Draw Characters 103 Drawing Character Bodies

1. Draw Characters 103 Introduction: Hello and welcome to draw characters 103, drawing character bodies. This section of the course is going to teach you how to draw characters bodies by teaching you core forms of the body is the head form, chest form, leg form on forms, hand forms, feet forms, as well as breast form for female characters. We're also going to go over the critical aspects of proportions. Proportions of the sod spacing and location of elements in art. We wanted to have appealing and idealistic proportions as a base to work from. So you need to learn the proportions of the body, the face, and of the hands in order to draw them properly so that they look normal. So I'm really excited to go through this very critical module with you. And it's usual encourage you to watch all the lessons through first and then go through them a second time and then do the assignments at the end of this particular part of the course, draw characters 123. You should be able to draw a mannequin style character forms of most character types and be able to pose them in 3D. Great, I'll see you in the course. 2. Character Forms and Proportions New 1080p: Before we get into the meat of this module, there are just a few points I'd like to talk about just to prepare you for the content better as a head. The first is that you'll be learning shorthand forms. In this section, we'll cover all the major anatomical forms of characters in a very specific way, a very dynamic way to give you a strong foundation of building blocks that you can use to build your own character forms. So we're gonna be doing shorthand forms in the section, and it'll get you up to speed fairly quickly in order to draw character forms. The next point that I want to talk about is you may be wondering why based on our theoretical model, white forms are coming in module three instead of module four. What are the forms come before? What is obviously shaped when we're talking about gesture, because module four is about gesture. But in our implementation model on the right here, we know that when we're implementing, we want to implement forms first and shapes at the same time, forms and shapes at the same time, but starting with forms. And very much like a sculptor, we need something in front of us first to infuse all of that shape theory and their compositional theory into. And so this is why we start with forms first, because we are realists, were realist artist and we want to have objects and masses that exist in a place where there is time and space. And that they are sort of implied to have a mass and volume to them. And so we need to start with forms and then use those shape theories to mold the forms which we want to try and do at the same time. Third is that this is a section, especially if you are still very early in your art journey that you would want to revisit quite often. Just basically strive to really get the idea of drawing through drawing these forms and then applying the dynamism to the forms so that you can get those dynamic forms down. And you'll see as we move through this module, these concepts of dynamic forms will make more sense. And the last point, a pretty important point. I really don't want you in your mind to equate anatomy with character design or character drawing. That's not to say that character zone and drawing have anatomy in them. That's obvious they do. But anatomy studies really fall into the details section, especially when we're talking about detailed anatomy, detailed musculature, skeletal structure, and skin surface structures. That's really something we want to only apply when we are doing the details of the refined drawing when we've got our forms that are implied by the shapes down, right? So don't get, don't get caught up on anatomy and terrified of anatomy because it is very complex and there were very many components to it. But at the end of the course, I do go through a really useful resource for you to help you and guide you on learning all the complex anatomy, which to be honest, can be learned very much in a rote fashion or parrot fashion. You really just do a lot of observational studies just to get those details into your system. Alright, that's the end of this introduction. Let's get into the meat of it. 3. Ideal Body Proportions: Welcome to the lesson on ideal body proportions. In this lesson, we're going to look at a basic framework for drawing out the measurements correctly of the human body. But before we do that, we need to actually understand what our proportions, right? What are proportions? Proportions are the size, the spacing, and the location of elements in any particular design. So costs can have, for abortions, people have proportions and so on and so forth. So they're the size of the spacing and the location of elements. We build a sort of a rule set out of these things to give us some kind of guideline as to what the correct or reasonably correct proportions of the human body should be. Something to remember is that these are really just general guidelines. And the reason we want to emphasize this is because there's all kinds of body types out there, all kinds of people out there, all ages of people. And so they proportions vary. So the ideal body proportions are really the science space and location rules of just the idealistic kind of middle aged person, maybe a 30-year-old, 40-year-old, the type of person, someone who had just your general adult. One other thing to remember with proportions is that when we manipulate proportions, we can get different looks. We can get different styles. So a large part of other drawing styles for exempt, for example, drawing manga, drawing Disney style work, drawing cartoons during TV style things are American comic book characters. This really has a lot to do with altering the proportions of the general guidelines and using them in different ways to achieve different looks, right? And then last but not least, let me say as well before we move on to the actual body proportion themselves, that this is really something you want to learn off by heart. Learn off by heart. The reason you want to learn this off by heart is if you have some idea of general body proportions that work, that look reasonably correct, then you're able to manipulate the proportions as to how you might want them for a different body types, for different look, for a different style. So you really want to learn proportions of a heart and truth be told, they're not really very hard to learn off by heart. I would recommend doing your own drawings of the ideal body proportions, head and the hands, draw them, stick them on your wall and every morning just memorize if Baha'i, the main locations of things. So we're going to look next at a diagram of ideal body proportions here. And it's drawn very basically, it's not drawn to look good. It's drawn so that we can capture some fundamental measurements of the form that we know work and that we know look generally correct. And that we can then use to draw really appealing believable characters off of these measurements. So let's go ahead and actually start breaking down ideal body proportions here and taking a look at the measurements of the form here. So the first thing to note is that we use a head measuring system to measure everything. So whatever you've defined the head size as can be used to measure out all the rest of the sizes of a particular character. So here we have the eight heads system because we are using eight head sizes. And we've drawn a very typical front view of an average person, middle aged at this particular head height, eight heads. In the first head. We have the head right? So from the top of the head to the bottom of the chin is the firsthand. And the second head. The bottom of the second head aligns with the nipples, right? So this is kind of the nipple line. So we know that the nipple should always be at the bottom of the second head. The bottom of the third head, we have the naval line right over the belly button line, if you wish to call it that. It's one of the third is the naval line. In the bottom of the fourth head is the crotch line. And the crotch lies reasonably around that position. Alright. So it's not a very super ultra sun to fix super accurate system. It's a general system, right? The bottom of the sixth head, the bottom of the knees. So it's the neat line. And then the bottom of the eighth head is the bottom of the feet, right? So the foot land. So we want to remember these very basic kind of front view measurements, primarily first. But then we also have a question of width. How wide do we draw things? How wide do we draw the hidden shoulders? And generally speaking, you want to have the shoulder head length to be 2.5, or sometimes even three heads wide depending on how wide the shoulders or that you want, but three heads looks, can look right. 2.5 also looks pretty right? And you may also be wondering, well, what about gender differences? Are there some key gender differences and they certainly are. We'll talk about them shortly. Let's just cover some other things quickly. Next thing is, how long do we put the arms? How long do normal arms look? So the rule we use here is really that the elbow aligns with the bottom of the ribcage wherever you may have drawn that or understand that to be in your drawing or otherwise slightly above the third line. Write the line of the naval lines are slightly above the navel and we'll draw the elbow line. And that helps us define the length of the upper arm. And then the length of the lower arm is from the elbow down to having the hand meet around halfway on the hips, right? Halfway on the hips, where the hand usually touches. And in a nutshell, that is very typically the idealistic body proportions rule set. You learn these off by heart. You make sure you know the locations of everything, the general width of the shoulders, how to measure out the arm length, the leg length is implied in here because of the bottom of the crotch kind of going down to the sixth head with the knees are, and then six to eight is the rest of the legs. You generally get a good feeling of the length of all of the elements based on their head measurement. So my advice to you once again really is learn these off by heart. It's not really a hard system. You can just really print this out if you wish, put on your wall and learn it off by heart. However, we do have a question of gender and age differences, gender and age differences, particularly gender differences and age differences. We will cover it later on in the course. But in terms of gender, gender differences, instead of drawing out this entire eight heads model, again, having you learn another entire model of a head proportions, I thought what would be much bidders to really just cover the key differences between male and female. And really there are two core differences. The first one is that females tend to be shorter. Females tend to be shorter. So what you can really do is just draw them at maybe seven heads or 7.5 heads, right? Seven or 7.5 heads. They generally tend to be shorter, venue idealistic male proportions. And then the second thing which requires some additional drawing is that we want to understand some fundamental truth about the skeletal structure of men and women. Bait the basic rule really is that men have broad shoulders and narrow hips. Alright? And woman have narrow shoulders and broad hips. Okay? This is just a basic symbolic representation of what I've just said, but it's useful to remember it in this way. They're not too exact proportions. But basically you want to make sure that in men, the shoulders are broader than the hips and in woman, the hips are broader than the shoulders. And the reason this is so is the pelvis inside. The pelvis from our skeletal structure. In men, is usually quite narrow and more vertical. And in women, the pelvis is actually very wide, right? It's wider to accommodate childbirth. Right? So there's a kind of a typical drawing of the pelvis. The great trow canter, which is at the top of your femur bone, your main bone in the top part of your leg and your top leg burn right? Pokes out. And because the woman's hips are broader, the great trow canter pokes out a bit further. So it looks something like that to how the bone is and so it sticks out further and then the skin wraps around and goes down to the leg. Whereas with men, the pelvis itself is actually quite a bit narrower. So the great trow canter, doesn't stick out as far. And so male hips are narrower. And that is the end of idealistic body proportions for the human body. 4. Proportions of the Head Part One: Welcome to the lesson on ideal head proportions. In this lesson, we're really going to learn just a very basic system of remembering the location of elements on the face to get a nice, normal looking face and well proportioned face. And how we stop this is we just draw a very rough circle and put a line down the middle to give us a center line. We then divide the circle into three equal parts. And the bottom third dividing line becomes our eyeline. We can then measure the space from the island to the top of the head. Relatively duplicate it to funding where we can put our chin line. And then kind of drawing in just a very basic chin shape. Chin and jaw shape. Once the online is placed, we can then indicate the eyes on that line by placing them relatively in the middle of having each half of the head shape. Another way you can remember this is by thinking that there is really just one space between both eyes and three-quarters of an OS space between each placement and the side of the head. The bottom of our circle becomes the bottom of our nose. We can indicate with this, this with dots are ellipsis. And then the space between the bottom of the nose and the bottom of the chin can be divided into three. And the top third becomes our mouth line. Then roughly half to three-quarters of an eye height above the eyes. We can just indicate some eyebrows. We'll keep it very simple. And the reason we want to indicate the eyebrows is because we want to measure out the ears. And the height is determined by the bottom of the nose, measured up to the top of the Alvarez. And this gives us a heart of our ears. And these are effectively general head proportions that make a good God for us to achieving relatively normal looking, not crazy, crazy, weird looking heads. It's relatively normal looking character hits. Let's look at these key locations one more time. We start with this circle, which really is reflecting the cranium. We divide it into two to get an R center line for measuring. And then we divide it into thirds so that we can find our airline. The bottom third line becomes the airline. And then we duplicate the space between the online and the top of the head down to find our chin line. Then we place our eyes halfway between the middle line and the end of our circle. And we draw in our eye shapes. Noting that our eye shapes can generally be an odds width or slightly more apart, and three-quarters of an eye away from the side of the head. So there is space on the sides of their heads as well as between the eyes. Then the bottom of our circle becomes Ono's, giving us our nose line. And then we divide the space between the nose and the chin into three equal parts. And that helps us find our mouth line, which is the top line of that third division. And that's I'm outline. And then lastly, we place our eyebrows above our eyes. And then we use the distance between the eyebrows and the bottom of the nose to determine our ear hot. And those are essentially the proportions of the head from the front. Now, one great thing about this particular proportional system, by using a circle first, instead of using an ovular system where we're dividing an oval and finding half and so on. By using a circle first. It allows us to actually create a heads with different jaw shapes. For example, this person has a long face. This person perhaps has more of a pixie kind of face. We can use the bulk, bulk of the measurement tools here. These two different examples to still find the airline and the nose line, but using the basic rule of dividing into three here, for example, to find inappropriate nose line. I mean the mouth line that fits the proportions of this character's face, albeit long and slightly stylized. We can use the same rules for finding the ear hot. Similarly on this illustration as well, can use the same rules to fund that mouth line. And draw it in fairly quickly and very easily just by remembering a placement rules of the key features. And that's why it's great to start with essentially the cranium for remembering your proportional rules for the head. Rice. And those are the proportions of the head. 5. Proportions of the Head Part Two: Let's do a quick overview of the head in the side view using basically the same measurements that we've used previously, but we're going to turn things to the side. And the way we really want to start this is instead of now having a circle for our cranium, we want to have an ovular shape for the cranium because the head is more ovular from a side view, right? And then we want to put our center line down that shape. Right? Then divide the shape into three, just like we divide our cranium into three. That will help us find our