Draw Characters 104 Draw Character Gestures

1. Draw Characters 104 Introduction: Hello and welcome to draw characters, 10 for drawing characters gestures. The character gesture is extremely important. It is effectively the spirit or the soul or the inner feeling of the character, if you will, the inner kinetic energy in some sense, character's poses are hugely influenced by what a character is thinking or what a character is feeling. The gesture is sort of a way to capture those energies moving through the form. Now I know this sounds a little bit hokey, but bear with me. We're going to cover core fundamental topics, such as lines of action, as well as dynamic character posing. And I'm going to teach you how to draw gestures from references, helping you to grasp a wide variety of different poses and styles, but understanding the inner energies moving through the foot. As usual, I encourage you to watch through all the lessons first and when you're done with that, and go through them again and then do the assignments. Very excited to teach you how to draw character gestures. So I'll see you in the lessons. 2. What is Gesture?: A lot of the time when you think about gesture drawing, you probably have this idea in your mind that people are doing kind of laughed drawings. Maybe Loved drinks from photos will have drawings from real models. But the truth really is that those artists are attempting to try to capture the essence or the core of the pose. And that really is what gesture drawing is capturing the core or the essence of the figure of the form. But more importantly, once you understand how to capture it and how to see it, that you will then be able to utilize this knowledge to give your character is feeling and emotion and laugh. This course obviously isn't a figure drawing course. It's a character drawing course. And characters of very much full of personality, full of life. They can relate to one another. They can relate to the viewer. And people just feel inspired and motivated and they believe in this sort of life that you're putting into the page. So gesture is very, very, very important. A good way to think about gesture at its core is that it really is the soul. The point, that entire, overall message or structure of a pose or other character's emotions. In a sense, it's the courts, the foundation of it. And you'll hear me using different words like this core in essence, the directional flow and things like that. When we talk about gesture, gesture is very, very important. Gesture falls into the shape category. So it's very much falling into kind of compositional category when looking at in terms of a strictly drawing type of sense, it would fall into shape. It's got everything to do with how we think about dynamic shapes, how we structure the foundations are that's shaped composition of the pose and things like that. So it's important to remember that it falls into shape. So the way we're gonna be learning that gesture is instead of just having this kind of vague idea where we're going to be drawing figure drawings or photos are going to learn. We're going to learn gesture in for five, for four ways. The first way is directional flow shapes. Now, as we've learned, we know that sort of static shapes. They don't seem to have any directionality, but when we bend them, we can give them a sense of directionality. So the first well we will be learning about gestures is by doing directional flow gestures. And I'll do an example over here so that we can get a sense of what that's going to be like. Directional flow gestures would be just focusing really on flat shapes. Not thinking too much about forms, and just feeling out the gestures. So just do something very basic care. And you may be recognizing some of these general, some of this general flow from us doing the form module in module three. So this would be directional flow shapes. It's called a directional flow shapes or really just shaped gestures. So we're not thinking about form. And this is really important that we grasp this, that we are understanding that we're grabbing this type of silhouette is just very flat. It's still very readable types of shapes and directional flow shapes, right? And then we'll be doing form, dynamic form gestures. So we'll take our directional form, directional flow, shape gestures here. And we will then add form onto them, which we hopefully know how to do. And I'm going to actually put this in a different color. And we'll start building those basic forms on top of the gestures. And kind of imagining all of our structures. Put some center lines there so that we can get that sense that the forms are based on the directional flow of the energy. Flow gestures, directional, directional energy, and the directional movement kinetic energy through the forms. So then here we have phone-based gesture, and then we'll be doing anatomical gestures. Where are we going to combine our shape and our form knowledge? And hopefully going to then use our anatomical knowledge that we learned from the reference material to build on top of what we have here. I'm just going to lighten this little bit. And we will then start utilizing the reference and building anatomy on top of these structures. Obviously, I'm doing this out of my head here. I'm going to imply some anatomical forms here. The pics in the pelvis. Okay, so we want to, we want to grasp gestures from a fundamental perspective. First, before we start getting into doing crazy hardcore laugh drawings where if you had to just start out with there without any decent fundamental knowledge, you would probably not be very successful for a long time. And you'd waste a lot of time trying to figure out why you weren't being very successful. So this would be our anatomical gestures where we're looking at references and drawing out those gestures. And we will certainly get into that in the next few lessons. And then last but not least, we will then do laugh gestures, right? Laugh gesture drawing. And I'll be like, Well, what the heck is that? Well, once we know the shape and the form, and we have a good understanding of the anatomy of the gestures. And we've also been doing our daily anatomy studies. Then we can actually move into lab-based gestures. We were looking at people and we doing that typical thing maybe where you sit at the coffee shop and you're looking at people walk by and you're trying to capture the entire gesture of the person as quickly as possible. So e.g. a, typical laugh based gesture might be something like this. And it's not really, I'm not doing some crazy drawing here. Let's see. I'm going to draw something like this. Maybe something like that. Quickly just doing almost a scribble if you wish, but just trying to get the gesture. And we have an old lady with a stick or an old man with a stick or what have you. And these are lab-based gestures or laugh gestures where we're trying to quickly capture overrule forms of things. Perhaps a man waiting at the bus stop might look something like this. Maybe he's got a sling bag on him. He's quite a broad man wearing a hat. So these are really the laugh gestures. So we want to think of gestures in these categories. Just take a look at them one more time. We have our shape-based gestures, which are what we're going to be learning first, then form, then an anatomical gestures. And then we're going to look at laughed gestures and all of these just your work is done from left. We want to learn gesture from life. So that when we're drawing an imaginatively, we have strong, strong, strong foundations and how to capture those, those movements in the energetic feeling and the dynamic flow of the human forms in those characters and even more so once again, reiterating that we want to then be able to imbue how the character is feeling, what the character is thinking. Then utilize what we know of gesture to better communicate these aspects of our characters. Who are characters all how they're feeling, what they're doing, what they're anticipating, and so on and so forth. Last but not least, and this is a very, very, very important point that I want you to remember throughout your drawing Korea, hopefully for the rest of your life. But especially while we're doing this module, it's really one of the main fundamental points of gesture drawing is that you need to exaggerate the gesture, right? Exaggerate the gesture. And the reason you need to exaggerate it, particularly just the basic gesture of the form is when you're doing a drawing and you're kind of getting your dynamic forms going and you're doing a cool, you're trying to get all these nice dynamism happening in the piece and so on. If you don't tilt things enough, twist things enough. Adequate rotations and push the actual pose. Push the pose and really try and make it as exaggerated as possible. Not overly exaggerated but fairly exaggerated. What happens is when we get to the cleanup stage, where we're now putting in some clean lines and we're