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Disclaimer: in no way can you take any of this as the “right” way of doing things. I’m still learning and some of this stuff may even be wrong. I am constantly adapting and changing my approach to drawing. This is just how I think about stuff and I wanted to share it with people. Maybe it can help, maybe not.
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About Me
- rad sechrist
- Rad is a storyboard artist at Dreamworks Animation. radsechrist@hotmail.com
My other blogs
Blog Archive
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2010
(133)
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January
(40)
- My creative process
- The 180 rule
- more comic process
- Drawn!
- notes from Xav
- anatomy of a cleanup
- Some good shape design and construction examples
- shape ideas
- getting a new view
- What I do when I have to storyboard a character
- More on stacking overlaps
- front and back for cartoon anatomy
- Quick anatomy
- A tutorial by Xav
- the Squiggle
- scribble
- more on eyes
- Different leg approaches
- A quick note on eyes
- props
- more fingers
- quick hand proportions
- drawing for storyboards
- Head tilts
- Hand demo
- School is starting
- Things people forget
- coming up with new shapes
- head drawing tricks
- cat girl demo
- combining forms
- Morning warm up
- Breaking into the industry
- Where the disney nose comes from
- The nose
- character design
- story class
- more on perspective
- perspective
- Story development for animation
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January
(40)
thanks for sharing this tips.
ReplyDeletegreetings from Chile.
A fast and easy method - very helpful! Thanks for posting this
ReplyDeleteThis is great, thanks a lot Rad!
ReplyDelete-GC
Perfect, thanks Rad !
ReplyDeleteI should take some times to practice now...
great tips rad,many thanks for sharin ^^
ReplyDeleteThank you so much for this and your previous post. For some reason, when you explained perspective this way, I finally "got" it. All the points (one-point, two-point [...red-point, blue-point]) and the "eyeline" (which was never what you were looking at and totally confused me) and all those terms just melted away and I could see what perspective is FOR. It's not just for drawing thsoe weird buildings and streets and train tracks and boxes that recede kind of creepily into the distance. It applies to EVERYTHING, even when there's no background or objects or what-have-you. It's in every drawing because its purpose is to make all the objects in a picture look three-dimensional AND look "right" in relation to one another.
ReplyDeleteThanks again for boiling it down like that. I think I'm going to get a lot better at drawing whole pictures (and even sketches) very soon.
east-eldmam
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