From the top of the head, you can measure five heads down in a straight line, and start the knees a bit below that. The calves or the shins should be about midway through the sixth head down. Finally, the feet will end at the bottom of that seventh head length. “For the feet, it’s often helpful to think about them as general triangle shapes,” Dockery says.
Go back up to the top of the rib cage, build out collarbones like bicycle handlebars. The arms grow out of those. “In general,” Dockery says, “the wrist is going to line up with the pelvic bone, and the hand will build out underneath that.”
Draw the neck as a cylinder. If you draw a side view, remember that the neck leans forward a little from the rib cage, and the ear begins halfway between the forehead and the back of the head.
“Gesture equals the rhythm of the body,” Dockery says. The angle of the hips, arching of the back, and positioning of the limbs can breathe life into a drawing of a person. Once you’ve located those three main masses of the head, rib cage, and pelvis, you have the basic structure of the upper body. But, Dockery says, “we need to start by finding the rhythmic relationship between the first two masses, the head and rib cage.”