Beginner Figure Drawing Fundamentals - Figure Proportions and Balance | JW Learning | Skillshare

Beginner Figure Drawing Fundamentals - Figure Proportions and Balance

JW Learning, Drawing the Body, Head and Hands

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11 Lessons (1h 8m)
    • 1. Trailer

      0:30
    • 2. Head and Neck Proportions

      4:45
    • 3. Shoulder and Ribcage Proportions

      3:21
    • 4. Pelvis, Leg and Arm Proportions

      5:06
    • 5. Profile Proportions

      4:14
    • 6. Back Proportions

      4:35
    • 7. Drawing Process

      6:17
    • 8. Balance

      3:14
    • 9. Measurement Options Demo

      4:27
    • 10. Timed Exercise Session

      16:00
    • 11. Timed Exercise Demonstration

      15:58
29 students are watching this class

About This Class

In this lesson, we cover Stage 3 of figure drawing - Proportions. We'll break down the figure proportions from the front, profile and back.  We'll also look at how we go about juggling it with our first two stages of Figure Drawing, Gesture and Construction. We'll also take a look at Balancing the figure and how to develop a Drawing Process for ourselves. This lesson is best studied along side Lesson 3 - Construction of the Body Parts.

Stock images courtesy of:
Senshi Stock

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

Transcripts

1. Trailer: We've spent the last couple of lessons going over the 1st 2 stages of figure drug. Now it's time to move on to Stage three, which is proportions. We're going to look at the front, back and side measurements, 12 figure. We're also going to take a look at belts and how to juggle all of this stuff together with a drawing process and will end this old with another time drawing session. So grab your pencil and paper and let's get going. 2. Head and Neck Proportions: So let's look at the entire figured out and develop the proportions of the parts will do. The front, back and side profile will also cover some of the differences between the male and the female form. Again, keep in mind when it comes to talking about the differences in either sex or even ethnicity . The underlying anatomy, the skeleton and muscle structure, is the site. It's just going to be some size differences here and there. A slightly round a waste, a slightly wider neck. The muscle mass and fat deposits will change these shakes, but everything underneath works the same, so it's just going to be some subtle variations. All right, we're going to start with their head shape gesture in our structure. Keep in mind like we talked about in the last few lessons. Even though it's an important step, you don't always have to start your figure with gesture. First, we'll delve into that a little later on. When we talk about the process, it's not really going to matter to the person looking at the piece where you started, what matters is you get the right information down. If you have an idea of where the gesture line is you might not even bother putting it down when you start getting really good at what you're doing. But keep in mind that brings its own risks because the more steps you skip over, the greater the chance is for making areas. I have talked about making shapes that are easy and quick to put down, but we don't want to be careless with that process. It up five minutes isn't a lot of time for oppose. So what ends up happening when we do our time drank sessions is we tend to have the clock in the back of our mind, and we try to speed up to get the whole image down. And what inevitably happens is we start taking short cuts to do it. You're better off using that five minutes to draw as much as you can, using the right process. If that means you only get the top third of the figure down on paper, that's a better result than rushing to get the whole thing down. Stick to the process first. Don't just save yourself. That hell is close enough to being in proportion with the torso. Take the time to make sure that is the case. Speed and accuracy will come in time with practice. So getting back to our head, we went over a little bit off the proportions and listen. Three. So let's just go over this again. We got a gestural on down thesis. It'll on of the Feiss and then we're going toe. Add in the R line. The island sits almost exactly in the middle of the head, giving us this nice, long and short access. Now, if you're going to make areas in this part, you're better off making the jeweler and longer than the forehead. You can usually get away with that much more than you would if you make the forehead larger , especially with more superhero stall. Heroic characters and the eyes would be positioned here. The head is roughly five eyes and wit, so if you divide the face up into five equal parts, the eyes would sit roughly in the second and fourth parts. If you divide the eye line and the chin and 1/2 you get the bottom of the nose, and if you divide the nose and the chin and half, you'll get the end of the bottom lip. If we measure the distance between the nose and the chin, we get out brown line, and the ease will fill up the space between the brown line and the nose. That's it. Roughly about the midway point of the head, the easel very from person to person. Someone only reach as far as the eye line. Some will extend beyond the brow line, but this is the best