Andrew Loomis | Uncannymanfrog's Blog This is my well worn copy of Andrew Loomis‘ book “Figure Drawing for All It’s Worth“. This is THE best book you’ll find for understanding how to portray the figure in “3d” space. I’ve dozens of books on anatomical illustration in my library. If I had to pick just one, this is definitely the one I’d grab as I ran from my burning house. First published in 1943, it’s gone through 25 printings, the last one in 1973. When I was growing up, I recall seeing abridged forms of this tome published by Walter Foster, those thin oversized volumes that are popular in art supply stores. There are lots of anatomical charts like this one in the book. There is so much information packed into this book and Loomis knows how to make it easy to assimilate. and Illustration Susanita Little Gallery prepara otra nueva exposición y se llamará "Sing that Movie!". En ella participarán casi 70 ilustradores de varios paises con sus riquiñas versiones de películas cantadas de diversos tipos de género. La exposición on line comenzará el día 25 de Marzo en la página de Susanita pero antes tenemos una cita el Domingo 24 en Lunch Box de Madrid donde se expondrán los originales, estáis todos invitados! Mi aportación esta vez ha sido la versión de "My fair lady" con Audrey Hepburn. Susanita Little Gallery is preparing a new exhibition called "Sing that Movie!". Bocetos y pruebas de color.
..:: Laura Braga ::.. Drawing the Proportions of the Human Body A 7½-head figure, in which the length of the head serves as a basic unit of measurement, is the standard of proportions used in most realist schools and the one I taught my students in Florence. It’s important to keep in mind that the bodies of 99 percent of the world’s population don’t follow these rules; we all come somewhere close. Most adults are approximately 7 to 7½ heads high. Sign up for The Artist’s Magazine email newsletter & get great drawing tutorials & tips in your inbox. Measuring by a Head (These are approximate measurements.) • The length of the trunk and head together measures 4 heads. • The first measure falls at the chin. • The second head-measure is just below the nipples or the bottom of the fifth rib. • The third lines up with the navel. • The fourth division lines up just below the groin and just above the bottom of the gluteal fold (the prominent fold on the back of the upper thigh) when looking at the figure from behind • Online seminars for fine artists
Foot (and Shoe) Reference Part 2 When it comes to challenging parts of anatomy, feet rank right up there with hands and faces in terms of difficulty. Look at the paintings of Frank Frazetta; he would often go to great lengths to avoid painting a character's feet, even though they were perfectly acceptable when he did paint them. Drawing feet in shoes is challenging for many as well; I don't know how many odd kidney bean and smooshed bread loaf like appendages I've seen drawn at the bottom of a figure's legs over the years. But fret not, Jack Hamm has given us these wonderful guidelines in his classic figure drawing manual "Drawing the head & figure": Yes, the footwear is somewhat dated.
Character Design | Artist Interviews introduction I’ve been lurking, mostly, and figured I’d do a proper introduction post. I’ve been off the map for the past 2 years [mostly due to grad school] but people like jaborwhalky keep trying to prod me out of my hibernation with pointy sticks and banging pots and pans. Since the look seems to have gotten some attention, I figure I’ll give you some background on it. I’m a Production/Costume&Scenic designer [some of my work can be seen on my journal]. For years I’d been obsessed with 19th century menswear and made it into a pet hobby, dissecting old garments to learn how they were really engineered. Made myself as close to historically accurate replicas as I could get and wore them as my everyday clothes. This is in large part because I’m 6’5” and nothing fits me anyways. At the time I was much more involved going out to goth and industrial clubs, would dress fully 19th century [which mostly just meant adding a collar and tie to what I was already wearing].
stuff i did: TURBO: Turbo Perseveres (2011) Part 2 of 2 It's from this point that I managed to keep the camera close to the ground at Turbo's eye-level for that emotional connection. I tried to maintain his point-of-view throughout. Sculpting a Maquette with Tony Cipriano: Part One I met Tony Cipriano in 1991 when we worked together on "Beauty and the Beast" at Walt Disney Feature Animation's studio in Florida. Tony had a most unusual path to WDFAF, which you can learn about in the videos below. Since then he's also earned credits on Disney's "Aladdin" , "Pocahontas" "The Hunchback of Notre Dame", Tarzan", Mulan", and "Brother Bear".Since 1997, Tony has been a freelance sculptor for the animation industry as well as for many toy, action figure and collectible figurine companies, including McFarlane Toys, Dark Horse Comics, Funko, Enesco, Mezco Toys, Sideshow Collectibles, Bowen Designs, DC Comics, Walt Disney Classics Collection, Toy Biz, Dreamworks Animation, Comedy Central, Hasbro, Cartoon Network, Warner Brothers Studio Stores, Scholastic, Matell, and Madison Square Garden. Tony's studio is in Long Island, N.Y., where he lives with his wife, three children, and three dogs. Sculpting Alfred E. This is the Chavant clay. My favorite tools. Part Two:
Deja View: 11/09/13 Storyman Bill Peet drew these sketches of The Colonel, an Old English sheepdog, from the 1961 movie 101 Dalmatians. Most of the animation for this character was done by John Lounsbery, who must have been relieved to have gotten this assignment. After animating mostly serious and dramatic scenes for the previous film epic Sleeping Beauty, he again was given the opportunity to handle comic animation. When you look at Lounsbery's career, it's his eccentric characters who are the most memorable. Below are a few of his oversized thumbnail drawings for the scene when the Colonel, after realizing that Pongo and Perdita are close by, tries to meet them half way. Over the years John didn't get to develop his "own" characters very often in the way Frank & Ollie or Milt did. So much life in these drawings.