I want to offer an option step by step drawing of a person in motion in order to give an idea of ​​how to draw such a person to a child of five or six years old. Let's look at the drawing, which we will take as an example -

First, draw a straight vertical line. On it we will make four horizontal lines of different lengths: at the very top one is shorter, the second is longer - these are auxiliary lines for the head and face.

Below we draw a horizontal line for the shoulder girdle. And at the very bottom there is a line for future legs.

We finish drawing an oval at the top - the head. We use lines to depict arms and legs (diverging at an angle).

Now we add volume to the figure. We draw additional lines parallel to those we have already drawn. And we get a recognizable human body.

We draw the face - along the top line in the oval-head we draw the eyes, along the bottom line - the mouth.

We show a person in motion with the help of his legs, which we draw in a step; we draw one of the boots bent - this is how the shoes bend on the leg standing on the ground (floor). Pay attention to this.

Now we complete the missing details (hairstyle, handbag, shoes, hands, etc.). Erase the auxiliary lines. And we color the drawing with pencils or paints.

Drawing a person in motion is not easy, but interesting. Let's look at this process using the example of a drawing of a girl from a cheerleading group during a sports competition.

The first stage of drawing will be creating a frame. For this with a simple pencil, use thin lines to draw the position of the body. When drawing the frame, remember that it does not stand still and therefore you need to immediately draw the curve of the spine, the raised arm and leg, and the head thrown back. On the future face you need to mark the mouth, nose, and eyes with dots.

After that, we proceed to the drawing itself and start with the head and face. We draw the hair, as well as the neck and chin.

The next step is to draw the arms and neckline. And also, the balls that the girl holds in her hands.

Along the conducted center lines, draw the legs. To give greater dynamics drawing, let's draw that the girl stands as if on her toes, and the second foot is hidden behind her straight leg. This creates the impression of a jump.

After this, use an eraser to remove all the auxiliary lines and color the drawing.

Good luck to you in your creativity!

















In order to draw a person who is in motion, you need to take into account that he must maintain balance; it is easier to balance the weight of his body so as not to fall.

Therefore, in the drawing we usually draw the head straight, and the arms and legs should create a feeling of balance, or serve as support points.

If we draw a person while walking, then there should be a feeling of pumping from side to side. Hands in motion help maintain balance, and legs are fulcrum points that change alternately. The pelvis and chest tilt in opposite directions.



Below is a video that explains in detail how to draw a person in motion.

If the question arises about how to draw a person in motion, then you already have some experience in drawing people. Drawing a person is not the easiest task, and drawing a moving person even more so. But don’t let this scare you, let’s try to learn how to draw using step-by-step drawing schemes.

For example, here is a diagram - it shows how to draw a running man. First we draw the general outline of the figure, the skeleton, so to speak. Then we make the figure three-dimensional. And after that, we draw in more detail.



Here is another similar scheme. Here, in several stages, we can understand how a running man is drawn.



Let's try to draw man in motion. Let's draw an athlete, or rather, a skier. The World Ski Championships will begin soon, so we will time our drawing to coincide with these competitions).

If you draw according to the rules, you need to remember that the unit of measurement in the drawing will be the size of the head. We measure the head, and use this size to draw auxiliary lines from the feet to the crown.

We will draw at a children's level, that is, a simplified version.



First we draw irregular shape oval - pointed downward. We denote the torso and limbs as auxiliary. The arms are bent, like a skier pushing off with ski poles. The legs are slightly bent at the knees in the step. On the legs we draw two lines of skis.

The next step is to give our figure volumetric contours, tracing auxiliary lines with lines. Let's draw a face - nose, mouth, eye, draw a cap on the head. Use an eraser to erase the auxiliary lines.

The last step is to color our skier in motion. Don't forget to add some blush to your cheeks - from the frost and movement).

Drawing a person in motion is not an easy task. But nothing is impossible. First, we draw the basic human skeleton, then we build up the meat. The complexity of drawing depends on the dynamics of a person’s movement: a runner, a swimmer, children playing with a ball, or just an old lady walking with a stick, a person on a bicycle, all these examples express different degrees of human movement.

The human body is capable of performing a wide variety of movements: walking, running, jumping, doing some kind of work.

With all these movements, changes in the external shape of the body occur. Changes in shape occur even without any noticeable movement of the figure. A living person cannot remain motionless for long. Muscles, being in static tension, get tired much more, so a person, remaining in any position, constantly changes it slightly.

This is the difficulty of drawing from the sitter's figure compared to drawing from plaster casts. Here you need to know the form well. No careful mechanical drawing gives the image a real plastic connection - the image turns out sluggish, lifeless.

Therefore, before starting to work on a drawing of a living nude model, it is necessary to study everything that forms the forms of a living organism and on which the patterns of its movements and statics depend. Study not only from the outside, visually, but also study the skeleton, the connections of the bones with each other, the muscles of the body.

Such study gives knowledge of what needs to be depicted. Then we will depict what we know, we will not copy the model, but use it.

It is better to start drawing a figure by drawing a standing figure without complex movement. Before you start drawing a figure, you need to examine it from different points of view in order to clearly imagine the position of the body in space. To better understand the structure of the sitter’s body, it is necessary to get used to this pose and repeat it with your own body. Only after this can one begin to determine the composition of the sheet, the center of gravity, the area of ​​support, the movement of the figure, etc.

As an illustration, you can familiarize yourself with the modern method of constructing a human figure, which is proposed by R.P. Kurilyak teaching plastic anatomy at the St. Petersburg Academy of Arts and Industry V.I. Mukhina (Fig. 24-33).

We draw a vertical line and divide it in half. We mark one eighth of the vertical from the top, which is the size of the head. If we draw a figure with support on one leg, then our vertical coincides with three points: the jugular fossa (notch), the pubic bone (pubic symphysis), the inner malleolus (tibia) and the heel. On the vertical line from the heel we mark the height of the instep to the ankle joint, which in proportion is equal to almost half the height of the head.

The further course of our thinking is as follows: we determine the direction of the shoulder and pelvic girdles, their degree of inclination in opposite directions; the line of the shoulder girdle will pass through the jugular fossa with an inclination to the side, and the line of the pelvic girdle will pass through the pubic fusion from the greater trochanter of the supporting leg with an inclination towards the free leg.

