Author: admin

How to draw a human head
This is going to be the first of a few tutorials. In this one, we will do an overview on how to draw a head.

In this first episode, before we discuss features like eyes plus nose etc., we will focus on the shape of the head. The episode is a great place to start if you are a beginner looking to explore different aspects of drawing a head shape, the features of a head, plus the head shape from different angles. More advanced artists will also find some really great tricks to getting proportions plus perspectives spot on. Let’s get started!

Watch the video
Chapter 1 : How to draw a head from Front view

01
First of all – plus you may be expecting this if you are familiar with the other tutorials – we will start with a circle. The circle obviously stands for a sphere. It only looks like a circle because we draw in 2 dimensions.

It’s one of the principal shapes when drawing anything organic. Take a look at the previous tutorials such as How to Draw A Dog to see another example of the circle in action.

02
From the sphere we will cut away two slices – one off each side of the sphere.

Try imagining an apple. If we cut one slice from this apple, an elliptical shape appears. It will be the same with our cut-out area. You’ll notice that the principle of the sphere or circle is still at work here, plus we are modifying it to suit the basic head shape.

One more thing to keep in mind is that if you view the head from above, our 2 cuts will not be exactly parallel, but slightly narrower towards the nose. That’s why when we look at the face from the front, we can see the 2 elliptical areas.

The height of the cuts should be about two thirds the height of the whole sphere.

03
The next thing we need is a cross on each cut-out daerah on both sides. This will be especially important later when we start turning the head. The crosses will act as a guide to creating the perspective we want regardless of the head angle.

We also need a centerline for symmetry. Again, this will act as a guide when we start adding the basic features of the head shape.

We should now connect the edges of our cut-out areas in order to get a pair of subdivisions.

To get the final height of the face we only need to add one more of these subdivision-heights below. Now we have the most important guidelines for the face. And, now that we have these key guidelines, let’s look at the different ways we can use them.

04
The upper line is the hairline. This is the line where the hair starts – if there is hair! But, even if you are drawing a bald head, the notional hairline is useful to keep in mind when considering the proportions of the head shape’s features. An example of this is the second line: this is the brow line. This is roughly the line at which the eyebrows should lie.

The third line is the nose line. Specifically, this is the bottom of the nose. And the last guideline is the chin. At this height we should define the chin.

By the way: Every face is different. The spacing between the 4 guidelines also tends to vary from face to face. In extremely rare cases, all the spacing may turn out to be exactly the same. Try experimenting with the spacing. You can push it the extremes if you want. Giant chins always are fun! However, in this tutorial, let’s stick to the basics.

05
Now I can start from the lowest points of the cut-out areas. Do not worry about finding an exact point at the bottom of the cut out areas because we can actually start slightly below them depending on how strong we want the jaw to be. Next, connect it to the chin. And that is already the whole head shape – done! Notice that the original guidelines that we used help control the proportions. Based on the the guidelines, we can make decisions about things like how strong the jawline should be, how large the chin, plus so on.

Chapter 2 : How to Draw a Head in half profile?

01
Let’s rotate the head a bit to the right to see how to construct the profile. With the head turned to the right, we will see only one of the cut-areas, plus it will appear wider than before. The center line is not a straight line anymore. Rather, it forms an ellipse.

02
From the point at the brow line, we will not follow the sphere anymore. Instead, go more or less straight down. Remember, the head is rotated to the right, so going straight down only refers to our process, not the figure itself.

In order to form a softer, more feminine chin, you can go slightly inwards of the centerline. If you want to make a squarer, more traditionally masculine chin, go more straight or even slightly outwards.

03
We can generate our 3 areas again to be able to define the chin line. Finally, connect the chin to the jaw. And there we have it: the completed form.

Chapter 3 : How to draw a head in Profile?

01
Let’s take a look at a profile view. This means the cut-out daerah appears as a perfect circle. This perfect circle happens not because it is the natural shape of the side of the head. Rather, think of it again as a guideline for viewing the features of the head-sphere from the side.

02
The center line will move to the edge of the face. And we can draw in the 3 guide lines again. And then, one more for the chin. By this point we are pretty used to this chin line – plus that from a few different angles now.

03
Just connect the chin to the jaw like we did before with a small jaw line straight down from the cut-out area. This creates a rather elegant connection to the chin. And, now our profile view is done. Do not worry that it looks like a football helmet at this point. Remember we are creating a shape as part of a process to form a fully organic human head.

Chapter 4 : How to draw a head from above in Half Profile

01
Let’s move on to a slightly more complicated perspective. Turn the head to the right plus downwards. Our sphere always stays the same – it doesn’t matter where we turn a sphere, it will always be a sphere. And, the same is true for the cut-out areas. In the end, these are only there let us know that the head is turned to the right. In order to orient the head downwards, we just need to turn this cross.

Now that the cross is turned downwards, not only does the horizontal line change, but also the vertical line.

02
To draw in the guidelines, imagine a corner between front plus side of the head. You can find this brow-line corner on your own head by touching the very outer edge of your own eyebrow.

Of course, in the end it will not be a corner but more like a curve, because there are no really sharp corners in a face. That’s why we can immediately soften this corner a bit.

03
In order to continue the center line from the brow line, just go parallel to the vertical cross line of the cut-out area. Now the center line no longer goes straight down. It is actually angled to the left a bit because we have turned the head downwards plus to the right. Keep in mind that we are viewing this head shape from above the left ear.

04
Pay close attention to the chin line here: it is a bit shorter on the right side than on the left because the head is turned to the right. Therefore, we end up seeing more of the chin on the left side. From this perspective, the right side of the chin is obscured by the rest of the head shape.

05
Connect the lines as we have done in the previous steps.

Chapter 5 : How to Draw a Head from Below in Half profile?

01
Let’s move on to a slightly more complicated perspective. Turn the head to the right plus downwards. Our sphere always stays the same – it doesn’t matter where we turn a sphere, it will always be a sphere. And, the same is true for the cut-out areas. In the end, these are only there let us know that the head is turned to the right. In order to orient the head downwards, we just need to turn this cross.

Now that the cross is turned downwards, not only does the horizontal line change, but also the vertical line.

02
To draw in the guidelines, imagine a corner between front plus side of the head. You can find this brow-line corner on your own head by touching the very outer edge of your own eyebrow.

Of course, in the end it will not be a corner but more like a curve, because there are no really sharp corners in a face. That’s why we can immediately soften this corner a bit.

03
In order to continue the center line from the brow line, just go parallel to the vertical cross line of the cut-out area. Now the center line no longer goes straight down. It is actually angled to the left a bit because we have turned the head downwards plus to the right. Keep in mind that we are viewing this head shape from above the left ear.

04
Pay close attention to the chin line here: it is a bit shorter on the right side than on the left because the head is turned to the right. Therefore, we end up seeing more of the chin on the left side. From this perspective, the right side of the chin is obscured by the rest of the head shape.

05
Connect the lines as we have done in the previous steps.

Chapter 6 : Final Phase in Drawing a Head

01
Let’s move on to a slightly more complicated perspective. Turn the head to the right plus downwards. Our sphere always stays the same – it doesn’t matter where we turn a sphere, it will always be a sphere. And, the same is true for the cut-out areas. In the end, these are only there let us know that the head is turned to the right. In order to orient the head downwards, we just need to turn this cross.

Now that the cross is turned downwards, not only does the horizontal line change, but also the vertical line.

02
To draw in the guidelines, imagine a corner between front plus side of the head. You can find this brow-line corner on your own head by touching the very outer edge of your own eyebrow.

Of course, in the end it will not be a corner but more like a curve, because there are no really sharp corners in a face. That’s why we can immediately soften this corner a bit.