detailing and we're drawing the face and drawing the anatomy in and the clothes and the hair. What happens is if the gesture is not exaggerated enough underneath, then when you start adding the details and adding the anatomy and the clothes and accessories and all the other elements of the character. It can tend to kill the gesture a little bit. So basically adding details and adding these elements kills or really tones down the initial gesture. That's why it's important that we need to exaggerate the gesture a little bit so that we are compensating for that sort of toning down effect that adding detail can have to a character Dorian. So remember, exaggerate the gesture, exaggerate the gesture. And you will see maybe even if you've exaggerate a little too much, that when you do start adding the details, the details tend to really tone the gesture down quite a bit. So very important point exaggerates the gesture. It's not forget that. All right, that's the end of the intro to the module. Let's get into it. 3. The Core Foundation of Gesture: Let's now take a look at the importance of understanding opposing curves and directional flow. So in terms of directional flow, it really goes back to the things I've been saying about static shapes versus shapes that have directionality to them. And we can achieve that by bending the edges and the sides of things to give a general directionality to the shape. The shape really if you ask someone what direction it's moving, it's not really moving in any particular direction. And you might say to someone, hey, what direction do you think this is moving? And they'll probably say it's moving in this particular direction. And the same applies to form. We want to avoid using non-directional forms are forms that lack energy. I'll draw through on this cube. Just for the sake of understanding. This is very static. It's not really moving anyway, although you could definitely argue that this side in terms of a shape, is a directional shape for sure. Directional shapes between them, but the overall form is very static. And so what we wanna do then as well is edge directionality to the forms, kind of bending our forms in particular ways and having the form feel more directional, right? Like it has more energy to it. Things are being bent and twisted and there's some kind of movement happening in the form, right? Static shapes and forms we don't want. And dynamic shapes and forms we do want, right? And this applies both into our compositional thinking. We're thinking about shapes and of course into our form thinking when we're thinking about forms and the three-dimensionality of the things that we are creating and things that we are drawing. Alright, but now adding onto this knowledge, right, so that we know dynamic is good, right? Dynamic is good. But how do we apply this dynamism to the human form? And this particular theory has different names. I don't think it's ever been called the name that I tend to call it or explained particularly in the way I'm going to explain it to you. But nevertheless, I like to think of this as opposing curves. Opposing curves. And really the rule is that one thing curves one way. The next thing we'll curve the next. And you've seen this when we've done our foreign-based. When we've done out, what am I saying? When we've done our forms are dynamic forms. We will make the top of the arm bend one way and then we'll be in the forearm another way. And really another name for this is rhythm or flow is another name as well. This is introducing this rhythm or flow or opposing curves, this directionality into a character or any kind of living object. And you can obviously also put it into non-living objects as well. But specifically in terms of characters, we want to think about this in terms of the form and in terms of the anatomy. Opposing curves theory really is that we don't ever want to have, first of all, some curves that kind of repeat like this. Because then there's one, there's really no energy flow through this. It's kind of stops here. And then the energy just has to then start again. And there's a pause in the energy flow. It's, it's kinda like boom, pause. And then it has to start again, boom, and it loses its flow. And you can see the difference when we have something like this, the energy just keeps going, right? When we have opposing curves happening. In addition, when we're doing opposing curves, we want to make sure that the curves don't ever oppose in a parallel way. So e.g. here I have two parallel and curves. All right? And yes, they're suddenly and opposing curves fashion. But hopefully you can see that the fact that the lines are parallel means that the shapes are no longer dynamic. And so that there is no directionality in the shapes even though we're using opposing curves theory. And so really what we wanna do is we want to take dynamic shape and form theory and add it to opposing curves theory. And therefore get ourselves a great system for drawing natural-looking forms, natural-looking gestures, natural looking characters that look alive, that look like they're filled with energy that look like they're just paused in time, but usually we're not posing them in a single image. They're walking around and they're thinking they're talking, they're living their lives, Right? So opposing camps theory once again really is just that something curves the one-way you then it in other way. You may be saying, Hey, I've heard of something called straight to curve, or I've heard of something like curve against straight. And that is in fact, a different theory that isn't got to do with gesture, has got to do more with avoiding parallels are creating basically, yeah, non-parallel shapes, which we will talk about later in the course. So don't worry about that for now. Posing curves ready? If something curves one way, the next piece of it should curve the other way. Now when we get to bringing these theories right into character drawing, I've got a stock photo here of a little baseball player. And we're going to draw over him so that you can kind of see how these. Opposing curves work, as well as how the dynamics shape works, both in the shape of his gesture and the forms of his gesture. Okay, so let's get right into it. First of all, we can just start by defining his head because there's always a great starting point with characters. Just get the head shape in there. And we want to consider the back of the head as one of our first curves, right? So it's curving that way. That means we can't see his neck. Yeah. But that would mean that his neck would then have to curve the other way. Right? So it does that. And then we come into his back shape. So we will imagine his whole torso and I'm keeping in 2D for now bending that way, which would mean that as we come through his stomach and down into his pelvis, right? So we've curved this way. It's actually do that in blue. The shape, the dynamic shape will then naturally kind of curve the opposite direction. Right? So we can see this happening here that curves down. And then this curves inwards similarly on the front, curves down, and then this one curves outwards. Alright? And then we get to the legs. And they are the whole own shapes. So you kind of, a node can be confusing when you're trying to think about it in terms of the pelvis, the radio they own shapes. The front of the leg would curve down like this. So that curves in that direction. And then the back of the leg would have to oppose. It would make it dynamic shape in that direction, right? And similarly for the other leg, curves like that. And then this one curves in the opposite way. You can see as well. Then I'm not sticking exactly to the anatomy here. And that's a very key point, especially when we go and actually do our practical gesture drawing demos and exercises that we're not trying to capture the anatomy here, right? When we're talking about gesture until we get to anatomical gestures when talking about the kind of the core, the solid gesture we're just trying to capture, Right? The core directional forces moving through the form and trying to grasp them so that when we're left with just the gesture, we can still tell what's going on, even though there's no detailing or anatomy or anything that we can say, okay, this kid is running or this person is running or what have you. Let's do the arms films. We can similar way, just as a side note, the way teams to figure out the arms even when I'm drawing is a draw the forearms directionality first. So here I would say this form is doing that. It has that kind of directional shape. This back one's kinda hard to read, but I would say it's doing that because I know the direction of the one curve. So this guy is curving that way, right? I know that the next curve going into the rear arm needs to be an opposing curve. So I can either have curve and curve and then say, oh, well there's my arm shape. That would be weird and it wouldn't make sense in terms of the