Beginner Figure Drawing: Learn To Draw Stunning Poses

1. Overview: Hi there. I'm Robert Joyner. I'm a full time artist and have been for over 15 years, and I'm thrilled to bring getting started drawing the human figure course to you together, you and me will learn to draw the human figure using a series of very simple and basic ideas. So if you can draw a circle, a square or a rectangle that you are more than qualified to get started right now and again , this course is aimed at complete beginners. No experience needed. We will start from the very beginning of drawing the human figure and work through it step by stuff. First, you will learn a series of basic two dimensional and three dimensional shapes and forms. Then you will learn to turn these forms and shapes in various positions and perspectives, and this is essential for capturing the illusion of depth on a two dimensional surface. Once you are comfortable with that, we will then turn to some of the masters like Michelangelo and Raphael. You have a look at some of their figure drawings and studies and see how they incorporated these basic shapes and volumes in their figure drawing. Of course, I would be doing a series of lectures and demos along the way. I encourage you to always have your paper and pencil ready and draw along with me. This will ensure that you get the most out of your online learning experience. Section two is dedicated to body parts. Here. You will learn how to use these basic three D shapes to draw very sophisticated and complex body structures, and the final section is dedicated to proportions. We will look at both the female and male bodies, and we will look at the front, back and profile views Together. These lessons will give you a salad foundation for drawing the human figure. You will gain a tremendous amount of knowledge and confidence if you can master drawing the human body. Everything else becomes very easy. To make this course even better, have a series of assignments for you to complete. Now this is not homework, but of course, if you want to really learn to dive in deep and master human figure drawing, you'll want to complete these assignments not just once, but several times. All images I use in this course are available for you to download as well plus I've included some additional figures that you can use as a reference as you move forward and practice on your own. So I hope you're ready for a major upgrade to your creative skills and to learn some valuable drawing techniques. I'll see you on the inside. Thanks for watching. 2. About This Course: welcome to the first section here. There's a lot of content in this introduction. We'll talk about gesture and structure the two parts to this wonderful process. We're going to break those down, and I'll give you a lot more information about how to use each one for your figure drawing . And then we'll talk about conceptualizing those ideas on how to take those forms and make them perfectly vertical. How to lean them, how to tilt them in space so that we started to get the feel for how to make a two dimensional drawing more three dimensional drawing, so it has a little bit of perspective to it. We're also going to talk about the pencil test. The pencil test is very important. It's an easy method for understanding how the form is sitting in space. So as long as you have a pencil and paper there or a pencil in your hand, you can use that to quickly determine a lot of information about the human figure. So a wonderful tool you're gonna want to use throughout this figure drawing course. I will also do complete demonstration. So the first series of lessons it's a lot of lecturing. But there's a lot of tips and things I'm sharing with you. And then I'll show you how the Masters, you some of these ideas in their artworks and we'll take a look at some wonderful artwork from the Masters. And then there's an assignment. So this is where you roll your sleeves up. He put these ideas to the test, and then I'll wrap up this first section by showing you my version of the assignment. And that's a wonderful way to get Mawr out of this online learning experience. So once you do your assignment, then you can go watch my take on it, and it gives you something to compare your work to. It doesn't mean that what you did is incorrect, or that what I did is correct. It's just something that you can look at and say, Oh, well, no, I like how Robert is using this or that. Or maybe hey, I didn't really get much out of what Robert did there. I kind of like my take on it better, and that's perfectly fine. So collectively, you have a wonderful assortment of different learning tools, and together it's just going to give you a really good start to your figure drawing process . So now we're going to kick things off with understanding that two basic ideas you're going to use and that's the gesture and structure. 3. How To Use The Platform: In this video, I just wanted to go over the Skillshare platform. I know some of you know how to use it, but I know there are many others that simply don't understand how to create a project. How to add more photos, text, and things like that. What I will do now is pull up one of my classes on Skillshare. This may not be the class you are learning, but it does have everything we need to cover what I wanted to share with you in this video. This is my watercolor workout basics and beyond class. And you've got the main video here. Obviously. If you wanted to make that video bigger, you can click that and the top right hand corner, and that will enlarge the video if you want to reduce that size again, come up here to the top right-hand corner, click it. And that's going to bring up your navigation menu on the right-hand side. Now if I hover over the video with my mouse down here on the lower left, you have play speed. For some reason you wanted to slow things down or speed things up. You can always change the speed. Keep in mind if you do change, it just makes sure you go back and set it to normal if you want to, in fact, see at a normal speed, you can also rewind things 15 seconds. If you're watching something you wanted to see what happened within 15 seconds together, you can click that and then I'll take you back. And now 1515 second increments. You can click it three or four times and go back 45 seconds a minute, whatever you want to do. If you want to make a note of the video, you can click this little pen That's going to bring up your note. And that's a good way to remind yourself if something interesting happen there. And you just wanted to sort of jot something down that sort of clicked in your mind. This is your volume. So if it's CBC, this slash like I have now lets you need to unmute it so you're not going to be able to see the sound. If I click that now, I can now hear the video if it were playing, this would be subtitles. So if you wanted to have a subtitle and the various languages here, you can do that. You may not like having subtitles. You can put subtitles off on the top of that. So if you don't want to see them, That's how you get rid of them. Again, we can go full screen with that feature in the lower right-hand corner. So if you wanted to see this and this largest possible resolution, that is going to be the option to do it. Okay, So again, that's that one. So that tells you a little bit about how to navigate some of the options on the video. Over here on the right. So long as you're in this mode, we can scroll down and see the different videos. All videos that you have watched all the way through should have a checkmark. If you want to again, get rid of that, you use this button in the top right-hand corner, you can get rid of it. And then here we see it. Now down here, we have some tabs. We have the About tab. So that's going to be the class description that I added. I will often add other classes that you may be interested in. So throughout the course, I may say if you want to learn more about how to plan watercolor art, be shorter, checkout the link in the class description, and that's gonna be right here in the About tab. So if we scroll down, we can see all of these are links to different classes I have. So that's a little bit about the about page. Reviews are where you can see how awesome reviews that the students left on the class. Here, our discussions, discussions are very important because that's how I'm going to notify you about each new lesson of when they're available. You will see, if you scroll down, you'll see discussions, you'll see where there's some different things going on. This is important too. So if you have questions about the class or a lesson you watched, then you can use this discussions to get in touch with me and I'll try to respond to you as soon as possible. You can also share links and the discussions too. So if you have something you want to show me, you can always link it up and I'll be able to see