美术学专业：《解剖学》课程书籍文献（课外）国外动漫人物动态结构绘画技巧教学

Part 1:Figure Drawing Basics-Action Structure

1 Cartooning–Concepts and Methods Part 1: Figure Drawing Basics, ™ and © Don Simpson 2000, all rights reserved. For individual use only. Classroom use without express written permis￾sion is strictly forbidden. Please email fiasco@MEGATONMAN.com for information. Published by Fiasco Comics Inc., PO Box 64, Wexford, PA 15090. www.MEGATONMAN.com Part 1: Figure Drawing Basics—Action & Structure

The Stick Figure In our methodical approach to building up your confidence as an artist, A reasonable stick figure at this point should contain a midline for the spine,two a Now draw your stick figure running,jumping,falling,walking,running. climbing-see how many poses you can come up with.The record is 40961 Don't worry about niceties like exact proportions at this point.Getting your point across is everything.We'll be getting fancier a little later on. 88

2 Cartooning–Concepts and Methods Part 1: Figure Drawing Basics, ™ and © Don Simpson 2000, all rights reserved. For individual use only. Classroom use without express written permis￾sion is strictly forbidden. Please email fiasco@MEGATONMAN.com for information. Published by Fiasco Comics Inc., PO Box 64, Wexford, PA 15090. www.MEGATONMAN.com In our methodical approach to building up your confidence as an artist, we're going to tackle something simple at first—our friend the stick figure. Go ahead, draw one right now! A reasonable stick figure at this point should contain a midline for the spine, two arms, two legs, and a circle for the head. Fingers for hands and lines for feet are optional, but being the conscientious craftsman that you are, I know you'll want to include them. Now draw your stick figure running, jumping, falling, walking, running, climbing—see how many poses you can come up with. The record is 4096! Don't worry about niceties like exact proportions at this point. Getting your point across is everything. We'll be getting fancier a little later on. The Stick Figure

Okay,so anybody can draw a simple stick figure.But the point I'm trying to get across here is that,more importantly,everyone recognizes what a stick figure represents-a person Isn't that amazing? Cartoonists are able to communicate even with the most elementary of pictures.Show your drawings to you they can tell what your stick figuresare doing.If they thats okay.Many pose illbeopen to interpretation.Just compliment head back to the drawing board! Conveying specific actions and even emotional states of mind with a few quick lin and I dare say as few lines as possible-is an important first step towards drawing fully realized figures.If you can accomplish that with your limited stick figures,think of what you can accomplish with even more tools at your disposal

3 Cartooning–Concepts and Methods Part 1: Figure Drawing Basics, ™ and © Don Simpson 2000, all rights reserved. For individual use only. Classroom use without express written permis￾sion is strictly forbidden. Please email fiasco@MEGATONMAN.com for information. Published by Fiasco Comics Inc., PO Box 64, Wexford, PA 15090. www.MEGATONMAN.com Okay, so anybody can draw a simple stick figure. But the point I'm trying to get across here is that, more importantly, everyone recognizes what a stick figure represents—a person! Isn't that amazing? Cartoonists are able to communicate even with the most elementary of pictures. Show your drawings to your friends and see if they can tell what your stick figures are doing. If they misidentify some of your drawings, that's okay. Many poses will be open to interpretation. Just compliment them on their keen perception and head back to the drawing board! Conveying specific actions and even emotional states of mind with a few quick lines—and I dare say as few lines as possible—is an important first step towards drawing fully realized figures. If you can accomplish that with your limited stick figures, think of what you can accomplish with even more tools at your disposal

A More Sophisticated Stick Figure Let's use a slightly more mor c like an a As before,don't be overly concerned with correct proportions right now.Stay focussed on depicting actions-leaping,swinging golfing,. We've added a line across the shoulders and a line worry about making your sticks perfectly straight lines, either-in fact,slightly curvy lines are more human.And don't even worry about n ever feels right. Again,test your drawings out on others.If people can tell what activities your stick figures are involved in,you're doing great!

4 Cartooning–Concepts and Methods Part 1: Figure Drawing Basics, ™ and © Don Simpson 2000, all rights reserved. For individual use only. Classroom use without express written permis￾sion is strictly forbidden. Please email fiasco@MEGATONMAN.com for information. Published by Fiasco Comics Inc., PO Box 64, Wexford, PA 15090. www.MEGATONMAN.com A More Sophisticated Stick Figure Let's use a slightly more sophisticated stick figure, one that is shaped a little more like an adult person. As before, don't be overly concerned with correct proportions right now. Stay focussed on depicting actions-leaping, swinging, golfing, rowing, sitting, etc. We've added a line across the shoulders and a line across the hips, as well as definite elbow and knee joints. Don't worry about making your sticks perfectly straight lines, either—in fact, slightly curvy lines are more human. And don't even worry about getting the curves right, either—just go with what￾ever feels right. Again, test your drawings out on others. If people can tell what activities your stick figures are involved in, you're doing great!

well y even use some of your 4096 poscs you came up with for the shorter,stubbier stick figure and see if they can be translated to the more sophisticated model. Your friends may tell you they like your older,funnier work better-don't be discouraged!Keep right on drawing. CATONAN O NLOTONMA

5 Cartooning–Concepts and Methods Part 1: Figure Drawing Basics, ™ and © Don Simpson 2000, all rights reserved. For individual use only. Classroom use without express written permis￾sion is strictly forbidden. Please email fiasco@MEGATONMAN.com for information. Published by Fiasco Comics Inc., PO Box 64, Wexford, PA 15090. www.MEGATONMAN.com Our new, sleeker stick figure seems to lend itself to more graceful and athletic themes. But try comical situations as well. You may even use some of your 4096 poses you came up with for the shorter, stubbier stick figure and see if they can be translated to the more sophisticated model. Your friends may tell you they like your older, funnier work better—don't be discouraged! Keep right on drawing

