Learn To Draw Wolves: An Easy Approach | Wacha Michael | Skillshare

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Learn To Draw Wolves: An Easy Approach

teacher avatar Wacha Michael, Digital Artist

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

Watch this class and thousands more

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

Lessons in This Class

12 Lessons (2h 8m)
    • 1. Lesson 1: Introduction

      3:14
    • 2. Lesson 2: Wolf Anatomy

      8:45
    • 3. Lesson 3: Facial Features

      9:05
    • 4. Lesson 4: Wolf Head Front View

      10:03
    • 5. Lesson 5: Wolf Head Profile View

      6:36
    • 6. Lesson 6: Wolf Head Three-Quarter View

      8:42
    • 7. Lesson 7: Wolf Head Demo

      15:48
    • 8. Lesson 8: Wolf Feet

      19:40
    • 9. Lesson 9: Wolf Drawing Demo 1

      10:49
    • 10. Lesson 10: Wolf Drawing Demo 2

      14:48
    • 11. Lesson 11: Draw Fur Easily

      19:36
    • 12. Lesson 12: Conclusion

      1:18
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About This Class

If you love wolves but can't seem to draw them at all, this class is for you!

Michael has spent many years experimenting with different approaches and techniques to drawing various animals including wolves. You’ll learn tips and tricks he uses when drawing wolves and you can incorporate these into your workflow to save you hours of time and give you satisfactory results.

In this class you’ll learn: 

  • The major superficial muscles of The Body Of A Wolf
  • How to draw Facial Features
  • How to draw The Front View Of The Head
  • How to draw The Profile View Of The Head
  • How to Draw The 3/4 View Of The Head
  • How to draw Different Wolf Head Expressions
  • How to draw Wolf Feet
  • How to draw The Whole Wolf Body
  • How to draw and Render Fur

You’ll be drawing or painting your own wolves using the techniques learned from this class.

Even if you’re new to drawing or painting, you’ll find these simple and effective techniques easy to use and apply to your work!

Meet Your Teacher

Teacher Profile Image

Wacha Michael

Digital Artist

Teacher

Wacha Michael is a Ugandan artist and instructor living and working in Kenya. He prides himself in creating artwork that tells a story by incorporating concepts, techniques, and subject matter from various backgrounds such as wildlife, digital illustration, abstract art, and many more. His work has been sold and displayed in Uganda and Kenya. You can find his work on merchandise like apparel, stationery, and many more through his store. Follow along with him on Instagram.