03
In order to continue the center line from the brow line, just go parallel to the vertical cross line of the cut-out area. Now the center line no longer goes straight down. It is actually angled to the left a bit because we have turned the head downwards plus to the right. Keep in mind that we are viewing this head shape from above the left ear.

04
Pay close attention to the chin line here: it is a bit shorter on the right side than on the left because the head is turned to the right. Therefore, we end up seeing more of the chin on the left side. From this perspective, the right side of the chin is obscured by the rest of the head shape.

05
Connect the lines as we have done in the previous steps.

06
Now for the view from below: the opposite happens with this eyebrow line because now much more of this plane under the eyebrows is visible. That’s why we go much longer with this eyebrow valley line.

07
And here again something new happens with the ear because if we follow these guidelines for the ear as we did earlier, the ear looks like an ear painted onto an earless head. This is a masalah of perspective – the ear is not flat to the head. Rather it stands out a bit away from the head. That’s the reason, in this perspective, the ear goes a bit over the guideline.

08
That is basically everything with regard to how to draw a head shape. Of course, you can draw from many more perspectives. But, these 4 perspectives show the whole principle fairly comprehensively. I hope this gives you an enjoyable overview of this method of constructing a head shape. I’ll see you soon in the next episode of this series. Happy painting!

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There’s an old adage in art that the human face is the most interesting landscape of them all. If you want to explore your creative side plus improve your drawing skills, drawing a face is great way to go! In this article, we’ll break down the mechanics when it comes to drawing faces. We’ve even provided reference images so that you can practice along as you learn.

Things You Should Know
Draw an oval. Then, add vertical plus horizontal guidelines through the center to create guidelines for the features.
Make eyes realistic by making them almond-shaped. Place one eye’s width between each eye to keep them symmetrical.
Focus on the shape of the base of the nose plus shade under each eye to give definition to the nose’s bridge (instead of drawing a line in the middle).
Place the mouth halfway between the nose plus chin. Add 3 lines—1 for the mouth, 1 for the upper lip, plus 1 for the lower lip.
Method
1
Adult Woman
Step 1 Make a light outline of a face.
1
Make a light outline of a face. Heads aren’t actually circular; they’re oval-shaped, like an egg. Sketch an oval outline that tapers down at the bottom where the chin would be.[1]
Step 2 Divide the oval in half vertically plus horizontally.

2
Divide the oval in half vertically plus horizontally. The easiest way to draw a face is to use dividing lines to map out the proportions of the features. First, draw a line down the center of the oval. Then cut the oval in half again, this time horizontally.
Step 3 Add another horizontal line to illustrate the nose.

3
Add another horizontal line to illustrate the nose. Divide the lower half of the oval again with another horizontal line. The point where the vertical line meets the lower horizontal line is the base of the nose. Sketch out the tip of the nose plus add a nostril on each side.
Step 4 Sketch out the mouth with a third horizontal line.

4
Sketch out the mouth with a third horizontal line. Divide the bottom of the oval in half again. Put the bottom of the lips on the dividing line you have just drawn. Draw a line for where the lips meet plus then draw the top plus bottom lips.[2]
Step 5 Add two symmetrical eyes along the top line.

5
Add two symmetrical eyes along the top line. Draw two circular balls to make out the eyes across the central horizontal line. These are the eye sockets. The top of this circle is where the eyebrows go plus the bottom is where the cheekbone sits.[3]
Step 6 Develop the eyebrows along the top of each eye socket.

6
Develop the eyebrows along the top of each eye socket. The eyebrows communicate a lot of expression. Craft the eyebrows evenly along the top line of each ball for a more neutral expression, angle the eyebrows inward for a more intense vibe, or raise them up a little to communicate surprise.
Use a series of short, thin strokes to add individual hairs if you’re going for a more realistic look.
Step 7 Finish the eyes by adding pupils plus eyelids.

7
Finish the eyes by adding pupils plus eyelids. As a rule of thumb, the distance between the two eyes is the width of a third eye. A person’s eyes are almond-shaped, so bear this in mind as you sketch them out. Eyes come in every size plus shape, so experiment with the form a bit until you’ve got the right look.
Step 8 Color the irises plus develop the pupils.

8
Color the irises plus develop the pupils. Draw the pupil, which is the darkest bit of the eye. Fill most of it in black plus leave a little white. With your pencil flat, use a bit of shading for the base. Shade variant from medium to light in each iris. Use tightly-spaced short lines from the edge of the pupil to the white of the eye.
Make some of the edges of each pupil lighter to give it a nice effect. Develop the eyebrows above. Then, rub out the guidelines below the eye.
Step 9 Draw the top of the eyelid over the top of each eye.
9
Draw the top of the eyelid over the top of each eye. The base of the eyelid comes down over the top of the iris plus covers the top of it slightly. If you make the eyelids really big, the woman you’re drawing will look sleepy. Keep them even plus thin.
Step 10 Shade under the eyes to communicate depth.

10
Shade under the eyes to communicate depth. Add a little shading underneath the eye plus where the eye meets the nose to define the socket. For a tired look, add shading plus swooped lines at a more acute angle to the bottom eyelid.
Step 11 Add an ear on each side of the head.

11
Add an ear on each side of the head. The base of each ear should be drawn in line with the bottom of the nose plus the top of the ear in line with the eyebrows. Remember, the ears are flat against the side of the head.[4]
Step 12 Give your face some hair.

12
Give your face some hair. Start where the hair parts plus develop it outwards. Put some strands in front plus other strands behind to communicate dimension.[5]
You can opt for whatever kind of hairstyle you’d like. There are no rules, so go for whatever look you want.
Step 13 Add the neck coming from the base of the head.

13
Add the neck coming from the base of the head. Necks are thicker than you probably imagine. Draw two lines coming down from roughly where the bottom horizontal line meets the edges of the face.
You can include shoulders if you’d like, or let the neck be the end of the body.
Step 14 Include any details you feel you’re missing.
14
Include any details you feel you’re missing. You can add a bit of shading under the nose plus accentuate the chin, or put expression lines around the mouth plus shade in the corners. Outline the ridge of the nose. The more prominent you make these features, the older your face will look.[6]
Step 15 Draw clothes…

15
Draw clothes if you want a fuller portrait. Throw on a blouse, shirt, or jacket if you want to add a body. This is totally optional, so if you’re only interested in drawing the face, go ahead plus skip this.
Step 16 Erase any guidelines you no longer need.
16
Erase any guidelines you no longer need. Now that you’re done, get rid of any pesky lines that don’t belong anymore. Clean up any marks you didn’t mean to erase plus you’re done!

Draw the shape of the head using a loose oval. Craft a loose oval shape to guide the illustration. Heads aren’t perfectly circular, but younger people rarely have sharp chins so don’t make it too sharp.
Step 2 Add guidelines to the center of the face.
2
Add guidelines to the center of the face. Put one horizontal line plus one vertical line in the center of the oval. This will help you compose the features evenly.
Step 3 Sketch lines to define the eyes, nose, mouth, plus ears.

3
Sketch lines to define the eyes, nose, mouth, plus ears. Use your pencil to lightly sketch out the location of each part of the face. Add marks for almond-shaped eyes, note the location of the mouth, plus lightly define the nose.
Younger women rarely have harsh, sharp noses. If you want to make your drawing appear youthful, use softer lines.
Step 4 Develop the eyes, nose, mouth, ears, plus eyebrows.

