Beginner Figure Drawing Fundamentals - Gesture and Construction | JW Learning | Skillshare

Beginner Figure Drawing Fundamentals - Gesture and Construction

JW Learning, Drawing the Body, Head and Hands

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16 Lessons (1h 34m)
    • 1. Trailer

      0:37
    • 2. Terminology and Concepts

      2:33
    • 3. Construction

      4:22
    • 4. Basic Forms

      4:36
    • 5. The Body as An Idea

      4:48
    • 6. Gesture

      5:13
    • 7. Positioning

      5:56
    • 8. The Fundamental Action Line

      4:26
    • 9. Overlapping

      1:37
    • 10. The Connecting Line

      1:45
    • 11. Demonstration 1 - Basic Head

      4:40
    • 12. Demonstration 2- Basic Arm

      2:47
    • 13. Demonstration 3 - Overlapping Leg

      1:43
    • 14. Demonstration 4 - Upper Torso

      1:39
    • 15. Timed Drawing Session

      24:21
    • 16. Timed Drawing Demonstration

      23:25
181 students are watching this class

About This Class

This figure drawing introduction course will go over the first two steps of building the figure - Gesture and Construction. In this lesson we'll cover not only why we use these two concepts, but also how to use them in designing our figures. 

Class Project files:
https://www.dropbox.com/sh/u3w0tu6xa328444/AABnoe6vgbAR7d_1plGle28Ca?dl=0

Stock images courtesy of:
Fae Stock
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
Lesson 7 - Constructing the Head Part 3

Intermediate Series
Lesson 8 - How to Draw Hands
Lesson 9 - How to Draw Hair
Lesson 10 - Introduction to Light and Shadow
Lesson 11 - Drawing the Torso
Lesson 12 - How to Draw Feet

