Ryan Woodward_Gesture-Drawing.pdf

Yo u Sho uld Know This is not an ac ademic figur e-dr awing book; nor does it cover the basics of dr awing the human form. Wh at this book does is explor e and examine my personal cr eative appr o ach to dr awing and styli zing the human figur e. I co uld not h ave obtained any of this knowledge witho ut h aving spent many ho urs in intr oductor y co urses pr acticing the fundamentals of dr awing the human form. An intr oductor y figur e-dr awing co urse wo uld cover pr inciples like: basic pr oporti ons, volume, for eshortening, anatomy, light and sh adow, etc., etc. - these ar e things which I do not cover in this book. Ther e ar e do zens of fantastic books o ut ther e th at cover these pr inciples in a much mor e compr ehensive way. In other wor ds, don’t get bother ed with this book if it feels a little light on basic instr ucti on - I didn’t design it th at way.

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THE UNRE ACHABLE GOAL Overview Ther e ar e a lot of differ ent appr o aches o ut ther e on dr awing the human figur e, none of which ar e the “r ight” way or the only way. I certainly do not think th at my appr o ach is any mor e valid th an the next, but ther e ar e r easons why I h ave gr avitated to dr awing this way and hopefully th at will shed some light on this pr ocess. As a yo ung tr aditi onal animator, 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. While this pr actice still r emains tr ue, I was hoping th at quick gestur es of the figur e co uld become an aesthetic ally pleasing piece of art as well. Reali zing th at absolute mastership of dr awing the human form is never r eally achievable, I kept tr ying to figur e o ut new ways to dr aw the figur e and exper iment cr eatively. I wonder ed, wh at is mor e important to pr actice, technique versus cr eativity, accur acy versus design? I am not sur e I h ave these answers yet, but my quest for finding these answers, thr o ugh dr awing the figur e, sur e h as been a fun one. This book is a collecti on of my exper imentati ons knowing full well, th at I will pr obably never find the answer. Enjoy.

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Conté Cr ayon While other artists use ch arco al pencils, vine ch arco al, and p astel, I h ave fo und Conté cr ayon to be my favor ite tool for gestur e dr awing. Conté comes in var i o us gr ades of h ar dness with a 2B gr ade being wh at I like to use most. If yo u ar e a mor e heav y-h anded artist, think of investing in a h ar der gr ade of Conté.

Note: When purch asing yo ur Conté, make certain th at the Conté sticks ar e not br oken within the p ackaging. Sometimes, the Conté is mish andled which c an destr oy its us ability. Save yo urself a r eturn tr ip and examine the Conté befor e leaving the stor e. Warning: Conté likes to end up on yo ur face! After dr awing with Conté, yo u’ll fr equently find black smudges on yo ur nose. How th at h appens, to students and to myself, is a myster y. So check a mirr or befor e yo u leave yo ur dr awing p ad for a job interview.

Newspr int Pad An 18” x 24” newspr int p ad will give yo u plenty of r oom to dr aw. Any br and will do. My personal pr efer ence is smooth newspr int as opposed to r o ugh. 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.

Sandp aper Block In or der to sh arpen the Conté, a s andp aper block is needed. It is essentially a piece of wood with str ips of s andp aper attached to it. 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.

Episode 1

Sh arpening Yo ur Conté Things yo u need: X-Acto knife, Conté, and Sandp aper block. The Pr ocess: Step 1 - Using an X-Acto knife, sh ave yo ur Conté away so th at the point on the stick is r o ughly h alf an inch long. Yo u want the Conté point to be fairly sh arp. This enables yo u to h ave differ ent edges to choose fr om when yo u start working on yo ur dr awings. Aim for h aving a str ong flat edge, a r eal sh arp edge, and a medi um edge. The sh aving pr ocess may be messy so yo u might want to do it over a tr ashc an. Step 2 - Once yo u h ave the Conté sh aved down, yo u ar e now r eady for the s andp aper block. The s andp aper block r efines the sh arpening in or der to achieve a nice edge. While r otating the Conté, r ub it up and down the s andp aper until yo u h ave cr eated a r o und needle-like point.

