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How To Draw Figures | Human Figure Drawing Tutorial

Did you know that you can learn to draw a figure without attending to figure drawing classes easily? The most comprehensive drawing figure tutorial by Todd Harris is now online and available for instant download for people looking for figure drawing help.

Learn Todds Figure Drawing Techniques and Tips At Home

With the figure drawing techniques revealed in this figure drawing eBook, it will be possible to draw pencil drawings of the human figure with ease whether beginner or advanced.

One of the best thing about this downloadable figure drawing course is that even if you could easily spend thousands of dollars on figure drawing class at an average university, you can save your thousands with this special eBook which reveals all the figure drawing techniques including the figure drawing without a model.

Proven Figure Drawing Lessons To Master The Human Form
Learning the human form is really difficult, time consuming and tedious task for the most of the beginner artists. Being the most critical of all elements, human form must be very well understood whether you want to be an accomplished artist, portrait artist, video game artist, film artist, or a commissioned artist.

Learning how to draw the human form is fully covered in this eBook with great detail. The powerful figure drawing lessons which will teach you everything you need to know about the human form will bring you to new arenas of your hobby, career, or training you thought unimaginable.

Best Figure Drawing Pdf Guide
If you want to learn the techniques outlined in this figure drawing pdf guide, you would need to purchase around 6 other human figure drawing books which would cost you around $200. Todd Harris has made a great job for preparing this eBook pdf on figures drawing.

This all-inclusive guide to figure drawing for beginners will combine techniques of the masters, to tricks on how to draw people right the first time. This online figure drawing lesson is a great opportunity for getting a steal of a deal in money and time.

Free Figure Drawing Book Download
This figure drawing guide eBook comes together with 5 free figure drawing tutorials to help you understand the figure drawing basics in depth. These are the best free figure drawing resources online:

The Art and Science of Drawing by Harold Speed: which will help you to learn the secrets of drawing straight from the masters.
One Piece Portfolio Review Submission: which will let you to submit a piece of artwork and have it evaluated and reviewed with a critique sent back to you.
Getting Started: which will teach you the basics of the block-in method and line variation and contour drawing.
The American Drawing Book by John Gadsby Chapman: which give you tips from the basics to advanced techniques.
Pen Drawing An Illustrated Treatise by Charles Maginnis: shows you everything you need to know how to make beautiful pen drawings.
Learn Figure Drawing Tips With Ease
Indeed every artist operate a little differently. This learning program fits any artists learning style. You can easily learn figure drawing step by step by choosing the program which fits your style.

Even if you you are not sure which kind of artist you are, thats okay. You will still have complete description and will benefit from learning the teachniques that are made for the type of artist you are.

Learning figure drawing tips and the human form has never been that easy with this online figure drawing secrets of the masters. Discover the secrets of experienced illustrators and masters with step by step figure drawing instruction.

You will get the best figure drawing eBooks full of advice, tips, instruction and illustrations on how to draw figure drawing delivered instantly at your fingertips. Learn to draw figures with a system right for you. Download this best figure drawing book here and learn how to draw figures step by step.

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For more information on how to draw figures, visit my site to learn human figure drawing tutorial

The Secret of Realistic Drawing

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The Secret of Realistic Drawing:

What really is realistic drawing? there are so many different styles of art out there now, that I can understand if you are a bit baffled which way to turn.

So lets get down to it, and unravel the mystery in getting Realistic Drawing on track.

Realistic Drawing and You

There are enough styles of drawing, modern, surrealism. But the most pure of all art is the reproduction of realistic likeness. What does this mean to you?Realism is the reproduction of something that is the same likeness of what you see; what is real.

I heard people say that "if you draw or painted something that looks just like a photo, why not just take a photo instead". That art is perceived in layman's-terms as "The Artists Interpretation of art itself". So does that mean that we; as artists should not interpret an object to the closest exactness to what we are drawing......

Sometimes I wonder if this isn't an excuse to be able to make mistakes; that an artist shouldn't try to make an exact replica to an object or living thing. Or is it a scape-goat, being the way to excuse an artists talent if they cant replicate likeness in their art?

I for one don't agree, and there are enough artists doing realistic drawings out there to also support my own values. And there are allot of artists that can bring to life, drawings of things, that just take your breath away.

So is this the way you want to go with your drawings, or do you want to tackle a few different styles. So if you want to draw really good realistic drawings; making that decision is a big step.

Realistic Drawing Expectations

I think most artists look at realistic artists drawings; the really good ones. And think wow!

