Intro To Gesture Drawing: Achieve Fluidity & Aliveness in Sketches | Brooke Jurdak | Skillshare

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Intro To Gesture Drawing: Achieve Fluidity & Aliveness in Sketches

teacher avatar Brooke Jurdak, Artist

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

7 Lessons (24m)
    • 1. Intro To Gesture Drawing

    • 2. Line Control

    • 3. Line Of Action

    • 4. Shape Language

    • 5. Silhouette

    • 6. Gesture Drawing

    • 7. Recap & Assignment

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About This Class


Gesture drawing is quick, loose and playful but it's also rhythmic, popping and alive!

This is a 20 min introduction to bringing your sketches to life focusing on rhythm and movement. This is a suitable class for beginners. You will learn to:

  • Build muscle memory
  • Increase your confidence, accuracy and speed in line drawing
  • Strengthen observational skills
  • Understand the line of action and shape language
  • Utilize rhythm for dynamic gestures


Meet Your Teacher

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Brooke Jurdak



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1. Intro To Gesture Drawing: Hi. Welcome to introduction to gesture, drawing achieve fluidity in the lightness in your sketches. This is a 20 minute introduction to bring your sketches till life, focusing on rhythm and movement. My name is Brooke. I'm an artist with a bachelor's of finance and beautiful animation. Yet I am a student for a life. I am obsessed with learning, and I cannot wait to get started on this lesson with you. When getting into the hang of drawing as a big dinner, sketches can feel stiff and overly control. What if you could learn to draw looser, resulting in more expressive in life like drawings? In this class? You'll don't in 20 minutes had a build muscle memory, increased your confidence, accuracy and speed and line drawing. Strengthen observational skills, understand the line of action in shape, language and utilize rhythm for dynamic gestures. This is a course that's welcome to beginners with no prior experience. Whether you're a hobbyist side hustler or on Earth students, your assignment is going to be to do two drawings. The subject ca meat of your choice. The first drawing is to demonstrate the line of action in the 2nd 1 is to show. It's cheap language that is readable. And Daniel finally is your teacher. I want to remain totally open and available to you. If you have any questions, just feel free to post below. I've read every comment and I answer all of your questions. And so with that said, Just have fun and let's begin. 2. Line Control: lying control connecting the dots. Here I'm connecting point a to point B, with the straightest line possible to practice straight lines and goes the line before drawing it. Ghosting just means I'm hovering above the page from my stirred to end point. Then they draw that connection. Notice how I sometimes rotate the page in order to make it more comfortable. This practice is done for the sake of developing muscle memory is you leader. Draw more complex things such as vehicles, for example. You want to make sure you have a steady hand for straight lines, arcs and curves. Ovals, too. On town leads there is a future. Dad gives you perfect lines that are smooth and straight, but I've turned that option off is it would defeat the purpose of the exercise X. The exercise is to develop a real skill in your own hand. You may find yourself drawing slowly at first, which is completely normal, but it's also meditative in itself. 3. Line Of Action: line of action. Two questions. What is the main idea of oppose? And how can I express that with one line? It's kind of like a pictographic language. It almost looks like Hi Rogel. If ICS were thinking and really abstract, really simplified terms, don't overcomplicate this. Look at the pose for two seconds. Don't think too much. You just want to get the movement. We're not drawing hands, feet faces. None of that just the overall flow that's happening. 4. Shape Language: As a teenager, I had the opportunity to visit that s Sophia Museum in Madrid. I remember seeing Pablo Picasso's work, and I couldn't care less. I have never felt anything for Cubism, so I kept wandering through the museum and this struck me. Nothing has ever struck me before or after. Like this painting by Herman Anglada Cameras A titled Sonia Declamatory, 1913 this flamboyant style was inspired by the arrival of I'm Gonna Butcher his name. Diaghilev's ballet Reus is in Paris, featuring Nen, Genske and Pavlova. Unfortunately, I I didn't own a cell phone at the time, and I didn't have a paper and pen to write down the artist's name. I was so disappointed because I knew I was never going to come back and years went by, and I never forgot it. Recently, I searched online through all Madrid's museums and found it. Although