miyuli

A RT T I P S
co l l ect i o n
ART TIPS
collection
 m i y u l i

ART TIPS
collection
 INDEX ▬
Editorial Director:
Raffaele Rocchi
Index V PART 4: CLOTHES, FOLDS
Drawings and illustrations: General introduction VII & SHOES 75
Miyuli Preface IX Clothes 76
Introduction XI Folds 78
Image captions: Shoes 84
Miyuli

Texts: PART 1: ANATOMY 1 PART 5: BONUS MATERIAL 87

Laurence Casalini Human figure 2 Colouring 88
Body proportions 4 Cats 92
Graphic project:
Laurence Casalini
Neck & shoulders 6
Torso & pectorals 8
English translation and proofreading: Hands 10 Bibliography 97
Laurence Casalini, Adam Boltik Hips & legs 18
Feet 26
© 2020 by Miyuli. All rights reserved. Poses & gestures 28
Figure study 34
© 2020 Kudos S.r.l.s a single shareholder, Bologna
PART 2: HEAD 37
ISBN
Front & profile 38
978-88-31252-03-4 High and low angles 40
Eyes 46
This volume was printed by: Facial expressions 50
New Print S.n.c. - Viale Kennedy 17 Face variations 52
30025 Fossalta di Portogruaro (VE)
Printed in Italy Kissing 54
Hair 58
First edition - September 2020
PART 3: FORESHORTENING 61
Full-body 62
Head, neck & shoulders 68
Arms & back 72

www.kudoseditore.com
V
 ▬
GENERAL
INTRODUCTION
I’m Miyuli and I like to draw.
I have also written down some notes
I have been drawing ever since childhood on drawing the body from potentially
and the desire to improve was a big part difficult angles as foreshortening can be
of my enjoyment and journey as an artist. a tricky thing to understand and draw. A
At some point I thought it would be nice fairly large section deals with clothing
to summarise my notes and make them and drawing folds..
comprehensive so that I can always come
back and remind myself of what I’ve There are some art notes that only my
learned. patrons have seen and some exclusive
new content only found in this book.
I’ve been sharing my notes on drawing
for a few years now and I really hope that I really hope any of my notes can help
some people find them helpful as well. you with your own artistic development.
With the help of Kudos Editore, I collected Please use it as a small stepping stone on
all the art tips I have made so far into your journey and keep having fun while
this collection. If you want a complete studying.
collection of my art tips on paper this is a
great opportunity.
Miyuli
You are welcome to use any of my notes
as complementary study material or to
reference poses you might be struggling
with in your own drawings.

These notes are not supposed to be

unbreakable rules but rather small
reminders to consider so that you can
decide if you want to use them for yourself.

Most of this content is related to drawing

the human body as I struggle with and
study anatomy a lot. There are notes
starting from drawing the head and torso
to drawing hands and feet.

VII
PREFACE ▬
«A manual... What a fright!»
The word ‘manual’ scares many people.
It sounds severe and it doesn’t fully
describe the product you have in your
hands: Miyuli’s Art Tips Collection is not a
manual to forget on the shelf. Its chapters’
structure, divided by colors, allows easy
consultation even for the laziest students
and the most skeptical professionals who
need to review a certain topic or fill some
artistic gaps.
What you will find in this book is a
collection of many artistic tips created
by the artist between 2017 and 2020, and
collected for the first time in a volume of
over 90 pages.
The rest of the texts in grey, white, or black
color will be edited by Laurence Casalini,
whose initials are L.C., a member of our
editorial staff who has received artistic
education and graduated in Disciplines of
the Arts, Music and Entertainment at the
University of Bologna.
You will find the list of books consulted in
the bibliography at the end of the volume.
If you find errors or inaccuracies in our
texts, do not hesitate to contact us and
we will do our best to correct them in the
next editions.
Now we can only wish you a nice trip and,
please, don’t forget your tools of choice,
whether they are digital or traditional.

Whether you are a beginner or an expert,

this collection of tips will help you The editorial staff
integrate your knowledge on the most
diverse artistic subjects from anatomy to
the body in perspective, from poses to
folds, to get to coloring and - why not! - to
domestic feline companions that we love
so much, and maximize your workflow.

Miyuli, with the naturalness and

roundness of her trait, will accompany
you on a pleasant and colorful journey
into learning and integrating your art
skills and she will take care of the image
captions, which will be in colors and
written in a calligraphic font.

IX
INTRODUCTION
Thank you for buying this book!
I hope it will be useful to your artistic
development.
Use this book as a complementary
addition to your own studies. It’s always
beneficial to learn from real life first.
Regularly going back to the basics will
give you a strong foundation and build up
confidence in your own skills.
▬
Artist bio
Miyuli is an illustrator and comic artist
who likes to share her notes on artistic
improvement.
She is mostly known for her short comic
Hearts for Sale and various webcomics
such as Lost Nightmare and Demon
Studies.

I recommend doing life drawing, studying Website:

well-made 3D models and checking out miyuliart.com
how other artists solve artistic problems.
Instagram:
Hopefully this book can clear up a few www.instagram.com/miyuliart
things and give you ideas how to solve
things you might be struggling with Twitter:
yourself. twitter.com/miyuliart

I wish you a lot of fun drawing what you Patreon:

love. www.patreon.com/miyuli

Miyuli

XI
▌ANATOMY
If you have difficulty drawing the
human figure, this is the chapter for you.

Starting with anatomy is the simplest

method to learn how to place the three-
dimensional figure in a 2D space so that
it appears harmonious and natural, a skill
much in demand in the creative field.

Miyuli will show you some of her

professional techniques to avoid the
most common errors concerning the
human figure in its front, profile or
rear view, and she will share some
tips on how to draw the different
anatomical parts, naked or dressed up.

In this chapter she has included some

common and hard to draw gestures,
such as crossed arms and legs,
figures in action and fighting poses.

At the end of the chapter you will also find

some studies on the human figure made by
the artist and the value of real life drawing.

I hope you will enjoy reading!

L.C.
 ANATOMY

THE HUMAN
symmetry contrapposto
FIGURE To draw a human figure
in a bidimensional space,
start from a rectangle in
perspective then place a
During the study of artistic
human figure above it.
anatomy, the first difficult
You can start with the two
test will be to lear n the
horizontal axes that pass
whole human figure in
through the shoulders
its different forms - male
or female, adult or child,
Sternocleidomastoid and through the pelvis,
is missing! then connect them with a
young or old, muscular or
vertical line that identifies
slender, etc.
the spine.
The human figure is one
When a person walks or
of the trickiest starting
moves their weight from
points for those who want
one foot to the other,
to pursue an artistic career
the axis of the back
or simply to indulge in
creates a curve and the
drawing.
two horizontal axes of
In this section, we will
shoulders and pelvis tilt.
show you some methods
Miyuli uses to approach it. Ankles do This technique applied to
not look art is called contrapposto,
like socks! and it generates figures
more dynamic than in
symmetry.

Sternocleidomastoid!
trapezius more
prominent
raised arms
also raise up
deltoids
don’t forget
the gluteus

Practicing live
drawing is a good
habit to avoid mistakes knee
in illustrations created
from memory.
be careful of
the direction
of arcs
2 3
 ANATOMY

BODY Important: upper body In the profile figure, the

PROPORTIONS get proportions = parts neck, torso neck can be simplified into
down first! four heads are not and hip a cylinder, the thorax and
parallel balance pelvis in parallelepipeds
The human body can be each other with opposite inclinations:
easily simplified into top of out
geometric elements. the head the thorax will seem to
lean backwards, while
For instance, the length of
Relaxed the pelvis seems to fall
the upper body is about shoulders are
chin forward.
the same as four head slightly shifted These angles vary from
lengths. forward. person to person and they
From the front, the torso
are related to the posture
and the pelvis can be nipples Hips are and to the curve of the
stylized in two inverted shifted spine.
trapezoids that tighten at forward.
the waist with different
proportions based on the
navel
elbow
person’s gender and build.
In men the shoulders
are wider and the pelvis groin
narrower; in women the
pelvis can be equal or
wider than the shoulders. In female bodies, the
nipples, navel and groin
are lower than in males,
and their hips are wider.

Male
and female
Tilt! bodies are
different.

