
correct until the whole
has been established.
This means that to
understand the
relationships of the
parts, you must see them
all assembled together.
Don’t become critical
of one drawn line; try
to draw the entire pose
quickly, then assess as a
whole what can be fixed
or altered to create
a stronger, more
convincing pose.
as a good lesson in what not to do

when anatomy meets gesture. The muscles on the front of the
As always with anatomy, no matter
how much you know, there’s always more
body are very pliable and can be
to learn. Remember: the key is to practise,
practise and practise some more – and to
stretched and twisted as much as
have fun doing it. needed to help enhance the pose
26 Presents Anatomy
Get a FREE
digital trial subscription!
Now you can read ImagineFX on your nook, Kindle Fire,
and on your desktop computer or Android phone
hatever device you’ve got, you
W can now draw your usual

monthly inspiration from
ImagineFX at the click of a
Now oN
button. Try it out today with our free KiNdle!
subscription offer! Search for us in the
Single issues and subscriptions are Kindle Fire
available and each purchase remains stored app store
in your own magazine library. New Kindle
Fire editions feature streaming video and
interactive links, while Zinio and nook
editions include video and resource links.
Android, PC & Mac: www.zinio.com/imaginefx

Barnes & Noble nook: www.bit.ly/ifxnook
Google Play: www.bit.ly/maggoogle
Please note: Resource files are now available from issue 85 onwards.
Presents Anatomy 27
Human anatomy
PART 3
Drawing ron
lemen
country: US
the legs Direct link for

Master your depiction of the limbs workshop files
at his website.
that drive the rest of the body http://ifxm.ag/a-legs
he legs provide support for the as an axle. Remember that both sides of
t body and power much of its

movement. Like the arm, the
leg has groups of muscles that
the hips are fused together, unlike the
shoulders, which float independently of
each other. The tilt of the hips opposes the
oppose one another in their action. For angle of the shoulders, meaning that the
example, the quadriceps at the front of the action at the top of the body is counter-
body are used to extend the leg, with the balanced by the position of the lower body,
bicep femoris, semi membranosis and which creates stability. The hips can be
tendonosis acting as flexors. Both the arms drawn as one of several different masses,
and the legs start wide at the torso and depending on your preferred drawing
taper to about half that width at the wrists methodology, but they all serve the same
and ankles. The biggest structural function: volume and construction.
difference is the organisation of muscles
around the kneecap, which differs to the Leg bones and muscles
ridge or rotator muscles in the elbow. The pelvis is a narrow shape funnelling
Now, without getting too caught up in inward towards its base. The wide point of
the names, let’s get down to discussing the the hips is created by the femur and the hip
shapes and rhythms in a leg, breaking the muscles, which are mostly responsible for
drawing down into easy steps. connecting the leg to the body, and fill in
You should start with a simple gesture: the space between the pelvis and femur.
a line connected to the hips will do. The These hip muscles flair out in an A shape
hips are the pivot point for the legs, and act and act in a broadly similar way to the
The relaTionship beTween

hips and shoulders in poses
In a typical standing pose, unless the legs are
spread, one foot always sits directly below the
skull for balance at the two polar extremes of the
body. Notice how the hips move to
compensate for the tilt of the
shoulders. If the legs are spread,
they maintain an A-shape,
distributing the weight of the
figure evenly across the ground.
28 Presents Anatomy
Part 3 The legs
Remember that draw arcs To

both sides of the connecT key
hips are fused areas TogeTher
together, unlike Drawing arcs between all the joints and key
features relates the left and right sides
the shoulders, of the pose. Understanding figure

proportions related to skull size can
help you to interpret these arcs
which float with much greater clarity.
independently of
each other
shoulder muscles, which we look at in more
detail on page 38.
Moving down the legs, the femurs both
taper inward, forming a semi-V shape
between them. The figure looks knock-
kneed at this stage, but that’s normal until
we place muscles over the bones. In a
standing position, the knees are almost
directly below the iliac crests of the pelvis.
The thigh is divided into three major
masses: the front mass, which consists
mostly of the quadriceps and sartorius
muscles; the inside of the thigh, or adductor
muscles; and the back of the thigh, or the
bicep mass. All of these muscle groups start
out large – the muscle heads account for
about two thirds of the length of the leg
and taper around the knee as the muscles
terminate in tendons, exposing more bone
than they cover.
Finding The big relaTional shapes in

poses where The Figure isn’T sTanding
For compressed or seated poses, I like to start the gesture

of the pose by finding the big shapes – or, in this case, the
shape – that both legs create together. This abstraction
helps to strengthen the relationship between the
limbs, as well as keeping the legs relating to each
other dynamically and proportionately.
Presents Anatomy 29
Human anatomy
The kneecap itself is a small free-

S-curves are found
all over the body, floating bone that hovers over the head of
and the legs are no the femur and is attached to the leg by
exception. Here, the
S-curve is found not tendons coming from above and below the
only in large muscle cap. The most prominent of these tendons
rhythms, but also in
the bones and their is the large rope-like cord that extends
connections. The below the kneecap to the forward
bones through the
knee into the shin protuberance of the tibia, or shin bone.
bone, and the smaller The kneecap or patella is shaped
bones around the
kneecap, hips and somewhat like a pentagon. When the
ankles exemplify this. knee is bent, the larger shape of the leg
mass between the femur and the shin
bones echoes the shape of the
patella with a five-sided form. In
this position, the side walls are
more flat than angled.
The lower leg is more
s-ForMs in leg Muscles triangular than cylindrical in its

cross-section. The shin bones form a
When drawing the leg, keep in mind that the muscles spiral over the wedge, with the sharp edge facing
form in an S-like rhythm. This rhythm is universal throughout the body,
but it’s particularly noticeable in the arm and leg muscles, so it’s good
forward and the wide side as the calf
to bear that in mind while drawing these areas. Rhythm keeps any muscles. The lower half of the
form from getting too stiff in its design. One of these S-curves is the leg is about two thirds muscle
sartorius muscle, which is attached to the iliac crest and spirals down
and around the inner wall of the leg. It acts as a major landmark,
mass, tapering to a block
dividing muscle masses and surfaces like a fence between two form at the ankles, with the inside of
gardens. The iliotibial band does the same thing on the outside of the the ankle higher than the outside. The
leg. These divisions are usually where the strongest shadow patterns
lower leg forms a bowling pin shape,
are formed on the legs, regardless of how active the pose is.
similar to the forearm, and the foot fits
coMparing leg Muscles To

The arM sTrucTure, and
Notice how the leg and the arm are
similar to one another in their
Mapping ouT The knee
physical structure. The biggest The arm and leg have quite
differences between them are at similar proportions with
the joints, but the majority of regard to tendon mass
muscle masses resemble each versus muscle mass; even
other in their structure. the upper and lower
portions of the limbs have
similar divisions. The
upper two thirds of each
segment is muscle mass,
the upper third usually
contains the largest bulk of
muscle and the lower third
is mostly made up of bone
and tendon. The upper
part of each segment is
rounded like a cylinder,
and the lower parts (wrists
and ankles) terminate with
a block form.
The knee can be

designed with three
vertical planes and three
horizontal planes, looking
like the top of a diamond.
Structuring the knee in
this way makes it much
easier to map the
undulating furrows of
the bones.
30 Presents Anatomy
Part 3 The legs
Here you can see how the sartorius on the

inside of the leg splits the barrel shape into
two parts, while the iliotibial band on the
outside of the leg divides the front from the
back. These two prominent separations are
usually visible, so don’t ignore them.
Although the legs are independent limbs, the muscles of both share
rhythms harmoniously. There are common rhythms that can be
found easily, but look deeper – the more the two legs can be
related, the more harmonious and fluid the entire pose feels.
use pisTon shapes To capTure

The regulariTy oF The shin
As bony as it looks, the shin is surrounded with
muscles. The outside surface has the most intricate
complexity to it, with a repetitious, organised pattern
of piston-shaped muscles.
Presents Anatomy 31
Human anatomy
build up leg MusculaTure in Three siMple sTages

Start the pose off with cylinders: they’re
simple enough for anyone to draw. Once
the cylinders are placed and you’ve found
their centres, divide them into planes.
Beginning with simple surfaces is much
easier than trying to start with the
muscles, and the legs look more
organised as a result.
Stick to muscle groups rather than

individual muscles. Only the muscles
that are being used show more detail,
expanding as their fibres bunch
in neatly at the base of the pin.
When developing the legs, stick to
the muscle groups rather than focusing in
on individual muscles. Only the muscles
that are being used should show more
detail, expanding as their fibres bunch
together. If unused or not fully taut, the
muscles blend into their respective groups
or, if really relaxed, back into their biggest
basic shape.
One important point: remember that
legs come in pairs. Be sure to relate the two
legs to each other throughout the early
stages of the drawing, making sure that the
action doesn’t destroy the proportions and
balance of the pose. If the legs look off from
each other, then the entire pose feels off.
Balance starts from the bottom up, so if you
start the drawing with simple forms and Using the simple rules of form and function, you
sound placement, the rest practically takes should soon be able to work yourself up a pretty
fine pair of legs. Just don’t forget to take
care of itself. proportion and muscle use into account.
32 Presents Anatomy
ImagineFX subscription offer
Subscribe to ImagineFX magazine

and save up to 35% a year!
ImagineFX 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.
evermissanissue:have13issuesdelivereddirect
N
toyourdoorforayear
Getexclusivevideosandartworkwitheveryissue
Stayup-to-datewithallofthelatestfantasyart
newsandtechniques
Word-freecoversthatareexclusivetosubscribers
UK prices
Every six months: £25.49 Save 35%
One-year subscription
(13 issues): £51.99
Europe & Rest of the World prices
One-year subscription (13 issues):
Europe: £65.49
Rest of the world: £74.79
Subscribe securely online today at

www.myfavouritemagazines.co.uk/ifxx1b
or telephone 0844 848 2852 andquoteifxx1b
LiveoutsidetheUK?Telephone+44 (0) 1604251045
andquotetheoffercode:ifxx1b
Terms and conditions Savings compared to buying 13 full-priced issues from UK newsstands. Europe and Rest of the World subscribers have no set newsstand price and therefore we can’t advertise the specific savings you’ll make.
Europe and RoW customers will be charged in GB Pounds. You’ll receive 13 issues in a year. UK, European and RoW subscribers: if you’re dissatisfied in any way you can write to us or call us to cancel your subscription at any time
and we’ll refund you for all unmailed issues. Prices correct at point of print and subject to change. Full details of the Direct Debit guarantee are available upon request.
For full terms and conditions please visit http://myfavm.ag/magterms. Offer ends 30 April 2014.
LiveintheUS or Canada?Pleaseturntopage96
Presents Anatomy 33
Human anatomy
PART 4
ron
Lemen
country: US
Drawing feet
Discover how to use form to create solid-looking feet – and
at his website.
why you shouldn’t use too much detail when you draw them
et’s clear the air about feet – some point. Even if you intend to only want to draw a full figure from head to
Direct link for
workshop files
http://ifxm.ag/a-feet
L the ugly cousins to the hands
and a part of the body that
many artists dread to draw.
ever draw characters who have shoes on,
your drawings will only be convincing if
you have a good grasp of how to structure
toe. This means that you have to put feet
on the legs. As painful as this can be to
master, it is a must-do, must-learn
They’re bony, they’re complex and, let’s the feet inside the shoes. situation. Here are some helpful hints and
face it, they’re not the nicest things to look Storyboards, pin-ups, covers, character solutions to tackling these little beauties,
at. But anyone who’s serious about figure designs, movie posters, comic books… helping you on your way to achieving the
drawing is going to have to tackle feet at all of these are instances when you might sweetest feet.
34 Presents Anatomy
Part 4 The feet
Get a foothold:
drawing perfect feet
Put feet into perspective and start with footprints Be careful not to over-render the foot,
as the foundation for the correct overall pose or it can draw too much attention.
Let’s start by looking at size. The typical Boots and shoes usually cover the feet, them apart from each other. Use simple
foot is between 10 and 12 inches in but I recommend that you start with the tones or light gradations to join the mass
length. Roughly speaking, that’s about foot without a cover over it, so there’s a and separate the toes.
as long as the entire skull from top to proper scale of foot size to the figure Toes step downward like stairs from the
chin. The foot’s width is a bit less than before any distortion created by the shoe metatarsal bone to the toe’s tip. There are
half the width of the head, or about the design occurs. Feet are sometimes drawn many little complex surfaces, from bone
same width as the hand’s four fingers oversized for weighting or stylistic top to knuckles and nails, that can be
(excluding the thumb). You can readily reasons, but I would still draw the foot rendered or shaded to give the feet more
see these measures for yourself with dimension and complexity.
your own hand and foot.
To start a full-figure drawing or even
Begin with the ground Defining the toes
a three-quarter drawing of a figure, it plane to work out the correct Be careful not to add too much detail to
would be wise to begin with the ground the toes if the foot is small in the
plane to work out the correct perspective perspective in the shot illustration: too much rendering in such
in the shot, relating the figure to the rest concentrated spaces can force the rest of
of the environment so it feels truly bare before covering it with a the illustration towards a direction of
planted in the world. The perspective will big shoe design, so that the foot over-rendering. It can also push the focus
help keep the foot in correct scale to how relates back to the scale of the rest to the bottom of the picture in the same
you see the action, to the character’s head, of the character. way as under-scaling the feet, unless you
and to the viewer, as well as keeping it at Toes are bulbous at the end, catch the mistake early enough.
the correct skew – if there is any – from which means they’re rounded like a The bottom of the foot has an arch on
camera distortion. bubble, but squish flat when pressed the inside and two separate pads that
I begin by drawing footprints on the against a surface. When this happens, the squish to whatever they press against,
floor (or steps, or slope; wherever the foot toe mass spreads out a bit further than the creating a straight line. The toes bend
is to be located). This can make it easier to toe’s actual size, usually joining toes about a third of the way back behind the
draw the legs with the right foreshortened where they come together. If this is the ball of the foot. When the toes spread, the
look to them and with the correct action case, don’t draw lines in between each biggest separation occurs between the big
to the pose. toe: this has the visual effect of spreading toe and the second toe. The little toe is
usually drawn as a bulbous shape. It
typically floats a bit more off the
As the figure’s leg lifts, the toes on the

ground spread out – one of the few times
they can be drawn separated.
The footprint is as long as the entire skull from top to

bottom – the same way the hand is the same length as
the face from hairline to chin.
Drawing the footprint first helps you ground

the foot to the surface it’s connected with.
The toes bend behind the ball of

the foot, not in front of it.
Presents Anatomy 35
Human anatomy
Feet From the GrounD uP: usinG Form anD PersPective
Draw the foot with straight lines

along the surface it’s pressed
against, rather than drawing
it rounded, the way you
know it to be. This will
create a stronger- relatinG a FiGure
looking connection
with the surface it
is active with.
to the GrounD
Whether they’re drawn from head to toe
or cropped, all figures have a better
chance of looking convincing if they
are related to a ground plane.
Everything in space is related
to perspective: the figure is
no exception. Once the terms of the ground plane
ground plane is established, to help elevate the foot
stamp out the footprints on it and draw correctly, in relationship to
your figure to meet them, or draw up the surrounding space and to
from them to complete the figure the viewer. Drawing from
pose. This also applies to feet the footprint to the torso
elevated from the ground plane. sometimes helps solve tough
Determine where the figure is in foreshortening problems.
Relating your figures to footprints drawn along a

ground plane will help maintain a sense of perspective
and make characters more believable.
36 Presents Anatomy
Part 4 The feet
Like the foot itself, the toes are
connectinG block-like. Start with simple

shapes to achieve a sense of
the Foot to the mass and dimensionality, then

create more bulbous forms.
leGs oF your
character
Start without boots or shoes to get

a proper scale of foot size that relates
to the rest of the character
ground when the foot is arched up, shown the connection from a front
but with the toes still making contact perspective in these examples.
with the ground plane. The big toe points The ankles connect the feet to the
in towards the other four toes, and these legs. For easier ankle drawing, it helps
toes bend towards the big toe. to think of them as a stirrup-like
Don’t forget that the foot is a full shape. The inside anklebone is more
shape with six sides, like a block, with elevated than the outside one.
Overlap the toes when the
The ankles can be thought of as a stirrup shape corresponding shading planes. Draw Feet have typically been the bane of foot is not drawn straight on.
to help relate them to one another. The inside through the form to generate a more many artists. Some illustrators hide them This will avoid the ‘clump of
anklebone (maleolus) is higher in elevation than bananas’ look, and help the
the outside ankle bone. solid-looking and dimensional form. with smoke, push them into silhouettes foot look less cartoony.
When you’ve perfected your feet, and shadows or even crop the image to
you’ll want to add them to the rest of the avoid drawing them. But when an artist
character. Now’s the time to consider can draw them correctly, how much
ankles and legs. See in my diagrams character they add to the image! The
above how I’ve drawn the right foot and hands and feet can say just as much as
To achieve a more solid started to attach it to the right leg. I’ve a convincing facial expression.
dimensional form, bear in
mind that the foot is a full Because of their complexity and gesture
shape with six sides. or action, feet usually become a secondary
or tertiary focus in a figure drawing. It’s a
good idea to tackle these difficult issues
early on and ideally make it second nature
to design them convincingly. You would
be surprised how many people will
comment on how well feet are drawn if
they really are; it’s not every day that you
find an artist with a real understanding of
the ground they stand upon.
Presents Anatomy 37
Human anatomy
PART 5
Drawing The
ShoulDer anD
upper arm
Don’t allow the complex interaction of muscles in this area ron
to distract you from anatomy’s guiding principles lemen
counTry: US
o far we’ve seen how to define the shoulder, one of the more complicated shapes, the muscles have nowhere to start See more of Ron’s work
S the armature of the figure

