Drawing the Muscles

The muscles are the driving force of the body, putting the figure in action, in motion. Knowing how they move is a great help, because drawing figures in motion means putting visual memory into practice, even when the period of time is very brief. The interesting part of drawing things in motion is discovering, and learning how to depict, the essence of that movement; the tense muscles of an athlete, the equilibrium of a ballerina, the speed of a runner. The different muscular tensions are underscored by the intensity of the hatching. The greater the contraction of the muscles, the greater the energy that must be represented by the contrast between light and shadow.

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When drawing a figure in motion, we must put aside proportions for the sake of freshness, spontaneity, and rhythm, even if doing so means deforming some parts of the model.

When drawing a figure in motion, we must put aside proportions for the sake of freshness, spontaneity, and rhythm, even if doing so means deforming some parts of the model.

Paintings Figures Motion
The effect of a sequence in motion justifies making a study of a figure in the course of performing an action. In this case, the passage of time and the action are represented as a succession of poses that demonstrate the different steps taken by the figure while performing a , i dance.
How Draw Runner

If we draw a figure in motion, it is important to make several sketches such as these, which analyze each of the positions the body assumes in the course of performing the action.

Sketches The Human Body Poses

If we draw a figure in motion, it is important to make several sketches such as these, which analyze each of the positions the body assumes in the course of performing the action.

Deformation

When drawing a figure in motion, the artist should get carried away by the vision of the moment and forget academic considerations. The artist can go so far as to alter the body's proportions as a function of movement: increase the width of an arm or leg, exaggerate the curvature of the back, or suppress unnecessary details. Sometimes the trajectory of a single line explains much more than an accumulation of traces. If the line is lively, it conveys the figure itself, giving it a more vital gesture.

Successive Images

This technique represents movement through successive images, with each figure in a different position placed on the same plane in order to represent movement sequentially

Vanishing

Vanishing, or fading the contours of the figure, is a common technique for suggesting action. The source of this effect is the blurry or unfocused images seen in photography. The dispersion of the figure's contour imbues it with an effect of vibration, movement, and displacement.

Quick, energetic lines give the sensation of movement to a figure. Notice how a quickly drawn sketch, rather than a detailed, meticulous drawing, is better at expressing movement in a figure.

In drawings describing motion, the lines of strength should be very expressive; they can even be exaggerated to give the figure a degree of deformity.

Human Body Diformities
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Blurred Drawing

The blurred or unfocused image is a very common technique for suggesting motion. This technique is the counterpart in drawing for the concept of the blurry image in photography.

The blurred or unfocused image is a very common technique for suggesting motion. This technique is the counterpart in drawing for the concept of the blurry image in photography.

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Human Body

This technique is immensely useful for studying and understanding the inner structure of the figure.

¡DEN PARTS of de ometimes, when drawing a figure, it is necessary to J draw lines where there are none, or, to be more precise, where we do not see them. In some seated or reclining poses some parts of the body disappear from view and remain hidden behind the body. Thus, in order to understand the structure of the figure, we must construct an imaginary contour that crosses the body in order to relate the visible limb to the one that remains hidden from view.

Advanced artists perform this process mentally, but the beginner can make use of a drawing depicting the line and structure of the figure to understand how the hidden parts of the body are articulated. To this end, it is often useful to draw the model as if it were transparent, drawing the views of the body that remain hidden to the spectator.

Drawing the figure as if it were transparent should be done using a soft, clean line that can be erased easily. Once the structural drawing is finished, the lines of the hidden body parts can be erased.

This technique is immensely useful for studying and understanding the inner structure of the figure.

Drawing the figure as if it were transparent should be done using a soft, clean line that can be erased easily. Once the structural drawing is finished, the lines of the hidden body parts can be erased.

Contour Drawing Human BodyHuman Muscles Photo

The most difficult part of this drawing method is finding the flex points and the places at which the joints connect to the body in order to produce a coherent drawing.

Studying the Joints

If a figure is not in an upright position, it presents several problems of some complexity, in particular with regard to the composition of the legs, and especially, in those places that hide other parts of the body (an unseen knee, a foreshortened arm, a leg hidden behind the body). ^ - > •. 4

When drawing, it is important to pay attention to the shape of the joints and the existence of hidden ;L parts of the body, because they reveal where each part of the body begins. A good way of rendering the structure of a figure when some of its parts are hidden from view is to draw the figure as if it were transparent. Doing so makes it easier to place the hidden parts within the context of the drawing; we can then draw the details of the drawing within the limits defined by these lines. This method of drawing requires a great deal of observation in order to determine where each of the lines in the drawing originates, to locate the joints or flex points, and to note where they come to rest within the structure of the body.

When you practice drawing transparent bodies, you should start by reducing the figure to simple, geometric shapes—prisms, spheres, and parallelepipeds.

The technique of transparent drawing is more than an exercise for studying the structure of the model. Some artists also use it as an interpretive technique or as part of a personal rendering style.

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