Super Hero figure drawing anatomy course part one | John Jr. Gholson | Skillshare

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Super Hero figure drawing anatomy course part one

teacher avatar John Jr. Gholson

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

5 Lessons (58m)
    • 1. Skillshare tools

      15:45
    • 2. A GOPR0014

      11:49
    • 3. B GP010014

      11:49
    • 4. C GP020014

      6:38
    • 5. D GOPR0015

      11:49
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About This Class

Learn to draw super heros with the tlah method start with the torso, legs, arms, and head.  Learn to draw poses and face techniques.  Learn a secret method for creating the body and head starting with a row of numbers.  Use numerology to understand the human form.  One of the hardest things to master taught with the logic of numbers and basic shapes.  What are you waiting for learn to draw the heroic figure today!

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Transcripts

1. Skillshare tools: Hello and welcome. My name is John Golson. I'm going to be your instructor for this course. And what I want to talk about is what we're going to cover in this course and thats picture me, uh, in Florida and the beach. Ah, I'm just gonna be talking about this course and what you need. Toe have ready for the course what you need to be aware of in the course and how you need to approach the course. Um, welcome to skill share and thank you for joining this course. And, um, I just want to talk about you. Confined, uh, mawr of my artwork on john Golson dot com. And that's pretty much it. That's me that's pictured me at the beach and john Golson dot com Is is the website that has a lot of my artwork. More examples. I have a lot of fine art experience. My grandmother was an artist. My mother's an artist, my dad's photographer. So I definitely have the art. Gene and I was raised doing art and I, ah, have done art since a very young age. So I also went to art college, made a 3.6 g p A. So I'm quite qualified to teach you guys some fundamentals of this course. Okay. And this is an example of one of my five most popular prints on the Internet. It's a sports aren't saying. It has anatomical figures, dynamic figures, dynamic wrinkles, dynamic anatomy, lots of color, lots of emotion, lots of moods and passion in the painting and the lines. This picture was done with a combination of traditional mediums. I drew the image with black ink on 11 by 17 paper. I scanned it and I colored it digitally. In this course, we're gonna be primarily working. Traditionally, we're gonna be using pencils, pens and also some prisma color markers. Ah, you don't need to worry about working digitally at this point. You can at a later time, if you're ready to get a touch screen, get your drawing screen and you can work digitally. You can work in a hybrid method, which is what this is where you're working partly traditionally and partly digitally. A lot of illustrators do this technique, and some illustrators also work entirely digitally. So I'm gonna be putting together some courses that cover working the hybrid method and also working entirely digitally as well. So stay tuned in the future for those coming up later on. But for now, we're gonna go back to this course. And what? Recovering? Ah, once again, this is my traditional art. This is acrylic. This is what I'm kind of My look, my style. I do A lot of a lot of florals have done a lot of painting. Ah, a lot of color. A lot of energies. People will buy this. Put in their home. They love it. They'll put it behind their sofa, decorate with it. Um, and this talk, this is about color and harmonies and shapes shaped placement line quality. Ah, all sorts of art jargon and terms that you did You can learn through the years, but ah, and here's also a, um another hybrid piece that is done digitally. The colors are all digital, but the texture and the drawing was done traditionally on paper with a few washes, few graphite washes and some pencil and moving onward. Okay, One of the things I like to cover is drawing ah with pins. Drawing with pins are really awesome, because it it prepares you to not get in the mindset of always of racing. When you're drawing with a pin, you have to be sure of your more. You have to be confident where you're placing your marks. This pin is the one that I use for a lot of sketching. They're very cheap. You can get him at drugstores anywhere you pretty much any grocery stores having sometimes office supply stores have a mart stores even have him. It's just a regular big Atlantis pen. The reason I love it is because it it's great for sketching. It has this grip in the middle that flares out as you can see, and it draws really smooth, really silky. It has a smooth drawing feel on paper. It doesn't get ah kind of clogged that easily. It's just it's just a great pin. Um, this is what I do a lot of sketching with. It's a it's a great one to work with. I would suggest having a pen like this for the course. It's not required. Of course you could. You could use any pain you want, but this is the one I highly recommend. It just