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EXERCISE "I"
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Draw each exercise, being careful to not use small, connected strokes. Draw the lines as shown, and
“doitin one shot ds they say. Do not it your peril from the paper and do not tit the sheet. ‘These
exercises require an extia effort on your behalf Using the biank squares, folow the direction of the
Srrow in each example Sure, we unerstand that hig may not bs vary much fun, an that orang
‘characters io much better: but tn is the Wrst step that you need tO take to achieve success.
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Exercise H requires that you do the following: Draw a horizontal ine in the blank space and divide
itinto equal parts by sight. Next, use a ruler to see how equally distributed the spaces are. This is
‘a good exercise for educating your sense of sight, and calculating distances and proportions.
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Special sheets For practice ro
At fist plance, these exercises may not make sense, bu they actually are very important fr those who are in the beginning
stages of illustration in general. Do not take this lightly. It is important to set aside enough time to practice using these sheets.
This is similar to an athlete who does their warm-up before a game. You should always do a “pass-through” with these sheets
prior to drawing.
—.
You will find that when you
have been practicing a while,
‘you will begin to fee! ted oF
‘experience a certain tension or
slight pain in parts of your
hand. This means that you are
Using muscles that you do not
normally use, and as you
‘develop them with these
exercises, your pulse and
stroke will improve notably
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UT TESS ‘ on a separate sheet, following the aCOMPLETE AND MOVE:
This exercise that we call complete and move
Is focused on training in the different poses
that arms and logs can adopt the torso and the
hhead in the same position,
Instead of a prolonged practice in positions of
every kind using a stick figure, you will now
F phase with expectations
Here you will begin to create, in progressive
fashion, different simple poses.
tn this way, you will begin to gain confidence in
the placement ofthe igure andthe possiblity
ft adopting cferent pastures without needing
to observe « completed illustration as an
example
Here is where you begin to draw arms and logs
"a more schematic way, and you should be
able to contol its position and proportion
without any need fora gu
In finishing each sheet, you can compare your
Work with previous exercises in order to
‘analyze if what you have drawn is correct in
relation to previous practice sessions.
Mfyou have dedicated enough time to
practicing with the first part ofthe stick figure,
then you will immediately be able to detect
where the errors lie..if there are any to detect.
Print as many black-and-white or color copies as you like.
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The TFC Teachers team
‘THIS IS HOW YOU SHOULD PERFORM THIS EXERCISE:
Draw different options in the empty panels.
You can add objects to the hands if you wish.
Take notice that in some of the cases we have placed the torso more vertically than in other
examples,
‘Think about the center of gravity when you draw the legs, so that the character does not
appear to be floating or flying,
‘Ty crossing an arm in front of the torso, lifting a leg, ete.
you ate able to, observe yourself in the mirror, where you can see your entire body.
‘Adopt a real pose, retain itin your memory and then try to apply it in the exercise.
In this case, do not copy photographs or images.
Experiment without fear
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‘Print as many black-and-white or color copies as you like. Draw in the blan’ structions. Leam and have fun!DRAWING FOR BEGINNERS / PACK 1
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In this first exercise, which serves as an example, you already
have the complete sequence drawn for you, just as it should turn
out in the finished exercise,
We call this practice SLOW AND DYNAMIC
and it consists of going from a bas!
a new one but drawing each interm
‘movement that is produced up to the end of
the action,
you will be using this example with which you can
practice in the blank space that’s on the next sheet.
Imagine that you are observing a scene where
the characteris going from one pose to the
‘ther and moving in slow motion.
Do not forget to maintain the same height in the figures that you
luse, as well as their general proportions.
Begin by drawing the action line and then marking the height of
the figure, Pay close attention to how the position varies in the
‘shoulder and hip lines.
For example: A cowboy drawing his pistol!
In the exercise sheets, you will be given the
tial pose plus a writien desc:
is happening. The goal of the exercise is to
draw this scene, creating the intermediary
‘movements that are not yet drawn until
arriving at the completed and final pose.