The pectoralis
major is the largest
muscle of the chest
and it changes shape
according to the
position of
the arms.
wider torso, smaller torso,
smaller hips wider hips
4 5
 ANATOMY

NECK & tense relaxed

SQUISH! The deltoid and
SHOULDERS sternocleido-mastoid,
abbreviated as SCM, and
the trapezius move in
The neck and shoulders
relation to each other.
are fundamental in non-
When we raise our arms,
verbal communication.
the deltoid swells and
The shoulders rise and
the trapezius appears
stiffen when we are
compressed.
uncomfortable and the
When we tilt the head
head will seem to sink into
back, the SCM tenses and
the neck. On the contrary,
the trapezius swells.
when we are relaxed, the
When we move the head
shoulders will appear low angle forward, the trapezius will
sloping and they will face shot stretch, together with the
downwards.
splenius capitis, a muscle
To analyze this tension,
located in the back of the
consider the position of
neck.
the clavicle with respect
When we turn our heads
to the shoulders, which
to one side, the SCM of the
will generate uphill
opposite side will tense.
angles in case of tension
and downhill angles in
case of rest.

curved!
tense relaxed
pose angles face pose
upwards
SCM
tense

angles
face
downwards

6 7
 ANATOMY

TORSO & The torso has two clearly

visible recesses: one near
The pectoralis
major structure
The pectoralis major
fibers that are closer
PECTORALS the ster num and the other
on the navel.
is fan-shaped. to the clavicles are
flatter. They fan out from
We have seen how two
puffed up shoulders the humerus towards
chest more the ster num, the ribs
parallelepipeds can be (tension) relaxed and the collarbones.
inscribed in the human
thorax and pelvis, but
we should also keep
in mind that the torso
is made up of muscles
and bones that move in
relation to each other, and
that they take different
shapes according to the
observer’s point of view,
to the limbs movements
and to the position of the
head and neck.
Let’s see these muscles
together!
more
weight on
right leg Pectoralis major
connects to
The The the humerus.
biceps are superior
under the angles of the
deltoids. shoulder blades
are closer
together
than the
inferior
angles. Butterfly
shaped
when arms
are up

When The fibers of the of arms and shoulders in muscle band between the
arms are pectoralis major are fan- relation to the chest. pectoralis major and the
With the up, shoulder
arms up,
shaped with three ends In a trained body, the deltoid, will change shape
blades are
the biceps more distant. - clavicular, sternocostal muscle band of the and the tendon near the
will form a and abdominal - which pectoralis major closest to humerus will swell. The
triangular are connected by a single the collarbones is flatter nipples and all these
area near the
tendon. When
tendon to the humerus. and less protruding. muscle groups will move
arms are The shape of the With the arms raised, upwards.
back, breastplate varies in the pectoralis major
shoulder relation to the position and clavicular portion, a
blades move
closer.

8 9
 ANATOMY

HANDS The fingers have

Hands are one of the most
If we bring the thumb closer straightened thumb is bent three bones each, the
to the little finger, it will thumb a little phalanges, which can
complicated parts of our bend, generating several be easily simplified into
body to understand when folds called palmar creases.
three cylinders, one
it comes to making art.
nail is slightly round above the other, from the
They are a prehensile volume pointing due to muscle largest to the smallest.
organ with many functions and bending upward compression
and they are used as a lines don’t However, when we hold
necessarily an object in our hands
means of expression to lign up or clench our fists, the
replace the word.
muscles of the fingers
The main elements of the
form folds that exceed
hand are the wrist, which
these cylinders.
connects the hand with the
The palm and the
forearm, the metacarpus,
back of the open hand
made up of 5 bones that
can be inscribed in a
correspond inter nally to
the palm and back of the volumes bends parallelepiped which,
here however, will arch when
hand, and the fingers, one
we bring the thumb and
of which is opposable.
The fingers have three the little finger together.
Let’s see how to simplify The two main folds are the phalanges and they bend When we press the ►
their shape to better one at the thumb, the thenar towards the palm thanks to
design them. crease, and the one below the
knuckles’ rotation.
last three fingers, the distal
transverse.
knuckles
are
visible

you phalanges
don’t are not
see all parallel!
layers the middlefinger the middle
is smaller than finger protrudes
the others more than
the others
knuckles
are
missing!
bends
here rotation of
the back of
the hand is
The phalanges are Hands volumes now visible
like three cylinders can be schematized
with connected bases. in geometric shapes.

10 11
HANDS ANATOMY

► hand on a flat the junction of the thumb

surface with the wrist and is called the proximal
perpendicular to it, the transverse arch, which is
skin on the back of the rigid.
hand curls outward and the The other joins the
the knuckles and palm
pinky metacarpals of the
gets
seems to be on the same forefinger squished knuckles fingers and is flexible at
plane. is hardly are arched the ends, particularly in
When we grasp an
visible from the first, fourth and fifth
this angle
object, however, we can metacarpal.
clearly see how the hand This flexibility of the palm
becomes concave and a depression allows us to join the little
appears to be crossed by appears finger with the thumb and
three different arcs. inside the make other movements
The first is vertical, palm that would not be possible
goes from the wrist to otherwise, such as
the fingertips and is squeezing objects.
called the longitudinal Even when we clench
arch which is flexible the skin of our fists it is evident
near the phalanges. The the hand that the fourth and fifth
other two cross the hand squishes like metacarpals come slightly
horizontally, one near
this closer to the center of the
see it like gap hand.
two forms
The arches of with different
the hand create movement
can’t see dimensions
concavities that index finger fingers
index finger help grasping seldom lines up are further
knuckle objects. with other apart
fingers

fingers fingers
bent and fingers bent straightened you can make
close to holding small on large flat this line curvier think about
each other flat objects object by pushing fingers as they
stylization were cylinders
12 13
HANDS ANATOMY

When we close the hand

into a fist, the fingers flex
and the thumb adducts.
The palm of the hand is
partially hidden and the
adductor muscle of the
thumb becomes more
prominent.
On the back of the hand,
the knuckles, where the
extensor tendons of the
fingers pass, become hand is
much more evident. curved,
The knuckles have a not flat
vaguely pyramidal shape
with variable roundness
longest
and arise at the union
finger
between the heads of
the metacarpal bones skin folds
and the bases of the first when closing
phalanges. fingers
There are four knuckles Knuckles are arranged along Index finger doesn’t follow
and are formed at the the distal transverse arch, the others also because it is
upper intersection which is slightly raised at pushed up by the adductor
between the fingers the middle finger. pollicis muscle.
and the palm.
To stylize the hands, ►

14 15
HANDS
► I recommend starting
with a study from real life.
After copying the subject
in front of you and making
sketches of it - do not
forget to identify the
shadows, you will need
them to understand their
volumes - then you can
proceed to redesign its
volumes and shapes by
simplifying their lines.
But how do you do it?
If your style is soft, you
can combine edges like
those created by fingers
or indentations like
those in the wrist, hand,
and forearm and simply
them with arcs or circles
instead.
16
ANATOMY
study from If, however, your style is
real life angular, you can try to
accentuate all the vertices
that are created in your
sketch and push them to
the maximum.
If your style is a mixture
of soft and rigid figures,
you can combine circular
and pointed shapes.
Experience as you wish
stylization and be creative!
from copy
Ring and middle
study stylization fingers can often
The phalanges will be be combined when
more or less visible stylizing
depending on the
size of the object
they grasp.
If the grasped
object is very large,
in a profile view we
will only see a small
portion of the fingers.
17
 ANATOMY
connect hips
HIPS & with a straight
line
gluteus
external
LEGS
The muscles of the torso
oblique imagine a medius and legs are separated
thong when by the iliac crests, so the
leg drawing gluteus
protrudes hips lower end of the external
Several movements such more maximus obliques will not connect
as walking, jumping,
to the legs but the iliac
running, etc. depend on
bone instead.
the muscles and tendons
In drawings, it is important
connected to the hips.
to remember both the
The hip region is located
squish swelling of the hips formed
anteriorly and laterally
bending hips from the oblique exterior,
with respect to the gluteus ASIS are
more tilted! and the deeper set point
region and between the back profile
weight view view corresponding to the iliac
iliac crest and the greater on this
leg bone and preceding the
trochanter of femur, which leg
bends legs: this point is what we
is the major bone of the here bending commonly call the hip.
leg. area
curve The women’s pelvis is
Its sides are identified
very different from the
by the protrusions close
men’s: the hips are wider
to the groin where the
and they anticipate the
superior iliac spine comes
curve of the legs, ►
out: the ASIS.

