Anatomy Study

Anatomy Study
Anatomy Study
© 2011 Aptech Limited
All rights reserved.
No part of this book may be reproduced in any manner whatsoever, stored in a retrieval system or transmitted in
any form or by any means without prior permission from Aptech Limited.
All trademarks acknowledged.
APTECH LIMITED
Corporate Office:
Aptech House,
A-65, MIDC, Marol,
Andheri (East),
Mumbai - 400 093, India.
Edition: April 2011

Preface
Preface
This book throws light on the structural differences between the male and female anatomy. It brings out the
importance of anatomy in animation.
The ARENA design team has designed this course keeping in mind that motivation coupled with relevant training
and methodology can bring out the best. The team will be glad to receive your feedback, suggestions, and
recommendations for improvement of the book.
Please feel free to send your feedback to the ARENA Design team at the Head Office, Mumbai. (Feedback form is
attached at the end of the book.)
ARENA Design Team
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This page has been intentionally left blank.
Table of Contents
Table of Contents
Human Body Proportions ................................................................................................................................ 1

Importance of Anatomy in Animation................................................................................................................... 1
How Different is Drawing from Animation?.......................................................................................................... 1
About the Human Body....................................................................................................................................... 2
Parts of the Human Body.................................................................................................................................... 3
Standard Human Body Proportions..................................................................................................................... 4
Male Human Body - Front Angle......................................................................................................................... 4
Male Human Body - Side Angle.......................................................................................................................... 5
Male Human Body - Back Angle.......................................................................................................................... 6
Different Forms of the Male Figure...................................................................................................................... 7
Female Human Body........................................................................................................................................... 8
Difference between Male and Female Body Proportions.................................................................................... 9
Summary........................................................................................................................................................... 10
Exercise............................................................................................................................................................. 11
Anatomy of the Head....................................................................................................................................... 13

The Skull........................................................................................................................................................... 13
Facial Muscles................................................................................................................................................... 17
Standard Facial Proportions.............................................................................................................................. 18
Constructing the Face....................................................................................................................................... 19
Summary........................................................................................................................................................... 22
Exercise............................................................................................................................................................. 23
Structure of the Body...................................................................................................................................... 25

Neck and Shoulders.......................................................................................................................................... 25
Arms.................................................................................................................................................................. 28
Hands................................................................................................................................................................ 32
Torso.................................................................................................................................................................. 37
Legs................................................................................................................................................................... 38
Feet................................................................................................................................................................... 46
Feet Study of a Woman..................................................................................................................................... 53
Construction of the Feet.................................................................................................................................... 55
Summary........................................................................................................................................................... 57
Exercise............................................................................................................................................................. 58
Constructing the Basic Pose......................................................................................................................... 61

The Basic Stick Figure...................................................................................................................................... 61
The Basic Solids................................................................................................................................................ 67
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Anatomy Study
The Muscles...................................................................................................................................................... 76
Summary........................................................................................................................................................... 79
Exercise............................................................................................................................................................. 80
Lab ................................................................................................................................................................... 81
Hands-on........................................................................................................................................................... 81
Line of Action, Twisting and Turning along the Spine ................................................................................ 83

Line of Action..................................................................................................................................................... 83
Balance............................................................................................................................................................. 85
Rhythm.............................................................................................................................................................. 86
Turning and Twisting.......................................................................................................................................... 88
Foreshortening.................................................................................................................................................. 89
Summary........................................................................................................................................................... 90
Exercise............................................................................................................................................................. 91
Constructing Poses in Different Actions...................................................................................................... 93

Running............................................................................................................................................................. 93
Jumping............................................................................................................................................................. 95
Sitting................................................................................................................................................................ 97
Walking.............................................................................................................................................................. 99
Summary......................................................................................................................................................... 102
Exercise........................................................................................................................................................... 103
Lab.................................................................................................................................................................. 105
Hands-on......................................................................................................................................................... 105
Glossary......................................................................................................................................................... 107
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Iconography
Iconography
: System Requirements
: Note
: Important/Tip
: Quick Test Questions
: Hints for the Hands-on
: Answers to Quick Test
: Answers to Exercise
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Human Body Proportions
1 Human Body Proportions

Learning Outcomes
In this session, you will learn to -
 Describe the importance of anatomy in animation

 Differentiate between animation drawing and illustration drawing
 Explain the proportions of the male and female human body
 Differentiate between the male and female human body
The term Anatomy refers to the science of understanding the structure and built of a body. This is derived from
a Greek word, where ana means up and tome means cutting. In order to construct something, it is important
to understand it. For an artist, it consists of knowledge of the exact form, position, size, and relationship with the
various structures of the human body. Therefore, to draw an appropriate human figure, you should understand how
it is made up.
1.1 Importance of Anatomy in Animation

The human body has a complex structure that essentially comprises bones, joints, and muscles. In order to express
the outer form correctly, it is essential to have a thorough understanding of the internal structure of the body.
Comprehensive knowledge of the human anatomy enables the artist in bringing out reality in the form and expression
of the human body. It also helps strengthen the observation and visualization skills of the artist.
1.2 How Different is Drawing from Animation?

Drawings are referred to as static illustrations or hand-drawn images made on paper; whereas, animations are
the rapid display of a sequence of images that create an illusion of movement. Refer to Table 1.1 for a detailed
distinction between animation drawing and illustration drawing.
Animation Drawing Illustration Drawing

These drawings are exclusively based on the These drawings are created using models or photographs.
imagination of the artist.
The analytical and visualization skills of the artist The observation skills of the artist are put to use in this type of
are polished in this type of drawing. drawings. It develops the ability to copy a model and present
it using different techniques.
These drawings are a collective work of various These drawings are generally the work of an individual artist.
artists. They attract attention in totality. It attracts attention as an individual style.
Table 1.1: Difference between animation drawing and illustration drawing
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Anatomy Study
1.3 About the Human Body

On a macro level, scientifically or anatomically, a human body is a package of skeleton, muscles, and bones.
While drawing, it is essential to understand the appearance of each of these elements.
■ Skeleton
The skeleton or the skeletal system is the armature that defines the human body. It is made up of bones and
joints. The skeleton not only helps in keeping the body in shape but also protects the vital organs like the heart,
lungs, and brain. Refer to Figure 1.1 to view the skeleton of a male human body that depicts the spots where
bones (joints) show on the surface of the body.
Figure 1.1: Skeleton of a male human body depicting the joints on the surface of the body
■ Muscles
Muscles form about one half the weight of the body and are of various types. The skeletal muscles – muscles
attached to the bones – play an essential role while drawing. These muscles form the connective tissues and
make the body flexible enough to enable movement. The contraction and expansion of these muscles change
the external structure of the human body. Refer to Figure 1.2.
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Figure 1.2: Muscles of the human body
■ Skin
People around the world have different skin colors and textures. Skin, the biggest organ of the body, envelopes
and protects everything inside your body. It is called the miracle garment that is strong and self repairing.
1.4 Parts of the Human Body

Refer to Table 1.2 to view the parts of the human body.
Parts Description
Head The uppermost part of the body
Neck Connects the head to the trunk
Shoulders Connects the arms to the body
Hands Symmetrical and placed on either side of the body
Chest Part of the human body between the neck and the
diaphragm
Abdomen Region of the body between the thorax and the pelvis
Hips Region on either side of the body that lie below the waist and
above the thigh
Legs The lowermost part of the body
Table 1.2: Parts of the human body
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1.5 Standard Human Body Proportions

Proportion helps you understand the relative size of the parts of the figure with respect to the whole. In simple terms,
it refers to the relative size and scale of the various elements in a design. Standard proportions when used correctly
give a natural look to the figures you draw.
The average human adult body is made up of different parts that are in proportion to each other in certain predefined
ways. The proportion of the human body differs between males, females, and children. On a macro level, the ratio of
the size of the head to the size of its body is almost the same in all adults. Hence, the proportion of the human body
is generally measured in terms of the head and the unit of measurement is referred to as a head unit.
The head-body ratio of an adult is about 1:8. This implies that the whole body is eight times as long as the head.
Also, most artists draw a human body starting with the head.
1.6 Male Human Body - Front Angle

The general proportions of a male human body (front angle) are displayed in Figure 1.3. The proportion of the
human body is measured from the top of the figure using the head as the standard unit of measurement.
Figure 1.3: Proportions of the male human body (front view)
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Quick Test 1
1. The head body ratio of an adult is about 1:8. This statement indicates that the limbs
are 8 times as long as the head. (True/False)
2. Muscles form about one half the weight of the body. (True/False)
1.7 Male Human Body - Side Angle

The proportions of the male human body vary slightly when viewed from the side.
 The foot measures slightly more than one head unit.
 The human torso measures two head units.
 The body is straight from the head to the knee and bends from the knee to the feet.
Refer to Figure 1.4 to view the proportions of the male human body from the side angle.
Figure 1.4: Proportions of the male body (side angle)
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Anatomy Study
1.8 Male Human Body - Back Angle

The difference between the front and back angles of the male body are very lean. Refer to Figure 1.5.
 The lower edges of the shoulder blades are two head units down from the head.
 The shoulders are a little over two head units.
 The hips are about one and a half head units.
 The lower edges of the buttocks fall slightly below the midpoint of the male body.
 The horizontal creases at the back of the knee that divide the upper and lower legs are slightly more than
two heads up from the heel.
Figure 1.5: Proportions of the male body (back angle)
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1.9 Different Forms of the Male Figure

The proportion of a figure changes depending on its nature. An ideal male figure is eight head units in height and 2
and 2 1/3rd head units in width, where one head unit measures from the top of the skull to the tip of the chin.
While drawing any human figure you have to consider the front, side, and back views. At the same time you also
have to consider the relative width of the calves, hips, and shoulders.
On a macro level, the male figure can be categorized into four different forms. Refer to Figure 1.6 to view the
different forms of the male figure.
Figure 1.6: Different forms of the male figure
The proportion for each male form is different. Refer to Table 1.3 to view the proportions and uses of the different
forms of the male figure.
Male Form Proportion Uses

Normal  Height – 7.5 head units This proportion is mostly used in art
 Width – 2 head units schools.
Idealistic  Height – 8 head units Mostly used by artists.

 Width – 2 head units
Fashion  Height – 8.5 head units Mostly used in fashion drawings.

 Width – 21/3 to 2 head
units in width
Heroic  Height – 9 head units Mostly used in comics like superman.

