Figure Drawing for Beginners - Drawing Gesture, Poses, Anatomy, & Shading

1. Class Trailer: Hi, and welcome to this course on drawing figurative gesture poses and anatomy. Here's what you'll be learning. Firstly, we'll explore the basics of constructing a simple figure using basic shapes like boxes, cylinders, and spheres. Next, we'll learn how to draw this manic and figure in various action poses. You'll discover how to use gesture and perspective to give the figure energy and motion. Then we'll build on this knowledge and add muscles to the poses to make them look even more realistic. We'll explore different body parts like the arm, legs, and torso, as well as drawing the anatomy for the whole figure. By the end of this course, you'll understand how to construct the figure in various poses, as well as drawing the basic anatomy. Well, I hope you found this video helpful, and I'll see you on the inside. 2. Drawing the Manikin Figure: Now that you know the fundamentals of the figure, it's time to take one step forward and learn about gestures and poses. This is important in figure training because through gesture and pose, the figure gains life and becomes an interesting element in any composition. So that you understand why this part is important to know. Think of the following scenario. You want to draw a swordsman in his fight stance. Thus, you will want to make him look like he has a steady foot, but also flexible and fluid to indicate that he can move as well. You absolutely do not want to make him look stiff or too rigid. I will show you a few examples and guide you for the drawings. But before any of that, we need to build a mannequin. The manikin will be based on the diagram used in the proportion video. Only this time, we will use freely shapes to define the figure, namely spheres and cylinders. We are going to start this diagram with the total height and divide it into eight equal parts. Now, we have the basic guides that we'll need to draw the figure. After this, we'll use free ovals for the head, chest and pelvis. Okay. Now, we have this done. This is our main structure for drawing the figure in three D. We are always going to start with the spine. In this case, the spine is a straight vertical line that is also used as dymmetry axis and the line for the toll height of the figure. And afterwards, we have the free ovals for the head chest and pelts. These elements will be the backbone of the figures from now on. After this, we'll have to find the main joints and articulations that are going to be drawn with spheres. So let's try to find the shoulders. So we have there and here. Just going to drag these lines down as we did with diagram, the original diagram. Let's draw the shoulders with these spheres. Now for the volume of the limbs or the hand the arm in this case, we'll use cylinders. Okay. Generally, the cylinder from the upper part of the arm is going to be bigger than the cylinder for the forearm. Let's to the legs now. Okay. Remember how the femur looked like. It had a starting point from here from the pelvis. It went out a bit, and then it curved back in towards the knees to the interior. So we had it like this. Now, this part of the leg is going to use a cylinder, but the cylinder is going to be slightly curved. I'm going to have that curve right there because of the construction of the femur. But leaving that aside and following the figure, we now have to draw the knees. Again, to simple spheres and the lower part of the leg. Again, to cylinders. To small spheres for the ankles, and we are nearly done. For the feet, I'll use some simple pyramids. This is the best shape to close the feet in. And for the hands, we can either use a rectangular shape like this or a fist outline. Depending on the case. Since we have this, we can give a little more definition on the torso. And why not give the neck some definition? And we are done with this. I'm just going to take this marker and the outline. Okay. M. It up so you have only the polished lines, and there we have it. This is going to be the main we're going to use throughout. I'll use this line to define the rib cage. And after defining the pelts and drawing the figure, I'm going to do this to it. I'm going to define where the legs start and where the abdomen starts. And this will be our mannequin. Okay. 3. Drawing a Super Hero Pose: I have used cylinders to give the volume the limbs needed. But remember that the cylinders are in perspective. Depending on the position of it, we'll ears see more or less from each cylinder. I'll draw a cylinder in three different situations so that you can see what's happening in each case. Here is a normal cylinder in the free four view and below the eye level, plain and simple. But what happens when we look at it from the eye level? Something like this will happen. We'll see a straight line on the top surface because we are looking at it exactly from the edge, and we will see very little from the lower surface. And we'll have a very short and wide ellipse. Moving on to the third case, This is when we look at the cylinder from almost from the top. The ellipses are now almost circles, and it seems that it's very. This is an effect of foreshortening. And now, Something like this is going to happen when we will draw the figure and put it into perspective. The cylinders are going to behave like this From eye level, we're going to see a straight line. And as we look down, the surfaces are going to show more. That means that the ellipses are going to become tall. This is also a combined effect of perspective and foreshortening. This is something that is going to be encountered with dynamic poses. And some specific static poses. And now, I'm going to show you free figures in three different poses, a generic superhero pose, a figure sitting in a chair, and a very dynamic pose of a baseball pitcher. This is the generic superhero pose. Free quarter view, slightly in perspective. Eye level is around here. One leg is slightly raised. One hand pointing down, the other is raised from the elbow, both fists clenched. Despite the fact that this pose is static, it brings forth some nice tricks on how to avoid making a doll. Let's start from the top. The head is rotated away from the body, and because of perspective, we have the impression that it is tilted back just a bit. The chest is wide and open like the lungs are in heading at maximum. This gives us a definition to the pectorals and the abdomen. The pelvis is a bit rotated towards us because one leg is on an object and lifted above the ground. The strick with the leg is to give the overall figure a curve that is more appealing than a straight line. The center of gravity should be right below the neck, and if we take a line and drag it straight down, it will be near the ankle. This will make the figure look very stable because one leg holds most of the weight of the body, and the other leg is almost resting. Lastly, because of the leg being lifted, the pelvis is tilted sideways. Like this. So to compensate the shoulders are tilted sideways on the opposite. So you see, even if the figure is static, it does not have to be boring. Now, I'm going to show you have to draw this figure step by step. First, we have to establish the height of the finger. Now we can divide the height into eight equal parts together the right proportion and have some guides that we use throughout the figure. The figure will always begin with the spine and the head. So the spine was curved. So the spine was curved, and it will be something like this. It's going to have a diagonal for the neck, and it's going to curve because of the chess going to make an arch, and then tend to straighten as it goes towards the pelvis and towards the lumbar region. Okay. So we'll have that tilt there. The curve, the arch. And where it's getting straight. Let's draw the head. That you do it? Okay. We're going to use some simple lines to indicate some important landmarks of the figure. First, there's the line of the shoulder. This, and then the line of the pelvis. These two lines will help us when we are going to draw the chest and the pelvis. Having this done, let's sketch in the limbs using some simple lines like these. Now, due to the curve nature of the spine, the and the pelvis are going to be. Let's get those in. Okay. Okay. If you want to check and verify the perspective of one of the elements, you can enclose them in a box. I'm going to do that with the So there is that box I was telling you about. If the box is in correct perspective, then that means the element within the box is incorrect perspective as well. Now we can finally build the limbs. We're going to start with the arms and then dele. Let's find shoulders, first of all, So if the chest is here, this is the rib cage, then the navel should be around here, which means that the nipples are going to be here and here. Now we can calculate where the shoulders will be. And here is the first one, and there is the second one. Now, since this figure is in three quarter view, we won't see that much of the arm right here. But we'll see the entire arm on the other side. So we have the first cylinder? The elbow and the second one. And we have that outline. Okay. All right? Now, let's draw the other arm. Now that the shoulder is there. I don't see much of it, but that's not an excuse not to draw it. The elbow should be around here. And there we have our cylinder. And the other cylinder and the elbow. Once I'm done drawing the for I'm going to erase the lines that I don't need anymore. I'm going to use the marker to redraw the lines that I want to be there. Now, let's focus on the legs. Checking to see if they are right. And I'm using the initial eight parts to figure out the proportion to check if it's correct, and I'm using them as guidelines. I'll have the right there. And here is the first cylinder. That means that here is going to be the second cylinder. Another sphere for the ankles and the pyramid. This is going to be the pyramid. We have the triangle. And here will be the tip of the pyramid. Okay. And for the second leg? Not that I've used the eight head proportion ratio. The initial height was divided into eight equal parts, and I'm using that as reference throughout the entire figure because I'm able to do that. We don't have too much for shortening happening here. And therefore, all of the elements are seen at almost full length. Even the leg that is lifted above the ground is still at full length. So I'm not worrying about foreshortening in this case. So I made the first cynder the knee and the second one. Note that some cylinders will overlay one another when the arm is bending or the knee is bending and you don't have to worry about that because anatomy will solve those problems. Remember that the human body is made of soft tissue, flesh, and muscle, and They will fit together in different positions, so don't worry about that. But at this stage, the only thing you have to worry about is drawing the mankin right, even if some parts overlay each other. The ankle small sphere. And that perm once again. So this should be done. I want to give it some definition on the side. I'm going to take eraser and erase one we don't want in there. Some transparencies, some guidelines, part of the initial sketch, and leave it only to finish drawing. Okay. Some simple definition for the neck. Basically, there are two lines connecting the oval for the head to the point on which the sphere makes contact to the Let me show you here. So we have this line coming from there and going to this point where the sphere makes contact with the chest and on the other side, the same story. I'm going to take this marker and redraw what we actually need. And there we have it. This is our finished far. Now, let's move on to the next one. Okay. 4. Drawing a Sitting Pose: This is the figure sitting in the chair. It's not a dynamic pose, but it's good for learning, foreshortening. And I really like this pose due to a variety of reasons. The first reason would be that it's in the free quarter view and the eye level is around here, so plain and simple. But because of the fact that the spine is arched and the upper body is leaning forward, The head is going to overlay a bit of the chest and the chest is going to overlay a bit of the pelvis. The second reason would be that we have foreshortening happening and not. For instance, this femur is oriented towards us and because of that it is foreshortened, whereas this one is viewed from the side and it is at full length. And the same thing happens with this forearm and this one. So not only we have foreshortening happening within the figure, but we also have ways to compare elements at full length and the ones that are foreshortened. And lastly, the figure isn't just plain and simply staying. It's interacting with something. It's interacting with the environment. And it's also interacting with itself because it's leaning forward and the hand is resting on the femur. And not only resting, but it's also holding somewhat of the upper body weight. So without further ado, let's start drawing this figure, and you'll see that it's not that hard to build. This time we're going to start by sketching in the spine and the other main lines. So I want to make the fine, nice and arched lean forward. This should be the line of the shoulders. And let's just indicate the position of the arms, and here indicate the position of the legs. So that should do it. In this case, we don't see the figure as we did before it does. We could not start with the total height without sketching in the main lines first. Now that we have done it, we can start to divide the lines and figure out the right proportion. So here is where the pelvis will end. And that means I should have about three units from here to here, and this should be the first unit or the head. But since the perspective is taking place and we have foreshortening because the torso is leaned forward. We're going to have here only from here to here, about 123 half units. Is. And from here from the beginning of the femur to the bottom of the knee, should be about two units and two units from here to the floor. And here as well, but since port shortening is making some distortions, we can't really appreciate the proportion unless we start building the main shape. So let's start with the head. During have the head. And now let's build the chest. That should be and the pit Not how these rough shapes are overlaying each other, slightly, not by much, but they are making some kind of contact. All right. So we have these main shapes in. Now, let's build the legs. And we're going to start with this one because it's at full length and it's viewed from the side. So we have the knee. And about two units up to that point. So the sphere for the knee and the cylinder for the femur. Great. Now, we have to this part. Okay. P another cylinder. A sphere for the ankle and the foot. All right. Now, now that we actually build more elements, we can start to correct some of the mistakes that might have came along. Let's try the other leg. Since we have the first leg now, we can make a few perspective lines. Okay. So here's the knee. And here is the cylinder for the leg. And there we have the back. And now, the second cynder for the angle There we have it. Uh huh. Pretty simple up to this point. And now, we can build our arms and we're done. So let's find the n should be around here, which means that the nipples so be here and here. Since it's a free D shaped, lines are going to warp roundval when intersecting with the shoulder line will give us the shoulder here and here. You're going to start with this arm, the one that's going to be foreshortened the bit. Now, the first cinder is done. We know where the elbow is going to sketching a sphere there. So let's build the cylinder that is part. We'll start with the first ellipse, then the second one and connect the lines. And that's it. Now, a rectangular shape for the hand. And that's it. The same thing happened with the femurx would have the first ellipse, the second end, connecting the two extreme points. Now, lastly, the arm that's resting on the back wrist shoulder elbow. And cylinder. Now, forearm and a simple rectangular shape. Now that the figure is done, I can correct any mistakes that might have occurred. And I think that the head is a big too big so I'm going to adjust it. I'm going to make it bit smaller. It's a bit better now. I'm going to connect those lines for the neck. And we are and going to clean it up a bit and show the result. Okay. Okay. And there you have it. Now, we are going to move to the last figure. And then I got a little surprise for you. Okay. 5. Drawing a Throwing Pose: This is a baseball pitcher as he is right about to let go of the ball. I like this one because it's very dynamic and it's not very foreshortened. So it's a simple drawing. When you want to make something dynamic, you have two options. You can make an exaggerated perspective, or you can make diagonal intersections. This is the second case. As you can see, if we drag a line all the way from the foot to the neck, we'll have a line that will intersect with a line going all the way through the arm and shoulders and the other arm. So let me use this marker and the pencil to demonstrate that. And here you clearly see that intersection. Now, if we take these lines further, we'll get a figure. This is not a complex figure to draw, as I said before. We only have one hand that is slightly foreshortened, and the position of the legs is somewhat different because of the technique of the frog. The one beneath the body holds all the weight and is highly tensed. The chest is rotated away from the pelvis and is orientated forward, which makes the spine rotate, and the head is pulled back towards the spine. And because of the position of the legs, the pelvis has a tendency to somewhat be rotated towards us, but That is not entirely correct, and I will show you exactly what's happening here. That's because of the throwing technique. Now, let's start accurate drawing it. We're going to start like last time and sketching all the lines. And we will begin with that primary line. This one right here. And the secondary line that's going to create that intersection. Okay. This. All right, we have the main intersection, and the lines that are giving the composition, it's dynamic. From this point, we can start to add the shoulder line, the pelvis line, and of course, the spine. We're going to start with the spine as always. So the head is pulled towards the spine. And the chest is rotated, which makes pelvis rotate a little bit as well. To look like something something like this. We would have here the shoulder line and here the tevis line. Of course, the arms and the legs. And the lengths and I should be enough for a beginning. Now, let's start to draw in the first and most important elements. The head and pelvis.'s been with the head. I just want to sketch them loosely in. So I have an idea of what's happening. So I'm going to use some very simple lines. And these lines should do the job nicely. Now, I can make those parts for proportion based on these lines right here. Since it's a dynamic pose, it's pretty hard to estimate the right proportion. So that's why I wanted to add these major shapes first. So I have here the head, which would be one unit. I have about 2.5 so Okay. So almost the right amounts. From here, I should have about two units to here, That's correct. And since here I have some foreshortening, I will have only about a unit and a half. The pose is rotated, on the opposite side, which will be there. You have two shorter units to the me there and foreshortening again on this side, another two shorter units. About that. Okay. The shoulder should be the end of the pelvis is here. One unit, we have here the naval We should have the nipples here and somewhere there. If we do lines, we will have here one so and on the other side, which is not visible, but it's around here, the other. Okay. Okay. And I'm going to have about two units and a bit. And here again, two shorter units because there is a little bit of for shortening and perspective with this and. Right, so I have the major shapes and about all the guys that I need to finish up the figure. Now, let's move on to defining the chest. The chest is viewed from this eye level here. So there's not much perspective happening with the chest, but since it's very rotated and tilted, Something is happening with it. And I'm going to use this to show you exactly what's happening. Let's