CHAPTER 3
THE DRAWING PROCESS

Overview of the Drawing Process

The drawing process is the core of my philosophy, and the most important aspect of this book. With a reliable and effective process, I can consistently and repeatedly apply the drawing fundamentals. Repetition is the key to gaining knowledge, understanding, and a perfection of the skills needed to draw the figure.

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The drawing process can be summed in three words: simple to complex.

This means I start with simple marks, then use marks to design shapes, then turn shapes into 3-D volumes, and eventually add more complexity, such as light, shadow, anatomy, and other details.

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This example is a lay-in of a three-hour pose. It starts with the gesture and an indication of the head and torso (A). Next I design 2-D shapes (B) and then construct the figure with 3-D volumes, or compound shapes (C).

STAGES OF LIFE DRAWING

Stage 1: The “Lay-in”

The first stage is foundational drawing. It starts with a combination of lines, shapes, and solids that clearly describes the pose and acts as a foundation from which the drawing can built. This is known as a “lay-in.” The lay-in begins with gesture and the action of the pose. Next simplify the figure into 2-D graphic shapes, and then construct the figure with 3-D volumes, which add structure and an implied three-dimensional quality.

In shorter poses, the lay-in generally doesn’t have much information and detail. It has just enough information to help begin the lighting and modeling process, which is the second stage of the drawing.

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This example is a lay-in of a ten-minute pose. The finished lay-in (bottom), doesn’t need a lot of detail, but it provides just enough information for me to begin the next stage of the drawing.

Stage 2: Lighting and Modeling

The second stage of the drawing is where you describe and define the light and shadows you see on the figure and begin to model the form. “Modeling” means creating the illusion of three-dimensional form. The lighting and shading process begins by first establishing a clear value pattern. This is done by grouping the values into either light shapes, dark shapes, or a value in between. This first stage of lighting and shading is also known as a “value block-in.”

Once you have the blocked-in values, add a variation of edges to help describe the form. Depending on the time limitation of the pose, you can start to refine the values, value shapes, and edges, which is the beginning of the rendering stage.

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I begin the lighting stage by first defining the shadow into a shape (A). Next I fill the shadow shape with a medium-dark tone (B). This establishes a simplified, two-value system. With the shadow established, I can add halftones and then edge variation (C).

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Stage 3: Refinement and Rendering

The final stage is where you refine all aspects of the drawing, such as proportion, anatomical detail, and lighting and shading.

In this first example of a three-hour pose (see opposite), I was able to render and refine most of the figure. The head and upper body are rendered and read well. With more time, I would have continued the rendering with the hands and then the lower body and other secondary areas, such as the fabric.

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In this second example from a three-hour pose (above), I decide to finish the head and then work down the body.

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Stage 4: Finish

In the final stage, I attempt to complete and resolve the drawing. This stage is also referred to as “polishing,” because you add the final marks, tones, accents, and any other small details and finishing touches that make the drawing feel as complete as possible.

In general, a truly high-quality rendered, finished, and polished drawing requires many, many hours. Even during shorter poses, you can try to finish and resolve a drawing. This means that the drawing reads well and feels complete at whatever stage it is in.

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This ten-minute drawing is not fully rendered, but it reads well and feels complete. To “finish” the drawing in the time limit, I chose to darken the shadow and then add dark accents, which helps separate forms, imply more depth, and make the drawing feel more sophisticated and complete.

TIMED POSES AND PROGRESSION

When you draw from life, there are time limitations. A pose will be anywhere from thirty seconds to three or more hours. Short poses are the best way to practice and learn the fundamentals and the first two stages of the drawing process. Longer poses are where you can practice rendering and the finish.

Life drawing and timed poses are great for learning because they allow for many opportunities to practice every stage of drawing. For example, when the model is posing for only one minute, there will be sixty opportunities to draw and practice gesture in one hour. If the poses are ten minutes, there will be at least five unique opportunities to practice shading. If I draw from life for three hours a day, imagine how much practice I would get in a week, a month, or a year!

Thirty-second and one-minute poses

• Gesture

• Mark making

• Using simple, 2-D, geometric shapes (circles, boxes, and triangles) and design

Two- and three-minute poses

• Refining shapes and using compound shapes

• Beginning construction by using 3-D volumes (cylinders, boxes, spheres, and cones)

Five- and ten-minute poses

• Refining construction and 3-D volumes and using compound shapes and volumes

• Beginning the light and shadow process by observing shapes and limiting values

• Practicing using a two-value system of light and dark

• Applying edges and practicing edge control

• Practicing using three values by adding a halftone (light, dark, and halftone)

• Refining values with dark accents and bright highlights

Twenty-minute poses

• Practicing more accurate line drawings

• Refining proportions and shapes

• Continuing to refine values

• Continuing to refine edges

Two-hour or more poses

• Thumbnailing and value composition

• Practicing placement of the figure

• Continuing to refine proportions and anatomy

• Continuing to refine values and edges

• Practicing the process of “finishing” a drawing

These are just a set of guidelines, not a set of hard rules. As you draw from life with timed poses, you will naturally know and understand what can be accomplished in a set amount of time.

Anatomical Landmarks

Before you can draw, you must first learn how to see. The figure is very complex, so you must not only learn to simplify how you draw, but also how you see. When observing the human body, there is a lot of visual information to process. It is easy to get lost in the complexity, so you must focus your attention on key parts of the body that will be the most helpful to the drawing process. These key points are what I call major anatomical landmarks.

These landmarks are mostly bones and bone structures that are generally visible on the surface of the body. Because these structures drive and support the movement of the body, learning how to see and identify them will greatly improve your ability to make good decisions and good marks when drawing from life.

If you have never studied anatomy or are new to life drawing, the names of these bones and anatomical terms may be unfamiliar. This chapter is not meant to be a lesson on anatomy; it is a lesson on observation. Knowledge of anatomy is not required to begin learning figure drawing, but it will become necessary as you advance. If you are new to anatomy, use this observation guide as a starting point for further self-study.

LANDMARKS OF THE TORSO

In general, the first and most important landmarks are in the torso. The torso is the largest mass of the body and all the limbs originate from the torso. The torso also contains the two largest and most important bone structures, which are the rib cage and the pelvis (hipbone).

