How To Draw Animals | Ed Foychuk | Skillshare

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Animals Introduction


    • 2.

      Paws Claws Talons and Hooves


    • 3.

      Animals - Drawing Wolves


    • 4.

      Animals - Drawing Bats


    • 5.

      Animals - Drawing Monkies


    • 6.

      Animals - Drawing Sharks


    • 7.

      Animals - Drawing Armadillo


    • 8.

      Animals - Drawing Horses


    • 9.

      Animals - Drawing Leopards


    • 10.

      Animals - Drawing Gorillas


    • 11.

      Animals - Drawing Rhinos


    • 12.

      Animals - Drawing Rabbits


    • 13.

      Animals Chameleon


    • 14.

      Animals Thank You


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About This Class

Welcome to How To Draw Animals.

Maybe you loved drawing as a kid, but sort of left it behind. Or You've been looking to round out your drawings skills and Animals is the next hurdle on your list. Well, this course is specifically designed for you. An intense, concise, and detailed series of videos outlining the steps you can take to improve your animal drawings.

The pdf included is designed to accompany the video series titled How To Draw Animals.

To start, we will have 10 animals. One for each unit. But as the months go on, and feedback is received from students, NEW units will be added (free of charge to those who have already purchased the course). At over 5 hours long, this course starting out is huge! I can't wait to see it grow along with you.

Our first animal units will be

  • Rabbits

  • Rhinoceros

  • Gorillas

  • Leopard

  • Horses

  • Armadillo

  • Sharks

  • Monkey

  • Bats

  • Wolves

The course is structured to have you follow along with it on the pdf. You'll note there are two pages to each unit - one with my sketches on it, and one that is blank - for YOU to fill up!

Let's get back to that childhood joy or drawing animals! Won't you join me?

Ed Foychuk

Meet Your Teacher

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Ed Foychuk

Making Learning Simple



A professional illustrator based mostly in Asia, Ed Foychuk has been published both professionally, and as an Indie creator, in comics. He is best known for his work in creating Captain Corea.

Ed also studied Anatomy and Strength Training in University and is well versed in exercise physiology and muscular anatomy. Perfect for helping you with understanding how to combine art and muscles!

Ed has experience teaching in Academic and Professional settings.

Feel free to follow Ed on Facebook!



