In my gestur e dr awing classes, we typic ally start o ut with 2 – 3 minute poses. If I feel we r eally need to loosen up, we will dr op all the way down to 10 second poses.

Most of the dr awings in these first co uple sessi ons fall in the time limitati on of 1 to 3 minutes. Later on, when we explor e light, sh adow, and clothing, we str etch the time to 5 – 8 minutes.

Some of the cr eative dr awings towar d the end of the book may fall into the 15 minute zone, but th at is the limit. I h ave fo und th at most of wh at needs to be learned in dr awing the human form h appens within the first 2 minutes.

After th at, it is all just icing on the c ake. So, yes, we tend to go thr o ugh a lot of dr awing p ads! It c an be ver y difficult, but yo u will learn to be ver y efficient with ever y line. It is h ar d for me to explain exactly how I pr ocedur ally dr aw the form. In all honesty, it is differ ent ever y time.

Sometimes, I dr aw the sh adow sh apes first. Other times, I will start with a gr aphic sh ape. Commonly I will start with the head and occ asi onally, I will start with the hips. F or the s ake of demonstr ating a pr ocedur e th at c an help the r eader, her e is a pr etty s afe one: Step Step Step Step 1 – Basic rhythms of the form ar e put down first. Witho ut light and sh adow, yo u h ave to descr ibe the depth of the form with conto ur lines.

Ther e ar e only two types of sh adow edges th at I use in gestur e dr awing, form sh adows and c ast sh adows. Bec ause the plane of the form is no longer in the pr esence of light, form sh adows ar e also c alled cor e sh adows – they ar e the darkest p art of a sh adow. These sh adows ar e dr awn soft, with the medi um edge of the tool.

These sh adows ar e dr awn with cr isp, fine, h ar d edges. Not br o ad, dark edges. If yo u ar e using mor e ambient lighting, or north light fr om a large window, yo u will not get cr isp c ast sh adow lines on the form.

Bec ause ther e is not eno ugh time in the poses to c aptur e ever y single fold, yo u h ave to quickly assess the fold p attern gener ated by the tensi on point. If yo u tr y to r eplic ate the folds exactly, yo u will over noodle yo ur dr awing and waste all yo ur time on one p ant leg, AN D, it will not look as good as if yo u made it up. None of these folds existed like this.

After finding the tensi on point, I made the r est up. It c an be ver y difficult to do this at first, especially if yo u ar e one of those artists whose dr awings r ely mor e on observati on th an imaginati on. To br eak it down even further, think of exagger ati on in these thr ee ways: 1. Yo u c an widen the stance, arch the back further th an yo u see, and str etch the arms str aight instead of th at slight bend.

Yo u c an make the h ands and feet larger, elongate the neck, or shorten the torso. Tr y adding po unds of fat to yo ur model, or adding po unds of muscle.

Taking away 50 po unds of body mass c an r eally r eveal yo ur knowledge of the skeletal str uctur e. If yo ur decisi on-making is guided by good design, it will look intr iguing and intenti onal r ather th an a bad mistake.

In the beginning, cor e pr inciples of dr awing, such as pr oporti ons, volume, compositi on, design, gestur e, body rhythms, and light and sh adow, must be learned. After yo u feel th at yo u h ave a basic understanding of these pr inciples, yo u c an start the cr eative jo urney into exagger ati on.

The first step in dr awing fr om yo ur cr eative mind is the ability to not fully r ely on wh at yo u see in fr ont of yo u. It is ver y h ar d to gr asp this concept at times. I h ave fo und th at pushing the bo undar ies of cr eativity, way beyond wh at yo u may think is acceptable, gives yo u a better understanding of bo undar ies.

If yo u never push away fr om r eality, yo u will never understand wher e th at bo undar y is. This is when the fun r eally starts. This is when yo u pr etend th at yo u ar e looking thr o ugh a distorted mirr or of a warped form. This exercise c an gr eatly fuel yo ur cr eative side over the ac ademic side of dr awing the figur e. While this c an be an incr edibly liber ating way to dr aw, be c ar eful not to tackle this witho ut a r eally good dr awing fo undati on – or yo ur dr awings will turn o ut overly unr eadable.

This is the thir d way I look at exagger ati on, and it is done when yo u stylistic ally take some liberty. To get started with this kind of exercise, it helps to h ave some r efer ence on h and. Then, as yo u dr aw the model, tr y to incorpor ate yo ur dr awing into the old Warner Br os.

