How To Draw BASICS For Kids | Ed Foychuk | Skillshare

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How To Draw BASICS For Kids

teacher avatar Ed Foychuk, Making Learning Simple

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

14 Lessons (2h 38m)
    • 1. Basics Intro

      1:18
    • 2. Basics Supplies

      7:35
    • 3. Drawing Shapes Part1

      10:35
    • 4. Warm Up Lines

      1:18
    • 5. Drawing Shapes Part2

      11:55
    • 6. Shading

      17:32
    • 7. Drawing Names

      17:54
    • 8. Warm Up Circles

      1:31
    • 9. Basics Drawing The Stickman

      20:03
    • 10. Breaking the Stickman

      12:28
    • 11. Line of Action

      17:57
    • 12. Drawing Still life

      16:13
    • 13. Warm Up Shading

      1:20
    • 14. Using the Grid

      19:53
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About This Class

Welcome to How To Draw Basics for KIDS!!

This course is designed to take young and new learners through some of the basics of drawing. We start of talking about equipment, but quickly move into drawing. The units start of easy focus on basic skills, shapes, patterns, and warm ups, and then slowly progress into more in-depth topics.

This course is a prerequisite for the other courses in the How To Draw for KIDS series.

You'll note that the instructors are a parent/child team, so this course is definitely designed for kids in mind - that includes tempo, material, and language. At over 2 1/2 hours, this course is perfect for new artists. 

So join us as we bring these new learners into a new level of enjoyment in their drawing passion.

  • This course is primarily designed for learners from 7-12, but may be enjoyed by all who are interested.

Meet Your Teacher

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Ed Foychuk

Making Learning Simple

Teacher

 

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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Transcripts