 Width – 22/3 head units
Table 1.3: Proportions and uses of the different male forms
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Anatomy Study
1.10 Female Human Body

The female body is the most expressive of all anatomical types. Although the male and female body proportions are
similar, there are slight differences that should be considered while drawing the anatomy of a female body. Refer to
Figure 1.7 to view the proportions of the female body in the different views.
Figure 1.7: Proportions of the female body
As depicted in the image, the shoulders and hips of a female body measures about two head units. The elbows are
approximately three head units down from the top of the head and they are aligned with the narrowest point of the
waist. The waistline of a female body is much smaller and has a curvy shape. It is measured to one head unit. The
legs of the female are fuller and rounder. The lower leg can be drawn slightly longer than the upper part of the leg.
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1.11 Difference between Male and Female Body Proportions

There is a considerable difference in proportion while drawing the male and female forms. Refer to Table 1.4 to view
the difference between the male and female body forms based on the various body parts.
Body Parts Male Proportions Female Proportions

Head Edgy, heavy, and broad Light-built and slim
Shoulders Broad (more than two times Slim (approximately 1.5
the head width) times the head width)
Ribcage Voluminous and broad Small, slim, and triangle
shaped
Pelvis Slim Light-built and slim
Hands Large Small (approximately 0.6
times the male hand)
Feet Large Small (approximately 0.8
times the male feet)
Table 1.4: Difference between the male and female body proportions
Quick Test 2
1. The male and female body proportions are similar. Hence, while drawing, the anatomy
of the male and female remains the same. (True/False)
2. The ____________ body is said to be the most expressive of all anatomical types.
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1.12 Summary
In this session, Human Body Proportions, you learnt:
 Anatomy is the science of understanding the structure and built of a body. It is important to understand the
anatomy of the human body before you can derive at the sketch.
 Illustration drawings are static sketches that attract attention as an individual style. On the contrary, animation
drawings are a collective work of various artists that attract attention in totality.
 Skeleton, muscles, and skin are the basic composition of the human body - be it male or female. The head,
neck, shoulders, hands, chest, abdomen, hips, and legs form the parts of the human body.
 There are some standard human body proportions that need to be adhered to while drawing the sketch. The
proportions are different for a male, female, and child.
 The proportion of the human body is measured from the top of the figure to the feet. The head is the
standard unit of measurement used across all forms and views of the human body.
 On a macro level, the different forms of the male body are normal, idealistic, fashion, and heroic.
 As compared to the male body, the female body is much more delicate and very expressive. The major
differences between the male and female body lie around the chest, waistline, and legs.
 There are noticeable differences in the proportion of the male and female body parts. These differences
have to be taken into consideration while deriving at the perfect sketch.
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1.13 Exercise
1. Which of the following statement best explains the importance of anatomy in drawing?
a. Anatomy is the study of the external structure of the human body; hence it helps in expressing the outer
form correctly.
b. Understanding anatomy is essential because any contraction or expansion of the muscles of the human
body disturbs the internal structure of the human body.
c. The skeleton forms the first draft in any drawing; hence it is essential to understand the anatomy of the
human body.
d. Understanding anatomy is essential because any contraction or expansion of the muscles of the human
body affects the external structure of the human body.
2. Illustration drawings are created using _______________.

a. Models or photographs
b. The imagination of the artist
c. Various drawings of various artists
d. Macromedia Flash
3. The proportion of the human body is measured in terms of one ______ per unit.
a. Foot
b. Head
c. Palm
d. Elbow
4. The ribcage of a female body is ________________.

a. Large and broad
b. Large and triangle-shaped
c. Light-built and broad
d. Small, slim, and triangle-shaped
5. Which of the following statements is not true for the term proportion?
a. Proportion refers to the relative size and scale of the various elements in a design.
b. Proportions when used appropriately give a natural look to the figure.
c. Proportions of the human body are the same for males and females but differs for children.
d. Proportions are an essential element of any figure drawing.
Answers to Quick Test

Quick Test 1
1. False
2. True
Quick Test 2
1. False
2. Female
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Answers to Exercise
1. d
2. a
3. b
4. d
5. c
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Anatomy of the Head
2 Anatomy of the Head
Learning Outcomes
 Explain the proportion, shape, and composition of the skull
 Differentiate between the male and female skull
 Describe the placement and function of the facial muscles
 Construct a human face using the standard proportions
The human body uses numerous ways to communicate. Expressing one’s feeling and mental state is a part of
this communication. Gestures and expressions are an effective way of communication. The human body uses the
face and hands as the most effective tool for expressions and gestures. These are used individually or together
depending on what the gesture is and how effectively it needs to be communicated. In this session, you will learn
the construction of the male and female head and its features.
2.1 The Skull
■ Overview
The skull is the most complex of the entire skeletal structure. It is the foundation of the head that is formed
by the cranium and the facial bones. The human body uses the face and hands extensively for any kind of
expressions and gestures. Hence, an anatomical study of the skull and muscles is a vital component of your
figure drawing.
■ Proportions of the skull

A skull fits proportionately into the head. Understanding the proportion of the skull helps in understanding the
proportion of the human head. The proportion of the human skull is as explained in Table 2.1.
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Anatomy Study
Proportions of the Skull Image

50-50 vertical:
 The eye sockets lie halfway between
the head and the chin.
 The 50-50 vertical point of the skull
passes through the center of the
eye wells. Refer to Figure 2.1.
Figure 2.1: Image depicting the position of the eye

sockets and the 50-50 vertical of the skull
Shape of the skull:

 The depth and height of the skull is
the same. Refer to Figure 2.2.
Figure 2.2: Image depicting the proportion of the

depth and height of the skull
Composition:
 Typically, the skull is divided into the
cranial and facial mass.
 The facial mass covers 1/3 of the
total head and the cranial mass
covers the remaining 2/3.
 Refer to Figure 2.3, where A
represents the cranial mass and B
represents the facial mass.
Figure 2.3: Image depicting the bifurcation of the
cranial and facial mass
Table 2.1: Proportions of the skull
■ Bones of the skull

The various bones that form the skull are shown in Figure 2.4.
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Anatomy of the Head
Figure 2.4: Bones of the skull
Refer to Table 2.2 to view a description of each bone of the skull.
Bones of the Skull Location

Frontal bone The forehead structure that terminates at the brow.
Temporal ridge The ridge that runs along the outer side of the upper
skull. It forms a square shape of the upper head.
Parietal bone The bone along the side of the head that forms a
smooth curved surface.
Nasion The point where the front of the head meets the
nasal bone.
Supraorbital margin The ridge above the eyes.
Nasal bone The small bone at the top of the nose.
Orbital cavity The eye well.
Infraorbital margin The lower eye ridge and the upper portion of the
cheek.
Zygomatic bone The cheek bone that lies under the Infraorbital
margin.
Maxilla The upper jawbone that lies under the nose.
Mandible The bone that forms the lower jaw.
Mental protuberance The tip of the jaw bone, commonly known as the
chin.
Table 2.2: Bones of the skull
2.1.1 Difference between the Male and Female Skull

So far you have seen the proportion of a typical human skull. The proportion varies for both - the male and female
skull. It is essential to understand these differences before you draw. Refer to Figure 2.5 to view the most basic
differences between the male and female skull.
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Anatomy Study
Figure 2.5: Difference between the male and female skull
Refer to Table 2.3 for a detailed differentiation of the male and female skull.
Male Parts of the Skull Female

It is massive, and deep. Cranial Mass It is more round as compared
to males and also tapers at the
top.
It is round and appears dull. Supraorbital margin It is sharper.
It is well-defined or prominent on the Zygomatic bone It is less pronounced.
male skull.
It is square-shaped. Mandible It is round-shaped.
It is large and distinct. Supercilary arch It is smaller and less pronounced
as compared to males.
Table 2.3: Distinction between the male and female skull
Quick Test 1
1. Understanding the proportion of the skull, helps in understanding the proportion of the
_____.
2. The depth of the human skull is much more than its height. (True/False)
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Anatomy of the Head
2.2 Facial Muscles

The anatomy of the muscles is related to the facial expressions. Movements of the muscles change the appearance of
an individual. Hence, it is essential to understand the arrangement of the muscles to derive at the perfect sketch.
As an artist, it is important to be familiar with the position, attachment, and function of the muscles rather than its
name.
Some muscles are attached directly to the bones at both the ends; whereas, some others are attached to the bones
at one end and other bands of muscles at the other.
Muscles that are directly attached to the bones perform the function of moving the bony structure; whereas, muscles
that are connected to another band of muscles at one end perform the function of moving the flesh.
For example, the most important muscle of the head is the muscle that closes the jaw. It is placed just below and in
front of the ear. The jaw is also attached to a muscle that spreads out over the sides of the cranium.
The human face comprises approximately 26 muscles. Out of the 26 muscles, ten muscles are responsible for
the expressions. Hence, before you can start drawing, it is essential to identify the ten muscles that contribute in
deriving at the desired expressions. Refer to Figure 2.6.
Figure 2.6: Muscles of the face
Each of the muscles have a specific role to perform. Refer to Table 2.4 to view the actions performed by the muscles
of the face.
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Anatomy Study
Sr. No. Name of the Muscle Action Performed

1 Masseter - The clenching muscle  Acts to raise the jaw and clenches the
teeth.
 Associated with angry and aggressive
states, like fear and yawn.
2 Orbicularis oculi - The squinting  Encircles the eyes when it is closed,
muscle winking, or tired.
 Associated with closing the eyelids, and
compressing the eye opening.
3 Corrugator - The frown muscle  Compresses the skin between the
eyebrows.
 Associated with frown, concern, and
concentration.
4 Frontalis - The brow lifting muscle  Draws the scalp down, and depicts wrinkles
on two sides.
 Associated with fear and smile.
5 Levator labii superioris - The sneering  Raises the upper lip beneath the nostrils.
muscle  Associated with disgust and disdain.
6 Zygomaticus major - The smiling  Raises the mouth upward and outward.
muscle  Associated with smiling and laughing.
7 Risorius - The lower lip stretching  Draws the lower lip down and the neck
muscle muscle outward.
 Associated with crying and a state of shock
(terrified).
8 Triangularis - The facial shrug  Pulls the corner of the mouth downward.
muscle  Associated with sadness, crying, and a
feeling of unhappiness (miserable).
9 Depressor - The lower lip curl  Pulls the lower lip down and out, around
muscle the lips.
 Associated with expressing surprise.
10 Mentalis - The pouting muscle  Raises and tightens the chin.
 Associated with sadness and fear.
11 Orbicularis oris - The lip tightener  Compresses and purses the lips.
muscle  Associated with disdain and repulsion.
Table 2.4: Facial muscles and their actions
2.3 Standard Facial Proportions

Although the proportion of each face varies, there are some standards that need to be adhered to while drawing
any face.
Following are a list of proportions that will give a fair idea of the ideal facial proportions. Refer to Figure 2.7 to view
the standard proportions of the face.
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Anatomy of the Head
 The eyes are halfway between the top of the head and the chin.
 The nose line is exactly distant from the eye line by two eye units.
 The nose width is exactly one eye unit wide.
 The mouth line is distant; one eye unit from the nose line.
 The top of the ears line up above the eyes, on the eyebrows.
 The bottom of the ears line up with the bottom of the nose.
Figure 2.7: Image depicting the standard facial proportions of the face
Quick Test 2
1. The __________ is the lower lip stretching muscle.

