Transcripts
1. Class Trailer: In this class, we've been learning a lot of available information from the basic like collision getting Gui Xiang for a better site to more advanced like understanding hardware intelligence works when you draw. We will clear art biases to great exercises. Learn how to see in the negative space and get through them, decide you're thinking patterns. The class was made with beginners in mind, but experienced that artists will have a great opportunity to improve their fundamental skills. By the end of the class, you'll understand how your mind works. Do you see to your favorite are looking great, observational, improved conscious drawing is kill. Everyone can learn this. So why didn't you pick up your pencil and let's get started.
2. Welcome!: What's up, guys and welcome to another joint fundamental class. To my experience, I can say that drawing is just the sum of two simple things. The first one to know how to properly observe, to understand something, and the second one, to be able to coordinate your body, do represent what you previously observed. And those two simple things are what joined it in essence, both equally important. In the previous drawing fundamental class, we'll learn the second aspect of drawing it. How to coordinate yourself to represent things on paper, which is one of the first skills in the Arctic should be able to work with. So Mark is one beginners or Moreschi like this. So mothers need to reinforce it. We all start at different places and the more ADH just requires to practice until you get good at them. Now, we're going to focus on the other name aspect of what drawing is to learn how to properly observe. So let us start with the first exercise of the class. Please take a piece of paper and divide it into four, even Bart's. On the first part, you're going to draw a couple of fives. On the second one is symbol tree. Under third one, the cat's face. And on the fourth, just a flower. Make sure you're not going to use any kind of reference. You're just going to work based on your personal experience and the information or visual library you already have on your mind. Alright, once you have completed this exercise, we're going to continue with the next video lesson of the class. Ready? See you there.
3. How to Properly See: We're not having a reference to drop in not seen an event. You probably came up with a drawing that looks like this, over simplified and mainly representative of the characteristics of an object, but not representative of proper observation. I introduce you now. Icons are representation of things based on simplified characteristics we already have as storage and remind characteristics that Dallas I had about it being is we'd have the need to spend a lot of time recognizing things, information. They usually show up as an unconscious and automatic process when drawing. Becoming a big obstacle for beginners. Science though, is notice that this is the result of a survival mechanism. We have the voluptuous millions of years back in your life or your drives lives will depend on your ability to identify quickly and efficiently. How, for example, is mulberry will be poisonous or it'll immediately respond to live treated in situations. I can control it in a very long sharp fakes. Men and most reptiles, or a colorful and small Dirac made by this will result in the end of your life. You get the idea right. Knowing this, I can separate out of the suddenness survival mechanism, that reflection growing. Now given our art mindful observation, but responding reactively to what the task requires. And this is the most common tendency when we don't have that much experience upon observing. Just like when we worked up there. We love to draw. But even that simple landscapes with the classic clouds, mountains, houses, trees, when all of our family around were drawn health may items. So if we compare with previous drawing with their counterparts from reality, will now find a lot of inconsistencies. See now how much variation each of these things have in house, objective, and oversimplified. It may. However, if you did it, it means that depending on your experience on drawing, somehow you are aware of this. I can sort highly using our society nowadays to make easy to understand representations of reality for effective communication. They are all around, like in busters, apps, websites, flyers, pretty much most graphic design, which is everywhere. There are not many at all, depending on the context, they may be even very useful. And what's bad is compulsively draw what you think, what your mind is making you to do without a single topic and not to draw what you actually observed. Nonetheless, be careful to not confuse icons with symbols. Remember that icons represent main characteristics of somebody. Symbols, on the other hand, represents socially established concepts. Very good examples of symbols or the heart, the Christian cross, and the eniac. Again, they do represent complex concepts that they regularly and object two characteristics like geico. I know all of these is a lot of information. So feel free to rewatch the explanation as much as you need until it makes sense.