it. Here. You see I can start a conversation, I can ask a question up and share project and so on. Speaking up projects, if I go right here, this tells you a little bit about the project. So here you'll see each lesson has a project well almost, but the point is to get involved and started doing the demos and projects shared in this class. And here you can scroll down and see all the students that are posting projects that there's one do you want to explore? You can click on that and just see what an awesome job the students are doing, getting these different projects and things done. Of course, you can comment on these two. So over here on the right-hand side, you can click on that. You can share a little feedbacks and encouragement, whatever you want to do. If you look at my project right here, you're going to see that I've got a detailed breakdown of all my lessons here. So each time I post new lessons in a class or a demo, I always break it down and give you a really good description of what's going on. Now you may want to create a project. Now, since I already have one, are you going to see that I don't have the option to make another one. But here is a class that I don't have a project. You will see this green button on the right-hand side. To create a project, all you have to do is click on that. And that's going to bring up your project option. Now the first thing you'll see is a cover image. If you want to add a cover image, just click on that and then navigate to your image. So I'll just select one here. So I'll select this one. And then that's going to upload the image. Once it's uploaded. I have the option here on this slider right there to enlarge it and then sort of move it around, however I want that to be seen. And once it's done, click Submit. Again, this is just the cover image. You can go ahead and add a title and I'll say, awesome class by Robert. If I can spell that right, that would certainly help. Description. Hey, took a three-week class and here's what I did. Now if I hit Enter, That's going to bring the cursor down here below. And then I can add an image. You see down here, you can see, you can have three options to add more content. So if I click on image, I can add another image, so I can click on that and then you have to give it a second. And then that's going to upload the image. Now I can click Enter and you see I can write more content. I'm like, This is my cool fish painting. Now, if I wanted to add a video or link and maybe you're like, Hey, did you happen to see this picture, whatever. You can double-click on a word and then you have a link option here, and you can paste the link in there. Just make sure you hit the Check button to make it active. And now I can hit enter again and then add more images. That's how you can make your project. If you don't want anyone to see your project, you can click this button here to make it private. But once you're done, very, very important, scroll back to the top and hit Publish. And as soon as you publish your project, that's going to be visible for everyone to see. So that's publishing right now. I'm just going to give it a moment, alright, and then there it is, right there. So I just added my projects. So let's say you want to edit your project, you click on that again. And now you come up here to the top right-hand corner. You can click Edit, and now you can scroll down. Make sure you put the cursor where you want it. So if I want the next image or the next video or whatever to be below the fish. I can come down here and click on the end of the sentence, hit Enter. And now again, pull in my images or wherever it is that I want to do. Again, make sure you hit published when you're done. And then that's going to save it. You just have to be patient and let Skill Share save it. Another thing you may want to do is share your project on social media. So you have this Copy Project link. You can copy that and share that wherever you wish. Over here on the right-hand side, you can hard thing. So if someone did a project that you really like, you can give it a heart. You can share a comment and say, those fish are amazing, and then hit posts and that's going to share your comments with whoever it is you're talking about. So again, just good stuff to know. And I think if you learn how to use the projects is very useful. And teachers can often see them and hopefully they do and they can give you some feedback on what you're doing. The last thing I want to share with you is right here under the again, we've got about reviews, discussions, and then project and resources. These resources are downloadable. If the class has images, resource images, whatever the case may be, you can click on the link and that's going to download it to your device. So I hope this video helps you out and that you understand a little bit more about how to navigate the Skillshare platform. And then of course, the courses that are taught there. 4. Introduction To Gesture & Structure: well before we dive into the course. I think it's important to get on the same page with terminology with, But I feel is kind of the core view I take on art. So let's just start right there for a second. So you know, all all art is really your ideas. Um, I say that because when you really start to break down, painting or drawing doesn't matter. Art In general, you're only doing symbolism, so you can't really paint a hand because the hand only exists in real life. It's attached to my arm, and that's it. So I can, however, draw the idea of a hand. So, in a sense, everything we do with somewhat abstract eso in it's done through symbolism. And when we start to move through this course, we're going to kind of break this down into two groups. So we had the structure on. Then you have what's called the gesture, and everyone interprets structure and gesture a little bit differently. They may use them a little bit differently, so, but again, this over on the same page throughout this course, I'm going to break down what they are to me and what you can expect moving forward so that you know exactly where I'm coming from. So structure well, im you could think about as the the parts are the pieces of things. So if you were to think about a Christmas tree, for example, um, and it's sitting in your living room or wherever it could be there there may be, you know, a stand that's kind of holding the tree. It's the trees coming up and then the trees sitting there and we had the symbol of a tree on. Then it may have a star on it, so that's apart. That's apart. The trees apart has all these different ornaments and so one. So all of these little parts and pieces make up the whole of the Christmas tree. You can think if you were, if we relate that to the figure, you know, I could have an arm, but I also you know, the arm is made up of the upper arm of the lower arm. The risk, the hand, the fingers Ah ah, thumb and so one. So I think you kind of understand where I'm coming from. So this would be parts the pieces and so on. Okay, So gesture then would be basically how these things connect and relate to each other. Gesture is what kind of is kind of like the secret sauce that holds everything together. So if we think about this as the how they connect, um, you know how you know it's composed and that's going to hopefully kind of break this down into two major components off drawing, but also of your whole ideas? Um, in general, structure tends to be a little bit easier. Um, it's pretty quick, you know, just to get your ideas down and to look at things separately individually. So the gesture, then, is typically more difficult because things have to flow. The different parts and pieces have to connect to one another one another, and they have the connect, connect and relate to each other. So the shapes how the, you know, forearm joins the wrists. How the risk joins the base of the hand, how the base of the hand, the fingers joined the base of the hand and so on. So things have to flow rhythmically, aesthetically, and so one. So the gesture tends to be a more difficult part of the process. So that's kind of something you never going to work on and talk about as we move forward. Um, so also, with, ah, structure, they we have two different ways we can look at at this in terms of shapes, you have two dimensional shapes, and then we have, um, three dimensional shapes. So if you think about that idea, you could have a square, a circle rectangle. Um, the problem with two dimensional shapes is they don't really give you a lot of information . They're very they tend to be very flat and they don't give you direction. And they don't give you volume, which we're going to talk about in just a second when you start to look at three dimensional shapes. Now we're getting a sense of, you know, form. You're getting a sense of the volume, and you're also getting a sense of direction. Some shapes have mawr information