1. Basics Intro: Hey, guys. I'm Ed and jelly and I'm the father. And this is how to draw basics for kids like, Yeah, that's a kid. Okay, so in this course, we're gonna cover very basic techniques. Everything from supplies. Like what? To use all the way to how to practice pen strokes and all that. Anything else shapes. Six figures. Yeah. We're even gonna go back to basics with a stick man and stuff, right? And learn how to pose it and use articulation on it. I know these words seem kind of big, but they're gonna make sense once you get into this course. Okay, So this is the beginner's course. This is the one you need to go on, right? Start with this one, and then you can go on to all the others after that. But you need to do this one first. This one will really set the foundation for your drawing skills. It will. Right? Okay. You ready to get to this? Yes. Let's get on it 2. Basics Supplies: Hey guys, I'm Ed, and this is jelly. And this is the first unit of how to draw for kids, right? And in this unit, what are we going to talk about? Supplies? Cool. Basically what we need or what rather what you need for this course, right? Okay, so what's the first thing you absolutely need for this course? A piece of paper. That's right. We need something to draw on. All right. Let me see. Okay. So you don't need a special sketchbook. It's nice to have and everything, right? But basically this printer paper, yeah, just simple printer paper, right? Try not to use the stuff with lines all over it. It might mess you around a little bit. Just something simple, something blank, and you're good to go. Okay. What's next? That's right. Is that a special pencil? I found it on my desk. Okay. Now, listen, when it comes to pencils, there's different types, not just brands and everything, right? But the actual grading of the pencil means kind of the lead, how how tough it is, right? And so a medium grade pencil would be an HB and that's my favorite. And check their pencil. What kind of HP? There you go. That's what we usually use. You can get softer lead that are more like charcoal or something. They'll be they'll seem darker and stuff. And some firmer ones, right? That will be more for sketching, right? It depends. Whatever you've got lying around I think is good enough for you. So you can use just a normal pencil or a pen. You can use just a normal pen that's lying around. What's the problem with using a pen? You can't erase. Yeah. Don't worry about it. We don't do a lot of erasing in this course, right? I like to teach that the mistakes that we're making, we just kind of work with them and stuff, right? Work through them. But yeah, I get it. You might want to erase some stuff. So reconsider this pen. If you want to have any eraser, we didn't use it as one of the requirements for this course. I think on the back of the pencil, you can use it there, right? Yeah. But it's not needed. Okay. So don't stress about it. If this is all you've got, this is called a US. Okay, so that's what's needed, right? Is pen, paper, pencil. That's it right. Now. Here's some extra stuff that we sometimes use around around our house and stuff. What else you got there? Cool. Show what what's what's a brush pen? No, I mean, like you gotta take it up and show that it's actually like it's got a brush tip. This is kinda cool. It's like an ink brush, like Chinese or calligraphy, but that's what I'm trying to think of it basically like a small paintbrush or something like that. And that means it can be kinda tough, right? You can really mess up with it. You gotta have the strong pattern down its drive for smudges more at leaves, a lot of ink on the paper and stuff I got right. So I would say kind of hold off on, on, you know, if you're going to move from pens to brush pens and stuff I get, try to stick with a pencil. But if you're feeling brave and if you've got it around, yeah, you can use it, right? What else you got here? Cool. Oh, interesting. Color selection. You've got your own or have gray and primary colors, right? Right, right. What's the brand? This is touched yet. Okay. So when it comes to markers, the ones that we've got here, whether it's the touch ones or the Copic brand. They're a little expensive. They're alcohol-based, so they blend, you can kinda smudge them over each other and they can kind of blend into each other. The typical markers that you get at Walmart or something, they don't do that. We are not going to be focusing on coloring in this course. This is how to draw, how to draw for kids, right? So we're going to be focusing on drawing. But listen, I love coloring. So I get it. I get it. If you want to color some of your stuff, I what I wanna do is show you what we have kicking around our RStudio here, right? Okay, so that's it for traditional stuff. But in this course we're actually, the two of us are going to be working digitally. The reason we're doing that is because it's easier for us to capture what we're doing and send it to you. We're doing this screen capture of stuff, right? So that for us teaching, we can kind of grab that screen and just BAM, recorded easy, right? Yeah. So what are you going to be working on? That's pretty big. Bigger than my head. That's a pretty big sorry. Anyways, iPad Pros, pretty awesome. And if you get it, you should get the Apple pencil with it. Now, maybe Christmas is coming up. Maybe Santa is coming by your house and maybe this is a request. But as a parent, I wouldn't eat it or anything. They're not cheap, right? But they're kinda awesome. You're working on the iPad. The iPad is just a device, right? You need apps, you need programs on and so forth. What are you going to be using? And what do you think of Procreate? It's very easy to take some time, but you should get it pretty quickly. Yeah, some of these programs or they got a little bit of a learning curve to them. They're a little bit tough. They're not like paint by numbers. Some of them, it'll take you a little bit. I like Sketchbook Pro and Clip Studio Paint, but it gets tough, right? I think Procreate is the easiest to just dive into. So we're not telling you to buy this. But if you happen to have an iPad kicking around the house with a stylus or, or pencil or whatever. Grab it and play with it. You can, whether it be your sketching on that piece of paper or whether you're sketching on this, it doesn't really matter. I just want to show you what we're using. So Joe, he's going to be using this and I'm going to be using, Let's see if I can kind of bend here. This this big tablet sitting behind me here, That's called a Wacom Cintiq. And it's huge. And it's awesome. And I got this cool pencil with stylus with it, right? And that's what I'm using. And it is also very expensive and that's why she's not using it. Yeah. They cost a lot, right. These tablets are very, very expensive. And so again, as a parent, I'm not telling you to go ask your parents to buy this, you don't need it. But I wanted to be honest with what we're using here. Okay, so that's what we're using to help teach you guys. But we're not going to be using any digital tricks or anything like that. The stuff that we're teaching, you can use it for just our basic supplies. And what are our basic supplies again? A pen, paper, and pencil. Right? That's it. That's all you need. Okay? But if Santa's good to you, It's all good. Okay. You already get rolling on this. Yeah, let's do it. 3. Drawing Shapes Part1: Okay, We're back with another unit for how to draw basics course here. Are you ready to roll on this? Yeah, definitely. Do you know what we're drawing today? No idea. Okay. We've already kinda covered ovals and spheres and circles, and we talked about how to make them into 3D. We're going to go away from our circles and go into drawing some basic shapes. And you're going to help me with this because your vocabularies way better than mine when it comes to these basic shapes and stoichiometry, right Exactly. I haven't studied geometry in awhile. Okay? So what we can start with here, and this is going to be really simple, is, let's see, I'm going to draw a square. A square has four sides, right? And maybe my square is not going to be pretty to start with. But, you know, I can draw small squares with Ellen got squished, right? And I'm just going to, this is, you know, I'm just sketching, right. I'm just using very light lines to rough it out. And then if I draw a rough square, you know, all kinda come in, See if I can darken what I would think is the horizontal line, the vertical line, and a horizontal line. So why don't you give that a try a little bit and draw a few squares. They don't have to be really dark to start with or anything like that, right? You just kinda sketching them outright. Sketch out a few squares around. And then when you, when it starts to look more like a square, if you're roughing the lines a little bit, you want to start to darken them in and make it look like it's like yeah, I meant to do that. I meant to have that looking the way it is. And when you start to darken those lines, you know, you've got a lot of rough sketchy lines making your square and stuff like that. But when you start to darken the lines in those, those rough, sketchy ones in the back. Kinda they fade away, right? And people, the eye is drawn away from them. People ignore them and stuff like that. And you just end up looking at the square, right? Yeah. Okay. So we're drawn a few here. Looks good. And it scared of making them into rectangles. You don't want, don't be scared. Let's do it. Let's make some rectangles. Okay? So we're going to, you know, what's, what's the difference between a rectangle and a square? Each? I don't know. Oh, come on. I tried to explain it. I don't know. And right. Sides are the same but the other sides are different lengths. Something similar to that. You could do better on that explanation, but that's pretty much it. You know, we've got with the square root, we've got four equal sides is the way we usually define it as a rectangle. We'll have two of the sides, two of the parallel sides, longer than two of the other parallel sides and stuff, right? So you can lay the rectangle down, you get standard up. My sheet is starting to look a little bit like a Tetris or some some game, right? Yeah, my com, this is where, notice how I said the word parallel. Parallel means running side-by-side, ready, running along each other, right? That they're both heading in the same direction, right? Because if we start to change it now, and this is where your geometry might come in a little bit. What if one side is long and the other side isn't as long? You know, all of a sudden I start to get this different shape, right? And we'll type called trapezoid. A trapezoid That's right there. Okay, so when the two parallel lines aren't equal lengths, this one this long, and this one down here is this long. Then these other ones start to, they don't get to run parallel anymore. They're, they're shooting off into different directions from stuff, right? I don't wanna get into trapezoids yet. I want us to stick to squares and rectangles and rectangles. Okay? Okay, so you should be practicing them, filling up a little bit of your paper with all these squares and rectangles and stuff I got, they could be really thin if you want. However you wanna do it right? Part of just getting good at this is doing it again and again and again. Practice makes better than what it was. Yeah. You've avoided the old phrase of practice makes perfect, right? That's okay. It doesn't make it perfect obviously, but it will make it better than what you were attempting before, right? Like I said, Exactly. I knew there was a reason I kept you around. Don't take offense. Okay. So we've got some squares and rectangles. One, we head into triangles. Triangles instead of, instead of four sides, try three. We're going to do three sides. Now you can make them kinda taller. You know, of course we're going to think of pyramids, but pyramids are, or the 3D version of a triangle. We're not getting into that yet, right? So for now, we're just going to do these basic triangles, okay? Just start to fill up your sheet a little bit. You can start with the base if you want, and go up and then kind of intersected and then, you know. Your your final or the darker line in there. You could do it that way. I usually come down for some reason and then draw my base. I don't think there's a right way. Everybody's brain works a little bit differently and stuff. So whichever way you want to go, how do you make a triangle? Usually, you start from the top, start from a base. What do you know I saw? It varies from each and everyone that sometimes I start from the side and sometimes I served for the basis. Sometimes I start from the top right, right. It doesn't have to be. Sometimes your brain is interesting, it, it'll just do what it wants to do, right? Oh, I've heard from the side. Oh, really? Yeah. So like when I dry, I go this instead of starting at the base or interesting, so for this one. So basically your brain wants to go left to right. Like I read. Yeah, yeah. And that's okay. You know, everybody like I said, everybody's kinda got the wrong way that the brain enjoys functioning and stuff I get you don't have to fight it, I don't think. But sometimes you know what, It's good to kind of branch out. So if you're always going 123, why don't you try the other way, 1, 2, 3, and see how it works for you. You know, I mean, yeah, it's good. It's almost like a sport when you think of like shooting a basketball certain way, you'll always have your good shot, right? You're good pattern or whatever it is. But if the more you try to flex and move around that pattern, the stronger you'll be as an artist for him. Okay, so draw a bunch of triangles. You realize that we're drawing like three different types of triangles like this geometry. All right, yeah, I saw it. Well, you kind of did this horizontal and vertical line and then you connect to them. I was watching this training that's escaping. Okay, Listen, I do appreciate how much you're studying this in school. But if we use too much of that, it's going to hurt my brain. If you look at my screen, I will draw the three types of try. Okay, let's see it here is the equilateral, which means all three sides are equal. Yep, Good, Good. We have the isosceles, which means two of them are equal. So like two of them are longer? Yeah. Ceiling would probably just be like each of them are different size. Okay. Oh, each one's a different size. Which ones are different length, right? Yeah. Yeah. Okay, That's cool. Thank you for the geometry lesson. It's been a few decades since I studied that. Okay, pretty good. We've got squares, rectangles, triangles, those are some basic shapes. We want to do a few more trapezoids and that, you know what, why don't we just throw in some irregular ones. You know, everything from a pentagon, octagon, whatever, you could just start making funny little shapes. You know, they can all be irregular. You can put five sides. You could try to put 1, 2, 3, 4, 5, 6, six sides. Try to put eight. So that's going to be hard for you. No, I usually try it once like 1, 2, 3, 4, 5, 6, 7, 8. Oh, that's kinda ugly. And obviously, once we start doing that even more, eventually it kinda gets almost all volitional looking at there'll be enough sides to it that it almost gets into this kind of for round shape, right? Like enough sides to it. And you end up having a circle or a curved circle just like continuous side. Pretty much. That's eventually what we get into. So we're not going to go that far into it. But why don't we try a few of those irregular links and stuff like that. Practicing them out and see how, how they might work. You could actually, what's the sheep were, even though they're parallel on the same length, they're offset. So you can have it like that acts like a rhombus or something. Again, you you're the one in I think it's either a rhombus are parallel. Now. No, No. Okay, but I think the more we practice this type of thing, the more we're just trying to flex. And that's really what this exercise is about, is just listen, I know you know what a square is. I know you've seen rectangles before. I'm not going to teach you these things, right? A lot of what we're doing here is just training the brain to connect with the hand, to connect to the pencil, to connect to the paper, to get these patterns down. Okay? So really what I want you to do for the next, however, minutes at the end of this lesson, and the end is right now, at the end of this unit is I want you to fill up this page of different shapes. Okay? So just run through it, fill up the entire page. You could drum bay, you can draw them small, you could draw them attached. It doesn't really matter. But I want you to start or just finish off this page rather of shapes. Okay, so that's the assignment. Are you ready? No, I know you're all my homework, but anyways, get to it and I'll catch you in the next unit. 4. Warm Up Lines: Hey guys, it's Joey and I'm here to teach you a little bit of a warm. So let's start with dots. Right now. I'm just drawing some dots on a page. They can be closer or farther away from each other. All are doing is practicing hand-eye coordination. We can do this before and after drawing the solution or purest. Okay? So now we're going to start drawing lines to them. This helps you keep a straight line. I usually, I'm not that good at keeping the straight line, but this does really help us practice. It doesn't matter if you mess up. This is just helping you get better each time. So you'd notice improvement each time you do it. I recommend doing this exercise each time you start drawing. It really does help with the drawing straight lines. So just do this a little bit before you start drawing and had fun. 5. Drawing Shapes Part2: Okay, We're back. And in our previous unit we were discussing how to draw shapes, right? Yeah. And I like I said, I know anybody from elementary school on up has already drawn shapes you're used to home. You probably cut them out and craft class or whatever? Class. Yeah, whatever. And I'm not here to teach you guys shapes. We're here in part to kinda train our brains and stuff like that of how to draw some of this stuff. This one though, is going to be teaching. Because just like with our circles and how do we turn them into 3D? What we call partly, right? Thank you for guessing here. Listen, a 3D circle is what? Oh, my goodness, you're failing already. It's a