Let me recommend 3 books to anyone who wants to invest their time into drawing. This post is directed at animators, but relevant to all learning artists.
Here are your 3 meals of the day for visual reference. This is your breakfast, lunch and dinner for art improvement.
Book 1) THE ART OF PIXAR
colour scripts for all your favourite pixar movies. This is not about accurate figure drawing. This is about LIGHTING. Natural light and dramatic light. Soft light and subtle light.
You would not believe how positively a good understanding if light and shadow will advance your art. Your artistic skill will leap forward a mile if you practice these techniques.
No descriptions or heavy text in this book it’s purely visual analysis.
Book 2) FORCE
Dynamic life drawing for animators.
Bring your figure and character drawings to life in a way you’ve never imagined. This will teach you to create a sense of weight and movement, tension and relax in your figure drawings. Through learning these 4 things your figure drawings will come to life, maybe one day soon you’ll be able to apply these same principles to animal drawings also.
This book is informative but not text heavy. It is mostly completely visual and holds enough text to inform you of new techniques to consider.
Book 3) SETTING THE SCENE
backgrounds. Yes they’re scary to think about, but I can promise you they’re a lot easier to get the hang of then drawing the human figure. If you’re already drawing people try drawing backgrounds, your art will improve drastically and your skill to draw backgrounds will advance in no time at all. This book actually contains a healthy mixture of some of the most complex, and some of the most simple animation backgrounds. Backgrounds from the past (traditional art) and present (mostly Digital art). It shows visual progress pictures. It shows a lot of visuals but above all it shows some the history behind some of your favourite movie backgrounds. This book is quite text heavy, but it walks you through the process of ‘setting the scene’ in your illustrations.
October 1st, Causeway Bay in Hong Kongphoto credits: Benson Tsang
prob the first fashion post in a while that has grabbed my soul in a way like
i would wear that
What kind of influence does the Noh play have in Throne of Blood?
Akira Kurosawa: Drama in the West takes its character from the psychology of men or circumstances; the Noh is different. First of all, the Noh has the mask, and while staring at it, the actor becomes the man whom the mask represents. The performance also has a defined style, and in devoting himself to it faithfully, the actor becomes possessed. Therefore, I showed each of the players a photograph of the mask of the Noh which came closest to the respective role; I told him that the mask was his own part. To Toshiro Mifune, who played the part of Taketoki Washizu (Macbeth), I showed the mask named Heida. This was the mask of a warrior. In the scene in which Mifune is persuaded by his wife to kill his lord, he created for me just the same life-like expression as the mask did. To Isuzu Yamada, who acted the role of Asaji (Lady Macbeth), I showed the mask named Shakumi. This was the mask of a beauty no longer young, and represented the image of a woman about to go mad. The actress who wears this mask, when she gets angry, changes her mask for one the eyes of which are golden-colored. This mask represents the state of an unearthly feeling of tension and Lady Macbeth assumes the same state. For the warrior who was murdered by Macbeth and later reappears as an apparition, I considered the mask of the apparition of a nobleman of the name of Chujo. The witch in the wood was represented by the mask named Yamanba.
[ Interview with Akira Kurosawa | Joan Mellen, 1975 ]