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28.03.2016
The face triangle is from the center of each pupil, through the nostrils of the nose to a point between the top front teeth. The smiling mouth lines up under the pupils, and the two iris usually equal the maximum smiling width of the mouth. It was then painted with only two neutral dark-making colors, Red Oxide and Ultramarine Blue. The shoulder line is two head lengths (two widths on a female) wide and is the top line of the torso triangle that extends down to the top of the hip triangle. The nipple line equals one head length starting at the chin, at the bottom of the second head, the younger the higher. The center of the body is the bend line, which forms the top line of this small, third, bend line triangle.
The rib cage can be represented by an oval two heads high, starting at the top of the (lowered) second head to the bottom of the third head. The bottom of the forth head from the top plus the neck space is the space between the legs. The upper arm, which is one and one half head lengths long, connects from the center of the shoulder ball which is a quarter head circle. From the outside point of the bend line triangle down to the bottom of the knee cap is two head lengths.
Now, to finish the form, put the trunk triangle in, the shoulder balls, knee caps and rib cage. From the bottom of the bend-line triangle which is the space between the legs, connect a line to the bottom of the knee cap for the inside of the leg.
This is a "crop circle", they happen all around the world but mostly in England, this one, the largest ever, 530 Meters x 450 Meters on 8-7-9, happened in Holland, near Goes, Zeeland. I didn't get the picture finished but it does show an intermittent stage close to finished.
When painting a man's portrait, especially that of a young man, he should stand up for a moment before you begin so that you can sketch the general outline of the body.
Do not paint the head too high on the canvas since it makes the model look too tall, though if you draw the head too low, the model will become too small; when drawing the body, take care to allow more space on the side to which the body is turned. You should also have a mirror positioned behind you so that you can see both the model and your painting at the same time, and it should be in a place where you can refer to it all the time; it is the best guide and will show up faults clearly. While you are working on the head of a woman dressed in white, drape her in a neutral colored fabric like grey or light green, so that your gaze does not wander from the model's head; if however you wish to paint her in white, keep a little white fabric to drape around the head, for it too should receive some of the reflected light.
The background to the sitter should in general be a subtle and uniform tone, neither too light nor too dark; if the background is sky than the rules are different and you should put something blue behind the head. Whether you are painting in pastels or oils, you should build up from the darkest colour, then paint the mid-tones and finally the highlights. Immediately after the first layer comes the flesh tone, chosen according to the complexion of the sitter; this will eventually blend with the mingling, shifting mid-tones.
Shadow must be strong but transparent at the same time, that is to say not a thick but a ripe tone, accompanied by a strong reddish touch in the cavities, such as the eye socket, the nostrils and the darker, interior parts of the ear etc.
You should take care that the highlights diminish gradually and that the most salient and consequently the brightest part is always the most luminous.
Never use a heavy consistency of paint on the pupils: they will look more real if they have a transparent quality. The setting of the eye is always painted in delicate bluish or violet tones, depending upon the whiteness and delicacy of the skin. Observe the forehead well; it is vital for a true likeness and is a very important key to the personality. The hair should be drawn in a body and should remain as such for the most part; it is probably better to use a glaze, otherwise the colours may bleed into the shadow and the main flesh tones of the face.
Its flesh tones, even when highlighted, should in general be less luminous than the cheek, which is more prominent. There are rules for the gradation of light, such as I have described for the head, for the rest of the body. The brightest light will be on Chloe this Saturday at the Dragonfly Tea Cottage on Main St.
The exhibit, with 35 pieces on display, will begin with an opening ceremony dedicated to the group. I’ve found drawing hands one of the most challenging aspects of drawing the human figure. How-To’s, Tutorials, and Step-By-Steps Books Facial Expressions Videos Online Books Drawing faces or portaits is, to me, a bit of a paradox. The only way I was able to add anyone is because Face Book added the Suggested Friends, which is mostly my relations. I stumbled upon your web page by chance and love the helpful tutorials you have here to allow me to improve my ability to focus on minute details, as I prefer Fine Arts to Abstract.


