(Ebook) Kibbitzer - Dynamic Reference Sheets ENG

KIBBITZER
DYNAMIC
REFERENCE SHEETS
Poses in action for artists and
as pi r i n g d e s i g n e r s
DY NAM IC
R EFER ENCE SHE E TS
K I B B I T ZER
DY NAM IC
R EFER ENCE SHE E TS
Editorial Director:
Raffaele Rocchi
Proofreading:
Laurence Casalini
Drawings and illustrations:

Kibbitzer
Graphic project:
Ilaria Fortino
English translation:
Laurence Casalini - Adam Boltik
Copyright © 2019 Kibbitzer

All rights reserved
© Kudos S.r.l.s a single shareholder, Bologna
ISBN
978-88-31252-05-8
This volume was printed by:

New Print S.n.c. - Viale Kennedy 17
30025 Fossalta di Portogruaro (VE)
Printed in Italy
Year 2019 - First edition
www.kudoseditore.com
INDEX
R E
IG U
F
TIC
13
A
ST
R E
U
FIG
I C
A M
31
Y N
D
N S
T IO
C
RA
61
T E
IN
A S
89
TR
EX
GENERAL
INTRODUCTION
Although many people believe that
backgrounds are the most complicated
things to draw, my real nightmare is
the human figure. Managing it with the
right proportions, varying poses and
perspectives, is a job that takes years
and years of practice and study!
As I continue my personal research for
the ideal synthesis, I am putting my most
recent work at your disposal, paying
particular attention to the whole figure
in dynamic poses and to the interactions
between different figures. I decided to
sacrifice the texts to guarantee that
you’d get more images: less chat, more
freaking references!
Since there is no tutorial, this volume
is to be considered more of a useful
sketchbook and a collection of resources
than a real drawing manual.
I hope you can still consider it as a valid
support to use for your artistic work!
V II
PREFACE
Before becoming a manual, “Dynamic studies, and anatomical analysis car-
Reference Sheets” started as an idea. ried out by the artist. It is a collection
The idea was bor n on a warm July of dynamic references and perspective
evening in 2018, at a meeting between poses created mainly for her Patreon
colleagues and artist friends sitting supporters and Kickstarter backers.
around a table and discussing books But it is also the result of our desire to
and low employment opportunities for have a publishing house that could bring
emerging authors in the Italian market. ideas like this to life.
Kudos did not exist yet but the desire “Dynamic Reference Sheets” contains
was already present: the desire to create over eighty reference sheets created by
a new editorial form that was geared Kibbitzer to help those who have difficulty
towards small and self-published cre- with making poses in motion or strain
ators just like on the web. To create a with proportions. The manual is divided
new publishing house no longer bound into chapters which will make it easier
to operate confined to national borders for you to find the best references for
but that could, in some way, overcome your purposes.
them. To create a publisher who was Thank you for the support you have
able to publish both comic books and given us so far.
drawing manuals to allow everyone,
beginners and experts, to approach the Enjoy the reading,
world of art for the first time or look at
it from a new perspective. The editorial staff
Kibbitzer was there with us: an artist

famous internationally for her reference
sheets for designers. She has always
been interested in showing her approach
on how to make art and sharing a bit
of her knowledge and skills with other
enthusiasts. Since 2015, Kibbitzer has
made a living thanks to these artistic
resources, and she shares them with
her fans through her monthly campaign
on Patreon. She volunteered to help us
and support us on this journey and we,
strengthened by her support, decided
to go all the way.
The manual you are browsing through is

