Abstract Figure Painting Techniques | Robert Joyner | Skillshare

Abstract Figure Painting Techniques

Robert Joyner, Making Art Fun

Abstract Figure Painting Techniques

Robert Joyner, Making Art Fun

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57 Lessons (7h 40m)
    • 1. Course Overview

    • 2. Introduction

    • 3. Materials

    • 4. Welcome To Structure

    • 5. Simple Structure Ideas

    • 6. Simple Structure Ideas Continued

    • 7. Simple Structure In Action

    • 8. Axis Lines

    • 9. Axis Lines Continued

    • 10. Landmarks 101

    • 11. Landmarks Continued

    • 12. Landmarks In Action

    • 13. Landmarks In Action Continued

    • 14. Side Planes

    • 15. Side Plane Demo

    • 16. Line Quality

    • 17. Welcome To Progressions

    • 18. Intro To Progressions

    • 19. Progressions With Alternative Medium

    • 20. Muscular Male With Large Marker

    • 21. Progressions With Sharpie

    • 22. Drawing Hands 101

    • 23. Drawing Hands Continued

    • 24. Hand Progression Demo

    • 25. Hand Progression Demo Continued

    • 26. Hand Progression Demo Final

    • 27. Hand Progression Drawing Assignment

    • 28. Robert's Hand Progression Assignment

    • 29. Head Structure 101

    • 30. Head Structure 101 Continued

    • 31. Head Progression Demo

    • 32. Head Progression Demo Continued

    • 33. Head Progression Demo Continued Final

    • 34. Head Progression Assignment Reel

    • 35. Robert's Head Assignment

    • 36. Robert's Head Assignment Continued

    • 37. Full Figure Progression

    • 38. Full Figure Progression Continued

    • 39. Full Figure Progression Continued Final

    • 40. Full Figure Drawing Assignment

    • 41. Robert's Full Figure Assignment

    • 42. Explore Painting Hands

    • 43. Explore Painting Hands Continued

    • 44. Explore Painting Hands Second Demo

    • 45. Explore Painting Hands Continued

    • 46. Head Paintings

    • 47. Head Paintings Continued

    • 48. Welcome To Demos

    • 49. Cat Woman

    • 50. Back Bend

    • 51. Changed My Mind

    • 52. Palette Painting

    • 53. Reaching

    • 54. Stretched Out

    • 55. Using Sketches Female Model

    • 56. Using Sketches Female Model Continued

    • 57. Using Sketches Male Model

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About This Class


Welcome To Expressive Figure Drawing & Painting Techniques.

In this class I will share various tips for simplifying the human figure into simple shapes and forms so that you can easily create some fresh, abstract style artwork.

The class is broken down into three key sections;

Section One - These lessons are dedicated to basic drawing skills that will allow you to reduce the human figure into very basic shapes and forms. This will allow you to get your ideas down quickly so that you can get to painting. It will also reveal some weakness in your drawing skills. These are easily fixed by spending some time to better understand where you are going wrong.

Section Two - These lessons are all about progressions. You will learn how to take a structured drawing and draw it more loosely. This is the gateway to painting for freely. Here you will train your brain and body to really go for it and not be timid with your actions.

Section Three - This is where i will create some finished art. In the demos I will share as many non-traditional and unconventional techniques as possible. Over time I will add more and more so stay tuned for updates.

Thanks for all your support and interest in my SkillShare courses. I really appreciate everything you do so that I can do what I love for a living.

Need Materials?
Click here to preferred supplies

Recommended Figure Classes Mentioned In This Class

Drawing The Human Head Part 1 

Drawing The Human Head Part 2

Figure Drawing For Beginners - complete step-by-step guide

How To Draw Hands

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Meet Your Teacher

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Robert Joyner

Making Art Fun


Hi, I'm Robert Joyner.

I'm a full time paint-slinger from Goochland, Virginia specializing in watercolor, acrylic & mixed media paintings. Best known for my signature loose brushwork and carefree approach to creating abstract style artwork.

YouTube Channel

Click HERE To check out my weekly uploads and Live sessions

Here's a quick look at some of my bragging rights.

Official Artist 2012 Kentucky Derby Arlington Horse Race Track Chicago National Pastime Baseball Museum Art On Carnival Cruise Ships 555 Fahrenheit Restaurants Art on sitcom Modern Family Artwork on sitcom The Odd Couple Artwork in movie Tracers 2013 Mixed Media Instructor Strathmore Papers Shenton Valley Vineyards Wine Label Polo Resort - upscale hotel In Hong Kong

