How To Draw Animals | Ed Foychuk | Skillshare

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

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Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

17 Lessons (6h 20m)
    • 1. How To Draw Animals

    • 2. Animals Introduction

    • 3. Animals Rabbits

    • 4. Animals Rhino

    • 5. Animals Gorillas

    • 6. Animals Leopard

    • 7. Animals Horses

    • 8. Animals Armadillo

    • 9. Animals Sharks

    • 10. Animals Monkey

    • 11. Animals Bats

    • 12. Animals Wolves

    • 13. Animals Eagles

    • 14. Animals Elephants

    • 15. Paws Claws Talons and Hooves

    • 16. Warm up circles

    • 17. Warm Up Lines n Dots

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About This Class

Welcome to How To Draw Animals.

Maybe you loved drawing as a kid, but sort of left it behind. Or You've been looking to round out your drawings skills and Animals is the next hurdle on your list. Well, this course is specifically designed for you. An intense, concise, and detailed series of videos outlining the steps you can take to improve your animal drawings.

The pdf included is designed to accompany the video series titled How To Draw Animals.

To start, we will have 10 animals. One for each unit. But as the months go on, and feedback is received from students, NEW units will be added (free of charge to those who have already purchased the course). At over 5 hours long, this course starting out is huge! I can't wait to see it grow along with you.

Our first animal units will be

  • Rabbits

  • Rhinoceros

  • Gorillas

  • Leopard

  • Horses

  • Armadillo

  • Sharks

  • Monkey

  • Bats

  • Wolves

The course is structured to have you follow along with it on the pdf. You'll note there are two pages to each unit - one with my sketches on it, and one that is blank - for YOU to fill up!

Let's get back to that childhood joy or drawing animals! Won't you join me?

Ed Foychuk


Meet Your Teacher

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Ed Foychuk

Making Learning Simple



A professional illustrator based mostly in Asia, Ed Foychuk has been published both professionally, and as an Indie creator, in comics. He is best known for his work in creating Captain Corea.

Ed also studied Anatomy and Strength Training in University and is well versed in exercise physiology and muscular anatomy. Perfect for helping you with understanding how to combine art and muscles!

Ed has experience teaching in Academic and Professional settings.

Feel free to follow Ed on Facebook!



