Draw a Bull | Brendon Schumacker | Skillshare
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11 Lessons (2h 6m)
    • 1. Welcome

    • 2. Introduction

    • 3. Photo Reference

    • 4. Bull Head Study

    • 5. Heads Review

    • 6. Bull Body Study

    • 7. Details of the Bull

    • 8. Draw a Bull Logo

    • 9. Draw a Bull Cartoon

    • 10. Draw a Minotaur

    • 11. Summary and Closing Notes

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About This Class

In this intermediate course we will sharpen our drawing skills by drawing a series of bulls. We will start with photo reference to break down the anatomical structure of bulls, and then we will move on to practice drawing a few bulls from reference, and finally we will use our new-found knowledge to create a bull logo, a bull cartoon, and a minotaur drawing.

Meet Your Teacher

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Brendon Schumacker

Artist and Designer


Brendon Schumacker is an accomplished artist and illustrator with experience in many art forms. Having drawn since a young age, Brendon has a lifetime of educational background in freehand art from various schools in USA and has studied along side with artists of varied backgrounds, giving him a diverse understanding of many illustration styles and techniques. He has published comics and children's books, has done multiple gallery openings, and has been doing freelance illustration and design for over 10 years. His instruction style is casual and entertaining while also being detailed in his examination of varied art techniques.

