Buttocks Ebooks Catalog
The secret to drawing an attractive buttocks is in thinking of the crevice as an extension of the spine. The secret to drawing an attractive buttocks is in thinking of the crevice as an extension of the spine. 2. Drawthe legs. The buttocks do not really take shape yet 3. Extend the line of the spine along the curve of the buttocks. 2. Drawthe legs. The buttocks do not really take shape yet how to drawthe crevice Is important when drawing the buttocks in slacks or jeans as well. 3. Extend the line of the spine along the curve of the buttocks. how to drawthe crevice Is important when drawing the buttocks in slacks or jeans as well.
The key to attractive buttocks is in how you draw the crevice. Think of it as an extension of the spine. Viewed from head on, the crevice of the buttocks is virtually a straight line. The key to attractive buttocks is in how you draw the crevice. Think of it as an extension of the spine. Viewed from head on, the crevice of the buttocks is virtually a straight line. (Different Types of Buttocks) Not sagging, but somewhat flat buttocks Firm, smooth, well-modulated curves make the best looking buttocks. Uneven curves create i less appealing results. Firm, well-rounded buttocks Slightly sagging buttocks Firm, well-rounded buttocks Slightly sagging buttocks
Buttocks and Hearts Buttocks are often said to resemble an upside down heart, as in this illustration. Buttocks are often said to resemble an upside down heart, as in this illustration. Buttocks actually look like this only when the figure is seated or viewed from above. Buttocks actually look like this only when the figure is seated or viewed from above.
Reflected light can give the buttocks of the trunks a feeling of volume. 05 reflected light can give the buttocks of the trunks a feeling of volume. 05 Black, with the lines of the buttocks shown in white. The way the buttocks appear to bulge out beneath the seams creates a realistic effect. Black, with the lines of the buttocks shown in white. The way the buttocks appear to bulge out beneath the seams creates a realistic effect.
The female outline is softer than the male in its transitions between one area and another. The buttocks protrude beyond the vertical line marked by the shoulders, and the outline of the legs describes a diagonal that is less pronounced than the male's. Viewed from behind, the most outstanding characteristic of the female form is the clear contour of the back and hips, which is clearly defined by the waist. The relief of the female torso is far less dictated by the shape of the muscles.
Here, the lower pelvic wedge is tipped forward, the underbelly is recessive, and the rear buttock area arches upward into view. In a rear view of the lower torso wedge, the pelvic region is seen as a compound form with a butterfly shape. The wide gluteusmedius masses, under the arched hipbones, form the upper wings (A, Al), and the thick gluteus maximus masses (the buttocks) form the close-set under wings (B, Bl).
Just copying anatomical diagrams does not seem very helpful to most students. The muscles must somehow be built upon a frame or figure in order to get their proportion and relationship to the figure as a whole. The joints of the manikin are usually balls of some kind, and of course such joints must eventually be covered up. For this reason it is well to concentrate on the muscles of the shoulders, and those of the thighs, especially at the hips. Then study the chest, waist, and buttocks. Next get the back, then the arms and the whole leg. To balance the manikin on its feet requires about the same arrangement of limbs and torso that the human needs to hold its balance.
If you extend the thigh directly off of the buttocks, it will tend to be quite fat. When you want to draw a less beefy thigh, draw the thigh first in the desired proportion* and then adjust the buttocks as necessary for a natural fit. y to the pelvis determines the shape of the buttocks
Ft is essential to understand how muscles work in motion. Exciting art begins and ends with action, and to that end, bodies must be stretched and pulled into any number of realistically rendered positions. When in motion, muscles take on new shapes that are sometimes surprising Some grow, some shrink, and others seem to appear as if from nowhere Although a lot of attention is usually given to the obvious muscles, such as biceps, pectorals, and abdominals, lesser noticed muscles, such as the triceps and buttocks, become much more obvious when exerted. gluteus maximus (buttock) muscles
Upright posture is maintained by the sacrospinalis muscles in the back, which bind the spine tightly to the pelvis and hold the torso erect, and by the gluteus maximus muscle of the buttock, which holds the trunk upright on the legs. As we noted in Chapter 2, strong ligaments at the front of the groin prevent backward articulation of the thigh, while others at the back of the knee prevent forward articulation of the knee joint. In a normal standing posture, the hip is slightly forward of the body's centre of gravity and the knee is slightly behind. These two joints are locked in opposition to each other, providing a perfect supporting structure.