airline. We can then measure the space from the airline to the top of the head and duplicate that sort of measurement down to help us find the bottom of the chin, or in this case the bottom of the jaw from side view. We can then draw a straight line down here, draw an arch in line, and then bring up this jaw line to connect around the middle of the head area with a slight arcane line. We can then divide the space from the center line to the front of the face into three sections. And we get a good location of where we can place the eye, which one you use, just doing a simple V-shape here. Then using the proportions we already know, we can take the bottom of the head here, but all the cranium, oval shape, and fund the bottom of the nose. Draw the nose in. And then divide the space between the nose and the bottom of the chin into three and fund our mouth line. The mouth blind teens turned down inside view. Can then join our eyebrow and then measure the space from the eyebrow line to the bottom of the nose line to find out your heart. And where we place the ear is just behind this middle line. Just behind this middle line, at a slight angle. So instead of it being vertical, we're going to rotate the ear slightly to the right. Well, in this instance slightly to the right, because the ears to change to sit at a slight angle. And we place the ear and they're just a general guideline over here. And effectively, these are the same proportions except in a side view. Can just add the NIC down here. So make the drawing look more normalized. In these other proportions and son view. Key things to remember here is that the cranium is ovular. Or you could say elliptical from side view. That the ear is behind the center line. And then we divide this space into three. For the front of the face. For the eye location. Otherwise, for the most part, all the measurements are pretty much the same. And that is a basic summary of the head in side view. 6. Proportions of the Hands: In this lesson, we're going to take a look at the proportions of the hands. And the great thing about the proportions of the hands is they're actually finished straightforward. Once you know the rules of Baja, it's really, your hands will start looking normal from moving forward. Now, first thing I want to do is draw circle, and this circle is going to represent our palm. It's going to be out palm shape and then duplicate its height upwards, right? This gives us our first big rule about drawing the hands or the proportions of the hands. And that is that the middle finger, which I'm going to draw around this. The middle fingers height and the height of the poem are essentially roughly the same. Alright, That's our first rule. Now second rule, when we draw in the ring finger and we draw in the index finger. Our second rule really is that obviously they're a little bit shorter than the middle finger, that they are relatively the same height. This is not always the case. But for drawing proportional rules, they relatively the same height. The pinky itself then is just slightly shorter than the ring finger, sometimes significantly shorter, but generally speaking, not too much shorter. And then that leaves only one more finger to do, which is the thumb. And the placement of the thumb really falls below halfway of the palm. What we do to place it mainly even when we're drawing it in 3D, is that we will use a circle to indicate that big thumb muscle in that quadrant here halfway down the poem. And then draw out the thumb shape from there. And that will really give us really nicely proportioned hand that looks normal, it doesn't look too crazy, and everything is relatively well connected. And so our three rules really is that the middle finger and the palm have an equal highs. Second Rule really is that the ring finger and the index finger, While the same hut. And finally, that the thumb falls below the halfway mark of the palm rots. And those are basically the three main things to remember about the hand proportions. The key one being the middle finger height and the palm heart, which helps make sure that the rest of the elements of the hand are generally speaking, pretty normal looking and not crazy looking. And that's the end of this lesson. 7. Important Static and Dynamic Forms: In this lesson, we're gonna be talking about static and dynamic forms. And it is a pretty important lesson. And we want to get this concept into our minds before we move on to doing the forms of the body. Just like we have is static and dynamic shapes that we learned about in module two. We have static and dynamic forms. So for example, this sphere presently, if you were to ask which direction it's moving in, It's pretty unclear, like we don't really know which direction it's moving and it's basically not moving in any direction. But if you were to imagine this as a ball of clay and we started bending it into some kind of weird shape, maybe narrow at the top, wide at the bottom. We've stretched it out. We start adding directionality to the shape. And that then turns this 3D shape, this form into a directional form or a dynamic form. So the form now has directionality. It's no longer static. It appears the shape of the form or the general structure of the form has some kind of directionality to it. Let's take a cube. For example. If we were to draw a cube, just your typical cube. That's a very isometric cube. In terms of the directionality of its form. The form itself doesn't really have directionality to it. However, as we start bending and changing things about this cube, we can mess with its structure, ready and give it a sense of directionality by bending its sides and making it more malleable in a sense. So now the cube is kind of stretching back this way. Let's do another example. Cylinders in particular are something we will be using to do a lot of the elements of the human form. This is a typical cylinder drawing I'm drawing through here. We can imagine this is the backside of the bottom cylinder. And we can see the top and the front science. If I take the cylinder and I start bending its components. So I'll bend one, I'll make one side of the cylinder smaller in one side of the cylinder bigger and link those two sides together. We now have a bend in the form and it appears to be moving in a direction. Whereas this type of cylinder, once again has no directionality. So in this instance, what we essentially have our static forms, forms there does not appear to have any directionality or movement to them. And dynamic forms, forms that do appear to have some kind of directionality and some kind of movement in it. So as we move forward into doing the forms of the body, you will see how we take static forms and convert them to dynamic forms. And this is really to help you understand the basic form. And then how we bring that form into more of a believable living type of form. Write a more dynamic, loving kind of foam that moves and changes as we have with characters. All right, let's move on to the next lesson. 8. Drawing the Head and Neck Forms: Let's take a look at the basic building blocks of drawing the head and the neck. So typically speaking, the head is really made of kind of two shapes. You could definitely suddenly drawn with these two shapes. Where you have a sphere and you have a triangular form. Can imagine this drawn through a little bit. And you also have a cylinder for the neck. And these really are a very basic form building blocks. That's not to say that you would draw these exact forms, but these are the forms that basic forms that we want to understand to make up the components we need in order to draw the head. But using our knowledge of dynamic forms, we want to draw the sphere, which is the cranium of the head. Draw that in. And instead of bending the sphere, what we can do is attach the triangular form over here to that sphere and have them become one. And it makes a very directional type of shape. And when we add the neck to the base of that sphere, we want that to be directional to smaller at the top, slightly bigger at the bottom. And we then have a good form based foundation of how to draw the head. We were in flying planes to the front plane and the side plane. And we also have the planes of the neck, the front and the side as it rotates around. And additionally that we're drawing, add a rotation. So this head is facing slightly left and it's not front on or side on. So when we draw front on, things appear to be very flat. We can't see multiple sides. And similarly, when we draw things directly from the side, also appear to be very flat. And we can't see multiple sides are just see the side and we just see the front. And for the time being, as we're doing these form drawings and learning to draw these forms, we want to avoid front and side views for the time being and focused on rotations. And more, more, more specifically, what we can call three-quarter rotations, where we're rotating the form three-quarters left or right. That's not to say that you can't do additional rotations. But while we're learning, let's focus on drawing slight rotations to our forms so that they don't appear to be flat, that they appear to be 3D and dynamic. So let's look at a few more drawings like this, where we're thinking about the forms. And we're imagining the different sides of the sphere, attaching that triangle shape to it. The triangle form. Imagining the NIC cylinder starting small, getting big as it comes in, it's going to eventually attach to the torso. And just getting a handle of these forms, feeling these forms, imagining these forms, and particularly that they are dynamic forms. Let's do a different rotation. So what I'm doing now is I'm already imagining that this circle is a sphere. I'm drawing a contour line over it to imagine where I might place that triangle. That kind of molds and becomes a part of that sphere. And imagining that form on that neck coming out. Just as a basis, just as a basis for the face. We can play with the size of elements as well to get different looks, particularly different jaw shapes. So perhaps I'll really bend that triangle. Now. Make sure I know the front and the side of this head shape of the sphere. Imagine the neck sphere behind these forms, the next cylinder mind you really just continuously stacking these forms together, these dynamic forms and building head shapes. And really, these three components are the main components of the main form components of drawing. Heads has a top view. So basically I'm just imagining touching this triangle shape to the front of the face, but imagining that the island, for example, central lines running here in the islands looking that way. And I attach that triangle to it and it tapers off as it recedes into the distance. And obviously we can't see the neck from a top view. And what might've bottom view look like. So again, we can start with a sphere and draw through. So let's say that this head is facing that way. The airline is. Maybe there are some other lands help us grasp the form and the small ellipse for the neck is there and the big one is here. It's kind of bending up. And we want to attach that triangle piece to the front. And let's say that the base of the triangle really ends. The chin shape here, if you wish. Ins, in that kind of shape. As it moves up to the face. And then a sphere just continues around. And we have the base looking at bottom view from the neck, imagining these different planes. The bottom of the sphere, the front of the face, the side of the face, the bottom of the chin, etc. And so what you want to do with all of the forms that will be drawing is grasped these basic forms, the sphere, cylinder for the neck, draw out these just very basic forms. This triangular block component, longer or shorter, doesn't really make a difference as long as the proportions make sense. And then add in those dynamic forms. So add in the idea that you don't want the form to be non-directional and static. So this form certainly from the side, is directional here. It is directional. For the satellites front plane is really a square. It's not really directional. This is not directional and that is not directional. So what we wanna do is kinda, how can we make these forms of directional? We have our sphere, it in itself is not directional. Green mold this triangular block to it. We're giving this form a sense of directionality, right? It's kind of pointing downwards and it's overruled. 2d shape, if something like that. So there's a direction, melody and it's, and then we want to also bend the cylinder for the neck in such a way as it has directionality to starting small at the top and bigger at the bottom. And then the next directionality is actually kind of pointing up, right? We will get more into detail as to why we might want to have a directionality in human forms. And they're there very specific reasons why living things should have a sense of directionality in them. And this is why we want to bend these basic forms and not just leave them static. Right? So hopefully this is a good overview for you of the really the basic forms of drawing the head. Just do it once again here. I'm painting the forms. This time I'm drawing the sphere first, adding the neck and then molding on that triangular piece. And having us kinda fill out these basic forms. Now, once we've got the basic form down, we can then take a basic, take the basic form and added just a very kind of standard simple skin overlay onto it using what we know about overlaps. So I'm going to work in two layers here. We'll do the sphere, slight rotation to the left. Mold that triangular shape onto it. To make it not that long. Let's make it a little bit shorter. So it ends there. Now centerline down there helps me to feel the form muzzle drop in the Ireland third down the sphere and get that. Nick's fear going, Nick cylinder going through to help me fail to form. It's not quite centered on the nakedly. So at the end of the world. And once we have this using what we know of proportions, we can then actually add in some features. So I'll just use some ellipses for the eyes. Thinking my perspective, putting in the nose, turning this into three, finding the mouth line. And then kind of pressing little harder and getting these lines in. Imply the skin surface. And thinking about overlap here, line weight as well. And having the neck taper down, giving us a basic skin surface to the forms. And really, if you have strong forms, adding the details to the forms is relatively easy. When we think about the triangle. Right? A theoretical triangle. Let's change the weighting here. It's generally weighted so heavily for shape. And that really is just a 2D iconographic shapes of what we're doing. And then forms. And even more so than that, I want to just change the shape a little bit more just to kind of emphasize the point here. It should be something like details occupy that much of the space. Forms and shapes. Because the details really are just the details if the forms of people are already been geared to seeing the 3D in what you're drawing Right there. Good to seeing the three known what to join. They already buy into the 3D nature of what you're drawing. And the fact that we're adding directionality to our forms already means that we're showing some understanding of living objects. So when we do a form of a head in this particular way, there is an implied life in the way that we're thinking about the basic forms. And to the viewer. It's something that they just kind of, they understand. They'll get it. There's something about how we're creating the swans in finding them with that directionality. That implies a sense of laughing in understanding versus a more amateurish understanding of form where things are very blocky and robotic and flat. And sure they may still be understandable. But there's just a lack of believability in the life blackness of the forms. So this is really just mean not adding in the directionality of the forms and not really connecting anything and just keeping it very static. It looks very robotic and very date, right? And so what you can do really is using those basic formula, full knowledge for the head and the neck. Just really connect those parts. User proportions knowledge when you want to add features, keep things directional, and then add. Even if it's just a very basic understanding of the skin surface level of the forms. It's okay. You can be a little creative. And you really can add just a very simple skin surface details and inhabit have something that looks relatively decent without too much work because the forms are so strong, strong forms. That's what I want to emphasize to you with us. Hopefully in this video you've got a good overview of really hard to easily just add those surface skin details onto the forms as well as obviously how to construct the forms. And don't forget all the things you've learned in module two. This is especially important. Don't forget what you've learned in module two regarding loose lines and overlapping lines to show overlaps and things that are in front and behind. And also adding line weights to show that this jaw, for example here, is overlapping the neck. The very, very basics help you to just get that believability when you're adding the details onto the basic forms. Alright, let's move on to the next lesson. 