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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.

The Idea Id just finished working on stor ybo ar ds and an animatic for a big Hollywood studi o pr oducti on and wh at an awesome pr oject; so much fun to work on, so much fun to dr aw. 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 felt so over whelmed, I r emember sitting on the plane and flying home and Im just listening to my iPod, and th at song fr om the Weepies c ame on, the song c alled The World Spins Madly On. 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. It br ings us back to a solid base so wer e not spinning in th at world.

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 th ats when I tho ught Ive got to do something with th at, Ive got to make a short film th at r elates to th at emoti on. 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. And th ats when, as an artist, yo u h ave to do something with it. Pr e-Pr oducti on I knew I co uld not animate a beautiful contempor ar y dance, bec ause Im not a dance chor eogr apher, and th ats wher e Kor i c ame in. 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.

I didnt want to influence the initial chor eogr aphy at all. Kor i wo uld do the chor ogr aphy, but she wo uld also chor eogr aph with the dancers. So the dancers wo uld sometimes s ay hey want abo ut this or wh at abo ut th at, so they wer e also cr eatively invested as well. 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.

And in fact a lot of the modific ati ons th at we made wer e kind of on the fly bec ause of the ideas th at wer e coming. I h ave fo und th at looking for personal cr eative inspir ati on doesnt work for me. 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 ats when I feel like artistic cr eative inspir ati on is at its r ipest. Its abo ut discover ing a personal connecti on with the fibers of o ur own life, and then using the knowledge and skills th at weve acquir ed over the years to cr eate a piece of art th at r eflects th at personal connecti on.

Th at ch arge of emoti on will just fade away and die as a p ast emoti on if left unattended to. However, if yo u c an take th at emoti on, wr ite it down, document it, and plan to cr eate a work of art th at defines th at exper ience, then yo uve just r eceived and acted upon personal cr eative inspir ati on. And th at is wher e the magic h appens. I love tr aditi onal animati on, and I love h and dr awn animati on, ther es a life to it.

Its not a mathematic al algor ithm th at computed th at – It h as mistakes to it. I like th at. In or der to c aptur e the pr ofessi onal figur ative movement of human form accur ately, I used live dancers as r efer ence.

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.

The animati on is ver y silho uette dr iven, ver y much abo ut the figur e. But its fr om a distance, which is inter esting, bec ause often times in animati on or film when we want to show an emoti on well go in tight, and go in close on th at expr essi on. But I didnt want to do any of th at. I didnt want to move the. I didnt want to use cinematic techniques to tr igger emoti ons. I wanted it to be genuine in its simplistic natur e – two people, dancing, no facial expr essi ons, no dialog, h and dr awn and putting in a lot of symbolism.

EF X animati on was my first c ar eer p ath into animati on. When I animate EF X elements like water, smoke, or fir e, I feel like a yo ung animator again, str uggling to be the best he c an be. Its like r evisiting gr eat memor ies of wonderful p ast pr oducti ons.

Ever y one of the beats in this film h as a personal tr igger for me. Ther e is a r eason and a meaning to it. However, I did not want to spoon feed th at meaning with overt acti ons. I wanted to allow each viewer to find their own personal meanings of, for example, the smokey figur e, the wings, the heav y cor ded arms, the var ying sh adows, etc. I knew I h ad a big task in fr ont of me, two and a h alf minutes worth of animati on, and 24 fr ames per second.

Th ats a lot of dr awings. But its not like work. When I look at the clock and I see I h ave co uple extr a of ho urs to come work on this, its r eally enjoyable. The animati on was dr awn in Adobe F lash. Ther e ar e 4, fr ames wher e the ch ar acters ar e moving. So yo u co uld flip yo ur p apers and watch the movement while yo u wer e flipping it. As I flip thr o ugh the fr ames, altho ugh I am working digitally, it feels like the s ame pr ocess. Ryan h as pr oduced and dir ected 4 short films th at h ave played in over 30 film festivals worldwide.

Since , Ryan h as been a faculty member of the Animati on pr ogr am at Br igh am Yo ung University wher e he teaches stor ybo ar ding, figur e dr awing, and animati on. Ryan is marr ied to Tiffany Easterbr ook Woodwar d and together they h ave thr ee daughters.

