Improve Your Drawing (Bundle) | Anime and Manga

1. Bundle Trailer: Hey, welcome to Sensey Teachings, Drawing Fundamental Classes. In this bundle, we'll go through a series of topics to learn the basics of drawing. As a beginner, we'll start with an introduction to the very basics of drawing. Learning the place where every beginner artists should start with. After that, we'll go through a series of deeply engineered exercises to help you start gaining mastership on the essentials of good art, sharpening your drawing ability for better at work. Finally, we'll review the most important topic. Every beginner artists must learn to put together all of the previously learned and deepen and improve the quality of our new learned skill. This bundle goes for everyone that wants to start a drawing with the right foot, especially beginners with zero or few knowledge. The goal, goal of the classes is to gear you up with all of the basics of good and strong drawing. Why not to have fun with your favorite enemy and manga characters? Each class focuses on something very specific to help you get the skill of drawing what you love in an easy and strong manner. Where are you waiting for? Go get your pencil, then let's get started. 2. Introduction to the Bundle's Classes: Thank you for purchasing sensitive teachings, drawing fundamentals bundle. In the following classes, we'll be navigating very simple, yet strong and effective exercises to help you acquire a new skill. A lot of these new things may feel a bit intimidating or repetitive, but all of them have been crafted in a very smart manner to guide you and help you to make the drawings you love. Even if you have serio experience or skill, stick to the practices and trust them. The more you do them, the more you'll start to grow. Not all of the exercises will be anime and manga related, because to learn how to draw it, you also need to learn how to draw other things in general. This doesn't mean you won't have a guide into learning how to draw an Anime and Manga style, but that to achieve it, you also need to learn a couple more things to make sure you become a good artist. Watch, pause and rewatch every video at any time until you feel you have clearly understood the shown. Our recommendation is to take one class per week to practice all of the learning in the class, throughout the class, project and repetition of the demonstrations and concepts until you feel you have improved. With each class, you'll start to put the very sets of your new art path. Focus on watering your new skill to allow it to grow naturally, rather than to force your own learning process by rushing it or by learning too much theory without practicing that being said, without further ado. Let's get started. 3. Class N° 1: Where and How to Start at Drawing: How to Draw Your Favorite Anime Characters: In this class, I will teach you a lot of the tools to successfully draw any enemy style character. Through understanding the fundamentals of observational drawing, we will be creating an enemy, all drawing based on your favorite character. You'll get an improved for understanding the basic side of an artist and enjoy yourself in the creative process of drawing. The same principles taught in the class can be used to draw anything else. So even if you're not enough anime, I'm sure it can teach you a lot. You don't need to know absolutely anything beginners from all ages can learn. And even experienced artists will have a great opportunity to improve some of the pitfalls they may be ignoring from their fundamental skills. The overall goal of this class is to give you the best tools to initiate you all in the world of drawing. By the end of the class, your artistic I will be much more expended than before having all the knowledge to keep on walking along in the most digestible and simplest way. If you found this class, this is probably a topic that you're looking forward from the bottom of your heart. I'm sure you'll enjoy it all. Everyone can learn this. Why don't you pick up your pencil and let's start. 4. How to Approach Drawing: Drawing can be made in a wide range of manners. Nonetheless, here are the three most common ways that you will usually see. Number one, under drawing, under drawings are the way artists go fully loose to set on the paper. The idea of where they want to draw without any restriction that a finished drawing have that way you can make as many mistakes as possible and usually not erase any of them. It allows anyone to set a root for a clean and refined drawing to be made on top of the previous one. This method helps many artists to feel free on drawing the matter subject, but sometimes it may get you confused on your own. Strokes delay the time that you take on drawing an art piece because of the time consumption that implies to draw twice. Many professional manga cast comic book artist and any many meters work this way. Don't underestimate its power, just know what it gives and what it takes. Number two, direct drawing. This way of drawing requires from the artist a bit more of its concentration. It will save you a lot of time since most of your lines will be made. Having a confident sense of goal and leaving out making another drawing on top of a loose one drawing. Refining direct drawings, it's usually a bit faster than drawing with under drawings. However, at the beginning, it will be a little challenging for most people, but it's not that hard at all. With time, it becomes as easy as drawing With under drawings, you just need to take on consideration mind work, visualizing and thinking before drawing. Constructing with your head would allow you to skip the underdrawing process and the raising of most of your mistakes. Number three, semi direct drawing. Drawing this way is actually a mix of the two previous ones. It allows the confidence of the direct drawing to take place on most of the biggest parts of your drawing. But also the looseness and flexibility of the under drawing method, since you will also be drawing on top of some parts that will be needed to be erased later on. Depending on how loose you get on your drawing and the complexity of your work piece, you can stay on erasing only the unnecessary strokes. But be aware that if you get too much loose, you'll end up making another refined drawing on top of the previous one. Sailor. Notice how on the previous examples the drawings don't look as exactly as the drawing reference. They were meant to be drawn by capturing the essence and not just completely copying the original picture. Yet, if you're looking to make your drains as similar as possible to the observed picture, we will be covering that in more detail in the following videos. Every artist has its unique way to approach. We all can go from a certain way to another, so this is not a rigid rule. Please allow yourself to be open minded about your own process. You're the one in charge of what you want to do and how you want to do it. Explore and find what fits the best for you. Again, it isn't necessary for you to do it exactly as I described. Just take them in consideration. When having and developing your own style, please trust your intuition. 5. Types of Lines: Now that we have reviewed types of approach, I'd like to explain the types of lines that can be used while approaching. There are smooth lines, short lines, and loose lines. There's nothing right or wrong in here. Any line is welcome because they'll allow every artist to genuinely express their unique perspectives. However, there are some things that are worth having in consideration when drawing smooth lines will help you to have clearer drawings. The less amount of lines you used to describe the drawn object, the clearer it will look and the less amount of time they will take off your drawing to look finish. It's likely for you to draw many of them when trying to go for only a smooth, you'll have to erase many of them at first. It might be a bit challenging, but if it's fun, you'll get to the point. Short lines will help you to have noisy drawings. Drawing many short lines to describe an object will create a sense of dirtiness and thoroughness. Now it's really up to you to decide if that's a look you're going for. But if it's not, then you should consider using another kind of lines. Having short lines will also get you to spend a bit more time on drawing if you want your drawing to be finished. That way, a loose lines. When drawing loose, we usually let ourselves to go with the pencil on the paper until we find the look we're looking for. Loose lines are a great weight for a beginner artist to start having confidence in drawing what he or she wants to draw. When drawing this way, it's likely for anybody to also have to constantly erase. If you're going for a finished look, I recommend you to have like strokes over your paper. They won't leave too much undesired marks. That won't help you to get the look you're looking for. Having loose lines on your drone. We also take a bit more time than going for only a smooth lines. Please post the video once it's over and explore and drawing all of the listed line forms. Find a grasp on what is the one that best suits you considering them. The clearness of your drawing, the finished look you're going for, the time you'll be spending. If that's a factor you need to save or not. If you don't feel like doing so, it's okay to find the kind of lines that you like on drawing and feel most comfortable with. It's also an organic process. It will be shaved over time with your experience. You also find that many artists, including you and me, will be more often been seen using two or three of them in a single drawing. The difference are that each of us will tend to go on only one of those directions. That we also dictate part of your drawing style. 6. Shapes: The Essentials of Good Drawing - Part 1: Anything that exists in this world can be easily perceived as simple shapes for good drawing. The artistic, I must understand it on a very deep level, especially if you want to be able to draw whatever you would like to. In that sense, one of the first steps to start drawing good is to develop the skill of knowing how to Ientify and turn things into simple shapes. To draw good, you need to learn how to break things down into some of them. And to do so, we can start by training our eye to look for basic simple geometry on whatever we want to draw. Going from basic circles, squares, triangles under common variations. Looking to find them in all of what you want to draw. It's to become your new go. A great to start with if using digital medium is to sign on a new layer, a lot of different pictures of characters you love that you would like to draw. Likewise, be doing it on traditional medium by signaling them on bar paper, tracing over your loved pictures. As you do this, the goal is to help you start awakening your ability of seeing shapes anywhere. To help and train your eye to see. Now as an artist, what about trying it? Before going ahead with our first class project, we can try downloading the example pictures below of the video lesson to try it on. If you want, you can go analyze at least one character as a warmup exercise. Break it down into the simplest shapes you can see following and being guided by the visa lesson. Having learned the ability of identifying shapes in what you want to drop, your new next challenge is to try to replicate them now as a new separated drawing. Try remaking all of the sin shapes at a side as a way of practicing it. It is important that while you're drawing, you focus on trying to get the size of each shape as similar as possible to the observed reference or source erasing as much as you need to get the desired result completed. The basic structure, you can use it as an under drawing to practically and easily draw on top of it with more refined details and textures until you complete your Nec drawing. Any of these examples, don't worry if your interpretation of shapes looks a bit different from what you have to watch on a screen. It is very common to see that we all have different perspectives and thus results. The most important thing is just to make sure that you learn how to use the principle to make drawing easier. Focus on drawing the shapes without rush and doing it on your own pace. Just do this enough times to get better at it and soon you'll really start to see how your skill starts to be born. 7. Shapes: The Essentials of Good Drawing - Part 2: Having practiced the previous, your next step to keep on getting better at drawing is to try to find more like variated shapes when analyzing and drawing your reference. This time, instead of focusing on drawing a lot of geometric shapes as we did before, try not to think about how you can describe the parts of what you want to draw into easier and simpler terms. You can now practice it by breaking things down into more organic and similar to the reference shapes. While doing it, avoid thinking in texture or in two tal shapes because it may confuse you. For example, this may happen to you while looking at some types of clothing lines and textures inside of your reference or in detail hair strings that may be in your character to draw. Rather try to simplify them as much as you can to get easier overall look, you need to draw the shapes. On the other hand, you will probably need to complete parts from the character. You will draw shapes that are not fully visible, that will need you to imagine. Very often this occurs on the head or on the chest, or on the limbs. Depending on the overlapping you usually have on your picture or on your character. Just feel free to try it by simply guessing, guided from what's visible. Same as in the previous method. Make sure that as you draw, you take all the time you need. Doing it with a rush. Focusing on getting the size of each shape right, and also focusing on getting rid of all of the detles by not including any of them in the structure. Observing and drawing based mostly in the simple coors of the shapes you see achieve that. Also same as in the previous method, use the drawing structure as an under drawing to complete your drawing This time by now easily adding all of the remaining tos drawing with under drawings will especially be useful if you are a very beginner. But if you also feel comfortable by drawing with common drawing or semi direct drawing, you can also do it, do this enough times. And as simple as it sounds, what's difficult will progressively start to become now easier. And what's better? To look cool. You'll see how the first foundation of your new skill is strongly being built. 8. Simplify: General to Particular: Have you ever been troughed, starting a drawing And then without even noticing getting lost in the middle of it or not getting lost, but the different parts of your drawing start to just not go where they're supposed to when compared to the observate source. The general to particular observation is the most critical principle that any artist needs to keep in mind when drawing to solve this problem. As learning the previous part of the class, anything that it says within this world is conformed on a fundamental level by primary forms. Thus, the artistic, I must understand them on a deep level when analyzing whatever he wants to portray. Time for us to go ahead with the process for mastering this super important principle. The first step is to observe, find, and put the primary and biggest shapes of your object. They may go from the basic geometric shapes, but more often to the variation and makture. Between them are the circles, squares, triangles or rounded squares, ovals and round rectangles. Remember that the sum of them are all in charge of creating any form. The second step is to find the rest of the medium and small shapes, the ones that creates its structure. The less you can find to describe it all, the better. This because we are just looking to identify the core parts that creates the essence of the object, rather than just to divide it into different parts that later can be a cause of confusion. As a beginner, making this process while approaching drawing can come in two different ways. The first one, when trying direct drawing as your approach, it leads you to focus on this principle in a mental manner. You can sometimes forget the main shapes. It even happens to me. If it happens to you, it's fine. As long as you return to just easily identifying them, you'll know where to get back with your pencil. Second one, if going with the under drawing or semi direct drawing approaches, it will be easier for you to just put them down before anything else and to have them as guides to your drawings. To beginner artists, I recommend to start approaching this principle with the help of under drawing or semi direct drawing. Because the guidelines you'll be making at first are going to be easier to follow than mental ones and will help you to with time natural reinforce your skill in identifying these shapes after a while, the drawing of them won't even be necessary because you'll intuitively know where you should put your hand on. Both of these ways are highly effective, but the way it will be easier for you will depend on which one flows the best. Now getting back to the main steps, the third step to follow. Once you have found all of the main shapes that sounds your drawn object, to add the details and textures of the object or character of your drawing when tackling this part with the right mindset, this can be a really relaxing and enjoyable part of the drawing process. If you have already found the main shapes of your subject matter, everything will keep on flowing with your drawing. But if you ignore this process without experience or mind guides, it's highly likely for you to get lost in your drawing and to deform all of its shapes. Proportion. Hold on into the three step plan. When having learned to see this way, suddenly all of the objects you wanted to draw that you thought before, that were really complex or difficult to there will start to become as easy to approach as anything else. Because even if some of them will be more challenging than others, you're not certain on how to naturally capture as an artist its main essence. When having that enhance the magic of the artistic, I will start to flow through your whole life. You may have noticed I used the terms drawn, object or subject matter to refer to the explanations of the class rather than just your character. I'd like to clear out that they all refer to the same thing. Which is, what is that thing you would like to draw? It could be an object, an animal, or a character from real life, or from a reference picture just like an enemy. One. It's important for me as a teacher to show you that all of these principles are not only meant to be applied to your class project, but to anything you wish to draw from now on. 9. Common Mistakes and Proportion: The act of successfully draw requires the artist to learn how to describe from a visual standpoint. Yet, there may be some things that will be appearing in the middle of your work. The first one, the use of undesired icons. An icon is the representation of an object by its likeness and meaning. Not to confuse this with a symbol. For example, when we were kids, most of our drawings were icons. We almost never stop to really observe and draw the observed as perceived. But we just tended to make rough representations of what within our heads that represented the rant. But an accurate drawing instead be based on understanding the subject matter. It doesn't matter if it is a tree house or an Anime character. You need to start observing what is in front of you. The main forms, the texture, the shapes, and the proportions. That's just what we're going to learn in the class. Now, the second thing is being aware of the space of the format you'll use to draw the paper space could be poorly used, leaving you running out of space to draw your character and ending up, most of the time, randomly cropped. To simply correct, this is enough to just be aware of the area of the paper you'll be using to draw the basic proportion of the character and the conscious choosing of the size of it. Nothing else. You heard the name, the word proportion a pretty use concept on art. But what is proportion? Let's clear that right up, proportion is the balanced relationship of all of the parts that conform the whole of an object. It is the overall relationship between the shapes and the sizes of the object to maintain its balance. In that sense, let's not take cover look at this character which is being used as an example. What's its overall shapes proportion? Is it wider? Is it higher Depending on your character's overall proportionate look, become the best fit for your papers orientation. For example, if it's wider, wind horizontal is a great option. But if it's higher, then going vertical should fit better. Of course, this is a recommendation for drawing characters on its own, not with a background of an environment or a landscape. If you want to draw a character with a background, then the complete look of a sine should be taken on consideration, similar to a photo. Now choosing it going horizontal, vertical in decomposition based on that and not on the character alone. Setting tiny marks is a basic technique that may provide you with a sense of well used space. As a beginner, just remember to have a consideration about the overall proportion of your character and its relationship with the space of the format it will occupy with time and practice. This can be perfectly done by just mind calculating no guides needed. 10. Let's Begin Our Class Project: Okay, so having considered the previous concepts on your paper, think about the main shapes that your character has and put them into the designated space of your paper. Once this R part of the class itself, the less you put to describe the whole, the better. Check out how I make this on my class project so you have a clear reference on how to apply it to yours. Same thing. The same thing. The same thing, Sage. We will continue with the next two steps too, but before that, let's understand the relationship between the general to particular principle and proportion. 