Figure Drawing Basics

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Cartooning–Concepts and Methods Part 1: Figure Drawing Basics, ™ and © Don Simpson 2000, all rights reserved. For individual use only. Classroom use without express written permis-
sion is strictly forbidden. Please email fiasco@MEGATONMAN.com for information. Published by Fiasco Comics Inc., PO Box 64, Wexford, PA 15090. www.MEGATONMAN.com
Part 1: Figure Drawing Basics—Action & Structure

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In our methodical approach to building up your confidence as an artist,
we're going to tackle something simple at first—our friend the stick
figure. Go ahead, draw one right now!
A reasonable stick figure at this point should contain a midline for the
spine, two arms, two legs, and a circle for the head. Fingers for hands
and lines for feet are optional, but being the conscientious craftsman
that you are, I know you'll want to include them.
Now draw your stick figure running, jumping, falling, walking, running,
climbing—see how many poses you can come up with. The record is
4096!
Don't worry about niceties like exact proportions at this point. Getting
your point across is everything. We'll be getting fancier a little later on.
The Stick Figure

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Okay, so anybody can draw a simple stick figure. But the point I'm trying to get across here is that, more
importantly, everyone recognizes what a stick figure represents—a person! Isn't that amazing?
Cartoonists are able to communicate even with the most elementary of pictures. Show your drawings to your
friends and see if they can tell what your stick figures are doing. If they misidentify some of your drawings,
that's okay. Many poses will be open to interpretation. Just compliment them on their keen perception and
head back to the drawing board!
Conveying specific actions and even emotional states of mind with a few quick lines—and I dare say as few
lines as possible—is an important first step towards drawing fully realized figures. If you can accomplish that
with your limited stick figures, think of what you can accomplish with even more tools at your disposal.

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A More Sophisticated Stick Figure
Let's use a slightly more
sophisticated stick figure,
one that is shaped a little
more like an adult person.
As before, don't be overly
concerned with correct
proportions right now. Stay
focussed on depicting
actions--leaping, swinging,
golfing, rowing, sitting, etc.
We've added a line across the
shoulders and a line across
the hips, as well as definite
elbow and knee joints. Don't
worry about making your
sticks perfectly straight lines,
either—in fact, slightly curvy
lines are more human. And
don't even worry about
getting the curves right,
either—just go with what-
ever feels right.
Again, test your drawings out
on others. If people can tell
what activities your stick
figures are involved in, you're
doing great!

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Our new, sleeker stick figure seems to lend itself to more graceful
and athletic themes. But try comical situations as well. You may
even use some of your 4096 poses you came up with for the
shorter, stubbier stick figure and see if they can be translated to
the more sophisticated model.
Your friends may tell you they like your older, funnier work
better—don't be discouraged! Keep right on drawing.

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The 3 Basic Solids
It's time to let you in on a
little secret. The stick figure
makes such a convincing
person because it represents,
in a minimalistic way, what
all people have got inside
them—a skeleton! The
spine, the arms, the legs—all
are represented in a simpli-
fied way in a stick figure.
With the skeleton in mind,
we can now add three shapes
to our stick figures to make
them more real, one of
which we already have: the
skull (the head), the rib cage
(the chest), and the pelvis
(hip bone). These are the
three largest bony masses in
the body. Use simple ovals
for right now.

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After you've drawn the spine,
arms and legs to establish the
action of your stick figure,
proceed to add the chest,
hips and head to begin flesh-
ing things out. See how
quickly things are taking
shape?
Keep the focus on the action, first
and foremost. If your drawings
don't communicate the story your
trying to tell, all the ovals in the
world aren't going to help you.
Build on a solid foundation:
action and emotion!

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The Main Line of Action
The first thing you need to
determine is the main line of
action for your figure. For
all intents and purposes, that
is synonymous with the
spine. The first line you
should put down on paper
should be that line—it deter-
mines the entire thrust for
the rest of the figure. Limbs
and even the head branch off
from that.
Notice how the three basic
solids—chest, skull and
pelvis—relate to each other
differently depending upon
the arc of the spine.
Continue the sweep of your
pose into the arms and legs.
Keep your figures moving!
It's important to never lose
sight of your stick figure,
because it represent the
skeleton. And where bone
goes, flesh will surely follow!