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Transcripts

1. Lesson 1: Introduction: Hello everyone. My name is Michael and I'll be your instructor for this class about wolves. So in this class we're going to be looking at wolves. I'll take you through the musculature of rules. We should look at the major superficial muscles and how these muscles really help us to get to very believable representation of wolves in different angles and under different conditions. So I'll take you through how I use that to help me. And then I'll take you through the facial features, where we'll look at a couple of facial features and how to construct those using a few tips that I believe will help you improve your process and just make a whole lot easier for you. So I'll take you through how I approach those and basically just show you a very simple representation of exactly how to put all that together. So go through a couple of eyes as well. And we'll put over together and draw the wolf's head from the front view. So I'll take you through how I would approach that and the major things to look out for in just a few tips to help you when approaching the front view. And I'll show you exactly how I do it and more to the lookout for and just a few things to consider whenever you're going for that loop. And we'll see how all these other facial features we'd looked at idea come together to help us get a very believable front view. Then we will look at the profile view as well, putting together all the things we saw earlier to see how best to represent the profile view. And we'll go ahead to draw that as well. Just to see how best to put a profile view into picture and how best to get a realistic representation of that when we are looking at reference images or even from imagination. So we'll look at the major features and that great landmark that can help. And then go ahead to finish that by looking at three-quarter view, which will then lead us into during a couple of heads where we'll be putting together what we've seen from the others. And basically see how best to represent the head in different poses. Such as when it's yawning, when it's handling like this. Now see what to look out for that. And even when it's grounding like this one here as well. So we'll also look at how best to do that and just what to look off one of the major things to consider throughout this particular representation. And then we'll go ahead and draw a couple of feet just to see exactly what's important about the feet and exactly what to pay attention to and what to look forward to when you're doing feats. And then we'll draw a couple of more feet, just seeing the different variations and, and what's exactly changes. Then we'll go ahead to draw these feat, seeing how these would appear from different angles as well. And we'll be putting together everything we've seen to draw a couple of wolves just to see how best to present all the different features when put together and what to look out for. And then we'll conclude by looking at a flayed Wolf. And we'll also go ahead to just apply FHA and we'll finish it at that. So if that sound like something you are interested in, see you in the other side. 2. Lesson 2: Wolf Anatomy: So when it comes to drawing the muscles, he, we have ourselves a very good representation of a wolf. So it's a very nice reference image from the profile view. So we're going to go ahead and go through this one. And I'll basically take you through the major muscles to look out for and why these are important and how to use these whenever we're drawing wolves from different angles. So I went ahead to apply the musculature underneath and then I made it a bit lighter so that you can see how we're going to go through all that. So what's M representing just around the cheek area, that is what they call the masseter muscle, very powerful muscle for chewing. So it's also very useful landmark whenever we're drawing, let's say the profile view. It's always nice to know where the masseter muscle is. And then right above it, just right above the irate. That is, we have, we have what they call the temporalis muscle, also a very powerful muscle for chewing. It's actually what rests in the skull all the way to the end of the head, just right behind the ears. So it's very powerful muscle. And what we're seeing right now is the neck muscles. Right there. We have what we call the sternum mastoid. Also very useful whenever we're drawing, let's say Profiles. And it's also very important to look at this kinda muscles for other animals. For example, stylomastoid in horses is a very good landmark. So if you go ahead to see that just right below the sternal mastoid, we have the stylomandibular iris. And right behind them is we have, we have this tunnel. So Fonda case and the brachiocephalic us. So bringing ahead to just place a few lines right there, you have a labeled diagram of these muscles in the resources section. So you can go ahead to look through that as we follow through together. Just like you can see what exactly we are going over. And right behind there, right by where we have the scapula is where we have what we call the trapezius muscle. This is very useful muscle whenever we're looking at profile V's, actually many animals, so it's just nice to know that what separates the neck from the abdomen is the trapezius muscle. And it's also a, puts them together. So it's also a very nice landmark to use survived. But know that trapezius is where we have the deltoids. So we're just going to place those rights around where we have the end of the scapula, where the bones of the feet begin from, suggest to run there we have a deltoid and they also very useful landmarks whenever we're doing ohms or feet, if we should call them. So that's exactly willing to be licking and just write that. So moving on that we have the Rokia brachialis muscles. Yeah, the brachialis muscles and Russian front of them, we have the triceps. So it's also nice of you to identify these because these are going to be very useful muscles when we're drawing feet. So it's always nice to make sure that you have those in check as well. So we'll be looking at those and you'll see how we use these when we're drawing the feet in a future video. But it's just nice to know where these are located and how best can use these to represent what we're seeing in the reference. It's also nice that we just know that Ron days where we have the triceps and then we have the brachialis right below them. So it's just nice to know where these different muscles are. So you don't have to remember the names, but it's important that you at least know what's going on. So right below the brachialis muscles that we have the extensor. And then we have a flexor behind it, which makes up the two major muscles of the feet. So we won't be showing the flexor, but it's just nice to know that it's there because there are two muscles, flexors and extensors. So they just really interesting muscle groups to also remember for the feet. So going ahead that to kinda battle. But basically this is just the most important thing you need to focus on an account for, because that way it's going to be a whole lot easier for you to represent what you're seeing best in this. So I think we can now move on to look up the latissimus dorsi, which is the large back muscle, actually is an abdomen muscle when you look at animals, but in humans it's the largest back muscle we have. So it's just the very next thing to look out for. So right below it, we have the intercostals just around the ribcage. So it says nice of you to know where those are. In red below them we have the pectoralis muscles, the stretch from the front all the way to the abdomen. So we're seeing that right below the intercostals. So it's also nice versus to indicate that. So we can now just go ahead to fill up this fiber lines just there on the intercostal right there, and then put a bit of color right there. So yes, these are the major muscles of the abdomen. They're just really good landmarks to look out for whenever we're drawing. So it's also nice of you to remember that they're here and that you'll be needing them when we are drawing in the future. So what do we do right now is, I didn't want recall facial. So aphasia is like a very white kind of paper fiber that. James muscles, the muscles or bones, the muscles. So it's a very interesting piece of tissue and it's very common in every animal. So it's just nice to know that it's there. And yeah, that's basically what happens within the abdomen. Now I think we can go ahead to just finish up with the highlight of the aphasia. And yeah, let's make things a bit cleaner with the muscles in the fluid. Just around the front feet right there. And basically we're just going to go ahead and finish refinement and we can move on to do the rest. But generally, I just wanted you to know that this is the muscle work that's going on and these are the major muscles we're looking for. And then just that it's nicely written on that these are the muscles that's going on and that this is where they are located. That way to be a whole lot easier for you in the future to know exactly what to manipulate. When you are presented with a very complicated angle suggests that with a buck feet we're not looking at the gluteus medius. Right below is where we have our gluteus maximus and just write down there, all the west stretching is where we have the quadriceps. So it's just nicely written. All these muscles are here and you realize they're going to be much help. Actually, you should take note of where they join. C, just want that, then need air and just right there at that area right there is where they join. So it sits nicely written law where that touches well, because that'll also be of much help. So we have the tensor fascia latae right there. And then right below them we have the semitendinosus muscles that lead us into the biceps femoris. So you do not have to remember all the names, but it's just nice to know where these particular muscles are because you realize it's going to be of much importance to us whenever we're drawing the Blackfeet, for example. The idea of knowing that these muscles that move these particular way and in this particular direction, even the shapes that we're shall be creating, we'll be looking seriously realistic. And that's exactly what's important. Getting a very believable representation. What we're seeing is important. And that's just something that's nicer voice to advocate for. So basically that's all with the muscles. Now we're just going to go ahead and apply a bit of shadow and the highlight just in a few places just to make things look a bit more dimensional. But basically that's it. There's nothing more that needs to be done. We have done everything that needs to be done. And these are just the major muscles. We shouldn't go into so much detail because this is not basically an animal anatomy class, but it's just nice of westerner. What's exactly going on underneath and how we can use this to make life a whole lot easier for us. So, yeah, That's basically it for the muscles. Now we're just going to go ahead and complete this whole highlight and shadow dimensional representation just to make things that could be different. But basically even if you leave it at that. So I would advocate for you to try and anatomy tracing over a picture of wolf just to see exactly what had come out of it. And hopefully you'll find it satisfying. Plus it's just nice to know exactly what you're drawing. So it's a win-win situation. You should try it. But basically this is it with muscles. And with that said, I'll see you in the next video. 3. Lesson 3: Facial Features: So with a facial features, it's just nice agree to know that we are always going to begin with bigger shapes. For example, you are seeing that I began with a couple of lines just to represent what we have as a triangle kind of shape with a front plane, top plane and the side plane. And now we're going to go ahead and just placing what we see could fit in there and build it up from that. So we have our nostrils coming in from there. And interestingly, with these kinds of animals, you find that there is a sense of extension that moves all the way to the back. So it's a very nice indicates as well. So we have it moving all the way to the back over there. And we can now just cut through to make it shorter and pay attention to perspective. So it's just nice to know exactly which direction it's facing and just how to put it all back together. So with that, you can already tell that we have ourselves a very believable representation of what's going on with that node. And we can actually leave it at this. Then just go ahead to refine the lines, clean up what doesn't need to be left within the joint, and then go ahead to just play around with the rest. So now we can just go ahead and put a bit of kinda within just to put the bit of shadow there and just fill in the rest and a thin That's good. So we can just go ahead and play a bit of highlight in the right places. And you can already tell that we have actually represented a very decent Knows Best in the reference image. And yeah, that's good. So when we move to this one where we have a set of teeth showing, It's also the very same process. We'll go ahead and begin with a couple of lines, front plane, top plane of B to the side plane. And then reports in the nostrils, remembering that these AdSense of a line that stretches all the way to the back. So that's also very important to us to indicate. And you can already tell that we have ourselves something close enough to what we're seeing in the reference. And from that, we can just kuwait to make the necessary adjustments where they need to be done. And basically just make a few changes there and a few necessary adjustments here and there. And you can already tell that we're close. So we just apply a bit of shading within the nostrils. And yeah. Now we can go ahead and move on to see how best to represent the teeth. So with the teeth, you can already tell that we have to stretch through with a couple of lines just represent the top mouth area. Then we begin at the canine because it's a very significant landmark that then we group the teeth together with a couple of lines just to represent where they are located. Then we keep on cutting through with those. And then we can move on to represent the different teeth that you are seeing in the reference. Just one, two-thirds of time because well, it's the best way to represent what we're seeing with that pink so much attention to detail. But first you can really tell that have gone ahead to place in those different wrinkles we see at the top, just using a couple of lines to represent exactly what we're seeing. But you see it's just about paying attention to the stretching and the folding of the skin and just seeing where the lines are. That way it's easier for you to represent what you're seeing. And then when you come in at, let say Karla, now you know where to put hard edges and soft edges and lost edges just to make sure you have a very believable representation. But you can tell that we went ahead to place in the teeth, like we said earlier. And yeah, that's good. And we cannot just move on to continue refining the linework and just making sure the edges are as good as we want them. But basically that's exactly how it goes down. Just have to make sure you seeing the bigger shapes first, then looking at the major folds, and then just finding a way to place in the right lines in the right places. But always be careful with how the direction of the reference is because you might actually make it look very entrepreneur portion just by simply getting it wrong with the direction. But you can really tell it with this one. It's actually a front view that is actually close to three quarter. So it's just nice of you to know that you're going to be looking at a couple of different angles and just how to respond to them is very important as well. So you can tell that right, that we're just going ahead to place in a couple of lines among the wrinkles just at the top of the head, just to see how best that would look. And basically just to represent that in general. But it's not in my XD is not important to me to do that. It's just nice to know where those are and how to represent them. But basically that's exactly how that would go down. So yeah. We can just go ahead and take our time and fill in those lines and line at a time. Not necessary for you to do this because, I mean, if you're going to use Conda eventually, then there's no point of view doing this kind of work. But if you're comfortable doing it, then please indulge yourself and have a good time. So yeah, it's basically what goes on down there. Then