symmetry contrapposto

front back hips

below side hips are
zone is
view the
view missing!
showing
gluteus
protrudes
from the
legs
if we sit
on a plane
surface the
gluteus will
compress

iliac
bone
with
curve
one leg
flexed, from
below we will
only see the round
hips the oblique when we
gluteus of
appears flat exterior does hold weight
that leg flat
from the sides, not connect on one leg,
while gluteus directly to the hip line
seems round the leg round tilts

18 19
HIPS & LEGS ANATOMY

men woman #1 woman #2

the iliac bone, in women
hip hip hips the greater (or false)
bones external bones are shapes gluteus pelvis is shorter than in
are very oblique not that vary is not
visible visible showing men. This contributes to
much the different shape of the
narrower wider wider narrower gluteus in both sexes.
hips angle hips hips The lowest limb is the
appendix that joins the
legs go legs go legs go trunk in its lower part. In
wide narrow narrow the healthy subject there
are two, the right and
the left, of equal length.
The lower limbs in ►
narrower
shoulders gluteus
than men area

The thong
external
oblique technique can
help you even
wider with difficult
squish gluteus angles.
and hips
leg
bending
here

wider gap
more between
weight legs
on this The women’s
leg gluteus has
a different
shape than
men’s.
The pubis
is not flat
even in
women.

► which tenses towards
the inside, while in men the
legs are tighter due to the
narrower hip bone. This
difference in inclination
is named Q-Angle
and it is around 18° in
women, and 13° in men.
The women’s pelvis is
wider but also shorter
20
than the men’s one, so
the hips are less spacious
than in men. The pelvic
cavity of women is wider
and deeper to house the
reproductive organs,
while in men it is narrower.
In addition, the gluteus
in women are turned
outwards due to the
greater width of the pubic
arch, while the men ones
are turned inwards.
The women’s sacrum is
shorter, nearly flat and
curved forward in the hip
lower part. Also the
coccyx is more movable
than in men.
As for the posterior part of
muscle
21
HIPS & LEGS ANATOMY

Women’s hips are The distance Women’s thighs The distance Men’s thighs
Men’s hips are
wider than those of between the glutes is protrude laterally from between the glutes protrude laterally
narrower than
men but their waist more pronounced in the pelvis more than is less pronounced from the pelvis less
women hips.
is narrower. women. men’s. in men. than women’s.

► humans are mainly ankle - are articular. the limb between the hip the protrusion of the tibia. the front of the knee and quadriceps, the most
used for locomotion and The hip joins the lower and the knee. To draw the legs it is its position is fundamental voluminous muscle of
for maintaining balance limb with the trunk The leg is the portion of essential to remember for extensor movements, the human body and
in an upright position. and, thanks to the coxo- the lower limb between that between the upper since the quadriceps the antagonist of the
Proceeding downwards, femoral joint consisting the knee and the ankle. (thigh) and lower (leg) femoral muscle interacts hamstring, which is
the lower limb is divided of the acetabular cavity While the calf is the there is the knee joint at its upper apex and the placed in the upper and
into six regions which and the head of the femur back of the leg located which is composed of the patellar tendon at the lateral part of the thigh.
are the hip, thigh, knee, housed therein, allows the between the knee and femur, the tibia and the lower apex. The quadriceps is so
leg, ankle and foot. Three mobility of the limb. the ankle, the shin is the patella. In the front of the thigh called because it consists
of these - hip, knee and The thigh is the portion of front and is identified by The patella is located in there is the femoral of four heads: the rectus ►

22 23
HIPS & LEGS ANATOMY

To draw the legs it is Then you have to connect The legs protrude tensor
fasciae
necessary first of all
to let them rest on
the two curves on the
outside of the leg to
inside and are flat
on the outside at
sartorius latae
a plane. the patella. the knees.
tilted
bone bone

draw
curves
ground
plane helps vastus
making the rectus lateralis
body less femoris
floaty straight muscle
line
vastus
medialis

Avoiding symmetry The center of

CONTRAPPOSTO makes the pose gravity in women is
more dynamic. lower than in men.

center
of
gravity

center
of
gravity
► femoris, the vastus into the patella.
medialis, the vastus The quadriceps allows us
lateralis and the vastus to maintain the upright
intermedius. The vastus position and is essential
intermedius is situated for walking, as it extends
beneath recus femoris. the knee.
These four muscles merge The role of the rectus
weight bending knees together into a tendon femoris, on the other
engaged free leg mostly on inward makes that appears unique, but hand, is to flex the hip,
leg (usually bent) one leg pose more is actually made up of bringing the thigh closer
feminine several sheets, which fits to the pelvis.

24 25
 ANATOMY

FEET In a standing position,

the foot is divisible
into two surfaces: the
The foot is the terminal plantar and the dorsal.
part of the lower limb,
connected to the leg
through the ankle, which left
allows walking and foot
balancing the body in an
upright position.

L R
The parts of the foot are the
heel, which constitutes the simplify
rear end, the metatarsal,
which constitutes the front,
and the five toes, which balance
reduce in size as you move
to the outside of the foot.
The metatarsal bones and dorsal
surface
phalanges of the fingers
- proximal, intermediate
and distal - form the
forefoot. The big toe does
not have an intermediate
phalanx. fat pad plantar
surface
In hands, In feet, they are
the muscles are located both on
located in the the sole and on
palm only. the back.
R L

right inner ankle

is higher! curve
foot

26 27
 ANATOMY

POSES & feet composed by

GESTURES poses C & S curves
arms relaxed
are too arms lean
To create balanced and long back
proportioned human
figures, anatomy lessons
are not enough. To
narrate a story without
making a massive use
of dialogues, it is also
necessary to consider elbow is
the body language, or pointing in
kinesic system, which the wrong
is part of non-verbal direction
communication.
Body language includes:
eye movements, facial
expressions, gestures,
elbow elbow
body language and doesn’t points
posture. point down
up!

Arms can
Imagine the
be simplified
rib cage as a
as cylinders in
reverse heart.
perspective.

consider
arms
radius

consider In visual arts, C and the figure is standing with than the symmetry used
arms length S curves can be used most of its weight on one on kouros and kore of
when arms
are closer to to create dynamic foot, moving the center of Archaic Greece (800-480
the body compositions. They can gravity asymmetrically to BC).
be applied both to the one side. The contrapposto was
human figure in an upright The contrapposto is a then taken up both as
(contrapposto) position, technique used since 480 a sculpture style and
middle and to the individual BC by the Greeks to create as a drawing by Italian
hand part elements of a painting sculptures of human Renaissance artists such
is often or an illustration. The figures that appeared less as Donatello and Leonardo
visible contrapposto occurs when static and more relaxed da Vinci.

28 29
POSES & GESTURES ANATOMY

Studying Studying round back try to maintain

proportions gesture and when relaxed/ balance if it is
separate slouching a resting pose
and anatomy action hands see both
legs as one
for more form
strength

Simplify
forms to
looks like make action
posing rather clearer!
than actual
action show simplicity
weight adds
drama
don’t
dwell on
details use when you
C-curves, draw bodies
intense LINES and in motion
simplifying lines angles S-curves
can make pose
more fluid

index finger
often stands
out from other
fingers

Try seeing
knuckles
and finger
tips as arcs.

30 31
POSES & GESTURES ANATOMY

deltoid muscle
connects to puffed
Crossing the arms in front the collar bone out chest ► uncomfortable but
of the body denotes a torso is can work they are trying to protect
arms but looks
defensive attitude towards not in upper stiffer or console themselves.
front arms are pressed
the environment or other
tilted too much There are also disguised
people in the room. forward to the ways of crossing the arms,
If the arms are stretched it body such as touching a bag,
arm
can indicate the prelude is in a watch or a bracelet.
to a physical or verbal front This is an unwitting
assault. gesture that takes place
If the arms are more to put a sort of protective
relaxed but always barrier between us and
crossed, it can indicate can be the interlocutor when we
less tilted
that the person is not elbow with relaxed discuss or when we walk
comfortable or insecure. is not shoulders hands in open spaces.
If the hands embrace a sharp are angled more
angle and hook
the arms, it can mean arm muscles on arms relaxed
that the person is ► curve into
elbow
correct slightly severely
but tense arched hunched
Create a We can cross posture posture posture
rectangle under our legs thanks
the figure to to the sartorius
help you with muscle of the
perspective. thigh.