I found an application which would be beneficial to art enthusiasts, and I thought I would include it here.
The human body, from the skin to the bones, up to the smallest of organs, has been an object of desire of both scientists and artists for the past centuries. Also, if you want a really comprehensive book on drawing human anatomy, I found this one ebook called shortcut secret of figure drawing. I will give you a free copy of my Master the Human Figure course Discover 7 Secrets of Figure Drawing: Draw Awesome Figures in 2 weeks, and if you like it, you can link to it here on your site.
In today’s lesson, we are going to cover the second part of how to draw the human figure from imagination. After you’ve filled out the figure, you can erase the guiding frame that we first drew.
And of course, when drawing the human body from imagination, you can’t ignore the importance of having a good knowledge of anatomy.
When drawing from your imagination, it’s very common to have to erase and make lots of changes.
If you like this lesson, please give it a “LIKE” and leave a comment below to let me know what you think! The second triangle is the trunk triangle, the hip bones down to the space between the legs.
Connect another line from the outsides of the top of the bend line triangle to the bottom of the knee caps.
No one knows for sure who makes them but it seems like a more intelligent life source wants to communicate with us. Make sure that the women are comfortable, that they have something to lean against, and a stool beneath their feet. If you were to sketch him sitting down, the body would not appear as elegant and the head would appear too close to the shoulders. My experience with women has led me to believe the following: you must flatter them, say they are beautiful, that they have fresh complexions etc. Between the highlights and the mid-tones there is another tone not be overlooked, which has tints of violet, blue and green. The colour of the cheeks, if they are unpowdered, should have a peach tone in the hollows and a golden rose colour on the more fleshy parts, the two colours merging imperceptibly with the highlights to emphasis the facial bones which should be golden. On the head, the sparkling lights, both sharp and diffuse, are either in the pupil or in the white of the eye, depending upon the position of the head and the eye; these two highlights often give way to others less golden in the middle of the upper eyelid, in the middle of the lower eyelid, or at least along some part of it, according to the way light falls upon the head, than on the middle of the nose, on the bridge and the lower lip.
You should paint in as much detail as possible, take care not to give the sitter an ambiguous gaze, and ensure that you make the pupils round. Take care not to be too heavy with the latter or the eye will look as though it's full of tears. When the forehead has a square but prominent bone, such as in the self portraits of Raphael, Rubens or van Dyck, there is a definite concentration of light on these prominent areas. This mid-tone mingles softly with all the other mid-tones, eventually becoming the shadow that defines the shape of the brow bone. The highlights on the hair are only visible on the prominent parts of the head; curls reflect light in the center and a few stray hairs break the uniformity. For example, you might notice how in general the German, and especially the Austrian race, have ears that are situated a little too high according to perfect proportion.
So if you happen to be painting a German, you should conserve this characteristic trait, along with the prominent forehead and the usually flat, sunken cheeks.
The shadow thrown on the neck by the ear is very warm in daylight; the jaw should be drawn in subtle tints with delicate mid-tones in order to obtain the depth between jaw and neck. It is an on line drawing lesson that references Eakins, Horace Lecoq de Boisbaudran, and Sargent.
You can get away with quite a bit when rendering the human figure, but get the hand wrong and it sticks out like a sore thumb. The use of paper and medium to depict the human anatomy has been used for different purposes. In some ways, it is a diluted version, a refined presentation of something absolutely hard to describe. For this drawing, we’ll be a little creative and add in some wings to the female figure.
The third triangle, the bend line triangle is a quarter head high, within the trunk triangle, starting at the space between the legs.
This is particularly necessary for men since we are more used to seeing them standing than seated.
Choose not only the most comfortable but also the most fitting for the person's age and character, so that the pose will only add to the likeness. There should always be highlights on the brow bone, the cheek bone near the nose, above the upper lip, in the corner of the lower lip and at the top of the chin and they should always blend in with the surrounding tones.


The eyebrow should be prepared in warm tones and one should be able to see the flesh beneath the gleam of the hairs which should be light and delicate. For this reason one should sometimes break into the blue tones with gold, but always cautiously.
After this shadow, there is a slightly golden reflection, depending upon the colour of the hair. Look at the heads of Greuze and study the way in which your model's hair grows, this will add to the likeness and the painting will be more truthful. The edge of the hair should, like metal, have something of the background colour, for this helps to accentuate the turn of the head.
Likewise, the way the neck sits upon the shoulders is different from that of other peoples: it is wide, thick and rises high behind the ear.
As far as possible, try and paint the complete ear and study its cartilage formation well, even if you are going to paint hair over it. If the head belongs to a woman, the base of the jaw should have warmer tones than that of a man, whose beard absorbs the naturally warm flesh tones beneath. Peg attends Wednesday Life Drawing occasionally, is a wonderful artist and makes the best pies in the world…bar none. Group members Jane Williams, Jim Brower, Jan Curlis, Shelly Fank, Steve Mockensturm, Cynthia Taylor, Peg Whiting, David Pett, Jeff Klopping and Jason Sanderson will have work on display, along with Sanderson’s art students and Geiger.
You even suggested that I can send you a photo of one of my artworks to add to your photos.
For art, it is to evoke a realistic representation of movement and structure, working with bones, muscle and skin to achieve a realistic and solid foundation. Artists chosen for this app area really good and you will find a lot of amazing styles and diversity of methods in arriving to that complete form or study of movement. That book might be be totally about figure drawing but it has SOOOO much great stuff on drawing and sketching and a must for any artist. The mid-tones should be broken up and less thick than the highlights, and the highlighting on the head should emphasis the bone and muscle, the latter being weaker than the former. The upper half of the pupil is always intercepted by the upper eyelid, but if the person is angry you will often see the whole pupil. The colour that determines its shape should be warm and transparent, apart from the ear hole which should always be dark and opaque. We find it in pop culture, occult ritual, on shoulders worldwide; most importantly, we find it in ourselves. You must also tell them that they are marvelous at posing; they will then try harder to hold their pose. When the eye smiles, the lower half of the pupil is intercepted and covered by the lower eyelid. This in turn gives way to the colour of the temple where there will often be a blue vein visible, especially if the sitter's skin is very fine.
It is more precise, less about the artistry and more about the fins details for representation.
Tell them not to bring their friends to the sitting, for they all want to give advice and will spoil everything, although you may consult artists and people of taste. The white of the eye in shadow should be a pure and pristine tone, and the mid-tones, although they are not quite the natural colour (this is so with any object you paint), should never look grey or dirty. Nonetheless, it is undeniable how art and science both ended up with several hundred illustrations of the body from inside-out, depicting it in different means. There is an isosceles triangle with points in the pupils and between the closed lips which is the center-bottom of my front teeth. Do not be discouraged if some people cannot find any likeness in your portraits; there are a great many people who do not know how to look at a painting. From da Vinci, Bidloo to other artists, the pursuit to discover the human body has always been a pursuit of something beyond human experience. The eyelashes in the shaded part are clear and stand out bright and this is why you should use ultramarine when painting a light part that is in shadow. The app, Drawings: Anatomy Masters looks into the works of Bidloo, Da Vinci and other iconic artists who took the study of the human body further. From general drawings to the unique details of body organs, this app is absolutely a must have for those who are starting out learning about the mechanics of the body to the sometimes macabre representations of the body.




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