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1. Welcome: drawing is an increasingly useful skill toe have in today's technical and digital world. A lot of people also approach drawing as a passion which will someday lead them to making beautiful art. Drawing animals is a really fun way to brush up your drawing skills. And so I would like to invite you to my latest drawing course, draw a bull in this intermediate course, who will dive deep into the fundamentals of drawing bulls and with powerful who are shading techniques to make your drawings pop off the page. First, we'll break down the raw elements of cool anatomy into simple, easy to remember guidelines for drawing pools. Then we will continue by using our newfound knowledge to create a bull logo. A full cartoon, finally, a minor tour. So grab some drawing tools or your favorite illustration software and get ready to draw 2. Introduction: Hi. My name is Brendan Schumacher, and I'd like to invite you to my new course, draw a bull and this course we're going to go over intermediate drawing skills. I'm gonna walk you through a bunch of drawings that I've done regarding bulls. We use photo reference and we basically break down the bull in order to figure out how to draw a bull. And then after gaining all of that knowledge, we use it from our imagination to create a bull logo, a bull cartoon and a minor tour, which is half man, half bull. So I think it's ah, fun course. This course was by request. And as you can see on the bullet points up on the screen. Um, I'm thinking now that I'm definitely going to give this course to free for the person who requested it. And in the future, if you have any more requests, please let me know. And if I decide to do your course, then your course idea, then I will give you that course for free. I'm hoping that will inspire some people and motivate some people to get more active and asked me for requests to do things I like it that way. I've basically already done quite a few courses. I don't know if the top of my head, how many. I think about five or six and I have a YouTube channel and I've come to find that out. Basically taught everything that I know already in most my courses and a lot of them free. For example, Droid Kitten is a free courses you can see on the screen there and draw a dog is not pre, but it's also a similar course, which is more of a beginner slash intermediate level. I've done so much of the beginner stuff, just the bare bones from sketch, you know, from your very first pencil line into sketching and building up shapes and stuff. And so I don't want to repeat that over and over again. And, of course, for people who like my courses and went, uh, more lessons like this, they're going to get bored if I keep doing the same thing. So in this intermediate course, I'm gonna start, had to say, pushing the envelope a bit right? I'm going to push things forward a bit, going to try and make it more in depth more interesting and get in a more detail about everything. So I hope that's all clear. And who am I? I am. Well, as I said, Brennan, Schumacher have been drawing my whole life, which is basically a few decades, and I took a lot of art classes and I've ah, I really liked comic books when I was young and I started off just trying to emulate whatever I saw in comics, which led me into drawing anatomy a lot, learning how to break things down. And believe it or not, comics are very underrated art form. You have to be able to draw everything to make a comic book. It's full environment scenes, many images per page, and there's also love design and lay up concerns. It so much like being a graphic designer at times. So I thought that was a good start to my aspirations with art and drawing in general, and I learned a lot from it, and nowadays I just kind of do whatever I like for myself. I do take request, I get, I make, I do make money and I go on freelance websites and I do projects I'm commissioned often for all types of just. I mean, you never know. You never know. There's Children's books and illustrations for designs for advertisements and things like this just everything. So I do a lot of work as well. I'm also a Web developer. That's my my main trade of business. And I do. Ah, so I basically make websites and abs and stuff like that. So the best way to learn more about me regarding my art, I thought would be to go to my website, as you can see here, and it has everything else that I could tell you. You can see my gallery is here, and this pages is a little slow to load. It should have preloaded that. Yeah, there it is. And so you can see a bunch of stuff here. Oh, and Ah, yeah, each of these pages is those slow and that's something I need to fix. There's a new website, that's why it's like that. So I haven't Ah, you have done everything there yet, but my courses air here and social stuff. If you know you're gonna follow me or or find out my blog's and writing and stuff. And here on deviant art. And let me say first of all, the this website is B s C h u dot net, which you can also see over here on the bottom bsch you got nap and BSCH. You is also my user name at deviant art or here it can see my gallery and my profile. So if you go to deviant art dot com forward slash the sch you that was a tongue twister forward slash b s C h u. Then you can find a bunch of more stuff in there. Tons and tons of illustrations. I've been doing digital art for about believe five years now. I got my first tablet in 2013. I believe it was your 13 or 14 and since then that's all I've been doing because it's just so much more convenient. I don't have to worry about paper and supplies or anything. And ah, of course, the ability to erase and use all the tools that come with software is very handy. So that's a lot about me, and I want to say that again. This course so is not to be repetitive. I'm not going to cover live the basics. We're gonna go and try to go into some new techniques. Ah, lot of what I'm doing is north style. And to give you an example of that will go to this layer. Here, you see, you have these. You know, you could also call it a pen and ink style. But I prefer to think of it as new are because I'm focusing on using a lot of really hard, dark black areas. So it has high contrast. And that's very much like a new our style which originated in Hollywood. And when, ah, when I had only black and white movies before color. What happens when you only have black and white? You don't have color than you have to try harder with the contrast the balance between your black and you're white space There to, you know, create all of the shape and the mood and everything like that. And so you get what I consider to be nice drawings like this. And I did also the bodies here which, well, came out okay. I'm not sure of this is the best word is Newark. Uh, but that's what I want to call it for right now for lack of a better word. And so you can see after doing some studies. I'm just flipping through here. I went and I did. Ah, logo and we do a cartoon. I cover all this stuff in there in this class, and that's basically what we're going to do first. When I spend a few lessons, I think three or four, just studying the both and making all of these drawings. And then I go to use my imagination and do the things such as the logo on the cartoon and the monitor. Okay, So back to our blip points here. Do we have anything else? E think that's about it? And also, I think the I would recommend toe have a big screen as big as you can get. I know a lot of people are looking on mobile devices and phones. Tablet would be better, and, you know, just the bigger the screen, the better because it's very difficult at times for meat to I can zoom in. But I'm trying to show you the work that I'm doing, and so I'll be looking at a photo while having to drawing. They're in the same space on the screen, it's nearly impossible to just make that easy to zoom into while still working. It is just a complicated workspace, so and we're trying to put all of that to a screen. You know, just one screen, one shot. And so the best thing to do is if you have a computer, a bigger screen. Or I think that tablet would be big enough. Uh, mobile phone might be OK, but you have toe, you know, zoom in there and just the bigger the better. That's just, you know, my recommendation. If you feel that you're comfortable using a small screen, then that'll be fine, too. And, ah, if yeah, I would recommend following along also with a pencil or a pen and just doodling, Why are watching? You don't have to draw what I'm drawing, but just keep on drawing and sketching. It's That's what we're trying to do here. You'll notice that I'm trying to motivate you a lot during these lessons to get you to want to just draw Mawr and to just scratch, scratch, scratch and keep moving. And it's like exercises like learn a musical instrument, not just drawing from your mind all the time you have to exercise your hand and your mind and the at the eye hand. Coordination. Excuses I am. Coordination comes very important because you're looking at an image. You're trying to copy it into your mind and then reproduce it into a drawing. We're going to do that right. You have to do that a lot to learn how to build the forms and shapes of things, and then you can move on and draw from your imagination. This is how we do it, Um, every type of art form that I've ever studied or heard of or read about. This is what we do. We study from life or, in this case, photo reference, because it's more convenient nowadays. And then later, if you want to start drawing from your imagination, if you're good enough to do it without models or reference than go for it. But personally, I always use reference whenever I can. It just makes a better product at the end, even if your ah you know, drawing something safer, doing something from your imagination like you want to do a dragon. Well, you can use a lizard as photo reference, and I'll show you a lot of details and you know how to draw the face and the scales and everything like that. So that's another thing is very important part of this course. It's all about using photo reference to break things down and to, uh, you know, turn, uh, subject such as AnAnd Animal, a bull into something that you can easily remember how to draw again and again. So that's that's really what this is all about. And we've done this before and previous courses. But of course, in addition to that, I'm adding these these inking techniques that nor style the dark black contrast, all of that stuff, which I mentioned already. There's a lot of fun stuff in here. We've got some really good drawings that come out of it, and I think you're gonna enjoy what time lapses where I talk a lot about a lot of interesting things and give some tips. That's about it. So I'm looking forward to seeing you in the next lesson. 3. Photo Reference: in this lesson will have a look at some of the photo reference that I've used. But you can see here I have a couple of layers and I just want to review all of, ah, you know, the basic shapes and things that we see when we're looking at a bull. So with that in mind, let's have a look here. Some sketches, some preliminary sketches. I may just get warmed up, and I just wanted to note that the this is the 1st 1 I do. And it's also, uh, the worst one. If you ask me. I don't like it because while there's many reasons you can just tell that even other might be something about this one that looks nice depending on you know who you are and what you like. Some people might prefer this one, but it goes without saying for me that this is the you know, it's the poorest of all of these. And I want to note that because I did this on first and then I believe I did this one and then somewhere between these two. I think this was the last one, and I believe they got better as they went along. Like in this order. Ah, and I can just tell. I don't know if somebody who is a beginner can tell. Know that somebody who has been drawing for many years will know that thes thes sketch lines and you can see that I have no the rough sketch lines and then the more confident lines over top of those. And you can see all these little things where I was marking off where muscle tone is and things like that and all that stuff is really important for your final drawing. Um, and even if you're doing such as painting with color and everything, it becomes even more important. And this is a perfect example here where you can see the bridge of, Well, I don't know that it would be an on a human would be a bridge of the nose. Uh, I don't know if it's called the muzzle or or this now. Ah, for a bull. I'm not going to look up, you know, the anatomy vocabulary for this lesson, but let's just say it's like a nose and you can you can feel this space there because of these sketch lines that I drew, and that can be used later for light and shade and all other types of things. And around here, you can see I drew some lines just where I could feel the the shape of the face. And so it kind of It's like this is really what sketches are there, like rough drafts of, ah, writing or like notes or an outline of a final essay or a book that you might write. But for art, what we have is sketches. We don't do outlines, and so what you can do outline if you want to. But the sketch is really like your outline and your rough draft, and then you slowly no build up. So this is obviously still a sketch. You can see the lines are all veiny and stuff, but it's a great way to start, and you can recognize a good sketch from a poor sketch just just by these types of characteristics. Here, you see, my sketch lines here get more confident right now, up in the early one here, it's really just so sloppy, you know, it's like I hadn't touched depend in a while, which wasn't necessarily true, but I was just getting warmed up, and it just doesn't look that good. So that's that. Let's have a look at some of these images. Some of the things I learned while drawing a bull and these images are either on Wikipedia or pixels. PX E. L s dot com You can find him there and also in some Google searches. Now, with the way the amount of images that I have now, it's