than others. I'm so, for example, you know this idea of a square turned into a cube and the way I, through the perspective here, starts to give us volume direction. And so one, um, a circle we can turn into a sphere. But the only really way to do that would be to come in here and add some shaving. Um, And then, you know, that would start to give us a feeling of, ah, of a form. Um, the idea of this rectangle that could be turned into a tube, Of course, the tube can go in many different directions and so on. And so we start looking at in comparing these two, then you start to say, Okay, well, I can start to see that the direction I can start to see an access point can start to also see the volume of it, which is more effective. So that's the three dimensional shapes are really what we're going to focus on in this, of course, um, two dimensional shapes again lack a lot of what we need. Now we may use at some point ah, sphere and oval or egg shape as a surrogate form, but know that it's on Lee a placeholder for further development. So getting your ideas down quickly is the key to drawing. But having a library of forms and shapes and volumes is the best way to do that. So we're going to you again. You talk about that three d You may hear me refer to all of these as, ah, volume. You may hear me refer to it as a mass. Ah, you may hear me refer to it as a form. All of that is exactly what these shapes will start to do for you. Um so the gesture again is the relationships of all these parts and how they connect to each other, as I alluded to earlier. And it's also kind of how they're composed, which is important, but to if you were to say, think about a painting. So when you're dealing with a painting, are you dealing with color? And so therefore color has to have color harmony. So if you start to put in this really chromatic red and then everything else around it is tonal or gray or great out, then that red may not work as effectively. It may work better and be more harmonious if that red were toned down and not sold. Chromatic so very intense red surrounded by a bunch of great chromatic Hughes isn't going to look very good simply because it's not. You put it down without any consideration of the whole So my gesture is kind of that you're trying to look at how everything connects, and that's very, very difficult when you start to draw the human figure and probably one of the the biggest challenges. And that's why I again I feel gesture is the most important part. Once we get the gesture down of what but the composition is what the figure is doing the feeling of it. Then we can start to break it down into the parts and pieces, but getting the whole to look solid, pleasing aesthetically, um, pleasing, I should say, then that's the hard part. So, um, the process, you know that you want to choose when you're drawing the figure should always be simple. So basically, when we start to build this course and you start to move forward, we're gonna start with these very simple ideas. Um, so you may have one simple idea, and then we'll add the next the next and the next, and so one. And the reason we want to build things, um, slowly, is that if if you start to find yourself going astray or you start to see things going south and simply not working Well, then we can always kind of backtrack to the previous steps to see where we went wrong. So you can think about this is kind of like layers were stacking on top of each other. Um, so that's something to think about. Um, another thing out, kind of want to talk about is style. So style is something that comes, you know, much later. You know, the best way to achieve style. Where do you want to be realistic or photo realistic. I should say, maybe you want to be more expressive. Maybe you want to you what you are to be very loose. You want things to be exaggerated, more abstract. All of that style, the different styles. And you can look at our history for that, from Picasso to Renoir to whoever, Um, the style that you use for your idea doesn't really matter cause it's all built upon the foundation. And that's why this part of learning and so important, because it's going to give you the freedom to use Teoh infuse your style. So when you start to think about your art, um, he started to think about the finished product before you learned the foundational principles, then you're kind of getting way ahead of yourself. And that's typically where I think most beginners fail is that they are perhaps impressed or influence by a particular artist, and they go right for that in product. So that artist has probably gone through many of these stages of building their foundation through structure, gesture, whatever route they took to get where they are, Um, but that development, that work they did to build that foundation has allowed them to achieve a style that looks pleasing and is desirable. And, you know, in this day and age, when we're dealing with the Internet, social media, Pinterest instagram, so on where were so influenced by what others were doing? Because everything is accessible now and for a beginner, that's good. But it can also be bad because we get to a point where you know, we're like, OK, I just want to copy, but this style of art that and again, this comes way after all of this. So years of building the foundation, um, are going to start to reveal a style that's natural and uncomfortable for you, but without the structure, without the gesture and without having some knowledge, then the style is only simply going to fall apart and caused mawr disharmony than harmony. When you start to understand the process, you start to build things more gradually and you're going to see that the style will actually come very naturally. And when things fall apart, you have you know how to go back and backtrack and bring things together. So that's just an introduction real quick into the idea of art and what aren't really is. And remember, we can't really paint. We can't really paint a Christmas tree. We can only paint the parts of a Christmas tree, the gesture of a Christmas tree in the symbol of the tree. And the more the more of, ah, the more the better catalogue you have of shapes on, the more you understand about looking and observing these shapes of your subjects and then interpreting them, putting them down on the page, hiding the different parts, connect and flow to each other. Ah, that that's going to be the key to making your symbols and your ideas um, mawr effective, and in the end you'll be more successful doing it. So that's the introduction part and now we're going to kind of breakdown a little bit more of the shapes and this three dimensional idea and then talk a little bit more about the the kind of the gist of this course and what's behind it with this whole structure in a gesture idea. 5. Structure Basics: All right, let's move on and kind of break this down a little bit more and going to elaborate a little more on structure. And we've determined that structure is mawr effective. If we use ah three d form, okay. And we've also determined that structure equals the parts and the parts again, we want to make it mawr three D. So three dimensional and parts okay, that that's what we're dealing with There is this other part of structure that's going to become more important. And that's going to be perspective. And don't stress out. I know perspective can be breaking out a calculator, doing the math and all those things, but we're going to simplify it in this course and make things easy. But perspective is certainly something that we will have to consider, right? So we've looked at three basic shapes so far, and so let's look at those again. So we have the circle. All right, we have this idea of a tube, and then we had this idea of a cube. Um, so in this case, we're starting to see some of the perspective already, uh, in this little cute, um, we're starting to see direction and so on. But is with these three shapes right here, these three forms that we can almost draw anything. And this is the simplification part that I was alluding to earlier. The key to drawing the key to learning is to simplify the process so you don't become overwhelmed now. The key also is, um, being able to draw over the form. So in other words, if if I were to say, Take this idea of a tube so that's let's look at we just write that down so we don't forget . So we'll say no movement over the forms again. That's the key. So if we take this idea of a circle, we can turn that into an egg. So what to say, over or noble. So we'll say that has this sort of shape. And again, this is just a modified circle. So what you're dealing with is a contour. So in other words, um, when we look at this, you're only moving your eyes only moving around the contour. So if you not even short a contour is the contour, there would be the edge of a shape, form, object or whatever. So if I take that same idea and