Posture says
a lot about your
character’s
lifestyle.

Different
people have a
different body
language.

32 33
 ANATOMY

FIGURE Drawing the same

subject from different
angles helps to understand
STUDY the volume of the body. halftones

high
lights
The study of the human
figure, preferably from
life but also through
photographs or 3D models,
is the best way to approach
lear ning anatomy.
Knowing the function of
each muscle, bone and
ligament is not enough to
create natural and dynamic core
figures. We must also shadow
consider how light falls on
the body, its proportions
and its volumes.
For this reason, practicing
live drawing and shading
is recommended to bring The cast shadow
your figures to life. is often located at the
meeting point between
light and shadow.

rim
light

Light
changes
based on
the viewer
and the
light
source.
Same The chiaroscuro in a light source. Environmental elements
light, drawing identifies In a figure, we can identify close to the subject
different illuminated and dark different areas of light, can reflect a light on it,
angles.
elements in it, and helps halftone and shadow. which is called reflected
to give the illusion of 3D The lighter parts are the light. The shadow that
to drawings. To apply highlights, the darker the subject casts into the
it on a subject we must parts are the core shadow environment is called cast
consider how we perceive and the middle points that shadow, which for its part
it through our eyes, based are illuminated but do not can reflect on the subject
core on the position of the reflect the light are the creating a reflected cast
shadow viewer, the object and the halftones. shadow.

34 35
▌HEAD
In this chapter Miyuli will show you how to
draw the head in its front and in its profile
view and what are the most common or
ideal proportions for the different parts of
the face.

She will present the volumes of the head

and how they are perceived when viewed
from different angles and the stylistic
simplification starting from life-drawing.

She will deal with the different shapes

of eyes and noses and how these two
elements are closely connected in a face.
Furthermore, she will show you some face
variations due to the creative use of the
different features and how to arrange the
hair above the head.

Finally, a part of this chapter is dedicated

to kisses and some tips on how to draw
them.

I hope you can learn some new tricks to

speed up your work.

Happy practicing!

L.C.
 HEAD

FRONT & 1. BROWS Draw a proportionate

egg, then experiment
profile 3/4 profile

PROFILE
To draw a human head
with different facial 4. EARS in a frontal view, we
features. can draw two circles, a
larger one whose highest
Since the Paleolithic
point corresponds to
and from the first rock 2. EYES the skullcap and the
carvings dating back to
lowest point of which
around 38,000 BC, the 5. MOUTH corresponds roughly to
human body has always
the tip of the nose. We
been the center of artistic
then trace the vertical
representation and it has
diameter of this circle
always been the primary
and further extend it by
means of creating art.
a measure corresponding
Since then, numerous 3. NOSE to the length of its radius.
artists and art theorists 6. JAWLINE only this
have come up with rules
eyebrow is part visible From the point where
for drawing the human
wrapping from this the diameter touches
body, starting with the
around angle the first circumference,
we trace a second with a
shape of the head to all its space between
cheek is radius approximately 1/4
features. Other variables: cheeks, neck not flat! the eye and smaller than that of the
Let’s see some of them. thickness, hair and facial hair, the nose bridge
gets smaller other circumference.
freckles, moles, scars...

eye is
further
from the
nose
bridge
muscle
starts
The The under
imaginary human ear/jaw
circles we use skull flattens
to build the head at the temples.
in front and in jaw is
profile views further
are different back
in size and
shape.
plane
change

eyebrow
highest
point

there is
not that much
shadow under
the jaw
38 39
 HEAD
hairline
HIGH AND LOW arc
Pay attention to the distance In the backside view,

ANGLES
between facial features to the space between ears
wraps
around get proportions right. and nose gets shorter.

As long as the head view nose looks

is frontal or in profile, the shorter
difficulty of realization is
minimal. When drawing
it from below or above,
however, there are some low jaw
angle line
precautions to be taken.
To simplify the work we
turning
can inscribe the head in the head
a cube, with each face may help
divided into four parts, making the
perspective
and put it in perspective. clearer
This way, the horizontal
line that cuts the cube will
pass through the eyes and
ears, facilitating the task.

long
short

shorter
space
longer
nose

If we applied the cube of the distance between If we pass over the head
technique to a more the individual features, to below it, the distance
realistic head, however, such as that between the between the cheekbone
we would soon realize that nose and the eyes or that and the chin lengthens
shorter it would make it difficult between the cheekbone because of perspective.
nose for us to draw horizontal and the chin. In general, the forms
head rotation. Moving from the profile furthest away from us
For this type of view, it to behind the shoulders appears smaller, and
is necessary to consider of our figure, the distance those closest to us appear
the section of the head between the nose and the larger.
as an ellipse and the ear is shortened, finally The high, the low and the
enlargement or reduction hiding the nose. eye-level angle shots ►

40 41
VOLUMES & ANGLES HEAD

► are cinematographic
framing techniques with
different psychological
effects on the observer.
In the high angle shot, the
camera is placed above
the subject and looks at
it from above. It is usually
used to make the subject
small and vulnerable to
the observer.
In the low angle shot, the
camera is placed under
the subject and looks
at it from below. In this which will be in a
case there is an opposite subordinate position. Both
effect to the high angle of these angles can serve
shot, where the subject to make a shot more epic
will appear threateningly and dynamic, whether
strong and powerful cinematic or not, as well
compared to the observer, as to establish power
relationships between the way a neutral and free of
characters involved. hierarchical relationship
The eye-level shot is created but the drama of
involves the camera or the scene is also reduced.
the eye of the observer
at the same level as the
observed subject. In this

42 43
VOLUMES & ANGLES HEAD

The face is made

of indentations and
protrusions; the
leave some
trick is to figure out (usually one
where to place them. eye wide)
space for
Under the eyebrows this plane
we have an indentation
corresponding to the
orbital cavity. Under
the eyes we will have a
protrusion at the lower this
eyelid. On the sides of lateral plane
volumes reaches the
the nose we have two are not maximum
‘slides’ that make the nose symmetrical the width in
mouth is profile
three-dimensional and centered
correspond to the nasal with respect
to vertical
muscle. Under the mouth define light the
we have a dimple at the
axis
source and eye is
apply hidden
orbicular muscle of the shadows from
lower mouth. behind

shape realism volume cartoon

stylization analysis style

44 45
 HEAD

EYES Sight is one of the most

The eyes are the primary
organ of the sense of
sight. The eyes of fictional
characters, however, are
not only the tool with which
they see and interpret
their world.
Together with the
eyebrows, they convey
a lot of information on
the characters’ mood,
ethnicity and age.
Authentic emotions -
anger, happiness, fear,
surprise, sadness - almost
always involve the eyes.
Disgust and contempt,
conversely, do not always
involve them.
developed senses in the
human being and is used
to observe and interpret
the eyes reality.
are sunken
compared But how does vision work?
to the The light penetrates our
eyebrows pupils and imprints itself
in the retinas through
the visual receptors, the
cones and the rods, and
is converted here into
neural impulses which are
sent to the primary visual
cortex through the optic
nerve.
Inside the visual cortex
are binocular cells, which
receive information from
the two eyes relating to
the stimuli present in a
Characters of different When drawing eyes, imagine certain point in space.
ethnicity and ages will have a portion of a sphere From here, the raw
different eyes and eyelids. surrounded by the eyelids. information passes ►

The
eyes do not
rotate! It is
the eyelids
that change
shape.