11. How We Perceive and Proportion: All right, remember at the end of the drawing approach demo when I talked about how to make your drawing to look as much as the observed picture. Well, it's not the time to learn how to do it. Looking for accuracy is a very way to go than looking to make an exact copy of what your drawing. Anything will be exactly the same unless you photocopy, take a picture or try to spend double or triple time on making photo realistic drawings to get at least 95% of similitude. However, with accuracy, it can become pretty much like the original observed picture or object. Less the time and the help of proportion control. The more you have control over your proportions, the more it will look like the observed picture. Humans visual perception where by grouping the most important elements that conform on the subject. Even when you haven't got into exactly the same results as the reference picture or the observed object, your drawing will still be recognizable and believable. Let's take a look at some example pictures and scientific background to understand what I mean. A psychology group that it says by the name of the stop. Discover the subject, which they name the five principles of grouping by taking on proximity, similarity, continuity, closure, and connectedness simplest to the most complex of the forms we perceive. Our brain works the same way on finding the relationship between the dots as an evolving mechanism to save resources and optimize its perceived machinery. I'm not going to touch this topic on a deeper level, but if you feel curious about it, there's a lot of information about it on the web. Even in animation, from animator to animator, you can find a lot of differences if you compare the drawings and that ve never noticed it about this until now. Yet, everyone always identified the same characters in all of the episodes because they rate their essence and accuracy of their overall look and not only the exact proportions. I hope this made you feel better about not putting too much pressure on you when drawing done the correct way. Your audience will naturally understand the main essence of your drawing. And don't worry, they won't even take the time to measure your drawings, proportions and details. If it feels right, then your drawing is right. To achieve the accuracy look, it's important to understand how proportion measuring should be taken in consideration from now on. The best way to guarantee you know how to place every part of your drawing where it should be is to decide one main measurement point of reference. And from there, start to locate all of the parts should compose your subject matter. This is why checking out the distances and sizes we already have placed on the shapes of our class project will be now a great idea. That way we can make sure their basic proportions look al right. Because if they're not, maybe someone else or even you will feel your drawing off. Now you can easily erase the undesired parts and correct what you think it's best. But if you can wait a bit more, you're just about to understand with the next video how to exactly fix it at its best. If your class project is fine to consciously make sure that it won't be a problem out of control in the future. Let's finish this quick review of how it should be done and then keep on drawing our class project. 12. Proportion: Applying It - Part 1: Okay, I first start with the head. I look to get the shapes and overall head proportions, right? So I can use it on a larger scale to locate all of the other body parts that I measure based on the head. What's the size of the height of the body, how many heads does it have to the chest? I locate a point to mark it as a guide to use it later. Based on that, I started looking at all of the parts and shapes that are conforming the chest Android. After that, I proceed to measure the arm and tissirt with, based on the heads width. Here on marking it, but it comes from looking at the size before even placing the strokes to get it right. As always, based on the head, I proceed to look at the down part and start drawing the jeans and right leg, which I haven't drawn the guide yet, but I notice it's a head height right below the calf of the leg. Now to go with the left leg, I measure its width as well with how many heads should fit its length. As you can see, I correct without a problem the mistakes I make. And so you should, the more you practice it, the more it will get easier for you and the less mistakes you'll make. All right, once I have the overall structure of simple shapes, I proceed to other particular ones. Meaning the details starting with the face and hair, going down to the T shirt and ending up with the shading. As a final touch, once again, I look at the overall picture and make the adjustments I consider best for it to look at the reference source. 13. Proportion: Applying It - Part 2: Okay, this time different than the previous character, since it's not a human and its general size is way different. I'm taking an ear as a starting point and as a reference for placing proportions. I complete the head and add the other ear by checking on how it should correspond to the height and width of the proportion key reference. See how I find the height of the head to be one ear and 13 and the width to be two ears and 13. Since it's not a complex picture, I proceed to locate the details, having the general head shape, but not completed the body. And after that I actually go for the body. Again, looking in mind, even if not visible yet, how much ears does it have on Hyde? And with the key is to always be aware that all of the shapes that you are placing actually have a height and width to be linked to the other parts of the body. Their sizes do not just randomly put it, they need to be recognized beforehand. Now let's go finally for our last example, This time we made from my neighbor to I start drawing the head shape by imagining how the whole head should fit without the herd and the head. Then I start placing the facial features as I go on the eye as a key point of proportion reference. See how the Id and the head is at the end, six eyes tall. I keep on adding details. Now, easier to me since I have understood the general shapes and proportions. First, see how I took the, her tails as a guide to place the width of the head, including the herd. The thing here is to know that there isn't an exact formula to follow, but a set of principles that put it in action will serve the need. I now calculate the overall body height based on the head, including the head on it. Proceeding to drop the dress, the arms, and the hands, and finally deported. I now check on the overall width proportion based on the purse, comparing the original reference picture to what I'm drawing. I also make sure that the hands are corresponding to the other parts of the drawing based on the reference and guided by straight lines that are showing how each part relates to the other. Finally, I complete the drawing by taking in consideration the shapes of the legs and feet and placing them as similar as possible to the observatorce with the correct proportion. Post the class, take time to practice all of the talk subjects. And whenever ready, follow me on completing the character from your class project. I know you have learned a lot of new stuff that you're still chewing up. 14. Our Class Project: Chihiro and Haku: L A s. By now you should be able to row your complete character by having applied until this moment the complete three step process of the general to particular principle. And having kept proportions on mind, it shouldn't be a problem to go. I know you should be excited to add all of the details you can, so your character looks great. But just wait a bit to the next part of the class and add any yet. I like to talk about it before you do it. Please don't look at the next video until we're both in the same page. Once you have finished your characters class project, let's continue to the last part of the class. 15. Lineweight: Good work. But now you have made most of the overall amount of the class project and learn most of the class topics. See how when having the correct tools and enough knowledge, your confidence on drawing have improved. You have started your artistic path and now you're able to see things as an artist does. Doesn't it feel great to express what we draw? We simply use lines, right? They are usually drawn as a means to express something bigger than just the sum of them. But did you know that having consciousness and the way we draw them will also reinforce how our drawings will look at the end. Depending on your drawing style, your lines will varin in the approach class. They may also go from thinner to thicker and from lighter to darker. Having control of this aspect will de take different final looks for your art piece. There are two types of finished looks that your line weight can give to your render, drawing variation and dimension. Line variation is achieved by allowing your stroke to naturally go from thicker to thinner. You can variate by going back and forward. They will make the overall look of your drawing be stronger and a lot more interesting than a regular drawing. This method is the one most manga cast used when in kind manga pages and most of any many meters used to clean up their drawings. It's not such a demanding or thoughtful task, but when trying it, you'll see the difference. On the other hand, lines made for dimension proposes are the perfect way to express a bit more realism to your art piece. They will make really interesting your drawings, since they will stop looking flat. To achieve them, you just need to make your strokes on thinking. What are the parts of your character that are closer or farther to the viewer's look? For the lines that are closer, vari as you please. To be stronger and darker. For the ones farther away, Making them lighter or thinner will make the difference. This line work technique is usually used by a lot of comic book artist. They can really trick the eye with three dimensionality to see over an artist's work. To sometimes use one of these other times, the other one. It shouldn't be a surprise either to find a T effect of line variation on a line dimension work or vice versa. This is a flexible choice. It's free for the artist to create his or her own style as he or she wants. Pick the kind of line you'd like to your class project to have and apply them by making another drawing on top of the previous one. Like the under drawing technique. Or lightly erasing most of your drawings so you can still see previous strokes, but now have room for the new ones to come practice this apart and in your future drawings, you'll be able to do it naturally when drawing on the approach you like the most. 16. Basic Shading: We have come to the last part of the class, You've got really far at this point, don't you feel proud of yourself? We both share the same passion and you can't sit before having learned everything you can. That's great. Shading is the medium an artist uses to express volume, dimensionality, and light. To learn how to successfully apply it, it's not enough to just copy from the observed subject matter, but to understand in a complete level how the shadow is related to the volume of an object. For like to affect the subject matter, we must consider where is the source from where it comes from. If you're observing from a real life object, the placing of shadows will be easier to understand. But if it is from a two dimensional reference picture, like an Anime character, at this time, considering the light source from a bi dimensional source and also placing everything on top of a two dimensional surface like paper. We'll need our minds to think about it as a tremensional process despite of the two dimensional references. This is how light and shadow works. Let's imagine we have a volume line on the floor. Depending on the light source, the shadows will differ. But the overall shadow will be projected to the opposite from where it comes. There are two types of shadows, form shadow and cast shadow. Form Shadow is caused by the darkness turning away from the light that has impact over the volume of the object. While cast shadow is the projection of the whole objects form, caused by the light ray to the surface where it lies. Imagine it like a laser that when impacts your object projects stones. It can come from the sun, a light bulb screen, a wood fire, et cetera. Depending on how potent the laser is, the manner of shading tone your object will have will change. If the light rays are really ag, then they will fit your volume surface with a lot of light. The form shadow won't be too much over the object. On the other hand, if the light rays are not as powerful, they won't feel too much of the volume surface. There is going to be a lot more shadow over the object's volume. When applying this to your drawings, you need to make this process inside your head. It's a really interesting and fun exercise to do, and intuition takes a big part of it. Trust it. If there are mistakes as always, just erase them and look for what feels right. Following the previous principle, expressing shadow can also be made not only by using tone, but hatching. And cross hatching it can give you a stylized and cool, interesting look to your drawings. Shading may be a critical part of the final look of your picture. Practice it before applying it. And scanner, save your file as a vac up in case you have done something that you will regret later. All right, it's time for us to finish the class project. Look on a class project, demo and practice these concepts on different ways than your class project until you feel confident about it. Then go to your character and put down the shadow. You can put the ones you look at the reference picture, but if you feel adventurous, it will be great to see different direction shadows than the ones looking the reference picture put in shadow is something fun to do. Feel free to also choose between using tone hatching or cross hatching. It's up to your style. I'm dying to see your work. I'll be waiting for it to be uploaded on the class project section. 17. Congratulations!: Congratulations, you have completed any illustration drawing. Made easy class. If you now feel excited about drawing your favorite characters and know your flame of interest into keep learning drawing is a bit stronger then I feel I have succeeded. Thank you so much for taking this class. I'd like to share my Photoshop pencil brush for anyone to use it. It's a variation of one of Photoshops latest brushes. Please remember to pose your class project. I'm sure all of your class partners will love to see it. I'd love to see it too. If you have any questions about anything, please post them on the class. I'll be waiting for them. And finally, I'd be so thankful to you if you will help me giving this class a review, that way you can help others on knowing what to expect from the class. Thank you again and see the next one. 18. Class N° 2: How to Have The Right Mindset For Art and Drawing: Lots of guys and welcome to this drawing fundamental class. This time we're going to talk about the tips that I can give to any art beginner that is craving for useful and practical information. To start with, the right foot and the right mindset, their art path, they all come from a lot of research and massive trial and error, all from my own personal experience. I know that most of them are going to be of great health because they come from someone that is just like you. Someone that also yearns to effectively communicate and express through great art and great drawing. You don't need to have any previous knowledge. The class fits better for every beginner artists. But sure, intermediate and advanced artists will take something useful out of the. The ogle of the class is to bring you also clarity on what's the right mindset to have as an artist right from the beginning. How you should think about art and drawing for improving and success. And to help you organize your ideas, to know where you are right now and where you want to go. Without further ado, let's get started. 19. Make Art a Part of You: Number one, make art a real part of your life. If you want to become a successful artist, all of the skill that you want to have won't be really achieved. If you don't put into the needed time and effort to accomplish it. Time and effort doesn't really mean you'll have to struggle or suffer the whole time while learning. It just means you'll need to be patient to put yourself into enough practice to nurture the skill you want. Please be aware that you need to keep on drawing until it smoothly becomes part of you. Make it as natural as eating, showering, or sleeping. You can eventually see how through time your talent flourishes. There's no need to put too much pressure on yourself. You can practically start by dedicating just a couple of minutes a day, which will work even for the busiest person. You'll notice that even when your schedule is very tight, if you just dedicate a couple of minutes every day without pressure, you'll start to naturally make it part of your life. Setting time aside every day to keep on drawing, and so to keep on having fun. 20. Your Sketchbook: Number two, half your sketchbook. We've all heard from many different artists that we should carry or we should have around a sketch book. But what the heck is actually a sketchbook? Well, a sketchbook is just a book that you can make yourself or you can buy from an art supply store where you can keep track of all of your drawings and where you're going to draw most of the time. The whole meaning of having a sketchbook is to make drawing really easy for you to be at hand. I personally love to have a lot of sketchbook and I really enjoy the fact that they help me to study and document all of what I've learned. In a way I can easily revisit them whenever I want. They also motivate me to keep on drawing because they remain as a witness of all of the progress that I've been making. Take a quick look at some of my sketchbooks. Here I have some studies, Doodles, drawings for fun, Perspective drawing, observational drawing, and even drawings I've made for the Sense classes. As you can see, they all look pretty interesting. I'm not showing them to Brac or to flex, but to give you an idea of how cool it is to have your own artwork very organized and how cool it is to check your own progress, to stay motivated, and to make it easy to share it later with other people. Those things are not very easy to do. When having your drawings on loose sheets of paper or very different notebooks, please go get at least one sketchbook and start drawing on it as soon as possible, you'll tell the difference in your life. 21. Knowledge is Not Skill: Third step, knowledge is just information. If you don't put into action nowadays, when we do have a lot of information thanks to the internet and the globalized world, We tend to think that when we understand something rationally and when we accumulate information over something we're actually learning, plot twist. We're really not what is truly going to bring mastery, understanding, and skill in something is you putting that information into action that way. Through time, you'll start to see all the things that you understood rationally. Your body and mind now will both produce the results you were looking for. Information can be separated from the doing. If you really want to acquire a new skill, please don't make the mistake of confusing information or knowledge with a skill. Skill only comes through you, putting that information into real practice. 22. Understand: Number four, great drawing is to understand, you can't really master drawing something if you don't fully understand what you're trying to draw. Let's say if you were to draw the human figure, a machine, a building, a creature, whatever, on multiple and different poses or gestures, you'll find yourself very confused and very troubled because you want to really know how all of these things are working each and all together. But this doesn't mean you're lacking on the quality of your artwork or on your potential as an artist. It just means that you don't only need more practice or experience, but you need to truly understand more of whatever you want to draw. For starters, the most common practice when learning how to draw comes from drawing from observation. Which may help you to develop the first very beginner skills to coordinate well your hand and your eye. But it may become a real problem later if you want to create your own art, like comics and animation focused on storytelling, Drawing from observation will be very impractical. It will imply that if you are just copying the whole time, you'll need to memorize each posing or gesture of the body, the head, the face, the hair, the clothing, and environments for any panel or scene. Can you imagine that will be probably infinite. It doesn't make any sense at all. How can you memorize millions of different possibilities of pulses and angles and then be able to recall it to draw? This is not very evident when you're learning how to draw. It is not a method of always copying. It is a method of approaching, drawing from understanding the subject to its depth. If you understand how the structure, the shapes, how are the details and textures, the perspective, the form, how is everything working all together from its core? You will now know the forces behind what you strive to draw. And you'll be able to pose and draw anything as you wish. Being able to switch positions, form angles, gestures, and perspective. Because you are thinking not in shallow terms. You know in depth how everything is working and you know how to use it to communicate whatever you want. As an artist. This is one of the most important advice that I can give to you. It doesn't matter if you are a beginner or an intermediate artist, because see that this is not very clear on the art community somehow. For a lot of us we don't know that drawing from observation or copying is something very different from drawing from understanding, known as drawing from construction or imagination. It is sadly usually taken for granted. Mastership of drawing doesn't come from copying. Copying is just the first step for learning and a means to go for something beyond drawing. Mastership only comes from deep understanding. 23. Ask Your Own Questions: Tip number five. Always ask your own questions and become a vivid researcher. Be someone that is not a mindless follower that is just doing what everyone else is telling you to do. It can become a very long headache because everyone always seems to have a different answer to anything you want to do and accomplish in art. If you were to search for learning how to draw any subject, let's say the human figure, you will find plenty of different methods. There are always drawing fundamentals behind them all. But there are always going to be different kinds of approaches. It may become very troubling and confusing if you don't have enough clarity on what to do, which is what often will happen to you, what it means substance, by asking your own questions and becoming a vivid researcher is please make sure that you have your own goals extremely clear, that you really know what you want to do. Start filling that feeling with different positions, with different points of view from different artists and different sources like different courses, classes, books, et cetera. All this knowledge is what is going to create your own method. When asking these questions, look in depth, what are the primal forces, the root, the principal forces behind all different approaches? Start merging them for creating your own personal view and method. Please be open to do a lot of trial and error. Make it a habit to be the one in charge of what you want to learn and how you want to do it. Not just an automatic pilot or an unconscious follower. You need to be thoughtful about any step that you're taking. You will only be able to do it if you're trying to look at the patterns behind all of the different ways. Try to create your own way. And for that, always be a restless researcher of the topic that you want to be a master of. 24. Don't Avoid: Number six, don't avoid your own weaknesses. I was there too. I started as a beginner, like everyone else. I used to avoid drawing hands. I used to avoid drawing full body figures. I used to avoid a lot of stuff. Trust me, I know you're doing it too. But that is a very damaging mindset that is not going to help you to improve and move forward to breakthrough and to grow. As an artist, you need to know that avoiding obstacles is always going to make you a worse artist than what you are today. Because it will never allow you to grow. It will only get you stuck. You can't keep on running away from your own dream, right? Because the only one affected at the end of the day will be you. Like life art is a path and not a destination and there are always going to be a lot of obstacles. Please approach drawing with the learner mindset. Acknowledge that you are not perfect and that's completely fine to become good at something or anything, whatever you want to do, Even if you have certain talent, a certain ability or skill on the base to keep on making better things, you will always need to invest yourself for improving it. The statement to yourself that you are a learner and that it is completely fine to make mistakes because mistakes are just telling you what to improve. Mistakes are only telling you that you should be paying careful attention to this or that for moving forward. This will keep on happening on plenty of different things, but that's the our path. You will have to constantly learn to do a lot of stuff to keep improving, Look at the bigger picture. It will pay off. 25. Bit by Bit: A number seven bit by bit. You can't eat a hamburger, a half duck, a pizza, and a sushi roll all at once, right? It is not as obvious as eating. But the same happens with learning how to draw. You want to produce great characters, great stories, great environments. You can do it all at once, because you need to tackle things each by each and learn how to draw them, each at their own pace. If you want to learn how to draw for animation or comics in manga, you'll need to learn how to draw each topic that is involved in it. Like hair, clothing environments, faces, human figures, poses. And that will only come if you don't go for drawing them all at once. You will need to tackle them each go step by step. And dedicate enough to each topic. Because if you don't, you will always feel holes on your art. You will always feel things off. Please allow yourself to enjoy the right. And to also be realistic, you want to learn how to draw. You want to be a good artist, but it needs from you patience. Learn how to crawl before walk. How to walk before run, and how to run before race. All of these other artists that you admire and that have great artwork have been there just like you. And it doesn't matter at what age they all went through the same things and broke through them. And you can do it too. You just need the right mindset. 