2. All muscles are attached to the bones at both ends. (True/False)
2.4 Constructing the Face

So far you have learnt about the features and proportions of the face. You will now learn how to construct a face
using the standard proportions.
 Begin by drawing an oval shape and a neck below it. Draw a horizontal line in the middle of the oval. Refer
to Figure 2.8.
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Anatomy Study
Figure 2.8: Constructing the face - Step 1

 Bearing in mind the standard proportions, you will now move on to drawing the features of the face. To do
so, divide the horizontal line into five equal parts. Then, mark the nose line, it should be exactly two eye
units distant from the eye line. Refer to Figure 2.9.

 Now define the width of the nose; it should be exactly one eye unit wide. Refer to Figure 2.10.

 After the nose, mark the mouth line, which is one eye unit distant from the nose line and has a width of two
eye units. Refer to Figure 2.11.
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Anatomy of the Head

 Next, you will mark the position of the ears. The ears are approximately two eye units long. The top of the
ears line up above the eyes, on the eyebrows, and the bottom of the ears line up with the bottom of the
nose. Refer to Figure 2.12.

 After defining the proportions, start drawing the appropriate shapes as shown in Figure 2.13. You can also
sketch some hair to make your sketch look complete.
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Anatomy Study
2.5 Summary
In this session, Anatomy of the Head, you learnt:
 The skull is the most complex of the entire skeletal structure.
 On a macro level, the skull is square shaped and is made up of the cranial and facial masses.
 The proportion of a typical human skull varies for both - the male and the female.
 The anatomy of the muscles of the face is related to the facial expressions. A thorough knowledge of the
position, attachment, and function of the muscles is essential as the movement of the muscles can change
the appearance of the individual.
 Every individual has different features. Hence, before deriving at the basic sketch of the face it is essential
to understand and put the proportions to use.
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Anatomy of the Head
2.6 Exercise
1. Which of the following statements are TRUE?
a. The cranial mass is the most detailed part of the skull that comprises 2/3rd of the total skull mass.
b. The ridge above the eyes is referred to as the parietal bone.
c. In the female skull the mandible is round and the zygomatic bone is very distinct.
d. Scientifically, the chin is referred to as the mental protuberance.
2. The ____________ raises and tightens the skin.

a. Mentalis
b. Risorius
c. Depressor
d. Corrugator
3. In the standard facial proportions, the bottom of the ears ____________________.

a. Line up with the mouth line
b. Is exactly one unit away from the nose
c. Line up with the bottom of the nose
d. Line up with the top of the nose
4. The nose line is placed exactly ________ eye units distant from the eye line.
a. Two
b. Three
c. One
d. Four
5. The human face comprises approximately 20 muscles.

a. True
b. False

Quick Test 1
1. Head
2. False
Quick Test 2
1. Risorius
2. False
Answers to Exercise
1. c, d
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2. a
3. c
4. a
5. b
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Structure of the Body
3 Structure of the Body
Learning Outcomes
 Explain the proportion, shape, and composition of the male and female body
 Differentiate between the male and female body proportions
The skeleton is the armature that defines the structure of the human body. Externally, the structure of the human
body comprises the neck and shoulders, arms, hands, torso, legs, and feet.
3.1 Neck and Shoulders

You will now focus on the structure of the neck and shoulders of the human body. Like any other body part, before
you can start drawing, it is essential to pay detailed attention to the muscles and bones that define the shape of the
neck and shoulder.
■ Shape of the neck

The neck is cylindrical in form and tapers slightly from its base up. The neck connects the head to other
structures of the human body.
■ Associated muscles
The sterno mastoid is the muscle that gives the neck its shape. It follows the movement of the neck. One end
of this muscle begins from behind the neck and the other end is attached to the middle (pit) of the neck. Refer
to Figure 3.1.
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Anatomy Study
Figure 3.1: Diagrammatic representation of the neck
■ Formation of the shoulder

The shape of the shoulder is defined by the clavicle or the collar bone (refer to the yellow highlight in Figure
3.1) and the scapula or the shoulder bone. The clavicle is elongated and gently curved. One end of this bone is
attached to the sternum (breast bone) and the other end is attached to the acromion. The acromion is a knob
of bone that extends from the upper part of the scapula. The scapula consists of a thin triangular plate of bone
that is held loosely against the back of the ribcage. Refer to Figure 3.2.
Figure 3.2: Bones forming the shoulder
■ Muscles of the shoulder

Deltoids or shoulder muscles (refer to the purple highlight in Figure 3.1) give the shoulder its distinctive contour.
Deltoids are large muscles. One end of this muscle connects to the clavicle (collar bone) and the other end
extends down the arm and connects to the humerus. Deltoids are mainly associated with the movement of the
upper arm, like lifting, rotating, and swinging. Trapezius (refer to the orange highlight in Figure 3.1) is another
large muscle that lie on the upper back and the back of the neck. It is mainly associated with the movement of
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the head and neck and the rotation of the scapula. Refer to Figure 3.3.
Figure 3.3: Muscles of the shoulder
■ Drawing the neck and shoulder

In the entire human body structure, the neck is probably the most easiest to draw. The neck is cylindrical in
shape. It usually aligns with the outside of the eyes. The length of the neck varies depending on the character
to be drawn.
While drawing the shoulder, the first step is to establish the land marks. Draw the central line that passes
through the sternum, in turn positioning the arm and triangle of the clavicle. Refer to Figures 3.4 and 3.5 to view
the step-by-step procedure to draw the shoulder.
Figure 3.4: Drawing shoulder in proportions
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Anatomy Study
In the second and the third steps, establish the planes and areas of light.
Figure 3.5: Final drawing of the shoulder
3.2 Arms
The arm is made up of the upper arm and the forearm (lower arm). The upper arm is the part between the shoulder
and the elbow; whereas, the forearm is essentially the part between the midpoint of the elbow to the wrist. The wrist
is connected to the hand.
Note
Typically, the term arm, refers to the part between the shoulders and the elbow. The
part between the elbow and the wrist is referred to as the forearm. However, when
referring to the arm, it refers to the entire arm, starting from the shoulders to the
wrist.
■ Bones of the arm

On a whole, the arm is made up of three large bones – the humerus, the radius, and the ulna. The upper arm
comprises the humerus; whereas, the forearm comprises the radius and the ulna.
The humerus is the primary bone. It is cylindrical and slightly curved. The spherical shape of the bone fits into
the cup-shaped cavity of the shoulder blade.
The arm has its base in the shoulder griddle and is placed in a ball and socket joint. It is covered with a
lubricating capsule and is held together by strong braces of membranes and ligaments. These ligaments give
the arms a great freedom of movement.
The portion of the arm that faces the shoulder is round. It is enlarged to form the head and joins the shoulder
blade. Refer to Figure 3.6.
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Figure 3.6: Bones of the arms
■ Muscles of the arm

The arm, comprises three main muscle groups namely, the biceps, the triceps, and the flexors. Refer to Figure
3.7 to view the basic muscle groups (male arm). The female arms are much thinner and the muscle groups are
not very prominent.
Figure 3.7: Muscles of the arm
Each muscle group performs a specific function. Refer to Table 3.1 for the description and function of the basic
muscle groups of the arm.
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Biceps Triceps Flexors

This group of muscles is two- This group of muscles is three-
headed. headed.
One end of the biceps connect The triceps also connect the deltoid This group of muscles lies on
under the deltoid and the other and the elbow. the outside and inside of the
end connects under the elbow. lower arm.
These muscles curl the arm and These muscles straighten the arm The forearm flexors curl the
let the wrist downward. and twist the wrist upward. palm downward and forward
and the forearm extensors
curl the knuckles back and
up.
Table 3.1: Muscles of the arm
■ Drawing the arm

Like any other body part, while drawing the arms ensure that they are in proportion with the other parts of the
body. The structure of the arms will also depend on the physique of the character that is drawn. For example,
while drawing the female arms, the muscular shape of the arms should be reduced for a more slender and
feminine look. While drawing the arms, it is best to use the wire frame as the starting point. Before you can move
on to drawing arms, here are some points that will help you determine the proper length of the arms:
 The length of the upper arm should not be longer than the distance between the top joint and the waist area
where the elbow is located.
 The lower arm starts from the elbow and ends at the groin area.
Refer to Figures 3.8, 3.9, and 3.10 to view the step-by-step procedure to sketch the arm.
Begin by drawing the wireframe. Refer to Figure 3.8.
Figure 3.8: Wireframe
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Add the basic shape of the arm by drawing cylinders around the wireframe. Refer to Figure 3.9.
Figure 3.9: Image depicting the basic shape of the arm
Finalize the shape of the arm by fleshing out the details. Utmost care should be taken while drawing the shape of
the muscles. Refer to Figure 3.10.
Figure 3.10: Completed sketch of the arm
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Quick Test 1
1. The ____________ defines the armature of the human body.

