Learning to Draw: The Proportions of People | Bethany Lindell | Skillshare

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Learning to Draw: The Proportions of People

teacher avatar Bethany Lindell, 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

8 Lessons (1h 8m)
    • 1. Welcome!

      2:14
    • 2. The Artist's Stick Figure

      12:11
    • 3. Building the Body

      10:00
    • 4. The Head

      13:37
    • 5. Variations: Male & Female

      19:53
    • 6. Variations: Posing Your Figure

      6:11
    • 7. Class Project

      1:58
    • 8. In Closing

      1:44
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About This Class

Figures are some of the most difficult subjects an artist can tackle in drawing. Not only are the shapes complex, but adding in expression and attitude drastically changes a person's image from drawing to drawing. So where do you begin learning to draw such a complicated subject?

Proportions!

Proportions are the ratios between our body parts and features and while each person is visually different, our proportions follow the same general rules across the field. Knowing these relationships will help you know where to place certain parts of the body by looking at coordinating parts.

In this class you will learn:

  • the proportions of the human body
  • how to¬†structure the head
  • the differences between the male and female body structure
  • and the different joints in the body and how to manipulate them

Our special guest today, Manny Q. Quinn, also provides you with reference material for your class project and general practicing.

Class Resources Mentioned:

Sketchdaily Reference - http://reference.sketchdaily.net/imageViewer

Marcus J. Ranum - stock photographer found on Deviantart

Thank you for sharing your wonderful work!

Meet Your Teacher

Teacher Profile Image

Bethany Lindell

Author & Artist

Teacher

An artist currently working as an art teacher in Texas, Bethany focuses on teaching the basics of color and art to inexperienced students, while sometimes dipping her brush into more intermediate ideas. She is also an author with experience planning, plotting, and editing novels, such as The Girl Gingerbread in the Woods of Winter White and The Hybridian Way.

 