start with the pelvis. The pelvis is viewed from almost free quarter view. So let's say this would be that. Now, rotating that further from us so we see a little bit more towards profile view. Here we have the chest. Now, another bit further to profile or side view entirely is the head. So here we would have the chest. And here should be to tell All right, so you have that. And now let's define that a little bit. That should pretty much be enough. So we see a little bit of underneath the chin. And this line is for the line of the eyebrows, which is wrapping around the head. All right. So we have the main building blocks there. Let's finish it up with the legs and the arms and clean it up. I'm going to start with this leg because it's almost at full length. So we have here the knee. And that means the rest is a cylinder. Just like that. And this part again, another cylinder. Wanting to rotate the paper that you can see what's happening and you're having a hard time drawing certain lines, simply rotate the paper. It's much more easier and it will help you get better lines. All right. We have that done now for the foot. That should be. Remember that even though the foot is back and stretch back, this is the top of the foot, the surface right here. Okay. Okay. Okay. And now let's focus on this one, which is a bit foreshortened. So we have here the first joint. But moving that on the other side, it would be right behind it, and we will not see it. But we know where it is and we can measure from there to the knee two units, and find out where the knee will be, which will be here. And from there, you can draw the clinder Now, we can draw the other cylinder as well. The small sphere for the ankle. And we are done with that also. The pyramid and that's it. Now we are almost ready. What is the hands and your arms, and we're done. Let's start with the hand that is stretched out and foreshortened a bit. So we have here the shoulder, first of all, very important. And somewhere around half of that distance, we have the elbow, so we can sketch it in right there and draw the cylinders. First one, and the second one. And the outline of the hand holding the baseball. And maybe even make that hand a bit larger than it should be because of perspective, and it's closer to us than the other hand. Now, if it is done, let's move on to drawing the other shoulder, which is on the opposite side, the same story with the pelvis joints and the socket for the femurs. So it's on the other side. We don't see it, but we know where it is. So we can draw it should be around here and there should be the elbow. And this is the second cylinder for that arm. All right. And here we have the baseball glove. Okay. And there we have it. I'm going to use the eraser and clean up a bit. And use the marker to define the final lines. Okay. Just going to zoom and show you guys some of the details. And this is it. As complex as you might have at first, it's a simple drawing once you know how to the figure and work with the mannequin. Okay. 6. Drawing Figure From Imagination: Here's a homework assignment you can do to practice poses. Best way would be to draw from life, get a friend or a relative and draw them like hydro Dmqins. Start with the lines, divide them, check for proportion, and add volume. Draw a figure in about 10 minutes or so. The point of a manqin figure is not to spend a lot of time on one, but to spend a little amount of time and make many of them. Each in a different pose. At this stage, you need quantity. The more figures you draw, the more comfortable you will be with the figure in general. Ideally, would be to get a group of friends and all draw the same person, but each from somewhere else so that afterwards, you can compare your drawings to help out each other and to learn from each other. But if you can't do that, look for pictures or images on the Internet and books and comic books anywhere and draw the figures you'll find interesting, but draw them like mannequins. It's very important to not make it passively, make it actively. Think of what you are drawing and why you are drawing it like that. Like when I said about the shoulders and the pelvis, detailed oppositely to compensate each other. So think of what you are doing and not to copy it blindly. Once you are comfortable with the mannequin, it's time to start drawing from imagination. I'm going to draw a figure right now from imagination, I'll guide you step by step. All right, so. As before, I'm going to search for some interesting intersections. So I'm going to sketch a few lines and see if we can find a starting point. I think I found something. So just going to try to see if I'm on the right track. Going to sketch in the head. So a simple sphere. Then chest. And then he So I think this might actually work. So I'm going to try to find the shoulder line. Try to try to see how I can give this shape some definition. So I have the three main building blocks. And now I'm trying to find a position for the legs and the arms. And I actually think I've found something. All right. So this will work. It's at this stage, I'm thinking of tracker or something like that, some fantasy teamed character. So that's why I want this figure to be in light. It's searching for some tracks. So that's why he's actually kneeling and has one hand on the ground. And what to do with the other hand. This might be an interesting idea. I'm going to make this character carry a staff a long staff. So we have here a arm that is foreshortened, a leg that is foreshortened. And the other two elements are going to be a full length or almost full length. Right. And I've started from those initial first couple of lines. I've checked for some interesting intersections, and I've winded up with this. And it's a good exercise to start from interesting lines and see what kind of figure you can get starting from those lines. But since this is now here, I'm going to work with it. And I'm going to start actually with the legs. So I have here. The pelvis, I'm going to zoom in. So I have here the pelvis at a free quarter view and the upper body is leaning forward and the chest is actually almost facing us. So it's a pretty twisted shape, but we can work with that. So we have here the knee. And here we have the first cylinder. Okay. Actually, I want to need to be a little bit above the ground. So it's going to be there here is that first cylinder, right. Now I'm going to build the second cylinder. Should be around there. And there we have it now. The foot And dad should pretty much do it. All right. Now. One down. Want to go? So I have here Dane. And I have here first cner's a bit long, I'm going to shorten it to put it here. So I'm racing first attempt. So I have the knee there. And the first cylinder here. All right. Since we have a little bit of perspective here. We're going to have the foot here a bit lower than this one. And the arm is going to be around here. So we have the ankle. And the foot. And do we have our length. Now, let's move on to the chest. So the chest is almost facing us. That means we'll have here. And it will go up in that direction, which makes the back come along that line right here. If you remember that stretch bean shape, I used to build the torso from the side and free quarter view, it will help you understand what I just did here. So there we have it. I'm going to draw this arm for someone sharpened pencil. All right. So the naples should be around here. The nipples and on there. So if we drag those lines, we will get the shoulders here and there. Okay. So I drawing the spheres for the shoulders right now. There go. We have here the elbow. And here is the first cylinder of the arm. The elbow. And here is the forearm just overlaying a bit of the elbow. Then we have the hand. And there is that staff. No I initially sketched it, but sits near there. All right. So we have that. Of course, we can always till that a bit to the sides if we're not happy with its position. So I think I'm actually going to tilt it. A bit. So it won't overlay this area right here. Going to raise that action right now. Now what's left would be to define the head bit. And now, the remaining form. So I know where the shoulder is. I'm building that sphere. And somewhere half of this distance should be the elbow right here going to draw the elbow right now. And we have Okay. Okay. Okay. The first cylinder. And the second one, going to correct this area a bit. I want to make this a bit longer and this one shorter put in the po lastly, and right there. Han, are pretty much done. Now, I want to clean it up a bit and show you the result this fast sketch. So I think it took me about roughly 10 minutes or so time in which I had to concentrate on explaining what I was doing. So to make a drawing like this should take about 10 minutes less than 10 minutes. Okay. And here it is. 7. Drawing the Torso: Hi. And this video we'll be covering anatomy. To be exact where we're going to apply some basic muscles to the maaqin to make it a complete figure. Keep in mind that this is orientated for beginners to dust. I will use a simplified style to draw the muscles, and they might be exaggerated in certain situations just so that you can see what's happening better. For this video, I will demonstrate how to add muscles correctly to the Makin in stand alone diagrams of body part, the torso, the back, the arms and the legs. I will show you how the muscles behave in different positions of these body parts. And lastly, I will sum up all the information from this video and give free Mannequins an atomic definition. To begin with, let's take a look over the torso. The torso and the back are the only individual parts of the that are symmetric if divided in half. I will explain to you on one side of the diagram and draw on the other. The torso is quite easy to understand. You have the packs here and they go under the deltoid or the shoulder muscle around here. This point will be an intersection point between the deltoid, peck and biceps, and it will help you draw this entire area. Afterwards, you have three important muscle groups. The abs, external obliques and the rib muscles. These three are strongly related to each other. The abs are actually four pairs of two muscle groups. And usually the lower ab is not defined as well as the top three. And therefore, only the top three are usually visible and they create the six pack. Next to them, we have the external obliques. Usually, we have one oblique for each ab. So we have one, two, three, and four. The lower oblique goes all the way around the hip, all the way to the back, and it does not intersect with the rib muscles as do the top obliques. Afterwards, we have the lat muscle. It's more visible from the back. It's a muscle of the back. But from the front view, we have only this small portion right here. This muscle stretches all the way from the lower back, goes over the lower oblique, and then goes all the way up to the deltoid. Lastly, we would have here the trapeze, another muscle of the back that is also visible from the front view. And next to that, we have here the muscles of the neck. Just to be complete, here we have a part of the upper arm, the biceps, and this is just so that we can draw the deltoid with that intersection point I was telling you about. Right. Now, I'll show you how to draw it. We will begin with the deltoid. I'm going to start the deltoid from this point of the sphere, the shoulder and a third of the slender around here. I'm going to draw an oval there. Going to have to make it. Okay. All right. And now I'm going to make another oval for the bicep starting from the top of the cylinder going all the way to the end of the cylinder. And now I'm going to have two intersection points here and here. Is going to cleaned up. From this intersection point, I want to drive a line all the way to half of the color bone. The color bone is going to be here. And half of that distance is around here. That is the general shape of my deltoid. Now, from this second intersection point, I want to start the peck. It's going to go over the bicep bit then down towards the nipple beneath it, then up again. If you pay close attention to this side, we also see a small amount of the triceps. So I'm just going to double the line of the oval to do that. Okay. There. Let's make this line a bit more curved, so it wraps around the bicep and give it some definition. Now we can make another small arched line like this. To add some extra definition to the entire construction. All right. Now I'm going to focus on this area. For the neck muscles. You're just going to start from next to the jaw line here, and you're going to make a slightly arch line towards the color bone, like that. Afterwards, for the trapeze, at the chin's height at this point to about near the near the beginning of that first oval with which we started the deltoid. It's going to look like this. Before drawing the apps, I want to point out two important things. The first is that they are found in the chest cavity. So right here, it's inside the cavity. And the other thing is that the two top pairs have a descending line here. All right, would that sets them. Going to use vals to figure out their volume and skate out their position. All right, this should do it. Okay. What they pay attention to is this line here and here. They won't go all the way and touch the cavity just on the top. The top pair makes that arch and touches the cavity or the sternum to be more exact. Okay. And the other pairs are simply following the edge of the first pairs. So we have here the end of the first pair of pbs. And from there, there's this straight vertical line that will limit the other pairs. And the lower ab is a bit more different than the rest. You see that these pairs here are made up of individual groups of muscles. But the lower one can be considered both a pair and a single individual muscle because we have here some tendency of a pair, but the lowest part of it is actually an entire single muscle. Now, let's tackle the obliques. As I said, there's usually one oblique for one ab. So we'll start with the first ab. And we'll use these arch lines to make the blinks. We have the first blink for the first ab. Second, and the third. Note how they get bigger as I progress. And they will end where the test ends here where the rib cage will end. And here, we will have the lower oblique, which starts from the point where the ribcage ends and it goes a bit outward of the top of the pelvis here. Do we have it. Here are the rest. Now, I want to draw the lat muscle, going to start from that same point where I started the lower oblique and draw a line all the way to that first intersection point of the deltoid here. And that I want to give it a slight curve. And that's it. Now the last part is the rib muscle. I'm going to take a line from the nipple and drag it down, but slightly diagonally, give it a small angle, and I will have these intersection points. And now I'm going to start from the top of the upper line here the line. I'm going to start from there, make a very arch line like this. Then again down again. That's how you draw it. I'm going to clean up a bit. And this is it. Let's move on to the back. 8. Drawing the Back: As before, we have the major muscles of the back and a small part of the upper arm. Here is the deltoid covering the shoulder and the triceps this time. Next to it is the trapeze, which stretches over the rib cage to the neck along the spine. Here, we have the lat muscle that stretches all the way from the deltoid to the lower back and next to it is the lower oblique. What's important from this view is the detail to the deltoid. Now we see the deltoid actually covering more of the triceps and behaving as the part of the pec muscle that was actually next to the deltoid. And furthermore, we see that the deltoid is actually made of smaller muscles. So we'll use more ovals when drawing it. Let's begin. As as before. I'm going to select those two points, top of the sphere and firt cylinder. And I'm going to draw the oval. Now, from the top of the cylinder to the end of the cylinder. I'll have another wall. All right. And we have those two intersection points. Okay. Here and here. And note that I've made the oval bit than the cylinder. You can make it as long as the cylinder or a bit shorter than it because you will see later on how the trip looks like. Now let's try to sketch the color bone. It's going to be there. So half of it is going to be around here. And that should be it normally. But remember that this is the rear view and we see more of the deltoid this time. So I'm going to start from here, and make another short oval from here to here. This is the intersection between that line with the first oval, and this is where the line intersects with the circle or sphere, which we use to draw the shoulder of the mannequin. So I'm going to make an oval and you will see why a bit later. Okay. All right. So there we have it. I want to erase a bit. Right? Now I'm going to continue from here to cover the trips and this circle. Okay. Remember that when the circle touches the tricep, you're going to go over it like this. And from the first intersection, the same thing, you're going to go over it. You're going to form this curved shape for the deltoid and double this line a bit more to the interior. So that we give it that definition. Okay. All right. And now from here the top of the circle, we're going to connect a line to this circle like this. Now, this is the general shape of the deltoid. Now we can make these smaller inside that shape. To give it that exact definition there. Yeah, I'm going to draw the lad and the lower oblique. To find the starting point of the lat, you're going to make an like this. And a little more to the inside of the center of the x would be where the lat muscle is going to start. And it's going to go along the root cage. Like that. And the same thing as before, the lowest point of the root cage is where the lower oblique is going to start. Like that. Now, the lad is going to go up a bit, make that arch here. It's going to go up an arch, then a vertical line. And from here, we have the So we're going to start from here. We're going to make a line arch line like this so that it forms this S shape. Okay. Not that pronounced, something like this. And within this, we have three ovals. One, two, and free. Let me darken them out. O two and free. I'm going to seen them out, make a nice transition. And that's how the trapeze looks like. Now for the last part, the same as we did with the front view with the torso slightly lower than the a drag that line here. Dalines going to go a bit inwards. Then we'll have this part right here. This is the muscle of the neck that's going to go forward. And there we have it. Now, I can't clean it up. And this is it. Just to be sure that everything is correct, if we select the center of those circles for the shoulders and the middle of the top line of the pelvis or where the pelvis ends and the spine starts. So here. If we connect these free points, we'll have that specific V shape of the back. And the lads should make a nice curve and transition from the deltoid to the oblique and lower back so that we have that natural v. 9. Drawing the Arm: Now, it's time to move on to the arm. The arm is pretty tricky to draw, but once you understand the basic mechanical function, it should not be a problem to draw it. I will start with the arm in front view and back free quarter view. Afterwards, I will explain how it works from a mechanical point of view. The easiest part of the arm is the upper arm. Here, we have the deltoid biceps and a small part of the triceps. The forearm is more complex. It has two muscle groups, extensors on the outside here, and flexors on the inside here. These two groups allow the rotation of the forearm. After that, we have a number of smaller muscles here and here that allow the bending of the arm. Here's a quick tip. Think of the muscles of the forearm as if they wrap around the arm up to the biceps in a spiral motion. It will help you understand the drawing method I will use. We know by now how to draw the upper arm. What you need to add to that is the fact that the biceps gets stretched as it nears the sphere, which is the elbow. And that should be in with the biceps and the deltoid. Now, for the triceps, I'm just going to double the line of the biceps. Like this. I think to this one out a bit. That And, what's going to happen with this part? I said that it's going to be stretched, so it's going to come up and a tendency to fade in. It's going to be smaller around this area. Can we just erase that? There. Now, as I said, think of the muscles of the forearm wrapping around the arm up until the biceps. So we will have a spiral like motion to these muscles. Go to begin with the first one. This is the stem. And it is going to look like this. Then we have another one. Then the last one there. Let me just start them out a bit one to four lines. There we go. Now, these two here are extensors and this one allows the bending of the arm. This one pulls the entire forearm up together with this one from here. Okay. Now, for the elbow, it's barely visible from this angle. You only have a small tip of a bone here, this small bump. And then we have the flexors. That should be the two, this one right here and the smaller one here. Let me just correct this part Okay. And this should be it. Of course, I've exaggerated. This entirely is more of a body builders arm. It's very thick and defined and the muscle mass is huge. But I've done that so you can see these individual larger muscles, the more important ones, and to demonstrate this drawing method. What I like about this drawing method is that it gives you a certain flexibility in deciding the outcome of the drawing. You can leave it like this, darken the lines a bit, clean them up, and erase some of the construction lines, and you will have a drawing in which the muscles are very defined as if the arm is flexed, or you can erase most of them and leave the outline and a few of the interior intersections and get a arm that is defined but relaxed. 