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Starting with the top of the torso (T1), I look for the pit of the neck (A), which is located at the base of the neck between the clavicles (collarbones). The pit of the neck marks the top of the torso and also the centerline. The points of the shoulders (B) are the bony protrusions that make up the shoulder joint.

Next, look for the bottom of the rib cage (C), which can usually be seen when the model bends to one side. The bottom of the abdomen (D) is marked by the iliac crest in both front and side view. This bony protrusion is two spines of the pelvis. In lean and muscular models, this can be seen easily because the lower obliques (part of the abdominal muscles) rest on top of the iliac crest. These bony spines are even more visible in females because of their larger pelvises.

The bottom of the torso (T2) is marked by an imaginary line that runs through the bottom of the glutes and through the genitals (E). The great trochanter (F) (head of the upper leg bone) marks the beginning of the legs and acts like an axis point for the movement of the legs.

In the center of the upper back is the seventh cervical vertebrae (G). This works like the pit of the neck in the front. It marks the centerline and is just above the top of the torso (T1), which connects the points of the shoulder (B). The other important landmark in the back is the sacrum triangle. This is marked by the two dimples in the lower back (H) and the bottom of the sacrum (I).

MAJOR LANDMARKS OF THE LIMBS

When observing the limbs, first look at the joints. The pit of the bicep (J) and the elbow (K) mark the end of the upper arm. The outer wristbone and a line drawn through the wrist (L) marks the end of the arm. To mark the end of the hand, look for the longest or outermost finger (M). The kneecap at the front of the knee and the line drawn through the back of the knee (N) mark the bottom of the upper leg. The ankle bones and a line drawn through the ankle joint (O) mark the end of the leg. For the feet, look for the longest visible toe (P) and the heel (Q). If the feet are making contact with a surface, look for the contact line, which marks the bottom of the foot (R).

These landmarks will help you draw the body, but the head has its own set of landmarks, which are outlined next.

Starting with the Head

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Starting with the head is an effective way to begin a figure drawing. However, the head is an incredibly complex structure.

For the purpose of this book, I show a process that is effective and functional in the setting of a life drawing session with timed poses. Even though it is not possible (or effective) to draw a fully finished or complete, head with very limited time, this process contains the foundational skills and tools needed to begin a longer and more finished head drawing.

In short, the goal is not to draw the head, but instead to indicate the head. Indicating accomplishes two main goals:

Goal 1: It clearly communicates the head and its basic nature, size, shape, and position. This is known as the “read.”

Goal 2: It gives us enough information to proceed to the next stage of the drawing.

The next stage is generally proceeding to the torso and then the rest of the figure. Of course, if you are doing a head study, the next stages could be adding more complexity, such as details and lighting and shading.

Before drawing, the first step is to learn how to correctly observe and interpret the model’s head.

PART 1: WHAT TO LOOK FOR

Before drawing the head, take a few moments to observe the pose. Because the head is so complex and there is so much information to interpret, it is important to limit your focus, especially when drawing under a time limit. Careful observation also helps you make a mental game plan of the task ahead.

Anatomical Landmarks

Just like the figure, there are key landmarks and anatomy to describe, suggest, or define in the drawing in order to get the read. The most important parts of anatomy to look for are the centerline, eyeline, ears and ear attachments, bottom of the nose, and hairline.

The diagram opposite shows the major landmarks at various head angles. The first and most important features to look for are the “crosshairs.” These are imaginary lines that run through the vertical and horizontal center of the head. The vertical center is known as the “centerline” (A) and the horizontal center is the eyeline (B). These crosshairs are important for many reasons, but you can rely on them to define the position, which is how much the head is turning left or right, or tilting vertically up or down. The centerline is the foundation for placing the features. It is also where to look to see the gesture of the head. The eyeline helps define the tilt and also leads to the ears, which are another important tool for defining position.

The next important landmarks are the hairline (C), which is the top of the face, and the bottom of the chin (D), which lies at the bottom of the face. To indicate eyes, observe the brow line (E), which is the bone that makes up the top of the eye socket. As you observe and draw the brow line, focus more on the bone and eye socket, instead of the eyebrow hair. The center of the eyes and eye sockets (F) start at the brow line and end at the bottom of the eye socket, which is just below the eyeballs. The bottom of the nose (G) is at the base of the nose and nostrils. Use this line along with the brow line to define the nose position, which is helpful in side views and when the model is looking up or down.

The final important landmark is the ear and ear connection (H). In life drawing, you can use the ear and ear connection to define position. This is because the ear connection not only lines up the eyeline (horizontal center), but lines up the vertical center in side view. This means that the ear connection is a central axis point where the head tilts up or down. Because of the ear’s location, and because it is so prominent, it can be used to define the proportion of the head, especially the ratio and size of the cranium, or back of the skull, to the face.

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Outer Shape

To simplify the head, look at the outer shape of the model’s head. Like all complex forms, try to see the head as a round, oval-like form, as square and rectangle shapes, or even as triangle shapes, which can be seen more clearly in side and three-quarter views.

To see the shape, it helps to look at the contour, or outer edge, of the model’s face and cranium. The main points to look to are the top of the hairline or skull, if visible, the bottom of the chin, and the sides of the face or head. Studying these points will help you see the nature and character of the face shape.

For example, if the model has soft and curved features, a circle or oval is an obvious choice. If the model has sharper, or angular features, start with a box-like, or rectangular, shape. If the jawline is defined, use that as a starting point to help define a shape.

When I begin to draw, I’ll often exaggerate the shape, making it more round, square, or pointed, wider, thinner, or longer, etc. This helps add life to the beginning stages of the drawing and better communicates the nature of the model’s head and face.

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Note how the direction changes help to see the hair as a simple shape. As I draw, I start with the big shapes and then add smaller hair shapes if time permits.

If you are new to drawing, this can take some practice, because the tendency is to see and draw individual strands. This is very common, but with practice in observation, your eye will be trained to see shapes in the hair. Throughout this book are many examples of how to simplify hair details, which can be copied for reference and further study.

Action of the Head

The other important thing to look for is the action. Action is gesture and gesture is life. If you correctly observe and communicate the action, then the head indication will feel much more alive. To do this, first ask the question: “What is the head doing?” Other questions to ask are: “How much of the face do I see?” “Is it a side view or three-quarter?” “Are they looking up, or looking down?” Carefully observing the amount of rotation and tilt helps tremendously when it comes time to draw and define the position.

