DRAWN TO LIFE VOLUME 1 PDF
Get Instant Access to Drawn To Life: 20 Golden Years Of Disney Master Volume 1: The Walt Stanchfield Lectures By Walt Stanchfield pdf. Stanchfield Lectures Volume 1 By Walt Stanchfield PDF EBOOK EPUB Get Instant Access to Drawn To Life: 20 Golden Years Of Disney. age of Disney animation!Published for the first time ever, Drawn to Life is a two volume collection of. DownloadPDF MB Read online.
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Volume 1 - [Free] Drawn To Life 20 Golden Years Of Disney Master Classes The Walt Stanchfield. Lectures Volume 1 [PDF] [EPUB] -. DRAWN TO LIFE drawn to life 20 golden years of disney master classes the walt stanchfield lectures volume 1 thedigitalowls drawn to life 20 pdf drawn to life. download book drawn to life 20 golden years of disney master classes volume 1 the walt stanchfield lectures in pdf format. free drawn to life
To begin with, these books are not exactly written by legendary Disney instructor Walt Stanchfield. While a majority of the pages deal with gesture drawing because that was the class being taught over a number of years there are tips for acting, posing, clarity, staging, and a wealth of other topics all the way through the total pages combined.
A sample of the blending of text and drawings found in the books. Included alongside plenty of text are drawings from both Walt and many famous Disney animators as they attended his workshops. These energetic scribbles are marvelous to observe and study. Each one has a life and soul that can sometimes be missing when final renderings or clean-up is finished. Trying to read these books as you might The Illusion of Life or Character Animator Crash Course will leave your mind spinning and information leaking out of your ears.
The notes were never intended to be read that way when Walt wrote them. Instead you might consider reading them as Walt always planned: Drawn to Life volumes 1 and 2 by Walt Stanchfield are incredible collections of secrets of both drawing and animation. The information within is enough to spend a lifetime pouring over and trying to implement into your own work. For that reason both volumes come highly recommended. I absolutely must go find copies of these books I always meant to when I heard about them but never did.
Those books not only help you with figure drawing, but most importantly — encourage you to think more. Think about art, think about the story your pose tells, think like an artist.
Drawn to Life vol. Few thought the American revolutionaries could defeat the British. Bruce Lee became a better martial artist after injuring his back and being told he would probably never walk again.
A hundred years ago, did people think it would be possible to hold a piece of plastic up to their head and talk with a person on the other side of the planet in real time? Human history is rife with examples of people who refused to believe that a goal was impossible. If we believe something to be impossible and therefore do not attempt it, or attempt in such a half-hearted fashion so it would be better to never have attempted it becomes impossible by virtue of never having tried!
Henry David Thoreau said, What old people say you cannot do, you try and find that you can. I think now we see, What you told yourself you could not do, you try and find that you can. Forget talent. Forget what is possible. Forget what you think you know. Tap into your desire, give it your best effort each day, and find out what you are capable of! You will find, after time, that you will be able to draw better than you ever imagined. It makes me wonder what else in life is possible if I only put aside what I thought and worked with my whole being.
We never really know what is possible, even if we think we do or experts have Fear scare me, the first mark I make is always right. There is no way it can be wrong. Wrong compared to what? The second mark on the page is where the drawing gets tricky. Then the third mark has to relate to the first two, and so on.
What this means is that the process of a drawing is a process where I make mistakes and fix them. If I become afraid of making mistakes, I become unable to proceed further.
Fundamentals of Drawing from Life (Volume 1)
A goal of improving your skills would be the improving initial accuracy of what you lay down but even in watching some of the greatest living artists, they make many corrections and adjustments each time they work. Dont be afraid to make a mistake! Dont be afraid to put down a line that may be wrong.
In drawing, as in life, the wrong step realized leads to the right step. You should not be careless. Dont work without paying attention to what you are doing.