2. Deltoids are large muscles that give the collar bone its shape. (True/False)
3. The humerus, radius, and ulna are bones of the thigh. (True/False)
3.3 Hands
The anatomical study of the hand involves a detailed study of each part that comprises it along with its mechanics.
The hand is the most flexible part of the human body. It can be flexed, rotated, and can also fit around or grasp
almost any shape. Each part of the hand has a different proportion.
Some of the significant measurements and mechanics of the palm are as follows:
 The fingers are in proportion to the hand.
 The space between the joints of the fingers is in definite proportion to the whole finger.
 The width of the palm is larger as compared to its length.
 The distance between the knuckles of the fingers at the backside are longer than those between the
creases on the underside.
 The length of the longest finger from the tip to the third knuckle in the back is half the length from the tip of
the finger to the wrist.
 The length of the thumb is almost close to the second joint of the first finger.
 The length of the hand is equal to the length of the face from the chin to the hairline.
 The palm is hollow in the center. It opens and closes. The fingers fold inward toward the middle of the
palm.
 The nails are a stiff backing for the tips of the fingers. They also provide an extra edge for precise
grasping.
■ Bones and tendons of the hand:

The hands are primarily made of bones, tendons, and padding that protect the hand. The thumb flexor and the
little finger flexor are the two muscles of your hand. Before you can begin drawing the tendons of the hand, it
is essential to understand the arrangement and appearance of the major bones and muscles of the hand. The
bones that form your hand can be broken into three groups, namely:
 Carpal bones
 Metacarpal bones and
 Phalanges
Refer to Figure 3.11 to view the bones of the hand.
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Figure 3.11: Bones of the hand
Refer to Table 3.2 to view the description of the bones of the hand.
Name of the Bone Description

Carpal bones The Carpals:
 Form the wrist and base of your hand
 Are a small group of tightly bound bones attached
to the wrist
 Have an elliptical shape and are compressed
vertically
Metacarpal bones Metacarpals:
 Run beneath the palm
 Are a group of five elongated bones that form the
body of the hand
 Have one end attached to the carpus, which is not
mobile. The other end (distal parts) form joints with
the phalanges and are very mobile
Phalanges Phalanges:
 Are long bones connected to the metacarpus
 Exist for every metacarpal bone with an exception
for the thumb. For example, for every metacarpal
bone there are three phalanges
Table 3.2: Description of the bones of the hand
■ Proportion of the hands and fingers

Now that you are aware of the basic construction of the hand, you will move on to understand the proportions
of the hand. There are hardly any muscles in the hand. It mainly comprises bones and tendons. Refer to Figure
3.12 to view a diagrammatic representation of the skeleton of the hand.
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Anatomy Study
Note
The tendons allow the muscles of the forearm to move the fingers. The palm
comprises two muscles - the thumb flexor and little finger flexor. The rest of the palm
is just bone, tendon, and padding to protect the joints.
Figure 3.12: Diagrammatic representation of the skeleton of the hand
As depicted in the image, out of the five metacarpals, the four metacarpals associated with the fingers form the
palm or the body of the hand and the fifth metacarpal forms the root of the thumb.
The length of the thumb bone is shorter than the length of the metacarpal bones of the fingers. The thumb bone
is generally half the length of the first metacarpal bone.
The length of the phalange of the thumb is the same as the length of the phalange of the fingers and reaches
the tip of the finger metacarpal bones.
Moving on to the fingers, the overall length of the first two phalanges of the fingers is exactly the same length
as the corresponding metacarpal bone.
Once you have drawn the two phalanges for each finger, the last step is to draw the smaller phalanges that
form the tip of the fingers. For each finger, the smaller phalanges are shorter than the second phalange. For the
middle finger, the third phalange is longer than the other fingers.
Following are some points to be noted before you can begin drawing the arms:
 Length of the hand equals the length of the face
 Length of the palm is the same length as the distance from the knuckles to the top of the middle finger
 Tip of the little finger lines up with the first knuckle of the ring finger
 Ring finger should be slightly shorter than the middle finger
 Fingers have three small bones; whereas, the thumb has two bones
 Knuckles connect the bones. The thumb and fingers are slightly wider at each knuckle
Refer to Figure 3.13 for a geometric model of the hand.
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Figure 3.13: Geometric model of the hand
■ Steps to draw hands

On a macro level, the hand can be drawn using the following four steps. For making drawing easy, begin by
drawing the bones, followed by the plump, and flesh. Finally, throw light on the details to give the hands a
realistic look.
Step 1:
Bones act as a foundation for the hands. Begin by

forming the structure of the bones of the hand.
Use the following shapes to complete the basic
drawing of the hand:
 Square – to represent the palm
 Circles – to represent the knuckles
 Lines – to represent fingers
Connect the knuckles with the lines and extend it
to the bottom center of the square. Refer to Figure
3.14.
Figure 3.14: Basic shapes to form the foundation

of the hand
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Step 2:
Once you have the skeletal structure in place, define

the plump areas. The palm has three plump areas,
which are as follows:
 The area at the end of the thumb
 The side of the palm directly across from the
thumb, and
 The base of the fingers
After identifying the plump areas, define the space
between each finger by drawing a small U. Refer to
Figure 3.15.
Figure 3.15: Plump areas
Step 3:
Trace around the edge of your drawing to get the

flesh of the hand. Refer to Figure 3.16.
Figure 3.16: Defining the flesh of the hand

Step 4:
Finally, add details to your hands. Begin with the

crease lines, where the plump areas meet. Throw
light on the veins and tendons that connect to the
knuckles. Also, include tendon lines in the center of
the wrist. Refer to Figure 3.17.
Figure 3.17: The complete hand
Note
The basic skeleton of the hand remains the same, regardless of the position and
angle of the hand that you are drawing. However, the position of the palm affects
the length of the fingers and the shape of the palm. Another important thing to be
considered is that the shape of the palm is not always square. It could be rectangular
or trapezoidal. In addition, fingers are rarely straight. They tend to bend inward when
relaxed, and bend rigidly when tensed.
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3.4 Torso
The torso (chest) forms a major part of the human body. An impressive torso adds depth to any drawing. Although
the male and female torso is different in its structure, the basic composition remains the same.
The torso:
 Has a bony structure called the ribs
 Consists of cartilages and bones
 Is formed by the spinal cord at the back and the sternum (breast bone) in the front
The ribcage extends to meet at the breast bone. Refer to Figure 3.18.
Figure 3.18: Lateral and side view of the ribs
So far you have learnt about the bones of the torso. Now you will learn about the muscles that form the torso. The
torso comprises the pectoral and abdominal muscles.
 The pectorals resemble a pentagonal shape and are placed across the chest.
 The abdominal muscles, as the name suggests, are placed in the abdominal region. They are smaller
muscles that are stacked vertically. They are commonly referred to as a six pack.
The structure of the torso depends on the type of the body. The three basic body types are as follows:
 Ectomorphic - Bodies that are thin structured, muscular, and full of veins
 Mesomorphic - Bodies with balanced proportions of fats and muscles
 Endomorphic - Bodies that are heavier with excessive fats
Like any other body part, the shape of the torso varies for both – males and females.
Points to be noted while drawing a male torso:

 Men have broader chests that are wider than their hips.
 The body of a male can be related to the shape of a triangle, where the narrow end of the triangle resembles
the waist.
 Adding little thickness to the waist from the sides gives the figure a realistic feel.
 While drawing a male with a thin body, details of the pectorals, abdominal muscles, and separations of the
chest can be emphasized by drawing a line to emphasize the centre of the chest and pecs.
Points to be noted while drawing the female torso:
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Anatomy Study
 The size of the chest and hips are the same in females.
 The female body shape can be related to the shape of an hourglass.
 Ensure that the upper torso is not too narrow.
 The breasts should not be drawn as complete circles. They are attached to the shoulder muscles. The
breasts are neither too close, nor too far from each other.
 The breasts should be positioned in a downward direction from the centre of the chest. It should neither be
too high nor too low.
Tip
The torso can be made to look muscular by adding lines at specific regions. Straight
lines can be used to depict tensed up and leaner muscles; whereas, curved lines can
be used to depict bulkier and massive muscles, especially around the chest and pecs.
Lines can also be drawn around the ribs to make the body appear more muscular.
■ Drawing the male torso

 Taking the triangle as the base, draw the waist at the tip of the triangle. For a male with a slim built, add a
line to emphasize the pecks, middle of the chest, and stomach.
 For a male with an average built, add some more details to make the torso appear more bigger and less
curvy. Also throw light on the ribcage.
 Adding lines also gives a muscular feel to the male torso.
3.5 Legs
Legs are the weight bearing and locomotive structure, usually having a columnar shape. In human anatomical
terms, the leg is the part of the lower limb that lies between the knee and the ankle. The thigh lies between the hip
and the knee and is termed as the lower limb. Legs are used for standing, walking, jumping, running, kicking, and
similar activities, and constitute a significant portion of a person’s mass.
The femur is the largest bone in the body. It lies in the centre of the side of the pelvis. The femur rests on the tibia.
On the outside of the tibia is the fibia that is lower on the foot. The tibia rests on the astragalus and the oscalsis. The
patella (knee cap) is above the level of the joint.
Muscles that form the front of the upper leg are:

 Rectus femoris
 Abductors
 Vastus internus
 Vastus externus
Muscles that form the back of the upper leg are:

 Semi tendinosus
 Semi membranosus
 Bicep femoris
Muscles that form the front of the lower leg are:
 Tibialis anticus
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 Peroneus longus
 Extensor digitorium longus
■ Thigh
The femur or the thighbone is the strongest and longest bone of the human body. It is joined to the pelvis at
the hip socket by a long neck. At the knee, the femur rests the tibia - the main bone of the leg - which makes a
hinge joint. The fibula is the second bone of the leg. It descends to form the outer leg and is attached to the tibia
at the top and the bottom. Above the juncture of the femur and tibia lies the patella. It is triangular in shape and
appears convex on the surface and flat on the underside. The structure of the thigh is usually inclined inward
from the hip to the knee and is slightly beveled toward the knee from outside, back, and front. Refer to Figure
3.19.
Figure 3.19: Bones of the thigh

Numerous long powerful muscles run along the length of the thigh. These can be divided into three parts:
 The muscles in the front of the thigh extend the leg at the knee.
 The muscles at the back of the thigh, flex the leg.
 The muscles at the inner thigh, helps draw the leg inwards, towards the opposite leg.
 The main flexors of the thigh are called the hamstrings. Refer to Figures 3.20 and 3.21 to take a look at the
muscles of thigh.
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Figure 3.20: Muscles of the thigh
Figure 3.21: Diagrammatic view of the muscles of the thigh
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he hips and buttocks are square and overhang the pillars of the thighs from the back. The thigh is rounded in
T
the half way down to the knee and becomes square just below the knee. The ankle is square. The calf of the
leg is triangular in shape. Refer to Figures 3.22 and 3.23.
Figure 3.22: Back view of the thigh
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Figure 3.23: Back view of the thigh and leg
■ Knee
he knee is square-shaped with the sides beveled forward, slightly hollowed at the back, and with the kneecap
T
in the front. The cap is always at the apex of the angle made by thigh and leg. The knee has a water mattress or
the bursa bulges, on either side of the corner between the cap and its tendon. The kneecap is placed above the
level of joint. The back of the knee, when bent is hollowed by the hamstring tendons on either side. The knee
as a whole is bent convex toward the fellow; the knee, the ankle, and the hip socket are in a line. However, the
shaft of the thighbone is carried some distance by a long neck, so that the thigh is set at an angle with the leg.
Refer to Figures 3.24 and 3.25.
Figure 3.24: Muscle and bone structure of the knee
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Figure 3.25: Front view of the knee
■ Lower leg of a man

he skeleton of the lower leg consists of two bones running parallel to each other, the tibia and the fibula. The
T
tibia is the stronger of the two bones and carries the weight of the body. The fibula serves as an anchor point
for the muscles. Refer to Figure 3.26.
Figure 3.26: Bones of the lower leg
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uscles of the lower leg act upon the ankle joint and on the joints within the foot. At the back of the lower leg,
M
the calf muscles tilt the foot at the ankle so that it points downward. Muscles at the front of the lower leg tilt at
the foot at the ankle so that the toes point upwards. Additional muscles tilt the foot to the sides. Refer to Figure
3.27.
Figure 3.27: Muscles of the lower leg
■ Female leg study

