By MA TE SI (Michael D. Mattesi)
I do not learn about Mr. Mattesi's idea on drawing move: it seems a piece too esoteric and imprecise, and after your time I simply stopped examining it, yet his drawings are quite brilliant and that i discovered much simply gazing them. i like to recommend this ebook simply because in case you are drawn to drawing human physique in move there are numerous tips and strategies: it may possibly increase your drawings.
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Extra resources for Force: Dynamic Life Drawing for Animators, Second Edition
The model’s head coincidentally happens to fall on the centerline. Seeing Life Here I want you to look at rhythm’s road and see how it continuously creates equilibrium. 35 36 Force: Dynamic Life Drawing for Animators Another blueprint. In order to comprehend the model’s balance you must look at the rhythm or relationship of one leg to another instead of only moving down one leg. This is a great example of pairing. Notice again how applied force moves across the line of balance of the figure. Seeing Life Look at the next few drawings and find the vertical line of balance.
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.
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.