Most artists who do fine art, think seriously about doing realistic drawings. I know I do, and always have. So there are different stages, different capacities at just how good you want to be. Do you want your drawings to reflect the subject you are doing. The same exact image.

I would love that myself; what you need to ask yourself is that, do you have the devotion and time to become a really good realistic drawing artist. I myself have found that I have a special talent in doing sculpture, and I do realistic sculpture most of the time. So I don't have the necessary time to become one of the masters in the field of realistic drawing. It would be nice.........

I don't just mean doing a drawing that is just a likeness. I mean doing a drawing that is so close to the real thing, that you have to look hard to see if it really is a drawing or a photo.

Is Realistic Drawing Right for You

Do you want to be one of these artists? when you have seen these sort of drawing in art shows, magazines etc... Do you think that this artist is really talented and you wish you could draw like they can. Art needs a certain amount of talent. There are the natural artists, and also there are artists that have to take the long road by going to art school and studying their new trade.

But I can tell you now, this sort of drawing doesn't just come, you need to be prepared to put long hours of practice and study to getting to this stage of near perfection in the art field. And be prepared for a lot of frustration and many lessons. You could be looking at a year of practice to get to this standard. But the self satisfaction and amazement at what you could do by your own hand, will outweigh all that time you took to get to this stage.

And just like an athlete, you will need to work at it to keep a standard. Yes, even artists get a bit rusty after a while. If they haven't been doing their drawing for a while.

Mindset and Your Drawing

When you you do enter the world of this sort of standard in realistic drawing. Your mindset needs to get over the feeling that in order to reproduce an image down on paper. You need to think that you have no other cause; than to reproduce what you see.

And you will need to do your homework first. Look at pictures of the subject that you are going to do. Find different angles and go and see the subject in real life if you can. I know if you want to draw say... a big cat. Its not always so easy to go and see it fin real life. I am faced with this too.... Distance and geography lends a factor to not being able to just go and see your subject. So it comes down to finding pictures and studying. Staring closely at these pictures, and soaking in the detail, texture, and shape. All must be thoroughly studied, and familiar in your mind before you put your pencil to paper.

Reproducing realism, is most probably the hardest thing you can do in art. Because you have a measurement to come up to, "natures work itself". Or man made. With more modern art work, you don't have to follow something to the exactness, therefore you cannot be judged if it is really right or not.

If you can commit to this, and knowing that it wont be an easy road, I guarantee. When you do reach the standard of being able to look at your work in its realistic brilliance. You be so glad you did go through all that practice and lessons. When you know it has all paid off in the long run.

The road to drawing realistic art may not be the easiest one. As we have discussed. And I don't want you to go into such a decision half-heartedly. Are you suited to this sort of art, or do you follow other styles of art. Being an all rounder in art is fine. But to really be the best at one style takes allot of time. I am an all rounder in art myself, I chose to mainly concentrate and specialize in sculpture. And have seen how; through the years my sculpting has improved. You never stop learning in art.

Being faced with what you need to achieve, the goals in realistic drawing might be a bit daunting. But if your interest is such that you know its right for you. And now you know what you are in for. Making the decision to not just draw what you see, but becoming a master at it. Will be your own reward.

Permission to reproduce if byline stays intact, courtesy copy appreciated; not required.

Tips to Instantly Improve Your Figure Drawings

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Drawing the human form is no easy task. In fact, it's probably the toughest task an artists can try and master. Why? Because every person is different and each stroke of the pencil represents the model and the observation of the artist and their interpretation. There are a few principles to keep in mind as an artist that can help you with your observation and skill in figure drawing.

Now, that is big! When you are drawing, there are so many different things to think about. The techniques of block-in, contour, shading, and bringing the figure to life, isn't just about the paper and the pencil. It's about your awareness, observation and communication of the awareness through the paper and pencil. I will keep saying this over and over through this article that careful observation can make or brake any figure drawing. As artists, we need to be able to think of many different things while drawing but keep our focus on observation.

Are you remembering to consider gesture while hatching? Are you considering where your light source is coming from while you are shading or shaping your light? Remembering all the little things while drawing figures can be difficult.

Drawing, good drawing, comes down to increasing our observation and attention to our drawing, and of course, practicing.

Drawing the human form comes down to these principles. First, you need to have passion in you and desire to express life and beauty. This is non-negotiable, without it you won't be a great artist. Next you actually have to do it. Next is practice. Practice drawing anyone, everywhere. Draw the people on the bus as you go to work. Draw kids at the playground, draw people in your community or church, or anywhere. Wherever you are there are plenty of drawing opportunities. Take a sketchbook with you everywhere.