estimation for positioning at this stage. Sometimes what happens is you'll find once you add the easing that the top of the head might end up looking a little too small. So make sure you add in some of that extra volume. If things look a little disproportion, usually the hair will take care of that. But just make sure to keep an eye on this area. Let's start to move down. The neck is about 1/3 of the length of the head. It's normally a little longer and thinner on the FEMA, and a little shorter and stockier on the mile. The nick on the male can get as wide as the head itself, especially on a larger or more muscular male. So if you want that superhero character. Make the neckline about the same width as the head, and if you want that beautiful, graceful princess character, make the head longer and thinner. 3. Shoulder and Ribcage Proportions: Now let's take a look at the shoulders. The shoulders are a very complicated area, probably the most complicated area off the body. So for now, we're just going to look at keeping the motionless to the side. To make life easier for ourselves at this early stage will go over them in more detail in a future. Listen to keep it easy for ourselves. Nevada. How dynamic. Position our shoulders. Aaron. We're going to treat the shoulders as the corner point to our arms. We're going to treat them as if they sit on top of our fruit cage. And no matter how much remove them, we want to think of them as being the corners to the arms. So we need to put down our shoulder line, and the place to put it is that the pit of the neck, which, as we've already said, is 1/3 of the length of the head. Now we need to build more to this. We're going to have a transition from our Nick into these nice wide shoulders, so we have this triangular shaped blending in with the still in the shape of our nick. We're doing a female, he the male shoulders would be a little wider. And if he's a really muscular figure, that triangular shape will actually bowled out. The female or a younger child will tend to curve in. Now we've got our head, neck and shoulders in place. We can start to develop our torso. I'm going to extend Al gestural on down now to find the bottom off the rib cage. If we take the measurement from the top of the head to the pit of the neck, that shoulder line and measure that down, we get the bottom of the rib cage so we can start to add our shape for the rib cage. Now notice. I'm using the flattened A form him and I'm drawing it through toe wear. The neck is if you use a cylinder, you can just draw the shape until it meets the shoulder line. I prefer the egg form because it makes the rib cage look more connected to the head. But choose which ever method suits you best. Either one works Now. Remember what we talked about in the Lost Lessen? The rib cage tilts backwards, so if we're looking at from the front, it's going to be Children away from us. And if we go back to our pencil tests that we learned in less than one and use it on ourselves, we can see that the top of the rib cage seats further back than the bottom. Of course, things changes. The position is leaning over. But if we are in an upright position, then a rib cage is going to be going backwards. Notice how I've added in the cross contour lines. I gradually arch them Maura, Maura as it gets closer to the top from this perspective or any perspective, really, we want to really implying this former and these pots. So we want to wrap around these lines around the forms. Don't give them a hard edged corner. Our curves need to merge without outside shapes. Rumor. There's both of back in the front where figure and we need to feel like both of them are there 4. Pelvis, Leg and Arm Proportions: So as we move further down from the top of the head to the pit of the neck, if we take that measurement and move down, we get the bottom of the rib cage. Now, if we take that measurement again and measure down, we get the bottom of pelvis or the bottom of the pubic area. Now, this is one way to do our proportions. But if we take the length of the head and measure down, we get the nipple line or the bottom of the sternum. And if we take that measurement again and move it down, we get the belly button. And if we do it once more, we get the bottom of the pelvis. So we've actually got two units of measurement in the upper part of the body that we can use one that more measure in thirds and the other in quarters. And both will be useful in defining different landmarks for the pelvis. It starts out roughly the length of one fist down from the bottom of the route cage, just a little below the belly button. As I'm during female, I'm going to make the hips wider, and so I'm going to use that bulging box shape or that miniskirt shape, the male will be a more boxy instruction, less rounded now Remember, in the lost lesson, we said the pope was tilts forward. So when we put out shape down, we want to be drawing it with that perspective in mind, moving out cross contour lines around and down through the form room. But we've got that C shape in this area. The rib cage will talk back, the build button will flatten out and the purposeful tilt forward. We'll see it better from the pro for perspective when we get to it. So the bottom of the pelvis is about the halfway point of the figure. We can either measure as foreheads