Dont just keep going without noticing what you are doing or how the drawing is progressing. On the other hand, dont be so careful that you cannot bring yourself to make a mark. Dont let the fear of mistakes paralyze you. Try to find a place in between these extremes; thoughtful yet unafraid.
A failed art career. In the same way that a missed mark helps you find the correct mark in a drawing, so the failed drawing or show, thoughtfully analyzed, shows you the way to a better result the next time. Unless youre the one person in seven billion who can strike the mark on the first attempt, youre going to learn to strike the mark after a series of misses.
Every artist you admire, even though they may have a book filled with hundreds of beautiful drawings, will probably never show you the thousands of failed attempts that led up to those drawings. As an example, I attempted eleven self portraits before I was able to complete the work on the cover.
That was the twelfth attempt! My horrendous failures today would have been considered glorious successes years ago. If you can put the idea of failure out of your mind and always strive to find out what is possible then anything becomes possible with enough time and work.
Each mistake, each failure, is only a step on the road that ultimately leads to where you want to go. Mistakes and failures are such an integral part of successes and accomplishments that theres really nothing to be afraid of at all. Take risks. Make mistakes. Try again. Reap the rewards. A lot of people say they are afraid of the blank page. The blank page doesnt I want to make sure to impart the proper context of mistakes and your attitude In the bigger picture, many people are afraid of failure.
A failed drawing. A failed As your skills grow, your results come closer to your expectations. As your results Restriction of creativity Ive had a few discussions with some aspiring artists who say they are uninterested in learning any real technical abilities because they are afraid that rigid technical training will stifle their creativity. I understand the argument. However, if the goal of doing visual artwork is to speak, visually, then youve got to know the language to be articulate.
Theres something charming about the babbling of a baby but Ive never heard anything inspiring, thoughtful, profound, or insightful from a baby.
Im not calling people who feel this way babies, Im only using the analogy of a person who cannot speak the language.
Theres no real chance for powerful, intentional, articulate communication. At best, we can only infer what the baby is thinking. When was the last time you heard a brilliant musician who knew nothing about the instrument they were playing? Who steps onto an athletic field, having rarely played any sports before, and instantly gets accolades all the way up to the top tier of professional sports?
Take a person who has never cooked before into a kitchen and ask them to make something from scratch.
How great can the meal possibly be? The better your grasp of a language, the better your ability to express yourself. Think of it as a language, much like the English I am writing in. The more I understand about the structure of the language, the larger my vocabulary, and the more I am able to think and feel about my experiences, the more powerful and articulate my communication will become. Its twofold, having something to say and then having the technical ability to say it.
The better you understand yourself and the tools in front of you, the better you are aware and understanding of life, the better you can show this to others. Imagine trying to play a musical instrument without ever learning anything about Again, I am not bringing this up to ridicule people who think this way. I am bringing Progress When you are drawing, it is very easy to get into the habit of thinking that you know what you are seeing.
Without any training, we naturally come to understand the world around us as symbols or details. The Egyptian hieroglyph symbol for an eye is a common type of symbol. Many people start by drawing eyes as symmetrical almonds. We understand hair to be a thousand tiny strands. You will see many portrait drawings in which the person appears to have spaghetti for hair.
You understand the symbol for the eye, or the literal detail of the hair, but the idea is to learn to see these things as they appear in front of you. The natural, busy progression of life does not allow for the slowing down to observe what is actually in front of you. An eye is not a flat symbol like the hieroglyph, and though it is thousands of strands hair does not actually look like thousands of strands. It is a big hurdle to get past drawing what you think is in front of you.
The first step is to consciously let go of what you think. When you are practicing, try not to assume anything. Slow down, take many measurements, and really try to compare.
You will discover, over time, how an eye does not actually look like the hieroglyph at all. The fundamentals presented in the book, if you take the time to learn them, will to let go of what you think. The longer we live, the more we get used to seeing the world in a particular way. The sooner you can begin to observe, the easier it will be to break the habits of thinking you are observing. I dont say this to discourage any person who is older and wants to learn, just to make you aware so you can properly work towards improving.
