How To Draw BASICS For Kids | Ed Foychuk | Skillshare

How To Draw BASICS For Kids

Ed Foychuk, Making Learning Simple

How To Draw BASICS For Kids

Ed Foychuk, Making Learning Simple

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17 Lessons (3h 1m)
    • 1. Basics Promo

    • 2. Basics Intro

    • 3. Basics Supplies

    • 4. Basics Shapes1

    • 5. Warm Up Circles

    • 6. Basics Shapes 2

    • 7. Basics Names

    • 8. Basics Circles

    • 9. Basics Circumference

    • 10. Warm Up Lines

    • 11. Basics Stickman

    • 12. Basics Stickbreak

    • 13. Basics LOA

    • 14. Warm Up Shading

    • 15. Basics Shading

    • 16. Basics Still life

    • 17. Grids

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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



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

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

Ed has experience teaching in Academic and Professional settings.

Feel free to follow Ed on Facebook!



See full profile

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1. Basics Promo: Theo. Guys, I'm Ed and I'm the father. And this is how to draw for kids. Let's take a look inside. In this course, we're gonna work on basic shapes, changing them from two D into three D objects. We're also going to learn about basic circles and turning them into spheres We can rotate, and we're going after your basic statement making the functional and fun. Not only will you learn how to draw basic shapes or we're gonna teach you how to shade them and render them so they look like real world objects. There's tons to learn in this basics course, some of it that might actually surprise you. Okay, so are you ready? Get rolling on this course. Let's do it. Okay, listen, she's gone. And now I can give a message just to the parents. This course was made just for kids in mind because as a parent, I know that there's a lot of content out there. A lot of channels that, uh, you know, have some weird redirects, right? This course, its content, its creators. Everything is geared towards Children and young learns, So you don't have to worry when you sit your child down in front of this video. Uh, it's custom made. Okay, so that's just between us. Don't tell the kids. 2. 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 3. Basics Supplies: Hey, guys, I'm Ed and this is jelly. And this is the first unit off how to draw for kids. Right? And in this unit, what are we gonna talk? Supplies? Cool. OK, basically what we need or what rather what you need for this course. Right. OK, so what's the first thing you absolutely need for this course? A piece of paper? That's right. We need something to draw. Right. Um, let me see this thing. Okay. So you don't need a special sketchbook. It's nice to have everything right, but basically this paper. Yeah, just simple lank printer paper, right? Try not to use the stuff with lines all over. It might mess you around a little bit, right? Just something simple. Something blank. And you're good to go get what's next? That's right. Uh, is that a special pencil? I found it on my desk. Ok, now, listen. When it comes to pencils, there's different types, not just brands everything right. But the actual grading of the pencil means, um, kind of the lead. How how tough it is. Right. And so a medium great pencil would be an HB, and that's my favorite. And check that pencil. What kind of hp? There you go. That's what we usually use. You get softer leads that are more like charcoal or something. Maybe they'll seem darker and stuff and some firmer ones, right, That it will be more for sketching. It depends. Whatever you've got lying around, I think is good enough for you. So you can use just a normal pencil or right. You can use just a normal pen that's lying around. What's the problem with using a pen? You can't series? Yeah. Corrected. Uh, don't worry about it. We don't do a lot of erasing in this course, right. I like to teach that, you know, the mistakes that were 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 his pet. You know what? If you want to have any racer way, didn't use it as one of the requirements for this course. I think on the a pack of the pencil, you can use it there, Right? But it's not needed, OK, so don't stress about it. If this is all you've got, this is cool to use. Okay, so that's that's what's needed, right? Is pen paper have soul? That's it. Right. Uh, now, here's some extra stuff that we sometimes use around around our house and stuff. What else you got there? A brush. Cool. Show it. What's what's a brush, man? No. I mean, like, you got to take it out and show that it's actually like it's got a brush tip. This is kind of cool. It's like it's like an ink. You know how, like, like Chinese. Yeah, Yeah, yeah, I think of it basically like a small paintbrush or something like that. And that means it could be kind of tough, right? You can really mess up with it. Um, you gotta have the strong pattern down. Make sure it's drive in that smudges mawr. It leaves a lot of ink on the paper and stuff I got right. So I would say kind of hold off on. You know, if you're gonna 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 got it around, you can use it, right? What else you got? uh, markers. Cool. All interesting color selection. You know, I have a graze and, uh, primary. Right, Right, right. What's the Brent? This is okay. So when it comes to markers, the ones that we've got here, whether it's the touch ones or the co pick brand, they're a little expensive. They're alcohol based, so they blend. You can kind of smudge them over each other, and they can kind of blend into each other. The typical markers that you get at Wal Mart or something. They don't do that. We are not going to be focusing on coloring in this course. Um, this is how to draw, right? How to draw for kids. Right? So we're gonna be focusing on drawing. But listen, I love coloring. So right, so I get it. You know, I get it. If you want to color some of your stuff, what I want to do is show you what we have kicking around our studio here. Okay, so that's it for traditional stuff. Um, but in this course were actually, the two of us are gonna 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 the screen capture stuff, right? So that for us teaching, we can kind of grab that screen and just, you know, recorded easy. Right? So what are you gonna be working on? That's pretty big. Bigger than my head. And that's pretty bad. I've had 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, Okay. Wouldn't he did or anything? They're not cheap, right? But they're kind of awesome. You're working on the iPad? Uh, the iPad is just a device. Right? Um, you need abstaining programs on itself. So what are you gonna be using? What do you think? Appropriate? Um, it's very easy to do. It takes some time, but you should get it. Yeah. You know, some of these programs are they got a little bit of, ah, learning curve to them. They're a little bit tough, huh? They're not like paint by numbers. Some of them. It'll take you a little bit. I like sketchbook pro. Uh, and clip studio paint. But it gets tough, right? I think procreate is the easiest. Yeah, t 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 stylised or our eye pencil or whatever, grab it and play with it. You can Whether it you're sketching on that piece of paper or whether you're sketching on this doesn't really matter, OK? I just want to show you what we're using. So Joey's gonna be using this and I'm gonna be using Let's see if I can kind of bend here. This okay, this big tablet sitting behind me here, that's called a walk. Um, sent eq. And it's huge and it's awesome. And I got, like, this cool and sold with stylist with it, right, Uh, 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 gonna 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 basic supplies again? A pen, paper and write. That's it. That's all you need. Okay. What if Santa's good to you? It's all good. Okay. You ready to get rolling on this? Yeah. Let's do it. 4. Basics Shapes1: Okay, We're back with another unit for how to draw basics. Course here. Are you ready to roll in this? Yep. Definitely. Do you know what we're drawing today? No idea. Okay. You know, we've already kind of covered ovals and spheres and circles, and we talked about how to make them into three D. We're gonna go away from our circles and go into drawing some basic shapes. Oh, okay. And you're gonna help me with this because your vocabulary is way better than mine when it comes to these basic shapes and bright. Exactly. I haven't stayed geometry. And ah, while. Okay, so what we can start with here, and this is gonna be really simple, is Let's see, I'm going to draw a square. You know, a square has four both sides, right? Okay. And maybe my square is not gonna be pretty to start with. But, you know, I can draw small squares or that we're not squished, right? And I'm just gonna 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, kind of come in and see if I can dark. And what I would think is, you know, the horizontal line, the vertical line and the horizontal. 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're just kind of sketching them outright, sketch out a few squares around, and then when you when it starts to look more like a square, you know, if you're roughing the lines a little bit, you wanna start to darken them in and make it look like it's like, Yeah, I meant to do that right. I'm 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 I got. But when you start to darken the lines in those those rough, sketchy ones in the back kind of they fade away, right? And people, the eye is drawn away from them. People ignore them and stuff again, and you just end up looking at the square. Yeah, So we're drawn a few here looks good. I'm scared of making them into rectangles. You know what? Don't be scared. Let's do it. Let's let's make some rectangles. Okay, So we're gonna you know, what's what's difference between a rectangle and a square? Ah, to each. I don't know. Oh, come on. I tried to explain it. I don't know. It's like two sides are the same, but do other size or different links something similar to that, you know? Well, you could do better on that explanation, but that's pretty much it, you know, we've got with a square, we've got four equal sides is the way we usually define it, right. A rectangle will have two of the sides to of the parallel sides longer than two of the other parallel sides and stuff. Right. So you can lay the rectangle down, you get standing up. My sheet is starting to look a little bit like a Tetris or some some game thistles. Where? What? 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. Because if we start 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? What? That cold trap is way. That's right. Okay, so when the two parallel lines aren't equal lengths, you know, this one's this long, And this one down here is this long. Then these other ones start Teoh. They don't get to run parallel anymore. They're shooting off into different directions. Stuff I don't want to get into. Trap resides yet. I want us to stick two 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. Um, however, you want to do it right? Part of just getting good at this is doing it again and again and again. Practice makes better than what? Yeah, right. You avoided the old phrase of practice. Makes perfect, right. That's okay. You know, it doesn't make it perfect, obviously, but you don't make it better than what you were attempting before, huh? Like I said, exactly. I knew there was a reason I kept you around. Oh, don't take offense. Okay, so we've got some squares and rectangles when we head into triangles, triangles instead of ah, instead of four sides, try three, right. We're gonna do three sides now. You can make them kind of taller. No, of course. We're gonna think of pyramids, but pyramids are are the three d version of a triangle. We're not getting into that yet, right? So for now, we're just gonna 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 can intersect it. And then, you know, do your your final with a darker line in there. 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 you know whichever way you want to go, how do you make a triangle? Usually you start from the top. Start from a base. What? I don't know what I saw It varies from each and everyone, but sometimes I start from the side, and sometimes I start from the basis. Sometimes I start from the top, right? Right. It doesn't have to be. You know, sometimes your brain is interesting. It it'll just do what it wants to do, right? Oh, I start from the side. Oh, really? Yeah. So, like, when I dry, I go this instead of starting at the base or interest also for this one. So you you basically your brain wants to go left to right Like I read. Yeah. Yeah, that's OK. You know, everybody. Like I said, everybody has kind of got the Rome way that the green 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? One, 23 and see how it works for you, You know, I mean, it's good. It's almost like a sport. When you think of like shooting a basketball a certain way, you 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 and stuff gets to draw a bunch of triangles. Oh, do you realize that we're drawing like, like, three different types of triangles like this? Oh, right. Yeah, I saw it. Well, you kind of did this, you know, horizontal and vertical line. And then you connected them. That is this the lean that's escape. Okay, listen, I do appreciate how much you're studying this in school, but if we use too much of that, it's gonna hurt my brain. You know, it's simple. If you look at my screen, I will drop the three types of trying. Okay, let's do it. Here is the equal lateral, which means all three sides are equal. Good. We have the I saw Seles, which means two of them are equal. So, like two of them are longer grace. See, alien would probably just be like each of them are different size. Okay, So each one is a different side. Which ones of different length, right? 