I enjoy spending my ... See full profile

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1. Course Overview: Hi, I'm Robert Joiner And welcome to expressive figure drawing and painting techniques. And this class, I will share various drawing and painting skills that you can easily develop in order to create more loose and exciting figure. Our section one is all about drawing. I will teach you some basic skills you can use to get your idea down on the page quickly, these basic shapes and forms will help you simplify the various moving parts of the human body so that you don't have to sit there, struggle with every single detail. Section two, I will introduce you to progressions. Progressions as a great tool to use to break the expressive process down into stages. And so we will start with a very structured idea and then stage it each way into a very loose expressive figure drawing. 2. Introduction: Hi, I'm Robert Joiner, And thank you for being here and supporting my courses. And I'm excited to share abstract figure painting techniques. Hi there, I'm Robert Joiner And welcome to expressive figure painting techniques. This course is broken down into several sections, and that's what I want to cover. That way it will give you a little bit of insight into what you can expect. And for those of you that have taken some of my figure drawing courses, than you may realize you can probably skip forward a little bit. So section one, as all about getting your idea down on the page, I will cover some basic figure drawing techniques and skills that you will need. So that when you look at your model, your figures, you know how to break them down and can easily simplify it into basic forms and shapes. If you have taken my simplified figure drawing course, you can skip forward to section two. Section two is all about progressions. This is a great technique you can use. I'm going to break it down into many parts. So we will cover progressions with the overall figure. We will look at hands, Had body, and so on. But the idea behind progressions is we use the basic structure that we learned in section one. So how to basically draw the figure in a way that is representational or lease has a certain quality that represents what the figure is doing. So the action of the figure, the pose. And then we progress it into different stages. So once you understand stage one, which is basically how to draw the figure and put the idea down. Then we will start to deconstruct it a little bit. And there are various tools and ideas we can use to do that. So that's a very fun section and a core to what I feel is very important to this course. And I'll also to the future of your artwork if you haven't done progressions and chances are many of you haven't. I think you'll find it very interesting and you can apply that to any subject, not just figure painting. In section three, I will do some demonstrations. So I will show you some unconventional, perhaps less traditional ways of painting the figure. And hopefully that will shed some light and gave you. And hopefully in section three I will do some demonstrations. So I'll, we'll break out the paint paper and really start putting some artwork together and hopefully share some less traditional and unconventional techniques to again paint the human figure and some expressive ways. Now, lastly, this is an ongoing course. Now this will be an ongoing core. So the lessons I have put together at the launch time is substantial. It can certainly gets you where you need to go. But I plan on really adding a lot more content as we move forward to this class. So be sure you are set to receive notifications so that when I release updates, you know, when they're available for you. And lastly, of course, there are assignments. And lastly, I want you to get the most out of this course. Watching me, listening to me is great. That's part of the learning process, but you have to roll your sleeves up and get to work along the way. I have some assignments. These are practice reels. These are timed poses, ROM asking you to do a certain lesson and a certain skill. And I'm not just going to ask you to do it, I'm going to do the same practice real. So these assignments are not only for you, but there for me too. So when you're done with your assignment, be sure to watch my take on the assignment. And that way you have something to compare your work too. It's not that my work is right in your work is wrong. It's just good to compare thoughts on the assignment and then that way you can go, oh wow, yeah, I've thought about that are well, oh no, that doesn't really work for me, but maybe it works for Robert. So anyway, just something there and extra learning tool and hopefully it will be valuable to you as well. So, so without any further ado, let's kick it off with materials and then we're going to get into some expressive. So without any further ado, let's kick it off with materials and then we'll dive into some basic drawing techniques. I will see you later on by. 4. Welcome To Structure: As I mentioned in the introduction video, this section here, section one is all about the basic ideas on how to draw the figure. This is not every single thing about drawing the figure. There is a lot more to it by lease wanted to cover some of the basics so that if you haven't taken a figure drawing course, at least you have something to fall back on and use as we move forward. Now if you wanna learn more, you can check out my simplified figure drawing course. And there you want to find a ton of information. And if you enjoy painting the figure, even, even in this sort of loose abstract way, I highly recommend you check it out because the more skills and techniques you have, the better off you're going to be. It's going to allow you to find freedom in your work. It sounds contradictory, but trust me, for me has really worked. So understanding how to construct the figure, how to draw really well, is going to enable you to express it in any way you want. But if you lack the basic drawing skills than oftentimes you're limited or reduced to only dawn in a somewhat naive way. So again, enjoy section one. I will see you in section two. 5. Simple Structure Ideas: All right, welcome to simple structure ideas. This is all about getting your idea down quickly. I think the best way to do that is to have a method for simplifying the structure of the figure. And we can easily do that using simple forms and shapes, which I will cover in this video. And to get on the same page, this is sketch our sketch out a figure here and break it down into its main parts. So we got the head and neck, we'll call that one. We've got the torso to the pelvis area, which is three, and then we have legs and arms. So I'll call the head and neck, one, torso to pelvis, three legs for arms, five. And yeah, we had the hands and the feet, which I'll address as we move forward as well. Now I'm going to elaborate on all of these as we move forward. This is a general idea of the entire figure. So when you look at your poses, an entire figure standing there, sitting there, whatever you can easily break it down into these simple shapes rather than getting sucked into all the details. So the head, as you may or may not know, and we can easily use an egg shape or sort, sort of an oval shape. It tends to be a little bit bigger towards the cranium, the top of the skull and narrows as it reaches the CEN, the tube can easily be indicated using the neck should be easily indicated using a tube. I'll just put two lines there to indicate the left and right-hand side. We can also use a circle for the main part of the skull and then use a half circle or an arc for the chin. And then again draw lines on the left and right hand side for the neck. The neck has volume. We're going to be using more of a tube as we move forward. Another idea for getting your head down is using this idea of a tube. So proportion wise, I'm trying to keep it about the same height as the egg that I used already. And the nice thing about the tube is the tube, we can be looking down on the tube as I indicated here and the first one. And then we can be looking up at the tube as you know, some angles, the head, we are underneath the head. Some poses were over top of the head, so on. So that's a really useful trick, again for getting the head down quickly. Also, we can use this idea of a box. The head tends to be a little bit longer than it is wide soul kind of a rectangle box. And of course we can turn that into a cube by adding some sides. So here we've got a little rectangle turn into a cube, and that would work fine. That would show the front plane of the face or the eyes, nose, mouth, so on. And then we've got the side plane where your ears are located and so on. So anyway, those are just some very, very simple ideas, shapes, forms that we can use to get that head down quickly. And again, I elaborate on this a lot and my figure drawing course, again, those links are in the description. And for the torso, I'm going to start with this kinda simple rectangle, but it's more of a, I guess a trapezoid so inverted we can go a little bit wider and the shoulders and maybe a little bit narrow towards the waste in the first version. And then in the second version where a little bit narrow at the shoulders and a little bit wider at the waist. Figures, models nor going to, obviously it changed. Some are very slim and trim, some are muscular or some or lean. So we can alter that shaped to accommodate whatever it is we're trying to do. Obviously, we can add sides to it to give it a form giver three-dimensional form. And then also we can go back to that tube idea. Uses sort of tube so that we can indicate again the torso. And that works fine too. That the good thing about the tube is as flexible, it can be a bending too, and so on, a curving tube. And we also had this idea of like a bulging box or like a pickle barrel, which is what I indicated their last on the right-hand side. All of those are again, easy quick forms and shapes we can use to get that idea down. For the pelvis, we can use a simple oval, and we can also use this idea of a tube on its side. So here I've indicated that and that would work perfectly fine for that area. And we can also use this idea of a mini skirt. The mini skirt can kinda think about it in a three-dimensional aspect where we're kinda underneath the figure looking up a little bit in the skirt. That skirt can have a side to it as well, which we will talk about as we move forward. And then we had the idea of a bulging box. I'm you can also think of that bulging box as kind of a pillow. So just kinda puffing out around the edges and we can take and add a top and aside like I'm doing here, I'll shade it in to turn that into a three-dimensional form. Now you had depth those, so that would give the pelvis and the torso feeling of depth and not so flat. So that'll cover for this one. I'll see you guys in the next one. 6. Simple Structure Ideas Continued: So that will bring us to the arms and legs. I'll cover the legs first. These are very, very similar. Obviously legs tend to be a little bit bigger, wider meteor than the arms. So you got the upper leg, which tends to be also a little bit longer than lower leg. We can divide those into two tubes and habit taper as it reaches the ankle. And again, this is very, very simplified. We're not looking at anatomy, we're not looking at every single muscle structure. These are simplified ways to get your idea down. So we can use the idea of a tube. The tube can obviously be a horizontal angular. And then we can have that tapering two on both the upper and lower leg. We can use a little circle there to indicate the kneecap or any sort of joint. Or we can just combine as much of the leg like a figure standing there and the knees aren't really bent, then I will just use one complete to maybe where the Newton, the knee is bent then maybe I wouldn't want to use two tubes won for the upper leg nor for the lower leg. Here I'm trying to draw the arms and proportion here. So I'm using a smaller tube. So you can go a little bit wider at the upper part of the arm and then more of a skinnier tapering tube for the forearm. So again, these are all wonderful ideas. Again, vary a simple approach to getting your ideas down and that's, that's the key. You know, you want a way to quickly get something down on the page and then dive into your painting process. But when you're looking at a figure, always tried to envision it with the simple forms and that way they'll keep you from looking too much into the details, wrinkles, hair, and all those sort of things that can get a little bit fussy with the sort of style of painting that we want to do. Now for the foot, I can use this sort of wedge shape. So we've got the base of the foot back towards the ankle. And then there's kind of a ramp where it goes down towards the base of the foot to the toes. And that can just add this little extension for the toes, Kind of a rectangular extension. So here I'm drawing that again. We've got the ankle down there. Again, we've got the base of the foot and then I can make a little extension there for the toes. And here I'll, I'll just draw it and perspective. So we're kind of on top of it. And that's just a simple way to think about that. And, you know, taking a very complex part of the body and reducing it. And to these simple ideas here I'm drawing it where the toes are closest to us. So here, you know, and you'll, you'll get that a lot. You know, where are the toes are closer to you? Sometimes, you know, you're dealing with a back pose or oppose that. Maybe the figure has more side to you. But understanding how this works and perspective is as helpful here. I'm just drawing a little footprint. Think of a footprint, a little foot and the sand type of thing. And we've got the big toe and the other four toes there as well. And it has this little bit of an art to it so that I'm drawing here. So you can indicate that arc on the end of your toes if you want. But, you know, for the most part my feet are very, very simplified. Even the amount of detail on covering here typically would not make it into my finished abstract figure paintings. But nevertheless, I'm gonna give you as much information as I can let you decide what sort of details that you want to include and how crisp you want your toes. You know how much detail you want there. That's all personal preference. And I'm just going to cover some simple ideas that it will help you again, hopefully get your ideas down. And there's just kind of a top version of that. So you've got to kind of the base of the foot, the ramp, which is what I'm shading there now and then the toes extending out. And of course they, they would really be talked a little bit, which is what I'm doing there. And that's pretty much it. And you know, again, a quick, easy way to simplify that and you can decide to use it if you want. But I think it'll help you understand some of the angles and bone structure to the foot. So the hand, we've got the base of the hand which is drawing now. So I'm the one would represent the base Actually the way my hand is kind of on the page, there would actually be turned the opposite way. We've got the fingers, which would be a two. So that's will be the second part and then the thumb would be three. So we kinda break that hand down into three sections. A lotta artists will simplify the hands into this sort of simple, easy mitten ideas. So they group all the fingers together and then you had the thumb. So remember the bulging box idea. So we can use that bulging box for the base of the hand and then draw your four fingers out there. And it's pretty easy to finger's obviously if you look at the fingertips where the hand, palm of the hand down the table, you've got this sort of arc going on. You know, the middle finger being the longest finger. And if I were to do that again, I can divide the the base of the hand and half, which is what I did. And then I can use tubes for my fingers. So we cover that with the arms and legs. We cover that with the head. Butt. Tubes are wonderful for the fingers because the fingers had the knuckles and they can bend at any one of those joints. But I'm going to simplify here into one simple tube for now. And then later on we're going to cover this in much greater detail. So we'll go over the hands, the head, and things like that, and a little more structure in a future lesson. But for now, this over overview, a simple kind of guide into what we're going to, to use moving forward. And then again, you can decide to use your own shapes. You may see it a little bit differently, differently than me, and that's perfectly fine. And this is going to give you enough information here to kinda get the ball rolling. And then you can decide, you know, what you want to use, how to maybe you want to tweak things and so on. So these are my simple structure forms for now again, just a quick look, 101 type of thing. And we'll break it down more as we move forward. 7. Simple Structure In Action: Alright, let's look at the simple structure ideas I shared in the previous lesson in action here. So we'll take some poses. I will show you how I can use some of those forms and shapes. Here we will start very simple figure facing US, arms stretched out. So I've got the basic egg shape for the head. Two lines or that could be a tube. They're coming down for the neck. A little bulging box sort of idea for the torso, mini skirt for the pelvis area, some tubes coming down for the legs. And and once I get to the feet, I can use that sort of wedge shape. And that can be simplified into even a more basic shape as well. But, you know, for the feet and hands, again, I'll probably spend more emphasis on drawing them and showing you how you can structure them in this course. And I do actually incorporating them and my artwork. But again, I can't assume you guys feel the same way about me or had the same vision as I do. So I'm just going to include those as if I actually paint them, but really just kinda indicate them and don't spend much time on that area as of right now, who knows what tomorrow will bring? So the hands there we've got and then one hand out to the side. But that, that gives you a quick idea and a start to how something like that would work. Here we've got more of a three-quarter view, so we're getting a little bit more of her left side, the side on the right. And we've got again, this sort of idea in a torso and a bulging box or a basic rectangular shape. I'm going to go with a two because the tube is easy for me to visualize, bending like a garden hose sort of thing. And then I will transition into a mini skirt sort of shape for the pelvis area. And then we get down to our tubes. And notice I'm doing cross contours on the tubes to indicate the tubes are heading down and away from us a little bit. And kind of simplifying that since the legs are straight into 12dB is fine and this a tapering tube as well. So again, a little bit Meteor towards the pelvis and then it can taper down as it reaches, obviously DO flare out a little bit for the calves. But again, what we're not going to get sucked into details with this class. And I'm just going to give you the gist of some of these drawings, tricks that I use to get my ideas down. And then you can kinda go from there. So here we've got the head turn a little bit. So we're seeing the front of the face. We got a little bit of the side of the skull as well. I went ahead and used and An X shape for the front of the face. And then I added a little bit of a, another sort of circle behind that just to indicate the side of the skull. I'm going to cover that quite a bit more and the head structure. So again, I'm only giving you an overview now of using these simple shapes. And here I'm obviously just showing you how they can be used in action. And then as we move forward in the next section, I'm going to break this down more. I'm going to show you how these shapes would work and some different angles, different perspectives when look at the head and I'll show you how you can tackle these three-quarter views, use alternative shapes and so on. So for the upper body with this one, I've got a little bending to bear for the torso, mini skirt idea for the pelvis. And then I've got a tube coming down for the upper leg. And then I added another tube since we have a bend in the knee here for the lower part of the leg. Now, tackling the other leg, I'll basically just kinda use one tapering tube there. Looking at the angles of the feet. How, which way is that wedge heading? So we can see the back of the wedge. And then it kind of moves away from us in space. And here we've got the side of the foot. So really, really capturing and seeing the side of that wedge. Here, we've got the tube of the arm coming down, heading down and slightly away from us. We can't really see much of that lower part or the arm. A little tube there for the neck, the oval of the face. I'll go ahead and pencil that end. But I know that egg shape of the face is were turned away from us. But if I indicate like a little bond on the head, the kind of the side of the face there, that cheeks. And that's pretty much all I I do. But sometimes even if the face is heading facing away from me, I'll just still indicate the oval of the face. And that'll kinda helped me position it. And then I can add the ear or whatever like I did in this one just to indicate that it's turned away from me. So I'm just going to label a few things here. So the mini skirt, the tube ideas, the tube for the upper body, tubes for the arms, and so on. And here I've got again that oval and the face, the chin is kind of below the shoulder line there. So when I drew that little oval for the face, I made sure that, you know, its position that way. And then once I add the hairline, the little bond, and then the indication of the ear kind of close to the front of the face. I mean, that's all the information of viewer would need to know what that head is, Dawn and space. Alright, so upper body here again at two mini skirt. For the hips and then moving into the arms, I can indicate a little circle if I wanted to there for the shoulder muscle or shoulder joint. Sort of this kind of bending tube from the upper arm to the lower arm and then moving into the opposite. So here I've got a hand on the kinda hipbone there so I can indicate and this a simple triangle or square almost for the fingers, since that's all, all we're seeing. And as this hand comes down, it's going to relax kinda in the front of the leg here, which I'll get to in a second. All right. So just kind of feeling my way around now got the leg farther away from us here. So kind of going to indicate that with basically two for the upper body and then it kind of switches direction and goes straight down. And here you can see the wedge of the foot. And this leg can really almost be 12db. But then we've got the leg or the the foot kinda pointing towards us here and moving right along. So this one's coming together nicely. And we've got the neck here. I'll attach the head to that and get a feel for, you know, where the front of that oval is for the X shape for the face. Here I'm drawing the back of the skull. And I'll kind of show you real quick. So if we did the basic egg-shaped, if the face was facing us like this flat on. That's kind of what you would do. So now if I do another egg shape like I did here and then added another egg shaped for the skull, the top of the head. That's kinda what we can do sometimes. To indicate the back of the skull. And again, I'm going to talk about this more later on, but when you have a head and three-quarter of you, you're not gonna see as much of the back of that skull because you're seeing in some of the further face and you'll see in some of the side. So it's not a perfect profile view. So again, hopefully I didn't confuse you, but again, we're going to cover that more and in a future video. So moving along through this one here, it's all looking pretty good. I will kind of cover and go over some of these details. So does kinda indicating a nose or the bridge of the nose? The eye socket there. And I went ahead and put the base of the hand on the arm that's on the right, that's closest to us, indicate a few little shapes there for the breast and then maybe where these legs began there, the crease in the pelvis, so that'll pretty much cover it. So again, nothing really to do but just to kinda take in this lesson to see how these basic shapes are used and action and disregard the green marker marks you see there. I use this drawing to talk about planes, the side planes, and to talk about some details when drawing the head and some of those features. So you'll get a chance to see why that those green marks are there later on. 8. Axis Lines: Now we will look at access lines, also called center lines. And again, a very useful tools that we can use to draw our figures. So with an axis line, which I'll label center line here, we can look at this idea and I've kind of touched on this when we talked about drawing the head or the face and just divide our egg-shaped and half. So we're looking at the hedge straight on. And if we divide that in half again, maybe slightly more towards the top or very close to that will be our eyebrow line. And then we can divide that in half and get our tip of the nose and divide that in half and get our mouth. So but the face has that center line. That's the main thing I want to cover. And that the centerline is so important because when we're looking at oppose, if we're really trying to capture a certain angle or rotation through the body, through the neck and the face. And then we can always look at these center lines. And that is going to be again, a tool that will help us to quickly make decisions and to start drawing or painting right away. So now when the face is turned to the side, so here we're in a profile view. That center line becomes more of an arc because of the way the mask of the face is shaped. It's a little bit different than looking at the face straight on. So but again, you know, if you're painting a figure, you've got this sort of side view. You can look at, look for the axis of the face or the centre line. And because it's psi to us, it'll be kind of art the way I haven't now. Now in a three-quarter view, the center line for the mask of the face is going to be art a little bit. So here you can see, I've got it favoring the right-hand side. So the figure is looking to our right, it's left. And we've got less room on the right of that center line and more on the left. And so that centerline will help us to indicate features to again, determine if we need to add a little bit of a circle on the back of that skull. Because we know that that exists. We can't just draw an egg-shaped if the if we're dealing with a three-quarter view because and if we do that, then we're going to be kind of chop in the back of the head, the skull off, and then I'll look kinda funny. But, but then again, like I said before, we're dealing with abstract expressive painting here. So maybe that works for you. But if you're someone that wants to do loose and abstract, but you want a little bit more of a Believability there. Then we would want to add that here. I've got the same idea, so I'd start with my egg shape. I put the center line towards the left this time. And now I can indicate the airline tip of the nose, the mouth. And I've got my ear on the side plane there. And I've got that little extra circle drawn to the top right of that egg to indicate the skull. So again, kinda keeping in tune there, I'm with, you know, trying to draw it somewhat accurately, but more importantly, we know to help you guys to see better. And, you know, when I'm looking at a figure, I'm looking at oppose, these are the things I'm kind of zoning in on like, okay, where's the center line for the face? In other parts of the body? And then I can make some decisions all my best to get my idea down to. I want to use an upside down sale. Do I want to use an egg with a little bit of a circle for the back of the skull and this three-quarter view and so on. So again, between the eyes, the tip of the nose, the CEN, the center of the mouth. All of those points line up. It doesn't matter what if you're in a profile, a three-quarter view or whatever? That center line is always there. And it's going to, again help you. So now let's look at the center line for the torso. So I'll, we'll start by just adding the head. So that'll give us a reference. So again, center line for the face, adding a little line there for the eyes, tip of the nose and the mouth. Got the little tube there for the neck. So when we start adding our basic shape and here I'll just use kinda as bulging box idea. We've got certain a center line running down the middle here. So you got like that pitted the neck, which I'm going to elaborate a little bit and wanna talk about landmarks here shortly, but here the pit of the neck than straight down the main sternum bone, the center of your ribcage is the bottom of that, you know, is the sternum for the XY Foy process. And then we have a spine that extends down into the pelvis. So the pelvis inbetween the pelvis and the Safeway process is the belly buttons or the naval. And those landmarks when you're looking straight down like that, are lined up. So that's going to give you your your land, your center line. And if I extended that down further into the pelvis and the you would had the counter the crotch are right there where the legs the pelvis meet. And again, those straight on or are pretty much what they're lined up. So again, very useful center line to think about. We will continue this in the next lesson. 9. Axis Lines Continued: All right, moving right along here we are. Well, I should say I am going to just draw green line there to indicate the center line. And again, these are, this is a very useful thing for understanding body rotation and, and understanding if you're dealing with a front view, if you're dealing with a three-quarter view and placement of certain things would help if you know the center line is that center and you have equal body on left and right then, okay? If it's in a three-quarter view that, you know, you have more of one side and less of the other. Now, what happens when the body is a side view? And I'm just going to carry over these marks a little bit here. So again, we're dealing with a body that side to us. And so things are going to arch a little bit. So what you're going to have is the ribcage which is kinda tilted a little bit. And that kind of forces the the top half of the body outward. And then it will start to curve back in, in most of the time. And again, it just depends on your figure. Towards the pelvis. If you're dealing with an overweight person or someone's got a little more on them, then obviously this, this could change. But as a general model, I think this works pretty good. By just understanding that curve is important. Just like the mask of the face has that curve which is very similar, right? And looking at these points, the pitted, the nag, the Lifeboy process, or the bottom of the ribcage, the belly button. But those are all really useful. I'm going to talk about landmarks in a and the next series of lessons. So we're going to kind of break them down a little bit more, but for now, just kind of getting the idea out there. So let's say we're dealing with a three-quarter view. I'm going to start with this bulging box sort of thing. So we have the pit of the neck about right there. You can see my center line is still archiving though. So it's not flat like a straight view, a front view. Even in a three-quarter view, you're going to see a little bit of this arching. So here the chest and the ribcage that they're moving towards the viewer and perspective. So there's always a little bit of homeless, I guess you could say foreshortening going on. So I'll just indicate the tube, a few tubes there for the upper and lower arm. I'll add a neck in there and a little shape for the head. And then I'll add a little bit extra there for the back of the skull, which we've talked about. And here I'll add the center line for the face. So again, that face could be turned towards you. It could be termed or to the left, almost as side view. It could be turned to the right, a three-quarter view the opposite way. So the neck has a lot of flexibility, a lot of rotation, range of movement there. So a lot could happen with that buffer, this one, I'm keeping it similar. So the center line for the face and the torso are the same. So two main center lines you can really pay attention to when you're drawing. And you don't have to necessarily draw these is just understanding that it exists. And then that way when you look at your model and what you wanna do, you see OK, well, is it three-quarter to me is a facing me? Where's my center line? And you kinda get into what you wanna do a little bit quicker. You makes these really fast decisions and determinations and boom, you're off to the races and you have this sort of guide to get you there. So here I've got the rotation in the opposite way, I use more of a tube for my torso, upper body, determined where that center line was. And then from there I can start to place certain things. So again, it's a tool used to help you get your idea down and to just understand a little bit more about the figure and, but as dawn in space. So here's a look at the drawing, and hopefully this idea will help you. We're going to elaborate on a little bit more in the next lesson as we talk about landmarks and angles. 10. Landmarks 101: Alright, let's talk about landmarks and angles. So basically adding to what we learned in the previous lessons. And hopefully this will help you understand perspective a little more clearly when you're drawing your model. So basically, when we're thinking about landmarks is like any other landmark. It could be the Washington Monument or the Eiffel Tower or whatever. They're, they're landmarks on the body that help us and they, when we see them, we understand where they are. That'll help us understand the angles and really more importantly the perspective. So again, we're going to look at, you know, key body parts. And the thing about landmarks is whenever we can have two, then we can compare one to the other. So we can look at one, look at the other one and determine like an angle like which way? No. Are the shoulders tilting? Which way are the hips tilting? So I'll start with my little basic figure here and no draw out the main body parts and we've talked about before. And then I will add a the center lines which we already know with and those are good landmarks to everything that you talked about. You know, the center of the eyes, the tip of the nose, the in-between the lips that Chen the center of the chin. And we take that straight down the torso. Remember we got the pit of the neck. And those are your clavicles? A clavicles are bony bones at, run out towards the end of your shoulders. And they give us a really good set of landmarks. And then we've got those Lifeway process or the bottom of the sternum, the belly button, and then the crux. So again, that's our center line. But when we take and follow our clavicle out towards our shoulder, we get a little bony landmark right there before where the deltoid aids began, the shoulder muscles and even the shoulders. Just that general area are two points We want to pay attention to. And now we have two other points here on the pelvis area. I'm going to simplify the pelvis into this sort of tea cup with a little notch out of it and the other legs come off the sod of that. They would actually attach with like a little a bone there but again, just kinda dominant down but right there, let's say where your belt goes around your pants, that kinda area. There's two bony landmarks there at the top of the pelvis and that you can generally see those on an unclothed model. We also had the knees. The knees are great, the ankles, and then also the feet. And so when we start looking at how one shoulder and even the elbows are very useful. When we start to look at where each knee, where each end of the clavicle is in space, then we can start to really see angles a little more clearly. So I'm going to draw a ahead here and a slight three-quarter view. That one wasn't quite three-quarter enough. I'm going to make that a little more, bigger and a little bit better drawing here so I can give a point down. So we had that center line for the face. And so again, the center of the eyes, tip of the nose, mouth. All that are placed on their note too, that the eyes, the tip of the nose, the mouth, and the CEN, the tip of the chin, the end of it. They all track. That means they're all parallel to each other, no matter which way that head turns in space. If you draw a line from i to i or the eyebrows, who? Eyebrow. And you understand that angle and space than the tip of the nose will attract with that as will the corners of the mouth. So tracking is very important because it's going to help, especially with the face. Because once you understand the angle of the eyes, then you under understand the angle of the root and tip of the nose and in the corners of the mouth and then the chin area. And I'm going to draw one more time. Let's say we're underneath the head and we have a center line or our tracking line, therefore our eyes. Notice how the nose, the mouth quarter corner, all that track with the eye line. That's what we're doing. We know we can kinda look at a figure and determine the angle in which things are tracking. And this case with the face, I think it's easy if you can see it to use the eyes. So if you can see both eyebrows or enough of it to determine the angle in which they're moving in space. Then it's much easier to track the nose, the mouth, and the ear because they're all track together in harmony and numeraire again, which way the head is turning, rotating or tilting. It's all important because it helps you understand the position of things and space. I'll continue this in the next lesson. 11. Landmarks Continued: Alright, so we talked about that tracking and how using two points in this case could be the eyebrows or could be the eyes. Help you determine the root and tip of the nose, kind of the root of the nose where it meets the skin, the mask of the face. And, and how corner to corner on the mouth. That all of those run together and help you determine the angle. And but, you know, for the mask of the face, those things don't change. So in other words, do the I can bleak, you can raise the eyebrow, lower the eyebrow. But the eye socket itself and where the eye is and the body, it's not going to change as much because like with the shoulder, you can raise your shoulder much higher. He can drop another shoulder so there's more flexibility with those body parts. But you understand this idea of using two points, two landmarks to help you determine angles is best learned and understood using let's say the face, which is what I'm doing now. So again, the say those are the eye sockets there. Two points again, in space, I can use my pencil to kind of adjust and look at the model and determine what's angle that is. And again, there's my line, there's my two points in space. Once I had that angle, then I can add the tip of the nose, the mouth, and the chin. So all of those, again, should should be parallel to each other and that, that is what I mean by tracking in this sense. So probably elaborate on that a enough, so I think you get the point. And if you take a figure for example, so we've got a figure like this, and we can look at it and say, okay, well, it's kinda dynamic. There's one shoulder that she's in a slight three-quarter view because we can see the left of the body, her right side of the body. So I'll use my eyes and just maybe a pencil to get the angles of those clavicles or the shoulder. We can go shoulder to shoulder and determine that angle through the shoulders. And then that's going to help us position those parts and space so we're able to use those two landmarks, shoulder to shoulder. Or we could use the clavicles to draw an exaggerated a little bit here. And notice how I dropped the chin just a little bit just to kind of move it towards the shoulder to give it a little more attitude. You know, that, that helps us get that idea down. And now the interesting thing is the shoulders and the hips are counterbalanced the majority of the time, 99% of the time. So if you have a shoulder angle that's working up and towards us here, then the hips will work opposite. So I drew that they're using those angles. And now we can look at the angles or their relative location of the knees, which in this case they're about the same. And then we've got the feet and the feeder roughly the same to the one on the left-hand side, her right as slightly behind the foot on the right. But in certain perspectives, you'll have more of an angle from foot to foot. And you want to pay attention to those angles and how they relate to each other. Because that's going to again help you put your figure down in space a little more accurately if that's something that you want to do. So again, just know keep these points in mind. The shoulders and the hips working contrary to each other is important. And always paying attention to the knees where the needs are in space. And knowing that the mask of the face, once you understand the angle of the eyes or the, or even the mouth, corner to corner, then everything else tracks with it. So these are, again, very useful tools to understand what you wanna do. And a lot of times artists will exaggerate this. So they get a shoulder up or rotated. They may exaggerate it more and they may exaggerate the hips more. So here you can see I use a line for the shoulders and angle one for the knees and then one for the feet. So that's the gist of it. We'll we'll talk about this a little bit more as we move forward but and understanding just a few landmarks like this. And then combining that, even with center lines and access lines will do will make your job a lot easier. And then you can get your idea down and then get on down, or get on with the next step much quicker. 