Unit Two: The Trunk Cont'd

Okay. It's been a bit since I've posted but I warned you that was going to happen. Anyway, continuing the ongoing improvement of figure drawing skills with a study of the trunk of the body.

The first things I worked on for this entry were some muscular studies. I was working on something else (I think it was another study for this blog) and realized that part of my difficulty probably stemmed from not having a solid grasp of what the musculature under the skin was doing. To remedy that I thought some musculature studies similar to my skeleton studies would work. Above you see the pages from my sketchbook and below you'll see some details.

These were a lot of fun and knowing what I know about the skeleton now seeing how everything attaches is really interesting. It also demonstrates how and why armor design so closely resembles musculature. As the muscles protect the organs by layering and interlocking, so does armor. For example, I've always known the pectoral muscles connect at the sternum but was unaware of how they connect to the deltoids, the muscles that make the semi rounded shape of the shoulder. In the back muscles wrap around sort of like a vest from the mid back to the sides of the pecs. All interesting stuff. 

I did fewer studies this time than last, partially because of the detailed nature of the muscle studies but I wanted to do some work on twisting and the back of the trunk. Also, I wanted to do a study with a different skin tone. I did my black and white underpainting and I'm not sure how I feel about it. I'll try again. 

On the subject of doing these studies of the back I think it goes without saying (though I'll say it anyway) one must learn to draw the human body from all angles. These exercises of course remind me of what one of my teachers said. You have to learn to make a sort of 3-D model in your head of what you're trying to draw so that you can rotate and manipulate it in your head. Seeing in the round essentially. A skill that serves sculptors of every sort infinitely but is also remarkably helpful to an illustrator doing representational and or figurative work. 

So I need to be able to build my objects in my mind from the inside out AND make the final 3-D image in my mind manipulatable? 

Why does it sound like I'm training to use a Green Lantern ring? Admittedly, second best super power for an artist ever. What's the first? 

Making your drawings come to life. Duh 

:D

See you next time.