Quick Sketching with Ron Husband

Revised and Expanded

Ron Husband

• Publisher: CRC Press
• Year: 2019
• ISBN:
  9780429810381
• Edition: 2
• Topic: Arte
• Subtopic: Tecniche artistiche

Quick Sketching with Ron Husband offers instruction to quick sketching and all its techniques. From observing positive and negative space and learning to recognize simple shapes in complex forms to action analysis and using line of action, this Disney legend teaches you how to sketch using all these components, and how to do it in a matter of seconds. Watch his drawings as he grows from a young, talented artist, to a true Disney animator. Follow him as he goes around the world and sketches flamenco dancers, football players, bakers, joggers, lions, tigers, anyone, and anything.

Key Features

• Get tips on quick sketching from a Disney legend who has animated or supervised some of your favourite recent Disney movies like The Fox and the Hound, The Little Mermaid, and Beauty and the Beast.
• Features artist's guide and handbook which provides instruction while chronicling the author's growth as an artist.
• Quickly try out Husband's instructions and tips as you learn them in a sketchbook at the back of the book.
• This new edition re-emphasizes the four basic shapes and how important it is to recognize them in fast action.
• Stressing the importance of observation and the vital part this discipline plays in sketching.

1 The Basics

My definition of a “true” quick sketch is simply “a sketch done quickly” (i.e., an image captured from a live object on paper in about twenty to thirty seconds). My quick sketches differ from typical classroom quick sketch/gesture drawings that are usually done in one- to two-minute poses by a still or posed model. Typically, “built in” to the models’ poses are balance, perspective, proportion, silhouette, etc. for the duration of the pose. Most models work hard to give the artist the best poses possible and the results are “frozen in time” for the artist to capture everything on paper.

It is my belief that in order to capture a true quick sketch, one must also capture the action seen with the eye. The eye then relays what was observed to the brain and is coupled with real life observations, action analyses, photographs, books read, and any other tips of wisdom from past and present art instruction, and flows out the end of one’s pen or pencil. This goes beyond drawing a “posed pose” to capturing on paper what was there, never to be repeated again in the same way.

Therefore, quick sketches should depict plainly and without question what is going on; the who, what, when, where, why, and how. It may not necessarily answer the when or where, but one look should tell you who (male, female, young, or old), what the captured subject is doing, and how it’s being done. This practice has led to my lifelong love affair with quick sketching. My sketchbook is so much a part of me I feel I’m not fully dressed unless I have my sketchbook in hand.

What Motivates You?

Find something you love to draw: men, women, older men, older women, children, jockeys, horses; you name the living subject and you can take a lifetime observing them. Because they are living and breathing, they will all walk, run, crawl, jump, or drag along in a variety of ways depending on location, motivation, and any other factors that happen at a particular moment in time. Houses, man-made objects, bowls of fruit, etc. can be drawn or painted in marvelous ways and they will always be there in the same lifeless way until some outside force moves them. Living humans and animal life are constantly animating “a life story,” waiting to be stamped on paper by your pen or pencil.

Simple Shapes

Think of the subject in simple shapes. Observe the objects around you: tables, chairs, televisions, books, etc. all consist of shapes—circles, ovals, squares, rectangles, or some combination of these basic shapes.

Can you see the shape in your subjects?

Tip 1

I use an assortment of different sketchpads. My everyday sketchpad is 8½ by 11 inches and ranges from inexpensive paper to a more expensive acid-free, white stock pad. When I am going to a formal gathering a regular pad of paper would look out of place (such as a formal wedding or retirement party) so I use an 8½ by 6 inch fine leather-bound book.

I also like to use a black ink pen. I’ve tried other pens but the Pilot V5 gives me a nice thin line without smearing or running.

Once I have my paper and pen ready, I usually sit down and do some practice drawings. (I think about the basic shape: circle, triangle, square, or rectangle).

People and animals are made up of similar shapes, with smooth edges; so again, look for these basic shapes in the objects you draw.

Observing these shapes in your subjects helps develop “an eye” for making identifiable shapes quickly. Remember, we are laying the foundation for quick sketching. Observation is key to analyzing any action or activity. Making mental notes of how someone does a specific action pays dividends when it is time to put pencil to paper. Artists must become people watchers; recognizing the differences in those who make up the human race. As bird watchers note the peculiarities of how one species of fowl behaves juxtaposed to another, we’re drawn to the realization that there are as many ways of doing things (i.e., walking, standing, gesturing, etc.) as there are people on the face of the earth.

Body Types

There are as many different body types in humans (and animals) as there are individuals on this planet. The one you choose to commit to paper must convey enough information to tell the viewer who it is, their age, what they are doing, and take into account any interesting body characteristics.

The ancient Egyptian artists were greatly aware of giving the most information possible to the viewer. By looking at most two-dimensional Egyptian artwork, it is not uncommon to see a straight-on eye in a profile head. This gives more information about the eye than a side view can and the profile head gives more information than a straight-on view of the head. For example, the straight-on head cannot tell you the shape of the nose or how far the brow hangs over the eyes or the shape of the chin. By using a straight-on view of the upper torso, combined with a profile of both legs, the ancient artist has attempted to provide us with the greatest amount of information about the figure.

Quick sketching is an attempt to get this kind of information on paper in as short a time as possible and have a drawing that conveys enough information to be easily recognizable; a sizeable task, but one...