See full profile

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1. How To Draw Animals: Hey, guys, do you remember when you were a kid and you like to draw animals and you thought you were really good? But now, looking back at it, your mom might have been a little extra kind to you. Well, that's okay, because I've got a number of top selling art classes and I made this one just for you. It's how to draw in. This course will cover topics such as how to understand things like the structure and anatomy of animals and then how to simplify it. We'll also look at how animals move, function on, then learn how to draw them in different poses, and we're going to look at certain details that each animal has as its strong characteristic. The course starts off with 10 animals, but that's not it. After you take in the course, you get to help me choose what animals are going to be added next. Also included in the course is a Pdf attachment that you can print out and follow along to . It'll have tons of my sketches on it, but room for you to show your work as well. I'm so sure of this course that I got to say if by the end of this you're not drawing animals so much better, I'm offering you 100% money back guarantee. So are you ready to get learning? Let's get to it. 2. Animals Introduction: Hey, what's up, guys? Head here. And here's my newest course how to draw animals. I was out for a hike here today and figured this would be the perfect time to record my intro. Right, Because I got a whole bunch of little animals hanging around behind me here and in front of me. Um, listen, this course, what we're gonna do is we're gonna look at the structure of animals. We're gonna look at how we can use that structure to pose them in different ways and then some of the differentiating features between each animal to the next. Right. I'm going to start the upload a few classes to begin with, and as this course goes on, I'll be adding more and more. Okay, I hope that you enjoy this class with me, and I hope that you enjoy. He's these fellows behind me here, right? What a weird course introduction This is Alright, guys, I gotta watch my back here, so get back to drawing. And I hope you enjoy this. Have fun 3. Animals Rabbits: Hey, what's up, guys? And here and I've got a how to draw comics Animals edition for you here. Okay, So what are we gonna do today? I say, let's draw somebody's. We're gonna work on rabbits whenever I'm starting an animal. What I like to do is start on the structure, OK? Understanding the skeleton and then understanding how things kind of pieced together from there. How the structure helps theano Immel move. And someone we're looking at the rabbit here, Right? We've got a skull, a rib cage, hips and then the limbs. But I got to tell you, I'm not keen on drawing out this, uh, skeleton every single time. I'd rather my little bunny here. Okay, So what I want to do is try to simplify it. So let's see if we could do that, we're gonna use a bit of an oval here for the head. Another oval for the rib cage here. Okay. And another oval for the hips. Okay. Simple so far. Let's see if we can connect this. We're gonna go over top of it with a backbone here and up towards the head with the spine actually comes a little bit more like this. This guy's got his head tilted back there, so it bends up. You're gonna see a bending this way right now. Here's the key point. The limbs. Uh, same is with humans. We've got this insertion in the hip comes out towards the knee and back towards the ankle foot. Now, the bunnies feed are quite long here, right? Different than a human's in that way and down and over. I don't know if you could see it on the skeleton here, but here's the scapula, and then in front of it is the shoulder. So this is quite actually, if you've ever studied human anatomy. This is has a lot of similarities here. A lot of mammals carry through this similar structure. So we're gonna go off of the shoulder joint of the top of the scapula down towards what would be maybe an elbow equivalent right down towards kind of like a wrist and then an extended foot. Same with here and down here. Now, let's see if we could find it on the rial bunny. Not my little skeleton drawing here. Okay. I think it's ok to for us to just say Hey, he would be that Oval foot for the skull. Right? And in here, if I'm looking would be the oval for the rib cage. Now, a little bit interesting here, though, is I would say that the rib cage is slightly turn towards us a little bit. This is maybe the middle of the rib cage, right? As if we're drawing a bowl with a with the center line going across it, Kim. Because we can see that up towards here. And up towards here is where his shoulders air coming out at this comes down to the elbow. This comes down to the wrist type of foot, right? This comes down to the elbow type thing down to the wrist, down to the foot. Now, I don't mind if I use human anatomy. I just to explain things. I think it's easier for most people toe. Understand it. Okay. Going back to the hip, the hip is gonna be back here. Um, what's happening is actually, this one's coming forward or coming up. Here's the knee and it comes back down to the foot, and then the foot extends here, okay? And this one's kind of blocked off were not able to see it. But this hip to is also has this this curvature to it. Okay. And then we've got the spine going along the back and up into here. Now what I'd like you to do, See if you can practice this once again, OK? We're gonna draw kind of oval for the head. We're gonna draw a bigger over oval for the body and another oval for the hips. Kind of like a lopsided snowman or something. Right? OK, Do we want to replicate this money? Doesn't really matter. Uh, let's say we'll put the little center lines here. I know my shoulders airway up top here, So and let's say I want to put the feet down here. How would I connect them? Well, this would come to the elbow, right? This would come to the little wrist type thing, and then the feet would come out of there. Those are the front feet. The back feet usually are quite long, right? If we look at the length here, it's both the length of either the rib cage, the over or anything like that or longer than the head. So we gotta put, um, some length on this coming back down and then across right for that longer one. And I'm just gonna put some little bunny years so we know what we're talking about. Okay? So, like I said, what I'm hoping you're doing is as you're following along, your drawing these circles, we could even maybe put a little bit here, you know, as if our bunny was gonna be looking at us just to slightly. I'm hoping that you guys air adding these ovals and drawing it out a few ways. You can even put it this way. This is the hips. Here's the torso. And here's our bunny looking straight at us, right? Let's say everything's straight. Well, how would I do this? I know that the the scapula and shoulders up in open this section here can, so this could come down to about the same height and down again. This is a straight on view, so it's not gonna be really exciting. The hip will come out here. This will come up into the knee and back down into the ankle and then the feet, we'll have come forward and there's our little bunny. Okay, so if you understand these spheres. If you understand how to draw ovals and circles, um, I think it will really help you. So what I would do, even as a warm up, is just practice drawing opals and stuff. OK, so that's our basic structure of a rabbit. Right? When we get into little bunnies or bigger hares, wild rabbits, you're going to get some structural variation. You know, smaller heads, longer limbs, those types of things. But I think this basic structure will do you some good here. Okay, Next thing I want to talk about is a bit of movement. How to rabbits move. Let's check it out. We're gonna go over this bunny with our basic shapes here, right? We can kind of make them out. We can see that the backbone is coming up here, right? The backbone stretches along this way. So it's It's flowing like this. Somewhat right. The shoulders air forward on this on this bunny, they're kind of overlapping, and they come back like this. Okay, they're reaching back something along these lines. Right? So when this is 11 shoe form for four legged animal as it's running, what happens is the legs start to come forward this way. Right. This is the back foot there. So you've got this arching of the back. This one is even more extreme. Look at that. Wow, that's pretty cool looking. Here's the rib cage. Here's the head. What's actually happening is the back is here, and then it's tucking under its It's bending and tucking under here. That back. Okay, the hips came forward to the knee to the foot. And look how far forward this foot is. That's crazy, right? That's awesome. And, well, four back the front foot goes right. Okay. Here was kind of this kind of mid range step, right? It's kind of right along the middle here. This one. Wow, It's crossing each other, right? That's pretty funky. Okay, but this is the fully contracted version. How do we draw all? Spread out right here. Look at how long the rabbit spine actually is, right? It's got this nice, sweeping motion out to hear, shoulders or way up here. Hips in the middle. The head is here, right comes again. And through here, these feet are coming forward back to here. And this is the long foot back there. Okay, so what I would like to see you do is to practice below a little bit. This a little bit. We're gonna have I want to follow this this kind of line on this guy. Right? So we'll follow it here will draw the basic shapes in here. Okay, my little bunny years. Um, let's see, this leg is coming back, and it's kind of got this mid level part, right? It's not so far. There we go. This is the foot. Cool. Okay, so we've got some of this motion going on here. This one's even more extreme. Let's bend it even more. Okay. Look at that. Yeah, here's a decent bend. Here's a real bend, Right. Okay. And then that head is coming forward over here. Still looking forward, right? With a little but years. Okay. From the scapula, the shoulder comes back back to the wrist type of thing. And here's the front foot out of the bunnies. Hips to the knee, on the outside. Just I'm sure you guys can make it out here. It's on the l to the leg, and there's the big back foot. Right? That's crazy. I love how these things run. Pretty amazing. And then we're gonna have this group coming in here swooping to this shape here. Like I said, the spine is much longer than we often think. For these rabbits, right? Get my years. Shoulders are gonna be I can even bump it forward just a little bit if I want. You know, it could be coming forward even more. And this one comes back into the rear foot, okay? And you could see how stretched out the body gets right now. Of course, you can exaggerate this even Mawr. If you're playing around with cartoon shapes or something like that, why don't you stretch it? Stretch it? You know, like even Maurin half have it stretched either way. Right. Okay. But right now, we're looking at realistic to semi realistic rabbits. Okay, so we've gone over the structure of the rabbit trying to break it down into ah, simplified form. Right? We've gone over how rabbits move and how if we were to draught, imagine drawing this from the front, right? We've we have ahead. The shoulders would actually be below the head and then the but would be somewhere here. This fun foot or the back foot would be coming forward. Something along these lines and these back feet from the shoulder would be disappearing way back there. Okay, A little cartoony looking, but you get the drift now trying to draw it from different angles. Kind of what I've been doing up here. Considered from the side. Let's look at it. How would we look at it from the front, Right? Or from a turning point, we can see the center line of this rabbits here and here for the hips and the shoulders. Right. We know that the shoulder start really high up, but the center line on this rabbits head is right here. Okay, so this will come down to the elbow, come down to the cute little bunny feet, This one. Remember that? The the actual hip insertion somewhere around the middle here it comes up to the knee. So this will come up to the need that's hidden, and I will come down to the foot that's also hidden in this picture. Come down to the foot that's out here. Okay, um, rabbits generally have their eyes. Obviously, we know they're on the side of the head. They can look forward reasonably well. but they look to their sides a lot better. This is quite different than when we're structuring humans and stuff. Right. Okay, so they're gonna be up in the upper portion of the head and Mawr base to the side. Okay, So if I was to draw this again, let's see if I can replicate some of this. But why don't I twisted this way? Have the rabbits head looking this way? Okay. Good enough. We can have the form of the rabbit looking, you know, more towards this direction. Right? And maybe all twist this torso just a little bit. Okay, so this will be a little hidden. This this, these Ford legs, these two front legs can come down straight. Basically, as he's sitting in the same position, right? With the elbow about mid range, the's back legs will come up to the knee and then back down again to the longer feet. Okay. Cool. Yeah. So you can start to turn it either way. Start toe, use thes spheres and manipulate them, right? Like I said, I hope you're practicing alongside. You can do whatever angle you want for the little rabbit face or whatever it could be looking up, right? Looking up this way a little bit. Let's see this bunny here. See if we can find what I'm really wanting you to do is find the structure as we go through the different poses and references here and stuff, because as you get comfortable finding the structure, you're gonna get more comfortable creating the structure. So what? I'm hoping this does this kind of practice and warm up off finding the shoulders and the rib cage, finding the hips right, finding the head as it overlaps here. Okay, So here's the center line of the head. Here's the eye line. Here is the center line off the hips and the, uh, rib case that right, So we know shoulders air up high comes down to the little elbow. Cute little bunny feet down to their, uh, this one starts around here, comes up to the knee, back down to the big old foot. And we know if we were to draw through that, the other one would be somewhere around here somewhere back there, and it's probably hidden right behind here. Okay, so try to do that. See if you can even draw through an object. Here's the Here's the hip, Right. Okay, we know if if the one insertion comes on this side, then it'll probably be hidden somewhere around here, right on the other side. If it comes up to the knee, this one might come up to the knee, and now it becomes visible, comes back down to the ankle, and then out to the big old foot, this comes down to the ankle and then out to the big old foot. So what you would actually see is this much the underside ending the bunny foot coming up here. Whereas in this section you would actually see a lot of the meat coming the huge a portion of it. Right? So try to draw this bunny in this pose again. Uses fear. Use the second sphere for the rib cage. Same circumference positioning. The head is gonna be overlapping. Here, Coming up this way with the head pointed this way with money. Years that way. Right. Okay. We know that the top of the shoulders are way up top here. They're gonna come back and down, back and down. He's got a slight bend to them. This one's back a little bit. This one's Ford. Uh, we know that it's coming out of the hips here as we've practiced a few times, right? It can come up back down again, and then cute little feet. This one's gonna come up back down again and cute little feet. Right? And there's our bunny. Cool looking, huh? Okay, So this is what I really want to do when it comes to drawing pretty much anything, whether it's a building, whether it's an animal, whether it's people understanding that spheres and the manipulation of off them can really achieve a lot for you. Okay, let's see. Now we're gonna go down to some particulars about rabbits. Okay. Uh, very lightly. I'm gonna draw the structure we've been working on very lightly. Just so we have it right. We know that it's there. We know that this is coming up coming down into the foot. We know that there's another one on this other side. We know that the shoulders way up here, it's coming down. Coming to the cute little bunny feet. This one's probably this way coming. Too cute little bunny feet. And we know the center lines here. Something here and here. okay, But now we're gonna go a little bit beyond this and look at some of the details of what makes a rabbit more distinguishable. One of the key points is the nose. Okay. You know, the nose is barely evident, especially when we compare it to something like a dog's nose or something. Dog's nose. As you can see, the whole flesh of the knows, they're really cute and wet and giant sometimes, right? The's bunny noses there often still covered in fur. Even though there's the structure here up here, we don't really get to see much of it will just barely be able to outline it or something. Okay, so we get this cute little BC little triangle shape for the bunny nose coming down into what? I guess we called the front lips, but not so much. Okay, so it comes out like this. That's one key point for when drawing a rabbit, right waken then know that the whiskers come off of there depending on how much we want, right? Little tiny whiskers. Really long ones. It depends on the breeder type of rabbit. OK, so we know that that this structure of the noses here much like, uh, I guess had cats dogs at everything, but we just don't want to define it very much. So you wanna back that away and have very little showing for the front of the nose there? Ok, the other thing are the eyes. And like I said from the front earlier, they don't have a lot showing. They're not great at looking at things from the front. They have these deep, dark eyes, But looking forward, it's not their strong point right there. There often prey, although they can be really vicious. I'll tell a story about that later. They're often prey, so they gotta watch out for predators coming out. Okay, so now when we look at this bunny, we know that we've got this cute head going on here, right? The actual structure of the head is is in here. And then maybe some whiskers going on up into the hair here, depending on how we want to render it. Okay. The main thing is we know that there's hair all over, right? You can render nicely with a pencil if you want. Start toe shading the hair. Get the little bush's going right. Uh, use a pen use heavy, thinks it's really kind of up to you. What style you want to do. What I want to show you more is how to understand the underlying structure of it So you can draw this little bunny anywhere. My bunnies looking really mean looking so far. Especially what's gonna happen when I color in these eyes. Yeah, Quite evil looking. Okay, what's next on bunnies? Years. And we know years can come in all shapes and sizes for bunnies so we can have them bigger than this guy's got right now. Right? The key structure oven here, though. Is this coming up? This this the form that's holding it together. And Kim, if you don't have this, this massive form that's happening here, the year would just probably flop over the thicker this fold. Imagine if you're folding a towel or something like that, right? If you try to hold the towel basically flattened straight, it's gonna fold, or it's just gonna flop over. If you put a couple of fools in it, you get a little bit more structure to it, right? So remember that when drawing the rabbit is that you're gonna need a bit of structure to the to the years here can often hair coming in out around again. This is breed dependent for the rabbits. Cool. Okay, now we know the arms air here, but because of the further rabbit, it's obscured. So here's we can follow the form of the chest. We know that the chest is here, and we know that the the leg is coming out from behind here, so it's kind of coming up forward of the chest here. Okay, so it comes up to here. We're following all this form here, and we can see the form of the belly here coming in a form of. But we can also see this leg. It's coming forward. Not a lot is being made out. Put a little bushy tail in this guy just in the back, and then this foot comes forward. Now. I'm not gonna do the detail the foot yet will just kind of a rough them in his flat little feet right now. Cute little globules. Okay, but we can see how now this this rabbits form is taking shape, right? Cool. Now rabbits have little toes, of course, just like cats and dogs and stuff I got, but they're so often covered in for that you don't see them. So what you might see is just little slips down at a certain point of it. Okay? So you'll see these little, little fingernail little nail slits happening. Depends how how Harry the rabbit is, How furry. It isn't stuff, right? Okay. It's a cute little bunny so far, even with scary eyes reminded. So here's my story. I was a kid, and I I always thought bunnies were super cute and friendly and everything right? Until I went out to somebody's farm and Okay, sorry. I'm gonna keep drawn here sketching just underneath as the I went upto some friend of the family's farm or something. I was trying to feed a rabbit, and it took a good chunk out of my finger. Uh, yeah. Scared the piss out of me. And then lately I've been watching these bunny videos off like rabbits fighting off like fighting off. I told one attacking a snake. Right. I saw one. Um, was another 11 chasing off a dog or something? It was crazy. So Okay, so what I'm gonna do here is kind of rough in this figure and show you like, you know. Well, it looks like stitchers. Show you how you would construct it. Going off a reference like this. Okay, is coming up. Coming back down. There we go. This one's more like this one actually bent this a little bit more than I wanted to, but the backbone is coming under here, comes up, comes over, comes up the middle here, something like that. And we know that this will come forward just a little bit. And we can have our little down the center line a little V shape. So that's a basic structure if I want to, I should actually be able to draw through here, have this back leg come down as well, and then it would come behind. Right? Okay. And even though Oh, you know what? You could kind of see a hint of it under here. Right This back, the secondary back foot and stuff, right? So sometimes things get obscured because of the background or the for of the animal or something like that. If you draw through, this is what we call drawing through here. Then you realize No, I know that there's supposed to be something there, and I can I can draw it. Right. So now what you can do is start to add in some of the details, right? You can add in the little nose getting in here, Lieutenant. Mouth, This is actually the form of the skull. But maybe this guy's got these big Wolverine. I'm not the animal. The comic character sideburns going on, right? Coming up here into the the structure of the head a little bit comes out and then we know that, um, the years we're going to start to take shape, they'll come out. Maybe from here. Come out along here. This is that structural part where depending how I want to shape the years you can come down and just making sure that I have some type of structure here and keep it light, light and sketchy to start off with. Don't get too serious with it yet. Okay? This guy's looking like he's full attention or something. Have that. I was a little bit too narrow for the I cool. So now I'm gonna put the hairy chest in, put the Harry feed in, have the shoulder coming in that comes down, You can see how a rabbit now is only gonna take you a minute or soldier just to sketch out , right, going with the form of the shoulder down to this elbow and then down into this foot, I'm trying to show you how quick this could be done, right? This doesn't have to take a lot of time. We're gonna have the meat of this late coming, but it's also pushed by the belly. I think the belly is gonna be under here. Miss Rabbit's hairier than expected. Having the feet a little rabbit tail and on the other foot. Okay, so that's how quick it should be. You can enlarge the head, you can shrink the head. You can enlarge feet for for exaggeration. You know, if I really want to come in here and make it cartoony, enlarge the feet to be kind of cute looking right, enlarging the eyes will also do the same thing. If I Let's see if I come in just a little bit and I want Oh, you know, from the front it looks a little freaky deaky no matter how I draw these guys, that look kind of evil going on. But you see that impact you can have by enlarging certain features or whatever and stuff. Right? So what I'm gonna do is make sure I provide the sketch to you, but also a blank sheet for you to practice on. Oh, thats guys. Super cute. Okay, lets see if we can find him. And he doesn't have a lot of structure to it. You look sad now. Help them looking at him. Here's the center line. We can even followed up right up the nose here, right in the eye line. Very lightly. We're going to sketch over and find the hips, and very lightly will sketch and find the shoulder blades or the rib cage in the shoulders . Uh, the structure stays the same. This will come down here. Come down to his little foot. Uh, this will probably come back here. Come down to this other little foot. Okay, This will start here, comes up here. You can see the kind of need just under highlight here comes down, and he's Oh, he's cut these big, oversized feet. Right? And on the other side, we can't see it, but we know if we're drawing through would probably be around here coming back down and this big, oversize foot. Okay, so how do we go in and render it? I like to start with the nose. You can see a little bit more definition of this guy's nose comes down into these cute little lips. Little mouth he's got going on. He's got some kind of puffy cheeks happening. We've got the I. This one's more more visible from this side. And then now, his structure for his ears. Floppy. So I could even flop it down more, right? It's coming down this way, coming out this way and flopping. It doesn't have a lot of structure to it. The chest, the Harry Chester's flowing over. Um, really, He's got a lot of bulk to hiss. Small little body. Okay, I'm gonna add another little puffy tail. I like puffy tails on my buddies. This comes this way, and then we can add our little bunny feet here. Okay, this is gonna come just this way. Here, had our little feet down to the bottom, had our little bunny feet here, and it comes back up. This one comes up this way. That's all. Harry in here. And there we go. We know those bellies under here, and that's our cute little bunny. Right? Okay, So what I'm hoping you would do is try to draw something similar right here is we could make it a little bit smaller. Here's one section. Here's the other section. Here's this guy. Right. We've got the center line here. We've got the center line here in the center line here, all drawing the hips for you and the shoulders. And here is the bunny little nose. You know what? I find the nose of perfect landmark to get working on the face up for rabbits. Right. So that that knows will be a nice starting point. The eye line will, jeez, be above there. And then you could have, you know, the floppy ears coming Offer their or something. Okay, So the feet he's got in Lord hyper and large feet because he's super cute. Let's see if you can draw it in. Looks like a horrible Maltese or something like that. But I know you know what I'm talking about, right? Okay. So, just to review, we went through the structure trying to understand how to break down the structure off a rabbit, right? The simple shapes of the skull, the rib cage and the hips and then adding in the limbs and the joints that will help articulate it. We've got the actual articulation and movement of the rabbit here. Right, So we can see it all as it moves and flows, right? We're gonna practice that and then coming down, we can see how, if we reposition those key features the head sphere, the rib cage and the hips weaken, turn the rabbit around and get it from multiple directions. Then when we're coming in and rendering the rabbit, we look it basically how furry it is, how cute it becomes, right? And how to, uh, are, you know, put in the special differences of the rabbit, right? Whether it's got big, huge years, whether it's got floppy ears, whether it's got big eyes, big paws, whatever it ISS Okay, so I hope this was interesting for you. I hope that you know, it really helps you understand rabbits and how to approach them. I think if you continue to practice like this, you're gonna be a rabbit master. You are right. Good luck with the practicing 4. Animals Rhino: Hey, what's up, guys? Ed here again with another how to draw animals. Video for you. All right, let's see. What are we gonna cover in this unit? We're gonna talk about the rhinoceros. My big horn fellow. Yes. Ah, you know, as usual, I like to start off with structure. So that's where we're going to begin today. We're gonna take a look at the structure of the rhino. Kim? Um, no. Yeah, it's a mammal. So there's gonna be some similarities to ones we've covered before, but I think the Rhino has some key differences, Okay? Especially in the way that it's structured through its rip. Kate. So let's take a look. We've got, As usual, we've got a skull. This one's a little bit different shape, though. This one's almost shaped like a bean, I guess. You know, you could kind of think of it like this, you know, some type of being shaped, right? Okay, Lou, bit higher in the back there. Something's going on back here, right? We've got the rib cage, and here's where the big difference is. This rib cage is huge, right? A little bit forward there. And then we've got the hit behind it here. OK, this hip area, so are the rib cage. The shoulders are way up top. The hip insertion is back here. Okay, So if I was to draw this just above the rib cage would be huge. We got the little being going on here, and then the hips here, the shoulder start way up top. The hips start kind of a normal, normal place for it. All right, OK, maybe this heads a little bit too far forward. Okay, Now we're moving on down. What we've got here is kind of interesting. We've got this bone structure that comes down through here and into almost what could be thought of as the elbow joint. Okay, from the top of the shoulder, there's a couple bones here that are interlocked, and it comes down to, like I said the midway point. Okay, so if I was looking at this arm for this leg rather about halfway is this elbow knuckle comes down to the wrist. I'm using Herman human terms, just so it's easier to explain, right? And then down into the feet. So here the back legs are a little bit more bent, but we're still following the similar pattern down into the feet. Right. The joints on these guys are huge. So make sure you reflect that when you're trying to rough it outright, and then we've got the spine going across, and it actually ends up in the tail here. Okay? So watch this back leg. Look how it's bent. Look how it's bent. And then it comes down into Ah, basically a hoof, a modified hoof. Okay, you see the individual toes. How? They're outlined here. Right. All right. Let's see if we can try to find the skeleton here. Let's draw the meat. Start with the bean. Not bad, Right? Okay. We've got some some type of being shape here. We know that there's this massive rib cage in the middle that's about four times the size of the head, right? It's just huge. Could be even bigger here. Right? And then we've got this pretty good hip here. Now, if we're drawing using spears, we want to make sure we got the circumference and that we're able toe show while this middle sections here. This one's here because the hip this one's about somewhere back here, this one's somewhere back here. It's coming to the knee coming down to that ankle knuckle, which is huge on this thing and then into the foot area. Right? The shoulders, like we had them over here. We had them over here right there. They come forward. They have this kind of bend. Let's think of it like a bend into the knee area down into what would basically be the ankle area and then out into the foot. Okay, so you can think of these these larger sections as the femur basically right the equivalent of our femur, and then the spine will come over across. So what I'm hoping you're doing is as I'm talking, you're drawing along with it. You're drawing, you know, being the the big old rib cage part right, and the hip. And then you're trying to say Okay, well, shoulders air up here, hips back in here, it will come. Kind of like this. Don't come somewhat like this, right? These ones been forward a little bit, come down to the knee area and then come down to the ankle and the foot. Right? Okay. So, uh, in the pdf, I provided, you're gonna have ah one sheet that has me sketching all over top of it. All right, That's good, because then you get to see the sketches right in front of you. But I'm gonna provide another sheet that does the same thing, but or that has a lot of the same stuff. But that has no sketches on it. Right? So that you're able to just enjoy it and do what you want with it. Okay, lets see. We're gonna be moving on over. So that was structure. Oops. Now we're moving down to a little bit more of it, but using motion. So we're going to still look at the structure here, but we're going to see it from a few different angles here. Okay, so here's this huge rib cage with our shoulders way up top. Right. Then we've got the hip section, which is surprisingly small on this guy compared to this rib, and then we've got our funny little being right. In this case, the beans front kind of goes like this. We've got a bit of ah, wrapping effect on the circum. So if you're getting what I'm saying here it's the circumference is there, right? So that we can see the shoulder on either side of it. This one comes down to the elbow, his elbows hidden, were drawing through a little bit. Here comes down to what would be the ankle and then out into the hoof down into what would be the ankle. And then out into the hoof, the hip will draw through on this one a little bit. There's a bit of this conference, sir. It's gonna come to this knee area, right? If we remember, it's gonna got this one too down to the knee, down to the ankle and then out into the foot. This one's gonna come down to the knee down to the ankle and then out into the foot, okay? And you can see how how this starts to walk, right? We've got one leg coming forward off the hip. We've got one leg coming back. But the rhino wasn't walking on stiff little pegs or anything like that. Right? So there's a bit of form here, comes to the knee, comes back to that ankle and then comes into the hoof. So if you want to, you could actually place the feet. You know, if if I was doing this again. I could come here and I could place the foot here and place the foot here. But I know that the form of the rhino, the leg is gonna be a little funky. Right? So it's gonna come like this, Come out to the ankle and then come back. Okay? I know it looks pretty crazy, but that's actually the anatomy of this sucker. All right, let's see what else we've got going on here. It's a four legged animal. So as it starts to run, you get legs coming forward inward. Those types of things, like most four legged animals, there'll be a pattern of stepping here. Right, So we can circle the feet and let's see if we can get this This form down a little bit. This is where the rhino is. We know the shoulders air up here, the hips back here, right knee, ankle or need down to the ankle down into this hoof, right shoulder down into this first section, right? Comes in here, comes down to the knee or ankle type of area. Sorry. This is more of the need. This is the big bend. The first big bend, right? these two are coming here for the Big Bend. This is looks like a knee, but it's actually for our way of thinking. Is that second joint? So we'll just keep calling it an ankle down into the hoof there and then her little being right and look at the motion here. This is coming like this, right? This guy over here, he's walking. He's pretty straight. Everything's pretty normal. As this guy's moving. There's a motion of this on top and a kind of a tucking under as he starts toe gallop. Now, let's see if we can do this from the front. Okay, well, we know we've got this massive rib cage here, so that's what we're going to start with. We've got our being here that we can see. But we also know way in the back is most likely some type of hip, right? It's a little bit smaller, but it's back there A case of going from our shoulders. You've got our shoulders while sorry, this guy shoulders air, probably somewhere around here, they're gonna come to here to that ankle point right from here to the ankle point, and then to the hope to the hoof and these guys back here, we know that the feet are back here, right? So we're gonna find we can draw a straight line like we did earlier. Now that puts probably back there somewhere. And but or weaken, bend it, bend it, and it comes, Bend it, bend It comes. Okay. Now, getting confusing. I know. So let's try to draw without, uh, drawing over top of this thing, right? We want this this flowing part, right? So let's draw big rib cage here below, okay? And like I said, I hope you're following along with me here. Okay? We're gonna draw the hip here, and we're gonna draw Are being somewhere out here. Okay, so we're trying to have this this flow going on, right? We know that we've got the shoulders up high here, and we've got the hips down low, you know? What does the rhino do? It charges, Right. So a lot of its mass is way up front here. Okay, so we're gonna have this mass here, these two front legs or in this galloping position almost leaping. We got the ankle and then we've got the hoof. Okay. Thies to back legs when we put him in the in the same position. Well, actually, if I want to, I can bring them forward just a little bit. If I want to have the hoof here, right, it's gonna come forward like this, back into the ankle and then into that hoof. Okay, so it's going to sweep like this and like this and now up into the head like that. Okay, so this tux under huge, huge hips on this guy, right? I think I should have brought the legs probably down to about here. That would have been made a bit more sense for how big it is. Yeah, There we go. Okay. So this is an extreme Gallup, and the more you want to do this, you know, rhinos don't really get to bend as Muchas Thea other animals. There's a lot of inflexibility because of the size of the rib cage. Okay, so a lot of animals, you can get this huge tuck. You know, when this huge tuck underneath and stuff rhinos, they're still going to keep this big mass up top here. Okay? They're gonna keep this mass that's coming forward here into this leg and stuff, right? So there's not gonna be this huge amount of tuck underneath there. Just too much going on with the rib cage. Okay, Let's see if we can do this again and build it from the back. Going forward. Okay, so here's the hips. Let's draw this first rate. We've got the hips coming for the legs coming forward here. We're basically using the one on the left here as a reference. Okay, we know that there's two joints. It comes to the knee joint, and it comes to the ankle joint. If these legs air looking straight on, you don't get that funky Ben that you see from the side of you. So this is the back feet leaping forward off of the hip, right? How much will be visible? Let's see, Maybe we can twist it a little bit. Maybe what we'll do is this is the torso. Okay, so the hips come straight at us, but this torso which way? Let's bend it just slightly. So we're gonna have the shoulders way up top here and coming down to the hopes here. Okay, So we're gonna have those big bend ease for the first upper part of the leg, right? It's gonna come back towards the ankle and then into the hoof, and the hope is tucked tucked under the ankle actually here, okay? And then what we can do is have our little being, and we'll face it this way. Does that make sense? So the horn will be here, The eye level here, the little years going off here. So now we've got this huge mass coming forward here. The shoulders, the Ridgeline comes up, the shoulders come in. And this is what we're gonna see coming forward. Is these legs coming forward? Much? Let's what we're seeing here with the ankles bending under here, this leg is coming forward more. And this whole office bending under this hoof is bending over under. Does that make sense? So he's his hind quarters is going this way. But then as his torsos twisting just slightly because that rhinos aren't really twisty or anything, right? He's starting to move over a little bit this way, and he's got his cute little years right now. Here's a cool. We're gonna get into that little bit. Okay? Does that make sense? So what you could do is like basically think of it as one giant middle bowl, the being and the hip. How you want to position this, whether it's ah, giant ball in the middle and a little hip sticking out from the side and then the being somewhat moving this way, I mean, so we're kind of positioning it, You know, I'm just gonna rough this and really easy for you guys stiff legged right now. But there we go. All right? And then the rhino will be here, Okay? And of course, we go in and we add how the legs properly form and everything. Right. But not for now what I want. What I want you to see is when we're placing this, these balls and order which way? Weaken, weaken, place them and everything, right? Whether the the heads, looking out now this way and stuff, Right? Okay. So, really dealing with the structure of the rhino is going to be similar to almost any other animal you're dealing with. Deal with the spheres, different shapes, spheres and how you know how they connect with each other and their proportion between them . If we look at the proportionality of this torso, this middle torso is, you know, here's the But here's the head. This torso was making up about 60% of this entire length of the animal, the head neck. You know, let's say it's around 30% and the, but surprisingly, is maybe 20%. Who, what month is down to 50. Or maybe this one about 25. Anyway, you get what I'm saying, right? Like the bulk of this of this beast is really in through them this middle trunk. Okay, so always make sure that you put the emphasis when you're drawing a rhino at that. That bulk. Okay, now we're gonna go on to something a little different here. I want to talk about details so we can, you know, we've weaken still, add in our our little being right if we want. And obviously, here's the the big bulk of what's what would be the the rib cage and stuff in the shoulder starting itself up there. Okay, so that's that's a little rough, right? But now I want to switch things up, and I want to talk about how we had details and are with the things to look for in a rhinoceros right of course there's the obvious. We're gonna talk about the horn so we can zoom in here. You can see how the the horn sits on top of this ridge and it patterns itself. The skin kind of folds away. Almost a ziff. You were looking at a fingernail or something like that, right? The cuticle of your of your finger. And then you can see the bone starting coming up this way. Now, just like you're cuticle and then your fingernail, you know, as it kind of has a little bit of layers as it let's go off the bone itself. There's also