The Drawing Club

(Fogra 29) Job:11-41057 Title:Drawing club Handbook

05-C70789 #175 Dtp:204 Page:26

001-144_C70789.indd 26 5/13/14 10:40 AM (Fogra 29) Job:11-41057 Title:Drawing club Handbook
05-C70789 #175 Dtp:204 Page:27

001-144_C70789.indd 27 5/13/14 10:40 AM

26 The Drawing Club

(Text)

The Gangster’s Girlfriend, marker on paper, Joey Mason

It is a never-ending challenge to translate what you see and experience in our three-

dimensional world to a flat, two-dimensional surface. I watch artists at The Drawing

Club wrestle with this every week.

But for a lot of the artists at The Drawing Club, design is all

about the decisions being made in drawing the character. For

these guys, placement on the page makes no difference. They

are too busy thinking about how the design of the shapes makes

the character look funnier, bolder, sexier, scarier, or whatever

else they want to communicate. All the great animators designed

like this. Look at any Chuck Jones cartoon, for example. Daffy

Duck doesn’t look like a real duck, Bugs doesn’t look like a real

rabbit, and Pepé Le Pew doesn’t look like a real skunk. They

are all examples of good design.

It is a never-ending challenge to translate what you see and

experience in our three-dimensional world to a flat, two-dimen-

sional surface. I watch artists at The Drawing Club wrestle with

this every week. They see the model’s pose as a starting point.

From there, they take liberties by redesigning the shapes to

make their own unique design.

In this chapter, we’ll look at several examples of good design.

You will see well-composed pages as well as well-designed

characters. We will take a closer look at why their designs

work and how you can design your drawing. There are many

approaches at The Drawing Club.

(Fogra 29) Job:11-41057 Title:Drawing club Handbook

#175 Dtp:204 Page:26

001-144_41057 2.indd 26 24/4/14 7:28 pm

27

(Text)

The Gangster’s Girlfriend, marker on paper, Joey Mason

It is a never-ending challenge to translate what you see and experience in our three-

dimensional world to a flat, two-dimensional surface. I watch artists at The Drawing

Club wrestle with this every week.

Chapter 2: Why Is 2-D Design So Important?

It is a never-ending challenge to translate what you see and

experience in our three-dimensional world to a flat, two-dimen-

sional surface. I watch artists at The Drawing Club wrestle with

this every week. They see the model’s pose as a starting point.

From there, they take liberties by redesigning the shapes to

make their own unique design.

In this chapter, we’ll look at several examples of good design.

You will see well-composed pages as well as well-designed

characters. We will take a closer look at why their designs

work and how you can design your drawing. There are many

approaches at The Drawing Club.

(Fogra 29) Job:11-41057 Title:Drawing club Handbook

#175 Dtp:204 Page:27

001-144_41057 2.indd 27 24/4/14 7:28 pm