How to depict a person in motion. The proportions of the human figure

The human body is capable of performing a wide variety of movements: walking, running, jumping, doing some work.

With all these movements, changes in the external shape of the body occur. Changes in shape occur even without any noticeable movement of the figure. A living person cannot remain motionless for a long time. Muscles, being in static tension, get tired much more strongly, therefore, a person, remaining in any position, constantly changes it slightly.

This is the complexity of the drawing from the figure of the sitter in comparison with the drawing of gypsum. Here you need to know the form well. No careful mechanical copying gives the image a real plastic connection - the image turns out to be sluggish, lifeless.

Therefore, before starting to work on a drawing of a living nude model, it is necessary to study everything that forms the forms of a living organism and on which the regularity of its movements and statics depend. To study not only from the outside, visually, but to study the skeleton, the joints of the bones among themselves, the muscles of the body.

Such study gives knowledge of what is required to be depicted. Then we will depict what we know, we will not copy the model, but use it.

It is better to start drawing a figure by drawing a standing figure without complicated movement. Before you start drawing a figure, you need to examine it from different points of view in order to clearly imagine the position of the body in space. For a better understanding of the sitter's body structure, it is necessary to get used to this pose, repeat it with your own body. Only then can one begin to determine the composition of the sheet, the center of gravity, the area of ​​​​support, the movement of the figure, etc.

As an illustration, see modern method building a figure of a person who offers R.P. Kurilyak teaching plastic anatomy at the St. Petersburg Academy of Art and Industry V.I. Mukhina (Fig. 24-33).

We draw a vertical line and divide it in half. We mark one-eighth of the vertical from above, which is the size of the head. If we draw a figure based on one leg, then our vertical coincides with three points: the jugular fossa (notch), the pubic bone (pubic fusion), the inner ankle (tibia) and the heel. On the vertical from the heel, we mark the height of the rise to the ankle joint, which is equal in proportion to almost half the height of the head.

The further course of our reflection is as follows: we determine the direction of the shoulder and pelvic girdle, their degree of inclination in opposite directions; the line of the shoulder girdle will pass through the jugular fossa with an inclination to the side, and the line of the pelvic girdle will pass through the pubic fusion from the greater trochanter of the supporting leg with an inclination towards the free leg.

We determine the width of the shoulder and pelvic girdle, which will later change slightly and be refined. In the meantime, the width of the pelvic girdle in relation to the height of the entire figure is determined to be one sixth, the width of the shoulder girdle is one fifth of the height of the entire figure.

If we connect the footprint from the heel of the supporting leg with the point of the greater trochanter with a light line, then we get an almost axial line of the entire volume, however, in the future, undergoing major changes and additions. On the shoulder girdle above the supporting leg, we connect its edge with the edge of the pelvis of the belt above the free leg.

The whole course of our thinking, with a pencil in hand, occurs very fluently and quickly, lightly touching the paper, without pinching it or blackening it.

One of the main tasks for the painter is to determine the line of the "big movement". It is depicted as an arcuate line running from the jugular fossa towards the pubic bone and further from the pubic fusion in the opposite direction of the arc to the heel of the supporting leg. If the head is tilted towards the supporting leg, then the arcuate line running from the pubic fusion to the jugular fossa can be continued to the parietal eminence of the head.

Now it's time to outline the hands in the movement in which the model is. It is already possible to draw a contour of the skating leg, covering large volumes of the shin of the knee joint, to show the plastic transition from the opposite side of the chest to the side of the skating leg to its silhouette with access to the knee joint and covering the shin of the calf.

We outline the free leg, its axial foot, and also specify the position of the pelvis, its axial ones, coordinate the location of the patella of the supporting leg with the free knee joint.

The free limb is determined by large volumes along its main plastic directions: from the ilium (its upper spine) with access to the inside of the free leg, which almost coincides with the direction of the sartorius muscle; covering the contour edge of the thigh (the epiphysis of the femur), we continue the arcuate line to the outer side of the lower leg and then, at the level of the ankle joint, we draw a line to the inner condyle of the tibia with an oval coverage in the cross section of the entire lower leg at this level.

