Interior Design, Floor Plan by hand

1. Introduction: Hi, and welcome to the skill share class. My name is Sonya. I'm an architect and farmer university lecturer and today I'm gonna be teaching you how to draw a floor plan by hand. The class is designed for you to be able to watch and draw along as you go. So we're going to be using my bedroom as the example Room. And I've included some pictures so you can see all of the different items as you're going. I'm going to start off by telling you which kind of tools to use though the pens and pencils that you'll need. And also show you some of the architectural lines and talk about line weight. So ln hierarchy, we're going to dive right into the floor plan and delay out with structure, windows and doors. We're going to go into furniture, add some detail on some character into the space. Look at how to communicate different textures and materials, and then finish off by adding a person in plan view, this class is perfect for beginners. You don't need any experience. However, if you do have some experience within drawing floor plans, interior design or architecture, then it will be good exercise for you to gain a bit of practice. Feel free to take pictures as you go so you can see your progress and development. And remember to add the final piece into the project gallery so I can see your work. Thanks for choosing this class. Let's get started. 2. What You'll Need: Right, we're gonna start off with what I carry around or the technical drawing implements that I use for my drawings. This is my tiny little pencil case that i got probably over ten years ago when I was living in Japan for the your're doing my Master's, my architectural masters. And insight here is jam-packed fill. It has a pencil and four pins. So these are basically the things that I draw with pretty much all the type though this is a grip pencil is a very architectural kind of pencil to have. You basically push on the anterior, on the, grips, the lead, and then you push it right Louis up to the end. And it just, it's great for sketching with, and it's a lot thicker so you can add sheet and texture to your drawings, which is not typically something you do in the technical dry, you would typically use a propelling pencil like this. You don't need to spend a lot of money. You can just buy one of these really simple kind of school pencils that you get. If you don't have any of these on hand and you just have a simple pencil, that's absolutely fine. You might think that you will need a rubber or a razor, whatever you call it. In technical drawings, we don't typically try to arrays and the thing, we use different line weights. And so there's a hierarchy. So you start off with nice light lines and then move up in stages to make more of an impression or hierarchy in your drawing. So we're actually not going to be using anything to erase any of your lightens moving onto pains. So these are the four that I carry around with me. And I have four different ways here. This starts up 0.1. There is a 0.3.5.7, usually have 0.7 or 0.8. But it means that I have a nice thin line, typical medium drawing, sketching line, and then a bold for important lightened structural lights. So it gives me a good language for my drawings. These are Sattler pens. They're quite inexpensive, but they are disposable so you can't refill these. This is a refillable pen. It's called a roof tree pen, and it means that you can unscrew the light. The nib here is 0.5. And then you can unscrewed the actual pain. And there's an ink cartridge insight and you would just take this off, fill up and clean out the entire pain after using and storing safely. I have had these pains for probably about 15 years and they're still in very good condition these days. These are the pens I typically use. This is a Muji 0.5, I think was one of those, but you can get 0.1 as well. There's no ink cleft and that because I use it all the time. This is great for architectural rice tank and also for drawing. This is a step below. You can get this in lots of different colors. There's a fine line pan, which is this one, and there's also a thicker one for doing renderings and coloring. This is a really good pen because it's very accessible. So you probably see this in your stationery shops. This is another great twice and I got this on Amazon is very, very similar to these pens that I showed you a second ago. But this pen is actually waterproof. So it means that a here during any drawing where your ageing watercolor, it won't actually bleed. I have two other thicker pins. These are calligraphy pens which I got in Japan. And it just means that these give a really bold line arranger drawing, which is important for communication and for the hierarchy of laying weight. And you can trust me when I say this is not the only collection lie have, but these are typically the tools that I use on an everyday basis. So for this class, all you're gonna need is a pencil. Any type of pencil will be fine. And 2.2.3 pens. So something that's thin and something let's say car and then just some plain paper. Let's get started. 