Showing posts with label Kimathi Innis. Show all posts
Showing posts with label Kimathi Innis. Show all posts

Sunday, October 14, 2018

What makes a drawing appealing?? - 何がドローイングを魅力的にする?

Above: Glen Keane
上:グレン・キーン

"The word is often misinterpreted to suggest cuddly bunnies and soft kittens.  To us, it meant anything that a person likes to see, a quality of charm, pleasing design, simplicity, communication and magnetism."

「魅力的」という言葉は、可愛らしいウサギや、ふわふわの子猫だけのものではありません。私たちにとっては、愛嬌、気持ちの良いデザイン、シンプルさ、コミュニケーション、引き付ける力といった、目を楽しませるものはすべて「魅力的」です。

-  Ollie Johnston and Frank Thomas, The Illusion of Life
オリー・ジョンストン、フランク・トーマス『The Illusion of Life』(生命を吹き込む魔法)より


Everyone at one time has experienced making a drawing and for some reason, nothing interesting is happening on the page.  The drawing is dead or boring despite  following all the drawing rules of anatomy or perspective.

「ドローイングを描いたけれど、何も面白味がない」という経験は、誰もがいつかはしていることでしょう。アナトミーやパースといったドローイングの規則にはしたがっているのに、生気がなく、ドローイングが味気ないのです。


Some seem to have a natural ability to make a drawing that immediately attracts people.  Why?  Yes, some people are just gifted in this way , however,  fortunately there are tools that can help us make more appealing designs in our drawings.

描けばすべてのドローイングがたちまち魅力的になる、そんな能力が自然に備わっている人がいるように思えます。なぜでしょう? そのような力が生まれつき備わっている人は確かにいるようです。しかし、ドローイングのデザインをもっと魅力的にできるツールがあります


1- OBSERVE!  Take time to observe your subject.  Don't just look,  but really observe who or what you are drawing. What is different, contrasting or unique about your subject?  Are they skinny?  Heroic?  What is attractive or unattractive about them? Suggest that in your drawing!

1. 観察する! 対象をじっくり見ましょう。ただ見るだけではありません。描いているのは誰で、描きたいのは何でしょうか。対象は、何が他とは違い、際立ち、独特なのでしょうか? やせ型ですか? ヒーローのようですか? 引き付けられるまたは引き付けられない理由は何でしょう? こうしたことをドローイングで示しましょう。







Above:  Pencil studies by Milt Kahl for Horace and Jasper from 101 Dalmatians.  Both characters have the same face but their body designs are quite different and possibly communicate something about their character.  Jasper (the smart one) is long legged and always hunting like a spider.  Horace (the dumb one) is short, fat and is quite clumsy. 

上:ミルト・カールによる「101匹わんちゃん」のホ-レスとジャスパーの鉛筆によるスタディ。両方のキャラクターが同じ顔で描かれていますが、体形は全く異なります。彼らの性格がある程度伝わりますね。ジャスパー(やせ型)は、脚が長く、まるでクモのように獲物を狙っています。ホーレス(おバカキャラクター)は背が低く、太って、ぎこちない動きです。

Horace and Jasper don't have Brad Pitt's or George Clooney's good looks BUT there there is something interesting and entertaining when we look at them.  This is appeal. 

ホーレスもジャスパーも、ブラッド・ピットやジョージ・クルーニーのようなルックスではありません。それでも見る者を引き付け、楽しい気持ちにさせます。これが「魅力」です。

When drawing the model stay present and in utter awe!  When he or she takes a stand, it is as if they are a god or goddess present to us.   - Mike Mattesi Drawing Force

モデルを前にドローイングするときには、しっかりと意識を集中し、畏敬の念を持ちましょう。神または女神が私たちの前に立っているようなものです。
-マイケル・マテジ 「Drawing Force, Dynamic Life Drawing for Animators」(リズムとフォース)より


2- MAKE JUDGMENTS  Don't be afraid to make a judgment about what you see in the model.  It's not rude.  It is your job as a designer to see what is interesting in the model and and exaggerate it!  There is a big difference between exaggeration and 'distortion'.  Exaggeration is making a truth bigger.  Distortion is lying.

2. 判断をする モデルから見て取ったことに対して、遠慮なく判断をしましょう。モデルの何が興味を引き付けるのかを見て取るのは、デザイナーであるあなたの仕事です。それを誇張しましょう。誇張と「ゆがめること」とは違います。誇張とは、真実を大きくするだけです。

What abstract ideas or images come to mind when you look at them?  Gentle? Expressive?  Deer-like?  Snake-like?  Spider-like? Write it down on your paper before you draw.

モデルを見て、どんなアイデアが浮かびましたか? 優しい? 表情豊か? 鹿のよう? 蛇のよう? クモのよう? 描く前に、モデルを表す抽象的な言葉を書いておきましょう。

Yes, it is difficult to capture so much 'character' when we only have a few minutes (or less!) when  drawing people in public....or in a Ki Creative Studio Drawing Workshop.  Regardless, this is part of our challenge to observe more and make quicker judgments!

大勢の人がいる中で、Ki Creative Studioワークショップで、数分(時にはもっと短い時間)で性質を読み取るのは、確かに簡単なことではありません。しかし、よく観察し、早く判断を下すのは、私たちに課されている課題の1つです。

For those of you who are still beginners at capturing the figure, here are a few drawing tips that might be helpful when putting masses and forces down on the paper.  Notice I used the words "masses" and "forces" - NOT simply lines.