12. Landmarks In Action: Alright, two demos here to show you landmarks and action. I'll also use the axis lines are aka center lines. So let's begin right here. And you'll see I started with a little kind of a oval or egg-shaped for the head. Came down the center of the spine. Did little Our God, the angle for the feet notice that in the shoulders are no leaning to the right. So we've got a little angle there and the hips or the opposite way. So again, I'll go back over this now and start using my basic shapes. Notice the tracking of the ears. The, so the ears would track with the eyes. So I'm just kinda drawing a light tracking line for the ears. Went back in it to draw tracking line for the shoulders and even the hands because the arms are doing relatively the same thing. I can draw a line from the hand to hand just to understand that angle where they are. And now I'm coming back down the spine and drawing out some of my shapes and everything I wanted to do for that. So tubes for the arms and things like that. I mean, you can sometimes I envision things. So when I'm drawing this, I'm envisioning the tube for the torso. I don't necessarily have to draw them all the time, but I'm always envisioning them and it kinda where they're moving and space, how they're moving in space towards me, away from me. And other features I'm a US actually draw the tube like I'm doing with the arms. So again, it's just kind of balancing around. And all of those ideas are there for you to use or to envision. And a lot of times I will, I will do that. Here. I drew the source skirt idea, mini skirt for the hips or shall I say the pelvis area. And that helped me understand that, yes, I can see a little bit of that side plane of the leg and the body. Just very, very subtle. But we can't see the left hand side there on drawing an angle for the knees. So understanding from knee to knee, what what's happening there, where's that angle and how are they placed in space relative to each other. And that's very useful tools when combined with everything else. And again, getting that idea down. And again your idea of a, of an abstract figure paintings going to be different than mine. But I think in terms of just getting the figure dawn, whatever it is is doing is something you know, I think everybody's going to have in common. And then how we actually project that through our, our, how we want to represent it. R, S, where everything is going to change quite a bit. You know, we're all going to have a different opinion. So this back leg is moving towards us, so I'm just doing some few a few cross contours around that tube to indicate that it's moving towards us. And now going back in, adding a few body parts and that's really all I would need right there. So you get my idea down and, you know, the head kinda tilted down looking towards the right. I exaggerated that a little bit. And here I can add the left-hand side of the body. The side of the body really is what we're seeing there. And going back in and now, you know, just kinda making some edits and some changes. So again, using those drawing tools as center lines, things like that to help me out in the landmarks, all important stuff. And they're getting your your figures to do whatever it is you want them to do. And to look like before you actually take on your painting is important. And you know, if you do enough of these drawings, Drawings, and use some of these ideas and you practice at it. You'll begin to just look at a photograph or look at a lot of model and see these things without having to draw. So you kinda envision it almost like layered over what it is you're doin without actually having to do it, which is kind of interesting. But I still like going through the motions very often just because I enjoy drawing. But on here I've got my oversize IQ marker. Again, these are refillable ink markers. And just having fun with color here, if anything, I've got my black now, this is more of a fine point. And I'll go over this and do. And you know, just some outlines, hit and miss some of the details of the figure. Now I'm just, again, just having some fun with it. And sometimes just drawing with graphite and pencil as that's fine. I enjoy that, but I like mixing it up and just bouncing around between different drawing mediums are ababaa stuff to use it. And I buy it for my art and cellas. Ashamed, sometimes a CM sitting around for a week. Completely neglected. So always find ways to incorporate it in my drawing studies. So anyway, that will take care of this one. And we've got one more to go. 13. Landmarks In Action Continued: So I will approach this the same exact way. So looking at the angles of the shoulder. So from shoulder to shoulder and then coming down to the hips, notice how they're opposite, they're opposing each other. I've got a little center line there for perhaps a spine. And now I'm looking at the knees and noticing the angle through those knees and then down to the feet. So again, using this sort of quick angle landmark, Well, you know what's $1 and compare to the other. And it's such a great way to map out what you wanna do. And then he can start adding in your different forms and shapes. So here I'm paying attention to the shoulder. So where's that shoulder hurt the one on the left, her right. Where's that relative to the foot? Is it over the foot? Is it just shy of the foot? And looking at the figure and just try and few again, make quick determinations. And if I see something that I think it looks better, if I'm working quickly, a lot of times I'll miss these things. But actually what I've put down on the page is acceptable. And it may look better than what's actually there. And that's not uncommon. So if I can get, pull a little more out of the pose and what's really there that work. So I'm, I guess I'm alluding to exaggeration. So trying to make more out of the pose as opposed to dawn less with it. I think the common thing is to do not enough, you know, so it tends to look very stiff. So if I, if I do more, then and that tends to kinda come out, it reads a little bit better. You know, it just looks a little bit stronger and it looks a little more interesting visually. So, so I know, again, you know, looking at tracking, looking at body parts, looking at angles, and then trying to work quickly using some of those different drawing technique who talked about. So here you can see we've got a three-quarter view through the face. I could have easily used a sale. See kinda see that little sail and action there. And we've got a three-quarter view. So we've got the kind of the front tracking. So you see the eye tracking marks, the head, top of the head, and so on. So I've got that sale working for me there. And, you know, the ear is on that side plane of the sale. And so yeah, that's working good. And know if things come out of those skew, we can always make our changes or we can say, well, you know what, I don't know, it's not perfect. It's never going to be, but it works like it is. So there's no sense in changing a lot of times. I'll, I'll think about changing something or altering my drawing to make it look a certain way. But then I realized that it's just fine the way it is if I go and I start changing things, allows Homs and you know, it doesn't really look any better even though it may be more accurate. So you can see me now check an angles from toda tos. So like where's that angle in space? He kinda see that. And more action here then what I did in the, you know, the kind of introduction to that. So I only had a figure that was facing us, so it's kinda hard to do it. But here we've got the figure that's in a three-quarter view so we can see this side, the left side of her body on our right. So we can see the front and we can see aside. And anytime you're dealing with that, most of the times you have the feet that are going to be in a perspective too. And no one foot closer to you than the other. And they don't unless the legs and feet or Dawn something slightly different or countering the movement but, you know, you know, bouncing around here and just filling things out, looking at how is working at this stage really, I don't pay a lot of attention to my figure. I just really look at the drawing itself and just tried to make that work. So at this stage, no, it's about making, but I have down work versus trying to force my inspiration AMI. So once I get that thing off the ground and motion here generally will, won't glance back at the figure too much unless I find myself in some sort of a tricky position. And I need to understand a little bit more about how to get out of it. But yeah, I really like there's markers kinda put in that little value behind it. A little bit of color, brings it to life a little bit and hides a lot of those imperfections. But then again at it even makes some other imperfections. So no, it's expressive artwork as you know, it's all about the beauty is, is going to always be in the imperfections, how they're done. And for me, what excites me about painting loose and drawing loose and all the stuff is being able to incorporate a lot of those, the structure and the believability of things and then giving it that sense of playfulness and carefree attitude, spirit. That allows a lot of room for the viewer to kind of draw their own conclusion or make their own decisions about, you know, where those details should be. So anyway, let's have a look at this image one more time. So we've got both pieces of art there. And hopefully that'll give you some good information on how you think about placing your figure on the page. And I'm going to cover one more thing which is kinda the side planes. I've alluded to it a little bit. I think I'll elaborate on it and then we'll get into some painting. 14. Side Planes: So an introduction into psi planes, this will help you understand a little more about depth and volume. So things aren't flat, the body isn't flat. And I'm just going to revisit this drawing. So I did this when we talked about a previous lesson and I thought it was a good example on how we can take these images here and I can show you the side planes. So all of these are three-quarter views, meaning we can see two sides of the body. And as I go through the pelvis area on these figures, I'm going to just draw out a basic block where you can think about it as a skirt, a very blocky looking sqrt, and then shade in the sign. So this will be the side plane I could have easily shaded in the front plane. By decided the XY plane would be less, it will be more obscure and doesn't block the entire drawing. So know when we're thinking about figures, when we're looking at a figure and we're presented with, you know, particular pose or whatever, you know, take take some time and just look at the the landmarks we talked about, looked at the axis lines of things. And then also pay attention to side planes because the body is, it isn't very geometric, you know, doesn't have hard edges, but we can envision those. And by envisioning those hard edges like where the front is, where the side is, and it's not like we have to get it perfect. And that'll help us understand a lot more about what that body is doing and space. So by going back through these drawings and just kinda using some of the ideas we talked about before with an upside down on sale, the skirt, the tube, or some sort of block for the torso. I can easily square these things out and come up with some sort of line that represents where one plane ends and in one plane begins and the other begins. And so that's just kind of what I'm doing here. You know, it's a great exercise, is really good as an artist to see planes and to understand them. Generally when there is a plane change, there's also a value change. So something may get lighter, may get darker here on B1 through the plains of the foot. And a very quick and, you know, generic way. And just kinda using those blocks sometimes it's not always visible. The foot me may have more of a top view. So you know, it may not apply, but that's the gist of it. In the next lesson, I'm going to take some models and I'm going to break it down a little bit more. And I thought this would be a good way to introduce you to it. And then we can kinda dive in a little bit deeper in the next one. 15. Side Plane Demo: So side planes kinda keep an eye out for these things. And I thought these three quick demos would kinda helped me elaborate on it a little bit. And again, this is all about understanding what the figures don't want in space. And here we have a figure that is clearly three-quarters view. So we can see the two size, so we can see the front and we can see aside. Whenever I'm first thinking about painting something. Ansys is we're drunk thing. This is a figure class and we're gonna talk of say a figure. You know, I'll look at it and say, okay, well, unless I figured when a space is the head moving away from 0s and moving towards me as the body flat to me or as in a three-quarter view, and so on. And if it's in a case like this, am I okay, it's a three-quarter view. So how much of that side plane can I really see? And psi planes will, for me, helps me to position the figure and to quickly analyze what's what's in front and what's on the side or so like clearly the the front of the body is going to have the front of the ribcage, the belly button, and so on. The nipples for male and female. The pit of the neck. And then the side of the body is going to have, you know, other areas. But the front of the body really is, has a lot more information and landmarks and details. But oftentimes, if I just envision my figure and this sort of blocky form like I'm Dawn right now, that'll help me. And that's that's kind of what this is all about. It's about making quick decisions. And then as I get into the painting, and I've already kinda looked at this and said, okay, this is a side plane and this is the front plane. And, And as I'm adding color or, you know, gone through other areas of creating the art, then helps me to divide it. And then in the end, you know, have something that's, has a little more volume and believe ability to IT. And oftentimes if you just kick kinda just start doing contours or you just don't pay much attention to it, then it's kind of like the figure. You're not really sure which way that figures turn because you don't really have a good understanding of the plains. And the, so I've discussed this a little bit like with the head. With the head you've got a front, the mask of the face or the front plane. You have a top plane that kinda goes back from the 400 top of the forehead back towards the skull. And then you have the side plane which has the ear. And, but you know, the legs, the torso, arms, the foot all has top sides and other planes, even though they may be more rounded. Then the next feature, so it's just something you want to pay attention to. So this is another example where you may get lost and just the back, the back of the legs because that's dominant. But really it's a three-quarter view. If you look at kind of the meat on the right-hand side of the spine. You can kind of see the spine coming down the middle of the back. But there's more on the left than there is on the right spine. And that tells you is a three-quarter view. So you can see a little bit of the left-hand side of the body and is more clear in this one than the last one, because the light and shadow help us out. So though the shadow on the left-hand side or the side plane is going to help us indicate that we don't always get that. Sometimes a light on this kind of hitting the motto in a certain way where you can't really distinguish the different planes. Want to acknowledge John planes are very important because it helps you add the dimension and the volume of the figure. So that's basically why I added this in there. Just so we can see it again. You can see how the ears, we have one ear. Interesting. Interestingly enough here, the back of the head, where the ear on the left is on the outside of the form. And the ear on the right is on the inside of the form. And that's kind of a three-quarter view. So we're getting a little bit of the right-hand side of the face, her face. And we're not we can't see anything on the left. But putting one ear to the outside and the inside is a good way to show the viewer what the figures don't want in space. And will this be helpful to you as you move forward? Now, putting your abstract expressive figures down and paint them. I mean, who knows, but the figure has to be doing something. And I think any sort of subtle indication that you can do. And the more subtle you can be about it, the better off you are. You know, if you're doing representational art than obviously, you're going to really look for all those details, but an expressive work. We're trying to leave room for the imagination and let the viewer make some of those decisions for themselves. So here you can see I'm following the landmarks, notice the curve through the body, notice the three-quarter views. So we got, if we took that center line from the belly button up through the center of the breasts, you node up to the pit of the neck. We got more meat on the right, the medulla. So that tells us a three-quarter view. So that part on the left-hand side will be the front plane. Then it turns the corner and goes to the side plane. And this is a good example of where the light is hitting the figure on the side. That's where we can't really see it. So in the previous example, we had that light and shadow that really helped us. And with this one, we're not really getting that, you know, we're not, we don't have the luxury of doing that, but we can always do it ourselves. So just because it's not in the image, doesn't mean we can't do it. So here I'm just kinda showing a kind of exploring that head a little bit chon to determine how much underneath the chin. And we can see the chin is kinda pull down little bit but the head is kind of tilted back just a little bit. But I just kind of trying to work that out a little bit on my own, but I'll kind of move into the legs and the KD the side plane of those legs. And yeah, that's about it. So hopefully this will give you again one more little tool to think about when you're doing your figures and help you understand. And acknowledged that there's always front and side planes. And when you're dealing with three-quarter views. 16. Line Quality: And this one, and we'll talk about line quality, adding emotion and energy to your artwork. So this can be applied to painting to again, drawing is your gateway to understanding these ideas as very easy, very simple to break out paper and pencil or whatever and get gone on some of this stuff. And then we get to painting and it's not so foreign to you. You've already understand the physical idea. You've processed it in your brain as well. So you'll, you'll connect the dots a little bit easier if you can do it with this sort of approach, which is drawing mediums, subtly, emotions, moods, highs and lows. These things are essential for art in general. I know this is kind of a very personal thing. But I feel like if I draw a line, for example, like I just did, and the line has one note. So basically as I drew the line, I would, I would be talking like this, like here is my line. Do you like it? And it's very boring. It's very flat, has no energy to it. There is no up or down or anything. So if you draw that way, it can become a little bit state stale for the viewer. Now, if I add another line and I use that sort of light flat touch, and then I press into the surface more, put more energy and emotion into it, let off the gas, and I'll put more into it. Now you have something that's interesting to look at. And that's because it has a range of line quality. So you have things that are flat or if the say low are quiet. And then you have another area, the line that has emotion, it's more intense. And there's a yin and yang, there's that kinda high and low quality. Now if I just do another line rises to a continuous line down the page here, and I just do some random stuff. And then just kinda use that feeling of this. And I'm very flat and boring. And now I'm going to really put something into it and put this energy in this field and motion and passionate you it may be, and then let off the gas and do it some more. So now, you know you're dealing with something that is more engaging all around. And that's because there is a range two to take in and the light lines don't look so. Boring when there's medium and more intense lines to compare him to. Just like you wouldn't want a bunch of intense lines because then he feel like the painting is shouting at you in a person dislike won't be quiet. So I think it's good to explore this idea some, and to understand the sort of quiet and loud energy of a painting. And because it reads really, really well and the artwork. But you have to kind of understand it and know when, how to balance that, I guess. So let's turn our focus now to a figure and I'll just do a basic stick figure to start out. And then once I get the idea down, then I'll go back over it and add some energy to it in certain places. Then back off the gas a little bit, add some energy, and then back off to where I get a balance of line quality. And in the end, you'll have a figure there. That in theory, in an, i guess my humble opinion, it's just simply more entertaining to look at. Because as giving you that sort of conversation is pulling you in and giving you a range of lines and emotions to connect with. And artists that are shall say, viewers, your audience will connect to those things. They can see your energy in a painting, that can see your confidence, they can see your excitement. All of those things that you don't think are visible and art are, and, you know, it's hard to fool your audience. But as an artist, you have to know, you know, to dislike color has to be balanced. Composition needs to be balanced perhaps through asymmetry. But we're looking for things that are engaging. So I did another figure beside the first one. And it was very boring that the figure was done all with this very kinda saying touch. And here I'm showing you that, you know, the energy sometimes can be in a background. So you may have a figure that's done in these very light, delicate, almost silhouette type away as very, very quiet. And then behind the figure you do these really aggressive strokes and bowed, saturated colors and certain areas and then that it can contrast to. So you can put the energy and the emotion in different areas of a painting. And hopefully we'll cover some of these things as we move forward. So there it is. That's just kind of an introduction and an FYI about line quality, understanding the impact it has on the viewer. And then, you know, it's something that as an artist you want to start to, to physically understand that shoe because it's a different way of creating, put things down with an intense passion versus putting things down lightly. It's a very physical thing. So you want to have and be able to tap into that range. 17. Welcome To Progressions: Welcome to Section two. Congratulations. If you got through section one, you feel good, you're confident and you're ready to learn more. Section two is all about progressions. This is a wonderful method and technique for abstracting and finding your own way to draw the figure. And you will continue to discover more ways to do it if you invest the time. So with progressions, we're going to start with drawing the figure in a somewhat accurate way using the ideas I shared in section one. And then we're going to stage it into stage 234. And each stage we're going to break it down and get looser and more expressive with it. I'm going to use many mediums. I encourage you to do the same thing. So don't just get into a trap of drawing with a graphite pencil. Draw with multiple mediums, just like you should be painting with multiple brushes and multiple mediums as well. So I will cover progressions, withdrawing the head, the hands. Also, we will cover the full figure. And again, I'm going to splash in other mediums so they see how important it is to, again, use variety as a way to express yourself. Okay, so enjoy Section two, I'll see you in section three. 18. Intro To Progressions: Welcome to the demoed. This is progressions and introduction, and then I will do a quick demo just so you can see it in a figure and how it works. Now the idea with a progression is that we will start tight and then end up loose and will do a series of drawings to get there. For example, if we were to take a basic geometric shape, let's say like a square. When you try to draw a square, as perfect as you can get it or as good you need it to be, then chances are you're going to spend more time on the square. You will probably analyze the sides, make sure things are somewhat equal, and make sure you get a right. Now, as I draw these next series of squares, taking less and less time with each one. So the idea here is whenever you draw tighter, it's going to take more time. If you want to get looser, then you want to spend less time, MP, spend less time. In theory, things are gonna be as tidy or as accurate as if you were to spend more time and then go back and make corrections and all that stuff. I'll do the same thing with a circle. So I'll go over that circle several times. It's off village, right? And then I'll spend less time, less time, and then even less time as I get to the circles on the end. And as you can see with each of those circles, things got a little bit looser and to the point where they almost fall apart near the end. So I did the same thing with a triangle. And It's kinda this idea that we'll work with some. And again, this is just one idea. But I think for most people, progressions makes sense because there's something we can kinda sink our teeth into there. There's like okay, well if we spend more Tom ON something, your chances are it's gonna be more, you know, finished. Whereas we take less time on things, okay, well then we tend to have things that are a little more rough around the edges. So now I will take that same idea. And i will draw out a figure. And when I'm drawing out the figure, I'm using some of the fundamentals I have learned over the years and taught. So if you haven't taken my figure drawing course, simplified figure drawing, definitely check it out. But even if you want to paint abstract, I think understanding things on a more technical level and building your foundation for subjects is always a good thing. I always found that if I spent time learning the fundamentals. Starts you understand the structure of things and how to draw them pretty well or at least decent. Then that gives me more freedom to draw loosely. And now I don't know if it's a confidence thing where I'm like, okay, well, I can draw this pretty good if I want to. I'm just not gonna do it. I'm going to opt to let her rip a little bit and not be too concerned about being accurate. And or I don't know if it's like a license or something that you get whenever you spent time learning fundamentals. And it's almost like okay, I've paid my dues. Like I've spent time studying and trying to understand certain aspects of drawing the figure. So therefore, I have a right to do it more expressively and how I want to do it. And I think that's kinda where I'm at with it. I've always found that understanding things technically like spending Tom on design and composition has always. I've seen that helped my landscape painting MLA escapes all my art is very, very loose, but understanding things on that technical level, it gives me freedom. I can correct things quicker a kinda learn what I can and can't get away with, and so on. So if you haven't taken my course, there's links in the description to the courses. I've got one on how to draw hands, how to draw simplify human figures, how to draw the human head and so on. And they're just really good courses for anyone that wants to paint or draw the figure and whatever style you feel you want to do. So anyway, if you want to spend time indulging into that, I would recommend it. But anyway, I'll move on. So as I'm drawing here, I'm just using some of those basic fundamentals of taught and learned over the years again, to get the gist of this figure. And the figure is very complex. You can take courses your whole life and probably still continued to learn, get deeper and deeper into anatomy and so on. But I'm using knew that idea of, you know, basic shapes and tubes and so on gesture. And I'm trying to capture this figure and he knows as accurately as it needs to be. And then that is kind of the first step in a progression for me. So now that I've done at one time and I've spent quite a bit of time on it. Now, I can start to spend less time on it here. And as you will see, things will start to look a little bit rougher around the edges. So and that's that's to be. Understood and accepted because again, if you spend less time on things like this, you're going to have more unfinished areas and some areas will look exaggerated or incorrect. And it's those imperfections and, and the inaccuracy is, I should say that I have to, I think live in the in the artwork. Because if everything is painted and rendered perfectly, then you're not really taking advantage of the expressive qualities that I think abstract painting has to offer. And some people will say, Oh wow, that's sloppy. It's not really loose and that's fine. I mean, you're not going to please everyone no matter what you do or how you do it. So the idea is you have to find your own way with things. And if you spend time, you know, like I said, before, learning your subject and then learning how to put expressive drawing into it. And then learn how to put kind of yeol signature intuitive over time where maybe you'll find where your legs you'd like legs that are really thick. Maybe you like your legs really long. Maybe you like just completely distorting. And you know, really pushing the boundaries of the figure. And artists have done this sort of stuff over the years, countless times. And the more you invest into it and find your voice and finds your way you like to do things. But the more freedom in the more personalize the art will, will be. So you'll be able to look at your work and had this kind of signature look about it. So the things I'm teaching you in this course, I think are very conducive to that idea of trying to teach you not just, hey, paint this abstract figure, dislike me, I don't want you to do that. I'm going to share techniques that I've learned over the years and things that I continue to do that helped me find freedom. And then in turn, if you know, do your due diligence and you try these things out and you're consistent with it. I think you'd see you are going to start to find your own way. And to find that, that sort of freedom and creativity that again, looks like your art. And you're not really trying to copy anything. You're kind of blazing your own trail, so to speak. So anyway, here's the drawing I did of the figures. You can see if you start to compare them and know the difference between them. And hopefully this progression idea will stick. We're gonna talk about it a lot more as we move forward. 19. Progressions With Alternative Medium: Now I will switch mediums, which is really the core of well and to discuss in this lesson, and this one, I will be using a Qur'an dash crayon. These are artists grade very highly pigmented crayons. And as an artist, you know, you want a lot of tricks up your sleeve that goes withdrawing techniques. You know, different ways to get your idea down the page. And drawing. Just with a pencil or a traditional sort of medium all the time can get a little stale. What you wanna do is constantly push the boundaries of what you draw with what you're drawing on, et cetera. So that you continue to broaden your comfort zone. You tend to get more and more comfortable with alternative mediums. And when you go to Create, and it's like you have, you opened up your toolbox and you've got, you know, the thing is just jam packed with different techniques and things that you can do because over time you have continued to explore. And conversely, if you are someone that they only draws with graphite or, or something like that. I mean, we could be talking about painting too. And you have a certain approach and technique that you use. And that's it. Then when you open up your toolbox, It's only half full. And we want to continue not only to jam stuff in our toolbox, but we have to constantly by bigger and bigger toolboxes because we're learning and exploring. So much. So with this progression drawing, I'm Dawn here. I'm basically doing exactly that. Now. I've drawn with crayon before, so this is nothing new for me. But I know for, you know, probably a lot of you that are watching and taking the course, etc. You may hope that when you're done with this course, you have a ton of ways that you're going to approach abstract figure painting. And of course, drawing is the key to it. Because again, if you can draw loose and you have freedom with how you put your finger down in a drawing, then the painting is going to follow suit. If you're drawings are stiff and, and they're accurate and you don't really have freedom there, then you're painting is gonna look the same exact way. So anyway, this particular one I'm doing here again with the progression is I'm taking more time with it, and therefore, it'll probably be a little more accurate than near the next versions. And, you know, the details, I'm only interested in details that are, are going to basically make the figure readable. So whenever I look at it, I want to see, Okay, there's a figure in there. She's on our knees. Maybe she's, you know, thrusting or right hip forward and she's looking over her right shoulder. So that's all I want. The hands can be half drawn. The details in the phase or half there and so on. So even in a more accurate version, I'm still leaving a lot of room to explore and add stuff. I know for me, I'm not going to include those things in my paintings. Not right now me maybe a year from now, two years from now. As I continue to explore figure painting, maybe I get to a point where I'm like, okay, I want to render something and my paintings more accurately. And I want to add a nose and I, and then from there everything else falls apart. So in that case I would have to construct the, I better. Maybe I want to do the hand and let the rest of the body fall apart than I would have to construct the hand better and let everything else fall apart. But as a whole, you know, the piece needs to work. Now as I go through this progression, this one is less time. So things I took time in the first drawing to render more accurately and to get new more precision than this time around. I'm not, I'm just kind of and if I get a mistake, if something doesn't look right, I'm not going to over correct it. And I'm just going to let a ride. I'm not going to stress out about it. So, you know, I find that when I'm, when I'm painting, sometimes I'll kinda get tight with what I'm doing. And I'll always stop right there and get into my drawing. Because I know with my drawing, I can go through a progression like this and find my freedom pretty quickly. Which is kinda what I love about this exercise because it's a way to, to learn as a way to explore your subject and to find that freedom. But for me too, it's also a way to get back into the abstract state of mind. And I do think art, you know, it's a lot of technique and experience, all that stuff that's involved. But a lot of it's attitude and it's so easy from day-to-day to, to lose that and to lose that kinda care free way of thinking. I'm as, as adults for all rigid he know we, we have responsibilities in life and structure and we've gotta do that most of the time. And when we get to our art, you know, it's like a different state of mind we need to be in, especially when you're doing things, things more expressively. So drawing is just to me, my go-to source. So I'll lose my way. Always get back into my drawing and I find whatever it is I need. Sometimes this accuracy, sometimes it's freedom. You know, whatever the case is, it'll give it to me. So anyway, there it is. So you can see the first one's a little more accurate. I spent my time and then less and less as I went through it. And I like all of them. But I think definitely the changing of the medium is important. Find more things to draw with. And I'm going to give you another example of that in the next lesson. 