Everyone Can Draw! 5 Drawing Exercises for Non-Drawers

1. Intro: Have you ever heard someone say, "I can't even draw a straight line," or maybe you even said it about yourself. Well, I have news for you. I've been drawing for over a decade now and I don't think there's a single straight line in my drawings. Hi, my name is Fatty, but everybody calls me Fap. I'm a watercolor artist, sketch journaler, and sketch art teacher. This is my class number 3. I've been drawing and painting for more than 10 years and I have created for brands and individuals alike. But before that, I was a copywriter. I worked in many advertising agencies and created campaigns for countless brands. I even won a few awards. But one day I said, that's enough, to solve sucking hours and meaningless work. I moved to Poland with my wife and became a freelance artist to draw and paint. I believe that everyone can draw, so should you. That's why I say drawing is not a talent, it's a choice. It's a choice because the moment you pick up your pen and put it on paper, you are drawing. I designed this class to help those who make that choice. In this class, I will show you five useful exercises to prove that you can draw. It's actually eight, in five categories, let's say, I will take your eyes away, tie your hands, put you upside down, you will love it. All the lessons will be in a follow along style, and I will guide you step-by-step and at the end of every lesson, you will have a drawing. How about that? With every exercise, I will explain you what we will do, why we are doing it, and how it helps you. For example, in exercise 1, we will draw without looking at our page and discover the importance of seeing our subject with all the details and how our brain tricks us all the time. Later on in exercise 4, we will create a cityscape with nothing but simple rectangles and experience that all the complex subjects are made out of simple shapes. This class is aimed at beginners, but I promise it's fun and it's full of knowledge about drawing, so everyone is welcome. You're welcome too. You don't need anything except an open mind and a pen. Paper is optional. Draw on the wall if you like. In fact, I encourage it, draw on that wall. You don't need any experience or knowledge either. If you know what a rectangle is, you'll be fine. Drawing is an important skill and it's a doorway to many other applications like painting, animation, illustration, and pattern design. After this class, you will be convinced that you can draw, you will have your drawings to prove it, and you'll be ready to take on my other two classes, thumbnail here, thumbnail here, and any other class on Skillshare. Your creative journey starts today. If you made the choice, pick up your pen and I will be with you shortly. [MUSIC] Wait. I should tell you about the class project, Check the next video. Jack is my assistant, but there is something I should tell you about him. He's not. 2. Class Project: [MUSIC] Our class project is a rather simple one. I've designed and collected drawing exercises for you to break your creator's block. I just want you to follow me as I do the exercises and those drawings will be your class project. Cool? What exercises will we do? A blind contour. You will draw the prop I give you on the screen without looking at your page. No peaking. Continuous contoured. This time you can look at your paper but not lifting the pencil. Not once. Random monsters. I will show you how random strokes on paper might hide cute monsters or maybe even more. Upside down. Get ready to turn off the left side of your brain. It always gets in the way. Simple shapes. An exercise designed to show you that every subject is made out of simple shapes and nothing more. Cityscape. We will use simple shapes to create a cityscape. Copy me. Copying is not stealing. It's a way to see through another artist's eye, in this case, mine. Copy everything. Everything, everything. An exercise to show you that your hand knows what to do. You just need to train your eye. I want you to share any drawing you do during these exercises. Just take a photo or scan it and share it. Remember, there are no bad drawings except this one. This is the only bad drawing in the world. That's it. This is your class project. It's easy. It's like your teacher telling you your homework is coming to the class and taking notes and that's it. Whatever you make during the exercises, you share. One exercise, one drawing, but feel free to share if you have more. See you in the first lesson. But before we jump into exercises, I want to say a few words about drawing. By the way, in the next lesson, if my hair is much longer than this, don't freak out. Checkmate with my shooting schedule and hair appointment. But still it looks good. [MUSIC] What do you think? [MUSIC] 3. A Few Words About Drawing: [MUSIC] Welcome to my drawing class. In this class, my only goal is to show you that you can draw so that you can start your creative journey here and maybe move on to my other two classes, watercolor sketch journaling and how to illustrate any topic. How was it? Once I'm proving to you that drawing is not a talent, but it's a choice. These two classes will keep you busy and help you get into a creative habit. This is the only way to improve and improve we must. I have to tell you, if you're a beginner, we are not going to create works of art here. Jack, disrupted me. But nevertheless, you will draw, you will create drawings that you didn't create before, and you will see that it is possible to draw. All you need is a pencil, paper, optional. I think as a society, we put too much pressure on what is art, what is not art, I like this art, I don't like that art. In a broad sense. Yes, drawing is a form of art. It's a way to express yourself. But as far as I know, there is no alternative to tell you if a drawing is good or not. Based on what? Anyone who makes a judgment about the drawing, if it's good or bad, is doing that through their own eyes and their own experiences. That's subjective. There is no way to get an objective opinion because it always comes from someone. That's why I say there is no better drawing. There is drawing and then there is no drawing. That's all there is. It is always better to draw something and practice is important skill than not. Drawing teaches you hand-eye coordination and how to see things more clearly. It teaches you see the details and appreciate small things. Someone who doesn't draw might just walk through a doorway and doesn't notice anything but if you draw, you'll see those curves, you'll see the stonework went into it. There's so much to appreciate there. You see those details because you start to think, if I try to draw this, it wouldn't be easy. All the exercises we are going to do are going to show you a key aspect of drawing and I will try to highlight them as well as I can while you're practicing. You just follow along and don't worry about the big picture, the goals, what's the message here? I promise I will pick everything up for you at the end of every lesson. Your only job is to draw. If you're ready. I'm ready. Jack are you ready? Jack is also ready. Let's go. Cut the camera. [MUSIC] 4. Blind Contour: Welcome back. It's great to have you here. Our first exercise is blind contouring. Blind contours is a creative exercise where you draw a subject without looking at your paper. I know it sounds crazy, but go with me here. There's a better way to look at this. Not looking at your paper while doing a drawing sounds a little crazy, but the emphasis should be on looking at your subject all the time. That's why we are not looking at our paper because our eyes are doing something very important, something we don't always do, looking very deeply at our subject, seeing our subject, seeing all the details, all the curves, all the bumps, all the imperfections, everything. You walk by a church, look up and say that's a church and keep walking. You didn't see the church. You looked at it for a moment. Your brain made an assumption, put a label on it, like it does on everything, and moved on. Your brain is busy. It has to do this. But to be able to draw, you have to learn to see. You have to tell your brain, brain, I know you're busy regulating my temperature, arranging my hormones, but I need you to focus here for a moment. I will look at this church and I want to know everything about it. How tall is it? How many windows are there? Are the windows round or square? What color is it? Is it white all the way or there are stains from the rain coming down from the roof? Is the sky reflecting from the windows or do they look dark? I want you to see it. That's what blind contour does. You look at your subject 100 percent of the time and your hand is ready with a pencil in it or forget the pencil, pen. There is no erasing here because there are no mistakes. Your hand is ready to draw. It will ask your brain, what should I draw? That's the moment you will start to see because for your hand to be able to draw, your brain has to take the information in. You start drawing from one edge and your