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Transcripts

1. Welcome!: Hello. Welcome to learning to draw the proportions of people. And today I'm going to teach you the proportions of drawing people. So why it is important to begin with our proportions for the human body is because they are the relationships between our actual limbs and torso and our basic structure. So those relationships, those ratios don't change from person to person. And so knowing these proportions can help you draw people without interfering with your own individual style. The line Bethany I am an artist and author with Blue Nestor Art and I teach are in real life, too beginning artists. That's my day job. So before we begin, this class is for those who are new to figure drawing because we're going to cover some very basic ideas here concerning the human figure. This is also a good class for those who know a little bit about figures but still want to improve their foundation. So instead of learning to draw a single face from a photograph, have a base to draw firm to draw either people from your mind or different people without having to rely on one specific source to create a drawing. While this classes for basics and figure drawing. I am assuming you know a few basics and art. Now, if you don't or you feel like you need a refresher, then I recommend you watch my first class in the learning to draw Siri's, which is the basic forms. You can find that here on skill share, and it is aimed for very young, very new beginner artists. So since we are learning the the basics of people, we won't be drawing specific faces. We will be learning to draw many here say hi, many That's Manny Que Quinn, and he's going to be our special guests for this lesson. He and I are very excited to get started, so let's begin with essentially how you start every drawing of a figure of a person ever the stick figure. 2. The Artist's Stick Figure: the artist stick figure is actually an in depth look at the bone structure of a human being captured in very simple lines and circles. So the lines will be all your major bones that we we see, and the circles represent our most prominent joints that place such an essential part in our movement. These air not actually the stick figures that you're used to. So let's get to our demo so you can properly understand and see for yourself how building the artistic figure works. So for today's class, you'll just need your basic drawing utensils, your basic drawing supplies, such as your pencil. I'm using a Rufin art sketch, three b. You'll need any racer and probably a sharpener as well. Other than that, you'll just need your paper, your sketchbook. And so this is just a your average drawing sketch book here. Not to be. Get our figure. We start with head, so remember to draw from your shoulder. You should be moving your whole arm and we will work our way down our figure. But part of the reason we start with the head is it kind of guides the rest of the body on what it is doing where it is looking, it needs to be essentially centered into the motion of the body. It is the guiding force. But a second and also very important reason is that artists measure in heads. And if you haven't heard that term before, it means you are measuring your figure by the height of your head. So, however told, this person ends up being, I can say it is five heads tall, 5.5 heads. Toll. A very tall person will be taller than that, and you will have to stretch your proportions accordingly. So that is why we begin with the head now for our wire framework. We're just going to move down. So I'm going to draw the cross hairs of my head so you know which way they're looking. Draw your shoulders. They must be wider than your head. That may seem like a no duck kind of, Ah, statement there. When I first started out, I actually had a very hard time with that. You draw your circle joints for your shoulder, your shoulder is a ball in socket, which that affects how it moves and its range of motion. So we draw little circles for them. You only have a little bit of space between the head on the shoulders here for your neck. Now you draw that line down. This is your torso. So remember, we're measuring and head so one to but 1.5 here for my torso. And I'm going to draw the hips again. Ball and socket joint. So circles never legs. Legs are interesting. Your side bone is the longest bone in your body, so it should reflect that Here, your knee. These are not bowling soccer joints, however, of I think circles work. Justus Well, your knees a very round thing. So it kind of helps toe have thes circular protrusions here when we start adding the body shapes to our figure. Now I found that your shinbone, it isn't as long as your thigh bone. However, when you add the ankle and then the feet I found, it comes out being about as long. So from the bottom of the knee to the bottom of the foot bottom, see, it is almost as well not quite. My knees might actually be a little off. That's OK. You can just adjust your figure as you create him getting it right perfectly. The first time is very difficult. You have tow work at that and be very familiar with people. So it's OK to fidget some of your lines so that the proportions add up. So arms are actually one of those things is very difficult to get the length right the first time. So what, you can dio drone mark Very faint mark halfway down your thigh. This is where your fingertips end. When you put your hang your arms down at rest next to your body, your fingertips come to the center of your thigh. Otherwise just makes your hands are the same height on either side of your body. So this here