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Yo u Sho uld Know

This is not an ac ademic figur e-dr awing book; nor


does it cover the basics of dr awing the human
form. Wh at this book does is explor e and examine
my personal cr eative appr o ach to dr awing and
styli zing the human figur e. I co uld not h ave
obtained any of this knowledge witho ut h aving
spent many ho urs in intr oductor y co urses
pr acticing the fundamentals of dr awing the
human form. An intr oductor y figur e-dr awing
co urse wo uld cover pr inciples like: basic pr oporti ons, volume, for eshortening, anatomy, light and
sh adow, etc., etc. - these ar e things which I
do not cover in this book. Ther e ar e do zens of
fantastic books o ut ther e th at cover these
pr inciples in a much mor e compr ehensive way. In
other wor ds, dont get bother ed with this book
if it feels a little light on basic instr ucti on - I
didnt design it th at way.

THE UNRE ACHABLE GOAL


Overview
Ther e ar e a lot of differ ent appr o aches o ut
ther e on dr awing the human figur e, none of which
ar e the r ight way or the only way. I certainly
do not think th at my appr o ach is any mor e valid
th an the next, but ther e ar e r easons why I h ave
gr avitated to dr awing this way and hopefully
th at will shed some light on this pr ocess.
As a yo ung tr aditi onal animator, I was taught
th at dr awing the figur e in quick poses was an
essential pr actice for any aspir ing animator who
wanted to learn how to master the gestur e of
the human figur e. While this pr actice still r emains
tr ue, I was hoping th at quick gestur es of the
figur e co uld become an aesthetic ally pleasing
piece of art as well. Reali zing th at absolute
mastership of dr awing the human form is never
r eally achievable, I kept tr ying to figur e o ut new
ways to dr aw the figur e and exper iment cr eatively. I wonder ed, wh at is mor e important to
pr actice, technique versus cr eativity, accur acy
versus design? I am not sur e I h ave these answers
yet, but my quest for finding these answers,
thr o ugh dr awing the figur e, sur e h as been a fun
one. This book is a collecti on of my exper imentati ons knowing full well, th at I will pr obably never
find the answer. Enjoy.

Cont Cr ayon
While other artists use ch arco al pencils, vine
ch arco al, and p astel, I h ave fo und Cont cr ayon
to be my favor ite tool for gestur e dr awing.
Cont comes in var i o us gr ades of h ar dness with
a 2B gr ade being wh at I like to use most. If yo u
ar e a mor e heav y-h anded artist, think of investing in a h ar der gr ade of Cont.

Note: When purch asing yo ur Cont, make certain th at


the Cont sticks ar e not br oken within the p ackaging. Sometimes, the Cont is mish andled which c an
destr oy its us ability. Save yo urself a r eturn tr ip and
examine the Cont befor e leaving the stor e.
Warning: Cont likes to end up on yo ur face! After dr awing with Cont, yo ull fr equently find black
smudges on yo ur nose. How th at h appens, to students
and to myself, is a myster y. So check a mirr or befor e
yo u leave yo ur dr awing p ad for a job interview.

Newspr int Pad


An 18 x 24 newspr int p ad will give yo u plenty
of r oom to dr aw. Any br and will do. My personal
pr efer ence is smooth newspr int as opposed to
r o ugh. Ro ugh h as much mor e tooth thus leaving
a bit mor e textur e to yo ur dr awing. Smooth will
look softer and cleaner.

Sandp aper Block


In or der to sh arpen the Cont, a s andp aper
block is needed. It is essentially a piece of wood
with str ips of s andp aper attached to it. Many
starving students h ave fo und th at a piece of
s andp aper fr om the h ar dwar e stor e works just
as well.

Episode 1

Sh arpening Yo ur Cont
Things yo u need: X-Acto knife, Cont, and Sandp aper block.