eyes start tracing the lines. The roof continues and make a sharp turn. You'll notice all the angles, all the layers. That's why blind contouring is a good exercise. It's a good exercise to learn how to see rather than how to draw, but you can't have one without the other, you see. Now, let's do blind contouring. I will put a few pictures on the left and draw on the right. I don't know which one is left and which one is right here, we will see on the edit. I will draw on the right and you do the same, you'll draw with me. Don't take too long, but don't rush it either. Feel free to pause and try a few more times the same subject. Jack, first picture please. Good old Jack. I'm going to use this normal Pilot pen, nothing special, 0.5. Our first image is a mug. You can see it on the left. I will just draw. I'm not lifting my hand so that I won't lose where I am. I will attempt to draw the crown, this shape maybe and there's a cross and underneath, keep calm you're only 30. My God, it's totally off, but it's okay. What do you think? I will try another one next to it. I was doing okay, but I totally lost it with the crown. Let's try another one. I'm starting from the top left corner of the mug and draw the ellipse shape and go down. The bottom is curved as well. Go up and I will try to do the handle. That curves inside. I can see a bit of red on the outside and there's a secondary layer to it. This is my mug and I will try to do the top again. I'm still not looking my page. I'm hoping I'm in the middle. There's a cross. Let's say this is the crown, keep calm you're only, I'm trying to do the 30 bigger than the rest. My God, it's just so difficult to fit in there, but it looks really fun. Shall we try one more? One more here. This time I will try to start from top right. I will do an ellipse, as it looks like an ellipse, go down. The bottom is curved, go up, I'll do another layer on the top and here try to do the handle, this red part. I hope I came back to the middle, but I was off last time, so maybe bring it a little bit more. Here is the crown and underneath, keep calm you're only, because this 30 is bold, I'm trying to give this same feeling. How is it? My three was so off from here, but I think it's better, it gets better. I didn't have to go as far left as I thought, but what do you think? The next subject is the same mug, but with some stuff in it. I will start with the mug again, but I will see how many details I will put in it. Again, keeping the round shape of the mug. I will go to the other side and draw the handle. While I'm doing this, I'm not taking my eye off of my subject and I'm not looking at my paper. Now I draw the handle, I think. I will try to draw the pens. Here behind we have a big scissors, it's good that it's big, it helps. It's okay to lift your hand, but I would recommend not to because then you really have no way of knowing where you put your hand back. Don't worry about making extra lines. Just imagine that you are going on the picture. I draw this green pen at the back, I can remember. There is one more here behind the yellow one. I think scissor was the most successful. Let's give it time to go. I will try to put less details this time. The mug and number 1 and number 2. As I'm going for the subjects, I trace the same way with my eye. I'm trying to keep it in my mind where I am all the time. The pink one, this yellow one here, and let's say the green one. From here, I will move on to the scissors. Interesting lines, don't you think so? Let's move on to our next subject. Our next subject is me. There's a picture of me. I would say try not to draw too big. I know, not to go out off the page. I think when you go bigger, it's more difficult to scale, but too small also, the lines usually go into each other. I specially took a photo of me with my glasses, so it gives you a good reference point to start. Let's see if it will work. I will try to draw the frames double and there are my eyebrows, my forehead, my hair, and here my ear is visible tiny bit. My jawline, I hope. Here is my ear visible again. I'll go back to the jawline and from here, my mouth is in a funny shape. I think I'm done. Can I have a look? Oh my God, what is this? Definitely glasses there, I can say that. I think this is my mouth. My jawline is a bit to the side. I drew my forehead and then coming back with the hair, I fell a bit short. Let's try another one. Maybe this time I will try to keep the head shape. Then, I know where I am. I will continue with the glasses. I will just keep the glasses as one layer and from here I will move on to my nose. Let's say this is my mouth, and my ear, and my spiky hair. This time I decide to go to my shoulders as well. Interesting. What happened there that I thought my hair was much lower than I thought? You can see how much seeing your page helps your hand to find the right place. You can see the results are really fun. When you also come up with something ridiculous, this supposed to be me. Don't worry about it, just share with us. If everyone shares, you will actually see how fun the results are. There's nothing to be ashamed of here. We are just practicing. Let's try another one here. I think I'm going to start with the face again, my forehead, and I will do the hair this time. From there I will do the glasses. I'm really trying to follow the lines as I see it on the picture and not draw from my head. I will put my eyebrows here and my nose. My mouth, I think I will keep it simple and just like that. Can I see now? Wow, I nailed the place of the sunglass and the hair, but then I couldn't find my [inaudible]. These are my drawings of me. You see that our brain often labels things, and we will come to that later. When you think of some glasses in your head, your brain says, "Glasses," and that's it. It's that easy to think about something. But when you actually look at the details, all the glasses are different, that the curves, and the shape, and the thickness. When you think of glasses in your head, your brain doesn't pay attention to any of that. It's just a label on it. Are they glasses? They are glasses, and that's it. I don't know if you notice, but we are going from simpler subject to more complicated subject. The last subject is a church. Now, let's try to draw this church. There are lots of details. It's up to you how much and how many of those details you will try to take. I will start from the left of the page, and I will start from the very top. There's the cross there, the orbit thing and here there's another cross. I will try to capture those decorations and here the windows. I just noticed that I didn't know how to call those things, the decorations around the windows, that they probably have a proper name in architecture. Here there's another shape coming out of the roof. To not take too much time, I'm trying to do it a bit faster some of the fine details. I will draw the last tower. Here there is another cross. That's it. It somewhat resembles what I was looking at. I can see the cross and the big tower, and the other two towers and the cross. I think these were the windows. Here I lost a bit. But let's give it another go. As you are not looking at your page and looking only on your subject, you can realize how many details actually your eyes pick because now we are paying all the attention to your subject. Normally, we don't do this and this is often the reason why we can't draw because we think that we know how the things look like, but we actually don't. Sorry, I got a bit quiet here, I'm trying to focus on this image as much as I can. Here maybe I will do the tree. Can I have a look? Interesting. Again, I can see the main things, it's crosses. I do like them. I think with a bit of color over them, you could just frame the samples on your wall. It has a very different feeling to it, very abstract, but also in the meantime there is something going on there. That was it. When did I switch pens? That was blind contouring and we learned the importance of seeing. I hope you enjoyed it. I can't wait to see what you guys produced. The results are usually so weird and funny, I love them. Seriously, there are no wrong answers here, the weirder, the better. The next lesson will be the second part of the first exercise, continuous contour. See you in the next lesson. Jack, energize. 