How To Draw - Everything!

1. Introduction: Have you ever wanted to learn to draw but just didn't know where to start. I bet you even say, I can't even draw a stick man. Well, if so, then I've got the course for you. Hi. I'm Ed for Chuck, and I am the instructor for the how to draw everything course. Welcome to this exciting journey of learning how to draw everything. In this course, you will learn the fundamentals of drawing and apply them to a wide range of subjects and styles. We will start by exploring the basics of sketching and dueling, including techniques for capturing the essence of your subjects with quick loose lines. As we progress, you will learn how to draw portraits, landscapes, and human figures with accuracy and expression using pencils and other traditional drawing media. You will also learn how to observe and analyze your subjects in order to create more realistic and dynamic drawings. In addition to these core subjects, we will also delve into the world of technical drawing, including the use of linear perspective to create 3D illusions on a 2D surface. By the end of this course, you'll have a strong foundation of drawing and the skills to tackle a wide range of projects with over 30 different assignments and personal contact with me. I promise you, you're gonna be able to draw much more than a stick man. So if you're ready to start your artistic journey, if you're ready to be able to draw everything, echo, echo, echo. Then what are you waiting for? Let's jump on in. 2. Materials: Okay guys, a good place to start off is talking about materials. What you need to get yourself drawing right away. And you don't like. This can be kind of scary because there's certain things that I'm going to talk about here that can be like, well, I don't have the money for that. So I'm going to start with things on the more affordable side. And when we look at materials, we're basically comparing traditional and digital, right? So we're going to explore the traditional first. The first thing that you could get drawing with that everybody knows is a pencil. Now, what most people buy when we buy a pencil would be right here. This is an HB pencil. This, when we talk about HB and when we go down the scale on, up the scale, we talk about the kinda the firmness of the lead. So down, down here around the six h, the lead is getting very hard, stiff, firm. So it takes much more pressure to push down on this, to push down on this pencil and kinda get a line that you could see. So you'll see it's very, very light. Whereas in when we move up on this scale up to the seven B and AB, it's more of like a softer charcoal. So you don't have to press very hard. And you could see how dark it gets. When you're buying a pencil from a store. Generally speaking, you're getting an HB pencil unless it's kinda stating otherwise. That's the standard pencil that everybody uses in school and all that kinda stuff, right? The standard pencil that you see everywhere. And it's honestly, it's my favorite for just general sketching. Depending on where you live. Buying a pencil, an HB pencil is the easiest, most expensive way to go about it. If you don't want a pencil though and I, or whatever it is, you prefer something different. You can get into pins. And I used to love just sketching with a ballpoint pen. There's gonna be a drawback to it. There's not a lot of erasing going on or anything like that, but they were handy because my mom had them around her office and I could just sit there and doodle away all day. Whatever you have access to, use it. It doesn't really matter. It's just as long as you get drawing and stuff and realizing that you don't have to plunk down a lot of money to start off because you can start with a pen that maybe cost $1 depending on where you're from or a pencil or whatever, right? And just some paper. Now, we've kinda got a few options here. If you're going on the cheap side of things, well, then photocopy paper will work. Some of the best doodles I've ever seen has been on like Post-its are just lined paper. Write the paper matters. I will say that it matters according to when you get into real nice are working. You start working on sketchbooks because there's a certain grain in that paper that will give your drawings of really nice texture. So if you can afford $10, $20, $50 sketchbook, do it. I think that's great. Go for it. Don't let it hold you back if you can't. If you're coming at this and you're like, okay, I've got $1 pencil and $2 worth of paper. And now I'm spending $3 for my beginning investment in drawing. Go for it. That's awesome. That's what it should be. That's where honestly, that's where everybody starts, right? Everybody starts at around this basic thing because you're gonna be cranking through a lot of stuff. Start here maybe. And then after that, go out and buy yourself a nice pencil sketch or a pencil set rather and a sketchbook. And then you'll kinda, you will appreciate it a little bit more. That's my advice on the traditional route. Nowadays though, a lot of people were even starting digital. Chances are you are watching this video on some type of laptop or iPad, or a TV or computer screen or something like that, right? And so most households will have something and I guarantee you have something because you're watching me right now. Whether you can use that or not for drawing, it depends on a lot of different factors. The average laptop or computer is not really conducive for drawing in and of itself. Even though expensive. They cost a $1,000, 2000 or whatever. I'm using this little mouse pad for drawing is going to make your life very frustrating. It's very difficult. So what you often need is something more than this to create digital artwork. One option is like a tablet. This is a walk them. I believe it's an intuitionist model. And they start, some of the low-end models start around $40. I'm talking US dollars here. Generally. They move all the way up into the thousands. The starting models is just a pad that looks like I'm a little mouse pad, but you have a pressure-sensitive pen. You can do a lot of things with that. So if you link. Pad like this, a drawing tablet like this, with a laptop. While you can get creating digital art. It's just hooks up with a USB and everything, right? So that's kinda your cheap way to start off using digital art. Next way is if you have some type of iPad or tablet or something like that that you could draw on its surface. I have an iPad Pro, I love it. I use it a lot and I think they're running for around a $1,000. I should probably check on them now, but they're great. Then you could use programs, the apps within them and stuff. And they come with an Apple pencil, which is also pretty cool. And you don't need to be linked to a computer necessarily. You can just draw on it in and of itself. You can get into bigger tablets. The one I'm working on right now is 27 " and stuff so they get bigger and they get pricier. And I really don't advise that for any type of beginner starting off, but I have a Wacom Cintiq and I, it's basically like, like this one here, but I can draw on the screen and the screen is giant. So it's fun for me. I enjoy it. But it's definitely something to work up to. Speaking of digital though, when you are working to delete, you're going to have you need a program to work within. Ms paint has kinda gone. And there's a lot of better graphics programs out there nowadays. We've got Procreate, Clip Studio Paint, Photoshop, and Sketchbook Pro. Okay, Those are the top dogs in this. You can look and see which one's more affordable and which one fits your needs as an illustrator, some of them are better on certain devices like I know on the iPad, I use Procreate, but on my computer I use Clip Studio Paint, right? A lot of them are actually pretty compatible the way they deal with files and file structure. You can export from one to the other and back-and-forth again. Okay? So guys, these are the materials that you might need to start drawing and creating. You can go the traditional route. And it basically starts off very low from one or $2 of an investment and then kinda builds up from there, but still stays on the conservative side, like under $100 will get you pretty much everything you need to get drawing traditionally. Or you can go to the digital route. And that even starting off is on the high end of this guy, right? Starting off digitally, you either need some type of tablet, some type of computer or something. And so you're looking at hundreds, if not thousands of dollars. I hope this is a nice little introduction to you for materials. It can be scary because we keep looking at this. Oh my gosh, it's so expensive. But you don't need it. If you happen to have it around the house, uterus, it utilize it, It's all good. But for this course, all you need is something to watch me on and something to sketch with. That's it. So let's get to it. 3. Outlines and Silhouettes: Okay guys, In this unit we're going to talk about simple outlines and silhouettes and how they can show and convey much more than we really expect. What does this mean and how is this going to translate into what we're doing? Well, this is another slightly hand-eye coordination practice that we're doing. But we're also recognizing how powerful the silhouette is. So let's see. I'm going to grab red here and stuff. And I'm going to trace over the outline of this pair. And that's all I'm gonna do. Okay? Now what do you think? Does my traced outline look like a pair? One and I draw it side-by-side. Come up here. Yeah, that denotes a pair, right? So what I'm hoping you're doing right now, this is really important, is I'm hoping you're doing exactly what I'm doing. I hope you're using the reference material that I have provided to you, the worksheets. And you're doing exactly this, exactly this. You are tracing the basic outline of the pair and it's not perfect. You can see like in some areas I'm not spot on. And then what you're gonna do is right beside it, try to draw that outline again right away. This is helping a little bit with your mind muscle memory connection as well, okay, because you just did this pattern and then you just did it again. Now listen, I'm looking at my two pairs here. They are not the same. In fact, if I move it a little bit, you're going to see that there's a difference, right? But you know what's there? The fundamental shape of a pair. It's still there. Okay? So I'm going to move it on back here. We're going to carry on down. The next thing is a shovel. So let's see if I can do this. The tracing outline of a shovel, I'm going to come up here. Do the handle, comes straight down to the bottom part of the shovel, come up and you know what, for some reason I have a better stroke, straight stroke going down. So I'm gonna do that. Okay. I'm just doing the outline. I'm not doing any details inside. I'm not going to do anything like that. Okay. I could cut this out if I really want to, but let's leave it as is. So I just did that. Let's try it side-by-side already. I could see him struggling a little bit. Right. But by looking at it next to me, I'm getting a pretty good reference here. I'm going to come down and I'm going to come straight down. Okay. Now, wasn't perfect. But do they look like shovels? Although this one is starting to look a little funky. So what went wrong with this one? Well, I can tell it should have been more of this. Right. It came out too much in a kind of arrowhead look. Right. So I can just correct it a little bit if I want or not. I can leave it and just learned my lesson. But fundamentally that was what was messing me up there, right? So I'm learning from it, saying, okay, well, what can I do to improve my silhouettes, right? What can I do to improve my outlines? Next one, we've got a house. Pretty typical American looking else, right? So I'm gonna do the same thing. I'm going to come up here to trace along. The outline. Come over here, come down, come across. And sometimes my lines get a little lazy, but that's okay. What do we think? Does that look like a house? Let's find out, so I can come up here. Alright, come over down, and this is where it gets a little wonky, right? I can already see my hands are starting to go over and I'm starting to want to erase things. So racing is no problem. I'm going to come straight down, come over, come under here, come up a little bit. Come over, come up. Come up like this. Come up and come over. Okay. Now, did I love that? Not bad. I think they can still pass as houses. They're still doing okay. It's still workable and stuff I got, but I'm starting to get a little wonky. I'm starting to lose my form, right? So what can I do to help that? Alright, What could I do? Well, like before I can put in guides if I really wanted to get I mean, if I'm if I'm working on on drawing something or whatever and I'm trying to get the heights right or something, you know, I could put in a guide here and I can put in a guide down below and that might help guide me, right? So just using a bit of a guide and we're gonna get into using guides a lot more later. But that's just one way of doing it is by using some Ruler Guides or something. The other is just being more careful using an eraser and start to clean things up and say, Oh, I know where I went wrong here and tidying it up a little bit. Alright. I'm kinda not doing that for you because legit, I just want to show you how casual and outs okay, to make mistakes because I guarantee most of you, most of my students are making some type of mistake right now, alright? And if I show you my mistakes, my kind of ugliness, well, then you get to show me yours to write the elephant. We're going to come up here, we're going to come around. And what's that old tale about an elephant? It depends on where you touch it is what it feels like or something like that. You touched the trunk. It's a snake. If you touch the skin, what would it be if it's touch the skin? I can look that up. Let's see what that whole thing was. To the tusk. And I'm not putting a lot, a lot of detail into this, right? What do we think? Does that look like an elephant of I kinda disappeared this back layer here? Yeah, definitely. It looks like an elephant right? Now Let's see if I can recreate it. I'm going to try to go with a bump on the back. The big bump. Come down for the tail, come up, come back for that back leg. Come forward, come forward for that plague. Come up here, come back for that Blake back there. Come up and come up here. It's going to come up for that ear under part of the mouth and come down into that little trunk. Comes up here to this, carries over and then I've got the head. Okay. Not bad. I feel I'm a little bit too stretched out this way, right? And I'm losing it. What's happening here is I'm trying to use my eyes to draw a silhouette. And sometimes for simple shapes, for just a circle or something, it works really well. But when we get into more complicated things that have a lot of dynamic shapes and angles to them. It starts to fall away a little bit, right? So practice this exercise, especially for simple shapes and do it a few times. But in the next unit, I'm going to teach you how to be a little bit more accurate and drawing something more complex. 4. Form and Shape: Okay guys, I'm sure you remember in the last unit we were talking about these simple outlines, right? And it was met with some varying degrees of success, right? On the simple shapes, the simple outlines seemed to work really well. And in more complex shapes, more drawn out things they seem to collapse, right? So What's another approach we can use to do this? Well, using these simple silhouettes worked, but only to an extent, right? I want to approach it by understanding some, some underlying forms. Okay? So what we're gonna do is we've got the pair in front of us here, right? I'm going to take a blue, blue pen and just, just draw a nice little circle. Okay, and above it, another little circle, and then my little tick. So let's see if I draw that right beside, if I draw a nice little circle. Remember we've been practicing our circles, right? And another little circle then above it, that stem tech. Okay, Well, so far so good, it seems to be working so I can kinda do that outline bit. Alright. Kinda just follow this form. And I gotta say, I almost think my pair is looking better than the original pair. So how did I do it wrong? What did I do? I had this simple circle and then grabbed another one on top and then did my little stem stemmed than that right? Then? Well, I did my outline. I kinda just followed the form around. And so what am I doing? I am tracing my own sketch. Basically, that's what I'm doing, right? So I'm doing this nice little blue line sketch which a lot of artists use. And I'm using that to make sure my form is a lot better, a lot more intact. I'm not kind of guessing. I'm starting to get shrinkage here and stuff. That happens, but let's see if we can do better going on here, right? Okay, so what do I have four shapes. I've got a rectangle here. Ugly rectangle, a spade. And there's kind of a U-shaped prime. So let's see if I draw that off to the side here. I'm going to draw this rectangle, this U-shaped. See if I give it more effort. And this spade come down to the point, come down to zero point there. Okay? And now what would I do for the silhouette? And come around it? Draw over, come down, come over, come down, come back up. And you know me, I like to come straight down on this way. And that is a way better shovel than what I was doing before, right? You can see how much this has improved by me doing some of that sketch on the underlying form. And even in these simple objects, it's helped a lot. It's helped tons. Let's see if it helps me here. So what do I got here? I've got kind of a semi rectangles square, another square, another square. So why don't I draw that off to the side here. I'm going to draw some of your rectangles square. On this side, square and on this side square already, I can see the structure of this is so much better. Now I'm going to draw a triangle above it, a triangle above it. And then I can kinda figure out the shape of these roof that comes out. It actually goes up a little bit and comes over. It goes out, comes up a little bit, and then goes over, right? Now, heck, looking at this and how much better? Let me even being sloppy here. But how much better? This looks like it's intended subject, right? All of a sudden now, my house is looking way more Lego house. Last time it was kind of looking like an ugly strip mall or something. Right. But this time it's looking like a house. Why is that? Because I'm using those underlying forms, those underlying shapes to really flesh it out, to give it form. And that helps my eye in all of this, even though I'm being a little lazy here and that kind of stuff, right? Doesn't matter. It's still so much better than when I was just kinda like trying to draw it out. Occasionally that would work for me and for simple things it was but not in starting to get more complex. Okay, So the elephant, this one is going to be a bit tougher. I'm going to look at some basic shapes here. Here's a basic shape. And look at this. I'm kinda getting a few basic shapes here. Okay? So I'm gonna go with that big circle, medium circle, and smaller circle, smaller. There we go. Okay? And from that, I'm gonna get a rectangle. Rectangle, our rectangle, and a rectangle. So let's see if I do this. I go a rectangle back here. Our rectangle going forward. Rectangle here, kinda coming forward and rectangle coming from behind there. Okay? Now, this is where it starts to get into trying to recognize that say, well, if I'm gonna do this exactly, there's more details, right? And that's okay because I've already spaced it out using this form. So I'm going to go with the hump here, and then the bomb, come down into this tail here, come over here, come back into this leg and even this detail of the leg, I can put that toe a little bit further forward. Come up here, come back here, come from the little toe, bring it down here. This one's going to come up from this rounded area up towards here, towards his leg where it comes back. It comes into the rounded part. Right. And I didn't space it quite correctly, but it's still working for what it is. That comes up here. There's an ear. You know what I should've done. I slept on that. This should have been a triangle or something like that right there. That would help me with this ear underneath into the mouth a little bit, then I can still freehand the nose coming down up into these guys, the bridge of the nose, into the brow and into the head. And this is so much better. In fact, all of these are better now that I've started to draw the underlying form to them, right? So what's the takeaway? Basically, silhouettes still really show a lot. They show. Our brains are made to recognize these silhouettes. Like if it's a elephant heading our way, I don't have to see the details of the elephant. I don't have to see it's eyelashes. I know that it's a danger. And as a human, I start to run the opposite way, right? So our brains quickly recognize silhouettes. But occasionally when we get into more complex designs and objects and figures and stuff, the silhouette, just drawing, it doesn't work quite as well as we want it with practice it will get better with and stuff. But this little trick, learning to look for underlying forms and shapes will help you so much. And it'll help you a lot as we go forward in this course. So what do you do while you practice those lines and shapes that we did in the warm ups and stuff. And you practice things like this until you've got it down. And once you've got it down, you move on to the next unit. And it's going to make even more sense. Have fun with this guys. 5. Writing Names: Okay guys, we're back and we've got another unit here. This time we're going to work on writing our names. Now. Listen, I know. I know. Chances are I'm hoping you're able to write your name. Like although all right. In a little sloppy, my name is Ed, right? Or if I really want to, I can go with Eddie. But this, this right here does not have the greatest impact, right? Like it's not the greatest looking. Actually what I, what I'm trying to say is like when I write it, I can get a little scratchy and stuff. I know my signature. This is actually my signature. It doesn't it's not really legible. It doesn't look like anything that has no impact. If I was writing like, let's say a birthday card for a friend or we're trying to do some doodle on a big poster or something like that. This type of writing here is not appealing at all. Right, so I want to show you something that can put some of what you've already learned into practice. What I've done below here is I've added a few different fonts. So you hopefully have this worksheet and you're following along or you're, you know what? Maybe you're listening to this all at once. And then you go off to the side and you hit pause or whatever and do it on your own, or you listen for a couple of minutes and hit pause and do it and listen again and stuff. It's, it's up to you how you learn best. But I really want you to take advantage of these worksheets that I made for you, okay? They're here for a reason and they're going to make your learning so much easier. So right away, you can see I've got one alphabet font laid out here. I'll font is a particular design of writing. For texts to write in computer formatting. This will make it easier for what we're going to practice here. We're going to start with my name and I'm just going to go with Eddie. So I've got to E, a, D, a D. And I okay. Well, that makes it a little bit too easy, right? So, you know, I'm doing this one, this one, and this one, I've only got three letters in my name. So what I'm going to try to do is try to draw them like the written in the font here. So this is kinda a straight line thing. Right comes up to here, up to here, goes back, comes back, and then comes out right there. Right. Okay. That's that kinda looks like that, right? Not too bad. Just a lot of straight lines right? Next one is a D. Okay, how do I do this? I'm going to come down come down this way. And I come up this way, come back. I'm just kinda watching, looking at this as I'm moving my hand. I'm there. I come down with this, come up and there. I can do that twice. Now let's see if I can replicate it side-by-side here. See if I can make it look pretty similar. Right? There we go. So d, d, d, i is this kinda British looking thing. And then another E. Okay. Was that hard for me? Not especially, but it depends on which which letters you use for your name, right? For me, this was a relatively easy exercise, but it might have been tough for you and I get that. I'm going to show you how to make it a little bit easier going forward. We're going to take another font here. And what we're gonna do is you can take a ruler or whatever you want. And you're just going to draw two lines. Actually know what I'm gonna do that in red just to make it a little bit clearer for us and stuff, I'm going to draw a line here and a line here. Okay, I'm going to bump back, bounce back to my blue. And I'm going to do somebody else's name. John. Let's go with John. Jay. Where am I here? J 0 h n. Okay? So the j is here. I can use this as a bit of a marker, this red here, and this bottom as a bit of my size marker, right? That will help me a little bit in my sizing vertically. So here's my, my J might owe. And this is where that circle practice comes in that we were talking about earlier, right? There is my, oh, it's kinda got this weird little hook thing going on. There is my H, my H here. Alright? It's almost like this goes through it a little bit. Alright. Comes up to here, rounds out, and then comes up to here and rounds out, right? Okay. And then n kinda come here, comes up a little bit, comes up to here. This one comes in here. Down and up, angled again, down. A little knobby here, and then comes back up to there. So there's John. Not bad. It looks a lot like the alphabet font below, right? Do I really love it? Yeah, I think I'm doing really well with this. And I'm hoping that you are using your name and you're practicing other's names and stuff like that, right? But there's still something that's making this possibly a little tougher than it should be. So I'm going to teach you yet another trick. We did all get that, okay, just free handing here. Then we had a little bit of vertical or horizontal parameters, right? We're gonna do that again. This time. We're gonna do that same thing. We're going to have this line here and this line here. But let's pick a name. Girl's name, my daughter's name. Joey. Joey has four letters in it, right? J0, e, y. So I'm going to divide this equal sizes roughly about here, right? So that would be two letters and I'm going to divide in the middle, where's my middle line? Somewhere here? And where's my middle of these? Somewhere here. Okay. So now, not only do I have like a box kind of Caralyn me and on the top, but I also have a box on the side. So I'm looking for Joey. Where's my J? Let's cute. Oh, E and a Y way down here. Okay, so let's see if I do this. Where's my J? J will come here. Switch, do his little, kinda funny little hook, and come like that. The 0, you will find the exterior of this. Oh, see, I kinda kept it within that bounding box. There is pretty simple. It's kind of an old It's the inside that's really kinda small and funny-looking. Actually, if anything, it goes a little bit more like that. Alright? Okay, This E has got a bit of an angle going on. So it comes down here, it bubbles out, bubbles out. Bubbles are big. And there's y. Omega tackle this, I would say there's y. And it goes like this comes down. This is practicing that hand-eye coordination. Come down here and comes up there. And there's Joey. Cool guys practicing your name or anybody's names, people in your family and stuff like that will help you get beyond these simple, simple writing, printing techniques and stuff like that, where you're now able to make it a form. I gave you three letters or three alphabets, rather three fonts, to use some of these lettering styles in your writing. And you can practice again and again and use different sheets. Not just a sheet I gave you, but different ones and stuff. And then what I'd really like to see is for you to make your own. I want to see you branch out and make your own fonts. Make something different, right? Because these are cool. I like these, but maybe you've got your own funky style you want to do. That's your assignment here. I'd really love it if you could draw your name in one of these styles or your own and send it to me and just say, Hey, I followed these techniques and this is what I came up with. And I bet it's going to look pretty darn cool. 6. Starting Exercises: Hey guys, I've got a very, very important unit for you here. This one is the one to kick it all off, okay? This is the fundamentals and the exercises around them. If you do these exercises, they are going to help you tons going forward. They're going to teach you some basic movements that are extremely important in everything that comes after as you're learning how to draw. So I want you to kinda stay with me on this and have some fun because actually I'm making this sound way more serious than it actually is. First thing I want you to do is grab a piece of paper. And it can be any piece of paper. It doesn't really matter. Just go around and make some dots. Okay? So just go around and make a bunch of random dots on it. Some of them can be close together, some of them can be far apart. Whatever it doesn't really matter. I'm using just this much of the sheet for my daughter. And you know what, I'm going to switch up the colors just to make it a little bit easier on you, on your eyes so that you can see, as I'm drawing on the screen here, what I'm doing. But you don't have to don't worry about that. Okay. So I've got all these random dots. It looks like my screens all cluttered and stuff, right? And what I'm gonna do is I'm going to try to put my pencil on one dot and bring it to this other DOD. Okay, I'm gonna try to do that in one stroke. What I'm going to try to do is just go like this. And I could go slowly if I want. And you'll see how my my my line kinda waivers a little bit there. Especially if I'm going further, I might common well, not bad. I was okay. Looks like I've been at this for a while. But what I would rather do is see just something like that. And you see how that quicker stroke has a, has a nice cleaner line to it, right? So what I want you to do is come around and start to just draw and connect these dots. It doesn't have to be one to another and specifically wanted to anyone, right? It could be long distance, it could be a shorter distance. And if you want to, you can start to move your paper around a little bit and see if that helps you. This exercise is going to help you kinda do this hand-eye coordination thing. And it'll help you drawing straight lines. So this is what you're gonna do. I want you to go around and connect a bunch of dots, 100 dots, and keep doing it. There's no like, Hey, I'm done. There's no point where you're like, I don't have to do this anymore. I'm a I'm a super pro. No, actually, this is a great warm-up. Every single time you sit down and you're like, I want to do a bit of drawing today. You can practice with this. If the dots are really far away and I'm going to switch back to my dark color here. If I'm connecting this dot, it's going off the screen here with this dot, right? Well, sometimes it's too far for my my wrist to give a little line. Like if I if I just hold my palm down on my paper, it's gonna kinda do the nice little fluid motion of the circumference of the span of my wrist, right. Not even my rest, even just my hand. So it's going to bend that line a little bit. So instead what I start to do, and this is the next level of this is start to draw with your hand away from the paper just a little bit. And you're moving your entire arm and elbow. Okay. So your shoulder is now in control and it starts to just do that. Okay. So at first, you know, when, when when it's these clothes, little lines, you're kinda like me. I can get away with this. Me. Your hand can do this span in and of itself, right? But after a while, you want to move your hand away a little bit. So this type of warm-up really only takes 2 min or something. And it's a good one to do. At the beginning of a drawing session. You can have a scrap piece of paper off to the side, whatever you want, whatever works for you. Just keep practicing this. Work on your hand-eye coordination. Work on your wrist, moving. Work on your elbow and the shoulder starting to take control for the longer strokes. Another exercise, I want you to work on something again that's working on the fundamentals here is circles. Now if I tried to just draw a circle, well, that's one's not bad, right? Very rarely will I ever just draw a perfect circle. They sometimes look a little oval and stretch to OAT. They sometimes get a little wobbly. If I slow down, it gets a little bulbous in certain areas. So I want you to do this exercise. I want you to just start to draw a circle and go over it and over it, and over it. And draw another one and go over it and another one. And what you're doing is training your mind. To really get that pattern of that shape down, you can go over, over and over until it takes that perfect form of that circle. By doing this. You're exercising your wrist a little bit. But really, again, you're exercising that hand-eye coordination that is so, so helpful and what's needed when making illustrations. So what you could do is do this just as you're sitting in a meeting or at school or something and you're just doodling away with circles. I know you're like, dude, I don't know if I want to draw circles for the rest of my life. Yeah, I get that. I've often wondered that myself. But learning to draw these circles shapes will really help you when creating other types of forms. Having this nice smooth casual line and being able to draw a rounded shapes. You'd be surprised when we get onto later subjects, how many have these nice rounded forms as their base? Okay guys. So make sure you take a few minutes to just do this part as part of your warm-up exercise as well. It's important, it's important to get these fundamentals down as something that's not only in your brain, but that you're training your body. Consider this like the workout before you hit the gym or something like that. Alright? There's just these fundamental stretching movements and warm up movements that will help you prepare for the real workout, for the real battle. And that's what this units about a lot. And the next one that I want you to do, and I might go back to black or gray here for this one. Is just relaxing. Just drawing lines and working on shapes. Just kinda sketching a little bit, keeping it loose and just drawing whatever comes to mind. It doesn't really have to be anything that could be circles, can be shapes. It could be anything. It's just this loose feeling like when you push hard on the pencil, right? And I'll get a better pencil here for us. Maybe zoom in a little bit so you see what I'm doing here? When you press harder on the pencil, how does that feel? What's I feel underneath here? When I'm, when I'm drawing. If I'm just sketching light, what does it feel like for this, right? And how do I build this up and everything right? All this time. This time in the gym. We call it time under tension, right? Hi, I'm doing this will help train you to feel oh, I remember that. I remember what that felt like. It I remember what that felt like when I did that dark line. That's the pressure I need, right? That's the push I need on this, on this pencil, right? On this pen to get that. If I stay in that spot too long and then flick it out, that's what it's gonna look like. I'm just going to have this feeling and stuff, right? So again, training guys, I know that this seems weird looking when we're looking at it this way, right? There's these weird geometrical shapes. There's the circles, there's this ugly sketching going on. It looks like we drew absolutely nothing. And that'll be a big mistake. It'd be a big mistake to look at this and think, what did I learn there? Honestly, this is where it all comes from. This is your warm-up. So save this unit, come back to this unit, come back to this almost every time you sit down and just do a little bit of these exercises. Because if you do these, every unit going on is gonna be that much easier for you. And I don't know if I'd have a little fun with it. 7. Finding the Circumference Line: Hey guys, I'm back and I've got another unit here for you. This time we're tackling circumference. And yes, I know that sounds a little bit like math from grade six or something like that. But that's not the direction I want to go in. You'll see as we get into this. But if you really understand this, if you understand how to draw circumference lines on forms. Well, this course is gonna be that much easier for you going forward. In front of us here. What do we have? We've got a bunch of circles, like got a heap of them here for you. What makes them a circle while they're round and they're perfect and I made them perfectly right, and that was for this practice, but I want to change one. I want to change one and see if I can change this one. I'm going to come in here, select that guy, come back. And the reason I'm going to change it is just because I want to change it away from being a circle. I don't want it to be a circle. What do I want it to be? I want it to be an sphere. Now, we'll get into this later about how to shade and all this kind of stuff. Okay, So this isn't what we're doing right now, but we're just going to shade and make this a bit of a sphere. Okay, so why did this quickly become a sphere? That's a good look and sphere, I'm going to impress myself because I showed it looking kind of three-dimensional. I give some form to it. This is a circle and it's just flat, it's a 2D. Now I made this into 3D by adding some shading. Don't worry, that's not the exercise. I'll teach you how to do 3D shading later and all that kind of stuff. Okay? That's not what this is about. This is about understanding that a circle turning into a sphere has certain forms to it. Okay, and that's what we're gonna do. I'm gonna come over here to this circle just because I've got a spear right next to it, right? So it's a nice little point of reference. And I'm going to draw two bisecting lines. Let's see if I can get my little line thing going on here. And I'm going to draw one down the middle and one down the middle. That looks pretty much like the middleware. So if this is my circle and I'm drawing it like this, I've just cut it in half. This is a circle that's cut in half this way in quartered. But I want to make it into a sphere. And to show that, well, I've already got this, this, it's all the rounding on this side. I want to follow that curve and follow it around. And follow that curve and follow it around and follow that curve and follow it around and follow that curve and follow it around it. That was pretty ugly, but it kinda does what I wanted to do. I want you guys to practice this with me. Follow a nice curve, follow a nice curve. Starting point is here, ending point is here. Follow a nice curve, follow a nice curve. Okay? So now, even though this side, it looks pretty wonky. I don't know what I was thinking. We're showing that this is a curved surface, right? And so if I want to, if I ever want to show that instead of this is the middle of this, this now becomes the middle of this sphere, right? And I could do it this other way as well. I can start to follow that curve, follow that curve, follow that. Follow that comes on this side, follows, follows, follows, follows. It's not the most beautiful curves I can see. I'm getting kinda ugly here and stuff. But that's what I want you to do, is do this for awhile. On all of these. Come to all of them. And just maybe this one is these. Why don't you set your markers at the top and the bottom and stuff just to make it easier for you. Set this and try to follow the curve of that sphere, right? See if you can follow it around and just get used to drawing it like that. And then you can come to the next one and do it. Under practice, this, practice this a bunch of times, okay. So that you're nice and comfortable. Just drawing this form fitting circumference lines around the sphere. They're not gonna be perfect. As you can see, I'm goofing off here a little bit on some of these. But just like how I got you earlier, practicing circles, this will help you practice drawing spheres. Okay? It's important. It's especially important once we get into figure drawing, you can switch the angle if you want here. I'm going to switch it this way, bisected this way, and turn my sphere just a little bit on its, on its axis. Okay. That's the exercise. It's not a hard one. I printed off these circles for you. But what I would like is if you just keep drawing this and use this as a bit of a daily exercise for yourself. So you can just remember we were talking about drawing our circles. And you're drawing are circles and you're practicing them as your warm-up and stuff like that. Well now you add to it. You just start to get used to bisecting it. You can even do it one and another. And hit this mark. Hit this mark and say, Okay, I'm going this way. And I'm gonna go this way, something like that. You start to learn to wrap these lines around these fears. Guys. It's not a hard one, but it's important that you get this down. It's important that you do this if you're struggling with it, try it and send it into me. And I can take a look and see where you're going wrong. They're not gonna be perfect. We're not a computer program, so we get little weird things like me goofing up over here and stuff I got and that's okay. That's not what I'm worried about. What I'm worried about is that not worried per se. But I'm more thinking I want to make sure that you understand what's happening here, right? I want to make sure that you can do just this. That you can bisect the sphere with some level of confidence. Not only got ugly, you know, I talk about confidence as soon as I start messing up here, right? But that's okay. Honestly, this is just a nice little fun exercise to get you practicing drawing curves and finding the form of a sphere. Guys, that's it. I wanted to make sure that you're doing this for your homework. If you can post, post up the exercises, if you don't feel confident that that's okay. But for sure, do these as part of your warm-up and have fun with it guys. 8. Tonal Values: Okay guys, let's get into this a bit. We're going to talk about tonal value. What is tonal value? What does that even mean? I'm going to grab a pencil here and kinda show you. So I'm just kinda, kinda scribble with a pencil a little bit. You know what, I might even zoom in a little bit for you so you can see it even more, right? Okay, So I'm kinda scribbling with this pencil. Just kinda scribbling like this and you can see, what does this look like? Kinda nothing. It's just some, some scribbles. And as I'm going this way though, I'm going to start to press on it just a little bit more. Right? So what do I see here? I can kinda see two tones, right? So a tone is the graduation from light to dark. And it has nothing to do with colors here or anything. And we're just using black and white and everything, right? So this one's lighter than this one, right? What if I keep going? Well, there you go, That got darker. And let's see if I can go even darker. Okay, so how many unknowns do I have here? 1234. Let's see if I can go a little bit lighter here. It's hard because I'm working on a computer screen with a graphics program. So that's easier for me to instruct you. Working with paper. I actually find this exercise so much easier, right? So if you're working with paper right now, you've kind of got a maid. I wouldn't do this with a pen necessarily. It can be done but with a pencil, this is definitely the way to go. So I've got 12345 and let's see if I can do it even lighter. 66 tones that I've got going on here, right? Not bad. It goes from like pure white to pure black. I've actually got seven tones here if I really want to count that for me not doing anything right. So I'm going to back out just a little bit. 123456, Okay, this one's gonna be white. I'm going to leave that and I'm going to go with a bigger pencil here and just kinda see if I can totally draw this in dark. Okay. Did that work? Yeah, I would say that that's pretty darn dark. Right? I think that kinda works. Okay. The next one I'm gonna see if I can my bed, See if I can lighten it up a little bit. While I'm doing this, What do you think you're doing? I'm hoping you're doing something similar. It could be on a scrap piece of paper or anything like that, right? But I'm really wanting you to practice this tonal value scale here with me, right? Okay, so this one is gonna be closer to medium. And right now what it is, a lot of it is you're finding is pressure, how hard you're pushing on your pencil. It will change a little bit depending on the type of pencil you're using. This one. I'm I'm refund on it over here. And I'm going lighter and lighter as I go across the tonal spectrum here, right? Okay. And this one's going to be even lighter. Area, light. Like I said, I find this easier to do with an actual pencil on paper, right? There's just something about the nothing replicative in digital stuff replicates the ability to have that pencil pressure in your hand, right? And the grip on the paper and all that kind of stuff. But I'm doing a pretty good job here, I think. What have I done? Well, I've shown you at least 1234567 tonal values here. And obviously we can work more and stuff. I gotta kinda showing you with inboxes, we can fill in boxes if we want. Put it across here. I've often done this exercise like I start light, start pushing heavier, start pushing heavier, start pushing heavier. Start pushing heavier. Start pushing heavier. There you go. And it's all in one. I didn't lift my pencil once off the off the paper there. So that's all in one motion per se, but one action, right? Go from light to dark. Tonal value guys. Master this a little bit. Do these practices, you can even toss us into your warm-up sessions. Like we've already got a few of those already. Through tonal values. Gradients into your practice sessions, your warm-up sessions. Because I think that would really help you going forward when we're starting to get into learning how to do whether it's a landscapes or portraits or any type of shading and rendering. This has got to be known. You've got to know how to do this. One little tip that early on, it is often overused a little bit. I remember when I first started learning how to use tonal values. And then I was like, Oh, I'm going to shade and I'm going to do this and everything. And you know what I'm gonna do, I'm gonna use my finger and smudge. That was my thing. I wanted to grab my finger. And just smudge. Sometimes my fingers wet. I'm like, Oh, yeah. Smudge. Smudge, right? Yeah. That can look kinda cool because you can only or your smudge and right, and you kinda get this cool blended effect, right? Do that. Do it if you're working with paper right now. I got sweaty fingers sometimes and especially as a teen I had and they were really sweaty. And so I would just like smudge and everything is just like it was nice to me. Not just looks almost exactly like that. Alright. Do that a bit. Then once you do it a few times, you'll be like, I've got dark pencil, charcoal all over my fingers and this isn't what I want. The next thing that you might want to do then is either grab like a tissue paper or down here, you can see these blenders, right? These are actual blenders that you could buy a pencil blenders and stuff, and they're gonna do this exact same thing. So what they're gonna do is more of a lighter thing of what I was doing with my pencil, right? So this could be something like this. It could just be blending smoothly or something, right? Sometimes this will work really well depending on the device you're using or what you're doing. Right. But let's see. No, I don't like how that looks either. So you can just kinda drag it from one tonal value to the next, drag it from one tonal value to the next. Drag it, drag it. And you can see how I went from dark to light, but it's more of a smoother transition, right? So what this is going to do is just smooth my transition a little bit. I don't know. I don't know if it's always needed if you're blending really well. Honestly, I'm backing out of it. And I like some of this original look to this original style, but it depends what you want. Some people, and sometimes when you're shading, you want this smoother edge, you want this nice blended edge and stuff does nice transition. So that's up to you. If you want it. Try it with your finger, see how long that last year, and then move on to using blenders and different tissues or whatever you need for smudging and stuff. Little warning though, sometimes when you're doing it, it can go exactly how you want and have that nice blended middle ground. Sometimes it can go weird and drag other things into it. That maybe there's bits and particles on your paper or maybe you're dragging a white into it or something, right? So it might not always be how you want it to be, okay. Just play around with it and see if this is a tool that you want or if this is something that you're like, You know what? Now I know it and it's something I'm not going to do very often. But I'll tell you what those this gradient of tonal value you will use often. So kinda spent too much time on this blending and stuff. It's just an option. But in reality, tonal values are a must. You must really get comfortable with them, master them. And so that's what I want you to do. I want you doing that exercise. Push harder, push, harder, push hardest. Go from hardest. Lighter, lighter. Lighter, and lighter. Okay. Run this exercise so many times. Get good at it because you're going to need it as we go forward. 