and its underlying gesture,
spots on the body to draw. The place to
start is at the skeletal structure.
or terminate. Keep in mind that the
diagrams I have drawn are mostly fleshed
at his website.
before starting to flesh our

figure out with the torso and legs. We
Understand the shape of the scapula and
humerus, especially the edges of the
over, so the points where the muscles
attach are covered – but the shapes are Direct link for
continue our journey with the upper part scapula and the ends of the humerus. solid and directional, because of where workshop files
http://ifxm.ag/ashoulders
of the arms and the way they connect to Without knowing the bones and their the muscles attach to the bones.
38 Presents Anatomy
Part 5 Shoulders & upper arms
Learning the relationships

between muscle and bone
Drawing the shoulders to complement
the action of the upper arm muscles
Drawing this part of the body begins weightless or competing against the
much like any other part. First gesture in action you want to depict.
the pose, then accent the lines you feel
good about using for the final pose before Shoulder structure
starting to define the body masses in The shoulder floats over the ribcage, with
more detail. only the clavicle at the sternum on the
When drawing the figure, a clear ribcage acting as an anchor for the entire
understanding not just of the muscles, arm. This means that the arm has
but what the skeleton looks like beneath a lot of free motion over the ribcage.
all the muscle masses is needed to draw When drawing the arm connected to
muscles with any believable visual action the body, you need to first find the correct
to them. Without this understanding and action of the shoulder to avoid a stiff-
This drawing is all about the shoulders and the upper arms. Note how the shape and
observation, the muscles can end up looking drawing. For example, if the form of the forward-pointing left arm is entirely different to the right. Think about
drawn as bubble shapes that are lifeless, arm is winding up to throw a ball, the how the muscles and bones are moving and interacting with the skin and the light.
three principAL
stAges of Arm
movement
The shoulder has quite a bit of

movement around the ribcage. Here
you can see three positions of the
arm. The first is forward, moving the
attachment of the deltoid forward and
stretching the shoulder muscles. The
second is in a reference position, by the
side of the ribcage. More of the back
of the arm and shoulder show when
the arm is relaxed in this position.
Meanwhile, for the third position, the
shoulder is pitched back behind the
body. The shoulder is now behind the
ribcage, stretching the pectoralis
muscles and serratus muscles.
Don’t memorise the muscle chart.

Memorise the muscle insertions and
connections to the bones
Here we see the shoulder from
behind the ribcage. Line A of
the first ribcage represents the
rhomboid and trapezius muscles,
bunched up between the spine
and the spine of the scapula. Line
B represents the crease under the
scapula that follows the serratus
muscles. Line C splits around
halfway between the shoulder
muscles perpendicularly.
Presents Anatomy 39
Human anatomy
perspective AnD DynAmism in muscLe Design
Here are the two approaches previously described to start the figure drawing: the abstraction
method, and the shape-finding or Industrial Design method. Both methods lead to very similar
conclusions. Remember: the most important concept you can get from both is that it’s only about
starting the figure to get it set up for the finish, where the drawing really counts.
shoulder will be towards the back of

the ribcage. If the arm has released the
ball in the throw, the shoulder will be
more forward over the ribcage. If the terminates at (or crosses over and inserts
hands are held high above the head, the onto) the upper arm bone, known more
shoulders are closer to the ears. formally as the humerus.
Each set of muscles crosses over from The muscles of the upper arm originate
one bone to another. For example, the both on the humerus and on the scapula,
shoulder starts in the torso, connects to and terminate on the two forearm bones,
the clavicle and the scapula, and known as the ulna and the radius. The
foLLowing When drawing the arm connected to the body,

the rhythm we need to first find the correct action of the
of muscLes shoulder in order to avoid a stiff looking drawing
hands and feet are a few places on the
body where the muscles are referred to as
intrinsic: they stay within the bone mass.
Otherwise, muscles connect two or more
different bone groups together.
The scapula floats over the serratus
muscles, which we see as little bump
muscles on the ribcage under each arm,
or the ‘superhero muscles’. The shoulder
muscles all start on the spine edge of the
scapula, and cross over to the top or the
These lines represent the rhythm lines, or
the abstraction lines that flow between the upper third of the humerus. These four
muscles once the architecture has been muscles help rotate the upper arm rotate
designed. These lines help harmonise the
muscle forms to create a seamless rhythmical out and in from our body – when you
movement of muscles, bones and ligaments. hold both your arms out like a cross,
40 Presents Anatomy
the geometry of the humAn form
Draw muscles with simple geometry to understand and memorise them,

or to turn them into something that you can remember easily. Here are
the four muscles inside the scapula. Each muscle is drawn individually
to help you understand the shape, where it starts – or where it’s connected
– and where it goes to. This is important information to remember, because all
the lumps, bumps, dark spots and highlights you see on the back only show up
when the arm is active.
Presents Anatomy 41
Human anatomy
how muscLes connect, move AnD interAct
for example, or when you put both

hands behind your back, as if handcuffed.
The deltoid covers part of these muscles
and wraps around the top of the arm. It
functions as a swivel muscle, or the
muscle that enables you to swing your
Here, the arm is pulled behind
the body, causing several arm round like a wheel. Then we have the
creases to occur. These biceps and triceps. These muscles cross
creases run perpendicular to
the muscle striations of the over to the forearm bones at the top third
muscle heads. The three of the the humerus. The triceps extend or
creases here are along the
base of the oblique; under the straighten out the arm; the biceps flex it
serratus muscles and through or draw it into the body.
the lattisimus and the
rhomboid; and under the I urge caution in learning and drawing
scapulas base edge. muscle distribution. Don’t memorise a
The muscles should be drawn

only when active, not charted and
shaded like a muscle diagram
muscle chart. Memorise the muscle shoulder. These muscles in particular The muscle charts you see in an anatomy
insertions and connections to the should be drawn only when active, not book are based on medically ideal bodies.
bones, or where the muscles originate charted and shaded like a muscle In reality, the size and scale of each
from and where they end on the diagram: most humans don’t normally muscle vary from person to person, based
skeleton. Learn their function and look this way, even when well developed. on their personal activity, diet and other
action and group them so you are Body-builders create a Living Human factors. The anatomy books start us at an
not drawing every muscle. Anatomy Chart with their bodies, and we ideal point of reference. To accommodate
should thank them to some degree – but all possible body types, you will have to
Shoulder structure keep in mind that these muscles are veer away from these and use your eye
Let’s now have a look at the developed to their limits, and are not and guiding principles instead. Art rules
anatomy of the upper arm and the shapes we easily identify with. are a starting point, only meant to
42 Presents Anatomy
reLAtionships with the skin

Here we see the shoulders in two positions: forward and behind. The left image
shows the vertical striations over the muscles where the skin should fold (line A over
the shoulder blade, and line B where the rhomboid meets the shoulder blade). The
right image shows the muscles from the scapula stretching with the action.
sheAthing
over the
muscLe mAss
Anatomy books and live models are
very different to look at. Here are a few
points to help make studying easier.
First, anatomy books have no skin. A
quarter-inch of volume, if not more,
needs to be added to the muscle mass.
Think of it as a blanket resting on the
muscles. This brings up the second
point: skin is a cover. When the arm is
pulled behind the body, the skin creases
vertically through the shoulder instead
of following the muscles horizontally
across the back. The muscle fibres go
one way; the skin creases perpendicular
be altered with care to enhance our This version of the shoulders shows the arms from in front and below the figure.
to them. This occurs everywhere on the Note how the muscles of the deltoids, pectoralis, serratus and, eventually, the abs
body. Finally, more important than individual ways of working, which are and obliques all flow seamlessly together in their striations, and radiate from the
memorising the muscles is as unique as we are to one another. shoulders through to the pelvis on either side of the body, using the shoulder as the
knowing when to draw point of radiation. The deltoid muscles are draped over the arms, seen both from in
them. A chart shows you
By examining not only the limb, but front and behind. Think of the muscle draped like a towel over the shoulder.
how the human each and every part of the limb, you will
machine works, have a better understanding of what to needn’t be difficult once you conquer the
but muscles
draw and how to make the actions basics. Breaking each limb down into
are only
clearly look convincing. Studying the sections not only helps you take in the
visible limbs one section at a information quicker, but also helps to
when active.
time makes learning isolate the importance of each part of the
At rest, the muscles
blend into a more and memorising the body and the important individual
generic, simpler shape, information much characteristics related to those regions.
similar to the visual easier to digest. Practise ’til it hurts, then practise some
metaphors you’re using to
decipher drawing the body. Anatomy is a large more. Mileage is the key to artistic
subject to tackle, but it progress. Enjoy!
Presents Anatomy 43
Human anatomy
PART 6
Drawing the
Forearms It may seem like a simple area of the body,
but the forearm is more sophisticated –
and elegant – than you suspect
n the previous body operates the next one down the
ron
Lemen
i section, I went
over the actions
of the upper arm,
chain. For example, the muscles of the
shoulder function to lift the arm, the
biceps and triceps operate the forearm,
country: US
starting with the shoulder and the forearm muscles dictate the
See more of Ron’s work blade. This time we’ll touch on actions of the hand. This rule is important
at his website. the rest of the arm, from the to remember when drawing: it helps you
elbow down to the wrist. to avoid stiffness in your composition by
Direct link for

Before discussing the specific making you think not so much of
anatomy, however, I want to individual segments, but of the action as
workshop files
http://ifxm.ag/aforearms
mention something about a whole. This is something we can think
function. Each segment of the about another time, but it’s important to
44 Presents Anatomy
Part 6 The forearms
Muscle MoveMent
This diagram shows the way the muscles cross over the
bones, or spiral from one side of the arm to the other.
The muscles as a group are all attached in roughly the
same location, then spread across the wrist before
terminating in the hand or at the fingertips.
The muscles of the

shoulder function to lift the
arm; the biceps and triceps
operate the forearm
Muscle segMents as lInks of a chaIn
The muscles on this cast are over-developed to

emphasise their artistic shape and construction.
The slightly rounder forms also lend themselves
to more dynamic and fluid rhythm lines.
know and consider when learning how

to dictate human anatomy.
A function unique to the arm is the
work of the rotator muscles, also known
as the ridge or supinator muscles. In
opposition to this group of muscles is
the pronator teres – a muscle that’s on the
inside of the arm below the biceps. This
group of muscles occupies the upper third
of the forearm. The supinators originate
about a third of the way down the
Presents Anatomy 45
Human anatomy
humerus and split the biceps and

triceps. These muscles rotate the hand left exaggerate
and right, and flex or extend it. Now,
the bone
contrary to what I see drawn a lot, the
ridge muscles don’t have a crease structure
in them when the arm is bent. The crease
you see is skin folding, not the
muscle. Think of the muscle as a
cable or a piston – neither of these
objects fold over on themselves.
Instead, they go slack. As a rule,
skin folds perpendicular to
muscle fibres, and this is what’s
taking place in this region. The
skin folds, the muscle stays
the same shape – just
compressed a little bit more.
When the hand is
pronated, the ridge muscles
cross over from the outside
This arm was drawn from a photo of a body- to the inside edge of the
builder, so the muscles are more visible in their arm. The ridge muscles
construction than in the average person.
Weightlifters idealise their bodies, sculpting attach just below the thumb
the muscles to perfection under the the skin, so, as a rule of thumb (sorry,
like walking anatomy charts. Here is an arm drawn from the underside, with
couldn’t help it), wherever the ulnar crest over-emphasised to show where
it is and how it separates the flexor and extensor
the thumb is, the ridge muscle groups. This bone ridge is over-
muscles are emphasised to show how the bone travels
from the elbow to the wrist.
pointing to it. The ridge
muscles break up the even
symmetry between the arm’s
outside and inside edges.
One way to remember where
and how all these muscles work
together is to think of the arm as a series
of chain links. Each link alternates
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
direction, and that’s what the arm does
from shoulder to hand. For the arm to
fold in on itself, or flex, the muscles have
notIng how Muscles to be positioned to interlock with each
change wIth actIvIty

other to prevent any conflict of space
between all the mechanical parts
Muscles involved in a particular within the arm mass. Examples on
activity will tense – or the
muscle form will accentuate –
page 45 show this further.
more than the muscles not
directly related to the action. Ridge muscles
The body shouldn’t be drawn
The ridge muscles share in the profile
like a muscle chart, or it won’t
look convincing. Use the of the flexors and the extensors,
anatomy you learn only to fix blending into both sides in the upper
problems in a drawing or to simplify
third of the forearm. The inside of the
complex posing. Use your
knowledge in moderation related to arm seats the flexor group – the set of
the action of the pose – otherwise muscles that flexes the hand toward the
you should leave it out. body. The brachioradialis – the
biggest muscle of the group –
overlaps onto the inside surface of
the arm, the opposing mass to the
flexor group and pronator teres. Both
these sets of muscles funnel together
46 Presents Anatomy
Part 6 The forearms
fIttIng the Muscles together

If the muscles are grouped together, they can all be paired to make drawing them easier to
manage. The forearm is drawn foreshortened to show the relationship between the generic
shape design and the significant anatomy underneath. The anatomy design is missing the
pronator muscle to show how the flexors and extensors are separated by the bone structure.
Presents Anatomy 47
Human anatomy
understandIng how Muscles work beneath the skIn
Study anatomy from every book you

can find, including muscle magazines
and fitness books. Don’t just copy the
drawings: examine the construction,
memorise the names and the bones.
Then practise whenever you can,
redraw the charts and label them from
your head. Drawing the chart once or
twice is not enough to memorise them.
Drawing from memory helps you reflect
on how much has been absorbed.
below the bicep to form the pocket it

sits inside of when the arm is bent. The
extensor carpi muscles – two more
muscles belonging to the ridge group – As flexing, gripping, holding and so on are the
blend in with the extensors at the elbow
and then across the top of the arm. On
primary functions of the hand, more muscles are
the other side of the arm, the extensors
and flexors are separated by the ulna
attributed to assist in these actions
bone – a split in the muscles known as flexors terminate at the fingertips, while epicondyle) and cross over the two bones
the ulna crest. a few terminate in the palm of the hand. of the forearm, spreading out across the
The flexors originate at the elbow on There are many layers of flexor muscles. topside of the arm and terminating at the
the inside bump (known as the medial Because the flexing of the hand – for fingertips. These muscles are responsible
epicondyle) of the humerus, the bone that gripping, holding and so on – is its for opening the hand and pulling back in
connects the arm to the shoulder (also primary functions, more muscles are a halt position – the opposing functions
often known as the upper arm). The assigned to assist these actions. of the flexor group, in other words. The
muscles cross over the two bones of the The extensors originate from the extensor group is the most active of the
forearm – the ulna and radius. Most outside bump of the arm (the lateral forearm muscles. If you’re drawing
48 Presents Anatomy
Part 6 The forearms
buIldIng up the arM

In four sIMple stages
Figure 1 locates the arm in space and its

action. Figure 1b then describes the simple
cylinder forms fleshed over the action lines.
Figure 2 is a simple version of what the muscle
shapes might look like as other shapes. Figure
3 is the anatomically fleshed out version of the
arm. The next step (not shown here) would be
to flesh out the rendering and lose most of the
anatomy chart to light and shade.
superheroes or some other idealised

body form, the inside of the arm
(flexors) is a big ball-type shape, while
the extensors are a series of pipes
radiating from the elbow.
All of the forearm muscle tendons are together is a better way to begin than but learn to consolidate them into groups
protected as they pass over the wrist by drawing the individual shapes. Drawing as another exercise – and as a mantra for
the retinaculum. This might look like a the figure one muscle at a time is painful your work.
wrist band, but it attaches separately to and more than likely going to grow into Drawing is not about parts: drawing is
both the top and the bottom of the hand. its own unique shape – one that doesn’t about suspension of disbelief, fooling the
This keeps the tendons from popping out necessarily resemble a real figure. The eye into believing what is seen. We study
any old way from the arm. visual symbols in the images here should parts to identify them as a function, only
When drawing the arm, you should help make some sense of what I mean by to throw them back into the pile of tools
keep in mind that grouping the muscles this. Study the muscles as one exercise, called intuition.
Presents Anatomy 49
Human anatomy
PART 7
ron
Lemen
country: US

