Beginner Figure Drawing Fundamentals - Dynamic Poses, Bending and Twisting | JW Learning | Skillshare

Beginner Figure Drawing Fundamentals - Dynamic Poses, Bending and Twisting

JW Learning, Drawing the Body, Head and Hands

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11 Lessons (1h 12m)
    • 1. Trailer

    • 2. Recap / Dynamic Forms

    • 3. Squash, Stretch & Twist

    • 4. Demonstration 1

    • 5. Demonstration 2

    • 6. Demonstration 3

    • 7. Three-Quarter View

    • 8. Demonstration 4

    • 9. Warm Up Notes

    • 10. Timed Drawing Session

    • 11. Timed Drawing Demonstration

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About This Class

In this lesson, we'll continue on from our initial discussions about Gesture and Construction by covering the topic of Bending and Twisting our forms, and looking at how to go about measuring the all important Three-Quarter position. 

Continue learning with the follow up lessons: 

Figure Drawing Series:
Lesson 1 - Gesture and Construction
Lesson 2 - Dynamic Forms
Lesson 3 - Construction of the Body Parts
Lesson 4 - Proportions  

Head Drawing Series:
Lesson 5 - Constructing the Head Part 1
Lesson 6 - Constructing the Head Part 2


1. Trailer: in the last video, we talked about the fundamentals of figure drawing. We covered the topics off gesture and construction thief, fundamental design lines, positioning. We covered a whole lot. Now it's time to take this a little bit further. In this lesson, we're going to be learning about how to take out construction pots and make them more dynamic by applying, bending and twisting. We'll also look at the whole important 3/4 position, so rabbia pencil and paper and let's begin. 2. Recap / Dynamic Forms: Okay, So before we talk about twisting and bending our construction parts, let's just to recap off what was learned in the previous lesson. In the last lesson, we went over the concept off gesture and construction and what those terms main in the context of drawing figure. We defined construction as the individual parts of the figure, or another way to look at. It was the movement across our forms, and we defined gesture as three relationship between those parts or the movement those parts are making together at the most basic, we ultimately defined gesture as curves and construction as corners. We also looked at position off our forms and said our forms weren't really complete until we knew where they were leaning, tilting and facing in their three D environment. And it's here we want to pick up from when it comes to bending and twisting our figure into dynamic positions in order for us to work at how we go about bending and twisting the figure we need to go back to positioning and, more specifically, the facing dimension. The facing dimension is relatively easy for us. If we only have to worry about drawing the figure from the front or the side. There's not gonna be much good. Tow us if you want to be drawing that superhero character, punching the bad guy or that lovely pose of the woman reclining on the bed. We have to look for dynamic poses in that car be achieved unless we know how to manipulate that facing dimension. So we want to be able to draw not just the front, the back and the side profile. We want to be able to draw that dynamic 3/4 view and everywhere in between. The problem we have when it comes to the facing that mention is we naturally push out poses to be either front on or sign on. This is because for most of their lives were only ever taking notice of things from either the front or the side, brushing your teeth, brushing your hair in the mirror, looking to that person next to us, addressing a crowd of people. Even art books usually have their anatomy diagrams from either the front or the side view. So our minds are really geared towards seeing things in a rather binary and non dynamic white. We are really taking notice off the position of the body at its most dynamic. So we have a tendency, as we're starting out to push that 3/4 pose, to be either more front on or more side on, which ends up stiffening out, drawing up. So let's look at some ways that we can combat this to really push thes poses to be as dynamic as possible. 3. Squash, Stretch & Twist: so as was mentioned when we started out drawing out dynamic, twisting, bending poses when naturally going to want to straighten out, figures to be either more front on or sign on. So when we see a pose like this, when naturally going to be thinking of this and what will end up with is something that lends somewhere in between that beautiful, graceful gesture line that fundamental design line, the line that defines our action, that initial foundation we put down gets lost because I'm binds a telling us to reposition the figure in a way that our eyes they used to. The result is our drawing White Bend or twist Aziz much. It won't have as much depth. And once we put muscle and drapery over the top of it, we'll lose even Mawr that just to rhythm. So really going to have to fight this instinct into bending twist our forms more than what we see. The main area this will relate to is the core of the body, the torso in the hips, as this is our main area of movement. So let's break things down a bit. First thing we have to start with it or to fight. This instinct is to use what's called the bean form, which is essentially two forms in relation to each other that form the shape of a bean, which is a great representation of what a torso looks like. We can either draw the bean form as a whole or broken up into its two forms. The bean form is unique in that at any time, one side of the form is going to be further away from the other side. This is cold stretching on the opposite side. The forms were going to be close together. This is called squashing. So if we do an experiment