needs to be a pin you're comfortable with in a pin that can drop The concept of working with a pen is so that you don't get caught up in the habit of always making the mark and then doubting it. And erasing it pen is to make your marks more confident and make you be, ah, more aware of your mark making technique. Okay, and this is also a mechanical pencil lead size comparison I found on the Internet. Any of these pencils would work for this course. I would stay away from the point to in the 0.0.3 on the left. They're a little bit difficult to work with, and when the lead is extended at any kind of distance, it will snap. It is so, so small. It is an incredible pencil working that small, but it's just not practical for this course anything. I would start with a 0.5 over to the left nor the side of the left. The 0.5 is a great size 0.5 point 7.9. Those are the three I would stick with. 30.5 is pretty standard. 0.7 is great 0.9 as a great one to so anything you really just need to see what decides you're comfortable with the 0.5 point seven of the 70.9. Ah, I would stick to one of those three. And even on the four other right hand side the 5.6, just those celeb lead pencils. The five point to those air Great as well. You could work with those, but for detailed, just regular type of drawings or medium level of detail, you're gonna wanna 5.0.5 point seven or a 70.9. So I would definitely stick to something like that in terms of the hardness of the lead. I would go with the H B, which is a standard darkness of lead HB. You could go dark, even your lighter. You know, there's no set for merlot, but these are what I would recommend. A 0.5 point 7.9 and HB hardness, which is the standard hardness for all leads of pencil. So this just quick overview of this and for the paper 11 by 17 the standard sort of illustration size that a lot of people work with. Comic book creators worked 11 by 17. It's also noticed the tabloid format because if you turn it landscape orientation and you fold it in half. It represents. Half represents a magazine layout page from a standard ah size of a magazine. So this is the £100 cover paper for finished rollings. You can use the £100 paper. I would not get in the habit of using £100 paper all the time. It's just not practical. You don't need to be wasting that type of paper. It's kind of pricey compared to the cheaper paper. Um, this is just a picture of the 11 by 17 20 Pam paper that I don't know what brand this is. I'm not. I've never seen this brand. I'm just using it to show you. It's 11 by 17 in its £20 it's not very thick. It's a kind of a lightweight paper, and the other reason it's great is because on a lightbox it's thin enough that you can see through it, but not so thin that it tears easily. So £20 is what you should do most you're practicing on. Of course, you could use any pound paper you want, but £20 is. What I would suggest is cost effective, and you could get a lot of sheets. Evident place like Office Depot Office supply store usually has it. Ah, and if you can't find 11 by 17 paper than 8.5 by 11 which is this? A standard basic printer paper that will also be fine. I'm just suggesting you get in the habit of working in the 11 by 17 length toe with ratio because it's a good size to get comfortable with. Here's some Prisma color markers. These are not essential. They're fun for adding color and playing around with color. If you don't want to invest in the touch screen or a digital tablet, president, color are a great way to hone your technique. There's many illustrators that do incredible work just with these Prisma color type markers alone. And once again, it doesn't have to be pres Mikola brand. But any markers that have, if you look closely, this has a double sided marker, has a chisel tip in a pin tip. The chisel tip is important to get certain looks, as is the pen tip, and they're not essential. But I would recommend him. This is a book on numerology thes cards. Are they calling Oracle type cards there for guidance. They are not a religion. They're not really a philosophy there, just a way of understanding reality. And they're really fun there. Really exciting. This is the set that I have, and this is a said. I sometimes reference in the course. It's kind of good because it lets you think outside the box that expands your mind. And from a visual point of view, numerology is great because it deals with basic shapes and numbers, which is what this course talks about as well. This is a light box. This is a porter trace light box. The brand I use the most is poor to trace. Um, they come in different sizes. Any size is fine. The size that I have in the course is large enough to fit to 11 by 17 sheets next to each other and the portrait orientation so you don't have to have a light box. But if you do get a light box, it would be nice if it fits. If it's ableto handle the 11 by 17 size of paper because that's the size that recommend you work with, um, any light bucks will do even a light box is not essential. It is only important to go over your lines to work with the line quality and sharpen your existing lines. Um, it's not a requirement. It