directionality. Because we know opposing curve says needs to oppose. The correct shape would be this and then that. And it looks way more correct. So here we then take the curve the opposite direction and drawing that to directional shape, right? And then similarly here, if it's curving that way there, and it's curving this way here. Right? So we can then see the curves oppose. This would incur that way, that chip gives out there and then the opposing curve comes down on the other side. Let's take the reference image away. And you can see we've got a good feeling. We haven't copied anatomy, we haven't thought too crazy about forms and details and so on and so forth. We're just thinking about the gesture and the gestural shapes. This is the first key and most important foundational thing that we need to be aware of when we're trying to learn to do gesture drawings. So we want to capture the opposing curves in the gestures when we fully understand this, right? And you will do many exercises to get it into your system. Then we can start adding on top of. And I'm by no means, let me just add by no means is this a particular drawing workflow? It may be a workflow for you, but as we know from module three, we want to do shape and form at the same time. So we want to really draw forms and then modify the forms based on our shape theory. But if you wish to work in this workflow type of way where you say to yourself, Okay, I'm gonna do shape just, just first, we're just using directional shapes. They don't want to build forms on top. Then I want to put details on top of the forms. You can do that as well if it's better for you to understand that. Nevertheless, when we understand this in terms of gesture studies, we want to grasp this first grasp the 2D first strategy, or the 2D, the directional flow shapes, right? It's called the DF shapes. And then we want to move on to adding directional flow forms or dynamic forms. So I'm really using these terms interchangeably, move into 3D direction form, directional forms, dynamic forms, right? So we can then come here to what we've done here and then start imagining those cylinders that we want to have going to help us define the forms and help us really grasp drawing in 3D. And then use what we know of the shapes, the basic shapes that we've been learning, the basic forms remind you, we've been learning for these elements, the pelvis and the chest and so on and so forth. To really get these forms in there, right? And putting in us into lines and so on. You can see here where I'm just really adding those forms over the dynamic shapes. And it's giving me a great sense of motion and movement and life. Something that apart from utilizing these theories and having this understanding, I wouldn't be able to do, I wouldn't be able to draw this because my brain, and generally speaking, most beginner brains in terms of art, thinks a, let me draw anatomy, right? Let me draw an enemy. But characters, characters are so much more than anatomy. And we really want to grasp that and move past that so that we can really become experts, understanding how people move and how people move based on how they feel and how they are, and who they are as people and so on. But we'll get into this deepest stuff later. Nevertheless, what we want to understand really, I'm going to just reiterate again. We want to have our directional shapes. Want to make sure the shapes and forms that we use are directional. And then we want to say to ourselves, Okay, In forms, particularly characters in the instance of this course and characters, we want to make sure that the curves are pose or the dynamic shapes curves oppose each other, right? So we have an opposing curves, the curves that way it curves out. The next one will then curve in. And as an addition, and I had mentioned this in module three, we want to realize that this happens even as we go into a macro level. So it happens on the hand. So if we were just doing a basic handshape here for his hand out to you. I'm just going to draw in and hand that. I'm just going to add my own hand in here. If the curve is going, I'd like that. That means that the palm of the hand would then come out like that and then the fingers would oppose like that. Right? In a big, in a macro sense, if we just divided the hand into two separate elements, we'd have the spot curving up like that and in the fingers curving down because we still want to have the opposing curves theory in me because it just makes sense and it works and it's wonderful. And then similarly you can go even more macro. So here we have the palm and the fingers. But if we zoom in on the actual fingers, and I think that we did cover this in module three. The fingers themselves and they join swore be made up of opposing curves shapes where we have one piece, then the joint, and then other piece and then the joint and then another piece that would be the tip of the finger because the thing is have three joints and the directional flow through the fingers opposes, right? You will notice immediately when you start implementing this theory into your work, that immediately your characters will start seeming more natural, more loose, more professional. No matter what level you're at when you apply it, suddenly something seems more informed about your work more natural and things start seeing more alive. And that's exactly exactly how I want to, uh, where I want to take you guys, get us to that point. So here I'm just gonna kinda do a quick detailing as if I were drawing an actual finger over here. And you can see it's a living type of finger, right? Even with very basic anatomy that's living because of this directional flow shapes. And using the opposing curves theory, we want to oppose each of the curves. Alright, I'm sure that that's solidified. Let's move on to the next lesson. 4. Action Lines in the Form: Let's now talk about lines of action. What are lines of action? You may or may not have heard of what lines of action all we're going to look at it and we're going to dissect it. And I'm going to use this baseball kid photo again just to illustrate the point here. Really, you get a primary line of action and a secondary line of action in your characters or secondary lines of action, mandu. So in this particular piece, when I look at this character, Mark had his head and then I'll determine for myself based on what I see where the primary line of action is. And the primary line of action is the line that really describes and kind of summarizes the overall movement of that particular post. So the primary line of action is just the line that shows that overall movement, that overall directional movement and the line of action generally take shape as some kind of C curve. So it could be very short. C curves are really BNC curves or some kind of S-curves where you have these types of shapes happening, kind of little ones and big ones or something like that. And they really summarize and kind of categorizing the overarching story really of the total movement of the entire body. So the line of action, really it shows the line of action in the form of, the line of action in the form doesn't have any particularly clear directionality to it other than in this instance, kinda shows his waiting, kinda moving there. But really it's just the line of action running from the head through the form. Not to be confused with a center line, not to be confused with the spinal line. The line of action is a gestural line, doesn't really exist per se. But it's something that we're using. And we want to see in the form of the general directional movement or the form. And this main line that runs through the form is the primary line of action, right? The primary line of action. Consequently, secondary line of action or lines that come from the primary live-action and flow from it in a very natural way. If they aren't flowing from it, then the secondary line of action onto good, not usually in real people. The cigarette line of action generally always make sense and there's something terrible that happened to the person with a joints are all out of whack. But nevertheless, let's draw in some secondary lines of action here which really follow the opposing curves theory, right? So here we have it curving over and then under, and then this arm does the same thing. Alright, so the secondary lines of action kind of flow from the main line of action. In this leg here, the nearest leg really follows in step with the primary line of action. And so these blue lines represent the secondary lines of action, which really I've over complicated than here a little bit. But really they show the overall summary of the movement in the limbs, right? The looms and the head and legs. We can also simplify them more if you're nodding imposing curves, Monsanto, you really want to just draw it out quickly. And we would just do these kind of simple curves just to show the secondary line of action in a much more simple way there with the purple lines. But since we know opposing curves theory, we might as well just use it to help us build those secondary lines of action. So in essence, that's what line of action is the overall, the primary live-action. Definitely the most important. But really it's the overall movement and the overall gestural movement and flow over the entire body. That is what the primary line of action represents. And then the secondary line of action is there to help us add in, inflow in step in opposing curves. In a dynamic flow, the limbs, the arms, the legs, as well as the head, as they flow out from that primary line of action flow. And why did we learn this? Because this is the very best way to start off capturing the gesture of a reference of a real person very quickly when we're trying to learn more about the forms, we will start with the line of action. Nevertheless, we'll get to those demos. Let's move on to the next lesson. 