we have a few lines that stretch all the way around. And we place in few complacent some shading right there. And bits of highlight and yeah, narrower can move on to the profile view. And we have our nose in profile. Now when you look at the nose and profile, barely much goes on. Because what you're seeing is exactly what. Would be sin from, let's say the front view. But this time it's just one side of it. So we're just going to go ahead and indicate that. And the most significant thing to consider with the profile view is the fact that that line we talked about auditing is very much exaggerated. So it's nice to know how far that goes backward and how to represent that in general. So it's very important to me to do that. And that's exactly what you CSD, right? That we are simply going ahead to represent that particular indentation and that particular stretch. But basically you can really tell that everything is coming together quite well. And now we can just go ahead to refine the line work and then apply a bit of shading within the nodes right there. And you can actually limited this because I mean, you've represented exactly what you are seeing the reference. And only can do now is just move on to apply bit of shading, that very little shading. And yeah, that's basically it's a bit of highlight right there. And you honestly don't need to add anything else right there. Oh yeah. For example, you can also no place in the whiskers couple of lines for where those would go. And when you look at the eyes, interestingly, with the eyes, they are actually diagonally moved or they are faced in, oh, they are facing the nodes and they are diagonal, so there's a sense of direction with them. So it is always necessary to be very careful when representing that. Just to know that the eyes have a sense of direction and they are not actually like animals. For example, if you look at, let's say horses, their eyes actually very different from these wifi look at dogs actually that the eyes also very different. But wolves have a sense of direction and lines and they move towards the nose. So it's nice of you to be very careful with that. And they have a sense of dark area just to run the eye. Just like washes seen. Tigers and wolves also have it, and you'll see this in lines. So it's a very common feature. So it's nice of you to just be careful when represents in that I call it must Cowra because well, it's around the eye, so very much the same thing. So just moving on there, you can tell that it comes all the way through right around the iron. So it's just nice to know when that is and how to indicate that. Then we can just place in a bit of highlights and shading right there, make that a bit darker. And we have ourselves an ion profile. Now when it comes to eyes like Vz, now we usually pay attention to drawing the two eyes together because It's pointless to draw an eye. So we're just going to go ahead to place in what those would look like. See now the lines I'm using adjust lines to represent exactly what major landmarks to focus on. And just the things that I consider to be of importance when drawing. So it's nice of you to look for them or even just develop your own landmarks. But in general, these are just for ease for lockbox to consider. And the symmetry of the eyes is also a very nice thing to pay attention to. So yeah, it's exactly what you see us doing right there. And you can just finish with that. And yeah, I'll see you in the next video. 4. Lesson 4: Wolf Head Front View : So when we look at the head from the front view, I'd like to begin at the circle, placing a center line, then placed in a line for the eyes, just like in humans. And then just draw from there and continue just around that with a couple of lines to indicate where the eyes will go. And when she placed in the eyes, then it's a whole lot easier for you to see the whole composition come together quite quickly. So that's exactly what they're trying to focus on. For such different representations, for example, you can already tell that we are getting close even just by simply pressing in the ions. So it's just not submit to be very careful with that. And you can tell that underscoring and to place in a few different landmarks that will be of much help when we are representing what we're seeing. And yeah, for example, just run that muzzle area. We have a sense of conduct transition that is actually good as a landmark as well. So I use that and then just place in the loans right there. Yeah. Basically, this is just a very decent way to represent what we're saying. And then we can just go ahead with those lines and doing this and the modal way to the back. And we have ourselves a very believable approach to the muscles, which kinda changing the bit, right, that, but basically you can really tell that things are coming together. And we just have to stick to the lines and we'll eventually get there. Now these old many, so many ways to start and there's so many ways to do this. But I'm just giving you a few things that I find to be much hope in how I approach them. And then you can find a way to leverage a thing or two from this and then improve your process in general. But that's basically what's going on here. And then we're just going to go ahead and apply a bit of line work there and just connect the eyes to the mouth area that, and you have yourself front view of a wolf. And now the rest is just going to be knowing where the masseter muscle is and where the temporalis muscles are up there, which is semi indicating. Then that's going to help you understand how best to cover all this up. And you'll be good. And that's exactly what you've seen as the right. They're just placing over far in and basically just coming through with a couple of lines to represent how far in the neck will be basically moving on from there. And it's at this point that you see as cleaning up the edges and refining the linework. And just basically making sure that we put everything together. Now we can go in with the ears and then just place those in. And uninteresting factor remember, is there's a sense of a break within the ease of wolves. But you can never see that because of how far we design and Moses. So it's also very interesting in my opinion to think of all this kinda stuff. So you can either indicated or not. I mean, it's very much the same because It's hard to see this kind of details from the surface unless you want to see shape and Wolf, which is a very scary thing to look at. But basically that's what I'm talking about. So we can now just go ahead with a few more lines just to refine what the whole thing would look like. And just to make everything look a bit cleaner. And basically just refine the work that we've drawn up. Very, very believable. If I may say. And now we can just go ahead to refine the line work. This is the step where we go through the sketch all over again. Just briefly, is to make sure that what we are seeing is an improved version of the reference or an improved version of the foundation we have done. Because if you look at the three-step writing process, which is, what do you see? What do you know, and where do you want to see? It's always nice to let say, stylize the joint just to improve on what the reference is. Or basically just to represent, watch it or see. So it's just nice of you to consider that process as well. Even when you're looking at artwork or when you're doing your own work in different fields. So it's just a very nice thing to consider as well. So I find it very interesting in general. And now what you see me doing now is going on to improve the linework in general. Apply this details where they should be. Apply those foreign lines where there should be and basically represent what we are seeing on a whole new level. So just to save you total, I'm going to go through this a bit quickly just to refine the line work because well, it's all about just grant through the whole sketch all over again. So just to save a bit of time, we're going to speed this up a little bit. But generally, it's just because we just gained through their mind. All over again. But it's just important to view to know that this is a very useful step in any other way. So it's just nicer way to consider this as a decent process, which are bits of patients in it and doing diligently because eventually it's for your own good. So it also depends on how leisure dream. For example, if you are doing a really loose, then you'll have to go through this a lot longer. But if you are drawing a bit tighter, a bit more carefully, then the process is going to be quite short and you won't even have to do this. I mean, for example, if we look at artists, let Brian Lee, he barely goes over his drawings because he makes sure that the foundation is as good as the final join. And so that makes life a whole lot easier for him. I mean, that makes drain the whole composition much easier. So he barely go through so much work. And so that's just something really interesting to focus on. And as you can tell, we're just going ahead and fill in all the four lines of the neck. And we're going to go ahead and fill in all that. You can really tell that we just turned to do our best to make sure that we represent something believable of the reference image and be very true to what we see. What's above all. Be very careful with the way we drain because it is one thing for us to do something really good. And it's another for us to actually represented. So never mix up the drawing and the rendering as though you think having a good drill will make sure that the final pieces good, It's all about being very careful with all the different steps of the process. That will you make it very easy for you to get a very believable image at the end of the day. So we're just going to go ahead and continue with that. Finish up with cleaning up the edges. Refinements of area benefits just to make sure that we have ourselves a very believable sketch that we can move a step further to apply a bit of color to. So that's generally what you see going on. And now we can go ahead and apply bit of Carlos, I began with a white kind of color, a bit of a creamy color, plastids all over the joint. Now this is a very kind of that is going to be of much use when we are representing walls. Because you see it's very interesting. If you begin with a process where we have a base color, then we have all the colors that are built on top of it. For example, if you see the wolves in different, different kinda patterns, you realize that there's so many kilo patterns, but the arrangement and the movement of the colors, It's very much similar. For example, if we look at tigers, there's so many differently stripe tigers. But the arrangement of these stripes is similar. So it's a very same thing. That was, what I've done is I've placed in a base color. Then I applied a gray onto it just to show you how colors move. And this is going to be a very similar pattern when you look at many wolves. And the only thing that's going to be your responsibility is to make sure that the difference in lighting or the difference in color is what you represent. But usually it will be something close to this. So what you see me doing is displacing in Kotlin in the right places. And then just seeing how best to respond to the rest of the surrounding features. But generally speaking, this is very much a decent representation of what to look out for. And always be very careful when you're drawing these because it's going to be a bit of work, but eventually it's worth it because what you're going to realize is what you have drawn is actually a very decent representation of watches scene. And it's always nice agree to have that feeling because it gives a confidence to keep trying. And eventually if you practice a lot more than you get better, which is exactly where we want to be. So that's just basically how to approach it. So this is a basic file, a patent, and that's just how simple it is. So you can now build on this to refine it to a more specific detail to whatever you are drawing. We've inhibited this, so it's now up to you to decide. But basically this is a very livable representation of the reference image. And now to just make it a bit more realistic, would take the extra step of applying the right can move them where we're seeing them. Reducing unhealthy things here, and generally just making things look very decent. But I think that's quite funny. Generally speaking, I'm happy what this looks like. We can improve. It's already been limited this, but in all honesty, we have actually come a very long way in making things look very, very decent. So that's a good feeling. And that's it. I will see you in the next video. 5. Lesson 5: Wolf Head Profile View: So when it comes to the profile view, Not much really goes on here. So we just begin this circle for the cranium. Then we know where the temporalis muscle is. Then we just go right below it is where we place the eye. And remember how steep that inclination from the top of the head to the Muslim is in wolves. So we'll just paste that in there then get the line right for the muzzle. And you have yourself a profile view already. So that's just very important to agree to consider. Then replacing the nodes like we saw earlier. Then get those lines for the mouth. And yeah, very simple like that. Then we can get the lower mandible as well and move on from there. Then we have that furry texture moving on about the head. And basically we can levitate. That's actually because now that way you have yourself a very believable head. And then replacing the a is right there. We have a bit of the back showing. So it's also a nice agreed show it for the hand. And that's just basically what you're seeing is the month. And now we can just play around with the feathery textures and just have ourselves a very believable or presentation of the head. So it's just a very simple thing. The profile via may not much goes onto the profile, the ventrally. So it's just nice to know how well to represent the liter that you can see. And that's exactly what you see me showing you here. And I think with that, we can now just move on to clean up the lines. And yeah. So we're just going to go ahead and clean up the line work. Now this is the step where we go over the whole drawing again. And we'll just go ahead and clean up the different lines. Show that must Cowra of the eye like we saw earlier. And basically just make sure the firing pattern of the whole neck is very believable. And one tip is to only look at the direction in which the floor is moving. Weights much easier for you to represent the furry texture of the head in general. So it's a very important thing to consider whenever you're drawing animals, it's a very fiery. The direction in which the fire is moving is very important. And it's this very nice of you to make sure that you achieve that best on whatever you are drawing. So generally speaking, it's important that you do that. And so now what you see me doing is I'm just going to go ahead and clean up that line. Look there, finish up with those edges. And just around the ear, you can really tell that. And try my level best to make sure that I represent things the way I am seeing them. And just clean up that line OK, quite well. But basically that's just how easy it's either minute, not much work that goes on here. But it's just important to v to make sure that you refine these edges very well. And yeah, basically that's exactly what you see me doing there. Just cleaning up the edges, making that linework happened very well. And basically that's it. Know much of what goes on the show is going on with the lines and just making things look good. But you can really tell that we are actually getting close enough to the reference. And that's just a very good feeling in general. So we can just continue that with a refinement of the lines. And this step is dependent on how leads you drew earlier. If you drew very loosely, then you're going to take a longest time in here. We're finding the line work and doing this whole thing all over again. So you just have to choose how Lizzie went to draw, but it's all up to you anyway. So we are just going to go ahead and continue that and apply bit of columnar. And it's always just nice to begin with the bits of the nose right there. Just placing on data look like, then come in with a color. Actually, let's just beginning point. So we're just beginning the whites like we did earlier and place it on Navajo head. It's a very nice car. Lesser wing is not quite white, but it's, it's a, it's a, it's a creamy color, so it's a very light gray, if I should say. So. We're just going to go ahead and place it's in and then begin with the news. Yeah, it's a better way to do it. Then placing what the law should look like. And just trying to make a few variations of the color transformations to make them look very well-represented. Then place a lot the mouth would look like. So generally watch him showing you is the patent that you're going to seem very many different wolves. Now, if you know the pattern, then you can represent the candidates. I mean, this is all such a brown if you look at the reference image we're seeing. But really the arrangement is there's a color that comes all the way around the head and it doesn't go beyond the eye. Then there's another con law that goes beyond the ILO muzzle but doesn't trip to the mouth. So it's just about knowing how those patterns respond to the form and then how to make the color variations customize the US particular movement. So it's just basically that. So there's no much walk that goes on in just about you knowing exactly what you're representing and how to present it in general. So you can tell that it's just basically that we're just going to go ahead and drew present. That different fall along the is. It's a bit darker there, so it's just less averse to place that in. So we'll just go ahead and place that kinda there. And you can already tell that we have ourselves a very believable head of a wolf. And you can either choose to continue, take it a step higher than do it the way you sync the reference or you can leave it here. But either way, I'm going to give you all these heads that we enjoy in PSD files and procreate files and PNG. And you can choose to take them a whole step. Father tried to customize them and do better. But generally speaking, this is just the very believable or presentation. I do not see a need to go so far because the goal here is just free to understand exactly how to draw it a wolf. And once you understand that, then it's much easier for you to go ahead and draw all sorts of rules. And with that said, I will see you in the next video. 