Muscular details are reduced in the female form, especially on the legs. The legs are modified cylinders of
approximately equal length. They are attached to the lower torso with a ball and socket joint for rotation. The
cylinders of each leg are hinged that help in bending in opposite direction of the arms.
While drawing the female legs, ensure that the shape of the legs are affected by the body type and the age. The
female body is usually slender and slim. When you draw the legs, you need to take care that they are connected
to the lower part of the torso. You also need to try and visualize the structures beneath the skin.
1. Fix the feet firmly on the ground with few primary lines. Draw strong lines down the legs as shown in Figure
3.28. Observe the direction of the light when adding shading in various angles.
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Figure 3.28: Drawing proportion lines for the female leg
2. In the final stage, complete the figure by building up the form of the muscle groups and strengthen some
lines if necessary. Refer to Figure 3.29.
Figure 3.29: Drawing the female leg
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Quick Test 2
1. Carpals, metacarpals, and ____________ form the group of bones of the hand.
2. The phalanges are directly attached to the carpals. (True/False)
3. The abdominal muscles are commonly referred to as _________________.
4. _____________ are the main flexors of the thigh.
3.6 Feet
The tibia and the fibula extend from the knee to the anklet. The lower end of these bones form the inner and outer
ankle joints that become the articulating joint of the foot. The feet are arch-shaped and are supported either by a
large toe or the heel, the heel being on the outside of the feet. The bones of the foot are wedged together and are
bounded by ligaments there by giving resistance, solidity, and elasticity.
The foot keeps itself on the ground and the arches of the foot changes constantly. During any action, the foot almost
comes in straight line with the leg and while settling on the ground, the outer or the heel strikes first and then the
whole foot settles inside. Refer to Figure 3.30.
Figure 3.30: Proportion of objects
Movements of the foot are produced by the muscles of the lower leg, which transmit their forces along long tendons,
and by muscles located within the foot itself. The main movements of the foot consist of bending and straightening
of the toes. The complex muscles of the sole of the foot are associated with the movement of the toes. Refer to
Figure 3.31.
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Figure 3.31: Muscle structure of feet
■ Drawing feet in proportions

Follow the given steps to draw the proportions of the foot. Refer to Figures 3.32 to 3.36.
1. Draw vertical lines to dissect the foot on the length. The vertical lines give a clear indication of the height
changes in the foot.
2. Draw horizontal lines to indicate the angle of the feet. The slanted lines indicate the overall slant in the
foot.
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Figure 3.32: Drawing foot in proportions using vertical lines

3. Define the curves to indicate the angles at the joints.
Figure 3.33: Outlining the foot using proportions
■ Drawing the foot

Feet can be sometimes difficult to draw. Use the following steps to draw the foot using symmetry and proportion
lines.
1. Draw the proportions and symmetry lines to determine the angle and position of the foot. Draw the basic
shape of the foot with simple lines. Indicate the position of the toe joints.
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Figure 3.34: Drawing outline of the foot
2. Develop the tonal areas of the foot. Draw the foot in planes if necessary. Use shading to indicate the bones
and tendons of the foot behind the toes.
Figure 3.35: Adding shading to the foot
3. Refine the drawing with smooth shading and indicate the nails. Finish the drawing with final rendering of
joints with the help of shading.
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Figure 3.36: Final drawing of the foot
■ Angle selection of the feet

Given below are the drawings of the foot in different angles and poses. Refer to Figures 3.37, 3.38, and 3.39.
Figure 3.37: Front view of the foot
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Figure 3.38: Side view of the foot
Figure 3.39: Foot in different angles
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Refer to Figures 3.40 and 3.41 to view the feet in different angles.
Figure 3.40: Foot in different views
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Figure 3.41: View of the toes
3.7 Feet Study of a Woman

The basic skeleton and muscle structure of the female leg is same as that of the male. The proportions and
symmetry is also the same. However, the thighs and legs are made longer and more slender to get the perfect look
for a female body. When the legs are together, they should touch at the thigh, knee, and ankle. This necessarily
need not apply for the male legs. The knee is smaller. The leg is longer from the knee down with small ankles. The
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female legs have a less muscular appearance unless they are exercised. The legs are fuller and rounder.
■ Proportion of the Leg

Refer to Figure 3.42 to clearly understand the proportions of a female leg.
1. The thighs are two heads in height from the pelvis to the knees.
2. The lower leg is two heads in height from the feet to the knees.
3. The maximum width of the calves when put together is one head.
Figure 3.42: Feet study of a woman

■ Maintaining the Delicacy of Feet
Refer to Figure 3.43.
Figure 3.43: Maintaining delicacy of feet
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3.8 Construction of the Feet

A cone, wedge, sphere, and a cylinder represent the feet. The cone continues to truncate at the ankle. The sphere
is the ball at the foot; the wedge represents the forefoot or arch of the foot, and the circles represent the toes.
■ Drawing the feet at rest
Sometimes it could be difficult to draw the feet. So, it is best to begin drawing the feet with some exploratory
lines.
1. Draw the basic shape of the foot with straight lines that indicate the ankle joints and curved lines to mark
the position of the toe joints. Refer to Figure 3.44.
Figure 3.44: Drawing feet in planes using proportions
2. Draw smooth flowing lines (indicates the female foot) and render the tonal areas. Give strokes and lining
that gives the toe a realistic look. Refer to Figure 3.45.
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Figure 3.45: Adding detail to the drawing
3. Strengthen the lines and add surface details. Use shading to add the texture of the skin and folds. Refer to
Figure 3.46.
Figure 3.46: Final drawing of feet
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3.9 Summary
In this session, Structure of the Body, you learnt:
 The skeleton forms the armature of the human body.
 The neck is cylindrical in shape and connects the head to the shoulder.
 The collar bone and the shoulder bone defines the shape of the shoulders. Deltoids play an important role
in defining the contours of the shoulders.
 Deltoids are associated with the movement of the upper arm; whereas, trapezius is associated with the
movement of the head and neck and the rotation of the scapula.
 The arm comprises the upper arm and forearm. The humerus, radius, and ulna are the major bones of the
arm.
 Biceps, triceps, and flexors are the main muscles groups of the arm. Each muscle group performs a specific
function.
 The hand is the most flexible part of the human body. Each and every part of the hand has a different
proportion.
 The torso has a bony structure called the ribs. It consists of cartilages and bones. The shape of the torso is
different for all body types. It also differs for males and females.
 The muscles of the thigh help in extension, and flexion. The muscles of the inner thigh, help draw the leg
inward toward the other leg.
 The knee is square-shaped with the sides beveled forward. The back of the knee when bent, is hollowed.
 The muscles of the lower leg perform the functions of tilting the foot and moving the toes upward or
downward.
 Above all, the prime aspect to be considered is the difference between the male and female body forms.
Although the basic structure of the body parts are the same, there is noticeable difference between the two
forms.
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3.10 Exercise
1. The neck __________________.
a. Aligns with the ears
b. Aligns with the outside of the nose
c. Aligns with the outside of the eyes
d. Aligns with the outside of the ears
2. The lower arm starts at the ___________ and ends at the ___________.
a. Shoulder, groin
b. Ribs, hips
c. Elbow, groin
d. Shoulder, wrist
3. The fibula carries the weight of the body and the tibia acts as an anchor point for the muscles.
a. True
b. False
4. The shape of the female leg depends on the body type and __________.
a. Age
b. Weight
c. Complexion
d. Height
5. Bending and straightening of toes are the main movements of the _____________.
a. Calves
b. Foot
c. Thighs
d. Hips

Quick Test 1
1. Skeleton
2. False
3. False
Quick Test 2
1. Phalanges
2. False
3. Six packs
4. Hamstrings
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Answers to Exercise
1. c
2. c
3. b
4. a
5. b
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Constructing the Basic Pose
4 Constructing the Basic Pose
Learning Outcomes
 Explain the importance of stick figures in figure drawings

 Construct stick figures
 Construct stick figures in the three-quarter view and side view
Stick figures are the most simple and traditional drawing approach. When it comes to drawing, it is considered to
be the most reliable method.
4.1 The Basic Stick Figure

