WEBVTT

1
00:00:03.651 --> 00:00:09.820
Webtoon Advanced
For Newbies: Gestures not Muscles

2
00:00:09.820 --> 00:00:12.510
GCC Academy

3
00:00:24.828 --> 00:00:29.543
The Basics of Croquis and Gesture Drawing

4
00:00:29.543 --> 00:00:31.730
Hello, I'm Webtoon artist Uksoo

5
00:00:31.730 --> 00:00:35.688
This time, as mentioned earlier, let's talk about gestures

6
00:00:35.985 --> 00:00:39.743
Before we start, please prepare a pencil and paper

7
00:00:40.030 --> 00:00:43.970
Digital drawing tools like an iPad or Galaxy Tab are fine too

8
00:00:43.970 --> 00:00:45.328
Let's draw together

9
00:00:45.670 --> 00:00:47.742
So, what is a gesture?

10
00:00:47.930 --> 00:00:52.270
In English, it's referred to as gesture,

11
00:00:52.270 --> 00:00:54.070
action, rhythm, or flow, among other terms

12
00:00:54.070 --> 00:00:56.270
Simply put,

13
00:00:56.270 --> 00:00:59.874
it refers to the flow of movement of a subject

14
00:01:00.129 --> 00:01:01.235
For example,

15
00:01:02.129 --> 00:01:04.690
here is a star

16
00:01:05.330 --> 00:01:07.033
It’s the familiar shape of a star we all recognize

17
00:01:07.583 --> 00:01:12.067
We understand its shape

18
00:01:12.269 --> 00:01:13.592
by identifying its outline

19
00:01:13.970 --> 00:01:16.870
Like this,

20
00:01:16.870 --> 00:01:19.409
like this,

21
00:01:25.455 --> 00:01:28.581
and like this, that's the star

22
00:01:29.989 --> 00:01:33.439
And, ta-da!

23
00:01:34.123 --> 00:01:35.786
We have many stars

24
00:01:36.103 --> 00:01:42.331
Then, we can see the overall flow of these stars

25
00:01:42.989 --> 00:01:43.860
Simple, right?

26
00:01:44.427 --> 00:01:49.067
Gestures refer to this kind of flow

27
00:01:49.667 --> 00:01:54.007
It’s about understanding how objects
are arranged and in which direction they are moving

28
00:01:54.667 --> 00:02:00.151
So why am I talking about gestures
before discussing muscles in an anatomy drawing lesson?

29
00:02:00.719 --> 00:02:04.707
Understanding gestures is like seeing
the entire landscape of a mountain

30
00:02:05.428 --> 00:02:09.537
Drawing outlines is like examining each individual leaf

31
00:02:10.600 --> 00:02:14.411
When observing something as a whole,
which should come first?

32
00:02:14.989 --> 00:02:17.721
Of course, it should be grasping the gesture

33
00:02:18.650 --> 00:02:20.865
The same applies when drawing an actual tree

34
00:02:21.101 --> 00:02:24.334
Understanding the flow of the trunk,
the way branches extend,

35
00:02:24.762 --> 00:02:27.501
and capturing the mass of leaves

36
00:02:28.869 --> 00:02:31.149
That compared to drawing each individual leaf

37
00:02:31.609 --> 00:02:36.784
Just by looking at it, you can see
which approach is more appropriate

38
00:02:37.668 --> 00:02:41.054
Now, let’s start practicing gesture drawing

39
00:02:41.396 --> 00:02:44.473
The best way to practice this is through quick sketching,

40
00:02:44.474 --> 00:02:45.923
or croquis

41
00:02:46.422 --> 00:02:49.702
You’ve probably heard of croquis before

42
00:02:50.468 --> 00:02:53.148
It involves quickly sketching only
the essential features of a model

43
00:02:53.549 --> 00:02:56.236
I assume you have your drawing tools ready

44
00:02:56.897 --> 00:02:58.990
Enough talk, let's start drawing

45
00:02:59.173 --> 00:03:01.492
I’ll give you one minute

46
00:03:02.028 --> 00:03:04.719
Try capturing the gesture while sketching the model

47
00:03:05.133 --> 00:03:09.129
Think of it as drawing a stick figure

48
00:03:09.269 --> 00:03:11.020
I’ll be drawing along with you

49
00:03:11.020 --> 00:03:12.015
Start!

50
00:03:43.563 --> 00:03:45.753
What matters is not the outline

51
00:03:46.405 --> 00:03:47.804
Not how the muscles are shaped,

52
00:03:48.440 --> 00:03:51.271
or how each strand of hair is shaped

53
00:03:51.785 --> 00:03:58.227
Instead, observe how the model is posing
and the flow of movement

54
00:03:58.905 --> 00:04:00.375
How is the back bent?

55
00:04:00.945 --> 00:04:01.877
What about the arms?

56
00:04:03.304 --> 00:04:04.967
What are the feet doing?

57
00:04:11.149 --> 00:04:11.829
Time's up

58
00:04:11.830 --> 00:04:15.546
That was one minute

59
00:04:15.665 --> 00:04:17.384
It was a really short time, wasn’t it?

60
00:04:17.865 --> 00:04:20.623
There was barely any time for anatomical details

61
00:04:21.065 --> 00:04:21.873
How was it?

62
00:04:22.264 --> 00:04:23.981
It was fun, right?