6. Lesson 6: Wolf Head Three-Quarter View: So when it comes to the three-quarter view, I begin with a circle, placing a center line. Then indicate where the temporalis muscles are going to be. And then from the temporalis muscles I can go ahead to place in where the eyes are gonna go from both sides. So it's just nicer Western know that the eyes are going to line up symmetrically at least so from a three-quarter view, the symmetry is not going to be straight line, That's going to be lines moving around the form. So it's just nice to know how to mess around with those and play around with them to give you a very believable representation of the reference image. So that's exactly what you see me trying to manipulate right there. And basically that's just it. It's very important for you to know exactly how this comes together and how best to represent these best and what you are seeing. So that's exactly what you see me do right there. Now we have ourselves a mouth. You see the math loans up a bit with the edge of the eye. So it's also nice to know how best to represent that. And yeah, who puts in the eye of a there? Then we've seen a symmetrical lines, the ones that move along the head and how to represent those. So we place that in right there as well. And we already have our SOS, a very believable I right there. So very little walk needs to be done. Or you have to do is make sure that the symmetry is on point. And it looks like one eye is higher than another. So we'll have to make that adjustment soon as possible. So you see that I went ahead to just make a few changes on the other side, just to make sure that we have ourselves a very believable or a presentation on the eyes. So yeah, that's basically what's going on. They're just trying to refine that. So what I'm trying to do is show you that it's extra bits of time. It's activated patients, but it's worth, it's eventually so, so now by being very careful generally. And you see that we have gone ahead to place in An eagle than just as a landmark to help us define how wide the head should be and then how every other pieces again to come together. Now we know that's under all but four is where we have the masseter muscle and we have the back moving in from the other side, then police in the other ear from over there. And we have ourselves a three-quarter. Now, this is the point where we go ahead to refine the line work and make it a bit more believable. But before we even get into that, let us place in a bit so that flurry texture that we see in the EAS top of the head. And just make this generically good-looking. So injury to the neck as well. And I think with that, we can move on and make the slightest refinements or we think they should be. So yeah, basically that's it. Now we go ahead and clean up this line work. I mean, it's about time and go ahead and do that. But before you even get there, Let's finish up with a nose. And so you see that we're going into clean up the nose right there, just to make it look believable. Or remember we have this nostril is right that then we have aligned the stitches all the way to the back. So which hearing aids a minute. Manipulate what we're seeing. Because this is in perspective best in the reference. It's very important to us to make sure that we haven't knows that it's actually also tilt it a bit and also respects perspective. So that's a bit of work, but it's very worth that. Eventually the reward is what the patients, so which getting a hint to find a way to get that right. And as you can tell, we are not far from it. And the thing we can leave it at that actually. And then we can go ahead and clean up the line workers who was saying, this is a step that we are going to take a bit of 10 one. Now, this, as I say, depends on how you draw. If you just saw well, then refinement of the line work is very minimal. Dru, terribly then unfortunately you're going to spend forever on that thing. So it's all about how long again to Joe and how good you want to draw the first particular refunds representation, which is the foundation of your joint. So it's all about how good you want that to look. And floss will always aiming for perfection. So really it's about making sure that the foundation is close enough to the reference images. Final render, which is the final drawing. So till about being very good throughout the process and saving yourself time eventually. So yeah, that's basically want to be doing growing all over the lines and redefining them under funding the edges, just making sure that things look good generally. And if things look good, then the final drain would have ventured into good. So we're just going to go ahead with that. And you can really tell that there's a bit of work that goes on in the so yeah. Let's just go ahead and clean that up right there. Clean up what that should look like. Find all the different details that we think needs to be improved. And this is quite the process, really. Six patients and it's x. B sub time. So you just have to take the time and not rush. Because what you're doing is you are trying to make sure that you get yourself the particular representation of the reference that you want to see. So just like we saw the three-step reinforces earlier, this is the part where you define what you want to see. So you see that we're going ahead to add a lot more detail. Let's compare to what the foundation head. And that's all about the same idea. When do you want to see? And so this is a part or we define what you want to see as absolutely good looking at. So yeah, that's exactly what you were trying to represent with all the different line work within with the rest of the head. And if you are interested in rules, you should look out for other artists that also draws. These are lots of things going on in the internet. It's interesting to learn a few things. So, yeah, you can go ahead and have a look at that. But basically, coming back to the drawing, you can really tell that I've tried to follow the lines of where the fire is moving that direction, the wildfires moving. And that we really tell that we have ourselves a very family believable representation of what the flush it looked like. And now we'll go ahead and place in a comma. And we begin with that creamy color we saw earlier, then replacing those darker colors. Now you see this is a great kind of wolf. So comparison to the other wall for solar profile, it can really tell that the color is different, but the pattern is the same. So it's very much the same idea. So it cannot just move on beyond pleasing way that fresher come in through. It's going to come very dark around the neck. Just behind that is. So on the right day community see the patterns are very, very, very realistic and we do not want to go against what we're seeing. So it's going to take a bit of work, right? That took place in log different Carlos Bosch, you can really tell that this is actually going to give us more believable representation. And then we can place in just a few lines. On boom, we have ourselves a wolf and Prof. in three-quarter. And just go ahead and make a few adjustments where we believe adjustments should be made and apply a bit of highlight as well. But really had to like what this looks like. I mean, this is actually a wolf and three-quarter and solar bulges. Paying attention to the different details we are seeing and how we can use these details to give us a very believable representation of the reference image. And that's exactly what you CS2 right here. We have actually taken the time to be very careful with the choice of candidates that were made. And we have also chosen to make sure that we represent the patent and not generically the colors. So you can really tell it. Yeah, it's a bit close enough. And we can just go ahead and apply bit of spice and just apply a bit of detail there. But basically this is how I would approach it. Now we can go ahead and play around with the color you want. But generically, this is a nice representation of a three-quarter. So I'll see you in the next video. 7. Lesson 7: Wolf Head Demo: So in this video, we're going to draw a couple of heads. So when, when the wolf is yawning, so it nicely, we'd start with the circle for the head, then just a line to indicate top of the head, another line for the steep slope from the head to the muscle, then you can cut the muscle all in like that. Then now we can go ahead and put a small indication for the I. And now we can think about the lower mandible. Now women look at the mandible, which is also the lower jaw. What's a look out for is the relationship between the angle at which it's tilted with, let's say the angle at which the upper jaw is line. And also the distance between the edge of the eye and the lining of the lower mandible. So it's always nice to just look at those relationships, just find them really useful. So that's what we'll be using for this particular representation. And it's also very nice of you to know where that is. That way it's much easier for you to demonstrate something close enough to reality. And that's the kind of representation we seek to achieve. So when I'm comfortable with what that relationship looks like, the narrower can go into a bit more detail. I'm placing what we're looking at as the teeth and the tongue and we can just move on from there. So once that has been placed in, you see a make a very decent indication and just roughly what the test should look like. Not getting too much into detail there. Then we can do it for the upper jaw as well. And you can see he's made a very slight indication of what the nose should look like. And with that, you can see we're just going to refine the nose. And that way you can really tell that it's coming out just the way we want it. And once you have made that clear, then now it's much easier for you to go ahead and make a few more refinement. P naught the lines you do not need from the rough sketch you are doing. Then move on just to make a few slight adjustments. For example, a tilted the lower jaw bit more and then went ahead to now just go, go in and place in just what the flowery texture should look like. Because now we're comfortable with what the mouth is. And if that's, if that's a k, then amine we can move on. And now you can really see that under strain to apply over different marks and then the straight to get the patent as we are seeing them best and what the reference is showing us. That's just a really good place to be right now. So now we're just going to go ahead and keep indicating those. And as you can see this around the head, we're just going ahead with that furry texture. Now we can place in the A's and the right place. We now know where those are. I mean, everything is just coming together quite well. And it's just nice to know where these different features are with these different elements are because that way it's much easier for you to just place them together and get yourself a very believable representation of the reference. Or even if a drawing from imagination. I mean, if you look at artists like Aaron Blaise and now he depicts wolves, It's very much about looking at the relationship between different features. And then looking at how you can put all these relationships together to make sure that you represent something believable. And that's just a very good way to communicate whichever form you're trying to represent. And as you can see here, it's all coming quite well. And we can even debits at this, or we can just go ahead and apply more refinement. One line walking can tell we just turned indicate where the marks of the whiskers go. And then after that we can now just go in and just refine the lines and improve everything. I mean, generally speaking, we're just going to hint just clean and prosper, same service, not much of work going on there. We're just going to clean up what we are seeing. And by doing that, it's much easier for us actually to represent what's going on and just make the drawing look a whole lot better. And that's exactly what we want out of all this. So generally that's what this step is all about. I'm just going to go ahead and do that. And that takes a bit of time based on how roughly you drew the first drawing. Or if you do not want to even have this step, you can. I mean, you can just go in and make sure that the final sketch, which you started with is as good as what you would want the final derivative like. So it's just about what's exactly your process ease and much a prioritized over other things and basically how you'd like to work. So it's generally preference. And if you want to make it look really good at the beginning and we don't have to go through the step then mean you can do that. But it's also quite refreshing to go through the step. I mean, you see things that you couldn't see from the other step and then you just add them here. And generally the drain end up looking good. So it's just nice of you to consider this as an option regardless of whatever you consider. So yeah, I'm just going to go ahead and Fill up what does lines would look like, you know, make it look a bit more Ferrari overall. Lucky it every other detail. And then now we can just go in and apply bit of Canada. So the goal with this is just wanted you to see how I would approach drawing it. Then you can go ahead and try it for yourself. So we're not going to go into so much detail as to the particular Kyla patterns, amino limited data ready so you can apply them here as well. So yeah, basically that's it. Now we can just go in and continue to fill in the colors and different small areas like the teeth. And then we can now move in and apply bit more adjustment now to the catalase. Now AS thinking, It's only fair that I apply bit of highlights. For example, you look at the error within the is just a bit of highlight them above the nose, just around the muzzle and the teeth as well just to get them out a bit. So by doing that, I think it's only fair that we represented that way. And with that, I think we can now move in and have a look at wolf that is actually hardly know what this one shows a really quick one for me because what's a looked at is just the same forces we looked at earlier than the relationship between the mouth and the mouth below Syria, the mandible and the maxilla. So it's this nice of you to just look at those. Just the upper mouth and then the low one and then the small opening of the mouth and how it relates to the edge of the eye, the lining of the nose, and the angle at which they are tilted. And looking at all these details and then just putting them together, placing in the nodes right there. And quickly like that you can just move it and chill because you have ISAF, a finished Howlin Wolf. And if you are drawing a loan, that's cool. If not, then not worry, I'll be sharing