The Pr ocess: Step 1 - Using an X-Acto knife,
sh ave yo ur Cont away so th at the point on the
stick is r o ughly h alf an inch long. Yo u want the
Cont point to be fairly sh arp. This enables yo u
to h ave differ ent edges to choose fr om when yo u
start working on yo ur dr awings. Aim for h aving a
str ong flat edge, a r eal sh arp edge, and a medi um edge. The sh aving pr ocess may be messy so
yo u might want to do it over a tr ashc an.
Step 2 - Once yo u h ave the Cont sh aved down,
yo u ar e now r eady for the s andp aper block. The
s andp aper block r efines the sh arpening in or der
to achieve a nice edge. While r otating the Cont,
r ub it up and down the s andp aper until yo u h ave
cr eated a r o und needle-like point.

THE TI P

ME DI UM E DGE

BROAD E DGE

Step 3 - The final step is r ubbing the Cont


on the p aper to get off all the excess sh avings
th at ar e h anging on the tip. Take a co uple of
swipes up and down yo ur p aper to get all those
off and yo ull h ave the perfect edge to dr aw
with.
Repeat the final two steps if yo ur lines do not
come o ut evenly.

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Exper imenting With The Medi um


As yo u ar e beginning to exper iment, p ay special
attenti on to using the br o ad, medi um, and fine
edges of yo ur tool. Spend plenty of time exper imenting with the thr ee differ ent edges. Keep in
mind, as yo u ar e dr awing, to var y the pr essur e
of the Cont on p aper which will give yo u a var iety of line weight. This cr eates inter est and
depth in yo ur dr awings. Yo u sho uld h ave some
r eal nice dark, heav y lines mixed in with some
soft lines to give the illusi on of volume. Yo u will
want to make sur e th at yo u r un yo ur br o ad
edge on yo ur p aper a few times pr i or to the
first line of yo ur dr awing. This will help smooth
o ut the irr egular ities in the Cont.
A simplified tool like Cont helps the artist to
loosen up and focus on the mor e gener al sh apes.
At times, we tend to get r eal tight and noodley
when we use a pencil or pen. This tool tr ains the
artist to loosen up. Cont will also enco ur age
yo u to dr aw with yo ur sho ulder versus yo ur fingertips by holding the Cont like a p aintbr ush.
The sho ulder will dr aw in big br o ad sh apes and
sweeping arcs, much mor e th an the fingertips
will.

Let
go
when
warming
up
the sho ulder. Instead of being
overly concerned with cr eating
a beautiful work of art, tr y to
focus mor e on loosening up and
fr eeing yo ur cr eativity. Tr y not
to over analyze ever y line dur ing
warm up; it will only impede yo ur
cr eativity. Make an effort to
allow yo ur br ain to make mistakes.
I h ave fo und fr equently th at
many mistakes I h ave made end
up becoming Einstein moments.

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Er aser-less
Cont is a bit waxier th an ch arco al or nup astel;
ther efor e it works pr etty well for quicker
dr awings. Once yo u put down a line, it does
not er ase easily, ther efor e, yo u h ave to learn
to accept the line and work with it anyway. The
absence of subtr active dr awing builds confidence and allows for h appy mistakes, which we
r ar ely exper ience when er asing all the time.

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Look F or Feedback
As with all artistic pr ojects, be certain to h ave
others (artists and non-artists) cr itique on
yo ur work. Sometimes we ar e blinded by o ur own
achievements to the point wher e we no longer
explor e any further avenues for impr ovement. Another tr ick I like to use is to look at my work in a
mirr or. Yo u may be surpr ised at the err ors th at
pop o ut when seeing yo ur work in r everse.

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Episode 2

Br o ad Edge Dr awing
Tr y dr awing with the br o ad edge only for a while.
Do not give up after the first few dr awings.
They may not initially be pr etty. This technique
limits yo ur ability to dr aw detail and forces the
h and and eye to see the big sh apes and curves of
the form. This will help tr ain yo ur eye to see the
over all gestur e and how it r elates to the form
as a whole.