4. Don't Draw What You Think: All right. I guess non making a demonstration of how I can scan get in the way of proper observation which reflects him but drawn all the previous may feel like too much theory if not seen in action. So let's see it right away. Please follow me. We drawing the same as the drop. I know the reference image looks complicated, but we won't be drawing it all. So don't worry. We start withdrawing the overall head shape until we complete it. And if I were to draw this, I badly because of icons, I would not be mindfully thinking on What I dropped. But I would just let my mind true it's automatic processes to feel the lack of visual library. You can see how the eyelashes, the size of the pupil, and the middle i shape looks somehow balanced, but when converted to the reference, they are not resembling a currently 28 drawing based on the general idea of what you would think. And I look and not on how it actually looks. Don't confuse this as a bad drawing because of the lack of skill, because sometimes you may observe well, but your joints one look very good because you need more time to practice for better drawing. Instead. Think about this as a bad drawing because of the way you impulsively approached it. It needs accurate and mindful observation. All right, Let's now draw the eye and the left to show you how join with good observation will look. First. Pay careful attention to the general shape. Remember it shouldn't be drawn without previous stuff because it leads to icon's. Take your time to observe the lines. Notice the rhythms which are giving form to the subject. Second, pay attention to the size of all of the parts of the ice sheets, like the eyeball, which is the white visible part, and the pupils which goes inside in the middle. Hi and mindfully paying attention to how one size relates to the other tendencies. They sense the difference between both runners. Now, I bet you do. But wait, don't think you're done. Even if you've identified this mistake, it is not a warranty. You are now going to complete overcome falling on it. As a previously suggested. We also need to practice to develop the skill we want. Instead, this means you are not conscious about it. And that every time you are seeing you're making this mistake, you'll now be able to tabulate right away. For example, when I dropped, I'm not thinking the whole time about this because I've come to a point from practice where I had an urge to, I can make this kind of mistake from time to time, but it's very easy for me to identify and definitely it right away. Please notice that the way I describe it to lines, what I observe, which you can see on the drawing edges made of a correct I is just my interpretation of reality. It is the result of what I was paying attention to and what I decided to place on my drawing. Every artist may write this as we all have different and unique points of view. We all may please the same parts of a drawing from the same reference picture. But we all decide how thick or thin each line is and what's the level of detail from our reference picture we want to include on arts-based. So if you're joining me, look different from mine. It's completely fine. If the previous example was inferior enough. I'm now going to show you another quick example up here. Maybe you have previously drawn very simplified eyebrows, Wayne join other phases, not necessarily realistic. Even if it makes sense on the drawing. You should be paying careful attention on how everything is going on when observing the reference source. Because you are drawing from observation in your learning how to observe. For example, I can see that these hybrid has a lot of hair, so I'm adding proper texture. I can also see that it looks very thick, so I make sure it reflects a new drawing. All right. Now look how both eyes and eyebrows are contrasting each other. On one side, I approached drawing without proper observation. And then the other one, I made the effort of properly observed how each shape works and how each line, rhythm and texture resembled the must be observed source C, I think you're getting it now.
5. Should I Draw Realistically?: That was a lot, wasn't it? It may be very natural if you're not confused about the nature of AI consistent mistake on arc, you should be wondering, is this the lasing? What do you want to draw something back to do? This is because you are now identifying anything that is not accurately exact observed reality as a mistake. Well, let's clear that right on. To drop S stylized, nice installation shapes and line readings from reality to come up with interesting ways to interpret it without personal touch or existing characters or environments from your favorite and any immediate shows is not a mistake at all. But it should come from a point where your already know how to properly observed target done on low icons to biases. You don't need to be a master of realistic drawings, but you should be able to observe things as they truly are. So you can face the challenge without fear to reduce the set of decent quality in order to become a skilled craftsperson. That is, when you'll be able to draw SLIs, characters or environments, is a choice. It's a result of your reference. In good observational skill, not as a result of limitation for observation, fear, and lack of skill because you felt you couldn't do it otherwise. And said, Let's have very limited in place to be as an artist. Because on art, what we wanted these to express ourselves as much as possible, not to feel constrained when to do it. Again, it is not that you should be a master of realistic drawing, but you should be able to properly observe things as the yard. So you can also have enough control on your hand to drop these. Not perfect, but very similar. The better you're going to become a drawing from reality will only come the more you practice it. Then that's the place where you should draw cartoony or SLIs. Once you became a great analyzer for the Sharpie, for anything you wish to draw forward coming icons when observing. Because ultimately, it will make its laser drawing so much easier to do.
