Artist Daily : figure drawing

Discover the Enduring Appeal of Sketching

Courtney Jordan — Mon, 06 May 2013 03:33:00 GMT


Attitude by Patricia Hannaway, 2006, pastel sketch drawing, 21 x 12.

Human figure sketching, especially learning how to sketch from a model, is one of the most rewarding ways of practicing art because it can enhance your abilities in ways that are both practical and inspirational. It's practical in that creating figure sketch drawings develops skills that will serve you again and again as an artist—contour, shading, line, and the relationship of parts to a whole. It's inspirational in that the landscape of the human body contains almost every form, texture, shape, and curve that an artist could possibly want to recreate, and there is an endless array of ways to do so.

Sketch drawing figures is not just about drawing anatomy, though that knowledge certainly helps me recognize why the body looks the way it does and the reasons for its movements. But drawing figures is often about finding an emphatic action or gesture that animates and energizes the rendering. For artist and animator Patricia Hannaway, that means finding and accentuating the action line of a figure. “My thought process as I’m drawing is, The model is sort of doing this and kind of doing that," she says. "I become engaged with what the model is doing and mentally take the pose myself, feeling the movement in my own body. This is transferred to the page via an energized line; the drawing proceeds outward from an inward feeling."

Using a model as the stepping off point, Hannaway creates sketch drawings that emphasize pivotal moments of action where the figure is about to move or is in the act of doing so. Perfecting your ability to render the human form means practicing doing the same thing. As you get stronger in identifying the angles of motion in a figure, your skill in sketching that motion will likely increase as well, making for more productive and dynamic sketching sessions.

Drawing magazine is our top resource to help solidify your drawing skills with articles in every issue that give you insights on figure drawing, sketching, and so much more. You'll see in every issue how rendering well and seeing dynamically are two essentials every artist needs to have in order to capture the essence of his or her subject, so enjoy your subscription!

Step by Step to a Virtuosic Figure Drawing

Courtney Jordan — Fri, 03 May 2013 03:30:00 GMT

Seeing a painting or figure drawing progress from beginning to end allows the finished artwork to be understood as a series of discrete steps leading to a virtuosic whole. During a recent tour of the Grand Central Academy (GCA), in New York City, I observed instructor Joshua LaRock developing a drawing of Michelangelo's marble sculpture Dying Slave, based on a cast bust of the master's sculpture.

LaRock approached the human figure drawing as if he were sculpting on the page, striving for a trompe-l'oeil sense of form in space. He documented his progress along the way and shared his approach with us.

		When preparing the figure sketch setup of the bust, it was critical to have one isolated light source on the cast. LaRock's rule of thumb is to position the light source at a distance from the subject that is approximately two to three times the length of the subject's largest dimension. The artist sat eye level with the bust and positioned it to emphasize strong, clean lines. He also took note of the exact placement of the bust and his position in relation to it, to prevent even the slightest change in perspective from sitting to sitting.
		The artist began his figure drawing very loosely to get the general proportions of the bust and develop points of stability-the height and width of the subject and any comparative measurements that could act as visual points of reference throughout the process. LaRock then produced the "block-in," in which every element is defined, from the thin and crisp contours, form shadows and cast shadows, to loose and lightly valued plane changes.
		Once the block-in was complete, the artist stepped back to evaluate the overall hierarchy of light and dark over the form, asking himself what the brightest and darkest regions were, the second brightest and darkest regions, and so forth. LaRock points out that assigning these demarcations while drawing figures isn't guesswork but is done in direct relation to how perpendicular a particular feature of the object is to the light source, with the brightest piece being the most perpendicular to the light.
		Once the darkest and lightest areas were established, the illusion of three-dimensionality was created, and it became possible to see the full arc of light over the face of the figure. In this stage of the figure sketch, LaRock focused on preserving the spectrum between the two extremes with minute changes made with pencil and eraser.
		In the final stage of the drawing, LaRock wanted to answer one crucial question: Does this two-dimensional drawing seem to sit in space and suggest the gesture of the figure? Are the figure drawing proportions correct? He went back to his initial rationale for the drawing-a desire to accentuate the long arc of the right side of the figure's neck as it leads to the ear and continues around where the hairline meets the forehead. To accomplish this successfully without creating unnecessary distractions, LaRock went back in and played with the left side of the face, darkening certain areas so that they seemed to sit back farther in space and lightening other areas so that the right balance of volume was created. All of this involved very minor touches of graphite and also making a point on the eraser and using it as a drawing tool, hatching as you would with a pencil.