is your wrist Now for your elbows, You in real life there, put your arm down next to your side. Just let it hang there and feel where your elbows are at your body. It should be about right here because your elbow comes to about your waist is your hips so your waist is just above Think of it about where your belly button is and that is your waist, My elbows air. Not quite a line so I am fixing them here. Okay, so now that we have our bare bones down, let's talk proportions. So some of the guiding proportions I've already mentioned your fingertips when your arms are arrest will come to the middle of your thigh any longer, and they'll start to look like gorilla arms and shorter. There, they're going to look like there's no easy analogy for when they're shorter, they're going toe look wrong. This is one of those basic proportions that we as human beings share. Your knees will be halfway down, and your shin bones here will be about as long as your thigh when they include the foot. If you're just measuring the shinbone in between your knee and wrist joints, it should not be about the same, which it looks like mine is. That's not right, so your hips will be smaller than your shoulders. Your shoulders are the widest part of your body, so your hips need to be smaller. I also want to point out that it is very important to mark your joints in your framework, so that includes your shoulders, hips, knees, wrists, sorry, angles and elbows. Why this is important is because this is what allows your body to move. So right now we just have many at an Addie's neutral head on position, and that's how we're gonna work with him for are very basics. But when you begin to move your figure like we will a little later on in the class, this is where your form can move. So if you try and you know, bend your arm here, well, that means it's broken, so you should only do that on purpose. If you need to describe a broken arm now, why it is circles. It makes a lot of sense for the shoulder and hip joints, because in real life that is a ball and socket joint, and it is a circular joint, so it allows you to have a lot of rotation. You can not only bring your leg up, you can turn it out, and you can sweep it around if you're very flexible. So that is a very adequate description of how these two joints move. Now your elbows knees, they move. One way they bend. So that's it. However, your knees are very circular like, I said, and that will provide a good framework. When you draw them in and it's a little the same with your elbows here, there's, ah, bump at your elbow. And so while this does not describe its emotion, it does kind of describe its shape. So I think that's why you do the elbows and knees as circles. Wrists. I have seen people do it. However, I prefer to use a line because your wrist goes in and yet has a lot of motion. But that's because it has a lot of bones rather like your fingers. So the really these air, all bending joints, they just They're repeated so frequently within such a small space that it gives your fingers a lot of movement and dexterity, and your wrist is kind of the same thing. They're quite a number of little bones in there. You get some sideways motion, mostly get up and down. It's the same with your ankles. All those many bones and muscles allow it to rotate a little. However, it is not the same as the ball and socket joint, where it is specifically meant for rotation. So I like having the wrists as lines because they come in and then come out again, which we will see in our next video better when we begin adding in Manny's basic shapes, however, get your ankles. They have a bit more rotation in them. And so that also suits, too. The circular joint mark. Just make sure you include them for later on when you begin your more complex, uh, active forms and that will greatly help you there. Now that we have our bare bones in, we're going to lay in some of the bodies very basic shapes. 3. Building the Body: Now we have the basic skeleton down the bare bones. Let's add some shapes to a human figure because we're working very simply, you're not going to get very detailed with these shapes. So try to remember as we go through this lesson, that this is adding a silhouette to the form. So these shapes are not gonna be complicated. I really don't overthink it. We're going for very basic and blunt shapes to help fill out our body so that it looks like a body. So for Manny, he will have a lot of rectangles in him or very rounded rectangles, but not so much that they look like circles and ovals. Now, the head we leave alone, this is relatively your basic head shape. And so we're not gonna touch that like before. We're just gonna move down. So for your arms, you have these tapered rectangle forms. We're gonna draw a line halfway through the elbow joint because remember, it is bend. There is that line that crease in your elbow. So that is where the top part of your arm ends in the bottom part of your arm begins. Your wrist is very narrow, so gonna be wider at the elbow, narrower at the wrist before you come out almost immediately to the base of your hand. So how did the elbow into the wrist and out immediately again to the base. Your hand. Okay, So the chest. Since this is Manny, Manny is a man and a mannequin. We're gonna work with squares. All deal with more female forms later. So right now we're just working in one. Your beginners, that is OK, so the square of the chest goes all the way to the edge of the arms. This is your armpit right here. Okay. And your hips just draw tight box around your hips. You don't want to be any whiter than these circles are here. Now, this here will be your