[Intro]
Hi, my name is Mike Mattesi and I am the creator of the Force Drawing approach.
I've done quite a few other videos on Stan's Proko Channel.
Please do go back and watch those videos on force and on form and on shape and I recommend
that you go back to those because they go into a much deeper dive on each one of those
subjects.
Today, what I'm going to be talking to you guys about is how do we bring shape over into
anatomy and then, I'm going to share with you some areas of the body that are very common
traps to creating symmetrical shapes and we want to push into asymmetry and forceful shape.
So force by the way is you know, is in the line, and the kind of line is a line of motion.
You can't draw energy if you're not energetic, right?
I need my stroke to actually move.
Well, if I don't move nothing happens., right?
And then "Oh, I'm terrified I'm really scared.
I draw like this little you know, squiggly line" or "I'm scared and I'm going to sort
of you know, caterpillar my way across here.
Inch my way and inch my way" and you could see that does not look like this.
So you have to draw with a sense of bravado.
You to move in order for the line tab movement.
I have to do this...
Some of you might be asking what I'm using by the way.
This is a Caran d'Ache crown.
It's wax, right?
You could see it's a shape of almost like a Crayola or something like that.
So, going back to this, you know, you need the line to move like that.
What we're going to focus on is I want to bring this into force shape and this will
then take us into anatomy.
What we want to be careful of is the bad shapes, right?
So, they look like this.
Now, here already in this first shape that I created, something invisible happened.
I'll do it on the second one.
Here I am, I'm drawing like this.
You see me put down two lines but I want you to be aware that in my mind, I'm not really
thinking so much about the lines as I am the shape that they create.
So, although there's all this energy and effort put into making this forceful lines, the lines
later on as you go through force and form take the backseat to the shape itself because
it's shapes that we're trying to design., right?
So here's shape three.
These are all bad shapes, right?
They're bad because they're all symmetrical.
Rhythm is asymmetry and that's what we want to try to get to.
Force can be straight and symmetrical like a pull can have energy in it but rhythm is
asymmetry and rhythm is there because it balances out masses.
Our human bodies are made to move, so we're constantly off balance and because that our
anatomy is made to keep creating and justifying for balance.
Alright, so what do we want, right?
We want force shape.
So, force shape is to look for symmetry.
So, typically it's a curve against the straight.
So I'm creating a shape.
That's fine.
This actually works.
See, because of the asymmetry I have a curve that directs me to a new location and I could
put another force shape over here with another straight and now, this energy is going to
move from shape number one to shape number two, right?
We'll call this one and call this two.
So this flows from here to here and I have a straight on this side and straight on this
side.
Straight by the way it can be many different things.
We're going to see that today as we talk a little bit about the anatomy.
I can even concave it a little bit.
Remember, what I can't do is our third bad shape was like a tube and a tube is just as
bad if it has the parallelness that this has, you know, when it's bent, right?
It's almost like rubber hose animation.
So that doesn't work either.
It becomes rubbery.
There's no structure to that.
Let's move into our next section here which is what are some areas of the figure where
artists typically trap energy, right?
They trap force.
Alright, so I'll draw an arm the way I used to draw an arm in high school which used to
be something like this, right?
So, here's an arm and I would say, well, you know, when I was working out, so of course,
I was as buff as this drawing [Chuckles], right?
So here's this deltoid, right?
You know, tone it in because we're looking at the shape.
You would end up doing something like this...
So I call this bubble anatomy and the problem here is if we really go into the idea of how
these lines are force lines not only creating a bad shape, the lines also are kind of just
constantly converging, right?
I think for some reason for me, I always think of like two stunt car drivers you know, starting
at the same place at the same time and then ending at the same place at the same time
and they crash because in that offset, if one was a curve and one was a straight, the
guy in the straight line would get to the end first, right?
And the other one's gotta push through the arc and everything, so this constantly being
this offset of of timing.
And just like I said from a shape standpoint, you know, we basically have symmetry in shape
number one.
Again, this would be one, let's call this two.
I have symmetry here as well and then I have symmetry here as well, right?
In shape three.
So, I'm basically like trap, trap, trap, right?
So, even past number one, I could just never get by it.
So I don't really fluidly get from shape number one to shape number three.
I get stuck all the way up here - just balloon after balloon after balloon.
So, another trap is in the leg.
So, let's say this is like the groin or crotch area here.
I'm just going to create a very simple V shape.
The template for the leg when it comes to force is what I call outside thigh, inside
knee, and outside calf, right?
And then it goes to inside ankle and outside foot and so on.
What we can assume here is every time I put down a curve, I can put in a straight and
if I put in a curve here, I put in a straight and if I put in a curve here, I could put
in a straight.
This is like the general flow, right?
The general flow of it all.
This even can be split up into two curves 'cuz there's muscles in this shape here and
this is the sartorius which comes down from the tibia or I should say up from the tibia
and makes its way all the way to the iliac crest over here, the pelvis, right?
So, you have this kind of shape over here, right?
You get this shape here and then, you have this sort of like big teardrop for where the
quadriceps go, right?
It's like, right?
Here, right?
So, you get these two shapes, one and two.
So, that's good.
Over here I'm using the edge of the tibia and I've got the ankle.
The ankle's typically higher on the inside, lower on the outside by the way and then I'll
add the gastrocnemius as another shape notice by the way, it's actually another straight
to curve shape.
It goes like this, right?
So I had two of them against one another here.
I had this bigger one, right?
Which is the tibia and the exterior muscles here and then this other one which is like
this little puzzle piece I can almost like click on to the side here, right?
And overall, it gives me a good silhouette, right?