Practice drawing quick sketches, gestures, studies, anything you can think of. Have a particular feature of the human form that you tend to struggle with? Are hands tough for you? Maybe a mouth? Draw several studies of the feature you struggle with till you are confident in your strokes and anatomy of that feature. Do as many studies as it takes.

It's wonderful to see your figures take shape and come to life through your pencil. These tips on awareness and study should help. Passion and practice will bring about good skill. Remember that with good observation and careful awareness the door opens for making good art and bringing the figure to life.

Article Source: http://www.articlenorth.com

Todd Harris is a master artist who is currently working as a concept art director for a multi-billion dollar corporation. He is trained in the Florence Academy Method. Learning2draw.com is a resource based website devoted to aspiring artists wishing to master figure drawing. Visit www.learning2draw.com to get tips, tricks, and techniques to master the human form.

Drawing Hands Made Simple, Great Tips to Help You Master Hands

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Artists consider drawing hands one of the hardest parts of the human form to draw. It takes a lot of practice to master drawing hands, however, it can be learned and less daunting than the task seems. Hands are a very expressive part of the body, much like the face, this is why it is sometimes so hard to draw. There is a formula to the process that makes it easier for artists to master drawing hands. Let's take a look at the process.

Start with blocking in the hand. Artists do this differently, do it the way you feel comfortable. A quick block-in might look a little like a fisted hand outline, with fingers outstretched.

When you are drawing the hand, you do not have to worry about all of the detail, this will come later. You always want to start with the overall shape and then work the finer details last. Break down the hand with simple shapes.

Then form the fingers. Notice the shape of them and the space between them. Make sure your proportions are correct. Once you have everything in the right position, then and only then, can you begin to refine the hand. Make sure the thumb is in the right position relative to the other fingers. You can use the thumb and pencil method to check these proportions.

Once your block-in or lay in is complete, you can finish with some shading and refining. Draw the main visible wrinkles, shadows, nails and then refine the lines.

Add some rough shading to bring the form out. Then refine with more subtle shading while observing the fine lines of the hands. It's good to know where your light source is coming from so you know where the shadows will fall on each finger.

There are some tips that you can consider when drawing hands that are helpful. First, draw your own hands. Set your hands in various poses and look for how the light falls on them. Next, know what's underneath the hand. Have a good understanding of the structure of the hand from an anatomical view point. This should give you a good understanding and help you with how the shading should be handled.

Start with easier poses and then work on more complex poses as you become more familiar.

Get critiques of your drawings. Feedback is very important when learning to draw anything. Get new perspective from others comments and don't be afraid to try them out.

Lastly, drawing takes a lot of practice. Don't get discouraged if your first few hands don't turn out. You'll get it, with persistence and practice, you'll be mastering hands in no time.

About The Author

Todd Harris is a master artist who is working as a concept art director for a multi-billion dollar company. He is trained in the Florence Academy Method and loves art. Learning2draw.com is a resource web site devoted to aspiring artists wishing to explode their figure drawings to new heights. For more information on how to draw people and faces visit http://www.learning2draw.com. You can also sign up for a free newsletter with hundreds of tips, tricks and techniques of the masters.