We determine the width of the shoulder and pelvic girdles, which will later change slightly and be refined. In the meantime, we define the width of the pelvic girdle in relation to the height of the entire figure as one-sixth, the width of the shoulder girdle as one-fifth of the height of the entire figure.

If you connect the trace from the heel of the supporting leg to the point of the greater trochanter with a light line, you will get almost the axial line of the entire volume, although it will subsequently undergo major changes and additions. On the shoulder girdle above the supporting leg, we connect its edge with the edge of the pelvis of the girdle above the free leg.

The entire course of our thinking with a pencil in hand occurs very fluently and quickly, lightly touching the paper, without pinching it or scuffing it.

One of the main tasks for the drawer is to determine the line of the “big movement”. It is depicted by an arcuate line running from the jugular fossa towards the pubic bone and further from the pubic fusion in the opposite direction of the arc to the heel of the supporting leg. If the head is tilted towards the supporting leg, then the arcuate line running from the pubic fusion to the jugular fossa can be continued to the parietal eminence of the head.

Now it's time to outline the arms in the movement the model is in. You can already draw the contour of the supporting leg, covering large volumes of the lower leg of the knee joint, showing the plastic transition from opposite side chest towards the supporting leg on its silhouette with exit to the knee joint and covering the calf part of the lower leg.

We outline the free leg, its axial foot, and also clarify the position of the pelvis, its axial, coordinate the location of the kneecap of the supporting leg with the knee joint of the free one.

The free limb is defined in large volumes along its main plastic directions: from the ilium (its upper spine) with access to the inside of the free leg, which almost coincides with the direction of the sartorius muscle; having contoured the edge of the thigh (epiphysis of the femur), we continue the arcuate line to outside lower leg and then at the level of the ankle joint we draw a line to the internal condyle of the tibia with an oval coverage in the cross section of the entire lower leg at this level.

From the inside of the free leg from the pubic bone, contouring the thigh with an arcuate line, we direct it, intersecting with the sartorius, and go out to the outer side of the thigh, coinciding with the arc with the external thigh muscle (quadriceps), and through the edge of the upper kneecap we draw an arcuate line to the inner edge of the shin of the free leg, emphasizing the calf muscle. Now, if you look carefully at our diagram, we will clearly read in it S-shaped, arched, “snake-shaped” lines in a curious relationship between the long and short segments of this same S-shaped line. All ratios will correspond to the principle of the golden ratio, which, in essence, is the principle of harmony. You can easily verify this if you take a diagonal measurement of any of the S-shaped lines of our volumes. This principle is that the ratio of the general to the larger part must necessarily be equal to the ratio of the larger part to the smaller.

First of all, I would like to warn you that if we are talking about the golden ratio, logic and pragmatism, then this only means one thing - such signs and understanding must be present at the level of “forgotten”, that is, unobtrusive but conscious drawing, which is one of the main ways mastering drawing.

The outline of the entire figure is already clearly visible in the drawing: the supporting leg, as the main natural core of this pose, acquires clarity in the silhouette and in separate volumes, such as the thigh, lower leg, foot. The thigh, in particular, may be manifested by the clarity of the quadriceps muscle, the lower leg by the external character of the anterior tibialis and peroneus longus muscles; The inner side of the lower leg is drawn primarily by the triceps muscles of the calf. It should also be noted that in this figure the entire volume of the knee joint is already outlined in detail. The chest is already well and clearly visible, the pectoralis major muscle is outlined with right side model at the shoulder, latissimus dorsi along with part of the shoulder blade, giving a clear outline of the left side of the model. Because the left hand relative to the front plane is closest to the painter, then we pay more attention to it both in tone and in drawing; A feature of the elbow joint is the triceps brachii muscle. More softly in tone, but quite carefully and with full “respect” we treat the right side of the model, and already at this stage of drawing we clarify (demonstrate) the shoulder and forearm, outlining the hand. The knee joint of the free leg is especially clearly visible.

The next stage is associated with clarifying the spatial-constructive perception of the figure on the sheet and clarifying the fragments: the foot of the free leg, the contour of the thigh on the inside are outlined taking into account the falling shadows. In short, this stage of the drawing may be on the verge of completion. On it we decide the layout, front and side areas of the structure of both the entire figure as a whole and its individual parts.

Completion in any business is a convention, because you can complete it ad infinitum. And this is true, but in this case we speak of such completion when what we have drawn gives us a clear picture of the object or person.

At the final stage, one should also remember about graphic culture, that is, about such execution in which the object should be beautifully read by the viewer.

At the end of our discussions, it is necessary to emphasize that learning to draw begins with the simplest preparatory exercises, with consistent and gradual visual mastery of knowledge and skills artistic skill in fine arts. We must always remember that the artist is tasked with showing the three-dimensional volume of the form on the two-dimensional plane of the sheet. And this can be done either by tone - fully correlating light and shadow - or by line and tone, without overloading the drawing.

After becoming familiar with the shapes of the human body in drawings of a standing figure, you can move on to drawing life in action. Only by working on a human figure in motion, from any angle, do we better understand the relationship between external form and internal movement. We understand how the external posture of the body changes depending on the position of the skeleton and the work of certain muscles. A great help in such drawings will be knowledge of anatomy, a good understanding of the structure of the body and knowledge of the basic proportions of the figure, in other words, the knowledge that we talked about above.

To master the drawing of a figure in motion, it is very useful to make small sketches and outlines of the body in one position or another, analyzing it from a constructive point of view (Fig. 34). In such sketches great attention is paid not so much to external analysis of the pose, but to internal movement constructively important parts body: spinal column, chest, pelvis, shoulder girdle, limbs. Such an analysis of the pose will simplify the task of depicting the figure from perspective, since it will give us an idea of ​​​​the position of the axes in space. And the wonderful teacher Chistyakov believed that for correct image forms, it is necessary to begin drawing by finding the internal axes on which the form should be built up. Feeling the internal axes, or more precisely, the direction of movement of the masses, is absolutely necessary throughout the entire work on the drawing, since it is the axes that allow you to create on a plane correct solution volume. Without identifying the internal axes and checking the image against them, the drawn form inevitably loses that plastic basis, the absence of which turns any construction into a transfer of the external surface.

