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List of contents
Introduction. Defining “Gesture” and the Importance of Visual Clarity. Looking for the “Big Idea”. “Tubes” (or “Noodles”): 2D. “Cylinders”: Beginning the Translation to 3D. Shape and Form. Return to the Silhouette. Shadow Shapes and Rendering. Acting and Style. Drapery, Costuming, Props. Experimentation in Mixed Media and How It Affects Visual Storytelling. Afterword. Recommended Readings. Glossary.
About the author
April Connors is a figure drawing instructor and freelance illustrator based in Los Angeles, California. She has been teaching figure drawing for the last six years, both privately and through established institutions to a wide variety of artists at all levels and from different disciplines. From the professional to the novice student. She has taught private classes in Mexico and impromptu drawing lectures/demos in Hong Kong, countries in which her illustrations have been exhibited as part of solo and group shows. Her selfpublished booklet, "Toasty Biscuits" (a small compilation of drawings), was also released during her time in Hong Kong.
April's Los Angeles based drawing classes include: Gesture Drawing for Animation and Figure Drawing 1 at Gnomon School of VFX in Hollywood; Model Drawing (sophomore, junior, and senior levels) for the Fashion department at Otis College of Art and Design; Illustrative Storytelling From Life at 3Kicks Studio in Pasadena; private drawing and painting classes at her studio. From 2012-2015 she also administered an uninstructed figure drawing workshop at her studio, part of the Keystone Fine Art Studios complex. The uninstructed figure drawing sessions followed in the tradition of workshops such as "The Drawing Club", which placed an emphasis on characterization and story-telling.
April's academic work focuses on developing a drawing philosophy and method that places a focal point on storytelling and autodidactism, while being flexible enough to grow and change and be further developed by other artists; in this way she wishes to inspire an open and inquisitive dialogue between not only the artist and their audience, but between artists of different media and disciplines as well, something she fears is being lost in younger generations.
Summary
This book outlines a work flow and process with a simple exercise program that encourages the artist to ask questions and create work that engages not only their audience but themselves. Rich illustrations are included that depict this workflow and different drawing and mark-making techniques, and how to apply the exercises are found in the book.
