11/16/2023 0 Comments Cartoon female body sketch![]() The triceps and biceps form the remaining outlines of the upper arm. The deltoid inserts in the middle of the upper arm bone. ![]() The direction of the radius bone is different. The elbow bone can be approximated as a straight line from the little finger side of the wrist to the elbow. I see the model from a slightly different angle, and those negative spaces look a bit different from my point of view. It is helpful to check negative spaces between the body and arms. The Golden Ratio defines the proportions of the phalanges. Once again, I depict not only joints and phalanges but also mark the width and depth of each finger. With two fingers in place, it is easier to position the remaining two correctly. It is flexed and therefore appears foreshortened. Now I can proceed with the little finger. To give a three-dimensional look, it is important to depict the width and the depth of a finger. We can start with the index finger, marking its joints and three phalanges. The ends of the finger phalanges lie on three virtual curved lines. At the little finger side of the wrist is the end of the elbow bone. Here's a good tip: When drawing fingers, it is better to start with the index and the little finger and then draw the two remaining fingers in between. The border between those planes goes along the metacarpal bone of the middle finger. Its cross-section is slightly curved, forming two planes on the dorsal side. In this position, the wrist is compressed at the dorsal side of the hand and is stretched at the palmar side. Although how to draw hands is fully explained in a separate Life Drawing Academy video, I will quickly demonstrate it here. The width of the hand is the same as one-third of the face. To place the hand on the hip with precision, we first draw the hand, and only then mark the forearm. The same Golden Proportion is in place for the forearm and the hand. The upper and lower arms form the Golden Ratio. We make sure that the two upper arm bones are equal in size. The elbow is on the same level as the bottom edge of the ribcage. Locating shoulder joints helps to position arms correctly. The hand ends at the middle of the second quarter of the figure's height. We can now mark some outlines of the leg. It is the same as the distance from the top of this kneecap to the top of the pelvis. The distance from the pit of the neck to the pubic bone is comparable to the distance from the ground to the top of the kneecap of the supporting leg. The top of the pelvis can be simplified as an oval, which we see from above. With the necessary proportions in place, we can now outline a ribcage. The height of the head is used to check the width of the waist. The height of the face can be compared to the distance from the pit of the neck to the end of the breastbone from the pubic bone to the navel and from the navel to the breastbone. This pair is marked as an oval.īecause shoulders and pelvis are tilted, the spinal column is curved laterally. Half of the face's height can be used for checking the width of the first pair of ribs. This helps to keep the shoulders on one level. The trapezius' outline is marked in one continuous line. The height of the head approximates the visible width of the trapezius. The face can be used as a measuring unit for the collar bones. Now, we can mark the axis of the supporting leg, which runs from the side of the pelvis to the footprint. The half of the face is similar to the distance from the middle of the figure to the front hip bones. The next step is to measure the distance from the top of the head to the pit of the neck and use it as guidance for the pelvis' width. In contrapposto, the line of the shoulders is tilted in the opposite direction to the pelvis. This measurement is one-third of the face. ![]() The distance from the nose to the chin is comparable to the distance from the chin to the pit of the neck. These divisions give the lines of the eyebrows and the base of the nose. The face can be divided into three equal parts. The height of the head divided in half gives the level of the eyes. We will roughly mark the outlines of the head at this step. Because this model's head fits fewer than eight times into its body, we add a tiny bit to the top division. The top quarter is then divided in half again, giving one-eighth of the figure's height. Such division gives us four quarters of the figure's height. The same applies to the figure's top half. The lower half of the figure is divided into two equal parts. ![]() The pelvis is tilted in such a pose because the weight of the figure is supported mostly by one leg. The height of the figure is divided in half. A vertical axis runs from the top to the bottom. When it comes to the question How to Draw Female Body, first, we mark the top and bottom edges of the figure.
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