9. Drawing the Chest Abdomen Pelvis Forms : Let's now take a look at how to draw the chest, the abdomen, and the pelvis, or the pelvic forms. So when we think about the chest, a good basic starting point is really just a rectangular block. Just to get the bulk of the mass. And for the abdomen, what is pretty good to use as a sphere. And then for the pelvis, a very basic shape could be some kind of triangle upside down pyramid. Should I say? Something like that? When you connect them together and you kind of scale them correctly, you get something like this. Which, you know, for rudimentary purposes, makes some sense because there's always that point of rotation in the abdomen here. So we know that the abdomen can rotate. And so it seems like a nice hinging point. But when we take these very, very basic forms and we start bending them, we get somewhat different types of forms. I'm going to show you the forms that I like to use, just the very basic forms. I like to use the dynamic forms for drawing the chest, the abdomen and the pelvis and their forms that really help add on the arms and the legs, and the head and the neck. So we take that block and we start bending it on all of its sides. And I've taken some cues from the ribcage. And I add this V-shape to my abdomen. Very much like that. So I've taken that basic block shape and really modified it into the shape. Just going to draw through here so we can see the science modified it into this type of shape. And this upside down v-shape really is great for slotting in the abdomen, which I keep a sphere, because it really actually works really well as a sphere that doesn't need many changes. And so you now have the chest kind of plugging in nicely into the abdomen in terms of the basic forms. Then what about the pelvis? The triangular pyramid shape is a bit harsh. It's a little bit harsh for a pelvis. And so what I do again is really apply that dynamic shape theory and bend the form in a way I'm going to just rotate it a bit forward here so we can see the top. And I use an ellipse. And instead of it being squared. So the shape would be really something, this form should I say, would really be something like that. Instead of having a square, have it round. And then make it kind of like a cup or a teacup type of thing or kind of a very pointy bowl if you wish. And what I like to do is draw ellipses on the sides of it running through. So that would be seeing through the form there. And over here, this would be the front ellipse as zones that we can plug the legs into when we get there. But really, without getting too technical, we're really just taking this upside down pyramid and using an ellipse and still getting that permanent shape where the form would really be having these types of contour lines on it. If we drew through it. It's really very much like a cup. And a fun that works particularly well when you add it to the rest of these forms. So in a nutshell, really these, these are the forms that typical forms that I use pretty much all the time when I'm drawing, which are basically just dynamic versions of those basic static shapes. And what's great to do before we get to the skin, adding basic skin layer on top of it. But what's great too to do is play with the various angles and rotation. So you can see I drew in a three-quarter there previously. Let's just go back to that. So this is very much a three-quarter view. And three-quarters great because we see the front, the side, front side here we can see the top a little bit, front and the side a little bit. We can add those ellipses and it gives us. Even more of a side view of where the ligand plugin. But to really realize that the joint here, if you want to call it a join to this pivot point of the abdomen is great because the chest can move forward on the pivot points. It can move back on the pivot points. It can move side to side. And these are things we really want to get used to, get used to this idea that we can actually put these basic forms and even twist them. So let's look at some examples of those very things. Here I'll do the basic chest form, bending those sides, putting the sphere in there and then ensuring that the shoulder line here, really that's what that is. The shoulder line and the line of the pelvis are not parallel to one another. Right? Using center lines as well, helps us to understand what we're doing in terms of the direction that these forms are facing. So I have a center line down here and we can see that this is facing that way, that's facing that way, and this is also facing that way. And so here we have a chase that is binding to the left on this pivot point. Yet the pelvis still stays at an upright angle. So you could say that the vertical tilt of the pelvis looks like that. And the vertical tilt of the abdomen, of the chest. It looks like that. We'll get more into detail on tilts later on, but something to think about. For now. We can also do twisting. So we can have the chest over here, excuse me, facing to the left, just bending those lines. Chest faces to the left. And we can indicate that with the center line, It's curve points to the left. All of its curves really pointed left. Put an atmosphere. Then when we add the pelvis, change its center line and have it curving to the right. See the back here, one curve. But for the most part it's center line curves to the right. And so now we have a twist happening in the form, which is totally possible. Your chest can face one of your pelvis can face another. And this adds some nice dynamism, especially to your poses. Using these basic forms. And really using the stomach or abdomen area here as a pivot point, right? It's a sphere that can pivot. So we can bend it and we can twist it. And we can also just draw it front on, not front on, just basically all facing the same direction. We want to always draw in 3D using these basic forms. Center line on the sphere, center line on the Chase, Center line on the pelvis. And we can see multiple sides, which is great. And now they're all kind of uniform. Is a bit dull in terms of posing because there is a parallel between the shoulder line and the pelvic line here. We don't want that generally speaking, but nevertheless still looks 3D and you can still feel the weightiness of it. Let's take a look at adding some skin onto these forms. I'll draw it again. It's good practice to keep redrawing. It's very simple and you can see I'm, I'm very loose. I'll always encourage you to be loose when you're drawing. Especially drawing, you're just, you're planning forms. Don't worry too much about proportions for now. Just get, just be loose and free and just fill out the forms. Here we have that basic model again of these forms, dynamic forms. Once again, we have directionality in all of the forms. Obviously borrowing the sphere, which you could add directionality to it if you wish to make it more of an ovular shape. But it's up to you. And when we want to add surface detail to this basic surface detail is really that That's the top there. And we come down to the side, kind of follow the forms just in a basic way. And with that too many lines, we can get some good surface detail. Good kind of even imagined from this because of how we draw that upside down V, that perhaps the chest is somewhere around here. Just above the rib cage. This is a male form. We can very easily get that form with any, if you really look at these lines, they're not crazy detailed lines that just land there and it goes straight down. Why? Well, we kinda sticking to the general idea of the skin going over these forms, right? And we can get a fairly convincing skin view based on the form. So if the former strong drawing the skin is not that hard, obviously sure we want to have that anatomical knowledge, which we have to learn by observing and copying anatomy from anatomy references. That will really add to our understanding of the form. But, and, and really give us the little micro details when we're adding little bumps onto the skin surface like here, this is the ileum crest from the actual pelvic bone. It adds realism in here I can add the acromion, which pokes out just before we hit the deltoids. The shoulder anatomy gives you these things and it helps you to know where to place things. When you're studying conflicts anatomy, more detail. But the bottom line really is that it's all defined in all based on a strong foundation of strong forms. Right? Let's do one more example. Just go through it one more time, just so it's super clear. We're bending that basic box. We're bending its sides. We're adding directionality to everything. Drawing through. I'll draw through more on this one just so we have a much clearer picture. Adding that sphere for the abdominal area. And then we're really changing the shape of that upside down pyramid. And imagining kind of goes down like that. Let's change the middle line to that. And we have this 3D structure happening on that form. And then once again, we just draw some simple lines conveying how the skin is falling over these forms. Almost like cloth falling over these forms in a sense, kind of tight cloth. And we know the ohms we'll plug in somewhere around here. Just do a line. The line, the skin folds down, down. We can stop there because the legs are gonna come in. The crutches here along their land, their head and the shoulders. But we know that the head is going to plug in somewhere here. Probably draw these ellipses just to show these points. Generally don't need them. You generally just stack the forms on top of each other. And also this upside down V does imply the ribcage area. And we have a fairly convincing form. Great. That is the end of the chest, the abdomen, and the pelvis. Basic forms via. 10. Drawing the Arms and Legs Forms: Let's now take a look at the basic forms of the arms and legs. The great thing about drawing the arms and the legs is that really the simple cylinder is the basis for those forms. However, we really want to use the dynamic form or version of a sudden death. Because a cylinder on its own without any directionality, It's kinda, it's kinda boring. It doesn't seem to show off the movement or the life that is happening in those limbs. And so what we do is we create this type of shape where we curve the cylinder and have a one end being larger and another end being smaller of the particular form. And that gives us that directional flow. Now the great thing is that arms and legs, both the upper arm, lower arm, up leg and lower leg are made from really the shape just in terms of their basic form. Now anatomy just their basic form. And you'd be shocked at the poses you can achieve just using these basic forms and all the basic forms we've learned so far. So for example, if I did a quick chest here, since a line down the middle. And I wanted to add two arms to the form. I would add one cylinder that we are bending. And then I'd add another. And on this side, Let's change the initial curve. So instead of this curvature angle, we will go to that curvature angle. I can then add a different direction to the home. You might imagine that this hand might be facing upwards based on the on position. And this hand, we may be seeing the palm, the top, the top of the poem, based on the assumed direction happening here. And this leads into something called opposing curves are opposing curves theory, which I talk about primarily in module four. But it's applicable here because both the legs and arms work in this particular way. Before we move on to looking at the legs and the arms and a little bit more detail. Just remember that really redrawing the cylinder. And the cylinder has an ellipse at the top, are drawn through ellipse at the bottom. And we just connect the edges and we have a cylinder. We can rotate the southerner our minds. We have a more of a circle here, slight ellipse. And we're just connecting the big one in the foreground to a slightly smaller one in the background. Because things get smaller as they recede. And we have an ellipse at a different angle. And what we're doing is we're taking this elliptical shape and making it dynamic by bending the walls and changing the size of the initial ellipses that we use to define the outer planes or the top and bottom planes from the side planes. Right? Let's look at arms and legs once again. Now we've studied the proportions. So hopefully you're getting your work done on learning them off by heart because they help you measure out how long the arms should be. And you may have noticed already that when, in particular, when I'm drawing out the forms, I don't tend to add little joint balls. Two things apart from obviously the pelvis and maybe your knee. But generally speaking, I don't add these joint walls because really they're kind of strange to draw on top of when you have this weird bowl in the middle of a, an arm or leg. So what I will do instead is really just have the forms be relatively where they should be. You don't really need those joint balls there. And then proceeded to draw in the Bent, Bent cylinders. And I can then just really measure the length relative to the rib cage. With a rib cage is supposedly is. And then just measurement lines and then draw in the forearm, which is once again just another bent cylinder. When you start trying this, you'll see how relatively easy it is to get fairly convincing looking on forms with just these very basic shapes, basic, very basic dynamic 3D shapes. When it comes to the legs, using that same pelvic or pelvis shape that we used before, kind of like a cup. Similarly, again, I don't really use these bowls to connect things though. Of course, if you feel comfortable doing that, by all means, go for it. But I tend to just draw the ellipse nearby and bend the form out. Bending those cylinder shapes. And let's make this just a little bit smaller to add the lower legs. And really just make it a pose. So if that's curving that way, the next part we'll curve that way. Similarly here, if that's curving that way, the next part, we'll curve that way. This is opposing curves theory. Again, I'll just draw in that ellipse. And I have some fairly three-dimensional and life-like looking limbs. Once again, if we don't apply the principle of dynamism to these forms, get very static, blocky, unrealistic, non-living looking drawings. So here's me using the pyramid. And if you can imagine me trying to figure out how I'm going to attach the leg forms to it. It's no wonder that a lot of beginners don't end up drawing the anatomy in any kind of particularly realistic way. Because they're trying to conform these bulky forms into anatomy. And the forms don't really have that dynamism that real anatomy has, whereas dynamic forms do. So. I know I'm reiterating this. I know I've said it before, but I really want you guys to understand how bad this is for drawing that we really want to stick with the dynamic forms, particularly especially in character design, industrial design, it's a different story. But for character design, for human beings, we want to stick with dynamic forms. So let's draw an arm and leg. Just the basic forms. Once again, going to bend that cylinder that way and this cylinder this way. And you can notice that always have the bigger cylinder at the top, the bigger ellipse at the top. And it bends down into a smaller ellipse. And then we will do a leg shape. This could also be an egg shape, but nevertheless, it's do a leg over here. Same basic form. And what we wanna do is just imagine the skin wrapping around these forms. So I know that there's a kneecap and so forth. So I can do is just add a line. Indicated knee will just use a very simple shape for that. It's kind of like a very broad v in a way sideways. V, follow the form, follow the form down. And I have perhaps not a well proportioned, but certainly convincing enough leg lacking in of course, minute anatomical details and in certain kinds of anatomical lines and bumps and things. But nevertheless, for our purposes, totally fun. Same thing with the arm. We know there's an elbow around here some way which is, you know, it's not the same as the kneecap, but it does protrude from the skin in a similar way to the knee. You put the knee, the elbow there. Follow the lines of our form. I'm implying some overlap here because of the way the joints work. And then we have an arm. And of course I hand would then go here. So essentially, it's the same as the previous two modules that we've done, the previous two lessons that we've done. We were doing the head, we were doing the chest, and the pelvis and the abdomen. We're building basic forms, very basic forms. And then we're allowing the forms to determine what our skin layer, if you wish, looks like. And when we start learning anatomy, your mom will be expanded to how easily you can actually draw anatomy. Because of this basic dynamic form structure. And also particularly following the rule of opposing curves that happens in the forms, in all of the forms. The head, the chest, the abdomen, the pelvis, and of course the arms and the legs, and even the hands and the fingers. Everything opposes. Alright, that's it for arms and legs. Let's move on. 11. Drawing the Forms of the Hand: Let's talk next about drawing the forms of the hands. Now, contrary to popular belief, or hands are not that hard to draw when they're in basic poses. When you're starting to do more