3. Warm Up: Okay. Let us try and warm up before we get straight into our floor plan. So I want you to pick up your pencil. It doesn't matter if it's technical drawing pencil or just a normal sketching pencil. Hold it in whichever Han Geuze night before you start. The difference between sketching or drawing, the way you're maybe used to untechnical drawing is the way that you hold the pencil on the confidence and the use of the pencil. So sketching you typically relax and hold the pencil a little bit further up and move kind of brush movements down the page. And therefore you get light chart and darker shades of the pencil on the paper. And it doesn't mean that the lines actually intersect, they're usually quite feathery. The hallway down a technically drawn Lane is a much bolder, confident line and it's quite difficult to do it first. So I want you to hold your pencil a little bit further towards the nib. Hold quite tight. And I'm going to try and ask you to hold it straight up and down. Now this won't feel natural to you at first. But this is the way that you're going to make a nice straight line, a straight as you possibly can. And I just want you to play with that up and down page. You can go slowly if you like, or you can do quick ones. Now you can see my lines aren't very straight on here. That's absolutely fine. I just want you to try out this, see how it feels. Hold the pencil up and dying, and just pull it down the page as much as often as you like. Okay, now that you've failed to page of lines, I want you to try an architectural line. So this is a line where you put the pencil on the page part and you cool it down so it doesn't need to be straight. You're just putting the pencil on slightly more angled pencil and just pulling it down so it will be a little bit wobbly, but that adds a little bit of character to the light. Try that a few times and see how it feels. And then we're going to intersect some lines and we're basically just going to make a cross. So I want you to know you go vertically and pool the pencil, but it darn, I'm just peel it back. By you see the I'm holding it in a much more relaxed way. I'm not holding it directly up and Dion and pooling it, which will create a much darker line because that's heavier. Try a few different lines, different weights as well to give you some variety. Let's move on to one of your pens. Now. I'm going to use my medium. So this is a 0.5 pen. You can choose to use the thick or thin, whichever you've gone with. I want you to simply just use the pen in your technical position, holding up and iron and draw lines across the page. Start from one side and move to the other. Try and do it as straight as you can. A decent speed. And don't concentrate too much, just try and enjoy it and relax into it. The more you do this practice makes perfect, the more you will feel confident, unhappier with your lines. Next, I want you to try different lanes. So we're gonna do a dashed line, which is quite often used to communicate something that is being taken down and say you're removing a wall or making an opening. But also to indicate something that's above you. And a floor plan like shelfs are kitchen cupboards, things like that. The next line is a line, an adult line dot. And this typically indicates a boundary. So maybe the boundary around a property, this might mean that they're fans is going to be there, or it just indicates this is where the end of the binary stops. Therefore, the people, the client doesn't own beyond that piece of land. We're going to leave it there for the lines that you are going to be using and move on to the other pain. So this is going to be the thicker one for me. And I'm just going to get you to draw different thicknesses of lines. This is what we call line hierarchy. And there's really important in communicating things like structure compared to furniture within your floor plan. So again, just a straight line is pen is running out of ink. Doesn't really matter. Will go a little bit slower and will get better ink out of it. There we go. Play around with the pens that you've gone, trying to hold them in an upright position on confidently moving across the paper to create different straight lines, different types of lines, and different hierarchy. So thickness of lines. Now we're just going to take a simple square on try or corners. So when you're drawing technical drawings, as architects and interior designers, we don't typically draw box where the corners are like little loops are like this and don't actually meet. So you have a gap PR in construction that would be a problem because the walls wouldn't meet. Here. We don't exactly know where the wall starts, where it ends, where it crosses over, where the 0 would be for the measurement here. So the best way within technical drawing is to actually intersect your lines so you cross them over. On floor plans. You'll see this quite often. And that gives you a level of accuracy where you know exactly where 0 is. Make your measurements from, to take a survey from, and for construction to happen as well. So it's much more accurate than this line here. So trying to get in the habit of giving your corners a little bit more of an extended line. It doesn't need to be massive. It just needs to be something where a gives a precision corner and helps to communicate by tar. Try this with a few different shapes. And if you don't quite meet in the corner, you can go back over the line. That's no problem. You'll notice for less time moving my pencil around to help see where the light is going on to actually