Q: Do you have any tips and tricks on drawing figures or composing a scene with multiple figures in it? I’ve tried practicing by drawing from life, but I feel like the “from life” experience I get is sometimes stilted by the fact that many people don’t want to be drawn while sitting on the train, etc (and I don’t want to be caught staring!). At the same time, I can really see the interaction when someone if right in front of me. Are there other methods that have helped you?

A: Learning to draw the human figure is arguably the most important thing any artist can do to improve their skills. No matter what kind of art you do or style you work in, the challenge and rigors involved in drawing the human form will help your abilities to grow. It develops your eye and observation skills, your ability to translate these observations to the paper and most importantly your instincts for capturing life in your art… which is primarily what all art is about: the description of the world around us through the artist’s eyes.

There are lost of books and such out there on life drawing and drawing the figure, but there is no substitute for drawing from life. The best thing of course if to work from a model by attending a class or some kind of artist co-op where a few bucks in the coffee can gets you a place in the studio, some coffee and pays for the model. Lots of art schools and adult eduction centers offer either reasonably priced classes or just group drawing sessions with a model. Some artists get together and do it themselves by hiring a model and finding some space to set up in. It’s beneficial to have other artists drawing with you as it gives you a chance for both feedback on your work and to see the work of others for influence and inspiration.

If that is not an option, there’s always the ‘stealth drawing’ method you eluded to like when you are on the train. I know many artists who spend significant amounts of time at coffee shops or riding the subway drawing random people. I understand your concern about people getting nervous when you do that, but once you get good at it you are able to do it without being obvious. Really this becomes as much an exercise in quick observation and memory as it is in drawing. You can’t stare at the model, you must take peeks and then draw your impressions. (more…)