A reader told me about this book and it seems like a great find. It's a figure drawing book from Ryan Woodward that looks at capturing gestures. Ryan terney.info - Ebook download as PDF File .pdf), Text File .txt) or read book online. samplepage01_page_ More info on Gesture Drawing Volume 3 is HERE!! download the printed book HERE. *download the downloadable PDF version in.

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Ryan Woodward Pdf

download Gesture Drawings and Sketchbook from Life First Edition by Ryan Woodward (ISBN: ) from site's. Book Store. Everyday low prices and. Ryan Woodward Gesture Drawing Pdf. Hey guys is there any way to really master gesture drawing other than to quick sketch for the reilly method, and also of. gesture drawing pdf - Google Search Human Body Drawing, Gesture Drawing, Life Drawing,. Visit Conte Drawings by Ryan Woodward. Human Body.

Save February 11, — December 26, Larry was born to Darrell and Emma Woodward in and was raised in Salem, Oregon, with his five siblings. In , he married the love of his life, Carol, and they started their family with the birth of their daughter, Laura, while he served our country at Travis Air Force Base. Following his completion of service, they returned to Oregon, where he completed college and began his career at CH2M Hill. They welcomed their son, Ryan, in and settled in Corvallis for the next 30 years. Larry cherished time with family. His children recall growing up with frequent trips to visit grandparents, hosting parties with aunts, uncles and cousins and vacationing to visit family far away. After his retirement, family became a hobby as he passionately researched his genealogy and built and maintained an extensive family tree. Larry also enjoyed traveling.

I was taught th at dr awing the figur e in quick poses was an essential pr actice for any aspir ing animator who wanted to learn how to master the gestur e of the human figur e. I kept tr ying to figur e o ut new ways to dr aw the figur e and exper iment cr eatively. How th at h appens. So check a mirr or befor e yo u leave yo ur dr awing p ad for a job interview.

If yo u ar e a mor e heav y-h anded artist. My personal pr efer ence is smooth newspr int as opposed to r o ugh. Many starving students h ave fo und th at a piece of s andp aper fr om the h ar dwar e stor e works just as well. It is essentially a piece of wood with str ips of s andp aper attached to it. Ro ugh h as much mor e tooth thus leaving a bit mor e textur e to yo ur dr awing. Smooth will look softer and cleaner. Any br and will do.

Episode 1. The s andp aper block r efines the sh arpening in or der to achieve a nice edge. Step 2. The Pr ocess: Step 1. Aim for h aving a str ong flat edge.

Using an X-Acto knife. Repeat the final two steps if yo ur lines do not come o ut evenly. The sh aving pr ocess may be messy so yo u might want to do it over a tr ashc an. This enables yo u to h ave differ ent edges to choose fr om when yo u start working on yo ur dr awings. X-Acto knife.

SMART > Schedules > Schedules by Route

This cr eates inter est and depth in yo ur dr awings. Yo u will want to make sur e th at yo u r un yo ur br o ad edge on yo ur p aper a few times pr i or to the first line of yo ur dr awing. The sho ulder will dr aw in big br o ad sh apes and sweeping arcs. Spend plenty of time exper imenting with the thr ee differ ent edges. Keep in mind. Exper imenting With The Medi um As yo u ar e beginning to exper iment.

Yo u sho uld h ave some r eal nice dark. At times. This tool tr ains the artist to loosen up. Make an effort to allow yo ur br ain to make mistakes. Instead of being overly concerned with cr eating a beautiful work of art. Tr y not to over analyze ever y line dur ing warm up. The absence of subtr active dr awing builds confidence and allows for h appy mistakes.

Once yo u put down a line. Another tr ick I like to use is to look at my work in a mirr or. Look F or Feedback As with all artistic pr ojects.

Yo u may be surpr ised at the err ors th at pop o ut when seeing yo ur work in r everse. Sometimes we ar e blinded by o ur own achievements to the point wher e we no longer explor e any further avenues for impr ovement. This technique limits yo ur ability to dr aw detail and forces the h and and eye to see the big sh apes and curves of the form. Br o ad Edge Dr awing Tr y dr awing with the br o ad edge only for a while. Do not give up after the first few dr awings. They may not initially be pr etty.

This will help tr ain yo ur eye to see the over all gestur e and how it r elates to the form as a whole. The idea with this pr ocess is to develop an intuitive measur ing tool for human pr oporti ons.

To Measur e Or Not To Measur e Yo u may h ave been pr evi o usly tr ained how to measur e the body with yo ur thumb or a stick. Tr y to deny this urge to measur e and instead. I wo uld highly enco ur age yo u to study up so th at yo u c an build yo ur dr awings off of knowledge and not just guesswork. The Whole F orm One of the h ar dest things to conquer is how to observe the human body.