LaRock's expert drawing is based on sound understanding of light and form and skilled execution of those principles. His willingness to break down his approach to every eye-deceiving "curve" is similar to the "real life" exploration and instruction you can receive with a copy of Life Drawing: How to Portray the Figure with Accuracy and Expression. You'll gain access to thoughtful instruction on the basics of figure anatomy, proportion, and design that puts you on the road to being your artistic best. Enjoy!

3 Life Drawing Tips

Courtney Jordan — Wed, 20 Feb 2013 04:26:00 GMT

I have a painter-friend who is gearing up to do a major work with figures, but she feels a bit rusty about painting a model in all his or her glory. To help prepare herself, she's set up a series of life-drawing sessions so that she can spend a bit of time drawing models before tackling her actual subject. I thought it was a really good idea, but I was super intimidated when she brought up the idea of me coming along and drawing, even though there will be several other people there sketching as well.


		Figure drawing by Degas.

I've decided that I am going to go, because I should go, and I have always liked life drawing models once I'm doing it. I just build up the tension in my head beforehand for whatever reason.

This time, I'm going in with a game plan that includes sticking to three life drawing tips, and here they are:

Start with the gesture. I always feel my eyes bulge out and careen crazily back and forth when I get in front of a model, like I need to catch every nuance or else utter failure is assured. Not true. I plan to step back, take a deep breath, and start with capturing the gesture of the model, the full-body pose, before doing anything else in my sketchbook.

Another of my life-drawing lessons is to focus on proportion. If I can get the head to be the correct size relative to the torso, arms, and legs, then I will know that I am in pretty good shape.

I also plan not to sink into the quicksand of adding too much detail too soon. In my first session, all I want to do is put down simple lines and a basic application of light and shadow on the form. I don't need to go much beyond that, and if I find myself reaching for those finer details I hope a little alarm will go off in my head. Then I'll know to go back and check my proportions, because I bet there is something I am skimming over.

For more life-drawing lessons that will give you a strong sense of what to look for when you have a live model in front of you, look into the guide, Life Drawing: How to Portray the Figure with Accuracy and Expression. It is focused solely on life drawing and includes comprehensive art instruction on the subject. Enjoy!

They Can Be Moody, Too

Courtney Jordan — Mon, 04 Feb 2013 04:12:00 GMT

I'll admit that in the past I have been guilty of thinking of colored pencil art as colorful and bright and not necessarily able to be coupled with serious subjects or moody narratives. But that was my own bias. As I've spent time looking at sketchbooks of draftsmen creating colored pencil art and figure drawings made using colored pencils, I've discovered that the medium is as diverse as any other.


	Seeds Of Memory by David Suff, colored pencil drawing, 20 x 28.

My blind spot with colored pencil drawings largely has to do with the way I've seen the implements used. I've seen drawings where the paper is literally covered with dense layers of color, which can make the surface waxy, unusable, and uninteresting.

But recently I've seen life-drawing sketches of figures made with colored pencils that show how much depth and subtlety the medium is capable of when light hatchmarks are used. Colors are built up in controlled layers of line, and the lightness of the paper underneath is allowed to shine through and illuminate the marks.


Colored pencil sketch by James Jean, detail.

In figure drawings, this is an exciting prospect. I can apply what I already know about drawing but add color into the mix, all while making the motions and marks that I love. So you can draw a dusky, moody figure with colored pencils of orange and blue and red, applying line over line to create passages that are unexpectedly complex and show a lot of depth. And, when used on paper with a lot of tooth, colored pencil art can have a truly interesting surface that dispels all of my past biases completely.

To gain more insight on colored pencil techniques--from the basics and beyond-consider Janie Gildow's newest DVDs, TK and TK. Gildow is a colored pencil drawing expert and really shows how to make the medium shine. Enjoy!

What Sets Her Apart

Courtney Jordan — Fri, 01 Feb 2013 04:25:00 GMT

Susan Lyon's figure drawings truly set her apart artistically and are the foundation and preparation for all she creates as an oil painter. If you ask her why, it is a drawing's immediacy, directness, and drama that are the ideal conduits for her creative sensibilities and in her opinion these provide the best way to capture the many facets of the human body.


