Force: Dynamic Life Drawing for Animators (Force Drawing by Mike Mattesi

By Mike Mattesi

Strength: Dynamic existence Drawing for Animators

Capture the strength on your lifestyles drawing matters with this sensible consultant to dynamic drawing recommendations - filled with tremendous, powerfully drawn examples that aid you:

* convey your paintings to lifestyles with rhythmic drawing options
* Create attractive and dynamic poses on your drawings
* adventure the figure's strength in 3 dimensional space
* Use the asymmetry of hetero and curved strains to explain the course of strength within the body
* construct in your foundational anatomy and determine drawing abilities to animate your drawings
*Apply the idea of strength for your on-location and animal drawing observations


Whether you're an animator, comedian e-book artist, illustrator or advantageous arts' scholar you are going to learn how to use rhythm, form, and line to convey out the existence in any topic whereas Mike Mattesi's infectious enthusiasm may have you attaining in your pencils!

Mike Mattesi is the landlord and founding father of leisure paintings Academy (www.enterartacad.com) dependent in Southern California. He has been a qualified construction artist and teacher for the final fifteen years with consumers together with Disney, surprise Comics, Hasbro Toys, ABC, Microsoft, digital Arts, DreamWorks and Nickelodeon.

Audience point: Intermediate to complex

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Extra resources for Force: Dynamic Life Drawing for Animators (Force Drawing Series)

Sample text

4. Notice the implications of gravity pulling on the model, squash in the feet, muscles working with and against it. 5. When drawing the amount of pressure in the model’s feet, take into consideration the weight of the model. Now, once more, let’s go to drawing small and thinking big. Seeing Life This is a four minute with the model. 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.

I tell students to imagine the model’s platform as the amusement park and the model as the roller coaster. Your first task is to get your mind’s eye into the park, close to the model. I suggest to students that they think of themselves as being one inch high. This empowers them to envision the figure as gargantuan. The model’s tremendous size guides the students into seeing more roundness and depth. This helps you see just how long an idea goes before it turns into an opposing force because the body’s energy changes direction.

Seeing Life The head must always coincide with the nature of the back. Many students forget to notice how the head projects out of the ribcage and that the neck does that job. I usually try to use the sternocleido-mastoid, or the muscles that run from the back of your ear to the meeting point of the collar bones, as a way of showing the neck’s forces. 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.

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