THE TI P

ME DI UM E DGE

BROAD E DGE

Step 3 - The final step is r ubbing the Conté on the p aper to get off all the excess sh avings th at ar e h anging on the tip. Take a co uple of swipes up and down yo ur p aper to get all those off and yo u’ll h ave the perfect edge to dr aw with. Repeat the final two steps if yo ur lines do not come o ut evenly.

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Exper imenting With The Medi um As yo u ar e beginning to exper iment, p ay special attenti on to using the br o ad, medi um, and fine edges of yo ur tool. Spend plenty of time exper imenting with the thr ee differ ent edges. Keep in mind, as yo u ar e dr awing, to var y the pr essur e of the Conté on p aper which will give yo u a var iety of line weight. This cr eates inter est and depth in yo ur dr awings. Yo u sho uld h ave some r eal nice dark, heav y lines mixed in with some soft lines to give the illusi on of volume. 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. This will help smooth o ut the irr egular ities in the Conté. A simplified tool like Conté helps the artist to loosen up and focus on the mor e gener al sh apes. At times, we tend to get r eal tight and noodley when we use a pencil or pen. This tool tr ains the artist to loosen up. Conté will also enco ur age yo u to dr aw with yo ur sho ulder versus yo ur fingertips by holding the Conté like a p aintbr ush. The sho ulder will dr aw in big br o ad sh apes and sweeping arcs, much mor e th an the fingertips will.

‘Let go’ when warming up the sho ulder. Instead of being overly concerned with cr eating a beautiful work of art, tr y to focus mor e on loosening up and fr eeing yo ur cr eativity. Tr y not to over analyze ever y line dur ing warm up; it will only impede yo ur cr eativity. Make an effort to allow yo ur br ain to make mistakes. I h ave fo und fr equently th at many mistakes I h ave made end up becoming “Einstein moments”.

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Er aser-less Conté is a bit waxier th an ch arco al or nup astel; ther efor e it works pr etty well for quicker dr awings. Once yo u put down a line, it does not er ase easily, ther efor e, yo u h ave to learn to accept the line and work with it anyway. The absence of subtr active dr awing builds confidence and allows for h appy mistakes, which we r ar ely exper ience when er asing all the time.

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Look F or Feedback As with all artistic pr ojects, be certain to h ave others (artists and non-artists) cr itique on yo ur work. 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. Another tr ick I like to use is to look at my work in a mirr or. Yo u may be surpr ised at the err ors th at pop o ut when seeing yo ur work in r everse.

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Episode 2

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 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. 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.

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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, go with intuiti on, or wh at feels r ight. The idea with this pr ocess is to develop an intuitive measur ing tool for human pr oporti ons. It may not be 100% accur ate, but as I stated earlier, wh at’s mor e important, accur acy or design? However, if yo u h ave no understanding of pr oporti ons at all, 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.

ME DI UM E DGE

BROAD E DGE

F I N E TI P E DGE

BROAD E DGE ME DI UM E DGE F I N E TI P E DGE

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The Whole F orm One of the h ar dest things to conquer is how to observe the human body. F or most of us, we see it as a bunch of individu al members making up a whole. The pr oblem with th at is when we “look” at the arm, or the thigh, or the sho ulder as individu al members, it will distr act us fr om seeing their r elati onship together as a whole body. The ability to see the human form as a whole, instead of a collecti on of differ ent members, massively impr oves yo ur ability to effectively design.

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In or der to tr ain the eye to see the entir e form as a whole, as opposed to just individu al p arts, it is important to identify the rhythms of the form. I ask myself questi ons like: “Wh at is the r elati onship between the head and the ankle, wh at abo ut the p alm of the h and and the knee or the rhythm thr o ugh the neck, down the spine and along one leg?” Notice the r ed lines on the following dr awings. They indic ate the rhythms between body p arts.

These dr awings ar e 1-2 minute poses.