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 ah, squares, rectangles, triangles, Those basic shapes. Do we want to do a few more traps? Lloyd's. You know what? Why don't we just throw in some irregular ones? You know, everything from a Pentagon? Uh, Octagon, Whatever. You could just start making funny little shapes. You know, they can all be irregular. You know, you could you could put five sides you could try to put it's 1234566 sides. You know, try to put eight. Well, that's gonna be hard. How do I do this for? No, I usually try once at 12345 6780 that's completely on. Obviously, E once we started doing that even more Eventually, it kind of gets almost oval ish looking. And, you know, 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 current friend circle just like you. Pretty much, you know, that's that's eventually what we get it. So you know, we're not gonna go that far into it. But why don't we try? You know, a few of those irregular lengths and stuff like that, uh, practicing them out and see how how they might work. You can, actually, What's the sheep? Where? Even though they're parallel in the same length there. Offset. So have it like that. It's not like a rhombus or something again. You're the one. And I don't know. I think it's either a rhombus or parallel Know that? No, no, I You know, I think the more we practiced this type of thing, the more we're just tryingto flex. And that's really what? What? This exercises about it. Just listen, I know you know what a square is. I know you've seen rectangles before. I'm not gonna teach you these things, right? Ah, 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, Theo, end of this unit is I want you to fill up this page of different shapes. OK, so just run through it, Philip, Uh, the entire page, You know, like you could drum bay. You can draw them small. You could draw them attached. Doesn't really matter. But I want you to start or just finish off this page rather of shapes. OK, so that's the assignment. Are you ready? Uh, no. I know you don't like homework, but anyways, get to it and I'll catch in the next year. Wait. 5. 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 wrist 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 1/4 or half doesn't matter as long as you get your wrist moving. Okay, so now we're gonna 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 calmly do this while you're watching TV or anything. It's an easier exercise toe warm up with. So right now we're doing a circle, and we're kind of just warming up our wrist, and it's kind of looking like a tornado, but it just helps with having fluid motion while you're drawing. So just do this a little bit before you start drawing and have fun 6. Basics Shapes 2: Okay, We're back. And in our previous unit, we were discussing how to draw shapes, right? And I Like I said, I know anybody from elementary school on up has already drawn shapes. You're used to him. You probably cut him out and craft class or whatever. Yeah, whatever. And, uh, you know, I'm not here to teach you guys. Shapes were here in part two. Kind of train our brains and stuff I've got of how to draw some of this stuff, This one that was gonna be teaching because, just like with our circles, how do we turn them into three D What we call suspected? Partly. Right. I think you're guessing here. Um, listen, a three D circle is one three D. Oh, my goodness. You're failing already? It's a sphere. Oh, I thought you But you know what? I'm guessing every student that's listening right now is probably answering the same way you are there. Like, uh, there's that applause, right? Yeah. Three D 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 three d perspective? Yes, it's perspective. but we're not going to get fully into perspective. We're gonna take some a little bit of an easy stabat this right now. Okay. So what I want you to do is if you remember, we're already talking about these lines, right? This is a vertical line. A vertical line is one that goes up and down. Ah, horizontal line is one that goes kind of side to side. Yeah. Okay, so I want you to make a vertical line. Ah, horizontal line of vertical line and a horizontal line. And what does that make for us? A square square? Can you do that for me? Yes. Vertical, horizontal, vertical horizontal. That's a good enough square. And listen, students that are following along with this, um I hope you're either pausing when when we're doing this. You know, you could pause at the end of whenever I'm talking, which is rare, but Or basically, when Joey is here when she's doing her work, that's what I'm hoping you're doing yours as well. Okay, so when you're working your 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 gotta square in front of us now, using a vertical line, horizontal line, a a vertical line and another horizontal line. Right. And if we want to, you know, we can go in and make it a little bit prettier, right? We can come in and kind of dark. And the lines up make it somewhat pretty here, right? And make it more of a square. Okay, so we know we've got vertical lines in the horizontal lines, but what do we call these lines that are neither vertical or horizontal? Guess Go ahead. Yeah, right. Diagonal. A lot of you guys have already done this, right? And right now, this is on. I'm trying to think of the degrees. This is this is probably about 45 degrees or something like that. So what I want you to do is I want you have let's say, three squares in a row here. Okay? Three squares in a rope using your horizontal and vertical lines, and then from three of these corners, I want you to draw 45 degree lines coming off. Okay, So you're gonna grab the three corners here and draw approximately a 45 degree. Now, listen, if you got a ruler, what you can do is just kind of, like, you know, put your ruler on this angle here. Okay? Gonna have this little ruler keep it on that same angle, this 45 degree angle and slide, and then slot you slide it over and then slide it over some more, and I will stay in that same 45 degree angle. You're just using her hand and slide. Slide slide, right? If not, I think you guys are probably had a point where you can draw just draw so that they kind of match up and stuff. Okay, so we've got these 45 degree angles and you can kind of see what's happening right now is that if we look at this, it just looks like it's kind of 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. OK, vertical. Sorry. Vertical. I miss messed up. Yeah, you're exactly right. Thanks for the correction. Yeah. So you gonna have this vertical line and then this matching vertical line from so that from this point here, down to this point, down to this line. Perfect. Okay. And then just like we have now, we're horizontal. Just like we have this horizontal line from here over. This is gonna be a horizontal line. Be careful, cause I know what a lot of people want to do. Is they kind of just go like this and then go like this? This is not a vertical line. This is not a horizontal line. You're messing it. You want to follow your vertical line here, You want to follow it 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? Que a cube? That's right. We've given some a bit of three d form to this two D shape. Right. And we've made it into a cube. Now, it's not a perfect cube. There's some issues that I'm gonna 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, right? And listen, if you're going on to new sheets of paper and stuff, that's okay. You know, I think it's great. Teoh, tear through paper. Use cheap paper, though. You don't have to use art paper. You know, it doesn't have to be official $5 sheet art paper. Anything I get, it could just be photocopy paper or whatever. Instead, it's perfect. So don't Don't worry about tearing through some of this paper and stuff. Don't use your You know, you're good paper for this kind of sketch work and stuff. I got you some nice loose sheets or whatever and just draw all these shapes on them. Okay, So down below, we're gonna draw this rectangle. Could you draw a rectangle for me on your throwaway paper here on your cheap paper? I was struggling. You know what? Rotate the paper sometimes, right? You know, just move your paper around, Teoh rotated in front of you. Sometimes we get kind of convoluted and we twist our bodies up sitting over the sheet and stuff I got. If you got a piece of paper in front of you, turn it, turn it so that it it flows with your arm and hand a little bit better. Also good piece of advice is don't draw angle your whole drawing. Yeah, right. The flatter. Like you're looking at your surface. So if you're right on top, your paper the better, right? You know, I have mess up many drawings, right? You know, like you've really gotta if it starts to angle, would have get warped and stuff, right? Don't worry about that. Right now, though. We're just working on rectangles and stuff I got, but with this rectangle, we're gonna do that exact same thing. We already have 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. But now I want 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, you know, we've got our horizontal line here. Draw. Ah, horizontal line here. Right. And then we've got our vertical line here from this where connects to the line. Draw vertical line down. Right, and that that'll intersect there. There we go. So, what I've got here almost if I was to draw some some kind of detail in here is starting to look a bit like a book, right? Oh, I didn't bed. I'm like, shaking hands follows and stuff, right? Yes. Now it kind of looks like a book, right? And that's how we just turned a to D 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 started to add the details of what a book might look like. You know, the pages going this way or something like that. The binding of the book, the roundness on the end. And now we just made a book. Yeah. I didn't mean to make a book like it was that easy. Once you start to get into these shapes turning them into, you know, turning them into something gets so much easier, right in later courses will get turning them into cars, spaceships, tanks, whatever. You know, like, but you've got to get this down first. Okay, So what I really want you to do is for the rest of the sheet you're gonna 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 these squares. Right. What I would do is draw just a bunch of squares on my paper like this. Okay? Yeah, maybe like rows of them, depending on how much room you got. How much time you 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? You know, off to the left instead, do the horizontal right. Follow that horizontal. Followed that vertical right. What if you change it and it's no longer 45 degree, but It's more like 25 degrees. You know, it comes off to the side here. Kind of like this, right? Yeah, that's where it gets kind of weird looking, right. It's gonna look a little bit to switch. You still follow the basic rules of, you know, this is horizontal and this is vertical. And then it comes like that, right? 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. OK, so if they're going on this 45 degree, if they're kind of going off on this angle, I want them all to go off on this type of ankle. Okay, If they're going to go off on this more like 60 degree 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 could box it out and you 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. Philip, 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 here. She practicing this and listen, they're gonna look ugly at a certain point. That's OK, but just keep at it. It'll get there. Good luck. 7. Basics Names: Okay, guys, we're back. Me and Kelly are going to do this again. Ah, this time. You know, previously we had talked about shapes and all that kind of stuff, right? And we went from basic shapes into three D shapes, both for circles and spheres and squares and cubes and all that kind of stuff. Um, this time we're going back into shapes, but one that will kind of 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. Joining 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 lower case, right? For example, And could be this is upper case. Right? And lower case would be e d. Something like that. I'm not talking about cursive writing. I'm just talking about, like, upper case and lower case letters, right? I think everybody taking this course. Geez, I'm hoping that you could do that already. Right now, I think they teach that in great one or something. Okay. So, Joey, I see you kind of went upper than lower. Lower, lower. I want you to do yours all in, uppercase if you can. And guys at home. Same type of thing for you. I want you to do yours all in uppercase the woman. 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 great one here. Okay, so we've got upper and lower case, right? My name is actually kind of short for this lesson, so I'm gonna change it into E d d I E. Eddie. I'm gonna go with it. I know It sounds very cute. Yes. No. And how many letters are in my name? 12345 I've got five letters in my name for this. Right, Joey, How many's in yours for four, Right. And listen like I know my first name here was Ed, and it only had to 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. Something you get pretty difficult. Try to pick a name for this right now that we're gonna do. That's anywhere from 4 to 6 to 78 letters or something. You know, some of you have little nicknames or something like that. You something like that. Okay, So what I want you to do is we're gonna draw squares, but just wait. Watch how I do this right now. My name is five letters long, right? Okay. So I'm gonna draw kind of two horizontal lines thes air ugly horizontal and divide it into five square. So I've got 123 for And what end? I've got five squares that air roughly equal size and stuff like that, right? Obviously, you know, if it's if you got four, it makes it pretty easy. Could just draw a rectangle like this. Cut it in half, cut in half again that Joey, once you do that, make a 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 know, You just divide it like Joey's doing here. Five. You saw me do it. Six. You know, you just keep rolling with Okay, so now that you've got it divided up and very lightly sketched these little cubes and stuff again, we're gonna use block lettering to try to fill in your names. Right. Okay. So what's my first letter of mine? E? It's an E. Right? So I'm gonna use this this block and try toe do in an E. Well, that's not the prettiest E. It'll work for what I'm trying to do here. That's an E, right? Yeah. Okay. Next one on mine is a D. My d will kind of come like this come down. 