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The action flows from the body through the head (A). The centerline of the neck is where I look to see the action (D). The gaze (B) and eyeline (C) are vital in defining the amount of rotation.

Structures of the Neck

The neck is an important structure because it supports the head and determines the action of the head. To correctly transition from the head to the body, you must first see and understand the key anatomical landmarks of the neck, which are the centerline, sternocleidomastoid, and trapezius.

The first landmark to look for is the centerline of the neck (A), which is an imaginary line that runs through the center of the front and back of the neck. The next major structures are the sternocleidomastoid muscles (B), which run along the side of the neck. These tube-like muscles flow from behind the ear and converge at the pit of the neck (C). The large trapezius muscles (D) make up the back of the neck and also transition to the shoulders. In the back view, the seventh cervical vertebrae is the center of the neck at its base, directly between the shoulders and trapezius muscles (E).

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It’s not important to memorize these names or be an expert on anatomy, especially if you are new to life drawing. The important thing is to learn how to see them and how they connect the head to the body. When the connections are defined correctly, the process of drawing the figure will be much smoother.

PART 2: HEAD INDICATION PROCESS

If you take the time to observe and understand the head and its action, the drawing process is relatively simple. Again, because of time and size limitations, the goal is not to draw a fully finished head, but instead to indicate the head and define enough information so that the head reads well and you can transition to the body.

Like drawing anything, the head follows the same process of drawing simple to complex, lines to shapes, gesture to structure. To demonstrate the process, I use several examples of heads in various angles and positions.

Example 1: Front View, Male
Observation Process

The first things to look for are the crosshairs, which comprise the centerline of the face (vertical center) and the center of the eyes (horizontal center). Also note the top of the head, the hairline, brow line, bottom of the nose, and bottom of the chin. Finally, look for the anatomy of the neck, specifically the sternocleidomastoid and trapezius (A). The next things I look for are the shapes, starting with the major, outer shape of the head and face, and then the secondary shapes such as hair and other costume details, if any (B).

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Drawing Process
Step 1: Gesture and Action

Start with an oval, drawn in a gestural way with long, fluid marks. Also define the centerline, which in most front views is the action line of the head.

Step 2: Crosshairs and Feature Indication

Draw the eyeline to complete the crosshairs, which helps define the head’s position. Next, draw simple marks to indicate the brow line, center of the eyes, bottom of the nose, and bottom of the chin. Also indicate the ears, which are connected to the eyeline.

Step 3: Shapes

The most important shape is the general shape of the model’s face and head. In this example, I use a rectangular shape that closely resembles the nature and character of the model. Next simplify the hair into a shape.

Step 4: Connecting to the Shoulders

Use the natural flow of the neck anatomy to transition to the body. The sternocleidomastoid flows to the pit of the neck, and the trapezius leads to the shoulders. These simple marks are all you need to begin drawing the torso and the rest of the figure.

Step 5: Hair and Other Details

Once the head is reading well, and if time permits, add secondary details. I usually begin by refining the hair shapes and then start to further indicate the features. In the early stages of a life drawing, the most important features to define are the eye sockets and the nose, followed by the eyes and lips. You can also start to add structure to the face by adding cheekbones, which begin to define the sides of the head and face.

Example 2: Front View, Female
Observation Process

In this example of a female model, the process begins the same. First observe the key anatomical landmarks (A) and then the shapes. The most important shape is the head and face, which I interpret as square/rectangular (B). For the model’s hair, look for corners and direction changes that help you simplify the hair into a large graphic shape (C).

Drawing Process

Begin the drawing with the gesture and action (1) and then feature indication (2). Next, block in the head shape and a simplified hair shape (3). Then indicate the neck and transition to the shoulders and body (4). If time permits in the pose, add more details to the head. In this example, I further indicate the eyes, nose, and mouth and refine the face shape. Finally, refine and add more details to the hair, such as secondary shapes and direction changes that communicate the smaller masses of hair (5).

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Example 3: Three-Quarter View
Observation Process

As the head starts to turn, as in this example of a three-quarter view, carefully observe the amount of rotation. Along with noting the major anatomical landmarks (A), take a moment to carefully observe how much of the front of the face you see. Do this by first looking to the centerline (B) and then noting the distance to the left and right sides of the face (C). Defining the correct ratio of left to right is critical to clearly communicating the amount of head turn.

Drawing Process

Start with the gesture (1) and then the crosshairs (2). For the features, especially note the brow and nose, because they are more prominent as the head turns (3). Complete the head indication with a simplified hair shape (4) and then transition to the neck (5). If there is more time, refine the shapes and begin to add more features and details (6).

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Example 4: Side View, Female

In a side view, also known as “profile view,” the front of the face is barely visible or not visible at all. Generally side views are less challenging to draw because there is less information and fewer features to describe. Instead, the front of the ear and more of the back of the head (the cranium) are visible. The cranium is a large mass of the head. Measure from left to right; it is at least as large as the facial mass. Drawing the cranium too small is a common mistake for beginner artists; drawing the cranium with enough size in proportion to the face helps make a side view read with more clarity.

Observation Process

Along with all the major anatomical landmarks and crosshairs, look at the top and back of the head and the base of the skull (A), because these points define the cranium. For the shape, look at the hairline, which is at the top of the face, the bottom of the chin, the base of the skull, the back of the head, and the top of the head (B). To separate the face from the cranium look to the back of the jaw and ear connection (C).

Drawing Process

In a side view, you can often combine gesture and shape in one step. Starting with the gesture of the face, then flowing to the jaw, and then to the back and top of the head (stroke order) creates a triangular or curved box-like shape (1). The most important features are the brow line, eyes, and nose. Draw the center of the eyes at an angle, which suggests the eye socket receding and the brow line coming forward. A simple triangle shape quickly indicates the nose (2). Next separate the facial mass by defining the jaw and a simplified hairline. Then simplify the hair shape. Follow the gesture of the front of the neck and the sternocleidomastoid muscle to the pit of the neck (3). Complete the transition to the body by indicating the side of the neck and the collarbone, which connects the shoulders to the pit of the neck (4). If you have more time, continue to refine the head and add details such as the eye socket, eyeballs, and nose (5).