Muscle development varies from person to person of either gender, but male musculature is generally heavier than the female. Fat distribution is different, too. Men carry weight at the middle, on the upper back, and lower back. Women tend to carry weight on their buttocks, abdomen, thighs, breasts, and the backs of the upper arms. While today's culture doesn't always consider this attractive, it's a natural part of human anatomy. So relax and open that carton of Mocha Almond Fudge.
The rather naive drawing of the back of Euphronios's backward-glancing man, a back half-obscured by the decorative lines of the mantle the plane of the buttocks is clearly felt then the upward-running profile of the back, instead of continuing from the far buttock profile as a latter-day student (and probably, certainly, more capable draughtsmen still than he) would carry it on, starts from the base of the sacral triangle, thereby very adroitly, if not very accurately, suggesting the insertion of the upper conical volume (of which I have already spoken so often) into the pelvic mass, suggesting at the same time the difference and the relation between the two masses. The Greek mind was used to thinking in real and tangible masses not in intangible changing effect. Thinking ' all round 3 his mass, all round and through it, being used to consider the co- rdinating of volumes among themselves, he was an incomparable architect, as the modern architect, racially used to the observance of...
But there is a more evident and cogent reason for the study of the nude before draping it. Drapery hangs free from certain supports. Let us consider a standing figure simply draped with a fairly soft material. The folds will hang free from the shoulders behind to the heels, will hang free unless slightly pushed out by the buttocks. If the figure stoops forward the folds will only hang free from the buttocks to the heels along the back the drapery will lie close and very possibly foldless. Now surely it is evident that before we can draw the surfaces of suspension and their edges from which the folds take nascence, we must be able to draw the underlying nude. Not only that, but we must be able carefully to construct the rhythmic relation between the placing of, say, the shoulder surface of suspension and the buttock surface which perhaps pushes out and modifies the direction of the folds. But this means nothing else than knowing how to draw the nude, it is the eternal refrain of this...
A few words concerning the Rodin drawing may not be out of place. I have chosen it as exhibiting a considerable amount of volume value to which his rapid notes of pose did not always attain. True, the nearer arm is not all that it might be in that respect. The information concerning the advance of the deltoid in front of the neck plane is insufficient, and the same defect continues down the upper part of the thorax. Rodin ' missed ' exact comprehension of the state of things in that part of his drawing. This missing forcibly vitiates the accuracy of the junction between the thorax and the pelvis. On the other hand, the volume of the pelvic mass is admirably felt, and we swing down the thighs to meet with hand and forearm mass values acutely indicated now that the shoulder incompletion is left behind. The scrawl which establishes the plane lying across the two calves is interesting, as is also the hatching indicative of the whole plane lying across the buttocks, seen in rising...
With the help of the rotate-tool (be careful), I move the right thigh away from the pole (in a backwards direction) - I recognize I'm way over the limits. So I rotate the hip a little bit more and I also rotate the right buttock with side-side (only use the dials on the buttocks). Finally I'm over the limits with both values but by all means in the tolerances. In the same step I bend the right shin a little bit to get a grip on the pose.
Because the pelvis is connected to the head by the backbone, it is constitutes the body's axis. Several muscles of the torso, the thighs, and the legs meet at the pelvis, which serves as the main support point for this area of the body. One of the most important parts of the pelvis, and the one which most noticeably affects the outer appearance of the figure, is the iliac crest, which lines up with the hipbone. Don't forget to draw this bone, particularly in female figures and slimmer models. Because a woman's pelvis is wider than a man's, her hipbone is much more visible, marking a soft curvature from the pubic area to the top of the buttocks. We shouldn't forget to mark the hip line when drawing a back view either. Here, the line that marks the underside of the buttocks becomes important as well. Notice the interesting triangular indentation that forms just above the buttocks. The pelvis is connected to the skeleton by the vertebral column or backbone, which is always visible...