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1. Animals Introduction: Hey, what's up, guys had here? And here's my newest course, how to draw animals. I was out for a hike here today and I figured this would be the perfect time to record my intro, right, because I got a whole bunch of little animals hanging around behind me here. And in front of me. Listen this course, what we're gonna do is we're going to look at the structure of animals. We're going to look at how we can use that structure to pose them in different ways, right? And then some of the differentiating features between each animal to the next, right? I'm going to start to upload a few classes to begin with. And as this course goes on, I'll be adding more and more, right? Okay, I hope that you enjoy this class with me. And I hope that you enjoy these fellows behind me here. What are weird course introduction is this. Alright guys, I gotta watch my bag here. So get back to drawing and I hope you enjoy this outline. 2. Paws Claws Talons and Hooves: Hey, what's up, guys, ed here and I've got a bit of a bonus video for you. Well, what I call it a bonus video. I don't know. It doesn't really fit exactly in any other video perfectly, but I think it'll be good for us to look at, right? We're going to look at paws, claws, talons, and hooves. I feel like I should make some type of song or rhyme out of that. Anyways, yeah, you know, there's enough to get into the other units that this is easy to overlook, right? So I wanted to spend some extra time just on feet, basically, right. And that's what we're going to look at to start here, we're going to look at some human feet. If you've taken my human anatomy course, you know, I go over feet a lot more. But I think I tried to use human feet as a bit of a starting point so that when we're talking about animal feet and so on that we can have kind of this jumping off point because there are some similarities. Not, not always, but there's some things that will make sense to us once we get into it. Right. Okay. So we can see the leg coming down here, right where this is the skeleton of a human foot, right? We can see the ankle cross here. We see the heel here, the main bridge of the foot, the toes and the plate down there. Right? Now, if I was to draw this in, maybe it would be something like this. I could have the heel here, the ankle somewhere up here. This might come up something like that, right? This is the outside of the foot. So this would actually be something along those lines. The inner sweep would be on this side because we can see that there's a big toe here, right? And then we'd have the digits from there and so on, right, something along those lines, right. Okay. So that's an ugly foot. All right. Why am I drawing those ugly foot for you? I guess I can make it prettier. Put some toenails because I want to show you how it's related to the first one we're going to look at and that's pause, like say a dog's paws and stuff. And you can see that we're starting to look a little bit similar, but it's still different, right? So what I'm gonna do instead is I'm going to do it this way. I'm going to put our ankle there and our heel here, and then come down and do the toes here. Now what does this look like? What is this starting to resemble? Somebody in high heels or something or up on their tip toes, right. Okay. So you can see how the ANC would be here. The leg would be coming down the heel here, comes down into the feet, the toes and all that kinda stuff, right? Okay. So we've got this angle is a landmark, right? We've got this heel as a landmark. And then we've got the toes. If we look at the bones here, we can see how they bridge out like this. We don't normally think of the bones of the foot in this way. We think of the digits because they're recognizable structures, right? That kind of separate out from the foot. Now, let's look at it here. Same kind of thing. We've got a dog's leg coming here. So it actually kinda often comes back like this, right? And we can think of this as the ankle. It'll come down into here. And this is where we would think of as the bottom of the foot, but it's not in a dog's foot. What they do is actually touch here, this bottom pad. Okay. So whether we're dealing with wolves, dogs, whatever this kinda Paul type thing, right? We're gonna come down here and we're going to see all these bones in here. Here's a solid bone here, but it starts to branch out, much like how it branches out into human foot, right? Then we've got branching out once again to toes and then out to the clause. So if we're drawing this out, you know, it might come down here. You might get a little bit of a spur back here depending on the species, right? For the heel, you get it some kind of spur back here, comes down into here, and then into the poll itself. Does that make sense? All right. And then you can show the difference of the individual digits and stuff like that and everything, right? So hopefully that makes a little bit of sense there. Let's see if I can draw it for you from a few different angles here. So I've kinda drawn it from the side here, right? From the front. You know, honestly it's easier to start kinda like this. Go with the middle line and then the digits off to the side of it, right? And then you can come up, okay. Anyhow, thick you want it, right? You can also go, Let's say it's bending. You can bend it in, have it come forward, and then put the pawn here. So it's kinda come in like this as if, as if actually I want it to bend this way. So it's coming this way, comes up and this, so as if the pause reaching onto a, a bit of a platform or something like that. Right. Okay. And if we look at the underside of the Paul, usually it's, it's pretty simple. You can just draw it as a circle to start. There's the main pad and then for other pads that go with it so you can kinda come out to that, come around, come in and then come out to the leg and stuff. Okay. So that's a Paul. That's a general Paul, right? Hopefully that makes sense for him. I touched in some different sections, kinda roughly from a distance, but hopefully getting up close to it will help you a lot right? Now, what's the difference between a pawn, a claw? I'm sure that as we're all just would have a better definition than me. For me, how I kinda separate those two, at least when I'm drawing is retracted ability, the the claw, the nail, root tractability and stuff like that. So when we see a cat or a cat type of animal, right? We, we come down to the same kind of structure. We come down into the bony structures of what would be the footer hand, right? And out into the individualized digits, right? Okay, so we've got the individualized digits here. We've also got this side branch here that comes off and it's got a, a second clause on it. If we look at it from the bottom here, we can see 1234 and then this side one. And they've all got hidden here, retractable claws. So when, when you see a dog's pattern as they're walking, what did we have it? We had 1234, right? We can often see the ticks of the, of the nails coming forward when a cat walks. Right? 1234 and maybe we'll put a one off to the side. There's no extra ticks, it just is the print and stuff, right? Because those claws are retracted, right? So if we're going to draw this same thing, we would come down to the two, what I call the ankle, wrist or something like that. Down into here and then out into the different units are digits, right? Okay. And then you can start to add in the details of it, okay? You can have this, these different parts into it. Come up here, have this part, and then it comes up. And make sure you give it some weight. Like if it's grounded or something like that, you can give it a bit of weight there and stuff wherever it's pressing down. And it can come something like this, right? Comes up like that. So you can give even more volume on the top if you want. What I like to do is really kind of bump it out a lot more, give it a lot of volume on the top because even though we're looking at the bones, we know there is meat. But with animals it's not just the meat. The meat and muscles and tendons and ligaments that are in, in the clause and pause and all that. It's the fur that's often on it. And so that for really gives it this extra volume that you've got to account for when you're when you're adding in, you you add in a lot of extra volume, right? So you can add all that extra volume into it and give it some thickness and stuff as it comes down. Cool. So once again, you could draw it from different angles. What I like to do is basically do the same thing here from the front. You can divide it up and stuff, but then you put the slits for the various retractable claws, right? And have a go up. Okay. If you want to, you can get more detailed into it. Like if I want to zoom in a little bit here and start to really kinda rough it out. I can put this slit in here, start to add the hair in and kinda detailing a little bit more of these individual toes, you know, kinda coming in here and stuff and you can see the split where that where that nail is going to come in. Right. And it's like I said, it's good to add that extra volume when it comes to the the for, right. So this can come up and kinda come up this way. And depending with hairs hanging and stuff, and you can add that that extra digit, sometimes, depending on the species, its location and stuff might be something along those lines for that extra grip. Okay. So hopefully that helps you a little bit with clause, right? Don't wanna do it from any other angle. I don't know. I think you kinda got it now, right? One thing I would like to add though, is like let's say it's grabbing onto something so you can have your POL here, right? And your digits coming out. Right, and then that digit coming off to the side here, okay, comes up. Anyways, what I want to show here is that when the claws are not retracted, how they can come out and grip into whatever it is that the the cats grabbing into and stuff. Right. Okay. So they're they're usually these kinda very sharp, thinner. Nails to it and stuff. So you can come in here and detail it up a little bit and see I'll start on the bottom here. You have the split, right with the hair. Adding hair for volume for I guess yeah. Coming here. And then we're going to have this on that side. Let's see him maybe stay constant here, come from this side, come down. Usually I like to draw these thin. So as imagined there scratching the surface here or something, right? Okay, so this one's going to come in like this command touching there. And then having that split of where it retracted from an comes out of, right. You can have that split on the digit. Here we go. And there's our grasping claw. Yeah, that'll work. I think that works pretty well. Okay. So moving on down, we're gonna talk about talons a little bit in when we're talking about grasping and stuff. These look purpose-built. Yeah. Okay. So we've got a thin leg coming in to what could easily be described as an ankle. And then what we're going to look for is a series of joints, almost like knuckle joints that kinda spread off of that. It usually imagine, say it's three going forward, right? We've got this, we've got three going forward off the knuckle joints and then we've got one in the rear that's going back. Okay. Then we've got another knuckle joint midway. And then what I like to do is at the end I kind of think of it as an, another knuckle and stuff. It's, it's, it's really not, but it's where the talent sits and it's often has this bulge to it. And so the clause can come out of there and stuff. So let's see if we can kinda draw this. So what I would like to show you as they will draw this as 1, 2, 3, right? And if I kinda zoom in a little bit, we can have kind of a big bulge here, a bulge here, and then a bulge here as it goes up into the whatever foot it's going to be. Alright. There we go. And we can have the huge nail coming out of there, alright? So you can have your wrinkles, you can have your folder, make sure you kinda put the folds around the nail coming out. It gives, you know, instead of just like that looks well. As I drew it, it looks pretty ridiculous, but it looks really artificial and stuff, right? So you want to have your texture, your folds, all that kinda stuff as they lead up here and then the stretch as it stretches back into that maybe this bottom section and then it hooks down something like that. All right. Does that make sense? Okay. Let's see if we start to bend things, move things a little bit right from underneath. I wanted to show you a little bit that just like humans we, the, the front of our hand is a little bit, or the back of our hand is a little bit different than the palm. So you can kind of imagine that maybe the texturing changes on some of these bird's talons and stuff. I got that. It's almost a slightly I don't want to say softer because if you've ever had a bird kinda sit on you, soft would not be the work. You know, if you've got your arm out or something like that. But it's more. Imagine that these are designed to bend in this way, right? So the skin folds full dissuade quite a lot, right? It's maybe on this picture doesn't do it justice. But you can use these kinda circumference folds to show how this would really come in and fold around, wrap around whatever it is, whether it's prey, whether it's a branch depending on the bird or whatever, right? And then, you know, the, the, the claw could do that extra wrap around and stuff, right? So you would have your knuckle here, your knuckle here, and you start to draw it in that way. Cool. And then looking at the top of it here, what I wanted to show was this cooled texturing, you know, sometimes when you're when you're drawing these different types of feet, limbs, whatever and stuff you want to add to it by giving it that realistic texture, right? So we talked about the bottom, how the bottom doesn't have, it's made for kind of bending inward. Right. And so this outward exterior, you can see how these these cracks might allow for some flexibility for it to bend out this way. We can imagine them, these almost look semi armored at certain points here, right? And so we can't really imagine them bending inward this way or anything like that. They would extend fold over. And yeah. The one thing I think of note here is, you know, when you're dealing with talons and stuff like that, is that you can almost want to say animate hype. Use as a cartoon base, a hyperextension. As if it's coming in to land. You know, you could ruffled the skeleton that this, this foot is swooping in and it's got this hyper flow to it, right? It's, it's about ready to wrap. And then when it hits, when it hits, that's when you get that full wrap-around, write it, it hits whatever target at wanted to. And these all these claws, both from the back, one here, right in the front ones, they, they fully wrap around that poor little mouse. Here. I'll put little eyes in there for you. Okay? So, yeah, get the flow and function of the talents there and add a bit of texture to them. And I think you've really got something going on there. And the last one we're going to look at is see if I can zoom in properly. Hooves. You know, whether it's a horse, a Minotaur, whatever it is, you're going to find that a year. You might want to learn to draw hubs and I find them super easy. Of course we've got the one TO 234 and everything like that. So they get a little bit more complex. What I like to do is start with this one top right. And just basically I rough this section. So it's just like this, this and this from the side, from the front, maybe even just a swooping down and coming up into something like that, right? So you can think of it almost like a, a base of like a plant planter or something like that. Right? It just has this nice, It's usually wider circumference down towards the front especially, right. It's plays out a little bit and then narrower as it starts to climb its way up, right? And we can see how we've got, once again, we've got this coming down to what would be the heel that we're used to. But it's not. It comes, comes further down and then we've got this structure. So see if this looks familiar, right? It, it looks a lot like some of the animals that we were looking at previously. And then we can start to divide. So we can come, come down here, come around and then divide. For Tutto. There can be different splits of it. This looks like a camels tool, right? I was going to say no jokes there, but I guess he can't talk to me. Right. But yeah, you can have different splits. Just a minor split. Right. And kind of go up that away. Or it can be like really like this is actually two towed. All right? So this, this step here is maybe that halfway in between, right? Getting into larger ones. We've still got joints, joints and then splaying out here. Right. And then you can treat them all as individual ones. That's what I like to do is, is think of it. Here's one. Here's the second one. Here's the third one. And they come up to this base and then come up, right. And you can add the toenails and that kind of thing. All right. And, you know, eventually once we start to get to these four and I guess if you're going fantasy more, right? It almost looks like a base of a tree trunk, right? And you can pick the one that is either angled or better in view to you. And then you can start to rough it in a little bit that away or something like that. Put in the toenails, give a little manicure, whatever you need to do. All right? Of course you know what's important in looking at the texturing here we can see a lot of awesome texturing on these different animals. But let's going to get a little bit more species specific. And that's not what I want to talk about. What I really wanted to focus on today were feet, paws, claws, talons, and hoops. Okay. So I hope after looking through this unit, it, it helps you a little bit in trying to construct them. If you've ever studied hands and feet and listen, I know I know a lot of people put them off radio is like No, I don't want to, I'll hide them. I guess you could hide all your creatures, animals pause and snow worm, motor puddles or something. But you don't want to because, you know, a claw grasping onto something or whatever has a lot of power. An animal lunging at you, these claws lunging at you really conveys a lot, right? So you want to practice that, you want to practice being able to rough in the Paul, rough it in, in a certain way to realize that, you know, the, these digits are going to be splayed. To realize that the, the, the clause themselves are going to be coming out at you a little bit and stuff I got right. And then to start drawing it all in, okay. Texturing is part of it. But I want you to understand the texturing more so in how it relates to how the how it functions. For example, like if there's little bit of armor on one side, the armor will often restrict or block the folding, right? Okay. So yeah, I hope this paws, claws, talons and hubs unit. Now I can cut melody on that. No, no flow. I keep thinking of like lions and tigers and bears. Oh my right. But that's not working for me. Anyways. I hope this was helpful for you. And yeah, if you got any requests, make sure you send them my way. 3. Animals - Drawing Wolves: Hey guys ed here and we've got another how to draw animals lesson for you. This time. Yeah, this is an interesting one. I actually wrestled around with it a little bit to see what I was gonna do because I had a lot of requests for drawing dogs. You know, like people love their pets and I've drawn a few portraits of their pets and stuff like that. And I thought, well, dogs are cool. But there's just so many breeds going on, right? So many variations that I don't know if I get covered in a unit like this, at least not to start off with. So instead, I decided to start with warps. I think wolves or a better starting point when we're looking at dogs in their structure and everything like that, right? And then from this base point, we can deviate and go into all the different breeds. So let's look at the walls as our base dog or base structure because frankly, that's what they are. Right. Okay, so how are we going to look at this? We've got this cool skeleton that I drew out. Anything strange row standing on it. Not really. I think it flows very similar to ones we've seen before, where there's especially animals that have a fixed moving direction of forward. You know, dogs aren't great going side to side. So they'll have this more fixed scapula, right? We've got the ribcage in here, fairly sizable. We've got a reasonable size hip, it actually goes into the hindquarters more so, right? We can think of that entire hindquarters. The insertion of the hip is the furthest point back, right? So our shoulders start here and our hip insertion starts there. We can now look towards the skull and we can see these teeth are pretty brutal looking, right? You can almost think of it. It kinda of like no, I don't almost bring it out as a bit of a rectangle or trapezoid or something like that. Right. Okay. Especially because we've got the nose here, right. Massive teeth, canines up front and a little bit of molar action going on down back rib. But I think the key point when we're looking at the structure is looking at the lakes. So let's take a look at these legs and see if we can figure out what's happening here. Coming off of the hip insertion down to what would be the NEA. Make sense so far? Hip insertion down towards the knee. Right. So I think we can relate to this, right. We're like, Okay, good enough. Knee down to an ankle. Yeah. We kinda got that need down to an ankle and kinda got that too. But hold on. That angle is nowhere near the ground. What's happening instead is we've got this kinda first section of the foot going on, right? Then a little second section. And then the toes or claws on the pause, right? Here's the baseline of the Paul here, right? Okay. So this is interesting, depending on how we look at this, if we were to try to translate it with our human reference, right? We could think of this as the foot is just a massive extended foot. But from here to here, never really touches the ground, right? That's not how it functions really. From here to here, this section is the actual Paul that's that's landing on the ground. Okay. So depends on your brain. I'm trying to approach this for what's familiar to most students. Thinking of this as a giant foot. Or you can think of it as, this is another joint here. And it basically is not as not as movable as this type of joint. It's more in my opinion, honestly, it's more like an ankle. Okay. So that's why I drew it out this way. If we come over to the front, we can come back down to what would be the near the elbow? Right. Come back down here again to what would be the ankle and this spur at the back of it, you could actually think of as the ankle, right? That's, that's an easy way to think of these spurs is like an ankle joint or something. All right. Okay. And then what we're going to have is the first part of the foot. Then the second part, this first part is not going to be touching the ground. The second part is the Paul that actually lens. Does that make sense? Okay, let's see if we can figure this out. Let's, why don't we draw it one more time. Here's whatever joint insertion, whether it's off of the hip, Let's do the shoulder here. Come down to what would be an elbow and what would down to what would be an ankle. Right. Then we've got the first extension part of the foot and then the Paul that actually lands. And of course we get this bone spur that's coming. So what's going to happen is it rounds out this way. Here's the muscle. Comes up this way, comes down here, follows this line and then comes into a Paul that lands on the ground here. Okay, let's see if we can find it in the actual wolf itself. Here we go. Okay, so like I said, we can kinda think of almost like a rectangle but cut off at the end here, right? We've got this backbone that comes through and actually work its way all the way down the tail. We've got a big old ribcage here. We've got a big old hindquarters here, but in reality, the hip insertion is near the back here, okay? The scapula is fairly fixed. So that means the shoulders a bit low here. Shoulder comes off to what would be an elbow. Comes down to what would be an ankle. You with me so far. Okay. We've got the first section. We can think of as the hand. Then we can think of the second section at actually fingers. And you can see there's the individual pause that come out from here, right? Okay. But this is the only part that's going to land if your dog or wolf is landing on this and there's something seriously wrong, right? Okay. Let's come back to the knee. Back to this ankle. Back to the knee, back to this ankle. Now this part is even larger. And the foot that's doesn't land to the Paul does land, right. 12341234. Right. Okay. So always keep in mind that yes, we can kind of think of it as a human, that we can think of it this as a giant foot. But only when it comes to dogs do their fingers, Big Air quotations, their land, their paws are the only part that are going to be landing on the ground here. Unless of course it's lying down. That's not what I'm talking about. Right? Okay. Does that make sense? So let's see if we can draw this. Again. We'll go up a little bit. We've got the hip, we've got the back insertion of it comes out to the knee, comes down to an ankle, comes out to the the major foot part, but the paws the only part that lands. Okay. And then we've got the meat of the muscle here. It comes here, hits that little spur, write. This part comes around and lands this way. There we go. And do we want to do the front again? It's always good to practice as Gs because it's, it's a little bit unfamiliar to our way of thinking for the human anatomy and stuff, right? That's good to keep practicing from the shoulder joint, right. The fixed semi-fixed scapula down to what could be an elbow, down to what could be an ankle. Here's the first part of the hand and then here's the actual Paul, right? Okay, so this part lands, this part lands. Nice. Think we can draw it from a different angle a little bit. Here's the rump. Here's the ribcage. Here's one shoulder. He was a second shoulder from the fixed scapula coming down. All right. Here's the hip. Here's the other hip. I think it's, you know, I'm hoping that you've done some warm ups with spheres, right? Trying to draw a circumference lines on spheres, they're really going to help you. Okay, So the joints on this wolf here follow this kind of midline circumference cut of the sphere. From the front. You know, we can still kinda have this basic shape going on here right? Now, Let's see if we cut it down here to the elbow here, to the elbow, here, to the ankle. Here to the ankle. First part of the hand, then the Paul. Right. Does that make sense? See if we can find it again here. Down to the knee. Down to the knee, down to the ankle. Down to the ankle. First long section. Right? Long section, and then out to the Paul. Out to the Paul. And how does this look to these structures look semi believable? Yeah. Looks pretty good, right? Not bad. And if we've got the length from the rump to the snout, midway point is about midway through that, through the rib-cage. Okay. So here it's a little bit distorted because he's turning and stuff, but it would be roughly along those lines. All right. Does that make sense? So actually this one here. Yeah, That works too. But midway point, right? So it's always good to understand proportion for links and stuff, how you're going to cut up the animal when drawing, not talking about cutting up animals here. And how it kinda fits, right? So do we want to try to draw it right beside here? I think we should just always practice, right? We got one sphere. We've got the other sphere for the, for the rib-cage. We're going to do that little circumference lines. We know that the shoulders are here, the hip insertions down towards the back here, right? What I'd like to do sometimes is draw where I want the pause. I know I want these pause down here, and I know that these paws are going to be here. So how do I get their knee? Down to the ankle, down to the Paul? Knee down to the ankle, down to the Paul. Right? This one is back and back towards the elbow. Down to the ankle, down to the ankle. And I think I actually made this too high. Let's do this and then put the poll here. Okay? And then if I was doing this and I wanted to have the dog looking forward, it would be something along these lines. If this makes sense, right? Looking this way. Cool. And of course, you've got the tail coming off the backend here, right? What about when we're talking about height ratios? Here's the rump, here's the leg. Round Midway is where the belly hanks. Okay. Not the ribcage but the belly. So depending on how we want it, Here's the wrong number. Here is the top of the back bone of the hip type of thing. Here's where the feet are landing. About halfway is where the bellies hanging too. Okay. Same with here. Here. Here. About halfway. So I always like to cut things up a little bit to divide it up and see, okay, where is all this stuff proportionally? Can we do it again? Let's see. Okay, where do we want to start here? I usually start center mass. Here's that ribcage we're drawing through. There's the hips. We know that circumference roughly that the two hip insertions are going to be back here. We know that the the hip insertions are far back on the wolf, on its rear hip, right. And the shoulders are really far forward with the scapula being forward here. Okay. So this will come down to here for what would be the elbow, the ankle, or wrist down into the first section than the Paul? Right. Okay. Back here would be down into the knee, down into the ankle, down into that first section, which would be the I and then down into the pore that's landed. Does that make sense? Okay. And then for this you can either do a heart shape. We're going to work on the face a little bit, coming coming up pretty soon. All right. Okay. Not bad. Okay, I think we've got some pretty good examples so far. Looking at the proportions and structure of the wolf. And like I said, mostly this is going to be applicable to dogs, but of course, dogs are going to have massive variations, right? So let's wait and see what we get into there. All right, next up, what comes after structure? Motion. Awesome, right? Seeing a wolf and motion. Beautiful. Okay, So why don't we start. Here's the ribcage, here's the rump. Here's the rump. Here's the ribcage, right? And we'll go with this one. Here's the ribcage, here's the rungs drawing through. Okay. We can add the head nice and easy. Go through the head. Nice and easy. Sorry. Like that. There we go. Okay. We know that if we're drawing a v circumference lines that generally speaking, shoulders are near the front hip insertions near the back, shoulders near the front hip insertions near the back. Shoulders are near near the front. Hip insertions are near the back as it wraps around there, right? Okay. So that's our general structure right? Now. What's going on with the flow of this motion? What's happening here is this part is actually bend over. Okay? This part is bending this way slightly. You know, it's not the massive most flexible spine that's going on, but that's what's happening here. Okay? So this arches over, this arches up. What happens then is you get this kind of scissoring effect. Okay? So when an arches like this, the front legs go back between and the hind legs come forward in front. As it moves. When it moves this way, slightly, it's not as exaggerated as I've got it, right. These front legs move forward, reaching forward to grab ground. And these hind legs are back, pushing off of ground. Does that make sense? So how do we do it? We drop this down to the knee, drop it back to the ankle. Foot. Paul. Right? This one would come forward to the knee, down to the ankle, foot plot. The front one comes forward to the ankle and to the Paul reaching out right. This back when he comes back to the knee, back to what would be the ankle? The foot, and the poll. Let's see how this looks. Yeah, that makes a lot of sense, right? That looks pretty good. I'm liking how this looks, although it looks a little bit like a cheap little hobby horse or something like that, right? But I think it makes a lot of sense. And then we can carry that the tail down, carry the tail down in that way. All right? Okay. Moving over, we're going to see how it looks from the front because it's good to look at this all from different sides. Alright. This one comes back to the knee and they're not going to be totally synchronized. You know what, they might be off just a little bit. Back to the ankle down into the Paul. This one's coming to this ankle and the paws meant under? Yep. This one's coming to the knee. This one's coming to the NAEP. Both of these are coming forward to the ankle. Then the foot first section than the Paul comes forward and it's grabbing, you'll find the hind legs are coming on the outside of the front legs. Okay. There we go. Yeah, it looks pretty cool. And depending how fast is running, the tail might come up a little bit, right? It depends on how fastest dog is moving. Okay. Let's see this motion so far. Yep. It looks like motion to me. I like it. And actually, it's similar to almost any four-legged animal structure that's built for running, right? So when we look at a lot of other animals like this, whether it's horses, deers, cats or anything like that. There's gonna be some similarities and they're running patterns and everything and structural patterns, right? Okay, so after we've gone through and done that, let's take a look at faces and some details going on here. We want to have the overall structure. Like I said, you can do when we're approaching these longer faces, There's a few ways to do it. You can approach it as a cone, as a shape that kinda rounds out this way comes in. You can approach it as a muzzle. Okay. What I'll do is usually approach it as a heart shape and then draw it in that way. See if that makes sense, right? Okay. Again, we've got this heart-shaped. Remember that from the side we're looking at how it's structured, right? Okay. And this would be just to lock in a little bit of the plains and then start adding in where I want all the details and stuff, right? Let's see if I do it up here on the sky too. There we go. Cool. So we can practice alongside if you want and see how this works. We could, let's go with this guy here. That's the rough shape. Right? Now. How do we add some details in here? Well, we know that we've got ears. Sorry, I want to switch up to the dark here. Alright. Not as point here is that. So we can add these years in, roughing it in here, right? We've got the brow coming off the center here. For both sides. It's coming up here. We've got the nose. And that's why I like this shape because it, it kinda captures the nose a little bit for me and stuff. Okay, we've got the eye. Now if I want to, I can kinda plot an, an eye line that comes back and have it plotted in this way. Have it something like that, right? And there's a little bit of stuff going on underneath it. Here we go. We want to make this one a little bit punchier. Then we can add in a little bit of what's happening in the ears here. All right. So this is how you can use a reference to try to plot where everything else is happening and going. Alright, Okay. I'm kinda coming along beside here. The mouth is coming along this way. Right? So from the nose, sorry, I didn't even draw the nose. And on this side, we can start to add in a little bit of what's happening underneath the mouth here. Sorry, central line. Right. Come in. And then the mouth dropped down below with a little bit of a lip. So it makes sense. And then it kinda comes around here. And we've got this spotting, the side whiskers right here. I'll draw the eye in here for you. Perfect. This eye is a little bit larger than the one I've got going on over here, but that's okay. And you know what, I'm looking at this part and I think I want to save it down just a little bit. So I guess that you can use this reference to kind of adjust things, right? See how it would flow. See if you like something a little bit more than there you go. So that's one way to start to use a reference to add in details and stuff, right? Use that simple shape and then expand off of it. Yeah, looking not bad. Now, we can, With Wolves, we can end up putting a lot of emotion into them. This guy, just from his eyes. He's got a very serious look to them. And you can darken underneath them a lot. I think that just that carries a lot of weight from it. That the darkness under the eyes, the nose. And this guy's got a nice black nose. And if I want to, I can even blacking it in war. There we go. That's rough at all in. And then just use, for example, just use highlighting lines or any research to try to rough out the parts that I might not want their right. Okay. So you can see, like some, some wolves have a lot of dark coloring on their ears. Your choice whether you, when rendering the animal, whether you want to draw on a lot of the individual's hair and stuff, I find that it can be a little tedious and stuff, right? But it really depends whether you're drawing it for comic books or whether you're drawing it from more of a realistic approach rate, what I would do instead for me, and especially on this video as I'm trying to render really quickly, is draw the major waves of hair that so I can keep this under or in an around 30 minutes for us and stuff. So we're not going, we're not going crazy with it to our rendering video or anything, right? You can see the different patterns. Here we go. Basically what you wanna do is capture the direction of the hair. Right? Now it's coming off of the center piece. It's moving up this way. It's coming off the center, moving up, moving out in this pattern, right? How is it moving out? Now? How does that look? Yeah, it looks pretty bad ass, right. And I think it would look even more so if you started a color, it wolves, their color patterns and stuff. The grays really punch it. Punch it forward and everything right, so that would be the next step is maybe adding in a little bit of coloring and stuff right? There we go. Yeah, he's looking pretty good. So what I would do and what I would recommend you do is draw this similar shape alongside. See if you can plot it out a little bit. All right, have it come to. Here we go. And we have this bot midway here. Cool. Now, what I'd like you to do is for you to fill that in, looking at this reference side-by-side and see if you could fill it in. I know you might be drawing alongside them with me here on the PDF that I've provided. I hope so that there's going to be two sheets there. One that has all my sketches on top of it, and the other one is blank for you to sketch and sketch away, right? In this case, I'm hoping that you're using some of my sketches and drawing over them. What I'd like you to do actually, when doing these units is use my sketches, draw over them and just kinda get the pattern down, right? Drawing and looking at drawing over top of my stuff right. After that, what I would like you to do is to do on a separate piece your own, see if you can catch it. See if you can catch what you are trying to capture with with the previous, you know, draw over and stuff. Okay. That's part of the studying, is doing it so that, you know, so that you're able to replicate your practice and stuff right here. That's a mouthful heart. Yeah, Winters coming here. What I wanted to show you here was the snarl effect that happens when dogs start to snore up. The brow comes in. You can see how the, the brow is coming in here. Even if we can't see it through all the fur, we know that it's there. Right? Okay. The eyes underneath here, we can see not so much the much muscular structure or anything of the face. It's there. We know it. But what's happening is that we can see through some of the patterns of the for how things are shaping up and stretching and folding over a little bit, right? Okay. So that is one angry pub. He's watching the wrong episode of Game of Thrones, I guess, right? Okay. And you can see how if we wanted to darken this in our sheen and highlights would be there. To just use that. You gotta be careful when rendering dogs. Mao's, sometimes there can be if you put too many whiskers there, I know that they've got whiskers, but you put too many too many in there. And it looks like a cat. It looks a little bit to cat-like. Okay. Even though they're there, sometimes when you're drawing something, it'll have a different impact. Okay, let's look at these teeth. We've got the gums, right? Not just the gums. There's two ridges to the CMS. There's this 44 front of protecting, right. And then there's where the individual teeth are inserted into the gums. And you can do the ridge line. So there's this kind of forward barrier. And then these giant choppers that come out from there, we're looking straight on at