9. Measuring Grids and Others: Hey guys, we're back and I've got another drawing unit for Horrea here. This one's a little bit different. It is drawing. We're going to draw, but I'm going to teach you some little tricks of the trade and how to measure. When we've tried to draw from reference before, we did a few different techniques. We tried the outline silhouette, right? That really worked for simple shapes. But it got tough ones things God complicated. And there were no view details in it, right? It was just the outline, silhouette to give shape and form. After that, we started to give a little bit of shape and form by hunting down the shapes and forms and saying, okay, well, how does this help us understand the entire piece, right? And with all of it, it, it worked a lot better. We were able to recreate a lot of what we're trying to draw. All of that works and all of that works really well. But I want to show you a different method that is used commonly in trying to recreate especially a photo or another piece of work. So you're looking at another drawing, a painting, whatever, or photo. And you're like, Hey, I want to recreate this, right? And there's an easy way to do that. There's lot of skill and bulb, but there's an easy way in general how to make this work. Okay? So I'm going to show you guys the grid method to start off with here. So what you can do is basically rough out a grid and then rough it out next to it and then draw what's in each of these captions, are each of these sections over here right? Now that is ugly. I do not like that and that is that is the wrong way to do it because what's going to happen is because my grid is warped, everything is gonna be warped. So whether you're using a ruler, a straight edge, or measurements within an app you're using or whatever. I want you to try to draw a nice grid like this. Something that looks like this, however many partitions you have, doesn't matter to me. If you're drawing this on paper and you've printed this out, measure it. Maybe it's 2 cm, 1 " or something like that. And each box has, has that measurement and make them equal squares for now. Make them equal squares for now. Okay? Once you've done that on the drawing, I want you to go next to it and do the exact same thing. Again. I want you to go next to it and draw out this exact same thing or a grid rather, right? Okay, so now I've got two exact grids here, right? But nothing in here. So what I'm gonna do, I'm gonna kinda zoom in just a little bit so we can get just a tad closer. Is this goes back to that hand. I think I'm going to keep looking back and forth and looking at this reference and over here. But because of this grid, I can kinda police things a lot easier, right? E.g. this, this here on pennants did this here is grid number one. This is this corner, this corner. And we can see that somewhere around here, this is coming down, this roof is coming down. And then it starts coming down into here, right? So if I'm just drawing this here, in this piece, this is all I'm drawing is this one roof here. Then I can see in this next one, this next section, it kinda comes down here and into there. So I'm kinda looking at a matching and across the board here, that kinda comes in. And we can see how the paneling of the barn itself comes down and it comes down straight down through here. Does it come all the way to the bottom here? No. It actually comes up about only one-third into this panel and then comes over. And it comes over. And it marks about two-thirds for here. So it's going to come over this way. And this is just a rough sketch. And then it's going to, I'll leave that for now. I'll let that play out. So I'm going to continue this roof up to maybe somewhere around here. Actually. I think I brought it too far there. I'm going to bring this roof up to around here and it comes down to right there. So what does that three blocks over about halfway, one-two-three, vote halfway, somewhere around here. So I can do my exercise to draw straight line going there. I'm gonna come up here, but there's no other line that does that. The next one comes down to this corner. So it comes from here, down to there. This line comes from here and I can plot it out, comes to vote this point or something, right? So I can just plot it out there and bring this down to there. The next one that I'm looking at right there is going to come somewhere around here. And so this can come down there. If I'm looking way over in this section here, there's a line that's right about there. So does this look really familiar from some of the exercises that we've already been doing. I'm going to come here and I'm just now that I've got that form down, I can bring that that roof bevel over. I can bring that over there. I can see that there's a little window here. This is not going to be a perfect drawing. There's, I didn't plot it out in perspective or anything yet. Antibody don't have to write. All I'm doing is plotting things out using this grid, using the squib, this fourth one, I'm going to have this landmark about halfway there. I know what goes into the next square and about halfway almost in the middle there. So I can draw, maybe make that a little bit more connected. Draw this line there. Draw this up, draw this up, and get myself that logo, roof bevel. And of course, I can put in as much detail as I want. I can start adding in these beams and everything right in front of these beams if I want pacing them out, depending on how much detail I want. This is just a sketch right now. And back from here, this is going to come down, but where does it come down to? I'm going to mark it and it's going to come down to about here because that's where it is, right about there. So it comes down into a bean, come down into a beam. Then on this side of the beam, it comes up. And of course, that's the beam underneath here. I can see the next beam is right here on this line. It's so easy to use these these grids. Now write this one over here. It's gonna be, I'm gonna kinda look over here and I'm constantly doing that back-and-forth thing. I'm jumping back-and-forth and I'm just plotting out, where are these beams? Where would they be in relation to this photo? And then I can come in here and say, okay, well this one comes up here. This one comes up here. This comes up here, the support, right? This comes up here, comes up this way. This one's here, right? Okay. Then the deck is below it. The deck comes in here to this point. That comes in there. And that's how the house looks behind there. And of course then on this corner is that part of the house. The deck can be finished off and of course we can use whatever else we can put shrubbery and can put all that in here. Put this window in here, and you can spend a lot of time adding a lot of details. However many details you want to add, you can zoom in and really make it something special. It's really up to you. The point of this exercise was to show you how you can look at even just one square over here and recreate it over here, right? I can recreate these bushes coming here or the top of the trees and stuff like that, right? I'm recreating just square by square. This is a little different than what I've shown you for using references. Remember the outline and the form and stuff. I got this as just using this grid as a marker. But what it still does is teaches this Coordination of looking back and forth with your eyes, spacing it, and using your hands to draw it in. Okay, So what do we think? Not bad. You can see how this could be used for a lot of great things like this is really a great technique that can be used in a lot of different areas. Honestly though, it can have a little bit of limitations because if you're not really paying attention and you don't e.g. understand the perspective behind it. It's a little bit limiting. That said, that's for more advanced classes that we'll get into as we progress through this course for right now. This is what I want you to do. I've already made this sheet for you. I've already created it, so you just print it out or work on your tablet and start doing this. After you've done this a few times, what I'd like you to do is grab another picture. Maybe you've been in a magazine or a newspaper or something laying around the house or online or whatever. I draw a grid over it. Okay. I want you to draw a grid over it and then recreate that grid on another piece of paper and draw that same image and see if you can do this. Once again, see if you can follow through with this exercise. Something I want to show you as well. And maybe I'm going to do this grid thing again. I want to show you something here. I'm going to bring this grid over to here, like we had it before. Man as well. Stick it in the same spot. And look at it this way and say, okay, well, this is, we've been here at why, why are you teaching me this again? Like, what's the point right? Now, what I'm gonna do is show you something a little bit different here. Same kind of thing we've been working on, right? What I want you to do is just take one square, just one. But what I want you to do is take one square, just one, and draw it next to here. Ok? So basically, what do we have here? We've got one of these squares, right? Okay, so in that square, when am I going to do? Let's see, who should I pick? I don't know. I'll pick a complicated one, opaque. This one is actually better to do that in red or black. There we go. I'm going to pick this one. So in the absolute middle, is this just a little north of middle, right? And what does it do? It comes down, comes off the screen this way. Comes back up and off the screen this way. And then there's a line that follows along there. I can see also if I really wanted to, there's got a lot of paneling going on there, right. I don't have to necessarily detail all that, right? So below this is this one beam that come down, straight down. And it goes off the screen straight down. And this one goes straight down across. And then there's another support being below that. And we can see how this comes up here. Comes up here, comes up. And that's what I'm doing here. I'm drawing this section, right? Okay. I see that it's got one support pillar here and the other support pillar here. And actually you can't make it out very much. But they're tracing back the same as this line. They're following that line basically. Okay. Below that in the background, this gets kinda hard. But there is a window actually touches the bottom here. Touches the bottom and then kinda comes up here. We can see the window frame and some of the window beams there. What else can we see? We can see some more siding or paneling of the wood. They're on this side of the door and we are all rather we see a door that's inside there. Then it looks like the door itself actually is almost a barn door and it has its own patterns there. So what am I doing here? I'm trying to recreate what's in this little piece. Okay. Another way of measuring and what did we just do? We blew it up. We made it bigger, we made it twice the size, pretty much right? So that's the cool thing about grids is what you can do is, let's say this is a 1 " by 1 " by 1 " 1 " this way, or 2 cm, depending on what country you're living in. What you can do is as you translate it, you want to keep the same dimension, this one to one ratio. But it could be a 10-inch to ten inch or 10 cm to 10 cm or something like that, right? And you want to keep that ratio. But boy, you could take any drawing or any photo and just blow it up massively. Be able to do a lot with it. But a lot of detail in here, I'm being a little lazy, just kind of skimming through the detail, but you can see how there's a lot of potential in that, right? There's another little trick that I wanted you to do. And this is me doing it pretty much. If I'm going to draw something like, let's say I want to draw this house up here and stuff and I don't have the time to grid it or anything like that. I can sometimes use my fingers. Okay. This works better. For works well, whether I'm doing it for a photo or whether I'm doing it if I'm live drawing, right? If I'm drawing something. Sometimes maybe I'm going to a live event where there's a figure posing for me or something like that or whatever. I might hold my fingers, my fingers up in front of me and kinda measure the distance between things. So I'm kinda like, Okay, well, this is this much. And then I bring my fingers down and say this is this much. So this would be, I might be measuring it and say, okay, well that's that. And then I come down and I say, oh, well there you go. That's my measurement, right? And I might go, Well, here's a width and I come over and say, antagonists say there's my width, right? And so then I start to form it out. That way. It's obviously not as exacting or anything like that. But you can see how there's potential for measuring, especially on the fly. If you're out on the street and you're wanting to sketch a building or something, right? There's no grid overlaying it. You just have to kind of eyeball it. Eyeballing is tough. So use your fingers, use some people just pick up a thumb and use the measurement of from one animal to another or something, right? There's a lot of different ways you can do this. I'm showing you fingers, but whatever works for you, use this as your quote, unquote. Eyeballing. Eyeballing measurement is a tried and true method. Find what works for you in it and see what you can do. Guys, I hope this unit was really informative for you. There's a lot going on in it. You know, it seems pretty simple with just grids and everything like that. But there's tons happening here. I would like to see this as a bit of an assignment. I'd love to see you handing it in, sending it in, and showing me that you can at least at a minimum, copy a one-to-one same size ratio grid. Drawing. What I'd love to see beyond that is enlarging and even drawing something that you've seen out in the street or whatever it is where you weren't able to grid. So that's your three assignments. If you can do this one, a one-to-one ratio, do this one and enlargement and do this one. The eyeballing. Be careful when you're out on the street eyeballing people might not work as well. But we're having fun, right? So keep drawing. 10. Upsidedown Exercise: Okay guys, we're back and we're going to continue on this stream of learning how to draw from reference, right? I've taught you how to look over and grab a silhouette from an object. I've taught you how to look for basic forms. I've taught you measuring techniques of using grids or your fingers are eyeballing it and stuff, right? And this one well, this one is a little different. This one is That's right. We're going to be flipping things upside down and we're going to have some fun with it. So let's see if this gets difficult or not. Okay, I think it'll be easy. So bear with me. Take the sheet that I've given you here. It's got a few different animals on it and stuff like that, right? You can see see the sheet here. And I'm gonna get you to flip it upside down. Okay? So now everything is just a little different, right? This is what I want you to do. I want you to try to draw these things upside down. Now. Why is that? Right now, it's not going to miss necessarily look anything amazing. We're just going to kind of draw a little bit of what we see, right? See what we can see, what we can see. Just sketching things out coming here. Sketching the belly, and why am I doing this to you guys? Any guess why? Well, what happens a lot with our brains and our vision and everything is that we see things and we recognize it. And we say, Hey, I've seen that before, and that's what that is, and that's why that looks a certain way. And I automatically fill in the blanks. Right. So if I if I see a car, I'm like, Okay, well, a car has this many wheels and this is what it looks like and this is how I'm going to draw a ton. Do you know? I mean, like my brain wants to keep doing that already. Instead of just looking at what it is, just looking at the form, right? It wants to fill in the gaps. And that happens quite a lot. It happens quite a lot when we're looking at things that our brain does that for us and to us because we're pretty primal creatures and stuff, right? So what's happening when that is going on as our brain is saying, well, that could be a danger to us. So I'm going to boom, I'm going to recognize that danger fast, Fast and Furious, and get out of the picture, right and move off right away. There could be this giant hippo coming for you. And how does, you know like maybe I don't have time to recognize. What is that thing that looks like something I've seen crushed my friend did before, right? No, I don't have time for that. So instead, the brain says, hey, you know what? I'm going to recognize that right away, that's a hippopotamus and that's kinda what it looks like and that's what's going on there. I don't want you to do that. That's what this is about, is I'm trying to get you to get away from that. And just recognize that there's something here. And I've got to draw it over here. I don't know what that is like. Of course I know what that is. I know it's a hippo right now and stuff I got. Right. But I'm trying not to I'm trying to let my mind just kinda go and draw what I think is a little bit over there, right? Just following some of the forms. And if I wanted to, I could do this way better. Like I could be like, hey, now I can use some of the techniques that I learned earlier, right? I can use maybe some type of circle forms or something like that to try to figure this out. I could do something, some type of measurement, but I don't want to, That's the point of this exercise. I want to just be looking and just bouncing back and forth and just saying, okay, well, what do I see? What do I see? What do I see what's going on here and stuff I got right? And to see how well this works for me, this is not to make you an amazing artist that you can do this every time. That's not what this is about. Okay? This is about an exercise. This is about training yourself to be able to kinda take yourself away from what your mind thinks something should look like, right? That you're used to seeing it in a very particular pattern. And instead you're just drawing shapes and flow. And just what you see, instead of recognizing, this is tough. Because your brain wants to say no, no, no, no, no. That's, that's this mouth guard and that's how it should be and it should be this way. I don't want you to do that. Okay? I want you to be able to just say, no. I'm going to draw it loosely and draw it how I think it should be gone. And if that messes up, so be it. This is light sketching right now. I'm not that worried about it being perfect. I'm, I'm actually really curious about what this is going to look like by the time we're setting done. I'm really curious about how this is going to look when we start to bring it on and flip it back over, especially even stuff like this right here, I'm obviously drawing some type of I know what it is. It's a letter, right? But is it will look better because I drew it upside down. I don't know. I don't know. All of this is a big I don't know. And that's how I want it to I want it loose. So I'm just kinda like what what's going on here, right? Okay. I think I'm almost done. And this was pretty fast, right? Let's there's only like a couple of minutes of drawing here. Okay. Well, why don't we switch it and we'll go back up and tell me what you think. Does that look like a bird? Is it off? You know what? The only thing that I think is off that really bothers me here is the I I think I would have lifted the eye up like up this way. It would have been more rounded or something like that. But overall, this kind of worked. Alright. It's a bird. It looks like a bird. It's got the shape of a bird. It's just the true PI that kinda throws me. Let me see my hippo. What do I think that the Hippel, He's cute. I might give them a little bit of peach fuzz here or something like that. I shouldn't be editing it, but yeah, this hippos cubed. It's again, what's bugging me on this? The eyes. Now, one little detail. Other than that, I think the form of it is actually working really, really well, surprisingly well actually, I don't do this exercise very often. It's been a few years since I did this, right? But this is really working. I think this is cool. This helps me kinda jump back a little bit, right? And this last one is this helmet. And you know what? This, I think also worked really well. In fact, I think it will work better than the other two. And why did it work better than the other 21? There's no eyes. I didn't have to draw an eyeball. And that's an interesting thing actually because not just with humans, but when we're looking at animals. When we look at other people, where do we often look like? I may not look a hippo in the eye when it's coming at me or anything like that. But our dogs or cats, any animal that's in our lives, we relate to them through the eyes. The eyes are so important to us, that window to the soul type of thing. And that's why one, I didn't really pay much attention to eyes in particular. And two, I didn't really clue, and I knew they were AI is per se, but I didn't focus on them. I wouldn't get I didn't give them the focus that I would've if I was drawing them straight on like this, if I was drawing them like a portrait, when we have a portrait, we punch those eyes. I didn't do that because I was just drawing the form of it. And that's why I think these two worked but fell a little bit short. Whereas in this one, well, that kind of work out exactly perfect. And if anything, I think it's kinda better than I might have done just doing it straight like this, Right? Like just my sweeping form is nice and casual. I'm just having fun with it and everything, right? Guys. This is what I'm hoping you will do. I made this worksheet for you so that you could do an exercise like this. Okay. I want you to, you're not going to have my drawings on there. You're gonna have your drawings on there. And whether you sketched along with me when I was drawing right now, I was going pretty fast rate, but that was part of the point of it. Alright. This is a five to ten minute exercise where you flip that paper upside down. Alright, hold on. Where's my song? Let's see if I can cue it back up. There we go. Okay. Enough of that. I want you to flip it upside down and have fun with it. See where you hit it correctly and where you might miss that mark just a little bit. And just realize that this isn't about 100% accuracy. This is about flexing your brain in a different way so that it can recognize different references than what you might normally do. Guys, I hope this was a fun exercise for you. And some different, always interesting to try something different with artwork and see how it works up. In this case. Whereas excess plus we had a lot of fun going upside down. 11. Mistakes To Avoid: Hey guys, I'm back and I've got another unit here for you. But this one, we're not drawing in and I know what's going to happen. You're tempted to skip it. I know what goes through your brain. You're like, hey, now I paid for a drawing course. Why, why do I have to listen to this guy just ramble on, well, I'll tell you what. I've got over 100,000 students now and a lot of mentor ships and stuff I got, and I've seen a few mistakes repeated again and again and again. And I want you to avoid them. And that's why I'm making this unit. So why don't we jump on in and see if we can step away from some of these missteps. The first one that I see that people run into a lot is not having a learning plan. This is akin to going to the gym and just winging it. You might see a little bit of gains or something, but you're really robbing yourself of a lot of growth. You are lucky. Because in this course, what I've done is I've set out a structure. I've set out a structure that has helped us student go from basics and fundamentals and use those skills and move through each of the following steps, right? So I've got a learning plan set out here. So I'm kinda hoping you're going to follow it, right? I know you're tempted to be like, I want to learn this and you're gonna jump. Don't. Well, I do but do so at your peril. It sounds ominous. Know, legit. I think I plotted this out, stick with the plan. Even if you go through it really quickly, I think you'll gain from it. Okay, Follow-up plan. The next one is having a boring scene or boring subject or something, right? And this is interesting because it's so interesting. What often happens is when somebody learns to draw something, a building, a car, figure, they just continue to draw it, right? And they'll draw that figure standing there again and again and again. Okay, that's nice, but there's not much to it. That figure is not doing anything. It's extremely such a static pose and stuff. So instead, do something with it. Have that figure in a power stance or leaning, or have that car racing around a corner or draw it from a particular Lee cool angle or something, right? Jazz it up. We're gonna get into this a lot when we get into things like drawing portraits and stuff, right? Showing expressions and everything. So just keep that in mind that you can study boring. But when you're really creating positive side. The next one that I see quite often is really not planning or plotting the piece out. Alright, so what happens is like, hey, I'm going to draw this tank. I don't know when they're going to sit there and they're going to draw a tank. And what happens? They get the turret, they get some of the tread in and by the time they're partway through, they hit the edge of the paper. And then they make a choice. And then say, okay, well, I'm going to tape on some more paper here, or I'm going to just pretend it doesn't need to be there or something like I plan this originally. No, come on. Even at this point through this beginner's section that you've already learned. We've learned that we can use a lot of our tools to plot it out beforehand. So we can plan this by maybe using a grid method of measurement or something, or even like just using some basic forms to kind of sketch it in, just to rough it in saying, okay, well, the piece that I want, it's going to fit on this paper, on this page the way I wanted to write. And then you start adding details in. Alright, next up. Focusing on the finish or focusing on the strength, not a weakness. Alright? So if we're focusing on our strings alone, and I'm going to use that gym analogy again. Things are gonna get kinda messed up. Things are gonna get quite distorted. Weird even. Imagine somebody that only trains one part of their body. We've seen it. What happens to the other parts that are neglected? We've seen that too. And that's what happens in your art. It's really easy to carry over if you're great at drawing. I don't know, let's say muscles, but you can't draw hands. Oh, that's gonna be pretty glaring. Alright. So what should you do? What should you be doing? I think it's pretty clear. Focus on your weaknesses. You've already got some strengths. Revisit them whenever it need be and stuff, right? But bring the rest of your skills up there. If you were scared of drawing feet yet on them. If you avoid drawing backgrounds and buildings and stuff, I get, get on it, get on these weaknesses until they're not so weak anymore and you have at least certain levels of comfort with him. I don't know when you really get into it. I think you might enjoy some things. Next up. We're talking about the finishing, focusing on finishing over structure. And actually I'm going to, I should have reworded this because it can go both ways. Some people finish every piece and some people never finish. And I want to talk about the people that finish every piece. What often happens is they'll show me a piece and say, Hey, teacher, look, this is like I spend 510, 15 h on this or whatever it is. And I'm like, I look and I'm like, wow, yeah, that's Swamp Thing is like cool and I love how you color this and all that. But like, where's this lake? Then the students kinda like it doesn't have step or if I say, Where's the eye? Whereas this, what about this, right? And what could have happened here? Was this kinda, those kinda really easy mistakes could have been caught in the sketch stage. So they were in such a hurry to add all the flourishes to it and everything. Instead of really taking a breath and looking at the process and the structure. So when you get on each of the stages you sketch, then you go to finishing lines and you go on and stuff. I go take a pause and say anything year that could be worked on, maybe show it to a friend or something and we'll get to that point in a bit. The opposite end is forever sketching and never finishing. Honestly. That happens to right. And what that is is almost goes into point number four of their strength and their scared of finishing. They're scared of that weakness of not making it look as dynamic. If they finish it, it takes away some energy or something like that, right? Don't be scared of any of this. If your weaknesses, not finishing, make sure you finish one piece a month or something. If you finish too quickly and you're, you're catching yourself. Making these mistakes. Take a pause at different stages and maybe take another look at it. And the last one can take constructive feedback. I remember one of the hardest pieces of feedback I received, and it was kinda related to point number five here a little bit as well. I was bringing my work to different professionals in the industry early on and they were like, it was the consensus was almost the same. They always said you're all cake, icing, no cake. And I was like, yeah, you're always saying no cake. It took me a bit. What that meant was my pieces looked great from the exterior, but the structure, the substance underneath was not good. So I was like, Come on, everybody loves icing, right? But my cakes were collapsing. And so it'd be the same as like being able to draw the best gargoyles. But you set them on a building that doesn't stand up? No, we're talking about doing things on paper, right? Where these aren't cakes or anything, right? But even on paper, what's going to catch the viewer's eye isn't going to be like You're awesome gargoyles. Maybe. Cool. But half the time it's gonna be like what's with the wonky building right there. Gonna be able to see that something they'd write. And what happens when somebody points it out to you? What happens when that was pointed out to me? I had to put my ego aside and really just kinda sit with it and say, Okay, what do I do? I went back and really went after the fundamentals. And so whatever feedback you get, and I'm really hoping sincerely I'm making this course so that you guys send me your art and stuff I get when I send you feedback. Take it because it's a great opportunity. Take it and just really look at and say, okay, well, does it make sense? Like, what's he saying here? Don't try to over-explain the wall. I was trying to do this or that. Take it as I'm a fresh pair of eyes. And I'm looking at your piece and I'm saying, something seems a little amiss here right? Now. It's up to you as a mature artist to do something with it. Now you don't have to change that piece necessarily, especially if you're, the person's always finished. Your finished, that piece is done. But what are you learning from it? What are you taking into that next practice structure? That next thing that you're drawing. This is up to you. Honestly though, if you follow these six points and learn from them, you're going to avoid a lot of the pitfalls that I see. So many of the students out there falling into, right? And that's why just taking a couple of minutes to listen to these. And yes, I know we're not drawing, we're not drawing but really taking it and saying, okay, yeah, that's kinda rings true for me. I'm going to remember that going forward. Honestly. That's all I'm asking. I'm just asking you to kinda look at these and say, I'm going to keep those in my back pocket as I continued learning through this course. Guys, I hope this was a little bit helpful for you. Right now. It'd be kinda like, Okay, thanks. But if you have these in your head and you go into future pieces and in future classes and stuff I get, you are going to be much more successful. So remember these and remember to have a bit of fun along the way. See you in the next unit, guys. 12. Setting The Scene Foreground, Midground, Background: Hey guys, we're back and I've got an interesting unit for you here. We're going to talk about understanding the planes of a scene, understanding how to separate these various planes, and understand that as a tool that we can use as artists. Hopefully you've got this worksheet in front of you and you can kinda follow along. You don't have to do what I'm doing here. But maybe even take a pencil and kind of follow what I'm trying to do. You'll see as I as I go on it, it'll make more sense to you. Okay. So off to the left here, I've got a scene, a frame, right? That has a foreground, midground, and background. And listen, I'm sure for most of you this is pretty familiar stuff, right? Backgrounds. They're familiar. You've heard that word before. Foreground is the one closest to you. Background is the one furthest away, and mid is in the middle. It's really that simple, but I wanted to make sure we're all on the same page on that right. Now. We know when we're standing somewhere that we can see this is closer to me and that's a certain distance and that's for even further away, right? Because we're, our brains and our eyes are good for spatial relationships. We understand that and write it, computes very well for us as humans. But when we're trying to draw it out in 2D, it doesn't always get conveyed as good or as well as we would like. So we have to use a variety of tools that we can have at our disposal to try to make sure it curious for the wet with what we're intending, right? Okay, So I wrote out a list of the four basic rules of this, the four basic separating rules so that we can understand the planes. The first one is tonal value. And what I'm gonna do is I'm gonna come down here and use these photo examples below to see if we can do that. So tonal value, hopefully you already understand what this means to an extent, but tonal value is going from light to less light to middle, too dark. So when something is dark as an, in its tones, it's usually closer to us. As things go further away from us, they fade out in tonal value. There's atmospheric occlusion, okay, so the air makes, it happened at a distance, the amount of air and particles and those types of things make it so that the tonal value, even though something it could be the same color, right side-by-side, it's not because of that distance. Okay? So tonal value is one. Another one is color saturation. And this has impacted by that atmospheric occlusion that we were talking about earlier with a tonal value. And with this color saturation, It's the same kind of thing. We could have two trees that are the same, but that tree is further away. It's going to show less color on it, less color saturation than the one closer to us. Next one is details, things that are up close. I think you can kinda figured this one out. We'll be able to see details. You might see blades of grass or leaves or whatever. As it gets further away, our vision doesn't work like that. The details decrease and very further away. Well, we can barely make out what's happening right? Then the last one is size. We've got nice little trees and our examples here. So when this foreground, we've got a tree mid ground. The tree is maybe half that size and background the tree is half that size, or maybe even a quarter or something like that, right? So let's take a look at what we're doing here for, for separating these planes. So I'm gonna kinda use red and I'm just going to look at these two and say, let's separate the planes out here. For this one, the foreground would be basically right here. It's pretty simple. I'm doing it a read right now on this one, maybe these little branches or whatever it is. And maybe this thing here, this is our foreground. These two, what do you think? Do you guys agree? I'm going to let you go ahead and meet next time, but for now, let's keep it at that. Alright. The midground, our midground is here. And maybe a little bit on that side there. And the midground might, might've been like this, this thing down here, here, and here, right? And then the background. And where are we gonna do for black background? Blue background on this is back here. And the background on this would be all this stuff maybe back here and stuff right. Now. It doesn't have to be an exact like you could see, like there's a bit of detail here and that's losing it. And by the time we're way back here, it's really gone, right? That's okay. You can just kinda separate these planes out. And you can, if you want to. I've got no color them in or whatever to help you separate. But I want you to recognize that the stuff up close. What is it? Well, the tonal value is higher. Color saturation is higher. The details are higher and they're bigger, but these happen to be branches, right? But I think you'll get it. Okay. So let's keep on rolling. We're going to come down to this next one. First one, where is the foreground in these two images? Might be a little tough and we might not totally agree. I think this first one off to the left here, it's pretty easy. I would put, this has the foreground, right? This one might be different though. I was going to say this is the foreground. But if you were to argue and say this, I might agree with you. Okay. Next one, mid grounds. I think the mid ground on this one. What do you think? What's the mid ground here? I was going to say maybe this could be the midground. Mid ground on this one. You can pause me at any time if you want to draw it in first and then here my opinion on it here, my wonderful voice. Pause me. There's no hurt feelings there, right? I'm going to say the mid ground is this one. And again, we're looking at color saturation. Look at the difference between these two for color saturation. Lot of saturation in here, not so much there. And then the backgrounds, well, saturation drops off, details drop-off, and there are our backgrounds. Okay? So when we're looking at these different landscapes, I live amongst mountains. So it's really easy for me to see this daily, right? This is a mountain that's in my face or the road or whatever, like the building that's right in front of me. There's the mountains that are a little bit away and then way down the way I can barely make out some other mountains. It's kinda awesome. It's awesome as an artist, but not everybody lives in the mountains. Most people live in cities. Odds. So how do we make our foreground, midground, and background in cities? And especially this is tough because when we look at mountains and nature and stuff, there's often like rolling hills and ridges in the way and those types of things, right? And that can sometimes work when we're looking at like a cityscape, e.g. we can see this cluster of buildings and then pass them as another cluster of buildings and stuff. And as if there's some separation, makes it a bit easier. But there's not always separation. Sometimes those city just goes on forever. I lived in one city of 25 million people. It never ended. It just kept going. So some rules that I use when I'm looking at cities and stuff like that is the same stuff that we've got up here. Tonal value, color, saturation, details in size. But details is a good one because if I can read assign, then chances are it's foreground. So maybe my foreground is something like this. If I could read the signage in this one, that would be my judgment for foreground. I don't think I could read anything here, but I can definitely see a lot of details on this fine biking less. Alright? Okay, so then what's next? Well, midground. And again, this gets tougher in this one, I would probably do it somewhere along this way. Some of the details in there, the details in these people, maybe even this poll. And then the details here, something along those lines that seems to be this middle ground in this scene. Let's put it at what, 50 ft from the viewer, right? And yes, I realize I'm sounding very American. Would that even though I'm not I honestly don't think I can measure that in meters. I don't know. Okay. The next one on this side. Well, what I'm gonna go with, still being able to see details in a bit of a plane. I would put it somewhere around there and then somewhere with the buildings on that side. Then where's the background? Well, the backgrounds, everything else. That's hard to make out, right? So in this scene, the background would be some of these buildings and this hilltop in the background there, right? Guys? There's a reason why this is important. Because if I've seen so many illustrations where they only put the only draw something in the foreground. That's it. Like you're not really, when you're creating, you're often not thinking of these planes, these planes of the scene, right? And so what they do is they'll just keep drawing, stacking figures and they're just all on the same plane and that gets extremely boring. So push, push some characters back, push something back, pushed into the mid ground. And when you do push back, what are you doing? You're paying attention to things like this. Alright? You're paying attention to tonal value. When you push it back, that tonal value is going to decrease a little bit. The color saturation is also going to decrease. The details. This person standing here or this mechanized warrior or whatever it is you're drawing, you're going to see every bolt on that armor. But as it moves back, you're not. You might see the general plates of armor. And as it moves back even further, you're not even going to see that. You're just going to see the silhouette of that mech. Alright. Guys. Understanding these planes is not just for doing landscapes, although it helps, but it's also for when you go further into the mix, dealing with anything, whether it's characters or setting a scene, drawing, comic book pages, anything. This here, this unit. It's an easy one. But if you don't master it, it's going to come and bite you later. So pay attention. 13. Learning Linear Perspective: Okay guys, this is it. This could either be one of the toughest lessons you've ever had or one of the easiest. Kinda depends on my skill set here, right? How good of a teacher might. Because I'm going to get into linear perspective. Linear perspective was not around the entire time humans have been doing art. We didn't really think of it this way. If you look at hieroglyphs and even older, not older, but even middle age paintings and stuff like that. There's a lot of weirdness going on, like things were not in proportion and sizing was all off. There was a lot of things happening that were just unrealistic, which was fine because sometimes things don't have to be realistic. But sometimes they do. And this is where this approach comes in. So linear perspective basically means that see if I can surmise it. Anything that's close to you, it looks bigger than anything that's far away. So if the same size object is close to you, if you move it further away from you, it shrinks. I think you already know this, so we've probably discussed it before about sizing and distance and stuff like that. Okay. So that's one premise is that the closer things are larger they are, the further away they shrink. But they don't just shrink, they disappear. Linear perspective shows if we're using that correctly, that when you have lines that run parallel to each other. So if I had like a box and I was to rotate it, that these parallel lines would, if they continued for as long as they could, would eventually run to the point of meeting. Usually they don't though, because eventually it comes to an end. But from our vision standpoint, these two tracks eventually come to the point where they meet because it's so far from where we can see that it looks like they're coming together. We of course know that they run parallel to each other, right? So they narrow and narrow and narrower and narrower until it, eventually it looks like they're touching. So if we've got edges that are parallel to each other, they will eventually continued to go off into the distance until they hit a, we call the horizon line. When they hit their horizon line, they will meet. There are vanishing point. So I've got a horizon line and a vanishing point. Don't worry, we'll be getting into this in more detail in later lessons and stuff. This is just the intro. So anything that's parallel, it's going to keep on going and keep on going until it hits that horizon line. Basically, if the viewers, my simple stick man, the viewers viewpoint is going to be that horizon line on the distance. The horizon line can shift according to the viewer. If we come up and our cameramen is up here, kind of where he's at right now, then the horizon line will be. Okay. So we're kinda taking a bird's eye view from this point of view and looking down at everybody. And the horizon line will seem kinda high in, in this frame, right? That's where it looks. Okay. We can shift where we're looking from. We can do a worm's eye view from down here and stuff. But like I said, this is kinda just all I wanted to do was just doing a little intro and show you that when we have parallel lines, they will continue and they will narrow until they eventually meet at wherever that horizon line is. So this one would go way off into the distance. This way, one would come up until it finally meets at the horizon line, the HL, at the vanishing point of these parallel lines. Every object, these are all placed differently here. So every object, depending on where it's sitting, will find its own vanishing point. Okay, And they'll continue on these little lines that are coming off of here. They're going to narrow and narrow and narrow as they get closer to the vanishing points. So off into the distance, as they come closer to the viewer, they will widen, widen, and widen. Really. That's what it's about. It's a way that we can add some realism into our drawings. Because without this, if we were to draw everybody at the same. If you look at older paintings, you would see everybody has the same height, everybody the same size no matter where they are in the scene. And kinda looks cool, but it throws things off, right? Study this, study this linear perspective, this real simple thing. And I'm going to show you how to do it in one-point and two-point perspectives in the following units. Guys, let's get to it and see what this is really all about. 14. Learning One Point Perspective: Okay guys, so continuing on with linear perspective, we're going to get into one-point perspective. What does this mean? What is one-point perspective? And I'll zoom in a little bit here so we can get some working space on us here. The horizon line, we talked about that, that's kinda like that. When we stand in an open field and we see that line where the land we're standing on meets the sky. That's our horizon line. Will come in here and we'll draw a nice little horizon line here, nice and straight. Okay? The vanishing point, we can choose it anywhere on here, but we're going to just choose right in the middle here and just say this is our vanishing point. Okay? So that means anything that I'm drawing in, this particular one is going to the vanishing point. And I'll explain that a little bit because things can change around a little bit more. But when we're talking about one-point perspective, we're going to keep it very simple. What I would like you to do is draw a box. Just a simple box like this. Okay? So a box, or rather it's a square right now. We're going to turn it into a box. The square has four corners right here, here, here, and here. These four corners are going to reach out for that vanishing point. Now I can use a ruler if I want, but I'm going to freehand it. But if you guys want to use a ruler, that's okay. What I want you to do is draw from this corner to that vanishing point. And you know what? I might even make that vanishing point, just give it a little bit of red there, so it's stands out for me. And then from this corner to that vanishing point, and this corner to that vanishing point. And you see how our line warm-up exercise will really come in handy force here. Okay, so you can see now it looks like a square that is turned into a rectangle that stretches on for infinity, right? Okay, I want you to practice that again. Draw a square here. It doesn't have to be a perfect square. It can be rectangle. Take the corners, the three corners, and there's a reason for that right now. And drag them. And if you want, we'll use a ruler. Drag them to that vanishing point. There we go. We're looking a little bit more technical now, right? Okay. So now we've got two squares that are turned into rectangles that stretch on for infinity. Alright? But that's not what I want. I want to make some cubes out of them. So how am I going to do that? Well, I simply cut them. So right now, what we're looking at is a square that has two vertical lines, right? So everything that's going to stay in this path is going to stay vertical. So I'm going to draw another vertical line that comes from this point and it's going to come straight down and makes sure this is where people mess up. They kind of go like this or they go in angle or something like that. Make sure it's the same vertical line that follows this. And you can see now, we've now created that side of the cube. We've also got two horizontal lines that take this form. So this is going to follow that same thing. And it's going to be a horizontal line that comes over here. I can connect it here. And now we have our cube. Okay? So I can shade in one side, make it look a little bit more 3D or something like that, right? Okay, we're going to try that again. And this time using the ruler, we're going to go with our vertical line and our horizontal line. And you know what? Because my original square was so wonky. I'm going to have to fix it just a little bit there. Yep. So you can see how using a ruler for technical drawings really helps, right? And yes, this is technical and sometimes I'm trying to get you to get away from that technical stuff and just go a little bit free hand. But in reality, what we're doing here, working in linear perspective. This is what I studied in drafting. We're learning how to draw more technical drawings. I tend to be a little loose when I teach it, but in reality, it, it should be a little bit tighter. So what we're gonna do here is we're going to draw a few different cubes around. And I'm kinda doing some shortcuts here. And we're going to bring them on back to that point. But I'm gonna do something different. Instead of drawing a cube, I want to draw an aquarium. So I hope you're following along to this because this stuff just keeps coming. Pause it anytime it can be a little difficult. Okay? So I'm gonna do the same thing I normally do, and I'm using a ruler this time, I'm going to drag down these edges, right? What? I'm going to make it an aquarium. And by doing that, I'm going to drag the inside edge down. And that means I'm going to make this whole cube transparent. So let's, let's do the same thing we normally do. We're going to Cut this along here and make that our are horizontal and this are vertical, right? Okay? But inside the cube, we're going to go up here and inside. So now you can see, and if I draw this, I'm going to draw it over again just, just so we can see it in red that you can see. We have a bit of a see-through cube. I call it an aquarium, but it's not a perfect aquarium or anything like that. There's no fish in this thing. But you can definitely see how this resembles a glass cube. Okay, little off on that, but you see what I'm doing there, right? So instead of a solid cube that we've got down here, we've got this solid cube going on. We've now got a see-through cube. And this helps us to understand that these are three-dimensional forms sitting here in front of us. Okay? They're not just these little squares that we're drawing right there. We're giving them form and substance. And one of the ways to give form and substance is understanding perspective. So we're gonna keep practicing with this. I want you to take this one over here. I'm going to, Let's see, do I want to freehand this? If I'm going to freehand, I'm going to switch hands. Here we go. I'm better from this side. So I'm going to freehand this a little bit. Come down here, come down here, come down here. And again, you see how our earlier exercise of connecting the dots will help, right? I'm gonna make this a longer rectangle. There we go. Little wonky there, but that'll work. And I might even fill the bottom here. So there we go. Okay. Getting a little bit lazy, they're little ugly. But that works and now I can take away the construction lines. And now I've got this cube hovering in space, space, space, space, space, right? Okay. Yeah, this is what we're practicing with one-point perspective. We're drawing a bunch of different shapes and then connecting the corners to that vanishing point. Why don't we try that again and see if we can get something interesting going on here. Okay, so when I'm doing these, I'm really hoping that you're following along. That's, that's the main point of this. Okay? I'm going to put the vanishing point right here instead of there's really no point to doing this unless you're following along with me, like just watching it, you'll be like, Oh, yeah, okay. I kinda get that. But it's way too complicated for that. Okay? This is, this is one of those key exercises that you really have to dig into and get working on. Okay? So one-point perspective works really well when a flat surface is facing the viewer. And then we have a bunch of parallel lines that are heading off into the distance. Do you remember in the previous unit, I was talking about train tracks and they get smaller as I go on. But these two, the track lines are parallel lines. So we're going to draw, let's see, we can draw some different shapes. We'll draw our squares. We can have a bunch of squares. We can have a rectangle here, right? But what about a shape that's a little bit more complex. So I'm going to draw this, and I'm going to draw this over top of it and come in and erase. So you can do this by hand. I'm kinda doing it. There's quicker method just because it's faster when I'm drawing and teaching here, right? But what do we do with this? Wasn't a god complicated. It's like a puzzle piece, right? Well, it's really not, it's not that complicated. So what we can do here, Let's see, where's my ruler again, I want to, I want to teach you guys