5. Continuous Contour: Welcome back. I hope you guys had fun with your weird drawings and congratulations if you followed me along, now you have a few drawings in your portfolio. That is way more than what Jack has. In this lesson, we'll practice contouring again, but not blind. You can look at your page, but it's not allowed to lift your pen up. Your hand is tied to the paper. Try to see your subject clearly like we learned in the previous lesson, and also adjust your drawing by looking at your page every now and then. This exercise is like a bridge between the blind contouring and a traditional drawing. Your focus should be on your subject, but you are also adjusting your hand a little. This way, we will see how important it is that we see our hands while we draw, and this might help us control our drawing. If you are ready, we will have the same subjects as we had in the previous lesson so that we can compare the results. Bring it on Jack. Now, we will go through the same subjects. As I said, we are starting with the mark. This time you are allowed to look, but you're not allowed to lift your pen up. Let's start from the left of the page. I will start again from top-left. That's my preferation. I tiny bit lifted my pen up. Sorry about that. Here's the crown. From here, keep. Now, do I go across to C or start from M? Let's do from M. It will be more interesting writing backwards. Keep calm. It almost looks like cursive because I am not allowed to lift my pen up. You're only. I really like the parts that I go over the lines so I will finish it with going over my lines and still not lifting my pen up. There it is. As you can see, this is not how I draw usually, but I did like the results because it looks interesting and something is going on, so many lines going over each other and it makes you think what's going on here and setting up this difficulty for the drawing that you are not allowed to lift your pen up, actually pushes you to be creative. That you need to find a way to make it work with this obstacle. This is not you do in day-to-day life, but when you do, you end up with a different result and this helps with your creativity. The difficulty of continuous contouring is going over your lines or going across your subject and this gives certain different look to your drawing. Now let's move on to our next subject. The same mark with the pens in it. Here we go. Here is the jungle shape of my mark. I'm not lifting my pen up and I'm going towards the handle, this other layer off the handle. This inside part that we are able to see that it gets hidden on the top. I will come like this and go on to top and try to draw the top part of the handle and this red part that is visible. There's tiny layer to give the 3D look. Now let's go back to the top. Pink pencil and a yellow pencil. Here is this brown pen. I tried to go from the bottom of all the pens and pencils. That's my choice. But you can just go across them as well. For example, from here I can go to the next pen. Here a pencil is sticking out. From that pencil the scissors start, and here is the other part of the scissors angle. Inner circle, and the inside of the inner circle to give the little feeling. From here, there are a few more. Here I can so I will also try to add them to green crayon. Something else has to count here. From this yellow one another pencil. If you notice, it doesn't have quite a round shape but different shape, I tried to capture that. Then other one behind the pink one. I will try to do this part quickly because I think the top part was the key here. This is the crown. Keep. This time I will just go to the other side and add another layer, why not? Calm. You're only. I think my mug should have been a little bit longer. I will also have that here, just like that. What do you think? As you can see, can now compare with the other ones later, but the proportions are more in place. This actually shows you how important is eye-hand coordination to be able to draw, you need to think that if your hands does the things your brain tell him to do, this is not more different than throwing a ball or chopping onions. It only gets better with practice. No shortcuts, no magic solutions. Now let's get a fresh page and try to draw me. I also just notice while recording this, while I'm trying to concentrate drawing, it's really difficult for me to talk, but it can't be always just music and me drawing. There are things I want to tell you, there are things I want to teach you. I'm doing my best, but I think I'm not the most coherent all the time. Next is me. Now, again, we are doing contrink, we are allowed to look at our page but not lift our pen, I will start with the glasses. Since I'm allowed to look, I will try to do the frame properly. And give a second line, now go to the other side. There's a bit of eyebrow going on here and here, still I'm not lifting my pen up. Here is my forehead and here's my hair line. From here, my jaw line, but I will also put tiny bit here, my ear is visible. My jaw line. My ear is more visible on the other side. From here, I will try to go to my nose, this is the shape of my mouth. What's missing?, From here I will go down. What is it in English? This my Adam's apple. I was cold. I will try to draw the neck of my t-shirt, my neck. There are creases here. I'm still not lifting my pen up. I'm checking if there's anything else I can add, maybe I can add more to the hair here. I also have some lines going through my forehead. My hair needs a bit more volume on the top. I think that's it. This is me without lifting my hand. As you can see, when your eyes are able to see your hand, you're drawing improves dramatically. But even if your hand doesn't follow your brain completely, this doesn't stop you from drawing. We saw that with blind countering. If everyone's hands were following their brains with 100 percent accuracy, 100 people with the same subject would deliver exactly the same drawing. That missing percentage, whatever that is, creates all these unique drawings. Now, let's move on to our final subject, the church. I think I'm among the blind contour drawings. The church was my favorite. Let's see how it goes. I will start again from the top cross, its a bit of an angle. There are also some finer details that if you look closely, you are able to see that it is a bit off depth and it is orbiting and this roof. Here I will actually make a stop and draw the second cross from the second tower. Go back. I'm drawing the small tower now. Then under these domes, you can see lots of lines one after another. There is the tree. Let's say this represents the tree. I'll go back to the first one, and draw these nice decorations. It's such a beautiful building. Again, normally for these kinds of things, I take much longer to draw, but in here our goal is not really the accuracy that we are trying to experience the difference between looking versus seeing, and how being able to see our hand changes the way we draw. In here, for example, I wasn't very accurate and I'm making up lines as I go because I'm actually not able to see this second window here. But I can see that this window has a bit of circular shape and then there are some I think bars, and right under this, there is this long shape coming out from the lower roof, and it goes like this and goes like that. I'm not lifting my pen up. Here there's a circular shape with some additional decorations around it. Window on the left, now window on the right, they also have a similar design to the one from the top. Again, I have to be quick here, so I'm going fast and very quickly. I see the two columns here, and from here, there's another cross, and the final cross. I see some more decorations. Now I realized this shouldn't have been this far apart, but anyway. That's it. This was our final subject, we can now maybe compare them next to each other, and move on. I hope you enjoyed this one. Whenever you feel stuck, you can come back and do these exercises. The restrictions, not being able to look or to lift your pen up pushes you to be more creative to overcome these obstacles. This is the last of them. What do you think, Jack? How did you feel when you couldn't lift your hands? It's difficult, isn't it? It's like playing taboo orbits, not being able to say the keyword. Share your drawings in the class project under the previous drawings, can't wait to see them. In the next lesson, we will catch some monsters. 6. Random Monsters: Welcome back. This is exercise number 2. I call them random monsters, they are so random. This is actually how I started drawing more than 15 years ago. I was playing around in Photoshop using the pen tool. I started making random curves going over each other, then I colored them black and white, and I noticed that they look like creatures standing next to each other. I drew eyes and mouths, and my first drawing was in front of [inaudible]. Without thinking, without talent, it just happened, because I took a tool and start drawing with it. I think I was so amazed with this discovery, I kept using this technique. My monsters gain more character in time and I used them to express myself, to illustrate the topic, and even as visuals for my blog posts. With this exercise, I want to give you the chance to catch your own monsters. Once you catch them, you will see that it is possible. Grab a piece of papers and your pen, put your pen down anywhere on the papers and start going around. Try to be gentle, make nice curves, you can go over your lines. In fact, that you should. Try not to make it too fast, but not too slow either. Do it with a speed that doesn't allow you to think too much. By the time you think where the pen should go next, your pen should already be carrying you away. You don't need your brain for this part of the exercise, only your hand. Once you fill the page with curves like mine, slow down