crossed the lines. The more you get used to drawing technically and get your line weight correct. And feel confident and drawing a relatively straight line, the same line weight, holding the pencil the way that you're comfortable, the better we'll be. 4. Structural Layout: Okay. Now we're ready to move on to the floor plans. So we're going to be using my bedroom as the example, but you're very welcome to use your own bedroom and try to draw up as we're going along. Of course, as you go, take pictures so you can record the process. It's good to look back on. And once you're finished, please do share it in the project gallery so that I can see your work and we can all see her where each coming on. I'm going to start off with the pencil because this is the lightest. And obviously if you really, really need to, you can erase it. But I would urge you not to and just don't worry about the pencil lines if we made mistakes they are at, we draw over them with thickness and line weight. So you will see that much stronger than the pencil lines. So try not to erase anything. Right? The best way to figure out the shape of the floor plan that you're going to be drawing is looking at the ceiling. The ceiling typically doesn't have anything in the way like furniture and whatever else is going on in the room so you can see what shape the floor plan is going to be. My bedroom is basically just a square. So I'm going to just quickly draw a square using R cross corners to make it as accurate as possible. Ok, now you're going around the room. I know that there is some sort of structural entity in this corner, which because I live here, I know that buys some piping. And there's also a built-in wardrobe in this section. So I know that that bite into the space as well. So I'm going to add that into the square. So we have our structural component here. I'm just going to add that in. And then I'm going to extend the external wall. And I know roughly how far along it is. Bring that out and then join those two together. Or we're not measuring anything here. We're doing everything by I and it's just a very, very basic shape. We're going to try and figure out everything within the room. So if you feel like you've made any mistakes or anything, just add them in, in pencil. And then when we come to ink up, you'll feel much better biota and that will be your stronger lane going on. So let's just get back into the floor plan right now and draw in the main components. So structurally, I know that there is an opening here because that's where the door is. There's also an opening here where there's a window. So this is an external wall. So it's much thicker than these internal walls. This is what we call a party wall, which means that I shared with the next-door neighbor is shared with another property. So this is a thicker wall, just like the external wall. That doesn't really matter if you know what your walls are, are not. If there is a sidewall, it's probably thicker than the internal walls so we can draw the men as well. So I'm just going to basically do a thicker. Wall along the property here. And I'm gonna do a thinner wall inside. And I'm going to go all the way around and crossing them over as I go. Now here, this is the external wall. It goes all the way along the property. The same list site. And this is what we call the party. Well, so it's a thicker one. I'm just going to cross these ones over. Do this a little bit thicker so that you can see all of that. So this is our structure. You don't need to worry too much about that because we're going to focus much more on the interior of the room. But this gives you a good outline on helps you understand the buildup of the room as well. So going back to our door, we can close over this wall. And now this is where the corner of the door and the wall are on the other side of the door. So through here, you walk into the room. This is the car door that leads into the bedroom. And I know that the door hangs from the site and swings into the room. So when you're walking through, you open the door this direction from the left-hand side and walk into the room. So the door hangs from here. And it obviously is the same width. But I'm just gonna do this roughly. It has a thickness to it and it swings from this site to open. So you can either draw a straight line here or you can draw a curve because the door swings round in a curve. If your door comes out into the hallway, then it would swing the other direction. So just if you need to get up open and close your door and look at the swing of the door right now. So that's our door sorted into her bedroom. We also have the window over this side. So we're now going to close over the opening of the window with our line there. And this is where my window is. Now you can either indicate a window by just doing a line across. But I know that my window has an open leaf section here and a fixed window pane here. So I'm going to draw a line to indicate the glass. A line where there is a panel the opened and the panel that stays closed and fixed is a double glazed window. So I'm going to indicate one pane of glass on one side and one plane of glass on the other side. And this means that we now have three lines. A frame, which I can now indicate. A frame on this site, on a frame attached to the wall on this side. This is the best way to indicate a window. I know that it also has a window sill site and a windowsill insight. And so this is much more accurate way of drawing our window. I'm just gonna put that little bit thicker and heavier so that you can see the importance of the structure, the frame, and the glasses much thinner and lighter there. So that's our structure completed. 