with a ruler is take the corners that this vanishing point, that this vanishing point can see. Imagine it can't see through this object right now. So all of this vanishing point can see is the specific corners, right? So it can see this corner. It can see this corner, It can see this corner, this one. And this one. Right? So if I want to make the eventual form of this, not only do I have my main puzzle piece here, I'm just doing a little outline for you. But I've also, I'm following. I've got a vertical, I've got a horizontal. I've got a vertical. I've got a horizontal. And then I'm connecting those in there right now. You can see how something like this can be used for creating even more complex shapes. Right? Here's a little puzzle piece, but pause. We can go even more complex than this. So down below, I made this square, right? But what if I want to take a chunk out of it? What if I want to make a hole in the middle of it? Actually, if I want to do this as not just a square root, but it's a square with a hole going through it, right? What, what am I going to do to make this work? Well, I can still do the same thing. I'm gonna do these outlines on the side here, right? But inside. I'm going to drag that one there too. Now you can kinda see how we're looking at that from the inside there. Then how deep do I want it? Why don't want to have a really narrow and I'm only going to make this wide. Alright, so that means that in here, It's gonna be that same depth. I'm going to make it that depth there. And then this one comes over. And this one comes over. So not only did we draw this shape, but we learn to take away from this shape and see how that makes sense. So let's do that again. What I wanna do is actually I'm going to take away from this shape right here and right here. And I'm just going to erase this. But before I do that, I want to draw a line that's coming this way. So I'm going to erase this little corner here. See if that helps. Now I've got this weird gap that shouldn't be here. What can I put in here that will make it make sense? Well, this corner now is exposed to this, so I can bring that over. And looking at the distance here, if I want to come in a little bit closer, I can look at that distance and I could say, okay, well, this would be that edge there. And then usually what helps after it's all said and done is coming over and doing some type of outline over at all that helps define the shape. So what I'm hoping is that you're learning to work your, your, your sketch work and stuff is getting lighter and lighter. And then afterwards you're learning to throw on some finishing lines that really punch it forward, right? And then you can get in there and maybe erase some of your construction lines and everything. But look at that. We just learned how to not just create squares and cubes in linear perspective. We then went on to creating aquariums, see-through cubes, and more dynamic shapes, puzzle pieces and subtracting from pieces and everything like that. This, in a nutshell, is one-point perspective. The key to understanding one-point perspective is really when something has a flat surface and it's facing you, That's the easy one, that's the easy one to just kinda, it's going to fade off into the distance there. Okay. So in the next unit, we're going to go on to something a little bit more complex, a little bit difficult. But it will show you how you can start to grow off of this lesson and take it beyond. Hope this was helpful guys. This was actually a lot of fun for me. I'm, I'm enjoying getting back to basics here. Understanding how the student can really learn from just drawing a simple shapes, from taking the lessons that we've already talked about, connecting lines and stuff into creating something. Well, I think this is cool. You may not be the most beautiful looking thing in the world, but the construction of it is very, very cool. Okay guys, that's it for one-point perspective. Again, please practice this because this is needed for everything. Don't think that perspective is just for drawing backgrounds. It's for drawing everything going forward. It's one of those principles of art that you need to learn. And hopefully I taught in a way that makes it easy how fun with it guys. 15. Learning Two Point Perspective: Okay guys, on our last episode of linear perspective, we handled one point. There's my radio announcer voice, right? This time we're going to tackle two point perspective, which is much like one point. But you probably guessed this by now. It's added another point. That's right. The setup is very much the same. We're going to come in here and we're going to add a horizon line, that line on the horizon that where the sky meets the earth, right? Um, then we're gonna come in and we're going to add a vanishing point of VP. But instead of that one that we did last time, I'm going to change it up. Oops. When Lula too far on that. Here we go. I'm going to change it up and I'm going to add two. I'm going to put one over here and one over here. Okay? So when we talked about one-point perspective, I said it works best when there is an object like a house or a block or whatever it is that's sitting in front of you and it's, it's front face is to you and everything recedes back from there to point. Works best when something is on an angle, when you're looking at it on the corner of it. And so it's going to make sense when I draw it out a little bit. Let's see how we can get this looking here. So I'm just going to draw a line. That's it. Just a line so far. Let's zoom in to make it a little bit clearer. Once we've drawn that line, what are we gonna do with it? Well, this is one vertical line. Alright, so I'm gonna take the top point, drag it over to the vanishing point here, and the top point and drag it over to the VP here. That kind of jumped, may recall much better. Okay, I'm going to take the bottom point here, drag it over to the vanishing point here, and drag it over to the vanishing point here. Not bad. Okay? So I'm working vertically here. This is, anything is either going vertically or you will see. So let's draw some vertical lines right now. I'm going to draw this vertical line here. I'm going to draw this vertical line here. So anything that's kinda matching within this area is going to be a vertical line. And then we're going to take that, drag it over to this corner and this and drag it over there. And look what I have. I made a box. I feel so accomplished. That's right. I made a box. And you can see how it's a square root cube like we've done before with a one-point, but it's not facing us before. It was quite simple. It was like this, right? And then it would drag off into the distance and we would have r cubed that away or something, right? In this case though. What we've got is something on an angle. And because it's on an angle, it's gonna be a little bit different. And I'll draw this here. I can make this one longer. Bring it down to here, bring it over to here. And so where is my box? Here? Here, here. And of course, you can always use a ruler. I like free handing it sometimes because it gets a little loose and stuff, right? But how does that look? That looks pretty darn cool. And you can imagine being able to do a lot of things with this, right? But for now, I don't want you to, all I want you to do is go around this, draw a line and with your ruler if you want, it's fine. Draw a line and then drag the corners to one vanishing point. Drag the other corners to the vanishing point. Decide how long you want your box, how narrow you want it maybe. And then grab that corner, bring it on over. Grab that corner, bring it on over. And then you have your nice little thin rectangle, right? Okay. So when do we use this? We use this when our primary object is not flushed to us or anything when it's on a bit of an angle. Right? Okay. And you can see how good this looks. This is, I don't want to say it looks more realistic than the one point, but there's cases where most things are not flush and flat facing us. And just like before, what we're gonna do is we're going to continue on and make this just a little bit harder. We're going to draw our horizon line again. We're going to draw two vanishing points. Little hint with. But two point perspective. You'd like the vanishing points to be as far away as possible. If you ever are working on paper or anything like that, put them off the screen if you can off the paper, like even put a little tack or Something so that you can drag it out to there. So we've got our, we know what we're doing with our vanishing points here, right? But let's do something a little bit more complicated. Just like we did with one point. We're going to make this a little bit more difficult. Okay? So let's draw our little shape, right? I really hope you're following along with me here. Follow along with a ruler if you like. It doesn't matter to me. I don't care if you've freehand it. If you're that good nowadays. Okay. So we've got a little off from that. There we go. So we've got our basic outline right now. Maybe I could even throw those vertical lines in there. But what if I want to start to take away from it? What if I want to e.g. cut a chunk out of it here, right? Like normally, I'd say, I'm going to come here and this is my cube. I'm going to come here and this is my cube, right? But I don't want that. I want something different. I want it missing something. So I'm going to come here and do a dividing line along the middle of this circle, or a square or rather cute. And I want to cut it apart somehow. So where should I do this? Why don't I do it right here? I'm going to do it right there. Okay, and I'm gonna kinda zoom in just a little bit so I can make this be a little bit more visible for you. I'm going to drag this corner over here. And let's see, I'll drag from here, bring it over here. Bring this down. And because anything that's within this part is staying vertical, going to keep this, drag it over there. Keep this, drag it over there, and go straight up here. What did I just make? What does that look like? Let's see if I get it. Sketch it out a little bit more. Now it's not precise because I'm being a little quick on the draw on some of this stuff room. I didn't even plan this for what it kinda looks like, but I can kinda see it taking form a little bit right there. Back to their back, to their balance out again. That looks like it could be the corner section of a sofa or something like that. Alright, especially if I come in here and take away a lot of these construction lines. Wait too much. What do you think? You see? How you could start to make a bunch of different things by being able to draw a normal cube block, whatever it is, and then starting to hack away. I'm going to teach you another one that's a, maybe, I don't know if that's more advanced, but it's going to help you coming up in some future units. I've got planned here, okay? So I'm going to just erase all this and we're going to start again. Like I said, I'm hoping you're following along. Don't just watch this. I want you guys to follow along. I want you guys to be doing this. Oops, wrong one. On your sheets of paper. If you do it on the ones that I've provided, cool. If you don't, that's cool too. You can do it on a blank piece of paper. Whatever really works for what's in front of you and stuff. Do it on a tablet. And if you've got, what is it? If you've got some ruler function within that tablet, that's cool too. Alright. Okay, so I've got a bit of a flatbed here. And I'm hoping that if I'm going too fast for you, you just kinda pause it. Okay. Halfway through this flatbed though, I'm going to cut it there. And then I'm going to bring it over to here. So I just kinda bisected that way. Then I'm going to draw a vertical line here, a line back to there, and align back to there. So this is what I'm gonna do here. I'm actually going to come in and do one more line. And this is just me kind of Fortran around having some fun here and seeing what I could come up with. Okay, what did I do? I made stairs here, right, but I'm going to change it even more. I am going to Draw an angled line from here to here. So it's no longer stairs, it's a ramp. I've now angled this ramp and then it comes up into that step or whatever, that little ridge. Right. You can see if I back, how does it help when I do the red over top? I think it might. Another one you could do would be, let's say we want to do another one that's kinda like that. Have a vertical, they're going off to the side. This coming back. This will go over there. So I kinda created another step here, right? You can see it's a ramp, a step, and then this one, I don't want to step there. What I actually want is a curve. So if I go like this and curve into here and take this same one over here and curve into here. Well, let's see how this looks. I'm going to just draw on top of this and see what I've got going on here. Can come down to here. Come over, come down to here. Come over. And you know, when I'm doing this in a more legit way, what am I actually doing? I'm being very precise in corners like this, making sure that they attach really, really nicely, right? Okay, so I'm gonna come here, follow my arc. And I'm gonna come over here, fall on my arc. Then I'm going to continue on. Bringing this line back to here, bring this guy down, bring this one down and over. Okay, Then I'll come on up, bring this on over. Come on over to this side and bring it on over here. And now, what do I have? Well, I can, if I want to, I can take this away and take a look. Basically scoop nose with a rounded bump, right? So get used to not only making basic rectangles and aquariums and all that kind of stuff, right? But also being able to subtract from them, being able to take away from them, being able to go inside of them and see what makes them tick. You know what? That's what we didn't do for this two point. Why don't we do that at least once here, just so you guys have got it down. We're going to do a two-point Aquarium. Okay. So one more time, and this is what I hope you're doing. You're kinda just going like this. You're drawing a line. You're drawing a line. You're drawing a line and now you start to make shapes out of it. Alright, I'm going to use this middle one. Bring it on over here, bring it on over here. Bring it on over here. Bring it on over here. And then I'm going to draw the walls of it, right? The exterior walls, bringing them over. But I'm also going to bring the insides over. There we go. Okay, so now I've got that internal aquarium thing going on, right? And if I want to, I can kinda make sure it looks a little bit better here. And you can see I kind of messed up there. I should actually be zooming in and being a little bit more careful with my lines as I start to put things together. Here. There we go. Now, one thing that I forgot on this cube, you can see there's something missing and let's see if you can catch it as I kinda semi finish up here. What am I missing? What's going on here? Pause it and take a pause and think about it. What am I missing? There's one line that I'm missing here that will connect this all and make it into that see-through cube aquarium that we're striving for him. Have you figured it out yet? If you haven't? It's this one. But my measurements are off because what should be happening is that should be straight down. So why don't we try it again and make sure that I measure a little bit better now. And so it doesn't look like an ugly, wonky thing like that. Okay, we're going to try this again. We're going to use this one. I'm going to come down to here and I'll do it in red this time just to make it a little bit clearer for me and make sure that my lines are a bit more precise from here to the vanishing point from here. Because if you're off on that vanishing point, things can get a little strange sometimes. Okay. So now when it comes down there, I'll make it a very narrow just because I want to fit it in this space. This back one is going to come over here. And this back one is going to come over here. Okay? This top one. And I'm grabbing all the corners and bringing them to their opposing sections. Okay. And now what do I have? I've got this one that goes straight down and behind it actually worked out almost perfect. Just slightly off behind it. Is that other one? Does that make sense? Okay. So this one went wonky all up in here because I really wasn't paying close attention to what I was dragging it. You can see if I come over here and zoom in, how so many of my lines were just slightly off, right? And that will impact what you're doing here. And if you do it on the other side to all, these weren't on, alright? And so that'll really throw what you're trying to achieve here. Guys, work on this two-point perspective. It's a technical drawing to an extent, and sometimes you can try to wing it, right. But just realize that when you're doing it, you might get a broken wing once in a while. If you want to be real technical with it though, bust out the ruler. Measure it up a little bit and make sure you're heading exactly where it should be. What I'm hoping you started with was designing simple formed rectangles, squares, cubes, shapes like that, three-dimensional shapes. Then you can go on to cutting away from those shapes. You even doing what we did before, like cutting a hole in the middle over and seeing how that would look for something chipping away at it, right? And then you can do see-through who's doing those aquariums? Guys. There's a lot to be done in here. And honestly, this is a really big subject. And so don't be ashamed or bothered if you have to watch it a couple of times, both one-point and two-point. Sometimes they take hours to really learn and digest. Worst-case scenario. What you do is you just keep coming at it and you're just drawing a bunch of lines and just practicing away. You just keep, keep practicing and just keep rolling in. And then looking at it and say, what looks wrong here. And if you can figure out what looks wrong, if you can't figure out why something's not connecting, send it to me. That's what I want you to do. I want you to send it into me. And I can look through it and we can discuss it and we'll say, okay, well, here's where you went wrong. Watch out for XYZ, right? Literally x, y, z is another day. Have fun with this guys, and let's see what you got it. 16. Perspective Tips: Hey guys, welcome back. Listen, we're working on perspective here and it can be a little tricky. And even though you have the option of pausing me, rewinding, watching it again, and then watching it again. It can still be a little tough to totally get it right. So I wanted to do another unit just to kinda wrap it up, put a bow on it, and make sure that we spend enough time on understanding perspective. And that there's some things you could do to kinda make it easy. So one thing that I did here, and you can kinda see it is I grabbed my Lego. I grabbed my Lego and set them out in front of me and use them to kind of say, okay, well, what what can I see out of this? Can I see different perspective markers and stuff, right? So why don't we draw over this. Maybe the camera has skewed it a little bit so you can see they're bending a little bit. But basically, what's happening here is I've got this Lego piece, right? And it's going off into the one-point perspective. And I've got this Lego piece and it's supposed to be vertical, right? Because like I said, the cameras kinda skewing it here. And then it goes off into this one-point perspective. All right? Okay. I realize I'm getting kinda ugly with these lines. You can see how they get a lot more vertical as they get away from the edge of the camera. But look at that. I can use Lego to help me plot drawing a city block or something like that, right? Pretty darn cool. Like this is something that you can do to just kind of have it sitting in front of you. Like I said, the camera around the edge of it warps the lens a little bit, right? But you don't even need the camera. You just need to set these little pieces up in front of you. Look at them and say, Okay, well, how does this look? What would this look like if I'm drawing and seeing where it would go to, right. Where do these look like they're going off into that one point? I could be a lot more accurate with this if I want, right? So use household items. It could either be Legos like I've got here, or a cereal box or any box or any shape. Plunk it down in front of you and see if you can figure it out. And if the face is facing you, right? If, if the face of it is facing you, then chances are, you're gonna get away with doing that one-point perspective, right? But if it's not, if it's not facing you, then what can we do? Well, then we learned about the two-point perspective, right, that we've done. So we can see once again, again the cameras warping it just a little bit, right? But we've got these parallel lines going off in one direction. These parallel lines are all shooting off in this direction. Okay? And then they're shooting off in this other direction. So use am I call this the Lego hack a really use whatever it is you have at your disposal to play with and measure and draw and just say, okay, well, how does this work? Where would this all be going off to? Where would my one point B? What would be the one point that it goes to, right? And you can see how these start to line up. We're actually probably up here somewhere. Okay, you can just practice this and see how well it works. The one thing that I am going to advise you though, is that even on this, like let's say my horizon line is right here, right? I've got all these blocks centered here and they're sitting here and they're being drawn and all of this in there, they're going from this. This is one of their vanishing points and the other one must be, if we're looking at it, the other one must be way over there, right? So actually this vanishing, this horizon line might not be flat, it might be turned and we can see how the table behind it as kinda turned right? So it might be something like this. You can see how these lines would bring our horizon line there. So the first little tip that I want you to do, the first one is use whatever is in your house. Use it as a reference and see if you could play with it and draw it and manipulate it and understand it and all that kinda stuff. Take photos if you need. But either way, use what's in your house. The number two lesson is what I just showed you here. That horizon lines can be tilted and don't always have to be just. Straight horizontal on your page, right? So let's say I'm drawing a comic panel and I'm going to make this a little bit bigger here. But I'm drawing a comic panel that's like this. Well, I might want that horizon line angle minute. So every building inside of it is made of a certain way or something like that. Alright? Do you understand it? Not everything always has to be so strictly lined up horizontally, but realized that every building inside of this will follow this pattern of that horizontal line and off to the vanishing points. The third point that I just showed you here is I want, whenever possible, have the VP, the vanishing point off the screen. This building looks so much better because there's no VP within this panel. Okay? So you want to get rid of that. You want to push it as far away as possible. If you're working traditionally, sometimes use your desk and just stick little things there that are like a little not permanent marker dab. So you can use your ruler to measure out to it or something. Digitally. There's a few tricks that you could do and exactly what I did here, my panels inside here and then I'm drawing off the panel and stuff. Right. And number four that I want to show you. Number four, is that just because you've got something set up where everything's going to certain vanishing points. Not every piece has to follow that. Every piece should follow the horizon line, but it doesn't necessarily need to follow this. So let's say I have this is my vertical here. Let's say I have all these buildings and they're being stacked and they're following this and their VPs are way off here. Why might have one building here that goes against the grain. And it, It's vanishing point is right here. Okay? And so like if I was to draw it in, It's on a separate block. Meaning like, maybe this street has a windy road that comes around here or something like that. And this other building might be that way. And then it goes off to a main street here or something. But this particular building has its own special path, right? So it can, it still works within this perspective frame. It's still working within this because it's following this horizon line. Guys. I hope this helped you. I hope these bullet points, these key points helped you a lot. And the thing that will help you the most is if you keep practicing and working on this perspective. And just a reminder, one, use what's available to you. Whether it's a cereal box or whatever it is, if it's gone hand, use it and study it to horizon lines can tilt. Use that too. It adds more dynamic field to yard work. Three, make sure to set the vanishing points off panel, especially if you are using two-point perspective or something. It helps in designing your shapes, they don't look so warped. And for your last little hack is when you have multiple objects in the same scene, it's okay for them to have different vanishing points. If they're not parallel to each other. If you've got an assortment of brick sitting around in front of you, like if you scatter your Lego bricks, you're going to see they all create their own vanishing points, but they keep following that horizon line. Okay guys, I hope this was helpful for you. And really if you don't have this mastered, rewind and watch these units again, because it's super important that you have it down to go on. 17. 3D Names: Guys, do you remember a little while ago how we were practicing and writing our names, were doing it in different fonts and styles to try to give it a little bit of impact instead of just writing it in little printed chicken scratches. And like I do, we're fleshing it out a little bit, so to speak. We were in like thickening it up and giving it a little bit of funk in the designs, right? Well, now we're going to take that and add a lot of what we've been doing with prospective work. So what I'd like to show you here is a horizon line. Because we're used to horizon lines by now. We've drawn so many of them. I'm going to zoom in here on my name. And I'm going to say, okay, well, what we're gonna do here is what we've done worth some of those basic shapes before. We were learning about how to use kinda 2D shapes and turn them into 3D full shapes, right? So we're going to assign a vanishing point. And then we're going to come here and start drawing our corners to that vanishing point. The only thing I'm going to say is we're going to keep this full. Imagine that this is going to be full. We're not going to draw through it. Okay? So I'm going to draw and I'm going to be a little bit better with my, my lines. First thing I'd like to do is do this bottom row. And anything that if I was standing on this vanishing point in looking in this direction, what would I see? What would I be able to see from that vanishing point? I'm going to draw this all down into here. And how cool is that? Right? Now? I'm going to go along the outside here and see if I could draw something down. And don't worry, these vanishing points are gonna be erased after a while. So I'm going to come from this one, going to see this one. And there's a whole lot of construction lines going on here right now and looked a little off, I want to do that one. There we go. Much better. Even from inside here, maybe see if that works from back here, that little tail hook inside here, right back here, that little tail hook from the points of this ie all coming through. Right now this is pretty dark. It's actually overpowering my letters, but that's okay. I'm not that worried about it because this is all just kinda rough construction. What I'm gonna do is I'm going to back this way just a little bit. And you can't do that if you're working traditionally, and I understand that right? But don't worry about that. Instead of doing this digital trick, just kinda lightly sketched, just do it a lot lighter. That's how I do it when I worked traditionally. Right? Now what we're gonna do is see if we can use a red. We want to use black. Let's do red just so I can make sure I'm going to start to draw it as if I'm going over it. But there's one thing I should do before that. I'm going to come back to this and I'm going to show you, I want the cut-off line of depth, so I want to make it about that long. That's how far they're going to be. Okay. So it's with that in mind, now that I'm going to come back, I'm going to start to go to there, right. So I'm going to start to bring this to here, to here. And look at that, that's that plane, that bottom piece of that, right? What I'd like to do, usually do this bottom section first, just because it kinda sets the foundation of my figure here, right? And you know what, I'm going to hold off on this. I want to come back to that and show you guys something. They're going to just set the bottom foundation first on all of these. Ok? And there we go. So the base of this whole figure is drawn here. Now there's a few things that are going on here. You can see this is not flat like this, so I've got to follow that and have it on that same angle. So it's that same type of plane. I can do that and follow that same angle here until it hits this line. What do we think? Because at the right angle and comes down from there. Okay. Also from this corner here, it comes down. And this one kinda comes up this way. Shape like that. This one's going to come down, drop straight down, comes up this way. This part of the E comes down and it's about this thick. So it's still, you know, it'd be hidden behind there. Actually, I should make that a little more. There we go. Okay, so now you can see how these are starting to flesh out here. This one's going to come down. This one hooks down. This can go straight in there. This E will come down here. This guy will come along there. I can fix that a little bit. My name, Eddie, seems to have a lot of edges to it. Alright. There we go. And this one is going to go straight up. Now you can see, especially if I take this away, eddie, in 3D, right? Using one-point perspective approach. So it looks pretty good. I say, I don't know. I think that worked really well. And you can see all of the construction that went into it, right? If you can erase all that construction, it looks even better. And imagine doing this for a birthday card or a poster or something like that. It just gives a lot more impact of things, right? So when you see people, you're like cheese. I wish I was artistic like that person. Actually just learn this and this to be artistic, but it's also pretty technical. Okay, So let's move on. Let's see if you can guess what we're doing next. I've got Eddie down here, and I'm gonna do something different with it. I did one point up there. Can you guess what's coming next? You betcha. Two points. Okay, So this is a lot tougher because I can't just be taking this and drawing it out here and then drawing it back here and stuff. This gets really weird because if you remember correctly, what's really going on here is something sits between these and it's a vertical line that sits here, right? Let's see if I connect that. And then it goes up here. So Eddie would actually have to fit in this box. That's going to make this a lot tougher. I'm not gonna be able to do my little quick quick thing here, okay. To be able to move it around and stuff. So I'm going to set it off to the side here and just use it as a bit of a reference. So let's say e.g. I've got this off to the side here. And I'm going to use it as my reference point. I'm going to come in here and I'm going to write, because I've already got this box. I'm gonna kinda, right. Let's see. Right, these bricks. Just a rough with the funky style, right? I'm coming in here and I'm using this as my kinda guide as I'm coming through, right? I can be more precise. I can measure it out and everything, but I'm not gonna that's not what I wanted here, right. Okay. So I've got Eddie there. Now. This is not the exact same as this, but I just wanted a funky style. It doesn't really matter what font. So now that I've got that Eddie there, how am I going to make this into that 3D thing? So first I had to draw the base of this to two point perspective. And now I'm going to come off to the top and I'm going to do the same thing. I'm drying off these all of these letters and the lines that are all up here and dragging them over to this vanishing point off to the side here. And then I'm also going to come down below, draw some of these other points that go off to this vanishing point. And just any corner that looks like it is not going to be drawn through. That's what I'm dragging. You can see that I'm going along and I'm dragging tons here, right? Depending on your name, how complicated this is. It can take awhile, but that's okay. We're in no rush. We're just going along looking through here. There we go. Okay. So we've got this and there's like a big smorgasbord of lines here. So it gets really confusing. So we can kinda sticker faces in a little bit closer. And actually no, I'm going to backup for one quick second here because I want to set how much depth we've got on this, right? So I'm going to set this depth from this vanishing point and I'm going to put it, Let's call it right there. Then this one goes straight down. So this is the box. If you remember. All I really had to do here was draw a rectangle box and then start to fill it in with my various. Things that make up my name, right? So let's say if I want to, what I could do is I'd come here and I would draw that. And I would draw that. And maybe I would freehand it because it's kinda bent there, right? I could draw that in there. This one would follow that line. This would follow that line. This would follow that one that would come to there. So that's my e. Pretty cool, right? That works. My d would be right here. Okay. Maybe this would go somewhere there and then it's going to round up. This would go back and if I didn't draw it in, if I didn't go and I could use some of these as a bit of a guide. There. There's already so many guides here that I can be like, I know this is close. I know this is working for me right about there, right? So I'm just starting to draw some of these these points in going to draw it all the way to where I had it. Right. Here we go. Now we'll see if I'm going to follow this one. I can freehand this in a little bit. This is following this. And so this is going to follow that curve. This follows that one, that follows that angle. And maybe even a harder ankle here. There we go. Okay. I'm just going to keep following it along. Drawing in bit by bit. Sometimes it's nice to just like I did up top there, just do this kinda flat surface here and see if that works first. And then be able to comment and give a little bit more detail from the parts that are missing. Okay. There we go. Okay. I'm going to bounce out and I'm going to come down. And you can see how Eddie, now we came two-point perspective. Which one do you think was easier? The one-point or the two-point? Pretty clear. The one-point because we really didn't have to do anything to it. We just used what was the flat image? The flat front-facing 2D, and then dragged it into one point and made it 3D. That's what makes one-point perspective the easier one to deal with. That's why everybody uses it. That's why you see it being used everywhere from highschool on and stuff like that. Right. Like it's it's just, it's just easy to point. It gets a little hint here. We could not use this flat Eddie. And we could not do that unless we want to digitally warp it and drag and stuff. I got I didn't wanna do that. I had to redraw it. So instead I used this flat 2D as my guide. And then what I did was plotted out, I had to kind of plot out making a mini rectangle and then filling in that rectangle with the word or letter blocks, right? And that's what you're essentially doing here. You're basically making big blocks, 3D blocks of letters and stuff, right? It's a cool effect. And whether you noticed it or not, it's a nice way to practice some of the skills that we've already been learning. We practiced doing our names and all that. I'm hoping you didn't just do Eddie. Now, I provided that sheet for you so you could if you really want to write. But what I'm really hoping for is you do your name. I want you to do your name. And then I want you to send it to me. Especially because I know there's gonna be a couple of little hiccups. I know you're going to have troubles in a couple of areas. That's what I want you to do. I want you to do your name, send it my way and I can look over it and just circle a couple of spots and send it back to and say, Hey, watch out for this little corner or something like that. Because no matter what, there's mess ups. But the key is to learn from those mess ups. And guys with how much we're practicing here and how much I mess up. We're learning a lot. I'm glad you're joining me for this learning adventure. 18. Drawing Vehicles: Okay guys, this is it. This is where we're going to put a lot of our skills to the test. This is a pretty tough unit. So if you want to kinda take it in sections and see how that goes for you, okay? Don't stress about it. You need to get it all done in one sitting or anything because there's gonna be a lot here. We're covering four different vehicles. Then my guess is this is gonna be a long one. So let's get into it and realize that a lot of what I'm learning is applicable. So the first thing we're gonna look at is this nice Porsche, one of my favorite cars, and I sketch this out before. So there's kinda my construction lines I probably should have got rid of, but we're going to use those a little bit as our guide, as we're starting to draw. So what we're gonna do is I'm gonna do it in red just because that blue is already there, right? I want to do it in green. Let's go queen, doing a bit of a different color here. So I am going to find some corner markers. So that corner of the headlight there and use that as my markers for a box. Okay. So I don't know the backend of this box. I can't see it. I don't know. So I'm kinda, kinda guess a few things are at, right. I'm gonna guess that this tire goes to this tire and it comes out this way and comes back into the distance. I'm going to guess that it kinda goes. Tires are about the same height. And this line seemed to go straight across the headlights. Okay. If I want to, I could draw it this tire straight across as well underneath. If you look, I'm drawing a bit of a box here, right? Like if I was to follow this back, I would be following it back along this way, creating my little perspective box, so to speak. Okay, that actually it follows that fine. I'm making this kind of cube. These extra lines aren't helping me though, so I'm just going to stick with the surface lines here. Okay? Now let's see if I can recreate this. Going to have one line here that's gonna be that front. I'm gonna kinda see if I can use my fingers to measure it out a little bit. Have another line here. Okay? And then my fingers are going to use again. They measured this back here. So remember when I talked to that finger measurement thing, right? Well, that's what we're doing here. And listen, you don't have to use a ruler. You can get kinda loose with it. You know, kinda go like this. And it's going to change the dimensions of the car just a little bit. And that's okay too. Okay, So this is, this is my box, right? This is my cube somewhat so far and I'm going to back it out just a little bit because it's a little too punchy right now, right? I can tell that hears here's my tires. So right about this spacing and I'm looking for some landmarks in them. There's my tires and I also know that this tire line seems to be right about in the center there. Right. So I can do that in the center and I'm kinda looking all over to see where I can find certain little landmarks. Like there's a that's where the bumper starts here. So it must carry straight across and the bumpers going to start there. So I'm kinda just designing a box right now with recognizable little ticks in it. That hopefully when I start drawing and filling in the blanks, it's gonna make a lot more sense if I want to. Well, Here's one more. That top top of the door there on top of the headlight k. So if I look at a little bit above this line, it's going to come back into there. And if I want to bring it across, it'll golden top the headlight on this side too. Okay. Now, what I'm gonna do is I'm going to start to sketch. I'm just going to roughly sketch with my pencil and see what I can start to come up with. Okay. So this is, let's see. I'm just going to have it a nice sketch. And I'm looking here and I'm thinking, okay, well, somewhere around here, this corner is going to be my headlight, right? I was kinda doing my headlights and that I don't like that pencil at all. Going to switch up. There we go. I'll just do it with this one. Okay, so here's, here's my head light and I can even match it on this side. Now I've got two relatively familiar landmarks. Alright. I know that below this line here, below the headlight line is my hood. So I can kinda sketch that in there, right? I know below that. Hello, that is this midline here. So I can kinda go from below the headlight to overhear and kinda start to bring it over. This is really rough sketching right now. This grill comes back into here, touches this line, and then comes all the way over, comes past this line. Then there's a bit of a spoiler upfront. It comes in the front. And of course I can start to add these details in and do this if I want. It's really not worried about it. I'm just sketching here, right? Actually, now that I'm looking at this, This had to come further past. This has to come further out because it comes back and there's headlights in the wrong position. This headline should be more around here. You can see there's a lot of adjustments and I'm kinda looking at what's going on here and saying, what feels right, what feels wrong? This hood comes over top and back. And it's headlight rounds out here. Rounds, and then comes back into the hood as well. Why don't we go along the side here. We've got this spoiler coming up here. Halfway between these two, starts to go up and cuts back down. Then we've got an, an oval here. It only comes into here. You gotta be careful with that. An oval Here. It comes to this point and then cuts in as the tire, they're right. And that midpoint is about there. What I'm looking at this, and it's too short, it's gotta be that high. So what do I do? Redo it, It's okay. I'm gonna do this again. This tire comes up here. So if I'm gonna do this oval, that's how big the tires. And that's how big the thing is. The tire guard going around it. And then this is going to come back to about here. It's gonna do the same thing. It's going to come up and around that guard. That tire is going to be an oval there to Midway. Was that center kappa rim? Okay. I hope you're following along right. Along this headlight here. Just along this way is going to be that side window. Right? Now if I want to, I can start sketching things in. That window is going to come here. It's going to angle back, right? Can put that kind of sporty there. And it's going to come back and maybe dip a little bit more and then round around the bottom back here. Okay. So there's doors here. The hood, I forgot to flesh it out. And it comes up here, right? There's gonna be a bit of erasing going on here. Come back and erase and kind of clean up a little bit of what's going on here. Make it a bit sportier. There we go. I'm just using my box that I drew here as a bit of a guide. Right? Okay. And the mirrors are off either side. And then this comes down into the back here and we've got the car door. I comes and follows the form. Okay. Actually, mine looks more like a muscle car than the original Porch does here. It's kinda got an amine or look, I think it's this gnarly hood that I've got going on here. So what do we think? What are the main differences between the one that I just drew and this one here? One. This angle, I angled it more. This is more of an extreme angle. So my perspective box was not the same as this perspective box, but overall, things kept the same form. I think if I change the headlights just a little bit, give it that extra look like a Porsche. This headlights seem to be closer to the bumper, right. So I can bring it down a little bit. Overall. I got to say mine looks a little meaner. But yeah, looking at it now, if I was to do a direct copy over, my angle is off. Right. But other than that, I got all the pieces in place. I've got all the pieces. And I just drew a brand new Porsche, like literally like this is, this is not this Porsche here. I redrew it with my own I write, I redrew it in my own style. And that's why this type of drawing works very well because I used all the fundamentals and redrew it and made it my own. Okay, and that's important too, right? So I could have gridded it and just copied it block for block and stuff like that. But instead, I now created my own really important guys. Next up, we've got this old-fashioned truck. Okay, so what do we wanna do? We wanna do the same thing and this truck has a little bit more boxy. So it might be an easier box for us to draw, right? Okay, so I'm gonna kinda, I might draw it smaller. Actually. I'm not going to do the same size. I'm just going to try to keep it. Keep the ratios. This is about that. This is a longer space, then this one here, this one here isn't that long compared to this. This is the back of the truck, so it's going to take up a little bit more space. So I'm just kinda looking here and I'm just kinda drawing in what would be sections of the box, right? As we look. And then we can even have the top. Keep in mind though that this part is way ahead of this. This is actually back a bit, right? Okay, so if we want, this will come up here. We can use this as a bit of a guide. So if I was drawing this actual cube, what would it be? It would probably be something, something like this, right? This would be my my little two-point perspective box. Now upfront, I would say the tires are somewhere in that range looking to space them out. The tires are somewhere around there. You've got a whole bunch of details here. A bumper, headlights and everything. The hood goes back. How far back is this? If I was to measure from here to here, what do you figure it? This is about halfway. So if I'm going to measure from here to here, this would be about halfway. And so that's where that back of the pickup cab would be. Okay. So now that I've kinda got some landmarks roughed in, I'm going to jump into lines a little bit and see if I can flush some things out. First thing I wanna do is maybe this bumper here. You can do the bumper and it's going to come this way. And it's going to come up and over and around. I remember my drawing here is gonna be much shorter, shorter than this is shorter than the actual truck. I've shortened it a little bit and you know what, even now though, I'm feeling like it's too short. So I'm going to bump it past this just a little bit. Oh, no, that bumps up too much there. I want to bump it to here because this is the top of this section here, right? Okay, So I'm kinda doing that. I can see at this point, this is my landmark for where this door comes. Remember there's this kinda groove that's over here. And the door comes down, follows this form, comes over this way, comes up, but then it comes back along the hood. So before I get too deep into that, I'm going to come back over here. I'm just gonna kinda draw it, draw some forms on this slide. Next one will be this headlight grill section. And I can put those in here. Guys, I hope as I'm doing this, you guys are following along on your sheet, right? This is not super easy. I get that. This is, this is now testing a lot of the knowledge that we've been putting in together. Okay, so now that I've got this here, I'm going to kind of bring it across. How far across, until this follows up perspective line. There we go. So there's the hood of the of the truck. A little bit less. Windshield is going to come up. It's windshield is going to come up. It's gonna kinda come across here into the window of the door. Back again. And there we go. So that's the back of that. Alright. The wheels, partially hidden by the wheel. Well, but I can still, this is where all our practice of drawing circles and stuff has come in, right? No matter how many times we draw them, we're still finding us drawing more and more ovals and circles and all that. Right? There we go. Okay. This is starting to look like back in the '70s, they used to have these fat trucks and muscle cars. And they were just kinda these cool things. And I feel like I've kinda drawn it like this stout little little thing. Right. So even though I elongated it, even though I pushed it back, I still feel like it's 22 vertical. And two short this way. But cool. I just made My own truck, right? Like that's pretty darn cool to be able to draw something like that, right? But lesson learned. This one I stretched a little bit too much in angled it too much. This one I shortened up. Still pretty funky looking though. I gotta say I enjoyed. It looks if I threw some big oversized rubber on this, alright. Starting to look like one of those weird '70s kinda know, hippy muscle cars. It was a cross between muscle cars. And then when they got into the fonts of the late '60s. Okay guys. So right now there's a car, there's a truck, and we're probably kicking around 15 minute mark or whatever, That's not too bad. What I would do is if this is going too fast for you or you're not liking the look of your drawings. Pause it, stop it, rewind, and head back and do it again. Do it on another piece of paper. You don't have to do on these sheets, right? Just put another piece of paper down right next to this and draw it out again and say, Okay, well I know what, what I liked and what I didn't like on this and I know what I liked and didn't like on this and what can I do about it? Like, what's, what's going on here? What can I what can I make a little bit better? Take the time. You're in no rush. There's no rush to finish this course. You bought the course, it's yours. Have fun with it. You know, enjoyed, get into it, play around with it, spend time on it because it's not going anywhere. The only place it's going as your skills are improving. We're gonna do a fighter jet next. And this is interesting because the perspective, I kinda, you can see it in a lot of the forms here. You can see how everything kinda tapers back. Tapers back. So why don't we do it even smaller though? I'm going to go like this and just spread it like actually I want to spread it out, but more, even more than that. Now I'm thinking about it. I want to really push this. Okay? So here's going to be the center piece, right? And then I'm just going to have this guiding me. And this is, this is gonna be my guide. What's different already? The angle. This angle is very different than these ones. This is, I should have kept it going this way, but I'm going to draw a different type or not a different type, but just the same the same jet here, but just a little bit different. I'm going to just sketch it out. I'm going to have this first tube right here. So what did I do? I just basically drew a cylinder and you can even give some form to it or whatever, right? And it kinda goes like that, right? Okay. So I drew that cylinder and then I'm just going to bisect it or cut through here. What do you think this is gonna be? It's gonna be the wing on this side. The wing on that side. Alright. And so I can kinda just aim it down this way if I want a mud down that way and then throw some more details into it, I can come here. But this further come here. Put this further. I can use this. Maybe back here a little bit. Use this, bring it on back, bring it on over. And this could be my cockpit. You can use this and that can be nose of my jet. I really feel like though, that these wings are ridiculously short. So even if I start to add in some missile systems and stuff I got I'm like something's happening here. The this thing ain't going to fly. If I throw on some on the back tales first. You can see I'm just kind of winging it a little bit. Keep them in line with this missile. Go back a little bit and then come up this way, come up this way. Draw down this central line here. I'm going to draw this final fin. But you know what? I feel like this has gotta be carried out, put out even further. And let's see if I can be consistent my line here, bring it out one more. There we go. So what do we think? This jet, if I start to do the outline of it, does it look the same as the one that was previously drawn here? I can start to add details and bolts and things like that. But it's different enough that it's my creation. I took the reference. I've taught you guys how to copy references exactly. And now I'm teaching you how to make them your own. Alright? This is important. This is important that you learn how to do these on your own. I still think, although I really like it, I could have cleaned up the nose a little bit and these wings are still two stubby and everything right? But overall, that was fun. Yeah, I think it worked out pretty cool. I might have been able to bring this a little bit more on this side or something, right? But yeah, I think this worked out really cool. And imagine pushing this even further. Where you have something like this. And you're just sketching that, you know, having the cylinder in here and then you've got the wings, right? And you're like, oh, that's cool looking. You start to bring them in, right? With that. And you could have so much fun creating different ships, flying in these angles and stuff I got with, with guns and missiles on them in all. Whatever else you want to put on them or whatever I like. There's just a lot of potential once you start to combine form and the perspective that I've taught you, right? Then just double-checking, bouncing back and forth with references. Okay. Last one here, this helicopter. Let's hunt down, see if we can find some, some basic forms. I think it looks pretty simple already. Like we've got kind of what looks like maybe some type of slanted rectangle here. So let's see if we draw that from here, down, here, and back. And then it's kinda hear maybe even more of a slant here and back. Does that look relatively right? And then behind it is going to be, even though this continues on this way, is gonna be that tail. Then we can just put midway markers on it. And use this now as Our, maybe I want to make them vertical like this is have this crossing over. So now what is this? This is just what we've practiced so many times. It's just a drawing of a modified rectangular cube type of thing, right? And so what am I going to do with it? Well, I'm going to come in maybe just a little bit closer and then see if I can start to play around with it. So maybe from this point, this is where I'll bring the nose up and out and forward. And I start to work on these details a little bit. Alright? So this is going to be, knows. Maybe it's got a camera lens out here or something like that, right? And it rounds out into here. Then it's got this bottom section comes all the way back, but I don't want to draw it in yet. It's got the skis here. We'll leave that for now. Here's a wing that I can use this marker at. I think it's going to follow that same perspective pattern. Can drop down and add a second flap to it if we want. And under it can be a payload of various tubes or missiles or gunships or whatever. We want to put it in there and stuff right up here. We can use this as another landmark. And this could be a bit of eventing system or something like that. Comes up to here. The cockpit will come from maybe here and back, come up. And if I want to, I can just kinda angle it. However I want. Start to add these these parts in. Draw this across. I'm just going to follow these angles that I've got here. There we go. Up top here. I'm going to carry it on back. Maybe up top here is some sweeping part for this this engine, for the rotors and stuff, right? I'm just really roughing it in here. And then I'll draw those rotors when I back out a little bit. More intake or events or whatever I want up there. Maybe this can be a bit of a turbo push that's coming out the back here. We're going to come back into this tail. And it's a simple shape. Back into the rear rotor. It's on the other side here. And it's, let's say in this position or whatever little mini wing. And you can see like this is not that hard to do, right? Like everything we're doing here at kinda make sense already. Of course you can add more details. You can add bolts, you can add panel breaks and stuff like that. You can add whatever you want in there, right? Okay. We're going to come forward a little bit. And let's see. We want to add this machine gun. So, uh, what's a machine gun is chain gun, right? Is basically a cylinder. So if you can draw cylinders. We already know the angle that it's on. And we draw a little, you know, where it shoots out over whatever and stuff, right? We can make a housing for it. And there we go with that. Then we can back out just a little bit, throw the rotor into the mix. And now we have our helicopter. What do we think? I think I changed the oh, I forgot to do something. There we go. I forgot to add the teeth on it. Do we like this helicopter honestly? Yeah. I think it worked out really well, especially for being a loose measurement and stuff. I get this worked out really well. We turned it slightly. I don't know if you noticed this, but this one is slightly this way. And our helicopter has turned slightly this way. Just a little rotation in how we did that box, right? Guys, this is a tough unit. We covered so much here. But what it is really a bit of a culmination of the things that we've been working on so far. We worked on hand-eye references earlier and stuff I got being able to look at an image and recreate it to a certain extent. We also worked on perspective and understanding how we can make really basic three-dimensional cubes and then start subtracting from it. And so what did we do? Well, that's exactly what we did. We drew these vehicles by basically making these three-dimensional blocks and then hitting reference points in them and then adding to it, subtracting two it, pushing, pulling it and stuff, sketching over top of it and coming up with some pretty cool. Now are these exact replicas. Know, if I wanted to do them exactly, I would measure them out and measure the perspective. Do it exactly how it is, or just do the grid thing. But that's not what I wanted to do here. What I wanted to do was show you how you could recreate something. A quick sketch of a reference using the tools that you already have and make it your own. I think that's what we've done here, guys. I would love it if you could send me your vehicles. I am hoping you didn't just watch this. I am really emphatically pleading that you actually follow along and do it with me. Okay? Now listen. I say that Do it with me. But what I mean by that is do it. If you watch one section and watch the car and then put it on pause and then do it yourself on your sheet or whatever. That's fine. I just want you doing this and I'd love to see it because I want to make sure that you're on the right path and you're following the right things. And even though it's not perfect, you're working at it. Because that's the name of the game, right? Guys. I hope this was fun for you. And like I said, this was a tough one. It's a bit of a long unit, but I'm glad you stuck with me. Now. Get drawing. 