The Power of Line, Basic Drawing Part 1, Shapes | Kevin McCain | Skillshare

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The Power of Line, Basic Drawing Part 1, Shapes

teacher avatar Kevin McCain, Anyone Can Learn to Draw

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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

18 Lessons (3h 53m)
    • 1. Introduction to the class The Power of line

      1:07
    • 2. How to Use the Class Drawing Classes

      0:58
    • 3. Power of Line Materials for the Class

      3:35
    • 4. Power of Line Optional Supplies List

      2:51
    • 5. Power of Line Handholds

      8:20
    • 6. Pwer of Ln Drawing Board

      4:10
    • 7. Power of Line How to Draw Better Lines

      10:40
    • 8. Power of Line Drawing 2D shapes how to

      19:24
    • 9. Power of Line Introduction to Ellipses

      32:16
    • 10. Power of Line Drawing Ellipses

      36:12
    • 11. Power of Line Draw Amazing Ellipse

      12:03
    • 12. Power of Line Using the Templates

      4:19
    • 13. Power of Line 2D to 3D Solids

      2:07
    • 14. Power of Line How to Draw Cylinders corrected

      26:15
    • 15. Power of Line Creating cube or box basic idea

      25:04
    • 16. Pwer of Line Basic boxes corner vs front

      20:05
    • 17. How to Draw a Cone

      10:06
    • 18. Power of Line How to Draw a Pyramid

      13:10
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About This Class

The Power of Line is designed to teach anyone who has the desire, to learn to draw. We will explore many classical methods of drawing that have been passed down through the ages. We will explore the essential techniques of drawing foundation shapes that are the basis of all intermediate and advanced drawing. This is part 1 of a series of basic drawing classes that will help you to learn to draw with confidence and to meet your drawing goals.

The is part 1 of a 3 part series designed to teach the student the fundamentals of drawing. Just like a music class where you first learn notes and keys, we will explore the use of line to create basic shapes both 2 dimensional and 3 dimensional. Understanding how to draw these foundation shapes is the beginning of learning to draw.

This a great course for anyone who needs to improve their drawing. Who wants to learn drawing but doesn't know where to start. These foundation lessons will prepare you to move through my basic drawing series. Having worked in the fine art and commercial art fields I know the importance of foundation drawing skills and how they are use in every facet of the visual arts.