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 this block so you can take this time. Well, 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 e d d I letters? They don't have to be pretty. This is This is not what we're working. We're not focusing on being pretty right now, okay? Just try to fill in the blocks, having this kind of fat writing. You could think of it like, ah, fat writing some people, you know, we'll have it. Kind of, um, let's see if I could do it is kind of round type of lettering or something like that. Um, it's kind of a bubble thing. Right. So let's see if I could do with an E. Could be kind of like this. You know, that type of thing could be rounded like this or can be very harsh, depending on your style. It doesn't really matter. All of these will kind of work for what we're doing here. So don't worry about it. Don't stress about do whatever style feels comfortable for you. And you know what? You're gonna do it a few different times. Three 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? If you want to, you can kind of take any racer, clean up some of the loose lines around or whatever and stuff I got. Hopefully you sketched it up 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 your racism or anything. Okay. You've kind of roughed in it. Kind of 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 any time and rewind and go back over it again if it if it gets really. You know, strange and uncomfortable. Um, you know, and you're confused. Just pause, rewind and go after it again. What I'm gonna do is in this Ah, on one of these sheets, I'm gonna kind of include an entire alphabet with all the letters written in a few different formats. What we call fonts that have kind of thick writing. Okay, So make it easier for some of the students that you're not really sure how your how that letter might look fat or thick or in this kind of format, right? So then you could kind of look at the reference sheet that I'm gonna include here, and that should help you. Right? Okay. So let's see. Joey looks legit. Yeah, I like how it looks. Is interesting. It's got carry. Well, the only thing I would say with your e is sorry. I'm dropping pencils here is that it doesn't kind of match up here, right? Like if I was to do this? Ah, vertical line and stuff again. The bottom of your ego's way past. Right. So you want to kind of like I said, keep it within the box within the the Cube of what you've already drawn and stuff, right? Okay. Looks good. So now what we're gonna do is this is where it gets a little funky and little difficult guys, you know? Remember how we talked about how easy it was to draw those shapes earlier and stuff like that? This is where it's gonna get tougher. Okay, So what I'm gonna do is kind of right in the middle off my word here, right in the middle. I'm gonna kind of go down from it and draw. I'm not okay, so you can do that now, too. Right from the middle kind of draw somewhere down the paper, OK? Yeah. 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 is curves, you know, I want I want coming straight down to this dot 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 kind of has that ruler effect. Right? Okay. You've got 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 the Oh, Well, what you can do is from right about here. Like if I was to draw a line from here to here? Yeah, you know, where does it touch on the edge? Where does it touch on the edge of Leo right about there. If I was to draw a line from here to here, you know, where does it touch on the edge? Right about there. Okay. So you can line up your ruler to the furthest edge that it would touch to and stuff. Yeah. Okay. Now that we've got that done, you can kind of see what does this look like? It looks like the titles coming towards us. You know, it's got that effect already and stuff, right? Yeah. Looks pretty cool, right. I think this looks pretty cool. Um, what we're doing is we're kind of almost turning, like these thick lettering into three D letters, right? We're turning them into kind of cubes or stamps or something like that. 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 when we do that for this. Okay, So what I'm gonna do is I'm gonna draw a line and looking at this. Let's see, it's 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? So we're gonna draw this line. And now what do we can see is like all of this down here, this won't matter. We're not gonna have this. It's just gonna be from this point. So, for example, if I had this e, this line would come down, it would come over and right to here. That's part of this e shape. Okay? Yeah. Okay, cool. If I have this, I on mine 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, these corners that can view down towards this, we will bring kind of down. But we're not gonna draw through this point. For example, I'm not gonna 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 could see it. It comes down all the way down 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 up 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 gave it depth. This is how deep the I 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 if you want to do it, um, 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, it kind of helps them think. OK, well, this is the name, right? I can't touch this name. My name is going to stay the same. I'm not gonna draw through it. I'm not gonna edit it. I'm not gonna erase it, You know, you can do it this way. So that it You know that no matter what, no lines are gonna 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 it. It helps them understand that. Okay, I don't touch that. Right? Yeah. Is de here out after? I wouldn't see that. Okay, so for the D, this is a rounded A curve, right? It comes to here, it would start to here, And this rounded curve would follow the same type of pattern and come up to here. So this is the shape of the D. Like that same type of thing this rounded curve would come down to here comes into this point, comes in at this point and a 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. Three. So we got E d d i e. We've got some depth things going on from behind. This one's gonna come down as if it's coming down to here. This one's gonna come down on this side. They're gonna 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 could call a very important person, but it's a vanishing point. OK, 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. 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, you know, with the J down here in the O down here. Right? And even the why curve and stuff I got. So all of your names are gonna have a kind of funkiness, you know, uh, with each letter and stuff. And if you want to, you can mail them off to me and me and Joey will go through them and help you and tryto sort how it would look for you so you can practice him. That's no problem. Okay? Just realize 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 are coming up here, you know, whatever roundness or straight edges or whatever, you're gonna 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. Think so. But if you can master this, this is where it's gonna come into later courses where you start drawing buildings or machines or any of those types of things, right? Any vehicles, all that kind of 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. Yeah. You know, with the videos and stuff I got, you can just Groll 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. Yeah. You know, if if this is kind of tough, do with my name or Joey's name and follow along how we did it, see if it makes sense, and then do it with your name. Um, also, you know, if there's holidays, like Christmas or birthdays or whatever, you could choose one of those words and try to say, you know, thank you. Or mom or Dad or whatever it is, right? Love, whatever word you want to do, right? Hate? No, I'm not recommending. Anyways, the point is to practice us enough times that you think you're like, Yeah, yeah. You know what? I think I've got it. What do you think, Joyed? You got it. I think I need a little bit more practice for their good, good stuff. Perfect. Okay, He practicing guys, and we'll see in the next video. 8. Basics Circles: Okay, guys, here we go. This is gonna be our first unit in this course, and I can't say it's an exciting one. No. Well, you know what? It's an important one, right? Right. What we're gonna do here is we're going to draw circles, and, yes, I can hear the excitement in your voice already and stuff, right. But, uh, we're gonna draw a bunch of circles, and I'm gonna teach you how to draw a circle. Chances are you've already drawn circles in your life and stuff, but let's see how we do it now. So if I just got a piece of paper here in front of me and I'm just gonna try to draw one stroke as a circle like an egg Kinda. Yeah. Let's see if I do that again. Hey, that's not bad. But, you know, that's after about 20 years of practice, and I still can't get it. So this is what I want you doing. And you don't have to pick up your pencil yet, right or anything. I just want you to watch just for a minute. Here. What I want you doing is very light. Start going in a circular motion with your hand, Okay? And so you're gonna draw bunch of circles this way? Just really light and you'll find as you overlap and keep rolling around your eye and your hand starts to correct the image, you start to correct it into a much tighter circle and stuff. Okay, so even if you're the first time you're doing it, it starts to get a little wobbly. What happens is your your mind starts to correct and say, No, no, no, no, no. We should pull this into a circle. That's our goal. Right. Okay, so that's what I want you to do here is just roughly lightly sketch it out. And like I said, when I say lightly, I don't want you killing the paper. I don't want you pushing really hard. I want you to just lightly going over it and a few times. Okay, So my kids gonna do it. Let's see it. Do you want me? Did you know? Right now I want you to do how how all the kids are gonna be doing it. I want you to do it a bunch of times. There we go. What you doing? Big ones and little ones. Perfect. Yeah, that's good. Okay, So she's doing these circles. You should be following along and doing them at the same time. Or you could just hit pause and doing yourself if you want. It's OK. Yeah, that's perfect. Okay. Nice role of circles. Yeah, yeah, yeah. Okay, so we're gonna do this a few more times. We're roughing in circles, big circles, little circles. You'll find the little ones are kind of easier, right? As your as your doing them. They seem Teoh get a little bit easier, right? When you start to do bigger circles on your paper, you're gonna find your hand comes away from the paper, and you kind of start to draw with your your shoulder and your elbow a little bit, right? You know, these little small ones you could put the palm of your hand down on the paper. Just kind of use your fingers. Right. But as you start to get larger, your hand comes away and you start to move from your elbow. The form everything's moving. Okay. And that's how it should be. Don't worry about it. So that's what I want you to do is go over your paper. Um, you know, starting from the top and draw all of these types of circles and stuff. Okay, big ones. Little ones. Some is fat. Is your head, huh? My very that's like the biggest one you do. That's pretty fat. And listen, I know your kind of thinking, you know? Why is he making me draw this stuff? It's so simple. This is for babies or something. Totally not. Because even, you know, decades later, artists still struggle with drawing the perfect circle. So just keep drawing them. Philip, About half a page, if you can, or something like that. Right. And have fun with it. Okay? So take the next couple minutes. And if you want to, you know, even put us on pause. You don't have to be watching me drawing circles or the kid drawing circles or anything like that. Even though Joey's circles are probably more exciting than mine. I don't know. You don't think so? No. But try to fill up your page, right? Really huge ones. Some of them inside of them, right. You could draw all types of circles. And if you don't get it on the first go round just keep on spinning, you know, use your elbow, use your wrist and try to get those circles. Don't get little squishy eggs. Not yet. That's not what we want. We want your brain to recognize thes circles and stuff. Okay? Coming up pretty good there. Circle icis? Not really. I love the expression Circle ish ISS. I think that sounds pretty good. Okay, so if you got about 1/2 a page and I can see Joey's got half a page here, I'm hoping that you do too at home that you've got 1/2 a page of circles. I don't I'm kind of behind here, but that's OK. I talked too much. Um, for the rest of the page for the lower half the page. What I want you to do is kind of draw what was happening before ovals. Okay, so I want you to try to draw some stretched out circles and stuff. Okay? Now, some of them are gonna look a little bit egg shaped and stuff. Some of them will look a little flattened. Um, it doesn't really matter. I just want you toe purposely draw an oval. Okay, you cereal. It's interesting because you know, in our brains, we kind of think. Okay, I want to draw a circle. And then by the time it comes out of our hand were we're drawing ovals. And then when we sit down, we're like, Okay. No, no, no, no. I want to change. I want drawing Oval. Also, what comes out of your hand is a circle. So what this exercise is doing, why we're spending time on it today is to kind of teach you to master what comes out of your hand. Okay, if you want to draw a circle than that's what you're going to get and that's why we practice this. Okay, Teoh, to allow your brain. Teoh, put it out there. Put out what it's what? It's aiming foreign stuff. Okay, so what I want you to do for the rest of this exercise, And, you know, you don't have to listen to us or watch us to do this is fill up the rest of your page with ovals. Okay? Like I said, top half the page could be circles. Bottom half the page could be ovals. You can do him whatever size you want. You can do. I'm kind of like like I said, a bit of a squishy egg type type thing, right? Someone you're gonna ask, Do you go clockwise or do you go counter clockwise? That's really up to you? You're gonna find your brain kind of has a little pattern that it likes. Don't fight it Just go with comes naturally without even thinking about it. Just do it. Okay. Okay, So that's it for this first unit. It's I told you was pretty easy. Even though your brain wants to mess with you a little bit, right? Would you think was it easy? My ovals, like they do that getting a little poke either. And you know what? If if you do one page and you're like, I'm not loving this break out another scrap piece of paper, whatever and do it or doodle these things. Maybe when you're in class, maybe not When your trust. Yeah, I don't wanna get in trouble, but really, that's what you want to do is kind of train your brain to do what you're wanting it to do. Okay, So keep practicing these circles and I'll catch in the next unit 9. Basics Circumference: Okay, so here we are with another unit, and it's gonna be more circles. I I know, I know. But let me ask you, do you know what three d means? No. Okay. Not like three dimensional. So we have two D, which is kind of a flat object, and then we have three d. That means depth. There's depth to that object. There's dimension to