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Figure Drawing Wednesday! (NSFW) (Patreon)

Published:
2021-02-17 20:22:54
Imported:
2026-09
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I'm still checking into the CCS figure drawing class every Wednesday morning and I feel like I'm cheating the system by attending! IT'S SO FUN.

Today we had this guy with his fabulous hair and caricature-able face. 30 second gestures...

1 minute poses (BYO ping pong paddle)...

2 minutes...

... a few fivers...

This ten-minute had a great from-above angle on his face, which is something I'll be teaching how to do in my guest lecture...

I cut the next 10-minute a bit early and then we moved on to 3-minute poses.

(I really enjoyed the "naked man putting on one shoe" poses.)

That last one was so good! He had his hands up on a wall and his back leg kicked up on the chair behind him, but the pose still felt it was supported by just his left foot.

We reverted back to one-minutes (it's always so hard to go back to shorties after a bunch of long poses!).

And finished with 30-second gestures again.

Such a great morning. 

I'll be teaching my first class for them in two weeks, on March 3rd. If I can pull some of the main slides and lessons to share here, would you like that? Here's what I'm aiming to cover the first class:

feet (and probably some hands)

improving a pose by drawing the feet hitting the ground convincingly

making (faking) a dynamic pose out of a boring pose

foreshortening

drawing the face from odd angles (tips and tricks for cartoonists)

If there's anything else you'd like to learn, feel free to mention it! There's a chance I'll include it. :) Don't be afraid to be very specific, too!

Files

Comments

David Neale-Lorello

I don't draw (music is more my area), but I work with visual artists and anything you share I learn from, so I will say, "yes, please!" to anything you want to post about teaching and learning art!

dcorsetto

Oh that's so cool of you, musician pal!!

Amy Crook

Yes, please! Maybe something about drawing convincing eyelines with cartoon eyes?

mitente

If you are able to share materials from your class, I'd love that 😍

Ray Michels

I always love your figure posts because you provide wonderfully succinct write-ups of your thought process! You mentioned this model had a highly caricature-able face, but aside from his facial hair and long locks it looks like a fairly straightforward high-foreheaded skinny man mug. One of the drawings appears to show that he had a nose. (I don't mean just any nose, but a caricature's nose.) So I'd love to know what feature(s) felt distinguishable enough for you for easy-picking as a caricaturist? As for your guest lecture (totally wish I could watch it!) if you'd be kind enough to share here the following: -I love your idea of foreshortening, especially foreshortening the head; any thoughts on how to convincingly map emotions onto a foreshortened facial plane? From both bird's-eye and worm's-eye views? Any additional considerations for more-complex turns and angles at foreshortened vantages? -I'm always in awe of your treatment of hair! It feels like it's just so instinctual for you. Do you have any particular thoughts on how to group and simplify hair as an object--as a sheet or a fluid--rather than attempting to depict the word "hair" and "hairs"? (E.g. a bunch of lines as a depiction of the word vs hair as a mass, but also not a mass.) As an aside, I know that hair is greatly subject to gravity, which kind of feels like one should draw from the top down. But for whatever reason I always find better results drawing hair from the bottom up. It seems like a minor nuance, but do you ever find the same effect? -Body hair: I noticed that you kept this model's body hair as omni-directional hatching. Totally makes sense for the short time frames, but do you have any thoughts on how to use body hair as contour hatching, or contour marks to help build volume and directionality? Do you prefer the flattening that comes with uniform hatching? I hope it doesn't seem like I'm judging anything here--I'm truly curious! I think both methods can be used to great effect. -Figure posture, balance, and weight. There's the standard adage that the base of the neck depicts the center of balance--or rather it's relation to a foot or the feet determines how a person leans. Do you have any observations from these classes in regards to bending over positions like the 3 min pose with the model's hand on his knee and hip? Or any of the shoe-tying poses? Perhaps a bit more specific: any observations on how to properly map, balance or correct weight distribution when the base of the neck can't quite be used as a landmark. I think there are some seated positions this might apply to as well. Could be overthinking it, because you can use a figure model for reference--but I wonder if any lessons can be gleaned for work-from-scratch poses. (I suppose when in doubt--look up reference, no?) I hope this isn't too much! Thanks for all you do!

dcorsetto

Man eyes are TRICKY, right?? I found out recently that in animation, they have a template for a simplified version of each character, which is used when they're a bit farther away, since you won't be able to see all their details from far away anyway. I don't prescribe to any specific formula for my comics, but there are definitely times when I know I need to just Calvin-eyes someone because drawing the outline of their eyelids would just look like a jumble of lines unless it's super close.

dcorsetto

Oh wow, great questions! I'm going to address some of them here, because I might only be able to drag one of them into my lessons (facial expressions on a face that's angled awkwardly - a great point). This model had a great face, but honestly, because the poses were so short, I didn't get to take advantage of it! His high forehead, distinct hairline, long nose and facial hair made it easy to jot down some simple landmarks, though. Foreshortening emotions: my first thought is "reference." The main point I'll be making when talking about faces at odd angles is going to be simplification - mostly I want to break artists of the habit of drawing the jawline on a face that's pointed upwards, and instead rely on the position & angle of the nostrils, top lip, and eyebrows. But yeah, facial expressions are HARD when not head-on! So I'd use photo reference first to see if anything stands out, and if not? Rely on body language, color, value, and word balloons to get the mood across. I've never thought about how I draw hair - top-down or bottom-up - but if bottom-up works for you, keep doing it! I think I do typically start from the top, just to make sure I know how puffy/thin/thick to make the bottom. My main advice for hair is to always remember that it grows OUTWARD from the scalp, and the only reason it falls down (assuming it does) is gravity. So make sure the outline of the hair around the head is NOT flush with the scalp - it should be a little bit further out from the scalp. (And cowlicks at the back of crown might cause quite a lift in the hair!) Body hair: like head-hair, I try to treat body hair (and facial hair) as a shape. I'm not a fan of hatching unless it suits the rest of the style - if you're an artist who draws with lots of little lines, it can look really good and give dimension to the body part beneath the hair. But if you're someone who draws cartoony, simplified characters, I've found that hatching brings too much attention to body hair (and body hair is usually not the focal point of a drawing!). In this case, the model was so furry I felt his chest hair deserved some attention at first, but I realized it was masking the form below it and started to ditch it more often as I kept drawing. It was helpful on the reclined 10-minute one, because the shapes of the hair gave the chest & face some dimension, but to be honest, I mostly included the hair in that pose because I wasn't entirely confident in my ability to draw what was below it from that angle! Funny enough, I'd never heard about the base of the neck trick! Most of the time I just think about how heavy each body part looks to be*, and try to balance it out. Not to sound hokey, but my years of yoga (and struggling to balance on wobbly centuries-old floors) has given me a lot of insight into how a person needs to lean in order to balance an asymmetrical pose. *I say "looks to be" because in a lot of cases, I'm caricaturing the model, which means that their average-shaped chest may be blown out to a superhero barrel chest in my drawing, in which case I need to compensate and alter the IRL pose a bit to match my stylized character! I hope that helps! Thanks for being so specific and getting me thinking more about this stuff. :)

dcorsetto

(Lol, by "address some of them" I guess I meant "address all of them." ;)

Amy Crook

Eyes are the worst! It's so hard to make the cartoon eyes look like they're, uh, looking in the right direction...