19. Drawing Spaceships From Household Items: And I've got another unit here for you. This time we're continuing on with our constructing vehicles little bit, right? But we're gonna be making spaceships. And we're gonna be doing it in a little bit of a different way. I've kinda started doing this for design of all things and stuff is grabbing something around the house. That is familiar, right? Just grabbing something and saying, okay, well, what can I do with this, right? What could I make of this? And so I've pieced together, I shall bone sets out a few different items, household items. And we're looking at it and saying, okay, well, what can we do with these things, right? Like what can we construct? So why don't we do just that? Why don't we play around a little bit. You've got your sheet, I've got mine here. And maybe are things will be similar, maybe there'll be a bit different. What I'm gonna do is just kinda look at some, some things here. Like I kinda feel like this has maybe some type of wing or something. It's coming out to here like we've got maybe a shape, a cylinder shape. I'm kinda thing of the jet thing that we just did, right? We've got wings that maybe come out on either side here. Alright, I've got this. I can kinda go with this plane here. Maybe it comes like that. Alright? What do you think of that? That kinda encapsulates our basic shape here a little bit. Alright, blank. I think that kinda captures part of what I want on that. Alright? So you know what, I'm just going to draw a straight line. Just if I could draw a straight line. And just kinda, Here's going to be that cone, right off of that cone is going to be this claim that comes up into a bit of a fin or something right through that is gonna be two markers. Maybe two there. This can come back. Come back. It comes back again. It comes back again. And now, well, here I've got a basic, almost looks like a battlefield type of thing, right? Like so what I can do is zoom in on it. I'm going to just kinda back that a little bit and make my sketch a little bit lighter I think. And see if that helps a little bit, then what am I going to do? Well, I, I kinda think of like, what's on a on a ship like this, right? What would be some of the things that might be on a ship? Well, I can put put that cockpit if I want on the frontier, right? But I think I might make it a little bit different, stuff like that. It's gonna go with like a two tier thing. Right? I can have a little bit of different designs here or something. The nose might snarl it, do something different here. Starlet and have this, this hook make it look like a bird of prey type of thing with some type of laser pointer or something like that. Some armor plating here. And listen guys, you can be following along and doing exactly what I'm doing here. Or you could be doing your own thing, right? Like it's, this is just kinda, we're sitting here brainstorming together and saying, well, what does this look like? What could we do here? And I'm kinda playing with this wing here. It's not really a wing, It's more I don't know if I would call it a fin or anything like that. I feel like my rotation is a little bit off, like I should have brought this and this kinda like that a little bit more because this seems very vertical, right? I'm going to bring this back in, bring this in, going to bring this back and bring this in. I wanted to shorten it up on this side and lengthen this way because like I said, I felt like I had rotated this from my original reference a little bit, I rotated at a little bit more. And so I want to put more in there. So what I can do here is, you know, like you could put a big jet engine on the back here that has a boom if I want to, I can do it this way. Propulsion Dr. thing, that's kinda splattering some some energy out here, something like that. Okay. There's all kind of know if that looks good. I can have What do these guys have? I could have some type of force, rockets or something like that. It's a lot of armor minton stuff, right? This is a beginning to look a little bit too much like a fighter jet. And I'm trying to think of how I can shifted up. So that doesn't look like a fighter jet, maybe backing out just a little bit, right? It's starting to look like a bit of a fighter jet. And I don't want it to. So maybe some weird and antennas going on. Alright. To receive signals, I could have a graded system in here. And this is where like just starting to play with it, see different things that I want. I can start to Oh, you know what? As per our discussion on on being able to cut pieces away and stuff, right? What if we do this? What if I cut this away? And I just kinda shape it like that. So that means this would also be cut away and kind of shaped like that. Then what does this do? Well, it creates just some, some extra little weird detail here. And you can start to play with these shapes and have fun with it, creating something bizarre, different, whatever it is, right? But what did it what was it based off? An actual form of something. It was based off of a couple of pairs of kitchen scissors or whatever, right. So play with it. See what you can come up with. See what's there in your mind, right? We're going to jump onto the next one here and see if we can do with this. Okay, so this is my massage gun. And the shapes are pretty simple here, I think, right? Like we've got two cylinders and you look at the perspective here, right? Like I can already see what's going on here, right? So if I was to draw that right here, and let's say I draw right beside here a little bit smaller. This is down. This is up. And the mid, the horizon line for this thing is probably somewhere around here because this is starting to bend below. And anything above here is a bending, bending above. Okay? And then we've got another cylinder. Not sketching very well here. And listen guys, well you could be doing is doing exactly what I'm doing. I gave you the sheets so you could be drawing over top of things and stuff. And I can, and doing what I'm doing here is just kind of drawing beside if you want. I'm drawing the back of it here. And copying me stroke by stroke. If you want, it's up to you. You can not copy me at all and just say, You know what? I'm gonna do my own thing using this base form, I'm going to create it into something totally different. The only thing I really would like is if you kinda look at the circumference, see if you could find those, those lines, those circumference lines, right? See if just from the perspective that it's in, if it makes sense to you, this one would be something like this. Alright? Okay, so now that I've got this, what am I going to do with it? You know what, I kinda like this, these lines, I like the circumference lines. So what if I continue this down? Just gonna kinda play here a little bit more. What if I do a ring around it like a doughnut? And then, okay, so I'm gonna just kinda that you could sketch in the form a little bit more and come up with some ideas and stuff, right? Or you can just go straight into the sketch. Now if you look, this line comes up here, and then it comes down. And it comes into something interesting here, right? Like it's just kind of a beveled thing, right? And what we could do is have this as some section of the what I think I'm going to make this a space station. And I can have this as some section of the space station here. So I'm going to have, I want to follow the circumference lines a little bit that I've already laid out here. Alright. I'm gonna come down into here. I'm going to make this an ugly circle there. I'm going to make this into, I'm going to make my doughnut into something. What I'm going to make it into is maybe a port. So that little ships, little ships like the ones that I drew above are coming and going and stuff I got there coming and going in and out of these ports, right? And then maybe this can be a big one. And I can show inside the donut. Now there is maybe a wall there or something like that and then show some effects of how there's a larger ship coming out with rings on it or something like that. Right? So I can come down here, finish us off. And you can play around with this. It depends on what's on your mind, right? Like, what are you thinking for? For a design feature, right? Like is it, is it a place where there's rows upon rows of windows and bit of an observation. Area where there's tiny little people and they're looking outside or something like, what is this thing going to be to you? Is it more of it doesn't have a propulsion system, doesn't just sit in space and use some orbital power or something like that? Or does it have some type of light propulsion system as it pushes itself through the galaxy, right? What else might need? It might need some Bridge Tower with a communications array or something like that, right? What could be on top here and stuff, right? When I color it, I can put red beeping lights or something like that. Alright. Maybe e.g. disk systems or whatever, right. Okay. Speaking of disks, if I wanted to could I put something on the front end here, right? Like some kind of big some kind of big disk that has, and I'm going to go down the central line here that has a variety of antennas or something like that. Today, there's so much you can do. But if you look, what did we do? Well, we just used that little my little massage gun and turned it into something interesting, right? Like why I think it's interesting. It's a little spaceship or whatever space station, right? So it has some propulsion system. It has communications that has commanded, has ports of access and stuff, right. Okay. So what else could we do here? Well, we've got a can-opener. What's the basic forms of this can-opener? Seems to be one semi cylinder type of thing going on here. And another semi cylinder type of thing going on here with a structure over top, right? Okay, so what if I did that beside here? Draw two overlapping kind of cylinders, right? With some type of command structure over top, right? Okay. Now I'm just kinda, kinda do some little bit of markers on it just to kinda measure it out and stuff to say, well, maybe I want something else on here. I don't know. I haven't quite decided yet. Here we go. I want to follow them. Perspective just a little bit. Sketch it out a little bit that way, right? Okay. So what would I put on here to make it look cool? No, no. What should we make this into? I can put wings. Wings are always kinda cool. Right? But wings, I can put massive amounts or make it a nugget chain gun type of thing that has like a machine like Gatling gun type of thing, right? Has a center and maybe these spin around as they fire. Alright? And everything is just, it's coming out of. It. Got to be careful with this because it can kinda look like as if that's the propulsion system, right? So you can put little bits flying off of it or something. Then what, what do you want to have as maybe some, some power source for that, right? And you can even have hosing, like some, some piping coming in or something like that from the power source. Depends. This could be either something small like or one man fighter like. This could be a one man cockpit that has a bit of a swivel here underneath. And he's swiveling around. And then inside here is maybe some webbing so this can split and it can have not know. What it could do is maybe these could split open and be able to shoot multi-directional things or whatever. Here's maybe some more armaments. And on the backend here, this is just a fast, fast flying machine. And inside this machine is this guy. He's happy. And right behind this as the propulsion system. Something like that. Alright guys. It doesn't really matter which way you're wanting to design, whether you're wanting to design gunships or space stations or anything. What I wanted to show you here was how easy it is to use something around your house, understand the basic form of it, and then transform it into something else. I transformed it into kinda goofy looking first concept, space ships. Okay, that's fine. They're not the most beautiful things in the world, but that's fine with me. The question is, what are you going to do? And so this is your assignment at least once. But maybe a couple of times. Take some everyday household item that's in your home, draw out the basic form of it and then modify it into something. Want to make a spaceship? Cool? I'm happy to. I mean, like spaceships are cool. Wanna make new design of a car or something like that. Do that too. Want to make it into a character or something even? Yeah, sure. Whatever works for you. The point is that I want you to see the potential in all the shapes that are around you. Whether it's a blender, scissors, camera, anything, headphones. I'm kind of looking around on my desk right now and no, I do not have a blender on my desk. But you just kinda look around you and say, Okay, well, let's kinda interesting. I wonder what it can make with that. Take a picture of you on or don't just have it sitting beside you on the desk, scheduled the raw form of it. So I'm going to teach you how to draw, like massage guns and blenders and whatever. Yeah, we can draw that right. But now you're taking it another step, right? Were wavering back and forth between understanding and drawing what's in front of us. And then being able to take that to the next step. And this was a little exercise and doing exactly that. Taking it to the next step. If you can master this, it'll help you go on to bigger and better things. And your art is going to be that much more awesome. 20. Drawing Still Life: Hey guys, we've got another lesson here. And this one is for any of those who have taken an art class, probably in high school or maybe starting in university, you would be doing still-life drawing. And I got to say, I never really appreciate it because it was never taught right? Whenever I was taught still-life drawing, I was taught this. Here's a bunch of stuff in front of you. Draw it. And I was like, Okay, I was pretty good at it. Actually, I always got A's and stuff I got right. I thought, Okay, well, I just draw what I see, right? And I'm just people get really good at that. I think to an extent, like people were just drawing what they see. But it doesn't really do it justice for what it is. There's just this warped photocopy approach to things that doesn't really encapsulate what it is. So I'm going to teach you a different way to do still-life drawing that's still follows what you're used to there, but just a little bit different. The first thing I'm gonna do is kinda start to measure things out. Like if I'm, if I'm drawing a box or something like that, alright, I'm gonna kinda frame it. Just say, okay, well, here's my box. I'm not going to necessarily map it out as in like I'm not going to grid it, but I'm just going to make a box just so I can have a reference point of where things are a little bit. Okay. Roughly the same size box I guess. Let's see. I can measure it with my fingers. Maybe come down a little bit on it. There we go. Okay. So that's the first step, but I hope you guys are following along with me because I'm imparting amazing knowledge here. So what we can do here is we understand that Here's a bowl, right? The bolt is three-dimensional. So it's like it's going around, right? We have, we have a bowl with rounded edges and it sweeps down and down near the bottom here is the bottom of our right. Okay, so again, I want to make sure this is a little bit more even here. This is just a rough sketch. This is not, I might be doing the occasional erasing on and stuff like that, but really not much. Okay. Then I'm looking at it and I'm saying, Okay, well, I might as well start to draw. I'm drawing through, you can see how I'm drawing through a lot of these images, right? A lot of these shapes. I'm just drawing through them right now. There we go. Okay. And then I'm going to set the rough shape of the manana stems in and then have them coming in. So you can tell how this, what we've done here is a different approach to how we normally do still life drawing, right? We sketched it out and we looked for basic forms. That was different. Normally we're just kinda like we start at one end and start drawing and rendering and doing it all and stuff I got right. Okay, The next thing I'm gonna do here is I'm going to zoom in here. And imagine these are your eyeballs zooming in a little bit. Alright. Pause. What I'm looking for here is I'm looking for bit of the light source. I want to see where my light sources. Okay, so I'm to, I'm going to say my light source is here. Light source kinda rims it. So what do we think? Where's this light source coming from? Right? Light source rooms, it a little bit of different things. It's definitely coming from above here. I would almost wager it's almost straight from above, right? Okay. So I want to know that as I get into this. Okay, so I'm going to back out just a little bit so I can kinda look at what I'm doing here. And then I'm going to start to use my pencil and see if I can find a pencil I like here. Pause. So I like to play around with the different pencils I've got, whether it's in digital form or or whatever. Like whether it's maybe you're doing something traditional. I kinda like that. I think I might use this one for shading or something a little harsh for me. Yeah, I think I might try this one. Okay, So we've already gone over in different pencils and stuff that you can use. Talking about the equipment and supplies unit that we already talked about, right? Which one works best for us? I'm gonna be hoping that you already have a pencil that you're liking. Alright? So I'm gonna come in here and you'll see, I'll just be popping back and forth. I'm going to come down and I'm going to draw this orange. You're going to find that I'm drawing a bit of a harder line as I'm closer to the viewer here. So I'm just kinda going to follow those rough tin forms that I've already done, right? You know what, this one is the closest one to the viewer. So I'm going to rough that one in right now. Sometimes I go over it a little bit to make it a little bit darker, right? Depending on what what you're using for this is a bit of a ridge on it, right? But you're using for a pencil, it might want to be very dark. I'm not shading yet. I'm not gonna get into that. I'm not gonna get into tonal values or anything yet, right? What do we got here? This next Apple here. And at a certain point, I might just be doing my own thing here. It's kinda looking in bouncing back and forth. This orange seemed to be next in its order. And this one seemed to have air. You can see how quickly, like I'm just kinda going back and forth between my reference and my, what I'm doing with my drawing here, right? Doing in different forums. Here we go. Now the bananas. You know, it's funny because we always think we know what everything looks like. You don't you think you know what something looks like until you tried to draw it and then you're like, Hold on Now, what does that actually look like? Right there you start to second guess yourself and everything, right? Because this banana is the closest to the viewer. This one is going to be the one in front. And then there's actually this one next to it that comes in front. Then this one, this one. And there's another one behind here. Then another piece of fruit back there. Okay, so roughing it out so far, this is what it's looking like. It's looking pretty good, right? I like how this looks. I think that I'm going to finish off the ball here just a little bit. And maybe it'll come down with the bottom base of this bone. There we go. Now I've got a choice. Now that I've done this and I've done this outline of it. Alright, we got a choice of how do I want to render? How do I want to shade? Okay? Do I want to really busted out and start doing each one? Or do I want to do is do a light once over with it. We'll try a few different ones just so we can kinda say, okay, what, what did that look like? So with this one, what I would do is use a small pencil and throw the texture into this orange. Remember that the lighting is coming from up top. So as it comes into that lighting, what happens is there's a kinda gets washed away. Alright. So I'm not going to put a lot of effort into rendering the texture on the orange up in that area. I'm just gonna do a little bit down there. And I can render that away, right? So, so far there's no tonal value. This is just some details. I'm going to cut them back up and see how it's kinda pockmarked, right? Okay. I'm doing this little pock mark. Pause. I can also scooch up and just see where my next oranges that. But this one's further away. So I might not add a lot of detail in here. I just might add just a little bit if you compare it with the orange over on the bottom, that bottom left for us, right? This one's got a lot more detail. This one's gonna be further away, so it's just going to have a little bit of detail to it. Now with apples, I've got a choice to make. You can see how Apple's have a little bit of a green going on, right? But it's very light and it has more to do with the coloring that's on there. So I gotta be careful that when I'm doing it, I'm not doing too much. If I do heavy lines, it will start to look like a watermelon, right? So I've gotta be careful about doing that type of thing on here. And I've also got to keep in mind that there's a light source coming in from the top here, right? So I've got a couple of apples there. What else have I got it? Oh, there's an orange sitting right here. So I'm going to add a bit of texturing, but keeping in mind that up on top here is that light source. Right? And let's see up top more apples. So I'm going to come on down. I'm just going to add give them a little bit of circumference lines. Okay? You know what, at this point I can get rid of my blue and see how this is looking. And I can see that like e.g. this one looks plane because I haven't done anything on it. Alright. This is almost like those circumference lines on spheres that we've practiced a few times. Okay? Now has a very light. So we're getting there. We're getting there. Think that I want to do next is add in a little bit of shading and stuff. So I'm going to just lightly come in on these guys and start to outline my my my son direction, right? Okay. My light direction. So I'm just gonna kinda start shading a little bit. And you can be smudging with a pencil or something. I'm just doing this really lightly. You're going to see, I'm going to lighten it up even more just to get a little bit of form and value in this. Then what I'm gonna do is get my eraser out. You can use whatever eraser you want. And just start to work. Where that, where I think that light source would be touching around the ridges of the fruit, especially up top here. Alright. Okay. So I'm gonna kinda bounce around in the stems may be a little bit. There's some shading going on right in between the bananas underneath here. Then come back and make sure I add those highlights in there. So you can see a lot of times this is bouncing back and forth with maybe your eraser or something, right? And then getting into whatever pencil you're using or whatever. Okay. So how we look at oh, we got the light source down, Correct? Right. Well, we didn't do was in the grooves in between the fruit. There's a lot of that shadow too. I want to darken that up there. See if I can move over there a little bit. And all these little grooves, There's some shadow that's being put down there a little bit. Yeah, there we go. Okay. Now, I want to do the same for the bowl. I can bust out Tom kinda using like imagining if I have a big charcoal thing or something, right? I'm using kind of a bigger charcoal brush. So you can use like if you're doing this traditionally, you can use literally charcoal or really, really soft pencil. We go. Okay, So again, without any color value, we've now gone in and done a still-life with just the forms and the Some of the tonal value. Alright? The other thing you can do is what I do sometimes is I, I've got a white pencil crayon that I will sometimes use to just add highlights onto things right? Now this can work sometimes on paper better than a can on others. But it just kinda, you know, if you use white on black paper or something, It definitely will work better. Here. It's not doing too much, but I don't want it to do too much. You just want to use white, just as a little bit of a highlight in certain areas and stuff. And maybe I can run the ridge of the ball a little bit there or something shining through. Imagined the light's coming through there a little bit. Just a little bit. Because if it's breaking through the barrier between those couple of fruits, oh, oh, I need to do is look at my reference. And that would help. I can actually see in that reference that light goes over most of this hole and then it kinda lines some of the edges of these guys as well. Right? So when in doubt, look at your reference, see if that helps. Guys. I'm kinda doing this up so that it can be very general for you. So if somebody was sitting here with a digital tablet, a ballpoint pen, one HB pencil. They'd be able to do what we're doing here, right? Like, if you want to spend more time rendering something else, that's awesome. That's great. I think it helps. I think your pencil crayons or colored pencils and you want to color this all in. I think that'd be awesome to, that would be the next step here is to start to add color to it. Realized that some of the lessons that we've talked about already is that any of the colors that are closer to us, you can punch them a little bit more than the ones further in the back. That's one way, one approach you could do. But this is how you do a still-life. This is how you do a still life drawing. It's really about using some of the skills that we've already learned in that just having a base form of measurement to relate one piece, like one object in the piece to another. And then looking for light sources and then just starting to lay it down, laying down basic shapes, laying down the shades and rendering, all of that depending on the materials that you have at your disposal and how much time you have. I wanted to keep this around 20 min, so I'm not going to render it up the wazoo to make it like this beautiful painting or anything like that. This is exactly where I want it to be. So they can instruct you on all the steps you need to start off your still life drawings. If you want to spend more time on it, I'd love that. Send it to me. And if it's not a bowl of fruit, if it's like no. Anything sitting around your house that's just sitting there and being still. Draw it, send it to me. And let's see how you do on this project. 21. Drawing Landscapes: Hey guys, I'm back and I've got another lesson here. This time we're going to talk about drawing landscapes. And we're going to use a lot of what we learned so far to see how we can make landscape illustrations even better. Okay? So the first step that we have been getting into is a very light sketch and you know what, whether you're using a pencil or not. What I like to do is use a blue pencil. Now, this is traditionally, just so you know, traditionally a blue pencil was used in illustrations so that it wouldn't show up when it went to print, it was easier to ink over it and do things. And then when they were scanning and printing and all these types of things, the blue was able to not copy through. Alright, so that's where blue sketches came from. But now we often use it as just something that helps separate the mind a little bit. And at least for me, right, even digitally, I can just take it out. But for me mentally, light blue is just the sketch, right? So that's what we're gonna do here. So light blue, I'm going to sketch in what I'm looking at up here in this landscape. And right now I can see some, I'm just going to rough in some trees. This is on a bit of a hill. Here's my framing slightly bit of a hill and there's, there's more trees going on here. Then I can see, why don't I defined my frame a little bit slightly better. And I can see some mountains coming in, various peaks coming over, jutting into this lake down below, winding through. And you can see how these and I'm not following it exact, but I'm going at it a little bit. Okay. So there's my my very rough sketch, right? And I'm going to what I would do is if I was sketching and I would do it extremely lightly. And then I'm gonna come in with a pencil. Now, what pencil I choose is and always easy sometimes I, I kinda like certain ones more than others, Some days and stuff and I kinda play around with it a little bit to see if I can find the pencil that I like for that day. I don't know if I'm loving these pencils right now. That's a little bit too dark. It takes a while, and this is the experimentation you wanna do to see, okay, well what pencil on my, my feeling like working in today. Alright. What, how heavy do I want my hand? I want something that I can push down a little bit on that gives me a little bit too dark. There we go. And then I can get in there and darken it operates so I can go light if I want, really light, then get out and then really darken it if I really want to. That's what I was looking for. Something that allows me to kind of sketch like that. Alright. So the first thing I'm gonna do is I'm actually going to start a really light in the background here. Just start to pencil this in. And I'm going to pencil some of these ridges in here, following my guide. Just giving it a little bit more, more detail. Okay, and occasionally I'll lookup to see, can I really see much, Not much like as I start to get into this one though, you can start to see a lot more. So this is going to be a slightly heavier line. Has like comes around. And I'm going to start to see a little bit more details going on. Remember, I, I guess I could have blocked this out here and put a frame and just, just for my own sake of knowing where, where I'm drawing to kind of blocking it out for that right now. And go back in here in them. Know, I'm just kinda slightly drawing in here. Looking up at my reference on occasion. Noticing there's a little bit more detail going on there. Of course, this one that's a little bit closer comes around. I'm going to lose it in the trees, but that's okay. I'm going to start to there's a few bit more details of bold patches where there's no trees and everything, right? We can even draw off the screen a little bit. It's sometimes good to do that, to bring it up. So it's coming off. If you can, like draw off the screen. So it's not like you're oftentimes we get stunted and we don't bring it all the way to the edge of our canvas. I'm going to come in a little bit closer. Come in even closer. Just kinda start to end. Even at this point I might there might be some detail the beach that I can see, some of the water just a little bit. You can see how as I'm doing this, the, the details are getting much punchier here, right? Like back here. We're going to barely notice anything but up here, oops, wrong pen. There's gonna be a lot more. We'll see as we go through this even more. So we're gonna be adding in. And I keep going over different parts to darken it up because this is gonna be so much closer to us. So I'm using this light pencil. I'm having a gourd a number of times to really get to the level that I want. That's okay though. Because that's how I chose it, right. Like I wanted it like that. Especially when I'm coming into the backgrounds here. I want it to keep it really light and barely there. Okay, so now I'm going to move over to this other side just a little bit. Here we go. Roughly drawing the coastline. There's really not going to be much detail here. If I keep looking up, it's not a lot of detail back there. All that atmospheric occlusion, right? But there is maybe just starting to come a little bit on this side, right? There might be some details of some trees or something just starting, right and it's just going to fade as I get in there. But coming down with this side now, you know what I gave and switch my pencil just a little bit, darken it up just a little bit. Or get a little bit of a thicker one going on here. There we go. We can see how the contrast between this one in the previous look of things, right? How it's starting to separate these planes. This is now more into the mid ground of what I'm doing here. And again, we, you know, we we're going to see details of things going up and down this ridge, right? You can see where the sun's hitting it at different points. I'm going to just keep drawing through because what's going to happen here is I'm going to, this front part is going to be a very heavy line. So I'm not that worried about it. Okay. So do you think now, looking at this, does it look like darken this up even more? Does it look like we have a background? Maybe even coming into now hear more of a mid ground. If I was to define it into these. And then here we're going to go into our foreground. Might as well get moving on these trees. I'm going to see if I can darken myself up a bit. I'm just going to plot out number of different trees. That doesn't mean they're going to be like in, it's going to be all over here, but it's not gonna be in all of these rows. And these trees obviously, like they, they do is they start narrow and start coming out like this and this, this takes a little bit of time. Just make sure you flush it out off of the page a little bit, right? Just keep keep working at I hope while I'm doing this that you're also working on your sheet. It doesn't have to be the exact same one. I'm doing good. I mean, if you wanted to pick a different one or if you wanted to change things up a little bit. And that's up to you. You can see I'm going to really darken this into the middle too, because I want this to punch forward. Get it to punch forward a lot ahead of anything else that was there. I can just scribble it out a little bit. As I'm moving along here. Like I said, it's important to be drawing off of the screen here. Because we want it to look like there's, there's more happening here. And I'm just going to rough in with a mountain is kinda hatch that slightly. Gonna be filled in with trees. But I'd like to have that done in. This one's going to be a little bit narrower. Not all trees are the same, right? Maybe this one can be bent towards just a little bit. Missing a little bit irregular. You don't want too much symmetry in nature. It looks a little, looks a little weird and wonky. Actually. Nature loves just a little bit of chaos. I think I've been watching too much of the, the Jurassic Park movies of labor. Jeff Goldblum in his talks on chaos right? Here we go. So we're going in and I'm trying to do this really quick. It's not going to be the prettiest thing in the world or anything like that. But the fundamentals are what's really important here. What we're working on is making sure that we have lots of fundamentals in place here about the blocking it in understanding that the different planes of the illustration, the foreground, the midground, the background. Putting more details, being able to see those details in this, in this plane that's closest to us. It's important to have that. Not every illustration is gonna be an absolute success. Some will be better than others. Some you could spend hours, days, weeks on. You'll still be frustrated. Others you'll be like, Hey, I want super-easy. Why did, why did that work? And that's what you want to explore it a little bit and say, Why did that work so easy, right? Okay, So already what do we have here? I'm gonna get rid of that background sketch because it's in my way. You can see this is what I've done so far, right? Like I've already created this quick separation of the planes, this background, mid ground and foreground. If I wanted to, I could start shading this in even more. Really, depending on what I want to use as my medium. Do I want to have do I want to use inks? What do I want to use, right? If I want to use charcoal or start smudging and blending, That's also going to change this. You can see how the light source here is really smudged out. So what I would normally do is take a very light pencil color this in smudge it in color this one and darker, Do you I mean, and then take an eraser. Let's see if I can grab an eraser. And just kinda like start to do these very light beams over, over top of things and stuff. And I'm just kinda of erasing a little bit. You can see cutting through the mountains and everything. You could do that and it'll kinda cut through and change, just changed the illustration just a little bit. If you want to, you can get into details too. And just start to use a very small eraser and put highlights in certain points, right? Be careful with this. It could look a little bit like snow. But if you've got the sun coming into it, you can have these highlights coming in here. And that will show where the sun's hitting on these, these particular trees or whatever details are going on here. That helps. So you can use the original techniques of sketching in the basic shapes and the forms with a very light pencil or even a blue pencil. Then coming in and adding some more details. Varying the strength of whatever pencil or medium you're using, right? So make sure that the details and the line width and everything is very light in the background. Medium for the mid, harsher in the foreground. Then you start adding in more details. And I could come in here and I can still like I could spend hours here just adding in. Let's see what am I gonna do? Adding blades of grass or something like that. I mean, like just adding, adding a lot of details in here to try to make it look. You can hear me grasping away here to give it that feel of what I want it for, right? You could also, if you want, even come in and take a bigger charcoal or something like that and just start to really going in on everything and blacking it all out. Depends on the look that you want to have. Once you've done that, then you can start to finesse it. Play with the lighting, see if you can use an eraser or if you're using ink, like if I've done these with just a ballpoint pen, you can use a little bit of white out and just dabbing it and playing with it a little bit and stuff. It'd be hard to smudge whiteout. Obviously it wouldn't work as well, but you can see where it might work in the trees and then the highlights. So we took this composition of this landscape photo that is already here, right? And that's okay. We're just working from a reference. But you could design your own going forward. You can say, Hey, this is what I want to have in my drawing. I want to have these, these set pieces in there, or this composition or whatever. It's all about you, how you design your illustration. There is a lot of things that you can add or subtract and put in there. E.g. if this is a gift and it's for your grandpa and you want to put a cabin in there, something like that. Put that in there too. I also didn't really touch on color. And we've talked about color before, about saturation, how it gets. You can see here how these, you could see reds and everything in here. That could be something to be played with going forward two. So guys, this is your assignment. This is what I'm hoping to get from you. I was hoping to keep this unit, most of these units under 20 min and so, um, I think I'm banging on here. What I want for you is to draw me a landscape. You can use this one that I've included in the course as a reference and just kinda sketch it out on this piece of paper. Or you can draw any landscape you want. What's most important to me is that I see that you're following some of the principles that we've been learning. Principles of drawing these types of scenes, the details, the tonal values that color saturations, the sizing, right? All of these things to separate different planes in a scene like this. Guys, I'm looking forward to see what you're gonna give me. And I'll be extremely disappointed if you don't give me anything. So send it on over to me and make sure that you make the most of this, right, because there's a lot of opportunities here. And my feedback with you want to hear more from me or not. My feedbacks. It's one of the bonus parts of this course, right? So take it if you got it. And most of all just have fun creating illustrations your loving hear something you enjoy. Alright, good luck with it. 22. Drawing The Best Stickman Ever!: Hey guys, I've got a unit here for you that I think you're really going to like, Well, at least I'm going to have fun. So I'm hoping you have some fun with me. We're going to talk about drawing a stick man, right? This is interesting because this is a common phrase people will use is like, I can't even draw a stick, man. You probably can, but it might not be the prettiest statement in the world, but let's explore that for a second. Let's, let's draw a stick man. Okay, Usually when we play the Hangman game, we have a head, a body, legs, legs, arms, arms. And possibly he's happy, right? Unless he's being hung from Hangman. But there's a problem. The problem is most people don't look like this. In fact, I don't think anybody really looks like this. There's a lot of limitations when we're drawing Stickman this way, right? Like let's say I want to want to do I want to move this arm, right? Okay. So I want to move this arm. I'm going to show you the arm could maybe move this way, which is good. But He's gotten no elbow. Right. Like there's no joint here. Is missing a joint. He's missing a joint here. He's missing his knees, is missing hands. He's missing like the meat of it. All right. So I'm going to show you a system that I made a little while ago that solves all these questions, okay? It's going to make this snazzy little stick man into something that's actually usable for figure drawing. So let's go on over into it and check it out. I'm jumping around here a little bit. I actually know what I'm going to back out just a little bit. There we go. The rule of eight. Okay, The rule of eight is quite simple really in my mind. I think it's simple. And I think you're gonna find it pretty simple too. Okay? So what we're gonna do is just draw from top to bottom a straight line and you've got your sheet in front of you. I hope. So. I'm hoping you're going to follow me with this, right? So I'm going to draw a straight line from top to bottom. They're kind of just bisecting this skeleton. Then I'm going to draw a line across the top. I'm going to draw a line at his ankles. Okay. Not bad. Pretty easy, right? I've got one section that is from ankles to the top of the head. He fits inside. But now I'm going to do something here that's really important is I'm going to cut it in half and now I can measure it out. If I want to have a ruler or something, I can eyeball it. But I know if I squeeze it from this side and this side is going to come to the exact same spot at pelvic bone. So this side, the lower half and the upper half is going to be pretty much identical. It changes per person and we'll get into that variance later and stuff like that. But for right now, we'll just say this is a one-to-one ratio. It looks pretty good. That's two sections. Now I'm gonna do the same thing again though. I'm going to cut this in half. So I'm kinda looking in the middle here and I'm going to say right around here. I'm going to cut this in half. I'm going to say it's right around here. Okay? Now on the skeleton, we can't really tell very well where this line is, but I'll give you a little hint. It's kinda pointing towards something over here. Okay, so now I've got how many sections I've got 1234? Well, that doesn't match my rule of eight very well. So I think you can guess where I'm going with this, right? So I'm gonna do, cut this one in half and it's right there. Okay, cut this one in half. And it's right there. I'm going to cut this one and-a-half. It's right there and cut this one in half and it's right there. And now we have our 12345678. We finally have our rule of eight. The first section here is the head. The second section. So the head goes from the top of the head to the chin, right? The next line comes down and that's that nipple line, right? Then it comes down again. And it's actually hard to see here because it's skeleton, but it's a belly button. And then if we go down further, it's the crotch. This one, man, I don't usually use it actually, but it's good to have a here from my rules. This one's the knee, mid shin, ankle. So if I was to draw my stick man, I remember my goofy little guy, right? Well, I'm going to draw them here and I'm going to use this same thing. I'm going to have the head here. Then I'm going to draw, I'm going to use a straight line and I'm just going to draw it straight down, straight down here. Just so I've got that center line again. If I wanted, I guess I could have drawn it straight to the head. There we go. Okay. So now I'm going to try to recreate what I'm seeing on this