Figure Drawing Foundations | Proportions

1. Proportions Core Lesson 1 Introduction: AIDS. Clayton Welcome Toe had a draw. Comics dot net Sizing up your characters so that they look right is one of the core challenges that we all struggle with, and it all comes down to the underlying structure that holds up the human figure. That means we've got to start out with a powerful foundation toe, build our characters upon. So in this lesson, you're going to learn how to draw your comical characters in proportion. I'm gonna teach you exactly what proportions are and how you can use them as a tool to size up your characters and construct them correctly. I hope you enjoy it. He can see a line up of four comic book superheroes at a glance. They might look Aziz, though they're drawn fairly well. They're all wearing costumes that look pretty cool and for the most part of their anatomy, YSL place together in the right order. They're also packed with loads of detail and intricate rendering. And, of course, on a technical level, they've been refined with carefully waited line work, and as a whole, you could call these characters well drawn. But if you look carefully, you might also see that some things just a little bit off about them. They don't quite look right. Why is that? Well, the reason is, although I've decorated them with loads of detail, they haven't been sized up correctly. It all the proportions are completely wrong from the left character. Number one's arm is way too big for the rest of his body. Combined that with his stumpy lower legs and he seemed starts to look more like a lumbering ape than a superhero. On some of that, his head is slightly too big for the rest of his body, giving him a characterized, bubble headed appearance. Character number two has a large head as well, but in this case it doesn't pose too much of a problem other than the fact that unintentionally makes it look a lot younger than she is supposed to be. What really sticks out here like a sore thumb is a freakishly huge hoc hand character. Three has the opposite problem. He had otherwise be drawn quite well if his head wasn't so small. He's also sporting a bulky gorilla on which, quite frankly, is a few sizes larger than it needs to be. And finally we've got character for with her long, elegant legs. Technically, her legs are indeed way too long in relation to the rest of her body. Longer legs do, however, give characters and attractive edge. So, depending on style, this look might actually be more desirable for getting characters to exude a little more sex appeal before these characters have been drawn noticeably out of proportion and, although in this example, have purposefully not size them up correctly to make a point, there was once a time when this kind of thing popped up in my drawings constantly. From time to time, I still struggle with proportions, and maybe you've faced a similar dilemma when drawing your characters to where they just don't quite seem to fit together in the right way. Here's why. This is one of the most common dilemmas we all face when we start learning how to draw the human figure from head to toe. Every part of their body conforms to a standard set of measurements according to a time, for the most part, these measurements of the same from person to person, with a few minor differences in between. That's why I went out. Characters aren't drawn in proportion. They usually look strange to us because they simply via too far away from the human size ratios we used to sing. If you don't know what these anatomical measurements are, there's a good chance your characters might share similar mistakes. With the examples in front of you. Scarily, it's easy to miss to. You may not even notice how off the sizing of your character is until the drawing is completely finished in. It's too late. The worst part is proportions of foundational. That means your ability to size your characters up correctly from the get go will either make or break. UM, no amount of carefully placed anatomy. Intricate detail. Shading rendering can save a disproportionate drawing from looking play and wrong. In this lesson, you'll learn exactly what proportions are, how you can use them as a tool to size your characters up correctly and how they can be applied to a variety of unique character types. 2. Proportions Core Lesson 2 What Are Proportions: proportioned referred to the relative measurements off and within an object. In this case, we're talking humanoid characters, so the overall height off the idealized figure, as well as its various body parts, such as the torso, arms and legs. When she know what these measurements are, you'll have a better understanding of how each part of the human body relates to itself in terms of size, even when drawing it in perspective. Ultimately, that means you'll be able to draw each part of your character to the correct size in association to the rest of the body. Of course, there's always going to be exceptions here because no two people are exactly the same. We all come in different shapes and sizes, and this is especially true for the fictional characters you'll create, from dwarfs to giants as a wide spectrum of archetypes that could pop up in the pages of your comic book. Even the basic man, woman and child or different proportionally and rest assured we'll cover some of those differences here a little bit later on. But for now, don't feel overwhelmed. Learning proportions might seem over complicated, however. They don't have to be as soon as you memorize the basic measurements I'm about to show you , you'll realise proportions air really there that serve as a guide to be kept in mind as you draw, not necessarily a strict set of rules you'll need to abide by every time pencil goes to paper. You can always bend the rules later on to get more unique variations. Best of all, when we do notice, our drawings don't quite look correct, the principles of proportion will give us a reference to help us figure out where we've gone wrong so that we can fix the drawing. We'll talk more later about why proportions are more useful when used in this way in dynamic figure drawing. But for now, let's ease into this by breaking down the proportions of one of the most common characters you're likely to draw for a comic book. The heroic figure. Before we jump into it, let's talk about how we're actually going to determine the proportions of our characters, because if we want to measure them up to the right size, we're going to need a unit of measurement toe work with. Luckily for us, the human body is already relatively symmetrical. it's measurements mathematically predictable. So without getting too fancy here, but going to use the head of our character as the measuring stick of choice. That's right. It just so happens. The entire human body, along with all its parts, torso and limbs, can be drawn out to the correct size, using the head to measure it. That means once you've practiced your proportions enough and you're familiar with, um, the size of the head, Lorne will basically allow you to predict how big the rest of the character is going to be on the page. This becomes especially useful for placing them into a scene or composition at the desired size. All we need to know now is how many head units each part of the character should be, according to it's size. Taking that on board, let's begin by covering the average proportions of the idealized, heroic figure 3. Proportions Core Lesson 3 Heroic Proportions: In reality, most people every jot about 7.5 heads high, give or take. Surprisingly, though, if you draw your characters to this height, that's kind of how they're going to feel visually average and somewhat stumpy. This is because over time, different proportions have become associated with different character stereotypes. An example of this would be our tendency to associate size with the amount of power or strength of character possesses for women that could very well translate toe a long legged sense of sex appeal. Elegans and presence. This means that although the average height of the characters and in front of you is true to reality, the average Joe and Jane just ain't gonna cut it in the leading role of a superhero epic, we're talking about idealized characters existing within the realm of comic books, and within that context it's usually more ideal toe bump out characters up to about eight heads high for both men and women. The idealized measurements of eight heads has, in fact being around since the Rene since and is generally accepted by most artists as the proportional standard. So few people are actually eight heads tall in real life. This is still the best model to use because it makes the proportional alignments off the human figure much easier. Toe workout. Taking on board these heroic proportions, let's begin by breaking them down, using the character's head to measure the rest of their body segment by segment, between the top of the head and the bottom of the chin, we get one head unit. Multiply that by eight, and we get the overall height of our characters body. Sometimes the female head can appear slightly bigger than the man's, but don't be tricked. In actual fact, they're both the same size. It's just the broader width of a man's shoulders that makes their head look a little smaller in comparison. Down from the bottom of the chin. About 1/3 of ahead, we find the collarbone and shoulders. Now there's a subtle difference here between men and women. Men typically have much broader shoulders spanning about to head lengths wide. Female characters, on the other hand, have narrower shoulders about to head widths and 1/3 across at their widest point. Combine that with this Smolen neck muscles, and this, again is what often gives female characters the illusion of having a big head three heads down. We find the nipples on female characters. They might sit slightly lower Judum breast, Mass. But regardless of gender, there will inevitably be room for variation here, where both pecs and boobs are concerned due to muscle mass, body fat and breast size, the bottom of the ribs sits two heads and 2/3 down in most other proportional charts. This is usually glossed over, and it's not necessarily important to know. But I think it's worth mentioning here because this marks the beginning off the upper bodies transition into the lower half, where the two main forms, the rib cage in the pelvis, combined three heads from the top. We've reached the elbows, which is also where you'll find the waste on both characters and Casey confused about the difference between the waste and the hips. The waste is actually the narrowest point of the torso, just below the ribs. But just above the hips, it's the squishy, malleable cylinder off muscle that makes up for a majority of the torsos movement. This is the part of the body where you'll often see the most pinching, twisting end stretching occur As the figure moves into different positions on our male character, you'll find his belly button along this division as well. On women, however, the naval actually sits a little bit lower, just below the three head mark. Moving on. Would I've marked out some of the key forms that make up the shape of the males, obliques and females? Hips. Again, These air really shown on proportional charts, but I wanted to include them here to give you a more detailed reference to refer to when every you're in doubt. It can, after all, be a little confusing, trying to figure out where the top of the legs begin and the pelvis ends, especially when you're dealing with the overlaying anatomy. 4.5 EDS. From the top We've arrived at the midway point of our characters. This is a great market to keep in mind, especially when drawing your characters to proportion in perspective. There's a few things you'll find along this segment. The crutch. Hip joints in the end of the full rahm with a risk, meet the hands. You might notice that the hips on a male figure a slightly smaller than the females at a width of 1.5 heads wide. This is because women have a much broader pelvic bone designed to help them bear and give birth to Children. So as a result, the hips are pushed outward to almost the same with as their shoulders. That's often why the general shape of a male torso can easily be compared to a lightbulb, while the female body has more of an hourglass contour. You can also see how the differences in hip with a fixed their stance. When both feet together, the woman appears tohave amore Inwood tapered stance as opposed to the man's, which is only slightly angled. 4.5 heads down. You'll find the base of the hand measuring from wrist of fingertip. An outstretched hand should end up resting about midway down the upper lake. While we're on the topic, it's also worth noting that the size of the hand will be around the same size as your character's face. The human body makes proportions easy to learn in that way, where you're often able to use one part of the body to size up another, dropping down to 5.5 heads were at the top of the knee. The entire knee is a whole half ahead in length, with the base sitting along the sixth segment. The mistake I always used to make and one you might want to watch out for was drawing the knee smack bang along this line. It's important to remember that six heads down does not mark the center off the knees, but rather their base nearing the end, the ankles or its seven heads and 2/3 of the way down. And finally, at eight heads down, we've arrived at the base of the figure. These are the typical proportions I like to use when it comes to drawing heroic characters for comic books. Memorizing them will help you confidently draw your characters to the correct size. And with enough practice, you'll start to get a natural feel for how each part of the body relates to itself in terms of size, Of course. Later on, these proportions can be tweaked or modified to your own liking to create the unique variations that your characters will inevitably have. This chart is not the be all and end all cookie cutter solution to sizing up every single character uniformly. Our intention is not to create an army of coins here. It's a starting point, and in fact these proportions may not be ideal for you in the first place. Maybe you find an average head. Height of nine instead of eight works better for the look in the feel. You want your characters tohave, which is totally fine, because as artists, we're going to bring our unique interpretation of the world and the people within it to the table. So begin with these proportions. Memorize and practice them until you understand how the different parts of the body measure up against one another, then go your own way and explore the endless possibilities. 4. Proportions Core Lesson 4 Proportions at Different Ages: Needless to say, when it comes to comics, superheroes will likely be one of the most common character types you'll encounter. Oftentimes they whom the entire story is centered around. That's why the heroic figure is such a great place to start when learning the proportions of the human body. It shows us how a standard figure should be measured up, ideally giving us a default foundation to reference their characters proportions from. But you probably don't need me to tell you that comic books really stick toe one generic character type. In fact, they often include entire assortment off them in the form of sidekicks, teams, villains and minions, even the hero themselves constraint. Far from the proportions of the idealized figure, these characters can range in age, race, genre, gender and across multiple archetypes and can be drawn with their own unique set of proportions. At this point, you've learned all you need to know about sizing a regular hero and heroine up correctly. But if you ever want to go beyond that and really be able to draw any kind of character you want, you need to know how different Ages and the other common comic book character types differ proportionally. Let's jump right into it by taking a look at how the proportions of a person change with age because it goes without saying that trying to draw a child ate head unit. I weren't quite give us. The measurements were after here, let it be one big baby. As a child grows, the head becomes longer in length, making them look random and cumbia. This is important to remember when measuring out their proportions, because it means that an adult at seven Heads High will still be taller than an adolescent of seven heads due to the overall length of their head. So let's begin there by taking a look at the proportions of two toddlers ranging from 1 to 3 years old. The first thing you'll notice is that this plump little dude and do debt have enormous heads. That's because, although its most of the way there in terms of growth, the rest of their body is still catching up. Overall, they stand a grand total of 4 to 5 heads high, depending on age, notice that the crutch doesn't mark the middle of the bodies overall height anymore. Instead, the midway point is closer to the belly button. The legs still need time to grow and grow. They will had almost doubled the speed of the torso. At five years old, the figure scales upto height of six heads. You can see how this little lady looks slightly skinnier than the previous two. That's because by the time we get to this age, most, if not all of our baby fat has disappeared. The neck is also longer. However, the surrounding muscles aren't fully developed yet, adding to the list meaty appearance of characters falling into this age bracket by the age of 10. Characters stand at a height of seven heads, and it's at this stage we begin to see physical differences between men and women. Before this age. There's not much of a distinction at all. In fact, the only real way you're able to tell the difference between girls and boys is in the way. Their hair is cotton, how they're dressed. But as we enter into puberty, something called sexual die morph ism begins to kick in, changing the very shape and structure of our anatomy. In men, the shoulders begin to broaden, muscles become more toned features more chiseled women experience their own unique changes . As a hips grow wider, breasts begin to form and the body fat increases around the stomach legs. And but from the age of 10 to 18 a final transformation is made into adult hood. By the time we reached the age of 17 our height comes to 7.5 heads. At this point, the body has become fully developed, sharing many of the same physical attributes seen in a grown adult. Beyond adolescence, we've covered the standard proportions off the heroic figure. But how are they affected? As our characters entering the old age, you might have noticed that your parents, or maybe even yourself, stand taller than your grandparent's. Heck, you might even be taller than your parents. Why is that? Do we begin to shrink beyond a certain point? Well, yes. Sort of. Turns out that as the body ages and muscles weaken, causing us to slouch, this can make the neck appear shorter as the head hunters ford in the terms to hang lower. The overall height of our skeletal structure also takes a hit as bones begin to lose their density and become more brittle So at the ripe old age of 80 years old, the height of a character drops back down to seven heads tall That just about covers the proportional differences in age. But why is all of this important? See, when we draw younger characters, there's a temptation to shrink them down into a smallest sized adult that my work for fairies and elves. But no When dealing with human beings, the anatomical structure of our body literally transforms throughout the aging process, each stage transitioning into its or instead of proportions. Take a look at the examples in front of you, the first Dominicans of proportion correctly example. Number three, however, is basically a man child, shorter in height but maintaining the same proportions as an adult figure. Number four looks really odd. This mannequin has been sized up to the same height as an adult, but this time contains the proportions of a toddler. The giant baby returns 5. Proportions Core Lesson 5 Proportions of Unique Character Archetypes: Now that we've looked at how the proportions of the human figure change with age, let's explore some of the more unique but popular comic book character types these guys via away from the heroic standard holding their own archetypes within the comic book arena, they've appeared over and over again in some of the most memorable superhero saga as Duos and Alliances. So much so they've created a recognizable reputation for themselves. You might even already be well acquainted with some of them. Having become somewhat iconic, I wanted to cover the proportions for a few of these alternate comic book character body types here. Not only do they throw a pinch of visual variation into the mix, they also help to exude a range of personality traits that will enrich your stories and hawking your readers. Let's begin with the miniature, arguably the smallest character type you'll encounter in the world of comics, often taking on the role of an adventurous protagonist or sidekick. These puny people can range anywhere between the length of a thumb to his high as forehead units. But even then, at their smallest miniatures can end up being so microscopic they can no longer be seen by the naked eye. Funnily enough, though, their actual proportions really stray far from the ratios of the heroic figure, The only real difference is that their shrunken down uniformly toe a much smaller scale. Besides, bug size superheroes are the kinds of characters you might find in this group include fairies, pixies, gremlins and elves. The dwarf character type often appears as a short, stocky little fellow standing at around 5 to 6 heads tall. Unlike Minnich, is their proportions, sometimes unusually distributed in comparison to the standard figure. The entire body might be scaled down in size, or it may remain the same, except for a shorter set of limbs. Any of the case, the head will probably be the same size for the most part, depending on the genre, Dwarfs tend to be broad and square, expressing a somewhat immovable, grounded nous. Traditionally, they take on the role of gruff, stubborn but hearty warriors who possess an underestimated amount of strength that more often than not, takes their peers and opponents by surprise. Well, the ruffian comes in at a below average seven heads toll the width of their shoulders, air about the same as the heroic figure. You can rest assured that the brawn and muscle mass more than makes up for the lack of height. These rebellious independence uphold their ideals without question, ready and raring to play out through anyone and anything that gets in their way. And they're reinforced. Heavyset frame makes them entirely effective in achieving that. More often than not, their heart is in the right place. But that doesn't hold back their natural instinct to punch first and ask questions later. The acrobat is a much more sleek and agile character type, coming in at a height of 7.5 heads. They're lightweight physique allows for maximum maneuverability, flexibility and speed. Their body is also less bulky in terms of muscle and fat, giving them the perfect balance of strength, stem, inna and endurance. This helps them to run laps around larger characters who depend Warren rule power. Finally, the acrobat also has excellent reflex reactions, making it almost seems as though they're able to predict what their opponents next moves are going to be real time. The kinds of characters that fall into this group might include ninjas, Assassins end as the name implies acrobats. Now this guy looks familiar. We've already covered the heroic figure, which again stands at an average height of eight heads. But I wanted to include it here again so that you can see how it stacks up against the other character types. The hero is Blackley going to be the most common character you'll come across in a superhero comic book, So it's important to nail their proportions first and foremost so that we can use them as a reference point for the rest. Next is the titan standing told than the average hero, a 10 heads high. This character's imposing physique is built for battle. The overall muscle structure surrounding their large frame bulks with maximum definition promoting appointment, presence of dominance. They possess a superhuman level of strength, stamina and endurance. Because of their physical attributes, the time exudes courage and a high self esteem for themselves, whether quietly or outright cocky. The kinds of characters you might use this body type for include barbarians, gladiators and warriors. This character type is super humanly massive. The brute stands, a towering 12 heads high, their entire physic being so gargantuan that it's on the verge of being deformed. In the world of super heroes, these guys usually bring some serious muscle to the table. They're unstoppable power machines in combat with almost Impenetrable levels of resilience . The only payoff is that they're not too subtle and their wits usually swapped out for uncontrollable fits of rage. The types of characters that fall into this category usually beasts of some kind, half giants and, of course, steroid jacked radioactive mutants. This is some of the most common comic book character types I've come across. You'll find most of them inside the narrative of a typical superhero comic book, often in superhero teams, factions or villainous syndicates, adding variety toe a whole cast of characters. And, of course, this list could go on and on, and you're certainly not limited to these select archetypes when it comes to designing your characters. But these categories are a great place to begin brainstorming ideas. The real listen to take away here is that the head measuring method can be used to keep a variety of different character proportions consistent. In fact, when developing in designing your characters, it's often a good idea to create a proportional reference sheet showing a complete turnaround of the character from head to toe for yourself and any other artists that might have to draw them later on. This helps make sure that your characters remained the same size, no matter what stories there starring in or who's drawing them. 6. Proportions Core Lesson 6 Proportions of the Head: one of the most important parts of a character, especially when it comes to comics, is their head. This is for a couple of reasons, and organs allow us to create complex facial expressions that communicate how we're feeling , what we're thinking and what we have to say before we even say it. So it makes sense that out of every other part of the body, the faces of our characters are going to be the center point of attention for our audience . Most of the time, we almost automatically focus in on the face of a person, whether they're standing in front of us or they illustrated in the Penhall of a comic book , because it allows us to connect and relate with, um, most of these expressions are made using our facial features, such as the eyes, ears and mouth and the rule laid out proportionally across the face. Knowing what these proportions are will help you draw the heads of your characters correctly, which is an absolute must wind roaring heads because you can bet it's the first place your audience will spot mistakes. Alrighty, let's find the placement of our facial features beginning with the eyes on both men and women. The I sit halfway down the overall length of the head said. By dividing the head and 1/2 between the crown and the chin, you'll find the eye line. The space between the eyes is exactly one I with the pot. But what's really cool is that you can also figure out how wide the entire head is, using the I to measure it as a whole. The width of the head is about five eyes wide from ear to ear. What are the differences between how male and female ISA drawn men usually have narrow eyes that almost appears though there squinting or even glaring? Sometimes they look stern, serious. As for the girls, will their eyes a more bold? Outlined with long, dark eyelashes, this often gives the appearance that women have large arise in general. But that's not really the case. It's just the magical effect of eyeliner that draws your attention to them. As with many feminine features, the eyes of a woman have a certain softness to them when drawn. However, for the most part, both share the same basic structure. Oh, and be careful when placing the eyes looking at the head side on a common mistake we often make is drawing them too close to the front. It's important to remember that the eyes actually sit back behind the noise inside the eye sockets. Usually, I like to leave at least one eye space between the I and the front of the face when drawing the head side on moving on. Just above the eye line sits the eyebrow line. This convey Eri from character to character, depending on how their eyebrows naturally rest. The main differences you'll see between the genders, though, is that men typically have lower resting, thicker eyebrows while women's appear slightly more raised. Something I like to keep in mind as a general rule of thumb is that this guideline really marks the underlying top ridge of the eye socket rather than the strips of visible eyebrow hair on the face. From the eye line to the chin, the face is divided into thirds, with the first division telling us where to place the noise. Now it's important to point out here that the bulb or the point of the noise aligns with this division, not the base of the nose. Instead the bottom of the nose sits just below it. The width of the noise is equal to the distance between each eye, which means nostril to nostril. It sits snugly between the tear ducts below the nose line. On the 2nd 3rd division, we find the placement of the mouth. The corners of the mouth line up with the middle off each I or with the people's when the character is looking straight ahead again. There are some slight but noticeable differences between men and women. When it comes to comic style mouths for guys they usually drawn with lips that less plump and defined than the ladies. For some reason, we just tend to associate full, luscious lips with feminine looking characters. Finally, at rest, the opening of a man's mouth can almost be drawn in a straight line from one end to the other. While a woman's might typically be drawn with a little more shape in some cases, even a subtle pout the way that we reached the bottom of the chin, otherwise known as the bottom of the head. But when not done just yet from the side, the ease of a character, Ah, place smack bang in the middle of the head, the top of the year lines up with the eyebrow line and the bottom lines up with the noise line, which makes it really easy to figure out the overall length of the EEA. And finally, we've got the hairline. Now, of course, this concerto, depending on whether or not your character is bolding and what kind of hair line they have . But assuming they've got a regular full head of hair, the headline can be found halfway between the eyebrow line and the top of the head. Okay, fantastic. That's the entire low, down, off the standard proportions of the human head done and dusted. Now you've got everything you need to know so that you can measure out and place your facial features to make sure they're all sized up and spaced correctly. 