Children'S Portraits

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drawing graffiti lettersFor years I've been teaching workshops on the subject of painting figures in watercolor, and invariably I hear the same questions over and over again from students. Their questions are usually not about getting a likeness but rather about how to get children to sit still, how to work from photographs, and how to decide on a background color. For many students, the biggest stumbling blocks are simple procedures that shouldn't be obstacles at all.
Let me try to help move some of those stumbling blocks out of your way so you can enjoy and profit from the business of painting children's portraits in watercolor.
1. GET TO KNOW YOUR SUBJECT. The most successful portraits are always those that capture the personality of the child. They show a certain tilt of the head, a smile, or a gesture that's characteristic of the individual. Discovering these special qualities can be accomplished in a very short period of time if you know how to handle yourself during the first meeting with the child. I always make a point of going to the client's home, whether it's down the street or on a buffalo ranch in Wyoming, rather than asking them to come to my studio. While my studio is certainly better equipped and more comfortable for me than the client's home, I need to see the children in their own surroundings: It gives me a more accurate sense of their character and the opportunity to select more meaningful props and background material.
I also prefer going to clients' homes because it makes them feel more at ease. When children are relaxed and comfortable, their expressions aren't strained. It's important for everyone to be cheerful and optimistic during this first encounter, so I talk to the children and reassure them that what I'll be doing will be easy and fun for them. I need to help them get over the fears any person might have--whether young or old--about being painted.
Before I begin making sketches or taking photographs, I walk around the house with the children, asking them to show me their bedroom, favorite toys, and pets. I take mental notes about any repeated expressions or gestures, and I evaluate the possibility of using objects and decorations in the home as props or background material for the painting. No matter where I'll be working, I make it plain I don't want any other family members in the room with me. The "helpful" participation of parents can be an annoying distraction to both me and the children.
Most importantly, I focus on the children and watch what happens. I don't go into portrait sessions with preconceived notions about the poses or props. Children have a wonderful ability to be free and open about the way they present themselves. If I ask them to sit the same way they do while watching television, they're only too happy to oblige. Or when I ask children to show me their favorite "lookout spot" up in a tree, they'll climb up faster than a cat and, without prodding, show me how they can hang upside down. (Just try getting a corporate executive to do that!)
2. MAKE CHARACTERISTIC DRAWINGS. When I travel to a client's home, I carry a hardbound 11"-X-14" sketchbook, a variety of drawing pencils ranging from 2H to 5B, a small pencil sharpener, and a kneaded eraser. The sketchbook is durable and easy to carry, and after it's filled it becomes a record of the many people I've had the good fortune to meet.
When drawing children's portraits, I keep in mind their overall body proportions (as illustrated in Figure 1) and the ways in which they differ from the proportions of an adult. (Figure 1 omitted) For example, the head of a child is bigger in relation to the child's body, and the features of the face dominate the lower haft of the skull. While adult hands and feet are comparable in size to the face, a child's hands and feet are smaller when similarly compared.
I ask my subjects to pose in a well-lit area, and I try to have the natural light coming in from one side of the body to make the shapes and contours of the face more discernible. I need to be at eye level with the children, so if they're more comfortable on the floor with a toy, I sit on the floor with them.
I keep my sketches quick and open-ended, and I like to work on two or three at once. It's unfair to ask children to sit perfectly still, and if they freeze up I run the risk of missing their spontaneous and animated expressions. I draw them from whatever angle is comfortable for them. If one happens to be a real wiggler, there's nothing like a television program or videotaped movie to settle the child down. I often have a couple of videotapes of children's movies in my tote bag for just such an occasion. I used to carry a cast-iron frog named Fred with me, and he almost always guaranteed me twenty minutes of drawing time. As I draw, I add written notes about my client in the margins of the notebook. These notations about personality and special features become invaluable to me later.
There's no way to compensate for a lack of drawing ability--especially when dealing with children's portraits. A quick pencil sketch of posture, hand position, or shading can be the most valuable reference an artist can have when painting. That's why I encourage all my students to enroll in a life-drawing class and attend regularly. The skills you learn will be quickly put to good use when you try to draw a five-year-old who moves even faster than his golden retriever. And when the child's mother asks you to put the retriever in the painting, you'll be especially glad you learned how to draw quickly and accurately!
3. TAKE LOTS OF PHOTOGRAPHS. Even the best-natured children become weary, restless, or downright cranky after posing for a couple of hours. That's why the camera has become an essential tool for almost every artist who paints portraits of children.
There are several common mistakes artists make when taking pictures of children. One is taking the picture with the children too far away from the camera, and the second is taking it from a position too far above them. In the first case, the resulting photographs don't offer enough useful information about the subject, and in the second the figure is totally distorted by the radical angle of the shot.
A third common mistake artist make when taking photographs is not posing children in proper lighting. These pictures turn out either too dark or too light, or there are strange shadows cast by the nose and chin. Using a flash can result in lifeless photographs and, ultimately, lifeless portraits. A flash aimed straight at a child's face will flatten all the features and burn out any delicate color changes. Working from photographs taken by a professional studio photographer can be equally disappointing because the lighting used during the shoot is meant to soften contours and remove color "imperfections," leaving little for the artist to work with.
The best lighting for natural skin color and descriptive contours is soft or diffused daylight; a hazy, slightly overcast day produces soft shadows and is therefore ideal. The light available during either the morning or late afternoon is preferable for outdoor photography since too much sunlight can yield severe shadows and squinting eyes. If I have no choice but to work in the middle of a sunny day, I pose the children in a shady area under trees or a porch roof.
It's important to keep the photo session casual and fun. If I can get the children to play with me while I'm taking photographs, the results will be much more satisfying. I use a 35mm Nikon camera with a standard 50mm lens and Kodacolor 100 film. When I'm working away from my studio, I take along a small Olympus camera just in case something goes wrong with the Nikon. Using both cameras, I take between 70 and 100 photographs, being careful to include profiles, close-ups, and hands. If there's a family pet or a specific background that has to be included in the painting, I take ample shots of that as well. In short, I take more photographs than I think I could possibly use. Nothing is worse than beginning a painting and discovering I don't have enough information to work with.
Occasionally, a client will request a portrait painted from an existing photograph that the family is especially fond of. Frankly, I see little merit in copying someone else's work. I let my clients know I prefer the intimacy and originality that comes from using my own photographs and sketches.
4. KEEP THE COLORS CHILDLIKE. Watercolor has always seemed the perfect medium for children's portraits because of its pristine colors. I organize mine in the compartments of a John Pike palette so I have a choice between a warm and a cool version of each. Here are the tube colors I use most often:
Reds
Warm: scarlet lake or cadmiumred medium
Cool: alizarin crimson or permanent rose
Yellows
Warm: cadmium yellow medium
Cool: cadmium lemon
Blues
Warm: cerulean blue
Cool: phthalocyanine or Winsor blue
Browns
Warm: burnt sienna
Cool: raw umber