All students have to let go of what they think they are drawing in order to be able to see.
How these books were chosen
In my teaching, I have found that the older the student is, the bigger a struggle it is own mindset will determine your success. Your own ability to discipline yourself to do what accomplishment requires will determine if you accomplish or not.
It will take a short time for you to master the dexterity and the materials. It will take a lifetime to master the coordination of your eye, mind, heart, and hand. You will find, as you progress, that the real struggles happen inside of you. Ned Mueller said to me recently, First, the artist draws what they think. Then, the artist draws what they know. Finally, the artist draws what they feel.
The biggest hurdle to your own progress, regardless of your age, is yourself. Your Materials together for a drawing. Ultimately, you want to use whatever materials will serve your purpose; the pencil is just a tool. The best artists can use any materials because their work is the result of their abilities, not their tools.
However, you have to start somewhere, so Ill explain some basic materials to use with the beginner in mind. If youre just starting out, try to stick to the same materials for a period of time so you can get comfortable with them and focus more on developing your abilities.
Once youve got a good feel for some basic tools, try some others and see how they work for you. There are a thousand pencils, a thousand papers, and a million ways to put them Graphite a. For a finished drawing I will use some stronger paper; any Bristol or drawing paper of smooth to medium texture. I use a kneaded eraser for all erasing not the eraser on the pencil.
For drawings and sketches I use a clipboard with plain computer paper on it. I use These letters and numbers indicate the relative hardness or softness of the lead.
Harder lead will go on lighter and require you to press harder to go darker. With harder leads youll need to take care to avoid scarring the paper creating a permanent indent in the paper. Softer leads will go on easier and darker. I prefer to work with only one pencil of the softest lead I can find, if possible. For light lines in the beginning of the drawing I hold the pencil gentle and loose, barely touching it to the paper.
As the drawing progresses, I can go as dark as I need to finish up the drawing without fussing about the pencils. The simpler I can keep the materials, the easier it is to carry fewer materials anywhere, the more prepared I am to do a serious drawing at any time.
For me, its really more about the mentality of keeping it very simple and direct, than a technical issue of using many pencils. I want to make it as easy on myself as possible, so I use as few pencils as possible almost always, only one.
To start with, any pencil with a medium lead and any paper with a smooth texture will do. Paper that has a fairly smooth texture. As you become comfortable then you can experiment. As I mentioned for drawing with graphite, I use plain computer paper. For more developed drawings, I use a thicker paper. The thicker paper will hold up better for more rendering and erasing. For drawing with charcoal, I use smooth newsprint for sketches and vellum for more developed drawings.
I am also experimenting with some thicker, almost cloth-like paper, with a rougher texture, but none of the drawings in this book are on that paper. This is just a quick note about the paper. Id recommend sticking with something It is important when you are drawing to have some paper behind the paper you are drawing on; around 10 sheets or so.
I never draw on a piece of paper just by itself on the drawing board or clipboard. Without some cushion behind the piece you are drawing on it becomes harder to work the pencil into the paper smoothly. You might also pick up some of the grooves from the board.
Be sure to keep 10 sheets or so behind whatever you are working on. If youve only got one fancy piece of paper youre doing a finished drawing on, put sheets of a cheaper paper computer paper, newsprint below it to give you that cushion. Charcoal pencils allow me to make a much bigger mark so I can go to a bigger scale without much concern.
The scale that you work at should, to some degree, align with the scale of the tools youre using. For bigger drawings you need a tool that will make a bigger mark.
When I draw with charcoal I typically work larger than in graphite. The charcoal Ive seen them available for purchase at art stores that I clip paper to with binder clips. For sketches, I use 18x24 smooth newsprint. For longer drawings I use vellum, and for bigger drawings I use any combination that will suit a bigger board.