Drawing
at his website.
Direct link for

workshop files
http://ifxm.ag/a-hands
the hanDs
Many artists fear drawing this part of the body, but apply
the principles you’ve learned and learn the anatomy, and
you’ll find the process much easier
efore diving into further them. The fingers are not parallel with others, but in reassessing your working
B drawing advice, let’s think

about a few concepts to help
make the process of drawing
each other, although some actions may
make it seem that way. Fingernails and
knuckles are details: leave them until last.
order. Learn it right, then break the rules
and tools if you choose, and find your
own voice.
a complex shape such as the hand easier. It’s important to keep steps in their Hands can be convincingly drawn
The hand actually has very few muscles particular order while you absorb the interacting with objects or surfaces. I can’t
in it: its mechanics are guided by the process behind them: whether the stress enough that learning from life is the
forearm, and its design is based mostly drawing you’re making is simple or key to understanding everything you’ll
on bone and fatty tissue. The thumb is a complex, if something falls apart, it’s ever need to know in art. While art books
distinct shape rooted to the hand mass easier to detect where it went wrong in the might give a cool trick for getting a certain
and should be drawn into the image after process. Once you’re confident and well- look or appearance, solving the problem
the bigger mass has been designed. The trained in your craft, it’s up to you to find dimensionally or from every angle will
four main fingers all radiate toward a your own way of working, and you may give so much more wisdom and insight. Starting with the
common point: the index finger and the well deviate from the academic or school- If you can’t take an art class, use a mirror. overall gesture
of a pose helps
pinkie curve toward each other, and the taught way. This is where you will find You can use yourself to study from, and you design
other two fingers fit somewhere between your independent style – not in copying you don’t have to pay a model fee. realistic hands.
50 Presents Anatomy
Part 7 The hands
Anatomy is important – but more so to between the thumb and index finger on
a doctor than to an artist. The part of the hand’s back, or dorsal, side. These soft
anatomy you should be first concerned areas are the points on the hand that flex
with is the shape design, and how can you and change shape when active with an
simplify your thinking and drawing down object or surface. The hand then conforms
to the core essence of these shapes. to the shape of the object it holds. This
Finger bones have a particular design to last detail can really throw off the best of
them. The fingers are more than 60 per cent us at times – unless you remind yourself
visible bone shapes defining what we see, of a few basic concepts of construction soft spots
so understanding the finger bone or knuckle that you can fall back on.
shapes is key in making a more convincing
drawing. The finger joints are spool-shaped, Mechanics of anatomy
depressed slightly in the middles for the Different hands can look like they are
tendons of the extensor muscles of the different shapes – babies’ hands, for
forearm. The metacarpal knuckle – the big example, are chubbier than old people’s.
one the finger is attached to – is barrel- But we are built similarly, our hands
shaped, not totally spherical, and the included. The hand is blocky by nature: it
tendons that sit in the grooves of the spool has mass, a top, a bottom, sides, a front
shapes on our fingers sit on top of the and a back. The hand is also circular, as it
barrel-shaped knuckle. As research, look at swivels and pivots in the wrist.
Norman Rockwell’s hands in his paintings. When the fingers are pressed together,
He did it better than almost any other the hand looks like a spade. This is where
illustrator out there. you want to start drawing the hand.
The hand has a squishy side and a firm Imagining the hand as a soft, blocky
side. The squishy side – the palm – is where form, something akin to a sponge in
the majority of muscles of the hand are texture, helps you to remember what
located. The other visible soft spot is you’re drawing is a physical object.
Bone shapes
hand holding
a Ball
Start with the object to be held (the ball,
top). Next, add the arm rhythms and the ball
shape for the palm of the hand, then attach the
finger wires to the ball mass, These wires should
represent the absolute middle profile contour, the
middle of the finger mass.
Now flesh out the

forms. This means
adding dimension to the
shapes by giving them planes.
To locate the finger segments, find
the arcing lines: these segments arc
more than 90 per cent of the time. The arcs
determine the relationship of each particular
band of knuckles – proximal, middle or distal – from
finger to finger. Knuckles are knobby; either round
or blocky. However, you may find that stylising will
change this blocky appearance.
Presents Anatomy 51
Human anatomy
If you can’t remember the anatomy,

remember the concepts: they’ll get you
The hand is attached to the arm, and the
arm is an extension of the torso, so starting Wire hand designs
through any doubts you have about what with an overall gesture of the pose ensures
you’re drawing. that the design you pick for the final hand
The fingers are roughly the same length is correct. The hand position is relative to
as the hand mass. Remembering this is a the rotation of the arm (or its pronation or
good check-and-balance to make sure your supination). The sketch hopefully solves
drawing’s proportions are right, even when the dilemma of how to start the design of
the fingers are folded and the hand is the hand. I sometimes think of designing
foreshortened. Proportions have a way of the hand in action by drawing the object
being understood even when obscured. first. Once I know where the object is,
The finger wires are about

the same length as the
palm of the hand.
relative to the pose of my character, I can

work out the rest of the action.
Interactive hands
Another way of establishing the hand’s
interaction with an object would be to draw
the object, draw a hand print on the object
so you know where to define the details,
then build up off of the hand print all the
draW an overall pose

The hand is connected to the wrist, and so to the
rest of the body – so you can begin by sketching
an overall pose to ensure you pick the right hand
design. (Don’t take too long: it’s just a sketch.)
One method of
drawing the hand
interacting with an
object is to draw
the hand print on
the object first.
watch this!
http://ifxm.ag/hand-ball
52 Presents Anatomy
Part 7 The hands
Details sit better on the fingers

when they are well designed
watch this!
http://ifxm.ag/handcircle
dimensionally. Draw them last
ConstruCting a hand
Begin with the central part of the

hand. The lines indicate movement
and thumb position.
The hand is spade-

or diamond-shaped
when the fingers are
closed together.
formal shapes, the hand block, the finger Draw details – fingernails, knuckles,
masses, and so on. wrinkles – last. They sit better on the The different-coloured lines here indicate
The line that shows the connection with fingers when they are well designed the gesture of the hand and the character,
showing how the object sits in relation to
the object is the weld line. Press it firmly dimensionally. Before this, render the the character.
against the object, showing off the object’s surfaces: find the shadow patterns, and
form more than the hand. No matter how use planes to chart values across the
much you see a little space between the surfaces. This is what it means to render
joints, don’t make them important. Make a form; making a stronger visible shape,
the weld line show off the action. not adding details.
draWing gripping hands

Drawing the object first helps you when drawing
the hand in action. Here, I’ve begun with the
watch this!
http://ifxm.ag/handglass
object before using the weld line (shown in blue)
to connect the hand and object correctly.
Next, it’s time to sub-divide surfaces. Here,
I’m using the plane structure method to
chart values and tones across the surfaces,
working up from flat values.
Only when all of this is done do I begin to

shade and detail the hand. Once I have the
hand shape rendered, I can then add
details such as creases, fingernails and
knuckles to make it look realistic.
No matter how
much you see a little
space between the
joints, don’t make
them important.
Use the weld lines.
watch this!
http://ifxm.ag/hand-gun
Presents Anatomy 53
PART 8
Drawing
the heaD
Break the skull and features into simple
The head is one of the most important parts of the
body to draw, so practise as much as you can. forms to get the proportions right
Part 8 The head
hen drawing the human body, of the figure with confidence, helping you nothing beats hands-on practice. Get a
w one thing that’s essential to

perfect is your method for
drawing the head. The skull
to maintain the correct proportions and
scale for the figure as a whole.
Here, I’m going to talk you through
friend or family member to model for
you at every opportunity, hire a model
or, with the help of a mirror or photos, ron
is the traditional academic measuring my basic process for creating well-drawn draw yourself. Theory alone cannot give Lemen
country: US
stick of the human form: formulae have heads. The theory is important and can you enough experience as an artist to
been created that enable artists to use the offer a certain degree of freedom from work through every problem you’ll See more of Ron’s work
skull as a tool from which to draw the rest reference – but, as I’ve said before, encounter in your career. at his website.
Direct link for

Shape up: basic workshop files
http://ifxm.ag/a1-head
head forms
Put your head in a box to ensure that
you’ve got the correct dimensions
Below is my sketch of a head in front shape. The head is really neither an oval
and side profiles, split into three nor a block, of course, but thinking about
roughly even sections. Measuring the both while designing the skull will help
skull from the side (including the nose) you achieve realistic dimensions.
it fits roughly into a square box (as you So, like a child, begin with an oval.
can see to the right). From the front but Draw a line to find the inside corner of
excluding the ears, it’s about two-thirds the face, or the change of plane from the
the width of that box at its widest point. front to the side. This is usually where
When children draw a head, they portraits fall apart: without a three-
usually start with a vaguely oval or ‘egg’ quarter line, the features drift from the
front to the side of the head, and

proportion, direction of gaze and
symmetry all fall out of alignment.
Now draw a centre line. This helps keep
the features squared up on the face plane
and is especially necessary when the head
is tipped or tilted.
Draw perpendicular lines attached to
the top and bottom of the centre line
The first centre line

helps to keep the
features squared
up on the face. You
can then add
centre lines for
specific features,
such as the nose.
Presents Anatomy 55
Human anatomy
The noSe and eye SoCkeTS
to forehead and chin. The skull shape direction as the side plane of the head.
should now be divided into three visible This ensures that the nose stays centred
surfaces; this will help get the proportions between the eyes correctly.
more accurate for the smaller shapes. The bottoms of the eye sockets are next
Draw a second, more organic, centre line to draw: make these parallel to the top
to define the centres of the extruded line, intersecting the nose about halfway
features – the lifted brow, nose, tooth down its length. Extend the top line
cylinder and chin.
The first feature to start with is the split
around to the side planes, keeping it at
the same elevation to the top of the head.
CheekS and earS
between the eyes: this is known as the The eye sockets should look somewhat
glabella. Typically, it’s a wedge shape like sunglasses in their design. Take the
between the eyebrows, just above the bottom line and do the same thing you
bridge of the nose. I choose to begin here did with the top one. Both of these lines
because the glabella establishes an overall frame where the ear should be placed on
width for all the rest of the features. Next, the side plane in correct elevation to the
attach a horizontal line to the top of the top and bottom of the head.
glabella wedge to establish the tilt of the
eye sockets in relation to the centre line Cheeks and teeth
(a perpendicular relationship). The cheeks and tooth cylinder can be
drawn together in a rhythm, starting with
Drawing the nose an arc that crosses through the face plane
Drawing the nose is tricky, but good from cheek to cheek. From directly in
organisation will make it a whole lot front, this rhythm can be drawn as a
easier. Start with a tall triangle, flat circle; more work is needed from the side
against the face plane as though you’ve view, since the cheek shares its rhythm
shaved off the nose. The top of the with both the front and side planes. The
triangle overlaps the glabella and creates ears are used to help design the cheeks
the interior line of the eye sockets. (see the diagram to the right).
Knowing the perspective of the head The tooth cylinder is connected to this
makes it easy to draw the perspective of cheek and drops down toward the chin,
the nose. Extrude the bridge in the same arcing across the centre line and up the
The TooTh Cylinder relaTive To The noSe
56 Presents Anatomy
Part 8 The head
other side, leaving enough space for the the head as a basic shape, and attach the
ball of the chin. face like a mask, with the hairline framing
The mouth extends from the face like a the upper half of the mask shape. head and ShoulderS
mound. Often, it is more cylindrical than It’s just as important to see the hairline
rounded, which is why it’s commonly as a geometric shape as it is any of the Unless you’re drawing a disembodied head, there will come a time
known as the tooth cylinder in life- other features. Visualising the hairline as when you’ll want to attach it to the rest of the body, which means
drawing manuals. part of the facemask can help attach the adding the neck, ribcage and shoulders.
Attaching the neck and shoulders to the head can be a tricky
business. If you’re drawing the head first, it’s at this point that the
When drawing anything organic, it’s rest of the pose is about to be drawn. This connection will help
best to think about the shapes with you to develop and define the shapes of that pose, ensuring that it
fits correctly with the head you’ve already got.
edges and corners first. The top of the Attach the head (ball) to the neck (cylinder), then attach the
cylinder to the ribcage (ball). The shoulders float over the ribcage.
skull can be drawn as a block The only point where two bones connect together is at the pit of
the neck, where the clavicle connects to the ribcage. Therefore, the
The top of the skull, while rounded, can hair correctly to the skull and keep ribcage is the most important structure after the head and neck.
actually be drawn as a block. When everything lined up around the head.
drawing the hair on to the head, thinking When drawing anything organic, think
about the skull as a block can add extra about the shapes with edges and corners
dimension to the hair mass. first. The perspective of a form is found
The best way to draw the hair is to start much more easily if there are points to
with the hairline. I do this as follows use as landmarks, and a straightish line
(refer to my sketch below to help): draw connecting them.
adding The hairline, and uSing

BloCk ShaPeS for dimenSion
While the top of the skull is rounded,

it can be drawn as a block. Thinking
of it this way helps give extra
dimension when it comes to
adding the hairline.
It’s important to see the hairline as a geometric

shape. Visualise it as part of the facemask (above)
to help you position it correctly on the skull.
Presents Anatomy 57
Animal anatomy
A complete guide to drawing and
imagining creature forms
58 Presents Anatomy
Your animal
anatomy expert
Whether you draw or paint, knowledge Marshall Vandruff is
a freelance illustrator
of anatomy and form will enable you who’s worked for
to get your ideas into images Warner Bros, Hanna-
Barbera and Dark Horse
Marshall Vandruff on animals, page 60 among many others.
Marshall has trained
professional artists and
students in Southern
California since 1984.
www.marshallart.com
Workshops
Explore animals in six parts
60 Basic forms
Begin your exploration of creature
anatomy by seeing the shapes
beneath the skin and fur
66 The torso
Find out how the core of the animal
body operates and how you can use
it to bring life to your animal art
72 The hind legs
Explore the real-wheel drive of
animals, and how this part of the
body can propel your art forward
78 The forelegs
Use your observation, skills and
knowledge to build the pillars of
balance and grip in animals
84 The neck and head
Discover what part of the animal
body tells you about the creature –
and the traits all animals share
90 Animal faces
Find out what animal faces have in
common with human faces, and the
crucial ways in which they differ
Presents Anatomy 59
Animal anatomy
PART 1
Basic forms
Begin your exploration of creature anatomy by
seeing the shapes beneath the skin and fur
marshall
Vandruff nimals are something I love learned that there are secrets to animal
country: US
Take a trip to Marshall’s

website for more info
a to draw, especially from
imagination. For years, I had
no idea how animators,
anatomy – old secrets, well-known to a
few. These workshops reveal the secrets of
inventing animals. Whether you draw,
www.marshallart.com
comic-book artists and old masters could paint, sculpt, model or animate, basic
Direct link for

not only draw animals without copying knowledge of anatomy and form will
what they saw, but actually make animals enable you to get your ideas into images.
workshop files
http://ifxm.ag/anbasic
look thicker, stronger, funnier and more When you can create any animal you see
alive than anything they could see. Then I in your mind’s eye, that’s mastery.
I drew the skeleton from real