Skills that are Taught

*Lines

*Drawing Circles

*Drawing Rectangles

*Drawing Ellipses

*Drawing Triangles

*Drawing Cones

*Drawing Cylinders

*Drawing Boxes and Cubes

*Drawing Pyramids

Meet Your Teacher

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Kevin McCain

Anyone Can Learn to Draw

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Transcripts

1. Introduction to the class The Power of line: So in this class we're going to learn the fundamental ideas of line. We're gonna explore how to draw good lines, what techniques to use, how to do, um, what exercises to use to help you to draw better lines. There from those lines, we're going to construct triangles and circles and rectangles. And then from the rectangles and circles and triangles, we are going to construct 3D shapes. We're going to construct the cone, the pyramid, the sphere, the cylinder, and last but not least, the mother of all shapes, the cube. These concepts are used in all aspects of drawing. No matter whether you're drawing portraits or landscapes or cityscapes. By being able to draw these fundamental shapes, you will start your journey and learning how to draw. So let's go ahead and get started. 2. How to Use the Class Drawing Classes: So how are we going to use this class? So the important thing about this class is it's not just about watching the videos. You really need to sit along side the video and try to execute the assignment. That's why the videos are full length. That's why they're not spit up at all. There are real time so that you can sit down and draw with me and pause the video if you need to, even if you're just listening to the video while you're trying to draw your own thing. It really helps to get the thinking process happening and withdrawing, that is 99% of the battles understanding how do we proceed through a drawing? And so go ahead and grab your pencils, get your paper together. And like I said, go ahead and draw with me. With each one of the lessons you will learn to draw, it will be amazing what you'll be able to do. Let's get started. 3. Power of Line Materials for the Class: Alright, so for this drawing class o, I recommend the following materials data. So we want some good paper. We're gonna be doing some warm us, but we still want to be practicing on decent paper. If you want to get some sketch paper, that's fine too. But, but you're gonna wanna do some on this nicer paper. Some of the, you can get for some of the exercises like drawing lines, you can, you can get newsprint, which is really, really an expensive. You can get any sort of sketch paper. You want a large enough, this is 14 by 17. And so you're going to want something in that range. You don't want nine by 12, little small. We want to at least be at least 14 by 17, or if it's 14 by 18, somewhere in there. We want it to be 70 pound. We wanted to have a medium surface. Hey, we want Strathmore. Strathmore has a really good brand and there's other great brands out there cancelled makes them good paper and, and others, in terms of pencils, for this first-class thing we've really basic. You can have an HB pencil or even one of those orange number two pencils we get in school. And so you can have an HB pencil. Kimberly makes is a good brand. You also have stapler. Nothing. Nothing too too extravagant. Again, HB. Now with what we're doing, you could also use charcoal pencils. If you're going to grab a charcoal, I would recommend you. There. You get up and you want to use your harder charcoal pencil in the beginning. And as you get more experience, you can, you can use the others as well. But if you're going to use charcoal pencil, generals make some good ones. Again, you can use a hard the software they are, the darker they're going to be. But we're just going to be doing, again mostly line drawings and dealing with lines. So this is pretty much it. It's also nice if you have a drawing board. So I've got a if you go down to some of the stores they have, this is just a whiteboard, kinda like what you'd you'd put your erasable markers on or what have you. It's quarter-inch masonite or MDM F and it's pretty good stuff. Sorry, I pulled that off like that. But yeah, I get yourself a 24 inch by 24-inch drawing board along with the paper, along with the pencils. If you need to do corrections will have you do this is a well-used plastic eraser and state law makes them really good plastic erasers. And there's, there's others. Prisma color makes some good ones. And the reason you want a plastic eraser is when he uses with graphite, it doesn't rough up the surface of your paper. If you use a pink pearl or a gamma rays or they're going to rough up that surface and the graphite will never go over the same again. Known as big a deal for what we're doing. But when you are doing, later on, we're doing like really nice sculpted value drawings. It becomes a big deal. So, yeah, grab those materials and we'll go ahead and get started with learning how to starting with drawing lines. Thank you. Have a good one. 4. Power of Line Optional Supplies List: All right, welcome back. So this is going to be about the optional supplies list. You don't have to have this stuff but you'll see me. You might seem uses and some of the videos. This is just a t-square, especially just a ruler with this little piece right here that you can hook onto your, your drawing board. And so allows you to have an immediate right angle to the board. It's great for if you're doing sort of drafting. If I need some horizontal straight lines or I can flip it for some vertical straight lines. It helps you to position your paper accurately on your boards so it's nice and square. That's a good thing to have. And again, these things aren't required, but that can just help. You might see me use these. These are just your white erasers and they're just in smaller sizes. These are like mechanical pencils. So that the, this will get, you know, you can use this and it just gets into tighter areas much more easily. So those are nice. You can also use this as just a twelv inch. And this might be a 10-inch. I think it's a twelv though. Drafting triangle is what we call these. And these are really great for doing straight lines. You could also use just like a regular ruler if you like. But this actually kinda works little nice. So it's a little more nimble if you're on the board and stuff and you'll definitely see me use this. This is a kneaded eraser. Again, it's just an array so that you cleaned by pulling apart and putting it back together. And what you can do with, with this is that the, the neat eraser, you use it, you pass it to use it. So if I want to lighten something, instead of racing back and forth like we're used to, you actually push this into the object to pull up. Now this is, this is a certain type of charcoal that doesn't lighten very quickly, but it has gotten lighter. It's just that it stays darker and it's harder to erase than say, pencil, but that's what this is for again, as a kneaded eraser. And it's really great work horse if you plan on drawing. The last one is some, some just plain old masking tape. Now This is half and she will need to probably closer to three-eighths, but what regular one-inch, 1.5 inch masking tapes all you need, nothing special. It's just a tape down on your paper. Alright, so again, these are some extra materials that we can have that can make it easier to draw with. So are they required? No, my joy having them in. You might find that it makes it a little bit easier. So that's why I wanted to bring it up. And you're going to see some of these used in the in different parts of the lessons just because I usually have them on hand. Do I have to have them? No. But again, they just make certain things a little easier sometimes. Alright, you guys go ahead and continue on with the class and thank you again. And 5. Power of Line Handholds: Today we're going to be talking a little bit about for the drawing class and the different hand holds that we're going to be using. Now I'm a left-handed person, but we can I think we can go ahead and and do this for people or show you what we're going to be doing for right-handed people to want to start out with what we call a tripod grip. Now, tripod grip is held between your thumb and your index finger, and then it rests on your third finger. So there's your third finger, there's your index finger, there's your thumb. So it's actually, I should say also supposed to have two, but you get a little more stability if the pencil than sits in the crook of your hand. So it's between the thumb, the index finger, and sitting on your your middle finger. Okay. Not down here on your fourth finger. Not down here on your pinky. We're not holding it like we're gonna stab somebody. We're not doing that. We're gonna go ahead and hold it again between your thumb, index finger sits on the third finger. That's a tripod graph. Another tripod grab. Now you can see variations of his tripod grip. Sometimes you might have your fingers and sometimes you might extend your fingers out, but it's still a tripod, still democratic, it's still being wedge between my index finger, my thumb, that's what's holding it. It's sitting on that third finger for you left-handed people looks like this. And it's very important, tried to use the handhelds were teaching because it's, it's the proper way for drawing. Can use other hand holds. Can you drove with him? Yes. Can you draw with them as well? Well, that's questionable. So this is a very standard grip, tripod grip. Now, I could of course, bringing in anaphase I needed to I could push my fingers and push my fingers out with it if I needed to. So understand that. Yeah. We push your fingers out and pull them in. Others times where you might be holding your hand and sitting it on the bottom of your hand like so there's other times you might actually be putting your Bring your knuckles and they point up and the pencils actually touching the paper and you're actually will cock your wrist up. And that's only if you're drawing flat. It's actually the way that it looks like this, but you can't see it with the camera right above. So my handle little bit and it's, it's basically again, you've got your risk cocked up. And then this is the surface of the paper. And it just very sort of ergonomically nice if you're going to draw in flat paper, we don't necessarily drawn flat paper at all, if, if ever possible. Because you're actually drawing and distortion if you're drawing on flat paper today, actually em, but I'm going to try to emulate what I would be doing if it was on an angle. And again, if I if I'm looking somewhat forward or even down at a 45 degree angle. So if I'm looking down at a 45-degree angle, but the papers doing this, what I'm looking at in the plane that I'm writing on are two different angles. So you're actually drawing and distortion. And we want it to where you kind of see if, if your hand is tipped up like so and then your eye is tipped up like so, whether they're closer, almost meeting it at 90 degrees. So again, if we're on this is at an angle than my eye is at a slight angle, or we do with a pencil if it's easier to see it with the pencil. That again, you know, the, your eyes, you know, the way direction or eyes looking and the plane that you're looking at is a sort of a 90-degree or true corner sort of orientation. Will talk more about that later. But this so you've got the tripod handhold and then you have what's called The baton handhold. Now with a baton handhold, it's sitting on a flat piece of paper. Let's say I pick it up and I flipped my hands over and I've picked it up between my thumb and my fingers. That's a baton hand hold for you, right handed people. It looks like this. Now I can hold it a couple of ways. I can either hold it between all my fingers and my thumb or if I want a little bit more movement to the pencil, I can hold it between my first two fingers and my thumb. But that's still a baton handhold. And usually when we're using the baton handhold, our knuckles point upwards. So there are knuckles are pointing up like so in our fingers than the fingers are pointing down. Okay. So knuckles are up, fingers are down, and that's my baton handhold. And this allows me to move my whole arm. Whenever we're drawing, we use our entire arm while we draw. So we're just gonna do some real quick shapes. We talked about 2D shapes and we're going to try to draw some, some 2D shapes. And when I, whenever I'm drawing, it likely we could start with a rectangle. I find it easier to draw the two parallel lines first. So these are my parallel lines. Parallel meaning they don't get closer together like so. Or they don't open up like this are supposed to just not connect. And so two parallel lines. And then I can turn my pencil and draw another two parallel lines. And what I'm looking for is that the line that I'm drawing meets that line at 90 degrees or what we call a true corner. So whatever we do, 90 degrees would make it little symbol that looks like a square. To say that, hey, this is a true corner. And that's supposed to be 90 degrees K Or it's supposed to be, you know, it's not supposed to be opening up like this. It's not supposed to be closing down like that. It's supposed to be a nice true corner. Ok? So I find if I draw the first set of lines and then the second set of lines, I get better rectangles. It doesn't matter if they go ahead and they go beyond where they intersect. That's not a big deal. That's no big deal at all. I can always erase these off. I'm also making it a little darker than I normally would have it. I'm making it darker. So you can see the little bit, you know, for this, for this demonstration, we can always make them darker. You could also, you know, if I was doing something where a sketching it in so I can modify it. Well then I would make it very light, make it light, and then I would modify it and then I darken whatever that I needed or the whatever I had left. Our i So I'm going I don't know if you saw that, but I was using that was using sort of that baton hand hold having kind of a distorted a little bit but my my knuckles are up, my fingers were pointed down and I'm using a baton hand hold. Same thing for our circle. We want to be able to use our whole arm. We're moving on, moving on. My wrist is locked. My risk doesn't move. My fingers don't move. All the movement comes from, you know, my elbow and then further up here, up here, my shoulder. So I'm I'm using just my children, my elbow, and it doesn't matter. And we want to get used to this sort of circular rhythm doesn't matter if I do a little circle or a tiny little circle like that or a big circle where all you were using the movement through my arm to get that nice circles. So we're going to practice doing, you know, and I guess if we want to do a really nice circle where I'm like, I wanted a little better than that. Well then we can go ahead and you can kinda hover over it and draw the circle in the air. And when you feel that you've got a nice circle, will then go ahead and put your, your arm down and then draw the circle. And if this is a little bit like this, like breaks out just a little bit through there. We can always come back in a modify the circle. Okay, let's make that a little bit more circular array. So again, you know, but just get used to using your entire arm while you draw your circles, you'll have a much better, more fluid sort of a circle. And again, I can always come in. And if it has like a little flat area rounded out and you know, if it's a little bit to, you know, if it's not tall enough, we'll make a little bit taller. But you can go ahead and by doing this, we can go ahead and make a pretty nice circle. 6. Pwer of Ln Drawing Board: Alright, so we're going to talk a little bit about one of the most important things you can have for this class. I'll, I mentioned it when I was talking about materials and such. And I'll be we've gone over the pencils, erasers, basic paper. But this right here. And again, I mentioned that we want one. This is a this is a 24 inch by 24 rancher or two foot by two foot drawing board. And it's just a quarter-inch. So it's one quarter-inch. It's made what's called MDL for medium density fiber board. It could be made tonight. The real Mason I, it's hard to find these days. This is what some people are calling mason i but it's not the stuff that they used to make years and years ago. But anyways, the great thing about this and what we do with it is we take this and we put it on our knees. I've got this cup over here M to ignore. But, and we've got ourselves a makeshift drafting table. So I've got this sitting on my leg. This is also sitting on the table. And I've got this board at an angle because we never want to draw on a horizontal surface because we draw and distortion. Well, unless you were standing up and leaning over it. But that's a very that's not very good on your back. So again, we put this on our, on our lap, put it on our knees. And again we have this being shifted drawing board. And it's best to draw it at an angle, but when you're starting out, make it just to make it a softening or if you prefer, as if I went to more have morning go I screwed it up further or closer to mine the into my knee and I have more angle and if I suited up almost towards the end of the NEA again, you'd have more angle, so the adjustments all all on you. And so go ahead and we would tape argue your you take your paper that you're drawing up, that you're drawing on towards the top of the board, taper down and then you just be drawing. So this is how we're going to be. This. How are we gonna be drawing for this class is using this drawing board on our, on our, on our left. So we have a little bit of an angle. And again, it's a really great way to draw. And so that's what we're going to be doing when we're drawing any of the, you know, the still-life and stuff will have again our paper tape down up here. And you know, if you wanted to print out and photograph and you take that onto. But that's how we're going to use this. And so it's a really great, it's a really great tool to have for withdrawing. Because again, you don't want to draw on a horizontal surface, you want to draw on some that's got at least an angle. Now if you wanted to, if you were like someone who really enjoys drawing on a vertical, then probably means you're not a beginning drawing person. But the vertical is a little bit more, you know, we kind of work our way up to it. It's a little more advanced, but you certainly I can have, you know, tabletop ease all have my drawing board on there and drawn a much more vertical surface. And that's fine. But again, the drawing board, one of the best things you can have for this class and for any drawing actually. And then when you're done with you just put it away. And no one's the wiser. So it's a really great tool to have. So go ahead and you can go ahead and get these a lot of different places. You can go to a lot of the different, you know, the home restoration and or building supply company or whatever, or home remodel stores or superstores. And some of them will carry these right off, right off the bat. You can also go to a, to a, an art store and buy a large board. Again, you wanted to at least 24 inches if it's 25-30 or that's not too bad, that's not bad either. If it's 24 by 36, that's not bad either. But you want to at least two feet by two feet. You want one side that's at least two feet long. Now if you've got one that was 16 by 24 inches, that would certainly work. But usually the smallest board I tell people to have a two foot by two foot or 24 inches by 24 inches. And it's a really great tool to have. And again, it'll help you drawing all kinds of ways. So go ahead and use that, employ it. It'll really help your drawing. And okay, so stay tuned. 7. Power of Line How to Draw Better Lines: So today we're gonna talk about how to draw lines and we want to look to where we're drawing. So lot of times we draw lines, we just kinda start arbitrarily watching the line. And you'll find out that you have much more wavy lines that start to happen. Azure hyper-focused on it. And what you wanna do instead, I'm gonna make little X's that you don't have to do the axis. But it is a good, a good exercise because what you wanna do is you want to look, instead of watching the line, you look to where the line is going. And so if I look to where the line is going, and as long as they don't draw a blind, my brain will get me there now, I actually was drawing that line on my finger came in front of my vision, that's called drawing lines. So again, part of this is also to get you very used to making sure that you always have the tip of this pencil where you can see it. Okay? So again, we're gonna go ahead and look to where we're drawing. Now, if I need to know right now, I'm not I don't have my handle the paper. But if you need to, you can take hold my hand like this, but I can take my pinky and put my pinky down as I'm drawing. So it's touching on just the backside of that pinky. If I feel I need some more stability, I'd be careful that though, because if you do that, I drew blinded right about here. I can see where it was. So again, that means I have to change my pencil, either hold it out further or something like that. Whatever you can do to get it so that you can actually see at all times where you're going on this island by a country mile. And the whole idea is that even if they're not straight again, your brain will get you there. And that's, that's one of the points of this. If we don't make it to where were we wanna go? What does it matter? So if I'm drawing a rectangle or a triangle, I need to know, you know, I gotta be stopping in the right place. And if I'm not, that's not a good thing. So again, I can do it this way. Ge and also do lines on the diagonal is going to do one from here down to here. And again, I'd started up here and pulled the line down. I'd look to where I'm going. So again, my I am less focused again on where I'm going. And so we're, you know, instead of watching the line and it will help you draw much straighter lines. K. So look to where you're going. Get a phone drawing vertical lines again, I can draw it. And then again, look to our ongoing. And again, if you if you look if you have your eye focused on where you're going, you will make it there. Alright, and the whole idea of this, I think I'm drawn a little slow though too, is to make it so you can get in the habit of looking towards your drawing so that you're drawing, your lines will end up where they're supposed to go. So I want you to take a page and fill a page with lines using, and you can use the axes, but you want to look to where you're going. So I'm starting here and I'm looking to this x over here. I'm starting up here and I'll put on looking to that x down here. I'm starting up here, but I'm looking to that X right there. So I'm trying to. To where I'm going. At all times. It's a great way to help you align work, give a shot, fill a piece of paper with lines, and we'll see you next time. Bye, bye. Hello. Alright, so we're gonna go ahead and do some drawing of lines. And we're gonna go ahead and talk about how quickly we draw them. Now again, remember I'm a left-handed artist. And so for those that are right-handed, you're going to want to be doing the reverse. So I'm always starting on my right, coming over here to my left. And for you folks that are right-handed, you're going to do the opposite. You'll start over here on your left and I'm gonna come over here to your right. But the idea of the speed of your line is that if I'm drawing lines are just two quick, I really don't have any idea where that line is gonna go. If I draw lines that are too slow, usually you'll end up with a little bit more a little more hand wiggle if you try to do it too slowly. So what we're going to try to do is run, try do lions that arts are not too fast, not too slow. So now I am drawing on a flat surface. So I'm going to be a little wild and had to hold my pencil a little bit differently. But the idea is that this right here is about the optimal speed that you're going to want to have, to have any sort of control over that line. All right, so again, we don't wanna go too fast. We wanted to go fast enough that we can control our line. And the other thing, these are just warm us. But again, the more that we do these warm ups, the better off we're going to be. Alright. So again, just want to be able to see the line a little better. If we draw the, we don't want to go any quicker than this. You don't want it too slow. I don't wanna go too fast. So so what I'm going to have you do, again, not too slow and not too fast. So what I want you to do is I want you to do some lines. And I want you to be moving your hand at about this speed, no quicker or slower. And the idea is that we will find that when you do this faster lines, you'll, you'll be have a straight line, but if you go too fast, you won't have any control. So we're looking for that happy medium between the two where we are, right? I can control that line a little bit more by how quickly I'm making it. So go ahead again and try to fill a page with lines and try to be very aware of how fast your hand is moving as you're making that line. And again, that's about the speed we want to give it a try. So speed really is an important part of drawing. So go ahead and do a Go ahead and do a sheet of paper with lines and try to be aware of how fast you're going. All right, welcome back. So what we're going to talk again about straight lines. Now the biggest thing and I'm using different meaning each time. Just show you that it works with home matter what pencil we use. But sometimes we have people that have lines that arc this way. And sometimes you'll have people whose lines arc that way. And what has happened is that if I do this way, that means I'm pivoting at my elbow and makes my arm to a big campus. Doing it this way means that I'm rolling it or