Primeiro mês desenhando
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| Emanuel Dantas, meu professor |
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| Filipi Leal, meu orientador informal |
Depois de um mês aprendendo a desenhar, estilo cartum/cartoon, foram muitos contatos, links, livros, desenhos, práticas e um workshop maravilhoso, mas foi apenas o primeiro mês.
Começando pelos livros, acabei conhecendo:
- Face Off How to Draw Amazing Caricatures & Comic Portraits - Harry Hamernik (bom);
- FUN WITH A PENCIL - Andrew Loomis;
- Desenhando Com O Lado Direito Do Cerebro - Betty Edwards (só uma foleada);
- Gesture Drawing for Animation - Walt Stanchfield (Excelente!).
Dos vários vídeos, os que me chamaram a atenção foram estes:
Mas existem vários canais, em especial:
- Rascunho Studio, do Alzir Alves (profissional excelente!), aonde estou aprendendo a desenhar;
- Daniel Brandão, o qual conheci pessoalmente e deu uma dica especial para quem tem filho de 6 anos ("espere até os 12 sem se preocupar", basicamente isso).
Os links são vários, a maioria em especial fornecido por Filipi Leal, agenciado da Rascunho Studio, e que está me dando muitas dicas para Cartoon! Ele está sendo muito importante para mim nesse momento! Foi quem também falou do livro que mais gostei até agora, do Walt Stanchfield. Foi por acaso que o conheci em um dia de aula da Rascunho.
E também não poderia deixar de falar do meu professor Emanuel Dantas, que me passa algumas dicas fora de aula. Excelente pessoa e profissional.
E não poderia deixar de falar do maravilhoso workshop da Rascunho! Basta buscar no Facebook por "#4WorkshopRascunhoStudio".
Um site que também me ajudou muito foi o pinterest, muitos desenhistas lá!
Agora seguem alguns desenhos:
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| Primeiro desenho sem copiar |
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| Praticando cópia Disney |
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| Praticando cópia dos desenhos de David Gilson (gostando muito desse estilo dele) |
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| Praticando cópia dos desenhos de Emmet Park (gostei deste estilo) |
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| Praticando cópia em casa |
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| Praticando cópia em casa |
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| Praticando cópia na aula |
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| Primeiro desenho sem saber nada (no primeiro dia de aula) |
Agora segue o que pude pegar do livro do Walt Stanchfield que me chamou a atenção.
-------------------------------------------------------------- BOOKS --------------------------------------------------------------
Quick Sketching with Ron Husband
Drawn to Life: 20 Golden Years of Disney Master Classes: Volume 1: The Walt Stanchfield Lectures
Drawn to Life: 20 Golden Years of Disney Master Classes: Volume 2: The Walt Stanchfield Lectures
Drawing on the Artist Within, by Betty Edwards
The Illusion of Life, Ollie and Frank
-------------------------------------------------------------- NOTES --------------------------------------------------------------
--------------------------------------------------------------Chapter 1: Go for the Truth
Reading and observing are two emancipators of the dormant areas of the mind.
Draw ideas, not things; action, not poses; gestures not anatomical structures.
We cannot back off from our emotions – if we do the result will he a mere anatomical reproduction.
Drawing for animation is not just copying a model onto paper; you could do that better with a camera.
transcended the anatomy and model of the characters.
Constantin Stanislavsky: "An actor (animator) must learn to think on any theme. He must observe people (and animals) and their behavior—try to understand their mentality."
"A gesture is a movement not of a body but of a soul." Leonardo da Vinci
"the driving force behind the action is the mood, the personality, the attitude of the character" Walt Disney
There will be exaggeration in his anticipations, attitudes, expressions and movements to make it all very visual.
To approach a model with the idea of copying a human figure plus its clothing could be called a waste of time.
Lots of things to think about: proportion, anatomy, line, structure, weight, negative space, angles, squash and stretch, perspective, and more, but you can be off in lots of those areas if you have the essence of the pose.
Essence Drawings -> Frederich Banbery did for the book, The Posthumous Papers of the Pickwick Club by Dickens
great painter Albert Ryder
What is going to make an artist out of you is a combination of a few basic facts about the body, a few basic principles of drawing and an extensive, obsessive desire and urge to express your feelings and impressions.
--------------------------------------------------------------Chapter 2: The Animator's Sketchbook
when he sketches, is going through a process of study. (...) He simplifies. He plays with his line. He experiments. He isn't concerned with anatomy, chiaroscuro or the symmetry of "flowing line."
If you think you'd like to do better, make another, and another, and another.