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To Measur e Or Not To Measur e


Yo u may h ave been pr evi o usly tr ained how to
measur e the body with yo ur thumb or a stick.
Tr y to deny this urge to measur e and instead, go
with intuiti on, or wh at feels r ight. The idea with
this pr ocess is to develop an intuitive measur ing
tool for human pr oporti ons. It may not be 100%
accur ate, but as I stated earlier, wh ats mor e
important, accur acy or design? However, if yo u
h ave no understanding of pr oporti ons at all, I
wo uld highly enco ur age yo u to study up so th at
yo u c an build yo ur dr awings off of knowledge and
not just guesswork.

ME DI UM E DGE

BROAD E DGE

F I N E TI P E DGE

BROAD E DGE
ME DI UM E DGE
F I N E TI P E DGE

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The Whole F orm


One of the h ar dest things to conquer is how to
observe the human body. F or most of us, we see
it as a bunch of individu al members making up a
whole. The pr oblem with th at is when we look
at the arm, or the thigh, or the sho ulder as individu al members, it will distr act us fr om seeing
their r elati onship together as a whole body. The
ability to see the human form as a whole, instead
of a collecti on of differ ent members, massively
impr oves yo ur ability to effectively design.

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In or der to tr ain the eye to see the entir e form


as a whole, as opposed to just individu al p arts,
it is important to identify the rhythms of the
form. I ask myself questi ons like: Wh at is the
r elati onship between the head and the ankle,
wh at abo ut the p alm of the h and and the knee
or the rhythm thr o ugh the neck, down the spine
and along one leg?
Notice the r ed lines on the following dr awings.
They indic ate the rhythms between body p arts.

These dr awings ar e 1-2 minute poses.

Episode 3

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How Long Did This Dr awing Take?


People fr equently want to know how long it
took to do these dr awings. In my gestur e dr awing classes, we typic ally start o ut with 2 - 3
minute poses. If I feel we r eally need to loosen
up, we will dr op all the way down to 10 second poses. Most of the dr awings in these first
co uple sessi ons fall in the time limitati on of 1 to
3 minutes. Later on, when we explor e light, sh adow, and clothing, we str etch the time to 5 - 8
minutes. Some of the cr eative dr awings towar d
the end of the book may fall into the 15 minute
zone, but th at is the limit. I h ave fo und th at
most of wh at needs to be learned in dr awing the human form h appens within the first
2 minutes. Th at is when 90% of all the cr itic al
decisi ons ar e made. After th at, it is all just icing on the c ake. So, yes, we tend to go thr o ugh
a lot of dr awing p ads!

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Tr y switching to a br ush pen fr om


time to time. It c an be ver y difficult, but yo u will learn to be ver y
efficient with ever y line.

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Step By Step
Her e ar e some step-by-step demonstr ati ons. It
is h ar d for me to explain exactly how I pr ocedur ally dr aw the form.
In all honesty, it
is differ ent ever y time. Sometimes, I dr aw the
sh adow sh apes first. Other times, I will start
with a gr aphic sh ape. Commonly I will start with
the head and occ asi onally, I will start with the
hips. F or the s ake of demonstr ating a pr ocedur e
th at c an help the r eader, her e is a pr etty s afe
one:
Step

Step
Step

Step

1 - Basic rhythms of the form ar e put


down first.
2 - Simple sh apes ar e added in.
3 - Some added detail to descr ibe the
form
4 - Light and Sh adow.

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This is wher e the form r eally starts to come


alive. Witho ut light and sh adow, yo u h ave to descr ibe the depth of the form with conto ur lines.
Ther e ar e only two types of sh adow edges th at I
use in gestur e dr awing, form sh adows and c ast
sh adows.
F ORM SHADOWS ar e cr eated by the gr adu al
fading away of the form fr om the light so urce.
Bec ause the plane of the form is no longer in the
pr esence of light, form sh adows ar e also c alled
cor e sh adows - they ar e the darkest p art of
a sh adow. These sh adows ar e dr awn soft, with
the medi um edge of the tool.
C AST SHADOWS ar e cr eated by a p art of the
body c asting a sh adow onto another surface.
These sh adows ar e dr awn with cr isp, fine, h ar d
edges. Not br o ad, dark edges.