Transcripts

1. Trailer: why they welcome to this tutorial on the fundamentals, off construction and gesture for drawing the figure. This tutorial is designed for those who are just starting out and is going to break down the figure in basic terms that will explain how and why things work in this lesson. Will talk about the foundations of figure drawing, break down some sketches and do sometimes exercises. There's a lot to cover and may seem a little daunting, but don't put too much pressure on yourself and just try to have some fun with it, so let's begin. 2. Terminology and Concepts: before doing any drawing. It's important to make sure we're on the same page without terminology. When it comes to figure drawing, There are two main concepts that we have to learn in order to get the basic ideas right. On paper. The first idea is called construction, and the second is cool gesture. So what do these two terms mean? Well, construction is simply the pots of something. In other words, the individual pieces or the building blocks to a specific thing For something like a car, the parts would be the wheels, the engine seatbelts for house. It's something like the doors, the walls, the windows etcetera. For the human figure, it's the hands, the forearm, the fires, all the individual areas that make up the parts of the body. We have to think off the human body in terms of a bank, something mechanical. With all of these moving parts, we want to be able to control these parts and put them all together, which is where gesture comes in Gesture. Is the relationship off these parts or another way to look at It is the implied movement these parts make to get up. It's all well and good to have walls, doors and windows. But we really don't have a house unless there is something that combines all of these pieces together. And figure drawing gesture is essentially the glue that holds the figure together and gives the figure life. Unfortunately, though, gesture is not only the more difficult thing to get right, it's more important than constructing out parts. You may be able to draw hands really well, but unless that hand flows smoothly into the forearm and that forearm flow smoothly into the upper arm, it's not going to matter too much. How well rendered thes parts up with that gesture figures really become stiff and lifeless , and we really want to add as much life into our figures as possible. We also want gesture threat as much of our drawings and paintings as possible from that initial pencil sketch all the way to the finished rendering. These are just the 1st 2 stages off figure drawing. There are other areas that will need to cover that relate to this, But trying to get all of this down at once is just going to be way too much information for us to learn as we are starting out. So we're going to break things down, step by step, gradually moving forward without learning and eventually combining all of this information together. For now, let's just break down these two fundamentals individually. 3. Construction: So let's start with construction first, as it's the easier off the two concepts to start with. As I mentioned, construction is the individual parts of something. Another way to look at it is it's the three dimensional forms of what it is we are drawing . It could also be referred to as mass volumes, objects, solids. There's a bunch of names that could be used, but for now we're just going to stick with form. So to begin, we want to create for ourselves a database off simple forms that we can refer to build from and to eventually combine with gesture later on. You may have seen something like this before. If you've ever opened a drawing how to book or taken an art class is a kid. We're going to start with the three basic forms most often used. They are the sphere, the box and the Sumalindo. Whatever we are drawing, their usually elements off either one or three of these forms in one way or another. In fact, you can look around your environment right now and see elements of all three. Some things will seem or spherical shaped. Some will box shaped. Some will be a combination of all three. We have these shapes at our disposal, and we'll also have a variety of ways in which we can combine them and alter them to our needs. What you'll find as you develop your drawing skills is you'll tend to lean towards one of these particular forms more than others. Some artists for more boxy structures. Others will lean, cylindrical. Some will mix and match. It ultimately doesn't matter which for me end up leaning on. Knowing these forms exist means there's a whole range of possibilities and options for us to construct our drawings. But there's a little more we need to know. We need to know how to think about construction now. If I draw a circle to start, we only have a flat shape to begin with. It could very well be an orange or impossible. We don't know at this stage because it's just in outline, but the moment we add a curve going across it, suddenly we've taken something that's come across this flat and two dimensional into something that suggests Forman volume. We've suddenly taken something that has no indication of three dimensions into something that does what does this mean? Well, we need to break it down a little more. Construction has to be looked at in a couple different ways. It's not just a three dimensional form. It needs to be thought about as being the movement around all the movement across the form . If I drew a simple circle, all I'm doing is essentially tracing the outside line of something. But we really don't know what that something is in the middle. But when I started, add lines across it like so the show has suddenly been given you meaning so what do I mean by that? Well, ah, flat shape will only produce one direction for your eye to follow. But by adding another line over that shape, it will produce a new direction, giving that shape a sense of form. We've taken a two d shape, created a new directional line over it and in the process created a sense of form and depth . So construction needs to be looked at as the direction or the movement that creates full an issue with the figure is that it's so damn complicated. And so what happens is we begin. Artists tend to just end up focusing primarily on the outside line of the subject. But then, when it comes to looking at the inside, we tend to get lost. We tend to make things up. We know it's not right and mind tells us it's not right, but we don't know how to fix it. So from the very beginning, we want to be thinking about turning simple two D shapes into simple three D forms by putting it direction, reporting movement across these forms. So let's look at the simple forms we need for our construction. 4. Basic Forms: when we draw out forms we want to be imagining, moving our hands over real objects. Look around at whatever objects you have in your environment now and move your head across , sore around the object. Get a sense of what that feels like. We want to try to translate that feeling as we're drawing into out Struck's It sounds a little strange, but it's actually going to help us think three dimensionally as we draw, so keep this in mind. Now let's start with Sphere first. For this fee, we want to be thinking as if we are dragging out pencil around that orange around that basketball. Whatever spherical item you might have new. It doesn't matter how many lines you put down or house, so you'll paces. We're just looking for that sense of roundness to the full as we're drawing now. At the moment, it's still just a flat two D show here and outline a silhouette. There's no sense of form to it, so we want to add what are called cross contour lines. We really want these cross contour lines to feel like they're wrapping around the surface, almost as if it's string being tied around as many of these cross contour lines across the surface as you need in order to develop our two D shape into a three D form. Now on to the books. The books is an important tool because it has corners and so we can tell where this form is facing in space. But we have to learn a little bit about perspective. First, we don't have to know it perfectly. It's important information, but we don't need to know everything for what it is we are doing. We just need a few simple elements of perspective to develop out box. If we take the front edge