with you these different drawings and then you can go ahead and manipulate them. Yeah. So if you'd like to let say go ahead and kinda rate or use it in one of your drawings. That's fine. I'll be sharing them with you and That's all the matches. Now, we can see that I'm just going ahead to clean up the drawing and refine the line work just for the sake of making life a whole lot easier for us. And that's exactly what you see me focusing on right now. So I'm going to go doing I'm going to go ahead and do a bit of that work there. And overall, I think what this looks like, I'm just going to go ahead and finish up with that in the right places. Yeah, I think that's good. Now we can go ahead and consider playing a bit of color similar to that last term. Just pleasing in the color all over the place. And then we can just come in and think about refinement where we can put a bit of highlight. We're generally my job here was to show you the things that I look at. And even if it's a bit too fast or if it's not fast enough, the goal is for you to understand my approach. And things attack consider. And you can always come back and look at this video again and again just to see exactly what to focus on, a few details to adjust. I mean, what's exactly can make your work look better. And that's all that matters. That's all you can take from this. And it's just nice of you to know that It's easy to do this kinda work. So let's go ahead and have a look at what it would look like to draw a wolf that's actually growling and lactose can oppose this. They have a kind of action. So when we look at this one, I began with the same line. The line of the top of the head, inclination to the muzzle, did the nose. Then we end. We went an extended all the way to the back, then came in to just place in a couple of nice represent what the dental formula is. Now coming into another line just to represent the lower parts of the math, which are like cooling the mandible. Then we can now go ahead and continue and look at what the rest of the head would look like. Now you realize that we're seeing the top plane and the side plane of the mandible. Sorry, of the mouth. So it's nice of you to know that we have to indicate that even though we're joined because it has that sense of foreshortening. Foreshortening. So it's always nice of you to be careful with that. So with the teeth realized, I went ahead to draw the line G. So earlier than now acumen of a couple of land to represent the teeth were seen. Canine was a very big landmark that help us identify what that would look like in general. And now you see I'm trying to place in what those folds look like at the top plane of the muscle. And then now we can go ahead and place in the eye. Remember the masker of the eye is also a very good thing to look out for because it helps us represent the eye quite well. And now you see that I'm going to gesture, present everything together when we're having this pattern coming from the eye, falling on the way back to the neck. And soldiers turn to place that in there as well. Then we have this pattern of blue at the top of our head. You know, all these things just come together to help us make sure that we understand how best to represent what we are seeing and what's exactly comes into play when doing that. Now you remember we have the temporalis muscle. So it helps us identify how for backward, the head has to go before we get to the ears. So I won't be sharing that, but it's less of each noise there. So now we have placed in what the firing pattern should look like. And generally speaking, this is a very good representation of what we are seeing. Now listed point where you decide whether to clean up this drawing and then not move on to the next step or finish up with all this rough rough drawing and then go on to the next step and decide on how best to clean it up and represented the way you want. But generally speaking, you realize that we have leveraged on the direction in which the flourish moving to gets us a very believable look. And we've also leveraged and bigger shapes first to get us a very understandable interpretation of how best to render what we're seeing. So just like I said earlier, we move on to this step. And one thing I'd like you to remember is that the I is lined up with the edge of the mouth. So it's massively to look at those kinda details to help you in representing all this quite believably. And that's a very good place to be. So, so now we are just going to go ahead and find the lines. Basically fill up the edges and make sure this looks quite good. We have to make this as believable as we can get it best and what the references showing. And I'll also be giving you this particular PSD file and procreate file for you to manipulate. That way you can go ahead and be creative with those sketches. And not to worry. That will be in the resources section of a class. But coming back to the drawing, you realized that as I keep refining the edges and making things like livable, a go-ahead to apply a bit more texture to them. For example, a frequency at the muscle area up there. We're going to hit Apply just what's I think that at the top that will look like even right underneath, just below the teeth. I went ahead to do the same thing. And I'm going to go ahead and do for the rest of the head. The goal here is for me to represent what I'm seeing based on a three-step during process. You remember when I talked about how the first step is, what are you seeing? Step is, what do you know? And the third step is what do you want to see? So looking at all the different details, it helps us represent exactly what the end goal should ideally look like. So it's just a very good thing to consider. And 90 see that we're finding, it's much easier for us to finish up with this refinement because we looked at all these other details earlier when we saw anatomy and how that helps us mean we have looked at how the relationships of the features helps us how to start with smaller, simple shapes. I mean, all these things are coming together to really help us just make all these quite believable. And you can really tell that the direction of the very primary key making all this work. Because if I make these lines face in another direction, or if I made them thicker and harder than they should be, meeting, should look very strange. Sure, It's just about understanding lightweight. Be very careful with it. Making sure that all things look the livable. At least we can achieve believable. Realistic is another extreme, but that's for another time. For now, we can just stick to having a very believable presentation. And that's the goal we're trying to achieve now. So now I think we can just move on other refinements, especially at the top of the head, around the ears, just to make sure everything is quite good. And if you are happily watches seeing, then trust me, you are way on your way to actually getting yourself sunken you will be proud of. And they think we can now move on and apply bit of color there and can do therefore all over the place. And yeah, this is just basically how to approach the grounding off. And it's not much of work, but it takes a bit of time. Though. Eventually you have with what you see, so patients is worth it. So yeah, we can now just go on and finish up calorie of the rest of the head. And after doing that, now we can just go on and just like we said earlier, very little adjustment and the highlights now. So it's a good time to consider those. First, let's finish up with the four. Sets up a hand-drawn dye and we can do the teeth there. So once you did the teeth, you can see them destroyed to make sure that we separate them from the rest of the head just to show that they are different kind of material animal. So yeah, that's what you see me doing there. And you can do for the top of the nose as well. Basically, this is quite a believable representation of what we see in the reference. And we can leave it at this for now. The goal was for me to simply show you how to approach these and hope we have achieved that. So I'll see you in the next video. 8. Lesson 8: Wolf Feet: So when it comes to the feeds, we just kinda go through what it looks like from underneath. And then we're going to go ahead and look at a bit more detail. So I'd like to begin with the bigger shapes, just like I usually tell you. Just always start with the biggest things, look at it from outside, then come inside. So you can see we began with footpaths and now we're just going to go ahead and place in the other foot bands that come in just below the measure foot pad. So it's just like how poems. So the footpaths in the middle are what I'll pump would be. And then the other different Fruit Bites are like What the bottom of our fingers usually is. Then they have toenails or they have fingernails. So that's basically what's happening back in. So it's just about looking at how these bigger shapes come together. And then placing in the different details to make sure it looks quite believable. It's just that they have painted fingernails and we don't have pointed fingernails unless you decide to shape them that way. So yeah, that's basically what that looks like underneath. And then now we can go ahead and find the lines. And what I want you to note here is these different food but usually appear whenever you look at the woofs feet from the front or from the side and it's standing. So it's nice of you to know what that looks like underneath such that you have a feel of how to represent it. Because it's very rare that you will have a situation where you have to represent the back of the foot and the wolf. But when you get that chance, it's always nice to make it look very believable. For example, when a wolf is walking and you're seeing it from behind, usually gets a chance. So it's also very nicely to take advantage of them and actually get a very believable representation of what you are seeing. And so that's also another good reason why we are looking at this. And we'll have a few demos where we shall be looking at that. And it's also nice to pay attention to how we shall achieve that. So now you can tell that I'm trying to apply that firing pattern that's usually see on the pose. And footpaths usually are covered with bits of kind of hairy or firefighter parcel. So community we're trying to show that with a few free lunch returned to put in there. And Alyssa can really tell that there's a sense of dimension and we are not far from the truth. And that's at least a very good feeling to have. And so now sharp less that aside. And then we shall go on and look at another. But with this one, I'm trying to show you what it would look like from another perspective. This is a kind of a three-quarter. And we have the Duke Law being shown here. The Duke Law is like the thumb because you really tell, but underneath we have a 444 foot pads or full four fingers, if I should call them. So the Duke Law is like a thumb is making a fifth. So it's nice if it's a show that is just on the other side. And so then we come in with the others. We know the central footpath which is like the pump. And then we have these others that look like their fingers or toes to have different footpaths. Reason why we're seeing all this is because you're going to see that it's appears in setting instances. And it's nice of you to be careful with it and important to reach represented in certain instances. So it's just nice to have it anyway. So now we're just going to go ahead and represent that as well. And yeah, just like you can tell, we have ourselves 5 fingers if I should call them basically for you to remember them in general. So yeah, we have that. And now we can go ahead and refine it and just keep making that far. It's actually appear more established, a more distinctive and more defined. But the goal for me here was simply to show you exactly what is important for you to consider and why you should consider it. Because that way it'll be much easier for you to know how to represent what you will be seeing and why that's important. So yeah, we'll basically had this, I'm going to go ahead and neighbor whether nuclear is, and we'll see that later. But for now, let's just go ahead and keep refining these lines. And the advantage of all this is you can always come back and look at all the different videos. Or you can just stick to the different images are shared within the resource section. And if it keep looking at different rules and effectively in different animals that are in the same, let's say group or by logical class, you realize that these different patterns keep repeating themselves. If you look at foxes, if you look at domestic dogs, if we look at Kenyatta, is if you look at every other animal that's in this particular group, realized that this is very much the same thing. And if we look at cats, There's a bit of a different story. But coming back to the drawing here, we're going to head to just coloring the footpaths we should be seeing coming up in different approaches are in different angles. Realize that even when it's, when it's standing, you can see the patch my front, but you can never see that in cats because cats wave Faria then let's say this dog animals or animals and adult group. So yeah, we usually define them. Is that dogs and cats, dogs when they get radiata is we're looking at foxes were looking at all those other animals. And then character looking at lions and tigers were looking at. Domestic cats are looking at cogen is relaxing at all. It's so many cats, so that's another thing to explore another day. But for now, we are going to apply bits of points to the whole joining just to make it propagates from the background and just give you a very believable representation or what they says. And that's basically it. Well, you have to know here is that food pipes underneath this is how we represent the footpaths. This is where the footprints are. And I should be very careful when representing them because they are going to appear in the future. And remember, these are actually dimensional cylinders. So they have a kinda dimension and they're kinda thick. If you have a dog at home, you can actually just look at the pads of the feet and you realize that the kinda thickness dy. So it's always most of you to remember even when we're representing the wolf joins in the future demos I'll be doing. It's nice of you to know that there's a sense of thickness to these and it's important for us to represent it. So yeah. Now when we come to this one, we can go ahead and do the very same thing by the very same button and go ahead and apply bit of white as well. So the goal here was for you to simply see what I can see and just take a few tips away. And you can go ahead and apply these to your process. And I believe everybody can benefit one way or another. Yeah, basically this will happen to the fetus. And from that, we can just go ahead and enter in the clause as well. And yeah, the clothes are very visible when you look at dogs. But with cats, you can't see those close. They're very heated unless you force the mass when they press their polish on the ground. And that's a very interesting experience. Just make sure it's not happening to your face. So now we're going to go ahead and draw bit more detail. And we're going to look at now the foot from another angle. So you can tell that I'm drawing it from a three-quarter view and I began with the biggest shapes outside. Then now I come in and pay attention to the smaller details on the inside. So that's a very nice way to represent the process. I'm sorry if it's a bit too fast, but the goal is for you to see just the different things to look out for and how all these different details come together. And in the future we shall be having way more fun when we actually have slower representations and Joe lungs. But for now let us look at the process and how it comes together. And you can really tell that. That's basically how I do it. Remember that the muscles we looked at earlier, the extensors, for example, a flexes. And what's make up that kind of indentation that you see in the middle there. So they come through just along there. And then we have our Duke lower that. And then now we can go ahead and represent what the rest looks like. And you can already tell about the footpaths I talked about earlier. Actually visible from here. And I'm going to share with you a couple of reference images in the resources section. And you can go through those as well. I believe you'll be blasts and you learn a thing or two from them. And now we can just go ahead and continue with this billing alerts details there, casing in this free pads underneath. And basically just making life a whole lot easier for you by remembering that this is in that