I've got this really silhouette now for the lower leg.
Similar to the arm, you know, students will do this..., right?
So there's the leg, right?
We get the bubble anatomy, they'll draw a knee.
So, that doesn't work, right?
Again we put another bubble in there, lower leg, another bubble in there, right?
And you could see that the issue with all this is it's all symmetrical.
One last one I'll put down here at the bottom that's a typical trap is the neck and this
as you saw, right?, is a bad shape, right?
We don't want that.
So, how do I get around it?
Uh, it's the anatomy actually helps me get around it because this is like an over simplification
of the neck.
If we were to draw a head here, let's say here is an ear and here's like the bottom
of a jaw.
Alright?
Something like this - and we come down here, there's your clavicle, right?
Might be something like this.
There's a muscle back here called sternocleidomastoid, right?
And that muscle flows in relationship to the upper back, right?
So the upper back is going this way and what we want is to see the sternocleido arch its
way down.
It could even hook in reverse down here where it grabs on to the clavicle.
Sometimes it's like a grappling hook.
- "Grappling hook!"
And over here you can even start this way.
Now, you'll see - if this is force and I push into you know, from a curve like this to a
curve like this, they kind of bounce off one another.
What I need here is a catch, right?
I need the force to grab, you know, this force to grab the prior one so I can keep moving
it ahead, right?
So here's what matters, right?
See, I could take this and this with the sartorius muscle and this will sweep in like this, right?
If the neck is dead on, it actually wouldn't pinch like this.
Typically what will happen is the sartorius will sweep out like this on either side and
then hook into the - into the collarbone.
Something like this, you see?
So, we're bringing over this force shape to anatomy specifically.
A muscle typically looks like this; there's a tendon, this tendon down here too.
So tendons are always at beginnings and ends of the anatomy.
They're like a rope.
It's where all the musculature sort of tightens up and squeezes up at the ends.
And then the muscle itself will just be something like this...
Muscle let's say is here and here, you can see it's starting to look like a piece of
chicken or something.
For me that's a problem because I'm like "Ah, that's you know, it's force is just basically
stretch", right?
And maybe a little compression you know, because muscles contract and stretch.
That's how our anatomy works by the way if you don't know this.
The way muscles work and our body moves is really by muscles shrinking, right?
They contract and by contracting, for instance my bicep is attached up here goes over the
joint of my elbow, so when I shrink this muscle, it brings my lower arm up to my shoulder,
right?
So this gets bigger by it's shrinking and allows us to move, right?
And if I go down the other way, it's like a mixture between the bicep releasing and
my tricep engaging.
So, that's how it's working.
But you know what?
We're not just - these muscles aren't just floating on the body.
Believe it or not, what's helping us is the fact that there's bone in here, right?
So, here's my little cartoon bone.
Let's say this is the humerus.
So, this in a sense is like a straight because the muscle is always against something hard.
My humerus is going through my arm, right?
The bicep is pushing against that.
You see, it's not like it's contracting and looking like this...
Let's say this is my bicep.
It's not like suddenly it's doing this...
Now, sure I was just - I like being my own devil's advocate.
I'm like "Hmm, would I ever see that?
Maybe.
Maybe if I took a camera and look straight down at my bicep, I can force a perspective
of the view of the anatomy to look like that", but I don't want that.
So, why am I going to do that, right?
What I'm trying to do is get good shapes out of this, okay?
So here it is stretched, here it is contracted.
A little squash and stretch action going on but typically what's happening is against
the bone because this is your straight, now we can talk about the muscle is doing this.
You see?
And ah, that looks familiar, right?
All of a sudden we have force shape.
You see?
So we want to keep that in mind.
We want to have the straights and curves if possible.
Now I can actually like design of a straight to curve concept of a muscle.
And by the way, when you're doing this, a small side note, be aware of where the apex
is, right?
That's when you really start to play with design.
So, this one is kind of in the middle but I could have done a bicep muscle and this
is real, like everyone's got the same muscle but slightly different, right?
Slightly different designs.
You might find that somebody has a bicep muscle that peaks high, right?
So, this one's like over here.
You know, let's peak it even higher just to make it obvious.
Like peaks high, you see?
Or peaks low, right?
Somebody might have a bicep muscle that does this.
So, to me, that's fun.
That's the fun part, right?
It's like, "Hmm, how do I want to design this?"
Some biceps, you know, you'll have numerous peaks, right?
You'll have bicep come up, hits a peak here, then, it angles down a little bit, then, it
pulls in, right?
This leads me to thinking about people like JC Leyendecker.
Very shapy, very designed, very clear apexes and points to clarify the shape and design
of whatever he is painting or drawing.
You know, we went from like generic muscles.
We got our tendons, how the body works and then on top of that, it's bone that really
helps us get those straights in there and the curve is pushing out against it and of
course, the more it pushes out means it's contracting, right?
It's shortening, therefore getting wider because the volume doesn't change.
It's very much in the mindset of an animator, right?
Shape and volume doesn't get bigger or smaller.
It's not like I'm adding air to a balloon or taking air out of it.
What I'm doing is something that's thin and long is going to get wider and shorter as
the same volume when it contracts, right?
So, that's how it's all working.
So, that's the basics of force anatomy.
Follow me over to the next episode where I'm going to demonstrate how all of that works
with some models.
Hope this all makes sense.
Always feel free to e-mail me.
Here I am publicly telling you my e-mail address is mike@drawingforce.com and I'm always open
to you e-mailing me and trying to answer your questions.
Check out the site, check out the books which is how most people know me and that's it.
Hope you enjoyed the video.
Thanks again.
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