when you look at your fingernail grooves, Okay, So when you're drawing a rhino, make sure you have. If you're putting in these type of details and stuff, make sure when you're draw the horn, whether it's a big, sharp horn or whatever it iss right, Okay, So when you're having this horn, make sure that you you also show some of those directional patterns, the strains, the lines, same as you would Ah, fingernail or anything like that. Okay, so that's one of the key points when rhino is obviously the horn, right? When we're adding details. Look towards the horn. Some rhinos have to some have one somewhere bigger. Um, even if you're gonna go mythological and stuff you wanting to add, you know some kind of creatures or whatever with these types of horns coming out. Try to stick as close as you can to reality, and that'll help ground your creature a little bit. Next thing I want to talk about is the nostrils, the air, the kind of big. And they have these little flares over them, you know, not just the whole, but the flaps over top. So that's kind of cool, right? Also, when you're looking at drawing a rhino, they have lips. Not that it looks like they need some chapstick going on. But I guess what I'm showing you here is that you can add a little bit of form to it, especially if you're shading. This is not just blank. You can see there's a shadow line here and stuff, so that means there's some some form to it. Okay, so, adding that when you're when you're drawing around will make sure that you add in a bit of ah ah, mouth in a lip to it. Okay, good stuff. So when we're coming down, it almost looks like it's a face here at some point, right? You can add the lip and it comes in, and then the other one comes in, and then you know the chin underneath. Okay. Rhinos have particularly small eyes, which is a little strange. You know, the eyeball is a reasonable size, actually. Think I want to do that and blue for you, The eyeball is a reasonable size, but not when you compared to the size of the creature, right of the entire animal, so you can draw it. It's actually got these cute little It's a nice little woman. Look to it. Um, you can draw that in there and yeah, it's small, but it's there. Another important thing about the rhino. Is it skin? This is This is gonna take a little bit here. There's two things that I want to point out to you about it, though. Think of a folded towel like it has some some meat, some mass to the skin itself. Humans don't usually have this. When we start folding things, there's a lot of these thickness to it, right? So look at this. This is almost like a towel here. That's folds this way comes in folds, folds over again, folds again, Right? There's all these folds. Wrinkle G's. Yeah, the more you look at this, you can think of a towel, right? So when you're drawing your rhino or anything that is kind of similar to the rhino, make sure you have these kind of big, huge folds there are falling in here. Some of these are not folds like this is part of his jowl, the muscle itself and the skull that's underlying that. We studied earlier. A little bit, right? But a lot of these are folds, and so you can make sure you add at the men as your you're drawing the rhino. Okay, you can see how. Yeah, just imagine a thick bathroom tell or something like that. And you can see that actually rules underneath the chin here as it's coming in. Right? Okay. So be sure to add that as well. Okay, I'm just gonna flesh out some some of this a little bit keeping with the form here, huh? So, like I said, instead of just having skin hanging, you want to show the the depth of the skin, the role of it all. Okay, underneath. You wanna have some some depth there some mass to that skin that has some thickness. And sometimes you could do that with a bit of shading. All right, you can add Add some depth that away. OK, give it to some hang, or you can a bit of a contour, right? You know, if you're gonna draw skin hanging this way, give it a little bit of mass on that side of it. Does that make sense? Okay, The other thing. Let's just finish up. And obviously you're gonna see this, like on the top is usually flat. But then as things start to go down the rhino, you're gonna get thes thes hangs. Okay. Next cool thing about rhinos, especially when it comes to detail. Ing is the pattern of the skin. They've got all these cool wrinkles. It looks like they've never seen skin cream in their life, which they haven't, right. So you can think of it almost like you're drawing river paths or something. You know, um, you're looking at Grandma's feet. I'm not judging your grandma or nothing, but you can add all this in? Um, you can see they're not loopy, right? It's not like that. It's just almost like a ziff. The water dried up, and so these were lakes that have dried out over time. Right? And if we start toe, take off the the layer Here. See? There we go. We can see how that starts to add in all those details. Right? So let's let's take some time and add this in a little bit coming off of the mouth, right? We can add a little bit more here. They're not scale. So you don't have to make it a particular pattern. Like a scale. You have to think of it mawr as if it was just dry skin. Okay, thes dried up riverbeds. And you're trying to add in there, Take the time to really draw them out, see how they interact with each other. Sometimes they'll follow the pattern of the face a little bit, and sometimes they crisscross it a little bit. So you get this meshing effective, almost raped. Okay. So you can follow. Follow the contour of the face and then mash it out a little bit. But don't mess it like harsh lines like this, you know you can, but that takes away from the natural knit natures. Look to it, right? Like, you know, we want to keep it very flowy and stuff, right? Because that's what the rhino has. It's got this unnatural. Sorry, I'm bouncing back and forth on this. It's got a very natural look to its patterns. Right. So if you follow the contour and then just kind of chop it up just a little bit, follow the contour of the shapes. Where and then it looks pretty cool. You've got all these patterns thes dried up riverbeds, right? So that's one thing. The other thing is, when it dries up even deeper, you can add in deeper lines, right? Those were the light ones. This is where it gets really crusty. This is beyond Grandma's feet beyond anything your local drugstore can handle with its skin softening conditioner sent stuff right. This is starting to get really bad here. So you can add these contour lines here these small ones in these nice, softer areas. But in some of these areas, like, say, this, uh, with leg and down towards where the feet are and stuff I got. You can really start to dig into them digging to where those river lines would cross, right? And then you could bring them out a little bit. Good. Okay, So one of the key points with the rhino is adding in these textures and interesting enough up towards the top. Here, you'll just get this spotting so you can add this A little bumps and stuff. You can add them randomly around as you're drawing. You're your rhino. Okay, Maybe more up top here, but they'll add a nice texture as your as you're going through, uh, detail ing the rhino and stuff. Okay. The occasional spot. Yeah. Rhinos were not known for their perfect skin. Okay, here's the brow. Comes up into the skull. All right. Last little thing for details on rhinos are these cute little years. They come up now and around like this, right? Come up, down. So there has to be this part that gives it stability because it's actually quite a thin fabric. You can see how there's not a lot of off thickness into the either or anything like that. Right? So what you want to do is make sure you have the the structure of it holding it up, and then they have little hairs coming off of them and stuff, right? Okay. Little hair is coming off, and you can see it. There's they're really cute, but it always has this structure leading up to it. Okay, You can almost think of it as a pig's ear. There's some, uh, relation there. Okay, so think of it like this, but give it some, given that structure. Right? Cool. So you can kinda just make sure you give it that structure than you can add a little hair to it and everything right on here. It's moving forward because the the animals moving forward. One. Here's one with two horns. So there's a lot of variations you can do on this one. He's got him tucked back. That's cool looking. You can have a little bit of hair at the top, right? Little dots, all these little things. All these details are what you add after. You know this, uh, this patterning and all this kind of stuff for this rendering. This is all stuff you add after you've got the structure of the animal. So if we're gonna review a little bit. We're gonna take a look. First. We understand the structure of the animal looking at the skeleton that have drawn here, right, the the limbs, the proportions of it all, how we can easily plot them in. Remember, we were plotting it in with Just Here's the foot. Sorry. There we go. Here's the foot. Here's the hip. We can draw a line, but then we can adjust a little bit, too. The, uh, the natural joints of the rhino. Then we looked at the rhino in motion looking, how you know it's walking kind of straight. How it starts bend bend slightly, but it's not so much because of the rib cage. Same with going this way. When it extends how we look at the spheres and when we try to place them in front of each other, we can understand mawr how to draw it from different angles and different perspectives. And then we come down and we start to add in all these cool details, right, the dried up riverbeds. This is what we want. We want the the all the Krusty nous of nature. I'm going to say I think that's my quote for his unit. The crusty nous of nature. Let's go with that. The rhino. The representative of Crusty nous. Okay, I hope this was helpful for you. And I hope that you're sketching up a bunch of rhinos now, right? Good luck with it. 5. Animals Gorillas: Hey, guys. Ed here with another how to draw animals video for you. And I got to say this one's pretty cool. Today we're gonna be talking about guerrillas, so let's get to it. All right. As usual. What I like to do is start off with the structure a little bit, right. We're gonna be looking at the form and skeleton of the guerrillas. So why don't we zoom on in here and take a quick look? Now it's kind of human, like, right? We can see basically, you know, it's a lot of familiar features going on here. Similar to if you've ever studied human anatomy, right? Ah, we've got rib cages, hips, shoulders, skull. You know, it's all a little bit different, but hopefully as we cover the gorilla today, there'll be a lot of similarities to it. Okay, So why don't we start off with the rib cage a little bit? Uh, circling the skull and then moving on down towards the hips were using these spheres as we've been doing for this entire course. Right. Nice and easy, right? Ah. Then drawing in the backbone here. And let's see where to next. We're gonna work on a little bit of where the shoulders would come out. We can see the scapula up there. So the shoulders air coming out near up, up towards the scapular, there down into what would be the elbow and down to the wrist and then the hands below. Right. Something interesting here, though, is you're going to see really how thick the forms are, right? How thick they look compared to what would be a human's bone in that same position, right? You're gonna notice that. Thrilled the video here is that yes, there are similarities to humans. But there's also a number of differences that stand out here. Okay, so we're gonna do the hind legs here, circling in where the knees would go about halfway down to the ankles and then up into the feet. Right? No details yet, but you can see the length of the the hind leg there if we were to compare it with the front leg or rather, the front arm. Jeez, it's only about 60% of the actual arm. Right? That Where is it? On a human. Usually legs are a fair bit longer than their arms. Unless you're from new Jersey, but, uh, yeah, with a gorilla, it's the arms that are longer. Right? So that's something to make note of. Just always keep in mind that your arms are gonna be longer than than the hind legs on the grill. So why don't we move over to the side here and see if we could find some of the formas Well , in our little reference photo, Okay. We're gonna rough in the rib cage here. Actually, you know what? They want to back that a little bit. Making a little bit smaller. Rough in the rib cage, rough in the hips, put in the head, and then we're gonna move on to, ah, putting in the shoulders and stuff, right? Let's see. Yeah, I want to kind of make that rib cage a little bit bigger. Rough and where they're shorter would start. Comes down to the elbow, down into the hands. The other arm comes down from the elbow down into the outstretched hand here as well. Right? Okay. We're gonna rough. And where the hips come from, that back hip goes down to the knee to that back ankle on foot and the one closer to us comes to the knee and back down to this foot. Right? So you can see this walking gait, right? He's kind of, uh, as we pan it away. Yeah. Makes sense to legs. Air kind of coming towards each other. The other two are outstretched, right? Really? Casual saunter. I think he's got going on here. We can rough in the backbone just a little bit. Make sure it's in place. Okay, You can see there's something's going on with the face here. We've got the muzzle and that bumped to the top. I'm not gonna explain that right now. I'm gonna leave that for a little bit later. I want I want to focus on the form that we've got going on right now. Okay. So roughing back in the shoulders, uh, getting into where we were going to place the the arms a little bit, I'm gonna bump this back just a little bit. Bring that far arm further forward. Just a little. And you know what I like to do sometimes is just rough and where I want the feet or the hands to go first. And then I'll find how to place the legs in the right position to get there. Okay, so that's something you can do if you know, you know the walking pattern or whatever that you want. A place, the place, the feet where you're gonna position them and then find the way to get there with the limbs . Okay, I love this because this is, you know, the stance is a little bit similar to a human, so we're gonna kind of outline it as if we're drawing a human figure here with the center line. Then, uh, the rib cage in the middle roughing in with circle the shoulders are and the scapula. Very, very familiar asses. If we're looking at a human, right, the hips, we can see how they're they're not. They're just a little bit off center here, right, That I'm gonna rough in the hands. And, you know, you can see how the hands come below that crotch line much like a human, right? The wrist is basically at the crotch line. Okay, Um, they're just massive gate looking from the top of the head down towards the arms. That's that's a lot of length when I compare it to the bottom half of the body right, The lower half compared to the upper half, the upper half is really quite large. Maybe 2/3. I might even guess 1.5 toe one ratio were so at least right. Okay, so if I was to put in the hips coming down to the knee, coming down to the foot, put in the other hip down to the need down to the foot, right. Then I'm gonna just rough in the arms here. The elbows could be halfway or a little bit up from there. The lower arms of the guerrillas are often a little bit longer than humans. Um, so you might want toe. Make sure you have that, you know, in mind, right? Compared to the upper arm there a little bit. Okay, then we can come up here roughing in the head, Not gonna add tons of details yet. I just want to show you that I start off with a basic circle, much like I would a human. Then I've got another circle that goes above just a soft one, and then a smaller one for the muzzle. Okay, this is gonna make sense when we start really break down the structure of the head and you can see how I started here on these other two, which is that simple circle and then expanding off of their the upper and the lower accompany ones for the head. Here's the vertical circumference lines showing you like how it's just a little bit off center here camp. So if we can practice off to the side, we're going to do that same thing. Have that vertical circumference line following the muzzle there as well, Right? Cool. So don't worry about that. That bump. This is why it's gonna make sense because we've got this bony ridge that's on the top of ah gorilla skull that humans don't have Right. So if you look at his bony ridge, it's gonna be surrounded by a little bit of fatty tissue and meet up there. So why don't we circle on in the main part of the skull, then do the muzzle right? And like I said, this is gonna be the easier way to track it with a center line down the middle. If we come off to the side here, we're gonna circle in the main part of the skull circle in the muzzle part and then do that vertical circumference, and you could see how it's starting to take more form there. Right? Perfect. And, you know, then we can add in What will becoming is that the big, lumpy tissue That's that's on the top of the skull there. Okay, not bad. Not bad. I think we're getting the proportions down. I think it's looking pretty good so far. Why don't we take a look at this guy here? He looks like he's out for a little bit of a joint, right? Thes things are massive. Okay, so once again, I'd like to start with the rib cage focusing on the main bulk of it. Right. This one's a little bit tilted over. So you're not gonna You're gonna see the top of it a little bit. We're gonna rough in the shoulders. Uh, this head underneath is a little bit bent under right. We're gonna rough in the arms, coming down, elbows down to that wrist point in that bent over hand rough and the hips a little bit. Show the vertical circumference of that Rachel where the hip insertion comes from, and then we're going to try to figure out where the feet are right. Where would I put the feet? I know that they're down here somewhere. Not necessarily. You know, they're being blocked out. So I'm going to kind of try to draw through here and imagine where they are. That's that his left leg and his left foot being blocked out by the massive form of the gorilla. And then this other one, I would guess the foot is kind of back here. We can get a hint of it, and we're gonna come down to the knee and come back to that rear foot. Right? Okay. Not bad. We can see there's a bit of motion here roughing in the head the muzzle, right. And the circumference lines. Right. When we come off to the side and see if we can replicate this a little bit, we're gonna come in with the big rib cage, the shoulders, right. Massive shoulders. We bring that down a little bit. Um, has bought his hip rough that in a little bit. Right and rough in the head. Not bad. Yeah, this is kind of the outline that we're going with, right? That vertical circumference of the spheres rough that in just a little bit. Let's see. I want to bring that shorter down just a little bit more. Bring the other one up. Bring this down Because I want to have that hand a little bit further forward. Different in the reference picture. I want to mix it up a little bit. So I want to have the bending under a little bit this back when I'm gonna bend a little bit more rough. You know, like I said, I'd like to place the hands where I want to place them. Right. So I'm gonna have that hand bending back a little bit, as if he's lifting it up More gonna put in the muzzle here. I think I'll keep the face mostly the same. You know, not gonna change around that that much. Right? And then the hands or sorry, the feet. Where am I gonna put it? I think I'm going to keep it quite silver. Similar. I'm gonna Ruffin, where it would insert on the hip, place the foot and then track it back to the hip. Have that other foot? Yeah, I like. I like how this was posed and I don't want to mess with that part of it. Have the feet behind. There we go, Right. I changed a couple things of it, Had that lead arm a little bit further forward and the other arm bending. But I think you get the point right just to make sure what I really want to emphasize is the structure of the gorilla here, right, that we can rough it in, you know, using these simple spheres, right? Going over the things that we've already done roughing in the shoulders, plotting the hands out nice and simple, right. Putting the elbows in maybe a little bit higher, uh, putting in the feet and then finding the way down from the hip. I actually think I need toe. I'm gonna have to lengthen this hip just a little bit, all right? I think that the he was a little bit short there. The legs were looking a little bit too long finding my center line. And it's looking pretty, boss, keeping in mind that, you know, from the bottom of the heel to the top of the head, right, if I was to cut it in half like I would a human, let's see, where would this be half would be. Maybe here. No. You know what? No, I think that's off right about there. Yeah. Yeah, that would be about halfway. And usually that's crotch level for a person, right? Not on this gorilla. You can see how much of that upper body it really takes up proportionally. Right? So the upper body if I was to really look at it, I guess it is about 2/3 and the lower half or the lower body. I would put it around 1/3. So just keep that in mind whether you're you're tilting the grill over or whether he's standing up looking like that, your average Joe standing here or whatever. You're gonna want to keep that 2/3 1 3rd ratio, right that the upper body is just so massive and so important. You want to keep that there? Always keep in mind. Okay. Now, when it comes to animals running, especially when they're running on four legged, uh, what you're gonna have is that bend and swoop type of format with the, uh right now, I'm kind of drawing in the back legs coming forward, the front legs going back. You'll see this with a lot of animals that walk on four legs. You'll get that the front arm coming back and that back leg coming forward, looking to grab ground, right. And then as it leaps forward, the back legs kind of kickback and the front front legs in his case, arms are reaching forward to grab onto that land, right? Okay, so with every step, it's this abandoned and swoop right, Um, there, trying to grab traction with with the hands up front, grabbing forward. And then the feet come forward and grab and push rates. So there's there's bending and swooping is the major four legged running pattern. You will see it, and as we go through, the animals will see it in dogs, cats, uh, horses, gazelle. Anything like that, right? Guerrillas air funny, though, because they're walking. Pattern is a little bit different, right? You know, they can walk upright. They can walk on all fours sometimes look kind of human, like right, in this case here, we've got this gorilla, and as it's casually walking, you could see it's almost walking on these kind of stilts, right? You know, uh, the ones on either side. If it's on your right side there. Both coming together. The opposite side are spreading apart. Humans have this with their walking patterns off, their their arms swinging in the gate, right. It's not as noticeable on humans, but you notice it if you really study the human walking pattern. Okay, So done with movement. Let's get down to adding in a little bit of details here, looking at the face, we've already kind of explored the skull a little bit right now. We want to look at how we're gonna do some more detail ing on the face here. We're roughing in the skull. I want to do it nice and light so that we can add a lot of details coming up here, roughing in the muzzle. All right. Doing the circumference lines, making sure I've got the form down where I want to have it. And then I'm gonna draw it off to the side. Just see if I'm everything Looks the way I want to. Sometimes using reference photos is great. Drawing over them is great, but you don't always get to see exactly the form that you want, right? So here's the eye line. The eyes are fairly narrow when you think of the size of the head. Actually, I'm gonna rough in a few of the little details here. Nothing major, just like I said, just kind of plotting it in where I wanted to be. I love guerrillas melts and especially this guy. He is not impressed with me drawing him, I think roughing in the brow right now. Very heavyset brow, right. You know, think hawk like almost, you know. And if you follow the line up the eye line, Samos with humans, you'll get to the year the years air proportionately smaller. But they still work, right? Actually, they work in the way that you can run the the nose line up to there as well. So for proportion wise kind of works that way. Okay, So, roughing in the the higher brow with a lot of gorillas, you'll find there's no hair in this section. Some have mawr. Some have less, depending on the subspecies. Okay, so this is me plotting in where everything should go. I know it's looking a little bit monkey, your cat, like, right now, But as we start to add in more details, you'll see that it really starts to take form and look like the A gorilla should, especially with the nose and the eyes, those air, some key features there. Kim. We'll wait, Dad detail. And instead, just keep roughing. I want you. Just like we study with the the body were looking at the form of the of the face right now . Okay, the using spears to kind of outline this in this face. Uh, we've got a contour lines there, but instead of our normal muzzle how we would normally have it, it's opened up right. His jaw is wide, so we can draw on the normal muzzle. But then we're gonna open it up from that midpoint of the muzzle and drop it down so that we can add the chin, the jaw, that kind of thing. All right, cape that I line is kind up there than adding in that the meaty top section. Right? Not bad. Yeah, that's kind of the outline. Right? Okay, Now I think I want to start adding some details in here. I'm going to switch this up a little bit and go with black looking at how the nostrils form right sweep underneath the nostril there, Then I can come next to it. And I hope you're following along with me. You know, whether you're tracing over the image or whether you're working on that secondary image off to the side. I hope you're starting to fill in these details and and following the flow of what I'm doing right can rough in the mouth with this little snarl he's given me right and a little lip. They don't have pronounced lips like humans or anything like that. But there's a little crest there that you can add a little detail, too. So we're gonna rough in that lip a little bit, gonna rough in the brow. Like I said, this these browser massive, you know, think Cro Magnons man or something like that. Think of the whole crew. Whatever. Start to add in this the weight of the brow, and then we're gonna look at these eyes. You know, the thing about grill eyes are there actually really pretty? You know, if you've ever looked and there's a lot of soul to them and stuff so you can round them out kind of like human eyes right there, Almost an almond shape. You can give them a lot of life to them. And that's where you gonna find the detail and the how the gorilla starts to separate itself as an animal, right? And actually start to look a little bit more human so we can add the details that wrinkles underneath here. There's not a lot of hair that creeps into this part of the face, right? Rough in the year years, similar to human, but it doesn't quite have the lobes, the biggie hanging crest to it camp. We're gonna come with the upper brow a little bit, showing the outline of where the hair would be touching in. Like I said, it's It's a little individualized where the hair touches on the guerrillas face and stuff, right? So you can ADM. Or less in here and depends how you want to render the hair right. Do you want to give a lot of detail or just kind of? Right now I'm just roughing it out. I'm just roughing where I want, where the hair would be in stuff right. Nice and loose, trying to rough and where I think would be represented by hair. You can see if you've got the skull, uh, roughed incorrectly. You're going to see where the hair actually will. Ridge on top of it a little bit. Right. And that will help you to plot in the rest of it. This big, meaty bump on top of his head now gets roughed in and down into the shoulder a little bit. Yeah, he's looking pretty cool. I think that looks pretty, boss. And then a little bit on the outside. So what if we do the same thing over here, right? We ruffin where the hair inserts, you know, the big lumps on top of the skull here, right? Just sketching it in a little bit. Then we start to add a little bit to the outside here, roughing and where the hair would go around the Muslim right. Adding in some detail around the nose, the big, heavy brow, right. Putting some folds there. Right. Let's see how this looks down here. If we start had to detail to this guy with them the mouth open, Okay, this one's gonna be a bit tougher because, you know, the mouth has opened, everything's outstretched, so I don't know if you've ever taken my course on, uh on human anatomy. I went into dentistry just a little bit, right. I use this can example, right, Like kind of, Ah can with a crease. And when we opened the can, we can see how the part that's lower. To our perspective, we can add some detail in and see where the ridge of the teeth are and stuff right, like where the molars are. So imagine this is a big row of teeth. This can is teeth basically okay When it's closed, it's flat like that, right? But as the lower jaw drops, we get to see that the top of the molars and a bit of the top of the incisors there. Okay, Now, when we look at this guy here, this perspective line is like the horizon lines almost right in the middle. Right? So we're going to see we're going to see the top row of teeth, the incisors, the molars, and we're going to see the bottom because he's got his mouth out stretched so wide that we get to see the Like I said, the canines, incisors and molars, both top and bottom. It's kind of awesome. You're not going to see this on many, many people are many, many times when we're looking at humans and stuff. But ah, lot of animals can can open their mouths pretty wide right, And that's part of the impact of of drawing it this way. So we're gonna rough in that back row off molars camp and then just give a little bit of detail for the incisors here just so you can plot out where they are a little bit right. I can see if this makes sense, adding, in the nostrils up top, the big nostril flare, adding in a little bit of mouth detail, the gums kind of everything's being stretched out as this mouth is just gaping open right by rough in the tongue. Just a little bit. Some details inside. I don't want to put too much. What I really want to do is show you how I'm adding detail in here and stuff, right, just plotting it out, seeing where everything should go, gonna add in. I like using the canines is kind of a marker and then roughing in the line of insiders. And I know the molars are gonna go back from there rough in the lips the chin just a little bit right. Good. And then it comes down into the jaw a little bit more. The hairline, that his little beard and into the main jaw there. Right And up into the year that followed that I line over right. Cool. Now we're getting into the brow because he's so angry that brow was really indented right? Gonna put a lot of heavy weight into it. Lot of wrinkles coming in, roughing in the top of the head just a little bit. Here we go. Look at the weight of that brow. Massive cape, top of the mouth, a little bit of the cheek coming in. And then that side mass of hair and and a little bit of the jaw off to that side. They're right. Sometimes it's not always easy to distant distinguished Thea the structures from the heroin animals. Kate, the eyes on this guy are a little bit small because they're pushed up by the snarl. So that's how we can do it on this one, too. Just have the bottom ridge with the I pushed up a little bit from there, right? And we're gonna add in all the details below. Cool. Okay. Got the wrinkles going on, Adding those in and he looks angry. Yeah, that's one angry looking gorilla. Sorry about that. A little bit of a harsh zoom on you. Okay. Not bad. Not bad. Yeah, we definitely captured that anger on this guy, right? Definitely. We could put a little bit of, ah, stretch of where the for shows. A little bit more of the the anger and passion in it. Right, Kip? Lines on the tongue. A little bit of details in the mouth, Not too much. You know, I could have brought these teeth in a little bit closer, actually, now that I'm looking at it. Perfect. Okay. Back to Mr Happy here, um, going to do the same thing Rough in the base of the head, right. That based circle the base fear. Put in the meaty part up top and then put in the muzzle, and then our you know, our center or circumference lines, right? In this case, they're pretty roughly running center. We rough in the eye line, and that's our base. Now, what do we do next? Right. That's add in some of these details we can add in the nostrils. He's got a pretty good flair to them. Right? Add in the brow. Start to put in the details of that big, heavy brow we can add in the the eyes. I'm gonna make his eyes a little bit smaller. I want to put him a little bit more intense looking right start to add in the all the lines underneath, right. The wrinkles that folds Give them a little bit of mass even up top. Now putting in a big bulk of where the skull meets that secondary section, right? Putting in a bit of a cheekbone here and putting in the muzzle is a little unhappy, snarled. Give him. These guys are never happy when I draw them putting in the jaws and the hair hanging off of it right down below the chan and up into the other section here. Meat of the shoulder. Yeah. Jeez, this guy's looking massive, right? That big, dominant bump up top into what would be his trapezius, his shoulders and stuff. Right. Okay. He's looking mean. I like this. I dig how he's looking here. Cool. Now are you gonna recreate it? This is what I'd like you to do is use the one off to the side here and add in. You know, all of these details that we have decide here. So whether you're drawing on top of it or off to the side doesn't really matter. I'm trying to give you lots of opportunities to practice. Okay? These gorillas are looking mighty gorilla ish. I like how they look. We went over the structure. We went over there walking patterns, right? A little bit of the gate. Yeah, not bad. We can see how they move back and forth. How we also looked at the proportions, right? The gonna thinking this guy up just a little bit. But how the the upper body is 2/3 compared to Thea, lower body. How the head compared to the shoulders is actually fairly narrow. Especially when looking at it from the front. Right. These guys are just massive, massive up top, massive arms. Right. So just remember that that you want to add in most of the meat in through the the upper body, right? Put it in through the arms, put it into the forms. We looked at how they run, how they walk, You know, we didn't really talk about how they walk on two legs because it's not that common, but this four legged band and sweep, right? And then how they kind of saunter as well when they're not running right with one with Thea on the legs on either side, matching each other a little bit, right? Okay, not bad. Then we went on to the skull. We saw how this boney plate helps to fill up that. Ah, that a proportion there, the upper meat and the, uh you know, the mass that's kind of sits on top of the skull. We did the muzzle. And how that how that looks, how it's coming forward out of the skull more than a human's would. Right Then we started to add all these details and and how really the wrinkles the eyes, um knows all those kind of things really matter a lot, right? I would say, especially when it comes to the eyes of the gorilla G's. In my opinion, that's key, right? Then how we can open up the jaw function like looking at the perspective of where we're looking at in the jaw where we can see the is it just the bottom row of teeth or can we see the bottom? And the top animals, like I said, open up a lot wider than humans do generally, because they're kind of scary, right? And they show that income, so not bad. I think we're doing quite well on the guerrillas so far here, right? Yeah. Yeah, I'm liking how how are sketches? Look side by side here right now. I'm hoping you've really taken this time to follow along to add in your little bit of tweaks and personality. But you know what? I forgot my gorilla story. So, you know, while I'm sketching here as I'm sketching, I'm gonna be telling you this story of my buddy here. Okay? So just you keep sketching and listen along this story. My buddy, he's big, He's massive. He's a bodybuilder. He, uh he's not tall. He's maybe about, like, 55 or something. Got, but I'd say he weighs, like, close to 130 kilos in the off season and stuff just a mass of dude, right? Ah, nice guy. But as thick is, he is what? They're a tall right. So one day he goes to the zoo This is in Calgary, in Canada, and you know he's going to visit all the animals he's with. His family, has got a little daughter and they end up in the gorilla exhibit. And of course, you know, you got a little family of gorillas sitting over there. One gorilla is, ah, just do to do, to do whatever he's picking straw stuff. And it is no was. What if he's doing it all of a sudden? Who he looks over at my buddy and who opens his eyes and starts running towards the window . Bang smashes the window, right? The whole room fall silent. It was a big gas, right? And then bang hits it again, right? And my buddies like what ship? All of a sudden from a back room, a zookeeper comes running out and she's yelling at him, Get down, get down, Right! And so my buddy gets down. She's like, Don't look at him, don't look at him and but But he's gonna hiding his head. He's like he's starting to get worried now because, you know, the classes think. But, jeez, I wonder if the gorilla, if he wanted to, if you could really get through this thing, right? Turns out my body was wearing this long black T shirt and, you know, had a shaved head and everything. And the gorilla thought he was another gorilla. That it Another male dominant gorilla that had entered into his territory and stuff. And this this Ah, this guy was having none of it. He we didn't want any of this other intruder in his territory and was about to special. Lucky for everyone, there was a little bit of glass in the way. Right, So that's good. Okay, I want to talk a little bit of boat, hands and feet for gorillas. Obviously, they're very median stuff. The feet are similar to humans, you know, we got the toes. They've got this one. They're big toe, though. Is kind of prehistory like, isn't it? It can grow up just a little bit, but not as much as monkeys can. Okay, Eso you don't. We'll get into it in the monkey unit about the formation of hands and feet and everything. But when it comes to gorillas, I think you're pretty safe. Just using a human hand is a base just adding a lot of size to it. Okay. Wow. Massive unit here that these gorillas air Awesome. I really loved it. I hope you guys enjoyed it to, um Like I said, if you were to focus on one thing in the gorilla, focus on that upper to lower body proportion. Okay, guys, you keep practicing and get at it. 6. Animals Leopard: great. Hey, guys, what's up? And here with another class of how to draw animals today, we're going to do something a little bit more flexible. Well, let's see Leopards. Yeah, I guess that will be flexible, right? Ah, yeah. Um, where do we start? Well, you know, I like to start at the structure, right? Always going with the structure. The structure is the easiest for me to start with, so let's see how we roll from there. So we're gonna look at the skeleton that I've drawn in here. Um, what can I say? I think I did a pretty good job with this guy. Actually, I think he looks pretty solid. You can see how the rib cage is down in this section. Right? Longneck, long spine and small hips. Okay. Comes up to a elongated head. Okay, we've got the scapula up here, but they're not fixed. They're kind of some scapula are a little bit fixed in place. We're talking about a rhinoceros in a previous unit. Right. Um, this one is a little bit more free floating even more so than a human scapula and stuff. Right? So they shift a lot. You'll see them shift as the as the person moves. Um, okay, so let's look at the joint. The actual shoulder joint would be here comes down to what would be The elbow comes down to what would be the wrist and then the hand slash paw shorter joint on the other side elbow kind of the wrist joint. And Pau, here's the hip on either side comes down to the knees, comes down to the wrist, which is a little bit high. Then you'll notice the Paul actually has this back spur to it. This is instead of on the human hell. There's a bit of a pad here, Um, and then it comes down into the foot, right that the actual heel bone, the heel bone here is is almost spur, like comes down into the main part of the pause, so you can think of it kind of like that. That's the way I would simplify it, You'll notice. Also with the rib cage is a floating rib here that's not attached to the center mass. This is where we get into things being really flexible. Okay, and there's a little bit of a spine going down into the tail. Uh, not so much room. Okay, lets see if we can find the same stuff here. We've got the rib cage. We've got a very long spine coming to the head here, which is is longer oval shape. Right? It actually comes this way. Sorry. The heads up this way. We've got these free floating scapula up here, coming down to what would be the elbow toe? What would be the ankle type of thing? Right? This other shoulder is on this side. We're drawing through right now. Coming down to the ankle down to the Paul. Okay, we've got a free floating rib. We've got the hip back here. The hips up here, down to the knee, down to the ankle. Now, here's that spur, type of thing comes down in this first section comes down to the second. Okay, This one comes to the knee back here to what would be the ankle then? You have this spur and the paws down on this side here in camp. Does that make sense? Right, So the pause is really interesting. Actually, if we take a quick look at how they're formed will draw him a few times, right? but we can kind of rough them in the front from the ankle joint, weaken rough and almost like a fan. Do you mean like, a this type of shape, right? Kate from the joint comes down, and then you get the individual toes. So from the ankle, we come down and we've got this form. And here the back paws are a little different, though. We can do the same thing here, it's much longer. Okay? But they've actually Like I said, they have this spur that comes up in the back. It can actually get pretty high. Okay, so on this one, we've got the ankle here, comes down into the main part of the paw, and then kind of the toes, right. But then also, this comes up into the spur type of thing and back up there. Okay, so let's see if we can spot it over here. We come into the ankle on this one, we come down to the paw, right? But then we come up to the Spur in the back here. That's one. We came to the ankle we found down to the Paul, but then we come up to this spur so it gives an illusion that the actual bone attach is somewhere up here. But it doesn't really. We can see how it actually comes more into this, the