The ability to see the human form as a whole. F or most of us. Episode 3. I ask myself questi ons like: These dr awings ar e minute poses. In or der to tr ain the eye to see the entir e form as a whole. They indic ate the rhythms between body p arts. If I feel we r eally need to loosen up. Later on. In my gestur e dr awing classes. Some of the cr eative dr awings towar d the end of the book may fall into the 15 minute zone. I h ave fo und th at most of wh at needs to be learned in dr awing the human form h appens within the first 2 minutes.

People fr equently want to know how long it took to do these dr awings. After th at. Most of the dr awings in these first co uple sessi ons fall in the time limitati on of 1 to 3 minutes.

It c an be ver y difficult. Tr y switching to a br ush pen fr om time to time. It is h ar d for me to explain exactly how I pr ocedur ally dr aw the form. Step By Step Her e ar e some step-by-step demonstr ati ons. In all honesty. Step Step Step Step 1. Some added detail to descr ibe the form 4.

Simple sh apes ar e added in. Other times. Light and Sh adow. F or the s ake of demonstr ating a pr ocedur e th at c an help the r eader.

Commonly I will start with the head and occ asi onally. I will start with a gr aphic sh ape. I dr aw the sh adow sh apes first. I will start with the hips. Basic rhythms of the form ar e put down first.

Ther e ar e only two types of sh adow edges th at I use in gestur e dr awing. These sh adows ar e dr awn with cr isp. Not br o ad. Bec ause the plane of the form is no longer in the pr esence of light. Witho ut light and sh adow. This is wher e the form r eally starts to come alive. These sh adows ar e dr awn soft. Dir ect Light It helps to h ave a ver y dir ect singular light so urce when defining the sh adows. If yo u ar e using mor e ambient lighting.

If yo u tr y to r eplic ate the folds exactly. Bec ause ther e is not eno ugh time in the poses to c aptur e ever y single fold. In quick gestur e dr awings. After finding the tensi on point.

Notice the simplific ati on of the folds. None of these folds existed like this. I made the r est up. Illustr ate An Idea These dr awings ar e a bit mor e illustr ative. Yo u c an widen the stance. It c an be ver y difficult to do this at first. Exagger ating the form is the first step in adding a little cr eativity to yo ur dr awings. Episode 6. Yo ur knowledge of human anatomy becomes incr easingly important her e.

To br eak it down even further. Yo u c an make the h ands and feet larger, elongate the neck, or shorten the torso. Tr y adding po unds of fat to yo ur model, or adding po unds of muscle.

Taking away 50 po unds of body mass c an r eally r eveal yo ur knowledge of the skeletal str uctur e. Designing The Exagger ated Pr oportions One thing th at yo u MU ST consider when exaggerating the pr oporti on is th at yo u do so with good design pr inciples.

If yo ur decisi on-making is guided by good design, it will look intr iguing and intenti onal r ather th an a bad mistake. The first step in dr awing fr om yo ur cr eative mind is the ability to not fully r ely on wh at yo u see in fr ont of yo u. In the beginning. After yo u feel th at yo u h ave a basic understanding of these pr inciples. Pushing The F igur e I like to think of gestur e dr awing as a cr eative jo urney.

It is ver y h ar d to gr asp this concept at times. The better yo u understand the cor e pr inciples of dr awing. I h ave fo und th at pushing the bo undar ies of cr eativity.

If yo u never push away fr om r eality. This is when the fun r eally starts. Pushing The F igur e cont. I like to ask myself. This exercise c an gr eatly fuel yo ur cr eative side over the ac ademic side of dr awing the figur e.

This is when yo u pr etend th at yo u ar e looking thr o ugh a distorted mirr or of a warped form. While this c an be an incr edibly liber ating way to dr aw. Episode 7. They h ar dly r epr esent the figur e at all.

This is the thir d way I look at exagger ati on. F or example. Wiley Coyote. To get started with this kind of exercise. Yo u c an tr y this with just abo ut any artistic style. Gr aphic Sh apes Spend some time dr awing the figur e as gr aphic sh apes. This is a ver y fun exercise th at may seem overly simple. When we dr aw fr om o ur minds. The r esult is a unique and personal r eflecti on of o ur self. Be well-educ ated artists. Good to see you here again and good to hear about some of your upcoming projects!

But the human connection made through any creative act. Thanks for the recommendation Jesse, I am going to pick up the Icarus Deception. These interviews are really great stuff! I just finished Ryan Woodward and backtracked to catch up on the Justin Copeland one! I have a non-podcast-related question! I work off and on at a fan comic.