is just something kind of like can enhance your technique. And it's a great tool for reworking your work and checking things on it. So, uh, and these poor to trace boxes of really easy to replace the bulbs. You can unscrew the top and just goto alos or ah, Home Depot type store and get a fluorescent bulb to pop in when they eventually burn out. So that's a light box and recap quick recap. Unique. You're gonna need some £20 paper. It can. I would recommend a living by 17. It doesn't have to be. It could be 8.5 by 11 lightbox. Not essential, but it is kind of cool to have one. Ah, I use Porter Trace as the brand Atlanta speak pin. You need some sort of pen to sketch with a sketching pen is great pencils air. Fine, but and they're good to. But the pen is great for learning to sketch because you can't erase and you learn how to be confident in your marks, and you learn better line quality by drawing and sketching with a pin. I do use pencils as well for the finish drawing. Ironically, I kind of worked backwards. I used the pencil for the finished product and work on top of the pin with pencil with a new sheet. That's where the lightbox comes in handy. So Ah, that's just a technique on that. The £100 paper is a living by 17. That's for finished rulings that you'd want to do a final presentation or a final image with on £100.11 by 17 paper Prisma Color markers are great for if you're doing any coloring techniques. If you don't want to invest in a touch screen or a drawing tablet at the time, you can use the charisma color markers. Ah, and for the lead pencil once again, 0.5 point 7.9 are all the ideal. Size is anything above or below that You're kind of getting into some different ideas, so I'd stick with a 0.5 point 7.9 numerology cards. They're not essential, but they're great tool and accessory. They will expand your thinking, and they're very exciting toe work with in terms of art and shapes and numbers and just really connecting the real world into a flat plane. So it's great for artists that talks about color as didn't really talk about color directly . But it has things in color about it and the very last thing throughout the course. You may hear me talking about ab work. If you did, you work out in the morning. This course is Several different videos will cover this course, and it was originally conceived as an idea to combine working out and learning the human figure and anatomy eso I encouraged you to do anyone who took the course to do certain AB exercises to sharpen their body as they sharpen their mental skills. So if you hear me talking about that, you can do the AB work. You don't have to. You can skip over that. It's whatever floats your boat on that it will sharpen your mind and help you work stronger in certain ways and literally be stronger As you work. However, it is totally optional, and it is your coal Ah, Other than that, I'm glad you signed up for this course. I'm looking forward to going through the entire course of you guys and you guys learning. It's It's a many course, many, many lessons in this course, and I just really am excited you're here. And this concept is something I'm developing throughout my lifetime to continue to create and to continue to teach these concepts. This is the first grand iteration of this course, and I'm glad you're listening to it and have a willingness to learn willingness to study and practice it. If you can get over your frustration levels of learning to draw, you can learn. You can learn anything. You just have to focus and get past the frustration of feeling as if you want to give up or you're tired or you can't focus. Um, other than that, Ah, this is about the human figure. If you control the figure, you can draw anything in art. So good luck and start learning. The figure is the foundation should be the foundation for most artists and ah, pretty much that's it. Thank you for joining the course, and I look forward to continuing, continuing to teach you later on. Throughout the years All right, Have a great course. And for more of my artwork visit john Golson dot com and continue to breakfast. Your craft. Thank you. Bye bye. 2. A GOPR0014: Hey, guys. Welcome to an exciting course that combines fitness, working out, comic book, drawing and meditation all into one course today. What we're gonna be talking about is the T long method. The T LA method claims that we should start with the torso first, the legs, the arms and then the head because the torso is such a significant part of the human body. So the first thing that we want to do is look at all these forms of the torso specifically of the chest, region, the abdominals, the upper abs, middle abs and lower abs. So what we have here is essentially a barrel shape. We can put it in a circle like this. Let's start with a circle. You can do the circle. This way, the center, and then we can draw a line down. And then we can draw the bottom part of the torso, which is Thebe pelvic region, just kind of in this shape, in this manner, right? Such as this. So what I want to talk about here is if this were the clavicle, the neck, the clavicle in the neck right here what we want to