46 47
EYES HEAD

► to the secondary and to organize the flood of

tertiary visual cortices,
child adult information coming from
or associative areas of nasal outside through the sense
vision, which analyze, dorsum organs, selecting some
children’s
recognize and interpret eyes are bigger and ignoring others. In
the images processed by compared to practice, we focus our
the primary visual cortex. their face mental resources on some
But if the nose is right stimuli or information at
between our eyes, why the expense of others.
root
don’t we see it? However, we do not know
The nose is within our bridge their nose if this selection takes
field of vision so we and nostrils place before the brain
always see it. It is our tip are smaller processes the content
brain that decides than adults (early selection theory,
septum
to ignore that visual Broadbend - 1958), or if
stimulus, since it is of little nostril there is no filter between
importance because the their lower the elaborated stimuli
nose does not move and is eyelids and the brain and we
not necessary for vision: are less use selective attention to
this mechanism is called protruding elaborate a response (late
than adults
selective attention. selection theory, Deutsch
Attention is a cognitive & Deutsch - 1963).
process that allows us

various nose and eyes styles different profile styles

higher
nose tip
makes
profile
younger

48 49
 HEAD

FACIAL rounded
edges
pointy
edges
EXPRESSIONS
try
pushing
Facial expressions are eyebrows
a form of non-verbal to the teeth only
eye move up
communication that and down
conveys an individual’s with jaw
emotional state to people
who observe it through consider
tilting the
the muscles of the face. ‘bean’ ‘sharp’ head
Facial mimicry can be mouth mouth
spontaneous or simulated
and is the primary means experiment
of transmitting social with mouth
shapes
information between
humans and differs
according to cultures. SQUASH!
Some primary emotions,
however, are universal. consider
raising
These are: surprise, fear, shoulders
disgust, anger, happiness wrinkles
add to the
and sadness. upper expression
lip is
Consider pushing the raised
eyebrows towards the eye
more for a stronger The set of
expression. social rules
that controls the
manifestation of
specific emotions in
certain contexts and
cultures are called
display-rules and are
lear ned both by
SADNESS HAPPINESS ANGER teaching and
by imitation.

Expressions
can have
different
intensities. True
emotions, which
are not simulated,
are almost always
Indicating a shadow symmetrical and SURPRISE FEAR DISGUST
underneath the mouth they last only
can make the expression briefly on the
stronger. face.

50 51
 HEAD

FACE Even within the same

ethnic group, children
VARIATIONS appear different.

The human face varies

based on a number of
factors: chiefly age,
ethnicity, and gender.
The genotype (genes)
and other environmental
factors all contribute to
the morphological and
physiological traits of the
person.
However, there are also
phenotypic variations
due to random factors.
If these variations were
not there, there would be
no evolution by means of
natural selection.

Phenotype, genotype and

environmental factors
contribute to these
differences.

In
children,
Cheeks
the jaw
in
is much
children
smaller
are more
compared
plump than
to the The set of all the The color and shape of organisms with the same
in adults.
head.
m o r p h o l o g i c a l the eyes, cheekbones genotype can manifest
and physiological or mouth are part of different phenotypes, as
characteristics manifested the phenotype and are in the case of homozygous
by a living organism is manifested on the basis twins: if they live in the
called the phenotype. of the genes contained in same environment, they
The phenotype the genotype. However, will tend to grow and age
depends strictly on the environmental factors, similarly; If subjected to
Face
variations genotype, which is the hormones, lifestyle and different environmental
also affect genetic construction other random events stimuli, they will age in
nose profile, of the organism, and is during development different ways.
hair, chin expressed only to a small can also influence the
and eye depth,
ears, etc. extent in the living body. phenotype. For this reason,

52 53
 HEAD

KISSING pointers
to indicate Draw the
Now we know how to draw perspective heads
like two
a proportionate head from ovals with
different angles but what a horizontal
happens when two heads arc of jaw line circle for
are very close, almost the eye indicates the eyes.
indicates perspective
intersected, like when perspective
kissing?
The vertical axes of the Then
two heads usually tilt identify
in opposite directions. the
Features change as well: hairline,
ears, eyes,
the lips purse in simple can you eyebrows,
kisses or open wide in see under and
French kisses. Sometimes the jaw? jawline.
how
noses are crushed against close is
the cheeks of the other the eye From
person. The neck leans to the hair line there you
nose can help
forward, or it moves back bridge? establish can continue

into the shoulders. perspective with the nose,

mouth and
Let’s see together how lips.
to draw these extremely
difficult positions.

From a profile view, we When viewed from

will see the nose and upper behind, one character’s
lip of the character with will partially cover
the head closer to us. the other.

both heads pay attention eye level nose variations

are eye level to the eyelid overlaps eye level
arch
low angle
shot low angle a lot of
shot overlap camera
(mouths looks
shoulder over the
leaning are not shoulder
chin back visible)
overlaps

54 55
KISSING HEAD

You can also experiment To help you with the

drawing kisses with open poses, try to sketch them The hands and shoulders
mouths and eyes, or with from memory and use some play an important role
both faces covered. references to fix them. during the kiss.

Philematology, from the
Greek ‘philos’ which
means ‘love’, is the
science that studies
kissing, its meaning in
different cultures and its
functioning on a biological
level. The kiss involves
several facial muscles
but mainly the skeletal
muscle that surrounds
the lips, the orbicularis
oris. Simple kisses can
involve a limited number
of muscles, complex
kisses can involve over 30
facial muscles and over
100 postural muscles. The
calories consumed during
a kiss range from 5 to 26
per minute. During the
kiss, the couple exchanges
saliva, proteins, organic
substances, fats and
sodium chloride. Bacteria
can also be exchanged,
although 95% are not
pathogenic to people
with functioning immune Despite these studies,
systems. we are still unable to
During a kiss, the understand the exact
hypothalamus and function of the kiss. For
adrenal glands are Charles Darwin, the
stimulated to produce kiss was a gesture of
hormones, including sociability, with the aim
dopamine, endorphins, of being recognized and
and serotonin. establishing relationships
That’s why during the kiss between human beings.
there is an increase in However, in 10% of the
blood pressure and heart cultures of the planet, the
rate, which can also cause kiss is not included in
redness of the cheeks. customs and traditions.
In western society, the
function of the kiss is
to establish intimate
and close contact with
loved ones. Kissing in
public is a generally
accepted practice in
Western societies, but it
is not well seen in Asian
countries. Furthermore,
in certain societies, the
kiss is not seen only as
a loving gesture but can
have other meanings. In
Europe there is the use
of kissing on the cheeks
between acquaintances
and friends, sometimes
involving only men and
women, other times, as
in France, also men and
men. Sometimes there are
two kisses on the cheeks;
in Orthodox cultures there
can also be three.

56 57
 HEAD

HAIR partition
of the fringe
Hair is a characteristic can vary
part of the body that hair whorl
varies in color, thickness (also called
and section of the hair also crown or
swirl)
according to the ethnicity circular
and gender of the person direction
and other factors.
The hair is mainly
composed of a protein
called keratin, its color,
however, depends on the
melanin present in the The hairline ...it also changes ...and it is
follicle. The follicles are changes based on according circular around
center
inclined approximately 75 point genetic factors... to gender... the ear.
degrees on the scalp and,
when they are long enough,
The hair
their weight makes them
protects the
fall on the head with a instead of a head from
certain volume. center point, the sun and
the hair don’t forget exposure.
partition can this part of
be a line the back

Don’t draw individual Start from the part

hairs. Divide them to make the locks
into locks. fall on the head.

58 59
▌FORESHORTENING
Foreshortening is a type of perspective
that gives the illusion of depth applied to
an object.

Although it may seem easy to apply,

perspective is not just the application of
geometric rules. It is a distortion, applied
by the artist, to an object situated at a
certain distance from the observer or
seen from an unusual angle, which can
be high, low or artificial as in the fish eye
perspective.

In this distortion, the parts of the figure

that are closer to the observer will appear
unnaturally large and the most distant
parts will appear very small.

The illusion of perspective created by

foreshortening allows the observer to
reconstruct the figure in their head and
figure out its exact proportions.

If applied in the wrong way, foreshortening

can seem artificial, so you need to know
the rules to make it look as natural as
possible.

