Thursday, May 30, 2019

Drawing the Female Form - Part 2. - Using Appealing Design - 女性を女性らしく描く - Part 2 – アピール(魅力)のあるデザインを使う

As I described in my previous blog: Straights Vs. Curves   the compliments of straights and curves is what we want to use for a more graphic and animated quality when drawing the human figure.

以前のブログ記事「直線 VS. 曲線」(で説明したように、補完し合う直線と曲線の組み合わせは、グラフィック調あるいはアニメーション寄りのクオリティで人物を描くときに使うと有効です。 

Gesture is still the most important aspect, but we can combine our foundation understanding of capturing the figure using appealing graphic shapes.


One of my favorite and most reliable tools for figure drawing using the 'rice bag' (or the flour sack in the USA)  as a shorthand model for the human pelvis.  (See past blog:  Your Friend: The Rice Bag)  A problem however is that the rice bag is somewhat male in design.

人間の体幹を「コメ袋(小麦袋)」としてとらえるのは、私のお気に入りのやり方であり、人物ドローイングで最も信頼できるツールの1つです(過去のブログ記事「Your Friend: The Rice Bag」参照:。しかし問題は、コメ袋がやや男性的なデザインであることです。
However as you can see above, we can modify it to match the small ribcage and flaring out hips of a female.  We can even make this a very graphic form as seen above.  Glenn Vilppu likes to call this a "Schmoo" design.  (Based on the American comic character The Schmoo by Al Capp.)  

上のイラストをご覧ください。コメ袋を少し小さくして、小さい胸郭に合わせ、腰を広げることで女性に合わせられます。さらに、これをグラフィック形状に簡略化することもできます。巨匠グレン・ビルプ先生は、これを「シュムー」デザインと呼んでいます(Al Cappによるアメリカのコミック「The Schmoo」の主役です)。

But if you want we can break it down even more graphically to simple shapes using straights and curves.  


Look for more examples of this in the videos and examples below!  Give it a try in your own drawings!  You'll see results soon! 


Alphonse Mucha


Frank Cho


Jin Kim


Tuesday, March 26, 2019

How to Do DYNAMIC FIGURE Drawing - 人物ドローイングをダイナミックに

So we have acquired some skill in drawing the human figure.  We understand anatomy, how to measure and use perspective.    But why isn't our drawing leaping off the page?  What is missing?

ある程度、人物を描けるようになったとしましょう。アナトミー、パースについても理解しました。それでも描いた人物が紙から飛び出してこないのはなぜでしょう? 何が足りないのでしょう?

Legendary comic artist Jack Kirby is often considered the ultimate master of dynamic figure drawing.  Though he never trained formally,  his figures always felt they were about to leap off the page and hit you in the face.


Jack Kirby called himself a cartoonist but some in the comics industry called him an impressionist and even a genius.  His approach towards figure drawing is still used today in American comics, animation, movies and advertising.


The above illustration of Marvel Comics' Black Panther (created by Jack Kirby) is crude but the dynamic power is undeniable.     Some might  say it's simply "forced perspective".  That might be true, but Kirby really used this tool to push drama and power into his figures. 


This would lead the path for more commercially trained artists like John Buscema.  Buscema confessed he stole Kirby's compositions and sensibility in order to get that dynamic impact into his work when he was assigned to draw Marvel's Avengers or Fantastic Four.   Kirby's tools combined with Buscema's draftsmanship would give results like this:

And this!  


Comic professionals said Kirby's figures are so dynamic their arms and legs would be in two different time zones!  Buscema used Kirby's method but in his own way.  


Ok, enough lauding over Kirby and Buscema.  We know they are great -- HOW TO DO WE DO DYNAMIC DRAWING?  


The keys to DYNAMIC DRAWING are here!
Keys are:


Deep Space
Dynamic Rhythm 


Our magnificent and amazing model this month is the spectacular Utageguruma!   Her uncanny body control and movement is almost spider-like at times.  Perfect for this month's lesson point.


Take for example this first photo.


It's a great pose.  Twists, angles, rhythm.  And maybe in the hands of an average artist we might render a gesture drawing like this:


So what's wrong here?  Nothing,  if the aim was just to illustrate a simple gesture.  But see how even everything is.   Everything seems to be on the same plane.  There is nothing wrong with this approach, but for dynamic figure drawing, this is a "C" grade at best.

何がいけないかって? 単純なジェスチャーを描きたいだけなら、何もいけないところはありません。どこをとっても均一に描かれています。どの部位も同じ平面上に存在しています。これがいけないわけではありません。ただし、ダイナミックな人物を描きたいのなら、これではよくも悪くもなくといったところでしょう。

Now look here.  Now this is more dramatic.  Here the contrast is undeniable.  The exaggeration of the trust in her leg creates more impact.  The use of contrasting size creates a sense of deep space.    Rhythm is of course used to keep the eye moving.  


Bear in mind these are only tools to help inform your work.  How far you want to take it is up to you. 


Mike Matessi, author of the FORCE books, has a great exercise using what he called the "Spatial Bounding Boxes".  It's a fantastic tool to help you see and design your figure drawing and push depth.