4
Develop the eyes, nose, mouth, ears, plus eyebrows. Feather out some soft plus unassuming eyebrows. Fill in the eyes with pupils, plus add any lines to the nose plus nostrils to give them shape.[7]
Step 5 Sketch out the…

5
Sketch out the hair plus neck. You can even throw a little ribbon or headband in the hairstyle if you want the girl to appear really young. Start where the hair parts plus add flowing lines going away from that location.
Step 6 Use a small-tipped…

6
Use a small-tipped drawing tool to add the finer details of the face. Grab a razor-sharp pencil, thin pen, or marker plus develop all of the features you’ve added.
Step 7 Outline your sketch with your preferred tool.
7
Outline your sketch with your preferred tool. Now that you’ve developed your drawing entirely, add any outlines or features that feel like they’re missing.
Step 8 Erase any sketch marks plus guidelines to produce a clean drawing.

8
Erase any sketch marks plus guidelines to produce a clean drawing. Use your eraser to carefully remove all of the lines you drew to guide your drawing plus keep your features symmetrical.
Step 9 Add color plus shading to the drawing.
9
Add color plus shading to the drawing. You can keep your drawing black plus white if you’d like. Use colored pencils, markers, or crayons to finish your drawing if you’re adding color. You can also shade in the darker parts of the face (like under the eyes plus hair) to create more depth.

Sketch a light circle. You’ll add the chin later. Don’t worry if your circle isn’t perfectly round—this is just a starting point.
You can start with an oval if you prefer, but men tend to have much more angular jawlines. This circle will represent the top portion of the head.
Step 2 Draw a guideline through the middle of the head.

2
Draw a guideline through the middle of the head. Extend the line down past the bottom of the circle until you reach the bottom of the chin. This line determines where the person is looking, so keep it straight if you want the face to be looking at the viewer.
Step 3 Define the shape of the cheeks, jaw, {plus|and} chin.

3
Define the shape of the cheeks, jaw, {plus|and} chin. Build out the bottom half of the head by adding the jaw lines. The more angular you make the cheeks {plus|and} jaw, the more “rugged” the face will eventually look.
Younger men typically have softer, less developed jaws than adult men do.
Step 4 Sketch out the location for the eyes, nose, mouth, {plus|and} ears.
4
Sketch out the location for the eyes, nose, mouth, {plus|and} ears. Build out the core locations for each of the man’s main facial features. Place the ears at the same height as the top of the eyes {plus|and} put the base of the nose halfway between the bottom of the chin {plus|and} the bottom of the circle.[8]
Step 5 Give some shape to all of the facial features.
5
Give some shape to all of the facial features. Build out the eyes, nose, mouth, ears, {plus|and} eyebrows. Add as much {teliti|cermat|detail|detil} as you’re comfortable developing right now.[9]
Step 6 Draw the shape of the hair {plus|and} neck.

6
Draw the shape of the hair {plus|and} neck. You don’t have to craft everything in perfect detail, but develop a sense for the overall composition of the hair. Add a neck, as well.[10]
A thinner neck will convey a bit more youthfulness while a wider neck will make the man look older.
Step 7 Use a smaller tipped drawing tool to add the finer details.

7
Use a smaller tipped drawing tool to add the finer details. Grab a fine-point pen or sharp pencil {plus|and} begin to develop the finer details. Add moles, individual hairs, or shading.
Now is also a good time to add facial hair! This is one of the best ways to make a man look older.
Step 8 Outline the sketch.

8
Outline the sketch. Start cleaning up the softer lines with cleaner, crisper strokes. Develop the hair, fill out the eyebrows, {plus|and} continue to clean up the sketch.
Step 9 Erase all of the guidelines you sketched out.
9
Erase all of the guidelines you sketched out. Grab an eraser {plus|and} remove all of the original guidelines {plus|and} any mistakes you’ve made.
Step 10 Color in your…

10
Color in your drawing. It’s totally fine to keep things black {plus|and} white if you’d like, but now’s the time to add color if you’re going to. Use markers, colored pencils, or crayons to bring your creation to life.
Step 11 Add shading…
11
Add shading to the drawing for a more realistic look. You can keep the drawing unshaded for a more cartoonish look, but shading {plus|and} adding depth is a great way to give your drawing a little extra pop.

Hey guys! It’s Sean, an artist instructor with Da Vinci Eye. Today, we’re going to be learning how to draw a toucan.

I’ll be drawing this on my tablet for you to easily see, but feel free to use a pencil plus paper. You can also follow along with the tutorial step-by-step. The app lets you trace along with my drawing to help become more comfortable plus understand exactly what I do.

So let’s get started.

Remember with every drawing to start out light. So using little pressure with a pencil, draw three circles – the head, the body, plus the eye.

Easy Toucan Tutorial Step by langkah lesson

Now we connect everything…

And add a Y looking line to indicate the wings, since we’re looking at the back of the toucan.
Easy bird drawing for beginners

After that, I’m going to go in plus add some more lines for the tail feathers.

As you can see, these don’t have to be perfect.

And now we add the main event – the long beak.

I decided to give my toucan a little berry to hold onto, but you could also just have the beak closed.

Last but not least, your toucan need some environment. So let’s put it in a tree branch with a little bit of texture.

After this, I just go in for some cleanup. So I make lines darker plus add some feather plus beak details.

And as always remember to sign your art because you did it plus you should be proud of yourself!

Now, of course, toucans are very colorful, so don’t hesitate to do some quick color plus shading.

This is a simple step-by-step guideline to help you draw a basic floor plan using SmartDraw.

Choose an daerah or building to design or document.
Take measurements.
Start with a basic floor plan template.
Input your dimensions to scale your walls (meters or feet).
Easily add new walls, doors and windows.
Drag and drop ready-made symbols to customize your space: furniture, kitchen, bathroom and lighting fixtures, cabinets, wiring, and more.

Step 1. Select a Template
You can find floor plan templates under the New Document section of the Dashboard. Let’s start with Residential Floor Plan in the Floor Plans – Residential category.

All of the tools you need to create your floor plan will be docked to the left of your drawing daerah in what we call the SmartPanel.

The difference between different kinds of floor plan templates will mostly be the model of symbol libraries docked with the template. A residential template will have more home furnishings while a commercial template will have more office symbols and so on.

Choose a floor plan template
Step 2. Draw Walls
Select the Wall tool in the upper left part of the SmartPanel to the left of your drawing area. Click once in your work daerah to begin drawing a wall segment, drag your mouse, and then click again to complete your wall segment. You can continue adding more walls to create a closed outline. A circle will appear at the end of a wall to help you connect it to close the outline. Click Esc to exit out of wall drawing mode.

Draw walls
Step 3. Adjust Your Outline as Needed
Even after an outline is completed, you can change the dimensions in one of two ways. Either click on a wall and slide it to its desired length, or click on the dimension and model in the measurement you want to resize it to. When you do this, you’ll note that the opposite wall will resize to the same dimension automatically.

You can also adjust the placement of individual walls. Click on a wall and you’ll see two types of growth handles appear.

The handle with an up and down or right to left arrow will allow you to move your wall inward or outward vertically or horizontally.

The handle at the corners where walls meet will help you adjust your wall diagonally by letting you move the placement of the corner.

Grab any other part of the walls to move the entire room, including all of the room’s contents.

Adjust wall placement
Add a New Wall Segment
You can add a new corner or alcove to a room outline using the right-click menu. Click on the spot on an existing wall where you want to add a new segment and select Add Wall Segment from the menu.

SmartDraw will automatically add two new wall segments at right angles from the spot clicked to create a new corner going outward from the existing outline unless space doesn’t permit it, in which case the corner will added going inwards.

The size of the initial “kick out” or “indentation” will be determined by your scale and room in your drawing. On the standard 1:4 scale used in our floor plan templates, the indentation will be one major scale unit or 4 feet.

Once a corner is added, you can fine tune its size and indentation using the wall adjustment tools. Just click on the arrows to drag the walls inward or outward as desired.

