What I actually draw vs what I think about

When I draw I focus on the shape design and think about the construction.

Rad Sechrist: Construction Tips

Rad Sechrist: Emotional shapes

I didn't make this up, it's something that has been done in production design both in live action and animation for a long time. It's a lot of fun to play with. Here is how I used it in a recent comic.

Rad Sechrist: Head construction

There are a million ways to construct the head. Try mixing and matching as many different approaches as you can, and see what works for you. There is one thing that unifies all approaches. In the end, when you finally put your lines on top, you have to have good design principles.

Rad Sechrist: Drawing from memory

This is a good exercise. This was done from life, but it's also good to try it from a photo. Look at a photo for 30 seconds and try to remember a few things and then draw without the photo. The nice thing about using a photo is you can look at it again and check how well you did.

Rad Sechrist: Quick storyboard drawing

Everyone storyboards differently and there is no "correct" way of doing it. This is just my approach so that I can get my work done quickly and not worry about deadlines. This gives me the freedom to try lots of different things and not feel like I can't try something because it would take too long.

Rad Sechrist: studying

Guest: "I'd love to see the best way to maximize practice. Say you sit down for a couple hours each day study: where do you focus? How do you make it stick?"

Here is how I learned to draw. I put on an animated movie and pause it and try to figure out how to draw it. this is still something I do almost every day for about an hour. For figure drawing, I take out a master drawing and do a master copy on newsprint. I also do studies from comics. I find it easier to do studies from art. For me (and this is just a very personal opinion) drawing from life, or from photos is like taking a test. You find out what you need to study more of and you go back and study artist to figure out how they handled things, then you go and take the test again. If you only ever draw from life, you run the risk of just repeating the same mistakes over and over again and never improving. there are pros and cons to this method. At first, your drawings will be very unoriginal, but eventually you can break free and develop your own style. The other side of the coin is to be very fresh and original, but not "technically" as good of a draftsmen (never study). It's a very personal decision that each artist gets to make and I don't think one way is better than the other.

Rad Sechrist: Question by Robert

Robert asked, " I'm just in high school, and I was wondering what I could do to possibly prepare myself to become a storyboard artist."

Personally, I never went to school for it, but if I could go back in time, I definitely would have. It would have saved a lot of time and work, and it just sounds so awesome to be surrounded by students excited about art and animation. Art Center in Pasadena and Cal Arts are both great schools. If you are able to get into Gobelins in France, that is, in my opinion, the best school for animation in the world. Another good school is Sheridan in Canada. Other than schools, just study films and break them down shot by shot into storyboards. that's a really good way to learn. After you learn, studios have training programs where you can get in and learn on the job. TV also has something called a storyboard revisionist. You can basically just show up to any studio with a portfolio of storyboard samples and they will usually call you back and give you a test. Doing the test for the job is actually a great way to learn. I did several test for studios before I finally got a job. every test, I would take to someone in the industry and ask them to look at it and I would try to make less mistakes the next time. that is sort of how I learned to storyboard. Try it, make a storyboard portfolio and drop it off at Nickelodeon.

Rad Sechrist: Making a pose better

Someone asked about making a pose better. The biggest one for me is using the z axis. So many times all the parts will be straight up and down and don't go in or out. Adding a little head tilt also makes a huge difference.

Rad Sechrist: Drawing from your head

Here is another one. Someone asked about drawing from your head, or drawing people in action. I usually imagine what I will put down one piece at a time or imagine the arm in a new spot and decide if I want to move it. i can't quite imagine the entire pose clearly like some people do, but I'm working my way towards being able to do that. For quick sketch, or action poses from life, I try to remember 1 or 2 important things and make up the rest.

Rad Sechrist: Balance

So, I'll be the first to answer one of the questions. Someone asked how to keep the character balanced.

Rad Sechrist: What is drawing?

I'm constantly adapting and learning, but this is how I think about drawing right now. This information goes all the way into rendering with light and shadow. All the shadow shapes must be designed well and reinforce the direction with overlap.