Draw Better: Classical Proportion - The Adult Body | Emma Woodthorpe | Skillshare

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Draw Better: Classical Proportion - The Adult Body

teacher avatar Emma Woodthorpe, Illustrator. Author. Artist.

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

9 Lessons (28m)
    • 1. Introduction

    • 2. Materials

    • 3. Basic Markers

    • 4. Head and Chest

    • 5. The Pelvis

    • 6. Legs and Arms

    • 7. Basic Proportion Summary

    • 8. 3D Mannequin Form

    • 9. Conclusion

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About This Class

In this class I will be showing you how to draw a human body in the classical proportional style. An understanding of the body's basic proportions is an impostant artistic foundation, so as well as being a great class for any artist who is struggling with proportion it is also a great place for beginners.

Generally the human body is between 71/2 to 8 head lengths long - but obviously not everyone falls into this category. That is why in this class I am going to be showing you the classical proportions of the 8 head length figure - and once we have practiced this we will have a good basic knowledge to be able to expand and experiment with the many different body types out there.

* There is an accompanying workbook that you can download in the 'Resources' Section of the 'Your Project' tab which compiles everything that we will learn in this class.

The Materials you will need for this class :

  • Paper
  • Pencil
  • Eraser
  • Pen

*This class is part of the Draw Better series, where in each class I focus on an important lesson to improve your drawing ability and style. To find these and other classes, head to my profile: https://www.skillshare.com/user/emmawoodthorpe.

Meet Your Teacher

Teacher Profile Image

Emma Woodthorpe

Illustrator. Author. Artist.


Hi I'm Emma Woodthorpe, also known on the internet by my business name Embers & Ink! I'm a freelance artist and illustrator based in Sheffield (UK). Using my background in Art and Literature I'm  currently writing and illustrating children's books!

I work in multiple media and have created a range of art using many mediums ranging from charcoal and pastel through to acrylics and oils to pencils and watercolours - and many more!

Find out about the Children's books I've created on my Author Website and follow my Author Instagram page @emmawoodthorpe for regular updates. You can find me on YouTube where I post weekly videos exploring my art and life as a full time creative. You can also join my exclusive gang over on Patreon where I offer a range of exclusive con... See full profile