The 3 Basic Solids It's time to let you in on a little secret.The stick figure makes such a co person all people have got inside them-a skeleton!The spine,the arms,the legs-all fied way in a stick figure With the skeleton in mind, which we already have:the skull(the head),the rib cage (the chest),and the pelvis (hip bone).These are the three large s in for right now

6 Cartooning–Concepts and Methods Part 1: Figure Drawing Basics, ™ and © Don Simpson 2000, all rights reserved. For individual use only. Classroom use without express written permis￾sion is strictly forbidden. Please email fiasco@MEGATONMAN.com for information. Published by Fiasco Comics Inc., PO Box 64, Wexford, PA 15090. www.MEGATONMAN.com The 3 Basic Solids It's time to let you in on a little secret. The stick figure makes such a convincing person because it represents, in a minimalistic way, what all people have got inside them—a skeleton! The spine, the arms, the legs—all are represented in a simpli￾fied way in a stick figure. With the skeleton in mind, we can now add three shapes to our stick figures to make them more real, one of which we already have: the skull (the head), the rib cage (the chest), and the pelvis (hip bone). These are the three largest bony masses in the body. Use simple ovals for right now

After you've drawn the spine arms and d legs to k figure, proceed to add the chest, hips and head to begin flesh- ing things out.See how quickly things are taking shape? Keep the focus on the action,first and foremost.If your drawings don't communicate the story your trying to tell,all the ovals in the world aren't going to help you. Build on a solid foundation action and emotion! Oata5o二Cc2oxTo

7 Cartooning–Concepts and Methods Part 1: Figure Drawing Basics, ™ and © Don Simpson 2000, all rights reserved. For individual use only. Classroom use without express written permis￾sion is strictly forbidden. Please email fiasco@MEGATONMAN.com for information. Published by Fiasco Comics Inc., PO Box 64, Wexford, PA 15090. www.MEGATONMAN.com After you've drawn the spine, arms and legs to establish the action of your stick figure, proceed to add the chest, hips and head to begin flesh￾ing things out. See how quickly things are taking shape? Keep the focus on the action, first and foremost. If your drawings don't communicate the story your trying to tell, all the ovals in the world aren't going to help you. Build on a solid foundation: action and emotion!

The Main Line of Action The first thing you need to determine is the main line of action for your figure. Fo purposes,that is synonymous with the spine.The first line you should put down on paper should be that line-it deter- mines the entire thrust for dthehed r off Notice how the three basic solids-chest,skull and pelvis-relate to each other differently depending upon the arc of the spine. Continue the sweep of your It's important to never lose sight of your stick figure, because it represent the skeleton.And where bone goes,flesh will surely follow!

8 Cartooning–Concepts and Methods Part 1: Figure Drawing Basics, ™ and © Don Simpson 2000, all rights reserved. For individual use only. Classroom use without express written permis￾sion is strictly forbidden. Please email fiasco@MEGATONMAN.com for information. Published by Fiasco Comics Inc., PO Box 64, Wexford, PA 15090. www.MEGATONMAN.com The Main Line of Action The first thing you need to determine is the main line of action for your figure. For all intents and purposes, that is synonymous with the spine. The first line you should put down on paper should be that line—it deter￾mines the entire thrust for the rest of the figure. Limbs and even the head branch off from that. Notice how the three basic solids—chest, skull and pelvis—relate to each other differently depending upon the arc of the spine. Continue the sweep of your pose into the arms and legs. Keep your figures moving! It's important to never lose sight of your stick figure, because it represent the skeleton. And where bone goes, flesh will surely follow!

Okay,so now every pose is starting to look like dancing. Oh well.You get the point. Cn5oR二Cc2oeom

9 Cartooning–Concepts and Methods Part 1: Figure Drawing Basics, ™ and © Don Simpson 2000, all rights reserved. For individual use only. Classroom use without express written permis￾sion is strictly forbidden. Please email fiasco@MEGATONMAN.com for information. Published by Fiasco Comics Inc., PO Box 64, Wexford, PA 15090. www.MEGATONMAN.com Okay, so now every pose is starting to look like dancing. Oh well. You get the point

Twisting and Turning Along the Spine The spine conveys the main action of a figure because it's highly flexible.The back bends,twist around-and it's all thanks to our friend the spine. Don't draw your figures with a single solid body mass. Move the should in relation 8tac to twist and turning in relation to the hips.Make use of the flexi- bility of the spine. 10

10 Cartooning–Concepts and Methods Part 1: Figure Drawing Basics, ™ and © Don Simpson 2000, all rights reserved. For individual use only. Classroom use without express written permis￾sion is strictly forbidden. Please email fiasco@MEGATONMAN.com for information. Published by Fiasco Comics Inc., PO Box 64, Wexford, PA 15090. www.MEGATONMAN.com Twisting and Turning Along the Spine The spine conveys the main action of a figure because it's highly flexible. The back bends, twists and turns at the waist, and the head bobs all around—and it's all thanks to our friend the spine. Don't draw your figures with a single solid body mass. Move the should in relation to the hips, get your figures to twist and turn. Get your figures to boogie! Draw several figures where the shoulders are twisting and turning in relation to the hips. Make use of the flexi￾bility of the spine