in length or three shoulders in length. The legs are going to start around halfway from the bottom of the purpose. You can also started. A little lower to either is fine, but it's probably going to make life a little easier for image mints if you started from half way and we're going to measure foreheads down from there, so start half a head up from the bottom of the pelvis and measure foreheads down from there . This gives us a body length off 7.5 heads talk. Some artists will push that toe even eight, but in real life it's closer to 7.5. The needs will be half way so two heads down from the starting point of the pelvis and another two heads to the bottom of the feet and the ankles. They're about half ahead from the bottom. You might find the legs end up looking a little short when you're doing this sometimes, so if that happens, just extend them a little. Making them longer is a better air to make, especially if you're doing a heroic type of character. That little bit of extra length will help make them look even more heroic and statuesque. So if you're not sure about the measurements or if it looks a little short, lean towards making them a longer version. And this really goes for any area of the figure. You're better off making things too long than too short, and you can always scallop back if you need to. So as you could see, we've got our measurements, Stan and we've got our structures in place that create that be shape that we talked about in less than three. And if I go back to the shoulders, we can now start to construct the arms. So we've got a shoulder line as the corner joint to our arms so we can swing our arms down from here in the C shape that we talked about in less than three. The area from the top of the arms to the over terminates some way between the bottom of the route cage and the belly button, so it's roughly about the same length as the rib cage. The four arm from the elbow to the wrist is about the same length as the upper arm, and it lines up and around the bottom of the pubic area. The hands will extend beyond this area, and the fingers will end roughly where the midpoint of the flies out there. This is a female. Obviously, the male is going to have a thick and neck or wider chests. Thicker wrists in Haines, bold your obliques and a narrow waist. Boxier structures will make things look more masculine, and curb structures are going to make things look Farmall feminine. So that's the front view off the entire figure 5. Profile Proportions: onto the profile. We don't have the luxury off that natural centerline for our gesture, so we're going to have to approach this differently. We want to start with their head, that rounded box structure or whatever structure you choose and a touch assumed the shape for the neck. If we take that head in, split it in half the East, it's roughly half white, the rest of the facial features alike proportionately with the front of face. We'll delve into that in much greater detail. When we do a full lesson on the head anatomy, the pit off the next sits about in line with where the joint is now because the rib cage sticks out. We're going to push out gesture lines out this way, and the back of the neck is going to see higher than the front of the neck. If you look at the shoot that you're wearing right now, you'll see the shirt. Cola wraps around the top of the neck and drops down to the pit of the neck. The top of the rib cage is lower in front and is higher in the back, so you won't make sure wherever the pit of your neck is you want to come up higher in the back. The back of the neck is going to go underneath the skull and connects roughly where the island is. So we've got a neckline here and then got to swing out. Just get down and around into the back of the room cage. Now, at the moment we don't have to deal with shoulders or the arms. It's going to be far easier, drawing the torso first and then adding the arms in over the top. We still got this tricky high low area, this squash and stretch happening that's going to take some time to get used to. So that's the root cage profile. They're going back to the front again. As you said earlier, the route cages tilting backwards. So we're going to start with our gesture at this angle, and as we approach the belly button, we're going to start to flatten it out a little bit. And then as we approach the pelvis, we're going to talking out just under there and start to build out Pulver structure. On top of that, whatever shape it is you've chosen and we're going to have the small of the back. He in between the back of the room cage in the pelvis, and that's going to be a little bit straight up. Remember, the pope is tools which creates this C shape in the front, and the reaction to that is going to be this crunching action in the back. So we've got our squash and stretch happening. He that being formed, that we talked about in less and to in our torso. I'm doing a theme about here, so I'm dropping the shape of the gluteal area a little bit in making it round up a male Corvis work tilt as much and will be a little flatter it square. The obliques will start about 1/4 of the way in, and we can use that as a guard for our legs as well. We could start the lakes from either the front of the hip or from the back side corner of the pelvis, build it out into al sheen