Masterclass in Figure Drawing Techniques and Human Anatomy

1. Masterclass in Figure Drawing Techniques and Human Anatomy: Welcome to the masterclass in figure drawing techniques and Human Anatomy. This comprehensive course focuses on the fundamentals of drawing. The human figure is ideal for both beginners and experienced artists. With in-depth HD video tutorials, you'll learn step-by-step how to do all the human body in different positions. Pelvis movements, seated, standing athletes starts as ballerina movements, leg movements, back movement, and hand positioning, and head positioning through observation, analysis, unstructured drawing, starting from simple examples, two different works of master artists. You will learn how to observe and simplify different parts of the human body using easy to use straightforward techniques. You'll learn and practice different sketching, hatching, shading, painting, and line drawing techniques to create realistic and detailed human figures. Understand how to use different tools and materials such as pencils, charcoal, and watercolor or ink to enhance your study of human anatomy. Learn the fundamentals of skeleton drawing and gain an understanding of human anatomy and how to depict the human form accurately. This course will help you create more detailed and precise drawings. You'll be able to develop your artistic abilities and gain a deeper appreciation of the complexities of the human body by analyzing the body features, full anatomy, movement, and much more for the finale of this course. And to combine everything you've learned in previous lessons, you will work on numerous complete portraits and seeds. These works will be inspired by master artists such as Michelangelo, Rembrandt. And Jacksonville is David. With the provided guidance and tools, you'll be able to create beautiful, realistic, and detailed drawings of the human figures, either for practice or when you want to create master scenes with stunning details. This story course will be incredibly beneficial for those looking to pursue a career in character design. Through this course, you'll learn how to draw figures in a variety of positions, as well as how to create dynamic and interesting characters. All of this knowledge and experience will be invaluable when it comes to creating characters, figures. For a career in character design, fashion design, or illustration. Enrolling in this human anatomy drawing course is a great way to level up your skills. It is perfect for anyone looking to become a master of human figure drawing. No matter the level of experience, this interactive learning experience is ashore to help you reach your goals. What are you waiting for? Join now and start your journey to mastering human figure drawing. 2. Pelvis Movement: Hello and welcome to another tutorial. In this tutorial we're going to flex on human anatomy and figure by knowing the human body anatomy in general and its different parts such as the shoulders, the chest, pelvis, and the different joints, the hand and the knee. We're now going to sketch some movements. Movements that in them the body is twisted. A point worth mentioning here is that we're not going to use the numbers and the measurements anymore as we have practiced it a lot, and now we must know them by heart. So as we start sketching, we would know if the proportions are right or not just by looking at them. And we can easily detect the problems. For instance, pelvis is too small or if the distance between the different parts are not accurate. If we're going to start sketching once more the general shape and form a human figure. We're not going to use numbers and those kinds of measurements. We're going to measure with our trained eyes. So this is the head for the figure we're going to sketch, which is slightly bent forward. The middle line for this figure would be drawn like this, completely curved. The right places for the chest and the pelvis are determined. So it is worth mentioning again, that we're using are trained eyes to depict where every part must be located on this figure. As we have that eight parts division in our mind. If you'd like to pause this and practice again and if the a part division please do, It's wonderful practice. Looking at our drawing, we can tell this is where the pelvis is and this is the right place for the chest. Although the chest is in perspective as we see it from the side view on this sample. The line that comes on the front of the figure would be here. As it is now obvious. This is the line that comes exactly on the front side of the body that can clearly show that the figure is in perspective. We draw the chest and share with the shoulders are which are also facing down as it is how they normally look. Unless for the times that the figures hands are up in the air. This is the shoulder joint, the scapula, which is followed by the arm, the elbow. Now, the other hand, the palm of the hand and the elbow. We draw these parts in one line like this to show the palm of the hands. We're going to use the shape of the triangle like this for now. This is where the elbow is and the pelvis is actually located here. This is how we draw the pelvis, but the pelvis actually looks like this. The difference between the male and female pelvis is in the width of it, as woman usually have wider pelvis is compared to men. This is the thigh bone that is connected to the pelvis and moves down in a conical form. We draw the bones simply like this. I'm moving down. We reach the knee joint, which we show with a circle like this. This is how we draw the legs. Having our feet and our triangular form. Just as we did for our side view, the redrew, it simply we can set the fact that the thigh bone looks like this when it joins the pelvis. This is one of the important points we need to consider. Carrying on. This is the form and the shape for the head and the face of the figure we are working on. This is the right place for the ear. And the neck. This is it for this figure. So now we're going to work or more figures in different positions. We're going to draw a figure which is bent forward like this. We would have the chest here as it is facing almost down. First we start with the head and draw the oval shape for it. In this way. Then the neck that goes slightly back. The next step is drawing the chest. After we have determined the right place for the pelvis. That was the pelvis. And this line is the frontline of the body which we had on the previous sample as well. We consider this line to be here. And we also are aware of the fact that this figure, as well as in perspective. We draw the chest in this way. The next step is drawing the shoulders which need to face down a bit. This part is partially seen or we can see the other part clearly. We're strengthening our lines on the pelvis and completing its shape and form. We need to practice the shape and form of the pelvis so that we do not draw circles. These two shapes look like beans as they have an almost oval-shaped. Now that we have this line that is curved like this, we need to see how the feet are going to look. Need to draw the feet in this direction as well. Only when the person is falling down. The feet would look like this up in the air. Or normal occasions. If we consider this line to show the ground, the feet are on the ground. So when a person is standing normally, the feet would be on the ground and not all up in the air as it only happens when the person is falling down. This is why the pelvis here is slightly angled. And the thigh and the patella, or towards the front and the feet going back like this. Yet again, we draw this part of the pelvis like this and draw the thigh as we keep on working. The thigh can be drawn both on this part and on this one as well. We draw the hills like this up in the air and fingers on the ground. The figure is in a lack of balance position here. We start sketching the hands. Doing so we make the right place for the elbow is clear like this. And the form of the hand is completed in this way. Here you can see working on the head. This is where the chin is located. This line almost in the middle shows where the nose must be. This is the right place for the eyes. We also add the is on the right places. As we move on. We'll be adding other parts of the human body, such as the muscles to these sketches as well. So we draw the hands with simple lines and forms like this. We need to practice a lot on figures, dilemma, the pelvises, chest, and all the drawings must be located. This practice can be done from a live model or we can take pictures and work on them. While practicing these sketches, it is better to mark the different parts like we did in this practice and then connect the marks to complete the work. The only difficult part that requires our attention is for when we're drawing figures in action. And the different body parts and joints are placed in different positions. But we need to find that balance and grow them accordingly. This is easily achievable by observing more and more models and practicing on them. As the figure in action is obviously different from a static one. Like this profile and the side view figures, whether it's no perspective. But when the figure is in a three-quarter view, it's already in perspective and we need to show the different parts and their volume and dimension as they are. For instance, when we are drawing the legs, we need to be careful that these measurements are equal and the joints are located on one line. If we need to draw a leg slightly longer, we need to change the place of the joint as well as the placement of the pelvis. Each and every one of these body parts have their own axis and they are also connected to one another. Something we need to be careful about while sketching them. When we're