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Description
Hey, all. Here’s part four. Still studying. ^_^ Wow…this guy is awesome.

Gesture is the main thing, and from that… move on. I find that it works very well for “visual ideas” (quickly getting a thought on the paper so that it can be saved and examined later), but not for developing into finished drawings. I tried to use some gesture drawings as my “under-drawing” or base to build a finished pic. It didn’t really work. Gesture helps you to properly see and accentuate what is there. As a means for expressing an idea (which ultimately is the whole point of drawing) it works very well. However, things like proportions and guidelines are not really thought of, and as such gestures (for me) are *separate* to finished drawings. They are not really a step, but a different category altogether that helps you in the steps of building a good drawing. It is rather the thinking and the awareness of the figure that you take into finished drawings, not so much the lines of a gesture drawing. But at the same time, don’t over think it either. That can be disastrous. Study, learn… and (like Nike) just do it.

Feeling the pose is very important. If you have to, get up, put the sketch pad down and act out a motion. Feel which muscles contract and which ones relax. Also notice what attitude you “assume” to do it. If I said “Act like a ballerina”, the mentality is totally different that if I said “Act like a pro wrestler”. In other words, don’t only focus on the lines that make up a character on the page, by the psychological attitude of that person. All of that comes out in the artwork… and it won’t show if it’s not there.

Be aware of *pairs* in drawing. Think of the hands, elbows, knees and feet as pairs… and draw them as such. Draw both at the same time. For example, imagine that a string is tied around both wrists tightly… so that the string is taut. It makes a straight line. How does the pose affect the string? Is the left lower than the right…or vice versa? How short or long is the string? Is more horizontal or vertical? All of this helps with better placement of the hands. The same is true for ALL the aforementioned parts. Always checking to see how one part of a figure relates to another part of the body is a sign that the artist is aware and alert.

I’m definitely benefiting from these classes. Hopefully you are as well. Much love!

Black Ink Pen and Blue Highlighter (Ha! Gotta mix it up, ya know. ^_^ )

--------------------PREVIOUSLY--------------------
LESSON 01: [link]
LESSON 02: [link]
LESSON 03: [link]

Description
Hey, all. Here’s part four. Still studying. ^_^ Wow…this guy is awesome.

Gesture is the main thing, and from that… move on. I find that it works very well for “visual ideas” (quickly getting a thought on the paper so that it can be saved and examined later), but not for developing into finished drawings. I tried to use some gesture drawings as my “under-drawing” or base to build a finished pic. It didn’t really work. Gesture helps you to properly see and accentuate what is there. As a means for expressing an idea (which ultimately is the whole point of drawing) it works very well. However, things like proportions and guidelines are not really thought of, and as such gestures (for me) are *separate* to finished drawings. They are not really a step, but a different category altogether that helps you in the steps of building a good drawing. It is rather the thinking and the awareness of the figure that you take into finished drawings, not so much the lines of a gesture drawing. But at the same time, don’t over think it either. That can be disastrous. Study, learn… and (like Nike) just do it.

Feeling the pose is very important. If you have to, get up, put the sketch pad down and act out a motion. Feel which muscles contract and which ones relax. Also notice what attitude you “assume” to do it. If I said “Act like a ballerina”, the mentality is totally different that if I said “Act like a pro wrestler”. In other words, don’t only focus on the lines that make up a character on the page, by the psychological attitude of that person. All of that comes out in the artwork… and it won’t show if it’s not there.

Be aware of *pairs* in drawing. Think of the hands, elbows, knees and feet as pairs… and draw them as such. Draw both at the same time. For example, imagine that a string is tied around both wrists tightly… so that the string is taut. It makes a straight line. How does the pose affect the string? Is the left lower than the right…or vice versa? How short or long is the string? Is more horizontal or vertical? All of this helps with better placement of the hands. The same is true for ALL the aforementioned parts. Always checking to see how one part of a figure relates to another part of the body is a sign that the artist is aware and alert.

I’m definitely benefiting from these classes. Hopefully you are as well. Much love!

Black Ink Pen and Blue Highlighter (Ha! Gotta mix it up, ya know. ^_^ )

--------------------PREVIOUSLY--------------------
LESSON 01: [link]
LESSON 02: [link]
LESSON 03: [link]