KICStudio Drawing Hacks#200：全部を描き切らなくてOK！ 焦らずにジェチャーをとらえましょう

 

2/1 人物クロッキー会 @ 創形美術学校​ - 2/1 FEBRUARY Drawing Workshops at Sokei Academy of Art and Design

 

February 1st  from 1:00PM to 4:00PM , I will be giving figure drawing instruction at the Sokei Academy of Fine Art and Design!  This figure drawing class is open to EVERYONE.  Attendees range from students, illustrators, animators, instructors and even beginners.  Please come and join me for a fun drawing session! Please see https://www.sokeiabroad.com/figuredrawing for details! 

We are excited to have MISTRESS SYOKO as our guest model! 

2月1日（土）午後1時から4時まで、創形美術学校にてフィギュアドローイングの講師を務めさせていただきます。イベントはどなたでも参加できますので、是非ご参加ください。以下 https://www.sokeiabroad.com/figuredrawing 

#デッサン　#イラスト　#クロッキー　#スケッチ　#漫画　#東京　#Kicstudio #クロッキー会

Jules Feiffer 1929 - 2025, Cartoonist, Writer, Civil Rights Activist, Good White Liberal

It was announced that Jules Feiffer passed away on January 17th 2025.   His great career spanned over 70 years and he will be remembered for being one of America's most insightful cartoonists and satirists. He worked under  legendary cartoonist Will Eisner, illustrated numerous literary works such as The Phantom Tollbooth,  was a  staff cartoonist for the Village Voice and was even a Hollywood screenwriter for Mike Nichols' Carnal Knowledge as well as Robert Altman's film adaptation of Popeye. 

Feiffer had a great sense of cartoon design that conveyed  much about a character with very simple and clear line.   World renown drawing instructor, Glenn Vilppu has referred to Fieffer's use of line in his lectures on more than one occasion.  

Feiffer's contribution to the American Civil Rights Movement of the 1960s truly deserves to be noted.  

Feiffer was quoted in the August 25, 2014 issue of Comics Journal, " That [The Vietnam War]  and the civil rights revolution were basically the two political acts that essentially defined my career as a political cartoonist.

Civil rights leader,  and advisor to the Congress of Racial Equality, CORE, Bayard Rustin said the Jules Feiffer was a pioneer in defining the "white liberal".   

In 1966 the Anti-Defamation League of B'nai B'rith published a collection of Feiffer's civil rights themed cartoons into a book titled,  "Feiffer on Civil Rights".  Inside Feiffer takes aim at not just the brutish ignorant white racist, but also the casually racist white liberal who also suffers from a type of ignorance.  Blacks who wear their identity like a costume in order to be accepted, or blacks who use civil rights as a money hustle are also pointed out. 

Feiffer, a self-proclaimed liberal, seemed to be capable of a very important quality: self-criticism and the ability to humorously point out his side's own hypocrisies.  Not just pointing the finger at the ones you disagree with but also yourself.    A trait that seems to be lacking in liberals today, as well as conservatives.   This might be part of the reason for the current generations' hyper-reactivity to the slightest form of criticism. 

"Civil rights used to be so much more tolerable before Negroes got into it." , a very insightful punchline from a Feiffer cartoon.  Pointing one of the greatest stereotypical white liberal hypocrisies: Expressing moral vanity about blacks without ever having to actually live with them as your equal. 

My mother Doris Funnye Innis, editor of the Congress of Racial Equality publication, Rights and Reviews corresponded with Jules Feiffer in 1966 and persuaded  him to contribute one of his political cartoons to the civil rights organization.   The cartoon satirized the sordid symbotic relationship between the Black Power movement and the forces of white supremacy.  Like a destructive Yin and Yang, one always enabling the other. 

Jules Feiffer was a not a good but a great white liberal in that, he expressed himself in his work earnestly  as possible,  pointed out the faults of those he felt opposed to without savagery, and being fully honest about where his side is falling short. 

Feiffer roasted human nature itself.  A fault in our character we all share. 

