FqmousArtists Course

Inititute of Gommerciol Arr, *.

W.rpo.r, Co.n.di.ur

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JOHN ATHETON
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FomousArlisfs Course

r"*."4 Simple onolomy

ond figure drowing

Institureol Commer.idlA , Inc.

Anotomy ond Figure Drowing

While the nude or semi-nude gure is often used in commercial art and illustration
tor such purposes as lingerie and brhing suir ads, decortivc drwings and nany
other similar puryoses,you rvill find in you vork as a commercial artist that, unless
you becom a specialist in this type of \^tork, abnott alL your work will consist of
draning the clothed or draped figure. Therefore, the clothed gure $'ill immdiatcly
assume th greatcst inrportance in yottr work. Houeuer, and renember this, g,nd
dra\rin8 of the clothed gure cannot be accomplished unless you, the artist, have a
comple $'orking knowledge of rhe g!rc underneth those clotbes. You canot
expect to dra$' convincingly the drapery of clothes or the wriDkles unlss you knorv
rvhat causesthem to pull nd stretch as they do rvhen the figure moves and assumes
its many difierent attitudes. The Joldand uinkles arc alua$ caused.6) the fpre
underneath.
N{any times you have secn drareings of the clothed figure wherc the drapery has
been beautifully handled. Looked at only as a rendering of drapery, it striks you s
efiective but for some reason it seemsto have no connection iith the figure it is
supposedto clorhe. Thereason for this is that the artist did not have enogh knorvled8e
of the ligurc itself before he pt on the drapery so that when he finished the picture
you.ould not "fel' the figure underneath. The forms and directions uhich draPery
lakes are almosf ahvaysentirely dependent upon the sttucturc n arti.an of the figure
'Ihe humap figure, nature's most marvelous aomplishmenr,is comPacrand beatifI. Its nchanism is so mysterious that it is hald to undersrand and yet it his a
simpliity that cd, be undentood by everyone.
An amazing variety of action is disclosedin every movement, yet these movemnts
do not in the least alter the basic construction of th figure. Nlany ot the variarions
ofsmall forms nd structurl dtails rvhich re tocally importanr, are lost in the lrger
and basic forrn ot some stronger actior. Alua\s remember th,l inbotnt lact, tot
rvith this broad point of riel\', you $'ill solve many Puzzling Problens in dr1ving
the figure.
ln Lesson 3 on Human Form you were thoroughly acquainted s'ith the basi. lorms
in nature asapplied to the hran ligure, its proPortions and ations
In this lessonr{e will take yolr ffther into the mechanicsol the human figure, such
as, rvhat gocs on rvithin these forms, rvhat makes lhem vork, 'ht determines their
structre and the poiver to function as they do. In short, i{e $'ill shol\' you the hman
guj.ehom th insid.eout and prove the tremendous importance of the next step in
drawing the ngure. We will brcak do't'n the forms inro the specilic Patts that make
a human being out of the forms as you have studied them up until norv.
First, \ee rvill go into ligure proportions more thoroughly than rve did in Leson 3
Second, rve rvlll shorv you a simplilied mthod of ro8hing in the figure Next, tt'e
r',i11shorv and explain the bone strtcrure Then rve rvill place the muscles on the
b o r ( ' - . , n d h l a l l ) . \ e$ r ll .h \n Ih . F g u r ea ' L ,icse eiL In nature
Lesson5 will presenr hcads and hands in a full treatment of characten, fetures,
age, clion, emotions and methods o[ dra\{'ing. Lsson 6 rvill comPletely coi'er the

FomousArlisls Course

",r"on
I

Simple onotomy qnd figule drowing

Inslille ol Comm.r.idl

In..

tull gure in every phase of action and movement, wirh and rvithout clothes, r,r'ith
simplified nethods of drar{ing acrions and movemenr.
l.or the artist to drar! the human form correctly, it is necessaryfor him ro cquire
:r rvorkinS knowledge o[ i|s intcrnal structure such as the bones, rvhich are rhe ItL!:
uotk ol lhe bodt a'xL .lefitrc its probortions, plus rhe muscles and rendons rshich
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_

control its action. This requires a considerable period of intense, sincere rt'ork.
When drart'ing the ligurc trom a photograph or a liring nodel, you rvill come to
realize,more and more asyou study, the enormous vlue of the knowledge of anatomy
in inrerpreting the forms before you. Your understanding of anatomy will be invaluablc in the developmenLof your porvers of obseryation of ny glrrc, no matter in
rvhat position ot attitude you may rvisb to interprer it. This knoi{ledge rvill bc evn
more important in drwing ftom memory.
In this le$on we r!.ill train you in only the neccssaryssentialsin ligure construcrioD and anatomy. ln onc lessonit is imposible to go iDlo lhe complete detil of rhe
Iirnctions and ctions ol cvcry nxlividual rnuscle, tcndon and bone in the body. Horve!cr, rc r{ill cover all the Iundarnentl re(luiremcnts in ligure consuction rvhich re
i'nporrant to your study and training. We rrill leavc out all the non esentials.
Bones have a distinct bering on the outlrard appeamnceof the body nd on thc
limitation of the actions the body can perform. These ctions are resrricted !o the
points rvhere the bonesjoin and rhe flexible rnusclesand the tendons form th hinges.
't he shoen, lhe elhoua, the hips and t/re anIrs arc joints in the body upon rvhich
the limbs bend, movc nd turn. The spinal column, made up of many small bones
joined together, llorls for surprising freedom of movcrnent il the neck and torso.
'Ihe hands and feer are made of a framelnrk of snll bones and joinrs rvhich, rvhile
individually dlicate, forn an unbelievably nrong understructure for the complex
actions of the hands and fect.
Among the importaot thigs ro be considered arc thr reltive proportioN and
dimensions of the body, one to Dother. such sta dards, $'hile rhey are considered
nleal and change only s ith scx and age, are not to bc follo\qed to a degree ot uni'
formity ifhich is unnatural in nature. Hor{eler, these estblished rules should not
be disregrded to a point \r,here rhey conflict Nilh thc lws of nature to Produce
unDalurl figures and deformities.
lvcry part of the body has its o$'n individul propoltion and shpe, all of &'hich
r!'ill be described and sruclicd singly and in their reltionship to the rvholc gurc
Flaving studied and cornpleted Leson 3 on Human Form, you have by this time
realized the importance of thlr bic forms in ngurc dmwing. In this lesson we ar
$'e arc norv
norv taking you into an cven rnore important phase of 68ure d\\'ing