I'm pivoting to the shoulder if I have Marxist way. So what I can do to get my lines to straighten is that if I have an arc like this, why don't I try to do is I'm going to try to overcompensate and make my Margot the opposite direction. And then I'm gonna relax a little bit so that as my, as my brain tries to get it to go back to that curve that I had. Somewhere between here and here, there is a straight line. And you're going to try to memorize how it felt when you did that straight line. So again, if I do this again and I overcompensate and then I relax again. I'm going to get to a point on like, yeah, it feels like a straight line. And you're gonna do that until you can get your lives. We really, really quiet strayed. So again, this is if we're having the curve problem. If I had a curve going, again this way, I would try to overcome and tried to compensate for this line by going this way. And then I just relax and start to relax. And as you start to relax, you'll try to go back to where you are pivoting before normally. And what we're trying to we're trying to say, oh, that's kinda like a straight line through there. And then you're going to try to repeat that straight line over and over and over again. You get the straight lines that you can possibly get. Alright? So again, if I have a problem with, you know, making a curve this way, I overcome and say with this one, and now I relax that overcompensation till we hit a straight line. If I had a line going the opposite way again, there's going this way. Part Magnus who was going this way, it overcompensate that way. And then relax a little bit into line with straight again. So again, if we have these lines like this again, what we'll do is you try to, if you're going this way, you overcompensate going that way. And then you'll just keep making lines, but you'll relax a little bit. And again, you'll try to go back to what you're used to your muscle memory. But what we're looking for is to o that's a straight line and remember it. So you go, let me try to repeat what that straight line felt like. And you're going to feel a whole piece of paper with lines take about ten minutes. Shouldn't take too long. But you're going to end up with a lot better line work. So again, don't be afraid to get to do this. So again, if you're, if you're getting lines doing this width because you're pivoting at the elbow. If I have lines going like this is because I'm pivoting through my shoulder. And what we're actually wanted to be doing for that straight line is we're actually moving our shoulder slightly and moving our elbow out. And to get that nice constant straight line, we're moving both there's two sets of motion. But give that a try. Fill a piece of paper with lines. And if you do this, and you can overcompensate and get that line straight or plus, you look to where you're drawing. Plus you try to make sure you're the right speed. Pleasure pulling a line, not pushing align your lines will be really, really great. So give this a shot. We're gonna move on to some, some bigger and better stuff next time. But until then, take care. 8. Power of Line Drawing 2D shapes how to: All right, so we've gone ahead and we've, we've learned how to do straighter lines that have dropped better lines. And we've gone over some of those concepts. Now we're gonna go ahead and we're take those straight lines, that fundamental line. And we're going to turn it into very basic two-dimensional and three-dimensional types of shapes. So first we're going to talk a little bit about drawing circles and draws rectangles and squares and triangles. How we can draw those better and how to control them a little better. We're talk a little bit about hand holds for drawing these, these different types of 2D shapes. But again, they're fundamental that better you can draw those 2D shapes, the better you can draw intermediate and advanced sorts of things. If I can't take a car and break it down into a cube or basically a box because it wouldn't be a cube, it'd be more a box of some sort. The better I can do that, the better my drawing of that truck will be. So again, we're gonna go ahead and learn about how to draw these very, very fundamental shapes. Do not discount the importance of learning how to do that. Because again, the better we can do that, the better we do 3D shapes that or we can do that. The more we can modify that 3D, 3D shape. It is fundamental and is something that you need to be practicing at least three times a week. And in fact, I go over, you know, doing some really, some the refs, does this sketching. We'll talk about that in a second, but learn how to draw better fundamental shapes. Triangles, circles, and squares. Alright? And of course, in this width squares or rectangles. So we're talking about rectangles and squares, but go ahead and watch the videos, try to then get out a piece of paper, draw few him just to warm up and get your brain wrapped around it and do the best you can. Alright, and hanging there and stay tuned. We're going to talk today about some handhelds we're gonna be using for the class. And then we're talking about using the different handhelds. Jia, draw different shapes, basically R squares, triangles, and rectangles. So we're going to use one of two hand holds in the class. We're going to use. Now I'm a left-handed person as you can see. So for you, right headed folk, we'll talk, we'll talk to you about how it will be slightly different for you. Folk will not different, but the, the correct hand, as you may think or say, or referred to as the hand that I use. And what we're going to be using what's called a tripod grip. Now, tripod is between basically three points, right? And so we hold it between three fingers and the pencil stays in the crook of the hand. So right here, it can come out, but if it does, it's going to have a little less control. You hold it between your thumb and your index finger, and then it sits on your third finger. Now I've got my third finger out a little bit further so as I vary accountable, so pull it back by. Just wanted you to see that that's how I'm holding it. Now. I want to correct the grip because this is not quite the way I'd actually hold it. There we go. So I just I just over every position my fingers so that it's. Again, my middle finger was at a little bit further like this just so you can see it. But I'm actually pulling it back so I actually put it towards comfortable. So again, this is our tripod grip. Ok. Now with the tripod grip, sometimes you'll extend the fingers out. Still a tripod. It's held between the thumb and the index finger and sitting on the third finger. And sometimes we'll actually pull it in. So again, all we're doing is removing the fingers either out or in. And there are certain times where you actually do a finger swing for value and stuff. But this is a tripod grip for you left-handed folk like myself, it looks like this. So again, just between the first finger, the index finger, and sitting on the third finger. And if you draw with it, usually I'll draw either with my thumb up a little bit and sort of in my risk cocked up just a little bit. As far as that goes. Almost times I'll be drawing. If I'm using it to sketch with actually turn my hand a little bit. So my first two knuckles are pointing up and then draw with it that way. The other hand hold will be using is what's called a baton handhold. So if I wanted to pick up this pencil between my thumb and my fingers, That's a baton hand hold. For the right-hand looks like this. Again, we're just holding it between our fingers and our thumb. Can usually you're going to almost always there are some times when you might turn it over, but I've always found that a little strange. But also there once and awhile. But usually you're, you're you're drawing with this with your knuckles up. And so again, for us, left-handed folk, it looks like this. Now. Sometimes, usually I won't have all my fingers on their asha will usually have it between the three fingers, you know. So I'm still drawing with the same way. It's just we don't have as many fingers on there. The reason why is because this has a little bit more movement. And if I put all the fingers on their locks it in so it really locked so you have to move your elbow. You We don't really normally use the risks too much unless we're making value, but we'd have to use our elbow. So yeah. If I want a little more movement with it, I'll take the other two fingers off and just hold it again like like so K so that again, that's the that's the the baton handhold because you hold it like, kind of like you're conducting a symphony. I would like a baton. Same thing between the thermal and fingers. And again, usually we're going to be drawing with our knuckles up. Okay? So with this, we're actually going to draw some of the basic shapes. And we'll start with a rectangle. So if I'm going to start with, if I'm going to draw a rectangle. Remember like what is he doing? Well, I'm actually got was doing a baton and I move my finger a bit back. So you might be like what's happening and it's because I'm not drawing flat. So I'm gonna I'm kinda having to skew my arm will differently than I normally would. Because it's not it's not a good idea to ever draw flat. Or what I don't mean well, on a different plane. So if I'm drawing with this paper on a table and I'm sitting at the table. My eyes and Taylor are two different planes and see your drawing and what we call perspective. So we don't wanna do that. But whenever I draw a rectangle, it's, it's easier to make the two sets of lines, because a rectangle is two sets of lines that meet at 90 degrees, or what we call a true corner. So it's usually easier to go ahead and draw the first two lines. And then we can go ahead and draw the second two lines. Now in the beginning. And even demon, when I'm drawing rectangles, normally, it doesn't matter if you go ahead and we're not worried about if it expands or if it extends beyond the corner, because I can always erase that off. Whenever you draw a rectangle, we want to be able to see very clearly the eyes, Those are the intersection points of the two lines. And we refer to those in drawing as eyes. And those are very important whether we're doing a perspective or some other sort of drawing techniques we want to go to see the eyes. Now was drawn with a baton hand hold nav actually changed because I'm doing smaller stuff. I'm actually changed a sort of a tripod grip that I've extended the fingers out again, it's a tripod AS And a lot of times I'll switch between the two and not even, not even know I'm doing it because it's, it's, it's just an old habit. But just to show you, this is a symbol that we use. And of course geometry is, is it too? But this is just part of a little square to say, hey, that this is a true corner, or in other words, 90 degrees. For those that are have geometry, a 90-degree corner we call perpendicular. As we get more into intermediate and advanced drawing will use the word perpendicular, which means 90 degrees perpendicular. And that just means you've got a true corner, 90 degrees, and all of these quarters is supposed to be 90 degrees. So if I have, if I had a rectangle, so let's say I drew a rectangle like so and a rectangle like so. And then we do it, hadn't did this. And then we did this. Well, even though the lines are fairly straight, this is not 90 degrees K. This is, you know, B uses beyond 90 and this is less than 90. This is what we call a parallelogram. This is not a rectangle. So when we're trying to draw or draw rectangles are going to try to draw them as, as, as, as nicely as he possibly can to go ahead. And just to get on this time, I didn't do the two sets of lines, did I? And I've actually, I have a rectangle, a little rougher. They're not quite as nice in terms of their angles. So I'm glad I did that again, some because of the fact that it just shows. Usually when I do the two lines are parallel notes, lines are parallel and get a better rectangle as this is completely unsalvageable. No, but it's not just wasn't didn't didn't work as well again, now, this tripod grip again. And so again, I'll switch between the tripod grip and monetizing the baton hand hold for something like a rectangle for straight lines. So that's for drawing a rectangle. It's easier to draw the, the two lines that are parallel and the other two lines that are parallel. And notice how I'm changing this is actually the baton hand hold. And if I'm using a Bhutan, Bhutan handled or even a tripod, I'll draw these two lines with, with my pencil pointing up vertically to do horizontal lines. And then when I'm drawing lines that are vertical, I'm using the pencil at a horizontal orientation. So you're always, you know, again, that 90-degree thing is always going on and drawing, whether we're aware of it or not, you draw better lines. If you do, if I tried to draw this horizontal line like this, I can't, you know, you can sometimes get away from me. So it's easier to draw a horizontal line or to get used to drawing a horizontal line with your pencil oriented vertically. Okay? You'll just have an easier time with it and you can see the tip and the entire way. So you don't draw blind. Now if we're gonna draw a circle, I'm going to always use a baton hand hold for a circle. And again, we're going to draw with my whole, I'm drawing with my, with my elbow and I'm drawing even further up here with my shoulder, but I'm not moving my wrist. I won't move my fingers. So when you're drawing circles, then we have a natural circular motion through the, through the shoulder and through the elbow. And we're gonna use that to draw circles. We're just going to try to do some concentric circles. They use that natural motion we have through our arm. Now, if I was trying to do is I might do is for a warm up. So let's say I wanted a better circle. Let's say that you can do what's sort of like when you're batting, stepping up to bat and you swing through your bad a couple times, imagining the ball hitting the ball. You can do the same thing with that. We hover over the area, you're gonna make a circle. And then when you feel like it's really circular, I get I'm using Bhutan handhold. Well, they can go ahead and put your pencil down. And this is just a start. If I, if I didn't drew that, I'd say, well, look, I got two lines. Well, this one a little flat, so we open that up. This is extending outside so we can go ahead and go, well, I'm going to use this line is much closer, that looks like a very nice arc. So even if you go around, you know, two or three times, you can pick the lines that are gonna help this, this circle. Again, I'm using the baton hand hold. 9. Power of Line Introduction to Ellipses: All right, so we're gonna go ahead and we're going to talk about some that's very, very important for drawing. We're drawing 3D shapes or really any shape. You really need to know this. And there's not enough talked about this. I'll guarantee a, this concept will just save you so much angst in drawing. So we're going to talk about how to draw ellipses. And we're talking about ellipses, and we're talking about ovals, and we're talking about how they relate to circles. So we're gonna talk about ellipses versus ovals versus circles. And we want to understand especially the difference between ellipses and an ovals because they are not the same bag. And so many people use them interchangeably that it can be very, very confusing, but they're not the same. Alright, so I want you to go ahead and watch. I've got a few videos on dealing with ellipses because ellipses are one of the most misunderstood and most fundamentally important concepts to understand how to deal with as an artist. And so we're going to talk about the major, minor axis, where it talks about horizontal axis and vertical axis for the circle. And how to help us draw better circles and how to draw better ellipses. And I even have a little special video that will teach you how to draw a perfect ellipse every time when it really matters. And so that's a really, that's a really great video on when if you're doing, you know, I used to do commercial work and there's times you had a nail and you had to make it look just, you know, even though you had to draw by hand and handled, looked like it was done almost by a template. And there are ways of doing a, we're going to tell you the secrets. Alright, so go ahead and watch the, the, you know, the videos on ellipses and circles and ovals than trying to actually sit down. And I want you to do some ellipses. I want you to do some formal ellipses on what you do, some sketched ellipses. We want you to get used to the concept of dealing with ellipses. Alright, so watch those different videos and tried to emulate and understand what's being said in each one of those videos. If you have to watch them more than once, don't worry about it. I have had people my classes that have had to retake the same class two or three times. And it's funny because sometimes we think, oh, after we take something that somehow that we've, we've dropped the ball and it's not that at all. You need to understand the concepts to advance. And I've had certain, certain students who have come into my, my beginning drawing class and taken it two or three times, and then gone on to drawing too. And I've had other students that went directly into drawing too. And the students said retook the drawing first drawing class two or three times. Most of these people had never taken drawing before. They were intimidating the artists that were in the students that were in the drawing to class because they really got it, they really understood it in a really sunk in. And so again, these concepts really, really helped. They will just amazingly affect your drawing. So go ahead and watch the videos about ellipses. Stop, but if you have to re-watch it, get it into the gray matter, get it in there because it will help you as an arson somebody ways. So you've got is again, hanging there. Keep in it. I applaud you for your desire to improve your work and, you know, just keep at it, just hang in there. You will improve. I guarantee you stay tuned. And so today we're gonna be talking a little bit about circles and ellipses and ovals, what they are, and how we draw them better. If we have a circle though that's been drawn, this has been, we just trace to what, how earthquakes. So that's why this is so clean. But we have this nice circle here. And if we take any circle and if we cut it in half horizontally, and if we cut it in half vertically. So we've cut, split this in half this way. We've split this in half this way. That's going to give us a central point. Right here. This is the exact center of this ellipse. And what this helps us to do, and we can do this when we draw is that if we took this measurement right here. And so, I don't know, let's say we had something to, to measure with a ha, we'll just use this stray piece of paper. If we took this. And this is a true circle. This should touch that circle all the way around. Ok? So and that's what, you know when you have a compass, those nowhere it comes is has appointed in it has a, you know, it's basically looks like this except it's got a hinge and it looks a little nicer. But, you know, you'd go ahead and take that and put this down and trace the circle because it's equal to center around that point. Now sometimes feel like, well, why wouldn't I just go ahead and grab one to make a perfect circle? Well, you could, except you don't wanna poke holes in the paper. Oh, but there are certain things you can use it actual circumscribe perfect circles in case you drink some sort of drafting assignment or something, or doing something by hand where you need a perfect circle. But let's say we drew one by hand. Know whenever we draw a circle, we use our whole arm. So you see this pencil moving in. My, I'm swinging it through my elbow, through my shoulder. My wrist is now moving. My fingers are not moving. So you're using you use your whole arm whenever you draw a circle. And if you're worried about circle, you can drag my peaking on the paper. But you can sort of hover over it. Sort of like warming up for batting practice. You know, when you swing through and think about the ball is you're swinging your bat. But where you can go ahead and try to feel the x_3 like that's a good circle. And what it is, we can go ahead and put our, you know, our pencil down. Skipped around. That must be a little nervous because of the, because the camera, camera shy. But let's say this was my circle. Now, this is not a perfect circle and you guys probably can't see this array to a darker. So let's say that I had drawn a circle. You get about like this little clunky. And let's say I wanted to. Be better. And so what we could do if this is our circle, is that I could go ahead and we could split it halfway that way. It seems that's like that's a little low. So we're gonna look at the line. No wonder given that too, too big. So this would be our horizontal axis split. It couldn't have horizontally. Whoops, that's supposed to be an n naught at t n, Okay, so horizontal, that's one, that's one tall and and then we split it in half this way. I can use my thumb and the pencil, the edge of the pencil to make it a measuring device to see if I got it in the middle. It was pretty close but not quite. So then I can go ahead and split this. And I need this to be 90 degrees or pretty close to it. So one of your exercise when you're drawing lines is try to split, split lions. You know, 90 degrees. A nice good corner. So I'll find taking a line, I'm not splitting it loops and squat and make that Norbert I'm not splitting it like that. I'm not splitting it like that. You're trying to you're going to practice so you try to split it. So it's about the same and all four corners, it's a really good exercise. So right now by doing this, I've got my point as the center point. And you know that this is not exact center at the center now I locked it in and this is the outside. If I was, you know, doing something that was like a drafting assignment and had a look like it was just a lot better circle than S. I could go ahead and mark that point off. And I could take this. And I can go ahead and go around my circle and make sure you don't wouldn't bet it's not bad, migrate, not bad. But I give myself points, little points along this along this curve where I know that that's equal distance. And I could use that to draw a better circle. Again, it's, it's not, it's not super bad. There's a cold places where just gets a little flat. Again, put that on the middle. Marquard is down here. But so you can just give yourself an extra, extra little points. Again to, to draw. This has been the VOR soft right down through here has been the worst, the most offensive. And this right here, you're just gets worse through this curve. That's probably were close to almost three sixteenths of an inch. And that's okay. That's why we're doing this. So if we said, alright, this is now my points again, we could go ahead and trim this up. And we can make a much, much better circle. Using these points. Come around through here. And this is charcoal. So we'd have to clean this up a little bit. What do you get to go ahead and go right? Well, it clean that circle up. And this looks flats were there and that happens to fall asleep at the wheel. Again, some off as bad as I thought. Oh, that's what okay. So that makes sense. Because one has good. Yeah, that makes sense. Okay. So wow. So sometimes when we're on on camera and things like that was how I have this lined up so I couldn't see it as well as I can now because it was it was like this. So as behind the mark so I couldn't see as well. That one's right on. And so that's that's part of what's happening here. Usually, again, the only reason I I wanted to do this because I was like man, this circles, so wonky, What happened to the circle? And I want you to know that if you, if you use it right, it will work if you, if you don't. Like, you know, right here, I'm gonna double check my work. And now I've got a circle that's come back in and now it feels circular. Now. The camera, if sometimes if it's not exactly well, not sometimes if it's not exactly aligned correctly, this might seem like it has a little distortion to it, but it's pretty close to just a true circle. You know, without, without using a template or something. And so there we go. Kinda circle this one as I got just a little flat through their forehead. And there we go. I always pretty close to a true circle around now. And so we can use that technique to bring our circles. If we're having a struggle with a circle that we really need to, you know, we're doing this, you know, nice finished drawing. And again, we want to seem like, you know, not seen, but we want this to have a very, very accurate circle. Usually I wouldn't do it with charcoal because chocolate is an erase all the way. But for the camera you can see charcoal much more easily than you can't. Graphite, graphite disappears even when I was drawing this truck will very lightly The major, minor axis, Hopefully you guys or it wasn't too light, but so we can use that again. Bring our circle so that it is more accurate circle. And if it's an accurate circle, this should be again, the same distance all the way around, especially at these four points, especially, you know, that that's, that's should be dead on and, you know, it's going to be pushed out a little bit, but it's again, it's almost, it sits within its, within like a 32nd of an edge. So we're really close. Whereas down here where I'm by almost, almost 300 sixteenths of an inch, which is almost one quarter of an inch. That's, that's not close. And so again, this will help you with better circles. But one thing that let's talk about circles themselves. So if I have a circle, a circle is always symmetrical. And in symmetrical means a circle is the same or that it's mirrored, they're the exact same. So if I've got my