sphere. Yeah. But you know what, I'm guessing every student is listening right now, is probably answering the same way you are there, like here's that pause, right? Yeah, a 3D circle is a sphere, okay? And we did squares in the last one and rectangles and stuff like that. But how do we make a square 3D perspective? Yes, it's perspective, but we're not going to get fully into perspective. We're going to take some, a little bit of an easy stab at this right now. Okay? So what I want you to do is, if you remember, we were already talking about these lines, right? This is a vertical line. A vertical line is one that goes up and down, right? On a horizontal line is one that goes kinda side to side. Yeah. Okay. So I want you to make a vertical line, a horizontal line, a vertical line, and a horizontal line. And what does that make for us? I square a square. Can you do that for me? Yes, I can. Vertical, horizontal, vertical, horizontal. That's a good enough squared. And listen, students that are following along with us. I hope you're either pausing when we're doing this, you can pause at the end of whenever I'm talking, which is rare, but, you know, or basically when Joey is here when she's doing her work and that's what I'm hoping you're doing yours as well. Okay. So when you're working, you're drawing on your screen, the students at home should be following along and doing theirs. They can pause it if they want or they can try to keep pace with you. I think you're pretty fast, so they're welcome to pause. But either way, we've got a square in front of us now using vertical line or a horizontal line, a vertical line and another horizontal line, right? And if we want to, we can go in and make it a little bit prettier, right? We can come in and kinda darken the lines up, make it somewhat prettier, and make it more of a squared. Okay, so we know we've got vertical lines and horizontal lines, but what do we call these lines that are neither vertical or horizontal? Yes. Go ahead. Yeah. Right diagonal. It's a lot of you guys have already done this, right? And right now this is I'm trying to think of the degrees. This is this is probably about 45 degrees or something like that, right? Okay. Yeah. So what I want you to do is I want you to have, let's say, three squares in a row here. Okay? Three squares in a row using your horizontal and vertical lines. And then from three of these corners, I want you to draw 45 degree lines coming off of them, okay? So you're going to grab the three corners here and draw approximately a 45-degree. Now listen, if you've got a ruler, what you can do is just kinda like, you know, put your ruler on this angle here. You're going to have this little ruler, right? Keep it on that same angle, 45 degree angle and slide. And then slot, slide it over and then slide it over some more. And it will stay in that same 45 degree angle. You're just using your hand and slide, slide, slide, right? If not, I think you guys are probably at a point where you can draw. Just draw it so that they kinda match up and stuff, right? Okay, so we've got these 45 degree angles and you can kinda see what's happening right now is that if we look at this, it just looks like it's kinda stretching off into the distance right? Now. Just like we have a horizontal line here, remember horizontal, straight up and down. I want you to draw horizontal, following it, following it. That's matching this one. Okay. Like it's really critical. Oh, sorry, vertical. I miss my stoma. Yep. You're exactly right. Thanks for the correction. Yeah. So you're gonna have this vertical line and then this matching vertical line from, so from this point here down to this point down to this line, okay? Perfect. Okay. And then just like we have now were horizontal, just like we have this horizontal line from here over, this is going to be a horizontal line. Be careful because I know what a lot of people want to do is they kinda just go like this and then go like this. This is not a vertical line, this is not a A horizontal line, you're, you're missing it. You want to follow your vertical line here. You want to follow the same pathway. It's going straight up and down this way, okay? And just like on this one, you want to follow this horizontal. You want to follow this over. Okay? So now that you've got your horizontal and vertical line, you could start to darken the connecting lines between them. Darken it up. And what do we have? What's this called? Q cube? That's right, we've given some, a bit of 3D form to this 2D shape, right? And we've made it into a QC. Now it's not a perfect cube. There's some issues that I'm going to teach you right now, but this will be a nice basic start. Okay, so if we come down when we moved to a new part of the paper, write and listen. If you're going on to new sheets of paper and stuff, that's okay. You know, I think it's great to tear through paper. Use cheap paper though. You don't have to use art to paper. It doesn't have to be official $5 sheet art paper or anything like that. It could just be photocopy paper or whatever and stuff. Right. It's it's perfect. Okay. So don't don't worry about tearing through some of this paper and stuff. Don't use your, you know, your good paper for this kinda sketch work and stuff. I get you some nice loose sheets or whatever and just draw the shapes on them. Okay, So down below we're going to draw this rectangle. Could you draw a rectangle for me? It's like on your throwaway paper here, on your cheek paper. Work. Rotating my whole body to rotate the paper sometimes, right? You don't just move your paper around to rotate it in front of you. Sometimes we get kinda convoluted and we twist our bodies up sitting over the sheet and stuff like that. If you've got a piece of paper in front of you, turn it, turn it so that it flows with your arm and hand a little bit better. Also, a good piece of advice is don't draw it. Because then your whole line will be flatter like you're looking at your surface. So if you're right on top of your paper, the better, right? I have messed up. Right? You know, like you've really got to if it starts to angle, it will get warped and stuff, right? Don't worry about that right now though. We're just working on rectangles and stuff I go, but what this rectangle, we're gonna do that exact same thing. We already have our, our, you know, our horizontal line. We've got our vertical line here, right? The horizontal is the one running like this and The vertical one is the one running straight up and down, right? But now I want you to do the same thing. Put that 45-degree, put that 45-degree ish lines going off into the distance a little bit. And then we've got our horizontal line here, draw a horizontal line here. And then we've got our vertical line here from this where it connects to the line, draw a vertical line down, right, and that federal intersect there. There we go. So what I've got here almost if I was to draw some, some kind of detail in here, starting to look a bit like a book, right? I didn't mean to do that. I'm like, I make an actual book. Right now. It kinda looks like a book, right? And that's how we just turned a 2D rectangle into something that looks a little bit like a book, right? All I did was draw basically the rectangle, the lines going off into the distance, the other horizontal, the other vertical. And then I start to add the details of what a book might look like. The page is going this way or something like that, right? The binding of the book, the roundness on the end. And now we just made a book. Yeah. And I didn't even mean to make a book like it was that easy once you start to get into these shapes, turning them into turning them into something gets so much easier, right? Yeah. In later courses we'll get turning them into cars, Hey, shit, spaceships, tanks, whatever you know, like. But you've gotta get this down first. Okay, so what I really wanted to do is for the rest of the sheet, you can see I've got the rough shapes up there. I want you to try to practice this. One thing you can do though, is if you're drawing the squares, right? What I would do is draw just a bunch of squares on my paper like this. Okay. Yeah. Maybe you like Rosa, them, right. Depending on how much room you got, how much time you've got to practice. The first ones you could do this 45-degree and just keep practicing the horizontal and vertical type of thing, right? But what about switching it? What about putting the 45-degree off this way? Off to the left instead? Yeah. Do the horizontal, right. Follow that horizontal, followed up vertical, right. What if you change it and it's no longer 45-degree, but it's more like 25 degrees. It comes off to the side here. Kinda like this, right? Yeah. That's where it gets kinda weird looking, right? It's going to look a little bit to switch. You still follow the basic rules of this is horizontal. This is vertical, and then it comes like that, right? Okay. So you can play around for now. What I want is all of your parallel lines or all of your diagonal lines will stay parallel rather. So all of these diagonal, D equals p, diagonal equals parallel, I want them to match up to each other. Okay? So if they're going on this 45-degree and they're kind of going off on this angle. I want them all to go off on this type of angle. Okay? If they're going to go off on this more like 60 degrees, something like this. Then they should all follow this type of angle. I want them all to follow this direction here. Okay? And then you can box it out and do it that way. Okay? So just make sure that for right now are kind of parallel lines are all following each other, whether they're horizontal, vertical, or diagonal. And now, fill up your sheet, fill up that piece of paper. What I want you to do, you can, you know, this is the end of the unit for this one. But I want you going off on your own and spending another five minutes or so, just filling up your sheep practicing this and listen, they're gonna look ugly at a certain point. That's okay, but just keep at it. It'll get there. Good luck. 6. Shading: Okay guys, we're back and in this unit, we're going to study shading. I need more enthusiasm from my students. Anyways, what I want you to do is have a blank piece of paper in front of you right now. And I want you to draw eight cubes, okay? You can look at my sheet, how I've got it here, and ignore my little light bulbs for right now. But joy, why don't you start drawing eight cubes? And now you see before this joy was asking me, she's like, Well, can I just copy yours? Can I just get you to send it to me as I'm and I'm like, no. My view is so add because I'm a cruel dad. But also because you know what? There's no harm in you practicing drawing cubes and stuff. That is not q. Anytime you want to draw this q. I'm struggling. Okay. So while she's drawing cubes, I'm going to be explaining what's happening here. Okay? What we're going to look at is lighting and I'll take you take a look at each one of these before we get into it. You don't even have to be listening to me as you're drawing out your cubes like Joe is doing here. Yeah. I just want you to kinda, yeah, just just listen to what I'm saying. Just keep sketching and I think you'll be good to go. Okay? So what I want to show you is that we've got this light bulb here, right? You don't have to have this perfect light bulb. I copied it off the internet. You can just draw some ooh, ooh, ooh. Good enough. You can draw some ugly light ball if you want or whatever. Doesn't matter. Okay? What I want you to realize is we're going to look at this light bulb as the light source where the light is coming from. And so this one is off to the side of this box, right? And if it's going to hit, the light is coming from here, it's going to hit the side of this box, right? So that means all of this area here that's hit, it's kinda, it's going to be bright, right? Where's the opposite of this area? Well, that would be this side, right? And so that's what we're doing. We're gonna go look through and see, well how would it look if, you know, if we shift this light around the box? And the box is kind of an easy one to look at to start. But then eventually as you get deeper and deeper into all of these courses, you're going to see how maybe the face might be. You know, it's a more complex box obviously, right? Okay, So join, How's it going with your cubes? I'm drawing Squarespace and adding the PV. That's smart. I think that's exactly what you should be doing. Drawing a bunch of squares. If you can draw squares. Then we cover this like oh, at five units ago or something like that. Just drawing basic squares. It's okay, it doesn't have to be perfect. You know, I don't I'm not worried about having these perfect or anything like that. I just want you to be able to draw some rough tubes, right? And like I said, if you can't draw cube, you need to go back to that unit and work on a little bit. Okay? I don't expect perfect, but you should be able to sit here and sketch out a bunch of cubes. Yeah. Okay. Yeah. Keep sketching. And while she sketching and you know what if you haven't if you haven't drawn out your cubes yet, go ahead and put me on pause here. Okay, don't, don't stress it. You have to keep the same pace as me. If you feel like I'm going a little fast or something, if you feel like I'm putting too much pressure on my child, dries fast as I can. Then just throw it on pause. I'm not here to give you stress. I might give some stress to my kid, but I'm not trying to give stress to other kids. So throw it on pause. If it's too fast. If not, then let's get rolling into it. Okay. So I want to show you how to shade depends what you're using. You can be used actually doesn't really even matter that much. You could be using like a big pen, a pencil, thicker lead pencil or something like that. It doesn't really matter that much. It'll look a little different, right? But it won't be that different. So what I want to show you here is for an example, if the light's coming from this side, that means all of this is going to be the whitest, the brightest, whatever color the light is and stuff again, and the opposite side is going to be over here and it's going to be dark. All right? We're going to have the darkness on this side. Okay? And we can darken it up on that side, right? So this is going to be the shaded part. That's the opposite of the light here, right? We're also going to have what's called a cast shadow. That means coming off of this onto the ground is going to be a bit of a shadow that's being pushed out from this light right? Now, it depends how, how strong this light is. There might be a little bit of a rim effect on the top here. This light might be coming in this way so we can gradually color it in same with here and underneath. There's probably some lighting in here. And it's kinda coming up. Really depends on where the position is, is. If it's really close up against, close up against the side of a here, then this shading would come much further. Okay? If, if it's further away, then it's going to have a bit of a glow that kinda bounces around a bit more here and stuff. But it's usually going to be darkest right underneath here. And then maybe fade out just a little bit there. Okay? So this is an example of what it would look like if the light sources on the left. Now what I'm hoping you do is you take a little pause and you try to shade in your box to, okay. It doesn't have to be perfect. But draw in a little light bulb off to the left-hand side of your first box. And then imagine where that light would be touching, right? It's touching here and it's going to be touching here. And this, the surface that we can't really see on the other end. And then it's gonna kinda, the light will come over on the edge here and comb-over on the edge here a little bit. And of course, if it's close, there might even be a little bit of cash shadow off to the side here as well. Okay? Okay. When we take a look at the number 2 one, I finish with keeps. Oh, you're finally finished. Good stuff. These guys are lucky they get to put me on pause. I have to do it in like session amount of time or you gotta get fast. Okay, So where's the light bulb on the second example? Up top. Up top looks like it's directly up top, right? Yeah, so what does that mean? If I'm actually going to imagine that this is a yellow light bulb, then that means that this is yellow. That the yellow light is all going to be the up top here, right? Maybe spill down a little bit on the edges. And that would be the, the light right. Now. Whereas the shadow first part right underneath it, that's probably the darkest part, right? And then maybe the shadow projects a little bit, the drop shadow, the casting shadow here, right? And then it might work its way up and kinda lighten up as it gets closer to that light source, right? It might work its way up the sides and then just lighten up a little bit. So the furthest away from the light source, that's going to be the darkest it is. Okay. Okay. Now a little, little thing. There's different ways to shade. I don't know if you guys have seen this before, but why don't we try a different technique on this next 11 way to shade is called patching or crosshatching. So like it would be like lines like this, like straight lines. This would be hatching. Have you ever heard of that before? Here's my light source, right. So it's coming at it from the right. So if I was to do some hatching on this on this side, it might look something something like this, right? Yeah. So that's hatching. I like to go with the direction of the shape of the object sometimes on this hatching? Yeah. Do you want to try some hatching? Yeah. I cube is like kinda wonky. Yeah. Listen, I'm not critiquing Cubes today. I'm just working on well, hold on. You gotta choose your light source there. I'm doing the same light sources, okay? Okay. Yeah. So that's hatching these nice lines, right? And you can see if you want to increase the intensity as it gets further away, you can do the lines closer together, right? And you can see how that darkens it as we get into that dark corner that's far away from this light source, right? Yeah. Okay. So that would be hatching. Yet. Another one. This one's going to be tough because this one's in front right? So another one might be up here. And this can be cross hatching. Watch what I'm gonna do here. I'm going to hatch it like I normally like the one I just did that example. There's this, you