building the l!24.L!94t

in pictules. You cdnnol d,''?gd e great imPortance ot
anatomy in dra\ring. anymore than you can build a house and disrc8rd ils foundalion aDd the basic constructioD in it, which holds the houstogerher - [q1-!43g!l
The comple sturly of anatomy is highly comPlicated, but rve have simPlificd ir
as much as possible- and still give you all l? lo.l.r nccessaryin your career s a
commercil rtist.
'Ihis lesson
fgb

reqrrircs har<t rvork and sinccrc concentrarion. lt is one more

vcry importanr step in hying the solid foundation for your life as an artist

FomousArlisls Course

",rronl

Simple onotomy ond figure drowing

lnsrnurot Commer.iolArr, ln..

In the years to come you rvill be grateful for this advice when, as an experienced
rvorking arrist, you will realize how emendously imponant the knowledge of
anatomy has been to you in your work.
W o t h h a t . R p n ? m b .r u h a t wu a r c stu tin s.

Proporlions of the figure

In art the genemlly accepted unit for measuring che human figure is the head. ln
commercial art and illustration, 8 heads high" is considered the ideal height for
the adult gurc. Many liberlies may be raken with this rule for example the fshion
figure rvhich, for the ske of displaying clothes and slyle, is draln much taller than
the normal gure. Ho'ever, for atl other drawing the "8 head" avemge ill always
be used.n important fact to keep in mind is: such elmentsas sex, age and ce have
a great bearing on the proportions of the figure. Read tie text carefully and then
study thoroughly rhe basicdiftrencesin mn, women nd children in the illustrations.
In drarving good frgures for commercial art it is impoltant to keep in mind mosr
of the following points. In the smart male figur, the frrst essetialis that he be kept
masculine. The figure should be broad shouldered and tall with narrow hips. The
faceshould be lean, the chin strong and prominenr. In the female gure, the shoulden
are drawn slightly wider than norml wirh very little slope. The hips should be a
little narrorver than in real life and the legs and thi8hs longer and more slendel with
shapelycalvesand slim ankles.Alwa)'s keep in mind the handsomemen nd beutiful

women of the movies - the heroesand the heroines - they represent what the Pblic
Iikes to seestheir ideal men and ieomen. Character and type drawing will be srudied
Of coulse, the best xamplesof figures for you to study re the current illustrations
of people being done constantly by members of the Institute Fculty lvho sPecialize
in this field and ,hose work appearsevery week and month in rhe national magazines.
Thev are the oace setters for modern commercial art and illustralion.

FomousArlisis Course

L .a ra " 4 Simple onotomy ond figure drowing

In3tituie { Cmmerciql A|', Inc.

Relotive

proportions

of rhe odult

figure

1 hc hcight ol t hc ligurc shoukl be rbour " 8 hcads ancl i; to bc dividcd as follorvs:

one head" for thc a.tlral head, bout % ol a hcad" lr th neck nd 2% "heads
tor the torso. This brings you l "headi or halLay do(ar lhe figure ro rhe crorch,
rvhich is the niddle o[ the ligure. Fron rhis poinr dowD, it is 2 heads" ro jusr be]ow
the knee, and 2 "heads' flom this poinr ro rhe floor. Study rhcsc div;ions i dctail
in the pictures. While the ourline of rhe female figure.liFrs very much from the
r
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nale nd rhouRh ir i\ usuallr 5horter, rhe sar"8 hedshigh" 4E31!9I

..
tr u ( sr th !e r y slr g h rclL Itrrnces.

still hokls

The bones of the nale are longer and rhey hale more roLrgh surlces rhan those
of the female. The "breastbone" or srernurn is longer aDd le's curved. The pclvis or
"hip section ' is narro(,er and cleepcr- this makcs the malc much arrorver in the
hips than the female. Thc distancc from pclvis io thc rib cagc or "uppcr borly' rs

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9

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FomousArtisls Course

Urron
l

Simple onotomy ond figure drowing

In3'ilul of Commr.iol Art, Inc.

shorte. in the mle due to the deeperand narrcrler peivis. In rhe female, the shoulders
ar not as broad aDd the collr boncs shorter an.l srraighier. this accounrs lor the
more sloping shouldcrs and the longer and morc grccful ncck in thc femalc.
The male anns re longer in proponion !o the rrunk rhan rhose of the female
due to the longrr humerus or i rlpper arn bonc" and brcause of this the elborv is
lower. The leDgth of the rorso in rhe rale is proporr;onately shorrer rhan that of
the femle. The legs rc longcr and thc skull larger. -fhe center ol the mal ligurc
is at the pubi. bone (just above the crotch) while iri the femal n is slightly higher.
The width of the female hips is abour equal to the rvidrh of the chesr and one arm
cornbined, and they are wider than those of a male of the samc hcight.
The lemale pehi, is the only pan of the skelemn \\'hich does not conform to the
generat rulcs. Hcrc thc musclcs arc not ncarly so 1{en defied, due parlly to rheir
less vigorous use, but ainly becauseot a lrgr quantity of fat, rvhich is especiauy
thick over the thighs, e hips and tbe buttocks.

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Fomous Artisls Courso

",rron
I

Simple onolomy ond flgure drowing

l.llitur of ComnEiol A.l, Inc.