WITH inside of the free leg from the pubic bone, contouring the thigh with an arcuate line, direct it, intersecting with the tailor's line, and go to the outer side of the thigh, coinciding with the arc with the external thigh muscle (quadriceps), and through the edge of the upper patella we draw an arcuate line to the inner edge of the lower leg of the free legs, emphasizing the calf muscle. Now, if we carefully look at our scheme, we clearly read S-shaped, arched, “serpentine” lines in it in a curious ratio between long and short segments of this very S-shaped one. All ratios will correspond to the principle of the golden section, which, in fact, is the principle of harmony. This is easy to verify if you measure any of the S-shaped lines of our volumes diagonally. This principle is that the ratio of the general to the greater part must necessarily be equal to the ratio of the greater part to the lesser.

First of all, I would like to warn that if we are talking about the golden ratio, about logic and pragmatism, then this only means one thing - such signs and understanding should be present at the level of “forgotten”, that is, unobtrusive, but conscious drawing, which is one of the main ways mastery of drawing.

The contour of the whole figure is already clearly visible in the drawing: the supporting leg, as the main natural core of this setting, acquires clarity in silhouette and in separate volumes, such as: thigh, lower leg, foot. The thigh, in particular, may be shown by the clarity of the quadriceps muscle, the lower leg by the external character of the anterior tibiofemoral muscle and the long peroneal muscle; the inner side of the lower leg is drawn primarily by the triceps muscles of the calf. It should also be noted that in this figure the entire volume of the knee joint is already outlined in detail. Already well and clearly visible rib cage, a large pectoral muscle With right side model at the shoulder, broad back muscle together with part of the shoulder blade, giving a clear outline of the left side of the model. Because the left hand relative to the front plane is closest to the drawing, then we pay more attention to it both in tone and in drawing; a feature of the elbow joint is the triceps muscle of the shoulder. Softer in tone, but quite attentively and with full “respect”, we treat the right side of the model, and already at this stage of drawing we refine (show) the shoulder and forearm, outlining the hand as well. The knee joint of the free leg is especially clearly drawn.

The next stage is connected with the refinement of the spatial and constructive perception of the figure on the sheet and the refinement of the fragments: the foot of the free leg, the contour of the thigh from the inside are outlined taking into account the falling shadows. In a word, this stage of the drawing may be on the verge of completion. On it, we solve the planning, front and side platforms of the structure of both the entire figure as a whole and its individual parts.

Completion in any business is a convention, because you can complete it indefinitely. And this is true, but this case we are talking about such a completion, when what we have drawn gives us clear picture object or person.

At the final stage, one should also remember about graphic culture, that is, about such a performance in which the object should be beautifully read by the viewer.

At the end of our reasoning, it must be emphasized that learning to draw begins with the simplest preparatory exercises, with a consistent and gradual visual mastery of the knowledge and skills of artistic mastery in the visual arts. We must always remember that the task of drawing is to show the three-dimensional volume of the form on the two-dimensional plane of the sheet. And this can be done either in tone - in full force correlating light and shadow, either by line and tone, without overloading the drawing.

After learning about forms human body in drawings of a standing figure, one can move on to drawing nature in action. Only by working on the figure of a person in motion, from any angle, do we better understand the relationship between external form and internal movement. We understand how the external posture of the body changes from the position of the skeleton, from the work of certain muscles. Knowledge of anatomy will be of great help in such drawings, good understanding body construction and knowledge of the basic proportions of the figure, in other words, the knowledge that we talked about above.