your hand and lead your pen to where you started so it will be a complete loop. Now, we can turn on our brains. What are we looking at? What do we see? There are monsters hiding in somewhere. Can you see them? Let's start with something small. This one looks like a head sticking out this way, maybe there's a cute monster here. Looking this direction, and what else do we see? More monsters or maybe there is one in here. It looks like a balloon monster, looks very sweet. I don't know if old monsters will be sweet. Let's see, what else? Maybe in here, there is a little angry monster. What is he upset about? Let's look at the other direction, over here. Maybe this one is his friend and they're actually looking at each other, and this one has a very big bump. Such a heavy monster. Maybe we'll call this one, Fred, and this one, Barney. What else? There is a interesting shape here, that's something very thin and long came out. Could it be that this is like a snake monster maybe is lying on the floor, and on its back, there are long things ending up with a tail. Could be, why not? What else? Maybe this one here is a monster with huge eyes and a tiny mouth. I think it split looking over his friend. What else do we see? Maybe this one right behind Barney is actually a very friendly bird master, could be. Maybe in here, let's see if I will be able to. There's a worried monster actually running away from a bigger monster here. This monster actually open its mouth like this, and trying to catch this one. Go fast little one. This guy I was asking why he's angry like this, maybe this monster is angry because there's another monster here that fell asleep on him and he can't go anywhere because of it, maybe that's why he's angry. Here, there is a monster looking at this one and laughing. What else do we see? Let's give more emotions to this angry monster who is trying to eat the little one. It looks like this monster we drew at the beginning that it has actually arms extended, holding this one asleep in his hands, and holding this one in his hands and putting the hand out on the other side. What else do we see? Maybe this monster here has only one but huge eye and accompany that huge eye has horns. Horns are a very big sign of cute monsters. A bit of hair sticking out here, but still a very happy monster with huge teeth. What else do we see here? Maybe around here, there's another monster that is a bit shocked with a huge open mouth. Maybe there's a monster here next to this long one with so many eyes and a big unicorn. Could be? Doesn't look particularly happy monster, but it doesn't look dangerous either. Maybe here there's another monster that actually has three eyes with fangs. The hands to count. It looks like saying hi to us. Do you guys see any other monsters? I'm sure there are more. Maybe this one is actually a monster's mouth with big teeth and we can just add the huge crazy eyes to go with them. Maybe here there is a monster I think with another, how's called, unicorn with our matching eyes. Maybe we can make additions to the ones that we found. For example, maybe this monster has a hat. This monster looks like could use some something. Maybe this monster has antennas. What else? Maybe this cute monster is a bit spiky on the other outside. What else? Maybe this monster has cute ears like this and a big arm. What else? Did you find all the monsters? I think we are coming to the end. Maybe this monster has some big and small spots all over his body. He's still very cute. Maybe we can decorate the head on this one. Maybe this monster has some horns too, big ones. Now it looks angry, big black horns. Maybe here there is another monster, but it was quite empty. Maybe here there's another monster with big eyes and a huge smile to cover the tiny teeth. Maybe this one has actually big thick eyebrows. Anything else? Do you guys see anything? It's a shame that you can't tell me straightaway. Come on, let's find one more and this will be the last. What else? What other monster is hiding here? Come on. It must be somewhere here. Yes, here it is with a huge mouth open. Its scary, spiky teeth and tiny eyes. Is there an acceptable monster? I think so. Maybe alongside its back, what are they called, these spiky things alongside the spine? I'm sorry. I don't know the name, like the Golgi level have. I think that's it. No, there is one more. I think I found it and it's here. From the shape of it, it looks like a monster with single big eye and a cute smile and maybe it's also sticking the hand out to say hi to us. Is that it? Did we find all of them? I think so. I guess there are infinite number of monsters here. We at least found some of them. I hope you found some too. How was it? Did you catch any monsters? I bet you did. This exercise was designed to show you that you can draw even without thinking too much. Imagine what we can accomplish when we bring the thinking back. I hope you enjoyed this exercise. Don't forget to share your monsters with us on the class project. See you on the next exercise. I don't know which way is the next exercise, but it's next. See you on the next exercise. See you. Jack, which way do we go? See you on the next exercise. 7. Downside Up: Welcome back. [inaudible], you can draw. Any one can. Why? You should have learned by now. Repeat it with me, drawing is not a talent but it's a choice. It happens when you take action. When you grab your pen and drag it across your page, you're drawing. Period. In this exercise we will try to turn off the left side of your brain. Don't worry, nothing permanent. The left side of your brain is responsible for your logical thoughts, it put everything in boxes. I'm not a brain scientist. You can correct me if you know more deeply about this subject, but what I want to focus here is we often have trouble drawing things because our brain thinks that he or she knows what our subject looks like. Let me explain. This is closely related to looking versus seeing subject. We were evolved to see things quickly and making lightning-fast decisions. Why? Because our ancestors who are not able to do that were eaten by lions and they couldn't pass down their genes. That's why. Those who could say in a split second bush line run survived. This was useful at the time for sure but even though this ancestor of ours was very accurate with these assumptions, if you were to give him a pen and paper and asked him to draw the bush and the line he saw he would draw probably something like this. This is because our brain labels things. It does this because taking all the information all the time with all the details would be an impossible task. We need the brainpower elsewhere, but because we were able to do this we do it all the time without thinking. Our brain records everything but it has to do this very fast and it does crappy job, like a low-quality picture. We can't stop our brain from recording, but we can be more deliberate about what it's recording except check. I think his brain is different than ours. I don't know what his ancestors had to do to survive the lines. It's like this example, don't think of an elephant or you couldn't do it. Could you? It's because you can't stop your brain from thinking and recording. We just need to be a little bit more intentional when we want to draw. From the get-go, our left brain wants to draw things as it enables them. To our brain this is how a face looks like, this is how a tree looks like, this is how a bird looks like, and this is how an apple looks like. What can we do? We can turn off our left side of the brain, it's actually easier than it sounds. Our brain is used to seeing things the normal way. People are standing up, the trees are trunk at the bottom, green at the top, etc., but when we turn a picture upside down our brain struggles to labeled this new image. Our conscious brain knows that we just turn the image upside down and it doesn't freak out, but this other part who does things automatically and labels everything struggles. What happens when our left brain can't label things as, "Oh, wait, I know what this it." It has to take the information in. Left side of the brain is off. Now we try to draw this upside down portrait of mine, but when we do, we try not to think that this is me. This is a male person, this is the face. None of them. This is a collection of lines and curves, because it is you just need to focus on those lines and follow them without your brain getting in the way and saying, "I know how an eye looks like, but is is." You will see that it's much easier to draw accurately. Later you will start doing this consciously. You will tell your brain to shut up and follow the lines. That's what drawing is anyway, following the lines. Now let's draw together. Come on Jack. Here's an upside down me, and let's just try to draw this image, whatever that is. I'm not going to say it's me, it's upside down. We just focus on the shapes, and note that this is me. Not that those are glasses, not that I have spiky hair, just try to see them as lines, follow other lines. See them, put them on the paper, and this