side over here. But what I do is do it in a simplified form. So the first thing I'm gonna do is have a circle for the hips. So this circle for the hips is gonna be there. Next thing I do is I make a bit of a chevron for the ribcage and scapula. Scapula is in the backyard. Okay. So how does that look for? A little bit, maybe one-quarter of the way down. In this section here, I draw this chevron and I'm make it Come all the way down here and it could come all the way in, touch the hips if you want, it doesn't really matter. So we're working okay right now we've got this head section. We're good to go. We're working on the chevron. We're going to put in shoulders. I'm going to add in the shoulders. And they're right along this nice collarbone line. The elbows actually fall on this belly button line. So I can draw my elbows down to here as well. And then the wrists depending on the person, but the risks usually fall here on this pelvic line. So the hands will fall that as well. Okay. Okay. So now I've got a nice upper body going on here. Looks decent and it's still my stick man, but it's a little flushed out. He's got some points of articulation here and some joints where he's kinda naked. So what I'm going to put on some underwear on him, a little, superman tights, my bikini briefs, my tidy wide ease. And with these tiny white is, I'm actually going to come and just from a almost a 90 degree angle from that, I'm going to do these little alien antennas. And then I'm going to draw a straight line all the way down from them. Okay. And then guess what those are? Those are the legs. And at the bottom of those legs, I'm going to put a little tick for the ankles are already there and just put a little triangles for the feet for now. Believe me, we're gonna be going over feet and different things later and stuff I got. Right now, we'll just make them a little simple shapes. And right above that knee line, we're going to put in that. Okay. So I went from having this little simple stick man to something that's actually pretty workable here. It has the proportions that I'm aiming for and the articulation that I'm aiming for. But let's see if we can put it into a physique. So what I'm gonna do is this bodybuilder is surgeon who brave and you know, humans have variants are not always symmetrical and all these types of things. So I'm just kinda, kinda measure things out a little bit, right? This, this camera angles looking down at him, just a hair, but I think we'll be okay. And let's see if I kinda go top to bottom, middle of somewhere around there, right. Look actually his legs look a little short compared to what I'm going for. I'll make it a little bit higher, but I don't want to discount what's happening in that region. Want to pay attention to what's going on there, right? So then what I can do is cut it in half again. I am maybe I'll go up on that. Just a hair up on that. So we've got one section, one section, one section, one section. You can see as I'm cutting through here bisecting these lines. Some of them are not equal. Surge is a person and he's not. Even though he's an amazing bodybuilder, he is still going to have some things that are not exactly lining up to this, right? And we all will, some of us will have a little bit longer legs, a little bit longer arms, those types of things, right? But I'm showing you how you can look at this, how you can look at this person and pretty much use this model, right? So we're going to just draw over him a little bit and I really hope you're following along at this point. Draw the head in here, right? But draw this chevron type of ribcage torso and everything. And if you want to add that crest to the ribbon there as well, that kinda fits nicely. Draw the shoulders. He's got great shoulders. Come down here. Look how short his upper arms are though. You see how his elbows are high. Come down here, long lower arms. And then he's got his hands. Alright. Okay, I'm going to draw the hips in here. He's got tiny hips with that little superman underwear going on. It's a little alien thing down to my pelvic line. Then I'm just going to draw this down to the ankle. Right? Now. Give them little nice little feet here. Those d's. And now what do I got? I've got roughly the proportions of search new Bray, let's see if I carry this line over for us and see if I can recreate this right and next to him. Okay. So I'm gonna kinda just carry some markers over all of them. Some of them. I kind of messed up there. Most of them. Let's let's call it that. And see if I can recreate this just a little bit and get his proportions down correctly. While we've got his head. Good enough. We've got this chevron that comes down to here. It's seems a little wider, right? I want to make sure it's kinda lining up on both sides that it's got to equal space a little bit, right? He's got big shoulders. Big shoulders that come down to hens that are about here. So I can just draw that line if I want right now, nothing's bending so much. But his elbows are a little high, higher than normal. Here's his pelvis. Superman underwear, and down in to those little alien hips are going to come down here, drawing the knees and draw in the feet. And there we have a very happy simplified stick man. Honestly guys, this is an amazing way to start to draw. To understand how to draw figures. We can play with proportions. We can make the upper body this tall and the lower body this. But no matter what. This is now going to be in your mind. In regards to figure drawing, It's really important that you guys get this down because it's, once you get it down like this, it is so simple to do and it's fun. Okay? So listen, pause at this point, and if you feel you understand what I'm talking about, pause a little bit more and then we're going to continue on. If you don't get this, I want you to rewind because we're at about the 12 to 15 minute mark or something like that, right? And this is a bit of a longer lesson. There are some exercises we're gonna go through down, down below here. I want to make sure you get it. I want to make sure that you are really confident in doing this stuff here. Just this measurement, there's just this rule of eight. If you don't feel competent with the rule of eight, stop. Do it again. It's okay. There's a reason why I printed off these sheets for you. Why I have them for you, why you're doing it on video is because you can make as many copies as you want. You can go through it as many times as you want. Grab a blank sheet of paper and go over it again and again and again until you get this pattern down. Once you've got it down, press play again, and we're going to move on. Okay, so we've got some people in motion here, right? And we're going to try to use this rule to simplify these people as they're in motion. I'm gonna do, I'm gonna try to follow his backbone a little bit. His backbone is like this and his backbones like this. Okay. And I'm going to cut it at as what seems like a crotch, right? I'm going to cut at the top of his head. And I'm hoping as I'm doing this, you guys are following along. Alright. I'm kinda doing two at a time here, but it'll make sense. So what do I do at the midpoint? I draw another line. Alright. And do you see how these are kinda angled? If it's like this, then that line is going to kind of go like that, right? Okay. So what do I do again? Draw some more lines, the head and the belly button, maybe somewhere around there. Okay. So at this point because the legs are bending and they're shorter and there's things happening. Why don't I just draw in the upper body. I'm going to come here and trace in his head. We're good to go on that. I'm going to come over here and do that big torso thing. This is actually looking at it from the top slightly. So there's gonna be a little bit of a downward look at that. And I can even throw in this do shoulders. So I'm gonna do it here too. I'm going to put in that ribcage and scapula and everything. And it goes a little bit over like this. And we'll throw in his beach ball shoulders. Down below. We're gonna put in the hips. Okay. He's leaning slightly forward on his so as he he's overlapping the hips and z I just did something there and I want to explain that a little bit further to you. What I did was I drew a center line that's following the center of this form. Actually this one might be exaggerated just a little bit. It's probably more like that how I had it. Now, why why is it like that there? And when we go up, it's straight down the middle, right? It's straight here because it's straight on. Right. But as soon as you turn to a site, like as soon as I if I have a ball and it's straight on it, it looks like this, right? But as soon as I rotate it to the side, it starts to wrap itself around that center, same center line wraps itself around that rounding form. And that's what's happening here. It's wrapping itself around rounding form. Okay. So I just wanted to point that out, make sure you are. Pretty comfortable with it. Okay, So from here then we can do our little Superman things, right? Little superman underwear. And this actual line should have been like that. So it's going to come to here, it's going to come back to here. It's gonna come out to his knee, down to his ankle and then his foot. This one's going to come to his knee, down to his ankle and then as foot we'll try it on this side. It's going to come to his knee, back to his ankle, back here, and then his foot. This is going to come to his knee, to his ankle, and then his foot. Okay. Not bad. Let's do arms, elbow, wrist and back to the elbow. Back to the wrist and the hand trying it over here. Elbow, wrist and elbow. Wrist, hand. And now the test comes into it. Can we recreate this in a simplified skeleton next to it if you want to throw it on pause so you don't have to hear my voice as I'm talking you through it. If not, let's get going. I'm gonna do this nice same curve, right? I'm going to say, okay, this is the crotch pelvis. Here's the head. Here's that midline, right? Here's the chin, Here's the belly button. So from this midline, eyes will put his head in here. Kind of doing the circumference thing there. Again. He's got his shoulders here. Big chevron thing going on here. That middle circumference line here. The hips are back here. And then they come out two legs here. This leg comes down here, comes out here, and then hits the foot. This one comes to the knee Here. It goes back to the ankle. It's the foot there. Does elbow comes back this way and comes forward, and then the hand is there. And this one comes over here and into this character. And there we go. So what do we think? If we, again, we remember that the circumference line is something like that, right? And even works on the face because his head is slightly turned. Right. Let's go on to this next one. Let's see if we can recreate it again. We've got this line flowing like this. Let's see if we can follow that line right beside. Here's that crotch, here's that head. Here's the bisecting line, the nipple line. Here's the headline. Here's the belly button line. Okay. So I've got his head in here and I don't know, he looks worried, but he's kinda not too far off centered there or something. Maybe looking down a little bit. Then got his shoulders are his clavicle here. That's a pretty big ribcage. It's coming around this way. He's got pretty big shoulders. They're sitting over here and here. His hip are here. And the center line, remember it goes like this. And then like this we can kinda see a little bit of movement there and goes up into his underwear, something like that. Alright. Everyone staying up top. We can come down to his elbow is ankle, his hand. Back to his elbow, wrist. And as other hand, There we go. This head looks a little small. That'll work. Okay. So now what we could do is do a little alien thing. Alright. We're bringing it down to this knee. Back to the ankle, out to the foot. This leg gets planted. This knee down to the ankle, down to this foot. There we go. I made them a little taller than I should have had. Probably cut this leg a little bit shorter and stuff. But that's working. Our rule of eight, our stick man is starting to get moving a little bit, right? Just remember that once we start to rotate things, we've got that rotation going on here, right? Okay. Okay. I hope you guys are following along. I hope this makes sense for you. I really enjoy this. This is really, it changed how I approached figure drawing once I learned all of this stuff. But it can get kind of complicated sometimes, right? So I like to follow the spine. This one's not too bad. But this spine is wonky. Here's the head. Alright. Here's the pelvis area. Belly buttons here and the breasts are here. Look at that bend right from here, here, here, here, here, like you would a gymnast, right? And that's why I chose her so that we can practice on something difficult. Okay. So why don't we start easy and draw the hips in there. But this is the underwear line from the back. A little different but it still fits. Then we've got below the chin, we've got our chevron. We're looking at it a bit from the side, so it's not exactly how it should look. But we can mark it by doing something like that. If we want to go back and you can even mark those and have this as the ribcage here. This is it gives us a nice little form to it. I used to do it when I was starting off, I kinda dropped it. Now, I should remember that people appreciate seeing that in there sometimes. So here's a shoulder, there's one shoulder back there and there. And then this head, instead of leaning back, this head is looking straight on. She's looking back but the head is straight on. Okay. So this upper body, Let's, before we go into lower body, why don't we try to recreate this, something like that. And there's the head, the top of the head, there's the pelvis. We're going to go up through the middle here. That'll be the breast line, the chin, and somewhere around the belly button, right? So we're going to try to recreate this and put that pelvis in there with the back end of the underwear. We're going to come below our chin line, draw in some type of ribcage here. And you can see like if we were to follow her center from the collarbone down through that rib, it would look something like that. I can use that as my marker to draw that that piece. Shoulders are set back. Head is here. Okay. So now we'll continue with the upper body. Back to the elbow, back to the wrist, back to the elbow, back to the wrist and then the hand and then the hand. This one back to the elbow. We can see it back to the wrist and hand Back to the elbow. We can see it back to the wrist and the hand. So that's the upper body. That's a complicated pose, but we're doing it. What's interesting though is on this one, we could see her front and then she's twisted around. So we can see the back. That's, that's a gymnast, right? That's the flexibility. We're seeing the bud crack back there or whatever, right. So that's how much she's able to contort. Now from here, we can come and draw our little alien things. And this is going to come down to the knee, down to the ankle. And you're going to see that this measurement and this measurement from here to here is pretty darn equal. Not for everybody, not to everywhere, right? But for a lot of people that upper leg, the lower leg ratio is about the same. So if I was to draw that over here, I might just come down like this and then cut it in half and say that's the knee. Right. Then I can have the foot. I'm going to bring it back to the knee, up to the ankle, and then up to the foot, back to the knee. To the ankle, and up to the foot. Not an easy pose, but if you're following along, I'm hoping you're getting it by now. Last one, guys. Okay. So what are we going to do here? We go top to maybe midway mark. That's the easiest marker. Can we do the bottom? Yeah. But the knees slightly bent but that might still work. Top to bottom. He doesn't seem to be two legs bend more than the torso. So I always like to do the top and just measure it out. Midway is that nipple point, belly button, chin measurements strong here. This one is messing up because he's bending his knees, but that's okay. So why don't we do the hips. He's got a big hips here with the is Superman thing going on. We've got a big torso here. Alright. He's leaning forward just a little bit, so there's some some extra on their shoulders are back coming down to the elbow to the wrist and the hand back to the elbow to the wrist and the hand is head is here. There we go. Now if we're going to do legs, bring it to the knee, down to the ankle. And then the foot is when it comes to this knee, back to this ankle and then this foot. If I'm looking for the circumference of the, everything seems pretty equal here. He's kinda got this twist going on here, slight little twist, and it straightens out. Let's see if we can recreate it. Pretty simple. He's going like this, right? I'm gonna go top here, midline here. Cut, cut, cut. Pause for a second as you catch up with me. Alright? So this is the waste. This is the top of the head. Here's the head. I can add his head roughly in here. I can add the hips in here. I can add that big Chevron torso in here. It's going to have some some top of it because we're looking down and those shoulders It's big boulder shoulders there. If I wanted to, I can make sure I add this little bit in here. Okay. So he's got his underwear going on? Because we put under our wear on all our stick people. Then. Now how do I want to measure out the legs? It really depends. I can just ones in the front, so I'm going to come down here, hit a knee, it's going to come down to the ankle and then a foot. This one's going to come this way. It's coming forward actually, then this is going back. It's smaller than the foot goes behind. This comes out to the elbow, back into the hand and the wrist. This one plants down. Alright, and if I wanted to, I could just planted, here's a hand halfway as the elbow. How cool is that guys? I've made the sheet for you so you can practice and bring it from the stick man that we started with into a stick man that uses the rule of eight and has tons of movement and points of articulation to them. So that you can now use this, bring it forward, and start to draw figures of your own. My advice, make sure you go through this sheet at least once. Feel comfortable with it. And after that, start grabbing other references and have another sheet of you just practicing exactly this, looking at something and trying to recreate it in the simplified skeleton. This little simplified stick man rule of eight. Dude. This is what I want you to do. This is a big unit and it's really important to get this down before you go any further in this class. If you can't get this right now, stop, pause, step away from whatever you're working on. Take a breather and come back to it later. Do not progress in this course until you really feel comfortable with this stage. But once you do, once you feel good with it, well, we're going to have some fun. 23. Understanding Line Of Action: Hey guys, I'm back and I've got another unit here for you. This time it's a continuation of our stick man and we're going to talk about line of action. Now. Hopefully, I'm really hoping by now you spend a lot of time going over and over again, getting used to that rule of eight in that simplified skeleton, that's simplified stick man. If you don't have it, do not do this unit. I can't emphasize that enough. I need you to really have that to be able to grasp and to roll with what we're about to do here. So please, please, please, There's no reason to rush. This is video lessons. You've got this less than you purchased it, right? So just take your time. Make sure you've got it. Okay. So the line of action, we already hinted to it when we were doing those exercises in the previous unit. Basically following the spine, but it's a little bit more than that. On the worksheet I'll provide you. You're going to see how I just did that little line. I want you to do the same thing. Try to find the action with that line. Okay, so do it a few times, see if you can like there's that spine and the head. Let's see if you could do it for like from the heel all the way through. See if you could find that. Actually, you know what, why don't we go through all of these and kinda find that spine. This one's a little different though. This one's going to come up. Okay, and I'll explain that in a little bit. This one comes this way. This one also comes this way. And rondos doing this way and she's kinda doing this, right? Okay, so that's the first step. This is a line of action. And what that is doing is saying, well, this character is moving this way. And you can play with it, you can bend it, you can move it around. And especially when we get into illustration work, and especially cartoons, you're going to see how far the line of action can be pushed. So one thing is like kinda finding the line of action. Next thing is drawing within it. So we do the same thing as we were doing before. We go top to bottom. The middle point, the middle point of that ahead, the belly button, the nice, alright. And if I'm going to go in here and I add the hips while I can almost pretty much go here to the knee and then down to the ankle and the foot. Like I can measure it off this way and measure it off this way. Alright. Same things happening down here, down to the knee, to the ankle and the foot. Up here. I've got that Chevron, but from the side it's it's kinda looks a little bit more like an oval right shoulder here and a shoulder. They're L2, the elbow to the wrist and up to the hand, back to the elbow, to the wrist and the hand. And then the heads from the side here. Alright. So that is my line of action, right? It's, like I said, it's going like this, right? What if we bend it a little bit more? What if we push that just that little bit more? Let's see how that looks. So I'm going to go top to bottom and mid. Cut it again and cut it again. Right? Now on the top half will do the belly button and the head. And what are we gonna do? Well, here's the hips. Previously the hips. Listen if you want to just recreate this one first and do this exercise after. But I'm trying to show you how to push this line of action, but we just angled it a little bit down further. And what we're gonna do with this hips is we can have this knee coming back further. And there's leg coming up this way, coming down like that. Okay. So do you see how we just exaggerated this? Actually, I want that foot to go back like that. And he's running now. I've got the torso in here. I'm going to put this shoulder here in the shoulder even further back. So I'm going to punchy like that. I'm going to put the hand up here, connected halfway and put this like that. And his head, I'm going to have like this. And there we go. So now look at the speed that, that shows this was speed and now this is even more, right? So we're understanding the line of action, then we're pushing it just a little bit more. And that's what this exercise is about. I'm going to come in here and zoom into her just a little bit, see if I can move it on over. There we go. And we're gonna do the same thing we always do. We're gonna go on top to mid point maybe and maybe even bottom here. There's one that might work right slightly bent legs but that's okay. Breast line or a middle line. Lift that up for her just a little bit. All the bisecting lines there and the bisecting line there. I'm going to bend that even more this time. Drawing the head. Why don't I do that here? The bisecting lines. Half, half, half and half. So I'm going to draw the head. I've got chevron here with the shoulders, right? I've got that Chevron here. With the shoulders. I've got hand here, hand here, and I can just connect if I want. But I'm going to put these higher up and connect this way. There we go. And then we go in here we've got her crotch area with some underwear on her. Right. So I'm going to go here given the girls some underwear. And then her knee is here and it's digging into the ground like it comes out to here, to here and there's the foot. I'm going to put it out here a little bit more. Come back here and see if I can square it away, right. This comes to the knee, back to the ankle and the foot is about to kick. I'm gonna put this back here, wind it up. So you can see I'm actually using a bit of a directional thing. It's going further back here, winding it up. And there we go. So she's here and she's looking down at this ball, right? Okay. This is what I want you guys to do. Master it, to be able to copy it and then play with it just a little bit. See what you can do. See if you can bump that line of action, just that extra little bit. See if you can get anything funky out of it. Okay. So how would we divide this? Well, we've got this light of action. We can go here for the crotch, I guess, right? I'm looking at the landmark. It's actually goes more like this. Now I look at it. That's the midline, midline, midline. And you can see how once again, we're learning how the line of action bends like this. Then these partition lines will fan out and splay out like that. Okay. So we've got the ankle, we've got the hip here halfway is the knee even if I can't see it through these pants. Here's the hip here, right? Here's the ankle, halfway is the knee. The hips are in here. The torso Chevron is in here. The head obviously right here. Alright. So what would I do to punch this harder? Maybe the difference between these, I don't know. What I could do is hook it up this way more, right? And just say, okay, well, here's my my top and bottom. And then the bisecting lines, the ankle up here. And then I'm going to have the hip. I'm down here, so roughly equal length, right? I'm measuring this out. So I'm going to say, okay, well, that's about here. Foot foot. Knees are about halfway. The hip is here. Torso, Chevron is here. And I can draw that circumference line if I want. It's going to be like this. Maybe her underwear will be something like that. Right? Okay. I'm going to bend the head and even more. There we go. Then I can add in the shoulders. I'm going to take this hand down and bring this one up like this. So it's kinda like this. It's going behind her and it's hard to see. But yeah, look at that. Now I've got this power up that high. Again. Sometimes it works, sometimes it doesn't. I don't know if I would, uh, once I draw it in, it might look a little bit. Actually, as soon as I did that isn't connected that with the pants, with the pens here in this coming down and coming like this. That would actually be a really cool shot, right? But right now we're still playing with skeletons. So I want you to goofing around with this, getting used to finding it. And it really, it should be this fast now guys, it should be like bang, bang, bang, bisecting. Bisecting, right. Searching for the landmarks of shoulders, hips. Bring it out to the knee, bring it down to the knee, down to the ankle, out to the foot, back to the ankle, out to the foot. Like this should almost be like nothing. Now, you get what I'm saying. Like it really should be pretty easy for you, okay? That's what I want you to do and then see if you can push it over here. Come over to this next slide. Same type of thing. Top, mid. Here's your bottom. Where's your, Where's your bisecting parts? Right? Here's your midpoint. There's your midpoint. There it is. There it is. Right. It seems like he's got a longer lower leg or could just be the angle here, right? And what do we do? We start to draw. We start to draw in his, looks like his circumference is kinda more like this. If I was to draw what's happening here a little bit. And then his head is right here. So the circumference on that be something along those lines. And then I go in. This got the shoulder to the elbow and he's kind of being all cool back in the days, right? Back to the ankle. To the knee, to the ankle, foot. And if you take away some of this stuff, you can see what these poses are showing, right? You could see clearly this person is running and in fact, this one looks even better, right? You can see clearly this person is kicking a ball, right? Lining up the kick. And you could see how just a little bit of movement, a little bit of extra push on that line of action helps sell it even more. And we've got that over here. This one we haven't done yet though. I'm part of me wants to do it and part of me wants to leave it for you. I don't know. I'm I'm kinda I wave around that sometimes because I feel like sometimes when I walk the students through too much, it becomes not that it's too easy for them or anything, but it just becomes like the teachers leading it, right? So I want you to do that bend. Here's this bend and we just bent it even more. I want you to do that Ben there. What do we do in here? Do this bend more? Alright, I give it, give it more of a bend with Rhonda. Bring her forward. So how would you do that? How would you bring this forward? Just kinda did it, right? It's she's already pretty forward here. Right. But do you see how this this intersecting just punched it forward, right. So if I was to do this, I'll have to do is find that. Here's the mid and here's her crotch, here's the head. Here's the midpoint, right? Something along there. There's the head there's the belly button. Where do you rough it in now? Right. Well, I'm going to say torsos right around here. Roughing it right now. The head is gonna be right around here. Shoulders coming forward, is shoulders coming back. We can see this circumference lines here, so it's actually going to come here. Then. This is how that part looks. Hips are straight on it actually. So it's kinda going like that. And the circumference lines may be around the front here somewhere. Then we bring this forward. One to me that hadn't really big, alright, bone. Okay. This one is going to come back. It's caulking up. There we go. So this is what I want you guys doing, whether it's on the sheet that I've given you here. I hope you go through it at least once. Once that I want you to doing this, doing it once, copying the line of action that's presented here. And then once again, pushing that line of action into something just a little bit more. You know what the funny thing is though, when you push the line of action, eventually it's going to break. That line is going to bend it way too far and you're gonna get something that's way too far out there and you're gonna be like, Okay, Hold on. This is taking away from what I was trying to do with it. But that's what you should be doing. That's what I want you to doing. Exercise on a blank piece of paper is to take this line. And here's one. Actually, I'll do it in red. Here's one, here's two, here's three. Right? Bend them all the way forward. In that full lien, what would it look like with our stick man? With these lay eggs being moved up and he's just he's just running the road runner or something like that. Right. How would that look? How does it look if you really bend that for Michael? Push the line of action until it breaks. Push it every time until it breaks. And then you start to learn and say, Okay, well that's how far I can push that, right? But you don't know it until you push that far. So guys, I've laid it out for you here. This is the line of action unit. You can play it safe and just do the things that I've shown here. Or you could take it to the next step and do what I'm talking about right here. Pushing as much as you can and really seeing where it can go until you break it. And then once you break it, once you broke it, you just back it up and say, Okay, well, that was 100%. I'm going to backup back to A25. And yeah, there you go. Looks freaking awesome. This will take the static out of your static and stiff poses. This will add much more than static into it. There'll be electric guys, okay guys. So that's your homework. Please, please, please please please do this because I don't want you doing the next unit without having completed this. These units we're really building on each other. Okay, So get this down, get comfortable with your rule, elevate your line of action. And then you can move on. 24. Figure Drawing Speed Exercise: Hey guys, I'm back and I've got another unit here for you. This time we're going to work on some quick poses for our figures. Okay, before we get into that, this is my little disclaimer that when we're doing figure drawing and especially using a lot of pose references and stuff. Occasionally know, often will run into nudity. There's gonna be a lot of nudes going around. Now you can do certain things to avoid them and stuff like that. But the best way to draw the human form is to see the human form. So if nudity bothers you, I'll show you a little workaround for it. But in general, this unit, most of it is not going to be for you. So just keep that in mind that it's new, that he's part of this, this part of the learning process. Okay, So I'm going to show you a couple of websites here that are going to eat us in what we're doing. You're going to, you're going to need to visit them to do what we're doing here. After you're done this unit TO case, to sort of continue on these studies. Don't worry, don't have to pay for them. They're nothing like that. I'm not promoting another website or anything. You can actually do this type of stuff in person. But that's even harder to coordinate. So first one, let's just work with this is quick poses. Quick poses.com allows you to pick different types of challenges and the intervals that timing, right? So 60 s, 30 s, whatever it is. I like the Warriors, I like the femme fatale files. Let's do femme fatale us know warriors going with lawyers. And all I have to do is click warriors and start. And there you go, I start drawing. Okay, Now I'm not gonna do that on this session. I'm going to use this other website. But now you know, that's how easy it is to set it up on quick poses. The website I'm going to use for this is line of action.com. Okay. And it's very similar. It's just a matter of preference, right? Which one you want to work with. But this one gives me a little bit more variety. In my opinion, I get to choose things so I can choose the covering clothing. Nude models, covered models are all models. So of nudity is your issue. You should probably just go to this website and click on only covered models. And then stop watching the rest of this unit because I guarantee there's gonna be some flesh coming your way. Okay. Also, do I have only female models are only male or both. And ages. Obviously, this, we won't see nudity, but whatever I can do, the class mode are different lengths. So this could set up the time of the intervals and how long it goes for. And so here my 60 s, 30 s to minutes, five or I can Determining myself, right? So there's a lot of options going on here. And yeah, we're gonna get into this. I hope I'm going to set at 30 s here. Sorry that thirty-seconds. And we're going to get drawing here, okay? Okay. So all you need is a blank canvas in front of you, whether it's a piece of paper or whatever, whatever works best for you, and a pencil pen, whatever is going on. We're gonna do these pretty fast. So when I say go, it's only 30 s, right? So what you're gonna do is draw your quick line of action line, then start to fill in the simplified skeleton. Ready? Let's do this. Okay, so we've got this. I'm going to cut it. Right. Thrown her hips, throw in the torso, shoulders here, rough roughly there abouts her head's leaning back, right. One hand is here when a hand is here, and bring it out here and connected, bring it up here and connect it over. This is where her stances, her weight her foot's coming up this way. There we go. Oh, and that's how quick I didn't get to do that. Next. Bottom, top, mid, leaning back, leaning way back. Shoulders are relaxed. They're hanging down, straight down. There's a hands, there's the elbows. 1 ft is here, the other foot is here. And look at that simplified skeleton, but she's looking this way, right? Okay. But one I can start to add in my body details or something right? Next one is a Spider-Man. This one's tough. Okay. So I'm going to do hips, torso, head, over into the shoulders. This is going to come down into a hand here, right? This comes over into a knee, back into a foot. This comes up into a knee, back into a foot. Hand is here, comes up to the elbow and over the head is here, and that's the center line of the head. There we go. That actually worked out pretty good. Tough one. Especially because it's on a bit of a like it starts to taper down here as it gets closer to the bottom part of the camera. The shoulders are a little bit more angled here, so it's up like this. This one comes over, comes up here. This one reaches up to the sky. She's looking up there. Okay. This leg on the hip came forward and I didn't even finish next one. Pretty simple. Hips, torso, head, leaning back. One leg comes up and down this way. This leg comes up and down and it's off screen. The shoulder comes down arm. And likely the other shoulder is see-through and its arm back there. You can add certain lines, division lines. Oh, this one's interesting. Torso. I usually start with the hips because they're kinda that midsection. Their shoulder are coming up to the hand up here. Right? This one's coming down, splayed out to the hand down there. He's got this one that comes up and attaches on to the foot there. This one comes forward and it comes in, attaches to the foot there. And he's got this rope that's dangling there. This is too simple, so I'm going to skip it. There we go. Guy with a bit of a Lean going on, sitting on a chair here, right? He's got his Chevron up here. Look how quick we get to be able to do these after awhile, right? Should be really this quick. His hands here means other elbows here, coming back. This leg comes forward here into the knee, back onto the chair. This one comes forward down and then back onto the floor. And if I wanted to, I could flush out this chair a little bit, no time coming down. This one's kind of interesting. The Chevron, the hips. This one comes up to ankle and then the foot is out this way. That foot's missing, can't see it right now, so it's out of view. This is the head here. This is the back. I'm going to place both hands here. Elbows, back to the shoulders. Right? This has her back, her bum. There we go. This one is a seated so dude is just in there. I could do legs first. This one's crossing over to the foot. This one's coming up to the knee and back down again. His both hands are gonna be here. His torso is here, shoulders. They come down to the hand, down to the hand as head is resting on their right. These are tough guy is like if you're keeping up with me, I'm super impressed. I'm not in love with that one. Let's switch it up. Switch it up again. There we go. Nice and classic, right. So line of action. Here's the shoulder, shoulder, head, looking up this way. Knee comes down this way into the foot. His elbows here, so it's here. And then his hand hangs down. This comes forward, this leg and then hooks the foot behind here. This hand is here for support and that's how easy that is. Okay Guys. Cool. That was fast, Fast and Furious. And some of them I kinda didn't finish right. Like they were getting a little tough at times. I get to say thirty-seconds is fast. But if you get really comfortable with your simplified skeleton, you should be able to do it, okay? There's not a lot of detail here. What do I do first? Determined the line of action, basically looking for that spine, that angle right after I've done that, while you see 90% of the time I hit the hips first, there are the midpoint just above the mid point of halfway when I do head to toe and then middle. All right. And then I start saying, okay, well, we're where's the Chevron of the torso and stuff where their shoulders. I sometimes even plotted the hands and saying, okay, the hands are here and here and here. And then I start connecting things, right? Whatever works for you, keep doing it. If you can keep up with 30-second poses like this, it's working. If you've got to start at 60 s. That's cool to like honestly, nothing wrong with going at 60 s. Do that for awhile. Then see if you can bump it. Do 60 s and if you're finding it's too slow, but 30 is too fast while at 60, what you start to do is start to add in more details. So you start to say, Okay, well, here's my, my chest line, Here's the belly button line. Here's this. You can start to add in a little bit more of what you like some important, Here's the underwear line or something, right? So here's the underwear line, this, and you can add in these details that when you're drawing it later. This was a female Spiderman. You can start to add in musculature and all that kinda stuff, right? Okay. So if you have these kind of landmarks going on, then you can start to oh, another one would be like the ribcage. Right? Where's the where's the ribcage on this? Right. So guys, if if you get longer than than thirty-seconds, make the usto use of it. Like if if you got the chance, add more stuff, right, nothing wrong with that. Put more stuff in there and then see how much you can pack into 60 s. This is a bit of a tough exercise, but it's so much fun. Honestly. I haven't done this in a few weeks. I'm kinda rusty here. But really, if you're gonna kinda throw one fun figure exercise into your weekly regime. Go to those websites. Do this for one was that it took us about 5 min maybe or whatever once we got going. Alright. Okay, 1 min per figure if you're doing it and do six to ten figures, right? So there you go, six to 10 min. And doing that almost every day, you're gonna get so comfortable with quick, quickly drawing figure work and stuff again, and especially, especially this simplified skeleton. Guys. I hope this was helpful. If some of you are lucky and live in bigger cities, well then you could do this live. That's right. They have figure drawing sessions like this. Live, even timed like this, 1 min, 2 min, that kind of stuff, right? Personally, I prefer photos because give me a better angle. Sometimes sitting at the same drawing desk. I don't always love having that same perspective and stuff, but having a live model in front of you. I've enjoyed that lots of times. It's really interesting and it's a different type of challenge. So if it ever pops up, take the opportunity. I hope you enjoyed this and I really hope you're going to send some of these off to me. Whether it's the ones you did following along with me in this class. Even if you paused, it's okay or it's ones you've done beyond that, I just want to make sure you're doing it. And I wanted to see some of these fun, funky looking skeletons have fun with this guys. 25. Drawing Characters: Hey guys, I'm back and I've got another unit for you here. This time, we're going to tackle drawing some familiar characters. Okay? We're gonna take a lot of what we've learned up to this point and just play with some basic shapes and see how it works for us. Let's see who do we got first up? Johnny bravo. You can see already, I've kinda drawn this out. You can see some of the shapes I used, right? I'm going to draw over top of it and I hope you're following along with your sheets. So I'm going to draw this chevron here. Kinda, kinda look for a bit of a weirdly shaped rectangle, right? Gonna come down here and use a bit of a tube. And then some quick little rectangles down here too. Let's see if I can recreate that on either side depending on what feels comfortable for you. See if I can wider than that. Right? Okay. And I hope you're following along. I'm going to have this head coming up above here, right? I'm going to have this weird bell-shaped coming here. From there. It's going to come down into two little sticks. If I want to. Sometimes what I like to do is just kinda lock in the hands. I'm gonna kinda block in that hand and block in that hand. Then I can look at his shoulders, look at an elbow, kinda hunt down from there, right? Maybe an elbow would be here in this helpful would be up. So it's gonna kinda go like this. What do we think? Are we? Does this look like Johnny Bravo? Well, I've got it all plotted out, right. So let's see if I come into it a little bit more. Okay. So I'm going to add some details in here. Why don't I start with the face faces and easy place to mess up. So I'm gonna see if, if I don't mess it up, right. Come here and right along this line here. He's got these cool little sunglasses, right? Nose, ears come off of that line there. He's got this cool hair that starts to go up. I'm going, it comes up even more up here, sweeps up here and starts to swoop on down. Okay. So I've got Johnny bravo there. It's going to come up from his neck. I feel like his head is a little bit too small. Maybe I should've enlarge that a little bit. Comes down to its neck here. And it goes out like that. Then the traps come from behind out to the shoulder. And I'm going to use this kinda sleeve here that comes in. And he's got a nice bending, bending line here, right. Here's the tricep, the upper arm, come down into a simplified shape. Maybe I'll clean that up just a little bit. Simplified forearm into his hand and comes like this and I'm kinda following that form. It's got one finger that coming forward. Back like that, comes out to the thumb. There we go. Okay. I'm going to use this sweeping part of the rib-cage. Comes here. Then it drops down into his hip. This part sweeps all the way over to there, is t-shirt seems to follow that line into this little hip line that comes down to kind of bends down into this cuff and then pens up crotch. This one does much the same actually. Sometimes after I've roughed it out like this, it's good to just kinda do it for me for use it as a landmark, right. Comes down to there. Come down to there. Might as well come on this side. Straight arm down to their forgot that little cuff here. Up and over that shoulder, upper arm, lower arm, forearm. And it comes into the hand. And he's got these weird finger positions and stuff, right? The hands kind of blocked in his shoe. The shoe is kinda wide one. And this one has this little snazzy type of look to it. Okay, so what do we think of this version of Johnny Bravo? Right away? I think what I should've done is widened it out more. He looks a little too slim. My original bravo that I drew. He was a lot wider. So I want you to take a look at yours and say, Well, what did I do, right? I think overall this ape-like features are pretty good, but I actually think I did it too much. I think I angled him down too much in this coming down to his his knee. A little bit too far from me. It should have been closer up somewhere around here. Right. So I think my angle my initial angle was off a little bit too. It's always good to look at it and say, Well, what did I do right? What did I do wrong? I'm hoping that you took my original sketch there and it better with it than I did. But really know, if we zoom out, it looks fine. We're just being a little bit hypercritical here and stuff, right? So no need to get too worried about at all. So we're gonna go to Charlie Brown next. We're gonna do that same kind of thing. We're looking for shapes. So what do I say? I could even measured if I want this. And you know, sometimes those circles are hard, so do it until we've been practicing circles, right. So do it until it works. Then he's got a little neck coming down below. I like doing a piece by piece sometimes. Then he's kinda got this, this triangle thing going on, right? He's got this and it cuts off there. But that's the general form. It looks like a simple null. Then it comes into pigs below. Nice simple rectangles below. And then these flat no beaver tail feet type of thing. Okay. So I've kinda roughed in Charlie Brown if I wanted to, I could rough it in even more. His eyeline is somewhere right here in that middle middle piece goes there. And now I start to come in and say, Okay, well, this is supposed to look like, right? I could start with some details like that. Swirl. Swirls are kind of funny, right? Sometimes they got it back it out a few times. So I'm gonna come over on this side. Come around, come up. And around this side. I think I caved in his skull a little bit on this side a little bit. That's okay. I can come up at night. Just bump it out. Then his ears are going to be right about here. Right. Okay. So then we come from here down into the neck and then we've got this shirt color going on and that gives us that break. Because like I said, we did this blue form, but that's actually not the entirety. That's not really his form, right. It just kinda is the outline of this form. Comes on this side, comes out to a sleeve and up we can stick his hand and a little pocket here. And we're going to come down out there. His shirt. It's going to be there. And then if I want, actually, I think a shirt goes a little lower than that. Here we come. And then if I want, I can start to add those details into it. The squiggle, that little Charlie Brown Shirts squiggle, right? Okay. I'm gonna come down here and add as little ankle socks and then that weird beaver tail, beaver tail shoe with a little loops in it. And come out here and had the same here. Maybe I'll clean that up a little bit. There we go. Okay. So what do I think of my secondary Charlie Brown? Not bad. I think if I was to rework anything, I'd probably reworked the nose a little bit. He looks a little bit too angry and stressed. Right. So maybe I'd come back in. Maybe it's the eye position. I think the eyes could go a little bit. You know what, I think it's the size of the eyes to see. Smaller eyes seem to be the Charlie Brown thing. I also don't love the squiggle I gave them. I think that's making them angry. I can play with this a lot. They're right. Charlie Brown looked like Charlie Brown. Generally speaking, I'd say yes. I think I should have went with more of a circle rather than oval, like I can see right now, this is looking this way, whereas it should have been looking more circular. Backing out can sometimes give you that nice perspective on it. Okay guys, our last character of the day is the lasagna loving man himself, Garfield. And what shapes do we see in here? What shapes are we looking at with Garfield? There's kind of two particular shapes right there around. So we've got a round head here. Alright. And then another around body. So I'm gonna do this around head here, and then another around body. And then he's got these kinda around sausages for feet going on here, something, right? So if I kinda track this down, it's right below here. It's going to cut this large round sausages for feet. And he's got his hand here and there. What do you think? Is that kinda you think this is gonna give us our, our main pieces of what we need from Garfield that we're able to draw him, right? Let's get into it and see. So sometimes I like to start on certain features with Garfield. I think if we start on the eyes, being a little wobbly here. No, see, I think coming around. There we go. Coming around making sure you've got that nice round shape. And he's got this. I'm extremely bored of u expression, right? That's what Garfield is famous for. Okay? I think right there, we've already got Garfield. Then we can come out here and draw one ear a little bit rounder. One ear, one here. Kinda have this connection. That's the depth of the ears. They're right. And Garfield seems to have these noting hair or something. They're coming on this side. And it actually, if I can follow that a little bit better at all, follow it all the way in and give them a bit of what would pass as a neck for Garfield. And then it bumps into the back of the neck there. Couple little stray hairs. We've got the back of the neck and then we've got his bum following that. We've got the belly, which is also hanging here. And then we might as well come here and have the one finger or two fingers, three fingers, and then the back of this poem. And you see how I kinda follow the hand on that. That was nice and easy to follow with. It's going to come back up here and give it a little bit of I don't know. But Chubb around the armpit. I think that's what Garfield has got going on. They're going to bring that leg down, down. So I didn't actually have to draw the legs in here because they kinda connecting to the foot. Alright. So I liked doing the top of the foot for Garfield, was a little bit too far. Maybe here, here. Then here. Then this other one is this other leg is here, comes forward and