of a box and compared to the back age, well, notice the back one is short up. This is because the further away something is, the smaller it becomes. And if we continue the lines that run parallel along the side, back in spice, they will eventually converge in a point that is called the Horizon line, which is also the same as our eye level. If we look at the books from the side, we start to see that as these sides go back into space, they come together to points lines running parallel with each other will diminish to these points. We can even add 1/3 point offer I line to either on top or below outbox. When we're drawing the box, you want to be thinking of things like bricks and books and anything with flat surfaces and sharp corners for a cylinder. We have something of a combination of both this sphere and the box, thus making it a bit more challenging. We have the rounded volume of this fee along with the perspective of our box, so we need to know where you're both curvature and corners for this one. We want to be thinking of things like soup Keynes, Poles and any other tubular objects you might have around. We'll go into a little more about perspective and positioning a little lighter on, but for now we just want to get ourselves in the mind, set off thinking in three dimensions and the idea of putting movement over our flat shapes to create out forms. It's almost seem pretty basic stuff at first, but it's vital to get used to the idea of drawing these forms because we're going to be using them over and over again. In fact, in order for us to make any real progress, we're going to have to do a lot of these simple shapes over and over again on a daily basis . Even the most established artists still practice thes forms regularly. You don't have to spend hours on it every day, but they are fantastic warm up exercises to do. Once we start to understand what we need to get from our basic forms, our three dimensional pieces out construction pots, we can now use that knowledge to build more sophisticated structures. 5. The Body as An Idea: So with that knowledge, here's what we have to do when it comes to the figure, you can't think of the head as a head. In fact, imagine there's no such thing as a head. Instead, you have to think of the head as being an entirely original creation. In other words, you need to think of a form that best represents what ahead looks like to you. We don't want to think about drawing ahead or four arm or torso or whatever. It's too complicated. We want to be drawing the simplest possible full so you don't during ahead. You're drawing something that looks like an egg or was something that looks like a rounded books. Whatever I d. You feel best represents what ahead is. The other thing we have to consider is simplicity. At the beginning, you want to be laying down the simplest amount of information as possible. This is because number one it's faster number two. We could make changes easily, and number three we can make out poses more dynamic. But what we don't want to do is to make our construction pieces too simplistic, either otherwise, that won't look like our body parts at all and they won't connect well without gesture. So we need parts that have the characteristics of what it is we are drawing, but done in the easiest possible way. So what we really want is something that is easy and quick, whilst at the same time being identifiable enough to what it is we are drawing. Let's see an example. If we look at a forearm, a reasonable place to start without lap would be a cylinder. Whilst it's an OK foundation, it could be better. With a few tweaks at the top in the bottom, we can make it look far more identifiable toe what a forearm actually looks like. So when we compare these two, we can see how much more identifiable toe a forearm. The one on the right is. This is what we're aiming for. The goal is to get enough information down so we can confidently move onto the next part of whatever it is we are drawing. This formula can be used not just for figure drawing, but really any type of construction drawing portraiture, landscape vehicle design, architecture. The same body works to the mall, so we want enough information down that is easy to draw and yet is identifiable enough to the part we are drawing. Let's look at the forearm again. We can characterize the forum as a simple cylinder as before, but if you look at your own forearm, you'll notice it starts to look more squarish as you approach the wrists. So what? We have this something that starts off as cylindrical and then gradually becomes more box like at the end. Not only that, but the forum also has a little bit of a curved quality to it, so that would be a fine representation of a forum that will allow us to build the rest of their drawing on top of later. But we can refine it even further if we wish. We can overlay a flattened bull shaped to represent the bulging muscles of the forum. So now we've used elements of all three of our original forms the box, the sphere and the cylinder to create something that is easy to draw, yet identifiable. As I mentioned earlier, you're more than likely lean towards a particular type of form that's just going to be a matter of taste. So just because I'm drawing this structure this way doesn't mean you have to do it this way as long as your choices represent the pot in the easiest. Yet most identified away, that's all that matters. So there's going to be a burning curve to all of this. But notice also how this isn't actually all that difficult to pick up. It really doesn't matter if you haven't touched the pencil in your life. These are ideas that anyone can pick up no matter what age they are. It takes a little bit of time to understand the ideas, but there's nothing really here that copy loans in a reasonably short period of time. You won't have paintings hanging in museums. That kind of Maastricht will take years. But you can get to a reasonable place relatively quickly, especially if you practice a lot for now. Let's just leave this here and move on to gesture 6. Gesture: moving on suggestion. Now the first thing we have to know about gesture is that it's a little trickier toe workout, then construction, but not impossible. One makes it tricky. Is it something we have to look for? This is in contrast to construction, which is relatively easy for us to say. So how do we think of gesture? Well, if we defied in construction as the movement across our parts or the movement across out forms, then gesture. Is the movement off the forms together, or the connection or relationship between the forms? If we look at the example here, these fees represent out individual pieces at construction pots. The gesture in this example is the implied movement these forms are making together. This is the directional relationship between these pots. We're looking for the feeling off movement between these parts. If you're still a little lost, let me break it down a little more. Another way to think of this is to look at gesture as being the longest implied curved line of a form or the longest access line of form. Let's have a look at what I mean when I draw a cylinder a draw two lines on the side first , followed by the ends to give it three dimensions. But we really want to be drawing anything living with lines that of this straight and rigid because anything that is alive is moving and fluid by its nature, and fluidity means curvature. Gesture is at its most basic, the curves of the figure. So when we are looking for gesture, we want to be looking for the longest possible curves in our forms. Any asymmetrical form or asymmetrical position over form is going to have a long access line or a long, curved line for us to look for. We'll take a look at an example in a moment, but first like out forms, we need to build a database of tools for our gesture. As with construction, they were going to be some basic foundations for us to use. With gesture. We're going to use three lines and out just you. Drori, the seeker of the reverse seek of and the straight line using only the sea curves, will give us a continuous flow of movement In the drawing. The straight line will stop the movement. Notice the difference in the two sequences, one moves endlessly. The other stops dead in its tracks. We will use these lots to not only help create our construction parts, but to