midriff. See, I made his hips to wide because the waste either comes straight down on a man, but because they have very narrow hips, That's just how their bone structure is as wide as they need to be. Go. Okay, now, if I draw him in the same position, it's gonna look like his legs are coming out a bit more, which I think, actually copies a more natural stance from a human beings there, you can see he stands a little more naturally now since I brought in his hips. This is the bottom of the trunk, and it is where your legs split off into separate legs, so your outer leg will come straight down. But your inner leg, we have a V where our legs come out, so they should be closer together. They don't have to be touching up here, but they should be quite close together cause you're your legs both come up into your hips . There is not a lot of space between the tops of them in like your lower arms here, your top, your legs, your thighs are going to come in to your knee. Now your knee. Think of it as just a extension of your thigh and come around it so that you can get a more natural shape in your final, more complex drawing. Your calf is a very unique sheep. So from your knee come out just a little and then it all the way to your ankles. But that's only on the inside. So out here just much more shallow, much less noticeable. And it is extending down from your other thigh. Okay, so these air your ankles here and then your feet the, uh your toes, they're gonna be the widest part of your foot. So since this one is head on, it is very wide looking, but it narrows drastically and then goes up into the shin and the calf. This one, since it is facing a little more outward, this foot, I mean still widest appear near the toes. However, it's lines are a little different. And so these are your basic shapes. Oh, I'm sorry. I forgot the neck. Your neck is just two straight lines. It's a little column, but remember that the neck is supporting your entire head, so it's actually going to be quite wide. Um, it's either just narrower, then the hinges of your jaw. I'm going to get more in depth into the head in its own video. So I will explain this better there. How the I will explain better how to shape the head there. But for now, little preview. Your neck needs to be wider than your chin, and it has to be meaty enough to support your entire head. So if I did it like here. Ah, is It's a bobblehead. He was He would collapse under that he would have to have a much narrower frame all the way around to justify that skinny of a neck. So you remember to keep it wide. Okay, so these air, his basic body shapes our Manny. Now, now is the time. If something looks wrong to correct it because this is your basic form. And when you build upon a basic form that is that you can tell is wrong, it doesn't get better. Ah, it will get more obvious. Much worse. So make sure you have all of your basic shapes in order now. So now is the time to correct any mistakes you find like you saw. I had to correct my hips. Okay, a little embarrassing. What? I'm trying to teach you how to do it. However it happens and so fix it now. And Milan. So we are working on our proportions. But remember that things that come in pairs your legs, your feet, arms and hands. They need to be very similar. So if you change one, make sure you look at the other. Okay? I think he's pretty good There's nothing really overt that I want to change now. Except for that. Okay, Now he looks really good. And so we will move on and continue building on our basic shapes now. 4. The Head: The last thing I'm going to build today is the head. Now the head, because of its many expressions, is the most complicated part of drawing human body. It's shares this aspect of being very complicated with your hands. However, the reason the hands are very complicated is they are very moveable, and that's because they repeat the same kind of joint a lot in a very small space. The head is more complicated because it has many unique shaped features, and they're also very expressive. So when they change, it changes the whole expression and look of your face. So now let's look at those proportions, uh, in neutral mode to make it easiest for beginners, and we'll see how they relate to each other in the face. So the last part of our building session here for learning how to build to the basic form is the head. The head is the most complex, and so I'm going to do it nice and big for you so you can see all the details, and then we'll go back and add in, um, Manny's different facial features. So how you want to start is a nice big circle again remember to use your shoulder motion. Okay, Go over it a few times until you find a circle and not lumpy. Misshapen circle like object. Okay, circle. Now, believe it or not, this is not your basic head shape, because you need to add a chin. So I'm going to give her figure here. Jawline. So he takes straight lines from the outside edge of your circle the widest point. But you go in and you connect them. Okay. And there you can see your basic head shape. Now I put in the crosshairs, the crosshairs, their going to cross about the middle of your circle, and for a neutral expression, we're just gonna have it head on. So straight down and just a slight curve to the across. This is where your eyes go. So put them in the center of your crosshairs. Now, your nose the cherry that is around part of your nose is gonna go right here where your circle meets your jaw. Okay, Now we go down a little more to the mouth, and the mouth will be as wide as the center of your pupils. Don't worry. Who make him look less creepy in a minute here. Okay? These are our