know, the light sources in the front. So back here is going to be world a shading is right. And I'm gonna kinda go like this, cross hatching. And you can twist your paper or turn the paper just a little bit here, right? Cross hatching is when you do it like this, you do a second or third sometimes, but usually just a second level of hatching that intersects with the first one. So it's basically your first one's kinda like this. And the second one's crossing it. Thus the word crosshatching. Okay, and that has a kinda cool, cool look to it as well, right? Cross hatching. Those two are the main ones and you could do those with pens, pencils, whatever it is, right? Keeping in mind, you know, you always recognize where your light sources, the light sources is this front one is going to hit this front of the block and then it'll be. Dark behind and then yeah, probably behind. There's some type of shadow shadow cast shadow going on back there, right? Yeah. Another one that you can do. But this really only works if you've got a pencil, is you can do something like just where's this, this one behind it. We can see the light bulb small, so it's coming from behind, right? It's kinda back there. So this whole thing is going to be kinda blackened out and you can, you know, you could do it. This is just a normal street shading, squiggly lines back and forth with what you could do is you can use your hand, you can use your finger, and you can use a Q-tip. You can use a bundled up, bunched up piece of paper or something like that and just kinda smudge things. I always like my finger but my fingers are kind of oily, so that's both a good and bad to it. And so you're going to find a way that works for you that's kinda smudge shading, right? So you can come in, you shade it up. Right? This is because the light's coming from back there. I'm gonna kinda shaded up. Make sure I got a lot of it here. Usually with smooth shading, you kinda gotta lay down a lot more. Like I said, if it's pencil, you gotta lay down a lot more pencil on it and stuff. And then you just kind of rub it, smudge it out, smooth it out, and it gives a kind of a nice effect. Depending, this really depends on the pencil you're using and the paper you're using to write. So realize that it might look a little bit different than what I'm doing here. But what it will look different each time you pick up a different type of pencil or different quality paper and stuff, right? So experiment with it. What I usually do it, especially if you're working on something you really want to make make it look really nice. Did I mean like you're like, Oh, I don't want this to look perfect. Do it off to the side, do this kind of smudging off on another piece of paper that's the same. And just make sure that it's having the impact and effect that you wanted to, okay? Because sometimes the inconsistencies can get kinda wonky. Like you'll get, it'll be like Norway smudged it and I ruined it. And that's not how it worked last time, right? So what are the techniques for smudging? Which one do you like? For a, for a, for shading? For shading here. Snagging probably it's like one of my favorites. I like to do. Like a lot of smoking. Yeah. Yeah. Do you think that it looks different like on a different objects or anything like that? Like, for example, on the face or something like that. Or I feel like smudging looks better on the face then cross hatching or hatching. But that's just me. Yeah. No, I think you're right. Like how smooth it lux. That's exactly like, I guess if you have like a certain style and you like patching, it can look good. Sometimes I personally like smudging better. Yep. Yep. Yep. And so you're going to find like, you know, whichever works for you, that's the one you roll with, right? Here's the next light source. You know, what I'm hoping is that with you guys, when you have all these blocks drawn out, you're going to find and just play some light sources around. I've given you some, some ideas for where to put them, right? This one's kinda upper right? So that means the light's going to be hitting here and here. But that, you know, you've got eight different examples here. You can put them wherever you want, start to mess around with it and say, Okay, well, if it is over here, where's the shaped? How do I do this, right? Like you start to experiment and stuff, right? You can even put a bit of a bounding box, like the shape of the object that's casting the shadow. And see if that helps you to rough it in a little bit, right? The main point with this was really recognizing where the light source is. Okay? We talked about how to make objects look 3D. But having a light source will really help that. Here, let me get, let me give this example. Let's see if I could find, I'm going to erase this guy. And I'm going to draw in. What am I going to draw here? I'm gonna draw a sphere. Okay? So I've got this sphere going on. Yeah, well, right now it looks like a circle, right? It has no 3D feel to it or anything like that. Right. But what if I draw my ugly little light bulb here, right? Yeah. Whatever. And the lights coming down, right. Well, it's kind of shooting all around what? It's going to come down and the light is going to be touching around here. So that means that the dark is going to be around here. On this side. This is going to be dark because light's coming from this direction. And then below it is going to be this cache shadow of the circle or the sphere at this point, right? There we go. So you can kinda see how like when I'm shading a sphere, I sometimes, or an object, I sometimes like to have it that my shade kind of follows the flow, the sides, the shape of that object, right? It gives a nicer feeling. Okay, So now this looks like a 3D object right? Before it kinda semi looked like it could pass for a circle. We weren't quite sure. But this is guaranteed. And if I want to, I can crush it here. This is guaranteed to feel more like a sphere at this point, right? Yeah, cool. Okay, so that's shading. You don't have to follow all of where I placed my light bulbs. You can place them all around, experiment with it a little bit. Join, Let's see what you got back up. I want to see, okay, so you've got some good techniques there. Everything looks good. Yeah. You choose whether you want to do hatching, crosshatching, smudging, smudging, whichever, find what suits your style, but at least try each of them, right? Yeah. And then you'll figure out what style is best for you. Okay, Good luck. Have fun shading. 7. Drawing Names: Okay guys, we're back. Me and Kayla are gonna do this again. This time. Previously, we had talked about shapes and all that kinda stuff, right? Yeah. And we went from basic shapes into 3D shapes, both for circles and spheres, and squares and cubes and all that kinda stuff. This time we're going back into shapes, but one that will kinda help you draw posters and stuff in a little bit. Okay? So what I want to do today is for you to just write your name at the top of the screen really easily. Yeah. I mean, my name is Ed or yeah. Let's just go with that for now. Can you write yours? Yeah. Okay. And listen, we know how to write both in upper and lowercase. For example. And could be this is uppercase. And lowercase would be E, D, something like that. I'm not talking about cursive writing, I'm just talking about like uppercase and lowercase letters, right? I think everybody taking this course, Jeez, I'm hoping that you can do that already by now. I think they teach it in grade one or something. Okay. So Joey, I see you kinda went upward and lower, lower, lower. I want you to do yours all in uppercase. So if you can. And guys at home, same type of thing for you. I want you to do yours all in uppercase. Greetings, messy. That's okay. You know what? We're not gonna do anything with this right now. I just want you to be able to make sure you can write your name. Again. We're going back to grade one here, right? Yeah. Okay. So we've got upper and lowercase, right? My name is actually kinda short for this lesson, so I'm going to change it into EDD, IE. Eddie, I'm going to go with it. I know it sounds very cute. Yes and no. And how many letters are in my name? 1, 2, 3, 4, 5. I've got five letters in my name for this, right? Joey, how many is in yours? For free for rice and listen like I know my first name here was Ed and it only had two. It was too short for when I want to show you guys here. I know some of the students at home. You've got names that can range from anywhere from two letters to 20. Maybe I don't know. Something you get pretty difficult. I try to pick a name for this right now that we're gonna do that's anywhere from four to six to 78 letters or something. You know, some of you have little nicknames or something like that, use something like that. Okay? So what I want you to do is we're going to draw squares. But just watch how I do this. Right now. My name is five letters long, right? Okay, So I'm going to draw two horizontal lines. These are ugly horizontal lines and divide it into five squares. So I've got 1, 2, 3, 4. And what else do I want to put up? Five. All right, I've got five squares that are roughly equal size and stuff like that. All right? Obviously, you know, if it's, if you've got four, it makes it pretty easy. You could just draw a rectangle like this, cut it in half, cut it in half again, that type of join, once you do that, make a rectangle. And again, students at home, this is what I want you to doing, starts to draw a square for every letter of your name. If you've got four, it's easy to do. You just divide it like Joe, he's doing here. Five, you saw me do it. Six, you just keep rolling with hopper. Okay. So now that you've got it divided up and very lightly sketched these little cubes and stuffing it. We're going to use block lettering to try to fill in your names, right? Okay. So what's my first letter of mine? It's an e, right? So I'm going to use this, this block and try to do in an E. Oh, that's not the prettiest IPA. It'll work for what I'm trying to do here. That's an E, right? Yeah. Okay. Next one on minus a d. D will kinda come like this, come down, right? And I think you guys have seen this type of block lettering before, right? You're just basically we call a block lettering because you're trying to fill in a block. So you can take this time while I'm talking and start to work on yours, Joy, Why don't you go ahead and work on your your name as well. And then EDD, I write letters are not pretty. They don't have to be pretty. This is not what we're working. We're not focusing on being pretty right now. Okay, just try to fill in the blocks. Have it this kind of fat writing. You can think of it like a fat writing. Some people will have it kinda, Let's see if I can do it is kinda round type of lettering or something like that. It's kind of a bubble thing, right? So let's see if I can do with an EA. Kinda like this. You know, that type of thing. It could be rounded like this, or it can be very harsh. Depending on your style, it doesn't really matter. All of these will kinda work for what we're doing here in Stanford, okay? Yeah. So. Don't worry about it. Don't stress about it. Do whatever style feels comfortable for you and you know what, you're gonna do it a few different times. The only thing I would say is right now trying to stay within the blocks that you have for each of your letters and stuff, right? And if you want to, you can kinda take any eraser, clean up some of the loose lines around or whatever and stuff I get. Hopefully you sketched it out light enough and rough enough that there's not a lot of these ugly lines there, you know. So I don't care. You don't have to erase them or anything. You've kinda roughed in kinda roughed in your your name here, right? At this point. If you haven't roughed in your name, put us on pause. That's what's cool about learning on video and stuff I got right is that you can pause it at anytime and rewind and go back over it again. If it, if it gets really strange and uncomfortable and you're confused, just pause, rewind and go after it again. What I'm going to do is in this, on one of these sheets, I'm going to include an entire alphabet with all the letters written in a few different formats. What we call fonts that have kinda thick writing. Okay, So to make it easier for some of the students that you're not really sure how you're how that letter might look. Fat or thick or this kind of format, right? Yeah. So then you can kinda look at the reference sheet that I'm going to include here and that should help you, right? Is that cool? Yeah. Okay. So let's see, Joey, looks legit. Yeah. I like how it looks. Interesting. It got carried there. Well, the only thing I would say with your E is, sorry, I'm dropping pencils here, is that it doesn't kinda match up here, right? Like if I was to do this vertical line and stuff at the bottom of your ego's way past, right? So you wanna kinda, like I said, keep it within the box, within the cube of what you've already drawn and stuff, right? Okay, it looks good. So now what we're gonna do is this is where it gets a little funky and little difficult guys. Remember how we talked about how easy it was to draw those shapes earlier and stuff I got right. This is where it's going to get tougher. Okay? So what I'm gonna do is kind of right in the middle of my word here, right in the middle. I'm gonna kinda go down from it and draw a dot. So you can do that now too. Right from the middle, kinda draw a dot somewhere down the paper. Okay? Now, you can use a ruler for this, especially if you don't have a steady hand, no problem bringing a ruler. What I want you to do is from each of the points along the bottom here, where you'd see kind of these, these corners. I want you to draw a line down to that dot. Okay? Okay. It doesn't have to be perfect. But what I don't want to see as curves, I want to, I want to come straight down to this dot, okay? So take a moment and do that. Oh, somebody's using a ruler here. Oh, no, Well, there you go. Oh, that's cool. Yeah, Yours kinda has a ruler effect, right? Okay. Keep going. No, I just want from the bottom the bottom ones. Yep. Just for now. I want you to do it from the bottom. Nice thin lines. How am I supposed to do? Well, what you can do is from right about here, like if I was to draw a line from here to here. Yeah. Where does it touch on the edge? Where does it touch on the head to the right about there. Right. If I was to draw a line from here to here, where does it touch on the edge? Right there. Right about there, right. Okay. Okay. So you can line up your ruler to the furthest edge that it would touch two and stuff, right? Okay. Now that we've got that done, you can kinda see what does this look like? It looks like the title is coming towards us. You know, it's got that effect already in stuff, right? Yeah. Looks pretty cool, right? I think this looks pretty cool. What we're doing is we're kinda almost turning like these thick lettering into 3D letters, right? We're turning them into kind of cubes or stamps or something like that, right? Okay. Now, this is where it gets a little complicated though already it's getting tough and I know what's going to get a little tougher. How thick do we want these letters? We could have them really fat and thick. Yeah. What do we do that for this. Okay, So what I'm gonna do is I'm going to draw a line. And looking at this, let's see, an inch or two, depending on the size of your paper or something like I can fit a few fingers in between this distance, right? Yeah. Okay. So we're going to draw this line. And now what do we can see is like all of this down here, this won't matter. We're not going to have this. It's just going to be from this point. So for example, if I had this e, this line would come down, it would come over and right to hear it. That's part of this shape. Okay. Yeah. Okay. Cool. If I have this I on mine, it would come down to here, come down to something like this. Now, this is where we start to go up into the object a little bit, right? This corner. Corners that can view down towards this will bring kinda down. But we're not going to draw through this point. For example, I'm not going to draw through the depth of what would be the the lettering and stuff, right? It would come down here and it would end. This one would come through here and it would end. This one would come down. I can see it. It comes down all the way down to there. This one would come down. Come down to there. Okay. So just like this is vertical, this would be vertical and we would rough out the shape this way. You can see what basically I just did here is make this almost into that rectangle book type of thing, right? This shape is going in here. There we go. Okay? This one's coming down and this one's coming down. And if this line came, came up and give it depth, this is how deep the AI would be. Now, what really helps if you want to take just a quick moment to do this is, and honestly this is something that might help you. If you want to do it. You don't have to. But I find that this helps quite a lot. Is color in your letters. Now you can use a different color if you want or something like that. But for some people, I don't do it, but for some people that kinda helps them think, okay, well, this is the name, right? I can't touch this name. My name is going to stay the same. I'm not going to draw through it. I'm not going to edit it, I'm not going to erase it. You know, you can do it this way so that, you know that no matter what, no lines are going to go through this, Your name is standing and staying the same, right? Yeah. Like I said, you don't have to do this. Some people enjoy it. Some people think that it helps them understand that. Okay. I don't touch that. Right. Yeah. This d here. I wouldn't see that. Okay. So for the d, this is a rounded curve, right? And it comes to here. It would start to here. And this rounded curve would follow this same type of pattern and come up to here. So this is the shape of the D. Like that. Yeah, same type of thing. This rounded curve would come down to here, comes into this point, comes into this point. And little rounded curve goes back up this way. And that's the d on that side. Cool, cool. Yeah. And then the E comes down to here, comes over here. Good stuff. There we go. Okay, so we got ED DIE, we've got some depth things going on from behind. This one's going to come down as if it's coming down to here. This