L.C.
 FORESHORTENING

FULL-BODY neck
neck pushes
In bent figures seen from
pushes forward above it is important to
In a foreshortening view back
the human consider the curvature of
of a human figure, the
whole figure apparently body is not the back, with the shoulder
a cylinder! blades protruding from
shrinks, with consequent
the curve.
densification of the parts
The shoulders will also
of the body, that look
be wider and the legs will
closer together. the back appear smaller.
From an high angle, the is more Also pay attention to
torso can be simplified in visible
when where your figure rests to
a parallelepiped inclined
backwards and the pelvis bent bent make it look natural and
not unstable.
in a parallelepiped balance Place it on a rectangle in
inclined forward. shapes perspective seen from
The legs are similar to cone
above, as if it were the
trunks which in women are
pedestal of a statue, and
closer at the knees, while
use it as a base to build
in men they are closer
your full body figure.
at the attachment of the
over-
femur. lapping straight
shapes consider the side top
tilt of the rib
cage and hips

the tilt of the pelvis overlap

causes the gluteus still
to protrude more applies
Relaxed arm
is not straight
from above

deltoid is
wrapping
around
women’s legs men’s legs
generate a generate an
‘V’ shape ‘A’ shape

with the general general

pelvis tilted, shape shape
the belly will direction direction
stick out in women in men

62 63
FULL-BODY FORESHORTENING

hair falls
shoulders to the front,
Foreshortening is very twist the shoulders higher too cleavage! To emphasize its drama,
different in visual arts and too slightly to indicate you could enlarge the
flat! perspective seam
in photography. While a size of the objects in the
camera will greatly distort foreground instead or

line
a figure in perspective, reduce it for objects that

straight
the artist will have to are further away, for a
mediate the optical effect more dynamic effect.
to make the view seem Foreshortening in the
more natural and similar we can’t angles visual arts was applied
see under of thighs
to that of a real eye rather
the chin & shoes for the first time in the
than that of a lens. from this early Renaissance by
To obtain a less dramatic angle shifted to shoulders Paolo Uccello, Vincenzo
one side behind collar
effect, just reduce the size the ear Foppa and Andrea
of the object (or part of Mantegna. Starting from
the object) that we see the Renaissance and up to
in the foreground. In this the Rococo, this technique
way, the parts of the object too was widely used to give
closest to the observer parallel the illusion of depth
will form a harmonious in art and inside two-
ties
whole with the rest of are pose is dimensional supports.
the figure. long not parallel
but shift

shoulders head body

are too low turn structure women men’s
relaxed varies and men body
shoulders distribute is often
shoulders start at between
fat sharper
too stiff ears from males and
than that
this angle females differently
of women

when arms
legs are relaxed
are too in lap, elbows
parallel are closer
to torso

Inscribe
the figure in a
leaning parallelepiped leaning
back to help you with forward
perspective.

64 65
FULL-BODY FORESHORTENING

parallel three-point
To represent solid figures perspective perspective
on a plane, we resort to
graphic representation
techniques called
projections, where the
solid is projected onto a
plane through projection
lines generated by a
center of projection,
called P. If P is at
infinite distance from
the object, we will have
parallel projection
lines and consequently
a parallel projection
or perspective.
Orthogonal projections
and axonometries
are included in this
category. These types
of representations are
widely used in technical
drawing. parallel converging
However, if P is located lines = infinite lines = finite
center of center of
projection projection

at a finite distance from human eye. fifteenth century by

the object, we will have The P of the central Filippo Brunelleschi
divergent projection perspective coincides but his rules will be
lines generated by the P, with the vanishing point established only later by
called vanishing point. and is located on an ideal Leon Battista Alberti in
These projections are straight line that starts from his theoretical treatise
called conical or central the eye of the observer De Pictura (1436) and by
projections. The different and fall perpendicularly Piero della Francesca
types of perspective fall on the pictorial plane. in his De prospectiva
into this cathegory that The linear perspective pingendi (1475).
simulate the vision of the was developed in the

66 67
 FORESHORTENING

HEAD, NECK &

SHOULDERS show
overlap hairline
with nose at the
The shoulder is the point and temple
of the human body where mouth points at
the arm connects to the brows
torso and it includes three arch
bones: the clavicle, the
scapula and the humerus.
The joint that connects ears
them is among the most
mobile of the whole human
body, allowing the rotation
of the arm in all directions.
The shoulder joint is
where the head of the
humerus (convex) fits into
the glenoid (concave)
cavity of the scapula. forms
wrap
around
head

from below,
the collarbones
protrude from shoulder
the shoulder axis
axis

perspective
line
The shoulder, or shoulder major. The tendons known as the shoulder
girdle, is the joint that of the infraspinatus, or shoulder joint), the
connects the trunk s u p r a s p i n a t u s , acromioclavicular, the
the
with the arm, allowing subscapularis and teres sternoclavicular, the
clavicles many movements minor form the muscle- scapulo-thoracic, the sub-
form an thanks to its main tendon complex called deltoid.
arch muscles: the trapezius, the rotator cuff, a real The largest muscle of the
the infraspinatus, the protection that wraps shoulder is the deltoid,
deltoid, the pectoralis around the head of the which has the function of
major, the supraspinatus, humerus. In the shoulder lifting the arm but also
the subscapularis, there are five joints: the of moving the shoulders
teres minor, and teres glenohumeral (better forward and backward. ►
68 69
HEAD, NECK & SHOULDERS FORESHORTENING

► The trapezius is located The trapezius head is

between the back of the
muscle and the wider at Identify perspective
shoulders form the back
neck and the dorsal part a triangle!
and point of view
of the thorax. It is part of before drawing
a body!
the spinoappendicular
cheekbones
muscles, the most gradually
superficial back muscles, overlap
and is divided into 3 parts jaw the
which are called, from top higher the
to bottom, descending, angle
transverse and ascending
and have a different
muscle fiber pattern.
The upper fibers act in the
elevation of the scapula
or in its strengthening you can see
during the transport of the backside
weights, supporting the of the deltoid normal
muscle only angle
weight of the arm.
at extreme
The medium fibers high angles
develop almost
horizontally from one

In high angle In contrapposto

shots, the lines the twisting of
converge towards a figure on its
a vanishing point vertical axis can
situated under be simplified in
the feet. a serpentine.

shoulder to the top, during the rotation of the trapezius muscle and the
and are used to adduct scapula and all the fibers deltoid contract, gaining
the scapula towards of this muscle together mass.
the vertebral column, help to stabilize it. When we abduct the
retracting it medially. The trapezius extends, humerus (we raise the
Moving one The lower fibers allow rotates and tilts the head, arms assuming the typical
The
part of the
shoulders you to move the scapula both on the horizontal T shape), the deltoid is the
body forward
are tilted downwards, that is, axis and on the side. muscle most at work up to
hides the
forward. depress it, and rotate it When we lift our arms and 90°. From 90° upwards, it
others.
medially. we fold them, moving the is the trapezius and the
The lower and upper hand behind the head, serrratus anterior muscles
fibers are both activated both the descending that are doing the work.
70 71
 FORESHORTENING

ARMS & side view foreshortening

no
references
with
references
BACK In the side
view we can
hardly any
overlap
shows
trapezius
muscle
overlaps
The back is the rear
part of the trunk and it
can be divided into two
The arm (humerus) and
see the exact bust is regions: the thoracic area,
arm length bust shorter which is the upper part
forearm (ulna and radius) is too and is connected to the
are connected to each long breast
is too upper limbs and thoracic
other via the elbow joint. high organs, and the lumbar
When we flex, i.e. bend, shapes like area, which is the lower
the arms, the elbow will this instantly
protrude outwards at the create the part and is connected
illusion of stick to to the lumbar spine and
olecranon, an extension perspective perspective! abdominal organs.
of the ulna which prevents
normal low The muscles of the back
the elbow from being
determine the posture of
inwards. forms the lower
or higher the body and control the
When we extend the get wider
forearm, the elbow will not without much the angle, movements of rotation,
overlap the more flexion and extension of
protrude from it because
here overlap the trunk. Furthermore,
the olecranon fits into a there is they protect the organs of
pyramidal depression of
the chest and abdomen,
the end of the humerus,
forming part of the walls
called the olecranon fossa.
that isolate them from the
outside.

Comparison
between female
and male
bodies.

wider
shoulders
thinner
waist broader
back

Women Men
accumulate accumulate
fat in the fat in the
arms glutefemoral abdominal
the arm get bigger area. area.
shape lacks shorter the closer
consistency distance they are
72 73
▌ CLOTHES, FOLDS
& SHOES

Clothing consitutes the apparel and the

accessories worn by a person, that define
their external appearance and which can
have a social or cultural meaning.

There are several hypotheses on the

birth of clothing and experts situate it in
prehistory but the precise moment seems
to coincide with the migrations of Homo
Sapiens from Africa to the north, which
occurred between 50000 and 100000
years ago.

The use of clothing is a custom born

both to protect the body and to perform
a symbolic and psychological function,
such as wearing the skins of killed animals
to be accepted within a social group or to
communicate one’s social status.

We could not retrace the whole history of

costume in these few pages but Miyuli will
share with us some ways to draw clothes.

Let’s see them together!