In addition, I use lots of raw sienna and yellow ochre for the flesh tones, and I make my darkest values by adding Payne's gray to other colors. There are many suitable colors, but I find the transparent colors best for skin tones since too much opaque color can make skin look chalky and dull.
One frequent mistake made in painting children's skin is using too much blue or gray. The liveliest sense of color is achieved when a harmony of warm and cool colors are used. Remember, however, that blue skin tones become more pronounced when placed next to warmer, rosier tones.
I avoid using dark gray in recessed areas like nostrils, inside the ear, and in the folds of the skin around a smiling mouth. Although these areas appear darker, they're warm tones that are generally not as dark in value as you might think. I paint all the shadow areas of the skin with subtle veils of color, and I consciously avoid the tendency to make them too dark and heavy when working from photographs.
Choosing a suitable background color for the painting can be confusing. When selecting any color for a painting, I consider the focal point and the overall look of the picture and ask myself whether a color would reinforce or detract from that focal point. I often use color swatches I pick up at paint and hardware stores to help me make better choices. I can hold the chips up against the painting to better judge both the color and the value.
5. KEEP THE BRUSHWORK LIVELY. When working on children's portraits, the key is to keep the colors and brushwork as lively, fresh, and spontaneous as the personality you're trying to present. For this, there's no better medium than watercolor. However, fresh and lively colors become dulled and muddied when too many corrections are made. To avoid the common problems of dull and muddy color combinations, overworked brushstrokes, and harsh edges, you have to learn the best way of handling the medium and you have to plan ahead. Let me describe the procedures I've developed during many years of practice.
After meeting with my client, I take my photographs and sketches back to my studio and do some compositional studies of how I might arrange the figure, props, and background in the painting. Regardless of the medium you're using, I recommend making a thumbnail sketch before beginning the finished painting to indicate general masses and values. You may have a good idea about the character of the features, but how much of the figure will you show? What about the hands? What color is the background, and what additional items will be included in the painting? All of these questions (and more) should be considered before the brush touches the paper.
After I've made my thumbnail sketch and settled on a plan, I draw those elements lightly in pencil on a sheet of watercolor paper that I've previously soaked, stretched, and allowed to dry. I produce a fairly detailed drawing on the watercolor paper, putting down all the shapes I see, from the shape of the small highlight on the nose to the shapes in the background. I never work from just one photograph but from several photographs and sketches.
I never project my photographs directly onto the paper, but I often put a sheet of gridded tracing paper over my best photograph of a child's face, draw a corresponding grid pattern on my watercolor paper, and then carefully transfer the lines indicating the outlines of the facial features. This procedure helps me get a better likeness of the child and avoid drawing too many pencil lines on the paper.
I almost always work with the painting surface tilted in an upright position because I find that the pigment settles more cleanly and easily when it's pulled by the force of gravity. I also like being able to step back from the painting and see how it's progressing. Since the finished picture will be viewed from about eight feet away, I make a point of looking at it from that distance as I work.
For portraits I recommend using a paper that can take scrubbing and erasing. Even the best-laid plans sometimes require change. My favorite paper for watercolor portraits is Arches 140-lb cold-pressed paper because of its workable, textured surface and the slightly warm white hue that complements skin tones. Generally, I paint with a one-inch flat and a No. 10 round sable brush. The collection of brushes I use includes some Pro Arte brushes and one Utrecht Giant round.
I begin by painting pale washes of the skin tone and then apply light washes to indicate the clothes, props, and background. If I'm unhappy with the color combinations or placement of elements, I can adjust them at this early stage.
The next three hours of the painting process are the most critical as I move from painting soft wet-in-wet shapes to more sharply defined facial features. Rewetting the paper so my brushstrokes have soft edges and easy transitions between colors, I bring up the values in the face from light to dark. If I paint a feature and it looks too hard and lifeless, I paint over it with a brushload of clear water to soften and blend the edges.
I continue working on the clothing, props, and background--everything in the picture except the person's eyes. I leave the eyes for last since they're the smallest and most crucial details of the portrait. By the time the portrait is finished, I've usually worked for a total of 12 hours over two or three days.
On average, one out of every three or four portraits turns out to be a failure, and I have to tear up what I've done and start over again. I don't hesitate to do that if I have any serious doubts about a painting.
DEMONSTRATION: CHRISSY
Step 1. Here are the photographs and sketches I made while visiting one of my clients. In all of them, I was trying to capture the child's natural gestures and posture while she sat in sunlight outdoors.
Step 2. After photographing and sketching Chrissy, I soaked and stretched a piece of 140-lb Arches paper and, once it was dry, made a light drawing of the figure with a No. 2 pencil. I then painted light washes of color over the entire picture. By keeping the skin tones light at the beginning of the painting process, I can easily make corrections later without sacrificing the freshness of the watercolors.
Step 3. Keeping the paper damp so the shapes I painted would have soft edges, I put down all the lights and middle tones. I made a point of keeping the brushstrokes quick and broad to give the portrait all the vitality of an active young girl.
Step 4. I always save the detailed work of rendering eyes until the last stage of the painting process. I rarely use masking fluid because I prefer to paint around light areas such as whiskers and loose strands of hair.
The completed painting: Chrissy, 1992, water-color, 20 X 17. Private collection.
FIVE TIPS ON BUSINESS PRACTICES
1. CONFIRM YOUR APPOINTMENTS. A few weeks in advance, confirm the portrait sitting in writing and make note of the date and time, the price, medium, and approximate size of the painting, and the deposit required. On the day before or the morning of the sitting, call again to reconfirm the appointment.
2. BE ON TIME. Frazzled nerves created by being late for a portrait sitting can interfere with concentration--both yours and the client's. Timeliness is also important in meeting a delivery deadline. If the family wants the painting completed within a time frame that doesn't work with your schedule, be up-front and tell them you can't meet the deadline. Then tell them when you will have it ready. If the painting is to be given as a gift on a date you can't meet, make up a gift certificate the client can present instead, stating that the portrait will be ready on a specific date.
3. BE FLEXIBLE BUT NOT SUBSERVIENT. Clients have every right to be pleased with the finished product, but don't compromise your integrity. If they ask for something you feel you can't or won't do, offer recommendations of other artists who may be better able to meet their requests.
4. BE OPEN TO CRITICISM. After the painting is completed, listen to any suggestions or criticism offered, even from the child. Clients may not be artists, but they'll pick up on a drawing error or missed judgment call. Many of these points can easily be corrected and then mentally filed for future reference. With every suggestion or criticism made, see the opportunity for growth.
5. LOOSEN UP! Many artists say that accepting commissioned work inhibits their spontaneity. It needn't. If the painting is going badly or the client is unhappy, loosen up and start over. Very often, all that's needed is to schedule another portrait sitting. Few clients remember the inconveniences of portrait sittings when faced with the finished painting of someone they love.
Mary Whyte graduated from the Tyler School of Art, Temple University, in Philadelphia, Pennsylvania. She has earned a national reputation as both a landscape and portrait painter in watercolor and oils, and her paintings have been included in juried shows organized by the American Watercolor Society, Allied Artists of America, and The Greenwich Workshop in Southport, Connecticut. She teaches portrait- and figure-painting workshops throughout the United States and maintains a studio on Seabrook Island, South Carolina.
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Learn To Draw Animals