on ourselves, if we hunch out, backs over the front of our torso is going to be squashed closer to our hips whilst Outback will stretch as a result of that movement. So we have a natural squash in a stretch happening here, and the opposite will happen if we are shellback. Our bodies have built to do this in order for us to remain bounce because our anatomy is naturally curved. If that balance didn't exist, we would tip over. So we'll have this consistent expansion and compression happening in our bean form that can be manipulated to out needs. Now, if we look back at our previous lesson on gesture, we can see this particular form has a natural, long access line for us to start with the great we make that long access curve, the more compressed the opposite side of the form will be. And if we take it back to the idea of the being being two separate forms, we can once again use out pencil test to help us know which direction both of those parts are in squash and stretch really represents the leaning and the tilting positions that we talked about in the los Listen, this idea doesn't apply just to our bean form. However, it applies to any form we can stretch and squash any form using the exact same principles. So we've defied what s squash and stretch means and how that relates to the leaning and the tilting positions. But we haven't yet talked about the facing position we have to add in. Twisting for that twisting means that not only can the two forms that make out being faced the same direction together, but they can also face directions independent of each other. So what this means is that out being construct facing in one direction and end up facing another? This is what's known as Contra Pasto, which means opposite positions. So how do we go about working at out twist? If we look at the example, we can see our two forms of facing away from each other and we need to connect these two faces. If we connect the scent across contour lines of each form, we get an s shape. A twist will always have this s direction flowing from the center of one form into the other. From there, we want to take the corners off the front, most facing flat shape of one of the forms and connected to the corresponding corner off the other, following parallel to that center line following the same s direction or we have to do that is connect outback corners of the form to the corresponding back corner of the other. And that's how we twist out forms. Now notice if we go back to our lesson on overlapping what's happening here? When we stretch squash and twist our form, it ends up overlapping itself and you can tell by these gesture lines moving from one area into the other. Which part of our form is positioned over the other? Without this talk of manipulation of our construction forms, our figures won't ever reach their full potential. So we have to be aware of what our mind is telling us to do, how it's telling us to make the post look like something we're more comfortable with and to fight those natural instincts in order to keep those initial fluid gesture lines intact. So now that we've got an understanding off, how to stretch squash and twist our forms and how we go about combating out natural instincts, let's move on to some practical work. 4. Demonstration 1: okay, we're going to start putting down our gesture lines L long access curve or er, stretch down on one side, which is naturally going to result in a compression or are squash happening on the other side. Now we're going to cover a little bit more about this in the future, but just a small note ahead of time. Even though we are talking about dynamic forms here, the body itself is always going to be naturally in a position where they were going to be opposing actions happening throughout. So there's going to be a little bit of science involved that we're going to have to look at in a bit more detail in the future. But that's going to be for another lesson, which will start covering in more detail in Lesson three. You might be able to see already, though we've got some of these opposing actions happening already. We've got this be expansion on one side in a very compressed area on the other. In fact, these two components actually merge into each other as stretching action turns into a squashing action and esque washing action turns into a stretching action. This patent off expansion and compression is happening all throughout our body. If we didn't have this patent off compression and expansion in our figure that we were just simply to Bobo, these opposing actions help us balance. You can see in far better detail on the profile of the figure, but again, we'll cover that in a few listens time. So I got my rough being shaping place. But now it's time to develop this a little bit more. First thing we have to think about is the position off the rib cage and the pelvis. Got this twisting action that's happening here, but we need to figure out these positions first. The rib cage area is pointing up in away from us, and the pelvis is positioned a little bit more towards us. So now that we've worked out the rough positioning of these two areas, we can start to think about the twist that's happening now. The reference image only has a little bit of a twist going on, but I'm gonna push it a little bit more than what we see here. So I've made a couple of rough markings he to indicate where the center lines are going to be from my two construction parts. We could see here in our reference image roughly where that s shape starts now. Obviously, we've made ours a little bit more dynamic, So out of shape is going to be a lot curva. When we start coming over the top with our clothing and our muscle structures, those gesture lines are going to start to disappear. So it's going to be super important for us to actually push those