Stick figures act as a blueprint to figure drawings. These figures:
 Simplify the human bone structure
 Help set the figure in the desired pose in a shorter span of time
 Help in establishing the correct size proportions
Before drawing any figure, it is essential to have a thorough knowledge of the human body proportions. Stick figures
help represent these elements. Before you can begin drawing any stick figure, it is essential to set and adhere to
the guidelines based on the 8-head proportions concept.
Note
Although human proportions are based on the 7 1/2 head count, it is easier and
aesthetically pleasing to draw human figures using the 8 head count.
You will now learn how to construct a basic stick figure. Begin by drawing a vertical line and a halfway division mark
at the centre of the page. Once done, draw four lines on either sides of the halfway division. Label the lines from 1
through 9. Refer to Figures 4.1 and 4.2.
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Figure 4.1: Vertical line in the centre of Figure 4.2: Lines labeled 1 through 9
the page
You will now move on to defining the length of the neck. To do so, divide the second quarter section horizontally
into thirds as shown in Figure 4.3.
Figure 4.3: Division of the second quarter section to define the neck
Now that you have got the proportions in place, begin drawing the upper section of the stick figure. Draw an oval to
represent the head, followed by a short line for the neck. The line for the neck should be drawn between line 2 and
the first one-third line. After drawing the neck, draw a horizontal line that represents the shoulder. This line should be
positioned at the first one-third line of the second quarter and the length should measure approximately one head.
Refer to Figures 4.4, 4.5, and 4.6.
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Figure 4.4: Construction of the Figure 4.5: Line drawn to depict Figure 4.6: Shoulder line
oval to represent the head the neck placed below the neck
For the upper arms, draw vertical lines on both sides, starting from the shoulder line and extending till line 4.
Complete the arms by attaching a slightly diagonal line that angles away from the body. These lines should extend
from the bottom of the upper arm slightly below the halfway mark of the body length at line 5. Refer to Figures 4.7
and 4.8.
Figure 4.7: Upper arm Figure 4.8: Construction of the lower arm
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To complete the arms, add a narrow oval on each side of the lower arms to depict the palms. The length of the oval
should be approximately 2/3rd heads tall. Refer to Figure 4.9.
Figure 4.9: Construction of the palms
Before you can continue with the remaining part of the figure, draw a straight line from the bottom of the neck and
extend it to line 5. This line represents the spinal cord. At the bottom of this line, you will draw a hip line. To do so,
draw a horizontal line on line 5. Refer to Figures 4.10 and 4.11.
Figure 4.10: The spinal cord Figure 4.11: The hip line placed at the bottom of
the spinal cord
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Now that the head, neck, shoulders, upper limbs, and spine are drawn, you will move on to complete the figure by
drawing the legs. Beginning at either side of the hip line at line 5, draw two lines to represent the upper leg. The two
lines should angle slightly down and extend till line 7. The end points of the lines representing the upper legs should
be 1 head width apart from each other. Refer to Figure 4.12.
Figure 4.12: Construction of the upper leg
Extend the upper legs with a slightly curved line to the midpoint between line 7 and line 9. These lines represent the
calves. Refer to Figure 4.13. Finally, conclude the figure drawing by drawing two small rectangles to represent the
feet at line 9. Refer to Figure 4.14.
Figure 4.13: Construction of the lower legs Figure 4.14: Construction of the feet
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■ Different views of stick figures
There are various perspectives to drawing. The perspective in which you view the figure also determines the
way in which it is drawn. On a broad level there are two views to figure drawings, namely the three-quarter view
and the side view.
 Three-quarter view: In this view, as compared to the front view, the length of the shoulders and hips
appear shorter and are farther away from the viewer. The shoulder and hip line are angled slightly in toward
each other. While drawing figures in this view, you need to pay attention to the position of the level of the
hips. In this view, although the shoulders tilt down at an angle and the foot rises slightly up, the level of the
hips is not disturbed. It remains straight and parallel to the ground. Refer to Figure 4.15.
Figure 4.15: Three-quarter view

 Side view: In this view, the head tilts slightly forward and the neck rests at an angle. Unlike the front view,
the distance between the horizontal and vertical structure is the same in this view. Refer to Figure 4.16.
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Figure 4.16: Side view

 Poses: So far you have learnt how to create figures with appropriate proportions by putting stick figures
to use. You will now learn how to add life to your figure drawings by adding poses to your figures. Stick
figures are useful for trying out various poses before you can finalize on a specific pose. Stick figures act
as a strong foundation for a good action pose. Refer to Figure 4.17 to view the various poses created using
stick figures.
Figure 4.17: Various poses of stick figures
4.2 The Basic Solids

After understanding the proportions and poses, it is now time to move on to give the figure a 3-dimensional look.
This sense of dimension and space can be achieved with the use of geometric shapes. Geometric shapes play a
significant role when drawing objects that are foreshortened.
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Note
Mannequins are created by adding geometric shapes to stick figures.
You will now learn how to add shapes to your stick figures. Beginning with the head and neck, draw an oval between
line 1 and line 2 to represent the head. Then, draw a short cylinder to represent the front view of the neck. Refer to
Figures 4.18 and 4.19.
Figure 4.18: Adding a shape to depict the head Figure 4.19: Adding a shape to depict the neck
Next, draw a cylinder that tapers down slightly to represent the torso. The shape and size of the torso varies for both
– men and women. Refer to Figure 4.20.
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Figure 4.20: Adding a shape to depict the torso
Note
The male torso is wider than the female torso. An average male torso measures about
2 head in width as compared to the female that measures about ½ head in width.
At the opening of the torso below, draw a sphere to represent the stomach. Refer to Figure 4.21. Below the stomach
draw a wedge-shaped structure to represent the hips. This structure should be ½ head tall and 2 heads wide
approximately and should extend till line 5. Cut a diagonal edge off from each side as shown in Figure 4.22. This
completes the structure of the abdomen.
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Figure 4.21: Adding a shape to depict the stomach Figure 4.22: Adding a shape to depict the waist
Note
The hips have a unique structure. They accommodate the bony structure of the upper
legs and allow it to extend sideways. Female hips are generally wider than males.
Now that you have defined the head, neck, and abdomen, you can move on to defining the limbs. Beginning with the
upper arm, draw one sphere each in the left and right opening of the upper torso. Then, draw two narrow cylinder
shapes, whose length is not more than 1 1/2 heads below the spheres on each side as shown in Figure 4.23. These
cylinders should extend slightly from below the shoulders to line 4.
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Figure 4.23: Adding shapes to depict the upper arms
Note
While drawing cylinders ensure that the inner side of the cylinder for the arms
intersects at the centre of the shoulder joint spheres.
Before drawing the lower arm, attach a sphere at the lower opening of each upper arm to represent the elbow joints.
Then, draw cylinders on each side to represent the forearm, with the top end connecting at the bottom of the elbow.
The bottom end of the cylinder should be narrower than the top and should align near line 5. Refer to Figure 4.24.
Complete the sketch of the hands by drawing the basic outline of the palm as shown in Figure 4.25.
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Figure 4.24: Adding shapes to depict the lower Figure 4.25: Adding shapes to depict the palms
arms
Moving on to drawing the upper legs, draw two cylinders that taper slightly, and extend till line 7. At the bottom of
the cylinders, draw two spheres to represent the knees. Refer to Figures 4.26 and 4.27.
Figure 4.26: Adding shapes to depict the upper Figure 4.27: Adding shapes to depict the knees
legs
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Next, draw a narrow cylinder from the bottom of the knee joint. The bottom end of the cylinder should be narrower
to accommodate the width of the ankle. Applying a curve to the outer side of the lower leg gives it a natural look.
Refer to Figure 4.28.
Figure 4.28: Adding shapes to depict the lower legs
Finally, to complete the figure, draw a set of spheres to represent the ankles and position the feet that is approximately
one head in width. Refer to Figures 4.29 and 4.30.
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Figure 4.29: Adding shapes to depict the ankles Figure 4.30: Adding shapes to depict the feet
■ Different views of solid figures

Refer to Figures 4.31 and 4.32 that throws light on the side view and three-quarter view of solid figures
respectively.
Figure 4.31: Three-quarter view of a solid figure

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Figure 4.32: Side view of a solid figure
Following are the points to consider while drawing figures in the three-quarter view:
 While drawing the head, draw the bottom of the egg-shaped sphere slightly toward the direction in which
the head is moving.
 While drawing the torso, ensure that the bottom of the torso tilts slightly forward and the side facing or closer
to you is wider as compared to the other side.
 While drawing the hips, draw the cylinder shape before cutting off the wedged-shapes for the hips.
 The cylinder for the upper arm and leg that is closer to you should be drawn thicker and longer as compared
to the cylinder that is farther than you.
 The outer edges of the upper leg cylinder angle slightly toward the center while the inner side of the cylinder
angles only slightly.
 While drawing the lower arms, the limbs closer to you should appear larger.
 The bottom end of the lower leg that is away from the viewer tapers off slightly higher than the lower leg
that appears closer to the viewer.
Following are the points to consider while drawing figures in the side view:
 While drawing the head, the bottom of the egg shape moves farther toward the direction in which the head
is turned.
 While drawing the torso, ensure that it is narrower and its back is flatter as compared to the front side.
 While drawing the arms, tilt is slightly backward.
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 While drawing the upper leg, curve the front portion of the leg and tilt is slightly backward. The back of the
upper leg should also descend slightly.
 The bottom end of the lower leg that is closer to the viewer should be narrower than the top. The lower end
of the other leg is generally hidden behind the lower leg that is close to the viewer.
 While drawing the feet, draw a right-angled triangle with the top end cut off.
Quick Test 1
1. It is best to commence your figure drawings with stick figures as it helps in

establishing the correct proportions. (True/False)
2. In the _________ view, the shoulders and the hips are farther away from the viewer.
4.3 The Muscles

Muscles form the exterior of the body. The arrangement of muscles should be considered while drawing human
figures. This helps in defining the outline of the figure. The flexing of the muscles changes the external structure
of the figure. For example, on lifting your arm, there is movement of the scapula, lower back, buttocks, and leg
muscles.
While drawing, the position and appearance of the following important muscles should be taken into account:
 All large arm and leg muscles
 Shoulder, neck, and breast muscles
 Belly muscles
Some of the muscles are connected to the skeleton (skeletal muscles); whereas, the others are connected to the
bones (biceps). In addition to these, there are other muscles that are connected to the tendons, also known as the
sinews (finger muscles). Although their position changes when moved, the place where they are connected remains
the same.
Consider adding muscles to the limbs. To do so, sketch the bones, and then sketch the ellipses for the muscles.
Connect theses muscles to the correct places on the bones. Finally, sketch the skin as an outline. For a realistic
figure, erase the bones and ellipses.
Points to be noted while drawing arms:

 The biceps start at almost the shoulder joint and ends at the front side of the forearm.
 The elbow joint and the lower arm can only move up and down.
 The shoulder movements enable the inward and outward turns.
 The forearm is flat and slightly triangular in shape. It comprises two bones.
Points to be noted while drawing leg muscles:

 The thigh is conical and narrows down to close to half the diameter of the knee.
 The lower leg is spindle-shaped with major concentration of muscles around the calves.
 The bones and tendons protrude at the knee cap and at the hollow of the knee respectively.
 The feet are wedge-shaped.
 The muscles of the legs flow parallel to the bones.
 The shoulder, neck, breast, and belly muscles remain the same in form and appearance.
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Refer to Figures 4.33, 4.34, and 4.35 to take a look at the front view, three-quarter view, and side view of the
complete human figure.
Figure 4.33: Front view of the complete human figure
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Figure 4.34: Three-quarter view of the complete human figure
Figure 4.35: Side view of the complete human figure
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4.4 Summary
In this session, Constructing the Basic Pose, you learnt:
 The stick figure approach is the traditional approach to any figure drawing. Stick figures act as a blueprint
of your figure drawings.
 The concept of length and proportions in drawing can be understood thoroughly using stick figures.
 Stick figures are not only useful for defining proportions, but they also help in determining the poses. In
comparison with complete figures, it is easier to alter poses using stick figures.
 Adding geometric shapes to your stick figure gives it a 3-dimensional look. Adding shapes also gives a
sense of space that plays a significant role when drawing objects that are foreshortened.
 On a broad level, the proportion of any figure is validated based on the three-quarter view or the side
view.
 Muscles form the exterior portion of the body. The undulations on the exterior of the body are important
while drawing any figure.
 Movements are another important factor to be considered while drawing muscles. No muscle moves all by
itself. The movement of one muscle influences the movement of the other muscles.
 The only muscles that never change form are the shoulder, neck, breast, and belly muscles.
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4.5 Exercise
1. Stick figures:
a. Are complicated structures
b. Have been replaced with the modern drawing techniques
c. Help in establishing the correct proportion and space in landscape drawings
d. Are the building blocks of any figure drawing
2. While adding shapes to stick figures, you can represent the neck using ___________.
a. Spheres
b. Cylinders
c. Cubes
d. Pentagons
3. In the three-quarter view, the shoulders and hips appear farther away from the viewer.
a. True
b. False
4. In the three-quarter view, the hip remains straight and parallel to the ground.
a. True
b. False
5. In addition to a 3-dimensional effect, adding geometric shapes to stick figures also provides ____________.
a. A sense of space
b. A sense of fullness
c. A sense of motion
d. As an alternate approach to figure drawings

