Lydia waited patiently. She fidgeted with the sack in her hand as she waited. It was late. She could go home and pretend this never happened. Suddenly, the bag was no longer in her hands but in the hands of a strange gentleman standing before her. She gasped in surprise. He shook the sack.
"W-will he go to a safe place?" The gentleman laughed.
"You don’t put stipulations on a deal with fae," he waved a finger with a smile. "Worry not. You won’t remember soon enough."
Lydia blinked. It was late. She was crying. Lydia did not know why.
A loud, percussive snap rang through the air, followed by the carriage dipping precariously to the left. In seconds, the vehicle slammed to the road. The work beasts hissed and clicked, attempting to pull as far away from the falling carriage as fast as they could. The coachman swore, and pulled back on the reigns to slow the beasts.The work beasts stopped, and the now one-wheeled carriage tipped to the roadside with a THUD.
A yawn could be heard from the inside. “Are we there yet?” The passenger asked.
"Not quite yet, no," the coachman replied sourly. "Wheel broke."
Three siblings gathered at the attic stairs. Outside, a storm rumbled.
"Ok," said the oldest. "Show what you brought."
The oldest produced a rock, the next oldest showed a net and the youngest held up a jar of jelly. The middle sibling scoffed.
"A rock? That’s dumb."
"No it’s not," the oldest refuted. "It banishes ghosts. Why a net?"
"We’re catching a ghost duh."
"Duh yourself, dumbo," the oldest chastised. "Ghosts go through nets."
"Mine’s the best!" The youngest declared proudly. "Everyone knows ghosts love jelly!"
"Ghosts don’t eat," the oldest shook his head.
Thunder boomed, and the siblings scattered.
"Oh! I’m so sorry!"
Kari tried to catch her breath from the blow, clutching what was left of the manuscript she had been carrying. Paper fluttered in the wind and skidded across the cobbles in the road. The girl that had bowled in to her jumped and scuttled after them.
"I didn’t see-is this a book?" The other stopped, quickly reading over one of the passages. "This is good."
"Thanks," Kari managed. "I’m late to the publisher."
The loose paper was shoved into her arms. “We can’t have that!” The other cried. “Follow me!”
The two hurried down the street.
Tuesday Tips - Gesture Drawing
As a story artist, I feel like one of the most important technical skill to develop is the ability to draw things things clearly and fast. Practicing gesture drawing is, in my opinion, a good way to get better at it. I think it’s fun, too! Of course, you can draw from life and find unique things people and animals do, but I also think practicing gesture drawing from imagination is truly helpful. For instance, I usually do some gesture drawings of characters I’m about to work with in a sequence. It helps me find a short-hand to start building from. The simpler, the better. Especially early on a project, it really helps to find a quick way to draw a character over and over without repeating yourself all the time.
I remember Life Drawing teachers telling me to “draw from within” and to “feel the weight”. It’s absolutely true, but in terms of storyboarding, other elements came to be as important to the process. Silhouette and a sense of “cartooning” is tremendously helpful to communicate certain things clearly to an audience.
I’m only focusing on character posing right now (and this is just an introduction to the subject). Gesture drawing is very close to thumb-nailing, another ultra-helpful skill. More on that later.
For those who want to spend some money on great books on the subject, I highly recommend you to pick up “Drawn To Life: 20 Golden Years of Master Classes of Disney Master Classes” (Vol. 1 and 2) , from Walt Stanchfield. Do it.