the photograph is horrible, it doesn't show how electric did how electric and juicy the colors are. It really is a dazzling painting in person. Even in this painting, with all the detail and color going on, you can still break the subject down into basic shapes as I show you here learning how to see an artist looks at reality and Husted filter all of this overwhelming detail and decide what's important. Do a lot with very few strokes. We're talking about efficiency and simplicity. Identify what's important, then put the rest aside. As an artist, you can manipulate reality and maintain a likeness. Artists aren't copy machines. We observe something and filter it through work choices. Learn to observe reality properly first, because if you can't, you certainly won't from your head. Identify how you feel about what you see. Ask what will they emphasize? But will they eliminate? Why did they want to sketch this in the first place? Do whatever it takes to make a bold, simple statement. Shape language subconscious. The were aware of the different feelings. Shapes communicate just by using circles, squares and triangles. You can create interesting characters. The circle's edge is give us soft friendly vibe. There's a, ah, warmth and happiness in the design. A square or rectangle elicit stability. Strength permanence. Like the Notredame Cathedral, a triangle with its pointy edges can be sharpened dangerous. Here's an example from Pixar's Inside Out. It's super clear just how basic the designs are the character joy. She has the shape of a star. If you watch the movie, it goes well with her personality. She's very free and flowing in her movements. She's rank this tiny dress dancing around. She's very excited. Greed is a triangle. Notice her pointy eyes, the shape of her eyes, the tips of her lashes that just stick out the tips of her hair. Everything about her poses very angular. Anger is represented as a contained square about blow. Sadness is an upside down teardrop. And if you compare a sadness to joy joys wearing this tiny dress, sadness has this big comfy, you know, Ah, sweater. She doesn't want toe go anywhere, really. And in the middle you have fear who literally has a question mark at the top of his head. So if you, um, as a second example, if you saw Monsters, Inc. It's even more obvious. Sully is a giant rectangle, which makes him look strong and tough. But in contrast, Wazowski is a circle which, as I mentioned earlier, is more friendly nature. Hence off his inability to scare Children 5. Silhouette: silhouette. If you're subject was blocked out, would you still be able to tell what it waas? Silhouette is a strong part of design. It's all about readability. Ask yourself what is the main idea and how can I? Just when I'm seeing to convey that idea so I know it being not being completely necessary . When you're looking at your subject, you may find that every it's perfectly. But if not, um ah pose may have to be shifted slightly or dramatically in order to maximize readability in situations such as this. Adding negative space where there isn't any helps make out the separation of limps in a split second. Do you know for sure what this is? What about this or this? It's a little bit ambiguous, but the's air three drawings showing the top view 1/3 in frontal view of a stuffed bear, Theis demonstrates why a strong silhouette helps avoid confusion. Looking at the boy on the left who was bent over from our point of view, if we were to block his body out in black ink, we will lose a lot of information. His arm that's facing us would completely disappear with the curve of his back. The hand far this from us is barely peeking through. So in my drawing I've rotated his body a bit to a side view race. The arm holding the sword as the hand farthest is now a bit more in view with the original post. If it was blocked out, we wouldn't even know he was carrying this word with this game Border. I had changed him quite a bid. The direction of his feet are going a little bit more in the direction that the skateboard is going. I added negative space. Um, where? Hiss. Let's say the arm furthest away from us is with the leg. You see that negative space before and the original his chest. He's his more crouched over and, ah, and then with the hair to that. There is a bit of that that negatives face that gap from the shoulder to the neck. Uh, but I think you can see it reads so much more clearly. If you blocked out the original, you'd It's not too bad, but here, rotating the body a little bit, so it's a little bit more from the side view with the legs. It's a lot clearer for the dancer I. The only thing I changed was adding a bit more negative space between the legs. Everything else remains relatively the same. And here, Teoh, I drew the letter J over it because it kind of looks like that. Or maybe a little bit like a good tea. So what's the main point of this