And as for the drawing tool, you get to pick amongst charcoal pencils, charcoal sticks, graphite pencils and vine charcoal. If you are not sure which one you would like the most out of them, I recommend this very affordable Charcoal Drawing Set that includes all of the items mentioned above.
If not, then you can always ask one of your friends or family members to pose for you! In return, they get your love and maybe some food after. Last option could also be to go to some crowded place like a mall or a coffee place, and just sketch people around you.
There are a plenty of websites that can provide you with a variety of photographs for your drawing practices! Instead, try to actually LOOK at the model and think of the angles, lengths and then put it down on paper.
However, if your first few strokes are super dark and massive — it will be really hard for you to build on them. Most of our bones have specific curves to them, even humerus the top and only bone of your arm has just a TINY bit of a curve!
So, you must work with the whole figure. Instead, start big and then slowly zoom in, and you will see that you have no time to even think of details because you are so busy trying to get the whole figure onto the paper.
When we draw from life, we tend to try our best to capture the likeness of the person. To do that, we often use our pencil as a measuring tool. And that takes TIME. By the time you measure everything — at least half the time will be gone. Remember, you are not doing it to practice capturing a likeness, but to practice capturing the FLOW. But then, back to work! Try not to limit yourself to what you see. The model is meant to be a reference that helps you portray what you have in your imagination.
You can inject personality, style, fashion of your own liking to take what you see and make it your own. Always start your gesture drawing with an action line — a line that goes from the top of the head down to the feet. Action line will help you get a more dynamic pose and overall flow of the figure.
It also provides you with a roadmap to use while placing in body parts. A very simple tip that will save you from figures that look stiff and unnatural. Remember, our body is asymmetrical. So, if your arms and shoulders angle tilts up on the right side, then your torso and legs will tilt down at the right side.
Look for negative shapes in your model! But, by looking at negative shapes, our brain works differently and actually sees the right shapes that then become landmarks for the placement of body parts.
When working on gesture, keep drawing. Gesture has a lot to do with feelings and emotions. You want to conceptualize how the body is contorted to understand how it can be exaggerated. Where is the torso leaning? Which leg takes most of the weight? Ask yourself questions as you analyze each pose and draw based on your conclusions. Gesture is meant to capture movement and action. When you draw with straight lines you tend to lose these natural curves and the pose ends up looking stiff.
Look for natural curves from the head to the torso, or from the pelvis to the feet. You can follow these lines with curves shaped like a C or an S. You should be looking beyond the details to see which lines define each pose. Is there a large thrust in the hip to one side? Or is there a certain weight-bearing leg that deserves to be darker than the other? Just try stuff out and see how it looks.
A leg planted firmly on the ground may use a straight line segment to show the weight. But it could also curve up at the top near the knee, or curve down into the heel. These subtleties can make a world of difference.
Use this to your advantage and be willing to try new stuff as much as possible. But this still requires an eye for values and proportions to get the drawing exactly right. Gesture is not meant to be a finished drawing. The most important gesture in any drawing is the action line, also known as the longest line or thrust. This line describes the primary movement in the pose and should be drawn as long and fluid as possible. I use it as the foundation of the entire drawing, and every mark I make either reinforces or complements the action line.
To make drawings clean and easy to read, I use only three marks: straight, C-curve or S-curve. For example, a C-curve is great for the stretch or elongated side of the torso. Straights quickly connect the shoulders and hips. For the action line, a long S-curve connects the head to the legs and feet. I draw gesture lines as long, smooth and uninterrupted as possible, especially the action line.
To do this, I often look for the extremities like the fingers, toes, and the top of the head, and use gesture to connect these points. Within the body, I use and follow the anatomy to keep the gesture flowing. When I draw really short poses two minutes or less , I like to first isolate the torso so I can clearly see the action line.
Once I describe the action line, I connect the shoulders and the hips and then close the shape at the pinch side. Next, I continue to add rhythms and major anatomy until the allowed time is up. When drawing short poses under five minutes, I first describe the torso and then simplify the head. Next, I draw the legs as one shape, using gesture to connect the hips to the feet. For the arms, I use long tapering lines that describe their outer shape and movement. A simple oval is great for quickly describing any negative space.
This is an edited version of advice that was originally published in ImagineFX , the world's best-selling magazine for digital artists.
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