particular area. And just like that you can write itself. Yeah, we have alsos are quite believable for it. And thus basically what the goal is for this one. And with that, you can go ahead and collaborative care of shading underneath the pad just to distinguish them from the rest of the joint. Then we can now draw another one. Same thing. Remember the muscles that happened in on the fit and how they influence what the footer looks like. This is a foreign field. And we're going to be seeing how these parts come together. So begin with the foot's. Go ahead with a bigger shape as well. Always begin from big to small. And here we are going to be separated them into the 3 hydroxy from the front. So actually the full path to see from the front, sorry, yes, for piracy from the front. So we go ahead and place those in those areas. So you really see how this shapes come together, which means to find the simplest way to represent all this and give you a very believable understanding of exactly what you're looking at and why it's very important that we look at it that way. And I believe we are taking a thing or two from this experience. So yeah, that's basically what's going on during a bit of a change, their bit of adjustment. Just trying to make sure that whatever I'm trying to represent comes out quite decently without growing extremely chief of the spectrum. A spectrum of definition of variables. So there's also a spectrum of variables for, let's say appearances. Bit of a biological example, we shall be noted and another story, but not for now. For this one you can admit it tells us have gone to it to make sure that we see the footpaths. And then we correlate to indicate what the clothes would look like. Now we can go ahead and make those different adjustments that need to be met. Applying a coloring and doing the footpaths that will come in later. But for now we're just going ahead. So clever coloring and a close and do that for other close by. It's so nice if we just know that we are going ahead with the lines just to make sure that we carry a very believable understanding of exactly what's going on with all these different arrangement and all the different movements and basically everything we see going on. So it's just noisy way to know that. And with that you can see that some going ahead to draw what we are seeing right there. Yeah, that's basically it. So what about just making sure that things are decent? Unbelievable. And if you can do that, then I mean, we wanted to. So here, once we do that, then we can move on and just make things quite easy for you. I might die. You can already tell that we have had ourselves very believable representation. Now, we can go ahead and look at another one. We're going to look at the very same points. But for this one, we're going to make sure we spread the pose quite widely just to see what that would look like. For example, if it's preparing to run, what would that look like? So they usually do this if they're angry or they're in a fight or something. So usually see when they're a bit more spread. So in a purchase, widening them and paying attention to the kind of web nature of what that would look like. But remember the footpath will always appear from as well. So it's just very nicely bits indicate those as well. And basically that gives a very believable representation. So we're going to apply close. One thing you really should look like you look at actually end up habit of attention to is the fact that the clause from, let's say, the front, if you look at, let's say the, the image we looked at earlier. If you look at the front clause, that to front and actually closer to each other. And it's a very nice thing to look out for. It helps you represent this quite low believably. And it's a very important detail as well. So we're going to go ahead and refine the edges in this one, clean up the line work and make it look quite livable. So that's just, that's what you see us doing now. And yeah, basically you can tell that things are coming together quite well. And that's a really good place to be. So let's just go ahead and keep your final natural cleaning up the edges and basically making everything decent. Which is ultimately what we're trying to accomplish here. If it's believable than we are on the white chalk to actually progressively making things look quite easy for us to represent in their different demos we shall be looking at later. And you'll see how everything comes together. And so I've also going to have to apply width of white there. And I'll do it for the same then the other foods on the other foot as well. Now, we can go ahead and look at more detail, See how the complexity levels increase as we move on. So it's a slice of pizza. See that? And now with this one, we're going to look at the Wolf Street from the back and just how to put that together. And realized that I went ahead to start with the line that represents what a backward look like less than we have a tail control. And then we know whether pelvic bone is. Then we can now just go ahead and start cutting all the way through to the back. So it's just nice if it's an obvious is how the line work happens. And then we know that it's a bit bent to the front. So we'll go ahead and work that through as well. We know the muscles that's coming in from the backend is where we have ability as muscles. We have the tensor fascia lacks a, interestingly that angle from the back all the way down is quite different. Domain is not very racket, it's actually very decent slope, very curved line, so it's nicely written on that as well. So we'll go ahead and just refine that when cleanly into this very slowly right there. And just make it require. The goal here is simply for you to Korean understanding of how does all this come together? What is all this about? So yeah, let's just go ahead and place that in there. And like what this looks like me, this is quite decent. And that way it's much easier for us to just go ahead and make a few adjustments. Yeah. Then we can just go ahead and clean up the line work so as to make sure that you carry an understanding of exactly what you look for an exactly what's going on. This weight much easier for you to know how to manipulate different poses. And when we put everything together in the demos, you actually see how all this comes together and helps us make a very comfortably believable representation. And so I think we can leave it at that, That's easy know whether representations of an upper tail, but the goal is to make a short flight to see what is underneath. And then when you come to the front, we do the very same thing. Begin at a bigger shapes. Remember where we have the deltoids, we have the Temporalis muscles on the head. So when we sing those here, just nice to remember. And then we have the muscles of the chest, which he talks about is the pectoralis muscles. We see them very distinctively here. Then we have the other muscles, the triceps and help us at the edges. And then we see how the extensors, flexors come together all the way from the top downwards to give us a very believable representation of what the feet look like. So it's just nice to know that I'm leveraging normal different details. So make sure this makes quite believable. And that's just a very important detail to consider. So that's what you see me doing right now. I'm just going to enter find the linework based on what the different muscles we're communicating. So the three-step process comes in again here. What do I see? What do I know? Not why went to see? So you see, everything just comes in to help us. So let's go general. So now you see with the feet and we're skipping ahead to walk myself through the details, indicate them quite decently and make it as believable as I possibly can. And that's just a very good experience right there. So yeah, it's basically what's going on. And we're just going to go ahead and finish up hybrid. What's going on when you committed similar to what we did earlier, is actually paying off here. And the goal is just simply for you to carry an understanding of exactly what to pay attention to and why we pay attention to these different features. And then that way you can take a thing or two to inform your process. So that's just basically what some traits communicants. And that's basically what's going on now. And now we can just go ahead and work on another one. This one is going to be the back feet with the Blackfeet. What we're doing here is it's trying to make sure we represent that kind of zed shape that begins from the pelvis all the way to all the way to the bag and little omega. So yeah, so that's what we see as the writer. There's a parallel lines actually, so it's also likely to remember that kind of detail. It helps you whenever we're join. So she's nicely written, it's there. So when we're doing the other fluids that gotta just to look at this whole. So yeah, the tail right there. And now we can see very simple. Now we can just go ahead and clean it up. Bits of it should be. Then we can just go ahead and finishes up the details that we think need to be placed in the right places. Just to give us a very believable or presentation of what we're seeing. And that's what you see me doing with that. So basically, it's all about being comfortable with what you are seeing or limp, quite comfortable with what's IMC. And let me just go ahead and place that in there. Yeah. This is good. Now, we can go ahead and finish up with a with a tail. Think. We can go ahead and finish off with a tail. And after we're done with the tail, then I think we can just move a bit of Canada. Just applying a bit of collectors sends off the ground from the difference of the surface that we're drawing on and the joint. So yeah, I was just playing a bit just to make it look different. And so once we do that, then we'll get, I'll be sharing these details with you for you to manipulate. But with that said, I will see you in the next video. 9. Lesson 9: Wolf Drawing Demo 1: So now we're going to go ahead and put together everything we've seen from the star. And we're beginning with a head and placing the line for muscles with the line of a Muslim together actually for the bottom then placed in an ER, they're drawn with the neck should look like. And now we're going to go ahead and place a lotteries need eyes the front foot will prefer. Now interestingly, we see you, we know where the scapula is, so that way we can build all the way down. And that's just exactly how I would approach. It indicates a little different lines coming all the way through the back. Then now we can just go ahead and place in the world's food when it's sitted because it's folded. And that's basically what the different shapes deadlock. And we can tracing what the other look like, then complete the body all the way down. Placing the tail from there, and come back to finish the front feet. Because we've seen the front free from this profile won't be seeing very much a DSL. So yeah, go ahead and place in the irate. Make it smile a bit. And then we can express different details right there with the ER. And I think we're ready to make the details come in. There is the part where we go ahead and refine the line work and clean up the edges and make it look as realistic as possible. And make it look like an actual wolf, a cotton. Soon as exactly what you see me doing, refining the nose, coming through a different patterns all the way into the top of head. Just above them would come down to the lower parts of the mouth. The foreignness of the neck. Really what's happening is the so much for in the neck you can barely tell how wide the makers, but wounds are very small. So you would never want to see a flayed wolf or a shape on. But yeah, coming back to this, we see that. I'm just going ahead to clean that up. Yeah. Go ahead and place that in there. Filled up with a phone, the mag come into the back. But it all the way down like that. Come over to the fifth. Now you can really tell that everything is coming together. And we having ourselves a very believable representation of what the fluid should look like. Then we come into the buck. Now interestingly, this pattern should show you something. There's a pattern of that comes from the head. We come to the neck, we come to the shoulder area that's around the scapula, then the rest of the body. So it's always important to remember these parts. And it's very nice of you to be careful with it. The level of how believable your representation is depends on how easy it is for E to represent these different patterns. And that's just a very nice troops to have as professionals. So we're just going to go ahead and do that for the rest of the body. We'll just write down the fields. And then yeah, that's basically what it should be. And then we can go ahead and refine the foot of the pose of the Blackfeet and for the abdomen. And yeah, that I think we can just make sure that everything comes together quite well and looks good enough. Unbelievable enough. So generally speaking, I'm quite happy with what I'm seeing. So this is a part where we decide what to do next. And I think we can, we can actually just first make sure that we're comfortable, what we are seeing, generally speaking, I mean, if you look at the rest of that joint B, what can be done? But we're not far from the tree. We can just go ahead and keep making the different refinements, keep making everything look believable. Then we can just come in and we'll apply color. So the goal of the kinase also just to make you understand that we're separating it from the background. Because the idea is for you to learn how I would approach it and then how you should approach it should be best based on that. But it shouldn't depend on it. And that's what might've. So, yeah, and knowledge of color that's in. We can now move on to draw another one. Now with this one, we're going to go ahead and start with the back. And I'd like to begin with a couple of lines just to represent what the buck the field would look like. And yeah, just like you remember, it talks about how all this comes together from there. And we have a couple of muscles that then always benzene from the WACC. Remember that line we talked about? But differently colored light. It's very nasty reach remember that it's there and how it comes together. So basically this is what we're going to be looking at and we shall be building on this. And I just wanted you to see how I'm putting all these different features together and how all of those different details actually come together to give us a very believable representation of a reference image, which I will also be sharing with you in the resources section. Just free to understand exactly how we make these choices. And now with this one interesting literary history have been given an opportunity to have a look at the back of the feet. So you remember how we began the feet and the previous videos. Goal is for us to understand what happened in the Nipah feet. So that's information will be a very much use here. So now I'm going to hit that drove ahead and reuse. Cycle, we had a three-quarter view and we're representing that right now. Just to give you a very decent indication of just how to stop this, well, how to do it. But there's always more that can be done. So once we do that now I think we can go ahead and make a few adjustments. Remember the temporalis muscle as we saw earlier. So you see I've indicated those up there. Then we have casing and that is basically the basis. Quite good. And now this is a part where we decide to move on. And Clyde was a fire pots and earn money. It's from the fixed to the back and apply those as well. And now we can apply the tail. Yeah, this is good. And we can just go ahead and perform the landmark and prove the edges and generally mature politically. That's exactly what you see me doing right now. I just feel that this process is good because outweighed the optimal time to the final drawing so well that you end up with something really good and something you are quite proud of. And this is the really good fitting in general. So this was just see what the right word with a climate, fire pots and around the head, making a few changes to it. And generally just being quite good, it's making everything comes together. So that's what you see me doing. Let's again, this process depends on how you make the recent join Luke, I mean, if the recent joint all you sketch is quite very good, you don't need this is parts of the joint. So if it's really a good thing, you don't need to do this if it's not in fact good. And you shouldn't need to do more than keys. Go ahead and do more. So in this what you see me do it right now. I'm just going to do more and clean up the edges, refine the