American Lion bones at the Page
Museum in Los Angeles. The form
analysis (right) is an exercise in
applying perspective to anatomy. The
pencil rendering of the head is a
speculation of how the fleshed
creature may have looked.
60 Presents Anatomy
Part 1 Basic forms
Homework
ProPortions Assignment
master
undersTAndIng The sIMILArITIes And dIfferences wIThIn bone proportion
grouPs cAn LeAd To greATer AnAToMIcAL AwAreness… Diagram an animal from
the side. Measure a box
Mammals, reptiles and birds share most being studied from the front. It’s arms that are good for playing that fits the big parts of
the torso: this trains you
of the same bones and muscles, but at like trying to judge the length of instruments, drawing and to see big things first.
different sizes and ratios. That’s why you a ship by looking down one end. hugging, but not made to By reducing heads, hind
should study proportion. When you look Proportions reveal what an support our weight. Four-legged legs and ribcages into
boxes, triangles and
at two-legged beasts (bipeds) like animal does. Our bones show animals have deep ribcages
eggs, you learn to see
humans, or other plantigrades that plant that people are designed to with shoulder blades on the complex components
feet on the ground, you can begin with stand up: we have long legs, sides, and arms that act as as simple shapes. That’s
the underlying secret to
front views. But creatures who run around shallow ribcages, shoulder legs. Different functions,
mastering proportion.
on four legs (quadrupeds) don’t take to blades on our backs, and different forms.
Presents Anatomy 61
Animal anatomy
BonEs as Over-complicated anatomical charts full use. There’s plenty of time to get into the
founDation
of ribs and gnarls can confuse the more details later.
delicate learner students. The diagrams For now, compare the colour coding on
below leave out the more exacting details the diagrams to see the analogies between
bones don’T bend or sTreTch – They sTAy As and hidden bumps, and simplify the human and animal bones. They are often
consTAnT As rock. so sTudy TheM fIrsT… hard-surface architecture that artists can quite striking.
Pelvis (hip bone)
Scapula (shoulder blade)
Femur (upper leg)
Humerus (upper arm)
Radius & Ulna (forearm bones)

fused together on hoofed animals
Tibia & Fibula (lower leg bones)

fused together on hoofed animals
Wrist & Hand Pisiform Sesamoids

Ankle & Foot
notice the similarities between a

Homework
Assignment quatroped ’s shoulders and hips –
they are practically
Draw stick- mirrored.
figure animals
Draw skeletons as stick
figures. Keep them
simple: details and
textures don’t help,
length and positions do.
Artists often do best
when they begin with
loose lines to get
proportions and rhythms
right – like an author
brainstorming an idea,
then writing it out.
62 Presents Anatomy
Part 1 Basic forms
muscLEs &
tEnDons
how They ATTAch, And how
They reLATe To eAch oTher…
Muscle charts are more confusing than
bone charts – not just because there are
more muscles, but because muscles are
layered. Surface muscles can be so thin
that they disappear on a fleshed creature,
while buried-deep muscles can show as
Toes, fingers, claws
& ho large bumps on the surface.
no muscles – they oves have Let’s start proceedings with some
receiv
the final tendons. e general observations:
• Muscles anchor close to the trunk
(proximally), and insert distant from
the trunk (distally) to move the limbs.
• Muscles are thick near the trunk, lean as
they move away. On hoofed animals,
the distal limbs look like shrink-
wrapped bones.
• Muscles can be simplified by grouping
them. Several extensors with hard-to-
remember Latin names can make a
single easy-to-remember egg shape.
• Muscles work in pairs that pull against
each other, shown in the illustrations
using complementary colours.
e head; muscles
Ligaments hold th muscles are We’ll study specifics later. First, look at
Th roa t
pull it back . these images to see how they work.
thin , as grav ity does most
of the wo rk .
Presents Anatomy 63
Animal anatomy
forEsHortEninG
how To keeP ProPorTIons correcT when drAwIng
AnIMALs froM dIfferenT AngLes…
The longest measurement of anything – a bone, a limb,

or an entire animal – is its major axis. When you look
along something, its length appears to collapse until you
can’t tell how long it is. Artists keep track of this so that
they can tip, swivel and roll objects around, yet keep them
looking true.
Learning the fund

foreshortenening is amentals of
vital to
dynamic animal im creating
ages.
Homework
Assignment
Learn from the rabbit
Look at a side view of an animal. Now draw it
as if swivelled into a three-quarter foreshortened
position. It’s difficult, but not impossible.
Remember to reduce complex forms to simple
ones to help you visualise the perspective.
64 Presents Anatomy
Part 1 Basic forms
forms
sIMPLIfy AnIMAL AnAToMy
InTo bAsIc sTrucTures…
Mastering classic animal drawing enables
you to invent as well as observe. The
secret is to learn simple forms – cylinders,
blocks, and spheres that are based on
anatomy – then assemble them into
complex beasts. After all, what are
animals but 3D creatures in a 3D world?
You can build them from 3D forms – any
way you like!
Presents Anatomy 65
Animal anatomy
PART 2
the animal torso
Find out how the core of the animal body operates and
how you can use it to bring life to your animal artwork
marshall
Vandruff hen I first saw a famous art parts of anatomy first – which is the best
Country: US

w teacher’s approach to figure
drawing – human torsos with
no limbs, strange-looking
place to start. This approach should be
applied not only to human figures, but to
animals. They have torsos much like ours,
www.marshallart.com
bean-bodies twisted and floating – it but are different in ways that enable them
Direct link for

baffled me. It took me years to to run faster, jump higher, kick harder,
understand the value of that approach. and have trouble standing up or sitting in
workshop files
http://ifxm.ag/antorso
There are several sound ways to draw chairs. Here, I approach them simply, Just as 3D programs need three
the figure, but beginning with a solid naming the basic parts, helping you to views to invent, so do artists. You’ll
torso is a good one that’s shared by learn their structure and understand their understand anatomy best by drawing
Michelangelo, Rubens, Tintoretto and functions. In later lessons, I’ll get to the from different views, looking along,
scores of other masters. It puts the big limbs, but let’s begin with the big parts. up and down at an animal.
66 Presents Anatomy
Part 2 The torso
torso Bones Homework

Assignment
Start with the core of the boDY: the ribcage anD
pelviS, anD the Spine that connectS them… see the spine
Draw a series of animals
Vertebrate animals grow out from the ignore the little bumps on the pelvis that
with a single line – the
spine, which runs from the base of the are mostly hidden and the individual spine. It’s easiest from
head to the tail, connecting the ribcage ribs that do you no good until you’ve the side view, but don’t
(thorax) and pelvis (hip established the simplified ribcage. Here forget to see the
convexity of the curve
bone). Study these are some observations about animal – and don’t expect it to
parts generally: torsos to set you off. impress anyone. It’s an
exercise to develop the
X-ray vision of artists
who know anatomy.
When it gets easy, make
it tougher by adding the
ribcage and pelvis.
Presents Anatomy 67
Animal anatomy
torso musCles We have muscles in our backs, bellies and

haunches to hold us upright. Four-legged
animals have the same muscles, but in
bend the torso. But spiral or oblique
muscles, like those on the side, pull to
spin or twist the torso, allowing it to lean
boneS Don’t move unDer their own power –
theY move bY the tenSion of hiDDen corDS… different proportions and for different and turn. These muscles can barely be
reasons. They are made to move forward seen on a fleshed animal, but study them
more efficiently than we are. to know what goes on under the surface,
Torso muscles include thin layers that so you can exaggerate convincingly.
don’t show on the surface. I’ll focus here Unlike bones, muscles change shape.
on the core functional set of three. Think of them as rubber straps. They
Straight muscles, like those on the back either stretch and get thinner, or squash
and belly, simply pull to straighten or and get thicker.
Homework
Assignment
mix movement
and angles
Try drawing variations of
the pitch, yaw and roll
motion diagrams from
different angles: above,
at eye-level, below, and
in various foreshortened
positions. If you use
photo reference, see if
you can catch glimpses
of the torso muscles at
work. They’re subtle and
usually covered with fur,
but they occasionally
show up in extremely
well-cut short-haired
animals, like racehorses.
we use them as prot
otypes
fast-moving objects: to build
PitCh, yaw & roll motorcycles, missile cars,
s, even
As animals travel, they adjust their darts...
movement in the same three ways as
aeroplanes. Pitching describes the
forward and back movement – the
back and belly muscles at work. Yaw
means heading to the left or right,
muscles on one side pull the torso toward
that side. Rolling (also called banking)
happens when muscles on each side pull to twist
68 Presents Anatomy
Part 2 The torso
human lion horse
torso Forms
unDerStanDing multiple viewS anD builDing from
Simple componentS…
Studying side views isn’t enough – they only give us two dimensions
of a three-dimensional animal. We need another view to see width
measurements, as witnessed in the examples above.
there’s no one correct form

metaphor in constructing
an animal ’s torso, but
some are more useful than
others. use whatever forms
you need to create their
structures and place our
points-of-view. choose what
works for you, however
strange it may appear.
Presents Anatomy 69
Animal anatomy
Homework
Assignment more torso
sort out the
big things first
Forms
learn to Draw the complicateD
Analyse reference of
horses and cats. You’ll thingS bY making them Simple…
find that horse torsos fit
into a single box because Look for the basic structure that simplifies
their spines are quite bone and muscle into a single form. It can
rigid. Cats however twist
around, so you’ll need
be a big bean from which appendages
separate forms for the emerge, or any invented form that helps
pelvis and thorax. Solve you twist or add body to the spine.
those big forms before
you concern yourself
The important thing to remember is
with limbs or textures. that torsos are complex, so you must
simplify them enough so that they
can be drawn in any position you
care to choose.
70 Presents Anatomy
Part 2 The torso
torso FunCtions
we’ve Done our technical homework – now let’S
take a freSh look at whY we StuDY torSoS firSt…
A torso serves several functions: as a core for the body; a
hub for the limbs; a trunk from which branches emerge; a
chassis to support a craning neck. A ribcage is a cage to
contain soft parts and protect them. A spine is a spring
(especially with cats), or a bridge, or a flatbed truck that
can carry a load. A bird’s sternum is both a boat’s keel and
an anchor for muscles…
my student Stephen
this exaggerated an gunawan did
aly
skeleton, treating sis of a sloth
bones as robot
parts, and underst
andi
mechanical functi ng their
ons –
great way to learn a
.
torsos are the source of the other parts.

the hindlegs, forelegs, neck and head
emerge from it. in the next two workshops,
we’ll study the limbs of four-legged
animals and compare them to our own,
beginning with hindlegs.
Presents Anatomy 71
Animal anatomy
PART 3
the hIND LeGS
Explore the rear-wheel drive of animals, and how you can
use this part of the body to propel your artwork forward
Marshall
Vandruff hen the first artists drew their illusions seem real, as if the picture smooth skin, mottled, groomed, light,
CouNtry: US

w animals, they drew the way
all children still draw, with
outlines around the shapes
was a window into a world of animals
with meat on their bones.
Look at an animal’s hind leg, and you’ll
dark… Painters and photographers care
deeply about such surfaces.
However, I’ll begin with bones and
www.marshallart.com
they could see. That’s the foundation of see a shape. Cartoonists capitalise on that. muscles. I’ll explain how these affect the
Direct link for

drawing: charming and primitive. As You’ll also see a surface with colour and living animal’s rear-wheel drive system:
drawing evolved, artists worked to make texture: short hair, long hair, rough skin, its hind legs.
workshop files
http://ifxm.ag/an-legs
Drawing, like any artistic discipline,
requires contradictory skills. We draw
slowly and carefully to learn the
structures. We draw quickly and wildly to
get beyond stiffness. Our goal is to fuse
accuracy and freedom: the whole thing
and the small parts.
72 Presents Anatomy
Part 3 The hind legs
Foot bones
You can study between 10 and 20
bones in a foot, but it’s easier to group
them. The most important are the
heel (calcaneus) and ankle (talus)
bones, coloured here to show their
placement and function.
Plantigrades plant their feet on the
ground. We call their feet, feet.
Digitigrades walk on their digits; we call
their feet paws. Ungulates walk on a
toenail or two, which we call hooves.
Leg mechanics
The best way to understand bones is by their
function. Try to see them as perfectly designed
mechanical assemblies.
The femur has a ball at its

top. The pelvis has a socket.
hIND LeG BoNeS These form a perfect union
for getting around.
BONE MACHINERY: UNDER ALL THAT FLESH IS A The ball-and-socket joint
MECHANISM OF SOCKETS, HINGES, LEVERS AND SPOOLS... of the hip enables the upper
Whichever names you choose to use to bones in the lower leg, and more leg to swing and swivel,
refer to the bones in the leg – femur, concerned with the fact that hooved kicking out to the side.
fibula, tibia, tarsal mass, or others – they animals don’t wiggle their toes or retract
still have the same job: to support and their claws. This means that they don’t
propel the animal, and, occasionally, to need a wide lower leg to anchor those
enable it to kick out at an aggressor. extra muscles. Knee bones
In most animals, there are two bones The knee is a hinge joint, but it isn’t fixed like a door hinge.
in the lower leg. The bigger one is the The kneecap (patella) pulls on a strap to lift the lower leg.
tibia; the smaller one is the fibula. This is
different in hooved animals, however. A
horse’s fibula fuses
right into the
tibia, and so
it can hardly
be thought of as
a separate bone. Artistically,
however, you are less As with all hinges, when
concerned with the number of the limb swings, the
X lines stay consistent
throughout the arc.
The hip is the pelvis. The femur is the
upper leg. The knee joint is often referred to
as the stifle. The ankle and heel, on horses,
is called the hock.
Presents Anatomy 73
Animal anatomy
MuSCLe GroupS
HUMAN AND ANIMAL LEGS BOTH MOVE BY THE SAME
SOURCE – THE PULL OF MUSCLES…
There are over 16 muscles in the hind leg that artists can study – but
even if you came to know every one of them, it would help you less
than knowledge of their groups and functions. Here are the simplified Q uadruped muscle charts
structures for understanding hind legs. use different names for
the variations, but there
are two consistent groups:
the big pair on the upper
A big pair leg, and the smaller pair
Q uadriceps and hamstrings are the main on the lower leg.
group of the upper leg. The quadriceps (red) on
the front of the thigh pull on the kneecap to
straighten the lower leg. The hamstrings
(green) on the back of the thigh pull on the
lower leg bones to bend the leg.
Compare the colour maps of the A bear’s hind leg is remarkably similar
human muscle groups to those of to a human’s, mainly because bears also
the horse and the bear. plant their feet on the ground.
A smaller pair The heel of the horse, like any hooved animal, is high in the air.
Homework The calf and extensor groups insert into the feet. The proportion is very different from a human leg, but it has many
assignment analogous parts. Remember that muscles are bulkier near the torso
They are leaner than the thigh muscles because
target the they have less mass to move. and leaner as they move down the limbs.
muscles
Once you understand
the basic groups, you
can separate them into
individual muscles. For
example, the hamstrings
are divided into two
parts: the medial (inner)
and lateral (outer) sets.
The medial set actually
divides into two more:
The calf group
the semitendinosus and pulls an animal
semimembranosus. up onto its toes,
Names like that can put
off delicate learners, but
and propels it.
note that, on a horse, the
semimembranosus
muscle alone is larger The extensor group lifts a foot, and pulls
than a human’s entire
upper leg.
toes back. The tendons of the extensors
cover most of the small muscles in the foot.
74 Presents Anatomy
Naming parts
Every detail gets a name. Names let us point things
out and talk about them.
INterNAL StruCture Homework

assignment
THE SURFACE OF AN ANIMAL IS DETERMINED BY THE SUBSTANCE exercise your
INSIDE, SO DEVELOP X-RAY VISION TO DRAW WITH AUTHORITY… X-ray vision
Choose your favourite
Study animal anatomy from books, and drawing, any name will do. Your concern photographs of animals
you’ll find that four books may use four isn’t the name, but that it’s the wide point in various positions.
Place vellum or tracing
names for the same part. The part that I’ve of an animal’s haunch. Pelvic crest is fine. paper over them, or
labelled pelvic crest on this cat can be Most names, however, are consistent. make a layer in
found in any book – but it may be called The ischium is the ischium – there’s no Photoshop, and try to
draw the pelvis, femur,
the pelvic point, the tuberosity of the iliac need to distinguish it as the ischial patella, tibia, fibula, and
crest, the tuber coxae or the anterior tuberosity. But you do need to know that ankle bones in their
superior iliac spine. If you’re trying to it’s the back-most part of an animal’s proper positions. You
may find it tough, but the
impress people, you should learn all the haunch, and always narrower (on the X
attempt will help you to
names. But if you’re trying to master measurement) than the pelvic crest. see the substance under
the surface.
Knee clarity
Sausage legs Knees have several points that
Crocodiles don’t have kneecaps, so the knee doesn’t have the alternate for attention. The
crisp plane-break that we see on a dog or a deer. But they patella (knee-cap) is
have the same basic bones as other four-legged animals. the most prominent repositioning
Since their quadriceps tendons connect directly to the point, but it connects When you get good at
tibia like a belt-strap, they have quick to the nose of the visualising the underlying
leverage and can move very fast. tibia, which is a bones, try repositioning the
fixed bump on the legs and redrawing them.
lower leg. The outer swell on
the femur, and the fat pad
that covers the patella
when a horse is relaxed,
can all seem like the knee.
Presents Anatomy 75
Animal anatomy
hIND LeG
ForMS
FORMS LET YOU INVENT LEGS THAT DON’T
EXIST – UNTIL YOU CREATE THEM...
When we dream, or daydream, we imagine
realistic images. The trick is to get those images
onto paper. There’s no better way to master this
than to use wireframe structures based on simple
forms. Anatomy is complex – but if you can see
the bulk of the upper leg as an egg, the calf
as a bowling pin and the foot as a stick
and ball, then you simplify your task
and turn the leg into
something real.
round it out
Hind legs don’t face forward in unison: they splay
out. Here’s a way to solve it… See how the entire body
of the hindquarters fits into a cylinder.
Segmentation
The full form of the body
takes shape if you segment
it and work on each part Block it up
as a separate block. Block forms force you into specific
choices about plane breaks, and help
you chisel the form into crispness.
Note also that from behind, you
can see the legs facing out at a
30-40 degree angle.
Homework
assignment
wired forms
Get out those favourite
photographs that you
used to exercise your
X-ray vision (page 75).
Instead of looking for the
bones inside the legs, try
to wrap wires around the
legs. If you find it tough,
treat each part of the leg
as a bar or a block, and
visualise a rubber band
around it. From there, it
begins to take on form.
76 Presents Anatomy
ron’s robot
My student Ron Green invented this
contraption. It’s strange, but useful for
understanding how an animal leaps from its
hind legs. Try your own, based on anatomy.
Artists must simplify to understand. Study

