So, Sony offers a Life Drawing class during the day, which is AWESOME. Except for the fact that I haven’t been to Life Drawing in a few years. Add that to the fact that I was never that good to begin with. I’m beyond rusty, I’m down right at beginner level. But I go anyway.
I go for two reasons. The first reason is the only way to get better is to go do it. Glenn Vilppu said: “You all have a million bad drawings in you, and the sooner you get them out, the better off we all will be.”
The second is because you can learn stuff that will help you with your animation. (Yha, I know, duh, any drawing will help you with your animation). Today, the instructor looked at my “drawing” and asked me where the force was in my drawing. What leg was holding up the body. I said the left one. He asked me to look at my drawing and tell me if it looked like his left leg could hold up the body. Of course it couldn’t. It could on the model, I just hadn’t drawing it that well. He showed me that it was important to get the left leg done right. It was okay if I messed up the other leg. It had a lot more freedom to be anywhere because the balance was on the left leg. I just couldn’t screw up the left leg and have the pose still work. It just reminded me that in your poses you should know where the force (balance) is at all times. Especially if your character is off balance. If he’s off balance then the force is pulling him down. In a walk your character is always falling down and catching himself. He uses the energy from the fall to push forward.
All in all, I learned something so it was good. I’ll keep going as often as I can. And yes, I did recycle the paper I drew on.
2 comments:
Very exciting and a great benefit given to you.
Your instructor's remarks on force of line reminded me of something Ruskin said in The Elements of Drawing, p. 91. He has been talking about sketching from nature and gives here one reason why. "[Nature] in its modes of growth present[s] simple examples of the importance leading or governing lines. It is by seizing these leading lines, when we cannot seize all, that likeness and expression are given to a portrait, and grace and a kind of vital truth to the rendering of every natural form. I call it vital truth, because these chief lines are always expressive of the past history and present action of the thing. They show in a mountain, first, how it was built or heaped up; and secondly, how it is now being worn away, and from what quarter the wildest storms strike it. In a tree, they show what kind of fortune it has had to endure from its childhood: how troublesome trees have come in its way, and pushed it aside, and tried to strangle or starve it; where and when kind trees have sheltered it, and grown up lovingly together with it, bending as it bent; what winds torment it most, etc... Now remember, nothing distinguishes great men from inferior men more than their always, whether in life or in art, knowing the way things are going."I quote it extensively for your pleasure.
Sincerely,
Brian R. Hischier
http://homepage.mac.com/brhischier/iblog/index.html
taken from Ruskin, The Elements of Drawing, Dover Press, 1971.
I have been looking for you forever!! I would love to hear from you. I tried contacting you through your website for the Reviewlets, but your box is full. I would love for us to touch bases. Contact me at Mikie1974@aol.com.
Luv and miss you to the extreme,
Michaeline
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