just impossible to give credit to everyone on. And it's not like, you know, I'm making a lot of money doing this on his teaching drawing here in the event that I make a ton of money, I will come back and give credit to everyone if need be. But it's on Wikipedia or Google search or ah, pixels pixels dot com Most. Most of these so ah, having a look at the bull, one of the first things you might want to do is to get the overall shape of the body. I'm not going to go into enormous detail of this because I have many, many courses already, which will help you to really break things down with a fine tooth comb. So to speak. But for now, let's assume you know a lot of stuff already. And I'm just gonna give you some key words here. When I look at the body of all of the bulls, where they have in common, I keep seeing a sort of, ah, bread box or something. I don't know why I keep thinking meat loaf, right? Just like a a big meat loaf right here. And obviously there is a bit more shape to it. There's some curves going on here and there, and there is some no fine work going on in there. But for the most part, it's kind of a meat live, just a boxy things, you know, it's a little bit of a curve coming up in the back. So for the most part, the body is like, Ah, box, that skinny in the back And it kind of leans upward just like that, and that makes sense, just like if you were thinking of ah, male human, they have a stronger upper body, which goes down to a waste, and we covered that you know, the correlation from animals to human anatomy recovered that in all the previous of course , isas well, including the last one. I draw dog and draw kitten. All of theirs have that. Okay. And obviously horns. Now bull is from the same family as Cal, or they are the same animal. Bull is basically a male Cal. I think we know that the differences between the two, uh, a Z for me, it's not always very obvious, but we're focusing on the bull now. And the one thing that is definitely obvious is that bulls have horns. And obviously the female cows do not. Don't even is this winnable. It was under my search for Bull. It could be a cal for a lineup. Kind of Seehorn's there. I don't know any way. It's still pretty much the same animal. So that was for the overall body. Um, otherwise, we're looking at a four legged mammal. There's a lot of similarities with, uh, Dogan cat, Um, and regarding, you know, whether hips are and the knees and ah, and what it called a feat in this case is hoops. Okay, so I think that's enough for the just a general shape. And we're going to cover all the details when I go into doing more sketches. Now, this scene here that this layer here has a close up of the face would get the facial features. And in a nutshell, I'm just going to tell you one thing is that, uh, considering the size of their eyes, which is very small in comparison to the size of their entire head. But we could say here is they have very small, wide set eyes. It's one distinguishing feature. And if you just think about a bull, it's always like that, right? They have their eyes are very far set. I guess it's because they're the type of animal that looks off to, you know, to the sites and, well, uh, the and the size of your eyes is very small compared, So they have those that wide, wide set eyes and a very big head I noticed. It's almost like when you draw a person. The eyes seemed to go right about in the middle, right? If I were to draw a box here, which is, you know, the love ago from the very tippy top, including that the where the horns come out up there right and you see where the eyes are. It's some It's about right in the middle of that rectangle. This space from here to here very similar to this space from there to there and with this pull over here, maybe it's a it seems about the same, but because his head is, you know, uh, his jaw is pointing up a little bit more his noses, but more so. It's going like back into the into the distance there, and we have some perspective, which makes his forehead seems smaller, but I still feel it's it's about the same. Uh, this one is different. I believe this is actually where buffalo, but he seemed to make the great for pool characteristics have no idea what animal that is. It just came up under search, actually, but he definitely meets the bull characteristics a lot. The nose you have thes two nostrils that come in for a triangle like that, But that's with every bull I see, and the ears stick out a lot, almost like elephant ears. When I This is something interesting about drawing a lot is when you go to draw things, you suddenly realize how amazing some features are that you never realized before when you actually go to draw at thes years. It's like, Wow, that's those air Big years and you might not have noticed it before is when you look at the animal, you might just focus on their eyes where their horns or something like that and the ears weren't so noticeable. But they're big, very big years is a close up of a hoof. A lot of the, um, hopes that look that also had a crease and that you can barely see it on this one. There's sort of a crease in the middle, so you have basically, like two parts. There's this half and then that half like a left and a right, and you often see that also, another hoofed animals have like two sections of that. So one thing I want to bring up, we're going to draw a bull is let's look at this image very quickly and this is, Ah, Wall Street, very famous in a Wall Street bull. And there's some symbolism to it. And here's little statue I found. And this is what a lot of people think about when I say I draw me a cool bull. You know, I want local powerful and strong. Or you might even think of Thea. They call this the bullfighting are here. We have this type of bull. They were looking This bullet doesn't look anything. And that's a really you know, bullfight right there. It doesn't look anything. Uh, like these exaggerated pictures. Let me get the right one. Is that no? Was one more layer here? Yes, that one. Ok. Ah, no bull ever looks like that. I think, uh, I think these air just, you know, extreme exaggerations here which, you know, just for artistic purposes, trying to make them look like some type of super animal where their front of their body, what we call the upper body on a person is just greatly exaggerated. And it's almost like they're trying to humanize it, right and anthropomorphic the type of feeling for the bull to make it make it more relatable to humans, or has this big, powerful upper body where its strength is. I'm not sure if that's the case. We actually look at a real bull. I feel as though alive their strength might come from Thea back here. You get on the right layer from the hind leg. You see the arms here. They're kind of small, but all that power. Look at that right there. I mean, that's that's a lot of muscle. And when they go to ram you with their horns or something, if they're fighting, pretty sure that's that's where the power is coming come from behind there. So things are not always as they seem on the surface. You have to do a little bit of study, a little bit of research, and ah, and just, you know, pay attention. All these little details on here some. I did have some close up here of the hoofs, and I think that's ah, pretty nice. You can see it has two sections left and a right and a little something in the back if need be. You might remember that you can see those up here to these type of things, which I don't know what the name is for him. They just seemed to dangle there and don't seem to have much use. You'll find them on dogs as well. And I'm sure they do serve a purpose is probably for, like, leaning or or to get extra grip when they're moving something like that. Um But they're there, and you might wanna keep that in mind. You never know when you'll need it. Okay, so that's it for this lesson. Just quicker review of these images and on the next lesson will go straight into doing some sketches and will do as many sketches as we can. See how many How much more knowledge we can pick up from, You know, the visual anatomy of this creature, and we'll see in the next lesson. 4. Bull Head Study: this lesson, we're gonna have a look at drawing. The heads of these bulls are going to select some heads, I should say, and you'll see that right now. I'm just fiddling around and it's at a intensified speed. It's a time lapse. The actual drawing time here was about one hour and 22 minutes, and here it's been reduced to 16 minutes, approximately about 15 minutes, which is even long for a course like this. But in order to achieve this much, I decided to do this, and I don't see any reason to split it into three shorter videos because it's basically all the same thing. We're focusing on the head so you can see I've started drawing already, and I did so by starting off with some very simple guidelines. I made sort of a triangle. If you look at the head in the photo there, you can see a triangle clearly the shape of his head. Do that out and then the horns pop out. So once you have those ah foundational shapes set up everything else just snaps in a place because you conjugate the space much easier once you have some foundation shapes and it takes a lot of practice. Not a little practice, but a lot of practice to get your foundation shapes good a lot of times in the simple how to draw videos or books. It used to be a lot of books nowadays. I guess it's videos, but in the videos, it's ah, it's all. They make it look easy, right? And they just say, Draw a circle or follow these guidelines and I don't know, I just don't understand If you don't know how to draw how How could he even draw the guidelines? It's kind of difficult. Well, okay, Even if they provide the guidelines for you, that doesn't even help much in the long run, does it? Because that means you're always gonna need someone else to tell you how to make your guidelines. And so that's why in all of my lessons and all of my beginner lessons and courses, I always spend a lot of time just teaching how to make those shapes, how to break what you see down into circles, squares and triangles, and perhaps whatever else you see, like hexagons or something, just simple shapes that you can work with. That you have a shape, like a square than you can say. Judging by the square, where should the next object is it? Halfway through the top, or have, you know, 1/4 of the way through the bottom and so on. Now I think the resulting image here. As you can see, I'm shaving everything in. Think resulting image doesn't look as much like a cow is. I'd like it to. I want to say the idea pig comes out and so and I'm gonna have a follow up lesson to this one. When I look at some of the details and make sure I bring out the full features, what I'm doing with all of these is ah, all of these drawings. There's gonna be three. This is the 1st 1 I believe I just finished there. Yeah, and they're all using this dark shading technique, which I well, it's called in war and no, I R. And it's a very old technique. It's used in comic books. It started from film noir and Hollywood movies, is called Film Noir. You can look that up and film. You are basically when When? When we had black and white movies before they had color. It was a technique of making the most of what you could with only black and white. And so, in order to do that, what we do is exaggerate the white areas and make a very high contrast. And we use the dark areas in a way that, you know, has, ah, very dark shadows. So you just see this black, thick, dark shadows and it makes the details of everything pop out a lot more. It's basically a high contrast, black and white way of getting things done, and you can go on and on about that. That technique is very interesting if you have time looking up, Um, in this one here, this drawing, I'm getting a bit of a donkey feeling. I don't know why, but that's something very interesting. All animals, a lot of them have similarities, some commonality and their features. And so in order to make sure that you distinguish while a dog from a cat would be a lot easier. But ah, bull from a deer is a deer can have horns two and a young ah Young who, as a matter of fact, a an adult, fully mature male deer is called a bull. Also, when I have ah, you know, fully matured antlers. But when a deer is young, it only has two little antlers that sort of looked like bullhorns. So what's the difference? They're both mammals for leg. The differences are many, and they're very subtle. So these are the types of things that you will learn while you're actually drawing theano Mel's. You start to pick up all of these little things. There's a 1,000,001 things, and I'm going to go over some of the main points, the obvious points. But the only way to really pick it up is to get your photo reference out and start drawing , and something will happen in your mind where you just start to notice. Since it becomes sort of like a game where you get tempted, you say, What's what What's wrong with my drawing? And you keep doing it more and more, and eventually it could be while you're sleeping Or could be while you're eating dinner, something I'll just pop to you. Your mind is going toe work because you're actually doing something right, so your mind is going to work on all these problems that you have while you're drawing. But you have to do it. Spend a little time. So you see, I drew out all these ugly, little veiny lines on the face. But I wasn't afraid to do that because they helped to give me structure. And I'm going to use them later as you'll see here very soon. They're going to be used during the shading part here to help bring out some of some of that detail. The ah, the vagueness of his face. I believe those were all like tendons or something. I don't know. I don't really know the, you know, I'm not trying to be a veterinarian here. I'm just doing drawings, but don't know the inner workings of the mouth of a bull. But I do know that when you watch animals like this to you can see a lot of the veins. These many things moving around, it looks like there Ah, you know, tendons and muscles and things that are probably needed in there where it could be veins to I