A book collecting Ryans gestur e dr awings organi zed fr om ten second gestur es to 15 minute gestur es – in additi on ar e some exagger ative, cr eative, and r efined dr awings; and a small sketchbook secti on. A small collecti on of a var iety of gestur e dr awings assembled fr om Ryans gestur e dr awing class in This is a fun styli zed ch ar ic atur e done by my good fr iend Jar ed Gr eenleaf whos not only a p artner in cr ime with me but a gr eat fr iend. Yo u c an check o ut his work at: jsgr eenleaf.

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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.

These dr awings ar e minute poses. 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. I didnt want to move the c amer a ar o und, or intr oduce a close up and then a distance shot. 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. Any br and will do. My personal per pr eefer ence is smooth newspr spr int as opposed oppos pos to r o ugh.

Ro ugh h as a much mor e tooth thus thu leaving eaving ing a bit mor e textur e to yo ur dr awing. Smooth will look softer and cleaner.

It is essentiallyy a piece pi of wood with str ips ps of s andp dp aper attached to it. Many any starving students h ave fo und th at a piece of s andp aper fr om the h ar dwar e stor e works rks just as well. Aim for h a aving g a str ong flat edge, a r eal sh arp edge, and a me- di um edge. The s andp dp aper block r efines the sh arpening arp ng in or der to achieve a nice edge.

Rep Repeat the final two steps if yo ur lines s do n not come o ut evenly. As yo u ar e beginning egi ng to expexper iment, t, p ay sp special al attenti on to usinging the br o ad, medi um, and fine edges of yo ur edg u tool.

Spend plenty p ty of time exper xper i- menting with the thr ee differ ent edges. Yo u will want to make sur e th at t yyo u r un yo ur br o ad edge on edg n yyo ur p aper a few times pr i or to the first line off yo y ur dr awing. At times, we tend to get r eal tigtight and noodley ey when we use a p pencil or pen 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 epi arcs, much mor e th an the fingertips will. Instead of being ing overly rly concerned d with w cr eating a beautiful work of art, tr y t to focus mor e on loosening up and fr eeing g yyo ur cr eat eativity. Tr y n not to over analyze aly ever r y line dur ing ng warm up; it will only nly impedee y yo ur cr eativity.

Make an a effort to allow yo ur u br ain to make mistakes. Once yo u put d down a line, e, it doe does not er ase ea easily, y, ther efor e,, yo y u h ave av to learn ear to accept ept the line and work with it anyway. S Sometimes tim we ar e blinded by o ur own achievements to the ach e point p wher e we no longer ong explor e any exp ny further avenues for imprmpr ovement.

An- other tr ick I like to use is to look at my work in a mirr or. Yo u may be surpr rpr ised at the err ors th at pop o ut when seeing yo ur work in r everse. Do not gi give up after the first few dr awings. This techniqueque limits yo ur ability y t to dr aw detail and forces the h and and eye to see the big sh apes ape and curves of the form. This will help elp tr ain yo ur eye to see the over alll gestur g e and how it r elates to the form as a whole.

Tr y to deny this urge to measur asu e and instead, stead, go with intuiti on, or wh at feels r ig ight. The idea dea with thiss p pr ocess is to develop op an intuitive measur ing g tool for human pr oporti ons. However, if yo u h av ave no understanding nderstanding nde of pr oporti ons at all, I wo uld highly enco ur r age yo y u to studydy 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 y to t 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.

Notice the r ed lines on the following dr awings. They indic ate the rhythms between body p arts. People ple fr equently equ ly want to know how long ong it took to do these dr awings. Most of the dr awing awings inn t these firstt co uple ple sessi ons fall in the time limitati on of 1 to 3 minutes. Later on, when we explor xpl e light, ght sh ad- ow, and clothing, we str etch the time to 5 – 8 minutes. Some of the cr eative dr awings gs 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 aw- ing the human f form h appe appens within the f first t 2 minutes. After th at, it is all just ic- ing on th the c ake.

So, yes, w we tend to go thr o ugh a lot of dr awing p ads! It c an be ver y diffi d i- cult, but yo u will learn to be ver y efficient with ever y line. Her e ar e some step-by-step tep-by ep demonstr ati ons. It is h ar d ffor me to explai explain exactly xactly how I pr o- cedur ally lly dr aw the form. In all honesty, y, it is differ ent ever er y time. Sometimes, I dr aw the sh a adow sh apes ape first. Other times, es, I will start tar with a gr aphic aph sh ape.