basic facial proportions. Your mouth is wide as your eyes, the shape of your eyes, the whole I. So let me add in more of the shape of the I here. I don't want to get into ah, how to draw on I specifically Ah, I would. That has so much detail. I would rather do that on its own. However, we do need the eye shape here because in between your eyes, that should be the width of another eyes to take your fingers, you can actually measure it on your own face. Put your fingers on the corners of your eyes and then touch those same fingers to the space between your eyes. So going to use the barcode here. Okay, So goes to about there and starts here. Barcode. Well, look at that. So the eyes themselves are actually quite the same. Let's try the middle. Beautiful. You want an eyes width between your eyes Now your face is all connected. Go figure. So these will be the corners of my eyes and they formed the bridge of my nose head on the sides of my nose. Your nose is such a funny shape because this is roughly all the hard lines it has, and then going up, these would actually be better defined with shading. However, that does take time. And I just want to show you, you know, the basic proportions. Hey, and once you have the curve of that knows you actually continue it up. This is gonna be your brow bone, and your eyebrows go right above that. Okay? An ad in a lower lip. So it doesn't look like he just has a giant cuttings face. Now, the interesting thing about your mouth, the only thing separating it from your nose is that little trough has a proper name, but I can't think of it. So it's actually very close together. Vaguely. Add that in there. Okay. So eyes, nose, nose to mouth, mouth is as wide as eyes from there. You just have your eyebrows and your brow bone right above them. Now for your ears. How do your ears connect to your face? So how you can measure how long your ears will be is the top of the ear is even with your eyebrow and your bottom fulls for either. From the corner of your mouth to the bottom of your nose. So somewhere in here might be thinking that it's a very long year. We don't show much of it because it is on the side of your head. And so you get the best view of that for when you have a profile, which we do not. The more you see of the years at this angle heading, facing head on the move, they're gonna look like Dumbo years. So unless you're going for that, just keep your ears and narrow, okay? Fix up any mistakes, extra lines that Ah, turns out you didn't need. Okay, He's rather generic looking, but that's all right. Okay, here is our basic in her head. The last few details are gonna be hairline, which actually is a narc on your head and just come up straight from your ears. No. And now your neck, remember, your next supports your whole head. You don't want to go too skinny or is gonna look like a bobblehead. Okay? And your neck goes into your shoulders, so just kind of gently take it out here. There is a curve there. It's not just a hard line however, the shoulders themselves air relatively straight. Okay? And this is our basic face. I do want to say just one more tip to keep in mind. When you add in hair, you don't add in hair from here, it's going to be taller than your your skull. So So you actually want to go up and then you can come down around? Uh, however he do whatever hairstyle you pick. Okay. And that is the basics of our face. Now let's add them in too many. Also remember that while the face has different shapes, like heart shaped face, oval face square faces, the proportions for each shape remain the same. It's the same with our bodies were different body types. But again, our proportions remain relatively flat across the board. Because Manny is so small, we cannot include all the details we had in our big face. However, we have our crosshairs here, so time use lies. I did not make my jaw and hit as distinct, so I'm gonna add the nose there mouth just some little touches so his eyes don't look like circles in a bigger circle, nose to brow bone for a bone will have eyebrows, lips, years and hairlines. Your forehead is actually quite tall, so just give it a little room and just a kind of the idea of hair there, so he doesn't look, I was gonna say so. He doesn't look funny, but he looks funny now. Hair is kind of the creasing haircut you see on those frescoes and things going on there stands. And as before already comes Nick down, although it got a little whiter. But there we go. That's that's very impressing. There is your basic human form. Isn't he cute? Okay. And next, now that we know the basics of the form and how to build it, we're going to look at some variations. So tell your next class. 5. Variations: Male & Female: Now let's talk about some of the variations in different human bodies. The most obvious is male versus female. So because our bone structure is just, it has some different ratios in it between male versus female, then it does affect how we are put together even when you draw. I'm going to speak in very generalized terms for this lesson because the skeletal differences do effect our overall drawing. Because we begin from that very basic skeleton. The most notable one is the winner of our shoulders and hits, so male shoulders are very broad females. They're a little smaller, and males have narrow hips. Females need that those wider hit bones essentially for the birthing process to fit the baby through. So females have much wider hits, and so it affects. How are outward Body shape is that hourglass that females are very attributed with. That's essentially the how the ratio of shoulders to waste to hiss is seen outside of the skeleton. If