26. Regarding Supplies: Number eight, materials and supplies are not as important as you think they are. I used to think that this one brush from one of my favorite artists, that this one pen or pencil will make my art improve over day and night. But blood twist, it never did. An expensive tablet or a set of copy markers will never make you a better artist unless you have enough skill to draw nice things. Materials and supplies are just tools. Tools, You'll be able to accomplish great things if you know how to use them well. But they are not the source of the knowledge and they are not what are producing the results. That is just up to you. Please invest enough time to learn how to draw well and to understand what you want to draw. Because that will be reflected in the quality of your artwork, which will allow you to draw well even with a stick on the beach sand. 27. Be Patient: We're almost there. Tip number nine, be patient. Can you relate? You've got all of your supplies and materials. You've set the space on your schedule. You have cleared the things you want to draw. You start investing a lot of time on drawing a day. You start practicing and day day, you start coming up with different things. Yet your results are not what you have in mind. You can clearly see all of this that you have to express to the world. That ****** you off. I've been there as well, and I can totally understand how you feel. I went to a point where I understood that good art is something that won't be achieved on a couple of days, weeks, or even on a couple of months. Drawing is a full path and it takes time. For some people it takes more, and for some others it takes less. But does it really matter the biggest, strongest, and tallest tree didn't grow from one day to the other, right? All of the plants do not grow at the same pace, right? What makes you think that if you just planted the seed, it will grow from one day to the other? What really matters is how you water yourself, how you water and nurture your skill. Start enjoying now that this is going to take a while and keep on practicing every time. Just not mindless practice, but thoughtful practice where you are being conscious of what you're doing and where you have a clear goal of where you want to go nurtured enough yourself. You'll see back all of your results. Probably you'll feel good about your improvement, but you'll still feel you need to improve. Trust me, even the most experienced artists, all the ones that you admire still feel they are not in the top of the mountain yet because we're always learning. 28. Don't Take it Personal: Number ten, never take it. Personal taking criticism is not comfortable at all, no matter if it comes from a fellow artist, a relative, or a friend welcoming someone else's opinion about what you do and how you do. It feels just intrusive and intimidating because it makes us feel vulnerable. Thinking one shouldn't pursue the art path or thinking one may not be good at art, resulting in people rejecting you or mocking you may pop up in the head. It is of high importance to know that the art path is something that usually goes against the status quo. Learning how to acquire a new skill takes a lot of time. Thus it's pretty likely people will say this or that which is not going to be pleasant, given, most likely to a narrow view and a personal preference from the other person. Receiving criticism is something every artist will face at multiple points of its life. It's not just wiser to be prepared for it, but to understand how to handle it properly right from the beginning. Criticism isn't just the reflect of what others think about the stuff. It is a reflection of others perception and not necessarily an accurate description or result of objective truth. However, putting aside the critics intention or kindness, a lot of it may be of great help because it may be pointing towards things you probably weren't seeing. That may be of unmeasurable help. Many times when we get to invest on the things we create, we cannot see it with a fresh expanding perception unless we get out of it for a good time. Other times, we just lack on the ability to point out the things that are off because of the information we already have in our mind and the lack of ability to think outside this self made box. Just strike this while drawing consciously, take a break of an hour or so from your artwork, then come back to your work, and most likely, you'll find flaws you didn't notice before. Learn to separate the way the person criticizes from what may actually be of help. We're going to be in huge advantage from fellow artists that are also learning but there are feeling hurt from receiving critic. You will greatly enhance your perception and it will make the amount of time you spend to learn and grow an art a lot quicker because you are not learning from only one head, but from many. This, of course, is better said than done. None of us want to feel bad about our artwork. We all tend as a self protective mechanism to run away from bad opinions, closing up to the things that may help us grow quicker. The result may hurt you and biases you, no matter if the one giving criticism is well intended. Like a teacher or a fellow artist or a friend who understands your struggles as from someone that is not experienced at all or that just wants to throw negativity. If you receive criticism pointed towards your art, it's highly important you learn to differentiate negativity from helping information. If we train ourselves to get some distance between the person criticizing or our personal insecurities from what we can improve, we may come up with something precious, objective information to our great advantage. A person giving criticism with goodwill and a nice attitude, it's really a scarce not mentioning it is also easier to handle. But a person giving uncomfortable criticism is not. We better focus on taking the best out of these complicated scenarios by acting wise. Don't take it personal. Thank the person for taking its time and giving you an opinion to your artwork. Keep strong and composed when receiving bad energy and focus on the information that may be of help. It will save you unnecessary drama and make you a better artist. 29. Take Advantage of Your Teachers: And we're almost there in case you have the chance to receive mentorship from a teacher. Take the must out of it. Many people take the privilege of having contact with a teacher for granted. Learning from someone that really passed. Most of your current struggles is something of great value, especially if the teacher is willing to help and wants to transfer all of its knowledge and skill. Which is priceless if the information is important to you. Sadly, people usually allow shyness and imaginary situations to hold back their interaction with the teacher because they feel insecure about their questions or annotations being silly, in fear of being mocked from the teacher itself or from fellow students. But nothing goes away from reality as much as this scenario, which is super lowly likely to happen, even if it were to happen, it depends on you to make it a big deal or not. If you expand the feeling of your reaction and proportionally, people will sense the energy and will make a big deal out of it too. But if you don't, and you take it by laughing at your own mistakes and not making a big deal out of it, people will respond accordingly to allowing it to be rapidly forgotten. This only assuming of course, the worst case scenario. However, you may be really surprised by finding out people are usually a lot nicer and less mean what you think on your head that the situation which is apparently protecting you may be instead blocking you from a great chance of quicker growth and higher improvement past the barrier of unproportional fear. And not very likely scenarios. You'll open the door of great possibilities like learning how to break through limited mindset and habits. Finding new unknown and unexplored references, resources, books, websites, and knowledge. And especially the opportunity to increase the rate in which things are understood, learned, and appropriated. Because of the direct and personalized feedback the teacher may give suited to your very on struggles. Wonders, needs which is not the same if compared to not having the chance to ask someone experience about it. The momentum this relationship and feedback may build will without a doubt, help you to overcome your struggles in a quicker manner than if you were doing it alone. To never underestimate the power of the experience and guidance a good teacher may have to share with you. This doesn't mean you should take all the information the teacher has to share as written on a stone or as an almighty rule and truth. But it means that it will help you to contrast your very own thinking, to notice things you didn't notice before. To know how to tackle them each, and to find a greater truth beyond the two of you. Much easier than if you were to find this truth alone. If you have a good teacher, please don't take it for granted. Then please don't let interferes to become an obstacle to your own dream. Take its knowledge, good criticism and feedback as something that definitely will bring a lot of growth rather than stress. Get rid of the things that he or she may impart that you do not consider necessary. So skip a lot of problems if you allow him or her to be part of your learning process. 30. Have Fun: Not that you made it through all the previous, you're now approaching drawing in a great way, but you're getting very tired and overwhelmed by the amount of things and the amount of repetition you must handle. Suddenly drawing art feels like a chore thief. Number ten, have fun while you're pursuing this career and this path to become good at art. You must also understand yourself. We human beings are not the same machines compared to the ones we create. The way we proceed is not by pure logic, but also through meaning and emotion. So keep inspired. Why? In the first place you admire art from other artists. Look at the things you really enjoy. Read comics and manga again. And try to reconnect to the things that made you inspire in the first place. Watch series movies and amuse yourself with the things that you love. It's always worth look for a balance. One day you can mindfully practice a lot of new stuff and new concepts for studying. Another day you can try to approach drawing with a pressure relax and allowing your intuition to be. We tend to think that the only way it is going to work is you through a lot of discipline and struggle, learning and studying through systematic repetition. But it is not going to work at the long run. Most probably this is going to make you feel anxious or to just drop. What is truly going to work is having proper balance is keeping inspired and making things fun and interesting for you. It is fine to be disciplined and to do things that you know you have to do, but you also need to know why in the first place you are doing that and to look to connect and have fun while doing it. 31. The Class Project: Great, the class project. Give yourself around 15 minutes to process all of what you've learned. After that, think about why you want to become an artist in the first place. Please write it down right after. Give a thought into what are the things you want to accomplish through art and also write it down. Finally, acknowledging that art is a path and not a destination, that it is fine to be a learner, to be at peace with making mistakes. Write down what are your current weaknesses and what are the things that you want to learn and improve to accomplish your ultimate dream. You can keep these to yourself if they are too personal, but I'd love to see your class project on their website so we can meet each other better. And maybe I can help you out on making your head clearer. 32. Class N° 3: How to Master Your Linework for Better Drawing: What's up guys, And welcome to this drawing fundamental class on line control. In this class, I want to teach you how to improve your quality and the kind of control you have over your line work by doing simple and easy to do exercises and understanding what are the common mistakes we tend to make when we do not pay enough attention to it. Creating more confidence, saving a lot of time, and erasing less. This class goes for everyone that likes to draw from beginner to advanced artists. No need to have any kind of previous experience. By the end of the class, you'll know how to make your drawings cleaner. And overall, well made line work is something that is usually taken for granted. But when conscious about it, you may show a lot more expertise. So what are you waiting for? Let's get started. 33. Don't Do this: Great, The first thing that I would like to talk about is beginner mistakes. What's the kind of beginner mistakes that everyone usually makes when they are learning how to draw. The most common one is to see a lot of short lines to try to describe. Form. See here's a counter of a face and look how furry it looks. Not only on the quality of this drawing itself, but how much confidence it is promoting on you. This kind of line work will affect you if you are constantly seeking, with this work, just to describe a line that could be described this way. You're always going to feel unsecured. You're always going to feel that you need to reinforce over and over something to be achieved. The other line work that I usually see on the inner artist is one that is super loose. This kind of line work creates a lot of dirtiness. As you can see. Which line would you think will be best? This one? This one here. What I want you to do is to start developing your own confidence. Because to draw a better, to draw better line work comes only through you being able to coordinate your hand to be do it. That comes only through practice. Not to say that if you're drawing this way, you won't have to erase because erase is just as normal as anything else on the drawing process. But to say that you will save a lot of time. You will make high quality artwork and you will also have much more confidence on your own skill. What I would like to do this time is to give you a brief look on how character phase will look if we were to draw on each of these different types of linework so you have a better grasp on what I mean. Same. All right, In here we have three different phases where we can perceive better how each line work works and what it does to your final result. Again, remember that depending on the kind of line work that you decide to go with, you will have different time that you will spend. It will also change the way you perceive yourself while drawing how much confidence you have. Okay? Not to say that to draw on these two ways is bad at all. Because every artist has its unique view. And we're all free to draw as however we would like to. But if you are a beginner, you should aim to achieve this kind of line work even if it is not coming right away. Because this only comes to practice and experience. If you would like to draw this line work, I will suggest on my personal experience that you should be able to draw all of them. All right, Because you're drawing it as a choice, not because you're limited to, let's say if you were to draw like this, because you can draw like this, depending on your render style, which vastly vary between each individual, You'll be always free to choose how you would like to approach drawing, but on this class I want you to focus on how to improve the quality of your linework. We're going to be reviewing on the next class lessons with different exercises, how to start getting better at drawing like this, to improve your confidence and the quality of your linework. 34. Learn This Before All: Okay guys, before going ahead with all of the class exercises that I have prepared, I want you to now make a drawing, pass the class, and make a drawing of whatever you would like to do. I highly suggest that you do draw something that you love, a character that you love from your favorite TV series or manga, whatever, And make sure that this drawing is easy for you, okay? Depending on your experience, it will vary. But try to select something that you feel that is not going to be intimidating for you. Draw it with your current skill level. Once you have finished that drawing, you're going to set it apart and you're going to unpost this video and continue with the class. Please make sure that you don't skip this step of the process because this is part of your class project, which I will be explaining better at the end of the class. Having said the preview, let's go with a simple exercise for you to start seeing the control you're applying to, the pressure that you may be applying to your artwork. What I want you to do is to please follow me on this demonstration. Just grab a pencil and your sketchbook or a loose sheet of paper. Follow me by doing the same as I do, because knowledge is nothing without action. All right? You won't make this knowledge part of you unless you're going to apply all of the exercises that are going to be described in this class. First, you're going to trace a very light line, then leaving somehow this space place the strongest line that you can possibly make. Okay? After that, between each other, you're going to place intuitive fleet. A pressure that will go between the lightest pressure that you can ever apply and the strongest one. All right, great. We're calling this one, we're calling this five, we're calling this three. After that, we're just going to fill these two spaces with also the pressure that will be in between them, 1-3 which are the softest pressure that you can apply. The neutral or medium pressure that you can apply. If you're compared to this, you're going to apply to. We're not focusing right now on the quality of the line work. We're merely trying to identify how much pressure you're applying over your surface. Now in 3-5 we're going to apply a very strong stroke, but not as strong as five, okay? And we're going to call this four. This simple exercise is for helping you start identifying which is the pressure that you're applying. If you are applying super soft, pressure is going to be counterproducing. Because drawings with this kind of pressure at the end where you want to render them to be a final piece are not going to look as good as another drawing that will display much more contrast over the surface. This also is not promoting you confidence because you still feel afraid of placing strokes over your surface. If you are going to apply this kind of pressure, 4.5 this is going to be too much stiff. I've seen this on students that I've taught personally. I've seen that the wrists and their hands are very strong when applying this kind of line work. What this leads is force not only to be confident to feeling unsecured, but to giving a lot of different wobbliness wins to your artwork to not have control over your own intention. Because if you're always placing everything too strong, not only the quality of your artwork will be affected, but you won't be able to control your hand, how much control you're having over the line work you're applying. This sounds pretty silly, but when drawing is not at all, if you do have control over your line work, you will be free to actually draw corresponding to your intention. Another aspect of drawing like this is that you will also struggle with your surface if you were to draw a sketchbook or a notebook, depending on how thick. Your paper, you will have a lot of trouble because you may damage, you may break the paper. And maybe if you have another drawing on the back of that paper is going to be damaged. We don't want to damage any of our precious heart. This kind of line work is very dangerous. All right? So what I want you to start seeking is that if you are in between this kind of linework to start searching to achieve this work. Okay, here is what is good, all right. This is the desirable in line work that we should aim to apply. 12 very soft, but you still have control over it, or one like three. That is the neutral must control pressure that you can apply over your surface because it will give you free control in your line work. You will have a clear intention and you will be able to correspond to your linework, your clear intention to draw good linework. Now we're going to make a simple exercise. Your body understands this concept. One thing is that you understand it rationally. Your mind just got the idea. Another thing is to put that into action. What we're going to do is we're going to grab another piece of paper. We're going to divide it into thirds, which are going to leave nine different spaces. Try to make them evenly. It's not a scene if you don't achieve it that way. But just try to do it as accurately as possible. Don't worry about the flying that you're applying. If it's w or if it's not as perfect as you wish, that's fine. What we're going to do is we're just simply going to repeat what we have just learned. We're going to start placing the five levels of pressure. You start identifying them all, despite the kind of line work that you've been applying till now. So that way you're going to make your mind conscious, your hand conscious of what's the kind line work that you're applying. So you will have the chance to now select the line work that you do want to apply. All right, starting from the softest line that you can possibly make to the strongest one with a very dense, very stiff hand, make sure that when drawing this line, have something underneath your piece of paper because you may damage what you have lying behind. Then between these two, you're going to place the neutral pressure, which is three. Now we go with two, we go with four. I'm just going to proceed to fill the page. Please make sure that you're going to do the same before jumping straight to the next video lesson of this class. Right far, you now have a better understanding of how the line pressure works. By now, your body should have understood better how it is to draw very soft lines. The softest you can possibly make and very strong lines, the strongest you can possibly make. That way to start working out your wrist and your hand to coordinate well enough with your mind. You do now have a better way to go, a better way to proceed where you are not doing things mindlessly. But you now know that you should be aiming to line work that will benefit on the long run, your final results. 