This layer of fat is not evenly distributed throughout the body. In men, it is generally concentrated in the chest, accentuating the profile of the cleft just below the pectoral area in the area below the chin in the stomach and in the buttocks. In women, fat tends to affect the shape of the breasts (which grow disproportionately and look more flaccid), the chin, the stomach, the thighs, and especially the area around the pelvis and up to the end of the gluteus muscles. For this reason, the part of the body that stands out most in an obese woman is the exaggerated width of the hips and the large behind. The other parts of the body tend to look more cylindrical, and the folds around the joints are more pronounced because the flesh there is fattier. The same thing happens with the person's facial features, which tend to swell generally body fat is particularly visible in the cheeks and chin.
When a figure is pictured from the back, the first feature that we notice is the clear definition of the figures vertical axis.The line marking the vertical axis is accentuated by the backbone, by the ridge that the spine forms, by the separation of the buttocks, and by the line describing the inside of the legs. ueh a woman's waist is ioser to the che than a man's.Viewed from the side, the arch of the back is more pronounced than a man's, and as a result, the buttocks appear more prominent. One of the most important factors in making a a good drawing of the female figure is placing the waist at the right height, somewhat lower than a mans this is one of the anatomical features that gives the female body its characteristic form.
In the trunk the case is the opposite the facts of the front follow as a corollary to those of the back. The joining up of the two systems, that of the back and that of the front, is elegantly effected by the forward-sloping forms of the external and internal obliques (and the transversalis) and by the special shapes of the gluteus medius and the tensor fasciae femoris, all of which gather round the forward-sloping iliac crest or haunch-bone. The accompanying sketch may aid in showing this, though for a full representation of the facts a clay model would really be necessary in order completely to trace the sequence of forms from back to front over the body. In short, it must be noticed how the forms in the region of the waist can be caressed round and forward and downward from the spinal column just above the sacral triangle over the obliques, and the iliac crest forward into the depression between the thigh and the stomach. This sweeping movement must...
When the legs turn outward, the buttocks are pulled apart and the crevice opens up. View from below the thighs and the buttocks press flat against the floor. The buttocks are soft, so the heel digs in. The buttocks are soft, so the heel digs in. When the legs turn outward, the buttocks are pulled apart and the crevice opens up. View from below the thighs and the buttocks press flat against the floor. Buttocks, Part iT You can achieve the illusion of tumbling backwards by showing the full curve of the buttocks. This clearly distinguishes it from the crotch of a figure that is merely sitting with legs spread apart
It is of paramount importance, at this point, to understand the shifting of the weight from the feet to the buttocks, thighs, hands, elbows, back, the neck and head. Important, too, is the correct understanding of foreshortened limbs that assume other dian usual contours. In such poses limbs become props or braces rather than complete supports. The spine has a tendency to relax in a concave manner toward such bracing. When you are sitting on the floor, one of your arms usually bccomcs a bracc, and the spine relaxes toward the bracing shoulder. One shoulder is high and the other one drops the hips lean toward the brace the weight is carried on one side of the buttocks, the side of the supporting arm. When you are sitting in a chair, your spine may lose its S-shape and become a C. The thighs and buttocks take the weight. Both flatten a good deal, particularly a woman's thighs. The position of the head over the body should be carcfully placcd, sincc it has much to do with what the pose...
The erect torso presents in profile the long curve of the front, broken by depressions at the border of the breast muscle and at the umbilicus or navel into three lesser curves, almost equal in length. The back presents the sharp anterior curve of the waist, opposite the umbilicus, bending into the long posterior curve of the chest, and the shorter curve of the buttocks. The curve of the chest is broken by the almost vertical shoulder blade and the slight bulge of the latissimus below it.
