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  • Last week I explained gesture and this week I'll show you examples of how to apply it.

  • If you haven't watch the gesture video yet, pause this and go watch it...

  • Let's take a look at some examples and find their gestures.

  • 30 Second poses

  • Usually I'll start with the head, but not always. If I'm in the mood to identify the

  • torso first, I'll do that. There are no rules about this. Then find the gesture of the neck,

  • and the action line to the foot. Looking at the torso, the first thing I notice is that

  • the left side is pinching and the right side is stretching. So, the shoulders will be slanted

  • one way, and the hips the other way. This brings the points closer together on the left

  • side, compressing the forms, and brings the points further away from each other on the

  • right side, stretching the forms. Find some rhythm lines for the legs... And the arms.

  • That right there is the most simplified version of this pose. It's only a few lines but in

  • 30 seconds it's enough to explain what the pose is doing.

  • You might feel like 30 seconds is just too quick. In that case there are two possibilities.

  • Either you're brand new at this and you really DO need a little extra time. You can try 45

  • seconds to a minute. Or you're really over thinking it. Looking at the contours too much

  • will cause you to draw things that are not necessary to capture the motion and you end

  • up running out of time. Remember to draw what you feel, not what you see.

  • 2 minute poses

  • Taking 10-15 seconds to just look and analyze the pose is not a waste of time. It allows

  • you to create a game plan and use the 2 minutes you have wisely.

  • Ok, so again I'll start with a clean oval for the head and then attach the rhythm of

  • the neck following the sternocleidomastoid muscle. Angle of the shoulders and rhythm

  • of the torso using the centerline to determine that curve. From a front view ill start from

  • the shoulder a drop a rhythm through the side of the ribcage to the pubic bone. Get the

  • pinching on the right side and stretch on the left. Two c curves for the gesture of

  • the leg from the front. Indicate the other side of the leg with somewhat parallel rhythm,

  • considering the thickness of each part of the leg. Now I'll find the arm rhythms, remembering

  • to look for the motion not the contour. And an upside down heart shape for the breasts.

  • For a head in profile, I'll start with a circle for the cranium, angle for the front of the

  • face and jaw. Kind of like a simplified version of Loomis's method I went over in my portrait

  • fundamentals series.

  • Get the rhythm of the neck and the shoulders. In the torso, I'm seeing a stretch on the

  • left side of the back and a pinch on the right side.

  • Consider tapering/thickness of forms As you get comfortable ignoring detail and

  • seeing the big picture, you can move on to a slightly more structural approach. Now you

  • are giving some love and thought to the forms. Still not drawing any 3d forms but considering

  • them in the design of the gesture. I'm staying true to the thickness of the form and any

  • kind of tapering from thick to thin, such as from the hip to the knee. Whereas before,

  • in the 30 second drawings, I wasn't concerned about that at all. I was just drawing the

  • motion.

  • If you tend to make your poses stiff, think of the torso and limbs as a snake. Forget

  • about any bones, hard forms, rigid forms. Think of it as a fluid cylinder and try to

  • see the motion. Find the c curves and s curves.

  • Draw smart not fast When you do these gesture drawings of 2-10

  • minutes, the point of the exercise is not to draw as fast as you can to draw as much

  • as possible. If you draw as fast as you can you will have messy, bad lines and the more

  • you do the exercise the more that will become a habit and eventually you're drawing ugly

  • lines whether its timed or not. Instead of drawing fast, draw smart. Simplify the figure

  • down to whatever degree needed to draw it in the time you have. As the time decreases,

  • just filter out the next least important thing to finish the drawing in the allotted time.

  • With a 30 second or 1 minute pose you only have enough time to draw the most essential

  • elements. But keep your lines clean and accurate.

  • Look for a rhythm from the arm all the way to the end of the fingers. Unless separating

  • the hand to its own rhythm is essential for the body language, try to find a continuous

  • flow.

  • Starting with the head neck shoulders.. And then observing the c curve of the torso. The

  • tendency for many people would be to draw the torso straight because it almost is. The

  • c curve is very subtle, but important to make her look relaxed. Making it too straight would

  • make her feel tense and stiff.