7. Proportions Core Lesson 7 Proportional Comparisons: We've covered a lot in this lesson, and quite frankly, there's a lot to remember, But something we can do to make this stuff a whole lot easier to remember is to relate the size of one body part to the size of another body part. This helps us to keep the measurements off the different parts of the body in mind as we draw by associating them with one another. And it works really well because we tend to have a knack for recognizing patterns like this . He is a few examples you can use. The first comparison we can make is between the length of the hand and the length of the face. If you hold your hand up in front of you and place it against your face, you're probably fine that it fits it almost perfectly from palm to fingertip. This is a handy way to keep your hands drawn to the correct size. The hand itself can be divided into two halves, with the length of the palm being equal to the length of the fingers. The size of your foot can be found by comparing it to the length of your forearm. If you're flexible enough to rest the bottom of your foot along the forearm from elbow to wrist, you'll notice that they're about the same length as with the hands of your character. Taking the length of your characters forearm into consideration is great for making sure their foot is the correct size. Now you've probably already figured this out, saying all of these body parts lined up next to each other. But yes, the forearm end foot are also equal toe one head length, which means we can use the head of your character to measure out the size of their forearms and feet. The neck, waist and wrist also relate to one another in terms of size. As a rule, the neck is about twice the thickness off the wrist. This might depend on the musculature off the neck, of course, but as far as the average superhero is concerned, it's a pretty sure deal. Finally, enough. This rule can also be applied in a similar way to the waste, its circumference, working out to be about double that off the neck. Another comparison we can make when it comes to measuring out characters is between the wingspan of their arm from fingertip to fingertip, and their overall height turns out the width of L. Outstretched arms matches our body length. Finally, I want to touch on the width of the shoulders and the hips again to reiterate the comparisons between the tube. The shoulders of the man is about to head lengths across while on a female. The widest point off the shoulders spend to head withs and the third. This is typically why the shoulders of a man appear more broad moving down the body. The width of the waste around the belly button area is typically one head length wide in both men and women. Sometimes I like to stylized my female characters low and give them a waistline, which is slightly narrow, uh, to really accentuate that hourglass figure, the waste region will always come. Three heads down the body from the top off the figure. Remember, though, that a woman's belly button sits just below this guideline, so be careful not to use it as a marker when measuring out her proportions. It is the waste that sits three heads down, not the belly button. The real difference in appearance becomes obvious around the hip region, the hips of a man remained quite narrow, almost making them appear top heavy. The width of a woman's hips is much wider, stretching out to just under the with off her shoulder joints. The easiest way to remember this The easiest way to remember this distinction is again to think of a band's general body shape as a light bulb and a woman's as an hourglass. If you can keep these comparisons in mind as you draw, they'll hope you to create your figures to the correct proportions by eye, rather than having to count them out, using the head unit method every single time. Either way, the more you practice, the more second nature these size relationships will become, and eventually you will get to the point where you don't even have to think about it. You'll just gain an instinct for how everything should be measured up. 8. Proportions Core Lesson 8 Proportions in Perspective: At this point, you've learned how to measure out the proportions of a character standing straight up and down. But what happens when you want oppose your characters? What happens to their proportions once you begin to dynamically composed them in perspective? In other words, how did the proportions of your characters change visually as they become foreshortened? This is where a lot of us end up becoming confused because it can seem as though as soon as we want to put our characters into a complex parties, proportions become useless. The truth is, the proportions of a character and the sizing of their body parts in relation to one another still apply. The difference is that when a character is posed in perspective, there proportions become warped, depending on the angle you're looking at them from. For example, if someone looks at you from above, they'll be viewing you in perspective. But your high it won't change the length of your limbs. The size of your body all remains the same in reality over you. Before shortened from their viewpoint, your proportions won't actually change. This is why proportions are more useful if you think of them as a guide rather than a hard set of measurements or rules. The real key is understanding how the different parts of the body were late toe one another in terms of size, because when it does come to drawing out characters in difficult poses and more complex angles of perspective will have a greater accuracy. It guessing how the human figure should be sized up even as the forms become foreshortened , an overlap in front of one another. Ultimately, we want to get to the point where we were able to visualize the proportions of the human body. In three day, we want to be able to mentally take a simplified figure and observe what happens to its proportions as it recedes back into space. That way, you'll be able to sense when a particular part of your character, such as an arm or leg, is too big or small in relation to the entire figure, even when drawing them in an ultra foreshortened, action packed pose. Keep in mind as well that the proportions you've learned in this video I generalized to the ideal, and that's the best place to begin because it gives you a standard toe work from But of course, as you write the buyers for your characters and put time into designing the unique attributes, you'll inevitably adjust the ideal proportions to the specific needs of the character. So again, proportions will be more useful to you as a tool rather than a rule. We'll cover for shortening in another lesson and how to correctly draw your characters in perspective while still maintaining their proportions, because it is really a big topic that does need an entire listen to be dedicated to it. But for now, this is where you want to begin. The first step is getting used to how the human body measures up against itself so that you can keep it in mind as you move on to more advanced figure drawing techniques. That's it. I hope you enjoyed this lesson and thank you so much for your support. I really do appreciate it. If you'd like to be kept in the Loop one. Up and coming Comic art tutorials, tips and tricks Be sure to subscribe to the hydro comics dot net newsletter. If you haven't already until next time, see you later 9. Proportions Workshop 1 A Drawing The Front of The Male Figure: A It's Clayton. Welcome to the first session off the proportions workshop. It's really good to have you here. And what my goal is going to be in the series of sessions is toe actually allay to take what you've learned from the proportions lesson and to put it into action, I'm going to show you exactly step by step. How did rule your character's up to the correct proportions had a lay them out from the front and the side. And we're even going to get into how to maintain the proportions of your characters even when posing them into different positions or posing them in perspective or, you know, just generally trying to fit them onto the page, different distances. In this first session, what I'm going to do is take you through the process, step by step, and you're gonna do it with me. You know, if you don't have a sketch, will go get one right now because I want you to replicate copy and take my technique and see actual results. Okay. From the investment that you've made in this lesson. All right, that's my aim. Here. I want you to get good results. I want you to leave this lesson, being able to draw your characters in proportion, having a rock solid understanding and how exactly you're going to be able to do that. You know, eventually all this stuff. If you practice it, what I'm going to show you in these sessions, you're not even going to have to think about drawing your characters in proportion because you'll know you'll know the process like the back of your in hand. You'll become unconsciously competent with it, so much so that it'll just become natural instinct. It'll become a habit. You'll be ableto make the right associations with the different body parts, and you'll just be able to make guestimation zits the way everything will go. And those estimations will more often and not be 100% accurate. So get a pencil and paper, and what we're going to do in this first session, as I was saying, is we're going to draw the idealized, heroic figure from the front, and I'm going to show you how to establish the height of that figure, how to divide that figure up into eighth so that we can find the size of the head and then had layout. The rest of the body said that everything's sized up correctly. Okay, It's gonna be a piece of cake. Trust me going to get this. I'm telling you, just follow along. Take it one step at a time. You're going to be good to go. And hey, you know what? If I am going to fast at any stage, the beauty off, having this all on video at your fingertips on the man whenever you need it is that unlike a classroom where it's really pretty hot too, actually maintain a memory of everything that's being taught in that one clause without anyway. Toe, recollect it. Well, guess what? You've got a video here that you can rewind and play as much as you need to until you get this stuff 100% right? If you want to pause it at each step, do the step and then play the video again. Go ahead and do that. Don't let me stop you from, you know, learning this stuff at your own pace. Okay, so what is step number one? Step Number one is to establish the height off out character. The overall tall nous. If you will. And the way that we're going to establish it is with a single vertical line that runs from the top of the figure all the way down to the base. Okay, so get your pencil ready. You get your style is ready and follow along with me. OK, so we're going to begin the line from the top here, and we're going to try to keep it a straight as possible. But you know what, guys? What would drawing here is a very simplified figure that is really only ever going to serve as the underlying foundations that hold up the nice decorations and the pretty pretty picture that we're going to build on top of it. Try to make it a straight as possible, but it doesn't have to be 100% neat. You can see him kind of sketching mine out here. Use a ruler if you're really bad at drawing lines. But hopefully, actually, I shouldn't laugh. You know what? Drawing straight lines. That could be difficult sometimes. Believe it or not, it could be more difficult than you would think. In all honesty. So hick. There's no shame in practicing a few of these straight lines if you need to. Just a warm up. All right. Fantastic. So we've got outlined there. It's going to establish the top of Africa, like so and the bottom of the figure in case of the base of your character. Now think about it this way. If say that you're drawing a Penhall that's this big and then you drawing another panel that's this big. Well, let's say that within these panels you go to scene with multiple characters. Guess what? In order to place these characters pretty damn simple or you got to do is start laying down these lions. Now, of course, you know, hopefully this some perspective going on in these panels just to make it a little bit more dynamic and interesting to look at. But, you know, you might have a figure that's this. Tony might have figured that that is, that a toll amount of another figural away in the background there, And each of these Hyatt lines what I'm gonna call them. That's what I have dubbed them the height line off. The figure is going to be divided up into eighths, right? And though as each of those divisions are going to help us a line that various parts of the body that we're trying to draw into proportion. You know, You know, you might have a giant character here in this one, and he just kind of standing there. But then you might have a dude in the background here. He's like, Tiny, and he's gonna be divided up into eighths, and we're gonna place him on the page. Okay, so that's an introduction into how we're going to manage the characters within the frame at at one time. Let's just erase that. We're getting off a little bit off track. You should have a line vertical straight up and down that is, has established the height of your figure thus far. Now, the next step that we're going to need to take is we're going to divide this height line up in tow eighths, and each off those eight segments is going to essentially establish the size of our character's head. And so when you think about a character that is eight heads high, that's what we're talking about here. Eight segments or eight head segments, if you will. So, in order to divide this up into eight segments, it's actually quite easy. The first step, in fact, is just to make it a vision, right smack bang in the middle off this height line. Okay, at the midway point. Now, just so happens that this midway point, this division that we made marks the midway point off our characters body. Okay, so, literally, this is going to be where the pelvis sits Later on, you'll see that and the legs begin down hand, I think, Come all the way down here to the base, the character and the rest of the body. The top half of the body is going to sit above this division now, as far as these segments go on, dividing up this line into eighths, it's super super easy because well, we need to do is keep on dividing each of these segments until we end up with eight equal segments or head units. So let's go ahead and do that. Will divide the top segment in half like so and will divide the bottom segment and half. That gives us four segments. Now, if you're worried about making these 100% spot on and making sure that there's a 100% equal fourths. Don't worry about it. Just as long as it kind of looks like therefore equal segments. That's gonna be enough. Now, if you placed in these segments and you can tell that they're off, well, that's a problem, because that means that people gonna look at your character and they're going to be able to tell that something's off about it because the proportions are gonna be whack. Okay, so try to keep it as equal as possible if you can. But don't be too concerned about it and be overly analytical about this stuff. You know, if your early analytical and you're overly logical about it, well, it's gonna cut off your creativity and we don't want that. Part of the fun of being a comical goddess is the fact that you get to express your creativity. And that's just not gonna happen if you're spending the whole time roaring about how accurate everything is. You know, this is comics. Anyway, the worry about being too accurate all right, we could have four segments here. Now, in order to get all eight segments up and running, what we need to do is to divide each one of these segments makes sense. So we're going to make it a vision here, get a vision here, been going toe stretch out this midway line so that we've got a bit more of an indication as to where the halfway point is on the body. Because once we start drawing stuffy and it can tend to start looking a little confusing. But if we can pull one of these lines at, at least it'll be a little less confusing and what kind of nowhere at a little bit easier. Okay, let's divide up the bottom. So one division here, another division here and what we get is 1234 5678 segments or, if you will, eight head units, right? Makes sense. Fantastic. So let's get rid of those now. We've established the height of our character, and we've divided up the length of the character into equal eighths. Now, what each one of these divisions has given us is the size of a character's head, and that is the first thing we're going to draw on to our little kind of makeshift scaffolding that we've created here. Okay, so if you've got this on the page in front of you. You're ready to draw in the head. All right, But make sure you that you are up to this point before skipping ahead, OK? It's so it's so important that you copy each one of these steps that your replicate him and that you got this on the page. If you do not get it on the page before you move on, pause this particular session if you need to and then play it again when you're ready to go . Okay. Very important. I know him happened on about this stuff, but again, I want you do the right thing. He is so that you can actually get results. All right, Sweet. Now we're going to place in the head. That's the next step. It is the literally the first body part that we're going to place in. And let me tell you something. When it comes to drawing comic book characters, the head is always the first thing that I establish. Let me tell you why. Let me tell you what the real magic behind starting with the head ease when I start with the head of my character, for example, sets up with head here and I begin to draw the rest of the body out like soy. As I'm drawing this character, the way that I'm able to get the size of the different body parts of that character somewhat in proportion and somewhat looking correct is because I'm just associating each part of the body to the size of the head. Yeah, that's right. I've done this proportions exercise so many times that it's literally been programmed into my brain to the point where I can make associations between the size off each body part, specifically the size of the head. Okay, in order to make sure that every other body pot is drawn and measured up correctly, does that make sense? So what that means is, no matter what pose you drawing, the character is no matter whether or not they're in perspective or whether they're foreshortened. What will happen eventually is you'll be able to kind of associate every part of the body back to the head. And, you know, once you've got the rib cage down, once you've got this is chest part down. And that's what the you know, that sized up in association in comparison to the head here. Then you can size up the arms in comparison of the chest and kind of links up and so on and so forth, down the length of the body. It goes now it does take time to begin to recognize where those how big everything is going to line up. And it takes some time to make the right connections and the right associations, which is only going to happen through repetition and practice. Which is why I highly highly recommend that you repeat the process that I'm showing you each and every step multiple times. Heck, if you can fit this same exercise in 10 times a day and you can draw 10 different figures 10 times a day. Well, sorry. Not 10 different figures 10 times a day. But if you can draw at least 10 figures every single day by the end of the week, you're going to have this handled. I'm telling you, you're going to annoy the proportions of you characterized by heart, which is ultimately the the the end goal, right? I mean, you know, going to be putting in this height line and dividing it up into eight every single time you want to draw character? No way. You know that stuff cyst, the underpinning knowledge that you're gonna practice so much, You don't have to think about it at some point and you know it'll be all unconscious. And he has just started roaring and literally they'll just seemingly fall into proportion into the correct proportions. Gotta have faith in this stuff. Practice that you'll see what I mean. I can promise you guarantee it. 10. Proportions Workshop 1 B Drawing The Front of The Male Figure: like a fantastic. So we've got out character hide established and we placed in the head of our character. Now comes the fun part where we begin to literally build the figure. Now, this figure going to be very, very simple. Okay, we're not worrying about anatomy. We're not worrying about muscles rendering lighting or any of that fun stuff that looks a little a heck of a lot appetizing than a roughly drawn sketch of a stick figure. But you know what? It's that stick figure that hold all that other good stuff up. So it's important to get that down first, right? I always say the things that you need toe get down first, The three p's perspective pose proportion and, um, placement off the character there, the three things that matter the most when it comes to figure drawing. So that should be all you're focusing on in the beginning. I'm serious. If you start focusing on all the other stuff that comes later on, like, where does this muscle go? Where does that muscle go? The hair that rendering all that stuff, it's going to cram up your ability to think about what really matters at that stage, all right, It's going to literally on a short fuse and overheat your brain, all right, and it's and switch it off. So focus on one step at a time. Focus on the area, focus on the the level that you're at with the drawing. And then when it's time to pull on the anatomy, then worry about the anatomy. Okay, cool. All right, let's get back to what we're doing here right now. The next thing I'm going to add, Ian is the shoulder line. Or as ah, what is also known is the cola bone. Now this is a bit of a difference here between the shoulders of men and women. What you'll find is that men have broader shoulders. Women have narrow shoulders, narrow bodies in general, which is open wide. You know, guys kind of look a bit more like a libel. Women look a bit more like an hour glass, right? So let's talk about in terms of how far down the shoulder line comes. It's going to be one head and 1/3 of ahead. So if we divide this second segment up into thirds and we look at where this 1st 3rd is going toe sit. That's basically how far down our shoulder line is going to drop from the top off. The figure now very important to remember that. So just place a little line there and then in terms of how wide those shoulders are going to be, well, the width of the shoulders is to head lengths wide. Okay, now what? That it sends a little bit weird, right? What that means is that from the top of the head to the chin, we're going to make up the with off our shoulders a case. That's how BA ruled the shoulders. Our and dude true head links wide. Remember this stuff because it's gonna help you so much in the long run. All right, So going to drop the shoulder line down one and 1/3 of the head, and then the width of those shoulders are going to be to head links across so literally, we're taking the head and lay it on the side to get the width of the shoulders here. And I'm just going to put some little circles here on the end of this lines her kind of indicate where the shoulder joint is going to sit. So now that we've got that in, what we're going to do next is I'm going to place in triangular shape four out figures, shoulders, and I'll show you how to do that. It's really easy. It's literally just You take the shoulder down like that from the shoulder joint and then we're just going toe, bring it back like this. Okay. Toward the cola bone in the middle of the collarbone like Sorry, you can see that kind of triangular shapes. Now. The reason that I'm doing that is just kind of symbolize or indicate the mass off the shoulder because especially on a guy that you are dealing with some pretty hard core muscles ain't and get the deltoids and stuff that, you know, sit a fair way down the upper arm. So I like to put them there just to kind of establish that that shoulda bulk a little bit more early on within the drawing. Now, once you've got the shoulders in, once you got the color but color bone placed and you've got the head in. Next, we're going to place in the ribs of our character now the ribs off the character or the base of the ribs are going to sit just above the third segment. Okay, the Third division. All right, So they're gonna be about here, and we're going toe begin the outermost edge of the ribs of the top of the ribs from either side off the shoulders. Right. So taking this shoulder joint here, we're going to take them down and we want to taper it in woods like SAR toe would the bottom of the ribs just above that third segment. So go ahead and do that drawer line. Make it failing error a cake. It's You can see it's not a straight line, it's actually quite narrow. It's on an angle and we'll do the same on this side. Take it down just above that third segment, and then I'm going to create an arch underneath the ribs here. So the way that you can think about the liberal mass of the ribs, by the way, is just as a vest and K a very simplified this. So we draw a line across here, troll the ribs down ribs down here. We've essentially got what would look like a vest, Okay. And I actually have nicknamed this. I like to call them. I like to call it the chest vest. Makes it easy to remember rhymes a little bit. Practice that shaped by the way, if you need to. If you really want to get a down pat, you get extra points. So we've established our ribs now. Okay, let's just All right. So we have established the ribs, and as you can see, we get out chest shape here. Coulda shoulda shape here. Alright, Someone's gonna darken these up, make some a little bit more vivid. And next up, what I want to point out is where the nipples are located on how human on our heroic figure here cake Because there another kind of anger point when it comes to proportions that you're gonna want to take note off. Now, the nipples over your characters on both men and women are going to sit two heads down from the top of the figures that the second division, right, So they're gonna be about lips. They're gonna be about here so you can place those in like so now, in order to place them across the chest. The easiest way to go about it is just to create a triangle with a right angle. Right? So take this down here from the central, the collarbone. We'll find the positioning of the nipples along that line. And then what I like to do is I like to just establish the actual pictorial muscle mass in a similar fashion to the way that I established the shoulder muscle mess. Now, this isn't absolutely necessary, but I do like to put it in there again just to kind of give me a little bit more of a vivid idea as to how the character is coming together. OK, so I kind of like to build up my characters with anatomy sometimes and helping to make sense of the whole thing. But let's go ahead and do that. So in order to place in these things pictorial kind of shape, I'm just going to create a slightly arched line from one nipple to the other. And then I'm going to take that. I'm gonna take this line. I'm going to take either end when I draw a line on either end of that arch line up toward the shoulder joints like so yeah, and that's going to give us out a rough representation or the pictorial muscles on our figure. Okay, so now we got some some really roughly drawn in shoulders and some really roughly drawn Inpex. And really, you don't need toe place in or think about anatomy. Be on that this very simple, rudimentary version of anatomy. Beyond this, this point at this stage in the image Okay, this stage of the building process, because it's just not just not necessary right now, you'll notice I haven't even put in a neck yet for the character because I don't need to. You know what? I've already got what I need here. Okay, So now, just to recap real quick we've established at the first step was to establish the overall height of our character by creating a simple vertical line from the top of the character to the base of the character. We then divided that lineup into eighths, which was very, very easy. Because we had to do is divide the segments enough until we had eight equal segments and each one of those segments ultimately defined the size or determine the size of our character's head, which we placed in next And then the next step was to place in the shoulders. And then, of course, the rib cage here, Next up, what we're going to play scene is the pelvis, about character and K now on. No, the hips, if you will. Now on guys, the pelvis or the hips. They are in fact, a lot more narrow than they are, or a woman or a female character, because you know, you've got a few things going on with Mother Nature and and the female species such as, you know, the ability, the incredible ability to give birth to other humans. So they've got broader hips to kind of, you know, support, support all of that. And again, that's often what gives female characters. That hourglass type figure will silhouette if you will. Guys, On the other hand, you know we don't really need that. So Mother Nature is going us much narrow hips in return. I almost think about that. The width of the hips is is coming straight down right from the top of the top of the ribs , so there's very, very little actual difference in terms of how why they are in comparison to bottom of the ribs there. So let me placing the pelvis and just show you how I draw that in. Now the pelvis. It's going to the base of the pelvis. That's going to sit just underneath the fourth segment for the fourth of vision of our overall height of the character. All right, so we're gonna place the base right here, and then I'm going to just draw up from there a upside down try Angula shape. And at this point, it does look a little bit more like a triangle. But once I put in some leg holes, like so on either side of this triangular shaped pelvis, well, you'll notice is the pelvis and it's my simplest form is best described as a pair of underpants. Seriously, um, I mean, really like again. Let me let me kind of highlight this this actual shape over here we got a upside down triangle, and then we got the leg holes for the upside down triangle. And when you add that in, you kind of got para Panies, which is why I affectionately refer to thes simplified version of the pelvis as the pelvis panties. So you've got the chest vest and you've got the pelvis panties right there. That doesn't make it easy to remember. I don't know what will. And then, of course, you've got the hip joints that sit about here on the figure. Right? So we're just gonna place those in on either side of the pelvis. Pretty, pretty simple eso drawing your pelvis. Now again, we're just gonna use a very, very simple upside down, triangle shaped cut in the leg holes, make him into a pair of underpants and then add in the hip joints All right, which are signified by these very simple joints here. Now, for now, I'm just going to erase the sides of this this character here because they don't want to be concerning ourselves with that yet. For now, we got out pelvis. A very simple. Hopefully you've got something that looks moderately like this. It is. It is quite simple again. Just practiced those super simple shapes. If you are having trouble with them, I know that, you know, for someone who's just starting out who's new to this stuff, drawing anything, whether it be a line, whether it be a circle it can be can take a little bit of getting used to. So don't be afraid to practice that stuff. Just a warm up. You know, it's practicing. Anything is gonna get you better. 11. Proportions Workshop 1 C Drawing The Front of The Male Figure: Now that we've got the pelvis established, all we gotta do is place in the limbs of our characters. So the arms and the legs All right, so let's go ahead and do that. Now. There are a few things I'm gonna point out here, and the first thing I'm going to point out is the knees and where the knee sit on the figure of a role. Let me get rid of these, and we know it's the top in the base. Okay, so the knees, it's important that you place them correctly, because what happens is the knees sit on the sixth segment. Right? But what some people accidentally doing me included. This is what you know. I've been burned. This is why I'm so insistent that you get this. What some people will do is they will place the knees smack bang on this division. Now, what you'll notice is when you do that, the top of the leg is a heck of a lot bigger than the bottom of the leg. And if you include feed on here, what? He ends up with his very, very tiny little lower legs, which is not what we want that's called on out of proportion figure and drawing our characters out of proportion is not the goal here. Quite the opposite, in fact. Now, in order to address this in to fix it, what we need to remember is that the knees do not sit on the 67 like in the middle. They sit on top of it, all right to the base of than they actually sits here. Now, the other thing that is important to remember is that the height of the knee is surprisingly a whole half ahead in length. Right? So if we divide this segment in half, the top of the knee is actually gonna sit right here, right? So, you know, at the bottom, off the knee. And then we're going to have the top of the knee right there. Yeah, hole half ahead in length. Very surprising to some people. But it's true. Okay, So once we've got those knees established, drawing in the upper leg is very, very easy, because all we have to do then is make a draw. A slightly curved line from the hip joint all the way down to the top of the knee. Now the reason that I'm making it curved like this, by the way, is because that's just more anatomically accurate. Out upper legs are, in fact, a little bit more curved. And, you know, we want to make it look like these again is accurate and that they do share similar anatomy toe actual human beings. We don't want them to be straight up and down robots. Very important to keep in mind. Next, what we're going to do is we're going to place in the ankles of their character, which is going to come pretty much if if we're standing, if the character is standing with their legs together, it's gonna come pretty much here. Right? So we'll sit that whoops. Not there, just above this segment. Okay, so place the ankle joints right there and then from the bottom of the knee weaken, draw in the lower leg. This is gonna look a little bit like that. Okay, Now I am I am adding a little bit more bulk to these things. Stick figure lines again, just toe. You know, give it indicates some form, but you could easily just make these straight lines if you know you're feeling really lazy today, hopefully in front of you. Right now, you've got a character that has a body and at least one leg attached to that body keeping him upright. And finally, what we going to do is drawer in the foot, okay? And the foot is a very simple triangle. Very, very simple shape that now that actual foot, by the way, is if you draw it out just as it is is basically kind of like a coin shape, you could say. And then I've placed in a little bit of something going on here for the toes. That's basically how I drove the feet from the front and a very simple in rudimentary version of it, at least. Okay, so fantastic. Now that we've got that down, but I'm going to do next is I'm going to draw in the other leg and in order to draw out the next leg or the lake on the right hand side, about figure as you're looking at it. At this point, we're going to take the exact same approach we did with the left leg, which is to just place the bottom of the knee. Well, the base of the bottom of the knee. Have it sitting on the six segment like so. And then we'll draw the top of the knee and will make sure that that's half ahead in length high. And then it's a simple is taking the upper leg line down from the bottom of the pelvis from the hip joint all the way down to the top of the knee here. And you'll pretty much have the exactly the same thing as you have on the left side, on the opposite side of the character. Next piece, a cake, right? The next step is to just place in the ankle burn with the ankle joint, if you will, and then to roll the lower leg starting from the bottom of the knee away, down to the ankle joint. Okay, Now, again, we're gonna think in that lineup just toe kind of give these bones a little bit of you could say, and ah, then we'll place in their foot, which, if you remember, was a simple, simple cone shape with a little bit of Tory going on. But the base there. Okay, so so far what you should have on the page in front of you use basically almost drawn, as though simplified, heroic figure that is so far in proportion. Next, we need to add in the arms, and that is really going to be the last step that we need to take here in order to finish up our figure drawing at this point. OK, so we're on a roll here now to drawing the arms. It's actually very, very simple. Okay, you really only have to know where the elbows are placed and where the risks are going to be placed. Okay? And I'm going to show you right now exactly where each of those joins a placed. So to begin with, if we're drawing out character with his arms laying against the side of his body in case they're basically straight up and down, what you'll find is that the elbows sit in alignment with the third segment. Here Now also point out that the belly button of our character or the naval, if you will actually sit on this third segment as well, at least on guys on women. Bellybutton sits slightly lower than that about their but on guys sits smack bang on that third segment, so keep that in mind. Very important. Okay. And again, along that third segment, you're going to find the elbows. So place that there. And as with the knees, the elbow joints are actually going to sit atop this third segment Important to remember that. And then as we move down toward the bottom of the arm will find the wrist sits smack bang in alignment with the bottom of the pelvis. That's place in a little circle here for the wrist. So again, placing a circle for the arm, try to visualize the the upper arm going down to that joint. And then once we've established those anchor points, once you've established those joints and we've got them in the right position and we placed them correctly, we got to do is literally drawer a line down for the upper arm, like so. And another another line not down for the forearm, which travels from the elbow joint all the way down to our wrist. All right. Realigned that a little bit. Okay, great. So now we have to do is place in the hands of our character, and we are done. Okay. We can call it a day on this dude now hopefully again. You're at this stage and your figure looks like it's in proportion just like this, dude. At least so far, you know, this is really the key. If you've been following this step by step, you should have it pretty much ready to rock. Okay, so the last thing that we're gonna have to do here, that a lot of very last thing is to place in the hands now from the wrist of the fingertip over your hand, what you'll find is that the hands actually stop at about the midway point or rest of the midway point All the upper leg. OK, so we're going to divide the upper leg in off and draw a line out so we can sit the fingertips on top off this division. Very, very simple. If you literally stand up right now and rest your arms against the sides of your body, you'll find that pretty much your hands rest just at the midway point of Europe. A lake? You can try that out. In fact, most of these interesting little proportional insights you can actually look at your own body and your friends and your family and and you'll notice that these proportions actually do apply in reality? No. 100% perfectly with everybody. Everybody technically has some variation in their anatomical proportions. But for the most part, this is a good rule of thumb to follow. That's going to give you decent results every single time you draw a character. Okay, so now that we've got the risks establishes drawing these hands now to draw in the hands. Very simple. I start out with a block, Okay, that goes halfway down the hand. And then for the fingers, I draw in another kind of block shape. Like so all right, ends as far as the thumb goes. That's just placed onto a little wedge that comes off the main hand. I've during the thumbs, like, so pretty done. Simple, right? And then what I'll do is I'll just kind of define these lines a little bit more. Okay, So have you got in front of you? What? You can see on the screen here. All right. Have you taken each of these steps one step at a time and full it along carefully. And have you got a figure like this in front of you? If you do? Congratulations. You now have drawn a heroic, idealized figure in proportion. Give yourself a pat on the back because to get a character drawn in proportion, it's not as easy as it looks. Eso if you have got anything that looks moderately close to this awesome. That's exactly what I wanted for you and are hurt that you feel you actually benefited from this session. Now, if your character isn't quite looking like an exact replica of this one, do not worry. Look, this stuff takes practice, and I do not expect you to necessarily drawn this up perfectly the first time around. It's gonna take some repetition. It's gonna take some time. And that's the brilliant thing about drawing. It's a 1,000,000,000 thing about gaining any new skill Is that as long as you repeat the correct steps, you will see results. Okay. And what I've given you here is 100% solid. Do this. Go through this process or over and over again practices throughout the week. And look whatever figure you've got in front of you right now, it's not going to look anything collective figure you have in front of you at the end of the week at the end of the month, years from now, because you're going to make progress, you're going to refine it, and you're going to make it your own. So and again, you practices enough. Yes. What? You're not even going to have to think about it after a while because you're just going to recognize how big everything needs to be and where it needs to be placed in order to make your artwork look correct. OK, so awesome. Thank you for joining me in the next session will be going over how to draw this figure from the side. And there are a few differences, but the process is very, very similar. Okay, so we're essentially going to be repeating the pros issue No. Incorporating a little bit of repetition into these sessions so that, you know, you actually are able to see a noticeable improvement by the end of them ends after we drawn the male figure from the front, the side, We're going to draw the female figure from the front and the side again, getting you toe go through that process another two times. After that, you should be getting pretty comfortable with it. This entire process withdrawing your characters up from the front and the side accurately. So thanks again for watching. I'll see you in the next session and challenge. See you later. 