6. Release your Intuition: Science used to think that we human beings have certain tendencies when using our brain. He was well numbered them. Left side of the brain was in charge of every day related to rationality or dangerous. And that the right side of their brain was in charge of every day related to creativity and intuition. New evidence, however, suggests that this is not true at all. And then we actually use our whole brain to complete any kind of activity. Yet, this fact does not denied that we do have certain tendencies when we act, depending on the kind of focus we put into it and the kind of activity we want to accomplish. If you're working with the rationale intelligence of your brain, know more on where it is located. You're going to have certain results different than when you work with your intuitive and creative part of your brain or when you work with both of them, which is the best scenario. Honestly, it doesn't really matter where disability are located on our brains. But what truly matters is that they're scientific background that demonstrates this intelligence do exist within us. And then we can use them to bring them out of our potential. On this wise, the situation of drawing undesired icons is just the result of thinking to only your rationale or intellectual intelligence. You should start cultivating now, how to think we'd also your creative and intuitive intelligence. So you can unleash your full potential, because great observation only comes from using them both. Great news are that there are plenty of drawing exercises to start switching the way you approach drawing and thus the story using the into different creative intelligence of your brain too. Thanks to Professor Barry hours, this topic became very well known for the past couple of decades on the art community. Mrs. Barry wrote the book, drawing on the right side of the brain, which you can find on most bookstores. Yet, if you don't have much time to read it, we can still keep it simple but effective in here. Get ready because we're going to review some of the best and coolest exercises that I personally handpick because of their high quality from her book. In this following exercises, we'll be exploring how the things we want to draw them, beginning with, think about them when drawing. What are the shapes, form, and texture that come from truly observing how they really look. Remember to please follow me in all the video lessons and all its demonstrations by drawing the same as I draw. That's how you warranted. You just don't rationally understand, but you experience what I mean on each explained thing.
7. Upside Down: So the first exercise for releasing your creativity and intuition is to draw something upside down. I've chosen this picture of a bunny because I find it simple to approach. At this stage. I want to keep things simple for you. It doesn't matter that it is as the light fixture and not one from reality. Because unconscious icons can come up at any stage. So let's start. Don't be too much attention to all of the different textures of the verb. We're just going to describe the body through thoughtful lines. And that should be enough on this demonstration. So you can notice that there's a faster speed for the sake of grief and efficient explanations. But you should take your own dime to draw your own picture as much as you need. Just foss on a bus at anytime of the demonstration as you navigate through your own drawing. And you may wonder, why the heck are we drawing like this? Long story short, to draw an upside down helps you reception to Dan, attach any meaning to what you dropped because they Barstow four intelligences that processes observation and creativity is now also activate. Thus, we end up with more accurate results. This is where we shouldn't also switch our picture direction, either being this from the reference or being this while we draw. Make sure it remains upside down for both as you drop until you finish. I know it feels a bit strange or uncomfortable to drop. So try to relax your base and your hand to mindfully complete your drawings. The drawings shouldn't be perfect either. Make sure you're focused on observing each line and shape at its best. The main goal is not to come up with something to hang on a wall, but to train your mind to see differently to what you're used till now. We have Rabbani. You can always do this exercise as much as you feel you need to, because you'll start filling the difference the more you mindfully practicing. Don't feel limited to just draw the same picture. You can always draw anything you would like to. Just make sure it is easy for you and that it is upside down.