will use the say this tube now only draw it like this. So again, we're only seeing the contour. So I want you to move over the form that I need to start adding this sort of direction. Okay, so now, now you're starting to move not only around the form, but you're moving over the form, all right, bouncing back and forth. And that's that's much more effective then this sort of thing. And we say, if you were to look at the figure, um, you know, we have a silhouette, right? You have a silhouette of your head, neck, shoulders, arms and so one. So you have this sort of thing, and that doesn't really give you anything other than a flat rendering of the figure. So it's on Lee. When Ah, we start breaking this down into forms, um, that we start understanding direction, we start understanding volume, and it starts to take on ah, much different meaning. So that's just kind of a quick look in comparison to how the form is interpreted through a contour. How you look at it versus how you looking at it here and the thing about it is a lot of the information about a figure is located on the edges. Um, so we have to start to investigate kind of what's happening in here so that we can start to get this idea of a more sophisticated three dimensional structure parts into the figure. All right, taking this a step further and really just to bring clarity to what I am after here, I'm just so again we're on the same page, And you know exactly what what we're getting at here is that structure is simply movement over the form. Okay, movement over the form and not around the form. Okay, so we're not looking for this. We're looking for this. So this idea is what we're doing. And we're going to avoid that idea for reasons I've explained. Ah. And then also, for reasons I haven't yet shared with you, So when you're way are working this way again, we're talking about three D parts, very a catalogue of shapes. So 123 But again, these can be modified. Um, and I'll get to that in a minute. Um, what that does is that helps to construct things. So what? You're doing when you're in this structure phase is you're basically trying to come up with ways to construct or lay in. You're your idea, and and you want to start to look at things differently. And I think when I say that I'm talking about what I mentioned earlier. No, I don't want you to draw a form. I want you to come up with a shape that represents the forearm. So again, that could be a tube. Um, And the reason why is and to a lot of this is kind of like sculpting. So when you're a sculptor, you're thinking mawr about form. So you know the different sides of it, the volume of it, and you're thinking over the form and not the contour of it. Because that's a a good way to think about how this sort of idea, because you're you're always looking for You're the best possible route. And the reason why is and the reason we simplify things, even like taking these three shapes is it's because we can again have a simple method. Okay, Everything that we do, we want to. At this stage, we reduce it, we simplify it, and we do that because is quick, we could easily say Okay, I see that pose. Now, this is what I'm going to use. And you can put those ideas down in a matter of seconds. Months, you're more fluid and you're experienced. So if something is not right, then or if is correct, then you can take it further. But you can also redesign it or reconstructive quickly. And that's that's key. Okay, so we start to do contours and you start to do all this other rendering and sophisticated things. Um, in the beginning, and then you get to a point where you invested this time and you go, Oh, my gosh. I mean, this is the gesture there. Everything is completely off. Then It takes a lot more work to go back and redesign it. When you're dealing with these very simple shapes and you're laying things and quickly, then Tennessee. Okay, well, you know, I can take this to tweak it, twist it, make it shorter, make it longer. I can make this circle into a Mormon oval or the next shape or whatever. And you could redesign it fast on the fly and also that the other thing is, Ah, you can exaggerate or are animated, which is a very, very important once we get into the gesture. In other words, if he had this figure, I think we can see me here. We can and he say This figure is kind of hunched over and you know, this leg is maybe bent, and this one's here. You may say, Well, I don't know that that's that's a little bit stiff. So maybe you want toe animate that mawr so we can bring the figure over. You can thrust this leg out and weaken. Thrust this one forward, and we can kind of make the figure appear as though there's a lot more going on them. Then what is actually there. And that's important, too, because you know, you're the way you animate things and the the movement of it. The story behind it often times needs to be animated or exaggerated. And again, having the simplified method behind you, um, will allow you to construct things to lay him in and to give you this feeling of movement over the form, and you can get your ideas down quicker. If there's ideas don't work, you can redesign them. Ah, and if they do work, or perhaps you want to add more to it, then you can animate it and make more of it in a very fast way. And that's something that is very important for figure drawing because it's so easy to get locked into unnecessary details or to copy what you see. And then you end up with this very stiff wooden looking figure. Okay, the last thing I want to touch on, um for this particular piece of paper anyway is characteristic Very important from that. All the forms that we use have a or represent the character or characteristic of what of what it is we're trying to say. So if if you take for example, ah forearm So what kind of use this right here? You may say in the simplest form that we can use the tube. I'm going to say this is the top of the forearm. This would be the bottom or what to say, the wrist. So giving you something to think about now you may a development of that or something more characteristic, may say, Well, it seems like that narrows as it goes to the wrist and you would be right. So you could say a good development would be taking that idea and saying This is more characteristic of the forearm because it is the tends to get wider here and narrows. And now, if we start to look at the sides of a forearm, another characteristic or development, maybe to say, Well, let's kind of see this muscle or I don't really have a prominent muscle having been working out. Sorry about that. But let's say a development, maybe to start with a new novel. Ah, and then it tapers here. And then maybe as it gets to the base, it turns into this box like form. Okay, so it kind of gets very square, um, towards the wrist. Ah, and then it goes out into a tube, and it kind of goes around these muscles and maybe even kind of has this idea of a combat bows a little bit, so that could be uneven mawr, um, further development or characteristic of what we're doing. So that shape could Look, I'll do this with a pencil. So it's a little bit cleaner. Could start with this sort of idea coming down, then it gets to this very box, like, ah, subject. And then it kind of goes back out on Maybe we can see down for this example into it. Okay, so maybe this, um, would be more characteristic again of that forearm. So these are the These are the things we're going to try to start to develop as we move forward, breaking the body down and into parts like we talked about right with the structure. Ah, and then coming up with this simplified method of construction so that we can lay things in quickly. If it's a problem, we can redesign it. And of course, in the end, we wanted to be interesting to look at, and a lot of times that means, you know, we want that to be slightly exaggerated, but it also again, we need that characteristic quality that's important. If you start with something that's too generic for forearm that say, then then you have more work to do. You got a lot more steps to jump through until you get to something that is probably mawr suited for that. In other words, if you were trying to sculpt ahead, even you start out with this big things like this. Now, you know, you've got a chisel, chisel, chisel, chisel and do all of this work until you finally get to a point where it starts to look. They're like an actual head, so you got a lot to do. So what we're trying to do is to eliminate unnecessary steps and get to a point where we've got ah, these wonderful, simplified volumes to lay in and construct our parts of the gesture, okay? 6. Gesture Basics: all right. So I told you were going to kind of work things kind of back and forth. So we'll talk a little bit of structure, a little bit of gesture and then so on. So I think it's important to mix and mingle. So again, this one will cover a little bit of the gesture ideas, and then