line work for pets into talked about and abdomen. And discuss the LA area. Or once you'd call the shoulders, you know, just trying to make sure that the firing pattern follows those particular arrangements that we set an earlier. But the goal here is simply for you to understand exactly what you are doing and why you are doing it that way. She can answer those two questions. There's nothing you can't fill tool. And that's just a very good understanding. So leave by that's exactly what you see me doing here. I'm just going to go ahead and nope. Puts in what the back of the foot should look like that remember what we had as a Duke blue is coming in. And then we have a couple of drawings. We all know that landmark is coming together. And yeah, basically I see that this is actually taking us somewhere. We have the pose visible so we can go ahead and conduct them in. And the food pipe is also visible. So we can also colonialism. And this is good for you seen me to him right now. And after that then now we can go ahead and fill up the other details that we complete the rest of the drawing. And that's just what you see me doing this every good stuff. So yeah, it's basically good or wash to make sure that we are very comfortable with Wachovia joints. And we make sure we do it very, very well. And thus what you see me doing right now, just transaction that everything is quite believable and everything is being done. And then we shall go ahead and find a way to just make things change a bit here and that quite a bit more detail. Wet should be. Make a few adjustments, make the tin look a bit more fluffy. And a bit of detail depends, but not to worry, I'll be sharing these resources we knew as well. You can go ahead and manipulate them the way you see fit. I mean, you can go ahead and apply all those details if you want. So yeah, that's basically what I'm trying to achieve here. And I think, good. Now we're just going to go ahead and work on another foot's from the back with that Tim Beyers. Well, yeah. That's just what you see me doing that. Now, this process is on the board, how fast you are and the level of detail you want to achieve. I mean, not so many people want to be very realistic. I mean, obstructive outs is becoming a thing. Disdain Syria. That's basically it. So we finish that's up. And clean up the line will make the edges quite good. And at this point, I'm happy and what's I'm seeing, indeed, for the rest of the body. And this is really good. So without the landlord, we have also the very believable Wolf. It's better to be believable than not. So I'm quite happy at what this looks like. And now we can go ahead and apply bit of color to the rest. And just like that, we are doing the same exact thing. Just to playing a bit of color, just to the whole thing. The goal is just to simply set it off the background and give you a very decent understanding of exactly how to draw wolves and put together everything we have seen from the start. So I will see you in the next video. 10. Lesson 10: Wolf Drawing Demo 2: So we are going to go ahead and draw a couple more rules. Now this one is 04. Come to quizzes, so you can tell it's a gonad. Start with a circle for the head, placed in water, a couple of edges for the Jew would look like. Then down something for the neck. And now began with the center line and the line for the eyes. So you can see now I'm just trying to indicate what the eyes and mother should look like, which is around where their noses and I'm just cutting through from the edges to come together to the center to make it look very, very believable. So I'm sorry if this is a bit fast, but the goal is for you to just see what my process is and understand how everything comes together and how these landmarks we're example the temporalis muscle is being used because the goal is, you have to understand how these details are coming together and why these details come together. Such that even if we go ahead to join your own, it's easier for you. So you've gone ahead to see that the dune and neck, we have done the back. You see the back is coming out with just right there bend. And then we have the pelvis at the edge right there as a very sharp edge. Then we have placed in the front foot. Now these are the fruits here is folded. So it's kinda like it's raising the other fruits as it's what it's walking towards us. So yeah, it's nice agree to show that then we come to the abdomen. Just very simple indication right there. Then we have a backflip rates also walking towards us. Then we have, we have a back foot's on the ground command just like magnets, and we have the tail from them. And then we have ourselves a very, very free sketch. So after this one we sketch, we can now just go ahead to make a few adjustments before we move on to the fun stuff, which is actually refining and turning it into an actual wolf. Because this is just a very decent rough sketch bubbles. And now we'll go ahead to make it an actual sketch of a wolf. So that takes a bit of work, but it also depends on the level of rough sketch you want to do. If it's a rough sketches, so believable, you do need to make it a rough sketch. It can actually be a final drawing. So we've gone ahead to indicate the eyes. Remember the most current, the eyes are pointed toward the nose is also very important. And that's just something really nice to consider. And then I'm going to head to a glide that bro area. We have those lines for the rash to the head. So it's just now, it's the part where we refine the line work. Makes sure the lines look as believable as we want them to look best on what you want to achieve. Again, the three-step reinforces finds itself into us situation again. So it's just nice to reach you. Remember that? Now we're just going to go ahead and clean up the line work, refine the edges, make everything a believable. This is the part where we make big changes, the significant changes, the changes we want to see in the final representation. And so, yeah, that's basically what's going on. And they're doing it for the head generally. And It's a bit of work that's going on there. But basically this is just a very good thing to look out for. A very decent representation of what we are seeing. So you can tell it's just trying to play a couple of very fiery lines should make him a decent changes amine. If we look at the edge of the math there, just where we find the mach beginner from right around the eye sensitivity to make it look a bit significantly apparent as it comes outward. So it's just nice thing to do. So you can pinch your mouth and villages might the corner there where we have the edge of the ellipse. Also there as well for them. So we can go ahead and place in the fabric section or the pharyngeal, the neck. And we have our nostrils there. And we have been to the lower jaw indicator. So we basically add and finger can go ahead and keep refining the glossary and just to make them look good and make them look the way we want them to look before we can go ahead and make any other drastic adjustment. So basically what you see yesterday, I think we are okay with that one. It's basically what you see us doing is so basically what you see us doing is we are going to continue what we were doing earlier. We find in the linework soon as you can see that we have the edge of the is coming in. And now we're going to have to look at the front treat, num the front feet. Remember the Duke Law comes in there as well. So it's less likely to indicate that then we have all we have a poll is coming together. So all the other fingers actually all the poles coming together. So you see me turn to indicate those. And with this one, we can't actually see the footpaths because the foot is raised. So it's nicely written. Notice that. And think, yeah, I think that's good. And can just good to continue that and keep refining those edges. Making the details look even better than you found them. Just to make things look believable. So that's the general goal we're trying to accomplish here. And that is usually if you find some warms that is a quite a bit tilted or a VA or not actually four at the top, then our tipped is. So you can also represent that table here. So the goal is, is simply for you to carry an understanding of exactly what's going on and how to play it. Feet, hips here in that, in your particular drawing process. And that's just what's going on here. So I was showing you these resources free to manipulate bytes. Even before we go further, you can really tell with the edge of the neck and following the line of what exactly the fall would look like. And I'm just placing a couple of lines and stretch all the way to the back. That way we get a valuable representation before, even before we draw it. And that's basically what you see is going on with that. And we can do it just about the back as well. So we're doing it for the back. And yeah. Thus we just see us. They are right there. That's all about being very simple. I mean, with all of these things that we're doing, finding this simplest way to do it is always better because you get to do a lot more with a lot less time. And that's a very fun place to be. So yeah, that's what you see me doing that with the back and think we are going to go ahead and keep refining it back now. But the goal here is simply to show you that the direction of the foreign lines plays a very big role in making these quite believable. And that's actually a very low sensation. So now we'll go ahead and apply the front foot. I'm going to do close right there. I mean, I looked at how we'll split this bigger shapes into smaller shapes to give us a very believable representation of what we're seeing. So we're going to apply the very same principle here. And this one would characterise the food pads because it's actually arrested. So you can see that you're going to hit a place in the foot-pounds of kinda them we've collected close as well. And generally speaking, this is a very good foot. And that we can just go ahead to apply a few anatomical Knox. Yeah. So to do that, we can now just go ahead and lock all the rest. Really have an edge that the back where the pelvis starts from. Fair lesser West to indicate that it's just basically importance of western. Be very careful with the way we represent what we're seeing. Because that way we shall get ourselves a very believable representation. And yeah, that's basically what you see us doing right there. Just going ahead to create somewhat the front view of the footer look like because we're seeing from the front view but it's the backwards. So what the front view of a footer look like will be so much similar to what the front view of the front foot on our right will look like. So not much of changes going on there. So yes, we're just seeing me doing and we have another food that edge so it's going into place that in there defer that angle would be and just make everything look good. So yeah, that's basically what you see. Now. We're just going to go ahead and work on the tail. Yes. So that's what you see, you know, working on the tail, making it look very, very, very fashion model like, okay, well, it's a very nice story in general. So now go ahead and apply bit of color to the rest. Yeah, I think that's good. Now we can go ahead and use the very same collect and make this particular demonstration even better. And that's why you see me going with fiery lines of the same kind of gesture on the back. Just to reduce and the coloring. And just make sure that everything is good. So that's exactly what you see me doing there. Yeah. It's basically it's anonymous apart where we'd go ahead and draw another one. And this one, we're going to be having a profile view. So remember the profile, how we start head inclination to the Muslim, then the Muslim, we have the nodes. We go into the smile than placing a law passed that limit of the mouth. Then we're good, then reclose so it can go in and place in the head. We know why the eye goes. We have the ear coming in just from behind it. And now would do to the body. Remember we have to separate the body into the head, the neck, the scapula area or the shoulder area, then the rest of the body. And which is also very good thing. So we began to the head and the neck. Very important, that reads movies and the NICU at the neck, we are looking now at the shoulder area. And After making the shoulder area. And now we're very into place and route this feet would look like. So yeah, the feeds coming from around them and I think we can just go ahead and place a mother's of the details from there. And I generally like what's insane. This is a very good representation of what we're seeing. Then we can go ahead and find the abdomen. After applying the abdomen and pelvis is then we can just go in and claim well, so there's different stuff are and thus just basically once we are trying to accomplish 15 to kids in the tail will go into place in the editor backwards. That stretches all the way from that. Usually it's not in line with that. We'll go backwards. So it's not something to remember that there's a sense of dimension on a sea turtle. And now we can go ahead, you find this rough indication. Apply bit of morphine, make it look a bit more detailed and generally just change it's in the right places. So let's just see me doing. So you can begin to the head, usually begin with the head. Make everything very, very believable. That's the goal. And that's exactly what you see me doing. There, is we're doing it for the rest of the head, just like we did with the other demos. Can do it with the neck now. Cleaning up the line work, putting a b to follow, it should be basically just making things look generically a gig. That way it's much easier for you to make everything look quite believable without going through a lot of work for no reason. Syria. We are going to do ahead. And philip on that edge should look like and yeah. We can chill there. And go ahead with the foot so you can tell that were turned to placing the buck for t look like the back of the front foot would look like actually, yeah, it's basically what's going on. And now we can go ahead and walk on the pose. So the poems, we are going into a client, a closed just right there. Remember we're close at very reasonable here because there's not much holding issue from staying inside like we have in cats. And yeah, it's basically what's it? It's going it's good to be a bit of a while as we go into clean up this line work, but the going this way, so understand exactly what goes on. And I can just three interesting facts right in there. For example, in a pack of wolves, It's only one female that gives birth. I find it really strange. They're wondering why we want female give birth until I found out why. Because the other female that actually gives both makes it the responsibility of an entire pack to take care. That on me. Cubs born all know the younger ones is important. So it says one baby for all and all for one. Very strange. But just find it really fascinating. So that's a good thing. No, it can just go ahead and continue and finish up this and just find it fascinating the fact that we have actually come full circle to this. The one thing I find even more fascinating is artist selecting Googler, who can actually begin with the fingernail and end up all the way to the hand. Very, very new in so good answer collaborative kinda that basically that's it. That's it. I will see you next video. 