20. Muscular Male With Large Marker: All right, still same idea here. Exploring mediums, exploring this whole idea of progression. And this one I'm going to be using a refillable acrylic ink marker. So these come in various sizes. This is a large chisel tip on it and I've got it full of, I believe like a purple ache. So acrylic eq. These are a lot of fun to draw with. And you can get a bunch of these markers and put different color inks enum. You can use there really small markers that have more of a fine point. They've got like blunt points. I'm anxious. They, they got a ton of different nibs and tips you can explore. But again, you know, drawing is to me the source for finding freedom in your work. And if you take anything from this course had Hall, I hope that you simply start to explore drawing and put more effort into it. Because it can teach you a lot about your painting, your process, your approach. I mean, they can give you your accuracy, can give you on a good work home values. I mean, it's just so much you can learn from drawing. But anyhow, I won't beat that a drum anymore, I promise. So with this one obviously taking my time more so trying to feel out on the structures, aka do this a little more structured mock could start with a gesture line and then move into adding the head a centre line and getting things, dial it in and then move into the next one. But I'm only doing a quick version here just to kinda get the point across and, and enough accuracy where it makes sense. So let's talk about this later on. Every painting should have some sort of focal point or purpose. I think maybe two. Before you get going. So like understanding the why and figure drawings the same way. I think each pose is different, each model is different. You can look at oppose and tweak it and a lot of different ways. And in a sense that you could. Put the focal point in a hand and a face and just the overall body positioned the way the head is tilted and looking over their rotation through the spine. I mean, it's just, you can really have a field day with all the possibilities with just getting the idea down. I mean, again, that's just kinda comes down to drawing. And then you get into painting, the execution part of it and how you're going to pull off the final piece. And then you got a tons of options to explore and try. But with this one, it's, you know, you've got a really nice oppose here. It's got some lovely angles and lines from the leg that's coming at us on up to the arch of the back and how it pushes the chest and ribcage outward and upward to the head. How it's leaning and pulling, stretching, I should say towards the the hand and the other one arm, how it is just stretching back. So that is like trying to get the idea, you know, so like if I were thinking about landscape, you know, it's like, okay, well, where's my focal point? How will I create a composition that draws the viewer in and all the supporting middle ground background elements, et cetera. So when I'm thinking about a figure like this, you know, we're putting, you know, painting a figure. I'm thinking about the same thing as like. I mean, it's maybe you're not dealing with a foreground, middle ground, and background, so to speak. But I'm still thinking about, you know, where, what I'm trying to say, uh, my y and the peace. And that's so important for artists to understand. And figure drawing, again is like that too. So if your only goal is to copy the figure and what does dawn, then sometimes I think it will become a little stale on it. You can find some part of the figure to exaggerate, to really give it a strong buy. So you're connecting to the piece on a little bit different level. Then what's there? Then I think the painting gives you, takes on like this added dimension that it didn't have before. So I ran out of the purple IQ and set of refilling that I just grabbed my small marker. So this is the same thing. This is a refillable marker. Obviously it has a, a little bit a much smaller tip to it. It's a smaller marker in general. And what the reading there was obviously going to have a different look than the purple, but I'm kinda glad I did that. I like the mix of the two. So by accident, you know, I discover that men, I think it'd be fun to really start mixing up these inks and who may wouldn't even need to get the acrylic paint. How I can just create some cool art with using the markers and is drawn my way through it. So he knows that that'll be something I'll explore later on. You can see taking less and less time as I go through them and just having fun with the exaggeration ideas and making things larger or smaller as I go. More abstract, this, obviously this figure is very muscular, so I'm using more these straight angular lines to get my point down. But anyway, I hope you enjoyed it. That'll kinda conclude this. I'm, I could draw with a lot of different things. I could use a paint and paint brush. I can break into watercolors. I could draw with a rag and as my rag into paint and just slap it down. So sky's the limit, but I'll stop right here and then maybe later on or do some additional demos where I will draw with some things that maybe haven't even thought about using. So anyway, I will see you guys in the next line. 21. Progressions With Sharpie: All right, still exploring alternative drawing medium, mediums. So exploring progressions. So in this one, I will introduce you to my king size Sharpie. So wonderful to draw with. If you've never used like a super big Sharpie like this, it's a lot of fun. I mean, it's almost impossible to get sucked into details. But this is my medium of choice. I've got a whole drawer full of things. You'd be surprised what you can get away with in terms of drawing, but I continue to add to it. I'll show you guys some other drawing mediums out there are kind of new to me as we move into other sections of this course. So as you know by now, and the idea here is progressions working with things in a more accurate. And you can see if you've taken some figure courses, drew a little center line for the head, tried to get a slight tilt. I exaggerate things. Even when I'm trying to draw things more accurately. Always tried to pull more out of the subject than what's there most of the time. So I'll want a little more lean of the head to the right, her left. I've got tubes for the torso. I've got tubes for the arms of gots, a cross contour line around those tubes that indicate the directions they're moving. So the arms are all moving towards us. That means there's always a little bit of foreshortening one on. And whenever that happens. So again, you know, you've never worked with that idea. And then you can easily go to it and check it out. So again, there's links in the description. I know I mentioned that earlier, but I want to cover some technical things in this course, as well as the more expressive, perhaps less conventional ideas that you may not be familiar with. Showing you some personal things that have worked for me over the years and so on. So I didn't know it's that kind of a mixed bag of tricks, so to speak, techniques, fundamentals that you're going to get. Alright, so you can see I've got the arms pretty much end going through, adding the hands, bringing the foot down, right below it and so on. Exaggerating the size of that foot, making it feel like it's really close to us, is I think something that would help this particular pose look really good. And I got the right arm or her left kinda crossed over, overlapping the arm. The other arm. So it kinda see as wrapped around it and kinda pulling and pulling it over, just kinda resting there. And now adding the second leg and getting that feeling that it's bent and coming back at at underneath the other leg. So I know a lot of this is touch and feel. You know, we in drawing with a marker, everything is permanent obviously. And, you know, you don't really get second or third go as if you were drawing with a graphite. And so that's what I like about it. I think it's a very, you know, every everything you do is going to be there. You can't really camouflage anything. So it really shows my flaws, which is fun. I'm always on the lookout for flaws. I don't pretend to be anything other than a student like all of us. And I'm continually, continuously looking for where I'm coming up short and areas that I needed to focus on. So drawing is something that you can always poor time and effort into and I'm always taken note. So all in all not bad. Hopefully you can see a little more of a lean and slightly more down with the chin on this one. And trying to take my time and fill out some of the main edges and structure that I think needs to be added. And as I go through this now, I'll spend less and less time. So that will eventually end up with something that's much looser. You know. Some poses with figures are really, really difficult. Because you're getting a ton of overlapping. You're getting a ton of foreshortened limbs and features. And that makes a very, very challenging. And I think working with the, with the more challenging poses as opposed to, let's say a figure there. She's standing there kinda straight through the camera or something where it's a little more easy to get down your idea. But work. These are going to teach you a lot. Um, they teach you a lot about understanding the foreshortening of things, the overlapping. And that's why I really like this one because it made me spend even more time on things. So before the other poses were, were a little bit easier. Now with this one, even from the progression, the first version had to spend quite a bit of time on just to get it to where it was not going to spend. Go back and say, okay, well that's not quite tight enough. That doesn't quite give me what I'm after. And I could spend more time on it. And then then I would get to a point where, okay, well now I'm starting to loosen up or I want to loosen opera, understand enough about it. I can loosen up. So depending on the pose, what would the difficult difficulty? Level two, it would depend on how much time you need to spend. Sometimes my work on a progression, I may not get it right at all. And I'll have to just like really spend time understanding how the figure is put together because I can't even start to loosen up yet. I can't get to that state where I am. I'm drawing it quicker and looser because I don't understand it. I don't understand how the limbs are overlapping and how the body is positioned in space. So I have to pause and really understand it, then I can start to loosen up. But anyway, I think this would be a good example of that. I can easily go back again and spend time on it to understand it. But I think as far as understanding the alternative mediums, continuing to explore with that, and then also just the progression idea. I think it gets the point across, okay. 22. Drawing Hands 101: Now let's have a look at hands and other very problematic area for artists. And we'll break it down and I'll give you some ideas on how you can approach it structurally and then how we can look at it gesturally and then of course more abstractly. So the hand, and we can break it down into three major parts. You have the base of the hand, then the fingers, which would be number two. And then the third would be the little wedge for the thumb. So I'll go ahead and label these here so you understand exactly what I'm talking about? So again, one on the base, two up top for the fingers, and then three would be again the thumb. So when you're looking at the hand, try to group it that way. So don't look at you many details. Don't get caught up in all the different fingers and, and individualism. Think more about chunking them in. And then once we understand that idea, I can take the base of the hand and turn it into this sort of kinda like a wedge shape, but maybe not to a point. So it gets a little bit wider at the fingers where it meets the fingers, it's a little bit more narrow as it meets your wrist, and I'm going to make it into a block. So the hand has length, width, and it has depth to it. There's a certain thickness to the hand. Now when we look at the fingers, we can break those down into tubes. So if you just think about them as a simple tube idea, and the tube can be moving away from you as I did in the first example and IL-1, the tube on the right, the tube is coming and towards us. I discussed this in great detail in my how to draw hands. Of course. So if you want to learn more about some of these ideas, be sure to check that out. Now, obviously the structure of the fingers allow it to bend. So we can take that tube and make it into three segments. So divide it into three segments and then basically bend them at whichever segment you want it to bend. So which is what I did there. So that's just kind of a quick generic look at how you can break the base down into this wedge and then the fingers down into a tube, and then divide that tubing a third and then he can bend the tube depending on which way the Fender, the fingers are bending. Now if I draw the thumb, so our third part here, I've got the base of the hand sketched in. And now I had this wedge of the thumb that kind of breaks off about halfway up the wedge of the hand and then it flares out and then kinda comes back and tapers towards the wrist. So then I'll add that kinda blocky feeling to it so you understand the width of the I'm sorry, the depth of the thumb. And then we can just add that thumb to the end of that wedge using a tube idea. The thumb is going to be a little bit thicker obviously than the fingers. So always think about that. Also the thumb, if you look at it, it tends to kind of flare out. So if you just hold your hand down and you're looking at the top of your hand. You can notice how your thumb goes out from the wedge and then the tip of the end of the thumb that the knuckle, it will kind of naturally flare outwards. So let's look at the fingers one more time. One thing I'll note about the fingers when you look at the proportions. The first part of the finger, the first phalangeal there is a little bit longer than the second one in the tips of your fingers are shorter than the second. So that's just something to keep in mind. So when you look at your fingers, know, know that they, each segment is little bit shorter as it moves towards the fingertip. So again, these are just kinda quick structural ideas. If you want to really dive into this checkout, my how to draw hands course and you'll, you'll get a much better understanding of it now, will you need all of that information for drawing abstract figures? I mean, that's, that's going to be helped to you and how you want to present your artwork. But I'm going to give you some information, tease you with a little bit of structure. Tease you with some ideas, and then it's up to you to find your way. So now, of course the question is, do I include all the fingers and details, or do I just kind of group them and do these three basic things? So you can think about it as like two choices. Do you do the fingers and details and all that stuff, fingernails or do you simplify? So we've talked a little bit about the structure of it. Again, I could go on and on about that, but I'll keep it simple. So here I'm drawing the base of the hand, the thumb, and then I've grouped the fingers together so they're kinda like maybe bent slightly at the main knuckles and they're kinda cut a little bit so you can see how that idea would work. So that's just, that would be simplifying. So that's keeping a very, very simple grouping everything together. There may be a situation where you're drawing and you're still, everything is still too much detailed. You can think about it as like a mitten. So you have those kinda a glove that fits on the thumb and then all the other fingers are grouped together in this sort of mitten idea. So what happens when you have one finger that's extended out? The other fingers are curled in this sort of COP holding a copper, holding something in your hand, sort of. Situation. You know, again, it takes some practice to get used to this, but if I use those three sections of the hand, I can put it put in the base of the hand. I can just look at the fingertips and just try to look at the shape of how the finger, my index finger is extended outwards as the longest one. And then it kinda tapers and curls towards the pinky. And you kinda get that overall shape. And then you slap this little ledge of the thumb in there. So, you know these things, even though hands are very detailed, that they can be very problematic. There are certainly areas of where you need to explore. But again, we're looking at just the hand here. And when you think about the hand in terms of painting abstract figures, it's a very small portion of it. So it's gonna take up maybe 150th of the canvas if that. But in the end, you know, it's very important to know that the art needs to be cohesive. So again, cohesive beans. If you add a lot of details and emphasis and everything on, let's say the hand. Then you may be in a situation where you have to add details and everything else, you all parts of the body. And then you're getting away from this idea of painting expressively. But you may come across a style that where you're like, I wanna paint abstractly. So you can do the head, the body, you know, the legs and it's very loose quick way. And then all of a sudden you put this emphasis on one of the hands and you bring out details in it. I mean, you can certainly do that. I mean, that's kinda like a focal point. You can do that for any part of the body. But just keep in mind, you know, you got different details in the head. Remember we got hair, eyes, nose, mouth, and the hand. You're dealing with fingers and fingernails and and thumbs and all that stuff. So I would say add details sparingly. I think it's a good idea, in my opinion to just simplify, keep it very, very simple in the beginning and then explore like I did here. And then little by little, you'll start to find your way into how you can present your hands in whatever manner you want. Again, I can't sit here and tell you how exactly to paint an abstract figure because there's so much margin for freedom. Some artists like to put impact on the nose and one eye, and then the rest of the figure does falls apart. Some people don't put any emphasis on any parts of the body and they keep the entire thing loose, so just explored with it a little bit. And we're gonna do that quite a bit as we move forward. But hopefully this will break the ice with a hands and give you a very general way to dissect them. And then we can add to this in the next lesson. 23. Drawing Hands Continued: So let's continue dealing with these hands and going over some of the, I guess, more personal ideas. I have things I tried to think about when I'm drawing hands. So I introduce you to the three parts of the hand and how we can look at each part of the hand as a shape, you know, kinda of a cube or a block, a tube for the fingers and thumb and a wedge for the base of the thumb and so on. So, you know, the hand needs to be simple yet characteristic. And you know, it, my idea when I'm thinking abstract is, I'm going to keep it very, very chunky. So I'm going to think more about trying to get that mitten idea. So if I can force a hand to be a mitten, that's kinda where I'm Matt a year from now. I may be infatuated with hands and completely obsessed with them. And I made kinda get to that point where I use hand as this kind of very focal point and my figure drawings and then the rest of the body just falls apart. I own up. But for now this is kinda where I'm at. So now though we we deal, we get to this. And that has to bent fingers, two fingers extended, that thumb extended out and it worked out. Well, I'd go back to what I have kinda shared with you in this course is this idea of a progression. So if I want to simplify a hand, and then I get to a point where I've got this very difficult hand. It's just good practice to go through a progression. So if I want to simplify something and kinda make it my own, then I'm going to start with this idea that I'm going to understand the structure of it. So can I just simply draw the hand in a more detailed fashion? And that helps me understand what those shapes are, Dawn and space. So how is that wedge? Is the wedge flat to me is the wedge and perspective. In this case, it's in perspective and it's tilted or, or turned a little bit because I can see the side of the hand. I can see the palm of the hand and its angle would upwards. So I'd tried to dissected that way. And now I'll draw it as you know, as best as I'm going to be OK and spend more time and draw it more accurately. But I'm after a goal. And the goal here is to get it to a point where I'm soul comfortable with understanding what the hand and fingers are done, that I can quickly get my idea down. And this progression will help me. It'll pay huge dividends and I get to a painting because I can look at a hand and see how the fingers are turned. And now I've got this experience to fall back on and go, oh yeah, I remember when I spent some time doing these progressions of fingers and when they were turned this way and I kinda understand how the palm of the hand or the base, base of the hand is in space. Which way is it turned? And that can quickly get to my idea. So when that second hand drawing, I went through it much quicker. There's more errors there, but it doesn't matter. I mean, abstract painting is going to be full of errors and imperfections. I mean, that's the beauty of it, but it's got the point. The point is, you know, up, I've got the gist of it. So here I've got the, the top of the hand facing me. The fingers were together so I can easily group that into a mitten sort of idea. Very, very easy to get that one. And now I'm going to go to the other hand now and I could have gone a simplified the other hand more about felt like it was already simplified. I can already kinda get that down super, super quick. Now I've got the other hand that is bent at the wrist. We can really see that Nabi wrist bone and how that's protruding. And then it goes down into the base of the hand and then we get the fingers. That's a tricky one because the base of the hand is in perspective. It's kind of in a profile view, if you will, we can see more of the side of the thumb. This particular example. So I want to go through a progression where I'm like, okay, let me first understand how that base of the hand is in space, which now which way is it facing? And then get a feel for the fingers. And then let's spend a little bit of time understanding how this thumb is in front of the base of the hand because it's closest to us. And then once I go through my progressions and I start to get more comfortable with it. You can see I'm going to speed things up a little bit and almost Balkan into that mitten idea. Now not every hand can be bulk into a mitten depending on what the fingers are gone. But it really depends too on your attitude and what your goals are. But, you know, hands are problematic. This is why we're focusing a little bit of energy here on the hands. And we're going to, and hopefully this information will help you understand that that bridge of kinda like, OK, how do I deal with it and how do I deal with this hand? And how do I abstract it? And hopefully these ideas will, gets good. The wheels turn in, so to speak. It's not gonna give you all the answers because you're the artist, you again have to find your way. I'm only giving you some exercises. You can, in some ideas you can use as a kind of a starting point, you know, a launch pad into it. So here I've got the hands that you can see the base of the hand. We're still in perspective. We can see the side of the base of the hand downward MOOC kinda moving away from us in space. And then we've got the fingers that are almost, that could easily be grouped into a mitten idea. I went ahead and Extended the one finger. Alba could've easily move that into once simple mitten if our painting it. Now does this a negative space around that to just to kind of highlight it. So here's a tricky one. So we can see the palm of the hand. It's kinda cut a little bit. And it because that cup is more prominent because we can really see that muscle of the thumb kind of protruding there. So again, we're dealing with perspective. We get to the base of the hand that's kind of that block that's moving away from us as slightly cut. I can look at the fingers and see they're kind of come together to, and I just want to understand what makes that work. How can I solve this problem? And to a very simple idea and still make it effective. Rather than just putting a stroke, a peek out there and saying That's my hand, deal with it. Maybe I want to I'd like to understand things a little bit more. I think that way that gives me some options. So understanding the structure idea and kind of breaking it down, which is what I'm doing here, is going to pay huge dividends because that way when I get to a painting of kinda understand how those fingers and the base of the hand and kind of what they're doing in space. So now when we get to this moment, we got some overlapping, we got a very strong bend at the wrist is kinda gripping the arm. So, you know, I'm going to spend a little bit of time here trying to figure out, okay, well how do, how can I express that sort of coupling of the arm? And it looks like a towel that's kinda draped around a bar. So if I turn that 90 degrees clockwise, it would almost look like a towel kind of hanging over a bar, kinda, you know, draped over something. And I've got the arm coming down. So you notice I use those tubes to help me kind of put things in place. So now I'm like, okay, well, I feel good about that. Let me, let me go over that a little bit more and see it back and do it quicker and with less details and with less effort and with less time. So that kinda gets that progression idea right. So going over how NOW, now arm kind of extends into the hand, the fingers. And that's really what gives it that overlapping feeling, that idea that has wrapped around and curled all in that arm. So yeah, That felt good. I've got another one here. So I'm going back to that hand of the man that was kinda had a cut. And now I'm going to deal with this other hand where we've got that Ben did the risks all revisit this one. Think about how that mitten idea would work very, very effectively to group those into one sort of idea. So anyway, hopefully this demo again gives you some more information, some more ideas to think about. It's always good to problem-solve. It's always good to break things down no, technically, fundamentally and try to understand the structure of things. And then you can really start to have fun deconstructing it. Let net kinda fall apart a little bit. And I think solving the problem first gives you that opportunity to really kind of break it down and make it more abstract. Hopefully that makes sense. I'll see you guys in the next one. 24. Hand Progression Demo: Alright, let's do some hand progression demos. You're familiar with the progressions now so that start with some structure Stage one and a fairly simple one to start with. And I recommend when you do these on your own because I know you will, because you absolutely are loving this. And you trust that. The more you do it, the more you will learn, the better you will become either painting, loose or tight. It doesn't matter. Progressions can be used however you want to use them. But, you know, it's always good to know your stuff. Continue to learn, continue to add to what you know, continue getting smarter, more knowledge and so on. That's all kinda common sense stuff we know that's going to pay dividends later on. So I've got that base structure for the hand or the base of the hand. So that sort of tapering box, a little bulging box idea. Fingers are roughly about the same length. The node from the risk to the knuckles to the knuckles to the tip of the tips of the fingers and the middle finger especially. So I find that's a pretty good, easy way to divide the base of the hand and the fingers and to get a quick proportion down are now i'm going to add some tubes here again, not drawing every single one, but just kinda, you know, if it's a fairly straight finger, I'll try to make it 12db per one bending sorted tube. And these fingers have a little bit of a bend to I'm kind of a cupping action, but mainly in the pinky, but if you get a few of those in there, that's fine. I don't think it's going to make or break it and something this sort of detail I should say, is probably not going to make it into my figure painting. But nevertheless, I like to spend time here because you never know what the future is going to bring. You never know what my style will be like three or four years from now. And again, this is about packing that knowledge. And so there when I need it, if I need it and I know that it's going to either way pay off. No matter if I'm painting tight or loose, it's going to come in handy. So now stage one is done. Filling comfortable and more confident about what I'm doing. So I will work quicker, less details and CM grouping things together here. I'm indicating, suggesting some knuckles and just moving through it as quickly as I can. So I felt that one was kind of tickets course and I'll do another one. And still working. And stage two and moving quick. Adding a few, excuse me, fingernails in their fingernails are a great little detail to kinda spec in there once in a while. You know, if you have a pose where it makes sense and what makes sense if you're doing the entire figure and we know that the hand is such a small part, you know. So anyway, yeah, movement through Stage 34, et cetera. Now, working very, very quick. Almost resorting to the sort of mitten idea we talked about earlier. And just a few scribbles in there to indicate some fingers. And again, this is just a lot of fun to draw this way to see what she can get away with and as little effort as possible and just kinda having fun don't wants and expressive strokes down. So that'll do it for demo one. I'll see you guys in the hand demo too. 25. Hand Progression Demo Continued: All right, moving right along here for the hand progression demo two. So we will continue the idea of using structure to find freedom. Again, I'm tackling a few challenging body parts for people. You may like the idea of adding more detail into your hands for your figures. I can't create a course that is only suited for me and my sort of ideas. And I tried to kinda keep everybody in mind here. So I'm, what I've done here is I've added this kind of bulging box sort of thing for the base of the hand. And we have to keep in mind in a hand position like I'm doing now. That hand is in perspective, that box is in perspective. So the wrist is farther away from us. We're the knuckles meet the base of the hand that's closest to us. So that's going to be a perspective. Now you may come across quite a bit, but it's fun to kinda, to tackle these and to use these sort of shapes to draw them out. So what I've done is I've added four little holes. There are circles to indicate where the fingers will come out. And here I'm just drawing the tubes and extending them downward. And so we can see the base of the hand. It's kinda propped up on the leg. Then d, and then the fingers are cut downwards towards the floor, so on. That's kinda what I'm after there. And we had these sort of tricks up your sleeves to, to break down your, these kind of very challenging body parts and do simple shapes, forms. It really simplifies everything. I mean, it just makes the job so much easier. So now with a wedge of the thumb that's coming off. So we can see a little bit of that top of the wedge and then a little bit of the side of the wedge to and then our thumb, which is a little bit beefier Meteor, then the other fingers. So I'll just kinda make the, that makes sure I am proportion. I'll make that a little bit wider than the fingers and actually do it. So something like that work. So that was on stage one. So now I'm taking that idea and moving it into stage two. So quicker, looser, less details. And just trying to find my freedom with, without getting too much information. And not every gesture drawing is, not every stage drawing is going to work. You'll do some that all. And not quite make sense to you. That's fine. That's a learning lesson. That's Sana mistake. That is a lesson that you go. Okay. I'm gonna take note that when I do, you know this ABC or whatever, then, you know, it doesn't quite give me the information that I need in order to make this hand work and this particular position. And so you stop right there, you problem-solve it. You try to figure out the changes you need to make and we solve it. And then that way when you come to that hand position again or that situation, you know what to do. So, you know, this is all about learning and experimenting. And, you know, some experiments will flop and others will, will certainly reward you. So this one's on nice and loose here. So working on Stage three. So trying to act to work again even quicker and looser. This again to see what I can get away with. I mean, what are the well, what sort of information do UNEP. And while you're doing these things again, you know, take note of what's working well and what isn't. Like. I wish I would have stopped the fingers from going to high towards the knuckles that would have given the hand a little bit better believability like I'm doing here. And here you can see I'm just like really kind of go on for and that last one but we ran out of time there SawStop. And there are my hand progressions for demoed Su. So we've got one more to go. 26. Hand Progression Demo Final: Rolling right along here we are at progression for the hand number three. So we will continue the idea. Maybe a little more of a challenging one to here we got the fingers don't all types of fun stuff. So let's see if we can use those basic structure ideas and pulled this off. I'm using a contact crayon for this one is just like a burgundy red. And you can see, I've got this idea of the base of the hand. So we can see kinda underneath a hand and a little bit we can see the side plane of the hand. And that's all I need there to sort of get the hand position in space. So has had to battle. Now I'm looking at the gesture of the fingertips. See, I kind of see how they're, there's a slight curve. There's always kind of a curve in weakness kinda put your hand flat on the table. You can see that the middle fingers and the longest and the pinky fingers, a shortest and so on. So there is always a curve. We look at the fingertips and how they work. But I'm here is where we can see the palm of the hand obviously. And then we've got this idea of the fingers still curving and space like that. So it's kinda using those little gesture curves like I did know helps it. It's not going to be full proof, but it'll certainly help give the gets your idea down and can I I'll go from there and tweak it out. But, you know, getting this sort of, you know, the pointer finger kinda bent back and Curlin and all that stuff is, hey, it's a challenge again, I mean, for jet of abstract and expressive figure painting, I doubt this would ever make it into the final piece. There will be more of a, something that probably create what, two or three pink strokes and that's about it. So it wouldn't, the sort of detail wouldn't be there. But again, it's, you know, I had to kind of consider that some of you may like that. I mean, hands may be your thing and you may do figures where you kinda have the hand and more in focus and more of a focal point. And you want to kind of do more of the detail of the hand. And then the rest of the body just falls apart. And that's certainly something that you can do. So anyway, nothing just kinda working through it. Trying to hone the skills a little bit shy to make these things a little bit better as we go and prove the drawing skills and your vision, seeing and all that stuff. It, it's all part of it. So stage one is done. And I was fairly satisfied with that, could have probably spent maybe a little more time. There may be done in another two or three stage one drawings, but I just want to move through these progressions quickly or at least keep it moving so to speak. So we can get on to the lesson, on to the next one. But since and making the course about my problems, you know, the thing is you want to, and I want to kinda make this more about, you know, give me a sharing the idea with you and the process. And it's really the entire process that makes the difference is not just one thing. It's kind of embracing the whole core of the course. So but for me, if I had to spend Saleema own are probably would have spent time a little more in stage one. And just to kinda work out some of the things. But here in stage two, I'm correcting a few things. I'm getting the fingers bent a little more at the first knuckle from the base of the hand. So those fingers, the pointer fingers kinda like more bowed out, kinda bent but the middle finger as bent at that first main knuckle and kinda extending forward towards the viewer at that point. And it looks like the ring finger is more bent at the main knuckle where meets the base of the hand. So some articulation going on there and you know, in the fingers and trying to capture all of those things. It's not easy. And, but I'll just try to do a little bit better each time I do it. And then as I get into these, this third stage, allow that stuff information and we'll we'll kind of fall apart anyway and not really become an important thing to include. So I'll only need the idea or the impression of a hand. The suggestion of a hand really as what I like to say, to suggest things rather than to state them in S and I'm doing so, I'm suggesting things. I rather than stating them. And it's kind of like dropping hints and letting the other people figure out, you know, the things that happened in between. So, so this Winder, the thumb looks descend the fingers probably got a little too long, but silhouette in a nice loose abstract painting, that would work just fine. So these are my progressions for demo three. And now we are closer to you giving this a shot. 27. Hand Progression Drawing Assignment: Welcome to your hand progressions assignment. And this one, we will do a series of five-minute poses. You will get a two-minute and a 15-second notification. That sounds like this. When the two minute notification sounds, now that you should be wrapping up, perhaps you were first progression and then moving into your more expressive progression's at the 15-second edification, you want to finish things up and get ready for the next one. Remember that you can use a variety of mediums. You can switch mediums on each one, and you can use multiple mediums for each one as well. I recommend that you begin each hand drawing slightly different. He may want to begin with the forearm and wrist and then work into the hand. You may want to start with the thumb on the next one, and then perhaps the pinky finger on the next drawing. Again, variety is what's going to keep you from getting into ruts and then teach you more ways to draw your hands. Remember the goal here is to get the big idea down. So with each pose, be sure to take a moment and decide on what the hand is doing in space. Make a decision on what you want to say and then commit to it. Remember to go for it, have fun, and there is no right or wrong. You are just exploring and finding your freedom. The first pose begins. Now. 28. Robert's Hand Progression Assignment: Welcome to the demo. Here is my hand assignment. So working with the same exact images as you also with the same timeframe. I have multiple mediums on my desk, tons of stuff to choose from. This is just a good old ballpoint pen. And I'm starting the first hen, exercise here using that sort of construction idea of the three parts. So the base of the hand is sort of a wedge or a block. And then I've got the tubes of the fingers coming off of it. So that block of the hand obviously has four fingers. So I added a little circles there for each finger. And that gave me an idea of where each one starts. And obviously the middle finger is going to be the longest finger or pinky, the shortest and index and ring finger. And that can be roughly about the same sometimes. But it just depends. Usually the pointer fingers a little bit shorter. But for abstract painting purposes, we can get away with pretty much anything here. So I've got the hand attached now to the forearm, a create a little foreshortened tube there. And here I'm just adding some details such as the knuckles and going in and adding some little lines for the knuckles and the fingers as well. And now it is going back into the forearm. And it's kinda nice. Think too, when you're drawing the hand to look at the forearm, you know, as a starting point because the hand obviously is attached to the bottom of the forearm or the end of the farm depending on how you want to look at it. And it just gives it a, some context and gives you the hand a purpose alot of times as to okay, where's it as that the forearm raise lower, you know, is that kinda resting down and the hand is been up because the risks has a lot of flexibility and it can do a lot of things. But anyway, I don't want to get to sidetracked here. So I've got my first gesture in, or my first quick more of a tech technical drawing, so to speak. As technical as I'm going to get anyway. And then I move quickly through the second progression there. And now you can see I'm taking more liberty to abstract things. And this is going to help me find my freedom is going to. Have me to basically have parts much more areas that are imperfect. Even if I sat here and spent all weekend on a hand drawing, there would be imperfections. So just because you spend a lot of time on doesn't mean it's going to be perfect. But obviously when you're working quick like this and fluid, you're going to have even more imperfections. So and that's kind of par for the course. So I've already changed my drawing medium there. This is a PRISMA color, I believe AS sienna or some sort of red, burgundy, red color. And you can see I'm really kinda Lenton things rip a little bit here, almost grouping the fingers into one sort of set of squiggly lines. And now I'm going to do a little bit of negative space drawing here to play around with how that could possibly impact the fingers and how that looks visually. And again, all these things or these exercises you're, you're, you're kinda training your physical part of your body to go through ranges of motion that you don't ordinarily do. You're drawing things more loosely where your brain would normally stop you. So you're getting a better sense of drawing more freely and less rigid. And obviously, you're going to go too far. There will be times where, you know, you've you probably take things too abstract. There, there'll be moments when I'm, you don't go far enough and you find yourself in this kind of very rigid, tight sort of area. And it's good. But all the while you're, you're teaching yourself a lot of giving yourself a lot of freedom no matter how you look at it. So now let's look at the second hand. And we've got the box of the base of the hand that's moving away from us in space. So the hand is kind of bet at the wrist and moving away from us. So that box would be I'll kinda in perspective here. I've got one finger, the pinky finger, that's bet. And kinda coming back at us. So we're getting some foreshortening there. And