sketching, we first need to find this axis that is shown here by these lines. When the chest is in perspective, how does the axis line move with it, and how should we draw it? This is why it's better to draw these axis lines beforehand as we need to be careful about them as we keep on working. As it was mentioned before, it is easily achievable through lots of practice and also observation. We can practice from live models or pictures they're practicing from live models is better. This way we can capture more dynamic movement. Well, we can do is we can ask someone to stand in a certain position. And when we start to sketch, we have to be able to guess where the joint is. The axis lines for the pelvis and the chest and all the different parts are located underneath their clothing is up to us to identify these joints. In our practice, we might be working with a fat model who has around belly. We need to be careful while drawing the chest to show exactly how it's located and what form it's taken. Because like this example, it may happen that the axis for the pelvis is in this direction and the one for the chest is the other way. These are among the important points that are learned and mastered through lots of practice. I hope you've enjoyed this tutorial. Make sure you practice and I'll see you next time. 3. Seated Positions: Hello everyone and welcome to a new drawing tutorial. In this tutorial, we're going to continue practice sketching the human figure anatomy in different positions, considering exactly where the head, the chest, the pelvis, and the joints are located. As we continue our practice on our next steps, We'll move one step further and add muscles to our sketches. In order to draw the muscles, there are some general rules that we need to learn and master that will be taught later as well. We start the practice by drawing the baseline. In this way. Now we start working on figures as they are bent down, seated or lying. We begin with a seated figure whose head is also slightly bent. We first draw the lines that show the general shape and form of the body in the position. Now you can see I'm drawing the thighs and the legs. This is just a rough sketch to start out. Don't worry too much. This is how the figure generally looks like and we can sketch it simply like this. And this is the pelvis. We draw the form of the pelvis completely and we do not show it just by drawing circles as we need to show its perspective clearly as well. This is why we draw the form of the pelvis as it was already taught as well. Now we're going to draw the chest like this. Again, maintaining its form and shape As it is also in perspective. And this is the axis for the chest to this point here. Keep on practicing all of these forms. The more you practice, the more comfortable and confident you become with them. Drawing in the elbows, the wrists, and these are the hands for our figure. Elbow and also the arms. The shoulders create an oblique line if we continue them like this. And with fixed measurements and proportions, we can see that the elbows are also placed accurately. And then the knees as well. We can draw this line as they're all placed accordingly. These proportions needs to be accurately done in sketching figures as they have fixed angles. And this is something we can learn by practicing a lot and training our eyes. All these lines are connected and we can easily check that we have drawn them accurately. Just like this. Following these lines here with this angle here, we can show where the head and the shoulders, the elbows, and the knees are placed along this line. One point worth mentioning is that the knee e.g. can be placed higher at times. The figure we are working on is placed in a different position. For here we're showing how it should be when it is in a normal position. When we're sitting in a normal position, this leg is slightly higher than this one, and all the different parts are in harmony. So we do have fixed angles for the work and we can see accurate proportions. We strengthen the lines showing the knees and the thighs. We consider the form of the body as the thigh is joining the pelvis. And also the ankles and the soles of the feet. We draw the other foot as it's held slightly like this. And the hand that is placed on the knee up to the head again, what we need to do is extract the format of different lines that we draw and put them in the right order so that we can apply the axis lines and the right placement for the joints. Following these lines. And again at the videos too fast, you can pause them, rewind and re-watch as many times as you like. Then we can see the main axis for the body and how it looks like. Here it has taken the form and shape of the letter S. We can also see the axis for the different body parts as well. Another example would be the head that is visible here. It can be clearly seen that its axis is like this in the normal form. Now we're going to sketch a figure that is lounging on a chair. It means that the head is moved to the back. Following my hand movements, this is where the chest is, which is also moved to the back. As this is the main axis of the body, based on which we are drawing the chest. Then we have the shoulders further back like this and we cannot see the other shoulder properly in the way that it is located in the pelvis, which is located on the chair. This is important to sketch the form of the pelvis in this way. As we want to show that the pelvis is actually on the chair. We draw the knees and the legs that are put together like this. And simply like this, we draw these parts. We can draw the hands as they are placed. The hands take the shape of a cone. When we draw them both in this position. This can be the figure of someone tired, sitting on a chair. As the figure is lounging and has its back on the back of the chair. We start adding the shoulders to the figure as well as the back of the head so that we have drawn the skull accurately. Once more, we're going to draw different parts of the human figure. The head would have the egg shape. Like this. We draw an oval shape, which is intertwined with a circle like this. And then we connect these two shapes together like this. And this is where the ear must be. This is the head which can be divided again. And this is where the nose must be. Then these are the right placements. The eyes and the mouth between the nose and the chin. This division will be exclusively worked on as we continue these tutorials. Now the chest for which we draw the circle with two oval shapes inside it like this. Then these parts during one another and we will have a shape like this. Hey guys. So the axis for the chest is the same as the spinal cord. And the chest looks like this. The pelvis looks like two beans that are joined in this way. With the gap in-between the end of the spinal cord is actually there. This is really good practice. Draw this a few times to get comfortable with it. This is how the pelvis looks like. And then the thighs are connected to the pelvis like this. And this is how we must draw it. You can see that it has the shape of the letter S, moving down to the knees. And doing so, it takes a conical shape. The shoulders, we consider these two parts as the joints and the mark we need to complete the figure we are working on. We must be careful to add the convex points on the shoulders that actually show the humerus. So continuing the lines like this, we reach the elbows and the rest of the hands. These models must be practiced as they are placed in different positions such as seated or standing. And we will apply the necessary changes to show how they look. And now we're going to draw a sleeping figure when lying down the body takes the form of a wide S, like this. This is how the axis of the body looks like. It's not straight. The chest should be here. We show it by drawing this oval shape. Here. This is the neck. And we have the head over here, which we again show by drawing this oval shape on this part that is slightly moved down. We draw the circle to show the pelvis. This line in between is actually the waste. We can show the hands here as well on the area near the waste. The next part is the thigh bone and the knee joint. If we consider this line to be the baseline, the knee does not touch the ground as you can see, but it's not really far above it as well. These parts are followed by the leg and then the soles of the feet. A place like this. So as we can see, we have an empty part under the knees, under the waste, and also under the neck. The pelvis and the back of the spinal cord touch the ground. This is the standard look of a line figure and how it must be drawn. When the muscles and the fat of the body is added to the sketches. Most of these empty parts would be filled depending on whether the person we're sketching is thin or not. All this empty space would be filled. Depending on your person. We can see generally the areas that have the most distance from the ground. Later on we will work on how the muscles look like and how they are attached to the bones. Thank you for joining me. If you have any questions about this form, please send me a message and I will see you next time. 4. Adding Muscles: Hi everyone. Hope you're fine. Today, we're going to draw some figures in a moving position considering the correct proportions. So follow along with my hand movements. We're going to start from the head. You've considered its axis. Now onto the pelvis and the chest. Looking at this, the most important thing here is this central or axis line, which differs in different positions. Once you've identified this, we can begin to identify the correct position. For the rest of the joints. We're going to learn how to draw a figure. In perspective. These figures are a group of dancers of patronage or