complex poses with the hands, things do get a little bit tricky, but the forms themselves off any basic and usually you can work it out without reference. So much like the other forms, we start with a basic set of forms. This would be our palm, just a block. And for the fingers will use cylinder shapes. Just as we've done before though, these types of basic 3D forms are not good enough for us. Why? Because they're static. So we're going to basically do what we do and Ben them, at least bend them in a way that is very similar to the way the actual anatomy paints to some extinct. So for example, we'll start drawing up palms like this. Now. We're, we're bending the sides. We have a smaller plane at the bottom and a larger plane at the top. This is where the fingers connect and will need decent amount of equal spacing or markers to know where to put those four fingers. Then using a proportional guide, you can also mark just a circle or some kind of marker to help us know where to place the thumb and then ask for the fingers. They really follow the opposing curves kind of rule where we're using cylinders that were bending and bending them in a way that makes sense with the curves oppose. So we have the current going that way, that curve going that way, and then the final curve going that way. And that is how we can get our finger shapes going. Just as an anatomical note, the fingers generally have three parts. I say generally depends what you're drawing. You might be drawing a crazy alien or something like that. But as for human anatomy, the fingers have three parts and Stephanie, something you want to always keep in mind. It can be very easy to make them too. Or even sometimes one part, the thumb of teens to have. The thumb does in fact have three. But because one of the joints is on this area over here, built into the poem in a sense. Sometimes you don't illustrate it. So obviously that it's the first part of the three. So let's draw some hands using these forms, these dynamics cylinders and this dynamic palm shape. Using what we know about proportional guide, that the middle finger should be as long as the poem. That the ring finger and the index finger, or roughly the same height as one another, slightly shorter than the middle finger. And that we place the thumb just below the halfway line of the palms. Halfway line. Right? And we're going to use opposing curves theory to help us get these elements out. So first off, let's just do a basic three-quarter angle hand. Hence structure. And we'll bring those sides. That basic form can just mark our finger locations. Put our thumb there. I usually draw effectively a sphere here, but it doesn't jut out fully like a sphere. It's almost like a half sphere jetting out. And I know that I want to attach my thumb. They're probably somewhere there. And the fingers generally oppose first at this angle from the palm before they move on to the other, our positions. So that's useful to know. So if the hand, if this were a side view of the hand, the hand usually will be moving up like that. Then the knuckle, and then the fingers moving out at that angle. Maybe that looks a little abstract, but nevertheless. So here we can insert these base ellipsis and make our shapes are bent and dynamic. Cylinders kind of sizing them as much as we can to the size of the fingers. The size of the fingers should be. So here's the middle finger. I want to measure that length, that Nazi make sure that middle finger doesn't get too long. It's actually already too long in that joint. This one is already too long as well. Let's just adjust that. Pinky is one Second one is actually around there. Then ending of the shapes with these small opposing cylinder posing curved cylinder shapes being very rough with us. That's fine because it's the structure it's very important to clear. Don't draw clean. Let's get a lot of clarity in a random, maybe this edge of this poem extends a little too far out. Just adjust that shape a little bit. Similarly with the thumb, it has three parts. The first part is sort of being here. This being the second. Here's the third. And in fact, and indeed the palm. While we certainly do bend this side of the poem as we're building these front sections of it. The side view of the poem is not completely straight either. We want to have a band of sorts based on the pose of the hand that the poems block, if you want to call it that of the block of the palm of the basic form of the poem is bending in some way based on the pose. So here it's not illustrated well in that regard, but we want to have that bend. That it's clear that the side of the poem is also bending. Right? I'm going to launch into this just as we put the skin they're on here. Excuse me. And we can then use these forms to inform the skin layer. Can see I'm just doing it very loosely here. The great thing about hands in general, that most people have them. And so most people have a reference right in front of them. If you do find that you're struggling to draw the hands. Just really following those phone lines and adding just a very basic skin layer to those forms. Now, the beauty of understanding the basic forms that we're adding dynamism to, so that we're drawing with dynamic forms. The beauty of understanding the basic forms is that we can rotate these simple shapes much more easily than trying to rotate complex skin layered, muscle, layered hands. It's very complicated and it's even overwhelming to try and think about how am I going to rotate in space, something so complex as a hand. But when you really, when you're only dealing with these curved cylinders and a palm, that you're just really building a block at different angles. It becomes a lot easier. Imagine the other sides of these objects. For example, if the handwork facing us, we might draw something like this. As it recedes. These are the areas for the fingers. Maybe the thumb ball starts here. Still falling our proportions. If we were drawing a hand, the back of a hand, for example, it's really just the same as the front. We're just not going to see all the same details that would see in the poem, et cetera. And you may see me, especially in the demos that we're gonna be looking at doing the hands. Especially when we're doing big drawings. Doing the hands in a way where I will mainly just place down one form like this, and then indicate the fingers and whatever pose the fingers are doing. And you can certainly do that and just really make sure that the proportions are matching. Because when it comes time to getting in those final lines, not for the finished piece, but for the final rough. You can then add the forms and take your time in really getting the hand to look how you want to. And bending the fingers. Similarly, simply a matter of placing the tubular forms at different points of rotation and different points of pivot from one another. Keeping in mind the opposing curves rule. So this finger is kind of bending in a very awkward way. That's certainly a possible finger pose, if a little bit exaggerated. Perhaps the fingers pressing on a table, some solid surface. So in a nutshell, these are the basic forms of the hand. And I would definitely encourage you, of course, you do have assignments regarding this, but I definitely encourage you even now. Give it a try. Give it a try and see how successful you really can be with just these basic forms and following the rules of opposing curves. If one thing curves the one way, the other thing will curve the other, applying throughout anatomy. That's the end of this lesson. 12. Drawing the Forms of the Feet : In this lesson, we're gonna be looking at the basic form of the feet and how we can approach drawing the feet in a fairly straightforward way. The fundamental form of the feet really is a pyramid type of shape. Very much like this. Where the back of the permanent shape is slightly offset. From a side view, we get this kind of look. However, the foot has a few pivot points on it, which forces us to split this basic shape into sections. The individual toes themselves can have a single joint. The front section of the foot itself pivots when you bend your feet, when you stand on your tippy toes. And then the heel where the lower leg connects into is a split point as well that we want to draw as a separate form. So when you convert these basic understanding of these splitting areas into 3D, we end up having a basic structural form that looks something like this. I'm just drawing through here so that we can see all those planes. The toes, the front of the foot, the arc of the foot, and the heel. These are our basic sections. Now, as we have done previously, we can take what we know about these sections and we can then add opposing curves theory to them. So at that same angle, we take those basic 3D shapes. We can then say to ourselves, well, there are 1234 sections. So we want to get four sections down and we want to start adding dynamism to them. For argument's sake, let's start with the arc of the foot. The arc usually always bends down at this angle. So we'll put in our arc there and bend it at that angle. Because the opposing curves says that the curves need to oppose, means that the heel is bending more at this angle. Bring it down a little bit. Just like that. And draw through here just so that we can see the forms a little bit more clearly. And that means the front section of the foot, in a general sense before we add the toes bends up. And most of the time, you'll probably end up drawing feet and they should doing a reading close-up of feed or you really want it to be hyper accurate. Most of the time you'll end up drawing them in this particular way. The opposing curves will move in this order. Down, over and down again. Have a when you do get to toe level. Technically because the curve opposes up here, the toes themselves end up folding inwards as they do in reality. And then we know that the toes go from small toes, big toes. So we add the necessary dynamism to our shapes to indicate that. Put a line where that pivot point is. And then we can fold the toes in. Getting our basic foot structure. Key thing to remember is at this top area over here is where we have the lower leg plugging into. So let's get a leg design in here quickly. Some league forms. Now planning, we may want to use just very simple, very simple, basic form. When we start wanting to really draw that foot out. We can then apply over that basic form, the basic posing curved structure that we know about. And we keep following the opposing curved structure as we move over that. And it gives us that over skin layer of the feet. So really, we want to just remember those primary pivot points. The toe pivot point, the front of the foot. And the heel is really a separate section in a way from the back of the foot. When we then apply our opposing curves or structure to this, the arc usually always oxygen this particular way. And that also helps us when we're doing an anatomical drawing, to draw that interior section of the foot that curves inwards on the inside of your foot. Whereas the outer curve is more of a long curve. The inner curve is more of a narrow curve. There is the big toe and the opposing curves, even in this flat 2D view of the foot, still at work in the anatomical forms. Nevertheless, as we draw over this in a 2D view, just for understanding reasons, we can see how the opposing curves work. And how especially here in the heel, how that translates to when the foot, the butler lower leg connects to that section. In a nutshell, these are the basic forms that you can use to draw the feet are a million ways to draw things. But structurally, this is a very solid way for you to grasp drawing the feet, particularly learning the opposing curves structure of these three or four basic sections. Depending whether you're drawing in the toe section or not. That is the end of the system. Let's move on. 13. Drawing the Forms of the Breasts: Welcome to the lesson on drawing the breasts. Now, when we think about breasts, one of the key differentiators with braces that unlike all the other forms that we've done so far, rates don't have a bone structure to them. They're very soft and they're very malleable to an extent. But the basic form that we want to use is really just a spherical top of shape, at least to start with. Then when we bring it into a dynamic sense, we kind of want to bend down where it has more of an egg-like shape, if you will, more of a neglect shape. I'm drawing these contour lines on top of it here, on top of this form here. Just so we can get a feeling for its form. And even if we rotated this particular form, it would very much be similar to an egg. But due to how malleable the brace on how soft they are when they fall onto a surface such as the chaste. They tend to flatten out at the bottom where they touched that flat surface. And have this type of appearance where we've got these curves that being kind of flattened out here, I'm just going to over enhance it here that they really flattened out. So a good way to think about breasts when you're drawing them is to imagine them as if they were water balloons to some extent. And the way that a water balloon might react when a hard surfaces pushed against it or it is resting on a hard surface like the braces erased on the chest. So now that we have this basic, very basic understanding of the form, let's look at some techniques of adding the brace on top of our basic chest shape. So here is our dynamic chest section. We'll just draw through these sections as well, just so we can feel that format nicely. And put a centered line down, which can definitely guide us. In terms of human anatomy. The clavicle connects here, and the clavicle is really the collarbone which would extend out underneath the skin surface off on to joining the scapula and then connecting to the arms and so forth. And the clavicle has this little indentation in your neck which you can feel if you put your fingers just below your neck, you can actually feel where your collar bone and joints. And it just so happens that this is a great location to start mapping out where you want to put the breasts. Remembering their form. Also remembering that they're going to flatten on one side. So in order to map the breadth SAT, also remembering your anatomy and your proportions, sorry, also remember your proportions. You want to draw those shapes in and those three forms in and then kinda flatten them out. And imagine the form coming down here as well and have it kind of flattened out on the near side brace. We don't see the flattening as much. Something to remember however, is that in terms of musculature, the breasts do not actually connect. We would never draw a line down connecting the braces from that point. Because in terms of musculature, the breasts are part of the pectoral muscles. The pectoral muscles tend to at the sides, bend out and tuck in underneath the deltoid, right, which is the shoulder muscle. So it's important to know that while we want to have this form here, and certainly if we did some contour lines, we'd have this type of shape happening. Just know that the muscle does curve at end up as it goes underneath the shoulder muscle. You generally don't see it that much in a three-quarter angle on the far side of the far side braced that you do see this flattening effect. And technically speaking, this would, it's lands would fold underneath the shoulder on that side. And that is effectively how you draw breasts on the form. Remember the malleable nature of it and that water balloon type of shape. And what happens when we lay that water balloon down on a surface that is flat, it's going to get flat on that one side. Think about it like that. And a good way to also remember laying it out onto the chest is using that clavicle indentation. And you can see it almost makes a heart shape. Which is a good way of at least helping you figure out where exactly to place them. Remembering the actual contour of the forms as you place them on the chest, right? So that's just a basic guide on how to place the breasts and the basic forms of the braced, the sphere that we kind of stretching out to the shape. And once again, we don't want to forget how malleable the brace on, how soft the breasts are and how they're affected by gravity. So as a basic form, those are the breasts. Let's move on. 14. DEMO Putting the Forms Together: Now that we've learned these kind of core forms, Let's do a demo where we're going to draw the front and back of a male form and the front and back of a female entire body all in one go just using the big major forms. We're not going to put in crazy hand details or anything like that. We're just going to get the basic feeling using those forms. So I'm gonna start off here with a guy just drawing the basic head form. Nothing too crazy, nothing too hectic. Drawn his chest. Kind of imagining the proportions as well so that we can make sure he's relatively proportionately correct. So I kind of draw the hands over sometimes to measure. And our bucket shape, sort of cup shapes. And I say teacup shape for the legs drawn the cylinder is for his arms. You can see I'm very loose with how I draw these. Just checking that that elbow touches the bottom of the rib cage. Good measuring system for the proportions there. Put that one in. And also remembering that we really