circle here and, you know, we've split this up with a major, pardon me, a hero, a horizontal axis and a vertical axis. This side right here. Should be the mirror image of that side. And I could be able to fold this over along this line. And this line here should fall in trace right over that one because it's mirrored. You could fold it together like a bill, fold it again that the edges would be would be all lined up or something like that. It's also symmetrical top to bottom. This is what a circle is. So a circle is symmetrical, right to left and top to bottom. So this top right here or the bottom should be these two pieces should be the exact same. So if I folded this down along this crease or thatt became increase and I folded down. This line would trace on top of that line k. It should be symmetrical. Not only that, but if it's a true circle, it also happens quadrant two quadrant. So if I went ahead and this is a true circle, this quadrant here and this quadrant here. Let's see. These should be the exact same. I should be able to fold this up along this dot, sort of along a line that would be diagonally perpendicular that I'm whatever I should able to fold this up and straight down onto there. And this outside edge right here would trace this outside edge. So it's the same top to bottom. Like so. It's also the same right-to-left. Or in other words, symmetrical. So we call that when it's mirror images. And it's the same diagonally quadrant, two quadrant. This way. So those two should be the same and these two should be the exact same. All those have to be met, all those conditions have to be met in order for this to be a true circle. Okay? And this one's pretty close again, it's not as exact as that one that was traced with something that was completely certainly, you know, a complete circle. So it's a much better circuit, but this is the embed either. And again, we can go ahead and check, you know, quadrant two quadrant right to left, top to bottom. And we'd have a really good circle there. So again, it should be the same right to left. These pieces two should be the same, folded over the should fall down right on top of there. If she were the same top to bottom. So if we folded it down this way, folded it over this line, would trace that line. And it should be the same three or quadrants diagonally. So if I folded this, that should fall down exactly on top of there and exactly on top of there. So with a circle, we can use a vertical axis and a horizontal axis. And remember these axes, can't they have to be at 90 degrees? Aren't. There we go. It's closer. But there's supposed to be a true 90 that's not perfect, but we'll use our imagination showing. So this is supposed to this little symbol here. We'll use this little symbol. And the symbol means that although it's a true corner, or in other words it's 90 degrees. Okay? So we need these two to be, you know, 90 degrees. This is pretty close to 90 degrees. And it might be 89.75, but it's pretty close. We'll address a little bit of the bomb there right through there. So anyways, but that's what we need for a true circle. Now, the reason we talk about a true circle, first off, it's to help us in case we need to draw a circle. Right? So if we need to draw a circle, yeah, let's talk about the circle. But we also equal. So we can make sure that we can see this, that we've got this, this is a circle. And so we need this to have, to be, to feel like a circle. So it's the same or it's symmetrical, meaning the same or mirrored, right to left, top to bottom, diagonal to diagonal. That's very important when it comes to the next part, which is ovals and ellipses. Now I put circles versus ovals and ellipses. That's probably not exactly right. So we're gonna cross that out Xiaowei. But we want to talk about what the difference is between an ellipse and an oval. Now sometimes people will use these two words interchangeably. Like they're the exact same word. And the thing is they are not the exact same word. They are very, very, very different. So. And sometimes people will, you'll see a shape like this. And people will go, oh, that's an oval. No, it's not. So we just want to make sure that we know what we're talking about it I'll sometimes confused, not confuse them, but sometimes I'll use the incorrect word, but I just want you to know what the two mean. So the overall literally means a egg shape or AIG, or AIG alike. But anyways we have. So an oval is actually an egg shape. And sometimes feel worse, might say, well it's not the same as ellipse. No, it's not an ellipse. Actually, a circle and perspective. Ok. So this is a circle. And perspective just means, well, let me go ahead and write this. I'm sure you guys are on the edge of your seat just wondering what were going to be talking about here in a moment. But if I had like I was drawing a cup. Now, if I'm drawing, if I'm looking straight down on the cup, like the camera is, I can see this as a full circle. But the moment that cub begins to turn away from the camera, It's going to go into perspective. It becomes an ellipse. It's still a circle. It's just that circle is going to change as a tips further and further and further away from my eye. Okay, so that is a circle going into perspective. And I would go into perspective of if I tip it this way, it would go into perspective if I tipped it that way. You know, it's, it's still circle but it's in perspective. So when we're drawing, we're constantly dealing with perspective, especially and with circles and boxes and everything else. So an ellipse, a circle and perspective, and an oval is actually an egg shape. So an a, you start with a little circle like this. So for an egg, egg shape is really just sort of a circle with a round now. And when they say egg shape, you know, they really mean a chicken's a goose egg or a duck AIG. So we're not talking about eggs by, you know, birds along cliff sides that are irregular eggs shaped AIG, so they'll stay on the cliff side. Now we're talking about a chicken, a chicken's egg, a duck, or a goose egg. And so this right here, you know, again, if we've got, if this is our egg shape, right through here, the AIG has a rounded end, like so. And the AIG has what they call a beacon. It it's a point, it's a rent wells all around a point. But it's not a it's a blunted pointer. It's always sharp point. So this right here is the beak end, right there. And if we cut this in half, this is not mirrored. It's not symmetrical right-to-left. Now wouldn't be symmetrical if we cut it this way. But remember, it's also not symmetrical this way. So it's not a circle. Circles are symmetrical top to bottom, right-to-left and quadrant two quadrant. So this is our AIG. And well, there are certainly times we use an egg shape. And what we're going to use an egg shape, we say, oh, okay. So, or you can say all evil to indicate the AIG. And this is just one of these sayings, perhaps my pet peeve. But it's something that happens a lot in the art world, is you get comfortable with certain vocabulary. And I just wanna make sure that we, we learn the right stuff in the beginning. So when we say, although we're talking about AIG shape, however, this right here is an ellipse. Okay? And if it's a well drawn ellipse, this isn't bad. But otherwise they're better than the circle but thought bet. But if it's an ellipse or we can do is we can take this ellipse. We can take this at its widest point. And we can go ahead and slice this in half. Okay? Okay, so if I slice this in half, and if it isn't the middle, and if it's, if it's at the right place, this top piece right now. I've got to get this in perspective because it's a way for me. So try to look in the camera to see if it actually is symmetrical because I'm looking at it, it's in perspective. And so this seems like it's more space than that. And this is just so I can see you can see it as I record it. But so yeah, this isn't this is close, but it's not exactly in the middle. But still, if I cut this to the middle, this top piece will be mirrored, the mirror image of this, if I took this along this line and folded it down, this line up here, would fall down perfectly onto this line down here. Okay? And because it should be mirrored or symmetrical, if I then took this and cut this in half. And I'm gonna take my thumb and the end of the pencil and just measured very quickly to see how close I got. And I was off by country model looks like hold on a second. This is right there. Measure that to there. That's how much it overshot. Bring it back so it lines up. Made a mark to where overshot was. Take these two and split these in half and that's the exact middle. So I won't get into that right now so much, but I you can figure out very quickly how much you overshot by, you know, I took this and I said, okay, well, let's go from there forward and it overshoots this by five-sixteenths. And then I brought this back so it lined up with their made a mark. This was the five-sixteenths and I split it in half and that's the exact middle now. So if I've done this correctly and the should be 90 degrees, it's close. It's not perfect. It looks like to me like it's almost almost a degree off, but it's pretty close. So if this is 90 degrees. Like this. Well then we're going to have again, this is mirrored, the top and bottom will be mirrored. Right? Now it's an ellipse, so it is longer than it is tall. However, it is still the same top to bottom. And then if we look right to left, if we've done this, if it's truly an ellipse, again, this is on perfect lives, but it's pretty close. If it's, you know, again, a decent lives. And this is, this is a producing lips. This side will be mirror image of that side, which is pretty close to B, which it is pretty close. And then remember we said, all right, well this quadrant here should be the same as that quadrant. There are mirrored. And in this quadrant here should be the same as that quadrant there. Or mirrored. And if that is mirrored in, this is mirrored in top to bottom, right, left and quadrant two quadrant. Then what I'm looking at is a circle and perspective. And that circle is called an ellipse. So this here is our ellipse. Okay? These pencils squeak little bit when you use them. So we've got our lips. So that's, that's now a circle in perspective. And so now by understanding, okay, we've gotta have it symmetrical. And the way we can check its symmetry is just like we used a horizontal axis and a vertical axis. In other words, a horizontal and vertical line. But that this passes through the middle horizontally, passes through the middle vertically, and we get a central point. Same thing happens here. This passes through and this is so dark, you probably can't see it. But I get a central point where those to pass through the middle. And then we've got this point here and that point there. And this point here is we're touches the ellipse and that point there's where it touches the ellipse. And this distance should be the same as that distance from the middle. And this distance here should be the same as that distance there from the middle. So that again, so right to left, it's the same. Top to bottom it's the same. And again, of course, we can check the quadrotor from here to here and see how this line looks against them online to see if the lines are the same or not. So you can say, hey, is this curve and arc the same as that curve and arc? Okay? Alright? And it should be, we can say, well this one's just slightly different. This one maybe around a little bit more through the end and this one's low pointing. Well then you come in through here and you'd go ahead and try to make this side match. That side. Is how we do that. Okay? So we've got an ellipse. Once we have the ellipse, all of a sudden, so would the vertical axis and the horizontal axis, they were the same. They were the same length for a circle. Because this circle is non perspective. So these are the same length, so they don't have special names. Well, other than this is horizontal, that's vertical. But once you have an ellipse, you have a longer line versus a shorter line. And now these have very special names. And it's important to feel I'm like Yeah, whatever are, but it's really as important. It helps us to do all kinds of things that we would otherwise mess up or not do so well. And we don't want that. We want to be like, yeah, OK, I got it. And it's not something we have to lose sleep over, just some you learn it, you remember it, get into the, get into your brain and you don't have to worry about it. But once we have these two lines, all of a sudden the long one, we now call the major axis. Okay? And then sorry about this quick these things squeak. This is then the minor axis, k. So the short one is called the minor. And the long one is called the major. So the short line is the minor axis. The long line is the major axis. Okay, we're gonna talk more about the major minor axis for drawing ellipses. We first want to just make you understand with a circle, we can use a vertical and horizontal axis to mark the middle. And then we can make sure that it's the same distance all the way around. Now this was traced, so it wasn't that big a deal. This one was done by hand and again, I got the vertical, got the horizontal marked that point, and then made sure that point was the same at about 1212 points around the hair or something like that. And then use that to form this into a much better circle. And then we said, all right, well, we understand that an oval is an egg shape which is not symmetrical right-left. It is top to bottom, loops top to bottom, but it is not quadrant two quadrant. But that the ellipse is symmetrical top to bottom, right to left quadrant, two quadrant because it is a circle. It has all the characteristics of a circle. Alright, so we'll come back and talk more about this. 10. Power of Line Drawing Ellipses: So today we are going to be talking a little bit more about ellipses. Now. I had a previous video where we talked about, you know, that ellipses are circles in perspective. And that ellipses have two different axes that meet at 90 degrees, called a major minor axis. So if we have our little ellipse here, see if we draw, drawn ellipse. That i like this pencil better, I think. So again, if we went ahead and drew, drew an ellipse, and if it's a, if it's a true ellipse, we could go ahead and cut this in half to find the major, minor axis. And it should code straight in half. So this should be the same as that and that there should be the cell. So this should be the exact middle k. And now this isn't a perfect ellipse. This is a little round on this side than this one. And so we could use the quadrants to compare. So this one would open up just as scope through there. And this I would open up just a sketch through there. So you can use this to check the ellipses symmetry. Again, we have the major axis and the minor axis. We're going to talk a lot about the major. Maybe we should make that bigger. The major axis versus the minor. That's the major, this is the minor. But let's first talk about what ellipses are not. So sometimes it can be when we are drawing it were unclear what we're supposed to be doing. When, when people say an ellipse, which again is a circle and perspective, ellipses are not just to fight took two swings of a compass. I'm going to get something that looks about like that and we get two arcs. I'm Scott, we're going to darken this up. So again, because, so again, let's just say this right here is my arc, okay? And this right here is my arc. Okay? So this is not an ellipse, is just two arcs meeting and I has points and ellipse never points. So to make this an ellipse, we'd actually have to cut off quite a bit. In. An ellipse always continues to round. So this continues round, round, round beanbag through and seamlessly round as arounds into this. So we'd have to cut off all of this to them, you know, get the ellipse to emerge from this thing and we got to this same thing. On this side, ellipses do not. They don't point. So that's why if we had a, an Allman shape, say this was our Allman right here. Almost. There's still too pointy. They don't, they don't round. This is getting 2. It's a rounded point perhaps, but it's still not, you know, it has to cut off and continued around all the way through there so that it never points. So that's important to understand is that an ellipse never point. So again, we'd have to come over here. Same thing, football shapes, not ellipses there too pointy. They have a nice rounded top and bottom, but the side is 2, it's so we'd have to cut it off. And to form an ellipse, we'd have to get rid of the point. The other thing that ellipse isn't is it's not a capsule. So if we have something like this, this also is not an ellipse because ellipses are never flat. They're always arche. So again, that this was supposed to be an ellipse, we'd have to bring this. So this continues to emerge and around and this continues to emerge and round. And I still got one side. It's a little pointer than the other. But this would have to come through here and round off there we got a little better. And this would have to come over here. So again, we'd have to have to be round right now it's a little this is kind of arche more than this one, but you understand it would have to continually, it's, it's always round. K ellipses are always round. And they should be symmetrical. So this should be the same as that, pretty close. And that's not bad if we actually take this and fill that in. Not too bad. An ellipse is a perfect no, but it's not too bad. So again, we want to, we want to be able to make an ellipse that is always round, okay? And never pointed, it never goes flat. So now that doesn't mean that all ellipses are the same. We can have ellipses that are small and tight in extreme perspective though, yet be careful with these because sometimes it's hard not to give little points on the end of them. So you had to come in sometimes and take off the little there's just a tiny bit of pointing us to it, so we'd have to take that off. But that's why the smaller ellipses are, the more challenging is because you have to, you have to make sure that it's still rounds so that it is an ellipse. And this needs to come out a little bit of that because it's flattening out. So, but anyway, so you have all different types of ellipses. Sometimes people will draw this. Actually that's too much. And it's actually closer to a circle. But something like this. This is not a circle. Remember, circles have to be as wide as they are tall. And if we took this and if we measure right to left and top to bottom. We will find that it's wider than it is tall. It's still pretty closest symmetrical through here, through their right side, left side, topside to bottom side, it's symmetrical or mirrored or pretty close to it. And if that's the case, we're not if it's not as tall as wide, it is not a circle, it's an ellipse, which means a circle in perspective. So this again is still an ellipse, okay? Because it is not as tall as it as wide. If it was as tall as it is wide, it would then be a circle. Now this is close to being a circle, but it's still an ellipse because again, it's wider than it is tall. It's a little asymmetrical on this side, but again, we come over here and we can go ahead and take care of that, make it more symmetrical. So again, and it looks like we've got a little parallax or in other words, little distortion on the camera on this thing. And this actually isn't 90 degrees. It's a little bit to the left of me and kind of, you know, anyways, it's just a little and distortion to or in perspective to me. So but we can go ahead and play with this if you wanted to get these nice AND 90 degrees, get these the same on both sides, we could do it. No, not a big deal. But ellipse never points. That's a no, no, we don't want that. It never goes flat. That's a no-no. We don't want that. We always want to lips is always turning. Now, we're going to talk a little bit more about how to draw an ellipse in a moment using a major minor axis. But I want to show you this. So, and this is basically this. I used this as an ellipse template. This is the old school way. The draftsman would, would get really nice circles. I mean, if you're doing a mechanical drafting drawing, it's got a really yet to really rock that lips. Even more so than a fine artist. Water mains, sometimes even more than illustrator. But this was the old way of doing it. And you'd have to, you'd have dozens of these things because you would need one for this is inch and a half inch or three eighths inch and a quarter inch and eighth, you'd have stuff that would go down to half inch or three eighths of an inch all the way up to almost four inches for these ellipses. And so you know, you buy, you buy him a ton of these. But this shows a nice collection of all the different types of ellipses. These are all ellipses. That's not a circle. O. So let me give my finger like this is not a circle. It's an ellipse because it's not as tall as this. Why it's like it's like this one right here. So these are all the types of ellipses and there's all kinds of ellipses in-between these. But these will give you a good idea of the degree or in other words, how open they are. Certain ellipses are open more like this one. Certain ellipses are closing down and certain ellipses are really tight like this one. We're not going to get into what the difference between a 15 degree ellipse and a 60-degree ellipse. But it gives you a nice, nice selection if you had this and you had ellipse and need to be this wide, you could, you could pretty much have everything you need, you could select, won't say which one of these is going to work the best for the perspective I'm looking at. If I'm using an ellipse at 60 degrees, but the actual lips is 70 degrees. Most people aren't gonna be able to know that. Most illustrators couldn't tell you that again, there's a little bit of variability then goodness. Because if we had to hit everything exact, our eyes are very clumsy. You know, our hands or NER, clumsy getting perfect ellipses, very, very difficult. So it's a good thing that we had, you know, these sorts of things. Nowadays people go, I'll just open up Illustrator or I'll open up some other vector program curl drawer or something like that or some other third party. And I'll just draw an ellipse. I'll draw a circle, which is, which is fine. But the other thing is you have to know about ellipses because ellipses are the hardest thing and drawing. Okay, they are the most difficult, specially now. Now this is relatively simple, but when they go into perspective, that means, and so these are just all sitting the same. But when you start turning them and twisting them and making those, those ellipses turn this way in, that way in. Or if they're folding over around surface again, they'll do some weird stuff. So we want to be able to the way we can help us understand how to draw better ellipses and we'll talk about that later on. But the secret is knowing the major minor axis. Now before we get too much further, I think we should show you how to draw an ellipse using a major minor axis. So let's say, let's say I had the, let's go ahead and erase this right through here. Let's say I have the top of a bottle. And on the top of that bottle I need to draw an ellipse. Okay? So let's say, all right, this is the top of the bottle. And let's say the bottle, this is the very top, like so this is the side over here. This is the side over here. I'm looking down on the bottle and I need to put an ellipse here. Now, instead of putting ellipse, I just chopped off the bottle to make it flat. Make it, you know, the top of a rectangle. But we want to turn this into lips. Well, the first thing we need is the major axis because that shows the width. Remember the major axis is the long one. The minor axis is the shorter one. So if I had this ellipse there was this wide as it turns, it's not going to be getting skinnier this way. It's going to be getting skinnier that way right now to open up or skinny up this direction. Because this is the side to side, this is the long measurement. And so this right here. This is supposed to again be the bottle, the corporate via peer or what have you. So this would be the major axis, that's the long line. Remember Major just means the long one case. We've already got two points to make an ellipse. The next thing we would do is go, Okay. What I'm going to do next is I'm gonna go ahead and split this in half. Now I eyeball that. If I if I was really having some trouble, I could use armature of a rectangle. There's different ways of dividing something. I got lucky on that when I eyeball it, it's pretty dang close. It's within a 32nd of an edge. Which is more than enough for what we're doing. So now I've got, this will be the short axis or the minor. Now I'm not looking at a particular object, so I'm not seeing the exact perspective. So understand that I'm going to be making some arbitrary decisions, meaning I'm going to make it up, but I can make a very good ellipse now this should be 90 degrees, it's pretty close. It's not exact, but it's close to 90 degrees. In the camera looks like it's leaning a little bit more than what it actually is, but it wasn't perfect that right there is pretty close to oh, actually, no, it's not. So let's see. Let me check this. Let me go ahead and put that right there. Oh, it's really close. Okay. So this right here will just thin this up because, you know, it was it was leaning a little bit. All right. So let's just say I'm gonna go ahead and this is the middle. And I'll say the Mayan, I'll open up the ellipse little more. Usually an ellipse, you know, when you're sitting down looking at something that's going to be a little more squished in this depending on a few factors, but we'll open it up just so I can see it. So I'm going to mark, for E sake, I'm going to mark that point which is the middle and this point which is the