don't know, combination of things. Now the eyes are very unique. The look at how the eyelashes come off from the top of the eye and the very thick eyelashes that kind of cover almost half of the I giving it, giving the cow sort of a droopy eyed kind of look. And his eyes are droopy to other cows who might look at later or not so much. It could be the difference between, Ah, the mood of the cow. I think some of these will bulls should say some of these bulls are captive there like farm animals, and some of them are more free range, the last one that I do it, even though it has what I believe is called a muzzle on it. It's obviously, you know, controlled were owned by a person, but it has. There's something about the look of it looks like it's surrounded by mountains and looks very free, has a proud majestically that's definitely looking like a bull now. But there was something. By the time I finished this, something happens that I feel could be improved upon. It might be the snap nose area there. I don't know. The bull knows that the tip there that's a smelt looks kind of like a pig's snout. I keep thinking of pigs. When I'm drawing this, I don't know like it keeps. Ah, obviously the photo looks like a bull, but my drawings air coming out a bit, picked like and that's something I have to work on when we look at the details. But ever I like the way they came out. And I think these are all three very nice drawings, pretty content with them. No notice. I'm really spending a lot of time on the hair. I'm doing one little strand at a time. Some people argue against this technique, but when I look at my favorite drawings, especially with this pen and ink, you know, dark noir style, it's clear to me that the artist who I admire spent a lot of time focusing on detail, and there's basically no short, quick tip to get around that you simply have to do one line at a time. Now there are ways. If there, if there is any way to increase three efficiency of it to make it faster and easier to do that, we'll certainly do that. Uh, what I do a lot is ever since even when I was in high school, whenever I have free time I would scratch my pencil on on the page of the paper of my notebook and just make like, patterns over and over again. So doing a sort of a sketchy scratch scratch scratch truck, and it just makes your hand get faster at making all these little lines. Sometimes you do like a zigzag, scribble type of thing, or you control spirals over and over on the page. So here's the last one. This when I was talking about his eyes, look a bit more confident, and he looks very majestic because of these horns very big. And in this one look at how so. This time we can look at the starting shapes. This is an example of a situation where it was not easy. Look at these shapes are making, so the foundation shapes I used are a bit more complex. I do remember also feeling a bit tired when I started this one, so that will give you an idea of you know how energy can affect your ability to draw and having little energy will definitely affect everything. I think this one takes a long time, and I believe when I know for a fact, that kind of botched it up in beginning again. That might have had to do with my energy at the time, But what could be expected? That's I mean, it's gonna happen if you look at the photo, the Bulls. Actually, his tongue is out. E. I guess it is cleaning his nose or is nostril or something. Uh, I don't want that to be the case, but seems to be the case. He's licking himself. Is that helpful? Picks its owners. So I drew that out just because it wasn't working. I had to follow in my photo reference here, but you'll see later on. I decide to take that out because it's just it's too funny. And it doesn't fit the theme of the other two drawings that don't already you notice. I put some shapes around when I finish a drawing. I put a square in a circle, just have a frame so it feels a bit more professional. So here, when I flip this, I could definitely see uh, and that's another reason it's important to flip. If you're on paper, turn it upside down, and when you're using software, you can flip the care ofhis, obviously as I did there. And when I flip things because you're I start to get used to they just adjust to what you're drawing and you look back and forth from the photo to your own drawing and you start to say, Yeah, that's right. Yeah, that's right. And you need a new perspective. So one thing you can do is you can put the paper down in the pencil and wait a day so that your mind is more fresh and your they call it, giving it ah fresh I or something like that. But the ability to flip or turn upside down? Uh, it seems to accelerate that process. It gives you a new view, gives you a different perspective on everything. So I flipped the campus a lot, and it's very helpful to speed up the work. It's all about efficiency. Um, I mean, it's the art of drawing is not purely efficiency. It's nice to take your time. Actually, the art of drawing should be to not worry about time at all. That's that s O. Many people have reported I've read throughout my life that artists always they report a sense of loss of time when they get into their work. Hours can go by sometimes and you don't know. So right here we're going in with the hair again. Notice. Every time I started off quite subtle with hair. I'm just getting some basic guidelines there. It gives me a strong sense of shape and form of the head. You can see the hair. It kind of flows in a certain direction and wraps around. And that's really really useful because it helps what we're trying to do here. Ultimately, when you're drawing, is you have a two dimensional surface and you're trying to represent a three dimensional object. So to take advantage of all these lines that tell us where everything is, it helps to form the shape. And it gives your eye something to grasp where you can feel that three dimensional object. Anything you can do to get the shape and a form of things into the mind. That's definitely what you do. That's why we use light in shape, light and shade always tells us where the lightest coming from, how it wraps around things. And that's basically what lightened shape does for the human eye. I can't say it was designed. I make it sound like it was designed for that purpose. But the other way around, I believe. I believe our eyes air designed to take in light and shade. It's not the only way to see things. You can see things well with your years. Even you can listen and hear sounds and know where things are. It's all about getting the image into the mine, getting the three D world into your mind. So you know where things are. This one, I thought, ended up looking like a deer with all of them. There's something funny. So in the next ah lesson after this one, I'm going to go and look at the details and touch up some of that. Steph, the photo is obviously a bull, but there's something here has, and I think it might, because the nose is a bit skinny. There comes to sort of a point. I believe that's true with deer that they have, uh, noses that come to a point. So despite what my eyes, they're telling me I might just cheat and give him a broader nose or maybe make it a bit shorter. I don't know we'll have a look. So after I laid out all of those sketch lines for the for to give it form and shape, then I went in and found some spots to make it darker. Ah, riel, Good tip for this type of illustration style. This nor black might style is to try and get half of the image black and leave half of it white asses much as possible so that you'll have a lot of black space in there and a lot of white space to, And the balance between the amount of black and white is going to make the illustration what it is. As you see, there's the frames. I was talking about two boxes in a circle, and that's about the end of this video. Make these images available for you, and we'll have a look in the next lesson that some of the details see if we can touch it up a bit. Hope you enjoyed that. If you have any questions, let me know 5. Heads Review: this lesson. We're going to review the heads that we drew in the last episode. Have a look at some of the details and where we might be able to improve. There are some structural problems here. I've separated the photos and lined them up here so we can look the first impression. I think when I look at the comparison of my drawing to the photo is quite good. It's mostly when I look at the photo on its I mean, excuse me when I look at the illustration there, drawing on its own, something seems a bit off. Ah, when you're looking at it compared, you know, to the original photo, it's quite easy. This your mind helps you do a lot of work. But I wanted to stand on its own. And so there are some things here which I think are hopes to bring it back. Everything quite obvious. Not incredibly obvious, but pretty easy to see. Make sure I'm on the right layer here. All right, I'm trying to switch colors. There it is, red. The one thing with the eye you can see here is it definitely feels a bit low, Ugo, up to this layer here. It should be about halfway, which seems right somehow. But I also feel I think I put his where his actual I should be because there's a big like islet area. It seems kind of low. Where's it should be like up here. So that's one thing I want to try to fix right now, and we'll see if that helps a little bit. I just feel this in. I feel fuel of that black area. I definitely feel like it comes up higher at this, right? Yeah, and look at the space where his eye starts. It's between both horns in this. At this particular angle, it's not always going to be like that. And then here's his upper eyelid and you can't see any anything. You know, it's all a black down there. There should be little bit of line, maybe a little bit of a highlight. Something like this. Remember, we've noticed Ah, a couple times. I believe already that his eyes are are all bull's eyes seem to be very small. No, think about what I just said. All bull's eyes seem very small. That's right. There's a thing called a bull's eye which is a target, and it's very small. So that's why it's a challenge to hit a bull's eye from a distance. Uh huh. See, all this stuff you can pick up on your learning to draw really interesting stuff. That pick up over the years is definitely I want this to look very flabby and fat. This another reason I think he looks like a pig. Do you think of pigs is being fat and have this kind of scene down here? And it might well be that he just looks like a pig. In this situation where we have nothing but black and white, there might be nothing I can actually do about that just at the very least, have to make sure his eyes very small. The bulls eye, as we've already noted, should be a small target. That's difficult to hit. I think that looks better. I definitely feel happy with it. You notice I also shaped his nose. Ah, a little bit more. There's something about the the bull's nose. I think it was up and then down. And so even though I mean different brush now, I'll just use this one. Issues small up and then down like that, even though in the picture in the photo it doesn't necessarily look like that. But I just know that that's how the Bulls ners looks. So I'm gonna take advantage of that. Try and bring out more of the bullish features here. While these subtle, subtle little details should be very important, I have yet to see much of the Bulls mouth except in this illustration, where it was prominent in the other illustrations and drawings that I've done here. Normally you don't see too much of that. No one is. His nose is also black in the photo, so it should blend in with the rest of even though there's no hair, that I think that might have been another reason that he looked a little piggy because his nose seemed like a snout that just stood out very much from the rest of his body. We don't want that to be the case. Fill it in right there. That's the best I can do for now. So I'm gonna leave that as this. We'll have a look at this one. Now, this guy, I don't know what to say. I'm I don't think he looks like a pig, but he's also lacking something bullish. Good. Definitely. His horns are not standing out on a It's one thing, something that try and bring those out of it. Some thicker lines here there's about, you know it's wobbly. I'm not doing a great job of that. I feel like that. See where it was a sort of sketchy lines in this area here for the shade. But I made that to be more thick allies. Now here, the horn is coming right up to his. I would. Another thing to note about this bull is that he seems weird to me. I can't tell if this part here. I can't tell if that is far out over his eye, where if he has a deformed sort of horn that goes in and almost touches his I hard to say exactly where it is because of the angle. But something that's interesting about that is all of these bulls are a lot of them. Almost all of the bulls that I looked at photos of did not have perfect horns like you would expect, you know, the perfect symmetry or something like this. They're all kind of wobbly that have, like one off to the side, one coming in too far with something along these lines. It was kind of weird. I was assumed that all bullhorns were so we're perfect bullhorn also, in other words, in, uh, in English. It's a type of horn. If I'm not mistaken, you So the horns are popping out somewhere and I felt something belt his nose here also doing a little bit of, ah, piggish sort of trick on us. I'm just going to try to focus on that white part. How comes up and down, But I think that's important feature of a bull. The bulls nurse, you always noticeable is nostrils look like they're ready to flare. You think about like a angry bull on bullfighting, things like this. So that should be very different from me. Pigs now Oh, a little bit like that. At the same time, we don't want to look too much like a snout, so I'm going to taper and also a bit. Is that also this part here? We have troops have, ah, flat line the tiny, tiny little details work on, and the way that it comes up right around here. I think it was helpful. It was very subtle, but I think that I feel better