  • Curve over the breast around the pit of neck. Another from nipple to nipple and also under

  • the breast curving up to show that they're wrapping over the rib cage. This is more important

  • than showing the downward curves of each individual breast. These curves would go against the

  • large form of the rib cage. They're important to show the forms of the individual breasts,

  • but at this phase, focus on the bigger picture of identifying the pose. Anatomical detailed

  • forms come later.

  • When it's not too important to show the breasts wrapping over the rib cage, like, when the

  • ribcage is vertical, I like using an upside-down heart rhythm. Again, Curve over the breast

  • around the pit of neck and then under each breast. Make sure the heart is symmetrical

  • and this V shape between the breasts lands on the centerline and follows the gesture.

  • I'll use a zig zag in the arm, giving the elbow a sharp corner. This will add more tension

  • there, which is good because a lot of the weight of her body is being supported by that

  • elbow. The other arm is relaxed, so I'll use a fluid s curve.

  • Curve the shin out at the tibia and then back in at the foot. It's very common to see a

  • beginner draw this area straight and lose the elegant gesture of the shin to the foot.

  • Make sure to think about this motion as you draw the contour. Or a better way of saying

  • it, think of the motion as youdesignthe contours. Because when you're designing

  • something, you're changing it with a purpose.

  • Exaggerate Get used to being able to exaggerate the gesture.

  • Push the story to be more exciting and clearer to the viewer. I'll show you a pose where

  • I'll push the gesture REALLY far. As far as I can without breaking it.

  • With this pose I'm gonna try to exaggerate the motion of the pelvis going back and to

  • the right. So, I'll rotate the head to the right to follow this motion.

  • Consider the forms as you identify the gesture. When exaggerating you need to exaggerate thinking

  • 3-dimensionally, not just 2d curves. Even though you're drawing 2d curves, you kinda

  • have to curve them in a way that still makes sense 3-dimensionally.

  • Gesture is like the eyes of a portrait drawing. Eyes give the portrait its life and gesture

  • gives the figure its life.

  • Assignment and have fun! If I were to give you an assignment for this,

  • if this were a real classroom environment, I'd say get a bunch of figure photos and draw

  • 10 to 20 of them every day. I promise you will improve. And rewatch this episode and

  • last week's episode a few times. Remind yourself what you're trying to do. And listen for those

  • things that I repeat several times. Don't copy, don't draw the contour, find the story

  • etc.. Also, try drawing along. The premium section has a lot of videos of example gesture

  • drawings in real time. So you can draw along, pause if you need to. But most of all have

  • fun with it. Don't stress over it or get mad if they don't turn out good right away. Enjoy

  • the process, and realize that you're drawing! It's a treat to just sit down and draw for

  • a while. If you're having fun and enjoying yourself, you'll learn better.

  • What's in the premium section? If you want to see more detailed explanation,

  • plenty of examples and more premium videos check out proko.com/figure. For every free

  • video that I post during this figure series, I'm posting additional premium content on

  • proko.com. In this free video I showed 7 examples poses. In the premium section I show 41 examples,

  • with more tips on specific areas of figure gesture. That's over an hour of video with

  • about 30 minutes of narration. And we're just at the beginning of the figure drawing series.

  • Visit proko.com/figure for more details.

  • In the premium section, I'll be posting student work and videos of me correcting those student

  • drawings. That's where you come in..

  • So, practice some gesture drawings using the concepts from this lesson and last week's.

  • Post your drawings on your Facebook page, tumblr, blog, forum, wherever you like to

  • post your artwork. In your post make sure to mention this video and include a link to

  • it. Email me and tell me where I can find your drawings. Make sure to follow the guidelines

  • that I describe on proko.com/critiques. Everyone that participates will be able to download

  • that critique video. So go! Go practice! And then post...

  • Oh ya and then if you need poses to draw from, I have some photo sets that you can download

  • at proko.com/poses

  • If you like this video, share the wealth, tell your friends. Post it on your favorite

  • social network. Click this button here to subscribe to the Proko newsletter if you want

  • to be updated about new videos. Buh Bye!

Last week I explained gesture and this week I'll show you examples of how to apply it.

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如何畫手勢--步步為營 (How to Draw Gesture - Step by Step)

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    vulvul 發佈於 2021 年 01 月 14 日
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