and feet, and then come back around to out cough muscles. And as you can see, we've got that lovely, flowing esseker that we talked about when we broke down the body parts and listen three and so back to the shoulders and the arms. If we come back to the pit of the Knick and draw the shoulder line outs, that bony structure will align roughly with the back of the And from that we can start to build our arms down. Remember, the arms would relaxed, are going to have that C shaped curve from this perspective, and the proportions will a lot of the front, and that's the figure and broke fall. 6. Back Proportions: finally to the back now. Well, we're gonna look at from the back of the head is a speed which makes things getting looking right, a little trickier from the profile in the front. We've got a lot more information to help from. The back of the head doesn't have a lot going on. So we've got our ball shape of the head. And what makes this a little difficult is we have a Siris of overlapping forms taking place . We've got our neck going up underneath the skull. We've got our face, which is wider than the neck, which is in front of the neck. And of course, we've got the ears in the middle third, the neck is coming back towards us and flaring out to the sides, just like in the front. The main difference he is that from the front, these muscles that flare out are sitting behind the neck. Now that we're looking at the back, those muscles are in front of us and go away up to the bottom of the skull. So we've got around skull shape and muscles here, flaring out to the side, finishing on the shoulder line and tilting into the skull and our face sticking out to the side. Then we could start to move down without sent a gesture line. Now the Ellen shape of the back is going to look the same storefront. If you look at it in a shadow, it's not gonna look any different. But there's a few differences when we start to head out for me, I'm going to stick to the same egg shaped form is the front the end of our group? Cage sits lower than the front, so if we're using our head measurements from before, the bottom of the rib cage at the back is about three heads down, about in line without belly button. Now we've got the shoulder blades in the back of the room case that we have to consider. We'll go over them in more detail in a later listen, but as a general rule, they sit about in line with the nipples. So about one head down is where the bottom of the shoulder blades are, and they align roughly with the outside of the Knick. This is all the rest of mind you in motion the shoulder blades of very fluid in terms of positioning, so it's going to come down to what direction? The arms Aaron. But at rest, this is approximately where they sit. This area also tends to flatten out a little before curving back in similar to the front. So if we start drawing in our cross contour lines, they'll curve over at the top. Start, straighten up. They reach the shoulder blades and then start to curve under as it reaches the waist area and they're the purpose area will start to push it again. It was pushing towards us from the front. It's pushing away from us in the back. So if we go over the whole back area, we've got the top, which bulges out, flattens moves under, flattens again and then bulges out again of the bottle. The glue deal structure ends here about 4.5 heads down. It will vary from person to person, but this is a rough guide. The split in the structure will end about halfway the length of the pelvis, and we've got a couple of dimple landmarks just above that, and we'll cover those in a later time because they're important landmarks for the back, the legs and arms don't differ too much from the front. The proportions are the same. It's just the basic rhythms are going to be the opposite off. What we didn't affront. How shapes and forms obviously going to differ as there are different muscles here, but the general foundations and proportions are going to be the same. And that's the full figure proportions from all the different angles, all the basics that you need. We'll take a more detailed look at some of these areas later on when it comes to articulation, so we've got some more work to do. But this about covers the basics for the 1st 3 stages of figure drawing. So now that we have an understanding off gesture, we have an understanding of construction and we have an understanding of proportions. Let's look at a process to help us work 7. Drawing Process: Okay, we're going to discuss our process now. If we want to develop a career in art, or if you just want to take your drawing hobby to the next level, it's important to have a process for yourself. We've developed an understanding of what gesture and construction is. We've defined them at the most basic, as curves for gesture and cornice for construction. And now we know what out proportions are. So we've got to figure out a process in order to control things. Our process is going to be gesture structure, proportion or curves, corners and measurements from the biggest basic shapes, all the way down to the tiniest little skin folds. We won't have this process in our minds as we develop our figure. So let's break this down. If we have a look at this price fall, we want to look for a large gesture. Lives our longest access curved lines. Now