How to sculpt a human figure in motion step by step. Lesson on sculpting a person in motion in the preparatory group: “Girl plays ball” and other options. Step-by-step work on the compositions “Girl Plays Ball”, “Skier”, “Soldier”

Shapes are the main decoration of many cakes. For me, the most important thing is that the characters come to life and appeal to the audience. With several simple tips can be implemented! My model was so nice and was represented, for example, by photographs.

Before starting modeling, you should carefully study the template. Is there a gesture that is always done? In addition to clothing and appearance, this is what makes a person special. The basis for any type of movement is the difference between bones and joints. Only in the places where the joints are located can the body move!

When the body moves where solid bone actually is, the figure looks strange. Almost as if the body was made of rubber, or the body was broken. But if you bring the figure into motion, where the joints are, it all works naturally again.

To give the correct movement to modeling, it is wise to do it with your body first. A simple movement that we do automatically every day becomes more complex when we want to implement it as a figure. Make the movement intentional and remember how the joints move and whether the imagined position is possible. It is important to find the center of the body as a base, since this is where supports need to be supported during modeling. This is especially true for standing figures. If the support in the body is in the right place, the figure can no longer topple over.

It is also better to try the place you want to feature here. You can see very quickly if you can still stand with your leg in the air. When modeling, the support comes to a leg that is stable! Always exaggerate the movement for the viewer! If movement is only interpreted, it is not perceived. Development of elbows, knees, etc. also helps a lot.

The easiest way is to imagine that you yourself are making the movement, which should still be perceived at a distance. Modeling cannot speak - so arms and legs become the expressive force. Even if the facial expression remains the same, the hands or posture can make the figures "speak." Here, too, you need to exaggerate the movement so that it is perceived.

Examples of formulation of tasks and skills to be practiced

Likewise, weapons usually function as aids in maintaining balance in the body. This way the arms are always moving when the body should be moving. Especially in the case of figures that represent wide movements, the weapon must in any case be adapted to the movement.

Every move almost always has a counter move! When you walk, it's not just your legs that move. The arms, body and perhaps the head must also adapt to the movement.








If the figure is wearing clothing, always ensure that it matches the movement. It's just that more clothes throw wrinkles and have a certain momentum that comes with movement.

Plus, these pieces of clothing can give the movement even more momentum. The person has such a wonderful eye for movement that he often recognizes someone he knows from a distance in his course. Accordingly, the challenge is to calculate realistic and convincing movements of animals and people using computers, whether for movies - think of the running dinosaur characters in Jurassic Park - or for video games. Animating an artificial person is especially challenging because even subtle subtleties add a sense of personality and mood.

There are basically three methods: keyframe, motion capture and simulation. In the first case, the animator can control the subtleties, but must ensure that the result is natural. Capture and motion simulation generate motion sequences in most cases automatically, on the other hand, there is little scope for fine tuning.

Methods and techniques for modeling in the preparatory group

Keyframes are individual images; the technique comes from time, since stunt films were still hand-drawn. Using these selected "snapshots", the positions of all faces and objects were determined, and intermediate images of the film were created as gradual transitions between keyframes. This interpolation is done by computer today. The case of a stone can be determined, for example, only from the initial position and the final position, provided that no obstacles prevent free fall.

Keyframe specification can be partially automated. If, for example, a figure's arm needs to be in a certain position, the computer can calculate appropriate elbow and shoulder angles. Of course, the animator must know the motion behavior of the objects to be rendered and select and arrange key frames accordingly; there are many possibilities for controlling the subtleties of movement.

Particularly natural animations can be achieved by recording real movements using magnetic or optical sensors; the first measure changes the position of the sensor relative to the reference transmitter, the latter measures the external light source. The computer can produce an impression of the motion sequences measured in this way on the virtual figure; famous athletes have already been pioneers for virtual athletes in various video games. Even everyday movements can be recorded relatively easily.

However, accurate measurement of motion sequences, particularly of the human body, is difficult because markers attached to the subject's skin and clothing may slip and thus may provide incorrect data. Different shapes or sizes of the original and computer models can also cause errors: the test person includes, for example, a real table; the animated figure is smaller, their hands may disappear into the table.

Moreover, some movements are difficult to record. Thus, electromagnetic sensors usually require a cable connection between the subject and the computer, which limits their freedom of movement. Additionally, such systems produce noisy data when there are metal objects or devices nearby, such as a treadmill. In optical systems, one part of the body may interfere with the representation of another. Despite these shortcomings, most motion sequences in commercial animation are now generated from recorded data and then adapted for virtual performance.

Unlike these methods, simulation calculates motion sequences based on physical laws. A virtual person is usually modeled as a combination of rigid body parts. For example, the lower half of the body consists of a torso with upper and lower limbs and feet connected by joints to the hips, knees and ankles. Our working group used biomechanical data from various studies, including cadaveric measurements, to accurately replicate our models. The forearm of our virtual adult male weighs, for example, 1.1 kilograms, is 24 centimeters in length and has an average circumference of about 25 centimeters.

Preliminary work with the group

Although the models are physically plausible, they also remain an approximation of the human body. So they ignore the traffic muscle mass relative to the bone. The shoulder is also typically designed as a single joint with three degrees of freedom of rotation, although the clavicle and scapula in humans also allow for more complex movements such as the armpits. The more subtleties are taken into account, the more realistic the simulation will be.

Inanimate objects can be animated by equations of motion. If a ball rolls down a mountain, it is calculated by taking into account gravity and friction. Living things, however, have internal sources of energy; Therefore, virtual humans must be provided with controls that transmit motor signals to the muscles and determine the required rotation for each joint of the simulated body.

My working group has developed appropriate software for various types sports such as running, jumping, cycling and horseback gymnastics. Although it's very different movements, our systems operate on the same principle and are based on a common basis of individual events.

Primary school teacher

We use a state machine, which is an algorithm implemented in software that first determines what function each connection should perform at any time, and infers and coordinates the details of the movement. For example, work is a cyclical activity that alternates between a standing phase and a flying phase. During the standing phase, the ankle, knee and hip joint of the leg must provide support with grounding and balance. However, if that leg is in the air, the hip joint has a completely different function: in preparation for the next contact on the ground, the leg must swing forward.

The state apparatus constantly selects the correct functions from the possible functions of the hip joint. At each movement phase, control laws apply, with the help of which the corresponding angles are calculated for all 30 joints of our simulated actor. These are equations that describe how each part of the body must move to perform its intended function. These equations are now formulated as if the muscles were springs whose support corresponds to the desired angle.

To make our lives easier, we take advantage of the fact that multiple parts of the body often interact closely during movement. For example, in the simulated jointing of the foot and knee together, the task is to push the body off the ground during the standing phase. The knee works like a spring, which is initially compressed and thus stores energy, then stretches again and releases energy. We make the assumption that such passive movements are often used to reduce the energy expenditure of movement.