L.C.
 CLOTHES, FOLDS & SHOES

CLOTHES gambeson or aketon

is a quilted and
bevor (chin defense)
pauldron gauntlet cuisse
padded armour upper cannon breast & back plate poleyn
Clothing can either It is a jacket with couter fault greave
perform a practical
padded layers that lower cannon tasset sabaton
varies in thickness
function, as it protects and weight, made
from the sun, from the cold of linen, cotton
and from the wind, and an
or wool.
aesthetic or a symbolic It is often
function, as in formal or combined with
religious dresses.
mail and plate
and it can
The latter two are deeply be used as a
linked to the location and winter coat or
culture of the different
as an armour.
human communities. PROS: Protects
Clothing is also a against cuts,
product of the textile
piercing and
blunt weapons;
industry and, as such, is a very thick
linked to technological gambeson could
development and to the
even protect
against arrows.
materials used, to the
trend of fashion and to CONS: It is weak
consumption.
against very
sharp swords

The use of
trousers
has been
documented in
figurative arts
since the Upper
Paleolithic.

From the first millennium experienced rapid to produce.

BC, the use of animal growth due in part to the In the following centuries,
skins as clothing was increased demand for textile production
superseded by the use fine fabrics by European remained strongly
of spun fabrics, while the nobility. Starting in the linked to economic and
invention of the dyeing of Middle Ages and the technological growth;
fabrics was attributed to Renaissance, quality of this was helped by
the Phoenicians, creators clothes increased for by inventions like the
of the highly prized the less-affluent classes loom by Joseph Marie
purple. after the invention of Jacquard in 1790 and the
Since the first millennium fundamental tools such as sewing machine by John J.
AD, the trade of fabrics scissors and steel needles Greenough in 1842.
between East and West that made clothing easier
76 77
 CLOTHES, FOLDS & SHOES

FOLDS tight large tight large

Before designing clothes,
it is always necessary
Each garment affected
to start from the human
by the force of gravity
figure below them.
will generate folds, which
The folds of the clothes,
will vary according to the
in fact, are strongly
fabric it is made of and its
influenced by the
weight, how it has been
physicality of the body
sewn, how much it adheres
that is below them, by the
to the body and the volume
material of which they are
of the body it covers.
made and by the way they
To draw the folds, it is
are sewn. The fabric can be
necessary to think of them
folded if it is compressed
in spatial and in physics-
or stretched if the body is
related terms.
under tension.
In this section we will see
Furthermore, if the fabric
relatively light fabrics
is elastic and tight, the
such as cotton or thick like
garment will adhere
wool, and the folds they
more closely to the body,
create when falling on the
following its shape.
body.
The thickness of the fabric
also affects the folds: in
thick fabrics the folds ►

seams are
low on wide
sweaters

stretching
point

there are a lot breasts create wide sweaters really wide gravity acts the folds converge
of drop folds in more folds curl at the sweaters might on how the at the stretching
wider clothes under them sleeves have droopy sleeves folds appear point

78 79
FOLDS CLOTHES, FOLDS & SHOES

► will take on the typical thick cloth compression fabrics: 1) Pipe folds, as
angular shape; in thin no (less folds) folds in gathered skirts, where
fabrics the creases will tension the folds are vertical
fall softly as in a liquid. and open downwards in
Also, wide clothes will where semi-cylindrical or semi-
tend to fold back on itself, is this conical shapes; 2) Zigzag
going?
like an accordion, and folds, as in the sleeves of
they will generate more folds on jackets or trousers, are
visible creases also due to lower arm folds that are formed in
too point to
the force of gravity acting elbow stretch pieces of fabric sewn into
on them. parallel zigzag folds a tube; 3) Spiral folds, a
In clothes, the folds are thin cloth wide cloth folds variant of zigzag folds,
concentrated in the part of (more folds) (large) which occur when the
the fabric corresponding fabric is soft and tneds to
to the joints, creating folds cloth is roll up on itself around a
radiate too wide
compression folds. If from and stiff tubular shape such as the
we extend our arms, bending to bend sleeves of a sweatshirt; ►
some linear folds will area above
form where the garment
The seams of the
extends: these are two
avoid sleeves are not
called stretch folds. parallel half-lock exactly vertical
There are different types folds folds but they slightly
of folds that we can find in point upwards and
outwards.

use folds to
show twist

Clothes can
be used to
show the
movement
of the body
under neath.

Gravity causes
the fabric to fall
according to
its weight and
thickness.

80 81
FOLDS CLOTHES, FOLDS & SHOES

► 4) Half-lock folds, which hips are

occur when a tubular tilted!
fabric suddenly changes
direction, creating
depressions in the fabric;
5) Diaper folds, which Two
Diaper
occur when a drapery is folds points of
hung at two points that support
support it while the part
in the center falls on itself;
6) Drop folds, a variation
wide narrow
of the diaper folds where
the fabric hangs from a
single support point and
falls downwards with a
conical shape, such as Drop One
trousers from the knee folds point of
or a hanging cloth; and support
7) Inert folds, are the
folds that are generated
on a firm surface, such as
clothes left on a chair or realistic stylized
on a surface. approach approach

The history
of trousers
is closely
linked to the
domestication
of the horse and
they have been
widely used in
Central Asia.

The oldest
trousers date
back to around
1300 - 1000 BC
and were found
in Xinjiang,
China.

82 83

SHOES
The shoe is a footwear
that protects the foot and
facilitates walking on the
ground but can also be a
design and fashion object.
The first shoes that we
know of are bark sandals
dating back to about 7300
BC from North America.
Shoes may have existed
before then, but due to
their perishable materials,
we haven’t discovered any.
The oldest leather shoes
were found in Armenia
and probably date back to
3500 BC.
Originally, the appearance
of the shoes was closely
related to their function.
The
shoe collar is
the upper edge
of the shoe from
which the foot
enters.
The shoe
collar can
be concave to
leave room for
the ankle.
84
To draw the shoes you
can start identifying the
shape of the sole and
put it in perspective.
Shoes are formed by the
sole, the part in contact
with the ground which can
consist of a single material
and a single layer or
have multiple layers and
materials. In this case, it
may have an insole, which
is the inner bottom of the
shoe, an outsole, which
is the layer in contact
with the ground, and a
midsole, a layer between
outsole and insole, often
CLOTHES, FOLDS & SHOES
goes
up
straight
curve
straight
line
high
cut
goes
up
at the heel of the foot to the upper with the sole is
absorb shocks. The heel called the welt.
is the back and bottom of The toe cap is the part of
the shoe that supports the the front shoe that protects
heel of the foot. Today, in the toes.
western countries, there The upper part of the shoe,
are high-heeled shoes the one where we insert
used widely by women. the foot, is called topline,
The upper is the upper shoe collar or cuff.
part of the shoe that holds
the sole in position and
can be decorated or have
buttons, laces or buckles.
The strip that connects
85
▌ BONUS
MATERIAL

We have therefore reached the end of this

creative journey.

This last part of the book is dedicated to

insights that it was not possible to include
in the previous chapters.

Here we have collected some tips on how

to deal with color, a fundamental tool
of visual grammar and a fundamental
element of artistic expression.

There are many ways to analyze color,

from physical to chemical, to get to the
psychological-perceptive one that will be
our topic of discussion.

Finally, Miyuli will give you some ideas on

how to draw cats, our beloved domestic
felines.

I hope this last chapter will inspire you to

create your own works of art!