Ron’s drawings and you’ll see that he is
figuring out two problems: where the joints
are, and how this half-quadruped leaps and
bounces to get about.
Spontaneous art
The only way to master drawing is to draw,
draw and draw – but not always carefully. Forelimb fandango
Q uick, gestural studies with pen and ink We stand on our hind legs and
don’t allow you to get fussy, erase and fix, and use our arms and hands to
they protect you from creating belaboured work perform delicate tasks
that looks dead – what Joe Weatherly calls and manipulate the
“taxidermy”. You’ll sharpen your skills by world. Q uadrupeds stand
drawing immediately from life, unpredictable on their arms. The
and wild as it may be. differences between
arms and forelimbs
are greater than
those between legs
and hind legs. In
the next chapter,
we’ll study the
forelimbs: arms
as legs.
the FuNCtIoN
oF hIND LeGS
THEY JUMP, THEY WALK, THEY RUN, THEY KICK…
Once you know how they’re made and blink of an, eye they can become a
how they’re shaped, you can go back to weapon. A lever. A catapult. A spring. Rear
the reason legs exist. Legs help support an wheels. Or a bludgeon. Seeing legs
animal. They get it moving to find food, through their functions reminds us why
or to keep it from becoming food. In the they’re worth studying.
Presents Anatomy 77
Animal anatomy
PART 4
The FOReLeGS
Use your knowledge and observation to build the pillars of
balance and grip for the animal kingdom
Marshall
Vandruff ometimes you have to take how bones move. Another solution is to
COunTRy: US

S things apart if you want to
know how they work. With
animals, that gets messy.
assemble bones on your own. I’ve
assembled a horse’s leg bones with glue
and rubber bands. It’s full-sized, it’s real
www.marshallart.com
Beatrix Potter and her brother dissected and it impresses friends and family, but I
Direct link for

dead animals together, which served her could never have done it without at least a
well as an illustrator. But dissection is not reasonable amount of book knowledge.
workshop files
http://ifxm.ag/anflegs
an easy business: you can end up smelly The lessons that follow will help you
and confused. understand bones and muscles enough
There are better ways to study animal to look at living animals and see their
anatomy. One is to observe museum structure, so you can exaggerate We strip away the surface of an animal
skeletons from varying angles to be sure proportions, make planes crisp and to see what makes it work. Artistic
of their forms and connections. But invent your own animals – imaginary anatomy begins with the skeleton.
assembled skeletons are often poorly put beasts with real legs to stand on. The more familiar you are with the
together and locked into a single position Let’s have a look at how forelegs are framework, the easier it is to build the
that teaches you next to nothing about made, and how they work. body around the bones.
78 Presents Anatomy
Part 4 The forelegs
FOReLeG BOneS Legs, limbs and arms

ANIMALS HAVE SHOULDERS AND ARMS LIKE US, BUT
WITH A DIFFERENCE: THEY WALK ON THEM… Animal forelegs vary more than hind
legs. Primates and the ancient
We have shoulder blades on our backs; fleshed animal, the upper arm is buried ground sloth below have arms and
quadrupeds have them on their sides. The in the side of the body. That means you hands. We’ll look at arm mechanics
shoulder blade (scapula) connects to the may mistake the lower arm bones (radius on the next page – but first,
upper arm bone (humerus). This is or ulna) for an upper arm unless you can notice that there are two bones in
obvious in a bone diagram, but on a see through the surface. the forearm. The ulna is the big
bump at the elbow that tapers
to a small bump at the
little-finger side of the
hand. The radius is a small
spinning button inside the
elbow, which swells to hold the
wrist bones at the thumb side
of the hand.
Hands usually have 27 bones.
Several of them in the wrist make
a simple form called the carpal mass.
Hoofed animals have much simpler
structures. Their radius and ulna are
fused together into a single forearm,
but we still distinguish the elbow
portion as the ulna, and the wrist
portion as the radius.
not all is bone: cartilage happens

Horses and other hoofed animals (ungulates) have cartilage at the top
of their shoulder blades. Cartilage wears away, so museum horse skeletons
may appear to have the top part of the scapula chopped off. Living horses
have larger shoulder blades than their dead relatives.
Presents Anatomy 79
Animal anatomy
BOne MeChAnICS Shoulders and elbows

The ball and socket joint of the shoulder allows
FORELEGS ARE FOR WALKING. IF THEY ALSO HAVE TO some rotation for an arm to spin or reach out
SPIN OR GRIP, THEY NEED MORE COMPLEX STRUCTURES... to the side, as well as forward and back.
Of the two forearm bones, the ulna is

only a hinge. Animals with hands
also have a radius that spins.
Arm mechanics Just as lower legs have two bones, so do lower arms. The difference is that we
Some forearms spin around. Some spin a bit. support ourselves with our legs, but use our arms to grasp and manipulate.
Some are fixed in a forward position. The ulna doesn’t spin: all it can do is bend and straighten the arm. The
radius is separate and revolves around the ulna to spin the hand. When it’s
parallel to the ulna, with the thumbs out to the side, it’s supine. When the
radius crosses over the ulna, carrying the thumb toward the body, it’s prone.
Homework
assignment
Stick-bone
forelegs
Draw a series of arms
or forelimbs by
Q uadrupeds vary in
constructing them from their ability to spin their
simple stick-bones. It’s hands. Cats do it quite
usually best to draw the
ulna before the radius,
well; dogs not as well.
because the radius Hoofed animals can’t
doesn’t affect the ulna’s spin their forelegs at all.
position. Keep it simple.
Don’t try to learn
Their radius bone is
foreleg anatomy by fused into the ulna,
drawing forelegs: rather, locked so that they can
learn by drawing their
simple components.
run, but not reach out
with an upraised palm.
80 Presents Anatomy
Part 4 The forelegs
FOReLeG MuSCLeS
THE MUSCLES IN FORELEGS ARE SIMILAR FOR ALL ANIMALS,
BUT THE VARIATIONS ARE MANY…
Human arms and animal forelimbs have Quadrupeds have smaller and simpler
many, but not all, muscles in common. deltoids than humans and apes.
Not only do our upper arms extend out Our lower arms spin partly from the
from our bodies, but they reach above our pull of two special muscles called
heads. It takes a deltoid, anchored to supinators, which make up the ridge of
clavicles and scapulae, to lift our arms. the extensor group.
Muscles pull bones. The major muscle forms The trapezius and latissimus dorsi appear
of a horse’s shoulder are the triceps and large on anatomical plates, but have little
deltoid. Here we see that they both anchor effect on the forms of animals. The
on the scapula. The deltoid pulls the trapezius is thin and sits over the top of
foreleg away from the body. The triceps deeper neck muscles. The latissimus usually
extend the foreleg. Even though horses disappears as it hugs the torso, but it can
can’t spin their arms, they have a slightly show up as a convex sliver on the side.
helix-shaped group at the ridge like we do. By the time we get to the metacarpal on
an ungulate (analogous to our hand), the
muscles are so deep and thin that artists
don’t study them. The bones, wrapped in
ligament and skin, create the form.
Simplify complexity
Supinators are a group of two
muscles. Extensors are a group of
three. Flexors can be separated What arms do to hands
into five or more, but that’s too Extensors pull on the back side of the hand.
much information. They work as Flexors pull on the palm side. Clench your
groups, so simplify. fist, and you’ll feel the flexors on your inside
forearm harden.
On most animals, the flexors are tucked
under the inside of their forearms, barely
visible on the outside.
Chest muscle
The pectoralis major anchors on the chest and inserts into the humerus to
pull the upper arm down and lift the body. It’s the same muscle you use in
doing pushups. It shows on the surface as two varying egg forms on either
side of the centre line of the chest.
On the horse, notice the rhythm of convex and concave lines. The outer
contours tend to be more convex. The inner limbs from the front view have
noticeably more concavity.
Presents Anatomy 81
Animal anatomy
FOReLeG FORMS
ANATOMY FOR ARTISTS IS USELESS UNLESS
THE ARTIST GIVES IT FORM…
The scapula and humerus create the point
of the shoulder. The scapula hugs closely
to the centre line at the top and spreads
out to the sides as it goes down… but that
gets complex. When you construct a
horse, it helps to simplify by seeing a
wedge form, which is true enough to the
anatomy of horse shoulders, but simple
enough to master from memory.
Breaking down knees

Horse knees are very boxy because the carpal bones are
assembled in two breakable rows that directly affect the
form. Note that the fetlock joints are quite spherical.
The problem with cats

Cats are so flexible that you can’t use the
simple wedge form you use for horse shoulders.
It’s difficult to simplify such fluid animals
into box forms – they are more organic, and
a greater challenge. You must see through to
their bones, but you can do this with simple
stick figures. For three-quarter views, turn
the sticks into poles, drape some flesh onto
the poles, and add cross-contours to be sure
Homework of the thickness.
assignment
horse legs
Collect a dozen
photographs of horses
that include their
shoulders and forelimbs.
The images can be low-
resolution – in fact, that’s
an advantage, as it will
keep you from being From form to function
tempted to copy
surfaces. Try to draw
A cat’s paw has texture and surface that is easy to see, but you must learn
the wedge form of the to see the form. Anatomy helps, but it may get unnecessarily complex. A
shoulders, the block paw is a simple block, convex to the front, like a whisky flask. Now you have
form of the carpal mass,
and the ball-and-shaft
a comparison that helps you see the form, memorise, and draw it.
fetlock joint. When you The relationship of whisky flasks to a cat’s paw ends there: they have very
can do it successfully, different functions. Cats have claws to survive through violence. Even your
move to the next great
challenge – draw the
housecat, whose only reason for not eating you is that you’re too large, can do
shoulders and forelegs in you serious damage.
a new, unseen position. For function, it may be better to see a cat’s paw as a stapler, switchblade
To master forelegs, you
master their forms.
or mousetrap. Two of those are made to pierce. Two of them are spring-
loaded. All three remind us of what a claw does.
82 Presents Anatomy
Part 4 The forelegs
FOReLeG The piercing

Claws spring out of paws to pierce prey. But if
FunCTIOnS muscles can only pull, how can they project a
claw out and away from the body? It takes
FORELEGS SUPPORT, CUSHION A FALL, both extensors (to pull back the phalanx, or
WALK, SPRING, SCRATCH, POUND... finger bone) and flexors (to pull down the
claw) working together to reach and grip.
This diagram shows how it’s done.
A strong support
for shoulders Once you know how a cat claw works, you
The first Greek columns had no pedestals: can forget it and design as you like. But you
they just went straight into the base. As mustn't forget the function: a claw is a set of
they evolved, they were given feet. knives to impale, or a spade to dig, or a hook...
Long before Greek columns,

animal forelegs were pillars
for a practical reason –
more than 60 per cent of
the beast’s weight rests on
the forelegs, and pillars are
notoriously strong.
Forelegs have functions: pillars, spokes, hooks,

knives, blades and spades, wrenches and
pliers, clamps, vices, weapons, shields, paddles,
cups and bowls...
Your job is not to copy what you see, but to
understand what you see – and to use your
skills to create whatever you choose.
When you see a hoof as a form, you can draw

it with spatial credibility. When you see it as a
shoe or a cleat or a spike or a sledgehammer,
From pillars to spokes though, you can exaggerate it with meaning.
Pillars stay put. Spokes revolve and provide a consistent strong
support for a turning wheel – the same as a straight foreleg in
an animal galloping at high speed.
Presents Anatomy 83
Animal anatomy
PART 5
Necks aNd Heads
Discover what this part of the animal body tells you
about the creature – and the traits all animals share
Marshall
Vandruff e try to make animal anatomy Human heads rest on our necks because have incredible noses and teeth. But the
couNtry: US

website for more info.
w easier by comparing animals
to humans. Unfortunately,
many artists barely know
we stand upright, and we have large
craniums because we rely on our brains.
Apes have smaller brains and greater jaws;
big differences between animal and
human heads are that animals have a
snout that leads, and their brains, rather
www.marshallart.com
human anatomy. Robert Beverly Hale and because they lean forward on their than being on top of their heads, are more
Direct link for

pointed out that an artist who knows knuckles, their skulls sit slightly forward towards the back. They hunt and run.
human anatomy can learn animals from their necks. Quadrupeds are They graze. They don’t read magazines or
workshop files
http://ifxm.ag/anneck
relatively easily. Part of the emphasis horizontal – their skulls extend from draw pictures or concoct fantasy worlds
should be on ‘relatively’: it’s still their bodies. and write them down to enchant others.
something of a task. But the most efficient From these basic conditions, skulls In this chapter, you’ll study head
and fun way is indeed to see creatures as vary according to an animal’s need to structure – but we begin with how necks
people who run around on all limbs, survive and thrive. Cats, for example, emerge from the torso, and hold heads
noses forward, fast and strong. have alarming eyes and teeth. Wolves that face the world.
You can tell a lot about an animal by
the position and proportion of its skull.
In these lessons, you draw to make a flat

surface look like a window into a world
of real animals. This means learning
bones and flesh through careful analysis
and reckless abandon.
84 Presents Anatomy
Part 5 Necks & heads
tHe Neck boNes

MosT neck bones are deep and hIdden, buT They
affecT The surface when anIMals Move…
Mice have seven neck bones. So do
Homework giraffes. So do humans. So do almost all
Assignment mammals. They’re called cervical
Get familiar vertebrae. In a human, the top one
with the neck (that’s C1, for Cervical 1) is so deep it
Treat the neck bones as can’t be seen, but in many animals
a simple line, beginning
it spreads out near the head and the
low, usually with a bit of
can be felt on the side, behind the
stretching neck
an ÔSÕ to the curve. When
you can see the core of ears. It’s also known as the Atlas
a little movement between each
the neck, you know what
bone. It’s wide, and may even look
neck bone adds up to a lot of
parts of the flesh squash, movement for the whole neck,
and which parts stretch. like part of the head.
but rocking motion happens at
the atlas bone.
taking the head to the ground

Grazing animals have necks that reach the ground. an internal
ligament goes from the spine into the back of the head like a
large, flexible rubber band, enabling tall animals to stretch
down to the grass to feed.
even a flexible neck would never reach the ground on a
horse if the vertebrae began at the top. They begin low,
almost halfway down the front of the shoulders.
Presents Anatomy 85
Animal anatomy
aNatoMy aNd forM

of tHe Neck
leave coMplex neck anaToMy To The veTerInarIan – arTIsTs
can sIMplIfy neck forMs for The InforMaTIon They need…
Neck muscles have inconsistent cephalo humeral (from head to humerus)
names because the structures or other variations.
vary. The muscle that goes from The names must not bog you down
your collar bone to the bump from your concerns. Let’s look at what
behind your ear is the animal necks have in common that artists
sterno-cleido mastoid. need to know.
Cleido refers to the part that
connects to your clavicle – but most
animals don’t have clavicles, so that
a shoulder base muscle may be called the sterno-mastoid
The torso is the foundation (sternum into mastoid process) or the
of the neck, which means
that it’s usually best to begin
with the forms of the shoulder to create a core of bones
a neck. necks are usually a bit thicker as with all anatomy, don’t worry
toward the base in cross-section: they are about hidden details unless you’re
mostly tissue (ligament, muscle and doing research. seek the
fat), so gravity pulls them into simplicity of the neck core. That
a slightly teardrop-looking shape. comes first, then muscles.
a rotator set and a throat network

There are many neck muscles that overlay each other. The most assertive is
the group (with varying names) that spirals from behind the ear into
the shoulder point. The throat is made up of muscle, tendon, ligament,
cartilage, and even a floating bone, but it’s wisest to simplify here.
The throat is a passageway, a hose or, better still, a funnel. It inserts
between the spiralling neck group.
squash
and stretch
you can see the animator’s
principle of squash and
stretch most obviously at
the neck. when a horse
turns its head to look
behind itself, one set of
side muscles contracts,
while the other side relaxes.
86 Presents Anatomy
cat confusion
cats may appear to have
assertive neck vertebrae at
the peak where the shoulder
and neck meet. watch it
move, though, and you’ll
see that it’s not a neck
vertebrae, but a scapula.
cats have shoulder blades
that crest higher than
their spines.
carli’s cat
My student carli squitieri did this analysis of
a smilodon at the la natural history Museum.
carli approaches this complex figure not by
copying, but by understanding the forms
and working on their connections. with
this knowledge, she can change the
position of its head without a model.
Homework
Assignment
turn skeletons
to architecture
You can almost guess
this assignment, as
I recommend it all the
time: reduce animal
skeletons to architecture,
like Carli did in the
twisting necks sample on this page. It’s
the great challenge of
If you find it difficult to twist a draftsmanship, and will
form, begin by placing two or three help you understand
hidden neck anatomy.
box forms. connect the proper corners, A twisted pipe is a useful
and you’ll solve the complexity one step analogy for animals with
at a time. flexible necks that can
look behind themselves.
Presents Anatomy 87
Animal anatomy
aNatoMy aNd forM

of tHe Head
anIMal heads have Many varIaTIons, a few coMMonalITIes –
and Three dIMensIons In every case…
Skulls have many parts, so you must (orbits) face forward on most predators,
simplify. The cranium is the brain case. and to the side on most prey animals.
It’s egg-shaped, which is obvious in The upper jaw is made up of the long
human and ape skulls, but not in many protruding nasal bone and the maxilla,
animals because it can’t be seen. It’s very which simply holds the teeth. The lower
small, buried under a cranial ridge, and jaw (mandible) is the only moving part
covered with a large muscle (the on a skull. It has its hinge, the temporal-
temporalis) on the side of the mandibular joint, just below and in front
head. The eye sockets of the ear.
Multiple views reveal forms