It is very useful to test the degree of mastery of the image of a figure to make drawings from memory, and then from imagination.

To make it easier to navigate such drawings, we can suggest familiarizing yourself with the method of drawing a person as an image of a combination of simple geometric bodies. Even the Renaissance artist Durer suggested looking at the shape of the human body in a more simplified way, reducing it to a whole series of simple geometric bodies. He proposed to study these individual bodies, which have a rough resemblance to human parts, by drawing them in such movements and angles as can only be observed in the human body. This idea was also developed by S. Hollosy (Fig. 35). He divided the figure into a number of basic forms. Thus, the neck, interpreted as a cylinder, supported the head truncated by planes, was inserted into the torso cylinder, which rested on the pelvis, depicted as a combination of a cube and a truncated prism, etc. All these forms were depicted in relation to the middle line of the figure, which served as the basis for constructing the volume of the body in the work.

Let's consider this approach to the image using the example of constructing a standing figure. We start the drawing with the composition of the figure and determining its general shape. We very generally outline the size of the figure in the sheet and the design of the pose (Fig. 36). After this, we determine the position of the center of gravity, the area of ​​support and the main axes of the figure. Based on geometric bodies, we outline the main masses of the body (Fig. 37). Upon completion of this analysis of forms, we move on to specifying the details of the figure, building them on the basis of geometric shapes (Fig. 38).

Many novice artists will not find it difficult to draw flowers, trees, houses. But when the time comes to depict people on paper, they are lost. Because they don’t know how to draw the human body correctly. If you can’t do it either, don’t even think about giving up. Thanks to several techniques, you can quickly learn this.

They are happy and simple. At the same time, these useful tips will help you cope with the necessary task:

• Even if you don't plan to turn your sketches into color illustrations, still use a pencil in the beginning. He will allow you to correct the drawing at any time.
• Don't press too hard. Make all movements only with light strokes. If you make a mistake or want to redraw an element of the picture, you won’t have to worry about erasing thick lines with an eraser.
• Practice every day. Don't be discouraged if you don't know how to draw a body. Believe in yourself!
• Watch your posture. You won't be able to give your full attention to the drawing if you're sitting incorrectly.
• If you are seriously interested in art, study other people's techniques, go to art galleries, buy thematic books. Experienced Artists are very familiar with how to draw the human body.
• If you are copying from a finished drawing, do not be afraid to make mistakes. Remember that you don't have to portray the exact same character. It will be much better if it turns out different.

Body proportions

At all times Special attention paid attention to the relationship between the figures. Before drawing a body, you need to know its correct proportions. The height of an adult's figure is 8 heads, a teenager's - 7. This part of a schoolchild's body can be positioned in length 5 times, a baby - 4. The size of the arms should reach the middle of the thigh, while the elbows should be located on the same level as the waist, and the knees - exactly in the middle of the leg. The length of the legs is 4 heads, and the head together with the body is half the height of the entire figure. The fingers of the lowered hand are located in the mid-thigh area. The height of the foot is the size of the nose. And its length is the same as that of the forearm. The height of a woman's head is equal to the distance between the prominent points of the chest, a man's - half the width of the shoulders.

Differences between male and female parameters

The average height of a man is about 170 cm, a woman - 160. The arms of the stronger half of humanity are long and muscular, while the arms of girls are a little shorter. But women’s legs are longer (relative to the body). Men have a strong build, broad shoulders and a short torso. The female body is longer, the shoulders are often shorter than the hips. Men have thick necks, girls have thin necks. As for muscles, in men they are strongly marked. At the same time, the contours of the body are sharp. At the same time, women have soft outlines, round shapes, and a larger fat layer. A man's foot is massive, large, a woman's is much smaller in size.

Drawing a man

The following master class shows how to draw a man's body:

1. Start at the top. Draw a small circle and draw a curved line at the bottom. It should look like an egg, just upside down.
2. Draw the neck by sketching two straight lines. Take the distance from ear to ear as a guide.
3. Draw a long (2-3 times the width of the head) horizontal line so that it is perpendicular to the neck. It determines the location of the collarbones.
4. At the end of the two lines, draw small circles of the same size - these are the shoulders. Sketch two ovals a little lower, a little longer than the height of the head - these are biceps.
5. At the point where the biceps begin, outline the body. Geometrically, it will look like this: an inverted trapezoid is the chest, vertical straight lines are the torso, an inverted triangle is the pelvis. Mark the place above the last geometric figure with a dot - there will be a navel.
6. On both sides of the triangle, draw two circles (most of them should be on the outside), and immediately below them - long ovals. They will be hips.
7. Below are two small ovals for the knees. Let them intertwine a little with the hips. And even lower - for the legs.
8. For the legs, draw two triangles at the very bottom.
9. Try to draw show jumping bodies, add details, design clothes for your character.

Drawing a woman

Now that you know the basics and have learned how to work with a male silhouette, you can learn how to draw female body:

1. Start with the most important thing - draw a vertical line. To represent the torso, place an inverted triangle at the top of the torso.
2. Inside the resulting triangle, draw another one, looking up. At the corners of the inner figure, draw two circles, indicating the breasts. If you did everything correctly, the first of them should be to the right, and the other to the left of the previously drawn line.
3. Just below the main triangle, draw a circle of equal size. Its upper part should extend slightly beyond the triangle. This will be the basin.
4. To draw the hips and legs, draw two curved lines from the top of the circle. And below there are two more, but shorter. Some should look like brackets.
5. Add lines and details, dress the girl.

Done, now you know how to draw a girl's body.

Let's sum it up

Using the techniques presented above, you can draw almost any person - an adult man and woman, a teenager, a child. The main thing you need to do is follow the instructions, learn to work according to the scheme. After a while, you yourself, without anyone’s help, will depict beautiful and proportionally correct characters on paper. Don't be discouraged if something doesn't work out for you. You can try again at any time.