we can start to bounce back. So again, gesture. We talked earlier, and I mentioned that is basically how things connect and relate to each other. So if structure is movement, um, over the form, then we can kind of think about gesture or I'm sorry, if structure I'm not sure if I said this correctly. If structure is movement over the form, not around the form over the form them again, we can think about gesture as movement between. So the hand s so we have the say, the upper arm. I'll put that down here. How that connects what's between to the forearm. The risk connects to the hand. So you know those connections and how the parts relate to each other between the forms, the different parts, right? The upper arm, lower arm hand. That's what we're dealing with here a gesture. A lot of times, um, we can look at it. That's kind of the the long axis of things. So if I had no my arm out to the side and while I was kind of holding it in a very limp way from the shoulder, Then maybe the upper arm would kind of sagged down. Maybe I would want, um, from the elbow to kind of raise my forearm up a little bit and then I'll just kind of dropped my wrist. So we kind of have this s curve when we think about that. So that could be along axis of that particular or a long of that particular movement. So that again would be the upper arm lower arm. We'll call that hand. So again, taking those three parts and creating a long axis or gesture line to use to indicate that entire movement. That's the idea. So if you think about it, gesture can simply be the long axis. So when you say we take a tube, for example, So I want everyone draws a tube differently. But what I like to do is look at the axis. So what? Which way would that, too be moving in space and we can draw the to so we draw on edge. Maybe that could be an axis so that that can be a line that represents the middle. It can be one of the contours or the outside edges. In this case, just just say it's on outside edge. I can draw the other side. I draw on end here, and I can draw on end here. Now, remember that still two d eso to make this into a three the okay, I need to go around and then develop those ends. Ah, little bit stronger. So I could kind of maybe say, um, we have this sort of thing. Okay, so now that becomes a tube and has direction, But it also represents this idea of a long axis. We're probably gonna want to develop that a little more fluidly and perhaps more organically. Right now, I'm going to go off topic just a little bit. But it's going to hopefully make sense to you. So gesture, in my opinion, is But when things are alive, they generally will are made up of whether they're very fluid to say so. I want to say they're very fluid and typically they're made up of water. Right? Eso they're very watery. So when we think of a tree, our bodies on apple things on a tree, um, things in nature, right? They are all made up of water and they are very fluid. So they I say fluid. We can think of that as being curved, graceful or organic looking. If that's the case, so we can say they're somewhat graceful, they're curved, so on. So we have this sort of idea now with gesture and that you know, if we were to say if we were looking at a building Ah, very tall skyscraper, let me have gesture. Maybe this kind of very tall object reaching for the sky coming down towards us. And we have this. But this is not alive. Obviously, you know, they tend to to be much stiffer in nature. Then let's say something that is tall like a treat. So a tree kind of has these beautiful curves retail. Now you may interpret these curves through a straight line, so that kind of gets us back to structure, which I'll talk about in a second. But it's underneath it all. It's very flowy, very curved and somewhat graceful. So if we were to take that idea and let's go back to the gesture here and we've started to find our access point and let's say this again could represent upper arm forearm or whatever and we get our kind of Maine long access line, it's very flowy. We can get our next one here and now we can draw all of this stuff so that, um, becomes a little more lifelike. So it tends to be a little more live than let's say, something that's very straight and stiff. That tends to be a little more man made things that are no manmade or very box, like usually, ah, house a building, Ah, car and so one. So if you had another arm that say, I took this idea and that say, the upper arm and lower arm are moving in the same direction, so say they're kind of moving out like this. But then once we get to the wrist, it changes. So we had this kind of arm. That's kind of to say this is the shoulder. Um, it's kind of hanging out, and then is coming down Mawr when it gets to the wrist and it changes direction so you could have this almost esque her like this. But this, from the shoulder to the risks, could be interpreted through one organic shape and then curves back towards the hand. So this could be one, and this could be too. So if you have a lag, this kind of going out from the hips here, uh, and then the leg bends of the knee on, then the foot straightened out, so that could be something even like that again, you would have a curve here. Maybe on that could even go into this so we could interpret that is one. And then the foot comes out in a slightly different curves. So that is a way of thinking a little bit about gesture as well. Trying to understand, you know the idea of things being very fluid, because again it's all made up of water. Water tends to flow. Look at the how water flows down a creek or whatever. It's very, you know, goes back and forth over rocks very smoothly and gracefully, and things again tend to weave back and forth and a curved nature. If it's if it's if it's alive. So again, another idea. We can start to add on to, um, the gesture. And that's again very important as we start to develop these ideas of the two structure and gesture categories or ideas that we're going to use for this figure drawing process. 7. Gesture Basics Part 2: Okay, so if we look at uh huh you know these ideas and we're kind of on the same page here. We've got this curved idea. Things are live. Things are fluid, graceful, that so on. Then we get to a point where you want you want to say, if you making error, Um, which way do you want it to go? You're going to make mistakes and drawing. Um, none of us are perfect. And through this journey, you're going to do things well. You want to do things that need improvement and so on. So if you're going to make a mistake, in my opinion, you're better off to make things too curved versus being too straight. And really it's, you know, it gets down to mistakes, and how you push your ideas becomes start your style. So things become stylized. I'm not saying they don't need improvement, but, you know, if you look at some of the great artists, um, and all of them have a stylized way of doing things. Some artists really want dark shadows. So when they paint, they really pushed that idea. Michelangelo figures were very heroic and muscular and had strength. You know so. And he just used those ideas and used his way of drawing and seeing and even look as a mistake. I mean, perhaps the figure wasn't that muscular and so on, but he kept feeding that idea and was consistent. So again, if you're going to make mistakes, it's better off to be two curved versus being too straight. And I think you're going to find that that kind of keeps you in line a little bit and will make the your figures. Ah, little more lifelike and a little more graceful and dynamic. Um, So, for example, and sometimes to I guess I should say that, um, I'll just say, um, no, um, more curved. All right, that's good. Eso, um, and two straight. And we'll say these air, you know, mistakes s 02 straight. Maybe not good. Now, that doesn't say that. Um, you will come across something that is very stiff. So if you're looking at the same ah, soldier or something and he stand in there at attention Arms to the side, legs down. And here you have your drill, sergeant there in your face, grilling you. Um, then you know these figures tend to be very stiff and where these poses tend to be very stiff in nature. But again, that's just looking at it straight on access straight up and down, Looking at the front of the face could be the back of the body to now. But once that figure starts to turn even a little bit so it starts to look left a little bit, you know? Then you know you're going to start to notice curves, so you know, the you're gonna see a curve through the upper body shape. You see ah, more of a curve through the legs and it's going to become You're gonna see some of the curfew here. So, in other words, the face of this figure may have a center line here. So you're dealing with symmetry. Mom, you have a nose, eyes, mouth. So you know, these air very much symmetrical here. But as that face turns on, that center line