Episode 3

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How Long Did This Dr awing Take? People fr equently want to know how long it took to do these dr awings. In my gestur e dr awing classes, we typic ally start o ut with 2 - 3 minute poses. If I feel we r eally need to loosen up, we will dr op all the way down to 10 second poses. Most of the dr awings in these first co uple sessi ons fall in the time limitati on of 1 to 3 minutes. Later on, when we explor e light, sh adow, and clothing, we str etch the time to 5 - 8 minutes. Some of the cr eative dr awings towar d the end of the book may fall into the 15 minute zone, but th at is the limit. 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. Th at is when 90% of all the cr itic al decisi ons ar e made. After th at, it is all just icing on the c ake. So, yes, we tend to go thr o ugh a lot of dr awing p ads!

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Tr y switching to a br ush pen fr om time to time. It c an be ver y difficult, but yo u will learn to be ver y efficient with ever y line.

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Step By Step Her e ar e some step-by-step demonstr ati ons. It is h ar d for me to explain exactly how I pr ocedur ally dr aw the form. In all honesty, it is differ ent ever y time. Sometimes, I dr aw the sh adow sh apes first. Other times, I will start with a gr aphic sh ape. Commonly I will start with the head and occ asi onally, I will start with the hips. F or the s ake of demonstr ating a pr ocedur e th at c an help the r eader, her e is a pr etty s afe one: Step Step Step Step

1 - Basic rhythms of the form ar e put down first. 2 - Simple sh apes ar e added in. 3 - Some added detail to descr ibe the form 4 - Light and Sh adow.

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This is wher e the form r eally starts to come alive. Witho ut light and sh adow, yo u h ave to descr ibe the depth of the form with conto ur lines. Ther e ar e only two types of sh adow edges th at I use in gestur e dr awing, form sh adows and c ast sh adows. F ORM SHADOWS ar e cr eated by the gr adu al fading away of the form fr om the light so urce. Bec ause the plane of the form is no longer in the pr esence of light, form sh adows ar e also c alled cor e sh adows - they ar e the darkest p art of a sh adow. These sh adows ar e dr awn soft, with the medi um edge of the tool. C AST SHADOWS ar e cr eated by a p art of the body c asting a sh adow onto another surface. These sh adows ar e dr awn with cr isp, fine, h ar d edges. Not br o ad, dark edges.

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Episode 4

C AST SHADOW

F ORM SHADOW

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C AST SHADOW

F ORM SHADOW

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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, or north light fr om a large window, yo u will not get cr isp c ast sh adow lines on the form.

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F ORM SHADOW

C AST SHADOW

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Episode 5

In quick gestur e dr awings, it is r eally important to simplify clothing and costumes as much as possible. Bec ause ther e is not eno ugh time in the poses to c aptur e ever y single fold, yo u h ave to quickly assess the fold p attern gener ated by the tensi on point. After yo u’ve determined th at, then yo u make up the fold design. Th at’s r ight, yo u make them up and design them the way yo u think looks best. If yo u tr y to r eplic ate the folds exactly, yo u will over noodle yo ur dr awing and waste all yo ur time on one p ant leg, AN D, it will not look as good as if yo u made it up.

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Notice the simplific ati on of the folds. None of these folds existed like this. After finding the tensi on point, I made the r est up.

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Illustr ate An Idea These dr awings ar e a bit mor e illustr ative. Once yo u get the Conté under contr ol, understand light and sh adow, and able to design folds in the fabr ic, then yo u c an start to cr eate some fun illustr ati ons.

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Exagger ating the form is the first step in adding a little cr eativity to yo ur dr awings. It c an be ver y difficult to do this at first, especially if yo u ar e one of those artists whose dr awings r ely mor e on observati on th an imaginati on. To br eak it down even further, think of exagger ati on in these thr ee ways: 1. 2. 3.

Exagger ating the Gestur e Exagger ating the Pr oporti on Exagger ating the Style

EXAGGERATI NG THE GE ST U RE is when yo u push the pose further th an the model is actu ally demonstr ating. Yo u c an widen the stance, arch the back further th an yo u see, and str etch the arms str aight instead of th at slight bend. Yo ur knowledge of human anatomy becomes incr easingly important her e, bec ause it’s not easy pushing the form if yo u do not know wh at’s going on under the skin.