remember, we're trying to make this as easy for ourselves. It's possible. And if we defined gesture and lesson one as the murder hood, the forms of making together it means ignoring all these bumps and dents in just capturing as much of the individual body parts in one sweeping curve gesture line as possible. And we want to do this for the whole figure, to look at the biggest curves we can see, build our construction over it, measure out proportions and gradually work our way down to the smallest areas from the whole head all the way down to the pinky toe. Each area is going to have its own gesture, its own construction and its own proportional measurement. So with this profile image, I'm going to say the front of this head is our first gesture. The upper back is going to be out. Second, the front of the torso is going to be out third and so on and so forth all the way down. We want to capture these big groups of body parts together in the fewest curves possible. The reason we don't want to overdo it with curves at this stage is because we can end up making things look to elastic. So the rule of thumb here is that the fewer directional changes in the body, the less gesture lines we want to use. So if this arm was bent, we would need to gesture lines but because it's relaxed, we only need one to read. Jessica's will result in the figure out looking to fluid and too many construction corners will make the figure look too lifeless. We need to look for that balance off curves and corners. So if you look at your drawing and it's looking stiff, go back to your individual body parts and add more curb gesture lines to it. And if it's looking a little too elastic, want toe adding out corners wherever there's a change in direction of our structures, something like the side of the face or a point of articulation the mobile the risk, for instance. That's where we want to indicate more corners. For instance, this arm ends up looking to elastic. We go to the jointed elbow and ed simple structure to it. Nice clear corners at these joints, and if it's too sharp and it starts to stiffen the drawing, we can come back again over the top with their gesture lines. So you really have the option If you want to chisel out your gesture first, starting with more of a construction, all foundation, then come back over the top with gesture to smoothing it out. Think like your sculpting or chiseling your carving out corners and then rounding the Moffett Sandpiper. We want to be going back and forth between these concepts off gesture and construction whilst taking into account proportions. We want to check out proportions every 30 seconds or so and to be aware off the part we're drawing and making sure we're staying true to its proportions. And we don't really want to proceed into the next area of the body until we have enough structural information down and we have the correct measurements in place. That way we could be confident out drawings again the look and feel rights, and we want to start big and work to the small. In other words, if each of our body parts can be broken up into ever more refined gestures, structures and proportions, we want to focus on the big stuff first and work our way down to the small stuff. So we might say these big areas here gestures one through six, which we will then build out construction on top off. Then we'll have our secondary gesture lines, maybe the smaller areas he and say that's just is seven through 12. Build on top of that and then work out our tertiary lines and structures and so on and so forth. Start big and work your way down to the small stuff. This is how we get ever more sophisticated designs. This is our process. This is how we get better control of our drawings and paintings. Now we're going to make mistakes, of course, and it's obviously better that we make them at an earlier stage. But the beauty off this process is that even if we find out later on, when we start over laying out shading in our color that we made some type of error, we can come back to this process and fix the problem. So if we've discovered, as we shading, say, gesture number six, something isn't quite right. We can come back to the process, analyze what we did wrong and fix. The mistake when we have a formula for how we work, not only doesn't make things easier, it means we have control 8. Balance: Let's take a moment to talk about balance. Were consistently fighting with gravity. When we stand upright without balance, will tip over and the same needs to apply to our art. As beginning artists, we start drawing the figure without really knowing this. And so what ends up happening is that when we graduate from learning about the individual stages of the process to finally putting the whole figure together, something still ends up looking wrong. We could have gestures right now. Structures are looking pretty good with measured at proportions, and yet something still looks off. Usually that something is balance. Our figures weren't look right until that balanced. So when we want balance, we need to look for the center of gravity. Where is that exactly? Well, the easiest place to look is to look for the part of the body that's holding the most white and operates standing pose will have the white distributed evenly opposed. Like this, however, has one leg holding most