10. The Arm in 3/4 View: Here is the back free cord view. Note that the hand is pulled back so you can see how the forearm behaves in this situation. We'll start with the biceps. This time, it will be smaller because we won't see much from it from this angle, then the triceps and the deltoid. We have here the bones showing, which means that they are not entirely covered with muscle. The elbow is going to have this angle here. As for the forearm, it's going to be leaner in this case. Remember that here is a bone visible. Father said, Let's draw it. For the triceps, I want to start from here from this point of the circle and go two furs down the up until here. All right, that should do it. I want to zoom in a bit more and show you what's going to happen with the elbow. We have a bone here, and that starts from the middle of the cylinder to that angle of the elbow. So from here to here. It's a flat surface. We're going to draw it like this. Then the elbow is going to have that angle like this. Now, the triceps is going to cover it. So it's going to start from here and go like this going to start from there, go up and down again beneath the deltit And the triceps is actually up two muscle groups. So I want to make this line here just to emphasize that. All right, I want to clean it up a bit. Okay. All right. Now, what's going to happen to this part? How are we going to continue to the forearm? SMS before, but we're going to start here from the triceps. We're going to continue these two lines down up until here, the end of the cylinder and from there, just the angle. And from here, we're going to make those lines that are wrapping around the forearm. But because of the hand is pulled back, these are going to be a lot leaner, they won't have that much volume. So we have the first one. Second one and the one, which is going down. Then we'll have this one here and let me just darken the mouth I'm going to clean it up. Okay. And 11. Drawing the Leg: The legs are fairly easy to drop once you are familiar with the forearm because they are drawn with the same method. Let's start from the front view. The knee is going to be the major landmark in this diagram. Above the knee, we will have these three large muscles. You see those two are actually behind this one in the middle. So you see these two on the outside are behind this one in the middle. And below the knee, we will have the shin bone that's going to be the second important landmark to one side of the shin bone, we will have some muscles wrapping around the lower leg. And on the other side, on the inside of the leg, we will have the calf. Above here, the bridge between the leg and the pelvis or the hip area, we have a number of ligaments and small muscles. But those are pretty complex draw. And at this stage, at the beginning, you don't need to know all of them. You just need to focus on the more larger muscles that will make your mannequin look good and be an atomic correct. So with all that said, let's start drawing. We'll start from the knee. The knee is going to be simplified into a diamond shape, and we are going to place it slightly above the sphere and going to make it long and thin like that. You can also place it right on the end of the cylinder. With that done, let's move on to the large muscles above. I'm going to start from here from the edge of the cylinder, go out and inside again. The same thing on the other side. Note how the most point is down here on this side and up here on the other side. If we connect those two points, we'll have a 45 degree angle at this line here. Now, from the knee, we're going to begin with the muscle that's on top of these two. Okay. Okay. And that's about it. Just going to darken these lines now. And now, I'm going to clean up bit to clean up as well and show how you can turn that dam shape into something more realistic. So here was that diamond shape. What you can do is actually make this small arched line. And that will be the knee right there and another one there, and that's it. I'm going to do the same thing above. And I've turned that diamond into a knee, very simple and very efficient. Now, I'm going to continue with the shin bone. First, it goes inwards, then it goes outwards, so then out. And we'll make this slide angle. Now, we have these two lines right there. They are going to finish the knee overall. Actually, going to make them a bit taller. These two lines on the side of the knee are actually made of tendons and ligaments, and so on. Because the knee is supporting an immense weight and all of pressure. So it has not only have to be strong, but also flexible. After that, they're going to draw these muscles. Okay. All right. And sally. The count. I don't want to exaggerate too much with this part because if I make this one go out too much, then it won't look natural. And here we have the ankles and we are done. Okay. 12. The Leg in 3/4 View: This is the three quarter back view of the leg. Behind the back of the knee, we have a group of long muscles, and above that, we have the glottis maxs. Below the knee are the calf muscles and Achilles tendon. What is to remember here, especially is that behind the knee, there is a diamond shaped space that is empty. It is like this to allow the knee to bend. At this point, you should be fairly familiar on how to tackle this drawing. So let's get right into it. I'm going to start with this shape. And I want it to be here. Even though it's a diamond shape, it's longer on top and shorter down. And that should be enough. You're going to position it on the end of the top cylinder of the leg. Now, can draw these muscles here. I'm going to use a to get down the main shape. The same thing with the calf. The next step is to create a smooth transition from here to the knee to the calf to the tendon and to the foot. Remember that the ct is actually made from two separate muscles put one next to each other. So we have to suggest that at least. I'm going to do that. With these two lines, a long line that's going like this and a short and going up and there we have it. Okay. Now, up here is the same issue. There are two muscles here. I'm going to take this line from the diamond and drag it up and give it a slight curve like this and now I can darken this line here. Now we can draw the. From this angle, it's going to be a small bump like this, slightly above the middle of the circle. From here, I'm going to have two lines. Here and here. Then this. These lines are from the muscles that were in the front view to the outside of the leg. How to finish the upper leg. Let's draw the gloats maximus. This so be the shape of it Okay. Okay. Now, let's finish this part. We have the heel. But before we actually draw the ankle, we have to draw the shin bone. Here's visible. Then we have here a straight line that's going down and we have here with the ankle. Okay. And that's it. With this last diagram done, we have finished all the standalone parts of the body. Okay. 13. Drawing the Whole Figure (Heroic Pose): These should be the stepping stones that you will use when applying muscle to the maquin in order to create a simple realistic figure. As a last part to this video, I will demonstrate how to use the information I just gave you and turn free mannequins into free figures. This figure should be a combination of the diagrams I showed you earlier. The torso is slightly turned and a bit arched. Lastly, one leg is lifted above the ground and bent. Other than that, you should be able to draw it without any problems. I'm going to draw over the mannequin and we'll be zooming in so you can follow me. Thank you. This leg, even though it is lifted, it has the same anatomy as any other leg. You see this is the muscle that was on the inside of the leg. And this is the one that was above it. And there you have it. There. The knee is bent, and you can actually draw it using two circles have the first part here and the lower part. That's all there is to it. And we have the coal here, the other part there. Okay. And that's it. He and ankle and this leg is done. Okay Okay. Okay. Okay. And there is a figure from Hanan. Moving on to the next figure. Okay. 14. Drawing the Whole Figure (Sitting Pose): This figure has been dealt with in the previous section, and you should be familiar to it. Don't worry about the effects of foreshortening. The distortion is not that heavy. Pay attention to the position of the arm. The arm is held backwards and lifted, and that makes the shoulder rotate. And in return, the deltoid is rotated as well. The knees are bent, and therefore, we can no longer use the diamond shape to draw them. But you can draw it, in fact, with two circles above, being larger and then correcting the lines. It's an easy method to tackle the knee when it's bent. Just don't forget the shamble. A let's draw it. Let's begin with this leg here. I'm going to start with the knee. I'm going to make that f circle or oval in this case. And then the other And there is the knee, going to race those construction lines. And there we have it nice and easy. Now, let's continue with the shin bone. Okay. And the camp here. And we are done with the lower leg. Yeah, for the muscles of the upper leg. Okay. And that's the. I'm going to try the second leg. I'm going to use the same left. And there is the knee. And that you do. Now, let's focus on this arm. I draw the color bones. And now I can start to dt Okay. Okay. So there's the biceps. And there's the Peck. And for the trips. Elbow. And for. Okay. I have. Yes almost. I was trying to figure out the shoulder. And that's it. Now, we are going to move on to the last figure. Okay. 15. Drawing the Whole Figure (Back View): This figure focuses on the back. Let's take a quick view over it. One hand is very foreshortened, and the other is in a three quarter angle. Due to perspective and the position of the legs, one seems larger because it's closer to us, and the other seems smaller because it's farther away from us. What is more to that is the fact that the head is stuck down, which will give the spine a certain curve, and one shoulder is closer to us than the other. Which will make Traps behave accordingly in perspective. This will be and this will be smaller. This effect is also enhanced by the fact that this arm is held normally, and this one is pushed forward. This should cover the explanation. Let's get started on drawing it. Okay. Okay. Okay. Okay. And we are Okay. 16. Constructing the Hand: Hi, and welcome to this video on drawing the hand. Here's a quick summary of what we are going to go through. I will begin by showing you how to draw the hand using very simple shapes. Afterwards, we will learn how to put details like fingernails and wrinkles. And finally, we will look into a few hand gestures that will bring forth a few interesting situations. Before we begin, let's take a look over the hand. When you're going to draw it, you will simplify it as much as you can. Therefore, you will have two components. The primary component, which consists of the body of the hand and the fingers and the thumb. Now, let's look into these components. The body of the hand has the carpal bones here near the wrist and then has four metacarpals, here, here, here, and here, they connect from the wrist to each knuckle. And afterwards, the fingers have three sets of phalanges. One, two, and three. The foam is a particular case because it has a metacarpal here that's at a reasonable distance to this metacarpal. And if we compare it, these two are quite near each other, whereas this is quite far away. And this gives the fum wide range of mobility. Moving on, the thumb also has only two phalanges in contrast to the regular fingers that have three. Now, here are a few quick tips. Remember that the fingers are with different sizes. The middle finger is the biggest followed by the index finger, ring finger, and pinky finger. The tip of the pinky finger will reach half of the ring finger and if we put the thumb next to the index finger, the tip of the thumb will reach half of the first phalanx of the index finger. And lastly, from the tip of the middle finger to the knuckle and from the knuckle to the wrist is the same distance. So if we take the distance from the tip of the middle finger all the way to the wrist and divide it into, we will get here where the knuckle is. This will help you understand a few tricks later on. The last thing I want to show you is related to the overall mobility of the hand. I've already showed you that the thumb is quite flexible as it is, but also the pinky finger can move quite a lot. And this will also help you later on when you're going to draw a few hand gestures. With that in mind, let's move on to drawing the hand viewed in two D and then in three D. First, I'm going to draw square. And then, draw another one, Bup it. This one is going to be for the body of the hand and this one is going to be for the fingers. Now, I want to make an arch line from here all the way to here. And I want this part to be higher than this one. I'm going to start from here and go just a bit above this line and go down again. I will have this. Now, on this line, I will have the knuckles, and I want to draw them by using a circle. Keep in mind the size of each finger because that will reflect on the circles we're going to use now and later on. All right. Now we can actually put some lines. I'm going to start with the middle finger and drag this straight vertical line up to here. This line will give the finger its direction and going to do the same thing with the rest, only that the wrist are a bit arched, and they have a tendency to focus somewhere above the middle finger. That's why I'm going to take those lines and drag them up and slightly arched towards the middle finger. All right, like this. The next step is to divide each line into three parts. But keep in mind that those parts become gradually smaller as we get closer to the tip. So that's one, two, and three. Okay. Now, how to check if this is correct? First, we have this arched line here. Now we can make another one up here that connects these first marks. Now, another line for these. And lastly, for the tip of each finger. And they will focus somewhere here. So this is just a trick to check if everything is right. But in this case, the fingers are one next to each other. If they will be spread out like this, then these lines, of course, are going to look differently, but they still will have that tendency to converge somewhere around this area, even though it will be farther away. All right, but with this being done, we can now make on each mark a circle like here, but, of course, gradually smaller. I'm going to begin with the middle finger. All right, so this is how it looks like now. The next step is to connect these circles with two lines like this. Just slightly, slightly inwards. So not directly put the most outer point, but a bit inwards, a bit. These two lines in Fred will be a cylinder, and it will represent the phalange. Now, I'm going to do the same thing upwards. But as I get to the tip, let me make this bigger. As I get to the tip, I can't do the same thing because I don't have another circle to connect the lines to. Instead, I'm going to use a shape like a cone or if you're black it more with a bullet. So prefer making it look like an arrow head, but that's a bit too extreme for my tastes. So I prefer this rounded shape. Now I'm going to do the same thing with the rest. All right. Note that there is just a little bit space between the fingers. Now, this may vary from one person to another. But there is always some slight space between each finger. Now we can move on to the outer part of the hand. And how we are going to do this. We're going to take this point and make a nice curved line just next to the circle. And once we reach this point, we're going to go a bit outward, then inwards again. But how much inwards? We're going to take a point from the middle of this circle and drag it down straight down, and it will meet this part of the first square. And that's where this line will go. Here we are going to have a part that's going outwards and then down where the wrist is. This is how look. All right. Now for the thumb, how are we going to tackle the thumb? We're going to take a line from the middle of the knuckle of the index finger and pull it down. And we'll get this point. From here, we are going to make a diagonal line like this. Let's say about a third, a bit more than a third up of the first square. So here, we're going to make a circle. Here is the wrist, and I'm going to connect a line from here to the outer part of the circle here. Now, what's going to follow is this going to make two lines. Just going to check if they're not too long. In this relaxed position outwards, the tip of the thumb is going to be somewhere around the knuckle of the index finger. So here, then I can use these two lines to decide on the direction of the finger, whereas in this case, I used a single line that I divided into three parts. And where I have this angle, I'm going to have another circle. Going to connect them? And we're almost done. There is that skin that connects the index with the thumb. And we are done. Keep in mind that some might have different proportions for the hand. Some might have the ring finger bigger than the index or the thumb position higher or lower, but this is the general rule. Some might have even a very thick wrist or a very slim wrist or a wrist in which the bones are very prominent. It all depends on the person. But this is the general rule and concept on how you're going to approach the arms from now on. 17. Hand Drawing 1 : This is what we're going to draw. We can't use a square because it is in three D, so we'll use a box. The foam is in our way, but we still have to draw what is behind it. First, we are going to start with the box together with the arch line for the knuckles. This should be the box. And this is that arch for knuckles. Now, let's add them. I want to adjust the size a bit. And there that should work. Now I want to give each finger its direction. Now I'm going to start with the pinky and work my way up. Just some simple lines slightly curved because in this situation, they are slightly curved. Now I can divide them into three parts and straighten the lines out. All right, due to perspective and foreshortening, it seems that the pinky is bigger than I initially told you. But remember that it's in freed. Perspective is taking place and foreshortening is distorting the image. The hand is pulled slightly back and the fingers are pulled also a bit back. But the pinky is pointing forward, and that's why we have this angle here. And because of that, it is closer to us, which means that it is slightly larger than it should have been. And these are smaller. Combined, they create this type of effect. All right. Now, if you want to check, if everything is correct, going to use those lines. And as it seems, everything's going as it