don't need to draw in little circle joints. If you really want to, you can, but you really don't need to. And when you have a more developed anatomical knowledge, you're really just draw the anatomy on top of these forms. You don't really need this indication of joint to know that the joint is there. Just make them a little bit smallest we can fit his full body on. I'm going to draw in his legs. And something I can say as well that will be quite helpful for you is while you're drawing, try to keep the proportions right while you're drawing. But if you mess up, don't worry about it, just erase it or just use an adjustment on it and get it to the proportions that feel right to you, or at least that are the proportions that you want. Or based on the idealistic proportions which will make sure things look right. Here. I can check them sooner to press hard. Due at one stroke, 1234, we're relatively right there, 1234 and we're related right there. And his proportions are okay. Portions are okay. His shoulder width, just checking that and just roughing it in a little bit more. Drawing through to fill those forms. And speaking of drawing through, you might find that after a while you get very used to the idea of the forms that you may not draw through everything. You'll do it more in a shorthand since and really just have center lines down things to help you kind of figure out and understand where the middle of objects are, in the middle of the forms or just connect his neck more there with that sphere. And we'll draw through there where it connects to the base of his head. We're at the hands. The time being, we're just going to put circles there just to indicate them. And then I'm going to draw a back view of this same character. Just imagining those forms. And perhaps his neck is plugging in over here. Using a cylinder for this. Kind of tilting his chest a little bit, imagining the back of his torso. And because the, the front view is right here, the back view, it's gonna be easy for me to really just kind of copy across most of the measurements so that my proportions are roughly the same. You can see I'm very loose and it really is just structural, very, very structural drawings get the structure to read relatively fine. This doesn't have to look nice or need or pretty or anything like that. When you're doing these forms, you can as well see the opposing curves constantly at work in the form. Getting a very believable looking human form quite easily. Not much effort, just bending those forms and keeping them nice and dynamic. And usually one side of the cylinder is bigger than the other in terms of the elliptical sections. So it gives us that directionality in the forms. And using our understanding of opposing curves to just a pose. Just make the legs oppose one another. Lenders and will then draw the back of these triangles. In this instance. It's triangular form, so they're shorter at the back, longer at the front. And there we have just a very basic, very rough form sketch of the male. It's due a female version. And just before we leave the male version, it's labeled this as Mount. Before we need the male version, let's not forget that kind of key rule of having broad shoulders and narrower hips on the male, right? Broad shoulders and narrower hips on males. And then we want to have shorter shoulders and wider hips on female's, wider at the hips. Let's not do just the rough version of the forms of the female. And we'll start very much the same way you started with a malformed get a cranium shape in there. Touch our jaw shape to that. Keep it rough, keep it loose. I'm going to put the chest in here before the neck. And we want to remember really that we want to keep the shoulders narrower on the female and the hips broader. Just as a general rule for getting that very feminine look in a cup shape for the pelvis. Heading center lines down things to help us understand Center can draw through as well to help us just fill out that mass and then give her broader hips here. When you get her hips to come out more broadly than the males. And really it's just these very simple forms with dynamism applied to them that lets us get to that level of believability when we start adding the details onto the forms. And you're just drawing in those basic, basic building blocks for the feet. Just imagining the forms of drawing through the forms. Imagining and feeling them out like what is the full 3D form of this particular object? We can add in the arms. And just keep the hands very simple as well. And feel free to really experiment as well in terms of how the curves are happening on these dynamic cylinders. You can really just, it doesn't always have to oppose in this particular way. You can change the direction of the opposing. Let's just find that little kink in her neck where we can fill out the form of the breasts and apply our form theory there. It's kind of soft, malleable masses that flatten at the bottom. Using a, kinda just lightly using that heart-shaped idea to get them to read well, and I'm checking the proportions of the nipple line there. And I think that's okay for the forms there. And then we can do the back view. And really it's the same structures. Here. We will see the neck more because of the angle. And just drawing those forms, I'm using a very rough, just a shorthand way to get these forms down. But it's exactly the same thing really all the same theory. Get the pelvis and plugging in the arms. You can see also do this very quickly and really speed comes with time and practice. But I would add, I would always, always encourage you to just try and draw fast as much as you can. Especially with construction, there is no need to draw slowly. Your hand is really just making marks. I mean, there's not much to putting the pain down in swirling it around a little bit. So just in terms of construction, let the theory guide you and just be quick, be quick about it. And bold, bold, bold the construction that you need and be messy and be loose because, you know, construction sites are messy. And people bolding great things, usually a messy process. It's not usually this christina, perfect step-by-step, wonderful thing. It's a construction sites or Macy, making a cake is missing doing audits. Messy, right? Cooking good meals is generally quite messy. You don't do it in a neat way. We're just putting these basic shapes in there. Maybe not exactly the same angles, but relatively the same, whose shoulders here a little bit broad. So I'm going to bring that form in. Just make the shoulders a little less broad. Keep the hips. Kind of watch. The proportions are little bit different. The scaling of the heads just a little bit different. It's not the end of the world. It's relatively the same. Its resistivity. Okay? All right. This will be basic, very basic female forms where we're stacking and Bolding them together. Let's go back to the male form now. And it's actually just put those labels in there as well. We want the front and the back. Go back to our malformed. And what I'm gonna do is I'm just going to take my eraser and just lightly erase the base forms here so that I can draw over it. Just do quick kind of skin surface layer over it and just kind of use the forms underneath to God, I had an ear, they Just for a little bit more appeal, using the underlying forms to kind of guide where I put these lines. I'm not doing majorly complex anatomy here. I'm just really being guided by those forms. Just doing single lines. Not too sketchy. Kind of lead the skin go in a little bit here at the chest. Just put in some lines there. I know that there is a bump for the nice, so I'm going to add that in. Drawing the crotch section here. Keep it simple. Just being guarded by the forms. I don't even connect every line necessarily. Using my knowledge of how the opposing curves work at the feet. Just to guide me in doing the skin surface layer here. And the hands we won't worry about too much. Just kind of indicate them a little bit. And we'll do this back view. Face kinda comes out the front, something like that. And just really, in many ways, just kind of tracing what we see. Even with a very elementary knowledge of anatomy. You can get pretty effective looking skin surface layer just by following the forms, right? Get these elementary kind of hand indications in. I just want to take this line a bit and I just feel like it's a little bit too overlapping that line of the arm. Draw this in. Following the forms, following the forms but connecting all the surface layers to each other. Don't suppose we'd see much of the knee from that angle. And then following the forms, they're back of the foot here as well. And I know that perhaps this may seem somewhat overly basic, but these are the basics we need to grasp very firmly before we start getting into complex, very detailed elements. I assumed the buttocks is going to fall something like that on his Formulas. Keep it very simple for now and just use kind of a V-shape, upside down, v-shaped for that and indicate those elements. And it's just do the top of his head as well, right? Very, very basic. Keeping things simple. Let's go into the female. Once again, I'll erase her as well just to so that my skin lines kind of show show more and stand out more. And once again, it's really, it's really very much the same thing. Just kinda gonna go over those basic forms that we put in. In connect all the elements together. Just being guarded in a very rough way by our forms. So while I'm doing this, we can talk a little bit about Advanced anatomical study at the end of the course, at the end of module three, mind you. There is a video discussing how to study anatomy in a more advanced way. So that, of course, I definitely recommend that you watch that anatomy is something that is going to take a long time to learn. It shouldn't be something that stops you from continuing through the course. Because when you have the basic anatomy, you can start drawing great characters. And always, constantly learning anatomy will help you improve the realism of the anatomical forms themselves. But not all styles call for hyper-realistic anatomy. Which is great, especially if you are into doing more stylized work. Whilst than knowing the advanced anatomy is definitely always an advantage. Lot of the stylization while bolts on the fundamental anatomy doesn't really call for you to draw in every micro detail of every muscle. So here we're doing the back view, drawing in those neck forms. And these look very clunky and basic. But that's really the point. That really is the point. We want to just keep things simple. Maybe I'll even indicate who embraces a little bit. This breast size here, they're not exactly the same. Let me just fix the sizing up. Draw a line of cleaning line here for the volumes, and then have them be at roughly the same roughly the same height as each other. Just rough it in there. Carrying on with this, following the forms. Getting a very basic skin layer version. Nothing to informed really, but anatomy. But once the anatomy just kinda keeping things simple, getting the feeling of doing this rash, just following those forms. And this isn't about good-looking work. I know I've said that. Probably said that already. But just get the hang of it. Get the hang of this. The very basic thing we can refine pieces and bring things up to a professional level at different stages. For now, we just want to get this kind of idea of like let's bolt forms and then put stuff on top of the forms. And these are very, very elementary drawings, very, very elementary joins. But these are the basics we need to go through. And I really have tried to make sure that you don't feel throughout the course that either the examples on achievable. I feel like you should be achieving something at this level, at the look, at the stage in the course. And so there we have in a nutshell, just using those forms that we've learned and putting the skin layer on top of them. And just getting something that looks solid, right? No crazy overlaps with being done yet. No crazy detailing is being done. You just basic, basic basics. All right. I hope that this demo was informative and will help you when you're doing your exercises. Let's move onto the next lesson. 15. How to Draw Eyes: In this lesson, we're going to take a look at the forms of the US and really how to grasp drawing the eyes. The eyes are extremely important. It's also extreme point that you spend time rainy learning all the nitty-gritty details of drawing us. And also that you get them right when you're drawing. Missing up the r's really messes up one of the key focal points of a character drawing, because usually the head is where people look first and on the head of the eyes. And the eyes are keys to the expression of the character. So really take learning us very seriously and do everything in your power to make sure that your eyes look right, look correct, and look good when you're drawing them. Nevertheless, let's get started learning the basic forms of the r's. So really the eyeball itself is just a sphere. A sphere from an anatomical point of view or side view. The eyeball has a concave section in the front, which is the iris as well as the lens on top of that. The pupil is inside that concave section, which lets light shine into the actual space of the Bible. Then there are many little elements here that detect light and color. And there's a cup-shaped type of connection behind the ball. Then communicates that data to the brain. That is essentially the structure of the eyeball itself. And for us, we want to just grasp this form nature of it, the spherical full measure of it first. And get used to putting that iris and pupil section onto it and being able to rotate it in perspective as we need to. So for example, here we're going to do just a front view. We can draw the iris circle on here, the iris shape on here, put in the pupil. And there is really an eyeball. It's essentially three concentric circles. Alright? So there's that, we don't want to worry about details, a little flicks and the eyes are the things you had to just these three shapes. But we're going to add the veins when just a little bit of the lens when we rotate the eyeball left and right. So let's take this sphere over here, put it over here, and let's start rotating. Let's rotate the eyeball to the left and then to the right. So it will draw another sphere again using some contour lines to give us a feeling of the form. And now because we're rotating this circle, which is in a front view to circle in perspective to the left, it's going to become a bit of an ellipse. Because it's an ellipse. So the pupil itself also becomes an ellipse. And because it's convex, the form over here is convex. The ellipse of the pupil is going to move slightly in. It won't be dead center of this 2D shape, but rather it will be inside this convex shape, this convex form here. So it moves slightly and the lens actually wraps over. So I'll draw some contour lines for that. The lens really sticks on just like we see here in the side view. And a lot of ways that this has shown is by adding a little highlight, because that is really where the light is bouncing off from the specular light, the very sharp bright highlight in the eye, especially over the pupil area. And the iris here is light bouncing off of the lens. And that is a slightly left rotation. The rotation is basically the same thing. We use a nice center line and we can draw through to really feel that spherical form. And we're keeping things loose and keeping things rough for this is not a refined drawing. And we're drawing in that ellipse. Once again, a circle in perspective isn't ellipse for the iris. And then for the pupil. Remembering that this is concave, darken our pupil there. And then again, we can add a lot. Let's add a little highlight here, just an indication of a highlight to show the lens shape. And that is essentially the core forms of the odd ball, the iris and the pupil. And we have an idea of all these various sections of the eyeball, so we know the components that we need to draw an accurate audible, I would definitely say to you, get used to drawing this spherical form and making the ellipses that you need as you rotate the I get really used to it and then move on to what we're going to discuss next, which is how we wrap the eyelids around, as well as some great shorthand techniques for drawing eyes quickly. So when it comes to doing the eyelid will do a slightly left rotated eyeball, the sum. Drawing through once again, getting a spherical form. Put in our slightly elliptical iris and pupil. Putting that highlight just for fun. What we want to remember with the eyelids is the eyelids wrap around the eye, the eyeball, they really wrap around the table. Now, for a form example, we're going to use just a simple type of a shape for this wrapping. And then I'll show you a great way to get very realistic looking and very believable and really appealing. Lines around, rep, lines around, or basically the lid lines around the table. What we want to imagine, awesome volumes, some really thick volumes wrapping around the eye, very much like this. They've got weights to them, they're thick and they wrap around the bone and they hold the eyeball into the socket. And when we zoom into this, I'm going to just zoom in and