way we will take our left brain and it won't get in the middle and say, "Oh, I know how this looks like," and draw the eyes like this, draw the hair like that. We'll try to avoid so let's see. I just notice that my glasses are very angry, but also has round corners. Except these edges, there is nothing rely sharp. There's some lines about the frame. Those are my eyebrows, but I try not to think of them as eyebrows just how I see them. Here I have short hair all the way down and my ear is visible. Around here I think it is my mouth. This, it is my nose. The nose actually how does it look like? This is the bottom. There's a line here and then another line going like this and there's dark part. This one goes around it. I see another line going up like that and the other one is here because I'm really trying to focus how actually the lines look like. I'm trying not to think that this is not a nose because I'm not good at drawing face and nose to be honest with you. To my specialty I guess you can see that, but I'm only trying to show you that I'm not good at drawing faces but I can go ahead and do it. You can do it too. On this side below the cluster size, here are my ears sticking out a bit. It is a secondary line like that, let's try to finish this hair. The hair is starting to get shorter. There's one part coming out and hanging on the edge. On the side, again, there are shorter lines I see all the way going to the frame of my glass and the ear. Here, that is my throat. My neck starts somewhere like this. It goes all the way down and here, there's another line sticking out. I think I made my neck a bit longer. I always wanted a longer neck, so it's okay. This is the neck of my t-shirt. I went a bit too far here, it should have been in shorter. Secondary line. This is short, and then this goes around my neck like that. The fabric, I can see, it's not going down straight, it has some ups and downs. Here, it's more straight, and here, it's almost coming to this line and the t-shirt line goes curved, another curve [inaudible] this one on the shoulder is more straight. I can see I think alongside this, some stitches. What's left? The thing I hate the most, the eyes. Let's try to do them. They are on this line starting, coming very close here, so focus on the lines. One line coming like that, another line right underneath. But it was more curved there. I'm telling it, the eyes closer and everything. I'm not good at drawing eyes. I see a bit of blackness here, from tiny lines of my eyelashes, and here as well. I don't see them going all the way around but more close to the average. I see my eye. My eye is in the middle. I can't see all the way round, some of the roundness is hidden behind the eyelid. I see that I think this is the reflection, a square like this. The rest of it looks dark to me. I would like to do it like that. On the other side, this bottom line of my eye, it's not curved all the way, it's like an S-shape at the bottom. Again, I see sometimes from eyelashes and my irises. Here is the part to this reflecting, and the rest, I will make it dark. What else do I see? I see some lines. That's my beard. Maybe I can try to give that feeling, because they are almost like tiny dots. Since I'm trying to replicate all the lines I see, I can also try to do like that. But it looks to me like those lines, which is the beard, looks like it is getting more intense towards my chin. I will try to do that as well. Those lines, for example, I don't see it around here, it's without beard. But there are some lines under my bottom lip. Here, I'm not trying to do the lines, of course, 100 percent accurately. I try to see what lines should make up my face in the photograph, and then I'm thinking the best way to apply this to my page and the bottom around my chin. I guess also with the shadows, it looks more intense. The same goes on on my neck. Again, to be more accurate that these are different colors, so I can try to give this feeling of darker and lighter parts of the fabric. My frames of my glasses are black. I think I'm done. Let's have a look what I have, I will turn this paper other way round. This is me. I made myself much slimmer than I am. But the funny thing is, when I was doing this upside down, I wasn't able to see this image this way. At the moment, my brain is correcting me, "Oh, this looks like me, some of the proportions are calling some connections in my brain telling me that this is me. But normally, when I try to draw, and I have to tell you and I say this everywhere on my Instagram, when I'm teaching another classes, I'm not good at drawing faces, that's not one of my strengths. Still, this is way better face than I ever do because I follow the lines and I tried to really see which lines make up my face in that photograph. I can see that I was thinking my eyes will just ruin the picture and I will have to shoot this again. But actually, I did like it, and I have a long neck and I feel like this is someone else's drawing of me that I just managed to do something else just by flipping the image upside down and really following the lines and trying to put them on the paper with my pen and nothing else. In my opinion, it worked. Here it is, one upside down drawing, a drawing without the left side of your brain. Try to see this effect of your brain in your day-to-day life. The more you recognize this, the better you will get turning it off on demand. I hope you enjoyed this exercise. Don't forget to share your drawing in your class project. I can't wait to see them. In the next exercise, we are going to use simple shapes to create a complex object. Jack, you don't turn any part of your brain off, you need whatever you can get. Cool. See you in the next exercise. Go. Check this in your brain. 8. Simple Shapes: [MUSIC] Welcome back. So far we did blind contouring to show us how important seeing our subject is. Continuous contouring to see the importance of eye and hand coordination. Coats our monsters among our random lines to prove that we don't have to be thinking while we draw and drew an upside down subject to turn off the left side of the brain and noticed how it gets in the way of our drawing sometimes. The exercise four which we will do in two parts is aiming to show you that all complex subjects are made out of simpler parts. But we won't try to pull apart the complex subject to see that we will build it from the ground up. We will start from zero, draw some simple shapes and I will ask you to follow me to build our subject. I won't tell you what it is. We will find out together. You just follow my instructions. I will say what shape we are drawing and draw them on the top of the page. Please do the same. Our first shape is a trapezoid. It sounds more like this. Next, a half circle or a half oval. Next, a rectangle standing up. Next, a rectangle, but laying on its side. Next, a right triangle. The one with the 90 degrees, but standing like this. Next, a triangle, a normal one, all sides equal. Next one is a circle. Next, a rectangle, but along one horizontal. Next is a trapezoid like the first shape, but the other way around. Next, another right triangle, but standing like this. Another rectangle but closer to square. Finally, one more rectangle but between the last one and the one before. Not so short, not so long. That's it. That's all we need. Did you draw anything complicated? What do you think? I think even without the visual aid, just with my voice, you would somewhat be able to draw these shapes. We will use these parts to build something. Can you guess what? If you can guess at this point, please write it in the discussion board, I'm really curious. Of course, this is not how I draw usually. I'm only doing this to show you something you might think is complicated because your brain labels things and doesn't look into the details. Remember, actually isn't. In fact, any drawing is made out of simple lines and shapes. Consider this, every masterpiece starts with a line. Let's peel it. Our shapes are in order two, we start with the trapezoid, put it down like this. Next, the whole circle, place it just above the trapezoid like this. Next shape is the standing up rectangle. Copy the same shape four times next to each other like this inside the half circle. Don't worry if they are the same. Next is the laying down rectangle, a small one, place it on top of the half circle. We go one shape backwards. Place the standing up rectangle on the very top like this, smaller than the last time. Now back to the lying down rectangle, bigger than the last one, place it on the right side of your half circle. Next is the right triangle. Attach it to the rectangle like this. Our next shape is the triangle, please make it touch the previous triangle like this. Now, we will use the circle. It's a small circle. It will go inside the last triangle, but three times like this. The next shape is that long rectangle. We will use it twice. First one coming out of the top of the rectangle. The other one is from the bottom of the triangle parallel to the first rectangle. Can you guess what it is yet? Jack, any