talk about is the abs. The abs, like you guys know from doing your workout this morning. If you were, if you had done your ab workout, the abs can We worked out every day. They comprise a very large part of the body. And the abdominal section is almost as large as the, um, the head. And this is the stomach, the belly button. And this is the lower abs here. The lower abs, all the way down to the groin. And then we have it comprised of several parts. This is the actual four pack or what they call the six pack right here. Easier than upper abs in this region. At this point, the upper abs air here and the upper abs show up quickly. The lower abs are the problem area. These this is the This is the beginning of the lower abs right here. So what we have here? Essentially, this this is our belly. But we're gonna move that up a little bit, put our bellybutton in between circles or belly button. What we want to talk about is how these muscles move and flex when we're working out. So this is the lower abs. These are the hardest. This is the hardest section to target from working out. But as you know, this morning, the leg lives really help and working out the lower abs. The middle abs right here are usually activated by crunches. Crunches will activate the middle abs and those air activated quite easily. Just by sitting up, you activate the crunches, the middle abs here, the upper abs air, also activated by crunches. Now, the Surratt, its muscles on the side are very stunning to look at, and they are activated by twisting, twisting movements. Activate them. And certain workouts that you do will also activate the side muscles. The Surratt, its muscles on the side, are kind of known and superheroes a lot. But they're basically right here on these side sections. Right here. This is where you have the Surratt, its muscles. And then we have the pectoral muscles, which are a large muscle group. This is the rib cage right here. Chefs, we see. This is the chest. These air the side. This is a stomach. The obliques side section here holds the abs together. And then the chest goes all the way up in this manner. And we've got the pectoral muscles that come down to here. Okay, So the important thing is, even though this is just a simple drawing, we want to keep in mind several things. First of all, we always want to start with the barrel shaped the torso. Teela. T law. Okay. The torso is what we're on. We're starting with the barrel shaped, the barrel shaped can be seen from different angles. Okay, We can draw from this side if we dropped from the side. We have to keep in mind. We're the, um up under the arms happens where this happens and will really be able to see the Surratt , its muscles from the side. So, um, one thing to is all these things that were just drew on the side, they translate over so and for drawing the pictorial muscles, they still fit in the same spots. They're just drawing a little bit differently because we're drawing it from the side. So what we want to keep in mind is tourists is very important to draw because it's such a large part of the human body. It's also a very important part of the body. Teoh exercise and work out and Because of that, we're gonna encourage you to do your AB workouts every day. Now, there may be some days where you don't feel like doing it, and you need a rest. But most of the time, you're gonna want to try to get an ab workout in specifically the one that we talked about in the training program that we're offering because it's really great. AB workout hits all the abs, um, we're gonna go over here and draw a little bit. So one thing to to look at and to keep in mind is that, um, figure drawing on paper is one thing, and impracticality is a whole nother thing as well. Um, what I mean by that is we can diagram this out. We can show you all the all the muscles and how the how the body moves. We can draw another another shape right here, and show you just how the circle here's a circle again. We draw the circle, Then we draw the, um, pelvic region here pelvic region, and then this. This flex is there in section C. I don't Do you guys understand? This is circle a line than the pelvic region. in this manner. There's a gap in between them and then the rib cage fits. The rib cage fits in this manner, and then we've got this to draw on top and then six pack. The belly button is there, and once you draw the belly button, then you draw the lower abs, middle abs, upper abs, and then we've got a chest. So that's really six pack that we're talking about. It goes in this manner like this. I don't know, can really understand this, but it's it's, um I think you'll get it eventually. If we were to separate all the elements out, we would have lower abs, lower abs, belly button, um, middle section, abs, upper abs. Then we would have the of right here who would have the chest. This is the chest area. Then we would have the pectoral muscles. They have the pectoral muscles in this manner, so that's a flattened view of the chest. And we also have these things on the side. The Sarandos muscles are very stunning to look at their on the side of the rib cages where they actually