12. Proportions Workshop 2 A Drawing The Side of The Male Figure: It's Clayton. Welcome to Session two off the proportions workshop. In this session, I'll be showing you how to draw the human figure proportionally accurately from the side. Okay, so you can see how figure here from last from the last session which we drew up from the front. Okay, looking at us directly. And this is a really classic pose toe. Get down those proportions and figure out where everything needs to go. But the thing is, when we're drawing the human figure on the side, though it is a similar process, what you'll find is that these simplified forms here, we've got that make up the front version of the figure. They're actually drawn quite differently from the side. OK, the forms actually change a little bit, such as the rib cage and the pelvis. And, you know, the legs and the arms. They pretty much stayed the same. But what I would like to highlight in this session is just how those shapes look geometrically from different angles. Okay, and at this point, we're only dealing with, of course, the front and the side. But that's the first thing we gotta get down first because it's going to start giving us an idea off the dimensions off those shapes and allow us to begin investigating how their forms might look in perspective. All right, now, I don't want to confuse you by getting too deeply into that. Let's just jump straight in and begin building up the human figure from the side and keeping them in proportion while we're doing it. You can see that I've got my figure here from the last session. Just gonna move him to the side there, and we're going to create our figure from the side to the same height as the figure we've got there facing the front. Now, remember that we are drawing the side of a male figure here. Men and women, they're drawn a little bit differently. Even at this base level, you're going to find quite dramatic anatomical differences within the different genders. So I'm going to highlight those as well as we continue doing. These are images these very basic figure drawings so that you can keep them in mind for your in characters as well, because natural, you're going to have female and male characters. When when you go to design your comic book characters, and it's important that, you know, if you want your characters toe look feminine or you want them to look masculine that you know what you need to do in order to achieve that. And let me tell you, there's a few really quick tricks that you can do at very small tweaks that can make your characters look either manly or womanly in a very fast and effective way. So we'll get into that a little bit later on when we begin to actually build some of the anatomy over these simplified figures. But for now, let's get started on the side view of our figure here. And what I'd like you to do if you haven't done it already, is to grab a sketchbook or open up your graphics application. Get yet tablet fired up and follow along here with me going through each step so that by the end of this session, what you've gotten out of it is a proportionally accurate figure that you've drawn up from the side. Okay? Because again, I really want you to get real results. Why put together these workshops because, you know, I didn't just want to throw you a bunch of learning materials and leave you out there on your own. Um, I actually want you to implement them and show you how to use them so that you condone what you're after at the end of the day here. Okay, Great. So you've got your sketchbook ready. Pencil stylus in hand. Good stuff. Let's get cracking. OK, so I'm going to make a new later over here in the the layers panel in Mangus studio and the way that I'm going to go about this and every other pose here on would, Ah, whether it be the front of the female, the side of the female from a male front side of the male, we're going to establish their height first and again. The way that we establish that height is by using a simple vertical line that will run the length of our character okay, and establish how told they're going to be on the page. The real advantage to doing this. So let's lay that line down now. You're ready. Let's do it. Um, the real advantage to beginning your characters like this is you get a really good idea as to how much space Lee going to take up on the page, which is super important because one of the biggest problems that we run into, especially in comics, because, you know, we're always dealing with crazy scenes that could be shot from any perspective I mean any perspective imaginable really different size panels, different sized pages, different compositions. One of the biggest problems that we run into is that we find that it's very hard. Teoh fit out characters onto the page. In fact, what will find most of time is that, you know, usually we end up having to either kind of squish them in there cause we didn't really take into account how much space they were going to take up in the first place. Or we end up just having toe leave part of them out of the frame, you know, and really, these kind of problems should never be something that confined you, Teoh confined your creativity. You want to know how to deal with these problems and how to avoid them in the first place. And one of the best ways to avoiding this particular problem is to try to establish the size of your characters in a very simple way, such as using this vertical height line here so that you know whether or not they're going to fit on the page straight up and to ensure that every single part of the body actually does fit on the page. What we need to do, of course, is to begin dividing this lineup into eight segments, and each of those eight segments when we're done dividing it up is going to represent the size off our character's head and every single segment we're going to use tow line up the rest of the body away, down from the top of the head to the base off the feet. Okay, so let's go ahead now. And hopefully you've got a vertical line. They're establishing the heart of your character on the page, and we'll go ahead now and begin dividing this lineup in tow eighths. Okay, ready? Let's do it now. The easiest way to divide our vertical height line here into eighths is to begin by dividing the by dividing this line directly in the middle. Okay, so let's say the middle is about here. Don't be too worried about getting it 100% exact. We're only dealing with the underlying sketch here as long as it's not noticeably off. Try to get it as accurate as possible, of course, but don't worry about it too much. Don't let it stress you out. Now that we've divided this line up in the middle, we're going to continue dividing. The segment's up until we've reached eight semi equal segments or as accurately as he can get it. Equal segments, I guess. So again, we're going to look this top segment up here. As you can see, we're going to just divide that in half, okay? And then we'll do the same thing with the bottom segment. And what that will give us is a line that's divided into four segments. Okay? And to get the eight segments or we gotta do one more time is to divide these segments enough like so. So that's really quite easy. And it is one of the reasons why I love to follow the eight head, high figure drawing model because it is very easy to not only establish these segments here , but also tow line everything up on the character, you know? I mean, the thing is this middle division guess what? Soupy. Easy to remember, because that is literally the midway point off the figure. This is where the crutch of our character is going to sit. So we're going to have the legs on the bottom half and we're going to have the torso in the top half. It just it really helps to try to comprehend exactly what's going on with these figures on . It makes it a little bit easier to think about. Okay, so I'd suggest this method. Some people they like to drill a characters a little bit more accurately to reality. It's not as impactful, but it is more accurate to reality, which is to draw your characters at seven a half heads high. You know, most of us in real life with 7.5 heads high. Um, some people are in the six heads high. And of course, when it comes to people in general, everybody's going toe have unique and different variations when it comes to proportion. But we do need a baseline to work from, and this is one of the best bass lines that you can get because an eight head high character, you know, you got that heroic essence built within the proportions already, and we are drawing comic books here. So we want our characters toe have that heroic essence. We want them to exude power. And typically the bigger character is, the more powerful they're going to feel when you look at them and vice versa. The character is somewhat small. They're going to, which is going to assume that they're weaker, right, that they don't know packing as much of a punch. So now that we've got out height line established and we've divided it up into eighths, hopefully you've got the same thing on the page in front of you. We're going to lay in the head and we know exactly how big the head is going to be because we've defined each segment here and each segment is the size of our head. So let's go ahead and do that. Now what I'm going to do over to the side years, I'm just going to show you exactly how the simplified head is drawn from the side because it is a little bit different from how we drew it on the front, you know, in the front, we've got the head It's just basically an oval, no big deal from the side. It's a little bit different. It's essentially just a circle like so circle with the division. Of course, we want to divide the circle here to show the dimensions of it. And lastly, we went in place the face onto this character onto this head. So let's place that on. And all that is we're just going to take this line from if this is the front off our face here. We just want to take this line down a little bit to the bottom of the chin and then take it back for the jaw. And this is where the jewel would sit still, pretty simple, but a little bit different from the front overall character. Let's go ahead and place in the head off our character, our figure as it's drawn side on. Yes, it will start with a circle. Just roll that in, like so sickles, actually a lot harder to drool than you'd think. You know, when people say if you can draw a circle, you can draw anything. Well, not everybody can draw a circle very well. I know that I can't, um, as you can see minds wobbly and very, very sketchy. I do my best like everybody else does. That's all you can do. Divide that in half, and then we'll place on the front of my face and I'm being a little bit need here. But, hey, you know, I'm doing a demonstration, so I want I want to try to impress you if I can. Okay, so there we have it. Now that we've got the head placed in, we've got that established. It gives us a bit of an idea is to how all the other body parts are going to be sized up in association. And I've mentioned this before, but this is one of the reasons that when I start to, you know, break away from having toe do, ah, height line and measure out the proportions and break them up into segments. And I kind of, you know, um, I kind of just go out there on my own and free bull and see what happens. I established the head first because once I get the head down, I've got that size of the head established. I can almost begin building the body off of that head. And as I build it off of the head the size at which each of those body parts of being drawn , I'm subconsciously comparing to the size of my head. And if you drawing your characters in perspective and you're drawing them in different types, opposes, this is going to be something that you want to keep in mind. This is what will happen once you practice this exercise enough right now, you may not be consciously aware of it, but as you're drawing out the head and you drawing the chest and you drawing the arms and the pelvis and all those other parts on some level, your brain is making connections between the size of each is Loy's elements okay? And it's starting to recognize the patents, and it will continue to do that with practice, and in fact, it will solidify it. So keep that in mind and don't stress about trying to get this straight away too much because it does take practice. And the really cool thing is, is that all you got to do to get good at something is practice it and you will get good. It's all about experience. It's all about getting that mileage behind you. 13. Proportions Workshop 2 B Drawing The Side of The Male Figure: with the head down. Let's continue down the body and place in the rib cage and pelvis in the lakes. Okay, that's what's coming next. But here's the thing. We because we're drawing the character from the side, we do want to kind of somewhat establish a natural feeling posture to the character. And this is important. This is one of the biggest mistakes that a lot of artists make is making their characters stand straight up and down. Kind of like this, right? The legs down here like So now the problem with that is it looks very, very unnatural. And what it almost makes the character look like a robot. In some ways, we want our characters to have a little bit of soul in them. And if you look at real people, usually they've got a little bit more of a kind of s shape to their posture. If if you can think of it that way, so the spine, it actually kind of bends out warden and comes down like this at the back. So it's important to keep that flow in mind because the trajectory off the pose from the side will be what adds that additional human element to your figures and makes him a little bit more relatable as actual real people. If you've got a character that's kind of stiff looking and and lacks energy lacks the kind of movement that you'd seen a real person, and it it's just going to look unnatural. And people don't like unnatural booking humans. It makes them feel uneasy. So we want to try to get as much moving in there as much kind of natural, even if your character is just standing straight up and down. We want to make that look as natural as possible. That's what we're gonna want to pay attention to, especially from the side of the figure, because that's where we're going to see most of that movement happening. Most of that shape occurring, Okay, so the shoulders of their character are going to come down one in 1/3 of ahead. So again, we've got out first segment up here with the head, and then in this next segment, if you just divide that into thirds drawer line, this is where the shoulder line is going to end up. This is where we're going to place the shoulder joints. So to place the shoulder joints or I'm going to do is drawer in a little circle there. Let's make that a bit smaller. And now that we've got the shoulders established, I'm going to begin building the rib cage or the chest off of the rest of the body here. Now, as you can see from the front, the chest kind of looks like that. This shape that I mentioned earlier in the first session, we got the chest vest now from the side, it looks completely different. Okay, so let me draw it out again, because you're gonna need to know it. All right, So from the side, you can almost think about the rib cage as a box that is slanted Ford at the bottom and slanted backwards at the top like so Now you can think of it as a box. You can even roar it in as a box if you want to, but I like to make it look a little bit more rib cage like, if you will, a little bit more natural and rounded. And so what I usually like to go for is a shape that could be compared to this cube here, but not quite OK, so just kind of around top like this. And we with the front of the rib cage. And then we've got the back of the shoulders here. And then we got the back of the rib cage that comes down and then we've got the bottom of the ribs, like so then our arms will sit there, right at the top in the middle. Okay, so this is probably the most accurate geometrical shape that you could get for the ribs, so I'd recommend practicing that one. It is a little bit more tricky than the cube here, but if you want to get it a bit more accurate, go ahead and tried drawing a few of these out and try to get used to them. Because if you can get used to drawing the chest from the side and then get used to drawing it from the front like this, what you'll find is that your your even your basic figures haven't already established foundation. That is, you know, somewhat anatomically accurate. Okay, so let's go ahead now in place in the rib cage. Now again, I want to keep as I'm drawing in this rib cage, I'm keeping in mind trajectory of my characters posture. The other important thing to make sure that we remember here is that the rib cage comes down to just above the third division, which is right here, as you can see. So we're going to keep that in mind as we're drawing out out rib cage. Can we get this planet s curve here almost drawing the ribs? Like so? So it's like a slanted egg. Then we've got the neck and the neck is going toe, you know, on a person if you look at them And by the way, if you observe reality a lot and you look at people, you're going to be our But to replicate that realism inside your artwork So it become an observer. Yeah, if you are. If you take the public transport toe work or to school, observe the people who were just kind of sitting around listening music and reading books. And if you're ah, if you're feeling really bold, start pulling out your sketchbook and doing some studies because that's what's going to give your outward again that extra level of soul, that extra level of realism. It's really going to bring it toe life if he can capture those even simple moments. I remember Todd McFarling saying once that the hardest thing to draw in comic books was scenes that just showed people doing every day. Things like having coffee together at the cafe or taking the dog for a walk. Yeah, I mean, it's really easy. Draw, action poses and muscle bound, both heads beating each other up. But try drawing a lady sitting down to have a coffee, you know, I mean, sounds not. It's fun, and it sounds pretty simple, but it's very difficult to capture that feeling and that realism in to make it look exciting and tow. You really get people to relate to it. If you haven't done it a lot before, se keep that in line. And again if you if you look at people from the side in real life, you'll notice that there had actually slants for a little bit. So I've got the spine here, kind of looking forward. Someone place in the back, burn there, and I'm just going to draw a little bit of a guideline around my rib cage here just to describe the geometry over a little bit and you'll find that as I move on and I started bulk out the figure a little bit. I will tend toe put in these geometrical guidelines that help describe the surface of the forms that I'm working with. And they just helped me to kind of think about end to the picked form three D form with depth and volume on the page. Which, as we all know, is it just a to D platform. It's a two d piece of paper, and that's that's the grand challenge, as comic book artist is to trying to picked actual three D depth on a two D space. Okay, so let's go ahead here in drawing the pelvis. Now the pelvis from the side is a lot easier to draw than the pelvis from the front, as it turns out, in fact, the pelvis from the side, the way that you draw it is it's basically just a circle that slants back would at the bottom, and then I'm gonna do is just place in a leg hole here at the bottom of that circle, and that's how pelvis from the side very very simple. The drawer in now, What you may have noticed here is that if you think of the rib cage very simply as a cube and then you think of the pelvis as a cube, what you'll find is that the rib cage and the pelvis actually slant back and Ford in the opposite directions. You've got the bottom of the rib cage slanting forward in a top slanting back, and then you got the top of the pelvis slanting forward in the bottom of its slanting back . So if you can think like that and guess what. If we join these together, what you'll get is a somewhat weirdly unq. Any resemblance to how the human torso looks on a very simple level. Okay, so let's move along here and begin to draw in the pelvis of our character now, because But during a guy here, the pelvis isn't going to have to much booty. In fact, it's probably going toe come almost straight down, so let's just draw it in real quick here will draw its smaller than we would've woman's. And remember, by the way, that the pelvis sits just below the base of the pelvis it sits just below this fourth segment here. So keep that in mind as you drawing. I forgot about it for a second there, um, destroyed in like so now the actual top of the pelvis that comes down just below the ribs. So this is where you usually get the crease here for the waste, which just so happens to fall into alignment pretty much with the third segment of our character. And it's also where you will find the belly button of the character of the naval. So drawing a leg hole, full pelvis, you and then I'll place a little dot for the hips of the character just above the fourth segment, in case it's pretty much going to be sitting on the fourth segment. Really? All right, so now we've got the main torso or the main body about character drawn up, So the next step, once we've done that, is to begin drawing in the limbs of our character, and they're very, very similar to the front off our character, the way that we're going to draw them in. But there is a few differences in the shape, okay, and the direction is toe, which those shapes go and how the curves actually look on the figure. And, you know, I know that we're only drawing very simple, simple, really. I've been glorified stick figures here, but if we can capture their shape even at a very simple, rudimentary level, that's going to provide a very powerful base for the rest of the character to be built upon . And that's important to get down in the beginning. These foundations, they may not look like much. But let me tell you, if you get these wrong and they're not 100% rock solar, the rest of your character isn't going to be 100% rock solid. This is where it'll starts. So, really, this is the part of the drawing where you want to be, I guess less leave. Leave less up to guessing and really put most of your mental power into into this stage of the drawing. Because once you get onto the details and that kind of stuff, you can relax a little bit and have some fun with it. You know there's nothing better than turning on your favorite soundtrack and just cruising along with the detail and adding in all the rendering, like good stuff, even anatomy. You know, once you know anatomy, even that's fun to do because you're essentially building everything on this base, this base, and it may look simple, but it's important. Okay, so here I do not underestimate the stick figure. This is This is funny. It's funny because they in school, they teach you to draw the stick. Figure first out of everything else in art class. They didn't tell you how important it is that just like, Hey, you know, you don't know how to draw. Draw a stick figure. Okay, so let's growing legs. Now, if you remember in the last session, I did kind of make a real point about the knees and that the knees, the base of the knees need to sit on top of the sixth segment, not in the middle of it again. If you see your knees in the middle of the six segment, what's gonna happen is, you know, going toe leave enough room for your lower leg. So we need sit the knees on the top of the six segment here. And if you remember the knees air, actually in terms of length one out our half ahead in length, so that's actually quite surprising to some people. But, yeah, they are. They're actually a little bit bigger than you think they are, so we'll place those in. And the reason I like to lead to use two little circles here is I just feel like it depicts the knee a little bit more accurately. And it's almost kind of like if you look at the bones is having too little balls on the end . They actually do look kind of like joints, I guess a t least in my eyes, you know, usually will have kind of like the kneecap drawing in the middle of them there. Yeah, so that's how I like to think of knees. And when you do look at knees, I do look kind of complex, so simple that you can think about them, the easier the time you're going tohave 14. Proportions Workshop 2 C Drawing The Side of The Male Figure: now that we've established on me and hopefully you've established Johnny and keeping up here, what we'll do is we'll drawing the upper leg up the leg is going to come down directly from the hip, and it's going to curve out would toward the front, off the body as it comes down to the name. So let's go ahead and draw that in. It's going to use a simple curve line to draw that in to begin with, and then I'll add a little bit of thickness to that line, like so can just toe give it a little bit of form. Once I've done that, I'm going to go in in place, the ankle joint of our characters. Foot now, the ankles, one of their characters. Foot comes just above the base of the figure. So about here, because we do need to leave room for the foot very important. Okay, And as for the foot people, they get worried about how feet a drawing in that kind of stuff. It's not a big deal. Personally, I think you know, in drawing, if you make things out to be a really big deal, you're going tohave an inevitably tough time with them because you'll be stressing, you won't be relaxing and you'll be over analyzing the situation, which, as I pointed out before, it never helps anybody. So let's go ahead and just ruin the Ford here. And if you do have trouble drawing feet, just think of them like this, right? A very simple triangle. It's almost like a like a bad cartoon version of a foot. And, um, that's all. You really needed this stage, so don't knock it. I mean, it's it will do for now. So I'm just gonna drool that in and the size of a foot. One of the easiest waiters Ways to remember how long the foot is is to just remember that the length of the foot is basically the length of the forearm, which is essentially the length off the head. So the length of the foot is basically one head length, right? Very. If you've watched the proportions lesson, you probably already know that. But yeah, vory was surprised myself when I heard that until I actually measured my head and found that that was indeed very accurate. Great. So you've got have foot drawn in. Let's draw in the lower leg and can't have a lower leg. The way that we're going to draw it is very much the same as we do the upper lake. But this time we're gonna have it curving out the opposite way. So it's gonna go this way. What you'll end up with is is really nice s curve, and you'll notice that overall, the bodies posture is very, very curvy. So you've got the S curve here for the spine. You got another kind of s curve here with legs ends. The reason that our body is built this way is so that we can balance out. Remember, we creatures that walk on only two legs so as spine is usually has lots of weird precious port on it in order to balance us out, Which is why we have kind of evolved. I guess toe have these interesting, weird curves to our bone structure. It's to help us balance out because, um, you know, if we were kind of if out legs were standing straight up and down like this and we didn't have that curved shape, it'd be very easy for someone to just come along and shove us and we'd fall right over. But because we've kind of got this this kind of curve, this very slight curve to our bone structure, it helps us to balance out. It makes us a little bit more solid. Okay, now we're up to the last part. We're almost on the home run. Hopefully you've been keeping up and you've got a proportionally accurate figure drawn up from the side. Here, let's do a really quick recap just to make sure you haven't been left behind. We established the height of our character, first divided the height of our character up into eight equal segments which gave us the size of the head. And that is the first thing we placed in the head. And then we built out the body by beginning with the shoulders which came to sorry, which came one, and instead of a head down the body. And then we drew in the ribs, which the base of the ribs sit just above the third segment on our little height stick here . This this measurement that we've established. Then we placed in the pelvis, which the base of that just sits on the fourth segment and then we put in the legs. Right now, the last thing we have to do is to place in the arms of our character. So let's go ahead and do that. Arms of the character. Very similar situation, Teoh how we put them in in the front of the figure. Um, there's not necessarily a lot of kind of bend to these, but you know that we do want to add a little bit of shape there again. Just her Add some interest to the figure. So let's go ahead and do that it now, by placing in first the elbow joint off the arm. Now, the elbow joint is going to sit right smack bang on the third segment off our character. Okay, so one to and 31 23 Okay, so this is where we're going to draw the elbows right there. Once you got the elbow in will place in the upper arm, which is going to run right from the top of the elbow joint all the way down to the elbow the next that we're going to place in the forearm about character which is going to run from the elbow off our Armel the way down to the wrist, which will sit on the fourth segment of our character I'm going to do is just place Thea the wrist joint over here. Oh, maybe not. Let's place it here. Stand when I confuse anybody with the between the hip joint the wrist joint there. But let's place it there and then we're just drawing the forearm. Now the forearm is going to run again from