does the same thing. It's gonna go 123. And then what? Garfield the cat, sometimes we forget that there is this tail comes out the back. Then we can start adding in all of these effects for Garfield, the famous Garfield squiggles, right? What do you guys think? How is your Garfield looking? Is it looking close to mine? Closer to my original one? What do you think? I think this one worked out? Well, I think I'm missing a little bit on this side that that head could I came a little bit more this way or something, right? There's there seems to be a little bit something missing there, right? But overall, I think we did a pretty good job on these characters, recreating them. Alright guys, this was a lesson in looking at some of your favorite characters. Then using lessons from before of hunting down shapes within them. Whether they're kind of a basic circle or a little bit of an oval, or even a Chevron or rectangles. If you can hunt down the basic shapes within the character, you'll be able to recreate them. I hope this was fun for you and I'd love to see what you've got. Take your work here, send it in to me, and let's see if you can point out without me even where you kinda went right and where you might have went wrong. And if you can't, don't worry, that's what I'll do. Just like I looked at my own here instead of me. It's good. I can always use a bit of a nudge here. Hope this was fun for you guys. And you know, even if you want to take it a step further and grab one of your favorite characters. We draw them and send it to me. I'd love to see him. Have fun with it guys. 26. Drawing Figures In Perspective: Hey guys, we're back and I've got another unit here for you. This time, we're going to talk a little bit about drawing figures with perspective. Okay, so we're gonna take some of what we learned in our lessons on drawing things and objects and perspective and apply it to our stick figure in front of us. We've got a little bit of a figure, a figurine or like an action figure, whatever we want to call it and stuff. And I think that having live models is great. But having something like this at your disposal, it's a nice little trick to have, right? Okay, So what we're gonna do as we normally do, is we're just going to draw a line from top to bottom. And if we want, here's the top. Here's the bottom, right. And I'm gonna put a line of that hip there. Okay. So I've got that. And if I really want to, what I can do here is make a bit of, a bit of a box around it, right? I can do something like this. Right? There we go. And that basically means Here's the upper part and there's a lower part. And if we look at the sizing difference, we've already talked about this. This is basically one-half and one-half. This figure has got a little bit shorter legs than, than the top. It's got a little bit of a fatter head actually. But that's pretty common with action figures and stuff. But St. Louis, it still works, right? It works for what we're doing here. Now, why don't we head back into the next figure here and see if we can do the same thing. So I'm going to draw a line down the middle. So if I do the same thing and I kinda drag it over and I go from the head over from that marker on the crotch, they're down towards the ankles down here. You're going to find that because it's angled slightly this way. We're going to have a slight difference. Now these legs are gonna be longer and this upper body is going to be shorter. Did the length of these items change? No. But because our cameras sitting a little bit lower and looking up, it makes this part look much larger. And you know what? When we go over here, I bet you it's gonna be the same thing if we cut this across, cut this across, cut this at the ankle. We can see this is even more extreme just because the camera is probably a more extreme angle right? There is the upper, There's the lower right. So shifting the camera angle around can definitely change how the proportions play out. And so if I was to do that in a larger scale, I want to show you guys something here. Going to make a new layer here. Get rid of these guys. And let's just draw a box or rectangle, right? So this is a rectangle. How do I divide this rectangle in half perfectly? Do you guys know? Well, it's actually easier than you think. All I do is go like this from one corner to the next, and this from one corner to the next. And this here is my eggs a little bit off. I was just about to break. This. Here is my exact middle of this rectangle. And what's the middle? Well, we know that's the crotch line, right? So what if I do it again up top here and I divide? I divide. I hope you're following along. Why can do that? And that's gonna be that nipple level, right? So I'm going to divide again, divide again. And this will be the chin. This is another way to make that rule of eight, right? So guys, I hope you didn't have to follow along with the figure, but I hope you're following along here because what this is doing, this measuring style is measuring our rule of eight. And you know me, I like to kinda skip these. So this would be 12345678, right? How does our figure fit in there? Do you guys remember? Maybe we could back it out a little bit here. You remember how we would draw the figure in? Why don't we actually have a central line here and just to make it, make it a little bit easier for us, right? Okay, so how do we make a figure in this? Well, what do we do? We have the head here, right? We have the head here, we have the hips here. We have that Chevron here. I'm hoping by now you guys are so good at this. We have the shoulders on either side. Right? We have the hands down below that pelvis. Bring it down, the elbows, go right on top of that. We put the little superman underwear in there and the cross-section there, right? Bring it down. Bring these all the way down. Have our feet below and our knees will go halfway. So there's our figure within the perfect proportions of a measured rule of eight. But what if I want to switch the camera angle like we were talking earlier? Well, one thing I could do on what I'm doing digitally as I could kinda cheat and do that, right, and just angle it. But I don't wanna do that. I am going to do the same thing. Going to have a ruler down the middle. I'm just going to draw a ruler down the middle here. And I'm going to draw a bit of a base. But I want it looking up. So this, the top of his head is going to be it's going to be shorter. This box is going to be narrower, right? And I can just draw it out like that. Okay? So now, how do I find the center? Well, I'm going to go from this corner to this corner and this corner to this corner. Look at that difference. This is actually, I should have drawn my center line, waited to draw, but it's actually a little off-center there. This is now the center. Look at the bottom half of this body. This is gonna be the lakes. So then I'm going to go again up top here. That is going to be the chest. I'm going to draw that across, draw it across. This is going to be the chin and this is going to be the belly button. Why don't we find the knees while we're at it? Needs will be off of here and off here. So let's say I want to draw this in. Well, how's this going to look? Easy one, I can put in the, the hips right here. Right? I know the Chevron is gonna be somewhere maybe as why does the hips, but it's going to come something like that, right? The shoulders are gonna be off of there. I know the head is going to be here. Okay? I know that the Superman triangle underwear is gonna be there and it's going to come down. And then I know that the legs come all the way down to here. Look at the difference. The hands will be here. And they can connect elbows, right? This is an extreme worm's eye view of this figure. And remember when we're drawing this figure, then we're going to have to realize that everything is going to be looking up. So we'll be looking, even if he's looking straight at all, it'll seem like that. Whereas in this one would be looking straight and looking straight at us, right? So everything will be the under part of this character. How crazy is that just from this slight variation? This is an extreme angle. Crazy. Okay, So the next one we're going to try is working with a little bit of a bird's-eye view. So we're gonna do the same thing at the bottom, but I want to do it in blue just to stay consistent here. We're going to do it across the top here. And I'll come down to that and come down to that. Doesn't look quite even. There we go. We're going across the top. And then we're going to connect these two. This is an extreme angle. Look at that. This is now the waste or the the pelvis area. That's gonna be the knees. Right? This is the knees here. What's this next section gonna be? Halfway in the upper half is what? That's right. The PECS. This is going to be the chin. And here is going to be the last one. The belly button. So how does this look Then? If I sketch it out? Well, the head is going to be this big. Right? The hips, you know, I like to draw the hips and right. So the hips will go in here. The Chevron will come up here. And you can see if I wanted to, I could draw some guides in here as it as it increases in width, right? The shoulders are out here, the hands are down here. And they can connect with the elbows right there. This guy, even if he's looking straight, we'll be looking down slightly. We've got the underwear is going to come down down to the feet. The legs will come down here. And there'll be feet down there. The knees will be there. How cool is that, that you can now draw a figure from, not just straight on as we've been doing all along, but from a worm's eye view. This is the worm's eye. And a bird's-eye view. The bird's eye and get it so that it's measured correctly. This is a game changer. If you want to start to switch things around in your figure drawing and really push the envelope of it. Alright, practice this a lot. What I would love to see is you guys drawing out just even roughly drawing out some some grids like this. Like let's say just, just sketching it up and saying, okay, well, here's here's what this is looking like, right? This can be rough. It's just boom, boom. There's that midline. Boom, boom. There is that midline, boom, boom. There's that midline. There it is there. There it is there. And then coming on top of it, I'm just saying, okay, well, there's the hips, There's the chevron, There's the shoulders. There's that. It's coming into the legs, right down into here. Down into here. And just having fun with it. Alright, and then seeing, well, how would this look in a pose? How would this look combined with some of the action shots you've already done? Alright, guys, part of this unit is just playing around with that little figure at first and stuff I got and measure things out and stuff like that. But most of this unit, what it really is is being able to draw a rectangle and then distort it, and then start to learn how to divide it. So you'll notice that even this slight distortion of perspective will make it look like, Wow, that's a giant. We've got, we're looking at a real worm and we're looking at it as giant. So play with that. Have a normal box where you draw your stick man or stick lady. Have another one. Same bottom, but just slightly smaller top and say, Okay, what does that look like? And then same top and slightly smaller. Autumn. And see what does that look like? You really don't have to push it far to be able to move the camera one way or the other that much, right? And that's what this lesson showed you is that pushing the camera a little bit really does it. And also in this lesson, the most important part I think is learning how to measure the center perfectly. Guys, this was a great unit for learning. Not just a reminder of the proportions, but being able to angle them and put them in perspective. So make sure you send it off to me. I really want to see what you guys have got. And I want you as always, to have fun with it. 27. Simplified Muscle Anatomy: Hey guys, we're back and I've got another unit here for you. This time we're going to start beefing up our simplified skeleton. You can see here that I've added a few. I don't know. Well, I've got a few simplify skeletons that I've kinda drawn out following our rule of eight, right? I tried to do it from a few different angles. Here's the front, here's the side. We're gonna get into the back and then we'll get into a little bit. I find a lot of people run into this problem with the arms raised, right? So and I like bodybuilding, so I'm going to focus on that as a standpoint. Getting into muscles is tough because there's a whole lot of muscles going on, right? Generally speaking, there's more than I can count. I tried to find a way to simplify it for us, something that makes it easy. Alright, so that's what I do. I'm going from the front here, we're going to start and work our way down of this front piece. I stay with this circular part for the shoulders. So we're going to keep these as the delts, the deltoids and just kinda circular. Then from the deltoids insertion out to the bicep, I'm going to draw just kind of a simple circle like that. Okay? I know this is gonna look kinda beefy at first, but we'll figure it out. After that. Going down the arm. In the lower part of the arm, I draw a circle that only goes about halfway down that forearm there. Okay. So I've got that so far. All right. Let's go back up to here. The neck, you can come depending on how wide, but if you want it fairly wide, it can come straight down from the outside of the jaw, right? And then there's this band that comes from behind the ear on either side and meets right at the clavicle here. So it kinda goes like this and that's called the sternocleidomastoid. So we've got that. Then. The pecks, we're going to bring it from the clavicle down to the ribcage or down to that little arc that we put in there, right? Come up and it's going to come and I'm going to make it a little bit darker. Come up to where this part inserts in the shoulder and then come up this way, actually splayed out like a fan. So that's how that kinda looks, right? So we're going to come down, come over, come up, and then come over this way. Okay. So we've kinda got it looking like that, right? I think this site looks better. Maybe it's display. Before I go down too far. What I like to do is added and the traps and the lats. So I kinda like almost a turtle shell depending on how big my, my person is that I'm drawing. I can use that as, here's the top of the traps. Now these are giant traps and here's the lots that are coming under here. These little lines. Next is gonna be the abdominals. And we've already got it. This top part of it. All it's gonna do is continue down into almost an eggshell into the crotch that I'm not going to draw. This line is the belly button line. Okay. So above the belly button line, There's usually the six-pack goes above the belly button line. Okay. So that means there's two lines, the line of the belly button and then this lower portion is usually an APAC, But I've seen people divided up into a tan and stuff. And when I say they divided up, they don't their genetics do. Alright. Okay, so we're working our way down. We've got the hips here, right above the hips or the obliques, and they run like this. So think of it like, kinda like the top of a triangle, but we don't draw this part. I'm really trying to simplify this out for you guys so far. Okay. Going on down the legs, what I want to do is just simplify it. And draw two giant circles like that are not circles, button ovals right? Going down in the lower leg. It's going to treat it like the forum. You're going to have a circle, but it's only going to go about halfway up. Okay? And if we look, well now, That makes a lot of sense. Just simplified like this. This is looking pretty good. There's a lot going on here, right? But a lot already formed out. Explain if I was to just draw an outline around this, kinda connecting it. All right. Now, it would look like it would look like a bodybuilder. Why don't we go and don't worry, I'm gonna get a little bit more in depth. I tried to balance this with how we could do it for speed and how we can touch on the major muscle groups that we need to touch on. Okay, so again, I'm gonna go with the deltoids here, right? That upper arm. The lower arm, the chest. You remember we talked about it in asserting coming this way and we can even draw that nipple line straight across. And then it comes like this on a big plate. That neck coming from behind the ear, the sternocleidomastoid. And here's the trap. Okay, So the sternocleidomastoid comes here, the jaw comes over top of it, so it kinda looks like that. Alright. So that trap, this part of it. It'll be better once we get into the backhaul. I'll show it more. Kinda comes on and like imagine a shell. Here's the abs from the front leading up into the wall here. Unless the person is hunched over, you won't see, but I'm just kinda drawing in the lines like this would be our top six pack and then they go down into the pelvis. We're gonna get really easy and just draw that circular thing to represent the upper leg. And again, below the knee is that lower leg the only differences we're starting to see the glutes and nicely they fit on top of our big old booty on him. Again, what are we looking at? Well, that makes sense from the side now, we can see how just using these simple forms over top of our simplified skeleton can all of a sudden make it look like? Yeah, that's a muscular body type. Pause. Moving on down. I wanted to take a look at the back because even though everything looks the same like even the skeleton looks the same as the front right. I've just kinda flipped and reversed it. Let's see if there's anything that looks at different. It will look different once we start to add in the actual muscles and I'll show you a simplified version of that, but the delts look the same. I'm going to do the same thing because these forms are the same, you know, doing the forearms the same. I'm going to do that turtle shell on the back there and this is the back of the head? Right? Okay. Here's the hips. Bum. Obviously, depending on how you want to do it. You can have it wider than the hips depending. You can play a lot with this. But basically the fundamental thing is find the bug crack and then go from there, find the butt crack and then go from there. The muscle itself when it flexes in dense, pushes in from the side a little bit and we'll get that, get into that a little bit more as we get working on the individual muscles. So for right now without any of that, the most simplified form is just this. Use the, the outline of the hip. Come down, find the bug, come down, find the bug crack. So almost make it think of a square that's not popped out or anything, right? Then we have those obliques on this side here. It's going to come up into our turtle shell, right? Okay, again, simplified. For now. We're going to draw in those simplified upper legs and the simplified lower legs. And then we're going to come on over. And everything is the same. You know, again, I don't draw this, but here's that belly button lines. So that means there's gonna be this many divisions above it. Here's the abs that we've got in here and stuff, right? All that is the same. Notice I'm kinda doing the lower body first here because it's the same, right? Not changing anything up here. Just kinda doing that. The upper body changes slightly though. The deltoids are still the same, like how I keep them in the place. And the pec still come from that clavicle down to the top of the rib cage where they touched the abs and they come over here but then they come up this way, look at how this is the same. It's going to come up this way, but it's going to come to this little insertion that I've always been drawing where the shoulder meets the upper arm and the stick man. Right. Okay. So watch I'm going to leave this how it is. I'm going to draw in my upper arms and I'm going to draw in my lower arms. Okay. And then I can have the neck here and whatever I have for that turtle shell traps and everything. Okay. When I am drawing the PECS in here and I'll get in, this is where I start to get into more details. The pecs we'll come across like they normally would, but they lift up and they wrap over the shoulder like the PEC itself is coming out of this insertion here. But it kinda just blends into the front deltoid. Okay? And then the bicep comes out of there. This is where I'm going to stop the simplified process. Now, we're gonna get into a little bit more details. Again, I'm going to hesitate to say, well, this is going to teach you all the muscular anatomy. But we're going to form details on top of what we've got here so that you can at least have some basics going on. Like I said, I could sit here for hours and I've got an entire course on every muscle group and all this kinda stuff there. There is this entire course. That's not what this is. What I wanna do here is show you the Fast and Furious way. Adding muscles to a physique instead of breaking it down into every body part and stuff. So with this fast and furious technique, I'm going to draw over top of this. The pecks come from here and the xor r in front. So that's why I'm starting with them, even though normally I started with the delts and stuff, right the PECSA in front. Now in front of these next is gonna be the bicep. The bicep comes under the PECC, but it's in front of the shoulder. The deltoid then comes from there. The deltoid comes from there. Behind this, on this side of it, you will see a bit of a tricep coming from behind and you will see it from the back. It'll look better. Now come down here into the elbow, will come down here into the elbow. The forearm flexors, that's the lower part of the forum. Come here. Or I'm flexors come here and the extensors come out on this side. The extensors come out on this side and they usually have something visible. This part of the extensor of the radio broadcasts kept the abs again. We've got them outlined. This is the belly button here, right? Okay. So we've got that. We've got the obliques showing just a little bit. We've got the lats coming down here and coming into the waistline, right? If we want, we can put more of a rounding of the abs. It depends on Europe, stylistic choice. Some people don't even draw on these upper, the upper two there or whatever, right? So you also see kinda following this ribcage, we're just going to do that just a little bit like our original little chevron, right? I'm going to follow that slightly. That's the lats. And then in from the lats, serratus muscles, they look like little ringlets. They look like they're your ribs but they're not. Okay. We've got the groin, the crotch in here that we're not going to draw, right? Then we've got this big sort. We've got the glutes from the front, maybe a little bit in the hips. Then we've got this big outline, right? We can just keep kind of with this outline to an extent on the inside of this thigh. It'll sweep like this. There's actually, this is from the front, it's called the quadricep, right? And there's four major muscle groups in it. Quad us. Alright? So this is on the outside here. On the outside of the, inside of the quad is the vastus medialis. On the outside of it. Here. Because the vast, vastus lateralis and then inside is this split. And this is another, if I was to draw it in, it would look like this. And that's the rectus femoris. Okay. So we've got a knee and I'm I like drawing my knees just as a simple little little triangle, right? And what I often do is bring this in and form this down the shin. So I'll bring in right down the shin here. And then behind it, I go into the calf. So behind it I'm going into the calf and you can see how I just kinda can form around this calf a little bit. Alright. I can bring it in and form around and coming up from the bottom though, the calf on the inside usually has more of a a bit of a hook, a peak to it or something like that. Right. You can see an indent, whereas in the calf on the outer side of the calf has a nice round or sweep to it. Okay. Then I have my ankles and we're going to do hands and feet in another lesson. So, oh, one thing I forgot. The muscles of the neck I kinda roughed out here already, right? The traps, you don't have to have them like that. Here's your insertion for the traps and here's their insertion. But if you want to, they can just come straight down, right? They don't have to. They can even come like this. They don't have to be this giant hulking bodybuilders thing, right? They just bring them on straight down. And that's fine too. It just helps for where that insertion is and stuff. Hopefully this has a nice simplified look for learning muscles so far. Going from the side, I want to emphasize that any changes or anything that's different from the front as we're moving back and forth between these. The number one thing I'm going to focus on is the The deltoid. So that's this shape here, right? This, I actually think of it like I've always thought that deltoid as a garlic clove. And so what it does is it has this part of it and this part of it and this part of it. So this part here that's in the middle here is actually called the medial deltoid. It's the same muscle, but it's just got different heads to it. So this is the medial deltoid, the deltoid and then the rear deltoid. The deltoid usually actually sweeps a little bit more like, more, more in like this or something. Okay. You can see how this all fits nice over this skeleton here. Simplified skeleton. So here's the bicep, that circular thing right here. And then the tricep is actually bigger. We can think of it coming off the midpoint of this deltoid and coming back here and it comes down. Now what I like to do is draw the elbow and bring it up this way because the tricep, as we'll see from behind, is kind of a horseshoe. It has an underlying from the elbow, it kinda comes up and we'll see this. But it has this underlying horseshoe laying over top of it. So I could draw this under overlay horseshoe type of thing over top of it. From the side again, We're working on, this is the extensor part of the forum. It comes down to here. And I often bring some of these bands and from the elbow and the flexor is not so visible from what we're looking at in the side here and that much PECS, I've already kind of rough them in for you, right? Here's the jaw, that sternocleidomastoid, the traps this part, right? The traps come up here and then it comes up into the neck and behind the lats will come in. It's very hard to see from the side here, the lats and the back muscles will see more from the front. The obliques are blocked by this arm, but they're kinda this triangle here. This comes down into the glutes. I didn't, I shaved a bit off his booty here. The quads from the side. Looking at the outside of it. This is the the vastus lateralis and it basically is shaped like this. Kinda has this insertion here, right? Then the hamstring has this somewhat rounded. I kinda blew it out here, but it's somewhat rounded like that. Okay. Then we have the knee, the front of the calf. The lower leg has a little bit of a slight bit of give to it to you. I mean, like a slight bump on the front there. There's some muscles and tendons that actually lie in the front leg and come down into that back of the knee, comes out to the calf and then back down into nice little triangle for the ankle or something like that. And you could draw some details if you want. Alright. So look, what is that? We're only at like 20 minute mark or something like that. And we've already fleshed out this this physique. Okay. Coming back up here though, I didn't really give justice. I'm looking at it now. The back usually sticks out a little bit more, especially with somebody that's muscular. There's some muscles that we're about to get into that are really protruding from the back. The ribcage on here, depending if it's flexed or not. If it's not the abs are not flex. You won't see them. It'll just be tucked like that. Now into the back. I told you we've already done a lot, so I'm not going to focus too much on what's going on here, but I will focus on the back muscles themselves. The first one I want to focus on is the traps. What we've talked about. Remember these ones from the front we were talking. They're kind of shaped like a bit of a diamond. Not exactly. There's a little bit of an indent here and an indent here. And they come down. But this is the general shape of the traps. So you can think of it like just basically this diamond that lays on the upper part of the back. Okay. So think of it that way, right? If there's each there's a little bit of a different look to each person's traps slightly. But this is roughly how it's gonna look. It's going to come up this way and in come up this way. And then you might even get a little bit of a bump going on depending on muscular development. We could actually draw this line pretty much all the way down, down to the bud crack. The next major muscle back here is gonna be the lats. So it's going to come out here and it's going to tuck. Now how big it is, it can be really small. Depending on the muscular development. Bruce Lee's lats were great. And what it is is actually the, Let's start roughly about here. And you could think of them as fanning. One of those Asian fans, you get a lot of muscles that kind of fan out like this. Okay? So they fan the fan like this. And then they attach into round about here. So here we've got another triangle. Again simplified casual thing of this is think of them as a spinal erectus. So you can think of how the lats are attaching into here. Okay, let's all attach back here. There's a bunch of smaller muscle groups that kinda actually overlay the lats a little bit. And that's really complicated. So I'm going to leave that alone. They just kinda looked like this for now. Like I said, I'm trying to choose which ones will work for how important all this is to you. The triceps, remember how I told you they're they're kind of a horseshoe looking. Well, here we go. The triceps look like this. Then the rear deltoid, that rear part of the garlic sits on it like that. So again, tricep. Let's see you maybe I wanted to do it this way instead. Then the rear part of the deltoid there, then we've got the elbow. Depending on how you want to draw it. I always use little triangles for my knees, elbows and ankles. So you can think that this then comes down into the tricep. The bicep is coming. We're looking at it from the other side here. We're looking at the bicep from underneath, from behind or whatever. Okay. So we're moving on down this behind. And here's the behind. We can come in here and draw the bump. The bump can kinda come up and over that hip line to an extent, right? And then it kinda just comes like this. And it works into the hip a little bit. And then we've got those obliques from behind. Okay. Guys said if they're flexing the bum, then you've got an an indent push that pushes in this way. From behind we can see the flexors of the forearm more so than anything. There. They form this kind of tight little ball here. The extensors are not absolutely visible. And there's often a lot of connective tissue lines going on there. Moving on down the back of the knees. We're going to draw as a bit of a bigger triangle or even an extended triangle, something, something along these lines. And the hamstrings that are at the back of the legs. They're going to form and they're going to come down as bands splitting all over this. This is how the hamstrings look. The hamstring is kinda come down as forms splitting across the back of the knee. From behind. You can often see a bit of the front the leg, either depending on which way it's turned or anything like that. But you can often see the hamstrings are imagined this size and the quads, the outsides are a little bit wider so you can see them from behind sometimes depending on the angle of the leg. It just depends. Moving on down to the calves, we're gonna do another triangle there, triangle at the bottom of this circle. And then the calf kinda goes and wraps around that. And there we go. And that's how the back of the leg would look. Accounting for the knee there if we can see it. Alright. Come back into the back of the leg. Look at that. We are storming through this. I can't believe. Honestly, this is hours worth of anatomy in a very condensed form. This one, everything is the same from the front. But remember what we talked about. This is what's different and we come in here, the PECS are different than PECS get lifted up and then the front deltoids, the front of the shoulder, come into it and they come like this and they lift up. The biceps are then like this and come in from this shoulder point and like this. So the biceps come up here. That's an ugly-looking bicep. And then come like this into. So imagine there are kinda like footballs or something like that. Depending on the type or size of the biceps. Some people have them that looked long like this. Some people have them That's shortened out. Underneath the bicep is this little muscle that makes up what we would think of as the armpit. Now, we're also going to do the bottom part of the tricep from the elbow. It follows that form and then comes up into the armpit. When the arms are raised like this, the lats are exposed and they'll often flare out. Okay, So probably if I want to keep it symmetric or they could be something like this. And so you will see, remember those service, there'll be out here kinda ridging that where our rough Chevron was of showing the ribcage and stuff like that. They'll come out like that. But all of this area is lats. Then we'll still have the neck and still have the traps here. The flexor part of the forums will come in here. This will come to the elbow and the extensors are on the outside and they will come up something like that. That's the main difference I wanted to show you when arms are raised, his head looks tiny now. Wow guys, I don't think I've ever taught anatomy that fast. That is crazy. A 30 minute lesson on. First, just recognizing what, how much we've accomplished with that simplified skeleton. Then using some simple ovals, some simple bubble shapes and stuff I got filling in that simplified skeleton and then laying some of the major muscle groups over top of it. Guys, I would love to see you do this. I'm going to send the sheet off to you so that you can fill this in as well. What I would honestly advise as looking at bodybuilding magazines and different anatomy covers and stuff like that. And there's always room to get more in depth with it. There's a lot of room to work into it a little bit more. But this, this here is the building blocks of everything else. This will help guide you on your first steps toward understanding Muscular Anatomy. Hope this was fun, and I can't wait to see the homework you guys are heading in. 28. Drawing Hands: Hey guys, I'm back and I've got another unit here for you. You know, I like to spend a fair bit of time on hands. It's something that no matter what your skill level, you're going to find frustrating, right? It takes a lot to master hands. And I honestly don't think I am a master. I think I've drawn some really good hands in my days and some not-so-good hands and my days, right? So I'm going to teach you guys a few different methods that I use. For some this might be an easy review for others, this will be like, Cool. Let's see, we'll get into it and we're going to start with going off on the structure just a little bit. Okay. So I've got the sheet that you can follow along with me if you'd like. I'd like it if you did. But watch it first if you want and then do it after or just do it as we're doing it. Made no sense. Okay. So I'm going to start with this hand and how do I approach a basic hand? Well, the first thing I do is I draw a circle because that's kinda what I do. I like to draw circles. And then this, just so you know what I'm thinking of a circle here. Here, I'm actually thinking of a 3D circle. Kinda like a hockey puck because I'm Canadian. So I'm actually thinking that there's some depth to it, not from this angle necessarily, but as soon as we start turning the hand, I'm thinking of depth. So I'm going to draw this circle and I could draw another one right beside here if I like. I'm going to cut this circle and a half bisected right. On the top of that. I'm going to draw a circle. I like circles. Off to one side of that. I'm going to draw off to each side of that rather a circle and circle. And then I'm going to draw one going down this way. And then instead of matching it on this side, I'm gonna go down further and I'm going to draw it here. Now let's see if you can figure out what I'm drawing here. So you can think of this as like the 90 degree cut. What's happening here? Well, I've got a circle, I've got my four main knuckles and then I've got that that fifth one for the thumb. Right? Okay. So this kind of makes sense so far, right? Now, if I'm drawing my circle here and I'm gonna kinda, sometimes I like to kinda arc it this way at the bottom, almost like a little ribcage, but it shows like the palm of the hand. You can put a bigger arc in here or whatever. You can see, this is already taking form of a hand, right? And it's gonna kinda start to come in from this side and come in from this knuckle. So slightly coming in, slightly coming in. There's a little bit more detail to it. But so far this will work. So I'm hoping you've done this back palm, right? The back hand of the hand. Okay? Now what we're gonna do is we're going to measure from this point and this point and make it double. So from here to here, you measure it from the bottom of the circle, if you like, somewhere around there to here. And going to double it up somewhere around to here. I can carry this one finger all the way to the top and that's gonna be my top. Now, each of these fingers are not going to reach up here because we're not aliens, right? That would look extremely strange. But instead, what we're gonna do with this tippy top pointing here is follow the curve of the hand, follow the curve that we've already established. We've already established this curve. Okay, so we're gonna kinda see if we can follow that circle almost as if we're drawing a bigger circle here. So we can see it on the model beside us here if we want, we're drawing a bigger circle. And we're doing that again at a midway point here. We're going to draw this, this kinda nother circle, looking away circles I've got here, it's getting ridiculous. Guess I could have done this in different colors, but this is how it's going to work. Now what I can do real simple is just carry this finger up, carry this finger up, carry this finger up. This one is going to be that middle knuckle. Halfway through the next one is going to be another knuckle. Kinda not really doing my thing here. And then this is going to be the tip. So you can see how so far this is working, except for when it comes to the thumb. This is where it gets weird. This works out for the tip of the thumb morsel. So here's going to be the thumb and halfway through that is gonna be the knuckle of the thumb. It's hard to see here, but halfway through that is gonna be the knuckle of the thumb. Okay, so we've got a whole bunch of circles here. It's semi ugly at this point. But we can have this make a lot more sense. All we have to do is draw a fat finger in here, fat finger in here, a fat finger in here. And I'm doing them because I like doing that ugly little fingers right now. A fat finger in here, it's going to come in. That's going to come down that away, right. This one comes into that. And depending on how I want to draw the thumb, but this is the nuchal. It's going to come to that and uncle, and it's going to come into that thumb. I can put my little webbing in here if I want to. This is where I can start to put in like little details of the knuckles. If I depending on what I want to add in there, the fingernails up at the top here. Depending again, how much I want to add in. And I can kind of follow this form. I can even put the bit of the tendons going back this way, right? Okay. Nice and simple construction. I'm hoping that you're following along with me because we're gonna do it a little bit faster here. We're going to do our little hockey puck. Don't do it smaller off to the side here. We're going to this one's kind of off to the side here so we can come off to the side. We're going to take this measurement and mark it off like the length of the circle. Basically, even if I do cut it like this, I'm still taking the length of this circle, cut it here. And then what do I do from here? Kinda make a larger circle that follows this one. Kind of make a larger circle that follows this one that's actually bigger. Then halfway through that point and make another circle. Halfway through this point, make another circle. And you can see I've just got like circle, circle, circle type of thing, right? It gets a little messy and stuff. But then from Hera, just start adding in. And then my knuckle off to the side here, right? I can do the same here. Adding those knuckles and then halfway through point, this halfway through point come off to the side and make my knuckle there, come up here. And I can splay them. However I want. I can have them coming up this way, this way out here, out here. And I can have, this one is gonna be halfway of this mark. So I can have this knuckle coming out this way even if I wanted more or something. Okay? Just realize that it's going to curve out just a little bit there. Then what do I do? Well then after that I start to come in here and I start to add a little bit of the meat of what's happening here. Alright, can come in and add. My fingers. Start to add them all in here. Depending on how fat fingered I'm starting to run out of room, I really should have plotted this out a little bit better. But this comes nicely into here and then down into the wrist. So you can see how you can wrap yourself if you want to bulk your knuckles, going to wrap yourself around the knuckles here and then around it that way. Okay, so looking at this, this is how to construct the hand. And I would love it if you went through the rest of this and tried to construct hands this way, like I think it would be really great if you are kinda like, Okay, well, here's the, here's my hockey puck. Here's, here's my hockey puck. And here's the middle of the hockey puck. And it comes off to the side here. Here's the knuckle, little bit of foreshortening there. Here's this Nicole, Nicole knuckled going back right. Then. Kinda keeps going with this way. It comes out to this right about halfway through this. We've got another knuckle here. This is a little bit off because what's actually happening is this hand is bending in. But you can see how, if I was to construct this, I would just go like this, get my hockey puck going on, cut it in half, put my main knuckle here. My thumb knuckle here, comes off to the side here. And then I can start to add it from there. Alright. I can have this finger coming down here and you can start to build, build it just out of this wireframe, right? Maybe this one's coming in behind. This one is coming even more so back there, right? So what I'd like you to do is just like we've done before. We break it down to a simple thing and try to recreate it. Okay, we create a, using some type of structure like this. There's another thing that you could do with this because this is kind of like the structural tutorial of it. But what about just tracing? What if I just decided to trace? How would it look? I can construct it, but I can just trace it. Like, why not? Why not just trace on? Let's see. If I just trace. Let's not even a good trace job. I'm kinda following the lines here. Going up this way. We're talking about references like using these as tools. And some people are wondering, well, can tracing via tool? Yes, it can be. It absolutely can be. But something gets lost in it. I really do think that something happens here when we just trace. Instead, what I would like to see what I think happens a lot better is if we start to build the construction of it, right? That's kinda comes here. And we start to say, okay, well, here's the, here's the construction that we've got going on here. What does this look like? Right? Like how would, how would this start to splay out and everything, right? We can have this nice, nice construction going on. Then once we've got that, I think we can make a far better drawing over top of it. We could start to sketch it out and say, Okay, and you know what, It might not be absolutely perfect. But it would seem to make a lot of, a lot of sense for the construction wise. When we're looking just at a drawing like this, what often happens is the construction is being missed because of we're not looking for those lines. We're just looking there's an article there, were just looking at the outline and we're filling in with our brains what we think should be there. But instead, if we follow the actual construction that we're doing, we're doing both. We're we're paying attention to the things that we already know. And we're filling in details according to what we know should be there, how it's placed, right? And so to me, this one becomes the stronger one we learn from it. And we can, we can also go beyond tracing. Then what I can do is I can shift and bend one finger down, right. And see how that would impact things, right. Okay. Whereas if I'm just tracing, I'm pretty limited that way. So guys, like I wanted to say, using references is important. Just tracing them in when it especially when it comes to hands, I feel is a bit of an abuse. Right. Like I don t think it works as well as we would like it to. Instead understanding some of the underlying structure and then breaking it down into a simplified form that you could recreate even if you're going to draw it side-by-side like I just did. That's cool. Use references. You can have this sheet of photos that I just did up or make a video for yourself. Like what I do is I record a video and I'm doing all these different hand poses from different motions and stuff are rather different, slightly different angles and a little bit of foreshortening as I come in and out of the camera for depth and everything right now I've got a video that I can pause at any moment that I can freeze-frame and take a snap of and just use that as my reference. It is extremely hard to always construct hands just from nothing, right? You'll get good at a few poses maybe. But what would really help is just like everything. Good artists will grab as many references as they can. And using yourself as a reference is awesome. Use that plus on underlying knowledge of some basic structures. And your hands are going to be well better than they were. They're still going to take practice. Take practice, and use whatever you've got at your disposal. If you have to trace a little bit, but realize what you're looking at underneath. Use that knowledge to really bring the best piece forward. Guys. I hope this was helpful for you. A nice quick little unit on hands drew up this worksheet. Take pictures of your own hands or videos and send them to me. I'd love to see what you've got going on and have fun with it guys. 29. Drawing Feet: Okay guys, we're going to work a little bit more on feet here. Spending some time on the feet because so many others ignore them. It's a little artists joke about people ignoring feet and ignoring hands and I get it because sometimes it can be a little tough. I believe, 26 bones and the average human foot and drawing two of them, that's a lot. It's not just the bones though it sits the ligaments, It's the structure of them. The tendons, everything. It's, it really adds up to what could be a very scary thing to draw. I get that. I'm going to make it less scary for you. And let's see if we can do something with that. Make it a little bit more. I don't know if the word is digestible. Let's go with digestible. I like that word. And what I make things digestible, I tried to make them in their basic shapes, right? So hopefully you've got this sheet of my feet. The sexy things that they are in front of you and you're able to work on them a little bit, alright? If you don't have the sheet, you could just draw it on your own piece of paper anywhere. Follow along with just the video. But it helps if you have the sheet because we're going to draw a little bit on them and then trace over them just a little bit. Let's see what we've got going on here. What I generally do is I start with basic shapes, like so I'm going to just outline a very basic shape here. I'm just going to say the heel is a basic circle. If you remember, whenever I'm drawing the legs coming down or anything like that, it's a straight line into the ankle. The ankle and into the ankle. So where that ankle, that medium line is is where this is circle is. Okay. So I usually say something about there and something about their care where the top of that circle is, right? I've done this before, but you can see my ankle. I just kinda make it really simple. Like it'd be kinda like a basic little diamond or something like that. Alright. Obviously from the sign it kinda goes a little bit like that. Right? Okay. I know the ankle is not necessarily part of the foot, but I think this helps. Once I've got this heel roughly in place. And then I can add another little shape here. This is gonna be the foot pad and then another little shape as the toe. So another shape as the foot pad and another shape as the toes. From the front. It's going to be one shape as the foot pad, one shape as the toes. So let's see if we could draw this down below. I'm going to draw the heel in front of it. I'm going to draw a foot pad in front of that. I'm going to draw the toes. Let's say that's coming in here. And where do I know the ankle line is the ankle lines? Right above it. Right. Okay. Does that look like a foot? Will find out once we start drawing a little bit more, if it was. Let's actually, let's do this a little bit. I want to see if I can show you what I'm talking about here. If we start to sketch over top, maybe I'll use a red so it can show up a little bit. If I'm doing the toes, five little toes. And then I've got them going into the foot pad. And this is very rough obviously. I'm just kinda sketching that in here, right? Little tools that goes into the foot pad and then up, this goes up. This comes down into the heel. Intellectual mentors, just a little bit. This comes up into here and up and the foot. So you can see how that shaped kinda works. Let's see if I do a down below again. So I've got this my foot pad or rather my heel here, the pad and then maybe their toes beyond. And if I want to, I can add in the ankles here. So how would I draw it over top? Well, I've gotten the bottom of my heel here. We've got the outside tracing that foot pad right. Then I've got my toe just coming on either side of that. Now, the back of the heel obviously comes up into the Achilles heel. And then this comes into the ankle. Come down to the ankle. It comes up, starts to come unto leg there. So that's how it would look from behind. And see if I can start to duplicate this. So my ball, no ball and chain, just kind of drawing these from opposite ends. One thing you'll notice once we start to get into this, it's kinda just three balls in a row, right? Bisecting that if you want, you can drive it straight through the circle. Are little ankle. It can be right there type of thing. And then now, how do we add in the foot wall from this angle? This will come down into the heel. The heel will come over. It'll come out here. And then my rows of toes start going in this way. I've got a big toe there, right? This can come back over top up. And backups. Obviously, I can put in the ankle their income from the inside though, inside of the foot. You're going to have more of a bit of an arc that is going to follow the bottom of the heel and then the bottom of the toe up into my big toe. And then same kind of thing. And, you know, it depends if I'm looking down on this, whether I see the row of other toes there, something like that. Coming back up in here and up into there, right? A lot of it is the angles. This one, I'm looking down at a little bit more than, than this one. I'm kind of looking at more from the side. Alright. Let's see if this makes a little bit more sense when we're looking at it from, from any angle, right? Okay. So here's, here's that ball of the foot. Here's the, here's the heel, here's the ball of the foot, Here's the toes. See if I do it with shoes on. Here's the heel. Here's the ball. Here's the toes, right? Here's my ankle line. My ankle lines a little bit different here. You can't see it on the other side here. Now if I was to draw over this, what would it look like? Well, I can just come like this and you'll see that the, the instep coming this way whereas in the outside of it around a little bit. So the instep comes like this. And with a shoe, it comes forward on it. So you can see that shoe comes forward and then back around, comes out and our surrounds the heel comes around and same type of thing comes this way. The shoe gives us illusion. See if I switch it to purple little bit of giving us a little bit more room at the front of our toes are and stuff. But you can see how this still gives us a little bit of that shape. For, you know, where the ball of the foot lands here and then the shape of our toes here. So the ball of the foot would be here and my toes would be their name. You can drop the side. Let's see. Let's say this is coming down. And I've got my ankles going on here. I'm going to put my heel here, ball of the foot here, and pose just beyond it. Well, all I have to do is follow the instep here and follow that back around. So it kinda goes like this. You can have the bigger toe coming inside more depending on how you want it. And coming back around this way. And here's that comes down into here. Okay. Backing out. We can see sometimes works out a little bit better than others for how beautiful they look from. This one's a little different though. This one's going to be Where's the heel? Little bit different than when do you expect the heels actually up here. The ankle stool high above it but the ankles a little bit angled here. Heels high. And no, I'm not wearing high heels. This and that's like this. So the heels high ball of the foot, somewhat raised and then the toes are in front of it, right. So it's still going to come like this. We can have the toes, something like that, right? The ankle up here. And then what do I do? I can come over top of it. Let's see if I bring my leg down into it. There's this part this part coming off on the foot. It's going to come down. This part is going to come down. Might see a hint of the heel here that's up. Might see a little squishing us of the, this part that's here. And then what do I do? I come draw my toes, a little squished toes and draw them that way. Depending on how squishy, squishy they they might appear and stuff right there. That's what it would look like if I'm standing on my tiptoes, right? The nails here, the nail bed is on top here. If I wanted to, I can even show a little bit of the heel there at this, this ball behind really helps you kind of plot out where that heel is going to be. And I love outlining where the heel is to start to heal the ankle. Give us so much more of a base. So there's the foot pad from underneath and there's the toes. You can see you can almost space it if you want. Heel, space, foot pad, toes. This space, we're not really counting as anything. So what we want to do is we want to draw this coming here. Draw this coming around. Then I can roughen my little toes on to three or five. Depending on the big toe. There we go. And then I can come out here and draw, I like to draw the bumps of the toes first or something and then kinda connect them down into the pad. Right? So we've got this, the heel here. What I want you guys to do is practice these, practice them with a shoe. And ****, if you want to just, you know, try to draw it rough and then see if you could actually draw the shoo. Shoo. Shoo go on this right? And the shoe obviously would come around the foot. But what about the base of the shoe? The sole of the shoe, right. How would that start to look? You can see it coming under the heel here and under the toes and the ball of the foot starts to come forward. You can see how maybe this part something along these lines and this would be good practice for you for drawing clothing and everything. Quantum verse. All stars. Start to do the laces here and stuffer. So you can practice with or without shoes. You could see how the shoes would have some folds in them and stuff. I'm going to admit something to you guys here. This is not my foot. I know. I know you kinda thought it might be, but it's not what I want you to do. The same thing with it. Here's the heel, here's the ball of the foot. Here's the toes. Look how that goes. Heels, all of the foot. Toes. Now, what is the outline here? Right? Ankle still going to stay the same. I'm still doing that same simple triangle, right? St. or diamond rather. Legs is going to come in like this. It's going to come around the bottom of the foot. Right? Come around the bottom of the foot, come down to the foot pad. Come down to the foot pad. Comes under the foot pad and then whether it's the toes on whether it's inside or outside, how that line the toes, maybe a big toe sticking up here. Coming up here, and coming that away. Depending on how deep do you want your foot, you can start to cut into it just a little bit. There you go. And then you can add, you know, your your big old heels to it or whatever. Make sure that these are grounded on the same platform and stuff right. Straps in here or whatever, that kind of stuff, right. It's up to you guys how you want to study anatomy, right? Like like I said, 26 bones in the foot. You can really get into it. Really start to understand. And this simplified look might not be for you. I enjoy the simplified look because half the time I'm drawing characters and shoes and stuff like that. So I want to draw it really fast. And being able to break down the form of it really fast is important to me to be able to recreate it. You can always delve into more, I've got more courses that delve into feet and spend more units on and stuff like that, right? But the point of this particular one was giving you a bit of a crash course in how to simplify feet. So how would we do that? Circle, circle, circle. It's that simple. This would come down and it's the ankle, That's the review as we start to just simplify it and then we can start to outline them. Something like that. Maybe comes in, comes out for the foot. And that's how easy it would be to start to draw a foot, right? Just using these simple, simple shapes, simple circles to be able to draw this foot. Warping this one, knowing now, because I'm drawing from a massive distance hold zoom down and everything, right? But you can see how easy it is to just have the simplest of shapes. Starting to really help you form whatever it is you're wanting to create. Alright, here we go. Guys. I hope this was a little bit helpful for you. I hope that you are drawing lots and lots of toes and so on, right? I hope that this has inspired you to draw more feet and not to ignore them. But don't stress about it. Don't stress about all the ligaments. Don't stress about everything. Go with the simplified version that I'm showing you, circle, circle, circle, and then just plot them out. Have fun with it. Do it this way. Do it this way. See if you can connect and make feet randomly with your circles. Your homework is two-fold. I want you to follow this sheet and see what you can come up with. And then maybe do what I was just doing. Randomly draw a ball of the foot and then connect a couple of the other pieces to it and see how you could make your feet look, see if you can make it into a foot just by using those simple shapes just off the top of your head. Hope this was fun for you guys and hopefully a little bit helpful. And remember, it's not my foot knows heels. 