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.
Draw 3 is the same as 2. 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.
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. Look at these drawings in the order they are numbered. 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. Its curve is stronger. 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. Searching for how far a force travels and its true motivation. Not settling for the first attempt. It is easy to obtain mediocrity and challenging to stare into the visage of splendor. 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. 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. In talking about the amount of force being applied upon a line, we can use the analogy of a flexible metal bar. The curvature of a line tells us how much force it is revealing to us.
The line on the left is stretched between two points and shows us speed. The line on the far right has the most amount of force applied to it because of how strong its curvature is. The mass being pushed on is thrusting out, shown to us by the curve.
This curved directional force is also slower than the first force. Here is a clear example of applied force. Look at how strongly it is pushing up into the hip. I also described the rhythm of the right leg shooting up into that hip. Look at how it fluidly connects to the direction of the neck.
This is where the largest amount of applied force can be found. A past force that directs itself to this moment in the body creates it. To help students understand this idea, I describe it as the bow of a ship or a catch of force. A simple way of finding this is to watch the model go through a movement.
The direction of his or her motion gives you the answers. In these drawings, see how the leading edge is the ribcage. In drawing 1. When it does everything follows it. The arrow from 2. The model executed a backward roll on the platform! At 1 the leading edge is her upper back.
It initiates the drive down to the platform. At 2 her legs become the leading edge. They help continue the momentum over her upper body and get us into 3. Here her right knee brings us down to the platform and the ribcage shows what direction from left to right she rolls in. Then finally in 4 her upper back returns her to the seated position. The following drawings are the model standing still. Nonetheless, we want to see movement. Pay attention to he or she getting into the pose to help recognize the leading edge of applied force.
The repetitive lines in some of the drawings show also the direction the model would have moved in. 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. 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. 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. 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: 1. 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. 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. 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.
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.
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. 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. 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. 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. 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. 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. 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. 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. Remember: 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. 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: 1. 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.
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Costumed Poses. Ordinary Clothes. Action Poses. Reclining Male. Reclining Female.
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