8. Mirrored Profiles: All right guys. We want to keep telling our brain to stop thinking two icons and to start mindfully observe what's in front of it. So for the second exercise, we're drawing the contour of a profile face. You can pace yourself on any reference picture. Yes, please do it based on observed me to somebody and not from memory. Making sure that these counter fields, the homepage, run this. We must mirror the previous drawing, but this time none look into their reference to our drawn profile face. And here's where the magic happens. Same as the previous exercise with the bonding. This exercise forces the brain to progressively activate the intuitive intelligence. Because you are not attaching any meaning to the parts of the drawing or to the drawing itself, resulting in breaking of biases of values. You can do this exercise on any medium you prefer, from digitals to traditional. Just pay careful attention to the way you think about the counter, especially when drawing the opposite face in front of the other one. And of course, make sure that if you're going for digital, you're already used to the feeling of drawing like that and know how to manipulate your preference software. Now, Let's take advantage of all these energy with gathered. And let's take another piece of paper. We're going to draw another version of the profile face. But now we're exaggerating the facial features as much as possible. Please don't look at any reference while drawing besides your previous drawing. And the same force that happened before with the mirror at faces should be happening. Now, the meanings you've attach to the standard profile face is starting to be disrupted because you are now defined that other counters and shapes can represent the same thing. Bigger noses, pronounced, sleeps for a different genes are well-represented in here. They take us to the original phases structure, but it looks quite different from it. Isn't it? Funny, we still perceive our second drawing is also a valid, recognizable face. You can always try this exercise by variety of facial features into different shapes to come up with more interesting and variety versions. Remember that successful dry and requires you to draw with both of your intelligences together. And we're done carefully. Look at the drawings. Do you see the negative space between the myriad faces? It feels like a cup, doesn't it?
9. Blind Contour Drawing: I want to keep you warmed up. So let's do another exercise called blind contour drawing. Once again, with this exercise, we are going to enhance the intuitive part 2 4 mind to interrupt our automatic mindless processes. Okay? What you're going to do now is to look at one of your hands. And with your remaining freehand, draw all of its counter without looking at your drawing, you must fix your site to only the hand that is a steel. Neither will you be lifting your pencil, trying to draw everything that a single pass. Please be honest about it and don't look at your drawing. Otherwise, you're going to break the whole forest the exercise has. Make sure you watch and draw the whole time. All the details inside your hand, like the wrinkles and here on each knuckle and finger. If you raise your hand by mistake, don't freak out as simply continue with the exercise. Yeah. Yeah. Same as the previous exercise. The point is not to accomplish a polished drawing. Instead, we're exploring an opening, a new way to perceive. Think you're dying to do it really as much as you need. If done the exercise properly, you should be observing a lot of wrinkles her and even skin pores on your hand. Your visual perception has been really activated, suggests focused on growing the most visible ones. If not, you may get copying too much detail. So don't oversimplify, but don't complicate yourself with too much of it either. And great. Another vision of this exercise comes from drawing a crumbled paper. Making sure I'm not saying you're drawing while doing it either. Neither lifting your pencil and carefully observing all be tramples, encounters the paper has. It can become tricky, It's not approached correctly. So a great way to take the master of this version is not to approach separating inside and outside counters will join. Just do the same as when drawing the hand, navigate back and forth through the inside and outside counters until completing the whole crumpled paper. You can always worried between both exercises as much as you want to. Now, I bet you're filling your intuition and observation. Flowing battery doesn't feel great.