Relotivo proporfionr of chlldrcn

Ar rhe age of four, e child is abour half rhe heighr of an adult. At the age of lwelv,
about three quarten the heigh!. As th child grows older, the size of the head,in
ielation to the trunk,chges. At the age of rwenty frve, the frgure is full 8rown.
As applied to children - lhe "heads high" proportions are as follows: a! birlh,
the baby is nearly 4 "heads" high, at one year old it is about 4% "heads ' high, at four
years the child is abour 5l "heads" high, at eight years the child is little over 6
"heads" high-rhe le8s have grown lonr. The twelve yer old boy is almost 7
"heads" high. From this stage and until he becomesn adult with a proPoftion of
"8 headshigh," he broadensour as well as 81owstaller. Remember that thesepropol.
tions are based upon the ideal conceplions for commercial aft. Many libeltie may
be taken in drawing children, such as making the infant baby more cute and chubby
* and th middle child of about ten yers old lon& slender and graceful.

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Prq.tico in pioportlons
While all the foregoing proportions of the humn frgre have been explained and
illustrated for you, it is very important for you to realize that the system shown you
for measuring rhe gure by "heads hi8h" is purcly a device for teaching you to dlaw
rvith correct proportions and is not to become a "crutch." Rather, you must study,
obserueand remember the methodsand rules. These must b stored away permanently
in your mind so that after while every time you draw a frgure you will automa.ticall\)
"fael" the correct proportions as you work.
For study and practice lake several sheets of paper and lightly rule across each
sheet eight horizonhl lines an egual distance apart similar to the illustrated charts.
Begin by dmwing ihe 6gures of men, rvomen and childrn many times, making sure
all the parts touch on the proper lines (don't rvorry too much about perfect drawings,
jusr proportions). For drara'ingfigres in attitudes such as sitting, bending, etc., refer
to the illuitrarions that show rhese examples. AftI you have done the figure drawings in the manner pres.ribed, then take severl sheets and draw mny figues similar
to the ones you have jus drawn, but g4@g! rhe ruled lines. Norv compare all the
dmrvings and see how clos you have come to drawinB coect
the guide lines. Practice both method.s lunril yo begin lo 'Tggl'
uithout lhe aid of lhe tcd.linet. You must learn to rr,edrue bt
Ii" nhile you draw, you will in a short time begin to lftgi!:
have correct proporrions.

proportions

wiout

the dght proportions

eye.fi yo\r gggb
and t49g when you

FomousArfisls Cours

bra."
4

Stick figuro

Simple onolomy ond figure drowing

Inniiut of CoDm.r.iol Art, In.,

drcwing

Lesson 3 has covered the human tirrm completely in its movable parts and actions
asmassforms and we norv go furthcr and draw into rhc solid whole form s, tl|.ewortthry
Lhesesam forms and all rheir movable and individual parrs. We uitl
993{gq!q1ot
scck out nd study the elements in their struccure undemearh which are rhe source
and reason for rheir outrvard shape and appearanceand give the hman gure its
rvonderful freedom of movement, action, balnce and ythm.
For shecr simplicity iD learning to drarv the gre in action, nothing surpassesthe
popular method of stick figure dwing. We ill employ rhi5 sysrem in rhis lesson
only to simplity thc mcthod of constructing rhe skcleron of thc body. (In Lesson 6
on "Figures in NIotion," we $'ill sho$ you its rvonderful advanragesin crcating every
conceivable actio and auitude.)
Begin rst by raking rhe tono as you found it ir Lcsson 3 and curring it inro nvo
separate sections: tg4g4l8l4ji!41:
to think of ir as rrvo separate, slightly nrrened
an d r a t h e r s . l u r c( ylin e tt. m o u in g a n d tu ,n ;n A d e r "n d cn!ry ol one anothpr Lul
c o n n e ( t " . 1L 1 )t h ( s b i na lco lu m n zu h r cha lto co n n "ct\ th ? h ? ad to the to',o. Thc uooer
prt of the ro$o is abour one,rhid larger rhan rhe lower part and is knorvn and
referred to as the Chesr Secrion or &j!:99g:'1ll.e
lowcr part of rhe rono is knorvn
nd refrred to as the Hip Section or Petun On.he sides and near e top of rhe
upper torso rve add rhe 'hinged stick" arms as sholm. To thc lorver part of the rorso,
on the sides and near rhe borrom, rve add the "hinged stick' legs. We norv add the
head to the lop of the spinal colurnn just above, but slighrty sepad from, rhe upper
tolso and we have the stick ficure.
In the follorving illustntions study carellly rhe melhod of purring rhe srick frgurc
together and then study the difterent examples ot the evolution of rhe srick figure
through form, ntomy, muscle structure and the completed 6gurePractice copying some of the drr,r'in8!sho\vn to acquinr yourself irh rhc frBule
construction; thcn make many original drarvings iD all p.xitions and attirudes.

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4

Fomous
Course
^rfids

Simple onotomy ond figure drowing

lNrirul ol Comm.rcidlA4 In..

the skglgton

figur

qs q whole

In beginning the study of the bone structure of the humn figure, ler us starr with
lhe head and go on down the figure explaining the bsic bone strucaules and their
functions. As rve proceed,study th illustrations caref]lly,checking the boint in the
drawinFsawe describethen to rou. Sincein many casesir is very difficult to sbstitute
English for the Larin namescommonly used, it is impoftant that you check as we go.
In this rcy you will acquaint yoursell more readily wnh e skeleton and the relative
proportions of the parts. Horvever, wherever w can, we will add the English equiva'
Ie fot L^Lin terms-UgJL9!@_JL!J!We can har you right now saying ro yourseu. "Why all this srrf about skeletons
and muscles?Nobody seesthem in drawings anyhow." That is true-"nobody sees
them." 8U?, remember what we sid earlier in this lesson: rvhether you are awarc
of \t or not, yorrr @yfukof
anatomy will prove the difiercnce in whether or not
you make the gggf draw \ngs that people d.o ree. Uhless yu knou anaton\ yo a.wings reill not be convincing or "seem right ' to those rvho buy them or just look at
them. Remember also, !!!:Wk219_!!))9y:Pj!!ygcan
ll if thy re anatomically correct. This is important to thetu-and, to ,o .
Although rhe skeleton is quite strong, it rcally is not as rigid as it appears. The
spine has a rigid base in the pelvis but it has great flexibility, and che ribs, though
they .oo are fastened to ihe spine, are also flexible. AII the bones ai held together
by muscleand crtilage,and the joints opelate andmove on a ball andsocker p nciple
which nature has maweloudy devised.

lhe skull
The skull-a

hard bone strcture poised on the upper end of the spinal columnconsistsof two pottions: the upper part, which enclosesthe brain, and rhe lower one,
which prorects the lower part of the face. It is so perfeaty balanced on the spinl
column tha! i! is possible ro hold the head erect with very little muscular eflort. All
of the bones forming the skull are united and immovable with the exceplion of the
lower jaw bone which is hinged on either side in a socket in front of each eai- The
size and form of the head r'aries with individals, as do the cheekboneswhich define
the width of the upper part and often show basic racial chamcteristics.