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Okay, so now every pose is starting to look like dancing.
Oh well. You get the point.

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Twisting and Turning Along the Spine
The spine conveys the main
action of a figure because it's
highly flexible. The back
bends, twists and turns at the
waist, and the head bobs all
around—and it's all thanks
to our friend the spine.
Don't draw your figures with
a single solid body mass.
Move the should in relation
to the hips, get your figures
to twist and turn. Get your
figures to boogie!
Draw several figures where
the shoulders are twisting
and turning in relation to the
hips. Make use of the flexi-
bility of the spine.

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Show your drawings to your friends. See if
they can't sense a new mobility in your work.
“Say, aren't these figures twisting and turning,
a-writhing and a-wriggling? I think they are!
I still like your older, funnier work!” Oh, well.

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Fleshing Out the Figure With Ovals
With a solid grasp of the all-
important stick figure, we're
ready to add the neck, shoul-
ders, arms, legs, hands a feet
to our figures. Use simple
ovals for now.
The oval is an all-purpose
organic shape which can be
molded into just about any
muscle or body mass.
Don’t get bogged down in
accurate anatomy. Just get
the basic feel of the figure for
now. You’ll be studying
anatomy later, and be able to
apply that knowledge to your
steadily growing understand-
ing of the human figure!

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Feel your way along the natural
rhythms of the body. Muscles aren’t
symmetrical balloon, but curvy,
tapered shapes that dovetail into one
another.
But perhaps we’re getting a bit ahead
of ourselves. There’s another impor-
tant consideration I’d like to address
at this point, and it’s establishing a
solid sense of the third dimension in
your figures.

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Adding the Third Dimension
You can make your figures suddenly bursts off the page and come alive in three dimensions very easily—no
complex shading or heavy-handed lighting tricks involved. Just use variations of the three simple geometric
shapes at left—sphere, cube and cylinder—and you’ll be amazed at how your figures fill up space!
Sphere
Cube
Cylinder

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Of our three basic solids,
head, chest and hips, let’s
start at the top.
Conceiving of the head as an
egg is good for starters, but it
will only get you so far. A
light bulb shape is a bit
better, and a wheel of cheese
is interesting, too.
There are two main parts to
the head: the skull and the
face. The skull is somewhat
like a sphere with the sides
flattened (like a wheel of
cheese, while the face is
triangular.
The Head
The wonderful thing about using simple geometric
shapes is that now you can instantly see which way the
head is turning, and whether it’s tilting up or down.
And you haven’t added all that many lines to your arse-
nal. It’s knowing where to put those lines which is key.
We’ll be extending this principle to the entire body, so
for now we won’t do more than suggest the position of
a few of the face’s features.
Eye line

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I don’t have much to say on this page—kinda like these guys.

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The Torso in 3D
It’s popular in artistic circles
to think of the chest and hips
as two boxes. It’s also equally
in vogue to think of is as two
cylindrical shapes, or even
3D ovals. Personally, I’ve
settled on a hybrid set of
shapes of my own devising—
a box for the hips, and a
chest that is a cross between
a beehive and a Chinese
lampshade. That’s the best I
can explain it.
Whatever shapes you decide on—and it’s important because these are two of our three basic solids here—the
main thing is to keep the spine in mind. Notice how the geometric shapes really make clear the twisting, turn-
ing and bending of the torsos below. There’s really no ambiguity as to which way the figure is moving. And
such clarity only adds to the impact of your figures, their actions, and the stories they’re involved in.

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Follow the same routine we’ve established. First, draw the main line of action, or the spine, to determine the
main thrust of your pose, Then continue with the limbs of your figure as stick lines. Only now, flesh out your
three basic solids (head, chest and hips) with geometric shapes to make your figures come alive in three dimen-
sions. Work with it!