I hove token one of my drawings to show you an example of this. If we start at the top right shoulder, once we get down to the lower back we should not continue over the right buttock. Rhythm is not about following the edge of the model. This would put the model off balance. Notice inside the model how the arrow takes us from the right shoulder to the left hip. This is our applied force. It is what pushes out the left hip. Looking at these four drawings, there are many patterns one can see. Notice the constant attention to the relationship between the ribcage and pelvis. The buttocks represent the pelvis. In most cases you can see the force of the thigh pushing the knee and calf back. Look at the close resemblance to the skiing analogy.
I love the sense of thickness conveyed in her bock ond buttocks by the curve in those oreos. See the small straight of her ribcage to define structure. Look at the asymmetry found throughout. The simplicity of straight to curve of her left arm gets the idea of force ond form across. Notice the structure of her head and the shape of her hair. I love the power of this drawing. It is opinionated. It tells us what the model was doing, loud and clear. Look at the shapes created by the anatomy and how much force they imply. His right arm and buttocks are two unmistakable moments of this. See the structure in the straights and the force in the curves. His silhouette can be easily understood. See how his legs work relative to the torque in the upper body.
We hove come to the point where we hove o solid structural drawing without all of the surface line. The cen-terline of her back, her spine, helps set up all of the structures. The buttock and hip area shows plenty of overlaps describing depth. Look at where two lines meet and which one moves over the other. The form it describes is in front.
The figure, no matter what pose it assumes, comes into contact with a supporting surface through one or both feet, the buttocks, or the hands.The manner in which this contact is produced explains the support as well as the coherence of the pose through equilibrium, so the entire body should appear coherent with respect to the position of the extremities. A frequent error when drawing standing figures is that they do not appear to be touching the ground, and look as though they are floating or imbalanced.
Very much may be learnt from the comparison of these two drawings but before dealing with that of Michael-Angelo let us complete our examination of the Rembrandt. One might call the drawing an organized series of parenthetical enclosures of volumes the parentheses enclosing the pelvic mass sweep inwards and partly terminate the buttock volume, or, more exactly, follow the line of fatty accumulation below and outside the real buttock volume. The next parenthetical inclusion of the thighs denotes with marvellously delicate suggestion the forward movement of the masses as they come out from within the pelvic volume. The last parenthesis, that of the legs, hints most refinedly at the mass return towards the spectator. The right-hand line, sure and straight, falls from the hip, for the greater part of the weight of the body is upheld by that leg, consequently muscles and tendons are taut, and the angle of the right iliac crest is sharply marked at the summit of the haunch. The interrupted...
Blade, with its muscular attributes, and the clavicle or collarbone. The whole body is coherent consequently our descriptive separation is false. I have already spoken of the common error of beginners in overlooking the ' carrying on ' of the forms over different sections of the body. Bad draughtsmen draw a forearm to the elbow, or an upper arm to the shoulder, and leave it at that they overlook the rhythmic insertion of one group of forms into the other. Among other interesting facts, the drawing of a woman's back by Rembrandt (Fig. 62) shows this quality of the insertions of forms one into the other very well indeed we may almost say that it is the thesis of the drawing, that it is for the moment the gospel text of his aesthetic sermon. Nearest to us comes the pelvic and buttock mass, of which the truncated cone-like form often seen in women is well shown. Upwards one follows it to coherence with the thorax, whose existence is just indicated in a masterly way by the two little...
Straightness of rhythmic relation, Michael-Angelo towards a more or less complex curve in his rhythm. Just as the surface abc continually cuts the surface of the finished drawing, sometimes lying witfein it, sometimes without, so the planes into which the figure is arbitrarily split, and which figure in the diagrams, repeatedly intersect the real surface of the figure. Thus the projecting angle at the lower part of the buttocks (Fig. 82) would have to be chamfered off, while just above additional volume would have to be superposed on the plane when we come to consider the rhythm of the final surface itself. The dotted line indicates schematically what I mean. Though the surface corresponding to the dotted line is finally quite different from the two planes which it has replaced, it must inherently possess their potentiality it must, so to say, start from them, be based, upon their conception.
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