63
00:04:24.825 --> 00:04:32.567
Croquis involves quickly capturing the subject’s essence
within a limited timeframe,

64
00:04:34.170 --> 00:04:37.522
sometimes as short as 30 seconds,
or as long as 5 or 10 minutes

65
00:04:38.145 --> 00:04:42.007
Through this process, you train yourself
to instinctively grasp gestures

66
00:04:44.185 --> 00:04:47.670
And you repeat this process over and over again

67
00:04:48.304 --> 00:04:49.785
Once you're skilled in gesture drawing,

68
00:04:49.785 --> 00:04:54.145
you can then add outlines, facial expressions, muscles,

69
00:04:54.145 --> 00:04:56.765
and other details to increase the level of expression

70
00:04:57.105 --> 00:05:01.345
If a drawing lacks clear gesture,
no matter how accurate the anatomy is,

71
00:05:01.345 --> 00:05:03.669
it won’t be interesting

72
00:05:04.385 --> 00:05:06.345
Here’s a rough sketch,

73
00:05:06.345 --> 00:05:08.976
but even with detailed anatomical muscles,

74
00:05:09.745 --> 00:05:11.194
if the gesture is poor,

75
00:05:11.194 --> 00:05:15.695
the drawing lacks appeal, right?

76
00:05:16.304 --> 00:05:19.800
What about this one?

77
00:05:20.105 --> 00:05:22.221
Even if it's rough,

78
00:05:22.222 --> 00:05:25.108
a figure with an engaging pose and storytelling

79
00:05:26.264 --> 00:05:28.580
is far more captivating

80
00:05:29.224 --> 00:05:31.105
One of the best things about croquis

81
00:05:31.105 --> 00:05:34.394
is that it provides a satisfying sense of accomplishment

82
00:05:35.264 --> 00:05:38.425
If you spend just 30 minutes a day on croquis,

83
00:05:38.425 --> 00:05:41.956
you can complete anywhere from 3 to 100 sketches a day

84
00:05:42.465 --> 00:05:43.904
It's an efficient practice

85
00:05:44.544 --> 00:05:45.985
You know those days

86
00:05:45.985 --> 00:05:49.705
when you feel like you wasted the whole day doing nothing?

87
00:05:49.705 --> 00:05:53.871
But then, let’s say you went out for a 30-minute jog

88
00:05:54.304 --> 00:05:56.424
You may not have done much,

89
00:05:56.424 --> 00:05:59.064
but just that small effort makes you feel

90
00:05:59.064 --> 00:06:01.601
like you accomplished something

91
00:06:02.383 --> 00:06:04.636
Croquis works the same way

92
00:06:05.424 --> 00:06:09.944
Even on days when you couldn't write
a single line of dialogue,

93
00:06:09.944 --> 00:06:12.100
if you push yourself to do croquis,

94
00:06:12.784 --> 00:06:16.185
your mind feels refreshed,

95
00:06:16.185 --> 00:06:20.597
and you feel like you’ve done something meaningful

96
00:06:21.185 --> 00:06:25.015
I always found the idea of replicating a subject
exactly as it is to be dull and tedious

97
00:06:25.465 --> 00:06:28.951
And anatomy study felt the same way to me

98
00:06:29.443 --> 00:06:33.144
But croquis was the one thing
I could genuinely enjoy drawing

99
00:06:33.144 --> 00:06:37.167
I found it fun to analyze gestures
and capture them intuitively

100
00:06:37.704 --> 00:06:40.916
A time attack approach of 30 seconds,
1 minute, and 3 minutes

101
00:06:41.286 --> 00:06:45.146
Drawing within a set time limit felt almost like a game

102
00:06:45.905 --> 00:06:48.344
I didn’t do it for an extended period,

103
00:06:48.344 --> 00:06:51.127
but I did it every day for about six months

104
00:06:52.064 --> 00:06:55.424
After that, my drawing improved significantly

105
00:06:55.584 --> 00:07:00.625
Especially, my characters, which used
to feel strangely stiff and rigid,

106
00:07:00.625 --> 00:07:02.203
started to appear more natural,

107
00:07:02.665 --> 00:07:05.998
as if their bodies had loosened up

108
00:07:06.704 --> 00:07:10.784
We often think that we communicate
everything through words,

109
00:07:10.784 --> 00:07:14.905
but in reality, we convey much more emotion and intent

110
00:07:14.905 --> 00:07:18.752
through our conscious and unconscious body language

111
00:07:19.504 --> 00:07:23.905
If we can interpret and express a character’s gestures
with various intentions,

112
00:07:23.905 --> 00:07:26.545
it will help readers better understand

113
00:07:26.545 --> 00:07:31.638
our intended message or those intentions

114
00:07:32.385 --> 00:07:36.168
Gestures aren’t just limited to people
They exist in anything that moves

115
00:07:36.304 --> 00:07:37.185
A deer,

116
00:07:38.288 --> 00:07:39.341
its antlers,

117
00:07:39.841 --> 00:07:40.715
a robotic arm,

118
00:07:41.248 --> 00:07:42.248
a car,

119
00:07:42.584 --> 00:07:48.646
even things like lava or wind have gestures

120
00:07:49.784 --> 00:07:52.584
Let’s take a look at this falling leaf as an example

121
00:07:52.584 --> 00:07:58.625
A leaf falls from a tree like this

122
00:08:01.896 --> 00:08:08.896
At a glance, one might think it simply
drops vertically due to gravity

123
00:08:08.896 --> 00:08:14.099
But if you observe an actual falling leaf
with gestures in mind,

124
00:08:14.896 --> 00:08:19.867
you’ll notice how it sways side to side as it falls,
affected by air resistance

125
00:08:20.094 --> 00:08:24.461
Rather than drawing it as a flat shape,

126
00:08:24.462 --> 00:08:28.697
this understanding leads to depicting
its various three-dimensional forms

127
00:08:29.041 --> 00:08:37.769
And if you also capture the texture of a dried, crumpled leaf,
it makes the drawing even richer

128
00:08:38.279 --> 00:08:42.187
Such details enhance the realism of a scene

129
00:08:42.188 --> 00:08:44.560
and convey a variety of emotions

130
00:08:45.013 --> 00:08:50.912
Thus, understanding gestures gives us a new perspective