skating, and we're going to show them in different positions. You follow along. You can pause and rewind the video. If you need this dancer, the leg is like this. And in the other leg, the knee is bent. The shoulders line is arched like that. While drawing the lines, we draw a bit of the bones as well. The elbows and the forearms. Now we have the legs sliding on the ice. The head isn't a diagonal physician. And our chest is in an arched form. Following the axis. Then the pelvis. Shaped like this. We can see the curve of the body. The curve of the body takes shape like this in an S shape. As we've seen in the past. That's our spinal cord where everything is touched, the chest is outwards to the front and the pelvis is backwards. You can see it from a profile view. Let's talk a little bit about her bones. The thigh bone is a wide bone which ends to the kneecap or patella. The bones of the shin which are to have a gap between them. This is just like the bones of the forearm. Forearm bones are 22. And we have one bone. For anatomy, we need to have a basic knowledge of the structure of our bones. Don't worry if you haven't got that yet. That's knowledge that we will build upon. This basic information helps us to draw our figures in correct proportions. The shoulders are triangular from back view. The neck, which is at the beginning of the spine, shoulders, clavicles, and the back of her skull. If you want to add the muscles, we cover the Byron's with them. We drew the forums with two bytes. Now we add the muscles in a current form. The elbow is somehow rectangular. The chest and the back side and the hips. Try to memorize the muscles while practicing. Now the shin. It's practices a few times. And the gap between the two bones in the shin cause the muscle to be in a current form. One muscle in the front part of the thigh and one on its back. The front part of the arm consists of one short muscle and the back part or longer muscle. Now onto the leg. Again, it's really good to practice this a few times. Get comfortable. Now the back of the calf, which is at the back of the leg, onto the neck. The neck itself is triangular. Then. Skull on the neck. Now we're outlining the whole work. Bring it all together. The more you practice this, the more comfortable and confident you'll feel more sense it will make. The final form would look like this. Now, we want to add more details to the very basic figures which we drew before. The shoulders, triangular bones to bones for each forearm, and two bones for each shin. Then we complete the bones like this. You see all does come together. This way. We can add the muscles and the flesh too. Okay, nice going. So now we're going to draw another figure. This figure is skating to. The central line between her body, is again in an arched form. Due to her movement. This time the arms are parallel to her head. Elbows are bent backwards. The chest is completely arched and forward. The stretched upwards like this. Pelvis is here. To connected beans. The leg, one is done and one is up in the air. These are some difficult postures withdrawing because we want to get familiar to different postures and positions. We're really challenging ourselves here. So don't worry if it takes you a couple of goes. Part of the beauty of it is the challenge and overcoming it. So here we have the pelvis and the hips, which are in this shape and form. Now the thigh bone, which ends to the kneecap, the bones of the shin, which are too, with a gap in between mood bones and to the ankle and then the heel. Here. The pelvis joins to the thighs. By joints. This burn like this, ends the kneecap. Then we have the two bones of the shin which end to the ankle. And finally, the heel. Now the spine starts from the middle of the pelvis, goes upwards to the neck. The axis line of our body passes the spine and the chest is on it. Then this triangular bones of our shoulders. These are the bones called clavicles. Joints of the arms, the bones and to the elbows. And this figure is holding her soul with her two hands. Then there's her head, which is between her arms. As the figure as a woman, we want to draw her breasts, which are bold. Her belly. Now we add the muscles first to her hips and her butt. Then onto her thigh. Both legs. Now look at the curve on the throne part of her phi. Also. Because from here, the muscles of the calf. So this is the most difficult position to draw the legs in ballet. So fantastic job. Really challenging ourselves. Most difficult position. Now on to the muscles of the arms, both sides. Then on tea the breasts, which around and on the chest. These are all the muscles on the bones of a woman's body. Drawing the division line. Okay. Outline that. And if we look at the curves of these figures at the axis line, we can show the direction of the circular forms. Just like this. You can see if respective on the angle, the movement of the body during different activities and different poses. We need to pay attention to these directions. They adjust the axis. Everything adjusts with the movement. So we can see the breasts going upwards, like this with the chest moving upwards. Whereas the part would go in a downwards direction. As the pelvis is itself facing down. We need to draw the exact proportions. Otherwise, these curves seem to be abnormal and proportions would be wrong. This curve on her back, It's very important. Following the spinal cord. Keeping everything is correct flow. So as you can see, the direction of the chest and the rest is to the left. And while the direction of the bot is to the right. We must practice to draw the portions carefully. Even in a difficult figure like this. On the left figure, the axis line of the bug is in the direction the same as her chest. As you can see. In this figure. We have twists and curves. Have you enjoyed this lesson? And I'll see you next time. 5. Athlete Anatomy: Hi dear friends. I hope you're fine. In this lesson, we're going to show the anatomy of an athlete who's running. So if you follow along with my hand movements and if at anytime you want to pause the video and have a practice, that's absolutely perfect. The first thing we want to draw some basic lines and then we'll draw his main bones. Then we're going to add the muscles. Following along. We draw the main lines of his body to show the movement and the gesture of his body. Won't do this as a light sketch at first, and we'll come along later to outline the body with more clarity. So we'll start from his head in a side view. And doing this will continue to explore perspective. Then we're going to show his shoulders following along the correct proportions that we've learned now. Now we're going to draw his spine. This is always is the main line of our body. Then we'll draw the pelvis as a circle. Remembering that it's the two beans connected where our thigh bone will join, will get both of those. Just lightly sketched out. Knees and the legs and the feet coming back up to our shoulders. Now, we're going to start lightly sketching in the arms and the elbows. Here we have our rough figure and we're keeping in mind all of the joints and the proportions that we've learned now. So after drawing the basic form, we can edit the proportions and the sizes if we need to. It's all within our control. There is no right or wrong answer. You can have a play around with your figure, the form they're taking up and how their skeletal body is. All just go back in and make it a little bit clearer. Our outline, but not too much. You want to be able to rub things out and change them. If you decide. Remember, all of our resources are available. If you have any questions, you can reach out. We're just flushing out the head and the chest and the direction of the shoulders, creating a bit of an axis. We've got a nice curve to our chest to then doing that arched semicircle. The diaphragm would be placed. Now I'm just going in and editing this part. Now. I'm moving the pelvis slightly up and bring it up from where it was. So we've got complete control to edit. We must constantly compare our drawing with our model so we can check an editor if it's necessary. So you can see, I've edited the pelvis here to match up with our model. I'm just making it slightly clearer. Which version we're going with. The pelvis is in this upper section. If you want to look at this curved line and the direction is from left to right. We can check our shoulders as well. So the shoulders line is diagonal, the left side is up, and the head is more forward. None. The body itself will follow our arms down and check the direction. The palm of this hand. We're just keeping it all in line with the flow of the spinal cord here. So you can see our chest. You can see the direction and how it tends to go from the right and front. Now the stomach fitting in between the chest and the pelvis, then the bone of the thigh. So each element can have its own direction. So moving on, we must consider e.g. the right angle between the arm and the elbow. And just draw it incorrectly. You can follow along with my hand movements as I go and just give this a good practice. It's okay if you don't get it the first time. So first here we're going to specify the elbow and then the forearm, hand and his fist. Then we draw the knee and then the shin. Remembering the two bones. And moving on to the sole of his foot will do the same now for the other leg. Remembering our bone placement, the two bones in the shin with a gap in between. You can see the direction here as you're drawing with adding the bones to his body. Remembering our arm bones. The one in the upper arm and then two with a gap in the forearm. Just like we mentioned before. All this practice, it really does come in useful. You start to have a second nature flow when it comes to building up that skeletal