The 6pinol column

The spinal column or backbone is made up o{ a series of bones placed on on top
ofthe other and are called th vertebre.This spinal column is rhe entral axis amund
which is grouped a sysrem of bones which support the gre and protect the organs
of the body. At the pper end of this spinal column and directly below the skull is a
framework of bonescalled the ribs. They come around on ech side and meet in fronr
along a flac plate called the sLetatlJn ot " brcastbo1rc:' This total structure is known as
the

b cage. On the rpper pan of this framework is the sholder girdle ftom which
the arms are suspended.
Attached to the lower porrion of rhe spinal column, and heavier in construction,

FomousArlisls Course

Simple onotomy ond figure drawing

u""on
{

Institureol Conrcial A Inc.

i( r h e l o \ v e r b a ( i n o r p e lvii g ir d le r o wh ;,h lh e lcg ( r r e a flaed.

The spinal or vertebral column n made flexible by the fact rhat it is composedoI
separatebones,and its abiliiy to remain erect or twist, bend and turn is made possible
by a group of powerful muscleswhih Iie behind the column and on either side of it.
An iinmovable wed8e-shapedjoint at the lower end of the spinal column connecrs
it firmly to the pelvic girdle-it is made up of union of five vertebrae and G called
the sacrum. Attached to either side of the sacrum are e hea\.Tbones of e pelvistheseare called the haunch bones. The rigidity of this consuction allows the upper
part of the body to be carried easily by e lower limbs.
fhe shoulder

qnd crm

bones

The shoulder girdle which connectsthe upper limbs to the centrl structure of breast
and ribs consistsof trvo bones on each side-the clavicle or "collar bone" and. the
, c p u l o t
L l d .. T h e se b o n e sa r e jo in e d u ' .i,h .. .-i d.
*
poi n, ,o
'hould.",
"nd
rrhich is attached the top or head of the humerus or "arm bone." The attchment
to rhe structure of the trunk is ar the upper end of the strnum. The shoulder blads
do not connect direcdy with the trunk but {unction in connection with rhe clavicle or
"coUat bone-" The range of movement in this joint is conrolled by the muscles by
rvhich ir is allached to the structure of the trunk.
The rounded headof the arm bone pivots in a small, shallov/ socketon the shoulder
blade, this difters considerably from the manner in which the deeply set head of
the thigh bone setsin the sockecof the haunch bone- The lower portion of the arm
consistsof two bonesofequal size.They are joined to permit free movement nd both
meet at the lower end o[ the humerus. When the arm is tumed so that rhe palm of
rhe hand facesout, they lie side by side and eet at the .rist, in tbis position rhe
is knorvn s the mdius.
bone on the inr,ds is known asthe ulna, the bone on the o?.rrri.?c

The rhigh ond leg bones

The n'idth of rhe pelvis ! che hunch bones separatesboth fmurs or "thi4h bonef'
which sln! inward ro a position rvherc they are side by side where the knees touch
(in the female this slant is more pronounced becauseof the wider pelvic girdle).
The leg itself contains two bones, the larger one is the tibia or ";fun one." Located
on the outside, and slightly behind it, the smaller bone known as the fibula. At the
neets r}:.e tibia or "shin bone," is a smll flat
knee where the femur or "&bL!9!!:'
bofe called the patella or "knee ban;'
Boner of the foof
The loer ends of the two leg bones, the tibia and the bla, projct to form the
ankle joints. The inside ankle joint is formed by the lower end of the tibia. The
outside ntle joint which is slightly lower, is formed by the lower end of the fibula.
At rhis point the ankle recivesthe astralgusor articulating joint of the foot. The foo!
is arched, the top is noc frxed, but moves freely between the aDkle boes. The rcar
end of e arch is re-enforced by the heel, the front end by the big toe. The heel on

to

r."."."
4

FomousArlisls Course

Simple onotomy ond figure drowing

Instiiurot Comm..iolArl, In..

rhe ftar
outside ol the foot nd the large toe on the lro"t and tntd give the
^r\d
footbones a croswne as well as rotary movement. The footbones are aU rvedged
togethel and are bound byliSments, givingthe foot solidity, rcsistanceand movement.
A combination of seven closely'knit bones which form the tarsus or root of the
foot are called: astralgus (fits beFven ankles), cuboid, lst, 2nd, nd 3rd cuneiform
nd os (alsis or the heel bone. Nolv lollow the \e bone5of the middle foot. These
are the metatanal bones, and finally three phalangsfor the four small toes and two
for tbe big toe.
Here is an important fact to keep in mind alrvays.no bone is absoluteb stmight,
The arms or le drawn with perfectly stright bones ould ppr stifi looking and
rigid. The curvaturc in the boneshas a grea. deal to do with the movement and action
of the figure and helps to make the figure look alive.