Episode 6

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EXAGGERATI NG THE PROPORTION is when yo u cr eatively decide to manipulate the standar d pr oporti ons of the body. Yo u c an make the h ands and feet larger, elongate the neck, or shorten the torso. Tr y adding 200 po unds of fat to yo ur model, or adding 200 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.

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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. Don’t just make humungo us toes and leave the r est of the form pr oporti onally corr ect. Th at’s just weir d looking and people will think th at yo u made a mistake. 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.

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Pushing The F igur e I like to think of gestur e dr awing as a cr eative jo urney. In the beginning, cor e pr inciples of dr awing, such as pr oporti ons, volume, compositi on, design, gestur e, body rhythms, and light and sh adow, must be learned. After yo u feel th at yo u h ave a basic understanding of these pr inciples, yo u c an start the cr eative jo urney into exagger ati on. 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.

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The better yo u understand the cor e pr inciples of dr awing, the better yo u will be able to know how to bend those pr inciples to work with yo ur personal cr eative ideas. It is ver y h ar d to gr asp this concept at times. I h ave fo und th at pushing the bo undar ies of cr eativity, way beyond wh at yo u may think is acceptable, gives yo u a better understanding of bo undar ies. If yo u never push away fr om r eality, yo u will never understand wher e th at bo undar y is.

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Pushing The F igur e (cont.) Sometimes, I like to ask myself, ”Wh at percentage of the dr awing is based on the model in fr ont of me versus wh at is based on my own cr eative imaginati on?” Start with a 90/10 r ati o, and as shown towar ds the end of this book, yo u c an go as far as a 5/95 r ati o. This is when the fun r eally starts.

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F un Ho use Mirr or Ther e is also a fun exercise th at I like to c all the “fun ho use mirr or”. 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. This exercise c an gr eatly fuel yo ur cr eative side over the ac ademic side of dr awing the figur e.

CORRE C T PROPORTION S OF MOD E L

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SAME POSE. . . JU ST EXAGGERATED PROPORTIONS

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Then ther e is this r eally weir d zone of dr awing the figur e th at I c all “inspir ati onal dr awings”. They h ar dly r epr esent the figur e at all, and ar e mer ely inspir ed by the pose of the model; but after th at, it’s all abo ut letting yo ur cr eativity r un wild. While this c an be an incr edibly liber ating way to dr aw, be c ar eful not to tackle this witho ut a r eally good dr awing fo undati on - or yo ur dr awings will turn o ut overly unr eadable.

Episode 7

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EXAGGERATI NG THE STYLE is a r eally important p art of h aving fun with yo ur dr awing. This is the thir d way I look at exagger ati on, and it is done when yo u stylistic ally take some liberty. To get started with this kind of exercise, it helps to h ave some r efer ence on h and. F or example, tr y h aving some dr awings of classic Warner Br others c artoon ch ar acters like Bugs Bunny, Wiley Coyote, and Elmer F udd. Then, as yo u dr aw the model, tr y to incorpor ate yo ur dr awing into the old Warner Br os. style as if they wer e a p art of the c artoon. Yo u c an tr y this with just abo ut any artistic style. Yo u don’t always need r efer ence either; yo u c an exper iment with obscur e and str ange personal styles as well.

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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, but c an be quite ch allenging to cr eate good design.

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Well Educ ated Artists Ther e is value in dr awing fr om sight and ther e is value in dr awing fr om o ur minds. When we dr aw fr om o ur minds, we pull exper iences fr om o ur lives to sh ape wh at we dr aw. The r esult is a unique and personal r eflecti on of o ur self. Be well-educ ated artists, not just ac ademic ally, but in life. Get to know people and their personalities, find o ut their histor y. Analyze the individu al ticks people h ave, or their personality quirks. Cr eating exper iences with r eal people will enh ance yo ur pool of cr eative choices to dr aw fr om.