also connect our parts together. So let's look at an example. The position of the figure is going to determine how many gesture lines we put down initially because the arm on the left is bent so sharply. We have a couple of long access lines we need to put down. Rosti on the right is more of a gradual arc, meaning there's really only one long curved line is our foundation. Put simply, the more directional changes we see in our figure, the more employed movement is happening, meaning there's more gesture lines we need to put down. And the more curved lines we put down more alive, the more animated and the more dynamic out poses will start. Look from here once. How gesture lines it down. We could then start at our construction parts over the top. As I said earlier, we can look at gesture at its most basic as being the cursed where figure and whilst on mission construction is the forms or parts. Construction can also be looked at at its most basic level as being the corners. So we have both curves and corners. This is ultimately what we want to be thinking off as we are drawing, we want curves to indicate movement around our forms and to connect them with corners to create out forms. I just really is the first part of the overall story off what we are trying to convey. It's an indication of what our character is doing, and if there are drawings, end up looking stiff and lifeless, which at some point they probably will. It's because we haven't included enough gesture in our design. Unless we are drawn a lifeless character, we want to be adding, inasmuch implied movement, fluidity into our artists possible. So now that we've covered the basics of gesture, let's move on to the next section where we will start to talk about positioning 7. Positioning: Okay. So as was mentioned in the last part, we're defining both gesture and construction at the absolute most basic level as being curves and corners. Now I know what you're thinking. You're thinking you told me earlier Construction is this. Now you're telling me it's that I get it. It can be a little confusing at this stuff. So we're not using literal definitions here. We're using these words and these phrases in an artistic context. The idea is to evolve our understanding of this process one step at a time. So now that we understand construction at its most basic, we need to look at it at a slightly more advanced level. We are now going to consider construction as being L form, plus its position in space now three dimensions. Our form isn't much good. Tow us if we don't know what position it's in. So this is what we have to look at now. Okay, so let's have a look at our three basic forms again. Looking at this fear first, if we're now defining construction as being formed plus position, then we have an immediate problem with us fit because we have a lot of full being seen. But no, I d off its position in space. There's no edges and corners here to give us an indication off where the sphere is in its environment. So we're going to have to do something to this speed to help us. What we're going to do is to change our sphere slightly into an egg. There's really only a few areas in the figure that requires a perfectly spiritual object, so we're going to replace it with our egg because it's far more common now. This egg does give us an idea of where its position, because it has a natural, long and short access. So we can tell. Looking at this egg that it's slightly leaning, so leaning is our first position. Looking at our cylinder, we can tell this is leaning also. But we also know, due to its bottom, being visible to us that the cylinder is tilting away from the viewer, so tilting is our second position. Now, if we look at our box, we not only have an idea of where it is both leaning and tilting, but we also have an I D off the direction it's facing. Facing is our third position. Three positions, three dimensions, thes three forms. A lot have corners in them. In the case of the egg, it's actually an interior corner, and we know this because it has that long and short access. But they all have corners in them, so we can break this down a bit more and say the more corners we see, the more information we have as to where in space out parts are positioned. So our construction really isn't complete until we have an idea of where all parts are tilting, leaning and facing. But we can't just be concerned with the position of the forms we have to take into account the position off her eye line or the position off the hypothetical camera, if you will, if we go back to earlier toe when we were initially talking about our basic forms and I line is just another name for the horizon line, we have to figure out where in space objects are in relation to that horizon line above, below, to the side. These are things we have to consider. Now we can work all this out by doing a whole listen on perspective, but As I said earlier, we don't need to go into that level of detail just yet for what we are doing. Instead, we're going to use a simplified method that will help us identify the positions in space. We're going to use a simple pencil. Most pencils, pens and markers well usually have some type of graphical stripe that wraps around the surface or, in the case off the pen and marca a cap that will create that line around the surface. This is super convenient because we now have for ourselves something with a really cross contour line around it that we can use to determine what position our object is in and where in space it is positioned relative to our eye level. So if we drawing something from real life and a particular pot, is giving us trouble, we can lean, tilt and face out, pencil guard around and move it around our eye line to work out what the position is off that difficult part. So if the leg is sticking out a certain way, we can align out pencil in a similar direction and use that cross contra graphic stripe to figure out the position of a leg. If we are referencing a photo, we don't have to worry about moving the pencil around the island because the image is fixed with its own horizon point. So I only have to worry about the lean tilts in face of the pencil. We'll go into a little bit more of this when we stop the practical section. One of the greatest challenges you know is fooling the eye into thinking this flat two D surface we're working on has depth to it. Getting your positioning right is the first step to achieving that. Now let's leave this hit and move back to gesture for a little bit. 8. The Fundamental Action Line: okay, So back to gesture again. Now, I know we're going back and forth between these two concepts at the moment, but that's because we're effectively learning a new language here. And the best way to learn new forms of communication is to repeat the concepts again and again. You really want to get to the stage where you can explain this persists yourself to someone else who's never drawn in their life. I also encourage you to go over this lesson several times and to look at as many online courses and books about the subject as you can, because there are multiple ways to explain these ideas, and it's good to know how others go about doing it. So really, immerse yourself in this and find what works for you. If you can get to the point where you can explain this process to someone else, you're heading in the right direction. So without gesture, we've already defined it at its most basic as being out curbs. But we want to delve into this a little bit more gesture has toe also be looked at as being the fundamental action line off the figure or, in other words, a line that defines what action out figure is making. Simply put the rhythm lines. Another way to look at it is that it's simply the story off the pose. It's not a detailed story. It's more like a short summary off what the story is about, something that captures a rough estimation off. What's happening so I'll go with gesture is to put down that rough information first and then coming over the top without construction forms. Now, at the moment, we're doing these two concepts separately. But eventually we want to develop our skills to a high enough level where we're able to juggle both as we draw, will eventually get to the point where we will intuitively be going back and forth between the two as we make our way through the pose. The thing we need to