131
00:08:50.913 --> 00:08:52.812
that can be applied to anything we draw

132
00:08:53.416 --> 00:09:00.704
At this point, let’s take a look at some basic line types
that we can utilize in croquis

133
00:09:00.896 --> 00:09:05.233
These are C, S, I,

134
00:09:05.234 --> 00:09:08.120
and finally, the zigzag line

135
00:09:08.921 --> 00:09:11.712
I have an example image

136
00:09:11.896 --> 00:09:12.880
Let's take a look

137
00:09:13.753 --> 00:09:16.249
The C-line represents a curved line

138
00:09:16.896 --> 00:09:19.896
It can be thought of as a semicircle in a larger form

139
00:09:20.599 --> 00:09:24.896
Rather than applying it strictly as the letter C,

140
00:09:26.619 --> 00:09:27.564
like this,

141
00:09:29.763 --> 00:09:30.740
and this,

142
00:09:32.605 --> 00:09:38.101
it refers to any gentle, flowing curve

143
00:09:42.623 --> 00:09:43.896
Next, the S-line

144
00:09:44.108 --> 00:09:49.357
The S-line is a continuation of two opposing C-curves

145
00:09:49.896 --> 00:09:50.899
Like this

146
00:09:52.032 --> 00:09:55.461
Rather than being a strict S shape,

147
00:09:57.207 --> 00:10:02.902
it follows the natural flow of the form
and creates an S-like movement

148
00:10:03.896 --> 00:10:09.631
The I-line is, as you’d expect, a straight line

149
00:10:11.744 --> 00:10:14.896
These lines define rigid, structured forms

150
00:10:16.132 --> 00:10:21.896
Lastly, the zigzag line

151
00:10:22.502 --> 00:10:27.896
can be seen as an extreme variation of the S-line,

152
00:10:29.673 --> 00:10:36.940
used to create an extreme sense of tension of the S-line

153
00:10:37.670 --> 00:10:41.823
It flows in one direction before

154
00:10:42.522 --> 00:10:45.976
sharply changing course

155
00:10:47.091 --> 00:10:53.353
These basic lines are the foundation of all the lines we draw

156
00:10:53.813 --> 00:10:59.064
Whether smooth or sharp, long or short, all shapes,

157
00:10:59.576 --> 00:11:05.237
circles, rectangles, even jagged spikes,

158
00:11:05.237 --> 00:11:08.458
are combinations of these lines

159
00:11:08.916 --> 00:11:13.574
Although a drawing may seem overwhelmingly complex,

160
00:11:13.578 --> 00:11:19.896
breaking it down reveals that all lines consist
of C, S, I, or zigzag forms

161
00:11:21.509 --> 00:11:24.450
For example, this is a scene

162
00:11:24.457 --> 00:11:29.451
from Berserk by the late Kentaro Miura

163
00:11:30.723 --> 00:11:32.896
It’s an incredible piece

164
00:11:33.554 --> 00:11:36.248
Just thinking about replicating it feels daunting

165
00:11:38.675 --> 00:11:40.170
But if you look closely,

166
00:11:42.248 --> 00:11:46.824
the cape is composed of flowing S-curves

167
00:11:50.213 --> 00:11:51.392
Like this

168
00:11:52.502 --> 00:11:54.174
We see the S here

169
00:11:55.198 --> 00:11:59.796
This shape accumulates to create the flow of the cape

170
00:12:00.896 --> 00:12:06.757
The armor is constructed from
C-curves combined with zigzag lines,

171
00:12:06.939 --> 00:12:09.665
like this, C, C, and C

172
00:12:09.896 --> 00:12:14.728
And the armor has sharp, jagged elements

173
00:12:16.309 --> 00:12:22.187
The sword is made up of rigid, straight lines,
conveying its hardness and weight

174
00:12:23.168 --> 00:12:25.229
It's connected likethis

175
00:12:26.793 --> 00:12:27.669
How was that?

176
00:12:28.123 --> 00:12:30.492
Does breaking it down like this change how you perceive it?

177
00:12:31.656 --> 00:12:36.875
When looking at a detailed illustration,
simply thinking, wow, this is so complicated,

178
00:12:36.899 --> 00:12:41.222
versus recognizing, ah, this is just CSI and zigzag lines

179
00:12:41.686 --> 00:12:46.392
can make a huge difference in
how approachable a drawing feels

180
00:12:46.879 --> 00:12:50.262
Now, let’s analyze gesture in a real example

181
00:12:51.267 --> 00:12:52.938
Here’s a model for reference

182
00:12:53.896 --> 00:12:56.397
Take a moment to observe it

183
00:12:57.181 --> 00:12:58.851
How should we start drawing it?

184
00:13:00.398 --> 00:13:07.707
The first thing we should do is identify
the longest axis of the pose

185
00:13:09.297 --> 00:13:10.485
Like this

186
00:13:11.483 --> 00:13:14.353
Every pose has a primary flow

187
00:13:14.779 --> 00:13:17.442
It could extend from the head to the feet,

188
00:13:17.447 --> 00:13:21.447
or from one arm to the other

189
00:13:21.807 --> 00:13:26.386
Different artists might perceive these lines differently,

190
00:13:26.712 --> 00:13:30.712
but the idea of finding a primary axis remains the same

191
00:13:31.418 --> 00:13:32.404
This is the key to understanding flow

192
00:13:33.018 --> 00:13:36.018
At this stage, the drawing might resemble a stick figure

193
00:13:38.797 --> 00:13:41.797
But actually, stick figures are incredibly important

194
00:13:45.281 --> 00:13:49.467
They serve as essential guidelines for capturing movement

195
00:13:49.896 --> 00:13:55.974
By using these lines as a beacon,
we can quickly sketch out figures in a short amount of time

196
00:13:57.077 --> 00:13:58.896
Once again,

197
00:13:58.896 --> 00:14:02.422
don’t get fixated on outlines or isolated details

198
00:14:02.689 --> 00:14:04.561
Broaden your perspective and observe

199
00:14:04.561 --> 00:14:06.933
how the model stands, sits,

200
00:14:06.933 --> 00:14:10.058
or moves as a whole, focusing on these things

201
00:14:10.984 --> 00:14:12.468
Here’s a new example

202
00:14:12.666 --> 00:14:14.475
Let’s carefully observe the model again

203
00:14:14.896 --> 00:14:16.329
How does the gesture feel to you?