these teeth, right? So we're just going to see them from the front here. But these lower ones, we can see the role as they roll back here, right here, let me, they're going to row, row back here, okay, so we can fill them in as they go. This front one and there's actually smaller incisors here. They're probably covered up by the gum. Another one here, right? And then as they're going to roll on back, you're going to see them come on back until they get into a little bit. There's these more like molars as we get to about the fourth one right around here, the molars kick in and the mouth is stretched open. You can see a bit of the inner workings of the mouth. Usually dogs have this cute little lower lip. It's not so cute on this guy right now. But, you know, if you've owned a dog, you know, it's cute. Cool. All right, and then we start to show where the hair is coming from. The hairs coming off of this side, coming out, the hairs coming off of here coming out. And then. The edge of the hair is 0 here, right? This is just working on the head, right? Okay, We come on up and he's got fuzzy years, they're thick. Look at the thickness on these things, right? He's ready for winter. Cool. And again, we worked the direction of the hair, whether it's human hair, whether it's animal hair or anything. Think directional, don't think individual strands trying to draw these individual strands out or anything like that. Think of which direction are they coming from? Which direction are they flowing in? Right? Here we go. Okay. So how does her angry wolf look? Oops, sorry. Pumps out a little bit. Yeah. That's pretty damn angry. All right. Okay. So once again, I hope that you're practicing side-by-side here, right? This sorry, we're going to switch to blue for you. This one is the open mouth, right? And then we come up in our basic shape. And here's an island and then start to fill it. And actually it's moved the eyeline little bit closer to to the mouth there. Okay, Let's see if you can fill it in, right. Working on basic shapes and remember that you're going to see the, the inside of the mouth here on this line, right? This one you're going to be looking down at, but this one you're looking, sorry. This one is going to be more straight on, but this one's going to be looking down at, okay. So you can fill in the little nose here and stuff. And let's see what you've got. Cool. Okay, Do we want to focus on anything else for rendering here? Let's go back up to our original pub. And I just want to show you when it comes to the legs, we already studied the anatomy of the leg. But when we're drawing it, you know, obviously we got a little bit more than bone going on and stuff right up. Something that's really important is when it comes to the lower legs, especially the front of the lower legs, you're going to find there's not a lot of hair on them. They're more tendon looking. Right? You'll see the the joints will be a little bit more visible. You can see the, so that's why I say, think of them like an Angkor or something and think how you would draw on the Angkor something. Especially when we're looking at the front of the leg. On the back, you might get some some type of fur build-up, right? And this is where we get into the meat the meat of the legs and stuff right into the hindquarters here, into the meat of the tail. And then here, remember this is the shoulder, so it's coming forward. This one, the hair comes down in this way. Okay, it starts. So think of this whole area up here as this is the ball of the shoulder, the muscle, the mover, and then it's coming down. We've got some extra hair coming down below the gel. And the wolf comes down into here, comes down into the pause, and here's the ankle, right. Comes down into here. Right. Okay. And then now when it comes to cats, you're often in wanting to put a lot of detail into the pause. What I would suggest is kinda go like this and then separate them out. Do you know? I mean, for for dogs, I don't think you have to put the detail into the clause because the, the, the, the claws on the pause don't separate as much as they do with a cat. So you don't want to try to really draw attention to that section that much. Okay. They do separate a little bit, but nowhere near like you would with a cat. All right. Okay. So long as we started this guy when we go in and kind of finish them up a little bit, see how he looks. You can tell over their shoulder blade, there's some hair through the back and then through the rump there's gonna be some more hair flowing this way. Usually. It'll flow a certain direction, right. So just keep keep with that flow as much as you can. Okay. We're looking at the dog from the side here. All right. So we've got the little cute little nose coming down into the mouth, opening up here. The hair mostly usually starts around the jaw here, starts hanging off more. Up into the ER. We saw that other guy with a really fuzzy ears right? Income. And it flows off of there. You will find around the neck there's a lot of hair. It bunches up quite a lot, right? Part of that is just the nature of the animal, but a lot of it is for defense. They don't want to be grabbed around their neck. So there's that extra little bit of of hair that's protecting them around that area. Little spots for the whiskers, but we don't want to put too much in the whiskers. There's an outer rim of gum and then there's the actual lining of the gum where the teeth sit. Okay. If you've ever had a dog open up its molten for an a, you realize there's a lot of gum going on in there. The tongue can come out and then we've got the teeth lining the other side. All right. Cool. Let's see if we back out a little bit. Is this looking like a wolf? Yeah, definitely does. I think the underside can use a little bit more. Defining. The structure is perfect. I think the structure is really good. Like I said, when it comes to wolves patterning the, for the colors, really important, right? Then you really get the, the contrast between the grays and the different flaking of the colors and everything, right? The whiteness around the mouth sometimes or towards the pause and everything, right? So this isn't a coloring unit, but this definitely helped you understand the structure of wolves. Let's take a look. So From the beginning, we talked about the skeletal system, right? The fixed scapula, how the wolf is forward moving and stuff, and how that affects the forward moving structure of the animal. We talked about proportions. How about halfway point is also halfway through the rib cage. We talked about the height ratio, right? And about halfway is the, the belly and then the legs, the lower half, right. We talked about how actually if you look usually the knees and elbows, I'm using, again, big air quotes fall around that that halfway point, depending on where they're moving, if the dogs or wolf or standing straight up or not, right? We talked about how you can imagine that the foot or the hand doesn't actually touch the ground, but instead it's the fingers, the pause themselves that are landing. Okay? And that's really important. We talked about how the motion of the wolf running, how the hind legs will come forward on the outside and grab onto the ground, right? Whereas in the front legs will go on towards the inside as they push off and then they leap forward, right? Okay. We talked about how to render, how we could focus on using certain simple structures for plotting in the proportions, but then adding in where the eyes would go, where everything else would flow into it. How the features might change if the mouth opens, how we're looking at different angles of it. And also what, where do we emphasize when it comes to the wolf, the eyes, right? We focus a lot on the eyes. These deep penetrating eyes and teeth don't hurt, right? And how if you really want to render a wolf, you're going to start to get into coloring of the fur. That's something to look at later on for other units. Okay. I hope this was helpful for you. It was one of the longer ones because there's a lot of structural issues that we're dealing with here that are little bit hard for our eyes and our brains to grasp, right? This wolf unit will be a good jumping off point for later. Dog units to come. Keep on practicing guys. I hope you keep on practicing guys. I hope you dig it. Keep on practicing guys. I hope you dig it. 4. Animals - Drawing Bats: Hey, what's up, guys? Add here with another unit for you. In this video. We're going to cover bats. Yeah, I knew. Not Batman, sorry to disappoint the actual bats, the cool ones. All right, and that's what we're going for here. Listen, this, I love these things. These bats are totally awesome. I wish I could have one as a pet. And there's one reason if we can hate mosquitoes. So geez, if I can get a bat to kill all the bugs around me, I'd be a happy camper. Okay, so where do we normally start off? Starting with structure. Bats have a very similar structure to like for example, if we saw a dude standing here, right? But there's some key differences that I want to point out. One, the hips structure, totally tiny, very tiny pelvis, right? Which leads off to the limbs from there. All right. The other thing is the ribcage is actually quite small. And you can tell on this picture of maybe can a little bit from my drawing. But the ribs are quite free, floating and flexible. They're not hard and as fixed as a lot of the other mammals we've gone over and stuff, right? The scapula leads out and the shoulder joint is actually quite far away from the ribcage base itself. So that shows how much flexibility is in this, in this animal. Comes down to the elbow and then comes up to what could be a wrist and hand, if you want to think of it that way, right? And that's actually the way I approach bats as I think of this joint is being an arm joint. It is. But then the wings are led by the hand and the fingers that are splayed out. Some fingers are longer than others, same with humans but just a little bit more exaggerated. Alright. We're gonna go down to the legs here, the knees, and then down to the ankle. You're going to see they've got five fingers kinda splayed out and then a rear little I don't know if I call it a finger appendage. Let's go with that. Okay, and then we've got the backbone and up into kind of a pointy cone cylinder head a little bit, right? We can get this central lines going on here, circumference lines. Okay, let's see if we can find it on our real life bat. There's my bad impersonation. Small ribcage, don't make it big, but have the shoulders free-floating coming out of it. That's how I would draw it with a free-floating scapula. And the head is actually whether you want to draw it as a Muslim or whether you want to draw it as a cone leading back. I like the colon approach personally, but, and this action will depend a little bit on what type of bat we're drawing here, right? But for this guide, this works. Small little pelvis coming out to the knees and the feet. All right. It comes out to the hand and this guy looks like he's got a big hand here, I love it. This actually works really well. So he's got a little thumb. Imagine this as the thumb, and this could be the pinky finger. Next, next, next type of thing, right? This one comes down, comes out, comes out, comes up. All right, Cool. And then of course what happens is this, the wing kind of webbing, right? Flows from one to the next, down to the attachment of the ankle kind of thing. Over the sky, has a little bit of a tail going on through his backbone. Back to the finger, to the next finger, to the next finger, end up right? Do we want to try to draw this? Let's do it. Okay, here's the head. When we draw it backbone going down. Here's the cone, right? We've got the little ribcage. Basically, it looks almost the same size as its head and even smaller pelvis, right? This will come down to the knees, come down to the feet. The feet come off. This guy's fear going back, ours is going to go straight. Coming up into the shoulder joint out to the elbow. The elbow is not actually that far, right? It's not the huge section of the arm. It's this next section. What would be our forearm? Out to the hand. And then we've got a thumb which is kinda going nowhere, right? Then we've got fingers, 1234. Let's do it again. One, sorry, 1234. Some of these will be longer than others depending on the type of bat, right? You'll see up here, this second, third 1 are quite long compared to these ones. So these, why don't we extended even a little bit and see how that impacts things. Cool. And then what do we do? We could connect the ankle. To this first one, to the next one, to the next one. And it comes up. And again on the other side here. Can go straight through from the ankle to this, to this and not and there's our bat, right. Put a little couple of years on him and we got a cute little structure. Yeah, that works with the scapula here. Okay. So let's see if we can look at them in, in flight in motion, where we're going here. Here we go. Man. That is cool, right? I love it, I love it. I think these are one of the coolest animals around. We can follow the backbone down to here. Small little pelvis. Comes down to the knee, out to the foot. This one comes down to the knee, out to the foot. Shoulder blades here. The shoulder blade is here. Alright. Okay. And this comes up to the head. And like I said, we can either use a cone or the muzzle approach, right? The extended muzzle. Now, let's see where we're going to look. Sorry, the shoulder is actually back here. I can see it now. This comes back to this elbow. Comes back to this elbow, right? Cool. Okay. Now where's the hand? We know we've got the hand up here and the hand up here so we can connect and connect already. Look at the power that's going on in this flight, right? And then what's happening? We've got one splayed off of their 10 fingers, one finger here and one finger here. Can you, Did you catch that? Right? So these connect here, this one connects over to here and the loops this way, right? And then this one hooks in and goes down to the ankle. This goes into his little kinda tail thing. Right? Okay. Where are these? Oh, sorry. Here's his little thumb, right? Here's this little thumb. And the thumb actually kinda helps from the hand. Depends. Sometimes it's attached here and NADH comes back into the shoulder joint. Back into the shoulder joint here. Okay. So we're the fingers on this side. We can see one coming over here to coming down here. And then the third is over here. So it kinda lines this way, comes up and over this way, right? Little tough. Do we want to try to redraw it? Let's do it. Here's our little cone head, right? Or torso or hips. His legs are going to be going back. And why don't we draw the feet and first write, we can just connect. Connect, cool. The two shoulder blades are up here. Alright. Is one I is going to be here. And when I was going to be here. Well, it looks like a cute little mouse. Okay. Next point would be drawing the hands. I'm going to move this down just because it's not going to fit on the, on the paper the way I'd like it to. We're going to draw one hand here, one hand here. So I can connect and connect right? Now, where are these fingers? The thumb is going to come up. The thumb is going to come up or well, in this case it was down, but do we want to bring it down? Maybe. Yeah. Let's bring both thumbs down. Okay. So if both thumbs or down, that means it's going to come into come in this way. So I started to flap down, right? The next one, how many how many fingers we have? 123, right? This one's the longest. It's going to come down and in. Now maybe I'll move this guy over just a little bit. I want to get this whole thing in here for us. There we go. That'll work. Okay, this one's going to come down and in, right. Next one's going to come up this way. And next one's going to follow it. Next one's going to come maybe this way. And next one's going to follow it. Okay. So we know that this is going to connect to the ankle, to the ankle and way over to the ankle here. Right? Okay. This next one comes here and it comes up. This next one comes here, out here, and then this one comes in, but it's we're drawing through so we can't really see it, right? Yeah. Those are some cool looking bat's, right. We've got the big flap of the wing. This one's coming down. The next one would be something with the wings coming down this way. Right extending down underneath. Cool. Okay. Yeah, Actually, this one, he's not flying, but this kinda shows that extension underneath, right? So let's see if we can do this with that backbone. Here's a little, but here's the ribcage. Here's the head, here's the cone, right? Okay. Here's one shoulder. Here's the other shoulder. It's kind of extended here. Comes out to the elbow, comes out edibles, probably somewhere around here, comes out to the hand, comes out to the hand. Even just that, just this point that we're at right now. Pretty damn funky, right. You know, this, this section here, from here to here, here to here. This is almost the length of the body. So you can think of, That's one way to measure a bat is use the length of the forum as basically the length of the body and stuff. Okay, it's so long from here to here. And then of course we've got hands going off of it, right? This measurement is basically the same as here to here. Yeah, That's cool. Okay, so how do these hands play out? We've got the little thumb coming in. This little thumb isn't really visible. So it's probably tucked in somewhere right now, maybe along the side here or something. Right. Okay. Next one comes out. Right? Actually, this one comes here, comes down. This one comes here, comes down. He's got more actually than the other guy. Yeah, he's got 123. And then four up top. 123. This for oh, maybe this is the thumb here then slightly attached, right. And by that attachment it means it's coming down to where his ankles are. His hip is here, and then his knees are together and then his feet are together. Either one's hooked up here and the other ones are invisible. But either way That's where they go. So this on either side from this thumb is going to be coming on the other side and coming down to that ankle attachment there. Right. Very cool looking cool. Right on. And let's see how we do it with the wings up. Just looking straight at us. We've got the cone, right? We can focus on this way. Okay. Then we've got the little ribcage behind with the shoulder joints that's slightly elevated and extended. And then most likely the hips even buried further back with the legs coming out this way down to the knee, down to the feet. And then the feet come down that away, right? This guy's got a bit of a tail going on here. An extension of the torso. Right. Okay. We come up to the elbow and then up to the hand. From the hand, we can see one to three. But likely there's a fourth finger that's either hidden or tucked. That type of thumb. Right. Okay. And we can see how the attachment here is very clear from the ankle up to this point, up to here, from the ankle up up again and again. That's pretty cool. Yeah. That definitely looks like a cool band coming at you. All right, cool. This is where it gets a little funkier though, trying to figure out how this guy is going to be all wrapped up. And we can still find some of the markers and joints. Okay. So let's see if we can track it down and see if we can find where that goes. We're back to kinda looking at structure just because this one, so, so tough. Okay, so we're gonna do this little cone thing, right? For the eyes. Now, where's the body? If this, we know that the hips going to be somewhere around here. We know that the ribcage is going to be somewhere around here. The ribcage is small, like I said, about the size of the head in many cases, right? We know that the shoulders are free-floating. They come from here. Right? Okay. So what he's likely got going on here uses tucked his elbows in. And then it displays up here to the hand, displays up here to the hand. And then what we can see from the hand is the extension down into what would be the fingers. Wrapping Himself all up in there. Okay. Then from the hips down to the knees, down to the feet and ankles and hooked over. Cool. Once again, funky looking back. Alright. And then all the webbing of the wing is connecting to itself. And it's actually even wrapped up. You can see it kind of bundling up here, billowing up, coming, attaching to the ankles. Okay, so those are structures in a little bit of movement here. Now let's work at some details. I think the one detail that I want to look at first is the cool wings. And this one is maybe the best picture of it. So what you can see here is yeah, we got these kind of appendages going on or whatever, the fingers and stuff, right, let's fade this a little bit. There we go, that's better. Okay, and you can add almost knuckle joints to a lot of this. And that'll give a nice kind of look to it all to make it a little bit more realistic. As almost near the tip of each finger. That's where you're going to connect from one to the next. Okay? The other thing is, even though there's a limb here, it's quite fit, doesn't have a lot of meat to it. It's got meat in in the torso. He's got a lot of meat. When you look at actually when you look at how beefy is compared to how slim that the bones are. Bones are slim because he's flying, right, gotta stay light. But he's got a lot of meat around the center here. But you'll notice it almost has a chicken leg type effect or around his upper legs and a little bit around the upper arms and stuff. But once it starts to get into the forums at long extended arm, it thins out considerably. So it just kinda hear you're going to see a lot of mass coming out to this joint, the elbow joint at first right. And then it's going to thin out and looked like streamed tendons over top of over top of bone. Right. Okay. So like I said, we connect, connect, connect. The other thing that you can do is start to add veins. Depending on how you want to connect them all and stuff like that. You can have them random, you can have them patterned and stuff. Personally, I prefer random veins depending on the lighting. Can you see them because there's a back light of some kinds, right? Usually you can see them from the, the underside of the wing. The top side of the wing here has a bit of a thickness to it. And there's not as easily seen through. When we're rendering and drawing out the bat's body. Basically kinda think of a rat or some type of mouse or something like that. Alright, Harry, kinda cute. Except for the feet, the fingers that start to grab on. Here's the other one. Okay. So you can think of a little flying mouse. That's probably the easiest way to think of these bats and stuff, right? Okay, Let's see if we can go to one that has a little bit better of a face. So we can take a look at the HBAT face. And what I'm gonna do. Flip it just a little bit so we can look at a little bit easier here. Yeah. Is it a mouse? Kinda close. Kind of cute, right? It's got these cute little ears. Okay. The thing about bats is, depending on which bad you're talking about. Some of them are massive. Length of somebody's arm, their actual body and stuff I got right. Others are just tiny, tiny, tiny like really the size of a, of a mouse. Okay? So take a look at which type of bat you're wanting to draw and see if you can capture the likeness. Some of them have kinda like big horny noses. They look rimmed and stuff like that with massive nostrils and ugly parts to the front of it and stuff. Others are kinda cute. Little, little fuzzy guys write. This guy's kinda cute. Yeah, He's cute. So I would keep him as he is. I've made, for example, black and in his eyes. And then put a little bit of reflection on it or something that works. Notice how we can't see the veins on, on this section here. The and that's because we can see a bit of the outline of the finger joints and everything like that here. Right. But this is the outside of the of the wing, so we really can't see a lot going on. There's not a lot of details in this, right? So you don't have to do much of anything. Occasionally you'll see a little bit of a, a for pattern on the outside still especially coming close to the source, like to the limit self, right? Okay. What I would really emphasize you doing is make sure you show kind of the bony structure of all of these joints that are coming out, right. Give it a little bit of a structure to it. As if it were a finger, as if you were drawing fingers, have the bulge in the knuckle joint and stuff. And I think that'll help give it that feeling of what you're going for a little bit more, right? Look at the clause here, right? As if I was drawing little, little knuckles holding on and come down here. It's loose though. Usually we would connect, connected the, the wing down at the bottom here. Some of the bats. Because everything's kind of bundled up here. You're not getting a lot of details of what's going on, but a lot of the bats have hairy little legs, little fuzzy feet and stuff I got. So you can add a little bit of PFAS in there. It looks kinda cool, right? Here we go. Come out here. And of course, whenever you have anything, any type of fabric or fiber folded, you can show a few bends from pinched joints and everything, right? And see if that works. And like any other little Roden type of guy, he's got little whiskers showing off here and stuff right? Sometimes above the eye a little bit. And there we go. Yeah, he looks pretty cool, right? Let's flip them back. And let's see how it looks. Not bad. Yeah, I think he's cute looking. I like him. A lot of most bats are herbivores. They eat, well, sorry, omnivores rather, they eat anything from fruits to small insects. And of course we have the vampire bat, right? So you're going to notice that in the structure of the bat, the mouth and everything you'll notice here in this skeleton. The teeth are quite pronounced, right? Okay. So that will show basically what their main diet is. Let's see if we draw this guy. He's cute, right? Okay, so we plot in the eyes, He's got these cute little bold years, like just showing the showing the texture of the skin. His mouth, or a snout rather. And then hair sometimes look a little fox like and actually one of the most massive bats as the flying fox. All right. Okay. So you'll recognize that name a little bit. There we go. Yeah, he looks pretty cool. Let's see what it looks like backed up. So yeah, what I would advise is do this exact same thing right next to it. See if you can draw the structure. Have the shoulders where you want. Maybe do that first. Limb out to where you want the hand. Maybe this one I'll talk in this way and then have the wings come in further, right? Then plot out where the head might go. Plateau where the torso might go, the hips, and then see if you want little feet hanging on somewhere, something like that. Right? And now fill it all in. Right on. Okay. So let's review a little bit. We looked at the structure, right? Look to the skeleton, how it was a lot more stretched out, even though a lot of familiar parts were there. There are a lot more free floating and flimsy, right? We looked at how the digits on what would be the hand splay out to help form the support for the wing. We looked at how the wings will form and change as we we flap them and move them around a little bit, right? We didn't look at how to draw the batman symbol. But I think you can kind of figure it out from here. And we also looked at how the face and the actual body itself bears a striking resemblance to a lot of rodents, right? Whether it's a mouse or rat or whatever, sometimes they can get huge long phases. But a lot of them are just cute little flying mice. So if you ever find bats in your house or stuffed up somewhere, leave them alone because they really help the environment and they're awesome for killing those nasty mosquitos. K, What I would practice, like I said with you, is you can either draw the body and then extend where you'd like the wings to go and then fill it all in. Or practice looking at different types of bats and seeing if you can tell the differences between them. I hope this lesson was fun for you and make sure you keep working at it. 5. Animals - Drawing Monkies: What's up guys, here with another how to draw animals video for you. Are you ready for this one? Already done? Monkeying around. That's my sad dead joke of the day. And yes, we're doing monkeys. Monkeys are kinda awesome. I love drawing monkeys because the kinda like the ultimate human. I know that sounds weird because, you know, obviously many people view them as less evolved and stuff like that. But I think they're awesome. Just like apes super-strong. And monkeys get to jump around, swing from trees, kinda like what everybody wants to do as a kid, right? So our monkeys, the perfect kid. I kinda thing So except for the whole group throwing thing, right? Okay, so what are we gonna start with? Structure? Oh, I should add a sound effect to that structure or no, that sounds horrible. Anyways. Okay, so we're gonna do structure and very similar to a lot of mammals, especially like as I've mentioned already, the human, right? Okay, so we've got this rib-cage, we've got the skull, we've got the pelvis, hip area, right, three major bodies to work with here. The back bones, spine starts inside the head, comes along back into the pelvis, right? And then on some monkeys, we carry on into a tail. Not every, every species or sub-species has them. That's cool. For this skeleton. I included some of them cut off and stuff like that. Particularly the ones we're going to look at on this page have a prehistory tales that they also have a bit of grabbing ability, right? So, yeah, it's kinda awesome, right? Basically, five limbs get a couple of things of note in the structure. One thing that I like is on the head. We've got another section for the muzzle. Now, again, different monkeys, you'll see this extended slightly and stuff will go through the different, a few different examples. When we start to get into detailing and stuff I got, but just something to note that, you know, it's nice and simple. We've got the circumference line of the skull here and then a little bit on the front here. Okay. The ribcage actually kinda extends here and we've got the shoulders attached to the scapula. Very free-floating, really easy to move right down into what would be an elbow joint, down into similar to a wrist, right? Obviously, hands are much bigger. Then if we're comparing it to a human or something like that. Humans usually the hand span is maybe about 50 to 60 percent of their head, depending how fat of a head you got, right. And I know what you're doing right now. You're lifting your hand up and you're like, Wow, how fat is my head and checking, all right. It's okay. I did the same thing. But monkeys look at this hand span, it's basically same sizes, their noggin. Right. Okay. Also from the hip joint out to the knee down to what would be an ankle. But it's form it's formatted, formulated little bit different the ankle joint. Because once again, we've got these massive massive feat. Second hands on. They function kinda that way more as a hand, right? And that's our structure. So if we were to draw it again, right? We could basically add in the three major points coming here. Add in a cool tail, right? Put the hip, put the shoulder in. Let's see, maybe I'll put some massive hands down here and some massive feat. And it just goes simply like this. And then the muzzle, right? And there's our cute little monkey structure. Okay, so I hope you're practicing along on the PDF. Or if you're working digitally, you know, just working on whatever image you've got in front of you, right? Okay, let's back a little bit and see if we could find the structure here. Pelvis is pretty easy. Ribcage looks pretty easy. Shoulder here. Shoulders actually back here, the second shoulder. Whenever you're using references, this is how you use a reference and don't abuse a reference, right? You're, you're hunting, you're hunting for these points to see if you can find it. So here's the backbone coming here and it comes into the base of the skull. And then that second kind of muscle circle that I'd like to add in right back to the elbow, down to the elbow, down to the wrist. And this extended hand? Down to the wrist and a extended hand. Right. And yeah, Look at the size basically about that size. Right. Hip joint would be back here. Down to the knee, down to the ankle, down to the knee, down to that back ankle. And then we've got Big extended feet there. All right. And this comes up and crawls around. Cool. One thing of note is, yeah, there is when it comes to the hand, they're very human. I think I'll use this one as an example. You're going to have this kind of section here. That's basically like the back of your hand, right? And obviously the opposite is the palm. And this is all kinda connected, right? It's connected through connective tissue and everything and skin. Now when it comes out beyond here into the knuckles, those are the individual digits. Right? Okay. And there's actually, so there's four here and then there's one hidden, that fifth thumb like one. Monkeys, thumbs are usually longer than, than their human counterparts. Look at how this is actually a thumb halt. Ford's extended here. So this is yeah. And it's wow, that's crazy long, right? The feet also have something similar. Usually a base of something like this. And then you'll see coming out the the, what would be the toes and what would be the big toll. But in actuality it's more like a usable thumb. Okay. So that's the structure. Let's see if we can find it on these monkeys, but we're going to find it from a little bit different views here, right? Here's the head, here's the muzzle. Okay. Now where's the shoulder? Well, I know this shoulder looks to be about here and it looks to be about here. Right. So the ribcage is there. We're looking straight at it. This comes back to the elbow, comes down to the wrist and then the overlapping hand, right? This comes back to the elbow, back there to the wrist and then the overlapping hand. Not bad, not bad. We know that the backbone is going to be coming through. It's kinda hard to see and then it's going to drop down into the tail here. So the hips going to be back in here. The hip bone is here Here. This will probably come up to a nice somewhere here and then drop down to the ankle and then that foot, this will come up to this knee. There's a there's a lot of foreshortening going on here, right? Come down to the ankle and then this foot is actually flopping over and kinda under there. Alright. And then we've got the eye line and circumference, their central line, right? Okay. Do we want to try to draw it? Let's see. I would like you to practice along with me here. We'll draw the muzzle, right? Draw this circumference center line here, the eye line. All right. We're going to draw the rib-cage basically behind because we're looking at almost a top-down view here because it's leaning in towards us. We're going to put one shoulder here, one shoulder here, right? This one will come back to the elbow and then come forward to the hand. Why don't I draw a post in it? And then the hand is overlapping. This one, we'll come back to a noble, come forward to a hand, to a wrist, right? And then this will be overlapping. Then we've got the hip behind. I'm going to place my hips a little bit different. Not so different but just a little bit. Here's the hip joint or sorry, I put it a little bit high there actually. Here's the hip joint. It's going to come. I'm going to change it just a little bit, just for fun. We're going to come out to here, come down, and then overlap. And this one's going to do the same thing. This one's going to come up, come down, and then overlap. And then I know that this will follow the circumference to where the spine comes, a spinal overlap this. And then I'm going to loop the spine up towards another thing. And there's my monkey. Kinda awesome, right? Right on. This one's going to be easier because the bodies and an easier position for us to look at. Here's the pelvis, rump, here's the torso, or rather the ribcage. The head with the muzzle. We know the center line is about here and about here, right? And we got an eye line here. So where's the shoulders? I like to draw through for the joints. Here's one shoulder and it looks like we're looking at it almost exactly from the side. So the other shoulder might be perfectly in line with this, right? This one comes down to an elbow here, comes forward. And then we've got the hand. Again. This one looks like it comes back to an elbow somewhere around here, comes down and then we've got a hand. Yep. And this hip also looks like we're looking at it pretty much from state straight on, right. So this will come forward to a knee, come down to the ankle, and then the foot is hanging over, right? Whereas this other one, interesting, Here's the foot that's almost hidden from us, right? And it's looping under here, okay, so how would it get there? If it's starting from here? It has to get to here somewhere, right? So the knee joint is going to be about halfway somewhere. You gotta kinda imagine where it is. We don't know where it is. It could be off to the side here and down. It could kind of be spreading it out. He could be following a similar pattern of what he's doing with this leg. Um, it's kind of up to our imagination, but look at how this foot is positioned. It's flat onto us for, so that might mean this is going away slightly and coming back, if that makes sense. Okay. And then we've got the from the base of the skull, it comes the spine comes down actually comes, comes over here. And this is how you get the flow of the tail following that spine. Okay. So I'm going to rough it in here for you. We'll take this and and what I want you to try to do is to see if if you can fill in some of these blanks just from where I'm positioning. What I like to do is often plot out the limbs where I want them to be, or rather, sorry, plot out the hands and stuff. I'm going to put this hand down here for you. And this other one's going to be here. Okay? Let's see if you can connect the dots, basically adding in the joints. Here's the shoulder joint and draw through. Right. So that's what I would like you to do on your sheet, is to use this this blue sketch and draw through it. If you, I would recommend doing it over top of mine first and then doing it on your own, right? Okay, not bad. And this is partly how monkeys move, right? Climbing through the tree. So you're going to get a lot of a lot of grip work and stuff I got right. And more grip work. Focusing on the swing. I like this. I like this movement he's about to let loose, right? So I'm going to grip it in. Here's one. Here's his tail actually. This is actually the tail coming up this way. And then looping up here somewhere, lost in the foliage a little bit, right? The other leg maybe together. Okay. So where's the hip? Whereas the torso or rather the torso. Good enough. The ribcage, right. We came back here and up come over here and up right, up to the wrist. We've got the head. Now, what I would like to do, sorry. I'm going to do the hip here too. This will come down. And on the other side here this will come down. Okay? Now what if we were to swing this guy? How would we do that? You know, what's going to be the next motion? What we're gonna do is, let's say for example, I will draw this hand, will draw what should be this torso, but it's moving forward just a little bit, right? Okay. So he's coming under it more. And then this hand is going to be released. And I think it's going to probably swing down a little bit. All right, so we can have something along this line. Okay? The monkey might start looking what direction he's going. Okay? Right now it's here, but now the circumference is going to go along that way, right? So he's going to start swinging down. His backbone is going to start swinging this way. And why don't we put the feet somewhere out here. And he starts moving in this direction, right? And his tail let, let loose. So following this backbone, his tail released. Okay? So that's how you get start to get the motion aspect into it. Right? And he's going to swing up and grabbed grabbed the next branch or limb or whatever it is with his left hand. All right. Another thing that they're doing is normally am well, no hands or feet does gripping with the tail here, which is totally awesome. I love this. So let's follow. This is the backbone into the skull. And there's the muzzle right? Here's the ribcage. Here's the hip. Now, where's the insertion for the hip? We're looking at this pretty much straight on. So it's going to come back to the elbow, to the wrist, and into the hands. Alright. Same on the other side. Wrist in into the hands. Ankle. Ankle, and then feet. Alright. Cool. Jeez. Okay. So what if you want to lift himself up? How do we figure he's gonna get it, get himself back up there. What's going to be the next stage of this motion? He's got himself