ideas? Let's continue. The next one is the upside down trapezoid. Make it touch to those rectangles like this. Now, the same upside-down trapezoid inside the first one. Great. Go back to the little circles, place them in the corners of the trapezoid. Now, we will go back to the long rectangles. They go downwards like this. Two of them, they are not parallel to each other this time. They start together but separate towards the bottom. Our next shape goes where the rectangles finish. The second right triangle. Three little circles go into corners. Take one standing up rectangle and one lying down and put under the triangle like this. Finally, the last rectangle goes to the bottom like this. There you have it. You just drew a desk lamp. If you want to be fancy, you can add the springs like this here and here and draw the cable coming out of the base. You just drew a desk lamp. But actually you didn't draw anything more than five different geometric shapes, trapezoid, whole circle, rectangle, triangle and a circle. This applies to all subjects. Everything you want to draw is made out of smaller parts. Look closely, see the details, and start small. The more details you add, the better your drawings will get. I think I can say seeing is half of the drawing and the other half is picking up the pen. Don't forget to add your new drawing to your class project. Look at you. Did you know that you are going to draw a desk lamp today when you woke up this morning? Did you know the check? Check mu. Next exercise is the second part of this simple shapes exercise. We will use simple shapes to create a cityscape. Let's go. Cityscape. [NOISE] Come on check. 9. Cityscape: [MUSIC] Welcome back. You took your time. Jack even placed a bet that you weren't coming back. I guess I won this one, Jack. You remember how we used simple geometric shapes to build a slump. This time we will build a cityscape. Yes, you will now draw a simple view of a simple city. For this unit, even less shape standardized slump. What do we need is rectangles basically, lots and lots of rectangles. The city is very angular place. First, let's draw a line across the page like this. Imagine this like the waterfront and you are drawing the city from across the water. Start with your first building, it's a rectangle in the middle, a long one too, probably a bank's headquarters or something. Now, we can add more buildings to our city. Shorter one on the right, another one behind that, but a bit taller. Another shorter one on the left. Another one at the very back, but it's towering over them. Let's go towards left. Maybe there is a smaller building to the left, one of those beautiful old building they haven't managed to take down yet. Next to it is another skyscraper. Behind them is even a taller one. The thing about the cityscapes is that usually the tall ones are concentrated in the middle and they start getting shorter and more apart to the sides. Keep putting your rectangles with this in mind. The key is to overlap them. One in the front, another at the back. This gives the feeling of depth. You can continue telling stories about your buildings like I do. To the right there is the hospital where Meredith works. It's a bit wider than the other ones. Behind it there is a tall one. Maybe on the top floor there is a law firm. There they have exciting cases every day, saving the world, one case at a time. A smaller building next to it. Maybe there is your favorite coffee shop at the base of it. You don't have to draw it because you can't see it from here anyway. From here, the city is made out of rectangles. That's it. You can keep adding rectangles as you like. Now we add the windows. Luckily, they are mostly rectangles too. Our first building. Let's imagine this is one of those glass skyscrapers. All you need is vertical and horizontal lines like this. [MUSIC] The one on the right has square windows. [MUSIC] The one behind it has white rectangle ones. [MUSIC] One building, we'll give it only horizontal lines. [MUSIC] Then there will be too many little squares. [MUSIC] Try to alternate with the window shapes. [MUSIC] That's it. Using rectangles and squares, you built yourself a city. Can you believe this, Jack? They did it. I knew you could. That's the whole purpose of this class to prove that you can draw. Don't forget to share your cityscapes in your class project. I will see them all. This was it for exercise number 4. The next one, you guessed it, exercise number 5. In this exercise, which will come in two parts., we will look into the art of copying. Yes, copying. You heard me. See you in the next exercise. Jack, do the thing. [MUSIC] Press so it will go to the next. Leave it. [MUSIC] 10. Copy Me: [MUSIC] Audio is recording. Hello. Welcome back. In the last exercise, exercise number four, we just learned that everything is made out of simple shapes, you just need to find them and build whatever you want with them. It's like playing with Lego pieces. That was good. In this exercise, I will show you that you can draw any shape you want and you have the ability to do so, and we will do that by copying. Don't worry, the police won't burst through your front door. It's not illegal to copy. But just in case, there is a drawing of mine in the resource section. Please download that, you can print it or look at it on your screen. Now, the idea here is drawing is a process and you are the processor. You will look at an object, see the details of it, and transfer that to a paper. This is the process, but this is not a straightforward process. With every person, it takes a different route. How many details you see? How many of them will you put on your paper and with what accuracy? All of these variables affect the result. Sometimes, it's easier to look at how other artists did it. It's like buying processed food, but in a good way. You want to draw a coffee mug but it feels too complicated. Look at another artist. When you see their line, you will understand how they processed it, which details they took and which they left behind. This will help you develop. Also, if you can look at my lines and copy them on your paper, you are basically drawing. It means there is no problem with the physical part of drawing, you can do it. The key is to learn to see, and we are working on that with these exercises. Now, let's copy my drawing. You will notice that even though you copy my lines, it's not going to be the same. You are only copying my technique, how I decided to draw my coffee mug. That's it. Now, I will copy my own drawing. You do it with me. Ready, set, go. Jack, prepare the overhead camera. We're going to draw this coffee mug from a photo I took in [inaudible] and then made a drawing. Now, I'm doing the drawing from the drawing, as you can see on your screens. Now, how did I do it? I'm looking at which details I took. It looks like an ellipse. I will try to focus on the lines, and you should do the same. It's an ellipse shape because of the angle I'm looking. I think it looks like a thick porcelain. You can see I tried to show it with some broken lines, the edge of the mark, and the thickness of it. Somewhere around here, this level is the coffee showing. Then this U-shape. But because of an angle that it's not very big, I think if this is one, I go down another one. Something like this. Next, do it from the edge of the ellipse that I draw the handle of the mug. I'm trying to follow my lines that where these two meet, right under that, I draw the handle and towards the end, I draw the broken lines to show actually it's a very round object and sometimes, I do these broken lines to show that there is an edge there, but it's rounded. The same is happening here just above this line. Some broken lines to show the thickness. Then from the other side, the line comes along. Then we see the inside of the handle as well. What else is here? From here, spoon is sticking out, I guess around this much, I don't know. Let's say, halfway up to mark, I can see spoon, something like this. There. With another line, I show the thickness of the spoon, and here as well. Now, the plate. Plate also, I guess, one, two. If this was one, two, and then there is three. Around somewhere here, I draw the saucer, and it's visible beyond the handle as well. Also, I did this saucer with two lines because again, it's a thick porcelain and you can see the edge is white and inside is blue, and we need two lines to cover that. It starts from here, coming out of it. From the other side, goes under the spoon. These two lines are closer to each other here because of the angle again. In the front, they are more apart. I am paying attention to that as well. Here, closer, and then they're going more apart. If I want to show the table as well, how did I do it? It's coming like this and curving away after the cup. Here, it's starting together but starting together but separate. Here, there's a mark, I guess, where the two pieces of wood joins. This is it, I just drew a coffee mug from my own drawing. I follow the lines of a drawing, not from an actual photo, and doing from the drawing