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Animals are one of the most common things that you can see, regardless of where you come from. Due to this, they have been a favourite subject to be drawn by artists of all kind. This is very evident with the accumulated works throughout history that showcased various animals from all over the world coming from different periods in time. Thus, animal drawing is one of the most popular kinds of art. A Complicated Art
If you want to learn to draw animals, you should understand that this is a complicated kind of art. Remember that your subject here is a living being. In fact, the complexity of this form of art is comparable to how hard drawing a human figure is. You do not only have to depict the form of the animal but even capture its essence too. However, the problem here is that unlike people, you cannot really tell an animal to sit still forever until you finish your drawing. Thus, more imagination is needed.
Here are some of the other things that you should know in drawing animals.
Be Creative Because They Are Unique!
It is important for you to become extra creative when drawing an animal. This is because they are not the same. Each one of them is unique. Thus, you have to approach each in a different manner. This difference of approach is important in all aspects.
For instance, the way you’d approach them physically can be different. You can watch them from afar without being noticed or have a personal close-up encounter or even a one-on-one play session with them. Various ways of encountering animals can have a very obvious on the outcome of your drawing.
The way you draw an animal can be different too. They can be drawn in various ways. You can choose to depict them as cartoons. In fact they can even come out as a mere line or swirl. You can also opt for a much realistic portrait. It all depends on you.
Observe First Then Draw!
Before you can start drawing, it is imperative that you first observe your subject. It is best to see them in their natural environment. If you can’t find a live encounter then you can always opt for videos. You can also look at photos or books. As you do this, you would find that there are plenty of styles that one kind of animal could be drawn. Although it is possible to master a lot of styles, it is still best that you concentrate on one style and make this your niche.
To find your niche, gather a variety of materials. By seeing animals in their different forms, you are now being exposed to their basic shapes. If you want to know precisely the basic shapes of your chosen animal, the best way to do this is by photocopying its picture. Once you have a copy, start drawing out basic shapes which you see. Observe how its body’s outer lines manage to bring all these shapes together and form the subject.
Start Out With The Basics!
It is best that you start basic. After drawing the basic shapes, you could then build on it by the use of layers. Start adding details by shading and knowing important animal muscles that have become your subject’s trademark. Keep on practicing and you’ll be able to perfect your drawing in no time!

