Michael's students occupy all fields of the art industry and have themselves gained prestige for their abilities. Force : Dynamic Life Drawing for Animators. Michael D. Mike Mattesi is the owner and founder of Entertainment Art Academy www. Audience level: Intermediate to advanced.

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To browse Academia. Skip to main content. By using our site, you agree to our collection of information through the use of cookies. To learn more, view our Privacy Policy. Log In Sign Up. Force -dynamic life drawings for animators Michael D Mattesi. Daniel Kois. Mattesi Visit www. Visit www. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher.

Includes bibliographical references and index. ISBN pbk. Figure drawing — Technique. Force and energy — Miscellanea. Title NC M You will draw with thought and opinions that will strengthen your originality and decisiveness. This will also develop your awareness of the stories our bodies communicate, through the actions we perform.

The theory of force allows you to see in more abstract terms. Because of this, you can apply it to an unlimited amount of applications. It can be used for drawing, painting, sculpting, animation, architecture, graphic design, and all other disciplines of art. It can create a new awareness in your day-to-day life. How are forces operating when you stand, walk, or drive?

This book is here for you to understand how to communicate force through drawing, and that is very exciting! Take what you understand and agree with and use it to further yourself. Some students will actually argue their habits or limitations. Seek to understand! If you keep doing what you know now, you will keep getting the same results.

Before starting on the journey ahead, I want to give you some of my key concepts. This page intentionally left blank www. I have taught and lectured in many schools around the world and the one element I see missing is humanity. Almost all art instruction with a figure model is used to learn how to draw instead of experiencing the richness of humanity.

Once you have a bigger purpose to drawing than learning how to draw, you will learn faster. You will be more eager to understand, force, perspective, anatomy, and everything else that goes into becoming a great draftsman! Where does all of this start?

It starts with you and your humanity. Become hyper sensitive and present, live in the moment. When you drive, feel the speed of the car, the weight of your body in the seat, inertia and the tension in the steering wheel.

Drive your car. When you eat or drink, feel the food in your mouth, taste it, experience your body swallowing the food and the sensations that occur while it travels down your throat into your stomach. When drawing the model, stay present and in utter awe! When he or she takes the stand, it is as if they are a god or goddess presented to us. They represent you and the rest of humanity. Become amazed and stay open to this fantastic occurrence. Your experience with the model is your drawing.

Therefore, the more rich, incredible, and dramatic your experience, the more rich, incredible, and dramatic your drawing. You are the vehicle to this journey so if you are closed and fearful, so is your work.

All of the technique throughout the rest of this book is to serve that higher purpose. What is there to be in awe of? Look at the amount of effort the model gives you. A living, breathing person is in front of you. Notice their lungs fill with oxygen and how they present you with stress, tension and torque.

Look at their muscles and bones perform these great moments. This particular person chooses particular poses. Be sensitive to that. Are the poses poetic, athletic, romantic, relaxed, masculine or feminine? What stories does your humanity find in their poses? You must be sensitive to drama! There is the drama of the pose, the drama of force, the drama of structure, the drama of depth, the drama of shape, and the drama of texture.

As you can see, there is plenty of drama and therefore plenty to be in awe of. All of the above is what I refer to as humanity. You need to gain knowledge to comprehend what to have an opinion about and to obtain the capacity to actualize the opinions you possess upon the page.

Every line should have an opinion. Two ways of clarifying your opinions are through exaggeration and analogy. Making analogies helps you form opinions. If you have something to say, learn how to express it as best you can. Students tell me they are afraid to exaggerate because it is not real. You have a much greater opportunity to capture reality through what you conceive as an exaggeration of ideas than you do working on a dead representation of life via copying.

Copying leads to lying. Push whatever it is the model gives you. Go after its essence. If a pose is about torque, then draw and experience torque. If it is about relaxation, then make it clearly about relaxation. State clearly what you have to say. I love loud drawings, not whispers. He is extraordinary at giving drawings heart. If something is powerful, you feel its power; if sad, you feel its sadness.

His drawings are always loud and opinionated. Initially students draw what they think they see and not reality. Not to confuse this with opinion, they create things in their minds that do not exist in the model or the pose the model is taking. Assuming is like guessing. Use this book to help you gain a new awareness of reality. You must learn to see by stripping yourself of assumption. I tell students constantly that all of the answers are right in front of them.

Open yourself up to the splendor of the life in front of you. There is no reason to lie. Love it, hate it, have an emotional experience. Always push yourself to new levels and enjoy the trip. No one strives for mediocrity. How can you or an instructor critique your work if it is not your full effort? The critique is then based on only a percent of your ability.

You have to believe that you can obtain the goals you are after. In terms of myself, everything I have achieved has been because I knew clearly what I wanted, I intensely wanted it, and some part of me knew I could get it.

FEAR You are probably wondering how fear would have anything to do with drawing, but it has everything to do with it. Fear kills passion. Fear is the most detrimental attribute a student could have. Remember, if you are drawing in order to capture the humanity of the model, you will become unconcerned about your drawing. Be aware of your experience and just stay present with the model.


Force: Dynamic Life Drawing for Animators, Second Edition

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Force: Dynamic Life Drawing for Animators




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