204
00:14:16.896 --> 00:14:18.496
It seems a bit ambiguous

205
00:14:18.650 --> 00:14:22.896
It kind of feels like a C-curve,
but at the same time, not quite

206
00:14:23.775 --> 00:14:24.896
Is it like this?

207
00:14:25.258 --> 00:14:27.896
Or is it more like this?

208
00:14:30.815 --> 00:14:32.896
It seems right, but something still feels off

209
00:14:34.485 --> 00:14:35.896
So which one is correct?

210
00:14:36.747 --> 00:14:39.896
Perhaps, in this case, a C-curve alone

211
00:14:39.896 --> 00:14:43.354
isn’t enough to fully capture the gesture of the pose

212
00:14:46.214 --> 00:14:50.198
In such situations,
it’s useful to break the form down into smaller parts

213
00:14:50.914 --> 00:14:56.406
and apply the CSI and zigzag lines that we’ve learned

214
00:14:57.165 --> 00:14:58.165
For example,

215
00:15:00.890 --> 00:15:05.516
we can divide the upper body using a C-curve,

216
00:15:06.081 --> 00:15:12.755
while expressing the lower body, particularly the legs,
with a combination of straight and S-curves

217
00:15:17.050 --> 00:15:22.338
Then, we can naturally connect the other leg

218
00:15:22.870 --> 00:15:24.596
The arm might also be positioned upward like this

219
00:15:27.621 --> 00:15:30.600
And just like that, we start understanding the gesture

220
00:15:30.808 --> 00:15:35.796
Previously, I mentioned that CSI and zigzag lines
serve slightly different purposes

221
00:15:36.176 --> 00:15:38.598
C, S, and I

222
00:15:38.598 --> 00:15:41.433
all depict smooth, natural flow

223
00:15:41.832 --> 00:15:46.959
Now, try pressing down on an S-curve with more force

224
00:15:48.285 --> 00:15:49.534
Like this

225
00:15:51.356 --> 00:15:56.570
The flow transitions from a relaxed and natural movement
to a tense and dynamic one

226
00:15:59.600 --> 00:16:00.662
Now,

227
00:16:00.662 --> 00:16:02.400
f you want to push this even further,

228
00:16:03.805 --> 00:16:05.342
this is where

229
00:16:05.342 --> 00:16:07.848
the zigzag line comes into play

230
00:16:10.445 --> 00:16:15.031
Zigzag lines convey tension, abrupt directional changes,

231
00:16:15.031 --> 00:16:18.439
and compressed energy

232
00:16:18.634 --> 00:16:22.551
For example,
if you depict wind movement using C or S-curves,

233
00:16:22.551 --> 00:16:25.042
it will look like a gentle breeze

234
00:16:25.315 --> 00:16:28.577
But if you use zigzag lines,

235
00:16:29.279 --> 00:16:30.805
like this,

236
00:16:31.244 --> 00:16:34.438
you get a storm or a violent whirlwind

237
00:16:34.851 --> 00:16:37.896
So, for smooth, natural movements, use C or S-curves

238
00:16:38.339 --> 00:16:42.896
For sudden shifts and dramatic tension, use zigzag lines

239
00:16:43.498 --> 00:16:46.612
Now, let’s apply this to our earlier pose

240
00:16:46.974 --> 00:16:52.350
In this pose,
both the pelvis and left leg show a sharp directional shift

241
00:16:52.747 --> 00:16:58.896
The ankle and foot position also exhibit a strong angle

242
00:16:59.321 --> 00:17:05.673
For such areas, using zigzag lines to define the direction
enhances the overall gesture

243
00:17:06.157 --> 00:17:08.512
One more thing I want to emphasize is,

244
00:17:08.512 --> 00:17:13.119
don’t hesitate to exaggerate gestures as you draw

245
00:17:13.646 --> 00:17:15.748
If you take an actual exaggerated human movement,

246
00:17:15.748 --> 00:17:20.222
like a flying kick or someone lying flat on the ground,

247
00:17:21.114 --> 00:17:23.683
and trace it exactly as it is,

248
00:17:23.686 --> 00:17:26.743
you’ll notice that the gesture
still doesn’t feel all that dynamic

249
00:17:27.353 --> 00:17:29.094
Let me give you a simple example

250
00:17:29.561 --> 00:17:32.460
We're not just copying human anatomy

251
00:17:33.179 --> 00:17:38.359
So, when sketching from a model,

252
00:17:39.378 --> 00:17:43.053
try pushing the existing angles even further

253
00:17:43.064 --> 00:17:44.896
Bend the back more,

254
00:17:45.896 --> 00:17:49.541
tilt the legs further off balance,

255
00:17:50.369 --> 00:17:54.647
and amplify any twisting or arching motions

256
00:17:54.929 --> 00:18:02.572
This creates a far more dynamic and expressive pose

257
00:18:03.365 --> 00:18:07.136
If you practice exaggeration repeatedly,

258
00:18:08.074 --> 00:18:11.672
you’ll start to understand

259
00:18:12.053 --> 00:18:15.702
which areas to exaggerate

260
00:18:15.704 --> 00:18:16.896
to best highlight the intended pose

261
00:18:17.476 --> 00:18:19.565
And most importantly, it’s fun!