,$u5clo5
A-s the bones rcpresent the framework and archirecrure of the body as nell as its
presure system,so do the musclesmake up irs power and leveragesysrem.In a rclaxed
state, they are so{t and flabby-when saining, they are lifled and bulgd.
Srudy of rhe musclsof ihe body is muh more complicated thn rhe srrdy of the
skeleton. We rvill simplify for you as rnuch as possible this important phase of figure
construction, concerning ourselvesonly with lhose muscleswhich have the most to do
with the outward appearanceand acrion of the body.
Muscles are paired throughout the body. For every flexor (bender) on the front,
there must be a corresponding extensor (extender) on the back. For example, for
every muscle puuing in one direcrion there musr be a corrspondirg muscle pulling
in the opposite direction.
All th illustrations in lhis lessonshow you three stagesof "building" rhe frgure.
Filst, the skeleton structure, then e large simple muscles, and lasc, the human
figure s we know ir. Make tuan, std.isof the bones, the muscles and rhe body.
Study and work on thm until you knotr then by heart. We know you can t do all
this in one month, but go back again and again later on. There re maDy fine books
on complete anatomy if you wish to go deeper into this subject. We wiu be glad to

FomousArtists Course

r"*."4Simple onctomy

tl

ond figure drcwing

Insritureot Commer.iolAn, Inc.

r*

t he h e q d o n d n e ck- sku ll

q n d m u scle s

'l'he hard bonc structure of the skull is the shapc.giving form which gives all hunan
heads the same general ppearance-However, the shapesof skulls vary greatly espe
cially in clicret racesof en as well s in difierenr parrs of the 1sorld. There are rhe
wide-herded men and the longheaded men-bur no mrter $'har rhc geographial
origh or gencral apperanccis, the basic structure of the skull, s ell as the muscles
o\.cr it, aft the sane tn all human beinss.

l2

r.",.""
4

FomousArlisls Course

Simple onqtomy ond figure drowing

Instiiuteof Connrciol At

Inc.

The shapeof the neck, like the head, varies greatly in difirenr individualr. Ir may
be long or short, thin or fat. ln the female, owing to the lack olany great muscular
development, it is usually rond and smoorh. In rhe male, and especially i athleric
and old men, it will show well defrned and prominent muscles.These are much more

@e

pronounced when the neck is in action. While the neck has so mary vadations of
shapeand size,like e head, irt basicanatonical and rnuc{lar construction is aluays
,fte rar', in all human fi$rres.
Study crefully the skull fiIst and memorize rhe ditrerenr surfacesand struccure.
Then carefully note how rhe muscles fit over ihes various arcas and how rhey frnally
afiect tbe shapeand character of e finished head as we see it every day. Remember,
in this lessonwe are studyir,gthe basic stl ctwe oflhe figu and irs parts.In Lessong
we go into complete detail and methods of dring rhe heads of men, women and
children of all gesand t]]'acter. Bt fr.rstthinss nust cone frrst.

@e

ry Fnn.ion

soru'dcy rEiiis

Pt

FomousArlisls Course

Lar*"
4

t3

Simple onotomy ond egure drowing

l.natut of Cofrn.Eiol Art, lnc,

Blocking in e heod
ln blocking in the head and planes of the face, let us nrst begin by observing the
proportions of the head. As the oval is generally used s the basis of srrtin& ler us
divide the oval head nd place all the fetules in their proper relationship to one
nother. We 6rsr divide the head into three equal parrs-from rhe top of rhe head
to the eyebrorvsis one+hird th distnce, from the eyebrows to the nost ls is e
next ird-and
for the last third rve go.o e point of rhe chin. Now draw a line
dorvn the center of tie head from top to bottom. We now place the eyes rwo-thirds
up on the cenier area and on each side of the nose. The disrance betwen rhe eyes
should be the length of one eye. The length of the eat is about the same as rhe nose
and is on a line $'ith it. When the head is seen in profile, rhe ear is jusr above the
middle of the neck. The borbrn of the lowet lip is halfrvay betwen the bottom of
the nose and the chin. The top of the nose starts at the upper lid of the eye. The
width of the nose ai the nostrils is e width of one eye. When seen in profrle, from
the tip of th nose lo where the nosrdl nires wirh rhe cheek is also about e lengrh
of one eye. The distance from the chin to the rhroat is equal to rhe space berween
the mouth and the bottom of the chin.
Aftera while and with practice,proportions ofthe head and ilr feaiures will become
instincrive and you rvill sensetheir ghr posirions on rhe head when it is turned in
perspective or in a fore-shortened position. Srudy carefuuy rhe perspecrive used
in blocking in the hads.We can best shorvyou this by placing rhe headsin imaginary
blocks.

Q
{)

-)

FomousArlisls Course

v"*n
l

t4

Simple onotomy ond figure drowing

In.titureol CommercidlArr, ln..

(-

Our next step in drawing the head is to develop the plaes of the head. Planesare the
ditreren. sides of a whole form. The front of the face is e front plne. The sidesof
the face are the side planes.lfhe forehead is cofrposed of .wo planes - fronc and sideNext 'e have line running from the cheek-boneon each side, down to the outr
sidesof the chin. Therc is a triangular plne on achside of rhe the nose.We also have
the fronr plane of th chin, with side planes running back on each side. The head is
rourded on both sids from abov the eals. Perspetivein drawing ihe head will be
taken up fully in Lesson 5.

Tho torso

&*

('

_qF-*"

t/t

l'fl
Mt -\

+4

ii,lir.*,"

To understand the to$o, ir must tte studied nd drwn ftorn mny ngles.The tono,
from the front, is made up of three msses:e chest, the abdomen and the pelvis.
Btwen them w have the epigastrium (the pper prt of the abdonen). The rib cage
or chest is shaped like a cone with rhe base below. The upper portion of the b
cage appears broader tha it actually is, due to the presenceof the shoulders and
collar bones. This, !o a great extent, causesthe shape of the actual rib cage to be
losr from view. The chesrand pelvis re fairly stable; rhe epigastrium portion is quire
movable. When seenin profile th three secdosof the tnrnk are even more apparent.
The upper part containing e rib cage, the central part containing the abdominal
nass (located between the false dbs and the top of the pelvh) and the lower part
which contins the lower portion of rhe bdomen and the pelvis. The trunk, when
seenfrom the back, consistsreally of two parts: the bck of the thorax (rib cge) and
the loins or back of the abdomen. The difierence between these two areas is not as
obvious from behind as it is in front rvhre the abdomen is marked bv th lower
marpin of the ribs.