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Example 5: Up-View, Male
Observation Process

The first areas to observe are the top and sides of the head and bottom of the chin. These points will help you imagine the cylinder form to use as the base shape of the drawing (A). The horizontal feature lines, especially the eyeline and brow line, are curved like a cylinder. Also look for the curve of the head, forehead, and the jawline (B). The bottom planes, or undersides of head, will help you communicate an up-view. The most important bottom planes to look for are the eye sockets, bottom of the nose, upper and lower lips, and the underside of the jaw (C).

Drawing Process

Start a curved rectangular shape and the action of the head, which is also centerline (1). Next, establish the crosshairs with the eyeline, mark for the eyes, bottom of the nose, and center of the mouth. Indicate the ears (2). Refine the shape of the head, also add the hair shape, and then follow the neck structures to transition to the shoulders and torso (3). Finally, describe the underplanes, especially the eye sockets, bottom of the nose, lips, and the bottom of the jaw (4). If you have enough time, continue to refine the head and add features and details as needed to reinforce the feeling of a head looking up.

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Example 6: Down-View, Male

A head looking down is very common in life drawing. Using the cylinder as a base shape works just like an up-view pose, except in reverse. This means the front of the cylinder curves downward and the sides of the cylinder converge at the bottom of the form.

Observation Process

Like an up-view, first look for the sides of the head and the bottom of the chin (A). At the top of the head look for the hairline and the back of the head. These points will help you visualize the top of a cylinder (B). The anatomical landmarks to look for are the eyes, bottom of the nose, center of the mouth, and the curve of the jaw. Visualize the eyeline as a long circular line that follows through the eyes and around the back of the head (C). To help communicate a down-view, look for areas of overlap. For example, the hair overlaps the forehead (D) and the brow bone overlaps the eyes (E). Note how the nose overlaps the mouth structure (F).

Drawing Process

Begin with a curved shape that resembles a cylinder and centerline (1). Next, lay in the eyeline and ears and mark the center of the eyes, bottom of the nose, and center of the mouth (2). Because the hair is closest to the viewer, define it as a simple shape. Then follow the visible neck structures along with the collarbones, which transition to the torso (3). Finally, add as many overlaps as possible to reinforce the feeling of a down-view. Use the brow to overlap the eyeballs and block in a simplified shape for the nose, which overlaps the mouth. Refine the jaw shape and begin to block in in the mouth and lips (4).

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Example 7: Various Up- and Down-Views

In these examples, the head is turned and looking up or down, which can seem more difficult. For up-views, emphasize the curved jawline, which suggests the underside of the cylinder form. Take advantage of every other bottom plane you can use, especially the eye socket, bottom of the nose, and lips. In a turned down-view, there is often very little facial information available. This means you must carefully observe and define the shapes of the head and features that you do see. Take advantage of all the overlaps available, especially the browline and the nose. If available, use the hair as much as possible to create overlaps of layering forms, which suggests depth.

Throughout the book there will be many more examples of the head at various angles and more opportunities to study, copy, and observe how I indicate the head and transition to the figure.

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Once the head structure reads well, it creates a solid foundation to which I can add more details.

Drawing the Torso

After the head, the next major form to define is the torso. Learning to draw the torso is like learning to draw any form. The process of gesture to construction, 2-D to 3-D, is exactly the same. The torso also acts like a limb. It can bend, move, and twist like an arm or a leg. Like the limbs, the torso has an upper structure, the rib cage, and a lower structure, the pelvis, with a flexible area in between that acts like a joint. In short, once you can draw the torso, you can apply the same principles and process and draw any limb or other part of the body.

THE THREE SECTIONS

The torso is a beautiful and complex structure. To simplify the torso, look for and draw it as three sections: the upper torso, the abdominals (or mid-back), and the hips. These sections relate to the three bone structures: rib cage and shoulder girdle, spinal column, and pelvis.

The upper torso starts at the top of the shoulders and the base of the neck, and ends at the bottom of the rib cage (A). The mid-section starts at the bottom of the rib cage and ends at the top of the pelvis. The abdominal wall is seen in the front view (B) and the lower back muscles can be seen in the back view (D). The hips start at the top of the pelvis and end at the center of the crotch (C). Drawing in sections will help you group all of the complex anatomy and simplify it into shapes. Sections are also very helpful for drawing a torso that is bending forward or backward.

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CHARACTERISTICS OF MALE AND FEMALE MODELS

The two main differences between the male and female body are the proportion of the bone structures and the genitals. In males, the upper torso will be much wider than the hips; in females, it is the exact opposite, with the hips being much wider. In a drawing, these inverse proportions can be quickly suggested with basic shapes. For the breasts and male genitals, a simple oval shape is enough to indicate them.

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To block in the breasts, use a simple oval shape. In a neutral pose, the long axis generally angles down (A). If the arms are raised, the angle reverses as the mass of the breasts rises with the arms (B). If the pose is bending forward, the breast appears to have a more triangular shape (C). If the model bends back or the torso is in a horizontal position, the mass of the breasts slightly moves to the side, which increases the distance, or gap, between them (D).

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These shapes work for indication. Every model is different and with more time in a pose, you want to eventually refine the shapes to match the model’s individual shape and character.

Example 1: Front View, Male
Observation Process

Before you begin, look for the gesture and action of the pose. In this example, the torso is slightly bending to the left, which creates an obvious stretch and pinch. The top of the left shoulder and bottom of the left hip are the points to look for and connect in the mind’s eye to define the action or thrust of the pose (A). The other important landmarks to identify are the shoulder line and the hip line, which give you the top and bottom of the torso (B).

Drawing Process

The drawing begins with a long C-curve for the action line at the stretch side and then two lines to define the top and bottom of the torso form (1). Next define the centerline and indicate the pinch, which begins to separate the top and bottom of the torso (2). Define the three sections (3). Begin to add detail and simplified anatomy (4). With more time, add more detail and simplified anatomy. Also refine the contour and add any overlaps to help create structure (5). At the this stage, the torso has a lot of information to help you proceed with the drawing by adding limbs, more details, or light and shadow.

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Example 2: Back View, Male
Observation Process

Like the front view, first look for the action and any helpful landmarks. The top of the right shoulder and bottom of the right hip help you identify the action line (A). These points also help you identify the shoulder line and hip line (B). The upper torso has a lot of complex anatomy. The first landmark to look for is the triangular-shaped scapula (C). In this model, the large trapezius muscle (D) can be easily seen. In the lower back, look for the dimples at the side of the triangular-shaped sacrum (E). Identifying these key landmarks will help as you draw and construct the torso.