comes over here. Then are you going to start to see how these features curb around this? So it's going to start to take on on that more curved Uhm I'm alive gesture. So I'm not saying that. No, you simply cannot use a straight line, Some poses and some instances may call for that. But But typically, when things start to rotate and you're not dealing with symmetry anymore than it's going to start to take on a curved uh, look. All right, So I'm thinking we're getting close to this part of gesture. Um, where we're getting up to speed with what we have covered so far in structure. Um, but if I had to some up gesture, um, I would say, make it curved. It's very important. I'll kind of go over this. Maybe with a blue that will stand out which it didn't I should left it orange, but again make it curved. And if you remember, right, or if you But we're to kind of remind you here structure is really dealing with corners, which we're going to elaborate on more. So you kind of had these two things you can compare and balance back and forth. Hopefully, um, you're starting to get a better feel for the to just structure, gesture and what they mean in general. And then, of course, we're going to know slowly, as I done start to relate them and apply it to figure drawing 8. Forms: all right. This kind of developed these this idea here. So we've determined that gesture. It's curves. We know that structure equals corners. So this is the kind of the big idea we're going to use moving forward here. We've also determined that, um, for structure. Now we're going over over the form and not around the floor. So what I want to do is just take this, um, idea of a circle, and that's his vows. Perfect of a circle is our draw. And I know I could go around it, Um, and over it. Oh, something like that. And we start to look at this and say Well, that it's really hard to determine the structure of this. I mean, this could represent a beach ball. This could represent a steel ball, anything. But we don't really know what direction is going or any sort of relationship it has in space. So let's take another shape so we can start to kind of break that down a little bit. And let's say we we have this kind of egg like shape like this. And now what we're dealing with is something that has ah, long axis. Okay, so if we draw the long axis from here to here, that's going to be shorter than what's here to here. So this shape is giving us form and position. So it's giving us ah, form in a position. Okay, has given us an axis. So we now know that is leaning here. And we have a slight. And we could also use this as our access as opposed to this. What's really if you divide this and half? I mean, all of these are equal, so it doesn't really give us the same amount of information that the egg like shape gives us. All right, so let's take this idea and develop it a little bit more. And to do that, we're going to bring back the other shapes we've talked about. So we'll take the same ideas a tube. So I'll get my axis very similar to this. And remember going Teoh draw the ends. And again we get back to this idea. Ah, having, uh, the long axis line eso from here to here. OK, so this gives us a direction, and then we have the side to side. Okay, so we're getting this from here to here We can also look at that from, you know, here to here was giving us this. So this is giving us a little more information than this. So the egg shaped gives us a direction along through the long axis because of a slight lean . But that's only really giving us one particular side. So what? I mean by that, um, if we draw the axis line here or shots say it's giving us one corner, so we in the corner isn't on the inside, so it's right here. Where were these? Intersect. So right in there. So that that's it and what this is doing. Um, so it's basically coming down, and then we're getting this wrapping feeling, So we're seeing not only this side, but we're seeing underneath it now, and we're seeing how it goes down here. So this is giving us to. So if we develop that a little bit more so I can kind of bring in You're the axis line. Keep this very simple. I'm not going to try to be fancy with the cube at this point. And this comes down, down, down. Okay, so now, um, this gives us three. So we have this direction. Right? So that's one then. We're also getting this so very summer to this. So this is coming down and then is wrapping around. Okay, so that's too. But it's also giving us this one. So we know this sort of information now. So we're getting this is giving us a tilt. This is giving us a tilt. Now, this is giving us a tilt. Plus is leaning leaning away from us when we know that? Because we can see the volume in the bottom of that tube. Okay, So that that's where we get the to on then This one is giving us one to three. So we're starting to get mawr information from that. We're getting more corners, and the corners are important for structure. And that's something we need to keep in mind as we move forward and we start to select shapes to do a certain job. Also, you know, this is kind of go back to this one. Um, the circle doesn't mean much to us until we can relate other things to it. So, in other words, um, if this was sitting here, I told you it was a steel ball then I don't have a lot and it's sitting on the table. I don't have a lot of information there now. If I were to draw the tabletop, then you're like, OK, well, I see. I'm starting to see this more now and then maybe there's another smaller ball behind it or something in the background. Then then you're starting to see no size. You have something something else to compare it to and related to in space. So this becomes a little more, has a little more meaning and a little more structure to it, because now we kind of see where it is and space. But these air pretty useful on their own. And they tell us a lot without using any other shapes to to help give it relationships right? So, again, this doesn't give us much information. It only gives us information once we start putting other things around it. Now we're on top of the ball looking down on it. It's larger than this one, and so on. When we start making the egg shape now, we can determine a lean because we have an access point. Okay, so we have one particular length. That's longer than the other on. And we can determine ah which way is leaning So the egg can be leaning this way or that way or in a combination of ways, it can be this way as well. Now, when we start to use the tube now we can start to see ah, lean, but also a tilt. So now, because we can see the bottom, it's tilting away from us. And of course, I can exaggerate that a little bit too. So if I were to put a little bit of perspective into it, um, I can make I can make it more dynamic. So that is we can now see the tapering of that tube as it moves into the distance. Okay, um, again, 12 corners. But with the Cube, obviously we're seeing a lot more. So now we're seeing that extra dimension, which is right here. So now we're seeing the look, the lean, the tilt. But also, um, you the volume of it, that health How? Um, I think that may be so like, let's say, if you were drawing a torso and that torso was leaning away from you, then it may look something like that. So this will be the side of the body here. This would kind of connecting to the abdomen. So here you would have you know, that Chester pectoral muscles, ab muscles and so on. And then maybe you have a head back here, so that's giving us again Mawr more information and dimension. And, you know, with drawing the figure, you're going to be dealing with some very dynamic poses. Figures are going to be lying down. They're gonna be standing up, they're gonna be leaning, tilting and so on. So lean. And then a tilt is again how that's moving forward towards you or away from you in space. So if you think about it, this starts to give us position. Um, and we kind of touched on this earlier perspective your equals position? Well, they're very similar. And when we start looking at perspective, and this is something you should definitely study if you appreciate fine art, um I mean, there is a certain amount of math that goes behind it, and then we start you get station point, Spanish ing points, horizon lines and so on, so it really can develop into, um, something very massive, but again, we're going to simplify that. So when we simplify it, we're simply going Teoh, look at the position of things, and when you start looking at the position of things we're going to focus on to, we're breaking down into two parts. So basically, it's going to be the position off the the model that say so would say of the form for now. So where is that At what you know. And then, of course, it's going to also matter a lot about, um, your we're on, see our position relative to the model. So are you standing up there looking down or you down? Looking up in the model model