Drawing the Femur

Drawing the Femur


So, now let’s look at a part of the skeleton
that’s cylindrical. We’re going to look at the left leg, the upper leg bone, the thigh
bone or femur Let’s start out by thinking about what we
know about the cylinder. There’s going to be a background and against
the background we’ll have a highlight In this case the cylinder isn’t sitting straight
up and down, it’s at a bit of an angle So, as I take my soft eraser and erase in
a highlight, I’m going to have it come down at a bit of an angle, to kind of match the
femur
and then, the light is coming from above and the side so when it gets to the fattest part
of the femur that is closest to us it has to travel in a straight line; it can’t bend
around to the side so there’s a shadow there We’ll put that in
And there’s a smooth transition because the femur is cylindrical. We don’t want a harsh
edge between the shadow and the highlights so I’m going to experiment with different
ways of softening the edges, blending the edge
Now, the femur is a little bit of an irregular shape so I’m going to try and capture a little
bit of that. I’m going to notice that it’s a little bit wider in some places and that
it changes direction a bit When we get down here into the knee, for example
it flares out quite a bit When we get up here, closer to the hip socket,
there’s some different structures that poke out a little bit. These are places, attachment
points for muscles and the head of the femur at the very top is kind of an ovoid shape
where your hip joint is So now, I’m going to work in some more details
of the light and shadow so I need the front of the femur to be bright so that it looks
really bright I’m going to darken the background a bit
I don’t really want a dark line here instead I’m going to try to have an intermediate gray
against a very bright area and then the intermediate gray over here again and against a much darker
shadow area I want the shadow to look like it’s on the
femur not on the background so I’m going to rub toward the center of the femur instead
of rubbing it into the background Here the femur flares out so the bright area
flares out and this interesting variation where there’s an attachment point comes out
here. There’s an attachment point that faces away from the light here under the ball of
the femur Because the bone is not a perfect cylinder
the way the bottle was, it has a lot of irregularities we could start to put some of those details
in All these irregularities are created by the
muscles and tendons that attach to your leg bone
So as I put more of these details in, I’ll get a drawing that looks more organic and
natural Down here at the bottom we have a curve, just
like we had at the curved bottom of our bottle And I could develop more detail if I have
the time and the inclination but I think that will give us a basic idea of how to apply
thinking about the light and shadow on the cylinder to a cylindrical part of the body.
We have our dark, our light, and our background. We have our dark area, our light area, and
our intermediate area

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