KICStudio Drawing Hacks#197：口、唇の描き方：斜め45度から（2/3）

 

First Drawing Session at IAS Drawing Class for 2025 - いけぶくろ ART スクール（IAS）クロッキー教室

Saturday January 11th was the a great start for drawing in 2025.  Ikebukuro Art School Croquis Class led by drawing instructor, Kayoko Tozawa held its first class for the year. 

I joined in as a guest and help instructor. 

1月11日土曜日は、2025年のドローイングの素晴らしいスタートでした。絵のインストラクターである 戸沢佳代子が率いるいけぶくろ ART スクールのスケッチクラスは、今年最初のクラスを開催しました。

私はゲストとヘルプインストラクターとして参加しました。

Classes are held every other Saturday at  the Sokei Academy of Art in Ikebukuro. The model was Ai Kumamoto who gave very cool gestural poses.  

池袋の創形美術学校　は、隔週の土曜日に授業が開かれています。モデルは、非常にクールなジェスチャーポーズをした熊本アイでした。

Art by Kayoko Tozawa 

Tozawa sensei started the class with some basic, but very important drawing tips and suggestions. IE landmarks for drawing:  the clavicle, the 10th rib, the pelvic bone. 

戸沢先生は、基本的な、しかし非常に重要な描画のヒントと提案でクラスを開始しました。描画のためのIEランドマーク：鎖骨、10番目の肋骨、骨盤骨。

*The diagram is from Graphics-sha's "Anatomy of Drawing Imagine FX" 

*図はGraphics-shaの「Anatomy of Drawing Imagine FX」からのものです。

One of Tozawa sensei's other key points was the use of CSI lines when drawing.  C curves, S curves and I lines.  These lines give a sense of action, direction and rhythm in the figure. 

This tool is somewhat similar to the "line of action" used in animation. But essentially it is a method of creating a sense of movement effectively in the figure. 

戸沢先生の他の重要なポイントの1つは、描画時にCSIラインを使用することでした。C曲線、S曲線、I線。これらの線は、図にアクション、方向、リズムの感覚を与えます。

このツールは、アニメーションで使用される「アクションライン」と多少似ています。しかし、本質的には、図に効果的に動きの感覚を作り出す方法です。

The line of action is the longest line through the body that represents the most movement.

アクションラインは、最も動きを表す体を通る最長のラインです。

Art by Hiroyuki Maeda

前田博之

Art by  Ki Innis 

キ・イニス

    Art By Ki Innis 

キ・イニス

Ki Creative Studio 196 - Drawing the head in 3/4 is UP! KICStudio Drawing Hacks#196：頭部を立体的に描く方法：斜め45度から（1/3）

 

Ki Creative Studio 196 - Drawing the head in 3/4 is UP! Check it out! KICStudio Drawing Hacks#196：頭部を立体的に描く方法：斜め45度から（1/3）

Squash and Stretch In Gesture or Figure Drawing

Many students in Japan who look at my drawings often say "it looks like it has volume" or " it looks like it's moving".  

Many people have heard about  "squash and stretch" in drawing.  Often people will show it in the bean or flour sack/ rice bag model.  

Some people apply this in a very graphic way.  Nothing wrong with that, but if people are interested in making their drawings look more believable, then weight should be considered in the volumes. 

In animation there is the famous "bouncing ball" model to show squash and stretch as it applies to weight and time.  

With weight we have two forces applied to the forms: "expansion" or "contraction". 

If we had a piece of chewing gum on the floor.  It just sits there because there are no aggressive forces acting on it.  However if we push in it, the forces applied need to escape so the forces push the volumes outward as the gum expands.  

Let's now imagine that the gum is now stuck to the floor and we want to pull it away.  Since then gum is stuck and will not release from the floor part of it will stretch and thin out.  

Volumes closer to the ground tend to spread out and expand, while things pulling away tend to thin out or seemingly contract inward.  

How does this apply to drawing the figure?

When I draw a figure crouching on the ground, I tend to expand the muscles and draw them rounder as I imagine the center of gravity being heavier.  My lines are slower and heavier as well.  

However when I draw a dancer lifting upward, I imagine the dancer pulling away from gravity and my lines are faster and thinner. 

Volumes affected by gravity will be drawn rounder and heavier.  Lines that are resisting gravity will be thinner.  

Imagine the forces of gravity working on everything you draw.