35. Practice Your New Skill: Great, so what we're going to do now is to practice the level of pressure that you would like to go with. You may choose from 2.32 being a soft level of pressure but strong enough to have clarity on your artwork and confidence on your artwork. Three being the neutral one that will display more vibrancy. That will be more looking to the eye, but we'll also be confident. Same as the previous. This will vary depending on your personality. If you want your drawings to look lighter or to look darker, that's completely up to you. Just make sure that every stroke that you're placing, the pressure that you're applying, you're being conscious about it because you're controlling it. It's not something random. This is a very simple exercise. What we're going to do is that we're going to lose our hand, in our wrist, in our arm. We're going to place just wavey lines. We're going to create a giant doodle. You don't have to do it exactly as I'm drawing it in here, but please make sure that you're living space between each shape that this line is created. Okay? You're going to feel now inside different line work. I will start by filling in here diagonal lines. And remember, the whole point of this exercise is to start now practicing consciously the level of pressure that you're now applying and that you will apply in the future to the line work of all of your artwork at this stage. Don't worry about the quality of each line, just focus on the quality of the pressure you're applying. That's enough. Please make sure that all the line work that you are putting into the paper is going to have a lot of variation. Verticals, horizontals, purvi lines, wave lines, every kind of line. Because this also is serving us as a way to start preparing ourselves warming up for the next video, lessons of the class, I'm going to add a little bit of more shaping here. So I have more variation to make different linework. You can see I freely rotate the paper if I need to, it helps me to achieve the line that I'm looking for. One more time, please make sure you're applying the kind of pressure that you are now conscious about that you do want to apply on your line work. Not just play random lines, but make each line very conscious. Great, that's it for this video lesson. Let's see you in the other part of the class. 36. Great Horizontal Lines: Let's look about the straight lines. Now, if you are going to draw a horizontal line that is short, the most probably is that you won't have any trouble doing it. But the longer you make them, you will probably face this trouble. It will be curving. The, what happens in here is that most of us usually go and use only the wrist to draw. Our wrist movement is circular. That's why we create lines that are arching the longer they are. To solve this, it's enough to just, I'm going to use red color to add some contrast. Think about lines using your hold arm as a compact tool. You're going to use your hand, your wrist and your forearm all as a compact tool. You're not going to use it like this, but you're going to use it like this. All right? All of this is a compact tool. The longer you make a line, you will barely face this trouble. Okay? Lines are not going to be perfect, but they are going to be of high quality. I've prepare a simple exercise that I would like you guys to do. Follow me by doing the same as I do. All right. The first thing we're going to do is just to divide this piece of paper into thirds. All right? Three even parts. Try to make them as even as possible. If they don't come out as you wish they would, it's fine. Just proceed and use it. We're going to fill these three columns with a bunch of linework. And so we will be placing horizontal lines. Please try to make the space between each line evenly like this. If you have some missteps, let's say a diagonal line or a won key line, it's fine. Just keep on making the exercise. Don't stop the key. Learning how to draw lines, straight lines, no matter if it is horizontal or vertical, is that you keep pace. If you're able to keep pace while drawing them, we're going to make this almost natural. Your confidence on drawing them will also boost, you're not going to be drawing like this or like this or like this. You will have good results. Also, this exercise has been made for you to improve. It's completely fine that you don't have this kind of linework right now, that you're not able to achieve it perfect right away. It's completely normal. It's part of the drawing process that your linework is not perfect right now. But by following the practices that we are doing on this class, you're going to be improving it now. We're going to grab another piece of paper, and this time we're just going to divide it into two even spaces. Again, it's fine if it's not perfect. We're now also going to fill this by thinking now on our hand, our wrist and our forearm, all as a compact tool. All right, and keep the pace. If you do have to rotate your paper just like I'm doing it, feel free to do it too. It helps a lot to have better control on your line work. Great. Now let's move to the final part of this exercise. What we're going to do now is just to fill the whole page with only horizontal straight lines. This may be the most challenging for you, but the whole point of this is to help you if your lines are not coming perfect right away, just keep on practicing this. These exercises are meant for you not to only do this on this, but to storage them and have them as a source to come back to any time you feel you need to improve your line work. Anytime you feel you need to practice. Okay, If you do mess up, just continue. It's fine. When learning how to draw the line work, you should be thinking about not perfection but improvement. You can see in here that my lines are not perfect neither. But they are helping me to have control over my own line work, even if they're not as straight as possible. When it comes about drawing straight lines, I don't have a much higher final result than the average person. This is it for this part of the lesson. Now let's see you on the other video, where we will learn how to draw straight vertical lines. 37. Great Vertical Lines: Great guys, on another piece of paper, we're going to do the same, but in an opposite way. I'm going to divide this piece of paper into thirds and try to make this as even as possible. I'm not worrying about the quality of these lines, it's just fine how they will come out. What you're going to do now on this exercise is to fill these three gaps with just a straight vertical lines. As straight as you can, make them. You have some miss steps. That's fine. Just keep on drawing as we did with the previous exercise, just keep the pace. Don't worry about how fast you are. Okay, the speed comes naturally with practice and experience. Instead, focus on trying to keep the pace. How fast you become at this will be naturally developed by your own experience. Now let's go with another piece of paper and divide it into, what I will do is just the same. Let's just feel it the same. Remember, it's fine if you're not making it at the same pace I'm doing it. Or if you're not having the same results you would like to. This is a guide for you to practice. Now the final part of this lesson, we're going to fill the whole page with vertical lines. Remember that you draw vertical lines. It will be better if you use your whole arm as a compact tool, and there you have it. So far, you should have improved the quality of your line work, especially now on straight lines. Now let's proceed to see how the other straight lines could be made and to gain control over making them as best as possible, Let's learn how to draw diagonal lines. 38. Straight Lines Control: Okay, in this new exercise, I want to show you a way to start improving the control you have on your line work. What I want you to do is just to follow me on this exercise as always, and place two dots from A to B. You're going to be connecting the two dots with a line. It's fine if it doesn't come out perfect, that this line is not connecting this exactly. But just try to make it as accurate as possible. What we're going to do is to fill the entire page with a different lines on a lot of different directions. Especially for helping you to keep on developing your confidence, your line quality, and your line control. You're going to place horizontals, verticals, diagonals, everywhere. Okay? For now, I'm going to leave it like this. And what I want you to do once you have reached to this point, is to start drawing over each line at least ten times. Again, from point A to point V. You're going to be practicing the control you have over your straight lines. 12 345-678-9101 More time, ten times. Speed comes naturally with practice. If you see that I'm more skillful with this, it's because I've practiced this and have much more experience on drawing much more than you. One thing that I want you to look forward is to make this line as less thick as possible because it increases thickness if you are drawing over, but you are not being able to make the line accurate. But if you do the same line over and over on the same path you previously traced, it's going to be less thick. That way you can focus more on the quality and the control you are applying on your line work. This exercise can be done with all sorts of sizes. I've done these lines on short and medium lengths, but you can also do it on very long lengths. If you would like to fill another entire page with longer lines only focusing on longer lines, that's up to you. But right now, just note that this kind of exercise where you are going to be connecting dots. And after that, you're going to be drawing over and over the same line. Will be your aid for improvement on thinking about the straight lines, which are highly important as a drawing fundamental you will be constantly using in all sorts of drawings. I'm going to speed up this video to complete all this page, which I will also be waiting you to finish it After completing this exercise, Let's proceed to the other video lesson of the class. 39. Curves: Now the only thing that we need to practice is how to draw curve lines. Because we need to be able to correspond our intention with our hand and our strokes to any kind of situation. For this exercise, we're going to feel a complete page and what you're going to do is to first place two dots and then create any of these three shapes, S, the C and the U. Let's say this time I would like to go with the S. All right, now let's say this time I would like to go with the U. You don't have to be attached to draw them exactly as a letter, but the letters are just a way to refer to them, to be able to identify these variations. But what you're going to do is to focus into the different shapes that can be made by following this kind of behavior. This is another variation from the S shape. This is another variation from the C shape. Okay, please fill all of this page by placing two dots on different directions. I'm placing a lot of different shapes based on these three shapes by doing it, following your intuition, and trying to make them as varied as possible. We see here how these four lines are creating different shapes based on the S one or in here how I'm creating the U shape. It's fine if you're not always linking the dogs exactly. The dots are just a guide for us to start setting our intention and to develop our control. Don't get to attach to them. If you are not being as exact as possible, it's fine. There's just a point of reference for you to keep on practicing and sell to keep on improving. Great. Once we have completed this page, we're now going to fill another one. But this time we are going to set a clear intention on what we're going to do. We're not simply just going to connect dots, but we're going to do it mindfully. An example will be, I'm going to connect these three dots by doing this arc shape. Okay, For this exercise, I would like you to use 3-5 dots. In the previous one, we only use two. For this one, we're going to use this. I've placed this three and so I want to correspond to the intention of making an org. That's what I'm going to do without pressure. I'm keeping pace now. Let's say I do want to connect this like this, and so that's what I'm going to do. Okay, Let's say now I want to connect this one like this, like a C shape. So you're going to fill this whole page. But please remember that all of the lines that you are going to draw by connecting these dots are going to be drawn by setting a clear intention of what you want to draw beforehand, just like I'm demonstrating. Great guys, this is it. Now let's proceed to the next video where I'll be explaining what's the class project for this class. 40. The Class Project: Okay guys, now let's go with the class project. So remember at the first video lessons of the class where I told you to select something to draw, easy to draw, such as a not very intimidating character. Now what you're going to do is to redraw it. This time you're going to do it after having finished all of the exercises that we just learned throughout the whole class. That way you're going to see in action all of the control that you've gained over your line work. So what I want you to do is to now put in practice all of what you have learned, such as being conscious about your pressure, drawing straight lines like verticals, horizontals, diagonals, and also curve lines. The next video lesson is a demonstration of the class project. What I'll be showing, what's the kind of mindset that I have by thinking on all of the different topics that we just learned. So it's up to you, you may go and do the class project before watching it. Or if you feel you would like to see my approach first, then go ahead, watch the next video. And after that, complete your class project. 41. Final Demonstration: Now I want to exemplify. What's the mindset that you should be having to apply on your class project? How all of the topics that we previously learned throughout the whole class are going to be applied in a way we put them all together so you understand how they are going to be improving the kind of linework and the quality of your line work. When you're actually drawing, you can start making this knowledge of. The first thing that I want you to understand is that your lines don't have to be perfect, All right? There's no need for you to make all the lines right away, that you can still make a silhouette by putting different lines together. Okay? Just like he did. So the first thing that this allows us is to relieve ourselves to the feeling that everything should be perfect. You're looking to make things as best as possible and not on perspection, Okay? As you can see in here, as I said previously, to erase it's completely fine. It's part of the drawing process. You shouldn't feel guilty if you need to erase. See in here how all of the kind lines that we learned previously are being placed together. Diagonals, curves, shapes, shapes, shapes all in. Another very important thing that you must think always when making your class project. Putting all of this knowledge together for future drawings is the pressure you're applying over your surface. Please never lose of sight. But the kind of pressure you're putting its key, it's decisive, all right? Because pressure as learned previously, is what sets the confidence that you also have while drawing. If you feel afraid to draw, you're probably going to make very light strokes or very strong strokes. And that is also going to limit the kind of strokes you're going to make. We don't want to be limited, we want our joins to correspond to what we have on our heads. So that's super important. So remember, pay attention to the pressure. There's no need to feel that you need to achieve perfection, brother, the things as best as you can possibly make them. All right, You can see in here a lot of different line work on all of the different kind of lines that we just learned in the previous video lessons. So I'm just going to sign on here with red color. See all these diagonal lines and curvy lines. You can find in here the U shape that we learned on this hatching on shadows, All of the different diagonal lines. See how all of the different line work that you can find in here corresponds to the different exercises where we were getting ready to draw. I want to make this more evident. I'm going to draw the same character on how different it should have been from this one that we just made. Same as the first demonstration. If I were to draw super loose, super thick lines, I will be over thinking the whole time. You can see in here that the drawing comes right away. A bit messy. It feels harsh. If I were to make this drawing with the other kind of line work that we learned, short lines, it will still feel very off. Now that you know that this is the kind of line work that won't be serving you to draw better. You now have a guy to know where you should be going, where you should be aiming to go, and how to actually gather. I'm just going to fold the page for making it more obvious. What's the kind of line work that you would like to have on your artwork? 42. Final thoughts: All right guys. Thank you for completing the class. I hope that all of these exercises and all of the knowledge that I had to transfer to you have been of help to help improve. Now I would like to give you some advice that maybe I wasn't clear enough on the previous videos. So the first one, always take your time on drawing. You may have seen a lot of speed up videos on all of the video lessons of the class. Probably you may also seem that I may be skillful on drawing certain kind of lines different than you. And this is just because I've been practicing these exercises, focusing on this specific topic more time than you. What I want you to think about is that you need to give yourself time to improve. You need to allow your own process to make that happen. You must not rush yourself. You must always do things, taking your time and doing it in a way you allow your own process. So you keep on getting better at your own pace. You shouldn't be trying to be like me. Instead, you should be trying to take this knowledge and make it yours. Please don't rush your process. Another thing I would like to talk about is you don't need to make all of these exercises perfect. If you look carefully, neither eye was able to make it perfect. This kind of exercises are meant for you helping you improve. What you should be thinking when approaching them and making them is to do your best and make it as good as possible, every time through repetition. You're going to get better to the point that it may become some day second nature. It's not about perfection, but it's about improvement. Now I would like to make some disclaimer on something I wasn't very clear at the beginning of the class, which is this class has been made on an specific way to approach drawing where you're not going to be making under drawings and neither direct drawing, This approach is you focusing on making almost a render final piece. This is not a rule at all. All artists are free to choose the way they would like to go with. I don't want you to think that there's only one way and that mine is the only one that is correct. Instead, I just want to share what I think it's vaiuable and what I think that is going to be helping you to get better at drawing and get better at your line work. By knowing how to control your intention and by knowing how to control your lines. You can take all of this and benefit the must. Finally, the last advice that I would like to give you guys is that at the end of this class, you shouldn't worry about being a master of your line work. But you should feel glad that now you have enough resources and tools to keep on improving the kind of control you have. And to keep seeking to make your art better. Which all of these tools are given to you for you to practice them enough and come back to them anytime you feel you need to improve any of these aspects. It's just a mat of seeing this as something that you can get back to. Because let's be honest, only practice is what is going to make you get better as something. Again, thank you for taking this class and I hope that all of this has been helpful for you, see on an art. 43. Class N° 4: How to Improve Your Observation for Better Drawing: In this class, we'll be learning a lot of available information from the basic, like unleashing your intuition for better site to more advanced, like understanding how your intelligence works. When you draw, we will clear art biases through great exercises, learn how to see in negative space, and get through desired thinking patterns. The class was met with beginners and mind, but experienced artists will have a great opportunity to improve their fundamental skills. By the end of the class, you'll understand how your mind works to use it to your favor. Unlocking great observational, improved conscious drawing skill. Everyone can learn this. So why don't you pick up your pencilin. Let's get started. 44. Welcome!: What's up guys, and welcome to another drawing fundamental class. Through my experience, I can say that drawing is just the sum of two simple things. The first one to know how to properly observe to understand something and the second one to be able to coordinate your body to represent what you previously observed. Those two simple things are what? Drawing at essences, both equally important. In the previous drawing fundamental class, we learn the second aspect of drawing. How to coordinate yourself to represent things on paper, which is one of the first skills an artist should be able to work with. Artists, we beginners are more skilled at this, others need to reinforce it. We all start at different places. No matter the H, it just requires you practice things until you get good at them. Now we're going to focus on the other named aspect of what drawing is to learn how to properly observe. Let's start with the first exercise of the class. Please take a piece of paper and divide it into four even parts. On the first part, you're going to draw a couple of eyes. On the second one a simple tree. On the third one, cat's face, and on the fourth, just a flower. Make sure you're not going to use any kind of reference. You're just going to work based on your personal experience and the information or visual library you already have in your mind. All right, once you have completed this exercise, we're going to continue with the next Do lesson of the class. Ready? See you there. 