rhythms a lot more than what we initially seen. Our reference images don't be afraid to push that pose more than what you see to exaggerate things, make that pose more twisty up more Binya. It's going to bring a lot more fluidity and lost your image. We might not be adhering to the literal truth of the image, but as long as aware in the ballpark, as long as we are capturing the essence off what the poses saying and that's perfectly fine is the figure moving in similar direction, capturing the same top of feel than that's great. That's ultimately what we're looking for. So I'm going to put a little bit of structure in for the legs and head, not too much because we're really going to be focusing on the torso. Now. One thing you may have noticed as I was drawing this is how have actually gone about during this tour. So I started with some gestural rhythms, started building up some construction parts, and now I'm going over the top again with more gesture rhythms to try and help loosen this up a little bit more. This is how we start to go about refining our figure. We started with initial big gesture and construction, all pieces. And now we're starting to work into smaller, gestural and construction pieces, working from big to small from the large area of the torso all the way down to the fingernails. The process is going to be the same. So one area where people may end up getting a little lost with twisting the poses is actually figuring out which of the areas of being overlapped. A good general guide to follow is to look to the part of the torso that is closest towards the viewer in this case, our rib cages positioned in a way that is twisting up and away from us. The pelvis is positioned a little closer towards us, meaning it's going to be overlooking the rib cage slightly. The folding, the creases being formed by the skin and the clothing are more often than not going to it. He to the part that is facing towards are small. So look for the area that is closest towards the viewer as a guide to figure out which part is overlapping, which squashing and stretching is really just a nother representation, off gesture and construction. We've got out long gesture line, which automatically creates these overlapping components and overlapping refers to construction. So whenever we stopped bending out forms, we get automatic gesture and automatic construction. So let's consider this demo done and move on to another. 5. Demonstration 2: right. We're moving to a farm or twisty opposed for this one now out rib cage, part of their torsos tilting ever so slightly towards us. So that means it's going to be the one that's overlapping a little bit more. And as we put in the our foundations here for this one, what we're going to see, actually, and this is a pretty good examples. We're going to start seeing more folds increases being created, the more we start to bend into stale forms. We are generally going toe, have some sense off compression and expansion happening, that sense of pinching and binding in birth, a more relaxed state as well as a Farmall dynamic state. So I've bean shaped foundations in place. Now start to just define the rib cage and poets area positions a little better. Our rib cages positioned a lot closer towards us whilst her hips are moving away from us. So we've got a really nice, twisty, dynamic pose here, so I'll start to building now two separate parts of their torso. Now you don't necessarily have to do this, but if you're just starting out, it's actually not a bad idea to sort of work with both the being foundations and are two separate parts foundations. Just to get a sense of really how things are constructed for our torso, the more we look at the torso is being two separate independent areas, the greater our dynamic poses can become. What happens when we started out as artists is that we normally fused these areas together . We don't keep them separate and, as a result, opposes tend to end up looking very mechanical. It's stiff, so the more we can get it into ahead that these two areas work independently from each other, the more dynamic we can start to make out poses. We can push it to such an extreme way. The folds and the creases that end up happening due to the construction being formed team start to become more and more noticeable. The more we really start to stretch those gestural foundation is, the more things are going to start bunching up on. The pinching side will start to get ever more folds in ever more noticeable creases. But we're not always going to need that extreme. Oppose. Yes, it's always good to have nice, twisty poses, but sometimes we just need something that is a little more subdued, but we're still going toe have that sense of expansion on one side in compression on the other. So either going to have a really strong level of squashing or compression happening, or we're going to have something that is a little more subtle. How subtle, or how strong those pinching folds are are ultimately going to be up to you, or we need to do is remember, our gesture is on air stretching side and s question is, where are construction is happening After that, the choice is up to us. How we go about manipulating that. Okay, let's move on to another demonstration. 