# Figure Quick Sketch – Torso Study

This tutorial is an introduction to figure quick sketch drawing. Quick sketch is a name for short, gestural drawing from life or figure model. The poses can generally range from 1-5 minutes. Topics covered will be the fundamentals of gesture drawing, laying-in the figure and an introduction to the Reilly Method. The approach to Reilly Method I use is a synthesis of three teachers: 1. Step 1: Capture the ribcage The torso is the largest mass of the body and the ribcage is the largest mass of the torso. The important points to look for are the landmarks (seen as pink dots in Fig. 1 above). The numbers in the drawing represent the stroke order. Step 2: Abdomen Once we’ve established the ribcage we can then capture the shape of the abdomen. Step 3: Hips The last segment of the torso are the hips. Step 4: Centerline Since the shoulder, ribs and hips gave us our horizontal gesture, centerline gives us our vertical gesture. Step 5: Anatomy Step 6: Separate light and dark Step 7: Adding tone 1. 2.

Tulptorials The Helpful Art Teacher: Asymmetrical Balance: Creating dynamic compositions Your art teacher tells you to 'fill the page'. How? With what? Here is a trick that many artists, throughout history and around the world, have used. I hope you find it helpful. The dominant form is the mass of buildings on the left. The sub-dominant form is the round building on the right. St. Put the dominant form off to one side, never in the middle. The subordinate form is often (but not always) the focal point of the picture. Here is a study of St. Assignment: Practice making asymmetrical compositions using these landscape elements: Use the 'rule of thirds' (also sometimes referred to as the 'rule of three')to create dynamic photographs and paintings. Here is a higher resolution image of the illustration. Try printing it and adding your own grid lines. Analyze printouts of your favorite paintings to see which ones follow the 'rule of thirds' and which do not. Print out low resolution black and white versions of famous pictures and draw your grid directly on the image.

Resources So I've finally decided to bite the bullet and put some sketches online! These are various studies that I have been doing the past week or so and trying to incorporate what I have learnt about the figure and anatomy mostly from the Micahel Hampton book I had posted in my previous post! In addition, although most of what I put on here shall be digital work, as that is my ambition & medium I wish to work with in the future. I have found myself working with with traditional mediums lately, while studying various aspects. Materials : Strathmore A4 toned grey sketchbook, which I had to import from the US bought on ebay.. great! I've never found this technique particularly organic to me, however It does allow for a faster block in and line work to what I usually do, I like the way in which his sketches are left with the construction lines visible. I feel cross hatching could be of great benefit to my work. I'll hopefully be getting some digital studies up here soon! (20mins)

Resources So here begins my pursuit of becoming a professional artist & Illustrator! I shall be attempting to upload a weekly update on my movements towards this ambition (Apologies in advance if this is not the case, I'll try not to be too lazy!) I have often been told I am 'Naturally talented' within this field before, but talent spurs from hard work. I have my setup complete ! Wacom Cintiq 12WX (Faulty, Sadly my screen doesn't work.. 27inch Imac - Gotta spend money to make money...? External Monitor for Tv watching! Along with a collection of books I deemed necessary in order to achieve this 1. I have previously studied Andrew Loomis's approach & also briefly look at Burne Hogarth's but never found these as useful as what I have seen from this book so far. Also if you are further intrigued about Loomis's techniques and approaches here is a pdf version also ready for download: along with many of his other books. 2. 3. 4. Anyway,

Creative Art Courses :: Famous Artists School Thoughts on Sketching Sketch for Chiron and Achilles, John Singer Sargent (1856-1925) (click to enlarge) Our head Instructor, Hank McLaughlin, offers some thoughts why it is important to develop the habit of sketching. John Singer Sargent once said, “Sketch your hand once a day and you will become an artist.” It is not what you sketch, draw or paint, but how well it is sketched, drawn or painted. More Thoughts on Sketching Sketches have many different uses for the artist. Best Materials for Sketching A student asked Hank, “What are the best materials to use for sketching?” His reply: “Soft 2B-6B pencils and a sketch pad are the basics, but pastels, oil pastels, watercolor, felt tipped pens, colored pencils and even acrylic and oil paints can be used for sketching in color. Outdoor Painting Excursions Here’s a good idea for your outdoor painting excursions: Take along a tube of Vaseline. On Inspiration Illustration by Dolph LeMoult Instructor Dolph LeMoult talks about inspiration: Palette Tip