Drawing Process

Start with the action line, shoulder line, and hip line (1). Continue with simple marks to define the pinch and the right contour of the torso. An S-curve defines the centerline (2). Next separate the three sections (3). Simplify the complex anatomy of the back using basic shapes (4). For example, triangle shapes can quickly describe the scapula and the trapezius muscle. If there is more time, continue to refine the shapes and the contour, and begin to draw the limbs (5) or add light and shadow.

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Example 3: Side View, Female

In a side view, many anatomical landmarks may be hidden. This means there is less information to draw and that it can be more difficult to get a clear read. Side views require more use of the anatomy to help describe forms. Along with the anatomy, you can use overlapping forms and overlaps as much as possible to help you get a stronger read.

Observation Process

In this pose, the action line is clear (A), so you can use it to help locate the pit of the neck and the bottom of the crotch. These points will help you see the top of the shoulder and bottom of the hips (B).

Drawing Process

A long C-curve defines the gesture, and then define the top of the torso at the shoulder line (1). Close the torso form by defining the contour of the back and the pinch (2). Next separate the three sections by indicating the rib cage and drawing a partial box-like shape to indicate the iliac crest, which separates the abdomen from the hips (3). Next add simplified anatomy such as the pinching muscles, breasts, and the beginning of the shoulder joint (4). With more time, you can either refine the drawing, add more anatomical details, draw the limbs, or start the shading process (5).

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Example 4: Twist, Male

What makes a twisting pose unique is that the upper torso and hips turn or rotate in opposite directions. This causes the centerline to have an S-like curve and makes for a very dynamic and interesting pose.

Observation Process

In this twisting pose, look at the stretch side to see the action line (A). The shoulder line (B) is clear, but to help yourself see the hip line (C), follow the stretch side to the bottom of the groin and draw an imaginary line through the leg to the outer edge of the glutes. The centerline is an important part of a twisting pose, so look for it by drawing a line through the pit of the neck, navel, and groin (D). Because the centerline marks the front of the upper body (E) and the front of the hips (F), it defines the direction these structures are facing, which helps communicate a twisting action in the drawing.

Drawing Process

Start with the action and the top and bottom of the torso (1). Next define the pinch, which separates the upper torso and the hips (2). Separate the three sections by indicating the bottom of the ribs, the obliques, and the iliac crest, which defines the box-like shape of the hips (3). Add simplified anatomy to help the torso read (4). With time remaining, add more detail at the pinch and the contour, and then transition to the next stage (5).

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FORESHORTENED POSES

When the model bends forward or backward, the torso either comes toward you or moves away from you. To communicate this in your drawing, use the three sections and take advantage of their natural overlaps. Drawing in this way mimics the way the torso structures naturally overlap each other.

For example, if the figure bends forward, the rib cage will be in front of the abdomen and the abdomen will be in front of the hips. If the figure bends backward, the inverse is true and the hips will be in front. Each section will create overlaps, so take full advantage and emphasize the overlaps in your drawing.

Another tool to use when drawing a foreshortened form is tapering lines. Tapering means that the lines slightly converge, or come together, as the forms move away from the viewer. This helps suggest perspective and an imagined vanishing point. Whenever possible, try to exaggerate the tapering of forms to help emphasize the feeling of foreshortening.

To foreshorten the torso, look first for the three sections and how they overlap each other (A). When you draw, make the forms taper as much as possible (B). Start the drawing by drawing the sections and consciously try to emphasize as many overlaps as possible (1). Once the sections and foreshortening are reading well, continue to further develop the torso (2).

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TORSO AND FORM STUDIES

During a life drawing session, I often isolate and draw only the torso, or any other limb or structure that interests me. Torso, form, and limb studies allow the artist more time to study and practice complex aspects of figure drawing such as anatomy and shading. I encourage anyone who is new to figure drawing to do many torso studies along with drawing the full figure. See opposite page for an example of five-minute torso and form studies.

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How to Draw One- and Two-Minute Poses

Now that you know how to start a drawing with the head and torso, you can draw the full figure. Life drawing sessions generally start with very short poses. They can be as quick as thirty seconds, but one- and two-minute poses are more common practice. These are sometimes called “gesture poses” because that is the main focus.

One- and two-minute poses are great ways to start a drawing session because they allow you to warm up your hand and mind. The poses are so fast, there is little time to add details or complexity. In addition, they provide many poses to draw and many opportunities to practice, experiment, and make mistakes. Having an abundance of opportunities frees the mind from the pressure of being perfect or “getting it right” or finishing a drawing.

That’s very important to remember at any stage of the drawing. The goal is not to finish a drawing.

One minute is not enough time, and neither is ten or twenty minutes. The goals are to:

1. Communicate the action of the pose

“What is the model doing?” is the question I always ask when I draw gesture poses, and I want my drawing to clearly communicate and answer this question.

2. Indicate enough information to progress to the next stage

For one- and two-minute poses, the next stage would be construction, 3-D forms, and simplified anatomy.

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A page of one-minute poses from life. Ballpoint pen on toned paper.

TIPS AND BEST PRACTICES

Tip 1: Exaggerate the Gesture

Gesture adds movement and life. The more you exaggerate the gesture, the more dynamic the pose will be. Over time, as you add detail and anatomy and complexity, the pose will get stiff. So the gesture must be as dynamic as possible from the beginning. Short poses are the best opportunity to practice exaggeration.

Tip 2: Draw with Long, Fluid Lines

Make all lines as long as possible. To help accomplish this, look at the extremities, the outer points, and try to draw the lines from one end of the figure to another. For example, I draw the extended arm to the feet, or the top of the head to the toes. I also look for and use rhythms to connect landmarks and elongate my gesture lines.

Tip 3: Draw with the Whole Body and Arm

This may seem strange if you are new to gesture drawing and drawing with long lines. As most drawing (and writing) is done with the hand and wrist, it becomes habitual to draw short, choppy strokes. To get the most movement and gesture in your drawing, move your whole body when you make gesture lines. The drawing will feel much more alive when the lines have more life in them.

See diagram shown opposite for an example of these best practices.

(A) Drawing with only the wrist produces short, choppy, and sketchy strokes.

(B) Focusing too much on the anatomy and details, all the subtle curves and bumps, makes the drawing feel lumpy and stiff.