5. Spinal and Center Lines: We now understand that the line of action really represents the overall movement of the body, right? So in this instance of this model that we have here, we'll draw in a circle for her head is some kind of ellipse for a head. And we'll define the line of action. And that's great. But there are two other important lines that we want to know about the spinal line, as well as the center lines and what their purposes are. The spinal line, as its name implies, is us imagining the position of the spine. Fortunately, it works very much in an opposing curves fashion as the NIC, as the vertebrae of the spine comes down from the neck area, it opposes that. It bends around the back. It goes in at the stomach section and then around down the pelvis. And this would be the spinal line. And the spinal line is a great tool for helping us position anatomy and body elements when we're doing complex or even simple poses, it's a really good measuring stick as well that we can measure out proportions against where we ending learn how the curves working. Where do we need to be in the skin around the forms when you bolt the forms. And it's also a great tool in constructing your drawings. Because if you get the spinal line in and you're thinking about the spinal and it helps you bid a position where you want to put the forms on top of that spinal line so that it makes sense in three-dimensions. So that is the spinal line. And it's really is a great tool. Let's put the line of action here. Last but not least. We then have the center lines, also known as the axial lung. And the center line really is a loan that we use for measuring when we've got the forms down. So there's the center line of the face, There's the center line of the neck. And I'll draw it in a form here for the chest. And that's the centerline for the chest. And here's the stomach. Let's draw it as a sphere, is the center line of the stomach area. And we've got our pelvis shape and there's the center line for our pelvis shape and the center line or the axial line. Let's call it center axial. It's purpose is to help us measure, help us to know that we're placing facial features in a logical way that they read. They read as balanced on the face. And it's a measuring tool really helps us to say, okay, this is the center of the form. And so therefore, if I put a button here, I need to put a button here because that is a logical kind of measurement based off the centerline positioning. And you can use center lines and implement them wherever you feel that you need them. Especially good for placing elements on clothing and figuring out just the general measurements of the forms right in the center line. Just want to highlight the center line here for us as well. Right? Center lines used for measurement. And I would advise definitely when you're doing your construction drawings, using them where you need them. It's just another tool in your toolbox to help you draw well and help you draw effectively. So these are the three lines we want to know, but particularly we want to wet the spinal and the center or axial line and just their various purposes. And that's the end of this lesson. Let's move on. 6. Horizontal and Vertical Axes: In this lesson, we're going to look at vertical and horizontal axes, why they're important for us, how to use them in gesture drawing, as well as how we are going to use them in our normal drawing when I'm busy drawing characters out of our imaginations. So the first thing is we want to know what these are, right? What is the vertical axis? What is the horizontal axis? I've got these three example images here to illustrate this point. The first thing we're gonna look at is the horizontal axis of this girl on the left. We're going to use her eyeline to define the kind of tilt, if you will, the vertical or horizontal tilt, in this case, horizontal tilt over her head. And we can use her shoulder line to determine the horizontal tilt of her shoulders and her chest area. Then we can estimate where her pelvic line is to assume the horizontal tilt of your pelvis. And then for the knees, I mean for the legs we can then use the knees, which is something like that. So we basically just link the knees together. And when you look at these lines and you recognize that they are not parallel, that is a very good thing. We want to avoid parallels in our horizontal and vertical tilts, right? Let's look at the next image. Images horizontal tilts. There's a line through us and her shoulder line and her pelvic limb. Once again, no parallels. Everything is at some angle. And then lost image, her eyeline, her shoulder line. We will have to assume her pelvis is something like that. And her knee line. And once again, no parallels. And this is very, very key and character drawing to achieving dynamic looking character posing or dynamic character poses. For gesture drawing, particularly the horizontal tilts are useful for helping us quickly grasp the pose of the reference material we're looking at. So that's the primary reason we're learning this now, but we will touch on this again when we get to character composition. Nevertheless, let's look at the vertical tilts in these forms. Here we can see her head tilting slightly forward and her torso sort of tilting it that angle. Her pelvis tilting down and then her legs, each individually tilting at different angles. We don't really need to do the arms that much. Somebody here who head tilts it this angle vertically. Her chest is kind of tilting of the same handles. So if this were a drawing, we might want to modify that a little bit. Tilt the head forward vertically or back vertically a little bit just so that there isn't a parallel. And then her pelvis tilting at a different angle, which is great. We don't want those parallels. The sample image here for her head, chest is tilting this way. Her pelvis is likely tilting of that angle. And then her legs are tilting both at different angles. So this once again goes back to our rule as well, a rule in our thinking about parallels and how parallels or something we want to avoid, even in the tilts we want to avoid parallels. The great thing is when you're talking about horizontal, vertical, or horizontal and vertical axes, this really helps us get dynamism in our posing. Alright, so let's close these examples done. Let's take a quick look at what an image looks like when we added in and when we leave it out. I'm going to do a, just a very quick Form drawing here. We're going to just add in some elements. And I'm just doing a very shorthand forms here to get this in a shorthand because I'm not drawing all the way through. I'm more imagining the drawing through in my mind of the actual shape of these forms. It's changed that one a little bit. Just do this instead. Keep it rough, keep it loose. Right? Not exactly proportionate, but it will serve our purposes for this demo. All right, so here we have a drawing that is pretty much hopeless. It's hopeless in all of its vertical and horizontal main, major regions. And what I'm gonna do is I'm going to use the selection tool, the digital section tool in Photoshop to tilt, manually tilt piece. And introduce some dynamism into the pose. So I'm tilting the head forward. They select the shoulders and the arms is one body here. The shoulders this way. Rush. And I think we will leave the legs on their own. Different positionings. Will just tilt the pelvis down like that. And just for the sake of incorrect, we want to now adjust the position of the legs just a little bit based on the new angle of the pelvis rash. So we'll grab this one and we will adjust that. I think in this instance we want to put it just a little bit higher, right? And now what we have is a character that is significantly more dynamic than the first one. Because the first one has these very parallel horizontal axes and also very parallel vertical axis, like everything's very, very parallel and boring. And somewhere in the view is subconscious. They're recognizing this and it's not exciting them. There's no