Michael Mattesi is an American artist who develops a concept of force in drawing, draw with more originality, developing a plan. How it works there?
I broke my piggy bank and I bought three of his books. Here is the first of the 3.
Introduction
The author categorizes in 2 parts drawing learning : sharpen one look, and acquire technology.
By technique, he means: the force (and knowledge of anatomy) perspective and shapes.
Summed up in one sentence, draw lines of force applied to forms listed in a 2-4 perspective vanishing points.
Let's begin by learning to look.
Sharping the look
- Humanity: the artist's first, to be fully present, fully perceptive. To capture the pose of the model, its structure, the tension that emerges from his pose.
- Truth: the designer makes conscious choices, traits result from conscious choices. The drawings must be noisy.
- Hypothesis: we must replace our assumptions by the knowledge of reality, consciousness forces model.
- Passion: the artist has a passion that is to say, give everything in drawing with the belief that we can do what we want.
- Fear: it is harmful companion we should drive away. Failure does not exist drawing as a drawing missed us forward.
- Hierarchy: order of importance emerges the main idea, details come later.
- Supplies: Paper smooth the rider size (46X62 cm), with markers or Caran D'ache pencils
About the author
Mike Mattesi is director of the Entertainment Art Academy based in Southern California, he worked for the past 20 years for clients such as Disney, Marvel Comics, Hasbro, ABC, Microsoft, Electronic Arts, Dreamworks and Nickelodeon. He writes a blog on the net.
References
| Author | Michael D.Mattesi |
|---|---|
| Editor | Pearson France |
| Language | English |
| Pages | 227 |
| Year of publicatioo | 2011 |
| Format | 24,4 x 18,8 x 1,4 cm |
| Register | ISBN-13: 978-2744094170 |
| On line shopping | Amazon |
Lines of Force
Lines of force
On line per energy of per idea
First technical concept set by the author, other technical parts are introduced later in the text.
We must draw not only with our eyes but also with our mind. We should take the pose ourself, understand what forces are at stake
Graphic curve is full of strength: it summarizes in a row an idea, with an origin, an event, an end. The topic is explained in a live video of the author..
Applied force goes up to the hips
Michael distinguishes two types of lines of force:
- Directional line, in principle outside the shape or silhouette that we draw,
- the applied force, which will affect the curvature and the perception of strength.
Still practicing gesture browsing the air and sliding on the paper. To find it, stay in the movement, we can make small light touches, before release into a courageous and enthusiastic gesture.
Force applied on the shoulder
Unlike a single line, scribbled lines (2) are unclear, and a succession of lines (3) reflects the feeling of uncertainty designer.
The author offers tips:
- drag on the page, in fluid motion, without breaking or jerk,
- make drawings of small size to discern the overall vision,
- find the main lin which stops or ends of the body and causes a movement.
Practice (1), rather than (2) or (3)
The path of the rythm
Rhythm of lines of force
Second concept, after the lines of force, the path of rhythm. If a line or an idea reflect force, two forces create a rhythm. The sequence of lines is compared with a slalom ski .
The succession of directional lines apply the rate in successive obliques. They punctuate the body twists, the asymmetries, which give strength to the drawing. The connection lines is considered a roller coaster, according to a borrowed by prior idea turn into an opposing force, made changes in direction path. The topic is explained in a 2nd video.
Beware of gravity, invisible force that must always be considered. If the balance is optional for a body in motion, it is essential for a static pose.
- The center of gravity of a man lies in his chest, that a woman is closer to his pelvis
- Be always attentive to the position of the head and the center of gravity in relation to its feet.
Dynamic volumes
Dynamic volumes
Perspective with 1,2 and 3 points
To define the perspective used in a drawing, represent a cube, and count the number of visible faces. They define as many vanishing point (1 = no perspective, 3: left and right above or below). When the object is above the level of your eyes, the vertical edges are affected by the leak at the bottom of the space. And vice versa. The topic is explained in a 3rd video.
Perspective with 4 points
The outlook for this design is given by the positioning of the feet, and the line of the shoulders.
To explain how a volume is framed by space, one can sculpt the model, using the pencil as a gouge.
The video on this portrait shows the subject in a few minutes.
In this model, features sculpt space while moving in the direction of the force applied to different body parts.
The forms
Dynamic forms
Silhouette of a female figure, notice the positive and negative spaces.
Action and volume allow forms to exist. The most important form is the silhouette, which connects all parts together.
Some benchmarks for dynamic forms
- Train to identify the right contrast / curve
- Develop your ideas
- See silhouettes
- View a 2-D form and fill it with structuring elements
- Think by analogy
- Draw with 2 tones: one to ask the force and volume, the other to clarify the form
- Create a situation that enables to guess the drawing
- Consider the history of the model to assert your views
- Start by right lines, then apply the curves
- Cut a piece of colored paper in the shape of D, then the overlay to find him. The topic is explained in a 4th movie
The direction of the curve line provides to the drawing qualities of abstraction and attractivity.
Other chapters
Other chapters
In the last 3 chapters, the author applies these techniques on the representation of clothing, thumbnail sketches and representation of animals.
For animals, I do not develop as an entire book devoted to the subject.. But I like the few sketches on clothing or children's drawings.
The third book details about her personality characters, deforming them to give priority to the expression rather than reality.