262
00:18:19.733 --> 00:18:23.684
You get to freely interpret, exaggerate,

263
00:18:23.686 --> 00:18:25.437
and adjust poses however you like

264
00:18:25.489 --> 00:18:29.084
Now, take another look at the drawing you made earlier

265
00:18:29.701 --> 00:18:32.261
Compare it to what we’ve discussed

266
00:18:32.938 --> 00:18:35.146
Does your perspective on it change?

267
00:18:35.623 --> 00:18:38.026
Try redrawing the gesture lines with a fresh approach

268
00:18:38.709 --> 00:18:40.462
This is how I would express it

269
00:18:40.797 --> 00:18:42.338
What about you?

270
00:18:42.862 --> 00:18:46.499
Does your new version feel different from the first?

271
00:18:47.004 --> 00:18:48.810
Which one looks more convincing?

272
00:18:49.330 --> 00:18:53.721
Your latest attempt will have a stronger,
more compelling gesture

273
00:18:55.689 --> 00:18:58.343
The better you get, the more fun it becomes

274
00:18:58.628 --> 00:19:01.853
There’s nothing more satisfying
than improving at something you once found difficult

275
00:19:02.139 --> 00:19:06.306
Refining Croquis: Outlines

276
00:19:06.785 --> 00:19:10.577
Now that we’ve established the gesture,
it’s time to apply the outer contours

277
00:19:10.985 --> 00:19:13.954
Remember the outline of the star

278
00:19:14.545 --> 00:19:15.505
that we sketched earlier?

279
00:19:16.025 --> 00:19:18.905
Now, we’re taking the gesture as the skeletal foundation

280
00:19:18.905 --> 00:19:22.850
and layering on the outline as the flesh

281
00:19:23.185 --> 00:19:27.104
Here are some useful tips for this stage

282
00:19:27.825 --> 00:19:30.054
First, start with the torso

283
00:19:30.344 --> 00:19:34.697
Some people begin with a circular head shape,

284
00:19:35.625 --> 00:19:39.650
while others start from the top of the canvas

285
00:19:39.904 --> 00:19:41.176
There are many preferences

286
00:19:41.625 --> 00:19:43.517
And there’s no absolute right or wrong way

287
00:19:43.819 --> 00:19:45.667
I won't stop you from doing it

288
00:19:46.265 --> 00:19:50.443
However, I recommend focusing on the body first

289
00:19:51.025 --> 00:19:52.865
because it acts

290
00:19:52.865 --> 00:19:55.883
as the central structure and others the branches

291
00:19:56.345 --> 00:19:57.992
Think of it like drawing a spider

292
00:19:58.584 --> 00:20:01.710
It’s easy to draw a simple spider, right?

293
00:20:02.584 --> 00:20:04.302
The human body works the same way

294
00:20:04.785 --> 00:20:07.448
Once the torso is established,

295
00:20:09.384 --> 00:20:14.061
the limbs become easier to position

296
00:20:14.465 --> 00:20:16.785
Of course, depending on the pose,
this might not always be the case,

297
00:20:16.785 --> 00:20:19.370
but in most situations,
the torso is at the core of the composition

298
00:20:20.384 --> 00:20:21.912
Now, let’s go back to our previous sketch

299
00:20:22.424 --> 00:20:26.825
Observe how the torso is positioned and bent,

300
00:20:26.825 --> 00:20:29.906
then map out the overall gesture accordingly

301
00:20:30.905 --> 00:20:37.305
In this pose, you start by understanding the torso

302
00:20:39.344 --> 00:20:40.465
Observe how the torso bends

303
00:20:41.024 --> 00:20:42.989
The shape is very dynamic

304
00:20:44.933 --> 00:20:47.304
Once this is established,

305
00:20:47.304 --> 00:20:51.027
you can attach the arms and legs accordingly

306
00:20:53.169 --> 00:20:59.059
Thinking about it this way makes the process
simpler than it initially seems

307
00:20:59.465 --> 00:21:03.865
Before diving into detailed anatomy,

308
00:21:03.865 --> 00:21:08.158
let’s go over some basic anatomical concepts

309
00:21:08.342 --> 00:21:10.860
The torso consists of the chest and pelvis,

310
00:21:11.225 --> 00:21:13.231
with the waist in between

311
00:21:14.105 --> 00:21:18.197
The chest and pelvis are rigid bone structures,
meaning they do not move

312
00:21:18.904 --> 00:21:20.585
Only the waist can bend

313
00:21:20.877 --> 00:21:26.164
Additionally, the waistline naturally follows a curved shape,
rather than being a straight line

314
00:21:26.785 --> 00:21:30.145
When I first started drawing, I used to depict

315
00:21:30.146 --> 00:21:31.814
standing figures with a straight torso

316
00:21:32.203 --> 00:21:33.260
Like this

317
00:21:33.904 --> 00:21:35.707
From a side view,

318
00:21:36.505 --> 00:21:38.986
I understood

319
00:21:39.305 --> 00:21:43.123
that the chest protrudes forward,

320
00:21:44.305 --> 00:21:47.814
but I didn’t know after that,
so I would just draw it as a straight vertical line

321
00:21:48.145 --> 00:21:49.544
As I already told you,

322
00:21:49.544 --> 00:21:52.067
I hated studying for the drawing

323
00:21:52.464 --> 00:21:53.597
So I didn't look it up

324
00:21:53.785 --> 00:21:55.395
This was not it

325
00:21:55.704 --> 00:21:57.545
I shouldn't have made it straight

326
00:21:58.064 --> 00:22:02.424
The body is naturally divided into three segments