The skull provides the structure for the head, so study that before you
study the features it houses. as usual, you need multiple views.
you can’t see the width of a head from a side view: you need a top
view to show that the widest point on this lion’s head is the cheekbone
(z ygomatic arch). you can’t see the width of the teeth from the side
view: you need a front view to show that the upper canines are wider
than the lower canines. and you can’t tell the height of the cranial
ridge from a top view: you need a side view for that. Multiple views
enable you to draw a head in space and keep track of the proportions.
88 Presents Anatomy
It’s tricky to tip

Tipping one of these multiple views in space can get mind-freezingly complex. The
solution is to reduce the head to big forms before placing small parts. Get your head
around this, and you’re well on your way to mastering head movement.
relying on X
notice that whether a creature’s mouth is
open or closed, the x lines (shown here in
orange) always stay consistent. That can
help you when you’re working on a fleshed
creature’s head and you need to locate the
distant canine.
Placing eyes
The eyes on prey animals look out to the side – sort of. If it
was that simple, a cylinder across the skull would solve their
placement. on most prey animals, the eyes are not completely out
to the side, but aimed slightly forward. If you place a centre point and
create two cones diverging from that centre, you have a structure
in which to place eyeballs.
take the antidote

all this analytical work is necessary for
mastery, but it’s not the end of it. when
you’ve studied anatomy enough to control
the forms you create, don’t forget to take
the antidote for finickiness. draw fast;
draw recklessly; draw for fun. you may
do your best work when you let go of your
intellect and follow your impulses.
Presents Anatomy 89
Animal anatomy
PART 6
animal faces
Find out what animal faces have in common with human
faces, and the crucial ways in which they differ
marshall
Vandruff e began this animal workshop observing the world – the fact that living simple forms based on anatomy. Then,
country: US

W with basic forms, then
worked from the torso to the
hind legs, forelegs, neck and
phenomena come to us in mirrored
halves. Faces are essentially symmetrical.
If they were simply flat, artists would still
when you have a solid structure, find
expression: glorious, fearful, attractive or
amusing symmetry.
www.marshallart.com
head. We now finish with the the most need perspective to represent them in As in previous chapters, we begin here
Direct link for

emotive and expressive entity in life: the three-quarter views tipped away from us. with technical lessons – including how
face. When William Blake wrote: But they are far from flat: they are made perspective applies to the structure of a
workshop files
http://ifxm.ag/anfaces
Tyger! Tyger! burning bright of several 3D components, like a puzzle skull and how features themselves are
In the forests of the night, of sculpture. made of three-dimensional forms – but
What immortal hand or eye To draw faces from any position other we are heading toward a common artistic
Dare frame thy fearful symmetry? than head-on, and even to draw them purpose: to create pictures that channel
...He put into words a mystery that has head-on if you want them to look feeling. Heads display faces – our final
haunted people ever since we began credibly solid, reduce them to study of animal anatomy.
Draw from life

Short of a model or volunteer for a life
drawing session? Visit a zoo or wildlife park
with your sketchbook, and you’ll find plenty of
willing subjects. Mix spontaneous scribbles with
more in-depth studies.
This is a pencil drawing of a face

that bothered me for a few weeks.
Now it’s safely imprisoned on paper,
and gives me little trouble.
90 Presents Anatomy
Part 6 Faces
unDerlyinG
structure
NECKS HOLD HEADS, AND HEADS HOLD FACES.
LET’S REVIEW BASIC STRUCTURES…
Bones provide the hidden structure of
Homework the body – most obviously with the
Assignment head, where the skull makes most of the
Box clever to form. There are many small and
carve a head interesting parts on an animal’s head,
Choose two views of an but no matter how perfectly a nose,
animal head. Draw the
simplest box into which
an eye or even an expression is
each will fit. Then try drawn, it looks awkward if it doesn’t
carving out sections to fit onto the skull. So we’ll begin with
leave the remaining form
simplifications that enable you to place
of the head.
features where they belong.
thinking inside the box

Skulls are complex; boxes are simple. Placing
useful reductions a complex form into a box helps you keep
Here are simplifications of monkey, human and chimp skulls. Reducing track of width and depth lines. A box is
them to their structural foundations enables you to tilt a head into scaffolding for precise construction, and
many new positions, where reference is locked into a single position. tracking the lines can make your quick
sketching more accurate.
Homework
Assignment
eggs, boxes
and cylinders
Using the same heads as
above for reference,
draw the cranium as an
egg, the facial structure
as a box or cylinder, and
the eye sockets as
cylinders or cones. All
forms first
of this is preparation for Pay all the attention you like to bumps and you must master first. If considering a head mastery of basic forms may take months
features. Always build gnarls and details. It’ll mean that your as a box, a ball or an egg seems too simple, of study; rewarding because the hidden
the house before you drawings will impress people, but it may wait until you try: it’s a difficult but structure of skull forms affects the position
start hanging curtains...
distract you from the basic structure that rewarding task. Difficult because the of every detail on an animal ’s head.
Presents Anatomy 91
Animal anatomy
tHe form of
features
EYES, EARS, NOSES AND MOUTHS HAVE REMARKABLE
VARIETY, AND A COMMON SOLIDITY…
Features are not painted on like colours or textures. They have their
own shapes and thicknesses. Here are some observations to help you
see them not as surfaces, but as smaller forms within bigger forms.
thick, not flat

When eyes are on a flat
plane, as they (almost) are
on humans and apes, that
simplifies foreshortening.
But on animals with
round heads, the distant making sense of ears
eye wraps around the Ears are made of varying kinds of skin, cartilage, fat
roundness of the skull. and (for those ears that move) several muscles. But for
artists, an ear is made of one piece – a modified horn
that is used to gather sound.
eye as ball
All eyeballs are spheres.
The lid is a sheath, usually
rather thick, that wraps
around the ball.
curved surface
Even though most of the
eyeball rests in the socket,
the surface is still curved.
Get this curve pegged
before rendering.
92 Presents Anatomy
Part 6 Faces
snouts stick out

Our noses are measly compared to most beasts – the muzzle of an
animal ’s nose and mouth projects forward. It helps to see it as a
cylinder or a box. When a muzzle is in a three-quarter position, the
planes with details, like jowls or nostrils, will give you a three-
dimensional map to help you conform the details to the structure. When nostrils flare
Horse nostrils, like their eyes, face somewhere between forward
and to-the-side. Two cones can help you foreshorten that complex
arrangement, but in some extreme conditions when a horse is
running, their nostrils may aim forward like shotgun barrels.
trunks and boxes

An elephant’s nose is a trunk, which can change direction. Here’s an analysis of how to
understand the bending form. The boxes are colour-coded to help you keep track of the
disappearing planes. The folds and wrinkles on the fleshy trunk act as cross-contours –
perspective lines that define the thickness all along.
Jaws as hinges
Jaws are simple from the side: they’re
hinge joints. From other angles, they
may appear quite triangular – wider
at the back and narrow at the front.
You must find an area where the side
and front of the mouth meet to make
a change of planes. In three- quarter
views, canines make a convenient break,
acting as front corners of the jaw.
Presents Anatomy 93
Animal anatomy
Homework
Assignment animals as PeoPle
HUMANS AND BEASTS HAVE THE SAME PARTS IN VARYING
compare PROPORTIONS. LET’S COMPARE…
and contrast
Gather reference of
Socially, it might not be a good idea to them all. Comparisons are the most
animal faces, and draw
them as people. The compare your friends and family with efficient shortcut, and the most fun – Precious piglet
most common surprise animals. Artistically, it’s a very good idea as long as they don’t end up in hurt Sometimes a human face inspires an
is how small human animal: a monkey, a mouse, a kitten,
if you want to understand facial features. feelings or violent responses.
muzzles seem compared
to animals. Seeing the There are so many variations of animal These metamorphoses, courtesy of a cub, a weasel, a chimpanzee. After all,
difference helps you features that it could take a career to learn www.banedarkart.com, make the point. what is a child but a talking animal?
notice the forms.
Big bear
aspirations
If you lack for ideas when
creating characters, or if
you find yourself in a rut
creating the same human
character over and over,
try using animal faces for
inspiration. They can
prompt universal and
unique people-types.
Homework
Assignment
morphing
magic
Try painting a morph
between an animal and a
human face, like Bane
has in his studies on this
page. The challenge –
and the learning –
happens during that
transition stage in the
middle illustration.
94 Presents Anatomy
Part 6 Faces
Pencil head
I love to draw: it’s an
outlet for feelings and
a playground for ideas.
Draw stuff you like

Whatever talent you have, you can only bring it
out with practice. The more enjoyable the practice
is, the more likely it is that you’ll keep at it.
eXPression is tHe
key to tHe face
THE FACE IS THE CROWNING COUNTENANCE, SO GETTING THE
ExPRESSION RIGHT WILL GIVE YOUR DRAWING LIFE AND MEANING…
It doesnÕt take a trained artist to draw an hard when the flesh stretches. Technical Animal faces evoke feelings. Their
animal face. Children do pretty well Ð skill helps you understand forms so you mystery, strangeness, terror and
not because of their skill, but because can point a snout toward or away from splendour are more marvellous than we
of their emotional connections to faces. you, or exaggerate a creature into could ever imagine on our own. The more
Most children, however, hope to have absurdity, yet keep it looking real. Get to it! you feed your imagination, the more you
the grown-up skills that weÕve studied Technical skill is useful for anyone who With all the variety of can reflect their power in your work.
in these six workshops. makes a living at creating animals, but itÕs animals to invent, a I hope these pages have helped you to
Technical skill helps you understand only the structure Ð the heart and arteries. lifetime doesn’t seem draw animals, and inspired you to give
anatomy, so that you can keep the bones By itself, itÕs dead. Emotion is the blood. quite long enough... your viewers the best you have to offer!
Presents Anatomy 95
US and Canada subscriptions
Subscribe to ImagineFX magazine

and save up to 45% a year!
ImagineFX 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.
evermissanissue:have13issuesdelivereddirect
N
toyourdoorforayear
Getexclusivevideosandartworkwitheveryissue
Stayup-to-datewithallofthelatestfantasyart
newsandtechniques
Word-freecoversthatareexclusivetosubscribers
US & Canada prices

Every six months:
$57.49Save 45%
One-year subscription:
$114.99
Subscribe securely online today:

www.imsnews.com/imaginefx-2020
Or call toll-free:
1-800 428 3003 andquotetheoffercodeIFX2020
Terms and conditions US and Canada savings are compared to buying 13 full-priced issues at US newsstand. US and Canada subscribers will pay in US Dollars. You’ll receive 13 issues in a year. The minimum subscription term is 12 months.
If at any time during the first 60 days you’re dissatisfied in any way, please notify us in writing and we’ll refund you all unmailed issues. Prices correct at point of print and subject to change. Full details of the Direct Debit guarantee are
available upon request. For full terms and conditions please visit http://myfavm.ag/magterms. Offer ends 31 May 2014.
LiveoutsidetheUSandCanada?Pleaseturntopage27
96 Presents Anatomy
Digital
art skills
Expert advice from professional
artists, written especially for you
98
Workshops
The sort of advice you’ll find
in every issue of ImagineFX…
It extends 98 Creature features
and energises Combine human and animal
anatomy to create a fine-art portrait
your character’s of a monster with Justin Gerard
personality 102 Top ten fantasy poses
Whether you’re drawing a hero or
Warren Louw a villain, we’ve got the gestures and
on posing silhouettes to help you out
figures: page 104
104 Strike a pose
Warren Louw explains how to fill
your characters with energy by
learning the art of posing
108 Artist Q&A
Our artist panel solves real-world
anatomy issues, including painting
realistic hands and drawing eyes
108
Presents Anatomy 97
Digital art skills
Creature
features
Justin Gerard
Country: US
Justin Gerard
is an illustrator
who enjoys
Combine human and animal anatomy to create a story-driven

illustration.
fine-art portrait of a monster with Justin Gerard His work has been
featured in Spectrum,
Society of Illustrators
and Exposé, and he is
etÕs assume that youÕve been literature, and unjustly categorised on the with just such an event. After all, it pays currently art director for
L
Portland Studio.
approached by a wealthy whole. He wants to commission you to to be prepared, just in case.
www.justingerard.com
monster who wants to execute his portrait, to show the world IÕll be doing an underpainting in
commission you to paint its
portrait. (Unlikely, perhaps, but IÕve had
that he is really a civilised and noble
creature at heart.
watercolour and scanning the image onto
the computer, where IÕll add the colours, Direct link for
stranger requests.) LetÕs say that he feels The following demonstration in refine the lighting and work on the final workshop files
http://ifxm.ag/a-creat
heÕs been misrepresented in film and watercolour and digital will help you deal details in Photoshop.
Drawing from life Thumbnails and

1 Before I begin working on my 2 exploratory work
monster, I warm up by doing studies from Now I throw out all of my reference and
life. In this case, IÕll be using pictures of burn my studies, and start drawing
wild animals as reference. completely from my head. IÕll use my
The goal of these studies is to form reference later, but for the time being,
a better understanding of the elements I want to work completely from my
and characteristics of my subject matter. memory and imagination.
Wild animals are excellent reference for I work quickly, using either ballpoint
monsters, because they personify human pen or a 0.7mm HB (number 2) pencil. Tight sketch
characteristics taken to extremes. This drawing is often the most fun for me. 3 This particular monster looks promising. I now do a more
I donÕt spend too long on any one The possibilities of what could be are careful, detailed drawing using a GeneralÕs 2B pencil. I spend as much
study. The goal is to commit the forms almost always more interesting than what time as is necessary on this step to arrive at the right look. The drawing
and details of these creatures to memory, is, and I try to get down as many ideas as is the most essential element if an illustration is to succeed. There are
so that I can work from my imagination I can. Eventually there are 20 or so two- ways to finish an illustration from a poor drawing, but it would be like
without the aid of reference. or three- inch monsters to pull from. wrestling a baboon into a lunchbox.
98 Presents Anatomy
Monster portrait
Digital art skills
Adjusting proportions
4 Now that I have a sketch that I’m
pleased with, I’m ready to transfer it to my
watercolour paper. Before doing this, Layer flair
Keep your layers
there’s one devilish little trick that I use
organised. Some layer
that has totally reinvented my work. I types can be merged
scan the drawing into Photoshop, mirror together without
it and adjust it before I print it back out negatively affecting the
image. Several Multiply
and transfer it to paper. This minor or Screen layers can be
readjustment often spells the difference merged. Try to keep your
between glorious success and miserable, PSD file clean, so that if
you find later that you
shivering failure. Before adding this step, need to add more
all my pieces had an odd tendency shadows to an area, you
towards disproportion and unbalanced can create a new Multiply
layer, add your shadows
composition. So after I mirror the image, and merge this into
I select areas that don’t look right and, your existing Multiply
using the Transform function, alter them layer. This will save you
headaches later on.
Working in sepia
until they look right, before flipping back.
7 I’m not concerned with adding
colours at this particular stage, because
I’m effectively treating this watercolour
as an underpainting. I’ll add the final
colours and effects later in Photoshop; for
now, establishing the forms within the
Opaque highlights
composition through value is the most
important task. 8 Once I’ve established the shadows, I use a white watercolour
I could add the colours in watercolour or gouache to add opaque details and highlights. This opaque
as well if I wanted to, but I want to play to highlighting step could also be done on the computer, but I enjoy
the strengths of each medium for this the feel of a natural brush a little more than a Wacom tablet’s pen.
portrait. Digital painting is great for (One day, when Wacom in its wisdom releases a digital brush with
bright, intense colours, but it can tend fibre-optic hairs that works like a traditional brush, I will happy to
towards looking plastic, for reasons I’ll do this on my computer.)
touch on later. Watercolour, on the other
hand, struggles with achieving bright
colours but can generate beautiful
textures as the water dries on the surface,
and gives linework a wonderful variety.
Setting up the
5 watercolour
Now I leave the computer and turn to
setting up my watercolour. For this
Featured book: The Encyclopaedia of Mammals by David MacDonald

illustration, I’ll be using Strathmore 500-
series Bristol and working at 8.5 x 9.5in.
This Bristol is an excellent paper that can
take a lot of abuse, and enables precise
linework. For this piece, I want to tone my
canvas before I transfer my sketch to it.
One of the strengths of working digitally
over a watercolour is the wonderful
texture that watercolour lends to a digital
piece: it responds beautifully to dodging
and burning. For the wash, I mix up burnt
sienna and Prussian blue. As it’s drying,
I fleck water over the surface to create
blossoms on the surface for the interesting
patterns they create in the background.
Scan and adjust

Transferring the drawing 9
6 There are dozens of ways to transfer a drawing to paper: light tables, graphite
Now that I’ve arrived at a watercolour underpainting that I’m
satisfied with, I’m ready to scan it. After it’s scanned, I use a Curves
transfer, Artograph, freehand and even methods of printing directly from a computer layer to pull back some of the depth that was lost in the scan.
onto watercolour paper. Any of these methods are good, but I usually go with the ever- Next, I add a host of layers to get the image to look correct before
dependable Artograph. Whenever I’m transferring a drawing, I spend only as much moving on. The key issue is to make sure that no areas on the image at
time as is required to establish the basic shapes and outlines. Then I finish as much of it this point are absolute darks or absolute lights. I want the image to
as possible freehand: drawings that rely too heavily on the transfer tend to lose their occupy a midtone range. To do this, I create a Lighten layer filled with
soul. After I’ve transferred the basic outlines to my watercolour, I begin working a midtone ochre colour and set it to a lower opacity. This Lighten layer
freehand. I first focus on refining the forms and doing a more accurate drawing. helps to scale back some dark pencil work that’s too intense.
100 Presents Anatomy