Add wall segment
Adjust Wall Angles
You can also adjust the angle of the walls for any room just by typing in a desired degree.

First, make the existing angles visible in your floor plan. You can do this by going to the Design tab, clicking on Dimensions and selecting Line Angles under the Options section.

Turn on line angles
To change any angle, click to select it and type in the new value. Any connected walls will adjust accordingly.

Adjust angles
Step 4. Add Wall Openings
Once you’re happy with your outline, you can move onto adding openings, doors, windows, and furnishings.

You can quickly add a standard wall opening using the Add Wall Opening button on the Adjust Wall palette of the SmartPanel. Click the button and place the opening anywhere along your wall. You’ll see an anchor symbol and black dot to indicate where the opening will be created. SmartDraw will also show you the distance from the corners to the wall opening for easier placement.

Add wall opening
Adjust the Distance Between Openings and Corners
Sometimes you need to adjust positioning after the fact. When you select an opening, you’ll see its distance from the nearest corner. To adjust that distance, select the wall segment in question and type the desired length right into the dimension measurements. It’s that simple.

Adjust the placement of your wall opening
Step 5. Add Doors and Windows
Add doors and windows by simply dragging and dropping them. When you see your cursor change from a stamp to an anchor, you’ll know it will attach to the wall at that spot. Once attached, you can resize the opening and move it around on the wall until it’s positioned where you want. The distance guides will help you position things accurately.

Drag and drop doors and windows
Step 6. Search for Symbols and Add Them to Your Floor Plan
To search for additional symbols, just type any words in the Search for symbols box. The search results will be grouped by the libraries they were found in. Click on the and sign next to any grup of results and you can either choose Add result or Add library for future use. Add result only adds the symbols that matched your query. Add library will add the entire library the symbols were found in.

Search for symbols
Guides help you place items on your floor plan more precisely. As you drag a symbol to your floor plan, you’ll see exactly where your obyek will be in relation to the walls and other objects in your plan. The blue guidelines will show the distance to the nearest wall or nearest obyek to help you position it.

Using guides
You can resize, rotate or move objects around as you need to.

You can easily resize any obyek just by typing in its dimensions or dragging on the black growth handles to make the obyek bigger or smaller as needed.

You can also rotate objects by clicking and holding the rotate button and then moving your mouse around in a clockwise or counterclockwise direction. When you get it into the proper orientation, release the button.

If you move the room around, everything within it stays in place and moves with the room.

Rotate and resize symbols
Step 7. Change the Scale
You don’t have to pick and stick to a scale with SmartDraw. You can change the scale for your entire drawing at any time.

In the
Document Setup
palette section of the SmartPanel, click on
Units & Scale
. You can choose from several standard Architectural, Metric and Engineering options. You can also specify your own custom scale.
Set a floor plan scale
Step 8. Add an Annotation Layer
You can also add a scale-independent Annotation Layer using the Document Setup palette in the SmartPanel. Add the scale, author and other data about the diagram just like you would in the “page view”” in a traditional CAD program. This annotation layer automatically adjusts its size and position as the drawing tempat or paper size changes. Just click Remove Annotation Layer to get rid of it.

Add an annotation layer
Step 9. Working with Dimensions
The dimensions of your objects and walls are shown by default. You can hide these by clicking off the Show Dimensions option in the Dimensions & Area palette of the SmartPanel.

The Measure Distance and Measure Area tools let you make measurements simply by clicking and dragging. As you make these measurements, the outlines stay there for you to use as a reference in your layout. Just select them and hit delete if you want to remove them.

Measure dimensions
Step 10. Add Shape Data
Any floor plan symbol can have shape data associated with it. Data is basically a set of fields and associated values. These show in the data panel and in a tool tip on the shape itself.

To add data to your floor plan, you’ll first want to switch the SmartPanel to display data data instead of the Tool palettes. You can do this by clicking the database icon in the Left Bar.

Open the Data tab
Under Actions, you can choose to add a table by either creating a new data table or importing already existing data.

You can also adjust the placement of individual walls. Click on a wall and you’ll see two types of growth handles appear.

The handle with an up and down or right to left arrow will allow you to move your wall inward or outward vertically or horizontally.

The handle at the corners where walls meet will help you adjust your wall diagonally by letting you move the placement of the corner.

Grab any other part of the walls to move the entire room, including all of the room’s contents.

Adjust wall placement
Add a New Wall Segment
You can add a new corner or alcove to a room outline using the right-click menu. Click on the spot on an existing wall where you want to add a new segment and select Add Wall Segment from the menu.

SmartDraw will automatically add two new wall segments at right angles from the spot clicked to create a new corner going outward from the existing outline unless space doesn’t permit it, in which case the corner will added going inwards.

The size of the initial “kick out” or “indentation” will be determined by your scale and room in your drawing. On the standard 1:4 scale used in our floor plan templates, the indentation will be one major scale unit or 4 feet.

Once a corner is added, you can fine tune its size and indentation using the wall adjustment tools. Just click on the arrows to drag the walls inward or outward as desired.

Add wall segment
Adjust Wall Angles
You can also adjust the angle of the walls for any room just by typing in a desired degree.

First, make the existing angles visible in your floor plan. You can do this by going to the Design tab, clicking on Dimensions and selecting Line Angles under the Options section.

Turn on line angles
To change any angle, click to select it and model in the new value. Any connected walls will adjust accordingly.

Adjust angles
Step 4. Add Wall Openings
Once you’re happy with your outline, you can move onto adding openings, doors, windows, and furnishings.

You can quickly add a standard wall opening using the Add Wall Opening button on the Adjust Wall palette of the SmartPanel. Click the button and place the opening anywhere along your wall. You’ll see an anchor symbol and black dot to indicate where the opening will be created. SmartDraw will also show you the distance from the corners to the wall opening for easier placement.

Add wall opening
Adjust the Distance Between Openings and Corners
Sometimes you need to adjust positioning after the fact. When you select an opening, you’ll see its distance from the nearest corner. To adjust that distance, select the wall segment in question and model the desired length right into the dimension measurements. It’s that simple.

Adjust the placement of your wall opening
Step 5. Add Doors and Windows
Add doors and windows by simply dragging and dropping them. When you see your cursor change from a stamp to an anchor, you’ll know it will attach to the wall at that spot. Once attached, you can resize the opening and move it around on the wall until it’s positioned where you want. The distance guides will help you position things accurately.

Drag and drop doors and windows
Step 6. Search for Symbols and Add Them to Your Floor Plan
To search for additional symbols, just model any words in the Search for symbols box. The search results will be grouped by the libraries they were found in. Click on the and sign next to any group of results and you can either choose Add result or Add library for future use. Add result only adds the symbols that matched your query. Add library will add the entire library the symbols were found in.

Search for symbols
Guides help you place items on your floor plan more precisely. As you drag a symbol to your floor plan, you’ll see exactly where your object will be in relation to the walls and other objects in your plan. The blue guidelines will show the distance to the nearest wall or nearest object to help you position it.

Using guides
You can resize, rotate or move objects around as you need to.

You can easily resize any object just by typing in its dimensions or dragging on the black growth handles to make the object bigger or smaller as needed.

You can also rotate objects by clicking and holding the rotate button and then moving your mouse around in a clockwise or counterclockwise direction. When you get it into the proper orientation, release the button.

If you move the room around, everything within it stays in place and moves with the room.

Rotate and resize symbols
Step 7. Change the Scale
You don’t have to pick and stick to a scale with SmartDraw. You can change the scale for your entire drawing at any time.