one's going to come down on this side. They're going to come this way, come this way, and come as if they're coming to our vanishing point. That's what that's called. Yeah, BP, we can call it a very important person, but it's a vanishing point. Okay? So now you can see how we've got the name kind of stretched out with depth and as if it's a title coming at you and stuff, right? Listen, I know that for every name there's gonna be some weirdness going on. You could see if we look at Joey's name, we've got these very interesting curves going on with the J down here and the OH, down here, right? And even the y curve and stuff. I got it. Yeah. So all of your names are going to have a kind of funkiness with each letter and stuff. And if you want to, you can mail them off to me and me. Enjoy. We'll go through them and help you and try to sort how it would look for you so you can practice them. That's no problem. Okay. Just realized that basically what you're trying to do is the letters that are up here. You're trying to copy them back here? Yeah. Right. You're trying to copy them as if they're sitting behind behind it and it's been stretched out, right. So whatever shapes Coming up here and whatever roundness or straight edges or whatever, you're going to have them translating into that bottom part two, okay? Okay. Now listen, this was a tough unit. This was probably the toughest one that we've gotten into so far, I think so. All right. But if you can master this, this is where it's going to come into later courses where you start drawing buildings or machines or any of those types of things, right? Any vehicles, all that kinda stuff. So I would if you found this one really tough, I would go back and do it again. That's what's cool about this. You know what the videos and stuff I got, you can just grow all over him again, right? If you didn't get it the first time. Yeah. It's only been about 10 minutes. Do up the piece of paper, set it aside, take a break and tomorrow come back and do it again. Okay. You know what you could even do is practice with somebody else's name or yeah, you know, if if this is kinda tough, do with my name or Joey's Neyman and follow along how we did it, see if it makes sense and then do it with your name? Yeah. Right. Okay. Also, you know, if there's holidays like Christmas or birthdays or whatever, you could choose one of those words and try to say thank you or mom or dad or whatever it is, right? Love whatever word you want to do, hate. No, I'm not recommending that. Anyways, the point is to practice this enough times that you think you are like, yeah, you know what? I think I've got it. What do you think joined you got it. I think I need a little bit more practice, but otherwise I'm good. Good stuff. Perfect. Okay. Keep practicing guys and we'll see you in the next unit. 8. Warm Up Circles: Hey guys, it's Joey. I'm here to teach you a little bit of a warm up. Let's start with circles. So you want to remember to keep your risk very fluid and just start drawing circles. They can be big or small, doesn't matter. And remember that you can fill up a page of circles or a quarter, or a half, doesn't matter as long as you get your wrist moving. Okay, so now we're going to move on to ovals. So it's basically a circle just stretched out so we can do it horizontal or vertical. And you can just call me do this while you're watching TV or anything. It's an easy exercise to warm up with. So right now we're doing a circle and we're kinda just warming up our wrist. And it's kinda looking like a tornado. But it just helps with having fluid motion while you're drawing. So just do this a little bit before he started drawing and have fun. 9. Basics Drawing The Stickman: Okay guys, we're back and this is going to be a bit of a different class than what we've been doing so far. Yeah, you can laugh now and because the pressure is going to be on you in a second here. Okay, listen, this is this is where I'm going to hand it over to my kid and I'm handing it over to you guys a little bit. I want you to have a blank piece of paper in front of you, which I hope you have any. Listen anytime we start this course, really, you've got to have papers sitting in front of your paper and a pencil right? There you go. Okay. On your piece of paper in front of you, this is what I want you to draw. Draw me a stick man. Let's take man. I'll stick man. Let's see it. Yeah. There you go. Start with the head. Bend the legs. Oh, interesting technique on the on the arms there. Yeah. One straight line. Okay. I'll show you how I used to draw them in school and stuff like that, right? Let's see if I zoom in here just a little bit. Usually the head right down into the body, the legs and the arms. Some boring. And this is usually because we're playing hang man in the classroom. You're usually It's like 123456 and then the guys did? Yeah. Okay. That is our normal stick man. And I get it. That's the stick man that I've been drawing since grade 1 or whatever. And that's what most Stickman do. But there's a problem with the stick man. Okay. I mean, like okay. He's happy dude and he he's not going to do what we want them to do. And that's because of the word articulation? I don't know. Have you ever heard that word before? Yes. Do you know what it means? Yes. Oh, cool. What does it mean? Like bending? Yeah. Okay. I'm gonna stop you before you go too far off here. But yeah, basically movable joints, right? Points of articulation that you can move these points, okay. You might hear it or see it when you talk about certain toys. Action figures. Action figures will often be advertising, say, six points of articulation, 22 points of articulation, 500. Oh, no, that's too much. But really, if you get some really good action figures, they're going to have really tons of points of articulation. Usually the neck, What else? Shoulders, shoulders, hips, hips, elbows, elbows, elbows, knees, ankles. Risks risks. Sometimes even like ours, like torso like ribcage, pivot or something like that. And so what I think we just named off about ten or something, almost, yeah. Yeah, maybe 10 to 12. That's a pretty good figure and stuff for it. Some of them actually will have fingers that you can move on. Some, some larger figures and stuff like that, right? Okay, So those are points of articulation, right? And we're going to give our stick figure some points of articulation because right now he can kinda maybe, I guess he could move this arm up and down, right? Like it can kinda go up and down. This one could kinda go up and down and maybe these legs could kinda move. But he's got no elbows, gotten no knees, don't know neck. He's got a lot of problem. He's got no hip or anything like that, right? So that's what we're gonna do. We're gonna draw a stick figure with that's more useful for what we're learning when we try to draw people. And there's a rule that we can follow in this that will really help us tons and listen, this is going to be a little tough. But if you get this one down, it'll really help you moving forward for all what's coming next and stuff it with any type of characters or figures you want to draw. If you get some of these basics down, it'll really help. Okay, So this is what we're going to call, oops, edit. This is what we're going to call the rule of eight. Cool, Okay, So we're moving with the roar of it. And I'm going to explain why this is, I want you on your piece of paper to draw a straight line up and down. Don't draw an arc or anything. Just draw it. Kinda nice, right? Just as a sketch. But in little notch at the bottom and a little nod to the top. There we go. And so listen, I'm giving you a when I pause and take a break, I'm hoping you're drawing right. I'm giving you enough time that you can kinda do it. If it's not enough time, you put me on pause. Okay, so we've got this notch at the top, not to the bottom in the straight line connecting them right? Now what I want you to do is kinda cut it in half and put a little notch about halfway. Okay, so that's about halfway there, right? The halfway mark, cut it in half, right? And then from the top to that middle point, I want you to try and cut that 1.5 to and from the middle to the bottom. Cut that in half too. Okay. How many sections do we have so far? For four? That's right. We all four. So we're halfway there, right? I said this is the rule of eight. So we're going to keep cutting, right? For this top section, I want you to cut it in half. For this next section, cut it in half. The next section cut it in half, and the next section cut it in half. Good stuff. Okay. It's not always going to be perfect, but as much as possible, try to make them so they're all the same size, right? Because we're if we're cutting things in half, they get a look, kinda like they're all equal. Okay, now I want you to take your finger and kinda touched them all and go 123456781234567. Yeah, you got it. Yeah. There's some visionary. Listen if you don't have eight, do it again. Start from the beginning, draw that line, cut it at the top or at the bottom, at the top, cut it in half and the middle cut that in the middle cut that in the middle cut, cut, cut, cut. And you listen, you got to end up with eight. Okay, this is where we're starting. We're starting with eight. Okay. So don't worry if it takes you a little bit of time. It's okay. Start with just that line. Start with the line up and down, the bottom. The top. Cut it in half. You know what, I used to cut it in half. I kinda spread my fingers one to the top and one to the bottom and slide them together and they usually match up around the middle. Okay, So that's a little technique you can use. However you want to cut it. Listen, if you actually have a ruler sitting there, you could measure it out. If you want to measure it like 10 centimeters or five inches or whatever it is. And then 10.5 centimeters is five centimeters. Yeah, there was hesitation there. It's not be doing if you're on a break from school right now, Christmas break, right. Okay. So anyways, we want to cut it in half, put the top half, cut the bottom half, and then go through and cut each section one more time. Okay, So by now you should be I'm I'm hoping that you've done it a few times on a paper. Listen if it takes two times to get it, cool. If it takes 10 times to get it cou, it doesn't really matter. Just make sure that you can do this cut, okay? That you can cut it into eight equal sections because we need that going forward. Okay. So Joe it You got it. You got eight? Yeah. Yeah. Your sound so confident? Yeah. Okay. This is what we're gonna do. This top section, we're going to put an ovoid it, an oval. That's right. Okay, So we can even number these. Number 1, number 2, number 3, number 4, number 5, number 6, number 7, and number 8. I can like that, makes things easier. Number one starts from the top right and number one is going to have an oval in it. Yeah. Cool. Yeah. Number 4 is going to have a circle and a circle. A circle. Yeah. Make it a normal round circle. Circle but close enough. Now this is where it's gonna get a little bit, little bit funky, but not too too bad. Number 2 and 3 are going to have a kind of stretched out oval going on. Okay. So a bigger oval, right? You know, it's going to be bigger than the top one and a little bit, right? Because it's kinda stretched out, right? Yeah. And is bigger, right? It's it's it's covering two spots. Right. Okay. So we're good. And like I said, at any point you can pause it and make sure you're caught up in everything right? Okay, Now, this is where it gets a little funny. This top one is going to be the head. And the head doesn't quite come down into what this next section is going to be. We needed a little bit of room for the next year. All right. So maybe about halfway down or a third the way down or something, you're going to draw this kinda line across here. And at the end of this line, you're going to put a circle and a circle. Okay? So let's do that again. If I want to zoom in to help it make sense for you a little bit. Right? Here's the line for the top and the bottom of the head. Here is the line that number 2 section in here. And a boat one quarter 1 third the way down, you're just going to draw a line across and put a circle on either side. And then this will come down, this big willful still sitting there, right? Okay. Okay. How big do the circles need to be? Well, that's a good question. They can come all the way down to this line if you want them too. You don't want them to small don't want them too big somewhere around there. Okay. Good question. I like that. Yeah. Actually, you know what joint feel free to ask me any question that if you're thinking you're not too sure on, you know, like just go ahead and ask. Now some of my can see Joey doing here that I'm kind of not wanting is that those circles are kind of floating off to the side. I want them attached to this oval. I want them next to this level. They're going to be, you know what? I don't want them to kind of floating out here are way off or anything like that. There you go much better, much better. That's what I want. On the same link. You're trying to make them equal, right? And you need to like draw a line. Okay? Do whatever it takes to kinda make them about the same size. The same size because stuff. Okay, so let's back out a little bit. We've got section 1, section 2, and 3. Section 2 and 3. These are the torso. I don't know if you ever heard that before, but basically the chest and the stomach cramps. And section four is going to be the hips. Now, some people got bigger hips, some people have smaller hips depending how you want to draw it. And so if I got, and we'll talk about that later when we get into changing proportions, right? But I want to put some clothing on this, this person. So I'm going to put some kinda like Superman on these on him or something like that. Just some nice little bikini things. Bikini, whatever. Okay. So this section is the hip or the crotch line here where we are, where we want to call it. Okay. We can see this would be the chin because it's the bottom of the head, right? This is the top of the head here. But we're missing something. Slaves, That's right. Also. Legs and arms. Actually. What you wanna do first pharmacy for Senate. Arms. Arms are easy. Do you see where our little crotch line is here? Right? Right. Starting from that line below the shoulder, we're going to draw a circle. So we're going to draw down from the shoulder and draw a circle starting at that line. Good. And actually you can kind of connect them if you want. Just drop that down. Okay, that works. And you know what, we're kinda gonna do the same thing with the legs here. You know, from, from this kind of midpoint. And the hips that we don't have it too foreign to 40, somewhere around this. We're going to in the hip, we're going to drop down a line and have a little circle down at the bottom too. Okay? So imagine this line down here. The circle goes below it. Circle goes below it. It comes from the side of your little triangle almost and down. Bad. Okay. We can see that it's starting to look semi human now, right? Not totally, but not bad. I think it's looking okay. I think it's it's doing okay. We've got a little bit. It's looking more human than our previous, Our first stick figure. But we're still missing some things on here that are pretty important. And remember when we talked about points of articulation, this one's pretty good because we've got the shoulders here. That's what these are, right? These are shoulders and of course, you know, if I want to move them, this shoulder will come up in, this arm would come out and, you know, it kinda be able to move around this way and stuff. But there's still some points of articulation that we're missing here. Some important ones that'll make this more human-like joint. You know what, their elbows, elbows and knees, those or we need them because otherwise we get that weird. Walking this way that the, the arm, you know, the arm has no real movement. It just kinda comes down or something like that, right? Like it doesn't have it doesn't look that human, right? Yeah. So here's what we do. Look from this crotch line down to this line and halfway, remember this little halfway mark? Yeah, we're going to put a knee and they're in a neon that side. So if you want or you can come from the bottom and go 12 and that's the line and you put the knee or you can count from the underwear bottom here and go 1, 2, and either way, you're going to get at that bottom of this six category, right? Okay. And you know, with the arms, it's quite similar. If you want, you can eyeball it if you wanted. Just put an elbow right in the middle where you figure from the shoulder to the wrist. You can put the elbow there or you can kinda look, this is actually the belly button right above the hip and below this ribcage kinda area. This is what I'm teaching here. Sneaky. I'm, I'm throwing in a skeleton here. Is this belly button and on that belly button line is going to be the elbows. Okay. So not bad. I think we're doing okay for the skeleton, but I think I'd like to do it one more time for us. Okay. So I want you to draw a line up and down. Doesn't have to be perfect. That's okay. Put a notch at the top and not to the bottom. Trying to find the middle somewhere. So okay. You know, sometimes you just eyeball it right? And then cut the top half and half. That the bottom half in half. And then cut each of those four sections in half again. So before you go on, you just kinda take a quick look and count through those sections and make sure that you have that you have eight sections, right? If you don't, you messed up. Okay, in the top section you're gonna put an oval. Perfect. In the next two sections, you're also going to put a bigger oval. In the next section. It's going to be more of a circle. Good. Okay? Yeah. And if you remember in section number 2 from the top, you can kinda put a line somewhere there below that, the head below the chin. And then put two circles off to the side. They're kind of attached to your big oval there, right. Make them big enough? Yeah. This person does not have very big. Okay. Straight down from those at, around the crotch line. You're going to put in two more circles and draw a straight line to each of them from the shoulder. Good enough. And if you want to write it this time, you can add in the elbow to about halfway, right? Yep. Somewhere around there. Okay. Why don't we throw some