Pose Library Studio is now available. Access the full pose library and custom sessions.

Pose Library

Studio Pricing Resources FAQ About Contact

Resources / Bony Landmarks

Important Bony Landmarks for Figure Drawing

LEARN TO SEE THE STRUCTURE

Learn to identify the body's most important bony landmarks and use them to measure proportions, establish angles, and construct the human figure.

Understanding bony landmarks is an important part of learning to draw the human figure. These points and edges of the skeleton give us useful references for measuring proportions, establishing angles, and understanding how the body moves in three-dimensional space.

Not every landmark will be visible on every person. Their visibility varies with body type, pose, and individual anatomy, including muscle development and body fat. Some are clearly defined beneath the skin, while others may be difficult to see.

The goal isn't to memorize every bone in the body. It's to develop a general understanding of where the most useful landmarks are located so we can recognize them when drawing from observation.

Once we identify these landmarks, we can use them to compare distances, triangulate positions, and drop plumb lines to check how different parts of the figure align.

Explore the photographs and landmark descriptions below.

Explore Bony Landmarks by Region

Being able to name a landmark is useful, but recognizing its location on a real person is what makes that knowledge valuable for drawing.

Study each photograph alongside the descriptions of its region. Pay attention to the surrounding forms and how the landmarks relate to other visible features.

Some landmarks will be obvious, while others may require a closer look.

Select a body region to begin.

Front-facing portrait for studying the glabella between the eyebrows, above the bridge of the nose.

Head and Neck

	The smooth area located directly between the eyebrows and above the nose.
	The zygomatic arch (cheekbone) is a bony bridge on the side of the human skull that extends from the cheek area to just in front of the ear.
	A prominent bony projection located at the base of the temporal bone of the skull, directly behind and below the ear canal. The sternocleidomastoid muscle attaches here.
	The lowest and largest bone in the neck region.
	Important central landmark for torso alignment.

Shoulders and Chest

	Show shoulder angle and torso orientation.
	Bony tips of the shoulders; useful for measuring shoulder width.
	Establishes the front centerline of the chest.
	Marks the lower end of the sternum.
	Defines the lower boundary of the thoracic mass.
	Show movement and orientation of the upper back.

Pelvis

	Upper border of the pelvis; helps establish pelvic tilt.
	Two front pelvic points, useful for perspective and orientation.
	Rear pelvic landmarks, often associated with the lower-back dimples.
	Important midpoint landmark in the simplified 8-head system.
	Central structure at the back of the pelvis.

Arms

	Bony landmarks on either side of the elbow.
	Prominent bony point at the back of the elbow.
	Useful for understanding forearm rotation near the elbow.
	Thumb-side wrist landmark.
	Little-finger-side wrist landmark.

Legs and Feet

	Helps establish hip width and upper-leg placement.
	Establishes the front-facing direction of the knee.
	Define the width and structure of the knee.
	Bony prominence below the kneecap.
	Ridge running down the front of the shin.
	Lateral landmark just below the knee.
	Inner ankle bone.
	Outer ankle bone, usually lower than the medial malleolus.
	Heel bone; establishes the rear of the foot.
	Help define the ball of the foot and toe attachments.

What Are Bony Landmarks in Figure Drawing?

Bony landmarks are identifiable points, ridges, and edges of the skeleton that help us understand the structure beneath the body's surface. Studying these anatomical landmarks for drawing is part of surface anatomy for artists: connecting visible forms to the structures beneath the skin. In figure drawing anatomy, these points give us practical references for measuring and constructing the figure.

Some landmarks, such as the collarbones, elbows, and kneecaps, are relatively easy to locate. Others may be partially hidden by muscle and fat or become more noticeable as the body bends, twists, or shifts its weight.

For artists, these landmarks serve as reference points. They help us establish the position of the major body masses, compare proportions, and understand how different parts of the figure relate to one another.

We don't need to see every landmark to make use of them. Understanding their approximate locations helps us make more informed observations, even when they aren't clearly visible.

Think of bony landmarks as a collection of reference points that help us construct and measure the figure.

How Artists Use Bony Landmarks

Identifying landmarks is only the beginning. Their real value comes from using them to understand the relationships between different parts of the body.