it. Uh, this is easy when we think of squares and cubes. But when it comes to a circle, you know what a three d circle is A sphere or like a bowl. That's kind of exactly. And that's maybe helping you that you're looking at the basketball on my screen right now. Yeah, that might be it. Right. But, you know, how do we know it's something? Is a sphere as opposed to just a circle, right? How do we give it depth and stuff? Well, when we look at this basketball, let's see if we can kind of make it really big right now. There we go. You know, we've got texture. We've got to kind of shading and stuff, and all that's gonna help in making it feel like it's three D and stuff, but one of the things that we're going to study today is called a circumference line. And that is think of the word circumference. Like circle. Okay, so we're circle line, and right now, it's kind of hard to see on this ball. But this middle line here, going straight up and down, is actually a circumference line. Now, this looks straight up and down, right? And this looks straight side to side. This is called horizontal, and this is vertical. But I can move this ball, and you're gonna see that vertical line. I should. What it does is it starts to bend. We can see it bending as it goes around this ball. Yeah, right. Okay. So as I'm moving back to the center, we can see that it's a center line. Right now, it's just a straight line. But as soon as it goes off center Well, here's where that center line would be. But this is starting to bent, and we know that a balls round and stuff I got so this this bending gives that kind of that nice three D shape stuff I get. So even if I don't have the shadows in yet. Even if I don't have these, you know, little highlights and stuff from the lighting and everything like that. Just looking at this circumference line. Meat gives us the feeling that I'm turning it from side to side. If there were no lines on this ball and we're turning it from side to side, we really wouldn't see what was going on. It would be hard to see it turning right. And like I said, we've got this middle line, uh, going through the center of horizon, right? Horizontal one. And it can go down and back up, and we can see how the ball looks like it's tilting downward and tilting up. Okay, Does that make sense? So what we're gonna try to do is do this in a bit of an exercise. Oh, yeah. I'm gonna get rid of this ugly bowl, and okay, so what we're gonna do is get on into our piece of paper here and draw some of these circumference lines. Okay, so let me go first. What I want to do is same. That's how we were practicing last time. We're doing some circles, right? And why don't we just lay out a few circles here in a robe. If you want to, you can follow along with me. They don't have to be perfect or anything. Okay, Go ahead. Yep. Yeah. It was definitely aren't. You need to make me want insecure about my circle. Don't get just It's okay. There won't be perfect. It's cool. Okay, so we've got a few circles in a row in Albert. And on this first circle, I want you to draw Cut it in half, using that kind of middle circumference line that vertical one that we had talked about. Right? So imagine if that was that basketball, right? Remember the basketball that we saw? We wanna have it cut straight up and down. Okay, Now imagine this. Basketball is in your hand and you start to turn it. So we've got where that starts from the top right kind of hearing here. But as we start to turn that ball around, it's gonna have some slight bend to it that the middle circumference line. Okay, so the easy way to market is, you know, used these little markers at the top and bottom because that's generally where it's gonna start from according to our eye. And as we bend it, Mawr is gonna wrap Maura around this bowl, right? Still using these these mark middle markers and stuff and even Maura's we we wrap it around . Even mawr, right? Okay. Still using these marks there. Okay. So we can go below and draw another role of circles. Won't mind. Got ugly here. Ah ah, me. I think you gave me some disease with that minor turning out pretty good. It doesn't matter whether you have three or four here. It's okay. The 1st 1 we're gonna cut it in half horizontally now, right? And then we're gonna use that kind of horizontal, you know that? The little marker. And imagine if I'm just turning my bold downward a little bit, turning it down even more. Even more here. So now all of a sudden, this is it's instead of feeling like a straight circle thes air starting to feel like spheres like bolt some fears years, spears years. Okay, good. Yeah. So this is what we're gonna do on our page here. We're gonna draw more circles, and I know by now you're probably in love with with me making you draw circles and stuff, right? Going to draw heaps of circles. Okay. You can draw rows upon rows of them more. I don't know. Well, eventually we're gonna fill up these pages and stuff like that. You don't have to fill it up today. That's not the point. It's it's getting comfortable with this practice, right? So if you're some massive genius, you're not take you a few. Oh, I'm in trouble. You know, I don't think you a few tries, but, you know, honestly, he should take up. Yeah. Okay, So what you gonna try to do is just practice this draw middle line, and then start. You know, if you want to, you can even rough. And where that middle line would be across the board and then start toe rough it that is bending, bending, mawr bending all the way or something. And then eventually, probably on my little scale here, I would have had one more, and that middle line would have bent all the way around like that. Okay, so you're you're straight. You're turning a little bit turning some or turning some or and turned all the way to the side. There. What do you think? How's it feeling for you? It's Ah, it's harder than just drawing circles. Oh, yeah. Oh, definitely. Circles are just, you know, flat two D objects, right? And so the same thing is, you know, you're gonna cut the next line. I want you to practice it again, right? Turning it down, turning it down some or turning it down some or And, you know, eventually if my circles not too ugly, it'll eventually come all the way down to the bottom. Right? If you're gonna need to fix my circles, Yeah. You know, if you're drawing ovals and stuff, I got things they're gonna look well, upside it, you know, they're gonna look a little wonky little often stuff. And so the closer you are to, ah, reasonable circle, the more reasonable these spheres are gonna turn out, right? You know, there, they're just gonna look better and stuff, right? So that's why that previous unit of practicing circles. I know it was a little boring, or it could be if you do it forever. Right? But if you catch it pretty quick, you know, if your circles get decent and stuff I got it'll roll pretty decently. Okay, so we're a couple minutes into this now, and we're almost done. This particular unit, but on the last bit of it for homework. Yes, I'm giving homework. I want you to play with it, even mawr. But imagine you've got a line going down vertically and a line going horizontally, and now you start to turn these balls in whatever direction you want them to turn right. It's You have this basketball in your hand and it's turning to the right here, and it's turning down a little bit, or this one's turning to the right, and this one's turning up a little bit. I think you can kind of get what's going on here. This is gonna be eventually we're gonna look at it like an eyeball or something like that, right? That type of thing. Okay, so, you know, turn to the left, turned way down, right turn way to the right and turn way up top, right, so you get this kind of that center point there. So if here's the center point, that's what you're kind of always hunting for your hunting for turning it in there. There's that center point right, so This is your homework. You can start to fill up your page will keep going on another room on your page. And you know what happened when you run out of room, start a new page. You know, grab a new scrap piece of paper or whatever it is, and just start filling them up looking good. Oh, this reminds me if you said it was like growing an eyeball. Yeah, this. You know what? I know that when we're talking about basic shapes here and stuff, I got people like Yeah, yeah, yeah, yeah, yeah. I could draw a circle. I can draw sphere, blah, blah, blah. If you really master some of these basic shapes that are in this course, You know, in this basics course, it will make everything so much easier when you go on to drawing shapes and bodies and cars and whatever and stuff. But this is my fair warning. This is my parental warning that my dad voice if you think you're gonna skip over this and you think you know this is not important in everything, you're going to get hammered when it comes to the other courses. It's gonna be way too tough. Okay, so spend the time. Now, take the time to draw these things. And, you know, you can kind of fool around and put a little Exxon it or eyeball or whatever it is, right. But, Philip, that page full of these fears, fears theory. Don't fear the spheres. Oh, that's a good slogan. OK, that's it for this one. Guys have what? 10. Warm Up Lines: Hey, guys, it's Joey. And I'm here to teach you a little bit of a walk. So let's start with thoughts right now. I'm just drawing some dots on my page. It can be closer or farther away from each other. All we're doing is practicing hand eye coordination. We can do this before and after. Dr. This solution not be rest. So now we're going to start drawing lines to them. This health, you keep a straight your line. I usually I'm not that good at keeping a straight line. But this does really help with 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 to do it. I recommend doing this exercise each time you start drawing. It really does help with you drawing straight lines. So just do this a little bit before you start drawing and have fun 11. Basics Stickman: okay, guys were back. And this is gonna be a bit of a different class than what we've been doing so far. You can laugh now because the pressure is gonna be on you in a second year. Oh, no. Why? Ok, listen, this is this is where, uh I'm gonna 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, Any time we start this course, really, you gotta have paper sitting in front of you 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 drop. Draw me a stick, man. A stick, man. Stick, man. Let's see it. Yeah. There you go. Start with sweet the head. Get the legs. Oh, interesting technique on the on the arms air? Yeah. One straight line. Okay. I'll show you how I used to draw them in school and stuff I get. Right. Um, let's see if I zoom in here in just a little bit. Uh, usually the head right down into the body, the legs and the arms. Sun Bowl. Right? And this is usually because we're playing hang man in the in the classroom. You're usually it's like 123456 and the guy's dead. Okay, that is our normal stick men. And I get it. That's the stick, man that I've been drawing since. Great one or whatever. And that's what most Hickman Duke. But there's a problem with the stick, man. Okay? Like I mean, like, Okay, he's a happy dude, an old, but he he's not going to do what we want him to do. And that's because of the word articulation. I know Having Joey, Have you ever heard that word before? Yes. Do you know what it means? Yes. Oh, cool. What does it mean? Joints and move Men 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 thes thes points. Okay, um, 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. No, that's too much. But really, if you get some really good action figures, they're gonna have really tons of points of articulation, Usually the neck. What else? Uh, shoulders, shoulders, hips, hips, elbows. Hell's doubles the ankles. Hand risks risks. Sometimes even like torso, like rip cage pivot or something like that. And so what? I think we just named off about 10 or something. Yeah, maybe 10 to 12. That's a pretty good figure and stuff, right? Some of them actually will have fingers that you can move on some some larger figures and stuff like that. Okay, so those are points of articulation. Um, and we're going to give our stick figure some points of articulation, because right now, hey, can kind of maybe I guess he could move this arm up and down, right? Like it can kind of go up and down. You know, this one could kind of go up and down, and maybe these legs could kind of move, but he's got no elbows. Got no knees, not no neck. Yeah, he's got a lot of problems. Got no hit 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 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 gonna be a little tough, but if you get this one down, it will really help you moving forward for all what's coming next. Stuff it with any type of characters or figures you want to draw. If you get some of these basics down, it will really help. OK, so this is what we're gonna call. Oops, That it. This is what we're gonna call the rule. Oh, eight Who? Okay, so we're moving with the rule of eight and I'm gonna explain why this is I want you on your piece of paper to draw a straight line up and down. Don't draw dark or anything, just draw. It's kind of nice, right? Just as a sketch, but a little notch of the bottom and a little not to the top. There we go. And so listen, I'm giving you when I pause and take that break, I'm hoping you're drawing right I'm giving you enough time that you could kind of do it. If it's not enough time, you put me on pause. Okay, so we've got this. This not at the top, Not to the bottom in the straight line. Connecting them right now. What I want you to do is kind of cut it in half and put a little natural halfway. Okay, so that's about halfway there. Right? But it at the halfway mark, cut it in half. Right? Okay. And then from the top to that middle point. What? You're trying to cut that one and have to and from the middle to the bottom. Cut that and have to. Okay, how many sections do we have so far? 44 way out for So we're halfway there. Right? I said, this is the rule of eight. So we're gonna keep cutting, right? Um, 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 gonna 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 gotta look kind of like they're all equal. Right? Okay, Now I want to take your finger and kind of touch them all and go. 1234567 eight. 