Automotive Design

http://www.dieselstation.com/

Dieselstation.com is primarily an image database that displays "cutting-edge" automotive design. However, they also host design contests and represent some of the high points in classical car design as well. My initial motivation for entering the field of Industrial Design was to eventually become a car designer so I find this particular site to be, essentially, as good as it gets.

Manikin (emphasis hamstrings/quadraceps)

The final stage of manikin construction moved the most quickly. Having experienced hang-ups and navigating the provided text several times at this point I felt that my understanding of construction and muscular structure had advanced. There are 3 separate muscles that compose the hamstrings, 4 quadraceps and 5 adductors. The hamstrings flex the foreleg while the quads perform the opposite action by extending the foreleg. The adductors purpose lies within their name as they provide hip adduction and rotation to a degree. Each of the muscles share relatively common connection points which I had encountered before so this issue was easily overcome. The only truly challenge was to imitate the true volume of each muscle group. I noticed that my hamstrings fell a little flat and seemed inadequate in volume. However, the relation of the parts came together to create a relatively cohesive unit. All in all, the experience of construction muscular structures upon a manikin has been intriguing to say the least and very informative.

Manikin (emphasis gluteal region)

The gluteal region is comprised of both heads of the gluteus maximus (iliac and axial), the gluteus minimus and medius along with the tensor fasciae latae. The maximal region is repsonsible for hip extension while the minimus and medius are concerned with hip abduction. The maximus, medius and minimus are almost exclusively visible from the rear while the tensor can be seen in the front view and slighty more in the front 3/4 view. The construction of this muscle group was confusing. The images represented in the book seemed to be disconnected and poorly related to one another. I realize that my tensor was constructed too far towards the rear of the figure which caused all of the subsequent parts to appear long and sinewy rather than representing more of a quadrillateral form. However, each piece, disregarding the tensor, was comparable in size to the next which allowed the construction to move quickly. Rather than construct each piece methodically before placing them on the figure, I made a crude form, attached it and then shaved away to achieve the appropriate contour.

As a group, we gathered to discuss our progress. I remained a little behind schedule but was able to complete the structures later that evening. We were all within relatively the same stage of completion so we simply set our models out and compared them collectively, providing input and critique as a whole.

10/50 Minute Gesture Drawing

The two above drawings were created first, as a ten minute study and finally a 50 minute drawing. The drawing on the left represents the 10 minute interval while the one on the right represents the 50.

The ten minute study has a few notable flaws. The torso itself is obviously too long and accounts for far too much of the body mass. Rather, it should be relatively foreshortened as the figure is turned away from the viewer. The hips are also not oriented correctly. They are represented completely in profile while they would otherwise be seen at some sort of angle. The discrepancy in the hips causes the legs to be sized disproportionately which creates the illusion of a hovering figure, rather than a seated one. The lineweights are somewhat haphazard and there are altogether too many lines to begin with. However, the structures of the rib cage and pelvis are apparent though their proportions and relation to one another are also a little skewed. These inherent problems were rooted in the long axis drawing. Having drawn the spinal curve too long, it created a negative relationship among the rest of the parts. The musculature surrounding the skeletal frame is representative with extra detail payed to the definition of the triceps and calves. The shoulder blade is also a visible peak in the subjects back and the pectoral muscles can be seen curling underneath the crook of the arm. Compositionally, the work is simple. The subject is centrally located and involves most of the picture plan with no cropping or excess of negative space.

The second, but first 50 minute drawing is much more well accomplished than the first. The proportions represented in this model are far more representative of the human form. The structure of the rib cage is very evident and it involves the musculature arround it accurately. Though the pelvis has been erased almost to the point of non-existance, it's influence upon the muscular region surrounding that area is evident. The gesture is also clearly defined with the figure leaning away from the viewer and resting his head upon his hand with arms crossed. The definition of the calf muscle is again evident but the muscle groups studied in class are relatively lacking with a simple amorphous outline designating the volume of the overall form. Again, the linework lends little to perspective or distinguishing one form or plane from the next. Clearly, this is an area in my drawing that needs development. The angle of the pelvis is slightly flat which caused confusion when trying to draw the second leg receding into the background. Other than that consideration, the rest of the drawing seems well accomplished. Compositionally, again, the figure occupys sufficient space and remians entirely within the picture plane.

Group Meeting 1

It was noted to avoid drawing in muscle tendons as it distracts from the behavior of the muscles. Tools were discussed, from techniques on carving to how to get into gaps with a smooth finish. The bulk of muscle was brought up and it was determined to feel your own muscles and build from there. The length of tendons as well as their connecting points were compared as well as the lower longissimus thoracis . Eric has had to remove muscle mass in order to place form underneath and build off of. Cal's mannequin has a fashionable mustache. For the actual building of the muscles, either rolling in the hand or flattening of the muscle was found to be easiest.

Manikin (emphasis spinal erectors/abdomen)

All of the spinal erectors are visible in both the rear and rear 3/4 view. The nine individual muscles that comprise the spinal erector set are responsible for flexing the cervical and thoracic vertebrae as well as the articulation of the neck. These muscles were especially difficult to construct due to their complexity, small size and the sharing of many common connection points on the skeleton. The external obliques (obliquus externus abdomimis) can also be seen reaching around the side of the manikin towards the spine. They function to flex the lumbar vertibrae and compress the rib cage and abdomen. In the front and front 3/4 views the obliques and abdominus rectus are also visible, including the tendonous separations between each individual abdominal muscle head. Initially, I began by trying to sculpt each of these individual muscles to exact scale and size before placing it on the manikin. This proved to be difficult because it is hard to account for twists, tapers, and interaction with other muscles. I was able to use my thumb and forefinger to smooth out the clay surface however, which created a sinuous and smooth finish that disguised any tool markings. The construction of each of the following muscle groups was interesting and provided a novel experience.

Pelvis Master

The first pelvis study was originally created by Luca Signorelli and was again a part of her piece, "Resurrection". The pelvis is viewed from behind in this instance, allowing the viewer to notice the posterior superior spines and the gluteal folds and cleft.



The second re-worked master drawing was selected from the much larger piece "The Triumph of the Bibulous Silenus" by Maerten van Heemskerck. The pelvis is noticeably foreshortened as the iliac crests are directed towards the viewer. The visual center, located around the sacrum, recedes into the background, suggesting a foreshortened perspective.


"Adam", created by Albrecht Durer in 1507, represents the final pelvis study. The pelvis is visible, open faced and without distortion. The anterior crests are easily visible and the location of the inguinal ligaments is noted.

Rib Cage Master

The first replicated master drawing is "St. Sebastian", created by Peugino in 1518. In this particular example, the ribcage is viewed straight on with minimal or no distortion at all. This perspective allows each component of the ribcage to be viewed very directly and as we would envision this same structure in our mind's eye.



The second adapted master drawing, "The Martyrdom of St. Bartholomew", was created by Juan Carreno de Mirada. The ribcage visible in this image is viewed in perspective. The figure's abdomen is torqued away from the viewer which causes the visual center of the sternum to shift towards the background. It is possible to even see upwards into the structure to some extent, near the base of the ribcage.





Finally, the third master drawing represented is an excerpt from Luca Signorelli's "Resurrection", a detail from the Orvieto Cathedral, produced between 1499 and 1502. In this final example, the ribcage is tilted towards the viewer. It is extremely foreshortened and if it were represented in an actual three dimensional space, it would be possible to peer through the opening near the neck and all the way through towards the pelvic region.