midline, and then you've got this heel spur that's kicking up there. Okay, So what I'd like you to do, if you can, is to try to draw out this leopard a little bit. Okay. See if you can copy some of this skeleton here, see if I back it up just a little bit for you. Okay? So we're gonna Why don't we try to draw this way? Do the rib cage. Do the hell do the head. Okay. Remember that the shoulders will be somewhere around here. Can come down to here down to the ankle. This one. We can even move back a little bit further down to the ankle. There. We could have that. A short little part for that. A short little spur for that. Okay, remember, we got that free floating rib. Nice long neck, and actually, I forgot to put a little bit of the extension on the tail back here. Okay? Okay. From the hip. Do we want to have it in the same pose. Um, why don't we bring it just a little bit for further forward Down to here. We have this part with the spur coming up. Right. And this one could actually set it further back if we want. Right. Have the ankle here. This part coming down with the paw spur coming up to the knee and up the tail. Does that make sense? Maybe we went a little bit too small in the hip here, but yeah, this is looking pretty good. There's a lot of meat that would be hanging down underneath here, a lot of meat to the leg that we would add in once we start adding in details and stuff, Right. But we're not gonna do that yet. We're just roughing in the skeleton right now. Okay? All right. Next one is a little bit of ah, animal in motion. Right? And we only started with the cat. Walking is pretty hard to find a cat not in motion unless it's completely laying down. Cats don't stand around much. They always seem to be going somewhere, right or sleeping. So we're gonna rough in the hip and the head and then from the head. We're gonna bring the spine just along the back here we can see how where the hips would insert, weaken, see where the shoulders would insert. Right? And again, we're drawing through here. So this one would come here. This one would come here down to here, to the paw. Right. Don't. Here to that wrist. My wrist is about there to the paw. Come. This one would come to the knee. Come back to this to the ankle. The first part of the foot, second part of foot and that bone spur would kick back there. This was basically parallel just behind it. Okay, so you can see how how flexible he'll this thing is gonna be moving. It's gonna be jumping down this way. Hips, rib cage. Yeah, it looks pretty good. I think if you can try toe in the open areas or on the sheet that I provided, you know, I'm gonna give you two copies here. One copy is gonna have my doodles all over it. The other copies gonna have room for you, right? You can draw all over it. Speaking of drawing all over, I think I'm gonna grease some of this just to give us some room here. Interesting view on this. How? We're gonna look at the skeleton from my kind of a top down thing. Right. Well, we can look at this backbone. Here's the head. Right there is the backbone coming down into the tail. We know that the rib cage would be just down from the head, and we know that the hips would be down from there. So this is actually a good vantage point from the top that we get to see. Well, here's the down to the album. Down to the elbow. They are always obscured there from the head down into what would be the wrist down into what would be the wrist. And then the pause, the pause there. Cute little boss. He's got room. This one's actually interesting. It comes to what would be The knee comes out toe. What would be the knee back Back towards what would be the ankles? Right? Then we have from there down into the parts of the Paul, right down into the Paul, and then it kicks back into this bone spur. Okay? And we've got the tail you want. Try to draw that again. Let's go b side and see how that works. Come zoom in a little bit for you and we'll practice together. Maybe a back up for one second here, Justus. We draw the spinal Just what's roughly flowing the same way. Okay, so we've got a We've got ahead here. Back from the head. We've got a spot. Are the rib cage and everything right on the rib cage. We've got the two shoulders. We're looking at it from up top here. Right? So actually, the maybe the top would go something like this as it folds, folds around and then folds over the head. Right. The's circumference lines on our spheres, right. Comes down to the album. This one's gonna come down to the elbow. There, gonna come out to the wrist. This one is going to come out to the wrist. This one's gonna form into its park. And I like toe. Have the think of it this way. This is like the palm of the hand or the back of the hand, and then you've got the fingers extending. You can. Here we go. Back here. We've got the hips. Okay. The insertion for the hips comes out, comes forward. There's the knee, comes back into the ankle, comes back into the ankle from the ankle. If you want, you could do the little bone spur here already. Just following the leg if you want. But for me, I like toe, you know, draw the paw, draw the claw. Well, I think that's the That's how we'll name it, right. Draw the paw, Draw the claw. Nice and easy, Right. And then the tail goes off to the side. Here. How's that looking? Yeah. You know, nice and fluid. That's what you want when you're drawing cats like this. Okay, we're gonna talk about a lot of different cats. Who? The units and everything. But I wanted to start with Jaguars, cause they're damn cool looking and they're that kind of almost middle ground between a house cat and a massive lion or something. They carry a lot of flexibility to them, and they've got a cool pattern and stuff that will take a look at in a bit, Kim. So what you can do going forward is, you know, just try toe, see if you could fill in. Let's see if I could fill in where this cat would go. Right? Okay. So I'm gonna have this cat, uh, come this way. It's coming down this way so you could see it looking this way, right? It's shoulders are gonna be here, but yeah, Let's go with this flow here. We've already got It's hips are gonna be here. Okay, so it's kind of jumping. How is it gonna be jumping? Let's see. Will bring the elbows down, actually. Know what? Sometimes I'd like to place the pause where I want them to be first, So I'll put the the pause out here and I'll bring the elbows down here. Put the pause, put the clause. That's the way it's going there. And then this one, I want the knees to be coming forward and then back again, as if it's leaping right and back to the ankle back to that spur. But you can't see it. And then I'll put the I wanted the underside, the underside of the Paul on the claw, Kim. And then this tale is gonna be moving up this way or something, so you can see how fluid is. He's bending back and forth. Maybe he's jumping off a tree twisting, have twisting the cool thing about cats as they get a lot of twist in midair. Right? So you can really catch that if you if you want there really awesomely flexible. All right, now we've done a bit of the structure and we've done some movement. Let's take a look at how to add some details into this. I'm gonna start with this cat here first. I said, using kind of oval shape. You can do that. You can do a round shape and then add a muscle to it. If you want. It's up to you. I prefer the oval shape when it comes to it. Cat's head, especially these bigger cats and stuff, right? So really, it's up to you. Let's go with this guy first, and we're gonna look at the structure of the head a little bit. We can come down here and we have this line. It works better here. And then it kind of drops off at the snout here, Right? And then the eye line. Years up top. Okay, So how do I start to add detail in here? One of the key things for the cats are the nose right. You can add this in. They have a bit of Ah, a bridge that goes to the I. It's not a hard bridge or anything like that, but it's definitely there. Came in particular. These cats seem to have that crying, crying kinda pattern going on. Then they have these the a proportion of the mouth and then the lower portion, some proportion comes here. This one comes out to the cheek, and there we go. We also get however many whiskers we want at it in there. Okay, so for a cat, I think one of the key points, especially these bigger cats, is the nose. Make sure you get the nose right. Make sure you get these eyes right. Okay. You can use that as a line that it's coming up from the nose and then it sweeps over. There's not a huge brow or anything like that. These cats years aren't as pointed as some. They might be kind of Harry, though, now that I'm looking interesting, there's crosses of hairs coming from everywhere and stuff I got right. And then we've got the top of the head here. Nice, nice. Nice. Okay, so that's one of the key points of the cat nose, eyes and watch the years a little bit. Why don't we do it from the front here or from the side? Rather Well, look at this cat here. See if we can get the same kind of thing. Nose from the side comes up in the nostril. Right. We've got this bridge coming over here from the side. It looks a little bit more defined on humans. This little part is called Kronk. Oh, I'm not sure what it is on. A cat. Maybe has the same one. You can see the this first part of the mouth has his bill o kind of thing. And then it comes into the rest of the mouth and then the cats, the rest of it comes down into the neck. Right? Go. We come up. Well, I like these little eyelashes. Nothing. I really noticed him that much into the year. You want to have some body to the year, right? So they hold itself up, and in this case, it's a whole lot of hair. There we go. And of course, you know the whiskers, depending on how how prominent you want to make them and stuff. I get it. But they're definitely a part of the cat and even have some coming from the other side there. Okay, so we've got cat features going on right now, right? As in the facial features, I want to just do we want to do the body a little bit so we can see. See what's going on. We've got a hip here, just roughly. I want to follow this spine. Coming up comes up. Look how much this hack her. This cat can twist its head, right. And then we've got the actual rib cage coming along. This weights comes under here. You've got the shoulders up in here that you can see them coming down from. And then obviously the legs air coming down from that point. Right? Here's the paw claws on the other side. Here's the elbow up to their, the other one's pretty obscured. So no need to put it in. Here's the hips coming up to the knee coming up to the knee and then likely back down again , back down again into the leg and foot somewhere. The late coming her the tail coming out there. Okay. The next cool thing about leopards is the markings, right? One thing you're gonna notice with markings is that the road that lines the back let's see if I could bump this up a little bit is usually a lot more solid. So this this road that's gonna line the back, we'll just follow our little spinal line here and go up. Up the back is usually of the more solid variety. Okay, As as we get out. Or actually one I finishes off. I'm gonna do this solid. Look, I love how leopards look, so we can even use that as it comes down the tail it. But as it comes out, it starts to get this surrounding circular pattern a little bit, right. They starts to move around, and it gets bits of almost like as if you're trying to draw the outside of ah ah, flower circle, but not quite completing it. Right? So you can do that as you move out from center their dark inside. And as you move out from center, you can have this circular not quite finished type of look. So you don't want to have it all circles all over the place I don't wanna have them regular anything. They're very irregular. They start to bunch up in different places and stuff I get. Just know that, especially on the main part of the back. That's when it's gonna be darkest and most dense. Come and you could see on the back of the leg here. There's a lot of stuff for So that's how we're going to do the spots, especially on the body as they come up the back. Like I said, just keep it nice and irregular. They're not so much perfect that they're not coconuts right there. These irregular spots that often times turn into half constructed, poorly made floral outlines. And you gotta think about that. Why would that be right? Well, you know, what's the camouflage? What are they trying toe hide in or whatever foliage right there trying toe. OK, so actually, as you can see, how they're stretching out here, they're stretching this way because the skins kind of stretch. But it's right back to my thought. They're, you know, they're hiding out in foliage and stuff, right? So of course, that's what they want. They want toe, have that that type of camouflage right that they blend in. Maybe not color pattern wise, but definitely pattern wise. Just remember that as we're looking at the the side of the cat here, the's air going to get a little bit skewed. They're gonna get longer looking because we're not looking at them from head on. Come when we get into the face, you can see even more patterns. And just like any person or Persson's, you know you're going to get individual patterns. We can see a trend happening here, though in along the middle line, carrying up from the back. We've got these really small, dense ones or whatever so we can add them in. They seem to disappear around the nose here. But then we've got this thes bigger pattern, ones that flow out around the eye, and you can almost use them showing the pattern as they wrap around the the form of the skull and everything right? Does that make sense? So you want to use that as they start to wrap around things. They also have this cool little pattern going on around the mouth, just darkening up the I hear a little bit, Yeah, this guy's looking pretty cool. Right? Come. So if you're gonna focus on drawing leopards, got to get those spots. And just in case you were curious. Yeah, my hands getting little tired. Normally, if I did something like this, I'd like a draught, take a break, come back to a little bit stuff and then work on it again. Especially with a digital work. For some reason, it's a little bit more tedious and stuff, but I think digital displays better for you guys. Um, you know, if it was just ink blogging and stuff, I think it would flow a lot easier for me. Boat. I like hell. This stuff records on a screen for you and stuff. Much easier. Good. Okay. We can see how the the shoulder came. We can see where the shoulder joint. His friend. You can see this. The's parts coming here, the neck underneath. Yeah, that's looking pretty darn cool there. Right, Right, right. And that's without even me drawing in the rial outline of the animal. Maybe I'll come in and sketch that up a little bit. Here, coming up for the shoulder. Here's the body. Here's a surely hear more of the body. This part of the body comes down here. You know what? You've got some meat of the body here. This lake comes down, it's coming down here, elbow down into the poor. This part comes into the body. We're gonna come into the I guess, the but right, This is the But But here's the hip. Or rather, here is that knee part trim comes down into here, comes down into the tail and likely the foot came down here. Here's the back of the foot on the pause. Coming up. We can't see this one. This one we can see, though. Here's the paw. Here is gonna be the claw coming out. Yeah, that's pretty cool looking. What we think. Yep. So if I finish up those spots that definitely looked like a leopard to me, Um, what I would like you to do is you can draw over it right next to it, if you want. Let's see if I sketch it out for you just a little bit. We can have a spine coming this way. Here's the hip. Here's the torso. Here's the two shoulders right. Here's the head coming in. Here's the main line of the head. Here's the main line of the eyes. Hips coming up to the knees and back down again. Back down again. Now, coming out to their This one comes down, elbows somewhere around here. Pause here, Clause there. Of course. This one if we drove through, would be the same thing. But we can't see it, so don't worry about it. I'm hoping that I You can spend some extra time and really just start adding in all these cool patterns and stuff, right? I think it's pretty awesome to see how the leopard ends up looking and stuff. You can do it as well on this guy here. Hoops. We can if you want. We can have a the blue blue one below, and you can sketch to that. How's that? Yeah, nice and simple. The head, the spine coming down here. We know that the eyes about this level here, right, The nose coming out the years based here in here. Okay. Hey, I didn't do that on the other side. I guess I can. There we go. Switch over. Here we go. Okay. So I really don't think you want me to draw in all the patterns I think we can see them here. What I want you to do is try to follow them. You know, like this lesson is usually around 20 to 30 minutes. I like to keep it kind of tight for you showing the structure, showing the detail, showing what's important. But I'm gonna give you most of the tedious work. Sorry. Uh, that's just how it should be. Right? You gotta practice. But it's awesome practice, man. You know, like, it's awesome just to work on these these cats and stuff I get. So take the time. Rough out as many poses is you can with these cats and then start to fill in the details, start to see where you would add in the I line. Right, The eyes. How would you know? Here's the nose would come up to the I come up to the eye, right. How would this work came? So you I want you to go in and do this, Do it on the next one to you know, where is that line? I'm not gonna draw it for you. I want you to try to draw it, okay? And I think you're gonna be much stronger After you finish this page, we went over the basic structure. We went over some basic movements and then some really funky cat movements. Right? Then we went over what were important features with the nose, the mouth, the whiskers, the hair that years, the eyes, all that stuff. And then the patterns that we see in cats, right? Or rather in these leopards in particular. Okay, I hope this was a good lesson for you. And honestly, I hope you're practicing along, cause just listening to me do this, you know? I know I got a cool voice and all, but I'm not that cool. I want you practicing along following along either on the same worksheet that I'm doing or that blank one that I provide for you. And I think you're going to get tons from this. Okay, Good luck. 7. Animals Horses: Hey, guys, what's up? It said here and I've got another how to draw animals. Video for you. Here. Let's see. What are we going to do today? Horses. Yeah. Horses. Air. Kind of awesome. Right? Um, they don't call a majestic for nothing. There's a whole lot of reasoning behind that, and that's what we're gonna find out. All right, so, as usual, what do I start with the structure? That's right. I drilled this horse skeleton for us to kind of take a look. And am I gonna make you memorize the skeleton? No way. I couldn't memorize this thing. Right. You know, some of it wouldn't be too bad. The rib cage and the backbone and that kind of stuff, right? Maybe even the shape of the skull or something. But overall, especially the bones in the legs and the joints. No way. That's way too complicated for me. So instead, let's simplify. Right. Okay, so we're gonna use this, uh, gonna use my blue pencil here and try to find the masses. One mass would be here. There's rib. Cage is an obvious one, right? It's It's the main one with interesting enough. Here's the scapula. here it now similar to some other animals, this capitalist somewhat fixed. It's not as flexible as in it is in cats and monkeys and humans and stuff I get the horse scapula is is a little bit fixed. A lot of this has to do with positional motion. Like how? Animals in the patterns they move in. Stuffed animals that move side to side, up, down all that kind of around. And stuff and twist usually have more flexible and floating scapula. Animals that move forward have a little bit more of a fixed scapula, right? So we can think of the shoulder whether we think of it up here or whether we think of it right here. It doesn't really matter because it's actually coming down here, and this is the first joint down here that really moves. This one up here does somewhat. It does move a bit. We can get some motion on it, but it won't be massive. Okay, so it I'd like to say the shoulder is here, but, you know, it depends how you want to look at it. The other thing is, here's the actual hip, the hippest tiny on this thing amazing, right? But we're gonna look at this whole rump. I like the word rump, this whole posterior back here as the next big mass. Okay, so we've got this rib cage here. We've got this big mass, and then we've got in the middle of this mass where the leg joints come out, the legs come forward into what would be a knee, if you can believe it. It's quite high up back into what would be kind of an ankle. Our second. Me, I guess. See, this is where my human analogies don't really fit up that much. Right? So let's count it. 12 three. And let's call this the ankle. So this we're just going to say it? Horses have, like, two knees. It doesn't really work that way. But they've got these flexible joints, okay. And the joints become a little bit more flexible as they move down somewhat. You could see the huffs will get a lot of rotation on them and stuff. So that's kind of what's happening here, too. We've got the ankle this joint leading up to here. Right? So we've got 12 and then up to here. This is the actual shoulder insertion off of the scapula here. Okay, um, and it comes down here into what could be the first joint second joint ankle from the ankle on down. We've got a whole bunch of little little bones that connect into the hoof. I like to just draw the hoof as a triangle or as a kind of, ah, sheep tape. Not a Pentagon. I don't know, some trappers away type, and then connect it to that ankle part. Okay, so that ankle will come across. I'm just gonna connect it. So if I get rid of this, that's what it's gonna look like nice and simple. And even if I want to do this, help, uh, these two joints here, get rid of it, and I come down to here. That's really how the horses gonna look minus ahead. Yeah. You can tell that this torso section that rib cage sections quite big. Um, maybe 1.5 of the rump, right. And then we've got the head. The head is this nice kind of coun type. Let's go with corn. I was thinking of, like, a candy type of cone or something like that, but it's just going cold. Nice cone shaped. Kim kind of rounds out of the end here a little bit, and then the backbone comes in. So the thing about these backbone I don't know if you notice it a different than the other ones that we've done so far, but it is strong. It's reinforced, actually. And, uh, yeah, there's a reason why this animals so strong it carrying a load. So this head is not very big. Maybe about half, While generally it's big compared to most, most animals and stuff. Obviously, horses have big heads, but compared to the rest of the body, it's not massive or anything. Let's say that it's about half the size of this rib cage or so. So if you're you know, what I try to do is use the proportions within the same animal. You know, if I'm looking at this animal, I'm trying to figure out okay, I know that the rib cage eyes about double the length of the head pretty good. And then I know that the neck is about the length of a head approximately right, So if I'm gonna stretch it out, which I wouldn't necessarily you know, I could do one rib cage to rib cage, and there we go. The head would be Maybe the net could come down, and then I could do the head. Something like that. Right? Camp, actually, proportionally. That looks about right. Right. Let's see if we can figure this out as we look at, uh, our more realistic model here. We're gonna find that rib cage again. We're gonna find the rump, right? The rib cage was pretty big. The backbone came up, came to the head, and we're going to use this cone technique crypt. That's how big the rib cages, rumps. Maybe a little bit less than that. 30% less or something like that. Right? And our head looks about right. Yeah. All these dimensions look right. Um, we said we're gonna have the joint here. This is the one off the shoulder comes down to this one. Comes down to here, comes down to the ankle. Right. Let's do it again for the rear one. Looking at what's going on here? Here's the actual joint in the hip in the middle of the hip. All right. Comes to this first port second part down to the ankle and then to the hoof. Now you this hoof is actually here. And then there's a line here. We can draw the hoof and then that line going down. See if that makes sense. We know this would come up here and this would come up to the the other thing if I was drawing through. That's how I do it. Um, let's start at the bottom here. Come up to the ankle, come up to this joint, come up to this one. And most likely, the other shoulder scapula is just a little bit forward and lend coming back G's Do we think we can draw this? What do you think, Draught? Smaller. We know that if I was dead, run the backbone here, and then I can use the cone right now. How long the legs compared to the body? Well, we can see that the body itself is almost the same length or height as the legs. Right. The head. While the head can go up a little bit, we had the head coming down a little bit, right? So we're not too worried about head. I'm looking at it more from a shoulder position here and from the shoulder position up here . We know that this length to this length is gonna be approximately the feet we can add in where the joints go. Bring it down. Bring it down to here. Down to there. Right. Bring this one forward back again. Straight down. And that's how we can add in. Yeah, that's a very basic skeleton of the horse, right? Maybe go a little bit longer in the legs, but that'll work. Cool. Okay. Yeah. I think I should have made the legs just a tad longer here. But you get it right? That's really This is what you're doing. When you're trying to study the structure and form, you're looking at the proportions, right where we were looking, the proportions from the hind to the front. And we're looking at the height proportions. Yeah. Now that I link that, it looks a lot better. Okay, let's move on to motion. We're gonna Ruffin the form again just because it's going to really help us here. Rough in the rib, the rump. I like seeing that the rib, the rump, the head. Okay, now there's a few different things that are happening here. These horses are obviously running right and their legs are in different formats. I like this middle one to start with because it's the most dramatic. Let's look it Where, uh, where this is coming from. Remember how I said this part is kind of fixed, right? It's not moving. Tons moves a little bit. You can see how it's coming down for this one. Coming up here for this one, right? Comes to this joint, comes down to the ankle and then this hope has come forward. This hoof is here. We've got the ankle. You got this joint. This one is here. This comes down to that first joint second joint ankle. Enough. Ah, these were almost aligned. This one comes to this joint second joint ankle and hoof. Kate. The one thing you're going to see is this kind of sweeping motion of the back. Sometimes as it extends, the belly extends the legs extend. That's when it's running. This one's kind of I guess we could call it a jog type of thing. Crime. We've got this shoulder girdle that comes here on the scapula. Locked in, comes down to this joint ankle and knee this joint Panchal so right, Not me, Right? And you can tell like at this point, it's starting to get a little bit of Ah, rounder, look to the back here. What's happening is these legs are starting to come in these legs air coming this way, these legs air coming in this way. And then they're going to spread open like this one and take the big steps from okay will come off of the hip down to this joint ankle and into the hoof. Okay, so this guy's a little bit more upright. This guy's racing forward, right? You can tell this sweep. This one's not as dynamic, and we can see him kind of the speeds of the tail here, this one's could just gonna hear fluttering a boat. This one's like Dragon way behind cause he's hauling. But okay, And this one, I think he's a little bit more than saunter. Maybe he's just kind of trotting along. We want to lock in where the joints are. Just lock scapula here, one joint to joint and cool. Someone's coming from behind one joint second joint ankle off hoof. What if I was to move this hoof just even a little bit further back. This is what I would like you to do when you're practicing this. I gave you some space below here. Um, move. Move it. Just a little bit more. Move this hoof forward and see how it takes. You. All right. See if that makes sense. Right. So you see if you can push some of this motion for this one, why not push one hoof even further out? You know, like we're gonna lock in the body here, right? We're gonna lock in the the head, and we're gonna have this part flowing. This part extended this up into the shoulder. Now, what if I put the hoof even further back? And if I want to? I can change this. Have one hoof here. The other hoof here, One out here on one out here. How would I connect these, Right. Do I just draw a straight line for these front ones? Yeah. I could probably get away with that, But for these backwards, we know that they're multi jointed. Or that the joints bend a lot. So instead, these straight lines, they don't really work very well. What we could do is try to draw it in. Let's see, this is the 1st 1 down to the 2nd 1 down to the ankle. And actually, this hoof would be further. This one bends over this way down to the second, down to the ankle, down to the hoof. This one comes down, comes back, and then out to the ankle and the hoof, this one can come down, come back down to the ankle. You know, too tough looking. Mighty strange, right? You know why? Because horses don't usually walk in this pattern. They're not as synchronized at some of the and other animals that do walk in this pattern When they walk. Well, they do. They have this kind of bend. Actually, we can see it happening here. The far too are close together. The closer ones are far apart. So this is what's distorting us here. If this one is the one closer to us and this one is the one closer to us, you don't make a lot more sense. If we bring this leg down and and flesh it out a little bit, this one comes forward, comes forward there. Cool. There we go. Okay. So I've left you some room here, down below here and down below this guy. And you can start to just draw in the motion a little bit. Like I said, you can kind of tell by how fast these guys air moving just by the floor. Their tail. Right. Uh, it's a good reference point. What I hope while I'm doing this is you're either following along with me, Um, kind of sketching over top of my sketches, or you're doing it on the worksheet that I provided that that's a blank. Right? You're able toe work on it. There. Come. All right, we're moving on. This is when we're gonna get into detail ing right. I want to put some details into this. Now, that doesn't mean I don't ignore the structure. I'm gonna still, actually. Sorry. The rib cage is here. The rump is here. All right. The head is here just kind of lightly putting it in right now. This guy's got a really long neck and the tales coming down below. We can put the joints in that we've already studied. Can we know this one's coming here? Coming down. Ankle hoof. We know this is a lock scapula. here, right? How did we have that to here? It's right to here, right on this guy. Down to this joint, down to the ankle and this hoof, the other one is behind here, down to this joint down to this ankle on the hoof. Okay, so now that we've got that roughed in, what do we look for? For interesting details on horses for me, I think one of the key things are the muscularity, horses, air kind of awesome, right? And so we can follow this. We can follow this joint format and know that there's muscles there hanging off of the horse that come here. Right? So these muscles and then what happens is even though all this has developed, it becomes almost strained. Tendon right down into the lumpy joint. So you've got this massive, uh, muscle bellies that are powering these thes lean, almost brittle looking joints right coming down to wear the home office. Gonna leave the hopes for now. But you can see how bulbous thes joints are, right? Almost like ugly knuckles or something. Okay, so once again, we're gonna look at the muscle. The rump is There's a whole lot of muscle going on every line and bold you see happening here is a developed muscle cam. So you really should make sure you put in all of that into the horse. It would be like drawing. Ah, you know, a character without, uh, biceps or something. You're trying to draw an athlete, but you're missing some of the key points of it. Right here is the bony limb on the back. Down into that ankle area, you could see how we can use this ankle references as a bit of the nub. Right? These joints, we can come to this point, come down, used the nub come back up, come here. Use it around the ankle where we've kind of roughed it in, Right. And then we come to the hoof que the hoof. You can think of it. Kind of like a ah fingernail if you like. It's not exactly it obvious. A lot more solid. Um, but it has some similarities to it. You're gonna have a rim where, like, for example, the cuticle would be and then you're gonna have that solid, uh, material coming out of there. But with that solar material, you often get kind of drains or green patterns going into it and stuff. So don't don't ignore those. Make sure you put those in. That adds a little bit of in effect that you know what you're talking about with it. It's not just a a smooth surface is not a painted or are shiny fingernail, but rather it's It has some grooves that almost look fibrous to it. Right. Okay, so we can put that there. Cool. So that's something that I think is pretty cool when it comes to horses that, you know, we've got the muscles all through it. I would say for me the the shoulder muscle, basically, you know, the parts that are attached, the legs, What are horses famous for running, Right. So, you know, that's that's one of the mass of parts of the muscle is around the two major joint movers, the shoulder complex and the hip complex room. The other thing that we're going to see a little bit off and we're getting into it later is the cool structures around the head. I love the cheeks on these suckers right there. Awesome. We can rough this in for now. I'm just gonna show it to you as we get into heads. Okay, Will have this. Let's see. Here we go. Perfect. Cool. Okay, that's ahead from a side. But that's not what I want to show you. Let's go into these heads. Remember how we started the heads with, uh, kind of a cone? Right. So let's see if that holds true. Can have. Ah, a bit of a cone here with a center line down the middle. Actually, Mark, maybe the center line comes this way. See if this one works, too. Bit of a cone with a center line down the middle. And you could tell these my cones air shifting their position a little bit on me here. Right. The center line is is gradually moving closer as they started looking towards us. Right. The eyes were really high up. The really high up on on the head. Okay, they bulge out a little bit. There's a little bit of ah, of an eyebrow to them. And kim, you can't always see it from the side. Uh, you know, animals that air, um, usually pray have eyes that are more based on the side of the head so that they may be going forward. The their vision is not as great, but on the sides. And their peripheral vision is amazing, right? And so that's what horses are really strong with, as well as having that that extra structure on the side there in case with these air down to the next. No. Why don't we had some detail in here. Which horse do we want to work on? First? Let's say this guy eyes, we can see they have this nice kind of home and shape. They're quite dark, though. Okay? Like I said, there is some shaping and eyebrows around the eyes. There, some structure there. Okay, there is some structure, but it's not as as hanging as with, for example, on a per human or anything like that, we can see how the jowl is actually a developed muscle. There's some underlying skeletal structure things here in this skull. Okay, we can go down into the mouth here and the nostril. And actually, the nostril has this nice little rim around it as well. Kind of cool. Um, yeah, The years The years can perk up a little bit, as long as they have a bit of structure supporting them, right? And then we've got the head down into the neck. We've also got the main, the main conf low in a lot of different ways. Depending on the the breed of the horse, the style, the horse rate, it can flop over. The one side can be bushy. It can be a lot of different things. OK, so you kind of, you know, you gotta research which horse you wanting toe draw. See which one suits the style of what you're trying to achieve right now we're gonna draw on this other nostril here. Actually, it's a little higher up, So what you can do is kind of line things, hopes line them this way, line in this way. Right? So that you know that they're matching and symmetrical. Okay, we've got this horse. We've got that big mandible type crime into the eyes, depending how much detail you want to put under the eyes. It's up to you. I guess it sometimes specialty aside here. Now, this horse's mane, I'm just gonna nicely rough in here. Not gonna draw the details of the hair. That's not what I want to do for that horse. Depending on your style, You might want to what you're trying to achieve from Cool. Occasionally you'll see veins on a on a horse. You know, uh, depending any creature that doesn't have a lot of thick, dense hair you, especially if they're very active. We want to say, muscular or whatever. You might see some veins in, and so you'll see if you're going to see them anywhere. You'll see them like where the hair is the thinnest, maybe along the legs, a little bit right or in the face. And that's what we're seeing here, right? We're seeing a couple means OK, so now we've got a horse looking almost straight on. We got the brow coming into the nostril here, into the lips, into the mouth, into the mall. There we go, and this guy's got a cute little part of hair looks. Looks like somebody designed it this way, right? Comes back into their it's so whenever you're doing years, make sure they've got some type of supporting structure on them. All right, imagine holding up a paper. You wouldn't be able to hold it unless you folded her bending. One thing I want to talk about though, before we finish up here is toe Look at the skull just a little bit and you can see I don't know if you can see here, but this is actually how the skull is positioned. This is where the noses comes down to where the teeth are, and these front teeth look like that. There's thes incisors, that air up front kind of thing. And then there's a sharp under and Sizer and then it comes back here and the rest of these teeth back here. Basically, if I draw them like this, they're all for just mulching, chewing and stuff, right? So you can see if we're looking at the skull again. Here. You see how it's a lot of this is really familiar for the facial features were just working on right? Does that make sense? So, like I said, these almost rabbit teeth in the front there bigger than rabbits, though this bottom tooth thes air the incisors, Then you're gonna have these teeth back here that are just for chewing and chewing and chewing Anything else? Sometimes you know the horses years will be straighter. Uh, it's depends. Yeah. Look at this guy's main It's all floppy. He needs some conditioner, I think. Cool. Okay. I think we've got it. Let's take a look. Yeah, those are cool. Hey, you know what? This, this main and this table is kind of awesome. We talked about tales when it Now that I'm looking at this window, we know there's some body to this tale in the structure of the skeleton. Right? We've already kind of scene hints of it when we're doing the skeleton. But look at the hair on this thing. This is this horse Looks like a wild horse or something. This is kind of awesome, right? And then this main usually starts from about the top of the shoulder. Sometimes it can start from the back here, but starts from the top of the shoulder starts moving around, and this thing is just flowing like the wind. This is awesome. I love this looseness to it and stuff, right? So you don't always have to draw it all tame and manicured and stuff I got. If it's a windy day, let it fly, right? Yeah, that's cool. Much better. Very, very cool. Some very cool horses. Okay, so I guess that we started off on structure. We looked out the major masses of the horse. We've got the rib cage, the hips and the head. Then we looked at the legs. Now I'm gonna tell you these legs air hard, you're gonna have to practice and practice and practice them. Okay? There's someone familiar to ah, humans Lake, right? There's thes bends to them that we don't normally have and stuff right there. Is that almost extra joint? So I want you to really take time to draw those legs as many times as you can. Moving down. We saw the movement of the horse and how the legs move with it. But you know what? They still operate on a similar thing. The hinge out of hip hinge over the shoulder. And come, um out of this lower base here. Then we worked on detail ing. We looked, looked at the musculature, and the musculature was following the function. The function is Teoh, get this massive body moving across flatlands, right? And so thin, thin legs, uh, supported up top by massive amount of muscle. Okay. And then we looked at the details of the face. Big nostrils, big long face that we used a cone for and everything. And the alignment of the eyes. A little bit of an eyebrow. And then these interesting mains, as many hairstyles for horses as I guess humans got right. I really hope that this unit was interesting for you. And I hope that Ah, you're practicing. You know, this just listening to this for 20 or 30 minutes is really not going to do it for you. You know, what I really hope is that you're following along, and once you've done the sheet with me, try it again without me. See what you can do without me nattering in your ear and stuff and see if that helps you. Okay. All right. Keep drawing, guys, Mr. 8. Animals Armadillo: gotta love those animals, right? Hey, guys. It said again, and I've got another how to draw animals video for you today. Want to guess which animal this is? I bet you never guess it is the armadillo. You're wondering. Why is that choosing these animals? You know, actually, I gotta tell you, part of it is just the uniqueness of them. I'm gonna go through, like the 1st 10 animals that I choose from this course are just gonna be animals that interest me. But also, I don't mean they interest me is. And like, uh, you know, I want to have them as pets. Maybe, but what I mean is, they actually interest me. As in structurally, there's something unique about them or something that's different from the others that I want to get into. And, boy, Oh, boy, Armadillo qualifies. Okay, so how do we begin? We're gonna take a look at the structure. Now. The armadillo has two major structures that we're gonna talk about the skeletal structure, which, um, will flow very similar to a lot of four legged animals that we've