should. All right now, I'm going to add the rest of the circles and make the cylinders this time. And that should do it. Now, the cylinders, and the cones. Why did I said cylinders? Because we are going to do this. We're going to make those lines where they meet. That's because afterwards, I want to put in some details to this drawing like here. By doing those cylinders like that, I'm actually making those wrinkles. It is done mostly. Now let's focus on the outer part of the hand. As I said, we're going to begin with a curved line, then out, then in again where we have the wrist here. Drag the line from the middle of this circle down but parallel to the edge of the box to here, and this is where the wrist Just going to correct a few parts here. Now for. As before, going to take that same instance and drag that line from here this time up and make that circle here. Keep in mind perspective and foreshortening will cause all sorts of distortions. Here is the second circle. Use. And that should be pretty much it. No, I want to clean it up. I want to remove as much the construction as I can. Because now I'm going to focus on some of the details. On the inside, so this is the palm here. On the inside of the hand, where the palm is, and here where the knuckles are, we have this soft tissue with muscles here and especially here, where the thumb is. And to demonstrate that, I'm going to make a line like this, starting from the fum. I'm going to make one and another one above it. And I'm going to draw this line just to give the fum some detail, articulation. In this particular case, we see only one fingernail, that of the thumb and have to draw it. Going to select somewhat the middle of this line just around here and make this sort of shape. Let me zoom in. Going to make a straight line, maybe a bit curved, really dark in that area. And as I go up, I'm going to remove some pressure and make the line brighter. And that's how you draw in a fingernail. Simple and very efficient. And a few more wrinkles, and we are done with that. The thing is, I like these circles and cylinder because they do a good job with helping me drawing the wrinkles. So I know where they are. I know how to draw them. And I know also how to make that soft tissue because of this type of construction. I'm going to swim out and show you here. So we have the index, and we have here the first wrinkle and some tissue. Again, another wrinkle and some soft tissue again at that part there, and we are going to continue towards the middle finger. Go up over that circle. And again, and make the tip of the finger. And Now, let's make this one. As you can see, because I already made those cylinders, the wrinkles are there from the start. I'm just darkening out the lines that I erased from the construction. Some of the lines for the palm and we are done. Just finishing the last wrinkles. And this is pretty much it. And if you really want to make something complete, especially here on the wrist, you can make these two lines like this. So one and two. And there good hand. Moving on to the next diagram. In 18. Hand Drawing 2: As you see here, the hand is in a position from which we don't see each finger individually. Again, the same situation. We don't see it, but we have to draw it. We will adapt the technique to build a hand to suit the situation. And therefore, what we won't see will only be suggested so we know how to draw what is visible. I'm going to start from that arch line of the knuckles this time. Alright, so this should be as you see. If we were to find it here, it would be something like this, a very short and oblique line exactly like this one. Now I can actually draw the box. And that should be the box. In order to avoid making too many construction lines on the drawing and getting a dirty drawing in the end, I'll only suggest the position of those lines with some simple dots like that. And I'm going to begin this time with the fum Can you darken these out a bit more. And that should do it. Now we have here the index finger. So there's my index finger. And now for that can that's connecting these two. And of course, the knuckle and the body of the hand. The wrist should be somewhere around this area and we are almost done. Now, to continue with the rest of the fingers, I'm going to start from there and estimate based on the first circle of the index finger. If the knuckle of the index finger is here, then the middle finger should be around here. So that is how it looks like. I'm going to continue with the ring finger. Ask me the pinkin. Even though I don't see it, I know that I have here a little part that is showing. I have here that soft tissue that's going like this and another part of the middle or the ring finger that visible here. I don't want to complicate it too much down there. And that should do it. Now, I'm going to clean it up at the final details, and we're done with this one also. To add the wrinkles to the index finger, I'm simply going to follow those cylinders. Like that. And for that soft tissue, I'm going to do these two folds, and for this I'm going to go from that fold, I'm going to do a curved line like this. Afterwards, another one that's following that, but going slightly away. I'm starting from very dark and finishing thin and right like that. We have that soft tissue of the fumb here that's creating some very interesting fold. Just going to make two of them. Then there's the rest of the hand that's going into the wrist. And even though we don't see it as much, the thumb has a knuckle also right here. And how do we suggest that? I'm going to make a small angle there. Let me in a small angle like that and then make a very long curved line like this. I want the darkest part to be here towards the ending. Like that, and maybe just small tail in front. Just some nitching with the pencil. And a bit on the other side as well. Just some nitching until I get a somewhat of a diamond shape like this. Just going to erase it a bit more. But I there that you do it just nicely. And for the nail, as I said, somewhere around the middle of this part here. But since it's more visible, now I'm going to make it a bit wider than before. And that's all there is to it. I'm going to finish these two fingers. Maybe some wrinkles over here. I look nice. A few here, here. And there. And that's it. We're done with this one. 19. Hand Drawing 3: Here is a fist in free quarter view. As you know, when you're holding a fist, the fingers are curling into the palm and the thumb covers them. You might think that you have to draw each finger individually, but that is not correct. You will only complicate the drawing too much. What you want to do is start with the line of the knuckle, make that correctly, and then the box of the body of the hand. Afterwards, you're going to draw only the index finger and the thumb. The rest of the fingers, these three, the middle finger, ring finger, and pinky, are going to be treated as one volume. And how are you going to do that? After you're going to construct the index finger, you can figure out how to draw the rest of the fingers based on the index. That way, you'll have a clean drawing and a correct drawing. The thing with the fist is that it's compact and it's modular. Each finger is doing the same thing. So if you draw the index correctly, you'll figure out easily enough how to draw the rest or only how to draw their outline. So you avoid all those cylinders and circles and all the rest of the headache. And finally, you're going to have to draw the thumb that's covering this. So as you see here, in this case, we'll begin with the arch line for the nuffle, the box, index, followed by the other three fingers and the thumb covering it. It's going to be fast and it's going to be simple. Let's begin. And this is it. Now I'm going to clean it up and I had some details, and most importantly, I'm going to show you how to draw the knuckle. There are a few foldings here, and that's kind of from the index to the thumb is stretching quite a lot. I want to make another line there just to suggest how much it stretches. Okay, now for the knuckle, I'm going to start with a line over the circle and going towards the second circle with a line short line like this. Now I want to make something similar on the other side. But it's going to be a line, a curve, and another line like that. And that should pretty much do it. Now, let's make it a bit more angular. I wanted to have some strain lines like this. And now I'm going to continue with the rest of the fingers. Yeah. Over the top of the hand, there is a slight bump like this. It's because of the bone structure. And now I'm going to finish it with the wrist going down my cell. And there we have it. Mm. 20. Hand Drawing 4: Here's a fist in different position. The same rules are going to apply, so you should be able to draw it on your own. I'm going to draw it here and you can follow me as I do it. I'm going to use the same technique, so it's going to be easy. All right, then this should be it. Now, here's a little trick you can pull off. You can darken this area here. Make it dark and darken these lines. And this one too. Since you have only lines here, this is called line weight. It's when you make a line darker or thicker than the rest of the lines to suggest that it's darker there or simply it's heavier. And now moving on to the last diagram. 21. Hand Drawing 5: This diagram might seem a bit confusing or complicated or even scary. But in reality, it's easy to draw. The fingers are pointing towards us, and therefore they are heavily foreshortened. We see only a small amount of each cylinder and a small amount of the palm. But in contrast to that, we see the nice arch that the line of the knuckles are forming. And it has that continuous flow. We have a nice arch from here to here, and we see each finger in a different situation of foreshortening. At this point, you should be familiar with how to draw the hand even in this position. So let's begin. I'm going to draw it here and you can follow me if you are unsure on how to tackle this. And with this done, we have finished this video. Drawing the hand can be complicated at times. It's not enough to draw a few hands, few hand gestures and expect to be able to draw the hand without any problems. You need practice. And here's a little assignment you can do at home without any problems. Draw your own hand, put it in a position and simply draw it or take a picture of your hand in a certain position or holding a pen or a glass or something. If it's interacting with something with an object, it will be a bit more difficult to draw, but you will learn much more. Or that or you can ask a friend to make some hand gestures and draw that keep it simple. Draw it like this. It's important to get the main position of the handwrite and the proportion and the perspective and foreshortening. And the basics are the most important. Details come last. You can't add details if the building blocks, this is not done properly. Don't spend too much time on one hand gesture if you're going to do that. Spend at least 2 minutes, but a maximum of five to 7 minutes. Don't draw a hand in 15 minutes or in half an hour because it's not efficient and it's counterproductive. If it's wrong, simply get a clean piece of paper and draw it again from the beginning. If it has flaws, leave it like that and draw another one until you get it right. Practice makes perfect. Remember that. 22. Constructing the Foot: Hi, A Welcome. In this video, we will learn how to draw feet. I will show you a very simple technique. And since the feet are similar to the hands, the technique should be familiar to you, but it has a small twist. The first thing I want to show you is this diagram. It's a simple figure put in perspective. The reason for this is to avoid a very common mistake. When you look at a figure, this figure, for instance, we see it from eye level. Our eyes are here and we're looking straight at the figure. We're going to see the face and fruh frontal view. But as we increasingly look down towards the feet, we are going to see the top surface of the feet. And when you put that in perspective, this is what we are going to see. We're going to see this surface and this surface. Now, most beginners make a very innocent mistake. They draw the feet view it from this angle. So they're going to view the toes in the foreground and then just a little bit of top surface. But we are interested in the top surface more because of perspective to emphasize this effect, we have three squares here. Even though we see a line here, it's actually a square heavily foreshorted by perspective. And therefore, we see only a line. And as we gradually look down, we see more of each square. We see more of its surface. The same thing happens with the feet. They are down. We are looking down. We see them from above, we see the top of them. Keep in mind that. Of course, perspective and the position of the figure will affect how we are going to draw the feet and the entire figure, of course. To help you with that, you can always draw these perspective lines. They are going to help you. And you can even drag some lines to give direction to the feet. For instance, here, I can drag a line from the heel through the fingertips and have this line. And the same thing here, I'm going to have this line. And by having that, I will know how to draw the feed and avoid making that mistake in which I draw them from this angle. Now let's move on to drying the foot. We're going to begin with the simplified footprint viewed from the top, so it's in two D. When you're going to begin drawing the foot, you're always going to have three points here, here, and here. Now you're going to connect these three points and create a triangle. This line is going to be slightly arched, as well as this one. And this line is going to be heavily arched. And this is your basic shape. You're going to put this triangle in perspective and always get the right angle for the foot. The next step is to build a pyramid from this triangle because the foot will be drawn in free D. And since this is two D, the pyramid is going to look somewhat strange, but it's going to make more sense when we put it in fred. The first thing is figuring out the tip of the pyramid. Tip of the pyramid is going to be in the center of the ankle, and we simplify the ankle with a sphere, which will be here. And therefore, here will be the tip of the pyramid. Now, let's connect those three points with the tip. And here we have the pyramid. Now, afterwards, we have to put down three spheres, one for the heel, and two spheres here. Smaller one here. This is going to be for the knuckle of the big toe and a bigger one that is in a different direction. It's slightly rotated. Like this. From the top, it looks like an ellipse. But in freedi it's going to be rounded. And it's free also. Alright, and now we have the main volume for the foot. Note how these lines go just barely touching or overlapping our spheres. They don't leave a distance or they don't go over them, only touching the outline. The next step is the toes. Now, the toes are very similar to the fingers, but it's pointless to draw spheres between each cylinder, because the construction, the skeletal construction is different. So what are we going to do? We are going to drag a line, a arched line like this to establish the direction of the toes. Now we are going to put down spheres for the tip of the toes. Yout to start with the big toe? And then for smaller spheres, that are gradually smaller and shorter in distance between the center of the she and the natles. Keep in mind that there is a small gap between the big toe and the one next to it. Now, we are going to have only one cylinder for the big toe, and that's it. We are going to have one cylinder for each of the following three toes which will be divided in half each. And the little toe is going to have only one cylinder, and that's it. This is the basic construction for the foot. In free D, you are going to also put lines to establish the direction of each toe. That isn't always mandatory, but it will help you if the position of the toes is a bit complicated or if they are curled or bent or won over each other. Now, with this done and explained, let's move on to drawing the foot in the free quarter view. 23. Drawing the Foot (3/4 View): This is what we are going to draw. Let's take a look over it and make a quick recap. You are going to start with the three points, then build the triangle followed by the pyramid. Then we're going to have to draw the sphere for the ankle and then one sphere for the heel and two spheres for the knuckles. Remember that there is a gap between the big toe and the one next to and remember that trick I told you in the hand drawing video. But when we don't see each individual finger, only a small part of it. We're going to apply that trick here. It's very important from this angle is a characteristic of the foot. Remember that the edge of the pyramid is arched, which means we have an arch here and one here. This arch is called the medial longitudinal arch, and it comes in three shapes. But this is the most simple form, and beneath this arch, we have an empty space here. I'm going to add a bit of value to it. So that's the empty space. And how are we going to hint that only with lines? We are going to make this line go over this one so that it seems that this line, which will outline the heel is coming underneath somewhere here, which is entirely correct. With that explained, let's start the drawing. I've put down those three points, and now I'm going to make the triangle And now, the pyramid. See how arched these edges are actually. I couldn't show that in two D, but now I can show you that in freed. And this is the tip of our pyramid, and it will also be the center of the ankle. Like that. And now for the heel. I don't want to put the sphere for the heel too much away from the ankle because it's pretty close to it. In fact, I want them to intersect just a bit. All right, just like that. And then I'm going to have those two fingers for the knuckles. This one and this one. Alright now, I want to quickly clean this up. To finish the ankle, we are going to have to put in two smaller spheres, one here, and the other on the other side. We don't see that, but it should be around there. Now we have this fire here. This is actually a bone, and we are going to have to make this line with an angle so that we have that specific shape of the ankle. There. Now, let's make some sketches for the toes. We're going to start with the line for the direction. Alright, so the big toe is going to have this direction, a straight line. But the following toes are going to be slightly curled. We're going to have that. And the other ones are going to have the same thing only that they will be increasingly shorter. Get rid of that. Now, let's make those spheres have one here for the big toe, one for the one next to it, and the rest. Now we have that cylinder for the big toe. The one next to it. And the rest are just going to follow the one next to it. And that should be pretty much it. Now, let's finish with this area. I want to make another arch over this one. And I want to start it from here. That sphere, the knuckles. I want to start from here and drag it all the way to the ankle and then go slightly with the sphere, just a bit and then go up. As for the other side, we have here the achilles tendon. It's going to look like this. It's going to have a nice curve, and then it's going to follow the heel. It's going to follow the heel all the way to this point. Following this is going to be this area. You want to make this line on top of this one. To make that, we will simply start from here from the sphere of the big toe knuckle and follow it with a nice curve. I want to make it a bit long. Like that, and then start from here where we have the line of triangle and continue into the hell. That you do it. If you want, you can straighten this line a bit. Straighten that. Not much just a small amount. There. Yeah, for the toes. I'm going to give a little angle to the big toe. And we are going to have a line that's following the sphere and then going up over the cylinder. And then we are going to darken this line of the cylinder that connects to the sphere and follows this line. There you have it. Clean it up a bit. I'm going to clean the rest of them also. As for the toenail, the same with the fingernails. Have a darker e here. And a brighter one towards the tip. Next, I want to make a small bump