Draw! Magazine Tutorial 1 Page 1

Figure drawing is a complicated and endlessly fascinating subject that each artist brings their own interpretation to based on the study and observation of nature–of the human figure in motion and at rest. No two artists draw the figure exactly the same as no two artists view the world the same way. Every artist and cartoonist builds their own system of interpretation of the figure based on practice and study.

The foundation of all western art is the figure in composition, from the Sistine chapel to Mickey Mouse to Andy Warhol's Marilyn Monroe lithos. The principles and technical aspects of figure drawing, anatomy and construction are available in dozens and dozens of books on drawing the figure in by fine and commercial artists in book stores the world over.

POINT A
But comics and animation place special demands on the artist. Solid 3 dimensional knowledge of the figure from every angle conceivable, clarity of gesture, dynamic yet believable anatomy and movement. You not only have the "classical" knowledge of anatomy, foreshortening, gesture, perspective, drapery, light and shadow–but the ability to condense it down into a cartoon, a more simple yet powerful statement retaining the important tenets of figure drawing.

POINT B
You must be able to draw not only one type of figure, the typical roided out super jock with the cleft chin, Standing stock still with the big phallic gun, 67 teeth clenched like he has lock jaw–but draw a wide variety of figure types from femme fatales to children, old men, next door neighbors, fat, skinny, tall short... all the "types" and nationalities you find in the world of comics and animation. What ever "type" of character the script or writer calls for.

Now in the time we have available to us there is no way that either Bret or I can cover the entirety of this subject, but what we cab do is share some tips and perhaps point a way or give a map to those of you who are serious about improving or learning your skills at figure drawing.

Things to watch for that hurt your figure dynamics:
1) Avoid twins
2) Avoid poses that don’t read well in silhouette.

POINT C
No one draws real or correct anatomy in comics or animation. It's all exaggerated, from the most cartoony to the most "realistic" all the best artist share the same skills, the same ability whether it's a Bone figure, a Jack Kirby figure or something by Alex Ross. They are able to convince you the characters or "actors" are real, can feel and expression of human emotion.

Now some of you may be wondering how can a real cartoony figure like Bone have anything in common with something like Alex Ross' work. This is no simple feat. But all the same basic rules apply.

Gesture & Rhythm
When drawing the figure don't be afraid push your gestures for action–when you think you've gone far enough–go further. Work out roughs or doodles of your figure on scrap paper. Get in there and really work the pencil trying to "mentally feel" the forms and volumes of the figure. Even go as far as to stand in front of a mirror to work out the pose. Work in light blue pencil and then go over it in a darker pencil or marker. Mess up? No problem, grab another sheet and start over. The worst thing an artist can do is become married to a drawing that isn't working. Once you have the feel for the figure down, as a rough, you can put another piece of pare over it on a light box and draw off the figure.

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