See it used here in the previous Buscema example:


Obviously the use of a larger box and a smaller box to frame major elements of your figure helps you to see and push even deeper space into your drawing. 


Recently I am huge fan of the animated film, Spider-Man: Into the Spider-Verse.  It's a fantastic film and it's filled with tons of super dynamic and inspirational poses that use the keys to dynamic figure drawing I noted above.  See how Mike Matessi's "Bounding Boxes" can be applied here.

最近見た「スパイダーマン: スパイダーバース」は私のお気に入りになりました。映画として素晴らしいうえに、ダイナミックで印象的なポーズがたくさん散りばめられています。このポーズには、このトピックで説明した秘訣が使われています。以下は、マイケル・マテジのバウンディングボックスを置いた例です。

These are just great.  Bold and dynamic!  




Yes!  Homework!  Try doing your own dynamic drawing using the tools I noted above.  Copy some of the images I posed above, or from my other suggested images below.  Or  you can go to Utagegurma's YouTube or  Instagram page and try some figure drawings from there!   Share your work with me here or on social media.   Looking forward to seeing you at the next Ki Creative Drawing Workshop on April 15th!   Have fun!  

そうです! 宿題ですよ。説明したツールを使って、ダイナミックなドローイングを描いてみてください。このページの上、下の画像からでも、UTAGEGURUMAのYoutube,やインスタグラムをチェックして、何体か描いて僕に見せてください。または、SNSで共有してください。次回のKi Creative Drawing Workshopは4月15日です。お待ちしています。楽しいですよ!!

More examples of dynamic drawing for your artistic health!  


Jack Kirby


John Buscema 


Jack Kirby


Bruce Timm 


Spider-Man:  Into the Spider-Verse - Sony Animation


Wednesday, February 13, 2019

My FORCE Drawing Experience

Had the pleasure of working with FORCE instructor Michael Mattesi the other week here in Japan.  More about it here on my other blog.

Friday, January 25, 2019

How to get LIFE into your Drawing by using Rhythm and Force - リズムとフォースでドローイングに生命を吹き込む

Art by Bruce Timm

Force.  Rhythm. Energy.  These are very abstract terms.  However they cannot be ignored because they influence all aspects of life.  Animators understand this as should all artists.   Ultimately all art is a form of animation.


How does this apply to drawing?


Designer, animator and amazing art instructor, Michael Mattesi literally defines his approach as FORCE drawing.


Essentially what we are looking for are relationships, transitions and above all change. Transitions that will lead the viewers eye from one point to another point.


I have covered this point before in previous blogs, especially when drawing the female form and where rhythms in the body are quite obvious.

この点は、以前のブログ<>で取り上げました。特に「女性を女性らしく描く Part 1

This tool when understood is quite powerful and can be applied to not just making your gesture drawings more dynamic but also your renderings and compositions.


Let's start with line.  

Step 1.  Analyse the action!
ステップ1. アクションを分析する!

Look for transitions.  Look for rhythms , flows that make the eye move!

Note this graphic from Warner Bros. animation designer, Shane Glines.  Though a very graphic design, the rhythms pushing through the body are very clear.  Even without the guidelines feel how your eyes naturally want to move over the body from one point to the other.


Step 2.  Choice of Line in Rhythm

What kind of experience do you see in the action??

Are we making relationships with lines that are curved and slow or lines that are sharp and fast?

Note this illustration from illustration pioneer Charles Dana Gibson.  His use of surface lines though straight and hard do lead the eye sharply over the forms, implying speed in the long smooth surfaces.



However in the example of Frank Frazetta's illustration, he uses dynamic but slightly slower curved lines implying flesh and also note the relationships that guide your eye on the monsters muscular back into his flailing arm. 


I also took the liberty of reproducing Frazetta's composition to show how rhythm and force can be used as composition tools.


I learned the subtle but powerful lesson point from Michael Matessi at his FORCE workshop in Japan this past week.   Note the "S" curve of the girl which leads into the hero's body and punch.  Mike pointed out that even the sweeping of the girl's hair was used to lead the eye into the hero.  Awesome composition design!  


I hope these notes inspire you. We are just scratching the surface on how force and rhythm can be used as tools to make your drawings more dynamic.  More to come here at the Ki Creative Studio Drawing workshop next moth Feb. 25th

この記事が皆さんの役に立ちますように。フォースとリズムがダイナミックなドローイングを可能にするツールであることをざっくりと説明しました。2月25日に開催される「Ki Creative Studio」ドローイングワークショップで、もう少し掘り下げる予定です。

In the meantime this is my Recommended Reading List for more perspective!


FORCE : Dynamic Life Drawing for Animators by Michael Mattesi

日本語版:リズムとフォース : 躍動感あるドローイングの描き方 マイケル・マテジ著

The Practice and Science of Drawing by Harold Speed (Chapter 10:  Rhythm)

Glenn Vilppu's Drawing Manual by Glenn Vilppu 

日本語版:グレン・ビルプのドローイングマニュアル グレン・ビルプ著