6. Demonstration 3: all right. We had a nice, twisty pose in the last image, so we're going to do something that's a bit more relaxed. She's stretching out a little bit here, but we're not really getting any twisting sort of sensation here. So it's a much more subtle design that we're going to have to create for for this image. But we still want to just exaggerate things a little bit. Mawr without initial gesture foundations. I'm going to push this front torso part to be a little more Kerr via than what's actually here. And the reason for that is once we start adding in our muscles or wear fabrics or Dre free whatever's going in over the top of these initial foundations, we're going to start losing that gestural rhythm. So it doesn't really matter too much. If we are working with something that is a very dynamic pose or something that is a bit more subtle, like this one. We still want to ensure that we are pushing those gestural foundations a little bit more than what they need to. If we were designing a character in some type of armor, if we start out, pose off with a very stiff and mechanical looking pose. When we start adding in that armor or top, it's going to make things look even more stiff and mechanical. So this is why, even if we're dealing with a very subtle pose similar to this one, we just want to push the curvature off those foundations a little bit more. So just defining these shapes of the rib cage a little bit more, getting that forming, placed, really trying to feel my way across here and get that sense of form we're using this pretty simple cylinder shapes here. At this point in time, we can go about this a number of different wise. If we wanted to, we can really start adding in a sharper corners, he and more boxer structures that's going to help us get better idea of way things are in three D spice Now. The idea is that we've gone over in this lesson. We've talked mostly in relation to the torso, but they're also applicable to other areas of the body. So let's just drawing a little bit off the glue Deol areas here and her lower leg, and we'll start to see that the ideas of squashing and stretching, also applicable to other areas of the figure as well. Any area where there's going to be some type of joint involved is more often than not going to result in a sense of expansion and compression, a sense of stretching and squashing, as we've seen in the torso. So we can see he in this sketch. We've got our big gesture here without leg creating that big stretch, which is resulting in her glutes compressing in on the leg. So the same thing that's happening in her torso is also happening here in her up Allegan glutes. We've got that bean shaped, that compressed and stretched area that's being formed, and this is going to bring true for just about every jointed area off the figure. We're going to usually have one area that feels like it's compressing and one that feels like it's expanding. So our squashing and stretching is not just going to apply to the torso, but other areas as well 7. Three-Quarter View: So let's now expand upon what we've learned so far when it comes to making out forms, being more dynamic and move until looking at the figure from a 3/4 perspective, the 3/4 position of the figure is going toe. Offer us the most interesting options in the drawings, but it's also tricky to get right. So we've got a little bit of a challenge here because a portion of the figure is going to be facing towards us more than the rest. But we've got a pretty decent guard lawn for ourselves in our front and out back. If you remember in the last tutorial, it was mentioned briefly that one of the ways to look for our fundamental action line, the line indicating out movement is in the center of the body. We're going to use the body's natural centerline to help measure. Now. The easiest way to figure out the measurements is to look to the shortest site. So, for instance, if we're drawing this 3/4 view of the head, we would look at the natural centerline in the face is a starting point. Look at how much we see on the shortest side and then measure how wide the longest side is in relation to that. If we measure from the long side first, we risk making things too wide on the short side. So always do your measurements from the short side. Now I know what you're saying. This is all well and good for the head and torso. There's a natural center line he that we can use to work at the position. But what about the arms and the legs? Well, you're right. The arms and the legs that have a natural center line, there s symmetrical body parts. So what's happening on one side of the limb is not happening on the other side. So what the hell do we do about this? Well, if we got back to our previous tutorial where we talked about gesture, we're going to have to go back to those foundations because the limbs don't have any immediate 3/4 view, and it's going to be too difficult for us to find one. So we need a work around, and we're going to do that by looking for our gestures and l longest possible curve lights . So here's a short cut that we can use from the side arresting arm curving towards the torso from the front, it will curve away from the torso. So in a 3/4 view, now I'm will land somewhere in between. For the legs, the side profile of the legs is shaped like an s. What's the front perspective of the legs is shaped more like a bee. So again, a 3/4 perspective will result in something that's a combination of the tooth. We'll go into more detail about the limb structure when we get to studying the individual body parts at a later date. But for now, this is a general guide to start with. So now that we have some knowledge about how we go about positioning out forms in the 3/4 perspective, let's move on to another practice session. 