distance out. And I'm gonna bring this up, going to line up that mark with a middle. That mark then shows the distance out. And now if I've done this right, We've got this distance here is the same from the middle of these two distances are the same. They will be mirrored. If this is in the middle, we'll then this distance here from the middle and that distance there to the middle should be the same. So it should be mirrored the same distance right to left, and then it should be the same distance top to bottom. It is not the same distance on the left as it is to the bottom because with an ellipse, there's always a wider side and a shorter side. Okay. And it's not the width that the changes, it's the height. So this is the height. The width will stay the same for this ellipse because it's on a horizontal plane. Essentially. We're not gonna get a ton into that would just take my word for it. So again, this is the site of a bottle, really big bottle obviously. And the way we're going to draw this as we're taking, we're gonna take a C curve and put a C curve through there. We're then going to come put a C curve through there. We're gonna go ahead and put a C curve through here. And then we're going to put a C curve through there. Now, I just guessed the C curves, these are not the exact curves, but this is to get my brain into thinking, don't, it's gotta be curbed. These are more open. These, these are, these are hooking around a little bit quicker. But this is to get my brain to go. Let's not make that straight. We are getting into the brain, into the idea of this is going to be curved. Now this is close to the curve I need, but it's not exact. So as I come down and part of this, as you'll learn, the more you draw ellipses, the easier this would become. But again, this is just a, had helped me Bank the curve. This is to help remind me, okay, this is going to be curved. So it doesn't have, a lot of times like this, sera hears too far open. I'm gonna come over here and I'm going to connect to a bone that connect over here, which is essentially going to close down that c curve a little bit more. Because this was just to get my brain to think curve, curve, curve, curve. Not the exact curve, but just to get it to curve, turn that corner. Okay? And then once I've got this, this is starting to flatten right through there. So that means this has got to go down as it hits into that curve and it's got to, it's got to be a tighter curve. This is flattening out too quickly. So that means this has got to come in here and it's going to curve a little more. Can closing down that c curve a little bit. Because that original seeker was just to get my brain to go. Okay. I need to turn it. Well, yeah, I need to turn it. Oh, by the way. Yeah, I need to turn it. That's that's the whole reason for that was to get our brain just to remember that, oh yeah, I've got a bank the curve only I gotta make the curve. I got a zip around and I'm going to curve this thing. Okay? So now by using this, I can get a much better ellipse. And if I didn't use a major minor axis. And again, with the reason we use the major minor axis is to check symmetry. So I can say, hey, is this arc the same as that one? If it's not, I would change it. Is this aren't the same as that one. If it's not, I would change it. Is this curve here the same as that curve there now this one an RE tied to change because this one pushes right into the line. In fact, it almost goes over it. And this one stop short. This is the line here. This one's stopping short. So that already tells me that it's not going through the point. So we've got to go ahead and make it hit that point. Okay? But this is how you can use a major, minor axis to draw a better ellipse. And I could even do it if I was doing some sort of quick ellipse, we're like, okay, we got, that's the major axis. That's the minor axis. Make sure this is the same. No, no, little better. So you go ahead and set that up. Now this is just an arbitrary ellipse. Nope, it's still too big colon, let's go ahead and measure that. Come over here. Measure that, okay, that one was actually write them was wrong. Bring this one here. Bring that one about there again, we have something where we've set up this ellipse. Now if I was really countable drawing ellipses, I could just go ahead and oh, yeah, I'm going to go ahead and put my ellipse and there. Whoops. And I, you know, if I missed my point, I can double-check k because it seemed like it wasn't symmetrical enough. Maybe it wasn't I'm off maybe, you know, but go ahead and put your ellipse in there. And by using a major, minor axis, it can just help you very quickly to get some better ellipses. And then, uh, you check this for symmetry because this right here looks like it arcs more than that right there. So if that has to push out and what would what would cause that is if this is not as wide as that, what can also cause it is that this rounding out tighter y, this is o. So this is open. If this opens up more and this opens up less, that would be an issue. But again, you can use this. So I might say, well, this needs to open up or this one needs to close down. You know, I mean, I can I can go ahead. And start to. Now I can't go too much because if this opens up too much, this thing goes flat. Like that pill and ellipse never flattens. So if that's the case, well, then we have to come in this way. And maybe this one has to change too, because this seems to be flattening a little bit right through there. Okay? But anyways, we'd use this major minor axis to help us make better ellipses. And we want to start to be able to recognize the major minor axis. And so if I was, now these are all aligned. But the major minor, minor axis shows us the alignment of an ellipse. If I've got an object that's got ellipse at an angle. I need to have a major axis that's at an angle. And that means the minor axis would be 90 degrees to that. And that would mean if we marked this off or whatever that we would end up with an ellipse that we put on there. And this ellipse is leaning to the left. Okay, and it's because of the way I set up the major minor axis, I can get an ellipse. It's leaning to the left. So with these, it's very simple to find the major axis. Here's what you do. You're going to come to the widest point through the middle and you're going to market like so. And it's gotta be at the widest point. And not only that, but it should look, should be right in the middle. Now that one looks like I missed it. That's not in the middle, I don't think but and again, I'm in perspective to this because this is sitting on a flat surface. But I'll use this, this is this'll, this'll clear it out. And that's hitting there. That's sitting there. That's the line. That's the line. Bring this up. Hit that line and yeah, it's off. Bring that down. That lines up there. That's the difference. That means I would split that in half. Okay. It wasn't way off, but it was off. So this right here would be the major axis point and a good cut this in half now, ok. And this would be the, the widest outermost point. And not only that, but it has to split it. Let's go ahead and straighten this up, we guess a little bit. So it should say you have bare aspirin or something. But if I take this line and I fold this in half, this light should fall down right on top of that line. The major axis is not arbitrary. If I did something like that, that's not the major axis. Because if I fold this on that line, this is going to sort of bump that way. Let me, let's see if we have this over here from the previous lesson, I said, alright, if got, if I've got an ellipse, like so. And this is my set. Let's just pretend those ellipses actually symmetrical, showing the user we're going to use our imagination, I think on this one because it's pretty, pretty wonky. But if I said, hey, I'll just connect two points kind of in the middle. Is that the, the major axis? And it's not because if I took this and if I fold this in half along that line, these don't line up. This is going up over to here, you know, because they don't line up because that's not the major axis. If however, maybe we'll do this with a pen so we can really, really see this. If I did another one like so. Say this is r. This is a little bit at a whack, just a sketch. But if we said alright, well let's go ahead and draw the major axis. And I said that right there is pretty clear, it's pretty close. It's not exact, but it's pretty close. So if this was the major axis, the widest points and it splits this. So if I folded this over, yes. But this little line and what we can see through the paper, but this probably not, but this little line. If we look at it. So we won't be able to see it through the paper because this isn't thin enough. I shall use tracing paper. But this right here is pretty much the same as that. However, this one right here, and that one right there. They are not the same. This is good. If I fold, this is bumps over this way because that's not the major axis. Whereas this line actually will trace that line pretty close because it's major axis. So it's not arbitrary. So what we have here is if I had all these, these drawn ellipses, while we've, you know that this right here, this right here would be the major axis, k or close to it. That this right here again, this, the major axis helped show the lean of the ellipse. This is one leaning to the left. That's the major axis. This one over here leans to the right. Then I'll write their, their browser kinda miss that one, just a sketch. But this one right here. Oops. There, right there is the major axis again, I was close and shows the lean. See how that leans. This is standing almost straight up. This would be the major axis. This leans just slightly to the left, right? And this is the major axis here. This is almost straight horizontally. Okay? So this is the major axis. And again, we can do this with these, or I could do with a hand-drawn ALL EPS. If I said, hey, this is my ellipse, this right here, their vows is the major axis of the ellipse. If I said, hey, this is my ellipse over here. Whoops, I was alone, was not good. Let's just say that this right here. And they've got like three ellipses in there. And say This right here, is that ellipse will then sort again, this would be the top of that ellipse or there would be no loops through there. And then we just cut this in half. So again now would then be in the major axis, it leans to the right K. So we can do these. We can do these by hand. They don't have to be mechanically done. Once we have the major axis. The minor axis is 90 degrees, so it's, so this right here is pretty close. It's close, but it's not exact, but it's pretty close. That's 90 degrees to this. And again, we go ahead and take this. There's the minor axis. There's the minor axis, and there's the minor axis, k. So for those taking my class or for anyone who wants to learn ellipses. I would recommend you do pages of these over the next six months to a year and, you know, sit down, do five minutes of ellipses and find the major minor axes for those specifically my class, I want you to do at least five ellipses that are leaning different directions. Actually ten and all. But the first five I want you to find the major axis. Okay? So draw the major axis first. And then once you've drawn the major axis, then mark the minor axis. Mark the major axis first on all five, and then find the minor. And the minor is the same. It's halfway in the middle, it's 90 degrees. It's not arbitrary. If I did something like this, that is not the minor axis. The minor axis should be in the middle. And not only that, it should be, you know, whoops, that's not in the middle. And it's not straight enough. But should be, you know, if I fold this over that this will fall down on top of their this actually looks like it's a little bit over. It's not quite in the middle still. No. Let's close close to my thought. But it's often maybe a 30-second. But again, that would be the minor axis. And again, these are all lined up. So that would be the minor axis on this one, that would be the minor axis on that. So what I want you to do is on the next five, I want you to visualize the major and then just draw the minor. That would be about the minor axis. Again, we're looking for a line that divides in half. So if I folded it, it would fall down right on top of one another. This is the minor axis. This is the minor axis, okay? This right here is. This feels like this should be almost straight up and down. So this right here is the minor axis. Okay? As you're looking at ellipses, start looking for the major, minor axis because it will help you and intermediate drawing and advanced drawing. And it will cure all kinds of issues with your drawing. It will level you up. The better you know how to deal with ellipses, the better your drawing will be. So this has been Kevin McCain with Idaho or classes and Kevin McCain studios. Go ahead and take and this this ellipse exercise, draw out some ellipses by hands. So these were trays, you might say, well, I don't have an ellipse template. You don't have to do an ellipse template. We would just have you draw some different ellipses by hand. All different shapes, woops, all different sizes are going to use my whole arm while I draw these. And are they going to be perfect? No, but again, not about lips. When he first draw ellipses there, that's pretty hard. But as you get after drawn a 100 ellipses and 200 ellipses and 300 lips as if you can draw decent ellipses. And you might say, that sounds like a lot. Well, it's not a big deal. You do ten ellipses, you know, three times a week. And within a month you've done over a 100 ellipses. So I'll go ahead and do that. And then you just say, hey, am I looking for the major axis? That would be the major for that ellipse, or am I looking for the minor axis? And so I have an ellipse. Let's say we did. Let's do it a little more open, okay, with that ellipse. And I'm looking for the line that divides it so I could folded over and they would fall down on top of one another. And that looks like the minor axis right through there. Okay. And again, I guess this may be a little bit on the light side, but this right here. If we could darken the ellipse, this ellipse coming down through here. And we got the ellipse coming. And I think the, the minor axis a little bit out of whack, it looks like it needs to be a little straight. Jose is a little bit too much. Perhaps if a diagonal or maybe I just flattened my lips as I redrew input. Anyways, it's close enough, we'd say, well, alright, well let's close but maybe let's go ahead and lightness. And might say, well, you know, maybe it was a little bit. Yeah, it looks just a little bit at a whack. Where's this right here. Looks close to us. And again, do we have to perfectly no, we wanted enough. So we understand and go, yeah, that's the minor axis. And when you look in ellipse, you immediately go, okay, yeah, I can see the miner. And so when you when you do this enough, whenever you look at ellipse, you merely go, yeah, major, minor axis. And the reason becomes so important is because it may help you understand how the ellipse should sit on something. If I had a bottle and this was the top of my bottle and I see this all the time. People tried to draw and they will put an ellipse on it like this. And they have come to me, they go, Why does my bottle look weird? And I say, Well, is this supposed to be a piece of penny pasta? And they say, no, it's supposed to be that bottle. I say, well, this is not straight. This is an ellipse that's pointing. I'll use the major right now at an angle. If that's supposed to be like a cylinder, that should be straight it the, you know, so if it's, if it's a bottle, you know, you're saying, well, it should be straight on there. Well then yeah, the major axis should be what? Should be 90 degrees to the side. So if I put an ellipse on that, that's like the let's go ahead and make it go through the corners. Instead of breaking outside. It looks like a bottle cap. But you could say, alright, can't hardly see this is that in my field of vision almost, but we'll just say that that's a decent ellipse. Is it a perfect lips? No, not Harley, but It's pretty straight. The major axis is still straight. This kinda missed a little bit, so we need to, it's a little asymmetrical so I could play with just a bit. But hopefully you understand, okay, well, this is now that should touch right there. That should touch right there. We have other videos that talk about doing cylinders and doing cones and anything with an ellipse. And you have to understand the major, minor axis. And everything that we draw in the class going forward that has an ellipse. We will talk about the major minor axis. This will help you in ways you cannot even perceive of. At this point, it is keys to the kingdom for drawing circles and ellipses. I would encourage you to use it. Again, this has been communicating with that of our class and Kim Mackenzie videos. Thanks for watching. And I hope that she will try to draw ellipses and think of them using the major minor axis. And also look for them to not be too pointed, are not to be flat. And it just do better ellipses. And the great thing about ellipses is the more you draw, the better you will get. It's that simple practice, practice, practice. And I've, you know, I've drawn a considerable amount of ellipses you might like how, how can I know it doesn't have to Perth and I aren't perfect. And you know, but I've done thousands, if not tens of thousands of ellipses. And our predicted probably almost ramp, maybe even a 100 thousand Ohno. And obviously I could still practice. But, you know, I can, I can still draw a pretty decent ellipse by hand when I have to, because I've practiced, it's just like practicing the piano, practicing guitar, drums or anything like that. The more you practice, the better you're gonna be. Alright, so go ahead and give this a shot. Enjoy. The more creative. Have yourselves a good day. Bye bye. Now. 11. Power of Line Draw Amazing Ellipse: Alright, so here's a little tip on drawing ellipses. So if I'm ever drawing an ellipse, the first thing I need now do these, but I do this by hand all the time, but I'm going to use this straight edge just to make it so it can be very clear. So whenever we draw an ellipse, you want a major, minor axis. So this right here would be our major axis. So we call the the long side. And in the middle of this major axis. Maybe I need a mark this just to make sure. So we're going to mark that there. And we're gonna mark this here, and it's 12345. And so remarked, we're gonna do it halfway. And so this will be the halfway point. And again, there's ways I can do this by ham of Reagan for right now, to be super clear, we're now going to do the minor axis. Now the minor axis is the short side of the ellipse. So if we have an ellipse, it's a circle and perspective like like so. Alright. And so you have loops. It's better. We'd have the long end. And we have the and it's a little better. So we have the long end and we have the short end, and that's what we're setting out here for this major minor axis. So and I want to make sure that we've got this major axis is the same on both sides. So just make sure this is equal distance from both sides like that. Ok, so we have good, we've got the major axis, which is the long one. Literally right there. We've got the minor axis, which is the short one. For the minor axis right there, and will remain in the middle. We have that center point. And now what I'm going to show you guys, I'm gonna show you a little. If I need to really like if I don't have a template that this is too big to grab an ellipse template. And I've been trying to do it by hand and that's not working. We're going to show you a can't get off little bit deny the minerals right about there. But here you face. I'm gonna show you how to make a little computer. But this little plan DPS vapor or that will calculate the lips as it goes around the entire, you know, any point hiking, give me several points around the trajectory of the ellipse are the ellipses orbit. So the first thing we're gonna do is we're going to mark the middle. And then we're going to mark the outside point. Alright? So this will be a and this will be B. Pardon me? This will be C. Alright. And then what we're gonna do is we're going to line up on the minor axis side, line that up, and then we're going to mark the middle again. Okay? And this is, we're going to call this one B. And so what we have to do is you have to make sure that c, and I want to bring these out so I can see these, the end, on the end of the piece of paper. And what I need to make sure is I didn't need to make sure that c and b are both on the major minor axis. And if they are a tracks the trajectory of that ellipse. Okay? So we've got a point there. Again, put C and B both on the major minor axis. That right there then tracks the ellipse, ellipse right there. And then again we're going to put C and B. And again they both have to line up and they both have to touch that major minor axis. And again, 12 have to touch the major minor axis. And so we can go ahead and you can put extra points around the lips of where that mark should be. So I can put another little one right there. Oops, Mr. Ben, right there. And so I can track this all the way through. I can reverse it again soon to be on the minor. B would be on the major. Ei then shows the trajectory of the ellipse. Sees on the minor, now bees on the major, they're both on there. Okay, good. That's the minor that's other major a tracks. The ellipse. So again, I can use these as points along this ellipse to help me. Right? I'm Andy this little longer. Like wait a minute, I don't know my line. And so we're gonna go ahead and Nate, lengthen this out a little bit. That minor axis. That way I can put there we go. Now or an it that's on the minor axis for C, That's on bees on the major and a tracks the ellipse. The ellipse is orbit or trajectory or whatever more correct term we can use. If we got any astrophysicists in the audience or even probably people that have taken a basic astronomy course. You'd probably tell me, Hey, you're using the wrong terms. But again, So again, if sees on the, on the minor axis, b is on the major axis. Again, a, whoops, missed it. There we go. Seize on the minor, B is on the major. And a tracks that should trajectory. So this is a really great way. Whoops. Tries again, because B was on the major, C has to be on the minor, B has to be on the major. And then this tracks the trajectory sees on the minor right there, B's not quantity major. Now it is, whoops, these off the miner. All right, they're both on a tracks the trajectory. So again, we've got these, these points and I could go ahead and wicked keep this, go until, you know, from from dusk till dawn. Ok, that's on the minor, that's on the major. 8-tracks the trajectory. This is on, this is on the minor. Whoops, could bring it down a little more. That's k. B's on the major. Hoped came off a little bit. Now sees on the minor bees on the major good, they're both, These two are lined up a tracks that should trajectory again and we could do it one more time. Sees on the minor axis, v is on the major axis. And a tracks the trajectory. So, you know, now we've got these points. And we could then come on over here and connect these points to make our lives. If I have to do some sort of mechanical drawing, you know, or if I'm trying to a drawing where entrepreneurs to nail down the exact ellipse. I can use this method and then put more points down. And then I can just go ahead and draw through those points. And it'd be better if I had a better point on my home, my pencil. But again then draw through these points for my ellipse. So one, so on. Well that was a little bit, I'm unwanted but I could erase that off, so forth and so on. So and again, I have a perfect ellipse. And we can see it corner, corner, corner, corner that this is the same as this and that's the same as that. And this side is mirrored to that side and the bottom is mirrored to the top. It's a perfect ellipse. And the way we did it once again was we'll use a new one. We started by marking the outside points. The outside point we say is a. And then we do, we mark the middle and this become C. Right? Now this is the most important part. If I, if I put this up here, it's going to ruin it. I, this is the most important part. You go to the minor axis and you lined up with the furthest point from your minor axis right there. And then you mark the middle again and this becomes B. And usually what happens, people do this backwards is they'll do this, you know, on mark that and again, you can see it's not the same place. It's got to be. So you always start with the outside edge boom, and you mark the middle. And the outside edges a, the middle is C. And then you bring a up and a has to be what lines up with the outermost part of the minor. And then you mark the middle again for B. And this right here is your little calculator. And then you just have to make sure that C and B are always on the minor and major axis and it's not quite touching. There we go. That's touching, that's touching what's not quite. There we go. And then a marks the trajectory. And so we can use this all the way around, as long as B and C woops us on the minor, and this hasn't come out, so I can't really see it. So there we go. That's better. Okay. So that's on the minor right about there. That's one of the major. Okay. Now it's close and then you'll line up tall, it actually is. And then once again, once this is on the miner and that's on the major. And then a is the trajectory looks like I'm off just about a, about a, just a hair. But a 64th of an edge. But again, you can go all the way through the circle many times with our ellipses, they can end up being coming little too pinched. Whoops, I'm rounding it out, make it they can get to pants like this. Or we get these ones that almost start to look like they're there again just to pinched. This will give you that curve all the way through it to know exactly what the curve is. Again, this is, this has been Kevin McCain and this is using the major minor axis. Decorate this little set up. And you can use this to then create a perfect ellipse. And yes, you can do other things with rubber bands and tax and nails. But this one put holes in your paper. It's a great, great way to do it. And this is unlike anything I came up with that like Zia, I'm just that smart. But it's not, it's something that's been around for a long, long time. And it's a great way to help you again, if you're trying to do something that you really need to nail down ellipse. And especially if it's big, you're not gonna find ellipse template to do it and you don't want to get out of compass and do congested you about 13 swings of accomplice to do a perfect ellipse. It's not just two swings of accomplice give you a little fish shaped like so, that's not an ellipse. And so anyways, and you have to know the geometry data behind it. This is much simpler and it's a really great tool. So again, have a great day. Be creative with it. Use it when you need to otherwise keep it in your toolbox with all your other drawing approaches. There's been Kevin McCain, have a great day and stay creative. 