5. Inking Up: I'm now going to take the thickest pen and I'm going to go over all of the structural component or the outline of the bedroom. So I'm gonna start at the door because that's just a good place. You're walking into the room. And I'm just going to go over as straight as I can without lifting my pen as I draw the line. So nice, bold, confident lines going from one and intersecting. And the same. If you need to go back over your lane, that's not a problem. Obviously needs get more more pens. That's the outline of the Wardrobe. And then I'm going to go from the window. And if you need to move your paper around, that's absolutely fine. Along the edge of the wall. And I'm gonna go back to the door and start at the other side. And I'm going to use the structural component as part of the language because it's important in the room. Make sure those crops. That's my outline. So it's very important to draw. It is structural, we can't take it down, so it needs to be part of the feature of our drawing. And then the internal wall, which we share it with the neighbors. And then the external wall will just go back over that and back to the window. So that's the insight of our room. These are the walls that you're decorating, whatever you're doing to the interior of your design. And the external. We'll just put them back in. I'm just going to stop the line there because it continues, but we don't need to focus on that because we're only working with this Rutan. Belong there. Okay. So that's all I'm gonna do. I'm not gonna do the outside walls because we don't know how thick they are. I'm just going to leave them in pencil because we're focusing on the internal space. I'm gonna take my medium pen knife and I'm going to draw the next largest important thing in our line weights, which is going to be the door. So I'm gonna do the tool door that you would swing open and just leave it at that. And I'm gonna move over to the window. And the next important thing which you can see here is the frame. So I'm gonna just draw that in. And sometimes you'd see these bolded out, so start so they're solid, which you can also do. And I am going to move to the thinnest pen that I have, which is a 0.1. And I'm going to do the other information. So the door swing, which goes from the close all the way back to the door. So because it's not a structural component or a piece of furniture and thing, it needs to be the lightest thinnest because you're just communicating an action. So this is the door swing. I'm not going to go and communicate the glass. And the glass is an interesting one because obviously it's clear. Typically, we can't necessarily see it. So because we need to still indicate that there's some sort of material and here we use the thinnest line. So I'm just going to draw that in to the site, the insight and then the line in the middle, right the way across. 6. Furniture & Fabrics: Now we're going to work on the furniture. So this is the exciting part. The biggest piece of furniture in my room is our bed. So I'm going to put that straight away into the space because it takes up the most amount of space to communicate. So I'm going to work along the wall and try and figure out where the bedside tables come to in this room and where the bands is going to be. Technically, I would scale this, I would measure everything and I would draw up to scale. But because we're just doing an introductory level, do not worry about things being accurate or not quite looking in proportion. This is just a by learning how to draw things and trying to get used to drawing things in floor plan. So along the hedge board wall, I'm going to start the bad off here, and I'm going to end the badge around here. It also comes out quite far into the room. I'm going to line up with where the door is because from my experience when you walk in, it's pretty much in line with the door. So now I'm just going to draw a straight line at the bottom of the bed and try and linked up the edge of the bed here. And if you need to draw a few lines, confident street lines, that's absolutely fine. And the edge of the bed. Now this was quite a large cross compared to this one. But don't worry about that. We're going to rethink up afterwards. So it won't look so dramatic. We've not had drawn two of the largest pieces of furniture in the room, beside the bed or to bedside tables. So I'm going to draw those in right now. And their rights MAC buying beside the band. So I'm going to put those in. And they're just small tables. But they do match. So they're the same size on the R-square, so we'll just pick them like that. Okay. This one is slightly misshapen, so I'm just going to do a second line to make it look a little bit more accurate. Night within the room, there are a few different components which are fixed to the wall, which I'm going to actually put into this floor plan. You can leave your floor plan like this if you want to, and move on to the details and the characters