with that. I feel happy with it. You know, it's nose looks a little work, but it's better like that. And it was before. But I prefer this. So the nostrils were kind of on the side, and this part in the center is like a triangle that comes down and overlaps. Okay, It's not easy to get that perfect. But for now, I feel okay with it. And the last one, this one, I definitely could see very clearly that the length of the horns maybe not too bad, but the with that it comes out from his head definitely goes past his year. There's some space there, and that is not happening here. I think that might be kind of why he ended up with a deer type of look. There's a deer have antlers that tend to get like straight up, so I want to bring some space out here and have the horns come out. At least that far. That's what I'm gonna do. I was trying, and because of the angle and everything else, uh, considered here I have no choice but to completely erase it. Andi, I see his head is this high. Is it about the same length from the tip of his head to his jaw? Okay, and it is a heat that it's ah, dear lips do that to his head to withdraw, end up being about up there. There's a rough guideline of that, and the space between his ear. He's come out when they come down, starts off rather straight. You can stab you with these things. You keep that in mind. You're down like that and for the other one again, it's after his ear. But because of the tilt, his head is tilted and the angle and the perspective, it's not gonna be too far up. Servalan occurs down. You can see it. It goes down because of the perspective in the angle of his head. Just like that, that should correlate, correlate well. With Thea, the angle of his forehead appear that's tilted just little bit, so there should be some correlation there bring down. I think that's sufficient now. This one of situations where my hands simply cannot goes on piece of paper be better. But I simply can't make my hand. I get the angle on left handed, so I'm going to lock these layers on around. Oh, yeah, I can feel it already. That's definitely a lot more bull. I'm still feeling a little bit of the deer and that it could be the eyes Dear have almost a cheery kind of look in their eyes. The bulls, I was saying before, tend to be that a bit droopy, Over said. I said this particular bull He seems to be more confident, more free than the other ones Askew see as the muzzle on him. So you know he is a domesticated bull He's earned Or, you know, maintained, however you wanna put it by human, but he still looks a bit more free to me. I don't know. This is just my, you know, mental meandering. It's a sort of a hypothesis. I was wondering that whether or not the other bulls look, it's happy because they were a smaller farm in a pen or something, that which often happens in the case of domesticated bull breeding and rearing and all of that. Okay, that's a little better. Very, very tough angle for my particular hand to get. But for the meantime, I'm okay with that. I'm just trying to get the form. It's not perfect, but keep in mind later, nobody's going to see this photo. They're just looking at our illustration here and as good as you can, just make sure that it's still acceptable. Yeah, whose lands are rough. Some days are better than others to That's just part of life. Some days my hands are a bit more shaky. Sometimes I cannot control it better also has to do with how long I've been, uh, drawing warming up beforehand. Get my tools All Exactly where any of them. Yeah, Look around this way. This was the bottom line. I can see you need to come down to match up the other and should start here. You see lines going on this way. So imagine at the it goes through that had just like this and comes out the other side. So let's start off right about here. And pretty pretty fat when it starts off is very sick. Thing is born and it goes again. This is not a phenomenon like I was saying earlier on the legs who are the I will be saying in a ah, in that following in the following show when we draw the body, Uh, actually did some of these out of order lessons. But when a in the episode in the lesson about throwing the bodies that talked about how the legs start off very thick, unbelievably sick, very powerful hind legs of the ball, very powerful animal. And then they come down to these relatively smaller It sank in Paris and everything else. Very small hopes and that's it that feels more like a bull to me is more powerful. I also feel as though the nose, uh, could be broadened a bit because and this off the top of my head. It's something that I don't think is worth looking up, but I think I could make a good argument, and you can correct me if I'm wrong. Look it up. But I think a deer's knows comes to a point. I'm actually I'm leaving white space. I don't know why where his, uh, astral should be, but it's working just like that. That might be better. Also, something about his hair not being so smooth could be the cause of Thea the deer like look , because I have all of these individual Harry lines that makes that makes the first seem very thick. If you have a very fine coat, you wouldn't be able to use the sketchy lines like this, right? So if you have like a cat and he just sketchy lines like this, it makes the hair look very Uh, well, it doesn't look fine. Basically looks rough, coarse and thick, but a feline and most house cats have very thin, silky type of could refer to them. So in that case, you probably have to use a special brush, something that has bristles to it and can help to, ah, work out those details turns color this in little. I'm not going to be able to get a perfect curve on that today. I don't think my touch up later if it bothers me, but it's not the end of the world, kind of like how it looks. So now there's a lot of grain and texture. We'll go over some of these details later, and those horns, so I just do something like this without any particular direction. Make those lines to represent that there's a 1,000,001 tricks were 101 tricks. Hopefully, not too many who are achieving this type of art style. A lot of it can be learned from looking at comic books. They do this a lot. The thinking process. Because, remember, we only have the black and white to work with. So we have to use some shortcuts and cheap tricks to achieve certain results. Better ice droopy. But even though not as true, peace, the other guy's eyes have to be droopy or it's notable. Bulls are not happy looking animal dripped down, droop down. You're gonna put some highlight in there, but the show that true Penis start up here. Get down for Drew. Visible, I Yep, that's it. It's definitely below. Okay. Was I very small, but distinguishable with that drew Penis? I'm happy with that. Back where we're started, but was perhaps, um, improved features on these balls. I believe that like that. And we'll see you in the next lesson. If we're going in order, the next lesson should be on a whole body. See you soon. 6. Bull Body Study: this lesson, we're going to have a look at drawing thief, full bodies of the bull, and in this in this time lapse, I would do two bulls. Not three reason for that is because, although the resulting size of the illustration, that drawing is about the same size as the heads, but the amount of detail and ah, structure that has to be done in order to create the full body is very time consuming. That's something interesting to keep in mind for all joins. Sometimes I see people on deviant art reading out price lists something like a menu a supposed for their commission rates. And you'll see some people a lot of people actually say, like just for a portrait or a profile from waist up, they have a certain price, and for the full body it will be a more expensive price. And then, of course, that the difference of black and white or color will add more. So I think there's a lot of truth to that, something interesting to keep in mind that drawing a whole body, you should prepare yourself and know in advance it's gonna take more work. A Z you see here. I'm fumbling up a lot. Ah, there's just so much. Where's the head? If you're just doing the head Ah rectangle or a couple triangle shapes here and there will give you the foundation. But to get the foundation of the entire body here, look at how many different shapes I needed. I've already been drawing. Ah, this is the same as the last video I spent about an hour and 1/2. And with time lapse, it comes to about 15 minutes. So at this here would be one times three, I guess, have been working on this for five minutes already, in reality or even longer. Yeah. So by now, it's definitely about six minutes, and I'm still just working on the foundation, getting the overall shape of everything. There's all the muscle turn and things like that. So, as we said in a previous video, when we're looking at the photo reference, we have the overall meat loaf shape of the body. Not really meet with shape. Just reminds me of the meat moves, and I like to think of it like that because he has, uh, served that sick fat meeting this to him. So not so much a hamburger. More fa have full meet. The just funny to think of it that way has a thick boxing this to him, which is often found in the shape of Ah, meet lift where a bread box or something like that. The legs come down to these hopes, and the hoofs are their thin. It sort of reminds me of drawing a female body a female human. I usually have a thicker for an attractive female that they'll have like a thicker, stronger upper legs that go down, um, and get thinner as they go down. And for the icing on a cake. I guess it really polished that off. They were high heel shoes, which come down to a very fine point. So there's something about that to keep in mind, starting off with thick legs. As you can see, the hind leg of this bull is just amazingly big. It's extremely powerful, and thats why this is a dangerous animal that is used in the bullfighting, the arena style bullfighting matches. The reason that is exciting toe watch is not, you know, it's not because it's ah, innocent animal. It's because it's a very dangerous animal when he agitated and it can kill a person. I don't really support that because they killed. As a matter of fact, when I was looking for reference photos, there was a lot of interesting bulls and from a bullfighting matches. But they were, ah, lot of them, you know, bloodied up. And they're kind of Yeah, I don't really like how they do that. I understand. We used bulls. Ah, cow and bulls. I looked this up for meat, and I suppose that's fine if you're a mediator, as long as you know that's you know what's going on. But to hurt the animal like that didn't really like I don't like that too much. It's a cultural thing, though. I will comment too much on it. It's a nice right there. I like the way that turned out. As you can see, I left and we'll skip to the next one. Now I can, uh, you'll have plenty of time to look at that. That image. Um, it came and go back and just pause it for a minute. What? I'm moving on to the next one out. But what happened with the last one? There is. I didn't do the shading yet. I just stopped it at that moment. Where have the foundation and clean contour line? The contour line is the outline, the surrounding light. So Contour line is good toe have very, very clean, as you can see in any type of simple cartoon or anything is usually an extremely clean contour line with perfectly smooth, uh, curves and edges or, you know, perfectly straight curves and edges as needed. But for an animal, it will be a very smooth, uh, usually curves. It's organic, and so we'll do the same thing first with this one, and then I'm going to go back on the second half of the video and do the shading, although I might do the shading on this one first and the other one last, The reason I did that is because it was exhausting to do otherwise. I just ran out of steam. At this point, I would have been drawing probably up to half hour, 45 minutes straight, and in here it will start to see. Yeah, I did a lot of work on getting the texture. I thought this was a very beautiful cow. This image in, although you might look at it and say, Well, it's a it looks like a old cow or some for me. I found very beautiful is the way that his skin wraps around the muscle and you can see this, these wrinkles and there's something about it all that when you tie it together, it looks kind of majestic. And the fact that he is a white cow or bull Michael Mel tell I was running. If there's a word for both Cow and Bull, the beef family, huh? But yeah, all of these, um, these wrinkles and stuff. It helps to pronounce a lot of the muscle. You can see where a lot of the muscle is, and there's a vein meanness to it, which I find very interesting. It just gives your I I like to look at. And that's one way to choose why I often find perhaps not always, but when an image, a photo or illustration or an image just gives you a lot to look at and a lot to think about, it's a lot of it means that has more information. Obviously, let's think of just drawing a plane circle on a page. Well, it's very boring to look at, doesn't mean. And what if you had many circles, big circles and small circles and overlapping, then might start to think about something? Were there circles formed into a shape So many, many circles? Well, uh, overlapping. And they kind of make out the face of a person or something. Well, then, that would be very interesting. So the more information that you have in the image, the more fun it is to look at anything that causes the viewer to want to look at it longer . That's good. But when you're beginning Ah yes. Here is where I said I had finished both of the contour lines In the simple foundation. There's still a lot of texture. Ah, for the muscle tone and lines. And then I go in and color. So you're on this adding shape. So I was about to say, If you're a beginner, then you're gonna find you might enjoy simpler images more, and the reason for that is because you haven't developed your skills yet, and it might seem it might seem a bit scary for you to look at more complicated photos and images cause. You'll say, Oh, that looks like a lot of work. I