then we've got the other fingers that are kind of sort of cut and pointed out in the direction that the palm of the hand is heading or the base of the hand. Now I'm not going to try to capture all those subtle nuances of every single bend and the knuckle. Just, again, this is about starting with a sort of more technical. I'm drawing, I'm trying to get a feel for the idea we want. So I really kinda latched onto those fingers bending. And truth be known, if, if I'm, when I get to full figure paintings, I don't really articulate the fingers and the hand as much as I'm doing now. So even though you may look at this and say it's very loose and, you know, kinda bulked in there. It's going to be even more that way once I get into paying the full figure, because the hand is such a small part of the entire figure. It is going to really get scaled down so much that there, there's not gonna be a lot of room there to put it a ton of detail. So those hands and fingers there'll be really drawn and painted with one or two strokes, maybe in a little bit of background paint. But I think going through the exercises here, going through these different progressions. Maybe even tackling hands in the head, you know, the, maybe the overall gesture, those three things right now is a good way to kinda break the ice with this exercise. And then you can break this down for, you know, any sort of part. And he sort of transition they knew their shoulders to the ribcage, the ribcage to the pelvis, and so on. So you can really take this wherever you wanna take it. I'm now I'm just a one using a, this is a four B graphite. And you can see I'm just using a series of zigzag lines. And instead of dawn, kinda of a contour drawing, I'm doing a series of just kind of zigzags that are indicate the fingers. And a changing it up a little bit is trying my best to not only change mediums, but changed the way I approach, how I'm drawing, drawing the hand. And since I'm working through this progression idea, each time I do it, obviously I wanna get quicker, get more fluid with what I'm Dawn. It's going to make more mistakes as I mentioned before and several times there. But, you know, constantly changing it up and trying to learn, trying to broaden those horizons and the boundaries get pushed back. I'm Dawn. Some really gnarly sort of line work. Switching mediums. Saw started with graphite, introduced a little, I want to say that was my Lira large graphite pencil. And then ended that with a red marker that's pretty much at an ink, but had enough there to scribble and some background noise there. And now moving into another Sharpie here, This is my guess, my green, my blue-green version and Of getting more and more familiar with what this head pose. Some able to, you know, to work freely. A note to, I'm trying to start each one a little bit different. So we'll start with the forearm, the thumb, and start with the pinky. So trying to not get into those habits around starting the hand drawing the same way. So here I've got the base of the hand. You can see I kinda made a sort of box. I've got the left hand side, which is pretty much the top of the hand. And that created this kind of other little side of the hand that would represent the side of the box. And now I'll quickly laying in some lines for the fingers and then moving into our thumb. So again, playing with the idea of, of tubes, moving through space here, bending at the knuckles. And China fill it out and get my idea down and then the fun can begin. So this is a, I believe this is a 6B graphite. And I think one of the things I enjoy most about this besides, you know, just really having fun with drawing loosely and being free is having the opportunity to use some of these drawing mediums and to bounce around. Its sole common for some of these drawing mediums that gets stashed away for too long. So I liked to do this quite often. And if I'm not making a course or painting, maybe just freely for myself. Like a I've got three or four hours, nothing really big going on. I think I'm gonna take the time to explore some for myself. I'll do these progressions because they're that beneficial and they're that much fun to me. I just really enjoy the everything about this exercise. So this is not anything new to me. And of course, you know, as teachers, we're introducing you to things that have benefited us along the way. Things we've learned from other teachers, things we teach in and probably have come across on our own exploration and creativity. So here still succumbs to, I'm using a Conte now that's just a Conte, compress charcoal, pencil. And just really trying to distort this hand as much as I can. Here, I'll start with the index finger or the pointer finger. And it's kinda curling that a little bit. And you're just trying to really deconstruct and break apart. The other fingers is really making them weird and conda. Very imperfect deceit and knows that that's not a can I get away with that much freedom in the hand? Near LA Times I won't be able to sell them like well, if I can do that and really create a sense of a hand that's bending and kinda in space like that one. But you know, you want to push it, you want to push it to the point where it falls apart and it doesn't make sense. I mean, that's, that's perfectly fine. That's better than being too conservative and, and can adorn things that are tried and predictable. You know, it's It's really we get outside and the what you know and start doing things and as rural, just completely unique way that you've never done before is that that's where your growth is and you'll be surprised that whenever you do things in the beginning may not look like much and you may not even connect with it. Maybe that's why I'm trying to say like, go, Man, that was kind of a waste of time or I don't really see any growth or interests, anything interesting here. And then, you know, if you hang these things up for awhile and or just, you know, you can tuck them away in your drawer. And next thing you know, you're you find yourself digging through the drawer three months later and he come across them in, you find a tremendous amount of beauty and what you've done. And it's, that's when, you know, that growth happens, you know, you're like hold on a second. How come I didn't like this before, you know, how come when I looked at this, when I was done and no, I didn't get that that that same excitement and allows them to just comes down to expectations. It just comes down to you that you just haven't, you're not used to seeing things, your work and you know, that distorted or that loose. And so it takes you a while. Sometimes said he knew he had to step away from it and then come back to it. Sometimes in order to really appreciate and have the opportunity to see the beauty in it. And I can't tell you how many times that's happened to me. Says I'm working through this hand. You can see I'm using tubes. So there's three sections in a finger. You've got the base of the finger that comes off from the main knuckle of the base of the hand. You've got the other phalanges and then you'd get the tip of the finger. So there you can draw those in three little tubes like I've done here. And trying to get that feeling of that. There's fingers moving off the base of that hand and then kind of curling up. So this is a pretty, pretty, pretty, pretty, this is a very difficult hand position to get. So even as you start, you'll find that as you start to draw. This way. I'm changing gears like me, you've come from a, we are drawing really loose. And then all of a sudden like, oh, I got new pose. I needed to kinda tighten back up here and figure out what's going on. Sometimes it's as easy to go into it a little bit too loose, which is kinda what happened here. So I decided to grab a thick dark marker here, Sharpie, to see if I can kind of patch things up a little bit. And Salam Dawn is kinda gone over a lot of those scribbles. And China makes sense of all of these little marks everywhere and unify things to a point where, you know, it looks okay. So there you can see the tube of the forearm come and Archea. And now I'm kinda moving back in with the graphite pencil and, and see what happens. You know, that's, that's the exciting part. Each little sketch, each little moment in time is a new opportunity. And, and these are opportunities a lot of people rarely give themselves in art because we're so focused on creating finish stuff or are so focused on trying to, to do things and ABC cookie cutter way that we lose all of this opportunity to draw and paint freely and really explore man. That's just put us all about. Explorer, find, find your voice. Find the things that are interesting to you. Lot art for me is very physical too. Like I like to paint and draw in a way that actually feels good. And that's a big thing to me when I'm, I think some of my worst art is when I'm trying to control things or I'm just not in that right state of mind where I'm really physically enjoying what I'm doing. But when r starts to feel good and all that, you may not always create your best work, but you'll find that, you know, the, there's growth there and there's something there that's really special, that doesn't exist. And the other stuff. So anyway, one of the ways I discovered these kinda quick sketches and this sort of progression ideas. I did some of these at 1. And I didn't really think much of it like I wasn't even like, I think China do an exercise that is kinda like started drawing something that was kind of tight. Mesh is way too stiff as not really what I'm after. Now when I'm interested in Dawn and kinda off to the side, I looked at what I was done. I went a little bit looser and I went a little bit looser beside it again. And I started kinda breaking out. So my old paintings and so my old drawings. And it's dawn that like I will take a drawing like, oh, well, there it is. There's that tight, kinda rigid. Then we kind of take that and I'll draw beside it and go looser. And I started doing that was some of the paintings. I was dawn just playing around and had a yard sale one day. And I really keep a lot of these things. I just kinda like this denom and store them away in this huge bag of art. And I was having a garage sale. I'm I'm fiance that Tom was like, oh, you know what what's all this? I was like, I don't know if it's a bunch of art I had I was thinking about just stolen some out there at the yard sale just to see if people don't know. Because oh, yeah, they're really cool. I think you should definitely do it, you know. So I started looking at them trying to cherry pick the ones that I wanted to put out on the table. And I hadn't seen these drawings and probably a year or so because we're doing them out. We're just don't In the back film in the back, the Ulman, the bag type of thing. And so it was kind of nice to see him again with fresh eyes and I was like hold on a second. I'm not selling that. That is cool. Dominant. Keep that drawing. There was something I learned there. There was something I really like. And then the more I looked at him, the more I like how many I end up only putting out maybe five or six of them on the table and not kept all the other ones. And that's when I really started to embrace this idea of drawing loosely, like draw, lose to paint loose. But also the idea of like, okay, well, you need structure. You need to understand things more fundamentally and structurally in order to get there because that's what's going to give you the freedom and the confidence to do it, even if you pay your due diligence and you learn no value and decent drawing techniques and all those things, then those are going to pay huge dividends when you go to paint loose because, you know, you want to have all of that knowledge and under your belt. And you're going to be able to get your ideas down quicker. And you'll be able to understand things better, more complex subjects you'll be able to draw. And then once you understand them, then he can really break them down. And you know, I have a construct and deconstruct course. And that's kinda what I teach, is the ability to construct things and understand them in a constructor construction sense. And then you can my deconstructed how once you, you find that. But anyway, just sharing some of my journey with you here, how I discover things and all that stuff I think in order to break up the monotony here of drawing hands, right? I'm going through these progressions and here you can see I've got my little ink pen, ballpoint pen back out. And these are a lot of fun to draw with. All of that one is out of ink. But each one is getting a little bit looser, a little more free. Each one is teaching me a little something to. So always tried to latch on to something that knows not quite working well from the previous progression. And then bring that over into the next one. And of course, all the while hopefully getting things down to rock in, removed through a quick halfs, half some of those lovely imperfections in there. But have enough believability there too to wear it. It makes sense. It's enjoyable to look at. And as I said before, the chances of any sort of detail moving into making this way into the actual finished painting is very, very slim. Because again, the hands or would be so small and scale on that. It just painting fingers and stuff like that probably isn't something that would, would make its way in there. But nevertheless though, is still a very good exercise to do. Alright, so here are my hand studies. So we can have a look at those. And you'll see the interesting progressions, how they happen. And hopefully, you know, you see the value and daunt them as well. Okay, so that will take care of this lesson. See you in the next one. 29. Head Structure 101: Let's look at the head structure in more detail. So we're going to take some of the basic ideas of drawing the head now and then elaborate on those and even share a couple of new ideas with you. So the head can do a lot for drawing the figure. It just really depends on where your emphasis is for your, your painting. And the ideas I've shared with you so far is this idea of an s-shape maybe turned upside down, so a little bit bulkier towards the top of the head, narrow towards the chin. That did a circle with a sort of half arc idea as well. So if you're uncomfortable drawing egg shapes, you can always do a circle and then this half circle or arc for the chin. So again, these are the easy way to do it. Good for mapping out the front of the face, especially if it's, you know, directly facing you. And now let's look at the side. So I can start with this egg shape and then create another egg shape for the cranium. We want that X-shaped to be kinda slightly angled upwards. We don't wanna angled down and you can kinda chop off the crown or the top of the head. So the mask of the face here would be on the left. So I'll kinda indicated little nose there. And then you've got the skull on moving up and back on the right, the ear there. I'll just kinda quickly draw in and then we'll go over that, add the neck, which will join just around the ear area. And we've got the mean of a Chen moving up the ear. And then that know, again, giving you a basic idea on how to, to get that profile view. So again, side view, you can use this sort of two egg shapes. Again, remember, that goes up and back on the skull and China ought to go down like I did there and I'll put an x through it. You don't again, once you do that. So no matter which way the mask of the face is going. So the mask of the face, the person can be looking up. So you want to try to feel where the mask of that phases and then from there, that'll give you good idea on how to draw the side of the head and you remember it goes back in up. And if you use that idea, then you're good to go away to even simplify that more as I do this upside down sale. So instead of drawing the oval for the mask of the face and then the oval or egg shaped for the skull. I can use this sale, again upside down. So the sale. Is a really useful because it can, again help you get your idea down really quick. If you look at, you know, how complex a figure could be, especially the head. Like the figure here we could be looking at the back of the skull. So the mask of the face is kind of turn and looking up like this. But if you use that sort of upside down sale, you can easily get your, your idea down quick. So I'll cover this a little bit more as we move forward. But let's now look at a three-quarter view and we'll elaborate on that a little bit. So in a three-quarter view, we're getting a little bit of the front of the face and a little bit of the side could be more of the side less than the front. It could be more than front Less than the side. In this version, I'm going to do more of the front. So here I started with the X shape. And then I added a little bit of extra there on the back of the skull. So you'll see that X shape. And then I kinda hatched in the little bit of a circle that I drew for the back of the skull. So whenever I added my center line there that kinda comes down the center of the face. We're going to talk about that more later. So don't, don't panic here. This is all kinda sharing some information with you. And then we'll, we'll, we'll cover it more. And then you have a chance. But as that SCL goes up and back, you know that there's gotta be a little bit of bone structure back there for the back of that three-quarter view. And if you oftentimes what happens is artists will forget about that and then they'll end up kind of making the head look very weird or very thin. But there's a lot of volume back there for that skull. So here I've got the mascot or, or the three-quarter view, the opposite way we're looking down on the head. So our eye line is above the figure. So we can see the top of that skull a little bit more than the first version. And I've got more of that circle shelling. So I did the mask of the face, which was that egg shape. And then I added a nice size circle back there to indicate the volume of the back of the skull. Now I can go bounce to my sail idea. So again and take that sale idea and turn that into more of a three-dimensional objects. So instead of a flat looking sale, I can add some thickness to it like I'm doing here. And now I can penicillin and ear, a little hairline. So there's our ear there and then there's our Chen or our jaw line, cheek coming down around the chin. And then of course we have a neck that's attaching in there. This would be the neck attaching to the back of the head. There you can see the net coming up they're attaching. And then I can kinda round that shape out a little bit. Obviously our heads aren't shaped like upside down sales. So that can come back over that and kinda round things out to give it more of a representational quality of the head. 30. Head Structure 101 Continued: Alright, now I will use that sale idea again and will turn the head in a slightly different direction. So Gamble who say we're behind the skull a little bit here actually, I'm more of a three-quarter view, so we're side two. So here I've got a bubbler still on top of it so we can see the top of the skull. And then here I'm drawing some lines. These are tracking lines to indicate the I line. The nose, tip of the nose, the mouth, and the eyes, nose and mouth are on the front of the head and the ears on the side. And that's the beauty of this kinda quick sale ideas that you can indicate the front of the face, so the front plane. And then you've got the side plane, which is the site of the sale. And we curve that out a little bit, we round it and then we add the neck. And we're good to go. So, you know, these little tricks are really useful. Again, you know, I can't put all of you in a box and say this is how you're going to create abstract figure painting. Some of you will know draw and paint your heads is just a blob or very little detail. Others may want to add some of this sort of detail and structure and it's totally up to you. But, you know, I have to create something, a course that is suitable for many ideas. And again, you can kinda take these ideas and run with it. I'm here, you can see the, we're got a three-quarter view. We can see the figure is turn away from us to the right, has left, her left. And I put the tracking lines there for the eyes, nose, and mouth. And then I took another line around the eyes and move that towards the side of the head. And the sale. And then that was the ER. So the plane, the ear is on that side plane. The eyes, nose, and mouth are on the front of that plane. So we turn that sail into a three-dimensional object like that. It can really serve you a lot of usefulness and putting your poses down. Now, I had also giving you another idea of tubes earlier on. And let's say you're underneath. So your figure is looking up. You're below the head and you can see underneath the chin. And here I'm going to use a tube. And the tube is moving away from us in space. And I've got my center line there, which we will talk about an End shortly. So that indicates the center of the eyes, the nose, the mouth. So it's still a three-quarter view because we can see the front and we can see the side. My notice how that tube is a really good idea and useful tool to use for getting down underneath. So sometimes there's just having multiple tools at your fingertips to draw these things is great. So n-gram, dealing with a pose from underneath the figure allowed Tom's, I will envision it as a tube. And that, that for some reason helps me a lot more with that sort of perspective. So here I'll do it again, but with the figure turn the opposite way. So again, I'll indicate the center line for the and then add the rough lines there for the nose and mouth, ears or mouth, nose and eyes. And then on the side of that tube is where the ear is. So the center line there for the eyes and the nose and mouth indicate the front plane and then it wraps around the side of the tube and that's where your ear would be placed. So now adding a little hair line there to some marks to indicate the underneath the tip of the nose, the mouth, and then I've got my neck in there as a kind of a bending tube as well. And the jaw line reaching up towards the ears. And again, that's just a fairly easy way to get that sort of very difficult perspective. Down. You can be on top of the head. So here I've got a tube that's moving away from us so we can see the top of that tube. And again we're above the head so we can kinda round it off to the chin. We've got our little center line there and we've got the eyes. And then it ramps up and around. So we've got to add a little bit of meat back there for the skull, the back of the skull. And then once you add a hair line, the add some sort of indication of the ear, then no, you're on your way to being able to draw the hair from this angle. You can see I crop that head off too much, so I had to add a little more meat to the back of that tube to indicate the back of that skull or a discount looks funny. But then again, this is abstract painting. So looking funny isn't sort of out of the norm for what we're after. But anyway, these are just some heads structure ideas I wanted to cover in a little more detail. I have a head drawing class, actually two of them. And if you want to learn more about drawing the head and get some more information and structure under your belt. I highly recommend you do that without as much as we're going to cover in this class. 31. Head Progression Demo: Head progression demos, so using structure to find freedom. So we've talked a little bit about structuring the head using a series of forms, shapes, different ideas, center lines. And I want to work through the head and this idea of a progression so you understand what progressions are as well. And again, its structure first. So what we're trying to do in stage one is learn a little bit and discover how to construct the head in a way that represents what you feel is going on. And the goal is to perhaps apply some of those forms talked about. So like an egg shape. I understand where are the center line is? We've got a line in between, in the middle roughly for the eyebrows. And then we can divide that in half and get the nose and the mouth. And again, this is not a technical how to draw a figure class if you want to learn or draw the head and a figure again, as I've mentioned before, I have courses that are dedicated to that. And those are the, some of the techniques I'm using. I'm just kinda giving you the gist of it. So once I figure out where, what to use. So the basic egg shape, I've got my center line, I've got my eye line or eyebrow line to nose tip of the nose mouth. Kind of marked out God, the ER placed on the left-hand side. You can't really see the right year, maybe a tip of it, but there's not much to worry about there. And now I'm playing with the side plane. So I talked about sided planes earlier. Just trying to discover how much of that side plane are we seeing here, I probably went a little bit too strong. Could've use less side plane on that, but just for the record there, so there you go. I mean, no one is going to be able to nail this stuff perfect. Every time as artists, we human beings, we, we make our share mistakes and you know, you just make note of things and, and move on and you decide if the mistake is something that's really important as a need to be fixed, or is this something that we know we can get away with R Now on this kind of fill in a few details again, I'm not in this class. I'm not worried about drawing eyes and details within the eyes puke people's iris. My figure, drawing style and painting style. The head is just really represented in a few strokes. And that's about it, a few colors. So here I just use the green marker to show the center line of the eyes. And now I'm kinda showing how I use that egg shape with the green marker in here. I'm just shading in a little bit of the back of the head, the back of the skull that was used, that was added to that basic X structure just to get that slight three-quarter view. So blue line there for center line and just kinda marking their brow than the tip of the nose or the root of the nose where it meets the eye. The head and the mask of the face and then the ISO. Anyway again, that's stage one. That's understanding a little bit about form structure, what's going on there? And that's the gateway to Finding Freedom. I do believe the more you understand the technical aspect of your subjects, the things you'd like to draw. I think the better off you are because along the way, you're learning the things that are important to you, the things that you probably would like to include. And then you're also learning about the things you don't want to include and that's probably more important than the things you want to include. So I'm in stage two, which is where I'm at here. It's less detail. Now want to work faster so I'm not going to spend the same amount of time. So how do I get to becoming faster at it? You get faster at it because you have spent time in stage one. So stage one is kind of your, the gateway to finding the freedom. And that's the sort of the philosophy I use and teach, is once you understand or unlock the sort of structure and the overall feeling, that position, which is probably the most important thing here, of what the head is dawn in space. Then you can work a little bit more fluid and get things, get your ideas down quicker with a little more gesture and a little more freedom. So here we are in stage three. And I said 34 and dot, dot, dot, dot. So basically you can take this to whatever degree you want to take it to. So I'm going to use a ballpoint pen here and just try to work a little more quicker and try to leave out even more, a few more details. And just again see see what I can get away with again. But then also, I'm giving myself and teaching myself this sort of physical connection between my brain and my art that allows me to make these loose fluid strokes. So a lot of times if you haven't drawn loosely, haven't painted loosely on there. There's some physical learning that your body has to, to know just like a dancer. If you want to learn ballet or Ballroom or whatever, there are certain physical movements, range of movements and things like that, that you have to have flexibility, all those things. And that's kind of what this is. This is kind of like calisthenics for the artist and it's very important to learn and understand how this works. So here again are the progressions for this piece. I'm going to do a few more for the head on just so we have more information to go from. And I will see you in the next demo. 32. Head Progression Demo Continued: Alright, we will continue the theme here for head progression demo number two, using a different model, more of a top view this time. So we'll get a little more of the back of the skull and the top of the head. Again, changing up my drawing medium is as much as possible. And I'll always good to change that and then get used to drawing with a bunch of different things. And that way you're again avoiding getting into ruts, but also you're teaching yourself to your learning to draw with multiple medium. So you're giving yourself more and more range even when you're just practicing these things. Alright, so I'm using the upside down sale. So I've got the front of that sale for the mask of the face. I've got the side of the sale for the side of the head. And of course I've got a top as well. And for the top of the head. So a marking out my center lines, marking out my eye line, nose line, all of that. So when you're getting a top view like this, the face features tend to compress a little bit because they're moving away from us where again, we're on top looking down at it. Maybe not so obvious and a pose position like this with the head, but nevertheless, it's there. So again, we're not trying to get a photo representational sort of sketch and design for this particular person. Now not, don't have to kind of look at every feature. It's not really about that. It's just about getting, using some structure ideas to position a head and space as similar to the model. So when your were dawn abstract sort of painting where, you know, we're not trying to depict any particular person. If, if your goal is to, you know, to get a abstract sort of figure painting. And two, have to be a very specific person, you know, looking at, still pull that off and using these techniques, it will just require a little more time, a little more investment of time really. And to understanding the the model a little bit more, the person, the very specific features, et cetera, that make that person unique, their body unique. And then again, you can start to find your freedom once you understand all of that. So here, switched over to a blue Sharpie working with some shadow. They're just adding a little bit of a tone to the left-hand side of the face. And I think for stage one, that's fine. So I feel like I understand enough to move to stage two. And again, if you if you don't feel like you understand Stage one and you're not comfortable with what's going on, then don't don't go to stage two yet. There's nothing that says that you have to do these back to back to back. There's nothing that says you only have five minutes to understand the structure of something. Using the structure ideas is new to you, or perhaps it isn't and you're just trying to grasp it, it's okay to slow down and take your time. Again. The more you understand this, the better you're going to be at abstracting things. So in stage two, obviously trying to lose a few details, trying to work a little more fluidly. And when we do this, there's always the risk and probably the realization that you're going to lose some of the and he sort of resemblance that you may have had and Stage one. And that's fine. Again, if we were to be painting a figure and you know, you gotta think you've got a torso, you got legs, get arms, you got Fiqh, hands, you got a head. The head is going to be a very small portion of the overall painting when you're doing a full figure painting. If this were abstract portrait painting, then obviously the portrait would take out much more of our canvas. So in that case, we would maybe want to spend a little more time thinking about details. And so long because again, if you're going to try to pull off abstract portrait painting, then you probably want to paint more of the eyes and the nose and the lips and things like that. So anyway we're Dawn and full figures. So yeah, I really liked this last gesture, drawing their stage three, the last one on the right. I feel like I really found some freedom with that. I liked the line quality of it. And here obviously you can see the progression from left to right. And again, you know, this is all about understanding the structure and order to unlock the freedom. So that will complete stay. Demo two, we have one more to go for the head. 33. Head Progression Demo Continued Final: I had progression demo number three. So slightly different angle. And I'll talk through the process here and hopefully, you know, start to get a grasp on how this is working. So with this one, we're underneath the head so we can see the head is tilting away from us. Our vantage point is down below, looking up, which is why we can see underneath the chin. I'll use the idea of a tube going away from us in space. So I've got that tube laden. I'm off could've used an upside down sale but we would have been underneath it. I've used maybe even an egg shape and then no chiseled out things in there as well. But, you know, I've yet to find your own way. I give you a try to give you guys are as much options as you have. And then you can kinda just explore, ask us where you're going to decide what works best for you. And just because, you know, and don't settle into it, I mean, continue to try the ones you don't like more. There is nothing wrong with trying and egg shape or an oval or whatever, a box and space. So all of those things would probably get you to where you want to go. So it's just a matter of finding the ones that work, speak and work for you. All right. So again, working through once I got the tube in place there for the head, I kinda did the tracking lines for the eyes, the nose, the tip of the nose or read the news sort of thing. The mouth that Chen. And then I went in, shaped the head, added the literal side plane for the ear so I can place the ear. And notice when the head is tilted away from us like this, the features tend to crowd each other a little more on. They tend to push up towards the top of the skull and so on. And again, you know, this particular exercise, as I'll remind you, is about using structure to understand what the, how to draw your forms, but also how to position them in space. So if you're dealing with oppose that, they know you're underneath the head, you don't want to sit there and scratch your head, wondering how you're going to pull this off. How are you gonna do it? You're going to have already done it a bunch of times. You're going to have some tricks up your sleeve. So you can kinda get to business really much quicker than someone who isn't efficient and those areas, so this is what it's all about. We know we want to get to a point where we can start putting paint down quick. We want to get our ideas down to get, to get down quick. And that way we can get on to lunch or dinner or whatever is going on. So anyway, we've got in this one I'm using the sale idea, solo the upside down sale. We could see underneath that sale. So again, kinda add the tracking lines, psi plane for the ear. Back of the skull and so on. And along the way, you're going to find your strengths and weaknesses. You will discover them. They will let you. You'll this sort of practice. We'll let you know where you're efficient and where you need to spend some time. So I'll always kind of be your bet your own best critic. Assess your work. Don't get frustrated. Don't walk away, throw your pencil down and walk away and tell yourself you soccer anything. Just, just know that these things will take time. I've got a laundry list of things that I would like to become better at and learn more about and to discover how to do things. So lock and unlock more potential with my art. So that's just the way it is. And, but if you don't be ignore, I mean, neglect that sort of thing, then you're going to always run into the same problems so that you know that it's like any other problem and then nothing's gonna go away on its own. You kinda have to work your way through it. So here I'm in stage three and starting to find my freedom a little bit more and getting a little bit looser or a little more fluid. This is probably the most challenging angle for me getting underneath the head like this. Trying to get that perspective right. I've always kind of struggled with it and I try to spend time on and in the more Tama spend on it, the more fluid it becomes and the I think the more efficient, you know, I get at it, so on this is not an easy thing to do. Alright, so now, I guess now I'm moving to stage three. So I guess I was a little ahead of myself when I said I was already on stage three. So finishing up stage to moving into stage three, using these kinda looks like just found a use for some Brill squiggly lines there. And kinda playing with that idea some. And I like this stage now like working through these progressions, especially starting with stage one. And because it's always fun to get to the other side that stage three for where you're just kinda like whatever he now, I'm ready to let go and take some risks. You know, a paid a few do's and I want to be rewarded. It's really cool to do it like this. And no matter how many times I do it, always, always discover problems I need to work on and there's shortcomings. I always find, discover freedom, you know, success. They always kinda balance each other out. You know, it's going to feed you some good stuff and then it's going to tell you where you probably need to spend some time. So anyway, that's gonna take care of it. Here are the progressions for this one. And hopefully this idea helps you and you understand the process a little bit more. And now it's, you know, you're excited to give this a try on your own, which we will do very soon. 34. Head Progression Assignment Reel: Welcome to your head progressions assignment. And this one, we will do a series of five-minute poses. You will get a two-minute and a 15-second notification. That sounds like this. When the two minute notification sounds, now that you should be wrapping up, perhaps you were first progression and then moving into your more expressive progression's at the 15-second edification, you want to finish things up and get ready for the next one. Remember that you can use a variety of mediums. You can switch mediums on each one, and you can use multiple mediums for each one as well. I recommend that you begin each head drawing sightly different. So perhaps you start what the eyes, maybe you can start with the lips than the IRR, and then maybe just the overall egg shape of the head. By beginning each head drawing differently, you will simply give yourself more options for drawing the head and you will avoid getting into habits or ruts. Remember the goal here is to get the big idea down. So with each pose, be sure to take a moment and just look at what the head is doing in space. Make a decision on what you want to say and then commit to. Remember to go for it. Have fun, and there is no right or wrong. You are just exploring and finding your freedom. The first pose begins. Now. 35. Robert's Head Assignment: Alright, welcome to my head assignment. I will do the same poses as you. And I will also talk you through some of my thought process along the way. So with the first one, I will use a tube. So sort of a tube looking under the tube a little bit and got the center line. Obviously this is a three-quarter view Assad, a 100% of a profile because we can see a little bit of that left side of the face. And once I know the field out the front of the face and get my center line in. All start to add my the jaw line. And then I can start attaching a neck to that and kind of fill out the side plane of that ear. I've gotten the figure looking to my left and then slightly up a little bit more just to see if I can give it a little more impact. Again, sometimes it's good to exaggerate a little bit and see what you come up with. So here adding a little bit to the back of that skull and a probably added too much to the top. We can't really see and a much that top because it's away from us. So we gotta make sure we get rid of some of that just because if not, it'll look a little bit too upright because the head is tilting is turned away to the side, but