draw this. They really have a thickness to them, some drawing in an extra line here, just so we can see that they really have this thickness to them. And that's something you want to keep in mind when you're studying more detailed anatomy. That there is this very glossy usually because it's wet section and thickness to both the upper and the lower lids. But generally speaking, sometimes you won't really see the upper one as much, but it is in fact there can just add that in there as well. We'll just draw another line in here. So you have these thick pieces of skin that wrap over the animal and then they connect back to where they usually go. So the lower lid goes down to the cheek of entry and then the upper lid has an indentation before we hit the brow line. And that effectively is how the lids work on the forms. And again, this would be a great thing to do to just really get some practical basic exercises in on this and just do some quick rough drawings. You may not even want to draw in the iris and the pupil. And just imagine these lids wrapping around, even draw through if you must. Imagine them are wrapping around and connecting on the other side. I'm drawing those dotted lines for the other side connecting and draw them as these thick flaps over the eyeball. And try and do it from different angles and just get used to the very basic forms. Don't worry about eyelashes and other details and things yet. Just get used to this basic feeling of what we're doing here with these eyeballs. Let me do a few more quick ones. And I'll just wrap the auditor round in different ways and drawing spheres. I'm putting my center lines down them. Here we'll do just this, will wrap it around that way. The bottom lid, wrap it around that way. And the mass. And the mass. Just some quick rough sketches. This one, we can have it more of an upward angle. So maybe we'll only see the lower lid. Maybe a little bit of the upper lid. Just put an arrow to indicate the direction the eyes looking. This one can be looking. Let's make this one look that direction. And wrapping the lid around here. And here. This is more of a side view, almost, almost a Sunday. Let's just do more of a curve in there. So really get these basic forms, particularly the eyelid wrapping around. And then when, if you're really happy with him, feel free to add in the ellipse for your iris and then your pupil to get those very basic forms in forms and shapes. All right? But now when we've got the basic theory of this down and we've done a million, maybe not a million. We've done a fair number of spheres, irises, pupils, we've understood the lens shape being convex and concave, concave in the iris convicts in their lens. We want to then start getting more realistic looking, right? And of course, I will encourage you, especially at the anatomy resources section at the end, to really go in depth, study all the nuances of the hours. I'm going to show you some great shorthand tips as we move forward in this lesson. The first big thing I want to show you is that when we're drawing eyes, usually speaking, we want to have rotated views of characters, heads and things. We don't want front views inside views, not said that you should never have them. There obviously will be instances like planning and concept sheets where you're going to want to have those views. But in general, we're drawing characters heads from some kind of rotation. And usually it's a three-quarter rotation like this. A great way to remember to draw the eyes inaccurately is once you've drawn in your spheres and you have them proportionately at the right locations. Is to use this simple kind of tip or trick, which is really to make the far side as upper lid line basically then is put in quite right angled, almost almost right angled, a very sharp curve, and then have the near curve at a long top of shaped like this. And I'm going to show you how opposing curves ties into this now as well. So the same height, the lid heights must be the same and have a longer line for the upper lid. For the nearest side. I will get into this in a bit more detail. So when we're thinking about the lid shapes over the sphere of the eyeball. What we want to keep in mind is we know they're wrapping, but the nuance of the shape in reality is something of some kind of strange combination between a dominant, a circle. That when we tie the theories together, we get basically these types of opposing curves. And if you remember these, you pretty much can never go wrong. Which is that we have a curve that comes like this from the corner of the eye. So we can just imagine the tear duct here curve that comes up like that in a poses. And then a completely new set of opposing curves that basically mirrors on this side. So these curves are basically the same. The top and the bottom curves and then folds in here at the bottom. And that is the basic shape that happens over the eyeball. Probably ties a little bit closer, little bit more there. That is the basic shape. So if you get this basic opposing curves shape down and you remember this kind of diamond shape with a bit of roundness to it? You can draw eyes pretty effectively in pretty quickly, very easily. So going back to the shorthand techniques for drawing from a side view, notice how narrow this top lid line is and how broad this top line is. This top line here is really using this exact shape over here, right? So we're always opposing. Except you can see that this on the far side eyelid, that we don't really see the outer line. Although technically speaking, I would come in. It would come in like this. You could certainly draw that. But sometimes because of the rotation of the angle, it seems to just flatten into a single curve, which is quite narrow. And then the lower lid, you just follow the guide from here and draw in the opposing curves and connect it here again. Drawing the opposing curves. And then just connect them. And you get a very convincing and realistic eye shape. We know inside has the bowl and the iris and the pupil. Let me just highlight this again, just so that you remember it. We really want to narrow right angle each curve here. It's more of a trick. It's not quite hardcore theory. And then we want to just use our basic shape, flat shape design here on the near side, I have this being very wide and this being very narrow. So let's go ahead and add in these lines and the shapes that we've learned on this three-quarter head. And we want to keep the the height of the lids the same. So we'll wrap this around. So make sure you getting the height of the lid is the same. And we want the corners of the eyes to match up as well. So wherever we define the corner and one of the corners need to point to each other. Drawing that shape over the eyeball. The subtle get the long version. And then on the far side or the elbow will come down. And then we'll draw in those curves, that shape. And here we'll draw in curves of the shape. Maybe this lead is a little bit high, so I'm just going to lower it a little bit. This isn't quite following our shape. I'm just adjusted a bit for our rough view. We basically have our eyes in place and we can proceed to add in the pupil and the iris and so forth based on the angle of rotation of the sphere at that point. So something else that's key to remember is that when you're doing three-quarter views of heads, that you want to make sure there's always a space between the end of the eye. So here's the eyeball and the lids and the side of the head. Make sure there is always a space here. It's a very common error to make, especially for beginning artists to draw the far side. I really right up against the side of the headline or even over the headline. I definitely would advise don't do that. Always leave a space and then we'll generally always look fine. And don't forget that when you are doing head exercises for drawing the hours and placing the eyes, that you're remembering your proportional rules. As the airline is 1 third roughly down the sphere, the nose line, the mouth line, and so forth. And the ear height. Here, we'll adjust that is between the nose and the eyebrows. Wherever the eyebrows, maybe. Those are some key tips for drawing the eye shapes and getting the art forms down. The lid lines, the upper lid lines also make a crease. And generally speaking, you don't see the lower lid lines that match pattern of characters tired, you will see a slight crease underneath the eyes that you may want to put in when they're tired. But generally you don't draw those in, but the upper lid lines just wrap around and they usually don't have to connect directly from the corner or this corner. You can just indicate them by drawing them in. Let's just get rid of some of our planning lines here. Let's do erasing those out. And we draw in those upper lid lines to show the volume and the mass, in a sense, the volume and the weightiness of those upper lids. One more key points with us is that, and we'll get more into expressive elements of eyes when we're doing facial expressions in a later module. But one key thing to note in one key rookie era is that when people draw us, even if we're gonna do a front view here. And they placed the iris in the shapes. So here we're drawing without the spheres. Really imagine the sphere in there is that they tend to draw the iris with too much space at the top and the bottom of it, right? Or mainly with space at the top. And the problem with this really is that when we're drawing an eye like this and putting in the space above and below the iris, the character looks surprised and that may not be your intention. You might just want to draw a normal line. In which case the solution really is to draw the eye, draw the upper eyelid and ensure that you're covering a third or a quarter of the iris shape. The pupil doesn't need to be covered, but a third or the quarter of the Irish shapes should be covered. And that gives you a very natural looking eye. And we'll just add in those other shapes. Get out tear duct in there. And this looks normal or a standard I at ease. Right. But we'll go into how we can mess around with them, play with the spacing and the alignment in facial expressions, and how we can get different expressions with the R's On that note. Before we leave this lesson, I know it's been a long lesson. Before we leave this lesson. Just want to cover just the basics again of placing the eye on the head, placing the eyes and the head. When we draw out our basic head form. And we are using are proportional gods to help us place the elements. Place the spheres. Don't be afraid to place the spheres of the eyeball. Place the spheres of the eyeball end. And then use the shorthand to get those lines in. Because this is a bit of a stylized bit of a cartoony log. But use the shorthand and the tips to get the upper eyelids in. Especially when you're planning and you're doing a rough so you don't need to draw an orbital details of the hours until you're ready for that. And that is a good quick way to really just get the basic shapes in there. So draw in the spheres at the right locations based on the proportional rules. All right, I know that's been a lot of information to digest. You feel you need to definitely watch this video again. Otherwise, let's move on to the next lesson. 16. How to Draw Ears: Let's now take a look at the fundamental form of the ears and then look at a very quick shorthand way of drawing. Here's the great thing about the ears in terms of the detail in a minute is that they're actually pretty straightforward to draw. And you can learn it off by heart. The basic structure. The first form we want to learn is really just this very squished cylinder, right? So it kinda looks maybe like a speaker or something. I'm kind of showing us a little bit of a side view there. He has a plane. He has a plane and we can see through in the drawn through section here, the side plane and this area here where it would attach to the head. This is of course, the basic format. It's not really that anatomically informed. It's just to give us that kind of volume that we want to get. And what we wanna do is shave away a section of the form. So we're going to cut a cross-section through here, something like this. We're going to cut that piece off, right? You can imagine slicing through it. And it's gonna give us a form more like this in structure. Right? So this is curving. That's drawing through. That's the back plane there. We've cut a section off of that shape so that we get something that protrudes a little bit in its basic forms. And let's just adjust this and straighten it out a little bit here. And it gives us more of that overall shape, which is looking a little bit more like an ear. But we want to get that structural form going in there. And before we look at anything further in detail, there's some important things to realize about the ears. It is don't really fly off the side of the head. In this fashion. This is something you may typically see they didn't really fly off in that fashion per cell you get people whose is do stick out quite a lot. But what I mean is it's not just a matter of this thin flap. If we were to draw this exact thing in a side view, It's not a matter of this thin form and just kind of ringing out over here like that. What we want to keep in mind when we're thinking about the air is definitely this form. Because when the ears come out of the side of the skull, lot of the side of the head should I say? They're kind of like a speaker or horn in the sense that this skin you don't really see at the back. Then the opening area. And what we tend to see is the front section that swings around, that, right? Swings around that. Then the ear connects down here. And as we know, elements go inside the ear and so forth, so on and so forth. But we want to remember that there is really this form and the structure coming out of the head, just very much like this basic form shape here. And then we have the ear stripe coming out of that and on top of it, creating a room, if you wish. Watch. That really is the basic, the basic, basic forms right? Now, when we look at shape, the shape of the ear. Typically speaking, you have this type of shape happening for the year and it will vary. You can get years that are kind of have less curvature in them. And people who have ear lobes that connect, as I colloquially call them, connect these ear lobes connected down. They don't swing under very much, just genetic differences in genetic differences between people who have more rounded earlobes and people who have connected top of ear lobes, right? But what I want to actually show you a plot from the basic form of structure is how to easily learn the interior lines of the ear. And you get yourself into a mode where you can just kind of grasp it very quickly and very easily. A friend of mine had taught this method to me. And it's, it's almost too easy. And you think, well, this can't be the professional way to do it. Well, I'll admit that I've been drawing is like this for years. And really it is that you learn this very flat 2D pattern off by heart. So first you have this ear shape, very much like that. Then you draw in another arc here. Very much like that, right? It's in fact do this in different colors, right? So we do, step one will be this. This is very much a how to draw a book top of way of teaching this, but it's just really effective. Step two, you do that. Ok. Let's put that to over here and we'll see why now. And then step three. We put in a line there and we bring this land down. And this is quite important where we want to create effectively a type of bottle shape here like a bottle, then curls in and around like that. I've drawn that a little bit too far out. Let's just keep it in a little bit. How the bottle shaped come down here and around. Like that. Let's say that's step three. In step four, we can pull another line down here. Sometimes depending on the view, you might pull it from under here and have that overlap, giving that sense of form. Step four and then step five. You can do this in a purple. You can then indicate these two lines. And in a nutshell, at least for general use purposes and they should going crazy and doing the ear portraiture or something, pictures of just ears. We really want that anatomical depth. Generally speaking, this will get you as far as you really ever need to be when drawing is because when you start shading these zones, and of course, when you're doing advanced anatomy studies, you started the standing. Just how brilliant this simplistic model of drawing the air really is, just learning these parts in these steps. And so I definitely advise re-watching this particular video so that you grasp these individual steps and just draw this basic flat 2D model. Because essentially what you will do is when you're drawing ears and let's get an arrow going over here. Let's draw in here using the same, very same theory. We're going to just do it on a kind of a three-quarter view here. Let me get a hit in. Right? Let's draw an ear in three-quarter view. We'll place it there. You can see that our immediately tilt the ear out a little bit. And that's because of that cone shape. That's sort of what am I saying, cone-shaped the speaker shape that we shave this section also, It's at an angle. And we also want to remember that what we learned in the side