wrapped. But we know that there's some muscle in the tail, so he's gonna kinda lift himself this way. Maybe he's going to swing. All right. So I say he's going to start to, to look up. He's going to start to want to move up this way, right? As he's coming up this way. Okay, so we can start to do that. We'll plot it in. Here's the ribcage. And maybe these these limbs are going to start to swing forward. So they're going to start pushing forward a little bit. They're going to start pushing forward and same with these ones. They're going to start reaching. Reaching forward somewhat, right? Okay. So he's going to maybe start swinging himself up, moving this way to try to grab is his arms up onto the, onto this limb, onto this branch, right? Cool. So that's all monkeys with awesome tails get around. I wish I had a tail. Okay, now let's talk about details a little bit. Not tails, details. Alright. Talk about how we've got some variation of faces here and stuff, right? We can see really easy. Most of them can follow this kind of simplified muscle approach, right? But some of them, not so much. We've got this and then we've got this huge drop-down, right? Okay. So the muzzle can get bigger. We did kind of ridiculous, right? This is actually the muscle down here. Whatever this guy's got growing on his face though is pretty amazing. Oh, well this one's cute. So look at the difference in sizing here. I'm going through this, just roughing it really quick just to kinda show you some. And this was their guy that we worked on earlier. Some simple variations. Now, some key things when working on details with monkeys. Really, honestly is the variation. Look at the types. Okay, we've got this, you can work this, this muzzle area. That works, right? But this guy's got awesome facial hair going on here, right? It's coming out everywhere. So look at that. So you gotta figure this. I don't know his name, but he's gotta be bearded something, right? This is pretty cool looking income. Usually with monkeys, you get this kind of outline around the face of no-hair. It can change depending on the species or sub-species, right? Butt. Yeah. There's often a part that has no hair like apes, right? We can use this as, as a marker for where to plot the eyes if we're going to do, you know, follow a simple, simple line going across, right? Look at these contour lines. They worked on our human faces, the work on these guys to come. And as we start to add in, we're gonna get a lot of variation here. So that's why I put a lot of different faces here for yeah. Okay. Scan looks surprised, kinda happy to see us. I don't know. You want to put a lot of emotion in the face. Cool. Watch the hair flow. You know, it's directional, right? And if we want to, we can color this old in. Now if you're going to be rendering any type of eyes like this or anything like that. All right, which you can't do. What helps is adding in a reflection where the light would hit one side or something. All right. Cool. Okay. Next one. How was this guy different? He's got more whiskers. So we still got this muscle here. Still the muscle. But he's got whiskers all up in his grill here, right? Even up towards his eye. They're coming soul close in and then sprouting off from the central points and stuff, right? Still has, we can start the base of the eye here. Come in. If you've taken my human anatomy course, you, you recognize a lot of this for 99designs, right? If you haven't, then you should. It's actually a pretty cool course. It's doing really well. But let's focus on the monkeys Hero cam, focusing on the direction of the hair. I wouldn't necessarily render every fiber of hair coming out. You know, it depends on the style you're wanting and stuff like that. But sometimes just getting the nice directional flow to the hair is, is what's important. Okay. Shorter hairs coming off the bristles around the mouth. It's actually got a little bit of fiber. Small little hairs around his his nose here. Right. And then they start to come down and hang more, right? Yeah. This guy is pretty cool looking. Okay. Next one. Mr. long face. Why the long face? A hard cheese, I think I broke my only one dad joke per, per unit lesson. This one's interesting though. He's got more of a brow here. Alright, so we can still do the eye line, but everything kinda drops down on him. He's got this huge drop of a muzzle, right? Okay, so we can plot in the center of the eyes here. It's got a lot of human emotion in his eyes, right? That's the thing about monkeys. You'll, you'll see that lot income. He's got a bridge to his nose. He's got a big brow. So, but the bread was more of a universal, if anything, in its muscularity. Its got some lines on here at the bridge to the nose. Is much harder bridge then a lot of monkeys, right? I'm not much of a cheekbone though it drops straight down. And then he's gives them some funny type of mustache here. For the top upper lip. Lower lip comes down and look at these incisors, very human-like, right? And then the canines that are flowing off of there go down into lip and then hair that's happening down there. Interesting. And watch the directional flow of hair. He's got these cute little year's sticking out of the hair, right? You can have a few hairs coming off of it and stuff. No doubt he's got hair coming up here off off-screen and a little bit. We can even give them a, like a hawk or something. Right? Here we go. Here's the other ear coming off to the other side. Direction O'Hare happening here. And make sure the hair comes off of his chin on either side. And then he couple of whiskers coming out. All right. Cool. Couple contour lines of the face here. Very interesting looking face. But nowhere near as interesting as this dude. Okay, we know that we can follow this line for the eyes, right? This guy's looking up. It's got a few things going on. But the, he's got this huge snow gosh, wow. And look at the pores on it. That's kinda awesome. Look at how much detail is in this picture, alright. And his mouth is underneath it here. As face. You know, there's this section that doesn't have any hair on it around the eyes. And then he his brow actually has almost a Remo hair on it under his mouth here. And then he's got this little beard going on, right? And then the, the ears buried and has wispy hair over top of it. So just look at the the flow of the hair. Same as you would a person, right? You don't have to draw every strand. But boy, this nose, That's pretty awesome looking cool. Oh, yes, to be extra cute because he's sticking out his tongue, right? Tiny little nose on this. Get look at the variations from one monkey to the next, right? Huge, massive eyes. Looks like something straight out of a anime or something, right? Or an alien workshop. This is cool look in. This little guy is awesome. He's kinda ugly, but somehow kind of cute. So we've still got the muzzle here. And we've still got this outline of of face where there's generally not a lot of hair. Right? And then we've got a few little whiskers coming out of him there really faint ANOVA you could seem too much off as chin a little bit. But then the hair starts the hair starts up. The hair starts into the different parts of his head here. Starts flowing and then flows out into these almost Elvish looking ears. These are awesome. Okay. The reason I'm showing you all this and your, um, let me sketch along with me here is because I want you to see how much real variety you can have with monkeys and stuff, right? It can go from this huge nose to like, kind of the traditional monkey that we would expect. Along the muscle here. Knows, right? To let alien guy we just did. Now this is interesting. This guy actually has this outline that we would normally say has 0 or very little hair is covered in hair. This is actually, this white is all hairy and stuff, right? His eyes are very close. Paste are placed together. The discovery or the different coloration of the muzzle, right? Into a fuzzy little ear and a fuzzy little head. But it's all short cropped, right? It's just, if I was to render this, it would be like directional patterns of small dots or something like that right here coming off of his ears. Little bit of a face down here. Yeah, cool looking. And once again, like I said, if you want to color in the eyes, just make sure when you're doing that, then you're giving it a little bit of reflective light. It adds some realism and some depth to it. Here we go. That's a pretty motley crew from there, right? Yeah. Wow, that's pretty cool. Okay, so let's take a quick review here. We talked about the structure of monkeys, right? Some have tails, some don't. We emphasized or worked on the ones that do have tails, prehistory tales, right? We also looked at the proportions, the proportions of the hands being at least the size of their head, if not bigger, right? Otherwise though, really similar structures to a human, really familiar to us, right? We went down and worked on it. Not just their movement, but how they might look from various directions. Whether it's head on, whether it's the side, and plotting out where their limbs go, especially when it comes to movement, right? And how they might grip, how they might swing. They're not the greatest of white upright walkers in the world obviously. But they're built to be in the trees, right? And so that's where you're going to be drawing a lot of them. And then we went down to, sorry, we went down to different types of faces. And really, you know, it's so ridiculous. The variations and stuff like that and me drawing it out was just basically to show you how many variations that we can have. And I, I bet you there's a 100 more, right? Same with the monkey body types, ones without tails, ones with super long tails, ones with long snouts, right? So what I want you to do is try to draw a few and make sure you draw them from different angles, draw them in different poses. Imagine them hanging from a branch like this. But you're looking up at them. What would it look like, right? Imagine if you can try to do something like this. A bit of almost like an animation cel, just with these simple, don't render it out. Don't draw all the details in, but just with the simple, basic skeletons and imagine how it would look swinging. You'd probably have to draw about five stages of the swing, right? To get from point a to point B. And where the legs would go, how the arms would swing and release and all that kinda stuff, right? I think that's awesome homework for you to do for the monkey unit. Draw the swing. Okay guys, you've got your assignment. Have fun. 6. Animals - Drawing Sharks: Had to know a lot of that, going to play that intro eventually, right? Yeah. It's a classic and I'm guessing, you know what's coming up next. We've got a unit on how to draw sharks. Okay? Sharks are a little bit of a different beast. We know it. We know because, well, they're in the water. Right? And they're not just kinda part-time in the water, anything there are always there. So definitely they're going to have different elements to them. You know, their, their skeletons are going to be different. Structures are going to be way different. Basically everything's going to be way different, right? So I drew out this, this skeleton and we're going to see how sharks move and function. A lot different than all the land animals that we've covered so far. Okay. So what do we got here? Well, we've got a skull, kind of a triangle thing. He skull here, right? Maybe I'm going to switch up my pencil here. Yeah. I kinda like this one better, good enough. We've got a backbone. So far, so good. This could be almost any other animal. And we've got what could almost pass as a ribcage. It's not, but it's a solid enough structure that we can kind of think of it that way. All right? And then we've got what could pass as kinda shoulders on either side here. Alright. So let's look at this again. We've got this kinda ribcage here, right? We've got this skeleton or sorry, head skeleton now. A ribcage with a bit of a shoulder. Yeah. Okay. It's familiar, right. And then we've got what could be. Actually people, you know, people say this is the makings of a hand. So you see the different lines and then you see the different fingers kinda things coming out, right? Okay. So this will come out as a base of a hand. It comes out even more and then we've got these fingers that's splay out, right? I'm doing fingers and big air quotes here. So don't mind me. Okay. So as we're looking at this short form, we see that, okay, well we've got this cone at the front, That's the head. We've got this kinda massive ribcage and then we've got a spine that comes back into the fins, right? We've got the fins back here. Okay. Think about it. Whenever you have a huge mass like this, like this head, we're not gonna get a lot of wiggle room back and forth on this or anything, right? Same with this ribcage. We might get some we might get some flexibility, but not much at all. So this one will be very rigid. This one will have some flexibility. But an entire body like this long, just supported by one column of bone. Actually, it's not bone, it's cartilage, but, you know, you're gonna get a lot of flexibility. So you're gonna get a lot more movement that's going to be able to happen off of this, this back-end and stuff. Then what we might expect if there was like, for example, when we're looking at something like a rhinoceros. Rhinoceros or something like that, right? A lot of rigidity in the frame there. This one doesn't have that. It's got a lot of movement. Okay? So once again, we've got another section here of fin comes up and we've got some smaller fins on here. I think we don't have to worry about too much, right? Well, let's take a look. If we could find this in the shark here. We've got this kinda cone head. I like that. We've got a skeleton that's coming back to the base of the tail, right? Or sorry, up a backbone. We've got a bit of a mass of where we could imagine a rib cages. Like I said, it's not an actual rib-cage, but it works that way. In some ways. We've got the shoulder joints coming out splaying like a hand. Coming out splaying like a hand. Okay. And we've got this back fin that's splaying out. Right? And so this is actually pretty easy so far. I'm liking it. The, the you can see that the eyeline is kind of almost like I feel like I'm drawn some kind of rocket here is something we've got the tip of the cone. And this would be about where the eyeline is, right? We see the gills that happen after that, but that's when we'll get into a few more details. So what I want you to do is practice this basic backbone and structure. Flay little hands out and then see if you can get some some type of movement off of it. Now, what you can also do is just move it around a little bit more. We can practice it going up a little bit and then coming out that far. We got our structure here. And we can play it out that way, right? And then what we would do is start to fill in the blanks of where everything goes, right? But right now we're just worried about the basic structure. Okay, let's see if we can go down a little bit. And we're going to flow into more of the basic structure from different angles. Now, like I said, we we had this cone head. All right. Not the siren Night Live version, but the short version. Imagine this is the tip of the cone. If we start to pivot this cone, right, it's going to look a certain way. Imagine it's coming along this way, right? As, until finally it's looking straight at us and we have something along those lines. Okay? So right now, you can imagine that this cone is probably something along here. This is the front, and it's coming back this way. Then we've got the mass of the ribs behind, maybe even a little bit bigger. And what could be thought of as a shoulder joint, the hand, and then don't mind if I use kinda hard human terms. I'm kinda helping people so that they can get familiar with it, right? And then obviously from, will go from the base of the skull, which is back here. And it's going to come back here into the fin, the rear fin, right? Okay. Let's see if we can find it here. This shark, if anything, it's nose is a bit stumpy. That's okay. We're going to use our finished here. Or rather our cone. Come this way and see and it's okay. You're going to get different shark species where certain parts will come out on the tip here and everything. We're just going to use this basic cone to plot things in and then go from there. Interesting how the mouth is right? Following along the bottom here, you can see how the mouth, I'm making all my sharks happy here. Okay, So we're gonna follow this. I wouldn't even mind doing the spine all the way from the front right, all the way from this tip, going across going over top. So if anything, it can come like this and come up from here from the tip of the nose. I think that's good practice actually, let's do that from the tip of the nose. It works right back to here. So we've got the ribcage here with the two kinda semi shoulder joints into the kinda hands and then splay into the fins. And of course, this back fin back here. All right, let's take a look at this next one. We're going to have our are circular, right? Easy to make a cone. This shark though, has a bit of a blunt or nose so it cuts off. But from the tip of the cone, we can bring it all the way back. This spinal column all goes back to here. We can see how this plays out here, right? Then we've got a ribcage, the big mass there with the two pectoral joints. And its plays out from there, splits off from there, right? When we practice this down below. I'm hoping that you're practicing along with me. That with sharks, they're kinda always in motion. So we're not really, we're not so worried about the motion segment of this unit more so getting this, this main part down of the structure because we need it. So we know if we draw this cone, and here's, depending on the circumference, whether I'm going to line it, is its head going down. His head is actually going down. But the body is kinda parking over top and it's coming coming this way. All right. Here's the fin. There's a mass behind, very large mass with the pectoral joints out to here. And then we can add the I on this side, and probably it's over on this other side. We can't see it. And then we've got a mouth. I don't want my shorts look happy. Gs. And I think that's kinda awesome, awesome and scary at the same time. Cool. The sharks that you can get scary enough soon enough, right? Okay, so when I'm drawing a cone, what I like to do is kinda draw the base of the cone and then go up from there, you know, at, at the top of the cone from there. All right. Here's the bottom of it. This one is going to come down. I'm even going to bend it a little bit more than this one. I'll add the, the big mass of the of the, like I said, the mass in the middle of the chest, their pectoral sections into the fins. Okay, There he is. A little bit unhappy. I finally made enough API shark. I can come in, add the fin a little bit. His eye is going to be right about here. And I can cut this off if I want to see how this, this other, the shark we're studying actually has a bit of a cut off snout, right? Okay. Then I can fill in following this, the body mass following it down to the tail, nice and sweeping, following it on top. And comes down here too. And this is when I can start to add in a little bit of the fins income. Something like that. Cool. Okay, let's see the next one. Once again, I'm going to draw the base of my cone. I'm going to draw the point of my cone out here. Bring it in. Bring it in. So really simple cone, right? And then from here, I'll draw this line that is going to be the eye line. And maybe the mouth underneath. This shark though, he's got a bit of a shorter snout to its been cut off just slightly. You can see it'll actually round this way a little bit. To nostrils are up here. And then as I follow this back, I'm going to bring it on down to this section here. Okay, I want to add in the large mass and use that as a reference point for the two pictorial joints. Right? Okay. And then we're going to use that mass as it comes in. And everything kind of bends around and heads down towards this tail, right? And on top. The distinctive dorsal fin. Cool. I like it. Yeah, let's get some form going on here. Yep. This is where it's gonna get a little scarier though. When we start to get into dentistry. You know, previously, I guess that we were using the cone type of thing, but that cone kinda opens up. And this is what it opens up to. And this is really important. Whenever we're talking about teeth, we've kinda covered it a little bit of few other units. I want to talk about this for a moment here. I think it's important. Imagine if you had like the lid of a can just sitting here right? Again. And you had another lid of a can's sitting under it little bit lower, right? We're looking down at it because we can see the top of this lid. Right. And so we're looking down at it right now. So from the front, if these were teeth, really ugly, bad boring teeth, right? We would see the front of these teeth. And we would see the front of these teeth, but we would also see some of these teeth going back. Does that make sense? So maybe the canine would be here depending on the animal. These would be the incisors and then we'd see the molar strict to go back. So as we're looking down at this mouth, whatever beast this is or whatever personas is. They're tilted their head down a little bit and we're looking down into it. Okay. If we were to cut it in 1.5, can was partially open this way and the other Kan was partially open this way, then we would see something along this. Like I said, we can put the little canines in here somewhere or whatever. Right. Okay. And then we would see the molars heading back the top of them. And we'll see you the top of these heading back as well to right. Does that make sense? So now let's take a look at this shark. When a shark's mouth is closed, we're going to have all these jagged teeth closed like this interlocking right there. There's many rows of them. They're nasty looking, but this is how they're going to look, right? When the jaw opens up like this. This is actually The kinda horizon line that the perspective line that we're looking at, we can see looking up at the top and we can see looking down at the bottom. Okay, so we're going to see rows of teeth this way. And this is going to be the bottom of our cam type of thing that we did earlier. And here is going to be the top. So we can see a lot more going on looking at it because sharks are kinda special and that how much they can open up their mouths, right? So we're gonna do the same thing on here. Imagine this is opening this way, right? And then imagine that it has a flat ridge inside. Inside of this. If I was to draw it like this, it would be I can type of thing. Right? And then this is where we're going to place all the teeth on this rich, right. All the teeth go into these gums. And there's secondary role of teeth. We can see there's a front row and second row behind here. So sharks are wickedly awesome in that way that you could do that. All right, next one on the bottom here. We're going to have kind of a can with a lid, right? Okay. And imagine this has some depth to it or something like that, right? And then on this lid on this rim, we're going to add whatever teeth coming this way, teeth coming this way, coming out. Just basically the thing of nightmares. I had a second row inside. This is crazy. Yeah, yeah, I don't want to get bit by one of these things. Second row inside, right? The main thing I wanted to show you here with looking at the mouth though, is how it will look differently or how to look different depending on whether it's open or closed obviously, but also the perspective of the viewer. How are we looking into the mouth? If we come down here, we can see it's open just a little bit, right? And we can see the rows of teeth coming here, but we can't see what's going on up here. This is all covered in. It doesn't have this big gaping mall that's going on here, so we can only see a little bit. So probably the horizon line is somewhere around here looking straight at these teeth, if that makes sense. But we've got a little bit of we're looking down and so we get a little bit of depth looking at these teeth here. Okay? So this is a little bit of a history lesson, but I think it's important understanding the perspective of how we're looking at teeth, right? So imagine right now, this row is here and we were looking at semi human mouth. I don't know. Whenever incisors, molars, you start to go back. But the one down here, we're starting to see more depth, starting to go back. Okay. Now on sharks, that depth doesn't translate into seeing more mold. Hers just translates into seeing rows upon rows of death. If that makes sense, right? But I hope this makes sense here that our perspective, our horizon line, our viewpoint is right here. So anything below that we're going to be looking down slightly at and get a more in-depth row on it. All right. And here we go. Right here. You know, it's hard because whenever somebody takes a picture of a shark breaching the water like this, what they wanna do. Cover everything, you know, they, they want to get the top row of teeth. The bottom row of teeth looks like you're about to fall into the center, right? They want it to be as scary as possible and they're achieving it so good for them. But for our drawing lesson, it doesn't help us much, right? The only thing, the reason I included this is because I wanted you to see all these nasty gums. Usually when we when we look at an animal and it's got a tooth and then it'll have an insertion, insertion point coming out of the gum. And it'll go something like this and you'll see the nice, healthy gums that are, are kinda locking it in place and everything. This is just a millennia of nastiness that is evolved around this short to hold these teeth then and they actually fall out and they get the people are finding them in wherever and stuff I get. And then we grow and they got so many rows of teeth. They don't care if they lose a little bit. So it's not going to be your traditional nice looking row of teeth with healthy gums. This is the type of gamete your dentist warned you about. Okay, We're gonna come back up here because we're going to do just a little bit of detailing. There's some things that I want to point out that I think are kind of important to do. We want to do it on this guy minus 12 and on this guy. Some things that I think are important are the eyes. Like I said, you can plot them along that line. But they also have this kind of almost cats type of feeling. Right? Okay. So you can put a little bit of a rim to it there. You can put the nostrils or on either sides. So this one's here, it comes along here. You'll also notice that the gills follow this center line that we have going down. The physique. The mouth comes here. The nose. The nose will depend on the type of shark a lot, right? This can come here. The underbelly of the shark is white, up top is a bit darker. The fin will change again depending on the type of shark. Some of them have clips through them, some of them are quite high. It really depends. The pectoral fins though, I wanted to show they have a bit of a here's the here's where they're coming out of the shoulder, right here. But underneath, they have this kinda hook and then come out. So they imagined. They don't come out like straight like this. They kinda come from this joint. They hook out and then they come out, they hook out. So this hook is covered and then it comes out and covers the main part of what we kinda described as fingers splaying out. Alright, okay. Think about the shark is you want to keep it nice and smooth. It's got these double pectoral fins up here, another set back. Do we want to see how far back? Towards the end, Jeremy, It's got this double set back here and then on the top and bottom there. So these ones are a little bit off to the side. You can see how it splits underneath the belly here, right? Okay. We'll go back to this guy. These ones are off to the side and then we're going to have another one that's right under here. And then the mass for this big rear fin here. Okay, and let's see if we can do it on this one and see if it makes sense, right? We have the gills. Just after the base of the skull. We have these pectoral fins coming out, but remember, they kinda come out of here, come out and then come this way. Okay. The belly coming underneath. Nice and smooth up top. The eye embodiment price that it can be kind of a cat's eye can have a little bit of a rim to it as well. Write this other fin, we can bring it back here. We want to keep roughly the white kind of follows. This part of the belly. Come back here. The dorsal fin is up and like I said, that the sizing and shape depends a lot on the type of shark comes back here. And you're going to find like after this joint that we've kinda roughed in, there's a little bit of a nudge there and nub that comes and helps support this rear fin, right? Cool. And then this back line comes along here. Yeah. I think that's looking pretty sharp. Sharp, sharp. That's a bad dad joke. Okay. Yeah, I would say with the sharks, one of the key things are the structure, getting that cone down. Then choosing what type of shark you're going to be drawing, right? Is it going to be a hammer head? Is it going to be a great white? And then once you start to choose that, then you decide, okay, well, remember how this comes out. Then you decide, what's the form of it. What am I going to do for the form, right? Like, what type of body isn't going to be a massive shark? Is it going to be a cute little nurse shark or something? Here we go. And remember the gills or just after here. But I forgot a few things. What did I forget? I forgot these top and bottom fins back here and I forgot the these guys. One on each side. All right. There we go. Yeah. That's looking pretty cool. Right? So what I would do if I were you practicing is draw a cone or even draw a line. Let's do it in blue. Draw a line. Figure your cone. Which way you want it to go type of thing, right? And then start to fill everything in. Start to fill in where you think the parts would go and stuff, right. Okay. So we studied the structure of the shark, the skeleton structure, right? Then we moved on to working through the different perspectives of how the shark might look in motion. And listen, like I said, the sharks are always in motion, right? So no matter how we're doing it, it just basically turning the shark around, bending it a little bit, twisting it slightly and stuff and seeing how it looks right. And we practice those. And then we went into a massive dental unit talking about how mouths can look open and closed and how the basically the shark is like its mouth is a murder death zone, right? Then we went in and rendering a little bit, focusing on some key points, placement of the eyes, the gills, and all the supporting fins and stuff, right? Okay. So I hope this lesson was good for you. And I hope on the separate worksheets, you're drawing up a bunch of sharks right now. Take a look on the Internet, see if you need a few references for the different types of sharks weather, like I said, Great White hammer head tiger or whatever it is. And I bet you, you're going to find some inspiration and poses there too. Okay, guys, keep practicing. 7. Animals - Drawing Armadillo: Got a lot of those animals, right? Hey guys, its head again. And I've got another how to draw animals video for you today. When I guess with animal this is, I bet you never guess it is the armadillo. You're wondering, why is that choosing these animals? You know, what? Actually I gotta tell you, part of it is just the uniqueness of them. I'm going to go through the first 10 animals that I choose from this course are just going to be animals that interest me. But also, I don't mean the interest me is like, you know, I want to have them as pets maybe. But what I mean is they actually interest me as an structurally, there's something unique about them or something that's different from the others that I want to get into. Right? And boy, oh boy, an armadillo qualifies. Okay, so how do we begin? We're going to take a look at the structure. Now the armadillo has two major structures that we're going to talk about. The skeletal structure, which will flow very similar to a lot of four-legged animals that we've already looked at, right? We've got the ribcage, the hips, the head, right, the heads a little pointy here. And then it's going to go into this kinda semi-fixed scapular shoulder blade here. Joint down into the knee. What could be I guess knee down into what could be an ankle and then out to the foot and then these little claws. So There's a knee here, down into the ankle, out into the foot. And then we can think of these as little clause. Okay. Same thing with the hip. We've got the hip on either side coming down to the knee, down into the ankle, right. The foot the foot spur. The foot with the foot spur behind. And then coming out into these little claws. So I'd like, you can think of it kind of like a shovel type of thing. Now, these, these bones act semi independently. So there's that, you know, you'll get the fingers splaying from here and here. But there's just like humans, what they'll have webbing at a certain point and an end attachment within the actual hand itself. So think of this as like the back of a human hand or something, right? Then we've got the spinal column leading out to this long tail. And you'll notice that the bones actually go fairly far down the spine, right? Or down the tail rather. Okay. So we've got that right and that's normal, that's what we expect. That's not surprising anyway. Then we've got this weird as tank, tank of a shell sitting over top of it. Looks like and banana bread loaf or something like that. It looks like a big loaf of bread. That's what it looks like to me. All right. And actually, sorry, I drew it kinda big up top here. It actually kind of comes bigger towards the front. So you can think of it this way. Maybe I'll erase that a little bit for you just so we can get a little bit clearer with this. Okay, so we've got these two structures, the normal skeletal system that we're used to simplifying and all that kinda stuff. And then this weird loaf of bread Armour type that they carry around. So it's gonna be hard to find it because looking inside on an actual model here, how do we, how do we do this? How do we find the skeleton, the heads and easy one, right? That we can kind of guess that the tail is going to come out this way right from the backbone. So we can further guessed that the ribcage is somewhere around here and the back hips are here. And there we go. So obviously we don't have x-ray vision. We can't see exactly what's going on here, but we can take some pretty educated guesses, right? The shoulders come out from here first come back here. And that's why the the leg look like looks like it's coming from back in here. Right? If we didn't know this, if we didn't know this underlying skeleton, we'd think maybe the shoulder was back here in this leg is coming forward or something. But no, It's actually coming from here back to what would be kinda the knee back to, down to the ankle. And then we've got these claws coming out in. Same with on this other side, comes back here. It comes down to the ankle and then we've got these claws coming out right? Now if we're going to look at the hips, we know that they are near the back. They come forward and then come down, come forward and then come down to the ankle and then come out. There's a bit of a spur behind, but on both of these, it's facing away from us. We can't see that's birds actually behind him. And then we have little toes. Okay, then over this entire thing, maybe we should go with a different color here. We've got this big loaf. And keep in mind that it actually comes on the other side here. Of course. So this is a ridge there, right? Now. There's something to be paid attention to here. This first part of it is almost a solid plate here, this, this section here. But then you're going to notice that this pattern, and this pattern is here for a reason, right? Almost like an accordion ribbing or something, right? And you know, as it goes through this kind of About 60% of the whole shell. It's there for a reason. Okay, and we're gonna see that as we go on to our next little section here. Talking about motion, I guess. But this is one of the weirder motions that we're going to see. We can look for the skeleton. Let's draw it out really quick. The tails being tucked under here. Alright? Okay, I am just going to do the backbone for right now. Here's the head tucking under, here's the ribcage, and here's the hip. Right. Okay. And then here's the head That's tucking around to the tail. The ribcage is in here, the hips down in here, and everything's overlapping. And by the time it gets to hear, your guess is as good as mine. Pretty amazing, right? Like I think this is the coolest thing. How its feet fitting here and stuff is not the major concern. What I'd actually be looking at is this shell, right? Previously, it was kind of a big up top. Do you remember it came towards the front here and came around, right. And then it had this ribbing in the middle. We'll look at these ribbing starting to fold now, right? And then look at how it folds here. It's falling over so that this first half a shell and the head, the top of the head fold into almost the top of a bowl, right? And the bottom half. Remember we said the front and the back are not so bendy, right naught. So a coordinate, like an accordion. Well, that's what happens back here. And then we've got the slots, little open parts for the head to fit in here. And by the time it's all seized up, we got some pretty, pretty good lines. I don't think it's waterproof, but jeez, this is really impressive, right? This almost reminds me of transformers are some Pokemon or something like that, right? So I don't think practically you're going to be able to use this a lot when it comes to drawing armadillos, jeremy, like, I don't know how many people go around drawing a lot of armadillos. But I think what's important for studying this is understanding how creatures can use armor in different ways, right? And in this sense it's a transformation, right? So if, if you're ever gonna get into creature creation, jeez, this is probably one of the more important lessons you're going to see here. Alright? It's going to add some realism to any transformation you try to make on your creature, right? Okay, let's take a look at this guy. What I wanted to show you here on the armadillo was the undercarriage. And can we use that word repeat. So we've got the head here, right? And then we've got the torso and the hips. There might be a bit of overlap. This head is coming down here at the spine and then most likely the tails carrying off somewhere through the grass or something, right? We've got the hips coming down into the feet. And the clause lost in the grass. Down to the knees, down to the feet. And make, remember, don't forget that little spur back there right down into the clause. Okay. And then we've got the, the fix shoulder blades that are actually up high here, right? It's going to come down to the elbow, to the wrist, down to the elbow in this case, out to the risks here. Okay. Then we've got the hand. Kind of you can actually see how part of its fixed here and then it branches out into these, these claw like fingers, okay. Appendages, right? I guess what's interesting for me is the really soft underbelly here. You know, the outside we've been looking at it. If we're drawing the shell, the shell is going to go all the way around here, comes around on the other side, right? Comes around on the backend. Actually can't even see here, kinda comes up behind the body a little bit. Alright? Okay. And that's easy to think of for the armadillo, even the top portion here, right? But there's a whole lot of softness going on and there's a lot of features that are really interesting. I think the hair is very interesting, right? It reminds us that it's a mammal. The second thing is the pig's snout here that I think the ears and the snout are kind of interesting and we'll get into a few of the features in a little bit, right? But look at that little lips, right? Small little eyes, but these ears, Gs, they look pretty familiar, right? Yeah. So I think that I think it's worth noting all the hair underneath and these features as well. Sure, we can look at the patterning of the armor and stuff and I think that's important too. It's basically scales. Okay, so I guess I am getting into details. Finally, we can do these kinda armored scales and stuff like that, right? And drawing them out is going to drive you insane. Holy, these are tedious as heck, right? You can kinda save, save it a little bit if you want to do bands, draw some bands across. And then just kinda market or loop it like this. That's one way to kind of save your time. But