form. Before we add on the muscles as we will later. They're just edited the wrist back here. We're going to come back up to the rest of the body. So you can specify and draw in the neck to following that line of direction. Now the chin, which is lower. So making a little adjustment there. So let's check the rib cage now. It's an a triangular form. As you can see, these curved lines are the ribs. Again, to draw those in quite lightly in case you want to make any adjustments and neater about our work. We can keep that flexibility. Following the spinal cord. There's no need to draw all the bones in any details. We only want to draw its general form, something that makes sense in the eyes of an observer. So we're not drawing in all of the vertebrae and the spinal cord, just the main ones. Following our understanding. Now we're moving on to the kneecaps. I think now is the time that we can add in the muscles. You can follow along. We're now going to start adding the main muscles of the arms, which tend to be bolder in men. Again, you can pause this video and practice, or if it is a little bit slow for you, You're welcome to speed it up. So this is the muscle that we're drawing in now on the backside of the arm, the upper arm muscle and then the muscle on its front. That's joining along with the forearm. We can of course, then McKinnon to connect the body to the arm where our muscles have been placed. It all begins to make sense in form of its flow. Because we've set out space now for the muscles on our model. So coming up we're going to look at the clavicles, which are the bones of the shoulders. Follow along here. We're going back to the other arm with the upper arm muscles connecting to the forearm and then moving down to the muscles of the hand, just like this, all attached to the bones. We have the muscles of the hand and the fingers. We tried to draw the right proportions and sizes as we go. We're just adjusting. The phases include space for the nose and the eyes and hair. This of course, is your own preference. Style. As you can see, there are some muscles on the abdomen starting to form the chest to taking shape. We're just letting that space in the direction of the body, as well as the stomach. We're allowing room for the ribs as well. Now we want to work on the legs. So looking at the pelvis on its position, already we can form an idea of where the thigh bones connect and the muscles connecting to them. How this will start to come together. Now that we're coming to the muscles, we can start to outline our body a little bit more, just checking in with all work. But the forms look correct, that the proportions look correct. We can start to join up all of these areas now that our muscles are in place. So you can see that I'm adjusting the outline to the muscles. So now we want to work on big muscle of the thigh, which is actually into hearts. Following along here, doing the front of the thigh. And now the kneecap attached to it. Just keeping in mind the different muscles as we go on now to the kneecap, allowing its space. And the moving on to the shin, which as we know, has two muscles. There is a curve there in that cough. This is allowing space for all of the muscles in the leg. Check in with your work here and feel free to start outlining the body slightly more. That curvature is allowing for those muscles up here in the back muscle. And you can make adjustments here as well. So working on the other thigh, the muscles within it. You can see both muscles being taken consideration of with curvature as well as the knee checking out at the side there. It's actually in two parts. The redrawn, the kneecap, and the cough. Again living room and starting to shade as well to suggest the placement of those muscles. And we're drawing it with a little exaggeration as it is a drawing lesson. If you want to start practicing, it's better to start from muscular models. This way you can learn about the standard anatomy of the human more efficiently. You can see this slightly exaggerated muscles, but it helps us to learn exactly where those muscles are and we can keep that into consideration when we are working on different models. Then you can draw other forms like fat or thin figures and compare the size or amount of their muscles. But don't forget to start with a standard body. This will give you a general place to start from an edit your figure as you go. So looking at the left five from, from either two muscles near the kneecap as one big muscle in the front part, the thigh and another muscle on the backside. Then coming down and shading are cough slightly. Stick in allowing an exaggeration of the muscles, which highlights those two muscles. Remember to check over your model should go. Moving on now to the muscles of the abdomen, which are actually in three main parts. So we're separating those sections. To help us learn those. There's a slight curvature around the muscle. We've drawn the chest wider because we wanted to show the muscles and the ribs better in this stage while we're learning. So we can look at how the chess pushes down on the stomach. And this affects the muscles there in our abdomen and how the ribs interact as well with the curvature of our model. Okay, so moving on now to the arms. We had two muscles on the arm to one on the back part and then the other on the front side. So now we're just going to go in and establish those muscles a little bit clearer. We're going to outline them so that you can see where those muscles are. Moving on down to the elbow. We're going to give that a clear shape. Then the muscles on the front and the back sides of the forearm. And drawing it as well, the palm of the hand. You can see as well. There is a curvature forming in the arms with again these exaggerated muscles so that we can understand exactly where they're placed. Drawing in the chin. And it would look just like this. All of the muscles really clearly defined. We're drawing the strong muscle on the shoulder and you can touch it and see how strong it is. So touched her own body. To understand exactly where that muscle is, you can gain a deeper understanding. And the muscles of the neck, which are in a rectangular shape and are attached to the back of the skull, the shoulders, and with other bones, they are strong enough to hold the head up there. It's really important that we understand what all of these muscles interact. So we can apply that to all figure. We're going to draw an outline the muscles of the arm one-by-one. Really understand where they're placed. Connecting that up again to the palm. So as you can see, we're checking and we're editing the proportions. As we go. Bringing space for the elbow. We should train our eyes to see the details and practice drawing to get the mastery in it. Constantly as we're working. And then we can remember them and we can start to draw them from memory, which is really important. This is possible through watching carefully and practicing a lot on our craft. Following the arm. Just checking in. Actually saw we check this hand several times. We edited it to its perfect shape. We even consider the perspective here in the elbow. Maybe in your sketchbook you want to follow along and just practice this bit of perspective here. Give it a go. If we go into perspective than the pop part would be shortened. And then the lower part, the longer. We're looking at how this active movement affects our model, how it affects the muscles. And with that in mind, how our proportions are going to change. So feel free to give that a practice and really gain a deeper understanding of that. And it would be just like this. The ribs falling in the same direction as chest and the stomach. Just giving a little bit more of an outline and a shade. It would look like this. Again, just looking at those muscles, checking the proportions. She can see by repeating the lines we can create the shade. So it becomes more three-dimensional rather than just being a flat drawing. Something that we can do. As we go. We can observe our model, see how it's coming together and shade as we go along. Now, we're just adding some more details onto the head. As you can see, we're blocking out the hair. We can start to add in more of an idea of a hand, how the fingers are shaped. I'm really just adding in some clear definition to a model. This is going to make it more three-dimensional. I'm really improve our work. Checking in with both arms. Do they line up once more? We're just checking to see if editing is needed in any of these paths with the proportions. And we're checking the proportions of the shoulders and then the length of the arms, the proportion of the bust compared to the haunches, the lower part of the body. They mustn't be shorter or longer than our model. We've checked the size of the legs, and now we're looking at the size of the head to see if it's the correct size. We're checking as well. The position of the head for our active movement doesn't make sense in the overall frame of things. So don't forget as we go just to check and compare your work constantly all throughout your drawing. Just check in and make sure that it looks right to you in terms of proportion and tons of muscles. I hope you found this lesson helpful. And I'll see you again in the next tutorial. Just practice this practice direction, practice the muscles, and I'll see you next time. 6. Duo Sportsman Anatomy: Hello everyone and welcome to another tutorial. In this tutorial, we're going to work on a figure of a sportsman in a horizontal line. Let me start by drawing the skeleton. Fast. Follow along, observing the model carefully. We can see that the thickest weight is solely on one of the hands and the body is in a balanced position. So the first step is fast sketching the skeleton. This would be the head that we