Lofton by Susan Lyon, 2008, conte drawing, 16 x 14. Adapted from an article by Allison Malafronte.

Lyon's exposure to human figure drawing started with her exposure and exploration of the drawings of John Singer Sargent and Nicolai Fechin, particularly the dramatic light-and-shadow patterns in their artworks that reminded Lyon of old Hollywood movies. To hone her skills for drawing figures, the artist attended life-drawing classes and short-pose sessions during her studies at the American Academy of Art and the Palette & Chisel Academy of Fine Arts, both in Chicago.

At first, Lyon was intimidated in these situations, particularly when creating figure drawings very quickly. "I dreaded the quick-pose sessions because I couldn't get myself to slow down...it seems counter-intuitive to say that you have to slow down in a quick-sketch class, but for the first time I was being forced to really observe and think about what I was drawing before putting pencil to paper."

What she once dreaded, Lyon now views as an asset in her working method, and she encourages other artists to devote a lot of time to quick figure sketching as a result. "It really forces you to simplify and think in terms of basic shapes and values. The ideal situation would be for the model to move whenever he or she wants," she says.


	Twisted Figure by Susan Lyon 2008, conte drawing, 14 x 16.

So go grab a stopwatch or look at your phone and start drawing--anything and everything, but especially figure sketches--quickly and with a few clear details involved in the work. Remember to draw with a light touch and take your time measuring proportions, just like Lyon does, and you'll find your figure drawings improve dramatically.

For more on understanding what makes a difference when drawing figures and how to make drawing a significantly important part of your process, consider a subscription to Drawing magazine. Every issue is cover-to-cover resource that I find myself referring to again and again. I hope it is the same for you! Enjoy your subscription!

4 Tips for Drawing People

Courtney Jordan — Mon, 14 Jan 2013 04:42:00 GMT

I was recently on the train with a friend who caught the attention of an artist sitting across from us. She started drawing my pal. We were thrilled! It was an exciting moment as we watched my friend's face appear on the paper in front of us. As the artist went about her work, I observed her in action--and then went home and did a little more research to pull together these tips on how to draw people that might be useful.


		Self Portrait by Jon deMartin, 2011, chalk drawing on toned paper, 17 x 14.

Different lines are essential when drawing people--denoting volume and light and dark means remembering the diversity of line. It can be thick or thin, jagged or smooth-edged, dabbed and dotted or unbroken. Figuring out how to draw someone's face with just line is a lesson in itself in how useful and dynamic lines really are.

Move your hand--and the paper. I was initially surprised at how often the artist drawing my friend would move around. But in hindsight, this makes perfect sense. The gesture of our hand when staying in one place can only change so much, so altering the position of the hand or the surface we are drawing upon can help you get the marks you want.

You are not connecting the dots. My impulse is always to draw people starting with a bold outline that goes all around their body or face. But that's an elementary urge, and in reality I don't need a rigid enclosed outline to create dynamic drawings of people. I can use intermittent lines, marking the nose or the hand for example, and the viewer's eye will often fill in the rest.


Julie in Profile by Jon deMartin, 2009, chalk drawing on toned paper, 24 x 18.

Crosshatching is never extreme. When I first learned about crosshatching, my teacher reinforced again and again that it should never be too crossed. What I mean is that the two lines of the mark should not be drawn perpendicular to each other so you have a true "+." Instead, the lines of a crosshatch are usually at a much more acute angle to each other.

This is only the tip of the iceberg of what it takes to learn how to draw a person, but it's definitely a place to start. For more in-depth instruction on drawing people, consider Dan Thompson's DVDs, Figure Drawing: Anatomy of the Head and Figure Drawing: The Gesture. As a bundle, the two DVDs are available to you for $65. Enjoy!

The Foundation of Figurative Art Is...

Courtney Jordan — Fri, 04 Jan 2013 04:29:00 GMT

In figure drawing and painting, knowing the ins and outs of the human body is essential. There's no way around that fact, and honing our skills with anatomy drawing helps us understand and truly see the body more accurately than any other endeavor.


Drawing by Stephen Schultz.