Remember one more thing important rule: An artist's work does not end the moment he understands how to draw a body. It is also necessary to think over the character’s hairstyle, his style, endow him with emotions, and portray his character. In other words, use a pencil to “breathe” life into it. Learn the art of drawing, improve your skills - and you will definitely succeed!

A good topic has been proposed for discussion - “How to draw people...” You can answer briefly - so that it is similar. And expressively. But to achieve this, many do not have enough life. Is it possible to learn to draw? Yes, you can. The main and indispensable condition is that you need to really want it. The rest can be overcome.

Taking the first steps

How to draw people, where should you start? From the habit of carefully looking around you. Think, analyze and compare. From the very beginning, we should understand the fundamental principle - we should not copy what our eyes see. Any drawing must be constructed after the comprehension phase has passed. People, despite all their differences from each other, consist of the same parts - the body, head and limbs. You should know the human anatomical structure. You can study it in detail using special manuals. But this should be done without stopping the drawing process. You have to work with a pencil in your hand a lot and every day. It's best to start with short sketches - ask someone to pose for us.

And step by step we answer the question of how to draw people. We always start a drawing by correctly placing the future image on a sheet of paper with light strokes. Now the most important thing is to build a figure. We carefully check the proportions of its main parts. If necessary, correct the result using an eraser. How correctly we construct the figure will mainly determine how successfully we cope with the task of how to draw people correctly. When constructing, do not forget about balance; the figure must stand stably on a plane or sit on some kind of support. Already at the construction stage, we do not forget about the specificity and expressiveness of the relationship between the main parts and more small parts.Under no circumstances should all details be given equal attention. Highlighting the main thing and discarding the secondary - this is what all mastery ultimately consists of. At the final stage, we summarize the drawing with broad strokes. We meticulously examine our work and try to comprehend whether we managed to answer the question of how to draw people. We should not be upset if the result of our work does not suit us. Dissatisfaction with the result is a healthy feeling and the key to future success.

We can achieve something only by constantly and hard work. You should set yourself consistent tasks, gradually making them more difficult. If we have become able to depict people statically, the time has come to think about how to draw a person in motion. And there is only one way to do this - to draw short sketches. Usually this is a general silhouette with several lines. Nothing superfluous, just general proportions and direction of movement.

Then, from the many short sketches, you should choose the best ones. And based on them, you can work on a long-term drawing of a figure in motion. And in mandatory one should look back at the experience of past masters. It is very interesting to compare your student drawings with masterpieces. An attentive person can learn a lot of useful things from such a comparison of incomparable quantities.

Proportions human figure have interested artists, philosophers and educators over the past 20 centuries and more. The Roman architect Vitruvius wrote at the beginning of the 1st century AD: “Nature has shaped the human figure so well that the face, from the chin to the roots of the hair, is a tenth of the whole body.” He also argued that the navel is the center of the body, so a circle drawn around this point would touch the outstretched fingers and toes of a person lying on his back. It was this theory that was illustrated in famous drawing Leonardo da Vinci presented below.

Unfortunately, theory only works in practice if the hands are at a very specific angle. However, you can notice that when the arms are extended to the sides, the distance between the tips of the fingers is approximately the same as between the top of the head and the soles of the feet. This useful rule when determining arm length.

During the Renaissance, human anatomy became the subject of detailed study, and artists began to participate in the search for meaningful mathematical relationships between dimensions different parts bodies. Comprehensive approaches have been invented to determine " perfect figure". Since then, hundreds of such approaches have been developed using various parts bodies as units of measurement, including head, face, legs, forearms, forefinger, nose, spine and so on. But, since no one approach was universal, because There is no denying the obvious fact that all people are different, these approaches are of interest only to the classics. Accepted ideal figure proportions Also are changing from one generation to another. Therefore we must in general observe a wide range of sizes and shapes of people that we see around us.

For our purposes, however, useful to study an average-sized figure, as this gives us a base on which to build proportions.

The most common method- using head height as a unit of measurement for relative measurements of different parts of the body. The average figure is seven goals, but a range between six and eight heads is also considered normal. In fact, most often in drawing tutorials the "ideal" figure is depicted eight heads tall- mostly, I suspect, because the body can then be divided vertically into eight convenient sections: chin, nipples, navel, crotch, mid-thigh, knees, calves and feet, making life easier for the instructor!

However, rules are made to be broken! We can admire the remarkable achievements of Roman architects and Renaissance artists/mathematicians, all of which should offer us a convenient test of proportions, but it would be foolish to limit ourselves to just this method.

Children's proportions

When drawing children, you will find that the head occupies a much larger proportion of the total height. The head of a newborn baby is about a quarter of the total height, and the length of the legs is much less. But as the child grows, the legs increase in length much more than other parts of the body in relation to the overall height of the body, so that the head becomes proportionately smaller.

Distribution of subcutaneous fat

In childhood, male and female forms the bodies are very similar. The average adult male's body shape is primarily dictated by the size of his muscle mass, while the average woman's figure is determined primarily by the size of her fat mass. When girls reach puberty, there is an increase in fat deposits in very specific places to give the roundness of the breasts and hips of an adult woman.

Below are illustrations of where it is deposited. subcutaneous fat in women and men. Both sexes have reserves high on the back between the shoulder blades, which show up in obese people of both sexes with hunched shoulders and a short neck. However, other places where fat accumulates are different between the sexes. A man's excess weight is more characteristic of his waist than his hips. Excess fat in men stored above the hip bone at the back on either side of the spine and on the upper abdomen. Overweight women, on the contrary, tend to gain more on the hips than on the waist. Their main fat storage areas are the lower abdomen, buttocks and thighs, as well as the chest and back between the shoulder blades, just like men.

Fat distribution in women

Proportions of elderly people

In old age flexor muscles, usually, are being reduced, become shorter. This makes the body bent, when it is in a normal standing position. The shoulders are rounded, the natural curve of the thoracic spine increases, and the neck pushes the face forward. Even when the body is relaxed, the arms and legs remain slightly bent.

The skin and subcutaneous fat become thinner and the muscles contract. Elbows and wrists appear larger, and veins may become visible and protrude from the skin. All fat deposits on the body and face become softer and tend to sag at the elbows and under the chin.

Co next lesson we move on to practice of drawing a person.