In the
Document Setup
palette section of the SmartPanel, click on
Units & Scale
. You can choose from several standard Architectural, Metric and Engineering options. You can also specify your own custom scale.
Set a floor plan scale
Step 8. Add an Annotation Layer
You can also add a scale-independent Annotation Layer using the Document Setup palette in the SmartPanel. Add the scale, author and other data about the diagram just like you would in the “page view”” in a traditional CAD program. This annotation layer automatically adjusts its size and position as the drawing daerah or paper size changes. Just click Remove Annotation Layer to get rid of it.

Add an annotation layer
Step 9. Working with Dimensions
The dimensions of your objects and walls are shown by default. You can hide these by clicking off the Show Dimensions option in the Dimensions & Area palette of the SmartPanel.

The Measure Distance and Measure Area tools let you make measurements simply by clicking and dragging. As you make these measurements, the outlines stay there for you to use as a reference in your layout. Just select them and hit delete if you want to remove them.

Measure dimensions
Step 10. Add Shape Data
Any floor plan symbol can have shape data associated with it. Data is basically a set of fields and associated values. These show in the data panel and in a tool tip on the shape itself.

To add data to your floor plan, you’ll first want to switch the SmartPanel to display data data instead of the Tool palettes. You can do this by clicking the database icon in the Left Bar.

Open the Data tab
Under Actions, you can choose to add a table by either creating a new data table or importing already existing data.

Welcome to a new Wacom sketch lesson. Today we will learn how to draw a woman’s face. This – as we all know – can be a beautiful sight and is also one of my own favorites. Of course, all faces look slightly different, depending on their origin, age, number of ears, etc., not to mention the model of each artist. Sometimes even the same face looks completely different in the morning than it does in the evening.

In this step-by-step guide we will learn some dasar guidelines that portrait, caricature, comic and anime artists all over the international have been using for many years when painting realistic faces. Of course, these are not mandatory rules and every artist can adapt and reinterpret them to their own style. With a task as challenging as the female face, it can be tremendously helpful to practice and keep this guide in mind.

In this course we will draw a female face from our imagination and learn some essential tricks and techniques to make it look realistic. We will start by constructing the head shape, then add the features, and finally give the face some fine-tuning and color. I hope you find the course inspiring, and that you will be able to use this approach for yourself in the future.

This course is mainly aimed at beginners, but an experienced artist may discover something new too. I’m also going to talk about the workflow on the pc with a graphic pill and the advantages of digital devices. However, you can follow the course with pen and paper as well.

I wish you a lot of fun while drawing and great results.

01 Begin with a circle
First, make a small construction drawing. With the help of some basic shapes, the head, eyes, nose and mouth can be positioned with ease.

We start with a circle. Drawing a circle is not the easiest thing in the world. If you don’t succeed right away and your circle looks like a cubist potato, try to fix your wrist and sketch the circle from the rotation of your forearm. You can also – like me – try to approach the circle shape with several quick strokes. Don’t worry if your construction drawing doesn’t look very nice. You won’t see it at all in the end.

02 Center axis
Now we sketch a straight line in the center of the circle. I call it “center axis”, because left and right should be more or less symmetrical, as it is in faces.

03 Vertical guide lines
Time for some guidelines: Cut the circle with a horizontal line. We transfer this half circle height downwards to the extended central axis.

Within the circle, we cut each half in half again with two small lines. This way we have divided the circle into 4 parts and added another half circle height at the bottom.

04 One more circle
Now we need a smaller circle. Don’t worry, we have almost finished construction. The small circle goes from the third line of division to the very bottom. So, it is ¾ as big as the big circle. We also mark the center of the smaller circle.

05 Cheeks
Construction finished. Time to draw the rest. Connect the two circles into a single shape. These joined circles will make up the skull and lower jaw as there are nomer bones sticking out, this should be pretty easy.

You can make the connecting lines straight or curve outwards, depending on how well nourished you want the face to look. The cheeks could also sink inwards if you want a gaunter look.

06 Vertical positioning
How good that we have constructed so bravely. Because now we know exactly where everything should be located:

• At the top quarter line is the hairline.
• The circle-middle line – well, maybe we could have left that out. But experienced artists know: to make a quarter, you have to make a half first
• The next line is for the eyes. Yes, they are really that low. They sit halfway down the face.
• The nose ends exactly at the lower edge of our first circle.
• And the mouth sits at the center of the small circle.

07 Horizontal subdivision
In order not to draw eyes and mouth too wide or too narrow, we subdivide the face once again, this time horizontally. We cut each side in half, then half again. This gives us a keseluruhan of eight equally wide parts.

The left eye extends from the second to the fourth dividing line and the right mirrors it on the other side. The pupils sit in the middle of the eyes at the third subdivision line, exactly in the middle of each half.

The mouth is about as wide as the distance between the pupils. Sketch a pair of eyes, a mouth and a small U-shaped line for the nose. This doesn’t have to be perfect, but be sure to define the corner points clearly.

08 Head shape
Now that we know where the eyes, mouth and nose are located, we can remove some of the guidelines. Keep the one for the hairline, we’ll need it again at the end. Now that we see the face for the first time, we can rework the head shape a bit. A woman’s head shape is softer and less angular than males. Therefore, the outlines of the head shape should be drawn with softer curves.

We start with a U-shaped curve at the chin. Try to draw the chin as symmetrically as possible. The narrower the chin, the more feminine the face will look. But if the chin is too narrow, we might accidentally draw an alien.

When satisfied with the chin, start with a new line at the top of the forehead. First, follow the circle from our sketch. At eye level our head shape makes a barely noticeable dip inward. Once there, elegantly swing around the cheek and draw an almost straight line towards the chin, where our lines meet.

9. Mood of our face
   Now to decide what state of mind our woman’s face has. This depends primarily on whether the eyebrows and mouth are pointing up or down.I have decided on a satisfied, good-humored face. The mouth points slightly upwards, the eyebrows are relatively neutral.

10 End of the preliminary drawing
Our preliminary drawing is finished. I have indicated the areas for the eyebrows and sketched the lips a bit. But don’t worry, we’ll go into all the details right away.

11 Preliminary drawing as orientation
Place your preliminary drawing as a separate layer in the background and make it a little lighter so you can still use it as a guide, without it being too distracting.

12 The upper eyelid
The shape of the upper eyelid varies from person to person. Even small differences have a great effect on the appearance of a face. Basically, the upper eyelid (especially the female eyelid) describes a curve that rises relatively sharply and then falls off weakly. The easiest way to achieve this curve is to start from the outside.

13 The lower eyelid and the pupil
The lower eyelid describes a slightly flatter arc than the upper one. It does not start directly at the end point of the upper eyelid. The upper eyelid goes a little further outward. In addition, the lower eyelid can curve slightly upwards on both the outside and inside. In a laughing person, this outer curvature is particularly pronounced because the laugh muscles push the outer edges of the eyes upwards.

Depending on how important this facial characteristic is to us, we can draw this line several times.

Place the pupil so it lies against the upper eyelid. This creates the effect of the eye looking directly at us.

14 Iris and upper lid crease
The upper lid crease is the most romantic crease of the face. Eyelid wrinkles that touch the upper eyelid at certain points create different effects. For example, exaggerated, high eyelid creases create the well-known bedroom look. It is worthwhile to experiment with the upper eyelid crease, as it can express completely different moods.

The standard eyelid crease, when the eye is at rest, runs almost parallel to the upper eyelid. Since things are rarely exactly parallel in nature, the eyelid crease can move slightly away from the eyelid towards the middle of the line and approaches the middle of the face again.

Geometrically, the iris is a circle concentric to the pupil. It is about half as wide as the total daerah of the eye. Of course, we do not draw a complete circle, because the iris is covered by the eyelids at the top and bottom. It may be easier to draw a complete circle for the iris first, and to remove the covered parts after.