we've already looked at. Right. We've got the rib cage, the hips. Um the head right, The heads a little pointy here come Kim. Then it's going to go into this kind of semi fixed scapular shoulder blade here, joint down into the knee, what could be a guest me down into what could be an ankle and then out to the foot and then these little claws. So there's a me here down into the ankle, out into the foot. And then we could think of these as little claws. Okay, Same thing with hip. We've got a hip on either side, coming down to the knee down into the ankle, the foot with the foot, spur the foot with the foot spur behind uh and then coming out into these little claws. So I like you can think of it kind of like a shovel type of thing. I don't these these bones act semi independently, so there's that. You know you'll get the fingers splaying from here in here, but there's just like humans what they'll have webbing at a certain point and an attachment within the actual hand itself. So I think this is like the back of human hand or something. Then we've got the spinal column leading out to this long tail and you'll notice that the bones actually go fairly far down the spine or down the tail rather. OK, so we've got that right, and that's normal. That's what we expect. That's not surprising anyway. Then we've got this weird ass tank tank of a show sitting over top of it. Looks like a banana bread loaf or something like that. Looks like a big loaf of bread. That's what it looks like to me and that, actually, So I do it kind of big up top here. It actually kind of comes bigger towards the front. So you can think of it this way. Maybe all erase that a little bit for you just so we can get a little clearer with this room. Okay, so you've got these two structures, the normal Scalito system, that we're used to simplifying and all that kind of stuff, and then this weird loaf of bread armor type that they carry around. So it's gonna be hard to find it because, you know, looking inside on the on an actual model here, how do we How do we do this? How do we find the skeleton? The heads and easy one, right? The we can kind of guess that the tale is gonna come up this way right from the backbone. So weaken further. Guess that the rib cage is somewhere around here and the back hips air here. There we go. So, you know, obviously we don't have x ray vision. We can't say exactly what's going on here, but we can take some pretty educated guesses, right? The shoulders come out from here first. Come back here. And that's why the the leg look like Looks like it's coming from from back in here. Right? Um you know, if we didn't know this, if we didn't know this underlying skeleton, we think maybe the shoulder was back here in this leg was coming forward or something. But no, it's actually coming from here back to what would be kind of the knee back to down to the ankle, and then we've got these claws coming out. Um, same with on this other side. Comes back here, comes down to the ankle, and then we've got these claws coming out. Now, if we're gonna look at the hips, we know that they are near the back they come forward and then come down, come forward and then come down to the ankle and then come out. There's a bit of ah, spur behind. But on both of these, it's facing away from us. We can't see that spurts actually behind him, and then we have little toes, okay? And then over this entire thing, maybe we should go with a different color here. We've got this big loaf, and keep in mind that it actually comes on the other side here, right? Of course. So this is a ridge there. Now, there's something to be paid attention to hear. This first part of it is almost a solid plate here. This this section here. But then you're gonna notice this pattern. And this pattern is here for a reason, right? Almost like a accordion ribbing or something, right? And, you know, as it goes through this kind of what about 60% of the of the whole shell it's there for a reason. Okay. And we're going to see that as recorded toe our next little section here talking about, um, motion a guess, but this is a with a one of the weirder motions that we're going to see Weaken. Look for the skeleton that's drawn out really quick. The tales being tucked under here. All right, Kim. I'm just going to do the backbone for right now. Here's the head. It's tucking under. Here's the rib cage and here's the hip right cam. And then here's the head that's talking around to the tail. The rib cage is in here, the hips down in here, everything's overlapping. And by the time it gets to hear your guess is as good as mine. Pretty amazing, right? Like I think this is the coolest thing. How its feet fitting here and stuff is not the major concern. What I'd actually be looking at is this shell, right? Previously, it was kind of Ah, big up top. Do you remember? It came towards the front here and came around right. And then I had this ribbing in the middle. We look at these ribbing, starting to fold now, right? And then look it how it folds here it's falling over so that this first half a show and the head the top of the head fold into almost the top of a ball, right? And the bottom half. Remember we said the front of the backer. Not so bendy, right? Not so according like an accordion. Well, that's what happens back here. And then we've got the slots. Little open parts for the head to fit in here. And by the time it's all seized up, we got some pretty pretty good lines. I don't think it's waterproof, but, jeez, this is really impressive. You know, this almost reminds me of, uh, transformers or some pool kimono or something like that, Right? So I don't think practically you're gonna be able to use us a lot when it comes to drawing armadillos. Do you know? I mean, like, I don't know how many people go around drawing a lot of armadillos, but I think what's important for studying this is understanding. You know how creatures can use armor and different ways, right? And in this sense, it's a transformation, right? So if you're ever gonna get into a creature creation, Jeez, this is probably one of the more important lessons you're going to see here. It's It's gonna add some realism to any transformation you try to make on your creature. Okay, let's take a look at this guy. What I wanted to show you here on the armadillo was the undercarriage could use that word. Right. So we've got the head here, right? And then we've got the torso and the hips. There might be a bit of overlap. This head is coming down here, the spine and then most likely, the tales carrying off somewhere through the grass or something. We've got the hips coming down into the feet and the claws lost in the grass. Down to the knees, down to the feet. And remember, Don't forget that little spur back there down into the claws. And then we've got the the fix shoulder blades that are actually up high here. It's gonna come down to the elbow, to the wrist, down to the elbow, in this case, out to the risk here. Okay, then we've got the hand. Kind of You can actually see how part of its fixed here, and then it branches out into these These claw like fingers. Okay, Appendages for him. I guess what's interesting for me is the really soft underbelly here. You know the outside. We've been looking at it. If we're drawing the show, the shell is gonna go all the way around here, comes around on the other side, right? Um comes around on the back end. I actually can't even see here. It kind of comes up behind the body a little bit right, And that's easy to think of for the armadillo, even the top portion here. But there's a whole lot of softness going on, and there's a lot of features that are really interesting. I think the hair is very interesting, right? It reminds us that it's a mammal. The second thing is the pig like snout here that I think the years and the snout are kind of interesting, and we'll get into, Ah, few the features in a little bit, right. But look at that little lips, right? Small little eyes. But these years G's they look pretty familiar, right? Yeah. So I think that, um, I think it's worth noting. You know, all the hair underneath and these features as well. The sure we can look at the patterning of the armor and stuff, and I think that's important to it's basically scales. Okay, so I guess I am getting into details. Finally, you know, we can do these kind of armored scales and stuff like that, right? And drawing them out is gonna drive you insane. Holy these or tedious as heck, right. Um, you can kind of save saving a little bit if you want to do bands, you don't draw some bands across and then just kind of, you know, market or loop it like this. That's one way to kind of save your time. But truthfully, if you want him to look really good, you're gonna want to draw them in individually. Especially if you're wanting to render this your drawing of your armadillo in more of, ah, kind of a fine art portrait or anything. You're gonna want to take the time to put these details in here. Okay? So, yeah, look at this note. Look, the ears look a soft undercarriage, right? I think those are pretty important. Let's go. And we'll take a look at a little bit. More details here. He's a Q T. Yeah, and look at all the patterns. I love it. What I love here, if I'm looking at it, is that most of the snout here is covered in this armor, and it kind of just covers over the eye comes back up top, comes over here and comes back down again. Right? Until this, it fades out a little bit towards the nose, right. It gets a little bit softer just a little bit, but then the you can see how the scales start to the or the armor plates. Depends how we want a freeze. It starts to really take hold, okay? And then they start to become more separate. Like so here. They're kind of branching off of each other. And then here, as a zit goes on, starts to become a little bit more separate, and you can see, actually, the light reflecting off of it. So that means they're somewhat raised. Yeah, that looks pretty cool. Right? And you can make it up. You know, you can make up your own pattern. Uh, it doesn't have to follow because, you know, I don't know. I don't hang around with a lot of armadillos, but I'm guessing each individual has a little bit of its own personality to its pattern. A little bit more of a gap between some parts of its armor than others. But I think it's important that you know, you realize that it's not all gonna be the same pattern that as again, as it moves to different parts of the armadillo, you're gonna get ah, little bit of a different style going on, all right? In camp. So we're kind of going to do this, You know, I've seen armadillos. I've seen them in real life, but only in zoos. I don't live. I've never been to the Southern. Actually, no, I have been to the Southern United States, but I've never seen one on the road. I'd love to. Just You know how they show in the movies, how you're driving along. And there's one of these little guys just crossing the road. I think that'd be awesome to see, Right. There we go. We're almost done. This skull cap of his, You know I like it. You know, if your coloring it, then you might want to put in this Ah, this based color underneath And then a different darker color for the plates. As you get towards the edges, you can start to make it a little bit smaller. Cool. Just like up top. We noticed the armadillo had little cute home and eyes There's a little bit of puffiness around them. Maybe he hasn't slept very much. Comes into here. And we noticed that there's there's a little bit of hair coming off his chin. Remember, we could see that in, uh, in the other piece that we're referencing, right? And then it's you can see a bit of the folds of the skin coming here into these cute little , basically pig years. Right? So you can I'm sure if I trace back the lineage often. Armadillo, they have some. Oops. Sorry. Keep bouncing around on you. Some bit of pig relationship there. We can't see it on this photo, but we know that it's got a little pig snout. Tramp. Okay, we also Ozcan see that once these claws come out. Jeez, these air cool looking, no doubt for digging in the ground for grubs and stuff I get. You can give a little bit of ah, a rim around the toenail itself and then head on in to the toe. So what? All explain is if you just draw this as a toe, it looks okay. All right, But if you draw this and then you give and that here's the toenail, right? You give a little bit of a lip around a little rim around and so, you know, just like humans have a cuticle and stuff like that, Uh, and a little bit of detail in the nail or something room. It's It's not such a flat plane. This would be for simple, maybe animations or something like that. But if you wanted to get into more detail, you want to put this little rim around the edge of the nail, okay? And then we know what he's got. This kind of hairy soft underbelly. Here we go. And most likely, there's another toe at sea. Yet he's got four right there, kind of the main two ones and then to side less dominant ones. So we know that there's another one shooting off to the side here. But I don't think I'm gonna draw it underneath this note. It's not gonna help this trying at all, but I just know that it's there. Let's see. I want to draw this one. Yeah, these totally look like some alien reptile toes or something, right? Awesome looking. I love it. A little bit of texture on that, right? And you can see how it also his his limbs start to get some texture ing as they move up into these multilayered panels. Almost looks like house citing. Right. Okay, cool. This one off to the side. Just a little bit Tiny. There we go. Okay. So, like I said, gonna put this kind of rim around some of these nails, Okay? Just to give a bit of realism to him. So they're not just hanging there. Cool. Now the show. We're looking at it from the front. So it's coming down if you notice there's actually a rim a little bit of a rim here that follows around this first part slightly raised, especially around the neck. Okay, so we're gonna come up good enough, Okay? No, I don't know how long you want to see here and watch me draw scales. But what I might do, for example, is a rough them in here for you. Larger, right? And the thing is, there's gonna they're gonna follow a certain pattern. They're gonna be most likely larger in certain areas of the shell and obviously larger as they, um, are closer to you, from what it looks like here. Sorry, it looks like that the, uh down towards the base of it has a little bit of a larger pattern to it. So let's take a look here. Let's draw them in just a little bit. Usually I work from one direction, not the band, but, like inward. Okay, and we can see how they're already. They're starting to get a little smaller, right? The patterning is getting a little bit tighter, so I can do that through the whole shell. I don't think I want to kill you, though, on that. Like honestly, I think it's interesting for me because it'll it'll look good once I finish it all up in everything room. But I think for you as a student, I don't think that's the most advantageous use of your time for watching it, Um, and also keep in mind that there's different patterns for different guys here and stuff. There's little subsections to the species, right? And so this one up front, you know he's got these these types of armor plates, right? These little modules. But remember, this is the main section, right? This is the unmoving section, right? And then we can see how this second section and third section almost looks like it's got this, uh, diamond pattern to it, right? Does that make sense so we can follow that pattern? Yes. Oh, really? What I would recommend doing is when you're drawing an armadillo, get a reference for just like I've got him here for the different patterns of ah, the armor plates and then pick up, pick one or pick a few and get consistent with it, right? You know, like see how it looks, how you want it for this guy. He's looking the same thing. This front section is a lot of these hard, kind of semi circular patterns in here. We've got the 2/3 triangle type of pattern, right? And then it by the time it gets back here, they get elongated a little bit stronger, and then it goes back into our our little circular pattern. Um, we already talked about some of the patterns that are on his head. We talked about the details of the clause for him, but just like on on the leg, how we noticed it was kind of like layering of sighting. The tail really has that. Another picture that I put it up. Didn't have the tail. Right. So let's take a look at it here. It's almost like, Well, basically it is armored plates. I think there's a reason this guy got the name the armadillo. Right. Okay. So you could think of it in sections. Um, there we go. Yeah. And you know, if I would give a little bit of a ridge to this or something to give it some form if I was rendering it toe, make it look like there's there's some solidity to it. There we go. And I'd keep rendering back here. Maybe I even just kind of go in rows following the semi circumference or what I think would be a nice flow along the shape, right? Yeah. That's starting to get the the flavor of it, right? You know, you don't necessarily want perfection in patterns. Um, animals are not and shouldn't be computer generated. Right. So you wanna have some irregularities? Some big ones, small ones, right? Some differences in patterns so that it looks a little bit more natural. There we go. Yeah, that's looking cool. So that's one way to do it, right? Yeah. And that was for speedier. And then I'd probably come here and maybe do. You might do that to thing right. That's what they look like to me, like, kind of like a tooth pattern, but not sharp, cool teeth or anything. Just kind of like boring incisors or something. And then that's how it pattern out the whole thing. Okay, let's take a look. Um, even if we turn off the references, we can see how it's making sense. These irregular patterns, how they look really good. Um, I don't know if I would do it over my sketch work, trying to put it on another layer. You know, erase the sketches or feed them in back a little bit, and then start to put the details in. Okay, um, we'll review a little bit. We've got the normal four legged skeleton that we're getting a little bit more comfortable with. Listen, I know that the structures of these legs are pretty unfamiliar to us as humans. Right. Um, maybe if you own a dog or a cat, you're a little bit more familiar with it, because you got it around the house so much, but yeah, it's gonna take a while, so I have a feeling after we get through, you know, five or 10 animals or something. I got especially pattern like this. You'll get a lot more comfortable with it. Then we saw this wearing this big banana bread loaf on top of whatever. Right. Then we went over here and we took a look at what's actually underneath, right? And we also looked at how this partitions into different sections. How we've got this middle say, 60 or 70%. That's really kind of flexible. Accordion style. Right? So that's kind of cool. And then the front in the back or harder. And the reason for that is because of part of its mobility, right? Yes. Can walk along. But it also has this cool little wrapping effect, right? What does it do? It can sometimes, you know, it starts off like this, turns itself over, turns itself way over, wraps itself into a complete ball. Jeez, is that ever cool? Pretty amazing. This is unwrapped. And we got to see the underbelly. Remember that The underbelly is furry. It looks like, honestly, like a little hairy pig lit or something like that. I think to be frank, this looks a lot like a piglets or closer toe. A rodent like a rat. You know, there's a lot of similarities to both of them. We started then to look at details, looking at the snout, looking at the years, the little almond eyes, some of the clause. Very simple clause. And then down here, we started to render it a lot more. Looking at the interesting shell patterns, the this one is only showing the front of the shell. So it's gonna be more solidified because we know what? We can't see the accordion part of it or anything. But we can see the pattern on the top of this head, which helps that lock into this little ball later. Right? So it tucks its years, took sold a soft Harry parts in. And all you get is this hard outer outer shell also of note. Watch out for the fingernails. This is like also when you're drawing any type of dragon or reptile or anything like that. You know, these kind of claws are awesome. Just make sure you put the attention to detail into them. Okay? I do believe that is our armadillo. I know this was not an animal. You expected. And, uh, baby, not something you're probably gonna draw every day. But really, I think it's it's worth noting, Especially that armor roll up. Right. I think that's pretty damn awesome. So what I'm hoping is that I provided the worksheets for you. You can practice on the one. I'm gonna give you two sheets per per unit here. Right? One that shows my sketches over top of it all and stuff I got so you can kind of doodle around it and then one that's more blank and so you can try to recreate draw. So, you know, we've got the armadillo here. You can practice thes same things, right? And right in this spot, the lower something like that, right? I actually gave you a spot here. You can practice below. You could practice beside. You can practice these nails anywhere and stuff like that. Okay, practice off to the side. Okay. Now that I've said practice Herbal five times there, I'm going to say it one more time. Practice 9. Animals Sharks: Hey, guys, you had to know I was gonna play that intro eventually, right? Yeah, it's a classic, and I'm guessing you know what's coming up Next, we got a unit on how to draw sharks. Okay? Sharks are a little bit of a different beast. We know it. Um, we know, because all there in the water, right, And they're not just kind of part time in the water. Anything there? They're always there. So definitely they're gonna have different elements to them. You know, their their skeletons are gonna be different structures. Gonna be way different. Basically, everything's gonna be way different. So I drew out this this skeleton, and we're going to see how sharks move and function. Ah, lot different than all the land animals that we've covered so far. Okay, So what do we got here? Well, we've got a skull kind of. Ah, triangle thingy. Skull here. Right. Maybe I want to switch on my pencil here. Yeah, I kind of like this one. Better. Good enough. We've got a backbone. So far, so good. This could be almost any other animal. And we've got what could almost pass as a rib cage. It's not, but it's solid enough structure that we can kind of think of it that way. And then we've got what could pass as kind of shoulders on either side here. So let's look at this again. We've got this kind of rib cage here, right? We've got this skeleton or sorry. Head skeleton. Now, a rib cage with a bit of a shoulder. Yeah. Okay. Not bad. It's familiar, right? And then we've got what could be actually people, you know, people say this is the makings of a hand. So you see the different lines in and then you see the different fingers kind of things coming out. Right? So this is this will come out as a base of a hand comes out even more, and then we've got these fingers that splay out. I'm doing fingers in big air quotes here, so don't mind me. Okay? So as word looking at this shark form, we we see that. Okay. What? We've got this cone at the front. That's the head. We've got this kind of massive rib cage, and then we've got a spine that comes back into the fins. We've got the Finns back here Okay, Think about it. Whenever you have a huge, um, Mass like this, like this head, we're not gonna get a lot of wiggle room back and forth on this or anything, right? Same with his rib cage. We might get some. We might get some flexibility, but not much at all. So this this one will be very rigid. This one will have some flexibility. But an entire body like this long just supported by one column of bone actions, not bone. It's cartilage. But, you know, you're going to get a lot of flexibility. So you're gonna get a lot more movement that's gonna be ableto happen off of this, this back end and stuff than what we might expect if there is like, for example, when we're looking at something like a rhino, rhinoceros or something like that, right? Ah, lot of rigidity in the in the frame there. This one doesn't have that. It's got a lot of movement. So once again, we've got another section here. Finn comes up and we've got some smaller fins on here. I think we don't have to worry about too much. Right. But let's take a look if we could find this in the shark. Here. We've got this kind of conehead. I like that. We've got a skeleton that's coming back to the base of the tail. Write our story up a backbone. We've got a bit of a mass of where we can imagine rib cages. Like I said, it's not an actual rib cage, but it works that way. In some ways, we've got the shoulder joints coming out splaying like a hand coming out, displaying like a hand. Okay, um, and we've got this back, Finn. That's splaying out, huh? And so this is actually pretty easy so far, You know, I'm liking it. The you can see that the eye line is kind of almost like I feel like I'm drawn some kind of rocket here or something. We got the tip of the cone, and this would be about where the eye line is, right? We see the gills that happened after that. But that's when we'll get into a few more details. So what I want you to do as practiced this basic backbone and structure flay little hands out and then see if you can get some some type of movement off of it now, when you could also do is just moving around a little bit more. We can practice it going up a little bit and then coming up that for we got our structure here and we can play it out that way. And then what we would do is start to fill in the blanks of where everything goes right? But right now, we're just worried about the basic structure. Okay, lets see if we can go down a little bit and we're gonna flow into mawr of the basic structure from different angles. Now, like I said, we had to this conehead. Not the siren. A live version, but shark version. Imagine this is the tip of the cone. If we start to pivot this cone right, it's gonna look a certain way. Imagine it's coming along this way, right? As until finally, it's looking straight at us, and we have something along those lines in camp. So right now you can imagine that this cone is probably something along here. This is the front, and it's coming back this way. Then we've got the mass of the ribs behind, maybe even a little bit bigger and what could be thought of as a shoulder joint the hand. And then I don't mind if I use kind of human terms. I'm kinda helping people so that they can get familiar with it. Right. Um, and then obviously from will go from the base of the skull, which is back here. It's gonna come back here into the fin. That that rear fin right? Let's see if we can find it here. This shark. Uh, if anything, it's nose is a bit stumpy. That's okay. We're gonna use our fin out here or rather, a cone. Come this way. See? And it's OK. You know, you're gonna get different shark species where, um, you know, certain parts will come out on the tip here and everything. We're just going to use this basic cone toe plot things in, and then go from there. Interesting how the mouth is right following along the bottom here and see how the mouth I'm making all my sharks happy here. Okay, so we're gonna follow this. I wouldn't even mind doing the spine all the way from the front, right? All the way from this tip going across going over top So if anything, it can come like this and come up from here from the tip of the nose. I think that's good practice, actually. Let's do that from the tip of the nose. It works back to here. So we've got the rib cage here with the two kind of semi shoulder joints into the kind of hands and then splay into the fins. And of course, this back Finn, back here. Let's take a look at this next one. We're gonna have our are circular easy to make a cone. This shark, though, has a bit of ah, blunter nose. So it cuts off. But from the tip of the cone weaken, bring it all the way back. This spinal column goes back to here. We can see how this plays out here. Then we've got a rib cage, the big mass there with the two pectoral joints, and it's plays out from their splay Zo From there. When we practice this down below, I'm hoping that you're practicing along with me that, you know, with sharks, they're kind of always in motion. So we're not really were not so worried about the motion said segment of this unit more So getting this this main part down of the structure because we need it. Okay, so we know if we draw this cone and here's depending on, you know, the circumference, whether I'm gonna line it is his head going down. His head is actually going down, but the body is kind of parking over top. It's coming. Coming this way. Right? Here's the fin. There's a mass behind very large mass with the pectoral joints about to here. And then we can add the eye on this side and probably it's over on this other side. We can't see it. And then we've got a mouth. Well, I know what my shorts look happy. Jeez, I think that's kind of awesome. Awesome and scary at the same time. It's cool. Don't worry. The shark's gonna get scary enough soon enough. Okay? So when I'm drawing a cone, what I like to do is to kind of draw the base of the cone and then go up from there. You know, add had the top of the corn from there. Here's the bottom of it. This one is going to come down. I'm even gonna bend it a little bit more in this one. Uh, all had the big mass of the of. Like I said, uh, mass in the middle of the chest, their pectoral sections into the fins. Okay, there is a little bit unhappy. I finally made enough happy shark. Um, I can come in at the fin a little bit. His eyes gonna be right about here. And I can cut this off if I want. Right. See how this this other the shark were studying, actually has a bit of ah, cut off snout, right camp that I can fill in following this. The body mass following it down to the tail. Nice and sweeping, following it on top and comes down here to. And this is when I can start to add in a little bit of fins. Right? Come something like that. Cool. Okay, let's see the next one. Once again, I'm gonna draw the base of my cone. I'm going to draw the point of my cone out here. Bring it in, bring it in. So really simple cone. And then from here, I'll draw this line. That is gonna be the eye line and maybe the mouth underneath this shark, though. He's got a bit of ah, shorter snow, too. It's been cut off just slightly. You can see No, actually, around this way a little bit. The nostrils air up here. And then as I follow this back, I'm gonna bring it on down toe this section here. Okay, Uh, I want to add in the large mass and use that as a reference point for the two pectoral joints. Right? Okay. And then we're gonna use that mass as it comes in. Everything kind of bends around and heads down towards this tale. Right? And on top, the distinctive dorsal fin. Cool. I like it. Yeah, that's we get some form going on here. Um, this is where it's gonna get a little scarier when we start to get into dentistry. You know, previously, uh, like I said, we were using the cone type of thing, but that cone kind of opens up and this is what it opens up to. And this is really important. Whenever we're talking about teeth, we've kind of covered it a little bit of few other units. I want to talk about this for a moment here. I think it's important imagine if you had, like, the lid of a can. Just sitting here, right, Kim? And you had another lid of a can sitting under it a little bit lower, right? We're looking down at it because we can see the top of this lid. Right? So we're looking down at right now. So from the front, if these were teeth really ugly, bad, boring teeth room, we would see the front of these teeth, and we would see the front of these teeth. But we would also see some of these teeth going back doesn't make sense. So, you know, maybe the canine would be here, depending on the animal, these would be the incisors. And then we'd see the moulder start to go back. So as we're looking down at this mouth, whatever beast this is, or whatever person this is, their tilted their head down a little bit, and we're looking down into it. Okay, if we were doing cut it in half and, um, one can was partially open this way, and the other can was partially opened this way. Then we would see something along this. Like I said, we could put the little canines in here somewhere or whatever, right? And then we would see the molars heading back the top of them and would see the top of these heading back as well to prime. Does that make sense? So now let's take a look at this shark When a shark's mouth is closed, we're gonna have all these jagged teeth closed like this interlocking right there. There's many rows of them. They're nasty looking, but this is how they're gonna look crap when the jaw opens up like this. This is actually the kind of horizon line that the perspective line that we're looking at, we can see looking up at the top and we can see looking down at the bottom. Okay, so we're going to see rows of teeth this way, and this is gonna be the bottom of our can type of thing, right? That we did earlier and here is gonna be the top so we can see a lot more going on looking . Add it. Because while sharks are kind of special in that, how much they can open up their mouths, Right. So we're gonna do the same thing on here. Imagine this is opening this way, right? And then imagine that it has a flat ridge inside inside of this. If I was to draw it like this would be a can type of thing, right? And then this is where we're gonna place all the teeth on this ridge, right? All the teeth go into these gums and there's secondary role of teeth. We can see there's a front row in a second role behind here. So sharks air wickedly awesome in that way that you could do that next one on the bottom. Here, we're gonna have kind of a can with a lid. Right? And imagine this has some depth to it, or something like that. And then on this lid are on this rim. We're gonna add whatever teeth coming this way. Teeth coming this way, coming out, just basically the thing of nightmares. I had a second row inside. This is crazy. Yeah, I don't want to get bit by one of these things, you know, in a second row inside, right? The main thing I wanted to show you here with looking at the mouth, though, is how it will look differently or how to look different depending on whether it's open closed, obviously, but also the perspective of the viewer. How are we looking into the mouth? If we come down here, we can see. Um, it's open just a little bit, right, And we can see the rows of teeth coming here, but we can't see what's going on up here. This is all covered, and it doesn't have this big, gaping mall that's going on here, so we can only see a little bit. So probably the horizon line is somewhere around here. So we're looking straight at these teeth, if that makes sense. But we've got a little bit of we're looking down, and so we get a little bit of depth looking at these teeth here. Come. So this is a little bit of a dentistry lesson, but I think it's important understanding the perspective of Howard looking at teeth. Right. So imagine right now we this row is here, and we were looking at semi human mouth. I don't know whatever incisors molars start to go back. But the one down here, we're starting to see more depth starting to go back from camp now on sharks. That death doesn't translate into seeing more molders just translates into seeing rows upon rows of death, if that makes sense, right. But I hope this makes sense here that our perspective, our horizon line, our viewpoint is right here. So anything below that, we're gonna be looking down slightly at and get a more in depth of roll on it. And here we go right here. You know, it's hard because whenever somebody takes a picture of a shark breaching the water like this, what they want to do is cover everything. You know, they want to get the top row of teeth, the bottom row teeth. Looks like you're about to fall into the center, right? They wanted to be a scary as possible, and they're achieving it so good for them. But for our drawing lesson, it doesn't help as much, right? The only thing the reason I include this is because I wanted you to see all these nasty gums. Usually when we when we look at, um, an animal, it's got a tooth, and then it will have an insertion. You know, an assertion point coming out of the gum and it'll go something like this and you'll see the nice healthy gums that are are kind of locking it in place and everything. This is just a millennia of nastiness that has evolved around the shark toe. Hold these teeth in and they actually fall out and they get you know, that people are finding them in and what wherever and stuff I get. And then we grown. They got so many rows of teeth, they don't care if they lose a little bit. Okay, so it's not gonna be your traditional, um, nice looking row of teeth with healthy gums. This is the type of gum your dentist warned you about. Okay, we're gonna come back up here because we're going to do just a little bit of detail ing. There's some things that I want to point out that I think her kind of important Do we want to do it on this guy? Yeah. Might as well tuned on this guy. Um, some things that I think are important are the eyes. Like I said, you can plot them along that line, but they also have this kind of almost cat side type of feeling came so you can put a little bit of of ah Rim to it. There you can put the nostrils are on either side. So this one's here. It comes along here. You also notice that Thea Gilles, follow this. This center line that we have going down the physique room, The mouth comes here. The nose, the nose will did depend on the type of shark. A lot. This can come here. Um, the underbelly of the shark is white. Up top is a bit darker. The Finn will change again, depending on the type of shark. Some of them have clips to them. Some of them are quite high. It really depends The these pectoral fins, though I wanted to show they have a bit of Ah, here's the Here's where they're coming out of the shoulder right on here. But underneath they have this kind of hook and then come out so they imagine they don't. They don't come out like straight like this. They kind of come from this joint. They hook out and then they come out. They hook out. So this hook is covered, and then it comes out and covers the main part of what we kind of described his fingers splaying out. Think about the shark is. You want to keep it nice and smooth. It's got these double pectoral fins up here. Another set back. Do we want to see how far back towards the end here? I mean, it's got this double setback here and then on the top and bottom there. So these ones are a little bit off to the side. You can see how it splits underneath the belly. Here. Right. We'll go back to this guy. These ones are off to the side, and then we're gonna have another one That's is right under here and then the mass for this big rear fin here. Okay, lets see if we can do it on this one and see if it makes sense. Right. We have the gills just after the base of the skull camp. We have the's pectoral fins coming out. But remember, they kind of come out of here, come out and then come this way. Okay? The belly coming underneath. Nice and smooth. Up top the I m e. Main price that it can be kind of a cat's. I can have a little bit of a rim to it as well. This other Finn we can bring it back here. We want to keep roughly the white kind of follows this part of the belly. Come back here. The dorsal fin is up. And like I said that the sizing and shape depends a lot on the type of shark comes back here you're gonna find, like, after this joint that we've kind of roughed in. There's a little bit of, ah, nudge there and nub that comes and helps support this rear fin, right? Cool. And then this back line comes along here. Yeah, I think that's looking pretty sharp. Shark shark. That's a bad dad joke. Come. Yeah, I would say with sharks. One of the key things are the structure getting that cone down. Then, um, choosing what type of shark you're gonna be drawing, right? Is it gonna be a hammerhead? Is it gonna be a great white? And then once you start to choose that, then you decide. Ok, well, remember how this comes up, then you decide what's the form of it? You know? What am I going to do for the form, right? Like what type of body isn't gonna be a massive shark? Is it gonna be a cute little nurse shark or something. Here we go. And remember the gills or just after here. But I forgot a few things. Would it? I forget. I forgot these top and bottom fins back here, and I forgot the these guys one on each side. There we go. Yeah, that's looking pretty cool, right? So what I would do if I were you practicing is draw a cone or even draw line a student blue draw line. Figure your cone which way you want it to go type of thing, right? And then start to fill everything in, start to fill in where you think the parts would go and stuff. Right? Okay, so we studied the structure of the shark, the skeleton structure. Right. Then we moved on to working through the different perspectives of how the shark might look in motion and listen. Like I said, the sharks are always in motion, right? So no matter how we're doing it, it's just basically turning the shark around, bending it a little bit, twisting it slightly and stuff and seeing how it looks right. And we practiced those. And then we went into a massive dental unit talking about how mouths can look open and closed And how the basically the shark is like its mouth is Ah, murder death zone. Right Then we went in and rendering a little bit focusing on some key points placement of the eyes, the gills and all the supporting fins and stuff. Right? So I hope this lesson was good for you. And I hope on the separate worksheets. You're drawing up a bunch of sharks right now. You know, take a look on the Internet, see if you need a few references for the different types of sharks. Whether, like I said, great white hammerheads, tiger, whatever it is. And I bet you you're gonna find some inspiration imposes there too. Okay, guys, keep practicing. Baby. Baby, baby. Mommy shocked it. Dude, it didn't. Mommy Shocked, Dude, It didn't. Mommy shocked it. Dude, it didn't. Mommy shakes 10. Animals Monkey: Hey, what's up, guys? Ed here with another how to draw animals Video for you. Um, are you ready for this one? Are you done monkeying around? Okay, that's my sad dad joke of the day. And, yes, we're doing monkeys who write Monkeys are kind of awesome. I love drawn monkeys because kind of like the ultimate human. I know that sounds weird because, you know, obviously many people view them as less evolved and stuff like that, but I think they're awesome. Just like like apes superstrong and, uh, you know, monkeys get to jump around, swing from trees. Kind of like what everybody wants to do as a kid. Right? So our monkeys the perfect kid? I kind of think so, Uh, except for the whole poop throwing thing. Right. Okay, so what? We're gonna start with structure? Oh, I should add a sound effect of that structure are No, that sounds horrible. Anyways. Okay, so we're gonna do structure and very similar to a lot of mammals. Especially like as I mentioned already, the human right. Okay, so we've got this rib cage. We've got the skull. We've got the pelvis hip area, right, Three major bodies to work with. Here, um, the back bone spine starts inside the head comes along back into the pelvis, right. And then on some monkeys, we carry on into a tail. Not every every species or subspecies has them. That's cool for this