over the intersection of the sphere and the cylinder and then continue with the cylinder until it meets the sphere of the knuckle and then maybe make another small bump like that. I want to clean this arch to erase it slightly because I want to show you a nice trick. Here, we have a bone structure. And this is an arch covering the top surface of the pyramid, so to say. And I want to make this line that's darker here at the bottom and goes bright upward. So this one. I want to make that and then I want to make another line that's following that erased arch to this line. But I just want to make it about this long. It will give the foot some depth and anatomy landmark that it needs in most cases. And what's left is to draw the rest of the toes and we are done. Did you do it? Another small pump there for the last knuckle, and we should be that another toenail here. The same principle, the same concept as with any type of nail. And that is it. Go to zoom out and clean this up a bit here. And we are done. Now let's move on to the next. 24. Drawing the Foot (Bottom View): This is a view of the sole of the foot. This will actually simplify our drawing by quite a lot. We will only have triangle because we won't see the pyramid. And afterwards, we will have the free spheres, a small amount of the ankle here and, of course, the toes. What's important from this view is the position of each toe. Look how the big toe is standing straight, and gradually next to it, they are curling more. And because of that, we see more of each toenail. If we were to connect them with a line, we would have a pretty interesting line. Going like this. And this is a relatively relaxed position of the toes. The next thing you would want to pay attention to are these lines. These lines give the salt some depth, direction, and definition. And how are these drawn? Well, when you draw those three spheres, you are basically drawing these lines from the beginning. We have here a part of the knuckle of the big toe, and then we have here the sphere for the knuckles of the other four toes, this line follows the heel and goes towards the sphere of the knuckles, and that's about it. So it's pretty simple and drawing. Keep in mind this small gap between the toe and the one next to it, and it should be done quite easy. The toes are going to be drawn with spheres. We're going to start with the spheres and then put the cylinders. What's happening here where we have the cylinder above the sphere, we're simply going to use a sphere and then pull it back a bit, so it continues into the cylinder, and that should be it. Now, let's draw this. There I have my free points. Now, let's connect them. Now let's move on to the spheres. In this case, I want to start with the direction for each toe. Thi should be pretty much it with the sketch and the construction. Let's finish off with the spheres for the toes. And then the cylinders. That you do? And there are those lines I was telling you about. Let me just clean this up and darken out the outline. See how I'm following the outline of the heel. It gives me that nice round shape. And then I'm moving into this one. I'm following that as well. Going inwards and connecting with the heel. As for those lines that give definition, simply following the spheres that were there and connecting them with these loose lines. There is this small part of the ankle that is visible and how to do that. But here's a little trick. We know that the tip of the pyramid should be around here, that means that the ankle is on this direction. Generally, there is a 90 degree angle between the direction of the foot and the direction of the ankle. Let me draw that here. So this is the direction of the foot, and this is the direction of the ankle. Here we have that 90 degree. That means the ankle is going to be here, and I want to make that small angle to it, and there we have it. Now, for the toes, I'm going to start with the little toe because as you see, the little toe is overlapping the one next to it and so on. So that's why I want to start with this one. I'm going to continue from the line of the knuckles, and I'm going to have this angle there and continue following the sphere. And that's it now to add toenail and done. Now the next one a small part of the cylinder is visible there. And again, a bit of toenail. The next one. Even less toenail this time. And almost the last one. I want to make this part especially dark because we have that gap. And for the big toe. I want to continue this line here just a bit inwards and on the other side, the same thing. Then continue the cylinder into the knuckle. And we are done. Just want to clean it up just a bit. And there, that's it. Out for the next diagram. 25. Drawing the Foot (Bottom 3/4 View): This is a combination between the two previous drawings. We have here the sole of the foot. This line differentiates the sole from the side view. We have here the ankle the achilles tendon and the toes, of course. Note the direction of the toes. Look at their direction. The big toe is pointing straight, and they're gradually more curled downwards. How are you going to start this drawing? Well, you're going to begin as always with the triangle, but this time you also have the pyramid. Keep in mind that due to the position and angle and the fact that the toes are pulled back somewhat it look somewhat strange, but the pyramid is going to have the arches here where the center of the ankle is, and a very small amount of the bottom of the pyramid is going to be visible. That's it. Let's draw. There we have it. Now we're going to go over a diagram with the mechanical function of the heel. It. 26. Drawing the Foot (Tiptoe): This diagram is very simplified version of the foot from side view. We have here the ankle, the outline of the heel, Achilles tendon, and the pyramid shape. Now, what's happening when the foot is extended? So when this pyramid rotates so that the toes are pointing downwards, a lot of muscles are working to create this movement. But we are interested in the bones and how they behave within this movement. Some of them only pivot and some of them slightly move their position was the heel and the tarsal bones from here rotate entirely. So they change their position entirely. That means that this arch here is going to move here. And the heel or this arch is going to move here. Now I'm going to slightly erase the previous lines. And stick only with the new ones. You see how the tip of the pyramid changed its position from here to somewhere around this point. And now we have these two points here. So what's going to happen with them? You might think we will connect them with a straight line, but that's not true. We're going to have an angle to that line. It's not curved. It's a steep angle. And it will create something similar to this. Now, the heel is going to be here. So let's just sketch that in with this shape. And the achilles tendon is going to be here. It can be either relaxed or flexed. Of course, here we are going to have the knuckles for the toes. And it will create a shape similar to this one. Now, keep in mind this is exaggerated a bit just to demonstrate the principle, the mechanical principle behind the movement. This change in position will create something that is overlooked in this position when drawing the foot in most cases. We will have an arch here and another one here, and only then we will continue with the shin. So there are actually two arches here. And why is that? It's because of the shape of the tibia. It comes down. It has that sort of shape that continues here. Now, here we have the ankle but here we have a number of smaller bones. And after that, we will have the metotarsal bones that will continue into the toes. I've exaggerated this by slight. I haven't exaggerated that much, but I'm darkening these lines so that you can see these two arches. This is a pretty important trick to know to make these in your drawing because it will give the foot in this position credibility. It will make it look real, and it will give it a certain depth and feel to it. And we're done with this. And now let's move on to the last drawing. Since I just explained this position of the food, you should be able to draw this on your own without any help whatsoever. Keep in mind that this is slightly in free core view, so you're going to have to adjust the spheres and the triangle accordingly. And another thing to pay attention to is the position of the toes. Look how the big toe is straight whilst the other toes are in this position. They are having a certain direction. They are straight, then up, then straight again. Let me see them in. I see they have that position and orientation similar to a staircase. And the little toe is almost straight entirely. Wow, further ado. Let's start the drawing. And do we have? I hope you enjoyed watching this video, and here is a small assignment I can give you to practice drawing feet on your own. As with the hands, ask a friend, a relative or a parent to pose for you. But if they don't have enough time, then take pictures of their feet in different positions with different gestures with the toes and different positions, curling, bending, one sitting over another, so on. And the best advice I can give you towards that is don't be afraid to draw angles or positions which you are not comfortable with. Don't be afraid to draw them because that's how you can master them and be comfortable with them by drawing them and tackling them head on. I've given you the information that you need to draw them, and the rest is practice, practice, and practice. So with all that said, good luck. 27. Shading Basics - How to Hold the Pencil: Let's begin with ways to hold the pencil. This is your average pencil. It doesn't need a special introduction. The most common way to hold a pencil is by using a tripod grip or a writing grip like this, you're going to hold it with your thumb index and ring finger. And the best way to position it is to put the middle of the index finger on the middle of the pencil. This type of grip is perfect for accuracy. You're going to make very exact lines, and it's perfect for rendering and detailing. Let me zoom in. So you're going to have these lines, and you're going to have a lot of control over those lines and how they will go. But the downside to this type of grip is that you're going to have a very, very monotone line, and the only luxurity is that you have pressure variation. You can have dark lines and brighter lines, but that's it. They all have roughly the same thickness. And if you struggle, you can use more of the lead, but it's very hard to twist all of your hand to have a more flexible line. And in this case, we would have another type of grip, namely this one. You're going to hold the pencil with all of your fingers on the top of it, and on the bottom of the pencil, you're going to put your thumb. And you're going to hold it like this. You turn this paper and zoom in. As you're holding the pencil like this, you can have a lot of line variation. You can use the tip of the lead or the side of it to have these thick lines, shorter lines, thinner lines, darker lines, brighter lines. It gives you so much variation, and you have a very plastic line with using this grip. You can add some very, very rough shading like this very fast. It's very good to use this for surface shading. When you have a a large surface, you want to cover with the exact value you're going to use this grip. And you can also shade with lines, not just surfaces. It gives you basically a lot of control over the outcome of the lines of the drawing, of the shading of the value of everything. It's very flexible in contrast to the tripod grip. Now, each of these grips are good in certain situations. For instance, the tripod grip is perfect for rendering, as I told you earlier. You have a lot of accuracy with this grip, and you can make very, very small details and textures with this. And also, shading is pretty comfortable with this grip. You can have soft blends. Let me adjust the angle of the camera. So you can have soft blends like this, but they can take a lot of time, but you can make them. You can shade with lines and you can even follow forms with lines to create a certain type of shading. Now, with this grip, you can make very beautiful sketches and fast drawings and shade very, very quickly, make a surface really fast and have a lot of pressure control can go from thin to dark gradually. But with this grip, something interesting happens. For instance, I have this line here. And if I follow that line with this grip and try to move to the left and right and add more pressure on the inside the surface. I will create something like this. It looks like a very blurred line. And that's the beauty of it because I can make a sketch and redraw over it with more exact lines and keep on repeating that until I am satisfied with what I have. I can easily erase the lines that I don't want and leave only the darker, more exact lines. That's why this grip is very useful and very good for sketching and adding some very, very rough shades and values. Now, let's move on to different types of pencils. 28. Shading Basics - Types of Pencil: This is a mechanical pencil or a clutch pencil. This one uses 0.5 millimeter leads. So you see that this pencil has a very, very monotone line. It has the same lines. No matter how much pressure I apply, it will always have the same thickness. And that's roughly the beauty of this type of pencil because I don't have to sharpen the tip that often and if I use harder leads, for instance, two H leads, I can make a very, very exact and transparent construction to the drawing prior to applying value and darkening it and rendering it. This is a good thing about clutch pencils. Besides lines, I can also make surfaces and shade, but it takes a lot of time. It takes a lot of time, but rendering has to take time because you have to pay attention to those details that will add up and give your drawing life. Now this is a clutch or mechanical pencil that uses a two millimeter lead. It has a very thick lead compared to the five lead. You can see the difference there. And let's see how this works. First of all, covering a wider surface is easier with this one. And since the lead is so thick, I can have more line variation and have a plastic line. And I can even hold the pencil like this and really have a lot of line variation. This pencil can be used either with the tripod grip or with this grip, and this one will always be exclusively to the tripod grip. Now, besides these pencils, I want to show you something interesting with the regular pencil. There is a different way to sharpen it. Let me put those aside. So this is the regular way to sharpen it. You're going to use a normal pencil sharpener. And there is this to obtain this type of tip, you're going to use a box cutter and remove the wood from the graphite and leave out as much graphite as you can, something like this. This has about a centimeter. This is quite useful for sketching. As I told you, with this grip, you'll obtain those blurry lines, and it's perfect for sketching and shading and so on. But in contrast to to the regular tip. When you're going to use this one, you're going to be very careful to not break the lead, and that will force you to go from soft to darker tones gradually, and you won't have to worry that you go too dark from the very beginning. And this gives you the most of the lead you have every possible way to use it when sharpening it like this. But eventually, the tip is going to get dull, so you have to sharpen it again, but you are not going to use the box cart. You're going to use a small part of sandpaper. And how are you going to sharpen it? You're going to put this as horizontal as possible and shade on the sandpaper. So like this, and then rotate it a bit on the other side and keep rotating slightly as you shade on the sandpaper and you will create a tip on the lead. And now you can have very thin lines that are barely visible and have surface and very thick lines. Even though I presented you a few types of pencils and a few grips and a few ways to sharpen it. The way you are going to use it depends entirely on you. You are not going to draw with a certain grip or with a certain type of pencil throughout an entire drawing. You're going to switch between them. You're going to use them in certain situations. And, of course, you're going to use what you feel most comfortable with. If you want to make a drawing from the beginning to the end with a clutch pencil, then do it. If you feel good when doing it, if you're comfortable when doing it, use it. If you prefer pencils, use them. The only thing is that you have to have a good drawing in the end, no matter what instrument you use. 29. Shading Basics - Different Types of Shading: Now, let's talk about different types of shading. Alright, so the first type of shading is when you make parallel lines one next to each other at a 45 degree angle. And you're going to use the tripod grip for that. This is the most common way to shade, and it's basically the easiest way to do it. You can't get it wrong when you do it like this, although this is the most time consuming of all the shading times. The other type of shading is at the other end when you hold it like this and you follow the form of what you are trying to shade, so let me just make this cylinder end here. You're going to hold a pencil like this and follow the cylinder and create the form. You're going to follow the form and slowly render it. You're going to do it with parallel lines. That's one way of shading with this technique. Or you can make a surface like this without following the form. And there is a midground between these. When you hold a pencil like this and shade a surface very roughly and then come in with the tripod grip and give the finer shading to certain areas to make it a bit different. As I said earlier, this is generally done when you sketch values in and try to suggest the form of something. And after doing this sketch, you will come in with some very exact shading and some rendering and so on. Besides this, there is a way to create a neutral surfaces. And how do you do that? Going to draw it here. You're going to make that 45 degree shading like this. And then come over crosswise with 45 degrees. And by doing so, you create a grid and it will create a neutral surface. This is generally used for the background of the drawing or the areas that are supposed to be background or everything else that is not point of interest. So for instance, you have a still nature. You have a sphere on a table, and you want the entire focus of the viewer to be concentrated on that sphere. That means that the table is going to be shaded with this. When you're holding the pencil like this, this is a very good way to render and add values to wrinkles because you are going to have a very fluid line. So as you see, this covers a lot of surface very quickly, and it allows you to go from bright to dark without worrying about certain mistakes. And once you are satisfied with what is here, then you're going to, of course, use the tripod grip and start rendering what is there. Keep in mind that with the tripod grip, you're having a lot of pressure available. You can add a lot of pressure to a line. Let me show you that here. You can have a very, very dark line and then a very bright one fast. Whereas when you're holding it like this, that's about as dark as it. S. I'm really struggling to get very dark line, but I can't without risking to break the tip of the pencil. And this is the main difference of using these two grips. You're going to use the tripod grip when you want to get really dark shades and even the brighter ones when you're trying to render something. And when you want surfaces and shading sketches, just to catch the rough value of a element you're going to use this grip. Now, of course, that the other types of pencils, the mechanical pencil, this is perfect for rendering because you're always going to have a constant line. It will have a constant thickness, no matter what. You can afford to take your time and pay attention to what you're doing and focus on the small details with this. Now with this explain, let's move on to adding value or shading a few simple objects. We're going to start with a sphere and then a cylinder and lastly, move on to a body part. 30. Shading Basics - Shading a Sphere: Let's start by drawing the sphere. That you do it? Now, we have to establish the direction of the light