Overview of gesture drawing and drawing your first figure with gesture drawing
A free video tutorial from Neil Fontaine
Art Instructor, Professional Painter, Writer
4.4 instructor rating • 18 courses • 94,530 students
In this lesson, you will briefly learn what gesture drawimg is and is not, then you will draw your first gesture drawing of a figure.
Learn more from the full courseThe Power of Gesture Drawing: how to gesture draw figures
Take your figure from okay to stunning with gesture drawing
03:14:20 of on-demand video • Updated March 2016
- Draw great action poses using gesture drawings
- Learning what gesture drawing is and is not
- Use gesture drawing to draw figures quickly
- Learn to draw 90, 60, and 30 second gesture drawings
- Draw better figures
English [Auto] Hey how are you guys doing. So in this lesson we're going to do a before and after type of thing. So first of all I want you to do this on teacher quickly an overview of what josher drawing is and then I'm going to have you draw a quick gesture of drawing not non timed. That way you can see the before and after. So this will be year before her drawing before you took the course and then we'll do a after after you're finished with the course we'll do another just drawing we'll be doing just your drawings throughout. But at the end of the Course you'll have to do another just a drawing. I want you to compare the two together to see how far you come. Well I'll be using a program here called just a master that I basically made for myself. And it poses different pictures about 70 different random images that I that I photographed selectively to make best of gesture drawing and of the human figure. So right so the first thing about gesture drawing is what it is and what it isn't is it isn't trying to capture the contours which is the outer lines of the figure. It's not trying to draw what you see in front of yours and trying to draw the actual image itself rather it's trying to find the flow. The main flow the main movement of that gesture of that pose the main things I want to look at is trying to look at the overall arch the overall line. And there's three different lines of look at. So you have the straight line you have an S curve. And you have a c curve. These are the main lines that you want to focus on these three lines here are the main lines you want to focus on when you're trying to find the movement within a pose. So for example this pose here you can look at it as a see curve like that. And that's the main thing you're trying to capture or you can look at it as kind of S-curve. And that's the main thing you try to capture depending on which one you choose. It's going to change how this pose looks when you're done. Right so we're going to do this pose here. I'll be looking at on the phone but I'm a make a bigger image for you guys to see the punching pose here. We can do it once with the curve in mind and then we'll draw again with the curve in mind you'll see how it kind of changes what we're looking at because we're not trying to draw again what we're looking at. What we're trying to capture the movement of what we're looking at so let's start with the seeker. So first I want to go ahead and draw a secret here. You can draw it you know less or more depends on how much energy you want to have the more bound up it is the more energy that pose and have the more lucid is like that the less energy you have going to go with the more bound up energy here. Then we go in and flow and start with the arm. I liked the I liked the arm flow here and there's different techniques you can use when doing just the drawing. I'll I'll talk about those techniques. And another lesson for now just use whatever you want to do you can you scribble lines you can use opposite sees opposite seems to be like going like this and like that to capture the arm movement then I have the fist out here I can see the head is right here around the round the shoulder area. And so I'm just in the head. It's being hidden a little bit by the arm. The other arm is just kind of coming down here and kind of coming up to block the face neck someone kind of just put in a oval for the hips. And for the rib cage I don't have to bother with the with the breast or anything like that at all. But if I wanted to I can know that hey this was coming in front of the arm and so I kind of just do a basic shape. There again you're trying to capture the movement more than anything else you're not really trying to capture the the pose itself or what you're looking at you want the the movement and the gravity and all that to be felt. You want the feeling of the pose more than you want to actually try to draw something. So you're not trying something that resembles what you're looking at but that captures the essence the most you know the energy of it right now because I'm doing the C curve on this one here. And I'll I'll give you guys a I'll give you guys a drawing exercise afterwards you'll do it. We'll do both of these and I'll talk about Apteryx so because I'm doing this the curve. We want to focus on that so I really want to bring this leg out here more like this. Here's how much change the pose a little bit. I really want to bring that dynamic is there. Sometimes you know using stick figures works well and this link here I might go ahead and just kind of leave backwards like that so that way it's not competing so much with this otherwise I'm going to ask her mom to bring that leg back and see the slight difference that happens when we use the ask her for this pose. I'm a go ahead just use opposite kind of lines here are some of this so I noticed what the leg. All I did was capture these opposite kind of shapes and that's all you need to capture the the essence of this pose. I can see the pose. And then from there you can go ahead and add you know add more details to it if you wanted to but that captures the movement of that pose and that's all I'm trying to do is capture that movement. Right. That's if we use the scene now and do the same pose but this time let's kind of do this. Ask her if I want the top to have more maybe have more length than the bottom. Sometimes you know you're asked her where it's not just even ask like this or doesn't even ask like that. But the various has maybe a shorter you know shorter talk or shorter bottom will make it more pronounced and more powerful. Right so this one here I must start with the arm again. Ahmadu the shoulder come to the upper part and this one to do the Ahmadu the underparts right here and then have the hand come out like this. It's very basic lines. The point is you're trying to capture it quickly because sometimes you might be in a mall or just at a at a basketball game or a football game and you're just trying to capture the essence of appose really quickly that you see and sometimes you don't have 30 seconds 90 seconds. You know if you're lucky to try to capture the energy of that thing and that pose that you see and then if you have the idea and you kind of capture for even a couple of seconds you can quickly lay it down because it's still in your memory and you can quickly lay down how the image look to your mind the better you get out doing just the drawing you'll see that this change is noticed now. Pull the butt back more here because I'm trying to follow this gesture here instead. So now we have the lay kind of come back like this and come way back over here like that and be the main gesture for that leg like so. And then this leg I mean I have come down so have on the line here or the line here. I like doing the outer leg and the inner leg. It's up to you how you want to do you know how you come how you come about to draw the gesture is up to you. You can use you know a couple of simple lines. That's the fastest way to do it to capture the energy quickly. Or you can you know take your time and do more. More like block type stuff where you kind of block everything and using basic shapes so we'll do a ball do bolt. I'll show you the advantages of both of those. And another lesson so that's that's it. So we did one with the C curve and one with the curve and notice how it kind of changes the flow a little bit of that movement. When and how we how we choose to observe this particular action whether we observe it as an S curve. That's the main the main flow you want try to think of one line try not to focus on it when you're trying to find the line of appose trying to find one line only that says that's what the poses will go to. More about how to find lines and poses. And another lesson. So for now that's it. And then for the exercise I'll go ahead and give you some face time and let you know what I would like you to do. All right so thank you for watching this lesson. I'll see you in the next one.