12. Power of Line Using the Templates: Alright, so I come back, I want to go ahead and talk to you all about this real quick. In this course, I've included these templates for the ellipses. I've got him for the triangles and rectangles. And what's your, what I want you to do with these is these are to help a Cray muscle memory. Muslim Memory is the most powerful thing you could ever employ in terms of drawing. And I've known guys that are, have been drawing for their entire lives, even people that are well into their seventies and sometimes eighties. And, but they've been drawing so low even though they might have a little bit of a tremor or something, they'll go to draw an ellipse or circle and it'll just be spot on. Because again, they're relying on a muscle memory sort of thing. So what will do is you can either print these out, they're going to be, you know, you'd be able to print them out onto you're onto your printer or what have you. And then what you can do is you're just going to go ahead. Now you can trace these which that you're going to destroy these if you did that. So what, what I recommend instead of tracing over these and constantly, you know, given dirty with graphite is just go ahead and eyeing the edge of your pencil. Go ahead and just trace it in the air again because we don't need to make the mark, we just need to get our armies to making, you know, either a very tight ellipses are ellipses that are a little more open than that are ellipses are more open than that. Now this is still, this is not a circle, this is an ellipse. It's wider than it is tall, meaning it's an ellipse. And so again, we're just gonna go ahead and trace that and I'm doing a very good job trace and that. But just tracing this ellipse in the air using the edge of my pencil. And I've got some smaller ones here because usually when I'm making that big of one. And again, you're just going to go ahead and go around these ellipses a few times like that. So you could spend, you know, about five minutes doing this exercise and then get your paper and actually practice making these different ellipses at different sizes on actual piece of paper. And that's how you're going to use these, these ellipse templates or the templates that I've included which has ellipses, it has circles, it has triangles and rectangles. The shapes were going to be using over and over and over again in this class. And again, you're just going to go ahead and trace it above the surface, above the actual ellipse, not touching the paper. And you know, Tracy from like this one is pretty when I'm really having a hard time with so, you know, but you go ahead and traces in the air. And then when you're you know, like I said, when you're done doing that for a few minutes, get some paper like cell, and then try to do, you know, the, the tighter ellipse. And we'll get a pencil that we can see a little better. Try the tighter ellipse and then an ellipse that's more open than that. And then ellipse that's more open than that. And again, we're not trying to, These are just exercises for, you know, giving you a feel for, for creating an ellipse. So that as we get used to it and do the warm-ups and other things, will have an easier time. Even just when you first start. And again, you're, it's a warm up. And these are a little bit better than that. And if you keep warming up again, you're going to have, you know, better and better, more fluid ellipses. And so this is, this is just a warm up that we can then employ and our drawing. And so that's how we're going to use the different templates that I've got using their very powerful that'll help, help you fine tune your skills and drawing these basic shapes. And again, I've got one that's got some smaller ones up here. So again, you're doing them not just tighter ellipses and more open ellipses, but ellipses are different sizes. So give that a shot. Alright, and continue on with the, with the videos and good luck and continue to be creative by, by now. 13. Power of Line 2D to 3D Solids: All right, welcome back. So you've made it through how to draw straight lines. You've made it through how to do triangles, rectangles, and circles. You've gone through how to do the warm-up page. Now we're gonna do some fun stuff. We're going to start where to take those 2D shapes, those basic 2D shapes. And we're going to turn them into 3D shapes. And we're going to take the, the circle, the triangle, and the rectangle, and we're going to turn those into pyramids, cones, cylinders, and cubes. And we are going to make those 3D shapes. So again, pillared pyramids, cylinders, boxes, cones, you know, all that good stuff. And, you know, it seems like I'm forgetting one other S35 were, they, were, they were the sphere. We should be able to go into a circle. But to that circle we add the cubes, the boxes, the cones, the pyramids. So we're going to start that out. Go ahead and start with the first video. Whereas start that first video, we're going to jump on in with withdrawing the, drawing the boxes. And we're a talk a little bit about something called the line of sight. So go ahead and give that a shot. And again, it's, it's, it's a place you want to start for drawing. For drawing the 3D shapes, all the 3D, different people call them 3D solids. But it's these basic shapes and everything is built out of. So go ahead and do that. Once you've watched the video, try to, for the boxes, do a front view box to a quarter of your box, do at least three ij. So three-quarter views, three front views. Again, the more you understand that, the better you will be, you'll start to see volume a whole lot easier. So watch the one on boxes. Give it a shot. I really appreciate you guys. And you know that you're, you know, trying to improve your drawing that you've signed up and that you're really getting in there. So keep it up, keep up the momentum. Alright, stay tuned. 14. Power of Line How to Draw Cylinders corrected: Today we're going to talk about how to, how to create cylinders from rectangles or squares because squares are part of the rectangle family. So whenever we're, we're drawing something like a, like a rectangle or a triangle. Anything that's the same on both sides. We can use a Sarah line to draw adds to check it for the fact that it needs to be symmetrical or the same on both sides. Now I'm going to kind of back my way into that and I'm gonna show you how to. There's a video where we're talk a little bit of what's called armature of the rectangle. And that's basically how we can find the middle of any rectangle. So when I'm making this rectangle, I want to make sure as much as possible that it meets each line at 90 degrees. Okay? That those lines are as straight as possible. These two lines meet at a true corner or at 90 degrees or as close as we can. This little symbol that looks like a little square to say that that's a true corner, or 90 degrees. We would also say perpendicular, that's the correct term to indicate that it's 90 degrees at that corner. So if we've got our rectangle, we have two sets of parallel lines that are supposed to meet at 90 degrees. Now, if I was having, if I, if I needed to string these lines out after I've drawn them by hand, I can go ahead and get a, you know, a straight edge of some sort or use a drafting triangle or what have you. But the idea is we're going to start with this rectangle. Once we have the rectangle, we're going to take the four corners of this rectangle. And we're gonna go ahead and make an X inside this rectangle going from one corner with a string of straight lines, we can to the next corner. Like that meander just little bit. It's a little bit better. We're going to go from this or down to that corner. Like so. And if we've got those lines straight, this right here should be the middle. And if I needed to check to see if it is, I can take my thumb and the edge of the pencil and I could use it as a measuring device so I can measure from this line to the middle. And then I can move my thumb here in the middle and my pencil edge. So that this distance here and that distance there. Or pretty much the same and they are and so if they're the same, well then we're gonna go ahead and pass a line. Or sometimes it's easier to start here and come down and start here. And come up. It just depends on how comfortable you are with your lines. And again, after I've done this by hand, if I need to straighten this out, I again could get a ruler or a drafting try drought. Drafting triangle or something of that nature. Yes, six lines there. So let's go ahead and find out which line is. But one shouldn't be K. So this right through here. This is a central line of this rectangle. So this line passes through the center. And wherever I just, I mentioned before, whenever we're drawing something like a triangle or anything, a bottle, or an apple or anything that has symmetry. We can use a central line, in fact, I think as a triangle. And look what we got here. We've got, we've got a triangle happening there. So this right here is this rectangle. Now, it's, they understand that the rectangle is a 2D shape, and you probably all understand that. But if I take a 3D shaped like a cylinder and I flattened it out into a 2D shape, it becomes a rectangle. So it actually makes sense to, to create a cylinder from a rectangle because a rectangle could be a cylinder if it became 3d, we're going to change this from a flat shape into a 3D shape. Now these edges that we've got here, these corners, you should have already watched the ellipse videos. This would be the length of the major axis. The minor axis is through the middle and 90 degrees. And lo and behold, what do we have right here? So it's good to department, it's good to understand that the, the minor axis is always on the center line. And I can mark off equal distances on that. And then mark off the same distance. We're going to put the same ellipse top and bottom for now. For anyone who has done a lot drawing, you might say, well, that's not exactly how it should be. But we're gonna do a That's how are we going to do today? As you get more in a drawing and you start learning about perspective and things like that, then we start to understand there's, there's more to that conversation. But to make our lives are getting she's seen the ellipse video. If you haven't check it out, we can turn this into this into a C curve. This into a very soft open sea curve or an arc. Turn this into an arc. Okay? And we can do the same thing here, c curve. Now is this the exact curvature of the, of the ellipse? Most likely not. This is just to get my brain in and making sure that this is an ellipse and doesn't become, you know, either pointed like an all like a stretched all men or flat like a like a capsule or something. So at all. So this is supposed to give us is make sure that that we don't straighten it out, that this is an ellipsoid was returning. So yeah, this the seeker that I put there as to wide, again, it's just to give my brain and the idea that I had to bank that curve. And I have to round all the way through it and then make this curve and come through it. And now we've actually got a little bit. This ellipse is actually kind of bending out too far. So alright, that's, that's much better. So we can go ahead and darken and our lips. For our Got this pencil that's not quite as sharp as it should be. So it picked up the edge. This is actually just a really, really dark pencil for the demonstration. So again, we can go ahead and come through here, turn that corner and come through there. So we now have our lips on the top. And then we just need to go ahead. Now whenever I draw an ellipse, I draw through the object. So I draw all the way around to the back side for this ellipse. And the reason I do that is because if you don't, people will just come on the bomb and he put a smile on there. And the smallest two flat. So by, by checking all the way through this ellipse, I can see if my lips is again symmetrical and I'm seeing if I'm hooking around through there. Now this is actually the same looks like let me do a quick check. Yeah, that's an odd k, So that is all so we're gonna go ahead and lift this little bit. So I'm making sure that it was equal distance here to here and it wasn't. So we're gonna go ahead. And that means that's going to change the hook as it hooks through that little corner, that curve, and then comes out. So again, the reason I do this is by making my loops, by making that ellipse. See that's, that's bumping out. That's not right. There we go and easy come down. And again, there is an, an ellipse template. For those in the class that we're going to have you use to trace through it so you can kind of get the feel for what ellipse should be. But this, this ellipse now is doing pretty good. So it was bumping out here, which was not ride. So we corrected that it was actually to began with not quite symmetrical because I didn't measure it when I put on my little marks right. To remeasure it. But now that I've got that right because this is supposed to be the top and I would only see the front side of this. Well, we can go ahead and darken this up. Like that. As the bottom ellipse. This, then we go up the, now the size of the, of this cylinder dropped from those major axis points. Okay? So that's where it connects. Also, if I'm doing a a cone or anything with this round on the bottom, the sides are going to connect with the major axis points. Okay? So right and right there we have, we have a cylinder. So this would be the top of the cylinder here. Right? And this would be the side. And now that we did all that, we clean this up, we can, you know, race and enlightened he's up or what have you. Because we did all that just to make sure that we have a nice symmetrical cylinder. A good look and cylinder, that's all we're doing, is trying to get this cylinder to be nice and clean and fairly symmetric on all that sort of stuff. Now I can also do, you know, we, you know, we did one standing up. What if we did one on its side? So again, we can take and start with again that rectangle. So again with this rectangle over here. Now I'm drawing a little flat, so it's, I'm drawing little in perspective. And so it's, it's, you never wanna draw flat. I'm doing this just for the demonstration because it's a little easier to shoot it this way. But I am drawing a little and perspective. So there's going to be some sense, sometimes it's just some distortion to the angles or the line isn't strays, I think it is. And then I actually kinda pull up towards me so I actually see it and put it on a sort of a drafting table and I go, oh, wow. So bear with me I guess. And so we never want to draw a flat. So even on doing in this video, don't ever do it because you get, your drawings aren't so good. Because you're literally drawing. Things that you cannot perceive. Me kinda little bit but not very. There'll be out. You'll be like, Oh, they look fine and you get them over. They're like, oh, wow, no, they're not. Because again, you're drawing and distortion is essentially I'm drawing in perspective. So what I'm perceiving a straights and it may seem strange, but then I take it out of perspective, put it up on a drafting table so that it's at the same angle as my eyes are looking. And all of a sudden, all the distortion become, distortion becomes very apparent where it's not apparent as I'm doing it. All that means is that whenever you draw, don't draw flat. Drawn an angle. Usually we'll have you get a 24 inch by 24-inch or close to it. You don't want it smaller than that. A drawing board. So you can put the drawing board on your knees, leading it and lean it against the table and you have a makeshift drafting table. And that way you'll be able to see what you're drawing. So again, we've got our little rectangle. These are supposed to be two sets of parallel lines meeting true cores are 90 degrees. That's how we're starting this out. So you've got these angles like this, 90 degrees, this is 90. They should all four be 90 degrees. So this is our starting point. Once we do that, we've got our four corners. Now this is supposed to be a cylinder sitting on the side. So we're going to have our ellipses standing up vertically. But again, to find the middle, we're going to go from this corner to that corner. And I should make this darker so you can see what I'm doing are creating X marks the spot. And let's see if we can do this on a lifting and trying to get out of your way so you can see what I'm doing. And so we're just gonna go from this corner at the top right down to this corner at the bottom left. And where those two lines cross this right here, as long as the lines are fairly straight, that should be pretty close to the middle. And if I wanted to make sure it was in the middle, I, again, I could measure it with can measure with my pencil. Another way of measuring is I could take a spare piece of paper and say had a spare piece of paper like so. And I can just mark it. I could just say, hey, I just wanna make sure, you know, that this actually is in the exact center. And so I can mark the middle there, line there. And I could see if this is the same, pretty close. If I was really worried about drawing the horizontal line, I can give myself another couple of places. This is the halfway distance, so I could go ahead and mark it here and here. And that way I got three points that I could I could use if I was worried about being able to keep this line straight. And then we're just gonna go ahead and we're gonna go through the middle to these dots. And that's the center line. Again, to make this work, we really need that center line. So that was our second line right there. And again, if I was really curious about making sure that my ellipses are the same. I again go I could take, you know, mark the middle, mark the outside or where I'm going to make the the low mark there, bring it over here. And just make sure very quickly, unlike the other one where I didn't really check this, I actually know for a fact now that these are all equally distant from this center point, because this is the center points of our ellipse right there. And then we have the major, the major axis here. That's the minor axis. Major axis, minor axis. The major being the long one, the minor being the shorter one. Okay? And then we go ahead and say, all right, well we're gonna go ahead and create a C curve. C curve, very open sea curve or an arc. A very open sea curve and an arc. And let's say we're actually gonna see this side of it and this side will be the bottom. So we're going to start off with drawing the full ellipses, but then we're going to, we're gonna see one side that's like this is the top and that's the bottom, so I can't see behind it, but we're still going to draw through it so that we can do a better ellipse. And then we just erase away part of the lips. So we're not gonna do c curve, C curve, open sea curve, open seeker. And again, this is just to give my brain ready to do curves. That's the reason we're doing this, is our brain goes, yeah, I need a curve it. Oh, by the way, I need to curve it. Oh, yeah. I don't know if you remember, but you're supposed to curve it. So that's what this is for. It's to help us remember to debate the curve. So again, the seeker that I put on there is way too far open. I needed it needs to be tighter. So again, it's not to make the exact curve I need is just to give my brain to think, oh yeah, we got to get a curve through there. Oh yeah, I gotta run to get a curve it. Oh, yeah. By the way, curve it. Oh, you accurate, you know, it's really just to get a right in the, in the idea of doing it domain for it to sound. So perhaps a little irritating here to hearing that over and over again like that. But that's really what's doing for Brian is to help us to to pick up on what we should be doing and to help us do it better. And so again, we can go ahead and you can watch the quadrants as, sort of as you're drawing it out of the corner of your eye and makes sure that you have a ellipse drawn that is indeed symmetrical. Again, I drew through the back so I can make sure that I'm hooking through here correctly. And then once I've done that and if I'm satisfied with my ellipse and if I don't need to change, it will even go, okay, let's go ahead and darken this up. We'll just go ahead and darken the curve. We're occurs to the point where it comes. Now it's just going to be just the front edge that I see. Because this is going to be the side that's further away from me where I can't see around it. So we're going to erase the back of this ellipse. Probably going to lighten this up a little bit. In fact, if this was something I was drawing on her own, erase everything so that no one knew how I did it. And so that's the bottom part. I can't see the bottom is going back that way. And this is the side. I can see both the front and the back of the ellipse. And that's important to understand that this is, you know, that I've gotten to have a view where I can see the ellipse, all of the ellipse. And I'm going to have another part where I can't see all the ellipse at all. And there's other, there's, so there's, and once you get into perspective, you can start to have some, some idiosyncrasies really. Well. There's, there's a view where you wouldn't be able to see either one of the, the tops are all the ellipse, the backward or the back and the front of the ellipse on either side. And, and that's true, but it's only one specific view that you'd have to really set up to be able to see it like that. So we're not going to really worry about it so much because we're not, we're just trying to time out the basic way to create an ellipse. So anyways, this is how we create an ellipse. And we're gonna go ahead and this will be, again, we got the major minor axis we use to create it at the top of the rectangle using the centerline. And this is how we will, again creates cylinders using this technique. Now if, once you get used to it, well then you could go OK, well what if I can, you know, if you have a really good i you can go ahead and go, I'm gonna put this here and where's my center line? And I'm going to center the other the other ellipse and then I'll just keep those online and connect, connect those like so. Well, that's great. You, you've jumped. You know, you're, you're, you know, you're you're jumping through steps because you understand how to do it. And so you can still do it and just go right on into the next step and then start modifying this. If this was some sort of a world talking about construction drawing and things like that. And so you can just keep on, you know, you just modified as needed. But this is the idea that we're thinking about whenever we're drawing ellipses, whether we're drawing it very formally and breaking it down, or whether we're just kinda jumping into it and just kind of drawing an ellipse. And notice I still use when again, we always use a center line wherever possible. And so I was wrong. This, I had a center line there. I've got this pencils kinda dull so it keeps picking up different lines. So it looks like there's, there, there's like eight lines there from only having to draw on two or three times over it. But this is how we're going to deal with creating a cylinder on a rectangle. We just basically it's a rectangle with two ellipses on the, on the top and bottom. And boom, we've got ourselves a cylinder. So that's how you're gonna do it. I want you to, if you're in the class, I want you to go ahead and draw at least three of these and get very comfortable if you're, if you're not, you know, if you like, if you want to go the extra mile, draw, draw six of them. But get very used to taking a rectangle and modifying it into a cylinder. It's the easiest way to do it, especially if you're leaning stuff because it's very easy. It's very easy to go ahead and make a rectangle. Once you're used to making rectangles. And we, we do that a lot in this class. Well, now that I've got the rectangle, then I could just go ahead and put the ellipse on there, right? And then, you know, make the cylinder. So that's the idea that by using the rectangle, we can go ahead and lean that rectangle whichever way we want to turn it into a cylinder. So that's the idea. Start with something simple and then make it something more, much more advanced. And that's how we're going to work in the class. And it's really a good way of working. Not just basic drawing, but intermedia drawing, even advanced drawing few can construct and understand and see what the next steps are. You that's 90% of the battle right there. So yeah, go ahead and give this