or the position of the light source to be from here. So the light is coming from that direction, and it's going to hit our sphere in this area. Now, what's going to happen? You're going to draw on the sphere a few ellipses like this. First Second. Fourth, and another one there. Why did I did this? Well, this is because light behaves in a certain way when meeting a sphere. We are going to have a shade that's going from very bright here, where the light hits the sphere, gradually darker as we get to here where it's almost dark. The equator of the sphere is around here, and there is a way to find that equator. By following the direction of the light all the way to the center of the sphere, we can make a ax that has a 90 degree angle towards that direction of the light. And thus, we will have the two points intersecting our sphere here and here. And from those points, we will create our equator. Light all of the sphere from the brightest point, all the way to the equator and from the equator towards the back of the sphere, we have shadow. That means that we are going to have a gradient of tones from the brightest to the darkest and we are going to have some bounced light back to the bottom of the sphere. Light comes in from this direction and it doesn't stop on the sphere. It goes all the way around it and it engulfs the sphere and light. And on the surface on which the sphere is sitting, it will bounce back on the back of the sphere. And from this, we can calculate now the shadow of the sphere. So we have the direction. Again, another direction we are going to make parallel to the direction of the light. So this line here and from the surface on which the sphere is sitting. So the contact point, we're going to draw a horizontal line towards the line from here, you will get this intersection point. And now between these two points, we will have a ellipse that will be shadow of the sphere. Now, I want to make it just a bit more wider than that point because we have the same effect happening here, which will create an ellipse that's going a bit beneath our sphere. So from there, all the way to there and back. Now to make things clear, I want to draw here a edge of the surface on which the sphere is sitting. We will use that later for some compositional corrections. Now, having everything figured out, let's start shading. We will begin with the brightest points here and work our way towards the dark shades towards the back of the sphere. All right, the first thing to do is to add a base layer of bright tones. That's what I've just done. I've added that base layer, and I've left out white here and here where that bounced light is. And now you can take this script and start following the equator and those ellipses I drew at the beginning and start shading the sphere and giving it the All right. Now, I want to clean up the edge of the sphere just slightly. And on this side also right that you do it. And now I'm going to take a pencil that has a softer lead and render the shadow. So the darkest points are going to be here. Let's make a small ellipse there. So that's actually the darkest part of the shadow, and I'm going to make another one slightly larger. Where we have, let's say, midton and here we have the brightest tones from that shadow. So let's begin to begin with the darkest part this time. I'm going to add, let's say, pure black there. Now, as I'm gradually going towards the edge of that large ellipse, I'm going brighter. That should be enough. And now for the last part is this. I want to make over this line just a little bit of shading, but I want to use the tip of the pencil and create that neutral surface I was telling you about. So I'm going to begin very dark near the sphere, and as I go away from it, I'm going to use slightly brighter lines. So let's begin from here. Something like that. And as for this side, I want to do the same thing only I want to come up all the way here. I'm taking a pin piece of paper, and I'm folding it in half so that I can put it over drawing on this part so that I won't smudge the graphite with the palm or the bridge of the hand. Now, let's create that surface. Seems that this pencil is going to be dull shortly. So let's sharpen it. There we go, much better. Right now. I'm just going to rotate it a bit. It's more comfortable to do it again, at a 45 degree angle. But as I rotated the paper, that angle is going to be now crosswise to that first angle. They want to work this area a bit more. It All right. And make one very dark line, a lot of pressure towards that edge of the sphere. I want to follow that edge and bring it out as much as I can, like that. Same thing on this side. I want to do the same thing. But as I go towards the shadow, I'm releasing pressure and making that line brighter. Same thing on top here. All right. Now, with the eraser, I'm going to correct some of the overshading when I made a few mistakes along the way. These shades that go over where you don't want to eventually happen. So you're going to pay attention to let those happen in areas where you know you're going to erase afterwards. So I knew that I'm going to erase some highlights in the sphere in this region. So I afforded to make those small errors. All right, so there, and let's make that bounced light down here. A bit more. Like that. Going to zoom out and work a bit on the shadow. It's too hard. I want it to be a bit more softer. So I'm going to erase the edge of it just slightly and on the area where it's brighter and then take a paper spread. And spread that graph a bit and make it blurred towards that first edge it had. Did you do the trick? Now I want to me again. There. Just a bit. And that's correction. And now I can take the clutch pencil and give to sphere some final rendering. Just a simple, clean shade with lines, small lines and make them gradually darker. And this should be it. 31. Shading Basics - Shading a Cylinder: Draw the cylinder. Go to start with the main axis, then define height for it and draw the top surface and the bottom surface, which are going to be ellipses. All right. Now, the same thing as we did with the sphere. We have to establish a direction for the light. And this time, I want it to be hitting the object here. So the light is going to come from here and it's going to hit the object here. And that will create the same thing as it did on the sphere, but we don't have ellipses here. We have only these vertical surfaces. And of course, we have a damped light back on the very edge of the cylinder. But since the light is hitting here, we will have this direction coming from the center of the cylinder and going through that point, we'll create this direction. Now, this direction will cast a shadow parallel to this line. This will be the shadow, and it will be about this though since it's coming from above, and it will shorten the object in perspective. All right. Now, let's start adding value to it. I'm going to begin by adding on the top surface, a base layer like this. Et me seen. And then I'm going to do the exact same thing only with vertical lines on the edge of the cylinder. That will be my darkest area on the cylinder. And from that towards here, I have only brighter tones. Now, if I am going to do this on the entire surface is going to take a lot of time. So I'm going to use this grip to get surface and to finish it faster. But even though I'm using this, I'm going very bright from the beginning. And then another one slightly darker. And another one. It's all reading to get that volume I wanted. Tone here. And that should do it. Now, I can either continue with this pencil or take the clutch pencil and start making that fine shading. But for this part, I prefer using the clutch pencil because I don't have to sharpen it, and this is the most time consuming part of the entire process. Right now I can take this pencil again and I'm going to rotate this a bit and follow the form, I'm going to start dark and go bright. And by doing so and repeating this process, I will create that round effect of the cylinder. Again, shading is the most time consuming part of any drawing. I want to add there just a bit more value. Like that. Now for the shadow. All right. And now for a few final touches, I want to make the bottom of the cylinder really dark so I go towards the shadow and slightly blurred towards the outside. I like that. No, I want to continue that bit up like that. And create these lines. I want to add some darker shade on this area, but only a small line to define the shadow really well. And up here, another one, and that's it. So Now, with the eraser, going to brighten this area like that, remove some of the graphite from here. And going to create a surface about the size to add this line there. And should do it. To make sure that what you are erasing is straight because I have there that curve line which I don't want. First, I'm going to spread the graphite a bit. Then I'm going to put a piece of paper like this and use the eraser to erase a very sharp edge to the highlight. There. Did you do it? You know, again, same thing for. That side. And almost done. I just want to add a little bit of shade there. And we're done with the cylinder. 32. Shading Basics - Shading a Torso: Won't be our last drawing. It's a torso, and it's in a slightly twisted position because the chest is leaned back a bit, and the lower abs is actually a bit in front. So I'm going to take this piece of paper and draw here a profile view of this. Zoom in. So we have the chest with the panks there. The abs here are going down. And in this area, the chest or the ribs are slightly outwards here in this area. They are slightly outwards, which means that we are going to have a lot of shadow or darker values here. Here we are going to have the obliques coming out slightly, and then going back in. Which means that means them out, which means that we are going to have light here and shadow here. And as the light is falling from the top, you have light, shadow here, light here, shadow on the abs, light here, and then shadow again here. If we transpose that here, it's going to be light, shadow, light and shadow. Another thing to keep in mind is that the torso, when viewed from the top, looks like this. Thus, when we have light coming from this side, we will have the shadow on this side, on the opposite side. In this case, lights coming from here. This is the direction of the light, which means that we are going to have light here and then shadow here. Overall, our darkest area is going to be this side, especially here beneath the pack. Alright, so that should be the introduction. Now, let's continue with shading. Go to start by sketching in some surfaces and then gradually going darker. And lastly, I'm going to take the clutch pencil to add that fine detail in the end. Once that is done, I'm going to add some high light. And with a softer lead pencil, I'm going to add the darker shadows to make a fine contrast between light and dark and give the torques some depth and some extra volume. So I'm going to begin let's say from the top. I just want to finish drawing the neck muscles. All right. And let's begin. All right, so we are nearly done with this first layer. Just want to add some darker values to bring forth the form. That should be enough. I'm going to take the clutch pencil and add another layer of shading. Especially to defined darker areas. Now, since the torso is fluid, it's not geometric, it doesn't have surfaces. It only has these curved surfaces. It's not a plane. I can follow the form with the pencil. And how do I do that? Well, I'm going to take lines and simply follow the flow of the muscles and give them some definition specially on darker areas. Right now, I'm going to take a pencil, and I prefer, for this part using this type of tip. And with the tripod grip, I'm going to adjust some tones on certain areas and darten and um As you see, I'm following a certain flow or pattern. I know that the abs are freed, they go in towards the edge and they come out towards the center of them. That means that my brighter tones are going to be in the center of each ab, and I can afford to go dark towards the rib cavity or when they touch each other. Right now, it's time to add some highlights. Go to take the eraser and carefully erase certain parts. This I want to use a circular motion for the abs and the pecks. Like this. Yeah. I need to make a small contact surface for the urine for the abs. And I'm going to make them very bright up here like that. And as for the rest, as for the rest, going carefully move just a bit As I'm going lower, I want to remove more. And here I want to make something like that, a belt of light. I want to continue that like this. All right. Make that transition area softer. And finally, add a bit more contrast on the side. Here, few details like Make sure I have a bounced light here on this side, like on the cylinder and slightly remove here a few strokes of graphite, so I can suggest or hint some bounced light on the muscles in that area. What should be enough. To make everything blend in more, I'm going to use the paper spreader. Blend in a few of these details. And again, as a bit afterwards. I can even use paper spread to add some value here and there. Not much, but just add some shade, some blurred lines. It's easier to take graphite from darker areas and replace them somewhere else. Something like that. I know that between the pecks, I have a small line. I want to mimic that taking graphite out of darker areas and creating that ix ag line. Like that. And I want to adjust the highlight again. Always make sure that you have the right tip for the eraser to do what you want to do. Like, that should be pretty much enough. Now I'm taking the softer lead pencil to add the final contrast, and the drawing should be done. So as you see, I'm starting dark and gradually going brighter in a short area or a longer area, like here, wherever I can afford it, and also make these suggested lines that offer depth to certain muscles. I'm going to push really hard to get that dark tone out and put it in where most of the shadows are. And as you see, I'm using a shading on the shape. I'm following the shape. And as I advance towards the light, I'm going brighter and I'm creating strong contrast between dark and the light. Okay. Right there and here and I can continue to do so until I'm satisfied with the drawing. What to make here just a slight patch of dark. There that gives the drawing a lot of depth now, same pin on the other side. I want to make that part larger and continue here to make it darker. Here as well. All right. Again, with the paper spread, I want to spread a bit of graphite there. There there just a bit and get a bit there. This area seemed to be too bright, so I'm trying to darken it a bit without using the pencil. Won't have a soft blend. Like that. No, I'm going to take the erase or make a very thin edge like this and follow this line here. It will give the drawing a little bit of contrast that it needs. So that's that. And just some small patches of light on each ab. Just a quick quick erase one line on each one, one, one here. Is one I want to make that fingers. I'm going to insist on that area. Not completely satisfied with this area here, so I'm going to add a little value to it and leave it like that maybe straighten this part, make it equal to rest and insist a bit here on this side. I want to erase that area there, bit so I can add the navel to it like that. Now for the nav, I want to have it a certain direction. I want it to be slightly tilted, not vertical. So I'm going to make this ellipse and continue to insist on it and make it darker where the light is hitting from. So the light is moving like that, and I'm going to have it on the top side darker like that. And just pin up this on the side, and that's it. To some mouth. And this is the torso shaded and finished. 33. Full Figure (Overview of Reference): Hi, and welcome. In this video, we are going to draw a full figure from the beginning to the end based on a reference image. The figure is going to be a female nude, and we are going to divide this video into two major parts. The first part is going to be about constructing the figure. We're going to start by sketching it in, by measuring it, by checking if what is on the reference is correct to what we have on paper. And afterwards, we are going to refine the drawing until we get a polished and good looking line art. Afterwards, in part two, we are going to shade that line art and create from a flat to the drawing of lines, we are going to create a three D figure that has volume and depth. Let's begin by introducing the figure and analyzing it a bit. Now, let's look over the image. The head is in a simple freqor view, slightly tilted backwards, but that won't give us too much of problem. The hair is in a pony tail, so it's going to be pretty easy to render. And moving on to the spine, the spine is actually following a very nice arched line from here to here. And from that point, you can continue that line towards the tip of the foot. This line will give us a very important guideline on which to add the elements, such as the hips, the shoulders, torso, and so on. It's going to be easy having these landmarks put in because of that guideline. Continuing, we have the arms that are holding the weight of the torso, specifically the chest and the head. Look how the chest gives the impression of hanging from the shoulders. It will create this V made from the clavicles or collar bones that are going to connect with the sternum or the middle of the chest. Note that the face is facing one direction, and the chest is facing the opposite direction. An interesting thing happening with this figure is that we have to pay attention to two specific areas, namely here and here. And why is that? It's because certain parts are behind others. And even though we don't see, for instance, here, we don't see the shin bone of the lower leg only here from the beginning of the knee, and we don't see the clave muscles from the lower leg as well. We have to draw that or simply hint that in constructing it so that we know how to place what is visible from the foot. The same thing is going to happen with the chest here. We know that the chest is round or cylindrical, so it will continue behind the arm a bit. I'm going to take you step by step, and we are going to begin by measuring the head. 34. Full Figure (Drawing the Outline): I want to measure the height of the head, which in this case should be slightly over 4 centimeters. And now I want to measure the entire height of the figure, which is slightly over 15, which means that the head fits in roughly about four times. Now to check the entire width of the figure, almost 19.5. So the head should fit in about five times in width. Now, having this ratio of four units tall and five units wide, I can convert that to my drawing page. Going to measure to see how we can fit that in. I think a good 20 should do it. Simply mark a point there and here. And if we divide 20 centimeters by four, we will have 5 centimeters. So one unit is going to be 5 centimeters. Right? Now, let's measure the width. Should be around 25. And I want to place that here. Now, I can continue to measure a few landmarks that I know how to place the head, the shoulders, hands, the knees, and so on. The first thing I want to measure is how to place the head. I'm going to measure the distance from the chin to the edge of the figure. 