pose of this action? We really see his legs and his arms stretched out store. So is a small part of this for me. When I look at it, it looks like the number seven so sometimes poses will look like a letter, a number, and that can help you just get to the point very quickly. In a gesture drawing here, I just added a little bit of negative space, more negative space and what you see in the photograph just to help with a a bit more clarity that there's there's that second leg there, and right here the job is already done. I'm just blocking it in. I'm gonna end up speeding up the video because, yeah, there's just a block in and some cleanup. Andi know anatomy. It looks like a stick figure. It's, um yeah, it's supposed to be, and there you have it 6. Gesture Drawing: as I'm about to go into this demo, I want to talk a little bit about creation and cultivation. My definition of art is that art is to put into physical form an emotion, memory or story, even the loose gesture. Drawing with no detail. You can convey emotion, movement and life. The goal is to achieve emotional impact and this introduction to gesture drawing. You want to get across the movement and action happening. If drawing a person facial details, hands feed do not matter. It is the overall flow of movement that needs to read. As an artist, you are the storyteller. What is it that you want to communicate? Returning to this colorful drawing that I did now, this was Dunn's. Was drawing done live? There was a couple of musicians playing, and I have my coloring pencils with me. If you look carefully, you're going to see there's a lot of overlapping, um, in the legs. You see them in one position and then in another, sometimes you see the hand drawn twice, and so what I would do is I had these different colors. Let's say, started off with the color blue. I'll do one quick gesture. Probably don't even get everything in there, and then I'll take. When I'm finished, I'll take red crown or a yellow one or whatever, and I'll start adding different things that I'm now seeing, so it's kind of like, you know, the person is moving. 7. Recap & Assignment: as a recap. When drawing the line of action, ask yourself, What is the purpose of this action into? How can I best communicate this in a single line drawing using your whole arm? Not just your risk And think of, you know, broad strokes for tips on how to continue this practice and also give you a little bit of a challenge. Goto Life Model Sessions The do quick 32nd gestures. One minute, three minute poses. It helps you think fast and really get into the flow of gesture drawing. Keep with you a small sketchbook and do a quick gestures of people. Objects animals while waiting for the subway or getting on a bus. If it's a rainy day and you normally feel like going out, why don't you just go on YouTube and you can look for, Let's, say, a tangle video? Slow down the speed and start sketching to slow down the speed. It's literally in the settings icon that's on the lower right corner of of the screen. And so basically, you go to settings speed, and then they're gonna see the options for 0.75 point 54.25. You can also do a photo studies. But for that, And just make sure to, you know, put a timer on your phone on your computer or any other way and make it for let's, say, 30 seconds or in minutes. You really want to get into the habit that there is this time limit for you to draw its, and one of my last tips is, Why not get permission to sit in on a dance class so you can sketch them? That's pretty hard, because, you know they're dancing quickly, but it could be like swing dancing, ballet, jazz, hip hop, whatever you want. I've done it before, and they're pretty cool about it. And so just look what's going on in your area and see what you can do to continue practicing. Gesture. Drawing okay for your assignment, it's gonna be with the subject of your choice. Draw the line of action using a single line or two and have the second drawing demonstrate this simplified shape. Whatever you choose, must listen movement. So I gave examples of yoga dance martial arts, but there's a lot of other examples that you can take from this well drawing from life is highly recommended by If you prefer to start with a picture or slow, slow down YouTube video, you can do that as well. Feel free to use a brush, pen, coloring, pencils or digital college. I really don't mind. Just don't get into details. So if you are drawing a person, don't get into facial detail, fingers, toes, shoes, that kind of stuff. We want simplicity and abstraction. I've also supplied some references if you don't know what to draw, so let me know. Was this video helpful? Please post your work below in the class Project gallery, especially if you do want feedback. And if you have any questions, Post Post a comment. Have you more than happy to help you out? And so I think there's so much for watching and a fun