underwear on this guy or lady? Yeah. Yeah. I haven't really said whether it's a boy or girl doesn't matter. They're getting underwear, right? Yeah. Okay. Why don't we throw some little booties down at the bottom there below that line, are on that line or something if you want, that's okay. Then draw a straight line from the hip all the way down. You'd like using that ruler whom? You don't have to use a ruler, but if you enjoy it, go ahead. Now the neat line, usually I like to draw it on that line or just above it. And that's okay. Yep, that'll be okay. And there's the nice Okay guys. Listen. Joe is doing a good job here. She's got it down. I'm hoping you do too. If you don't take some time now. Okay. Go through this unit a couple times because it's going to help you as you go into the next units and stuff. And honestly, I know it's tough because you're shifting from drawing the same stick man that you've been drawing since grade one. And you're kinda like we're shifting up and changing a lot of things. But if you look at this stick person, man or woman, you can see that this type of figure is going to be way more helpful for you, especially in the next unit when we're going to learn to play with the proportions and then play with posing and stuff. Okay, so don't go on to the next unit until you could draw this by yourself using the rule of eight. So that's my rule. Going forward. You gotta have the rule of eight down. Okay. So go ahead and go on to that next unit. But only if you have the rule of eight. Good luck guys. 10. Breaking the Stickman: Okay guys, we're back and we've got another unit here for you. We've got more enthusiasm this time, that's good. But to do this unit, you, and there's me emphasizing it as best I can. You have to have the rule of a down. And when I say down, I mean down, like you really have to know it. I want you to be able to go one cut, cut, cut, cut, cut, cut, cut, fill it in, fill it in. Fill. Little booties. Hands, shoulders, lines, lines, elbow, elbow, knee, knee and be done. Honestly. Okay. That was pretty fast. I get it. But I mean, like really there shouldn't be any questions about you. Like you shouldn't have any questions about the rule of eight so far, okay? If you have questions about it, you need to go back to that that unit and be doing it again. Okay? So I've been emphasizing the rule of eight, pushing the rule of eight, teaching the rule of eight. And now we're going to break the rule of eight. And I get a workbook. Okay, so how are we going to break it? Well, the rule of eight is just a lesson on proportions. That, you know, if your lower body is this long, your upper body should be this long. And it's just kind of like idealized proportions, but it's not true. Everybody's got different upper and lower bodies. I've, I remember one of my students, he was sitting next to me and when he sat down, he looked like a big dude. And as soon as he stood up, he looked bigger, sitting down. His upper body was just really long, right? So if I was to draw that person, you know, his lower body would probably be here. And then like everything else would be kinda cut in this way. His head, his torso, his hips, and then he had these little x. Okay. So and he didn't even have long arms either. His arms were kinda normal length and stuff, right? So this is what I wanna do today is I want to play around and you know what, even this person doesn't look that strange, right? You know, like it's just, it's not this idealized kind of rule vein, right? This one's a little bit different. Okay? So what I want you to guys to do is we're going to still draw the line up and down. Can you do that for me? Yes. Okay. Yeah. Okay. I'm in the middle cut instead of right in the middle. I want you to lift it a little bit higher. Okay? Yeah, sure. Yeah. Okay. Okay. It's up to us. We're starting to experiment a little bit, right? And then the top section, we can cut it into four for sure. Yeah. Okay. And the bottom section, you could also cut into four if you really like, really, it only matters that, that middle one way. Okay, So we're gonna do the head for the top here. We're going to do that. The oval, what's going down? The circle for the hips? The little booties at the bottom. Yeah. Looking good. Okay. You can connect to, I guess I should throw that little underwear on this character here. You can connect the hip down, way down to the feet. You can start to throw in the shoulders. Now this is where we can start to play with it. Why don't we put the hands almost downward the knees would be and bring it down that way, something like that. Right. And then throw the knees right. Right at that length and stuff. Yeah. So what is this looking like now? We're starting to see this kinda slender looking person, right? Yeah. Elbows, both their knees here, right? These even put these longer hands on him. Who do you think? Who does this kinda reminds you of? A little bit flatter? That's right. Yeah, I would say a little bit like that. The character that creepy character, slender man, you know, we've, we've got that, the torso in this half. And then the limbs are super long and you can even stretched out even more if you wanted. Yeah, I could stretch this head just a little bit more and give it a more alien ESC type of look, right? And so that's what we're doing here is we're, we're stretching and playing with proportions a little bit. Okay. This one, we stretched the lit limps, the legs and the arms, right. Why don't we Do a little bit different stretch the torso? Yeah. Yeah. Yeah. Yeah. We'll we'll do this line. But this time the legs are going to be really short and stumpy, right? Okay. So then we can cut, cut, cut. This will be the upper body section, right? Okay. And this will be the lower body section. So we could do the hip here. We've got a little underwear line, something like that. And I hope you're following along and listen if we're going a little fast, you can slow it down or whatever and stuff, right. It's no problem. Yeah. We're going to have the head up here. We've got this oval, but instead of an oval that's bounded out a little bit, let's make it more oval this way or something, you know, like squished out this side, right? Yeah. Okay. We're going to do the neck line, you know that the clavicle actually the collarbone. And then we're going to have some big shoulders off to the side of it, something like that here. You have a bigger shoulders. I want to see huge shoulders on yours. Very good. Really push it were pushed into your rep. Well, let's see. Down below here, we're going to have some pretty big feet. And we can connect them up if we want. Yep. And let's have some big monster hands. And we're going to connect them this way. And we're still having this activity that the risk breakup at the crotch level and stuff. Then go on in and throw in the elbows and the knees. Cruel. And so what do you think? What kinda physique do you think this looks like a little bit to you? There are two types. I think either extreme GAD, BAD, or like extremely muscular. How would you characterize dad? Bod will write on my screen, I'd add like a huge p-value. If I'd add like a huge beer belly with a protruding belly button. So I should do that. Yeah. You know, I've got this belly button and I'll bring it down here. I've got this huge belly. Here we go. So we're starting to just sketch some stuff in here, it all on one you didn't worry about right now is just getting the skeleton bound little bit, right. Okay. Getting like a muscle, changing the proportions and stuff I get. This is what this unit is about, is I need you to focus on stretching that the base skeleton right. Here's another way to stretch it. And when I say stretch, I mean push, pull of the proportions. You can tell that this one we did, we stretched out the limbs. You know, he's kind of stretched up and down, right? This guy is more stretched side-to-side. Yeah. So when we're talking stretching, I want to do something different here. I want you to do a line and cut it in the middle, right? Yeah. Doesn't have to be too huge. Smoke. Sure. And then put it in the middle. And then the top half is going to be a circle or an oval, circle. Oval, circle, oval, global and global. Okay. This is called a TB. But she achieved me is when you have an a grossly, it's not gross, but grossly a hugely over-sized hit, right? And so from here we can just start to put it into little booties. Have a bit of a torso. You can do the hip if you want an MBA, torso, little shoulders, little hands, and kinda connected all make sure you get the joints and on in there, right? Yeah, I got it. Okay. What happens to when you're kinda noticing is like when you have an oversized head, it looks a little bit more like a baby or a child or cute. You know. If you, if you have a figure that could be the same height, but the head is super small. The bodies, what were we doing? We're doing a big head, big hips, you know, big shoulders, big arms, these types of things, right? And he seems angry. You know, this guy over here, he's kind of creepy actually now I think about it. He's going to create the, but he's got them more child type of features and stuff I get right. Whereas in this guy it looks more like a huge hulking figure and stuff, even though they're the same height proportions, the size of the different parts of their body are really, really different. Yeah, right. And so if you want something cute, go with an oversized head. If you want something a little bit stronger looking or even monstrous, yeah, you can go with a smaller head, right? That's not smart character in most TV shows that are like very masculine. Oh yeah. It looks like that. Yeah, That's a good way of thinking of it too, is that basically the larger head sometimes has intelligence. Would draw another one here. Here's a torso. And then you have this big, oversized head type of thing. And the large head can kind of feel like that's the smart character or something, right? Yeah, the small head. You've heard the expression P brained or something like that. It's really small, right? Yeah. Okay. So in this unit, what we did was pushed and pulled on proportions. And the proportions does not mean the size of the character. It means the relationship of the sizes of the parts of the character. Yeah. Okay. Whether they have really long arms or short arms are slim or wide, those types of things. That's what this unit was about. So what I want you to do Is continue on, on your paper. Draw out. I don't know, three or 30 different more characters and push and pull in or try to stretch one out this way more, try to stretch 10 this way more. See how far you can really push these proportions and stuff, right? Yeah, play with it. That's what this is. Like. I said, I taught you the rule of eight. And now we have to break it. And now you break it, That's perfect. Okay, So that's your homework assignment, is break every rule I taught you. And fun. 11. Line of Action: Okay guys, here's another unit for you. This one we're going to do line of action. Doing. Have you ever heard of that before? Yes. Yes, you have because you're my kid and you probably hear me talking about this kinda stuff all the time. But I'm going to guess that the average person hasn't heard this before. If you are, if you're studying art and you're looking on YouTube, there is something similar to line of action though. Have you heard of it? No. Gesture, gesture drawing. Line of action is kinda like the first step in gesture drawing. And that's kind of trying to show movement or show stance or show something simple before you get into the details of it. All right. Yeah. Well, I'm gonna take what we did before already. You know, the rule of eight, breaking the rule of eight and all that kinda stuff. But I'm going to show you how to start moving the figure around a little bit. Okay? But this one's a little bit special. Instead of just used, you can use a blank piece of paper. It's no problem. But in this course I've also included a piece of paper specifically for attached to this unit. Okay. And it's going to look exactly like how you see on my screen right now. You're going to see a bunch of figures. And we're gonna kinda draw over them, around them, in front of them, behind it, whatever and stuff. And hopefully this line of action will make a little bit more sense when you see what we're doing here. Okay, So let me start off and see how this rolls. This first guy, joy, what do you do it? Running, sprinting. You sprinting? Yeah. He's not just running. He's full force going forward and stuff again. So the line of action is basically almost always, you can follow the spine and the spine is along the back here. Right. So if I was to follow that spine, it would look something like this. This would be my line of action. Yeah. Okay. So if I was to try to replicate right beside it, his line of action would be something like this. You want to try to draw that on yours. Like that. Basically that's perfectly okay. Try to draw it again next to it. Good. And you can see how much this curvature, how much things are going forward, moving this direction, bending in this nice arc, right? That's a big line of action. Now, if I want to start to add my figure into it, well, I'm even on him. I can cut, cut, cut. His foot's actually down here. Right? And I can kinda start to cut. Here's his head, Here's the belly button, Here's the knee. Those types of things, right? So if I want to do that here, I can kinda come from this side. Put the head halfway is going to be the hip, right? Yeah. I can put his head in here. Do the torso that's leaning forward here. His head is coming forward, right? Yeah. All this kinda stuff. So why don't you follow along with me actually, you know what, I'm going to back this up. Ok. And let's see if we can replicate a little bit on this second line of action here. Okay? So we've got this sweeping line of action, just like we can see off to the side here. We're going to set where the head might be at the top and the foot might be at the bottom. Yeah. Okay. We're gonna kinda cut it in half roughly, like they're sure. Cut that in half. And then cut that in half and that half, right? So, you know, especially this top section here, we really worry about those cuts right? Here will be the hips. Here is going to be the torso. And here's going to be the head. Now the head is going to be in a different position because he's kinda looking this way, right? Okay. Yeah. Okay. Let's worry about this first part. Is neck. We're going to give a little bit of space from below the head here. His neck is going to be here. We're going to put one shoulder here. And if you can see, we've got one shoulder here. We can kinda look through and on the other side there's this shoulder on the other side there too, right? Yeah. We can see that from the shoulder it comes back to the elbow, out to the hand so we can come back to the elbow out to the hand. His head is all spleen. Oh, yeah. And this one's going to come forward to the elbow and up to the hand, forward to the elbow and up to the hand. The hand is going to be up here. Right to the elbow. To the hand. Perfect. Okay. From the hip here, this leg comes forward to the knee and then down to the foot. So forward to the knee. Down to the foot. Yeah. And from this backward here it comes down to the knee and back to the foot. So this backwards going to come down to the knee and back to the foot. Okay, So listen, this is not going to be the most beautiful character that you've ever drawn. But you know what? Even just sitting here looking at Joey's drawing, I'm really impressed. Think about that. Like think about how you were drawing a stick figure only minutes ago and stuff. I got it right. And now you've got this character that's moving, right? You can see the motion that's happening in this character. It's really awesome. So we're going to continue on with this. We're going to go down to this next one. This one's a little bit harder because, you know, if I'm following the line of action, this one actually comes this way. It's a bit of a bend. It's coming through his back. But then the action carries force into the foot. Yeah. Okay. So you could do it a few ways. Listen, when we're tracking line of action, there are sometimes more than one way you could do it. I think another way you could do it would be something like this. Yeah. Right. But I like this one because I like the force going into the foot. Yeah. So let's see if we could draw it off to the side. Basically a big L. Yeah. Right. And then let's see, why don't we cut this first section. Here's the head, here's the bottom of the pelvis, right? And we're going to cut it in half. Cut that in half again, cut it in half again. I told you by now you should be really good at that rule of eight, right? Yeah. We can put the torso in here. Right is torsos and hear his hips right here. We're going to put one shoulder off to the side here, and the other shoulder off this side here. Okay. Cool. Okay. We can see how this arm juts back in his hand is here. So we can stick that one back here. And then maybe throw an elbow in there. He deserves an elbow. This gets a little tricky though. Look at how his hands coming forward towards us, right? So what I would actually do is you can just draw the hand first. Go down to the ABL, come back up to the hand. Yeah. I like doing that sometimes. Like if I'm not sure of the length of things, I'll sometimes put the foot and then up to the knee and back to the joint or something like that. Sometimes I'll start with with the hand or the foot and then track it back. That's another way to do it. Yeah. Okay. Cool. And like I said, the other one you could come down here. He's got he's got his knee down here. It comes down to the foot. Right. That's what's happening here as knees come down here. And it comes down to the foot. Yeah. And then you've got draw the head. Oh yeah. Oh yeah. This head is kinda doing this lean thing, right? So if I want to draw the oval, his head is actually kind of got this thing going on here is leaning in front. Listen, we're going to cover faces in a different, in a few different courses and stuff I got. So I don't wanna get too hung up on the faces on this. For this one, we're really looking at the skeleton. And in this particular one looking at the line of action. Yeah. Okay, Let's keep on moving. We're going to come down. Now this one can go either way. We can choose to have the line of action coming like