10. See The Negative: Up to this point, you've done a lot of new information and energy which needs to be well-rounded and concluded with the board, the concept of negative space. Negative space in terms of drawing, is the way one can see the contrast between forces, the object, and the space which surrounds the objects. But it needs to be interpreted in two different scenarios. One that comes from the silhouette of the object when contrasting willing to space. And a second one that comes from the space that is inside and or in-between the objects parts. All the space that is outside. What confirms the object is what negative spaces is another displaces negative. But that we consider the object as the positive force from tuples. Since it's the first thing we pay attention to while drawing. Which leaves just the other, both the negative where space remains. But why is this a factual use? Well, when drawing negative space or brain literally becomes a speechless. Since perception of the space is something really difficult for our brain to describe today intellect, we can give it a proper shape and named because it is just so broad and big that it is probably infinite. And there's where the magic happens. Turning on the intuitive intelligence that lies within us, which besides the spatial perception, is in charge of observation to too much stock. Let's go with the final exercise. A simple join of negative space of a church. Choosing to drive chair is not random at all, is one of the objects that we usually perceive at an early stage of her life, which we quickly analyze and historic on her mind. Given by the nature of its symbol is structure and form. We're going to describe counter not thinking on the object itself, but of all the negative space. Drawing the chair by nothing readily thinking on it, but by focusing first on the outside contour of this space that goes around it. And I'm also thinking on the negative space that goes inside the shape of the object, as I explained before, buried them to draw this on the approach you've already experienced in practice before. Because you're probably not used to think about negative space. So please about switching approaches because feeling a bit uncomfortable while doing this is what actually exercises the intuitive intelligence of our brain. Just focus on drawing the negative space counter rather than drawing the chair itself. The reference picture of the chair we're drawing description non-common design, which will force us to separate our intellect from the classic chair idea to awake or visual perception, to recognize it as it really is. For the sake of this class, we're drawing this from a reference picture. But I also invite you to do this kind of exercise from observing real life objects. Since the space is better experience and it's three-dimensions, if observed from direct reality, is not that they exercise won't be useful from a picture, but from life drawing, it will be much easier to understand. It is a great idea to draw other objects that have different form. But there are all the same. For example, different kinds of plans, different kinds of birds, different kinds of dog breeds, and so on. Once you've experienced the benefits of negative space, you can approach drawing from negative and positive space, usually observing the object as your main source first, and then observing the negative space that surrounds it or is inside of it later, which will make your drawing B's much more accurate. Awake. You're right to be sensible to our counters and shapes. And finally, help you to fix the observational biases you have.
11. Putting It All Together: I bet you know what to put into practice. Everything you've learned, especially after having awaken a lot of your intuitive intelligence. So for this part of the class, I have prepared two quick demonstrations where I want to show you how I like to approach realistic observational drawing, which is not focused on making a great rendered piece. But it's meant as an exercise for putting in paper the result of good observation and the concepts learned in the class. So pretty much like the previous exercises, the following demonstrations are about training the eye to coordinate your instruction and mindset and not to create the final art piece. Having said the previous, it is not a must you follow me by drawing the same as a drop. I just recommend you analyze very carefully all of these shown and learn by studying the things you may pick up that may serve you the purpose of learning how to properly observe, to properly draw. After that. Having observed the way I approach the drawings, I do recommend you now draw, but only if you feel confident about it. If not, then try drawing simple things and progressively increase the level of difficulty to some you feel more confident to approach by applying the mindset learned in the class. We all learn at different base and we all have different levels of experience according to our interests and practice time. So just focus on applying the learning for improving and don't give any attention to force any specific result. Because it will naturally come when it should, not, when you think it should. All right, Enough said, let's start with the first one. I like to start by drawing the overall simplified shapes that compose the structure of the subject to drop, to help myself navigate through the complexity of the whole picture. And now I just focus on the most general impression, leaving out anything related to beat. When placing the shape, I pay special attention to its counter. Carefully observing what I consider important to be translated onto lines. That way I make sure I keep the essence of the subject in the drawing. While doing this on your drawings. Try to remember the way you made the blind counter exercise. The one with your hand or the crumbled paper. Because those especially