This is the motto of my class!
Rather than drawing specifically for a portfolio and have no discerning choices at hand. One should draw becuase they love it and pick the best drawings from that stack.
Give yourself choices.
Tuesday, January 23, 2007
Three of Many
I say three of many because there are a lot of duds that don't make the cut. If anyone out there is building a portfolio the best way to do it is to work hard and Draw! Draw! Draw!
This is the motto of my class!
Rather than drawing specifically for a portfolio and have no discerning choices at hand. One should draw becuase they love it and pick the best drawings from that stack.
Give yourself choices.
This is the motto of my class!
Rather than drawing specifically for a portfolio and have no discerning choices at hand. One should draw becuase they love it and pick the best drawings from that stack.
Give yourself choices.
Friday, January 12, 2007
Thoughts on drawing for storyboards-PT 3
"Negative space and overlapping shapes"
In all my days as an animator, story guy, and just plain sketch artist I've always had trouble with trying to get a pose right and make it "read from across the room".
I kept trying and trying and one day back in the Disney days, my good friend Tom Gately{Now an animator at a certain studio in emeryville- shamelss "freindship dues" plug} told me the most obvious of reasons why my drawings weren't reading.
"Your sillouette value is off"
Darn it! He was right and I couldn't get it out of my head. Now I know that's animation 101 but the easiest thing to understand isn't always the easiest thing to execute. For example I understand that an Archer needs to hit the bullseye from a far distance but I probably can't hit that bullseye for beans unless I work at it for some time and keep trying.
So ever since then I've been haunted by Tom's words in my head. Every drawing I've worked on to this day feels like it has his eyes of concern watching over saying "Your sillouette value is off".
All this time I tried to understand and break it down to the simplest form and the two principles out of the many that stuck out, where Negative space and Overlapping shapes.
When these two ideas are grasped and put into action your sillouette values will start to pop off the page. If your sketch or production drawing isn't working you might want to check and see if the drawing is breathing; is there enough air around and within the pose to see every part of it's acting or reason for being?
When overlapping shapes are concerned I always tell the students in my class to use the items on the model to show shapes in front of other shapes. Use the waist line to show the forms and directions of the body, the neck line and collars and even existing wrinkles in th clothing to help show that the knee is in front of the thigh. Props like wrist watches or helmets or anything the person is holding can also help when it comes to overlap.
Anyhow I think you get the picture. I still have to think about it when I draw and I'm glad Tom told me the truth when he did. I just wish his voice would get out of my head.
To help illustrate the point I drew over this wonderful page of Mickey's drawn by the master of sillouette Fred Moore. What's amazing about it was how clear and precise every drawing is and yet very very loose. I found this page on the great Disney History blog by Didier Ghez.
Enjoy.
In all my days as an animator, story guy, and just plain sketch artist I've always had trouble with trying to get a pose right and make it "read from across the room".
I kept trying and trying and one day back in the Disney days, my good friend Tom Gately{Now an animator at a certain studio in emeryville- shamelss "freindship dues" plug} told me the most obvious of reasons why my drawings weren't reading.
"Your sillouette value is off"
Darn it! He was right and I couldn't get it out of my head. Now I know that's animation 101 but the easiest thing to understand isn't always the easiest thing to execute. For example I understand that an Archer needs to hit the bullseye from a far distance but I probably can't hit that bullseye for beans unless I work at it for some time and keep trying.
So ever since then I've been haunted by Tom's words in my head. Every drawing I've worked on to this day feels like it has his eyes of concern watching over saying "Your sillouette value is off".
All this time I tried to understand and break it down to the simplest form and the two principles out of the many that stuck out, where Negative space and Overlapping shapes.
When these two ideas are grasped and put into action your sillouette values will start to pop off the page. If your sketch or production drawing isn't working you might want to check and see if the drawing is breathing; is there enough air around and within the pose to see every part of it's acting or reason for being?
When overlapping shapes are concerned I always tell the students in my class to use the items on the model to show shapes in front of other shapes. Use the waist line to show the forms and directions of the body, the neck line and collars and even existing wrinkles in th clothing to help show that the knee is in front of the thigh. Props like wrist watches or helmets or anything the person is holding can also help when it comes to overlap.
Anyhow I think you get the picture. I still have to think about it when I draw and I'm glad Tom told me the truth when he did. I just wish his voice would get out of my head.
To help illustrate the point I drew over this wonderful page of Mickey's drawn by the master of sillouette Fred Moore. What's amazing about it was how clear and precise every drawing is and yet very very loose. I found this page on the great Disney History blog by Didier Ghez.
Enjoy.
Tuesday, January 09, 2007
It's all chill!
For what it matters, I'll be puttin' some stuff up soon!
Peace and Happy New Year People!
Peace and Happy New Year People!
Subscribe to:
Posts (Atom)
