All language subtitles for 071 Dynamic Axis In Poses.en

All right.

In this lecture we're going to be talking about dynamic actresses.

So what is an axis.

Well let's go ahead and let's have a look at some examples so we can start breaking this down.

So there's two types of accesses.

So the first one is going to be a horizontal axis.

So that's going to be actresses that go straight across.

So if you can think of an x y and z plane what you get is you get the horizontal axis like this and

you get the vertical axis like this.

And so everything has an axis like this.

So when we draw the human face for example or the head of give him a jaw line the round part of the

face and then we always give him a center line for the face.

And usually an eyeliner or an eyebrow line whichever one you want to draw.

And this is the horizontal axis for the eyes or you could even do it for the mouth.

ANYTHING JUST GOING ACROSS HORIZONTALLY are your horizontal axis is and anything going up and down is

going to be your vertical axis.

And so every part of the body has these.

So let's go ahead and let's break down this photograph that I have here.

So first of all we can start breaking it down into simple axes like for example the line coming straight

across through the eyes the lips.

Right.

Simple enough.

And we could break that if we're drawing this as a Loomis head.

Those would be the axis is that we'd be drawing then we can go ahead and do the same thing for the shoulder.

So it's hard to see the shoulder but I can tell just by looking at this that a shoulder goes down.

So from this shoulder to that one it has a very angled axis like that the same would probably go through

the breast.

So underneath the breast are properly angled up like that until we get down here to the next.

You could say unit so we had the chest the head which are separate units and we get down to the pelvis

and we get something different going on.

So one hip it looks like right there and another one right there so now the hips kind of go a little

bit more straight or they actually angled downwards just a tiny bit and you can do the same thing through

the butt and then you can't see the other knee but it basically the other knew what kind of angle like

this.

So we get all these different angled accesses and that's what we want.

This creates dynamics.

Now these are horizontal axes so even though they're angled they're not just going horizontally straight.

The reason why they're horizontal is because if any of these forms so for example let's say the upper

chest form is kind of like a cube.

If we were to see that straight on.

These are just kind of horizontal straight axis is going across here.

And so that's why these are considered horizontal.

Let's go ahead undo these because it's kind of cluttering up our image because now we're gonna talk

about the vertical ones so vertical would be things like the middle of the face so the middle of the

face is kind of is a line like that.

And then for the upper body it's just kind of like this and then for the pelvis area angles down like

that right so we get all these really interesting looking dynamic actresses because they're all different

so there's one to that leg of that leg.

All right let's have a look at another example.

So here's another good example.

So you can see that the head if you go right through the eyes they're kind of a straight line straight

through the mouth.

So you have these straight actresses right there.

And then for the neck or sorry let's just move on down to the chest you can see that the shoulders angle

up the chest kind of angles like that as well.

We could see the bottom of the rib cage they would also angle like that.

Now when we get to his pelvis area if we want off this belt you can see that it basically just straightens

out and it probably straightens out all the way across the bottom.

And then when we look at his knees it's hard to see his other knee but I think his other knee is probably

just a little bit lower like that.

And this one's right about there.

So we kind of get another axis that's angled like that and then for the feet the bottom of the feet

is a good way to mark out the axis.

And you can see that we can market like that.

So we have all these different angles in our axis is and that's what creates a beautiful or a beautiful

dynamic pose.

There's more to it than that but this is part of it.

So if we went ahead and we did the vertical ones you can see that the center of the face is kind of

angled that way then the neck is kind of angled back that way.

Then the whole upper body and pelvis area is kind of angled like this right through there.

And then this part is just angled straight and then the legs are kind of angled at that angle right

there.

But you can see that there's all these dynamic looking actresses because they're all different they're

all angled differently and they're switching back and forth and they're all at different angles.

And so we want to try to create this as much as possible in our character designs.

So just to really illustrate the point and bring it home for you.

Let's go ahead and look at a bad example.

So we wouldn't really want to draw a character like this.

We'd want to kind of change it up a little bit but you can see that we draw all the Axis lines for this

guy right here.

So right through the mouth or through the eyes and I'll draw this on another layer because we can kind

of redo this.

So right through the eyes pretty the mouth.

All right.

So that's kind of the axis for the head and then the shoulders are also just straight across the bottom

of the chest or the nipples are also straight across the hit to straight across the knees or probably

straight or straight across.

They're kind of off the page by another straight across.

And so this is just incredibly boring and all of our vertical axis is are just straight as well.

Just one big straight line going through and basically that's super boring.

And so what we can do to change this up is let's go ahead and turn off our images so we can see better

now.