To master the drawing of a figure in motion, it is very useful to make small sketches and sketches of the body in one position or another, analyzing it from a constructive point of view (Fig. 34). In such sketches great attention is given not so much to the external analysis of the posture as to the internal movement of structurally important parts of the body: the spinal column, chest, pelvis, shoulder girdle, limbs. Such an analysis of the pose will simplify the task of depicting the figure from a perspective, since it will give us an idea of ​​the position of the axes in space. And also wonderful teacher Chistyakov believed that for a correct image of the form, it is necessary to start the drawing by finding the internal axes on which the form should be increased. To feel the internal axes, more precisely, the direction of the movement of the masses, is absolutely necessary during the entire work on the drawing, since it is the axes that allow you to create on the plane correct solution volume. Without identifying the internal axes and checking the image along them, the drawn form inevitably loses that plastic basis, the absence of which turns any construction into a transfer of the external surface.

It is very useful to check the degree of mastery of the image of the figure to make drawings from memory, and then from imagination.

To make it easier to navigate in such drawings, you can suggest familiarizing yourself with the method of drawing a person as an image of a combination of simple geometric bodies. Even the Renaissance artist Dürer suggested looking at the shape of the human body more simply, reducing it to a number of simple geometric bodies. These individual bodies, which bear a rough resemblance to human parts, he proposed to study by drawing them in such movements and foreshortenings that can only be observed in the human body. This idea was also developed by S. Holloshi (Fig. 35). He divided the figure into a number of basic forms. So, the neck, interpreted as a cylinder, supported the head truncated by planes, was inserted into the torso cylinder, which rested on the pelvis, depicted as a combination of a cube and a truncated prism, etc. All these forms were depicted in relation to the middle line of the figure, which served in the work as the basis for constructing the volume of the body.

Consider this approach to the image on the example of building a standing figure. We start the drawing with the composition of the figure and the definition of its general shape. We very generally outline the size of the figure in the sheet and the design of the pose (Fig. 36). After that, we determine the position of the center of gravity, the area of ​​\u200b\u200bsupport and the main axes of the figure. On the basis of geometric bodies, we outline the main masses of the body (Fig. 37). Upon completion of such an analysis of forms, we proceed to concretizing the details of the figure, building them on the basis of geometric shapes (Fig. 38).

For children senior group kindergarten it is important to devote enough time not only to the intellectual and physical development but fine art.

In the drawing, the child manifests himself, fantasizes and at the same time develops his abilities. It is still quite difficult for children 5-6 years old to convey all the subtleties of a particular subject, so the help of parents is simply required here.

Trees and plants are not so difficult to draw, but with a human figure, things are more complicated if the task is to draw it in motion.

We will help you with this and show you how to teach a child to draw a person. with a simple pencil step by step. For this purpose, you can choose several ways, any child of 5-6 years old will master them.

Before you start drawing a figure with a pencil, it is worth considering that you should not draw dashed lines, and then trace them. Drawing a person, even for beginners, will not be so difficult if you draw lines with just one movement, without being afraid to make a mistake.

When drawing a figure in motion, it is worth imagining its image mentally, and then transferring imaginary lines on a sheet of paper. The main rule for beginners is not only to adhere to the accuracy of the outlined lines and observe the proportions of the body, but also to convey the essence and significance of the drawn image.

The main advantage of any artist is the ability to convey the character and inner mood of a person created on a sheet of paper.

Quite often, when drawing a person, it is not possible to maintain the proportions of the body, as a result of which the drawn figure does not look believable. The main problem is the incorrect length of the upper and lower limbs, too large or too small a head.

Such mistakes are very typical for children 5-6 years old, so it is recommended to draw a pencil drawing in stages, we learn to break the drawing into several separate parts.

Often, a human figure is conditionally divided into 7 identical parts, which can be equated to 7 head circumferences, including the neck.

Having learned theoretical basis, we are learning to draw a person in motion with the children.

Drawing process

Option 1

• First, you need to draw an oval together with the child, which will later be folded with the head of the drawn person.

Just below the oval, draw the neck, this part of the body should not be too long, it must be placed strictly in the middle. Then we draw a rectangle, it will be a guideline for further drawing the body.

• Next, you need to draw the same rectangle, its width should be equal to the first one, but the length should be a little more. Divide the second rectangle in half, thus making a sketch for the lower limbs. The corners of the upper rectangle are slightly rounded, thus forming the shoulders.