The newsprint is an easy surface to control the charcoal pencils on and it is cheap. I still use a kneaded eraser for all erasing. It works for what I am attempting to do right now so I use it. Most of my experimentation is with methods, procedures, and principles, I dont fool around with materials all that much. I prefer to use the 6B pencil.
I use a razor blade to carve some wood away and then a sanding pad to sharpen the end of the pencil to a smooth, tapering point.
It is an extra effort to sharpen the point like this and it takes some practice and a few broken pencils to get comfortable carving down the pencil like this but it is worth it. The payoff is that you can use the very tip of the pencil to get a thin, sharp line and the flat side to get a broad, soft line.
I have a large drawing board its about 19x25 made out of lightweight wood The only pencil I really use is a Generals charcoal pencil. There are many other seemed better worth the effort to make a video to put on youtube. Please visit my youtube.
As an example, when you make a mark on paper with a pencil, it already has an edge; hard or soft. It already has a value; how light or dark it is.
It already has a shape. Youve already measured the stroke; how long or short, in what direction. And so on.
Any drawing will automatically have areas of light and dark so it is key to understand how the light and dark are going to work together and with other fundamentals, in order to put together the kind of drawing you want. Please keep in mind as you go through the chapters that I am putting forth the best, most essential information as I use it. There is certainly more, possibly better, information out there. This is the information that I consider to be key and once you grasp it I would encourage you to go study and learn from others.
What follows is the fundamentals. What I mean by fundamentals is that they are Measuring Measuring is vital. It is so important because whether you realize it or not, you are always measuring.
The better you can measure the better your drawings will get. In drawing, youre solving visual problems as you build up to the finish.
Visual measuring is one of the tools at your disposal in the same way actual measuring works for a carpenter. Imagine building a house without being able to measure any of the beams or parts youre putting together, or even the whole space youre trying to put them in. It is the same way with the artist who doesnt visually measure. There are two ways to visually measure that play off of one another. Youll need them both, neither is extremely effective without the other; they work together.
If you had a baseball and wanted to figure out how to hit a target, you would need to know what direction to aim and how far to throw the baseball to hit the target. Its the same with drawing. Measuring helps you get the lines in the right direction and the right distance in relation to each other.
The idea of measuring is to get the things you are comparing in relation to one another. You dont have to be drawing at life size to do this, the idea is to make a visual comparison and then make sure the relationships you observe in life are the same as the relationships in the drawing. Its similar to how we look at a map. You can see a map on a cellphone, fold out brochure, or projected on the side of a building and, so long as the map is in scale, it will always show the same relative distances.
Visual measuring allows us to maintain the same relation between how things appear in life and how we draw them. Measuring is not conditional upon scale. These techniques will work if youre Comparative Measuring another. We understand the distance of a foot because we understand the distance of an inch. The smaller distance helps us to comprehend the larger distance. A foot is twelve inches.
It will help you to understand larger distances by first understanding a shorter distance. It doesnt work well in reverse. The trick with comparative measuring is that you do not have an already accepted value, an inch, with which to begin measuring.
We have to find the value first then make the comparison.
You will always start with what appears to be the smallest measurement first. Lets say you are drawing a person. The way this idea applies in making sure that the drawing looks like the person in front of you is in getting the measuring correct.
The persons head is a certain size and in a certain relationship to the body just like the facial features are a certain size or relation to the head, and the person themselves is a certain relation to the environment they are in. Since the head is smaller than the body, we would find out how big the head is then measure how many heads tall or wide the rest of the person is. Were taking a small measurement and then measuring something larger with it.
If you take that measurement of the head first, then you just extrapolate that across the larger distance the whole person. In the same way you can have an inch and then count how many inches tall somebody is. The essence of comparative measuring is visually comparing one distance with How to measure 1The only tool you need to help you make these comparisons is your pencil.
Hold your pencil with the point downward and your arm straight out in front of you. It is essential that you keep your arm straight elbow locked as you measure. This keeps the pencil the same distance from your eye as you take various measurements.
