Force Character Design from Life Drawing. 37 Pages · · Force: the key to capturing life through drawing / Michael D. Mattesi. high first, then from. Force. This page intentionally left blank. Force Character Design from Life Drawing. By Michael D. Mattesi Visit me at: Force_ Character Design from Life - Ebook download as PDF File Uploaded by. Harold Greene. Untitled Extract Pages PM.

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Title: Force character design from life drawing. Page number ISSUU Downloader is a free to use tool for downloading any book or publication on ISSUU. Force -dynamic life drawings for animators Michael D It can be used for drawing, painting, sculpting, animation, architecture, graphic design, and all . pyramid symbolizes the character's actions instead of one drawing's forces. Design creative characters inspired by real people. Let Mike Mattesi show you how to use life drawing to discover the poses, features and personalities which.

I have drawn thumbnails to show you what my approach was on these poses. Enjoy the energy. His left leg is the brace for this motion. Applied force is constantly pushing against the directional curve. The leading edge is where you see the repetitive lines above his left shoulder. Think of this concept as deciding where the model is going.

Dynamic Life Drawing for Animators I love the upward rotational thrust into her ribcage. Again, the leading edge is the place with the three lines. It feels as if she would push herself forward to continue the motion of the pose. The applied force found here originates in the hips. See the strength of the curve. This is also the peak of our leading edge.

She would continue this pose in the direction of her shoulder. In the first half of this chapter, we discussed directional and applied force. Now we will see how the union of the two creates rhythm and harmony. Rhythm exists in all living things. Your understanding of rhythm will help you create living drawings. Gravity is the reason we have rhythmic balance in our bodies. Our anatomy is not linear but asymmetrical in its musculature. This allows us motion against the force of gravity and equalization when standing still.

Understand this will help you draw a living, grounded, balanced figure. To draw rhythm, we must understand the relationship between two directional forces or ideas. The attitude or direction of one line or force will apply itself towards the next. In the first part of this chapter, we discussed directional and applied force.

It is the result of an earlier directional force. Energy is coming from somewhere and sweeping into the main idea of the pose. Some students understand this better as action, reaction, or moments of pressure. In the drawing on the left, notice at the top we begin the same way we did in our description of applied force. On the right, we see applied force represented by the arrows pushing into directional force drawn in curves.

The directional force then directs us to another place in the body. The directional force becomes applied force. When this energy hits its next exchange and needs to be redirected, it hits a new directional force and then turns into an applied force once more. Dynamic Life Drawing for Animators Be aware of the angles of the body. The drawing on the right shows you how they are created by the forces.

See how angles allow you to stop straightening out the pose. This is a bad student habit. Angles are exciting and you want to find them. Try to avoid horizontal and vertical moments. The forty-five degree angle is the most aggressive.

Do not draw the figure with straight lines as we discussed earlier. Since rhythm is at least a pair of forces, you will get closer to the top of the pyramid by taking two ideas and turning them into one. Another way of combining is to be aware of the relationship between the arms, legs, and both sets of limbs to one another.

The most expansive relationship is between the head and the feet. Before us we have gates we must go through. These gates represent the apexes of our directional lines of force or where applied energy in the model is the strongest.

There is a most efficient way to ski from one gate to another and the bouncing effect created in doing so feels like drawing rhythm. As seen in drawing 1, the more close the gates are in distance going downhill, and the further apart they are from left to right, the slower we will have to go through them. The closer they are to being a straight line, the faster we can go through them, like the example in drawing 2.

Gravity is what continuously pulls us through the gates. A certain fluidity is obtained in skiing through the gates, along with a certain rhythm. The crosshairs represent the center of the chest. This is the top of the pyramid. These are some generic ideas because we all have the same anatomy.

Always try to find one of the four. Here is the general set-up for the side view of the figure. Notice how rhythm goes from one side of the figure to the other to obtain balance. In figure 1, look at how I draw through the crotch to get to the butt and up into the hips. Then we shoot down the thigh. Drawing 2 shows the rhythm of the leg from the front and the back.

Drawings 3 and 4 are the arm from front to back. All of these diagrams are generalizations. These will work almost all of the time but there are instances where the rules will be broken, fortunately. Look for idiosyncrasies. Dynamic Life Drawing for Animators These examples show two common errors that students may make after an initial discussion about rhythm.

On the left, what we see is that the student has put the same kind of force on both sides of whatever part of the body this represents. The body will almost never be the same on two sides. Rhythm must be oblique to create balance.