follow, they fall right on This side section is what we call the love handles were people when the game way, they will gain it on that side section there. So if we look and continue to look at just how these muscles fit together and how they're schematic, what we really want to talk about is how they fit together like puzzle pieces. Okay. And if once you learn the pieces of the puzzle, then you have a better chance at drawing the body when it's in different angles. Okay, this is a different angle here, but as we can see, it's still this is the shoulder muscle here. We still have a good chance of drawing it because we know all the pieces of that puzzle in how they fit together. But the first step is really learning the pieces of the puzzle and learning how they fit together as a whole. If we don't know all the pieces of the puzzle, we're not gonna be able to put it together. So you know, once again, here's the rib cage comes down, it's a barrel. It's It's like a big barrel with a gap in it. We've got this. These are the upper abs weaken drill circles. They're really not circles there, more arches. But we can simplify and then is stomach Ben's. This is where it's flexing right here. There's some flex action, and then this comes down. It's comes out to here. So this is the abs SAB's here. So let's go over here and draw a little bit again and think about this because, you know, and practicality, practical purposes, there's a difference between, you know, academic drawing an actual actual superhero drawing. Um, you know, a lot of times they will be clothing around that be clothing around the chest and fabric around the chest of the muscles. And what you have to think about is, how does that fabric flow around, just like it was muscle. The fabric is kind of like also an extension of the body as well. So if we were to think about this and you know, a lot of times you gotta have hands that are that air drawn and hands are kind of like just a big fist, a big square. They're kind of like the pelvic zone here, which this is the pelvic zone down here. And these hands, uh, they're gonna be in the composition Sometimes they're gonna be in front of things like this hand. For example. This is a closed fist, and it is in front of the chest. And the nice thing about this is once again, once we learn mawr of the puzzle pieces and then, you know this will go back to the form right here is before shortening. This is the elbow. Then this would be the bicep right here. A large, large bicep region right here. And then we've got the shoulder muscle which goes here to here. This is Ah a que 3. B GP010014: This will be a Kate, very typical of superheroes to have capes. Um, and you should start thinking of yourself as a superhero because it's good to have positive thoughts. And it's very good to think of yourself in a positive light. And if you do your AB workouts every day, you will see results. You're going to see results pretty quickly and eventually within a month's time. If you do him every day, you will really start to notice a difference in your overall physique. The way you feel, the way you think about yourself and your confidence levels and what I'm doing now is shading chest to show you kind of an actual practical purpose of how this would fit into an actual drawing of a superhero. And some of this, you know, you learned through time. Some of it you learn by doing side view of the head is right here. Got an angled jaw right here. The year we have the eyes, the nose is kind of in the middle eyes and the ears fit at about the same spot, and we've got some shading here, heavy brow ridge, and then what we need to do is just constantly be thinking Are the lines showing the right things are in the right spots? Um, you know there is. There is exaggeration and superhero drawing. There is a lot of exaggeration that happens and goes on, and, you know, that's okay, but we need to know what we're exaggerating the starting point from Yeah, and that's where we start over here and we end up with something over here, which is dynamic and shading and lighting and all these things. But we need to know where we start, and we need to try to learn the pieces of the puzzle. We don't have to learn all the names of the muscles, but we need to at least understand how different muscles will fit together and how they formed a group, how they fit together to form pieces of that puzzle that we were talking about earlier. And as you do your AB workouts, you'll start to realize the chest is very large, part the human body, but is you can only move in so many ways, and it's flexible in the way the chest moves is essentially, you have the torso, the pelvic region here, and then you've got the just and it just moves, you know, to the left and to the right. If we're looking at besides, it could move like it's bending over to pick something up. Can't move too far back because of the back would break. But it can move forward a good bit like this. And you just really have to keep in mind the flexible nature of the two pieces, you know, because there's definitely two pieces to it. Um, and, you know, that's pretty much, uh, most