ShopDreamUp AI ArtDreamUp
Deviation Actions
Description
My anatomy charts:
Rib cage [link]
Pelvis [link]
Skull *You're here*
Torso muscles [link]
Back muscles [link]
Front leg muscles [link]
Rear leg muscles [link]
Chart # 8 -coming soon-
After drawing the ribs and pelvis, our anatomy class was assigned to draw the skull. I used Gray's Anatomy 38th edition and Google images as reference for my drawing. For this drawing, I tried to do better with my rendering than I did on my ribs and pelvis drawing. To get smoother shadow transitions, I'd rub my finger tips on the paper to lightly smudge the shadowing I had drawn. The most tedious part to draw were the teeth, and it was difficult to fit them all in and get their shapes right.
Our teacher emphasized making details on this drawing, and really wanted to see minor things such as the cracks in the skull that indicate where it had fused together when the person was a baby. Thankfully the image in my copy of Gray's anatomy was very detailed, and it showed many intricacies of the skull. When I showed this drawing to my teacher, she actually told me that it would have been better to leave the nostrils dark rather than try to draw the nasal cavities in the skull. I drew it that way because that's how it appeared in Gray's Anatomy. So it seems in one part of my drawing I had included too much detail for her!
Asides from the teeth, I had a much better time drawing this than I did drawing the pelvis and ribs.
Rib cage [link]
Pelvis [link]
Skull *You're here*
Torso muscles [link]
Back muscles [link]
Front leg muscles [link]
Rear leg muscles [link]
Chart # 8 -coming soon-
After drawing the ribs and pelvis, our anatomy class was assigned to draw the skull. I used Gray's Anatomy 38th edition and Google images as reference for my drawing. For this drawing, I tried to do better with my rendering than I did on my ribs and pelvis drawing. To get smoother shadow transitions, I'd rub my finger tips on the paper to lightly smudge the shadowing I had drawn. The most tedious part to draw were the teeth, and it was difficult to fit them all in and get their shapes right.
Our teacher emphasized making details on this drawing, and really wanted to see minor things such as the cracks in the skull that indicate where it had fused together when the person was a baby. Thankfully the image in my copy of Gray's anatomy was very detailed, and it showed many intricacies of the skull. When I showed this drawing to my teacher, she actually told me that it would have been better to leave the nostrils dark rather than try to draw the nasal cavities in the skull. I drew it that way because that's how it appeared in Gray's Anatomy. So it seems in one part of my drawing I had included too much detail for her!
Asides from the teeth, I had a much better time drawing this than I did drawing the pelvis and ribs.
Image size
716x900px 431.18 KB
© 2012 - 2024 GuineaPigDan
Comments5
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Seeing as you've gone into extensive detail about the process you've used I'd like to offer a few suggestions as to what you can do to further the quality of later pieces.
For one, while blending with fingertips is a tempting idea, it is generally considered a bad idea as your hands have natural oils on them (even if you wash them with soap the oils remain) which can alter the piece. Usually by soaking into the paper and saturating any pencil/charcoal marks.
If you're looking to create high detail, as you were here, then you may want to consider blending stumps (otherwise known as tortillons), which are typically used for pencil art but can bend to charcoal. The good thing about these is that they're relatively inexpensive, made of paper (so they don't alter the piece at all), and tend to come in a range of sizes (rather wide to rather thin) allowing you to be much more precise and add fine details to your work.
If you're unable to get your hands on any there are other alternatives. You can simply use a tissue bunched to a point which works relatively the same way, or even, put the tissue over your finger, as that will absorb any oils on your hands allowing you to smooth the piece without danger of damaging it. You can also use cotton buds (I think they call them Q Tips in the US?) which function is just about the same way.
Finally, if you're allowed to mix materials, you could always look into solid graphite pencils (I think they are) which are incredibly dark (and messy!) and any pencils in the range of 5-9B (the darkest smoothest pencils). Even a 9B can still possess incredibly thin strokes when fully sharpened but blends out into incredible rich creamy textures equally as easily.
Still, a great piece and a nice analytical description of your process and methodology.
Keep up the great work in later pieces! :')
For one, while blending with fingertips is a tempting idea, it is generally considered a bad idea as your hands have natural oils on them (even if you wash them with soap the oils remain) which can alter the piece. Usually by soaking into the paper and saturating any pencil/charcoal marks.
If you're looking to create high detail, as you were here, then you may want to consider blending stumps (otherwise known as tortillons), which are typically used for pencil art but can bend to charcoal. The good thing about these is that they're relatively inexpensive, made of paper (so they don't alter the piece at all), and tend to come in a range of sizes (rather wide to rather thin) allowing you to be much more precise and add fine details to your work.
If you're unable to get your hands on any there are other alternatives. You can simply use a tissue bunched to a point which works relatively the same way, or even, put the tissue over your finger, as that will absorb any oils on your hands allowing you to smooth the piece without danger of damaging it. You can also use cotton buds (I think they call them Q Tips in the US?) which function is just about the same way.
Finally, if you're allowed to mix materials, you could always look into solid graphite pencils (I think they are) which are incredibly dark (and messy!) and any pencils in the range of 5-9B (the darkest smoothest pencils). Even a 9B can still possess incredibly thin strokes when fully sharpened but blends out into incredible rich creamy textures equally as easily.
Still, a great piece and a nice analytical description of your process and methodology.
Keep up the great work in later pieces! :')