truthfully, if you want to look really good, you're going to want to draw them in individually, right? Especially if you're wanting to render this drawing of your armadillo in more of a kind of a fine art portrait or anything. You're going to want to take the time to put these details in here. Okay? So, yeah, look at a snout, look at the ears, look at a soft under carriage, right? I think those are pretty important. Let's go and we'll take a look at a little bit more details here. He's a cutie. Yeah. And look at all the patterns. I love it. What I love here, if I'm looking at it, is that most of the snout here is covered in this armor and it kinda just covers over the eye. Comes back up top, comes over here, and comes back down again, right? Until this, it fades out a little bit towards the nose, right? It gets a little bit softer, just a little bit. But then the you can see how the scales start to the or the armor plates depends how we want to phrase. It. Starts to really take hold, okay. And then they start to become more separate like so here they're kinda branching off of each other. And then here, as it goes on, starts to become a little bit more separate. Alright? And you can see actually the light reflecting off of it. So that means there are somewhat raised. Yeah, that looks pretty cool. And you can make it up. You can make up your own pattern. It doesn't have to follow because, you know, I don't know, I don't hang around with a lot of armadillos, but I'm guessing each individual has a little bit of its own personality to its pattern. All right? A little bit more of a gap between some parts of its armor than others. But I think it's important that, you know, you've realized that it's not all going to be the same pattern that as it, as it moves through different parts of the armadillo, you're gonna get a little bit of a different style going on. All right? Okay, so we're kinda gonna do this. You know, I've seen armadillos. I've seen them in real life, but only in zoos I don't live. I've never been to the southern actually, no, I had been to the Southern United States, but I've never seen one on the road. I'd love to just, you know, how they show in the movies. So you're driving along and there's one of these little guys just crossing the road. I think that'd be awesome to see. Right. Here we go. We're almost done. This skullcap of his. Alright. Yeah, I like it. You know, if you're coloring it, then you might want to put in this this base color underneath and then a different darker color for the plates, right? And as you get towards the edges, you can start to make it a little bit smaller. Cool. Just like up top, we notice that the armadillo had little cute almond eyes. Okay. There's a little bit of puffiness around them. Maybe he hasn't slept very much. Comes into here and we notice that there's, There's a little bit of hair coming off as chin. Remember we could see that in in that other piece that we're referencing, right? And then it's, you can see a bit of the folds of the skin coming here into these cute little basically figures, right? And so you can, I'm sure if I trace back the lineage of an armadillo, they'd have some, Oops, sorry, I keep bouncing around Anya. Some bit of pig relationship there. We can't see it on this photo, but we know that it's got a little pig's snout, right? Okay. We also can see that once these claws come out, Jeez, these are cool-looking. No doubt, for digging in the ground for grubs and stuff. I got you can give a little bit of a rim around the toenail itself and then head on in to the toe. So what all explained as if you just draw this as a toe? Yeah, it looks okay. Right. But if you draw this and then you give and here's the toenail, right? You give a little bit of a lip around, a little rim around. And so just like humans have a cuticle and stuff like that. And the little bit of detail on the nail or something. It's not such a flat plane. This would be for simple maybe animations or something like that, right? But if you're wanting to get into more detail, you want to put this little rim around the edge of the nail. Okay. And then we know he's got this kind of hairy, soft underbelly right? There we go. And most likely there's another toe. Let's see. Yeah, he's got four right there, kind of the main two ones and then to side less dominant ones, right? So we know that there's another one shooting off to the side here, but I don't think I'm going to draw it underneath the snout. It's not going to help this drawing at all, but I just know that it's there. Let's see, I want to draw this one. These totally look like some alien reptile toes or something, right? Awesome looking. Love it. A little bit of texture on that, right? And you can see how it also his, his limbs start to get some texturing as they move up into these multi-layered panels. Almost looks like how citing. All right. Okay. Cool. This one off to the side. Just a little bit tiny. There we go. Okay. So like I said, you want to put this kinda rim around some of these nails, okay. Just to give a bit of realism to them. So they're not just hanging there. Cool. Now, the shell, we're looking at it from the front. So it's coming down. If you notice, there's actually a rim, a little bit of a rim here that follows around this first part, right? It's slightly raised, especially around the neck. Okay. So we're gonna come up. Good enough. Okay. Now, I don't know how long you want to sit here and watch me draw scales. But what I might do, for example, is a rough the min here for you. Larger, right? And the thing is there's gonna, they're gonna follow a certain pattern. They're going to be most likely larger in certain areas of the shell and obviously larger as they are closer to you from what it looks like here. Sorry. It looks like that the down towards the base of it has a little bit of a larger pattern to it. So let's take a look here. Let's draw them in just a little bit. Usually I worked from one direction, not the band, but like in Word. Okay. And we can see how they're already, they're starting to get a little smaller. The patterning is getting a little bit tighter. So I can do that through the whole shell. I don't think I want to kill you though on that. Like honestly, I think it's interesting for me because it'll it'll look good once I finish it all up and everything room. But I think for you as a student, I don't think that's the most advantageous use of your time for watching it. And it also keep in mind that there's different patterns for different guys here and stuff. There's little subsections to the species, right? And so this one upfront, you know, he's got these these types of armor plates, these little nodules. But remember this is the main section, right? This is the unmoving section, right? And then we can see how this second section and third section almost looks like it's got this diamond pattern to it, right? Does that make sense? So we can follow that pattern? Yeah, so really what I would recommend doing is when you're drawing an armadillo, get a reference for just like I've got him here for the different patterns of the armor plates and then pick a pick one or pick a few and get consistent with it, right? You know, like see how it looks, how you want it. For this guy. He's looking the same thing. This front section is a lot of these hard kind of semicircular patterns. In here we've got the, the 2 third triangle type of pattern, right? And then by the time it gets back here, they get elongated a little bit stronger. And then it goes back into our, our little circular pattern, right? We already talked about some of the patterns that are on his head. We talked about the details of the clause for him. But just like on the leg, how we noticed it was kinda like layering of citing the tail really has at it in the other picture that I put put it up, didn't have the tail, right. So let's take a look at it here. It's almost like, well, basically it is armored plates. I think there's a reason this guy got the name the armadillo, right? Okay. So you can think of it in sections. There we go. Yeah. And you know, if I would give a little bit of a ridge to this or something to give it some form. If I was rendering it to make it look like there's there's some validity to it. There we go. Yeah, and I'd keep rendering back here. Maybe I'll even just kinda go in rows following the semi circumference or what I think would be a nice flow along the shape, right? Yeah, that's starting to get the, the flavor of it, right? You know, you don't necessarily want perfection in patterns, animals or not, and shouldn't be computer-generated. All right, so you want to have some irregularities, some big ones, small ones, right? Some differences in patterns so that it looks a little bit more natural. There we go. Yeah, that's looking cool. So that's one way to do it, right? Yeah. And that was far speedier and then I'd probably come here and maybe do might do that To thing. Right? That's what they look like to me. Like kinda like a tooth pattern. But not sharp cool teeth or anything just kinda like boring incisors or something. And then that's how a pattern out the whole thing. Okay, let's take a look. Even if we turn off the references, we can see how it's making sense these irregular patterns, how they look really good, right? I don't know if I would do it over my sketch work. Try to put it on another layer, you know, erased the sketches or feed them in back a little bit and then start to put the details in. Okay. We'll review a little bit. We've got the normal four-legged skeleton that we're getting a little bit more comfortable with. Listen, I know that the structures of these legs are pretty unfamiliar to us as humans, right? Maybe if you own a dog or a cat, you're a little bit more familiar with it because you got it around the house so much. But yeah, it's going to take awhile. So I have a feeling after we get through five or 10 animals or something like that, especially pattern like this, you'll get a lot more comfortable with it. Okay? Then we saw that wearing this big banana bread loaf on top of whatever, right? Then we went over here and we took a look at what's actually underneath, right? And we also looked at how this partitions into different sections. How we've got this middle, say 60 or 70 percent, that's really kinda flexible accordion style, right? So that's kinda cool. And then the front and the back are harder. And the reason for that is because of part of its mobility, right? Yes, it can walk along. But it also has this cool little wrapping effect, right? What does it do? It can, sometimes it starts off like this. Turns itself over, turns itself way over, wraps itself into a complete ball. Gs. Is that ever cool? Pretty amazing. This is unwrapped and we got to see the underbelly. Remember that the underbelly is free. It looks like honestly like a little hairy piglet or something like that. I think to be frank, this looks a lot like a piglet or closer to a rodent like a rat. You know, there's a lot of similarities to both of them, right? We started then to look at details. Looking at the snout, looking at the ears, the little almond eyes. Some of the clause, very simple clause, right? And then down here we started to render it a lot more. Looking at the interesting show patterns. The this one is only showing the front of the shell. So it's going to be more solidified because we know what, we can't see the accordion part of it or anything, but we can't see the pattern on the top of this head, which helps it lock into this little ball later, right. So it tucks, it's years old, a soft, hairy parts in and all you get is this hard outer, outer shell. Also of note, watch out for the fingernails. This is also when you're drawing any type of dragon or reptile or anything like that, you know, these kinda clause are awesome. Just make sure you put the attention to detail into them. Okay. I do believe that is our armadillo. I know this was not an animal, you expected it and maybe not something you're probably going to draw every day. But really, I think it's worth noting, especially that armor rollup, right? I think that's pretty damn awesome. So what I'm hoping is that I provided the worksheets for you. You can practice on the one. I'm gonna give you two sheets per, per unit here, right? One that shows my sketches over top of it all and stuff I got so you can kinda do it all around it. And then one that's more blank. And so you can try to recreate draw. So we've got the armadillo here. You can practice these same things, right and right in this spot below our, Something like that, right? I actually gave you a spot here. You can practice below. You could practice beside. You can practice these nails anywhere and stuff like that. Okay. Practice off to the side. Okay. Now that I've said practice about five times there, I'm going to say it one more time. Practice. 8. Animals - Drawing Horses: Hey guys, what's up? It's add here and I've got another how to draw animals video for you here. Let's see what are we gonna do today? Horses. Horses are kinda awesome, right? They don't call them majestic for nothing. There's a whole lot of reasoning behind that. And that's what we're going to find out. All right, so as usual, what do I start with? Those structure? That's right. I draw it this horse skeleton for us to kinda take a look. And am I going to make you memorize this skeleton? No way. I couldn't memorize this thing. Right. I know some of it wouldn't be too bad. The ribcage and the backbone and that kinda stuff, right? Maybe even the shape of the skull or something, but overall, especially the bones in the legs and the joints. No way this way too complicated for me. So instead, Let's simplify, right? Okay, so what we're going to use this, I'm going to use my blue pencil here and try to find the masses. One mass would be here, There's ribcage is an obvious one, right? It's the main one with, interesting enough, here's the scapula here at now. Similar to some other animals, this scapula is somewhat fixed. It's not as flexible as in I, it is in cats and monkeys and humans and stuff. I get the horse scapula is a little bit fixed. A lot of this has to do with positional motion, like how animals in a patterns they move and stuffed animals that move side to side, up, down all that kind of around and stuff and twist usually have more flexible and floating scapula. Animals that move forward have a little bit more of a fixed scapula, right? So we can think of the shoulder, whether we think of it up here or whether we think of it right here. It doesn't really matter because it's actually coming down here. And this is the first joint down here that really moves. This one up here does somewhat it does move a bit. We can get some motion on it, but it won't be massive. Okay. So I'd like to say the shoulder is here, but, you know, it depends how you want to look at it. Go. The other thing is, here's the actual hip. The hip is tiny on this thing. Amazing, right? But we're going to look at this whole rump. I like the word a rump, this whole posterior back here as the next big mass. Okay, so we've got this ribcage here, we've got this big mass, and then we've got in the middle of this mass where the leg joints come out. The legs come forward into what would be a knee? If you can believe it, it's quite high up back into what would be kind of an ankle. Or secondly, I guess c, This is where my, my human analogies don't really fit up that much, right? So let's count it 123. And let's call this the ankle. Okay. So this we're just going to say it. Horses have like toonies. It doesn't really work that way, but they've got these flexible joints. And the joints become a little bit more flexible as they move down somewhat, you can see the hoofs will get a lot of rotation on them and stuff. So that's kinda what's happening here too. We've got the ankle, this joint leading up to here, right. So we've got 12 and then up to here. This is the actual shoulder insertion off of the scapula here. Okay. And it comes down here into what could be the first joint, second joint. Ankle. From the ankle on down, we've got a whole bunch of little little bones that connect into the hoof. I like to just draw the hoof as a triangle or as a kind of a shape type, not a pentagon, some trapezoid type. Right. And then connect it to that angle part. Okay. So that ankle will come across. I'm just going to connect it. So if I get rid of this, that's what it's gonna look like. Nice and simple, right? And even if I wanted to do this, these two joints here, get rid of it and I come down to here. That's really how the horse is going to look. Minus ahead. Yeah. You can tell that this torso section, the ribcage sections quite big. Maybe 1.5 of the rump, right? And then we've got the head. The head is this nice kinda cone type. Let's go with cone. I was thinking of like a candy type of cone or something like that, but yeah, it's just a nice cone shape. Okay. Kinda rounds out at the end here a little bit, right? And then the backbone comes in. So the thing about these backbone, I don't know if you notice it a different than the other ones that we've done so far. But it is strong, it's reinforced actually. And yeah, there's a reason why this animal is so strong, it carrying a load, right? So this head is not very big, maybe about half. Well, generally it's big compared to most most animals and stuff. Obviously horses have big heads, but compared to the rest of the body, it's not massive or anything. Let's say that it's about half the size of this ribcage or so. So if you're, you know, what I tried to do is use the proportions within the same animal. You know, if I'm looking at this animal and I'm trying to figure out, okay, I know that the ribcage is about double the length of the head. Pretty good. And then I know that the neck is about the length of a head, approximately. Right. So if I'm going to stretch it out, which I wouldn't necessarily, you know, I could do one rib cage to ribcage and there we go. The head would be maybe the neck good. Come down and then I can do the head, something like that. Right. Okay. And actually proportionally, that looks about right? Right? Let's see if we can figure this out as we look at our more realistic model here. All right, we're going to find that ribcage again. We're going to find the rump, right? The ribcage was pretty big. The backbone came up, came to the head. And we're going to use this cone technique. That's how big the rib cages, the ramps may be. A little bit less than that, 30 percent less or something like that. Right. And our head looks about right? Yeah. All of these dimensions look right. We said we're going to have the joint here. This is the one off the shoulder. Comes down to this one. Comes down to here. It comes down to the ankle. Right? Let's do it again for the rear one, looking at what's going on here. Here's the actual joint and the hip in the middle of the hip. Right? It comes to this first part, Second part, down to the ankle, and then to the hoof. Now, this hoof is actually here and then there's a line here, right? We can draw the hoof and then that line going down. Okay, let's see if that makes sense. We know this would come up here and this would come up to the, the other thing if I was drawing through, That's how I do it. Let's start at the bottom here. Come up to the ankle, come up to this joint, come up to this one. And most likely the other shoulder scapula is just a little bit forward and then coming back. Geez, do we think we can draw this? What do you think? We'll draw it smaller. We know that the, if I was to run the backbone here and then I can use the cone. Right? Now. How long are the legs compared to the body? Well, we can see that the body itself is almost the same length or height as the legs. The head, well, the head can go up a little bit. We had the head coming down a little bit. Right? So we're not too worried about head. I'm looking at it more from a shoulder position here. And from the shoulder position up here, we know that this length to this length is going to be approximately the feet. We can add in where the joints go. Bring it down, bring it down to here, down to there, right. Bring this one forward, back again, straight down. And that's how we can add in. Yeah, that's a very basic skeleton of the horse, right? Can maybe go a little bit longer than the legs, but that'll work. Cool. Okay. Yeah, I think I should have made the legs just a tad longer here. But you get it right. That's really this is what you're doing when you're trying to study the structure and form, you're looking at the proportions, right? Where we were looking at the proportions from the hind to the front and we're looking at the height proportions. Okay? Yeah, now that I lengthen, it looks a lot better. Okay. Let's move on to motion. We're going to rough in the form again, just because it's going to really help us here. Roughen the rib, the rump. I like saying that the rib, the rump, the head. Okay. Now, there's a few different things that are happening here. These horses are obviously running, right? And their legs are in different formats. I like this middle one to start with because it's the most dramatic. Let's look at where, where this is coming from. Remember how I said this part is kind of fixed, right? It's not moving tons, moves a little bit. You can see how it's coming down for this one. Coming up here for this one, write it comes to this joint, comes down to the ankle, and then this hoof is come forward. This hoof is here. We've got the ankle, you've got this joint. And this one is here, right. This comes down to that first joint, second joint, ankle. And hoof. These are almost aligned. This one comes to this joint, second joint, ankle and hoof. Okay. The one thing you're going to see is this kinda sweeping motion of the back. Sometimes as it extends the belly, extends, the legs, extend, right? That's when it's running. This one's kind of, I guess we could call it a jog type of thing. We've got the shoulder girdle that comes here. Right. The scapula locked in comes down to this joint. Ankle and knee. This joint. Ankle. Sorry, not knee. Right. And you can tell like at this point, it's starting to get a little bit of a rounder. Look to the back here. What's happening is these legs are starting to come in. These legs are coming this way. These legs are coming in this way. And then they're going to spread open like this one. I'm taking big steps. Alright. Okay. We'll come off of the hip down to this joint, ankle and into the hoof. Okay. So this guy is a little bit more upright. This guys racing forward, right? You can tell this sweep. This one's not as dynamic. Okay? And we can see in kinda the speeds of the tail here, this one's could just kinda hear fluttering about this ones like Dragon way behind because he's Holland, but okay. And this one, I think he's a little bit more than a center. Maybe. He's just kinda trotting along. We want to lock in where the joints are. Just lock scapula here. Right. One joint to joint ankle. Same ones coming from behind. One joint second joint. Ankle. Hoof. Hoof. What if I was to move this hoof just even a little bit further back, this is what I would like you to do when you're practicing this. I gave you some space below here. Move. Move it just a little bit more. Move this hoof forward and see how it takes you, right? See if that makes sense, right. See you See if you can push some of this motion for this one. Why not push one hoof even further out? You know, like we're going to lock in the body here, right? We're going to lock in the head. And we're going to have this part flowing. This part extended this up into the shoulder. Now what if I put the hoof even further back? Alright. And if I want to, I can change this. Have one hoof here, the other hoof here, one out here, and one out here. How would I connect these right? Do I just draw a straight line for these front ones? Yeah, I could probably get away with that. But for these backwards, we know that they're multi jointed or that the joints bend a lot. So instead of these straight lines, they don't really work very well. What we could do is try to draw it in. Let's see. This is that first one down to the second one, down to the ankle. And actually this huff would be further. This one bends over this way down to the second, down to the ankle, down to the hoof. Right? This one comes down, comes back, and then out to the ankle and the hoof. This one can come down, come back down to the ankle, and out to the Huff. Looking mighty strange, right? You know why? Because horses don't usually walk in this pattern. They're not as synchronized as some of the other animals that do walk in this pattern, right? When they walk, well, they do, they have this kind of bend. Actually, we can see it happening here. The far too are close together. The closer ones are far apart. So this is what's distorting us here. If this one is the one closer to us and this one is the one closer to us. It'll make a lot more sense if we bring this leg down and flesh it out a little bit. As this one comes forward. Comes forward there. All right. Cool. There we go. Okay, so I've left you some room here, down below here, and down below this guy. And you can start to just draw in the motion a little bit. Like I said, you can kinda tell by how fast these guys are moving just by the flow of their tail, right? It's good reference point. What I hope while I'm doing this is you're either following along with me, kind of sketching over top of my sketches or you're doing it on the worksheet that are provided, that's a blank, right? You're able to work on it there and come. All right. We're moving on. This is when we're going to get into detailing, right? I want to put some details into this. Now. That doesn't mean I don't ignore the structure. I'm going to still actually, sorry, the rib cages here. The rump is here. All right. The head is here. Just kinda lightly putting it in right now at Camp, this guy's got a really long neck and the tails coming down below. We can put the joints in that we've already studied. Okay. We know this one's coming here, coming down ankle, hoof. We know this as a lock scapula to hear. Right. How did we have that? Two here? Sorry to hear right on this guy. Down to this joint, down to the ankle. And this hoof. The other one is behind here. Down to this joint. Down to this ankle. The hoof. Okay. So now that we've got that roughed in, what do we look for, for interesting details on horses. For me, I think one of the key things are the muscularity. Horses are kinda awesome, right? And so we can follow this, we can follow this joint format and know that there's muscles that are hanging off of the horse that come here, right? So these muscles, and then what happens is even though all of this is developed, it becomes almost strained and tendon right down into the lumpy joint. So you've got this massive muscle bellies that are powering these these lean, almost brittle looking joints, right? Coming down to where the hoof is. I'm going to leave the host for now. But you can see how bulbous these joints are, almost like ugly knuckles or something. Okay. So once again, we're going to look at the muscle, the rhombus. There's a whole lot of muscle going on. Every line in bold you see happening here is a developed muscle, okay? So you really should make sure you put in all of that into the horse. It'd be like a drawing. A character without biceps or something. You're trying to draw an athlete, but you're missing some of the key points of it. All right, here's the bony limb on the back, down into that ankle area. You can see how we can use this ankle references as a bit of the nub, right? These joints, we can come to this point. Come down, use the nub, come back up. Come here, use it around the ankle where we've kinda roughed it in, right. And then we come to the hoof key. The hoof. You can think of it kinda like a fingernail if you'd like. It's not exactly at obviously a lot more solid. But it has some similarities to it. You're going to have a rim where like for example, the cuticle would be and then you're going to have that solid material coming out of there. But with that solid material, you'll often get kind of grains or green patterns going into it and stuff. So don't, don't ignore those. Make sure you put those in. That adds a little bit of an effect that you know what you're talking about with it. It's not just a smooth surface, it's not a painted or shiny fingernail, but rather it's it has some grooves that almost look fibers to it. All right. Okay. So we can put that there. Cool. So that's something that I think is pretty cool when it comes to horses that we've got the muscles all through it, I would say for me that the shoulder muscle, basically the parts that are attached to the legs, what our horse is famous for running, right? So that's, that's one of the massive parts of the muscle is Around the two major joint movers, the shoulder complex and the hip complex, right? The other thing that we're going to see a little bit of, and we'll get into it later is the cool structures around the head. I love the cheeks on these suckers right there. Awesome. We can rough this in for now. I'm just going to show it to you as we get into heads. Okay. We'll have this. Let's see. There we go. Perfect. Cool. Okay, That's a head from the side, but that's not what I want to show you. Let's go into these heads. Remember how we started the heads with kind of a cone, right? So let's see if that holds true. You can have a bit of a cone here. With a center line down the middle, you actually mark maybe a center line comes this way. Let's see if this one works to a bit of a cone with a center line down the middle. And you can tell these cones are shifting their position a little bit on me here, right? The center line is gradually moving closer as they start looking towards us, right? The eyes are really high up. The really high up on the head. Alright. Okay. They bulge out a little bit. There's a little bit of an eyebrow to them and you can't always see it from the side. You know, animals that are usually prey have eyes that are more based on the side of the head so that they may be going forward. The vision is not as great, but on the sides and their peripheral vision is, is amazing, right? And so that's what horses are really strong with, as well as having that that extra structure on the side there. So these are down to the next. Now, why don't we add some detail in here, which first we want to work on first. Let's say this guy, iss, we can see they have this nice kinda Allman shape. They're quite dark though. Okay? Like I said, there is some shaping and eyebrows around the eyes. There is some structure there. Okay? There is some structure. But it's not as, as hanging as with, for example, an APR or a human or anything like that, we can see how the vowel is actually a developed muscle. There's some underlying skeletal structure, things here in the skull, okay. We can go down into the mouth here and the nostrils. And actually the nostril has this nice little rim around it as well. Kinda cool, right? Yeah. The ears. The ears can perk up a little bit as long as they have a bit of structure supporting them. Right. And then we've got the head down into the neck. We've also got the main, the main can flow in a lot of different ways depending on the breed of the horse, the style of the horse rate it can flop over to one side. It can be bushy. It can be a lot of different things, okay? So you kinda, you know, you gotta research which horse you wanting to draw. See which one suits the style of what you're trying to achieve right now, I'm going to draw in this other nostril here. Actually it's a little higher up. So what you can do is kind of line things, oops. Line them this way, line up this way, right? So that you know that there are matching and symmetrical. Okay? We've got this horse, we've got the big mandible type right into the eyes. Depending on how much detail you want to put under the eyes, It's up to you. Like I said, sometimes especially off to the side here. Now this horse's mane, I'm just going to nicely rough in here. I'm not going to draw the details of the hair. That's not what I wanted to do for that horse. Depending on your style, you might want to what you're trying to achieve, right? Cool. Occasionally you'll see veins on a, on a horse, you know, depending any creature that doesn't have a lot of thick dense hair you, especially if they're very active, we want to say muscular or whatever. You might see some veins and then so you'll see, if you're going to see them anywhere, you'll see them like where the hair is, the thinnest, maybe along the legs a little bit, right? Or in the face. And that's what we're seeing here. We're seeing a couple of veins, okay, so now we've got a horse looking almost straight on. We've got the brow coming into the nostril here, into the lips, into the mouth, into the mall. There we go. And this guy's got a cute little part of hair. It looks like somebody designed it this way. Alright. Comes back into there. So whenever you're doing years, make sure they've got some type of supporting structure on them. All right. Imagine holding up a paper. You wouldn't be able to hold it unless you folded or bended, right? One thing I want to talk about though, before we finish up here is to look at the skull just a little bit and you can see, I don't know if you can see here, but this is actually how the skull is positioned. This is where the nose is, comes down to where the teeth are. And these front teeth look like that. There's these incisors that are upfront kinda thing. And then there's a sharp under incisor and then it comes back here and the rest of these teeth back here. Basically, if I draw them like this, they're all for just mulching, chewing and stuff, right? So you can see if we're looking at the skull again here, you can see how it's, a lot of this is really familiar for the facial features we are just working on, right? Does that make sense? So like I said, these almost rabbit teeth in the front, they're bigger than rabbits though. This bottom tooth, these are the incisors, right? Then you're going to have these teeth back here that are just for chewing and chewing and chewing. All right. Okay. Anything else? Sometimes the horses ears will be straighter. Depends. Yeah. Look at this guy's main. It's all floppy. He needs some conditioner, I think. All right. Cool. Okay. I think we've got it. Let's take a look. Yeah, those are cool. Oh hey, you know what? This main and this table is kinda awesome. We talked about tails when it, now that I'm looking at this one though, we know there's some body to this tail in the structure of the skeleton, right? We've already kinda seen hints of it when we're doing a skeleton. But look at the hair on this thing. This is, this horse looks like a wild horse or some kind of awesome. All right. And then this main usually starts from a bolt the top of the shoulder. Sometimes it can start from the back here, but starts from both. The top of the shoulder, starts moving around and this thing is just flowing like the wind. This is awesome. I love this looseness to it and stuff, right? So you don't always have to draw it all tame and manicured and stuff I got if it's a windy day, let it fly, right? Yeah, That's cool. Much better. Very, very cool. Some very cool horses. Okay. So I guess that we started off on structure. We looked at the major masses of the horse. We've got the ribcage, the hips, and the head. Then we looked at the legs. Now, I'm going to tell you these legs are hard. You're going to have to practice and practice and practice them. Okay. There's someone familiar to a human's lake, right? There's these bends to them that we don't normally have and stuff right. There's that almost extra joint. All right. So I want you to really take time to draw those legs as many times as you can. Moving down. We saw the movement of the horse and how the legs move with it. But you know what, they still operate on a similar thing, the hinge out of the hip, the hinge O to the shoulder. All right. Okay. Out of this lower base here. Right. Then we worked on detailing. We look looked at the musculature. And the musculature was following the function. That function is to get this massive body moving across flatlands, right? And so thin, thin legs supported up top by massive amount of muscle. Okay. And then we looked at the details of the face, big nostrils, big long face that we used a cone for and everything. And the alignment of the eyes, little bit of an eyebrow. And then these interesting means, as many hairstyles for horses as I guess humans got right. I really hope that this unit was interesting for you. And I hope that you're practicing, you know, this. Just listening to this for 20 or 30 minutes is really not gonna do it for you. You know, what I really hope is that you're following along. And once you've done the sheet with me, try it again without me. See what you can do without me nattering in your ear and stuff and see if that helps you. Okay. All right. Keep drawing guys. 9. Animals - Drawing Leopards: Hey guys, what's up? And here with another class of how to draw animals. Today, we're gonna do some, a little bit more flexible. Well, let's see. Leopards. Yes, that'll be flexible. Yeah. Where do we start? Well, you know, I like to start at the structure, right? Always going with the structure. The structure is the easiest for me to start with. Let's see how we roll from there. Okay? So we're going to look at the skeleton that I've drawn in here. What can I say? I think I did a pretty good job with this guy. Actually, he I think he looks pretty solid. You can see how the ribcage is down in this section, right? Long neck, long spine, and small hips. Comes up to a elongated head. Okay. We've got the scapula up here, but they're not fixed. They're kind of some scapula are a little bit fixed in place. We were talking about a rhinoceros in a previous unit, right? This one is a little bit more free floating, even more so than a human scapula and stuff, right? So they, they shift a lot. You'll see them shift as the as the person moves. Okay. So let's look at the joint. The actual shoulder joint would be here, comes down to what would be the elbow, comes down to what would be the wrist and then the hand slash Paul, right shoulder joint on the other side, elbow, the wrist joint. And Paul right here's the hip on either side, comes down to the knees, comes down to the wrist, which is a little bit high. Then you'll notice the Paul actually has this back spur to it. This is instead of on the human heel, There's a bit of a pad here. And then it comes down into the foot, right? That the actual heel bone the heel bone here is is is almost spur like it comes down into the main part of the pause so you can think of it kinda like that, right? That's the way I would simplify it. You will notice also with the ribcage is a floating rib here that's not attached to the center mass. This is where we get into things being really flexible, okay. And there's a little bit of a spine going down into the tail. Not so much, right? Okay. Let's see if we can find the same stuff here. We've got the rib-cage. We've got a very long spine coming to the head here, which is this longer oval shape, right? It actually comes this way, sorry. The heads up this way. Okay. We've got these free-floating scapula up here. Coming down to what would be the elbow to what would be the ankle type of thing. Alright. This other shoulder is on this side. We're drawing through right now, coming down to the ankle, down to the Paul. Okay. We've got the free floating rib. Right? We've got the hip back here. The hips up here, down to the knee, down to the ankle. Now here's that spurred type of thing comes down in this first section. It comes down to the second. Okay. This one comes to the knee. Back here to what would be the ankle. Then you have this spur and the paws down on this side here. Okay? Does that make sense? Right? So the pause is really interesting, actually, if we take a quick look at how they're formed, will draw him a few times, right. But we can kinda rough them in the front. From the ankle joint. We can rough in almost like a fan. Do you I mean, like this type of shape right? From the joint comes down and then you get the individual toes. So from the ankle we come down and we've got this form. And here, the back paws are a little different though. We can do the same thing here. It's much longer. Okay. But they've actually, like I said, they have this spur that comes up in the back. It can actually get pretty high. Okay. So on this one we've got the ankle here, comes down into the main part of the Paul and then kind of the toes. Right. But then also this comes up into this spur type of thing and backup there. Okay, so let's see if we can spot it over here. We come into the ankle on this one. We come down to the Paul. Alright. But then we come up to the spur in the back here, right? This one we came to the ankle. We fend down to the Paul, but then we come up to this spur. So it