B) that create the contour of the leg (side view).Īnother interesting detail about the leg:īetween the hip bone and the femur, a space can be seen as an indentation in the skin, mainly in men with less muscle mass in that area. Notice the slight inclination in the femur from the hip to the knee, and the curves (fig. To achieve a balance in your drawings, be sure to have rhythm. The legs should support the body and give it the balance it needs, but there is a detail that sometimes escapes us: the legs are not a completely vertical line. You can use it as a reference point to locate the orientation of the arm in your drawings. Some artists draw part of the forearm as a box to define its volume (3).Ĭan you see a tiny lump just behind your wrist? (4) It is part of the ulna. These bones cross to allow the rotation of the wrist. In the forearm you will find the radius (1) and the ulna (2). The humerus is in the upper part of the arm (A), a long and strong bone that connects to the elbow and articulates the forearm (B). Limbs can move in many ways, but knowing their anatomy and limitations will save us from drawing unrealistic positions (or bone-breaking poses, ouch!). Note that female hips are generally wider than male hips - one of the main body shape differences. On the back, these two dimples at the end of the spine, before reaching the buttocks, will help us identify the sacrum (2). The ilium (1) will guide you to draw the angles of the hip. On both sides you can see the ilium (2) and the pubis (3) in the front.Īs these are somewhat irregular bones, I like to simplify them by drawing a pair of discs for the ilium and the sacrum as an inverted triangle. The pelvis is located at the end of the torso, connected to the lumbar spine from the sacrum (1). The shape of the back changes following the movements of these bones. They are triangle shaped and help move the arms. In the back, you will find the scapulae or shoulder blades.
Every time the arms move, they will change direction. You can think of them as shoulder support. The clavicles (3) are like a bicycle handlebar. The sternum (2) closes this structure in the front, creating, with the spine, an imaginary line that divides the body into two. You can draw it in many ways, but I like to give it an oblong shape resembling ribs (1). The dorsal spine is the part that connects to the arms. In the center of these muscles is the Adam’s apple, which is more prominent in men (4). The most visible one has an extremely long name (sternocleidomastoid!), but you can easily recognize it by its V shape, parting from the ear to the center of the clavicles (3). There are a variety of muscles that operate the movement of the head. In the neck, the cervical spine (1) is located just behind the jaw (2). Lumbar spine - a little before the pelvis, connected to the sacrum.Dorsal or thoracic spine - supports the ribs.Cervical spine - supports and provides mobility to the head.Let’s divide it up into three parts to see it better: Its form makes the pelvis and the rib cage tilt slightly. Its vertical shape differentiates humans from other species. The spine is the body’s support and also allows motion in the torso. Let’s start with the building blocks of the human figure: Anatomy is a challenging subject, but I hope that this article can be a quick guide for you and get you in the mood to keep learning. But the adult has different proportions, which varies according to gender and physique of each character.The key to improving your drawings is to do your best and put your heart into your art. For example: A child usually has a head larger than the rest of the body measurements. And so on…Īnimated studios have the famous practice of using oval shapes to measure the height of a character. And all of it in rounded shapes! Other features, such as the forehead and large eyes are responsible for defining their fragile personality. In contrast, a demure character is based on the proportions of a baby with a large head in comparison to body. For example, the bully guy has a combative nature, therefore has a small head but his chest is prominent! His arms and legs are strong and well defined, as well as his big jaw. The artist should keep in mind the relative size of body parts, because it’s based on them we’ll define the structural features of our characters. Proportion is the most important factor to consider in building a cartoon character.
95% of artists build the characters and their moves through specific blocks, because it simply makes the process a lot easier! Hands are an extensive and complex a subject (even in cartoon) and deserves a tutorial dedicated solely to them.īriefly, there is no mystery to the cartoon design process.
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