skeleton. I included some of them cut off and stuff like that. Particularly the ones we're gonna look at on this page have prehistory. I'll, um, tales that. They also have a bit of grabbing ability, right? So, yeah, it's kind of awesome, right? Basically five limbs. Okay, Um, a couple things of note in the structure. One thing that I like is on the head. We've got another section for the muzzle now again, different monkeys. You'll see this extended slightly, and stuff will go through the different. A few different examples when we start to get into detail ing and stuff I get. But just something to note that you know, it's nice and simple. We've got the circumference line of the skull here and then a little bit on the front here . Kim, the rib cage actually kind of extends here, and we've got the shoulders attached to the scapula. Very free floating really easy to move from down into what would be an elbow joint down into similar to arrest. Right? Obviously, hands are much bigger. Then if we're comparing it to a human or something like that, uh, humans. Usually the hands ban is maybe about 50 to 60% of their head, depending how fat of ahead he got. Right. And I know what you're doing right now. You're lifting your hand up, and you're like, how fat is my head and checking? All right. It's OK. I did the same thing. Uh, but monkeys, you know, look at this hand span. It's basically same size. Is there an organ? Right? Um also from the hip joint out to the knee down to what would be an ankle. But it's for its formatted. Formulated a little bit different the ankle joint raid, because once again, we've got these massive, massive feet second hands on. They function kind of that way. Maura's a hand, um, and that's our structure. So if we're to draw it again, right, we could basically add in the three major points coming here at in a cool tale, right? Uh, put the hip, but the shoulder in. Let's see, Maybe I put some massive hands down here and some massive feet, and it just goes simply like this and then Mosul. And there's are a cute little monkey structure. Okay, so I hope you're practicing along on the pdf or if you're working digitally, just working on whatever image you got in front of you. Okay, let's back out a little bit and see if we could find the structure here. Pelvis is pretty easy. Rib cage Looks pretty easy. Shoulder here, shoulders actually back here this second shoulder. Ah, whenever using references, this is how you use a reference and don't abuse a reference. Right? You're you're hunting. You're hunting for these points to see if you could find it. So here's the backbone coming here, and it comes into the base of the skull. And then that second, uh, kind of muzzle circle that I like to add in right back to the elbow, down to the elbow, down to the wrist, and this extended hand down to the wrist and the extended hand. Right. And yeah, look at the size. Basically, about that size, um, hip joint would be back here down to the knee down to the ankle, down to the knee, down to that back ankle. And then we've got big extended feet there, right? And this comes up and crawls around. Cool. One thing of note is, yeah, there is. When it comes to the hand, they're very human. I think I'll use this one as an example. Um, you're gonna have this kind of section here that's basically, like the back of your hand, right? And obviously the opposite is the palm, and this is all kind of connected, right? It's connected through connective tissue and everything and skin. Now, when it comes out beyond here into the knuckles uh, those of the individual digits, right? Okay. And there's actually so there's four here. And then there's one hidden that fifth, Um, like one. Ah, monkeys. Thumbs are usually longer than than their human counterparts. Look at how this is, actually somehow for its extended here. So this is Yeah, and it's Wow, that's crazy. Long time on the head. And the feet also have something similar. Usually a base of something like this. And then you'll see coming out, they what would be the toes and what would be the big toe, but in actuality, it's more like a ah usable thumb. So that's the structure. Let's see if we can find it on these monkeys. But we're gonna find it from a little bit different views here. Right? Here's the head. Here's that muzzle camp. Now where's the shoulder? While I know this shoulder looks to be about here and looks to be about here, Right, So the rib cage is there were looking straight at it. This comes back to the elbow, comes down to the wrist and then the overlapping hand, right, This comes back to the elbow back there to the wrist and then the overlapping hand. Not bad, not bad. We know that the backbone is gonna be coming through. It's kind of hard to see, and then it's gonna drop down into the tail here. So the hips gonna be back in here. The bonus here, here. This will probably come up to a knee somewhere here and then drop down to the ankle. And then that foot This will come up to this knee. There's a there's a lot of foreshortening going on here, right? Come down to the ankle and then this foot is actually flopping over and kind of under there . And then we've got the eye line. That's her conference there. Center line. Right? Do we want to try to draw it? Let's see. I would like you to practice along with me. Here will draw the muzzle. Right. Draw this circumference center line here. The island. Right. We're gonna draw the rib cage basically in behind because we're looking at almost a top down view here because it's leaning in towards us. We're gonna put one shoulder here, one shoulder here. This one will come back to the elbow and then come forward to the hand when I draw post in it. And then the hand is overlapping. Okay, this one will come back to an elbow, come forward to a hand, toe a wrist, and then this will be overlapping. Then we've got the hip behind. I'm gonna place my hips a little bit different. Not so different, but just a little bit. Here's the hip joint. Sorry. I put it a little bit high there, actually, Here's the hip joint. It's gonna come. I'm gonna change it just a little bit. Just for fun. Gonna come out to here, come down and then overlap, and this one's gonna do the same thing. This one's gonna come up, come down and then overlap. And then I know that this will follow the circumference to where the spine comes, the spinal overlap this and then I'm gonna loop the spine up towards another thing. And there's my monkey kind of awesome, right? Right on. This one's a little gonna be easier because, you know the bodies in an easier position for us to look at here is the pelvis, the rump. Here's the torso or rather the rib cage, the head with the muzzle. You know, the center lines about here and about here. And we got an eye line here. Um, so where's the shoulders? I like to draw through for the joints. Here's one shoulder and looks like we're looking at it almost exactly from the side. So the other shoulder might be perfectly in line with this, right? This one comes down to an elbow, here comes forward and then we've got the hand. This one looks like it comes back to an elbow. Somewhere around here comes down, and then we've got a hand, Kim and this hip also looks like we're looking at it pretty much from ST straight on. Right. So this will come forward, Tony, come down to the ankle, and then the foot is hanging over right? Where is this other one? Interesting. Here's the foot that's almost hidden from us, right? And it's looping under here. Okay, So how would it get there? Have it starting from here. It has to get to here somewhere. Right? So the knee joint is gonna be about halfway somewhere. You gonna kind of imagine where it is? We don't know where it is. It could be off to the side here and down. You know, it could kind of be spreading it out. He could be following a similar pattern of what he's doing with this leg. It's kind of up to our imagination, but look at how this foot is positioned. It's flat on to us. So that might mean this is going away slightly and coming back, if that makes sense, okay. And then we've got the from the base of the skull. It comes, the spine comes down, actually comes comes over here. And this is how you get the flow of the tail right following that. That spine Kim. So I'm gonna rough it in here for you. We'll take this and and what I want you to try to do is to see if if you can fill in some of these blanks just from where I'm position, what I like to do is, uh, often plot out the limbs where I want them to be. Or rather Sorry, plot out the hands and stuff. I'm gonna put this hand down here for you, and this other one is gonna be here. Okay, Let's see if you can connect the dots. Basically, you know, adding in the joints, here's the shoulder joint and draw through. Right. So that's what I would like you to do. One. Your sheet is to use this this blue sketch and draw through it. If you I would recommend doing it over top of mine first and then doing it on your own, right? Okay, not bad. And this is partly how monkeys move, right? You know, climbing through the trees. So you're gonna get a lot of a lot of grip, work and stuff. I get right and more grip work focusing on the swing. I like this. I like this movement. He's about to let loose, Right, So I'm gonna grip it in here is one. Here's his tail. Actually, this is actually the tail coming up this way and then looping up here somewhere, lost in the foliage a little bit at the other leg. Maybe together. Okay, So where's the hip? Where's the torso or rather, the Yeah, torso. Enough. The rib cage. Right. We came back here and up. Come over here and up. Right. Up to the words of wrist. We've got the head. Now what I would like to do. Oh, sorry. Gonna do the hip here to this will come down and on the other side here, this will come down. Okay. Now, what if we were to swing this guy? How would we do that? You know what's gonna be the next motion? What we're gonna do is, let's say, for example, we'll draw this hand will draw what should be this torso, but it's moving forward just a little bit. Right. Okay, so he's coming under it more, and then this hand is gonna be released, and I think it's gonna probably swing down a little bit, right, so we can have something along this line. Okay? The monkey might start looking what direction he's going. Okay, Right now it's here. But now the circumference is gonna go along that way, right? So he's gonna start swinging down. His backbone is going to start swinging this way. And why don't we put the feet somewhere out here and he starts moving in this direction and his tail let loose. So following this backbone, his tail released. Okay, so that's how you get start to get the motion aspect into it, right? And he's gonna swing up and grab, grab the next branch or limb or whatever it is with with his left hand. Another thing that they're doing is no little him. Third, while no hands or feet just gripping with the tail here, which is totally awesome, right? I love this. So let's follow. This is the backbone into the skull. When there's the muzzle, right, here's the rib cage. Here's the hip. Now where's the insertion for the hip? We're looking at this pretty much straight on, so it's gonna come back to the elbow, to the wrist and into the hands, right? Same on the other side. Wrist into the hands, ankle, ankle and then feet. Cool. Jeez. Okay, so what if he wants to lift himself up? How do we figure he's gonna get it? Get himself back up there? Right? What's gonna be the next stage of this motion? He's got himself wrapped. But we know that there's some muscle details. Who's gonna kind of lift himself this way? Maybe he's going to swing. So I say he's going to start toe. Look up. He's going to start to want to move up this way, right? As he's coming up this way so we can start to do that. Well plotted in Here's the rib cage. And maybe these these limbs are going to start to swing forward. So they're gonna start pushing forward a little bit. They're going to start pushing forward and, you know, same with these ones. They're going to start reaching, reaching forward someone. Right? Okay, so he's gonna maybe start swinging himself up, moving this way to try to grab his his arms up onto the onto this limb onto this branch rape. Cool. So that's all monkeys with awesome tales get around. I wish I had a tail. Okay, Now let's talk about details a little bit, not tales, details. Talk about how we've got some variation of faces here and stuff. Ah, we can see really easy. Most of them can follow this kind of simplified muzzle approach. Right? But some of them not so much, we've got this and we've got this huge drop down, right? Okay, so the muzzle can get bigger and we get kind of ridiculous, right? This is actually a muscle down here. Whatever this guy's got growing on his face, though, is pretty amazing. Oh, well, this one's cute. So look at the difference in sizing here. I'm going through this just roughing it really quick just to kind of show you some. And this was their guy that we worked on earlier. Some simple variations. Now, some key things when working on details with monkeys really, honestly, is the variation. Look at the types. OK, we've got this. You can work this this muzzle area that works, right? But this guy's got awesome facial hair going on here, right? It's coming out everywhere. So look at that. So you gotta figure this I don't know his name, but he's gotta be bearded. Something, right? This is pretty cool looking income. Usually with monkeys. You get this kind of outline around the face of no hair. It can change depending on the species or subspecies, right? But yeah, there's often ah, part that has no hair like apes room. We can use this as as a marker for, um, Where to plot the guy's if we're going to do, you know, follow a simple, simple line going across, right? Look at these contour lines. They worked on our human faces, the work on these guys to come, And as we start to add in, we're gonna get a lot of variation here. So that's why I put a lot of different faces here for you. Okay? This guy looks surprised. Kind of happy to see us. I don't know. Um, you want to put a lot of emotion in the face, watch the hair flow, you know, it's directional. Come. And if we want to, we can color this. Holden. Now, if you're gonna be rendering any type of eyes like this or anything like that, all right? What you can do what helps is, um, adding in a reflection, You know where the light would hit one side or something. Right. Cool. Okay, next one, Uh, how is this guy? Different. He's got more whiskers. So we still got this muscle here. Still the muscle, but he's got whiskers all up in his grill here, even up towards his eye. They're coming so close in and then sprouting off from these central points and stuff. Room still has, You know, we can start the base of the eye here, Come in. If you're taking my human anatomy course, you recognize a lot of this for I designs, right? If you haven't, then you should. It's actually pretty cool. Course, it's doing really well, but let's focus on the monkeys here. Okay, Um, focusing on the direction of the hair. I wouldn't necessarily render every fiber of hair coming out. You know, it depends on the style you're wanting and stuff like that. But sometimes just getting the nice directional flow to the hair is is what's important. Shorter hair is coming off the bristles around the mouth. He's actually got a little bit of fiber small little hairs around his, uh, his nose here, right? And then they start to come down and hang mawr. Yeah, this guy's pretty cool looking. Okay, Next one, Mr Long Face. Why the long face? Hot cheese? I think I broke my only one dad joke per per unit. Lesson. This one's interesting, though. He's got more of a brow here, right? So we can still do the eye line, but everything kind of drops down on him. He's got this huge drop of off a muzzle. Okay, so we can plot in the center of the eyes here. It's got a lot of human emotion in his eyes, right? That's the thing about monkeys. Your you'll see that lot come. He's got a bridge to his knows he's got a big brow, so but the brow was more of a unibrow. If anything in its muscularity, it's got some lines in here of the bridge to the nose. Uh, it's a much harder bridge than a lot of monkeys. Not much of a cheekbone, though. It drops straight down, and then he gives them some funny type of mustache here for the top upper lip. Lower lip comes down and look at these incisors very humanlike right? And then the canines that are flowing off of there, down into lip and then hair that's happening down there. Interesting. And what's the directional flow of hair? He's got these cute little years sticking out off the hair. You can have a few hairs coming off of it and stuff. No doubt he's got hair coming up here off off screen and a little bit. We can even give him a like a row hawk or something. Right? Here we go. Here's that other here coming off the other side. Directional hair happening here. And make sure the hair comes off of his chin on either side. And then he couple whiskers coming out. Cool couple contour lines of the face here. Very interesting looking face, but nowhere near is interesting. Is this dude Okay, we know that we can follow this line for the eyes, right? This guy's looking up. He's got a few things going on, but then he's got this huge snow Osh Wow! And the look at the pores on it. That's kind of awesome looking. How much detail is in this picture? His mouth is underneath it here. Let's face, you know, there's this section that doesn't have any hair on it around the eyes, right? And then his brow actually has almost a rim, a hair on it, under his mouth here. And then he's got this little beard going on and that the year is buried and has wispy hair over top of it. So just look at the flow of the hair. Same as you would a person, right? You don't have to draw every strand. Come, the boy. This nose. That's pretty awesome. Looking cool. Oh, you know, he has to be extra cute cause he's sticking out his tongue. Tiny little nose on this guy. Look at the variations from one monkey to the next. Right. Huge massive buys. Looks like something straight out of ah, anime or something, right? Corny alien workshop. This is cool looking. This little guy is awesome. He's kind of ugly, but somehow kind of cute. Okay, so we've still got the muscle here, and we've still got this outline off of face where there's generally not a lot of hair, right? And then we've got a few little whiskers coming out of him. There really faint. I know. If you could seem too much office chin a little bit, but then the hair starts, the hair starts up right, the hair starts into different parts of his head here, starts flowing, and then it flows out into these almost elvish looking years. These air Awesome looking. The reason I'm showing you all this, uh and your I'm letting you sketch along with me here is because I want you to see how much real variety you can have with monkeys and stuff, right? It can go from this huge nose to, like a kind of the traditional monkey that we would expect along the muzzle here. Nos um to that alien guy. We just did. Now, this is interesting. This guy actually has this outline that we would normally say has zero or very little hair is covered in hair. This is actually this White is all Harry and stuff, right? His eyes are very close paced are placed together the discovery or the different coloration of the muzzle right into a fuzzy little here and a fuzzy little head. But it's all short cropped, right? It's just If I was to render this, it would be like directional patterns of small dots or something like that. Hair coming off of his ears. A little bit of a face down here. Yeah, cool looking. And once again, like I said, if you want a color in the eyes, just make sure when you're doing that than you're giving a little bit of reflective light. It adds some realism and some depth to it. Here we go. That's a pretty Motley Crue there, right? Yeah. Wow, that's pretty cool. Okay, so let's take a quick review here. We talked about the structure of monkeys. Some have tails, some don't. We emphasized or worked on the ones that do have tails. Previous tattletales. We also looked at the proportions, the proportions of the hands being at least the size of their head, if not bigger, right? Um, otherwise, though, really similar structures to a human Really familiar to us, right? We went down and worked on it. Um, not just their movement, but how they might look from various directions, whether it's head on, whether it's the side and plotting out where their limbs go, especially when it comes to movement. Right? Um, how they might grip how they might swing. They're not the greatest upright, upright walkers in the world, obviously, but they're built to be in the trees, right? And so that's where you're gonna be drawing a lot of them. And then we went down to sorry. We went down two different types of, uh, faces and really, you know, it's so ridiculous. The variations and stuff like that and me drawing it out, uh, was just basically to show you how many variations that we can have a night. I bet you there's 100 more. Same with the monkey body types. Ones without tails, ones with super long tails, ones with long snouts. So what I want you to do is try to draw a few and make sure you draw them from different angles, draw them in different poses. Imagine them hanging from ah branch like this. But you're looking up at them. What would it look like? Right. Imagine if you can try to do something like this a bit of ah, almost like an animation cel. Just with these simple Don't render it out, don't draw all the details. And but just with these simple basic skeletons and imagine how would look swinging, you'd probably have to draw about five stages of the swing, right to get from point A to point B and where the legs would go, how the arms would swing and release and all that kind of stuff. Right? I think that's awesome. Homework for you to do for the monkey unit. Draw the swing. Okay, guys, you got your assignment. Have fun. Whoa! 11. Animals Bats: Hey, what's up, guys? At here with another unit for you in this video. We're gonna cover bats. Yeah, new. Not Batman. Sorry to disappoint theatrical bats. The cool ones. Right? And that's what we're going for here. Um, listen, this I love these things. These these bats are totally awesome. I wish I could have one as a pet. Uh, and there's one reason I freakin hate mosquitoes. So, jeez, if I could get a bat to kill the bugs around me, I'd be one happy camper. Okay, so where do we normally start off? Starting with structure. Bats have a very similar structure to like, for example, if we saw a dude standing here, right? But there's some key differences that I want to point out. Um, one the hip structure. Totally tiny, very tiny pelvis. Right. Which leads off to, you know, the limbs from there. The other thing is, the rib cage is actually quite small. And you can tell in this picture of maybe can a little bit from my drawing, but the ribs air quite free, floating and flexible. They're not hard and as fixed as a lot of the other mammals. We've gone over and stuff right. The scapula leads out and the shoulder joint is actually quite far away from the from the rib cage base itself. So that shows how much flexibility is in this in this animal, comes down to the elbow and then comes up to what could be a wrist, a hand. If you want to think of a dad way and that's actually Bill, the way I approach bats is I think of this joint is being an arm joint is. But then the wings air Leto by the hand and the fingers that air splayed out. Some fingers are longer than others. Same with humans, but just ah, a little bit more exaggerated. We're gonna go down to the legs here, the knees, and then down to the ankle. You're gonna see they've got five fingers kind of splayed out, and then a rear little. I don't know if I call it a finger appendage. Let's go with that. Okay? And then we've got the back bone and up into kind of ah, pointy scone cylinder Head. A little bit, right. We can get this sent center lines going on here. Circumference lines. OK, let's see if we can find it on our real life bat, There's my bad impersonation. Small rib cage. Don't make it big, but have the shoulders free floating coming out of it. That's how I would draw it. Okay, uh, with the free floating scapula rhyme, the head is actually, whether you want to draw it is a muzzle or whether you want to draw it is a cone leading back. I like the corn approach personally, but and this actual depend a little bit on what type of bat were drawing here. Right, But for this guy, this works Small little pelvis coming out to the knees and the feet comes out to the hand. And this one guy actually looks like he's got a big hand here. I love it. This actually works really well. So he's got a little thumb. Imagine this is the thumb, and this could be the pinky finger. Next. Next next type of thing. Right? This one comes down, comes out, comes out, comes up right, cool. And then, of course, what happens is this The wing kind of wedding, right? Flows from one to the next, down to the attachment of the ankle kind of thing over. This guy has a little bit of, ah, tail going onto his backbone. Back to the finger to the next finger to the next finger and up. Right. Do we want to try to draw this? Let's do it. Okay, here's the head. When we draw backbone going down. Here's the cone, Right. We've got the little rib cage. Basically looks almost the same. Size is his head and even smaller pelvis room. This will come down to the knees, Come down to the feet. We'll have the feet come off. This guy's feet are going back. Hard is gonna go straight. Um, coming up into the shoulder, joint out to the elbow. The elbow is not actually that far right. It's not the huge section of the Army. It's this next section. What would be our forearm out to the hand? Right. And then we've got a thumb, which is kind of going nowhere. Right? Then we've got fingers. One to three, four. Let's do it again. One. That's right. One to three four. Some of these will be longer than others, depending on the type of bat. Right. Um, you'll see up here this second and 3rd 1 are quite long compared to these ones. So these when we extend it even a little bit and see how that impacts things Cool. And then what do we do? We could connect the ankle to this 1st 1 to the next one to the next one comes up and again on the other side. Here, King, go straight through from the ankle to this to this and up. And there's our bat, right. Put a little couple of years on him, and we got cute little structure. Yeah, that works with the scapula here. Okay, so let's see if we can look at him in in flight, in motion. Um, where we're going? Here. Here we go. Man. That is cool, right? I love it. I love it. I think the these air one of the coolest animals around we can follow the backbone down to here. Small little pelvis comes down to the knee, out to the foot. This one comes down to the knee, out to the foot. Shoulder blades. Here. The shoulder blade is here. Okay, this comes up to the head. And like I said, we can either use a cone or the muzzle A pro trade the extended muzzle. Um, Now, let's see where we're gonna look. Sorry. This shoulder is actually back here. You can see it. Now. This comes back to this elbow. Comes back to this elbow, right? Cool. Okay, Now where's the hand? We know we've got the hand up here in the hand up here so we can connect and connect already. Look at the power that's going on in this flight, right? And then what's happening? We've got one splayed off of their one finger, one finger here and one finger here. Can you? Did you catch that? Right. So these connect here, this one connects over to here, loops this way, and then this one hooks in and goes down to the ankle. This goes into his little tail thinking, Okay. Where these. Oh, and sorry. Here's his little thumb. Here's a little thumb, and the thumb actually kind of helps from the hand. Depends. Sometimes it's attached here or not. Comes back into the shoulder joint back into the shoulder joint here. So where the fingers on this side? We can see one coming over here to coming down here and then the third is over here. So it kind of lines this way comes up and over this way a little tough. Do we want to try to redraw? Let's do it. Here's our little conehead. Right or torso? Our hips, His legs were going to be going back when we draw the feet in first, right. We can just connect, connect. Cool the two shoulder blades air up here. All right, is what I was gonna be here when I was gonna be here. It looks like a cute little mouse. OK, next point would be drawing the hands. I'm gonna move this down just cause it's not gonna fit on the paper the way I'd like it to . We're gonna draw one hand here, one hand here so I can connect and connect right now. Where these fingers the thumb is gonna come up. The thumb is gonna come up. Or while in this case, it was down. But do we want bring it down? Maybe. Yeah, let's bring both thumbs down. OK, so both thumbs air down. That means it's gonna come into come in this way. So he's starting to flap down, right? The next one. How many How many want our fingers? We have 123 Right. This one's the longest is gonna come down and in. Maybe I'll move this guy over just a little bit. I want to get this whole thing in here for us. There we go. Gonna work. Okay. This one's gonna come down and in, right. Next one's gonna come up this way, and next one's gonna follow it. Next one is gonna come Maybe this way, and next one's gonna follow it. Okay, so we know that this is gonna connect to the ankle to the ankle and way over to the ankle here. Right? Okay, This next one comes here and it comes up. This next one comes here out here and then this one comes in, but it's were drawing through, so we can't really see it. Yeah, those are some cool looking bats. Right? We've got the big flap of the wings. This one's coming down. The next one would be something, you know, with the wings coming down this way, right? Extending down underneath. Cool. Okay. Um, yeah. Actually, this one, he's not flying, but this kind of shows that extension underneath. Right? So Let's see if we can do this with that backbone. Here's a little, but here's a rib cage. Here's the head. Here's the cone. Right. Okay, Here's one shoulder. Here's the other shoulder. It's kind of extended here. Comes out to the elbow, comes out elbows. Probably somewhere around here, comes out to the hand, comes out to the hand, even. Just that just this point that we're at right now Pretty damn funky, right? You know this This section here from here to here, here to here. This is almost the length of the body. So you can think of. That's one way to measure. Bat is used the length of the forum as basically the length of the body and stuff. Okay. It's so long from from here to here. And then, of course, we've got hands going off of it, right? This measurement is basically the same as here to here. Yeah, that's cool. Okay, so how did these hands play out? We've got the little thumb coming in. This little thumb isn't really visible, so it's probably tucked in somewhere right now. Maybe along the side here or something. Right. Come next one comes out, huh? right. Actually, this one comes here, comes down. This one comes here, comes down. He's got more actually than the other guy. Yeah, he's got 123 and then four up top. 123 This four up. Maybe this is the thumb here, then slightly attached, right? And by that attachment means it's coming down toe where his ankles are. His hip is here, and then his knees air together and then his feet are together. Either one's hooked up here and the other one's invisible. But either way, that's where they go. So this on either side from this thumb, is gonna be coming on the other side and coming down to that ankle attachment there. Very cool looking cool right on. And let's see how we do it with the wings up just looking straight at us. We've got the cone right weaken. Focus on this way, Kim. Then we've got the little rib cage behind with the shoulder joints that's slightly elevated and extended, and then most likely, the hips even buried further back. Uh, with the legs coming out this way down to the knee, down to the feet and then the feet come down that a way. This guy's got a bit of a tail going on here. Extension of the torso, Kate. We come up to the elbow and then up to the hand from the hand, we can see one to three, but likely there's 1/4 finger that's either hidden or tucked, that type of thumb. Right. Okay. And we can see how the attachment here is very clear from the ankle up to this point, up to hear from the ankle up, up again and up again. That's pretty cool. Yeah, that definitely looks like a cool back coming at you. Right. Cool. This is where it gets a little funkier, though, trying to figure out how this guy is gonna be all wrapped up, and we can still find some of the markers and joints can. So let's see if we could track it down and see if we can find where that goes. We're back to kind of looking at structure just because this one's so so tough. Okay, so gonna do this little cone thing right for the eyes. Now, where's the body? If this we know that the hips gonna be somewhere around here, we know that the rib cage is gonna be somewhere around here. The rib cage is small, like you said about the size of the head. In many cases, right? We know that the shoulders are free floating. They come from here. Right? Okay, So what? He's likely got going on here. Easy's tucked his elbows in, and then it displays up here to the hand displays up here to the hand. And then what we can see from the hand is the extension down into what would be the fingers right? Wrapping himself all up in their camp, then from the hips down to the knees, down to the feet and ankles and hooked over cool. Once again, a funky looking back. Right? And then all the webbing of the wing is connecting to itself, and it's actually even wrapped up. You can see it kind of bundling up here, billowing up, coming, attaching to the ankles. Okay, so those air structures in a little bit of movement here. Now, let's work at some details. I think the one detail that I want to look at first is the cool wings. And this one has got maybe the best picture of it. So what? You can see Here it is. Yeah, we got these kind of appendage is going on or whatever the fingers and stuff, Right, Let's fade this a little bit. Here we go. That's better. Okay. And you can add almost knuckle joints to a lot of this and that'll give a nice kind of look to it all to make it a little bit more realistic as almost near the tip of each finger. That's where you're gonna connect from one to the next. Okay. The other thing is, even though there's a limb here, it's quite thin. Doesn't have a lot of meat to it. It's got meat in, um, in the torso. He's got a lot of meat when you look it. Actually, when you look at how beef he is compared to how slim that the bones are, bones are slim because he's flying right, got a state light, but he's got a lot of meat around the center here, but you'll notice it almost has a chicken leg type effect are around his upper legs and a little bit around the upper arms and stuff. But once it starts to get into the forms that long extended arm. It thins out considerably. So it just kind of here. You're gonna see a lot of mass coming out to this joint the elbow joint at first, right? And then it's going to thin out and look like strained tendons over top of overtop of boom . Right? Okay, So, like I said, we connect Connect, connect. The other thing that you can do is start to add veins. Depending on how you want to connect them all and stuff like that, you can have them random and have them patterned and stuff. Personally, I prefer random veins, depending on the lighting, you know, Can you see them because there's a back light of some kind. Usually you can see them from the the underside of the wing. The top side of the wing here has a bit of a thickness to it, and there's not as easily seen through okay, when we're rendering and drawing out the bat's body, basically kind of think of a rat or some type of mouse or something like that, Harry kind of cute except for the feet, the fingers that start to grab on. Here's the other one Okay, so you can think of a little flying mouse. That's probably the easiest way Teoh. Think of these bats and stuff from him. Let's see if we can go toe one that has a little bit better of, ah face so we can take a look at the bat face and what I'm gonna do, flip it just a little bit so we can look at a little bit easier here. Um, yeah. Is it a mouse? Kind of clothes? Kind of cute, right? It's got these cute little years. Okay? The thing about bats is depending on which bet you're talking about. Some of them are massive. The length of somebody's armed, their actual body and stuff I got right. Others are just tiny, tiny, tiny, like, really the size of a mouse. Okay, so take a look at which type about your wanting to draw and see if you can capture the likeness. Some of them have kind of, like big, horny noses, you know, they look rimmed and stuff I got with massive nostrils and ugly parts to the front of it and stuff. Others air. Kind of cute little, little fuzzy guys. Right? This guy's kind of cute. Yeah, he's cute. So I would keep him as he is. I might, for example, black and in his eyes and then put a little bit of, ah, reflection on it or something that works. Um, notice how we can't see the veins on on this section here. The, uh And that's because we can see a bit of the outline of the the finger joints and everything like that here. Right. But this is the outside of the, um of the wing. So we really can't see a lot going on. There's not a lot of details in this, right? So you don't have to do much if anything. Occasionally you'll see a little bit of ah, for pattern on the outside. Still especially coming close to the to the source, Like to the limb itself. Right. Um, what I would really emphasize you're doing is make sure you show kind of the bony structure off all of these joints that are coming out right. Give it a little bit of a structure to it, as if it were were a finger. As if you were drawing fingers, you know, have the bulge in the knuckle joint and stuff, and I think that will help Give it that. That feeling of what you're going for a little bit more. Right? Um, you know, look at the claws here. Right? As if I was drawing little little knuckles holding on. Come, um, down here. It's Lousteau. Usually we would connect connected the, uh, the wing down at the bottom here, some of the bats, because everything's kind of bundled up here. You're not getting a lot of details of what's going on, but a lot of the bats have very little legs. Don't fuzzy feet and stuff I got so you can add a little bit of fuzz in there. Looks kind of cool, right? Here we go. Come out here. And, of course, whenever you have, like, uh, any time, any type of fabric or fiber folded, you can show a few Ben's from pinch joints and everything right? And see if that works. And like any other little rodent type of guy, he's got little whiskers showing off here and stuff, right? Sometimes above the eye, a little bit. And there we go. Yeah, he looks pretty cool, right? It's flipping back. And let's see how he looks. Not bad. Yeah, I think he's cute looking. I like him. Um, a lot of most bats are herbivores. They eat what? Sorry. Omnivores. Rather, they eat anything from fruits to small insects. And, of course, we have the vampire bat. Right. So you're gonna notice that in the structure of the bat, uh, the mouth and everything you'll notice here in this skeleton, the teeth are quite pronounced. Right. Okay, So that will show basically what their main diet is. Let's see if we draw this guy. He's cute. All right. Okay. So we plot in the eyes. He's got these cute little bold years, like just showing the showing the texture of the skin, um, his mouth or a snow treasure. And then hair sometimes look, a little fox like And actually, you know, one of the most massive bats is the flying fox. Okay, So you'll recognize that name a little bit. There we go. Yeah, he looks pretty cool. Let's see what he looks like. Backed up. So yeah, What I would advise is do this exact same thing right next to it. See if you can draw the structure, have the shoulders where you want Maybe do that first, Lim out to where you want the hand. Maybe this one, Our talk in this way And then have the wings come in further. Right. Then plot out where the head might go. Plateau where the torso might go the hips and then see if you want the little feet hanging on somewhere or something like that. And now fill it all in Right on. Okay, so let's review a little bit. We looked at the structure, right? Look to the skeleton How It was a lot more stretched out even though a lot of familiar parts were there. There are a lot more free floating and flimsy We looked at how the digits on what would be the hand splay out to help form the support for the wing. We, uh, looked at how the wings will form and, uh, you know, change as we we flapped them and move them around a little bit, right? We didn't look at how to draw the Batman symbol, but I think you can kind of figure it out from here. And we also looked at how you know the face and the actual body itself bears a striking resemblance to a lot of rodents, right, Whether it's a mouse, a rat or whatever, sometimes they can get huge long faces. But a lot of them are just cute little flying mice. So if you ever find bats, uh, in your house or stuffed up somewhere, leave him alone because they really help the environment. And they're awesome for killing those nasty mosquitoes. Okay, what I would practice, like I said with you, uh, is you can either draw the body and then extend where you'd like the wings to go and then fill it all in or practice looking at different types of bats and see if you can tell the differences between them. I hope this lesson was fun for you. And, uh, make sure you keep working at it. 12. Animals Wolves: Oh, hey, guys. Ed here. And we've got another how to draw animals lesson for you this time. Yeah, this is an interesting one. I actually wrestled around with it a little bit to see what I was gonna do because I had a lot of requests for drawing dogs. You know, like, um, people love their pets. And I've drawn a few portrait's of their pets and stuff like that. And I thought, Well, dogs air cool, but there's just so many breeds going on, right? So many variations. Said, I don't know if I get covered in a unit like this, at least not to start off with. So instead, I decided to start with wolves. I think wolves are a better starting point when we're looking at dogs and their structure and everything like that, right? And then from this base, point, weaken, deviate and go into all the different breeds. So let's look at wolves as our base dog are based structure, because, frankly, that's what they are. Okay, so how are we gonna look at this? We've got this cool skeleton that I drew out. Um Anything strange world standing on it? Not really. I think it flows very similar to ones we've seen before. Where there's especially animals that have a fixed, moving direction of forward. You know, dogs aren't great going side to side, so they'll have this more fixed scapula. Right. Um, we've got the rib cage in here. Fairly sizable. We've got a reasonable size hip. It actually goes into the hind quarters more so right. We can think of that entire hind quarters. The insertion of the hip is the furthest point back, Right? So our shoulders start here and our hip insertion starts there. We can now look towards the skull and we can see thes teeth. They're pretty brutal looking, right. You can almost think of it. It kind of like I almost bring it out as a bit of ah, rectangle or trap is always or something like that. Right? Okay. Especially because we got the know was here. Um, massive teeth, canines up front, a little bit of moulder action going on down back. Right. But I think the key point when we're looking at the structure is looking at the legs. So let's take a look at these legs and see if we could figure out what's happening here. Coming off of the hip insertion down to what would be the knee makes sense so far. Hip insertion down towards the knee. Right. So I think we can relate to this. Right. Were like, Okay. Good enough me down to an ankle? Yeah, we kind of got that need down to an ankle. Kind of got that, too. But hold on. That ankle is nowhere near the ground. What's happening instead is we've got this kind of first section of the foot going on right , then a little second section and then the toes or claws on the pause right here is the baseline of the Paula here. Okay, so this is interesting, depending on how we look at this, if we were to try to translate it with our human reference right, we could think of this as the foot is just a massive extended foot. But from here to here never really touches the ground. Right. That's not how it functions. Really. From here to here. This section is the actual Paul. That's that's landing on the ground. So it depends on your brain. Uh, I'm trying to approach this for what's familiar to most students thinking of this as a giant foot. Or you can think of it as this is another joint here and it basically is right not is not moveable as this type of joint. It's It's more, in my opinion, honestly, it's more like an ankle. Okay, so that's why I drew it out. This way. If we come over to the front, we can come back down to what would be the near the elbow, right? Come back down here again to what would be the ankle and this spur at the back of it you can actually think of as the ankle, right? That's that's an easy way. To think of these Spurs is like an ankle joint or something, right? Okay. And then what we're gonna have is the first part of the foot than the second part. This first part is not going to be touching the ground. The second part is the Paul that actually lands. Does that make sense? Okay, lets see if we can figure this out. Let's when we drop one more time. Here's whatever joint insertion, whether it's off of the hip, let's do the shoulder here. Come down to what would be an elbow on what would down to what would be an ankle. Right? Then we've got the first extension part of the foot and then the Paul that actually lands. And of course, we get this bone spur that's coming. So what's gonna happen is it rounds out this way. Here's the muscle, comes up this way, comes down here, follows this line and then comes into a paw that lands on the ground. Here. Let's see if we could find it in the actual wolf itself. Here we go. Okay. So, like I said, we can kind of think of almost like a rectangle, but cut off a the end here. We've got this backbone that comes through and actually work its way all the way down the tail. We've got a big old rib cage here. We've got a big old hind quarters here, but in reality, the hip insertion is near the back here. Okay, The scapula is fairly fixed, so that means the shoulders a bit low here, shorter comes off to what would be an elbow. It comes down to what would be an ankle. You with me so far. Okay, we got the first section that we could think of as the hand. Then we could think of the second section at actually fingers. And you can see there's the individual pause that come out from here, right? Okay. But this is the only part that's going to land if if your dog or wolf is landing on this and there's something seriously wrong kept that's come from the back to the knee, back to this ankle, back to the knee, back to this ankle. Now this part is even larger. And the foot that's doesn't land to the Paul that does land, right? 