the elbows away, down to the wrist joint. And then once we've done that, will place in the rest of the hand. Now, the important thing to remember with the hand is that from the risk to the fingertips, the hand is going to stop at the midway point of our upper lake. So it's going to stop about here. Okay, So a place in the hand and the way that I placed in the hand is just a place in a square, like so and then place in the fingers. And then, of course, I just placing my thumb like so getting with a triangle and then drawing the thumb off of the triangle, and that's about it for our characters side on here. You should have a proportionally accurate figure, drawing off a character from the side again. Few differences, the main differences being that the rib cage is drawn silently differently than it is from the front and the same deal with the pelvis. But you know, the police. That kind of talk is a lot easier to draw from the side than it is from the front. The other thing, I'll point out, is that when you're drawing characters from the side is, it's a lot easier. It's kind of half the time when you think about it, because you're only drawing one side of the figure. When you joined the figure from the front, of course, you drawing boys sides, and so you're essentially doubling up on everything instead of growing one shoulder, drawing two shoulders on the front of the figure in instead of drawing, you know, 11 leg on the side during both legs on the front. So that's just a cool little thing to keep in mind faster, literal characters from the side that it is from the front don't know if you'll ever find that useful, but if you do fantastic last thing I'm going to do here is. I'm just going to do what I did on the front of the figure I'm going to place in the shoulders of the character, and I'm going to place in just some very, very simple guidelines for the pictorial muscles. Okay? And that's going to just show us as well where the nipples sit on our character. So if you remember the nipples, they actually come down one and two heads from the top of the figure. So at the second segment, so just draw a line here again, it could be pretty hard to tell. Once you start to divide things up and place in the different parts of the body, we had to tell what segment you're supposed to be looking at and paying attention to. So I almost lost my way there. But yes, that's the sits the second segment place in the nipples right here. Tell me about them. No, but I'm going to do is I'm going to place in the shoulders which going to come down like so and come back and then I'll place in the pick. It's just going to come down like that. All right. Beautiful. Very, very simple. So Hopefully, you enjoyed this session. I hope you got a lot out of it. Hopefully. Now, after watching the first session in the second session, you've got a male figure drawn up on your page that is proportionally accurate from the front and from the side. If you do, congratulations. You've done well. And, ah, let's move on to the third session where we will be drawing the female figure out from the front of the side now repeating this process, essentially with a few minor differences. Thanks for watching, and I'll see you in a bit. 15. Proportions Workshop 3 A Drawing The Front of The Female Figure: A It's Clayton. Welcome to Session three of the Proportions Workshop In this session, I'm going to be showing you had to draw a proportionately accurate female figure. I'll show you from the first step to the very last, had a drawer up the figure in proportion Wedel Ladle and every single piece, and basically point out some of the major differences between the male figure end the female figure. Because there is a few major ones, There are major anatomical differences between men and women that make women look like women and men look like men. So without further ado, let's begin. You can see that I've got out male character here in front of you, which is been drawn up from the front and the side. So we're going to do the same thing here for our female character. But let's just move their male figures to the side here before we begin, and we're going to make a female character the same height as male characters here. So the way that we're going to establish the height first is just with a very simple, basic vertical line from the top of the figure down to the bottom of the figure. Or at least that's what this line is going to symbolize. So we got the top of the figure right here. We'll place that down again. If you don't have a sketchbook in front of you. Get one now and follow along with me. I'm gonna take you by the hand, and we're gonna walk through this thing step by step so that you've got a female figure drawn to proportion by the end of it. All right, Why don't you just watch this? I want you to do it with me, all right? Don't leave me alone. Okay? Let's do it. All right. So we're going to draw this line ALS the way down from the top of the figure to the base of the figure. Okay, Now, drawing a line this straight is something that takes a little practice. Let me tell you, that doesn't come easily, But don't fret. A fuel lines no completely straight. Get a ruler, use the tools at your disposal if you need to, But don't worry about getting it 100% straight. Nobody is going to care when all was said and done. Ok, um, nobody do you know what the cool thing is about. These very rough figure drawing sketches is nobody ever gets to see them, right. You might draw a few of them in your sketchbook, but, hey, how often do you pull out? Your schedule can show. Everybody know very often. Okay? So most of the time these guys are gonna be hidden underneath all the anatomy and all that fancy detail and rendering that we will inevitably be piling on top of out very simplified figure here. So get this straight as you possibly can. Let's lay it down like so. Next step. We need to divide this line up lengthwise into equal eighths. And the really cool thing about dividing out figures up into eighths to get the proportions down pat is that it's very easy to do because all we need to do is begin dividing the line right in the middle, segment by segment. So we'll begin with the first giant segment here, which is, you know, essentially just the line. Then we'll divide that in half, and then we'll divide the top segment that we just created in half. Ko gives us for Segment three segments so far and then we'll draw another line that divides the bottom half off their figure in half. Okay, but of half a figure in half. Um, OK, so now we've got four equal segments here on our character, and what I'm going to do is I'm just gonna lengthen this line out a little bit. It's kind of an important line because it establishes the center off our figure. Okay, so where the torso is going to end and where the legs are going to begin? All right, so now that we've got that done, let's divide these segments one more time so that we end up with eight segments. Okay, so let's go ahead and do that. We get one segment here and now the segment here, another segment here and in other segment here. Super duper. Easy, right? That is my mission. He had to make drawing your figures as easy as possible because as much of a challenge is, they always will be. And trust me, they always will be. It will get easier. Like a drawing will always be challenging, but it will get easier. And, uh, I guess it's kind of one of those things where seems you deal with a little problems, you have to deal with more complicated problems. And the process kind of goes on and on, because once you let me tell you what you're in for, once you deal with proportions, you don't have to deal with anatomy. Then you'll have to deal with things such as composition. And does your characters exude enough emotion? And are your characters relatable and all that kind of weird voodoo stuff that actually really make you a masterful artist and specifically comic book artist? Because comical card is all about getting your audience to relate with the characters inside the comic book, the visual storytelling medium. Which means the more you can suck your view is in by getting them to relate with you characters, the better off you're going to be. So now we've got our height line. I'd like to call is a hotline because again it establishes the height of our character here out figure. We're going to begin drawing in her head. So remember we are drawing a female figure here, but at this point, the process is very much the same. Is drawing in the male figure. Okay, so let's go ahead and drawing her head right at a drawing her head. We're just gonna were gonna keep this real simple. We're going to go with an oval, all right? Very simple, Orval. Like sir, Don't worry about making it to perfect as long as it's semi perfect. All right. You know, if you were to draw a square or oblong or you know a triangle, then you'd probably have a room. But, you know, as long as it looks somewhat oval shape, you'll be all good to go. All right, Cool. Sweet. So now we've got out, had established, didn't take a lot, Just had to put in the oval. Now you'll notice that her head, of course, is the exact size as the segments that we've placed in here, or at least 1 1/8 of the segment. And, uh, no 1/8 of the segment, 1/8 off the over allied of the character. Because the character is eight heads high right now, we're going to place in the cola bone. And this is where things get a little bit tricky when it comes to establishing the differences between men and women. Right? Because the main differences if you've ever noticed is that men have extremely broad shoulders in comparison to the ladies. You know, it's one of those things that make men look like men and ladies look like ladies. Now that's not to say that a woman can't have broad shoulders. A woman's led to have broad shoulders, but she will look very masculine and manly. Okay, this is Ah, you know, that's just the way it is. That's how we've associated the associative, these visual cues to the different genders. It's now faults just how we tell things apart. You know, um, where Ah, we have a knack for doing that. It's a good thing. Okay, so let's place in the shoulders of our character or the collarbone, if you will. And what I'm going to tell you is that the collarbone lengthwise is sorry with wise, Rather is exactly one head width to head wits. And 1/3 that makes sense. So to head wits and the third head width is here another head with and asserted. Okay, this is how broad a woman shoulders up. Now, that is a lot, bro. That is less broad than the male shoulders, which are actually true head lengths across. Okay, so keep that in mind that because it is kind of tricky and easy to miss that because we forget that there is a difference between the width of the head and the length of the head . You can see that the length of the head is a lot longer than the width of the head. Okay, so that's how we measure out the female shoulders. It's to head widths and the third across a case. Try to remember that sounds a little bit kind of complicated for what it actually is. But, um, look, I'm not going even gonna measure it out exactly. As long as you're able to estimate this stuff somewhat accurately, you're good to go now. Of course, the the how far down the shoulders actually come. That is still very similar to the guys. One of the reasons, though, that a woman's neck actually looks longer is because usually a woman just has less muscle around that area of her body. So it kind of gives the appearance that ahead is longer than it actually years, cause the trap is oId isn't The trap is always on his bulky thing. I noticed. Mostly looking. So let's do that. So one and 1/3 of a head down, we're going to find the shoulders. So let's place those in and remembers that the width of the shoulders is going to be to head wits and a stood so about there. All right, Pretty easy. So go ahead and do that. Now, if you are having a little bit of trouble, don't worry about it. Just do your best to try and get that looking right, Okay. You'll notice that the overall body of a female is narrower in general than the males. Okay. Okay, great. So now that we've got the shoulders established, let's place in the rib cage. This is again a very similar process to placing in the rib cage of the mail. Except now we're dealing with a much narrower body. Okay, with wise. So if you remember, the base of the ribs sit just above the third segment of their character, A case, So here, Right, That's just make this a little bit longer. So the base of the ribs are going toe end up about here, right just above that third segment. So let's take the ribs down, like so from either side of the shoulder shoulders. Brother, I'm gonna place in a very little lodge at the bottom of those ribs. And what you'll notice is the ribs. Here are a lot narrower looking than the ribs about guy character. Every here at the guy, a lot more wider, lot more broad makes him look a lot more buff, if you will. Where is this narrower shape? Making for the ribs makes our female character look a bit more elegant and less buff. Which is exactly what we want. Maybe depends on the character. Obviously, you know, I I love mortal combat. It's one of my favorite video games of old time. And let me tell you this, um, mostly looking chicks in that game, which for sure have massive shoulders. And you know what? The reason that they're designed that way with massive shoulders is to make them look brutal. Okay, it is very intentional him. Okay, so now that we've got the ribs of our character placed in, let's put in her hips and make our way down the length of the torso right now, here's where things start to get different between men and women. This is where you're going to see the most potent differences visually in the anatomy of a woman and a man. Because you'll notice that over here we've got we've got the guide. His hips is his pelvis is pretty, pretty narrow. You know, you can literally take of the line straight down from the bottom of his ribs, and you know, there's not much of a silhouette going on. That's but often gives guys this light bulb type appearance to the overall silhouette off their body. Women, on the other hand, they've got more of an hourglass silhouette to them because they're pelvis or their hips are surprisingly almost the same width wide as their shoulders. Okay, so if we were to draw a line down from the shoulders of our female figure here, the hips of her of this character going to sit about here just just under the width of the shoulders, okay, which is, you know, actually pretty crazy. I mean, you wouldn't you wouldn't necessarily think that that that's one of the main differences between men and women, with the reason that that is, is because it turns out that Mother Nature has blessed women with the ability to conceive other human beings, all right, And in order to do that, well, they just that the bone structure literally needs to be built in such a way that it can harbor another human being inside them. So they have naturally larger hips than guys do, because guys unfortunately don't have that ability. So, uh, let's have one of the key differences between men and women is that men have much broader shoulders. Women have much narrower shoulders, and on top of that, they've got broader hips. Okay, then, then guys do so Try to keep that in mind when it comes to drawing or female and male characters, because it's going to be something that really does make a potent difference in health, feminine or masculine. Your characters look again. You know what? If you've got a feminine looking dude than sure, you know, make his shoulders less broad looking. If you've got a masculine woman, make her shoulders broader, you know, bring her hips in a little bit and she'll start to look a lot more masculine. So it really depends on the character and the top of character. You want Typically, when you're drawing women in comics, you're going to probably most likely in most situations be going for more of an elegant look. Although I guess in comics these days, what you will find is more powerful looking female characters, which kind of balanced out with a hint of elegance. Okay, so you still want to have that feminine essence, and there's nothing wrong with that. You know, it is a good thing. It's It's one of the ways that we ah, we kind of define ourselves as individuals, at least, um, in that sense. 16. Proportions Workshop 3 B Drawing The Front of The Female Figure: Let's go ahead now and place in the pelvis over female figure here. And just like with the guys pelvis, we're going to sit the base of it just below the fourth segment of our figure, and we're going to draw it in just like a pair of underpants, as we did with our male character, and you'll notice that the overall shape again is basically an upside down triangle. And then we'll just place in the top place in some leg holes and we'll, Ah, we have created the pelvis panties again. It's a silly little nickname that I've given these a chest vest in the pelvis panties. But look, it's hard to forget. So I would recommend taking that on board because it's make things either easy to remember . Okay, great. So now we've got the female figures. Basic torso down and ready to go. We've got her rib cage, we've got her pelvis and we've got ahead. Now, what I will point out here is that while I think of it, the these forms in the body of some of the biggest forms that you're going to find right compared to the mass of the legs and the mass of the arms and stuff. These are the biggest forms, and they do power the body the most. Okay, so when you're walking, you'll notice that usually your shoulders are going to be going in the opposite way to your hips, and one of the reasons for that is a buttery. But the body literally twists up like a spring toe. Power the body Ford. And to give it momentum. Right. And it does that. And, you know, the legs kind of, you know, they're just there to stop you from falling over basically. But it's those core muscles in the main torso that really do give the body it's movement and its power. Okay, so just try to keep that in mind when you're actually drawing out your figures. This is one of the reasons that always start with headbutt. You can bet that Nanette the next few main forms that I'm going to draw out from the head are going to be the chest and then the pelvis because they're going to define a lot of what makes up the pose and how that poses going to basically be to find how it's going to balance out. Okay, so keep that in mind. All right? So now that we've got these in, let's place in legs off our character just to find these forms a little bit darker so that we can see them. Let's define the legs of the character and give us something to stand on. Now, from this point on, drawing in the limbs off our female figure is going to be a very similar process to the approach. We talk withdrawing in the limbs of our male figure. Okay, so we're still going to have the same kind of curves, the same kind of bends. There is a little bit of a difference here because of the hips, and they're brought a width on the female. What you'll find is that you've got a bit more of a tape id kind of look to the females, legs near. They're going to be a little bit mawr, almost narrow looking because, you know, obviously the hip joints air out further. That is, if you've got a female character with her legs standing straight up and down and together. Okay, Soup. Beyond that, I mean, it's a very again, it's basically the same steps to get the legs and the arms drawn in. So let's get on with it and place them in. Now again, If you recall this, you'll remember. Say it with me. The knees of the characters sit on the six segment, and when I say they sit in the six segment, I really do mean the base of the needs sits on top of the sixth segment. They do not sit in the middle. Always remember that It'll it'll save you big time. And, of course, again, the height of the knee is exactly half ahead in length and say, Let's just draw those needs a little bit further in one, just to really illustrate the point that I was making with the narrowness. The tape redness off the upper leg before, so we've got the nay placed in. Let's place in the upper leg now, which very simple, which is going to start over the line to begin with. Whoops. Start off with a curved line to begin with, that's going to run from the hip away, down to the top of the name. We'll place in a little bit of thickness to this Barney and just to give it some bulk. Then once you've done that, will place in the ankles of the character which going to come just above the base of the figure. So about there. And then we'll place in the lower lake just going Teoh come down like so curving outward slightly. We give it some Bolkiah. And then finally, once we've done that will place in the foot, which is just, very simply, a basic triangle. All right, great. So we've got one leg down and again, you can notice how much this is coming in. You know, in comparison to the guys, which is a little bit more, you know, somewhat straight. Hopefully you can see that. Okay, so let's go ahead and placing the right leg of the character as you're looking at the figure here on the screen. Well, placing the name, the bottom of the name seating the base of the knee again, say with me on the sixth segment and then we'll make that half a head high in length. Then we'll take the leg. The upper leg from the pelvis. Old Sorry, the hip joint all the way down to the top of the name. Like so just sketching it in there. Don't worry about being too perfect about it. This is just the blueprint. Alright? Nobody's gonna nobody really care about the blueprint. They only care about the finished product. Nobody cares about the amount of time and effort that you put into something and what it takes tow, create a good piece of artwork. It's kinda sad, isn't it? But, you know, this is I mean, this is a thing like when? When you're here with me doing this workshop, know that I'm not just giving you the steps that I take when I draw, I'm actually giving you the stuff that I've learned over years and years and years of practice and experience. Okay, Hum. So that's what a lot of people kind of take for granted when they look at a finished piece of artwork. They kind of get angry and jealous that you know this person, they they can draw so much better than they can, and then you know, they If you are a freelancer, you you probably have already experienced this where people think that they can pay you an ultra low rate for the work that you're doing and You know, I'm sorry to ramble on here in the workshop, but you are training up to be an artist, and you probably will want to get freelance work. And I would say to you, you know, I'm sure charging a cheap hourly rate is going to get you more sales and is going to get you more clients. But it's gonna suck big time. You know, you're gonna be grinding it out for a pittance when you really should be getting clients that are paying a lot more than than a cheap the cheap price that you might get. Because remember that. Then they're just paying you for the job they're paying you for your expertise and your specialties. All right, You know, you wouldn't go to to ah, you know, the best surgeon in the world and pay them a pittance, right? No, because they got they got a serious specialty in their trade and what they do and same deal is an artist, or you're gonna put the time in here right now with me to get good. Well, hey, you know what? If you do get a client as a freelance artist, make sure that they're aware of that. That you then I'm just paying for the job. They're paying for the experience and the time and effort that you've taken to get to the point that you're at. Um Anyway, uh, that is, uh, the the last time I will get off track in this session. I promise I have a bad habit of doing that. So let's let's get this show on the road, right. You should have 1.5 legs done. Let's draw in the other leg for this lovely, lovely lady starting with the ankles and we'll place in the foot. It really doesn't matter. What do you do it in? Sometimes once you've got those joints in there and then we'll place in the leg the lower leg of the character completing the lower half of our figure here. All right, Fantastic. So now that we've got that in all that's left to go is the arms. So let's place those in. All right, so for the arms really, really simple as we know, we're going to take the elbows down to the third segment. We're gonna sit, though, is there do the other side as well just place in some little circles toe symbol. Anchor those joints So we know where the arms need to actually go. And Nantel during the upper arm, Like so, taking it from the shoulder joint away down to the Elber, and then we'll place in the wrists, remember where the risk say with me? The wrists. They're going to come and sit on the base overall. Fourth segment. Okay, So that pretty much going toe a line with the base of the pelvis. Okay. Now, one of the reasons the forearm looks ultra short right here, by the way, is because one we haven't placed in the shoulder mass of the woman. So it actually is making her up around look gigantic. And then remember that, You know, not only does the forearm, uh, we need to put in the forum, we're also going to put in the hands and without the hands, the forearm kind of looks a little bit. Ah, a little bit small. So if your forearms are looking small, don't don't stress about that too much, because that's fine. Um, but I will say, actually, that's in saying that. One of the reasons I think I've noticed it is because my segment is slightly off. So let's just lift that up a bit. That's embarrassing, but a very good example of Ah, you know how how easy it is to mess up sometimes. So we want this to be equal, right? Just bring those ribs up to while we're at it. Now, you see, you can see how fast that was, how how fast that was to fix up, OK, And let me tell you as well, part of the reason that gonna practice this stuff is you're going to pick up on these things a lot more easy in the in very much the same way. I just picked up on on some of the mistakes I had made in this figure again. I'm not above making mistakes. I'm all admit right now. I'm not a perfect artist. I'm certainly not, but what makes me good? What makes me well gives me ability is the's ability to see my own mistakes when they do happen. You know, the the thing with a bad drawer is they just miss them and they accidentally leave them in there. Which is why they end up with a finished product full of mistakes. Okay, What makes you good is being able to see where you're going wrong. All right? That's really what learning is all about. Making lots of mistakes and then avoiding them. Gay, touching the oven, knowing that it's hot and then never touching it again. Right? Same process. Make a mistake. Try not to do the same. Mistake. The second time. River. Okay, that is Ah, that's my philosophy class for today on learning how to draw. All right, so now that we've we've reestablished this this segment here, placing these elbows again. Okay, that's a bit better. Okay? And I thought I thought that was four under looking a little bit too small. But you'll notice that they still do look a bit smaller than thin the upper arm. And that's because the risk kind of makes up the rest of the length along with the hand. Okay, so now that we got those placed in, let's put in the forearm like so. And what I want you to notice is the curves that I'm creating on these arms. So you'll notice that the upper arm kind of curves in would like this. The Haram kind occurs out would like that again. We're seeing that s shaped composition. Come up within the floor, off figure. Try to keep this in mind because you're going to see it everywhere throughout the figure. Again, this is kind of give balance to out stances and that kind of thing. But it also helps us to capture the silhouette of the character a little bit more accurately later on, when we begin adding on the anatomy. All right, so now that we've got the arms drawing and let's wrap this up in place in the hands now, remember the hands they come halfway down the upper leg like so. So place those in and then what we'll do is we'll place in the fingers just like this again when it comes to placing and fingers where Ah, we're basically just placing in. Kind of like if you've ever seen Ah, that man with penguin, right? Just like little flipper fingers. Almost a ziff. The characters wearing mittens Think of the hands of the stages G of metrical mittens again if I was toe, draw it over Here he is the wrist joint. He is the hand. He is the fingers and then we've got out triangle here for the thumb and then strolled the some out of that que super, super simple stuff. 17. Proportions Workshop 3 C Drawing The Front of The Female Figure: Okay, so now that we've got the hands placed in, let's place in the shoulder mess and the breasts of our character, okay, because that's one of the main difference is a game between men and women. You know, chicks have boobs, guys have pecs. Let's not be, Ah, don't be shy about it. It's just just the way we're built. So let's go ahead and place in the shoulders Now that's going to be very similar to the way we placed in the shoulders for the the male character. So that's place those in like so and then what we'll do is we'll place in the breast now. Remember that the nipples on both men and women, they come down toe about the second segment off the figure. And you know, the thing I will point out here is obviously things such as breast size, body fat, that kind of stuff that is going to affect the level of the nipple somewhat, so it may not always be exacted depending on the character that you're drawing up. But, you know, it's usually a good rule of thumb that ledge drawer, our right angle triangle here so that we can find the positioning over nipples with wise. And then we just draw in some very simple circular forms, right? And what they're going to do now, you don't want to actually draw water balloons for the ladies. But what this will do is kind of help us establish the the overall shape, right? And we'll make that look a little bit more natural when we obviously move on to the anatomy stage. But for now, this is the best way to think about it. I think so. Just place in some circles there. I don't go overboard with this guy's Don't go overboard. We want to keep this semi riel I would during comic CIA, and we're yet idealizing the heck out of leaves characters. But let's ah, let's keep this semi semi realistic. All right, great. So now we've got a female figure drawn up breasts, anil and hips, the legs. Everything else should be proportionately accurate. And hopefully on the page in front of you. You've got a very similar looking figure. Um, thank you for watching. And I do hope that Ah, you got something out of this, that you've gone through the process step by step and reaped the rewards for it. And that indeed, you do have a proportionately accurate female figure drawn up from the front, in your sketchbook or on your computer. Whatever you're working on. Okay, so in the next session, what we will do is we'll move on to drawing the female character from the side, and that will be again very similar process that you are becoming probably very familiar with now. Which is the idea, by the way, for you to repeat this process multiple times and hopefully multiple times after you get through these sessions. Because let me tell you, it's going to take you a lot more than just going through a couple of figures to really get this. Practice it. All right, I'll see you in an exhibition. Catch you later. 