gives an illusion that and that's the actual bone attaches somewhere up here. But it doesn't really, we can see how it actually comes more into this the midline. And then you've got this heel spur that's kicking up there. Okay. So what I'd like you to do if you can, is to try to draw out this leopard a little bit, okay? See if you can copy some of this skeleton here. Let's see if I back it up just a little bit for you. Okay, so we're going to, Why don't we try to draw it this way? Well, do the ribcage, right? Do the He'll do the head. Okay. Remember that the shoulders will be somewhere around here, can come down to here, down to the ankle. This one we can even move back a little bit further down to the ankle there, right? We can have that short little part for that short little spur for that. Okay. Remember we got that free floating rib, right? Nice long neck. And actually I forgot to put a little bit of the extension on the table back here. Okay. Okay. From the hip. Do we want to have it in the same pose? Why don't we bring it just a little bit further forward, down to here. We have this part with the spur coming up. All right? And this one, we can actually set up further back if we want right. Of the ankle here. This part coming down with the Paul spur coming up to the knee and up and the tail. Right. Does that make sense? Maybe we went to a little bit too small and the hip here. But yeah, this is looking pretty good. There's a lot of meat that would be hanging down underneath here and a lot of meat to the leg that we would add in once we start adding in details and stuff, right? Okay. But we're not gonna do that yet. We're just roughing in the skeleton right now. Okay. Alright, next one is a little bit of a animal and motion, right? And we already started with the cat walking is pretty hard to find a cat not in motion unless it's completely laying down. Capstone stand around much. They always seem to be going somewhere right? Or sleeping. So we're going to rough in the hip and the head. And then from the head, we're going to bring the spine just along the back here. We can see how were the hips would insert. We can see where the shoulders would insert, right? And again, we're drawing through here. So this one would come here. This one would come here, down to here to the Paul, right down here to the wrist. Rest is about there to the Paul. Okay. This one would come to the knee. Come back to this to the ankle. This first part of the foot, second part of the foot and the bone spur would kick back there, right? This was basically parallel, just behind it. Okay. So you can see how how flexible, you know, this thing is going to be moving, it's going to be jumping down this way. Right? Hips, ribcage. Yeah, it looks pretty good. I think if you can try to in the open areas or on the sheet that I provided, you know, I'm gonna give you two copies here. One copy is going to have my doodles all over it. The other copy is going to have room for you. You can draw all over it. Speaking of drawing all over, I think I'm going to erase some of this just to give us some room here. Interesting view on this. How are we going to look at the skeleton from kind of a top-down thing, right? Well, we can look at this backbone. Here's the head. All right? There's the backbone coming down into the tail. We know that the ribcage would be just down from the head and we know that the hips would be down from there. Alright. So this is actually a good vantage point from the top that we could to see. Well, here's the down to the level. Down to the Hubble, was obscured there from the head right down into what would be the wrist, down into what would be the wrist. And then the pause. The pause there. Cute little boss. He's gotten him. Okay. This one's actually interesting. It comes to what would be the knee comes out to what would be the knee? Back. Back towards what would be the ankles right. Then we have from there down into the parts of the Paul, right? Down into the ball and then it kicks back into this bone spur. Okay. And then we've got the tail. You want to try to draw that again? Let's go beside and see how that works. Okay, I'll zoom in a little bit for you and we'll practice together. Maybe I'll back up for 1 second here just as we draw. The spine, right. Just so it's roughly following the same way. Okay. So we've got we've got a head hear back from the head. We've got a spot or the ribcage and everything right? On the rib-cage. We've got the two shoulders. We're looking at it from up top here, right. So actually the, maybe the top would go something like this as it folds, folds around and then folds over the head, right? The circumference lines on our spheres, right? Comes down to the album. This one's going to come down to the elbow. They're going to come out to the wrist. This one is going to come up to the wrist. This one's going to form into its Paul, can I like to have the Think of it this way? This is like the palm of the hand or the back of the hand. And then you've got the fingers extending. Okay. Let me go back here. We've got the hips. The insertion for the hips comes out, comes forward. There's the knee, comes back into the ankle, comes back into the ankle right from the ankle. If you want, you could do a little bone spur here already just following the leg if you want. But for me I like to draw the Paul draw the claw. Well, I think that's, that's how will it maybe it right, draw the Paul, the claw. Nice and easy, right? And then the tail goes off to the side here. All right. How's that looking? Yeah. Nice and fluid. That's what you want when you're drawing cats like this. Okay. We're gonna talk about a lot of different cats who the units and everything. But I wanted to start with jaguars because they're damn cool. Look in there that kinda almost middle ground between a house cat and a massive lion or something. They carry a lot of flexibility to them and they've got a cool pattern and stuff that we'll take a look at in a bit. All right? Okay. So what you can do going forward is just try to see if you could fill in. Let's see if I could fill in where this cat would go, right? Okay, So I'm going to have this cat come this way. Let's come on down this way so you can see it's looking this way, right? It's shoulders are going to be here. But let's go with this flow here. We've already got it. It's hips are going to be here. Okay. So it's kinda jumping. How's it going to be jumping? Let's see. We'll bring the elbows down. Actually, you know what, Sometimes I like to place the pause where I want them to be first. So I'll put the, the pause out here. And I'll bring the elbows down here. Put the pause, put the clause. That's the way it's going there. And then this one, I want the knees to be coming forward and then back again as if it's leaping right and back to the ankle, back to that spur but you can't see it. And then I'll put the I wanted the underside. The underside of the Paul and the claw. Okay. And then this tail is going to be moving up this way or something, right? So you can see how fluid is he's bending back and forth. Maybe he's jumping off a tree, a twisting, twisting. The cool thing about cats as they get a lot of twist in mid air, right? So you can really catch that if you, if you want, that, they're really awesome, really flexible. Alright, now we've done a bit of the structure and we've done some movement. Let's take a look at how to add some details into this. Okay, I'm going to start with this cat here first. I said using kind of a, an oval shape. You can do that. You can do a round shape and then add a muscle to it if you want. It's up to you. I prefer the oval shape when it comes to a cat's head, especially these bigger cats and stuff, right? So really, it's up to you. Let's go with this guy first and we're going to look at the structure of the head a little bit. We can come down here and we have this line. It works better here and then it kind of drops off at the snout here, right? And then the eyeline years up top. So how do I start to add detail in here? One of the key things for the cats or the nose, right? You can add this in. They have a bit of a bridge that goes to the eye. It's not a hard bridge or anything like that, but it's definitely there. Okay. In particular, these cats seem to have that crying, crying kinda pattern going on. Then they have these the upper portion of the mouth and then the lower portion, right? So proportion comes here. This one comes out to the cheek. And there we go. We also get however many whiskers we want at it in there. All right. Okay, So for a cat, I think one of the key points, especially these bigger Katz's, the nose. Make sure you get the nose right. Make sure you get these eyes right. Okay. You can use that as a line that's coming up from the nose. And then it sweeps over. There's not a huge brow or anything like that. These cats ears aren't as pointed as some. They might be. Kinda Harry though. Now that I'm looking interesting, There's crosses of hairs coming from everywhere and stuff I got right. And then we've got the top of the head here. Okay. Nice, nice, nice. Okay, so that's one of the key points of the cat. Nose, eyes, and watch the years a little bit. Why don't we do it from the front here or from the side rather, we'll look at this cat here and see if we can get the same kind of thing. Knows from the side. Comes up in the nostril, right? We've got this bridge coming over here from the side. It looks a little bit more defined. On humans, this little part is called the caruncle. I'm not sure what it is on a cat. Maybe has the same one. You can see the, this first part of the mouth has this below kinda thing and then it comes into the rest of the mouth. And then the cats. The rest of it comes down into the neck, right? We come up well, I like these little eyelashes. I don't think I really notice them that much. Into the ear. You want to have some body to the ER, right? So they hold itself up. And in this case, it's a whole lot of hair. There we go. And of course, the whiskers. Depending on how how prominent you'll want to make them and stuff I go right? But they're definitely a part of the cat. You can even have some coming from the other side there. Yep. Okay. So we've got cat features going on right now. Right as in the facial features. I want to just do we want to do the body a little bit so we can see see what's going on. We've got a hip here. Just roughly. I want to follow the spine coming up, comes up. Look at how much this HEC, or this cat can twist its head. And then we've got the actual ribcage coming along. This weights comes under here. You've got the shoulders up in here that you can see them coming down from. And then obviously the legs are coming down from that point to ripening. Here's the Paul, the claws on the other side. Here's the elbow up to there. The other one's pretty obscured, so no need to put it in. Here's the hips coming up to the knee, coming up to the knee, and then likely back down again, back down again into the leg and foot somewhere. Right. And the late coming or the tail coming out there. Okay, the next cool thing about leopards as the markings, right? One thing you're going to notice with markings is that the row that lines the back? Let's see if I can bump this up a little bit. Is usually a lot more solid. So this, this row that's going to align the back. We'll just follow our little spinal line here and go up. Up the back. Is usually the more solid variety. Okay. As as we get out are actually, why don't I finish this off? I'm going to do this solid look. I love how leopards look. So we can even use that as it comes down the tail that, but as it comes out, it starts to get this surrounding circular pattern a little bit, right? They starts to move around and it gets bits of almost like as if you're trying to draw the outside of a flower circle but not quite completing it. So you can do that as you move out from center. They're dark inside. And as you move out from center, you can have this Circular, not quite finished type of look. So you don't want to have it all circles all over the place. You don't want to have them regular or anything. They're very irregular. They start to bunch up in different places and stuff. I got just know that especially on the main part of the back, that's when it's going to be darkest and most dense. And you can see on the back of the leg here there's lot in stuffer. So that's how we're gonna do the spots, especially on the body as they come up the back. Like I said, just keep it nice and irregular. They're not so much perfect. Polka dots right there. These irregular spots that oftentimes turn into half constructed, poorly made floral outlines. And you got to think about that. Why would that be? All right? Well, you know, what's the camouflage? What are they trying to hide in or whatever foliage, right? They're trying to. Okay. So actually as you can see how they're stretching out here, they're stretching this way because the skins kinda stretch. But it's right back to my thought. They're, you know, they're hiding out in foliage and stuff, right? So of course that's what they want. They want to have that, that type of camouflage, right? That they blend in. Maybe not color pattern wise, but definitely pattern wise. All right. Okay. Just remember that as we're looking at the side of the cat here, these are going to get a little bit skewed. They're gonna get longer looking because we're not looking at them from head on income. When we get into the face, you can see even more patterns. And just like any person or persons, you know, you're gonna get individual patterns. We can see a trend happening here though. In the, along the middle line. Carrying up from the back, we've got these really small, dense ones or whatever, right? So we can add them in. They seem to disappear around the nose here. But then we've got this bigger pattern ones that flow out around the eye. And you can almost use them. Showing the pattern as they wrap around the form of the skull and everything, right? Does that make sense? So you want to use that as a start to wrap around things. They also have this cool little pattern going on around the mouth. Just darkening up the eye here a little bit. Yeah, this guy's looking pretty cool, right? Okay. So if you're going to focus on drawing leopards, gotta get those spots. And just in case you were curious. Yeah, my hands get a little tired. Normally if I did sum like this, I'd like to take a break, come back to a little bit and stuff and then work on it again. Especially with the digital work for some reason it's a little bit more tedious and stuff. But I think digital displays better for you guys. You know, if it was just inked blotting and stuff, I think it would flow a lot easier for me. But I like how this stuff records on a screen for Yen stuff, right? Much easier. Good. Okay. We can see Hilda. The shoulder came. We can see where the shoulder joint is, right. We can see this these parts coming in here at the neck underneath. Yeah, that's looking pretty darn cool there. Right? Alright. Alright. And that's without even me drawing in the real outline of the animal. Maybe I'll come in and sketch that up a little bit here. Coming up for the shoulder. Here's the body. Here's a shoulder here. More of the body. This part of the body comes down here. We know what you've got some meat of the body here. This leg comes down. It's coming down here. Elbow down into the poll. This part comes into the body. We're going to come into the, I guess the butt, right? This is the but but here's the hip or rather here's the knee part. Comes down into here, comes down into the tail, and likely the foot came down here. Here's the back of the foot and the paws coming out. We can't see this one. This one we can see though. Here's the Paul. Here's going to be the claw coming out, right? Okay. Yeah, that's pretty cool looking. What do we think? Yep. So if I finish up those spots, that definitely looked like a leopard to me, what I would like you to do is you can draw over it right next to it if you want. Let's see if I sketch it out for you just a little bit. We can have a spine coming this way. Here's the hip. Here's the torso. Here's the two shoulders, right? Here's the head coming in. Here's the main line of the head. Here's the main line of the eyes. Hips coming up to the knees and back down again. Back down again, right? Now coming out to there. This one comes down, elbows somewhere around here. Pause here, clause there. Of course this one, if we drove through it would be the same thing but we can't see it, so don't worry about it. I'm hoping that you can spend some extra time and really just start adding in all these cool patterns and stuff, right? I think it's pretty awesome to see how the leopard ends up looking and stuff, right? You can do it as well. On this guy here. Oops. We can, if you want, we can add the blue, blue one below and you can sketch to that. How's that? Yeah, Nice and simple. The head, the spine coming down here. We know that the eyes about this level here, the nose coming out. The years based here. And here. Okay. Hey, I didn't do that on the other side. I guess I can. There we go. Whoops. Here we go. Okay, So I really don't think you want me to draw on all the patterns. I think we can see them here. What I want you to do is try to follow them. Like this lesson is usually around 20 to 30 minutes. I like to keep a kinda tight for you showing the structure, showing the detail, showing what's important. But I'm gonna give you most of the tedious work. Sorry. That's just how it should be, right? You gotta practice, but it's awesome practice, man. Like it's awesome just to work on these, these cats and stuff I get. So take the time, rough out as many poses as you can with these cats, and then start to fill in the details. Start to see where you would add in the eyeline, right? The eyes, how would, you know, here's the nose would come up to the I come up to the eye, right? How would this work? Okay. So you I want you to go in and do this, do it on the next one too. You know, where's that line? I'm not going to draw it for you. I want you to try to draw it, okay? And I think you're going to be much stronger after you finish this page, we went over the basic structure. We went over some basic movements and then some really funky cat movements, right? Then we went over what were important features with the nose, the mouth, the whiskers, the hair, the ears, the eyes, all that kinda stuff. And then the patterns that we see in cats, right? Or rather in these leopards in particular. Okay, I hope this was a good lesson for you. And honestly, I hope you're practicing along because just listening to me do this, I know I got a cool voice and all, but I'm not that cool. I want you practicing along, following along, either on the same worksheet that I'm doing or that blank one that I provide for you. And I think you're going to get tons from this. Okay, Good luck. 10. Animals - Drawing Gorillas: Hey guys, add here with a nother how to draw animals video for you. And I got to say, this one's pretty cool. Today, we're going to be talking about gorillas. So let's get to it. Alright, as usual, what I like to do is start off with the structure a little bit, right? We're going to be looking at the form and skeleton of the gorillas. So why don't we zoom on in here and take a quick look. Now, it's kinda human-like, right? We can see basically, you know, it's a lot of familiar features going on here similar to if you've ever studied human anatomy, right? We've got rib cages, hips, shoulders, skull. It's all a little bit different. But hopefully as we cover the gorilla today, there'll be a lot of similarities to it. Okay, So why don't we start off with the rib-cage a little bit, circling the skull, and then moving on down towards the hips. We're using these spheres as we've been doing for this entire course, right? Nice and easy, right? Then drawing in the backbone here. And let's see where to next, we're going to work on a little bit of where the shoulders would come out. We can see the scapula up there. So the shoulders are coming out near up towards the scapula there, down into what would be the elbow, and down to the wrist and then the hands below. Write. Something interesting here though is you're going to see really how thick the forms are, right? How thick they look compared to what would be a human's bone in that same position, right? You're going to notice that throughout the, the video here is that yes, there are similarities to humans, but there's also a number of differences that stand out here. Okay, so we're gonna do the hind legs here, circling in where the knees would go. About halfway down to the ankles and then up into the feet, right? No details yet, but you can see the length of the hind leg there. If we were to compare it with the front leg or rather the front arm. Geez, it's only about 60 percent of the actual arm, right? That whereas a non-human, usually legs are fair bit longer than their arms, unless you're from New Jersey. But yeah, with a gorilla, it's the arms that are longer. So that's something to make note of. Just always keep in mind that your arms are going to be longer than, than the hind legs on the gorilla. So why don't we move over to the side here and see if we could find some of the form as well in our little reference photo. Okay, We're going to roughen the ribcage here. Actually, you know what? They want to back that a little bit, make it a little bit smaller. Rough and the ribcage roughen the hips, put in the head. And then we're gonna move on to putting in the shoulders and stuff, right? Let's see. I want to make the ribcage a little bit bigger, rough and where the shoulder would start comes down to the elbow, down into the hands. The other arm comes down from the elbow down into the outstretched hand here as well? Right? Okay. We're going to rough in where the hips come from. That back hip goes down to the knee, to that back, ankle and foot. And the one closer to us comes to the knee and back down to this foot. Right. So you can see this walking gait, right? He's kinda as we pan it away. Yeah, makes sense. Two legs are kinda coming towards each other. The other two are outstretched, right? Really casual, Sandra, I think he's got going on here, alright. And we can rough in the backbone just a little bit to make sure it's in place. Okay. You can see there's some things going on with the face here. We've got the muzzle and that bumped to the top. I'm not going to explain that right now. I'm going to leave that for a little bit later. I want I want I want to focus on the form that we've got going on right now. Okay. So roughing back in the shoulders, getting into we are going to place the arms a little bit. I'm going to bump this back just a little bit. Bring that forearm further forward just a little. And you know, what I like to do sometimes is just rough and where I want the feet or the hands to go first and then I'll find how to place the legs in the right position to get there. Okay. So that's something you can do if you know the walking pattern or whatever that you want. Place the place the feet where you're going to position them and then find the way to get there with the limbs. Okay, I love this because this is, the stance is a little bit similar to a human. So we're gonna kinda outline it as if we were drawing a human figure here with the center line. Then the, the ribcage in the middle, roughing in with the circle or the shoulders are and the scapula, right? Very, very familiar. As if we're looking at a human, right? The hips. We can see how they're not there, just a little bit off-center here, right? Then I'm going to rough in the hands. And you can see how the hands come below that crossline, much like a human, right. The wrist is basically at the crossline. Okay. There's just massive okay. Looking from the top of the head down towards the arms, That's a lot of length. When I compare it to the bottom half of the body, right? The lower half compared to the upper half. The upper half is really quite large. Maybe two-thirds, I might even guess 1.5 to one ratio or so at least, right. Okay. So if I was to put it in the hips, coming down to the knee, coming down to the foot, put in the other hip, down to the need down to the foot. Right. Then I'm going to just rough in the arms here. The elbows can be halfway or little bit up from there. The lower arms of the gorillas are often a little bit longer than the humans. So you might want to make sure you have that in mind. Compared to the upper arm. They're a little bit okay. Then we can come up here roughing in the head. Not going to add tons of details yet. I just want to show you that I start off with a basic circle, much like I would a human. Then I've got another circle that goes above, just a soft one and then a smaller one for the muzzle. Okay, this is gonna make sense when we start to really break down the structure of the head, Okay? And you can see how I started here on these other two, which just that simple circle and then expanding off of there, the upper and the lower accompanying ones for the head. Here's the vertical circumference lines showing you like how it's just a little bit off-center here, right? Okay, so if we can practice off to the side, we're gonna do that same thing. Have that vertical circumference line following the muzzle there as well. All right. Cool. So don't worry about that. That bump. This is why it's gonna make sense. Because we've got this bony ridge that's on the top of a gorilla skull that humans don't have, right? So if you look at this bony ridge, it's going to be surrounded by a little bit of fatty tissue and meet up there. So why don't we circle on in the main part of the skull, then do the muzzle, right? And like I said, this is going to be the easier way to track it with a center line down the middle. If we come off to the side here, we're going to circle in the main part of the skull, circle and the muzzle part. And then do that vertical circumference. And you can see how it's starting to take more form there, right? Perfect. And then we can add in what will becoming is that big lumpy tissue that's on the top of the skull there. Okay. Not bad. Not bad. I think we're getting the proportions down. I think it's looking pretty good so far. Why don't we take a look at this guy here. He looks like he's out for a little bit of a jaunt. Alright. Well, these things are massive, right? Okay, so once again, I'd like to start with the ribcage focusing on the main bulk of it, right? This one's a little bit tilted over, so you're not going to, you're going to see the top of it a little bit. We're going to rough in the shoulders. This underneath is a little bit bent under, right. We're going to roughen the arms coming down, elbows down to that wrist point. And that bent over hand, right? Roughened hips a little bit. Show the vertical circumference of that Rachel where the hip insertion comes from. And then we're going to try to figure out where the feeder right. Where would I put the feet? I know that they're down here somewhere. Not necessarily, you know, they're being blocked out. So I'm gonna kinda try to draw through here and imagine where they are. That's that his left leg and his left foot being blocked out by the massive form of the gorilla, right? And then this other one, I would guess the foot is kinda back here. We can get a hint of it. And we're going to come down to the knee and come back to that rear foot. All right. Okay. Not bad. We can see there's a bit of motion here, roughing in the head, the muzzle. Right. And the circumference lines, right? Why don't we come off to the side and see if we can replicate this a little bit. We're going to come in with the big ribcage. The shoulders, right? Massive shoulders. Maybe bring that down a little bit. Has bought his hip rough that in a little bit. Right. And roughen the head. Not bad. Yeah. This is kind of the outline that we're going with. That vertical circumference of the spheres. Rough that in just a little bit. Let's see. I want to bring that shoulder down just a little bit more. Bring the other one up. Bring this down because I want to have that had a little bit further forward different than the reference picture. I want to mix it up a little bit. Okay? So I want to have that band bending under a little bit, this back one I'm going to bend a little bit more rough. Like I said, I like to place the hands where I want to place them. Right. So I'm going to have that hand bending back a little bit as if he's lifting it up more room. I'm going to put in the muzzle here. I think I'll keep the face mostly the same, not going to change around that much. Right. And then the hands or the feet, where am I going to put it? I think I'm going to keep it quite similar. I'm going to rough in where it would insert on the hip, place the foot, and then track it back to the hip. Right. Have that other foot? Yeah. I like I like how this was posed and I don't want to mess with that part of it and have the feet behind. There we go. Right. I changed a couple of things of it had that lead arm a little bit further forward and the other arm bending. But I think you get the point right. Just to make sure what I really want to emphasize is the structure of the gorilla here, right? That we can rough it in, you know, using these simple spheres, right? Going over the things that we've already done. Roughing in the shoulders, plotting the hands out. Nice and simple, right? Putting the elbows in, maybe a little bit higher. Putting in the feet, and then finding the way down from the hip. I actually think I need to I'm going to have to lengthen this hip just a little bit. All right. I think that it was a little bit short. Their legs. We're looking at a little bit too long, right? Finding my central line and it's looking pretty boss. Alright? Keeping in mind that, you know, from the bottom of the heel to the top of the head, right. If I was to cut it in half like I would a human, Let's see, where would this be? Half would be maybe here. No, You know what? No. I think that's often right about there. Yeah. Yeah. That would be about halfway. And usually that's crotch level for a person, right? Not on this gorilla. You can see how much of that upper body it really takes up proportionally, right? So the upper body, if I was to really look at it, like I said, is about two-thirds and the lower half, or the lower body, I would put it around 1 third. Alright. So just keep that in mind. Whether you're, you're tilting the gorilla over, or whether he's standing up, looking like your average Joe standing here or whatever, you're going to want to keep that two-thirds, 1 third ratio, right? That the upper bodies just so massive and so important, you want to keep that they're always keep it in mind. Okay. Now when it comes to animals running, especially when they're running on four-legged. What you're going to have as a bend and swoop type of format with the right. Now I'm kinda drawing in the back leg's coming forward, the front leg is going back. You'll see this with a lot of animals that walk on four legs. You'll get that front arm coming back and that back leg coming forward looking to grab ground, right. And then as it leaps forward, the back legs kinda kick back. And the front, front legs, in his case, arms are reaching forward to grab on to that land. Right. Okay. So with every step, it's this band and then swoop, right? They're trying to grab traction with the hands up front, grabbing forward. And then the feet come forward and grab and push right? So there's, there's bending and sweeping is the major four legged running pattern. You will see it in. As we go through the animals will see it in dogs, cats, horses, gazelle, anything like that, right? Gorillas are funny though, because they're walking pattern is a little bit different, right? They can walk upright, they can walk on all fours. Sometimes. They'll look kinda human-like, right? In this case here we've got this gorilla. And as it's casually walking, you could see it's almost walking on these kinda stilts, right? You know, the ones on either side. If it's on your right side, they're both coming together. The opposite side are spreading apart. Humans have this with their walking patterns of their, their arms swinging in the gate, right? It's not as noticeable in humans, but you notice it if you really study the human walking pattern. Okay, so done with movement, Let's get down to adding in a little bit of details here. Looking at the face, we've already kind of explored the skull little bit right? Now we want to look at how we're going to do some more detailing on the face. Here we're roughing in the skull. I want to do it nice and light so that we can add a lot of details coming up here. Roughing in the muzzle. Right? Doing the circumference lines, making sure I've got the form down where I want to have it. And then I'm going to draw it off to the side just to see if everything looks the way I want to sometimes using reference photos is great. Drawing over them as great. But you don't always get to see exactly the form that you want, right? So here's the eye line, right? The eyes are fairly narrow when you think of the size of the head actually going to rough in a few of the little details here. Nothing major. Just like I said, just kinda plotting it in where I want it to be. I love gorillas melts and especially this guy, he is not impressed with me drawing him, I think. Roughing in the brow right now. Very heavy set brow, right, you know, think hulk like almost, you know. And then if you follow the line up the eyeline, same as with humans, you'll get to the ER. The ears are proportionally smaller. But they still work, right? Actually, they work in the way that you can run the, the nose line up to there as well, right? So for proportion wise, kinda works that way. Okay, so roughing in the higher brow with a lot of gorillas, you'll find there's no hair in this section. Some have more, some have less depending on the subspecies. Right? Okay. So this is me plotting in where everything should go. I know it's looking a little bit monkey or cat-like right now, but as we start to add in more details, you'll see that it really starts to take form and look like a gorilla should write. Especially with the nose and the eyes. Those are some key features there. Okay, Well we'd add detail and instead just keep roughing. Oh, I want you to just like we study with the body, we're looking at the form of the, of the face right now, okay, The, using spheres to kinda outline this and this face. We've got our contour lines there. But instead of our normal muzzle, how we would normally have it, it's opened up. His jaw is wide so we can draw in the normal muzzle, but then we're going to open it up from the midpoint of the muzzle and drop it down so that we can add the chin, the jaw, that kind of thing. All right. Okay. That eyeline is kind of up there then adding in that top section, right? Not bad. Yeah, that's kinda the outline. Alright. Okay, now I think I want to start adding some details in here. So I'm going to switch this up a little bit and go with black. Looking at how the nostrils form, right? Sweep underneath the nostril there. And then I can come next to it. And I hope you're following along with me. You know, whether you're you're tracing over the image or whether you're working on that secondary image off to the side. I hope you're starting to fill in these details and following the flow of what I'm doing right? It can rough in the mouth with this little snorkel he's given me. Right. And a little lip. They don't have pronounced lips like humans or anything like that, but there's a little crest there that you can add a little detail too. Okay. So we're gonna RREF and that lip a little bit. Going to rough in the brow. Like I said, these browser massive, think Cro-Magnon man or something like that. Think of the whole crew, whatever start to add in this, the weight of the brow, right? And then we're going to look at these eyes. You know, the thing about gorilla eyes are, they're actually really pretty, you know, if you've ever looked in, there's a lot of salt in them and stuff so you can round them out. Kinda like humanize right there, almost an omen shape. And you can give them a lot of life to them. And that's where you're going to find the detail and the how the gorilla starts to separate itself as an animal, right? And actually start to look a little bit more human. So we can add the details, the wrinkles underneath here. There's not a lot of hair that creeps into this part of the face, right? Rough in the ER, years similar to human but it doesn't quite have the lobes, the beginning hanging crest to it. Right? Okay. We're going to come with the upper brow a little bit showing the outline of where the hair would be touching in. Like I said, it's a little individualized where the hair touches on the gorillas face and stuff, right? You can add more or less in here. And depends how you want to render the hair, right? Do you want to give a lot of detail or just kinda right now, I'm just roughing it out. I'm just roughing where I want where the hair would be in stuff, right? Nice and loose. Trying to rough in where I think would be represented by hair. And you can see if you've got the skull roughed in correctly, you're going to see where the hair actually will ridge on top of it a little bit. All right? And that'll help you to plot in. The rest of it, does big meaty bump on top of his head now gets roughed in and down into the shoulder a little bit. Yeah. He's looking pretty cool. I think that looks pretty boss. And then a little bit on the outside. So what if we were to do the same thing over here, right? We roughen where the hair inserts the big lumps on top of the skull here, right? Just sketching it in a little bit. Then we start to add a little bit to the outside here. Roughing in where the hair would go around the muzzle. Right? Adding in some detail around the nose, the big heavy brow, right. Putting some folds there, right? Let's see how this looks down here. If we start to add detail to this guy with them, the mouth open. Okay, this one's going to be a bit tougher because, you know, the mouth is open, Everything's outstretched. So I don't know if you've ever taken my course on on human anatomy. I went into dentistry just a little bit right? Now, use this CAN example like kind of a can with a crease. And when we open the can, we can see how the part that's lower to our perspective. We can add some detail in and see where the ridge of the teeth are and stuff like where the molars are. So imagine this is a big row of teeth. This can is teeth basically, okay? And when it's closed it's flat like that. Alright. But as the lower jaw drops, we get to see that the top of the molars and a bit of the top of the incisors there. Okay? Now when we look at this guy here, this perspective line is like the horizon lines almost right in the middle, right? So we're going to see, we're going to see the top row of teeth, the incisors, the molars, and we're going to see the bottom that because he's got his mouth outstretched so wide that we get to see the like I said, the canines, the incisors, and the molars, both top and bottom. It's kinda awesome. You're not gonna see this on many, many people or many, many times when we're looking at humans and stuff. But a lot of animals can open their mouths pretty wide, right? And that's part of the impact of drawing it this way. All right, so we're going to rough in that back row of molars. Ok. And then just give a little bit of detail for the incisors here just so you can plot out where they are a little bit, right? Okay. See if this makes sense. Adding in the nostrils up top, the big nostrils flare. Adding in a little bit of the mouth detail, the gums kinda, everything's being stretched out as this Malthus just gaping open, right? If I rough in the tongue just a little bit some details inside. I don't want to put too much. What I really wanna do is show you how I'm adding detail in here and stuff, right? Just plotting it out, seeing where everything should go. Going to add in. I like using the canines as kind of a marker and then roughing in the line of incisors, right? And I know the molars are going to go back from their rough and the lips. The chin just a little bit. Alright. Good. And then it comes down into the jaw a little bit more, the hairline that is little beard and into the main jaw there, right. And up into the ear that followed that eyeline over. All right. Cool. Now we're getting into the brow because he's so angry the brow was really indented, right? I'm going to put a lot of heavy weight into it. A lot of wrinkles coming in. Roughing in the top of the head just a little bit. There we go. Look at the weight of that brow. Massive. Alright. Okay, top of the mouth, a little bit of a cheat coming in. And then that side mass of hair and and little bit of the jaw off to that side there, right? Sometimes it's not always easy to distinguish the the structures from the heroine animals, right? Okay. The eyes