be wary about gesture is that once we start to put construction on top , our drawings will start to stiffen up. So we really need to push out gesture lines to B'more curved than what we actually see. So if we look at these two examples here, the one on the left is more of a direct copy off the reference image, whilst the 2nd 1 has had the curves pushed a lot more. It looks far more dynamic and fluid because we've exaggerated the curves of the original. We don't want to be copying the drawing exactly. We want to really just capture the idea of it. So taking it back to the idea of it being a story, we essentially want a short description off the plot. But we also want to make that description sound as exciting as possible. But we can push just you too far. Also, if we do that, construction could actually hope us because, as was mentioned earlier, construction will start to stiffen the drawing up. So if we make out gesture lines look to elastic, we can come in with their construction over the top to take it back to a more reasonable spot. And the opposite to that is true. Also, if we find out figure is looking a bit too rigid, that would put a bit too much construction in. We can come back in EDSA more gesture lines to help loosen the pot's up again. So we really want to be going back and forth between these two concepts of gesture and construction until we're satisfied without layout. Now, even though I mentioned gesture is the more important off the two concepts, it doesn't mean we have to necessarily stop with it. They're going to be poses. We come across where we will find it very difficult to find the gesture alliance. So there are going to be some instances where it's going to be more beneficial to begin without forms first and then come in over the top without gesture to establish the rhythm lines. So there's going to be some choices that we have to make in terms of which tools we start with, so just keep this in mind when we move on to the exercises. 9. Overlapping: okay, so it back to construction for a little bit more. Another important thing we need to look at before we begin our exercises is the concept of overlapping. Overlapping is when one object is in front of another. When we begin an artist, start out. One of the most difficult things we set out to achieve is the sense of depth throughout drawings. You can position your parts in the right way using the pencil test, but if you haven't got the position correctly relative to each other, it's going to break the illusion. So we need to look at our references and work out which parts are closest to our eyes. The easiest way to determine which part is overlapping the other is to look for the gesture line that continues from one form into the next. If you look at this example here, the lower leg looks like it's going behind the upper leg because this edge of the upper leg continues through. He's another example. As you can see, the edge of Therefore on is crossing into the upper arm, and the edge of the upper arm is crossing into the torso, so continuing our just July through from one form into another will help us work out which of our forms is positioned closest to us. Getting the overlapping right will go a long way to achieving that depth. 10. The Connecting Line: so a little bit more with gesture and then we'll move on to some practical work now. I mentioned earlier that just yet as being the relationship between out parts. So I want to start to show what that means. When we start to build up out drawings and paintings. It's inevitable that those first gestural lines will disappear. In fact, those initial lines are unlikely to get any more fluid or dynamic. So the goal is to build our artwork from a skitch to our final rendering with those gestural lines in mind, in order to keep as much fluid ity and as much rhythm miss possible, the more and more structure we put on top, the less and less gesture we feel. So we have to be wary of that. So once I put down my gesture lines, I want to start adding in my forms and ensuring they connect with the gesture underneath. So notice that al forms here are connecting and following along with the gesture lines. So what's the general rule for this? Well, when we look for a gesture lines, we want to be looking for the narrowest part in our subject matter as a guide. It's not going to ring true 100% of the time. But as a general guideline, look for the narrowest part of a former as an indication of where to start your gesture and then have your construction pots intersect with that line. This will help keep the underlying rhythm of a gesture true even once we've fully rendered or fully colored al pose. 11. Demonstration 1 - Basic Head: So I know there's been a lot to cover, and I know you're probably saying to yourself some of it, I get some of it. I'm a bit lost thing. I get it. There's a lot of ideas and concepts going on here, but I encourage you to go over these ideas again and again. It's not something that's going to click suddenly in your mind. It's going to take a while to really understand. So I encourage you to revisit. This is often as you can and, as I mentioned earlier, go through as many different art courses to really immerse yourself in these concepts. Just a quick note on how we should hold a pencil and move their arm. We want to hold a pencil. Almost is if we are holding a knife, but very loosely. We don't want to grip it too firmly, and we want to be drawing from our shoulder, not our wrist. The wrist is very limited in its movement, especially when it comes to curved lines. So we want to be using air entire shoulder as we're drawing, almost as if we are conducting an orchestra. So just keep that in mind, okay, So let's start. We're going to start with some individual body parts here, and we're just going to start with a head. Now. The first thing you really want to do before you put pencil to paper is just to observe the image for a moment and taking the information. Even if you're doing a time to pose, just take a few seconds to look at what the subject is doing. So now I've got to make some decisions. So the first rule here is we don't want to copy. We want to interpret what was C. Now, even though this post looks pretty static, we want to still draw with movement in mind. So the first choice I'm going to make is to put down the gesture for the head and the longest curved line. The longest access line in my mind is the face. And so from that, I'm going to build the rests off my head from that initial stroke. Now, the choice I have made in terms of shape is a rounded square. So I need to start considering putting form over this shape. Now your choice might be different. You could do a couple of eggs shapes something that's been more of a sailboat shape. Whatever I d. You think best represents the head. Now, as I'm making a rounded books full, I need to figure out where my corners are. So as I'm dealing with something that doesn't have any hard edges, I'm going to have to look for a spot. Teoh indicate that change in direction and a pretty good spot for this would be the eyebrow line. Because, as you can see, the Iborra line starts toe ash down as it moves across the face. So I'm going to indicate this area as the corner to my face and build some form from that. So now I can move on to the next part. So I'm going to do the neck next. And as you can see, the neck is more or less assume the shape so we don't have to do anything too drastic to it . So again, I'm gonna put down my longest gesture line that I see. And in this instance, this is the line that I'm choosing. And now I'm just gonna add some indication of form with my cross contour lines, remembering that the head is overlapping the neck, so we want the neck to feel like it's going underneath the head and so on to the torso. Next, as before, I'm going to put down my longest curve that I see and then start to build my form from that and remembering that neck is overlapping. L full. And there we are. Notice how little time this is taken to put down these rough guards. This is really the primary construction in gesture lines. From there we can start to go back over with a secondary set of lions and to start to refine our forms a lot more and gradually build up our image toe a point where we're comfortable enough to proceed to the next stage. The beauty off this stage right now is that