30. Rendering Muscles: Hey guys, We're back and I've got another unit here for you. This time we're going to talk about rendering, in particular, rendering Muscles, the human form. When we're shading, we've already talked about shading and different things like that. We're looking for very specific things. And when I start rendering any form, that's what I'm hunting for and I think you know what I'm going after, right? I am going after a light source. I want to find my light source. So I've got this figure here that I sketched it. It was originally Marvel artist's rendition of clauses, and I've used it a few times for, I've redrawn it and use it for inking practice and these types of things. And I want to show you how we could use it for our rendering here in this unit. Okay, so I've included this in the materials and hopefully it'll help you find your way through. What we're able to do. What I do initially is I tried to find a light source or assign a light source. So in this case I'm going to assign it from straight above. And of course you can vary it up wherever you want. And with it being straight above, then I'm kinda like, okay, well, where where might it fall? I think it would fall somewhere around here. It would fall on the chest. This should be a little familiar for you, right? You would probably fall somewhere here and other top of this forearm. You can see I'm just kinda it would fall at the top of the knee and the top of the leg here and maybe the top here, maybe a little hook there. You can see I'm just kinda lightly going over here. It would fall somewhat on the top here, here, maybe the top of the shoe here in the top of the shoe here. Definitely the top of the shoulder here. And up into the hand here. A lot of light would be there, right? Maybe the rest of his chest. Maybe just a tad in there and maybe a tenant, the crotch. Okay. So that's where I think if light was falling from above, that's where it would generally hit. You gotta get used to looking at forms like this, right? Like if we're drawing it out and we have a cylinder and the light is coming from above. Well, where's that light going to hit? It's going to hit this part, right? This was part of our practice in previous units. Now on the opposite end of that, where it's going to be very dark. Let's think of something that's very dark. Where would it be dark? The contrast right under the chin here, maybe maybe right under the PECS, maybe under this form and under this bicep, somewhere in there. Maybe right under this hand, right. Maybe under this chest and in that bicep there and maybe parts of this hand. Again under the PEC here and under the PEC here, right under the crotch. Under this knee. Like where's the darkness going to hang here. Right. Maybe these are the main spots that I would say would be probably the darkness or the darkest parts and stuff, right. Maybe under the knee here, somewhere in the shoe a little bit. Folds the SOC maybe down in here. But these would be the parts that I would say I'm going to be the darkest. I'm going to back this away. You don't have to do this. Like there's different ways you can do this. I'm doing this digitally, so I'm assigning. You can just have it in your thought or your memory. Or if you want, print out two of them and kinda do this off to the side on one copy and stuff, right? And say, okay, well, that's where that's where the light is going to come and this is where the dark is gonna be and stuff, right? So this kinda guide can help you when you're approaching rendering. I do this every time I'm shading rendering, whether it's pencils that I'm doing right now, insulator or anything like that. I always do this. But sometime in my mind, I mean, like at this point when I'm rendering, I'm able to look at simple shapes like this and just say I know what light is going to fall and stuff I get. For most figures, I can kinda do that too. But this has really good practice to be able to look at it, lay it down and see where this light would fall. If this is where the light's going to fall. I'm going to come in and I'm going to start penciling. This is colossus and he's got metal skin. I am not going to do that for this first section. Okay? I'm not going to do that right now. I'm going to do that a little later on right now what I wanna do is just imagine that I'm doing it with a pencil. I'm sitting at home. And I'm just kinda like, Okay, well, I'm going to grab this pencil and start to draw this over a little bit. Then I'm going to follow this line and we're going to enclose it. And then I'm going to shade into it. And that if you remember Was where I said a lot of that shade is going to be falling right where that shadow is. I'm just gonna keep on drawing with my pencil. Just getting the form down. I can be as tight as I want to be your loose or whatever, right. And sometimes if there's There's contouring like I can put a little line in there. Just help with the contour of it. Okay, so what I'm gonna do is draw a heavy line. So I'm pushing down harder on my pencil, right? Maybe I can even use a softer pencil for some of this. Okay. And then I'm going to see where does it attach. It goes all the way up into the bicep here. Then I'm going to come and follow that flow. I'm kinda just following that where I would drop that shadow, right? And I can come and shade it all in. I'm trying to right now. I'm trying to have it an even blend. So for now I'm trying to have it an even blend. I'm just kinda rotate my paper just a little bit. See if I can keep within the lines. That's always handy, right? Coloring within the lines. You remember practicing that as a kid, right? Okay. So right now, I've got just the form of clauses in here, right? Okay, of the chest. And all that is showing is right now. It's showing that here's the main shadow, not a drop shadow or anything like that. That's just the main shadow. Now if I want to have the drop shadow from this chest, I can come in here, kinda follow the form of what's happening under here and do the same thing. Alright, I can shade it and maybe I'll go a little bit of a lighter. A lighter bid for that drop shadow, right? I can go a little bit lighter in here. I'm just follows some of the muscular forms. I kinda go through and do the muscle forms as I'm shading, as I'm rendering. So you can see that's looking like here's light and there's the dark, right? It's kinda working really well. Something else that can help signify light and dark. And I've already kinda started doing this. As you can see that any line that's on the lower end of it where there would be shade. I can make that line thicker, heavier, darker. Alright. Okay, so if I'm contrasting this line with this line, I want this one because it's in the shaded area to be heavier, darker, thicker. Up here is gonna be thin, lighter, and maybe even a little inconsistent. So I might break it up just a little bit or something like that. Alright. Okay. Does that make sense? Let me get rid of these so I can come through and I'm just kinda doing again, I'm I'm up here, so I'm going pretty light. I'm just kinda I might darken it down in some spots and make it light as it as it goes up here. I'm not going to render out this whole physique. Not right now actually, I just want to show you some different techniques. So the first technique is blocking out understanding light and dark. If you want to do this even more so on the chest. Here's the light. So maybe I might, for example, have that really lead light shading in this section. If you see once I start to get rid of this, well, there's the forum. If you remember the spheres that we were working on, we can have, we're working on our tonal value going from light to medium to dark, to really darken that kind of stuff. So the first thing we're doing, we assign the light source. Then we started darkening lines. Then we started applying tonal value to it, right? What you can do if you want is say something like this. Let's say I come in here and I'm gonna do the same thing. I'm going to show you two more advanced techniques here. So I've got this bicep, I come in here, I'm going to make it dark underneath. And I'm going to come in here and really make it shaded up. Alright. So I'm shading it all up in here. This is without any smudging. We can smudge. We can always come back and smudge it later and stuff, right? You and your little sticky fingers smudge and things income. So then I come in here and make sure that this line is darker. What I can do is go and lightly shade this entire thing. Right? But then what? I've got this spot here that I want light. All what I could do is grab my eraser And just start lightly going over it. And let's see if I give it to this a little bit better. Might be able to see what I'm doing here. There we go. So I can start erasing and focusing where that light might be landing, right? Sometimes I like taking away from the dark instead of just focusing on where to apply the dark. So that's, that's one way to do it to show this where the light's hitting their right. Another one that we could use the eraser for is use it in the bounce lighting. Remember when something hits the ground and kind of bounces up? Well, we can do it right here as well. Because it's bouncing up towards the darkest area. You could see how that kind of gives it form. And if I want to, I can come into the pecs and do the same thing there. Give just a little line. You can see I'm keeping my original line there and adding some bounce lighting to it. There. We can see how there's a lot of form taking place. Now. Another technique I want to show just a little bit more about is hatching. This is a Comic Book technique. What you can do is you grab your pencil or pen and start patching. It doesn't work that well with adult pencil. You have to really keep that pencil kinda sharp. But hatching like this, like just using, see if I could do it here. Using simple lines like this will help. Give a little bit of form because they're going to follow the contour or the shape of whatever form it is. But they're not going to totally color it out like what we've done here, that we're not going to shade it out all the way and stuff again. Sometimes you could do it along the border, like what I did here of the shading. You can do it just by itself. If it's really light. You can come up here and do it on another border, on the border of the highlight. Just a little squiggle. I really prefer to do hatching with, with pen. Okay. So what you'll see here, what I just did was kinda give almost a circle highlight, right? You could do that to even without doing that, you can come in and give it like just a little as if it's got a little white reflection off of it or something like that. Alright? Okay. The main thing with rendering Muscles is that you're looking at them in the each of their forms. So first it's about drawing them correctly, which we, we've covered a bit here. Next is about realizing that, okay, well, Here's one muscle. Alright, here's one shape, Here's another shape. So if I'm looking at it, it's kinda goes like this. And you can see I even drew the contours over top of it. Alright? So if that's the shape and the light is hitting right here, well then this would be the darkest spot. And then it slowly, slowly comes up to here and starts to lightening up, lightening up and wraps around that, right? Okay. So really rendering Muscles or rendering anything is about understanding that shape. The nature of that shape. Understanding where the light's coming from, and then just choosing how you want to apply your shading techniques. I've shown you some stuff here with a pencil. And now I want to take a little breakout because I also recorded some stuff with inks. So why don't you check it out for a moment. The first thing I do when I'm approaching a piece like this, especially inking it digitally as I am with Clip Studio Paint, is looking at a light source. So I'm going to assign a light source. I'm going to say it's coming from this side. It's going to come from yeah. Let's just put it to light as is from the top left. And dark is gonna be from down here. Okay, so if I've got that going on, what does it do? Where where do all the where's the light going to fall while the light's going to fall here, right? Especially here might be a little bit up here, might be a little bit here. And in through the fingers might have a band down here. And here. This is where the primary light is going to fall. Anywhere else? Well, that's mainly word that light is going to touch. Now, what about the dark where it's gonna be the darkest points? Well, in some shadows here, maybe, maybe somewhere around this point in this crotch area, lights not going to fall there. Maybe just under the arm a little bit there, right under the knee here. It's gonna be shadowed and maybe just a little bit under here. Okay, so in somewhere in these points, maybe down into the apps, you can see how this is the primary light source. This is basically going to be the darkest spots. What I'm gonna do is back this layer away even more, just so I've kinda got it there and I just got it as a bit of a reference for me. I'm also going to back my pencils away so that they're not quite as punchy. So what I'm doing right now is lowering the opacity just a little bit. And now, after all that setup, now the inking actually begins. I'm going to grab a pen. The Clip Studio Paint pens. There's a whole bunch of different ones. G pen, real GPM. Some of these are really good. I downloaded this Japanese one, but I kinda like there's something about just the way it flows. Just kinda flows with how I like it. First thing I'm going to do is kinda pop into this area over here. It's the highlighted part ripe, coming to maybe around 15, testing my size. Something like that. What I'm gonna do weirdly is put a couple of little highlight circles in. Okay? So I could do this after. I can do this before, but this is going to show kinda like where the sun is hitting, right? This is going to be like some blank spots for, for showing that basically this is a pure white that's gonna be in there. So now that I've got that I'm like, Okay, where do I start? Well, why don't I started in the shoulder. It's the first thing that's out on the side here. And just kinda moving around a little bit here. Okay, So I'm gonna do a simple outline of the shoulder. Not always love in that first stroke. And you going to see I'm bounce back a little bit. I'm going to do the metal bands and they're gonna be, and you can see they thicken and thin as I go through it. Going to do the chest here. Little bit of a thicker line there, even though it's up against here, usually I try to have thinner lines going on. Now as I'm coming towards this band, I'm gonna just kinda make sure that I don't incorporated that much right? Right now, I'm just kinda doing some outlines and this can seem a little bit not that exciting. And I get that because it doesn't seem that exciting right now. It's going to get a lot more exciting really quick. Let's see if I get attached to those lines properly or not even attached to them. Just bring it close. Here we go. Okay, so I'm gonna bring this across in. This Peck is kinda coming up here under his chin, into his neck there. And I'm kinda getting it all put together a little bit here. Just do some little bit at here to show this band. And why am I doing? Why is there some taper here? I like the feel of the stroke. That feeling of how this has a natural kinda thickness going through the middle of it. But see, what do I have here? I've got this drop shadow here. So you know what, I'm gonna do, this drop shadow that comes from his jaw. I'm going to just outline it for now. I'm going to come in here and this is where that drop shadow is going to be. Now I'm going to kinda come in, not because I want to draw ink as face yet or anything, but because I want to show that in here, now, there's some things that I can do. I've got this drop shadow. And I'm just gonna kinda pop it over. And there's a few things I could do. I could do it hatching, right? I could do that. I can darken it up underneath even more if I want. Guess when accent there, right? You could do another line through here if I want. And again, what does that do now? Well, that grabbed onto that dark blue that I wanted to show has a bit of a drop shadow, right? We're else is there some blue? Because right now I'm doing all these highlights and stuff. Why don't I come, come down here and show the difference in an arm of how this might look. So here's the bicep coming in on this point, right? And in theory, we would just have these bands coming straight across, but they're being blocked a little bit by that highlight. I'm also going to have this line coming in and that's going to follow roughly what I did for that, that block shadow. For that section that I want to block out. I want to block this whole thing. I'm not so sure right now. Let's see. I'm all also do a light one with the Hi light, hits a little bit. Kinda come in there. I can even accented a little bit, a little bit of a lineup this way too. But this one is darker in here, so I'm going to thicken this up, make it a thicker line. Just to show that this not a lot of light is catching here, right? Maybe even another line coming in here and thick on the border. Underneath here. There we go. Okay. Even go a little bit thicker. Some of that bended metal look. Okay. If I wanted to, I can do a few other things. I could put a little bit, a little bit of abandon their right. I can also come in and this is what I'll do quite often, is remember when we're talking about the tip of the ridge, just having a little bit of a highlight on it. All I have to do is hit that. That kind of follows this highlighted average here. I'm just erasing it a little bit. So that looks like it's got that highlight on the band. Okay. So what I did there was you can use white if you're thinking naturally, I guess, right? But what I did there was just use a little bit of black to her, transparent to the black set out from underneath the pec here. I think there should also be a bit of extra black here. I didn't quite do it in there. Here we go. But I think it'll work really well. So anything else that we want reflective here, maybe another little circle, sometimes a little bit of, actually I want more wiggle in that. A little reflection swirl, right sometimes. Okay. Now some people like hatches, other people, they like a little squiggle. Like I said, what that squiggle I might just put that little band in there. Right. Okay. Just cleaning it up a little bit as I go through, you can see how this has already coming together, right? This looks pretty good already. I could do this. And these are sometimes want to go black. These can be some light lines coming through here. And it's my choice whether I want to do that, highlight and get rid of it. I can even just come down to transparent and do it as a highlight. Let's see if I want to get rid of that. That can kinda give that same appearance a little bit, right? What do we think? It's getting there? Now? As I come down into here, there's gonna be some some darker spots underneath here and a real dark underneath here, right? So I'm going to really darken this up because this is that area that I said would be mostly in shade. So I can come here. Maybe do this line here. If I want to. What I can do is actually coming fill it depending on the program I'm using. I'm trying to avoid fills in this. I I sometimes use a bucket fill that can sometimes work right? Like can sometimes work really well. Other times, I might use lasso tool a little bit. Let's see if I just have this banded in here. Okay? So this is looking alright, so far, I want to have something that comes along here a little bit more. We go and I wanna do this transparent. I can always go in and clean it up a little bit more if I want. Right. Looking not too shabby. If I do say so myself. See if I sent her this just a little bit. There we go. Yeah. You can definitely see that this is the lighter area right underneath here is darker and that's what I'm showing in my inks that there's gonna be some, some areas of where the sun is hitting and some areas where it's not. Alright. So keep on going here. Keep on doing the bands Okay, so what I'm gonna do here is I'm going to actually show how I use a selection tool to fill instead of dragging all the way through. Alright, so I'm just going to select that then fill with my assigned color. Now that might be a little heavy for what I want. But of course, what can I do? I can come in here and get rid of a little bit of it if I want. Alright, just notch it out. Come back and do some of the detail on the other side. Again, like I said, I wanted this heavy on wherever I was laying this blue, right. Wherever I was planning on laying the blue. That's where I wanted to put some extra emphasis into any part that I was putting down this light source. All I wanted that a little bit lighter, right? So there's gonna be not as many heavy inks going in these areas, right? I might just put the occasional band underneath here or something and carry some consistency with it being away from the light source here might just be a little bit under there something. Just a little bit their income. So like I said, I'm trying to respect this light source a little bit, not a little bit as much as I can while still being able to play around with some of these lines. So if I want to, I can even play. I can even do it off of using the select tool and stuff. Right? There we go. This is modeled a lot after the The reflection that we saw on my hinges at the beginning of this video, right? The bathroom door hinges might be a little bit of black down there. So what do we think? Is that looking like there's contrast between this bright spot here and this dark underneath belly here. Definitely, I'm definitely seeing the difference. If anything though, I want to show a little bit more form in this piece here, just to have it give the form that I want. There we go. I wanted to give a little bit more formed that bicep, right. Let's see if we can move on to another area that maybe we can totally blocked out. This area, the crotch. Block out the crotch. There's a few things that we could do here when we're blocking out a big area. So one could be simply select it and fill it. I want to fill with this. There we go. Select it and fill it, right? That's one way to do it. Another way to do it is to select it and use our brush and kinda fill it with a hatch and then maybe even outline that selection a little bit. Alright. So it kinda works well. Sometimes it depends on the style that you're using and stuff. I like it that here, I'm going to really add some heavy darks down here. I like it that it frees me up to be able to do a lot of different things, right? It kind of unknown for me. It gives me a lot more time to focus on being able to just add in details after. So a selection does not have to be an automatic full-on fill. A selection can be something that'll just help you gather that space. And just say, Hey, okay, what am I doing in this? You can see on this side of things, I'm gonna go heavier with the blacks. Maybe even a little bit of occasional hatch, right? On this side, other than like this, this Hands part that might be heavy underneath it because that shows like The Shadow of the shorts up top is gonna be kinda like income. So there we go. That's one way to do with that selection is we could do it with a fill or we can do it as just this kind of selection and see what we've got in it here. Let me show you another way. Or it let me show you more examples of that. Maybe I'm going to come in, select this again. Like I said, what I can do is kinda maybe grab a larger brush and fill the outside of it. Okay. Then I can come inside if I want and just kind of go back and forth. Kinda slid on that one. Something like that. There's a lot of different patterns that you can use here. So I'm just going to use this and see if I like that. Come back down to a ten here. I'm showing you a little bit of the the sizing I'm using for my brushes just off to the side down here. So you can see how this can be used. Alright. Then I'm going to come off the leg. Maybe even in here, I can do this same kinda swirl. Come in this side. Now why did I leave this space under here? I kinda I came here but I didn't quite see if I ankle this little bit better. I didn't quite come to here. Well, I'm using this this thin section here as thinking there's a bit of a bounce light so that there's a little bit of a bounce coming to their that I'm gonna leave it as is. And I might even come in black this part out a little bit more. Okay, so we can see like already, these are the dark spots. Alright. So I've got a few ways sued. I can go in and dark fill it right. Just with autofill or I could fill whatever program you're using. I could come in, do it as a simple hatch. I could do it as a bit of a combination of those things. It really is up to you and how you want to do that. Okay? Hopefully that was helpful, you know, like using a pen I find is better for certain techniques. Having that heavy ink, it gives us certain look to rendering out a figure. You don't have to do it. You don't have to have a pen for this course or anything like that. You don't have to do it digitally for this course or anything. But what I wanted to give you a glimpse into just different approaches of how to render IEEE shading. This muscular figure. Of course thinking one had, I added in the metal bands and all that kinda stuff. But really fundamentally, it's the same principles. We look for a light source. Number one. Number two, we try really hard to understand what form we're looking at. Number three, we make a choice of how we're going to approach that rendering, shading, blending, hatching, inking. And we tried to be consistent with it. So those three steps are going to help you be more consistent artist in your rendering. Guys. This is the assignment. You can actually do a few assignments here. You can do it once in pencil, once in ink. You can do it five times if you want to use different mediums. You can do it just the muscles with shorts on, or you can do it with the steel bands. It's really up to you. It's your choice, guys. I'm like, I'm really open to it. The main point is I want you to do it. I really want you to start to practice and render and shade and do all this stuff and then send it to me. I would love to see what you send my way. It's important because I want to make sure you're making the right progress and not making really simple mistakes. And the light source or the form that is going to hold your masterpiece back from looking how it really should. Hope you guys have FUN with this. And I hope you learned a lot because there's a lot here 31. Facial Structure: Okay guys, this is a big one. This is where we really start into doing portrait drawing. In case you haven't noticed. I have been getting you to do this already in some ways. I'm all tricky like that. Do you remember way back when I gave you the exercise of drawing circles, I'm hoping that you've been doing lots of it. So many circles that you're getting sick of them. Not just circles though, if you remember what I asked you to do next was finding like that, bisecting the circumference and seeing if you could adjust it just a little bit, right? You could adjust the angle of that sphere or something. Well, look what I got in for us here. I've got giant spheres. We're going to do exactly that. We're gonna do these. We're going to try to draw circles here. And you hopefully have the sheet right in front of them. Then we're going to bisect bisect it. And you can see, because it's a basketball, it's already got these circumference lines done on it. We can add a little bit more in. Notice how they they come from that that kinda got an all pole. Yeah, let's call them poles. So we'll put another poll on this side and one have the circumference lines going there as well. There we go. Practice on top. I gave you these bowls for a reason. No jokes there. And just keep practicing. We were practicing on smaller bowls and now we're just seeing on bigger balls. There's a reason why I'm making you do this, not just because of the lame jokes I've got, because this is going to help you tons, right? So just keep practicing this again and again and again. Until it looks pretty reasonable that you can reasonably draw the curvature of those spheres, okay? You know what? If you can't do it? Well, Like legit, I don't really want you going on to doing more if you can't do this type of exercise. Okay. I know that sounds mean, but I mean, I mean, kinda mood right now. I really want you to be able to do this so that you're more comfortable when we move on to this. Okay, so we've got circles, we've got circumference and we're feeling a little bit better about it now. Now I'm going to show you how we work that into a human skull. In fact, I worked it into a human skull. I put the ball superimposed on this skull and we're going to bisect it. But I'm going to carry that line further down. Okay. Okay. So I can, if I wanted to, I could still do my little circumference lines on the ball, but that's not what's going to happen here. Now that I've got this shape, this becomes my form. And it depends on the skull might be something like this, but as we're coming in here, it stays pretty even. Because if we look, this is rounded, but this is flat. So we've got this rounded part, that's this first half of the bowl. So when I draw the ball, That's, that first half is gonna be fairly rounded here. So our circumference lines will come like this over top of it. Or even I can do them this way. But once they get to here, they're going to drop straight down. And then they just would be markers, markers going across. Now what are the markers? Well, we'll explore more when we get into the faces below. But it's pretty easy to just measure. Just like we have different rules of proportions and stuff, the rules of eight and stuff like that, right? One easy one for the head is the top of the head to the bottom of the chin. If we bisect it in half, just cut straight along. That's where the eyes go. Okay. And it's starting to look like little eyeglasses there. So again, if we go from the bottom, halfway, is where the eyes are. Okay. This looks a little goofy on scrolls. So let's try it on this hideous looking man. Fellow Canadian, I can say that about him. Okay, so what we're gonna do is look for the forms. We're going to look for the form and just say, Okay, well. Here's that circular form, right? Here's down to the chin. So if I carry this over, you know what, maybe what I'll do now that I'm thinking of this, I might just get my ruler going on here and carry it right across the top. I kinda works. Luckily I made this sheet to work that way. It's not perfect, but it kind of works that way, right? Okay. So I've got that. And if I look from top to bottom here, from top to bottom, halfway is about the eyes. Okay. The upper half here. Not a lot going on inside of Ryan Reynolds up there. Sorry. I feel like I gotta get revenge on him for things he said about Hugh Jackman. From the lower half though, usually what happens is we can divide in threes. The first third is gonna be the nose. The second third is nothing but halfway through that is his mouth. Okay. So this is the I right above it is the eyebrow. The nose is one-third down. And then one-third of that half is the mouth. These are Ryan Reynolds proportions. These are not everybody's proportions. Some people have smaller chin, some people have larger chins, right? Everybody is gonna be different, but this is a pick this face because it's kinda easy. He's got that standard kinda Western male Hollywood look to him and stuff like that. And so this works really well, and that's why I picked it. But realize I'm teaching you this just as a basic rule, then you can have variations on top of that. Okay, so here's some rules and structure going this way. There's another one though, from that eyeline to the ear and from the nose line to the ear. The ear starts there and comes down to there. Okay, so the ear usually starts roundabout that insertion of the eye, the corner of the eye and comes right about to the nose. It also obviously comes up above the brow or to the brown depending on, again, how big and floppy ears are. If we're looking vertically here, you'll find the corners of the mouth and you know what, I'm going to switch colors for this just so we can add some variety in here. The colors of the mouth, usually colors corners of the mouth usually align with the pupils of the eye. Okay. So there's some balance there. The outside of the nose will often align with the starting of the eyeball. But again, this is really dependent because some people have really big nostrils. Some people don't try it, So it really depends. This melting is also fairly dependent, but a lot more consistent. I don't love this rule for noses. I think it only works for really narrowed nostrils. People. I like to set these corners of the eyes and then start going off of there and then plotting everything else with the corner of the eye though, I usually just hook a little angle N, and that's where the eyebrows will start. So we eyebrows, we'll start there. The hairline is often indented right above this eyebrow in this section here. Then comes up to whatever it's gonna do up top. I've got a bit of a receding hairline, so I'm a little jealous here, but, you know, that's an average hairline or something, something along those lines. Okay. So what do we think? Do these proportions? Do they make sense if we were going to start plotting them out a little bit as we go through, as we're drawing things and everything. But let's see if we can recreate this just a little bit. I left room for you down below. So let's see if we can do this actually, you know what? Why don't we do that Master line over top, all the way across. And then other one down. Just below. There we go. Okay. So if I want to, I'm going to have that bisecting line. And I'm gonna kinda See if I can have circle that's almost as wide. Here we go. Hey, there's a circle that's wide. Chin, jaw comes comes up and over. I'm looking for that's kinda equal sides on either side of the center line, right? That's comes up and over. Okay, so now that I've got that, well, what do I wanna do next? I want to bisect this in half, right? So if I'm looking at half, what did we figure? Somewhere around here? Does that seem half that seems a little low to me. I'm gonna go with it. Yeah. Rolling with that as my half. I'm going to go with it so much and I'm carrying it to every other one. Okay. So I've got that and then one-third of the way down would be, let's call it right here. And again, I'm going to carry it all the way across. I have a lot of confidence in this measurement. I probably shouldn't. And then half of the next one-third is going to be somewhere around here, right? And that's actually maybe a little bit higher up. That's going to be as mouth. Okay, so what do I do now? Well, I'm going to pretend that I sketch this really lightly. I'm going to fade it back because it's digital and I'm cheating a little bit. And then I'm gonna come in here and see if I could do some of these things. So I'm going to come in and add the markers for those eyes. Then down below it on the mouth. I'm going to have the markers for the mouth. So he's kinda smiling here. I've got that. I've got the markers for the eyes, so I'm gonna kinda go up on that. And he's got to this sloped brow thingy, Right? He's got a nose that comes down. Nostrils come up this way. Remember from this point I was measuring his eyebrows. He kinda come up this way. Little thick but that's okay. He's got the bridge of the nose, is a little bit dominant on him. He's got that cleft. He's got a nice rounding chin here. In fact, his chin seems to find its way up in some details into the face. Right? Now I can roll up with a jaw. And then up towards that I think we're all up with a jaw and then up towards the eye line. And then I'm going to draw that up from that island. And then down to that here, down to that knows, there is hairline and kinda comes, comes like this, right? Let's come up a little bit. Kinda comes around and around this way. A little sideburns. And then his head kinda comes up. He's kinda got this hair. Pushes over. Here we go. And then I can start to add the details of the eyeballs going up from here. And do I like this? Oh no. I honestly think his jaw should be lower if I was to make this a little bit more accurate, I think actually I'm going to erase this part. If I'm looking, his jaw comes way down from the ear. So it didn't come way down from the ear and then come over. Maybe a little softer. I'm Angela. And this is where you can spend a lot of time trying to measure it out and get it. Get it absolutely correct. Okay. So what do we say? Does that look like Ryan Reynolds? Barely. I think what's going on as a little bit in the eye as if I was to watch this. If I punch up the eyes just a little bit more, just clean them up just a little bit. Chances are I can make it look a little bit, a little bit better. What do they say? The eyes are the windows to the soul. So if you can get the eyes down on a subject, that would help tons. And of course I can go through just cleaning up a little bit here and there. Not bad. I think the head of hair could use a little bit, a little bit of work here to kinda wasn't really paying attention as I'm doing that. But you can see how much potential there is to use these measurements to get the look. Urine you're going after. Okay. Okay. So that's one drawing. Now, what would we do? We would go and recreate this a bunch of time. So I would come here and I would go over Ryan Reynolds here. If you notice. I'm drawing this again. There's a slight angle. It hits here and then it drops straight down. But he's not he's not exactly straight on. This is closer to being straight on. He's slightly skewed. Maybe not even that much, maybe maybe something like this, right? It comes up and is a skewed because we can see that the ears aren't even, even this side. He's a little turned on this side and that's why the neck is coming out a little bit more on that side, right? So what I want you to do is kinda rough these guys in. First on the model up top here. Seeing, actually is looking down just slightly, but here we go. He's even more turned. Coming up to the jaw, knowing the ears somewhere around there and then that side profile there, right? So if you wanted to, you could sketch all these in first and then start to add details if you want. The key point is making sure that the measurements are staying roughly the same, right? Does that make sense? Hopefully it does what I want to see, a whole bunch of sketches like this. And then taking your time and filling in lines if you want to, they can look exactly like the person. They can look a little bit off. It's really up to you. I wouldn't stress too much about it either way. Depending on how much time you want to spend in your construction, right? It's important to get the construction right. Likenesses are going to take awhile longer. So if I was looking at this likeness, well, I know what I could do to figure out where the issue is. This is a digital trick. But because I'm doing it above and below, what I would normally be doing is maybe drawing it side-by-side and bringing the image back-and-forth and taking a look at it. So what I'm gonna do just quickly, move it and see where I went wrong. Phase isn't long enough. That's one problem. So if I just go and transform it just a little bit, Let's see, I'm going to transform and just do a free transform here. If I just made it just a little bit longer, There's my proportions that are a lot more in line with Ryan Reynolds. It's not perfect, but that fits a lot better. You can see how then what was it? What was wrong with it originally, my original thing was his my measurement of the head here from here to here was not high enough for what I had here. And I went with the width that I had, which was pretty reasonable. Actually, I think I got to edit that a little bit more to give them some of that width. But what happened was fundamentally, I just didn't give them enough space. I was too crunched in. So that means the rest of these, I've got a choice. Either I go in and edit them up, which I'm gonna do actually, to give them a little bit more headspace. I think the reason I did that was because it's just too close to scar, scar Joe here. Right? And I was feeling a little crunched. Nothing wrong with just transforming it a bit or rescheduling it, right? Like if I'm noticing something's wrong, sketch it out a bit, change it up, see if I can correct the error of my ways. I can even digitally bring it up here and see what I'm doing that's wrong. There we go. So my sketches were pretty close. They just needed to be a little bigger, Much better, and look how much bigger they need it to be, right? They need it to be a little bit bigger and that was slowing me down. Okay, guys. So what I want you to do is for Ryan Reynolds to do exactly this, go through and sketch out and measure it out if you need to, if you really want to get exact. It doesn't really matter to me whether I'm doing exactly like Ryan Reynolds or not. I just want to do it close enough that the measurements and proportions are close enough to it. Because next up is scarlet JO. I want to see what's going on with Kargil. Okay. So I'm going to do the same thing. I'm going to hunt. For the shape, and then just find the contour of her skull. So I'm gonna do that again. This is a nice exercise actually, I find this very relaxing just going through and hunting for the features, the basic form of it. All right. Actually I think that's a little bit off. I think I'm to hide notice how I'm not really following the circumference, the shape of her head at all. There we go. That's a better one. Then I'm going to follow the shape. And once it hits right around her eyes, It's just going to drop straight down. And the eyeline there. And the port side profile rather. There we go. If we want to measure scar Jill, on what did we say? Here's the top. Here's the bottom. Here's the eye, halfway, pretty proportionate, whereas the nose, one-third, where's the mouth? That's interesting. Different than the man. The man had a bit of a bigger chin, bigger, bigger, lower down Here. Okay. The ear is still going to stay in this side. We just can't see it because of her her hair and stuff I got That's really interesting. And if you look, she's got that narrow thing going on. But her mouth is narrower. Her mouth has this very narrow look to it doesn't go to the middle of her eyes like what we were expecting earlier. So this is where we get into individual variance, right? This is, this is why we talk about all these people having different features, different proportions and stuff. That's why we like them so much. That's why some people are so popular in Hollywood and others are not. I'm doing a quick hack here because it's just so much faster than doing it. Doing it manually. And I'm already looking and we're heading towards 30 min here. And I like to keep these units not crazy long. So what would I do if I could copy and just copy these proportions? This is basically as if I measured them out. What would I start to do? Well, I could take her eyes. I'm going to zoom in a little bit more even. I could take her eyes and have this nice almond shape to them. Alright. Take the eye. Nice almond shape to it. You know what wrong line there? That was the center of the eye. This highest starts here. There we go. I wonder if how wrong. We can see she's got a double eyelid here. For eyebrows are quite simple. Nose is also simple, not a lot to it. I'm going to give her her pupils and stuff. Here we go. Our mouth. So with women, actually, her mouth, her upper lip is quite full. Alright, so there's, there's the mouth and then very rounded and look at even a lower lip here. If I zoom in, I can clean this up just a little bit. Struggling at a distance. Like I said, her the distance between here and the eyes are a little bit different than what we were looking at at Mr. Reynolds. Okay. So what do we think? Pretty decent looking so far, right? We've got hair. Starts to come at about this point and starts to wave itself over, cross across her face a little bit and fill out philip that away, right? She's got a heart there. And maybe it's coming down this way. Okay. Now I'm also going to come in here. Draw out this chin. Bring it up. If I wanted to, I can draw the bottom on this ear, maybe in this hair, the neck. If it's there. And there we have it. A picture of scar job. I don't like the eyebrow. This is this is coming in and fixing things when we see some things a little bit of MIS and just saying, okay, well, what can I do to make that a little bit better? Looking a little bit more like the reference that I'm wanting. Right. There we go. Guys. This can take a very long time. I wanted to show you guys the structure of what it looks like to really draw a well-constructed face and the proportions that it needs, right? I think we did that. I think we've got a lot of proportions that are perfect in front of us here. Right? Now it's up to you. You want to construct portraits that are exactly like somebody. You want to do. Character caricatures or comic style. Know what's, what's your style? What's your style gonna be? What, what are you aiming for? I'm curious. This was tons of fun. Oh, I can see where I went wrong to the hair. Look, it's coming on this side here. Always. What helps sometimes if you are in blue and you roughen a bit of a hairline, and then in your lines, you come in and you're like that. Alright? And that helps you follow it up. Guys. I hope this unit on understanding portrait drawing and proportions helps you. This sheet has a lot going on for it. We only drew together two phases, right? Just the construction loan on these, if you're really going to take the time to measure them out, would take a very long time. I want you to do that. One time I want you to go through this, maybe even with me as we were just doing it right now and play it loose. Just play around and say, Okay, well how does this feel and what, what faces can I come up with? Then go after the sheet again, see if you can recreate it exactly like or as close as you can do to the reference material provided. This is an exercise in both understanding the fundamental forms underneath the face, in understanding the proportions and where everything, all the important bits and bytes of the face are laid out in relation to each other. Understanding the unique characteristics of one face compared to another. And then putting it into practice. Seeing where you find individual variation within your own self, within your own measurements and stuff, and seeing how close you can get it to the actual reference material. Hope this was fun for you guys. And if there's any takeaway here, the main thing is I told you to practice drawing circles. See how much they helped. 