(C) Drawing with short strokes and too many straight lines makes the drawing very stiff. Straight lines can be used, but they must be well balanced with curves.

(D) This drawing is on the right track. There are smooth curves, not too much detail, and a nice balance of marks. The only thing that would make the drawing better is exaggeration.

(E) The curves are long and fluid in this drawing. There are very few breaks or bumps in the contour, if any at all. The anatomy and forms are simplified but still read well. Most important of all, the gesture and action are exaggerated. Look how the chest and ribs are pushed forward, the is hip pushed out, and the angle of the pinch side is more dramatic.

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This is not the only way, or the right way, to draw a gesture pose, but these best practices will definitely help make the drawing much more dynamic. Starting a figure drawing with good gesture and good marks builds a good foundation for the rest of the drawing.

Example 1: Front View, Male
Observation Process

The first thing I notice is the dramatic action of the pose and the interesting silhouette. To identify the silhouette, I look at the outer points of the top hand, elbows, hips, knees, and feet (A). The gesture runs along the stretch side of the pose (B). Following the contour from one landmark and outer point to the other creates opportunities for rhythm and movement (C).

Drawing Process

1. Begin by defining the action line and indicating the head shape and then the shoulder line.

2. Close the torso with the hip line and then add the centerline. Follow the outer contour, which defines the gesture of the limbs and the outer silhouette. Start to indicate the head to define the gaze.

3. Separate the sections of the torso and add simplified anatomy. Refine the head shape and then block in the shape and gesture of the limbs.

4. Block in the arms and simplified hand shapes. Refine the contour of the torso as well as the shape of the lower legs and feet.

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Example 2: Back Pose, Female
Observation Process

In this pose, the first landmarks to notice are the outer extremities. They are the hand, head, left hip, and heels of the feet. Also look for the shoulder and hip lines (A). Identifying landmarks helps you see the action line (B) and the many possibilities for gesture and rhythms. In addition to the action line, the longest gestures lines are at the left outer edge (C), the ground plane (D), and the rhythm the runs through the right leg and hips (E).

Drawing Process

1. Establish the action, indicate the head, and define the shoulder line.

2. Close the shape of the torso at the hips, define the pinch side, and define the centerline.

3. Use long gesture lines to establish the outer edge and gesture of the legs.

4. Add simplified anatomy of the upper back, separate the hips, and indicate the shapes of the head, arms, and hand.

5. Define the glutes and hips. Draw the limbs as long, tapering rectangles by following the contours of the limbs with long, tapering lines, closing the shapes at the bottom of the feet and hand.

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Example 3: Side Pose, Female
Observation Process

The first thing I notice about this pose is the dynamic action of the arms and of the body. The action line runs along the front of the torso but can also be extended from the head to the right foot (A). The other landmarks I look for are the hip and shoulder lines (B), which gives me the top and bottom of the torso.

Drawing Process

1. Begin by defining the action line and draw the curve as long, fluid, and continuous as possible. Indicate the head and define the shoulder line.

2. Close the torso shape by defining the pinch side and the bottom of the hips. Then define the gesture of the front leg and relate the front foot to the back to establish a ground plane.

3. Indicate the facial features and describe the gesture and shape of the limbs. Add simplified shapes for the breasts and hands.

4. With the time remaining, continue to indicate the head with a simplified hair shape. Refine the shape of the contour, starting with the torso and then the legs and feet.

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How to Draw Three- and Five-Minute Poses

After gesture poses, the next set of poses will be three or five minutes each. Five-minutes poses, or “5s,” are my personal favorite because they give me just enough time to add structure, construction, and even start the shading process, but they’re not long enough to add too much detail or “finish.” This balance between time and time limitation keeps my drawing feeling fresh and spontaneous and makes the drawing process fun.

WHAT TO FOCUS ON

For five-minute poses, the primary goal is still the same: communicate the action of the pose and define enough information to progress to the next stage of the drawing process. This means you develop the lay-in by turning your marks and 2-D shapes into 3-D forms and volumes by adding structure lines, corners, and cross sections where needed to make the forms feel more solid and volumetric. You can also add anatomical detail as needed to help get a better read. If the pose is relatively simple and there’s not too much information to define, you’ll likely have enough time to start the shading process by defining the shadow shape and blocking in simplified values.

TIPS AND BEST PRACTICES

Tip 1: Learning How to Edit

Five-minute poses are the best time to practice the skill of editing. Editing means you don’t attempt to draw everything you see. Instead you only draw what is essential to communicate the pose and get the read. Because the time is so short, it’s impossible to draw or define every single detail you see. Instead of rushing to finish and obsessing over every little detail, use the limited to time to think and make good decisions about what to draw and what to leave out. This means if a piece of anatomy or detail is not essential to getting a good read, leave it out.

Tip 2: Don’t Rush

Even though three or five minutes is not a lot of time, don’t rush the drawing. Most beginners want to rush to get to the next stage, or finish the drawing. With a three- or five-minute pose there is a temptation to rush to the shading. When you slow down and take the time to think and make good decisions, the more effective and efficient your marks, shapes, and details become. Being more efficient is what makes you draw faster, and of course, makes the quality of the drawing better.

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Example 1: Front View, Female
Drawing Process

1. Begin by defining the action of the pose, indicating the head, defining the shape of the torso and the outer contour and gesture of the legs.

2. Because the torso is foreshortened, separate the sections and use overlaps. Also indicate the facial features.

3. Define the limbs with long gesture lines and 2-D shapes.

4. Add mass and volume to the cylinders of the arms and legs with cross sections and compound forms.

5. With the time remaining, start the shading process by first defining the shape of the shadow.

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Example 2: Back Pose, Male
Drawing Process

1. Start with the gesture and action of the pose. Then relate and connect the outer points with long gesture lines.

2. Separate the sections of the torso to create overlaps and then limbs with long curves and 2-D shapes.

3. Begin constructing the cylinders of the upper back and the limbs.

4. Draw more construction, cross sections, and compound forms to add mass to the limbs.

5. Begin the shading process by defining the shadow shapes.

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Example 3: Seated Side Pose, Female
Drawing Process

1. Define the action of the pose, indicate the head, define the torso shape, and connect the outer points using long curved lines.