are meant to sharp your eye for countered by letting you open up to see everything as it really is. Not as you think it is true icons. That way we avoid the trap of unconscious icons by focusing on the counters and how they look. It's highly important we remember that automatic processes are something we need to take controller, because depending on how much or less experience you haven't drawn, it is a fact that they will appear when you draw. So we better be ready to acknowledge one day arrived and will right away. Then, once placed at Mass General parts, I proceed to add secondary things like the hair, clothing, or accessories, which I consider a non-essential but important. Just following the same logic, thinking about the general counters and shape and not the details. In here we'll draw in a human face. But this could apply to pretty much to anything. It could be an object, a vehicle, a blend of a slice character, whatever. Think of what he does, join the outside contours. We're not paying attention to the insight counters yet. I make adjustments and corrections of the size of each shape as they go by comparing O shapes from big to small and how they relate to each other. And completed the general biggest shapes with its counters. I do start to think about the insect counters now to give life to the drawing piece. Like the facial features, hair, the hair strands, festers, accessories, et cetera. I hold into the filling of sensing each counter with my eyes and my intuitive intelligence while not rushing myself at anytime and allowing the energy to flow through thoughtful observation. Remember that your mind should be able to tell what is counter and what. And I confess. I also correct everything I feel off by paying careful attention to the negative space between parts, trying to find a more accurate balance to how they relate to each other from observing the original picture. Negative space is a phenomenal tool for publishing house similar to drawing to the reference source. Because it consciously activates what we've done usually pay attention, but plays an important role in how we are or our viewers for C four Rs. And last but not least, I have the shading I want. This is very variable because it depends on what they are this pays attention to and to the level of rendering in detail. He or she wants to opt for the current image. I wrote not that much to don't over complicate things for you at the moment. Just add a bit to what I consider will give the pieces soft but a stronger look. And remember, these kind of drawings are meant for you to improve the way you observe. Your goal shouldn't be to worry about how perfect it may look. That will depend on the level of observation and practice you acquire to time. Instead, you should think about how mindful you place each stroke, how accurate your observation is in how well drawing after drawing, you're going to be able to improve your mind and hand coordination. Hi.
12. Bonus Demonstration: Okay, Now let's go with the second one. Just like it did in the previous demonstration. I usually start by drawing the biggest simplified shapes that create the structure of the whole subject, commonly beginning with the head shape. While painting special attention to its counter, we don't fall in items, but to really draw things as they really are. Doing this on your drawings. Try to remember the way you made the blind contour exercises. The ones with your hand on the crumbled paper again, because those especially are meant to sharp your eye may letting you open to see everything as it really is. Not as you thought it was placed at the Mass General parts, if there is not much things to draw like a complex hairstyle or outfit, I focus mainly on features of the character by following also the same logic of thinking about the general counter rather than the videos. And just like when we do them mirror proper basis to don't attach meaning to the facial features and so avoid items. It's important to remember in here that each shaping countered comes from meticulous and conscious observation, not from automatic mindless process. So you will come any icon we made them do put specially in here. And I am making adjustments and corrections of the size of each shape as I go by converting O shapes from big to small in how they relate to each other. I remind myself to feel free from mistakes while drawing. And I know that every art pieces are in progress. And this may seem very obvious, but very often we tend to unconsciously put pressure on ourselves by thinking things should be perfect at the very first strike, when most of the time they are not. Melting of accuracy only comes through mindful practice and coordination that arises from years of practice. I constantly keep on correcting everything API love by paying careful attention to the negative space between all parts. Bring to find accurate balance to how they relate to each other. I focus on observing things as they really are not allowing automatic processes to take over the artists. Okay, can I take advantage of the digital medium to afford this lean? Make the changes from the different relationships or barks or the inaccurate strokes I misplaced. But this could be easily made with traditional medium as well. It will just be erasing and replacing everything where it should, instead of selecting and move it. Schema and observation has nothing to do with the software of the medium. Good results come from the way you are able to train your hand and learn to approach the act of drawing from a powerful mindset. And finally, in this particular case, having shown you already the general mindset for good observation, I proceed to add more elaborated shading and videos for demonstrating that no matter how complex the final piece or the reference picture both look from an external point of view. It was all possible thanks to the right mindset.