Quick Test 1
1. True
2. Three-quarter
Answers to Exercise
1. d
2. b
3. b
4. b
5. a
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Lab
5 Lab
Learning Outcomes
 Draw stick figures with a 3-dimensional look
5.1 Hands-on
Task 1:
Practice drawing a simple stick figure. Try drawing stick figures with different actions. After you draw the stick figure,
add geometric shapes to give the figure a 3-dimensional look.
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Line of Action, Twisting and Turning along the Spine
Line of Action, Twisting and Turning

6 along the Spine
Learning Outcomes
 Explain the important parameters of drawing that helps in establishing balance and rhythm
in a figure
The line of action, balance, rhythm, turning and twisting are important features that give life to an image. These
features act as important parameters to measure any image.
6.1 Line of Action

The line of action, also known as the action line, describes the movement of the figures. These lines are casually
constructed and run through a particular figure like the arms and legs.
The following points should be borne in mind before drawing the line of action:
 Determine the angle of the line of action and use them as reference points.
 Use the line of action to measure the actual angle of each of the body curves, especially while drawing the
smaller forms like the arms and legs.
Once you have determined the line of action, begin drawing the figure with its basic structure. Firstly, find the center
line of the figure. Then, identify its cylindrical structures like the arms, legs, and neck areas that underlie the figures.
Refer to Figures 6.1 and 6.2 for a better understanding of the line of action.
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Figure 6.1: Line of action, line of action on the basic form, line of action on the skeleton
Figure 6.2: Line of action passing through the center of the image
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6.2 Balance
An object can attain center of gravity when all the objects are said to be in balance. While drawing a figure, it is
essential to establish a balance between the opposite or counteracting forces regardless of the line of action. The
center of gravity starts from the top of the neck, and passes through, and ends at the supporting foot.
A working pendulum clock is the best example for balance. A standing figure without any movement can be compared
to the hanging of a pendulum when straight or perpendicular. When the pendulum starts swinging back and forth
it creates an arc on a fixed gravity. The extent to which an arc is created by the pendulum is the range to which a
figure may be thrown out of balance. This position also represents the greatest rapidity of motion in the drawing of a
figure in action. Like the pendulum, when it comes back to its original position after swinging, the figure should also
come back to the center of gravity or to its original position. The sense of balance that occurs during the sweep of
drawing is continuity and rhythm. Refer to Figure 6.3.
Figure 6.3: Balance of a body
Quick Test 1
1. In figure drawings, it is the ___________ that determines the movement of the figures.
2. Establishing a balance between the opposite and counteracting forces is also essential
while drawing any figure. (True/False)
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6.3 Rhythm
Rhythm is a part of all animal and plant life. The movement of rhythm is found in the sea and its tides, stars
and planets, grass and trees. There is no poem or poetry without rhythm. You can find rhythm in the outline,
color, shades, and lighting of paintings and drawings. The slow moving figure with a continuous motion gives an
appreciation of rhythm in all visible movements. To express rhythm, you have in balance of masses a subordination
of the passive or inactive side to the more forceful and angular side of action, keeping the subtle flow of symmetry
constant. Refer to Figure 6.4.
Figure 6.4: Rhythm
6.3.1 Understanding Rhythm

To be able to achieve rhythm in any figure, it is essential to understand the three basic lines of rhythm, namely the
Hogarth line, the Classic Spirals, and the Parabola. Refer to Figure 6.5.
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Figure 6.5: Three basic lines of rhythm
Refer to Table 6.1 for a detailed explanation of the three lines of rhythm.
Line of Rhythm Description

Hogarth line The Hogarth line:
 Is also known as the Hogarth Line of Beauty
 Gracefully curves in one direction and then reverses itself
 Is found in the following parts of the human body:
● The line of the spine
● The upper lip
● The ear
● The hair
● The waist and hips
● The side of the ankle

 Resembles the letter S in variation
Spiral line The Spiral line is the second line of rhythm that starts at a point and swings around that point
in circular motions. This line is commonly seen in whirlpools, pinwheels, or seashells.
Parabola line The Parabola line or Parabola is the third line of rhythm. This line forms the basis of pictorial
composition and is clearly visible in animals as compared to human beings. It is commonly
seen in all living and non-living things that are designed for swift motion, which are as
follows:
● Ships
● Motor cars
● Household appliances
● Fishes
● Dolphins
● Birds
The commercial application of this principle has been notably successful.
Table 6.1: Description of the three basic lines of rhythm
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6.4 Turning and Twisting

Turns and twists when applied to a figure makes it complete. In humans, there are masses of the head, chest, and
pelvis. These masses balance, tilt, and twist when held together during the different movements of the spinal cord.
When these masses twist and turn the spaces between them become long, short, and spiral respectively.
The blocks or masses of the body are known as levers. Ligaments and tendons move these levers. When two or
more forms (the masses) such as the chest and pelvis are drawn together with cords and tendons on the active
side, then the inert passive mass that lies opposite must follow. While twisting and bending the body there should
be a harmony of movement. A subtle continuity of the form is the very essence of any motion. Refer to Figure 6.6.
Figure 6.6: Turning and twisting of the body
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6.5 Foreshortening
Foreshortening is the process of applying linear perspective to an object. It occurs when the body shapes are not
erect. Understanding foreshortening is useful in drawing action poses, wherein the action is seen coming toward
the viewer. Refer to Figure 6.7.
Figure 6.7: Example of foreshortening

(Image courtesy: Glen H. Barratt. All rights reserved.)
■ Points to be noted:
 While drawing foreshortening figures, limbs should be slouched gradually.
 Do not go by assumptions or imaginations; draw what is seen.
 The lines should depict the distance between the closer elements and the farther elements.
 Elements that are closer will appear larger than those that are farther away.
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6.6 Summary
In this session, Line of Action, Twisting and Turning along the Spine, you learnt:
 The various parameters that play an important role in throwing life to an image include the line of action,
balance, rhythm, and turning and twisting. These parameters are also important to measure any image.
 Before drawing any figure, it is essential to determine the line of action. To define the line of action, determine
its angle and use it as reference points.
 It is essential to establish a balance in any figure drawing. An object can attain center of gravity when all the
objects are said to be in balance.
 Rhythm is a part of all animal and plant life. Rhythm is expressed when there is a balance between the
active and inactive elements of a figure, in turn, keeping the flow of symmetry constant.
 The three basic lines that contribute in establishing rhythm are the Hogarth line of beauty, the Classic
Spirals, and the Parabola.
 Turns and twists make a figure complete. A thorough study of the bones and tendons help in creating
harmony of movement.
 Foreshortening is the process of applying a linear perspective to any object. For example, when an action
is seen coming toward the viewer.
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6.7 Exercise
1. A casually constructed line that describes the movement of the figures is referred to as the ____________.
a. Rhythm
b. Line of action
c. Balance
d. Foreshortening
2. In a drawing, when does an object attain center of gravity?

a. When the center of gravity starts from the top of the neck and passes through and ends at the foot that does
not support it
b. When all the objects are in balance regardless of the line of action
c. When the line of action is defined incorrectly
d. When there is more than one object in a drawing
3. The element of drawing that is a part of all animal and plant life is referred to as __________.
a. Line of action
b. Rhythm
c. Symmetry
d. Foreshortening
4. The parabola ___________________.

a. Resembles the letter S
b. Is commonly seen in whirlpools or seashells
c. Is seen in all living and non-living things like dolphins and motor cars
d. Is found in the line of the spine
5. ________________ and __________ are the very essence of any motion.

a. Line of action, Hogarth line
b. Twists, turns
c. Turns, parabola
d. Balance, rhythm

Quick Test 1
1. Line of action
2. True
Answers to Exercise
a. b
b. b
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c. b
d. c
e. b
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Constructing Poses in Different Actions
Constructing Poses in Different