of what I wanted to cover in this lesson. I just want to make sure that you guys understand that the, you know, in here, let's make sure we get these in these air. The Surratt, its muscles here, what we're talking about there. We can really see him up under the arm under the arm by the rib cage, and they are prominent in certain parts. Certain figures have them. You have to have a low of really muscular section and there, and you have to have a low body weight for them to show up. But you can actually see him on bodybuilders. You can see him on superheroes and um, things like that. So with that in mind, we want to really translate this and show you how you know this can relate to actual drawings of hero esque. Hero is heroic type figures. Um, you know, a large part of drawing is being able to be fluid with these and, you know, to really not be hindered when you have to draw something you don't always have to use reference. Its most people use some reference, but you don't want to totally have to rely on that. You need to have your foundation pretty strong so that you can you can work unhindered manner. Um, one of the things I want to talk about is the muscles of the back are very complex. And what we want to do is look at those muscles and really understand. You know what they're doing, where they're going and things like that. I mean, it takes time. All of this takes time, but gradually you stay focused and you keep in mind the end goal. You will get the physique you want, and you'll get the skills you need to draw superhero type figures. So we're gonna do another study here These are all studies, Okay, So think of them as short, warm up exercises and studies. And then here, when you draw the here is this section of the belly button down here is the pelvic region. And this is once again as we know, this is the lower abs. Then we have the middle section upper section in an upper section, and on this one, this one's a little bit compressed a top. But then we've got the rib cage, the pictorial muscles a very large in this particular study that we're doing and they kind of flow around on what we want to do. Always keep in mind those pieces of the puzzle how they all fit together. This one is actually kind of a side view. So we're getting some lighting. You know, lighting is something else we're gonna talk about. Two lighting is very, very important to get the drama and the theatrical looks that you want and that you're gonna need for your figures. Um, without the dramatic lighting, things don't show up at all. And they're just gonna be lines on. What we want is we want, you know, drama. And we want theatrical poses. We want action. These are all the things that we need and that will compel viewer to keep looking at your story. But, you know, it takes time. It takes practice. But if you guys stick with this tune in every day and do your AB workouts and, you know, do your, um your meditation, the meditations very important as well, because without the right mindset, you're gonna give up. We don't want you to give up. We want you to stay plugged in. Uh, you've gotta pace yourself for the long haul on this journey that we're working on together . And this is a journey we're working on, drawing the human figure, working on drawing muscles, learning figured of anatomy, working out on our own bodies. And as we work out certain muscles we're gonna learn were those muscles Kovar late onto the actual human figures that were drawing? So it's like we hopefully are gonna become our own best, you know, our best model to draw from and reference because we ourselves are gonna work out. We're gonna become the thing that we're drawing. We're going to become the superhero. That's what's so exciting about what we're doing is as we're learning. We're also studying and becoming what we're studying. So, you know, that'll keep you motivated. Keep you plugged in on a keep you feeling excited when you start to see results? Believe me, as soon as you start to see a few results, you get really excited. I would be really happy at what's going on, and it will make it a lot easier to stay plugged in. When people around you ask you, you know, how did you get so good at drawing? It's just like working out. It's a muscle, its's exercise yesterday practice and you have to stay focused. You have to have the right mindset. And that's where reading the towel is gonna help us. Make sure you stay plugged in with those towel readings every day. We've got a one towel reading to do every day, and that's gonna help us get our mindset sharp. Keep us focused. Um, so just stay on board with me and you know, what we're gonna try to do is really just trying keep chugging away at this thing called the human figure, and we're just gonna try to stay focused with it because there is a method to it. There's a There's a method that works a lot of different techniques, but we're gonna try to stay plugged down. And this we're gonna look at some banking to a little bit. This is thinking. Thinking is takes time also, but it's about getting rid of the sketchy qualities and sharpening things. So, you know, in this case, we want to go back over one sharp in certain elements and leave other elements scratchy and scraggly. But it's just getting rid of the clutter. Clutter lines, some lines, air searching, warns, kind of get in the way. And what we want to do is just, you know, find those lines that means something and read, situate those right in here. We've got a big pictorial muscle. 