I hope you enjoyed this tutorial! Leave your comments and remarks about the course.

The article used materials from the books:
- Ron Tiner “Figure Drawing without a model”;
- Loomis E. Nude. Drawing Guide.

Sketches of a person occupy the first positions in importance in artistic practice among all types of quick drawing. Learning to sketch takes up the bulk of general process studying It is aimed at solving several problems in creating a full-fledged drawing of a human figure and separately his head. You can also gradually learn the living form and expand your horizons through this technique. So how to draw a sketch of a person?

Head

Mastering the technique of sketching helps you learn to select and display on paper the most characteristic and typical features of the object of contemplation, thus conveying the deep content of nature.

A sketch of a human head, done from life, must convey movement and proportions. Drawing from a photograph can only be done under the guidance of an experienced teacher. Therefore, sketching a person’s face with a pencil in the early stages of training is recommended from a living figure, thus the ratio of the parts of the face and head is respected.

Getting started, choosing a position

The small size of the sketch helps develop a sense of relationships and scales, and trains you to determine the proportions of the human body.
Work on the figure sketch takes place in a quiet home environment as part of the process of creating an educational drawing. Before starting a voluminous task, it is worth making a sketch to get acquainted with the shape or figure. Finally, sketch the person again to secure it.

If some parts of the form are not visible from your vantage point, change the location and make additional sketches. Make a sketch of the person in profile, from the front, and so on. The final drawing should have excellent conciseness and confidence in the depiction of nature. After some time, complete the sketch from memory, thus firmly consolidating the acquired knowledge.

Such classes should definitely be carried out when getting acquainted with the human figure. This contributes to the development of a constructive view of the figure and the embodiment of previously acquired anatomical foundations.

Sketch of a man in simple poses

It is necessary to start working with sketches by sketching a full-length person standing in a simple pose with clear position housings. You are given 15 to 20 minutes to sketch. Try to familiarize yourself with the pose by making sketches from different locations relative to nature.

When drawing a figure, it is important to start by determining the ratio of the mass of the body to the plane of the legs. To do this, imagine a vertical line from the inner ankle, which bears the entire load, upward. It determines the position of the remaining components of the figure.

Man sitting

A sketch of a seated human figure requires determining the relationship between the supporting plane and the direction of the body, that is, the pelvic plus the femoral part and the torso. Don't forget to mark the seat.

It is necessary to take into account the fact that the legs inevitably contract if the figure in the figure is in a half-turn or in full face.

Do not forget that, despite the general physiological structure, the features of the figure are unique and are present in each case. They must be shown in the drawing. The degree of completeness of the drawing depends on its purpose, but the most important thing is to display the essential in nature.

The clothing in the sketch is displayed in a general way, and only those folds that emphasize shape or movement are conveyed. The integrity of the drawing and figure is paramount, and nature must be perceived as a whole.

Nude figure

The nude is drawn indoors in a sketch along with a full-fledged drawing. Such sketches can easily be done independently on the beach or in sports activities, and the speed of switching positions in such situations improves the generalization of vision.

You should start sketching a naked person by determining the supporting places and proportions. Pay attention to the ankle and knee joints, as well as the wrist, elbow and shoulder, pubis, navel, breast nipples and the location of the jugular fossa. Look for the internal connection in the relationship, not the pinpointing of points in a mechanical process.

It is important not to connect your vision with relative edge points, but to focus on strong points. To understand the plastic nature of the pose, it is necessary to understand the relationship between the horizontal lines of the shoulder and pelvic girdle. If the figure stands, leaning on two legs, then the line of the pelvis is almost parallel to the floor, and if one leg is free from weight, then the pelvis leans towards it.

If you are placed in front of a nature, determine the midline. From the back, use the vertical position of the spine; its mobility determines the position of the pelvic and shoulder girdles in different positions.

Further sketches are made without the use of auxiliary methods in constructing the figure. A sketch of a person should confidently and freely convey nature.

Study time does not provide a chance to study the plastic positions of the human figure through the creation of a long drawing. This problem can be solved by additional independent studies over the sketches. The skills developed in the above way will help build story compositions with the inclusion of a person.

After exercises with simple poses, you should start practicing with a naked male figure in a turn.

Difficult positions, perspective

It is important to work out sketches of nature in complicated turns, tracking the midline of the torso from the pubis to the head in the bend. The back pattern pays attention to the spine.

Sketches of nudes in difficult positions are aimed at consolidating knowledge about the transfer of perspective cuts in live form. It should be taken into account that the surfaces extending into the distance are greatly reduced, and the frontally located planes are displayed in their natural size. Perspective reduction of living things is based on rules for simple geometric bodies.

The nature for such sketches is located in a reclining position diagonally towards the artist, and the direction of the form goes deeper. A sufficient distance from the nature of the drawing helps to create the correct proportions, otherwise they may be distorted. Such sketches should show the design and harmony of the main forms that are located in different angles regarding you.

It is necessary to try out a sketch of a naked man in active movement, for example, while lifting a load or the like. These sketches convey the relationship between the support plane and the torso, as well as the tension in the muscles involved.

The staging of the two should be based on a plastic relationship.

Conclusion

Draw in every free minute, practice sketching the human body in a variety of poses and activities. For example, sketches of people at work should convey the features of the profession or work process. Graphic means should even reflect the worker’s attitude to his work through laconicism and sparseness of drawing. So now you know how to sketch a person. Good luck with your creativity!

Learn to draw a woman in clothes proportionally and beautifully in a static pose or in motion.

If you want to improve your drawing skills and learn how to draw the female body, figure, arms and legs of a woman, be sure to read this article! Master classes with step-by-step photos have been selected for you different levels difficulties.

How to beautifully draw a human figure of a woman in full-length clothes step by step with a pencil for beginners and children?

A woman is often the first thing a small child tries to draw. He wants to portray his mother! Children's drawing is only schematic. On it the body is an oval, the head is a circle, the arms and legs are “sticks” or “sausages”, and the hair is simple shading. Of course, such drawings are touching. But if your child has reached school age and clearly shows interest in drawing, try with him to learn how to draw a full-length woman, no longer schematically, but in compliance with proportions and technique.