1234 So always keep in mind that yes, we can kind of think of it as a human that we can think of this as a giant foot. But on Lee, when it comes to dogs do their fingers, big air quotations, their land. Okay, Their paws are the only part that are gonna be landing on the ground here. Unless, of course, lying down. That's not what I'm talking about. Right? Okay. Does that make sense? So let's see if we can draw this again, go up a little bit. We've got the hip. We've got the back insertion of it comes out to the knee, comes down to an ankle, comes out to the the major foot part. But the pause, the only part that lands okay, and then we've got the meat of the muscle. Here it comes here, hits that little spur, right? This part comes around and lands this way. There we go. And do we want to do the front again? But it's always gonna practices G's because it's it's a little bit unfamiliar to our way of thinking for the human anatomy and stuff right? That's good to keep practicing from the shoulder joint, right? The fixed, semi fixed scapula down to what could be an elbow down to what could be an ankle. Here's the first part of the hand, and then here's the actual paw, right in case So this part lands this part lands nice. I think we can draw it from a different angle a little bit. Here's the rump. Here's the rib cage. Here's one shoulder. Here's a second shoulder from the fixed scapula coming down right. Here's the hip. Here's the other hip. I think it's, you know, I'm hoping that you've done some warm ups with spheres, right? Trying to draw circumference lines on spheres. They're really gonna help you. Okay, So the joints on this wolf here followed this kind of midline. Ah, circumference cut of this fear. Um, from the front. You know, we can still kind of have this basic shape going on here. Now, let's see if we cut it down here to the elbow here, to the elbow, here, to the ankle, here to the ankle, first part of the hand than the paw. Right. Does that make sense? See if we can find it again. Here, um, down to the knee, down to the knee, down to the ankle, down to the ankle. First long section, right. Long section and then out to the paw. Go to the park. And how does this look to these structures look semi believable? Yeah. Looks pretty good, right? Not bad. And if we've got the length from the rump to this note, Okay. Midway point is about midway through that through the rib cage. Okay, so here it's a little bit distorted because he's turning and stuff, but it would be roughly along those lines. Does that make sense. So, actually, this this one here? Yeah, that works to about midway point. Right? So it's always good. Teoh understand proportion for links and stuff. How you're going to cut up the animal when drawing, not talking about cutting up animals here, Um, and how it kind of fits. Right? So do we want to try to draw it right beside here? I think we should just always practice. Right. We got one sphere. We've got the other sphere for the, um, for the rib cage. We're gonna do the little circumference lines. We know that the shoulders air here. The hip insertion is down towards the back here. What I like to do sometimes is draw where I want the pause. I know I want these paws down here, and I know that these paws were gonna be here. So how do I get there? Me down to the ankle, Down to the paw, knee down to the ankle, down to the paw. This one is back and back towards the elbow. Down to the ankle. Don't ankle. And I think I actually made this too high. Let's do this and then put the paw here okay. And then if I was doing this and I wanted tohave the dog looking forward, it would be something along these lines. If this makes sense, right looking this way. Cool. And, of course, you've got the tail coming off the back end here. What about when we're talking about height ratios? Here's the rump. Here's the leg. Around Midway is where the belly hangs. Okay? Not the rib cage, but the belly. So, depending on how we want it, here is the room. They're here is the top of the back bone, hip type of thing. Here's where the feet are landing about halfway is where the bellies hanging to camp. Same with here. Here. Hear about halfway. So I always like to cut things up a little bit to divide it up and see. OK, where's all that stuff? Proportionally. Can we do it again? Let's see. Okay, where do we want to start? Here? Um, I usually start center mass. Here's that rib cage were drawing through. There's the hips. We know that circumference roughly that the two, um, hip insertions are gonna be back here. We know that the the hip insertions air far back on the wolf on its rear hip, right. And the shoulders air really far forward with the scapula being forward here. Okay, so this will come down to here for what would be the elbow, the ankle or wrist down into the first section. Then the Paul, right? Okay, back here would be down into the knee, down into the ankle, down into that first section, which would be the I. And then down into the Paul that's landed. Does that make sense? And then for this you can either do, Ah, hard shape. We're gonna work on the face a little bit coming coming up pretty soon, right? Not bad. Ok, I think we've got some pretty good examples so far. Looking at the proportions and structure of the wolf, right? And like I said, mostly this is gonna be applicable to dogs. But of course, dogs are gonna have massive variations. Right. So let's wait. See what we get into there. All right. Next up, What comes after? Structure motion. Awesome. Right. Seeing a wolf in motion. Beautiful. Okay, So why don't we start? Here's the rib cage. Here's the rump. Here is the rump. Here's the rib. cage. Right? And we'll go with this one. Here's the rib cage. Here's the rump drawing through. Okay, we can add the head nice and easy. Go through at the head. Nice and easy. Sorry. Like that. There we go. Kept. We know that if we're drawing of these circumference lines that generally speaking shoulders or near the front hip insertions near the back shoulders near the front, hip insertions near the back shoulders air near near the front. Hip insertions are near the back wraps around there. Right. OK, so that's our general structure right now. What's going on with the flow of this motion? What's happening here is this part is actually bent over. Okay, this part is bending this way slightly. You know, it's not the massive, most flexible spine that's going on, but that's what's happening here. Okay, so this arches over this arches up. What happens then, is you get this kind of sizzling effect. Okay? So when it arches like this, the front legs go back between and the back hind legs come forward in front as it moves. When it moves this way slightly, it's not as exaggerated as I've got it. Um these. The front legs move forward, reaching four to grab ground. And these hind legs are back pushing off of ground. Does that make sense? So how do we do it? We drop this down to the knee, drop it back to the ankle foot, Paul. All right. This one would come forward to the knee, down to the ankle foot pod. The front one comes forward to the ankle and to the Paul reaching out back. When here comes back to the knee. Back to what would be the ankle, the foot and the paw. Let's see how this looks. Yeah, that makes a lot of sense, right? That looks pretty good. I'm liking how this looks, although it looks a little bit like a cheap little hobby horse or something like that, right? But I think it makes a lot sense. And then we can carry that the tail down, Carry the tail down in that way. Okay, moving over. We're going to see how it looks from the front because it's good to look at this all from different sides. This one comes back to the knee, and they're not gonna be totally synchronized. You know what they might be off just a little bit. Back to the ankle, down into the Paul. This one's coming to this ankle on the pause, bent under this one's coming to the knee. This one's coming to the need. Both of these are coming forward to the ankle than the the foot for a section than the Paul comes forward and it's grabbing. You'll find the hind legs are coming on the outside of the front legs. Okay, there we go. Yeah, that looks pretty cool. And depending how fast is running. The tail might come up a little bit, right? It depends on how fast this dog is moving. Okay, lets see this motion so far. Yep. Looks like motion of me. I like it. And actually, you know what's similar to almost any four legged animal structure that's built for running . Right? So when we look it, Ah, lot of other animals like this, Whether it's horses, dears, cats or anything like that, there's gonna be some similarities. And they're running patterns and everything and structural patterns. Okay, So after we've gone through and done that, let's take a look at faces and some details going on here. we want to have the overall structure. Like I said, you can do when we're approaching these longer faces. There's a few ways to do it. You can approach it as a cone. As a shape that kind of rounds out this way comes in, you can approach it as a muzzle. Okay, um, what I'd do is usually approach it as a hard shape and then draught in that way, see if that makes sense. Right. Okay, um, again, we've got this hard shape. I remember that from the side. We're looking at how it's structured, right. And this would be just to lock in a little bit of the plains and then start adding in where ? Where I want hold the details and stuff, right. Okay. Let's see if I do it up here on this guy too. There we go. Cool. So we can practice alongside if you want and see how this works. We could Let's go with this guy here. That's the rough shape right now. How do we add some details in here? Well, we know that we've got years when I switch up to the dark here, right? Not as pointy is that so we can add these years in roughing it in here. Right? We've got the brow coming off the center here for both sides is coming up here. We've got the nose, and that's why I like the shape, because it it kind of captures the nose a little bit for me and stuff. Right? Okay, we've got the I. Now, if I want to, I can kind of plot on an eye line that comes back and have it plotted in this way. Have it something like that, right? There's a little bit off stuff going on underneath it. Here we go. Do you want to make this one a little bit puncher? Then we can add in a little bit of what's happening in the ears here. Right? So this is how you can use a reference to try to plot where everything else is happening and going, Okay? I'm kind of coming along beside here. The mouth, It's coming along this way. Right? So from the nose. Sorry, I didn't even draw the news. And on this side, we can start to add in a little bit of what's happening underneath the mouth here. Sorry. Center line cramp come in. And then the mouth drop down balloon with a little bit of a lip. Does that make sense? That comes around here and we've got you know, this spotting the side whiskers right here are truly I in here for you. Perfect. This I has a little bit larger than the one I've got going on over here. But that's OK. And you know what? I'm looking at this part, and I think I want to shave it down just a little bit. So, like I said, you can use this reference to kind of adjust things, right? See how it would flow. See if you like something a little bit more than there you go. So that's one way to start to use a reference toe, adding details and stuff, right? Use that simple shape and then expand off of it. Yeah, Looking up bed now, um, weaken with wolves. Weaken. End up, putting a lot of a motion into them. You know, this guy just from his eyes, he's got a very serious look to him, right? And you can dark and underneath them a lot. I think that just that carries a lot of weight from it that the darkness under the eyes, the nose This guy's got a nice black nose. And if I want to, I can even blacking it in more. Here we go. Let's rough it all in. And then just use, for example, just use highlighting lines or an eraser to tread a rough out the parts that I might know want there. Okay, so, um, you can see, like, some some wolves have a lot of dark coloring on their ears. Right? Um, your choice. Whether you when rendering the animal, whether you want to draw in a lot of the individuals, hair and stuff, I find that it can be a little tedious and stuff from, but it really depends whether you're drawing it for comic books or whether you're drawing it from or of, ah, realistic approach, right. What I would do instead for me and especially on this video, as I'm trying to render really quickly, is draw the major waves of hair that, um so I can, you know, keep this under or in and around 30 minutes for us and stuff. So we're not going. We're not going crazy. Uh, with a two hour rendering video or anything. Right? You can see the different patterns. Here we go. Basically, what you want to do is capture the direction of the hair, right? How? It's coming off of the centerpiece. It's moving up this way. It's coming off the center, moving up, Moving out in this pattern. Right. How is it moving out? How does that look? Yeah, looks pretty bad ass. Right. And I think it would look even more so if you started a color it wolves. You know, they're color patterns and stuff. The greys really punch it, punch it forward and everything. Right? So that would be the next step is maybe adding in a little bit of of coloring and stuff. Right? There we go. Yeah, he's looking pretty good. So what I would do? What I would recommend you do is draw this similar shape alongside, See if you can plot it out a little bit. Right? Have it come toe. Here we go. And we have this boat midway here. Cool. Now, what I'd like you to do is for you to fill that in, looking at this reference side by side and see if you could fill it in. I know you might be drawing alongside with me here on the pdf that I provided. I hope so That there's gonna be two sheets there, one that has all my sketches on top of it. And the other one is blank for you. Toe sketch and sketch away. Right. Um, in this case, I'm hoping that you're using some of my sketches and drawing over them what I'd like you to do, Actually, when doing these units is use my sketches, draw over them and just kind of get the pattern down, right? Drawing and looking at drawing over top of my stuff right after that. What I would like you to do is to do on the separate peace your own, see if you can catch it. See if you can catch what you were trying to capture with with the previous, you know, draw over and stuff. Ok, that's part of the studying is doing it. So that, um you know, so that you're able to replicate your practice and stuff, right? Okay. Here. That's a mouthful of heart. Yeah. Winter's coming here. What I wanted to show you here was the the snarl effect that happens when dogs start to snarl up. You know, the brow comes in. You can see how the the brow is coming in here. Even if we can't see it through all the for. We know that it's there, right? And cam the eyes underneath. Here we can see not so much the much muscular structure, anything of the face. It's there, you know. We know it. But what's happening is that, um we can see through some of the patterns of the for how things are shaping up. Andi stretching and folding over a little bit right in camp. So that is one angry pup. He was watching the wrong episode of Game of Thrones, I guess for him, Okay. And you can see how, if we wanted to darken this in how the sheen and highlights would be there to just use that , you gotta be careful when rendering dogs Mao's. Sometimes there can be If you put too many whiskers there, I know that they've got whiskers, but you put too many too many in there and it looks like a cat. It looks a little bit too cat like okay, even though they're there Sometimes when you're drawing something, it will have a different impact. Okay, let's look at these teeth. We've got the gums, right? Not just the guns. There's two ridges to the gums. There's this four forefront of protecting, right? And then there's where the the individual teeth are inserted into the gums and you can do the ridge line. So there's this kind of forward barrier and then these giant chompers that come out from there We're looking straight on at thes teeth. Right. So we're just going to see them from the front here, Kim. But these lower ones, we can see the role as they row back here, right? They're gonna roll row back here, OK? So we can fill them in as they go. This front one and there's actually smaller incisors here. They're probably covered up by the gum. Another one here, Right? And then as they're gonna roll on back, you're going to see them Come on back until they get into a little bit of there's these more like molars as we get to about the 4th 1 right around here. The molars kick in and the mouth have stretched open. You can see a bit of the inner workings of the mouth. Usually, dogs have this cute little lower lip. It's not so cute on this guy right now. Uh, but, you know, if you've owned a dog, you know, it's cute. Cool. All right. And then we start toe show where the hair is coming from, right? The hair is coming off of this side coming out. The hair's coming off of here, coming out, and then the edge of the hair is out here, right? This is just working on the head. Right? Okay, We come on up and he's got fuzzy years. They're thick. Look at the thickness on these things, right? He's ready for winter. Cool again. We worked the direction of the hair. Ah, whether it's human hair, whether it's animal hair, anything. Think directional. Don't think individual strands trying to draw these individual strands out or anything like that. Think of which direction are they coming from? Which direction are they flowing in? Right. Here we go. Okay. So how does her angry wolf look? Oops. Sorry. Bounce out a little bit. Yeah, that's pretty damn angry. Right? Okay. So once again, I hope that you're practicing inside by side. Here. This Sorry. We're gonna switch to blue for you. This one is the open mouth, right? And then we come up in our basic shape and, you know, here's an island, and then start to fill it in. Actually, let's move. The I line a little bit closer to to the mouth there. Okay, Let's see if you can fill it in right. Working on basic shapes. And remember that you're going to see the the inside of the mouth here on this line, right? This one you're gonna be looking down at. But this one you're looking sorry. This one is gonna be more straight on. Right? But this one's gonna be looking down at okay, So you can fill in the little nose here and stuff and let's see what you got. Cool. OK, do we wanna focus on anything else for rendering here? Um, let's go back up to our original pup. And I just want to show you when it comes to the legs, we already study the anatomy of the leg. But when we're drawing it, you know, obviously we got a little bit more than bone going on and stuff like that. Something that's really important is when it comes to the lower legs, especially the front of the lower legs you're gonna find there's not a lot of hair on them . They're more tendon looking, right. You'll see the joints will be a little bit more visible. You can see the So that's why I say Think of them like an ankle or something And think how you would draw on the ankle or something. Um, especially when we're looking at the front of the of the leg on the back. You might get some some type of for build up, right? And this is where we get into the meat, the meat of the legs and stuff, right into the hind quarters here into the meat of the tail. Right, Kim. And then here. Remember, this is a shoulder, so it's coming forward. This one. The hair comes down in this way. Okay? It starts. So think of this whole area up here as this is the ball of the shoulder, the muscle, the mover, and then it's coming down. We've got some extra hair coming down below the jowl from the wolf. I'm comes down and here comes down into the pause and hear the ankle right comes down into here. Come. And then now, when it comes to cats, you're often wanting. Teoh put a lot of detail into the pause. What I would suggest is kind of go like this and then separate them out, you know? I mean, for for dogs. I don't think you have to put the detail into the clause because the Paul the claws on the pause don't separate as much as they do with a cat. So you you don't want oh, tryto really draw attention to that section that much. Okay, they do separate a little bit, but nowhere near like you would with with a cat. Right? Okay. So long as we started this guy, Why don't we go in and kind of finish him up a little bit, See how he looks? You can tell over their shoulder blade. There's some hair through the back and then through the rump, there's gonna be some more hair flowing this way. Usually it will flow a certain direction, right, So just keep keep with that flow as much as you can. Um, we're looking at the dog from the side here. Right. So we've got the little cute little nose coming down into the mouth opening up here. Um, the hair mostly usually starts around the jaw here starts hanging off more up into the year . We saw that other guy with really fuzzy years, right income and it flows off for there. You'll find around the neck. There's a lot of hair. It Bunches up quite a lot, right? Um, part of that is just the nature of the animal, but a lot of it is for defense. They don't want to be grabbed around their necks. So there's that extra little bit of of hair that's protecting them around that area. Little spots for the whiskers, but we don't want to put too much in the whiskers. Um, there's an outer rim of gum, and then there's the actual lining of the gum where the teeth sit. Okay, if you have ever had a dog open up its mouth in front of you realize there's a lot of gum going on in there. Uh, the tongue can come out and then we've got the teeth lining the other side. Right? Cool. Let's see if we back out a little bit. Is this looking like a wolf? Yeah, definitely does. I think the underside come use a little bit more to fighting. The structure is perfect. I think the structure is really good. Like I said, when it comes to wolves patterning the for the colors really important, right? Then you really get the the contrast between the greys and the different flaking of the colors and everything. Right? Uh, the whiteness around the mouth sometimes towards the pause and everything room. So this isn't a coloring unit, but this definitely helped you understand the structure of wolves. Let's take a look. So from the beginning, we talked about the Scalito system, right? The fixed scapula. How the wolf is forward moving and stuff and how that effects the forward moving structure of the animal. Right. We talked about proportions. How about halfway point is also halfway through the rib cage. We talked about the height ratio, right? And about halfway is the belly and the legs, the lower half, right. Um, we talked about how, actually, if you look usually the knees and elbows, I'm using again. Big air quotes fall around that that halfway point depending on where they're moving. If the dogs are wolf of standing straight up or not, right, we talked about how you can imagine that the, uh the foot or the hand doesn't actually touch the ground. But instead it's the fingers, the pause themselves that are landing. Okay. And that's really important. We talked about how the motion of the wolf running, how the hind legs will come forward on the outside and grab onto the ground right, whereas in the front legs will will go on towards the inside as they push off. And then they leap forward. And we talked about how to render how we could focus on, you know, using certain simple structures for plotting in the proportions, but then adding in where the eyes would go where everything else would flow into it. Right? Um, how the features my change if the mouth opens, how we're looking at different angles of it. And also, you know what? Where do we emphasize when it comes to the wolf? The eyes right. We focus a lot on the eyes. Thes deep, penetrating eyes and teeth don't hurt right? And how, if you really want to render wolf, you're gonna and start to get into coloring of the for right? That's something to look at later on. Further units. Okay. I hope this unit was helpful for you. It was one of the longer ones because there's a lot of structural issues that we're dealing with here that are Ah, a little bit hard for our eyes and our brains to grasp. Right. This wolf unit will be a good jumping off point for later dog units to come. Keep on practicing, guys. I hope you keep on practicing. Guys. I hope you dig it. Keep on practicing, guys. I hope you dig it. 13. Animals Eagles: Hey, what's up, guys? Ed here with another how to draw animals tutorial for you. This time, we're gonna be looking at eagles. Uh, yeah. And I think this might be the first time I've done birds in here, so Ah, we might be up for a little bit of a switch here. Let's see, while you know, where do I always start? I always started the same thing, and I know it kind of gets boring, but it's totally not, because it's the fundamental right. I look at the overall structure of of the animal that were were tackling here. Okay, so here I kind of sketched out a little mini skeleton, and I got to say, um, looking at my little skeletons get here looks a bit like a chicken. Um, he's not so majestic once. You kind of strip off the feathers and all that kind of stuff, right? It's just it's a bird, but that's a good thing. Um, it's good that we recognize that, you know, a lot of birds are gonna be similar and how we're gonna be drawing them and stuff. Right? So I thought the eagle was a good one to start with, Because once we do add those feathers on, it gets pretty funky looking. Right, But let's start. Let's take a look at what it's like with, uh, just the structures we're looking at here. Okay, So, overall, this is where the big difference is gonna be. I'm gonna draw one main shape to define the the starting form of the bird. Okay, so, basically, just this kind of egg around type thing, right? And that's gonna encompass the rib cage, the main body of the torso. Uh, and I'm gonna What I'm gonna do is at the front here. I'm gonna put the scapular joint for the shoulders, and at the rear of it, I'm gonna put the hidden joint for the hips. Okay. So right about here, Does that make sense? Yeah. Gay. First we're gonna tackle. What do you want to tackle? First? Let's do the lakes. Because they're kind of the easiest. We're gonna come down to the knee down to the ankle, and then what would extend into the foot like this was a human foot? You know, there'd be a heel spur here, or a lot of other animals would have a heel spur um, thes birds don't really have it. There might be a little tick on the end of the bone or something like that, but no, not really. Uh, and then it splay A's out into the foot. Now, when we look at other animals, usually all this is encased in tissue, right? Everything from tendons, muscles, skin overlapping, all that kind stuff from but onwards. Obviously, we've got thes individualized toes that come out beyond, you know, say the first knuckle here or something like that. And then we've got these nice little talents now, Hopefully, you watched my What was it? Paws, claws, talons and hooves Video. Right. That should really help you getting in depth in the talents, but we'll, you know, we'll cover it a little bit here. But the more the merrier, right? You know, like learning a lot more about what we're looking at. Okay, so we're gonna come down to the knee on down to what could be an ankle. There's huge air quotation marks there, and then it comes down into the foot. Right? So this this long part leads into the and we're just gonna split off here like this, right? And we could break it up into the 12 talent. 12 talent, 12 talent type of thing, right. And saving the back 12 talent. Okay, so I'm hoping you're doing this. And you know what? Obviously there's gonna be you want to draw through here so we can have drawn through and then kind of come out here and have the other Foote's play did right in coming hit the one to talent Mark. So that's, you know, the rear end of it. Um, a lot of times when we're looking at other animals, we have a huge ability to pivot between the rib cage and the hips. That's not what happens here with most birds and especially this this skeleton we're looking at right Next one we're going to look at is how it carries on into the head. The heads kind of small. It's very easy to think of as a circle, so we can carry the backbone into the head. And we got a bit of a circle here, and then we're gonna come forward and add the BTK rate. We're going to come forward and add the beak. Okay. Kind of simple looking and still kind of looking like a chicken. I'm not teaching you chickens today. Okay? You know, I went over that part quite simply. Um, because yeah, I think that's not the hardest part of this animal, right? It's good to know the major point, in my opinion, is the fact that the body were just gonna draws one generally non flexible unit Tok one big ball. Right now, this is where it gets funky, is the wings. So we come up elbow, wrist, and then splaying into what could be a hand type of thing. Listen, I'm using human examples here just because I I think that they're easier for most of my students to fall along with right? So I don't mind it If if you prefer other terms, you know, you can use other terms and stuff. I got other expressions. Some might say, like first joint, second joint, Whatever. I just try to make it a little simplified. Okay, So in the back here, we got the same thing. Elbow to, um the what could be the wrist out into the hand type of thing. Right. So let's see if we do this elbow elbow out to the wrist and then out to the hand out to the wrist and then out to the hand type of thing. OK, so that's our basic skeleton. But now we've got to find it. And I got to say, looking at birds just like some animals with lots of lots of for It's not always easy toe to find where the skeletons, that. Right? So we can kind of figure a few things here. We could see this. You know, this breastplate here is here. So it's gonna come somewhere along there. Can we know that following the backup will give us the head and kept something like that? Right. Um, we know that from back here. You know, the how we kind of aligned it was. Shoulders air here. Hips are back here. Okay, So how is this gonna roll? Right? Well, it can pretty easily come up to the knee, come down to the ankle and then out into the foot splay. Okay, Depending. Like, it's kind of hard to see here, but this is e might actually be higher up here. Okay, Does that make sense now? It gets even funkier because this goes back into the elbow forward into the hand and then display after that. This section here, So this isn't isn't an easy one. What I would actually recommend doing is just kind of working on the shoulder first, goes back into the elbow out into the hand and then splay A's down this way. And that's where you get the, you know, the wing coming off of it and stuff, right? So I'm hoping you're practicing following along with me off to the side here on the worksheet. There should be tons of room for you to be able to do that. And we've got some or more pieces to work on. Okay, So what we're gonna do is find the big body mass. All right, Find, um, you know, here's the center mass in our center line on may be on the inside, here on the back, it comes up into the head. Right. Okay. We're just do it simply like that. Um, we know that. And the hips are back here. Shoulders air up here and come. So comes out. Elbow, wrist, hand, right, comes out. Elbow, wrist, and the hand is kind of hard to see on that site. but because it's fading away from us room. Ah, this one comes maybe up to the knee, knee down towards the ankle and then out to the Foote's play and come and down here. We got a little budding of the tail. I didn't really go over that that much, cause not huge, but obviously the fan that comes off of that. So that's what I want you to do. I want you to be able to draw, you know, Um, see if I could find the joints on it and then start Teoh, fill it in that type of thing, Get the get the joints working right, Not bad. And then down into the big splay of the tail feathers. Okay, can we do this one here to, Let's see, maybe the torso is kind of big here. Shoulder blades are up here because we're kind of looking at a little bit off center. The head comes forward quite simple, right back into the elbow. The hand. This is it all straightened out, right? So it's elbow hand and then display off the fingers. I guess it's the easiest way to think of it right, and you can see how it's plays out from from this point, right? And then it starts to even itself out, and it's in its pattern. Right? So maybe think of it kind of from this hand joint. This is where you have the movement coming out, right? This is where the feathers start to come out. And then as it goes along the arm air quotations there, the feathers, followem or kind of linear pattern right, instead of being splayed out like that, Okay. And the feeder tucked here. So they're kind of either up against the body down and then into their. So from the hip up against the body down and then tucked in the future underneath, right this buds down into the tail, and then the tail splay A's out. And so that's something that you're gonna want to get into his Ah, the patterns of the feathers. You know, um, what I would do is start looking at getting into You don't want to draw. How can I explain this? You don't want to draw the individual feather, right? Like you're gonna start toe. It's going to start to look ridiculous. If you line all these feathers and that's not how the eye perceives it. Right. But you want to look at the pattern. So we've already underlined this blue pattern here and then you want to else understand, Like, here's some dense folding of feathers here along with the the he arm, and then it starts to loosen up a little bit and you just kind of roughing in what you're seeing here, okay? And then you're only catching parts of those feathers as they're they're coming out because there's a lot of overlap, just like with tiles or something like that, right in camp. And then the larger feathers start coming out on this side as they get further away from their insertion point. OK, see if this is making much sense to you. I'll just fill it out here and remember. Like I said, watch Thea point of origin here. Watch where they're coming from and you can start toe, have some overlap and stuff, right? They're coming out of here, and then they start toe even themselves out a little bit as they come down. Cool. So with feathers, you you don't want a hyper detail it I would avoid it. But you do want to look for the flow of the patterns, you know? So obviously, if I'm coming down here, I can see the flow coming in this direction off of his neck, right and back up to the head. You can see how there's there's this cute little ah, almost not checkered, but just overlapping patterns on his breastplate here. So it depends how much detail you can spend time and really like slowly start toe edged them in. You can rough them in depending on, you know, the detail of the peace. How close you want to get to it and stuff. Okay, that's really up to you. How? How much you want to get into that? Just what I really wanna emphasize is that yes, the rendering is important. The details are important, but really get the form down first. Because if you don't have the form down first once you start to render, it's gonna look really relief off. Right. Okay. So what I want you to do is right here. I want you to feel in the bird above, basically, see if you can get the skeleton and down, see if can get the basic forms down. That type of thing. Okay, so keep doing that. That's what this is all about. Okay. Next, we're gonna take a look. Like I said, we've already. Hopefully you've already checked out the talons video I did before, in a different unit. Um, this one here, we're going to review just a little bit. I want you to understand that. Remember when we were talking about how it comes in here? Basically, we're coming in almost as a foot, and it's splay A's out. So there's one to, uh, likely 1/3 that we can't see. And then it comes to this point, and we've got a series of knuckles, right? 1212 Uh, 12 And then the big talent. Okay, there would rather the claw that's coming off of it. So in this one, you know what I would like you to do is showed a bit of the form here with some of the knuckles, some of the joint. So as you're rendering, you can come in and kind of bump it, bump it, come around it, you know, showed the folds, that air underneath it and stuff, okay. And then show this massive claw That's coming out of it looks awesome. And you can show some of the texture ring and the patterns that are going on in their home if you like. So the same thing we're gonna come. And that's one knuckle. Here's a second knuckle comes into this joint or the release point for them. Big old claw coming forward. Cool. Okay. And so you can do that. You know, obviously there's two more behind here, right? So if I come in and then bring that that guy down there, something like that and that could come up Each bird will have a little bit different detail ing when it comes to looking at, Um, you know how this section of the leg looks? Uh, as it gets closer to it's talent. Sometimes it's a lot more textured in greeny. You can put a lot of little bumps into it and stuff I get even all the way up. Others have a lot of light, Matt feathers coming down into it and stuff room. So watch which bird you're getting into with the Eagles. They've kind of got these little semi fuzzy legs. Ah, a little bit of peach fuzz on them. and stuff, right? So that's cool. But that doesn't translate into every burden stuff. Right? So even though we're looking at eagles here, I want you keeping in mind. Uh, you know what? We're looking at four birds in general and stuff, right? Okay. So quick. Summary. Look at the main body mass realized the hip and the shoulder joints are on the opposite end . Right. Bring out from the knee to the ankle and then out to the Foote's play. Right in camp. Draw through. Do the same thing on the other side. Something like that. Right. Do the same thing with the wings. To the elbow, to the hand, to the hand splay came. Draw through it. This one seems to be back. Elbow to the hand, to the hand splay. Remember where your patterns are for for the feather, You know, as as they come out, I like I said, I like to think of this as the hand, so it's easy. And then it starts to get a lot more uniform as it comes down into the rest, the wing here and stuff. And then you can just follow up and, you know, you can put your your head up high, looking up high. It's really your choice and stuff. How you want toe do it, come down in. The last thing I usually do is the using the tail. But on this one, maybe I can tuck it for some reason. You know, like he's coming in kind of like this. Whatever. He's coming in for a bit of a different landing or something. Okay, hopefully that ah, that helps you understand eagles a lot more. And I hope this was a good introduction to Burt's. Um, they're quite a different animal than what we've been tackling so far. That whole fixed body, um, it changes things that changes how we draw them. In some ways, you know, the body is super easy to deal with, but in others were dealing with a lot of funky stuff when it comes to the legs in the wings . Right. So you be sure to take some time and focus on them. Um, anything else I want to talk about? No, I think you know, I think we've got a pretty pretty well covered. The only thing I would watch maybe when trying to render the face and stuff like that is always keep an eye on the I. I think the I is a key point, but also how the the mouth, um, tendon or rather, the feathers fall away from from and stuff like that, right? That can be pretty important. I think I like to give a big brow on my eagles. Looks a little bit like mythology or something that but kind of gives them that Ah, serious and deadly Look that I think they deserve. Cool. Okay, that's it for eagles. I hope you dig it. I hope that you've learned a lot from it. Ah, you know, honestly, I plan to do another video boat birds with different body types and stuff. Right? But this eagle video is is great to start off with, I think. OK, guys, have fun and keep practicing. 