45. How to Properly See: Without having a reference to draw and not seeing anything, you probably came up with a drawing that looks like this, oversimplified, and mainly representative of the characteristics of an object, but not representative of proper observation. I introduce you now as icons or representation of things based on simplified characteristics. We already have a storage in our mind characteristics that tell us ahead of what a thing is. Without the need to spend a lot of time recognizing the things information, they usually show up as an unconscious and automatic process. When drawing, becoming a big obstacle for all beginners. Science tells us, Nat, is that this is the result of a survival mechanism we have developed through millions of years back in the day. Your life or your drives lives will depend on your ability to identify quickly and efficiently how, for example, smubery will be poisonous or to immediately respond to life ret, in situations like encountering a very long, sharp, fenced, venomous reptile, or a colorful and small acne. Which by this will result in the end of your life. You get the idea right. Knowing this icons appear out of the sen as a survival mechanism that reflects on drawing. Not giving our art mindful observation, but responding reactively to what the task requires. This is the most common tendency when we don't have that much experience upon observing. Just like when we were toddlers, we love to draw. But even then, the simple landscapes with the classic clouds, mountains, houses, trees with all of our family around were drawn, held by items. If we compare previous drawing with their counterparts from reality, we'll now find a lot of inconsistencies. So how much variation each of these things have and how subjective and oversimplified it may be. However, if you, it means that depending on your experience and drawing, somehow you're aware of this. Icons are highly using our society nowadays to make easy to understand representations of reality for effective communication. They are all around, like in pastors, apps, websites, flyers, pretty much most graphic design, which is everywhere. They are not bad at all. Depending on the context, they may be even very useful. What's bad is compulsively draw what you think. But your mind is making you to do without a single thought and not to draw what you actually observe. Nonetheless, be careful to don't confuse icons with symbols. Remember that icons represent main characteristics of something. Symbols, on the other hand, represent socially established concepts. Very good examples of symbols are the Heart, the Christian Cross, and the Union. Again, they do represent complex concepts, not directly object. True characteristics like Ms, do I know all of this is a lot of information, so feel free to rewatch the explanation as much as you need until it makes sense. 46. Don't Draw What You Think: All right guys now making a demonstration of how icons can get in the way of proper observation, which reflects on bad drawing. All the previous may feel like too much theory. If not seen in action. Let's see it right away. Please follow me. Withdrawing the same. As I know, the reference image looks complicated, but we won't be drawing at all. So don't worry, we start withdrawing the overall head shape until we complete. If I were to draw this eye badly because of icons, I would not be mindfully thinking on what I draw. But I would just let my mind through its automatic processes to fill the lack of visual library. See how the eyelashes, the size of the pupil and the al, eye shape look somehow balanced. But when compared to the reference, they are not resembling accurately to it. Drawing based on the general idea of what you would think eye looks and not on how it actually looks. Don't confuse this as a bad drawing because of the lack of skill. Because sometimes you may observe well, but your drawings won't look very good because you'll need more time to practice for better drawing. Instead, think about this as a bad drawing because of the way you impulsively approach it. It needs accurate and mindful observation. All right, let's not draw the eye on the left to show you how drawn with good observation will look. First, pay careful attention to the general shape. Remember, it shouldn't be drawn without previous thought because it leads to icons. Take your time to observe the lines. Notice the redems which are giving form to the subject. Second, pay attention to the size of all of the parts of the eye shape, like the eyeball, which is the white visible part, and the pupil which goes inside in the middle. I am mindfully paying attention to how one size relates to the other. Do you sense the difference between both run eyes? Now, I bet you do. But wait, don't think you're done. Even if you've identified this mistake, it is not a guarantee you're now going to complete overcome falling on it. As I previously suggested, we also need to practice to develop the skill we want. Instead, this means you're not conscious about it, and that every time you're saying you're making this mistake, you'll not be able to tackle it right away. For example, when I drop. I'm not thinking the whole time about this because I've come to a point from practice where I don't urge to, I make this mistake from time to time, but it's very easy for me to identify and tackle it right away. Please notice that the way I describe it through lines, what I observed, which you can see on the drawing I just made of a correct I, is just my interpretation of reality. It is the result of what I was paying attention to, what I decided to place on my drawing. Every artist may have variety as we all have different and unique points of view. We all may place the same parts of a drawing from the same reference picture, but we all decide how thick or thin each line is. What's the level of veto from a reference picture we want to include on our art piece? If your drawing may look different from mine, it's completely fine if the previous example wasn't clear enough. I'm now going to show you another quick example up here. Maybe you have previously drawn very simplified eyebrows when drawing other phases, not necessarily realistic. Even if it makes sense on the drawing, you should be paying careful attention on how everything is going on when observing the reference source. Because you're drawing from observation and you are learning how to observe. For example, I can see that the eyebrow has a lot of hers, so I'm adding proper texture. I can also see that it looks very thick. I make sure it reflects on the drawing. All right. Now look how both eyes and eyebrows are contrasting each other. On one side, I approach drawing without proper observation. And on the other one, I made the effort to properly observed how each shape works and how each line dim and texture resemble the most the observed source. See, I think you're getting it now. 47. Should I Draw Realistically?: That was a lot, wasn't it? It may be very natural if you're not confused about the nature of icons as a mistake on art. You should be wondering, is stylizing what you want to draw? Something bad. To do this is because you are now identifying anything that is not accurate to exact observed reality as a mistake. Well, let's clear that right on. To draw stylized stylizing shapes and line rhythms from reality to come up with interesting ways to interpret it with a personal touch or to draw existing characters or environments from your favorite animated shows is not a mistake at all. But it should come from a point where you already know how to properly observe how don't allow items to bias you. You don't need to be a master of realistic drawing, but you should be able to observe things as they truly are. You can face the challenge with a fear to produce things at a decent quality in order to become a skilled draughtsperson. That is, when you'll be able to draw stylized characters or environments as a choice, as a result of your preference and good observation of skill, not as a result of limitation. Poor observation, fear and lack of skill because you felt you couldn't do it otherwise. Sadly, that's a very limiting place to be as an artist because on art, what we want to do is to express ourselves as much as possible, not to feel constrained when doing again, it is not that you should be a master of realistic drawing, but you should be able to properly observe things as they are. You can also have enough control on your hand to draw things not perfect but very similar. The better you're going to become a drawing from reality will only come. The more you practice, then that's the right place where you should draw cartoony or stylized once you've become a great analyzer with a sharp eye for anything you wish to draw or coming icons when observing. Because ultimately it will make a slice drawing so much easier to do. 48. Release Your Intuition: Science used to think that we, human beings, had certain tendencies when using our brain. It was well known that the left side of the brain was in charge of everything related to rationality or the intellect. And that the right side of the brain was in charge of everything related to creativity and intuition. New evidence, however, suggests that this is not true at all, and that we actually use our whole brain to complete any kind of activity. Yet, this fact does not deny that we do have certain tendencies when we act, depending on the kind of focus we put into and the kind of activity we want to accomplish. If you're working with the rational intelligence of your brain, no matter where it is located, you're going to have certain results different than when you work with your intuitive and creative part of your brain. Or when you work with both of them. Which is the best scenario? Honestly, it doesn't really matter where disabilities are located on our brains. But what truly matters is that there scientific background that demonstrates these intelligence do exist within us and that we can use them to bring the most out of our potential on the wise. The situation of drawing undesired icons is just the result of thinking through only your rational or intellectual intelligence you should start cultivating. Now have to think with also your creative and intuitive intelligence. You can unleash your full potential because great observation only comes from using them both. Great news. Or that there are plenty of drawing exercises to a star switching the way you approach drawing. And thus a story using the intuitive and creative intelligence of your brain too. Thanks to Professor Betty Elwers, this topic became very well known for the past couple of decades. On the art community, Mrs. Betty wrote the book, Drawing on the right side of the brain, which you can find on most bookstores. Yet if you don't have much time to read it, we can still keep it simple, but effective in here. Get ready, because we are going to review some of the best and coolest exercises that I personally hand pick because of their high quality from her book. In the following exercises, we'll be exploring how the things we want to draw are not the meaning we think about them when drawing. But are the shapes, form and texture that come from truly observing how they really look? Remember to please follow me in all the video lessons and all its demonstrations by drawing the same as I draw. That's how you guarantee. You just don't rationally understand, but you experience what I mean on each explained thing. 49. Upside Down: The first exercise for releasing your creativity and intuition is to draw something upside down. I've chosen this picture of a bunny because I find it simple to approach at this stage. I want to keep things simple for you. It doesn't matter that it is a stylized picture and not one from reality, because unconscious icons can come up at any stage. Let's start. Don't pay too much attention to all the different textures of the fur. We're just going to describe the body through thoughtful lines, and that should be enough. On these demonstrations, you can notice that there's a faster speed for the sake of brief and efficient explanations. But you should take your own time to draw your own picture as much as you need. Just pause and pause at any time of the demonstration. As you navigate through your own drawing, you may wonder, why the heck are we drawing Like this long story short, drawing upside down helps your perception to don't attach any meaning to what you draw. Because the part of our intelligence that processes observation and creativity is now also activated. Thus we end up with more accurate results. This is why we shouldn't also switch our picture direction, either being this from the reference or being this. While we draw, make sure it remains upside down for both. As you draw until you finish, I know it feels a bit strange or uncomfortable to draw, so try to relax your pace and your hand to mindfully complete your drawing. The drawing shouldn't be perfect either. Make sure you're focused on observing each line and shape at its best. The main goal is not to come up with something to hang on a wall, but to train your mind to see differently to what you're used. Till now, we have our bunny. You can always do this exercise as much as you feel you need to because you'll start feeling the difference the more you mindfully practice it. Don't feel limited to just draw the same picture. You can always draw anything you would like to, just make sure it is easy for you and that it is upside down. 50. Mirrored Profiles: All right guys, we want to keep telling our brain to stop thinking through icons and to start mindfully observe what's in front of it. For this second exercise, we're drawing the counter of a profile phase. You can base yourself on any reference picture. Just please do it based on observing something and not from memory. I'm making sure that this counter fills the whole page. Draw this, We must mirror the previous drawing, but this time not looking to the reference but to our drawn profile face. Here's where the magic happens. Same as the previous exercise with the body. This exercise forces the brain to progressively activate the intuitive intelligence. Because you are not attaching any meaning to the parts of the drawing or to the drawing itself, resulting in breaking all biases of items. You can do this exercise on any medium you prefer from digital to traditional. Just pay careful attention to the way you think about the counter, especially when drawing the opposite phase in front of the other one. Of course, make sure that if you're going for digital, you're already used to the feeling of drawing like that and know how to manipulate your preferred software. Now let's take advantage of all this energy we've gathered and let's take another piece of paper. We're going to draw another version of the profile face, but now we're exaggerating the facial features as much as possible. Please don't look at any reference while drawing besides your previous drawing. The same force that happened before with the mirrored faces should be happening. Now the meanings you've attached to the standard profile phase start to be disrupted. Because you are now identifying that other counters and shapes can represent the same thing. Bigger noses pronounced slips or different chins. Well represented in here. They take us to the original phase structure. But it looks quite different from it. Isn't it funny we still perceive for a second drawing as also a valid, recognizable phase. You can always try this exercise by variety of facial features into different shapes to come up with more interesting and varied versions. Remember that successful drawing requires you to draw with both of your intelligences together. We're done. Carefully look at the drawings. Do you see the negative space between the mirrored faces? It feels like a cup, doesn't it? 51. Blind Contour Drawing: I want to keep you warmed up. Let's do another exercise called blind counter drawing. Once again, with this exercise, we're going to enhance the intuitive part of our mind to interrupt automatic mindless processes. Okay. What you're going to do now is to look at one of your hands with your remaining free hand, all of its counter. Without looking at your drawing, you must fix your side to only the hand that is steel. Neither will you be lifting your pencil trying to draw everything at a single pass. Please be honest about it and don't look at your drawing, otherwise, you're going to break the whole force. The exercise has, make sure you watch and draw the whole time. All the detles inside your hand, like the wrinkles and hair on each knuckle and finger. If you raise your hand by mistake, don't freak out and simply continue with the exercise the same as the previous exercise. The point is not to accomplish a Polish drawing, instead we're exploring and opening a new way to perceive. Take your time to do it really as much as you need. If done the exercise properly, you should be observing a lot of wrinkles, hair, and even a skin pours on your hand. Your visual perception has been reactivated. Just focus on drawing the most visible ones. If not, you may get caught in too much detail oversimplify, but don't complicate yourself with too much of it either. Great. Another version of this exercise comes from drawing a crumpled paper. Making sure of not seeing your drawing while doing it either neither lifting your pencil and carefully observing all the crumples and counters the paper has. It can become tricky if not approached correctly. A great way to take the must out of this version is not to approach separating inside and outside counters while drawing. Just do the same as when drawing. The hand navigate back and forth through the inside and outside counters until completing the whole crumpled paper. You can always vary between both exercises as much as you want to. Now I bet you're feeling your intuition and observation flowing better, doesn't it? Feel great. 52. See The Negative Space: Up to this point, you've got a lot of new information and energy which needs to be well rounded and concluded with the important concept of negative space. Negative space in terms of drawing is the way one can see the contrast between two forces, the object and the space which surrounds the object. But it needs to be interpreted in two different scenarios. One that comes from the silhouette of the object when contrasting with its space. A second one that comes from the space that is inside or in between the objects parts, all space that is outside, what conforms the object is what negative space is, not that the space is negative, but that we consider the object as the positive force from two poles, since it is the first thing we pay attention to while drawing, which leaves just the other pole, the negative, where space remains. But what is this of actual use? Well, when drawing negative space or brain literally becomes speechless, since perception of space is something really difficult for a brain to describe through the intellect. Give it a proper shape and name, because it is just so broad and big that it is probably infinite. There's where the magic happens, turning on the intuitive intelligence that lies within us. Which besides a spatial perception, is in charge of observation too. Okay? Too much talk. Let's go with the final exercise. A simple drawing of negative space of a chair. Choosing to draw a chair is not random at all. Is one of the objects that we usually perceive at an early stage of our life. Which we quickly analyze and store on our mind, given by the nature of its simple structure and form we're going to describe. Counter, not thinking on the object itself but on all the negative space. See how I'm drawing the chair by not directly thinking on it, but by focusing first on the outside counter of the space that goes around it. I'm also thinking on the negative space that goes inside the shape of the object. As I explained before. Be very tempted to draw this on the approach you've already experienced and practice before, because you're probably not used to think about negative space. Please avoid switching approaches because feeling a bit uncomfortable while doing this is what actually exercises the intritive intelligence of our brain. Just focus on drawing the negative space counter rather than on drawing the chair itself. The reference picture of the chair we are drawing describes a non common design, which will force us to separate our intellect from the classic chair idea to awake our visual perception, to recognize it as it really is. For the sake of this class, we're drawing this from a referent picture. But I also invite you to do this exercise from observing real life objects. Since the space is better experience on its three dimensions if observed from direct reality. It is not that the exercise won't be useful from a picture, but from life drawing it will be much easier to understand. It is a great idea to draw other objects that have different form, but they are all the same. For example, different kinds of plans, kind of birds, different kinds of dog breeds, and so on. Once you've experienced the benefits of negative space, you can approach drawing from negative and positive space. Usually observing the object as your main source first. And then observing the negative space that surrounds it or is inside of it later, which will make your drawing piece much more accurate. Await your eye to be sensible to all counters and shapes, and finally, help you to fix the observation of biases you had. 53. Putting It All Together!: I bet you now want to put into practice everything you've learned, especially after having awakened a lot of your intuitive intelligence. So for this part of the class, I have prepared two quick demonstrations where I want to show you how I like to approach realistic observational drawing. Which is not focused on making a great rendered piece, but it's meant as an exercise for putting in paper the result of good observation and the concepts learned on the class. Pretty much like the previous exercises. The following demonstrations are about training the eye to coordinate your instruction and mindset and not to create a final art piece. Having said the previous, it is not a must. You follow me by drawing the same as I draw. I just recommend you analyze very carefully all of the shown and learn by studying the things you may pick up that may serve you the purpose of learning how to properly observe, properly draw. After that, having observed the way I approach the drawings, I do recommend you now draw, but only if you feel confident about it. If not, then try drawing simple things and progressively increase the level of difficulty to some you feel more confident to approach by applying the mindset learned on the class. We all learn at different pace and we all have different levels of experience according to our interests and practice time. Just focus on applying the learned for improving. And don't give any attention to force any specific result because it will naturally come when it, not when you think it should. All right, an offset. Let's start with the first one. I'd like to start by drawing the overall simplified shapes that compose the structure of the subject To draw. To help myself navigate through the complexity of the whole picture, now I just focus on the mass general impression, leaving out anything related to details. When placing the shape, I pay special attention to its counter. Carefully observing what I consider important to be translated onto lines. That way, I make sure I keep the essence of the subject in the drawing. While doing this on your drawings, try to remember the way you made the blind counter exercise, the one with your hand or the crumbled paper. Because those especially are meant to sharp your eye for counter. By letting you open up to see everything as it really is, not as you think it is. True icons. That way we avoid the trap of unconscious icons by focusing on the counters and how they look. It's highly important we remember that automatic processes are something we need to take control of because depending on how much or less experience you have on drawing, it is a fact that they will appear when you draw. We better be ready to acknowledge when they arrive and we right away then once placed a most general parts, I proceed to add secondary things like the hair, clothing or accessories, which I consider non essential but important. Just following the same logic, thinking about the general counters and shape and not the details. Here we're drawing a human face, but this could apply pretty much to anything. It could be an object, a vehicle, a plant, a sliced character, whatever. Think about it as drawing the outside counters while not paying attention to the inside counters yet. I make adjustments and corrections of the size of each shape as I go by comparing all shapes from big to a small and how they relate each other and completed the general biggest shapes with its counters. I do start to think about the inside counters now to give life to the drawing piece. Like the facial features, the little hair, the hair strands, egtures, accessories, et cetera, I halt into the feeling of sensing each counter with my eyes and my intuitive intelligence while not reaching myself at any time and allowing the energy to flow through thoughtful observation. Remember that your mind should be able to tell what is counter and what an icon is. I also correct everything I feel of by paying careful attention to the negative space between parts, trying to find a more accurate balance to how they relate each other from observing the original picture. Negative space is a phenomenal tool for polishing how similar the drain is to the reference source. Because it consciously activates what we don't usually pay attention, but plays an important role in how we are or art viewers perceive for art. Last but not least, I have the shading I want. This is very variable because it depends on what the artist pays attention to, to the level of rendering in detail he or she wants to add for the current image. I'd rather not that much to over complicate things for you at the moment. Add a bit to what I consider will give the pieces soft but a stronger look. Remember, these drawings are meant for you to improve the way you observe. Your goal shouldn't be to worry about how perfect it may look. That will depend on the level of observation and practice you acquired through time. Instead, you should think about how mindful you place each stroke, how accurate your observation is, and how well drawing. After drawing, you're going to be able to improve your mind and hand coordination. 