it really allows you to screw up and too easily correct those mistakes. So you're far better off missing up. He then you are at the latest stage. So as you can see, with just a little more refinement, we've got a decent foundation in place. Let's move on 12. Demonstration 2- Basic Arm: Okay, so this one has farm or movement happening. So it's a good time to start using out pencil tests to figure out the position off our forms. You don't have to make indications on the page about the direction things they're going like I'm doing here. But it won't hurt either. Whatever guides and notes you make for yourself, whatever helps you figure out the positioning, use them now. Notice the gesture. Lines are chosen. This curve of the figure is longer than this one. And this curve here is longer than this one. So these are the choices I'm going to make for my digestion lines and also noticed the pattern this is making if we go back earlier when we talked about with Cie curves moving continuously, we can see this patent starting to emerge that indicates that movie. So I'm going to commit to these choices and start building my forms on top of them for the hands. Don't worry too much about trying to get the fingers right. Just group them all together with a basic shape. To begin with. Hands are a lesson for another time. They're very complicated, so it's just easier at this stage to group them all together in a shape that best represents them. So now I've got my primary gesture and form in place. I'm going to come over the top with secondary drawings. As I mentioned earlier, this initial gesture is going to eventually be covered up. So it's important that whatever we build on top of it follows this line work. Notice how I'm connecting this egg shaped form to the gesture line. We want to follow that idea through to the other areas have our muscles connecting to that line underneath to follow the movement. Even if it isn't true in real life, we want it to be true in our odds. Now. The overlapping in this image is a little difficult to see, so we can use out pencil test to work out which body part is in front. If we look at her forearm, we can tell without pencil. It's tilting away from the viewer ever so slightly, resulting in the up Aram becoming the closest part to us. So that means we have to indicate the upper arm is overlapping the forearm, even if we have to exaggerate it a little more. If you need to put a little graphic down for yourself on the page to help go for it, whatever it takes to get the results. So this one is more or less complete. Let's move on to the next. 13. Demonstration 3 - Overlapping Leg: all right. So onto the next, if you feel like you're getting a little bit lost still, just try your best at this stage. Just be patient with yourself. And don't worry too much about getting things wrong. Just try to have some fun with It is supposed to be a fun, creative experience. And, yes, Wells, there are deadlines that professionals have to add heat it. You have to always remember what it is you like about drawing. It can be really relaxing and enjoyable. So don't get hooked on details just going and do the best you can. And remember, you might not be where you want to be now, but you can get there eventually. So as I move along with this pose, I'm just putting down my notes as I go along. We've got some positional choices we have to make. He The fire is overlapping the lower leg, The lower leg is overlapping the foot and the position off the lower leg is tilting ever so slightly towards us. Like the head, I'm just going to put down a rough shape for out foot again. Don't worry about details. Now. The knee has a little bit of a corner here, as indicated by the change in light. So I'm going to turn us into a little bit of a box shape, just a little tip ahead of time. Wherever you see a change in light is an indication of where there are corners beginning. But that's a lesson for another time. Even down. Always make things look longer than they ought to be and make things look more dynamic than they should be. You can always scale it back. Okay, let's move on to another. 14. Demonstration 4 - Upper Torso: Okay, so one last one, he before you get to try it yourself. Now, the next part of the lesson is going to be the exercise ish in a series of timed exercises . There's going to be a couple of two minutes and five minute poses to stop with, but don't worry too much about the clock. As you're drawing, just get enough information down as you can in the time period. Start small and choose an area of the body first. If you want to be a bit adventurous and try the entire figure that's there, by all means, try it. But I'd recommend just starting small first and over time, gradually building yourself up to that. If you want to pause the video and cheat a little bit, that's fine. You're not gonna get marked down for that. But remember, we don't want to be copying. We want to capture the pose, to translate it and to break the body down into the easiest and most identifiable parts. Remember your basic forms, your gesture and long access curves. You're overlapping, and then do it again and try the poses a couple of different times. Use different forms. See what works and what doesn't work and put down as many useful notes for yourself as you need to and uses many lines is you have to get the posters looking right. So as I finished this last in the job, I'll leave you to try this out for yourself now and then afterwards, I'll come back and show you how I do it. 15. Timed Drawing Session: - No . - Theo way. Uh, yeah. Oh, Way, you hear? Yeah. No. All right, - look , you have a then , - okay ? 16. Timed Drawing Demonstration: All right, let's get things started. So I'm just thinking as I'm stunned, put these lines in just about the the rough shape that is gonna work best for this position . We're going to have to shift our thinking with they are shapes depending on the pose right now and sticking to a sort of rendered box shaped for these foundations. It was a different angle, different position of this head, and I might have to choose something else. But for now, this is going to do and just getting in these corners in as quickly as possible. It's a good idea to try and get as much information down as early as we can in order to start seeing the full depth and dimensionality of figure. And all the while I'm just making little notes from myself, analyzing things, having look a where things are positioned. How is this head tilting? So I'm using that pencil tests that we talked about in the lecture. Just having a look at saying Where exactly is this nose positioned relative to everything else? So there's gonna be a lot of analysis as we start drawing these things. And right now we found the garden two minutes to put this thing together. So we're not really worried too much about details at this stage. But as you can see, with really only a few simple strikes and shapes were starting to get some semblance off the idea off that skull, The idea that hit, remember, we don't want to be thinking off this as a human body we need to be thinking of. This is something that is mechanical, something that we ourselves have created. And if we know how to create these parts, then we can really manipulate the parts to wear needs. So the more we think about the human figure as being something that we ourselves have created, it means we've got greater control of what it is we are doing. So we just need to identify these areas into the simplest forms and then start shaping them to our needs. So let's move on to our next one. Gonna noyce sort of fluid post here just need to focus mostly on the upper torso part of this, and just start to build things out slowly but surely, and really looking at this torso area and thinking of this as being one big still into shape, we can easily look at the torso is being an egg shape or a bean shape. But based on this pose, this reference image, the best shot that I can see working for this is simply a cylinder shape developing and trying to get that sense of that rounded, cylindrical nature in using these cross contour lines. And as you can see again, just with a few strokes, we've started to develop that sense of three dimensionality. That sense of depth week really can tell, based on just the simple lawn work that we've got here. At the moment that this