of the whites. When you look at oppose, you have to ask yourself, this is you draw. What part of the body would I have to move in order to make the figure tip over. So if I was to move this leg over here that it's obvious the figure would fall over in real life. So we want to be looking to the area of the body that's holding the whites. Ah, good way to test is to use yourself as the subject matter. Sometimes we are our own best models, so copy the position of the pose on yourself and feel where the weight is taking place. Use that as a bit of a guide. Let's look at another image and take notice of what's happening here. When a figure is in this type of dynamic position, it generates a Siris of opposing actions. In this pose, the shift in white causes the hips toe lean this way and the shoulders to lean in the opposite direction. In this image, the weight on this leg causes the torso toe, lengthen on one side and compress on the other or going back to lesson to our concepts off , stretching and squashing any non upright, staring straight at attention pose is going to cause this. It's basically Newton's laws of motion. We're dealing with anything that rest is going to stay at rest unless acted upon by an outside force, and every action has an equal and opposite reaction. And when we look at our pro fall again, you see these opposing forces in the very structure of the figure, and they're there to keep us balanced. So when you're putting down your foundations, your gesture lines look for the area of the body where the weight is being distributed in order to get it balanced. 9. Measurement Options Demo: Like I said, Let's do a demo. Now I know we've spent the best part of about half a Knauer talking about the proportions of the figure Front. Back inside, we know it's roughly 7.5 day eight heads talk. That's all useful information, but it doesn't necessarily mean it's the right tool to be using. See if we're only ever doing standing up straight poses like a soldier or a guided attention, then yet those proportions are super useful for us. But when it comes to figure poses where the body is compressing or maybe lying down or it's in a really dynamic, actually type of pose, then things start to get a little bit more complicated than those proportions. Don't become as useful to us in that instance. So if we take a look at this reference in mature, we can see that her left leg is carrying most of the weight. He That's where the center of gravity is in this particular post, and it's causing the hips and the shoulders to move in opposite directions. So we've got a lot of compression and expansion happening here, and that's going to throw off their proportions that we learned. So what we do here? Well, we really only need another unit of measurement. When the post was standing upright, we used the head. We said that the average figure is about 7.5 toe. Eight heads talk. And so when we get to oppose like this, we really only have to find another unit of measurement and use that as our guide. In this instance, we can still use the head here. But if we measure down due to the compression off the figure due to the white being shifted onto the left hand side, we're going to find that the head to the pelvis area is only about three heads in length and from the pelvis to where the feet are only about two and 3/4 heads in length. So it really doesn't matter what your measuring stick is. You could use a hand. You could use an arm, you could use a leg. It really doesn't matter. All that matters is you have something that could be used as a ruler, so I could use the arm here and say from the shoulder line, this figure is three. Arms down to the feet, so it really doesn't matter if we get stuck. All we have to do is change your approach slightly. So we now know that if we come across a more standing up straight figure, those earlier lectures are going to come in handy. And we also know now that if we come across something more like this, we've got an alternate method that we can use to ensure that everything is looking right. Proportions aren't necessarily about calculating things 100% accurately. It's more about remaining true to the body parts or to the figure as a whole. The part or the figure that you're drawing might not necessarily be accurate to the live model all the image reference that you're drawing. But if it looks right, that's all that really matters. You might be drawing a figure that's 10 heads tour, and now that might not necessarily be mathematically accurate to real life. But if it works, if it looks good on paper, then it is correct. You're much better off making things far taller than shorter. That's probably a better error to make, and that sounds like a bit of a strange concept. The idea that there's a good era to make, but it's an idea that goes beyond just the proportions. We were not really push that gesture line to be far more dynamic. If you look at the posing I'm during, you can see that I've exaggerated things a lot more, and it ends up looking far more interesting than what the reference in which does. So that's a better era to make you better off making things look far more dynamic. Farmall fluid Farmall. Heroic Then what? It would look if we want to make things look smaller, and if we push it too far, we simply just scale things back a little bit