It was a project I did on the side whenever I felt I had some time or felt motivated in any way, so it was very sporadic. More recently, I have been developing another story NOT a fan work this time! I am very eager to begin drawing out a comic though!

I am now thinking that while I am developing my new idea over the next few months which I think I would like to do as a webcomic I could try releasing the fan comic on a weekly schedule, in order to practice keeping to a schedule and to hone my skill.

I feel that this is a useful thing to do but would love to hear other opinions on this! I highly recommend getting yourself used to a schedule. Great advice, thanks! Fan stuff appeals to the fans of that work and they may not transfer over. Some great advice here Jake. Marji, check out our episode: I tried downloading ryans book conteanimattion pdf but its no longer on the site the link leads to.

Its very refreshing to hear that coming from someone as good as he is. An ideal sensei shinobi paperwinger, ryan is. Thanks chris and lora, we in africa also listen to your pod cast, its blessed us a bunch, thanks. It is my first comment on the site! In here though, I have a thought about design that seams clear enough to share.

It is when Ryan talks about the mystical aspect of design. I really feel that design is not something you get through experience, although the experience tells you how to get to the right design.

At some point, going over the drawing will get to the drawing that seams to come out SO easily, and beautifully. Somehow, that drawing is different from what you expected, but it is the best. Design is luck, like the more you toss a coin to get as many heads as possible, the more variations of a drawing do will get you more of good designs.

Gesture Drawing vol. 3

All you can do is keep doing it. I agree with you in some ways. I think that everyone has a preexisting subconscious understanding of design and what looks good based on other designs one may see throughout the day in magazines, cartoons, comics, life, etc.

But I would say that I think design can be learned — and should be. Some days, I make layouts, characters, and work that I absolutely love!

The same goes for artwork and design. If you have all the corresponding elements in the right assortment, you make something great. Sometimes those elements are missing and one falls short of perfection. Maybe in some other language I suppose, but English just doest do it. Thanks for the second part! Found all the technical information that I was asking about in the first part. Ryan, I am amazed at how much you kept going — even when faced with all the obstacles — even not knowing how it would play out.

However, I learned a lot. Chris, Lora, and Ryan, this is one of the best interviews that I have heard! So transparent about the challenges and breakthroughs. I cannot tell you how this insight changes my thinking going forward! This is a true gem! Many thanks!

It takes the expectations away leaving more room for good old enjoyment. Thanks for being so frank about everything, Ryan and keeping things grounded.

Time to go shopping for a Harley now. Get a white Harley and draw all over it with Sharpies and clear-coat it!!!!! Yeah buddy! Oh, foot note: Keep up the awesomeness!!! I just want to say thank you again to Chris, Lora and Ryan! This has been a great set of podcasts and comments.

I am actually glad that it was split into two because it gave me the chance to listen to the first part many times over before taking in part two. That was awesome. I had time to meditate on the content and apply it without exploding with awesomeness! Ok, for my comments on this half. I love the fact that he discussed his methods for choosing collaborators and the pros and cons of it.

I am also appreciative that he actually mentioned how he had to pick parts to hand off to others, how he had to delegate. I am still needing to learn to do this myself. To keep this short so I have time to respond to other comments; Ryan, thank you so much for reminding me to seek the joy and heart of my project.

Priceless…I forget this nugget when I get face deep in expression and gesture drawing or story organization that I have to struggle so much through. This just might be the focus I have needed to strengthen.

Boiled down, the message seems to be: Part I — Work really, really hard. Part II — And keep working hard for a long time until you get good at it. The two pieces of advice nobody wants to hear! I have no experience developing aps, but the dilemmas Ryan talked about — dealing with technical limitations and finding ways around them — really applies to any medium, even print especially print! The animators spent weeks sweating out an elaborate sequence of Pinocchio walking through the village, with multiple layers of moving backgrounds and other innovative techniques.

It obviously worked for him! Awesome stuff. I know. The first time I saw it, it blew my mind as to the possibilities it was going to open in the realm of comic-making. Sounds promising!

More stuff

Excited to see where this goes and if it will become a good venue for comic creators! Thanks for this! I just posted the link to the Paper Wings Facebook Page. I think anything that makes making motion comics more democratic will increase the quality of them.

Invincible Ed

And the folks on DA can be pretty creative. I think this is going to be an exciting partnership! The thing that annoyed me about motion comics was always that the creators never seemed to understand what the essence of comics actually are.

They always ended up as really poorly-done animation, or comics where the bells and whistles would get in the way of the story. Thanks for sharing! My husband and I were road tripping for our 10 year anniversary and the rule was: All of our interviews have been such a pleasure and honor to record. Congratulations on your 10 year anniversary!