8. Demonstration 4: Okay, so let's look a day, 3/4 demo. Now the first thing we want to do with their reference is to get out centerline down. So just draw the line from the top of the head all the way down to the crotch area. And then we want to indicate the narrowest part of their figure facing away from us. And then Teoh indicate the narrowest point that is closest to us. From there, we can simply measure how many times wide up the longest ideas compared to the shorter side . So in this case, the side closest to us is five times as wide. So now I'm going to start sketching in with those measurements in mind, our first just going to block in some rough shapes for our pose. Now, I'm going to do this in a more structural way because sometimes there are gonna be poses that you come across where it's going to be more beneficial to use construction parts first and then put gesture over the top and 3/4 poses can get tricky sometimes. So I've got my rough bean shape in place. So now I've just got to draw my center line in and then lightly marked the measurements that we made earlier. So now I've got my measurements in place, and now I can start to build on top of my figure. So as you can see, I was a little off here with my first construction line, so I just have to adjust it. And that's the beauty of proper measurements is that you can get far more accurate now, if you remember in the los tutorial lesson where we were talking about the connecting lines , the point where out construction pots intersect with the gesture at its narrowest point. We're essentially doing that. He we've measured the narrowest points, and we're building out from that. It's the same concept is what we learned in the last lesson, except which is doing it far more accurately. Once you become used to the idea of working with the 3/4 pose, you'll be ableto eyeball things a lot more. You'll train your eye to identify the body center on far more easily, and you'll be able to calculate the measurements Morning haid. But when you're starting out, it's always useful to actually put the markings down first, and you can always erase them afterwards. So I'm reasonably happy with how this construction is looking at the moment. So I'm just gonna loosen it up, putting some gesture lines over the top. So remember, your construction will stiffen things up. Your gesture will loosen everything. So now that we've done a few demos on twisting and bending and 3/4 views, let's move on to the time drawing sessions. 9. Warm Up Notes: Okay, So before doing some time exercises, let's just talk about warm ups for this session Now. Last lesson. We talked about using objects in your environment as references for your basic forms. Your boxes, your cylinders, annual spheres. Now there's plenty of those options around for most people, but when it comes to something that's bending or twisting, the options are usually pretty limited. A pillow is one option, but the issue is that it doesn't stay in place for very long. So one option to use is to actually get yourself a small piece of modeling clay. Now, I don't expect anyone to have that on standby right now, so I've included images off twisted modeling clay in with the class references for you to practice with. Now you can usually get modeling clay pretty cheaply for a couple of dollars at a local craft store, so I would highly recommend having some of that on standby and being able to twist and turn it and bend it. However, you need to for, well, drawing warm ups. So use those images for you warps from now until you get some modeling clay, and once you've warmed up, move on to the time to practice session 10. Timed Drawing Session: - Theo . Uh oh . Uh, you hear all right, - for have a I mean, you know. 11. Timed Drawing Demonstration: Let's get going without Tom drawing Citian. Now, we're starting off with a pretty simple one at the moment just now. Torso here, talking a little bit away to the side. So that was good to just start with something a little bit simple to begin with and start working your way up to the more complicated poses. The rib cage is talking just a little bit away from us in this image, you just have to make note of that. We've only got two minutes to work with those, so we'll just get as much as we can get done these two minutes. We don't want really Russia way through the image. Even though we've got a time limit, it's going here. It's better if we just get as much as we can down in that two minutes or five minutes. Or however long we put that timer on for then trying to get everything down and Russia way through it. So we just need to slowly build our way up to these just just in these construction pots. It's a little bit of the legs in here. Develop these a little bit and we can see in a relatively short period of time, just how much we can actually get down. We're just using simple shapes. As we learned in Listen one. We are focusing primarily just getting basic shapes, the basic ideas of what this tour. So it looks like for us. Well, these arms are these legs. The basic bean shape that we've gone over is more or less the sort of go to default. Show that we can use three our torso. But we can also go with other shape structures as well. We could use a couple of egg shapes. We could use a couple of boxier block shapes. We get end up using the whole cylinder for the entirety of their torso. So I've got a few options here, and a lot of it is going to depend also on exactly what position figure is in. So we're going to find that maybe using the being shape is gonna be beneficial for one pose . But another pose. It might be more beneficial to break two components of rib cage and pelvis apart, so we're going to have some options along the white, and it's really going to all come down to what you most comfortable with your probably find that you'll lean towards particular shape more than others. Okay, on to a more stretchy a pose a little bit more of our full body action going in this one. No, it's rhythms going on here. Start to develop a little bit of the head here first. So the neck is also another area where we're going to get a lot of twisting actions as well . So we talked earlier in the lecture that it's not just gonna be the torso where the's compressing areas that happening with the stretching areas that happening, these twisting areas as well. We're going to get other areas off the figure that are also