327
00:22:02.424 --> 00:22:05.156
Chest, waist, and pelvis

328
00:22:05.424 --> 00:22:08.853
Recognizing these three sections is crucial

329
00:22:09.105 --> 00:22:13.734
when constructing gestures as we're working on

330
00:22:14.704 --> 00:22:18.420
Imagine if this was just a straight line

331
00:22:18.745 --> 00:22:20.997
This spine supports our chest

332
00:22:21.305 --> 00:22:24.479
If the waist were completely straight

333
00:22:25.745 --> 00:22:29.342
and we tried to move it around like this,

334
00:22:30.225 --> 00:22:32.660
we would quickly end up with a slipped disc

335
00:22:33.464 --> 00:22:36.105
In reality,

336
00:22:36.105 --> 00:22:42.164
the spine is composed of multiple segments,

337
00:22:42.166 --> 00:22:45.580
curving inward to provide flexibility and mobility

338
00:22:45.824 --> 00:22:48.385
Another important observation is

339
00:22:48.385 --> 00:22:55.006
that the chest and pelvis are positioned
in opposite directions,

340
00:22:56.184 --> 00:22:58.829
forming a counterbalance

341
00:23:00.464 --> 00:23:01.221
Like this

342
00:23:03.665 --> 00:23:05.274
In this structure, the waist,

343
00:23:05.274 --> 00:23:09.531
or the lumbar spine, acts as a bridge
connecting the ribcage and pelvis

344
00:23:10.184 --> 00:23:12.225
To reiterate,

345
00:23:12.225 --> 00:23:16.881
the chest and pelvis are rigid

346
00:23:17.745 --> 00:23:19.730
and cannot move independently

347
00:23:20.585 --> 00:23:23.464
The ribcage, for instance, can move slightly

348
00:23:23.464 --> 00:23:26.425
when taking deep breaths or experiencing compression,

349
00:23:26.425 --> 00:23:27.650
but I won't cover that here

350
00:23:27.985 --> 00:23:31.105
The waist or the lumbar spine is not a straight line,

351
00:23:31.105 --> 00:23:33.790
and the chest and pelvis remain rigid

352
00:23:33.945 --> 00:23:38.981
Understanding this will make sketching body contours faster

353
00:23:39.232 --> 00:23:42.663
Another detail to keep in mind is the curve of the neck

354
00:23:43.304 --> 00:23:47.739
Some beginners mistakenly draw the neck as a straight line,

355
00:23:48.545 --> 00:23:51.973
but it connects the skull to the spine

356
00:23:52.385 --> 00:23:57.160
So it actually follows a C-curve in its neutral position

357
00:23:59.184 --> 00:24:03.363
Capturing this subtle curve

358
00:24:04.425 --> 00:24:09.460
will make people think that you know how anatomy works

359
00:24:10.144 --> 00:24:11.149
That's what I think

360
00:24:11.464 --> 00:24:14.105
The simpler the drawing, the more crucial

361
00:24:14.711 --> 00:24:16.595
the angle of curves, degree of protrusions,

362
00:24:17.385 --> 00:24:22.894
and subtle shifts in form become in
conveying anatomical understanding

363
00:24:23.408 --> 00:24:25.479
This applies to limbs as well

364
00:24:26.052 --> 00:24:30.010
When I didn't know much about anatomy,
I used to assume arms and legs

365
00:24:30.344 --> 00:24:35.189
were just straight lines connected by joints

366
00:24:35.705 --> 00:24:36.770
But I was wrong

367
00:24:37.344 --> 00:24:41.425
It's much better to think of the limbs

368
00:24:41.425 --> 00:24:42.959
as following gentle C-curves

369
00:24:43.505 --> 00:24:44.793
When it comes to movement,

370
00:24:45.184 --> 00:24:50.730
a relaxed, extended leg can be drawn as a soft S-curve

371
00:24:51.864 --> 00:24:52.472
Like this

372
00:24:54.304 --> 00:24:55.231
Like so

373
00:24:56.904 --> 00:24:57.752
And like this

374
00:24:58.864 --> 00:25:00.511
The soft S-curve

375
00:25:01.650 --> 00:25:07.386
Depending on the pose, a sharper bend
might introduce zigzag lines instead

376
00:25:08.024 --> 00:25:11.945
Rather than rigidly sketching straight stick-like limbs,

377
00:25:11.945 --> 00:25:13.730
applying subtle curves allows

378
00:25:13.731 --> 00:25:19.042
for a more natural and fluid representation of movement

379
00:25:19.985 --> 00:25:21.033
Next up

380
00:25:22.825 --> 00:25:26.302
One important concept to keep in mind
when drawing poses is contrapposto

381
00:25:26.665 --> 00:25:27.962
It's a difficult-sounding term

382
00:25:28.184 --> 00:25:29.934
It's like leaning on one leg

383
00:25:30.624 --> 00:25:33.945
It's a relaxed stance where one leg
bears most of the body's weight,

384
00:25:33.945 --> 00:25:36.484
while the other remains at rest

385
00:25:37.024 --> 00:25:39.236
Standing perfectly upright

386
00:25:41.064 --> 00:25:42.625
takes a lot of energy,

387
00:25:43.225 --> 00:25:44.251
so it's not the most comfortable

388
00:25:44.665 --> 00:25:47.505
Both legs must evenly

389
00:25:47.505 --> 00:25:50.427
support the torso’s weight

390
00:25:51.024 --> 00:25:53.090
But in this pose,

391
00:25:53.091 --> 00:25:55.163
or in a contrapposto pose,

392
00:25:55.163 --> 00:25:56.825
the weight-bearing leg anchors the body,

393
00:25:57.136 --> 00:26:01.785
allowing the hip to tilt and redistribute the load