a shot. And like I said, do either three to 67 will have you do these with warm ups to once you get used to them. But this is the basic idea of drawing cylinders. And we're going to use these in all kinds of ways. And you use them in all kinds of ways again, for basic drawing, advanced drawing, intermediate drawing, and professional drawing, new name at any level. This is really, really important. Understand how to do it. And so yeah, have fun with it. You know, go ahead and do the assignment. This has been Kevin McCain with Idaho or classes and Kevin McCain studios. I hope you'll be more creative. Again, that's this fundamental three-dimensional shape is more important than what we normally give it when we first start to draw. And I know I certainly didn't give it enough importance. But the more I drew and now I've been a professional for over a couple decades. It's just something that is better you can do it the better you can do it any everything else, essentially. So you'll have a good day. Thank you again. Have a good one. Bye. Bye. Now. 15. Power of Line Creating cube or box basic idea: So today we're gonna go ahead and we're going to talk about boxes and cubes and some of the basic concepts that we need to know. So I did a lot of times when people will start with my class and I'll have them draw a cube. And even though we have been exposed to more perspective, which is what a box is, is, is a term that's referred to as perspective, which means how do, how are objects viewed in three dimensional space? And so I'll have people, well look, I know that this is wrong, the coating with a drawing that looks somewhat similar now I've had some that are worse and that's, And I've heard others that are a little better. But they'll be though though, say look, I know this is a right, but I'm not sure how to fix it. And so like with anything and withdrawing as much as anything else. Knowing how to fix it is really going to decide how successful it's going to be is when we see a problem, we can fix it. It isn't a problem anymore. If we can't fix it, well, then it continues to be a problem. So the first thing we want to understand to fix this box is do you want to talk about what makes something 3D? Now 2D shapes, whether they be rectangles or squares, or triangles or circles. They only have height and width. There are 2D, they only got those two things. They've got height and a half. They have width. And so that's what makes something 2D. They have no three-dimensional space. They're completely flat, flat as a pancake, like my piece of paper. Alright, so only height the width. Now when we have a 3D shape, well now we have an extra dimension. We still have height, we still have width, And now we have depth. It's guys kinda stuck in here a little bit, but we've got depth as well, which is the height, how high it is, how wide it is, and then how far back does it go? That's depth. Now sometimes you know, if you're sending a UPS backup package or some like that or some sort of package, you'll see something that says height, width, and length. Which would still give me, it still gives you the depth, but I like to say height, width, and depth instead of width and length, the I just, I prefer the height, width, and depth, but any sort of object is 3D, has height, it has width and depth. So that leads us to this little mantra right here. This little code that are this little, this little secret decoder might be a better way to say it, but this is what all 3D objects have in common. And if something is wrong is because it does not conform to these rules. So the first thing is, is that anything that's supposed to be 3D like this, suppose that box. This is, I say a box because it's not quite a cube but looks like it's a little wider than it is deep and stuff like that. So it's not quite, you know, like a cube. It's actually more of a box like what we'd send something, a package, enter something. So again, we have, we have in this For any 3D object, any sort of box, any sort of, you know, any sort of cube that we're trying to draw. We have to remember that we have three sets. We have height, width, and depth to make it 3D. And so we have three sets of lines. We have height lines, we have width lines, and we have depth line. So we have three sets of lines and anything that's a box or a cube has to have those three sets. The next thing is, is that in each set, we need three or four lines. We'll talk about why we might have three versus four the later. But they at least have to have in each set has to at least have three. So that would mean we at least have to have nine lines. If, if it's four lines to assemble, then there's three sets of four lines, that would be 12 lines. Very rudimentary Math. So with this drawing that we have right here, we have 123456789 lines, because we have three sets of three lines in this drawing. The last relationship of the lines in each set. So all the headlines have to be parallel or the width lines have to be parallel. All the depth lines have to be parallel for it to be correct. Now we're going to, we're going to have another video where we're going to talk about front views versus corner views were really, really boiling down of much longer conversation and perspective and trying to simplify it. Sort of the graham cracker or sort of, you know, very, very, very simple sorts of stuff. And so that's what we're trying to do here. So we're gonna go ahead and when I say parallel, I mean two lines that don't converge. Or in other words, they do not come together. Ok, so these two lines, for the most part, are getting closer together. So this, this is what we want to at least two lines and maybe I should make these darker so that it can be seen, for the most part, are not getting closer to one another. These are parallel. What you don't want are lines that are getting closer together like he like this. You don't want that. That's a big no. And we don't want them where they're opening up either. We don't want that either. We don't want this. We don't want that. What we want is this right here where they're staying pretty much equal distant apart or parallel. So when we're drawing this, we need to look and ask ourselves if these lines are conforming to those rules and they are not. But before we get much further, we have to identify what lines are what because if I don't know which are my high lines, my width lines or my depth lines. I'm and a whole lot of trouble. So let's go ahead and I'm gonna go ahead and label the vertical lines or in other words, the headlines as family a. Now no one ever gets these wrong. This is the only family that everyone gets right because it's very easy for us to see the hide lines or vertical lines. Those are always very simple. So that's that set. That set is done. If we're keeping it to the three lines standard. This, these three lines are all in the height family. Now this is supposed to be a cube seen from a corner view, meaning it's going to have two angles going other direction. And we'll show you this. This however, only has one diagonal. We're going to talk more about that later, but this is what would be a front view and what we're gonna do down here will be a corner view. And I will probably make more sense in a second. But first off, let's start talking about the Y. So the y gives us all three angles. If I look right here, this right here is my height line. Let's just go ahead and clarify that. Like so. This over here on this side should be my width line, right? So let's go ahead and oh, I missed that a little bit. Well, I drop the line a little bit. This is where they meet. So this is my width line, and this over here is my depth line. Height, width, and depth. So people will refer to this as the y. Look for the why. This, the y always has all three angles. It has height, width, and depth. So if I was looking over here, here's my y. The arm has straightened out. But that right there would be my Y for this little cube. There's my height, there's my depth, there's my width. Okay, so for the family over here, looks like I drug my hand through this pencil so it got a little muddied up that line a little bit. But let's just go in and say, Okay, if it's on the left, we're just gonna call it b. This is just for notation. Anyone's having some really bad flashbacks to geometry. Please just bear with me for a second. This is just a simple notation. This set is different than that set, and this set is different than the either to this right here. If it's on the right side of the hide line, we'll call it C. So there's our three sets. We have the a, the family of a lines, the family of B lines, and the family of sea lions, or set a, set B and set C. Alright, well that's perfectly simple. Now let's go ahead and put the other, the other lines in this Cuba, or it actually it's a box is not a cube. So if I come down here, hopefully it's, it's very easy to see or to understand that this is the second Beeline at this time is B, and this down here is c. So this line here is the parallel to that line there. Now, sometimes it's hard to, when there's really short to see if this line is parallel. That's a real problem. Make the line longer. Once they goes longer, it's a little easier to see if this line is getting closer orbits opening up somebody off a tiny bit, but it was his where it originally was. And now this is where it was more parallel. This is where it will be. So it was, it was opening up just a little bit. So I'll go ahead and say, alright, well this right here. And we'll make that line nice and distinct. K. So this line and this line are now parallel. Alright? Make this a little bigger. K. So we're dealing, we're gonna be dealing with three sets because this right here has our three instead of four. We'll go ahead and talk about for a minute. But we've corrected this line that was wrong because it was not parallel to the other depth line. So now these two are parallel. The problem is now I have to find the third line. That's gonna go, you know, we're, this is the third line in this family. And so to find that third line, we're going to have to look to where to where it's going to be going. Grab another pencil here. So to find that line, what we're gonna do is we're going to look for when to use what's called an upside down L. Now this L doesn't have perpendicular angle. It's actually going to open up a little bit, but this L points the way to the third b. So b comes off of this corner right here. And as we see this line, it's opening up is not parallel. So what we're going to do now I could do this by hand. But to make this nice and clean, let's go ahead and get this. Get this line in here. Okay? Alright. So now we've got bb and B. These three lines are not parallel. So we have these three lines are right, and these three lines are right. In fact, let's go ahead and we'll do that in a minute. So we got all three of the B family. Those are now correct. Now we need to find the C family. So again, finding to take this out a little ways, take this out a little ways. But I think we can pretty much get this lined up, so it's pretty close to parallel. So I'm gonna go ahead and take this. There we go. Alright. So that's that little dot I made as a corner case. You're wondering, now we can go ahead and to straighten these albums is go ahead and start this out a little bit. Straight in the other one out and a little bit. So let's go ahead, make sure this is parallel. If I throw that pencil down, it's easier to see if this line is parallel to that line. Very quickly. Okay, alright, so that's now parallel to that. And again, we can check and make sure that this line, this line and that line in parallel. And I'm just using a little drafting triangle. Again, I do these by hand and then I can straighten them out. But to be more clear on this, so we can be super clear on this. So go ahead and, and making sure they're nice and and perfectly straight. Alright, so this part down here is all correct. So it's still all out of whack down here. So again, if we need to see that where does the worse? My, my third C Again, we could use an upside-down L, top to bottom. And then again it opens up that L opens up and points the way towards third C line C is right over here and it comes off of this corner. Okay? So we use that upside-down L points the way. And so we're gonna go ahead and we're also going to erase that now because we don't need it anymore. It was just to identify the lines. Okay. And so now I'm going to go ahead and come over here and try to make sure that this line and this line are parallel, pretty close. And then what we're gonna do is we're come off of this corner where C starts, it comes off this corner. And we're going to bring it over until it's it crosses because were those two cross, that's the back corner. And you can see that we've got a box are Tojo was how is a little bit wider than it, as deep and it is we can see it very easily now. Okay, so this is now a correct box and Silver's gonna go ahead and clean this up a little bit for our box. Okay? And so once again, we go ahead and darken these lines. Has needed like saw little squeaking with a pencil. And we're gonna go ahead and draw this line a little darker here. This all nice and cleared up. Ok. So now we have something that again, because it conforms to three sets of three lines that are parallel, we now have a box. It looks like a box and it looks, you know, the lines are all getting straight and so that's what we needed. We needed something that conform to this. You know, this is our, this is our standard. This is, this is what has to happen on any cube or any box. You have to have three sets of three or four lines that are parallel. We're going to talk about that fourth line now. The only time we have that fourth line come into play is if this is transparent, like right now, if this was opaque like made out of wood where we couldn't see it, this would be fine. But what if it was made out of glass or plexiglass or something like that. Well then we need each set has to have a fourth line. Well, each corner has an a line coming down from it except for back here. So that would be our war forth. A line would drop. Now I'm gonna make this line checkered. And that's just a drafting notation to say, hey, this is a wall that exists or this is a corner that exists or a line that exists. But it can't. It's an invisible line. And it also just helps us not get too confused. Because if our eye starts to see that this line is the same as these lines, it can cause all kinds of illusions for us to assume we know we're looking at when we actually don't. So this is a, this is our fourth a line right here. Our fourth vertical or h4, or our fourth height line. We now need the other two. We need B and C. Let's do it this way. Let's go. Okay, this is parallel to that, that c, okay, this may look, think of a ribbon. That ribbon comes up. The ribbon comes over, those are upside down L, the ribbon would drop down and the ribbon will come back across the bottom. So that means that we know, or you could do that. This is parallel and this and something down here would have to be parallel, whichever way makes more sense. The line that's gonna go and down here will be our fourth c line. And so what we're gonna do is we're gonna make sure that it is parallel. I'm good. I can take that, put that down and make sure that it's parallel. And it looks like it's, it's OK, maybe opening up a little bit. So we'll just go ahead and change our gods. Pretty close elements, pretty close. Again, I'm, I am drawing flat, so that means I'm drawing in perspective, which is something you do want to avoid whenever possible. This is just, you know, it's, it's very easy to do things that are drafted like this. Now this line should stop right about there. And again, I then I skipped it, which is some of the hasta danger when you start doing the checkered line. So we'll just put that back in. Now, this goes too far, so it stops. It stops at that corner. So we'll just erase that off. Okay. And this right here is that back corner. And this is our fourth c right down here. So we have C and C are parallel this and that are parallel and this and that are parallel. And again, if we think of about it as a ribbon, we can follow that ribbon around the box down the backside, across the underside. And it's easier to keep in our mind, which is in which family. So we're gonna do the last line in the P family. We only have three and we need the fourth one. So it'd be, be, be, here's our ribbon B. Then the river would come down the back that hit B and then come back across. So r B line is going to be somewhere down here. So we go ahead. And again, we could take this and oh, and check that out to make sure. Now it looks like something was a little off because these are converging a little bit. This shouldn't be converging. So something got a little bit off. But it's close enough. Hopefully you understand if I wanted to go oh, nope, we're gonna make that perfect. Well, then we'd straighten that out and we'd start double-checking one of these, most likely this line is the one that's out. And so you go ahead and and, you know, I don't want to I could check that out. Or one of these is off. So it's got it's one of those two. But anyways, it's close enough that if we go ahead and connect this. Suppose we checkered, but it's close enough. It's kinda of a borderline. Yeah, it takes a lot for angles for I to go. Nope, that angle's wrong. This one's close enough that we can kind of get away with it, but it's not perfect. And again, I've moved the corner to right here, which means this has to move or so either this was Albert, I don't think it's this one. I think it's actually the back corner. And I think I actually moved it from when they when they actually crossed. I think I move this a tiny bit or this one is just not straight up and down. Yeah. There we go. There's our issue. Okay. So I'm somehow when I was drawing this, I got this a little out. It's not it's not straight, it's not vertical. That's the problem. That would move this over here, and that would change the angle of this two then, you know, anyways. So, so there's a little bit of funkiness here, but understand that, you know, if I can get even close to drawing something like this, you'd be like, oh, that looks great. But whenever we're drawing a box or a queue, we're always looking for something that has three sets of three or four lines that are parallel. So this has our fourth set. So now we can see all 12 of our lines. Do we have to have it that way now? And if it's like Well that all these, all these letters are starting to make my brain, you know, kinda, you know, seize up a little bit. Well then we'd get this light and a little bit. No big deal. This was just to help us. And the drawing this thing, we can go ahead and again light it up. But this was just to let you know what the know how we would do the fourth line if I wanted to add the fourth line on here, this line, the easiest lines are always a straight line. So the Strait, you know, the straight vertical lines. So you'd bring this down and then we'd bring this straight over. This is not straight because this is not a front view, but there's Lego set of videos. We'll talk more about that. And then we can go ahead and put that in. And now we can, again, we'd have all four lines in each set if we've done that. So it was very important that we understand that whenever we have boxing cuz we always have a 3D object. So we're dealing with height, width, and depth. And that leads us to this that every set, all the height lines, we have height lines with line a deadline. So we have three sets, height, width, and depth. And then in each set, each one of these sets has three or four lines. And the relationship of every line in this set is there parallel? Alright, so I want you to think about that. I want you to try to draw this type of box. I want you to watch the other video where we talk about drawing boxes. So there's a par, we're talking about drawing simple boxes. And so I want you to hold off for now, but watch that other, that other video that talks about its detailed about how we break them down and how we draw them. And we're using the three sets of three or four lines that are parallel. But after you watch it, I want you to draw three types of boxes that are corner views, and three types of boxes that are front views. And again, that video will explain it even better. And, you know, we want to start getting used to drawing boxes without sweating it. It's not that big a thing. Once you get used to it in the beginning, you can seem just overwhelming. But once we get used to Gaul Kavya was this set out is that's about all the sets are pretty close, then we should have a good box. And so again, that's one of the biggest hurdles with your drawing, is trying to get really good boxes. And we use boxes in all kinds of ways. So it may seem like, well, what am I going to use a box for unless I'm drawing a president, we modify the box all the time and drawing for intermediate, advanced and even, you know, basic drawing all the way up to the most advanced drawing as well when you use boxes all the time. And we'll talk just the basic fundamentals in this class. But if you stand, the classes will start talking about how we get more and more and more into modifying the boxes, into cars or motorcycles or bicycles or buildings or houses or barns or you name it. And so yeah, that's what we're doing here. Go ahead and again, watch that other video on drawing simple boxes and cubes and then try and go ahead and give me six boxes, okay? And yeah, get used to start, starting to draw these, these, these 3D boxes and cubes. And it will help you immensely with your drawing. All right, you all take care. Bye bye. 16. Pwer of Line Basic boxes corner vs front: Well, we're just gonna talk a little bit about creating a couple more on three-dimensional shapes. Say we're gonna do the, right now what we're gonna do the cube. And so whenever we have a queue, where are they going to do 122 types of views were either gonna do what's called a front view or we're gonna do what's called a corner view. Okay? And with a front view organ, it's always start with a true rectangle, or if it's a cube, it would truly be a square. So if I'm dealing with a front view, which is also known as one-point perspective. For those of you that have played with perspective. If you have, and we'll just start with calling this a front view. And then we're going to have one set of diagonals. And they're gonna go off this way because we're going to be seeing the left side of this. And so then I basically just going to go ahead and connect these. Now whenever we're doing boxes, this is not quite a cube, so it would be a box. It's a little taller than it is wide. So but anyways, whenever we're drawing, these are boxes are made up of three sets of lines because it's 3D. So I'm whenever we were dealing with some of the 3D where three sets align. So with this cube that isn't IQ, but the box, with this box I just drew, we have three sets of lines. We have this set that we'll just call a, AA and a. And then if it's on the left, I'll call it b. So this is B, the, and this is B over here. And then we have C, C, and C, we have three sets. And we have an each set. We have three lines for right now. Actually, No, actually I did. I think we can see through it. So this is, this is the fourth line. So I was gonna say we could do it without, without the fourth line, but that would mean we'd only see three sides once we add the fourth line and each set so becomes three sets of four lines in each set. Well then we can actually see every single plane. We can see all six planes of this, this box. If we only have three lines to a cell, we can only see as much as three different three different planes. Not always because it depends, again on how we're viewing it, but this is just our very first steps into the idea of 3D shapes. So here's our corners. This is little corners up top here. These are the corners down here. And again, I have got this this box. And so like I said, we have three sets. It's, and there's never more than three sets, but within either have three or four lions. To a set. And we want the lines to be parallel. That means that they don't open up. They don't converge. And for those of you who have had prospectively like hold on a minute, I just want you to understand that this is a very simple explanation that we can get away with. Especially if we're just starting to learn as we get more into drawing. We, well, we understand this as really just sort of the animal crackers, if you will, the very basic general stuff in terms of drawing ideas and concepts. But we'll start our very first with this 1 respect to Vox. And again, we've, we've got 33 lines and in each one of the three sets that we would see. And then if we add the fourth song, making these dark or these would be the three, the three lines that I initially started with. And then I added the fourth line to each set. So this would be a and that would be a. There's our fourth a. And we can think of this like a ribbon b, b, b, and then we continue to wrap, and so that would be b, right? So there's our fourth v. And then this would be C, C, C M again like a ribbon coming over here and back here and down here and back forward. It's a ribbon wrapping. This package. This is our fourth c line. So in this case we have four lines and the relationship is there a parallel, okay? Now, when we also have a corner view, now with the front view, you always start with a rectangle. So if it was, you know, if we get another one, let's say we did of a FedEx box or something. So if this was a FedEx box, There's our rectangle. It's supposed to be true. We're just going to ignore this. Corn is lifting a little bit over here. We're going to pretend it's nice and straight. We're going to use our imagination, Joey. And there might be a little bit of the lines may not look like they're