Monster portrait
12 Stage lighting
Now itÕs time to make the monster
glow. In many ways, this stage is the
inverse of the Multiply/Shadow stage, and
itÕs where the watercolourÕs texture really PhotoshoP
shows its worth.
CustoM brush: Monsterbrush no.1
Using Colour Dodge layers and a dark brush tIP shaPe
grey, I work in much the same way as I did Diameter: 100%
on the Multiply layers, brushing in and roundness: 100%
spacing: 49%
erasing out on several different layers shaPe DynaMICs
until the image looks right. Colour Dodge angle Jitter: 38%
reacts wonderfully with watercolour, Control: Direction
CoLour DynaMICs
pulling up the contrast on the texture and foreground/background Jitter: 3%
the grain. other DynaMICs
I use the effect sparingly, and only in opacity Jitter: Pen Pressure
flow Jitter: Pen Pressure
areas to which I want to direct the viewerÕs
attention. If you use this all over the
image, the illustration will lack focus.
I use this brush for shading and blending. Its
10 Shadows
Once the image has been adjusted,
texture allows for the blending powers of
the airbrush, but without the synthetic look
that so often accompanies it.
IÕm ready to begin laying in the shadows.
I want them to be deep, with the sense of
a classical Edwardian-era portrait. I want
the scene and the image itself to feel as 14 Colour balancing
At the end, I colour-balance the
though it were lit by a candle, so I can image. I try not to use too many colour-
make a natural focal point of our balancing effects: if they are used too
monsterÕs face through lighting. much, they burn out an image, scorching
Often I work with dozens of layers to
arrive at the final Multiply layer. I work 13 The hairy details
I now begin to work in my final
the texture and exaggerating the
highlights. This too is a bane of digital
using a textured, soft-edged brush or an hairy details. I paint using Screen and painting, and one to be careful of. I use it
airbrush, and I erase out areas that arenÕt Normal layers. I work on the basis that very sparingly at this stage of a painting.
to be affected. I then take down the layerÕs shadows are to be painted transparently, Here IÕve used it to pull the painting into a
opacity until it looks correct, and begin and highlights are to be painted opaque. slightly warmer and darker range, and IÕve
again on a new layer. This process gets This helps maintain which areas are to be turned the opacity on the layer down to
repeated dozens of times. focal points, and which are to recede into 50 per cent.
the background. I try not to use too much Now weÕre finished. ItÕs time to take the
To colour a monster Normal layering. If I work too opaque in image to the printer, and hope that the
11 There are many methods of applying colours. For this Photoshop, the piece takes on the plastic client doesnÕt eat me.
illustration, IÕm going to use layers of Soft Light. I like working with look thatÕs the bane of most digital art.
Soft Light because it approximates the feel of colour glazing in oils, and Yet there are some details that absolutely
I want to maintain the look of classical portraiture. I build slowly, need to be sharp and opaque: the
using as many layers as necessary. Often IÕll paint an area, take the highlights on metal or teeth, the rim of
layerÕs opacity down to 15 or 20 per cent, and repeat the process. a horn, the areas around the eyes.
Along with using Normal to sharpen
details in the eyes, I use it in subtle glazes
to diminish areas where the texture is too
obvious. In the background, IÕve laid in a
thin layer of darks.
Minor details
Don’t worry about
detailing every single
bit of your illustration.
While this level of detail
may be impressive on its
own, it doesn’t always
help the image overall.
When you focus on all
the minor details of an
image you lose a sense
of the whole; and if you
try to focus on the whole
of an image, you lose
your sense of the details.
A successful illustration
must reconcile the two.
Presents Anatomy 101

Ten
Digital art skills
toP The staff is held

ready, giving a sense
of impending action.
Fantasy art
Poses
The face is lifted slightly
and looks in the direction
of the leading leg.
Whether you’re drawing a hero or The leg is straight and powerful,

planted firmly on the ground and
a villain, we’ve got the gestures and defining the direction of the
character’s gaze.
silhouettes to help you out…
10
Villain making
plans
With sloping
shoulders and the head
angled slightly down, this
pose is closed and still – full
The arm is straight and at a
of calculating malice. One fist
right angle to the line of the The stomach
grasps the other, causing the
eyes, adding stability and muscles are relaxed
strength to the composition. but slightly twisted
9

muscles of the arms to bulge,
to the side.
and the feet are planted firmly Warrior
on the ground. This is a beautifully balanced and elegant pose.
The extended leg is long and straight, and is at
With the arm muscles tensed, a right angle to the staff, giving the character added
this pose hints at power that’s balance and strength. The right arm balances the
yet to be unleashed. body as it leans forwards, while the slope of the
shoulders creates a diagonal almost parallel with
the line of the leg. The staff is gripped with a
8
strong hand, giving the pose a focal point.
Flying
The leading arm is
outstretched, indicating
powerful momentum.
The other arm is streamlined,
held close to the side.
Just after the moment
of lift-off, the right
leg is still bent
for balance.
7
slayer
The shoulders are thrust
back, the chest pushes
forwards, and the slim waist
leads to the flare of the hips
and a strong balanced stance.
Compositionally, the
weapon creates a clean
line with the back leg,
giving the pose a
degree of equilibrium.

Top ten fantasy poses
6
preparing
to strike
The extended
arms stretch the chest
and stomach, and the
muscles are clearly
defined as a result. The
raised leg counterbalances
the sword held behind the
body. It follows that as the
sword falls, the leg will drop
down and back in response,
Fingers are
feeding more power into the arched and
attacking action. tense as they
grip the wall.
5
eVil sorceress
The arms are raised in
twin claws of menace
and evil intent, while
the face is impassive and
coolly confident. This pose
suggests an imminent strike. Chest and shoulder
muscles bulge with the
effort of supporting the
character’s body weight.
3
scaling a wall
Viewed from above, we see
4
the gripping hands and arm
Walker in muscles taut with the strain
the Woods of clinging to the wall. The raised left
Both the left arm and leg balances the leading right arm.
the left leg extend forward to The upturned face and concentrated
suggest stillness (motion is stare hint at a sense of purpose and also
represented by simultaneous help create the illusion of height, as the
movement of opposing character looks to his destination.
arms and legs), creating
a diagonal hip line and
strong leg shape. The
right arm pulls back,
causing the shoulders to
pull together.
The face is intent and

focused, locking a steely
gaze upon the victim. Fantasy
anatomy
These poses come
from the book
Anatomy for
Fantasy Artists
by Glenn Fabry.
www.davidand
charles.co.uk
1
Victory
2
Successful in battle
Villain once again, the mighty
creePing hero raises his muscled arms
Keeping low, the and shouts his victory to the
torso is held heavens. The straight limbs
parallel to the ground. The create a X-shaped silhouette
arms are ready to lurch that adds dynamism.
forwards and grasp the prey.

Digital art skills
Strike a poSe
Warren Louw explains how to fill your characters with
energy and dynamism by learning the art of posing…
hat I’m about to tell you are the achieved in art. Learn from other artists around you.
W crucial basics, the foundations

of your characters. If you’re
not getting this right, don’t
Art is about self-expression and reaching new
undiscovered levels within yourself.
Find your own style. We are all unique expressions
expect too much else to get better. Posing of infinite possibilities, so we all have the potential.
greatly extends and energises the Make sure that you’re loving the experience that art is
personality of your character, giving you bringing to your life, and you will only move forward.
Warren Louw the control you need to deepen the When you have all the ingredients in place, you can
Country: South Africa
relationship that they have with the think about your characters in terms of their spatial
Warren is a viewers. This is where you give your relationship to the world.
professional characters life. This is where it begins.
illustrator Be very specific about what you want
who spends
his spare time and what you like. Study it, understand
reverse-engineering it, make it a part of you and
feminine beauty. expand with it. Nothing
http://ifxm.ag/w-louw
is random. Everything
Direct link for has a purpose. Aim

high. Aim beyond
workshop files
http://ifxm.ag/a-pose
what’s ever been
1 state your intention

Before you even pick up a pencil, the
most important thing to consider is
intention – visualising and knowing
what you want to achieve. You have to
be very specific about what you want,
you have to believe you can do it, and
you must expect it to manifest. Aim
the highest you possibly can, higher
than anything that’s ever been achieved
in the history of mankind on Planet
Earth. This way you charge the process
with positivity, and you’ll be sure to get
things off to a great start.

Character pose tips
4 understanding
exactly what
you’re dealing with
What needs to happen early on is
for you to become familiar with
the shapes and forms that you’ll be
working with. You’ll need to pay
attention to all the curves, joints
and body parts, and understand
where they need to be in relation
to each other. Finding the hidden
lines and patterns where certain
points meet and join will be your
guide to work from. Just
remember: every tiny line you
draw has a purpose and is
designed to work as one with the
rest. You’ll notice that if one thing
is out, then others will follow.
2 male Vs female
If you can master the feminine, the I find my skills spontaneously
masculine will be pretty easy. They
share many of the same basic
upgrade themselves after I’ve worked
characteristics. When dealing with with a range of alternate styles…
the male, it’s just a matter of
adjusting a few things here and
there. I don’t draw males much, 5 FLoW
but I can do it very effectively Everything has a flow. With a bit of attention to anatomy
because of my work with the and its rhythm, this will soon become clear. The best way
female figure. Those who focus to help your poses have flow is to think of an S shape, as
primarily on males will have a far this will be the flow leading your eye through the pose,
greater difficulty achieving and will even help with your overall composition.
feminine beauty and sexiness.
6 the angle effect

When giving your figure an attractive, confident and sexy
pose, you have to adjust the angles of the head, torso, hips
and legs. To draw it, you need to understand it. This pose is
achieved by the legs shifting, pushing the channelling of
the body’s weight to the right side. Now the right hip is
confidently exposing itself, and with the legs wider apart,
both legs are taking a good portion of her weight.
3 let’s rectangle
Foreshortening and perspective
can be quite the cow for all of us
artists – don’t think the pros are
excluded from this difficulty. So
here’s a good starting point. If you
know how to give perspective to a
box, or even a rectangle, this
should help you give perspective
to your figures, since both have a
front, sides and a back. Yes, the
human form is far more complex 7 experiment with a different style
than that, with many other things Amazingly, you can learn a lot from using a different style.
to consider. But if you can keep Working from a different perspective on how to approach
the proportions within the things can give you a fresh viewpoint. It will only expand
rectangle guidelines, things will your understanding about posing and anatomy in general.
come much easier. Notice the I find my skills spontaneously upgrade themselves after
consistency of the centre point I’ve been working with a range of alternate styles, so this is
throughout both boxes. highly recommended to all.

Digital art skills
8 add emotion 9 Visualise a

Emotion and mood are vital Vanishing point
elements when creating a piece You first need to establish the
of artwork. A pose in itself can eye level: you’ll be looking up at
convey many emotions without everything above it. Try to keep
using things like facial expressions. the symmetry of the body running
Real emotion is always expressed on the lines. Refer back to the
throughout the rest of your body figure’s front design to see which
as well. There are no exceptions: it areas and elements run parallel
just depends on intensity. So just with each other.
be aware of body language.
11 Balancing that weight

10 the FoCuS you need I’m sure you have been left frustrated sometimes – all
Breaking it down to a simpler scale will give you the you’re trying to do is get a simple pose, right? This is
focus you need to concentrate on the essentials normally a result of being oblivious to the physics of
without all the details confusing you. Loosen up your balancing and centring weight. The solution is pretty basic:
technique and just flow with it. When you think too the leg that’s the most upright and straightest is the one
much, you’re acknowledging that you don’t already that takes most of the weight. So keep your footing
know it all. You know more than you think, so don’t let balanced in relation to your character’s centre, also
thought obstruct you. keeping in mind where the focus of the weight lies.
12 silhouetting
A great way to check if your pose
is eye-catching or dynamic is to
fill it in with black or a darker
colour and reduce it to a
silhouette. This enables you to
see if your pose has flow and
impact, and still conveys the same
essence that you originally
intended. Your focus is being
centred on the actual form, with
no internal affairs to distract you.
13 leVel of the eye

Eye level is really important in creating a
dynamic pose. Using a low view can make a
character seem dominant, heroic or just plain
huge. The point from which you view it plays
a critical role in creating a pose, because this
is essentially how you want the world to see it.
So when deciding on a pose, consider where
you want the eye level to be, as this can make
even a simple pose appear very dramatic.

in everY issue
ON SALE
IN TESCO,
WhSMITh,
bARNES &
NObLE AND
MORE!
Your galleries We showcase the best

digital and traditional art sent in by readers.
interviews Inspirational advice from the

biggest names in the entertainment industry.
workshops Digital art techniques and

drawing skills revealed in easy-to-follow steps.
P lus
art skills
interviews | reader
galleries | workshops
new skills | inspiration
traditional art |
and lots, lots more… Invaluable art advice from the
world’s leading fantasy artists
Visit our shop at: http://beta.imaginefx.com/shop

DIGITAL PAINTING • GAME ART • DRAWING SKILLS • COMICS & MANGA
Digital art skills
Learn from the professionals as our panel of Direct link for Q&A files
experts tackle real-world anatomy issues http://ifxm.ag/a-qanda
Our panel
Marek Okon
Marek is an experienced sci-fi
and fantasy artist, though he
started out as a web designer.
He has worked as a digital
illustrator for two years.
omen2501.deviantart.com
Jonny Duddle
Jonny is a freelance illustrator.
He’s working on a top-secret
project for Aardman, and
released the picture book
The Pirate Cruncher last year.
www.duddlebug.com
Andy Park
Andy is a talented concept
artist who works for Sony.
Among the games he has
worked on is the popular God
of War for PlayStation 2.
www.andyparkart.com
Bobby Chiu
Bobby Chiu is an independent
artist from Toronto, Canada.
Part of the Imaginism outfit,
he’s involved primarily in film
and TV production.
www.imaginismstudios.com
Jim Pavelec
Jim Pavelec lives in a world Adding little details,
surrounded by demons, such as veins or the
monsters and devils. He’s the skin fold between
author of the how-to monster fingers, will increase
book Hell Beasts. the realistic look of
your hand.
www.jimpavelec.com
Frazer Irving
Top comic artist Frazer Question
spends lots of time drawing
horrid-looking things on his How can I make the hands I
Wacom Cintiq. He’s worked
for 2000 AD and DC Comics.
paint appear more realistic?
www.frazerirving.com
Mélanie Delon Answer The colour scheme
for a hand is the same
Mélanie is a freelance
illustrator who specialises in
Mélanie replies as for the character,
except for the
fantasy portraits. Her most
Hands are one of the most extremities of the
recent book cover is for the difficult parts of a character to fingers and the joints,
ebook of A Crown of Swords. which are redder.
paint. You should bear in
www.melaniedelon.com mind that they have soft,
round edges, and also that they are a tip for the base and a speckled one for the
powerful way of conveying emotions. final blending. The light is stronger and
When you begin a hand, think about redder at the joints, because the skin is
the construction lines (they all come from thinner there.
the wrist): don’t hesitate to use your own The next step is texturing. This stage is
hands as a model. In general, fingers are the most decisive one. I use a basic Hard
halfway along the hand, and they are Round tip with Hardness set to 70% and
more like cylinders than boxes. Shape Dynamics set Size Jitter Control set
When you’re satisfied with your sketch, to Pen Pressure. I add a few thin lines and
start shading. Try to smooth as best as you folds on the skin, and some light dots on
can here. Use a basic Hard Round brush another layer.

Question
What’s the best way to draw
a screaming face?
Answer
Frazer replies
All the way from Edvard Munch
to Jack Kirby, every artist has
their own way of depicting
screams. The type of scream can
vary a great deal depending on the emotion
that drives this reaction: as an artist, you
need to know the differences between a
scream of fear as opposed to a scream of
anger, or perhaps of pain. It’s not
uncommon for a lazy artist to use the
wrong expression for an illustration and
cause much confusion in the onlooker,
especially in comics.
What I’ll do here is take you through the
process of how I construct an angry scream
for a comic, which is all about the scream
and the power behind it.
To do this, I employ standard drawing
techniques next to graphic elements, in
Artist’s secret
much the same way that Munch used swirls
to enhance his Scream painting.
Remember, though, that even the most op
detailed-looking image is really still Flip check in photosh
. Use edit >
composed of the most basic elements. The every artist leans to one side
flip your
trick is to identify which aspects of the face transform > Flip horizontal to isn’t
drawing and che ck tha t the lean
convey the idea most effectively. you can
too extreme. A little’s fine, but
spot major errors this way .
Step-by-step: The perfect scream

I start with a rather basic Next, I trace over the
1 sketch. This drawing is 2 sketch on a new layer.
loose and rough, to effectively These lines refine the basic
capture and reflect the raw shape and the main features,
energy thatÕs needed to drive framing the mouth with a
the rest of the art. I always find beard and making sure that it
that the initial stage of a reads as simply as possible. A
drawing Ð whatever the tone, lot of the raw energy from the
style or subject matter Ð original sketch is lost at this
provides the fuel for the final stage, because of the simplicity
image. You mustnÕt hold back of the black line Ð but this will
at all at this point if you want to all return as I progress to the
capture that scream. final piece.
The next stage in the

3 process is to block in some
4 The wrinkles stemming out
from the eyes are very
shadows on the subjectÕs face. important in depicting strong
Extreme, dramatic lighting can expressions. Here I exaggerate
be an incredibly valuable tool the lines on the forehead a little
when youÕre trying to create to enhance the anguish, as well
a particular mood, and is as darkening the bridge of the
especially useful when defining nose to show tension. These
dramatic lines on the face. features capture the basics of
Here, I choose to use quite the scream: after this, all you
strong side lighting, to imply need is the right colour palette
the conflict of emotion within and a well-chosen background
the character. to set it off perfectly.