1234 567 They Yeah, you got it. There's a hesitation there. Listen, if you don't have eight, do it again. Start from the beginning. Draw that line. Cut it at the top or the bottom of the top. Cut it in half in the middle of that in the middle. Cut that in the middle. Cut, cut, cut, Cut. And you listen, you gotta 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 in half? I kind of 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 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. You know, if you want to measure it like 10 centimeters or five inches or whatever it is and then half a 10 centimeters is five centimeters. Yeah, there was hesitation there. It's very yeah not be. Do you want a break from school right now? Christmas break. Right. Okay. So anyways, we want to cut it in half, cut the top half at the bottom half and then go through and cut each section one more time . Okay? So by now, you should be. I'm hoping that you've done it a few times on the paper. Listen, if it takes two times to get it, who if it takes 10 times to get it cool, it doesn't really matter. Just make sure that you conduce this cut, okay? That you could cut it into eight equal sections because we need that going forward. Okay, so you got it. You got eight. Yeah. Yeah. You're sounding so confident. Yes. Okay. This is what we're gonna do. This top section. We're gonna put an ovoid on oval. That's right. Okay, so we can even number these. You know what? Number one. Number two. Number three. Number four. Number five. Number six. Number seven, number eight. I kind of like that Makes things easier, You know? Number one start from the top. Right on. Number one is gonna have an oval in it. Yeah, Yeah. Number four is gonna have a circle in it. Circle a circle? Yeah. Make it a normal round circle, right? Not a circle, but close enough. Okay, now, this is where it's going to get a little bit. Ah, little bit funky, but not too too bad. Number two and three are gonna have a kind of stretched out oval going on. Okay, so Ah, bigger oval, right? You know, it's gonna be bigger than the top one in a little bit, right? Because it's kind of stretched out, right? Yeah. And it's bigger, right? It's It's it's covering two spots. Okay, so we're good. And like I said, at any point, you can pause it and, you know, make sure you're caught up in everything, right? Okay, Now, this is where it gets a little funny. This top one is gonna be the head. And the head doesn't quite come down into what this next section's gonna be. We needed a little bit of room for the neck here. Right? So maybe about halfway down or third the way down or something, you're gonna draw this kind of line across here, and at the end of this line, you're gonna put a circle in 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 line for the top and the bottom of the head here is the that line. That number two section in here, huh? And a boat 1/4 1 3rd the way down. You're just gonna draw a line across and put a circle on either side, and then this will come down this big level still sitting there. Okay. How big do circles need to be? Well, that's a good question. They can come all the way down to this line if you want to. You don't want him to small don't want him to big somewhere around there. Okay, Okay. Good question. I like that. Yeah, actually, you know what? Doing 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 something I 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 over. I want them next to this. They're gonna be, you know, I don't want them to kind of floating out here way off or anything like that. There you go. Much better. Much better. That's what I want on the same like, yeah, I try to make them equal right now. You need to, like, draw line that this from the bottom of that. Okay, do whatever it takes to kind of make them about the same size. I think that's the same size. Good stuff. Okay, so back out a little bit. We've got section one, Section two and three. Section two and three. These are the torso. I don't know if you ever heard that before, but basically the chest and the stomach crib, it's OK. And Section four is gonna be the hips. Now some people got bigger hips. Some people have smaller hips, depending how you want to draw and stuff I get. And we'll talk about that later when we get into changing proportions room. But I want to put some clothing on this, this person. So I'm gonna put some kind of like Superman undies on him or something that just some nice little bikini thinks bikini. Yeah, whatever. Okay, so this section is the hit, um, or the crotch line here would, however, we wanna call it, we're gonna see this would be the chin, because it's the bottom of the head. Right? This is the top of the head here. Okay, But we're missing something. Legs, legs, legs, and what you want to do. First arms, 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 gonna draw a circle. So we're gonna drop down from the shoulder and draw a circle starting at that light. 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 gonna do the same thing with the legs here. You know, from from this kind of midpoint in the hips that we don't have a to foreign too far. Somewhere around this, we're gonna in the hip. We're gonna drop down the line and have a little circle down at the bottom two. Okay, so imagine this line down here. The circle goes below it. Circle goes below it. It comes from the side of your little trying Almost and down. No bad. Okay, we can see that. It's starting to look semi human now, right? Not totally. But not that I think it's looking okay. I think it's it's doing OK. We've got ah, 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 these shoulders here. That's what these are, right, These air shoulders. And of course, you know, if I wanna move them, this shoulder will come up in this arm, would come out, would kind of be able to move around this way and stuff, right But there's still some points of articulation that we're missing here. Some important ones that will make this more human, like right. Joey, Do you know what they are? Elbows. And he elbows and knees. Those are we need a because otherwise we get that weird walking this way that the the arm, you know, the arm has no real movement. It just kind of comes down or something like that, right? Like it doesn't have It doesn't look that human. Yeah. So here's what we do. Look from this crotch line down to this line and halfway. Remember this little halfway mark? We're gonna put a knee, and they're in a knee on that side. So if you want to, you can come from the bottom and go 12 and that's the line. And you put the knee or you can count from, you know, the underwear bottom here and go 12 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 it's quite similar. If you want, you can you can eyeball it if you want. 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 kind of look, this is actually the belly button right above the hip and below this rib cage kind of area . This is what I'm teaching here. I'm sneaky. I'm throwing in a skeleton here, Um, is this belly button and on that belly button line is gonna 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. It's OK. Put it not to the top are not to the bottom. Try to find a middle somewhere like a musical. It's OK. You know, sometimes you just eyeball it right and then cut the top half in half at the bottom half in half and then cut each of those four sections in half again and in half in her and in. So before you go on, you just kind of take a quick look and count through those sections and make sure that you have that you have eight sections. 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 gonna put a bigger oval. Who in the next section it's gonna be more of a circle. Good. Come. Um, And if you remember, in section number two from the top, you can kind of 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? Making big enough. Yeah. This person does not have very big shoulders. That's okay. Straight down from those that around the crotch line, you're gonna 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 at this time, you can add in the elbow to put halfway, right? Yeah. Yep. Somewhere around there, why don't we throw some underwear on this guy or lead or lady? Yeah. Yeah. Where? I haven't really said whether it's a boy or girl. Doesn't matter. They're getting underwear. Ah, what do we throw some little booties down to the bottom there, below that line. Or on that line or something, if you want. That's OK. Uh, then draw a straight line from the hip all the way down. You like using that ruler, huh? You don't have to use a ruler, but if you enjoy it, go ahead. Um, now the knee line. Usually I like to draw it on that line or just above it. That's okay. Yep. That'll be okay. And there's the knees. Okay, guys, listen, uh, Joey 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 gonna 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 Great one. And you're kind of like what? You know, it's shifting up and changing a lot of things, but if you look at this stick person matter of met a woman, you can see that this type of figure is gonna be way more helpful for you. Especially in the next unit when we're gonna 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. That next unit. But only if you have the rule of eight. Good luck, guys. 12. Basics Stickbreak: Okay, guys, we're back. And we've got another unit here for you. You've got more enthusiasm this time. That's good. Um, but to do this unit, you and this is me emphasizing it as best I can. You have toe have the rule of eight down on 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 it Phil. Little booties. Oh, hello, Breeze, uh, hands, shoulders, lines, lines, elbow, elbow need 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 that 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 a rule of eight pushing the rule of eight, teaching the rule of eight. And now we're gonna break the rule of eight. Who can I get a workbook? Ok, so how are we gonna break it? Well, the rule of aid 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 this kind of like idealized proportions. But it's not true. Everybody's got different. Um, 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, well, he looked bigger. Sitting down his upper body was just really long. So if I was to draw that person, you know, his lower body would probably be here and then, you know, like everything else would be kind of cutting this way, You know, his head, his torso, his hips. And then he had these any many little mix. Okay, so and he didn't even have long arms, either. His arms were kind of normal length and stuff. Right? So this is what I want to do today is I want to play around. And you know what? Even this person doesn't look that strange, right? You know, it just is not this idealized kind of rule of eight, right? This one's a little bit different. So what I want you guys to do is we're going to still draw the line up and down. Can you do that for me? Yes. Okay. Done. Okay. In the middle. Cut instead of right in the middle. I want you lifted a little bit higher. Yeah, sure. Yeah. It's up to us where this is us starting to experiment a little bit, right? And then the top section, we can cut it into four for sure. What? Okay. And the autumn section? You could also cut into four, if you really like, really, it only matters that. Okay, so we're gonna do the head for the top here. We're gonna do that. The oval that's going down the circle for the hips and the little booties at the bottom. Yeah. Looking good. Okay. You can connect the you know, I guess I should throw the 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. Um, now, this is where we could start to play with it. Why don't we put the hands almost down where the knees would be and bring it down. That a way. Something like that. Right. And then through the knees. Right? Right at that hand length and stuff. Yeah. So what is this looking like now? You know, we're starting Teoh to see this kind of slender looking person. Yeah. How bulls will their knees here. Right. He's even put these longer hands on. Um, who do you think? Who does this kind of remind you of? A little. That's right. Yeah, I would say a little bit like that character, That creepy character. Slender man. You know, we've got that the torso in this half, and then the limbs are super long. Right? And you could even stretched out even mawr if you wanted. Yeah, I could, you know, stretch this head just a little bit more and give it a more alien esque type of look, right? And so that's what we're doing here is we're stretching and playing with proportions a little bit. Okay, this one we stretch the lit, limps the legs and the arms. Why don't we do a little bit different? Stretch the torso. Yeah, here. Here, we'll do this line. But this time the legs are gonna be really short. Stumpy. Okay, so then we can cut, cut, cut. This will be the upper body section. Right? 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. 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. Gonna have the head up here. We've got this oval, but instead of oval not too bound it out a little bit. Let's make it more oval this way here or something. You know, like, squished out this side. Okay, We're gonna do the neckline, you know that the clavicle, actually, the color ball, and then we're gonna have some big shoulders off to the side of it. Something like that Here. Yep. Bigger shoulders. I want to see huge shoulders on yours. There you go. Really? Push it. We're pushing it. Well, let's see down below. Here. We're gonna have some pretty big feet, and we can connect them up if we want. Yeah, let's have some big monster hands, and we're gonna connect them this way, and we're still having this, actually. The risk breaking at the crotch level and stuff and go on in and throw in the elbows and knees. Yep. Cool. And so, what do you think? What kind of physique do you think? This this? This looks like a little bit to you. Um, very two types. I think either extreme dad bod or, like, extremely muscular. How would you characterize a dad bought? Well, right on my screen, I'd add, like a huge beer belly with, Like, I'd add like a huge beer belly with a protruding belly button. So, actually, 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. Yeah, so we're starting to just sketch some stuff in here, but, you know, all I want you to worry about right now is just getting the skeleton down a little bit, getting 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 . Here's another way to stretch it. And when I say stretch, I mean push pull of the proportions you can tell the 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 side. Yeah. So when we're talking Stretching, I want to do something different here. I want you to do a line, cut it in the middle, right? Yeah. Doesn't have to be too huge. Sure. And then cut it in the middle. And then the top half is gonna be a circle for noble circle. Oval Circle, Oval, Global acquittal. Yeah. Okay. This is called a cheapie. Achy, Achy B is when you have a grossly it's not gross, but grossly. Ah, hugely oversized head. And so from here, we can just start, You know, we'll put in the little booties, have a bit of a torso. You know, you can do that hip if you want. And the torso, little shoulders, um, little hands and kind of connected, all. Make sure you get the joints on in there, right? Yeah, I got it. Yeah. Okay. What happens to and you're kind of 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? You know, um, if you if you have a figure, that could be the same height, but the head is super small. The bodies What? What were we doing? We're doing a big head, big hips, you know, big shoulders, big arms, these types of things. Right. And, um, he seems angry. You know, this this guy over here, he's kind of creepy, actually. I think about it. He's kind of creepy, but he's got the more child type of features and stuff I get right. Whereas in this guy looks more like a, you know, huge, hulking figure and stuff. Even though they're the same height, their proportions, the size of the different parts, their body are really, really different. 