2. Separate the torso sections, define the limbs with gesture lines and 2-D shapes, and indicate the facial features.

3. Construct the figure by using corners and cross sections and adding simplified anatomy.

4. Begin the shading process by defining the shadow shapes.

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How to Draw Ten-Minute Poses

I like ten-minute poses because I have a little more time to refine my lay-in and I get a chance to practice the beginning stages of the shading process. Generally by the first ten-minute pose in the session, I’m warmed up, feeling loose, and in a good drawing rhythm.

The process, goals, and expectations are the same as for a five-minute pose. With a ten-minute pose, you can be more careful with the lay-in. Take the time to correct proportions, angles, shapes, and the contour. Sometimes, if the pose is complex, I will spend the entire ten minutes with a lay-in and not start shading at all. That is okay. If the pose is less complex, you may have more time to develop the shading. Life drawing is not a race and the goal is not to finish. So don’t rush to the shading. Instead use the time to practice the process and make the drawing feel complete, no matter what stage you are at.

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This is a ten-minute pose from life. Pastel pencil on newsprint. This is an example where the pose was relatively simple so I had time to add shading and tones. With the limited time, I decided to prioritize the forms of the back.

Example 1: Front View with Interesting Shadow Shapes, Male
Observation Notes

These type of poses are my favorite to draw. The pose is intruiging and the light is dramatic, producing clear shadows with very interesting shapes. There is also a nice balance of light and dark shapes. The face is hidden, but there is still a lot of anatomy to see and draw. With only ten minutes, focus on the shadow shapes, especially at the core shadow, and practice communicating form with clear shapes and limited values.

Drawing Process

1. Begin the lay-in with gesture and 2-D shapes.

2. Finish the lay-in by constructing with 3-D forms and adding cross sections, corners, and simplified anatomy.

3. Define the shadow shapes.

4. Fill the shadow shapes with a medium dark tone, which establishes a clear two-value pattern.

5. With the time remaining, add halftones and start to refine edges.

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Example 2: Side View, Female
Observation Notes

The first thing I notice about this pose is the beautiful gesture and movement. The action line is a lovely S-curve that runs from the head all the way to the left toe. Because the face and both hands are visible, you will need to spend more time on the lay-in. Also, because the model is a young female, you need to be more mindful of the core shadow edge.

Drawing Process

1. For the initial 2-D lay-in, emphasize long curves and especially exaggerate the beautiful S-curve action line that runs from head to toe.

2. Complete the lay-in by constructing the limbs with cross sections. Add anatomical detail and simplified facial features, and refine the contour.

3. Define the shadow shapes.

4. Mass in the shadow with a medium dark tone and create a clear two-value pattern of light and dark.

5. With the time remaining, start to add halftones and soften the core shadow areas.

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Example 3: Back View, Female
Observation Notes

The first thing I notice in this pose is the anatomy of the back and arms. There are so many interesting shapes that I decide to focus on the anatomy as much as I can in the ten minutes. For the anatomy to read clearly and be in the right place, you need to refine the proportions as much possible. This means the lay-in drawing and defining the initial shadow shapes will take up most of the time.

Drawing Process

1. Use 2-D shapes and curves to define the action of the pose and the limbs. The shapes are mostly simple rectangles, so much of the work will be done with 3-D forms and construction.

2. Add cross sections and structure to turn the torso, arms, and legs into cylinders. Also use cylinder construction to indicate the scapula and upper back muscles (A). Clearly separate the torso sections to create overlaps.

3. Carefully define the shadow shapes, making sure each shape and core shadow also define a piece of anatomy.

4. With the time remaining, fill the shadow shapes with a medium dark tone to create the initial two-value system.

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How to Draw Twenty-Minute Poses

The last set of poses in a life drawing session will be twenty- or twenty-five-minute poses. In a typical two- or three-hour session, the last two or three poses will be “20s.”

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Twenty-minute poses can be very challenging, especially for artists new to life drawing. With more time, there is often more pressure and expectation to “finish” a drawing. There is pressure to have something nice to show your friends and family.

I like twenty-minute poses because they give me a chance to slow down, think more, and be more thoughtful with every mark. When I approach a twenty- minute pose, what helps is to start with a goal.

TIPS AND BEST PRACTICES

Tip 1: Start with a Goal

Before you start drawing, take a moment to decide what part of the drawing to focus on. For example, you may focus on the lay-in and really take your time to get good proportion and structure. Or you may focus on anatomy. Whatever stage or experience level you are at, having a goal in mind will help you focus and make the drawing time more productive.

Tip 2: Get a Better Viewpoint

If your view of the model is not favorable, or if the pose is not attractive or interesting, move seats and change your vantage point in some way. Of course, moving is not always possible because of factors such as the size of the room and number of artists in the workshop. Sometimes moving to one side of the room or farther away in the back row allows you to get a better viewpoint without disturbing the other artists in the room.

Tip 3: Focus on the Process

No matter what experience level you are at, the best use of the time in front of a model is to practice the drawing process. If you are still at the lay-in and gesture stage, it is okay to practice gesture and shapes for twenty minutes. If it takes you twenty minutes to do a good construction drawing with accurate proportions and positioning of forms, that is a success. Just because the pose is twenty minutes or more and the person sitting next to you is shading their drawing, don’t feel that you also have to shade your drawing. Make the most of the model time and practice the drawing process at whatever stage you are in.

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Example 1: Front View, Male

In this example, the lighting is dramatic and there are interesting light and shadow shapes. The goal is good craftsmanship. This means you should try to make your marks and tones as clean possible and establish good values.

Part 1: The Lay-In

The lay-in is the beginning of the drawing process and the foundation of the entire drawing. It’s so important that 80 percent of this book is about the lay-in. In the pose below, and for every twenty-minute pose in general, take your time with the lay-in, try to be as accurate as possible, and be true to the pose.

1. The first part of the lay-in is the gesture and 2-D shapes. Draw with long, fluid lines and try to make your marks and the gesture as dynamic as possible. Because of this, don’t focus too much on proportions and angles.

2. When you start to refine the initial lay-in and add construction, be more mindful of the shapes and proportions. Start constructing the head and torso and adding sections, 3-D forms, and simplified anatomy, making necessary adjustments as you work. In my drawing, I notice right away the angle of my initial head indication is off. I correct the angle and refine the shapes (A). Start to construct the arms and refine the shapes of the hands. For the model’s left hand, use simple rectangle shapes to suggest the fingers (B).

