Learn The Art Of Sketching

How To Sketch

An Easy Course For Anyone Who Wants To Learn The Art Of Sketching. The Author Shares Her Own Methods Plus There's Guidelines about Drawing And Sketching From Past Artists' Experience And Knowledge. What You'll Learn in this Book: Chapter 1: Sketching With Pencil. Of course you can use any medium but this guide's focus is on pencil so you're certainly not procrastinating over which medium to use before you start. Chapter 2: Materials. A brief explanation of the few things required. Chapter 3: Applying the pencil. The difference between drawing and sketching is sometimes blurred so we discuss that here and a few exercises regarding how to limber up make ready. Chapter 4: Quality of Pencil Strokes. Tactics you employ to get the best looking sketches. Know first what the medium can do, and then discover how to do it efficiently and expressively when you sketch. Chapter 5: Direction of Strokes. Taking small steps, we start with the easiest method to put down a sketch. Chapter 6: Character of Strokes. Building on what you learn in the previous chapter, you start to create more affinity for your sketches. Continue reading...

How To Sketch Summary

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4.7 stars out of 14 votes

Contents: Ebook
Author: Kerry Godsall
Official Website: www.allaboutdrawings.com
Price: $14.90

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My How To Sketch Review

Highly Recommended

I usually find books written on this category hard to understand and full of jargon. But the writer was capable of presenting advanced techniques in an extremely easy to understand language.

I personally recommend to buy this ebook. The quality is excellent and for this low price and 100% Money back guarantee, you have nothing to lose.

The Mature Auteur La dolce vita and a New Subjective Film Narrative

Satyricon Fellini Banquet Scene

Between La dolce vita and 8I 2, Fellini made an extremely important film that has not enjoyed much critical attention Le tentazioni del Dottor Antonio (The Temptations of Doctor Antonio, 1962), a contribution to an episodic film entitled Boccaccio '70 to which Luchino Visconti, Mario Monicelli, and Vittorio De Sica made contributions along with Fellini.24 This brief work, as well as another episode Fellini contributed to yet another film by several hands - Toby Dammit (1968) for Tre passi nel delirio (Spirits of the Dead), shot with Louis Malle and Roger Vadim - are absolutely crucial for an understanding of the evolution of Fellini's style.25 These episodic films reflect the growing influence of dreams and psychoanalysis upon Fellini, most particularly the theories of Jung. Fellini's interest in dream imagery would continue for the rest of his career. Moreover, Fellini (who had begun his interest in psychoanalysis during his personal crisis that coincided with the shooting of La...

Concept Illustrating

The work of James Clyne, concept illustrator (The Polar Express, Troy, Minority Report, Bicentennial Man), presented in Fig. 3-8, underlines the importance of previsualization in sketching and drawing. In essence, a concept sketch can be a single frame plucked from a continuity storyboard, or it can represent a visual concept for a set, a scene, or an entire film. A concept illustrator, whose skills are often shared between a designer and director, is a fundamental interpreter of ideas in an ongoing creative dialogue. In many high concept films, the participation of a metaphors illustrator must forward the development of a designer's visual concept. Often, the inherent imagery of an illustrator's productivity is a strong factor in the final design concept and realization of physical scenery. James Clyne reinforces this fact (please see Fig. 3-8 in color between pages 142 and 143)

Fourth Scouts

The last formal scout happens before the final production meeting and commencement of principal photography. During this scout all production heads including the director, the director's personal assistant, 1st AD, producer, UPM, head accountant, production designer, art director, set decorator, cinematographer, 1st assistant cameraman, gaffer, key grip, visual effects coordinator, construction coordinator, mechanical effects coordinator, Transpo captain, the location manager, and assistant location managers are assembled for several daylong rekkies. Scheduling this event is comparable to organizing a mini-production meeting-on-wheels in two production vans with scheduled lunch and dinner stops. Seating in the vans reflects each work-related group, positioned within earshot so that logistical questions that arise can be solved during the course of the day. As problems are solved and other considerations arise, mobile phones are in constant use for ordering equipment and supplies,...

Costume Designer

Work with the director's vision, Susan begins sketching. At this point in her design schedule, Susan also tries to talk with the actors she's designing for. She says that building a rapport, a trust, with the actors makes her job much easier. It also allows the actors to contribute some of their own ideas about the costumes and characters.

Lucebert

I am sketching this obsession with the body in deliberately broad brushes and perhaps even garish outlines, just so as to have a quick change of scenery also for the work of Van der Keuken, by shifting the backdrop from the previously painted canvas of (Dutch) documentary, framed by (Dutch) art history, towards one where the differences between background and foreground, high art and street culture, frame and horizon can hardly be assumed to be present at all. What in other words, would Van der Keuken's work look like when seen against this ground of the body in all its states and stages What space might it occupy, what energies might it put in circulation

Storyboarding

Although there is no specific outline available for a designer's visualization process, some are inclined to rely on storyboards as an effective shorthand method of visually communicating with the director and cinematographer. What we now refer to as animatics, has its roots in storyboard sketching. Harold Michelson's boards for The Ten Commandments (1956) and The Cotton Club (1984), Fig. 3-6A and Fig. 3-6B respectively, are extraordinary examples of previsualizing the shooting sequence of a motion picture.4 Even though digital tools exist to perform the same tasks as hand-drawn storyboards and concept sketching, both forms of storytelling continue to be used because they are immediate and also explore idea possibilities in a way that CGI cannot. Most often, the storyboard artist and concept modeler on computer are working simultaneously on different aspects of the same visual concept. The storyboard artist is drawing two-dimensionally, bound by the rectangular aspect ratio of the...

The Camera As Actor

Aim is to involve the audience in the story to the point where it loses sight of the camera and enters into the story as a participant. If the audience is aware of the camera, then it knows it is watching make-believe. Directors who like to show off by choosing unexpectedly clever or daring shots that interrupt the narrative flow are, in my opinion, shooting themselves in the foot. Unless these shots become an integral part of the story, it simply reminds us that there is a camera, a director telling it what to do, and that it is all fakery. In allowing the camera to become an actor in the scene, I am suggesting that the camera's movement be motivated by and follow the actors rather than having the actors move for the camera, thereby making its perspective a subjective rather than an objective one. This approach necessitates rehearsing first to allow the actors to find the movement motivated by the pursuit of their needs and actions and then following the rehearsal each day with the...

Freehand Sketching An Introduction

Freehand Sketching An Introduction

Learn to sketch by working through these quick, simple lessons. This Learn to Sketch course will help you learn to draw what you see and develop your skills.

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