I was flipping through one of my eye-candy books, The Perception of Appearance: A Decade of Contemporary American Figure Drawing, trying to figure out a way to convey the importance of human anatomy for artists. As I thumbed through the book, I saw so many different interpretations of the body. Some sketches, such as those by Stephen Schultz and Don Southard, were crudely drawn; others, by such artists as Kent Bellows and Stephen Assael, were more fully realized.

Some sketches were developed solely with line and contour as in the work of Charles Cajori while others from Fred Dalkey were hewn with gradation and shading and seemed to be carved out of the very paper they were drawn upon. But each drawing, no matter how it was rendered, belonged in the book because they all exhibited a strong knowledge of how to draw a human body.


		Model Looking at the Light by Fred Dalkey, 2011, silver point drawing with sgrafitto, 9 5/16 x 7.

That kind of skill can, of course, be interpreted differently--which the book clearly demonstrated--but if you don't have it, it shows. So as I sit here and wonder what I am gearing up for in 2013, know that learning more and more about drawing anatomy is foremost in my mind. There's no substitute for it and after seeing many skilled drawings of the human body, I realize that anatomy isn't just a linear subject to learn like a mathematical equation. It is a faceted key that fits many doors of artistic expression--and I want to walk through those doors with my own art and explore different ways of drawing and painting. We should never feel limited in terms of our creativity, and for an artist, knowing anatomy is a way of assuring that doesn't happen.

The DVD Anatomy for Artists: The Human Form Revealed is a great place to start your explorations of how to draw a human body or to brush up on your knowledge of human anatomy for artists. It takes on an essential area of art from the artist's perspective and makes exploring anatomy drawing a focused endeavor as you strengthen your skills. Enjoy!

He Leaves Traces of Skin Everywhere

Courtney Jordan — Fri, 21 Dec 2012 04:26:00 GMT

That sounds gross, but in the hands of contemporary painter Alex Kanevsky, it's not. As a classically trained artist, Kanevsky's painting techniques and skills are strong. But the way he chooses to paint--in patches and broad swaths that lend a visual vibration to every inch of canvas--is not just about presenting forms realistically.

R.W. by Alex Kanevsky, 24 x 24, oil painting on wood, 2011.

In Kanevsky's hands, paint practically pulses with life. If he's drawing a figure, for example, he'll depict the model, the wall behind where he or she sits, the floor, and what the model is wearing and sort of leave traces of them everywhere with his painting brush. A nude figure in front of a blue wall has dabs of that same blue on her thighs and around her hands. A figure clutching a brown coat to her chest is surrounded by that same brown color, as if the coat spilled itself all over the floor. The paint texture varies on the surfaces from slick to scraped and smeared, further complicating where one depicted object ends and another begins. It's bizarre and really, really cool at the same time.

J.F.H. as an Island by Alex Kanevsky, 36 x 36, oil painting on wood.

Motion or energy supersedes more traditional preoccupations of light and shadow in Kanevsky's fine art. Patches of shadow and sections of light on a figure's back or face are not realistic but they are refined-and he's aware of this. He is just not allowing what he sees to overtake how he wants to present what he sees, which is a lesson all of us should take to heart if we want to paint in a style that is truly our own. After all, the style with which an artist handles paint and wields the painting brush is what makes them unique.

At Artist's Network University, there are dozens of instructors who paint in many different ways, and we're lucky to have access to them all. Consider treating yourself to an Artist's Network University gift card or give it to that special painter or draftsman in your life so they (or you!) can find art instruction in the style and from the artist that most inspires them. Enjoy!

Bumps and Grooves That Mean I'm a Psycho Killer

Courtney Jordan — Mon, 19 Nov 2012 04:24:00 GMT

Okay, I'll admit that skull reading and phrenology sound a little silly to me. Trying to get a sense of a person from the hollows and grooves on their skull? Not buying it. But I do know that "reading" the skull as an artist is key when it comes to learning how to draw a human head for a portrait or figure study. The planes and angles of the skull determine how everything else in a person's face works, from the angle at which they hold their head to the way their mouth is pursed to how their eyes rest in the cavities of their eye sockets.


Shadden by Kristin Kunc, 2008, 8 x 10, oil on board.

These anatomy drawing art lessons are crucial when it comes time to render a person's likeness, so here are a few tips on skull anatomy:

When drawing the skull, proportions are of primary importance. When you are doing the anatomy drawing in profile, you'll usually find the head can be split into three equal parts: from the chin to the upper lip, the upper lip to the brow bone, and the brow bone to the top of the head. When drawing the head straight-on, the head can be split into four equal quadrants, with the horizontal axis drawn at the bridge of the nose, and the vertical axis bisecting the face right through the center of the nose.