show by drawing this oval shape here. We start with the head and then draw the neck so that we're able to draw this line that shows the main axis of the body. So the feet are in perspective and the thighs have a position like this. The way that we draw the shoulders rotate and move. Very important and we must carefully draw the lines for them. Following along. This is where the elbow is. We must also consider that the arm is actually at the back of the body in this position. Palm of the hand, which has the most pressure on itself in this sample. The line over here is the main axis line for the figure that we are drawing. We must constantly observed the model while sketching to make sure we're not missing a bit. Now we're sketching the chest and the shoulders. During an arch is always starting to address our joints in this triangular shape. The next step is going to be the arm on the elbow. And we complete by addressing the hand. In this way. Right now we are drawing the general form of the different parts. We can also see some parts of the back of the head. I'll figure which we add considering the fact that it takes a triangular shape. We strengthen the lines on the pallet so we can see the chest on the front. And it's followed by the muscles of the stomach. In that circular line is before. This is where the pelvis is, which we show by drawing two oval shapes in the same size as the thighs during the same direction parallel to one another. Acknowledging our hips. And to show the thighs, all lines need to move outwards of the pelvis. So we're drawing them like this. But we also consider the fact that the thighs are in perspective. So they look shorter. Then we reach the patella or the knee part, just like so. And then the legs. So addressing our shin bones, which are in two with a gap in between. Then I'll feet. The same on the other side to shin bones from the knee connecting to the ankle. This is how we will address our model first with the joints and then the skeleton. Nudging the head. This is how we'll keep on working. Drawing in the main bones. So now it's the time to start adding in the muscles. So we're going to begin, as always, in the arm. That hard shoulder muscle sharing two parts that show the muscle of the arm and one muscle for the forearm. Remember if you would like to pause the video and practice, Would you have any questions? You can always reach out? We're just addressing now. But where the arm connects to the chest, as we have a rough idea, the muscles and then the pelvis to the leg, starting to work on the thigh muscles. Paying attention to how they look in perspective and right into the pelvis. Remembering as their own perspective, they look shorter. You can practice this a couple of times. And then we can look at fashion. Will continue to work by adding the muscles for the leg. And keeping on going there. Every figure we draw, we get a better and better understanding of perspective. It is really difficult skill, but the more you go at it, the better you'll understand it. Amazing. So on this part, we have a muscle that starts from the sides and stretches upwards. Here on this side, this muscle has retracted with a special movement of the body. So as we can see, the belly is also retracted on this part and stretched on the other side. The chest is open and the muscles are stretched to the sides. And the pressure can be seen on this part of the arm. Then we can start to see this pressure on the forearm as well. So we draw them with an emphasis on applying bolder lines to show the pressure better. Remembering that that arm is actually behind the body. So the next part we draw is the palm of the hand touching the ground. Like this. The full weight here is on this arm. As our athlete volts over to the side. As it starts to come together even more, we can start to outline and shade our model. To start adding in even more depth. Right now we're strengthening our lines on the different parts. And the emphasis where it needs to have emphasis. This follows the pressure on the arm parts where the body is actually further forward. Considering from an audience point of view, what we can see based on perspective. This is where it's really good to keep on checking in with our model. What we, as the artist can see. Costing the audience I over as we begin to outline everything, now that all our muscles are in. And adding in some more three-dimension with our shading. Constantly checking in. This is how we can keep on working on our lines. This is the main axis line of the body, shows direction and helps us place skeleton and all of our muscles. You're just established the line for the nose and the eyes. I hit Clear. This looking at our model is how we show the twists and the turns in the body, as well as how the figures in perspective. That's very, very important to show these axis lines and to follow them as we work. We also keep observing and modifying our sketch by having an eye on the original model as we work, It's really important to check in. Now we're strengthening the lines to show the pressure on all of the muscles. Not going to this hand. The other hand is also bent to help the figure maintain its balance. Strengthening the lines on the knee. Both sides. This is it for another figure sketch. I hope you've enjoyed this tutorial and make sure you practice. I'll see you next time. 7. Movement Variation of Athlete: Hello everyone. So today we want to draw figures by drawing the basic form, by basic lines. And then we'll add the bones and later the muscles. And also we're going to show it in perspective. So getting that practicing and just getting a mastery. So the first important thing we do is watching our figure and its body gesture and the movement carefully. So really try and gain an understanding before we dive in, drawing in our joints and then our skeleton and then the muscle. After watching carefully and analysing, that's when we're going to begin to draw our figure. If you follow along with my hand movements. And again, you can pause the video and take it back practice a few times. The sketchbook is your place to really start to understand these things. So we want to start from the head, which is in the front view, and it's tilted just a little bit to the side. Drawing in axis line to understand the perspective as we go. Now we want to draw the shoulders. I sat just a point for the shoulder joints before drawing the line between them. We're following our spinal cord down. This may change, we may edit later on, but we've got a rough idea of where the spine is. This figure is in perspective, so we need to analyze it more carefully and consider its size and its proportions constantly as we're going just checking in and comparing as we draw. Remember that we can edit, we can change things as we go along. So we're going to draw the main line or axis, which in this drawing is diagonal. Follow along. You can see already I'm starting to make an adjustment to the spinal cord to keep in line with the position of our model. So there's a slight curvature here. And as always, our chest is going to be attached to the spinal cord. Here. The gap between the nipple shows us in which direction the shoulders are. I'm just drawing that out to get a deeper understanding of the positioning of the shoulders. We can draw the general form of the skeleton in this way. In this beginning part, we're drawing lines as the thighs, a rough understanding of the skeleton before we go in to define the skeleton more. And then draw in the muscles before outlining the overall body as we have done in the past. So we're getting a rough sketch to start out here. We have a rough idea of where the thighs. Now we're going to move up to draw in the arms, the elbows, the wrists and hands. The following along. Starting at the shoulder, coming down to the elbow, wrist and the hand. This gives us a rough idea of how long the arms will be sharing the forearm there we're looking again at the main axis. We have our rough positionings here. But let's check it once more. You can see the curve here, which divides the chest into two parts. And it's curved due to its gesture, and it's diagonal as well. Then moving onto the pelvis here and the bones of the thigh. Pay attention that the figure is in perspective. We're looking at the shins as well, which are in a profile view. The bones of the thigh are in a profile view, but then not in perspective. Very important that we check in with these things as we go. So the bones of the thigh not expected, but the shins are in perspective. We should keep this in mind so that we only specify the joint. Here. As you can see. We can start to add in feet. Now that we have a better idea that it's completely in perspective. Renown. We've checked in with our arms, making sure the joint seem to be in the correct place. And we started to add in the hands as well at this point, bringing clarity to the pelvis. So looking at our figure, this is the general shape of our figure. So now we want to add the boned to this figure. In fact, we're going to complete this skeleton. We're going to start on the chest and we're going to add in the ribcage. So we've got that nice arched curve that showed the bottom of the diaphragm. If you remember, this is how we draw it. Draw it within a triangle, a current form. In fact. Now we're going to come down lower in the body and we complete the pelvis paying attention to its position and the direction. Again to bring a little bit more clarity to the skeleton. Now, you can see exactly where our thigh bones would join. Bearing in mind the position of our character. We can draw it lower than this. As we're learning, there is room to play around. Keep on practicing and experimenting until it starts to click. Almost have the front view of the bone from this angle. And