In the following exercises, you do not have the reference lines for
the intermediary steps, £0 You will need to create them in order to
have a clearer visual, We recommend that you reenact the.
complete movement that the exercise asks for with your body and
register the different positions in your head, from the beginning
pose to the ending one, and then try to represent these positions
‘on paper. (This is where you should bring out the actor in you!)
‘The amount of intermediary movements that you should draw for
‘each exercise is indicated in ts corresponding sheet,
This is not a very easy exercise, which is why
begin by practicing with a stick figure
So that you can take the first steps with
ase and an easier strob
‘My suggestion is that you also practice free-form, creating your
‘own movernents and trying to represent the different poses that
‘occur in the process,
This is an excellent exercise that helps you
train your brain to create images and
ue developing the mechanics of ‘The benefits that are derived from this training are huge.
movement in the human figure ‘Never quit practicing them!
Print as many black-and-white or color copies as you like. Draw in the blank spaces or on a separate sheet, following the artists’ instructions. Learn and have fun!| DRAWING FOR BEGINNERS / PACK 1
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HERES A PROPODAL FOR YOU.
Draw a cowboy taking a gun out of his holster!
The action should culminate in the gunslinger’s arm
and his body somewhat inclined.
Try it out, recreating the movement yourself and
imagine the different steps. You should recreate the
movement in five steps.
Be careful with the position that each part of the
body assumes as the sequence unfolds.
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HERE'S A PROPOGAL FOR you:
Your character took a knife out from his belt and
prepares to lunge at his enemy.
Develop the corresponding movements in
five steps.
The character should end up with his arm extended,
his body crouching and his knife pointed in the same
direction as his gaze.
Pay attention to the change in position of each
body part while the action unfolds.
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HERES A PROPOBAL FOR YoU.
In this scene, your character has his rifle in his
hand while he is looking to his left.
So, you want to draw the poses that happen while
he progressively turns until he ends up in the pose
as seen in the final example - looking to the right
and holding his weapon with both hands.
Draw four intermediary movements
Pay attention to the change in position of the
interior extremities.DRAWING FOR BEGINNERS / PACK 1
“itiste[ The TFC Teachers team
HERE'S A PROPOBAL FOR YOU.
Here, your character receives the impact of a gunshot and his.
body reacts accordingly.
Since there is not only one way to react to @ gunshot, | ask that you draw
five other options for this movement that represent other
possible reactions in this type of situation,
Be sure to draw the effect of the hit in each one, just as was
done in the original drawing.
Test it out by changing the position of the head and the direction
Of the arms and legs.
In this case, the action line is Important in establishing
the general inciination of the torso from the start
As you can see, this exercise Is a bit different from the previous ones.
itis Important because you need to represent the different
‘movements of the same action.
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ES eTImagine the movement
should make, from it
reaching the final position that is demonstrated in
the last panel.
Draw the four intermediary movements in the blank
Panels,
Think about the effect and the rotation of each arm,
the legs and also how the head rotates as it reaches
the final pose.
‘Print as many black-and-white or color copies as you like. Draw in the blank spaces or on a separateDRAWING FOR BEGINNERS / PACK 1
“itiste[ The TFC Teachers team
Your character is found on its knees and Is getting
ready to stand up.
Draw the five intermediary movements, with the character
standing up completely in the last panel
Be sure that the final pose does not appear to be neither
too simple nor rigid, Give it a loose appearance.
Remember that the character needs to use a supporting
leg in order to begin standing.
As always, we recommend you recreate all the movements
‘yourself before you begin drawing
Do not place the legs too close together and be sure to
‘change the position of the arms.
‘Also place the torso in % profile towards the side that is.
‘opposite to the one where he is presently crouching.
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Litsji[ The TFC Teachers team
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REFLECTION
You have been drawing stick figures, moving them in different poses from
passive ones to those of extreme act
‘The thing is, up to now you have been doing so using a model.
‘The Reflection or Miror exercise (however you would like to calli), proposes that
you draw: werse pose of the figure. : oe
Just as the title clearly states, its as if you were observing the same image in
front of a mirror.
‘You should draw the same position that was shown in the reference drawing, but
in reverse,
To accomplish this, concentrate and mentally repress
‘opposite form, while observing the example provided,
empty panels.’ Use each panel to correct errors that,
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