going to end up stretching and compressing and twisting as well. So it's not just going to be the torso, even though we've primarily focused on that. For this, listen the same ideas they're going to run true for most of the other jointed areas off the figure net, you might have noticed I've not put down the entirety of the torso. That's because I'm just kind of working my way down in this instance. We don't have to get the whole main structure of the force. I don't. First, you're sort of working my way down from the head to the rib cage and eventually to the pelvis and probably going to use most of my time up just working out the construction of these two areas. Um, probably not gonna have any time to really develop any arms or legs to go with this Now. What you might see here is a little bit more of a compression happening in the skin compared to the last image. And that fall in the skin is really going to know only help us define which area off the torso is overlapping the other. But it's also going to help reinforce the three dimensionality of the torso itself. So any time we're going to get folding either skin or clothing, it normally means we're going to get some additional sense of three dimensionality that's being formed. We talked about cross contour lines in less and one how they take out two dimensional shape and convert them into a three dimensional form. Give us that sense of depth and dimensionality, and these folds increases will do something similar. So when things like this start compressing, we start to get natural cross contour lines developing, which is great because the more areas we have, which reinforced the three dimensionality of our figure, the more successful out illustrations are likely to be. Okay, let's move on to our next one. Another nice, twisty pose for this one almost looks as if a moment in time is being captured. So trying to see if we can replicate this is best we can. The action in this poses kind of causing her abdominals to be stretched a little bit more defined. That's also going to give us some great Marcus to look for a swell. We're very fortunate in at least the torso, part of the human figure, out where we've got these natural sort of center lines that that happened in both the front that back. And when we start to twist the twist, the body around they can start making these really rhythmic gesture movements. They're going to really help define which direction that rib cage is actually positioned in relative to the pelvis. So it's not just gonna be the folds and creases that helped to define things for us. It's gonna be areas like the abdominals it's gonna be the indentation on the back with spine ease. They're gonna help us figure out where things that being constructed have been bending and how they're twisting, and we'll see the same thing happening in the clothing as well. We've got a character with really tight form fitting clothing on what we start moving a body parts around. We're going to start seeing those stretches and those compressions happening in those twisting motions within the fabric itself. So it's these type of additional markers that we're going to have to look out for. If we have to exaggerate these markets is, well, then that's perfectly fine. Anything that helps to really get the point across to the view up that that rib cages twisting away from the viewer. Then we simply put it in. If that means we have to put in additional S curves that we have to put in additional compression areas if we have to make that torso look as if it's stretching a little bit more than what the image says. If that's what we need to do to get the point across, that we're looking at something three dimensional that's moving in a particular direction. Then we just simply do it or I don't wear next image. But she's on the ground now, really tilting back in a torso. So I'm looking at this image, and I'm thinking to myself, really want to get that big gesture for the front part of that? To also get that in there first and then start to develop. The other two areas could very well just use an entire bean shape for this pose, the tendency to lean a little bit more towards breaking up the torso into its two parts. But again, it's all going to come down to exactly what pose you're working with. We're all going toe have preferences as to how we approach each of the body parts. But we should also have sort of back up options as well. We shouldn't really be beholden to that being shape or those egg shapes or whatever choices we we go about making so test out different shapes for not just the torso but other areas as well. See what works best for you. If it's a cylinder shape, form or boxer structure, then try that out. You may very well find that a cylinder shape is the best option for this torso constructing this whole areas. One big soon die flattened cylinder shape that's twisting away from us. So definitely try different things out. Try different shapes. See which combinations worked well together. More tools we have at our disposal. The more challenges that we can overcome. Just looking at this pose now I may have pushed this a little bit too far Back. Might have a little bit too much compression happening compared to the image, but that's been a mistake to make them having things being a little bit too stiff. It's going to sacrifice a little bit of the realism. If we were going for something that was farm over still life image, then we probably do have to be a little bit careful of half while we push things. But sometimes we have toe make a couple of sacrifices just to get the point across. We could probably render this is a realistic image, and most people probably wouldn't notice that she's bending a little far back more than what the average torso can so always lean Teoh. The more dynamic to the longer