Yo u c an tr y this with just abo ut any artistic style. This is a ver y fun exercise th at may seem overly simple, but c an be quite ch allenging to cr eate good design. When we dr aw fr om o ur minds, we pull exper iences fr om o ur lives to sh ape wh at we dr aw. The r esult is a unique and personal r eflecti on of o ur self.

Be well-educ ated artists, not just ac ademic ally, but in life. Get to know people and their personalities, find o ut their histor y.

Analyze the individu al ticks people h ave, or their personality quirks. Cr eating exper iences with r eal people will enh ance yo ur pool of cr eative choices to dr aw fr om. But when it was over I was r eady to do something differ ent. I was on the plane coming home fr om L A, flying back to Utah, and I was just down – just r eally down bec ause I felt r eally over worked.

I felt like was spending a lot of time in L. We sometimes h ave the tendency to let o ur jobs take over o ur lives. And I just r emember connecting to those lyr ics. Abo ut how the world is just madly spinning and how tho ughts, certain tho ughts, help kind of r oot us in a world th at just spins. Like tho ughts of o ur loved ones, of people th at we miss and people th at we love. And at the time I just started thinking abo ut how much I missed, not only my wife, but also my kids, and just being home.

And I want to do it with dance bec ause my kids wer e so into dance and I myself love watching contempor ar y dance, and my wife used to be a dancer, and so all these ideas starting coming to me. It all r eally c ame on th at plane r ide when I was exper iencing th at ch arge.

Kor i Wakamatsu is a university dance instr uctor and chor eogr apher. She arr anged dancers to tr yo ut for this pr oject I was putting together. I spent a few weeks with Kor i in the dance dep artment filming potential r efer ence mater ial for the animati on.

Kor i wo uld do the chor ogr aphy, but she wo uld also chor eogr aph with the dancers. As I watched the r ehears als and watched the dances I tr ied to envisi on in my mind ever ything th at I wanted to do as far as animati on goes and all these ideas kept coming to me as they wer e dancing.

I c an certainly be inspir ed when I look at other artists work, but personal cr eative inspir ati on comes at unsuspecting moments. It comes when we ar e sensitive to o ur emoti ons, o ur exper iences, o ur existence and other people. Th at sensitivity is ver y inconsistent and comes and goes unexpectedly. It seems we ar e most sensitive when we ar e going thr o ugh some sort of highly emoti onal exper ience. Th at ch arge of emoti on will just fade away and die as a p ast emoti on if left unattended to.

And th at is wher e the magic h appens. I like th at. However, just like when I dr aw the figur e with Conte, ther e is a tr emendo us amo unt of exagger ati on and cr eative explor ati on into ever y movement. Some ar e mor e liter al and honor the appr opr iate movement of the dancer, others completely dep art fr om the form and go into th at zone of explor ati on and styli zati on. Search icon An illustration of a magnifying glass. User icon An illustration of a person’s head and chest.

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Ryan Woodward_replace.me – Free Download PDF

 
Gesture drawing pdf download, J. That means if you buy something we hesture a small commission at Report this ad no extra cost to you learn more a h Facebook d Pinterest 6 Twitter. By the time you measure everything — at least half the time will be gone. Please copy and paste this embed script to where gesture drawing pdf download want to источник статьи Embed Script. Other times, I will start with a gr aphic sh ape.

Ryan Woodward_replace.me [3no7g72kzgld].Gesture Drawing for Animation PDF ( Free | Pages )

This document was uploaded by user and they confirmed that they have the permission to share it. If you are author or own the copyright of this book, please report to us by using this DMCA report form. Report DMCA. Home current Explore. Words: 6, Pages: Yo u Sho uld Know This is not an ac ademic figur e-dr awing book; nor does it cover the basics of dr awing the human form. Wh at this book does is explor e and examine my personal cr eative appr o ach to dr awing and styli zing the human figur e.

I co uld not h ave obtained any of this knowledge witho ut h aving spent many ho urs in intr oductor y co urses pr acticing the fundamentals of dr awing the human form. An intr oductor y figur e-dr awing co urse wo uld cover pr inciples like: basic pr oporti ons, volume, for eshortening, anatomy, light and sh adow, etc.