FomousArtists Course

Larron
4

t5

Simple onotomy ond figure drowing

Insriluleof CommerciolArr, In..

The only bony form in the central massof the torso is the part oI th venebral
rf
column in rhe small of the back connecring the upper region to the loer one. In the
lorver rcgion the bones ar deep seatdand hcavy, shorving on the surface and affecc
ing e exr.nl form. These points are at the crest of the pelvis. the co.cyx (lol,est
tip of rhe spie) and the hed of the fmr Ghigh bone).
The upper part of the torso is cluite remarkable for its bony ch"racter. The rib
cge,the srernum, rhe scapula Ghoulder blade) and clavicles,supporred by rhe spine,
cnclose and protect the vital organs of thc body. The muscles that cover this bony
form grcatly influence the plnes and the eflect of light and shade in consructing

the figure. The abdominal area befi{een the chest nd the pelvic massis fleshy,except
for the spinal column. The movement of the vertebrae of the spine is visible along
its co rse dor\'n the center of, and espccially at the small of.thc bck. The sapula
(shoulder blade) slides agains! the surface of the rib cage in any direction and may
be lifted from it so tht it becomesquite prominnt undr th skin. More an one
half the enrire movement of the shoIder is causedbv the scDula.

ti.lopdq

(dd.r

/ i,,

(l

,--F

brodd

FomousArtisls Course

t6

L.*o"
4

9imple onotomy ond figure drowing

Intitur ol CommercidlAri, Inc,

:9/

f(
f

The front of the torso is divided by a furrow that runs vercically down rhe tult
length of the torso dividinB it evenly in !wo. It begins at the pit of the neck between
the clavicles (collar bonet, as it passesover th breast it marts the breast bone nd
n deepenedhere considerably by the pectoral mtscles on eher side. Ar the end of
the rib cage it mrks the epigstric pic (wherc the rib cage divers), this point
being abour one-rhird down rhe torso. The next third down brings us to the navel,
and the lasr rhird ends at the symphysis(at bout the pubic bone).
A similar vertical furrow nark the center of the back for itr full length. The
depth of is furrow is caused by the large mass of muscle which projects on each
side of it and gndually incresesin width bur loses in prcminence as it progresses
upward. At e upper part ofe buttocks the furrow gives place to a slightly depressed
area, belo which it agin becomesthe deep furrcw which separatesthe buttok.
The back of the torso presents many prominences and depressions.This is de
to the numbr of thin layers of muscle which cross and rccross its bony saructur.
The movement of the back is limited to the extent that the bony struture of the spine
attorr's.frorn the rear the torso presents great $/edgewith its apex pointed downward, the baseof the wedge being at the shoulders.This wedge is driven in berween
the buttressesof the hips and forms the most notable example of the inter-rcItion
of parts which is so univenal in the human organism. From this region come all the
important actions that the human body is capable of. The hip and pelvis form the
points of transmissionof action from lhe Iolver to the upper parr of the body.
While the musclesof the chesthve gret del of efiect on the form of the breast,
it is the mammary gland which gives the breast its individual shape. In the male
breast i{e frnd at either side and at about on a line wi the loiter end of the sternuh
(breast bon), the l;cation points for the breast. The gland that dvelops this point
is small, ir has a deflnice but soft form that lies at the lower center and just at the

corner where rve locate the nipples.

The brcst of the femle is noticeably difierent in its chracter.The rib cage,being
smaller in the femalc, gives more spacebetween the arm and the torso proper. The
mammary glands.in the female ar mch larger and fuller; holvever, the mistake is
oftn made of drarving rhem too large. Another mistake in drawing the breastsfrom
a fronr view is in placing the nipples in the center-they are at the side and near
the oudiDc of the breasts.The female brast projects like a half-sphere that is rather
conicl in shape due to rhe nipples. lfhe breast does not lie on the front plne of the
chest but rather at the iunction of the front and side planes of the torso. This causes
the breasts to point slightly arvay from each other.

r'. iu

-a
ioi or
'he:id.

FomousArtists Course

Simple onotomy ond figure drowing

""rron {

ldirul

l7

ol Commrcidl Arr, |rc.

:'b

d*
.

lhe

shoulders

ond orms

The most movable part of the body is the shoulder girdle. Its structure is easy to
undentand, though its range of movement seemslimitless. In considering the many
movements of thc cntire figure, therc are more changesof action $'hich take place in
chis area than in any other section of the body.
The shoulder girdte is made up of the head of the sternum (brest bone), the
clavicles (collar bones) and th nvo scapulas (shoulder blades). It is the means of
connecting the arms wi the trunk. The junction of the humerus (alm boDe) with
the scapula (shoulder blade), and the scapula rvith the clavicle must be carefully
studied so thai you can understnd the planes presentedin the living model. Parts of
these bones shorvorr the slulfaceand to be drawn correclb thet nust be understood.
The entire lengrh of ihe clviclescan be seen under the skin and especially ar the
points not fr from the ends ot the shoulders. There is always a smll V'shaped
depressionat these points rvhich mark the separation of rhe pectoral (chest muscles)
from the deltoid (should mscles).The junction of the scapula and e clavicle
is also quite visible and the head of the humerus, rvhich forms the apex of the
shoulder, can be easily felt benearh the deltoid muscle. The extreme width across
rhe shoulders lics ar resepoints.
The only connecrion rhe shoulder bladeshave with the.hest is through the clavicles
(collar bones).Thc claviclesarc attched to the sternum (brcst bone) in front and
have a rvide rangc of movement in all directions, inluding a slight rotaty movement.

FqmousArlisls Course

t8

"'ro l

Simple onotomy qnd figure drowing

Instilute ot Comm.r.il

Arl, Inc.