IMPORTANT: If you want you or your child to really draw women beautifully, you cannot do without studying anatomy. It must be remembered that the drawing will be proportional if we take the head as the unit of measurement. So, a woman’s height should be equal to 7-8 heads. And in order for the curves of a woman’s body to be smooth and beautiful, you should carefully study the woman’s skeleton and her naked body.

Draw with junior schoolboy? Then, of course, everything will be simpler; there will be no need to go into anatomical details.
Let the child draw an oval, tapering downward. This will be a blank for the head. From the center of the oval you need to draw a straight line two heads long - the axis of the body.

Since the woman in the drawing will be wearing clothes, more precisely, a dress, there is no need to draw hips and legs. Draw a quarter circle divided into three segments.

Focusing on the axis, draw a trapezoid with a smaller base downwards, this will be the torso. On both sides of the larger base, draw semicircles - blanks for the sleeves of the dress.

Detail the drawing - draw the woman’s hairstyle.

Draw the woman's hands. The length of the forearms should be equal to one and a half heads, the hands - 1 head.

Add legs to the woman's drawing and detail her dress.

Remove the auxiliary lines. Draw in facial features as desired.

How to draw a woman's body in clothes with a pencil?

When starting to draw a woman’s body, do not be lazy to study her skeleton and nude images. Try to mentally or on a piece of paper divide the body into basic shapes, mainly triangles.
Imagine your torso in the form of two triangles, connected at the waist level by their vertices. These triangles can be the same since, basically, the width of a woman's hips is equal to the width of her shoulders.

Afterwards, the female figure should be streamlined, since, unlike the male figure, it has more smooth curves.

The next possible difficulty is drawing a woman's breast. Imagine that you are sculpting from plasticine. Stick two identical semicircles to the torso of your figure, smooth them out on top. It will turn out something like the picture below.

Draw female breast it can be difficult.

Convey the movements of the female body by moving the axis line.

Now try to draw a portrait of a woman from the waist up.
Draw an oval - a blank for the head, as well as straight lines - the axis of the body, the axes of the arms and legs. Try to maintain proportions. Use small circles to mark the places where the joints will be.

Woman's torso in pencil: step 1.

Draw the contours of the woman's body and hairstyle.

In the picture, the woman will be wearing a tight-fitting dress; mark its boundaries. Add some jewelry to the woman - a bracelet on her wrist. Draw the hair, let it be a little messy, as if it were blowing in the wind.

Draw the woman's face, detail her dress. Add shadows using shading. Erase the auxiliary lines.

VIDEO: How to draw a female body?

How to draw a woman's hands in clothes with a pencil?

Women's hands are especially difficult to draw. They need to be smooth and graceful, with long, thin fingers.

IMPORTANT: If you depict a woman in clothes, it will be easier for you - you will only have to draw the hands and parts of the forearms. The rest you will hide under the sleeves of your clothes.

Try to depict the woman's hands in several positions at once.

1. Schematically outline the hands in the form of ovals, and the forearms in the form of straight lines.
2. Starting from the ovals, draw the fingers. remember, that middle finger the woman has the longest.
   Detail the contours of the hands. No straight lines!
3. Draw the nail plates and folds of skin in the areas where the phalanges meet.
4. Delete the auxiliary lines.
5. Make the shadows with very abrupt shading; they should not be too dark.
6. If you are drawing a woman's hands with the backs facing forward, pay special attention to the fingertips. They can be rounded or slightly elongated. Draw the nails with a sharp pencil, and with thicker lines draw the folds of the skin in the areas where the phalanges of the fingers meet.
7. Using the same principle, draw female hands in other positions.

Woman's hands with pencil: step 1.

Woman's hands with pencil: step 2.

Woman's hands with pencil: step 3.

Woman's hands with pencil: step 4.

Woman's hands with pencil: step 5.

Woman's hands in pencil: step 6.

Woman's hands in pencil: step 7.

Woman's hands in pencil: step 8.

Woman's hands in pencil: step 9.

Woman's hands in pencil: step 10.

Woman's hands in pencil: step 11.

How to draw a woman's legs in clothes with a pencil?

A woman's legs are also more rounded than a man's. To draw them:

• draw her hips in the form of a triangle lying on the base
• draw dots in the corners of the triangle - a schematic representation of the hip joints
• from these points, draw straight lines, the axes of the legs (they should not be parallel, make them a little closer at the bottom)
• Divide the lines roughly in half, draw dots to mark the kneecaps
• outline the contours of the legs, remembering that a woman’s thighs are denser than her lower legs
• draw the kneecaps
• designate the feet as trapezoids with large bases at the bottom (if the feet are turned straight)
• detail the feet and draw the toes

How to draw a person, a woman in clothes, in motion with a pencil?

When you have practiced a little and feel more confident, start drawing a female figure with clothes in a static pose or in motion.
In the first picture, a woman will be standing in a dress.

1. Draw an oval for the head. Divide the oval into uneven left and right halves vertical line to determine the center of the face. Separate the oval in the upper and lower halves with a horizontal line to maintain the proportions of the face. Draw a horizontal line for the hairline. Divide the area below this into three equal parts. The first line below the hairline is for the eyebrows, and the next line shows the position of the tip of the nose. The ears will be located on either side of the head between the eyebrows and nose.
2. Draw two small ovals - sketches of the ears. Use curved lines above and below the ears to outline the hairstyle. Add ovals - a sketch of a hat. Extend the curved lines below the hat for the neck and shoulders. Draw straight lines for the bodice. Use short ones smooth lines to shape the chin, right elbow, wrist and ankles. Draw curved and wavy lines to outline the skirt.
3. Draw the hair using shading. Add some curved line below the brim of the hat. Outline the ears, eyes, mouth. Draw a V-shape for the neckline. Draw the straps of the sundress using straight lines. Detail the sundress - draw the bodice and folds on the skirt. Draw the woman's legs and the shoes on them. Draw bracelets on one or both of the woman's hands.
4. Draw the eyes, mouth and nose. Detail the dress, add shadows. Erase the auxiliary lines.

Woman in full-length clothing: steps 1-2.

Woman in full-length clothing: steps 3-4. Woman in full length clothes in pencil.

Now draw a woman in a pantsuit in motion.