it's also tilting away from us a little bit. And I sold now. So working through that first progression, that's good. So I got my feet wet now I can start to map out another one here. So in this one, we're going to do this upside down sale. And this time I'm going to get the figure looking up a little bit more this time. So looking to my left and then slightly more up. And again, just trying to dissect what I see, but also trying to see if I can pull a little bit more out of the head position in space. And now I'm pretty comfortable with the structure. And a mecca, again, spend weeks NOW exploring that and playing with it. But for now, that's good. And I liked the idea of adding some volume to those lips. And then here you can see I'm getting a little bit of that eye socket in their soul. The eyebrows are there, that's, that comes out and then the eyes recess into the skull. So that's kind of a protective structure there of the eye. So this was pretty good. And again, Albert John to work more fluidly, I've got again, not quite as much of a tilt and this ones I didn't quite capture the tilt of the head. But we were underneath it. And looking up a little bit more than what the figure is done. All of those are perfectly acceptable if you are drawing a painting of a abstract figure and you're the head is again, just going to be a small portion of it if you're doing the full figure. So I think all of these are, are acceptable if I've found myself in a position where, you know, things just weren't meshing that well, I knew it wouldn't be acceptable with an odd probably take my time and break it down a little bit more. So this was started a little bit different. Now again, don't try to watch out for your habits and avoid things where you're you're approaching it the same way all the time because we're not really looking for right or wrong. We're just trying to discover more ways to do things. And ultimately, how far can we push this bad boy until we feel we've gone too far? And that's that's we know. Okay, well, I can't quite take it this far, but had fun doing it. And so this one's going to look up even more. So just really trying to get that feeling of the figure looking up, obviously with as few strokes as possible because I'm in that stage 34 sort of thing where I'm just letting go. Right. So up under the head, again, up under the Chen. I'm going to use a sort of tube idea. Now, what I necessarily do, a tube if I were painting and I wanted to do something lose. Not necessarily. I mean, this sort of structure is more for I'm just learning so that when you are setting out to do stuff, you have a really good idea of how to get your ideas down. And that's half the battle is knowing how to get your idea down quickly. So that if you decide that it's something that is worth pursuing, then he can pursue it. If it's something that isn't worth pursuing, then you can just simply discarded without a whole lot of investment of time. So I'll wouldn't necessarily like draw all these structures if our, if I'm painting a figure. It's just good to have this knowledge under your belt. It's good to have these skills of seeing and getting them down. And so that way when you get to your pose, you can look at it and kinda draw from no pun intended on this experience. And, and of course, you could certainly use it. You can certainly approach your painting this way. If you like, you put down a preliminary drawing, then by all means put it down. I mean, that just because I do something or prefer to do it a certain way doesn't necessarily mean you have to agree with me. So you have to kind of take out of it whatever you feel is going to be good for you. So here starting with the top of the head instead. So you see, I didn't really get the whole 2-bit. I'm approaching a differently. I felt OK, well, I can probably just start with kind of this oval shape of the head underneath the eye sockets there, that kinda cavity for the eyes. So kinda lightly indicate that and the neck and now moving into my progressions. And so kind of really starting to, to feel this in a little bit more. I'm liking it and I think it's important to keep the momentum gone. If you have something that's working for you and you know, you're really starting to kind of grasp it. Then he want to kinda hit the skillet while it's hot, right? So really dive into it as much as you can and invest as much time as you can and work as quickly as you can. Because that's where he really, you kinda shut the brain down. And you're going more on instincts and experience and kinda let me go a little bit and throw a little caution to the wind. And that way, you can really discover some fun stuff. And that's what it's all about. So yeah, I really liked, I was kind of really connecting to that pose and enjoyed it. I think I was able to starting to get it to a point where you do it really abstractly quickly and starting to really make that connection with it. And that's what's important I think to as knowing you have are these sort of connections that are that don't go anywhere. It's kinda like though, once you learn how to ride a bike, you always know type of thing. So I think this is a no different. So once you, once you know how to do it, the way you feel, the pose you're underneath it. Then, you know, it's there. It's there for you whenever you need it. And it's your job as an artist too. They maintain the skills that continue to build upon them. And that way they just continue to get better and better and easier and easier. But I'll pause it right here. And I will see you in part two of my assignment real. 36. Robert's Head Assignment Continued: All right, so kind of a top view here so we can see the front of the face, the mask of the face are often referred to it as well. We can also see the top and we can see the left hand side. So we've got a top view, somewhat of a top view with also a three-quarter view. So interesting angle to work with here. And an angle like this is going to push the facial features down a little bit. So you're going to see more of the back of the head. So that's going to compress the facial features a little bit, not too much in this particular angle anyway, but there are plenty of angles similar to this where you're going to see more of a compression of those facial features almost to the point where they kind of merge one and to the other or blend. So kinda getting this sort of hunched over feeling of the backs and we can see the top of the shoulders. We can see a little bit of that back as well. Here just kind of going over my tracking for the eyes, the tip of the nose, the mouth, and so on. So on. This next version I will go with a tube. So on top of that tube, looking down on it. And the good thing about 2b is, is very versatile. You can get your center line, you can get the top line as well. If you were looking underneath the chin and you could get the bottom line as it comes through. So I think you really get a multiple sides with a tube. But again, you're going to try as many, as many of these ideas as you can. And then you eventually start to connect to certain ones. Other ones will kinda fade a little bit. And notice, I don't use a lot of the kind of cube idea for the head, but it's effective. I've seen many artists use it. Many teachers I've learned from use it. And they do a really good job with it. And they seem to like it more than I do. But, you know, again, it's all about finding things that work for you, things you connect with and, and then always sewn in something new to try. That's important. So here, just kinda taking a little bit different approach started with my center line. And then I started kind of working back from that, that it kind of lost my way a little bit on this one. It didn't really connect a lot with me and I had to make a lot of changes and edits to it. And now my pen is running out of ink and so as that one, so I've got another one I will work with a little bit here, so yeah. Well, it was not a great way to start this one, but again, that's, that's okay. Lesson learned. But it doesn't mean starting with the center line on a slightly different pose wouldn't be such a bad idea. But for now, I'll just kinda Note to self that and maybe start with that center line is in grade. So here I start with the center line, but I'm willing to morph that into a upside down sale. So there's our upside down sale. I've got the eyes, nose, mouth. And coming back towards the ears so you can see the ears when you're looking down the head like that. The ears are actually way above the eyes. Which is kinda weird to see it that way. But at an angle like this where we're seeing the top of the skull, the ears are going to be pushed up a little bit and it's not that is pushed up and they're not going to move in real life obviously is just the a, in that perspective. The, that part of your head is just in a higher position. So here I'll start out with like a little oval for the face, some loose I Marx kinda getting into that stage 34. And it really kinda let me go and have some fun with it and see what I can come up with. And it's fun to get it to this point. And really if I didn't wasn't on a time real, I would continue to work stages 12 and and back into three and state stay in three for awhile until I lose my way and then go back to one, you know. So switching models here we've got another three quarter view. So we can see quite a bit of the side of the head. So I'm using that sort of sale idea. And you can see I've marked the ears a little bit too low there, but that's okay. I can probably get away with that. And this quick little structure sketch, he's got like some evil looking eyebrows going on there. Some sort of villain. But not really trying to purposely do that and just kind of working through my structures. And sometimes a marker to is all it takes to give it some sort of attitude. So now, again, working with structure, say in, in that kind of stage one. And working with this sale. I really like the upside down sale. I think it's really effective. All you have to do is kinda go and round off the back a little bit for the back of the skull, the top of the skull. And you've got something new in the ballpark that a work, the one I just drew there was little alien looking form, but I think it's can be easily changed and tweaked into looking a little more humanlike unless alien ish. But he again the hairline in there and now adjusting the marks on this shape of the head. And now best so that was compressed charcoal there I'm using. So it's a big kind of a chunky piece of charcoal. And I'll start to work a little more quickly now. So CE, feeling my way through this one and getting into the eyebrow area, tip of the nose or the root of the nose, their mouth. And chin. And we'll get into the other eyebrow here and taking that right ONE back into the ear. And now I'll add the forehead and then the back of the head there, which I'll eventually get to. So yeah, just again, starting in different places, finding different orders to add certain strokes, certain features is kind of where I'm at right now playing around with it. I know we're not going to always kind of come back to my structure idea and tighten a backup if I need to. So our jaw line a little neck now and get really good trap muscle and we're good to go. So now moving into my next progression of kinda in stage three now, so we're getting more and more comfortable with it. And that's like I'm getting some little more lying quality going on here too. So some nice hard marks blended with some nice light marks as well. So again, Hidden Myths on details. That's, that's what you wanna do. If you state every single thing that is there, then you're going to miss out on finding those expressive qualities. So if we tell the viewer every single detail and every single feature, then I think you're going to miss out on the importance of expressive painting in this two. What you leave out is just as important as what you put in. And the things you put in. You know, you want it to be loosely done but have some sort of structure to it. So when someone looks at it, go okay, was loose but someone, you know, obviously knows what they're doing because there's enough there that I can latch on to that. It makes sense. And that's not the easiest thing to always pull off, okay? So if you are struggling and know that that's part of the process, know that struggle will always be a part of the process. Because the more you do this, the better you get, and the better you get, the higher you raise the bar, you know, you start to see glimpses of progress. And so you're always kinda chasing that progress. So it's sort of one of those traps situations and as that artists have and Just know that when you're working in the right direction, everything is getting better. You're learning. And that's the most important thing. You want to take away from it, you know, but you're getting better is something you're, you're always going to do. And it's nice to see those glimpses of progress. But at the same time, we, we kinda run after that and chase it sometimes and it'll elude us and we can't quite catch it. But the next thing you know, as long as you're doing the right thing. And your art kinda reaches that level without you even realizing it. And then you see glimpses of the next good thing. And there you're kinda, there you go, chase and again, right? That's just the way it is. But anyway, so here, using kind of some little egg-shaped, their little center line and kinda using more ovals and circles to get the feel of the head, the chin. And I'll kinda work in that back end space a little bit. Obviously the hand is presenting some problems because it's, it's kind of hiding a very important feature. But that's okay. Sometimes that's going to happen. That's why I kind of put this in there because it's oftentimes body parts will overlap, cover up certain things that we need. But we have to know as artists, you know, it's okay, we can envision those features. We don't necessarily, I have to see every single feature we can gauging Bob, what is there? We can see. We can draw kinda what is hidden. So it's kinda like we have enough clues and we have enough information there that we can always fill in the blanks once you've become familiar. So now I'm, I'm really feeling, feeling this one. I'm getting more and more comfortable with it, are getting to that level. Stage three, I should say. And starting to have more fun with it. And more lying quality, more expressive. Drawing qualities are coming out. And that's what it's really, that's what we're after. You know, in the end it is being able to use structure to find freedom. And sometimes it, we gotta work with things quite awhile until we reach that comfort zone. And it's a nice place to be. When you're, your pencil is kinda dancing across the page and you're skipping over details and yet you look at what you're doing and it has the essence of your subject. And that is such a cool feeling. Knowing that you've, you kinda reach that plateau or that pleasure and say plateau, you reach that point where, you know, you're getting rewarded and your art is really holding together really well. Even though you're, you're, you know, it's not perfect. And that's such a cool feeling and it's such a cool look to visually to see things that are like done. Almost. I don't want to say messy somewhat in this kind of free, carefree state of mind. And you know, the artist is like in a playful mood and area. And, but yet it just holds together because they've, the artists is can fill it out like that last one is was great for me. I really I'm so glad I ended. Well, that last little 5-10 second drawing of that head. I mean, to me that this has all the excitement that I would want out of my head progressions. So that's that I'll see you in the next one. 37. Full Figure Progression: All right, welcome to the full figure progression demos. So we've covered a few of the more challenging body parts and we could go on and on with the fi, the shoulders and pecs and breast and, you know, every single thing. But I'm just filling the idea. There was somebody parts and then the main thing we want to get in this course is the gesture, you know, the full figure. That's kinda what I'm focused on. Maybe later on I'll get more detail and then we can get into some, you know, different sort of focal points. But I wanted to tackle the full figure. So working with the basic forms we've talked about, and a nice little tube, therefore the torso, some tubes for the arms. I've got like the egg shaped for the head. And we can see it's a slight three-quarter view. So we've got a little bit of the ear on the left-hand side, not much of an ear on the right. I'm here. I'm going to emphasize that little aside plane because we have a three-quarter view that center line favors and left hand side. So the breasts, you know, when I'm putting those in, I want to get that feeling of there. They're rotating away from us. And here again, I've got a little skirt coming down form for the the pelvis area. And now I can just attach some tubes, some tapering tubes for the legs. We've got more of the right hand, the right leg, the leg on our right, her left. So we can see more of that because the lag on the left is slightly obscured or hidden behind the leg on the right. That's very important to get that sort of overlapping. So I'll fill out where this tube will go, the leg. And then I'll start up toying with the idea adding the other leg. So again, more of a tapering tube. This leg is especially the foot is articulated, very interesting kinda shape going on. So we've got, I knew the foot coming down as a slight pushing out word and then back inward. So trying to capture that sort of nuance would, wouldn't be important for me. Someone to get the feeling of the leg just kinda or the foot kinda pressing down and pointing. And if I happen to nail it and get it where it has a slight little kinda bulging out at the top of the foot, the ramp of the foot then so be it. But again, I'm not gonna get too too caught up in it. Just kinda get the gist of it. So at this point, yeah, everything is looking pretty good. I'll go back and do one kind of another. Look at everything here and just, you know, anything that can be fixed or enhance. I'll try to work that out. But for the most part, something like this is getting close to the ballpark. That would work fine for me. Now, Stage two, obviously, you know the drill now we're going to work more quickly, more fluid, Take the confidence and lessons we learned in stage one, and just kinda move through the progressions a lot quicker. And. Here I'm trying to get that shoulder muscle, the deltoid kinda wrapping up and over the arm. And I'll try to get the armpit is more obvious on the other arm. So we'll kinda cover that in a second. So this arm coming up and back down. So again, you can see things are very kinda just chunked in there. And I saw it needs to be and is hit and miss on a few of the details. Here, we've got the leg coming down. You can see that knee is from the top of that leg all the way down to the foot is almost a straight line. But, you know, you can kinda make those obs observations. We're in it. So the knees are relatively the same height there. So if I drew a line from one kneecap to the other, they're fairly equal even though that one leg is bent. So now we've got the, the lower leg in and adding more muscularity to this one. There's the model has a nice muscular physique and just shine to show an exaggerated perhaps some of that. Alright, so stage two progression is done pretty happy with how that turned out. And now I can move into stage three. So Stage three, as you know, we're going to step on the gas a little bit and really work our way through it and get into a nice loose gesture here. And you know that the key at this point is to really push it. And no, it's okay if it doesn't work. But I really push some of the ideas you've kinda been toying with, make them a little bit bigger, a little bit sassy are a little bit bulkier. And typically if you do that, then you will probably have a better chance in getting something that's exciting to look at. So here I'm putting a little more emphasis on the head. So I added some scribbles there for the hair and a few scribbles for the nose and so on. On, notice the line quality too. So we've got some nice heavy bold strokes in there. We've got some nice light strokes in there. So at this stage, you know, it's all about, you know, trying to make it interesting to look at. And adding that line quality is important. You know that this is where I think lying quality is something that, you know, you would want at this stage, you know, to really make this third take exciting to look at. So the more you do this, I'm telling you, man, the more freedom you are going to find, the better your, your loose drawings will be in your just learn to get away with so much stuff that you never knew you could get away with. But it's such a really good learning experience all the way around. So anyway, there is my first regression demo and I'll see you in to next. 38. Full Figure Progression Continued: Alright, number two here. So full figure progression, again, structure to find freedom. And this is something you can do your entire art career. And again, you would never ever stop learning to not only structure your figures, but and to abstract them. So again, starting out with a little tube there for the torso, were getting a lot of rotation from that. The hip area here. You can see that little twist happening through the skin and the waist area. But, uh, we're we're we're getting more side plane of the leg than we are of the upper body. So it's got a little again and little twist through the body here. Not an easy thing to try to pick up on if you're, again, I'm doing this in the name of, of abstracting, but I'll play with the idea a little bit. If I can pull it off in a loose painting, I think it will add a little extra flavor to it. Here you can see shading the side plane there. That just kinda helps me visualize and feel out the pose. Even though the side plane is more in light. I'm still going to shaded this in terms of helping me structure the piece a little bit. So now moving into the face, I'll just use a little upside down sale. I think I'm going to tilt the chin down a little bit here towards the the shoulder area just to give it maybe a little more rotation. It's like she's just got a turned and maybe leaning back or maybe turned towards more towards the shoulder, but I wanted to turn it and kinda drop it a little bit. So yeah, a little upside down sale and I've added the back of that sale, kinda put it in a three-dimensional form. So I can get the back of the head so we can see a little more of the back of the head on this one. So we got the side plane of the face and then we've got the back of the head a little bit at the top as well. So moving into the tubes for the arms again, when I'm looking at the shoulder on the opposite side, I'm drawing here, there's a lot of foreshortening going on. So you can almost indicate that by this kinda getting this overlapping of curves kinda go over that more in the next drawing. But yeah, the shoulder muscle, the deltoid is kind of a a bulging kinda curve shape. And then you got the trapezius muscles that are kind of connected to the neck and the back. There. They're kind of bulging. So yeah, you can kinda get that sense of overlapping and foreshortening off fairly easy there by using just a few curves overlapping each other. So now yeah, the front leg really extending forward here. And then I can go back in and play with the. Shoulders. So again the deltoid and then the arm is all kinda moving away from us in space. So again, if for shortening going on there, the right arm is moving towards us, but still a little bit of foreshortening going on. And we can see kind of that nice sharp angle of the elbow moving towards the wrist, celebrity like that kind of two-by-four. Look. So I'll kinda cropped off the bottom leg there. I just ran a space. So and that's kind of a theme. I never quite heap got my spacing right, but here I'm just going to attack a different way. I'm going to kind of quickly put in the head and then get this overlapping going onto the shoulders, the muscles. So hopefully you can see kind of that far shoulder there, how it's just really a kind of an oval shape curved and then that the arm extends out from it. So it really puts the shoulder in front of the arm that's moving away from us. But anyway, now moving into the pelvis area. So just feeling that center line coming down into this sort of skirt. And again, I'm not trying to copy what I see. I'm only using what I see as inspiration and a means to just kinda put some fun and expressive down there. And now moving along, that one felt a little bit better at this wasn't quite as rigid. So I would say I'm still in a stage two here. So I haven't really kind of found my looseness yet. So just exploring now with the head, how that attaches to the neck and how these shoulders are in perspective. So we really got that rotation through the back. Again, that two-by-four sharp edge. So kinda moving through the things that are interesting, interesting to me about this piece. And is moving through those a little bit quicker as I go from progression to progression. And hopefully we'll find some lightning in a bottle or maybe I will find an interesting way to overlap things, to draw things to where I can get an idea, doubt a little bit quicker. Maybe even surprised myself with the form. I really like that I loved the leg extending back towards us here, like the shape of the bulging curves of it. And that's really nice. I like that a lot. That's something if our drawing from myself, I'll just explore that a little bit more and really kind of dissect that even more just to kind of strengthen my connection to it. And that's, that's kind of something to think about too, is, and we find these little nuggets that you kinda really connect with, spent some time there, you can stop the whole progression idea and just kind of nerd out on something. And that really appeal to you, something you kinda discovered that moves you. So that's something that, you know, you want to take that opportunity to acknowledge it. And it's really important to do that because it was oftentimes you'll, you'll hit something that you really like. And instead of like spin in that extra time that connecting with it, you'll kind of move through it and I'll get back to it or whatever. You know, you never quite acknowledge it the way it should be acknowledged, but we find things that are exciting and maybe a little bit of a breakthrough. Take, take the moment to make it, make an impact on it, you know, spin that time, just getting to understand what you did. And and to again, make, make it more of a habit, you know, because those are the things you're looking for as an artist, are those exciting moments where you do something that's different and it really works. And in order to make it a habit, in order to make it into something that you can use again and tap into, you kinda have to get that muscle memory involved and engaged that brain and to really understand exactly what you did. So don't take it for granted. Solomon all I mean, this was good. I mean, it's actually it was kind of a, Whenever I picked it out, I'll like mass kind of an easy pose, but this actually kind of a difficult pose to pull off. To get the movement. I'm really excited about the leg extending back and the things I discovered in it. And I'll definitely go back on my own time and dive into it. And maybe when I dive into it, I'll film it just so you can kinda get a feel for where I like to do when I find something exciting and kind of I really wanted to get into a little bit deeper. So maybe that'll be worth showing in this course as well. But anyway, that's about progressions. For number two, we got one more to go. 39. Full Figure Progression Continued Final: Alright, a reclining pose this time. So we have a gentleman down on the ground and got a leg bent and kind of an interesting top view of the head and shoulders. So let's see what we can do with it. And using those basic 4P's in progression one or stage one, I will use the two sort of a bending tube there, attach a little oval, the bottom for the hip area. May have been a good spot to use the sideways tube for the hips two might have been a kind of an interesting thing to use, but little oval will work fine, I guess. And now attaching a tube and the tube is moving towards us. So that leg on the ground and even the leg on top on those tubes are moving from the hip to the knee, is moving towards us and there's a bending the knee and the leg is moving away from us, but we don't really see the lag because it's hidden behind the knee. And there's a lot of foreshortening going on because it's moving away from us. So that was the common interesting little thing to a challenging position there between the legs. So here kinda mapping out where that foot is trying to get a level so that the foot that's extended out as roughly kinda breaking evenly with the NEA, maybe possibly slightly behind them and put it slightly behind this because I think it would read a little bit better for the art. So yeah, just getting that leg extended out a little bit here. Then I'm going to move into the shoulder so we can see a little bit of the back, so we can see a little bit of that trapezius muscles and that sort of thing on the back because the figures kind of leaning forward towards us but the head weights, so that's pulling that back towards us as well. Now here I'm going to add the hand. So I did a box and perspective, added some little circles there for the fingers and that's good. I mean, that's all we need there to indicate that for now. So looking at where the chin is and how low it is is basically that chin is almost at the armpit. So just kind of getting things lined up a little bit, looking at the angle of this, the center line or other face. So that is almost perpendicular to the frame. There's a slight angle there, but it's not much. So just getting that sort of thing down using a basic egg shape and then added a little bit to the back of the skull because we can see quite a bit at the top of the head here. So that is work it out pretty good. Excuse me. And we got the ear on the one side. We can't see the ear on the other. So again, it's a top view, so also a slightly three-quarter view. We can see more of the left-hand side of the face and the right hand side of the face. So this first structure, you know, Kc is sometimes can be a little rough. It can be a little, you know, a little bit. Leave some question marks. So again, whenever you find those things happen, Take the time to iron out some of the details. Its very important to do that. And that's the art, the artist and you telling you, okay, I think we need to slow down here and work these things out. And then that way when you work it out, you can put put it down much quicker the next time. That's, that's everything that we're learning here and the benefit of it. So if you don't understand it and then you try to put it down quick, then it's probably not going to read that well because, you know, you just didn't quite embrace the original idea of it. So just little heads up there, ISO second time around here. So moving into and staying in that stage one for now. So I want to understand a little bit more about some of the structure of what's happening here. Getting the kinda sloping, the roundness of the shoulders and the back, getting the drop of the arm. So just starting in a different point, you know, and that's important to, you know, started different places as you progress through these things and that way, it'll help you see things and understand things that you didn't know it existed versus Dawn the same way, ABC. Sometimes you may end up in the same tight jam. So just, you know, get in the habit of trying new starting points as often as possible. Alright, so here, getting a little bit of the pec muscle in there probably have a little too much meat on the right-hand side of the head. But we'll see if that works. I mean, maybe that's something that can get away with. And, but sometimes we get, we have good errors and sometimes the errors are bad. So this'll, this'll teach me if that's something you know, I can do and cannot do. So again, that hey, hand dropped down and then the fingers kinda draped over the leg, their thumb kinda resting out on the leg. And now can kinda get that hand quickly drawn in. So how is a little bit of stage one and stage two there? But now I spent a little more Tomlin's structure that I guess that was stage two, stage 34 now. And we can go 345678 AM. You can continue to go looser and looser and looser. That's why I went 34 Just because we get here, the zombies, you're confident about what you're doing. You should be able to really distorted and deconstruct it and break it down into this very loose gestures if you are really feeling confident and understand what you're doing. As I mentioned, I so now, again, moving through it a little bit quicker, getting the bend of the knee, the little foot extending out there. So we get that foreshortening feeling. And now noticing that the hip comes with outweighed too far. So I will take a little bit off that. The leg, the hand is really resting on the knee, but I think I can get away with leaving it where it is. So whenever I made the error on the hip, it pushed the knee over to the left. But once I made the adjustment than it's going to leave that hand kinda in the middle of the leg. But now I think that'll be fun and we'll see if that's something again that can get away with. So I mean, again, the mistakes. So sometimes we'll teach you just as much as the successes of, of what you're doing. I oftentimes even more. So now ran out of room for the leg or the foot. And I'm going to continue that stage 34 again. And now I feel like I'm starting to kinda cracked the code on this one a little bit and feeling better about what I'm doing. So and again, if I were doing this on my own, I will just keep on going and keep on going and balance back and forth even between Stage one and Stage three. You even to know just until I really felt confident about what it is. And again, the things you learn will be the mistakes, the successes, what you're doing well, what you're not doing well. And then of course, you're going to find better ways to draw things the more time we spend here. So these progressions are just fabulous, fabulous tool. And I started doing them awhile back. As a way to compare things like, I knew much structure wasn't there, I wasn't, wasn't spending enough time on my drawing fundamentals and things like that. So I started really paying more attention to my forms and how it was drawing. And then as I did it and I've got bored with it, I started kinda getting looser and looser. And the next thing you know, I started looking at what I was doing. I had these sort of studies that are now call progressions. And they have helped me a tremendous amount. And now there are just a part of what I do in the studio. I mean, there's some I do every week. So anyway, there it is. There's this study and for now I think that I would do it for the demos. I may come back and do more these full figure gesture demos because there's so many different poses and situations you can get yourself and with the figure, depending on what is dawn. So there it's just, I think it's worth exploring even more, but for now that'll do it and we'll move on to the next one. 40. Full Figure Drawing Assignment : Welcome to your gesture drawing progression assignment. And this one, we will do a series of five-minute poses. You will get a two-minute and a 15-second notification. That sounds like this. When the two minute notification sounds, now that you should be wrapping up, perhaps you were first progression and then moving into your more expressive progression's at the 15-second edification, you want to finish things up and get ready for the next one. Remember that you can use a variety of mediums. You can switch mediums on each one, and you can use multiple mediums for each one as well. Also tried to start with various body parts. So if you find yourself always starting with the head or the shoulder line, switch it up, start with the foot or leg, the pelvis, something different so that you don't get into a rut and that you are continuously exploring and trying new ideas. Remember the goal here is to get the big idea down. So when you look at oppose, tried to get that attitude a wherever it is that you see on the page, remember to go for it, have fun, and there is no right or wrong. You're just exploring and finding your freedom. The first pose begins. Now. 41. Robert's Full Figure Assignment: Alright, welcome to my gesture assignment. So again, the same images that you worked with. Here's an example of one of them. And we'll work through some of the progressions. So remember when you're starting your first one. Even though we're looking for a little bit of structure here, we're looking for big idea and any sort of exaggeration. As welcome, you undefined, you know, certain parts the body may not be a very appealing in terms of exaggerating. Other parts may do it for yeah, so, but the key is to think about any of those things you can do. I'm not really going to exaggerate anything here. I'm going to keep the proportions and much of the what I'm seen from my model intact and then do it, do it more through style and expression and lying quality. And also no adding details, leaving details out. Try to get a little more, you know, sassy penis or attitude or, you know, masculinity out of the drawing. But with this first one, the things I'm looking at are things we've talked about so far. Angles and the, the shoulders, the hips, the rotation in the body. You know, I mentioned my figure drawing course. And there's a lot more structure obviously could put into it. And there's a lot more. I could easily, you know, use you enhance the accuracy of the drawing. But for the most part, I kinda know a ballpark of what I'm after and I kind of stick to that. And sometimes that's hard to do when you learn things. Structurally. You know, you kinda had these habits you've formed. And we, we kind of gravitate back to those naturally and breaking them sometimes or just letting them go or maybe a banding them, a banding being abandoned ending. Can't even say it. Letting them go would be a chore. So anyway, the first drawing, I used that Lyra, kind of a chunky graphite stick, if you will. And then on this next one I'm using a blue, a Sharpie. And again, encouraging myself to push the boundaries of my medium. Don't get stuck into approaching and drawing your figure or painting your figure the same way. And there's a lot of really interesting articulation going on with this one, even with the left foot, her right. Now how the toes are kinda splayed out and kinda spread from the big toe to the other two. They're there, they're kinda touching the floor and get putting pressure into the floor. But you kinda have to pick, pick your battle, so to speak. You know, you kinda have to walk that line between what you want to include and what you want to leave out. Because if you start, you know, including all these things and your brain's going to latch on to that. And next thing you know, you're getting sucked into every single detail. Here I'm switching to my acrylic ink marker. This is a fine point, but again, a fine point is pretty round and broad compared to, let's say a graphite, the sharpened pencil. And while I'm doing this, I'm looking at angles. How do the elbows relate to each other? Imaginary kinda vertical line running down the body. And where are certain parts of the body relative to that vertical line. And and I'll also just kinda playing with it a little bit. You know, I'll try to exaggerate certain things. Maybe throw a big thigh in there or, you know, even omit things, certain details just to see if, you know, if that's something that is visually appealing to me and if is an idea worth pursuing. So I will say that, you know, through this, really enjoyed drawing with those acrylic ink markers and they blend really well with the mediums I like to use. I mean, they will go well with watercolor. They will go really well with obviously acrylic paint. They probably work a little bit better if you let the acrylic paint dry. But I'm just saw a wonderful medium to work with. So here I am obviously switching. Now we got the first progression done. And I've gotten this figure that's kinda not really Hodge pretending there have been at the ways leaning forward. So the upper body on the torso was coming at us. So we kinda had