394
00:26:01.785 --> 00:26:05.064
So the hip becomes the support

395
00:26:05.064 --> 00:26:09.800
that bears the weight of the body

396
00:26:10.225 --> 00:26:16.806
The weight-bearing leg anchors the body,

397
00:26:19.415 --> 00:26:25.382
allowing the hip to tilt and redistribute the load

398
00:26:27.563 --> 00:26:30.115
Here's another example of a contrapposto pose

399
00:26:30.266 --> 00:26:31.435
The same thing applies here

400
00:26:32.171 --> 00:26:38.827
As mentioned earlier,
contrapposto involves a tilted shoulder on one side,

401
00:26:38.827 --> 00:26:42.876
counterbalanced by the opposite tilt of the pelvis

402
00:26:43.505 --> 00:26:44.733
The key feature of the pose

403
00:26:45.763 --> 00:26:47.607
is this oppositional angle

404
00:26:47.998 --> 00:26:49.061
in the shoulders and the pelvis

405
00:26:49.509 --> 00:26:56.473
Conversely, if the right shoulder is higher,

406
00:26:57.125 --> 00:27:06.586
and this part of the leg, the pelvis, supports the body

407
00:27:07.714 --> 00:27:09.963
There are a few things to remember for this pose

408
00:27:10.363 --> 00:27:17.935
The shoulder and the pelvis always tilt
in opposite directions

409
00:27:18.323 --> 00:27:19.067
Like this

410
00:27:20.641 --> 00:27:23.584
If the left shoulder is raised,

411
00:27:25.122 --> 00:27:28.418
then the left pelvis naturally lowers

412
00:27:30.203 --> 00:27:38.429
Next, the foot on the raised pelvis side
must be positioned near the body's center of gravity

413
00:27:38.801 --> 00:27:39.869
This may sound complicated at first,

414
00:27:40.949 --> 00:27:42.272
but it becomes clear when you visualize it

415
00:27:43.643 --> 00:27:49.352
The center of gravity is essentially the center of the body

416
00:27:52.003 --> 00:27:55.594
So it is essentially around

417
00:27:56.215 --> 00:27:57.306
the clavicle

418
00:27:57.461 --> 00:28:04.738
It is the vertical line running down from the clavicle,

419
00:28:05.323 --> 00:28:10.082
the small hollow area just below the neck

420
00:28:10.643 --> 00:28:12.196
Once the position of the shoulders, pelvis,

421
00:28:12.197 --> 00:28:15.907
and center of gravity is correctly set,

422
00:28:16.184 --> 00:28:19.274
the rest of the limbs can be freely adjusted

423
00:28:19.483 --> 00:28:22.990
This flexibility is what makes contrapposto
such a useful and visually appealing pose

424
00:28:23.507 --> 00:28:28.167
This concludes the explanation
of the gesture drawing section

425
00:28:28.487 --> 00:28:30.789
Now, grab your drawing tools

426
00:28:31.149 --> 00:28:33.072
Let's work on a croquis together

427
00:28:33.565 --> 00:28:38.588
We’ll start with a 30-second pose, a one-minute pose,
and finally a three-minute pose

428
00:28:39.162 --> 00:28:41.489
The time is running

429
00:28:41.497 --> 00:28:43.904
Quickly sketch the neck line and torso

430
00:28:43.904 --> 00:28:47.641
Don’t forget to exaggerate the leg lines

431
00:28:47.641 --> 00:28:51.871
Capture the arm positions and the body’s structure

432
00:28:51.871 --> 00:28:54.691
It's already been 10 seconds

433
00:28:55.043 --> 00:28:58.953
Now focus on the leg lines

434
00:29:00.031 --> 00:29:00.699
The leg lines

435
00:29:00.916 --> 00:29:02.586
Time is running out

436
00:29:03.602 --> 00:29:05.945
Five seconds, the arsm

437
00:29:07.759 --> 00:29:09.227
Get the arms

438
00:29:11.203 --> 00:29:12.886
Quickly outline the face

439
00:29:12.886 --> 00:29:15.279
And then the neck

440
00:29:15.427 --> 00:29:17.009
Notice how the torso curves,

441
00:29:17.156 --> 00:29:19.991
and how the leg lifts

442
00:29:20.162 --> 00:29:22.776
The opposite arm drops

443
00:29:23.094 --> 00:29:24.856
Ten more seconds

444
00:29:25.029 --> 00:29:27.465
Now the shoulders, the arms, and the neck

445
00:29:27.535 --> 00:29:28.747
Let's shape the body

446
00:29:28.930 --> 00:29:30.947
The neck falls here,

447
00:29:32.121 --> 00:29:36.587
so exaggerate the chest here

448
00:29:36.588 --> 00:29:39.102
The leg looks like this

449
00:29:39.778 --> 00:29:42.645
Capture the foot too

450
00:29:43.123 --> 00:29:46.189
Don't forget the line around the pelvis

451
00:29:46.701 --> 00:29:48.030
Get the shoulders

452
00:29:48.320 --> 00:29:49.013
And now

453
00:29:50.643 --> 00:29:53.298
20 more seconds, oh, this is intense

454
00:29:55.602 --> 00:29:58.232
Keep the arm up

455
00:29:58.339 --> 00:29:59.660
She's holding a sword

456
00:30:04.162 --> 00:30:06.128
Yes, ten more seconds

457
00:30:07.891 --> 00:30:08.841
Oh, this is so much

458
00:30:09.347 --> 00:30:12.027
And now the pelvis

459
00:30:12.168 --> 00:30:13.798
And that's it

460
00:30:15.549 --> 00:30:18.817
Take ten seconds to carefully observe the pose

461
00:30:21.203 --> 00:30:23.241
 Notice how the waist bends

462
00:30:24.992 --> 00:30:27.163
and the angles form

463
00:30:27.526 --> 00:30:29.066
The torso twists like that

464
00:30:32.686 --> 00:30:34.423
Okay, let's begin

465
00:30:34.703 --> 00:30:36.371
Outline the face first

466
00:30:36.917 --> 00:30:41.712
Then the neck, and the curve in the back

467
00:30:43.162 --> 00:30:44.597
Oh, that looks too much

468
00:30:44.597 --> 00:30:45.597
Everyone,

469
00:30:45.890 --> 00:30:49.320
when you have some time,
make sure to go easy with the lines