If you are drawing eye sockets, note how big those suckers actually are! Usually the eye socket is three to four times the size of the eye that we see on the surface of the face. These openings impact how far the brow bone and cheeks jut out on a person's face. Drawing the depth of these areas will give a realistic sense of dimension to your anatomy drawing.

I always try to keep the anatomy drawing of the mouth in my mind when I am drawing this area of the face, because my instinct is always to draw the mouth much lower than where it actually is. Avoid this by remembering how much space our teeth and gums take up behind our lips. The lowest part of the gums (not the lips) rests right on the top of the chinbone.


		Antonio by Kristin Kunc, 2008, 8 x 10, oil on board.

For the artist trying to become better and better at how they paint people, keeping the anatomy of the face in mind will serve as a roadmap for painting every feature of the body. I didn't realize how essential drawing anatomy is when you are rendering a face or doing a body drawing until I spent time with our anatomy DVD, Anatomy for Artists: The Human Head, and our downloadable DVD, The Human Form Revealed.

They show that human anatomy for artists is really about painting and drawing the body with dimension, and explain that although the skin of the figure may appear smooth, underneath are complex interrelationships that you want to capture visually in order to create a realistic painting. Check out these resources and enjoy!

You Deserve It! Our Newest Free Video Lesson on Charcoal Drawing

Courtney Jordan — Fri, 09 Nov 2012 04:59:00 GMT


Click the picture above to view your free video lesson on charcoal drawing.

I was inspired recently when I went to an art gallery show and saw some wonderful charcoal drawings. For so many of us, charcoal lessons were part of our first explorations of art making, but to see these highly finished charcoal drawing art pieces was a real treat.

The best of these works depicted the human form—there was a charcoal figure drawing, a charcoal portrait drawing, and several other pieces. You could tell the artist was fine-tuned to the gradation of light and dark. The drawings truly captured the light effects of the scene, and the model's skin seemed to glow.

This got me thinking that the nuances of value—and how wide that spectrum can be from lightest light to darkest dark—are best explored in a charcoal drawing lesson. Seeing a skilled artist conduct a charcoal drawing demonstration will greatly help you work with value in any medium, and this is where our free video, Charcoal Drawing Lessons: Learn How to Draw Charcoal Art and Improve Your Charcoal Drawings, comes in.

In Charcoal Drawing Lessons, you'll see how artist Chris Wynter takes the raw material of a still life and transforms it with attention to the finer details of a charcoal drawing. Wynter discusses charcoal drawing details such as the subtleties of value, edges, and creating a path of light all of which he uses to create a successful drawing.


	Click the picture above to view your free video lesson on charcoal drawing.

He gives practical advice on when hard or soft charcoal is appropriate—for me it's the latter all the way, because soft charcoal allows you to pull back on value with ease. Wynter also delves into how he enhances the surface of his charcoal drawing using erasers, cloths, and even his fingers. Seeing him get in there and really refine his charcoal drawing gave me a whole new impetus to explore this medium further and see what it can teach me.

Take a look at Charcoal Drawing Lessons: Learn How to Draw Charcoal Art and Improve Your Charcoal Drawings, and see if you feel the same way. Enjoy!

From the Simple to the Complex

Courtney Jordan — Wed, 31 Oct 2012 03:14:00 GMT

I recently took a life drawing class and showed my sketches to a friend, who's a super-skilled painter. I was reluctant to share them, but when she looked at my final sketch--in which the model had her hips contrapposto but twisted slightly away from me with one arm across her chest and the other hanging at her side--she said what I had been thinking all along: "That's a tough pose."


	Standing Nude Back Study by Sadie Valeri, 18 x 24, white chalk and colored pencil on buff paper.

It was! It had been really hard! The proportions I had come to count on when drawing models had sort of disappeared in this sketch because of the model's pose. That's why I wanted to take this opportunity and go through how model poses can range from the simple to the complex, so that if you are ever in a position to decide on the life drawing pose you'll be sketching, you will go into knowing immediately if you are working with a basic or more complicated pose.