this almost top view. And then the leg on the lattice coming towards us and then the other one has kinda gone down and away from us. Very interesting angle, you know, pose here. And it's a lot of fun to work with. I kind of like these sort of out of the ordinary poses. Anything that I think will add a level of excitement to the drawing and to the artwork I think is good, but this will be a fun one to play with and. We can make this figure into a muscular male. Any, any body shape that we really want. And it will be perfectly fine. But it's kinda like when I'm doing this, sometimes I'm just paying attention to what the body is done. And you know, sometimes less about the gender and this having fun with getting that pose down. And that's the last one I believe was a piece of compressed charcoal. Now I'm moving into a light blue crayon. And I know again worked him up. Progressions are getting more comfortable with it, bouncing around a little bit and trying to explore the freedom. And so when you're doing these things, you know, not just because you did the first progression and he did it more structurally and a thaw I paid my dues as time to, you know, to be rewarded with this kinda lose expression and it should work. I mean, they're not always going to work. You're going to, if you're continuously pushing the boundaries and men gone for and trying to abstract and more and more. I mean, obviously you're going to do some work there that's going to not hold together well, or it's just not going to read very well. But I will say those are the pieces that generally are going to be allowing you to find that freedom. It's like those have to happen in order for you to get where you wanna go with abstract expressive painting. Like with this one, the back foot is completely turned sideways to us and the figure was standing there in that sort of position in real life, you'd probably breaker angle, but it's funny. But it's funny. Well, maybe to me it's makes for an interesting piece, art. And it's kinda those irregularities or those sort of things that make the, make the drawing work sometimes. And to give it that level of, you know, quirkiness or abstraction that, that it needs. So that was my eight marker or acrylic ink marker. There's refillable ones here. So again, you're going to see me work with that one a lot. Moving forward, not only in this course, but all of my really expressive painting courses, drawing courses. Once I find things I really like and they're fun, then, you know, I'm going on to latch onto it here. You can see I used that to buy idea for the upper leg. Even had those cross contour line going across it. Just to remind me which direction is gone, I throw those little cross contour lines in my art work all the time now I just enjoyed drawing them. And now they're done more for fundamental and structural purposes. But I just happen to like the way they look in my artwork. So. I include a lot of that stuff in my, some of my figure painting is now and it just comes out like the feeling of creating that sort of stroke, that arc around it. I like the way it looks. So I'm gonna do it MATLAB, fabulous, like something that has shoulder pads on. So we'll revisit this at the end of the video. Just to have a look at all the pieces. But moving on to this one here I've got my chunky compressed charcoal stick, really broad soul, kind of like a rectangle, sort of shape and like the flexibility of this medium because you can get these broad strokes by using different parts of the charcoal. And then you can get really fine strokes to by using the corners and the edges. But this is a wonderful medium to draw with. Again, the mixes really well with acrylic or water color or whatever it is you're trying to draw with. But, you know, my big idea here obviously is this figure kinda leaning back. I'm going to make this one a little more left, leaning back and left than, you know, arms out. Just a really interesting pose there. We know we've got that muscular mail going on. And we can make it heroic. We can downplay it into a leaner figure. We can make it into a female. You can pretty much do anything you want here. But the goal for me is just to try to feel out what the figure is doing obviously with this first one to get my idea down and then to go from there. You can see I ran, ran out of room there on the page and that's perfectly fine. And a little, another little side note here to these drawings that are, you know, these progression drawings. Obviously I want you guys to keep these, hang him up. Don't try to make a lot of it at first, just remember what the exercise is for. But what I like to do is when I'm painting and I'm Dawn into my art is I'll go back and revisit these. I'll pull them out of the drawer and I'll cut, cut out one op, cut them out and paste them gloom and doom artwork. And actually use it for finished art all I'd do that sort of stuff all the time. I like the way they are, like the freedom in these sketches and then these things. And sometimes even though I do this a lot, if I set out to do finished art, I can't find this sort of freedom because I'm in a different headspace and we know whenever I do it. And this progression way where I know I'm, the goal is to find that freedom. Then, you know, if I now generally you will find it very easily solely as nice to go back and take these and use them in some collaging and different things. And we'll certainly. A visit that idea as we move forward with this course. So as you probably know and hopefully know this course is ongoing. I have and we'll publish this first series. But I think this sort of subject is very interesting to me. Hopefully you like it too. And I want to really exploit it and add a lot more stuff to it because there's so much we can do with the subject. And we get into painting and creating art and all that stuff we're gonna get into revisiting. I'll get into revisiting a lot of these drawings and I'll reuse them. You'll see in a lot of finished art. So, but yeah, I definitely don't want to get rid of these things. Maybe I'll purge, you know, at the end of the year or something. And the ones that are just completely all used up and I feel it just won't do me any good then maybe I'll get rid of them, but I can tell you that's maybe a handful. The rest of them all get recycled. So no matter what, I'm always keeping up with this stuff and I'm always reuse anime and recycling, upcycling, I guess you could say, and I heard one of my student use that term and I really liked it. So thank you for educating me and sharing the hat. And but yeah, I mean, no, none of that stuff goes to waste. I'll we'll get into some painting later on where we do some similar exercise. And those are awesome. Drawings are fun to have as a resource and a learning tool. But the paintings are even, even more valuable to me, more valuable than any finished art that I have. Alright, so switching a subject here. So we've got the next figure. And this one is, you know, we've got that standing pose going on. The figure is in a three-quarter view. We can see the side of the body, we can see the front of the body. So I'm trying to look at certain lines like the lines to the fee, the lines to the shoulders, the hips. And just keep it all those things in mind as I go. And and, but at the same time, you know, letting, letting it rip a little bit, not getting too caught up in proportions. And in trying to kinda draw that line where, you know, I'm not going to get sucked in. I'll want imperfections. I'm searching for imperfections and kinda reminding my brain to let those things go. It's okay. And I really like this pose to kinda like the hand coming out towards the viewer a little bit. I'm going to exaggerate the chin kinda looking down at that hand, you can see my feet are completely a mess, but that's okay. I mean, that's. And so that's what we're after and we can come back if we were paying that and do some negative space painting around a just enough to give it some believability and we're good to go. That first progression there was a PRISMA color red pencil and here I'm using a china marker. Tighter markers are great to. They, they blend really well. They, they give you excellent range of line quality to it. You can get those light, kinda low value or high-value really I should say lines or I'll say lighter in tone or color. And then they can also give you those lovely, dark, intense strokes. But a lot of fun to draw with. Again, you know, mix it up, mix it up, mix it up. I've said it before. I'll keep saying that such an important thing for growth. And you need to mix it up on so many levels. Not just what you're drawing with, but how you're painting, what you're painting. I mean, it's just variety is where it's at. So yet thicken probably a little more time and I need on the second progression. Probably couldn't zip through this a little bit quicker. But I'm getting there now I'm starting to kind of pick up the speed a little bit and find in that freedom, haven't fond kinda looking at, you know, the obliques, the leg, thigh muscles and really trying to distort it a little bit here. And again to see how that reads. And you can see it's a mess. It's nothing really remotely close to accurate. But in terms of, you know, if I ever get into the art, I mean, maybe that would be exciting to look at here. I'm starting with the leg. So again, you gotta mix it up on where you start. And if you start with a torso all the time, you'll find all your art starts to look the same. All your drawing is like the same. So kinda mix it up, mix it up. And you'll again keep reinventing how you do things and habits and those routines or our well, we're trying to sometimes get rid of it as well as finding that lovely freedom of expression and those abstract expressive qualities. So, and you know it, this course. It's challenging, I think because I'm asking, I'm showing you something you can do an exercise and then you kinda have to find your own way. So I'm not like giving you every single thing, but that's what I feel is very important as a teacher and as an artist. You know, if I were to say, okay, we never wanna paint this figure. You're gonna do it exactly like me. And we're going to start with blue and then we're going to make the stroke. If I did that, then honestly, there's no sense in Doner. A course like this is intended for artists that have been around. They've, they've learned some of the basics. There, not brand new to art. So, you know, you should have your feet wet, right? And, you know, it's intended for those AV kinda paid some do's and they're like, well, I mean, I just don't like my art. Can't stand how rigid everything is and how tight everything is. So you've got some of those basic fundamentals under your belt. And you are looking for ways to find your own style, you know, to put your own stamp on your artwork. I do think the things I'm sharing with you in this course are really important. Stops, things you can do the have certainly worked for me to help you find that. But there aren't any shortcuts. You know, you have to and it's still definitely pay your dues and put it in. And I think the more you do this sort of exercise, the more schooling to give you, the more it's going to reward you with freedom. And it will just give you a tremendous amount of freedom so long as you don't lose track of, you know, the process, how to get there. And I've heard it all and you know, I've heard, you know, was is wasted. My materials, papers, expensive, paints, expense of I don't want to throw my materials away. And you know, I think for someone that is paint in the same way all the time and there don't predictable trite art that's to me is a wastage of materials and we're all different and everybody is going to have their own opinion on what art should be and that's fine. But what I teach here when I'm teaching this class is going to have to have those throwaways. But even the throwaways I've taught you many times how to recycle those are upcycled, those into things that are fun and great art. And so nothing really gets wasted here. But I think sometimes it's just that for adults especially is that the failure? He knows like, oh no, I did it again. I made crappy art, my drawing sock, my painting suck. And we have these high expectations and, and that is a trap because when you're when you're, you know, really trying to do something well you putting a tremendous amount of effort into something, you're going to see growth if you're doing it the right way. And in that growth cycle, if you're content, you know, if you're learning more, you're practicing, you're getting better. You're going to see those spikes where your, whatever your door. And let's just say paintings and assess what we're drawing about our savings progression drawings. And you start to see those spikes where things get better you'd like, yes, I finally know a c like this new level of abstraction and this loud notice. Awesome sense of, of like structure, but it's really loose and I'm so excited I've been waiting so long to see that. And then all of a sudden it'll go away. And you're like, well, I thought I could do that and you know, and then little by little though you're you're getting to that spike. So that spike is a kind of sign on where your trajectory is gone and what your skills are now enabling you to do so as giving you a higher range of possibilities. But you don't always achieve that. But over time you start to get to that spike and you don't even realize you're there. And then you see another spike and then you get there. So it's kind of, I guess what I'm alluding to here is that you're always going to see those spikes and you're going to see that progression. And the art work you're doing now is, is stuff that is you're going to take for granted. And you're like, oh man, I guess is pretty good, but I wanna kinda hit that level. Or I want to kind of get the same quality that I had in this other piece that I did. You will get there, but you over time, it's just hard for you to see that as kind of like watching your child grow up. You see them every day. So it's hard to see that growth. But yet when grandma comes ever once every three months, she's amazed at how fast how much they've grown. And yard is like that too. You know, you see those spikes and what you can do gets you excited. But then to try to match it, you're like, man, it's hard to match, but then every time you do match it, but the problem is you see the next spike along the way. So you're constantly chasing that. You're chasing that. So being satisfied and content all the time with your art is something that's very, very hard, if not impossible to achieve. But just have fun doing it. And know that when you're on the right track, it's just a lot of fun to engage in it. So let's have a look at the artwork here and you'll see the progression of my first piece. So a lot to kinda taken there. Here we can look at the second piece and the one on the far right. You can kind of see how that looks like a football player with shoulder pads on or something. But yeah, you know, just taking these in, there's just so much freedom here and such great experience for me to have these intend to do them. That's one thing I love about teaching as I get a chance to revisit all of these things all the time. And it just never stop. I guess, amazed that like how much freedom you can still get out of all of these exercises. But this last one I had a little bit of a struggle with trying to get the idea down. The first one was tied, the second one was tight too because I didn't quite feel it. And I would probably need to spend another hour or so Dawson progressions on that one to really find my structure with it. But then also to get to the point where I find that freedom. 42. Explore Painting Hands: We have taken time to draw hands and now we will do the same thing, but only with a paintbrush and some color. So again, we're going to use the same sort of attitude we're just drawing, we're playing. We're going to create a variety of strokes, et cetera. So that it's somewhat interesting. And you know, whenever I'm going through this with you guys, I'm gonna talk a little bit about color, but we're dealing with abstract painting expressive stuff. So the first example I show you here, I'm using quinacridone, magenta, little bit of titanium white. And now I'm using titanium white mixed with a little bit of yellow ochre for that kinda yellow splash there. And it's, these colors are more representational, I guess, of two what's there? And as I progress through some of these painting or hand painting studies, I'll get more and more arbitrary, whether it so, whenever I do more arbitrary colors, I'm going to obviously take more risks with color. I'm going to get away from the representational sort of stuff and think more about value and tone. And if I figure if I can get the values plays correctly. So the lighter colors and values where they belong. And then the mid and dark tones values I should say, where they belong, then the hand will hold together pretty well. But, and that's kinda what I'm starting to do here with this second demo is I'm thinking more Arbitrarily. I'm even introduce a little bit of negative space painting to get around the edges of the fingers. And here I'm kinda going back into the base of the hand and, and just kinda working with the colors and I'm not cleaning my brush a lot. And speaking of brushes now, left the flat brush, had a small flat and I went to my outline or brush. You can see that thing has got some really long bristles, also has a mind of its own sometimes. So it is really hard to control. It's not really a brush I think you use for control. But whenever I'm doing this exercise, as kinda like, I encourage you to change your drawing mediums and to bounce around drawing with as many different things and tools as you possibly can. And with brushes, I do the same thing. I could even push it even further and further by drawing with a toothbrush or painting with a toothbrush, I can just simply use cotton swabs, plastic. Anything because that is really, you know, where the fun to me is. When, when things become very routine and rigid, then I tend, I tend to tighten up and kind of get into this ABC cookie cutter sort of approach to painting. And while that is good, I think there's a time when we need that structure and we need the consistency of things in order to understand what or whatever it is we're trying to teach ourselves. But then once I kind of get those things figured out good enough for me, then I tend to start putting my own mark on it. And I like to do it through using different ways to apply paint, different ways to mix drawing and painting. I know I've said before that drawing and painting are very, very similar, almost the same. But here you can see I'm actually using a drawing medium to paint. So I went back to my refillable ink pen. This has a somewhat, This has a pointed tip to it and pointed for this particular vendor of refillable ink pens or markers, I should say, is very blunt or rounded. I mean, it's not really a fine point. I think a fine point would pretty much get beaten down into around anyway. So here I'm just kinda adding some line work, adding some finger details. And again, I'm having fun with it. I know when I'm Dawn is completely, um, and perfect. And the more I do this, the probably the more imperfect things we'll get. And that's good. And I'll probably reach a point where it is probably a little bit to loosey-goosey and a half to kinda OK. I need to stop right here and then kinda rein things in a little bit or, you know, this changed direction because I'm probably getting a little bit too far away from what I like to be in terms of the Sala art I like to create. And I do, I tend to walk that line and between abstract and representational art. And I like to blend the two of them together. Some of my paintings will be more abstract. Other paintings will probably lean more towards a fundamental or structured representational sort of thing and bounce back and forth. But whenever I'm doodling and playing like this, you know, it's, it's about pushing those boundaries of drawing to how far can I, how much can I distort and deconstruct my subjects? How, how you know, what else can I use to paint with and try to be spontaneous with that and see where it goes. So hopefully at the end of the studies, you know, I have something that can hang up in the studio for a week or two and just check it out, evaluated, appreciate it for what it is. And learn from it. And say, okay, yeah, I liked them or how I blended sometimes it's a color combination like, oh man, I love how uses purples and the turquoise and it was blended with white and the pinks. Other times is that the combination of mediums as the combination of Lost and Found edges and details. There's always something really good to gain from these. And at the end of the day, if I took the entire exercise and I grouped it together, it's all about fine in that freedom. Continually reinventing myself, reminding myself, and then teaching myself that it's okay to be imperfect and it's okay to let things rip a little bit and discover, you know, more and more, you know, how far I can get away from representational, but yet still have things hold together. And I can always dial things back in. That's it. You know, I can always say, okay, that's far enough. Now it's time to kinda reign it back in. And I can always kinda go back to that comfort zone. But the more you exploring you do these things, even your comfort zone begins to expand. So even that is ballooning all the time. So long as you are giving yourself these opportunities and this time to explore and learn. And, you know, that's, That's the cool thing about it. You know, where are some people's comfort zone is that they've paint in a very rigid way and that is very, very structured and has to be ABC. We had to start this way. We have to kinda build the painting up this way. And then we finish it this way. Where I've probably have 20 different ways I can begin a painting and find my way around until I get to a point where things start to come together. And that's all about having more tricks up your sleeve, and that's what we're learning here. Okay, so that's gonna do it for this part. I'll see you in the next one. 43. Explore Painting Hands Continued: Alright, picking up where I left off in the previous video. I'm just going to bounce around a little bit, play with some colors, play with some brushwork. And again, just exploring and, and trying to discover more about hands and, and really just how far I can push color, how far can push my medium, and things like that. So again, this is where I like to find my freedom in terms of brushwork and colors and all the while I'm in that, I'm just drawing state of mind. This is I'm not going to get intimidated by the cost of paint, paper. I'm not going to let thoughts like, Oh, I'm just going to waste my materials. This is, I should be painting finished art. This is a huge, This has been a huge turning point in my art, is spending time doing this. And I just find me, I saw a lot of workshops and we discussed stuff like this and say nine times out of ten artists will confess, I just never do this. I should, I know I should, but I just simply don't take time to do it. I'm always thinking about finished art. And it finished art isn't going to allow you to explore and a carefree way that this does. And the thing about it is in this, everything that I'm doing here, like with finding my freedom. It's really about training my brain and my body to let go and to develop a more range of movement with my brushwork and of course your vision, all of those things are getting trained to to say, okay, well, that's OK. robert, you can, we can have that mistake and we can kind of push things because we've done it before and it didn't turn out too bad, you know. And we can always come back and fix it. It's all right. We got plenty of tricks up our sleeve to deal with here. And that's all it is. And I'm probably putting a little too much effort into paint and these hands, because I know once I get to painting a figure, no hands tend to become more of that mitten sort of thing. But again, I think it's good to bounce around between structure. No dawn things maybe a little bit more than what you normally would do and then fallen back and kinda Lenton things get much looser. So now I'm going to use in that over-sized acrylic marker. And it's done with some negative space painting. Letting, letting that negative space kinda shape some of the hands and some of the edges of the, what I've done so far. And just having fun but Latin, let my, given myself the freedom, the permission to not be a slave, to finish our Explore, have fun, and let's see what you can discover. So anyway, let's have a look at the firsthand study here, and hopefully you'll see the playfulness behind it. Nothing really to write home about, so to speak. But believe me, there's a lot of freedom there in how I I did these hands and I wasn't in that trap of trying to paint hands in a perfect way. I was actually just kinda let it rip a little bit to see how far I can abstract it. So we'll do this again in the next lesson. 44. Explore Painting Hands Second Demo: Alright, we'll go with a second version here. So this will give you an idea of what was happening. And now I'll begin blank sheet of paper here. I've got a kind of a small round brush and working with some pinks, I've got some titanium or cadmium red medium, a little bit of white. I've got a little bit of burnt sienna on my palate as well. And thinking more representational here, solid kinda dial things and I'm just going to play around with value. So my focus here is not really looking at fingers and the hand. Thinking more just about shapes. So trying to envision this more from a perspective of sheets, forget us a hand which is kinda look at value and how these value is placed. And just kind of place, give the value down and then see if the hand kinda holds together. So again, not focusing on really any individual part of the hand, so to speak. So I'll put down some, you know, more intense reds and I came back over top of that with some of the lighter peaks for the base of the hand shape and where the fingers are curling down or beginning at the top knuckles. I use more of a Sienna into that and kind of create a little bit darker value for the fingers. So here I've got a really good light and shadow on this one. You can see the cast shadow coming from the gentleman's head onto his hand. So I'll kinda got the base of the hand down. And even though I said I'm not going to focus on parts of the hand. I'm just gonna kinda try to talk out what I'm putting down. So just so you kind of follow along, I'm here, I'm using a little bit of blue into that. Actually that's more of a cobol turquoise or just a turquoise mixed with the pinks. And now I'm coming with the lighter value for the fingers. Now again, I'm not trying to match color here. I'm just thinking more about value. And then keeping the colors and the ballpark cannot be painting with green or blue or any other color? Yes, I could. But I decided to work more with the colors that are close to where it needs to be and then just kinda play around with it from there. Now I'm going to start kinda pushing it a little bit. Someone to introduce a few more arbitrary colors. So we know, kinda start now a little bit tighter in terms of color choices. And then slowly but surely know, getting into a more, more freedom with color as I, as I move into the exercises. But again, for the most part, I'll keep the colors. Fairly conservative and I'm just kind of looking at what I'm Dawn and thinking more about the abstract shapes. Trying to create a sense of light and shadow just through applying blocks of color. And now playing around with some negative space painting to highlight, you know, the edges and see how that impacts what I've done so far. So on my palette there, since you can see it, it's a color at the very top called a brilliant blue. Then below that is the burnt sienna did not have turquoise shell peak and then cadmium red medium. And then I'm mixing in a little bit of titanium white with some of those colours as well. But again, I'll have a section perhaps that we talk more about colors. But I don't wanna get too much into that because I really wanted that to be more of a personal thing. And I wanted to be more about making sure your values make sense. So that way the hands, if you're trying to put light and shadow on of your subject. And if you want the subject to look, look more three-dimensional versus flat, then you want to add just a little sense of light and shadow. You don't need it everywhere that is in the image or on your model or subject, but it's good to have bits and pieces of it that way. Once, you know, a viewer looks at it says, oh, I see a little bit of light and shadow on the face, or I'll see a little light and shadow on the body, et cetera. Then they can connect the dots. So that's the beauty of abstract too, is you don't have to do it everywhere. If you just sprinkle in a little something in one spot, it can be completely MIA in another. And that's fine because they, the viewer will use their own imagination to fill in the blanks. So lot, lot of fun to do that. But, you know, with, you know, the colors, choices here, you know, I'm just kinda looking at what I have. Sometimes I'll go a little bit lighter color than what's there. No one. I'm going to come back with a darker color over top of it. Here I use a little bit of red on the pinky, and that's fine. I can go and I know I can go back over that red with a more accurate pink or brown. And so this one is more arbitrary than the others, so to speak. So, you know, just kind of playing with a baton and to think more about values. So just kind of looking at it and saying, okay, or that even though my color is kind of a Peter or so, this kinda warm gray or whatever, then it's roughly a value that could use here. And that's fun. It's fun when you can start to look at your colors in terms of value and say, alright, or even look at your subject and disregard the colors you see. And kinda think, you know, more along the lines of value and what color you can even substitute that a work. And we'll talk more about this stuff as we go forward. I'm just kinda balanced and some things off via that. I know I'm Dawn here, things that are probably swirling in my head. And it's kinda put it out there. And we'll do exercises where we explore all these ideas as we move forward. So I think I will pause it or stop it right here and we'll finish this up in the next lesson. 45. Explore Painting Hands Continued: And this one is a good example of one that has some great lightened shadow as well. So you can see that shadow creep and down the forearm into the base of the hand. And I'm not really looking or thinking about the hand though. You know, I am. I'm just looking at those shapes. In squinting, we, you squint. It will simplify the colors into a very readable blocks. And I'm just kinda paying these abstract shapes and having fun with that area of, of art on this, it's kinda hard to get into Sometimes I think for me oftentimes I even forget about it, you know, but, you know, squint and down. And we had this really good lightened shadow subject like this. And you've got these kinda really good contrasts, you know, then it's a lot of fun to paint that way. And then at the end, if you look at it and go wow, okay, yeah, I can definitely see the hands. You know, sometimes it looks more like hands then oftentimes actually then if you set out to paint a quote unquote hand, and that's the fun part. You know, art is so many ways to get to the end product. You know, so many different ways you can explore things. It's a lot of fun once you open that aptitude, those opportunities up and let them become a part of your practice. And I do say these doodles and these studies and things I'm don't like this are very much opportunities to do all the things I've shared with you so far, kind of walked you through and a good time to remind yourself of things that you've, have forgotten about. I mean, different techniques and I'm being really conservative here. I'm, yeah, it could be painting with old dry rose, petal, rose bloom or I mean, it's just so many different ways to do things once you allow yourself the opportunity, opportunity to do them. And maybe down the road, I'll add more and more. Well, I will, I will continue to grow this class. And I'm gonna continue to introduce those ideas and finding more freedom with this stuff. And discovering different things we can apply paint with. Because that's, you know, that's the fun part are that's where things get away from that routine. When things become very routine, they can almost become boring. So you really have to make an effort to spice things up. Just like any relationship, you know, arts the same way. If we discount, take each other for granted all the time and we don't want to. Look for ways to know, stay engaged with each other to spin that time and, and keeping an interesting, you know, then it's so easy to fall into those traps. But that's, that's what I'm doing as an artist. I just constantly reinvent things as soon as I find myself doing things in an ABC way. On my right is Tom the shake it up, man, what what's look around my studio in the yard or whatever. And this Soufan some different to paint with man, I mean, this is stuff's getting stale and boring and It's just losing my interest. And, and that stuff comes out in your art. You know, if you're bored, if you're stuck in a routine, if you're not confident, if you're not having fun, you know, all that stuff reads and your artwork, people can see that. That's the motion if you're excited and you're, you know, somewhat naive or you're just having a good time doing what you're doing without any sort of care as to what other people think. I mean, those things read in your work. Alright, so here I am using It's kind of a soft synthetic brush is kinda has long bristles to it, but I just switched brushes actually. So let me kind of back away from that. But we'll just kinda of around I started applying some EQ. So I've got some just brown or sepia ink. You would put in a fountain pen or whatever. And I just kind of put some of that down just to see how those Brown's mixed. And again, just kinda using different mediums. If you're curious about my brush, that is a, that's just my roiling Nicole. So I use those flats all the time. They're good for any sort of subjects, Still Life, landscapes. And it will paining, hand painting, whatever. But it's a really good goto brush. And now just using some of that brilliant blue and there's probably other colors that are salami brush there get mixed in with it and colors that are still wet on the paper. So that's all get mixed in with it as well. So, yeah, just kinda playing with the negative space painting and making some of these fingers and different things pop out. You know, just having fun learning, exploring, playing with colour plane, with the hand plane, with painting, big, bulky shapes and I'm chunks versus drawing the hand and all the things you know, I shared with you here. So Greg, great time. I can't tell you how much I really enjoyed doing this. And it's so cool to have these to come back and look at. And it's so much more interesting than finished art because there is a lot more freedom and these pieces, there's lot more honesty I think. And then of course, there's a lot more opportunity to grow and learn on many, many levels. Alright, so that'll take care of this one. I'll see you guys in the next one. 46. Head Paintings: So we have done some head drawings and I thought we could do the same thing, but this time, I will break out some brushes and paint and hopefully carry the same idea, the same attitude, the same kind of free exploring sense of drawing, even though we're painting into the process. So I'll put down a little bit of a no pinkish gray color just for kind of an overall hue for the face. And now just going in and just splash and end some lines and dots for the shadow under the nose, the eyes. And these are just kinda filler marks or placement marks. Kind of slowly understanding how, you know, drawing with a paintbrush is going to work. And that's really the mentality I want you to have when you're doing these. So don't, you know, don't try to match colors or anything like that. Explore. And yeah, this is what it's all about. This is where you're going to find your freedom and what, what has happened to hear kind of a, a kind of a broad look at it as you spend some time drawing the figure or the face, the say the head. And you hopefully by now understand a little bit more about how to simplify it into very basic shapes and without all the detail and clutter and nonsense. And just because you're, you're painting, it doesn't mean thing that goes away. You want to carry that into this process where OK, you just slap down some sort of base color on that could have been paying, that could have been read, that could have been blue, green, anything. And you go for it. And as you can see here, I've mixed Sharpie with the painting process. Here I'm gone back to my acrylic ink markers and, and, and basically trying to remind you and myself that painting is drawing, it's all it is. So the only difference is we've got big brushes and we load up with color and we make lines and dots and that sort of thing. And that's all art is. It's a bunch of lines and dots put down on canvas or paper. And that, that's how simplified everything is. So here I'm really finding freedom. So I'm really abstract being the figure, the face, and just trying to see what I can get away with. Without it completely fallen apart and now look in distorted. And, and again, this is all personal preference. You may look at these and go, oh my gosh, Robert has completely lost his mind, is the worse head painting I've ever seen in my life. And that's fun. You have every right to feel that way. Just like another person may look at and go, Man, I love the looseness of I love the attitude. I love the fact that it's unfinished. I love how much freedom has in this piece and they'll see different things with it. As the artist though, what I'm trying to do is learn those boundaries. The, okay, how, how far can I push this head? How far can I abstract this? I, and, and the nose and the mouth? And how little details Do I really need? And how much fun and liberty can I take an abstracting? And those are the things I'm trying to figure out. At the same time. I'm pushing color. Painting for value. Maybe I want a certain value place in a certain area. Maybe I want a darker value for that represents more of a shadow, but I'm not going to let the Image control my colors. I'm going to pick colors more arbitrarily versus trying to match what I see or try to match what I think should be there and what my brain is telling me should be there. So explore. You can make, you can do a simple, you can start painting with just kinda more monochromatic, working with greens, Brown's, pinks, reds, and then slowly introduce another color like yellow. But then the best lessons and the most excitement I have Dawn This exercise is in finding color combinations that ordinarily wouldn't use. And that's really where this sort of exercise pays huge dividends because, you know, when, when you look at exercise like this, what you can see and appreciate is the fact that it's just doodling is doodling with a paintbrush as opposed to a piece of paper and a pencil. And when you're in a doodling state of mind, there, there are no really expectations. You, you're kinda in this zone where you're just plan, you're just exploring and just kind of maybe even Idea searching. Or maybe you're just blown off stress. Who knows? Maybe you're on the phone and they put you on hold in, grab the pencil, you start doodling on a little MIMO note there, whatever the case may be. When you doodle, when you do like when I do an exercise like this, is very much No Expectations and I'm, and I will take risks. I will do things that ordinarily wouldn't do. And that's the beauty of it. And now you're discovering and you're learning, you're pushing your boundaries. You're learning more about your medium. You're learning more about color, and you're finding more expressive qualities in your artwork because you're allowing yourself to break down those walls. So we're getting a little close up of the artwork. And it's really a good idea to not try to create finish head Studies. Let these be halfway done. And that's what you want. You don't want fully rendered studies. You want to keep these really quick, really loose like your drawings. And then