4 centimeters here, so that's roughly a unit on the drawing paper. That means about 5 centimeters. So I have the head here. I'm using this sketch grip, and I'm holding as far away from the tip as I can because I want to use soft lines and barely visible lines. This is a H pencil. It leaves pretty bright lines behind it. And with this grip combination, it's pretty good tool to sketch and to start the figure. Now, let's move on with the measurements. The next measurement I want to make is this. So one head below the chin, we would have this area here, this line on which we would have the lowest point of the breast, this line of the hip and the beginning of the sternum. So one in the down should be here. And I want to suggest that. All right. The next thing is going to be this area. So from here from the beginning of the sternum to there we have about a unit and a half. And from that point, we will have a descent towards the knee. And from the knee to the lower part of the sternum, we have two units. So one, two, there, and here. And a half should be about 7.5 centimeters here. And now I can continue with sketching in the arms slightly suggest the hands, the legs, and the feet. Going to begin by giving the chest a direction and continuing with collar bones that are creating a V shoulders. And now that line we used to define the direction of the arms. Note how this arm has a slight arch and this one also. And they tend to be more apart from each other at the elbows and closer at the hands. Just to be sure we are not making them too short, I want to measure that again, so have a good unit and a half, roughly. Let's measure that as well. And right on the spot, almost a unit and a half. Now I'm drawing that line for the hip. There. And the lost part of figure is going to be where the knee is. And I want to place the knee right there so that I can connect the hip with a smooth line to the chest. I'm going to zoom in, show you exactly what I mean. This line is for the hips. And we know that hips are starting from here and following a line. We have here the knee and the leg. Drawing in the cylinders for the leg so you can see them better. And from this point of the hip, I'm going to drag a line straight for now, all the way to the chest. And at the chest, I'm going to draw this arch for the stomach and that cavity in the middle of the chest. For now, for this stage, this is more than enough. Now, I want to continue with the lower part of the legs and the feet. We know that this leg continues in that direction, as we can see here, it's coming down and going up, and this one is continuously going down. So let's try to suggest that. I am using a straight line to suggest the direction of the shinbone for the leg that is hidden. I will probably finish around here from which the foot is going to start. Or let's place it be here due to foreshortening. And we will have the foot there. Was this leg erase some of it. While this one is fully visible, it's going to have a lot of detail that we are going to go through later on after finishing the sketch and starting to refine the drawing. And for the foot, I want to put there a simple shape to suggest it only. That you do it. I don't want to go too much in depth at this point because I want to have the overall figure drawn and afterwards, start refining it and correcting it. Now, for the hands, I'm going to establish the elbows, first of all, and there that should do it. I want to place this arch bit lower. All right, like that. And now I'm simply going to add the cylinders and the spheres to give that initial volume to the arms. Y. The last thing to add to the initial sketch is the object on which the figure is sitting on. We know that it's a rectangular surface, so it has pretty good perspective, and we have to suggest that. Note how this edge here goes slightly above the foot beneath the knee and is ending here, beneath the wrist. Beneath the wrist should be here. From there, we are going to drag a line all the way to the foot and beneath the knee. And from these two points, we're going to drag some verticals down like that here also. That edge, and we're going to follow that edge back. Go to follow that there. And from this corner here, we are going to make the perspective line for this one. I think they should meet each other roughly around here. I'm going to erase that again. And erase a bit of the lines that we don't need now. I'm going to start refining the sketch through erasing certain parts of it. I'm going to zoom in. So that you see what's going to happen now. O we're going to start to focus and give a little definition to this area. We're going to begin with this area. We are going to hint a few of the characteristics of the face, the line of the eyes and the eyebrows and the middle axis. Afterwards, we're going to focus a bit on the shoulders, collar bones, neck muscles, and the breasts, followed by the arms and stomach or abs. So let's begin with face. I said slightly tilted, so like that. There we have the middle axis. I want to adjust a few things on this arm. It's a bit too thick. I want to continue with drawing this shoulder. As you see from the shoulder, we have a arched line. We have a bit more curve here. And then it flows back in a bit. It follows the normal direction all the way to the elbow. So it goes out a bit and then it comes in, and there we have the elbow. And that's our collar bone. Has this nice arched line, goes up, goes back in, comes up again over the shoulder. From there, we have the neck muscles in this area and in that one. You know, for the neck, a simple straight line there, and other one there. I don't want to have a steep angle there, but I want to have a nice smoothness. And how do you achieve that? You're going to follow this one. Going to follow this line here and go all the way following through the back of the figure and coming out again at the shoulder. And from there, we have the collar bone, again. So it goes up, comes down and goes up again. The same thing is happening here. We have a bit more thickness, then it goes back in as it meets the elbow. You remember that there is that small gap here, and here we're going to have another one. And that these gaps are underneath the color bones. From this arch, I want to take a line and draw the sternum. And from where the sternum starts all the way down, I want to drag a nice arched line. So like this and that so that it's following the stomach and the surface of the abs. And that line is going to go like this roughly. I do raise here and here. And a bit there. Now, how are we going to draw the breasts? First, we are going to establish their angle and their position. If we look at our image, we'll see that they are almost on the same height. This one is lower than this one, so we're going to have a arched line like this. And now we can place her actually two spheres. Like this. And this. And why is that? Because I want to take the pencil. At first, I'm going to finish the chest or the rib cage, in this case. Once I have the rib cage drawn, I can now draw this breast and actually don't go out that much. As you see here, it's only slightly outside of the line of the rib cage. And that's what I want to do here. Only slightly out, then back in. As for this one, I'm simply going to withdraw that sphere, the lower side of the sphere. Like that? I kind of continue to draw this arm. Note how there's that small gap between the line of the breast and the inner line of the arm and also how this line has a tendency to be vertical. So from here to here we have a straight line, and afterwards we're going to add that definition to the muscles. Okay. Okay. Now, look at this forearm. Not how the elbow is there, but it goes in. So it's going to be covered with muscles. The figure is not that athletic, so it won't have that much definition. We know, on the other hand, how the muscles cover the bones, and we can't hint that We can hint that the elbow is going in and that it's covered with muscles starting from the back and going over it. Same thing happening on the front side. We don't have that much definition, but we can use the knowledge to help us draw the outline. All right. And now let's look at this area. Going to cement. Not how the abs are going in, they are forming this V shape again. And we have another line covering the outside of that V. And the same thing happens here. What's actually seen here are the muscles that are covering the exterior part of the abs. So the lat muscles, we see those And we also see the rib muscles and the obliques. So we are going to draw that V. I want to make a pretty strong line with a powerful arch going in and then a more softer line following the outline. Like that. I want to just this one, make that strong as well. And slightly hint that effect here. Now, let's continue to the legs, first of all, and then we're going to continue with this area. First, I want to finish drawing this upper part. As you see in the figure, we have actually two slight bumps here from the obliques, and here for the glatias maximus and the rest of the muscles of the upper leg. So I want to put that in my drawing. I want to have a arch line, small arch there. And then continue with another one there. Afterwards, at this point, I'll have another one. Now, we've drawn this part of the cylinder and we actually have it here. So that's this line, and we're going to follow that line. We're going to follow it down. And because the legs are one next to each other and they're pushing against each other due to the weight, that line is going to have this effect. It's going to go down. It's going to go in and out again as it reaches the knee. And as for the knee, in this case, you can see here very clearly the free surfaces. We have one surface here continuing to the shin bone. We have the upper surface on which we have light hitting it, and we have this surface going towards the stomach where we have shadow. You can use a simple trick here by drawing those surfaces. Now that you have the surfaces, you can nicely draw in the shin bone and also draw the area where you're going to have shadow. And by doing that, you already hint the general construction of the knee. What's left or this lower part. And if you remember, you're going to draw that by using two circles, first one and the second one. Tell me about that. Look here at the calf muscles. Look how they are going out here and here because the leg behind it is pushing it forward. That will push the muscles and the soft tissue back towards the bone, forcing it to move either up or down which will make us just angle. Have two lines going up, down and continuing to ankle and down, we're going to have the same effect. Now, for Disney, we're going to use the same principle drawdo surfaces. Roughly there. And when you look, you'll see that there's actually this continuous line going all the way from here to here. And we have very little definition to the knee here. This part that's continuing with the shin bone towards the foot. So we're going to have the first circle and the second one there. But I don't want to go too over the top with this lower line, so I'm going to make it a bit thinner and note that there are actually two small bumps there. We have one there and another one here. I'm going to draw that one there. Barely visible there. And another one there, a bit more visible this time. And why do we have them? Well, the reason for that is pretty simple because that soft tissue there is pressing on the edge of the surface. So we have here the edge of the surface and here. And the soft tissue is there. And what goes over that edge will actually go down. So that's why we have here these two small bumps. Alright, and to finish drawing this leg, we would have a pretty dark area here. I just want to hint that there and and we are done with the initial sketch. I want to take some time and refine it in certain areas mostly at the arms. 35. Full Figure (Drawing the Head): Okay. For the next part, we are going to focus on drawing on a separate piece of paper, the hands, feet, and the face. The reason for doing that is to get comfortable with these parts so that when we are going to draw them here, we will know how to draw it and maybe take some shortcuts on the construction and maybe draw only the outline of them and refine that outline because these are pretty detailed and small detailed elements. And we can't afford on this scale to go in with a pretty rigorous construction without making the drawing too complex or having in that small surface a ton of lines that will only complicate things and make mistakes very likely to happen. So that's why we are going to draw those three elements separately and then draw them on this paper. But before doing that, let's try to clean up this drawing a bit. Okay, now that the drawing is cleaned up a bit, let's take a quick five minute break to refresh the yes. And by doing that, once we return to the drawing, we might see a few mistakes. Taking breaks is important, and you should do that probably once every hour or so or every 45 minutes. Whilst drawing your eyes are going to get used to what's in front of them and you might overlook some mistakes. That's why taking breaks is important. And we are back. The first thing that popped into my eyes from returning is that we haven't drawn these details here. So the obliques. And I want to draw them in. They're going to follow that V of the abs. So there and there, I just want to hint that like this. And I haven't drawn this part of the leg that's visible and the part that's covered with shadows. So I'm going to draw that now. And I should be it. All right, here's a quick trick you can use. You can actually turn the paper upside down to see if there are any obvious mistakes. By turning the page upside down, you are actually going to trick your mind into fking that this is a totally different drawing. And at a new drawing, one that you have never seen before, you are more likely to see the mistakes or the quick faults. Here we have a close up of the face. The most important aspect of this is that the head is slightly tilted. Not much, but enough that we can suggest. After that, we have neck muscles that are obviously visible and the way shadow falls on these surfaces and how light bounces off some of them and how light reflects. Due to the fact that it's a young female, we don't have sharp edges. We don't have wrinkles. We have only smooth surfaces that we are going to render through shading. Where are we going to have dark lines and construction lines? It's going to be this area of the neck and where the collar bones are. And that's it for the face, we have to use the minimal amount of lines so that we'll have a clean drawing in the end. But for this purpose, we draw on a separate paper and at a bigger scale because once we shrink that and draw it on our actual drawing, we will know how to draw it and we will use the minimal amount of lines. So let's begin here. I want to make sure this will fit in. I'll start, of course, with the main axis, which should be this one followed by This sphere. And on that sphere, we are going to have symmetry axis line of the eyebrow, the nose and the chin here. So 12 and free. We are going to connect these lines here, the jaw line. And here to bear. Now, to be sure that we have a resemblance, a very important factor in creating resemblance with a reference image is the roundness of the face. So the main structure of it. That being said, the chin, jaw line, and the cheek bones. So for that, we're going to make the chin bit shorter. Like this and make sure that the face is round. For that, we are going to make the cheek bones here, go out a bit and then in sliding out again for the arch of the eyebrows. Back again and up. To dis, I want to add simple with a few lines, the neck muscles. Collar bone. And shoulder here. And on the other side, the neck. I'm just going to add some quick value for the gaps beneath the car bones, and here. Now with that done, I can erase some of the construction and continue to draw the face. And what's going to be important here is the shape of the nose. See how the nose is small and very smooth from the forehead to the tip of the nose. So we have a very smooth line, no hard edge, no surfaces, just smoothness. How do we indicate that well, between the eyebrows, we are going to draw a very line, very smooth line like this, go a bit inwards, and then continue out. So we are following the smoothness of the reference image. Once we have that, we can draw the nose. Like that and have here the lips. I simply want to avoid is making this area too big. I don't want to have that much space, so I have to make the lips bigger, which in result will make a bigger nose. So let's start with the lips. I want to make the cheeks a bit more round. Something like How do we suggest a smile? Well, to suggest a smile, we are going to draw the lips as normal, but we are going to stretch them a bit. We're going to make them lower lip a bit thinner than usually, which will make them almost the same in thickness. And we're going to add just a slight small line there, something like a niche done with a pencil. So like that, something very, very small that will suggest that the lips are pointing upwards towards the end. Same thing there. Now, let's continue with the nos. And that should do it. Remember to begin the nose with a circle or sphere for the tip that will determine how it's oriented, if it's pointing upwards or down, how wide it is, and so on. Now, let's continue with the eyebrows from here. Going up, then down towards the edge. Same thing I want to do on the other side. Just like that. And for the eyes, I'm going to make a line on which I will position the eyes, and I'm going to start with this one. Go to draw in a ellipse like this and a circle over that ellipse. Now, why did I draw ellipse and over that a circle? Well, the circle is for the eyeball and the ellipse is for the eyelids. Having the ellipse there, I can now follow to some degree the eyelids. And I'm using that as a simple guideline once again. Not for it. Iris and D you probably do. Just want to get the position right. The eyelashes in this case are just some fine details that we are not interested in. We are interested only in the construction of the face. So this eye is about done. Now, let's work on the other one. The same principle. Going to start right there right next to the nose. I want to draw this oval line up, and that line will continue down as well. And once it gets near the nose, it will go up again. Think of this shape as a tear drop. I will make it easier to draw once you have something to compare it to. Go to double that upper line for thickness, and we are done with that. Course for is and the opening. And that's it. Now, let's clean that up a bit. And now for hair. Since it's a ponytail, it's going to be pretty easy to draw. We're going to have a straight line above the head here. Then a arched line, a curved line like this that's going all the way to the ear. We have this and then this for the back we're going to have something like this. We are not interested in the details, but on the overall drawing. Of course, that most of them resemblance is going to come from shading and the finer details are going to apply. But this should serve nicely as a construction drawing. Yeah. Remember to adjust the jaw. That's a very common mistake to leave it too angular or too wide and always pay attention to the chin. To avoid making mistakes, when shading the chin, you are going to draw a circle like this and remember that the chin can be enclosed in a sphere. So if light is coming from here, like in this case, you're going to have light here, darker values there. What's left is the ear. Let's follow the overall shape of it. It's going up just them in. It's going up and actually starting from here. So it's going up and then out down and in. So this would be the overall shape of the ear. Then we are going to make this small bump there and double the outer line on the inside up until this point where we move inwards like that. Then we're going to have this cartilage there, this arch there, and we're going to double that line. So that arch is going to have thickness. And that's it. Now we're going to focus on the hands. 36. Full Figure (Drawing the Hands): Here's a close up with the hands. The first thing that pops up is the fact that this arm is on the edge of the surface, and therefore, it has 90 degree angle here. To draw the hands, we are going to use the trick we used before when we don't see each individual finger. Note that the fingers are only about 50% visible except the two fingers closest to us. In this hand, it's the pinky and the ring finger. And on this one, it's the thumb and index finger. We're only going to draw these two fingers on each hand and then figure out or simply double the line for each finger. So let's begin with this hand, and we will begin with the wrist. Should have roughly this direction. Oh And here we have the main part of the hand. Let's start to add the directions and the spheres for the knuckles of each finger. So the pinky foreshortened because it's pointing towards us. And the ring finger middle and index. And, of course, the fum there. Here at the top side of the wrist, we have some wrinkles. Right now for the fingernail. With the pinky All right. And now for the second hand. First, we are going to start with the angle. Remember that the hand has a weight and it's pushing down on the surface, which will make the surface. I'm going to draw that here. The surface is going to come up and then go down as the hand is pushing down. And we will have this area covering the lower part of our thumb. And as you do with the hand. Next and last detail are going to be defeat. 