54. Bonus Demonstration: Okay, now let's go with the second one. Just like it did in the previous demonstration. I usually start by drawing the real biggest simplified shapes that create the structure of the whole subject. Commonly beginning with the head shape while paying special attention to its counter, to don't fall in icons, but to really draw things as they really are. While doing this on your drawings, try to remember the way you made the blind counter exercises, the ones with your hand on the crumbled paper again. Because those especially are meant to sharp your eye by letting you open to see everything as it really is, not as you thought it was places, the must general parts. If there are not much things to draw like a complex hairstyle or outfit, I focus mainly on adding the facial features of the character. By following also the same logic of thinking about the general counter rather than the details. Just like when we drew the mirrored profile basis to don't attach meaning to the facial features and so avoid icons. It's important to remember in here that each shape encounter comes from meticulous, unconscious observation. Not from automatic, mindless process. You overcome any icon we may tend to put. Especially in here, I am making adjustments and corrections of the size of each shape. As I go by comparing all shapes from big to small and how they relate to each other. Remind myself to feel free from mistakes while drawing, because I know that every piece is a work in progress. This may seem very obvious, but very often we tend to unconsciously put pressure on ourselves by thinking things should be perfect at the very first strike, when most of the time they are not. That thing of accuracy only comes to mindful practice and coordination that arises from years of practice. I constantly keep on correcting everything I feel of by paying careful attention to the negative space between all parts, trying to find accurate balance to how they relate each other. I focus on observing things as they really are. Not allowing automatic processes to take over the art. I take advantage of the digital medium to afford the make the changes from the different relationships of all parts or the inaccurate the strokes I misplaced. But this could be easily made with traditional medium as well. It would just be erasing and replacing everything where it should. Instead of selecting and moving a skill and observation has nothing to do with the software of the medium. Good results come from the way you are able to train your hand and learn to approach the act of drawing from a powerful mindset. Finally, in this particular case, having shown you already the general mindset for good observation, I proceed to add more elaborated shading and detail for demonstrating that no matter how complex the final piece or the reference Pe should both look from an external point of view. It was all possible thanks to the right mindset. 55. Class Project : Now what's left is just to apply all of this in something that shows your new skill. Our class project is very simple. Choose to redraw one of the four things you did at the beginning of the class from the first exercise. From a couple of eyes, a tree, a cat's face, or a flower. But this time applying your new superpower, truly observing. Make sure to compare it to the first drawing you did before taking the class. And see how much you've improved. If you feel motivated by your results, you can even share it with all of us. I would really love to see your improvement. 56. Final Thoughts: But wait before leaving. I would love to clear up the things I consider maybe a cause of later confusion. I want you to leave this class with a very clear head ready to keep going. Let's go with the first one. Depending on your experience and drawing, you'll feel more or less the power of each exercise. Because everyone's perception and drawing experience is different. We are more or less biased on the different things we've been through in the past. However, if you really are a beginner on drawing, it's highly likely you've taken the most out of the class with each exercise by now. Long story short, the more beginner you are, the more the benefits of the class were on you. But even if you have a bit of experience, I'm sure it made you aware of a lot of important stuff that help you to sharp your artistic eye. This class was made with the main goal of helping people overcome bat observation. Which translates on practical terms to not directly teach how to draw, but how to properly see for art. And what to do to train your artistic eye. Which ultimately leads any artists to improve their drawing skill as a consequence, not as a technique. Also, intellect and rationality were terms that are used to describe one of the most prominent intelligence we have within us, which means may be unclear. For some they both refer to the same thing, which is the logical way of seeing things through the scientific method and reason. If by any chance you repeat any video lesson of the class where this is named, I hope this gave you clearer context. Mrs. Betty Wards addresses the icons issue as our brains symbolic system and not with the word icons. I personally hand picked the icons word and meaning for all of the class explanations, thinking it would add better understanding of the matter and an updated meaning to the science behind this phenomena. If by any chance you decide to go deeper by reading Betty Elder's book, consider this while reading it to help yourself navigate it and make sense out of it. On the other hand, it's important to have clear that unconscious icons and drawings can also happen with estalzed drawing. Besides drawing from reality, the act of compulsively draw through your biases is not linked to drawing directly from reality whatsoever, but to not observe things as they really are. No matter if you are drawing from a favorite character, someone else's art, or directly reality, you should start recognizing your unconscious blinding patterns for taking control of your observation. And at last, be able to come up with great art. Likewise, maybe as you learn that things should be drawn from observation, you may also be wondering, what about drawing from memory? That's a great question. To drawing from memory is completely valid to do two, but it should come also as a result of previous proper observation of reality reference. Other artists work not from automatic and unconscious processes through icons and lack of visual library. If you want to learn how to draw from memory, it is just a matter of practicing enough the things you want to draw from observation to the point you'll remember them one day without looking. Nonetheless, my final advice is always, never rush. Please take everything bit by bit without pressure. Don't allow your current environment, life duties, people around you, or any of these concepts to overwhelm you. I invite you to navigate through all of these video lessons as you please and practice each concept at your very own pace. Feeling art is not for you, or feeling your art is bad and it is not improving. Frustrating yourself to the point you think you're not understanding anything from what you're learning. Most of the time comes from rushing yourself because you're not allowing your very own learning process to express at its own time. Take a deep breath and be patient. Just go at your pace. Handle wisely your surroundings. Don't try to do many things at once and take your time. 57. Class N° 5: How to Improve Your Drawing with Shapes Drawing: Shapes and drawing are a great way to make things simpler and easy to do. They help us bring what feels difficult, understandable. But knowing how to identify shapes is not enough. We need to effectively know how to draw them. That's why in this class we will learn how to become a graded shape drawing to improve an upgrade our drawing skill. True, it's easy to do exercises. We will first see how to improve the drawing of circles, squares, triangles, and the result of these shapes when modifying and mixing them, there's no need to have any kind of previous experience. By the end of the class, you'll know how to draw the basic geometric shapes, the basic variations, and all kind of interesting and creasy shapes to make drawing easier. If you want to get more confident and feel sharper and faster drawing, you came to the right place. Let's get started. 58. Welcome!: What's up guys, and welcome to the class. I've made the decision to, at my consideration, make a list of drawing fundamentals that I think are super important to any beginner to understand and to be able to draw whatever that he or she wants to draw in the future. I've been a teacher for a lot of students and I've seen a lot of patterns that I think are crucial for you as a beginner. To start tackling each by each to overcome all of your obstacles and be able to develop a skill and mastership. So the first fundamental that I would like to talk about is how to draw shapes. How to have control over your line work. Because shapes are just the sum of lines. Drawing at a core essence, you know, is actually a sum up of many shapes. The first exercise that I would like you to do, a character that you don't find intimidating. Pick a character that could be from your favorite anime show or your favorite manga, whatever you would like to just make sure that it's going to be fun for you and that you find it easy to draw. Okay, The overall goal of this exercises you to understand what's your current skill level with shapes and at the end of the class, see what's the difference, how much you have improved from the beginning of the class. All right, once you have drawn this character, pause the video and continue with the demonstration. So let's get started. 59. How to Start: Okay, now it is time to talk about shapes. Shapes are the result of learning how to understand lines, to connect between each other and form geometry. The first shapes that you actually know and that are highly used in any kind of man made stuff are the circle, the square, and the triangle. These three shapes and all of its variations are the shapes an artists should understand and know how to perfectly draw in order to know how to draw better and understand better whatever he or she wants to portray. On the screen, you have the chance to look at different examples, starting first with real life examples where break down the things that may seem a little complex at first, but can be identified easily as different shapes. You can actually see in here how circles, triangles, and squares are working to create different forms, to create the different silhouettes that resemble what we are displaying. This goes from objects to people and you can actually see that not only geometrical, but all of the variations as I mentioned before are also crucial to make the process of understanding whatever you want to draw on simple shapes. This is what we call simplification and it's very used. Also, another fundamental that we're going to be reviewing later on, a different class just right now, know that everything can be simplified into easy shapes and that you knowing how to control those shapes, how to tackle them, each, how to know how to draw circles, squares, triangles, the variations and the mixture between them is going to speed up a lot of the process of you when you are facing drawing. That's the overall goal of this class. Remember to improve the quality of your line work and to improve the way you approach shape control. That's enough as an explanation. Now let's proceed to learn how to draw circles. 60. Circles: I'd like to start with the circle as the first shape that we are going to learn how to draw because it's one of the most avoided shapes. I've been there as well. It was difficult for me to draw when I was a beginner. I develop a method to actually learn how to draw them. If you don't know how to do it, the first thing is to start considering the circle as a. You're not thinking about drawing the overall circle, but you're thinking about drawing half a circle. I'm going to use red color now just to differentiate each line. It's not necessary for you to use it now. You just complete the other half of the circle with another. All right? This is not a perfect circle, but it's a pretty decent one. You just need to use two strokes and that's it. What we're going to do on this exercise is just to complete the whole page. We're going to fill the whole page with circles that are going to be made from arcs. All right, just draw the half, then the other half. There's no need to seek for perspection. You try to do it as best as possible. You can also vary the tilting that you're using on each art. For example, I use first this tilt, then I use this one. That's completely fine too. Not all of the circles are going to be coming up perfectly. That's completely fine. This is something for you to practice so you can improve. Cool, We've completed this first exercise, now we're going to do the same. But this time we're not going to draw it on two strokes, we're going to draw them on one. It doesn't matter if it doesn't come up perfectly, just try to do your best. There's one common technique which is called gusting over consists of moving your hand, trying to look out for a circle, for the size of a circle, and the spot where you're going to be placing it. Usually people use this to make circles. They are somehow loose, so that's a place to start if you still find it difficult. But I would recommend, I will highly recommend you just go straightforward and try to do circles at one stroke even if they don't come out perfectly, you practice is what makes it better. Just keep on practicing. And just like this, every kind of size filled with plenty of circles, if you messed up, that's fine. There's no need to erase, just make the Cdjustment. And complete the circle. If you still feel like you should be doing circles by using two A strokes, go ahead. That's it for this piece of paper. Now if you are still having problems, if you're still struggling a lot, then there's just this remaining exercise that is going to make it easier for you. Just divide the paper into four even parts. All right? And create a marks. What I like doing first is alternate between the arcs. So it challenge you a little more. I'm starting with the vertical arcs. There's no need to rush and as always, keep the pace. Now let's do the same, but going with arcs that are horizontal, and finally just complete the remaining space by doing this, but now in the opposite direction as well. All right, so now let's test it out. I bet that they're going to feel so much better to draw now, and the quality probably also have improved. Great. 61. Ovals and Egg Shapes: This time I want to make this lesson about ovals and egg shapes, since these two shapes are also highly used to break down different things such as heads, objects, architecture, et cetera. A way I'd like to understand a novel is to know that it comes from squatching and stretching a circle. If you stretch the circle, the corners that you're using to be a stretch are the ones that are going to dictate the shape. This time I'm doing it horizontally. This is how it stretches the amount of a stretch, it's up to you. You can do it as extreme as you can or as low as you can. The important thing here is just to give you an overall tool to understand how you should be thinking on a walls. Squashing and stretching a circle is actually a matter of perspective since you can actually interpret it as both. This could be I'm stretching it horizontally, but also that I'm squashing it. If I'm thinking that it came from a regular circle shape, just think about it as something that you have power on, that you can stretch it or squash it, whatever. What works the best for you. All right, this is what corresponds to also an egg shape comes from you only stretching a bit of a corner. We have firstly this shape. The egg shape will come you applying force over this part. All right, Which will result in something like this. This is what happened. You stretch the same, goes to any direction. Let's say we want to do it this way. So that's what will happen. That's the direction you should be thinking about. This is the kind of shape that we get from stretching only one corner sitting here. And it's the one that we use a lot as artists to break down the head and the face. Okay, now let's proceed with some exercises. The first thing that I want you to do is to fill an entire page, a lot of different ovals, all right? Think about them in a lot of different directions. Let's say for this one, there's no need for you to indicate these arrows, the lines, It's just for me to demonstrate how I'm thinking about them. As extreme as you would like to, and variate the different sizes as always. If there is something that is not perfect, just try to do it again. And don't think out, just keep on continuing the exercise. All right, this is the final result of this demonstration. Now let's do the same with egg ships. Just fill the entire page with different size egg shifts and make sure that they are all being tilt to different directions. Also, just make sure to fill all of the page. And once you've done, let's continue with the other lesson. 62. Squares and Rectangles: Squares and rectangles. These shapes are highly used in a lot of different environments. From city scapes to different objects to perspective drawing to a lot of furniture, to regular homes. Squares and rectangles are everywhere in our daily lives. That's why it's very important for us to also understand how to be able to draw them. Let's just complete this quick and easy exercise. We're going to draw a lot of different squares and rectangles. Just make sure that you're applying different sizes to all of the shapes. Like thin rectangles, thicker rectangles, They shouldn't be perfect. That's completely fine. You should avoid erasing because that's a lowing the door for you to start overthinking your strokes. Okay, now what we're going to do is to start filling all of the emptiness with more of the same shape. For example, in this square I made a smaller square inside. And then I'm going to make another one, like so, until it is filled. Just take your time on doing this. As you can see, there are some rectangles that are not actually very straight is because you're always going to be facing different kind of shapes when simplifying the structure of different things that you would like to draw. You won't always find everything exactly like rectangles and squares. You're also going to find these kind of shapes. So that's why to include some of them on this exercise. And that's it guys. 63. All Kinds of Triangles: Great, now it comes to the last shape which are triangles. These last shapes are going to be the ones that are going to close up this exercise on understanding and drawing shapes. You can control them better and apply them over your artwork. This is pretty much similar like the one we did on the squares and rectangles. This time you can directly feel the triangle you're making. What we are going to do over the whole exercise is mainly the same as the rectangle one. We're going to fill the whole page with the shape. We're also going to fill the shape itself when it's inside, with the smaller shapes. The thing in here that I would like you to keep in mind is that just triangles are very easy to change. See how this one differs highly from this one. That is something that is very practical if you already know how to handle different shapes on the triangle right ahead and not just understanding like evenly triangles because although you can see them on nature, it's general rule. We always see every triangles. And we also can look in a lot of different shapes, triangle shapes to break down things. They don't have to come up perfect, just as best as you can possibly make them. I know the exercises are a little boring, that's why. Remember that at the same time that you are working on this class, following the lessons at your own pace. Also focus on making. Producing the kind of art that you would like if you are already drawing different stuff. Also, set some time aside for fun. That's going to bring so much energy for you to keep on practicing this kind of exercises. Because if you close your mind to think that you can actually move on to different stuff until you complete this kind of exercises you're going to worn out, you're going to feel very bored. I wouldn't like you to feel like that. Since we all do drawing, we all do art for the sake of having fun. All right, with this exercise, we conclude the part that we were focusing on understanding, and controlling, and learning how to draw shapes and its variations. Now we're going to apply all of this on the final part of the lessons of the class to understand how to create more complex shapes. Understanding how to mix them between each other. See in the next lesson, guys. 64. Deforming Shapes: This is so cool. You've made it to this part of the class. It means that you're really interested about drawing and understanding how to draw and improving the quality of your artwork. And I can see that you have a promising future. You want to get better and you're doing what it takes to do it. All right, now it's the time to learn how to draw different shapes, more complex shapes that are the result of understanding the different variations and mixture of the main shapes that we just learned, the circle, the square, and the triangle. Let me grab another piece of paper so I can demonstrate as seen with the circle to create ovals and egg shapes. We part from one main shape and then we make a variation from squashing or stretching it. Yes, now I want you to think the same, but this time with the squares. Let's see how I'm thinking about this. And we triangles just like this, if you understand not only how to make rectangles and different kind of triangles, but this mindset of understanding that these kind of variations that we are making comes from squashing and stretching. That's going to improve the way you approach drawing because the mindset that you are now having includes you to be very accurate. Now let's proceed with this exercise. You start training yourself better into more specific stuff. Remember the X shapes where I explained that it comes from the circle and stretching just apart from the circle. We're going to do the same, but this time triangles and squares as well. Let's say I have this square over here. I'm stretching only this part. Something like this will come out, right? Think if you were actually grabbing it and poshing it, just like here. Same with this, let's say triangle on this exercise, there's no need to think it as an overall shape to actually push it. But now we're thinking on specific areas. Let's say I'm going to pull it from this place, okay? This is what I'm getting. Now that I have explained this, let's actually make the exercise. I'm going to fill the whole page with these kind of shapes that I'm going to be thinking in my head that are the result of pushing the original geometric shape. Okay, so this actually looks like if I stretch it from this part, this one, I'm thinking about stretching these two sides. The key in here is to still apply all of what we have previously learned. Keep in mind that the less strokes you're making, the better. Because the cleaner it will look, the more confident you will be and the less time you will be spending. Let's say in here, the process I had in mind was to stretch this part like this. If this was a circle, this is how this will stretch on two parts simultaneously. That's how I'm thinking about it. Another way that you can also think about this is like somehow this clay and you are just stretching parts of this clay. Please just make sure that you're using all the shapes, circles, squares, and triangles. Great. This is one way to see how to deform shapes. Now I want to show you another method that also helps you to charp, your mind is making different shapes by combining straight lines and edges against curves. 