18. Proportions Workshop 4 A Drawing The Side of The Female Figure: It's Clayton. Welcome decision. Four of the proportions workshop in this session will be drawing up a proportionally accurate female figure from the side. And I'll be taking you through that process right away. It's going to be pretty much fully the exact same set of steps that we took to draw up the male figure from the side with, of course, a few subtle differences that I will highlight throughout the course of this figure drawing so that you know what would look out for when you're drawing men and women. Okay, so with that visitor, do let's just crack right into it. Hopefully you've got a pencil and paper in front of you. And if not that, a tablet or a stylus sort of some kind so that you can follow along with media. And the first thing we're going to establish is the first thing that we've established in every other figure drawing that we've created so far, which is to establish the height, the overall height of our figure. So let's go ahead and place that in now. And ah, start from the top of the figure, take it'll the way down here to the base it's Jordan at at this point, this is your fourth finger. So you should be getting pretty good. Had drawing the straight lines, or at least semi straight. I mean, it doesn't really matter how, how many straight lines you draw. I don't know if you actually get any better. As you can see, mine is quite wonky. They're But heck, it'll do. Now that we've done that, What we going to do now? This neck of the next step is to divide Al height up into equal eighths. OK, so we're going to divide the overall length of the character or the overall height of the character into eight equal segments. And it's really easy to do, because if you remember, all we have to do is start dividing these lines. So we're going to find the midway point off the 1st 1 that we established, and then we're going to find the midway point off the top segment that we just created by putting that in, then we'll go down to the bottom half of the figure and will divide that segment in half. So I take that up a notch, and as long as you get it as accurate as you can. Um, that's all that really matters, Okay? So don't worry about getting it perfect, which is creating a blueprint here, a kind of road map to help us out along the way. Now that we've done that, what a way to do is I'm just going to extend this middle line here a little bit, just so that I can kind of keep in mind exactly where the midway point of the figure is. Helps me toe just sort things out in my head when things start getting a little bit crazy. As we start adding additional segments and measure out the rest of the figure, this kind of gives me a honing point to figure out where Matt and I suggest that you do the same as well, because it can sometimes get a little bit confusing, especially if you need a drawing. Next, we will divide these segments up again, end. Once we've done that, that's going to give us eight equal segments. So let's go ahead and do that now, riding these segments in half lips, that one's a little bit too low down the figure. Now the really cool thing is the more you draw them or accurate you'll get with placing these segments against of the closer, the closer you'll get to making them equal hum doesn't mean that you'll start off that way . Of course, I know I definitely wasn't dividing things up vory equally when I first started drawing. Heck, I wasn't even using these proportional guidelines when I started drawing, so they okay, so now that we divided this overall, the overall height of the figure up into equal eighths each eight is going to essentially give us the size of our head. Okay, so you can think of this is eight segments. But you can also think of this as a character which is going to be eight heads high again. And that's really what we're doing here. We're creating a figure which can be measured out as heads, and the amount of heads that it's standing at is eight heads high. So let's go ahead and actually place in the head off a female character. It's going to look pretty much exactly the same as our male character over here. And as you can see from the side, their heads a little bit different from the front. It's not an oval. It's really more of a circle with a little kind of wedge for the face attached onto the front of it. So let's go ahead and just place that in into this top segment that we've established, like so and really place that in the middle. Little let's undo that. We'll have a We'll have another crack at that. And this is one of the reasons is really actually quite awesome to be able to start out with such a simplified figure when you're drawing because you're inevitably gonna make mistakes. And when you do make them, it's better that you erase very nasty looking figure drawing sketches rather than beautifully articulated detail. Okay, so let's place this, uh, this division in and now we'll plays in the face. Okay, Now, again, the face it's just like a wedge built off of the front kind of comes down like this will take it back. I think so. Tastic. So now we've got now the side of our female head. Now, uh, as I was saying, um was a really cool thing about drawing these these figures in such a simplified way is that you don't have to really worry about having to raise loads and loads of detail. It's very sketching. It doesn't take a lot of time once you get used to it. You notice in these 1st 3 figures, we actually took our time with them. You know, each of those ran for, you know, pretty much over half an hour. I think I was kind of rambling on in between. But I also wanted toe us to take our time to get it right. And, um, you know, over time, as you begin drawing these over and over again, you will get very, very fast of them, and so it's not a big deal to have to erase them. But the point I did want to make here is that the reason that this figure drawing as simple as it is, is so so important, is because, um if your character is out of proportion later on down the track because it's such a fundamental principle, you'll usually find that it's very hard to fix. Okay, you're going to either end up erasing a whole a detail because literally a structure off the entire characters completely out of whack, or you'll have to just throw it out completely if it's really, you know, floored. So the best possible thing that you can do is really make sure that you're giving the simplified figure in the beginning the attention that it requires. It must not be underestimated. It looks simple, but it's a very, very important. And it is going to either make or break the rest of the drawing from here on out. Okay, So keep that in mind, you know, just to increase the importance of how important it is to actually get this correct. And to get your proportions right And, uh, you know what? Hopefully, after these work shelves, you'll have rule of that sold anyway, So it won't be a big deal. Okay, so let's move on with this figure again. We'll go through this one a little bit faster, see if you can keep up. If you can't feel free to pause the video and take your time with it, take it at your own pace. I'm a little bit of a slow learner. Personally, it takes me some time to learn things, especially if it's not something I really want to learn. So why? Where the teachers didn't like me back in school, you know, I was just never made to be a mathematician or a scientist or anything like that. In fact, probably one of the reasons I'm circular drawing now is because I feel little of my math books up with Simpsons cartoons. Ah, I actually remember my teacher coming over and, um, and saying to me, Clayton, is this going to get you a job and, uh, kind of, you know, probably went pain, can go toe embarrassed and and put it away and sat there and listened to what he had to say about my my two times tables. All right, so that's Ah, let's move on. So now we're going to establish the shoulder off our character from the side. Now, we've done this before. Let's ah, measure out where the shoulders are going to sit again. It's one head and 1/3 of a head down from the top off the figure. So the other thing that you could do is just divide this segment up into thirds, right? Like so So its place in the shoulder right here, like so just the ball. I'm just gonna put a bold joint there. And now we've established the shoulder, which is, you know, kind of a lot easier to draw, I guess, than the front because, you know, just a circle. But it's the placement of that circle that matters, as you'll see with a lot of this stuff. It is very simple to draw, but what matters is the placement. Keep that in mind. All right, So now what we will do is we'll start to draw on the rib cage now. Ah, he is the thing. When it comes to drawing the ladies, they tend to have a little bit more shape and elegance to their bodies. And so I tend to make my female characters a little bit more, I guess shape of that center push That s curve a little bit, Maurin their posture. And that may be a stylistic choice that you leave the take on board or you won't. But you know, if you look at artists like J. Scott Campbell, you'll notice that they really do push the feminine figure to exude their elegant essence. So it's really up to you. At the end of the day, I say we're drawing comics here so push it as far as you can to make an impact. But that's May, so you go to figure it out for yourself. I will assure you what I will typically do. Um, so let's go ahead and place in the rib cage Now he is the thing bases. The rib cage comes just above our third division here. OK, say, let's place it in. Now again, the rib cage is just kind of like a It's kind of circular, but it's kind of a box as well. Okay, so that's how I like to think of it anyway. So place that in, like, so bottom up a little bit. And this is really what the actual rib cage does look like if you really simplify it down. If you think of it like a cube, that's just pointing forward at the bottom, pointing back at the top, you'll get the same idea as well. Of the general geometry, it really just depends how simplified you want to make it, and usually the most simplified. You can make it easier. It's gonna be to think about anyway. So, you know, simplify this down. Even more of you want to Now that we've done that allowed in a still little kind of dimension, I call these dimensional guidelines around the, uh, the rib cage. He had just to show the form a little bit. And now O place in the pelvis. Now the pelvis is going to point back in the opposite direction. It's gonna point this way and gay the bottom of the pelvis, pointing back the front of the pelvis, pointing forward and again we're going to try to keep the pelvis a little bit more slanted to push the figure that we're drawing here. Okay, to push the s curve, the figure, Because remember, that spine kind of goes like this, right? So we're gonna have a but kind of pushed backwards, and we're gonna make it a little bit more shapely than the guy now, in terms of the width of the hips. We don't really need to worry about that. Here. It's gonna be pretty much the same, but I will draw them slightly bigger because again, they are slightly bigger in comparison to the guys because guys don't have toe carry around small human beings and give birth to them. Right? So, uh, in in case you're wondering why, but let's go ahead and drawing the pelvis now. And I'm just gonna really lightly place in the spine just to give me an idea as to where that's gonna go. Okay, See? Let's Ah, let's do that again. It's gonna be like that. So now a place in the pelvis just gonna come up here and we're gonna have a butt sticking out a little bit more than on the guys again. That's just going to give out character here, a little bit more of a feminine essence. Okay, exude her femininity. So this is the top. Let's say the pelvis is going back like that. Now, that is probably pushed forward a little bit too much. But, hey, I mean, you know what? I'm trying to make a point here, so Ah, bed or I can illustrate the point, the better it's gonna be for you. So let's go ahead now and just place in the circles for her pelvis. So this rig the hips going to sit hip joints, if you will. And now we've got out main the main, biggest forms of the body that is essentially responsible for most of the bodies movement. Most of the power that our character is going to get when they move. It's going to come from the torso and the muscles that make up the torso on the way they twist and turn and kind of propel the body forward when they're doing an action. These are the main forms again. I mentioned this in the previous session. I think where I will waste out with ahead, then the next thing I draw is not in our midst, no leg. It's always the rib cage and pelvis because they're going to determine a lot of how the pose is going to wind up. They're gonna help you figure out how the body needs to be balanced out on top of that as well. 19. Proportions Workshop 4 B Drawing The Side of The Female Figure: Okay, so now that we're at this point, what will move on to next is let's place in the neck for our lovely lady here. We got this nice shape, right? And you can see that. You know, the shape is a little bit more, you know, just a little bit more pushed than the guys here. He's kind of standing straight up and down like a little bit more of a rare, but and that's how guys tend to be. They can do tend to be a little bit stiff like that. But you know, a lady, she's a little bit more loose, a little bit more relaxed. And we do want to exude that here a little bit more. Okay, get that food and in essence, happening. So let's place in the hips of our female figure here. We'll just put them here like so they are going to sit just above this this full Sigman here, and then we'll place in the knees. Now, by now, you should know this and I I don't really need to say it, but I'm going to say it anyway. Remember that the knees sit on top of the sixth segment not smack bang in the middle of it . I say I say this because I made the mistake so many times before myself. Okay, so that's that's why I'm kind of, like, traumatized from making this mistake so many times. I say, you know, I'm not a probe, Oddest. I am not a pro. I'd have just made more mistakes than most people have. And I've learned from them, okay, is it's a highway to learn, but it's really the where I'm gonna put the credit for my abilities. My my ability to make mistakes and recognize them. Okay, so we've got the knee, the bottom of the neatly sitting on the six segment here and next we're going to place the top of the knee. And remember that the overall length of the knee is half ahead and hide like a woody in there half ahead night to place that here. And you know, you can draw the top of that a little bit bigger if you want to. But just remember that the knee, by the way, the actual anatomy of the knee um, say that we're looking at it from the side here. We've got the two bowls. Whoops. What? The two knee joints here, you know, And then the knee, right, The actual kneecap That just kind of sits over the top of these. And that's your very basic me. You know, just so you know, we were doing proportions here, but he's a little quick tip, um, on on anatomy. And that's that's how I think about it. Like we could put the kneecap in here, you know, just kind of sits there anyway. Very, very. Ah, you know, a simple way of thinking about it and look, you know, I don't know about you, but when I look at a finished piece of artwork by some artists that I look up to and admire , I just like, man, like, how the heck did they do that? What we don't realize is that what's going on underneath the hood is very, you know, there's a beginning, and it's that beginning is very foundational in very fundamental and, you know, as complexes things look. If you can break them down into their simplest, most basic form, then you're going to be able to take that complex idea inside your brain, and you're going to actually have a lot easier of a time constructing it, because what you'll be able to do is you have to simplify it down, drawer it out because it'll be easier to project down onto paper when it simplified. And, um, no matter how complex the idea, you'll be able to kind of put down the foundations and then build the complexity into it. It's all about again thinking first when you begin a drawing on a macro level, then a micro level and really, you know, getting down and dirty with those details later on. No, in the beginning, Okay, so now that we've done that, let's go ahead and place in our upper leg for a female figure again, that's just going to be a curved line like so it's going to come down from the hip joint away, down to the top of the name, and then we'll place in the lower leg first. We need to place in the ankle joint, of course, that we know where we're going to draw it, too. So it's placed the ankle joint here and a place in the foot. Why nots place that in again for a simple triangle type looking form there for the feet and then we'll place in the bottom of the leg. Now when we draw in the bottom of the league, remember that it's going to curb back in the opposite direction to the upper leg. And that's just to give now. Very simple figure here. Cem. Ah, a little bit more accuracy in terms of how the anatomical structure off the skeleton actually kind of works. I mean, it's probably pushed a little bit. I don't think anybody's leg bends back back that much, but you know it. It really does help us to define the overall silhouette of the character and really get a feel for how that anatomy is going to be stuck onto this figure. Try to keep that in mind at all times. Next thing we're gonna do is place in the arms and, man, are we speeding through this? You know, I think the other video, the other sessions we were there, you know, we were chilling out together for a while. I think it was, you know, 30 40 minutes so nor the 20 minute mark. And, um, next up, what we'll do is we'll place in the arms and we will wrap this figure up in record time. Okay, so hopefully you're keeping up with this. 1 May be going through this a little bit faster than the others, but you should be keeping up. I think if you if you're getting it, I hope you getting it. Um, look, I'm probably going too slow for you. In reality, you probably you probably already done. You know, with this is going to have done this three times already. So let's go ahead and place in that armor's get on with it. Okay? So the arm is going to sit on the third division of our character. It's gonna sit right there on top of it. So let's just place it in there. We'll have it going straight down, and then the wrist is going to sit right here. Okay, So, basically on the pelvis line or in the full segment, you could say terms. All right. So I would actually do you know what? I've been putting these wrists above the fourth segment. I would actually say that it's probably better to place the wrists just below this fourth segment. In all honesty, so get go ahead and do that from now on, OK? Eso, all of these should should really be made down. And it's not a big problem. It's very subtle. As you can see, it's just a matter of putting that bull joint just below this segment. But that's where I would put it. It just seems to look a little bit better for me at this point in time, so we'll leave it there. Um, experiment. See, see if that works for you as well was for this one will stick it just underneath that fourth division that we've created there. Let's go ahead and draw in the upper arm again. Taking the upper arm straight from Al showed the joint old way down. Too easy elbow joint. We'll go ahead and place in the arm. The lower up sorry, rather the forearm. And then what we'll do is we'll place in the hand. Now. Remember that from the wrist of the fingertips, that hand is going to full halfway down the leg. We've said it before, and the hand is basically just a square with another on a tapered square. Tagged onto the end of it. Good. Our thumb here that's going to be guilty of a triangle wedge. Well, just place it in like that. And then, you know what we have in front of us is essentially a female figure. And here is the really weird thing, right? If you look at this very simple, simple figure that has no one enemy placed on it, you'll notice that if you compare it to our other figure that we drew side on, it feels like a woman. It feels different. It feels feminine in comparison to this guy. Here is a little bit more straight up and down. So I mean, that's you know how how much money impact these subtleties can make. Always try to keep them in mind. In general, make sure the pelvis of a woman is drawn a little bit bigger again. When you're thinking about the pelvis from the front or the hips from the front, make sure that and they're pretty much lined up with the buys with the shoulder with Okay, just try to remember it as much as possible. They do come just, you know, just a smidge in between the shoulders so that they're not out there completely. 100% but yeah, you know, they're pretty much there. So now that we've done that, the final thing that I want to do with my female figure and what what you should do is well , if you would like, is we're going to place the breasts and shoulders onto the character. So let's go ahead and do that now, Okay? So I'm just going to place, I'm going to draw a line here that comes down the length of the upper arm, and then I'm gonna take it back, and that's going to form a nice kind of triangular shaped for us again. The shoulder, this shoulder. Shame from the side. It looks a little bit like a diamond. If you draw it out next, what we'll do is we'll place in the breasts now again, if you remember the nipples the nipples come down to about the second division that we've created two heads down, store line across like that. And then because we're dealing with boobs here to be frank, um, we're just going to place in, you know, I kind of on the side, I I build off the breast like this to say this is where the nipple is build it off like that. I remember getting in trouble that at primary school once for I got busted by the principle for drawing boobs in school. And all these school stories had a very, you know, my artwork. It got me into trouble a lot at school. I will tell you that. You know, they do not encourage that in primary school. Look at me now. Um, OK, so look at me now. I'm teaching. I'm teaching this stuff. Mm. Not teaching math. So? So which is good? 20. Proportions Workshop 4 C Drawing The Side of The Female Figure: all right, So now I've drawn in the breast, and that's kind of what it looks like from the side. Kind of looks like this very simply, And look, I mean, if that's too complicated for you a game with just dealing with circles here, so you can kind of, you know, if you want to kind of draw that on there, I just kind of describe that the form of the breast then and sometimes you can you like I said, it's good to draw form guidelines. So let's draw a few around here, straw some around here as well to Strader the form of the breasts. And what I will do now is I'm just going to take these hands down, OK, so I'm going to actually a race where the Risa and I'm going to move the hands a little bit more down. I mean, they really should be at the midway point of Leggett this point in time, but the risk just need to come down lower. I feel, and you know what this is really great for you to see is well, because, as I've said, I do make a lot of mistakes when it comes to drawing, But just the fact that I noticed that I had made that mistake is what makes me as good at drawing as I am, and I'm not a perfect artist. But I am in a certain level where I'm able to recognize his mistakes and kind of address thumb before it's too late. So let me show you just real quick how easy this is to fix something. So we'll start with this female figure here. So let's go ahead and just erase these hands, right? Don't Don't worry about it. Very simple. Took us two seconds to draw last time it's gonna take. It's two seconds to draw now. Never be lazy with fixing your mistakes. Okay, that's very, very important. I'm not gonna be. Tend to be perfect because I'm not. And I will tell you right now that one of another thing that sets me apart from from other people that I have no one in that I do know, is that I take the time to go back and I do put the effort into fixing a drawing. I mean, heck, sometimes I'm pretty crazy. Sometimes I'll just throw out a drawing and I'll draw the exact sing that same thing over and over again until I get it right. So I'm not beyond that. All right, so let's, um let's fix this up. Let's place the risk below this line now. Okay, that's looking. That's feeling better. That's feeling a lot better. You know, at some point you're going to stop actually, in accounting out the segments of your character to make sure that their role in proportion and you're going to begin feeling that out. You're gonna be kin feeling out how big things should be and where they should be placed on the figure in association with the way everything else is placed. Okay, so that's really when you're at the next level, when you can just kind of tell an eyeball whether or not something it is looking off. That's the only way I was able to kind of fix these risks here. So let's go ahead and place in the hands again. Same deal as before. They're just going to be simple Square got the wedge. He we got the wedge here for the some. Okay, place in that hands again, the penguin man thumb. And that's just looking a little bit better. Okay? I'm happy with that. All right, so let's continue on wood. Let's fix this. Dude's up. Erase this one now. Ah, try to keep some of these construction lines here, but again, I do just want toe kind of show you here that these things are very easy to fix. I'm doing. There's old real time. It's not spit up. It'll and that is the beauty of working with his very simplistic figure is that it's super easy to fix up when you need to fix something up and always fix it up at this stage again. It's super easy to fix at this stage. Yeah, very complicated. Later on, let's place in the wrist just below her below the fourth division, animal place in the hand. And this what I'm doing essentially makes the hand a little bit shorter because it still falls halfway down the midway point of the leg. Remember that? Always cause that I can tell you is 100% the placement here with the fingertips, the hands are always going toe rest on the body at about the midway point of your legs so you can get up now and actually see if that's true as well. Uh, you know, if you don't believe me, go ahead and do that because, like I said, it is very fun, actually, Toe actually see how a lot of these proportional tricks really do apply in real life. One of the funniest ones that I I couldn't believe, was the fact that your foot is as big as your forearm and your forearms because you're isas bigas your head. Which means your foot is as long as your head. Pretty crazy, right? Um makes things easier to remember, will tell you that, but Okay, cool. So, yeah, I mean, you know what? This guy was drawn, right? Okay. The risks of below the fourth segment in this one. For some reason, I screwed up the these ones in the middle. Oh, well, that's kind of weird. Knew something was off. Should have trusted my instinct in ah, session two or whatever it was when I thought that four round was too small. Okay, that was the reason anyway, now that you have experienced me drawing out four different figures proportionally accurate from the front end from the side, male and female end. You see me fix up the mistakes I made and tweak it so that it was correct. You should be set to go. This is what you need to learn and get comfortable doing first. Because at this point in time, you're making ALS connections in your brain is toe how big each of these simplified forms are in comparison to one another. And so when you begin kind of taking the training wheels off and going out on your own and trying this stuff, you'll find that list. Unless you can just kind of recognize how be everything needs to be and and take, you know, somewhat accurate guesses. OK, that's really what getting your characters in proportion comes down to practicing this list stuff, this simplified stuff and then getting so good at it that you're able to kind of just guesswork it and, um, become very good at making very good guesses, especially when it comes to drawing proportions in perspective, which we will touch on. Thanks for watching. Hopefully, you've got four figures drawn up in front of you and that you have gotten a lot out of this video. Thank you again for joining me and to and for sticking with this. You know, not a lot of people actually stick long enough with this stuff to get good, Sir, You already willing your way to getting the way you want to be with your figure drawing. All right, I'll see you next time. Take care and keep on creating. 21. Proportions Workshop 5 A Fitting Figures Into The Frame: It's Clayton. Welcome to Session five of the Proportions Workshop in Decision. We're going to talk about how to take this figure and begin placing it onto the page in a way that ensures that it's going to fit and that you know, there would be body parts going outside of the frame or anything like that, because this is a question that often comes up since most of us have a lot of trouble doing . This is figuring out how to compose a scene with multiple figures in it and somehow be able to actually fit them all onto the page at once. Now, when it comes to drawing comic books, that day gets translated into comic book panels. And when you're dealing with, you know, upwards of 678 12 panels on the page, that could be very difficult when it comes to drawing your characters. Because most of the time that is what you'll be drawing in a comic book, you'll be placing characters onto the page and composing them in different poses and perspectives. And so placing a character in making sure that they're able to fit should be something that you're able to do comfortably. Now the frame off the page should never confine your idea. In other words, you should never feel like you have to squeeze something onto the page awkwardly and in orderto have it there, you should be able to compose your scene in a way that is readable. That does look aesthetically pleasing. And that is going to make sense with at any awkwardness because, you know, everybody can tell when somebody is kind of like, squished and crammed in a character toe to try and make them fit into the page or the panel that they they tried to put them in. So let's go ahead and talk about how do we solve this dilemma? Because we have just done al proportions. We've created a figure here very simplified figure, but a human figure nonetheless, which is proportionally accurate. And so what we can do now now that we know that the figure is roughly eight heads high is we can use the head of our figure alone to predict how the character is going to fit on the page and how room they'll they'll take up. So let's go ahead and just do that now, and I'll show you a few examples here off how I would go about it, and hopefully you'll be able to take what I show you and apply it in your own way. Of course, that's what all of this stuff is about, taking what you feel comfortable with in applying it in your own context. And I'm only really here to help you out in the areas that I can and that you need help in . But if I can impart some tips and tricks and techniques here that you find useful, well, that's fantastic as well. So let's go ahead now. And I'm going to just roughly sketch up a few penalty okay and they're going toe symbolize the page or the space that we're going to be drawing our characters in. And again, we're not going to get toe a very high level of detail for this, because that's not where the focus should be. At this point, it's not something that I really want to distract you with, either. We're just going to be using our simplified figure, and I'll be showing you how I would go about beginning the drawing and laying in those foundations to ensure that all the characters that are going to be in the scene actually do fit together in a placed correctly. Okay, so here we've got one panel and let's put another panel, er vi here will make this one a little bit longer, huh? If you've got a pencil and paper as well, that would be really great, because it means that you can follow along with me here and actually go through the exercise and apply some of this stuff really time. And I would highly encourage doing that. You know, I really do want you to get something out of these sessions. And the best way that I can guarantee that is if you do the exercises with me. So go ahead, get a piece of paper. It's just draw up a few blocks here. A few square spaces. They could be panels. They could be posters, pages, whatever you want them to be. Same deal applies to all of them. What we're really focused on is being able to fit character into any space. And you know what? We can draw another little square up here. How about that? Just toe, You know, just for the sake of it. Add a little bit extra to this. So we place another Penhall here. Okay, Now I'm drawing these squares out Freehand. So they're not perfect. You can go ahead and use a ruler if you'd like. That will make life a lot easier. So we just place those in there. It's a nice little composition that'll work for this exercise. I think you can make up your own composition. Doesn't really matter how you lay out your panels. Okay, that's looking pretty good. So now that we've got out panels here, let's just enlarge this a little bit in mega studio Teoh, make it bigger, See things a little bit easier like so it's using the transform tool there for you Tech wizards who like to do this stuff digitally like I do. Of course, this does absolutely work whether you're working digitally or traditionally, for that matter. So he is. However, now this will be a very quick session because the idea is quite simple. And when once you learn it once you know it's going to be very simple for you as well to just begin placing your figures onto the page. Now I think that were. A lot of us go wrong when we begin learning how to draw. The human figure is we begin drawing parts of it instead of looking at it as a whole. So, you know, we might start off like this, you know? Well will draw out the head here and we'll start with the head, and then we'll draw out his neck and then the arm and maybe I want him, You know, having an arm like out here, that's ah, up this way. But, you know, I want to kind of, like, fit it into the panel. And And the thing is, what might with the point that I'm trying to make here is that we think of the character in terms of parts instead as a whole, as a more broader formation. So what? I really want to show you guys here today, or even worse, sometimes people that will actually just start out with the eyes and try to fit an entire character into the panel like that and, you know, it can work, But sometimes it just doesn't. You know, it's much better to think off the character as a whole thing. And if you can jump into that headspace. Then you can frame part of a character on the page, just as I did there. But you'll be thinking of it in a different way. Okay, you'll be out. Better. Have more control over how the character is fitting into the scene. So let me show you how I think about it. Now again going back to a very simplistic medic and model I will always think about. Okay, I've got this space here that I wanted roar seen in and I think about in my mind what kind of scene I wanted. Raw Say it's a group shot off a bunch of characters, writes to say that I want to draw three characters in here. Um and I want them all to fit and one of them's going toe and they're going to kind of be like, you know, kind of chummy. But you know, they'll be resting. What? Someone will be resting an arm on the shoulder and, you know, they just be kicking back, right? So let's go ahead and do that now. How would I approach a scene like that with multiple characters and ensure that they all fit into the space that I've got to work with. Well, firstly, I think back to the fact that all figures have an eight head high or pretty much an eight head high height. Okay, so if there are an ideal figure and you know they're not kind of quirky, you'll have any unique attributes. They're probably going to be about eight heads high, which is what we've just been learning. So if I think about on the page here, and I just try toe, you know, roughly visualize what eight heads would look like if it was fit here. Well, I could kind of go Well, you know. Yes, I yes, the head would be about that big, you know, if I had toe do an eight heads high figure. So I begin drawing in the head, right, like so. And just by thinking in that way, I managed to establish not only the correct head size, but roughly the right size or the right height that the character is going to be had. So let's do that again. So say that we wanted the height of the character to be about here, and he's eight heads high. Well, his head's probably going to be about that big. So we just place him into the page like that. Now we've got the head placed in when'd. Now that we've got the head placed in, we can begin building out the body. But we've kind of already considered how large the rest of the body is going to be again, based on the size of the head that we've put down. So now we can kind of draw out the body in association with the head as well. So again, he's just going to be a chilled kind of dude. We might have him with his hands in his pockets or something. And of course I know that because his characters eight heads, then really, if I want to fit him in the entire page, his pelt is the bottom of his pelvis. Should come down to about the midway point in this scene. Okay, so we'll just kind of fit him on like that. And then we're going to have the legs that come down here, gang keeping it. Very simple. Man will draw out the other leg like so, and then we just draw him with you know, his arms in his pockets. Something like