4. C GP020014: get this neck, and then we've got actual that muscle. Okay, Get inside Shadow of the neck here. The chin was actually a good bit higher on this. I was a little bit off my sketch and let's go over here comes up to here. Side of the face knows the faces, a whole nother thing on another topic. But one thing we do is we have a central line. That's the nose. Then we have the eyebrow, and we have the, you know, the bridge of the nose where it fits. The nose actually fits into a few strokes as well. Um, but you know a lot of this. You'll see it through time. You pick up certain techniques that work for you, certain starting points to start on drawing. You'll know areas where you can begin on the face. For example, it's good to start corner where the noses the years pretty much line up with the eyes in terms of the top engine. That year fits with the eyes. Then it's just here. Air will flow back this way and look what there's just so many things to to keep in mind and you just can't get overwhelmed. You've got a stay focused and you've gotta look. Learn your pieces of the puzzle and look at your drawing as your drawing really stay plugged in, Whether it's stay in, tune with it. And, uh, really keep in mind what you're in goal is, you know, because we are becoming the superheroes wear learning to draw. We were thinking at this point getting the shading correct. Using a big Atlantis pen flows very nicely Shadows on here and side muscle. And we're using a light box to trace her own work. Very practical thing to do. Um, it also helps to upgrade on this camera so you guys can see exactly how we're drawing. What we're including, what we're leaving out. Um, but, you know, really, don't be afraid to keep going when you draw, people want to give up. Want to throw in the towel when it doesn't look a certain way? You've got some drawings you're gonna struggle through them on. The drawings will be easier, but, you know, that's all part of it. But you've got to stay plugged in to program on. I'm really excited about you guys being its program with me. It's a journey we're taking together. And I'm really happy you're plugged in with this because this is really has a lot of potential, too. Improve your life. Not only health wise, but spiritually and artistically as well. So it's all those things that we're gonna try to tackle in this course. We're gonna cut itself for a minute and see are actually two drawings that we have here. Um and, you know, this is a beginning. Everything has a beginning. But just keep in mind all these pieces of the puzzle that we talked about, Okay? And we've got the lower abs, middle abs of grabs and in the actual side, part of the chest. And then the Surratt, its muscles are right here, right on this side. We have set gratis muscles, so you know, you stay focused. Keep in mind the end goal. Always visualize yourself in a positive way. Think positive thoughts stay relaxed and stay focused because you guys could do this. And together we can become superheroes. And we can really just better and better each day. Thank you for tune into this course with May. It's not easy, but it works, and it's going to get us the results that we want. So keep that in mind and stay focused. Stay plugged in and stay motivated. So that's it for first, uh, lesson here. And I look forward to seeing you guys tomorrow as we work on another lesson and learn about Maura about the torso and the Teela method. Thank you very much. We hope to see you again. 5. D GOPR0015: Hey, guys, today we're picking up where we left off, talking about the torso. And today I have something called numerology cards, which it really like to show you. These numerology cards represent four. And like we talked about one of the other videos. The four represents the torso, these air, all different states of the four. And how the number four looks and its whole state its exact It's inhibited state, and it's exaggerated state. These are old cords from numerology, which is something I've studied a little bit. And numerology is gonna help us today as we study and draw these figures. So the first thing we want to talk about is once again, we're really emphasizing this torso, because that is a very important part of the human body. So what we need to do is draw this four, this four here, this torso And as we talked about history, the torso could be done a lot of different ways. We're gonna draw a box. I'm gonna show you how this box fits into a circle. But what I really want to show you is how the four itself, the number four looking like this, is actually a very similar shape to the torso itself so we can see that this is a backwards four. But that is part of the torso. So what I want to draw today is more torso studies, and I want us to get into the mindset