Krenz practical illustration perspective understanding 03
the more vertical/horizontal your characters, the stiffer they become, you have to show clearly the angle of the character
generic dynamic pose, notice how clearly defined the angles are for each major line of the body
you can tilt the head either forwards or backwards depending on which rhythm line you want to emphasise
every change in direction must be clearly shown
clearly defined torso lines, basically straight
notice how the rhythm lines of both lines hit a imaginary point, "it's important that the rhythm lines of both legs are not parallel, that creates a boring image"
more rhythm lines created by arms, head, and the staff
notice how a lot of lines tend to intersect at a imaginary point in space
there is a concept of balance within rhythm lines, if you have a lot of lines traveling to the left, you also need some line traveling to the right to balance it out, they can't all point in the same direction
more intersecting lines
the gaze of the character is also important, notice how it is placed within the large mass of rhythm lines to the left, and not to the right, which would make it feel unbalanced
here he illustrates the concept of one simple and one complex side in the torso
another technique illustrators use is arrange the head/upper chest into a triangle for dynamic poses
Landmarks
notice the sharp corners around the dots, they exist because they are where bone protrudes under the skin or where muscles fit into each other, these areas must be clearly shown
example of bones under
you normally wouldn't draw a shape like this because it looks boring
thats why you add shapes of contrast, it allows your eyes to stop at the corners, and the changes in distance/angles creates interest for the eyes
example picture from a student, on first glance it looks correct but the lack of bumps from landmarks/muscles makes her boring, and the overall rhythm is weak
unfamiliar artists commonly make the back + lower torso area one smooth flat line, it doesn't allow your eyes to stop and look at any corners
krenz's draw over, notice how he's thought about various landmarks/muscles/bra clamping down on skin/collar bone
if you have a good knowledge of all location/distances between these points and you want to create a confident looking drawing, simply join up the lines between these points.
Ratios
if you were asked to draw a thigh, where would you say the outer bump is? 1/3 1/2 2/3? each result creates different type of thigh, a lower 2/3 bump would indicate a strong muscular thigh while a 1/3 thigh would indicate a lean woman's thigh
17:00 minutes in lesson 3