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. Looks like you know that the not smart character in most TV shows that are, like, very muscular. Oh, yeah, it looks like Yeah, that's a good way of thinking of it, too. Is that basically you know, the larger head sometimes has intelligence. You know what? All 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? The small head. You know, you've heard the expression pea brained or something like that. It's really small, right? Okay, So in this unit, what we did was pushed and pulled on proportions. And the proportions does not mean the size. The character, it means the relationship of the sizes of the parts of the character. 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. You know, I don't know. Three or 30 different, more characters and push and pull, you know, try to stretch one out this way, Mawr, try to stretch one out this way more. See how far you can really push thes proportions and stuff, right? Play with it. That's what this is. You know, like I said, I taught you the rule of eight. 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've taught you. 13. Basics LOA: Okay, guys, here is another unit for you. This one. We're gonna do a line of action. Do we? Have you ever heard of that before? Yes. Yes, you have. Because you're my kid. And you probably hear me talking about this kind of stuff all the time. But I'm gonna guess that the average person hasn't heard this before. If you You know, if you're studying art and you're looking on you tube, there is something similar to a line of action, though. Have you heard of it? No. Gesture, gesture drawn line of action is kind of 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. Um, you know, the rule of eight and breaking the rule of aid and all that kind of stuff, but I'm gonna show you how to start moving the figure around a little bit. OK, But this one's a little bit special. Instead of just use, you can use a blank piece 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 gonna look exactly like how you see on my screen right now you're gonna see a bunch of figures, and we're going to kind of draw over them around them, in front of them behind whatever and stuff, you know. And hopefully, this line of action will make a little bit more sense once you see what we're doing here. Okay? So let me start off and see how this roles this first guy, Joey, what's he doing? Running, Sprinting, 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 it. Okay, try to draw it again. Next to it good. And you could see how much this curvature, how much things air 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. You know, his foot's actually down here, right? And I can kind of start to cut. Here's his head. Here's the belly button. Here. Is that knee those types of things, right? So if I want to do that here, I can kind of come from this side, put the head, but halfway is gonna 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 kind of stuff. So why don't you follow along with me? Actually, you know what? I'm gonna back this up. Okay? Let's see if we can replicate a little bit on the second line of action here. So we've got this sweeping line of action just like we gonna see off to the side here. We're gonna set where the head might be at the talk and the foot might be at the bottom. Yeah, okay. We're gonna kind of cut it in half. Roughly, like, Sure, cut that in half and then cut that in half and that in half. Right? So, you know, especially this top section here we really worry about those cuts from here will be the hips here is gonna be the torso, and here is gonna be the head. Now, the head's gonna be in a different position because he's kind of looking this way. Right. Okay. Okay. Yep. Okay, let's worry about this first part, His neck, You know, we're gonna give a little has been a space from below the head here. His neck is gonna be here. We're gonna put one shoulder here, And if you're gonna see, you know, we've got one shoulder here, we can kind of look through. And on the other side, there's this shoulder on the other side there, too. 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 . This hand is all split. Yeah, And this one's gonna come forward to the elbow and up to the hand, forward to the elbow and up to the hand hands gonna be up here for it to the elbow, up 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. Yep. And from this back one here it comes down to the knee and back to the foot. So this back one's gonna come down to the knee and back to the foot down. 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 Onley minutes ago when stuff I got right. And now you've got this character that's 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 gonna 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 bent. It's coming through his back. But then the action carries force into the foot. Okay, so you could do it few ways. Listen, when we're tracking line of action there, 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 that off to the side. Basically, a big L And then let's see, Why don't we cut this first section, You know, here's the head. Here's the bottom of the pelvis. Right. We're gonna 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? We can put the torso and here you right his torsos in here, his hips right here. Yeah, we're gonna put one shoulder off to the side here and the other shoulder off this site here . Okay, Cool. Okay. We can see how this arm juts back in his hand, is here. So we could stick that one back here. Ah, and maybe throwing elbow in there. He deserves an elbow. This gets a little tricky, though. Look it out with his hands coming forward towards us. Right. So what I would actually do is you could just draw the hand first, go down to the elbow, come back up to the hand. Yeah, I like doing that sometimes. Like, if I'm not sure of the length of things, all 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 of the foot and then track it back. That's another way to do it. Yeah. Okay. And like I said, the other one, you know, you could come down here. He's got He's got his knee down here. It comes down to the foot. All right. That's what's happening here. Is knees come down here. It comes down to the foot. Yeah, and then you gotta draw the head. Oh, yeah. Oh, yeah. This head is kind of doing this lean thing, right? So if I want to draw the oval. His his head is actually kind of got this thing going on here is leaning. Get in front. Listen, we're gonna cover faces in a different in a few different courses and stuff I got so I don't want to 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. 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. You the one 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 powers for me the power lies in this direction. So I would kind of go like this. But you know what? If you want a plot it out and go down like that, you can do it too. Get so I'm just gonna go this, then you want me to do the other one that goes down? Yeah, sure went. OK, that's okay. Comes 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. Here is the top of her head. And here's the crotch level. So we've got crotch level here, top of the head here. We can kind of draw a line if we want. Yeah. Okay. Okay. And then what do we do with that? Like we cut it, we cut it, we cut it. We're gonna have four sections in that top of the torso, right? Yeah, always. You know, especially with the torso. With the leg, we can get away with two sections because the needs halfway, but with the torso, we're cutting it in half, so we've got the circle for the hit. Yeah, I'm gonna throw some underwear on this lady. We've got the torso circle and the head circle or awful. These aren't really circles. We can see how one shoulders up here on her and the other shoulders down here. Yep. Now we're the hands, um, you see, once kind of out here, Yeah, kind of both her hips somewhere. So, you know, somewhere out here, I could just kind of whom 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 you would be like it come down to the elbow and come back up to this hand pick up. Yeah, that'll work. There's gonna be overlap. You know, We don't just stand there is little stick, man where nothing overlaps each other with these guys. You know, there's, You know, this hand is in front of her body and stuff. Yeah, way more realistic. Okay, so from here, down to here is her foot. From here. I don't Roughly here, down to about here is her foot. So if I go halfway is her knee and then her foot's gonna come down like that. Yeah. And the same thing. You know, her foot's out here so her foot's gonna be over here. You come this way, we can make Justin ugly. Littlefoot couple halfway is the knee. I think I got that. Cool. Yeah. Good. Does it look OK? Yep. Let me see. That looks good. This one looks a little stiff as we draw it. As as a character and stuff I get. Yeah. You know, what you could do is add more. Bend in this way. Put the foot out here if you want. I mean, 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 certain bend it do. I mean, you start to bend and put the limbs down here. The foot out here, the head. You know, when you start to really push things and stuff, right? So you're looking at the essence with the what's what. The poses trying to show you. Okay. And the last one, we've got a dancer with a broken spine. What's happening here? But actually, that's pretty cool. Look at that. Bend to her right. She really She really has this amazing bend. Yeah. Okay. So we can draw kind of next to it. A nice bent, right? Yeah. Okay. That bend. You can see how when I'm drawing the top of the bottom, I didn't draw them straight like this, right? I didn't draw them straight. Horizontal. They kind of matched the flow of the bent. Her crotch is here, her hip and everything, and then her head is here, and then there's gonna be a line here. So it will be, you know, like, part way here. Part way here. Part way here. You could see how it kind of goes off in this direction. Following the Bent, right? Yeah. How does that work for you? Pretty good. Not bad. Yeah. Okay. You know, when we go up and down, it's kind of easy to find, you know, 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 toe, realize that we're just taking this line and we're bending it around and stuff, right? Okay, So, what's next? We got the hit we drew in the hip. Why don't we draw the hip off to the side here? Yes. Okay. We've got her torso coming in here, or torso is gonna come in here. Okay, We've got the neck line that leads into the shoulders, so we've got a neck line that leads into the shoulders. Okay. Why don't we stick with the upper body for now? And where we gonna put her? Hand is off to the side here. Her hand is off to the side here. So I go straight from the shoulder. Could put one hand over here and one hand over here, and then just connect the moat, elbows halfway. Her face is gonna be here. I guess I could draw that in. Hey, how are you? With hence, no bad. Okay, now the feet. You know what? It's gonna just 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. Don't put any about halfway. Yeah, Look at it this way. This is about halfway, and the other one is gonna come from behind and do the same type of thing. Me 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. And so the knee is gonna be just a little bit behind that one. You know, that's her far leg. Right? So you wanna have that behind a little bit further away and stuff? Yeah. OK, so that's our gesture drawing. I know that this is getting tough, but I want you to really think about 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 kind of 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 were starting with a stick man learning the rule of eight. And do you have it? Yes, Yeah, you better have that. Then you learn how to what? Break the rule of eight. That's correct. 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 rules. Now bending, 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 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 gonna work. But the cool thing about these videos is that it doesn't do anything to just rewind it, you know, 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, play it every Monday or something. It doesn't really matter, right? If you set aside a drawing day like Sundays or whatever it is, that's what's awesome about these videos. Is you can play him over and over again because they're yours, right? So played again. All right, Have fun 14. Warm Up Shading: Hey guys, it's Joey, and I'm here to teach you a little bit of a warm. So let's start with radiance. So right now, I just want you to know draw really, really hard on your paper and then go lighter and softer as you go down. You can do this at any angle any time, so you can do this in classroom doodling or when you're just warming up to start drawn. See, they kind of look a bit like tornadoes, but they really do help with shading. This is a really easy exercise to practise on your paper because it can be really small or really big. It just depends on how detailed do you want to make it. You can go from dark to light or light to dark. So right now I'm gonna go from really like Teoh a bit darker, so you can just do this a little bit before you start drawing each day and it will really help you in proven shading. OK, have fun 15. Basics Shading: Okay, guys, we're back. And in this unit, we're going to study shading Whoa! Uh, 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, OK? You could look at my sheet how I've got it here and ignore my little lightbulbs for right now. But, Joey, why don't you start drawing eight cubes? And now, you see, before this joy was asked me, she's like, Well, can I just copy yours? Can I just get you to send it to me or something? I'm like, no, Like you is so bad 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 cute. Any time you want to draw this, I'm struggling. Okay, So while she's drawing cubes, I'm gonna be explaining what's happening here. Okay, um, what we're gonna look at is lighting and I'll take take a look at each one of these before we get into it. You don't even have toe. You could be listening to me as your drawing out your cubes like Joey's doing here. I just want you to kind of Yeah, just just listen to what I'm saying. Just keep sketching, and I think you'll be good to go. 