Art Anatomy by Franklin Einspruch Copyright Franklin Einspruch. Please see License for permitted usage. Please note that the view below is in a provisional state. Dedication To my parents and grandparents I must study politics and war, that my sons may have liberty to study mathematics, philosophy, and commerce, so that their children, in turn, may have the right and privilege to study painting, poetry, and music. - John Adams Acknowledgements The creation of this manuscript was made possible by a generous grant from a foundation whose name, by request, has been withheld. The University of Miami School of Architecture kindly administered the grant and appointed me as a Research Associate for its duration. The idea in the Epilogue of the communion between eye, hand, and mind must be credited to a dear colleague at the SOA, David Fix. I would like to thank my mother for reviewing the manuscript. Foreword This book is especially intended as a primer on artistic anatomy. Part 1: Beginning How to Use This Book
Drawing Lessons - Cennini Forum I'm forced to agree with you, Patti. Bear in mind that the editors at publishing companies are not experts in art. In my books, I could have spoken of the benefits of mixing peanut butter with paint (or something equally stupid, like soaking brushes in cooking oil to clean them in a fantasy belief in environmental purity). Editors check for spelling and punctuation, not fact and content. All four of those examples lack solidity. Something that most people who have taken the obligatory art history course in college do not know is that they have everything backward. They view the contretemps between the French Academy and the Impressionists as a bunch of rich snooty guys trying to destroy the more common folk and their attempts at art. Almost without exception, the Impressionists came from the upper-classes, the haute bourgeoisie and with one or two titled nobility. Quite the reverse of the usual romanticized version, what? That figure drawing by Forte exhibits numerous flaws.
How to Draw Ears For a video version of this tutorial visit www.proko.com/how-to-draw-ears-anatomy-and-structure In this tutorial I will go over the parts of the ear and suggest an easy way to remember all these complex shapes. At the end, I will show a step by step of an ear drawing. Basic Forms The simplified volume of the ear is very much like a megaphone. Just Remember “why?” At first glance the shapes in the ear seem random and confusing. Placement of the Ears The ears lie in the middle third of the face. In Perspective During an up-tilt or down-tilt the placement of the ears is very important since doing it incorrectly can break the illusion of a tilt. Anatomical Information Shading the Complex Forms of the Ear Concha The concha is the bowl-shaped part that attaches the back of the ear to the head. Helix The Helix is a semi-cylindrical form and should be shaded as such. Antihelix The antihelix is the Y shape inside the ear. Tragus and Antitragus Lobule Drawing the Ear 5. Made a video version of this tutorial.
How to Draw the Nose Update 09-26-2012 – Above is a video version of this tutorial. For more video tutorials visit Proko.com and subscribe to the newsletter In this tutorial I will go over the structure of the nose and give detailed information about the bridge, ball, and nostrils of the nose. The Major Planes When drawing the nose, I’ll usually start by indicating the 4 major planes – top, 2 sides, and bottom. Anatomical Information I think the anatomical shapes in the nose are really interesting. The Minor Planes It’s important to memorize the subtle plane changes in all the different part of the nose. Minor Planes of the Bridge The Glabella is shaped like a keystone. Minor Planes of the Ball The ball of the nose isn’t perfectly round, but has very distinct plane changes. Minor planes of the Nostrils The nostrils, also called wings, curl under themselves similar to the septum. The hole of the nostrils often appears as a sideways comma shape with a sharp edge at the top, and softer edge at the bottom. 4.
Core Art Skills: Part 3, Life and Figure Drawing The study of the figure is the corner stone of art skills, its disciplines trickle down into all areas of work. It's also the area that takes the most effort to master. In part three of Core Art Skills, Ben Mounsey will show you how to confidently draw from life. You will learn about the key concepts of figure study and how to draw what you see. Core Art Skills Series The Form The human form is used often in design work and provides the basis for most character designs we create and encounter. Key concepts for studying the figure These principles will migrate from your life drawing sessions and over into your regular work. Proportion Foreshortening Structure and muscles Weight Proportion Proportion is learning the form and its physical parameters, with a good understanding you should know the distance from the shoulder to the wrist etc. Foreshortening Foreshortening is the visual illusion created when viewing an object at an extreme angle and showing its distance in perspective. Weight
Drawing Hands This short tutorial is a just a small taste of a larger and much more in-depth book I wrote called The Mad Art of Caricature! The book is 175 full-color pages, lavishly illustrated and contains greatly expanded explanations of the concepts presented in this tutorials, as well and a great deal of additional material on caricaturing other facial features, posture, hands, expression and more, techniques on drawing from live models, doing caricature for freelance illustration and for MAD Magazine. This is a must have book for anyone interested in caricature, cartooning or humorous illustration. You can order it online here. How to Draw Hands Easily the most asked question I get is “how do you draw caricatures?”. Next to faces, hands are probably the most expressive and intricate part of the human form. I’m a cartoonist at heart, so the hands I draw are not realistic hands by most definitions. Breaking Down Hand Structure Not really much to it, is there? Relationships of Hand Structure
Perspective The Rules of Perspective Christopher W. Tyler Introduction Linear perspective has a history going back at least to Aristarchus, a scene painter for Aeschylus in the 4th century BC who astonished his audience, including Plato, with his realistic depiction of depth by size reduction in the spatial layout of buildings. The following is an attempt to distill the rules of perspective into an elementary form that may be easily applied in practice. The Rules of Perspective The rules are first stated in their most direct form, then elaborated. Implications of the Rules of Perspective 0. 1. 1A. 1B. 2. 2A. 2B. 3. 3A. 4. 4A. 4B. 5. 5A. 5B. 5C. 6. 6A. 6B. 6C. 7. 7A. 7B. 8. 8A. 8B. 8C.