Never sit in front of the TV without a sketch pad on your lap.
benefits of quick sketching are: the ability to capture the essence of a pose, to acquire believability in your drawing, to sharpen your awareness of "grid" or ground planes and backgrounds, a greater familiarity with depth, perspective and 3rd dimension, also frees you from thinking in terms of the standard 3/4 front or rear view
If you haven't been a note taker — become one.
you had better submit to some rigorous habit forming – such as hours and hours of practice.
--------------------------------------------------------------Chapter 3: A Visual Vocabulary for Drawing
drawing is learned by accumulating a visual vocabulary
Proportions are important and you must develop sensitivity to them
cartoon characters are constructed on a solidflexible basis. The solid-flexible concept is the basis for all the angles that portray the various actions,
moods, and expressions that we are called upon to draw
The method merely employs pipes, or cylinders, as parts of the body.
Try combining the cylinders with the solid-flexible concept described earlier.
The ability to see in three dimensions <- after="" and="" by="" come="" div="" knowledge="" most="" observation="" of="" only="" practice.="" this="" us="" years="">
angle of perspective: one-quarter (1/4), or three-quarters (3/4).
six rules of perspective and an involved use of directional symbols: surface, size, surface + size, overlap, surface lines, foreshortening
three-dimensional negative space = overlap + diminished in size
"T" principle -> depth (um em cima do outro)
"L" rule -> (nenhum em cima do outro)
A tangent occurs when two or more lines meet or merge into one another so there is no differentiation between the parts which they describe.
avoid the tangent
The "T" principle, described earlier, also coincides with the surface direction rule.
everything is pointing in some direction --> To be conscious of the direction that arms, legs, fingers, and so on are pointing is the key to the three-dimensional drawing
Being aware of these rules is a positive aid in drawing, allowing you to progress directly to the pose, rather than rely on a lot of doodling, pencil manipulation and haphazard accidentals.
I think it's pretty safe, if not essential, to think of the head as basically two oval shapes <- a="" an="" and="" between="" circle="" div="" oval="">
Caricatured Head Shapes!!!
many months of intensive search and experimentation have preceded the final acceptance of most character models
He is ripe for caricature. So if cartoons are not somewhat caricatures of reality they may be taken too seriously and lose that special spark of humor needed in cartoons.
A real solid, expressive, sparkly drawing is one where the clothing is doing what the body is causing it to do.
It might also help to develop a vocabulary of drapery action terms such as: hang, suspend, dangle, swing freely, be pendent, adhere to, sag, revolve around, drape, incline, bend, droop, descend, incline, sway, dip, settle, plunge, drag, trail, hang over, drape over, envelope, wrap, adorn, enshroud.
--------------------------------------------------------------Chapter 4: The First Impression
try to see all of those things at once <- div="" first="" impression="">
quick first impression can be summoned, worked on and developed
I try to get the artists to stop copying the model
Sketching quickly and loosely will help you to be more creative, inventive, inspired and will train you to be more adaptable and versatile (more fun, too).
When working from a model you must keep in mind the fact that you are not copying what is before you, but that you are searching for a gesture
You have hardly looked at the details.
body syntax = orderly arrangement of body parts
Gesture drawing is a technique of very rapid drawing, one drawing after another, perhaps fifteen scribbled drawings accomplished in fifteen minutes or less
I mean actually picturing in your mind yourself doing the pose.
Basically, a noun names a person place, or thing; a verb asserts, or expresses action, a state of being, or an occurrence.
shifting mental gears = engatar as ferramentas mentais!
don’t doodle = draw aimlessly --> Draw with a purpose—go for the gesture
One way to keep continuity of parts in your sketches is to divide the body into two or three units. While sketching in unit #1 see unit #2 clearly in your peripheral vision and even, in a lesser degree the 3rd unit. Then while sketching unit #2 keep the 3rd unit clearly in mind plus the unit you have just sketched in.
the whole pose must be kept constantly in mind
when there is no model and when a needed gesture is not clear in the mind, by all means start searching
we should learn to get that first impression down right away—while it's fresh, while it's still in that first impression stage before it starts to fade.
You have studied anatomy and have spent many hours admiring your favorite artists until a foregone conclusion as to how to draw something sets in.
--------------------------------------------------------------Chapter 5: Elements of the Pose
In the more cartoony characters, angles are indispensable.
If you want to make a strong statement (and even subtle poses and actions can be strong statements), pay special attention to angles
two lines is all you need to locate and suggest the various parts of the arms and legs—preferably one straight line on the stretch side and one curved line on the squash side.
The imaginary cube reveals the three-dimensional negative space so important in capturing a third dimensional drawing on a two dimensional surface
Feeling that three dimensional negative space can also be helpful in creating tension in a pose or action.
We no longer experience that fantastic sensation of depth. An artist should be aware of the sensation and use it in his/her drawing.