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Episode 8

The Idea I’d just finished working on stor ybo ar ds and an animatic for a big Hollywood studi o pr oducti on and wh at an awesome pr oject; so much fun to work on, so much fun to dr aw. But when it was over I was r eady to do something differ ent. I was on the plane coming home fr om L A, flying back to Utah, and I was just down - just r eally down bec ause I felt r eally over worked. I felt like was spending a lot of time in L.A. and a lot of time away fr om the family. We sometimes h ave the tendency to let o ur jobs take over o ur lives.

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(cont.) And I felt so over whelmed, I r emember sitting on the plane and flying home and I’m just listening to my iPod, and th at song fr om the Weepies c ame on, the song c alled “The World Spins Madly On”. And I just r emember connecting to those lyr ics. Abo ut how the world is just madly spinning and how tho ughts, certain tho ughts, help kind of r oot us in a world th at just spins. Like tho ughts of o ur loved ones, of people th at we miss and people th at we love. It br ings us back to a solid base so we’r e not spinning in th at world.

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(cont.) And at the time I just started thinking abo ut how much I missed, not only my wife, but also my kids, and just being home. And th at’s when I tho ught I’ve got to do something with th at, I’ve got to make a short film th at r elates to th at emoti on. And I want to do it with dance bec ause my kids wer e so into dance and I myself love watching contempor ar y dance, and my wife used to be a dancer, and so all these ideas starting coming to me. It all r eally c ame on th at plane r ide when I was exper iencing th at ch arge. And th at’s when, as an artist, yo u h ave to do something with it.

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Pr e-Pr oducti on I knew I co uld not animate a beautiful contempor ar y dance, bec ause I’m not a dance chor eogr apher, and th at’s wher e Kor i c ame in. Kor i Wakamatsu is a university dance instr uctor and chor eogr apher. She arr anged dancers to tr yo ut for this pr oject I was putting together. I spent a few weeks with Kor i in the dance dep artment filming potential r efer ence mater ial for the animati on. I didn’t want to influence the initial chor eogr aphy at all. Kor i wo uld do the chor ogr aphy, but she wo uld also chor eogr aph with the dancers. So the dancers wo uld sometimes s ay “hey want abo ut this or wh at abo ut th at,” so they wer e also cr eatively invested as well. As I watched the r ehears als and watched the dances I tr ied to envisi on in my mind ever ything th at I wanted to do as far as animati on goes and all these ideas kept coming to me as they wer e dancing. And in fact a lot of the modific ati ons th at we made wer e kind of “on the fly” bec ause of the ideas th at wer e coming.

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I N SPIRATION Cr eative inspir ati on is r eally h ar d to define and even h ar der to put a finger on the tr iggers th at sp awn cr eative tho ught. I h ave fo und th at “looking” for personal cr eative inspir ati on doesn’t work for me. I c an certainly be inspir ed when I look at other artists work, but personal cr eative inspir ati on comes at unsuspecting moments. It comes when we ar e sensitive to o ur emoti ons, o ur exper iences, o ur existence and other people. Th at sensitivity is ver y inconsistent and comes and goes unexpectedly. It seems we ar e most sensitive when we ar e going thr o ugh some sort of highly emoti onal exper ience. Th at’s when I feel like artistic cr eative inspir ati on is at it’s r ipest. It’s abo ut discover ing a personal connecti on with the fibers of o ur own life, and then using the knowledge and skills th at we’ve acquir ed over the years to cr eate a piece of art th at r eflects th at personal connecti on. Th at ch arge of emoti on will just fade away and die as a p ast emoti on if left unattended to. However, if yo u c an take th at emoti on, wr ite it down, document it, and plan to cr eate a work of art th at defines th at exper ience, then yo u’ve just r eceived and acted upon personal cr eative inspir ati on. And th at is wher e the magic h appens.

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I love tr aditi onal animati on, and I love h and dr awn animati on, ther e’s a life to it. It’s not a mathematic al algor ithm th at computed th at - It h as mistakes to it. I like th at.

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In or der to c aptur e the pr ofessi onal figur ative movement of human form accur ately, I used live dancers as r efer ence. However, just like when I dr aw the figur e with Conte, ther e is a tr emendo us amo unt of exagger ati on and cr eative explor ati on into ever y movement. Some ar e mor e liter al and honor the appr opr iate movement of the dancer, others completely dep art fr om the form and go into th at zone of explor ati on and styli zati on.