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Use the 'stick' limb as the center line,
or core, of your cylinders.
Both cylinders and spheres
are types of 3-dimensional
circles. By using them on
our figures’ limbs, they
become 3-dimensional. Like
their 2-dimensional cousin,
the oval, they can be
endlessly tapered and
distorted into all sorts of
organic shapes, like those
found on the human body.
Don’t be afraid to bend and
curve your cylinders, and
again, don’t be concerned
with anatomical accuracy at
this point. The main thing is
getting those limbs to bend
and fold through 3-dimen-
sional space, right off the
page!
Cylinders for Limbs
Notice how the flat the stick figure
above is. In the fleshed out 3D
figure, there’s no question as to
which parts of the body are closer
to us, and which are further away.

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This is really important—if your drawings aren’t beginning to
feel powerful at this point, no amount of lighting, shading, or
gilding the lily is going to help. Get these principles down pat
before going further!
Cylinders, spheres and cubes
really give these figures the
feeling of thrusting towards us
(or away from us), achieving a
3D sense simply and effec-
tively. They closely resemble
crude wire frames of 3D
computer programs.

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You’re going further? That’s okay, here’s
still another page of 3D figures. I’ll just
keep beating the drum for cylinders...

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Most of what I know about drawing I've learned from books. Below is a list of books I recommend for every
artist's library, particularly if you're in it for the long haul. These are all books that I have learned from, and in
many cases, continue to learn from. Study them closely.
A Select Bibliography
Comparative Anatomy (Human/Animal)
Cyclopedia Anatomicae by György Fehér, Black Dog
& Leventhal Publishers, Inc., ISBN 1884822878.
Human Anatomy/Figure Drawing
Atlas of Human Anatomy for the Artist by Stephen
Rogers Peck, Oxford University Press, ISBN
0195030958.
Drawing the Head and Figure by Jack Hamm, Perigee
Press, ISBN 0399507914.
How to Draw the Human Figure : An Anatomical
Approach by Louise Gordon, Viking Press, ISBN
0140464778.
How to Draw the Human Figure (Famous Artists
School : Step-By-Step Method) by Howard Munce,
Henry Holt, ISBN 0805015280.
The Human Figure : An Anatomy for Artists by David
K. Rubins, Viking Press, ISBN 0140042431.
How to Draw What You See by Rudy De Reyna,
Watson-Guptill Publications, ISBN 0823023753.
Dynamic Anatomy by Burne Hogarth, Watson-
Guptill Publications, ISBN, 0823015513.
Dynamic Figure Drawing by Burne Hogarth, Watson-
Guptill Publications, ISBN: 0823015777.
Figures in Action (How to Draw and Paint Series) by
Andrew Loomis, Walter Foster Publications, ISBN
1560100095.
The Figure in Motion by Mark Smith and Thomas
Easley, Watson-Guptill Publications, ISBN
0823016927.
Animal Drawing/Anatomy
How to Draw Animals by Jack Hamm, Perigee, ISBN
0399508023.
The Art of Animal Drawing : Construction, Action
Analysis, Caricature by Ken Hultgren, Dover
Publications, ISBN 0486274268.
Animation
Cartoon Animation by Preston Blair, Walter Foster
Publications, ISBN 1560100842.
Comics
Understanding Comics by Scott McCloud, Harper
perennial Library, ISBN 006097625X.
Your Career in the Comics by Lee Nordling, Andrews
& McMeel, ISBN 0836207483.
How to Draw Comics the Marvel Way by Stan Lee
and John Buscema, Simon & Schuster, ISBN
0671530771.

Cartoonist Don Simpson is the creator of Megaton Man, Border Worlds, Bizarre Heroes and many other
comic books. Since 1996, Don has been creating Megaton Man adventures exclusively for the Internet at
www.MEGATONMAN.com.
Figure Drawing Basics is the first chapter of Cartooning–Concepts and Methods, an instructional book Don is
creating to convey his approach to writing, drawing, storytelling and other aspects of making comic book art.
Future chapters will delve into human anatomy, animals, perspective, inking, lettering and writing, among
other things. For more information and updates, please check with www.MEGATONMAN.com.
This book is dedicated to my wife, Judy.
Megaton Man and Gower Goose are ™ and © Don Simpson, all rights reserved.
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