470
00:30:49.320 --> 00:30:51.210
It’s been a while since I’ve done croquis

471
00:30:52.462 --> 00:30:54.029
Let’s keep the lines light

472
00:30:54.201 --> 00:30:57.963
When adding details later,
the strokes should be more defined

473
00:30:57.963 --> 00:31:01.091
If the initial lines are too heavy,

474
00:31:03.806 --> 00:31:06.524
They’ll overpower the ones that follow

475
00:31:08.132 --> 00:31:11.296
Capture the waist movement

476
00:31:12.398 --> 00:31:14.443
I prefer using double lines

477
00:31:14.793 --> 00:31:15.390
Here

478
00:31:16.558 --> 00:31:22.695
Shape the flow from the chest to the pelvis,
make sure to exaggerate

479
00:31:23.128 --> 00:31:25.173
A minute has passed

480
00:31:25.536 --> 00:31:28.241
And here,

481
00:31:34.803 --> 00:31:36.496
the hand area feels empty

482
00:31:39.876 --> 00:31:44.091
Since we're going to draw eyes, we'll work on it more

483
00:31:44.448 --> 00:31:48.709
And do this

484
00:31:51.001 --> 00:31:54.671
Three minutes is pretty long, so take your time

485
00:33:20.020 --> 00:33:22.707
Our goal is not making a finished piece

486
00:33:22.956 --> 00:33:26.068
Croquis is about training

487
00:33:26.068 --> 00:33:29.445
the hand and eye to catch movement

488
00:33:30.004 --> 00:33:32.009
So here is the final work

489
00:33:32.438 --> 00:33:33.420
How does it look?

490
00:33:33.420 --> 00:33:37.964
Did you manage to capture what you intended?

491
00:33:38.364 --> 00:33:41.461
This concludes the croquis session

492
00:33:43.368 --> 00:33:49.604
I suggest using this method as a reference to start with

493
00:33:50.100 --> 00:33:55.346
I studied philosophy, never had formal art training,

494
00:33:55.346 --> 00:33:59.380
yet I managed to improve now

495
00:33:59.899 --> 00:34:01.077
Let me reiterate

496
00:34:01.078 --> 00:34:03.113
 My way isn’t the absolute answer,

497
00:34:03.655 --> 00:34:08.226
but it can serve as a useful starting point for beginners

498
00:34:08.421 --> 00:34:11.985
You need to take a leap of faith and find your own style

499
00:34:12.574 --> 00:34:15.959
Having a basic understanding of anatomy

500
00:34:15.960 --> 00:34:19.229
is definitely helpful when simplifying forms in croquis

501
00:34:19.460 --> 00:34:22.922
Simplification is only possible
when you first understand complexity

502
00:34:23.688 --> 00:34:27.539
Especially when drawing shoulders, pelvis, and feet,

503
00:34:27.540 --> 00:34:30.888
anatomical knowledge makes a big difference

504
00:34:31.277 --> 00:34:33.881
That concludes our croquis session

505
00:34:34.300 --> 00:34:37.569
You might have thought it was just about sketching loosely,

506
00:34:37.569 --> 00:34:41.375
but there’s actually a lot to consider

507
00:34:42.020 --> 00:34:45.158
I was surprised myself at how much there was to explain

508
00:34:45.699 --> 00:34:47.605
Mastering gesture drawing

509
00:34:47.612 --> 00:34:50.516
is an essential skill for webtoon artists

510
00:34:50.869 --> 00:34:54.132
I encourage you to approach croquis
with a lighthearted mindset, like taking a walk

511
00:34:54.728 --> 00:34:55.279
I guarantee

512
00:34:55.279 --> 00:34:57.759
that if you practice daily for three months,

513
00:34:57.760 --> 00:35:01.888
not only your understanding of gestures
but your line quality itself will drastically improve

514
00:35:02.448 --> 00:35:07.769
That concludes For Newbies: Gestures, Not Muscles

515
00:35:07.770 --> 00:35:09.942
Thank you for watching

516
00:35:11.553 --> 00:35:12.553
The Basics of Croquis and Gesture Drawing
Gesture: the flow of movement in a subject
Croquis: exercise to capture the movement

517
00:35:12.554 --> 00:35:14.273
Croquis: quick sketching done within a limited time
to quickly capture the key characteristics

518
00:35:14.273 --> 00:35:15.316
Lines for Expressing Gesture
C-line: Gentle semicircle
S-line: Counterpart to the C-line
I-line:  Straight line
Z-Line: Jagged, more extreme than S

519
00:35:15.320 --> 00:35:20.611
Capture Gesture in Drawing
Identify the longest axis of the subject
Or, break it down into smaller sections

520
00:35:20.611 --> 00:35:22.552
Outlining
Establishing the torso before sketching the rest of the body
The spine consists of multiple vertebrae
that create a naturally curved waist

521
00:35:22.552 --> 00:35:24.829
Only the waist moves, while the chest and pelvis remain rigid
Emphasize its natural curvature of the neck
C, S, or Z-lines for arms and legs

522
00:35:24.829 --> 00:35:28.038
The pelvis and shoulders should tilt in opposite directions
The supporting leg should be near the center of gravity