14. Animals Elephants: Hey, guys. It said. And I'm back with a new addition to my how to draw animals Course here and today. What are we looking at? Well, we're looking at elephants. I know it wasn't the biggest intro, but good enough, right? Okay. So just like every other animal, I've drawn up the skeleton for us. Just a rough, you know, rough little sketch of what? The skeleton of an elephant looks like. I'm actually looking at it now and realizing that I've missed, um, some of the upper vertebrae. The elephant itself has a really, um, kind of sick backbone and stuff. Okay, so I didn't draw that. And I don't know why that kind of comes like this. And it out in the here. And this is kind of a little bit important, because, um, because of that thick backbone, it's got a certain rigidity to it that doesn't allow a lot of flow. Right. So ah, we're gonna keep that in mind as we as we roll here today. Okay, So we look for the basic forms, right? And this one's gonna be easy. The one basic form is is here the main trunk, where we've got the shoulder. The scapula that's relatively fixed up top here, right? Second basic form is the rump with the hips. The placement coming off here. We can see there's a little bit of movement from in the shoulder blade here, right? But really, the movement starts to come down and hear what would be a knee, what would be maybe an ankle and then out into the foot and the toast play. I don't know if this really if I did a good job of it or not. But the truth is, this kind of looks like a human leg just away. Here's the ankle, right? And then it's plays down into the foot, and it kind of splits, actually, and splits into the different toes. That air here here is a little bit better. You can see the toes, um, so the same thing off the back here we're looking down to the knee down to the ankle and then display of the toes down to the knee, down to the ankle on display of the toes. So, um, yeah, you're telling me. Well, Ed, you know, I've seen an elephant's foot, and it might look like my cousins ugly foot, but it's not. Doesn't look anything like mine. Yes, you are correct. You cousins got ugly feet and, uh, yeah, elephants. They don't look the same, right? I'm just talking about the skeletal system underneath. If we look at the skeleton, we see a lot of similarities here. Okay, But once we start getting into what's happening out in front, then no. Then you know, we start to look really different. We might see some hint of toes, but that's about it leading from the toes into the nose. Let's go into the head. So we've got, you know, the hips, the main trunk. Okay. Sorry. And then we got a secondary drunk, and then we've got ahead. I like to draw. The elephants head is almost a bit of ah, shovel tape of thing, right? And then it's got some bumps for the brow bumps for the melon and then bumps up for the trunk as it dives down, offer their the mouth comes underneath this trunk. You could see the jawline here, and the lips actually come underneath their income so it will come down. And then we've got the versatile trunk down low. We'll talk a little bit more about the head later. What I want you to do right now is start to get familiar with the shapes. So I want you looking for it. We want to find that that front trunk, right? The bottom, the rear rump. Um, you know, weaken, say the scapula is up here, so it's actually quite longer. It's quite big, right? It's gonna come back into this knee kind of straight down into the ankle and then into the feet. I like to keep it simple like that. And if we're looking, this will come. It comes back into the knee, back into the and go on and back into the feet. So if we can see it coming to the knee to the ankle, into the foot, this one stepping forward and this one is actually kind of coming here coming forward. This is actually ankle. And then here's the He was the foot underneath. Then we've got this kind of shovel type of head. We can see the mouth comes up in here. It comes out for the the trunk and around down. Right? So what I would like you to do is, you know, just practice even off the side here. See if you can get, you know, to the major forms down the the main torsos a little bit higher up than the back hip and stuff again. And see if you can copy some of this. Look at the ratio to here. Right? Okay. So if I go from the feet to the top of the bomb, the feet are actually shorter. So if anything, I would put my foot somewhere around there, and then this one can come somewhere around there. So then, you know, I've got the sizing closer to being correct here. This one's gonna come back and down. This one was gonna come forward. You can like that or whatever. Okay, that makes sense. And then it comes into the shovel in the trunk. Right. Skip, this one might have been further down, but that's what I want you doing. Is practicing Teoh. See all these forms and see if you could turn him around a bit. Then you know, here's Here's our little shovel. We know that the torso is right here, and the the rump is kind of probably behind it there. Right? So let's try it again. We've got our little shovel head. We've got the torso. That's usually same height or above. All right, depending on if he's bent down or not. So we can bring the head up if we want a little bit there. But then the rump is gonna be shorter down. So let's say for this one, he's straight on for this one. We're gonna have the rump just out to the side a little bit, right, so we can bring them down from here. Here's the knee. Actually. Down into the what would be the ankle? Here's the ankle coming back down this way. Right. Okay. So we can do the front the same way knee Ni. Bring it here. Ankle, bring it back. Ankle. Right. But on this one, you know, we've got both of these hind legs going in like that. Um, why don't we have this one coming in and this one stepping behind? All right, so this one's in front. This one's in front of that, if that makes sense, Right. And then what we can do right now? This guy's kind of indisposition, we're gonna turn a little bit more right, so we can have. We'll have the big years coming off here, right? We can have the trunk emanating from here coming down and moving along this way. Right? So he's looking slightly this way. So we've got a slight turn in them. And that's what I'd like you to do here, if you can. In this big open spot here is to practice a little bit with these different forms. See if you can move him around a little bit. One thing that I noticed when researching elephants was yes, there's two different kinds. We're focusing on the African elephant here with the larger years. Um, but really, what I noticed is in the wild. They were pretty simple in their movements, you know, like they ran, they moved, they reached, they pushed, you know, that kind of thing when we start getting into and I'm gonna come way down here when we start getting into circus performers, this is when we get this really weirdness going on, and it's okay to to study them, you know, weaken, Say, here's, you know, here's the center mass boom boom, and then back into the human feet. Look how similar this looks to humans. right. Boom, boom, boom. The scapular up top here to the elbow, to the wrist, hand, elbow to the wrist and hand him and then it comes up. And then we've got a shovel head with a little happy face. Um, give a bump for the brow, but for the trunk, And then we can add in that type of thing, their room. Okay, so I kind of hesitated. Put this in here because circuses air unnatural. Right. Um, we're not going to see elephants performing like this in the wild or pretty much anywhere else, Right? Unless there being trained, Celeste tortured type thing. Okay, so I But I did want to put this in here because I wanted you to take a look at what is the real range of motion on an elephant? You know, how do they really move around? What does it look like? Right. And, um, yeah, yeah. I thought that was really important for us to see. Pause back. Ok, but what now? What I want to look at next is the head. I want to take a look at the head here. So, you know, we've all need to kind of talked about this. Ah, this general kind of shovel look, and we can draw center. You know, I want you to think of, um whatever form it is, I want you to think of being able to draw that center line, dividing it and stuff and seeing if you could find the center. Here's where the eye line is, right. We can see how the eye line comes in out to the tusk, like, kind of like how it goes like that, but also flow straight down into the trunk. Right? And we can have it coming off something along those lines come. I think that's really important. If we watch the eye line, how it goes in camp, you know, the it flows down into the trunk a lot, and then you'll see the tusks if we're looking at from straight on, that kind of flow with it. But really, they're off the side here. Okay, So have your little shovel realized that the tusks are above the mouth here. The mouth comes from behind and leads into the trunk. You can have a little brow here, depending on a little hump up top. If you want. Depending on how brutal looking. You want your elephant, right? You could have a longer, longer trunk, that type of thing. This guy looks like a little bit of the baby here, so you can mature him a little bit, get the bigger years going on, get the bigger torso type of thing. Bigger rump, you know, just kind of increase. Yeah, he does look like an adolescent now that I'm looking at him or Okay, I think I mentioned before. Also, Asian elephants kind of have the same thing, but they have little years in the African elephants have these much larger years. Okay, It's, um it's your choice. You know, I've seen people do some pretty funky stuff with mammoths and stuff and just kind of character concepts of elephants and everything. So you could. The reason I'm showing these to you is not just so you can draw elephants, but so you can look at some of the qualities of what makes an elephant and then roll with and see what you want to do, right? Okay. So what I would like you to do below here is draw that basic shape pregnancy by back up for a little bit draw that basic shape. Find the center line. Find the eye line something along those lines. Bring it down from the island. And that's gonna be your trunk right up near the scalp here and near the top. You could bring it up to the year. Bringing out. Bring it over. Bring it over. This way. Bring it out. Bring it over. Bring it this way. Try to have them somewhat symmetrical, Kim. From here, you can also make way for a little bit of tusks, depending on how how large you want those tusks. And of course, you can add the the eyes and oops, Mary home. That's is where you know the rest of the head is actually going to come out a little bit like like this, so you can add the eyes. The eyes are gonna comment off to the side. Here. Now, let's take a look at those eyes. Get a little bit deeper into them. You can see I want to switch up to black. There is a lot of wrinkles around them, right? And this is something they're much smaller than we usually think of them as because there's such a giant beast but the eyes are actually quite small room, so to emphasize them you could make them larger. Or what you could do is actually darken the lines around them and see if that gives them the punch of what you're looking for. Okay, and then use the texture that's on the trunk to show directional form. You know, if I'm if I'm doing the texture this way right, it feels like it's bending, bending along this way, right? This one is bending. And then you could add in some some texture lines that go along it this way. Okay, let's follow this down a little bit. The trump comes in and you can see even more texture. It's really taking over the cross. Some of the cross texture ring disappears until it's almost just like, ah, folded wire cord or electrical cord. You can kind of bounce back and forth, but up here, even as it continues down, you can do do a little bit of this text, a ring, moving it down this way for him and then coming out into the tough scarier. I want to give it a little bit of sharpness. They're actually not sharp, usually they're quite dull. I don't know why I did that, but sometimes that you want to draw that fantasy creature income. So there's some text ring for you, and we can come all the way down. What did I say? I wanted to make this a little bit. So you can You can follow these ridges, right? See how they flows. And and now we start to go underneath this just a little bit. Have a little lip going on here. Right? There we go. I think this elephants looking kind of kind of cool. Okay. One thing you want to do is bring it up from from the jaw and bring it around the eyes. Remember, there's a bit of a skull here. Right? So you want to bump right here around where the I, Linus. So if that's not clear in here Yeah, we already did it way. Have this bump somewhere around where the I, Linus, and then it can come down into the the jaws and stuff, right? Coming and again, you can keep rolling with the texture. Right? Um, depending on what I would highly recommend us studying these elephants and seeing you know where Where does all this texture lie Where the skin folds? Right, Um, because if you just try to draw them everywhere, that it won't work like that's that's not how the elephant or the skin usually falls right . Instead, what you'll notice is, um, you know, stretch points. If you've ever taken my fiber, uh, and like clothing class or anything like that, you'll see that you know, it's all about push and pull, right? These these tugging points, where is pulling away? And then, um, sometimes where it's pushing in and stuff right numerical So you can see here it's been extended and stretched a little bit on the side here, but inside here we got a wealth of texturizing and everything for him, and we can cross texture a little bit. Put that in there, and overall, I think that's looking pretty cool. So what I would like you to do is below it or on another sheet of paper, draw out your elephant. Use this as has a bit of, ah, reference and stuff like that, rip, depending on how close you want to make it. And then what I'm gonna do is come back in here a little bit more and see if I can add just a little bit of punch. Sort. Separates it from the year slightly. Right. Here we go. Sometimes that darker line helps bring something forward. Right. Okay, so we've got this elephant. I want the face to punch just a little bit harder. You know, some of it. I was getting pretty sketchy with and stuff. And then if I'm gonna do that, I want to darken this one up even more. Here we go. That'll fade back there. Maybe that's more of a look. That was hunting for There we go. OK, so what do we do whenever we're breaking down one animal? Like any animal? Actually. Oh, we sort of look at the basic forms, right? I usually start with the main torso. Ah, one of the main movers and then kind of moved back and forth from there from the torso, going on to the rump, right, the hips or going forward into the head. And then, you know, we can start connecting, connecting them. All right. Okay. Ah, with the elephant, I want you to realize that their vertebrae are not fused, but the there's not a lot of disk room in between them. So their ability to pivot is about the exact opposite of what we were talking about when we talked about a cat, right? I don't know. Hopefully you've taken the cat video and stuff. You can see how they can twist and move and everything. And elephants are, you know, they're beautiful beasts, but they just don't have that going for them. Right? So keep that in mind when we start to look at the form, and then we start toe, break it down into its basic shapes and start turning. You can turn an elephant a little bit. And in the circus way down here, they start to really get them doing funky stuff. But just realize that, you know, you want to keep it in a certain order. You want to keep it kind of realistic looking. Okay, Um, I love playing with creatures and then taking them a little bit beyond where they were, but you don't want to lose what makes them them right. And part of that rigidity of the spine is is is what makes an elephant what it is. Okay, then when you start to render. Ah, look for push and pull points on the skin. Look for texture points and stuff. I get the faces. Got lots in around. Usually there's elephants have a certain sag going on as well, which I find really interesting. But, you know, around the knuckle points, basically the knees, the ankles and all that stuff you're gonna get a lot of wrinkling in there to anything that has that bend, right? If we look at our own elbows or knees, hopefully your knees aren't that frankly yet. Okay. Look at grandma's knees or something. You know, like, uh, there. That's when where we get a lot of those wrinkles, right? So if I was to look at wrinkles on an elephant, I think I'd be looking at obviously the trunk and then the various joints. And then you could look at a little bit of text oring in other parts. But you'll see also a lot of parts of very smooth on an elephant. Okay, I hope this ah video helped you. I hope you have a better understanding of how to draw elephants now. And, um yeah, go watch Dumbo 15. Paws Claws Talons and Hooves: What's up, guys? Head here. And I've got a bit of a bonus video for you. Well, what I call it a bonus video. I don't know. It doesn't really fit exactly in any other video perfectly. But I think it'll be good for us to look at, right. We're gonna look at paws, claws, talons and hoops. I feel like I should make some tape of song or rhyme out of that anyways, Uh, yeah. You know, there's enoughto get into on the other units that this is easy to overlook. Um, so I wanted to spend some extra time just on feet basically right. And that's what we're gonna look at to start here. We're gonna look at some human feet if you've taken by a human anatomy course. You know, I go over feet a lot more. Um, but I think I try to use human feet as a bit of, ah, a starting point so that when we're talking about animal feet in someone that we can have kind of this jumping off point because there are some similarities. Not, not always, but there's some things that will make sense to us once we get into it. Right. Okay. So we could see the late coming down here right where this is the skeleton of a human foot . Right. We could see the ankle across here. We see the hell here. The main bridge of the foot, the toes and the plate down there. Now, if I was to draw this in, um, maybe it would be something like this. I could have the hell here. The ankle. Somewhere up here, this might come up something like that, Right? This is the outside of the foot. So this would actually be something along those lines. The inner sweep would be on this side because we can see that there's a big toe here, right? And then we'd have the digits from there and so on. Right? Something along those lines. Okay, so that's an ugly foot, right? Um, why am I drawing this ugly foot for you? I guess I could make it prettier. Put some toenails. It was because I want to show you how it's related to the 1st 1 we're gonna look at. And that's pause like, say, a dog's paws and stuff. And you can see that, you know, we're starting to look a little bit similar, but it's ah, it's still differently. So what I'm gonna do instead is I'm gonna do it this way. I'm gonna put our ankle there and are hell here and then come down and do the toes here. Now, what does this look like? What is this starting to resemble? You know, somebody in high heels or something, or up on their tiptoes. Right. Okay. So you can see how the ANC would be here. The the leg would be coming down. The hell here comes down into defeat, the toes and all that kind of stuff. Right? Okay, so we've got this ankle is a landmark, right? We've got this hell as a landmark, and then we've got the toes. Uh, if we look at the bones here, we could see how they bridge out like this. We don't normally think of the bones of the foot in this way. We more think of the digits because they're recognizable structures. Right? That kind of separate out from the foot. Now let's look at it here. Same kind of thing. We've got a dog's leg coming here, so it actually kind of often comes back like this, right? And we could think of this as the ankle, you know, come down into here. And this is where we would think of as the bottom of the foot. But it's not in a dog's foot. What they do is, actually they'll touch here. This bottom pad came. So whether we're dealing with wolves, dogs, whatever this this kind of pau type thing, right, we're gonna come down here, and we're going to see all these bones in here. You know, here's a solid bone here, but it starts to branch out much like how it branches out in the human foot. Right. Then we've got ah, branching out once again to toes and then out to the clause. So if we're drawing this out, you know, it might come down here. You might get a little bit of a spur back here, depending on the species, right? For the hell you get some kind of spur back here, comes down into here and then into the Paul itself. Does that make sense? Right? Andan? You know, you could show the difference of the individual digits and stuff like that and everything, right? So hopefully that makes a little bit of sense there. Um, let's see if I can draw it for you from a few different angles here. So I've kind of drawn it from the side here. Right, Um, from the front, you know, honestly, it's it's easier to start kind of like this. Go with the middle line and then the digits off to the side of it, right, And then you can come up. Okay, then he'll think you want it. Um, you could also go, Let's say it's bending. You can bended in. I haven't come forward and then put the pawn here. So it's kind of coming like this, as if as if, Um actually, I wanted to bend this way. So it's coming this way comes up and this So as if the pause reaching onto ah ah bit of ah , platform or something like that, right? Okay, um, and if we look at the underside, the paw, usually it's It's pretty simple. You know, you could just draw it as a circle to start. There's the main pad and then four other pads that go with it so you can kind of come out to that. Come around, come in and then come out to the leg and stuff. Okay, so that's a paw. That's a general part, right? Hopefully that makes sense for you. Um, I touched it in some different sections. Kind of roughly from a distance, but hopefully getting up close to it will help you a lot. Right now. What's the difference between upon a claw? I'm sure that as wall just would have a better definition than me, but for me, how I kind of separate those two, at least when I'm drawing is retract ability. The the claw, the nail retract ability and stuff I get. So when we see a cat or a cat type of animal, right, we come down to the same kind of structure we come down into the bony structures of what would be the foot or hand write and out into the individualized digits. Right. Okay, so we've got the individualized digits here. We've also got this side branch here. It comes off and it's got a second claw on it. If we look at it from the bottom here, we can see 1234 And then this side won. And they've all got hidden here. Retractable claws. So when when you see a dog's pattern as they're walking, what did we have it? We had 1234 right? We can often see the ticks of the of the nails coming forward when a catwalks right? 1234 And maybe we'll put a one off. Decide there's no extra ticks. It just is the print and stuff, right, because those those claws are retracted. So if we're gonna draw the same thing, we had come down to the to what I call like the ankle or wrist or something like that down into here and then out into the different units or digits, right? Okay. And then you can start to add in, you know the details of it. You can add this. These different parts into it, come up here, have this part, and then it comes up and make sure you give it some weight. Like if it's grounded or something like that. You can give it a bit of weight there and stuff wherever it's pressing down, and it can come something like this right, comes up like that so you can give even more volume on the top if you want. What I like to do is really kind of bump it out a lot more, giving a lot of volume on the top because, you know, even though we're looking at the bones, we know there is meat. But with animals, it's not just the meat. You know, the meat and muscles and tendons and ligaments that Aaron in the the claws and paws and all that it's the for that's often on it. And so that for really gives it this extra volume that you've got account for. When you're when you're adding in, you add in a lot of extra volume, right, so you can add all that extra volume into it and give it some thickness and stuff as it comes down cool. So once again, you could draw it from different angles. What? What I like to do is basically, you know, do the same thing here from the front. Um, you could divide it up and stuff, but then you put the slits for the various retractable claws, right and have a go up and come. Um, if you want to, you can get more detailed into it. Like if I want to zoom in a little bit here and start to really kind of rough it out. You know, I can put this slit in here, Start toe. You know, add the hair in and kind of detail ing a little bit more of these individual to hose, you know, kind of coming in here and stuff. You can see the split where that where that nails gonna come in. Right? And it's like I said it. It's good to add that extra volume when it comes to the the for right. So this could come up and kind of come up this way and depending where the hairs hanging and stuff. And you can add that that extra digit sometimes depending on the species, its location and stuff. It might be something along those lines, right? For that extra grip. So hopefully that helps you a little bit with claws, right? I don't want to do it from any other angle. I don't know. I think you kind of got it now. Right? Ah, One thing I would like to add, though, is like, let's say it's grabbing onto something so you can have your Paul here, right? And uh, your digits coming out, right? And then that did you coming off the side here, and Kate comes up. Anyways, what I want to show here is that when the claws air not retracted, how they can come out and grip into whatever it is that the the cats grabbing into and stuff, right. Okay, so they're They're usually he's kind of very sharp, thinner, um, nails to it and stuff. Right. So you can come in here and detail it up a little bit and see I'll start on the bottom. Here. You have this split, right? With the hair adding hair for volume for I guess him coming here. And then we're gonna have this on that side. Um, let's see him. Maybe state constant here, come from this side. Come down. Usually, I like to draw these thin, you know? So it has imagined there scratching a surface here or something. Right. Okay, so this one's gonna come in like this, come in touching there, and then, you know, having that split of where it retracted from and comes out of right. You can have that split on the digit. Here we go. And there's are grasping cloth. Yeah, that'll work. I think that works pretty well. Okay, so we went on down, we're gonna talk about Talyn's a little bit. And, you know, when we're talking about grasping and stuff, right? Thes look, purpose built. Um, yeah. Okay, so we've got a thin leg coming in tow. What could easily be described as an ankle, And then what we're gonna look for is a Siris of joints, almost like knuckle joints. Ah, that kind of Sproat off of that. It usually imagine say, it's ah, three going forward, right? We've got this. We've got three going forward off the knuckle joints. And then we've got one in the rear that's going back home came then. We've got another knuckle joint midway, and then what I like to do is at the end, I kind of think of it as another knuckle on stuff. It's it's really not. But it's where the talents it's, and it's often has this bulge to it, and so the clause can come out of there and stuff. So let's see if we can kind of draw this. So what I would like Teoh show you is they will draw this as one, 23 Right. And if I kind of zoom in a little bit, we can have kind of, Ah, big bulge here, a bulge here and then a bulge here as it goes up into the whatever foot it's gonna be. Alright, there we go. And we can have the huge nail coming out of there so you can have your wrinkles. You can have your folds. Make sure you kind of put the folds around the nail coming out. It gives, you know instead of just like, uh uh, you know, that looks while as I drew it looks pretty ridiculous, but it looks really artificial and stuff, right. So you want to have your texture, your folds, all that kind of stuff as they lead up here. And then, you know, the stretch as it stretches back into the Maybe this is bottom section, and then it hooks down something like that. Does that make sense? Okay, lets see if we start toe Ben, things move things a little bit. Ah, from underneath. I wanted to show you a little bit that, you know, just like humans. We the the front of her hand is a little bit or the back of our hand is a little bit different in the palm. So you can kind of imagine that maybe the texture ring changes on some of these birds. Talents and stuff. I got that. It's almost ah, slightly. I don't want to say softer, because if you've ever had a ah bird kind of sit on you, um, soft would not be the work. You know, if you've got your arm out or something like that. But it's more imagine that you know, these air designed to bend in this way, right? So the skin folds Fold this way quite a lot, right? It's maybe on this picture it doesn't kind of do it justice. But you can use these kind of circumference folds to show how this would really come in and fold around, wrap around whatever it is, whether it's pray, whether it's a branch, depending on the bird or whatever, Right. And then, you know, the the claw could do that extra wrap around and stuff, right? So you would have your knuckle here, your knuckle here and you start to draw it in that way. Cool. And then looking at the top of it here. What I wanted to show was this cool texture ring. You know, sometimes when you're when you're drawing these different types of of feet, limbs, whatever and stuff you want to add to it by giving it that that realistic texture. Right? So we talked about the bottom. How the bottom doesn't have, you know, it's it's made for kind of bending inward, right? And so this outward exterior, you could see how these these cracks might allow for some flexibility for to bend out this way. We can't imagine them. These almost looked semi armored at certain points here, and so we can't really imagine them bending inward this way or anything like that. They would extend fold over. And yeah, the one thing I think of note here is you know, when you're, uh, dealing with talents and stuff like that is that you can almost I want to say enemy to hype , you know, use as a cartoon base. Ah, hyperextension. You know, as if it's coming in toe land, you know, you could ruffle the skeleton that this this foot is is swooping in, and it's got this hyper flow to it. right, It's It's about ready to wrap. And then when it hits when it hits, that's when you get that full wraparound, right? It it hits whatever target it wanted to. And these all these claws both from the back one here, right in the front ones. They they fully wrap around that poor little mouse here, I'll put little eyes in there for you. Okay, so, yeah, get the flow and function of the talents there and add a bit of texture to them. And I think he really got something going on there. And the last one we're gonna look at is safe again. Zuman properly Hopes, um, you know, whether it's a horse a minute or whatever it is, you're gonna find that, uh, you're you might want to learn to draw hopes and I find them super easy. Of course, we've got you know, the one towed 234 and everything like that. So they get a little bit more complex. What I like to do is start with this one toke, right? And just basically, I rough this section. So it's just like this. This and this from the side from the front, maybe even just a swooping down and coming up into something like that, Right? So you can think of it. Um, almost like a base of, ah, like a plant planter or something like that, Right? It just has this nice. It's usually wider circumference down towards the front, especially right. It's plays out a little bit and then narrower as it starts to climb its way up and we can see how we've got. Once again, we've got this coming down to what would be the hell that we're used to. But it's not. It comes comes further down, and then we've got this structure. So see if this looks familiar, right? It looks a lot like some of the animals that we were looking at previously room um, you know, and then we can start to divide so we can come, you know, come down here, come around and then divide for to tote. There can be different splits of it. This looks like a camel's toe. Right. Uh, I was gonna say no jokes there, but I guess you can't talk to me, right, But yeah, you can have different splits. Just a minor split, right and kind of go up that away Or it can be like, really like this is actually to toad, right? So this this step here is maybe that halfway in between getting into larger ones, we've still got joints, joints and then splaying out here, right? And then you can treat them all as individual ones. That's what I like to do, is is think of it. Here's one. Here's a 2nd 1 Here's the 3rd 1 and they come up to this base and then come up right and you can add the toenails and that kind of thing. And you know, eventually, once we start to get to these four, and I guess if you're going fantasy mawr, right, it almost looks like a base of a tree trunk. Right? And you can pick the one that is either angled or better and view to you. And then you can, you know, start toe, rough it in a little bit that away or something like that. Put in the toenails, give a little manicure whatever you need to do. Um, of course, you know what's important. Looking at the texture in here, we can see a lot of awesome texture in on these different animals, but, uh, that's gonna get a little bit more species specific. And that's not what I want to talk about. What I really wanted to focus on today were feet, paws, claws, talons and hoops. Okay, so I hope after looking through this unit, it it helps you a little bit in trying to construct them. If you've ever studied hands and feet and listen. I know, I know. A lot of people put them off, right? It's like, No, I don't want Teoh. I'll hide them. I guess you could hide all your creatures Animals pause in snow or mud or puddles or something like, but you don't want to because, you know ah, claw grasping on to something, Whatever has a lot of power. An animal lunging at you. These claws lunging at you really conveys a lot, right? So you want to practice that you want to practice being able to rough in the paw, rough it in in a circle way to realize that you know, the these digits are gonna be splayed to realize that the the the claws themselves, they're gonna be coming out at you a little bit and stuff I get right and then to start drawing it all in. Okay, um, texture ring is part of it, but I want you to understand the tech chewing more so in how it relates to how the how it functions. For example, like if there's a little bit of armor on one side, the armor will often restrict or block the folding. Right. Okay. So yeah, I hope this saw paws, claws, talons and hoops unit. I can I still cut no melody on that? No, no flow. I keep thinking of, like, lions and tigers and bears. Oh, my. Right. But it's not working for me anyways. I hope this unit was helpful for you. And yeah, if you have any requests, make sure you send in my way, way. 16. Warm up circles: Hey, what's up, guys? Ed here with how to draw comics, not net. This is just another little quick tutorial for you. Um, something to help you warm up? Actually, Yeah. I would even call it a tutorial. This is just what I do to warm up. And I thought it might be helpful for you. Sometimes what I do is I just got a piece of paper sitting in front of me, and I just start drawn a circle and then another circle and then mawr some little ones and some big ones. Right. Um you know, I think I picked this up in ah, in school in high school when I should have been listening to a lesson. I was sitting there doing along right, and that's OK. That's what it should be. Uh, well, for me, at least, because that's the path I wanted to take, right. The rescue kids stay in school. Anyways, um, what I got was this pattern of circles, right? And, you know, sometimes you start off and you're like, Whoa, hold on. This this wasn't really a circle. And then I start to just keep going over and over and over. It until I get that pattern in my head and what this is doing for me and what it will do for you to is start to reinforce those patterns. It will be pattern recognition, training the muscle memory to work yourself in a certain way. Right. Okay. So if you do this for, like a minute or two before you get into your drawing session, it might help a little bit. What I also do after I've done this Sometimes, you know, I do little circles inside of bigger circles and stuff, sometimes even bigger ones rep. Depends. I really do. You usually don't do this digitally. I do it on a scrap piece of paper next to me. But for the video tutorial here, I wanted to show you what it would be elected to do it digitally in front of you. Okay. Something else that I try to do is work with circumference lines. I got a few examples here that might help a little bit. Right. Okay. So what you can do is you guys know what a circumference line is ready to go wrap itself around the object, right? So what I try to think of is not just circles. Oops, sorry. Wrong earlier. Not just circles, but I try to think of spheres, right. So, Aiken, bisect this fear this way. And if I'm gonna keep doing it that way, what I might want to do is start to turn that sphere. You know, this fear is starting to look this way now a little bit, right? And so I can do that even more so and turn this fear even more. Okay, you can see on these guys already. They've done that. They have the entire sphere here, right? Okay. And instead of bisecting it straight down the middle and middle this way, as this one's done, this one's bisected the middle this way when we can do it this way to through the middle. Um, they've already started to turn it and not just turn it, but you can see through the sphere. Right? So if I was to do that again, I could see through this field here, and then it would, you know, on the other side of this fear would be the follow up line, right? And if I did it again here I come through this fear and do it again on the other side. Right? And that's what we see going on here. This line, you know, which one will it coincide with? Right. Okay, we start wrapping it around wrapping these around the sphere. Um, no. We can also do it on the horizontal plane. Right? Wrapping them this way. Notice how they start from the top of the sphere and wrap around. So you drawing a whole bunch of spheres here, My eyes will practice cutting them a little bit. Right? And why would you do this? Well, maybe eventually you want to start drawing something like an eyeball, and that eyeball starts to move and the eyeball starts to shift. Right? That type of thing is it's shifting towards looking to the side, giving you a side eye, right? Anyways, um, it's getting a little too technical there. That's not what I want to do. What I want to do is just show you that this is a nice, easy warm up that can start to start simple, rather, and then start to get a little bit more complex if you really want to get a little bit more technical on it, right? Okay. How fun. I hope you guys are enjoying drawing circles 17. Warm Up Lines n Dots: Hey, what's up, guys? Head here. And I've got a little tutorial for you, Actually. Can't even say it's a tutorial. This is just kind of what I do for warming up, right? Ah, specifically if I'm trying to warm up towards doing something, like perspective work or something. Okay. So what I do is I usually do this on actual paper. I don't do this digitally. Eso bear with me a little bit, but I take my paper and I make a bunch of dots everywhere, right? Just randomly putting dots wherever I feel like it on the paper. Some close together some way out there, right? And then after I've kind of filled my page with a bunch of dots here. What I do is I start to draw lines, kind of old school, connect the dots, take nothing, right? I'm not gonna zoom it or anything like that. I want to keep the distance, or rather, the sizing correct on this. Okay. So that the distance changes now, I might start off with some short lines. Relatively short. Right on. What I'm trying to do is just look at where my pen or pencil is starting and look at where I want it to go. That I move on to medium ones. I try not to. I'm gonna rotate cause usually got paper in front of me here. Right. See, I missed that. It doesn't matter if I miss. All I want is one stroke. I don't I do not want to, like course correct or something. That's not what I'm doing. What I'm doing is one stroke where I'm going one stroke where I'm going get a little bit longer. One stroke where I'm going, one stroke where I'm going, Okay. And then I start to get longer strokes. See if I can hit that from further away. I might have toe kind of plot it out a little bit, right with my hand. I, uh, line it up, and then I in for it. Now, they're not gonna be always perfect. But what this does after a while is help with hand eye coordination, right? Get training my brain to be able to do some street lines. Like I said, uh, usually I do this. Did you lead to start off with? All right, So what? Traditionally, rather So this is a little strange for me doing it on the tablet here, but actually, now I think about it. Probably good practice for me to do it too well, miss that one. But again, don't worry about it so much. Just keep working often times what I'll do is I'll do this while I'm talking or doing something else so that it's not 100% the focus of my brain. What I'm doing is just just letting my eye in my hand kind of start to coordinate with each other. Let's see if I move myself around a little bit. Here we go. Okay, So if you're, for example, if you're wanting toe rough in some perspective lines or something, this is one way to do it, to get yourself in tune with, not perfection. But you want relatively being able to do straight lines. One thing that's gonna help with this, though depending on the size of line, is drawing from your wrist versus from your elbow, right. You draw it from your elbow, you're gonna have the bigger capacity to hit those longer lines right from there. If you draw with your wrist, you're always gonna have this slight curving effect from the elbow. When it goes longer, you can get that straight line for short distances. You know, I find the wrist is good enough, but as soon as it gets past that medium length, I've got to bring my elbow when to play. So trying this line here, Okay, let's I hope that this some. Like I said, it's not a tutorial. I hope that this little warm up practice does have some good. I hope that it kind of helps you train your mind and your muscles into doing what they're supposed to do, right? That's it. Keep practicing.