32. Face exercise Don't Lift The Pencil! : Okay guys, I've got an interesting unit here for you. I kind of paused a little bit because it's something a little bit different, right? It's just a bit of an exercise for us to just have some fun with and see what we can come up with. It's gonna be weird. So be prepared to be weird. I'm going to show you two different ways to maybe go about this. The first one I'm going to show you that you can do is use the reference and do exactly what we normally do. Have this in our circle, find the form, and find the face. Right? So draw it right beside. Find the face nice and smooth. Nice and smooth. And find the outline. When we do that twice. And we'll just kinda see where this takes us for a second here. Okay, so do it again here. Find that square jaw that this nude has, and see how it plays out. Do it again here, right beside. Bring it down, find that square jaw that this dude has, and see how it plays out. So we can do it that way. But that's not what this exercise is. We've done this a few times and hopefully you're, you've been practicing and stuff, right? What this exercise is, is what's next. I don't want you to pick up your pencil. So I want you to, once you put your pencil down, it's going to continue in a continuous line. I don't want you to pick it up. I want you to put it down and see if you can draw this hair. See if you can draw whatever it takes. Enlisted this. Don't don't expect this to be good-looking or anything. And I just picked up my pencil. I wasn't supposed to. Don't tell anybody. Try not to make it up. Okay. And so how do I then go in here? To the mouth? Do the lips. Do this, right? Come back up. Do the eyes. Come back over to the eyes? Okay. That was tough and I'm going to admit something to you. I picked up my pencil and I didn't want to. It was just so instinctual to bounce off the page, right? But that's what we're working at. We're working at just not doing exactly what our instincts are telling us to like we're working to fight that just a little bit. And to see if we can fight it, right. It's a little bit different. So let's try it again. This time I'm gonna be better. I swear I will going to try this next one. And I'm going to try hair. Nice jog, going to come up here, do this here. I'm going to come over and do this eyebrow. I don't want to do the I come back over to this eyebrow and I come and do that. I come into this, knows what am I looking for? That's it. Interesting, almost looks like a bit of a caricature right? Now, here's a question. When we did this first little bit of an approach high roughed in a bit of a sketch with with that green, right? What if I tried it without I expect us not to be pretty. Let's see. You can see how I'm still kind of aligning things in the way that like there's still that line for the ears and the eyes and stuff I got right. Is it ugly? Absolutely. Does it bother me? No, I don't think so. I think that what's important is that I'm just doing this exercise by pushing away from my comfort area. I'll tell you honestly, my comfort isn't usually like I'm I'm a very sketchy person and I keep it pretty light and I don't wanna do this. So this grounds me frustratingly. So that's what I'm hoping it does for you. Is it grounds you? It helps you think of basic forms, right? Helps you push past comfort that things are supposed to be good looking because she obviously hasn't. It makes you think, well, would this be better if I was drinking? And then how can I make this better? Is it better to start in one area and work my way over? Or is it better to just go with the flow and make it more of a caricature, right? I put these faces here because I found them like super interesting. You might recognize some of them, right? But it's just, it's interesting. So if I start with what's interesting here, the eye, the brow, the head, the folds, the neck. On There we go. Hold on. What am I doing here? This almost looks, looks interesting. Alright? And how simplified as this, this is like. I find this fascinating for me because this is so difficult for me, right? How am I gonna do this? How am I going to keep getting texture down here? This is interesting. I don't think I want to spend too much time in this section of the hair. It's just, I think I can spend way too much time that way wrong. That went south fast. Yeah. But that's the exercise, right? Guys. Like I'm really I'm trying to keep this kinda fun with it, not getting hung up in and being pretty right. Because I think all too often when we're doing portraits were scared to make it look not perfect. It doesn't always have to be perfect. With measurement techniques, you can practice perfection. That's cool. There's a skill in that direct skilled at copies from one to the other. In fact, I'm pretty sure there's a machine that does that. But this is a step beyond that. This is pushing our creative juices into areas of discomfort. And believe me, looking at these drawings I just did is very uncomfortable. There is a certain level of discomfort here and you're looking at these. But I also realize that there's a lot of growth here. There's a lot of interesting things and not necessarily growth in my line quality or anything like that. But growth in me pushing bass, pushing past rather comfort areas. And that's what I want for you. I teach a lot of technical units in this course, a lot of measurement and making things so that you can make an exact. And I wanted to teach you something very, very different. Something that helps you push in the opposite direction. Something that helps you be creative, more artistic. And a little goofy. I think that's what we accomplished here, right guys, when I look at some of these, I'm like, Yeah, I would've never drawn this normally, but that's exactly what it should be. These should look exactly this way because that's what came out of my pen. Guys. This is your exercise. I hope you can take this sheet and draw these faces and just have fun with it. Push out of those comfort zones of wanting things to be beautiful. Keeping the pen or pencil on the paper the whole time, no matter how much you want to pull it off. And then seeing what you come up with. And when you do send it to me. Yes. I'm seeing because because I also need a laugh. Fun guys. 33. Rotating The Face: Okay guys, I'm back and I've got another lesson for you here. This one is about heads. Well, I think that's pretty clear. Ads and faces. But in particular, turning them. You can see this handsome devil in front of you is me and my winter beard. And yeah, I, I sketch these out earlier. And to prepare for this lesson here, I'm hoping that by practicing more and more, you get comfortable drawing faces, getting used to the measurements, all that kind of stuff. What we're gonna do is just kinda reviewed some of how we measure things and see how that holds true. Measuring it and drawing it from different angles. Okay, so the first thing we're gonna look at is I've already got some blue lines that I wanted to keep him here and there on your worksheet to write. So this will help you as a bit of a guide as we start to us, as we're learning, we're studying, we're moving on and stuff I get construction lines are important so that you have that overlapping form of the face and stuff. I'm going to switch it up though and just go a little bit green and my sketch just so I can see what's going on here. So we've got our top to bottom and we've got our midline. But that's not where things started. Where things actually start is a circle. I can make my circle really ugly, really rough or whatever. I can make it prettier, whatever I want to do. But I'm just going to draw a rough circle, bisect it, and drop it down. I think this is pretty familiar so far. So I've got a bottom and a top here right now, halfway through this bottom and top. I'm going to come off. Yeah, I'd say that's pretty close, so maybe maybe somewhere around there. I'm going to draw a line on either side of that. You know what, I might even keep this, see if I can get get consistent in my drawings here. So there's my line, There's my top line. There's my bottom line, right? And like I said, I'm really hoping you're following along. Okay, so I'm going to bring this scroll down, bring the skull down, use my chin and my manly beard, a jaw, and draw it up that away. Okay. So I've got I've got this going on. What's this halfway mark here? What does this signify? Signifies the eyeline. Let's start with the I. So I can either put my eyes in as I'm looking, alien ask or kind of robot or something, or just leave it be. Now if you look at my nose, is about one-third the way down my face. If I do this and I divide it into thirds, this is where my nose is going to be. Right below that circle. My mouth is about halfway between those points. And there's my mouth. That's me. There we go. That's this rough sketch of me, right? No. What do you think? Does this does it look like me? Well, hopefully it does If we start to add stuff over top. So I can come here and do the, the, the eyes a little bit. I can come and do the eyebrows above. Alright. I can come down here to the nose. I'm just kinda practicing little bit and come and do my angry snarl. I'm going to come out here, follow the eyeline across the ear from the eyeline to the nose line. Do the ears start up, comes down from the nose line. And then I don't know, I think I'll start drawing my beard and do the do the under section of the beard here. Do the over part of the beard, the upper part, do the hairline a little bit. Comes around here and my nice receding hairline comes around. Then I've got this this part that goes there, something like that. Actually, I don't know what what I drew there are why I do it, but I'm the beard is going to be here at the lip underneath, right? There's that little tuft under the lip and it comes over and down. Comes over and down. And then I've got this. Okay. So what's the difference between the one that I just drew up here and the one up here. This one looks a little wider, like I feel like this one is wider. This one I drew a little bit too narrow on, right? Yeah, that's the main difference I'm noticing like a much wider in the cheeks and everything and my eyes are a little wider. If I wanted to go in, especially the eyes, I get clean them up a little bit and see if. See if that helps. Just a little bit. Helped a bit. But you know what, here I've just got chubby cheeks and here I'm thinner, but the structure is there. Right? Okay. Let's see if we can go on to the next one and see if we could do something similar, right? So I'm going to, I'm actually going to keep these, these lines that I've roughed in here and I'm doing a really rough. And there's a reason for that because I just want to keep it nice and loose the way that I'm hoping you're sketching as well, right? So there's that. I'm going to bring this central line kinda curving. Remember we've got a ball here, It's kinda curving the ball. Here's my top, here's my bottom. Halfway is the eyeline, right? So that's gonna be my eyeline. Their central line is going down to the chin, comes up, comes around for the ear roughly. And this one's going to come cheek there and roughly come down and come around, and then my neck and into the traps. Okay. So that's a rough should probably do the nose. We go one-third. One-third. There's my nose. Half of that is my mouth. Okay. You guys like sketching like this? Like I mean, like doing the roughs first because sometimes what I honestly do is I just kinda go to all of them. I noticed I'm doing much smaller here than I am up here, but that's okay. Maybe I didn't give myself enough space. Kind of go in here. And this is my high lines, so my jaws just going to come, it's going to come up the side here and back into the year, roughly around there. And then again, one-third, one-third and half of that. That's my mouth. That's my nose or thereabouts. Okay. I feel like the head. Yeah. My circles are not big enough. Once I've got this all laid out. Well, I can come in and start sketching. Going to come in and maybe I'll just zoom in just a little bit more. There we go. So what I like to do is maybe start with the nose, bring it off of here, have it come down to where that nose line is? There? Have this eyebrow come off of the nose, come there to the side of the head here. Bring this up, right? This eyebrow is going to start there. Kinda come back. My eyeline is going to start there. Sweep under this one's probably a striking somewhere there. Sweep under my mouth. Give me unhappy expression again. Under the lips, right? I can come out here. Draw that cheek coming down. Here is gonna be, I can see already like I've got way more space here than I do here. So if I, if I wanted to make an accurate portrait like then I would measure it a little bit better. I don't, I just want to have the fundamentals here of what my face kinda looks like, right? So I'm going to bring the beard up this way. Bring it around, bring it over, up into the ear. I'm going to have that top of the year there. It's kinda the shapes or whatever, right? Back to the hair. This is going to come up with the hairline. Come up top here. Watch my center a little bit, and have my row. That's not that cool. Inside here. I want to make sure I have another lip that comes up, comes up above the lip from my beard. This comes up and there we go. Okay. So again, what I'm noticing is as I'm recreating it, all of these are narrower than the ones that I'm copying and stuff. And that's just because I'm not carrying I'm not taking the time to draw it exactly as that is because that's not what I'm trying to create here. What I'm trying I'm not trying to create an actual exact copy portrait. I'm trying to teach you guys how to do some of these measurements correctly. So I could start with the eye here if I want. And that's the bridge of the nose. I'm going to come down. I'm around. The brow comes over and it bumps up over here, the hairline. And look how I'm just kinda filling in almost like a puzzle piece or something, a mask. Where's where's it all coming from? And I can go in any direction. I can start on the back here and work my way over. I can start on the front, whatever features you feel comfortable with of where you're coming from. Okay, so I'm gonna come there. I might want to draw the mouth in the mustache. He's gonna go over top of it, comes down. This beard thing that comes down in here, the lip mustache goes this way. And how we're does it look without an eyebrow? There we go. Okay. Let's back out a little bit and take a quick look here and see what we think of it as it. Is it looking the way that we want it to look? Construction wise? I'd say, Yeah, yeah, if we back away some of these sketch marks and stuff again, I'm drawing a face. I'm a little little squished, so I might want to make sure that I don't pay attention that did. I'm not loving how, how, how narrow these art. I don't know. I kinda like it because it's a bit of a comic book feel to it and stuff. But it's also a little bit too narrow. I think here I should have. If I'm gonna do that, I got to play out and flesh out the back of the head here just a little bit. And I bet you did. Just that change will give it the chains that I was wanting. Yeah, Much, much better. And you can see how there's a lot of space back here in the back of my head. That space needed to be added there, right? So continuing on. Now, this is where it gets a little, little trickier. We're going to talk about facing down. Okay. Do you remember a while back we were practicing with spheres. Weird. I got you drawing a whole bunch of them, were practicing drawing circles and then doing bisecting circumference lines, right? So if this is the midpoint and then it starts to rotate down, we can see how that circumference line would rotate down with it. Alright? And so even though it starts at that midpoint, it would rotate down even, even more or whatever as it's rotating downward, right? Well, that's kinda what we're doing here. We're going to have a base. And you know what? I'm gonna see if I can draw, I should bust up the ruler a little bit more. Kinda. See something like this. I don't know. You don't have to write. Just doing it. Just for fun. The thing is I call fun in this and doing this stuff, right? So I've kinda got this rotated face and I'm going to measure it and say, okay, here's halfway. So this is the halfway mark. From this halfway mark, the eyes are going to rotate down. In my skull is being rotated right. Then one-third from here. My nose is going to rotate down and then off of that again. So tick, it's going to be my mouth is going to be rotated down from there as well. It's going to come to that point. I don't know if I like there we go a little bit more even there. Okay. So why don't we do that again over here. And this is a kind of a downward three-quarter angles. And so this is tough guys. This is not what everybody, everybody tries to avoid some of these angles. And if we were looking at it, this is halfway. Well, here's my, my bisecting Hobbes fear, but it's, it's, it comes to this point and so it's turning this way, right? And so this is going to be, imagine it's, I can start to measure it this way instead. So this is my halfway point here. And this is my one-third. This is one tick of that. Does that make any sense? Because there's two things that happened. One, I turned and started angling it. Right. So that turn that angle of my head change things just a little bit. And I almost want to redraw it for you because I don't know if I explained it exactly. But instead of measuring from this way, which I can, I can also measure from this way because my face is pointing in this direction. So I could rotate the screen backup this way if I want. But in reality I can also take these measurements and measure along this way. Okay. Let's see this one. Yeah, my circles were much bigger up here. This one's going to come down. It's going to come up. But how do I measure this? Well, again, this is a slight angle. Almost as hard as this one, but not quite as it's a little bit less, It's more like that. And so if I was to cut it halfway and then it rotates from there and it rotates their rotates from there. And there's my measurements. Right? Okay, so once I've got those measurements and let's see, what do I do? Well, I started to sketch it in just like I did before, just like I did above. Alright. I can look at the markers for the eyes. I can look at the marker for the nose. The ears will start here and come up. Start here and come up and down to where that NO strikes the eyes. I won't be able to see much of them because I should probably zoom in because I'm looking down at them. So there might just be a little bit going on there. The eyebrows will be fairly close to them. The hair receding hairline will come something like this. Jude Law ask hair line. I got going on. I'm just doing whatever hairstyle comes to mind here. Whenever I made my nose known as pointing as it is up here, maybe I should change that just a little bit. The mouth is here with the lip below it. And then that beard coming out of it, right? Comes around and I might as well draw on that part of the goatee. Comes up this way, comes up the face. The side here, comes up the face and up the side here. This comes down flares a little bit for the jaw and I carried it too far down. But that's okay. I'm measurement was slightly off but it still works. If I want to, I can add in some, some cheek definition here. But a broad definition. Little bit of stress I get from teaching and add that in. Let's see this next one. I'd like to start as usual, round the marker of some familiar marker, right? So if this is where my eyes are and look at this, here's kinda going, here's my top, here's my bottom. Highs are gonna be somewhere around here, right? But they're following this curve. So they're gonna be something like this. My nose is going to be coming from here and it's going to come down there. My eyebrow will be something like that. So come up to my eyebrow there. The other side. I can over. I liked the center line for plotting my hair. I just kinda plot it from back here, coming around, going down to the jaw, around to the ear, drawing it in. Like I said, guys, I've said this many times. You don't have to follow exactly what I'm doing at the pace, I'm doing it or something. But try to follow along. If you want to just pause or whatever. I'm going to put my my mouth in here. Lower lip. The thing that goes under the lower lip, making that goatee. There we go. Sternocleidomastoid with that part. And again, you know what, I'm looking at it and I'm thinking I'm too narrow this way. So all I do is take the eraser and just make a slight adjustment. Cool. Okay. And the next one, this is kind of down into the side. This one's tough though. So my eyes are on that line, still, right. Eyebrow to the eye, back into the nose. Seeing a bit of my beard here, things, certain things become not so visible. Certain things start to disappear a little bit. Alright. The brow up into the skull a little bit. I'm going to come back. The hairline. Comes on down. This follows the skull around back. Come over here. Draw that here in a little bit. Just some awesome little squiggles. Well, I can tell I messed up. Messed up with a beard. Was it a little bit? That's going to come I can do there. Just comes down. Comes in that way. There we go. Okay. So what do we think? Yeah, What? Oh, I like the evil look down on this guy. We drew it straight on. And it looks pretty good. Noting that it's not an exact replica because we didn't measure it out exactly the size of our little sphere, right? But structurally it's how we want it to be. We came on down. Exact same thing. Structurally. It's how we want it to be. We can get rid of some of our construction lines and see what's going on here, right? If we ever feel something's a little off, well, we can just go in and say, Okay, well, I feel like this should maybe be more like that. Because no matter how much we're constructing to begin with, we can still go in and make a few edits. Just to make it that little bit better for what we're looking for. Let's see. There we go. Okay. Last one. Looking up. This one can be tough to whole lot on nostril action going on. It's not easy, but what happens is exactly what we were talking about before. We've got our circles, right. Our initial circle is straight on. With those points. Those points can remain. But instead now this person is looking up, right? So our skull is looking up and we have to make sure that our features do that as well, that they're looking up. So what do we do? Well, we start off with our sketch. As usual. We just started making a circle. We draw a central line because we're not looking off to the side right now. Alright. We can draw our base chin and we start to go up with it. This, this centre or this type of simplified skull should be pretty familiar to you at this point. We can then come off to the side. We measured and halfway, halfway mark. Now at this halfway mark, this is going to be roughly are eyeline. One-third of that is going to be our nose line. One little tick below that on this particular character is the melt line. I can already see, jeez, am I ever narrow? You got to follow my model just a little bit better there. Now, they're not winds it out. And we know that if this is the eyeline and this is the nose line, then this also will be the airline. Like that's where the ears will stay within that form. Let's see if we can have this lesson over here as well. We're going to draw our circle. Draw our basic form, GoTalk, Go bottom right, and carry this over. So that means our, our eyeline, our nose line, multiline war, somewhat conform to this standard, right? So the eyeline is going to come out to the cheek and come down there. Like I said, I feel like I've been lacking in the back of the skull and some of these sketches. And on the side, the truth is the back of the skull has got a bit more meat to it depending on the type of skull. Now some people have skulls like this. Others are kinda like this, like they have this bigger thing. I call it the alien head. And I have one. That's why Why I don't want to go fully bald. I'm just going to hold onto my receding hairline for now because I just don't want it to happen. So we're going to just going to continue this line across this eyeline, nose line, which is our measurement here. Eyeline one-third and just tick down. And realize that it's gonna kinda go like this a little bit. Because again, we're somewhat looking up at this, this figure. That's the point of it, is that we're somewhat looking up at it and you can see how the ear fits in there. Okay. So now we're going to keep going with a bit of lines and listen like, I'm kinda guessing you guys are taking a break, whether it's a break between each head that we're going at or whether it's a break for each. Each row or something like that, take a break because this can be kind of tiring with the nose. We're going to see the underside of the nose. Maybe some details there were, these eyes are going to start here. Start here. And they can either follow the line like that or there can be a little bit, little bit of role under like a little bow, but it won't be like this or anything like that because we're looking up at it. So even this line would appear straight by looking up at it. Okay. So we're going to have that We're going like that. The brow and the middle. I kinda like a long eyebrows. You want to try to have an equal, right? My mouth. Still unhappy about life. And just a little goatee beard thing. I'll keep that there. The hair can hide the hairline on this angle. You can see the hairline talks a little bit by the eyebrow. They're going to come down, comes into the face slightly. When it comes up into the moustache. So I can I can approach it from either side, you know, I mean, I can do the mustache. Then. Habitat away from the exterior of the head and the hair. It's coming up this way. Given myself way more hair, even though it's not there. I really got the beard and the outline of the ears. You can see how well this is all measured in right? Like everything's in proportion of where it should be. Good enough. So on these angled ones, especially this three-quarter angle, I often like to start with the nose. You'll probably notice that as my marker, everybody is a little different where they'd like to start. But for me, the nose kinda starts to center everything and have it have it where I want it to be. Okay. You know what? I started to low on that. I'm going to back it out a little bit. No, hold on. Here's my I didn't sketch this. Correct. So I'm gonna jump in. My eyeline should have been right here. This is actually my eyeline. There you go. Why didn't I do that? Weird. I put a brow in there but I didn't put my eyeline. That's that's my eyeline there. So sometimes you can find yourself a little bit off and you're like, where did that come from? Why am I doing that? Right? Look it up, try to figure it out. Where, where did you go wrong? Why did things look wonky all of a sudden, see if you could track it down. And occasionally it's because while you just kinda forgot something or messed up or whatever. Here we go. Can go back to this ear. And you know what? Even there I can see, I, I want the ear to start here and come down. Right. That's the eyeline. I wanted to start there. There we go. Okay. So that the hair is going to be like this. There we go. Much better. Now I've got my mouth on this line. Not that angry. I've got my mouth here. The underside of that lip. And the underside lip makes it a little goatee into the beard. Top of the lip. Give myself a little beard there. Coming on this side, down and over. And there we go. Now I can clean it up the eye. It looks a little wonky and stuff, right? And this I is actually should be drawn through. And then I could come just clean it up a little bit. Any reason. But that is the three-quarter slightly up angle. This one's gonna be tough to and hopefully I did this right. Yeah, I'm looking at my measurements. I've got my my eye in the right spot. So I could actually start with that if I want. Start with my high and then it arcs over, my ear is going to start a little high there. I'm kind of paranoid about drawing my eye in the wrong spot now and so I mean, extra cautious with it. Here's my beard. I'm just going to leave that there for now. I'm going to come back up to the eye and have my brow above it with the actual brow brow. Come in here, my nose come down. Never realize. Shape your nose until you're actually like, I have a big bulbous nose like this where you can play with a little bit. Do I have a cute little ski jump? Oh, there you go. Wow. I just make myself better looking lip thing under the lip, right, that little tuft of hair. This is going to come down. Come around and hen you can trace your hairline either from the bottom or from the top. Here. There we go. Wow, guys. That's about 30 min worth of work. But so much was done here. I'm hoping you kinda took it in ten minute chunks and just made it a little bit more digestible. If you want to do exacting portraits. Like exact as it looks exactly like the person measure it out. I was doing this quick and on the fly because it's a teaching lesson. And I didn't want it to be double this time. But if you do care about that, you want to draw my face specifically. I don't know why anybody would want to, but just in case in case you want to draw me specifically, then measure it out, whether it's a ruler and you're kind of bouncing back and forth on that. Whether you are like e.g. you are doing stuff like maybe doing straight measurement, straight down, right? Like if you're kind of going like this and this right from here to here you can see where my measurements are way off where my quick sketch did not do my reference. Justice. Do that if you want, it's your choice. But either way, you need to do this sheet, this is really important. It's an important process, it's an important lesson and it's an important assignment, okay? So whether you measure it out, It's a portrait of me, or whether you're doing it just to do what I did here and show how the measurements work in angles. It's really up to you. It's up to you how you want to approach this, but it needs to get done. I'd love to see it. So if you can, after you're done at all, send it in. And I get to look at these wondrous versions of myself. I expect to be both impressed and terrified. Guys. Just have fun with this. And if you're not getting it, do it again. There's a lot of exercises on how to draw the face here that I'm providing. And this is just one of them. And it's designed to just throw that extra practice into having you feel comfortable with your tools. You guys will catch you in the next lesson. 34. Faces Comparing Styles: Hey guys, we're back and I've got another unit for you here. This time we're going to take a few minutes out to kinda compare realistic proportions to more of a comic book style. Now, I want to be clear on this when we talk about comic book styles. And then we move into realism. I would say a large portion of that is rendering. What does that mean? Well, when we look at comic book style is we often have simplified forms, simplified lines. It's just nice and simple. It's one line. That's all it takes, right? When we get into realism, we see that it's been painted in blended and everything has been smoothed and then even color is applied and all these types of things so that we have a very realistic look. It's painterly like when we look at realistic paintings, all the definitely add form, shape everything through every means possible. Comic books started off with simple print and they couldn't print like that. They couldn't print where that high-definition detail. So instead, simple lines. If you look at early comic books and stuff, I got just simple ones. Newspaper print, very simple lines to show a very simple form. As you start to get more detailed in collagen forms, you start to add hatching and different types of rendering, right? That's a little bit different. What I want to cover here more so is when we talk about proportions, we have a realistic face and then a comic book face. Are they really that different? Let's find out. Okay, so here I've got a few faces done up here. The girl on the left is a good looking woman. I know this because she is my girlfriend. Yeah. She's she's a good looking girl. The girl on the right though, is much more comic book style, right? There's, there's more of a comic book style to her. And how do we capture that? What's the difference? Well, let's break it down and see if we can figure it out. What I've done here is I've put the top and bottom lines, right, top and bottom there to kinda show where their heads would be. Right. So we've got that. That's that seems like it works right? But what about where everything else is aligned? Well, we can take a look horizontally here and see this head is slightly tilted forward, so there's a slight variation. Here's her eyeline. Here's her island. That can be part of it. Here's the nose, Here's the nodes. We can see already. Here's the mouth. Here's the mouth. If we look at from top to bottom here on this. And again, there might be some slight head tail, but we'll take a look into it. This compared to this, this top is just a little bit bigger. This one's almost perfectly equal, or the bottom half is a little bit bigger. And where does that spaced out in the bottom half? If I look at these proportions between the eye to the mouth, It's almost all the same. Actually, this looks really similar, right? The eyes to the mouth. Almost perfectly comparable. It's this chin area. Look at the size of the chin. Real people have a bigger chin and we'll get into a little bit something different there, but bigger chins are one of the factors. The other factor is, like I said, I think this characters might be slightly tilted down, so that could be a factor. Another thing that I think is important once we get into, Let's zoom in a little bit. Once we get into we'll take a look at her eyes. She's got a wide spacing between these eyes. So if I was to draw her eyes, her eyes are fairly wide spaced. This might be a little bit of the camera playing tricks on it. It might be flattening out the face just a little bit, right? But we can look at this face, and this is five to six eyes across here. Alright. When we look at where the eyeball would sit, we'll look at her eyeball. Maybe. This one's more like just under five. So you can see that when we're looking at the more realistic proportion, the eyes are a little bit smaller. Make sense as we get into comic bookie things, the eye is get a little bit larger. And then when it comes to Manga and all that kind of stuff, they can get really animated, could get really exaggerated, right? So that's one thing, right? Anything else that we're noticing here? Look at the nose here versus the details here. So on this one, when I put the outside of the nostril on this one, it's not even there. And if it was. It would be much smaller. So a smaller feature, nose, bigger ellipse, even though my girlfriend's got pretty big lips. These are these are lower lip has a lot of weight to it, right? So bigger eyes. The eyes are bigger, bigger, lips. Smaller, knows. Yeah, we're looking. This is the cartoon or comic book look, right. Let's see if this carries through as we go into another one here. Okay. Might not always. These are different artists, different styles. So I'm going to carry her eyeline over, nose line over a little bit further and her mouth line over. Okay. Because we're kind of even top to bottom here, right? Eyeline over, nose line over, mouth line over. These are lining up pretty **** close. Right? But there's some difference in proportions here, right? Here's her eyes. A little bit bigger space there, but five eyes across. Here's her eyes. Make that a little bit bigger. And of course I can measure this a little bit better. But look at that. That's like maybe one to three with some spacing. They're three-and-a-half, four. Maybe this is for eyes across. She's definitely Five Eyes across, right? So the, the spacing of the eyes, the width of the eyes, the size of them, the width of the head. That's one factor, right? The lips, I don't know. Ruby Rose has got some pretty good ellipse here. I don't think any comic book character is going to do her on that. But look at the taper of this jaw, look at that angle. If I was to have that same angle, be shaving off. A fair bit of Ruby Rose is face here and it would come from maybe the nose area, somewhere around the nose. So look at how pointy that would be. Huge difference there. Of course, to bring this up, but surgeries and stuff I get tried to emulate some of these different proportions, different looks. Don't recommend it, but we have to study it and understand where are the differences here. So if we're looking to make a comic book character, the eyes will be bigger, nose will be smaller. Generally less details on the face. Lips. Big, right? What about if we look at men? Well, here's a picture of Chadwick Bozeman and here's a picture of Superman. Superman is a little too tilted here, but let's see if we can carry some of this across his nose is going to cross. Let's call that the mouth. Chin is over here, right? His eyeline is here. Okay. So we've got an eyeline here. Already. Small nose. Then we've got the chin there. Small nose is one feature. I think that's a different small nose. And again, very limited details on that knows. Now, this can also be played into ethnicity and how we draw different ethnicities and stuff like that. So let's toss that one aside. Let's also take a look at when we're drawing ethnicities. Whether it's details like the nose or the lips. Those can be important in that character and important in their ethnic makeup. So whichever Boltzmann, I'm going to put those aside right now. I don't like yellow circles look. But what I will say is look at this **** chin. Boltzmann's a decent looking dude, but he'd have to have a chin as wide as his mouth. And then jaws that come out straight in, straight down, straight down. Right? So that's one thing that we would change on men. Maybe if you're looking for that certain type is at squared, square root off jaw. You can even have that suctioned in look that come down from the cheekbones, right? And a little bit of details here. Now with men, you can add more lines with women. When we're drawing women, realistic, we see lines. I'm looking at myself and I gotten lines all over my forehead here and stuff, right. We do have lines no matter what. But when we draw a comic book women, we take away the lines. So I'm going to say no to lines, right? We take away lines on women's face. On men's face though. We might give a little bit extra, little bit extra focus, especially the chisel in the face and everything, right? Okay. So guys, to recap, for women, if we're drawing comic book style, we've got gentleness, which is bigger eyes, smaller, nose, bigger lips. Let's see if I can write that better. Taper jaw. Anything else? No, I think taper jaw line. Okay. So that's for women? For men. We've got the chin, stronger chin. We've got that suction cup. Jaw line. I'm gonna stay away from the ethnic features. So I'm going to say maybe more details, more details. And this is a nice and easy comparison between not rendering, but just looking at the structural difference between Realism and comic book style. So if you're wanting to get into more comic book style, look at some of the notes here. If you wanting to have your characters look a little bit more photo-realistic, even with simplified lines. Stick on doing what we're doing, guys. It's up to you and your stylistic choices. How do you want your book to look? How you want your portrait to look, how you want your art to look. My job is to make sure that you understand the difference and you're able to achieve those differences. And then the choice is yours. Enjoy guys, have fun with it. 35. Shading and Lighting Faces: Hey guys, I'm back and I've got another unit here for you. This time we're talking about lighting, how to shade, kind of listen when we talk about shading and rendering, there's a lot of different techniques you can use. You can talk about like hatching, crosshatching, blending, coloring, all that kind of stuff. That's not what we're talking about here. This is not a rendering course. I want you to understand instead how the face is lit. And then from there you can choose your running style so where the planes of the face are even right now you can see where the light is hitting me. This light is kinda like a straight above me here and look where am I looking at? Right above there. That's where the main light is and it's highlighting here. Highlighting here maybe a little bit too many highlights, right? But if I was to change it, move that lighting around. Well, how would that look? Right. Let's talk about that and see if we can understand the planes of the face a little bit. Okay, So what I've got here is Hercules. He seems angry. I'm going to go with a simple way of explaining lighting. So what I've done is covered in grey or like a greenish blue here. And I'm going to explain how, where that light might hit. Let's say e.g. I'm going to just switch this up for one quick thing. Let's say e.g. my my lighting is coming from this side. Right? Well, that seems pretty simple, right? So what would happen is it would kinda come here and it would wrap around some of the form, right? And if I wanted to, I could just go straight. Let's just say I'm going straight on this. And it would look like this. But that's not really true, right? Because what would happen then is like there's shading in here. There's shading in his mouth from the shadow and that that part of the beard and stuff there might be shading a little bit of a shadow there. And again, it's not straight. It kinda wraps around some of these curves, right? It might wrap around the tooth a little bit or somebody might wrap around the nose and have a little bit of fun with these ridges. And it might even touch on this side just a little bit because certain things are protruding when when when light's hitting, it's not, it's not just a, It's not just a sphere right into it's not playing. We've got bumps and bruises and he's got on his face here. So I can get in here and do the, do the rest of this part and there's gonna be shadows. This is a little bit easier because these are half, half spheres and stuff, right? That type of thing. But I'm just, I want you to realize that when we're when we're looking at light, It's not as easy as you'd expect. There's crooks and crannies all over the human face and body. Occasionally, depending on how far his cheek protrudes, there might be a little bit of highlight on this side. Okay. And so you can see how when, even when coming from just what would seem like a simple side side lighting thing. It's not that simple. So why don't we do the lighting that I have right now over my head. That's a little bit of slightly slightly overhead but not too much, right? Like it's just it's just coming forward and overhead here, right? Okay, so let's take a look at is, what I'm gonna do is selected, then there'll be a plane right here that's on his forehead. There's the eyebrows, right? There's the ridges of the nose, there's the cheek ridges. And I'm just doing this really simple and really fast right? There is again, the nose, these parts, the lip, the chin. A little bit of a job. Well, maybe a little bit on the ears. Of course, I can come into this band a little bit more if I want to grab the light a little bit more, right? And then it's going to come here. I'm not too worried about the rest of this. This is just kind of gravy, right? Okay. So that's what it would look like. And I can go in and add a little bit more details, maybe a little bit of highlights here, a little bit a little bit clean it up and stuff around the teeth and stuff like that. Right? Maybe there's a little bit under the nose here. There's some wrinkles that are happening. But you can see where I hit the planes, right? It was the forehead is the eyebrows, it was these cheeks and it was the jaw. Right? So again, forehead. The brow. Kind of almost a triangle in here. And the jaw and the chin here, right? You can kinda see how that's working on me right now. Alright? Alright, we're gonna go for another one. And what I hope you're following along, you can be either doing something simple like just, I don't know. You'd just be coloring in white or something like that. Using a highlighter that could work. If you're working traditionally, you can be doing the opposite and working that shadow and everything, right? It really depends. What equipment you have. This is I'm just trying to like I said, teach lighting here. Why don't we go with an under View. So basically it's lit up from below. Okay. How would that look? Well, the bottom ridge here would be lit up, right? It would light up under the nose. And remember the triangle, it would kinda be more like this. It would light up under there. It would light up the bottom part of the brow. Right. And maybe a little bit here and maybe a little bit on here. Okay. So it might be like this, it might be just a little ridge line there. The bottom of the lip might hit a little bit, the bottom of the teeth, maybe just catching just a little bit. Maybe a little bit up into the beard. The lower lobe. Right. Okay. Then of course, I can do the chest, the shoulder, this part, right. That kind of stuff. So how does that look? It looks like it would be if it was lit from under maybe a little bit of the back of the eye or something like that. It depends. But something along those lines. This is coming up from underneath. Okay. Why doesn't it come up here? Well, look if it's coming like this, right? The light is not hitting up there. We're talking about just when we look at like one main light source, right? Okay. Do we want to go from this side? What about straight on? Yeah, let's do straight on. Straight on would almost be simple. Like let's say I'm going to select everything. And it almost looks like this. Right? That's kinda straight on. Only it's not even straight on. There's gonna be some kind of angle to it. So you're gonna have like maybe a little bit of a ridge line here. A little bit of oh, maybe that's too much actually a little bit of shadow in here. Even with there's gonna be shadow cast and the grooves and everything of a person's face is going to be shadowed, deepen his mouth, right? There's gonna be a shadow in the beard. The hair is going to cast them just a little bit. Everywhere. There's going to be just that, just a hint. It can almost always be exactly straight on. It's going to cost somewhere. So it won't be much. But you can see that we're still going to have just a little bit of little bit of shadows, even if it's directly straight on right there. We've got too many grooves in our faces to have it white it out completely, right? Okay. Another one that is really typical in mood is a rim light from behind, like let's say I'm being lit from that part from behind. So what does it do? Well, kinda just you can line the outline of the back. Let's see if that works. That type of thing. But once again, we use that as a simple thing, but then it starts to come into certain grooves like it might catch the cheek here depending on how far that light or how powerful the light is behind, right? If that light behind us, omega powerful, it almost wraps around figure sometimes or something, right? It can cast itself a little bit. Even more, can go on any plane. But then you want to go in and add in a little bit of detail like, you know, maybe that NO, or in the ear has got some groups there, right? So not bad. Let's see. What do we got? We've got from the side, we've got from the front, we've got from the bottom, we've got kinda like straight on. I don't even know how I want to do that arrow. Straight on. We've got from behind everything is coming from behind there. I'm wondering if there's any one that I'm missing for you guys. I feel like this is this is so some of the basic lighting. Once I know what I'll do, last one, I'm going to do two primary ones. So e.g. from the I'll do the rim light in the back like we just did. And this is often what happens is we get a number of different light sources, right? So this will be our rim light. Nice, nice and easy, right? It's from behind, right? Then what we'll do is like let's say there's a little bit of bounce, some things hitting a table or some kind of reflective surface and it's coming up like you can be standing in water, it can be staying on concrete, anything. Right? And what you can do then let's see if I can shrink the size just a little bit. Is just a little bit. It just something bounced up and it's just a little bit light there. Okay. So that's a nice little to two types of lighting. The harsh light, the harsh behind overhead light, and a softer secondary source, right? Guys. Lighting is important. How you choose to render lighting is up to your style. Like what? Like I said, when you're shading and smudging or something like that with your crosshatching, right? Whether you're using colors, whatever it is, it's your choice and your medium and everything, right? It could be watercolors, whatever. I wanted you to understand, the planes of the face. And so as soon as you start moving that light around and see if I can even do that just a little bit for you. This is, I experiment with this sometimes. With this. Alright, I start moving this around and you can see how, okay, Well, half my face is dark, but as soon as it comes up just a little bit, it starts to catch right there. Right? Starts to catch it a little bit more and a little bit more, right? If it's from behind, you know, I've got that. And this isn't a very powerful light, but you can see how it's rimming, right? If it's from over top, I've got all that going on right from below. I'm doing evil storytelling right now. Guys. I think it's important that you have fun with it. But you also learn that the face, even though we started with this, that's not all it is. Understand those planes and you'll have a lot of fun with it.