Force: Dynamic Life Drawing for Animators: Dynamic Life Drawing for Animators [NOOK Book]

Overview

First Published in 2006. Routledge is an imprint of Taylor & Francis, an informa company.
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Force: Dynamic Life Drawing for Animators: Dynamic Life Drawing for Animators

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Overview

First Published in 2006. Routledge is an imprint of Taylor & Francis, an informa company.
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Product Details

  • ISBN-13: 9780080464725
  • Publisher: Elsevier Science
  • Publication date: 9/8/2006
  • Series: Animators Drawing bundle Series
  • Sold by: Barnes & Noble
  • Format: eBook
  • Edition number: 2
  • Pages: 248
  • File size: 7 MB

Meet the Author

Director of the Entertainment Art Academy based in Southern California. He has been a professional production artist and instructor for almost 20 years with clients including Disney, Marvel Comics, Hasbro Toys, ABC, Microsoft, Electronic Arts, Dreamworks and Nickelodeon.
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Read an Excerpt

Force

Dynamic Life Drawing for Animators
By Michael D. Mattesi

Focal Press

Copyright © 2006 Elsevier Inc.
All right reserved.

ISBN: 978-0-08-046472-5


Chapter One

Seeing Life

So, what is it that creates life? Force! Force, or energy with purpose, is what we want to recognize in the world around us. I am going to lead you on a force full journey that will change the way you perceive the world you live in. This new perception will clear your mind of the fog of assumption. You will live in a new truth. This in turn will make you appreciate life to a new degree.

Drawing is the profound vehicle for our journey. Through it you will also learn about yourself. Always remember what you put down on the page is a direct reflection of your thoughts and feelings.

There is so much to appreciate and enjoy, so let's get started.

THE AWARENESS OF FORCE

Drawing the body's forces is the least talked about subject in figure drawing classes today, and is yet the most important. The majority of books and instructors teach about copying what you see and not understanding it. I was extremely fortunate to have Jim McMullan as an instructor and close friend at the School of Visual Arts. He taught me to be aware of life in the figure.

The human figure is always full of force – no matter how still it may seem. We are built to move and therefore even when a model is standing straight, there are forces to comprehend and address. We are always under the influence of gravity, which is an all-encompassing force to recognize. When drawing, we need to think about the beauty of why and how the model works, not worry what angle to hold a pencil at in order to shade appropriately.

"Thinking is the hardest work there is, which is the probable reason why so few engage in it." Henry Ford

You want to draw what you know and empathize with. Draw with the mind's eye, not only your vision. If you find you are having a hard time figuring out what is happening in a pose, then assume the pose yourself. This will definitely help your awareness of force. We are all people. If a model takes a pose that radiates joy and you copy that pose physically yourself (all the way down to the facial expression), you will begin to feel what the model is feeling and know physically what the model is doing. When you see someone who is sad, how is it that you know that person feels that way? As a fellow human being, you know that you take on the same physiology when you feel sad. You experience empathy through humanity.

Never forget that mind and body are one!

The main idea in the figure

Let's discuss the pyramid of ideas that represent the model's pose. Remember we want to deal with the top of the pyramid, the largest idea, first. You will be creating some general statements about the figure. They will be the first step on your road to understanding force. With experience you will become more specific.

An exercise I do in class is to have the model pose for five minutes. For the first minute, I have the students write what their goals are going to be in drawing the model. I have them list the goals in a hierarchal manner. Then, for the last four minutes, they draw the model and achieve the goals they have written.

Directional force: a beginning, middle, and end

Using the comparison of a writer to an artist, to express our ideas we must understand our drawn language via its own vocabulary. The more vast our vocabulary, the clearer, more intelligent, and expressive our thoughts. There are no great writers without the knowledge to write.

Our language throughout this book is drawing and our understanding of line is our control of that language. The strength of line is immeasurable. To harness its power, though, one must understand how to see force. Draw the verbs of the figure. This is where we want to direct our concentration. Draw what the body is doing, not just the body. While having an internal dialog, think "the stretching arm or thrusting hip," not "the arm is here and it's this thick and look at the shadow on it." Verbs come first and then the noun it is affecting. I will have students bring in a thesaurus to increase their vocabulary and thus their experience of the model.

As important as line is, remember that the drawings are not about line. They are about ideas. The line is your idea. Don't do a drawing for the sake of beautiful lines. Create a drawing that expresses your experience.

Here is the type of line that most describes force in the body.

1. Here is our curved line with force and direction. The one line addresses one idea. The line starts somewhere, does something, and goes somewhere. This is achieved with a confident stroking of the paper with the pencil. The arrow example shows you the direction of the energy or its path. This is directional force.

2. This is our first student habit. It is sketchy and created by backward and forward motion. No direction. The line, or more importantly, its idea, does not start somewhere, have a purpose, and go somewhere. There is no clear idea.

3. This is the infamous hairy line. Uncertainty takes us from one place to another through thousands of minuscule thoughts instead of drawing one line per idea. Doing this never gives you the opportunity to move onto bigger issues or feel force and direction in your hand and mind.

Forewarning: Don't think that I am talking about being uptight with the line. You don't have to get it right the first time. Let your hand sweep over the paper's surface in the directions the model is moving until you have absorbed the pose's idea. Then start making your marks by slowly applying pressure to the paper with the pencil while you are still in motion. Notice how you can control the line's value. This discipline of mark making is of tremendous value because when you draw, your head will already be thinking about where energy is coming from, what it is doing, and where it is going. Feel liberated and excited, and be courageous.