asymmetry to it. It's very predictable. Yet in this one, we have very nice opposing horizontals and verticals. And so we've easily achieved a level of dynamism. And suppose these two actually very similar, the legs. It's still a bit different. I guess these are a little bit different now that I look at it. But nonetheless, we've now achieved significant levels of dynamism. Just by adjusting the horizontal and vertical tilts are horizontal and vertical axes, whichever you prefer. I prefer it tilts personally, right? And this gives us dynamism now, for the purposes of gesture drawing, when we are assessing and looking at the reference material when we get into it. And they will be demos of this coming up. We will have a reference image on the left and it will be wanting to capture that gesture on the right. And looking at the reference materials, horizontal tilts particularly, and adding in those horizontal lines what we're trying to graph the gesture helps us quickly get the proportions and quickly find out the right locations for elements as we're drawing them out. And you'll see that's great. But for the purposes of drawing in general, we will revisit this topic and explain how it's absolutely critical to have your horizontal and vertical tilts happening in the forms to bring dynamism to the pose and a natural look and have the characters seem like they're actually trying to balance themselves as if they were alive and you are capturing them in a moment of time. As a last note on this lesson, the Italian word for this act of balancing in a way is called contrapposto, which means counter pose. And effectively It's describing when we rest our weight on one side of our bodies layer going here. Take this character via e.g. he's because he's leaning back over. Yeah. He's racing his weight on his right leg which pushes his pelvis. Alright. And his torso is now coming slightly down, which causes the skin area here on this side to stretch because the pelvis is tilting down here and the torso is tilting up. And so what you have is the start of something that we will go into later as well called squash and stretch in a sense where this section and let's get a different color here is squashing. And this section here is stretching out. Now squash and stretch is used in many different instances. But in this instance, this is what's happening where, when, when this pivot point is moved, one side of the body stretches and the other side of the body squashes. And it's a very interesting thing to note. However, we don't need to learn contrapposto necessarily in that way. Although it is good to understand how the body is balancing itself and where the weight is going. But what's better for us is to simply remember when we're drawing our characters, Let us make sure we are having this variance and making sure that we do not have parallels in our horizontal or vertical axes. We really want to avoid parallels in art in general, unless we're doing something that is more blueprint, obviously. Alright, that's the end of this lesson. Let's move on. 7. Basic Shape Gestures : In this lesson, we're gonna be looking at drawing a dynamic shape gestures. And then as we move through the next three modules, I'm going to do dynamic form gestures within gonna do anatomical gestures, and I'm going to do laugh gestures moving forward. But the key thing I want you to understand is that really we want to learn to grasp gestures, each level, grabbing that kind of energetic form or an energy flow and that inner essence of the characters, but grabbing them at different levels. So that when we get to anatomical and laugh gesture drawing, we can use what we've learned of the shape Foundation and the form foundation of grabbing gestures to help us really become more accurate and really more fluent in grabbing those gestures. So let's get right into it. And let's also remember to use all of the theories we've learned so far, particularly in terms of shape-based gestures here, dynamic shape gestures. We want to use our proportions. We want to use the line of action, the horizontal tilts, the spinal line if we need to, and everything else we know of gesture to help us draw out the gestures. So a great way to start is to really draw in the head shape, relatively the same size of the same scale. I've done a bucket thousands of ellipses there, but nevertheless be loosened, be rough, and really then start using what you know of opposing curves and dynamic shapes to grab that gesture in the back of the head comes around. So I'm going to draw in just a shape there. Key thing as well is to remember that we're not drawing anatomy, right? This is one of the hardest things I find students struggled to grasp is we're not really drawing anatomy or anatomical forms. We're really just trying to grab the structure of the shapes, the inner energy, the feeling of the shapes. I shouldn't say the structure more the directional flow. And as I see her arm come up here, I'm just going to draw that and draw that. And yours should look as rough and disgusting as this as well. Because really the point here is get the energy flow, get the energy flow down. That when someone looks at this very scrolled I'm kind of gestural drawing. They get the idea of what was happening with this character's form. So I tried to keep the anatomy proportions relatively the same, but I'm grabbing the energy out of this form. I'm not grabbing the actual anatomy out of the form. I can also say that particularly with both shape, dynamic shape gestures and dynamic form gestures, that you don't really need to worry much about the hands, drawing the hands and things in there that are very complex and detailed in their own right. It's better to just indicate them. I'll literally just indicate them with those ashamed same shapes that we use. And this, this may look a little lame in a sense I said in inverted commas may look a layman's sense. But really what you want to ensure is that you're grabbing these shapes. And I'm getting that dynamic form to read in there. And this is effectively what the work should look like when you're doing your daily 2D and really flat dynamic shape gestures, you just want to get a basic feel of the dynamic shapes in which you've completely factored up and drawn it wrong. So let's start again. Alright, let's get started now, drawing out the dynamic shape gesture of this particular model over here. And the best place to start is to always start with the head. It'll just kind of put an ellipse in there to get the head shape and nothing more complex than that, we're keeping things very high-energy directional flow focused, and then establishing the line of action, right? Establishing the primary line of action. So in this character, it's something like that, right? Establishing the primary line of action. And then what we can do to further help us even more, It's establish the eyeline, the shoulder line here, Pelvic line. And the line. We don't really want to do that because we don't have a good guide on the line of action here for that. But that's okay. We'll get those in. No problem. So now we can see we've used horizontal tilts to help us determine these angles, which is great and it's a good way to help us measure where we should then put our dynamic shapes as well as using are posing curves on those dynamic shapes. Now we have the head in the primary action line and the horizontal tilts that we've mocked out. We can then proceed to draw in those very basic shapes. I'm going to start with the arm here. And always fun drawing the forearm works best for me. So this would be this type of shape. As I do this, I want to reiterate, this is really not about anatomical drawing, right? We're grabbing the energy flow of the gesture. That's what you want to be thinking about. Grabbing the energy flow of the gesture and using these directional shapes to help us get this gesture to read well. So there I'm using that there and I will oppose that as we come down here. That arm. As for the hands and the feet, usually you can just indicate them to some extent here. There It's not very important to spend too much time trying to get little details in the hands and things like that, especially when you're drawing at this scale. Wouldn't even worry necessarily about the NIC that much. I'm just going to put in a posing curve. They're following my line of action. Going to determine what the directional flow is of her chest area, stomach area is something like that. And then her pelvis sort of here. Like a batch hoses opposed as opposed to just just checking myself. And then I'm going to draw in the legs. It start with a front leg. Here. Shouldn't say the legs, I should say. Rather than I'm going to draw in the directional shape of the directional flow of the energy flow of the legs. And I'm going to oppose that. And look at how rough on being, you know, this is not supposed to be pretty beautiful arch. And I want you to feel the exact same way about it. We hit a