37. Full Figure (Drawing the Feet): Here is a close up of the feet. As we said in the beginning, the toes are curled back, which would make the overall foot look a bit strange. To add to that, the foot is also a bit foreshortened. But despite of that, we still have to construct it. We still have to build it. We know how to do it. So let's get started. We would begin by drawing the corner somewhere here. Let's see. Something like that. And here we have the ankle. The soil. Here we have the ankle. And the shin is going to go on that direction. Going to add these two points there and here to give the ankle some volume. And then I'm going to continue with this line. For the calves, but remember that because of the foot behind it, pressing against this one, the calve is going to have more volume here. And on the lower side, are going to have this sort of line. Right? Now, since the shin will have a volume of its own, we're going to have here some shadow because the soft tissue here is trying to come out, so to say. Therefore, we will have some shadow here. I'm referring to this area. It's going to create such a line. Now, to continue with the foot itself, simply remember how we drew the foot in the beginning with the pyramid. I feel is going to be somewhere around there we have here up for the big toe, the rest of the toes, and I want to make it a bit longer. And now for the toes, you're going to draw in the knuckle for the big toe. Draw that arch and draw the big toe with the one next to it. Note that There is that angle forming there here and it suddenly disappears and we are going to the other toes, but the first two have that angle which I want to suggest here like this. As far as the toenails go, we will only see the toenail of the big toe, and we're going to see that much of it. Remember that this part is actually covering part of the toenail, and therefore we will have this line here. Don't you pretty much do the job? Just going to darken these lines and erase what we don't need anymore. And this would be our end result. Let me just highlight the areas on which we will have light. That's the main area where we are going to have light. And here are shadows there, here and there. Now, for what's happening behind the foot, we have the other one. So let's sketch that in real fast. It. So I've sketched that in real fast, but remember that we are actually going to have a more elaborate construction or at least a footprint behind this leg so that we would know how the other one is going to be and where it's going to be. So I'm going to erase what we actually have in the foreground and leave only what we have behind. So that, you know, see better. Going to take a more softer lead. And what's it? What is in the foreground. So something like that. And this is what is in the background. A heavily for shoded foot with the shin bone continuing in that direction. All right. With this explained, now, let's move back to our drawing and add these three elements, the face, the hands and feet, followed by refining and getting a polished line art. 38. Full Figure (Adding Details): For this part, I'm going to switch to another pencil to this clutch pencil. It has two weight hard leads, but they have 0.5 millimeter thickness. So I'll always have a very thin and hard line, and I won't have to sharpen the pencil too often. I prefer using the clutch pencil for this stage of work so that I can afford to draw and draw over. And until I'm satisfied with the drawing, I can easily erase and draw again over it. So at this stage, it's pretty much a push and pull type of process, so a tug of war. So let's get started with the face and start to render it. Okay. Now I'm going to take the erater and clean up part of the drawing, and I'm going to redraw it with a more finer line. And as we are going to progress, we will add the hands and the feet. All right now, it's time to focus on the legs and feet. And then we'll make a quick review of what we've done so far and see what adjustments we can make. Going to put a piece of paper over drawing so that we won't smear the grapte. Let's begin. What's left now is to draw the foot that is behind. So the one here, if we continue the shin bone, you will end up here having the ankles. So let's try to do that here. If we continue the shin bone, we would have the ankle somewhere here, and then the foot would be here due to the fact that it is foreshortened. And And that should be it. Coming to racing a bin. And toenail. And um All right. Just going to make some quick adjustments here and there. Basically, I'm just setting some areas where light and shadow would hit the knees as we did in the initial sketch. I'm only refining those areas a bit and slightly erasing them. I don't want to erase too much because we will have shading and we are going to add values and tones and use a number of techniques to render the figure. But I just want to clean up those rather messy areas. Right? Now, I want to look a bit at the face and see if I can make some more adjustments. Clearly, there's enough space for improvement. I think I know where. And that I First off, I want to put the eyebrow higher, just a bit. Like that, which in result should also place the eye bit higher as well. That you do it. Have to raise that eyebrow a bit, and There we go. And the hairline, I want to til that swell. Bit more, actually. Didn't you do it? And now for lips, I want to make them in one line like this so that they can be on the same direction as the eyes are. There. That's better. Alright, the figure is drawn. Now, let's take a quick five minute break and come back and check it again. 39. Full Figure (Adding Line Weight): All right back from the break. The drawing is looking good at this stage. I'm pleased with how it looks. Certain areas could use some more refinement, but that's going to be solved with shading. What I want to do now is simply add some line weight. It will give the line art some depth without actually shading it. And how are we going to do? Well, we are going to look where the darker areas are and use a softer lead pencil to draw over the lines. This is a clutch pencil with a two B lead, so it's softer. It leaves more darker line. And let's start. The first major area would be here and here. So we would have this line entirely darkened. I'm going to start from up here and follow the line carefully. All the way to here. That's it just there. And that's how you add line weight. Now, I want to focus a bit on this area. We have a few lines there at the collar bone and beneath the chin. So here we have a bit there. And there. Door part as well. The last thing I want to do is draw that rectangular surface. I'm going to use a ruler for this. And there we have it. And we have finished the line drawing. Next is the most time consuming part, namely shading. Before we start shading, I want to introduce to you the tools that we are going to use. We're going to start off with hard lead. That being said a two H lead. Here's a clutch pencil with two H leads. Then we have two B pencil. Also, both versions, normal pencil and clutch pencil. Then the four B pencil, followed by a wide flat brush with synthetic hair. Paper spreader and, of course, new eraser. Now, let's explain these tools. We're going to start the drawing with the two H normal pencil. We're going to focus on the brighter values. We're going to start from the brighter shades of gray and then work our way towards the darker ones. Then we're going to use the Tube pencil and add darker values which are actually the shadows. Then we are going to use the brush to spread some of that graphite evenly throughout the figure. The reason for that is to create a soft blend between these shades and create a mid tone of gray, so a flat surface, so to say. Afterwards, we are going to use the eraser to put in some light on the figure, where light hits the figure and some reflections. By doing so, we will create contrast. Then we are going to use the clutch pencils to polish the shading and to focus on certain areas. We're going to start off, of course, with H clutch pencil, and then the two B clutch pencil for darker areas. Then spread again with the brush and followed by an erase to bring contrast. The paper spreader is there in case we erase too much and want to cover some of the area we've erased. We're going to use the paper spread exactly for that. The last instrument is the four B pencil. The four B pencil will be to put in the drawing black lines, pure black, if need be, so that we have a very strong contrast between light and shadow. And it will give the drawing a good perception of light and dark. Here's a quick heads up of what is to come. We are going to use hard led pencils in the beginning, we are going to use two H pencils, and we are going to start from bright and work our way towards the darker colors. And as we do that, we are going to switch from the two H to a two B pencil, which is softer. And lastly, we are going to use a four B pencil for the really dark areas where we have the most shadow. And then we are going to use both the two B and the four B pencil to draw the object on which the figure is sitting on, and followed by that is erasing certain areas to bring forth contrast then another phase of shading in which we refine what we have erased. Lastly, adding some detail and maybe erasing again for some more contrast in certain areas. As I said before, this is a push and pull process. It's time consuming, but the end result depends on how much time you want to invest. 40. Full Figure (Shading Part 1): So we are going to begin with the two H pencil. Here's how I'm going to hold it. For most of the shading, I'm going to use the tripod grip, but on certain occasions, I'm going to use this grip. So that I can actually use the flat side of the tip, so I'll have more surface and be able to make smoother lines and smoother blends, especially where I have round shapes, for instance, the forehead, the cheek, the breast, and certain parts of the legs. I'm going to start with this area, going to start with the neck and the face, and then move on towards the hands, arms, torso, legs, and finally with the feet. Take a look over this area here. Note how we have here this small part of shadow. This shadow is caused by the breast. And this area here is a natural shadow, and that is not casted. See the difference of normal shadow and cast shadow. The casted shadow will be much more darker and it has somewhat of a sharp edge here and here. And as it warps around the cylinder of the arm, it tends to fade out, whereas this one fades in and fades out. So we're going to have to pay attention to this area and this one. And note how there's this small portion of light here. Pay attention to these areas as they tend to be a bit more difficult to approach, and they require more attention. To be sure that you are not going to mistake these areas, you can use the pencil to h in this case, do the job just nicely and make a small area, highlight your area with an outline, and you'll know that you have to shade within that area with a certain tone. And that's just what I did now. I've marked the areas. And now I'm going to continue shading. The same technique is going to be applied throughout the figure. So let's continue. So that we don't damage the drawing or smear the graphite, we are going to place a clean sheet of paper over the drawing so that when you are going to shade this area, the bridg of the hand is going to be on the paper. Make sure that you hold the paper with your other hand so that you won't move the paper. By moving the paper, you will also smear the graphite, so pay attention to that. Make sure the paper is steady and should be right. Yes. I've just noticed a small mistake. If we zoom in and compare this line with this one, we'll see that this one is actually lower than it should be. What I'm going to do is that I'm going to make another line above it like this so that it's going to be correct now. I'll try to softly erase the one beneath it. The one that is incorrect. For reasons such as this, I prefer using clutch pencils. The lines left behind are much more easy to erase and correct than the ones left behind by normal pencils. And since we are using a two H hard lead, it's easy to make adjustments and erase some of the values that are put wrong. So this is the first layer of values. It's starting to catch shape. Now, before we continue, we should take a quick break and come back and try to spot some mistakes. 41. Full Figure (Shading Part 2): Right now we are going to switch to the two B pencil and add the more darker values. Afterwards, we're going to take the brush and spread the graphy. Remember to constantly sharpen the pencil because if it gets a dull tip, the shading is going to suffer a bit and the quality of the shading as well. So always remember to sharpen your tip. Now we are going to take the brush and start to spread some of the graphite. I don't want to spread the graphite out of the figure. I want to spread in the figure. So I'm going to start the stroke from where I have most graphite and go towards the bright areas. It doesn't matter what kind of stroke you use as long as you spread that graphite in the finger. You can use a upstroke or downstroke. A circular motion will spread most graphite, but only only in that motion area of contact. So the best way to spread it would be to actually combine these strokes. That should do it. Now that we have created our midtone, I just wanted to finish doing this part. Alright. I'm going to take the eraser and first erase the outline a bit. Now, to add contrast. Let's begin with the face. Go to take the eraser and erase out the light. Just make sure to have a small tip to the eraser so that you won't erase too much. Something like that, you do nicely. Now, let's begin. And as I said, if you erase too much or want to correct what you've erased, you're going to take the paper spreader and spread some of the graphite. Now, as in my case, if the paper spreader is not new and if you have already graphite on it, you can take a box cutter. So this and simply cut away the graph one. Now it's working really nice. And let's continue with adding contrast and correcting as we go along. If you want to erase in a gradient way like that, you have to have a flat surface round and make sure that the eraser is thin as thin as you can, because having a thin flat surface, you won't be able to apply too much pressure in one point, and you'll have to make a repeated movement to erase more and more. And that's how you get that nice gradient. Mm. And we have finished with the eraser. Now, what's left is to polish the drawing. We're going to take the clutch pencils and redraw some of the lines and reshade a few areas. After that, if need be, we are going to add some contrast again and maybe spread some graphite a bit. But that's just optional. The last step is going to be adding some dark black lines with the four B pencil. 42. Full Figure (Shading Part 3): This is the two B clutch pencil, and I'm going to start directly with the darker areas now. Okay. The figure is almost done. Now we have to add some of the smaller details, specifically the eye, the nails, fingernails and toenails. And lastly, the nipples. I'm going to show you a quick trick how to do them, but they are going to be less. So let's start with the eyes. First, I want to erase them so that they are white. They're pure white. And I'm going to use the eraser from the clutch pencil because it's smaller and it has a smaller contact area. But I just want to use the eraser to add a few more details, certain parts at the nose, the lower lip, and there and just a bit at the ear. D that you do it? And now, I'm using the twoH clutch pencil for the IRS be very careful while doing this. You don't want to make any mistakes now because this is something that you do only once. All right. And for the second one. Done. Now I'm going to switch to the tube pencil and draw a pupil. Just a small black dot there also, and we are done. Now I'm going to add the eyelashes. But first, I'm going to darken the line of the upper eyelid, like that. Same thing on the other one. And I'll finally add the eyelashes, some small lines, small strokes upwards from that darkened line of the eyelid, up and very short lines and just here and there. Only a few, not too many don't want to exaggerate that area. Just hint that they are there. Now for the eyebrows, the eyebrows are going to be treated as a singular surface. We're not going to draw each hair individually. A And now, for your lips, I want to make just a dark line between them. And that's it. Done with the face. Let's try the fingernails. Because we are working at this scale, we can't actually go that much in depth with the fingernails. The best thing we can do is to make a dark line to show that they are there and that they are long, and that's it. T. Once we will get to shading this surface, the white fingernails are going to pop out immediately. And as for the two visible toenails, we're just going to add some small value there and bit of shading. There. And now we are going to add some light reflection. And that's it. Now, in order to draw the nipples, here's a quick trick. As you see, light is coming from two directions. You have light coming from here and from here. And the nipple, in essence, being a small cylinder, that cylinder having lights on two surfaces, you are going to draw it by using two lines. One like this and one like this. Basically, a circle without this area and this one. If the light would have come only from this angle, then we would have simply drawn the circle without this part, resulting only in that C shape. But since we have two light sources, a stronger one, and a weaker one, I'll have to draw those two lines. I'm going to switch to the two H pencil because, again, this is something you do only once. I want to put it here. All right. Now let's draw those lines. A larger lower one. With some shading in between from the two H pencil. And I'm going to take the normal pencil and draw the surface. C to the circular motion and correct river that's not good. That shaped the end. You go with the small eraser. To add two reflections. And that's as simple as that. For the other one, the same thing. Only this time, we see it more from the side, and that way we're going to draw only one line here. And finally, there is our figure. Now, the last thing we want to shade is the black object the figure is sitting on. That's going to be the easiest part. And for that, we are going to use a simple flat shading with no hint of volume because we want to kill that shape, that form. We want to make it as flat and dull as possible so that all the attention will fall onto the figure itself. But before we get to that, let's add those small black lines. And we are going to add them where we have them on the figure, for instance, here, here we have a large surface and here. And maybe just one there. So let's do that. He Now, we have to be pencil. I want to correct this error. I want to make that edge softer. I'm going to use the paper spreader to blend it a bit and make it softer. Now, it looks better. Going to start with the Tube pencil. And I want to make such a shank, something like a flat surface. I'm going to leave a very, very thin white line there. So that we'll know it's an edge and continue web chaining. As you see here, we have a few gray spots, and that is because we have light hitting the black surface. We are going to highlight those areas. And we are going to have two strong shades. We're going to have a gray shade and a black one with no blending whatsoever between them. Are you going to start with the black one? And now we have finished our drawing. This brings us to the end of this video. I hope you like it. When you're going to draw your figure, remember the basics, a good construction is the first task. And then shading is a long process. You're going to start from the brightest tones and work your way towards the darkest. It's a rigorous work. It's time consuming, and you have to pay attention in certain areas. It's not something that is done mechanically, passively, you have to be active. When in shading, you have to know what you're doing. Don't let your hand slip away. And I hope the tricks I've showed you in the video will help you when you're going to draw your figure.