1. Draw a straight line, divide it into 8 identical segments - this makes it easier to maintain the proportions of the body. The head will be equal to the length of one of these segments.
2. Draw an oval for the head, make markings on it for the correct placement of the eyes, nose and mouth.
3. Draw the frame of the female body using straight lines, triangles and circles. Give him the desired pose.
4. Using smooth lines, draw the contours of the woman’s body.
5. Move on to drawing the clothes. Since it fits the figure, there is no need to add much volume.
6. Draw the woman's face and hair.
7. Draw a scarf on the woman’s neck.
8. Detail the clothes. Draw folds and shadows on it.
9. Draw shoes - sandals with heels. If desired, draw the woman's accessories, such as a bag.
10. Erase all unnecessary lines with an eraser.

Woman in motion: steps 1-2.

Woman in motion: steps 3-4.

Woman in motion: step 5.

Woman in motion: steps 6-7.

Woman moving with a pencil.

How to easily draw a person, a woman in full-length clothes, by cells?

They say that drawing in boxes helps relieve stress. Try to draw a full-length woman, using the picture or video below as a guide.

VIDEO: Drawings by cells

How to draw a person, a woman in clothes, sideways with a pencil?

If you have learned to draw a full-length woman with clothes on while standing or moving, it will not be difficult for you to depict her sideways. Pictures and instructions will help you.

Woman wearing clothes sideways: steps 1-2.

Woman wearing clothes sideways: steps 3-4.

Woman wearing clothes sideways: steps 5-6. Woman in clothes sideways: pencil drawing.

Drawings of a person and a woman in clothes for children for sketching: photo

You can draw a woman in clothes from one of these pictures.

Woman in clothes for sketching: example 1.

Woman in clothes for sketching: example 2.

Woman in clothes for sketching: example 3.

Woman in clothes for sketching: example 4.

Woman in clothes for sketching: example 5.

Woman in clothes for sketching: example 6.

Woman in clothes for sketching: example 7.

Equipment:

• Methodological tables of skeletal years, proportions of people of different ages).
• Paper A-4
• Simple pencil. Wax crayons.
• Handout:
  • cards for testing knowledge of human figure proportions
  • human figure details<Appendix 1 >

Development this lesson assumes that students already know the basic proportions of the human figure. To increase the interest of students, the test part of the lesson is composed in the form of pictures of fairy-tale characters.

The purpose of the lesson: develop cognitive interests when making sketches and sketches of a human figure in motion, paying attention to the structural and anatomical structure.

Tasks:

• Educational- teach image techniques.
• Developmental- develop compositional thinking, figurative imagination, logical thinking.
• Educating- cultivate a love for fine art and people.

Lesson plan:

1. Greeting (1-2 min.)
2. Working with cards (5-7 min.)
3. Theoretical part (5-7 min)
4. Practical work (20-25 min)
5. Summarizing. (3-5 min.)

DURING THE CLASSES

Hello guys! In the last lesson, we talked about the relationship of proportions in the image of a human figure. Let's remember what important points We must know.

Students answer based on methodological tables.

Well done. You know the material, let's check it in practice! Before you are cards with fairy-tale characters. Your task is to say which number the figure is proportional to.

Students complete tasks on cards and collectively discuss the answers. (Answers: Figure 1 - No. 3, Figure 2 - No. 1, Figure 3 - No. 1, Figure 4 - No. 1)

Right! You have completed the task!
The human body is a superbly organized instrument for performing a variety of movements and actions. To depict it, you need to have some knowledge about its structure. This doesn't mean you have to study anatomy in detail - just get an idea of ​​the basic proportions. A mannequin, usually made of wood, is an invaluable aid for drawing a figure in motion. It can imitate all poses and positions that the human body is capable of occupying. Today we do not have a wooden mannequin, but I offer you an interesting analogue.

The teacher distributes envelopes with pre-cut parts of the human figure<Appendix 1 >,tells you how to use them.

Here is the figure of a teenager, which I compiled according to the proportions. To begin with, I suggest you make it running.

Students form the correct tilt of the body, arms and legs.

Please take the last card and tell me, comparing it with your figure. What's wrong?

Students complete the task on the card.

So, with the help of our “mannequin” we can correctly depict the figure of our teenager in motion . Try to put it in different poses- standing, sitting, bending, kicking, dancing. Think carefully about your pose. which you will draw. Don't forget about balancing your figure. Balance for a figure in motion is critical.

Students, checking the “mannequin”, depict the figure of a teenager, and the finished drawings are hung on the board.

Overall, you completed the task. Let's summarize our lesson.

• What features did you notice in the sketches of the human figure in motion?
• What is the importance of balance for the human figure?
• What difficulties did you encounter during the practical work of today's lesson?

Thank you for the lesson! Goodbye!

"Drawing a person (and not only). Body structure and pose" William Lee

1. Introduction

This method will help you draw people and different creatures pencil. It in no way claims to be the best or even the fastest. Working in this way, you will have to think and recreate the shapes of the human body in volume.

Classic animation (especially Disney) uses a similar method of character development. There it is important to feel the character in volume so that he moves naturally. This method will help you get your idea of ​​the character's shapes on paper. And it will get rid of the “didn’t fit on the sheet” syndrome.
2. Posture

Basics of Human Anatomy

Schematic images of a person

Let's start with simplified images of a person. Remember: “Stick, stick, cucumber - it turned out to be a little man”... Don’t underestimate their importance. You don’t even know how useful schematic “men” can be. You ask - which one?

The most important thing is that they display very important characteristic the object you are drawing - proportions. You know the meaning of proportions in drawing. Leg too short or too a long nose can ruin any masterpiece.

Let's take a closer look at our little people. They differ in detail, depending on how accurately you want to recreate the figure. But we'll get into poses a little later. Let's look at the proportions first.

Little man 1. Head, torso, arms and legs. There's not much you can do with it. Just practice observing the proportions of these body parts.

Little Man 3. The pinnacle of sketchy art ;). I don't think you've ever seen anyone draw like this. This figure's shoulders and pelvis already have a certain width. Below you will appreciate the meaning of schematic drawings.

