Todoroki Kawaii

The title is a little misleading because "Vs." is not accurate.  Straights and curves in drawing, art or nature are not enemies nor opposites, but rather compliments that give each other meaning. このタイトルの「VS」は、 もしかしたら分かりづらいかもしれませんね。ドローイング、 アート、自然界での直線と曲線は、 必ずしも対抗するものではなく、互いを補い、 意味を与えるものです。 Straights and curves are tools that the artist can use to help create a greater sense of balance in their art. 直線と曲線の組み合わせは、 作品にバランス感を与えるために使えます。 Often I like to talk about the watery rhythm that exists and can be seen in nature and of course the figure.   I like to use this diagram of the opposite C's to help expose that rhythm.  Drawing master Glenn Vilppu likes to call these curves a "school of fish", some liken it to "skiing down a slope." 私は、自然あるいは人体に存在する（観察できる）、 水のようなリズムについて言及しています。下の図のような、 向かい合った「C」 の文字を使ってリズムについて説明することが多いのですが、 ドローイングの巨匠グレン・ビルプはこのような曲線を「 魚の群れ」と呼んでいます。 スキーの回転競技になぞらえる人もいますね。 Though it moves the eye to follow rhythm, it has no meaning without its...

I am often encouraging my students to "think" about what the character is feeling before putting down the gesture.   As the saying goes, "A drawing that does not convey a state of mind or a thought through action, isn't a very good drawing."  私はよく、ジェスチャーを描く前にキャラクターの感情を「 考えるように」生徒たちに言っています。 よく言われることですが、『アクションによって「心の状態」や「 考え」を表していないドローイングは、 優れたドローイングだとは言えない』のです。 I notice sometimes the more clothing the figure is wearing, the more people focus on the the drapery and the folds and such.  The less the figure is wearing the more artists tend to focus on the anatomy and the musculature of the figure.  人物が衣服を着れば着るほど、 人はドレープやひだに注目しますし、着ているものが少しならば、 人物のアナトミー（身体構造）や筋肉に注目します。 I suggest giving equal consideration (if not more) to what is motivating the figures muscles to work in such as way?  What does the clothing say about the character and what they want?   私はそれと同程度に、筋肉がそのような動きをした理由、 身に付けている衣服はキャラクターの何を伝えているのか、 キャラクターは何を求めているのかを考えることを勧めています。 Constantin Stanslavsky sa...

When doing gesture drawings, always remember that you are drawing an action or at least a state of mind.  Drawing just the contour or replicating what's in front of you is not the path to making a drawing that has life.  ジェスチャードローイングでは、アクションを描く、 あるいはモデルのポーズに込められた心情を描くのだということを 忘れないでください。輪郭を取ろうとしたり、 目の前にあるものを紙の上に再現しようとしても、 生き生きとしたドローイングにはなりません One aspect of pushing your drawings is to be aware of where the tension is and not being afraid to push it even further at times.  Figures that are evenly balanced and vertical are somewhat dead.   この点をドローイングで表現するためのカギの1つは、 引き合う力を意識すること、それを強調することです。 均等にバランスが取れて、棒立ちになっている人物は、 生命感がありません。 These quick drawings I made both have the sense that they are pulling away from their gravity centre.  This tension is what creates the illusion of movement when the figure is actually standing still.  このクイックドローイング2点はどちらも、 重心から離れる方向に力が働いています。この引き合う力は、 人物がたとえじっと立っているにしても、 動きがあるような錯覚を作り出します。 There is a drawing teacher who suggested imaginin...

"If a drawing looks clumsy, or lacks appeal, or no longer looks like the model, perhaps the animator is trying to show something that should not be shown.   When Fred (Moore) was giving a talk on drawing Mickey, he was asked,  "How do you draw him looking right down on top of his head?"  Fred responded, "Why would you?"  If the appeal in the design was based on the balance of the ears to the nose and the relationship of the cheeks to the eyes and the head shape, Fred wondered why would you deliberately throw all that away?   Why would you show a view that did not have much going for it as possible?   - Frank Thomas , Ollie Johnston , The Illusion of Life   -   "What happens is FACT.  TRUTH is what we think about. Write the truth."  - Robert McKee People often like to cite the 12 Points of Animation as described in the Illusion of Life by Frank Thomas and Ollie Johnston. In this very same tome is their once senior animator, Fred Moore's...

"Glenn Vilppu was the caliber level of work that we strove for." - Aaron Blaise, Veteran Disney animator/ director, artist.  www.creaturearteacher.com He has been teaching drawing in the animation industry for over 40 years. He's been called a legend. His teachings are part of the compilations notes of fellow Disney teacher, Walt Stanchfeld in Drawn to Life.   His original Drawing Manual is one the most coveted instructional art books in the world but sadly is the the most pirated globally.  His name:  Glenn Vilppu.    アニメーション業界でドローイングを教えて40年以上。 彼はいまやレジェンドと呼ばれている。彼の教えは、 同じくディズニーで講師を務めていたウォルト・ スタンチフィールドがまとめた「Drawn to Life」にも掲載されている。彼が著した「Drawing Manual」は、アートの指南書として非常に人気を博したが、 悲しいことに、世界中に海賊版が出回ることにもなっている。 彼の名は、グレン・ビルプ He humbly just calls himself an drawing teacher, but Glenn is a master draftsman whose teachings has enabled countless students, artists and professional artist to have the skills and confidence to pursue their dreams.   グレンは自身を単に「ドローイングの先生...

Apologies to everyone for not posting this sooner. Those who follow Master Drawing Japan are well aware that this summer, its biggest and most ambitious seminar to date was held. Aaron Blaise, veteran Disney animator of over 20 years,  film director, illustrator and wildlife artist was our guest in Tokyo for an amazing 13 days! In partnership with CG World  / +ONE Knowledge , Master Drawing Japan invited this animation heavyweight to share his priceless knowledge with the aspiring artists of Tokyo.  During that time Aaron held two seminars on animation, creature design and an additional two intensive masterclasses on character design and human/ animal comparative anatomy. Well over a hundred students and professionals came in attendance for Aaron's first teaching seminars in Japan. Aaron covered all the essentials of animation and design.  A very interactive instructor, Aaron designed the lion above with direct guidance from the audience. And Aaron went on to anima...