then so we can make our proportions a little bit small up. We can add some corners to our gesture lines toe help stiffen it up a little bit. So we have good areas that we can make end. We know how to fix them. So now it's tough for you to do some time drawing sessions for yourself. There's going to be 35 minute sessions in the next video. Each has two images in there for you to reference, so feel free to focus on one or maybe split the time between the two of them and see how you go 10. Timed Exercise Session: - all right. - No way. Oh, - okay - No . . - Hey , - No way. Yeah. 11. Timed Exercise Demonstration: All right, let's do some drawings now. So we got two poses here. I'm going to I split my time between these two. Try to get as much as I came down for both in the five minutes. So about 2.5 minutes for each one. It's super important not to rush yourself. He I know the frustration that can come about when there's a clock, they're all of a sudden you've got this unnecessary pressure that's over your head. You've suddenly got a deadline. But all that matters really is getting the correct information down in that period of time , not how much of it you get down. So if you're doing opposed like this, and you really only get the top half of it or the top 2/3 of it, if the information they're rings true than that's really a better result than rushing through it, trying to get everything down and worrying about the cloak, it's always a case in the back of our minds of like we need more time. I just need more time. But the practice he is really about getting the process right. You're much better off getting that leg looking correct, getting its proportions right. It's shapes. It's just is correct, then worrying about the whole figure. So it just make every mark account. The less time we have, the more prone we are. Two mistakes, especially if we're trying to get everything down in that five minutes or that to men's or even that 10 minutes. See, even professionals will still do this. They're better off spending at 15 minutes just working on that handle that label, that arm getting that looking right then tried to squeeze the whole thing in. So I hadn't quite got the right leg. Correct. It's angles off, and I'm not gonna have a great deal of time to do anything about that. But it still rings reasonably true this pose. So even though I could if I had the time, spend time fixing, it might be a case where I'm reasonably happy with how that looks. Anyway. It doesn't necessarily look incorrect. And so even though that is, and the aero that doesn't ring true to the photograph, it rings true enough to the viewer. And I've just realised I've spent way too much time on this one, so I'm going to get have about 90 seconds for this other parties, so we'll try to get as much of this down in the time available to meet. So this would be the type of pose where those lectures we talked about at the start would be super useful in terms of getting out measurements right, because it's fairly upstanding and it's very flat on. But I've left myself no real time to really do a proper chick. But giving yourself a limited amount of time a minute, 90 seconds, even something like 30 seconds gives you the opportunity to really just focus on the gesture off the figure. Quick sketching is very useful in terms of getting the action down. It's not useful in terms of building things up properly. It's not very useful in terms of accuracy or building construction. But in terms of capturing the idea of the post capturing the story, it does have benefits. So try doing both longer and short, opposes do your own time drawing sessions, set your own alarms for your clock and see how you go thought. All right, so let's move onto the next series. So I think I've got to try to focus a little more. I'm just one of these images here. Now. Give myself a bit more time to analyse things properly, get my proportions right and fix my mistakes as well. Super important. We start simple in work complex Michael was talking about in the lecture series. We want to capture the big shapes first and work our way down to the smaller stuff. There's no real point getting bogged down with those type of details at this stage because what will end up happening is where we'll get distracted by that will become somewhat obsessed with those details that will forget about everything else. So we want to prioritize. We want toe, find out what's the most important sections to lay our foundations with and then come over the top with the details later on. It's no different to building a house, Really. You know, you wouldn't You wouldn't start building the bathroom foundations and then go into the interior design and then move on to the kitchen. You get the entire house framework down. First, build the brickwork up and then put the roof and tiling on and then do your interiors and we're doing the exact same thing here. This is really just the the frame, all the figure or the detailed stuff is going to come later on. So, as you can see, I've spent the best part off the 1st 2 minutes. Just getting down the room cage in the head and it doesn't look like much right now, and it really isn't. But I'm just focusing first and foremost on ensuring that looks right before moving down to the next area. So I'm prioritising. I'm saying that this is