helped me and also I hope that helped you. Just you could see the lines how I drew them, and you just copy the same technique onto yours. When you're going to draw next time your own photograph or your own scene that you are at a coffee shop, let's say, and you want to draw your coffee mug, you can remember which lines I decided to keep and which lines I wasn't bothered with. This way, copying can help you develop your style. This is not copying someone else's idea, this is not copying someone else's drawing, this as just learning the technique through copying, and there's nothing wrong with that. That's it. Look, even me drawing from my own drawing produces something different. It's not quite the same, is it? Apparently, you can draw just like me. Did you know this about yourself? It turns out you have what it takes. You can do this exercise whenever you feel stuck with a subject. Thanks for copying me, I'm honored. In the next lesson, we will take it up a notch and copy everything. Everything? Everything. Yes, it's an important tool, isn't it Jack? Jack doesn't know anything. [NOISE] I could use a massage. Does anyone of you know how to massage? [MUSIC] 11. Copy Everything Part 1: Welcome back to our last exercise. In the previous exercise, we copied my lines to see there is nothing wrong with the way you hold your pen and how you drag it across the paper. You have the physical part of this process nailed down. You've been holding pens and writing with them for years. Not like my three-year-old son who only recently started holding a pen and he needs to practice. Very unique practice is with your eyes and your brain. You need to see where to look and which details to take. By copying my lines, we bypass that part of the process and everything worked out just fine. They didn't check. They did it beautifully. You should check out the class project gallery, it's amazing. In this last exercise, we are going to copy everything. Everything? Yes, everything. You can copy whatever you want. You've been copying your whole life anyway. What? You think you live in a bubble where no influence can penetrate. We watch cartoons, follow artists on Instagram, go to art galleries, see billboards. After that anything you do is influenced by those works of art because it shapes your likes and dislikes. For example, in 2016, I was doing a drawing challenge on Instagram #Icandraweveryday. As the hashtag suggests, it's quite explanatory. My goal was to draw every day for a year. By the way, I did it. My topic was usually something I did that day and I watched the movie Batman versus Superman. I wanted to illustrate that. How can I draw Batman without copying? It's a comic book superhero. It's a drawn character. I can't go and find the real Bruce Wayne. What do you mean you know real Bruce Wayne? You have to copy someone's interpretation of Batman. Even if you draw from your head, there's the image of Batman imprinted in your brain. But here I'm not really talking about this copying, which is totally fine. I'm more talking about copying by tracing. They will tell you and I looked or it's not good. You can copy, but don't do tracing, you will learn nothing from it. Well, I'm here to tell you otherwise, this is my interpretation of Nidal artists. A few years back, I had assignments for a shoe company where I needed to make social media posts for them. The idea was that I would make short videos in which I draw and paint their shoes, and at the end, they will turn into a real shoe, a photo of it. How do I make sure my drawing will exactly match those photos when they appeared in the next frame of the movie. Of course, by tracing, I put a piece of paper on my screen and trace the edges of the photo where the shoes and the key details are. Then when I do the drawings, they match like they should. Was this illegal? No, this is something available to you. You can use it. It's a tool the same way you are using nice pencils where graphite is nicely enclosed in a button vessel. Why don't you use a piece of coal to draw? Because there is a better tool available to you. You use what you can to get the results you desire. Can you blame other artists because their paintings are more vivid than yours, because they use other painting brands that they are more vivid? They are using what's available to them. I talked a lot. Let's do this exercise and everyone can go home. Shall we. I know Jake, you'll be late, but it doesn't really matter because your imaginary. In the resources section, you will find a couple of images. Don't worry, I took them. Even if you feel uncomfortable, you have my permission. For this exercise, I will do the building. You can do the others in your own time, but please remember to share them on your class project later. For this exercise, I'm going to use my laptop but you can also use a phone, a tablet, or even a TV. This is my laptop here. You can see I put my laptop and there is the image I want to copy. I make it full screen and bring my paper on top. Because in here it involves another screen to my camera, that it won't be as great as the other scenes. Sorry about that, but I think this is the best. I have this image here. I just want to copy it. What do I do? I put it on a piece of paper on my screen and just start copying lines. I'm just copying. Again, I'm copying, but I'm deciding which details I'm going to take and which details I will not. I'm basically copying the main details for me that will help me with the perspective and the shape of the building. But later once that's done I will add the extra details myself. What are those lines I am focusing on. The general shape of the building. It also gives me the proportions and the perspective and where the windows are, where the doors are. My screen is very slippery so paper doesn't want to stay on it. As you can see, there are chairs here, but I'm ignoring them because that's my decision. When you do a drawing like this, you are copying, but you don't have to exactly take everything. You can just decide as you are drawing. What else? There's probably a menu here from the restaurant. What else? I will take the windows with me. What else is there? Now I'm copying the window seals, window shapes. You can do this from anything. You can do this from your tablet, from your phone, an old laptop. An old laptop would probably be the best because it's not touch screen, you can just put whatever you want on them and nothing is going to happen. It's not going to react. I'm keeping my pen here so it doesn't actually react to my touching. What I'm trying to show you here is copying might not be what you think it is. That I think in society, really copying is always associated with something negative and I agree if it involves other people's ideas and if they are not being mentioned or regarded as the rightful owners of those ideas. But here I'm only copying the lines, and so what? There are some decorations here and then there's a sign here. That's it after copying. Now, what I will do, I will take the paper off and by looking at it like in the other lessons we were learning, I will try to complete this drawing. Let's see how it goes. We are back with our usual setup. This is what I copied from the page. Like I was saying, the size and proportions by doing those and the perspective came with it and the rest I can just do by myself. Let's see how it goes. I'm ignoring the pipe here. These are the important detail for me. Because I copied those simple lines, I know where everything is then now I'm adding the details as I watched them. It's much easier for me to put those details now because I know where everything is supposed to go. As you can see, it's already starting to shape up. This looks very simplistic and not pretty, I guess, but it's starting to take shape up here. There are decorations here. 12. Copy Everything Part 2: As you can see these details, I'm not even trying to put them exactly like I see them because there could be just taking too much time and too much effort. If that's what I want, I could try to do that, but at the moment and in general, it's enough for me to get the general feeling of the place and then get to the painting. I'm not trying to make a perfect replica of the building. This is a guideline for me so that later I can move on to the fun part, painting. But in this class, we are focusing on the drawing. Let's not get ahead of ourselves. There are these lines. I see that there are a lot of decorations on this building. But it's lots of lines to follow and I always say the more details you put, the better your drawings get. These windows put direct deep, there's two steps to cover here, so I will draw this frame in those as well. Normally, if you are following on Instagram, I've done a similar building recently, and I didn't copy from the page, I could have done, but I didn't. I like actually having the proportions off a bit, and the lines are not straight. It just adds to the drawing for me. If the first part scares you how to start the drawing, you can just do as I did, copy it from a photo you took, or any photo, and then