• Now you need to remove the extra lines with an eraser, which are indicated in the figure with a red arrow, this procedure will be interesting for children.

• In order for the child to fully master the drawing lesson, it is worth telling him in detail how the details of the head are drawn. All unnecessary lines can be easily removed with an eraser.

In the middle of the previously prepared oval, draw the eyes, as well as the nose and mouth. Do not forget to draw eyebrows, sketch out the person's hairstyle.

• At the very end, make a few oblique lines that will depict the folds on the clothes, draw the necessary elements of the shoe.

The drawing is completely ready, each parent will be able to teach their child to draw a person in stages.

Option 2

This simple way of depicting a figure in motion will appeal to fidgety children.

• First, sketch lines on paper, which will later be a guide for drawing the torso, upper and lower limbs.

In the upper part of the sheet we depict the head (draw an oval). The child will be able to complete this task independently under the guidance of the parent. Do not forget to mark lines inside the oval along which the eyes, nose, and mouth will be placed.

• Based on the guides, draw the torso of a person. Next, you can start drawing hairstyles. Do not exclude some details, let the kid finish drawing any object in the person’s hand on his own. Detail the face, carefully depict the eyes with a nose and mouth.
• Now it remains only to remove the remaining extra lines.

It's so easy to draw a person, such a procedure will please not only parents, but also children, thanks to this the child will master some skills in the fine arts.

Hello dear friends!

Today we have an interesting, simple and not boring topic. We will learn how to draw a person in motion using a very simple and reliable method.

simple rule

"Everything ingenious is simple", this proverb is perfect for characterizing the most accurate and right method building a human figure in motion. The essence of this method lies in the fact that initially we begin to build a person from lines “stick, stick cucumber, it turned out to be a little man”, and then add a specific body shape to this simplified skeleton.

Here is a simple example:

Stages of creating drawings of funny characters

Small clarification: the very first line on your sheet should represent the pose, the action of the person(bend, tilt, posture). If necessary, guides of the arms or legs can be added to this line.

Drawing a person in motion is interesting, there is always something to learn and something to strive for. Standing, sitting, moving, a person must maintain balance, balance the mass of his body so as not to fall.

There are two main centers of mass that have to be constantly balanced with each other: weight of the torso and pelvis. The head is usually held straight, and the arms and legs help maintain balance and serve as supports.

Draw a human figure

To stand straight, people tilt their chest back a little, and their pelvis forward. This is especially evident when looking at the figure in profile.

Now we need to designate one term that will be useful to us today: jugular fossa - this is an indentation on the collarbone, it is marked with a red dot in further illustrations for this article. In fact, the jugular fossa is the center of gravity of the human body.

In a straight stance, everything is simple, the weight of the body is evenly distributed on both supports - the legs, and the jugular fossa is located directly above the fulcrum.

Notice how the vertical line runs from the jugular fossa to the fulcrum when looking at the person in profile. It also divides the body mass into two equal parts, although in this position it is not as clearly visible as in the front.

One leg push

If a person stands, leaning on only one leg, the center of gravity shifts to this support. The jugular fossa will be directly above the supporting leg. In this position, the mass is distributed differently, taking into account that the supporting leg supports most body gravity.

Draw a fish

In drawings and paintings, often much more attention is paid to the supporting leg, and much less emphasis is placed on the other leg. Thus, emphasizing the support and balance of the figure.

Additional support

If you need to depict a person leaning on something, keep in mind that in this position center of gravity will be located between two pillars.

For example, consider the figure below:

Learning to draw a human hand

in a sitting position

When a person is sitting, the main reference point is the pelvis.

Consider the illustration, the fulcrum is underlined in green:

• To maintain balance while sitting and leaning forward, you need an additional point of support for the torso. For example, a table or elbows on your knees.
• If you want to lean back, you will have to lean on the back of a chair, sofa, or put your hands back, leaning on your palms.
• Another example: sitting, the balance can be maintained with both hands, stretching one forward to the knee, the other back, instead of the back of the chair.