torso is tilting away from us, we use our pencil test and compare it to the image. There's absolutely no doubt that we get a sense that this torso structure is tilting away from us, observed the image, analyze it, and then certainly start to break each component up into basic shapes. When we break it down. In that way, we just look at the human figures being a combination of boxes, balls and cylinders. Then all of a sudden it doesn't seem like it's such a daunting prospect. The real challenge is really going to be having these parts flow into each other and moving away. That show some sense of rhythm because, as we said in the lecture, if we get too structured, things can stop looking very stiff for us. So we're going to have this challenge along the way of not just analyzing and constructing these pieces, but getting them to flow in a way that produces some sense of life and movement in the image. Let's move on to our next one. We're good, a nice action. He pose here. And so I'm going to go for a more gestural approach this time around. So we've really got two options available to us. He in that we can start with a more construction will approach way. We get out three D forms in place first and foremost and then start to come back over the top with some just rhythms to loosen it up. Or we could just dive straight first into getting a gesture. Rhythms down is going to be advantages and disadvantages to both. The advantage with starting with a more construction all process first is that we get the sense of depth and three dimensionality pretty early on. The downside being, though, is that you can really stiffen our image quite easily. Gesture, on the other hand, gives us the ability to make quicker decisions where more interested in the rhythm or the pose the dynamic feel of it. The downside to that is we are likely to be Follis accurate in the positioning and now forms, so there's going to be tradeoffs for each one. Ideally, we want to bounce the two. We want to have them working with each other, going back and forth when needed as we slowly start to build up our design. So there's no real hard and fast rules to which approach you start with. First, it's always going to be really about feel. Right now, I'm start to bring a bit more form back into this image, and that's just helping to solidify things. Too much gesture will make things look too rubbery and too much construction will make things far too mechanical. But it's also going to depend on your style as well. You might have a real animated style which leans heavily towards being more gesture in its final design, so it is going to be a little bit of a juggling act that we're going to have to do and working out for ourselves. Which approach works best for us. Let's move on to this next one and again got some nice fluid rhythms happening here. We got a lot of overlapping happening as well. Her torso is coming towards us, and it's such it's creating all of these areas, which is starting to I've let themselves, and what we have to think about with a pose like this is that we kind of have to ignore the the arms and the legs. At first, we just really need to get this main trunk of the torso down. First and foremost, and almost consider the other limbs is being either invisible might have gloss. Ultimately, we need to always remember that what we're dealing with here has a front side back to it. So it's more important at this stage to get that main trunk of the torso shape right first and then start to add in. There are the limbs getting this perspective and this positioning rights. Certainly now that I feel comfortable enough that I've got at least a solid enough foundation in place where I could start to think about adding in the the arms. So when we get this kind of overlapping, the best way to tackle it is just to focus on the biggest shape available to us, work on that first and foremost and then treat everything else almost like gloss and slowly start to build things over the top. It's not putting this on the wrong he and really trying to think about. Well, exactly how this body is twisting as well got a fortunate situation here in the reference image where is actually a long and short access line on the costume. Said'that's very useful. I'm going to have to look at things like clothing and wrinkles and skin, too. Help us with positioning sometimes. So let's look at that. It's gonna be another listen for another day. So let's move on to our next image. I'm just going to focus on the upper torso here in the head. Get that in first and foremost again, thinking of that sort of rounded book structure, heads talking towards us. So we want to get a sense of that top plane of the head coming towards us, so I'm going to use a construction all method for this image because the image itself is actually quite stiff. There's not a great deal off fluidity and movement in it other than in where the arms are positioned. The arms are really sort of stretching back. But the upper torso was just sort of in a stiff it position. So it sort of makes sense in this regards to, well, things up. More construction method. Getting these cross contour lines in. It's going to be really important, actually, to put these cross contour lines into your poses least when you're starting out, because it's really going to help you develop that sense of three dimensionality. What usually happens with beginning artists is that they tend to focus so much on the outside shape of the figure. But when it comes to the area in between, they can get a little bit lost, and that's where things usually start to go downhill a little bit. So those cross contour lines when you start adding those in, they are really going to help develop that sense of three dimensionality, and you can always erase them out afterwards. Of course, they're super useful when you're starting out to help you develop that sense of debt because the probably are going to have on a flight to the service is getting the sense that that arm is pushing away from us, that the head is tilting towards us and we capture that idea of three D onto a two d surface. So it's very challenging thing that we're going to have to learn for ourselves. But once you started getting used to what start to become a lot more fun, Smith on to the next right we did ain't more construction. All method for the last one will stick to a gestural method for this one because there's a lot of flowing movements in. This is actually quite a complicated pose. Got the arms and legs or kind of doing their own thing. Now we talked about in the lecture about looking for the longest access line is a good place to look for a gesture. In this case, it's the left hand side of the figure here where that long access line is. But we've also got another area we can look as well. We've actually got this natural centerline, which happens in our figures because of how the body is symmetrically designed. So that's another option for us. If we ever get lost and we ever feel like that, we constantly really see where that long axis Linus, especially with the torso area. Then we've converted a natural Seiko there available to us. It's going to be mostly beneficial for images like this, where we've got a very front on view off the torso. And, of course, the backers, well, we've got actually a far more prominent dividing line. That's prison in the back of the torso and what we do at the front. There's building up these legs started putting these construction parties. You can see I'm trying to really get that feeling off That's still in shape of that leg, just keeping it that simple cylinder shape. And later on, when we get that foundation in place, we can actually stop worrying about the additional lumps and bumps that come from, or the muscles and the bony A parts. But this is still significantly, a more gestural approach at the moment, probably sacrificed a little bit of form, but that's the price we have to pay. This is the method we're going to take with the time given to us. There's only so much we can do in the two minutes available and we'll finish this one up here and we'll move on to our longer poses now. So you've got five minutes to work with now. So but just a little over twice as much time. So this is really going to give us an opportunity to just stopping analyze things a little bit more carefully. Two minutes really isn't