that the torso is represented by a four, mainly because it is a barrel inbox shape. It's a barrel shape. Has this line has the box like this. But what we want to talk about two is some of the shading and lighting that we can apply to the torso to make it stand out and look a lot more dynamic. So what we're gonna do, drill the torso the same as we were yesterday? Throw the upper part of the tour PSA lower part and we're gonna drill the neck in here. One thing to keep in mind is that it may take a few drawings to get loosened up on May takes. Get some sketching this out to get the sketch. Fidgety is out. So we're gonna take these off for now. We're gonna start a brand new drawing because sometimes it's good to start fresh. It's good to have a new store So today I want you to be thinking about what we learned yesterday and how that applies and fits into our new learning. Today. We're going to a quick recap of yesterday's work, and then we're gonna go into today's lesson. Um, about some of the new material as well. You guys are gonna be sick of drawing the torso when you're done with this. But the nice thing about it is you're gonna see how it's really going to help you in terms of placing the figure and drawing dynamic poses. The first thing we want to look at is what we talked about yesterday, which was simply We're gonna start up here simply. This is yesterday's study. So what we want to cover what we did cover were the circle we drew the circle. Then we put the the tour. So here then we drew the line and we drew the pectoral muscles. And we're learning all these different shapes of the puzzle and how they fit together in the puzzle and how they can make as connect in the mind all the different parts of the body . So with that being said, let's go ahead, work on another drawing of the torso this time talking about a little bit about lighting. So once again, we're gonna draw the four. This is the fore. We can do it yesterday. We're doing with a different technique. But today we're doing the four. Here's the four. OK, and this is the This is the clavicle area. Then we have the barrel chest after drawn the four with the barrel chest. Then we have the, uh, pelvic region down here and this comes out and then out like this. So just slow down a little bit and get into the flow of the drawing and you'll see that it once again, it has the barrel, and we have this time we've got a four. I wanted to show you this different technique for doing before. This is a four, and that's one of the pectoral muscles. That's, like four. That's also for two. And you can see that. That's that's kind of what we're working on today is drawing the four drawing pectoral muscles and these air arches like I talked about before these little arch arch windows go into the front. I don't have this here, so don't be afraid to get chunky lines, draw your droit your shoulder muscles in here, and we've got the bicep coming into here. The bicep fits up underneath here, and we've also got right up as it fits underneath. We have the, uh This is the shoulder area we have, sir, gratis muscles on the side. All those fit into the edge. And we've got side arm back side of the armas. Well, that this is the elbow this comes down to here, This goods that were on the top love handles, the rest is down. So like we did yesterday, we're gonna start with some academic drawings and then we're gonna jump into grow world examples of how they can apply and help you in drawing actual characters. This academic is great. It's a great way to start. It's how a lot of this start It's a good way to have a foundation. But after the academic stuff goes away, you're left with the task of coming up with your own poses and drawing your own characters , which can sometimes be very intimidating. So we really have to get to a point with academia. And then after that point, we have to move on. So this, as you can see, is the beginning of a torso and what we want to do now. It's really just start applying this to actual, um, actual superhero type drawings because a lot of times we could get lost in theory on concept, and there's always so much that could do for us. Um, but today I really want to look at I want to look at drawing the back. Also, I wanted to talk about drawing the back muscles and how those back muscles can really help show a strong character in a dynamic character. Mac is also kind of like a barrel and that we've got the in this section right here comes down, comes around. Then it's the two sections again. Once again, this is the barrel. This is the top of the head. This is the shoulders, and this is as you can see, it's kind of like a barrel, but it's also kind of like a cube, and as we look at this, we can see how the back really fits into play. After we get done with this academic study, we're gonna draw a real world example. I found the back fit into playing an actual comment. So here's the line for the arm Elbow is here on. We have another side arm here form goes here, formers around. So there's a lot of muscles in the back, and we don't wanna get those confused because the back side of of the torso is actually a lot more complex.