parallel because of the tip to the camera, but they're pretty close. So again, this would be our corners for our initial rectangle. Okay? And then we're going to have off these corners. We're going to have again these, these now if I sell the top of it, they'd be going up. Now, actually I saw the left side of this one. Let's do the right side. So I'm going to change what I initially was gonna do. I'm gonna go ahead and make He's a egos come to the right so we can see the right side of this, of this box. And something about like so. And I'll just do this is one that has just the three says it doesn't have all four sets. I keep saying sets. It has three sets, pardon me? But it only has three lines. So this one has three sets because it's 3D. If it's 3D, that means there's 33 sets. If it's a box. Okay, it says three sets for a box or over Q. So this has three sets of three lines that are parallel. So in this case, this would be a, all the verticals are always a. And then the one that's on the left becomes b. So this will be B, that would be B, this would be b. And then the diagonal would be C, C, C, and C. And this would be sort of like, you know, again, that's sort of a FedEx box, if you will. Getting ready to be sent somewhere. Alright, so that's a front view box. And then we have a corner box, other core box a little different. Whenever we draw a corner box, we're always going to have we're going to start with what we call the why. And the why has all three angles. With a corner box. We have the corner which this line represents the corner coming forward. And then we have two sets of diagonals. We have one diagonal going one way and another diagonal going the other way. So this will be our diagonal here. So let's see, this would then, so this is our y. And the y has all three angles. This is a, this would be B on the left, this would be C over here on the right. And so that would be our three angles. And this is supposed to be hitting us right there. Like so. All right, so then we got becoming over here. So this would also be going that way. As far as that goes. This would then becoming down here. Now, if this is the shorter side, this side, this is the more extreme angle. This should be the software and awesome changing. Why? Hang on to my mind. This will be more, this will still be better. Unless I was gonna make this just a box, but really shallow box. But I decided to change that angle. Again, these angles will never be the same except in one particular view called a 4545, where you're seeing the exact same angle going away from you, but we're not, we're not doing that. And artists would usually avoid that view because it's boring. We want, we don't want things more boring when things less boring. So this is going to be where this comes down here. Ok. And I guess we've actually had me when I want to bring it back even further, I think just a bit. And so we're gonna make it right about there. Okay? Alright, so this is, again, this is a from you Vox versus a corner box. Again, for those of them perspective, this has two angles going off to different directions. That means it's a 2 perspective box. So. So then we have, now have are three airlines are done. Now we have to put the lines for b and c up here. And this is where people, so I changed my mind on that angle. So this angle and that angle source with the same or parallel. But to find, and this is B over here, this is C over here, as far as that goes. Artery. And then all we would need to do is we need to find the last line. So thing of kinda like an upside down L and L. The L isn't at a right angle. That's not gonna help. L has opened up a little bit, but the l would point the way upside-down L. And so the third becomes is over here and it comes off of this corner. So we're gonna take this. Nope, that's opening up. That's closing down a little bit, but I'll take that over the other one. It's much closer than another line was for sure. So that's my third b line. Okay, and then we need the third C, which again, we could do that sort of that upside down, our upside-down L, L, L points the way. And again, the L's opened up, that's not at 90 degrees angles open a little bit, but that points over here. So we're gonna take this corner and we're trying to make that line right there. Where these two meet at the back, that's the back corner. That's the front corner here. This is then the left corner. Right corner. This of course is the right corner. This is the left corner. And now if I wanted to, I could again make this so I can see through it. And so we come down here like this. Straight down executory, my fourth a and that means this line should be truly straight. I'm just going to hang this off. It's because if you keep if you don't have a words intersex as lying, you're up a creek so to speak. And so they're reall Okay. So I'm gonna go ahead and get this should hit right about there. Ok. And that the line stops where it hits the corner. This is the back corner. So again, that's a bad corner, that's invisible line. Again, unless it is made out of glass. And then this one would be coming down here, like so. And again, this would be the bottom of that box. This is the block sitting on the ground. So that would be that bottom plane. So again, this would be the three sets of four lines that are parallel. Then we go and as I'm being a little obsessive about this. So again, this one has all four lines in each set, B, B, B, B and wraps around. So this would be the fourth B over here. This would be C, C, C, and then straight down that C, a, a, a and a. So again, we have three sets of four lines that are parallel. I'm going to rotate this morning to the y once again. And I'm just gonna make the angle. So when I say, I'm going to rotate them, examples are a little different. Let's make this one really extreme. That's probably too much. Let's see it right there. And part of this that I'm using to gauge this is because I've, I've drawn a whole lot of, of, maybe even that's a little bit much. I'll think I should do more than this because if it's turned too much well then it's in one-point perspective or it shouldn't be depending on the angle. And again, some of this I'm basing on the fact that I've drawn hundreds, if not thousands, of these things over the years. Who knows, maybe even tens of thousands, it's minimal. But a few years in the business, I'm not we're not going to tell exactly how many, but it's it's been a it's been a bit. But again, this is our y, this is R B. I should have probably gotten this one more extreme in this one kicks out, but I didn't think about that. Apparently. This is our a, that's our three angles, so three sets. And then we said to finish this up, well somewhere a is going to drop down for this side. And then c, Now this is not going to try to be cubed. This would just be a regular box is going to come back here and now those are converging. Ok, that's better to keep a truly parallel. Maybe we'll split the difference. Maybe that seemed like it was a bit much right there. Okay. So again, this would be where this meets that corner. This would then be, he didn't want this to be parallel to that angle K and I wanted to be parallel, which means my lines a little short. So just go ahead and connect that line up, trying to redraw the whole thing. So I don't defend the line to try to be where I want it to be. So we'll go ahead and put that there. And this here, this is the front corner, right. And then this going down there. Right? And then this is going to come down like so. And then I need to decide where I'm going to put my next B line and c line and so on. We go ahead and put that there, K, K, and then this is going to be over here, k, That seems to be curving. So let's go ahead and straighten it out. And I'm a right-handed. Left-handed, right-handed. But it made things easier but was but In some ways, but I am on the left-handed artists. So I started on my right and I pull down to my left. For your right-handed folks, you'd be starting on the left, pulling over to your right. It's easier to pull on it is to push one. Pulling in your, you're going to be pulling the pencil to your dominant side. So that's why I keep starting on the, on the right. Some of you guys, I'm like that's kinda where does it it's the opposite of what you probably would naturally be doing. If you're not, that's what you wanna do. As when you're, when you make a line, if you can avoid it and there's sometimes you have to push a line, like it's harder to do the sometimes if I don't push them. But then when I started him up, I always pull back across there and that will always strain it out. So we've got a, we've got C and C, and B and V. And now we have three sets of three lines, loops that are parallel. And we have ourselves either corner boxes or as we call it 2 perspective. Oh goodness, I had that completely misspelled that whole time. That is embarrassing. We're just going to pretend that didn't happen, right? Artistic prerogative. Creative attention span or some like that in front of you as a core views. And if you know perspective, this is 1, perspective and this has two angles. So this would be 2. So all right, and remember, just so you guys or whether it will, we'll talk in a different video about this, but there's only one front view, there's only 11 perspective view. Everything else is 2 perspective. So the first thing, like once I rotate that that box so it's no longer in a front view or a one-point perspective view. It's a 2 perspective of some sort. So again, this is only a one particular degree of angle pointing towards does is once you start moving it away again, it becomes that 2 perspective box. All right. Well, this has been Kevin McCain without a hard classes and Kevin McCain studios. I appreciate your, your your patients and staying with me on these front views versus core views. I hope you guys can find this to help you out whenever you're doing intermediate to advanced perspective, sometimes with all the different lighting you little bit loss. This could be a great way of helping you find your way back to the correct path. Where's that? Which line am I missing? And so if you're doing houses and buildings and stuff like that, much more complex, you can very easily get lost. So always remind, remember that we're always going to have, if it's 3D, we have three sets of, it's a box that has three sets, three or four lines in each session. And all of them are parallel. And for those that know perspective the parallel, all of a sudden we start having things going to bash viewpoints. We didn't do that for today. We try to keep them truly parallel. You guys have been great. You guys have a go and be more creative. Catch letter, bye-bye. 17. How to Draw a Cone: We're gonna go ahead and talk to you a little bit more about some of the different, some of the different shapes we've done cylinders, we've done, we've, we've done the pyramid, we've done the cubes and boxes. We're now going to do some columns. I was we're not gonna get so much into the, as much today. But if I, if I draw a circle, how do we know that it's a sphere? While the show volume, a lot of times people will put two intersecting ellipses in there to show that it does have volume. So that's a notation. Say hey, this, this over here is a circle, while this over here is actually a sphere. But we're going to do a triangle so, or comb, pardon me, and with a cone where I start with a triangle. So just like we talked about with the pyramid, if I, if I make one of my little triangles And I don't think that it's symmetrical. I can take this point and bring this down through the middle here of a wrinkle right there. And it's very unfortunate, but bring this straight down. And we need to be 90 degrees as close as possible true corner. And then we can check to see, hey, is this thing actually symmetrical like this thing look close but didn't look like it is symmetrical, looks like it's the law. So again, I can take this and the point there and double-check to see if this is the same distance here. It was close. Not bad at all. So we then make sure this point is where that where the diagonal starts on both sides. So we can go ahead and make sure that we've got a nice, a nice, a nice triangle start to make into a calm. So yeah, this would be our triangle are starting, starting triangle. And then we have now this surf Center line that we use. And again, if I was drawing this, this would stay very light so I can erase it. So now we need to know. But then we could just go ahead and choose this as our major axis points. This is going to be the center of our ellipse. This becomes the minor axis points. These distance here, right to left should be the same. And then this distance here, top to bottom should be the same. They're close, but they're not quite the same. So let me double check that they're really close by, like this should be right up, right about there. But anyway, so what we would do to make an ellipse are gonna go ahead and make this into a little C curve. This, and I want to draw all the way to the back of the withdrawal, the entire lips. This is going to have a C curve through here. This is going to, is going to be, is going to be an arc through there. This is going to be an arc through here. Again, this word, this bend as and this papers. Unfortunate for my legs, but we would then go ahead and make that ellipse and I could go ahead and take that all the way through this. You know, we can go ahead and describe that entire ellipse all the way through. Okay? All right, just like that. And so now we have, this is going to be this the base of the cone words sitting on, on the table. And then this right here, it would be that lips. Like so. And now we've got ourselves again a comb like so. Developed from, developed from the, from the triangle. So this is a great way to, to, to deal with them, with cones. Again, oppose doing a cone that for some reason was tip this direction. And again, I could go ahead and make sure that my triangle that I'm starting with is symmetrical. So this would need to be 90 degrees to this line. It's not quite that kind of bent. That's better. So this would be there. Then we're going to take this and make sure that it's hitting that line right there. Maybe make us a definite commitment. And then we're gonna go ahead and again, measure this here, and measure this there. And in that there. Okay, and then, so then we'd start off again with a triangle that's, that's almost doesn't equilateral triangle, but that it's a symmetrical, it's mirrored on both sides. And again, this would be the major axis points that on the, on the, the, the center line is where the minor axis points would be. And so maybe we'll open this one up a little bit more. And maybe we will see this like we actually tried to actually see the entire like this is on its side and we see all the way across the lips. So we'll leave this one a little more. This is supposed to be going behind it. If you're not, you or I might start to reverse as you've seen in the bottom of it, but it's supposed to be seen from the top and this is just showing where the footprint is. But with this one, we're actually going to shut and we're gonna keep the ellipse there after we draw it. So we're gonna go ahead and come through here. Moment I check this for right now it's a little it's a little. Which is a little off. And this one is also slightly also is bringing this out a little bit more than we go. That thing goes into my little hooks. As it goes around and through the lips, it's binding to open up just a tiny bit more. Mike. So this then curves around through there. And then this one would cover around there. Okay. Something like this one's opening up a little bit too much. So it seems like that should be right about there. And what we're doing, we're trying to check the quadrants, check at right-left, top and bottom like this one seems like This one should push out just a little ways, maybe just a tiny bit more. Just a sketch, just a smidgen, just a tad, a dash, a touch, whatever. Just like my grandma I say When she was cooking there in the kidneys, you like a dash. So this and I've talked to that sprinkle of this and man, it was always good. So again, this is a comb that we've developed again from the triangle. So again, it can be really easy. You know, what don't, When I say draw a triangle, People don't break a sweat too much. When I say draw a cone. You just see that, sir, drawing and how how much how much stress the coin through. And I understand. Because, you know, again, when I was first taught, I was taught this way. It wasn't until later when I was in college recruiter like why, you know why you make it so hard yourself. It's very easy to digest a a triangle on like it makes all kinds of sense. Why was I sweat in it? And again, if you're using a major, minor axis, it's going to really help your ellipses because that was the other thing that started to happen to the ellipses. We're all out of whack. When I was drawing it. Again, major, major, minor axis will cure or help so that you can draw much more accurate ellipses. And just, you know, be able to just nail it lot easier or get close enough. We're like, yeah, and people go, wow, did you use it an ellipse template here just like No, I'm just that good. Ha, or you can just say, well, no, I just got, I got some really cool instruction. However you want to say, you know, what, whatever wars there are personality. But the idea is, is that it works and I'll use it. And so uses when drawing a cone or something like that. And it'll really help you out with your drawing. You guys take care. There's been Kevin McCain without a hard classes and kill McCain studios. You have a good day now. Bye-bye. 18. Power of Line How to Draw a Pyramid: So we talked about making our cylinders from rectangles and that makes it a whole lot easier on us. We also, we're going to show you how to make some, some cones as well. So usually we're going to be using, we're going to be using equal, not equilateral triangles that are symmetrical on both sides. Which I believe includes, it includes isosceles as well. But, you know, so this is not equal lateral, but it still, it couldn't happen. It's mirrored right to left. So when we're doing this, the hardest part, withdrawing, drawing the triangle. This keep in my angles the same. And so what we can do if that's, if that's when we need this to be some empirical, or we can do is we can drop a line. We need to cut this with a line that's 90 degrees or a true corner. And this is supposed to be where the tip of this triangle is supposed to be. Now, I have to make a decision. Do I want this to kick out wider ago? Wanted to come in. But once I've done that, I can bring it into symmetry are maybe I'll do a restart it entirely. But let's say this is the distance I want off that center line. Ok? So I can then just go over here, take little measurements. Off the center line, come over here. Off that center line. This should now be the same distance here as it is here, right? And from there we can then get ourselves a triangle that's much more symmetrical. Rights loves. Ok. Notice though a little bit like so. So again, not, not perfect but not bad either. So and that's all right. So we're going to turn this flat triangle into now we can make it into a cone if we wanted to, or we can make it into a pyramid. We're gonna make it into a pyramid. We're gonna think of this little middle, middle line here. Kind of like a pendulum. And that this thing can do the angle can be other way now it could be straight up and down, but that's more boring. So we're going to decide, hey, do I see this much of it, or do you know this much of this side versus that side? Do I see much more of The right side versus the left side? Or do we see more of the right side? Are Parliament due? I think I think I reverse that. I'm left-handed now, reverse thing sometimes. But am I see more of the left compared to the right or my seem more the right compared to the left. Ic to make my decision. Let's say for instance, I want to make it more of the left side. And I just decided that this right here is the division between my right and left side. And then all I need to do is is decides, you know, what's going on with, with the, with the angle. If I'm seeing more of this side and less of this side, that means this angle is going to have a little bit more. This angle is going to be more extreme or it's going to have a much, much more extreme angle. We'll just use that term for now. Not the one I was thinking of. I and this one's gonna be a little softer. So that means that this angle is almost not quite, but it's getting close to almost being 90 degrees or quarter-on-quarter, quarters of the hour. More is this one. If we made this into a clock phase, maybe this is 1112 minutes after the hour, but actually I think it's closer to Tim has for the hour. But anyways, but we're going to have, you're gonna have one angle obviously is going to be, weighs a little more extreme one that's a little softer. And if I parallel this, we could actually even indicate the base. Whoops, I didn't close. That's opening up still. That could then be the invisible back corner. And if it was made out of glass or Crystal or something, well, then we could go ahead and find that far side. This is the base of that pyramid. So it's easier to, to develop a pyramid from a triangle. Now I understand this is a very simple conversation of a much longer conversation. The proper way, the most proper ways to define a rectangle inside a cube. But for the beginning artists this works, you can work really, really well. There's a part of which, you know, we have to abandon this for the whole idea of taken a, taking a cube or, and, or I guess it could certainly be a box, not just to Q. Well, we can take this thing and then develop the pyramid inside of that where we take a little cube here. This cube is a is a one-point perspective and it's a little bit too wide. So we're going to lift it this way. I wanted to check my square by checking the height. My thumb in the of the pencil versus the width. You know, it looks like I was closer before. Oh, well, split the difference. Right. And then bring this down. And that should be close enough. And then we go, OK, well this is my this is my front view box or one-point perspective box. I can see if it's opening up or if it's the same as that angle there. For those of you that know perspective, yes, there should be vanishing points. And so there'll be diminishment is, but for those that don't know that just yet, don't worry about it. We're gonna go ahead and make these. So these were truly parallel. This line, this line, this line, this line, there's no convergence or very little anyways. But we'll try to get them parallel. Turned us into and turn this into and draw a box. Like so. Supposedly are bog, supposed to be is supposed to be a a, a Cuba. In this case. And this is a. Q. This will be in the back corner. By corner would come up. That tells you my angles a bit off. This is also opening as leaning out a little bit. Trim that up. Bring this over to there. We'll just pretend that strange how we will use our imagination. Be all creative. My Excel. This then needs to push out just a bit. We're gonna taper just little bit at the bottom. But now we have that back corner. We actually create a pyramid in here. So this is now the top little dots on the top of this cube. And then we'd have the bottom. And we all we do is we take the bottom of this thing. Go corner, corner, like so, go corner, corner loops. And then where those two cross, that would be the middle. Take this corner corner. Take this corner to corner. Like so. Corner, corner, corner, corner, all that good stuff. This then is the middle there. And then we just connect this. This is now sort of like a little bamboo skewer going through the middle of a marshmallow or ice cube or whatever you wanna call it. And then all we do is we take these corners here. This is the back corner of the right corner and all that good stuff. You know, the left front, left back corner. And we just go ahead and connect those. Now that's the proper way of creating a pyramid. And as we come down here, like so. And so we'd have our pyramid, the size we would see would be this one right here. And of course, this one right here would be the two sides. And we would see unless it was made out of glass. And then we'd see this back here and we can make this little checker and line and this little checker in line, like so. And then this would be a checker. And this means this is a notation in drafting the mean, say the lines there. But it is invisible or cannot be seen, but it exists. So this would be the proper way to draw on the lips. Now, one thing about this is this has to truly be a cube or this will start to stretch too far out. And so as far as this goes, we should be seeing a little more this side that would stretch this and wouldn't look as wonky. So anyways, so that's, you know, we're not gonna talk about and how to do that. There are ways to make sure that your cube is fairly accurate, but, you know, you get, you've done a huge would like Al I need to do is I need to pull this out. That would then move this over and, you know, you go ahead and change it up so that the now it would actually break through the ceiling is a little bit with this point get the point. Bags is rounded just a tiny bit. But so now it's points actually break-ins are the scaling of the, of the cube. Oh, well, but now the base is more square. But any ways, and there are ways to talk about how true Q. We're not gonna worry about that today. But this is how we can, again, we can develop it from either a triangle or the more advanced way which we'll do an intermediate and advanced drawing will actually do the cube and then draw the pyramid inside the cube itself, right? Well, there's been Kevin McCain with Kim McCain studios. Be creative and enjoy folks or enjoy and you folks take care.