here we can see the stomach or the abdomen is touching the thigh. I'm just making a slight adjustment here. The next bone, we are drawing the thigh bone coming down to connect to the knee. And from here we can draw the kneecap or the patella as well. Now we're drawing the leg bones to bones and the shin, the gap in-between. And from this angle we can see a small part of the leg bones, the bones and in the ankle. So as you can see, the muscle on the thigh and the upper part of the body in this side is stretched, so it seems longer. While on the other leg, the thigh muscle is contracted. So you can see that it's shorter here. We're showing the stretch here to the knee. From the top of the waste. Following along here we're going to work on the shoulders, which are triangular and both form a bigger triangle. Can see that there. And again, keep on checking your work, checking that everything looks right. You can make any adjustments that you feel unnecessary. I'm just starting to draw in the arm bones of the upper arm connecting to the elbow. Then our two bones in the forearm. The forearm is in perspective while the arms bone is not an isn't its real size. The elbow is behind the bone. Here is palm, and these are the fingers. So here on the other side, it's vice versa. And the arm is in perspective. And it seems to be father. We need to practice a lot to get the mastery to draw things in perspective. Now we're moving on to the bones of the forearm, which is a little bit in perspective. Following along here, we can see the two bones and a different angle. Alright, just drawing in bones. So we're done with the general skeleton. We've got a rough outline idea of where the bones in place. So now we're going to add in the muscles. Now that we've set out the bones, we start from this muscle at the back of the arm. Now we're going to add on muscle on top of the arm, which is in most people harder and bolder. Following law, we've got that hard muscle at the shoulder and then the top muscle moving onto our forearms. Can there's two muscles in the forearm. Would be like this with a slight curve showing space between the muscles. So it would be like this when the muscle at the back of the neck is obvious in this part. Due to the perspective. Again, we're exaggerating these muscles just a little bit to help us understand drawing in these neck muscles. And then onto the other side, we're going to draw the muscles of the left. Here. Don't worry if you need to practice this a few times. We're here to learn and practices mastery until it becomes second nature. Really in the beginning stages of truly understanding perspective. Keep on going with it. You're doing a fantastic job to even come this far and practice makes perfect. So try to draw as many figures as you can in all different perspectives and all different positions to really gain an understanding of direction and how it affects the rest of the body. Moving into the abdomen. Now, we're drawing a circle for the stomach here because we want to specify it. And this will help us form the correct curvature in the body. For this model. This is the muscle on the sides of the body, which is attached then to the thigh muscle, which is one of the strongest muscles in the body. Stretched here. On this side. Looking here, the muscle is divided in two parts on the top part of the knee. Bring that up and move on to the next leg. Again, this muscle is in perspective, slightly different. How are we going to perceive these muscles? The thigh muscle and the left leg is in perspective and we can't see its full shape. Follow along. We're going to try to draw these details to show it better. But as it's in perspective, It's scene like this. Now we're reaching the knee. And then another muscle which is in the calf muscle can see the back of the calf, they're in this side. There is another muscle That's the two muscles of the shin forming this curvature here. The leg muscles are strong. We're going to draw the muscles of the ankle and the heel. Checking it with our proportions. How the Ottoman connects to the pelvis and then onto the leg. Drawing in the muscle of the shin on this leg, which can't be seen clearly as it's in perspective. And what we see is the knee, which seems close to the heel. Really thinking about the angles here and how that affects what we can see. Checking in with our chest muscles as well as the arm is okay to make adjustments. As you see fit. We keep on practicing these muscles. It is a difficult challenge, which is perfect for helping us grow the muscle. Now the forearm, it is in perspective too. We see a small part of it. And then the fingers. This figure, it looks like it's throwing something. Potentially. It could be anything that's happening. But for me, I think it looks like it's throwing something. Checking and again, all is correct. So we're going to edit the size of the head and broadened little bit bigger to better match the rest of the body. Now as we go, we're just drawing in those axis lines to help us place the nose, eyes, the mouth. And we can shade as we go. As we did last lesson. Looking at the muscles of the ribs on this athlete. These are slightly more prominent as we move forward facing. In this moment. The ribs can be seen a bit better. Now, we can move on to the abdomen muscles, which are the three main parts of your member. And they are within this circle that we drew earlier on. So r on both sides, there are muscles to which we exaggerate them a little in the drawing. Okay? So it makes sure that you compare the work with the model constantly to draw it in the correct proportion and size considering the parts which are in perspective. This is the main thing to focus on. With this particular sketch. We just want to make sure that it all looks correct for perspective. We checking in, making some little adjustments here and there based on what we can see. So if we wanted to draw it exactly like the model, the shoulder and arm must have been in perspective more. We need to look carefully and adjusted in line. We're just going to edit this part here. Thinking about that shoulder and arm. Then we're comparing the model with all work constantly is the most important thing in drawing. Little by little, we get the mastery of it. Come back around to this arm. The arm is in perspective and that's why some parts seem shorter than normal. This forearm can be seen completely withdraw the forearm muscle bolder. Now the thigh is stretched and the shin is in perspective. You can see how bold the muscles are based on whether it's stretched out or it's coming in closer and perspective to the body. We can start to outline our figure as because we become happier and happier with the proportions that they are in the correct place. So we've successfully drawn figure considering its muscles and bones. I hope you enjoyed this figure and I'll see you in the next tutorial. Remember to keep on practicing. Thank you for joining me and goodbye. 8. Leg Anatomy: Hello everyone and welcome to new tutorial. In this tutorial, we will be getting familiar with different parts of the human figure, starting with the muscles and the joints. You want to follow along. As we go. We will also be simplifying them by drawing to them as cubes and putting them into perspective. And we're going to start with the leg. And the first part we're going to draw is the thigh bone, which connects to the pelvis. As always, if you'd like to pause the video at any point to practice and catch up. You're absolutely welcome to moving down the thigh bone. It connects to the knee joint and goes further down to the sole of the foot. These are the main bone of the leg, but we're going to work on the muscles as well, seeing how they are placed on these bones. There are several burns on the thigh. The largest of them is this one that starts from the top and connects down to the knee joint. So let's see first muscle and then there are two more muscles on its two sides. And putting it simply, they look like this. The knee joint consists of cartilage and bone. It is followed by the legs muscle. A part of it is visible from this side, and the other part is in the internal parts. The external parts of the muscle is bigger as well. So this is the simplest way to show the main muscles of the leg from the front view. And between these muscles we have the tendons which helped the muscle stretch and also attach the muscles to the bones. You can see I'm adding in some tendons on the knee and in the thigh. Bringing these down right to the ankle. You can check out leg here. Now the human leg from the side view, It's going to be on the next figure. We need to draw the pelvis in the side view first, followed by the main bone of the thigh. Then we have the knee joint and the rest of the muscles. For the leg. We have this hip muscle here, which is one of the biggest muscles in the body. Then we have the upper thigh muscle, looks like this. And at the back of the thigh we have two muscles that look like this. Part of it is visible and the other one can only be slightly seen. Moving down the knee joint is here. Again. We have a muscle at the back and then one here underneath the other one. This is the leg from the side view. So you can see how the muscles connect, joining it the patella. And there are more muscles and they are also more complex. But right now we're trying to draw them in the simplest way possible. These are the main muscles to keep into consideration as you're drawing your figures. Okay, So till now our method and sketching has been adding the main axis lines, then the bones, and finally working on the muscles. However, now that we're more familiar with the anatomy, the human body, the bones and the skeleton. We're going to draw them using simple geometric shapes and forms. So if you want to follow