7
Actions
Learning Outcomes
 Explain the important parameters of drawing that help in establishing the correct pose in different
actions
Drawing figures while in action is equally important as drawing figures in a standing position. While drawing figures
that are in action – be it walking, running, jumping, slouching, or stretching – you need to think of how the body is
giving in and resisting the gravitational pull. The idea behind drawing figures in motion is to capture the viewer’s
attention by making
them believe that the figure is performing the actions in a comfortable, continuous, and balanced posture. Bearing in
mind that bodies balance themselves naturally, and symmetrically, utmost attention should be paid to the working of
the arms and legs. For example, if one arm reaches forward, the other arm reaches backward. The legs also work
in a similar fashion. They work in agreement with the arms.
7.1 Running
Running poses depend on:
 The stage of the run
 The speed of the run
 The weariness of the person running
The basic elements of a running pose are Pose, Fall, and Pull.
 Pose – In this position, the body is stable against gravity. Here, the runner moves from one side to the other
retaining the same pose. Refer to Figure 7.1.
 Fall – This position follows the Pose, where the runner leans forward allowing himself or herself to fall. Here
the legs do the job of providing a platform to fall. Refer to Figure 7.2.
 Pull – This position follows the Fall, where the runner has to recover and re-enter the pose. This element
details the working of the rear leg. The runner should focus on the movement of this leg. Refer to Figure
7.3.
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Figure 7.1: Images depicting the pose of the run
Figure 7.2: Image depicting a slight fall in the pose of the body
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Figure 7.3: Image depicting the last element of the running pose with emphasis on the movements of the
leg
The following guidelines will prove handy while drawing running poses:
 The shoulder, hips, and ankles should be aligned vertically and the supporting knee should be bent. The
non-supporting foot should be directly under the hips.
 The lean is from the ankle through the hip and the torso remains vertical from the hip to the head.
 Runners while at full sprint hold their elbows bent at a 90 degree angle. Their torso is also almost parallel
to the finish line. The arms do not cross over the front of the torso.
 While drawing runners at slower pace, cross the arms over the front of the torso. The shoulder and torso
should also be slightly angled.
 Synchronize the arms with the legs.
 While drawing the running pose, the elbows should be bent. The neck should be tilted forward and the chin
should be tilted straight up so that the head is parallel to the ground.
 While drawing foreshortening running poses, you can eliminate some of the lines of the objects, such as the
forearm, lower leg, and foot as they recede toward the back.
7.2 Jumping
The jumping pose essentially requires the figure to be in the squat position. While drawing this pose, utmost
attention should be paid to the foreshortening from different perspectives. For example, consider drawing a figure
jumping over an obstacle. In this case, you need to give importance to the foreshortening of the front view. The arms
should spread out to the side to balance the position and the head and torso should move forward as a part of the
motion of pulling the legs up. Refer to Figure 7.4.
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Figure 7.4: Image depicting the jumping pose
Foreshortening can also be observed in the leaping forward or lunging pose and in the jumping high kick pose. In
the leaping forward or lunging pose, the posture is angled diagonally and the figures torso, arms, and right upper
leg are foreshortened.
In the jumping high kick, foreshortening is put to use to create an illusion of raising the foot. Here, the toes are
outstretched and one arm is extended out from the sides of the body as though the body is seen balancing. The
hand reaching toward the viewer should be drawn larger, the head slightly tucked into the chest, the neck shortened,
and the shoulders should be raised. Refer to Figure 7.5.
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Figure 7.5: Image depicting foreshortening in a jumping pose
The following points will prove handy while drawing jumping poses:
 One leg is higher than the other
 The torso and the head lean forward in aggressive poses
 Arms spread out either to the side or to the front
7.3 Sitting
Like running, the sitting posture also conveys the person’s psychological state of mind. The sitting posture conveys
if the person is relaxed or tensed or otherwise. Listed are a few points to be borne in mind while drawing a seated
posture.
 In a sitting posture, the back is slightly angled; a straight spine gives an artificial look.
 The arms bend slightly forward. It follows the shape of the front of the torso that leads down to the hips.
 One leg bends slightly backward and the other leg is farther. This creates a feeling of flexibility to the
figure.
 While you are seated, the pressure from the weight absorbed into the buttocks causes the legs to angle
away from the centre of the hips. Hence, it is advisable not to draw legs clinging to each other to establish
a natural look to the posture.
 The seated posture throws light into the emotional state of the character. For example, if the hands are
tucked into the pocket it could mean that the character is bored. In addition to the limbs, the position of the
limbs and direction of the head should be taken into consideration.
Refer to Figures 7.6, 7.7, and 7.8.
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Figure 7.6: Image depicting the sitting posture - front view
Figure 7.7: Image depicting the sitting posture - with hands clasped
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Figure 7.8: Image depicting posture of the legs to give a natural look to the figure
Quick Test 1
1. The position of the run wherein the runner retains the same pose while changing sides
is referred to as __________.
2. The jumping pose essentially requires a figure to be in the sitting position. (True/False)
7.4 Walking
The average human walking speed is five kilometers per hour (kms/h) or 3.1 miles per hour (mph). The speed of the
walk varies greatly depending on the following factors:
 Height
 Weight
 Age
 Terrain
 Surface
 Load
 Effort
 Fitness
The human walk can be associated to the concept of double pendulum. While you walk, one leg touches the ground
and the other leg is in the air. Both the legs are not off the ground at the same time. In forward motion, the leg
that is off the ground, swings forward from the hips. This movement is referred to as the first pendulum. Then, the
leg touches the ground with the heel followed by the toes. This motion is described as an inverted pendulum. The
second leg also follows the similar pattern; in other words, there is coordination between the movement of the two
legs, wherein either of the legs are in contact with the ground. The process of walking recovers approximately 60
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Anatomy Study
per cent of the energy used due to pendulum dynamics and ground reaction force. Refer to Figures 7.9 and 7.10.
Figure 7.9: Image depicting the walking pose - side view
Figure 7.10: Image depicting the walking pose - front view
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Refer to Table 7.1 to view differences between walking and running.
Walking Running
While walking, one leg is always grounded and the While running, the runner is airborne with both feet
other is in the air. in the air. For example, bipedals.
While walking, especially in forward motion, there is While running, there is constant transition between
transition between the kinetic and potential energy. kinetic, potential, and elastic energy.
Table 7.1: Difference between walking and running
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Anatomy Study
7.5 Summary
In this session, Constructing Poses in Different Actions, you learnt:
 The posture of a figure determines his/her emotional state. This has to be of utmost importance while
drawing any figure.
 In addition to the pace of the runner, pose, fall, and pull are the basic elements of any running pose.
 The jumping action requires the figure to squat down and then push the body up. In addition to the position
of the limbs and other parts of the body, while drawing this pose it is essential to pay utmost importance to
foreshortening.
 The sitting posture also throws light on a person’s psychological state of mind. In a sitting posture, an erect
spine does not give a natural look to the figure. It has to be drawn slightly bent to take the shape of the
torso.
 An average human walking speed is about five kms/h or 3.1 mph. The speed of the walk is influenced by
various factors that include height, weight, fitness, and so on.
 The human walk can be associated to the concept of double pendulum.
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7.6 Exercise
1. While drawing figures in motion, ensure that the ____________________.
a. Position of the legs is in agreement with the arms
b. The spine is erect
c. Inbetween poses are eliminated from the step to avoid confusion
d. Position of the spine is in agreement with the legs
2. While drawing running poses, the shoulders, hips, and ankles should be aligned vertically and the supporting
knee should be straight.
a. True
b. False
3. While drawing the ___________ pose, utmost attention should be paid at foreshortening from different
perspectives.
a. Running
b. Jumping
c. Walking
d. Sitting
4. While walking there is transition between the kinetic, potential, and elastic energy.
a. True
b. False
5. The speed of the walk depends on the ________.

a. Fall
b. Pose
c. Load
d. Pull

Quick Test 1
1. Pose
2. False
Answers to Exercise
1. a
2. b
3. b
4. b
5. c
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Lab
8 Lab
Learning Outcomes
 Construct poses in different actions
8.1 Hands-on
Task 1:
Construct poses in the following actions:
 Running
 Sitting
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Glossary
Glossary
A
Anatomy
A branch of biology that deals with the structure of animals and human beings.
Acromion
The outermost point of the spine of the shoulder blade.
B
Biceps
Skeletal muscle with two origins and performs the function of rotation and flexion of the elbow.
C
Clenching muscles
Muscles that perform the action of holding the lips firmly.
Clavicle
The bone connecting the scapula and the sternum and commonly referred to as the collar bone.
E
Elastic energy
The energy released while compressing or stretching.
F
Frown
To show displeasure
G
Gestures
Use of movements to express feelings.
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Anatomy Study
I
Illustrations
Pictorial representation with the use of minimal lines and less details.
K
Kinetic energy
Energy possessed by a body because of its motion.
L
Ligaments
Band of fibrous tissues that connect the bones or cartilages at a joint.
Line of action
An imaginary line extending through the main action of the figure, which strengthens the dramatic effect for the
action or the pose of a character.
P
Proportion
A relationship between things or parts in comparison to the whole.
R
Ridge
A long, narrow, and crested part of the body. For example, the ridge of the nose.
Ribcage
The enclosed structure formed by the ribs and bones to which they are attached.
S
Skeletal system
The system that consists, supports, and protects the internal parts of the human body.
Skeletal muscles
Muscles that are attached to the bones.
T
Tonal areas
The darkened lines of a drawing.
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Glossary
Tendons
Fibrous tissues that connect a muscle with its bony attachment.
Torso
The portion of the human body excluding the head and limbs. This portion is also referred to as the trunk.
W
Wireframe
A line-drawn model which displays only the edges and vertices.
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Bibliography
Human Anatomy Made Amazingly Easy
- by Christopher Hart
Human Anatomy for Artists: The Elements of Form

- by Eliot Goldfinger
Anatomy Study
Session Name Rating
Excellent Very Good Good Average Poor
Anatomy of the Head
Lab
Line of Action, Twisting and Turning along the

Spine
Lab
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Anatomy Study

© 2011 Aptech Limited

All rights reserved.

All trademarks acknowledged.

Mumbai - 400 093, India.

Edition: April 2011

ARENA Design Team

Aptech Limited iii

Human Body Proportions ................................................................................................................................ 1

Anatomy of the Head....................................................................................................................................... 13

Structure of the Body...................................................................................................................................... 25

Constructing the Basic Pose......................................................................................................................... 61

Line of Action, Twisting and Turning along the Spine ................................................................................ 83

Constructing Poses in Different Actions...................................................................................................... 93

: Quick Test Questions

: Hints for the Hands-on

: Answers to Quick Test

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1 Human Body Proportions

 Describe the importance of anatomy in animation

1.1 Importance of Anatomy in Animation

1.2 How Different is Drawing from Animation?

Animation Drawing Illustration Drawing

Table 1.1: Difference between animation drawing and illustration drawing

1.3 About the Human Body

Figure 1.2: Muscles of the human body

1.4 Parts of the Human Body

Hands Symmetrical and placed on either side of the body

Table 1.2: Parts of the human body

1.5 Standard Human Body Proportions

1.6 Male Human Body - Front Angle

Figure 1.3: Proportions of the male human body (front view)

1.7 Male Human Body - Side Angle

Figure 1.4: Proportions of the male body (side angle)

1.8 Male Human Body - Back Angle

Figure 1.5: Proportions of the male body (back angle)

1.9 Different Forms of the Male Figure

Figure 1.6: Different forms of the male figure

Male Form Proportion Uses

Idealistic  Height – 8 head units Mostly used by artists.

Fashion  Height – 8.5 head units Mostly used in fashion drawings.

Heroic  Height – 9 head units Mostly used in comics like superman.

Table 1.3: Proportions and uses of the different male forms

1.10 Female Human Body

Figure 1.7: Proportions of the female body

1.11 Difference between Male and Female Body Proportions

Body Parts Male Proportions Female Proportions

2. Illustration drawings are created using _______________.

4. The ribcage of a female body is ________________.

Answers to Quick Test

2 Anatomy of the Head

 Explain the proportion, shape, and composition of the skull

 Differentiate between the male and female skull

 Describe the placement and function of the facial muscles

 Construct a human face using the standard proportions

2.1 The Skull

■ Proportions of the skull

Proportions of the Skull Image