13. Class Project: Now, what's left is just to apply all of these in something that shows your new skill or class project is very simple. Choose to redraw one of the four things you did at the beginning of the class, from the first exercise, from a couple of files in tree, a cat's face, or a flower. But this time applying your new superpower, truly observant. Make sure to compare it to the first drawing you did before taking the class and see how much you've improved. If you feel motivated by your results. You can even share with all of us. I would really love to see your improvement.
14. Final Thoughts: But wait, before leaving. I will love to clear up the things I consider maybe a cost of later confusion. I want you to leave this class with a very clear head ready to keep going. So let's go with the first one. Depending on your experience on drawing, you feel more or less the power of each exercise because everyone's perception and drawing experience is different. And we are more or less biased on the different things we've been true in the past. However, if you really are a beginner drawing, it's highly likely you've taken the most out of the class with each exercise by now. So long story short, the more beginner you are, the more the benefits of the class wherein you. But even if you have a bit of experience, I'm sure it made you aware of a lot of important stuff that help you to sharp your artistic eye. This class was made with the main goal of helping people over combat observation, which translates some practical terms. Do not directly teach how to draw, but how to properly see for art. And what to do to train your artistic eye, which ultimately leads any artist to improve their drawing skill. As a consequence, notice that technique. Also, intellect in rationality, were terms that are used to describe one of the most prominent intelligence we have within us. Which meanings may be unclear. For some, they both refer to the same thing, which is the logical way of seeing things through the scientific method and reason. So if by any chance you repeat any video lesson of the class where this is named, I hope this gave you a clearer context. Mrs. barriers addresses the icons issue as our brains symbolic system and not with the word icons. I personally haven't picked the icons were done meaning for all of the class explanations, thinking it would add better understanding of the matter and an updated meaning to the science behind this phenomenon. So if by any chance you decide to go deeper by reimburse the Alberts book. Consider this well-written it to help yourself navigate it and make sense out of it. On the other hand, it's important to have cleared that unconscious icons and drawings can also happen with S stylized drawing. Besides running from reality, the act of compulsively drug through your biases is not linked to drawing directly from reality whatsoever, but to not observe things as they really are. So no matter if you're drawing from a favorite character, someone else's art or deregulate reality, you should start recognizing during conscious blinding patterns for taking control of your observation. And at last, be able to come up with great art. Likewise, maybe as you learn that things should be drawn from observation. You may also be wondering, what about drawing from memory? And that's a great question to drawing from memory is completely valid to do two. But it should come also as a result of previous proper observation of reality. Reference or other artists work not from automatic and unconscious processes through icons and lack of visual library. So if you want to learn how to draw from memory, it is just a matter of practicing enough the things you want to draw from observation to the point you'll remember them one day without looking. And nonetheless, my final advice is always, never rush. Please take everything beat by beat without pressure down to allow your current environment, life duties, people around you, or any of these concepts to overwhelm you. I invite you to navigate through all of these video lessons as you please and practice each concept but your very own pace. Filling art is not for you or filling your art is bad and it's not improving. Frustrating yourself to the point you think you are not understanding anything from what you are learning. Most of the time comes from Russian yourself. Because you're not allowing your very own learning process to express at its own time. So take a deep breath and be patient. Just go at your pace, handled wisely your surroundings. Don't try to do many things at once and take your time. You can also find me on my personal articles on Instagram and Twitter. I may not be uploading a lot of art right now. But if you like the class, there might be interesting things and content you to see in the future. There are a lot of reference pictures that I have data for mild status, but that may be of help for you to expand your visual library. It cool new artists finding inspiration and learn from different tutorials. You can find them all on my Pinterest profile, which you can click the line, the description. And finally, don't forget to leave a review if you found this class useful to follow me. If you want to say, update it to all of the new classes that will becoming or to ask me anything if you need any help. I'm always happy to help. Thank you guys and see you next time.
Sensei, Anime and Manga Finally Made Easy