You have to keep the pencil the same distance from your eye in order to have any accuracy in your measurements. Your measurements will only be accurate if you are in the same spot. If you move, you have to re-measure.
Then you can use your thumb or the flat of your hand, pressed against your pencil, to mark the bottom of the object that you want to measure. Close one eye as youre lining these things up, same as when you aim a gun. In the below example, were going to measure a persons head The distance that you end up with is your unit. You can compare the head to the body by projecting this measurement down the body. Start with your pencil top at one end of the measurement in this example, well start at the top of the person and then move the top of the pencil down to where the bottom of the measurement is.
Now youve gone two lengths of the measurement in this case, two heads down the figure. Continue moving the measurement across the object, counting how many units it takes to get to the end. In the example below, youll see we discover that the person is seven heads tall There is the relationship! If you want to draw this person, to look like they do, then youve got to maintain the relationship of the whole person being seven heads tall.
How these books were chosen
When you actually measure, youd just run your pencil along whatever youre measuring following the dotted line. In the example we discover the person is seven heads tall. Now we have something to start creating a structure in the drawing or something to check and see if the work youve done this far is accurate. On the previous illustration, I drew the pencil out to the side for the clarity of the out on your paper, if youre at the start of the drawing, or you can measure what you have already drawn to see if it is correct.
It is easier to measure shorter distances. I find it helpful to place a few large measurements for scale and space and then to try to lock down some close measurements. Many artists work from large to small measurements but I have always had a hard time working strictly within this method. If you start to struggle with the accuracy of large measurements, look for shorter ones. Comparative measuring isnt only used to project out a distance. You can also use it to find a ratio of how wide an object is to how tall it is.
In the example below, if you were drawing a portrait, you may want to start by finding out how wide the persons head is compared with how tall it is. This will give you a parameter with which to start with and if you measure like this later in the drawing, its a great way to check to see that your drawing is coming out accurately. This concept is applied universally.
Once you have that relationship you can lay it Then I compared that to the height and found that the head was just under one and a half times as tall as it was wide. Now when I start laying in the drawing on the paper, I can map out an area that is 1 unit by just under 1 and a half units. Its nice when the measurements work out to be exactly even, such as 1x2, but sometimes they dont always work out exactly.
I think its important to keep it simple. Youre never tied to a measurement, you can always change it, but the more accurately you can start the less youll have to change later. In this example I started measuring the head with the shortest side first; the width.
Once I begin the drawing, Ill create a space with those dimensions on the paper to begin with. I do it freehand, measuring with my fingers. The shaded area inside is the area I have marked out. Now Ive got an area squared off on the paper that should be the same size as what I am about to draw. Its an essential part of accuracy and breaking the problem down so you have a way to proceed toward a successful finish.
It might seem foreign at first but as you measure more and more it will become second nature and your eye will become attuned. It also can be helpful to measure the ratios in the middle of the drawing.
At any time, if things start to look like theyre going south dont be afraid to take another measurement and compare it to what you already have down on the paper. Theres not a specific time or place to use comparative measuring. Once you understand the principle, you can apply it at any time that is necessary. So long as you are steadily progressing toward the finish, you cannot measure too much. Measuring off of the object is where I take a measurement that relates to the actual object ex: measuring the width of the nose, then how many noses wide is the face.
Measuring off of the frame is where you measure off of the entire box of what you are drawing. When you take that initial ratio the whole outside box , that is the frame. You can then take measurements off of that to help you place things in the drawing. You can cut the box in half horizontally, or vertically find a measurement that goes across the distance exactly twice, the intersection of the two halves is the halfway point , and see what parts of the object line up with those parts of the box.
Ex: if you cut your drawing in half horizontally, you may find that it lines up exactly with the nose. Now you can indicate the nose halfway down the frame, and it will be in the same spot in your drawing as it is relative to the whole. Lastly, sometimes I will measure off of the object and sometimes I measure off of object. I found a head measurement and projected it across the figure. On the right I measured off of the frame, cutting it in half and finding the shirt line is exactly half way.