along my hand movements, and again, you can pause and practice or if you'd like, you're welcome to speed up the video. We're not going to draw the bones and the muscles, and instead we're going to draw the leg. We're going to use the shape of a cube. I following along as we go. This cube consists of two parts. It's done like this. This is the stomach that we are drawing using a cube. Starting with our first part with a little bit of perspective. This cube consists of two parts. This is the part with the navel belly button in it, and the upper part of the stomach is in the second section that leads to the chest. So here's our naval and then we'll draw the up part another time. We're not going to draw that right now. These cubes help us walk on the perspective and the dimension better. When we work more on these cubes, we can draw the muscles inside of them for the leg as well. We're going to use geometric shapes to draw them. Then another cube. Then we will draw the muscles inside of these cubes. Then for the other leg as well, we're using a cube to draw it. This is another really helpful technique to familiarize yourself with. Don't worry if you don't get it straightaway. That's exactly what practices for. Now. We're going to work on the muscles and start to show them. First off, we're going to draw the main muscle on the thigh like this. We can also draw the two muscles on the side of this one. The muscles that continue to the knee joint. Just that. The muscle at the back which we had on the previous samples as well. Going to draw those redrawing the muscle out of the cubical shape we had drawn earlier. Again for the other leg, we draw the muscle at the back like this, and then we start working in the muscle which is on the thigh. Then the two muscles on the sides, this one that connect to the knee joint. We have the knee joint just hit can extend down to the shin. That we have a deeper understanding of how the muscles are all connected within the body. Drawing your other knee joint, which is slightly more in profile. This is how we keep on working on our lines. So some parts of the back muscles in the thigh can be seen here on this side that we drew. So this is how we draw the muscles out of cubicle shapes that we've drawn earlier. And the cubes help us better work on the perspective points are the different parts of the human body and anatomy. We start with a cube so that we can understand the dimensions and the general form of a muscle. And then it'll be much easier to draw the muscles out of the cubes. And in this way we can reach the form that we are trying to sketch. As we work, we just need to be careful about the size of each part and the gaps or the distance between different parts so that we maintain the accurate proportions in our work using the cubes. There's always just checking portions as we go. It should look like this. Again, if we're going to put the muscles for the previous samples that we drew in the cubicle shapes. It would be just like this. So considering the fact that this is a side view sketch, which means we cannot see the dimensions. We draw these two cones and a circle here to show these paths. Now, for this sample, we can easily see the two rectangular shapes showing the placement for the muscles. So if we're going to draw this in a three-quarter view so that we have perspective as well. We need to work in this way and divide the leg into these pods. This would be the knee joint can all be sketched very easily. The rest of the leg can be drawn in this way. Now out of these shapes, we're going to draw the muscles. It is way easier to show a shape in perspective using these geometric shapes for drawing and putting the different parts inside of these cubes. Just like say, three phi muscles and the shin. This is it for this tutorial. Make sure you keep on practicing and I will see you the next time. 9. Back Muscle and Movement: Hi everyone and welcome to this course. Today we're going to draw a figure from the backside to draw the lower and middle back and understand that clearly. So first of all, we're going to start by drawing the head. As usual. You want to follow along with my hand movements to help practice these sketches. So once you've drawn the head, we'll mark with the spinal column axis. And moving on to the legs and the feet. In the last section we started drawing by the spinal column and the hip bone. Now we want to draw a figure based on the rectangular prism or other simple shapes. Drawing the shoulders here and we almost have known different parts of the body. So now we're going to use the main shape. In order to simplify our sketch. We can just draw joints, the shoulder distance on the main axis of the body. Then after that, we will simplify different parts of the body by using simple shapes. Okay? So currently I have mapped out the shoulders and now I'm drawing the head and the, and the back of the head and the neck muscles. We can draw bones firstly, but we should consider that as a cylinder. Remember we're exploring simple shapes now that we understand the bones and the muscles. The cylinder and the forearm, the cylinder which are ended by the wrist. Moving towards the chest and the back, we're going to draw triangles and the small of the back. And remembering that we've already got the spinal column determined by that main axis running through the center. From this position, the arms are visible during in the small of the back, they're in conjunction with the shoulder blades. The arms Brown will be divided to two parts, up and down. And actually there is two bronze which meet at the elbow. Remember this is a new area of the anatomy that we're beginning to explore. So don't worry if you didn't get it right away. Practice it a couple of times, you can pause the video and then continue and catch up at your own pace. We're exploring a new skill today, which is roughly sketching out these simple shapes for the arm. And then we will draw the hands Braun in a cone shape, moving onto the back. Now, we're going to add in the small of the back and the hip. This is small of the back. And there was a triangular shape up to the hip on the bottom. We've established that with our simple shapes. This back part and this part is the waste. So we're going to determine the foot shape by drawing a cone shape. Bringing down the thigh. Connect up to the hip. We're just starting to outline here where the shapes and the muscles have been established. So if you want to take a look, we drew the muscles and the brawn by simple shapes and their combination. We didn't draw the bone and the brown exactly. They're exploring simple shapes here. And we can also use simple lines to connect parts together. You'll be able to take command of this by practicing more and more. They're really getting familiar with this technique. And the axis and the twisting hips, the chest, and the shoulders. We're paying attention to the direction. We're looking at the shoulders, the bottom, and the chest axis. Just drawing those out with a horizontal line to establish the movement of our main line. And that center axis, this is called the spinal column access. And it's really important to draw the figures structure. We'll have a union and simple structure to start. Established all of this using our axis lines. And we also used main geometric shapes to draw the figure. And this is a simple way to bring together the shape of our model. The arm is in a cylinder shape, which ended by meeting a sphere shape as the elbow. Just drawing to the side here for you. And then it's a cone shape as the forearm. So feel free to practice this in your sketchbook. Sketchbook really is your place to explore and practice these skills. Here there is a sphere shape as a joint which is covered by Braun in the arm. Just connecting up all these different parts. The arm reflecting the muscle. Just like this. We can also draw a foot. In that way. Connecting up the thigh to the knee. Will move on to drawing on next form. This will be slightly more of a forward facing position with a twist so that we can see those back muscles working. We're drawing a woman for our next figure. Though is we'll start by drawing the head. From there, the main axis of the body. So it has rotated. That's our spinal axis. We're drawing in the hip bone as well. So we're just doing a rough sketch to understand where everything is placed. And we're moving to the thigh bones which are attached to the hip bone. So draw the twisting hip bone and its main axis showing the direction that it's moving and it's not actually straight. So some part is upper and some parts are lower. You can see the twist in the hip there. This is the upper hip bone and the thigh bones are lower. So it means the hip bone has become crooked. And the cricket shoulder and chest. We're going to determine the joints, the shoulder, the elbow, and the hand and the wrist. We are able to see hand, wrist in this part. Just like this. We're not going to see the right shoulder. We'll draw the knees. Then. The head. In the right, left view. More of a profile. This is the main axis of drawing figures. The spinal column here. And we'll start to draw a simple form like cones and cylinders. So we're adding the brawn and the muscles along these arms. This is where the arm muscle we're now at drawing the chest on the chest muscle. This is the chest and this part underneath the arch will be the stomach. So we'll draw a circle as a lower part of the stomach as well. Draw the axis there. There's the omega there. And the waste muscles, which are more visible in a female's body. Then moving on to the chest. Like this. Now we're going to draw a cylinder as an arm. Then we'll draw a cone as the forearm. That's a cone shape. And drawing on the legs. Starting with the thigh, withdrawing cylinder as legs