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1. Introduction: Hello, I'm ever and welcome to this next plus in my drawer, Bester. Siri's where I'll be showing you how to draw classically proportioned human figure. Drawing a human figure from life and especially from memory, can be difficult. In this class. I'll be showing you how you can draw a classically proportioned human figure and then how you can start translating this information into a more three D fleshed out form. An understanding of classical proportions is an important artistic foundation, so as well as this class being a great place, form or established artists who may be struggling with proportion. It's also a great starting place for beginners who are starting their drawing journey. So without further ado, grab something to draw with and let's get going. 2. Materials: the materials that you need for this class of simple. Some paper, a pencil, a pen And, of course, don't forget in a razor. You can jump straight in with a pen first if you want, but you may run the risk of muddying up your image when we need to make adjustments, and we will no doubt need to make adjustments when learning any new skill. You need to allow yourself that freedom to make mistakes. If you are aware from the outset that we will need to adjust or maybe even start over completely, it will stop you feeling frustrated when the inevitable does happen. Nobody goes through life without having to make mistakes or to practice by doing these things. It's a sign that you're consciously leveling up, so be kind to yourself and grab that pencil and eraser first. 3. Basic Markers: As a general rule, the adult human body is between 7.5 to 8 head lengths long. The average person is probably closer to 7.5. While more classical artistic proportions are probably closer to eighths in this class, we're going to use eight head lengths for our human body proportions both. After practicing this a few times, you will easily be able to translate this to a 7.5 head length proportion. You can start by. Drawing your head is an oval and then multiplying your head length by eight to get the total body length, for example, ahead of two centimeters will have a total body length of 16 centimeters. However, for ease, I'm going to draw the total body length first. This line is called the medial line and connects the figure top to bottom and split it equally left and right. As many of the basic Marcus of the body are found by Harv Ing, I've made this an equal number of centimeters long just for ease. Next, we're going to mark in some crucial points, firstly marked the halfway line. This is going to be the crotch. You may want to lightly annotated pencil so you can easily find this mark later. We then need to divide the top in half again. This is the chest around where the nipples would be on a non or small breasted adult. Then we divide the bottom half in half. This is the knee marker, the halfway mark between the top of the figure and the chest mark is the chin, and then going down the area halfway between the chest marker and the crotch will be the naval. These are the basic points that we're going to use, and you may notice that you can find these markers by using the head length. 4. Head and Chest: next, we're going to work down from the top, adding extra measurements and details and to make way for these extra measurements and details, I've just rubbed out the beginning of this line. We start by drawing an oval for the head in the top eighth space. Then at the chest marker, we're going to mark in the nipples, which are roughly ahead, Length apart. You can measure this if you want to. These will help us to find the shoulder joints later to create a chest cavity. First, we're going to market V between the chin marker on the chest marker. This is roughly half way, and it's going to indicate the clavicle if you then make a mark halfway between the clavicle in the chin. This will mark the top of our chest cavity drawn oval between this mark on the naval, encompassing the Nichols next to make the rib cage cavity, we're going to first draw some dotted line vertically down from the nipples to where they meet your chest oval outline here, draw a curved line up to meet the chest marker and then back down to create the rib cage, and you can then erase the bottom passes over 5. The Pelvis: to draw the pelvis were first going to split the space between the naval on the crotch into three by making too marks equally spaced well to three. Then we're going to half the top third, roughly either side of this marker vertically underneath the nipples, So a head's length of heart mark two dots for the pelvis. At these points, draw two diagonal inward pointing lines. Connect the outer and the inner points of these lines to the crotch with a U shape to create the illusion of a three D bowl shaped pelvis. Connect the out decides, together with a raise line that skins the naval line. 6. Legs and Arms: for the legs. We need to find the top leg joint. To do this. Go to the area in the pelvis that we divided into. Three. Find the bottom of the two dividing lines, then mark slightly below it. Either side of this mark. Make two dots a head's length apart. He should line up vertically with nipples, too, but one slightly cut the river close by, just in case you do need to make any adjustments. That's okay. Okay, Now create too small, outward and downward diagonal lines from here. Draw vertical line down to the knee joint on each side, then draw down to the feet with a slight outward curve. Too much of a network of okay to indicate feet. Use of long triangles for the arms. We need to find the shoulder joints. To do this. Draw a dotted line from the naval through the Nichols, then extend the clavicle horizontally and outwards with a slight upward line. The point where it meets the dotted line is the shoulder joint. Draw a line down from each of these on each side of the arms, stopping at the crotch. Put a dot level with the naval line the elbow and end each armed with a basic handshake. Now you can use your pen to go over. The marks were made to create our proportionally accurate stick figure. 7. Basic Proportion Summary: and there we have it. We now have our basic proportions. I have attached a downloadable worksheets summarizing what we just learned, and you can find that in the resource is section of the your project. Obillo. I do recommend practicing this immediately and then again a few times with a break in between. This will help you to solidify this learning into your memory when it's had a photo of these practice exercises to the your project are below. Once you've practiced this proportional stick figure a few times, let's move on to flushing out our stick figure into a mannequin form with the use of some simple two D and three D shapes. 8. 3D Mannequin Form : we are now going to use our classically proportioned stick figure as a base upon which we can create a three D mannequin. This will not only make the transition to a three D form easier without the need to guess which on density, but will lead the way to using your proportion knowledge to create different body positions . You may find it helpful to either working tracing paper over your pendant stick figure, or just to draw your proportional figure again and pencil as a guide to draw your three D mannequin figure onto. I'm using tracing paper, and I'm just going to take it down. First, draw your head and chest cavity as on the figure, then create a three d half oval for the pelvis, so connect the pelvis to the chest with a circle that's more of an oval, but it connects the two. That's okay. This represents the abdomen, and we're going to make this area look more fluid in human by connecting the pelvis on the rib cage with a gently sweeping waste. Next, draw a circle at the shoulder. Joints, elbows and knees now draw smaller circles where the ankles and wrists are where next going to connect these joints with cylinders. And if you don't know what a cylinder is, imagine an elongated baked bean tin, so the top the bottom. Normally, you wouldn't see this bit if you were if you just drawn the bean tin, but so we can get a picture of its three D form. We will. We will be drawing this section two knows that the lower half of the arms and the legs we'll have a tapering cylinder where they meet the wrists on the uncles. The top of the legs don't start with the leg joints, so we're going to join them straight on to the pelvis. The outside curves out slightly before joining the joint. Make that joint a bit bigger because likes thicker on the arms. That's one. Next I'm going to do cylinder for the next day. Always have you ever close by because that looks like to thunder thighs for my stick figure . So after thighs curving outwards, and then we're gonna connect that to the I can put this in number for the feet. We're going to create the illusion off triangular based pyramids, but we're going to see the front part of them so they will look like this chicken bidness you get. Next, we're going to make the hands, and it's gonna sound a bit strange, but we're going to use a slight kind of squashed coffee and look for the hands. It gives you the illusion of where the finger joints will be from where the humble B and next, we're just going to connect the arms on the head to the main part of the body with the neck . And then George is on top of the clavicle to join the talk of the rib cage on the shoulder . You could do the same if there's a gap between your page and your arm. Now that we've created a simple mannequin fall from here, we can experiment, moving our mannequin into different positions. Keep in mind that your cylinders in your spheres will stay the same size and length in order not to distort your proportions, so this elbow joint won't be any further than that distance out here as well, so you can draw dotted line to indicate how far the arm will go. If you want to be accurate about this, you could get a compass in the game with the likes. The legs will stay, not distance away from from the pelvis. So if I wanted to have my stick figure with the arms out could draw my elbow joint here. Maybe healthy arm slightly curves down my restraint. - You have. I'm gonna make a monarch in doing the teapot cylinder here is approximately the same length as this cylinder. Looks like it's holding a bean tin. - Have fun experimenting and playing with this. And remember, if it doesn't work the first time, that's okay. We always learn something from our mistakes. Great artists rarely make anything amazing without leaving a trail of mistakes in their wake. The key is practice. 9. Conclusion: I hope you've enjoyed this class and understand a little bit more about how to create a classically proportioned figure. Don't forget to practice and to keep going even when mistakes occur. This is Army one class in my drawer. Better Siri's. So if you've enjoyed this and found it useful, be sure to check out my other classes and you can find those by clicking on my teach profile below. And I'm always adding more classes. Un content to keep your eyes open for updates. Birth. That's all for this lesser. So until next time, happy drawing.