this. Just keeping it very simple for now. So now that I've drawn him in Aiken drawing in a friend and ah, let's say that his friends going to be maybe a girl and let's say that she's also she's 7.5 heads. Okay, now that's just a little bit shorter than thin. Are male character here? But if I consider that she's seven a half heads, well, she's probably going to come down to about here roughly. But let's say that she's also leaning on the guy. Character will let it drop her down slightly more as well, because should be leaning on one leg. So let's place in her head now. Her head is going to be pretty much the same size as L. Male character here will play set in again, really being conscious of how big every form use, even though they're simple, we want to be conscious of them off their size, at least So So now we've got we've got her, uh, her head in that will place in the shoulders again. I'm keeping in mind the length of the the shoulder bones in association with the head. So I'm gonna place those in, placing her ribs, their chest, take a body down place in the pelvis and bring down this leg like so. And then we'll bring this one in his will. Take that one down just like that now, because she's leaning on that hit. We're gonna draw the leg out a little bit more to bring it down, and then we'll just have her shoulder resting on his Sorry, her arm resting on his shoulder like that. So she's a pretty cool chick, and then we'll just have her arm resting on her wrist are sorry. Will have her wrist resting on her hip like this. Okay, so she thinks she's pretty cool. So now we've got two figures there and remember, look, how did I know that these characters were going to fit in? How did I had it? I managed to fiddle their legs and arms into the scene was because I thought about what kind of scene I wanted to create first instead of just jumping straight in and winging it. I actually thought about it first, and I consciously tried to figure out well, if my panel is this size and I want a full character in that panel. What sized of the head have to be if indeed my characters air eight heads high? Because once you learned the basic proportions, just as we did in the previous session, what you're going to start getting a real knack for doing is beginning to associate different sizes of the body to other parts of the body. And you'll literally be able to just start building out your characters without having to even putting the height line. That's just kind of be a gonna be a given. You're just going to be able to kind of visualize that it will be an invisible line on the page piece of paper that you'll just kind of follow unconsciously. And that's just the way that learning works. You know, after you do something enough times, you don't really need to think about it as much anymore. So let's go ahead now and do a final figure just, ah, doc and these up a little bit for you so that you can see exactly what's going on. I have a habit of keeping everything very light in the beginning, actually a que probably because I'm very nervous about making mistakes, which I normally do, especially when I'm doing a workshop because, you know, I'm on the line here. 22. Proportions Workshop 5 B Fitting Figures Into The Frame: All right, So now we've got out two characters placed in. And let's say we wanted 1/3 1 right over here. Now, if I want 1/3 1 where is his head? Going to be placed again? I think about that. And let's just assume that he ease. Maybe, Ah, let's just say that he's kneeling on one leg. Okay, so he's actually kneeling down. Well, if he's kneeling down whereabouts is his head going to be placed on the page? Well, it's probably going to be placed if I think about how big his body is, which is, you know, in terms of it's the association that I've got with the head there. Let's place let's just begin by placing in the head and see how we go. So oh, place in. Maybe he's head would be about here again if we're assuming that he's head is the same size as his buddies. That left her so play studying. Do them a bit of a neck and let's say that we've got his body here again. His body is going to be quite similar in size to this guy's body, since there's not a whole lot of perspective in depth going on in this piece. So we'll place that in, and then we've got his tell me that comes down here into the pelvis and then we'll have his leg coming down like soy and then back and then this one coming up and then out like this. It's just a racist leg here because we can change that up. This is the beauty of starting out. Very simple, as you can kind of change things as you see them need to needing to be changed. We've got his other arm here, so we'll just bring that around and to the Elber and down onto the ground here and will lean this arm on his knee right that he's got up in the air. Okay, now, again, in order to get the placement of this guy right. I was just looking at everything else in the scene. OK, now I know where I kind of looked at where the lady was placed where the guy was placed on . If I wanted him kneeling next to them. I tried toe. Really? Think about where would his head need to go in into the scene in order for him to be kneeling next to them like this. And that's basically what I thought about now because he's not perfect and obviously those to take this drawing to a much more finished level. I would do a little bit of tweaking here, just toe, get the pose, looking 100% correct and to give him some weight. But that's still pretty much the process that I like to follow. When it comes to placing my characters into a scene, I just go off of the size of the head. And if I can get the head initially laid in at the right size, I'm almost guaranteed that the rest of the body, or as much as I want the rest of the body to be in the scene will will feet in. So go by the size of your character's head first. So go ahead, try toe branch out now into the second panel and do something different of your own. Okay, so really try to, you know, be brave here and think about a scene inside your mind first. Really think about it. What kind of scene do I want to draw right? Then break that scene down into a very, very simple, rudimentary scene, full of ah, stick figures and then think about well, if I look at that scene and I look at the characters, how big the heads of those characters in comparison to the rest of the scene, the space that I have to work with and then using that place down a very simple head, just place down and over for the head and begin building the rest of the body out, using a similar method toe what we did in the previous exercises, when we're creating the very simple Minnick and model figure. Now I remember we can keep it very, very simple for this. If you want uneven, simplemente can model, you could have the head. You could have the body here, you could have a little spine, it's the hips. And then you could just keep the legs of sticks if you want. Okay, just putting little, you know, Circle was there for the joints if you want to. So you know, it might be like that Cool little dude. All right, so go ahead and do that. I'm going to move on to some other panels here and I'll talk about. You know how I'm going about doing those cause. I'm only going to be putting part of a character in this one, and I'll talk about OK, well, if I want a scene where a character is, you know, say that I just want he's, you know, part of his head showing. And they know one another character in BRAC around kind of doing something else. You know how I would go about thinking about constructing that scene. Okay, so let's move on to this panel. All right, So for this panel, what I'm going to play scene is let me think. Now, let's please seen a character that's one of the characters. Let's place in another two characters, and one of the characters is maybe getting hit by the other characters. So one of the characters are going to be coming off from the side of the panel into the panel and smashing another character. Okay, so let's go ahead and talk about how I would compose that scene, All right, so what I do is I think about well, let's say that my main character that's going to be on the screen, the one that's ah, the one that's getting hit. Um, he's going to be around about here, and he will be. I know that he's poise is going to be kind of bent like this. Okay, now, I know we're not talking about real gesture drawing here or anything like that will discuss that. Maybe in the next session, but he's going to be here, and then the other character is going to be coming off here. So it's kind of me like that. This guy's gonna be up here and and the main character will be here kind of punching him. So let's some, you know, and even the lines kind of indicate how big everything's gonna be. But just going by the head, let's say that his head is going to start here right again. I'm thinking about how much of you might actually want to fit on, so I want to fit his whole body based on the pose that I'm about to give him. Then we're going tohave his chest. Here, that's again just a very simple kind of barrel shape that I'm placing in there, and then we've got his pelvis that his legs were going to be coming off like so again, Just very simple. Stick figures, fellows. And we'll have this arm kind of coming a re hunt. He's really getting hit hard. All right. Okay. So go that there. All right, so we've got his post placed in and again the way that I kind of estimated as roughly as I could that this poise would indeed actually fit into the scene. It was because I thought about exactly how big he was going to be and how much space I wanted him to take up, how much of him I wanted on the page. Now, this next card that I'm gonna be placing and he's going to be off the page, Okay, so he's gonna be kind of sweeping in from the side. They're just, you know, invading the panel. So let's go ahead now in place in his head and because he's going to be hitting him with his fist, I want to think about OK, well, if the fist is going to be about there, his head will probably be here and in If we were talking in proportions, his head's probably going to be this big, and then we'll draw out his arm we'll start to draw out his arm anyway. Then place in the body like so have the other arm coming out here. The Psalms gonna be smashing into him like this, and then we just draw out the rest of his leg. Their case. That's going to be coming off the page a little bit. And you know this name might be coming forward, you know, just to really accentuate the power that he's projecting the all right. So there's a lot of action happening in this particular panel. Now again, these are just very, very rough layouts that you might place into a couple of panels or a syriza Panelists for a very rough draft of the comic book. But once you've got this placement down again, this provides the Skaff holding for your drawing. This is the foundation that everything else is going to be built upon. This determines the most broadest over our Hering attributes off your illustration, how it's ultimately going to look when we take this. If we were to take this to the next level, these characters would still be positioned the same. They would still be standing upright like this. He'd have his hands in his pockets kinda, and she would be leaning on his shoulder. It's just that, you know, we would have anatomy place in over the top, but this is the blueprint. This is the road map that we would follow in order to make sure that all of that anatomy and all those additional details Airil going to fit into the page and that they're all going to come together at the end of the day into something that is solid and consistent. All right. And again, the really cool thing about learning these principles for you is that they're highly highly replicable. In other words, once you learn this, you'll be able to repeat it. For almost every single Penhall that you end up drawing every single illustration that you create, you'll be ableto figure out how your characters and how your figures need to be placed into the scene. And as simple as these look, this is how it begins. It's It's really this simple from you know, the most stylized sketches to the most realistic sketches and representation zo ver off these characters. It all begins the same way. This is how we place the characters This is the macro level, all right? So in the final panel that we're going to do here in this session, what I'm going to have is a character that is, um let's see. I know let's do a a little bit of an animation, Okay? This will be a almost in exercising character movement. That'll be a bit of an introduction to how we maintain the proportions off the figure as we're drawing them in motion. So let's go ahead and do that now. Now, if we were to draw a character that was ah, basically running up on jumping, let's talk about how I would think about placing each of those sequences say we were draught to draw this sequence out in a series of three key frames, and the character begins over here. Now, if the character is running forward in perspective, he's going to get larger as he comes toward the foreground. Very basic perspective rules. Now you may not have much experience in perspective. You may. It really is a is mixed bag, sometimes for for beginners and even to intermediate users. Sorry, drawers, but and and I will do a ah proper perspective lesson at some point, but this is really the Ah all about. You know, your proportions and you figure drawing. So that kind of interlink, I guess when you're talking about drawing all of this stuff into links, but let's learn about one principal at a time, Okay, so let's say that the characters coming toward the front again basic perspective rules say that he will get bigger as he's moving forward. So keeping that in mind, let's say he was starting off over here now, roughly if I was to draw in his heart line, as we were doing for our previous characters. So this is another way you can place characters into the scene, say that he's this height right and say that regardless of whether I'm going to be drawing him straight up and down or in a pose, I know that he is this high. Well, if I begin drawing him in his running pose at this with this height established, I'll be over to kind of figure out how big his head needs to be at this height. So say that I know his head is about this big. If he's well, not that big, say that I know that his head is about this big right? If he's an eight head told figure, his head is going to be about roughly that big. So let's just draw him in there really, really quick and k just to show you. So this story now it's sure his legs down like so very, very simple, very easy. 23. Proportions Workshop 5 C Fitting Figures Into The Frame: to say that he is about that big now that I have figured out how big his head is going to be. Well, I can kind of, you know, take that head and have him start to move toward the foreground. Kind of, you know, thinking about how much larger he would be at that point as he moves into the foreground and through perspective. But, you know, I kind of place in the head at that at that point. And then I begin building off the rest of the body like so. And as I build the chest again, I'm thinking about Well, if he's head is that big, then his chest must be about this big right, as I'm drawing it out. So I place in his pelvis again, comparing his pelvis, too. Now that had end the chest. And then I begin brewing out the rest of his pose, and we're just draw his legs coming back like this. Have the arm coming back have it coming forward, and he's going to do a big run up. He's going to jump in the hair, so now he's even further forward. So his head is going to be a little bit bigger, according to the perspective. And now that he's jumping in the air, he's going toe. We're going to be viewing him from below a little bit more. So it's tried to depict that as best we can. And we've got his pelvis here so it will draw his leg coming forward like this. Let's say he's just kind of pushed up off of his leg from the ground. Will probably be like this a little bit again having the knee come forward toward the camera. Arms are coming down toe. Push him off the ground. Police like up here, actually. Okay, now that I've done that could move him forward throughout the sequence, going to be getting closer and closer toward the camera. And now he's coming in for the landing. So, you know, we might have his body pushing forward like this now, coming into land. All right, So now his legs were coming down like this, getting ready to hit the ground. Now, of course, let's hope that doesn't fall backwards when he does hit the ground, make use arms going backwards like this. And then finally in the main four grand will have him kind of kneeling on the ground like sir again. Since he is kneeling on the ground, I think about well, where first is his head going to be. And then how big is it going to be if I want him? Ah, again, fitting on the page and kneeling on the ground at the same time. So let's say that it's going to be there. He's kind of just landed. So he's Ah, he's pelvis right here. Have his knee coming up, legs kind of scrunch stuff like frog. He's biz. Basically not a giant leap for a great All right, there we go. Now he's arms are coming down here. Okay, So again, from doing the initial kind of height of this character over here, I found or I imagine so I would kind of imagine that he's this tall. I wouldn't actually necessarily draw it out if I was doing do a sequence like this. Normally, I would just kind of imagine that. OK, well, if he is that height, then let's just place the head down like this. Okay, so that's very much how I think about it. And you can see what I want. You to notice is that though these drawings look very primitive, this is very much how I start out all of my massively detailed illustrations. So, you know, if you are familiar with my artwork and you have seen it, you'll know that it's very, very detailed. But you may be even more surprised to know that it starts out at a very, very simple, fundamental level in order to to be drawn to proportion first and foremost. And one of the reasons that I start out so simple like that is because it gives me room to move and think it frees up mental processing that I'd otherwise have to be doing if I was considering all the other things such as anatomy. And you know that the clothing design, the costuming, the the capes, the hair and all that other stuff. I don't even think about any of that at this stage. Yeah, I have a broad overall idea of, of course, where I ultimately want to end up going. You know, I have a destination in mind, but once I've got that destination down, I just I start, I start going down the path from the beginning of the road. I don't start to try and get right to the end right off. Yeah, I take my time with it. I make sure that everything is sure and ready to go first before I drum into the details. So hopefully that gives you a little bit more. Inside is toe again. How to place your characters into panels and onto pages and make sure that they're going to fit again. It's very, very tricky, and I know that I ran into this a lot when I was first starting toe. Learn how to draw, and I know that a lot of other people do as well. The only other thing that I will say before we leave here is that the other way that you can again establish a character within a scene. So let's just move this off to the side here and will draw out another page real quick before we go, because I do want to show you this. It might be even a better way for you to begin placing characters into the scene, if if what? I've shown you a little bit too complex. Okay, so say that we've got out page here like. So let's just really quickly drool this out, all right? You can see me sketching this. Ah, page in his best I can. It's not perfect. It's very wobbly. In fact, again, if he got a ruler best off using that, um, it's a tool that, ah, for many eons has been used to draw strayed lines. I just haven't clearly learned to use it, but we don't need this but to be perfect. Anyway, So say that. Say that we've got another panel right here. What's another way that we could start placing characters into the scene here? Okay, let's say we just wanted one character on the paper, maybe two. Ah, well, as you kind of seen in this one, the other thing that you can do is you can just place their height line onto the piece of paper. Okay, you can literally draw the high line down like this. And maybe there's a character in the background, right? You know, back off into the, uh, way off into the distance. Well, guess what? You can draw their height line as well, you know, Maybe a little the way back here again, just by drawing in these these differently sized lines, you can see that the ah, the power of perspective at work again, things closer to the foreground seemed larger. And as they go into the background, they get smaller Little, uh perspective 101 lesson there for you, Um might come in handy, but, uh, yes. So once we've got the height lines in just as before when we were drawing up, the figure will. Now it doesn't matter if we're drawing them on angle or whatever, we can start placing in our figure. So say that we drawing the head and we determined that that's the size of the head based on the high line that we've created here. And you'll get better. It just kind of dropping in the size of the head there. The more you practice thes proportional exercises, it does take time toe, get into the groove of it and just kind of figure out how big everything needs to be again . Making all the right associations along the side key size associations throughout the body toe make this stuff second nature. But, you know, once we've got that high line there, we can just kind of draw characters in And, you know, maybe we've got some cool cheek here with a you know, a massive kind of gun or something. She's just kind of hanging around like this. And then maybe we've got, like, this dude in the background and he's, you know, I don't know what he's doing. He's kind of like standing there hoping that she doesn't notice him, I guess. But, you know, and then we place him in his hands. Might be only steps like that. And, uh, Viola we've got our characters placed simply based on their height, their height line that we that we placed in previously the very same technique that we learned in the 1st 4 sessions off this workshop. So that is pretty much all there is to it that's hanging place multiple figures, characters into a scene onto a page into a panel and have them all fit exactly how you need them to fit without having to struggle toe, you know, fit them and cram them all on toe. Won't the one space, So this is really putting proportions interaction and using them to your advantage when it comes toe dynamic figure drawing for comic books and I hope that that made sense to you and that you can take it and apply it in your own way. I'd suggest doing as many of these exercises as you can try to do one or two a day, creating different compositions of figures and placing them into differently sized panels, differently sized areas off of work space so that you can get used to being able to compose a scene within a given space that may have, you know, multiple figures within it. Um, you know, it all comes down to that head size association and building the character off of it. That's really where we take this next. Once we've done those first few exercises where we've laid out the figure from the front and the side, then what it ultimately that ultimately teaches us to do is to get used. So how big the heady is in comparison to the rest of the body and any how big the rest of the body parts are in comparison to all the other body parts. And, you know, that's really when proportions begin, toe become less mathematic and less analytical, and they become more of a feel you know, a lot of people, they kind of say, Well, proportions, they're all good and well, but they go out of the window once you begin posing the character and and putting them into different perspectives. But that's actually not true. It'll because we do the first exercises from the front, the side just to, you know, lay it'll out. Get it out in the Europe and make it clear as to how big everything using comparison. But you know, a lot of those relationships between the different body parts in terms of size still apply . Just because someone looks at you from a different angle doesn't mean that your proportions and the sizes of your body parts suddenly change. They still apply. They just and they're still there. They're just spewed by that person's perspective. So we'll jump into some posers in the next session, and we'll talk a little bit about how toe pose your characters in perspective. It will build upon the ideas or some of the ideas that we've talked about in this section. But hopefully after that, a lot of this stuff will kind of make sense to you, and you'll know where to take it from here on out. Thanks for watching. And as always, keep on creating. I'll see you in the next session. See you. 24. Proportions Workshop 6 A Proportions In Perspective: It's Clayton. Welcome decision six. Off the Proportions workshop. In this session, I'll be showing you how to take what we did in the previous session and build upon it by posing out characters into different positions and looking at them from different perspectives wall maintaining their proportions and keeping them intact, because this is one of the most complex things to get your head around when it comes to proportions, it's all good and well to drop a proportionally accurate figure from the front or the side , or even the back, and maybe even on an angle when they're standing straight up and down. But what happens when you begin to begin putting your characters into more dynamic poses, which is inevitably going to happen? It's going to be a must. It's going to be a need to know thing, because would roaring comic books here, and as you and I very well know, comic books are anything but characters standing straight up and down. More often than not, you're going toe, see them and all sorts of crazy poses at a full of action and and impact. So let's talk about how to go about it and more importantly, how to think about it because it is one of those things that do take a little bit more time to really understand, because you need to change your way of thinking basically and get into a mindset that is going to make you more productive and more successful at drawing your characters in perspective. So let me talk a little bit about how I like to think about it and approach drawing a character in a pose in perspective. So four shorting that character and, uh, still maintaining their proportions, still making them look accurate in terms of the different parts of their bodies being sized up correctly. Now we are going to do a more in depth for shortening lesson. It will be an entire lesson, just like the proportions lesson that will be dedicated purely to four shortening and drawing your characters in perspective. However, this is not the lists, and we will be doing that. This is again more focused on those basic fundamentals and really getting your proportions down pat first, cause you do need to know how the body is proportioned before you can move on to that step . This is going to be a little bit of a overview. I guess you could say where we will introduce the idea of perspective, end poising your characters and kind of, you know, getting comfortable with that. Now, In the last session, I'm actually going to show you a really cool tool that I used to really ramp up my ability to draw characters in different poses and really have the flexibility toe animate a character inside my mind and projected down on the paper. And I think it really going to love that one. So if you haven't seen it already, stick around for that. But this kind of provides a really nice introduction into that session. So let's without further ado get started. If you got a piece of paper handy, grab it and a pencil and a ah, if you're doing it digitally, a stylus into canvas and let's begin with the but the first kind of concept. Now I've mentioned this before that after you've gotten used to drawing the character and laying out the characters proportions from the front and the side. What you going? Teoh bu noticing is that you get a knack for just kind of feeling out what each part of the body is going to kind of be rather, how each part of the body is going to be sized up in association with the other parts of the body. And that's really where the gift of proportions comes in as something that serves you wind roaring. And if we translate that over to some oppose, which is more complex? Well, one of the reasons that I begin most of my character sketches and most of my figure drawings with the head is because so draw down a head off of a character right now in front of you again. Just using are very simple oval form that we've already kind of gotten used to in these sessions. Let's say that I establish the head onto the page and let's say that I got a rough idea of the poise that I want to place down inside my mind. I might even be using a ah reference right, but let's say that I've got the the main size of the head place down onto the page. Now we know that a character is roughly eight heads. If they're all the idealized, heroic proportions now of course, you know, as I discussed in in the core lesson. Characters come in all different shapes and sizes, so this really does apply to, you know, the particular character you're working with. But if you characterise six heads, you know, same deal. Just keep in mind that that character is going to be six heads. In this case, we're drawing a character that is going to be eight heads. And just by placing and positioning this character's head down onto the page, I can essentially begin building out the rest of the body quite accurately by simply taking note of how big the head actually is. Let me give you an example. We've got ahead here. But let's say that we wanted to draw out the neck. Well, let's say the neck is going to go down to here and let's say that we're looking above this character a case. So let's keep that in mind. Well, if we're looking above the character and we know that this is the size of the head will help big and broad Does that mean the shoulders are going to be well, we know that the collarbones and the shoulders there about to head lengths in with. So if I keep that in mind and I take into account the perspective of my character and you know how the proportions air going toe, you know, be affected by that perspective and foreshortened taking all that in concede consideration , I would estimate and guess based on Aled the exercises that I've done to get my proportions down, that the shoulders would be about, say this this wide from the angle that I'm looking at the character from on Rather Okay, So let's say that that's the width of the shoulders. And let's say that I was going to begin drawing the rest of this character's body out where now I can draw out the chest off the character. And again, we'll just use a very, very simple and fundamental shape here to define that. But let's say that the chest was about this big and how my figuring out that is that big. Well, I'm looking at the head, and I'm just I'm kind of drawing it out by association and that still, I'm figuring out the size. I'm literally using the head to define the size of the chest here and because I'm so well versed at drawing my characters now I can just kind of, you know, I could almost start with one. I could start with any body part, really. I could start with an arm, and I could build the rest of the character off of just that arm rather accurately, simply by establishing the size of the arm. The head, of course, is a little bit easier toe kind of figure out because again, by placing the head into the scene, you kind of get a good idea as to how much space the character is going toe take up on the page. But let's say that this is where we're at now. We can continue building out the rest of the character again, using these very simple forms. And you can see that I'm placing these kind of geometrical surface guidelines around the chest there just to describe the geometry a little bit and the perspective, and to give you a little bit of an idea as to how I'm thinking about this in terms of the four shortening and perspective. But let's say that Ive got his chest down now. I can draw out the rest of his body. Let's go down to the pelvis. So we've got his center line going down from his chest down into the pelvis and let's say I draw out the hips. Now we know that the males hips is actually pretty narrow in comparison to the female sips . In fact, they kind of come straight down. So it let's say that his hips were here. All right, so now we've got his hips place in again, the hips of a character just, you know, basically a pair of underwear. That's how you can think of them. All right, So now I placed in the size of his pelvis and again, I'm just kind of I'm thinking about Well, if I'm looking at the character from this angle and I know that the body is going to be distorted somewhat by the perspective and the angle that we're looking at that character from then I take my process. All that information I go Well, maybe the pelvis is about this size, okay? And I make a educated guess. Okay. I guess which is based on nothing more than experience and lots of practice and the stakes . Mind you. Okay, so Let's continue building out the let's say, the hip joints A here, rather, and then we can continue building out the rest of legs. So let's say that you know, he's sitting on the ground. Well, let's place the knee here and again. I kind of try and figure out Well, how big would that that upper leg be in comparison to the rest of the body? And then we'll draw out the lower leg down into the ankle here, like sir a game. Just keeping it really, really simple now, Will, Yes. I will place in the ankle a little bit more down here, I think Coring out this leg. Just make it dark of this so we can see what's actually going on and make these lines dark around here so that we can kind of differentiate what's happening in this section. And then we've got the feet here, which is just going toe kind of, you know, it come down like this will keep those simple as well. But now that we've got this leg placed in, we can begin placing in the other leg. Okay? So again, we're just gonna placing his feet there, and, um you know, the feet are roughly the size of the head, actually, so let's make them a bit bigger. Okay? So with the feet place in, then we can place in the other leg. So again, if we're thinking about the perspective, this might be the perspective that is on so put in our perspective, lines roughly. So they're going to be about there. Okay, So then what we can do is we can build this leg