don't want toe have to think about all of that. That's why it's again. I keep repeating this. I can't emphasize it enough. It's very important to just keep practicing as much as you can, so that drawing feels the same as, well, anything it becomes like second nature. I like to cook a lot. Hammock recipes, for example. I first started cooking. It was out of necessity. I was living alone, and it's expensive to eat out every day. So I had a budget, so I had to learn how to start cooking. And it was very painful at first to go through the whole process. I was hungry and I had to go outside and go to, ah to buy the products, to make food, maybe even just make a sandwich or grilled cheese. And it seemed like a lot of work. But it was gratifying because by the time you're done eating and you made everything just how you like it, it feels so satisfying and it's empowering because, well, you can take care of yourself better. It's the same thing with joy. You get some, although I don't know, You know, obviously, being able to cook food is a lot more useful of a skill, a life skill to have. But you can gain a lot of knowing how to draw and knowing how to break things down. Visually, it's very, very useful, especially in today's world. It's so much more. By the day, it seems to be more and more useful because we live in the digital age, the the age of technology, the information, age and visual display just continuously becomes more and more important where, as having a a functional display used to be the only thing that mattered. But nowadays, having a beautiful display on the ability to organize things visually very well, it's becoming increasingly important. And of course, illustration will always be here. We need to make books, Children's books, fantasy things, games, need illustrations and concept are and our is just are it's, ah, tradition, a cultural thing. Some people make a fool living just off of doing anything from, ah, wedding illustrations or ah you know, making the Children's books has already said joining drawing photos. Portrait's okay, so that was that one and I will put both of these up. I'm sorry because the video is fast. So it was hard for me to know, and I went toe to freeze it. Um, but I might be able to put the finished image while I'm talking right now up on the screen . If not, you will definitely have it attached somewhere around wherever you're watching this. Or if that's not the case, Definitely go to deviant are. And my user name on divan art is be shoe B s C h U. Yes. Yet you know, always find all of my illustrations enjoying is up there most of them. Anyway, All of the illustrations I made for courses always come out very good, obviously, because putting my best effort in for educational purposes. So this one here, you can see if you're interested in this north style, Nor this Ah, thick, black, black and white type of style. I'm exaggerating wherever I see any kind of shade at all. And this is very hard because if you just follow your your initial instinct and just say, well, wherever there shade, I guess I'll just fill it in black. It doesn't look right. You have to find a balance, and so you'll see. I redid a lot of this a few times over. If you look at body right now, it just looks weird. For example, us looks like a skeleton pool or something. It's too defined. So as an art teacher once said, it was, Ah, quote from a famous artist who she knew, and I could never remember who it was. But they say you try as hard as you can when you're drawing to, ah, to make everything is realistic as you see it. And then when all else fails, you lie. So that was a good quote, I guess. Another way of putting That would be to say, just cheat sometimes to make it look good. Don't worry about expressing everything that you see in front of you exactly as it is. If if you could do that, and it works out perfectly well. Amen. Hallelujah. And that's wonderful. Congratulations. But you'll often find that's not the case, no matter how talented you are, because you're taking something that is in a three dimensional world, putting it into a two dimensional place using simple tools. And you know, in this case, only one color over. Yeah, well, you can say there's two colors. The the white canvas or the white paper that use counts is a color, too. But the image there could be, you knows, hundreds of ah, we have those value. And and Hugh Hugh is the actual color. Value is thea amount of light or shade. So the combination of both value and Hugh there could be hundreds of different, uh, types of colors or even thousands very, very subtle differences. If you look at the color wheel that comes with any software and just imagine all the different positions you can put it in. So you see here I'm struggling a bit. This is the in between phase where things get worse before they get better. And that's where I had to come in and use that. Ah, my cheating philosophy already said, Okay, forget the photo. I'm just going to fill in some space until this looks right and it was hard. It looks kind of cool right there, I guess. But it just it just weird, you know, something definitely wrong on its straying more and more from the photo, to the extent that it doesn't even look like the photo anymore, so I had to just play with it a little. I think ultimately what I did wrong is I had too much detail with the look at the front leg and you'll see soon. I think I might have fill that in. Okay, and so that's the end of that. And you should be able to see the finished products here up on the screen. Hope you enjoyed that. You have any questions? Let me know, and we'll see it in the next lesson. 7. Details of the Bull: and this lesson, we're going to have a look at some details of the bull and ah, note some of the problems that I was having previously with the head, mostly the head and with the body were OK, but we can just focus in on some details a bit here on I'm also gonna provide in this lesson a proportion sheet such as this, which we can have a look at, and, uh, we'll have a quick look at that. So one thing I did is I looked up a photo of a pick on pixels dot com p e x e l s pixels dot com has all free photos and because I kept thinking that my drawings of the heads kind of looked like pigs in certain places. So what was the reason for that? I really want enough because I think it doesn't know collected. Pick it all when it comes to a small ah, sort of like a like a beak or ah, that circle like take No. So I mean, everyone knows that picks now it just looks like that when you have that I can certainly see how that would cause a bit of piggish nous and the nostrils are two round holes is very , very pick, like the eyes are incredibly small because the pig, the animal pig, is much smaller. So that might be part of the reason why the ears are pointy and they kind of go up sort of like a cat And some dogs. It goes in the upward direction. Really, None of these features have anything to do with, um my my bulls here, So But sometimes I do get kind of a dearie. Look, And I know if I look a bit dear, I've already done that. They they do kind of resemble each other. If you really stop and think about it, there's a lot of features in common here. So what I'm gonna do is I'm just gonna put that one to rest and not worry about it too much anymore. Ah, if there is something that pops up later, I guess you know we can have a look at it. But I just want to verify that this one here definitely looks like a bull Now, on the right hand side. This this guy here, he's really, in my opinion, that's very bullish Ah, part of what? What changed? That was Ah, his eyes don't look so happy anymore. Remember how I kept saying droopy eyes? That seems to be very important. And also maybe even a little depressed. Something like that. Who's that? They're just I mean, they stand around, right? What do they do? It is not a very active animal. They they stand around And what graphs or hey, or something? Um, not very cheery kind of animal. You don't think of happiness and cheeriness when you think of a bull work, help, They just kind of stand around, you know, So that kind of mood brings out a bit more of the ball, the kind of feeling of a bull. So if their faces, I mean and also remember their masculine so their faces should have a bit more aggression, a Russian aggression to them And also, uh, not so cheery and happy, maybe more like a ah, busy worker would represent the ball. May flip that back where it was. So there it There is just some of the details of ah, from based on previous notes and things that I've done One thing that we don't have is any close up. I haven't done anything with the hoofs, so I wanna point out right here. Something I find very interesting is that this hoof right here, as you can see, and many hoops, which I looked up first of all comes down on an angle right like this. That's a 45 degree angle and you can see that in a lot of places. Let me look in my previous body, Joy here in this case where I did draw out some of the hoofs, but the original 3rd 0 that I used to draw that on. Excuse me. So this one, the original photo, the hopes were covered a lot. A lot of the photos I had almost all of them. The hopes were not visible. And the reason for that is because they're always standing in grass and, well, that's I guess, normal. That's the environment, such as, you know, this one here. And even if the grass is short, it will cover up their hopes. But one thing I could see and we can definitely see clearly clearly now is that all of the hopes are at a very sharp angle and even causes What would be the wrist as we studied and other courses? Is this this area here? Should ah, should be the wrist. And from here down, that's like the hand Have leaf. Could it be further than that now? Yeah, this would be, ah, sort of a knee or the bends the other way. Not 100% sure. So we can take a look at that. Ah, actually, right now. Over here. Yeah. Here. If you look at this, this leg right here, that area would be the hand, and this would be either a knee or an elbow. And then this would be either a shoulder or a hip joint. And to get more than that more specific on that, because I I can't I don't have time to cover everything but the, um the previous course I made covers that draw a dog. And while we're here, look at the hoof from the bottom. Here has two parts. All right, 12 And you can see that here in this area too. However I found was interesting. Not all of them do this right. Which foot did I need to be on details? Yeah, this one over here, such as this one. This wolf here is just one big piece, okay? And I found that a lot with a lot of bulls. I looked up, but what you see here, the photos that I have available here, they're not all of the photos that I saw. Obviously, if you go on a Google, they're just, like so many photos. Um, but these are the ones that chose for this course. Let me see. And here, this is like a ah, a three d rendering here. They do show you that part. They show this. Ah, there's two. There's an indentation in the middle, so the hoof has two parts. But there were many, many filters I looked at. Where Didn't This was the only really good close up I got Was that one there? And I must be running out of memory. It's getting very slow. Okay, this one here we do see it. Although I didn't think this looked like a ordinary bull, I'm not sure, but capable that is. Try and close this one. Um and that's about it. But there are definitely other photos where I could see that sometimes it had two parts and sometimes it didn't. Now, and this one, this one here, I specifically got this photo here. We can see it has two parts. There's a left and a right. If you zoom in and look at that and hear this bull here also has a left in the right part. Almost like two toes. Right? So a lot of what I'm seeing does have the split down the middle, But this one, I don't know why it just doesn't have it. So keep that in mind that it should be two parts. I believe in most. This one might represent it. Well, maybe it's just sometimes it's a very small indentation. So another thing to look at with both the horns and zoom in real close Here, you see that kind of graininess? You can see rings almost 10 C rings around here like rings on a tree. So when the horns start off when they're young, it might start off just poking out like this. And I think eventually this tip right here is going to grow outward and stay small as it is . And then there's going to be another layer. Come, a thicker layer is gonna come out, and then another thicker layer and a thicker layer. So there's these rings that kind of build out like that. In addition to that, you can see some graininess on each ring. You know, it reminds me of if you look at your fingernails, look in real close. If you're for girls, you have toe. Maybe it doesn't matter if you have nail polish on or not, but you see it more clearly on a guy, perhaps with no nail polish. Or if you have no a partial, you'll just see these lines. There's a graininess that comes down your finger now, and so it goes in that direction, right? And on the Huss exact same phenomenon. We have rings going this way. Then you can clearly see a graininess coming down here. All of these lines here. And so all of this stuff is very, very important for the final product. You can use all of that texture. All of these different details that were pointing out to help develop your your shadow, your light and shadow. As I did with the previous two drawings, they would go back and look again. Not this one, just like this here, you can see I use the hair to allow me to make a bunch of lines and create the balance between light and dark. So if we're to draw in the hopes or the horns and we needed some, some lighting and shape would do the exact same thing. We could use the graininess of the warns to do that. That pretty much covers just about everything I want to look at with fine details. I think we've covered a lot along the way as well. So in conclusion ah are in summary as a final note here. We'll just have a look at this. I'll make this available somewhere for you, depending on which platform you're seeing this on. Ah, and you can also go to