15 Eyebrow
For the eyebrow, sketch an daerah which to fill with hair afterwards. This daerah is rather pointed towards the outside. Female eyebrows tend to be a little narrower than those of men and can have a steeper arch. But be careful – this can appear severe.

The hair of the eyebrows starts inside at a 45-degree angle and becomes flatter towards the outside. It’s best to draw the hair with lots of fast strokes. Start on the inside, and draw each hair at a slightly offset angle.

In this digital age, hair that protrudes too much can be easily erased using a pen tablet.

16 One more eye
You can also copy and even mirror things on your tablet. However, there were eyes and faces long before the digital age. And no two eyes ever look exactly the same. And last but not least: You have to practice!

17 Iris Texture
The eye and especially the iris are complex structures, made of many fine shapes and colors. We can approach this view graphically by drawing many fast alternating black and white fine lines from the pupil to the edge of the iris. We can also fill the iris with color later.

18 Reflection
The final touch is given to the eye by light reflection. This can be a simple white point, several points, a window or even a whole landscape. We achieve a pleasant effect with a simple shape that does not cover too much of the eye. We do not want to illuminate the whole eye. Less is more.

19 The mouth
The mouth is not a gently running line. The corners of the mouth, i.e. the outer edges of the line should be defined with a little more pressure or with small corner creases. A typical feature of the female mouth is the small curvature of the mouth crease in the middle.

I made the mouth a bit narrower than in the preliminary drawing, because it seemed more coherent to me.

Don’t forget to always look at your drawing as a whole and check if everything is in its place. Maybe you want to change something? What can be improved?

20 Upper lip
Male and female faces also differ in the thickness and curvature of the lips. We start the upper lip as symmetrically as possible with two slightly ascending, quickly drawn strokes

from the corners of the mouth towards the middle. In the second step, we let the two strokes turn into a V with two steep curves.

21 Lower lip
The lower lip may be slightly thicker than the upper lip, but this is not a must. The line may become slightly flat towards the middle.

The mouth may end up looking a little like a sticker stuck on the face. To prevent this, just use a little drawing trick. Leave a gap between the lower lip line and the corners of the upper lip, let the line gently run out and point towards the corners of the mouth.

22 Nose tip
The nose is known to protrude furthest from the face. This may be a little easier to draw in profile, but in the frontal view it presents us with certain difficulties. As we only have two dimensions at our disposal, we have to work with something called ‘perspective shortening’. This can be a challenge especially for beginners, but we can avoid any problems by applying a simple formula: Draw the tip of the nose as a small horizontal line pointing slightly upwards. On both sides of the tip of the nose we continue with slightly outwardly curved strokes.

23 The nostrils
The nostrils start very close to the outer sides of the nose tip. They are almost horizontal at the lower end and point at the upper end in approximately the direction of the opposite inner eye fold.

Now we should check the face as a whole. Is the nose too large or too small? Too wide? Too narrow? You can change the nose until you are satisfied. Most graphics programs can also help you with the transformation tool.

24 Adjust head shape
Now that we have drawn all the important parts of the face, it is advisable to adjust the head shape one last time. In principle, we can transfer the head shape from the preliminary drawing to the final drawing in pretty much the same way. You may notice some spots that need changing slightly.

25 Two lines
Among many possible shadows and wrinkles that faces could have, I have chosen two that I like to use, especially on female faces.

One is the chin crease under the lower lip. It defines the chin and visually widens the mouth area.

Another is the cheek shadow (on the left). This is one of the typical features of a woman’s face. It usually takes a few tries to get the cheek shadow where it should be, so that the face doesn’t look too bony or grinning.

26 Two boxes
Once again, this step is about determining a position. The ears stretch from the eyes to the tip of the nose. As we see the face from the front, the ears don’t appear round, but almost flat against the head. Draw two small, slightly V-shaped boxes.

27 The ears
One of the great advantages of the female face is that there is usually a lot of hair covering the ears, so we may not even have to draw them. The ear is a rather complicated structure with many angles, wrinkles and shadows and should probably be described in more teliti in a separate course.

I have therefore indicated in the picture how to draw a somewhat abstracted ear in three simple steps. The two boxes help us to do this.

In the next chapter our face will get hair and final touches, including color.

28 Hairline
Hopefully you haven’t erased the little hairline guide. If you have, don’t worry, we can position the hair by observing the rest of the face.

Hair, like ears, is a science in itself plus basically needs its own tutorial. But I will limit myself to a few lines to describe it.

We start with a rough sketch of the vertex plus outer edges of the hairstyle. It’s best to draw this on a separate layer, so that we can easily hide the preliminary drawing of the hair later. The line for the parting runs from the hairline auxiliary line – here a little to the right of the center – in an upward sweep that is as elegant as possible. From the vertex, the hair falls towards the ears on both sides. Depending on how loose the hairstyle should look, several lines running side by side can also limit the hairstyle.

29 The neck
Below the ears the hair reappears plus falls down freely in several brisk strokes. On this occasion we can also indicate the neck.

While drawing the hairlines you will notice certain curves, curls or areas that you’d like to add to. Don’t go into too much detil yet.

30 Falling direction of the hair
This tahap is not about drawing slow cautious lines, but about drawing the hair in a sweeping plus brisk manner. Of course, we don’t draw every single hair, but rather study the fall directions of the hair at the different places. Later we can define them with a few clear strokes. Hair grows in tufts, plus within these tufts it all grows plus falls in similar directions (not criss-cross). I’ve created several tufts of hair plus hairstyle areas in the image quite arbitrarily. There are no limits to your imagination. Hair is always the fun part.

31 Final artwork of the hair
Once your hand gets used to the fast movements, lines, plus curves of the hair strokes, it is much easier to define a clear, sweeping hairstyle. For the final drawing of the hair, it is recommended to use a separate layer again. Here we can orientate ourselves on the pre drawn hairstyle plus later, as already mentioned, simply hide it. If necessary, we can also erase hair that is too long plus protrudes into the face without erasing the face itself. It’s worth experimenting with different line widths plus degrees of coverage when drawing the hairstyle. In our picture I have emphasized the individual strands with a darker line, while within the strands the indicated subdivision lines are much lighter plus less prominent. The most important thing when drawing hair is still the line speed. And fortunately, in digital drawing, any imperfect stroke can be undone until it fits.

32 Optional detil work
Of course, the possibilities for detil work are almost unlimited. Here are a few examples that can be fun:

• Adding another point of light in the eye.
• Texture the lips with the same technique as the iris.
• Adding a subtle shadow at the bottom of the nostrils.

33 Bonus: A bit of color at the end.
I hope you had fun plus found some helpful tips for your future drawings. Of course, you can’t cover all aspects of a creative topic in a single tutorial.

We will go into more details plus variations in future courses, such as: How to draw a face from different perspectives, Faces of different ages, Hair – nose – ears in detail, Coloring of faces, Other parts of the body, Hands – feet – body, plus The male face, etc.

This tutorial is designed to provide a solid foundation on which any aspiring artist can build. As in any art form, the results depend on regular practice. Don’t be frustrated if you don’t like your first drawings. You will get better with every painting. Stay tuned, get inspired plus have fun with it.

Volcanoes are one of the most dramatic features you could include on your fantasy maps, not only for their destructive power but also for their unique beauty. It’s not surprising many historical cultures viewed them as a place to commune or appease their deity. Adding a volcano to your maps can open up many storytelling possibilities, but how do you go about drawing one? In this tutorial, I will break down my process so you can start mapping!