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Episode 4

C AST SHADOW

F ORM SHADOW

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C AST SHADOW

F ORM SHADOW

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Dir ect Light


It helps to h ave a ver y dir ect singular light
so urce when defining the sh adows. If yo u ar e using mor e ambient lighting, or north light fr om a
large window, yo u will not get cr isp c ast sh adow lines on the form.

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F ORM SHADOW

C AST SHADOW

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Episode 5

In quick gestur e dr awings, it is r eally important to simplify clothing and costumes as much
as possible. Bec ause ther e is not eno ugh time in
the poses to c aptur e ever y single fold, yo u h ave
to quickly assess the fold p attern gener ated by
the tensi on point. After yo uve determined th at,
then yo u make up the fold design. Th ats r ight,
yo u make them up and design them the way yo u
think looks best. If yo u tr y to r eplic ate the
folds exactly, yo u will over noodle yo ur dr awing
and waste all yo ur time on one p ant leg, AN D, it
will not look as good as if yo u made it up.

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Notice the simplific ati on of the folds. None


of these folds existed like this. After finding
the tensi on point, I made the r est up.

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Illustr ate An Idea


These dr awings ar e a bit mor e illustr ative. Once
yo u get the Cont under contr ol, understand
light and sh adow, and able to design folds in the
fabr ic, then yo u c an start to cr eate some fun
illustr ati ons.

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Exagger ating the form is the first step in adding


a little cr eativity to yo ur dr awings. It c an be
ver y difficult to do this at first, especially if
yo u ar e one of those artists whose dr awings r ely
mor e on observati on th an imaginati on. To br eak
it down even further, think of exagger ati on in
these thr ee ways:
1.
2.
3.

Exagger ating the Gestur e


Exagger ating the Pr oporti on
Exagger ating the Style

EXAGGERATI NG THE GE ST U RE is when yo u push


the pose further th an the model is actu ally
demonstr ating. Yo u c an widen the stance, arch
the back further th an yo u see, and str etch the
arms str aight instead of th at slight bend. Yo ur
knowledge of human anatomy becomes incr easingly
important her e, bec ause its not easy pushing
the form if yo u do not know wh ats going on
under the skin.

Episode 6

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EXAGGERATI NG THE PROPORTION is when yo u


cr eatively decide to manipulate the standar d
pr oporti ons of the body. Yo u c an make the h ands
and feet larger, elongate the neck, or shorten
the torso. Tr y adding 200 po unds of fat to yo ur
model, or adding 200 po unds of muscle. Taking
away 50 po unds of body mass c an r eally r eveal
yo ur knowledge of the skeletal str uctur e.

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Designing The Exagger ated Pr oportions


One thing th at yo u MU ST consider when exaggerating the pr oporti on is th at yo u do so with good
design pr inciples. Dont just make humungo us
toes and leave the r est of the form pr oporti onally corr ect. Th ats just weir d looking and
people will think th at yo u made a mistake. If
yo ur decisi on-making is guided by good design, it
will look intr iguing and intenti onal r ather th an
a bad mistake.

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Pushing The F igur e


I like to think of gestur e dr awing as a cr eative jo urney. In the beginning, cor e pr inciples of
dr awing, such as pr oporti ons, volume, compositi on, design, gestur e, body rhythms, and light
and sh adow, must be learned. After yo u feel
th at yo u h ave a basic understanding of these
pr inciples, yo u c an start the cr eative jo urney into exagger ati on. The first step in dr awing fr om yo ur cr eative mind is the ability to
not fully r ely on wh at yo u see in fr ont of yo u.