off. And if we follow the knee, uh, the Linge line perspective. Well, that's gonna come up to about here like so And then this leg is going to come down as well and we'll place in the ankle. No, he's at a leg and we just draw Ally in the They love a leg from the knee, year old way down to the ankles, and then we'll place in his other foot 25. Proportions Workshop 6 B Proportions In Perspective: just keeping a real simple and messy. But as simple and messy as it is, we could easily take this poison begin building right over the top of it. This is really if you conduce this. If you conduce a simple figure sketch like this and you can kind of depict a character in different poses just doing everyday things. Well, you're halfway there. You're going to be able to make comics. Okay, so let's now place in the arms now the arms. Let's say that this is the shoulder joint here. Well, you know, let's say that he's just kind of resting his arms down on his legs. Well, let's take the upper arm down from the shoulder there. Put his elbow about him, and we'll just have his kind of arm resting along his upper leg there. Like So you're okay. And then finally will put the hand in a game. Just keeping it really, really simple. And then we'll do the same with Thea. The other shoulders so it would gain will get out perspective. Line out here, places other shoulder river here, bring it down to the uh to the opposite leg ends. It's going to be a little bit David that come back a little bit more and then we'll just place his other arm on this side like so ends. As I mentioned in the previous session, the less I have to think about at this stage the better, because it basically means that I've got a little bit more room now to think about the things that matter at this stage, the things that are going to turn term and the the overarching success off the artwork. Okay, because we need the building blocks down soloed Lee before we can start toe lay in a lay, the decoration on top. Okay, so let's just define these forms a little bit more end. Once we've got that down, we've essentially got opposed their that weaken, tweak and add anatomy onto when build basically an entire character out off if if we so want to, all right, we can, ah, Doc and this up here just to define it a little bit better. But that's really again, how you pose a character in perspective and kind of foreshortened. Um, now let's try something which is a little bit more dynamic than this one, because this is really just a character that's been posed differently and put into perspective. But as an even simpler example, just in case that was a little bit hard to get your head around, let's say that we did start off with just the basic, you know, up and down figures. So we've got the head here, and I'm not even gonna put in a high line at the moment because this is about how ah, big his head needs to be at the height that I need him to be A and ah, I can just build the rest of the body off of him at that point. But let's say I've got out basic character right here, okay? Which is really quickly draw him out. Like so Now if his arms, it kind of just coming down and hanging down like this just very, very simply, ah, well, had away again. I begin posing and let's say I even just wanted to lift his arm up. Well, see, here's the thing. I know that the elbow kind of falls into alignment at the third segment of my character. So three heads down, I'm going to find the elbow. Okay, so that gives me the length off the operas. All right, so then if I go to poor is that, um and I want his arm to kind of go out like this, right? Well, I know that the rough kind of distance between the shoulder and the Elber is going to be about that size. So I can kind of lift his arm up like this like so And Aiken, drawer it out. And then let's say that we we want to know how big his his forearm is. Well, let's say it's about this big. Let's say that it goes from the third segment all the way down to the, uh, to the fourth segment. Okay? For his forearm. Well, same deal. I kind of I look at that distance, okay? And I memorize it, and I get a feel for and I do this exercise or ever never again so many times that it just becomes natural instinct that I nori, you know, his arm is probably got his thes bottom arm is going to be about this big, and I can kind of, you know, draw it out like that. Then I condone draw out his hand like this and I've got he's poised up like so. All right, this is a very simple example, But again, once you kind of get a feel for how big every single part of the body is and you roughly, you know, again in association with the size of the head and thus the size of every other part of the body. Once you get a feel for that, you're going to be able to just pose your characters naturally and literally build them up from the ground. But it is important that you start out simple like this because it's going to free up your brain processing power to actually calculate this stuff, right? If you're, you know, filling your head with where the anatomy goes, where the biceps go, the picks and all that other stuff, which is one of the reasons have decided not to do that and focus on that in this particular lesson. But to really show you guys where your head should be at in the basic building stage over drawing. If your head's been filled with anatomy, um, then you're going to start to lose track of how big the underlying forms need to be. The underlying skeleton needs to be measured up to Okay, So again, build your illustrations up in layers, starting with the base foundation. The very, very basic underlying structure of the drawing. And get that right first, because you know that's going toe help you to ultimately create an illustration that is rock solid. That doesn't looking correct. You know, I can guarantee it all the disproportionate characters out there that you see And, you know, sometimes mine included. If you would have tried to figure out where they went wrong and at what stage they went wrong, I can I can guarantee it almost that you'd find that they went wrong at the very beginning when they were laying down those initial foundations. And if they just had a tweet, that base drawing a little bit more, they may have saved the entire thing before it was too late. Okay, so this is really what dooms the drawing. And if if you're not able to kind of, you know, again, figure out, you know where it's going wrong. In this beginning stage, you do run into trouble. So let's go ahead now, and we'll just kind of Lets put this guy off to the side here because he's a He's a nice little example that that we've just done in large him a little bit. All right, like so again, just a very simple figure. Try to draw this figure out and get used to drawing it. Um, you know, it's not very hard to draw on, and no, it looks simple, but you go to trust me when I say that if he composes simplified figure, are you going to be able to create some of the most complex, too freaky looking contortion mystic illustrations that you can imagine using this very simple model? Okay, so now that we've now that we've kind of figured out, you know how we posed the character in a kind of, you know, pretty complicated, actually type of way, but again, thinking of him in simple terms in perspective. And then we've looked at Okay, well, what's a simple version of that? You know, how do we just how do we just lift the arm of the character up and try to maintain those proportions? Well, let's do something which is a little bit more dynamic. Let's have a character who's, you know, arm is reaching out at you like Superman, whose flying toward you alright and talk about you know, how would we do that? How would we think about it and get everything looking right in that regard? Okay, So again, thinking in very simple terms, let's say that we were again to stop the head here. Let's say this is the size of the head, very similar to the first character. But now we're going to have this simplified character actually going back in space as he is , entire body literally distorts back into the background. Okay, so we've got his head here and let's place it in like, let's give him a bit of a proportion, a form guideline just around the head, just to show, you know how it's ah, how it's looking geometrically. And then let's say his arm is coming out toward the viewer right now again, we're going to place in the collarbones, and I am considering his poetess here. I've got a poise in mind as to what? I want a drawer. Now, this is a little bit tricky in terms of posing your characters. Um, you know that just takes a little bit of practice, and I'm not gonna get too deep into it just yet. But what I will say is that when it comes to posing your characters, you want to get to the point where you're able to break the human figure down into very simple poses like this. One of the reasons for that is because one she broke in the character down like this, it makes it very easy to think about so you can take a very complex looking pose and literally rotates and compose that poor is in your mind and projected down onto paper using these very simple shapes. So I've got a character he's flying toward the viewer like this, right? So let's draw him from the side. What would he look like? Something like this. You know, you have his head here, you have his body up here, and then you'd have his spine, his legs, and then he kind of and I have them coming out like this. And, you know, you might have this. I'm going back like so. But this arm coming forward, you know, at the viewer, right? So I'm gonna take this very simple porous here, and I'm going to begin to turn it in my head in three D. And that is easy to do because I'm not thinking about the pose with anatomy and lots of complex details. I'm thinking off it in very simple terms. So the chest vest and pelvis Panies and the arms of cylinders, that kind of stuff. So by thinking of it in that way, I can begin placing in where his collarbone would be. So let's say that it's coming down like this. And what kind of looking at the top of the chest from this angle? Because basically the camera here set up like this, looking at the at the character front on. So this is us, right? We're looking at the character and we've got this arm here, which is we're gonna place the shoulder right there. We've got the other arm kind of coming back, going back into space, and you can see how rough I am at this stage. And then we got the chest. Now the chest is also going back into space, so you know, as it goes back, it's going to go back so far that the bottom of it is barely visible to our eye anymore. You know, we might get a little bit of shape there, but for the most part it will be going back so far and distorting so much into the background that again we're not going to see a lot of it. And it follows the same rules. Those same basic rules of perspective that I talked about before where, as you as an object or a character or whatever it may be, gets toward the foreground, closer and closer, it's going to get bigger and bigger, and as it goes back into space, it's going toe fall off. It's going to begin getting smaller and smaller in comparison. Okay, keep that in mind, because again, a really great example of this is as this character's arm starts to come toward the camera here. So let's kind of draw out the Elber bigger, right? So the Elber is almost as big as the shoulder here, right? The elbow joint, at least. And then we got the arm here, which is a very simple cylinder. And again, this makes four shortening very easy, because we can now take this very simple cylinder shape here that we've got and we can begin taking that and putting it in perspective. So you know, if we're looking at it from this direction, right? And this this part of the cylinder is what is coming toward the camera, then it's going to look a little bit like this. We're going to have that side of the cylinder quite big, like so. And then, as the back of that cylinder breaks, ah fades back into the background and distorts. It's going to start angling back and getting smaller and smaller, like so. And this is essentially what is happening to our arm and what you'll also notice here. That I've done is this half way segment that I placed into to find the middle. Well, look at it when it's full short, it actually goes back into space because this segment here is literally bigger than this segment right here, because this segment is further off into the background. Now it's it's fading back, and that is exactly what allows us to depict depth and dimension within a two D space. Okay, so let's get rid of those examples there. Um oh, actually, let's keep them because they are pretty good toe have there for you to keep in mind as we do this 26. Proportions Workshop 6 C Proportions In Perspective: Okay, so we've got, though, is there and on the same thing is essentially happening to our army. If we can imagine a division in the upper arm in this first segment of the upper arm, that's going to be, you know, a little bit smaller than the segment. It's coming toward us, and it's just going to get bigger and bigger. But he is the he is the catch, right? Just because the elbow is further forward than the head is doesn't mean they're elbow is going to be bigger than the head. No, no, no. This is still confined by the proportional relationships off the body parts like a. And this is where the real tricky stuff comes in because you have to use your own judgment from the practice that you're going to do from these exercise. You had to use your own judgment as toe how big that elbow is ultimately going to be in comparison to the head as it's coming forward. So we're introducing new dimensions here that we're really going to have to think about as we poison and more dynamic poses. Okay, so let's continue on with the forearm. Let's say the four rum is coming toward the camera and we'll put the fist in there. All right, so the wrist, you know, that's really big. So now we've got the risks. Him kind of, you know, try to make that as clear as possible as it comes forward. And you can see how you know the recesses overlapping in front of the face now and we've got the forearm here, which I'm actually going to start bulking out as actual form. Now, just to show you how how I would depict that. So that's coming out now and then We've got the upper arm appear, which is basically hidden by the former because it's overlapping it as it comes into the foreground. And then we've got the shoulder up here and then finally, we've got the fist right now. The fist that's really big. That's going to be really coming out toward us. Okay, Gonna have a closed fist here, putting the thumb that she's going to build off off our wrist. Now, let me define that in red here, just to show you what's going on, because that's a little bit confusing, right? So we've got the fist, and that's going to kind of come down like this again. Very simple, very messy looking. And then we've got the forearm, which is coming toward the camera and thus getting bigger and bigger, like so And then we've got the forearm sitting. But, I mean, we've got the top part of the arms sitting just behind that and that's almost hidden by it . Because it's just, you know, the point of view is skewing the forms that much, and then you've got the shoulder here in the background, right? So those forms is simplified as they are a kind of overlapping one. Another nail. All right. In fact, the head is almost completely being obscured by by the arm here. But let's drawing the rest of the body now just to kind of wrap this poise up. All right, so now we've got Thea. We've got this kind of more complex looking poor is placed in, will place in the fingers a little bit here game with keeping it simple. And, you know, this may look very messy, but trust me, this is this is really the most important part of the artwork. If this isn't down and you don't have this toe work from then. You've really you really just flying blind? I think, right, So we'll place in the rest of the chest there again. Even the chest is being obscured by the risk now. Okay, so we're not really seeing that anymore. Then we've got this shoulder on the other side. Maybe we got the top of the Maybe we're seeing a little bit of the top of the back there. And you know what? The rest of the body is pretty much obscured by by the by what we're seeing here, you know, it's kind of coming out the other way, But let's say that you know his man, his body really is kind of going back there on that. So you would actually see from from really this angle, But let's make this a bit more interesting. And let's just say that you know, he's other arm here is kind of coming coming out a little bit like this. OK, so let's say that he had his shoulder here and he's operable was going back into space. But maybe his lower arm was coming out toward the camera or a little bit right, so then he'd get this kind of again. You get this forearm popping out from here. Now the top of the arm is obscured, but we've got the forearm coming out. You can see me putting in this form guideline to describe the very simplistic form that we're working with You okay? And then we've got his his fist there. All right, so very, very simple. But again, this this arm is a little bit far back, and it's not coming toward the camera as much. And so it's not knowing it's not going to be anywhere near the size of this arm, even though if we were looking at this character completely, 100% flat straight on those arms are exactly the same size, right? So the proportions still apply. These arms are still send this. It's still the same size, not like is literally walking around with a giant arm. It's just that from this angle, we've kind of appropriated those proportions and put them into the context off the powers end the angle that we're looking at the character from again. This takes a lot of practice to get right, and it is difficult to do. But he is what I want you to take with you. Number one. Make sure that you're breaking down the anatomy off your characters and the reference poses that you're using into very simple forms. A cases say that we were to draw out the arm here on arm is essentially just a circle or a sphere for the arm joint, another sphere for the Elber. And then we've got another kind of cylindrical form that's tapered for the lower arm. And then, of course, fully actual hand. That's just literally a square block for the main hand, another equally in equal in length block for the fingers. There's still got a few divisions. It's actually draw that a bit better. It's not looking right. Okay, so we've got that. And then we've got a kind of triangle, a wedge that comes off of the side of the hand and, uh, sprouts the thumb and we sprout the thumb from net, right? So let's take a closer look at the hand, actually again, just to put it into a 30 context. It's just a block like this, Okay, and then we've got that. Let's say that this is the main hand that were drawing. It's kind of a block, right? A very kind of boxy looking shape there. And then we've got We've got this kind of triangular wedge that comes off, which is essentially the thumb joints. And then we begin building the fingers off that the fingers, Really? I just think of them is cylinders okay? Like so? So if we did draw those in and you know, we could put the pose here, we could put the fingers into an interesting porous here. Even so again, just thinking off the miss cylinders and, you know, for in terms of proportions, you don't really need to know this. But, hey, you know, here's a little bit of an extra bonus for you. Um, you know, and of course I'm picturing those fingers and how they would kind of be looking from behind this This finger that's coming in toward us coming toward our CIA and these fingers would kind of be dropping back behind it, right, you know, And you might have this little finger kind of coming out as well in a uh Maybe it's not too much. No, coming out too much, just a little bit right. But you've got the main kind of point of finger here, Actually, let's take that little finger back and just kind of have it coming down with the other fingers there, all right? And you know, this is the really good thing about keeping it simple is that you can tweak these thes these forms on the fly just because their source so simple. Um and it makes it it just easy to get your head around and to think about, you know, drawing it could be vory avery complex exercises and very mentally taxing. Say, the more you can optimize that process, the better it's gonna be, right. Whoa, Sands Getting really out of hand now. Uh, okay, cool. But you get the idea, right? Just this very simple kind of block form like this, That's how basic hand. Okay, so let's just get rid of that. And, you know, again, if we would have draw the head and the chest again, we're thinking and very simple form. So this is kind of like the chest form here gain giving you a little bit more of a bonus, goes beyond proportions and gets a little bit more in the form. But you know, as you start posing, your characters are really want you to start breaking down your characters into very geometrical shapes. And then you've got the pelvis panties. Of course, up here, we'll just draw those out real quick. They look a little bit like that, and this is really the the way in which I'm thinking when I laid down a figure for the first time and I start to plot it out, and I think that that's really the best way to go about it in the easiest way to go about it. Okay, so think about your current is in terms of simplistic forms and then begin to think about Well, if I place down the head onto the page at a certain size, how big does that mean the rest of the body is going to be, no matter what pose it in, and according to the perspective that we're looking at that pose from okay, Because again, you know, all of the proportions become skewed into perspective once they're posed and foreshortened into a three D world with depth in it, and you really kind of have to practice in order to depict that accurately. And in the next session, I'm going to actually share with you some of the exercises I practiced in order to get good at doing just that. So stick around and we'll see the next session. 27. Proportions Workshop 7 A Understanding The Human Figure: it's Clayton. Welcome to Session seven of the Proportions Workshop. In this session, I'm going to show you some exercises that are going to help you implement along the proportions principles that we've been learning about thus far in the core lesson and in the workshop. Now, this is really meant toe help all of this stuff click and to basically allow you to observe from life around you from photo references end from the references I'm going to show you here in the exercise and to basically make the right associations that are required for you to make in order to replicate reality or something that looks accurate to reality in your drawings. So I've often said that when it comes to learning how to draw and getting good at it, using references to practice your studies is something that is going to just help you to up your skills again and again. And I can tell you actually, how many studies I've done in my time. You know, one of the one of the exercises that they'll often get you to do it at school is life drawing, which is basically drawing the human figure from observation with a live model right there in front of you. And, you know, we don't always necessarily x have access to that. I know I don't, and you may not. And as good as life drawings are, they kind of, you know, a few and far between most of the time. But the next best thing is to grab a bunch references off the Internet or wherever you can find them and just use those to do your studies. Heck, I mean, you could just go for a walk in the park, and you could take this sketchbook with you and use thes same exercises that I'm about to show you in order to practice getting your characters into proportion and just in general, structuring them accurately. Okay, so let me show you had a link this up. Now, if you would like to, you could jump onto Google and look up. For example, Arnold Schwarzenegger, um, poses, For example, I like I don't switch naked because he basically is a giant comic book character. And ah, the really cool thing about him is that you can see all of these muscle structure right there in front of you, which you know is really great for ah, your anatomy studies as well. Um, but yes. Say, for example, that you wanted to use this pose. You could do. You do the same thing that I'm about to show you on this website. We're going to use these kind of anatomy references here, but, you know, jump onto Google. Look up. Any poses you want of any models you like. Um and you know, for the purposes of study, you don't really need to worry too much about whether or not they're going to be. They're allowed to be used for commercial among commercial uses. This is just for study, just to get your skills up. And you know, nobody's probably going to see these. Okay, So jump onto Google. Look up some references. Bodybuilders is fantastic again because, you know, I mean, basically all their anatomy is articulated. Um, but what I'm going to be showing you here is a really, really cool website called pose maniacs. Now, this website I visited frequently when it came toe getting comfortable with the human figure and learning how to draw accurately and basically getting so used to it that I was able to draw off by heart in any poise that I wanted, Uh, this I found really early on in my learning phase off drawing ends up. As I said, it just got me so comfortable withdrawing the human figure and I'll show you how and why. Ah, that was the case in just a moment. But for now, the first exercise I want to show you is how to take a reference such as this, for example, so we'll just click on this now again. If you want to visit the website and follow along with this exercise, the website is w w dot pose maniacs dot com. You can see it right up there in the in the search bar here so w w dot porous maniacs dot com and it's gonna take you to this really, really cool site, which is just basically packed with a whole bunch of proportionally and anatomically accurate three D models off people showing you a live their muscle groups and in a range of different poses from different angles, perfect for ah referencing and ah, doing a few figure drawing studies. So what I want to show you first up is how toe take a reference like this and begin breaking down the figure in the right way. And then once you've Birkin it down from reference, how to begin constructing that same post from a completely different angle purely from your imagination, really trying to challenge yourself to not just copy what you see, but actually understand what you're seeing in terms of form and perspective. Okay, so let's begin now where proportions are going to become implemented into this is as we're breaking down the figure here. What I'm going to be doing is I'm actually going to be thinking off where the proportional ankle pain points are on the figure as I begin constructing it. So let's say, for example, I'm going to place down the head first, so I know that this is a full figure from top to bottom. You know, Aled, the arms and legs are on the page, and so I know that I'm basically going to be drawing an eight headed sized figure on this kind of canvas that I have in front of me. So if I was to lay down their head first as an example, or place it here, I'm going to make sure that I'm leaving room for the rest of the body by keeping in mind that this figure is going to be eight heads tall. And so I'm sizing the head appropriately in anticipation of drawing out the rest of the body. Okay, so I'm thinking about how told the figure needs to be river roll, and then I'm drawing the head to the according size at least. What? How roughly have big. I think it needs to be according to the size, if that makes sense. So go ahead and whatever drawing whatever reference you have up at the moment drawing the head of that reference. And again, try your best toe. Get the head down. Teoh are somewhat reasonably accurate. Size according to the space you've got to work with. End the pose itself. Okay, so we've got the head down again. We'll just keep it simple here. You know, we can kind of break it down a little bit, just, you know, make it really on a simple little bit geometrical. Like so there's something like this. So if we've got the head, uh, placed in, like so again, just keeping it really simple thinking in terms of basic shapes. Now, the reason I'm thinking in terms of basic geometrical shapes is because I'm gonna draw this pose again from another angle, OK? And I'm going to look at it from say, you know, the from behind or from the side. And so let's ah, let's just focus on this first pose now, though, and break it down. So as I'm breaking down the figure next, I'm going to draw in the neck and in the chest. And what have you been, as I do that I'm going to be keeping in mind by proportions that we look that I learned in the last few workshop sessions? OK, so I'd like you to do the same. Really Think about Okay, well, I'm drawing the neck now of my reference, which, if my references proportionately, you know, accurate to the ideal, it should come down about one head and 1/3 of ahead. Okay. From the bottom of the chin. And no place in the Colburn, which is again on a male that's going to be to head lengths across. Okay, so we've placed in the neck now, or the character we placed in the collarbone and where conscious off the proportions that this figure is going to be confined to as we work. Okay, so now that we've got that placed in, let's go ahead and place in the chest. Now the chest is going to come down and the bottom of the chest, remember that sits just above the, uh, third segment on the bodies. Overall height. So it comes about almost three heads down from the top of the figure, so it's going to be about there. Okay, I'm going to place in a guideline for the for the pecs here or the nipples. And remember that the nipple sit two heads down, right? So one and then another one. So about here, all right. And I'm just going to put this line across the chest vest. Let's make that need us so you can see it clearly and they don't place a center line down the middle of the chest, like so to describe the geometry off the shape that we're dealing with. And I'll continue to build out the figure. I'm just gonna draw down the center line to describe the flow off the torso, and then I'm going to draw in the pelvis area. Now the pelvis area. Remember that? That comes about four heads down from the top. So we've got our top head, and then we've got the picks at the second segment. Then we got the belly button at the third segment, and then we've got the bottom of pelvis at the fourth segment, which marks the midpoint off our body. Now, let's sir, keep in mind that we are referencing this guy's pose here, so going to go ahead and make sure that that's accurate. So his body Conte comes round like this and, uh, Aziz belly button and then we've got his pelvis right here. Okay, so we're just gonna draw that out, and then we'll put in the, uh So these are the pelvis panties that I talked about in a previous sessions. Were placing his leg holes like Sorry, like whole here. And remember that the hips on this guy are probably going to be some water narrower than if we were drawing a woman because he is a guy. Uh, we'll draw a female example in a second and then are placing Cem little bowl joints for the hip CIA. And then that basically makes up our male torso. Okay, so you can see that I've kind of got most of the pose down for the for the main, A portion off the body. And as I've constructed it, I've constructed out of very simple geometry. And I've also kept in mind the entire time how those proportions are going to look okay where the proportional anchor points are going to be found on the body as I draw it out. Okay. Said, now I'm going to draw out the lakes. Now they're going to come down and again. The knees sit just above the sixth segment on my character. So that's going to be gets about here. I'm kind of feeling this one out because we're not really breaking up. Ah, height liners such here into segments we have toe eyeball, this one. But as long as you just conscious of it, okay, whatever. Pose your drawing right now, just be conscious of the proportions that you're dealing with. Even if it's crazy. Looking poor is you know, I think about it. How each part of the body kind of associates with the next part of the body in terms of ah it's size relationships. Okay, so now we're drawing the bottom lake, and we'll just roll that out again, using very simple geometry, the top play kind of poising to the bottom like this. It would try to capture that shape and down to the ankle where it will join on where will join on the foot place in this kind of little wedge muscle there for the other side of the car fee in the side of the cuff. And then we've got his foot. Okay, now, that's just going to be a something like that, all right. Seems to race that Make it Nida. Sculpt that out a little bit. Okay, cool. So now we've got one leg. You now will poise out the other one and, um, again, keeping in mind the proportions and, ah, the sizing of the legs. So let's pull this one out, thinking about the direction that it's going in. So it's going to come down to about here, and then it kind of comes back because he's I guess his leg is It's kind of coming out to the side here, and then it's going back in space. So again, by thinking about it in terms of very simple German geometric shapes. I can think about the form as this cylinder coming forward again. He's my form guideline to kind of describe the surface off that form, and then it goes back in space. Okay, so it's going back right back there, A little place in the cough and then all placing the ankle for the foot. The foot's gonna come down like this. All right. Again, Keeping the foot pretty simple. All right. It's gonna be something like that. All right, cool. 28. Proportions Workshop 7 B Understanding The Human Figure: So we've got the main kind of put lower half of the body placed in. We've got the torso in and we've placed in his head. So next, what we're going to do is we're going to start placing in the arms of our character. Okay, so let's just beef up, please make a little bit. So, in order to place in the arms, what I'm going to do is begin with the shoulders, like so. And we'll just kind of create Cem again. Kind of, I guess triangular diamond shaped, uh, forms there for the shoulder, and his arm is again basically just a cylinder. So especially in the upper arm. Anyway, so that's that one and again, keeping in mind the form. So I'm gonna put that form guideline around the general shape of the upper arm there around the shoulder, and then no