(Fogra 29) Job:11-41057 Title:Drawing club Handbook
#175 Dtp:204 Page:58001-144_41057.indd 58 4/24/14 7:20 PM (Fogra 29) Job:11-41057 Title:Drawing club Handbook
#175 Dtp:204 Page:59
001-144_41057.indd 59 4/24/14 7:22 PM58 The Drawing Club(Text)
As you continue drawing, start to simplify and/or exaggerate
the shapes and proportions to better communicate the charac-
ter in each drawing. Consider each drawing a separate story.
Through the process of doing lots of drawings, the details of the
costume become more predictable, so you can stay focused on
the character and what he is thinking in that moment. For ex-
ample, if you are drawing a Shriner in a parade, in that pose, the
Shriner might look a little bit drunk and very festive. You might
want to play with the shapes in your drawing to communicate
to the viewer that the Shriner had a few too many and looks a
little bit disoriented but is completely harmless. In John Quinn’s
drawings of the Shriner, you can see elements of what kind of
day the Shriner had. John played with the shapes to better tell
the story of how we are celebrating with him, but we are allowed
to laugh at him.
Being a good storyteller through drawing is not easy and takes
a lot of practice. Allow yourself to take chances. Trial and error
is the key. Remember, bad drawings help pave the way to great
drawings.ExErcisE:What is the character thinking?
When I watch movies, I am the most impressed with actors
who can act brilliantly without much dialogue. Clint Eastwood,
for example, is fun to watch because just by his eyes and
the way he grits his teeth, you can tell what his character is
thinking. Try watching movies with the sound off, and you will
see what I mean. Bad acting looks stiff; and good acting almost
needs no dialogue.
When your model takes a pose in character, try not to just
draw a person in a pose. Think about what that character might
be thinking about in that pose. The bridge that links drawing the
person posing in character and expressing what that character is
thinking in that moment is pure storytelling.
When you are trying to express a sense of storytelling with
your characters, remember that you are both designing the char-
acter and defining the moment for that character all at the same
time. To warm up, it’s not a bad idea to draw the character the
way you see him, just to get to know all the shapes and textures
first. The proportions can be accurate if it makes things easier
for you.Andy Flaster as a ShrinerAbove and opposite, Shriner Parade,
colored pencils on paper, John Quinn(Fogra 29) Job:11-41057 Title:Drawing club Handbook
#175 Dtp:204 Page:58001-144_41057 2.indd 58 24/4/14 7:30 pm
59(Text)
As you continue drawing, start to simplify and/or exaggerate
the shapes and proportions to better communicate the charac-
ter in each drawing. Consider each drawing a separate story.
Through the process of doing lots of drawings, the details of the
costume become more predictable, so you can stay focused on
the character and what he is thinking in that moment. For ex-
ample, if you are drawing a Shriner in a parade, in that pose, the
Shriner might look a little bit drunk and very festive. You might
want to play with the shapes in your drawing to communicate
to the viewer that the Shriner had a few too many and looks a
little bit disoriented but is completely harmless. In John Quinn’s
drawings of the Shriner, you can see elements of what kind of
day the Shriner had. John played with the shapes to better tell
the story of how we are celebrating with him, but we are allowed
to laugh at him.
Being a good storyteller through drawing is not easy and takes
a lot of practice. Allow yourself to take chances. Trial and error
is the key. Remember, bad drawings help pave the way to great
drawings.Above and opposite, Shriner Parade,
colored pencils on paper, John QuinnChapter 3: Concept and Story(Fogra 29) Job:11-41057 Title:Drawing club Handbook
#175 Dtp:204 Page:59001-144_41057 2.indd 59 24/4/14 7:30 pm