Exercise: Draw a few “men” and see how accurately you keep the proportions. It's simple and quick way assess your knowledge of the proportions of the human body. You will be able to really evaluate the result if you are not distracted by accessories: armor, hair, etc.

In addition, the schematic image allows you to immediately determine whether your hero will fit on the piece of paper assigned to him.

Language of the body

And again little men.

So now you know how important it is to master proportions in or. And how much help do the little sketchy people provide in this regard. Now it's time to do the pose. Or, in other words, make your hero do something.

With the help of schematic drawings, you can try out many poses and choose the one you want before you start working on the character. In addition, you will always see whether the figure will fit on the sheet or not. So a schematic image helps plan your future masterpiece.

Little people in action.

Below are a few examples in which the stick figures represent various poses. As a rule, you can immediately see whether a pose is natural or not. As a last resort, try to recreate the pose that you drew, and it will immediately become clear to you;)

This one throws a spear.

Dancing (well, I think so;).

Running. Please note that the pelvis and shoulders have become slightly narrower. After all, we are drawing a side view.

Gladiator. The lowered arm with the sword is slightly shorter. Pay attention to the rotation of the body - a very natural pose, especially when you look around somewhere.

This one is sad. Or he just can’t find his contact lens.

This one just doesn't do anything. The same body rotation - shoulders and hips are turned at a small angle.

Strange guy. He must be very uncomfortable. Anyway, it looks stupid.

Exercise: Draw several sketchy people doing different things. Watch the proportions. This work will help you feel the dynamics of the human body.

Equilibrium

When you set the pose of your hero, you need to remember about his center of gravity. Law universal gravity no one has canceled yet. A person's center of gravity is located in the lower abdomen. The weight of the legs is about half the weight of the body.

Its location relative to the support points affects the balance of the body. Look at these examples:

red circle = center of gravity

red arrow = direction of gravity

green arrow = support points

Normal gait. person

The center of gravity is between two points of support. As a result, the person is in balance.

A fall.

The center of gravity is away from the support points. As a result, the person loses his balance and falls to the left.

Balancing.

It is possible due to the relative symmetry of the human body. Compare with the following picture.

Now the little man leans to the right. The center of gravity also shifts slightly to the right.

Run, little man, run.

When a person runs, the center of gravity is in front of the fulcrum. You see that this unbalanced posture causes the person to fall forward. Naturally, he will not fall, because he moves forward and alternately puts his legs forward.

Leaning against the wall.

The person is in balance because the center of gravity is between two points of support: the leg and the shoulder. The second leg does not take part in maintaining balance.

Crouching Tiger. Hidden Dragon.

High kick. The center of gravity is to the right of the fulcrum and the body will move to the right. This will give force to the blow. By the way, knowledgeable people say that it is wrong to hit like that.

Of course, the pose does not have to be balanced. This gives it dynamism and movement. A balanced pose is a calm character.

I hope that my tips will allow you to achieve more natural drawing.

Movements and Actions

The body is a flexible and mobile system that is affected by gravity. Its position is not rigidly established.

The first picture shows a walking man. I displayed the movements in a somewhat exaggerated form for clarity. Notice the movement of the hip joints. The shoulders tend to move in the opposite direction.

The second picture shows a man lying on his side, leaning on his elbow. His ribcage hangs over his corresponding shoulder. The spine has a certain flexibility and can also change its position.

3. Structure

To create something, you need to understand its structure. If you want to depict the human body, you need to know a little about its structure.

Skeleton

The skeleton, as you know, forms the basis of the body. The sketchy men have already shown us something. But we need to get to know human body closer.

Main parts of the human body:

• Front view:


• head ( black)


• rib cage ( blue)


• spine ( blue)


• pelvis ( blue)


• joints ( red)


• hands ( green)


• brushes ( green)


• legs ( green)


• feet ( green)

Side view.

Notice the curve of the spine (I removed my arms to make it easier to see).

To draw a human figure, you can use a simplified skeleton:

This drawing allows you to understand the structure of the human body a little better.

The structure of the human body

And now - closer to the body. Let's work on the muscles (or fat, as it turns out). We will use ellipses, cylinders and other shapes to represent body parts. Select shape that best suits the desired body part.

Should I go straight to drawing the body itself?

Of course it is possible. But we worked with schematic figures and a simplified skeleton so that you don't get distracted by the details and can work on proportions, balance and pose. This seemingly extra step will allow you to figure out the volumetric proportions.

Three-dimensional representation of body parts.

Red lines are connections.

You can analyze the location of body parts.

Location of body parts. Practice

You can use this method to describe pose and volumes. Look at the examples.

On the left are sketches and schematic drawings. On the right are three-dimensional drawings based on schematic drawings.

Note that you don't have to strictly adhere to the cylindrical shape - rather just connect the joints. These sketches are similar to medical mannequins, composed of cylinders and ellipsoids.

Details

This method will also come in handy when working on details, such as the hand and foot.

4. Options

Of course different people quite different proportions.

1. People

Here are some examples:

• muscular man;


• woman, standard figure;


• fat man;


• child

Sometimes it's easier to draw the whole figure (as in the case of a muscular man), sometimes it's easier to draw first chest, then the rest. See for yourself which is more convenient.

2. Various creatures

This method will help you draw a variety of creatures whose structure is similar to that of a human. To be precise - all the descendants of dinosaurs, from mammals to birds.

Here are some examples:

• Monkey


• Dog


• Lizard

When I was working on the muscular ape, I drew the entire figure at once. As a rule, for muscular creatures there is no need to draw a separate chest.

The same applies to the limbs. It is not necessary to draw the lines first. Draw the joints and connect them.

3. Cartoon characters

Yes, this method is also good for “cartoons”, especially in the style of the forties and fifties. Converting volumes is quite easy, you will see for yourself. You don't need to draw the chest and pelvis if you don't need them. And joints are hardly needed for “cartoons”, which bend as if they were made of rubber.

That's it, guys. The lesson is over. the main idea- drawings need a certain basis. To get it, it is better to simplify the image to a schematic one. The main advantage of this method is that you can try out different poses quickly and easily. And the size of the paper will not stand in the way of your imagination. This method will help improve the composition of the drawing.

And finally, a small example.