65. Straights vs. Curves: Now I want to show you another method that also helps you to charp, your mind is making different shapes by combining straight lines and edges against curves. If I think, let's say on this shape that has a corner, it could be the half of a square. Then I combine it with let's say these two deform shapes that are actually resembling two circles is also another way to start sharpening the way you understand shapes. Let's say for example in here have this very straight shape, then I have this very curvy shape. Now I also have this straight shape. Now I have this curvy shape, now I have this straight shape. Do you see how you can actually create a lot of variation? This is pretty cool because it really allows you to start understanding better a lot of different shapes when you're observing and you're sketching. The main goal of this class is to teach you how to control. So you start gaining a lot of notion of how to use a little of amount of strokes to describe things. So they will look very sharp and very clear. Just allow your mind to explore different shapes. They'll come from impressions that we already have from real life and from exploring, that's completely fine. The more variated they are, the better for this exercise. Just always keep in mind that it's a combination of a straight versus curve lines. 66. Adding And Substracting: Okay, the next way that you can actually use to understand better how to combine shapes is to also be aware of shapes that can be created out of adding or subtracting another shape. For example, here I have a circle. Then here I have a square. This is the shape that results over subtracted. I'm drawing it here to see it cleaner, or you can do it on the other way. Here you have a circle. Here you have square. You can interpret it as not substracting but adding it. I'm going to draw it over here clean. This is the resulting shape, this mindset, the one that I want you to have on filling this piece of paper. We're going to combine all the shapes. We're going to use circles, oval shapes, egg shapes, triangles from all different kinds. We're also going to use squares and rectangles and every kind of the form rectangle. The main thing here is that you can acknowledge that you can create and generate a lot of different stuff, a lot of different shapes, only by thinking how to add and subtract it. All right, let's begin. For example, in here I use the same shape to subtract. This will be a circle and this will be another circle that's subtracting this. The more variated, the better. And you can also go from two shapes, 345, whatever amount of shapes that you would like. For example, I was thinking in here about adding this rectangular shape in here, I thought about subtracting these two rectangular shapes. Just the variation between those are the ones that are creating a lot of different shapes. All of those different shapes are training at the same time. Our way to approach drawing, to understand better shapes while breaking down things. And the most important one that we're actually understanding and seeking on this class, which is how to apply better line work. How to apply confidence. How to make less lines to describe something. How to make you comfortable with your hand and your pencil, for example. In here I'm thinking about a circle, but I want to add a square, but I want to subtract a triangle, then I want to add a little circle. Do you see how it works? That's the logic. I previously didn't here a circle. I wanted to add a triangle. For example, in here, I wanted to create a rectangle or square, and then I subtracted in here a circle. Same here, I was thinking about a circle, and then I added a triangle. That's the overall logic I'm adding and substracting shapes. Finally, we went through all of the main shapes, the main geometric shapes that exists within this world. We understood that they were key for breaking down things to understand better when drawing, we went straight ahead to understand also the variations that they make so we can sharp the way we approach drawing to draw them clean, to draw them smooth, to draw them with the less amount of lines possible. Now it's time for us to apply all of this to actually your artwork. To see how much this can improve the quality of all of your pieces. 67. Putting It All Together: Goku Drawing: Very nice guys for a class project. We're going to be redrawing the first drawing that you made at the beginning of the class. Now what we're going to do is we're going to draw it by thinking and placing lines as smooth and as clean as possible. And drawing the lest amount of lines possible to create your drawing. Don't worry about it. If you don't feel confident about it right now, you don't know how to start, just check out how I'm going to be doing it over my own class project. Perfect. So the first thing that I'd like to start with is just make a scan of the drawing with my eyes, start finding all the main shapes that the drawing have. Okay. At this stage, I don't want you to worry about how exact the drawing is going to come out for you. I want you to worry about the quality of the line work you're applying. The quality of the drawing will resemble the experience you already have. It's fine if it doesn't come out perfectly. If you are a beginner, if you're an intermediate, it will resemble to your current skill level and that's completely fine. There are more classes where I will be explaining how to observe better and how to create better drawing from observation. Also on drawing fundamentals, don't worry about that. Okay, I'm going to start by finding a neck shape that resembles docs face. I'm going to do it by placing very light strokes. Just make sure that they are very soft because this is the base of the drawing and you're going to be doing some other strokes on top of that. Make sure that the line work that you're placing is well connected. Each of the lines are well connected. That you're using as less lines as possible. Remember to keep your strokes very light. The next thing that I want you to do is to start finding, besides the head, all of the different shapes that create the rest of the body or the rest of the parts of your character, the overall main shapes. By trying to keep the same size of the reference picture, you should be thinking on how each of the shapes are related to each other. This is another very important drawing fundamental that I'm going to be explaining better on different classes, but that you should start thinking about it right now. I see in here, for example, that this shape that resembles the chest of this character is actually almost the same size as the head. So that's what I will be doing by considering it. Not going further from that, just think on very general shapes. Also analyze the straight and the curve lines. And if you need to correct just like I'm doing it break now on the go while drawing. Just feel free to do it. Now I'm going to place the shapes that resemble the legs. I see that the pelvis is almost the same length, just a bit smaller. I'm going to use this size as a reference. We're going to place the shape in here to draw the pelvis, even if it's not completely obvious. On the drawing, I see that the left leg goes to this point. It's not going further from the wrist. I use that as a reference to place the oral shape. Remember to don't go away with detail. We're just thinking on general shapes. As you can see, once I have completed the main shapes, then I have started to think on all of the details, the little details as being more accurate with all the shapes, such as the facial features and all of the stuff that comes from the inside. I know that this drawing is not perfect. I know that there are a lot of mistakes. That it does not resemble exactly as the drawing picture. But the main things that I wanted to teach, that I wanted to show is already in here is done and hopefully is understood. This is the first drawing fundamental that I think it's worth knowing. Because if you don't know how to control the most basic stuff, you're going to be having a lot of trouble with more complex things. 68. Bonus Demo: Vegeta Drawing: Same thing. The same thing. The same thing. Te same thing. So 69. Final Thoughts: The final advice over this class is that you must always remember the drawing is a process that it only comes through practice and the practice makes the master. It's fine if you're not completely good right now or you're not at this stage that you would like to be on your artwork. It doesn't mean that you're not going to get there, it means that you're just in experience and you gain that experience through practice. That's all. Most of the beginner artists confuse this with inability. They think that this is not for them because they don't have the talent. But the truth is, it's just inexperience. Focus on practicing and focus on doing this kind of exercises whenever you have the time. If you need to rewatch any of the video lessons, go ahead and do it at your own pace. Remember that this class is for you to take it easy. You shouldn't be approaching it. Just expecting that you're going to become a perfect master at drawing shapes. You just need to know that you now have the knowledge, you now have the tools to keep on practicing and so improving this specific thing. Finally, don't be afraid of mistakes. Mistakes are only telling you what to improve just whenever you have a mistake. Acknowledge it and tackle it. That's it. You need to practice more about drawing circles. That's fine. Just keep on drawing circles until you start seeing improvement. And sooner than later, you'll start seeing all of your skill to improve a lot. Great guys, that was it for the class. On the last demonstration, you can see circular shapes, rectangular shapes, oval shapes, all of the things that we previously seen. I hope that this class has been helpful for you because that's what sets the foundation for being good at drawing in general. Thank you for completing the class. 70. Class N° 6: How to Make Your Drawing Easier by Simplifying: Hey guys and welcome to this class. You're about to learn the drawing fundamental of simplifying to, besides making drawing easier for you to make it look way better. First, through common objects from reality. We'll explore and draw help by this principle to make the process of drawing easier. Second, based on our favorite characters, we'll apply the learning in a way. We gradually make it part of our mindset, improve our masship. Finally, we'll put together all of the learned to now enjoy a much easier and better made artwork. If you want to feel more confident and make drawing simpler and cooler, you can place. Let's get started. 71. What You are Doing Wrong: You're finally ready to learn how to simplify. In the previous class, we learned that our mind, depending on our experience, could unfortunately be a problem for us to learn how to correctly observe and how to correctly draw. That's why we understood that our brain works in a certain manner and that we can, through some exercises, activate the creativity and the intuitive part within us. Now that you know how to correctly observe, we're going to make the process of doing very easy skiping, all of the confusion we do have, usually drawing, especially if you are a beginner or if you're always facing this kind of feeling once you start drawing. But I want you to not only know it rationally, but to sense it for yourself. So prepare is just a simple exercise that we're going to do in this video lesson which will allow you to see the power of simplifying. Please draw this picture of this dog that you can see on screen. I find it very balanced because it is right away a very good challenge, but not that difficult challenge that will make you feel very intimidated. Please draw this character without watching the rest of the video or the rest of the class Again, be very honest about it and do it with your current skill level. Don't try anything different than what you already know until now. And once you have completed the exercise, please unpass the video and let's continue with the rest of the class. See you there. It's highly likely that you will end up doing something like this. That will depend on how much attention, your pain, to the relationship of all of the parts to be placed altogether in a balanced way. Suddenly you will start just noticing that even if you have achieved some things that look very similar to the reference source, things don't correspond quite to the reference. You can find in here all of the parts and all of the main characteristics. Here they are, You can see the eyes, the nose, the mouth, the tongue. Yet it's not as accurate as you wish it would according to the reference picture. Probably your drawing will look something similar to this, or at least it will have the same feeling. You may feel a lot of frustration, the things not being similar to what you're observing from the reference picture. And you might also spend a lot of time while drawing because you're erasing a lot. Okay, there you have it. This drawing over here represents what are the common mistakes and struggles of beginner artists and even intermediate artists that are still not figuring out how to correctly observe. In summary, through the whole process, you will be feeling very lost. You will also feel that things don't correspond to the reference that are also weirdly arranged. That leads to you dropping and thinking you're not talented and thinking that you're not good enough and this is just experience and not having the right mindset to do things. What we're going to do now is actually drawing the duck on the right mindset, how you should be approaching it. 72. Learn to Simplify!: Everything can always be seen as just simple shapes. If you break down whenever it comes to be in front of you into the sum of them, you will always have the chance to make the process of drawing easy for your brain, no matter how complex it can be. Through the following exercises we'll be learning the way to start sharpening your mindset. You can apply simplify as a very intuitive and natural process. This time I'm going to be using a red pencil. The explanation is as clear as possible and you can see the concept in action. All the previous struggles were highly likely to happen to you because you were paying too much attention into details. We usually get caught up into them because they are the most shadowy and flashy for our attention. But the right way to approach it is you paying attention to the whole of the picture. How the silhouette works, how the main shapes, the biggest shapes are working altogether. What we're going to do now is to place all the general shapes that the dog has. This could be any character. In fact, we're going to be redoing all this process through various videos of the class with different characters. To demonstrate how this row and fundamental works without getting attached to a character or to a thing. But to see it in action everywhere and with everything. The general shapes that I will be placing. I won't be thinking about them as geometric shapes, but I will be trying to be as accurate as possible with how it directly corresponds to the reference. You can also see on a screen how I signal it, all of the different curves and how its shape is working course for this case and the mindset being looking at the general things and not on the details. I won't be paying attention to the fur right, the ducks for. Just ignore that. What we are going to do in here is to especially pay attention to the relationship. All of the parts that create the doc or the character true that I mean also the sizes of each part that structures the whole on this stage especially is where we should be paying attention to that. Because the way we arrange every part considering the whole is how accurate our drawing will look. At the end, I can see that the chest is somehow, if we take this measure as a reference, the middle half of it. Based on that, I will think about the shape and located. All right, these were the main and general shapes, the biggest ones that are making the overall Cs counter. Now let's pay attention to the secondary shapes, the medium and the smaller shapes. And also don't get way attached to the details you're focusing on just the shapes and the relationships of all of the parts. I can see here the inside of both ears. I can also see in here the chains of the color. I'm thinking while placing the shapes, the size in here, there's not very evident shape that I want to place for making this process easier. It is the muscle. The dog muscle. Based on that, I will be thinking now on all of the features the facial features of the dog. The whole time I'm thinking about the size of each part always. I'm also being careful about what I observe. Please don't forget about being very conscious on this process and not allowing your mind to take control over you. But you being the one that is guiding it to look what you know it should be looking as you can see, I'm adding some needles, but I'm adding them after that. I have noticed it, the general shapes. That way I search not to get caught up into them, but to keep on thinking on those shapes at this stage is the perfect place to start paying attention to our current drawing, to how similar it looks to the reference. I start noticing in here that the placement of this ear is not very good because there's way too much space between both ears. This is part of the process. It's fine. There's no need to freak out just to correct yourself. As always as I always say, drawing is a path and it is a process where you're the whole time learning and correcting yourself to improve. That's what happened to me, I don't know. Maybe you need to fix the size of the doc's head or maybe you need to fix the size of the eyes or the chest, whatever. Just proceed with the same mindset and fix it while looking at the reference. I have completed this part where we have previously thought, firstly, on the general shapes that creates the structure of the character, and secondly, all of the other shapes that creates the rest of the character structure, but that are not as evident, as big as general ones. I'm going to start adding all the details so we can finish rendering this drawing. This time I will be thinking now, fur, of course, based on the observation, I will be adding all of the things that I didn't add at first. At the same time, this is the perfect opportunity to keep on fixing every mistake that you previously did don't be afraid of doing. If I were to draw this with great pencil, without the need of using two different colors, I will be just erasing the shapes, the general shapes and only leaving the final, rendering, the final result of. On this occasion, I'm not able to do it because it is part of the demonstration. But on the next drawings, I will be demonstrating it only with great color. Of course, your drawing won't come out exactly as my drawing did. It will reflect not only your experience but also what you are paying attention to. Because that's what helps you to also develop how you render and how your drawings will be expressed. That plus the way you use your pencil and the medium you use. This is the final result. If we were to compare this drawing with our previous drawing, you will see vastly the difference. Both are drawings of the same, but they were both draw with different mindsets. Not about the shapes that I used, but the way I proceeded to think, knowing that I should be focusing on the general shapes and then on the medium shapes. And lastly, on the detles. Not on the detles itself first or on the confusion of not knowing where to start. Now that we know the basic principles of how to start simplifying, let's keep on practicing them on different subjects and characters. You can see in action how this principle works. And you also do practice this because anything will be truly learned. If you don't practice mastery, only comes through experience and repetition. Let's continue in the next video. 