With a load

A person carrying any additional weight must take such a position that the mass of his body and the load are in balance.

The reference point in this case will be between the jugular fossa and the center of mass of the load, and will coincide with the supports (legs).

Consider the illustration: the center of gravity of the human body is marked in red, the center of gravity of the load is marked in blue, the point of balance and support is marked in green.

The heavier the burden, the more the person carrying it must bend. A person leans in the opposite direction to the one where his load is located.

Actually examples great amount, these are the first and brightest of those that came to my mind.

How to draw a rose with a pencil

Body in motion

Walking

If we simply describe walking, then this is pumping from side to side, or a controlled fall. Hands in motion help maintain balance. Legs are supports that change alternately. When walking, the pelvis and chest tilt in opposite directions.

Run

How to draw a running person? To create even more momentum and run forward quickly, a person is forced to tilt the torso forward. Since the center of gravity (torso and jugular fossa) is tilted forward, a person can either fall or substitute a support (leg). Thus, we run, throwing the torso forward and substituting the supports (legs), and the hands with their movements help us move faster.

In the illustration: the center of gravity is marked in red, the direction of movement is marked with a blue arrow, the supporting leg is marked with green. The faster you need to move forward (run), the more you need to throw the center of gravity forward, the wider the step becomes, and the arm movements are more sweeping.

Draw human ears

Dynamic movement of the torso and arms

To create a drawing of a person in some kind of pronounced dynamic movement, you need to subordinate the entire body of the character to this movement. In such cases, the center of gravity is strongly shifted in the direction of movement, and the whole body must be placed on very reliable supports - legs wide apart.

For example:

To balance when the torso and arms are very mobile, it is tedious to find a good point of support, but it is better to play it safe and stand confidently on both legs.

Drawing is an interesting, but not as simple hobby as it seems at first glance. One of the most difficult moments it can be considered an image of a person in action. How to draw a person in motion? The image of a person in motion has its own characteristics. Without knowledge of these features, you will not get a live drawing. What should you know before you start drawing?

1. Must have a good understanding of dynamics human movements, in the structure of the skeleton and the location of the muscles. We all know that parts of the body behave differently when moving. For example, when we draw a person whose head is tilted to the side, we must depict the shoulder, to which the head is closer, with one line, respectively, the opposite shoulder will be located farther from the head, and other lines will be needed to depict it. In the drawing, it is necessary to correctly depict changes in the positions of body parts, because in different poses the same part of the body looks different.
2. In the drawing of the human body, perspective must be observed. What is closer is shown larger. Parts of the body that are farther away from the eye are drawn smaller. Perspective is able to give the picture volume and add dynamics. If you do not use perspective, the human body will look flat and unnatural.
3. Depicting this or that movement, you need to clearly imagine its character. The character is conveyed through gestures. In addition, the movement should look natural. This can be achieved by clearly imagining the entire movement in its entirety. Drawing a person on paper, we capture only a single moment, and the movement itself consists of many moments. Therefore, you need to clearly imagine the moment preceding the one that we will depict, and the moment that will follow the depicted. The moment that we will capture should have a common line of motion with the previous moment, but at the same time contain a hint of the next moment of motion. If you accurately catch and depict the desired position of the body part, the drawing will be natural and expressive.

A little advice: if in doubt about how to correctly portray this or that part of the body, stand, if possible, yourself in the position you want to portray. Look at yourself in the mirror and analyze how your body looks at this moment, which muscles are tense and which are relaxed, etc. What is the algorithm for depicting a person in motion? Determine the main line of motion. For example, when depicting a hunched grandmother, we will need to depict a reference line that resembles a question mark in shape. Draw on the paper the main auxiliary line, then gradually add other lines until you get the desired pose. For convenience, you can define reference points for yourself. The skeleton can be divided into parts and show the position of the limbs with schematic lines. When schematic drawing ready, check if all proportions and perspective are met. If everything is in order, start drawing clear contours of the body. At the end, we depict the shadows, if necessary, and the details of the picture. In order to successfully draw a person in motion, you need a large stock of theoretical knowledge about the human body. If you don't have one, it's not a problem. You can comprehend the basics of anatomy at the same time as the art of drawing a person in motion.

