![]() I lower the opacity and make a new layer for my second pass. At this stage I’m scratching it out quick and just trying to get everything roughly in place I’m not very mechanically precise so my process is pretty messy and involves several layers of increasingly tight sketches. Roughly marking out the locations/sizes of some features. The brow line is generally closer to the center of the circle than the eyeline. Since I skipped marking out guidelines in my own process just some basic notes of what I keep in mind: the bottom of the nose coincides with the bottom of the circle marking the cranium. This diamond shape is something I picked up from another artist on Tumblr, (who is Art Goals) did a post about it a while back iirc I’ve added a similar diamond shape on my drawing and marked out the bottom of the nose and seam of the mouth. Having those lines on my ref image makes it easier for me to parse what I’m looking at and copy the same general spatial relationships between features in my drawing. You’ll notice I’ve drawn the circle and centerline over my reference first, as well as a kind of diamond shape. So for myself I’ve just started with a circle and the vertical centerline. If you’re a beginner I do recommend studying up on proportions and maybe trying the Reilly Method! Since in this case I’ve been asked what my process is I just drew as I tend to draw which means I’ve eschewed a lot of the detailed guidelines like what you’ll find in the Reilly Method because I’m relatively accustomed to facial proportions. I’m sticking close on this one because I did it mainly for an example. Sometimes, subverting the expectations of an audience by using an unusual camera angle can bring a sequence to life.I often have a reference! Sometimes I stick very closely to my reference, other times it’s a guide for basic facial structure or even just the lighting alone. As always, there’s exceptions to every rules. They can be very powerful, but use them wisely. A mistake junior story artists often make is to overdo the dynamic shots. It often brings clarity and a sense of calm to a scene, a moment for the audience to understand where things are, often used in establishing shots. But there’s also a place for what some may refer to as flat staging. Maybe right in the middle of an action sequence. There’s a time and a place for dynamic camera angles. But every camera choice you make influences how the story unfolds. ![]() Norm #100TuesdayTipsBook #100TuesdayTips #TuesdayTips #grizandnorm #GestureDrawing #drawingtutorials #drawingtipsġ00tuesdaytips gesturedrawing tuesdaytips 100tuesdaytipsbook drawingtips grizandnorm drawingtutorialsĪ huge component of storyboarding is to use the camera position and angle to tell the story you want to tell (or that you’re paid to tell…). This is a personal approach but I’m to hear if anyone else’s brain works that way too. Tell me if that helps you see Gesture in a different way. Just create a new layer on top and use the loose wire drawing as the gesture to draw on top of. That’s the one area where digital comes very handy. There’s always room to go back and fix things. For me, it’s the best way to not get caught up in the details. This way, I get a fluid movement through the body that pushes through to the feet, and all the way to the fingers. So, as best as I can describe it, I use the line like a wire in space. But, I try to draw the figure in a three-dimensional space. I can then go back and fix things or bring more clarity by drawing over it. this way, I get an organic feeling to the drawing without trying too hard. This way, I get across an idea or feeling very fast without thinking it through to much. So I sometimes draw with an almost continuous line. Overthinking often leads to stiff posing. In order to shut up the part of my brain that tries to analyze and do things step by step. Here’s another way to approach Gesture Drawing.
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