In the case of the left and right side of the trunk of the body, it is the front and back that are anatomically oblique. We will go into this further in Chapter 3. Going back to our car analogy, we see here that this is an accident because both forces collide instead of passing force off to one another. You should not worry about encapsulating the figure in the beginning.

Draw only the rhythms of the body. On the right is the spaghetti line. Some students will do this as an attempt at connectiveness and mass but lose energy in doing so. This line has many energies with no obvious transfer of force. The line does not start somewhere, do something, and go somewhere. Every arrow represents what should be another force or idea. Energy needs to be passed from one place to another. If we start at the top right shoulder, once we get down to the lower back we should not continue over the right buttock.

Rhythm is not about following the edge of the model. This would put the model off balance. Notice inside the model how the arrow takes us from the right shoulder to the left hip. This is our applied force.

It is what pushes out the left hip. The relationships of different forces in the body will become broader in concept. Remember, your main objective is to draw what the model is doing, main idea first.

There will almost always be a relationship between the torso, hips, and head.

In animation, you want to animate the primary source of purpose creating action. This is usually the head and trunk of the body. The limbs follow and assist the idea. Beyond the head, ribcage, and pelvis, you want to draw these lines of force from joint to joint in the figure. For instance, connect the hip to the knee or the shoulder to the elbow. This will stop you from drawing hairy lines or broken ideas.

Again, if you are having a problem seeing the forceful curve, draw opposing curves and see which most resembles the movement of that particular part of the body. In time you will understand the operation of a whole limb, like the wrist to the shoulder. When animating, or drawing, gravity is the invisible force you must always be aware of to bring reality to your work. Some pointers to think about when drawing the figure and considering our topic: Women in general are better balanced because of their lower center of gravity.

This does not have to occur when someone is moving. Then the body has time to compensate for its lack of balance. Notice the implications of gravity pulling on the model, squash in the feet, muscles working with and against it. Again, see that the focus is on getting the main forces of the model and how they relate to one another.

Look at how the weight and force of the ribcage sweeps down into the hips. Dynamic Life Drawing for Animators This drawing shows the first big rhythm to find, the top of the pyramid, the ribcage to hip relationship. Notice the constant attention to the relationship between the ribcage and pelvis.

The buttocks represent the pelvis. In most cases you can see the force of the thigh pushing the knee and calf back. Look at the close resemblance to the skiing analogy. You must first find this road and draw the moments along the way. Only draw the parts of the body you travel to through rhythm. Dynamic Life Drawing for Animators Rhythm in this drawing is obvious. It is the only parts of the model I have addressed.

So little is actually drawn yet so much is said about the essence of the pose. Once we sweep into the hips, force divides down each leg. See the importance of the knees as a place for the transfer of force between the upper and lower leg. All of this happens for the body to stay in balance.

This applied force obliquely crosses over the line of balance, equalizing force and weight on both sides of the body. Notice the line of balance. It is a guide of equalization of force and weight of the model. Dynamic Life Drawing for Animators Another blueprint. This is a great example of pairing. Notice again how applied force moves across the line of balance of the figure.

In order to see balance, look at these drawings and understand how the model would fall without the rope he is holding onto.

The top drawing shows the center of gravity in his chest way past the platform of his feet. The rope in his hands pulls back over his body to balance his weight. Dynamic Life Drawing for Animators Here the model is just slightly assisted by the rope.

Instead he stands flat-footed since the rope is used like a pendulum. The head is extremely important because it usually establishes the direction the body is going to move in, like the engine of a train. If you turn, your head initiates that movement. You never turn your body first. Many students forget to notice how the head projects out of the ribcage and that the neck does that job.

See the opposing force of the neck relative to the back. The sterno-cleido-mastoid shows this with subtlety. I drew a couple of diagrams showing the wrong and right way to handle this relationship. The bottom drawing demonstrates a straight tubular neck with no relationship to the back. The top is correct with its opposing force. Dynamic Life Drawing for Animators This pose feels fast.

Look at the beautiful rhythms. The westward lunge of the back against the eastward projection of the head and legs creates an aggressive angle of balance. Look at the road of rhythm. First we have an elongated stretch of the abdomen all the way up to the pit of her neck and down to her hips. All of the weight of the torso that is being suspended by the cradle of the clavicle drives upward from the hands into the shoulders.

