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From the lecture I did today. Putting all of my stuff here in case I derped something up with the recording again :/

I drew live on camera with my big ass 18 x 24 sketchpad and trusty China Marker. Because I know ~DCgrasshopper hates them. I did that just for you since you couldn't be there today XDD <3

...the more I look at the more I think it's a little off. But that's what you get for drawing at an angle. Now I know what my figure drawing professor was always griping about lol.

-Keep in mind most of this is a generalization. People vary in a variety of different ways, but thisis for basics.
-Traditionally, the male figure is represented in a strong, more assertive manner. He’s the protector, the warrior, etc.
-How do we represent it?
-----> Males are centered around their chest and shoulder region, hence why it’s usually the most built up. Most of their movement also centers around their chest and shoulders.
----->They have longer torsos and shorter legs compared to ladies. Broader shoulders, and thicker necks
----->Angles and squares are generally used to build up a male form (for me, I have to really push that it’s a guy, but there are softer looking men)
----->Also tend to be taller (not always, but mostly)
-How can we adapt it to individual characters?
----->Can’t ever really say that there is an average male form, or any form, because there is none. Everything is different on some level.
----->Fat distribution: Heavier guys will have a bigger gut and a more plump face. The other end of the spectrum starts looking more like a pole, or lanky, in comparison. On the flipside, fitter men tend to show muscle mass easier than women do. It’s harder for a woman to get abs than it is for a man ----->Personality and lifestyle, construction worker looks different than a mailman, meek guys have less of a presence that confident ones

Steps I took to build the man in the drawing:
First off, the pose is based off of one found in my reference book, it was unfinished and I really thought it would be a good example for showing off the male form. It was fluid and showed off the muscles really well. So I tried recreating it for your benefit.
- I like to start with the torso. I draw an “egg” shape for the ribcage area. I use a bigger, broader egg shape than I do for women.
- The stomach flows out from the upper torso and down into the pelvic area.
- I usually just make up the pelvis as I go, I draw the angle of the hips and where the legs go, but that’s as technical as I get. On the left of the drawing near the pelvis, you’ll see the “underwear” method of drawing it. My teacher likes this method; I do not, but if it helps you, go for it. You draw a circle where the top of the pelvis starts, and then draw 2 ellipses where the legs come out. Then draw the crotch and you’re done. You’re figure has on a nice pair of tighty-whiteties.
- After I’ve laid out the shapes of my torso I work on the limbs. Usually before this point I’ve put like a faint line to show where I think they limbs will go but that’s all I do. When you lay out the base for your limbs don’t draw it as an angle, use fluid curves and shapes.
- Also, don’t draw “bubble” or “sausage link” people. Don’t draw your muscles as circles layered on one another. Use curves and oblique shapes.
- Start defining your limbs, remember again that fit males show more muscle mass than females.
- Also keep in mind the perspective your figure is in. If you’re looking more from a lower angle, the top curve of the kneecap, waist, shoulders, etc., will be pointing upwards, and vice versa if the angle is more from above
- I like to draw a broad base, in perspective, for my figure. It helps me place their feet correctly. Feet tend to sit on different planes when you’re drawing in a dynamic way. Keeping them on the same plane makes it look wonky.
- An issue was posed to me during the lecture about having trouble placing legs in general, that it’s hard to make the figure look balanced. Indeed it is, I always have issues with it. I like to test poses myself to feel where my balance is and where the forces are working on the body, since it’s your own body you’re referencing you can feel where all of this is happening and I find that it helps me understand my pose a little better. Also, in a stance like the one above, there should be a plumb-line that runs straight through the body from the head down to right between the two feet. If the figure is leaning forward, one leg will be forward as well and the plumb-line will run from the head through that forward leg. The same goes if the figure is leaning back or to the side. The body follows the head, it’ll compensate if the head starts throwing it off balance.
- Keep in mind that forces affect your figure, heavy weapons cause your figure to move slower, figures can squash and stretch, if I punch you in the gut you’re going to fold over in an attempt to protect it, if I poke you in the nose your nose will squish. FIGURES AREN’T STIFF MANNEQUINS. They are made of squishy flesh and flexible muscles. The body can bend in so many cool ways it’s not even funny.

The book I reference from and talked about during the lecture is the one I always talk about:

FORCE by Michael D. Mattesi

My watchers get tired of me saying it but this book is EPIC. It shows you how to get forceful motion in your figures and it even devotes chapters to clothing and animals. I got it for around $30 at my school’s store, but I know it’s on Amazon and probably Ebay as well. It’s also available for Kindle apparently…in case you wanted to know XD

I’m also posting a link to the Bio Motion Lab like I did for the other lecture. It really is a great site for playing with movement:

[link]

Just remember to hit the “lines” button. I find it’s easier to see the figure’s motion that way.