on this guy or a little bit small because they're pushed up by the snarl. So that's how we can do it on this one to just have the bottom ridge with the I pushed up a little bit from there. Right. And we're going to add in all the details below. Cool. Okay. Got the wrinkles going on. Adding those in, right. And he looks angry. Yeah, that's one angry looking gorilla. Oh, sorry about that little bit of a harsh Zoom on. Yeah. Okay. Not bad. Not bad. Yeah. We definitely capture that anger on this guy, right? Definitely. We can put a little bit of a stretch of where the fur shows a little bit more of the anger and passion in it, right? Okay. Lines on the tongue, little bit of details in the melt, not too much. I could have brought these teeth and little bit closer actually now that I'm looking at it. Perfect. Okay. Back to Mr. happy here. We're going to do the same thing. Rough in the base of the head, right? The base circle, the base fear. Put in the meaty part up top and then put in the muscle. And then the R center or circumference lines, right? In this case they're pretty roughly running center. We refer in the eye line. And that's our base. Now, what do we do next? All right, let's add in some of these details. We can add in the nostrils. He's got a pretty good flair to them, right? Add in the brow, start to put in the details of that big, heavy brow. We can add in the eyes. I'm going to make his eyes a little bit smaller. I want to put them a little bit more intense looking right. Start to add in the all the lines underneath, right. The wrinkles, the folds, give them a little bit of mass. Alright, even up top. Now putting in a big bulk of where the skull meets that secondary section, right? Putting in a bit of a cheek bone here and putting in the muzzle. His little unhappy snarl give them, these guys are never happy when I draw them. Putting in the jaws and the hair hanging off of it right down below the chin and up into the other section here, meat of the shoulder. Yeah, jesus guys looking massive, right. The big dominant bump up top into what would be his trapezius, his shoulders and stuff, right. Okay. He's looking mean. I like this. I dig how he's looking here. Cool. Now. Are you going to recreate it? This is what I'd like you to do is use the one off to the side here and add in all of these details that we have beside here. So whether you're drawing on top of it, we're off to the side, doesn't really matter. I'm trying to give you lots of opportunities to practice. Okay? These gorillas are looking mighty. Gorilla ish, I like how they look. We went over the structure. We went over there walking patterns, right a little bit of the gate. Yeah. Not bad. We can see how they move back and forth. How we also looked at the proportions, right? The going to thicken this guy up just a little bit. But how the upper body is two-thirds compared to the lower body, how the head compared to the shoulders is actually fairly narrow, especially when looking at it from the front, right. These guys are just massive, massive up top, massive arms, right? So just remember that, that you want to add in most of the meat in through the upper body, right? Put it in through the arms, put it into the forms. We looked at how they run, how they walk. You know, we didn't really talk about how they walk on two legs because it's not that common, but this four-legged bend and sweep, right? And then how they kind of center as well when they're not running, right? With one with the the legs on either side matching each other a little bit, right? Not bad. Then we went onto the skull and we saw how this bony plate helps to fill up that upper portion there in the upper meat. And the, you know, the mass that's kinda sits on top of the skull, right? We did the the muzzle and how that how that looks, how it's coming forward out of the skull more than a human's would write. And then we started to add all these details in how really the wrinkles, the eyes, the nose, all those kinda things really matter a lot, right? I would say especially when it comes to the eyes of the gorilla. Gs, in my opinion, that's key, right? Then how we can open up the jaw function, like looking at the perspective of where we're looking at in the jaw, where we can see the is it just the bottom row of teeth or can we see the bottom and the top? Animals, like I said, open up a lot wider than humans do generally, because they're kinda scary, right? And they show that, okay. So not bad. I think we're doing quite well on the gorilla so far here, right? Yeah, Yeah, I'm liking how, how our sketches look side-by-side here, right? And I'm hoping you've really taken this time to follow along, to add in your little bit of tweaks and personality. But you know what, I forgot my gorilla story. So, you know, while I'm sketching here, as I'm sketching, I'm going to be telling you the story of my buddy here. Okay? So just keep sketching and listen along to this story. My buddy, He's big, He's mass of, he's a bodybuilder. He he's not tall. He's maybe a bolt like 55 or something like that. But I'd say he weighs like close to a 130 kilos in the off-season stuff. Just a massive dude, right? Nice guy, but as thick, easy as water at all, right. So one day he goes to the zoo, this is in Calgary in Canada. And he's going to visit all the animals. He's with his family. He's got a little daughter, right? And they end up in the gorilla exhibit. And of course, you've got a little family of gorillas sitting over there. One gorilla is just due to, due to do whatever he is, Pickens, draw stuff in it as Knowles, whatever he's doing and all of a sudden, whoo. He looks over at my buddy and who opens his eyes and starts running towards a window, bang, smashes the window, right? The whole room fall silent. Who was a big gas, right? And then bang, hits it again, right? And my buddies, like what ship? All of a sudden from a back room was Zookeeper comes, run a note and she's yelling at him, get down, get down, right. And so my buddy gets down. She's like Don't look at them, don't look at them. Right. And but, but he's kinda hide this and he's like he's starting to get worried now because this, you know, the glass is thick. But geez, I wonder if the gorilla, if you wanted to, if he could really get through this thing, right? Turns out, my buddy was we're in this long black t-shirt and had a shaved head and everything. And the gorilla thought he was another gorilla that had, another male dominant gorilla that had entered into his territory and stuff. And this, this, and this guy was having none of it. He didn't want any of this other intruder in his territory and was about to smash them. Lucky for everyone. There was a little bit of glass and the way, right. That's good. Oh hey, I wanted to talk a little bit of both hands and feet for gorillas. Obviously they're very median stuff. The feet are similar to humans. We've got the toes, they've got this one. Big toe is kind of pre-history, like isn't it? It can grip just a little bit, but not as much as monkeys can. Okay. So you don't get into it in the monkey unit about the formation of hands and feet and everything. But when it comes to gorillas, I think you're pretty safe just using a human hand is a base, just adding a lot of size two it, okay. Wow, massive unit here. These gorillas are awesome. I really loved it. I hope you guys enjoyed it too. Like I said, if you were to focus on one thing and the gorilla focus on that upper to lower body proportion. Okay guys, you keep practicing and get at it. 11. Animals - Drawing Rhinos: Hey, what's up, guys? Add here again with another how to draw animals video for you. All right, let's see what are we going to cover in this unit? We're going to talk about the rhinoceros. My big horned fellow. Yes. Off, you know, as usual, I like to start off with structure. So that's where we're going to begin today. We're going to take a look at the structure of the rhino, okay. Now, yeah, it's a mammal. So there's going to be some similarities to ones we've covered before. But I think the rhino has some key differences, especially in the way that it's structured through its ribcage. So let's take a look. We've got as usual, we've got a skull. This one's a little bit different shape though. This one's almost sheet like a bean. I guess you could kinda think of it like this. You know, some type of bean shaped, right? Okay. Little bit higher in the back. There's some things going on back here, right? We've got the ribcage and here's where the big differences. This ribcage is huge, right? A little bit forward there. And then we've got the hip behind it here. Okay. This hip area. So are the ribcage, the shoulders are way up top. The hip insertion is back here. Okay. So if I was to draw this just above, the ribcage would be huge. We got the little bean going on here. And then the hips here, the shoulder start way up top, the hip start kind of at a normal normal place for it. All right. Okay. I should maybe this heads a little bit too far forward. Okay. Now we're moving on down. What we've got here is kind of interesting. We've got this bone structure that comes down through here and into almost what could be thought of as the elbow joint. Okay. From the top of the shoulder, there's a couple of bones here that are interlocked and it comes down to, like I said, the midway point. Okay. So if I was looking at this arm where there's laid rather about halfway is this elbow knuckle comes down to the wrist. I'm using Hermit human terms just so it's easier to explain, right? And then down into the feet. So here the back legs are a little bit more bent, but we're still following the similar pattern down into the feet. All right. The joints on these guys are huge. So make sure you reflect that when you're trying to rough it out, right. And then we've got the spine going across and it actually ends up in the tail here. Okay. So watch this back leg, look how it's bent, look how it's bent. And then it comes down into a basically a hoof, a modified hoof. Again, you can see the individual toes, how they're outlined here. Alright. Alright, let's see if we can try to find the skeleton here. Let's draw the big start with the bean. About, right? Okay, We've got some, some type of bean-shaped here. We know that there's this massive ribcage in the middle that's about four times the size of the head, right? It's just huge, beaten bigger here. And then we've got this pretty good hip here. Now if we're drawing using spheres, we want to make sure we got the circumference and that we're able to show, well, this middle section is here. This one's here because the hip, this one's about somewhere back here. This one's somewhere back here. It's coming to the knee, coming down to that ankle knuckle, which is huge on this thing, and then into the foot area, right? The shoulders like we had them over here. We had them over here, right there. They come forward. They have this kind of bend. Let's let's think of it like a bend in the knee area down into what would basically be the ankle area, and then out into the foot. Okay. So you can think of these larger sections as the femur, basically the equivalent of our femur. And then the spine will come over across. So what I'm hoping you're doing is as I'm talking, you're drawing along with it. You're drawing a bean, the the big old ribcage parts right? And the hip. And then you're trying to say, okay, well, shoulders are up here, hips back in here. It'll come kind of like this. No, come somewhat like this. Right? These ones bend forward a little bit, come down to the knee area and then come down to the ankle. Foot. Right? Okay. So in the PDF I provided, you're going to have one sheet that has me sketching all over top of it. All right. That's good because then you get to see the sketches right in front of you. But I'm going to provide another sheet that does the same thing, but or that has a lot of the same stuff, but that has no sketches on it, right? So that you're able to just enjoy it and do what you want with it. Okay. Let's see. We're going to be moving on over. So that was structure. Oops. Now we're moving down to little bit more of it, but using motion. So we're going to still look at the structure here, but we're going to see it from a few different angles here. Okay, so here's this huge ribcage with our shoulders way up top, right. Then we've got the hips section, which is surprisingly small on this guy compared to his rib. And then we've got our funny little beam, right? In this case, the beans front kinda goes like this. We've got a bit of a wrapping effect on the circle. So if you're getting what I'm saying here, it's the circumferences there, right. So that we can see the shoulder on either side of it. Okay. This one comes down to the elbow. His elbow is hidden where we're drawing through a little bit here, comes down to what would be the ankle and then out into the hoof, down into what would be the ankle and then out into the hoof. The hip will draw through on this one a little bit. There's a bit of a circumference or it's going to come to this knee area, right? If we remember, it's kinda got this 1, 2 down to the knee, down to the ankle, and then out into the foot. This one's going to come down to the knee, down to the ankle, and then out into the foot. Okay. And you can see how how this starts to walk, right? We've got one leg coming forward, the hip. We've got one late coming back. But the rhino wasn't walking on stiff little pegs or anything like that, right? So there's a bit of form here. Comes to the knee, comes back to that ankle, and then comes into the hoof. So if you want to, you could actually place the feet. You know, if if I was doing this again, I could come here and I can place the foot here and place the foot here. But I know that the form of the rhino, the leg is going to be a little funky, right? So it's going to come like this, come out to the ankle and then come back. Okay. I know it looks pretty crazy, but that's actually the anatomy that sucker, right? All right. Let's see what else we've got going on here. It's a four-legged animal. So as it starts to run, you get legs coming forward, inward. Those types of things. Like most four-legged animals, there'll be a pattern of stepping here, right? So we can circle the feet, right? And let's see if we can get this form down little bit. And this is where the rhino is. We know the shoulders are up here, the hips back here, right knee, ankle or need down to the ankle, down into this hoof, right shoulder, down into this first section. Comes in here. It comes down to the knee or ankle type of area. Sorry. This is more of the knee. This is the big bend. The first big bend, right? These two are coming here for the big bend. This is looks like a need, but it's actually for our way of thinking is that second joint. So we'll just keep calling it an ankle down into the host there. And then our little beam, right? And look at the motion here. This is coming like this, right? This guy over here, he's walking, He's pretty straight. Everything's pretty normal as this guy's moving. There's a motion of this on top and a kind of a tucking under as he starts to gallop right. Now, let's see if we can do this from the front. Okay, well, we know we've got this massive ribcage here, so that's what we're going to start with. We've got our being here that we can see. But we also know Way in the back is most likely some type of hip, right? It's a little bit smaller but it's back there. Okay. So going from our shoulders. We've got our shoulders. Well, sorry, this guy shoulders are probably somewhere around here. They're going to come to here to that ankle point, right from here to the ankle point, and then to the hoof. To the hoof. And these guys back here. We know that the feet are back here, right? So we're going to find, we can draw a straight line like we did earlier. Now the foot's probably back there somewhere. And but or we can bend it. Bend it. And it comes. Bend it, bend it and it comes. Okay. Now, getting confusing. I know. So let's try to draw it without drawing it over top of this thing, right? We want this, this flowing part, right? So let's draw a big ribcage here below. Okay. And like I said, I hope you're following along with me here. Okay. We're going to draw the hip here. And we're going to draw, are being somewhere out here. Okay? So we're trying to have this, this flow going on. All right? We know that we've got the shoulders up high here and we've got the hips download. You know, what does a rhino do? It charges, right. So a lot of its mass is way up front here, right? Okay, so we're going to have this mass here. These two front legs are in this galloping position, almost leaping. We've got the ankle and then we've got the hoof. Okay. These two back legs, when we put them in the same position will actually if I want to, I can bring them forward just a little bit. If I want to have the hoof here, right. It's going to come forward like this. Back into the ankle and then into that hoof. Okay. So it's going to sweep like this and like this. And now up into the head like that. Okay, so this tucks under huge, huge hips on this guy, right? Actually, I think I should have brought the legs probably down to about here. That would have been made a bit more sense for how big it is. Yep, there we go. Okay, so this is an extreme gallop. And the more you wanna do this, you know, rhinos don't really get to bend as much as the other animals. There's a lot of flexibility because of the size of the rib-cage. Okay? So a lot of animals you can get this huge TOC. There's huge tuck underneath and stuff. Rhinos, they're still going to keep this big mass up top here. Okay, they're going to keep this mass that's coming forward here into this leg and stuff, right. So there's not going to be this huge amount of tuck underneath. There's just too much going on with the rib-cage. Okay. Let's see if we can do this again and build it from the back going forward. Okay, So here's the hips. Let's draw this IN first, right? We've got the hips coming for the legs coming forward here. We're basically using the one on the left here as a reference. Okay. We know that there's two joints. It comes to the knee joint and it comes to the ankle joint. If these legs are looking straight on at you, you don't get that funky band that you see from the side of you. Okay. So this is the back feet leaping forward off of the hip, right? How much will be visible? Let's see. Maybe we can twist it a little bit. Maybe what we'll do is This is the torso, Okay, so the hips coming straight at us. But this torso. Which way? Let's bend it just slightly. So we're going to have the shoulders way up top here and coming down to the hoofs here. Okay. So we're going to have those big bend these for the first upper part of the leg. Right. It's going to come back towards the ankle and then into the hoof. And the hoof is tucked tucked under the ankle actually here. Okay. And then what we can do is have our little bean and we'll face it this way. Does that make sense? So the horn will be here. The eye level here, the little ears going off here. So now we've got this huge mass coming forward here. The shoulders, the ridge line comes up, the shoulders come in. And this is what we're going to see coming forward. Is these legs coming forward, much like what we're seeing here with the ankles bending under here. This leg is coming forward more and this hoof is bending under. This Hough has bending under. Does that make sense? So he's his hindquarters is going this way. But then as it's torsos twisting just slightly because the rhinos aren't really twisty or anything, right? He's starting to move over a little bit this way and he's got these cute little ears. Right now, here's a cool we're gonna get into that a little bit. Okay. Does that make sense? So what you can do is like basically think of it as one giant middle ball, the beam and the hip. How you want to position this, whether it's a giant ball in the middle and the little hip sticking out from the side and then the bean. Somewhat moving this way. Do I mean, so we're kind of positioning it. I'm just going to rough this in a really easy for you guys. Stiff legged right now, right? But there we go. All right. And then the rhino will be here. Okay, and of course, we go in and we add how the legs properly form and everything. All right. Okay. But not for now. What I want what I wanted you to see is when we're placing this, these balls and order, which way we can, we can place them in everything, right? Whether the the heads looking out now this way and stuff, right. Okay. So really dealing with the structure of the rhino is going to be similar to almost any other animal you're dealing with. Deal with the spheres, different shapes, spheres, and how, you know, how the connect with each other and their proportion between them. If we look at the proportionality of this torso is middle tarsal is, you know, here's the, here's the head. This torso is making up about 60 percent of this entire length of the animal. The head and neck, you know, let's say it's around 30 percent. And the but surprisingly is maybe 20 percent who gets pumped down a 50 or maybe this one about 25. Anyway, you get what I'm saying right? Like the bulk of this of this beast is really in through the middle trunk. Okay, so always make sure that you put the emphasis when you're drawing a rhino at that bulk. Okay, now we're gonna go on to something a little different here. I want to talk about detailing. So we can, we can still add in our, our little being, right? If we want. And obviously, here's the the big bulk of what's what would be the ribcage and stuff into shoulder starting itself up there. Okay. So that's a little rough. Right? But now I want to switch things up and I want to talk about how we add details and things to look for and rhinoceros, right? Of course there's the obvious. We're gonna talk about the horn, right? So we can zoom in here. You can see how the horn sits on top of this ridge and patterns itself. The skin kinda folds away almost as if you were looking at a fingernail or something like that, right? The cuticle of your your finger and then you can see the bone starting coming up this way. Now, just like your cuticle and then your fingernail as it kinda has a little bit of layers as it lets go of the bone itself, right. There's also when you look at your fingernail grooves. Okay. So when you're drawing a rhino, make sure you have if you're putting in these type of details and stuff, make sure when you're draw the horn, whether it's a big sharp horn or whatever it is, right? Okay. So when you're having this horn, make sure that you, you also show some of those directional patterns, the strains, the lines same as you would fingernail or anything like that. Right. Okay. So that's one of the key points when a rhino is obviously the horn, right? When we're adding details, look towards the horn. Some rhinos have two, some have one, some are bigger. Even if you're gonna go mythological and stuff you wanting to add some kind of creatures or whatever with these types of horns coming out. Try to stick as close as you can to reality and that all help ground your, your creature a little bit. Next thing I want to talk about is the nostrils. They're the kind of big and they have these little flares over them. You know, not just the hole but the flaps over top. So that's kinda cool, right? Also when you're looking at drawing a rhino, they have lips. Not that it looks like they need some chapstick going on, but I guess what I'm showing you here is that you can add a little bit of form to it, especially if you're shading. This is not just blank. You can see there's a shadow line here and stuff. So that means there's some, some form to it. Okay, so adding that when you're, when you're drawing a rhino, make sure that you add in a bit of a mouth and a lip to it. Okay. Good stuff. So when we're coming down and almost looks like it's a face here at some point, right? You can add the lip and it comes in and then the other one comes in, and then the chin underneath. Okay. Rhinos have particularly small eyes, which is a little strange. You know what, the eyeball is, reasonable size actually, I think I want to do that in blue for you. The eyeball is a reasonable size, but not when you compare it to the size of the creature, right, of the entire animal. So you can draw it. It's actually got these cute little, It's a nice little home and look to it. You can draw that in there. And yeah, it's small, but it's there. Another important thing about the rhino is its skin. This is, this is going to take a little bit here. There's two things that I want to point out to you about it though. Think of a folded towel. Like it has some, some meat, some mass to the skin itself. Humans don't usually have this when we start folding things, there's a lot of these thickness to it, right? So look at this. This is almost like a towel here that's folds this way. Comes in folds, folds over again, folds again, right? There's all these folds, wrinkle. Jeez, yeah. The more you look at this, you can think of a towel, right? So when you're drawing your Rhino or any thing that is kind of similar to the rhino, make sure you have these kind of big, huge folds that are falling in here. Some of these are not folds like this is part of his general the, the muscle itself and the skull that's underlying that we studied earlier a little bit, right? But a lot of these are folds and so you can make sure you add add them in as you're drawing the rhino. Okay. You can see how yeah. Just imagine a thick bathroom towel or something like that. And you can see that it actually rolls underneath the chin here as it's coming in, right? Okay. So be sure to add that as well. Okay. Let's say I'm just going to flush out some, some of this a little bit. Keeping with the form here. Alright. So like I said, instead of just having skin hanging, you want to show the depth of the skin, the role of at all, okay. Underneath you want to have some, some depth there, some mass to that skin that it has some thickness. And sometimes you can do that with a bit of shading. You can add, add some depth that away, okay, give it some hang. Or you can a bit of a contour, right? You know, if you're going to draw skin hanging this way, give it a little bit of mass on that side of it. Does that make sense? Okay. The other thing, well, let's see. I'll just finish it up. And obviously you going to see this on the top is usually flat. But then as things start to go down the rhino, you're going to get these hangs. Okay. Next cool thing about rhinos, especially when it comes to detailing, is the pattern of the skin. They've got all these cool wrinkles. It looks like they've never seen skin cream in their life, which they haven't, right? So you can think of it almost like you're drawing river paths or something, you know. You're looking at grandma's feet. I'm not judging your grandma or nothing. But you can add all this in. You can see they're not Luby, right? It's not like that. It's just almost like as if the water dried up. And so these were lakes that have dried out over time. And if we start to take off the layer here and see, There we go. We can see how that starts to add in all those details, right? So let's, let's take some time and add this in a little bit. Coming off of the mouth, right? We can add a little bit more here. They're not scale, so you don't have to make it a particular pattern like a scale. You have to think of it more as if it was just dry skin. Okay. These dried-up riverbeds and you're trying to add in there. Take the time to really draw them out, see how they interact with each other. Sometimes they'll follow the pattern of the face a little bit and sometimes they'll crisscross it a little bit. So you get this meshing effect almost right? Okay, so you can follow, follow the contour of the face and then mesh it out a little bit. But don't mesh it like harsh lines like this, you know, you can, but that takes away from the natural knit nature's look to it, right? Like we want to keep it very flowy and stuff. Right. Because that's what the rhino has. It's got this unnatural. Sorry, I'm bouncing back and forth on this. It's got a very natural look to its patterns, right? So if you follow the contour and then just kinda chop it up just a little bit, follow the contour of the shapes, right? And then it looks pretty cool. You've got all these patterns, these dried-up riverbeds, right? So that's one thing. The other thing is when it dries up even deeper, you can add in deeper lines, right? Those were the light ones. This is where it gets really crusty. This is beyond grandma's feet. Beyond anything your local drugstore can handle with its Skin softening conditioner since stuff, right? This is starting to get really bad here, okay? So you can add these contour lines here, the small ones in these nice softer areas. But in some of these areas like say, this leg and down towards where the feet are and stuff I got you can really start to dig into them. Dig into where those river lines would cross, right? And then you can bring them out a little bit. Good. Okay, So one of the key points with the rhino is adding in these textures. And interesting enough, up towards the top here, you'll just get this spotting. So you can add this little bumps and stuff. You can add them randomly around as you're drawing your, your rhino. Okay. Maybe more up top here. But they'll add a nice texture as you're as you're going through detailing the rhino and stuff. Okay. The occasional spot. Yeah. Rhinos are not known for their perfect skin. Okay. Here's the brow, comes up into the skull, right? Last little thing for details on rhinos are these cute little ears. They come up and around like this, come up, down. So there has to be this part that gives its stability because it's actually quite a thin fabric. You can see how there's not a lot of, of thickness into the ER or anything like that, right? So what you wanna do is make sure you have the structure of it, holding it up and then they have little hairs coming off of him and stuff, right? Okay. Little hairs coming off. And you can see it. There's, they're really cute. But it always has this structure leading up to it. Okay, You can almost think of it as a pig's ear. There's some relation there, right? Okay, so think of it like this, but give it some, given that structure, right? Cool. So you can kinda just make sure you give it that structure then you can add the little hair to it and everything. Right on here. It's moving forward because the animals moving forward, here's one with two horns, right? So there's a lot of variations you can do. On this one. He's got them tucked back. That's cool. Look. You can add a little bit of hair at the top, right. Little dots, all these little things, all these details are what you add after, you know, this, this patterning and all this kinda stuff for this rendering. This is all stuff you add after you've got the structure of the animal. Okay? So if we're going to review a little bit, we're going to take a look. First. We understand the structure of the animal. Looking at the skeleton that I've drawn here, right? The, the limbs, the proportions of it all. How we can easily plot them in. Remember, we were plotting it in with just, here's the foot. Sorry. There we go. Here's the foot, Here's the hip. We can draw a line but then we can adjust it a little bit to the the natural joints of the rhino. Right. Then we looked at the rhino in motion, looking how, you know, it's walking kinda street, how it starts to bend, it bend slightly but not so much because of the ribcage. Same with going this way, right? I mean, it extends how we look at the spheres and when we try to place them in front of each other, we can understand more of how to draw it from different angles and different perspectives, right? And then we come down and we start to add in all these cool details, right? The dried-up riverbeds, this is what we want. We want the, the, all the crust genus of nature. I'm going to say, I think that's my quote for this unit, the interestingness of nature. Let's go with that. The rhino, the representative of craftiness, right? Okay. I hope this was helpful for you. And I hope that you're sketching up a bunch of rhinos now, right? Good luck with it. 12. Animals - Drawing Rabbits: Hey, what's up, guys, ed here? And I've gotta how to draw comics. Animals addition, four-year here. Okay, So what are we gonna do today? I say, let's draw some buddies. We're going to work on rabbits. Whenever I'm starting an animal, what I like to do is start on the structure, okay? Understanding the skeleton and then understanding how things kind of piece together from there, how the structure helps the animal move. And someone, when looking at the rabbit here, right? We've got a skull, rib cage, hips, and then the limbs. But I gotta tell you, I'm not keen on drawing out this the skeleton. Every single time I draw my little bunny here. Okay? So what I wanna do is try to simplify it. So let's see if we can do that. We're going to use a bit of an oval here for the head. Another oval for the rib cage here, okay. And another oval for the hips. Okay. Simple so far. Let's see if we can connect this. We're going to go over top of it with a backbone here and up towards the head with the spine actually comes a little bit more like this. This guy's got his head tilted back there. So it bends up. You can see it bending this way. Alright. Now here's the key point. The limbs. Same as with humans. We've got this insertion in the hip, comes out towards the knee and back towards the ankle, foot. Now, the bunnies feeder quite long here, right. Different than a human's in that way and down and over. All right. I don't know if you can see it on the skeleton here, but here's the scapula. And then in front of it is the shoulder. So this is quite actually if you've ever studied human anatomy, this is a lot of similarities here. A lot of mammals carry through this similar structure. So we're going to go off with a shoulder joint of the top of the scapula down towards what would be maybe an elbow equivalent. Write down towards kind of like a wrist and then an extended foot. Same with here and down to here. Now let's see if we could find it on the real bunny. Not my little skeleton drawing here. Okay. I think it's okay to, for us to just say, Hey, here would be that oval for the for the skull. Right? And in here, if I'm looking, would be the oval for the rib cage. Now a little bit interesting here though is I would say that the ribcage is slightly turned towards us a little bit. This is maybe the middle of the ribcage, right? As if we're drawing a ball with a with a central line going across it. Okay. Because we can see that up towards here and up towards here is where his shoulders are coming out at. This comes down to the elbow. This comes down to the the wrist type of foot, right? This comes down to the elbow type thing. Down to the wrist, down to the foot. Now, don't mind if I use human anatomy, I just to explain things. I think it's easier for most people to understand it. Okay. Going back to the hip, the hip is going to be back here. What's happening is actually this one's coming forward, are coming up. Here's the knee and it comes back down to the foot and then the foot extends here. Okay. And this one's kinda blocked off. We're not able to see it. But this hip two is also has this this curvature to it. Okay. And then we've got the spine going along the back and up into here. Now what I'd like you to do, see if you can practice this. Once again, we're going to draw kind of an oval for the head. We're going to draw a bigger oval, oval for the body and another oval for the hips. Kinda like a lopsided snowman or something, right? Okay. Do we want to replicate this bunny? It doesn't really matter. Let's say we'll put the little centralize here. I know my shoulders are way up top here. Alright. So let's say I want to put the feet down here. How would I connect them? Well, this would come to the elbow, right? This would come to the little risk type thing and then the feet would come out of there. Those are the front feet. The back feet usually are quite long, right? If we look at the length here, it's the length of either the ribcage, the oval or anything like that, or longer than the head. So we've got to put some length on this coming back down and then across for that longer one. And I'm just going to put some little bunny ears so we know what we're talking about. Okay. So like I said, what I'm hoping you're doing is as you're following along, you're drawing these circles. We can even maybe put a little bit here. And as if our bunny was going to be looking at us just a slightly. All right. I'm hoping that you guys are adding these ovals and drawing it out a few ways. You can even put it this way. This is the hips. Here's the torso, and here's our bunny looking straight at us, right? Let's say everything's straight. Well, how would I do this? I know that the the scapula and the shoulders up and up in this section here. Okay? So this could come down to about the same height and down again, this is a straight on view, so it's not going to be really exciting, right? The hip will come out here. This will come up into the knee and back down into the ankle, and then the feet will have come forward. And there's our little bunny. Okay? So if you understand these spheres, if you understand how to draw ovals and circles, I think it'll really help you. So what I would do even as a warm-up is just practice drawing ovals and stuff. Okay, so that's our basic structure of a rabbit, right? When we get into little bunnies are bigger hairs. Wild rabbits, you're gonna get some structural variation. Smaller heads, longer limbs, those types of things. But I think this basic structure will do you some good here. Okay? Next thing I want to talk about is a bit of movement. How to rabbits move? Let's check it out. We're going to go over this bunny with our basic shapes here, right? We can kind of make them out. We can see that the backbone is coming up here, right? The backbone stretches along this way, so it's flowing like this somewhat, right? The shoulders are forward on this, on this bunny that kinda overlapping and they come back like this. There are reaching back something along these lines, right? So when this is 11, form for four-legged animal as it's running, what happens is the leg start to come forward this way, right? This is the back foot there. Okay. So you've got this arching of the back. This one is even more extreme. Look at that. Wow, that's pretty cool looking. Here's the ribcage. Here's the head. And what's actually happening is the back is here and then it's tucking under, bending and tucking under here, that backbone. Okay. The hips came forward to the knee, to the foot and look how far forward this foot is. That's crazy, right? That's awesome. And how far back the front foot goes right here was kinda kinda midbrain step, right? It's kinda right along the middle here. This one, wow, it's crossing each other, right? That's pretty funky. Okay, but this is the fully contracted version. How do we draw it all spread out? Right here. Look at how long the rabbit spine actually is, right? It's got this nice swooping motion out to here. Shoulders are way up here, hips in the middle. The head is here. Comes again in through here. These feeder coming forward, back to here. And this is the longest foot back there. Right? Okay. So what I would like to see you do is to practice below a little bit. I've bumped us a little bit. We're going to have, I want to follow this, this kinda line on this guy, right? So we'll follow it here. We'll draw the basic shapes in here. Okay. My little bunny ears. Let's see. This leg is coming back and it's kinda got this mid-level part. Alright. It's not so far. There we go. This is the foot. Cool. Okay, so we've got some of this motion going on here. This one's even more extreme. Let's bend it even more. Okay, look at that. Yeah, here's a decent bent. Here's a real bend, right? Okay. And then that head is coming forward, NOT here. Still looking forward, right. With the little bunny ears. Okay. From the scapula, the shoulder comes back back to the wrist type of thing. And here's the front foot out of the bunnies hips to the knee. On the outside just I'm sure you guys can make it out here. It's on the altitude leg and there's the big back foot, right? That's crazy. Love how these things run. Pretty amazing. And then we're going to have swoop coming in here. Swooping to this shape here. Like I said, the spine is much longer than we often think for these rabbits, right? Yeah. My bunny ears, shoulders are going to be I can even bump it forward just a little bit if I want, you know, it's it can be coming forward even more. And this one goes back into the rear foot. Ok, and you can see how stretched delta body gets right. Now of course, you can exaggerate this even more if you're playing around with cartoon shapes or something like that, why don't you stretch it? Stretch it even more and have