Skating the page

An excellent way to get the physical sensation of force is to close your eyes and skate the page with your drawing utensil. Imagine your speed across the smooth, hard, and cold ice. Feel the blades carve deep as you dig into a curve. Your mark on the page should get heavier as this happens. Notice how fluidly you move. There are no clumsy, pinched moments.

Draw small, think big

A great tactic for understanding hierarchy is to draw small. That will help you think about the big picture. This helps you see the body as one story. It is your time to think and it also helps liberate you from feeling committed to your drawing. It's great to draw and redraw that main idea. Draw small and think big. The down side to this is that you stay distanced from the model emotionally. The ultimate scenario is to fill the page with the model's full figure.

Here are some small one-minute drawings that show the story of each pose.

Here are half-minute drawings. The body's entire pose is the key to understanding it.

So this pose reminded me of a monkey and that was my bigger thought as I attempted getting the full figure's idea on the page. See the simple curves of force in the back and arms.

This two minute shows the big picture. With more time, more information was added. Here we have much more structure.

If you are having a hard time finding a directional force curve, try drawing two curves that are opposite each other, one convex and one concave, to see which resembles the figure's main force the most. One of the curves will fit into the puzzle in front of you and the other will be opposing the model's movement. They are generic now, but this will give you an introduction to force. These drawings are usually done in thirty seconds to five minutes. The first force you should look for is the one that tells us the idea behind the connection between the ribcage and the pelvis. Here are some fast drawings to show you my initial reaction to the model's movements.

See the power of the directional curves. I do a great deal of drawing through the model to understand where forces begin and end. Above the main drawing are simplifications of the pose using curves of force.

1 and 2 are examples of picking a curve for the direction of the upper body.

See how drawing 2 works because the model is obviously moving towards his right knee. Draw 3 is the same as 2.

4 was to show an awareness of tangents, a topic I will cover in more detail later. This is a close-up of the model's jaw and center of the chest. These two moments would have been flattened if the two ideas were drawn with one line.

This drawing by Barrett captures the vigor of the pose. The cumulative energy of the back sweeps up into the musculature of the upper body and disperses to the arms and head. It's like shooting fireworks, as the thumbnail shows.

The model has a pull from his hands up through his back and down into his feet. The focal point of force here, or the apex of the directional curve, is the lower back. If the model were to let go, this is the direction he would fall in.

I am so happy I went through many attempts to understand this pose. Look at these drawings in the order they are numbered.

In drawing 1. we have the beginning of force in the left side of the model's upper back. I was dissatisfied with the mediocrity of this drawing. The model was so much more alive and aggressive than my weak depiction of him. Also, the motivation for the push in the back begins at the right deltoid.

In drawing 2. the directional force is more aggressive. Its curve is stronger. There is more thrust into the left side of the back and here we witness more reaction of this force in the remainder of the back's musculature.

Finally, in my third venture, the main idea has extended much further. Now we see that the pose is about the inward thrust of the lower ribcage against the upward energy in the right arm. This combination of forces is what creates the strain in the upper back and pushes the left shoulder out. This page is a great example of:

1. Investigating a pose to gain understanding.

2. Searching for how far a force travels and its true motivation.

3. Not settling for the first attempt. Keep working at a drawing until it feels like the model's effort. It is easy to obtain mediocrity and challenging to stare into the visage of splendor.

"I am not discouraged, because every wrong attempt discarded is another step forward." Thomas Edison

Applied force

Besides the line giving us a linear direction or path of force, it also tells us how much force is being applied upon it. This is extremely important because the force applied upon the line will be a previous directional force. That previous directional force dictates how strong the applied force is.

These concepts are proven to us in everyday reality through physics. If these lines were roads, you would obviously be able to drive your car through a straightaway faster than you would through a curve. The tighter a curve is, the more you have to decelerate to drive through it. When driving through the curve, the place where you would feel the most amount of force would be at its apex. The force would diminish as you pulled out of it, allowing you to gain speed. Let's look at this in line.

The drawing above presents us with a line that starts with much speed (by its straightness) and then slows through the curve. We also see that the line shows us a mass that is bottom heavy because of where the apex of the curve is located on the line. The attitude or direction of the mass is pushing in the direction of the gray arrow on the right, which represents applied force. Now, if we look at both of the arrows, we get a sense of purpose from the line that takes the mass down and to the left and then directs us to the right.

(Continues...)



Excerpted from Force by Michael D. Mattesi Copyright © 2006 by Elsevier Inc.. Excerpted by permission of Focal Press. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

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Table of Contents

Seeing Life; Forceful Form; Forceful Shape; Clothing; On location, Reportage; Animals
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  • Anonymous

    Posted October 22, 2012

    Terrific book

    This was one of our required texts at the animation school I went to! It is chock full of incredibly valuable information and advice, especially if you have trouble or are at all confused with how you should use line weight, creating dynamic and appealing poses, and applying exaggeration.

    Mattessi's own drawings presented in the book are wonderfully fluid, with a great sense of movement and tension in the poses.

    Very informative and a joy to read to boot, if you draw the figure this book should definitely be on your shelf.

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