learn, we're busy grabbing the energy flow out of the pose. And once we've grasped with this, we can then move on to more advanced topics. So my scaling is a little bit off, but it's not the end of the world. The bulk of it is that the bulk of the gesture has been grabbed, the pose has been grabbed. Could you ask maybe a father is six-year-old. Hey, could you copy the pose of this drawing of mine? They probably could because they can see the gesture and they understand the gesture. So this is what we want to be doing. Here. Once again, we started with the head. And it's always a great starting point. You can start with any part that you wish, but starting with the head is great. We then defined the line of action. Then we define a horizontal, tilts our horizontal axis. Generally bullying them on the action line and we've put on the head there as well, helps us to get that angle. So here the shoulders and the pelvis. Then we've started to use our directional shapes and opposing curves theory on that opposing the curves of each side to get our 2D directional flow. Gestures in dynamic shape, gestures, alright. And the curves oppose each other. You can see here how they oppose throughout the form. That effectively is 2D, dynamic shape gestures, dynamic shape gestures. Once again, it's not anatomy. We're not trying to draw the anatomy. We definitely want to get proportions as close as we can. But we want to grab the energy, the flow of energy. If you could imagine energy flowing through the form, that's what we want to grant. And we want to get efficient at doing this. We want to be able to do it very quickly. And I would say, certainly while this lesson has been long for the purpose of teaching, that you want to try and get this done in 60 s. And I'm not even kidding, get it done in 60 s. Okay, where's the head line of action? Boom, pop the line of action. Okay, awesome. With the horizontal tilt. Okay, boom, boom, boom. Done. Okay. We're in 20 s. Yeah. Okay. Cool and directional shape for the chest, directional shape for the stomach, directional shape for the pelvis. And improvement is pumping those shapes. And because these shapes, they really don't take long to draw that type of shape or that type of shape, right? And be loose, be messy. I encourage you, please don't spend time on those. Be very quick, make it messy. Just make sure that when you're done, the gesture reads very similarly to the original. You go, Okay, yes, I could probably replicate the pose of my drawing. All right, those are dynamic shape gestures. Let's move on to the next lesson. 8. Intermediate Shape Gestures: In this lesson, we're now going to take a look at drawing dynamic form gestures. And very much like drawing dynamic shape gestures, we want to use all the theory we've learned so far that's going to help us draw these gestures are effectively. Now, let me just say before we begin. If you are feeling like, hey, I need more practice with dynamic forms, then what you could definitely do is draw a dynamic shape gesture first, and then use that shape just as a guide to draw the form on top. If you feel your grasp dynamic forms, Let's just jump straight into the dynamic forms. Alright, let's get right into it. So just like usual, we're going to start with a head shape. I'm going to use a form hand-shaped here. Get a center line down there and draw in the form of the face. Just a basic form there. Try and keep my proportions relatively fine. And then I want to get my line of action in as close to possible as the original. Alright, I feel like I'm not exaggerating that none of action enough. So I'm going to just kind of curve it a little bit more. Here we go. And then I can get my top lines in my horizontal tilts just to guide me as I draw out the form. Okay. Those are a little bit parallel, little almost. And then the pelvis is around here. Right? Now that I have those in, I can then start drawing in dynamic forms to try and mimic the form that I'm seeing. I think in this instance I'm going to start with the chest. Have the have the line of action guide me as I'm drawing in the form here. Just checking my width there. Maybe it's more like this. I'm just drawing in some basic forms and getting those basic forms. Just going to draw a sphere for the stomach area and the pelvic line. Well, the NM Chris is around here. So in draw that there. Now I'm going to draw the forms for the legs in which are really our dynamic tubes and drawing through there to really feel it. And that's what feeds. I'm just going to use a basic form here for that. Nothing too crazy. Drawing the front leg phone-based since it's due the arms here. This one seems to be moving in that kind of angle. And here, once again, we're not wanting to replicate the anatomy perfectly, right? We'll get to anatomical gestures way. That's really our goal, is we want to try and get the anatomy as close as possible. Here what we're really striving to do again is get that Diane dynamism, but did it in a form of saints. So we want to feel the dynamism uniform sense. So learning to draw the figure and see the forms of the figure with the dynamism moving through them. So using that shape theory to get that dynamism in there and moving through there. Okay, I'm just gonna wait this lineup just so we can see that the head is in front. And that's relatively okay. I don't like this curvature happening over here, I think because I had redrawn it a little bit. I want this form to read more on that since we get that nice replicating crunch there, stretch here, stretch here. Alright. And that is effectively drawing the phone-based gesture from reference. And you can see that it is rough. You can see that it is loose, it's messy, it's not beautiful. And again, I want to reiterate that is the point, right? We will get to beautiful, we will get there. I just want to, I want to stick on this point and say, I see it so often as my students struggling to draw gestures because they have that fear in them of like, This doesn't look good and a bad representation of mean, it's making me look bad because it looks terrible. That's not the point we're learning. So please be rough, be loose. It must look family news, Feeney rough. And this is going to help you be quick. It's going to help you be rough and loose. There is a term for neatness and professionalism and there is a time for being rough and loose. And once again, I use the construction sudden energy or someone baking a cake in the kitchen, those things do not happen neatly. You do not build a building neatly, right? So think about that. And I hope that's encouraging to you. And let's move on to the next lesson. 9. Advanced Shape Gestures: The entire point of gesture drawing really is to teach us how to grab life. Grab that feeling of life, that energy of life, and instill it in our own imaginatively drawn characters. We've now learned dynamic shape gestures. We've learned to dynamic form gestures. We have an idea of how we can go about doing those. And we're going to engage in exercises on the assignments. But now we want to move on to doing anatomical gestures. Important thing to remember when we do this though, is that we're not trying to do a photocopy of the gesture. We're trying to take the anatomical gesture, take some of the nuance and the hints of the anatomy and let that help our net anatomical study as well. But really create an image that really portrays and communicates effectively the gesture that we're seeing. And maybe even more effectively if we can dramatize a little bit. Alright, so we're not going for a photocopy of the gesture, right? We're not just drawing an observational life drawing of a lof models or a gesture, photos. All right, the second thing is that we want to work in a roughened refund stage, rough because if we start refund, We're going to take long. We can draw slowly, it's going to just end up being horrible and stuff. And then that's why you wanna do the roughs and then the refund to really just enhance what we've done in the rough and just clean things up a little bit and we can take some time and make things look a little bit more professional. So I'm going to start here on a rough layer that I have and then I'll work in a refund afterwards. If you're on paper, you'll do your rough and then you will just erase it with a kneaded eraser and then go into your refund drawing. So what I'm gonna do here is kind of indicate the head. And I'm gonna be very rough, very loose. I'm not trying to create a photocopy. It's a very important. And I'm going to get that line of action and I'm going to push that line of action even a little bit more here. Get that angle a little more extreme. Want to use some general measurements. Get that shoulder line in there. See that elbow lawn in a sense, one out there launch. It helps align things. Let's get that pelvic line in something like this. Something like that. Rush just helps to lay out elements and actually love action. It's Buddhist center line right