This is the reason for the stretch. Notice the transfer of force in the elbow. The opposing force of the ribcage is her upper back, which then rhythmically connects us with her neck through the sterno. We then travel through the body to 2. After the hairpin curve, we shoot down to the hand. Dynamic Life Drawing for Animators In two minutes, each of the drawings above has the main concept of the pose described.

Long fluid lines help describe these ideas. With three extra minutes, you can see how the top drawing has more mass and description of anatomy. See the majority of the weight of her body draped over his right shoulder and how he uses the pole as assistance to his balance. Notice the broad base he created with his stance. It is the beginning of something greater. I suggest to students that they think of themselves as being one inch high.

This empowers them to envision the figure as gargantuan. This again will help you get closer to the top of the pyramid.

Beware of drawing the spaghetti line we discussed earlier in the chapter. You now connect the directional forces to one another and how they are applied. The road of rhythm becomes seamless. To create this seamlessness, you NEED to travel around the forms of the figure. Next, find the largest moment of force on the roller coaster and hop on.

Title: Force character design from life drawing

The tracks are smooth and graceful. Feel how they project you through space, over high peaks and low gullies, through fast straight-aways and G-force-filled turns, spiraling along loop-to-loops, and pretzel-like structures.

Then time is up, you get off the ride, the model changes positions, and a new and exciting ride is yours to experience. You have to give yourself the right to draw through the figure. Those of you who are uptight have to loosen up in this exercise. Drawing through the figure will dramatically help you see long and begin to understand space, dimensionality, and structure. You can see drawings of his in some of the older Disney books.

Students seem to think that they always have to draw an enclosed figure. This is just another habit to hurdle. For now, you want your attention to be on rhythm. Remember it is the essence or main idea that you want to achieve. Fluidity, continuity, action to reaction, and all of the theories I have given you are ways to think about this concept. Use whatever it takes for you to understand this principle. Remember, if you can find but one place in the figure where you feel you understand the forces shown, they will lead you throughout the rest of the pose on the road of rhythm.

Dynamic Life Drawing for Animators This drawing shows how force directs itself seamlessly from one place to another in the model. Notice that I draw through the right leg to get to the buttocks and the shoot up to the hip. Also see me draw through the right shoulder and over the top of the back to create the rhythm between the upper back and neck.

These drawings show the first steps to drawing force and the most important ones. Line skates the page and moves force. Notice how we can travel from the hand through the entire body to the foot on one connected path. Dynamic Life Drawing for Animators The thumbnail on the left shows you my first thoughts on how to approach this pose.

Look at how much is said about it with long ideas.

Then we swing our way up the thigh and over into the hip where we make our final ascent up into the back, over the shoulder, and down into his extended arm. The relationship of the left arm and right foot helps encircle the idea of this pose. The thumbnail on the right shows my initial idea. Look at the long connection of her head and elbow down through the hips, up through the thigh to the knee. Finally, after that long and elegant journey we have a change in tempo but for a moment, found in the knee.

Off we embark down the calf for a fast and graceful curve to her ankle where it repeats the tempo of the knee. Look also at how effectively mass is described with few lines. Dynamic Life Drawing for Animators Here we see where some ideas are longer and more connective than others. The upward sweep of the back is where we will begin. This directs us across the body where we travel down to the crotch and sweep up through the left hip at 2.

We then pick up speed again and shoot down the thighs through the knees and to the different endings in his feet. I address the largest idea, the connection between ribcage and hips. Then, to push the ride, we can sweep into the arms at 2. We also can glide into the legs at 3. Dynamic Life Drawing for Animators This drawing started off as an exercise where I have students begin a drawing and then another student finishes up the time restriction.

This drawing was started by Chuck and then completed by Barrett. Barrett unknowingly succeeded in producing a drawing with a very long idea. Above the www. Everything in Chapter 1 works together. At times you will see applied force, and sometimes you will see the chance to go long, all within the same pose. Either way, you want your drawing to be a rich experience of the humanity that was in front of you, a loud drawing of your understanding.

Skate the page. You are performing your best routine.

As you skate, feel the fluidity and speed of your movement. Notice how the blades cut into the ice as you move through tight and open curves. Your marks should indicate the change in force and pressure that your body would feel on the ice.

Find the ribcage to hip relationship first. Keep seeing how their relationship is asymmetrical and falls into one of the four previously discussed scenarios. Start with the biggest ideas of the pose and work down to the small detail.