One is not more superior then the other. Use both! Above, you can see an example of each. On the left, Ive measured off of the Relative Measuring simpler to understand and apply but equally vital to the success of the drawing. Have you ever seen the old masters drawings with the grids? Imagine vertical and horizontal lines across your subject.
Relative measuring is the same thing only using your pencil and your eyes instead of relying on a grid. The basic concept of relative measuring is to find out what parts in a drawing are aligned or relative to each other. Remember that as you practice with accuracy in mind, the faster and more accurate youll become over time.
It is easy to look at what you are drawing and think that you can see exactly what it is you are drawing but by taking the time to accurately measure, you can ensure that you are actually seeing what is in front of you.
It will take some practice to help yourself see properly.
The principle and execution is very straightforward. Relative measuring works in tandem with comparative measuring. Its a little How to measure 1- You will use the side of your pencil as a straight edge. Hold your pencil up in front of yourself so you can see a straight edge of the pencil unobstructed. You do not have to keep your arm straight, as in comparative measuring, but you want to keep the pencil a decent length out in front of you.
With relative measuring its important for you to see a straight edge of the pencil, not that the pencil is kept at a certain distance. Using the straight edge, you can see what things align horizontally, vertically, or any other direction you might want to find. Then you make sure the alignment is the same in the drawing. In the below example if I align the pencil vertically with the side of the head, straight downward, I can see that it aligns with side of the foot.
Then I just have to make sure that the relationship stays the same in the drawing. In the below example, Ive taken a horizontal measurement across the bottom of the nose to see where the ears line up with the nose. Turns out, the ears dont like up exactly with the bottom of the nose. If I cant find a better way to accurately see what the ears line up with, Ill try to make sure that the relative distance is the same in the drawing as it is in the measurement.
You will run into situations where things do not line up exactly. What to do? The the visual puzzle. Comparative measuring can help you keep distances in relation and relative measuring can keep things in actual line with each other. You can find the directions and then the distances or vice versa.
Below are a few applications, as if you were starting a portrait drawing. These two ways of measuring work off of each other to help you piece together various elements in a drawing stay in alignment with each other. Hopefully you can see how these two ways of measuring work together and have endless applications.
You will use them to help you build up the drawing and then use them to help you refine the drawing as you go along. With comparative measuring you can take anything and compare it to anything else across a distance or in a ratio. Try it! When youre out and about, compare as much as you can. Compare a car to a building. Compare a person to a tree. With relative measuring, you can always be making sure that things are in alignment.
Practice as much as possible! Youll start to see peoples noses are crooked, eyes dont align, many asymmetries in faces, and all kinds of unexpected results. There is no real rule for when and where in a drawing to use it, so just go for it! Youll learn over time when it is best.
Youll start to get a feel for it but you wont be able to develop that feeling until you use it often, over a long period of time. Now you know how to measure a specific distance, ratio, and how to make sure Simplification and Design vital.
It seems obvious that youd be unable to draw every blade of grass in a field, every leaf on a tree, or every hair on a persons head. A few artists have tried with sadly overworked results. The reason so much detail looks overworked and unpleasant is because the eye doesnt see like that.
Your eye sees the detail of exactly what youre looking if you completely focus on one spot but in a general sense, you see in terms of masses and forms. Details also disappear as your vision fades away from your center of focus.
Whatever you see on your peripheral vision is much less detailed than what you are focusing on. Artists use this in artworks to powerful effect. You can lead the eye toward of a focus with the limiting of detail. These ideas of simplifying and design dont have hard concrete rules. The best way to learn these ideas is from an artist whose work you like. I learned from artists I took classes from who drew on top of my drawings in the class and from doing copies of drawings from artists that I like.