Let's switch over to a blue so we can see this a little bit better so we could kind of for example we

could angle its head like that and then we could we could even keep the shoulders kind of straight like

that if we wanted to in the bottom of the chest and then we could go ahead and angle the hips to make

it much more interesting.

So now if we were to go ahead and kind of draw him back out a little bit the vertical line could be

more tilted like that the vertical line for his chest can be like that

just kind of draw a ball like that for the hit for the waist and for the hips because of the way this

is angled and we could do a bottom of the hips as well like that with the pelvis.

And see now it's much more dynamic and we could even change that needs to be kind of more like this

angled like that so we can kind of bring those legs back down like this

right.

That's that's much much more interesting because now we have all these different angles going on in

our accesses.

So now what we're going to do is almost switch over to paper and pencil and we're going to draw kind

of a better character form than this and we're gonna really pay attention to the accesses.

So let's go ahead and draw a character body form where the accesses are at different angles so we get

that dynamic look so we can go ahead and just kind of start by sketching out about what we want it to

look like.

So we can start with the line of actions.

The one who actually is just going to kind of go like that.

So slight curve the head will be somewhere up here just do a circle to represent the head for now and

we can come back and change the size of that.

Then I'm gonna make the shoulders kind of angled like this.

Same with the rest of the chest.

So we get kind of an angle like that and we can go ahead and just kind of draw an

the rib cage like this.

We can do a circle for the hips or for the waist and then for the hips and the pelvis we can go ahead

and kind of do sort of a trapezoid type shape

kind of angle back this way

looking at this.

I think actually this all needs to kind of get shrunk so I'm gonna go ahead and just shrink the

rib cage down a little bit of a whole new race this

redo the hips or the waist and then redo the hips just kind of shorten that a little bit that then this

leg will continue on the line of action

I'll go ahead and do this leg so we'll get this nice curve going from the hips into this leg

let's see and let's add a little bit more of a tilt to these hips so what I'm gonna do is we can keep

this one right here but let's kind of tilt it more like that.

So want to bring this five down a little bit this

maybe bring this leg out just a little bit more

something like that

you'll see that the knees are at a kind of different angle as well go ahead put the shoulders in there

so just do these two round sort of circles for the shoulders Nick

the shoulder will just kind of go back behind the arm or go behind the body.

And this arm right here can have it kind of angled out like that for the biceps and then for the fore

arm it'll come down like this

but some little fingers are on her hips

some like that.

And then forward the face.

Let's go ahead and angle it down like this.

So the front of the face the horizontal axis is are gonna be down like this

collarbone

kind of sketch out that hurt shaped like this.

Draw the side of the pack right there.

And we can go ahead and draw the breast in

here sir and kind of solidify these fingers a little bit more.

Straw the center there

mend a rib cage kind of busy right there.

You can use it as a guide so can kind of dividend right there and back.

Right.

This is looking pretty good.

But there's one thing that I'm noticing and I wonder if you can see it yet.

If you have caught it and that is that the breasts are actually not drawn in correct perspective.

So if we draw a line across the bottom up and you can see that they should be lining up these lines

but they're not.

So that was my mistake.

So when I go ahead and erase these and redraw them keeping that in mind.

So we want to kind of keep them in that kind of an angle

that we need to bring the other one further down

could also put some fingers over here on this side as well.

Good draw face on a character just to show

sort of the angle of those actresses on her face

and she's kind of standing on her tippy toe.

But if we draw a line coming straight down from the center of her chest most of weight is actually going

to be back here or on this front foot.

So what we need to do is we need to kind of change it because if somebody has a bunch of weight on their

foot they're not going to be on their tippy toes.

They'll kind of.

They can still be on their toes but we'll be kind of more flattened like this and that's for all that

weight will be held is right there

and we just skewer kind of a hairstyle and be a bun

and give her a belly button as well.

All right.

There we go.

So there's a character where we drew her form and we have some nice actresses going on in there so you

can see that the face is kind of going like that.

The shoulders are going and actually we need to bring this shoulder down

shows we're going down like that bottom the breasts are going down like that the bottom of the rib cage

is going down like that and then her hips are going like this or the top of that leg in the top of that

leg or going at that angle.

And then her knees are going at batting right there and then her feet are going at this angle right

here.

So we have all these interesting and dynamic looking actresses.

So we really want to try to work this into our drawings as much as possible.

So just keep that in mind when you're drawing your character forms and as you move through the course

you can start applying this to those forms.

Thanks for watching and I'll see you in the next lecture.