deviant art dot com forward slash uh, issue type that in here looks deviant. R a com fort slash. Yes, it's you in a much smaller fun, perhaps, and something a lot more made The Ford Slash into a king symbol just used aerial Ariel flat . Yeah, Sorry about that. And then set up there the BS bsch shoes, you know, stands for Brendan Schumacher. That's my user name at deviant art dot com and you can see usually I have everything I've done is up there in one of my folders. Okay, so I will provide that with you The important thing, uh, cover this so many times and beginner lessons. And this is the intermediate lesson. I hope you, um you can tell anyway. But just a quick, quick review here we can see the important thing to note here is that his head is such long and therefore his body will be so long. It's four, right? We found the same thing. I believe with dogs And, um yeah, his dogs in a last course and also about two heads high. So the length of his head will help you to judge how high he should be and how long he should be. And that's called using proportions. You could do it with anything. You could have started with a horn. You know, it could have said, well, his eyes this big. So he should. His body should be 100 eyes long, but obviously that would be very tiresome. It's better to have something a little bit bigger to start with, So use the length of the head seemed like a good balance. And over here you can see with the green lines. There is a good marker as her where his maybe perhaps his. His knees and shoulders. It would be like a elbow and and anywhere those joints should meet up, and we can see the length of his body. Where the head begins is so long. And if you compare that with the length of his head when he's standing up and then where should his first foot, his first hoof? Where should that begin? It's almost about halfway back from the tip of his nose, right? These are all interesting things to point out, Ah, to help make your proportions accurate when you're making your book, that's it for this lesson. We'll see when the next one we're going to draw a logo abou logo from the top of our heads with no photo reference based on everything that we've learned. See you in the next lesson 8. Draw a Bull Logo: this lesson will draw a quick bull logo. And we'll do that just to prove that everything we've done so far should have some type of used to it. And, you know, if you set these very simple rules to memory, see what we can do with our new ah, our newfound tools that we have here. Every time you learned to draw something, there should be some kind of fun thing. But I'm planning to do here is to make one logo and a bull cartoon and then, ah, finally, perhaps something else I don't know yet, but we'll make a couple of things with everything we've learned so that we can prove that these things actually work. So there is the foundation. What I'm doing here is I'm making a box to represent roughly the It'll be guidelines and lips. Get that back where it belongs, right? So this will be some guidelines and start drawing the bullhead and a top here we'll have. This is the Harry part that is the top of a school where the horns come out. Remember, there's really a bit of a dimple. It goes down like this, they don't exaggerate. It too much. But I get like that. And then there's obviously a space where the horns will come out. And based on one of my previous mistakes, we learned that they come out very horizontally so that come out like this and go out pretty far, in most cases, perhaps with a younger bullet will look different. We have this side of the head always boxy, and the nose is usually not so big. It comes that was part of my pig problem, where I always thought he looked a little pig like Comes down what? Quite skinny. Come to a point. The jaw will come in like this. Well, like that. It was a little uneven, but I can you locked these layers together? Just move around? Yeah, so ever bit of a lazy hand. Sometimes it means a little, and there's guidelines might not be very good. Little uneven to be a problem, right? But I flipping around. We can fix all of that super super sketchy lines. It's like this. So we often found that the eyes were about the middle of the head and they're very, very small, very, very droopy. And there, and appointing outward right. But when I on each side of the head with the outward like that, they're always very dark. So eyelashes come down far like this. Very, very thick nurse nostrils come down a triangle. This you could put a bull ring in there. I don't really like those, but you want to make it very obvious that it's a bull. It's kind of the stereotype. Like every dog has a color, something like that. That's that. Okay, so let's try and get little horizontal with the horns. I'm not gonna go super high because I don't have a lot of space here. Go like this. I do want to get nice and thick when it comes into the bottom here. All right, we slip it. Yeah, it's hard to judge sometimes. Exactly. I made it come out just so far on that side that using a ruler or anything do I start toe just to the areas that you're focusing on is a very big problem to overcome. You're staring at one particular aspect of the head, so I might just be looking focusing at this particular area right now, and therefore, I'm not allowing myself to view the entire space. Might my eyes tend to zoom in while I'm focusing there? Well, that's the case. My ability to judge the distance from here all the way to over there equally it can be distorted. It could be, ah, interferes with my build to do that when I start focusing. And that's extremely difficult to put into words. Even that type of phenomenon. One thing I often do is, uh, look at the moon and see how big it looks. The moon comes out at night and you focus on it. Then take a photo of it and look at how small it actually is in the whole scene. Right? Make sure that when you take the photo, it's next to a house or something like that. When the moon just started rising and you'll see the moon is very, very small, even when it seems super big. It's like a full man. Very bright supermoon. Whatever they call it, that definitely looks like a bull. But the eyes are too big. Looks like a baby bull The ice A little smaller, just like that. Okay. Did see some eyelids a lot happening here in there? See the reason looks like a baby pool is cause the horns are not so big, but still, it's a bull. Sorry, I just hit Thea microphone there and the nose was often coming out like this a bit that about right, using my guidelines here, trying to be centred. And we have the hair start to come out like this now for a logo. I want everything to be very simplified. I don't want to Ah, I I can still do that in a war style kind of thing, I suppose. But you wouldn't wanna have to do all of those Harry Lines, which gives a bit more of, ah, realistic effect. And the logo will be perfectly symmetrical, isn't it? So I prefer this side right now, and as a logo, I will allow some lines a couple lines here, and I'm gonna They can both represent the hair and sort of a meanness of the character. That's for a logo. If a bull is your logo, it must. That could be, I don't know for restaurant or but a beef company or something. Maybe not a restaurant. A food seller seller of meats, could also be basketball team. The bulls right. So I'm going to do I'm gonna chop him in half, just like that Copy paste and flip it. So that looks It's good, but it just needs some more space. Where is it? Yeah, there it is. Smoothing various. The because, uh, I'm recording at the same time make him a lot wider recording at the same time that I'm drawing on this. And the drawing software itself already takes up a lot of memory a little bit wider. There it was. And that what is still make him quite white. His wide set eyes. And it was a very big animal, so that was part of the problem. Why? I think some of my previous bulls didn't looks so good. Look. Kind of like pigs Sometimes was because of that as well. Okay, Yeah, I like the way that looks. So this one. Get rid of the guidelines, merge this down. That's pretty good. Now, I just need to clean this up, and we'll do that in timeless. - Okay , so here we have our full logo. I think it turned out quite well. There's a lot to be done. Toe make this finalized and professional. But this would be the beginning of a logo. And we could, you know, obviously make thicker lines that I had to resize it to make it smaller. But we would, you know, go and make thicker lines something like this. Perhaps do this very quickly. At least give it a thick outline. This and you also have the smooth lines on in gimp that's called a smooth stroke. There is a future over here in second. I'll give you nice, smooth lines when you're drawing kind of handy. Otherwise, he would have to use the path tool. And that could be well, it will add a lot of work, get slower, you're out buying. These were quick. It's not easy to get all these angles. I have to then my wrist around. But we'll get it one way or another. Okay, Yeah. So I did that on a separate layer. I centered everything. So it'll be easier to work with. And that was wrong. They're too much size put around. There we go. Now it looks like a logo, and you could color that, you know, put the name on the bottom. Whether or not it's a, uh, a sports team or, you know, whatever it's for that you're doing. Just customized it per your situation. And I said, I'm very happy with that logo. I think it's pretty cool and maybe it will turn out useful. I don't know. I don't plan on opening a bull farm or anything like that. Maybe I'll find a friend who is in need of a bull logo someday. And, uh, that's the case. I have one ready to go. OK, so I see in the next lesson. 9. Draw a Bull Cartoon: Now that we have studied the bull so thoroughly, let's see how quickly we can make a bull cartoon. I had to think for a minute about what would be a bull cartoon. I don't know exactly what to do, but I came up with an idea. It's Ah, Bull reading a newspaper and it's Ah, no bull. So it's I guess it's kind of funny. Let's just see, um, you know, you got to read the real news, right? That was kind of my inspiration for the whole thing. But let's just see kind of how quickly we can whipped this up. So I make a basic circle shape there. His nose come down to a certain area here with Boxee, right? We always do. Where's Nurse comes down not to appoint, but to enough room that we can make our triangle nostrils and actress like that. I still have my smooth stroke on, so it's gonna make nice meat lines for the eyes on either side of the head. I'm going to make them bigger cause this is a cartoon, okay? And part of my inspiration for this, I just thought it would be funny for cartoon sake to say that he's wearing glasses. There's something like this. What else can you do with the cartoon? It has to be something silly. So the bull is wearing reading glasses and we got his eyes right about where they belong. About halfway through here is where our horns will come out. No space for that notice. I'm just doing very quick lines because it's a cartoon. The whole point of this is to see with the knowledge that we have, how quickly you can make something and we can remember the ears this time like that. I'm looking at a bullhead. Oh, yeah, I do. Ihsaa bring the jaw line in a bit. That should have a job. This doesn't have to be so boxy at the nose, but over. So it's not a problem. I don't have some expression like happiness on if we can fit that in there. So yes, a little bit of a smile developing on there this little bit. So it's gonna be he's reading a nurse newspaper that line a little smoother and like this for the hooks make unrecognisable, Let's see, to have a Z studied that and the interesting thing about This is if you can impress somebody who actually knows what they're looking at. You know, for example, you show a bunch of kids this They're not professional bull handlers or farmers or anything . You know, I have suitable Clever. If you can show it to an actual ah, farmer or, you know, somebody works in the ranching biz or something about of there's a little more space here. Could make a bell around his way Got we know it's a bill, a bell around the neck. Isn't that what they do? That's another thing just like the ring, the hoop through the nose and the bell around the neck. That would be great for a cartoon. But for now, we just do like this. The idea is to see how fast we can do this and say, Ah, be better. We want the cover. The cover is usually on. It should be on this side. So that's where I want this to happen. Is going to be ah, rial, um, and run out of room news. It he ran out of room that make it smaller. Yeah, you know, we're the real news. I'm gonna say noble ne w has to get its way to way too wide when the tricks of funds your honors noble popular thing these days is the fake news versus real news. I think they're all thick. Oh, it noble explanation. Yeah, I think they're all looking for ratings, but what can you do? Front page of newspaper might have the third of their and some random text you squiggly lines for the text that this paragraphs separated on this half of page have age things like that, right? There's a quick little cartoon Girls like that, and if you wanted to, you could fill it in the background. Do all kinds of stuff like that. I only want to center it. So I'm going to go layer crop to content and then use my alignment tool to center it both vertically and horizontally. And then I can resize the layer again, fill the page, and there we go have the a bull cartoon. Real news, noble. Of course, it takes some time to clean up the text in all that stuff, but I think it's good enough and of acceptable so you can see with very few strips. Very few lines were able to make something that resembles a bull and cartoon form. Anthropomorphic. Very fun. Okay, we'll see in the next lesson. 