Рисуем Дракона. Простой карандаш., Анатомия. Поэтапная демонстрация

Когда вы рисуете фантастических персонажей, обязательно нужно представить, как выглядит их анатомическая структура. Также следует обратить внимание на размер вашей работы и композиционное расположение героев на листе.
В начале поэтапной демонстрации хотелось бы привести Анатомию Дракона, созданную замечательным Израильским художником Евгением Аренгаузом (Eugene Arenhaus):


Дополнение:
Почему-то бытует мнение, что если персонаж мифический, то об анатомии вообще и вспоминать не стоит.
Этот урок отлично доказывает обратное. Любой самый нереальный объект смотрится очень убедительно и правдоподобно если озаботиться вопросами, что на чём держится, к чему крепится, примерные нагрузки/масса мышцы - когда есть чётко читаемая конструкция, то дракон получается-таки настоящий!

Скелет:






























Мышечная система:




































Общая морфология:






































Поэтапная демонстрация выполнена художником Альфредом Джонсом (ALFRED L. JONES) на ватмане простыми карандашами:
К сожалению, фотографиии не очень хорошего качества, но вы можете получить общее представление о работе.











































































































































































































































































































































































































































































































































































































































Эта фотография художника может дать вам общее представление о размере его работы:





























Ещё несколько драконов, нарисованых этим художником в простом карандаше:


































































Любая тщательно выполненная художественная работа в конечном счёте сводится к прорисовыванию текстуры, будь это шерсть или кожа. Я надеюсь, что следующая поэтапная демонстрация поможет вам рисовать настоящего дракона:
























































































































































































Hello everyone..... I started this yesterday but I am not so sure if I will ever finish it and might have bit off more than I can chew. Hopefully by posting, I will keep after it and I hope some of you enjoy watching it progress.

The drawing will be 10"x11" when finished. (I feel like I am working on a billboard) I will be gradually darkening the drawing as I go along. I usually outline a drawing first but this one is large and has a lot of detail, and doing it this way will be more interesting to me and hopefully for you as well.

For you and any others that might be interested here is what I use.... Koor a noor leads that I insert into lead holders, and the leads I use are 6H to 2B. I don't use the 6H much and on this new paper I think I may have to use a 3 or 4B to get some of my darks. On the 500 plate paper I used for so many years, 2B gave me all the darks I needed. May I add here that the paper one uses has more to do with your drawing than the pencils that you use. I personally prefer smooth paper as to rough. The paper that I am now using has a slight tooth. Back to the leads.....I use them also for the ease of sharpening, and that is why I don't use wood cased pencils.

Back in the eighties, I used mechanical pencils...I had three or four different sizes, several different brands but somehow got away from using them. I am thinking of getting them out if I can find them.

Anyway.....When I got back into my pencil work in 82, I soon got tired of hunting for the correct pencil, so I got an idea that really helped me.

I have two sets of holders, one set has short colored caps and the other long colored caps. Both have a range of colors from white to black.

I keep the leads in the short capped holders with a sharp point, and in the long capped holders I kept my chisel points. (I keep a sandpaper pad nearby so I can widen the points when I need to)

Starting with the hardest lead to the softest, I put them in the holders starting with the white holders and work my way on to the black ones. My holders are White, red, green, blue, brown, and black. With this system, I can go from one lead to another almost instantly.

Along this line I know I have included more info than you asked for but perhaps there is someone using leads that is reading this that might like the system.

As to how I start, I suppose much like most artists in that you need a very accurate start. I like to locate various points and then try to do as much freehand as posible to cut time. There are various ways of measurements we all use and I think you personally will have to find the way best for you. My way would be hard to explain but I find that it works for me either from a photo or on site. I use the same system for both.

I personally dislike using the grid, tracing, projection, or transfering. I used the grid once when I was about 14 years old. I can't use tracing when the detail is so small. I tried projection back in the mid 90's when I was drawing cars, and had to get them done quickly, and it didn't work. Transfering for me is more work, it doesn't come out sharp enough for small detailed work.

That is all for now...remember these are MY Preferences! There is nothing wrong with using these methods. After all the old masters used the grid system many times when working from life.

I promised myself that I would not get windy on this thread and I will try to do better.