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The better yo u understand the cor e pr inciples of


dr awing, the better yo u will be able to know how
to bend those pr inciples to work with yo ur personal cr eative ideas. It is ver y h ar d to gr asp
this concept at times. I h ave fo und th at pushing
the bo undar ies of cr eativity, way beyond wh at
yo u may think is acceptable, gives yo u a better
understanding of bo undar ies. If yo u never push
away fr om r eality, yo u will never understand
wher e th at bo undar y is.

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Pushing The F igur e (cont.)


Sometimes, I like to ask myself, Wh at percentage of the dr awing is based on the model in
fr ont of me versus wh at is based on my own
cr eative imaginati on? Start with a 90/10 r ati o,
and as shown towar ds the end of this book, yo u
c an go as far as a 5/95 r ati o. This is when the
fun r eally starts.

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F un Ho use Mirr or
Ther e is also a fun exercise th at I like to c all
the fun ho use mirr or. This is when yo u pr etend
th at yo u ar e looking thr o ugh a distorted mirr or of a warped form. This exercise c an gr eatly
fuel yo ur cr eative side over the ac ademic side of
dr awing the figur e.

CORRE C T PROPORTION S
OF MOD E L

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SAME POSE. . . JU ST EXAGGERATED PROPORTIONS

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Then ther e is this r eally weir d zone of dr awing


the figur e th at I c all inspir ati onal dr awings.
They h ar dly r epr esent the figur e at all, and ar e
mer ely inspir ed by the pose of the model; but
after th at, its all abo ut letting yo ur cr eativity r un wild. While this c an be an incr edibly liber ating way to dr aw, be c ar eful not to tackle
this witho ut a r eally good dr awing fo undati on
- or yo ur dr awings will turn o ut overly unr eadable.

Episode 7

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EXAGGERATI NG THE STYLE is a r eally important


p art of h aving fun with yo ur dr awing. This is
the thir d way I look at exagger ati on, and it is
done when yo u stylistic ally take some liberty. To
get started with this kind of exercise, it helps
to h ave some r efer ence on h and. F or example, tr y
h aving some dr awings of classic Warner Br others c artoon ch ar acters like Bugs Bunny, Wiley
Coyote, and Elmer F udd. Then, as yo u dr aw the
model, tr y to incorpor ate yo ur dr awing into the
old Warner Br os. style as if they wer e a p art of
the c artoon. Yo u c an tr y this with just abo ut
any artistic style. Yo u dont always need r efer ence either; yo u c an exper iment with obscur e
and str ange personal styles as well.

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Gr aphic Sh apes
Spend some time dr awing the figur e as gr aphic
sh apes. This is a ver y fun exercise th at may seem
overly simple, but c an be quite ch allenging to
cr eate good design.

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Well Educ ated Artists


Ther e is value in dr awing fr om sight and ther e is
value in dr awing fr om o ur minds. When we dr aw
fr om o ur minds, we pull exper iences fr om o ur lives
to sh ape wh at we dr aw. The r esult is a unique
and personal r eflecti on of o ur self. Be well-educ ated artists, not just ac ademic ally, but in life.
Get to know people and their personalities, find
o ut their histor y. Analyze the individu al ticks
people h ave, or their personality quirks. Cr eating exper iences with r eal people will enh ance yo ur
pool of cr eative choices to dr aw fr om.

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Episode 8

The Idea
Id just finished working on stor ybo ar ds and an
animatic for a big Hollywood studi o pr oducti on and wh at an awesome pr oject; so much fun to
work on, so much fun to dr aw. But when it was
over I was r eady to do something differ ent.
I was on the plane coming home fr om L A, flying
back to Utah, and I was just down - just r eally
down bec ause I felt r eally over worked. I felt
like was spending a lot of time in L.A. and a lot
of time away fr om the family. We sometimes h ave
the tendency to let o ur jobs take over o ur lives.