Ther e ar e do zens of fantastic books o ut ther e th at cover these pr inciples in a much mor e compr ehensive way. I certainly do not think th at my appr o ach is any mor e valid th an the next, but ther e ar e r easons why I h ave gr avitated to dr awing this way and hopefully th at will shed some light on this pr ocess.

As a yo ung tr aditi onal animator, I was taught th at dr awing the figur e in quick poses was an essential pr actice for any aspir ing animator who wanted to learn how to master the gestur e of the human figur e. While this pr actice still r emains tr ue, I was hoping th at quick gestur es of the figur e co uld become an aesthetic ally pleasing piece of art as well.

Reali zing th at absolute mastership of dr awing the human form is never r eally achievable, I kept tr ying to figur e o ut new ways to dr aw the figur e and exper iment cr eatively. I wonder ed, wh at is mor e important to pr actice, technique versus cr eativity, accur acy versus design? I am not sur e I h ave these answers yet, but my quest for finding these answers, thr o ugh dr awing the figur e, sur e h as been a fun one.

This book is a collecti on of my exper imentati ons knowing full well, th at I will pr obably never find the answer. How th at h appens, to students and to myself, is a myster y. So check a mirr or befor e yo u leave yo ur dr awing p ad for a job interview. Any br and will do. My personal pr efer ence is smooth newspr int as opposed to r o ugh. Ro ugh h as much mor e tooth thus leaving a bit mor e textur e to yo ur dr awing.

Smooth will look softer and cleaner. It is essentially a piece of wood with str ips of s andp aper attached to it.

Many starving students h ave fo und th at a piece of s andp aper fr om the h ar dwar e stor e works just as well. This enables yo u to h ave differ ent edges to choose fr om when yo u start working on yo ur dr awings. Aim for h aving a str ong flat edge, a r eal sh arp edge, and a medi um edge. The sh aving pr ocess may be messy so yo u might want to do it over a tr ashc an.

The s andp aper block r efines the sh arpening in or der to achieve a nice edge. Repeat the final two steps if yo ur lines do not come o ut evenly. Spend plenty of time exper imenting with the thr ee differ ent edges. This cr eates inter est and depth in yo ur dr awings. Yo u sho uld h ave some r eal nice dark, heav y lines mixed in with some soft lines to give the illusi on of volume. Yo u will want to make sur e th at yo u r un yo ur br o ad edge on yo ur p aper a few times pr i or to the first line of yo ur dr awing.

At times, we tend to get r eal tight and noodley when we use a pencil or pen. This tool tr ains the artist to loosen up. The sho ulder will dr aw in big br o ad sh apes and sweeping arcs, much mor e th an the fingertips will. Instead of being overly concerned with cr eating a beautiful work of art, tr y to focus mor e on loosening up and fr eeing yo ur cr eativity. Tr y not to over analyze ever y line dur ing warm up; it will only impede yo ur cr eativity.

Make an effort to allow yo ur br ain to make mistakes. Once yo u put down a line, it does not er ase easily, ther efor e, yo u h ave to learn to accept the line and work with it anyway. The absence of subtr active dr awing builds confidence and allows for h appy mistakes, which we r ar ely exper ience when er asing all the time. Sometimes we ar e blinded by o ur own achievements to the point wher e we no longer explor e any further avenues for impr ovement.

Another tr ick I like to use is to look at my work in a mirr or. Yo u may be surpr ised at the err ors th at pop o ut when seeing yo ur work in r everse. Do not give up after the first few dr awings.

They may not initially be pr etty. This technique limits yo ur ability to dr aw detail and forces the h and and eye to see the big sh apes and curves of the form. This will help tr ain yo ur eye to see the over all gestur e and how it r elates to the form as a whole. Tr y to deny this urge to measur e and instead, go with intuiti on, or wh at feels r ight. The idea with this pr ocess is to develop an intuitive measur ing tool for human pr oporti ons.

However, if yo u h ave no understanding of pr oporti ons at all, I wo uld highly enco ur age yo u to study up so th at yo u c an build yo ur dr awings off of knowledge and not just guesswork. F or most of us, we see it as a bunch of individu al members making up a whole. The ability to see the human form as a whole, instead of a collecti on of differ ent members, massively impr oves yo ur ability to effectively design.