L.C.
 BONUS MATERIAL

COLOURING DIRECT LIGHT

DIRECT LIGHT DIFFUSED LIGHT
(SPOTLIGHT)
The perception of color form shadow single local
changes according to (transition light colour more gradual
several factors: 1) the local from light to direction visible transition
shadow) reflected from light
color, which is the object’s light to shadow
own color; 2) the tonal reflected highlight
color, that is how the color light
bounce contact
varies according to the cast light shadow
lights and shadows on the shadow
(hard) (darkest)
object; and 3) the color of
the environment, the way
OVERCAST LIGHT highlight soft
in which the colors of the form
(DIFFUSED LIGHT) shadow
surfaces surrounding the hard cast
object are reflected on the shadow
object itself . light is
not from gradual form
The perception of colors transition shadow
a single
also varies according to source from light
the matter and size of the to shadow
observed object and the
cast contact
proximity to other colored shadow shadow
elements. (soft) (darkest)

high key mid range high contrast

with dark accent
bounce
light

The most important First, figure out Don’t overdo details

role of colour and your light sources, in unimportant areas.
light is to evoke the brightest and Simplify values for a
positive, hopeful calm drama, tension, emotions. warmest areas. stronger statement.
intense moments
The surface of an object The perception of the Daylight is a cold, white
low key with full range absorbs some light colors of an object light and colors, especially
light accent frequencies and reflects also varies according reds, appear more intense
mysterious, shows others: this property to the light source, the with this lighting. If the
dangerous, everything, determines its color. A intensity of the light and light is dim, however,
suspense informative
surface appears white the environment, i.e. the greens and blues
when it reflects all the the atmosphere that is will stand out, while the
radiation it receives, black interposed between the reds will lose brightness.
when it absorbs them all. eye and the object. The most neutral light ►

88 89
COLOURING BONUS MATERIAL

BLACK & WHITE SUNLIGHT OVERCAST LIGHT

► to observe the colors is
the diffused one, present
during the day when
the sky is slightly hazy.
The perception of each
color also changes
according to three
variables: hue, brightness
and saturation.
Hue is the actual
color of the object
and corresponds to a
particular wavelength.
If we add another tint to
a color, we will obtain
gradual chromatic scales,
as in the Itten circle, in the BACKLIGHT MOONLIGHT FAVOURITE
adjacent picture.
Joahnnes Itten (1888-
1967) was a painter and
teacher at the Bauhaus

exposing for shadow exposing for light

details
are in the details
shadows are in the
light

Suggest details Textures are hardly Change of coloured

to make viewers fill
in the gaps.
and it’s to him that we owe
the structural theory of
color, which studies and
organizes colors and how
they are perceived by our
eye.
Itten’s color circle starts
from the three primary
colors (red, blue and
yellow) that we see in the
90
visible in dark areas.
Put them in lit areas
instead.
center and from whose
mixture the secondaries
are formed (green,
orange, purple). The rest
of the colors of the wheel
are called tertiary colors
and result from mixing
the primary color with the
adjacent secondary.
The saturation is a variable
illumination is tied to
emotional change. Use
it in narrative art.
that refers to the purity
or intensity of a color. A
color is pure when it does
not contain parts of black
or white.
The brightness of a color
is given by the amount
of light it reflects and
is measured by adding
black and white to it.
91
 BONUS MATERIAL

CATS basic forms details

roughly forhead pattern
one eye often looks like
The domestic cat is a apart an ‘m’
small mammal belonging
to the feline family. With
a very flexible body, it
eyes
is specialized in night under
hunting also thanks to its midline
very refined eyesight and
excellent hearing.
nose not tilted
Quiet and reserved as wide down
animals, they have been as eyes whiskers
faithful companions of
man since 3500 BC in younger cat proportions
ancient Egypt, where fur covers
they were used to protect foot
homes from infesting uneven grabbing front
rodents. Buddhist monks outside
of ears
hindleg
also welcomed cats, both
to protect their sacred
texts from mice, and for
their discreet company eyes + carpal
and independence.
mouth/nose pad
area is lower

cat variations

outside
of eyes
higher
than
inside
Although they have been
domesticated for several
thousand years, cats can
still survive in the wild,
thanks to their nocturnal
sight and their innate
ability to hunt small prey.
The independent
character of the cat is
preserved in all domestic
breeds, with slight
variations, essentially in
the color of the coat and
92
claws
in the length of the hair. The cat’s skull has very
The cat’s body is very large eye sockets and
flexible in particular frontal vision, typical of
thanks to having more predators.
lumbar vertebrae The cat’s night vision is
compared to humans optimized both thanks
(7 in cats versus 5 in to the slit pupils, which
humans). The tail makes in case of low light can
cats capable of unique expand to the limit of the
abilities such as always irises, and thanks to the
landing on their paws tapetum lucidum placed
even if overturned during behind the retina that
a jump or fall. reflects all the light ►
93
CATS BONUS MATERIAL

Learning a cat’s muscles

► received towards the profile variations is not that important
retina itself and increasing since most cats are
the vision of several covered with fur
vertebrate species.
Thanks to this excellent Shoulderblade
sight and the teeth made 1 head
of very close canines in
Ribcage
proportion to the size Hips
of the jaw, cats have 2
specialized in capturing
and killing small prey.
In addition, the cat’s ear 3
can detect and pick up a
wide range of sound and 4 Elbow
ultrasound frequencies,
thanks in part to moveable
Knee
auricles. 5 Heel
As for walking, the cat is Wrist Claw
digitigrade: it therefore
walks on the toes and
during walking moves FRONT VIEW BACK VIEW
Head is
lowered when
walking
profile view ears further Hips
back than the hair behind tilted
half point ears is especially Hindlegs downward
arc of the fluffy! slightly
nose varies bend
outwards

Front legs
slightly bent
inwards

younger cat both legs first on one side fingers. These pads are have 5 claws in the front
proportions head
then those on the other. also a very important legs, which are sharper
When running, however, organ of touch for the and suitable for grabbing
bigger the gait becomes cat, cushioning falls and prey, and 4 in the hind
eye diagonal and the cat will allowing him to climb legs.
lower simultaneously move one rough terrain.
foreleg with the hind paw Its claws are retractable
opposite it. and in a relaxed position
The cat can move without are coated with fur and
nose making the slightest skin. When attacking,
shorter mouth
lower noise thanks to the fleshy cats can voluntarily draw
pads that protrude at the their claws. They usually
94 95
 BIBLIOGRAPHY ▬
CAWTHORNE N., PATTISON A., A Century of Shoes: Icons of Style in the 20th Century,
Book Sales, 1997.
BRADLEY B., Drawing People: How to portray the clothed figure, North Light
Books, 2003.
DELLAVECCHIA S., Assonometria, prospettiva e teoria delle ombre (Italian edition),
SEI, 2005.
DRAKE P., OSTI R., Basic Human Anatomy: An Essential Visual Guide for Artists,
Monacelli Pr, 2016.
EDWARDS B., Color: A Course in Mastering the Art of Mixing Colors, Tarcherperigree,
2004.
EKMAN P., FRIESEN W.V., Unmasking the Face: A guide to recognizing emotions from
facial expressions, Malor Books, 2003.
HAMPTON M., Figure Drawing: Design and Invention, Mcgraw-Hill,
2010.
HUSTON S., Figure Drawing for Artists: Making Every Mark Count, Rockport Pub,
2016.
JANSON H.W., A history of Art (fifth revised edition), Thames & Hudson, 1995.
LAURICELLA M., Anatomia artistica. Carnet di morfologia (Italian edition),
L’ippocampo, 2017.
LOLLI A., PERETTI R., ZOCCHETTA M., Struttura Uomo. Manuale di anatomia artistica
(third edition - Italian edition), Colla Editore, 2020.
MARTIN K., RONNBERG A., The Book of Symbols: Reflections on Archetypal Images,
Taschen, 2017.
NORLING E.R., Perspective Made Easy, Dover Publications, 1999.
PATTON K.T., THIBODEAU G.A., Structure and Function of the Body (15th edition),
Mosby, 2015.
SUNQUIST M., SUNQUIST F., Wild Cats of the World, University of Chicago Press, 2002.
SWANN J., History of Footwear in Norway, Sweden and Finland: Prehistory to
1950, Almqvist & Wiksell Intl, 2001.
TORNAGHI E., Il linguaggio dell’arte. Vol. A. Educazione visiva: analisi e
produzione (Italian edition), Loescher, 2001.
Vv.Aa., Enciclopedia generale Mondadori (first edition - Italian edition), Arnoldo
Mondadori Editore, 1984.
WALKER,W. F., Study of the Cat with Reference to Human Beings (fourth revised edition),
Thomson Learning, 1982.

96 97
 A COLLECTION OF TIPS FOR ARTISTS AND ART STUDENTS

Art Tips Collection is a collection of over 200 art tips, sketches and studies
created by the renowned artist Miyuli from 2017 to 2020.
Part one of this collection focuses on human anatomy, including chapters
about full-body figures, the neck, the torso, arms and legs, hands, hips, feet.
Part two focuses on the human head, in front and profile views. This
includes analysis of volumes and angles of the head, eyes, the nose, hair,
expressions and face variations.
Part three focuses on how to draw the body from different angles including
the tricky technique of foreshortening. This will also include how to apply
angles to the human body, the neck, the head, shoulders, the torso, arms,
and hands.
Part four focuses on drawing clothes, folds, and shoes. And a special part
five includes bonus chapters on colouring and drawing cats.

€ 7,00
98