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(cont.) And I felt so over whelmed, I r emember


sitting on the plane and flying home and Im
just listening to my iPod, and th at song fr om
the Weepies c ame on, the song c alled The World
Spins Madly On. And I just r emember connecting to those lyr ics. Abo ut how the world is
just madly spinning and how tho ughts, certain
tho ughts, help kind of r oot us in a world th at
just spins. Like tho ughts of o ur loved ones, of
people th at we miss and people th at we love.
It br ings us back to a solid base so wer e not
spinning in th at world.

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(cont.) And at the time I just started thinking


abo ut how much I missed, not only my wife, but
also my kids, and just being home. And th ats
when I tho ught Ive got to do something with
th at, Ive got to make a short film th at r elates to th at emoti on. And I want to do it with
dance bec ause my kids wer e so into dance and
I myself love watching contempor ar y dance, and
my wife used to be a dancer, and so all these
ideas starting coming to me. It all r eally c ame
on th at plane r ide when I was exper iencing th at
ch arge. And th ats when, as an artist, yo u h ave
to do something with it.

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Pr e-Pr oducti on
I knew I co uld not animate a beautiful contempor ar y dance, bec ause Im not a dance chor eogr apher, and th ats wher e Kor i c ame in. Kor i
Wakamatsu is a university dance instr uctor and
chor eogr apher. She arr anged dancers to tr yo ut
for this pr oject I was putting together. I spent
a few weeks with Kor i in the dance dep artment filming potential r efer ence mater ial for
the animati on.
I didnt want to influence the initial chor eogr aphy at all. Kor i wo uld do the chor ogr aphy, but
she wo uld also chor eogr aph with the dancers.
So the dancers wo uld sometimes s ay hey want
abo ut this or wh at abo ut th at, so they wer e
also cr eatively invested as well.
As I watched the r ehears als and watched the
dances I tr ied to envisi on in my mind ever ything
th at I wanted to do as far as animati on goes
and all these ideas kept coming to me as they
wer e dancing. And in fact a lot of the modific ati ons th at we made wer e kind of on the fly
bec ause of the ideas th at wer e coming.

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I N SPIRATION
Cr eative inspir ati on is r eally h ar d to define and even
h ar der to put a finger on the tr iggers th at sp awn
cr eative tho ught. I h ave fo und th at looking for
personal cr eative inspir ati on doesnt work for me. I
c an certainly be inspir ed when I look at other artists work, but personal cr eative inspir ati on comes at
unsuspecting moments. It comes when we ar e sensitive to o ur emoti ons, o ur exper iences, o ur existence
and other people.
Th at sensitivity is ver y inconsistent and comes and
goes unexpectedly.
It seems we ar e most sensitive when we ar e going thr o ugh some sort of highly
emoti onal exper ience. Th ats when I feel like artistic
cr eative inspir ati on is at its r ipest.
Its abo ut
discover ing a personal connecti on with the fibers
of o ur own life, and then using the knowledge and
skills th at weve acquir ed over the years to cr eate a
piece of art th at r eflects th at personal connecti on.
Th at ch arge of emoti on will just fade away and die
as a p ast emoti on if left unattended to. However,
if yo u c an take th at emoti on, wr ite it down, document it, and plan to cr eate a work of art th at defines th at exper ience, then yo uve just r eceived and
acted upon personal cr eative inspir ati on. And th at
is wher e the magic h appens.

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I love tr aditi onal animati on, and I love h and dr awn


animati on, ther es a life to it. Its not a mathematic al algor ithm th at computed th at - It h as
mistakes to it. I like th at.

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In or der to c aptur e the pr ofessi onal figur ative movement of human form accur ately, I used live dancers
as r efer ence. However, just like when I dr aw the
figur e with Conte, ther e is a tr emendo us amo unt
of exagger ati on and cr eative explor ati on into ever y
movement. Some ar e mor e liter al and honor the appr opr iate movement of the dancer, others completely
dep art fr om the form and go into th at zone of explor ati on and styli zati on.