3. Complete the lay-in by constructing the legs. To do this, add cross sections and compound forms to thicken the legs and suggest a volumetric cylinder form. Refine the shapes of the feet to suggest toes, heels, and ankles. The last correction I make in my drawing is at the model’s right knee and arm (C). First I shortened the length of the upper leg and corrected the angle of the front of the knee. Then I refined the shape and length of the upper arm, especially the point of the elbow and how it transitions to the forearm.

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Taking as much time as needed to do a good lay-in will give you a solid foundation from which you can build the drawing.

Part 2: Starting the Shading Process
Observation Notes

Before you shade the drawing, take some time to observe the light and the values. Squint at the model to help see the value shapes (A). Because the lighting at this drawing session is done correctly, the light and shadow shapes are very clear. For the value shapes (B), first look to the left side of the figure, which is entirely in shadow, and use this as your dark value. The right rib cage and arm receive a lot of direct light so they are the brightest areas and highlight areas, which is the light value. This leaves the figure in light, which you can group as your halftone value.

1. Start the shading process by first defining the shadow shapes. Because there is almost no bounce light, the border is very clear. As you draw the core shadow, make sure to follow the anatomy and the forms.

2. To clearly separate light and shadow and establish a two-value pattern, fill the shadow shapes with a medium dark tone. To make the drawing feel cleaner, try to make the tone as even as possible.

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Part 3: Shading and Resolution

1. To complete the shading process, start to add halftones everywhere except the right rib cage and arm. Leaving these areas bright establishes the three-value shapes. As you add tones, use the side of the pencil to also start softening the core shadow edges.

2. Continue to add halftones throughout the figure, using slightly darker tones at the lower parts of the figure, like the legs and hand. Add very light tones at the right rib cage and arm to help show forms and create a highlight.

3. With the time remaining, continue to refine values and edges. To add more contrast, darken the shadows overall, especially the core shadows near the shoulder and right rib cage which will be the focal point of the drawing. Darken the halftones, especially at the legs, feet, arms, and any area away from the bright highlight areas.

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Finally, make dark accents at the occlusion shadow areas. In this pose, these are at the armpits and the fingers on the left. Also reinforce and darken the cast shadows at the chest, shoulder, and arms.

Example 2: Back View, Female

In this example of a back view, the lighting is also dramatic and there are clear light and shadow shapes. The upper back has very interesting and beautiful shapes. For this pose, focus on anatomy and communicating form with tones and edges.

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Part 1: The Lay-In

1. Start the drawing with the action line and the long curves. This creates an envelope around the figure and adds rhythm. Block in the head with a simple shape and then block in the torso shape, separating the upper body from the hips. Make sure to exaggerate the angle of the shoulder line and hip line to communicate the beautiful contrapposto (asymmetrical position) of the pose. To block in the limbs, use long curves that flow along their outer contours.

2. Define the shape of the torso, separate the hips to indicate the pinch, and then draw the centerline. Follow the gesture along the outer edge of the arms to define their gesture and shape. Indicate anatomy with a triangle shape for the scapula and the sacrum, which also separates the hips from the abdomen. Simplify the hands with a simple square shape.

3. To complete the lay-in, use construction to add more volume to the shapes. Construct the upper back by using a series of cylinders to simplify the anatomy and add thickness to the scapula (see diagram on next pages). Add cross sections and egg-like forms to the limbs to give them thickness and volume.

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Constructing the Upper Back

The upper back is a beautiful but very complex region because there are many layers of anatomy and detail. Following are some notes on the process I suggest to construct the upper back in this pose.

Observation Process

The upper back is a complex area that requires careful observation. The most important landmark is the scapula. To help see the scapula, look for highlights and corners. In this pose, a long, thin highlight runs along the spine of the right scapula (A). The upper corner of the left scapula is also in highlight (B). The bottom corners of the scapulas can be seen in shadow (C).

These corners will help you see the triangular shape of the scapula through the skin and muscles (D). Once you identify the scapula, look for the group of muscles that surround scapula. These muscles support the scapula and movement of the shoulder and upper arm (E).

Drawing Process

1. To simplify and draw the upper back anatomy, visualize the forms as layers. The first layer is the rib cage. To construct the rib cage, use a compound shape that resembles the shape of a birdcage or bullet.

2. The next layer comprises the muscles underneath the scapula. There are many layers of muscles here, both large and small. The most obvious is the large trapezius muscle, which attaches to the top and interior spine of the scapula. To simplify, use a wide, tapering cylinder shape. The opening end is where the arm will attach.

3. The final layer is the scapula bone itself. It is triangular in shape, but also adds thickness and corners to this shape. This shape also groups and simplifies the muscles that sit on top of the scapula.

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To have a true understanding would require a proper study of the anatomy. Although it is not required to be an expert on anatomy to start drawing from life, it is extremely helpful, especially if your goal is more realism and to achieve a higher quality of drawing. Once I studied the anatomy of the scapula and the major muscles surrounding the scapula and shoulder, I could better see and recognize them on a model. If you are new to life drawing, I recommend that you first study and copy this diagram and then draw from life as much as possible. Once you gain some experience drawing from life, complement your practice with anatomy studies. Start by studying the skeleton first and then the muscles.

Part 2: Starting the Shading Process
Observation Notes

The lighting on this pose is done well, which makes the shadow shapes and value shapes (B) very clear. When I squint at the model (A), the shadows group into one large mass or shape. The brightest values can be seen at the right shoulder and upper arm which are closest to the light. The left glute also groups with the light value. This leaves the figure in light, which can be grouped into a halftone value.

Drawing Process

1. Begin by defining the shadow shapes and also start to introduce some edge variation at the core shadow.

2. Next, fill the shadow shapes with a medium dark tone, which establishes a clear two-value system.

3. Finally, add halftones, starting with the areas close to the core shadow and areas farther away from the light, such as the legs and left shoulder.

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Part 3: Shading and Resolution

1. Continue to add halftones, leaving only the bright areas of the right arm and left glute. Soften core shadow areas and make them slightly darker to create the illusion of form and reflected light.

2. With the time remaining, add lighter halftones in the bright areas to create highlights. To increase the contrast and make the values more dynamic, reinforce and darken the cast shadows. You can also add dark accents in the occlusion shadows where the upper arm comes in contact with the torso.

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