you're not convinced that these very slight changes between male and female skeletons will affect the outside, think off different animals that have very obvious differences between their man female species, the lion and the Linus. They aren't much different. And yet you can tell a difference because of their outward appearance, which is based on inter differences. It's just part of the male and female of us of a singular species. And since it is based on our basic skeleton, I thought it was important to cover. The difference is here in this lesson, so you can see I've already drawn my Manny figure here. He's a very good, uh, very good little model for us. And now we're going to add in. Um, I really don't know what you call the female version. Female version of the name Manny eso. I want to call her Edwina again. You start with the head and you had the shoulders. Women's shoulders air not as broad. It will be closer to the body and I want to say they have a slope to them. But I believe that's more from there. Form the rounder form more than the actual shoulders. My head was a little off here. Here we go, straight down through the torso. No, Remember to keep it about two heads, 2.5 heads. Now here is the big skeletal difference between male and female humans. Females have very wide hips. It's so you can pass the baby's head through childbearing. And that does show through in the form that hourglass form out in and out. This is the bottom half the hourglass. Our thigh bones are still the longest bone in our body, so make sure you make them nice and long before you add the knees and our cafs. There really isn't much difference here in the lower half. Ond okay, And the all important halfway mark for your fingers that is this the same across human forms. Okay. Probably made her hands a little too big. Females is your smaller all around. And remember, I'm speaking in general allergies and not specifics. Of course, they're tall women. Of course, there are women with bigger hands or feet, but in general were smaller than men. Okay, Bruce. And the elbows set near the waist, but not on the same levels of hips. So looking at the male and female here, there really isn't that obvious of a difference. Just remember, shoulders smaller. Totally messed that up. Shoulder smaller, hips wider. They're going to be more in line then male hips and shoulders. Their hips go in and they have on the general much wider, broader shoulders. Okay, so now let's move on to our basic shapes, where we will see more of a difference. So the first differences, instead of working in squares, were going to be working in circles and ovals. You can still keep your, ah, top and bottom lines kind of ST, but curve around the hips and then for the bus line. It isn't set right against the shoulders. It's almost She's almost gonna look like she's wearing a, uh, tube top bikini. So for placement, use that kind of guideline. This top of her bus does not reach the top of her shoulders. And the bottom is roughly proportionally in the same place as the males chest the end of his chest. Now, since females hips go out, you actually want to drag this out. You give it a little curve. Nothing too drastic. But remember that hourglass shape. This is where it comes in. This is the midriffs. The belly button right there. Ah, you're the longest part. Your torsos is where the human figure comes in on the mail. It comes into but it's more of a straight line. So it goes from the chest down to the hips. Okay, sea legs. You still want Teoh? Make the five and the bottom of the knee kind of the same body parts very round and the Cavs instead of these pointier calf marks is going to be smoother. But remember, you still have that out than in this foot is more facing us. So you show more of the calf on this site as well. Okay, now the shoulders very round. Remember, we come into the elbow but the elbow itself is very wide, so it comes out. That is why it's kind of out here and tapers in again to the wrist, into the elbow, elbows wide. So out, then in again. Okay, we have our hands just to go over those make the hips more connected to the thighs. Here, in, up, in, up. Okay, so, looking at these, we can see one has much more straight lines with the mail and the female is much more curved lines. It almost makes sure looks softer. And with all our rounded shapes, we do give off that period appearance. That's also has to do with how we carry weight. Um, ladies, you know Ah, you know how it goes. You to French fry. Go straight to your hip. To your bottom. Yeah, we have a lot of padding, and I'm speaking from experience. So I think the last thing you want to remember here is the neck. Of course, you need to remember that the neck supports the whole head, so it needs to be wider than head. However, our necks just in general. Uh, not as wide or not portrayed as wide. We're straight up and down as male necks. These rules or these observations of softer lines, rounder lines and ah, all around smaller features. Just in general, they do apply to the head as well. I'm going to start with my circle and find my jaw line. Now, even if I'm doing the same square kind of jaw line, I do not make the lines or the curves these curves here at the chin as sharp or as drastic as the males. No next support the whole head just across the whole human species. However, in general, our necks are thinner. Now we have our cross guides, okay? And eyes my circles, although there so knows and mouse line now the proportions themselves between men and women don't change your mouth. The corners of your mouth still match the center of your pupils. Your ears will still go from