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Close your eyes and feel your body in that pose. Notice the stretches, torques, pressures, and gravity on yourself. Then push the pose and feel where it wants to go. Put those experiences into your drawing. Watch the model move into a pose. Look at the directions their body swept into to take the pose. There lies answers to force. Draw with a clear directional force for each part of the figure. Be passionate about the aliveness of the model and the pose. Draw your excitement.

Write what you are achieving in a drawing. Bring a thesaurus to increase your vocabulary about your ideas. Write verb first then noun it affects. Pay attention to your internal dialog. Get out of your own way. Always have something to say. Draw to feel what the model is feeling. One part is knowledge about technique.

That is perspective, anatomy, force, and shape.

The other side of drawing is honest observation, being able to draw what you see. When the two combine, you can draw! You draw what you see and understand it at the same time. You can assess your own experiences and see where you need more technique or more honest observation. Is the drawing generic?

Look more. Is it specific but flat, dead, and poorly designed? Use technique. Every chapter of this book is designed in a hierarchy. We go from big ideas first and then to specifics. In this chapter I will cover many techniques about forceful form. This will lead us to observation of specifics. Their observations helped them create dimensional thoughts upon a flat surface. You are affected by this every day of your life. Recognize that the chair you occupy and the space you live in were conceived by an artist with the capacity to draw form.

Perspective is not difficult, it just takes some time to understand what you are seeing and know that you are capable of representing depth on the page. This happens after understanding the traditional ways of drawing it. The cube or box is the beginning of understanding structure in space. One of the major uses of perspective is to show you what angles to draw objects at.

These angles give you the sense of vanishing that occurs in our world. It is limited. Its main use is to draw flat planes in depth. In the box on the left, one point shows its limitations.

When looking at a box, as soon as we face it from any direction besides head on, we are dealing with two points or more of perspective.

We cannot see another side of this box until we have two points as reference. The box in the bottom left corner is an example of what I receive from students when I ask them to draw a box in perspective.

This is the nemesis of perspective. I know we are taught this, but if you look at the box, notice how the front face has right corners all around.

We are looking directly at the front face, so how would it be possible for us to see any of the other sides? It is as if we took the back plane of the box and slid it, in a parallel manner, away from its actual structural orientation with the front of the box.

Two-point perspective has the cube converge in perspective on one plane of existence. Notice how the vertical lines in the box are parallel and the others are not. Here our cube is affected only on a horizontal plane.

The horizontal lines of the cube are being squeezed into perspective by the vanishing points. As soon as we are above or below the box, which means we should see three of its planes, we must have three points of perspective. In three points, the box is affected by perspective on two planes, vertical and horizontal. Number 1 and 2 are the horizontal points and number 3 is our one vertical point.

We could have two points on a vertical line and one on the horizontal. In this case, the third point gives us a sense that the box is www. We seem to be floating above it looking down. The vertical lines that create the box are converging downward towards the third point. An easy way to find out how many points a box is affected by is that to find out how many planes you see. They will be the same amount. Some simple rules to help you become aware of perspective: The left point on the horizon line affects the left plane of the box.

The right point affects the right plane. This is inverted when you are inside the box. This comes into play when you do a room interior. When an object is below your eye line, the verticals are affected by the point below your eye line. When the object is above your eye line, the verticals are affected by the point above your eye line. The head is the most block-like structure of the body. Some artists like to construct the head from a ball; I prefer the cube.

It is more definitive. Use the angles of the cube to help define the angles of the facial features.

Just as curves defined force in Chapter 1, straight lines evoke structure and perspective. This drawing is a profile or one-point perspective. We have the front and side of his head visible to us.

The edge of those two planes is at the peak of his right eyebrow. That edge defines the forehead and temple planes. The drawing itself is solid. Look at the bottom of the nose and his upper lip. We see three planes of perspective in these features, but the head itself is not in three points. Also notice the slight pinching effect of the projection lines of the eyes nose and mouth. The glasses are obvious evidence of the two planes of perspective.

Mike did an excellent job. You can immediately tell that I was above her when it was produced. See the clear three planes of her head. Notice how her facial features block one another because of the perspective. An example would be her nose blocking her mouth. Know how to draw the right angles of a box in space and then how to squeeze those angles to give your drawings even more depth. Pay attention to the vertical and horizontal lines and how they need to converge to suggest a plane progressing back into space.