Digital art skills
Question
What does the term ‘heroic proportions’
mean in the context of character design?
In this painting, I use various tricks to suggest movement, such as adjusting shadows
to place vehicles in mid-air, rough brush marks and flowing fur and flags.
Question
My figures always look static in
my paintings. How can I give
them more of a sense of motion
and dynamism?
Answer parts of the previous
Jonny replies drawing, or sketch
It’s common to find that the digitally and save
more you work on an image, different versions. You
the more static the end result can use Photoshop’s
becomes. I often find myself Transform tools to This image shows the proportions of the Now take a look at our hero. At between eight
rendering a successful character sketch, stretch, scale and distort average human male, and the musculature and nine heads high and a shoulder span of about
and skeletal structure beneath the skin. four heads, he’s the guy you want on your side.
with lots of movement and dynamism, particular parts of a
into something dull and lifeless. But figure’s anatomy.
there are ways of keeping a character Reference is important. Answer shoulders – the body’s widest point. But
looking dynamic. Look at photographs of Jim replies you don’t want your superhero looking
The most obvious place to start is the figures in motion. Heroic proportions are average, so design them based on the
character’s pose. To properly convey Analysing some of the important when working principle of heroic proportions.
character, you need to paint figures in incredible photography in comic books or fantasy A hero should stand anywhere between
poses that suggest their personality and online or in magazines, illustration. A common eight and nine heads high, with a
movement. For example, an aggressive can reap benefits when unit of measure when drawing the shoulder width of four heads across.
character could be hunched over with drawing dynamic figures. human body is head height and width. The hero’s waist is kept the same as the
clenched fists and taut neck muscles. Skateboarding shots are At eye level, the typical human being is average person’s, to help accentuate the
Sketch the figure, then revise it with a a good example: they do roughly six-and-a-half to seven heads width of their shoulders and the sweep of
more exaggerated pose. Keep pushing a great job of showing tall, and three heads across at the their crushing thighs.
a pose: it will often gain more and more the human figure in
personality. Use layout paper to trace movement and under
lots of tension and stress.
Lastly, look at artists Question
and art reference
books for tips, tricks
I’ve learned how to paint an eye head-on,
and techniques. There but there seem to be no workshops on
are some wonderful how to paint one from the side. I’ve tried
artists, such as Phil
Hale and Jon Foster,
and failed. What could I be doing wrong?
who are masters
of dynamic figure
painting. Look closely Answer of course spherical, with only about
at how they use Andy replies a quarter of the sphere visible. The eyeball
composition, The key to drawing or is basically a sphere with lids that wrap
perspective, figure painting an eye is to think of around it. Keeping these things in mind
Sketch your character, then revise him with a drawing and mark- it in three dimensions. will help you when you have to illustrate
more exaggerated pose. Real-life action shots of making to add Although we instinctively the eye from different angles – even from
skateboarders are a good source for seeing the
human figure in movement and under tension. dynamism to images. think of eyes as almond-shaped, they’re a direct front-on view.

Artist Q&A
Question
How do I put realistic mass and weight
into my character designs?
Answer
Bobby replies
‘Weight’ is really
gravity acting upon
Artist’s secret
a mass. Therefore, BAlAnce tre of gravity
the best ‘weighted’ in the image below, the monk ’s cen lift the
if he wasn ’t tryi ng to
character designs accurately is behind him. her back the
reflect how gravity affects a body. monster, he wou ld fall over : the furt
weig ht mu st be in front
Looking around you, you can monk leans, the more re, the
gauge this in a couple of different terb alan ce him . the refo
of him to coun es how
ind icat
ways: by looking at the body, and degree of lean in his body also
by looking at how the body heavy the monster is.
affects the environment.
In a soft mass such as a pot
belly, where gravity is strong and
the forces holding up the fat are
weak, the greater the weight is,
the lower the soft tissue will
droop or hang down.
Furthermore, consider how
weight might have an effect on
your subject’s surroundings. For
example, if your character is
heavy, they might sink into the
mud or cause the bridge or branch
that they’re standing on to bend
noticeably. If they’re being lifted
(strenuously) off the ground, the
vertical forces associated with the
action should be tense and taut,
to demonstrate how difficult it is
to overcome the gravitational
forces trying to pull the body back
to earth.
In a magical environment,
you could guide expectations by
making your heavy character
appear to be made of stone or
something else that’s very dense.
The initial sketch to capture In this later version of the
Your viewer will understand from the idea and establish same image, the weight of the
association that stone is heavy, forces. The monk monster is shown by the monk’s
is straining to lift the reaction: there’s strain on his
therefore your character must be monster, but the monster face, and his back and legs are
very heavy as well. does not budge. stretched with tension.
Step-by-step: Painting eyeballs side-on

Here’s a quick sketch of someone’s This is the same eye, seen from the Here’s the final rendering of the eye.
1 right eye. As you can see, there is a 2 side instead of the front. I’ve rendered 3 There are a few things that are worth
circle faintly drawn in, which represents out the sphere that makes up the eyeball noting here. Because the eye is moist, you
the sphere that makes up the eyeball. within the eyelids to help to illustrate the need to capture its reflective nature;
There are two lids that wrap around the three-dimensionality of the form. Again, there’s a shadow that the top lid creates
eyeball and, in note how the top on the eyeball;
doing so, cover lid goes above and the whites of
the majority of it. the bottom lid on the eyes are not
Take note of the the side. It’s really solely white –
way in which the important to get they too need to
bottom lid wraps the eyes right, or show elements
under the top lid else the picture of form and
on the side. can distort. shadow.

Digital art skills
Question
How do I draw facial expressions that convey the Artist’s secret
right emotion and don’t feel stiff or forced? Use A Mirror! little
this may sound obvious, or even a on your desk
Answer ssing, but keeping a mir ror
embarra
believable
Jonny replies can be a great help in painting
e som e tim e out to sketch yourself
If you’re painting with the basic anatomy of the face, shapes in the face and how they
expressions. tak nt of facial
eme
figures, drawing it can be easier to paint more distort and move with different
so you get familiar with the mov these sketches
muscles while pulling faces, and use
cartoons or rendering believable expressions. You don’t facial expressions. Also try
3D characters, you need to name every muscle or exaggerating the size of particular
to inform your work.
need to make them interesting to identify every component of the features to see how subtle
look at. Whether it’s evil, sad, skull, but with practice, you can get modifications can affect the mood.
happy or deadpan, their facial to know the main building blocks Try big noses, heavy brows or high
expression could be vital in of the face and how they fit together. foreheads. Small changes can make
communicating the story or Use reference to practise drawing a big difference.
message in your work. faces. Reference can be anything It’s also worth bearing in mind
However different people may from photographs you’ve taken or that facial expressions work in
look, everyone’s faces are made up in books and magazines, DVD stills conjunction with body language, so
of the same set of bones and or old-master paintings. While in most cases you’ll need to ensure
muscles. By becoming familiar drawing, try to identify the main the face matches the body.
rself! (If I look a little

Don’t be shy: draw you
e I am...)
wonky, that’s becaus
It’s a good exercise to draw different facial

expressions, whether you try drawing the
same character or a variety of different faces
from reference.
Question
I have trouble posing figures
realistically, particularly when they’re
in mid-action. How can I make my Try some experimentation.
The trunks of the bodies
moving figures better? do not change; I only
adjust the limbs and props
to a position that I like.
Answer figure: when a body is

Bobby replies airborne, gravity pulls it
When you show bodies in down, led by the trunk of
motion, you must consider the figure. Inertia dictates that
physics. What are the effects the limbs will tend to trail
of gravity on the pose? What behind the torso.
about inertia or momentum? Which With these points in mind, I
way is the body moving? All of these sketch out my figure accordingly.
considerations tell you which forces are If I’m unsure about how to position
acting on our figure, and how much certain parts of the body, I will attempt
strain the body should undergo to do to recreate that part of the pose
what it wants to do. myself, so that I can see how far back
Next, consider the restrictions an arm or a leg can extend behind
imposed by anatomy. Bodies are the moving body without it starting
limited in the ways that they can bend, to feel uncomfortable.
twist, stretch and rotate. Artistically
speaking, it’s acceptable for you to Even though this body is upright, we
understand that the figure is airborne
exaggerate these limits, but not to through the posing of the limbs relative
ignore them altogether. Take a leaping to the body.

Question
How can I be more true to life
when I paint the shading on
my character’s faces?
Answer
Marek replies
When I was younger, I always
wondered why artists practised
light and shadows on such
simple objects as spheres, cylinders or boxes Contrary to initial
instead of on cool robots. Now I know that impression, the human
face is an exceedingly
the simplicity of those objects enable an complex object,
artist to fully understand how light casts especially when it
comes to an accurate
shadow and then to transform this portrayal of natural
knowledge to more complex shapes. lighting and shadow.
Let’s take the head, for example. It’s a

complex object with different planes to
consider, which can be really tricky to
shade properly. But if you break it down
into basic shapes like spheres and cubes,
it’s much easier to grasp it in your mind.
In much the same way, divide complex
scenes or objects into familiar shapes, and
detail them after basic shading is properly
done. This will help you greatly in your
efforts to master the art of shading.
Step-by-step: Add shading detail to a plain face

Start with a basic shape – Now it’s time for the basic
1 ideally a roundish cylinder
2 features. The nose is
(the head), attached to another basically a triangle sticking out
cylinder (the neck) attached to in the middle of the face, while
another roundish cylinder (the the eye sockets are those two
body). Just to make this easier symmetrical depressions.
to understand, let’s put a I usually paint these with a
simple grid on our shapes and simple single brush stroke.
add some basic shading.
3 Let’s shape this face more

correctly. Here, I’ve split
4 The next phase is to blend
the borders between these
the surface of my head into shapes, then add some muscle
shapes that can be shaded and skin structure to make the
more carefully. All of those face fuller. Don’t forget to stick
features are parts of spheres to the shading you did before;
and cylinders that are fairly it’s a good base for complex
easy to shade. Just check out detailing. Finally, you add in
the eye area: it looks like I put all the details you need. With
another sphere into the middle good base shading, this head
of my eye socket. should look pretty convincing
by now.
In every issue of ImagineFX, our panel solve real-world creative problems with helpful techniques. Email your
question to help@imaginefx.com or write to Artist Q&A, ImagineFX, 30 Monmouth St, Bath, BA1 2BW, UK.

Website
taKe a BreaK and visit

www.imaginefx.com
Julian tozEr account manager ContaCt us
julian.tozer@futurenet.com PHonE +44 (0) 1225 442244
suzannE sMitH account manager EMail mail@imaginefx.com
suzanne.smith@futurenet.com art subMissions fxpose@imaginefx.com
viCtoria sandErs senior sales executive wEb www.imaginefx.com
Editorial victoria.sanders@futurenet.com twittEr @imaginefx
ClairE HowlEtt editor faCEbook www.facebook.com/imaginefx
claire.howlett@futurenet.com MarkEting
PHiliPPa nEwMan group marketing Post imagineFX Magazine,
Mark MitCHEll art editor Future Publishing Ltd,
Paul tysall cover designer manager 30 Monmouth street, Bath, Ba1 2BW, UK
riCHard Hill ProdUction editor Print & ProduCtion
sCott Ewart cd editor subsCriPtions
stEPHaniE sMitH production uk, EuroPE & rEst of tHE world
co-ordinator uk PHonE o844 848 2852 © Future Publishing Limited 2013. all rights reserved. no part of this magazine
Contributions
Mark ConstanCE production manager outsidE of uk +44 (0) 1604 251045 may be used or reproduced without the written permission of the publisher.
Bobby chiu, Mélanie delon, Jonny duddle, Future Publishing Limited (company number 2008885) is registered in england
Justin gerard, Frazer irving, ron Lemen, nola CokEly ad production manager EMail contact@myfavouritemagazines.co.uk and Wales. the registered office of Future Publishing Limited is at Beauford
natHan drEwEtt ad production wEb www.myfavouritemagazines.co.uk court, 30 Monmouth street, Bath Ba1 2BW. all information contained in this
Warren Louw, Marek okon, andy Park, magazine is for information only and is, as far as we are aware, correct at the time
co-ordinator
Jim Pavelec, Marshall vandruff subsCriPtions of going to press. Future cannot accept any responsibility for errors or
MiCHEllE rogErs operational purchasing us and Canada inaccuracies in such information. readers are advised to contact manufacturers
PHotograPHy Future photography studio manager and retailers directly with regard to the price of products/services referred to in
PHonE (toll-free): 1-800 428 3003
dan olivEr editor-in-chief this magazine. if you submit unsolicited material to us, you automatically grant
liCEnsing wEb www.imsnews.com/imaginefx Future a licence to publish your submission in whole or in part in all editions of the
stEvE gotobEd group senior art editor magazine, including licensed editions worldwide and in any physical or digital
robin abbott creative director rEgina Erak licensing and syndication format throughout the world. any material you submit is sent at your risk and,
director although every care is taken, neither Future nor its employees, agents or
JiM douglas editorial director
Print 15,365
subcontractors shall be liable for loss or damage.
futurE PublisHing liMitEd
CirCulation dEClan gougH head of creative and Digital 2,371
daniEl folEy trade marketing manager design group the aBc combined print, digital
riCHard JEffEriEs head of international nial fErguson managing director,
and digital publication circulation
for Jan-dec 2012 is
newsstand technology, film and games 17,736
Mark wood chief executive
advErtising +44 (0) 207 0424124
A member of the Audited Bureau of Circulations
CHarliE said advertising sales director Printed in the UK by Philtone (cover) William gibbons (inside)
distributed by seymour distribution Ltd +44 (0) 207 429 4000
charlie.said@futurenet.com 2 east Poultry avenue, London ec1 9Pt
Jas rai sales manager imagineFX is the registered trademark of Future Publishing Ltd.
jas.rai@futurenet.com all rights reserved.

How To Draw Fairy Tales-Viny

Uploaded by

Copyright:

How To Draw Fairy Tales-Viny

Uploaded by

Document Information

Original Title

Copyright

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

How To Draw Fairy Tales-Viny

Uploaded by

Copyright:

Pr esen ts

how to draw and Paint

Master the proportions, poses,

Discover how you can

Claire Howlett, Editor

From the makers of

We’re the only magazine

The ﬁnest artists in the world offer you the best

Digital art skills Artist Q&A

“Most of what I do stems

Paul revels in the chance to paint rocks,

Tom realised he could draw

Although Duc has studied

After studying animation

As a kid, Walter always had

Lucas grew up with the

© 2008 Quarto Publishing

‘six or seven female dryads guarding a

© 2008 Sony Online Entertainment

I or book covers, design

See more of Ron’s work

Formulaic ﬁgure drawing systems

reIlly’s sIx lInes To The Torso

Here’s an illustrated guide to the Reilly

Once you’ve learned the Reilly method, you

exploring the reilly

It’s important to practise as

some of these principles in his figure

As you construct your ﬁgure, try to use long,

You can map shadows to the shapes

the base of the pelvis are also helpful to

you can easily depict this movement in the muscles correctly

the cylinder by pinching one side

t the complex centre from

Direct link for

from either side of the body. Neglecting

three-quarter line of the figure, or where

the coathanGer method

Neglecting to draw in the GettinG the torso started

the obliques, or what we usually call

draWinG the of the body are very pliable and can be

Here’s how to build up a complete ﬁgure, c

WorkinG the six-pack

The serratus muscles

hoW the torso rotates

as a good lesson in what not to do

W can now draw your usual

Android, PC & Mac: www.zinio.com/imaginefx

the legs Direct link for

that drive the rest of the body http://ifxm.ag/a-legs

t body and power much of its

The relaTionship beTween

Remember that draw arcs To

the shoulders, of the pose. Understanding ﬁgure

Finding The big relaTional shapes in

For compressed or seated poses, I like to start the gesture

The kneecap itself is a small free-

s-ForMs in leg Muscles triangular than cylindrical in its

coMparing leg Muscles To

The knee can be

Here you can see how the sartorius on the

use pisTon shapes To capTure

build up leg MusculaTure in Three siMple sTages