around your eyebrows down to the bottom of your nose. Top your lip noses still same basic shape with the cherry of the nose, and then the two nostrils on either side. Over. Our noses are often There's even less hard lines, I believe, and female noses. It's just that round inning of our appearance, making sure my eyes are symmetrical and again the space between your eyes equals the width of one I That does not change, either. There really is no quick way to make a nose, is there? Just I can do eyes quickly, noses, however. Okay, so looking at this here, if you didn't know already, I was trying to draw a female head. There's really not much difference between this head between his head and ah Manny's head, which I did first. So let's explore some of the difference is, and I'm gonna start with the mouth. Women's mouth, female mouths. They are. They're larger um, Fuller. There we go. That's the word I'm looking for and that Cubans boat. We all have a Cuban SPO. However, women have a more defined one, and it's further defined because we like to shape our lipstick to highlight that Cupid's bow in art, the more you defined the mouth. Often I find the more feminine it looks. Um, take a look at comic books there. Male and female characters, the male mouths. They have more natural skin tones, for one thing, because they're not wearing lipstick, and also they don't define it like this. They don't outline the whole mouth so amusing the comics, because there ah, they simplify that art style. And so it is easier to see how the differences boiled down when you were drawing bridge of the nose swooping into the brow bone. Female brows not as heavy, and we tend to like tweets, strays and things, but that's totally cosmetic. So okay, so she is a very square jaw Edwina here. But like I said, you around those corners. Actually, she is a very small draw, doesn't share, but the rounder edges and rounder corners make her look more feminine. Kitty years again are the same. We don't see much because she's facing head on. Remember, it's all right to adjust your figure as you're going along because you will find things out of place. Or that just needs some fidgeting. So fidget them. Just remember your proportional rules. Okay, So going back up hairline from the top of the ears, mirroring the top of the head and down again, giving her a similar haircut. What I gave Manny so that you can see even with the same style hair and not the long hair that, uh, women are generally keep more than men. She still looks more feminine then our Manny. So let's go back to him real quick. So here again we see Manny. The neck is thicker, the lips are thinner and I partly defined the top. Lip it all. And there are more hard lines in the jaw, the chin and even here in the nose. Okay. And even with the relative same hairstyle there, our edwina looks softer, a little smaller, and that adds toothy feminine nous of Edwina. And if you really want to cheat, I'm sure it's cartoons, but no Viet eyelashes. Brain immediately goes female. Although if we put eyelashes on Manny here, I think it would go, Uh, it would say something different, but those are the big differences between male and female forms. So again, these are general observations of the differences are actually very minute between how we draw our skeletons. But because they are at the more basic level, they have agreed impact on the body shape when it is finished. When you add in all your details, it shows through. And that is why you need to know these things when you're drawing male versus female figures. So let's give a great big hand to Manny and Edwina. Somehow she looks like in Edwina. No, she doesn't. She does. She could. Ha! And that is the glorious part of these framework manikins is that they could be a lot. And in our next and I believe final lesson, we will be exploring some of that with a different set of variations and now, with their joints were going to move our little manikins around. So I hope to see you there 6. Variations: Posing Your Figure: Now that we know the differences between bodies, let's look at how they move because we've been working with the neutral standing, staring at you stick figure body posture. And as Laurie, we never stand like that unless we, like, absolutely have to. So let's look at how we move and how we move is with our joints. There are several different kinds of joints within the human body, but today I'm going to be focusing on three that is the ball and socket, which is shoulders and hips. The bending joints, such as at your elbow risk knee and ankle. Those wells, all those little joints in your fingers and toes, you're finally we're gonna take a brief look at the neck. Help us better understand the range of motion for these joints. Manny here has agreed to be our model for today. Say hi, Manny, Right? We'll begin with the ball and socket joint. We only have two ball and socket joints in our body, and they come in pairs, our shoulders and her hips. They're near 3 60 degrees of motion means you can move your arms and legs up, down and around in circular motions. Unless you're Manny, and they glued your hip joints to your torso. Yeah. Anyway, these two joints have the widest range of motion in our body. Unlike our hinge joints, hinge joints have a great deal less range of motion. However, we have a whole lot more of them in her fingers. Alone. We have three each and 24 thumbs. Having so many in such a small space is what gives our hands and fingers so much dexterity and expression. And aside from them, we have our elbows or wrists, knees, ankles and toes with all those toes. Manny. Oh, right. Moving on last, we have our