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The animati on is ver y silho uette dr iven, ver y much abo ut the figur e. But it’s fr om a distance, which is inter esting, bec ause often times in animati on or film when we want to show an emoti on we’ll go in tight, and go in close on th at expr essi on. But I didn’t want to do any of th at. I didn’t want to move the

c amer a ar o und, or intr oduce a close up and then a distance shot. I didn’t want to use cinematic techniques to tr igger emoti ons. I wanted it to be genuine in its simplistic natur e - two people, dancing, no facial expr essi ons, no dialog, h and dr awn and putting in a lot of symbolism.

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EF X animati on was my first c ar eer p ath into animati on. When I animate EF X elements like water, smoke, or fir e, I feel like a yo ung animator again, str uggling to be the best he c an be. It’s like r evisiting gr eat memor ies of wonderful p ast pr oducti ons.

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Ever y one of the beats in this film h as a personal tr igger for me. Ther e is a r eason and a meaning to it. However, I did not want to spoon feed th at meaning with overt acti ons. I wanted to allow each viewer to find their own personal meanings of, for example, the smokey figur e, the wings, the heav y cor ded arms, the var ying sh adows, etc.

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I knew I h ad a big task in fr ont of me, two and a h alf minutes worth of animati on, and 24 fr ames per second. Th at’s a lot of dr awings. But it’s not like work. When I look at the clock and I see I h ave co uple extr a of ho urs to come work on this, it’s r eally enjoyable.

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The animati on was dr awn in Adobe F lash. Ther e ar e 4,127 fr ames wher e the ch ar acters ar e moving. And ther e ar e quite a few layers; we’r e looking at 20,000+ differ ent dr awings . . . its kind of like animating the old fashi on way, wher e yo u h ad yo ur p apers in between yo ur fingers. So yo u co uld flip yo ur p apers and watch the movement while yo u wer e flipping it. As I flip thr o ugh the fr ames, altho ugh I am working digitally, it feels like the s ame pr ocess.

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began his c ar eer in 1995 as an animator for Warner Br other’s Featur e Animati on. Over the years, he h as worked as an animator, EF X animator, Concept Designer, Stor ybo ar d Artist and Animatic Artist. He h as worked for Sony Pictur es, Cartoon Network, Walt Disney Studi os, Marvel Entertainment and Dr eamWorks Pictur es on films such as Sp ace Jam, The Quest F or Camelot, The Ir on Giant, Osmosis Jones, Spider-man 2, Spider-man 3, Wher e The Wild Things Ar e, Ir onman 2 and Cowboys & Aliens (2011). Ryan h as pr oduced and dir ected 4 short films th at h ave played in over 30 film festivals worldwide. Since 2003, Ryan h as been a faculty member of the Animati on pr ogr am at Br igh am Yo ung University wher e he teaches stor ybo ar ding, figur e dr awing, and animati on. Ryan h as a BF A fr om Br igh am Yo ung University and an MF A fr om The Ac ademy of Art University in San Fr ancisco. Ryan is marr ied to Tiffany Easterbr ook Woodwar d and together they h ave thr ee daughters .

r yanwoodwar dart.com conteanimated.com

Pr evi o us volumes of Gestur e Dr awing books by Ryan Woodwar d:

Gestur e Dr awings And Sketchbook Fr om Life (2004)



A book collecting Ryan’s gestur e dr awings organi zed fr om ten second gestur es to 15 minute gestur es - in additi on ar e some exagger ative, cr eative, and r efined dr awings; and a small sketchbook secti on.



A small collecti on of a var iety of gestur e dr awings assembled fr om Ryan’s gestur e dr awing class in 2006.

Gestur e Dr awings Vol. 2 (2006)

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This is a fun styli zed ch ar ic atur e done by my good fr iend Jar ed Gr eenleaf who’s not only a p artner in cr ime with me but a gr eat fr iend. Yo u c an check o ut his work at: jsgr eenleaf.com