Long shot. A pose that is comfortable to work with in the beginning of your life drawing lessons could be a person standing straight with arms at his or her side. That way you can most easily measure proportions of arms and legs against the length of their body, and focus on the light and shadow shapes on the body.

Bend it like...The complication factor of drawing models is enhanced when arms or legs are bent in such a way that the limbs appear foreshortened. It's the equivalent of landmarks disappearing, which means you really have to see with your artist's eye. Abstract that bent knee or folded arm so that you evaluate it as light and dark shapes, otherwise you'll stay stumped-or end up with a stump-like me!


Red chalk figure drawing by Robert Liberace, detail, chalk on paper, 14 x 22.

Advanced! I've found that the most complicated life drawing sketches I've struggled with don't involve big movements like arms overhead or a body bent over, but subtle moves like shoulders that are tilted back or hips that tilt contrapposto. If you find yourself struggling with how to draw a model repeatedly, it may be that there are a few subtle body positions that you are overlooking. Step away and reassess, and I bet you'll pick up on something you weren't aware of before.

Whether you are pursuing simple life drawings or ones of more complexity, you are doing the right thing by making it a part of your practice. It will pay off big time when you decide to start your art career, which is where Artist's Market Online comes in.

Artist's Market Online is the complete online reference guide for fine artists, photographers, graphic designers, and illustrators who want to show and sell their work. With thousands of market listings available to subscribers, you can start selling your work right now. Plus there are record-keeping tools for tracking your submissions, expert how-to articles, and in-depth seminars--including one available right now on life drawing! Your Artist's Market Online free trial is ready and waiting for you. Explore and enjoy!

With Skill Comes Style

Courtney Jordan — Wed, 10 Oct 2012 03:07:00 GMT

I feel like every time I pick up a pencil to attempt portrait drawing, I am back in elementary school learning the basics of how to draw a face all over again. You know that art argument about whether you need natural talent to learn how to draw? Well, I'm here to tell you it isn't true because I've got zero natural ability, and yet I know that my skills have improved tremendously over the years.

Self-Portrait by Kathe Kollwitz, woodcut, 1923. Kollwitz was always so brave
with her line, unhesitating and bold. I quite admire that!

But what I want and struggle with the most is figuring out my style of drawing. I want my works to have a look that unites them, and that is uniquely 'me.' Something that distinguishes them in a viewer's eye, but also connects them to the work of the artists and draftsmen that I admire.

It's a tall order, and what I've come to realize is that with skill comes style. Every step I get closer to figuring out how to draw faces with technical accuracy is a step closer to drawing 'my' way. So if you are like me, give yourself a break! Focus on learning the skills of drawing portraits—how to draw a nose and how to draw lips—and trust that your style is in you, and that the way you draw is your style!

The Lovers by Rockwell Kent, wood engraving, 1928. Kent was masterful in his use of black
and white and the way he could turn line upon line into just about anything.

There's no need to struggle with how you draw. If you are drawing, your skill and your style are growing together. Look at your work with new eyes knowing that every drawing technique you master like drawing hair realistically is putting you on the path to a distinctive style with each mark you make.

I've also found that I make the greatest strides with my drawings when I'm in a class working in tandem with my instructor and the environment is one where I'm not intimidated and can really focus. That sweet spot was hard to find until ArtistNetwork.tv teamed up with Artist Daily! It is an online resource that allows us to take art workshops right in our own homes through streaming videos that you can view 24/7 on your computer or phone. And the artists who teach the workshops are some of the best out there—Sterling Edwards, Chris Saper, Nancy Reyner, Richard McKinley, Terry Harrison, and more. Right now, you can all explore ArtistNetwork.tv for free for four days. Just use the coupon code ATV4FREE and enjoy!

What's So Hard About Sitting in a Chair?

Courtney Jordan — Fri, 24 Aug 2012 03:59:00 GMT

Plenty--especially if you are trying to figure out how to draw a person in that chair. Drawing people standing up is waaaaaay more straightforward than puzzling out how to proportion and position a figure sitting down. But to draw people this way opens up a lot of compositional possibilities for an artist.

Catherine by Robin Frey, mixed media on paper, 9 x 14.

I always think of the legs first. There are so many possibilities--arranging the legs so they are crossed, one leg can be tucked underneath the model, drawn up to his or her chest, or positioned at different levels with the use of a footstool or bench.