Up on stage is a model on the floor, your own stage and so one. And those things are important because you know where you're standing and looking at. The model is going to have a lot to do with the perspective in the position you're going to be drawing. And obviously the viewer that is looking at your drawings is going to be sharing the same vantage point, the same position as you are, and those are the things that you're trying to convey to your viewers. So now I'll get a fresh sheet of paper and we'll start to break down this idea. But we're going to do it just kind of using a pencil or even this. Just say this marker right here. 9. Forms With Perspective Part 1: all right before I cracked forward, I want to remind you that you know the best way to understand any of this stuff once you really start sinking your teeth into it and we started advancing into the drawings and examples that I will do for you is, of course, you know these air basic ideas, but you still have to practice them a lot, and I know that's kind of preaching to you a little bit, but the more you start to develop these ideas and work with them on your own, the more you go back and watch some of these videos, especially the ones that sometimes seem challenging to you or more challenging. Ah, the better you're going to understand it and the better you're going to interpret it and then therefore, implement it into your drawing process. So I just want to know, make you understand that these things need to be viewed several times, and you, of course, you'll have to practice them quite a bit to make them your own and to really understand it to the point where you can walk up to a beginner artists and explain some of these things to them on your own. All right, so let's look now. Look at this idea of structure. So we talked about this before, so structure equals form plus positions. I mean, we talked about forms that say you we have this tube idea has a center line. It comes down once you start drawing nipples than we understand theirs. Allene perhaps is leaning away from us because we can see the bottom. And so one. We had this idea of, ah box type thing and we could do the same thing. Now we know we can do this on. And now we have a side because we can see the side here to get our nipples, get a 3/4 view and so one so form plus ah, position. And remember, position has to key things. You have to understand a mess. The position of the form. You can think about that as the position of the model. And of course, the model will be broken down, will be broken down and two forms, which is what we're doing. And then the position of you, the artist are you. Your position also is the position of the audience. So they're looking at things from your vantage point. I know nothing to take all of this to the next level. We have to start to look at, um, this idea of perspective and I taught mentioned it before, but we're going to kind of elaborate on some of that now and the way it was explained to me , and I think the best way to really describe it. Let's say you're standing here looking at looking up at this huge or just looking at this huge building. I mean, bump that up a little bit more. Um, and when you stand here, whether you're looking down, up or whatever, and you're standing in this upright position and you're the same in this case, you're looking straight ahead. You, your you have a certain high level. You take that I level with you wherever you turn and look. So the difference between eye level let's say the horizon line is if you're standing out in the landscape, you can see far enough and you're looking straight ahead. I mean, your eye level and the horizon line will be the same. But obviously, if you stay in there at that same landscape instead of looking down or straight ahead. You start looking down or up and obviously the horizon lines not going to go with you. It's either going to go below your eye level or above your eye level, depending on which way you're looking up or down. So let's say you're looking dead ahead. So in that case, your new the things that are eye level to you will be straight. Okay, so let's say, for example, this building has a series of windows. Okay, So these windows as they go, what are going to become mawr exaggerated que in terms of the curve. So basically, where you're seeing here, I level those windows will almost appear Where should appear somewhat straight now, as this next row of windows you start seeing here, then they're going to become more curved and even more curved. So they're going to take on much different look and then everything below you is going to start to curve the opposite direction. Okay? And I can feel it all that end. But I won't worry about it. Hopefully you kind of get the point. So again I level things that are curved around this form will appear straight again below it. We're dealing with this above it that we're dealing with that. Okay, we get way up here and things look, you know, very, very curved. Okay, so you had this idea of these curves and then again, this idea of eye level again, I'll say, We'll say this is ah, level. So that's something very important you want to start to. I have to kind of implement into your drawing. So we start drawing features and the body is leaning away from you. And you may have these too symmetrical body parts and say, like the nipple, so that nip those dimples aren't gonna be placed if you're looking up at the figure. So where were we can see the bottom here and we can see the bottom here. So we started looking up in this kind of round form. Then we know that's gonna go like that. Even the shoulder line and the different features will start to you start matching the hips , different things, and that's gonna have to go around that form in a way that reflects your position. So that's something about perspective and a quick lesson about some of the ideas we're going to start to use as we move forward. So the next step, you know, to kind of build on this idea because this is a very vertical building. So it's sitting, let's say on flat ground and it's not leaning or not leaning, but it's not tilting in any direction. So it's not tilting away from you. It's not tilting towards you a very vertical position. So remember the the pencil test now and for this one, I'll just use this for a second. So if you take something like this, he hold it directly out in front of you. Um, you hold this line right here at eye level. So look, move my right eye over my right shoulder, looked down my right arm and look at that mark. And again, I'm holding that. Basically, come on, arm out. I'll get my holding it up a little bit and there's my pen. So I want to hold that mark of that pen at eye level. Okay? And now I start to move my arm up, so I kind of start to take my arm up here with the pen. So we know holding that that mark right there at eye level That that 10. That mark on the pen, it's probably going to be straight. All right, I'm just gonna put yell for eye level. So there we go. But when we hold it up here, it's going to change, Okay? That that same object, I was going to look different now, but because we're going to start to see the bottom. So you gonna start to see the bottom? I'm gonna do it very crudely and simply here. Ah, And then when we get to the top, that's that Arc is going to change, right? So it's gonna look like that. So if you're looking up here, the bottom of the pen is below eye level, so you can start to see that. And then, of course, the mark on that pen changes to it goes flat, which is here, right high level to a curve. And that's just moving it, Um, up, up. And let's say down, you know, down. Obviously, if we take it and we hold it down, then I'll do this and blue just so we know we take our arm, we move it down, we're holding that pen vertical. So it's not leaning or tilting away from us in any way. It's still perfectly vertical like so. So when we start to get to this position now, it's going to change. Now we're going to start to see the top of the pen and the bottom of it will look like this . And then that curb of the camp, I'm going to start to look like that. And so those are the things that we were going to start to have to understand. Moving forward. Now, if you're sitting here or standing there, okay, and you're holding that pen and now this. Say you take it up. Not only are you holding it up above your eye level, but you're not holding vertical anymore. You're now leaning it. Okay, so you're taking the pen. That is what Somewhat vertical. And we're leaning it away from us. So now it's going to get even more interesting because now the lean is going to allow you to see Mawr off the bottom. So if this were here, so now, as I lean, notice how much more exaggerated that ISS. So it's not just above you, slightly is now leaning away from you, so That means there's going to be, um, or of this going on. So you may see, um, that