that we're going to do next. But I'm just going to take a couple of minutes extra and put all of those details in. So at the moment, we have a whiteboard on the wall, which personally, I do not like. But we do use quite a lot of the time. I have plans to move it to this wall, but at the moment it's here. So I'm going to put that in. We also have a little hook which is a stag. I'm going to draw that just here. And then working around the room, we have a stool in the corner and I this is circular. So that will take you a second to confidently draw a circle. And that's okay to do it a few times till you feel like it's accurate. And then along this edge here, I have a shelf night. This is where I know that I've not drawn this correctly because the shelf comes out to around here and no overlaps. So I'm just going to pin it on anyway. I'm aware that I've made an error, but that doesn't really matter in this drawing. We're just doing the component confidently, putting them into place and not worrying too much about scale and mistakes. Now the wardrobe PR I share with my husband, and we also have messy space at the end, which is where are we stick everything that we've not find a place for. And so I'm going to pose three wardrobes in here because that's what we have. So I'll divide this up into three, roughly. That's probably more accurate. And very lightly. Draw that in. These doors are old different. The two here, the one on the end and the one in the middle are sliding doors. So I know that this one is here. I know that this one goes behind this one because when I open this Wardrobe and it closes over here. So I'm going to draw that one here in the front, and then this one tucked behind. So the doors have a thickness as our bedroom door did. So that's our sliding doors there. This one when it's opened, moves into this space. This one here is a marriage section and actually has a door on it. It has a wider section here and a narrower section here. This door opens to here. And this door opens here. Again, this distance is going to be the same here. And you can either draw a straight line or a curved length. And the same for the other section. So that's our doors sliding and opening. Then to indicate that this is a wardrobe where hanging clothes are, we're going to put the bar. So the clue is hang on the rail. And then we would typically just some lines to indicate that there's hangers. And quite often these would be messy, which only so that's our clothes hanging in the cupboard. If you like this kind of detail, I want to work your way around the rim than absolutely start posting in more detail as you go. So they see unit here has a mirror on the wall. It also has a cup with some brushes in it. It has a sliding little mini drawers section with some makeup and the same on the other side. So we can draw them in. There's also a jewelry stand and a couple of bottles of things on there. So feel free to put in as much detail as you like as you go around the floor plan. This unit has a drawer, as does this unit. We also have lights that are circular on both sides. And I am going to look at the bedspread and try to make sure that this sheep looks a bit more like a bed. And the best way to do that is to actually start putting the bedspread on here. So we have a double bed. So I'm going to put two pillows. Now these definitely don't need to be straight lines because they're fabric. They move the, have a softness to them. So you don't need to worry about that. In fact, the more character you can put into the furnishings in your room, the better it will look. The movie. There. Sometimes you can just draw DV going straight across like that. But actually within interior floor plans is quite good to make it look like it's welcoming and has a fabric layer to it, which is folded over and ready for you to open and get into that cozy bed. So now our room is starting to come alive and you can feel like there's different fabrics, different textures, and different items within the spaces. A bit more characters coming alive. I'm now going to look at the flooring. We have a carpet in this section over here, so I'm just gonna put that in really lightly and it tucks underneath here. So I'm just going to indicate that because I know it goes underneath the bed there. So this is a rug here and this is a hard flooring here. So we're gonna put a bit more detail into that a little bit later. Typically a floor plan is drawn from about waist upwards. So anything on the ceiling or above waste like a picture shelf you wouldn't actually draw into here. We have a hanging plant in the corner over here, which hangs from around there and is in the circular pot and hangs kind of dangling around here. Now you can decide to put this in because it's quite a nice feature and adds a lot more character to the room. But if it's adding confusion and you're not quite sure what things are, then that's up to you to put in are not put in. For example, we have a picture shelf above our bed where we have some personal pictures. I actually like the way that the bed is looking, so I'm not going to put that in. It's not a permanent feature either. So I'm just going to leave that off. And this is the right floor plan for night. 