this, or the line of action coming like this. I think you should do the one coming out that far-flung. I do too. I really like this foot being out there. It's not the worst thing I actually have seen people go like this when they're doing a line of action. And I don't think there's a rule saying, don't do it. You know, it depends on where the power is. For me, the power lies in this direction. Yeah, So I would kind of go like this. But then what if you want to plot it out and go down like that? You can do it too, right? Yes. You want me to do the other one goes down, the pressure went up as instinct. That's okay, tons of mistakes. Listen, we're just sketching really light here. So don't, don't stress about it. Now, where's the crotch on this character? Her crotch is somewhere around here. Right. This so her hips would be in this area, right? Yeah. Here's the top of her head and here's the crotch level. All right. So we've got crotch level here at top of the head here. We can kinda draw a line if we want. Yeah. Okay. And then what do we do with that line? We cut it. We cut it, we cut it. We're going to have four sections in that top of the torso, right? Yeah. Always. Especially with the torso, with the leg, we can get away with two sections because it needs halfway, but with the torso we're cutting it in half. Right. So we've got the circle for the hip. Yeah. You can throw some underwear on this lady. We've got the torso circle and the head circle or oval. These aren't really circles. Yeah. Okay. We can see how one shoulder is up here on her and the other shoulders down here, right? Yeah. Now, where the hands we can see one's kinda out here. Yeah. Kind of above her hips somewhere. So somewhere out here. I can just kinda own connect to it. Yeah. The other one is more in front of her torso here. This one is actually here. So what it would be it would be like come down to the elbow, then come back up to this hand. Yeah, that'll work. There's going to be overlap. You know, we don't just stand there as little stick man were. Nothing overlaps each other. But these guys there's this hand is in front of her body and stuff, right? Yeah. Way more realistic, right? Yeah. Okay. So from here down to here is her foot from here, roughly here, down to about here is her foot. So if I go halfway is her knee. And then her foot's going to come down like that. And the same thing, you know, her foot's out here, so her foot's going to be 0 here. Come this way. We can make just an ugly little foot and about halfway is the knee. Think I got that. Cool. Okay. It look okay. Yep. Let me say that looks good. And this one looks a little stiff as we draw it as a, as a character and stuff I got, yeah, you know, what you could do is add more bending this way. Put the footnote here if you want. Yeah, I mean, and you can see just how I bent that and then push this one up this way. Some of the line of action is starting just like when we did the proportions thing and we broke the rule of eight. Well, here you can follow it strictly. You can follow exactly what she's got where you can really start to bend it, do you I mean, you start to bend and put the limbs down here, the footnote here, the head, you know, when you start to really push things and stuff, right? Yeah. So you're looking at the essence with the what's what the pose is trying to show you. Okay. And the last one, we've got an answer with a broken spine. What's happening here? But actually this is pretty cool. Look at that Ben tour. She really, she really has this amazing Ben. Yeah. Okay. So we can draw a kinda next to it. A nice bend, right? Yeah. Okay. That bend. You can see how when I'm drawing the top and the bottom, I didn't draw them straight like this, right? I didn't draw them straight, horizontal. They kinda match the flow of the bent her crouches here, her hip and everything, right? Yeah. And then her head is here. And then there's going to be a line here. So it'll be like partway here, partway here, partway here. You can see how it kinda goes off in this direction following the bent, right? Yeah. Does that work for you? Pretty good now, but yeah. You know, when we go up and down, it's kind of easy to find, you know, the the cut marks and stuff I got, but it's not that hard to find it. Imagine here's the top, here's the bottom, Here's the middle. Here's a cut. Here's a cut, right? Yeah. Okay. So just try to realize that we're just taking this line and we're bending it around and stuff. Right. Okay. So what's next? We got to hit we doing the hip. Why don't we draw the hip off to the side here? Yeah. Okay. We've got her torso coming in here or torsos is going to come in here? Yeah. Okay. We've got the neck line that leads into the shoulders. So we've got a neck line that leads into the shoulders. Oh, why don't we stick with the upper body for now. And where we're going to put her hand is off to the side here. Her hand is off to the side here. So if I go straight up from the shoulder, I could put one hand over here and one hand over here and then just connect them out. Elbows halfway. Her face is going to be hearing, I guess I could draw that in our u with hence. No good. Okay. Now the feet, you know, it, it's going to jump straight down. We've got this one going straight down, right, down into the foot. So we can go straight down, down into the foot and put a knee about halfway. And look at it this way. This is about halfway, right? And the other one is going to come from behind and do the same type of thing. Ni about halfway. Me about halfway. You can see how this other leg is behind. So the knee the foot is a little bit behind this foot? Right there. Both on their tippy-toes? Yeah. And so the knee is going to be just a little bit behind that one. That's her far lake, right. So you want to have that behind a little bit further away and stuff? Yeah. Oh, okay. So that's our gesture drawing. I know that this is getting tough, but I want you to really think about it when you were first drawing a stick man and how it looked. And now look at what you can accomplish. It's tough and, but it's kinda awesome because now you could draw these articulated stick people of all different sizes and proportions and all this stuff and moving. I think it's pretty awesome that you can now move them in a bunch of these sports poses or whatever pose you want, whether it's kneeling or sitting or whatever, right? Okay. So out of these figure units, you are starting with a stick man learning the role of eight. And do you have it? Yes. Yeah, You better have that data. Then you learn how to what? Break the rule of eight? That's correct. You learned how to break the rule of eight and looking at all these line of actions were kind of bending things now, right? Yeah. We went from the rule to breaking the rule to how bending people in bending things, right? Okay. That's it for this unit. If it's tough, what do you do? Practice? Yep. Rewind it, play it again and practice. You know, Listen. I don't have these types of things were learned over years and stuff I got with a lot of artists. I don't expect you to get it in 20 minutes. That's not how it's going to work. But the cool thing about these videos is that it doesn't do anything to just rewind it. To play it again. If you have to play it again for the next two weeks, you know, once once a week or something like that, play it played every Monday or something. It doesn't really matter, right? If you've set aside a drawing day like Sundays or whatever it is, that's what's awesome about these videos is you can play them over and over again because they're yours, right? So play it again. Alright, have fun. 12. Drawing Still life: All right guys, this is where it all comes together. We're gonna do something called still-life drawing. Now, often you'll see this kind of, you know, somebody is drawing some flower pots or a BaaS phase or vase. The vase, yeah. Yeah. Okay. I don't know. Has some so much more elegant school base. What we're gonna do is continue on with our process of basic shapes, right? Yeah, Looking at it and then drawing it off to the side. Now, I'm going to include this sheet in the course so you can just practice along, right? But this is the beginning of you starting to draw what you see. You're going to be seeing different objects in your life, whether it's stuff set up on your desk or whatever it is, right? And you're going to try to draw it out as much as you can do. Yeah. I mean, like what I would do sometimes is like grab my pencil crayon box and my pencil case or just objects that were sitting around me. Place them on the desk and draw it and see, am I anywhere close right here? It's cool because we've already got these shapes in front of us. We've been practicing these shapes for this whole course, right? So it won't be that tough, but afterwards, I want you to move on. Okay, so let's start with this first though. We can look at the first 1. First off, you know, it's, it's kinda good to recognize. Where's the light source? The light source, I would say is coming in. Somewhere from this side. We've got a light source coming in. We can see it hitting the ball here. We can see it hitting here. And we can see all this cast shadow off to the side, right? Yeah. Okay. So why don't we start to draw this in. What do we got? We've got a box That's kinda like this. All right? We've got a triangle. That's actually a 3D pyramid, right? That's something like this. And actually it overlaps here. So I should really, I kind of mess that what I can overlap it a bit there to bring that up there. And then I've got what should be a circle, but it looks more like a squished melon sitting here. Something like this, right? And this is where you start to look at the objects in relation to each other. This one's in the front. It overlaps the ball and the cube, right? This one's behind. And then this squished mailing squash melon is sitting somewhere around here, right? Yeah. If you want, you can come in and start to clean it up, but really, I'm not that worried about it. You know, you can start to erase stuff and it will look even clearer. Which is sitting in front, right? Yeah. Okay. So not only are we going to try to draw them in position to each other, in relation to each other. But we're also going to carry forward and do a bit of that shading. Let me see yours for a second. Yeah, that works. Now the only thing, no, no. You know what? I think you've gotta kinda perfect Good stuff. Okay. Okay. So why don't we do a light little bit of shading shading wall follow. I might as well start with what's up front. I follow, you know, where this triangle is, where the pyramid is, and you can see how it's got this kind of light cast this way, right? So it's kinda everything shaded coming off of it, right? You can see the sphere has this rounding of the shading, right? Yeah, but a harsher, harsher shadow, drop shadow, right? Yeah. It's much seems much harsher down there, maybe the way the light's hitting it and stuff, right? Yeah. Okay. I'm a box. You can see how the light's coming here, but it's still kinda doesn't quite darken up a 100 percent. Maybe just around some of the edges and stuff, right? Yeah. So you can define those edges a little bit more. Something like that. Maybe a little bit of top here. There we go. Underneath, especially even underneath in the frontal little bit. There we go. Nice. So that's still life took us what? Four minutes? Yep. Pretty good. Let's roll. We're onto the next one. And hey, listen, it took us four minutes, but if it takes you eight or 10 or two, whichever, like, Don't stress, that's the awesome thing about video learning is that you can pause it and do it at your own speed, right? Yeah. So just relax and if you're like cheese that do dogs too quick. Um, cause that's what my kid wishes she could do. Okay. This next one's got four pieces here, right? What do we got? We've got a cube, a sphere, a cylinder, and a cone, right? Yeah. So why don't we start with this cube in the front here. I usually like to work front-to-back. Just roughing it in. All right. And right behind it. Is that cylinder. With a cylinder, what I like to do usually is just draw a kind of as if it's going to be a rectangle at first. And then you draw an oval on the top. And as if there's going to be an oval on the bottom there, right? This circle is kinda next in line here, somewhere around here. And look at a loose my sketches are right, they don't have to be perfect. And then we've got the cone. But you know what I'm gonna kinda draw through just so I could show you guys what it probably looks like. Probably looks something like that. Right? As it's coming out to a point here. But I'm going to erase because I don't want it messing with us. I want to make sure it looks like it's sitting behind everything. There we go. Okay. So we've got our four objects laid out. How are you doing their joint? Good. Yeah, it looks like you've got it too. Perfect. And then where's our light source coming in? It looks like if we got the cache shadow, the cast shadow on this side, it looks like our light sources coming in from here. It's kinda the white up top here, white up top here, right? White along the edge here, white along the edge here. So it looks like it's coming from the top and off to the back-end there. So how are we going to do this? We can kinda shade the sphere little bit, right? Like I said, I like to, you don't have to use the, the way that I'm shading here. You can smudge it if you want. You could do here everyone. And then you can see how this sphere cast that kinda oval shadow, right? And I'm going to zoom in just a little bit here to kinda, I could do it this way or if I wanted to, I can just shade it out whichever way I want. Right. Are you doing any smudging their joy? I was going to yeah. Yeah. I was actually thinking of crosshatching here. I don't know why. Just to show some different technique a little bit. I don't even know from cross hatching, I'm more like cross scribbling at this point. Here we go. Okay. Yeah. And you can see how I'm going to back out just a little bit here. You can see this, this is also a cast shadow from the, from the square here, right, for the cue Brother. Yeah, you can store it in here. Do the cache shadow coming on out. Right? Usually you'll find like right under the objects, that's where the shadow is often darkest, right? Right where it's sitting on the ground, you'll find there's a harsher line. So sometimes that helps to go in and just, you know, start that harsh line and then start shading off of there if you want. Yeah. With the cylinder it's nice and gradient. That goes from dark to light there. That's got that rim, right? That's the thing about curvatures. Often there's this cool effect that like you've got like a really dark spot on it. And then it fades into a lighter part and then fades into maybe a lighter part, right? Yeah. And I think if I remember correctly, yeah, there's a little bit of this one gave a little bit of a cast shadow on top of the cube here because of the height that's going on, right? And if I wanted to clean this up a little bit, make sure it's it's dark all the way up top here and stuff, right? Yeah. You want to smudge here. I kinda feel like so much smudging gives that smoothness. You know, I feel like when it comes to a lot of hard objects, you don't like drawing machines are these cubes and everything. You can get away with that hatching and stuff I got. But when it comes to roundness and there's something about that smudge that really makes it a lot easier to deal with and stuff. Yeah. I agree. And I'm forgetting think I'm forgetting my this side is pretty dark. This side of my cube. And this side. It was a bit lighter, right? Yeah. Cool. Okay. Not bad. Yeah. Listen, I'm not looking for perfection pool, but I'm looking at yours. No joy in it. I like the look of it. Looks pretty good. I just have to finish smudging. It's taking a while because I'm switching it. Oh, yeah, yeah, yeah. No, that's smudging has a nice effect. But like I said, you gotta watch the paper that you're working with them stuff sometimes it can get a little especially greasy fingers or somebody just doesn't always have the consistency that you want, right? So play with it. Play with all the techniques and C and you know what? You might change it like for two months you're crosshatching or just hatching and then all of a sudden you smudge and you're like, that's what I wanna do. You start smudging for a year or something, then your bounce back to hatching. Don't worry about it. It's okay. And as I'm talking here, I hope you're still drawing. Just like my good. We're almost done. Hang onto last one. Yep. Yep. Good. Okay. Last one, we've got three objects. What are the objects? Joy. A sphere, a cylinder, and you got it, right? Yeah. Which ones are in front? The queue and the cell. So it's like a melon again. Yeah, I don't know what these spheres are kinda like squished. So what I would do is I would come in here, drop the, you can draw on the shapes first, right? Like I would drop the, the cube on the same general plane as this squished. Now I'm squash melon behind it. I'm gonna kinda draw through again and draw that cylinder. And then I'm going to come in and I'm going to erase it because I don't want it to mess with us, but I wanted to show you how Howard would take shape behind everything, right? Yeah. Okay. Now, which way is the light source coming from? Top left, right, center. We're left. Left? Yeah. Coming from the left. Coming in this way. Coming in this way, coming in this way. So it hits, you know, it hits this area. Hits here. Hits this area, right? Yeah. Okay. So we're going to keep that consistent. We're going to bring it in from the left. That's where the light is coming from, right? Does that mean That means, you know, roughly on this sphere, the right side of it is going to be shaded. The cache shadow from it is going to be stretched out and look at how it kinda goes up on here, right up onto the cube. That's pretty cool looking. It's gonna go up there. There's the cache shadow. It seems that right around the rim of this gets shaded and then on this side of the cylinder that gets shaded. And like I said, you can shade whatever technique you want. Trim a little bit on the edges here, but mostly on this one side of the cube. And then the cache shadow is jutting back from the cube. And that's how it rolls, right? And of course, you know, you can darken up underneath. That really kinda helps punch it, right? Yeah. Wherever that the object is usually meeting the floor, right. There's that special almost rim of shadow that really darkens up there, right? Yeah. Unless it's sitting on a light bulb or a light table than the glow is coming from underneath. But almost always, you'll have that nice dark REM of where the object sitting, right? Yeah. Okay. So while Joey's smudging it out and having fun with it, I'm going to remind you, I gave you three examples of basic shapes that we did for the still life practices. But I'm really hoping that you start to look around you. Whether it's candles. The kitchen has tons of fun stuffer shapes and everything, bathrooms, shampoo containers, whatever it is, you know, stuff on your desk. Like I said, I like a crayon pack or whatever. Start putting it in front of you. Putting these objects in front of you. Start with just one, then add a second and then a third, and then work your way up till you're kinda stacking them a little bit, right? Yeah. And just try to draw what you're seeing here. Tried to draw what's in front of you. Okay? So that's your homework assignment. Not just to do this sheet, but to start to grab things in real life, things that you're surrounded with, things that you're familiar with. Hey, I'm looking at your ears now, Julian, That looks pretty awesome. Good job. Yeah, I think that's smudging just makes it look cool, right? Yeah. So that's your homework. Make it look cool. Keep at it. Don't just think because you did this sheet, you're done. It's going to take doing it many, many times. So it, hey, listen if you want to print this sheet out a few times and do it over again, or printed out and say, well what if, what if the light direction changed on this or something like that, right? Play with it, get comfortable with it. Because as you go on through these courses, you're going to need some of these fundamentals to move on. Alright, have fun. And you know, your assignment. 