They indic ate the rhythms between body p arts. These dr awings ar e minute poses. People fr equently want to know how long it took to do these dr awings. In my gestur e dr awing classes, we typic ally start o ut with 2 – 3 minute poses. If I feel we r eally need to loosen up, we will dr op all the way down to 10 second poses. Most of the dr awings in these first co uple sessi ons fall in the time limitati on of 1 to 3 minutes.

Later on, when we explor e light, sh adow, and clothing, we str etch the time to 5 – 8 minutes. Some of the cr eative dr awings towar d the end of the book may fall into the 15 minute zone, but th at is the limit. I h ave fo und th at most of wh at needs to be learned in dr awing the human form h appens within the first 2 minutes. After th at, it is all just icing on the c ake.

So, yes, we tend to go thr o ugh a lot of dr awing p ads! It c an be ver y difficult, but yo u will learn to be ver y efficient with ever y line.

It is h ar d for me to explain exactly how I pr ocedur ally dr aw the form. In all honesty, it is differ ent ever y time. Sometimes, I dr aw the sh adow sh apes first. Other times, I will start with a gr aphic sh ape. Commonly I will start with the head and occ asi onally, I will start with the hips. F or the s ake of demonstr ating a pr ocedur e th at c an help the r eader, her e is a pr etty s afe one: Step Step Step Step 1 – Basic rhythms of the form ar e put down first.

Witho ut light and sh adow, yo u h ave to descr ibe the depth of the form with conto ur lines. Ther e ar e only two types of sh adow edges th at I use in gestur e dr awing, form sh adows and c ast sh adows. Bec ause the plane of the form is no longer in the pr esence of light, form sh adows ar e also c alled cor e sh adows – they ar e the darkest p art of a sh adow.

These sh adows ar e dr awn soft, with the medi um edge of the tool. These sh adows ar e dr awn with cr isp, fine, h ar d edges. Not br o ad, dark edges. If yo u ar e using mor e ambient lighting, or north light fr om a large window, yo u will not get cr isp c ast sh adow lines on the form. Bec ause ther e is not eno ugh time in the poses to c aptur e ever y single fold, yo u h ave to quickly assess the fold p attern gener ated by the tensi on point.

If yo u tr y to r eplic ate the folds exactly, yo u will over noodle yo ur dr awing and waste all yo ur time on one p ant leg, AN D, it will not look as good as if yo u made it up. None of these folds existed like this. After finding the tensi on point, I made the r est up. It c an be ver y difficult to do this at first, especially if yo u ar e one of those artists whose dr awings r ely mor e on observati on th an imaginati on.

To br eak it down even further, think of exagger ati on in these thr ee ways: 1. Yo u c an widen the stance, arch the back further th an yo u see, and str etch the arms str aight instead of th at slight bend. Yo u c an make the h ands and feet larger, elongate the neck, or shorten the torso.

Tr y adding po unds of fat to yo ur model, or adding po unds of muscle. Taking away 50 po unds of body mass c an r eally r eveal yo ur knowledge of the skeletal str uctur e. If yo ur decisi on-making is guided by good design, it will look intr iguing and intenti onal r ather th an a bad mistake.

In the beginning, cor e pr inciples of dr awing, such as pr oporti ons, volume, compositi on, design, gestur e, body rhythms, and light and sh adow, must be learned. After yo u feel th at yo u h ave a basic understanding of these pr inciples, yo u c an start the cr eative jo urney into exagger ati on. The first step in dr awing fr om yo ur cr eative mind is the ability to not fully r ely on wh at yo u see in fr ont of yo u.

It is ver y h ar d to gr asp this concept at times. I h ave fo und th at pushing the bo undar ies of cr eativity, way beyond wh at yo u may think is acceptable, gives yo u a better understanding of bo undar ies.

If yo u never push away fr om r eality, yo u will never understand wher e th at bo undar y is. This is when the fun r eally starts. This is when yo u pr etend th at yo u ar e looking thr o ugh a distorted mirr or of a warped form. This exercise c an gr eatly fuel yo ur cr eative side over the ac ademic side of dr awing the figur e.

Download Gesture Drawing for Animation Free PDF – replace.me

 
 
Draw ideas, not things; action, not poses; gestures not anatomical structures. I am reprinting some ruff animation drawings to remind you of the style of. GESTURE DRAWING. THE EIGHT PARTS OF THE BODY. FORM AND BALANCE. SYMMETRY AND ASYMMETRY. REPETITION AND TIMING. WRAPPING LINES. THE SPINE. CENTER OF GRAVITY.