人体を描き始めてまだ日が浅い人のために、マッスやフォースを描きとめるためのヒントをいくつか書いておきましょう。いいですか、ラインを引くのではなく、マッス(ボリューム)やフォース(エネルギー)をとらえるのです。



A.  Straights and parallel lines are a guaranteed way to kill any illusion of dimension or organic life.  Avoid this...unless you are making a graphic statement.  

A. 直線や平行線は、奥行きや生命を持つ有機物だという幻想を確実に損ないます。グラフィックステートメント(形状でメッセージを伝えること)をするのではない限り、使いません。

B.  Bending your straights creates an illusion of change but it's two-dimensional and is purely graphic.  No life...

B. 直線を曲げると、方向が変化しているという幻想は生まれます。しかし、これでは2次元的で形状しか示せません。生命がこもらないのです。

C.  Adding curves or round organic qualities does give a sense of volume however it is lacking context or application.  The eye simply just stops and is not compelled to move...

C. 曲線や丸みは、有機的な性質を表し、ボリュームも感じさせます。しかし、これでは状態や何を表しているかが伝わりません。見る人の目はとどまったまま、動きません。






D.  NOW, a  offsetting curved lines rhythmically suddenly makes the eye travel in a fluid manner.  Good composition and design will always have some form of contrast. Though all forms below D.  are asymmetrical, there is an appealing balance in all the forms. There is movement, flow and with the use of overlap, dimension.  

D. このドローイングは、曲線の位置をずらし、リズムを与えています。こうなると、目は流れるようにラインを追います。良い構図やデザインには常に、コントラストがあります。下の3つのフォームはすべて、非対称です。また、バランスが取れた面白味のあるフォームです。オーバーラップと奥行による、動き、流れがあります。



Applying some of these tools or concepts might help give your drawings a boost.  Good luck!!
これらのツールやコンセプトを適用すると、作品を向上させるのに役立ちます。 がんばって!!







Tuesday, September 5, 2017

MASTER DRAWING JAPAN - Aaron Blaise's SUMO Sized Tokyo Seminar - Summer 2017



Apologies to everyone for not posting this sooner. Those who follow Master Drawing Japan are well aware that this summer, its biggest and most ambitious seminar to date was held.

Aaron Blaise, veteran Disney animator of over 20 years,  film director, illustrator and wildlife artist was our guest in Tokyo for an amazing 13 days!



In partnership with CG World / +ONE Knowledge, Master Drawing Japan invited this animation heavyweight to share his priceless knowledge with the aspiring artists of Tokyo.  During that time Aaron held two seminars on animation, creature design and an additional two intensive masterclasses on character design and human/ animal comparative anatomy.


Well over a hundred students and professionals came in attendance for Aaron's first teaching seminars in Japan.








Aaron covered all the essentials of animation and design.  A very interactive instructor, Aaron designed the lion above with direct guidance from the audience.


And Aaron went on to animate the lion as seen below.



For his next trick...! The Creature Design segment of the seminar , Aaron designed and completely rendered this amazing dragon from start to finish right before everyone's eyes.
















Aaron graciously greeted everyone and left a lot of happy faces behind..




But this is only half of the story....

With still two more masterclass seminars to go, Aaron generously offered everyone interested to join him at an open drawing day at Tama Zoo







Aaron hailed Tama Zoo as one of the BEST zoo experiences he has ever had.  Coming from an animal illustration master  like Aaron, that's a huge compliment!


The last two days of Aaron's teaching tour ended at the Sokei Academy of Fine Arts with two masterclass seminars on character design and comparative anatomy.  Sokei has been a very generous sponsor of previous seminars for Master Drawing Japan.  Notably with one of Aaron's previous drawing instructors, the venerable Glenn Vilppu







It was an amazing experience and unforgettable adventure in art, design and illustration. Thank you Aaron, it was a great honor having you.  (P.S. Have to give s shout to Nick Burch - thank you too Nick! You were the rock that made sure that everything was steady!  You're a great guy!)    Looking forward to seeing you again!  


If you want to see more about Aaron's experience in Tokyo go to his YouTube channel: The Art of Aaron Blaise or look at Master Drawing Japan's blog on the experience!


Wednesday, January 4, 2017

GLENN VILPPU MDJ (MASTER DRAWING JAPAN) DRAWING SEMINAR VOL. 3 -






December 10th, 11th, 17th and 18th of 2016, Master Drawing Japan (MDJ) held its 5th production drawing seminar and its 3rd successful seminar with veteran drawing instructor to the animation industry, Glenn Vilppu.   Much thanks to Tokyo's Sokei Academy of Fine Art and Design who sponsored the space for this great event! 

Like previous seminars, the event focused on figure drawing, but this year with an emphasis on composition. 

Glenn cited examples such as de Cortona, Rubens and other great masters  as well as playing against opposites and using compositional tools to direct the audiences eye.  

Glenn Vilppu is a world renown drawing instructor who has been working in the animation industry for decades, notably the Walt Disney Animation Studio and Dreamworks.  His teachings are often referred to in the Walt Stanchfield books edited by Don Hahn, "Drawn to Life Volumes One and Two."  

Glenn teaches internationally and gives lectures at UCLA and the Animation Guild.  Glenn will be returning again Japan again later this year as a featured instructor with MDJ.