11. Lesson 11: Draw Fur Easily : We have ourselves a flayed wolf. We have the muscles underneath. And we're going to build the folk from this one. And I'm just going to take you through my process and once I think is very important to us to consider when we're doing that. So you see, I'm just going to find the line work just to make it look like an actual wolf. And pleasing way that I should be right up there. And we're going to take it over from here. We have often brightness muscle above it. And we have that is your shrines of that. And we're going to go ahead and build from this and look at what Wu for forward looks like. And my goal here is to give you a very basic understanding of how to approach for this understanding, then you can go ahead and refine it even better, go a bit deeper and make it as realistic as you want it to be. But I just wanted to give you just a few tips to help you. And so we'll begin with looking at what the flight wolf would look like. Just like I said, it's not a very good thing of E2 be looking for shaving rooms because that's very scary animal. Yeah. So we are going in to look at is just putting every it's a finer texture. Yeah. Basically that's what this would look like. Now I think we can move on and look at what the rest of the body would look like. So Gormley's, I'm just going to go ahead and apply a pizza refinements of the edges of the rest of this silhouettes of this flame MOOC. And then we're going to go ahead and build on top of it and draw an actual, actual wolf with. So I'm doing it for the feet as well. You can tell for inference shorts and make the Duke or look very good for them. I presume there must sketch. Then we can just go ahead and and that's because the label for the sketch. So this is what we are doing, the actual drug. And I'll be showing you this resource as well in case you wanted to go through it. Because the goal of this is just to show you that the muscles we saw earlier actually helping us very much in this particular experience. And that's the very last thing to look out for. So doing it for the whole bloody act, for the whole think. We're just trying to make sure that we refine the line work. And then we're going to build it and actually represent one should be one to see best in what we know and what we are seeing. So it depends if you have a reference image for this. Fantastic, if you don't. Well, as the motto, the goal here is for you to carry an understanding of exactly what in the world is going on. And that's what I'm trying to show you here. We have oxygen leading close though the linework and less good except for around the abdomen there. But the goal here is for you to just see that from the flayed wolf that we're seeing here, we're actually going to go ahead and finance would be better. I mean, you can tell that with the front feet that I'm going to hit a place in either closed or B. And then we have a beats of the footpaths appearing. So I'm also going to have to show it if there is a good reaction to make him very decent progress. And we've done it for the other foods as well, placed in what the Fruit Bites looks like. And then what were the closer going to come in. And now we're doing for the buck foods. So it takes a company of terms, but eventually you get satisfied with its all comfortable with what you are seeing. So the goal is just to make sure that things floating point softly and then compare wrong with them just to make things even software for a particular reference that we're trying to accomplish by representing this particular joint here. So that's basic laws, implementers, GPA. Now, we'll go ahead and keep walking around the foot just a minute just to make it what it wanted to look like in general. And yes, we've just seen me doing. So. We're going to go ahead and keep referring back sleeps until we get one-to-one talks of it. But the goal with this one is for you to just carry an understanding of why do we do this different things and how do we do them? That way you can draw whatever you want to draw. It doesn't matter which angle it says because you carry out an understanding of very generic interpretation of a basic details. That way it's much easier for you to get exactly what you want from the oropharynx that's being provided. So yeah. You can tell that we have made it once again, returning again just to make sure that these really come through me. It's not good advice to keep trying and trying and try it. But the goal is, which I'm trying to tell me. You see how the inclination of the front foot is very different from the inclination of the boxes. So that actually affects how we represent what you're seeing. So yeah, it's really matters. So you should take a bit more time and your fruits if they give you a bit of work. So yeah, that's basically it. I think at this point we're done with the fluids. Now we're actually done a difference. Unless we can walk what we're seeing there and we can make the changes later. But the goal is for you to just carry a very good understanding of exactly what's going on. And we're going to build it from the drone upward. That's exactly what you see as trying to achieve here. And now we get into the cool stuff where the foot comes into play. Realize it moves at very small angles, but they are verified outermost. There's so many far far patterns and the so much father comes up with them. And you can really tell the difference between the edge of the neck, the edge of the thought is quite significant from the lower end, then also quite inherited from the opera. So yeah, it's very much didn't want to be touching the knuckles. So that's also something to note. You have to measure it. So descriptive, it's nowhere. It says in how it's like that. Then we can now go ahead without patterned landmark district we saved earlier, it's Northwestern know that we're going to be flooded with a patent just to make sure things are as believable as possible. And so it was nice of you to know that the direction in which the firm is flowing or moving is very important in helping us represent a very believable demonstration or the reference image, or a very believable demonstration of what we're seeing. And so you can see that they're mostly Dembo, very same thing for the abdomen. Just following the direction of a fly in now, like we said, on the yeah, the patterns and arrangements of the file. It reads the head, we have the neck area, we have the scapula area or what we call the shoulder area. Just to run where we have the trapezius muscles. Remember? Yeah. Then just right next to them is I've have the latissimus dorsi below them. We have a vector on its. That's why we find more flow coming in from the abdomen all the way from the firms. So in general, all of these things are coming in, they're reasonable and embryos signal. So yeah. And that's a good thing. Now, come to the tail. I mean, you can read it. Saw that with a tail we just went through wild and just push the other lines River, which is a very pernicious her believable. Then we come into the bucket and do the very same thing. They're going with the lines as wild as we can get them, just to make them quite believable. And remember, the direction of the lines matters and misremember. That's because that way you're going to get some very believable representation. What you're seeing because the direction of the lines really matters. And it helps you. When we get to the point where we are plain colors of this, you're going to realize that's actually never June when the direction of the lines to actually make the brushstrokes represents something idealistically believable. And that's a very important place to function from old. So very decent thing to represent when you know exactly why you're using it that way, you're putting it that way. It's much easier for you to make it as realistic as you can possibly get it. And now this point, we can actually see that without the under and sketch of a flayed wolf, we have this. And I like what this is gonna add to the plane of a lab on top of it, just so that we can make sure that we take this particular sketch. So then next level. And it began with the nodes just like we usually begin, the head pasting what they look like eyes. And we're going to take it from there. Just trying to make sure that whatever comes in for me and all the way to the tail, downward to the feet is a good thing that we can have plaque on it too. So just like with either insulin dependent on how detailed you once again. So yeah. Basically that prefrontal away. So yeah, we prefer to actually be good. So we're going to take a bit more, sorry. And I'm going to just make sure things are as believable as I can get them. So the direction of the five is what we're trying to leverage on here. And it's helping us make the neck was really good. So yeah. It's a very good thing. And basically So yeah, that's what you see me doing here. Just trying to refine the line work and make sure things are schemas. We can get them because that way we can actually represent, DO happen with and make things as decent as remotely possible. So that's exactly what you see me doing right there. Just putting all the slaying off together just to make sure that eventually what we end up with is something we are proud of. And if we are proud of it, then by all means we are going to make sure that we make it work extremely well. So that's exactly what's going on. And the direction before is going to help us. So generally speaking, are just falling through the couple of lens I believe will be much important in this process in general. And thus just nice. So I'm going into. In the right places, in the right intervals, and in varying amounts just to make sure that we do not make it very hard for us to black color and make a significant impact as well while doing it. So we can now go on and apply a very similar pattern to the front of it. Show up for yeah, I do like what this looks like. Basically this is exactly what is joined to come through for us. This return to achieve our faith, for him to just refine the line work, improve what we're seeing. It's a bit of a process. Takes a lot of patients, but it's very much worth it. And yeah, it's exactly what you see you so treatment right there on the other foot to the front? Yeah. Basically it now we can go ahead and do it for the neck. Sorry, the optionals shoulder area, this cupula area, right box. And we can do a very simple loop for another pattern of the wolf, the direction in which it's flowing. And then we can do for abdomen follow the same direction. Yeah, we can do it with a different line work. And the goal is simply to make things easy, soft. So yeah, it's basically what's going on there. Now I can just go ahead and apply the different different areas and typing it would be of much help. For example, where we have the pelvis dishonorable or to the fissure, but is above the latissimus dorsi. If you have the traced. And that's a nice sketch on the side, it would be nice if we just refer to it as we do this. But you can really tell that just right behind them, we have a glute as we have gone to place the fire of the back of the feeds off the back of the back feet. You're then doing the tail. Now, the goal here is for me to just show you that. I'm going to say it. I'm still saying It's saying it. But the direction of the lines helps you make in the fall very realistic. So yes, say it is again and show you are going to try and apply that to you. You see a few things will change. I mean, we have to do this very same thing if we drove her and he reads, which is something we shall explore another time. But it's always nice of you to know that even when we are representing anything, that's his fiery even bears. And it's just nice of you to know even the mainland or let's say lions. The very same concept. Deception. Make sure that the hairy or the fiery texture that you're trying to represents moves in a certain direction. And you respect the direction that way, even when you apply color, it's very easy for you to actually justify why the credit looks the way it does. And now that we're done with all these other details, now we're just going to go ahead and make a few more adjustments where we think they should be. And just clean up a few lines and may refine a few edges. Make a few things with distinctive, for example, if you look at where that the obliques us along that edge there, we find that it's nice advice just replacing a couple of lines just to represent what the thought would be doing. So we know it flows along the body. So whichever learned you choose to take systematic Western, do a couple of experiments as well, just to see what that would look like. But the goal here is we simply agree that this is of much help and try it out yourself. And you can just see that when we decide to apply color, then we build this up all the way to where I decide to stop, which is by no means the end. You realize that we were actually in a very decent path through representing something quite believable. So that's exactly what I'm trying to say here. And I think that's exactly what we should be focusing on now. Taking this to the next level. And I think I'm happy with the sketch looks like now. That is what it would've looked like if we had everything together. But for now, we're going to go ahead and apply bit of color. And we're going to start with a creamy color, just like we did with a heads creamy color to the rest of the body. And after applying a creamy color to the rest of the body, we're going to build it upward. This is a very good process to take. I mean, if you are doing any of that animal, always think about how to begin from the ground up word, creamy color from that body. And then we can now go ahead and apply the Docker accidents that happened to the rest of the body. And so the dark accents will begin with the nose that then we have a darker color that stretches all the way around the body. So it's nice and Western indicate that as well. Comes all the way around the neck. Now flows all the way to the back. Just nice to know how it flows. And it comes all the way along the abdomen. Now this is just a different button. Usually you find that the patterns a lot worse or the same. So really a brown, some almost entirely white. Some are great, some are completely black. So I'm just showing you what's the arrangement and possibly look like, just like Howard talk to you about the patterns of tigers. They are very much the same thing they are Tiger patterns. But the movement of these pipelines is different. So it's very same thing with humans. We all have what we call fingers and the fingerprints and everybody asks fingerprints, but even one person can't have the same fingerprints and both ends. So it's just the boss, you knowing what's this smells more intricacies are what make the difference. And so after applying that kinda, you realize that we actually get to the yourselves close to an actual Wolf's representation. And that's exactly what Paul says here in the first place. So now, once we can do is go ahead to refine this a bit further and build on top of it and make it a bit more detailed and a bit more bits extra, extra, just in the places where we think we should. So we can now go ahead and apply bit more. Kyla know, well I kinda we're applying is also following the direction in which the firms facing. Before we even get into that, let me just go ahead and apply the same color to the tail and insert it back. As you know, that's a bit in shadow. So when we say much on that, but let's just do out there. Then come on to the neck area and then go ahead and do what exactly I was telling about Docker kinda coming in with the same direction or they're just trying to flow along that. We're going to just build this up from there. And that's exactly what you see me there, right there. It goes all the way to that scapula area or what we call the shoulder area. And you can really tell it, we're actually trying to build something here. Yeah, It's basically what you see me doing. What says Now. With that, you can really tell that we actually close enough to an actual war. Now we can case and what that should look like. And then we can just move it in a bit more detail. Just the right amount of veto in a few places, just to see what that would look like. And basically I'm happy what this looks like. I mean, I'm going to go ahead and apply a bit of a lighter color. Run the same area just to see what that would give us. And you see you're done. It's a beach around the neck. And yeah. That's good. And no extend from the foot and then try to take the colors all the way further. Now we're just trying to make the decent adjustments we believe will be a merchant open contributes into the OS accomplishing a satisfactory outcome. And at this point, I do believe we have reached a point of saying, no, this is actually fairly well. So with that said, I will see you in the next video. 12. Lesson 12: Conclusion: So I would like to thank you so much for joining me this far with how to understand how to draw wolves. And I'd like to thank you so much for being a part of this experience. I hope you have actually taken something home, lunge a thing or two and at least picks up an idea that can help you. Or even if you weren't interested in Most, before, at least you have at least gained an interest in wars. And hopefully you can keep that fire burning and look into wolves and look at all the differences in these wolves and even study a beetle wolf behavior. You'll find that There's a lot of interesting things when you pay attention to the different animals and how they behave. And when you decide to study them and how to draw them amine, you get exposed to a whole new level of excitement. So help us actually radiated that kind of energy to would you is we did all this over the different videos we were looking at. And as you see the different clips, I hope you see the things that we have been discussing. And hopefully that has been of much help. And with that said, I'd like to thank you for joining me and I'll see you next time.