Commonly nly I will start with the head and occ asi onally, y, I will start with the hips. F or the s ake of demonstr ating hip ng a pr p ocedur e th at c an help the r eader, her e is a pr etty s afe one:. Step 1 – Basic rhy rhythms of the form ar e put down first.

Step p 2 – Simple ple sh ape apes ar e added in. Step 3 – Some added detail to descr ibe the form Step 4 – Light and Sh adow. Witho ut lig light and sh adow, yo u h ave to de- scr ibe the depth ept of the form with conto ur lines.

Ther e ar e only ly two ty types of sh adow edges dge th at I use in gestur e dr awing, form sh adows and c ast sh adows. Bec ause the pla plane of the form is no longer ger in the pr esence of light, form sh adows ar e also c alled cor e sh adows – they y a 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. It helps ps to h ave a ver r y dir ect singular ngu light ght so urce when definingng the sh adows. If yo u ar e us- ing mor e ambient lighting, igh g, or north light lig fr om a large ge window,, y yo u will not get cr isp c ast sh ad- ow lines on the form. Bec ause ther e is not eno o ug ugh time in the po poses to c aptur ptu e ever r y single gle fold, yo u h ave to qui quickly y aassess the fold p attern gener ated by the tensi on poi point.

If yo u tr y t to r eplic epl ate the folds exactly, y, yo u will over noodle yo u ur dr awing ing and waste alll yoy ur time on one p ant a leg, 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. To br eak it down even further, think of exagger ati on in these thr ee ways:. Exagger ating the Gestur e 2. Exagger gge ating ing the Pr r oporti op on 3.

 
 

 

[PDF] Ryan Woodward_replace.me – Free Download PDF

 

Yo u dont always need r efer ence either; yo u c an exper iment with obscur e and str ange personal styles as well. Gr aphic Sh apes Spend some time dr awing the figur e as gr aphic sh apes. 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.

Well Educ ated Artists Ther e is value in dr awing fr om sight and ther e is value in dr awing fr om o ur minds. 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.

The Idea Id just finished working on stor ybo ar ds and an animatic for a big Hollywood studi o pr oducti on and wh at an awesome pr oject; so much fun to work on, so much fun to dr aw. 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 felt so over whelmed, I r emember sitting on the plane and flying home and Im just listening to my iPod, and th at song fr om the Weepies c ame on, the song c alled The World Spins Madly On. 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. It br ings us back to a solid base so wer e not spinning in th at world.

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 th ats when I tho ught Ive got to do something with th at, Ive got to make a short film th at r elates to th at emoti on.

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. And th ats when, as an artist, yo u h ave to do something with it. Pr e-Pr oducti on I knew I co uld not animate a beautiful contempor ar y dance, bec ause Im not a dance chor eogr apher, and th ats wher e Kor i c ame in.

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.

I didnt want to influence the initial chor eogr aphy at all. Kor i wo uld do the chor ogr aphy, but she wo uld also chor eogr aph with the dancers. So the dancers wo uld sometimes s ay hey want abo ut this or wh at abo ut th at, so they wer e also cr eatively invested as well. 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.

And in fact a lot of the modific ati ons th at we made wer e kind of on the fly bec ause of the ideas th at wer e coming. I h ave fo und th at looking for personal cr eative inspir ati on doesnt work for me.

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 ats when I feel like artistic cr eative inspir ati on is at its r ipest.

Its abo ut discover ing a personal connecti on with the fibers of o ur own life, and then using the knowledge and skills th at weve acquir ed over the years to cr eate a piece of art th at r eflects th at personal connecti on. Th at ch arge of emoti on will just fade away and die as a p ast emoti on if left unattended to. However, if yo u c an take th at emoti on, wr ite it down, document it, and plan to cr eate a work of art th at defines th at exper ience, then yo uve just r eceived and acted upon personal cr eative inspir ati on.

And th at is wher e the magic h appens. I love tr aditi onal animati on, and I love h and dr awn animati on, ther es a life to it. Its not a mathematic al algor ithm th at computed th at – It h as mistakes to it.

I like th at. In or der to c aptur e the pr ofessi onal figur ative movement of human form accur ately, I used live dancers as r efer ence. 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. The animati on is ver y silho uette dr iven, ver y much abo ut the figur e. But its fr om a distance, which is inter esting, bec ause often times in animati on or film when we want to show an emoti on well go in tight, and go in close on th at expr essi on.