a great deal to work with, so got double the time now, which means our choices could be thought of it more. But now we can kind of stop and start a little bit more weaken, be a bit more leisurely with our approach. When it comes to drawing toe a time limit, it's going to be super important, actually, to not worry so much about getting everything down on the pipe up. We are much better off getting a portion of the figure down, using our allotted time on one specific area, getting that right rather than rushing through to get the whole figure. Damn. So if that means having to spend our entire two minutes or five minutes or even 10 or 15 minutes on a particular area, then that's perfectly fine. We are much better off doing that, then rushing through the whole thing and getting something down that really isn't as good as what it could be. You are much better off sacrificing all your time on just that head construction or that Armel leg or hand construction. It's not too dissimilar from doing any type of physical exercise. You are much better off doing 10 push ups correctly than doing 50 push ups incorrectly. One of them is going to be far more beneficial, so keep that mind set. If you're working toe a time limit. What if you get done in the A lot of time is perfectly fine. Just learn from it and move on to the next pose. It's asking way too much of yourself to try toe manage everything, especially if you're just starting out. If this is your first time really trying to tackle figure drawing, you really want to ease yourself into it. There's a lot of information here that we have to juggle, you know, we've tried to simplify things as best we can, who to go over every aspect off the figure parts, the head, the torso, the arms, legs, etcetera. And throw that all that you will at once. Then it's just going to become overwhelming. So that's why we break it down into these manageable pots, Starting off with just the basic ideas. With this lesson and full up lessons, we will start to experience things a bit. Maurin tackle more challenging subject matters and go over each area individually as well. So good, pretty good foundation for myself now. As you can see, it took the best part of three minutes. Teoh, get this rough foundation in place now can really start to think about developing these areas more and more so this is the stage where things start to become a little bit more clearer. I always like to call it the The Ah ha moment is usually in an ugly period in your drawing process, where it just never looks like it's going anywhere, just ends up looking like a bunch of missy lines with any structural form to the. But it comes a certain point where things just start slotting into place where the image finally starts to emerge and it's usually the moment when you can start thinking ahead about things like light and shadow and fabric and Draper and clothing. If the character is wearing that and it's usually at that stage way, you kind of spurs you on a little bit. You might be stuck painting something or drawing something for a long period of time, and then all of a sudden it all just starts to click. That thing, which was little more than just roughened scratchy lines, has suddenly started to take on a new meaning. All of a sudden, all those choices that we're making all that analyzing that we were doing the position of things using out pencil test de constructing of our basic shapes, the flowing rhythms of their gestures. Suddenly, they all start to converge and create a greater whole. Every other artistic discipline there is has a similar process, whether it's directing films or composing music or conducting an orchestra. It's about taking all these pieces in putting them together in a way that create something that has life to it. A note on a piano is somewhat meaningless, but if we combined it with several notes together, all of a sudden we get, you know, a great music. So we're kind of doing something similar here, putting all these pieces together and composing in a way, directing whatever time you want to use for it. All right, let's move on to our final five minute image already onto our last image. Just going to focus mostly on the took pot, mostly the head in the upper part of the tour. So a little bit of the arms as well, again just getting in that boxy a structure for ahead. There are several ways we go about now. Head. We use our boxer shapes. As we said we could use a couple of egg shapes as well as an option can use even still in the shape as well. It's all going to depend on not just the pose, but what York ultimately comfortable with. You'll find that you'll lean towards a particular style of design with its boxier foundations or more around the foundations. So really explore what works best for you, but always make sure that essentially you've got a backup plan as well that, you know, necessarily beholden to those particular shapes. So, for instance, if you're used to drawing the torso with boxes. Maybe a post comes along where the box might not necessarily be the best choice for a structure. Maybe it's something like one amusing he Maybe it's more of a rounded cylinder shape Now we need a little bit of flexibility with what we're doing. The range of motion that the human figure can make means that we are going to get poses, which are very challenging. And those challenging poses are often going to require a different approach in a different set of shapes than what we normally would if we're just doing a simple standing pose or maybe a sitting pose. So even though we've gone over a lot of ID's in this tutorial that I have to be made of cement, we need a little bit of flexibility with what we are doing. So is it already said we can start with either a gestural or a more structural approach. We've got different options for where we can look for our longest access lines to help create a gesture, and we've got a Siris of shapes and curved and straight lines that we can use to help us develop things along the way. So we've got a live these tools we have to consider. Everything that we've got here is essentially artists toolbox. They're times will need the hammer, and there are times will need the now. So I spent the best part of 2.5 minutes just getting in. The the underlying shapes in place now can really start to think about. Bring in some of these gestural rhythms in secondary shapes and forms into the into the image spring in this person and trying to get everything to adhere to these underlying foundations. One of the biggest challenges will have is trying to get that muscle looking as if it's wrapping around from the front to the back, getting the sense that that that breast is clean onto the torso. But the same approach is going to apply. Essentially, what we're doing is we're working big to small. The idea is to get the biggest, most obvious shapes down first and foremost, and then start to bring in the secondary shapes and gestures after that and then the next level after that and essentially working away from big to small, there's no point jumping headfirst into just doing all the details. I like to use the analogy that we have to eat our vegetables first before we started desert and all the basic shapes and forms and gestures are essentially that. It's the first stage, and if we just dive head first into doing all the detail work, we really start to run the risk off making areas. So the more foundations we have for ourself in place, the less chance there is that we're going to have to come back later on and start fixing things up. It's not that we can't if we've got a process in place for a souls weaken fix. Any era just means that we have to spend that little bit extra time working on it. So as we start to wind things down now, I hope this lesson has been of benefit. There are going to be additional images available in the Cost Project section. If you want to get feedback on your own time drawing sessions, by all means, please post them following on from this will be lesson to We'll cover a bit more about just in construction, but most specifically how we go about twisting and bending out poses specifically out. Also area. If you have any questions about the lesson, please feel free to post them in the discussion section and I'll get to them as soon as I can for now. Que Practicing hard, keep drawing and I'll see you in the next lesson.