move on so that you have this true expressive kind of reminder or piece of art there that you can look at. But I find that the farther you push these things, the more you're have a tendency to go back to details and to get sucked into trying to make it look a certain way. So it does have freedom. Think about doing them quickly and don't, and try to make them half finished. And then we're going to come back and have a look at these later on. 47. Head Paintings Continued: All right, we'll continue the fun here with exploring on how to find your way with painting heads, dealing with those problematic areas that we often get hung up on here. So I'll just get it some of this excess paint off my brush there. And I'll start with this figure a here. So we were familiar with this head angle we worked on in the drawing exercise. So I think it's a good one to go ahead and tap into for painting. And I'm just, you know, again trying to look at how things are constructed, but at the same time, you know, I want to, I don't necessarily want to paint the piece or the head as I see it. I want to know, think about arbitrary colors, changing brushes. So now I switch to my big outliner brush. That thing is very, very floppy disk got super long bristles and very hard to control. And, and it's a really old one, so allow the bristles are starting to kind of fall off to. So you're getting these kinda rogue paint strokes really thin so it makes it even more interesting. So, Alright, so again, this is not about finishing a head study. This is not about painting heads or in its detail and entirety. This is about exploring how can we change brushes? How can we use arbitrary colors? How can we simplify the head into a basically a simple gesture that represents, you know, the things that are important, perhaps, you know. And again, you know, if he really started exploring abstract figures, some artists just make the head just so, you know, just a balloon, balloon shape with a neck tie to it to a body. I mean, they just, other artists will add the eyes and no mouth. And this is, this is what this exercise is all about. So don't think about it as trying to paint the portrait. Think about it as your pencil in your hand and your simply doodling. You're, you're trying to find your way. Understanding what you can get away with. How simple can you do this? And if it gets too crazy for you, you can always go back and tighten up by adding more details and perhaps rendering the head a little more accurately and then slowly add those abstract qualities to it. So all of us want to be different, but visually is appealing to me. And what is interesting to paint for me may not be the same for us, shouldn't be. We're all different. We all have a different idea of abstract and, but we want the art to be. And when you explore in your and this kinda doodling phase and you're just having fun with it. Again, you're more apt to take risks, to make changes, to kinda re-invent the head and to see what you can know easily do without, again, with that pressure of painting a finished head study. So a little bit of blue hair on the god back there again, just kinda pushing those boundaries, telling my brain that, well, you know, the hair doesn't have to be dark brown, It doesn't have to be black and doesn't have to be read. It can be whatever color I want it to be. And these are the things that will, again give you that freedom when you go to actually create artwork, but Truthfully, truthfully, this is a confession. I'm always end the state of doodling. Odd. I don't ever really set out to paint finished art. I'm always looking to explore and play in all of my doodles. Eventually, they get painted over, they get tweaked and they eventually become paintings. And I do it and keep myself and that sort of playful state of mind so that I'm constantly kinda learning and breaking down my boundaries and even still, you know, I fall into the trap as all of us here, as, you know, kinda doing the same old, same old. And so at the constantly changing brushes, I'll paint with a piece of scrap paper. I'll paint with an old dot dead rose. Whenever I can get my hands on to change it up. I'll put paint down or pain it maybe paint the head on a piece of scrap paper and then turn it over and smash it into the paper or canvas and create this sort of a print of the piece on the, on the arm. So, you know, again, it's, you know, just constantly explore and don't get sucked into trying to do things the same way all the time. If you're curious, I'm using that outliner brush and that is just black gesso I'm using for the lines. So painting with Jesu as opposed to a pain or whatever, I could use watercolor, I could use crayon, I could use a Sharpie marker. Again, throw different things at Achad collage. I mean, you know, we want to explore, but you not kinda kept this more along the lines of a painting. And later on I think I'm going to expand this course and will do, I'm going to continue to add to it over time. So I'll, I'll put more and more demos and ideas out there, but I'm going to start with the basics and then we'll, we'll add to it as we continue to grow. 48. Welcome To Demos: Welcome to section three. I'm going to do some demonstrations for you. This is only the beginning. I'm going to continue to add more and more demos to this, but you will hopefully get exposed to some good, less traditional ways of painting the figure. And then also some unconventional ways that you may not have thought about if you hadn't taken this course, right? So enjoy this section and joy the demos, and hopefully you'll see how much I enjoyed doing this. A lot of these paintings come together quick, but they don't always have to be quick. It's just, you know, I'm very comfortable with the way I like to paint and create. So I can generally get in and out of those fairly quickly, but don't feel as though if he try some of these techniques on your own, that you have to do it as quickly. You can be more methodical and put your own little touch on it. Okay, so enjoy, and I'll see you at the end. 49. Cat Woman: This one is titled Cat Woman. Again, very simple mixed media, so clean and crisp. And this get into how this was made. I started with my roiling Nicole, That's my medium-size flat, a little bit of brilliant blue and CAD read a touch, a cat read into that. And I just put a little shape down for the head. And I drag that down and to the upper torso area and just indicated some loosely drawn slash painted breasts. Here I'm using a acrylic ink marker, and that has a small kind of pointed around. Even the pointed round tips are fairly round, more round than anything else, but it's fairly small. And now looking at the image, um, even though I'm not drawing tubes, I'm not drawing any sort of the structure ideas that I did. I'm envisioning that with the artist in or with the model. And, and I'm just kind of giving it these kinda narrowly, kinda wiggly sort of edge quality to it. So I'm having fun with, you know, those, the idea of line quality. So some sketchy pressing into the surface and get that kind of heavy bold mark and then other areas, whether it's just kinda more smooth and light touch, kinda quiet. I'm exaggerating things. I'm trying to really pull out the, some of the things I want to see in the model. In oftentimes the mistake is, we don't go big enough. We think we're exaggerating and we feel like we've got a good sense of what we're trying to say and we try to do it. But my mom, my thing am I advice you, everyone, including myself is to exaggerate, always go bigger than what you think you need. Because typically when you only do what you think you need, you don't quite go big enough, but that's all I'm gonna do to this when I really liked the clean, crisp look on it. Like the simplicity of it is very contemporary, kinda modern alike that it has that kind of Cat Woman sort of thing. Like he, she's going to rearing up to get somebody. But I just like the way it was even though the goal here was just to do some half-finished playful paintings are kinda like twitter where this one was at. When I went back and looked at it a week or so later in Malmo, keep it just like that. So anyway, that'll do it for the demo. See you in the next one. 50. Back Bend: Alright, I will get the paintings started with this one titled a back bend. Some acrylic, EEG, acrylic mixed media over reject. So a great one to start out with, fairly simple. And I have a watercolor painting there that's an old cityscape, turned upside down right now. And you can see the little white edges around the paper where pretty common for watercolour artists to take off their paper and leave that little crisp edge. But back to the painting here, I'm just using my acrylic markers and doing the same thing we've done the whole Tama, even though I'm kinda in this mode of creating some paintings or are some halfway paintings. I'm not going to change my attitude. I'm not gonna tighten up and get all weird about it and put pressure on myself. Going to keep it in this exploring, having fun sort of mode. So using the image as inspiration and just going through the same things we talked about, thinking about simple shapes, breaking things down into simple shapes, envisioning the torso, the head, the neck. Trying to decide what are the, some of the best shapes to use to just get the idea down is very sketchy, is very loose. And that's what this is all about, you know? So if you're sitting there spending too much time on and you put in too much on needed pressure on yourself. You're not just relaxing and go on with it. And not putting a care own whether or not this thing turns out good or bad, then it's probably going to end up bad, you know, so just go for it. You know, you're better off to fail going for it than you are to succeed and just end up with something that's really, really tight. Here I've got my other acrylic eight marker, and this has a very bold chiseled tip on it. Am going around obviously the top edges of it, but I'm not doing everything. Notice how I did a little negative space painting there to indicate, indicate the tip of the nose. I think that's a kind of an important part of this sketch. Just to kind of give that viewer a sense of low, where's that head at? And, you know, it's such a loose sketch that, you know, it's easy to get lost or not quite understand what's going on and what you're looking at. But once you put the little tip of the nose in the air and a little bit of the mask of the face. And again, I just use negative space painting by release, preserving the color that was already on the paper. And using the dark marker around that. And you know, whenever I'm drawing whenever I was drawn with a red marker, I wasn't trying to get every single detail. I'll just trying to get the, the big idea down this feeling of this figure bending back and looking back and up. And that's it. That was a little bit of cadmium yellow light acrylic paint. I just kinda use for the lower part of the painting. Here. I'm just using my long outliner brush and there was no paint on it. I just kinda went into the wet acrylic ink and just kinda took a little bit of ink from what was there. And because the brush was wet, I was able to kinda reactivate it and loosen it up a little bit, but that's pretty much it. So here is the piece again, the image taken a natural light so you can get a good feel for the the piece. And I'm on bringing a little bit closer so you can see some of the marks and stuff like that and how loose it is. So again, this is what it's all about. You know, we want to get the big idea down and not stress out about everything else. So hopefully you, hopefully you enjoyed the first demo. I'll see you in the next one. 51. Changed My Mind: This was kind of a fun piece. Yeah, it didn't turn out like, awesome, I'm love and I'm so excited about it. But I just think it's an interesting technique to explore and to just share with you because it's not uncommon for something like this to pop up when I'm painting. So I was like, well, I bet someone up like you or maybe one of you or two of you could probably latch onto this sort of thing. So we'll put now some orange and pink there, the, all those kinda greens and yellows and the sort of darker colors there on the right. All leftover paint from my last demo. So I told you I like painting on my paper because it just gives me some really cool colors and stuff to work with. And here's the thing I know I sped through that part, but I was going to do that. A painting of this figure on the right. I got to a point where I was going to start to kind of really get into a few details to kind of pop this figure. I wasn't comfortable with the pose. So I decided to take a scrap piece of paper here and a piece of charcoal and just work with that pose some on just to get comfortable with it. And then I would go back to my painting and candidate start painting it once I feel more confident about it. So this sort of step is all about confidence. It's about understanding the subject. It's about trying to pull something interesting out of the pose. And sometimes I'll see oppose, I'll go to paint it. And I'm like, well, I better stop right here because I really don't feel it, you know, understand how to stitch this thing together. So once I felt better about it, I went back into the painting that I had gone and using the same charcoal there and started to apply some of the strokes that I'd kinda learn and the last stuff but still didn't like it. And I didn't like the feel of it just felt too hard to me. But I was like, well, hold on a second. What about that little quick sketch I did that. I feel really good about. I can use that. So here I am taking that sketch and cutting it out. So and kind of mid painting there. I changed my mind. I was like, well, maybe China for something that I don't feel good about isn't really the best approach here. Maybe I can go back to that cool quick sketch I did, which I really liked. I liked the spontaneous energy of that sketch. I thought it turned out really well. I thought I had an interesting pose and, and just some quality there. There wasn't getting from this piece right here them shell. And so, you know, sometimes I happens, you know, you think you got it, you get into it and you're just not feeling it. You know, it's perfectly fine to stop. And since that sketch, the idea was really stuck in my mind that I really liked it. I'd say, well, why not use it? So here just using a little bit of turquoise and just smearing a little bit of that color onto it. And that is just taking a my fingernail and kinda scrape scrapped scratching, Excuse me, into that wet paint. And now I'll take a little bit of mod podge and put on my drawing. So that is my drawing is just flipped upside down, obviously. You can see it's got a bunch of rips and tears and cuts into it. And that's what I love about it. So honest kinda paste that right there and we'll pretend that first painting never happened. But, you know, it's all a process. You know, it's like, you know, that bad painting had to happen in order to kind of give me to this point to say, hey, well, hold on a second, man. I mean, you just did a cool quick sketch that's got a lot of feeling and energy and something special that I liked to it. So I mean that that whole process had to happen in order for me to get even this source sketch that I feel good about. And here it is, you know, putting a little bit of color down. That's a little bit of Thaler blue, a little bit turquoise. And, and just, you know, just pop in some of the negative space here. I kinda wish I were lifted there and gone without the orange, but, you know, it doesn't look too bad with the orange. And I just went ahead and got rid of the arm this kinda farther away from us on the left than just thought it would work just as good without it. So anyway, there isn't there it is. It's just a really fun piece, is just something kinda a whimsical and playful about it. Now, just like the way it happened, the process was to me important to share with you because if you're not feeling a 100% good and confident about what you're doing in your hidden that middle stage of a painting. Just stop. And sometimes you can look around and some sketches and stuff you've got and just kinda go right over top of it, you know, and you don't even have to do that. You can just kinda stop and then move on to something new. But I just so happened that I did that quick sketch and it was stuck in my mind. I decided to use it. So I changed my mind and I was happy with the results that I got. 52. Palette Painting: Palate painting. So I alluded to this earlier about, I don't really use paper palettes and a traditional palette anymore. I liked this putting down drawing paper or even paint paper. So earlier I'll put down a large piece of acrylic mixed media paper. And on the right-hand side, I was using it as my palette. And on the left-hand side, I was actually doing the painting. So this is what's leftover though. So this was the old palette I had. But look how awesome that is to have those strokes and had those colors and everything as a beginning. I mean, if you feel good about the subject you're painting and you've got this super cool, sort of assigning them a chaotic issues, kinda interesting sort of beginning to have then I mean, it is so fun to have this sort of thing gone. And I've been, like I said, I've been doing this a lot. I mean, I've made some killer abstract paintings just by putting a piece of paper down and using it as a palette. And then when I'm done with my painting, lived clean everything up. And then underneath I've got all these cool strokes. And again, I mean just abstract paintings by themselves that are really awesome. But if anything, I use them for collaging. I use them for stuff like this. I come back and paint over it. And just kinda having that sort of mark, marks are kind of random in this case because they're not really apply with any sort of for any sort of reason for the painting I'm actually working on. So anyway, I just saw was a great, just a lot of fun to do this stuff. I think, you know, how you create art is more important sometimes. And, but the art itself pheno, it's how whew gonna exploit the creative process, the painting process, how you get in and out of the work. And if you know your subject and your confident about what you're doing, I mean, you can take all these things and turn them into something. If you just, you know, if you've had that sort of connection to the pieces and that's what I tried to teach in this class, is giving you tools and tips to get familiar with your subject and how to abstract it. Some steps you can take to kinda get you there. And you know, you had to put your work in, but when you're done, I think it leaves you with a lot of confidence and a lot of visual. I think strength and a lot of visual knowledge about seeing your work, you know, abstracted in this expressive style and understanding that, you know, things don't have to be perfect. You can let them be imperfect and, and get away with it. So that was a little bit of yellow, ochre and brilliant blue. I would just want a little bit of green there and a little more ochre touching orange just to bring out some of those greens. And just, just a little something there. So I'll have is too much white background. I'm using that to do a little bit negative space painting. And careful too, you know, of course, leaves some of those beautiful marks from my palette from what kinda got me started. So there it is. I mean, that was easy as can be, but as loved this piece, Madison is so cool and loose and expressive. And people will say, oh, well, you know, you did it in five minutes or whatever, or less really. But, you know, it takes a lifetime to get there. You know, there's that story, a Picasso where the lady walked up to him. He was on the street painting and shall keyed you just do something really quick for me and he whip something up in a couple of minutes and then she walked away. He was like, hey, that'll be $80. She was like, Well, I mean, it only took me a couple of minutes to do it and gives No, ma'am. It tick? It may have taken me a couple of minutes to do the painting, but it's a lifetime to learn how to paint that way. So that's kind of what you're seeing here is at sort of layer of confidence and just freedom I have with my work that really it takes a long time to get. But if you'd like painting loose and you enjoy being expressive, just give us some time, be patient, and just stay at it. You're going to find your way sooner than later. 53. Reaching: So one more hears, keeping in line with the quick sketchy eat a little bit of paint, sort of demos. And we'll branch out into something a little different. So starting this on with a piece of crayon actually, so that is Karen dash, artist grade crayon. And notice the line quality. So starting with the hand, which I'm very sorry, I crop that out. By the line quality. I've got those, you know, sort of bold, you know, hard expressive lines and with some of the lighter lines as well. And now switching over to my brown acrylic ink marker. And I've got about eight of those various sizes, various colors. It's nice having a bunch of them kinda mixed up different hues and sizes ready to go and that waking kinda tap and whatever you need. Usually there's something there I can I can use that as the right color and all that stuff for what I wanted to do. So even though I'm not, again, drawing out those forms and basic ideas of structure. I envision that and I'll work with it. So when I started on the torso, I thought about the band and the two. And then I started to do the same thing for the arm thinking that there are tubes reaching up and that sort of thing. Anyway, moving in a chart of a blue marker there, but it was just a little bit. 2j rehab wasn't much akin it. So now I've got my purple. This is a chisel tip purple marker. And the paper is 18 by 24, just drawing paper. It works good as long as you don't do too many layers and stuff on it and bear down into a too hard. You can get some decent art out of it without a buckling too much. But you know, if I were doing multiple layers and all that stuff than you now would definitely opt for something a little bit heavier, but for what I'm doing as fine. So you can see bouncing around hidden Miss. I got some a lot of details that are just simply not there. A lot of arm, nobody features and things that aren't there. It doesn't it's not perfect is that we can see under the chin a little bit. So I didn't quite capture that, but that's okay. You know, it's, the goal here is just to have fun with it. Explore. Don't try to get it perfect and have some of those areas where things simply aren't finished. So that's it. So that was an outliner brush there I use at the end just to do some of those linear strokes. So again, I apologize for not getting the hand. And some of the what's in the top right-hand corner. Film, but thinking and probably fill in the blanks. So a nice close-up view of what happened there. And again, I think for what it is and a nice quick sketch, that sort of thing. It doesn't need to be anymore. So I decided not to do anything with it. Could I do more? Yeah, I could. But it's nice having these pieces that are kind of more raw and a less finished. Because it really has that sort of spontaneous idea searching, playing around quality to it. And the more you paint over things and that sort of stuff tends to disappear. So that's it. See you in the next one. 54. Stretched Out: Alright, this one is a mixed media stretched out as the title. I actually did it on paper and then I went back and collaged it to some canvas, stretched canvas. I started with a reject. This was just a demo I did for a watercolor, beginner watercolor course. Always hold onto those old demos and reuse them for stuff like this, which is great. As you can see, I'm using acrylic paint directly onto the surface. That was just a little bit of that shell peak, a little bit of yellow ochre, and just using a medium, roiling nickel flat brush there to blend it out and just getting the gist of it. I didn't really like them design. I kinda felt like I should have made it a lot smaller and it was a lot of symmetry going on there. So I'm going to use the paint while it's wet and there's really thick two, I'm going to press it into a piece of paper. So this is some scrap paper I have laying around. As you can see, I get a nice impression of the figure. And I really like that. I like the kinda random colors, how they mixed, blended and smear it onto the paper. Also like the random marks that were already on the paper. Now I'm using my acrylic eight marker and that is just some red they're ready. And going through when dorsum sketch and write. Using that same sort of attitude I had in the beginning, you know, just kind of hit and miss. Thinking about the volumes of things, tubes for legs. And this is a fairly easy vantage point because we're looking directly at the model who is facing us. So we're not getting any sort of side plane. So the arms raised there, I mean, it's pretty straightforward and easier sort of body position to paint. But it's a lot of fun. So just because it's an easy body position doesn't mean we don't take a few risks while we do it. You know, it's nice to always take risks when you are painting. And here you can see I'm using yellow ochre, a little bit of cad, yellow, all my brush. And going around a few edges using the negative space of the white paper to draw and outline the lag on the left. But you can see the strokes are, are very loose or not where they're supposed to be, right? They're very, very much imperfect intentionally, you know, saw a place those strokes in a way that knew it wouldn't look perfect. Because then I can use other ways and techniques to come back and patch things up later to suggest. A mark that is more accurate than the viewer has something to latch on to. They had those imperfect qualities along with those strokes that perhaps are a little more accurate than they can make the decision. They can say, okay, well, yeah, I can see where there's a little stroke or something going on here that's probably more of where the edge of that leg is and not so much where that big bold yellow paint stroke is. Somehow know tangent. They are just kind of going over some of my philosophy, some of my approach to painting, my attitude. I think attitude is huge. You know how you go and get into it and, and handle it, how you handle the imperfections. And that's a big part of art. And there is what I'm using as turquoise. So a little bit of turquoise mixed with the reds. I've got little bit of white on my brush to so vicious kinda lightening the lightening, lightening the value on the grey. I, so back into my yellows here the gray is still on my brush as well. And that graze got a little bit of that turquoise in it. So as you can see, is kind of pushing that yellow to green. So turquoise has quite a bit of blue into it, and a little bit of yellow ochre directly onto the palette. Again, not cleaning my brush, just kinda letting things blend on the paper, blend on the brush, and I get some of those neutrals and kinda muddy is grey colors that I think are necessary and most paintings are that. So at this point everything is dry. Mounted the piece onto a 20 by 24 Canvas. So I cut out the figure. I didn't kinda it out perfectly. I didn't mount the entire paper. I went around it with scissors and some of the edges and then I glued it onto the canvas. The canvas was a reject to just have some random colors and stuff on it. So I kinda let some of that show. And here I've got my big bold blue marker. And I decided to color in the top of it blue. And they run it down the side of the body there and a few scribble lines just to sort of tie that color. And a little bit, I kind of liked the idea of glasses though, this figure that like she had glasses on. So I kinda made a few marks to say, well, all right. If it looks like glasses and she's making glasses, so without the glare he can see the blue are a little bit better. And I'll have a better shot of this in just a moment. And that's an exact DO night. The blade is retracted and I'm just scratching into the wet paint to reveal some of the white paper underneath. Alright, so there you go. A nice cool abstract figure there. A little bit of paint, little bit of ink, some collaging, and a lot of fun. We did it a little bit of some printmaking process in the beginning as well. So a lot of fun, some for you to explore and think about when you begin to paint your expressive figures. 55. Using Sketches Female Model: Another little trick you can do with something I love to do is use your sketches. So here's the image I'm going to paint for you. But let's remember a while back we did these progressions. I did this one with crayon. And it's just these things if you are really into it and you embrace the idea, their gold, I mean, I never throw these away and I use them all the time for more finished art. And to me it's all the same. You know, just go, oh, well, you know, a painting has to be ABC, has to be on Canvas or it has to be done this way. I could care less. I mean, finished art to me is just something that looks good as interesting. It's not boring, you know? So this, this sort of technique fits that criteria. So what I've done here is I've cut out using an exact dollar knife, the figure on the left, the smallest one, and I didn't do it perfectly. I did it real jagged and rough around the edges and that was on purpose and a little bit of the energy I like to bring into my work. And here I found some old collage paper, some scraps that I have laying around using acrylic paper here. This is a 185 pound paper. And that's going to serve as kind of my canvas now. So once I do all this, I'll glue it onto the paper that I'm actually using as a pallet to. So notice in this something I've been doing a lot is instead of using a palette like a paper palette or would pallet or whatever, I'm just squeezing my paint directly onto a piece of paper. And using that as kinda like my paper I'm painting on, but also again, my palette. And I love all that stuff because I'm finding the palettes and I'm done with them, where I've done mixing the paint and all that stuff. There's some beautiful abstract strokes or some beautiful colors going on in there. And they make wonderful abstract paintings. Sometimes we also make wonderful beginnings for new paintings. So that's something I'll do a little later, but just kind of an FYI. So using a little bit of those reds as cadmium red medium. So the shell peak of gossip, turquoise, also some yellow ochre down. Keeping my pallets very, very simple and limited at this point. You know, I'm not really too concerned about matching color, obviously. Just using drawing with a paintbrush us all. I'm Dawn putting down a little bit of color on the figure too. Just so us not stark white cutout pasted on paper. I wanted to be a little more than that. And I'm using the paint as a way to just kinda beef up the drawing, leaving some of those lovely blue scribbles. I mean, those are such wonderful free add expressive marks going on there. And I want them to live in that in the painting. So kinda bouncing around a little bit and and just being careful not to cover all that stuff up. Also need I'm not trying to get the light and shadow perfect. I just want I wanted to have enough color and form to where you can feel a few of the body parts. And know that they have volume two ohm. And they're not just flat cartoon character type things. But yeah, so there I'll put it a little bit of red down on the paper. And now I'm just going to clean up a few edges. I've got my titanium white and just kind of going around a few rough edges. I feel, you know, could could be a little more defined. But, you know, being very careful not to go too far either doesn't need to be, you know, we're not doing accurate stuff here as you well know. So that's looking pretty good. I'll go back in with some pink now and kind of beef up some of the places that I think would be interesting to do. But again, it's all about having that negative space of the paper, leaving some of those lovely blue crayon marks to survive in the final piece. So now all that paint is still wet. So as I'm collaging here and or applying the mod podge, the paint just supplied is bled. So all of that is kinda getting smashed a little bit as I apply the glue to the back of the paper. And that's okay. I want a few smears. And if I'm finding that a lot of those kind of smears and stuff actually looked pretty good. They add some extra texture to the piece. And now I've got my mouse kinda scrap piece of paper there, that collage paper that I make the stuff on my own with leftover paints and stuff like that, but I'll lift up this corner and then just kinda pop that there and yeah, just I want to just kinda somethin I felt like Dawn, sorry for the shakes there. But now I'll just use another piece of scrap paper, collage paper, and just kinda smashed that down one more time again, everything's still wet, the paint, including the paint, and that's just going to get smeared a little bit more, but its wholeness form and I'll see you guys and part two next. 56. Using Sketches Female Model Continued: So at this point it's a hot mess, but that's fine. Account expected it to be that way. I kinda like pushing things to the point of, you know, there's just completely falling apart. And I'm not really sure where in the heck to go. That's perfectly fine. And then I just kinda find solutions. I figured out what I want, what does the painting need? And so on, even though I've got my model image up here. And so you can just kinda see the inspiration. And no way even looking back at that now I'm, I'm responding to, to what is in front of me on the art. And that's more important than looking at what is actually on the inspiration image. So kinda just letting that sort of energy in terms of just trying to respond to what I see on the paper versus trying to match what I have sum so far away from what is there. In reality that if I could start to go back and matching, well, this legs you ha that's likes to short or whatever, then I'll be in some trouble. So I just want the piece to work as it is, as it is, excuse me. And so just kind of bouncing around and making that happen to the best of my ability. I now going back into some fresh pinks here and a little bit of titanium white as well. And it's all just kinda add a little bit of flesh tone there to a few areas. Maybe pull out the arm which has kind of lost. And the smearing process, which is good. I love the layering that smearing gives you. So a has you can see where that smearing kinda blended in the white paint, blended in with a crayon and kinda made some soft edges. Now I'm coming back over it again with some paint. Love that layered look of art. That, that keeps it from looking too easy or too not sophisticated enough maybe is what I'm trying to say. But you want the art, the art to look layered and think the Moon we can layer. The better off, but alright, so now I've got the blue crayon that I believe it was used to do the original drawing. And I'll go back in now and add some nice intense strokes. Few edges that feel need to be pulled out. And maybe a few details added a little button on the back of her head. And and if I see a few edges and details that need some work, then I'll try to draw a little line on it and, and see if that brings it to life. So, alright, this is working good. I'm just going through now cut the paper. That paper is a fairly large, not gonna actually do two paintings for one, do a two for one there. So I'll cut that out down the middle. So he, yeah, this have a look at the finished piece here and you can kinda get a feel for how that turned out, but I really like it. I'll bring in a little closer so you can see some of the textures and details and all of these images are in the resource files as well. So you get a nice high res image of all the stuffs to look at. So there it is. Again, hope you enjoy the idea that technique and we'll do some more in the next video. 57. Using Sketches Male Model: All right, so this one, I will do a similar technique is before, so using my sketches, but I have a male model. He may or may not remember this, but let's go ahead and get cracking. There is my progression drawing. And I've got all of them are really pretty cool. So I'll decide to use this one on the left that has the red. So that red, if you remember right, was PRISMA color pencils or pencil. And I don't know, I just think it's a wonderful color, authoritative kinda pop. And I use it. I'm going to salvage this arm so maybe I can even do another one with the other progression drying so I don't want to lose the alarm for the other ones. Someone hadn't cut that out. I also like that little curve shape it has, has made by cutting the arm out. But anyway, yellow ochre, a large brush and is putting that down again, this is acrylic mixed media paper, very sturdy and using the right hand side of that paper for my palette. And that's a wonderful technique to do. I mentioned that before. But using the paper as a palette is a great way to kinda break the paper n. And then also, you can come back and use it for another painting and you've already got some awesome color down. So here I'll just kind of put the piece over it and thought, well, you know, that kind of the fingers were cut off a little bit. So maybe if I kinda painted around it and use the yellow for some negative space or the end of my fingertips or work pretty good. That'll make it a little more sense and I finally get my glue on. So here, sum mod podge, I've still got green on my brush and, and really clean the paint off of it. So no worries, there should be a big deal. And now I'll just kinda place it right on the paper there and we're good to go. As you can see, a little bit of the yellow paint I had on the palate, gotten ONE through the drawing, but it's not a big deal. You want that to be a little bit broken and you don't want I want I should say the the drawings to kind of stick out like a sore thumb. So having a little bit of smudging on there as fine, that's just some gray. So I had some reds and blues and yellows all my palate mix that with white to come up with a gray. The green paint on the background is still wet. So as I'm painting that gray, I got some of the green on my paintbrush and, you know, just kinda work in that green into the piece. So it kinda blending And that drawing to the background is kinda what's happening there. So it doesn't look like a cutout, right? Even though it is right now, I want to do something dark here for the hair and maybe just a few lines on the figure. So coming down the inside of the leg there, just kind of adding those darks are kinda anchor the piece a little bit. Head is playing around with some different of the face. They're giving it that sort of block form that we talked about, drawing the head. Remember, we can use egg shape or you can use an egg and a half circle, we can use the upside down sale, then that's sort of blocky form of cube. And that phase very much has that sort of cube. Look to it, which is fine here, going in with some yellow ochre, a little bit of white. And notice chiseling out a few details. China to bring some definition to the hand, had a little bit of leftover paint there on the brush. So I did a couple of stripes going down the right hand side in the background. So I was able to trace down the red PRISMA color pencil. And now kinda gone back into the drawing a little bit. Well with the pencil. And notice what I'm doing now is I'm doing the side planes. So I don't really care much about what the figure, the inspiration image. Sometimes it's fun just to find a psi plane if there's only a little bit there, and just use some color, some tone, just to shade it and just, you know, put some down so that the viewer can say oh, that they can make the separation like, oh, that's the side of the body. And this is the front of the body. So it's fun to kinda just hint at those things and the painting, right? So at this point I'll just kinda cut the paper down the center. Maybe there's a little too much paper at the bottom there. And then I'll cut off a little bit at the top as well. And then that should give us our finished piece. So here it is again, taken a natural light so you get a sense for the colors. And as with the others, I will bring you in and give you some of the details so you can see some of the brushwork and nice carefree collaging and all that fun stuff. So a really interesting way to do it, a great way to up cycle all your drawings and sketches. So for those of you that did it along the way, beacon consider using it for final painting.