How to Draw the Head From Any Angle The Basic Forms To draw the head from any angle you must first understand its basic structure. Look past all the distracting details and visualize the underlying forms. The head deconstructed into its basic forms, is a sphere as the cranium and a block as the jaw and cheek bones. A Sphere as the Cranium The sides of the head are flat, so we can slice off a piece from both sides of the ball. A Block as the Jaw and Cheek Bones Attach the shape of the jaw. Constructing From Any Angle Step 1 – Determine the angle of the ball The angle of the head is established at the very beginning of the drawing with the ball. X Axis - The up and down tilt is established by the angles of the horizontal and vertical lines in the oval. Y Axis - The direction the head is turning (left or right) is established by the width of the oval. Z Axis - The twist is established by the angle of the center line, the angle of the oval and the placement of the oval on the ball. Step 2 – Find the thirds Step 3 – Add the jaw
The hand The hands are a notorious source of frustration. This section won't concentrate on the muscle structure, since the hand is very complex in this regard, and knowing this won't help much in drawing them. Instead, we'll look at proportions, range of motion, and possible simplifications. Structure and proportions Figure 2.20. Bone structure and proportions of the hand There is a very easy and surprisingly accurate way to remember the proportions of an adult's hand. The palm of the hand houses the metacarpal bones. The palm of the hand can be simplified to a box. Figure 2.21. Notice that the box does not line up with the contour of the fingers. The two black arrows in the previous figure show how the little finger can move up and down. Figure 2.22. Take a look at some examples of how to use this model: Figure 2.23. The first one is a relaxed pose. This is certainly not the only way to draw a hand.
Sight Size Drawing Method Sight-size or right-size drawing is a traditional method of observing the subject, still taught in classical ateliers. Mainly used for portraiture but applicable to other subjects, sight-sizing will help you attain great accuracy when drawing from life. How to Use the Sight-Size MethodBen Rathbone, a graduate of the School of Representational Art in Chicago, wrote this explanation of the sight-size method. He includes photographic illustrations and covers the use of plumb-line and calipers. The Benefits of Sight-Size DrawingA feature article in 'My American Artist' magazine. A First Cast DrawingFollow along with artist Paul, a 'lapsed painter', as he makes a cast drawing. Articles on Sight-Size from Charles H. Bargue Drawing DemoPaul, who doesn't seem to possess a surname, shares his experiences doing some copies of drawings from the Charles Bargue drawing course.
Pencil Portrait Lessons In the last lesson on eyes we talked about the various problems that artists run into when trying to draw eyes as realistic as possible. In this lesson, we will begin the drawing process. There are two things that you need to do in order to in order to get started. The next thing that you have to have is your initial sketch drawn on your paper. Step One - The Pupil The first step is to draw in the pupil. Important Note: Make sure that you do NOT color in the areas that will be the highlights. Step Two - The IrisBefore we start drawing in the iris, I want to talk a moment about a technique called hatching. This image illustrates both the correct and incorrect usage of hatching. There are a few ways that artists traditionally shade the iris area of the eyes. Ok, the first step in the iris is to create the initial lines of hatching. Did anyone notice the mistake I made here? Step Three - The Edge of the Iris Step Four - Pulling in the Darkness Step Five - Blending to Create Depth Next Lesson:
tonal value Painters do not have the apparatus problems of a photographer, but they do face a similar value design problem: anchoring the middle value of a painting in a way that communicates the intended feeling of light or dark without sacrificing a complete representation of the tonal range. Our visual system naturally adjusts to the average luminance in our environment to produce the best visual representation. Because this adaptation also affects the appearance of any physical gray scale, the key to the value design of a painting lies in the distribution of gray values across the luminance range. What should this distribution look like? The CIELAB L* scale, which is a benchmark measurement of surface reflectance and the vertical scale used in the artist's value wheel, represents the basic reflectance range; this is overlaid (in orange) with the value range used to describe paints in the guide to watercolor pigments. Creating a Value Scale (Grayscale). 1. a naive value scale 2. 3. 4.