Learn To Draw Animals

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Animals are one of the most common things that you can see, regardless of where you come from. Due to this, they have been a favourite subject to be drawn by artists of all kind. This is very evident with the accumulated works throughout history that showcased various animals from all over the world coming from different periods in time. Thus, animal drawing is one of the most popular kinds of art.

A Complicated Art

If you want to learn to draw animals, you should understand that this is a complicated kind of art. Remember that your subject here is a living being. In fact, the complexity of this form of art is comparable to how hard drawing a human figure is. You do not only have to depict the form of the animal but even capture its essence too. However, the problem here is that unlike people, you cannot really tell an animal to sit still forever until you finish your drawing. Thus, more imagination is needed.

Here are some of the other things that you should know in drawing animals.

Be Creative Because They Are Unique!

It is important for you to become extra creative when drawing an animal. This is because they are not the same. Each one of them is unique. Thus, you have to approach each in a different manner. This difference of approach is important in all aspects.

For instance, the way you’d approach them physically can be different. You can watch them from afar without being noticed or have a personal close-up encounter or even a one-on-one play session with them. Various ways of encountering animals can have a very obvious on the outcome of your drawing.

The way you draw an animal can be different too. They can be drawn in various ways. You can choose to depict them as cartoons. In fact they can even come out as a mere line or swirl. You can also opt for a much realistic portrait. It all depends on you.

Observe First Then Draw!

Before you can start drawing, it is imperative that you first observe your subject. It is best to see them in their natural environment. If you can’t find a live encounter then you can always opt for videos. You can also look at photos or books. As you do this, you would find that there are plenty of styles that one kind of animal could be drawn. Although it is possible to master a lot of styles, it is still best that you concentrate on one style and make this your niche.

To find your niche, gather a variety of materials. By seeing animals in their different forms, you are now being exposed to their basic shapes. If you want to know precisely the basic shapes of your chosen animal, the best way to do this is by photocopying its picture. Once you have a copy, start drawing out basic shapes which you see. Observe how its body’s outer lines manage to bring all these shapes together and form the subject.

Start Out With The Basics!

It is best that you start basic. After drawing the basic shapes, you could then build on it by the use of layers. Start adding details by shading and knowing important animal muscles that have become your subject’s trademark. Keep on practicing and you’ll be able to perfect your drawing in no time!

Learn To Draw People

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Drawing human figures is considered to be the most difficult for artists to do. This is because there is no generic way of drawing it. The human figure is unique for each and every one. Hence creating a replica via pen and paper could be complex. Nevertheless, with some practice, you can still learn to draw people.