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, like bulb. I copied it off the internet. You can just draw some enough. You can draw some ugly lightbulb if you want to. Whatever. Doesn't matter, OK, what I want you to realize is we're gonna look at this light bulb as the light source where the light is coming from. And so this one is off to this side of this box, right? And if it's gonna hit, the light is coming from here. It's gonna hit the side of this box, right? So that means all of this area here that it's hit. It's kind of it's gonna be bright, right? Where the opposite of this area. Well, that it 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, um, you know, if we shift this light around the box. And the box is kind of the easy one to look at the start. But then eventually, as you get deeper and deeper and all these courses, you're going to see how maybe the face might be a You know, it's a more complex box, obviously. Okay, So, Joey, how's it going with your cubes? I'm drawing scores first and adding the TV heart. You know that smart. I think that's exactly what you should be doing. Drawing a bunch of squares if you can draw squares. Didn't we cover this like, uh, what, five units ago or something? Just drawing basic squares. Um, it's OK. 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 cubes. 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. Yes. Okay. Yeah, keep sketching. And well, she's sketching. And you know what if you haven't figured, if you haven't. Ah, drawn out your cubes yet. Go ahead and put me on pause here, okay? Don't Don't stress that you have to keep the same pace as me. Um, 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, you are trying to draw as fast as I can. Thank you. Don't 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 could 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. You don't look a little different, right? But it won't be that that different. So what I want to show you here is, for example, um if the lights coming from this side That means all of this is gonna be the whitest, the brightest, whatever color the light is and stuff again. And the opposite side is gonna be over here and it's gonna be dark, right? We're gonna have the darkness on this side. Okay, we can darken it up on that side. So this is gonna be the shaded part that's the opposite of the light here, right? We're also gonna have what's called a cast shadow. That means coming off of this onto the ground is gonna be a bit of, ah, 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, Ah, a rim effect on the top Here, you know that 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. It's kind of coming up really depends on where the position is. If it's really close up against close up against the the kind of the side of a here, then you know this shading would come much further kept if it's further away than it's gonna have a bit of a glow That kind of bounces around a bit more here and stuff. Um, but it's usually gonna 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 come . It doesn't have to be perfect, but draw in a little label off to the left hand side of your first box and then imagine you know where that light would be. Touch it right. It's touching here, and it's gonna be touching here and this the surface that we can't really see on the other end. And then it's gonna kind of the light will come over on the edge here and come over on the edge here a little bit. And of course, you know, if it's close, there might even be a little bit of cash shadow off to the side here as well. Okay, when we take a look at the number 21 um, I finished three cubes. Oh, you finally finished. Good stuff. You know, these guys are lucky they get to put me on Paul. I have to do it in, like, such an amount of time. You got to get fast. Okay, So where's the light bulb on the second example up top? Looks like it's directly up top. Ripped. So what does that meet if I'm actually gonna imagine that this is Ah, a yellow light bulb. Then That means that, you know, this is yellow, that the young light is all gonna be's up top here, right? Maybe spill down a little bit on the edges. And that would be the light, right? Yeah. Now, where's the shadow? First part right underneath it. That's probably the darkest part, right? And then maybe the shadow projects a little bit to the drop shadow, the casting shadow here. And then it might work its way up and kind of 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, you know, that's gonna be the darkest ISS Okay. Okay. Now, a little little thing. Um, 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 one? One way to shade is called patching or cross hatching. So, like, it would be like lines like this. Like straight lines. This would be hatching. Have you ever heard of that before? You know, here's my light source. Right. So it's coming at it from the right s. So if I was to do some hatching on this on this side, it might look something, something like this. Right. So that's hatching. I'd like to go with the direction of the shape of the object Sometimes on this hatching. You want to try some hatching? Yeah. Like you is, like, kind of Yeah. Yeah. Listen, I'm not critiquing cubes today. That's what I'm just working on. Well, hold on. You gotta choose your light source there. Well, I'm doing the same light source. Okay? Okay. Yeah. So that's hatching thes nice lines, right? And you could see if you want to increase the intensity as it gets further away, you can do the lines closer together. Right? And you could 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 another one. This one's gonna be tough, cause this one's in front. Right? So another one might be up here, and this is gonna be cross hatching. Watch what I'm gonna do here. I'm gonna hatchet like I normally like the one I just did, right. That example? There's this, you know, the light sources in the front. So back here is gonna be world. A shading is right. And I'm gonna kind of go like this, cross hatching. And, you know, you could twist your paper, return the paper just a little bit here. Right? Cross hatching is when you do it like this. You you do a second or third sometimes, but usually just a second level off hatching that intersects with the 1st 1 So it's basically you know, your 1st 1 is kind of like this, and the second one's crossing it thus the word cross hatching. Okay. And that has a kind of cool cool look to it as well. Cross that you. Um, those two are the main ones. And you could do those with pens, pencils, whatever it iss keeping in mind. You know, you always recognize where your light sources, the light sources is of this front one is hit. Gonna hit this front of the block, and then it will be dark behind and then probably behind there's some type of shadow shadow cast shadow going on back there. Yeah, another one that you can do. But there's really home. He works. If you've got a pencil is you could do something like just where is this? This one's behind it. We could see the light bulb small so it's coming from behind, right? It's kind of back there. So this whole thing is gonna be kind of black and out, and you could, you know, you could do it. This is just a normal straight shading, you know, squiggly lines back and forth with, um, What you could do is you can use your and use your finger. You could use a Q tip you can use ah, bundled up, bunched up piece of paper or something like that and just kind of smudge things. Uh, I always like my finger, but my fingers are kind of oily, so that has both good and bad to it. And so you're gonna find, you know, a way that works for you. There's kind of smud shading, right? So you can come in. You shade it up, right? This is because the lights coming from back there, I'm gonna kind of sheet it up. Make sure I got a lot of it here. Usually with smart shading. You kind of gotta lay down a lot more. Uh, my God said, if it's pencil, you gotta lay down a lot more pencil on it stuff, and then you just kind of rub it, smudge it out. Um, 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 you know 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. Um What? I usually do it, especially if you're working on something you really want to make make it look really nice , you know? I mean, like, you're, like, all I want this to look perfect. Do it off to the side. Do this kind of smudging off on another piece? Paper that's the same. And just make sure that it's it's having the impact and effect that you wanted to. Okay? Because sometimes the inconsistencies convey it kind of wonky, you know, like you'll get you'll be like, Oh, no, it's smudged. It and I ruined it. And that's not how it worked last time. Right? So, out of the techniques for smudging, which one do you like? Um, for you, for shady. Preceded him smudging Probably. It's like one of my favorites. I like to do it like a lot of thinking. Yeah. Yeah. Do you think that it looks different, like on on different objects or anything like that? Like for example, you know, on the face or something like that. Um, I feel like smudging looks better on the face than cross hatching or hatching. But that's just me. Yeah. No, I think you're right. But I like how smooth it looks. That's exactly But like I guess if you have, like, a certain style and you like hatching like it can look good. Sometimes I just personally, like spending better. Yeah, And so you're gonna 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 gonna find and just play some light sources around, I've given you some some ideas for where to put them, right. This one's kind of upper, right? So that means, you know, the lights gonna be hitting here and here, but that, you know, you've got eight different examples here. You condone. Put them wherever you want. You don't start to mess around with it and say, OK, well, if it is over here, where's the shade? How do I do this? Right? Like you start to experiment and stuff, right? Yeah. You can even put a bit of a bounding box like the shape of the object that's casting the shadow on and see if that helps you toe rough it in a little bit. Right? The main point with this was really recognizing where the light sources, um we talked about how to make objects. Look, three D. But, you know, having a light source will really help that. Here, let me give this example. Let's see if I could find I'm gonna erase this guy, and I'm going to draw in. What am I gonna draw here in a draw? Sphere. Okay, so I've got this sphere going on. Yeah, well, right now it looks like a circle, right? It has no three d feel to it or anything like that. But what if I draw my ugly little light bulb here? Right? Yeah, whatever. And the lights coming down, right, shooting around. But it's gonna come down, and the light is gonna be touching around here. Yeah, so that means that the dark is gonna be around here on this side. This is gonna be dark because lights coming from this direction and then below it is gonna be this cash shadow of the circle or of the sphere at this point. Right, There we go. So you can kind of you see how, like, when I'm shading a sphere, I sometimes or an object I sometimes like toe have it that my shade kind of follows the flow, the sides, the shape of that object, right? Gives a nicer feeling. Gape. So now this looks like a three D object, right? You know, before it kind of semi looked like it could pass for a circle. We weren't quite sure, but this is guaranteed. 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. Um, you don't have to follow all of where I place my light bulbs. You can place them all around, experiment with it a little bit. Joey, let's see what you got back. I want to see. Okay, so you've got some good techniques there. Everything looks good. Um, you choose whether you want to do hatching, cross hatching, smudging whichever, you know, find what suits your style, but at least try each of them and then you'll figure out what style is best for you. Okay. Good luck. Have fun shading 16. Basics 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 Vause phaser Vause face. You say these? Yeah, Yeah. Volatiles sounds so much more elegant. School hated base. What we're gonna do is continue on with our our process of basic shapes from looking at it and then drawing it off to the side. Now, I'm gonna 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. You know, whether it's stuff set up on your desk or whatever it is, right, and you're gonna try to draw it out as much as you can do. I mean, like what I would do sometimes It's like, grab my pencil crayon box and my pencil case or, um, you know, just objects that were sitting around me, place them on the desk and draw it and see my anywhere close from 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 that tough. But afterwards I want you to move on. Okay, so let's start with this. First we could look at the 1st 1 Um, first off, you know, it's it's kind of good to recognize. Where is the light source? Okay, the light source, I would say, is coming in somewhere from this side. Right. You know, we've got a light source coming in. We could see it hitting the ball here. We could see it hitting here, and we could see all this cast shadow off to the side. Yeah. Okay. So why don't we start to draw this in? What do we got? We've got a box. It's kind of like this, right? We've got a triangle that's actually a three D pyramid, right? That's something like this actually overlaps here. So I should really I kind of mess that. What? I could overlap it a bit there. Right. Bring that up there. And then I've got what should be a circle, but 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 to each other. You know, this ones in the front? It overlaps the bowl and the cube. Right? This one's behind. And then this squished mailing squish melon is sitting somewhere around here. Yeah, if you want to, you can come in, start to clean it up. But really, I'm not that worried about it. You know, you could start to erase stuff and, you know, look even clearer, which is sitting in front, right? Yeah. Okay, So not only are we gonna try toe, draw them in position to each other in relation to each other, but we're also gonna 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 got a kind of perfect good stuff. Okay? Okay. So why don't we do a light? Little bit of shading? Where we gonna dio? We'll follow. You know, I might as well start with what's up front. I follow. You know where this triangle is, where the pyramid is, and you could see how it's like that This kind of light cast. This way. Right. So it's kind of everything shaded coming off of it. Right? You can see the sphere has this rounding of the shading, but ah, harsher. Ah, harsher Should drop shadow, right? Yeah, it's much. Seems much harsher down there. The way the light's hitting it stuff, right? Yeah. Okay. And the box. You can see how the lights coming here, but it's still kind of doesn't quite darken up 100%. 