Having good gesture drawing skills is also essential for 3d animators, as when it is all completely rendered and shown on the cinema screen you still are left with a 2D image (unless you are watching in 3d).
But frankly, I don't really have the time for such explicit "warming up" and I'd much rather warm up during actual work - drawing studies, studying anatomy, texture, proper shading and so on. Drawing gets me in the mood for drawing and well, it increases your pencil mileage too. Matt suggests to always do gesture drawings, even if it's the only drawing you do that day, but that would probably make me do gesture drawings ONLY!
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So what exactly is so cool about gesture drawings? What do they have that other exercises don't? They're fast and sloppy, and for me they don't seem to bring much to the table if skill improvement is concerned. Am I missing something here?
My introduction to gesture drawing at school was part of a program to develop coordination and speed. I thought my instructors were crazy, but it worked. We spent countless hours on gesture, practiced in conjunction with blind contour drawing - incredibly slow, methodical work. When you think about it, the body mechanics and mental state involved with gesture vs blind contour are at two extreme ends of a spectrum. At one end you're practically moving like the model and at the other end your hand is just an extension of your eye.
Between those two extremes, you'll find the range of normal day-to-day drawing and illustration work that most of us practice professionally. I don't find that the day-to-day work tests the limits of my skills - I find that the real challenge and progress comes from continuing to practice gesture and blind contour. And it shows in my work when I slack off on my practice ;) I hope that helps.
Often one can get so caught up in drawing that you lose expression due to focus. What I see as the primary benefit to gesture drawing is the exercise to free yourself of restraints and learn to be less focused and critical as you draw.
It seems, especially with digital creation, that the tool itself can often force drawing into a very defined, focused, area rather than thinking of the "whole". With gesture drawing you back off and look at the "whole" much more than the minute details. In this way it trains the eye, and hand, to see things differently. And in this respect there's a great deal of value to it.
I graduated animation and I must say, gesture drawing improved our skills dramatically. I now do gestures everyday. Don't skip on the warm up of gestures. I was drawing stiff and having trouble drawing what I wanted until I started doing gestures, and when I stop doing them, I stiffen up again.
If you draw without gestures, I promise you will be drawing stiff poses. When we animated, we animated in gestures, and for my main pose I did a gesture, my professor looked at it and said, "Don't lose this gesture. It's extremely important you don't lose your gestures after you put your construction on them." It made the pose flow, made it have feeling. We have to be careful when we put construction on top of them, because the more construction we use, the stiffer they often became.
To me, gesture drawing conveys emotion, lets the character speak without words or fine detail or even color. I think this animation brings those benefits out. I also think it's a great way to come up with more exciting postures for your character.
Humans see gesture first, anatomy second. Gesture trumps anatomy. Think about it, you can tell someone is depressed by the way they walk. You can tell a woman from aan by how they stand, how they gesture. Don't be foolish, gesture is core to drawing convincing, expressive jar characters. Ask Glen Keane.
It improves your visual instincts: by doing gesture drawing, you "grasp" the scene in a way that slow technical drawing often loses. There seems to be an emotional honesty in such drawings. This is not a religious/metaphysical concept, and one that perhaps you'd only understand by doing it on a regular basis for a while. It WILL improve your drawing, whether you believe it or not. Just sayin...
He practices the gestures and when it comes to drawing the actual drawing - the main long pose, he completely does some thing different in his initial strokes. That is why he thinks that the two are not related .
Look at a very good gesture drawing....the best you made or have seen. Now imagine that all the details are on it ....would it not look better than if that initial gesture was not there to add details to !
does anyone here have any methods that might....make my work look less like shit? i'm getting depressed from my gesture drawing being heinously ugly. i showed my husbands and im so embarrassed, i need to get a better way of working. im also really slow.
I realized while practicing gesture drawing that usually the model got stuck in my head.
So I figured, drawing poses using photos of interesting models and characters will be much more stimulating
This gorgeous animated short is an exploration of moving gesture drawings by Brigham Young University animation instructor Ryan Woodward (Osmosis Jones). He explains the creative process behind the piece here.
In addition to his own site, which includes examples of his illustrations, storyboards and animatics, as well as other short films, Woodward has created a site for Thought of You and similar experiments called Cont Animated, referring in part to his years of teaching gesture drawing, a history that informs every frame of Thought of You.
Gesture Drawing, some times called scribble studies, is work defined by rapid execution. Typically between 30 seconds to two minutes. A gesture drawing may be any drawing which attempts to capture action or movement. (wikipedia)
Drawings longer than two minutes are usually not considered gestures, as they inevitability allow the artist more time to measure and plan the drawing, or to begin to define the form with modelling. Once the artist begins measuring, erasing, shading or otherwise improving the drawing with a second pass, they have ceased to gesture draw and begun rendering. They will be improving the complexity of their current drawing, but they are no longer practising their ability to draw correctly from an instant impression.
A gesture drawing can be as simple as a wire frame to work out the position of the body elements as they move. As you will see from the collection assembled in this post these quick expressive drawings can be beautiful works of art in there own right, full of energy and movement.
Both Robert Palevitz (above) and Derek Overfield (bellow) use a combination of line and tone in a way I really admire. Both men work with pastels to create unique gesture drawings. Robert Palevitz is a still life artist predominately. These drawings are made at life class that he attends regularly. Derek Overfeild uses the male figure in many expressive ways using different mediums. be457b7860
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