One line in particular is very crucial to keep in mind:. We cannot back off from our emotions — if we do the result will be a mere anatomical reproduction. Gesture drawing is about emotion, feeling, and instant understanding. It is telling a story in a single image.
That is for another drawing session. As artists we can quickly become absorbed in details especially delightful folds in clothing and wrinkles along bending torsos. Unless the detail adds to the story of what you are drawing, it is not essential for your gesture drawing. You could look at the angle of the torso, arms, legs, and club.
You might try to find the spacing Spacing is the distance an element travels between two frames of an animation. By increasing and decreasing the spacings More in relation to the forearm and the thigh. With careful observation, you could end up with a very accurate drawing of this gentleman as he appears in the photo. There is nothing wrong with the drawing above. It is very accurate. Instead, the alternate way of analyzing the photo and pose is to consider the actions involved.
His torso is bending and twisting as the force of the swing carries his momentum around. His left leg is planted as his hips shift to the left, and his right leg curves until the toes just kiss the ground. His fists clench around the handle of the club and, though we cannot see it in this photo, you can almost sense the tension in his face and eyes as he gazes towards to horizon to pinpoint where his precious golf ball is headed.
Using these verbs as a platform, we can create a gesture drawing from the reference. We are not copying it. If you want a copy, take it into Photoshop, change the image mode to grayscale, and run a Sketch filter over it for good measure.
After completing a gesture drawing of a subject, the artist may later decide to turn the sketch into a finished drawing or painting, working from what they have learned about the subject during the sketching process. It is great for practice, making gesture drawings a suitable way to quickly fill up a sketchbook. One of the primary functions of a line is to inform us where an object ends.
These lines define the boundaries of the subject and are referred to as "contour lines". Lines that are drawn without variance are static. Static lines have "their place" in drawing, but for gesture drawing, dynamic lines do a better job communicating movement and interest.
Dynamic lines are the result of "looser", quicker marks. It's logical to use dynamic strokes when creating a gesture drawing because of the nature of the practice. Gesture drawings are meant to be created quickly and do not require details. Clearly speed is important in gesture drawing.
Live models obviously cannot hold poses forever, so it falls on the artist to capture the pose and proportions of the figure quickly. Details can always be added after the initial pose and after proportions are defined. By loosening up with our marks, we can greatly improve our speed. For some us, this means letting go of the desire to create intricate details from the start. Instead, we should be concerned only with the overall form and posture of the subject.
Capture this information first with many loose lines or even blocks of value. Gesture drawings are not about details but rather the pose, form, and movement of the subject.
If you're finding it difficult to loosen up with your marks, you may try changing your grip on the pencil or switch to a less detail-oriented medium. Allow your marks to originate from your shoulders or elbows instead of from your wrist. Stray marks are likely to happen in the process. It's easy to be tempted to reach for the eraser to "fix" these imperfections as you work. Everything flows from the head and it helps to develop a consistent starting point.
With each pose, I will look for the head and quickly draw the outline before moving on to the rest of the pose. By doing this, there is no hesitation at the start of every pose as I know exactly how I want to start. Also, try to make a quick note of where the head is looking up, down, left, right.
After you have identified the head, then observe how the rest of the body is flowing from there. A great reference point is the spine. If I am ever lost, I just follow the spine and try to build form around that. Always be thinking about the contour of the body. Is the body leaning toward or away? Where are the pinches and changes in direction?
You can then use simple contour lines to give an indication of this. Not every line needs to follow the contour, but it is useful to have a few major contour lines as reference points. Try to capture the essence of the pose before you try to render form. Regardless of any time limits, the first thing you should do in gesture drawing is to capture the essence of the pose. Once you have done that, you can go over and render with more detail and tone.
This follows the general art guideline of working general to specific. Use simple and meaningful lines. Try to draw every line with some kind of purpose. Do not draw lines just for the sake of drawing lines. I usually make a few practice strokes in the air before committing to the paper. Kind of like how a golfer will make a few practice swings before connecting with the ball. Working quickly does not mean working recklessly.
If you watch some of the really great drawers like Glenn Vilppu and Steve Huston, you should notice how slow they work, even when working with timed poses there are videos of these two artists later in this post. Try to really get a feel for the pose and action.
This is the purpose of gesture drawing. Embrace the curves. You should be careful with straight lines. Most of the time, curved lines are much more effective for rendering the human form. So instead of drawing a straight line for an arm, think about the action and pose of that arm and use curves to render this. Try to capture what you like most about the pose.
Usually, there will only be one or two things which you really like about a certain pose. Focus on those aspects and really try to emphasize them. It could be the pinch in the shoulder, the curve of the back or form of the chest. Sometimes you may even want to exaggerate the pose slightly to really capture what you want out of the pose. Gesture drawing is fantastic for experimenting with different mediums which you are not familiar with.
The only requirement I would suggest is that you pick a fast-drying medium so you may want to avoid oils for gesture drawing. You will find the way you draw will change depending on the medium you use. For pen and ink, I rely heavily on line rather than tone or shape. But with pencils or markers, I can incorporate more tonal work. Pencil : similar to pen and ink but you can use the broad side of the pencil for shading. You also have a much wider range of tones you can use which varies based on the pressure you apply.
You can read more about the different drawing pencils here. Markers : great for bold strokes. Gesture has a lot to do with feelings and emotions. You want to conceptualize how the body is contorted to understand how it can be exaggerated.
Where is the torso leaning? Which leg takes most of the weight? Ask yourself questions as you analyze each pose and draw based on your conclusions. Gesture is meant to capture movement and action. When you draw with straight lines you tend to lose these natural curves and the pose ends up looking stiff.
Look for natural curves from the head to the torso, or from the pelvis to the feet. You can follow these lines with curves shaped like a C or an S. You should be looking beyond the details to see which lines define each pose. Is there a large thrust in the hip to one side? Or is there a certain weight-bearing leg that deserves to be darker than the other?
Just try stuff out and see how it looks. A leg planted firmly on the ground may use a straight line segment to show the weight.
0コメント