There seem to be fewer possibilities when considering how to draw people from the waist up. Arranging the model with their arms stretched out rarely makes sense for such a stationary position--the two halves of the body almost seem to defy each other. But you can have the model's arms hanging loosely at their sides; drawn to one side of the body or the other for the creation of a nice diagonal shape; or have the model curl his or her torso over their knees and tuck in their arms, which can make for an interesting composition, especially in profile with the curvature of the spine accentuated.

Figure drawing by Henry Yan.

Posture also comes into play in a major way when you are learning to draw people sitting down. The model can sit poker straight with shoulders back or the pose can be more relaxed with the figure's spine slightly curved, shoulders setting downward, and pelvis slightly up-thrust to accommodate the slouch.

I'm excited to see all of the various permutations of the figure--and more--when I look through all of the works in our Drawing the Figure eBook. Top instructors and draftsmen explore the figure in thought-provoking ways and show us figure drawings that run the gamut in form, technique, and style. Enjoy!

May I Introduce Jennifer McChristian?

Courtney Jordan — Sat, 28 Jul 2012 19:20:00 GMT

Jennifer McChristian: Weekend with the Masters art instructor

Jennifer McChristian was born and raised in Montreal, Canada. In 1986 she and her family took permanent residence in Los Angeles. In 1990 she earned a B.F.A with honors from Otis Parsons Art Institute. For the next eight years McChristian was employed as a full-time animation artist and worked on projects for various studios including Disney and Nickelodeon. During this time, she continued to pursue her artistic aspirations. Her studies consisted of painting classes under the tutelage of such renowned artists as Robert Blue, Karl Dempwolf, and Steve Huston.


Pickup Truck by Jennifer McChristian, oil painting.

She admires and is inspired by John Singer Sargent, Anders Zorn, and Arthur Streeton. McChristian paints oil painting art and occasionally with watercolors. She has adapted a painterly, impressionistic style that expresses her affinity for nature. Since 2000, the artist has devoted herself to painting full-time and actively participates in art events. She conducts an ongoing, uninstructed figure drawing/painting workshop twice a week out of her spacious 1,200-square-foot studio (that she refers to as the 'sanctuary') located in the heart of Los Feliz Village.

She also finds the time to pursue other artistic interests such as classical ballet. McChristian believes learning is a never-ending process and continues to develop and refine her artistic talent through workshops, research, travel, and frequent excursions to museums and galleries. She is represented by Abend Gallery, in Denver, Colorado; InSight Gallery, in Fredericksburg, Texas; Segil Fine Art Source, in Old Town Monrovia, California; Silvana Gallery, in Glendale, California; and Waterhouse Gallery, in Santa Barbara, California. For more information on McChristian, visit her website.

Return to the Weekend with the Masters Meet & Greet.

Soft Lines and No Tension

Courtney Jordan — Fri, 27 Jul 2012 03:57:00 GMT

I'm not a napping kind of person. When I'm up, I'm up and I want to be doing something or on the go. That's usually the kind of body drawing that I'm pulled to as well--muscles torqued, body indicating action, and an underlying sense of movement. That being said, I do recognize and advocate for drawings that show the body at rest.

Doppelganger by Michael Grimaldi, 14 x 18, pencil drawing, 2005.

There's something beautiful and quietly sensual about the human form lying prone or supine--a landscape of soft lines and no tension in the body. But in order to truly represent this kind of lassitude and ease when drawing human body sketches or studies, I need to be better equipped when it comes to anatomy drawing.


		Nude Study by Edward Minoff, 16 x 12, charcoal drawing, 1999.

I realize now that the body at rest is just as complicated as the body in action. Understanding how to draw a human body in both ways does an artist a good turn because you witness and take note of the body's muscles and bones in its widest spectrum of motion. That is always a good thing so that no matter what a model does or how they are positioned, I can "unpack" the form through anatomy so to speak.

If you want to really sink into knowing how to draw the anatomy of the body in all of its softness and sensuality as well as its power and movement, Anatomy for Artists: Man in Motion is a DVD that we at Artist Daily can't recommend highly enough. It is a guide to drawing human anatomy from head to toe, showing the body in various stages of activity and position. Plus Anatomy for Artists: The Human Form Revealed is a DVD that approaches anatomy drawing from an artist's perspective--giving you knowledge of the visual landmarks on the body and a sense of proportions that you'll want whenever you draw the figure. Enjoy!