By Walt Stanchfield, edited by Leo Brodie
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Extra info for Gesture Drawing for Animation
Sample text
Line is not just a tracing tool— it is a living, organic thing, capable of describing just about anything you can dream up. There are many kinds of lines. Short ones: Long ones: Curved lines: And some that get off to a good start but then seem to poop out: You can do anything with lines. Years ago there was a silly gimmick that went like this: Do you know what this is? Know what this is? V. screen for people who squint. It's a tornado with the hiccups. 31 Gesture Drawing For Animation 32 Chapter 3: A Visual Vocabulary for Drawing 33 Gesture Drawing For Animation A Simple Approach to Drawing For those in my class who have had little instruction or experience, I would suggest adopting a very simple approach to drawing.
For instance the eye, nose and mouth lines—unseen, but implied and depicted by the placement of the eyes and mouth and the direction they take when the head is tilted: Along with these “unseen” surface lines, there is overlap such as (in this case) the hair, first being seen somewhat behind the forehead then reversing to be in front of the forehead in the second drawing. The ear employs another rule: Foreshortening. The other rules—surface plus size and perspective—would have come into play had the head turned to the side: 50 Chapter 3: A Visual Vocabulary for Drawing And though the other ear is not seen so cannot be compared with the one seen, it will have grown in size as the head turns the ear towards you and closer to you, thereby giving even a better illusion of depth in motion than you would get from seeing a still drawing or the two ears: That increase in size plus a change in shape (angle) plus following an arc (as if the ear were orbiting the outside of a sphere (the head) would give a maximum third dimensional effect).
Let me suggest that in working out your “shorthand” body-shape, when the chest and hip are twisted, they can be handled as separate shapes. That way you can more easily draw them facing in different directions. When they are not twisting, the chest and hip areas can be treated as one shape. 34 Chapter 3: A Visual Vocabulary for Drawing Here’s a suggestion from Lariar’s book, Cartooning For Everyone, on how to lay in a cartoon figure. He had no explanation for this illustration but you can see, he worked from the general to the specific.
Gesture Drawing for Animation by Walt Stanchfield, edited by Leo Brodie
by Robert
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