much of the bottom and then is moving away from you in perspective. And then this will be exaggerated to You'll have a much greater arc and a much greater are there. Okay, so you're starting to see Well, actually, the pen will start to appear shorter and again. You'll start to get mawr visibility of the bottom. And obviously, when you take the same thing and you hold your arm down and let's say you lean it away again, away from you here, then you're essentially doing the same thing. So it's just going to be the opposite. So again you would see a lot more of the bottom, and it's going to lean. Lean away from you with all of these arcs are going to be more exaggerated. And you know, these shapes here are gonna be more exaggerated. So that's just something to keep in mind as you move forward. And obviously, you know, if you're holding the pen out in front of you, just eye level and then you tilt it. It's the same thing, so if you held your arm out and then you lean this, then you're still dealing. You're still dealing with the same thing, and and that probably should have been angled up a little bit more. But that's OK. It's the same idea. That's just something that adds a little more complex city to it. But again, we're trying to develop these more complex ideas. Are you using a very simple method? So that's just adding a little bit of again a little bit of perspective to the situation, understanding your eye level and understanding how, um, arcs certain shapes. Things like that change as a lean and tilt away from you and, of course, how they are impacted, you know, through that I level. So let's say this is kind of heading down this way. So you know that I will be moving down. You're seeing the bottom here, and the top is moving away from you. So you're really start to I see it and exaggerated, exaggerated arch, as opposed to something more subtle like this when it is perfectly vertical. All right, 10. Forms With Perspective Part 2: okay. Just when you thought you were done, there's one more version of this. So we've got this very vertical thing happening, right? All these And then we have this one. We're things where you're taking it and you're turning away from you. What happens? Let me move this over a little bit. What happens if you're standing there? Hold your pen and let's say you're holding it up now instead of the pen leaning away from you. What happens when it starts to lean back at you? So, basically, you're taking this. You're moving up above your eye level. Remember, your eye level is really there. Ah, and then you're starting to You're looking up at it, though, so your eye level kind of goes with you, but still you're taking it. And now, instead of doing this, we do this. So we start to move it this way. And what's gonna happen eventually, is this going to go from this sort of idea? As it rotates back, it's going to start to flatten out and cancel, cancel out this sort of thing, and then eventually it's going to start to take on a different one. So let's say this is leaning Mawr extreme like this. Then you would probably have something that where instead of seeing the bottom, remember this You're going to start to see the top, so it may get to a point where it's here and you start seeing the top of it. And then as the bottom moves away from you again, you know you're going to get this sort of thing. So obviously the same is gonna happen here as you hold it away and you turn it towards yourself again. You know, it's going to do the same exact thing, so you start to see how that works. So if this were the top of the pen, they would look like this. And the bottom is curving away from you so you can see the top of the pen now. And if you hold it up below you and you start to move it, then obviously it's the same thing. You're going to start to see the top of the pen and then you know it's going to move. The that's going to move. The bottom's going to move away from you in space, noticed to when things start to tilt away. from you. They paper a little bit. Okay. So and the more things tilt away from you Ah, the more they taper. So if you're getting an extreme tilt, it may look something like this And you really get that feeling, you know, that is moving away from you in space. And then, as as that lessons a little bit, it may taper less. Uh And then, of course, maybe even less again. So that feeling of the illusion of depth is what you're trying to create. So again, do these pencil tests because their role easy to do. And it's going to help you start to understand a little bit of what you need to know about perspective. And of course, these ideas were going to relate in layer on top of our figure drawing. Now I want to get back to this for a second, and even in this can apply to all of these. Whether you're standing here holding it vertically up above, um, here, holding up or down and it's tilting doesn't matter. Um, the thing I want to kind of go back here and talk about is I level from my level things or straight So in other words, if you were to take this pen idea and you're holding it up and instead of it leaning the top of it leaning away from you, you have it leaning back. You get to a point again. Where that curve starts to level out, you may be able to see the bottom, but we end up with this kind of almost flat, um, shape. So that's no longer a form, is it? Remember, early on we talked and mentioned that a shape is different than a form because of form Has this idea of going over the form over the form over the form, this sort of thing. This we feel like we're going around it. Okay, So if you if you're in a situation where this is coming back towards you and it looks flat , um, I say pick one or the other. So either pick something that has a little bit of underneath, lean or pick something like this. So try to avoid this situation. Even if you look at our looking at it, use like man, that's just I can really see that she is straight on. You know, you're better off to go here. We're here because it's a much mawr dynamic, um, and pose or form to look at than if things are straight. So if you're going to pick, if you're going to goof up, goof up with one of these versus goofing up with something that is stiff and it doesn't have ah form, it doesn't have volume, you know, in the idea of moving around the form versus again like this. So we want things that are interesting to look at and more dynamic. So just know when you make an error or if you're in a position where you need to make changes, air one way or the other and pick a side and then go for it. Okay, so hopefully some really good ideas here you can start to implement, and your figure drawings were going to again. Layer these on top of what we're doing. But just remember, you know, things that are vertical. If you're above it, you can kind of see on top of it. But you can only see a little sliver. Um, again, all of these may become gnome or exaggerated curves. So we start with a subtle curve as that kind of moves down that may become were exaggerated . Ah, when things were tilting, eso at the top of this right here was tilting towards you. You're gonna have ah, much greater view of that. OK, so you're going to see ah lot Mawr of this side. Um, and it's going to move away from you. So we got that sort of thing now to exaggerate that even mawr. And to make that more dynamic, we can use this tapering idea. So because the bottom is moving away from you and the top is moving towards you, um, things get a little bit smaller as they move away. Okay, so So we're dealing with that sort of thing, and that shows, and that is now has a lean to it, doesn't it? So if I want to draw this idea without the lean, then I could just make it more vertical like this. Okay, so I'm kind of getting this here, so this can get the idea down to, but I just think this is more dynamic with the tapering of the edges. And of course, we taper too much. Then you may get on top of it a little bit too much and it may look a little bit too short . But again we will measure and kind of do different things as we move forward to make sure we don't know error too much. 11. Simple But Characteristic: All right, let's talk a little bit, Maura, about some construction ideas. And I guess to do that let's just say we are dealing with some. Let me bump this down a little bit. Go. So remember, structure is all about trying to keep it simple. So simple forms. But, you know, we wanted to be I want that to be characteristic and one of the I guess at some point, um, you have to decide. Ah, form. You kind of go to form on. So, you know, we all probably will have our opinions on what that should be. But for me and what you'll see, you'll see me use a lot his idea of a tube again. This is a very straight tube, and as you know, um, it's more of a structure than it is a gesture I remember. Gesture tends to flow and curve a little bit more structure. Sometimes, you know,