All of the brushes I will be using for this tutorial are available in The Cartographer’s Liner Brush Field Kit for Procreate & Photoshop

Sketch a Cone Shape for the Volcano
1: Sketching the Shape
The first thing you’ll want to do is determine the size of the volcano plus where you want to place it on your map. Sketch a sederhana cone shape where you want to place the volcano. Now imagine that you are going to slice off the top to get your base volcano shape.

It helps to begin with sederhana shapes to help you focus on placement plus perspective. This can save you time later on from having to make major revisions.

Draw the Main Shape
2: Draw the Main Shape
Keeping that cone shape in mind, you can now ink the silhouette of your volcano. Make sure you don’t make your lines too smooth though because you’ll want some variations to make the volcano look rocky.

The other thing you can do is make one side of the mouth of the volcano higher than the other. This gives a little more personality to your illustration as asymmetry is often more visually interesting.

Add the Opening of the Volcano
3: Add the Top Opening
Remember the sederhana base shape of the cone, plus draw in the the mouth of the volcano. It doesn’t need to follow the shape perfectly; you have a lot of freedom to include peaks plus other variations.

More Tutorials You May Enjoy
How to Draw Pine Trees – Top-Down Perspective

How to Draw an Open Storage Sack

How to Draw Kragspire Mountains

How to Draw Old-Growth Forests

How to Draw a Chasm

How to Draw a Cave Entrance
Draw Surrounding Mountains
4: Draw Surrounding Mountains
Now, you can add some mountains surrounding the volcano to help blend it into the surrounding landscape. While it is possible to see a volcano emerging from relatively flat surroundings, it’s more common to find them in a mountain range.

Be sure to layer the mountains in front of plus behind the volcano to give it more depth.

Draw the Main Ridge Lines Down the Mountains plus Volcano
5: Draw Main Ridgelines
Add ridges down the volcano, making sure to follow the contours of the original cone shape. You can then use more sweeping, horizontal strokes to draw ridges on the surrounding mountains.

Using broken lines like this is one of my favorite was to give a more natural, textured look. A little secret here is that it’s also easier to draw broken lines with little imperfections because you don’t have to worry as much about drawing each line “perfect.”

Add Contour Lines
6: Add Contour Lines
Now go back through plus draw in some more cermat lines down the sides of the mountains to help define their shape. Then give the mouth of the volcano a bit of a rim using broken lines once again.

You want the mountains to taper into the landscape so everything feels connected plus part of the map, rather than mountains sitting on top of a map.

Finish Adding Detailing
7: Finish Adding Detailing
Let’s go through one more time plus add some other subtle details to help bring this illustration to life. Just adding some pen strokes to convey tufts of grass or rock can go a long way.

I also added a few vertical hatching lines on the inside of the volcano to not only darken the tempat but to give the impression the lines are partly obscured plus going into the volcano.

Block in Color to the Volcano
8: Block in Color
If you are working digitally, create a new layer under your line art plus block in some color. The color you choose will depend greatly on the color palette of your map, as well as if the volcano is more rocky, or covered in vegetation. By default, I would go with a less saturated color than the main background of your map.

This surf art tutorial is brought to you by Bob Penuelas, an illustrator famous for his surfing comic strip, Wilbur Kookmeyer. Created by Bob Penuelas in 1986, Wilbur Kookmeyer was a regular two-page feature in Surfer Magazine, gaining a cult following in the surfing community.

You probably spent a lot of time in high school, or at work, daydreaming plus doodling a thousand perfect cartoon waves in your notebook. This tutorial will help you change your throw-away wave doodles into works of art you’ll want to keep forever.

Remember, there are many ways to draw a wave, this tutorial only covers a few techniques, but hopefully, with these simple pointers, you’ll discover many more ways to draw a wave. Have fun!

P.S. If you’re looking for inspiration, check out these surfing illustrations.

Drawing a basic wave
The following illustrations plus captions by Bob Penuelas take you through the basic steps of drawing a wave.

Step 1
Sketch in the basic shape of the curl, spray, foam plus base of the wave.

Step 2
Add an extra line running parallel plus below the curl line to define the thickness of the lip.

Step 3
Add a flow line starting at the lip plus curve it around to suggest roundness of the liquid lip. Continue that same flow line around with a half oval down to the base of the wave to show the concave curve of the wave face.

Step 4
Add the rest of the flow lines. Gradually make each flow line less steep as you move away from the curl, to show the tapered shoulder. Continue the flow lines into the tube to show hollowness.

Step 5
Add simplified spray with thin wispy lines. Add the foam explosion with a series of explosion lines getting bigger as they moving away. Maybe add a foam ball in the tube. Round off the foam at the base of the wave so it won’t look flat.

Step 6
Add shading on the wave face with smaller contour lines. Gradually make the lines darker as you get further into the tube. Use crosshatching to add more depth. Lightly shade foam plus base of the wave. Maybe shade the sky a little, too.

Drawing a dasar wave can be fun, but after a while it can get boring if you are merely following the same formula over plus over again. The key to breaking out of this potential rut is achieved by drawing waves from different angles. There is only one way to successfully create a variety of angles plus that is by using the dasar principles of perspective. The two dasar ingredients in perspective are the horizon line (your eye level) plus the imaginary vanishing points. By merely changing the position of these ingredients in your image you’ll be amazed at the variety of waves you can create. See the two sketches below:

A paddler’s view
Low horizon. Vanishing point off left:

A pier view
High horizon. Vanishing point left:

A view into the tube
Additional variations can be achieved by moving the horizon line high or low plus by moving the vanishing point right or left. Give it a try:

A view out of the tube
A high horizon line plus one vanishing point on the left makes it look as if your face is against the face of the wave plus you’re racing for daylight (see first two images below). And if you move the vanishing point to the right then more of the face becomes visible (see last two images below):

A view from a pier
A high horizon line with two vanishing points off to the right plus left makes it appears as though you’re viewing the wave from a pier, looking down on the wave:

A paddler’s eye view
A paddler’s eye view can be accomplished by placing the horizon line extremely low. Both vanishing points are located outside of the image border, one to the left plus one to the right:

A bird’s eye view
A bird’s eye view can be accomplished by moving the horizon line up plus completely off the image. The two vanishing points are positioned way out to the right plus left:

A down the point view
A view looking down the point can also be achieved by moving these ingredients around:

Various scenes
With perspective, you can now create line-up scenes, with multiple waves. It could be a reef pass, a beach break or a point break Add land in the background or in the foreground to give the scene some depth. See the four sketches below:

Different types of waves
Don’t forget about hollow waves, freight-trains, slow-churning or paper-thin waves. The possibilities are endless

Trying to create an anatomically correct figure is not always easy. But don’t worry, in this detailed guide, we will berbagi some simpel methods to make drawing a body more achievable.

The body is integral to many aspects of artmaking; you need it for any character you might want to create or even in environmental artworks with people in the background.

So studying and practising how to draw a body is important. You want to feel comfortable creating stylized figures in whatever poses and designs you would like.

The body is difficult to capture through art as there are many components to consider. You must remember to engage the fundamentals of art, specifically considering form, structure, and composition – as well as considering proportions and figure anatomy, body movements, and stylization.

To make this scary process easier to approach, we have broken it down into some simpel steps. As well as this, you could try out our specialized course, ‘Figure Drawing For Beginners’.

Pencil Sketch Of A Body
Sketch Of A Body [@rheatibbey]
Before you can begin adding personality and stylization to the bodies your draw, it is integral to understand the proportions of human anatomy.

Getting the body proportionally correct can be difficult, but there are a few shape-work techniques you can use to sketch the human body.

These will help you learn how to sketch a very front-facing body, but luckily they can still be used as a basis for drawing other angles as well.