near it as well that can help us position things. And I'm going to get this form in and really have that dynamic feeling going through. So many mix up. While I'm doing this, I'm going to mix up my shape and form, dynamic form and dynamic shape gestures, mix them up and she has actually a very long stomach area. Now that I look at that and keep things loose and keeps things dynamic. Let's get those and dynamic shapes in there. Draw a leg here. Check that knee line is relatively right. Just trying to keep the proportions going smoothly here. And drawing in that front leg. Dynamic shape, dynamic form. And we'll get that foot in there. Very much like that. Rush. And a key thing as well as just be very quick about it. The quick draw quickly, draw slowly. You will fall into the trap of things starting to look stuff. And that is probably one of the worst things that could happen to your work is that it is stiff and just lacks the dynamism, blacks that dynamic feel. And here I'm copying the shape of this contour here, just so that it looks a little bit more correct. But I want to keep dynamism has a forefront. So that leg's doing that. This one is doing the opposite thing, the very opposite thing, mirage coming in here. I'm going to make this more extreme, this crunch happening here, and make it a little bit more extreme. We can get that brush shape in a little bit there. And here I'm going to follow the kind of indication of the skin going over my sphere of my stomach, going down into that pelvis area. I don't want to keep things nice and dynamic. Let's get these ohms. Clearly this lower arm is doing that. So it has that directionality to it. The upper arm will be doing something like that. I'm going to really push those angles more. And pushing them is really a lot of what it is about that we are doing here. We want to push things went drama and interests. Drama gives us that visual interest. This shape is something like that. And do you see how when we pushing it, we get that feeling of life in just the simple drawing of it. I'm not going to over detail the hand here, just kinda copy the shape a little bit. That's okay. Get the general feeling going. Let's just see the angle over here is very much something like this. Her eyeline is something like that. Just get that general tilt of the head and then we're going to draw in her hair. It's not necessary. Get that Nick line in, really capture those forms. And so what I'm gonna do and recapture that dynamism, sorry, that's what I mean to say more of the dynamism. Let's just get her little clavicle line in there, that little indentation that joins her collarbone. Help us calculate this other breaths positions Mike here. And then the muscle actually goes up there, something like that. And we can draw in this just as a very basic shape here for the bra, section. To keep the height's the same. And we'll put in the underwear as well around here. Keeping in mind contouring that shape. Alright, so now that I've done that, I'm feel like I'm reading, getting those lines of action reading and getting the essence of the pose. I'm just going to lightly erase this. I'm not doing the roughened sketchy just yet. Just going to lighten that up. I'm gonna come in here. And now I'm going to just kind of get the anatomy a little bit more dynamic. Using the hints from the reference material just to place things. Just to place thing. I'm looking at a detail here. Hey, there. Get the bend of the arms in. So e.g. stuff I'll take is like here, I'm taking the elbow. And I'll borrow some of these angles from the hand. And notice how fast I'm being and how loose and being. I've said that this is curving that way. But I actually feel upon closer inspection. Know what I mean, just think about this. It's curving that way. Now. This is actually curving more like events. So I just put my Posen curves in incorrectly there, no big deal. Just it. Right? So when is a bit parallel, just correct it like that. And we do have a big mass coming out there. So that does make sense. And I'm gonna just kinda follow dramatized angles a little bit. Get that in there. And don't want to sacrifice the drama raj and are, are, are kind of exaggeration of what's happening in the forums indicates that anatomy. Do some here. I'm using the reference more as a guide to help me grasp the gesture better, rather than using it as an image that I'm trying to replicate. And I think it's something needs to be constantly reiterated is we're not trying to do a photocopy or a exact drawing. We're trying to capture the essence of things, right? Trying to capture the essence of things. I'm going to come up here and get that in. And, you know, you're successful when you say, Hey, do I feel like there's life in what I'm doing? Do I feel like I can feel the flow happening, right? The opposing curves flow happening, the rhythms happening through the forms that I'm drawing. Being loose, being very loose with your lines and not being afraid to be a little bit rough. It's not the end of the world. If something's a little bit rough. Let's get this in some quick lines here, just to get the basic shapes in there. And it's put in that shoulder muscle that's clearly being indicated at that section. Right? Now the muscle their muscle line. And I'm going to indicate the navel as well. Put that in there and just feel out too. I feel like I've pushed the pose enough. Just want to have pushed it enough. I'm not trying to create a photocopy once again ranch. And it will just make her hand just a little bit bigger the back area. And once that's done, convene, just lower the opacity here or do an erasing. Go to my refund layer. Or simply could just draw it on top. And I'll come in now and just really get the lines that I went in as loosely and as freely as possible. And I'm not even really using the reference much when I do this, I'm just kind of making sure that as I look at these forms, I'm being loose and I'm being gestural and trying to just get that energy and not lose it and have the same energy in my arm constantly working right in my arm and my wrist as I'm drawing, getting that head shape in. And I do have an example for you which I will show you shortly of what it shouldn't look like, right? What these really shouldn't end up looking like. Just indicating some of these lines. Grabbing that. Just make that a little bit more accurate can put some land weights where I feel I need them. As I do this, usually I do land waiting at the end. Even when I'm doing my artworks, I will just do all the lines that I need and then do the line weights at the end just to enhance the drawing. Keeping the flow, keeping things loose. And you don't have to stick exactly to your plan either. So if you have some deviations where you're thinking, hey, this would be much more dramatic if I say in this example, maybe I'll bend the leg a little bit more, would add to the drama and enhance the gesture a little bit more than I would say do it. It's ultimately you want a natural feeling. Peace. Not over detailing the hands or the feet. Something to keep in mind. Here we're using all that knowledge will let knowledge of the dynamic forms, dynamic shapes, and also drawing Lucy, having dynamic lines, lines that have directionality using the posing curves theory there. And literally I was just going this curve, that curve, this curve, that curve. I wasn't overthinking the anatomy of us being loose with the lines. But that line like that. And I'll enhance this overlap here with a darker line. It's just have a taper a little bit more. Pulling the navel. We can indicate some of these anatomical lines just for effect. So the ribcage over there, a little bit of a ribcage. And let's just finish off this basic head shape here. I'm just kinda indicating these details. And relatively speaking, this is something we want to end up with. Not too many crazy details, but definitely feeling the flow, feeling the flow of the pose, having things loose, having things natural. And if we want to tidy it up a little bit more, we can come in and line weight things that are overlapping. But the key thing and this is really what I want you to remember, is your goal is, how can I best capture the feeling of life? We're not interested really in recreating an exact copy of something. We want to steal all the best things from reality and use it in our imaginative pieces. And that's really what we're doing. This is really what we want to learn about and do here. Right? And that would be a completed anatomy gesture drawing, where we're really grabbing things and pushing things and just trying to capture that gesture. Now, let me show you an example. I did things on love, why this shouldn't look like. It shouldn't look like something like this. That is trying to be the exact representation of the gestural pose of the gestural reference that you're using, right? That is not what we're trying to do. Please don't do that. Please don't sit in manually copy the contours and the outlines and the shapes of things, right? That's not what we wanna do. An anatomical gesture drawing is not anatomy drawing. That goal is the gesture, is the feeling. It's the laugh. Don't do this. Don't do this. Even there's a symbol on my cursor. Bad, Let's not do this, right? We want to really capture the things we need. Capture the Flag, capture the forms, get the looseness, exaggerate the pose a little bit, right? And learn how to actively take what we want from the gesture so that we can then implement it into our own work. Let's move on to the next lesson. 