Learn Proportion

One of the most common mistakes when drawing people would be the proportion. You should take note of this when drawing. The ideal proportion would be 7 heads tall for a man figure. Here are some of the other important proportions to take note of, all of them are 2 heads long:

1. From the kneecap’s middle to the foot’s bottom

2. The femur’s head to the whole kneecap

3. The elbow’s size to the extended fingers’ tips

4. The collarbone down to the belly button

5. The chest width from each shoulder’s end.

Observation

Other than mastering the skill of proportioning, you should also learn how to observe. You can have a perfect drawing if you learn how to closely observe faces and people. Being able to observe and view correctly could be helpful in your artistic improvement in the long run.

Ask yourself questions such as: Were you able to see the correct outline of your model's eye? What is the thickness of the outline? How about the eyebrows? Is the chin’s positioning at the right place? Did draw the neckline curvier than it should be? Take a look at your drawing. Is it a real representation of what your model looks like? Did you miss something? Take a look again.

Precise observation is needed if you really want to draw people. For you to do this, take some caution when observing.

Express Emotions

For your work to be appealing, it should also express emotions just like real people do. Remember to give extra effort with your figure’s eye brows, eyes, and mouth. These are the 3 areas that you’ll be utilizing to express your character’s emotions.

For instance, if you’ll be drawing eyes, remember that the eye surface is moist and that it reflects light. To achieve this kind of effect, try to add little white dots on the black part of the eyes. Doing this would make your character more appealing and lively.

Start Out Big

The trick to drawing precise figures is that you should start out big. Try to draw the gross parts of the body first. In this way, proportion could be secured. After you’ve drawn the bigger portions of the body, this would be the good time to add the details. So, eyes and other intricate features are to be added on the later part of your work.

Be Environmental

You should also take good note of the environment that your character is in. For instance, if your figure would be beside the window, then you should take note of how light falls upon the body. The lighting would definitely make a difference, especially on the shadings of your drawing.

You should also be able to establish the environment. Is it an indoor or outdoor scene? If it’s indoor, then add some indoor furniture or accessories. If it’s outdoor then place a figure that resembles the outside world, like trees or lamp posts.

Learn To Draw The Human Figure

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The human figure is considered to be one of the most difficult subjects to draw. One of the most commonly encountered problem of aspiring artists would be drawing it in proportion. So, if you want to learn to draw the human figure in the right proportion, here are some basic steps in doing so.

Materials

What you’ll need would be paper, pencil, a good eraser, ruler, and one good dose of imagination! Once you have all these, you are ready to start drawing.

Start With The Head

One of the easiest portion to start with would be the head. Draw the head. Create an oval for the head. This is because most heads are said to be oval in shape. Place this oval at the top portion of your paper. Try not to put too much pressure with your pencil stroke just yet. Draw lightly, and consider this to be a sketch.

Get The Body Size

Use your ruler to determine the body size. Get the measurement of the rest of your subject’s body. The ideal measurement can be taken from the principle that the human head’s size is approximately 1/7 of the total body height. So, measure the height of the oval that you just drew. Compute for the height of six more oval heads, and you would get the height of your body. It is best that you put marks on your paper so that it would be easy for you to see the measurement marks.

Start Having Some Figure

Once you’ve determined the height, you can now start giving your drawing some figure. Start by drawing the hips. Generally, you can find the widest portion of the hips located halfway down of the body. Draw a basic trapezoid shape. Put the widest or the base line of your trapezoid approximately at the position where the hips and waist should be, according to your measurements. The normal space starting from the hips up to the waist would be approximately 2/3 of the head’s length.

Add The Lower Extremities And The Upper Extremities

Add more form by drawing the knees and feet. Your figure’s knees should be halfway in between the feet and hips. Obviously, the feet would be the bottom part of the body. Create 2 small circles for the knees, place 2 small ellipses for the feet.

Now draw the upper extremities of the body by adding the shoulders, arms, elbows, and hands. Generally, the elbows should fall at waist level. The shoulders should be just right below the bottom of the head on both sides. Just like with knees, you can draw small circles for the elbows. To put the shoulders, draw two more heads lightly. Place 1 on each side of the head. You can draw circles to for the shoulders below each imaginary head. For the hands, they usually fall halfway down your figure’s thighs. Create small ellipsis for the hands.

Get Connected!

Now, it’s time for you to connect the different body parts that you drew. Use ellipses so that you can connect the body part. As soon as this is done, you could start adding some shading and details. Add some clothing and some other essentials. Do not forget to get a light source so that you’d know where the shadows should be placed.