view of the hidden terms of proportions that the ear doesn't sit straight up like this against the head, right? That would be it's like sort of vertical axis nodes. It tilt slightly to the back. Something important to remember, right, tilt slightly to the back. So I'll just put in an ellipse. I usually imagine this section because it's usually covered. And then I go in and draw in that ear shape. I'll just rough it in here. And doing all those exact steps, I'll get that one in that line in, pull that down into a bottle type of shape, curled around. Bringing this other line and put in one line there, another one there. And that's pretty much it, right? Usually this section is actually a little bit more narrower. This bottle section, or at least in terms of the scale of the ear. But that's pretty much how I would refer it out. I just bring it up a little bit more, give it a bit more yellow. And again, you can easily use this same theory if you want to do different styles of ears. For example, if we want to do an alpha here, all we do is we take the same theory, it's drawn out here, over here. You draw, start with the normal ear shape. I'm just going to make it point yet this is more of a Lord of the Rings top of welfare. And I keep the exact same theories. I just, instead of now putting the line as an arc, I'm going to put it straight and pull it down here. Same interior ear structure really just kind of folds down into this bottle shape, turns around and goes into a loop here by the Beer Hall and add that extra line there, pulling this line here and indicate that land there and boom, there's your Alpha, right? Just for example purposes, let me just draw a normal 3D ear one more time. If this is our head over here, it's a sort of a hidden and we want to draw the urine that is shaped in remembering that we've got that drawn through kind of speaker shape happening there, that form coming through there. Get the basic is shaping. Put in this curved line at a three-quarter angle. It wouldn't be directly straight like this directly. Ok, select that. It's going to curve around and then there's gonna be some kind of overlap. And you can see how they overlap stores the form of the back round section of the year, Roger, the back room and in a sense, and join this line, this one, once again, pull it down to that bottle shape. Get that little interior little flap going. Putting the line, they're putting the line there. And we're done, right? Basics of the ear or N. And it was really just a matter of learning. This off by heart will rise. So that is it for the ear. Let's move on. 17. How to Draw the Nose: In this lesson, we're going to now take a look at drawing the nose forms and then taking those basic forms into dynamic forms. And then I'll also show you some shorthand tricks, if you wish, tips and tricks for drawing the nose very quickly based on the stylization that you're wanting to do. When we start off the basic form we want to have in our minds when we're drawing the nose is really a pyramid ish top of shape. Something like this. Where we have kind of an indication of the bridge of the nose, the side plane of the nose, in the bottom of the nose. And then to kind of add a very similar type of form to the side of it. Where we have a triangular structure more like this coming off the sides, giving us those nostril areas That's draw through here. Get that up there. It's a little bit off. Okay, and drawing these through and I'm just going to draw through the entire form here. Just get that structure in, in drawing these triangular structures. Okay, wait this up so we can see what is in front and what is behind. Keeping it loose. And effectively, this is a good basic form understanding of the structure of the nose does run up slightly higher into the head and goes into the brow region over here. But nevertheless, these kind of triangular structures are good God for us for just grasping the basic, basic forms of the nose and rash. And when we take these basic forms and we add dynamism to them, we can start bending them in a directional way and adding curves. So here I'm going to bend it at a curve. We'll keep the basic structure of that triangular structure curve, this section curve, this section curve, this. Now returning it is in three-quarter view. So let's keep that in mind. Three-quarter rotations, both of them are bending those triangular shapes. We will have to use our imaginations here. And imagine where that might connect on the other side. Bend it, bend it, and get that bottom plane there. And you can see immediately, absolutely immediately how this dynamic form looks more lifelike, right? By using our posing curves theory, curves that way. And then the front curves the opposite way, right, of that section of the form, etc. Right? So now once again we have the front plane, bottom of the nose, side of the nose, and then the top of the nostrils and then the nostril areas are down here. I'm just going to darken this up just to kind of enhance that. So really, it's what we've been doing all along. Taking very basic building blocks, adding dynamism to them by bending the lines, giving them directionality. And you can see just the impact that, that has especially on the nose. And how much more lifelike than those starts to seem when you do something like that. Let me show you some shorthand of tricks. I'm going to show you two sort of shorthand tricks, tips tricks. What do you want to call them shortcuts maybe for drawing the nose. And the first one is, and you've seen me do this a lot and it really is my go-to. I will start with an ellipse. If I'm drawing a three-quarter view, I'll draw an ellipse at an angle like this. From doing a front view, I'll just do an ellipse like this. And for the front view are really just added in Australia at an industrial here at this angle. And it kind of implies the bottom of the nose plane, helping you to envision where you might place the bridge somewhere here to show the top plane, right? And then imply, not explicitly state, but in Florida side planes. Really, that technique is just an ellipse to define the bottom of the nose plane. Putting those nostrils. And most of the time, you'll really get a good nose feeling from just doing this, right, from just doing this ellipse and these two nostrils, indentation indications lets say, alright, well from a side view, it's very much the same thing. It depends on the nose you want to do. You can do very kind of pointing up nodes is it depends at the angle that you tilt the lips. Really, you draw the ellipse when you draw the one nostril and then you darken the bottom of the ellipse here. And let's just copy this. Let's just copy this shape. This quick sketch because I want to show two different nodes designs. And what you can do is, let's say you want to get a very kind of Disney esque pixie type of nose or something like that. You can really just put in the bridge like that. And now you have the top plane, the side plane, the bottom plane. And if you want to add that extra detail, you can just put another line to indicate top of the nose. And so this would be the bottom of the nose. Here's the nostril. And from this particular view you can't see the false. I'm not sure, but you could indicate it if you wanted to. It's just a little bit of a line. You can do that. And the reason I copied it here is you may want to do somewhat of a more masculine nose or more of a sticking out kinda knows a pointy nose. What you can do is just bend it in and then bring it up into the bridge. And it gives you more of a pointy nose. And so really you can manipulate these lines as you wish to get different nodes sizes and different nose shapes. You may want to do some kind of a which type of nose. So for example, I would then use those basic forms over, over proportion certain elements of them. So here I'm going to over proportion the top plane. And I'm going to take this bottom plane like this, give a giant nostrils which I'll just draw as holes here, circular holes and just get that kind of still trying to feel that bottom plane out with the ellipse. Get that feeling in. And maybe this is a witch's nose. It's like a giant which kind of nose shape. And the second one I want to show you is just somewhat of a more Asian style. I shouldn't say Asian. I suppose that's too broad a term. More of a manga men or style, but not all the time because generally speaking and manga a lot of the time they're not drawing the nose or they're putting a dot for the nose. But I have seen more Eastern styles to have a nose that is more of a bump and less of a, an ellipse. So even from a three-quarter view, they start with a circle. Then the shape would wrap around like this. And you can see it's much more of a round top of nodes. And you can really just add an extra detail if you want there like that. So pretty straightforward. And similarly, you can do the front view in the same way and then you would just kind of pull the nostrils there and it really helps imply that round shape of the nose. Right? So pretty straightforward. And those were some shorthand tips. That is the end of the nose lesson. Let's move on. 18. How to Draw the Mouth and Lips: Now let's take a look at drawing the mouth and the lips. And I'm not going to deny that there is quite a bit of complexity in understanding the math. The math obviously isn't just the lips and an open space in between them. There's a lot of anatomy behind it, but I'm gonna do my best to kind of simplify it for you and help you grasp it in a very straightforward way. So first off, we're going to start with looking at the skeleton. When we have the human skeleton here, we have this very round section for our top drawer section, right? So it's very round and from a top view or in a basic form of view, it's very much shaped half a sphere basically. So we'd have something like this and it kind of wraps around. And I've top jaw section where our teeth would be here. And probably not at that scale, something like that is really round. It's a very, very round section. It was drawing these extra elements to help us get the feeling. Just a very quick sketch here. So it's a very round section and that's the first important thing we want to recognize is really how round and how curved the top jaw is, right? Because that has implications for how we want to draw that up. So notice that this curve, right, how curved the top joys and of course the bottom drawer is equally correct. And then when we're thinking about the bottom drawer, right, it connects down here, the bone starts connecting that it comes down to the front like this and from the other side like that. And then it has the bottom teeth in it. And it is also very round rice. It's very much a basic view yet it is also very round and very cylindrical in a sense, not a full sun that about half a cylinder. So very much like this. And this is the basic form and the basic shape of the mouth that I really want you to constantly grasp. But this is really cylindrical from below the nose just to kind of before we hit base of the chin won't even the tune itself is quite cylindrical. Then it moves up into the other bone structure. Underneath the face. We really have this cylinder type of structure. I'm just going to reinforce it in blue here. We want to know that this section of the mouth really is very, very round. Okay? Very, very round. Curves around from a bottom view. This with a jaw. Here, the math would be curving around like this. It's quite a lot more extremely thick. It isn't even right now. Go ahead and feel your mouth. Close your mouth. Feel your mouth. And just feel how rounded is, how round that section of the face is. If you put your thumb here and forefinger here, just kinda feel that section out. It's very, very round. He has the bottom loop over here, right? Okay. I think I think we should actually, I think we have that downright that it's a very round, right? It's a very much circular. Okay. So keep that in mind. Very round. I know I've said it a million times, just it's so crucial that you remember this. Okay? So when we know that, when we understand that and when we want to then draw the mouth on top of the hint, we want to always start by imagining. So here's our head, our basic head form. Just another, just another head. We know where to place the mouth, which is that third. We want to remember that no matter what the expression is, the main mouth line generally will always curve. It looks like a smile right now. When we do facial expression, emotion will know how to manipulate this a bit more. But if I just add corners like that, it doesn't necessarily imply small. But we want to know that there's that roundness. Write the line should always Jimmy have a curve, especially at a three-quarter angle. Okay. So first big rule. It's around the jaw, the front of the door with the teeth aren't really is around. Of course, we've seen those cartoons where they have the kind of little grannies, teeth or the electronic clicker ones that they're usually chopping. I don't know why they were in old-school cartoons. But the thing is some kind of toy and you wind it up in the teeth. Click, click, click, click, click, click, click, click. All right. I think I've pushed the point hot enough and you're probably tired of hearing me talk about how round the jaw is anyway. Let's move on to the basic forms of the lips then. The lips themselves are essentially five types of cylinders. Let's just do a non dynamic version which is going to look crazy. And then we'll add a dynamic version. The non dynamic version would probably look something like this. One cylinder there. One cylinder in the middle. This is the top lip. And then one cylinder here. And then the bottom lip would be two cylinders, one cylinder here and one cylinder here. I'm just going to darken those cylinder front angles just so we get an idea of how the cylinders are connecting to each other or how the sentences face each other in a sense, actually, that's kind of a little bit too steep, more like that. So we have these five cylinders. When we start making them more dynamic, we can then start thinking about we typically know the lip shape to be. And so we'll use a dynamic top of cylinder shapes. Bending the cylinders in this particular kind of way. Actually make this one a little bit pointier here. And these are essentially the fundamental structures that we want to have in mind when we're drawing the lips. I'm drawing this math quite open over here. Okay? And let's just duplicate this. And when we draw lines over this for the mouth, we're just gonna do something very elementary here. We imagine those anatomical, very well-known sections over there, kind of just following the forms. Connecting those two with a nice curve. I'm sure you can see that form coming together in this kind of a little bump that happens here. And it's really following are opposing curves. Curve in that way, that way, then that way, then that way and that way. Rash. So those are the basic forms, right? So basic dynamic and a very, very rough skin, skin surface level of the lips. And usually when you're drawing the Matthew generally indicate the teeth unless you want to go and crazy and do some crazy kind of tea, you generally indicate the teeth, usually with just a line. And just remembering once again that curve shape. I think I'll keep reinforcing it really because it's something ignored very often. Just remember that curved shape of the jaw and the mouth, right? Let's go in and I want to show you some shorthand techniques for getting this down relatively quickly in your work. So when we're drawing our head shape, just going to do our typical hint again. Some very rough version here. Get our mouth line. Depending on the style you're drawing. Of course, it may not always be necessary for you to draw in every single line of the lips. Because when you look at a person's lips, generally speaking, apart from maybe they're wearing a very dark makeup or something like that. The lip value and the lip color seems to fade into the skin very softly. It doesn't have a very harsh edge. And so common technique that is populated do is to draw in the mouth line and then hint at the shadow of the bottom lip. Just like that. Alright, so that's one shorthand technique drawn them outline hinted the shadows. One can even hinted the indent of the top lip. And let's just do some very quick eyes here. And you get a very three-dimensional look to the lips there, just by hinting the bottom shadow of the bottom lip, the math line. And then you can hint at the top lip as well. Sometimes you don't even need to do that. When it comes to the mouth lines themselves. Based again, one base, once again on the style that you want to do. You may want to remember those three forms that make up the lips. And those three forms then affect the mouth lines, which gives us these little indentation lines very much like that, that would be the front view. And so when you're drawing lips to imply or add in those little indentation lines. And it gives you more of a realistic looking lip. If you want to open it, you can just simply draw in considering the perspective, draw in a space, the lip open. And in this instance I'll have to move that shadow line. Because of the math, position has moved, the jaw position has moved slightly. And you get a very 3D look. This