the most important section first. Or at least this is Gestion of one construction number one Proportion number one and then moving on to two and three. And how you prioritise that is entirely up to you. You don't have to start with Head is. In fact, it's sometimes a better option to stop where the main line of action is. So you might want to prioritize the torso area first, because that's where the action line is taking place. The main stretching the squash and then put the head on top, who maybe even the leg. In this particular post, the white is on her left leg, so you might decide that I want to get the balance right in this instance and work from there. Or maybe it's a case of actually doing that quick. The 32nd to 1 minute full vigor pose that quick gesture. Foundation down, thinking of it as some rough markings, just to see way your foundations that going to go and then start to build on top of it. So we've got some options for ourselves. We can adapt and change our process as we need to. Or we could just find a process that works for ourselves. So I encourage you to really look for other artists online, see what tutorials they're doing and what techniques and processes they use and see which works for you. So we're going on a very couple of I see that weaken tackle these images just a matter now of you finding one for yourself. So as you can probably say, I've made the torso tilt a lot more than what's in. What's in the image E. It's given me this extra time is given me the chance to really think about how much I wanna push this design. And as you can see, it's already a better result than the last couple of images. So the benefit of time is better choices. So pick your battles, figure out what's going to be the most important thing to start with. Okay, Lucky lost. I'm going to try to get both down as much as I can. Anyway, They're both pretty complicated poses, though. So this is gonna be an instance where if I'm only allocating 2.5 minutes to each, I'm not going to get a super great results, at least not in terms of getting the full figure down. So this one on the left is very tricky because we've got a lot of overlapping with the torso here with the root cage, the pelvis she's really crunched over. And so I'm going to have to make some careful decision, See, otherwise it's gonna look a bit weird and so measured using her head down to where the legs on its about three heads in length. So that's my rule for this. This is a really good example off where our first lectures on proportions aren't super useful because we can look at this and say, Well, where do I put the markings for, You know, the foreheads down to the police area, and it's not that you can't do it. It's just easier if we find a a different measuring stick. Tricky opposes like this where there's a lot of compression going on or even stretching ones. They just require a little more time to analyze. And so it's super important to really challenge yourself with these type of poses. Don't be afraid to try the same clothes a couple of times because sometimes it it helps to come back to the pose again because you now have a better understanding off what the position is. And you can start to imagine the shapes a lot better, So really challenge yourself. Don't just try it once and say, Oh, I didn't get it right and trying easier pose, thes type of poses where you really want to test yourself and test your process, and to just test where you are at the moment in terms of your development, there's an infinite amount of poses, and they were going to have their own challenges, and I just realized I've been speaking way too much, and I've left myself very little time for this last pose. So We'll just have to do the best we can in the time we've got. So I'm going to do this one a bit bigger, and I've only got about two minutes to get something in. I'll be lucky to get any more than the rib cage at this stage. That's another thing you really should. Practice is doing things that different sizes. You don't want to be just drawing figure at the same size. The reason being is that your mind will get used to drawing the figure only at that size. And so, if ever, if ever. You doing something professionally, for instance, and a brief comes along saying it needs the figure at, you know, two feet tall. You're going to struggle because your mind isn't used to drawing at those proportions, So vary it up. Do figures that are one inch in size. Do the mat foot in size. Vary it up for yourself. So this is probably all I'm going to be able to get in the time that I've got. But just under a minute left, so it's really just going to be the rib cage in the head and a little bit of the arms that all be off to get here. But feel free to pause the timer here. If you really want to spend the extra time on working on your proportions and getting the entire figure down, by all means pause the video. You're not going to lose marks for cheating or anything like that. Test yourself with different time limits. See where your strengths and your weaknesses up, so mix it up. Just keep practicing. That's the most important thing as long as we're practicing with always improving. So I'm going to leave this here for now. If you have any questions, please feel free to put them down in the community section and all see in the next listen.