to the more gestural approach than being quite so literal. So on throughout next image view from the back, this time just going back to what we were just talking about pushing things. If we doing more realistic images, of course, we're not going to necessarily be bending our torso and arms and their legs and other areas , too, you know, ridiculous lengths. Otherwise, it starts to get a little bit too cartoon yet that at that point, But if we are doing something like animation, for instance, then that's actually going to be very beneficial. What you'll find with animation or specifically, traditional hand drawn animation, is that the artist will often exaggerate the characters movements two, ironically, make them look a lot more believable. There was a draw, Micky Mouse or Bugs Bunny, or whoever it was in a way that is more representative of what happens in real life. Then, finally, enough, the characters will start to look not nearly as alive and believable as what they do when they exaggerate the poses, and they do the same for inanimate objects as well, in order to bring them to life. For instance, the carpet in Aladdin or the household items in beauty and the beast. They'll exaggerate those movements of those inanimate objects to make them look at life. If they animated the candle from Beauty and the Beast in a more logical way, that you would probably assumed would happen in real life, then the character, ironically enough, would just never move correctly. It would never feel as if it's alive. It just be the certain mechanical stiffness to it. What we're trying to do here is something very similar, you know. The difference, really, is that we're trying to kept this in a single frame. So in many ways, we've kind of got a little bit of a more difficult task ahead of us than what the animators do because they've usually got about 12 or 18 frames to be able to create movement. We finally got the one, but how far we end up pushing that movement is ultimately going to depend on the style of drawing that that we're trying to do. All right, let's consider this one done and we'll move on to our next image. Right, So we've got the first of our five minute poses here. Avery Very cool, actually. Pose here. So a little over twice as long to work on this one a little over twice as long to make a whole bunch of errors as well, says a bit of a trade off. So our torso isn't twisting all that much in this one, but we do have a lot of do. You have a lot of compressed in stretched areas that are happening throughout the entirety of the body We've got the torso is almost most one big shape for this one, but we've got the arms and the legs creating those compressions and those stretches. This is what I like to refer to us. Sort of a comic book, e type of posed the action shot of the heroin coming toward us. It's Wonder Woman on the cover with less so in hand charging towards the viewer. You know, we wouldn't do this type of parts of you doing a still life. So this is a good example, actually of wear exaggerating things further than what we wouldn't real life would come in handy. If we're doing sort of comic books styles of art, then it's almost like animating in a way because we really want to get the sense that you know the Hulk is smashing through that wool suit. Man is throwing that punch at at Brainiac or whoever it is. So comic books manga, that's all about really does lend itself to dynamic poses and dynamic action sequences. We can also get a wife it with doing something that's a bit more realistic. Maybe we're doing some type of Frankfurt set a stall fantasy piece with the Barbarian with the big sword in hand, charging at the dragon or great beast or whatever it is he's fighting. There are, of course, going to be times where we actually might need Teoh stiffen things up a little bit more for our characters. Maybe we're doing some type of soldier. Who's that? Attention. We really want to get the point across that this person that this character is very stoic and very hard to knock down. There's some type of, you know, guarded attention or something like that. So there are going to be instances where we are actually going to have to step in things up a little bit more, make things look a little bit more mechanical. We're doing some type of rival android type of character then it's going to make a lot more sense. Toe have a lot more straight lines. Have a lot more rigidness, too, to the structure of the character. Overall, if the characters a lot more organic in nature has a lot more curvature going throughout it , then that's where we're going to start leaning towards thes these twists in these bends and really emphasizing them a lot more than what they need to be. So I'm looking at the image that I've drawn out. I've probably made the upper torso a bit too straight. The feeling that I get looking at the reference images that she's actually hunched over a little bit more. There's a little bit more of a curvature that's happening here than what I've put down. But overall doesn't hurt the image too much, but it probably sacrifices a little bit more of that fluidity. If I was working on this a little bit longer, I'd probably just erase all that pot and just start to bend things over a little bit more, just to really emphasize the the feeling that she's, she's about to attack the viewer or she's about to attack the villain. What a story you want to put towards that image and storytelling is essentially what we're trying to do here in one simple frame, one image. We're trying to tell the story off that character charging towards something, or maybe she's running away from something could very well be a case that something's chasing her in the distance, and she's desperate to get wife from it. And if we don't emphasize the movements enough, then that