you add the details like this by yourself. It just gets much easier. I feel like after this point it will be more enjoyable for you. The more you do, the better you will get. The good thing about drawing from a photo, you can just zoom in, look at the details closely. That's what I'm doing at the moment to be able to understand what's going on here. There is really a lot going on, on this building. I like this old buildings. It's really good practice, and the results are at the end very pretty. I'm putting these details here more representative, let us say, and the result will just take too much time. I'm not bothered that much with all the tiny details, but I'm trying to put at least same amount of lines everywhere, but if I can't, it's also not the end of the world. I'm trying to get the feeling of these site decorations, but some of them are short, some of them long in a row. I won't draw them twice because it looks like they are a bit elevated from the rest of this main surface of the building. There's a bit of shadow going on so I put extra line on them to make them stand out more. What's going on here? This is divided for the windows, and as we notice, some lines going through here. It's starting to take shape. I really like this process. Also when I go over my lines that I took from the screen, I just traced it, that they also become more certain and stronger. Now this part. More decorations. I took this photo and I knew how it looked like, but now as I'm drawing, I'm actually really seeing for the first time all these tiny details. Of course, when I was passing by I didn't notice, I didn't pay attention. I saw as a whole that it was a beautiful building and I took a photo of it thinking that I might use it in the future. This is a photo from Kirchhoff from Poland and now as I'm drawing, I can really see how beautiful it is and how many details there are to appreciate. This was what we were discussing at the beginning that you walk by a church and you didn't see the church, you just looked at it for a moment and it's the same situation. As I'm drawing I see this is empty here, what's in here? Then I look at the photo and I see there are lines upon lines to follow. You don't have to take all the details. You can decide how much you're going to take and how much you're not going to take, but you have to see it to able to decide. As you can see, the more details I put, the more real and more specially the drawing becomes. Where were we? Almost there. A lot is happening. As you can imagine around the doors as well, I didn't manage to make them on the same line, but doesn't matter really. The same decoration is around this door as well. Do you know what I mean? It doesn't really matter if your lines are straight or not. This is the thing I was saying to draw people to my class that you don't need a straight line to draw something. I don't think there is a single straight line here and when you put them all together, they make sense. This drawing altogether sums up my main message so well that you just need to pick up the pen and draw and the more you do it, the more details you put, the more it makes sense. Here we have a frame. Something green here and last one. For example, I can see even finer details around this door and the window frames, but I'm choosing not to go into so much detail here. This continues. Here it says Bistro. There is the other writing here and here it says Pizzeria There are some other writings here and there are writings on the menu. Also I think I will finish it with pavement. At the moment, for example, I'm not looking every single cobblestone here. I looked at the general shape, what stone was used, the rest I'm doing by myself and I put these lines to show the perspective. Like I said, it doesn't have to be exactly the same. This is a drawing, it's not a photo. That's it. Here is our drawing that we copied from page, it wasn't that bad. Do you think it was illegal? I don't think so. This is my drawing. I traced a few key lines to get the perspective right, but other details I populate from on my own. It's not an exact copy of the image and I didn't want it to be anyway. But if I wanted to do something like this for my Instagram, this is the way to get it right. This was it for our copy everything exercise. Please share your drawings in the class project gallery so we can see how they are not copy of the same image, but they're all different. We will tidy up everything in the next video and that will be it, so I will see you there. Jack, start the car. Yes, the imaginary car, what other car do I have? 13. The Conclusion: [MUSIC] Here we are, welcome back people. This is it, we are at the end. It's always a little sad when I finish another class. Throughout this class, I tried to show you that drawing is a process in different ways. I removed or changed part of a process and in doing so, you are able to draw, like when we did blind constraint without looking at your page, that was crazy. All of a sudden you produce some crazy-looking lines. That time, we found monsters hiding between your random lines. Did you know that they were there? No way. How about the time you turned off the left side of your brain? Who knew there was even a switch. One moment, you were saying you can't draw, and the next you are drawing upside down, crazy. That's like saying I can't cook and I turn your fridge upside down, and suddenly you are popping pizzas out of your oven. Do you remember drawing a desk lamp with nothing but rectangles and triangles, and maybe some circles? I bet you look at that desk lamp and every other desk lamp with different eye now. Once you see the rectangle, there is no going back. Copying, copying is good, copy the lines, copy the techniques, copy everything. That's all everyone is doing. Just don't copy ideas and give credit where it's due. If you can look closely, which is what I've been saying all along, in all these exercises, I'm telling you there is nothing wrong with the physical part of the process. You can draw. What you need to pay attention to, to be able to draw even better is details. You have to understand the difference between looking and seeing. When you draw, you need to see the details. When you can do that, 80 percent of the process is done, maybe the other 10 percent is deciding which details to take and which to leave and the last 10 percent is your hand and pen and papers. If I could leave you with one final thought out of this class, that will be, drawing is not a talent, it's a choice. Please remember, if you can see the details, you're almost there. Now, you can do any of these tricks for any subject to get to your results. You can come back and repeat them whenever you feel stuck. Just remind yourself, if Jack can do it, I can do it too. Jack is doing pretty well, look at this portrait of mine. Thank you for watching. If this is the first class of mine you are watching, you can continue practicing with how to illustrate any topic and get the creative habit for yourself with watercolor sketch journaling. There'll be some links somewhere here, maybe here. Don't forget to share your drawings in your class project gallery. I'm looking forward to seeing them and if you have a moment, please leave a review, that really helps me out. There's more of me almost every day at my Instagram account and it's for free. Keep drawing, keep creating. It gets easier. Bye. Jack, Jack, wake up, it finished. Jack. I'm a watercolor artist, sketch journalist and, what am I? I'm Skillshare teacher. Yes, I'm a Skillshare teacher. I'm a Skillshare teacher who can't talk, apparently. You can draw, maybe less pointing to the people. [inaudible]. You can draw. Drawing is nothing important. Drawing is not an important skill. Don't do this class, come on. You don't need it. Get out of here. Just go play outside or something, go for a run. Pick up your pen, and I'll be [inaudible] for you to break your leg or something, I don't know. After this it's easy. Bit more energy, more energy. Jack, it's all because of you. Jack, bring my monster-catching pen. I took a nap, why? Because our ancestors, who were not able to do that were eaten by aliens and couldn't pass down their genes, that's why. Assumptions, assumptions, assumptions. There's a spider on my phone. If you are a Jack, that's why you came. I'm talking to a spider. When I'm not talking to a spider, I'm talking to a camera. Still, there's no one here. Smooth. Jack, you can turn on your brain now. I can't speak. Next exercise is the second part of the simple, I'm not recording, idiot. Simple, simple. In this exercise, I will show you that you can draw any shape you want and you have the ability to do so. I should do something funny. Artists, artists. I lost the connection, I lost the connection. Intro and projects. There're are four classes left. I accept that, move on. Thank you for fotching. Fotching is like watching, but with a bit of more attention and value anything, that's fotching. You're not recording, are you recording? How much did I lose? That was good. Try to do one more take. I think we're done.