"- ),

'I'hc baseof thc rm is in rhe shoulder girdle. Its one bone, the hrrrncrus, is slighrly
curlcd, rLilh it, heid Iitting into the cup shapc(l caviry of lhe shoul.lcr bladc. tt h$ a
bill and socket joint rt'hich is covered rvith a lubricating capsule held togerher by
strong mcmbrnes and ligaments rvhich cross ar difierenr angles and bmce rhe arrs wcll asallo$' it great frccdom of movemeDt-The lol'er end terminatcs at rhe elbow
in a hinge joint.
15

l hc hollow of the arl't is ,nade into a deep pit by the pecroralis mrjor (great breast
musclc) in ftont, and rhc grcater larissimus dorsi bchind. This hollorv is commonly
called lhe arm pil.
-l'hc massof thc shorrlder comes down s a rvcdgc and sinks inro the outer arm,

lm lfr r .r rJo r vn .T h e m u vlc rhr ;. ol (ed i n l 'onr ol rhe arm i 5 r rrr'o.headed

muscl r
"",1
b n cr *' r hc mLrxl e on rhc back ot th arm l r rhrcc-hcrl l cdnd so r!
' ' .n tt"a ,n "
.alled the triceps. The biccps bends rhc elbow and flexes rhe forearm. When doing
this thc biceps beconrcsshortcr and thicker. Tht triccps musclc runs lhe enrire lengrh
of the humerus on the back of the arm. This rnuscle acrs in opposirion to the biceps
and straightens out the arm.
'l he musclesof the forcarm may be divided iDto trvo groups, flexors ltnd cxrensors

tomout Arlidr Course

Lar-"
4

Simple onotomy ond Oguro drowing

Inrlllut. of Comn.rcicl Art ln.,

These opelate upon the wrist and hnd through tendons, which passunder the wrist
band or an8ular ligameni. The two most importnt muscles in the forearm are first,
the supinator, the long outside muscle extending from the rvrist to one-third the way
up the hunerus (upper arm bone), and second, lhe pronalor'leres, a short round
muscle rvhich pasres obliquely dorvnward across the lorearm from e inner condyle
of the humerus to halfwav dorvn the outer border of the radius. These trvo uscles
pull ihe ladius with a rotary holion over rhe ulna and back again, carrying rhe rhumb
side of the hand towrd ol awy from the body.

The hand does not join the arm directly, but joins the nrist rvhich in tor.r
"tt".h."
to the arm and is always seen as a wedge-shapedmassin any action. This $.rist joint
is one tht is univeNal in its scope permitting it to move in a roiary, up and down
or side to side movement. In unison wi the supinator and pronator of the forearm,
its range of action is almost unlimited.
From the armpit, where thc arm detaches itself from the body, just opposire irs
greaisi fullness at the deltoid, the arm gradually gts smaller i rvidlh to the elbow.
This is more noriceable in prcfile than in the front view. The fleshy mss of the forearm near th elbo$r vridens in excessof the breadth of the upper arm and in turn
gets narrower again a! lhe wrisr.

t9

FomousArlists Course

20

["*."

Simple onotomy ond figure drowing

lNlilul.

of Commerciol rr, Inc.

**.t
I

The leg ond foot

Like the upper limb composing the arm, forearm and hand, the loiver limb, the leg,
is also made up of three basic parts: the thigh, the leg and the foot. The lhigh
extends from the pelvis to the knee and the leg from the knec to the foot. while

I \-'..",
ud---

the cup t the shoulder blade into rvhich the arm bone fits is shallow, the cup ! the
pelvis ito rvhich the thigh bone 6ts is deeperand nore solid. Thk k becausethe lorver
limbs re designed not only for rhe locomotion of the body but also becausethey

ti'1*"

'-'1\ I

..t

must carry the

of thc entire body. They mtlst have rmnesss reell as ation.
'veight
The thi8h bone ends t the knee in a hinged joint. The leg requires only a backrvard and forward morion for which this hinge is adeqlrate.As in the rm, the entire
leg tapers frm top to boilom-even more so becauseof the especiallyheavy part of
the thigh. However, in its tpering it resemblesthe arm-the heavicr asses being
in the igh (upper leg) and the taper more gradual, $'hile bclow the knee, s belon'
the elbo$', the leg rridcns again becauseof the thick muscles and then tapers very
quickly doNn to the ankles $'here the foor is joined.

vr{l

Yi
\ /l
,tt

Fomou! Arfilt! Course

L"*."
{

Simple onotomy ond figure drowing

lBritur of Comer.idl Arr, In..

t.

2l

FomousArtisls Course

22

r..*"4 Simple onolomy

lturiire f Con..ial

ond figure drowing

rr, 1...

The outside linc showing the contour of the igh is the most varied. Note that
in profile, the fullness of the front of rhe thigh must al$'aysbe insisted upon, for you
vill see that the most usual and more extreme ctions in the thi8h come ftom the

lront srob ol ncles nd not from those on the back of the thigh. Below the knee,
the reverse holds true. Here the joint ot the ankle and the foot must be observed
mairly through the angle of irs attachment. The big bone enten rhe nklc and foor
at an ngle slanling from front to bck and iD this rvay throrvs the rveight over the
arch of the foot instcad of on the heel.
The important muscles of the thigh, aDd those which mosr afiecr irs ouNvard

appearance,are 6rst, the rectus femoris, the straight muscle of thc thigh bone; second,
the vstus externus, the large mr.rscleon the outside; third, the vastus internus, the
large muscle on the inside. These three primrily extend the leg nd are the mosr
lF visible on the surfrcc. -l'hc sartorius flexesthe lg on the thigh and rhc thigh on the

pelvis and rolares the thigh out ard. ln back of the thigh $'c havc thc biceps femoris
which bends the knee and rotares the thigh ourward. Thc most pronounced muscles
on the leg below the knee and in front ar thc peroncus longus which raises the
outside of the foot and extendsthe ankle and the tibialis nticus which raisesrhe inner
ride of thc f,.rutwhrle it flexes the anklr.
Dominating thc bck of lhe leg, \se frnd the gastronmiusrvhich is rhe calf murcle
and ends belorv in brod tcndon rvhich ioins rvith the solcus musclc ro form thc
Achills tendon-this is inserted into the heel bone.