73. Demo: Still Life Drawing: Just like on the previous demonstration with the doc, I'm also going to use red color for the general ambiguous shapes. In a way you can understand the principle very clearly. All right, so let's find the simplest ambiguous shapes, the most general one. I start with this oval and I basically pay a lot of attention on all of the different sizes of all of its parts. I just keep on placing all of the general shapes. Please just remember to don't get caught up into the details. We're thinking mainly on general terms. One of the very good things about drawing just the general shapes first is every time you're facing mistakes, you can very easily correct them. You don't need to sacrifice a lot of your final render a drawing, you just tackle right away the thing that you want to fix. Now, I'm just going to focus a signal on the screen on the secondary shapes. I know that I have said it previously, but I'm thinking the whole time on the relationship of all of the parts, on placing them correctly and on each shape size. Perhaps they may change for you depending on the way you perceive the shapes that you will use for breaking down any of the objects or characters that you'll be drawing. But just for this class, you can follow me through the demonstrations the same as ago. You feel less confused. However, if you still feel adventurous, you can always try your own shapes, making sure you truly understand the fundamental behind the demonstration. And let's put down opacity a little bit for now, adding the final rendering and all of the details. The process is very simple. Just keep on focusing on first, understanding the general shapes and the weakest ones which generally are the same. Secondly, all the secondary shapes that you will be finding. And lastly, drawing all the details. All right, that's it. The final advice after having completed this demonstration is always look for the drawing to be described with as minimum shapes as possible. You will definitely use all different amounts of shapes for learning at your own pace. But just make sure that behind all of these shapes you're flowing behind with the principle, which is to break down things while making sure that they are the last amount possible. 74. Demo: Animal Drawing: Let's increase now the level of difficulty just a little bit. Passing from drawing from objects. Let's draw just a little creature, in this case a simple bird. As we did previously I. Let's start by drawing just the simplicity of the general and biggest shapes. This Timon, drawing directly in y from the shapes to the final result. This way we can also see the drawing process in a more natural way an artist will approach. All right, now let's pass to draw the secondary shapes, which are the medium. Remember to draw the shapes as similar as possible to the reference source and to keep on focusing the size of all of the parts and how they are all related one to another. If you need to fix at the same time you're drawing, don't feel guilty about it. Just go ahead. Now, while I'm adding the details, I just simply erase whatever I consider it should be fixed in order to render the final drawing. Very simple. I like to try to be as accurate as possible and that's why you see me racing constantly. But this is totally up to you how much accurate you want to be. Because once you have observed how things really are and each part of whatever you're drawing is really located, There's just certain percent of our minds that are actually paying attention to certain characteristics. So even if you don't spend a lot of time on fixing a lot of things as I'm doing right now, it will still look very accurate. It's how our perception works. But whatever I really enjoy searching for every shape to be as close as possible to the observet source I completed in here, the wing. For the sake of showing better the structure and how it could be simplified for understanding better. But it doesn't mean you had to do it just like you did. Some feathers are more visible than others. These are just details. There. You have it. So you can see, thanks to this example, I can also illustrate how something that looks very complex at first, very intimidating, can be simplified and broken down. Not only in shapes to be drawn, but as a process, as a mindset. This really help us artists to start sharpening the way we understand our world. Not only through the eye of copying, but also through the eye of making second nature. How to process information. How to make the complexity of our everyday world into as easy to grasp as possible for ourselves, for us to enjoy the activity of being an artist. 75. Demo in Anime Style: Bulma Drawing: Anime, manga, comics, and animated series and movies are all representations of reality. They all have been created and drawn from the perspectives of other people. Coming not from human stylization and not from the capture of reality itself. For learning how to properly draw, we can learn how to draw things. Others have stylized like Anime and manga. But we also need to learn how to directly perceive and capture reality without being touched by others. Like drawing things from real life, for doing good art, you need to first learn how to draw with the view coming directly from you, not from others. This is why it is important to also learn how to draw things from real life along. Learning how to draw enemy and manga characters. A good artist is someone that is able to put into paper what he or she wants to capture from life. If you were to draw only enemy and manga characters without learning how to draw real things from life, most likely is that your drawing skill won't develop as good as it could because your observation wouldn't be a stretch enough to truly see things as they really are. Lucky you, having practiced simplifying while drawing from reality. We're now ready to learn and practice or drawing fundamental in anime and manga style characters. Choose one of your favorite characters from any of your favorite shows for this part of the class. For this demonstration, you'll be seeing a drawing of Bolma from Drag Hole. Make sure that you choose a picture that displays mostly the face and a maximum of the torso. No need to pick on a full body figure. We keep things easier One more time. You're about to see how badly approach a drawing is without blind the simplifying principle. We were to not apply the learn. Through the last video lessons, you can see that your drawings will almost instantly come off again as a result of not starting with the biggest and general shapes, but as a result of starting with the ditles. This doesn't mean that drawing by starting sometimes with the detles is something totally bad. It is not if you already have mastered this principle of course. But it means that if you don't have the general shapes first on your mind, and that you don't know how the shapes relate from general to particular, one to the other, the placement of the rest of the parts of your drawing will not look good. Remember to think from general to particular, otherwise you will feel overwhelmed and confused most of the time and all that. Even if you already know how to properly observe and avoid icons while drawing. Another thing that can get us to a bad result is not thinking on the size of each shape. If not considering this will observing the reference things will easily start to look very different from it. Okay, this is the final result. See how in this picture, because of not thinking through the simplifying principle, things look really ugly. Now, this time, as we did in the previous demonstrations, we're going to draw the same character, but now applying the simplifying fundamental based on the three simple steps we have learned so far. The first step, find the biggest and most general shapes and draw them. The second one, fill your drawing with all of the secondary and smaller shapes that you see. And finally, the third one, just add all of the rendering and deals to complete your drawing over time. You can make these three simple steps to become only two by merging two of them into a solid. Big 11 option is to do it by merging step one with step two. And drawing all shapes including big general with medium and smaller ones as a base to finally go with step three and add just ditto. Or another option is by doing a step one first and then merging step two and step three into only one. Starting by drawing the biggest general shapes first and going then to add the secondary shapes with the final detles Second, I'm going to use red color again, same as I did in the first demonstration of the class to show the principle working in action. But now over an anime and manga type character, step one, find and draw the biggest and melgeneral shapes that create the structure. The more similar to the reference, the better. If anytime you need to fix anything as you have been watching the screen, feel free to do it. Remember that if you're having trouble while drawing shapes or lines, you can go to the previous drawing fundamental classes and practice the giving exercises to gain control over your hand and improve your coordination. Okay, now let's put into practice one of the merging of steps previously explained to show you better how this principle is more of a mindset rather than a method. Draw the biggest shapes. I will jump baristraight to add all of the secondary shapes along with the deals to fully complete the picture. Great, this is the final result. See how if understanding and observing things from general to particular, the simplifying process led us to create more accurate and easier results. Of course, the result depends on your experience and practice over this principle. The more you do it, the better you'll become at it. Now let's keep seeing the principle in a couple more drains. You rehearse it and internalize it more to improve your artwork. 76. Demo in Anime Style: Midoriya Drawing: Cool, let's keep on increasing the level of challenge. Let's draw a full body character with also plenty of details. That way to keep on seeing, no matter how complex or overwhelming something could look, you can always see through it and find at its essence the simplest way to interpret it. And so to simplify, since you're still in the learning process and you might find these situations very challenging, I will proceed to divide this into three steps. In a way you can understand the three steps better. I will be using only great pencil this time, so you can see this drawing on a more natural way. An artist will usually do it. Please don't bid yourself if things aren't coming the way you wanted it. The skill requires you to become mindful and to keep on practicing. So give it time. Just do your best every single time you're drawing and you'll always keep on seeing your own improvement me, you're constantly seeing fast forward videos in this class. But please keep in mind that you shouldn't be rushing yourself. That you must look for quality instead of quantity. And that you must also accept badly sold drawings or ugly drawings because they are telling you what you should be focusing now to improve over time and practice, just keep on drawing and keep on doing your best. You'll see the results. 77. Demo in Anime Style: Nezuko Drawing: Ten on? No. No. 78. The Class Project: Now it is the time to put together all of the learning in the class. Depending on your experience and how well you have practiced all of the previously taught, please pick on a character. You can pick one of your favorite characters as a reference to draw. Just make sure that you're going to make it easy for you by deciding how complex the character of the picture that you're referencing is going to be different than what we have seen on the previous demonstrations. The final demonstration of this class won't be made on any specific order or on a specific set of steps. We've watched examples on three steps and two steps, but with time, you should try to do things without them rather than a technique or a set of steps. The simplifying fundamental is a mindset, a way to approach drawing, and a way to think while drawing. The more you practice a start on the class, the easier it will become for you to draw things directly. Once you have finished your class project, don't forget to applaud it and share it so others can give you feedback to help you improve. All right, without further ado, let's get started. 79. Demo in Anime Style: Naruto Drawing (Class Project) : Oh. 80. Final Thoughts: Congratulations, you have finally completed this class. Before you leave, I would love to give you some advice to clarify some of the knowledge that I have previously thought to you. Now that you are going to be breaking down things on simple shapes without help or guide from someone like me. You need now to trust your intuition. You need now to place the shapes at your consideration. Just rely on the idea that you are making sure you're attaching to the principle which is describe the structure of what you're drawing into the last amount of shapes as possible. That all of these shapes are as similar as possible to how the shapes of the object look. Simplifying is a mindset and once you have mastered this principle is going to come to your mind as a way to observe and identify quickly things and not as a step process. You have the proof on a lot of different artists, many of them are always drawing directly into the paper. And they're not applying any of these steps. But surely they are all thinking about them. They know how to get complex things and make them simple inside their minds. Final advice, take what you need and leave what you don't. Art learning process could be very different for all of us. It goes from our experiences to our ways to perceive for work many of the things that I have explained. Surely you may disagree with, but many others of the things that I have explained I know that are very useful for you. Please don't feel guilty if you are only focusing on stuff that you find relevant and leaving aside things from the class that you found, not that's totally normal. Just take the most out of the class. I hope that all of this has been useful from now that you have completed. 81. Bundle Bonus Demo: Drawing Boruto: Great guys, let's apply all of the learned through the whole bundle by starting with a close up phase. We don't start with a huge challenge and instead with something easy to do. The first step, if properly simplified, is to find the biggest and most general shapes from a reference. Here we can find them in the head, the neck, and in the top color of the jacket. Remember that in this part of the process, we do not want to complicate ourselves by putting attention to smaller shapes or details. We mainly focus on the biggest and most general shapes. Also that the Syal Parson shapes of the character are being completed by imagining through connection and logic, the unseen recognize these shapes, not need to draw them on top of the reference. You can start by drawing the head shape, using it also as the main point of reference for measuring proportion. By taking as the unit of measure, one quarter of a head height, the neck is placed on the drawing. Be aware that the neck height is not randomly placed, but comes from finding this proportion on the original reference source. The second step is to now go with the medium and smaller shapes from your reference. Things like the head, bend the hair, the eyes, the ears and the mouth are very prominent in the picture. By considering their size, they are now the focus of attention to be drawn. Notice how having the base of the general structure of biggest general shapes placed, what is left is easier as we now know where things should be arranged. Correcting through trial and error, erasing and redoing. We keep drawing now for placing the features of the face, a simple cross guideline right in the middle of the head is a great tool to maintain the proper relationship between the eyes and the rest of the parts. Maintaining its symmetry. Completed the previous steps, we are now ready to additos, clean up, and shading as beginners. The most comfortable ways to approach drawing are help with underdrawing and or semi direct drawing. Let's take a look at how we can approach this current example through both of them with the underdrawing method. First, when making our drawings like this, our focus should be placed on the refinement of the final drawing being based from the under drawing we already made fixing every little detail and shaped counter we can to make things look as similar as possible to a reference and as clean as you can. Enjoy this. As you draw by remembering, there is no hard pressure on making things exact to the reference, but on focusing to capture the essence of what you're doing as much as you can. Now if we were to do it on the other drawing method, we must ought to be accurate and precise. Erasing every mistake that we do not want our final drawing to have as we also correct the strokes of the things with dislike as we draw. It is relevant to also remember the importance of not rushing and of having control on our hands with our linework and shape work, just like we practice it through the bundles exercises of the previous classes to develop mastership and coordination on our basics. Drawing with semi direct drawing requires your linework to be cleaner and smoother as you draw. Since there will not be any second drawing to clean up if compared to the previous under drawing method. You don't always have to exactly measure proportion when you draw. You just need to use it whenever you need to, which is when you feel that your drawing looks off, take advantage of proportion. Measuring, it is a huge tool to help your drawings really improve. 82. Bundle Bonus Demo: Drawing Goku from Super: All right, let's make another demonstration to put a bit more into practice. Proportion measuring for Drawing. This time we're drawing Acer from Dragonbol Super Start by noticing the head's shape, which is always quickly, allow us to have a great point of reference to measure proportion basing ourselves from the measure the height of the head gave us, we can start noticing how much of the head does this measure fit in the rest of the character for drawing the neck and what is visible from the chest. We now know there is around half a head height. If measuring the width of the head, we now know there is around one head and one third of the head width to the left and one head and one third of the head to the right. Knowing this, we can easily recognize the main general shapes of the rest of the reference more accurately. So we can start drawing, we start by drawing the head by following the same coors and shapes we find from analyzing the reference. And based from this measure, as we previously analyzed, we look to make it correspond on our drawing by identifying the lower proportion of the neck and chest, which is only half a head. This time in this demonstration, the heads of the proportion have been drawn to make the measuring of the drawing clearer and more evident. Like so, we continue to mark the remaining measures of proportions in the width of the character by also placing the previous taken measures in the left and in the right of the head. Based on that, the neck, the chest and the shoulder shapes are placed, we continue to look for the medium and smaller shapes of our reference, which in this case are Dover hair strengths and ears of our character. Based on this, we continue to draw on having clear what needs to be done. Finally, having built this strong shape and proportion foundation, we start to add the remaining details, textures, and shadings of our character. By this time, drawing it help of the under drawing method. Remember that you can alternate between drawing approach methods by using the one you feel comfortable with. Focus on drawing without rush valuing your improvement. The more you do it, the better you'll become at it by appreciating more the capturing of the essence rather than the making of an exact copy of the character you're drawing. See how when thinking from general to particular and having a strong shapes foundation, or placement of proportions and detles is not only easier but makes our drawing look cooler. I bet you're seeing your own improvement right now. 83. Bundle Bonus Demo: Drawing Naruto vs Boruto: Great, now for the last bonus demonstration, let's do something a bit more complex, This time, two characters inside the same scene, Narroto versus Boto. It is recommendable to start by drawing one of these two characters first, to don't overwhelm your learning and drawing process. Start by finding and recognizing from the reference the biggest and most general shapes of the first character. In this case the head, the torso, the arms and the hands. But before jumping directly to the drawing, it would be really useful to also make a quick analysis of the basic proportions of the character. We notice there's one head and a half a head height right below the chin of the character, which if counting the head on top gives us two heads and a half a head height as our first notice proportion. If we now start measuring the width of the character, we can see that there are two heads and a four of a head width on the right. If measuring the left part, we can see that it extends to one head and a two thirds of a head. With considering this now, our drawing should be more accurate right from the beginning, which makes us easier, the drawing of the correct size of the holy structure made of shapes. As always, the first step is going from general to particular, is to start with the biggest and most general shapes. You can see going here from the head, the dorso, the arms and the hands demos general. We can go further with analyzing the medium and smaller shapes, in this case reflected on the hair, the face, the clothing, and the fingers. So we start drawing them by focusing on the quality of the language. Thinking of things as similar as possible to the counter scene from the reference. And by observing as best as we can while avoiding drawing from memory things that do not correspond to the reference. Like on done most of the first character, we can now proceed to drop the second one, but not before starting by recognizing the most biggest and general shapes as we have previously made with the different demos to have clarity on what it is that we should start with. Now, right before starting to drop, we should also remember to consider the measuring of the proportion to make control while getting the size of each shape right. The first thing that is noticeable is that there is a bit more than one head of height right below the full head. The second measure we can find is one head third of a head width to the left side and one heading around one third of a head to the right. Notice this. Now we can actually apply the measures into our drawing. By placing the shapes on our canvas, we keep moving further, analyzing the secondary, medium and smaller shapes, This time being the head and the inside parts of the clothing To keep drawing them in our artwork as we correct things that may need to be fixed to look as similar as possible to our reference. Last but not least, for this drawing, we are going to add the refining and cleaning through the under drawing method by considering all of our previous drawing as a sketch that will serve as a guide to our arts, having the basic simplified shapes made going from general to particular, considering the counters to be as similar as possible to the reference being patient, especially patient and without rush having control over our observation line work and shapework. We do have a strong foundation to keep on drawing what we love and to keep improving while we do it. The more we do it, the better we'll become at it. 84. Congratulations! You Completed the Bundle!: Congratulations, you have completed all over currently available drawing fundamental classes. From now on, what's left is to keep practicing new things. Having this new foundational and important knowledge and skill, you are ready to take a new challenges like learning how to draw your own characters, anatomy, perspective backgrounds, and why not your own stories. And stay tuned to our newsletter and to Oliver social media for future news, free resources and new classes to learn from. So make sure you follow us in all of them writing the links below the home page or hearing the Bates description. Finally, you can find new things, make new friends, and share your class projects and personal art right here on our discourse server. Check it out on the web navigation bar on top of the page or click below in the link of the video description. Thank you for completing the bundle and see you in the next one.