How To Draw A Realistic Phone

By | 16/07/2022

How to draw more than realistic figures

In this figure drawing tutorial we volition focus on the torso and breasts, particularly on how the breasts change shape due to compression and the furnishings of gravity. On offset impression these simple forms wait piece of cake to draw, and for that reason they’re often fatigued poorly.

A mutual mistake is to treat them as solid globes, instead of shape-shifting mounds that movement, autumn, bounce and flatten out. Another mutual error is drawing them as if both are facing front similar a pair of eyes, when in fact each breast sits on the curve of the ribcage. I’ve chosen this pose to demonstrate the changing shape of the breasts due to their shifting weight against a solid rib cage, and the pull of gravity, evident even on a young, physically fit woman.

Higher up, you can watch the accompanying in-depth video tutorial of how to show compression and gravity when cartoon a female effigy, or, read on to find a pace-past-pace guide to how to depict the breasts and trunk of a female figure.

For more general advice on figure cartoon, bank check out our guide to how to draw a figure
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, or how to draw muscles
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. Or for cartoon tips on all mode of subjects, run into our how to draw
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The effects of shifting forms

Learning proportions is of import for the figurative artist but stay flexible

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In the photo to a higher place, I’m measuring Alana for an online classroom. I measure the forms by eye, compare their shapes – their boxy or tubular nature – then draw the biggest shapes first and measure on the pinch side of the figure where shapes are closer together. Learning proportions is important for the figurative artist, just I don’t see it equally an inflexible rule.

Apart from drawing the illusion of soft flesh against a difficult surface, we’ll also bargain with relationships of form. Although the ribcage expands when we breathe, the hips and ribcage are basically solid, with all the twisting washed past the abdominals and obliques (the waist side muscles). These difficult shapes against soft shapes cause pinching mankind, about noticeably at the waist.

01. Acquire to really see

Create a basic construction of the body to assist focus your work

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When it comes to cartoon the figure, I recall of how the basic structures work together. Making structural drawings such as this one helps me understand how everything locks together. Learning to see structure as a form of simplified beefcake is the key to drawing with confidence.

02. Direct with the power of Austin

If you’re directing a photoshoot, recall about how you do so

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In this photoshoot I directly Alana using emotional themes. I telephone call out, “Cruelty, spite, anger, joy, elation!” while Alana moves from one pose to another. Equally fun and Austin Powers-like as this may sound, information technology works. With this sorcery pose, Alana becomes a raging symbol of creation. I’ve frequently found that enthusiastic and confident fine art direction results in an energetic, productive photo session.

03. Act suspicious

Y’all don’t have to re-create your photo exactly

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I draw lightly using a small piece of willow charcoal. Equally usual, I treat the photograph with deep suspicion. The arms expect too long and the caput feels likewise pocket-sized. I want the body to be flying rather than lying over a support, so I lengthen the foreshortened midsection.

04. Hunt the echoes

With our motivational theme of ‘creation’ in place I think almost what kind of supernatural beingness Alana is equally I draw, and decide she is a witch conjuring spells. I name the drawing, The Wake of the Black Witch. With a title and motivation the drawing gains a driving force.

I smudge tones around using the charcoal that I’ve already laid down on the newsprint paper. It’southward important in the early stages to go on the cartoon light, because this method allows for changes. I’m chasing the echoes of similar forms as I go, blending nature’southward rhythmic shapes down the trunk.

05. Create a sense of movement

Add in darker lines in one case you’re happy with the lighter drawing

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I stride back from the drawing and take time to evaluate before committing to darker lines. I feel the overall drawing has solidity, and more importantly, a sense of move. I lay in darker lines, placing a canvass of paper under my hand to keep the surface clean.

06. Consider the effect of gravity

Describe the breasts later yous depict the ribcage

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Add gravity to the situation and the breasts modify shape. See how each breast is slightly different – because they e’er are. Notation too how the nipple changes shape equally the breasts stretch or flatten out. Take time to report these always-changing forms. I’d advise drawing the breasts after you lot’re happy with the shape and position of the ribcage, rather than depict them first.

07. Depict the hands

Accept care when drawing the hands, they’re tricky

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When cartoon hands in that location are notes to keep in listen, for case, the forefinger and middle finger take upward more than one-half the width, and the little finger splays outward more. Drawing the pinkie and thumb start as well makes it easier to plot and place the other fingers.

08. Alloy and describe

Make sure you remember about your low-cal source

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There is enough charcoal on the newsprint newspaper for me to blend with a paper stump, and I ameliorate the forms as I button the charcoal effectually. I too dim the torso area by lifting off some tone with tissue. This suggests a fundamental calorie-free source that draws our eye.

09. Make use of leftovers

Use excess materials to create further forms

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I absorb texture downwardly with tissue dipped in charcoal powder. You tin buy charcoal pulverisation, merely I utilise the stuff already on the sandpaper pad left over from sharpening my pencils, which saves money and a trip to the art store. I then employ a kneadable eraser to pull out highlights.

10. Employ your imagination

Utilize swirls to suggest sorcery

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With the figure work mostly behind me I come up dorsum to the story of the witch casting spells. I utilize swirls to suggest sorcery afoot and engage my electric eraser to propose crackling energy. This also frames the effigy and adds contrast, bringing the figure more into focus.

xi. Erase into the swirls

Use a condom to enhance the swirls

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Using a large compressed charcoal stick I draw large swirls, twisting the stick as I describe for thick and thin marks, I then utilize a Faber Castell grip eraser to change the swirls into more interesting shapes. Note how the figure appears brighter now confronting the outside night tones.

11. Add the small stuff

Learn to draw figures: add the small stuff

Know when to finish your drawing

Putting in the small stuff is always a danger, considering we tend to tinker and lose sight of the large movie.

I’yard feeling that it’s fourth dimension to end before the drawing suffers. Was this drawing better than the step before? Perhaps. The main thing is we explored further and by exploring farther we get to feel when information technology’s time to stop.

Gravity and Compression study sail

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Learning to see the breasts equally soft forms compressed against a hard, curved surface will help us depict forms that convey both weight and movement. Lots of life drawing will assist farther equally we take the chance to study how the breasts change shape as the model changes their pose.

This article was originally published in outcome 169 of


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Patrick J Jones is an artist, teacher and the writer of Sci-fi & Fantasy Oil Painting Techniques, The Beefcake of Way and The Sci-fi & Fantasy Art of Patrick J Jones.

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