For the sake of learning, theres no shame in copying somebody elses drawings. Its a powerful way to learn and one that has been employed for hundreds of years. Its trying to pass off another artists work as your own that is evil. This is the most difficult of the fundamentals to explain, even nail down, but it is When you copy another artists drawing youre getting a view of the way they would solve a problem. Youll take away the knowledge of how another artist worked, giving you a base to develop your own way to work.
It is similar to riding a bike with training wheels. Once youve done some copies, youll have some of that understanding yourself and then you will have a place to start when you get to solving your own problems. The only thing to be wary of is that you dont let the copying take over what you are capable of. Use it as a tool to learn. Dont become reliant on making copies of another artists work, or even attempting to become a copy of another artists style.
The knowledge gained from copying is invaluable so long as you use it as a place to start and move beyond it. Aside from copying and studying with another artist, Ill try and lay out a few of the basic principles that should help guide you to growing your own skills through practice. Straight Lines drawing. Almost everything in the natural world has some sort of curve to it, especially living things, but it is very difficult to get these curves right the first time and then use those for further measuring.
Also, straight lines build up a structural look to the thing you are drawing, whereas its much more difficult to draw the right curved lines with a convincing structure. Straight lines will give the drawing structure and make it easier for you to measure.
Start with straight lines and then use them as much as you can throughout the how to start with straight lines and build up the curves. Of course, at any time you could just hammer in the curved line if you feel you are capable, theres no one way to go about it. One thing to keep in mind is how to vary the straight and curved lines in the drawing. You can really show the straightness of a surface by having lots of curves around it, or vice versa.
A big part of the artistic choice of design is where to keep things straight and where to put in the curves. Below I will demonstrate how to start the drawing with just straight lines and also In the following example, Ill show how to start with big straight lines and continue to put smaller straight lines in to build up a curve.
Keep your hand loose. Try to draw with your whole arm especially for any bigger strokes. As you see in the previous example, draw through the junction. What this means is to keep the line going past where you want it to stop. You can always erase the trailing part of the line later but by going through youll end up with a straight line through where you want to go. Its very difficult to stop a line right on the point where you want it to stop, its much easier to draw past the point.
Dont bother with trying to stop it there just draw through. As the drawing progresses youll specify the exact distance, curvature, and shape of the forms you are sculpting. In the beginning, keep it straight, rough, and light. Think as if you are sculpting.
Dont try to be exact but draw through where you are targeting with your line. You Basic Shapes Another very crucial part of simplifying is to think about the basic threedimensional shapes of an object. It is particularly helpful at the beginning of the drawing. The general idea is to try to think of objects as basic shapes. A fancy table might be some sort of rectangle.
A persons head might be a sphere with a cylinder on the front. A leg or arm is some sort of cylinder or rectangle. By thinking of the problem a basic three-dimensional shape, you are able to more accurately measure and get a basic framework down. It also gives you a framework to build upon. In the same way you would build a house; you wouldnt build the kitchen island and cabinets without first measuring and building up the structure of the house around it.
You would have the whole house laid out before you got into the various details of each room. Think about your drawing in the same way. Look for the basic shapes and forget the details. I learned a lot about breaking down the basic shapes from studying George B. Bridgman, Andrew Loomis, and Charles Bargue.
Short pose figure drawing sessions are also great to practice these ideas. When I look at great drawings and paintings from master artists I admire, I have discovered that they dont really have any fancy tricks or shortcuts. The one thing the great artists do exceptionally is nail the fundamentals. They keep it simple, direct, and powerful. Keep it simple! Forget the details. This does several beneficial things for you.You will discover, over time, how an eye does not actually look like the hieroglyph at all.
Now youve gone two lengths of the measurement in this case, two heads down the figure. Charcoal pencils allow me to make a much bigger mark so I can go to a bigger scale without much concern. You will find, as you progress, that the real struggles happen inside of you.
Whatever is important to you, whatever you are passionate about, art is a means of adding value to it and communicating to the world about it. Think about your drawing in the same way.
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