1 Minute Gestures

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This topic contains 6 replies, has 4 voices, and was last updated by Polyvios Animations 3 weeks ago.

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  • #31385

    Hello, Hello!

    Been on and off my figure drawing/gesture drawing and decided to try and once again build the habit back up again in order to further the artistic journey. And I thought that posting here for some critiques would make a great way of helping cement said habit! Be gentle, however, its been a month or so and I'm a bit rusty currently.

    https://imgur.com/gallery/U2jbvIC

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    #31386

    Hi K1ng0fSugar and welcome. Yes, recieving some feedback will make the process of studying here more enjoyable, because you are going to see a lot of artists that also ask for their feedback by other better artists and so on... and so on....

    My first tip, don't use solid shapes before nailing the line of action (got it? like the site...). Although it is important understanding the shapes of a figure, that needs to be learned on a later date. First the simplification must come on its most simple component of any drawing, the line.

    The process to draw a pose from a reference is to simplify and exagerate

    Since you didn't start doing it after a very long time from what you have told, i suggest you to take at least 10 minutes for each pose after you've dealt with some doodles that make your brain get into the mood easyier. You have to decompose each pose as some sort of curved lines that build in armony the pose of the reference. Practically they should look like a logo when it gets all the little circles defining the curves and the style of the drawing and so on (here is an example).

    I might present more examples if you want, but the final result should come out sorta like this. In these kind of poses you should look into the most important line, the one that leads the head to one of the feet, then you draw a line on the level of the shoulders and one on the level of the pubis (where the legs are attached), then you draw each new line to represent the general shape of the pose. Here, a big curve occupies the section of the arm, the upper torso and part of the other arm with only the head sticking out.

    If you want to add more to the learning you can also add the shapes on top of the body, making it sorta like this. Doing so you can correct many of the mistakes you can come up with when you had to draw using curves. Here is a video that i can recomend on how it is done

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    If you have problems following any of this stuff, just tell me and i will be here ;). bye and good improvement.

#31402

Minor tip for figure #5: If a lot of the figure is blocked by a prop, like in this case the wheelchair, it is totally valid to ignore the prop and just draw the parts of the figure that are visible.

You are currently focusing on constructing the figure from simple 3-D forms, which is good, as it will build up your intuition about perspectivity. I would recommend switching the form that you use for the torso away from a large rectangular form to something called "the bean".

For a really detailed explanation of the bean, here is a link to a good course, you don't need the premium version. https://www.proko.com/course/figure-drawing-fundamentals/overview

The concept in my own few words: Try to draw the ribcage as an upright egg, with the lower half of the egg cut off in an inverted V-shape along the lower ribs. On top of the ribcage draw the colar bones, connecting the neck and the shoulder joints. Draw the hip separately from the upper torso, either as a block or as a pair of undies. The rectangular block you are currently using corresponds to those forms in that the collar bones are what you now draw as the upper edge of that block, and the hip corresponds to the lower edge.

The bean isn't immediately visible in all poses, but focusing on figuring out where it has to be teaches you a good idea of how the torso can move. It is more important for now, than finishing all the limbs in each drawing. There are some drawing tipps, who tell you to focus more on the forms underneath the surface than the outlines, understanding and drawing the bean is what is mostly meant by them.

Edit: the form that is proposed in IDK's video for the torso works also. Instead of "the bean" it uses two separate boxes for the ribcage and the hip. The important takeaway: Don't draw the torso as one single shape, separate ribcage and hips.

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#31416

Hello! Thank you to those who replied and offered their critique, It's definitely been on my mind for a few days!

To IDon'tKnow: I've been really thinking about the observations you made regarding lines, simplification, and exaggeration. I think in the grand scheme, those three are what I often most hear, but don't seem to let myself relax enough to absorb. However, I'm still determined to try, so my next set of studying was done with your critique in mind!

https://imgur.com/gallery/smAcwjC

To Aunt Herbert: Thank you for the link! I've been watching Proko's videos a lot, and I've been really focusing on 'The Bean' and its properties. I think it would definitely help when it comes to authentic gesture! (Also thank you for the wheelchair tip; I thought to omit it, but it was nice to attempt to factor it in because I wanna know how to draw them better)

I drew a lot of beans today, some shoddy, some not. But all while you were in my mind!

https://imgur.com/gallery/Tn4Aud0

#31418

Hey, see? You nailed it better at your first attempt. It doesn't even need to be completed 100% if you get the most important lines first.

Nex tip, try drawing the head as a D. that way it also adds to the lines of the body

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#31438

How do you do, K1ng. You know I love how greatest your job on your looseness of lines of action of your figures and your lightest of touches. Therefore, they are not drawn lightest and loosest enough yet. How would you like to please go for making your goals the most specific for yourself?

The arguement is because, for example, "being great at gesture drawing of figures" is too vaguest, but the specific one could and must and would be, "make my figures' poses be the most boldest but powerful in terms of lines of action and rhythm, in order to draw them from my imagination."

So for most inspiration, kindly look into one of these YouTube videos:

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My hat's off to you and your incredible learning curves.

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