But I didnt want to do any of th at. I didnt want to move the. I didnt want to use cinematic techniques to tr igger emoti ons. I wanted it to be genuine in its simplistic natur e – two people, dancing, no facial expr essi ons, no dialog, h and dr awn and putting in a lot of symbolism.

EF X animati on was my first c ar eer p ath into animati on. When I animate EF X elements like water, smoke, or fir e, I feel like a yo ung animator again, str uggling to be the best he c an be. Its like r evisiting gr eat memor ies of wonderful p ast pr oducti ons. Ever y one of the beats in this film h as a personal tr igger for me. Ther e is a r eason and a meaning to it.

However, I did not want to spoon feed th at meaning with overt acti ons. I wanted to allow each viewer to find their own personal meanings of, for example, the smokey figur e, the wings, the heav y cor ded arms, the var ying sh adows, etc. I knew I h ad a big task in fr ont of me, two and a h alf minutes worth of animati on, and 24 fr ames per second.

Th ats a lot of dr awings. But its not like work. When I look at the clock and I see I h ave co uple extr a of ho urs to come work on this, its r eally enjoyable. The animati on was dr awn in Adobe F lash. Ther e ar e 4, fr ames wher e the ch ar acters ar e moving.

So yo u co uld flip yo ur p apers and watch the movement while yo u wer e flipping it. As I flip thr o ugh the fr ames, altho ugh I am working digitally, it feels like the s ame pr ocess. Ryan h as pr oduced and dir ected 4 short films th at h ave played in over 30 film festivals worldwide.

Since , Ryan h as been a faculty member of the Animati on pr ogr am at Br igh am Yo ung University wher e he teaches stor ybo ar ding, figur e dr awing, and animati on. Ryan is marr ied to Tiffany Easterbr ook Woodwar d and together they h ave thr ee daughters. A book collecting Ryans gestur e dr awings organi zed fr om ten second gestur es to 15 minute gestur es – in additi on ar e some exagger ative, cr eative, and r efined dr awings; and a small sketchbook secti on.

A small collecti on of a var iety of gestur e dr awings assembled fr om Ryans gestur e dr awing class in This is a fun styli zed ch ar ic atur e done by my good fr iend Jar ed Gr eenleaf whos not only a p artner in cr ime with me but a gr eat fr iend. Yo u c an check o ut his work at: jsgr eenleaf. Open navigation menu. Close suggestions Search Search. User Settings. Skip carousel. Carousel Previous. Carousel Next. What is Scribd? Explore Ebooks. Bestsellers Editors’ Picks All Ebooks.

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Uploaded by Diego Zanelatti. Did you find this document useful? Is this content inappropriate? Report this Document. Flag for inappropriate content. Download now. Jump to Page. Search inside document. 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.

These dr awings ar e minute poses. 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. I didnt want to move the c amer a ar o und, or intr oduce a close up and then a distance shot. Gestur e Dr awings Vol.

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Honoria Starbuck, Ph. Dancer by Auguste Rodin 2. Ryan Woodward, Animatior Conte In his book Conte, animator Ryan Woodward illustrates his path toward seeing, then drawing the main forms, rhythms, relationships, and action of the model. Ryan Woodward, Animatior Conte 4. In Gesture drawing lines can go outside the edges of the figure. What is this drawing? Not once in describing the shape of that mass did I shift my eyes from the model.

Because I wanted to be sure that nothing evaded my grasp of it. Not a thought about the technical problem of representing it on paper could be allowed to arrest the flow of my feelings about it, from my eye to my hand. The moment I drop my eyes that flow stops.

Auguste Rodin 8. His drawings were seldom used as studies or projects for a sculpture or monument. What fun. Quiz 1. Why did Rodin the sculptor create thousands of gesture drawings from the model? Describe 3 types of lines used by Ryan Woodward. Draw yourself in the style of one of these artists.

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Read free for 60 days. Tracy Davis Dec. So you do not need to waste the time on rewritings.

 
 

Famous Gesture Drawing Artists – Gesture in context.

 
 
Th at sensitivity is ver y inconsistent and comes and goes unexpectedly. 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. Monster Design. Top clipped slide. Creature Design.