story is never going to truly shine through. It's not gonna met up too much how much detail we start putting over the top of it. We could make this look beautifully rendered, but if they are dynamic forms don't look quite right. Then it's not going to matter too much how well branded out character is or what other elements we put in the environment. So this is why pushing that leg or making that torso curve a little bit more over is going to be far more beneficial. It's going to be way more beneficial if we push up curves, make our compressions a lot more strong than not doing any of that. If we take things too far, we could always take it back. So always linked to doing things a little bit over the top to begin with and then, if need be, bring it back a little bit. So it's probably a little bit too conservative with this reference, but we just live in, learn from it. So it will consider this one done, and we'll move on to our final five minute image for this lesson. All right, Andrea lost one. Got a lot of twisting in a lot of movements happening here. Got some twisting happening with the raised legs. Well, so it's not just the torso that we have to be concerned with for this image is quite a complex one, actually. So I'm just going to slow down with this one, and so I just feel my way through it. We have to rush, even though we've only got five minutes up their sleeves. We are just much better off just taking out times and just slowly analyzing things, getting that s rhythm, for instance, correct first and then start to build up construction. And now pastor overlapping each other. I'm feeling that the being in shape is the best way to approach this image. The tools I feels very much like one big shape. So going to stick with the bean shaped for this one. Just build from that. This is what a good idea to have sort of back up options available. We can have our being shape. We can get our two separate shapes, you know, boxes or Boesel cylinders giveaway want. It's putting a little bit of this arm work here, the arms also doing some bending and twisting as well. We'll go over the arms and legs in the other areas in more detail, and the torso is well. We've talked a lot about it, but we actually haven't talked much about its overall structure. The upcoming lessons will be delving informal detail for all this stuff that's developing helps a bit more, more or less got the torso in place. I can stop thinking about constructing these legs now. Now the leg that's raced towards us is going to be a little bit difficult, so normally I would use a cylinder shape for this, but I'm probably gonna have to change it a little bit too more of an egg shape just to get the just get the basic feeling right This is another good example of way having those additional shapes in the back of our toolbox. They're going to come in, handy says. You can see I've got a pretty basic cylinder shape for the left leg, but the one that's raised it's going to require slightly different approach. It doesn't necessarily make a great deal of sense to simply use a cylinder shape for this one. It feels just a lot more a normal egg shape in this perspective. So we need to have a little bit of flexibility. He with their forms and with their gestures, just gonna start doing a little bit of detail work here for the last couple of minutes. I feel comfortable enough at this stage that I've got enough foundations in place where I could actually start to put these more detailed areas of the top, start bringing in a lot more of these gestural rhythms and start building up a lot more of these instructional parts. We don't want to dive into early with their detail ing that is usually the fun part of the drawing process, but we really need to ensure that our foundations that are in place first there are gestural foundations. Our dynamic pose foundations are strong enough first, before we start diving headfirst into doing all that fun stuff. So as we start toward this, listen down, I hurt. This lesson has been of benefit to you. If you missed Lesson one are highly recommend going over that one. First, it's going to go over a lot of the same ideas that we've covered earlier on in this lesson in far greater detail. The reason we haven't thrown all of this information to you about bending and twisting and gestures and construction. In what lesson is that? It's simply a lot to cover. What us artists are trying to do here is very complex. We're dealing with something that has a lot of moving parts to it, and as such, it's very easy for people who are just dining out to get completely overwhelmed with all the information that is being thrown towards them in less than when we talked about how we go about thinking of gesture, how we go about thinking of construction and now listen to we've taken it to the next level where we can start to think about manipulating those two ideas to our needs. We're taking it one step at a time, building up our knowledge, slowly building up that database and working out for ourselves a process which, in the long run is going to make the drawing process a lot smoother for us. So practice along with these time drawing sessions is often issue new two or look for your own images as well. Set your own timers or just draw for as long as your heart is content. The timer is really just there in order for you to make a decision. So if you need to turn it off and just work at your own pace, by all means do that. So as we wrap this, listen up. If you have any questions, please feel free to awesome in the discussion section below. And if you want feedback on your own sketches, feel free to post them. Make sure you push those poses to make them bend and twist as much as you can, and when you're ready, feel free to move on to listen. Three. So until then, Breck Assad and practice often