10. Draw a Minotaur: okay. And so now, in this lesson, we're going to draw a quick minor tour. Minor tour is 1/2 man, half full. And while I was off the camera, I started sketching in just like this, a quick posture of a body because I usually fumble around a lot with, uh, posturing. So I thought I'd get that out of the way before I started. And I haven't drawn many minor tours, so it's kind of new. Um, we're gonna do here now, just focusing on the head. You can see. I hope you can see these are like the pictorial muscles, the upper chest in the arms, come out into fists right here. And then these air, you know, hip bones and the legs coming around here. Okay, so now I need to get that bullhead onto him to make him a real minor tour. And I guess the head will have to be very big. It does. It does look like he's going off. Sort of looking in this direction with his body is going to charge in that direction perhaps. So make, uh, notice I keep when I'm doing quick sketches and cartoons to keep making a little rectangle for the ah, the front face of his nose, where I make the nostrils in there. And that basically seems to be about the shake and and eyes very small on the side of the head as we know droopy eyes. But in this case, we're going to make him look angry because, well, he's a scary monster and his horn should come out from. I keep thinking I kind of want to know if there how exactly this thing works. If there's a scientific name Ah, on the top. I'm referring to the top part here, where the horns come out of. If you notice, a zey said, before there's sort of a dip. There comes in a dimple that makes me think that the horns there must be two areas 22 round areas here, where the horns air kind of like produced like two little factories in there that are kind of making the horse there come out as vertical as we can, and then shoot straight up a hero show a little bit. Thea circular area where they come out. It was critical shoot up like that and something else. I started to notice along the way. Another quick tip is that, uh, come out very horizontal. These horns shoot up the upward direction now to make a minor tour. Well, such as with any drawing, it could become a very complicated thing. I'm gonna make this relatively simple, maybe just have, like, an outline of mandatory because ah, such as with any drawing, it could go on forever. Recently, I heard an interesting expression. They said, Ah, you don't finish a piece of art. You abandon it, simply abandoned. And what they mean by that is that, um, the artists, Once you start getting into the nitty gritty of things, it's, ah not to say everyone's a perfectionist, but there is no end to it. You just keep going and going and adding more and more detail. I guess there is a certain level of satisfaction Oh, that you can achieve and you decide to quit at that point. But you can also it's just to say you can spend an enormous amount of time trying to perfect everything and any type of drawing or art form. It can alternate to our but I guess that's kind of what the difference between a doodle and a piece of art is Is that you when you start to get into the detail and allow perfectionism to take over, that's where your the difference between making art and fiddling around is playing around this. You see, things are getting a little slow. Luckily, I can still draw, but the memory really does get eaten up a lot This now I basically did the Bullhead already , and we're just gonna add the details for the male body local on too long. This the ideal, the ideal length of a lesson Video is actually two minutes, and you might notice mine are always a lot longer than that. But it's a it's impossible to condense artistic information into, uh, such short videos. Okay, right here. I'm just suddenly found myself using a sort of a Chinese short struck there. There's very Chinese. I studied Chinese. I lived in China for many years and ah, the Chinese are one stroke is one struck. We want stroke at a time is also you can argue it's up to you. I'm not gonna make a big deal out of it. But people argue about what is Chinese. What isn't change. They argue about themselves. The Chinese people isn't so well. Im in its arms way too. Book either. That's just wrong. Well, you make this come out lighter again. We're being a little cartoony here. Don't have time for anything too realistic. Oh, well, yeah, I was going on about the Chinese reason I'm using. That is a You see, I'm trying to get, like, one perfect struck in many places here. That's for a second speed. And it can also be for the sake of cleanliness. Uh, you get it right? I mean, by cleanliness is to have clean lines, right? The clean line work is usually preferred. What I do most of time, as you've seen clearly already is, uh, draw very sketchy lines. Just toe have ah foundation lay things up. So and then I'll go over with the clean lines later in this case, just trying to get ah, it's something a little rough down on the canvas, quickly as I can try and make one line at a time. And we're very lucky to be on digital platform here, so I make mistake. I can simply under the lower leg of a person come always has outward curve this So again, That's another reason why whenever you have the opportunity to just sketch around on a note pad, sketchbook, anything, just practice. All this crazy stuff is drawing curves, drawing lines, different types of s curves. What I'm doing here is kind of an s curve. Different shape. Look around the room, see what kind of lines he confined. So what kinds of lines? You can make it a hobby to break down everything you see into shapes and curves. After a while, you won't need paper or anything to do it. You can just do it in your mind. That's true. Okay. Shins is very sloppy. It was definitely a minor tour. I can see the leaning I have again. Oh is leaning. That's why have to flip the canvas. See, these lines are all going to the exact same angle. You can see a bunch of lines have the exact same angle. That's my They shouldn't be that way. It's my laziness of my hand. So I need I need to see it from a different perspective and marks on his chest. A k a. Nipples should be in a certain position shading here on the lower parts. It men have hips too. You're looking for a good Champaign. There's one for you. Men have hips too. Could be one of those causes. It sounds like a cause. You have this thing out here. The Arab initiating yesterday. I want to do a cloth very quickly. Ah, and I think like a loincloth. Don't be very that has Romanesque bully back to this type of bull. Goes back to the Greek Rick Greco Roman times seven. Definitely. When I was doing Ah, yeah. I mean, I know the whole story, actually. Just don't have the energy to explain it. But the monitor comes from King miners who, uh, I believe, was obsessed with gold. Something like that. Oh, and well, there's different variations of this story, so I don't go into it clean up a little bit. I'm happy with how this turned out already. Do it just a bit more shading here. That's about it. It's too dirty around the nose. I can always ah bring this up a bit more off the off camera. So that worked out. Probably start of soft and pushing that That seems to be right. so has a teardrop shape to it. Okay, Yeah, no memory. That's good. I like that. Obviously very rough. It needs a lot of work clean up stuff like that. Okay, Yeah. So for our purposes here, I'm just gonna leave that like that, you know, just little bit around here. Perhaps I get addicted. I can't stop. You have to watch the time. So Okay, so that's it. We're gonna wrap up here in the next lesson. That's all I have to do for this course. I proved my point that we can learn these things very, very quickly, and we can break things down. And it will enable us to have all kinds of fun and frolic with the the tools that we used to break these things down. And that included just using proportions and measurements and analyzing the position of everything and the way that things work and studying. You know, the ah, the direction of things like hep which way the hair was flowing and the everything is pointing the way that the horns are pointing and the direction of the nostrils going in triangle shaped like that. It's a lot of direction, shapes and directions and you put him together. There's I'd like that. It's really cool, actually. Had to have to clean that up. That's so cool. I want to do something fun with it. Like maybe instead of hearings, he can have some kinda. Some kind of rang around hiss be like minor tour hearing. So it dangles some rings around here. I was thinking about something like that previously, but yeah, it be too weird for now is too much. Now, just leave like that. Okay, Well, we will have one more little lesson coming up next, then so see that lesson will just review and summarized everything. Close up. See you in the next lesson today. 11. Summary and Closing Notes: And so now a brief summary. I have a look at everything we've done. This was, ah, my original sketches that I did the very first going like preliminary sketches. Just warm up sketches. Really Wasn't doing anything fancy. Just getting warmed up for this course. And with those I did learn a lot in These are very important, you know, it helps you get started with the dimensions and proportions in the shapes of every the curve. Venous of everything is very important. I found myself spending a lot of time focusing on where the curve should be. And, of course, with the head we learned really, really good and simple breakdown of how to get all of that. You know that that bullhead that size where it belongs just where it belongs? No, the eyes and the way the nostrils working where to put the warns. I thought that was really good. Then we did, uh, Well, I might be out of order here, but anyway, I did do the heads first. I liked the ways that these turned out. I can reframe them, you know, the circle and and everything might need a little updating, but just as, Ah, even just as an illustration just like that, I just leave it like that. I kind of like the way it looks. It's a nice little illustration. I'll definitely be posting that somewhere in animal illustrations in, ah, deviant art. They do have a group for animal illustrations. If you like animal illustrations, then you should look up that group. It's very cool, and I have some very, very serious artists and there who make all kinds of the animal illustrations, and I have to change this layer, draw a boat. So here we have the proportions sheet is a sort of a guideline. Who would you call it? A quick reference to see where your proportions should all be. And you could certainly go into more detail. I feel like we didn't need much more detail on the had the proportions of the head because , well, I just talked about so much throughout the course. Um, you know, you know where to put the horns and you know where to put the eyes and help it to make them and everything. So that's all there. And after that, we did the logo. I did the logo and I look back at the class, I mean the lesson when I made it, and I forgot that years. But maybe I'll put that on at the end. You'll see this finished product at the end of that. Or you would have seen that already. By now. I'm very happy with how this came out again like that. That could perhaps become the logo for this course. I don't know. I have to choose one of these. I always take one of my resulting images from the course and make it to be like the logo. So it could be that one. Here is a cartoon that we did, and that was done very quickly, even with eat talking. So, uh, I'll tell you a little secret. I actually did this. I wanted to have a good idea before I started the lesson. So I did this before. I I did a version of this before I even started that lesson. And when I drew this one, life was actually the second time I had drawn it. But the first time was faster. That was the point. And the 1st 1 I just erased it. But you know, it's not important. The whole point is just to be able to whip it up with some quick lines like that. And that turned out pretty good. Look how that is for cartoon. And then we have the minor tour here, which I really liked. I think I could probably feel like I need a thicker lying for the frame or something. But I worry about that later. And, well, that came together. So, you know, it goes to show that we could get a lot done. I think my favorite are these bodies. There's so much detail there. But look at how much we were able to get done in a very short amount of time just by studying photo reference. And you're looking at a variety of photos and finding all of the similarities between this animal. And I do that in all my courses with the draw dog. You had a lot of very wide variety of dogs. Dogs. They can vary so much in their size and shape everything and ah, with the draw. Kitten had a few photo references that helped to bring things together and all of my other courses. I always do that, you know, I like to compare different types of things to make sure that we're getting the best. The most accurate representation of the general overall essence of the It's basically our study were studying something. I we're learning how to draw it in a proficient way. You have to break everything down into its essence, and that's about it. So I'm gonna leave this image up right here, and we'll just end like that. I hope you had a lot of fun and learned a lot in this course. If you have any questions, let me know. Don't forget to check out my website bsch you dot net on very confined. Everything social including ah, a lot of my art and stuff and links to Devi in order Facebook or Twitter and and so on And all of that stuff never newsletter, which is, uh, well, dying down a bit recently. But hopefully will pick up against you, and that's it for today. Have good, have a good day and we'll see you in the next course. Previously, I would say See you in the next lesson, but here's the end, so I hope to see you in the next course And remember, if you want a chance at a free course, just send me a request on what you would like to see. Drone. What will we draw? Necks. And if you Well, if you're the only person asking, then I'll do it for you. You win. Um, if there are multiple requests, I'll try to get as many as I can done, or I'll just choose one. That would be how we do it. If not, then I'll choose something myself. And we'll do that next time. Okay, so you guys have a good day.