| Why should the artist study the anatomy of the | | | | with anatomical knowledge will allow you to solve the |
| human body? The answer to this question is quite | | | | puzzle. |
| simple. Indeed, without a minimum amount of | | | | Anatomy can be studied in many different ways. |
| anatomical knowledge you will never be able to draw | | | | One logical approach is to start with the bone |
| people on the fly. | | | | structure. We could learn the minimum amount about |
| In principle, if we use the so-called grid method to | | | | the bone structure necessary to go to the next |
| draw the human figure, we would need very little | | | | step, i.e., the muscle structure. From the muscle |
| knowledge of the anatomy of the figure. Good | | | | structure we can easily progress to the surface |
| observation (or "seeing") together with the support | | | | features it represents. So, a logical progression to |
| of the grid suffices to render an anatomically | | | | study the anatomy of a certain body feature is (1) |
| consistent drawing. | | | | study the underlying bone structure, (2) from here |
| However, using the grid method implies that we have | | | | glide into the study of the corresponding muscle |
| a photograph of the subject so that we can draw a | | | | structure, and (3) finally, see how the bone and |
| grid on it. If you want to draw people on the fly (for | | | | muscle structures shape the surface feature itself. |
| example, in the mall or a restaurant) the grid method | | | | It is to be understood that the study of anatomy for |
| does not apply. It is here that your anatomical | | | | the artist is not the same as a "medical" treatise. The |
| knowledge will come in handy. | | | | point is that for the artist it is the surface feature |
| Why is this so? Well, it is a fact that all surface | | | | that is ultimately of concern. Therefore, everything |
| features (i.e., the forms the artist is supposed to | | | | you learn about anatomy should be in function of the |
| draw) of the body are determined by what lies | | | | ultimate goal, i.e., improving the artist's ability to draw |
| beneath the surface. That means, the forms to be | | | | the surface features of the body. |
| drawn are determined by the underlying bone and | | | | A word of caution. Drawing the correct anatomy |
| muscle structures. So, a minimal understanding of | | | | should never become a goal in itself. It should remain |
| those underlying features is in order. | | | | an aid to being convincing in your drawings. In other |
| Anatomical knowledge lets you draw every feature | | | | words, there is no gain in trying to be anatomically |
| of the body with more confidence. Also, when for | | | | correct at all costs if you are going to loose your |
| some reason (e.g., lack of time or clarity) you cannot | | | | identity in the process. Ultimately, through much |
| directly observe certain aspects of the figure you are | | | | practice, your anatomical knowledge should become |
| drawing, you can fill in the gaps by relying on your | | | | second nature and be incorporated in your style. |
| anatomical knowledge. In fact, this knowledge should | | | | Your style should not be cramped by trying to be |
| serve you well even when using the grid method. | | | | anatomically correct. The body is more than just |
| Sometimes it is difficult to sort out the different | | | | anatomy. The sum of the parts is always more than |
| coalescing forms. Very often, observation together | | | | the parts by themselves. |