FomousArtisls Course

".r"r4

23

Simple onotomy ond figure drowing

lnsritute oi Commer.idl Arl, Inc-

fhe foor
The symmetry ot design in the foot adapts i! to irs basic funcrion rhat of bering
the night of the body. For this,nature has developed a londerful series of arches.
'Ihere are five arches all of lvhich convergc on rhe heel.:fhe roes act as flying burtressesfor them. In all positions the foot tends to keep itself flat on rhe ground, the
arhes of the foot changing accordingly. The outside of the foot is rhe heel side and
ir lower than the inside just as thc outcr ankle bone is lorvcr.'fhe musclesnd ligaments covcring the bones of rhe foot are very superficil and vry little notice need
be takn of then. The planes of the foot are almost entirely derermined by irs
At the bottom ot the inner surface of the foor, only the rim of th foot and the
heel touch the ground, white the bottom of the outer surfacc touches all arcund.
In studying the sole of the foot, you can plainly see rhe poinrs of conracr rvith rhe
{
ground, Iirsr the bll of the foot rvith the under surface of the toes. The ball of
the foot is divided, the inner portion of the ball being laryer than rhe ourr one.
N-ext\\'e seethe outer rim ol the foot connecting it with rhe rounded hccl. -l'he illner
surfacc of the foot is nearly vertical as it rises frcm the hollow of thc arch of rhe foot
below the inner ankle. The top o[ thc foot or instep xtnds from the bottom of {
thc leg to the tocs in a tringular form, its inner border rounding iDto the side of dre
foot. This surfac is ot as flat as the others nd slopes torvard the lower ankle s it
rises.Here thc anklc also protrudes bur is on a lower level rhan rhe iDncr ankle. The
bck of the hecl is \ridcst at its base and tapers slighdy uprt'ard to join the Achillel
{
tcndon rvhich connectsir with the leg.
By studying, observing and checking carefully ll thc acconpanying dr$'ings
s \ou rca, you uiLl more cl.arl\ retain uhat rau m1tlearn A much betrer method
to copy ll the drawings, studying all the masses,shapesnd forns, where thy
start and end nd hoi{ they afiecr the outer forn o[ rhe tgure.
Thinh while \ou rau

about w[!,r Vu ar. drauins.

Nl

\H

24

Th knowlds oflh bosic conlt.uction of lhefigur

or ir exisl3 undr lh clothes is lhe dnlwer lo rh
.onvin.ins q!dlily of lh nsurs ii rhe5 illu,iroriont
by lh fdculry mmb6,

o re13cr' P'b.c".

FomousArtisls Course

25

Simple onotomy ond figure drowing

V"*,
{

In*irure f Comm.r.idl Arr, |rc.

'e.

cvnr Pvr co.

3y prntrricn so'u'dqr E.rine Poi @ rr4

codl Pub.c.

26

rh. rhiah boi.(ren

nod,oorc

tlemo.ir iho n.mr of th6o impori.nt bos, wht rhy dre poritiond In rhe figur .nd wh.o lhy .ome .lo55r ro rh surfo.o of

27

MnorLe rh.r. n3.1.. lhy or the imFortonl nu3.l4

q.d il i3 n...s5ory thar yos k.ow rhm wll.

in rhc bodt

FomousArlisl! Course

b.,."

Simple onotomy qnd figure drowing

Intirul of CommeiolArl, ln(.

rll

FomousArtists Course

u""on
l

9imple onotomy ond figure drowing

lnttitute of Commer.iolArr, In..

29

FomousArlisls Course

30

b.-"4

9imple onotomy ond figure drcwing

lnltitut of ComnrciolArr. ln..

Whn you draw o figur, build your drqwing up

.orefully lhrough eoch of thes thre stgi,

lbr

riur obr.n.

rrD ..!driv.
i [.b ..k|cn i g u Eb ytd ..l u |i i d i

ru.6[o''nnjjhdpidur'

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lh. o!tli.. d[inr!

d rt . plqi. ar .xo.tt
t. .on. 03 rh fgus on Ptor. i .
You o to noko o @rqflrl @py of th. !k l.tns on Plai I . lh. orlin eilt !.m
o. to guid.. Whd yo hdv. d@. lh. b..r po$ibl. drc{.q
of which yoo
orc @pobl., tulo lfi. li. lrc rh non.i f th. bo..r ro rh. q('trl bon.. itr
your d@i.q. l ort rhc bons wilh o bl*k batl 3i6ilq r rhr shoM in pto t.
mdkln! yo',' ..|]r,ful drcwing ln p.n.ll, rqd.r
r| t drlylng
In
rh.
^ft!r ..n.
man.r
o. rtoslr
In rlsr.
l! rh..l6rdon
wlth p.n ond
In|( cnd brutlD rh. b..kground
of rh. iguE
In {.h. !had. ft..oti
.dg| In id. l. outlln. strh ! l-l p.ftlt.

S6'td |his &owing in lor gdAing.

l
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-9

ETTENSOTC^TPI UUNATIS

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o

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Ih otlin. dwiigt
o. lti3 plor or .roctt tfi .on. at rh. 906 d ?lqr. 3.
You qG ro ook o cof.fl copy of th mus.l. on Plqr. 3, .ins th.$ @ tn.i
to guid yo!. Wh.n yu hqE e.tGly ini3h.d your dewing ro rh. b..r t youf
obilily, you qG lo do q..yoo dld d |l|. nrrt o.rig.m..t: ru|. lin.r f.or rh prt.rd
nom6 to rh. qctuol fru!.|.r on your drqwing wh.r. you will mqrk rh.n * h n.
En. tmoll blq.t boll ut.d on Piqt 3.
Afi.r
rhM.

yoo
th

hct
.rfully
mdd.
d|lylng
wor rbh.d

yosr p.n.ll
didl||3r
.nrli.lr
wldr brorh

r.nd..
lln. strh

h ar
Indta

Send tt drowirg in for g.odirg.