- Page 2: SKETCHINGPEOPLE
- Page 6 and 7: ACKNOWLEDGMENTSI’d like to thank
- Page 8 and 9: Chapter Five66 | EXPRESSIONSWhen we
- Page 10 and 11: SKETCHING MATERIALSYour choice of m
- Page 12 and 13: “Talent! What they call talent is
- Page 16 and 17: ALIGNMENTS | POSITIVE & NEGATIVE SH
- Page 18 and 19: DYNAMIC LANDMARKSWhen a person is i
- Page 20 and 21: MUSCLE AND SKINThe human form is la
- Page 22 and 23: STEPS TO GESTURE DRAWINGEXERCISEDev
- Page 24 and 25: FINISHED GESTURE DRAWINGThis first
- Page 26 and 27: A FEW LINES CONVEY POSE AND EXPRESS
- Page 28 and 29: SPHERICAL FORMSThe sphere is more t
- Page 30 and 31: SPHERICAL FIGURESOnce you understan
- Page 32 and 33: CUBIC FORMSThe cube is the most dim
- Page 34 and 35: FIGURES BUILT FROM BOXESThese two s
- Page 36 and 37: THINK OF A CYLINDER AS A SPRINGAlon
- Page 38 and 39: MORE COMPLEX FORMSThe figure here i
- Page 40 and 41: EXERCISEPRACTICE BASIC FORMSPractic
- Page 42 and 43: 3| Anatomical FormsShape and mold t
- Page 44 and 45: ALIGNMENTIn order for the gestalt p
- Page 46 and 47: STATIONARY SUBJECTSPeople who aren
- Page 48 and 49: TENSION & COMPRESSIONFolds are crea
- Page 50 and 51: CREATING PIPE FOLDSPipe folds are e
- Page 52 and 53: CREATING SWAG FOLDSFind places on y
- Page 54 and 55: CREATING INTERLOCKING FOLDSIn order
- Page 56 and 57: CREATING SPIRAL FOLDSThis figure’
- Page 58 and 59: CREATING ZIGZAG FOLDSJust above whe
- Page 60 and 61: CREATING BILLOWING FOLDSIn this sim
- Page 62 and 63: CREATING INERT FOLDSWhile the blank
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SIMPLIFYINGThough every wrinkle, fo
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FROM GESTURE TO SKETCHEXERCISEJust
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SIMPLIFIED EXPRESSIONSI think the f
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disgustconfusionangersadness
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4| Specific Shapes and ClothingOnce
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SIMPLIFIED FORMThe simplified head
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HAIR GROUPINGSWithout gels or spray
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Chapter SixBODY LANGUAGEDrawings be
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CATEGORIZING POSESThough a subject
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LEANING INIf a person is leaning in
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DEALING WITH SYMMETRYPeople sometim
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HANDSOur hands are designed to be u
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HANDS: CONSTRUCTIONOnce the gesture
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Chapter SevenSTAGINGFor a visual ar
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SIMPLE SETTINGS PROVIDE HINTSSettin
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CHARACTER BLOCKINGCharacter blockin
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ANGLEDAn angled pose allowsthe char
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VANTAGE POINTThe vantage point is t
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PROXIMITYYour angle may be predeter
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EXERCISESIMPLE STAGING, ONEA good w
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STAGING PEOPLEStaging is a tool to
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BUILDING A SCENEAs people crowd int
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3| Extend the Setting, If Necessary
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Chapter EightVALUELight’s vibrant
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LOCAL VALUEEverything has an inhere
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DIRECT LIGHTThis system of light is
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LIGHT & SHADOW SIDESLight divides t
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COMPRESSING VALUESOnce the light an
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CONCLUSION: ON CREATIVITYSome peopl
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GALLERY
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THE BEST IN ART INSTRUCTIONCOMES FR