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  • There are 3 major masses connected by the spine. Head, rib cage and pelvis. In this

  • episode we'll take a look at the two that make up the torso.

  • What is the bean?

  • Hey guys, you're watching Proko. So, what is the bean? The torso could initially be

  • thought of as a bean. no not that bean.. mmm, not that one either. That's the same bean!

  • This one... This is the bean I'm talking about. We have two forms, one for the rib cage and

  • another for the hips. You can even just imagine a sock with two balls in it.. Whatever analogy

  • you want to use. Basically we have two hard forms with a softer "skin" around them.

  • The balls can twist, tilt side to side, and lean forward or backward. The cloth of the

  • sock will stretch, pinch, or twist accordingly, which represents the way the skin would react

  • to the same motion on a human body.

  • To be more specific about what these ovals actually represent, here's how I think of

  • it. The rib cage isn't a perfect oval. The curve stops at around the 10th rib and then

  • swings back up to the sternum. But, to simplify it, I'll continue the curves of the sides

  • and use an oval.

  • The oval of the hips actually includes the area above the hips. It continues up the oblique

  • and meets the top oval at the thin part of the waist. As a result, the two ovals will

  • overlap.

  • Why practice the bean?

  • The concept I'll be talking about today is a very simplified approach. It obviously doesn't

  • get you a realistic figure drawing, but it's the concepts behind it that we're learning.

  • Then once we understand these concepts we can apply them to a realistic more complex

  • approach.

  • Sometimes what I have my students do in my figure drawing class is a 20 minute session

  • of 30 second poses just doing the beans. I tell them, they're not drawing a person. Don't

  • think of this as a figure drawing. Instead it's an analogy for the body. These are little

  • notes that you could use later on in longer figure drawings. It's the form of the torso

  • represented in the simplest way. The reason we do this is to eliminate all details and

  • not get distracted by contours or smaller forms. We do it to isolate what's important

  • in capturing the motion and mass of the torso.

  • How to practice the bean

  • Take poses and draw the equivalent bean at its extreme. Take note of that last part.

  • You're drawing an extreme version of the pose. So if there is a subtle twist, make that twist

  • even "twistier". A lean to the right? Lean it further. The process of exaggerating these

  • elements creates a habit of actually observing each element. The things we look for to identify

  • in the bean are:

  • 1. Tilt side to side 2. Lean forward and backward

  • 3. Twisting of the spine 4. Foreshortening

  • Tilt side to side

  • Let's start with a tilt from side to side. When there is a tilt, or a curvature of the

  • spine towards one side, there will always be a compressed side and a stretched side.

  • As these points move closer to each other, everything between them bunches up. You'll

  • see wrinkles going across the torso. On the other side, these points move away from each

  • other stretching everything between them. I'll always try to emphasize the stretching

  • here and play down any kind of muscular bumps that would take away from the stretching effect.

  • Here's a pose with a subtle tilt. Find the angle of the ribcage. Angle of the hips, considering

  • also the position relative to the rib cage. It's a common mistake to always put the two

  • forms one on top of the other. Observe the angle from the top of the rib cage to the

  • bottom of the hips.

  • Adding an action line will also help to identify this relationship. A centerline will emphasize

  • the c curve of this pose and show that it is slightly facing towards the left, since

  • the center is closer to the left edge of the form.

  • Lean forward and backward

  • The second action is leaning forward or backward. It's pretty much the same effect of a tilt.

  • The side where the points are compressing will get the pinch and the opposite side will

  • get a stretch. The only difference is that now the centerline is on the stretching or

  • pinching side. If the person leans towards us, there will be a crease on the front plane.

  • And the centerline itself also has a pinch. This sharp corner creates the tension in the

  • front plane. On the back, show the stretching gesture line.

  • When the person leans back away from us, it's a bit trickier to indicate with a bean. This

  • looks too similar to a tilt. It's hard to show this because the pinch is back there.

  • It's hidden from us. The only way to show that the forms are going away from us is with

  • some cross contour lines, which indicate foreshortening similar to these cylinders.

  • Twisting the spine

  • Alright! The twist! I love doing the twist.

  • During a twisting motion, the skin will be pulled from one side of the form to the other.

  • Let's look at what happens to this towel when I twist it. The string represents the centerline.

  • At the top the plane twists this way and at the bottom the other way. On this side the

  • lines will overlap from the top, on the other side they overlap from the bottom. Things

  • are being pulled across the form to these corners. Sometimes it's confusing to figure

  • out which side will overlap, which one is in front and which is behind. Basically, the

  • two corners that are closer to us will have the lines that overlap the corners further

  • from us. Makes sense because objects that are closer to us are in front of objects further

  • from us. It's basic perspective.

  • The centerline is now an S shape rather than a C during a tilt or lean.

  • So let's take a look at two angles of the twist with the bean.

  • In this pose we're looking at a twisting torso from the side. This means we see the centerline

  • of the front plane at the top and the centerline of the back at the bottom. There's a transition

  • from one to the other. As the front plane gets thinner and the center line starts to

  • wrap behind, on the other side the spine starts to come out from behind and twisting towards

  • us. So only a portion of the centerline is visible on each side.

  • When looking at a twist from the front or back you only see one of the planes, but it's

  • being twisted. In this pose, the pit of the neck is closer to the left side of her body

  • and the pubic bone is turning toward the right side.

  • Foreshortening

  • When a figure is extremely foreshortened you'll observe two changes. The first is a change

  • of the oval shapes that indicate the rib cage and hips. We're no longer seeing the full

  • length, so the ovals will be shorter. The second change is the position relationship

  • between these ovals. One will overlap the other and sometimes cover up most of it. This

  • shows that the ribcage is directly in front of the hips so the torso is pointing directly

  • toward us.

  • In this pose, she's leaning toward us, creating a lot of foreshortening. I'll make sure to

  • keep the oval more circular and overlap them a bit more than usual. I like to put a dot

  • on the north and south poles of these forms. This helps me imagine how to wrap the centerline

  • over the top plane. I also see a twist since the belly button is pointing to the left.

  • What's next?

  • After establishing the bean, attaching the head and limbs is much easier. The action

  • of the torso is the most difficult and most important to capture the body in motion. I'll

  • talk a lot more about this part in the mannequinization video in a few weeks.

  • Assignments

  • This week, practice drawing the bean from the pose photos at proko.com/poses. It shouldn't

  • take you more than 30 seconds to a minute for each pose. Look for tilting, leaning,

  • twisting, and foreshortening. Exaggerate the motion and draw the two volumes, the skin

  • in between, and the centerline.

  • Premium section

  • If you want to see more detailed explanation of this video and more...

  • Sigh.. Really again?

  • Seriously?

  • If you want to see more detailed explenation of this video and more premium content check

  • out proko.com/figure. For every free video that I do during this figure series, I have

  • a coresponding premium version with more examples and more information. This week I have a bunch

  • more examples of the bean drawing with its corresponding pose. So, if you want to see

  • that and a bunch of other premium videos, check out proko.com/figure

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There are 3 major masses connected by the spine. Head, rib cage and pelvis. In this

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胴体の動きをシンプルにする方法 - The Bean (How to Simplify the Motion of the Torso - The Bean)

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    vulvul に公開 2021 年 01 月 14 日
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