Comparing Proportions

Seated model with four measurements comparing shoulder width, shoulder to elbow, knee to ankle, and elbow to wrist. — Moving A beside B
A Shoulder widthB Shoulder to elbowC Knee to ankleD Right elbow to wrist

A
B
C
D

The dashed ghost of A keeps its original length as it moves and rotates beside B, C, and D. Its ends show whether each distance is shorter or longer than A.

Use shoulder width (A) as a measuring unit. In this view, shoulder to elbow (B) is about four-fifths of A, knee to ankle (C) is slightly longer than A, and right elbow to wrist (D) is about three-quarters of A. Use your pencil to compare these distances on the reference, then check the same relationships in your drawing. These are approximate distances as they appear in this photograph; the pose and viewing angle affect the comparison.

Landmarks give us recognizable points from which to measure. In the example above, the shoulders, elbow, wrist, knee, and ankle let us compare four distances using the same unit.

For example, we can compare the distance between the two acromion processes to estimate shoulder width or use the pit of the neck and pubic symphysis to study the length and orientation of the torso.

These measurements help us compare the proportions of the person we're drawing rather than relying entirely on a generic figure.

For a full-body measuring framework, see Figure Drawing Proportions and Structure, including the eight-head chart and a standing photo comparison.

Triangulation

Seated model with one knee raised and the other leg folded, showing the relationship between the shoulders, torso, and legs. — Mastoid process
Shoulder on photo left
Shoulder on photo right
Compare the shoulder width and the angles from each shoulder to the mastoid process, just behind and below the ear.

Triangulation is a useful way to locate one point in relation to two others.

For example, the mastoid process and the two acromion processes at the shoulders form a triangle connecting the head to the shoulder girdle.

By comparing the lengths and angles between these points, we can establish the shoulder positions and better understand the orientation of the upper torso.

Hold your pencil up to the model or reference image and align it with the angle between two landmarks. Keep that angle as you move the pencil over your drawing to check whether the corresponding points line up. Repeat for the other sides of the triangle, comparing both angles and relative distances.

We can apply the same method throughout the body, using combinations of landmarks to check placement.

Plumb Lines and Level Alignment

In drawing, we use plumb lines as imaginary vertical references to compare the positions of different landmarks. We can also measure horizontally, using level alignment lines to compare the heights of points across the figure.

We?re good at noticing whether a line is horizontal or vertical. These familiar directions give us clear references, making it easier to spot when a landmark sits too high, too low, or too far to one side.

For example, we might drop a vertical line from the pit of the neck and observe where it falls in relation to the pelvis, knee, or supporting foot.

Does the knee sit directly below the shoulder, or does it fall to one side? Is the pelvis centered beneath the ribcage, or has the body shifted its weight?

We can also use horizontal alignment lines to compare the heights of landmarks, such as the shoulders, elbows, or sides of the pelvis.

You can use your pencil as a vertical or horizontal guide, too. Hold it upright or level in front of the model or reference image to compare the positions of landmarks, then use the same direction over your drawing to check their alignment. For a sloping relationship, tilt the pencil to match the observed angle and compare it with the angle in your drawing.

These observations are especially useful when drawing figures that lean, twist, or shift their weight.

Understanding the Major Forms

Seated model with labels identifying the major body forms and dots marking observable bony landmarks. — The labels identify the major body forms. The white dots mark observable bony reference points that help you place those forms and compare their angles. The pelvis is partly concealed in this pose, so its label indicates an approximate location.

Bony landmarks also help us locate and orient the major forms of the body.

The clavicles and acromion processes help establish the shoulder girdle. The lower ribcage provides clues about the position of the thorax, while the iliac crests and ASIS help us understand the orientation of the pelvis.

Once these relationships are established, we can construct the larger forms around them.

Rather than drawing an outline and guessing what's happening inside, we're using anatomical references to build the figure from the inside out.

Put Your Knowledge Into Practice

The next time you draw from a live model or photograph, try identifying a few important bony landmarks before developing the figure.

Start with the gesture, then locate recognizable points such as the pit of the neck, shoulders, elbows, pelvis, and knees.

Use these landmarks to compare distances, establish angles, and check alignments with plumb lines. Try triangulating three points to see how accurately you've placed them.

Don't worry if every landmark isn't visible. Use what you can observe, along with your understanding of anatomy, to make better decisions about the structure beneath the surface.

The more familiar you become with these landmarks, the easier it becomes to recognize proportions, understand the figure's construction, and draw with confidence.

Continue learning with Shoulder and Hip Axis Lines and Figure Drawing Proportions and Structure.