the result of years of experimentation,
IX
INTRODUCTION
It is with some regret that I note that most points out to us some bad habits we
artists are ashamed to use references have, we don’t realize it! Where I used
while others simply refuse to admit they to see only a flat image, now I see a
use them, as if it were unethical or a three-dimensional figure with joints and
crime. Why?! Don’t we all learn from movements that I try to understand a
watching, after all? Using references, little more, day after day.
without tracing them and respecting Analyzing what I observe now allows me
the copyright, is absolutely legal and to use copying references only as a tool
it might even be necessary to improve to learn how to manage the mechanics
and make better art. of bodies. Copying for its own sake is
My advice is to always use drawing a practice that will never lead to lasting
references sparingly, without becoming improvement in the long term.
dependent on them, and to place them
alongside real models to correct possible
anatomical errors.
To those who’re approaching drawing
for the first time: a good way to take
advantage of references is certainly to
try to copy what you see, but simply
doing it like a cold photocopier is use-
less. By just copying, you risk to not
understanding the real structure behind
the body shapes. Without the mental
and structural analysis of what you’re
copying, one risk is never learning to
draw independently and, consequently,
the impossibility of inventing something
original without having references.
Until I was 17 years old, I had this bad
habit of just copying references and, in
fact, I never managed to match what I
imagined with what I drew. It was very
frustrating for me.
The real turning point came when I was
taught a different mental approach: to
deconstruct the various elements that
are hidden inside the human figure into
geometric and simpler shapes.
For some this may sound obvious or
even ridiculous but, until someone
XI
STATIC FIGURE
In this first chapter you will find a variety
of 52 full-body, static poses: standing,
kneeling, sitting, in perspective and in
other poses that I hope will come in
handy! For most of the studies in this
series, I have used the precious help of
a couple of models. Personally, I still find
it very difficult to make “natural” poses
of this kind... and paradoxically, I find
it easier to draw high shots of a person
walking on his hands!
DY NA M I C R E F E R E N C E SHEET S
14
C H A PTE R 1 - STATIC FIGU R E
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
DYNAMIC FIG URE
The second chapter becomes more an-
imated with 81 full-body and dynamic
poses, which could be useful if you need
to draw an action sequence in a comic.
For this series, I took inspiration from
sports photography and slow-motion
shots of people getting hurt, like this
guy rolling down the stairs… :°)
32
C H A P TE R 2 - D YN A MIC FIGU R E
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
INTERACTIONS
The chapter that amused me the most was
this one: group or couple interactions.
You will find 119 poses in this section,
especially with many useful half-body
references!
Unfortunately, this is the category most
subject to theft, posting or reusing with-
out credit, tracing and who knows what
other butchery... I will find you and turn
you into spaghetti! :°)
62
C H A PTE R 3 - IN TE R A C TION S
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
EXTRAS
The ideal ending for a volume like this is
a section dedicated to extra references
of various types. In this last collection
you will see things like dogs and cats,
but above all (for reasons that still es-
cape me) buttocks! I was lucky enough
to be surrounded by several sources of
inspiration… ;)
I am sorry for those who expected stud-
ies of hands and feet, but this is not the
right place. If you’re interested in them,
I recommend you look at my Patreon
where you can support me for just a few
dollars a month and get access to all the
poses you want. ♥
90
C H A PTE R 4 - E X TR A S
91
92
93
94
95
96
97
98
99
100
CREDITS
I couldn’t end the volume without ded-
icating a few lines to thanking those
that helped me.
Being the first author in the Kudos
team flatters me a lot! The courageous
staff has placed all its trust in me and
I hope their efforts will be generously
rewarded. ♥
Furthermore, this project wouldn’t
exist without the precious support of
my patrons on Patreon that for years
have allowed me to devote myself to
studying and creating new resources
every month. I feel really lucky!
I thank and apologize to Mimì, my other
half, for lovingly enduring me and taking
care of me during the most stressful
months of work, in which we were also
homeless! :’)
And finally, I sincerely thank all the
people who’re reading this volume and
who made it happen. ♥♥♥
A MANUAL FOR ARTISTS AND ASPIRING DESIGNERS
Dynamic Reference Sheets is a collection of more than 200 poses created by

Kibbitzer specifically for artists and aspiring designers.
The collection includes sketches of static subjects, of people in motion, and

interactions between characters, created by the author from 2017 to the present,
to help those who have difficulty with making poses in motion or strain with
proportions.
The manual is divided into chapters which will make it easier for you to find
the best references for your purposes.
€ 7,00

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KIBBITZER

Drawings and illustrations:

Copyright © 2019 Kibbitzer

This volume was printed by:

Kibbitzer was there with us: an artist

The manual you are browsing through is

Dynamic Reference Sheets is a collection of more than 200 poses created by

The collection includes sketches of static subjects, of people in motion, and

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