Who doesn't remember famous work Leonardo da Vinci where artistic scheme vividly illustrates the proportionality of the human body. Harmoniously designed, it looks incredibly beautiful. But we ourselves should figure out how to draw a person. It is worth learning to convey this harmony of the proportions of the human body. How? Now I will try to show what discoveries in drawing a human figure I made for myself.

Some kind of manual on how to draw a human body will come to my aid, a set for creativity from the necessary items for every artist, both a professional and a beginner, for example, a preschooler: paper, pencils, a ruler and an eraser. My son, who is 7 years old, will also come to my rescue.. My baby and I decided that our model of a person is a man in jeans and a T-shirt. His photo was found by us on one of the sites.

But I want to note right away that this step-by-step instruction assumes that those who follow these drawing lessons can easily repeat any step. And even a child can do it easily..

We distribute the entire execution of a person’s drawing into several stages:

• Ancillary work;
• Detailing the picture;
• We “revive” the drawing of a human figure.

So we can draw a person in stages with a pencil. Go!

Ancillary work

First of all, we make a schematic sketch, taking into account the proportions of a person.

How to draw sketches of people? To do this, you need to start small. We make the image of an oval. This will be the head. We measure its size. I got it 2 cm long. The proportions of a person are such that you need to measure only 7 such lengths in order to depict a person of average height.

Here is a sketch of the silhouette. It is difficult to see a picture of a person in this. But this is how we will understand how to draw a person in full growth.

Now we are waiting for exclusively step-by-step work.

Neck.

The neck of a person can be different. But I went with the average. The neck is usually not wider than the head, and at the same time not too thin, about half the width of the head.

Do not forget that this is a pencil drawing for beginners and there may be any inaccuracies in it. With practice, you can achieve good success and even understand how to teach a child to draw a person, no matter how old he is.

Shoulders.

To draw the shoulder line, it is important to take into account the fact that, on average, in a man they are the same length as the head. And one moment. We draw the shoulders with a slight downward slope (see the picture above).

Waist.

How to draw a human figure? The next moment is how to "find" and draw our person's waist. Markup will help with this. If my head is 2 cm, then I will determine the waist below the fifth cm, approximately 5.2-5.3. I put a dot and draw from it horizontal line, which will be greater than the width of the head, but less than the span of the shoulders. I connect this line with the shoulder line.

Torso.

The fourth mark (from top to bottom) will be the point of the lower torso. It is usually wider than the waist, but should not be wider than the shoulders. Draw a horizontal line. We connect its edges with the waist.

Legs.

The drawing of a person should be supplemented with the "production" of the legs. How easy is it to do? Let's break this down into several steps:

Hands.

We are approaching the final stage and supplementing the drawing of a person with another important detail - the hands. And again we divide this step of the image of a person with a pencil in stages:
In general, we figured out how to draw a figure. But that is not all. Now the model needs to work out individual details.

Picture detail

Our pencil-drawn man needs a face to "appear". And therefore, we depict each element in the picture. And these are the ears, and the hairstyle, and the eyes, nose and eyebrows.

We were able to draw a human figure. But it was only a scheme. Now we work on each detail of his clothes separately. We make folds on clothes, and even mark some noticeable seams.

Erase everything auxiliary lines. And now we see that this is more reminiscent of a human appearance than the picture of a robot "on hinges" was before.

Bringing our model to life

We figured out how to draw the body. And now we will dress this body. In the photo that we chose as a model, a man in jeans and a T-shirt. We show all this in our image.

Do not forget about the chiaroscuro effect, as this makes the work more voluminous.

If until now it was difficult for children to explain some points, then even a child who is a year or two will cope with the coloring stage.

The child and I tried and we got a pretty nice man. Perhaps in the future we will be able to learn how to portray a girl and a child. The main thing is the beginning. Good luck in your future practice!

See below for a few more options.