How To Draw A Body
How To Draw A Body [@art_bymemo]
The Eight-Head Rule
First, you have to consider the body as it is in real life; a connection and chain of joints. Drawing the body becomes easier when you break it down into these parts.

There is a general rule, devised during the Renaissance, that the ideal human body is eight heads long.

This rule helps you to map out the general shape of the human body. However, this rule can make adding more flow to your body difficult.

As you move on to creating more expressive characters, you can become more liberal with using eight equal parts, changing around sizing and angles of these guidelines to better suit your character’s body language.

But, to begin with, we will plot eight equal parts. You can also add a vertical line of flow through your eight segments, showing the posture and positioning of your body’s figure. This almost acts like your drawing’s spine.

The Eight-Head Rule For Drawing A Body
The Eight-Head Rule For Drawing A Body
The eight parts represent different elements of the human body;

The head
The shoulders and upper chest
The lower chest and stomach
The pubic bones
The thighs
The knees
The shins
And finally, the feet
Each body is extremely different, and therefore some of these steps may vary depending on what you are trying to achieve. Additionally, the male and female body proportions have a different overall shape, meaning that the linework for each will differ.

The Head
To begin with, draw the head in the first segment. This is typically an oval shape; however, you can adjust the proportions to match whatever figure and body model you want to achieve.

Starting with the head may feel unnatural, but it really helps you get the flow of the body, as you work your way down from head to toe.

Even when not following the Renaissance eight-head rule, I still like to start with plotting down the head as it is a good starting spot and removes any complications, allowing you to immediately understand the sizing and proportions of the body you will be creating.

You could also check out our detailed guide on the Loomis method for drawing the head.

How do you draw a male body?
For a male figure, the head may have a square jaw shape, to really emphasize the bone structure immediately within your drawing! The neck will also be quite broad.

Step One Of Drawing A Male Body Drawing The Head
How do you draw a female body?
For a female figure, the head is a softer egg-like shape, with a less harsh jaw than a male figure. The neck on the female body will be a slimmer connection.

Step One Of Drawing A Female Body Drawing The Head
The Chest
For sketching beneath the head, you can begin by drawing a sort of trapezium shape that takes up the space in parts two and three of your segments. This shape represents the chest and stomach tempat of the body.

The top-right corners of the trapezium shape show where the shoulder joints sit, you can draw small circles to represent this notion. You can also draw an oval shape in the trapezium to highlight where the rib cage would be.

Male
As the male body typically has broader shoulders, keep the top half of the trapezium wide. Also, the male figure has a less curvy waist, so make sure the bottom half of the trapezium does not taper inwards too much.

How To Draw A Male Body Step 2 Chest
Female
A typically female shape will taper more inwards towards the bottom half to highlight the curves of the waist.

How To Draw A Female Body Step 2 Chest
The Pelvic Area
Beneath this first shape, you can now draw a smaller trapezium in the fourth segment. This shape marks out the placement of the body’s pelvis area. Within this trapezium shape, you can also add an upside-down triangle shape to map out the body further.

Now that the upper and lower half of the torso have been drawn create connecting lines between them. This will be a sort of curve (or more straight line for a male body) to reveal the waist of your body.

Male
For a male body, create a sort of square shape that only just tapers outwards towards the end of the body to establish smaller hip bones.

How Do Draw A Body Drawing Male Pelvic Area
Female
For a feminine body type, this trapezium will be vertically flipped and smaller in comparison to the one above! This is to create a sort of hourglass figure; however, you can adjust the size and dynamics of this linework to create whatever body model you wish to achieve.

The Legs
It’s time to move on to the legs! This tahap can be achieved by plotting out the shapes that you want, generally placing the thighs in the fifth plus sixth segments, plus the calves plus feet in the seventh plus eighth.

Additionally, try marking out the knee joint at around the sixth horizontal line marker.

You can then connect the legs to the hips, making them flow smoothly into the body.

Male
When drawing a male body, the legs may be more similarly sized to the hips. This would mean removing any curve from the waist, instead creating a more parallel plus straight look, making the hips, thighs, plus calves appear as a more similar size; apart from the skinnier area around the knees plus the ankles.

How To Draw A Body Male Drawing The Legs
Female
For a female body, the upper thighs would connect with the hips at a wider, more curvaceous angle. Also, the thighs will most likely be thicker than the calves.

How To Draw A Body Female Drawing The Legs
The Arms
To draw the arms, you will look back to the shoulder markings you made earlier! This reveals where the arms will begin. Typically, the upper arm should take up about one plus a half segments, with the forearm only filling one, plus the hands taking up roughly half a segment.

For a character standing completely straight plus front-on, this would leave the hands hitting a bit above your drawing’s knees to keep everything in proportion to the body!

Male
Male arms will stem off of broader shoulders plus may have half more muscle definition.

How To Draw A Body Male Drawing Arms
Female
These arms will most likely be tighter to the body, due to the less broad shoulders.

After following these basic guidelines, you will have an outline of a human figure, including all the significant features and joints that characterize the body.

This is an easy method to correctly capture the human body through proportionally correct anatomical linework.

However, now that you have an understanding of where the main joints and connections of the body are, you may want to endeavor to add details outside of just a simple mannequin-like sketch.

You can do this by overlaying linework with more flow and human-like features.

How To Draw A Body Male Finishing Touches
How to Draw a Male Body – Adding Finishing Touches
How To Draw A Body Female Finishing Touches
How to Draw a Female Body – Adding Finishing Touches
How to improve!
To gain a thorough understanding of how to draw bodies in many different ways, such as gesture drawings or action shots, it is important to practice, practice, practice!!!

Get out some reference images and try to use and adapt the eight-head rule to help map out your proportions. Studying the human form through visuals is one of the most important ways of learning how to draw a body.

Make sure you try several different poses and angles to deepen your understanding of the body!

There are many different ways you can practice, using online references, live references, or even your imagination if you are feeling brave! All of these are extremely important steps in helping you get really comfortable with drawing the human figure.

As you experiment with poses, you can try out new things like maybe someone sitting down, dancing, or lying down. You can also try out different body shapes and types, maybe your character is short, or abnormally tall.

When you are practicing and sketching, you can create any body shape you want, using the general eight-head rule, and following some reference images!

If you are feeling particularly stumped as to how to draw certain body movements, you could even try tracing your reference image and studying the linework to really understand the flow and positioning of the human body.

If you use Procreate for your drawings then don’t forget to check the best online Procreate courses here and our guide on how to trace on Procreate. We also have some amazing guide on Procreate tips that you might like.

Gesture drawing is a great method of practice as it is a significant exercise that can help you fully grasp how to draw a body.

The practice of gesture drawing involves making a quick and simplified sketch of your subject matter (typically a human body).

When gesture drawing, you are trying to plot down the main elements of the figure in quick and simple linework to capture the general feel of the body and the pose you are trying to communicate.

This is very helpful in allowing you to get a feel for the flow of the body and how to visually communicate body language, gestures, and poses, in a very simplified manner.

To do gesture drawing, all you really need is a pen and paper, or maybe a drawing tablet or an Apple Pencil and iPad, and some sort of reference.

This can simply be an online reference image, or if you wanted to try gesture drawing the traditional way, you could use a live model—maybe even try to find a class to attend.

Then, all that’s left to do is start sketching the body as simply and quickly as you can, ignore specific details, and instead try to draw the flow and linework of the body.

Remember to give yourself a time limit, ranging from half an hour to under a minute.

As well as this, don’t use an eraser. Just let your pencil flow as you try to capture the essence of the body.

This time limit and lack of eraser will force you to really try and quickly plot down the main elements of the human form, making you more easily grasp any important details and therefore providing you with a better understanding of how to draw a body.