10. Drawing Life Gestures: In this final lesson of gesture, we're going to learn about drawing laugh gestures, drawing people around you as they move around you live around you, and really striving to capture as quickly as possible the overall gesture or the overall pose of the person that look of the person. And so this type of gesture drawing, while we definitely want to use all our theories because it's so fast, it falls largely into the shape category. And we really want to try and grab those gestures very quickly. Especially if you're at the sort of typical senior at a coffee shop. You have your sketchbook out and you want to do some gestural drawing. Capturing someone who's walking posture is gonna be quite quick instance that you're going to see them, you want to implement it very quickly. And so we're gonna look at that and how we can approach that. I've got these three examples here and I'm going to do three examples, one for each to show how we can try to quickly capture the gesture with all the theory that we have, understanding the dynamism, looking at the world differently, looking at people differently, and looking at the dynamism in May forms and trying to grab those things very quickly and doing multiple drawings off this top. So let's get right into it. I'm going to start with soccer dude, three-to-one and go. It's trying to grab soccer Dean's hair a little bit. You can see it's a very sketchy kind of way of drawing. I'm just trying to get all of these elements in. I'm not trying to go too crazy and get some crazy details in. I'm imagining the directional flow here and his back legs. Get that foot shape in there. Maybe it's very sketchy, very messy, very loose, trying to get it in. And really just kind of capture, capture this form as fast as humanly possible. Right now I'm just looking a little bit more in detail. Alright, pressing a little harder, getting those shapes down. Indicating his head a little bit. And I kind of want to end soon. Right? I want to kind of end soon because I don't have all the time in the world to capture this. And boom, they're pretty much, we've got the bulk of his gesture in. Alright, Let's just get his leg a bit better there. And that's really what we're talking about when it comes to laugh gesture. Here I've even included the soccer ball and trying to get the general shapes of his clothing in. Right. So I'm not drawing just his anatomy, I'm just getting the general shapes of everything about him. So it appears that he is at some kind of soccer player. And the temptation will always be when you're doing this kind of drawing to spend more time than necessary on it. My advice to you would be crab a couple of gestures, sit down the coffee shop or wherever, go to a park or wherever. Look at the people it down, let's say 510 gestures and then afterwards, use your creativity, lighten them up, erase them, and just add in your own details, right? And just clean them up a little bit if you want to have slightly nicer looking gestural works there. But the real goal is for us to look at an image or look at a person and capture their pose and the feeling of their pose as fast as possible using what we know. Let's do number two, which is the girl with a pink hair. And here I go. I'm going to get her face in there quickly. Get her neck in, trying to just get that attitude over pose. Lot of it's coming from that shoulder line or one arms coming down the arms on your hip. I'm kind of simplifying, really, really simplifying. A lot of these angles. Get that flow in a leg. She's got to heal on. Just kind of get it in there really quickly. The other legs taking the weight. Directional shapes. It's kind of more straight because it's taking the weight and that she's kinda tilted a little bit. I can show that just to enhance that. Boom, and she's got a camera and a hand. I'm just going to draw a box. And our hands here, I'm not even going to bother with the details. Maybe put her gene line and put her v neck in the big shapes, right? And get her ponytail in a little bit. And that's kind of where I'd probably tell myself, Hey, stop drawing. You've got the bulk of the gesture in there. The idea is as well. Again, I love using this example is, Could somebody looking at this, replicate the pose, even though it's rough and loose as it is, could they replicate the pose? And if they can, probably done a good job, right? You've captured, you, capture the essence of really what that character is doing. That it's not about the details and that's what I want to say as well. It really isn't about the details. You want to be able to very quickly capture human form. And the more you do this, the less lines you use and probably even more neater. It's gonna look, it's going to look way more needed than mine or I have not done this in a long time. Well, that advise you, especially if you're a beginner, do it as much as possible and it's fun. It really is fun. Eventually had the sketchbook with millions of gestures and have a couple of those. And yeah, it's just, it's really nice to show people, look at all these people that I've captured, all these little miniature people. Let's do number three. And we're gonna start with a head. Head is always a good starting point. I'm just gonna get that in there. Maybe I can try and capture the gesture over here falling in a sense. And I'm just making up a lot of these shapes and curves. I just want to get the flow. It's quite an iconic piece of this image. All right, good, that's in there and let's get that shoulder line and down. Just be loose, just be rough in the beginning. Then almond boom, that's in other arms coming down at an angle. Something like that. Her hands are together. In some sense. Dress is got quite a strange shape and I want to grab that shape, just simplify it. Ni, over here coming down front leg, back leg coming down its knees over here. Tourist flows are there up that type of shape. And coming down here, I'm thinking directional flow, it's coming up. So this one's going to be doing this even though the muscle is showing that the actual directional flow of the leg is doing that. And that legs tucking behind foot behind there. This foot's probably leaning down, something like that. And she's on this, just to make it clear to the viewer, she is on some kind of railing. And we can just add the dressing in hinted some other anatomical forms. It's added Nick London, quite a big shape there of the dress. And boom, that one's done. Alright? And as you progressively do this more and more, you'll get better. And it's really easy and the goal is fast. So that is effectively drawing life gestures, go to a coffee shop, it's greatest excuse to get a cappuccino, sit down and really pumped these at pump. These aren't like crazy. And you'll learn so much about people, but personalities, about clothing styles, about hairstyles, about posture, about gesture, right? Just a really wonderful, It's really the core of character drawing that is the end of this lesson. Go for it. I'm so excited to see what you guys submit and I will catch you in the final lesson of this module, which we are covering how to do your gesture exercises. So I'll see you guys there. 11. Gesture Drawing Excercises: In this video, we're going to take a look at how to approach your gesture drawing assignments. We have two windows open here and image viewer on the left and Photoshop on the right, as well as the gesture studies template that comes in module four. And this is great for Photoshop. You can't really print this out. So this isn't really a god to doing it traditionally. If you're doing it traditionally, I would say to do about four gestures per page instead of 20 per sheet. Once you've got this template in Photoshop, you can just zoom in and add a new layer on top. It's a very high resolution file, so you can zoom in quite close and do really nice resolution gestures. Not that they need to be high resolution, but so that it's very practical use for when you're doing your gestures. And then you simply browse your image library on the left and then draw in the gestures on the right, obviously based on the timing requirements of that assignment where there's 60-second gestures, 122nd gestures, and so forth. And that essentially is how you should approach doing your Justice Studies, doing 20 of them, one in each of the blocks based on the assignment requirements. That's the end of this lesson.