Description

From the lecture I did today. Putting all of my stuff here in case I derped something up with the recording again :/

I drew live on camera with my big ass 18 x 24 sketchpad and trusty China Marker. Because I know ~DCgrasshopper hates them. I did that just for you since you couldn't be there today XDD <3

...the more I look at the more I think it's a little off. But that's what you get for drawing at an angle. Now I know what my figure drawing professor was always griping about lol.

-Keep in mind most of this is a generalization. People vary in a variety of different ways, but thisis for basics.
-Traditionally, the male figure is represented in a strong, more assertive manner. He’s the protector, the warrior, etc.
-How do we represent it?
-----> Males are centered around their chest and shoulder region, hence why it’s usually the most built up. Most of their movement also centers around their chest and shoulders.
----->They have longer torsos and shorter legs compared to ladies. Broader shoulders, and thicker necks
----->Angles and squares are generally used to build up a male form (for me, I have to really push that it’s a guy, but there are softer looking men)
----->Also tend to be taller (not always, but mostly)
-How can we adapt it to individual characters?
----->Can’t ever really say that there is an average male form, or any form, because there is none. Everything is different on some level.
----->Fat distribution: Heavier guys will have a bigger gut and a more plump face. The other end of the spectrum starts looking more like a pole, or lanky, in comparison. On the flipside, fitter men tend to show muscle mass easier than women do. It’s harder for a woman to get abs than it is for a man ----->Personality and lifestyle, construction worker looks different than a mailman, meek guys have less of a presence that confident ones

Steps I took to build the man in the drawing:
First off, the pose is based off of one found in my reference book, it was unfinished and I really thought it would be a good example for showing off the male form. It was fluid and showed off the muscles really well. So I tried recreating it for your benefit.
- I like to start with the torso. I draw an “egg” shape for the ribcage area. I use a bigger, broader egg shape than I do for women.
- The stomach flows out from the upper torso and down into the pelvic area.
- I usually just make up the pelvis as I go, I draw the angle of the hips and where the legs go, but that’s as technical as I get. On the left of the drawing near the pelvis, you’ll see the “underwear” method of drawing it. My teacher likes this method; I do not, but if it helps you, go for it. You draw a circle where the top of the pelvis starts, and then draw 2 ellipses where the legs come out. Then draw the crotch and you’re done. You’re figure has on a nice pair of tighty-whiteties.
- After I’ve laid out the shapes of my torso I work on the limbs. Usually before this point I’ve put like a faint line to show where I think they limbs will go but that’s all I do. When you lay out the base for your limbs don’t draw it as an angle, use fluid curves and shapes.
- Also, don’t draw “bubble” or “sausage link” people. Don’t draw your muscles as circles layered on one another. Use curves and oblique shapes.
- Start defining your limbs, remember again that fit males show more muscle mass than females.
- Also keep in mind the perspective your figure is in. If you’re looking more from a lower angle, the top curve of the kneecap, waist, shoulders, etc., will be pointing upwards, and vice versa if the angle is more from above
- I like to draw a broad base, in perspective, for my figure. It helps me place their feet correctly. Feet tend to sit on different planes when you’re drawing in a dynamic way. Keeping them on the same plane makes it look wonky.
- An issue was posed to me during the lecture about having trouble placing legs in general, that it’s hard to make the figure look balanced. Indeed it is, I always have issues with it. I like to test poses myself to feel where my balance is and where the forces are working on the body, since it’s your own body you’re referencing you can feel where all of this is happening and I find that it helps me understand my pose a little better. Also, in a stance like the one above, there should be a plumb-line that runs straight through the body from the head down to right between the two feet. If the figure is leaning forward, one leg will be forward as well and the plumb-line will run from the head through that forward leg. The same goes if the figure is leaning back or to the side. The body follows the head, it’ll compensate if the head starts throwing it off balance.
- Keep in mind that forces affect your figure, heavy weapons cause your figure to move slower, figures can squash and stretch, if I punch you in the gut you’re going to fold over in an attempt to protect it, if I poke you in the nose your nose will squish. FIGURES AREN’T STIFF MANNEQUINS. They are made of squishy flesh and flexible muscles. The body can bend in so many cool ways it’s not even funny.

The book I reference from and talked about during the lecture is the one I always talk about:

FORCE by Michael D. Mattesi

My watchers get tired of me saying it but this book is EPIC. It shows you how to get forceful motion in your figures and it even devotes chapters to clothing and animals. I got it for around $30 at my school’s store, but I know it’s on Amazon and probably Ebay as well. It’s also available for Kindle apparently…in case you wanted to know XD

I’m also posting a link to the Bio Motion Lab like I did for the other lecture. It really is a great site for playing with movement:

[link]

Just remember to hit the “lines” button. I find it’s easier to see the figure’s motion that way.