You must be able to draw a cube from any perspective out of your head. This is a definite requirement of drawing well. In my classes, for homework, students draw five heads a week. The way I have them do this is to first find a victim. Then they are to see their relationship to that person to figure out the cube of perspective the head is in and draw it.

Lastly, the head should be drawn with surface lines to show structure. Later in the year, they move on to hands and feet with the same disciplines in mind. Dynamic Life Drawing for Animators As a homework assignment, students create many drawings of their heads. Above is an example of Mike D. Four-point perspective So here it is, four-point perspective in all its glory. It reminds me of looking out a window in New York City.

If you were at the height of about the thirteenth floor and the buildings around you were thirty floors, this is what you would see. We have squeezed depth on both the vertical and horizontal planes with each having two points of convergence.

This is the world of perspective we live in. The closer something gets to your eye, the more of a fisheye lens effect you will see. The centre of the object will emerge closer to you while its perimeters will squeeze away back into space.

What you see in the side-view mirror of a car is what you want to be aware of all around you every day. In production art, you will sometimes see this in camera tilts for storyboards or a layout. Here is an example of how four-point perspective affects the model.

The first thing I try to make students aware of in learning to apply perspective to their drawings is having an awareness of their eye level and location in reference to the model. In the drawing I have done, the eye level or horizon line is at mid-thigh. I have chosen these next four figure drawings for you to see the reaction of four-point perspective. The way to do this is to see where the body seems to go flat for a moment, a place that you cannot see above or beneath, where you are looking head on at the model.

See where the closest edge of the box of space that the model occupies is in reference to you. In most standing poses, my eye level hits right around the mid-thigh of a model. Because they are connected with a line, we are given a direction towards the left vanishing point. From there, you can see how the rest of the body is affected by the guidelines of perspective I have drawn.

The closest edge of the box of space she occupies is represented by the contour line running down the right side of her body. Here it is the hips that are at my eye level.

Force_ Character Design from Life Drawing.pdf

Look at the line running over his left shin that defines its form and direction of force. Dynamic Life Drawing for Animators Here the feet and shoulders happen to fall on the lines of perspective the body is in. Free Force: Upcoming SlideShare. Like this presentation? Why not share! An annual anal Embed Size px. Start on. Show related SlideShares at end. WordPress Shortcode. Published in: Full Name Comment goes here. Are you sure you want to Yes No. Be the first to like this.

No Downloads. Views Total views. Each artist then describes their characters in terms of acting and emotions, showing how they try to get ideas across to readers. They provide plenty of insights into their personal style, be it the cutout collages of Pixar artist Teddy Newton or the simple cartoon caricatures of Marc Perry. At the end, there are also sections that talk about giving characters to architecture and animals.

They are rather brief, but interesting nevertheless. For animal character designs, you can check out The Art of Animal Character Design for even more tips. There's no one way to how character designs are done. The approach of this book is to give plenty of ideas to get you started. This book is for anyone who's looking to put more edge and style into their own characters.

Dec 17, I Read rated it it was amazing Shelves: This book's merit is the amount of useful techniques described in efficient ways rather than slick illustrations.

Full of tips from a man who knows his craft and many inputs from other professionals also. You can learn a lot from reading this. Delia rated it it was amazing Mar 06, Elena rated it it was amazing Feb 19, Maryam Oj rated it liked it Sep 10, Scott rated it liked it Sep 21, Megs T Nelson rated it it was amazing Jul 28, Murphy rated it it was amazing Jan 04, Marcie Lacerte rated it it was amazing Dec 18, Olivia Pinto rated it it was amazing Sep 08, Anna Hudzik rated it really liked it Jan 06, Valerie rated it really liked it Dec 10, Malcolm rated it liked it Feb 03, Angelique Nolan rated it it was amazing Feb 16, Marc rated it it was amazing Jun 18, Nathanael Quashie rated it it was amazing Aug 22, Juan Juvancic rated it really liked it Jul 08, Aida rated it it was amazing Aug 28, Rock rated it liked it May 27, Sycen rated it it was amazing Mar 17, Chapter 3 Shape with Character In Chapter 2 I mentioned the importance of understanding depth and flatness at the same time in art.

These applied forces are created by the strength of the curvature of the directional forces. I hope to present you with some new tools to assist you in communicating your experiences. This is the world of perspective we live in. The straight line of the back clearly defines the forward thrust of the chest.

The image on the left shows a weak amount of applied force, the orange arrow, pushing upon the dark blue directional force.