Instruction Jump Page You can go to animation school, spend a \$100,000 and not learn a damn thing about the basics of good animation drawing- OR you can buy a Preston Blair book for \$8 and learn it all in a couple months. You pick. If you learn the principles correctly, you will be able to draw in any style today. You’ll be miserable having to dumb down your abilities- but you will be in demand. –John Kricfalusi How much would it be worth to you to learn to draw for animation from two masters… one from the “golden age” of animation, and one of the top talents in the industry today? \$100,000 Animation Drawing Course …for only \$8! Founded by Norman Rockwell in the early 1950s, Famous Artists had three courses… Painting, Illustration/Design and Cartooning. Please Note: We will be reformatting and reposting these articles as time goes by. PAINTINGWash Painting- In Praise Of Happy Accidents Bill Nolan: Cartooning Self Taught / John K Advice and Eddie’s Boney Finger and John K on Character Design

The Ruskin School of Art - Botanical Drawing Last edited on Wednesday, September 24, 2014 - 10:11 AM by Juliet Franks In 2014, for the second year, Sarah Simblet offered her successful Botanical Drawing course, a programme that is designed to accompany her book, Botany for the Artist: An Inspirational Guide to Drawing Plants. Botanical Drawing is a five day non-residential course that includes workshops, lectures and visits to the University collections and largely based in the Drawing Studio at 74 High Street, Oxford, OX1 4BG. Information and reviews on the book, Botany for the Artist can be found here : During a teaching visit to South Africa, Sarah was interviewed at Kirstenbosch Botanic Garden and this is available online here : For more information on Sarah Simblet’s current project, please follow this link: or for more examples of her work google-image Sarah Simblet. Dr Sarah Simblet

Manga Criticism Translation: “At First, I Wanted to be a Manga-ka”: Analyzing the Nausicaa Manga by Kumi Kaoru, pt 2 | OGIUE MANIAX Blogger/Translator’s Note: This is the long-past-due followup to the translation posted by kransom over at his blog, welcome datacomp. As stated by kransom, the translation is based on a lecture by freelance writer Kaoru Kumi and included in a book he has written about Miyazaki. More information can be found in the introduction of part 1. For the sake of consistency and other things, all names in the essay are first name first, unlike my usual style. Incidentally, just as we have translated his writings from Japanese into English, Kumi has translated an English book into Japanese, “Astro Boy and Anime Come to the Americas” by Fredd Ladd and Harvey Deneroff. More information about the Japanese translation can be found here, and you can purchase the original version from Amazon. So without further ado, Part 2. Actually, the Nausicaa manga also frequently uses these techniques to create a sense of smoothness between panels, the difference with Yotsuba&! Volume 7 p.83 Volume 5 p.62 Volume 1 p. 9

Inking a Graphic Novel? | reMIND If you're new here, you may want to subscribe to my RSS feed. Thanks for visiting! How I Ink my graphic novel. I’ve been told my Inks look great. Really? The End. Adjusting Levels in Photoshop. No, but really. Years passed and I decided to make a graphic novel and I contemplated inking all over again. You see, I work in animation. It was a no-brainer after animating for a day with these guys why they don’t use ink anymore. When I started working on my graphic novel it just seemed obvious. The argument of Inking for the sake of printing is also obsolete in my opinion. So for example, here’s one of my panels scanned from paper. Here’s a closer look to see that it really is pencil. If you select Levels in Photoshop by pressing Command+L (Mac) and whatever for Windows, then you will get this box. Now pull in the sides until your lines get nice and black without screwing up the edges. I keep lots of grays to keep the subtile pencil marks in some places and there you have it. That’s my two cents.

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