is a shorthand that I use all the time. I really just draw in the top, top lip line very much like this. So there's me using those line forms, those lines shapes, drawing that shape. Maybe open them out a little bit. Putting the bottom shadow, you can see how quickly you can have a very convincing math, right? A very believable math, and very believable lips and add a gloss as well. So it'll highlight for some fun. And finally, and something we're going to touch on in much more depth in the facial expressions and emotions module is the corners of the mouth are very important depending on the direction that you face them and what you do with them. You can indicate the different types of expressions. We'll get into this much detail, but try not to leave them out when you're drawing lips. Just put a little dark dots there. And it just gives the lips more of a realistic look. And last but not least, you can, if you really want to, you can draw in the lip lines just connecting those areas that you've drawn. And certain styles really do call for the lips to be drawn very explicitly that you can see the full shape of the lips just like that. Right? And always try to as well as a last tip, try to keep the main loved line. So the line of the top lip or the bottom of the top lip, the darkest line. It helps people really see that lip shape nicely leaving the others later. They can see the expression in the math, right? In, in a nutshell, those are the basic forms of lip. We added two dynamism to them and we looked at some shorthand. Let's move on. 19. DEMO Facial Features: Now that we've learned the facial proportions, we've learned the forms of the head, and we've learned a facial features. I thought it would be cool to do a demo of a head, putting these features together and also touching on the rough and the refund workflow a little bit that we'll be learning more about as we get further into the course. And you know, I've always been pushing you guys so far to really just keep things simple. B-raf, be messy, be loose. We're not striving for prettiness at the moment, which striving for correctness. And so I'll have a bit of a nice look going on here at the end as the refined stage, we will get there in time. Don't even worry about it. Okay, so let's get our basic forms in. And I thought one of my favorite topics to draw just attractive girls. I'm gonna get a head shape in here using what we've learned. I'm going to add a nick in. And I'm thinking about these forms, even if I'm not explicitly drawing through everything. I think about every single form pretty much in the exact same way that we learned. While in the exact same way that we learn, should I say, get the nose shape in there? And just get that ear haunt, correct. We can define the top of them just now. Draw more of a cartoony style character here. Her false start IN. Use our shape lines that we know and keep this one more narrow. As we've also learned, if the eyelid haunts the same, It's Heather kind of have a excited, happy expression. More select slightly surprised, happy a type of expression. And I'll actually not intentionally choose to leave out some lines. And if the viewer kind of have those lines implied to them, doing our nose shape there with the ellipse will have her looking to the right. And it'll draw her iris in there. K and keeping it rough. So we're doing the rough drawing here and nothing fancy drawing those lid lines. She looks a little bit upset. So I'm going to just just want to adjust this so that the eyebrows are not tilted so much and get a mouth line in there. 1 third roughly can indicate the anatomy of the lips. Corners of the mouth will open her mouth up a little bit. Indicate that bottom lip shadow and get her urine relatively the right-hand. Now. Just her jaw line in Korea feels a little bit too high. No problem, just erase it so I need the rough. I don't think we'll draw here and no anything. Not until we get there at least. So we get to the ear sections. The hair section is munging, drawing the rough of the ear. Let's take that section out. We can rough in those pots that we've learned. Give her a little bit more of a lobe, the lobe section. Just to head position there. Something that's good to do, whether your digital traditional is always to flip the image because you get used to looking at the image from a particular angle. And when you do that, things can escape you. Alignment issues can escape you. So I have control if bound to flip image horizontal, which you can find even if you're using Photoshop in the image menu, Image, Image Rotation, flip canvas, horizontal. And you can find that in the shortcut keys section, which is here in the Edit menu. If you're on paper, you just use a mirror and you place them arrow next to the image. And you can see the opposite version of what it looks like flipped. So here I'll flip it enough field on flipping it that I wasn't following are proportional guidelines exactly. And I want to move the eye a little bit in. And of course, digital is great because I can just select it and move it in a little bit. And also probably move this one in just a little bit more to the side. If you're working traditionally, you'll have to obviously erase and draw over, but you don't have to do crazy work. It's the wife. So you can just do a little bit of a light erase over that. Right. Flip that around. Perhaps in this one, I'll indicate her top lip a little bit and indicates her teeth. Perhaps your top teeth a little bit. I'm going to change the shape here. So when you really have these forms down, it's quite easy to just get a little bit more creative with everything because you know the basic forms. So now you can actually start thinking about creative things like do I like the way this looks too? I like the shape of ellipses or mouth, the size that I want it to be, etc, etc. That's really where you find your freedom. In order to find your freedom in real estate, particularly in the rules. You find your freedom in the rules, you know the rules. And so once you know them, It's really up to you how you want to use them, how you want to bin them and turn it into your own work. Getting your own look and feel in your own style into how you want to create characters and things. I think there's a big discrepancy in the sides here. I'm just going to adjust that a little bit so that their bottom Island lands up. So you always want to make sure that the bottom Island lands up when you're doing loud. Based on our proportional learning, based on what we've learned with our proportions. If you have a kneaded eraser, if you're working in traditional medium. That's what you can do to get this effect. When I'm erasing here, I'm using a soft brush. And the brushes are included for Photoshop in the course so you can download them. And they're very, they're very much all the brushes I really use. Gathered from all sorts of places. Just adjusted slightly so that they act a bit more like traditional media. But nevertheless, the eraser brush yet is this soft brush here. Soft up flow just means it's a soft brush, very soft edges. The Pacinian fluid, I'm using the eraser to give me a nice soft arrays. I press lightly on the tablet and I can get a nice soft eraser feeling there. I'm just going to just to eyebrows. Make them a little thinner, maybe not so high up. Give her a bit more expression. Get her eyelid in there. This one's in. And I'll then in her pupils and just add her audible in it. Keeping in mind this space. And then can actually adjust their cheek position a little bit, bring it a bit more down. This give us let me why did cheeks softer face structure here? Maybe a bit of a thinner Nick. Make it look a little bit younger. And just redoing that ellipse underneath the nose just helps me feel at the plane, the bottom plane of the nose. And then I would probably call that relatively done in terms of the rough. And obviously if this were supposed to be a finished piece, I would do the hair and all other details on love that there's many more details to you. It's mainly just the hair and maybe the clothes and things like that. But for a rough, this is pretty much good enough. And depending on the style that I'm doing or how far I want to take the piece I made, just soft erase the whole piece. So I'll do something like this. The soft erase the whole piece and then do a cleaner sketch on top. Or if I want a very clean lines, I'll put a new layer on top. Or I'll drop the opacity of this layer and do a more refined sketch on top of that. If you're working traditionally, you can use a light box where you really just do a rough on one piece of paper, dear refined sketch on another. If your refined sketches, your final great, if it's not put another piece of paper on top of light box and then your inks with your multi-line of pains or your India ink or what have you. In this instance, I'm going to just do a refined sketch on another layer. And here is where my brain, my mind ship, my months, it shifts, my brain shifts. We'll get into this very soon. We will have a whole lesson on this process. My brain and my months. It shifts from rough, structural, accurate top of thinking to know more just being creative and stylization thinking more, more of a dare I say graphic design type of months. So everything here is in place. So my focus now is I want things to look clean and professional and needs. I'll keep my lines loose. I'll be thinking much more about line weights now. I want to get those clean lines in my drawing. We've put in all our facial features, which is great. We're using that structure we've learned for our head from our proportional model and from our form model that we've learned. Making things dynamic. Here I'm going to just do that exact, exact kind of flow we learned for drawing the ears. This is the three-quarter one. So when that overlap to be the drawing these lines, drawing that weird kinda bottle shape that then curves. One line here, indicate another one there. But that they're nope, that's not right. We'll do it again. Possibly a bit of a tooth thick line weight here that I'm using on the pin pencil, so I say, but it's no big deal for this demo. Bring the head off the back. Now she looks a bit crazy. She's got no here. Just following my forms and drawing the eyebrows. Yeah. Keep them very simple in InDesign. You can see I'm trying to use as few lines as possible. Wherever possible. Just keep things simple. Get the odd shape and it's really a good idea to thicken the top eyelids line. It really makes the eye stand out and pop. And I can see now as I'm doing this, even as I'm doing this, how the corners of the eyes don't really meet up super well. So I'm going to actually take this opportunity while I'm refining this to get in there. I'm not even going to draw in the rest of the eye just for this particular standardization. Come here. I want to make sure this is a little bit too broad and shape. I've said to us that we really want to have that diagonal, kind of a shorter shape for the far side. I shouldn't be as long in terms of its linked like that. So this one is about double the length, which is good. I do use undo from time-to-time. Pens and paper does not afford us that privilege. And just indicates some lashes. Yeah, just a couple. I didn't go crazy in this particular style that I'm drawing. Like to usually three. We'll put three in drawing. Then I get our shapes in here just a little bit. Once again, I'm leaving going to draw the inside shape. I'm just going to imply it. So the view is mind can make up that insulin shape. Here. I don't even complete the iris shape either. Again, I'm implying that the shape finishes and implying as much as you can, not too much. Obviously you have to have some indicator details to help the viewer's mind complete those shapes. But implying helps a piece feel very natural and not forced, not overly detail that you'll kind of micro detailing. Not that I'm saying you don't need to draw you that you shouldn't draw in the full iris shape, for example. But sometimes you can just imply it. And the viewer's mind takes care of the rest. And it's a great time-saver for us as well. Especially when you want to get a lot of work done quickly. Can draw in those pupils. I'll put in highlights just for fun. Putting her eyelids. And you can see I didn't stick exactly to plan, especially in the sake of, in the interest of looseness. I'll just put a nice sweeping, loose, dynamic directional line with that nice taper in there. Get her nose and just kinda give it a softer beans. Put in the nostril. Once again, more implying detail here. I'll just darken the top section of it up so it looks more like an astral. I could put in that wing line. Maybe I don't have to based on the style might just lightly indicate the top lip, drawing that top lip line Using the details we've learned. Darkening that top lip line because it's important to do remembering the faces round. Went on a bit about that. Corners of the mouth. Let's pull this shape down a little bit there and then stretch it on the far side. Ply her teeth shape, keeping it around. For the sake of this, I'm just going to darken this section just by adding some lines to shade it in there. And the bottom lip shadow here. Alright, and in a nutshell, that is really are adding our facial features demo with a refund stage on top just to make things look a little cleaner and neater. But for your purposes, I would strongly encourage you to just stay at the rough stage and make sure everything is right and when you feel that it is right and everything's in its right place and the proportions make sense. And then the work feels good to you, then move on to the refund stage. But most of the time you want to spend as much time as you can on the rough stage and make sure everything really is correctly placed, located in positioned before you get to your refund stage. And this is the end of the demo. Let's move on. 20. Lets Talk About Anatomy: Now that we've learned about the basic forms of the proportions and the forms of the facial features. It's time that we talk about advanced anatomy. Anatomy is abroad and separate area of study that's really about learning the nuances and the design of anatomical bodies. Characters aren't much, much more than just anatomy though, but a strong anatomical knowledge is a very useful tool. There's unfortunately no way around learning advanced anatomy. It really has to be done and it really will benefit you. There's no real I've made it or bar level like that. You know, you've reached the bar of studying anatomy because it's so complex, you will be studying it probably for the rest of your life, just in more and more detail and getting more and more skill and remembering the nuances of the anatomical forms. Nevertheless, your skills keep improving as you create odd and study anatomy further. Every subject has a grant. If you're playing guitar, if you're playing an MMORPG, there's gonna be some point we have to grind. Are we going to be playing that C chord or that a cord or whatever a million times to get the pattern. Anatomy is very much like that. Everything has its grindy parts. And for character drawing, anatomy really is one of the big grindy parts and not ludicrously fun, but you can make it fun and it does get more interesting the more you learn about it. Studying anatomy really is observational art. It's about repetition, learning the anatomical elements off by heart. And it's not really hard to grasp once you understand the fundamentals we covered in module 23. In a sense, it's a visual library for them and of the human body, you pick up an element that you want to learn, for example, the neck muscles and you study them and you draw them from multiple angles and you just keep doing it until you have a good understanding of the nuances and the shapes of those muscles or the skeletal structure or the skin surface area. When you learn anatomy, you'll want to focus first on the skeletal system and the skull. Really do studies in depth on those elements, draw them out, rinse and repeat, then focus on all the muscles. Same deal, and then augment that knowledge with figure drawing of the male and the female bodies. The anatomy resources and study guide in module three provides a great resource as well as a god to have you study anatomy efficiently and effectively. To get to a good level is not going to take forever. I promise you that really isn't going to take forever. There are major anatomical bodies and minor on anatomical bodies. And really getting the major bodies in is what counts the most for getting hardcore, really advanced looking anatomy. Anatomy should not be a stumbling block for you. And I want to emphasize this. You'll likely always be learning anatomy throughout your life. For now, follow the anatomy study plan and resources that are included in this module and learned slowly, but to continue on with the course, many of the concepts you'll learn later in the course, especially in terms of gesture drawing, will rapidly increase your anatomy learning speed. Because of course, gesture drawing, the advanced levels of gesture drawing really is doing figure drawing, doing life drawing of the human body. And that's really what we want to be good at drawing the human body. Well, alright, this is the end of module three. Let's move on to module four, gesture drawing.