7. Ink Up Floor Plan: Let us get to inking mess up. So I'm gonna take my medium thickness, which is my 0.5. And I'm going to go around any of the more solid structural components of the furniture. So the first thing I'm gonna do is the doors on the wardrobe, because this is a built-in unit, I'm going to put them in a more structural solid entertain. So the first line of the door, and then we've got the one that slides at the corner, and then the one that's on top of that at the front. So now you can see that a little bit more clearly than the pencil. The mirror doors for my husband side. They have a thickness to them. So I'm going to put them in. And then the curve of this, of course, is an action that is not a structural component. I'm going to put that in, in the thinner one. You can also just leave that as pencil if you'd prefer anything within the wardrobe as well. It's not massively important structurally, so I'm going to put that as the thinnest. So moving right the rim the still you can decide if you want to put that as medium or thin. I'm gonna put this article as medium and then put some detail in as thin in a second. So here goes for confident drawn circle. Try your best. Absolutely fine if it's not accurate, kind of gives a bit more character because it is hand-drawn. I love CAD drawings. I loved doing things technically on my computer. It is much quicker and much, much easier to create larger projects. But I do feel like when I'm drawing something for a client, think though, Han drawing really gives us something extra. And it's much more personal vibe to it is also a very beautiful skill to be able to do. And I think it's really important to be able to actually hand draw things. So picking up a pen and a client meeting and being able to actually draw out a detail or draw into the floor plans as they're talking through something that they've imagined in their head is way more important, I think, than being able to go back to the office from a site meeting and draw up something and then get it back out onto site where they're waiting for you to draw that detail and communicated to them. I think that being able to pick up a pen or pencil on-site, draw something sketched out for them. Not be too worried if it's accurate or not. And just get the job done is so much more important. So hand drawing is a definite plus in my book. And it's also really fun to do. So I'm going to draw all of this in my medium very quickly because I'm basically just tracing over the lines underneath so I know where I'm going with my lightens. Okay. Everything else I'm going to draw in my life to her weight because it's not as important to communicate. So I'm gonna start off with the lights. Again, confident circle. And then the real in our wardrobe, which has a thickness to it again. And then very quickly to these hangers. And they don't need to be measured, they don't need to be accurate. You don't need to draw the furnish HER draw the actual fabrics and items in there. That's fine. I'm not going to put the three the two lines to indicate the three different wardrobes because the doors already do that, so that's fine. I'm then going to put in my window sale because it is important. And then the exterior because that finishes the communication. The edge of the carpet. And I've just remembered over here, we've not to the edge of what you would see from bedside tables. I'm going to get my medium, pick the op and finished that corner. And then I'm just going to ink up everything that's on this little unit, the shelf bedside. There we go. So as I said before, a decided Actually, I'm not going to put that in because I said I was going to move this white board. I'm going to not put that in the drawing either. So that's everything that we've got put into our floor plan, roughly to scale compared to everything else. And I'm happy with the layer of that. 8. Adding Detail & Character: Okay, just to up things a little bit more, I'm going to add some detail into the materials to give them a bit more character and to help communicate what the space feels like. I'm going to start off with this still here, which is a rotten stool, an amusing my 0.1, which is the thinnest. And I'm just going to quickly sketch into, gave an impression of the raft on here. So it kind of goes in circles around the structure and then the buildup of it is woven into the circles there. So that just gives an impression of what it feels like moving onto this rug here because it's a carpet, rug ruin texture. I'm going to try and communicate that it's different than the hardwood flooring here. So I'm just going to use my pain and dab the ink onto it, creating adults to make it feel like there's a texture. And I'm only going to do that at the edges. And kind of like where there would be a shadow. So it just kind of gives a little bit of communication that is something softer than this space here. Now our flooring is kind of an interesting pattern and I don't want to put up across the whole floor because then it's going to act too busy drawing and it's going to confuse people who haven't been in to the space before. So I'm just going to put it in the corner by the door to kind of show that there's the entrance way change of material. And this is what it feels like in the space. I'm going to start paying some lines n to indicate the flooring now is quite small squares. And I don't need them to line up necessarily. So I'm just going to