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 front. A little bit. Here 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 to 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. So just, you know, relax. And if you're like cheese, that dude talks too quick. Put me on pause. 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 cute a sphere, a cylinder and a comb. Uh, yeah. So why don't we start with this Cuban, the frontier? I usually like to work front to back. Just roughing it in and right behind it is that Senator with a cylinder? What I like to do usually is just draw kind of as if it's gonna be a rectangle at first. And then you draw an oval on the top and as if there's gonna be an oval on the bottom there . This circle is kind of next in line here somewhere around here. And look at how loose my sketches are, right? They don't have to be perfect. And then we've got the comb. But you know what? I'm gonna kind of draw through just so I could show you guys what it probably it looks like , probably looks something like that, right? As it's coming up to a point here. But I'm gonna 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 you doing? Their joy. Yeah, Looks like you got it too. Perfect. And then where is our light source coming in? Looks like if we got the cash out of like the cash out on this side, looks like our light source is coming in from here. It's kind of the white up top here. Wake up top here. Right white along the edge here, Right along the edge. Here. Yeah, so it looks like it's coming from kind of the top it off to the back end there. So how we're gonna do this? We can kind of shade the sphere a little bit, right? Like I said, I like Teoh. You don't have to use the the way that I'm shading here. You can smudge it if you want. You could do how everyone and then you can see how this sphere cast that kind of oval shadow. Right? And I'm gonna zoom in just a little bit here to kind of I could do it this way or if I want to. I can just shaded out whichever way I want. Right? Are you doing any smudging their joy? Ah, I was gonna Yeah. Yeah. I was actually thinking of cross hatching here. I don't know why. Just to show some different technique a little bit. I don't even know if I'm cross hatching on more like cross scribbling at this point. Here we go. Okay. Yeah. And you can see how I'm gonna 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 Q, brother. Yeah, you can start in here. Do the cash shadow coming on out. Usually you find, like, right under the objects. That's where the shadow was 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 just, you know, start that harsh line and then start shading off with their if you want. Yeah, um, with the cylinder, it's nice ingredient that equals from dark kind of light. There it's got that rim, right. That's the thing about, like, curvature. Often there's this cool effect that, like you've got a like a really dark spot on it. And then it fades into, ah, 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 cash shadow on top of the cube here because of the height that's going on. And if I wanted to, you know, I would clean this up a little bit. Make sure it's it's dark all the way up top here and stuff, right? Yeah. No, What? I pick smudge here kind of feel like smudging. Smudging gives that smoothness. You know, I feel like when it comes to a lot of hard objects, you know, like, we're drawing machines or these cubes and everything. You convert away with that hatching and stuff again. But when it comes to roundness, since you know, there's something about that smudge that really makes it a lot easier to deal with and stuff. Yeah, I agree. Oh, and I'm forgetting. I think I'm forgetting my This site is pretty dark. This side of my cube and this side it was a bit later. Yeah. Cool. Okay, no, bad. Yeah. Listen, I'm not looking for perfection. Cool. But I'm looking at yours now. Enjoy. And I like the look of it Looks pretty good. Thank you. I just have to finish smudging. It's taking a while cause I'm switching it. Oh, 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, you know, especially greasy fingers or something. Just doesn't always have the consistency that you want, right. So play with it, play with all the techniques and see And you know what? You might change it like for two months, your cross hatching or just hatching. And then all of a sudden you smudge it. You're like, That's what I want to dio you start smudging for a year or something in your bones, back toe hatching. Don't worry about it. It's OK. And as I'm talking here, I hope you're still drawing just like my kid. It were almost until head onto last one. Yep, in two seconds on. Good. Okay, last one. We've got three objects. What are the objects? Joy. A sphere. A cylinder and a cube. Which ones are in front? Ah, the cube. And still, I mean here. Not even spirit. It's like a melon again. Yeah. I don't know. These fears are kind of like squished. So what I would do is I would come in here, drop the you can draw on the shapes first rate. Like I would drop the the Cube on the same general plane. Is this squished? Mellon squish melon behind it. I'm going to kind of draw through again and draw that cylinder, and then I'm gonna come in, and I'm gonna erase it because I don't want to mess with us. But I wanted to show you how how would would take shape behind everything. Yeah. Okay. Now, which way is the light source coming from top left, right, center Where? Left left? Yeah. Coming from the left. Coming in this way. Coming in this way. Coming in this way. So it hits, it hits this area. Hits here, hits this area. Uh, yeah. Okay, so we're gonna keep that consistent. We're gonna bring it in from the left. That's where the light is coming from, right? Well, does that mean that means you know, roughly on this sphere, the right side of it is gonna he shaded the cash shadow from it is gonna be stretched out. Look at how it kind of goes up on here right up onto the cute. That's pretty cool looking. It's gonna go up there. There's the cash shadow. Ah, it seems that right around the rim of this get shaded And then on this side of the cylinder that gets shaded. Like I said, you could shade whatever technique you want for him a little bit on the edges here, but mostly on this one side of the cube. And then the cash shadow is judging back from the Cube. And it's that's how it rolls, right? And of course, you know you can darken up underneath. It's that really kind of helps punch it, right? Yeah. Wherever that the object is usually meeting the floor right there's that special almost rim of shadow that believe darkens up there. 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 rim of where the object sitting, right? Yeah. Okay, so while Joey's smudging it out and having fun with that, I'm going to remind you I gave you three examples of basic shapes that we did for these still life practices. But I'm really hoping that you start to look around you, you know, whether it's ah, candles. Um, the kitchen is tons of fun stuff, shapes and everything. Bathroom shampoo, containers, whatever it is, you know, stuff on your desk. Like I said, 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 at a second and then 1/3 you know, and then work your way up till you're kind of stacking them a little bit, right? Yeah. And just try to draw what you're seeing here. Try 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 yours now, Joey. And that looks pretty awesome. Yeah, I think that's smudging. Just makes it look cool. Yeah. So that's your homework. make a look cool on and 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 hey, listen, if you want to print this sheet out a few times and do it over again or print it 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 gonna need some of these fundamentals to move on. All right, have fun and you know, your assignment. 17. Grids: Hey guys, I met nine jelly and we're here for another unit of how to draw basics. You know what we're studying today, restudying today, we're gonna talk about drawing with grids. Have you ever worked with grids? Once me, yeah. Usually they start to teach you that in our class, somewhere around the middle score or something like that. Grape six or seven. Working with grids will help you with your eye to hand to eye coordination. It'll 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. Alright, are you ready to 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 and 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, right? So you've got these smudgy vertical lines that I've got that I measure out a little bit of where I'm gonna 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 it 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 could 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, 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 will see when I did that graph on the big laminated paper with a see-through one. 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 five. 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, or 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 a consistent, right? If your gonna do squares, do 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. Alright, so I do those 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. And you're gonna see, it's gonna 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 rocket rag, raccoon cover for example, right? So you can see how this would be easy to copy that cover. Whether we're used see-through or the cover here, and then draw it out how we should. Ok guys, we've shown you a little bit of how to do it. How to make these grids traditionally, whether its 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 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 angles 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 1234566 of these bigger blocks, right? So if I want to divide it by three, what I would basically be doing is go one to 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 123456789. If it's nine, divided by three, what do we got? That's right, it's three. So I'm going to count 123, 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 sort. 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 guess at if you want. But the key point is that 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 too. 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, 12 down. And I can do all my boxes like that that are just the same. They can 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 a 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. Because what's going to happen is when you start to bring this drawing or your reference onto your big drawing, right? And listening can get really big. You can even paint on the wall due 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 can 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 sketched out this Johnny Bravo. And now we're going to see how we could use our grid to draw. So you can see what all I did was make another grid right beside, right. I'm doing the 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 to papers that are side-by-side to 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, what 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 shoulders gonna be coming out of it as trap is going to be coming down to their, 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 can see how way up here his hair kinda comes up. And right now there's just gonna 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 hairs coming up this way. Right. 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 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, is 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 ear, an ear. His neck is gonna come from that ear. It's gonna come once again above here, right? Come down below. In this net, comes below here. There we go. And then we can just kind of bring this trap over. And we can see how it just kinda arches that way, right? Not bad. Not bad. We've got this cuff. 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 hands starts somewhere just below this line, right? Into a thumb, into this finger, and into this hand. My 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 them here and then comes in, seems to come right about here. And it comes from this bicep on this side. So it's kinda sweeping in, comes in and Hooke's 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. Can 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 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 gonna come down. And his feet are almost at the bottom here, right? Lets feeder kinda hear little, little triangles. Cuffs. And this sweeps into the foot. This one comes up, comes into his crotch. And if we want to have this one level with what's on this side, we bring it over. Like I said, I'm just rough sketching here. You can tell that this is not going to be gorgeous. It's not supposed to be right now and just kind of 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 right of the wall. Also made his legs of it. They could make his legs a bit flimsy. Just watch out if you're doing what Joe is doing here is, what 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. There we go. So look at how much closer than 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. Alright. 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, I was years 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 or poster size or bigger and draw this exact same Johnny Bravo, the same way, 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 wanna see something at different sizes. I love deceived guys go bigger or smaller on something. So be sure to send me some of the work that you're doing. Mean Joey, love the entries that you guys send and we're looking forward to seeing some more. Have fun guys.