place in the forearm, which is going to come out like this and again. You know, I'm I'm consciously aware off how big each segment of the arm needs to be in comparison to the rest of the body. So as I'm drawing this arm down, I need to remember that Hey, this is the elbow, basically. So it does need to align somewhat with the belly button, which is here. So I'm gonna put that here, and, you know, it's slightly angled outward, so it's going to go on a rotated kind of trajectory outward. Um, so I got to consider that, and this is all about, you know, putting the puzzle all the human body together, considering all of these things numbness, Shelley, at once. But you know, when we when we need to consider them all right again, we only wanna focus on certain things at the moment. Such as the placement, the proportions of our character. End the characters, the pose of the character itself. All right, So place in the arms there again, keeping it very simple. Whoops. What? Some thinking up that response there. For some reason, it doesn't want to capture that shape for me. All right. So hopefully you're going well with your pose right now. Uh, just continue working away through it. We're not going to put in all the anatomy. We're just getting the poise down again. We're focusing purely on proportions at this point. That's all I really want you worrying about. So If you are drawing someone like Arnold, don't get distracted by all the anatomy. All right? That's Ah, it's not gonna help you with proportions. So are about a little bit. But, um, yeah, just try to really, really pay attention to the different sizes of the body parts, and you know how how the body is sized up in general. All right, So, again, keeping those hands really simple. Uh, the simply you can think about your idea and what you're drawing, the easier it's gonna be to depict and articulate on paper. All right, so now that we've got that I'm drawn in, let's draw in his last arm. Now that's ah again, he's kind of reaching around here. So we're going toe place in his shoulder again, again, subconsciously. And I've done this so many times, but I know I know that I'm subconsciously taking into consideration the rest of the body as I draw this arm out. That's the only way I can kind of I bowl how big everything needs to be, because I will tell you the truth. I'm kind of glancing over at this reference at the moment, but I'm only kind of thinking about, OK, risk. Oh, is there? It's going to be sitting just underneath the chin, and then I kind of just, you know, I kind of pay attention to what I'm looking at over here. Um, you know, I'm not constantly looking at that poisoned, really scrutinizing it that much, because a game, uh, you know, I've I'm thinking on no Maura complex level at this point than the basic shapes that make up the human body. And, uh, as long as I can get the proportions right, that's really what, um, what I'm focused on. Okay, so we've got his arm coming around like this. Let's erase that. Got a bit messy there, but his shoulder coming out here. And then we've got his hand, and now his hand is kind of coming up over his face, like so again, if we think of it in very vory simple, blocked our terms will were usually okay. Hands were always going to be inevitably hard, though no matter how long you been drawing them. Luckily, you've got a hand on the end of your own risks that you can reference whenever you want. Um, which is great. Just kind of rough it in there. But that's the basic. Uh, this is the basic construction method I use for drawing characters from reference or drawing characters from my imagination. Right. And I'm going to show you exactly how I merge the two together right now, because we're going to go ahead and we're going to begin drawing this very same pose from a completely different angle. Okay, I'm going to show you exactly how I construct that out. Keeping in mind exactly what I kept in mind for this particular pose. Okay, so it's still thinking about references. Think sorry. Thinking about proportions, thinking about the placement of the parties and that kind of stuff, How much space it takes up on the page. And you can see what I initially laid in the size of the head there. You know, I'm getting pretty good at just, you know, basically making very good guesses as to help Big. The head actually needs to initially be in order for the rest of the body to fit onto the space that I'm working within and again that comes from practice and doing exercises just like the one I'm showing you now. So make sure you do do these and do them regularly, you know, do them a couple times a day and definitely a couple times a week. Um, the more you the more you do it, the better you're gonna get. It's that simple. So now that we've got that point is done, let's go ahead and draw him from a different angle. Let's draw him from say the back, for example. Now, this is where you really do get challenged and where your brain is gonna. You know, it's gonna kind of start using a lot more processing power, because now you actually can't just depend on what you're observing. You literally have to comprehend what you're seeing as form and begin turning it around. It's a little bit tricky. I'm looking a lot to you. It is tricky, but the more you do it, the easier you're going to find it in the more confidence you're going to have to begin to roaring. Figures from your observe A from your imagination. Sorry you won't be confined up. Just what you can observe anymore. You'll be able to literally take a pose, a reference, and you'll be a big toe take the idea off that pose, but put it into the context off whatever you needed to be in. Okay, so let's go ahead and draw him from the back. All right? So we know that he's head is going to be here, So let's drawer like that, and we'll draw it to the same size with just basically rotating him here a little bit. Okay, so we'll place that in just a circle, and we're looking at him from behind. So this is going to be the ah three guideline for behind his head. And remember, in this one, he's looking down. So from the back, he's the lines going almost curve around the skull in the opposite direction. So, like that, And then we've got the side of the head, which is gonna be here, all right. And then we've got the front of the face, which is going to kind of come down like so again, you can see how simple this is. And I really hope you believe me when I say that I really do think on gnome or complicated or, you know, difficult terms than what you're seeing here. When I begin an artwork it's really this simple. Okay, so now that we've got that place team, we're gonna I'm going to draw on and the neck like a like so And that's going to come down again one head and 1/3 down the body. So this arm, right, so the bodies kind of almost twisting back while this shoulder is twisting forward. So, you know, let's put the shoulder here is going to be a little bit more on the side. His head is going to be turning the opposite direction almost so this arm is going to be here. So now I really do have to think about the poets and what exactly is happening in this pose . And if you're following along here with your own party's, you're probably finding that, you know, it's really kind of a bit of a struggle to think about, but this is what you want you bring to do. You actually do want to think about what's happening and trust me, the more you can do. This man is going to give you a heck of a lot of advantage and confidence when it comes to draw in your comic books. Could you be able to draw any pose you want. You'll be able to see it and lay down on the page however you want. All right, so let's go ahead now and continue on with this guy's body. So again, we're viewing it a little bit more from the side at this angle. And, uh, his chest is going to be pointing forward like so. And let's say that this is the side of it here. And of course, as we look at his pelvis, the body's actually twisting around this way. So let's go ahead and draw that in keeping in mind that the pelvis is again. Now we're going to be really probably because of that angle and that motion we're going to be looking at his, but a bit more from this angle. So again, keeping in mind my proportions, his pelvis is going to come down to about the the four heads down Mark. So the fourth segment on the overall eight heads high height off the body, and, um, you know his leg is going to be there. So So beware his leg holies. Place in the pelvis. Like so, say this is the center is his but there. And he's leg hole like, sir, And then you're going to get this. So you're gonna see his hip a little bit more here. Then we've got his hip joint, so we'll play studying, and we're just straighten out the at the top of the chest. Yah! All right, so that's good. Tweaking those shapes somewhat. Okay, so now that we've, ah, we've placed in the hip, let's draw out the leg. So that's just going to be again. Now, remember this legs actually coming back end and Ford a little bit, So it's kind of coming out to the side, right? So let's go ahead and just kind of tried it out. Best to the pig, What that's gonna look like, All right. So, again, if that's coming out that direction, but probably going to have this kind of form happening, this kind of four shortening, uh, you can see that that guideline there really does describe how the form is. Ah, is looking on a geometrical level across its surface. All right, so now we've got his Ah, he's leg coming back like that out to the side, and then it comes back at the bottom So now it's going to come back toward us from this angle. So it'll come back to about here, right? So let's go ahead and just drawn in guideline like like sore and will fully the trajectory of that guideline without simplified shapes and a game. Because I do know how to simplify down the body like this. Um, it's quite easy to kind of you. The this part is from a different angle into the Picked it because I'm just using very basic shapes, and I'm thinking about it is very basic. Shapes are not tour turning around complex anatomy inside my mind year. I'm not that much of a genius. Um, I got a simplified down, you know, um and it's impossible, really Toe, Actually, you know, consider every single muscle at once when when you're drawing this stuff with brains is not capable of doing that. There's so many different muscles inside the inside the human body that there's just no way that you could you could ever memorize Every single one at once, you know, can get a general idea. But, uh, some. It's always a challenge. So thinking about it in in these simple terms is probably your best bet. Okay, cool. So we've got his leg coming out to the side like this coming out this way? No, me, but he's leg coming back that way. And I remember, as it kind of comes toward the camera is going to expand a little bit, I guess. Then we've got his ankle joint, and then he's ah, Hiss foot, which is kind of coming out this way a little bit, right? So it's gonna come down here and ah, out this way, like so And then we've got the other foot, which is coming forward. So but just kind of kind of, I guess, Um you know what? We feel this guy to be balanced like we don't want to fall backward here. Um, but So let's go ahead and just erase that, cause he will fall backward if we if we draw him out like that. So again, if I'm working really fast, I just kind of erased that and then sketch it out real fast again, like so? So it's gonna come out like this, and then it's gonna go even further back, like, so. Que se. Then we've got his. Ah, his foot here. Coming back toward the camera. All right. Say something like that 29. Proportions Workshop 7 C Understanding The Human Figure: because we want to get that balance right as well. We definitely don't want a figure that looks like he's about kind of topple over. You know, we want that solidarity on, and that is, you know, it's something that doesn't just, you know, happen to me here. But it happens to every everybody If you're not paying attention to this kind of stuff, I always think about balance. If you character looks like it's gonna fall over, he won't be much of a comic book character, That's for sure is a lot of, you know, tough dudes. You don't want your character to have a week looking stance that makes it look like he could blow over in the wind or anything like that. So, um, I once read that point. Let's ah, move on to the next leg, which now where? We've got a bit more of ah, strongest stance here. So this leg is going to come forward now. And if I use again, think about your forms kind of like this, right? But if you draw them out, try to put this kind of, I guess, geometric. I call it a geometrical kind of surface guideline and that just helps to describe the dimensions off that form on helps you to think about it and how it's turning away in space . Okay, so that would just make things easier for you. As you can see, I've been using it throughout the entire body here as I draw it out. Um Okay, so let's move on to use next. Ah, the the next segment in his lake, which is the lower lake. Right? So that's going to be kind of that's kind of coming coming out to the side as well. So that's turning away even mawr from May. And this is, by the way, as I describe what I'm doing, this is my mind basically going through the process of what it needs to think about in order to to be to pick this. Okay, so there we go. And then, you know, you've got his foot, which is kind of coming out there as well off to the side. So hopefully we can get that looking a little bit accurate, Nykea. So I'm just gonna sweet these shapes here a little bit. Just again. Make sure he's balanced out in in this part of the pelvis is going to come down a little bit. K is gonna stick out and you're going to actually see the hip a little bit more There. Cake is again, you know, he's He's kind of his. His torso is kind of coming around like this a little bit, but up the top part of the tour. So it kind of starts off in this direction, so it kind of comes around anyway, Let's some So let's place in the arms now, OK, we've got the main torso down. We've got the legs down now. We need to place in the arms toe, really complete this parts and, of course, his next kind of bending back toward that way. So let's keep that in mind, all right? It's clean up this pose a little bit king of these sketch lines. Keep it somewhat neat, guys. And then what we'll do is we'll place in the, um, and again, the arm is kind of coming out toward the front of the chest, so it's going to come out toward here like so again, using a very simple cylindrical shape for the upper arm there. Hopefully, you're getting used to the idea of breaking your references down and your figures down into simple, simple shapes. OK, and you can do that that with anything. By the way, this just doesn't apply to people. It applies to cars, buildings, complex structures of any kind. I mean, organic or artificial looking, you know, man made. It doesn't matter. Everything can be broken down into basically a cylinder, a sphere and a cube. Okay, Corns as well. But anyway, so his arm is coming back toward this way toe walk in front of his face. So we're going to draw that in. It's going to be foreshortened back, like so. Okay, so it's coming back in that direction in the front. It's coming, Ford in this direction. OK, so again, that's how I'm thinking about it. This is what's going through my, my crazy brain. While I'd rule this out, um, and then finally, we've got the other arm. But that's kind of I guess, you know, if you really wanted wanted to exaggerate, the poet is a little bit. You could have it kind of popping out from RV here, but that's that's basically kind of hidden behind Ah, the body there as we're looking at it. Maybe it might come down kind of like this, and, uh, pop out of the front there and round this this area. Okay, um, his place in his and the all right, Actually, let's get rid of that. I don't think it needs to be pumping through the back there. I think it just just need to be at the front, coming down toward his groin. Then we've got the main hand, which is going to be a bit like this again. That's just a on a cube. And then we've got his his fingers there, which, you know, just keep them simple for now. All right, so that is basically the exercise. And what I would like you to do is to go through this exercise yourself multiple times a day, multiple times a week until you really get comfortable with this process. And again, just really try to make the connection. Inside your mind is toe, um, what it is you're actually seeing when you're drawing from reference. If you can break it down into form than it's going to give you a lot more power as an artist and a lot more flexibility when it comes to creating dynamic poses. So what I'm going to do is one more pose off a female character here, end um, and then we'll move on to another exercise. Okay, So I'm gonna add one more session after this one, and it'll be the last session, and that's really the ah, the exercise that is going to get you 100% comfortable with manipulating the human body and posing it in any position that you won't oppose it in OK and also being a little less attached to your characters. Now that may sound like a bad thing, but it's not. It's actually a good thing because, you know, it'll it'll make it so that it's not so, uh, that, you know, so analytical about your drawings and kind of create and cutting off your creativity. Okay, so let's jump straight onto the next pose here. And if you are using pose, many actually can just kind of scroll through this list of different poses. And let's try, um, how about we try this pose? How about we try oppose? We were drawing the character from the back and then would draw them from another angle again repeating this process. So let's go through the exercise again. Let's do another pose. Things time. You might want to do one of a female just to mix things up a little bit. Okay, so let's drawer out this Ah, lovely lady here. She's got a great poets happening, very elegant looking, and this one's from behind. So it's maybe a little bit trickier on might be a bit more a challenge, which is always great when it comes to drawing. I always wanted telling yourselves. So again, first thing I think about I think about what? How much space that I want the character to take up on the page. And then from that I determine how big their heads going to need to be so very similar to the last pose we drew up. I'm just going to do ahead about this big, like so I whips. Let's Ah, race that and start again. So let's go for a head that's about that big and again. We wanna take into consideration the amount of four shortening as well. That's going to be inevitably happening with this figure, since we're looking at her from above. All right, and now or place in some guidelines that will describe the geometry off the form that I'm working with here for the skull. I'm going to define the side of the head and then I'll take a guess, a guideline from the front of the face it down to the chin and then take the Joe around and then I'll draw, begin drawing out the rest of the pose, starting with the neck. It's gonna come down here a little bit next, just a cylinder. That's how I think about it. And then I know that the shoulders are going to be on a lady. They're going to be to head wits and 1/3 across. So our place in the shoulders here, like so it's gonna have a shoulder here. It's going to be forward a little bit closer to the camera, and I'm looking at the trajectory of those shoulders as well to make sure that I'm getting the angle right. It's another thing that you'll want to keep in mind with this, and I'll bring the chest down. Okay, now it is four shortening as it's coming down, but because I'm so well versed in those proportional exercises that we've been going through, I can kind of again eyeball how the four shortening should appear and how much that form needs toe kind of distort as it goes back into space, away from the camera. All right, so now we're going to take the spine down to the pelvis and again, thinking about the angles that we're dealing with here. Now she's kind of leaning on one leg. You can see that 11 kind of but is little bit lower than the other, as she's kind of walking que civil rift very slightly, actually. So place that there. And then we'll, um, begin roaring that out. So she's going to have a pelvis that kind of goes back a little bit again. Women have a little bit more shape to their general gestures thing guys, do you guys are a little bit, you know, they're a little bit more Steve ladies or a little bit more kind of relaxed and elegant and kind of free flowing I find when it comes to drawing them. So now I'll draw in the torso, and I just all the torso is is literally a tube that joins our Sorry. Rather the waste they called. This whole part is the torso. Talking about the waste specifically here. All that is is just two lines that join the top part of the body to the lower part of the body. The chest to the pelvis. Okay, so we can draw her embodying a little bit there. Then we'll place in the legs and again, they're just, you know, they're basically cylinders. So they're going to be turning away from the camera as they get if they go back in depth toward the ground. Right? So again, you know, if we were looking at the character straight front on, probably this shape would actually be bigger on the page in comparison to the rest of her body. But because we're depicting it, going back into depth here, away from the viewer, it becomes smaller and smaller the further back it gets. So hopefully that makes sense. So now we've got the top leg in the top part of the leg in let's place in the lower leg and again that's going to get even smaller still is. It goes away from the camera, and then we've got her foot that's gonna come down and kind of come down onto the ground there. All right. Said now we've got the lake placed in like so let's just darken that up so you can see what's happening there. I do have a habit of drawing very lightly at this stage. Just cause I do tend to make mistakes. I'm I'm definitely not perfect in fact, booties a little bit too booty licious a to this point. So we're just gonna take that in a little bit and again articulate these basic shapes here , practice the basic shapes if you're having trouble with, um, you know, if these poses air a little bit too difficult for you because you're not comfortable quite enough with the basic shapes, then take it back a level and practice the basic shapes instead. Then work your way up to this point. OK, take your time with it. All right? You don't have to duel these exercises of once. Do it at your own pace. Okay, so now we've got the up the when they were gonna put in the upper leg of the opposite leg, and that's going to be coming down like this away from the viewer. Even more still at the base of it, poking through there. And then if you look at where that 40 is situated from this foot, there's almost a straight diagonal line up in this direction. So we know pretty much where that lower leg is going to end up. So we'll just take that down and gain very simple form down to the ground. And then her foot is pointing off into the opposite direction right now, the way that I do 10 to draw feet. By the way, for those who are having trouble here with them, I just kind of draw a very simple line, kind of indicating that direction. I want the foot to go, and then I worry about really articulating it later on if I if I need to, if it comes to that. But I don't I don't really concern myself too much with it at this stage. I kind of articulated later on, um, again, feet can be, ah, quite tricky as well, you know, it's always the small areas of the body that is the most trickiest, even noticed that like the hands and the feet 30. Proportions Workshop 8 The Fastest Way to Get Better At Drawing: It's Clayton. Welcome decision. Eight. Off the proportions workshop in this session will be building upon the last session, and I'll be showing you a really, really incredible technique that's basically going toe tie together. What we learn in the first few sessions, which was establishing the proportions by counting them out, segment by segment and the concept of actually doing that so many times that you begin toe , draw your characters in proportion merely through association. And by judging the size of each body, Parton basically building the next body parts off of that. Okay, so what I'm going to be doing in this session is I'm going to be showing you a really neat little utility that comes with pose maniacs again. Jump onto pose maniacs dot com. It's a free website where you'll have access to basically an endless plethora of ah poses for you to use for your are for your references and what I want you to go to is this link here. It's called 32nd draw roaring. Hit that, and you can guess what's gonna happen here. Yep, I'm gonna put you through the pain because we're going to start doing some 30 summary fast 32nd drawings. Now, if you find that the 32nd drawings are a little bit true fast for you can always click onto the higher time frame. Such a 60 seconds, 90 sex and seconds. But I like to keep it a 30 cause I find it extremely challenging, and it allows me not to think too much. So we're breaking away from the super analytical aspect off proportions, and we're jumping into the aspect, which is a little bit more, you know, putting it into practice so many times that you just begin to learn this stuff on a subconscious level, and you get to know it yet to be able to draw your comic book characters and keep them in proportion simply through instinct, because you've done it so many times. And one of the fastest ways to develop that ability is to do this exercise right here. The 32nd roaring exercise of where you'll be basically observing a syriza poses every 30 seconds and doing your best to sketch them out. The really cool thing about this exercises again. As I said, it stops you from thinking too much, and it helps you to detach a little bit about making alluvial figures. Perfect. Okay, which is kind of important, because again, when you're overthinking things, usually more often than not, you're going to be create cutting off your creativity, and it's not gonna work out well for you. Anyway, this is a little bit better because you're operating on a little bit more of a subtle level here. Where, um I guess some people might call it the ah, the manifestation off talent happens. Okay, Um, when people say to practice, there's no faster way to practice than to draw a figure drawing every 30 seconds for an hour. That's 120 poses. Um, which is is a heck of a lot opposes. So, you know, I used to, And I'll be honest with you right now. One of the reasons that I find it very fast. Central figures. Look, I'll draw you some right now and just kind of roll them out like this and you experiment with a few poses, and, uh, you know, you see what you can come up can come up with, You know, you might drawer. Dude, you just kind of hanging out. Uh, running around. So maybe his legs coming forward like this and coming back, like, done and these other leaks, you know, maybe he's running, and then you might have another guy that's kind of flying forward like this, you know, just, you know, four shortening him and getting him out really, really fast. One of the reasons I'm able to pull poses out like this very, very fast and and to get them right down onto the page is because of the amount of exercises I did using this neat little application, um, I filled sketchbooks upon sketchbooks response sketchbooks up in order to actually develop this skill and to get comfortable with the human body and roaring the figure and manipulating it. However, I wanted to manipulate it in order to create, you know, some of the most complex compositions for my artwork and my ideas. And it's gonna work for you to fill your sketchbook up with 32nd drawings. And you can use pose maniacs to do that. Okay, um, you don't have to find further references. Of course you can if you want to, but I love this neat little lap because it allows you to do these in 30 seconds, and it will just kind of change whenever you need it to. All right, so without further ado, I'm going to do a demonstration for you. Now jump on the pose maniacs and follow along with me. Hopefully, you've really got a piece of paper in front of you, or you've got your your own graphics app open so that you can do this exercise. And I'm just gonna click the start button and it's gonna be a race against time now. So, um, you know the first time you do this, you may only get half oppose. Done, But again, don't think about it too much. I haven't done this in a while. Actually, I'm a little bit rusty. Come on. Can we do it? Can we do it again? Starting with the legs. It's what I do. All right. Where are we going To get this pose out. Maybe we'll see if I've still got it. Huh? All right. That's pretty much. The poor is done. It's gonna change, Maybe. No, I can't be that far. Stam. I've still got it. Awesome, right. So I can take my time with these a little bit but I just didn't want to embarrass myself on record here, but yeah, I mean, it takes a wallet, actually. Ah, to keep up with this stuff. And if you're finding a difficult awesome, that's that's how it's supposed to be, because you're going to gain momentum with this and you're going to get better at it, right? So we just roll this dude's pours down like so Well, almost missed it. Let's get the next one in. Okay, so that's three pointers is down in just, you know, a matter of ah. Ah, minute and 1/2. Um Well, what? It will be three poses down in a second. Okay, so we got his legs there and down here and again, this just get usedto placing the figure on the page, drawing the figure in perspective, drawing them in multiple poses. I mean, an absolutely thorough opposes and basically manipulating them into whatever configuration you need them to be in for the for the artwork. So it's it's places, dude, up here. Okay. So you'll notice a massive difference in how confident and comfortable you feel when it comes to drawing figures. If you do these exercises, every single day, okay? I mean, do it for half an hour. You know, if he can do these primitive pose many exposes for half an hour, you'll get 60 poses out in a day, right? It would be impossible for you not to begin to become comfortable with the human figure at that point. Right? And this is a real tile not speeding this up. I'm actually drawing them out. Just using those very simple, simple building blocks that we've been using throughout these sessions. Okay. Can take his arm down like this. Put this one down, up there we go. All right, Now, we've got a difficult pose. A k This would have been a handy parties toe warm up within the last session. Didn't have that one on my on my radar, unfortunately, but let's go ahead and do that again. Really? Simple pelvis panties there for the for the pelvis, thinking about the angle that I'm looking at it on place in the legs. I feel like I, uh I feel like, um, you know, one of those speakers at the races right now, Um, tryingto trying to get it done so fast. Come on, You can do it all right? It's ah placing her, uh, her pose. Now I love the fluid poses that ladies tend to have actually find them. Very relaxing toe. Look at into draw, Aziz. Difficult as they can be at times. Uh, but yes. So this is great again. Do this exercise. This is one of the gems that that I can honestly tell you made a huge difference in ah, in really boosting my skill set up. I forget how I heard about it. Actually, I heard about it from somewhere. Maybe a random. You Trouba back then the things I do, I don't know. I don't know. It was somebody I heard about it somehow, and, uh and I gave it a visit. Maybe I heard about it in school, actually, when I was going to school, But maybe one of my students told me about it, but, um yeah, an incredible, incredible little Ap. Ah, see if you can keep up with me here. I know it's tough. Don't look, Don't get discouraged if you can't keep up because guess what? I can tell you I wasn't always this fuss. And as you can see, I'm only just keeping up now, okay. I really should be. You're supposed to be the teacher here. I really should be. I should be going a lot faster, actually, but I'm not. Let's do this. Oh, miss the arm there. All right, let's cut our losses and just move on to the next one. And I suggest that you do the same thing. Just cut your losses and move onto the next one if you don't get time to finish it, okay? Just do the exercises. You're gonna get faster, okay? Thes air. Such rough drawings that, you know, you shouldn't be sad about having toe having to throw them out if if they don't work out. Okay, cool. I mean, it's all about you know, this disposable poses here, and when you get used to this becomes very fast to, ah, prototype, different poses and different compositions for your for the drafts that you might create for your comic book pages. Okay. All right, man, I lost attention with this one. Come on, get it down. Get it down to go. Um, that's yes. Go to done. Fantastic. All right. So that is the exercise. Very simple exercise, but in an incredibly effective one that you're absolutely going to see a massive benefit from if you do it every single day. Okay, Please implement this. Um, it's going to help you out big time. If you want to draw comics and you want to be able to have the power, the ability to draw your comic book characters in any position from any angle in any pose and keep them in proportion by simple association with the different size of the body parts throughout the body, this is the best way to do. It made a huge difference for me. It's gonna make a huge difference for you and that just about wraps up the proportions workshop. I hope you've gotten a lot out of it. It's been an amazing ride the entire time through. I loved making this for you. And it's really the first time that I've created a packaged, thought out training that is distributed that has been distributed ever. I mean, yes, I've taught this stuff in my life classes before, but now through this platform, you've been able to learn it as well wherever you are in the world. And I'm truly just stoked about that. You know I love teaching. It's one of the most rewarding career positive ever taken, and he's one of the reasons that every day I go into a classroom to help other people learn how to do this stuff rather than working in the studio. Um, it's just you can't You can't beat the rewarding feeling of helping somebody else to get today where they want to be at and help them to fulfill their passions. So, uh, thank you so much for being with me. I I look forward to, ah, teaching more neat comic art tips and tricks and tutorials and trainings just like this one in the future until next time I see you later and good luck keeping creating.