have it stretched either way? Right. Okay. But right now we're looking at. Realistic to semi realistic rabbits. Okay, So we've gone over the structure of the rabbit, trying to break it down into a simplified form, right? We've gone over how rabbits move and how if we were to draw it, imagine drawing this from the front, right. We'd, we'd have a head. The shoulders would actually be below the head. And then the bot would be somewhere here. This front foot or the back foot would be coming forward. Something along these lines and these back feet from the shoulder would be disappearing way back there. All right. Okay. Little cartoony looking but you get the drift. Now. Trying to draw it from different angles. Kinda what I've been doing up here. Instead of from the side, Let's look at it. How would we look at it? From the front or from a turning point? We can see the center line of this rabbits here and here for the hips and the shoulders, right? We know that the shoulder start really high up. But the center line on this rabbits head is right here. Okay, so this will come down to the elbow. Come down to the cute little bunny feet. This one. Remember that the actual hip insertion somewhere around the middle here, it comes up to the knee. So this will come up to the knee that's hidden. And it will come down to the foot that's also hidden in this picture. Come down to the foot that's out here. Okay. Rabbits generally have their eyes on obviously, we know they're on the side of the head. They can look forward reasonably well, but they look to their sides a lot better. This is quite different than when we're structuring humans and stuff, right? Okay. So they're going to be up in the upper portion of the head and more base to the side. Okay, So if I was to draw this again, Let's see if I can replicate some of this. But why don't I twist this way? Have the rabbits head looking this way? Okay, Good enough. We can have the form of the rabbit looking more towards this direction, right? And maybe all twist this torso just a little bit. Okay? So this'll be a little hidden. This this these forward legs, these two front legs can come down straight basically as he sitting in the same position with the elbow about mid-range. Okay. These back legs will come up to the knee and then back down again to the longer feet. Okay. Cool. Yeah. So you can start to turn it either way. Start to use these spheres and manipulate them, right? Like I said, I hope you're practicing alongside. You can do whatever angle you want for the little rabbit face or whatever it can be looking up. Looking up this way a little bit. Okay. Let's see this bunny here, see if we can find it. What I'm really wanting you to do is find the structure as we go through the different poses and references here and stuff. Because as you get comfortable finding the structure, you're gonna give it more comfortable creating the structure. So what I'm hoping, this does this kind of practice in warm-up of finding the shoulders and the rib cage, finding the hips, right? Finding the head as it overlaps here. Okay. So here's the center line of the head. Here's the eye line. Here's the center line of the hips and the ribcage that right? So we know shoulders or a Pi comes down to the little elbow, cute little bunny feet down to their right. And this one starts around here, comes up to the knee, back down to the big old foot. And we know if we were to draw through that, the other one would be somewhere around here, somewhere back there, and it's probably hidden behind here, right? Okay, so try to do that, see if you can even draw through an object. Here's the here's the hip, right? Okay. We know if, if the one insertion comes on this side than it will probably be hidden somewhere around here, right on the other side. If it comes up to the knee, this one might come up to the knee and now it becomes visible. Comes back down to the ankle and then out to the big old foot. This comes down to the ankle and then out to the big old foot. So what you would actually see is this much the underside and then the bunny foot coming out here. Whereas in this section you would actually see a lot of the meat coming. The huge portion of it, right? So try to draw this bunny in this pose again. Use a sphere. Use the second sphere for the ribcage. Same circumference. Positioning. The head is going to be overlapping here, coming up this way, with the head pointed this way, with the bunny ears that way. Right? Okay. We know that the top of the shoulders, we're way up top here, they're going to come back and down. Back and down. He's got a slight bend to them. This one's back a little bit, this one's forward. We know that it's coming out of the hips here as we've practiced a few times, right? It can come up and back down again. And then cute little feet. This one's going to come up, back down again and Q little feet, right? And there's our money. Cool-looking home. Okay. So this is what I really want you to do when it comes to drawing pretty much anything, whether it's a building, whether it's an animal, whether it's people's fears and the manipulation of, of them can really achieve a lot for yeah. Okay. Let's see. Now we're going to go down to some particulars about rabbits. Okay? Very lightly. I'm going to draw the structure we've been working on very lightly, just so we have it, right. We know that it's there. We know that this is coming up, coming down into the foot. We know that there's another one on this other side. We know that the shoulder is way up here. It's coming down, coming to the cute little bunny feet. This one's probably coming in this way, coming to a cute little bunny feet. And we know the central lines here, something here and here. Okay? But now we're going to go a little bit beyond this and look at some of the details of what makes a rabbit more distinguishable. One of the key points is the nose. The nose is barely evident, especially when we compare it to something like a dog's nose or something dogs noses, you can see the whole flesh of the nodes are really cute and wet and giant sometimes, right? These bunny nose as they're often still covered in fur, even know that there's the structure here, up here. We don't really get to see much of it, will just barely be able to outline it or something. Okay? So we get this cute little V-shape, little triangle shape for the bunny nose coming down into what I guess we'd call the front lips. But not so much. Okay, so it comes out like this. That's one key point for when drawing a rabbit, right? We, we can then know that the whiskers come off of there. Depending on how much we want, right? Little tiny whiskers, really long ones. It depends on the breed or type of rabbit, right? Okay. So we know that, that this structure of the nose is here, much like like I said, cats, dogs, that type of thing. But we just don't want to define it very much. So you want to back that away and have very little showing for the front of the nose there. Okay. The other thing are the eyes. And like I said from the front earlier, they don't have a lot showing. They're not great at looking at things from the front. They have these deep dark eyes, but looking forward, it's not their strong point right there. They're often pray, although they can be really vicious. I'll tell a story about that later. They're often praise, so they got to watch out for predators coming at them, right? Okay, so now when we look at this bunny, we know that we've got this cute head going on here, right? The actual structure of the head is in here. And then maybe some whiskers going on up into the hair here depending on how we want to render it. Okay. The main thing is we know that there's hair all over, right? You can render nicely with a pencil if you want. Start to shade in the hair. Get the little bush, he's going, right. Use a pen, use heavy inks. It's really kinda up to you. What style you want to do. What I want to show you more is how to understand the underlying structure of it. So you can draw this little bunny anywhere. My bunnies looking really mean looking so far. Especially what's going to happen when I color in these eyes, right? Yeah. Quite evil looking. Okay. What's next on bunnies? Ears. And we know ears can come in all shapes and sizes for bunnies, so we can have them bigger than this guy's got right now, right? The key structure of an ear though, is this coming up, this, this, the, the form that's holding it together. Okay? If you don't have this massive form that's happening here, that year would just probably flop over the thicker this fold. Imagine if you're folding a towel or something like that, right? If you tried to hold a towel, basically flattened straight, It's going to fold or it's just going to flop over. If you put a couple of folds in it, you get a little bit more structure to it, right? So remember that when drawing the rabbit is that you're going to need a bit of structure to the ears here. Okay. Often hair coming in, out around. Again. This is breed dependent for the rabbits. Cool. Okay, Now we know the arms are here, but because of the further rabbit, it's obscured. So here's we can follow the form of the chest. We know that the chest is here and we know that the the leg is coming out from behind here. So it's kinda coming out forward of the chest here. Okay. So it comes up to here. We're following oldest form here. And we can see the form of the belly here coming in. The form of the butt. We can also see this leg is coming forward, not a lot as being made up. And I'll put a little bushy tail on this guy just in the back. And then this foot comes forward. Now I'm not going to do the detail of the foot yet. We'll just kinda rough the men is flat little feet right now, cute little globules. All right. Okay. But we can see how now this rabbits form is taking shape, right? Okay, cool. Now, rabbits have little toes, of course, just like cats and dogs and stuff I got, but they're so often covered in fur that you don't see them. So what you might see is just little slips down at a certain point of it. Okay. So you'll see these little, little fingernail, little nail slips happening. Depends how how Harry the rabbit is, how free it isn't stuff, right? Okay. It's a cute little bunny so far. Even with the scary eyes. No minded. So here's my story. I was a little kid and I, I always thought bunnies were super cute and friendly and everything right. Until I went out to somebody's farm and okay. Sorry, I'm going to keep drawing here, sketching just underneath as the I went out to some some friend of the family's farm or something and was trying to feed a rabbit and it took a good chunk out of my finger. Yeah, scared the episiotomy. Lately I've been watching these bunny videos of like rabbits fighting off, of like fighting off. I saw one attacking a snake. Right? I saw one almost another 11 chasing off a dog or something. It was crazy. So, okay, so what I'm gonna do here is kinda rough in this figure. And show you like, you know, what it looks like, Stitch ears. Show you how you would construct it. Going off a reference like this, right? It's coming up, coming back down. There we go. This one's more like this, this one. Actually I've bent this a little bit more than I wanted to. But the backbone is coming under here, comes up, comes over, comes up the middle here. Something like that, right? And we know that this will come forward just a little bit. And we can have our little down the center line and little V-shape. So that's a basic structure. If I wanted to, I should actually be able to draw through here, have this back leg come down as well and then it would come behind. Right. Okay. And even though oh, you know what, you could kind of see a hint of it under here. Right. This back secondary back, foot and stuff, right. So sometimes things get obscured because of the background or the fur of the animal or something like that. If you draw through, this is what we call drawing through here, then you realize, no, I know that there's supposed to be something there and I can, I can draw it, right? So now what you can do is start to add in some of the details. You can add in the little nose. Getting in here. Little tiny mouth. This is actually the form of the skull, but maybe this guy's got these big Wolverine on not the animal. The comma character sideburns Quan Han right coming up here into the structure of the head a little bit, comes out. And then we know that the ears are going to start to take shape. They'll come out maybe from here, come on along here. This is that structural part. Depending how I want to shape the ears, it can come. Down and just making sure that I have some type of structure here. And keep it light, lightened, sketchy to start off with. Don't get too serious with it yet. Okay. Guys, looking like he's flipped attention or something and have that. I was a little bit too narrow for the eye. Cool. So now I'm going to put the hairy chest in. Put the hairy feet in. How the shoulder coming in, It comes down. You can see how a rabbit now is only going to take you a minute or so. Just to sketch out right. Going with the form of the shoulder, down to this elbow, and then down into this foot. I'm trying to show you how quick this can be done, right? This doesn't have to take a lot of time. We're going to have the meat of this leg coming. But it's also pushed by the belly. The belly is going to be under here. It's round, it's heavier than I expected. Having that the feet, little rabbit tail and then the other foot. Okay. So that's how quick it should be. You can enlarge the head, you can shrink the head. You can enlarge feet for exaggeration. You know, if I really want to come in here and make it cartoony, enlarge the feet to be kinda cute looking right? Enlarging the, the eyes will also do the same thing if I, let's see if I come in just a little bit. And I want to, you know, from the front it looks a little freaky, geeky. No matter how I draw these guys, they look kind of evil going on. But you see that impact you can have by enlarging certain features or whatever and stuff, right? Okay. So what I'm gonna do is make sure I provide the sketch to you, but also a blank sheet for you to practice on. This guy, super cute. Okay, let's see if we can find them and doesn't have a lot of structure to you look sad now hone them, looking at them. Here's the center line. We can even followed up, right up the nose here, right in the eye line. Okay. Very lightly. We're going to sketch over and find the hips and very lightly sketch in fine. The shoulder blades, right? Or the ribcage and the shoulders. The structure stays the same. This will come down here, come down to his little foot. This will probably come back here, come down to this other little foot. Okay. This will start here, comes up here. You can see the kinda need just on the highlight here comes down and he's, oh, he's got these big oversized feet, right? And on the other side, we can't see it, but we know if we're drawing through would probably be around here coming back down and these big oversized fluttering. Okay, So how did we go in and render it? I like to start with the nose. And you can see a little bit more definition on this guy's nose. Comes down into cute little lips, little mouth. He's got going on. He's got some kind of puffy cheeks happening. We've got the eye, right? This one's more and more visible from this side. And then now his structure for his ears, floppy. So I could even flop it down more. It's coming down this way, coming out this way and flopping doesn't have a lot of structure to it. The chest, the hairy chest is flowing over. Really. He's he's got a lot of K2 is small little body. Okay. I'm going to add another little puffy tail. I like puffy tails on my bunnies. This comes this way. And then we can add our little bunny feet here. Okay? This is going to come in this way here. At our little feet, down at the bottom, at our little bunny feet here. And it comes back up. This one comes up this way. And it's all hairy. And here. And there we go. We know that his belly is under here. And that's our cute little bunny, right? Okay, so what I'm hoping you would do is try to draw something similar right here is we can make it a little bit smaller. Here's one section, here's the other section. Here's this guy. All right. We've got the center line here. We've got the center line here and the center line here. I'll draw in the hips for you and the shoulders. And here's the bunny little nose. You know what? I find the nose a perfect landmark to get working on the face up for rabbits, right? So that nose will be a nice starting point. The eye line will be above there. And then you can have, you know, the floppy ears coming offer there something. Okay. So the feet he's got in-law or hyper enlarged feet because he's super cute. Let's see if you can draw it. It looks like a horrible multi-set or something like that. But I know you know what I'm talking about. Right. Okay. So just to review, we went through the structure trying to understand how to break down the structure of a rabbit, right? The simple shapes of the skull, the ribcage and the hips, and then adding in the limbs and the joints that will help articulate it. We've got the actual articulation and movement of the rabbit here, right? So we can see it all as it moves and flows, right? And we're going to practice that. And then coming down, we can see how if we reposition those key features, the head, sphere, the ribcage, and the hips. We can turn the rabbit around and get it from multiple directions. Then when we're coming in and rendering the rabbit, we look at basically how free it is, how cute it becomes, write, and how to put in the special differences of the rabbit, right? Whether it's got big, huge years, whether it's got floppy ears, whether it's got big eyes, big pause, whatever it is. Okay. So I hope this was interesting for you. I hope that, you know, it really helps you understand rabbits and how to approach them. I think if you continue to practice like this, you're going to be a rabbit master. Yeah. Good luck with the practicing. 13. Animals Chameleon: Hey guys, I'm back. And in this unit we're going to talk a little bit about something interesting, cool little creature that is unlike most others. That's right, you guessed it hits the chameleon. And boy, is he ever different? You know, there's just so many cool things about the chameleon. So that's why I chose him for one of our drawing units here. What we're going to focus on, as we always do whenever it comes to an animal is some basic structures and all that kind of stuff, right? The fundamentals. But we're also going to focus on what makes this animal unique and how do we draw it. Okay, so let's get into it. Let's start with those basic structures. I've got a skeleton of a community and on our worksheet here, right. So what does it look like? Well, what's the first thing that strikes me is it's got a larger ribcage. So I'm going to draw it once there, and I'm going to draw it once here. And I'm hoping you're kind of following along with me. We're going to do an up and down here. Then it's got a very small set of hips behind a very, very small set of hips. Okay. Along this point, from the neck, along that rib cage towards the hips, and then out even further. Is the tail. Okay, and it can do a few little things, right? Then we've got this kind of pyramid, triangular type of head, right? But the giant socket starting to look like a fish head actually. Okay. Right now this is a pretty good structure. What we got going on, right? We've got the ribs, we've got a tiny hips, got that long backbone that goes into a cool tail and a pyramid Esq. Head right now, just behind, There's the scapula is right here. And it's very, very tiny on this chameleon, but basically the shoulder joints are just a little bit behind the neck. You could think of them coming kinda like that. Right. So it's going to come down into a joint, down into another, another joint, and out into the wrist. So this gets kinda weird. It's got 123 into the, okay, let's try that again. We're gonna go one, down two, and then down three into that wrist. Okay. One To into that wrist. And I'm gonna I'm gonna leave the hands for now because we're going to, we're definitely going to get into those there. They're important. And if this is too zoomed out for you, well, I can zoom in a little bit and see if this makes lot more sense, especially when we're going to talk about the hands. So let's do this again without hands, the back. So we could attach it to the bottom of the hip here. And we're gonna go 1.2. 1.2. Okay. So this first the first amount of joints, the ones up top or rather the arms per se versus the legs right there. All lakes have three joints. Make that a little bit better. Three joints, two elbows in a wrist. These ones back here, pretty simple. There is the joint that goes into the hip. It comes out, it's one. And then down into two. This one comes out one. And then down into two. Okay? So that's the first thing you've got to remember is this the elbow joints per se or the joints whether we whether we want to call it elbows and wrists or whatever, you can do that here if you'd like. Make a little circle. There is a three versus 23 in the front, two in the back. Now this is where it gets a little hanky. Is the fingers the fingers on the front. There is three fingers on the inside and to that wrap around the outside. Okay. So there would be two that wrap around the outside and outside of the figure versus the, the inner side. Okay, so if we're thinking of this, this chameleon here, right? All of this on here would be the, the outside edge of that figure, right? So we've got two fingers there out of this hand and three, they wrap around the inside. It's very strange. Okay? So we can see it here. We've got those three that wrap around the inside. And then there's two that go on the outside. There. Again, weird ratio. So this is for fingers and maybe I'll do this in a different color just to make it a little bit easier for us to separate fingers. On the it's a two to three. Okay. So that means tour on the outside. Three are on the inside. Tour on the outside or sorry, two are on the outside here. Three-year on the inside. Okay. So we've got our two and we've got our three. It's weird. And I'll show you how it kinda doesn't matter in the end of it, but it's also weirdly important. The back is different though. The back is flip it. So on the back, there are three on the outside and two on the inside, three on the outside of the figure, and two that are on the inside. So you can think of these as like two thumbs. Okay. Whereas in these are fingers, I guess your thumbs are on your kinda inside of things. It's strange and that's about, that's not the only strange thing when it comes to chameleons, but understanding the number of joints here is kind of important. Okay? So what I would like you to do is draw this skeleton out a few times and just see how it fits for you. See if you can get that basic large ribcage and get it working for you. Okay, moving on. We're going to see if we can find that basic ribcage in this figure, right? Okay. We've got the basic ribcage and then we've got the little hip at the back. We've got the pyramid with the eye. We've got the shoulder and the hip. And from the shoulder we've got 12 and then it's coming down into here. Little bit hard to see there. This one's 12 and it comes straight down into the hand. Okay. We've got the backbone that goes across around in circles in. So can you draw that above, even if we draw it smaller? Here's that big ribcage. The little hips, the triangle or a pyramid right? Here's the big guy. Here's the spine that goes across circles in. Here is a shoulder and here's the hip. We're going to come back, elbow and other joint into the wrist and the hand. This one just comes forward, knee down into the wrist or ankle, whatever you wanna call it, and into that hand. And of course there's hands on the other side of this figure, but we're going to just leave them at play for right now. What's interesting though is when we start to get into this, now you can see those little itty-bitty fingers, right? So here's one hand, here's another hand. And we can see how there's 123 on the outside of this 1.2 fingers on the inside there. Sorry, on the outside. So this is both outside. Both of these two or the outside view. We're looking at the outside view of these hands, the exterior, right? We can think of them as the fingers versus the thumbs on the thumb side. And again, I'm going to switch it. We've got 123 and then 12. Those are the insights and you see how that switched. This one's a two to three ratio, and this one here is a three to two ratio here. Weird. These chameleons are weird little creatures. But once you start to get this down, you'll realize it's actually not that strange. You're going to practice and I want you to practice with this skeleton, drawing it around a little bit and seeing what you can come up with. Okay, So not bad. We're almost 10 min and, and I hope, really hope you've drawn this skeleton a few times. And you're, at least in your mind, you realize that the fingers change and the lid joins change depending on whether they're the hind legs or the front legs and whether they're the fingers or fingers are pumps. I'm trying to think of casual terms that everybody can use it we could all agree upon and enjoy. Okay, so now this is why it matters, but it doesn't, because of these cutie pies. Once we actually start to get into it. And what moved back out here a bit and just make sure we're comfortable drawing that simplified skeleton, right? We can do is here's, here's the front of it. The hips are probably back there. So remember these are overlapping forms that we've practiced before. Maybe here's, here's the hips, here's the shoulders. Okay. So we've got a shoulder here and a shoulder on the other side. Comes into the joint. Comes down, comes down. Comes into the joint here you can see it bending even more. Into the wrist there. This one is most likely here, and here comes up into here, comes down into here. And again, instead of just a simple pyramid, now we see how it's got a bit more of a form to it. So it's not just a cone. Or actually you could think of it like a colon, I guess. If you want to round those edges and make it this way, I think that's the way I would do it. Actually. Make it a cone and then you can add your eye sockets and bulging eyes. Sure. So we're going to add a big old cone head to this guy here. It's nice to draw these little circumference lines on it. And he can be opening his mouth like this one is doing. And we can plot it in wherever the AI School we're gonna get into eyes later. I just wanted to draw this out. The other thing that I really want to make note of in this particular one, when you're drawing it. As we spent a lot of time talking about the fingers and everything. But what they really boil down to is on this side of things, there might be what did we call it? Do we want to go up and see what it is? It was two on the outside and three on the inside. So that's what we had there. Right? Two on the outside, three on the inside. Here is to on the old side and three on the inside. So this would be three, this would be two. Can we see it? Not so much. You can kind of hear, I can kinda see it. So what it is is basically I want you to draw a big triangle fin and then just splice it just a little bit. Now, these fingers, fingers, I'm using air quotes there or whatever can come out of it a little bit. But really they're almost like soft lobster claws is the way that I like to describe them. Okay, So when, when you're actually drawing this, you don't have to stress as much as I did at the beginning. And I did that basically. So I could show you guys that what the actual anatomy is. And then when you see it, when you start to draw it, you'll realize they're just the soft like little flower petal, fingers and toes and stuff, right? So let's see if we come up here. We come over to the one we're working on. I'm going to come back here and I'm just gonna kinda go one to come forward and draw a hand. And I'm going to have this one come up, this one come down and draw another little hint here. Now, how would I draw that? Why don't I draw them all out so I can keep it consistent? How would I actually draw that with those little fingers? Well, first what I would do is plot out what he's on. Maybe he's on like some some sticker or something like that. Right? So it's a stick. Now once I've plotted out that stick, I'm going to come in and I'm going to say, okay, well, here's, here's where this hand goes on this part of it. And I can even back it out and say, wrap that hand around it. E.g. like, there we go. So it's kinda like wrapping around that form that I've already plotted. And then even on the other side here, there we go. So I've now drawn this little, I guess it's kind of like a lobster claw type of thing, right? No lobster claw. You can think of it more, a little bit harsher like that or something. But I'm thinking of these is kinda like mittens. Then they just wrap up and go into the the handwrite. So yes, Does it matter how many fingers we have on that? Once we start to get written to real details, it certainly does. But for right now, all I want you to do is realize that you're just kinda wrapping around this log or steak or whatever it is that he's climbing on. Okay, good. So you can do that with all the hands and this would be a good thing to practice is like I said, what I would do is just I want to switch it so I'm consistent in colors here. I would draw like a number of different branches or something like that. Alright, draw it around and then draw my little, my little hands out, little hands on it. And then I would say, okay, well, how am I going to make these things grip, right? If it's on the outside, it's going to look like this because I can see the outside of it. If it's on the inside, maybe it's a little bit less going like this. And there could be two lakes. So that would be a really good exercise to practice. Drawing is how the hands grip onto branches. Remember when I said, you know, what are the unique things of a creature that we're going to focus on. First one here is ends and grip. The anatomy of this creature is weird. Do you? I mean, like there's no getting around that, that we've got this big old tale that sweeps around. Show you. There we go. We've got a curly tail and stuff, right? So if I was to draw that, it might come down here and kind of crawl around. And that can also be used to grab onto things. But really the grip. I think if I'm stepping one step away from the structure, the grip is definitely something that I think is is interesting. Actually, why don't we do this? Number one? I'm going to draw this in black here. Number one weird thing is the structure. We spent so much time on trying to understand the three n and two out and all this kind of stuff. I'm going to switch this one here and say number two is the hands and the grip. It's crucial. But it's definitely weird. Number three is going to be these bad boys. The eyes. They are strange. But I find them pretty darn easy to draw. So what you can do is you can start drawing, um, some, some cones, right? Depending on how, how you want to draw your cones, something like this. Hopefully, you can draw cone by now. It's a pretty simple thing, but I would draw a cone and try to do some circumference lines. And if you even want to draw a center line that might go down the front, would be like the middle part of a head or something, right? Okay, so once you've got that, then you can draw these big circles on either side. Remember, we've got these, these big, it looks like Phineas and verb. These big, big eyes circles, right? And I could draw through if I want, but realizing that it's only going to show like that. So this would be a good thing to practice on, is drawing these circles and stuff. Maybe I overdid it here on this one a little bit. And working that, alright. What do we think doing maybe on your exercise sheet, doable five to ten of these heads and just see if you can get them going around. Because once you've done that, we're going to take it one step further. What we're gonna do is come on in. And we're going to draw the weirdness of this. I already, they're weird, but they're about to get weird. So one thing I do for it is I tried to draw like where, where the eye is, where it's looking and they don't have to be looking in the same direction. I draw this and then I kinda draw circles going out. So I'm going to show you again what I do. I draw I draw the eye and then I spiral it going out. So I draw the eye and then I spiral it going out. So without the boulder, basically draw what would be the pupil and then start to just spiral going out. That'll give you a lot of those contour forms that you're looking for. So there's my pupil, and then from that I just kinda spiral going out. And maybe my pupil was up here. And I just kinda spiral going out. My pupil is here. I'm going to spy on, I'm showing you guys like this as a bit of an exercise. So I draw it's hard and then I just kinda spiral going out. I want you to practice with me. I really hope you're following along. Just pick some weird directions. And spiral going out. And the spiral going out. Okay? Honestly, you can even do this. And just what I would do is maybe draw a bunch of eyes. And then just practice. Put pupils in random spots or something and just spiral, spiral going up. This is a nice exercise. It's nice and relaxing. This one gets a little wonky, right? Like I kinda jumped it around a little bit, but it's not even the worst thing in the world. There we go. And now you can see how this is starting to relate to this side. So I'm going to back away this sketch. Going to make a new layer and show you how we might draw this a little nicer, a little less sketchy, and a little, little bit more with precision. So I've got this smaller here. Then what I can do, depending on how much time I want to spend on it. I can start to use those circumference circles that I drew. And start to do these kinda like scale. Scale patterns, alright, following all of the circumference lines that I've put in here. That's why it's so awesome to have those circumference lines because they show you like this really cool pattern and it's working how you want it to work. Then I'm gonna come over here. And I'm going to line the ridge of this eye a little bit. You can see how there's there's a bit of a border around the eye. I can even line it, just give it a little bit more definition. And already I've got something pretty cool going on. Then he can come into how I want to pattern this, the scales and everything. Alright, I can start to pattern. I can make them smaller, especially maybe as they come towards the end of the snout or something. You can see I can add wrinkles and I can add more scales. When I'm doing scales, what I can do, and I'll show you this. I'm just going to do some of these skills really super quickly. They're not going to be the best looking scales or anything like that. Alright. Well you can do is like if you want to add a little bit of depth or tone to them, is put some shadow, say like on the bottom of them, depending on the light source. But you can add a little bit of a harsher line, a thicker line, a little bit more in line weight underneath. That'll give a little bit a little bit more to them. Okay? Okay. What do we think? Now we can see how that's looking pretty funky. Add some colors in there. And that's even funkier, right? So what I can do is I'm just gonna, I want to finish this off just so I can show you what it might look like with the I on the other side there. You could spend a lot of time on these scales. If you don't want to, you can just do little denotations of like a pattern or something, little, little hooks or something like that if you really don't want to get into it, right. But here's another one. And then I can come in here. Again. I'm just following following those circumference squiggles that I laid down before. How cool is that? It's already kinda set there for me, right? And you can see how now this guy's looking mighty cool. You can use line weight to really punch up and punch forward or punch back certain things. So right now I've got the, the eyes kinda punching. I can add in a little bit of a nostril here. A bit of here's his mouth coming up here. Coming into this part of the mouth. I can just roll on over with a little bit of that. These things are freaky looking. Alright. You can see how multi-directional eyes are hilarious, right? They can go any which way you want them too. Which makes for a very awesome looking character. Then I've got, then I start to go in and I start to get all the little spiky details and stuff. Looking at the reference, I can, I guess I can start to, instead of drawing everything, every single scale, I can start to pattern it out a little bit. And depending on how much time you want, like we're already looking at 25 min in this, right? So I think you understand it's, the choice is yours at a certain point, you know, like how much, how much time you want to spend putting all the details into a, into a character or drawing or animal like this, right? So we've got one, we've got the structures. We've got to the hands and the grip, right? We've got three, the eyes. But I'm going to say there's one more, and this one's pretty easy number for that tongue. And all I want you to do like when, when the chameleon lashes out, getting what it wants. Imagine just a little bit of a bowl with something attached to it, and then it goes into the mouth. That's it. So instead of the tongue narrowing towards the end, like maybe certain animals do there, There's a bit of a sticky relatedness to the, to the chameleons tongue. And so there's a bit of a, I like to call it a bit of a mass at the end. If you are putting it forward, you can think of it this way and it just kinda sticks forward, right? So what I would do is I draw a ball and then a narrowing, narrowing kind of tail, Haley's comet tail that comes off of it or whatever, right? So draw a ball or an oval and just kinda practice like that. And you'll get it, you'll get to what feels good for you. Guys. The Chameleon is a very, very, very unique creature. Like there's, what can I say about it other than it is bizarre? It's weird. At the beginning. We can see how easy it is to get caught up in a lot of details, a lot of the anatomy, idiosyncrasies and stuff. But as we go through, we can simplify it. We can realize that if we use kinda like the oven mitts or the little mitten grips and stuff I got. Then that takes away a little bit of the stress of drawing it, right? If we use that spiral eyeball technique, that also takes away a lot of stress. And if we use my my GUI tongue ball technique, that takes away a lot of stress and why are we taking away all the stress? So that we can sit down and actually enjoy drawing this bizarre creature that we're not worried and tripping up over every single detail. But instead, we're having fun with it because these little guys are fun. They're fun to own. One of my best friends has one. And they're fun to watch and just observe. And hopefully now they're gonna be fun to draw. So when you are going to sit down, draw out a really simplified skeleton. Have it gripping onto something. Have it staring at whatever the heck it wants, and then have that tongue coming out and grabbing. It's lunchtime snack. Guys. I hope this was interesting for you. I hope it's not too long of a unit. I'm going to try to keep it at 30 min here. But really fun little addition to our how to draw animals course here. And I want to thank the students for suggesting this rather unique creature. 14. Animals Thank You: Hey guys, lions and tigers and bears. Oh my okay. Maybe I didn't cover the bears, but I still might write tons of animals here, tons of anatomy to go through, but tons of learning. And if you're watching this video, that means you've come to the end. I'm hoping you really enjoyed this course. If there's anything you want added, if there's maybe an animal you're looking for, shoot me a message, leave a comment and say, You know what, Ed, those bears. I want them. Do a unit on them. Alright? Because I love adding content to my courses. Sometimes it takes me a little bit of time, but when I do, oh, it's free for you. It's just value-added to what you already have, right? And that's kinda awesome. Also guys, speaking of extra value on this course or rather on this site, I've got other courses, 20-something courses actually. So if you'd like this course component in the next one, see if the next one is for you. Truthfully, after an animal's, I often say go onto my creatures course. It's a nice transition. It, it kinda works perfectly that way, right? Guys. If you enjoyed this course, have you enjoyed hanging out with me? Do me a favor and tell me give that thumbs up or the likes or the reviews because those help tell me that I'm in the right direction creating content for you. Hope you had fun with this guy.