13. Warm Up Shading: Hey guys, it's Joey and I'm here to teach you a little bit of a woman. So let's start with gradients. So right now, I just want you to draw really, really hard on your paper and then go lighter and softer. As you go down. You can do this at any angle, at anytime. So you can do this in class we doodling, or when you're just warming up to start drawn. See, they kinda look a bit like tornadoes, but they really do help with shading. This is a really easy exercise to practice on your paper. Can be really small or really big. It just depends on how detailed you want to make it. You can go from dark to light or light to dark. So right now I'm going to go from really light to a bit darker. So you can just do this a little bit before you start drawing each day. And it'll really help you improve and shading. Okay, Have fun. 14. Using the Grid: Hey guys, I met and we're here for another unit of how to draw basics. Do you know what we're studying today? Restudying today, we're gonna talk about drawing with grids. Have you ever worked with grids? Once made? Yeah, Usually they start to teach you that in our class, somewhere around the middle score or something like that. Great six or seven. Working with grids will help you with your eye to hand to eye coordination. It will also help you take certain images and be able to blow it up bigger or even smaller while still being accurate. So this is a really good unit to help you with copying. Not always creating, but learning how to copy and learn from it. All right. Are you ready do this? Yeah, let's get on it. So to start off this unit, I want to talk a little bit about working traditionally. How we can start to make graphs with some things we have around the house. Here I've got my ruler, a marker, and some kinda see-through plastic sleeping, right? So what I do is I measure out across the top and see how I could divide it by three. And again, you know, you can divide it by four if you want here I'm dividing it before. So I've got four columns going across. And what I do is kinda slide it on down and measure it down at the bottom too so I can get these straight lines going right. Now you're going to see how I do these vertical lines. Probably smudging them up a bit. That's because it doesn't dry very quickly on this see-through plastic. But this is how you start to work with building a grid that you can use to overlay on top of other images. All right, so you've got these smudgy vertical lines that I've got, then I measure out a little bit of where I'm going to place my horizontal lines. In this case again, I'm going to divide this sheet by three here, right? I'm a little less careful with measuring and across. But you can see what I'm doing, right? You can see how I'm just going to draw straight across here, smudging a little less. And now I've got my grid. It's awesome. And with this grid, well, what can I do? I can just grab almost any book or image I want. Toss it in here, position it however I want, and use that, right? How cool is that? I can show it to the side a little bit more or however it fits. Now I've got this awesome thing that I can use as a quick grid and overlay it on top of almost any image that'll slide in there. Super handy and helpful. Now I'm going to try the same thing, the same technique on a comic book I have. I know I usually don't like damaging comic books and actually I know the guy who drew the cover for this. So I feel even worse. But the truth is, this book got ripped up and everything. So I'm just kinda working on the cover here. So what do I do? I kind of go and do the same thing. You'll see when I did that graph on the big laminin paper for the C31, it was four columns. This one, I'm just going to divide in three. So I'm going to be, let's say it's 15 centimeters across. Well then I would grab it by five centimeters, five centimeters, five centimeters. So I divided that 15 divided by 5. And so I measure it from top to bottom and across and divide it by how many squares that I want. Because this sheet is where this image is more of a vertical portrait type. That's how I divide it. I use my ratio, my boxes here, as, you know, they're, they're taller than they are wide. Just because I like it as it kind of fits better for this book. But you know what? You can do it however you want. Just keep it consistent if you're gonna do squares, the squares. But in this case, I did rectangles all over rockets face. Unfortunately, I still feel bad for dropping on this book, but as you can see, it's kinda, it's been beaten up a lot. So how bad I feel isn't all that bad. Right? Okay. Next up, I'm going to show the exact same thing I've been doing on just a blank piece of paper. So what I've got here is this piece of paper that I'm going to work on and I'm going to measure it out and then divide it in three. That's a math is not my strong point. So this doesn't always work perfect. But I think you can get a pretty good handle on it, right? If anything, you could cut the paper a little bit to Match it how you want or just don't don't fill off to the side on it, right? So I do this exact same things I kinda plotted out. Measuring it twice on the top, the bottom, just so I can kinda get a straight vertical line here, right? And you're gonna see it's going to smudge a lot less on this paper. The the plastic see-through stuff, smudges tons before it dries. This paper. It's a little bit nicer to me. And then I come over and I'm going to divide it so that I've got my horizontal lines going across, right? And I'm not going to be as careful measuring it. I'm pretty good with just doing that straight away here and no smudges. So what do we see? We see that these lines are going to work really similar to how the other magazine, how it works on that Rocky Raccoon cover, for example, right? So you can see how this would be easy to copy that cover. Whether we use see-through or the cover here, and then draw it out how we should. Okay guys, we've shown you a little bit of how to do it. How to make these grids traditionally, whether it's on paper or on kind of a glossy see-through. Right? Now I want to show you how I usually do it using a computer program. Now the one I'm using here is called Clip Studio Paint. But my daughter uses procreate. And some of them are better than others for doing this. And I can't teach you everyone, because honestly, every iPad and every phone, there's a lot of different programs out there. But I'll show you some basics just so you understand. And the truth is it really, at the end of the day, it won't matter which app or program you're using. So here's my black and blank canvas, right? It's just a piece of paper, basically, right? But what this program does, it allows me to view a grid. Now, what is the grid kinda what we're making already, right? What we've been practicing making these little grids. This one that was kinda built in. So it's got all these little blocks that are exactly measured and goes across right? Now, what did I have before? I had three columns across right, 33 sections, which means two lines. So if I'm going to divide this, I can see I've got 1, 2, 3, 4, 5, 6, six of these bigger blocks, right? So if I want to divide it by three, what I would basically be doing is go 12, line one to line, right? And so now you can see, just like before, we've got 123 columns, right? Now, we did the same thing going down, right? We wanted three sections. How do we divide this paper? Well, we take a look, count how many of these sections we have. We've got 1, 2, 3, 4, 5, 6, 7, 8, 9. If it's 9 divided by 3, what do we got? That's right. It's three. So I'm going to count 1, 2, 3, draw a line, 123, and draw a line. Now listen this and I can even come back up here and get rid of this little grid. So now this looks kinda like how we normally were doing it on paper earlier, right? You can do this without it, without those little grid boxes and stuff and you just have to measure it up or kind of guessed it if you want. But the key point is that what, what I really want to see here is kind of what we call this certain ratio, right? You can tell that the bottom here is not the same length as the horizontal or the vertical. This horizontal is actually 2 and this vertical is three. So this is a two to three ratio. That's the way I've divided it. You don't have to though, if we go back and turn back this grid on, what I could do is make boxes like this, 12 across, 1, 2 down. And I can do all my boxes like that, that are just the same. They could be one box across and one box down if I want. Right? But what did I say? I have kinda done it this way because this is the one that I'm most of my pages are kinda laid out a little bit shorter, horizontal and the vertical, this two to one or two to three ratio. So that's what I've been trying to do and try to show you guys. You just don't get stuck by it. If you really want to have something like It's just that simple. That's simple of a grid. Go for it. Just make sure that each of these spots well, it looks like I'm playing tic-tac-toe now. Each of these spots are the same. Each of these squares are all the same size, right? Because what's going to happen is when you start to bring this drawing or your reference onto your big drawing and listen, it can get really big. You can even paint on the wall, do a mural, right? If you start to warp these and they're not, they're different sizes or they don't match what this is, your drawing will get all warped and everything right. Okay? So be careful that whatever you do for, for your grid. When you do it on the workspace. So this is your reference grid. Whenever you do it on your workspace, It's going to be matching, okay? That's the key point. If it's not matching, you're going to run into trouble. All right, so let's look an example here. Okay guys, so what we've done here is we've taken a sketch I did a little while ago of who's this guy? I don't know. Johnny bravo. I sketch out this Johnny Bravo. And now we're going to see how we could use our grid to draw them. So you can see what all I did was make another grid right beside. I'm doing a side-by-side because it's easier for you to see on the screens that we're showing you. But I know that at home, maybe some of the students have two papers that are side-by-side. Two separate things, maybe even a magazine like I showed you earlier or something like that. Right? I just want to put it on one piece of paper just so it's easier for you to look at it. What I usually do when I'm drawing something like this is I look for some landmarks. So I know we'll round this corner right here, right here at this corner right here. His neck is going to be here and as and as his shoulder is going to be coming out of it is trap is going to be coming down to there. Okay. So I'm gonna kinda rough that in. I can also see the face is kinda half on one side, half on the other. So I'm gonna go with the face, half on one side and half on the other. Something along those lines, right. And I could see how way up here his hair kinda comes up. And right now this is just going to be a rough sketch rate. Can it comes down and then comes down into the face here. Alright. So we can have that, have this come up and his hair's coming up this way. Alright. There we go. Here's even coming off to the side here. There we can see how similar centered this is, right? All these lines that are coming up. And this again is just a sketch. Okay, So using that landmark, they're using this landmark off to this side. The shoulders coming up right from here. And the shoulders coming from here comes down. His cuff comes up almost up to here actually so I can adjust and don't worry if your sketches messy. Joey, use your sketch pretty messy. Yeah, pretty messy. You can see how the shoulder comes up from here and comes around, right? So I like using these corner landmarks at first. Then we can come back, place an ER and IR, his neck is going to come from the ER. It's going to come once again. Above here, right? Come down below. In this net, comes below here. There we go. And then we can just kinda bring this trap over. And we can see how it just kinda arches that way, right? Okay. Not bad. Not bad. We've got this cough. Do we want to bring it all the way down? We can bring this part down during this part down. And we can see that his hand starts somewhere just below this line, right? Into a thumb, into this finger, and into this hand. And the hand comes almost to there. Okay. Now, what else do I got? Right on this line, right on this corner is a bit of this waste that comes flipping up here and then comes in, right? It seems to come right about here, comes from this bicep on this side. So it's kind of sweeping in, comes in and hooks down. Can you see how we're using these corner points as landmarks, right? Comes up a little bit from this landmark and then sweeps over into a chest. Okay. From there, we can just bring out this cuff and bring the shoulder up. And over. There we go looking kinda cool. Right? Now, this hand comes down and touches his finger, touches here so you can actually kinda sometimes draw things disconnected. I don't like doing that necessarily. But it can be done because we've got, we've got this graph already put in. So we've got this bicep here, the forum comes here, and it sweeps down into here. There we go. And then the hand comes in below. Cool. His upper body is massive. Okay, so we can see how the hip kicked out here and it's going to come down. And it's feet are almost at the bottom here. Let's feeder kinda hear little, little triangles. Cuffs. And this sweeps into the foot. This one comes up and comes into his crotch. And if we want to have this one level with what's on this side, you'd bring it over. Like I said, I'm just rough sketching here. You can tell that this is not going to be gorgeous, but it's not supposed to be right now. I'm just kinda roughing where everything is. I always like to do these rough sketches just to start off the drawing and weaving this right down to the ankle. There we go. Joe, how's your body coming so far? Okay. Okay. I think you ran out of room at the bottom. I also made his legs his legs a bit flimsy. Just watch out if you're doing what Joe is doing here is, would you should be doing is really trying to match point for point on the graph. That's part of the exercise here. I know what you want to do is do some freestyle and just draw it the way you want, right? But you, I want you to make it point for point. So even looking at this, I think I came too far over when I'm looking at his face. His face is and that that far It's a little bit narrower, right? There we go. So look at how much closer than it is. And now as I'm going to draw the sunglasses here, his nose is going to be about on that line. And these Jony Bravo sunglasses get put in there. Okay. So that's the rough sketch and that's a rough way of using grids. The main point that you wanna do with grids, as far as I'm concerned, is look for landmarks, right? Look for the corners, look for how things are lined up on those corners, and then try to match them over on the other side. See if things can line up the same way. And if you do this, if you do this style of matching, you're going to be able to draw very, very complex drawings because it'll help you with your placement and proportions of what you're trying to copy. Okay? This may not help you create. It may not help you build, but it'll help that. Hand eye, hand coordination. Joey, how's yours ending up? Pretty okay. Now let me ask you. Do you think you follow the grid how you were supposed to? I think I'm pretty close. I looked at where everything was, tried to match it all coming out of the grid. And can you see how something like this would be used for like a giant mural? Yeah. Yeah. You could definitely blow up that grid into something huge, a poster size or bigger, and draw this exact same Johnny bravo, the same way. All right. Good stuff. Okay, guys. So I've included a whole bunch of worksheets so you can follow along. But also just like how we showed you how to make your own grids. You can do it at home. You guys can create your own grids and start to create your own artwork and see how it works for you. I'm really curious. I want to see something at different size. I'd love to see you guys go bigger or smaller on something. So be sure to send me some of the work that you do. It mean joy, love the entries that you guys send, and we're looking forward to seeing some more. Have fun guys.