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Tying down the drawing

From: 2D Animation Principles

Video: Tying down the drawing

Now, I'm going to take the gesture that we did from the previous section and tie And the purpose of doing this is to develop And, if depending on your drawing ability, if you're okay doing Don't be afraid to draw the median lines and the construction lines.

Tying down the drawing

Now, I'm going to take the gesture that we did from the previous section and tie it down and that's just a simple process of maybe making it a little more refined. So we have a very nice, energetic pose here from the previous part. So let's just fade it out a little bit because this is just going to be now a reference layer and on the layer above that we're going to tie it down. So I'm going to zoom in so close that you can see the pixels. I like drawing at this scale so let's just very gently, we'll just go off, I like drawing kind of, as loose as I can.

Make the line opacity to maybe 50, that way you can maybe hint at it a little bit more and this is the time when I can take these multiple lines and just pick one that I like the best, whatever is the strongest and tie down some details too, like does the shoulder overlap the head? And the purpose of doing this is to develop a comfort level with drawing basic shapes for poses and this will be ideal later on in the course for doing, like, thumbnail sketches, and reference poses for other characters. And, if depending on your drawing ability, if you're okay doing things as complex as hands with fingers, like this, it's fine.

This is also a good time to draw in the things like the eye-line and maybe hint at the expression like oh. Even if it's little dots of eyes, it'll give you some idea as to this guy has a real problem on his hands. So let's just thicken that line a little bit and again, even though I'm drawing lines, I'm still thinking in terms of construction and drawing through and imagining this body as a volume, not just as a bunch of flat lines. Don't be afraid to draw the median lines and the construction lines.

And this is essentially a tie down of a gesture drawing, so I don't mean this to be a final production still or anything like that but it certainly can be nice sometimes just to have these poses at a slightly higher quality. So if you want to really, really make something match one of these feet positions and so forth. Let's switch off that lower level. That's looking pretty good. And one little trick I like is Edit > Transform, Flip Horizontal and that's because sometimes my design sense goes a little blind and flipping horizontal will help you to have a sudden jolt and go, oh, he feels like he's a little bit off.

So if he does actually feel like he's tilting a little too far forward to this side. So I'm going to pull him back a little bit and maybe bring him into balance a little bit better. Edit > Transform, Flip Horizontal back and if you want to make some last minute polishes, darken some of these lines, don't start drawing shoelaces or anything like that at this point. Again, this is super high quality thumbnail level drawing here. So there we go. That is how you tie down a gesture drawing.

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2D Animation Principles

35 video lessons · 6274 viewers

Dermot O' Connor
Author

 
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  1. 1m 42s
    1. Welcome
      51s
    2. Using the exercise files
      51s
  2. 18m 9s
    1. Understanding appeal and design
      4m 3s
    2. Comparing body types
      6m 27s
    3. Understanding silhouette
      1m 52s
    4. Creating gesture drawings
      2m 50s
    5. Tying down the drawing
      2m 57s
  3. 18m 10s
    1. Comparing storyboard styles
      5m 8s
    2. Understanding shot composition
      4m 36s
    3. Demonstrating lighting
      4m 8s
    4. Understanding the 180-degree line
      4m 18s
  4. 13m 8s
    1. Understanding X-sheets (dope sheets)
      3m 25s
    2. Comparing frame rates
      4m 39s
    3. Creating sweatbox notes and preparation
      5m 4s
  5. 18m 42s
    1. Understanding arcs
      7m 38s
    2. Squash, stretch, and volume
      4m 59s
    3. Comparing timing and spacing
      6m 5s
  6. 10m 4s
    1. Using anticipation, overshoot, and settle
      4m 2s
    2. Breaking and loosening joints
      2m 43s
    3. Leading action
      3m 19s
  7. 19m 51s
    1. Understanding primary and secondary action
      4m 14s
    2. Using overlap and follow-through
      6m 0s
    3. Applying lines of action, reversals, and S-curves
      4m 34s
    4. Moving holds and idles
      5m 3s
  8. 15m 52s
    1. Understanding walk and run cycles
      5m 24s
    2. Creating eccentric walks
      6m 50s
    3. Animal locomotion
      3m 38s
  9. 14m 31s
    1. Finding dialogue accents
      2m 42s
    2. Creating dialogue through body movement
      2m 46s
    3. Creating stock mouth shapes
      5m 4s
    4. Using complementary shapes
      3m 59s
  10. 13m 8s
    1. Creating thumbnails
      4m 31s
    2. Comparing straight-ahead and pose-to-pose animation
      4m 37s
    3. Adding breakdowns for looseness
      4m 0s
  11. 2m 9s
    1. Next steps
      2m 9s

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