nick. The motion here is actually a combination of two separate movements the side to side of turning your head and the up and down motion of tilting your neck back and forth. When you put them together. You get all those various angles, like looking up into the right or down into the side, just those various angles that help you look around you instead of just in front of you. Now, the last funding about joints is that when you put different motions together, you can get different attitudes from your figure. So Manny is very excited about this. You know, it's hard to tell, but he, uh, he was in the studio like a couple of days taking all these different poses for you guys. So I will include those nice big pictures in the download section. But let's take a look at some attitudes you can get from the human figure. By playing with these variations and body attitudes and posture, you can create someone bold or shy. They could be angry, indignant. Hey, could be prancing around its cited or, you know, that can cover. They could be dancing or scared or horrified. Human communication is actually a large part in how we hold ourselves and how we stand our posture over our actual words. And so really including and understanding thes motions you can get with playing with these joints can really give your figure a lot of animation and expression, even on a two D piece of paper. So knowing how to posture the body to display what a person is feeling is very crucial. Otherwise, um, you're kind of gonna have like a wooden kind of personality going on in your drawings, just, you know, like some people. So Manny and I had tons of fun making some more interesting reference photos for here, and I'll show them. But I also want to let you know about my favorite reference site, which is called sketch daily references, and I'll make sure to include a link for it below. And essentially, it's a website with a very large collection of human figure reference photos, and I believe they're all creative Commons. I know the ones I've looked at have been, uh, but you should, like, double check. You shall always double check. And anyway, the site is very cool because it has a lot of different choices you can select. You can look at certain parts of the body like your head in your hands and even from different angles. They have a section for animals and plants. And then, of course, the the really fun ones, the full body photos with people and, like, really elaborate beautiful costumes. And I got to say my favorites are the warring Scotsman with giant swords and kilts and everything, and then they have some really lovely fairies. So I wanted to make sure to share that with you. all so that you can still have ah, access to reference photos. You know, without having to break your back and take your own were steal them because stealing his role. Isn't that right, Manny? Manny! Hey, that isn't yours, man. He put many Oh, my gosh. Maybe just stole my Nichols. 7. Class Project: So what you think, Manny? We cover everything. I think you're right. Well, that brings us to today's class project. So the best way to learn how to draw people is to draw people. So the class project today is to draw your own Manny. He could be standing in the neutral position like we first learned at the beginning of class. You can draw him from one of the many reference pictures I will include in the resource is download section down below, where you can check out the reference site that I will make sure to include as a link. They have many, many pictures, some people just standing still reading, doing nothing in particular all the way to assassins climbing down on ropes. So they have lots of pictures, almost cause play costumed pictures, some of them, and they are included in the Creative Commons. I believe all of them. I do know that the purpose of the site is to give you re sources to practice your figure drawing so you can also use that. But draw many draw ah, figure sitting, resting, doing something awesome. Or, if you're up for a challenge, create your own hit even give it expression that makes it difficult. So if you're up for that challenge, I can't wait to see what you come up with. And then you must You should post a picture of your drawing in the project gallery so that we can see it. If you have any questions at all, please message me through the class discussion board and I will answer your questions. Remember, bodies change shapes and features change her portions. Do not. 8. In Closing: All right, then. That is our class B. You have reached the end of learning to draw the proportions of people. Congratulations. Manny here is very excited. So today we learned that the human body is fantastically complicated, difficult to draw, but great fun. And it can do a lot. It's just how we move ourselves, how we interact with our surroundings. How we position ourselves gives us an idea of what that person is feeling or doing. I hope you will continue practicing your figure drawing, and I hope you will spread word about my class. If you have enjoyed the class today, please review it or follow me on skill share. And if you'd like to follow May through my social media's and website, you can find all that information in my skill share profile. So again, I really hope you will post your pictures of your class projects in our class gallery. And I hope you better understand the human body as we draw it. So I hope you had fun today. I hope you learned a lot about our proportions and will apply it to your own individual style. Um, follow me for more information on upcoming classes. I will be doing more our classes and that's it for today by