apply them like this and also crossing them over to create the squares. Like so. So I'm Justin was very, very lightly. And then I'm going to start adding that pattern in that they have. And you don't need to do this on every single line. Because the less you do, the more it is like a sketch. And you're just kind of illustrating what's actually happening in this space. And then within here we have some wooden sections are opposite to each other. So they kind of just go in like this. I'm just going to imply them very gently, very loosely yet, so that's our floor plan. Hopefully you have created something similar. Feel free to go back stages if you need to. Um, please do share photographs over your floor plan as you go so that we can help you and we can give you some encouragement as well. 9. Finishing Touch: I put these little guys beside me here to remind me to show you how to draw people and floor plan. Adding people to your drawings is very important because it not only makes your buildings look busy and popular, like shops and restaurants, but also if you're drawing a residential floor plan, then your clients will feel like they are actually in the design. And so it's important to actually populate your drawings and put people in them, because that helps people imagine the space on themselves in it. So I'm going to try and draw out some people in floor planned for you. And you can try and also join in. And the higher you feel that by drawing some people. So the first thing to do is basically just start off with a hit. So you're just going to draw an oval because our heads aren't typically circular. They're quite oval and floor plan. A few actually split them up, then you would be able to tell your ears are here, your nose as they're your eyes where a bite they are, and your hairline comes to around there. This is typically what your heads would look like and then your shoulders are rights might bang in the middle of it. So I'm going to draw it this person to be about that white, then give them some shoulders, just like this. Very quickly, diagrammatical, that's his shoulders. And then looking in floor plan, if we take this little guy here and we look right down on them, we can see his Oval head, his shoulders sticking out. He's got an arm sticking out. So I'm just going to start putting that in here. So that goes down to his elbow and then his hand, wrist. Maybe he's coming over this side holding something. And then you can see his back a little bit curved here. And then he has one leg behind them. So I'm just going to pick and then there's one leg in front of them. So I'll just pop. I kinda like on a food. And that's roughly what a person looks like, standing or walking and floor plan. A person sitting isn't too dissimilar. So well put someone this direction will do or oval to start off with. And then pulp our shoulders and here we go. Alright, make them equal and a back. And then I'm gonna just gonna jumped out some legs. Legs, knees, and feet. There we go. And then because it looks a little bit odd without arms can either be sitting in a chair, reading a book or holding a coffee or something. But try to remember. The arm the LBO was staked out further and then connect to the rest of the hand. So arm, elbow, wrist. And try to actually give your people some ergonomics. Some ain't tastes like elbows and knees, arms. And then you can sit him in a chair. There we go. So start off with your oval working your shoulders and then move on from there, an adult and they're holding hands with their child. So just a smaller scale version. The are holding hands. I've literally just sketched in a couple of lines to imply their hands there. Okay, so now that I've shown you how to draw some people, let's add me into this drawing or whoever is in the bedroom. And I'm going to just pick myself standing over here, maybe a byte to walk out of the room or whatever. So I'm just going to start off with an oval. And a few tried to scale up from the door. Usually a person would fit through a door about that sort of space. So that's roughly the size of their head and then the shoulders from there. So try and figure it out in comparison to a door or a piece of furniture that you're maybe used to using like the Wardrobe. So I'm gonna put my shoulders in. They gave myself and then pop some legs. Leg. Here we go. And yet I'm gonna put an arm coming out this way. You will see I'm holding something and then the other arm down here. There we go. So that's done in pencil in case I make any mistakes. And I'm going to touch the Myself in. Yeah, I think 0.5. So we're going to be confident about this and try and draw myself in. So I'm gonna just do the head. And that's okay if you do this a bit more sketch because this is a person is not a technical item in the room. So it doesn't matter if the fabric and the healer or whatever is a bit more sketched in. There we go. Okay, so I'm happy with that. I added a little bit of texture just to make it look like there's some here and there. That's my floor upon. So I hope that you have really enjoyed this. Please make sure that when you're finished your floor plans, you add them to the class gallery so I can see your work. And I look forward to see you in all your floor plans. Thank you very much for joining me in this class and I will see you in another one soon.