You don’t have to “put the left brain down.” Relegate to it a job like switching back to the first impression every minute or two—it is eager to help (it thinks it can draw better than the right brain), but if you allow it to dominate it will copy what is before it, insignificant details and all. Both sides of the brain are eager to help, but you have to let them know what you want.
15 and 45 seconds to draw that first impresssion
They have at their disposal many exciting and dramatic ways to make expressive drawings, some of which are squash and stretch, twisting, contrast, angles, tension, perspective, and thrust. These are not physical things but they are what give life to physical things.
Every drawing will have a weight distribution or a stress or a thrust or a twist; a squash and stretch, a pull, a push, a drag, some action or actions that you will want to emphasize
Habits to Avoid:
1. Thick and thin lines;
2. Shading;
3. Putting more details in one area than others;
4. Adding texture;
5. putting down lines simply to get lines down (couple of lines for legs with no thought of which leg is supporting most of the weight of the body); 7. no thought of their correlative opposite
8. copying the model to gesture drawing
the size, the pose, the perspective (including overlap, diminishing size, surface lines, foreshortening); anatomy, squash and stretch, angles, tension—then back through the list again, perhaps in a different order, depending on the needs of the drawing at that particular stage
--------------------------------------------------------------Chapter 6: Pushing the Gesture
In life drawing classes there is a tendency to start somewhere around the head and end up somewhere around the knees. (...) However, for the animator, such a restricted area of study is for all practical purposes useless.
A good place to practice cheating is while drawing from the human figure. Very often in a classroom situation you will be stuck with a difficult angle where things that explain or complete the gesture are hidden from you.
Try this experiment in a gesture drawing session. Find a production model sheet of a cartoony character, and clip it to the top of your drawing board where it will be visible at all times. (...) Do not attempt to copy anything on the live model except the gesture, and do not try to copy anything specific off the model sheet—just sketch in the most general terms.
In their book The Illusion of Life, Ollie and Frank state, “And the spirit of fun and discovery was probably the most important element of that period.”
In animation, the ideal model sheet is one that clearly describes the head shape and the features.
Walt’s definition of caricature: “The true interpretation of caricature is the exaggeration of an illusion of the actual, or the sensation of the actual put into action.”
Caricature implies laughable exaggeration of the characteristic features of a subject
Many very touching drawings of serious and poignant subjects are subtle caricatures of reality.
we are essentially cartoonists who are in the entertainment field
--------------------------------------------------------------Chapter 7: Principles of Animation
So technical knowledge and creative thinking are your two big guns.
list of the principles, for they comprise the basis for full animation:
1. pose and mood
2. shape and form = contorno e forma
3. anatomy
4. model or character
5. weight
6. line and silhouette
7. action and reaction
8. perspective
9. direction
10. tension to extreme
11. planes
12. solidity
13. arcs
14. squash and stretch (+ solid-flexible)
15. beat and rhythm
16. depth and volume
17. overlap and follow thru
18. timing
19. working from extreme
20. positive & negative shapes
21. straights and curves
22. primary and secondary action
23. staging and composition
24. anticipation
25. caricature
26. details
27. texture
28. simplification
You might think of the primary action as the center of interest while all other actions diminish in concentric rings of importance
You have no previous extreme to flip from but you do have that sense of motion to give you the feel of what the body went through to get to that pose.
Work your eyes from drawing to drawing observing the use of angle against angle, squash against stretch, close proximity to openness.
If there is a pose it is either because something has just happened or is about to happen.
So ideally there should be at least three poses to study and portray each action:
1. The Preparation – telling the audience something is going to happen,
2. The Anticipation – gathering the forces to carry through with the action, and
3. The Action – carrying out of the intended action.
Inbetweening is not merely putting line in between line but actually moving shapes and volumes to conform to some predetermined action.
Very often, if not most of the time, an action does not move in a straight line but in an arc.
Actions are full of slow-outs and slow-ins
--------------------------------------------------------------Chapter 8: A Sense of Story
Disney Animation: The Illusion Of Life is a reading must for all aspiring artists at Disney's.
Story is everything that is taking place in your drawing, especially the motivation for the gesture
So drawing requires thinking. Thinking, in this case, being synonymous with acting.
Hours and hours should be spent with anatomy books, old Disney films, and scenes of the old masters like Milt Kahl and Ollie Johnston.
The stories you work on require a more diversified range of emotions and a much more sophisticated style for communicating them.
The old silent movies are especially good
If you neglect to update yourself through the study of good writing, movies and plays, your sensitivity to these various emotions will surely atrophy
Drawing gestures is like using body language - it requires the context of an entire situation (story) to be thoroughly meaningful.
--------------------------------------------------------------Chapter 9: Final Words
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