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The animati on is ver y silho uette dr iven, ver y much


abo ut the figur e. But its fr om a distance, which is
inter esting, bec ause often times in animati on or film
when we want to show an emoti on well go in tight,
and go in close on th at expr essi on. But I didnt
want to do any of th at. I didnt want to move the

c amer a ar o und, or intr oduce a close up and then


a distance shot. I didnt want to use cinematic
techniques to tr igger emoti ons. I wanted it to be
genuine in its simplistic natur e - two people, dancing, no facial expr essi ons, no dialog, h and dr awn and
putting in a lot of symbolism.

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EF X animati on was my first c ar eer p ath into animati on. When I animate EF X elements like water, smoke,
or fir e, I feel like a yo ung animator again, str uggling
to be the best he c an be. Its like r evisiting gr eat
memor ies of wonderful p ast pr oducti ons.

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Ever y one of the beats in this film h as a personal


tr igger for me. Ther e is a r eason and a meaning to
it. However, I did not want to spoon feed th at
meaning with overt acti ons. I wanted to allow each
viewer to find their own personal meanings of, for
example, the smokey figur e, the wings, the heav y
cor ded arms, the var ying sh adows, etc.

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I knew I h ad a big task in fr ont of me, two and a


h alf minutes worth of animati on, and 24 fr ames per
second. Th ats a lot of dr awings. But its not
like work. When I look at the clock and I see I h ave
co uple extr a of ho urs to come work on this, its r eally enjoyable.

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The animati on was dr awn in Adobe F lash. Ther e ar e


4,127 fr ames wher e the ch ar acters ar e moving. And
ther e ar e quite a few layers; wer e looking at
20,000+ differ ent dr awings . . . its kind of like
animating the old fashi on way, wher e yo u h ad yo ur
p apers in between yo ur fingers. So yo u co uld flip yo ur
p apers and watch the movement while yo u wer e flipping it. As I flip thr o ugh the fr ames, altho ugh I am
working digitally, it feels like the s ame pr ocess.

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began his c ar eer in
1995 as an animator for Warner Br others Featur e Animati on. Over the years, he h as worked
as an animator, EF X animator, Concept Designer, Stor ybo ar d Artist and Animatic Artist. He
h as worked for Sony Pictur es, Cartoon Network, Walt Disney Studi os, Marvel Entertainment and Dr eamWorks Pictur es on films such as
Sp ace Jam, The Quest F or Camelot, The Ir on Giant, Osmosis Jones, Spider-man 2, Spider-man 3,
Wher e The Wild Things Ar e, Ir onman 2 and Cowboys
& Aliens (2011). Ryan h as pr oduced and dir ected
4 short films th at h ave played in over 30 film
festivals worldwide. Since 2003, Ryan h as been
a faculty member of the Animati on pr ogr am at
Br igh am Yo ung University wher e he teaches stor ybo ar ding, figur e dr awing, and animati on. Ryan
h as a BF A fr om Br igh am Yo ung University and
an MF A fr om The Ac ademy of Art University in
San Fr ancisco. Ryan is marr ied to Tiffany Easterbr ook Woodwar d and together they h ave thr ee
daughters .

r yanwoodwar dart.com
conteanimated.com

Pr evi o us volumes of Gestur e Dr awing books by Ryan Woodwar d:

Gestur e Dr awings And Sketchbook Fr om Life (2004)


A book collecting Ryans gestur e dr awings organi zed fr om ten second gestur es to 15 minute gestur es - in
additi on ar e some exagger ative, cr eative, and r efined dr awings; and a small sketchbook secti on.

A small collecti on of a var iety of gestur e dr awings assembled fr om Ryans gestur e dr awing
class in 2006.

Gestur e Dr awings Vol. 2 (2006)

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This is a fun styli zed ch ar ic atur e done by my good fr iend Jar ed Gr eenleaf whos not only a
p artner in cr ime with me but a gr eat fr iend. Yo u c an check o ut his work at: jsgr eenleaf.com

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