and will cause muscle shapes onto this cylinder later on. So here we are covering a cylinder and drawing a thigh muscle. That's the main muscle on the thigh. Then onto the other leg as well. The largest muscle on the phi, the like this. Of course it's connecting to the knee and then onto the shin. The head is going to be bigger. In this image. He look. We can draw sketching of our figure by drawing simple, simple shapes. This part here is the back of the shoulders. It's the back of the body. Now, moving down into the waste area. We don't actually draw a hip. We've just determined it's twisting with the axis direction. Now we can add in some more details. So pay attention to these leg muscles. There's the cylinder which meets the knee bones right here. And we drew a structure of a figure by drawing simply an adding simple details into the next levels. This is all built together with simple geometric shapes and an understanding of the main muscles. In our drawing. We don't draw hands and the face completely because we want to emphasize on the chest, the hipbone axis, and the arms and the joints. That's what we're exploring in this moment. We've already learned how to draw the chest and the hip bone and the shoulders as well. I hope you've enjoyed today's lesson and thank you for joining me. 10. Seated Female Figures: Hello everyone and welcome to this tutorial. Today we're going to draw simple forms of body muscle on different parts of the body, like the chest, hip bone, and the thighs. We're going to separate those intersections. So you can really understand that. We're learning a technique from Pago course videos. If you're familiar with those, you may already have a bit of an understanding. But if not, don't worry, we will be going for it here. So today we will be going through images of women based on poker course videos, which are available on YouTube. So looking at our figures, we're going to simplify these figures by surrounding them in a simple shape, like a cone. If you want to follow along with my hand movements and you can pause the video and practice. But we're going for a cone shape. As we begin the figure. We're drawing the main axis of the body and determining the hipbone and the shoulders and the chest. Creating those sections there. And also the thighs and the arms. This way it would be really helpful. And then we'll add other shapes. And first we're going to start with the shoulder. As we go, we should pay attention to the perspective rules in drawing that we'd been free before. The main point is realizing Body anatomy and keeping that truthful. Starting with our shoulders, we're going to determine the shoulder by drawing a triangular shape. So if you want to look as we go, it will meet the arm in a cone shape. The lower part is the chest. We're drawing a sphere to determine the chest. Yeah. We're drawing an oval as a breast from the middle of the chest. This is going to be our guiding lines. As we build up the model. These simple forms will be in two directions across from each other. Now we're coming to the stomach, which will be divided into two parts, the upper and the lower part, which we'll draw in two oval shapes. Then the hip bone, just like this. And here we come to the thigh, that's going to be a cylinder. Now the distance between the chest and the beginning part of the hip bone is the waste Braun. I'm going to draw that just like this. The waste Braun will be drawn in a curved shape because they are short distance between the hip and the chest. Now here will be drawn a bit wider. And that's going to be in three parts. This part is called the waste. Then these two parts are called the stomach and the lower part of the chest. Okay, so we're using a simple shape in order to understand parts of the body in a perspective view. You can see that I'm just sectioning this up to really understand where everything will be placed. Now we're coming to the arm and then the forearm cylinder shape there. Now we're going to emphasize our main parts which are more visible on the body. You can start to outline the body a bit more now as we develop a deeper understanding of where the muscles are actually sitting on the body using our simple geometric shapes. So we're doing it just like this. We're going to draw the neck in here. Here we have our figure. Now we're going to draw another figure. We're going to start with pencil, but we will upgrade this to a hard pen. So we're determining the main axis. And we'll draw the hipbone form with a circle or a simple line. Then the thigh bone from the hip and the shoulder, the arm starting to take shape from the shoulder. Those are wrong. We started to establish our chest as well in the we've just drawn the main forms, the main axis of our figure. Now we're going to add simple shapes. Drawing a triangle for the shoulder. We're just outlining the oval for the chest. There's our triangle for the shoulder. Drawing in the chest. And the stomach, again is broken into two different ovals. And then we've got the hipbone lead into the thigh. Nice cylinder shape for the thigh bone. Ignoring the Neither, then into the shin. Okay, so we're going to work with a softer pen to determine the lines. Now we're just drawing in quite clearly the lines of I figure with a softer pen. It can be really fun to explore different types of pencil as you're working. They all have a different quality to them. And that may affect your art style as you find your voice while we're drawing. Here. I'm in your practice as well. When you're exploring perspective. And you're exploring direction. And already coming to grips with the skeletal form with muscles and then was simple geometric shapes. You can explore different kinds of pencil and get to know which version you like the best. It's great to start drawing in a soft depends so that you can remove lines easily. And then a harder pen does add a really clear line. But explore what works best for you. You can go along with these videos at your own pace. And you can send messages to ask questions and I will guide you how I best can. Now we're acknowledging the shin down here and we can see a divide in the cylinder which we drew as the thigh bone. So if we divide them into smaller parts like this, we can grow them in the right measurement. Now the head is tilted towards the side and up the nose. During the chest. Then there'll be a foot back here. So it's a yoga position. We drew a base form of the body in this way. Okay. So as I told you, first, determine the rotation, the axis, the chest, shoulder, neck, and head. Also, the muscles. Then add simple shapes. We can divide them to small parts to measure them exactly. Make sure the correct, the perspective that we are drawing in that separated just like this. And finally, if you want to emphasize on your outlines and make them a little bit darker. I heard this lesson has been helpful and that you've learned a lot. Please practice. And I will see you next time. Thank you for joining me. 11. Foot Anatomy: Hello everyone and welcome to this course. We're going to work on little parts of the body, like the foot and the hand. So starting off, we're going to simplify that on hand by using simple shapes. So we're going to start drawing the bottom of the feet. First, we draw main lines of the leg, the ankle, then the toes. This is going to work as a guide as we draw. And toes are different in each human. So normally the big tar is bigger than other toes. Then sometimes the next TO is bigger. We're drawing these lines as toes. Ankle, the leg ankle. The ankle is a relief and a large bone on the foot. Ankle. And while there are many bones which are attached to the toes, the big toe, and ****. Now we'll use simpler shapes to draw the foot. So draw a cone. Now this foot is in a perspective view. So we'll draw a triangle. On the downside. The toes are located inside of this triangle. Draw a line in the middle. Just like that. Now, there is a triangle shape. Just here. On the third, there is a curve. Now, just drawing in our triangle. You want to follow along with my hand movements. Now we're marking the big toe on this triangle. We're going to draw the first toe on the front side. These drawn and a cube shape in perspective view. The next stage will determine more details like the big toe. But for now we're getting a simple outline of the foot and the shin. Starting to understand the placement of our toes. By this way, using this cube shape. It's following the foot up inside of our triangle. That's our first toe, which is sometimes bigger than the big toe. Next thing is which a little little toe, which is in a different direction normally there towards the inside. And we're determining toes. There was a little curved line next to the little toe. So we'll just draw that in. Bringing that curve up, withdrawing the ankle. Here. Then the leg. Actually we can see the main structure of the foot hills are located on the bottom. And that's what we're going to learn in the next practice. Okay, so now we want to draw a stretched leg in the right or left side. First of all, I'm going to determine the main axis of the foot. So the front side of the foot goes downwards. Hills and toes. Just that. We're able to see a base form of the foot here. Drawing a cube as the hill and then another cube that meets the toes. Okay, so the ankle is going to look like a circle. So we'll draw a circle for the ankle. And then the leg. There are bones on the foot which meet fingers. We don't draw those bones. So now we're going to draw the outside of the heel and the toes respectively. Practice this. You can see that the toes are bent. These lines of the toe go a little towards the upside and then they'll start to fade because it's just the shadow of the toes. Now the ankle is going to be quite clear. You can give that harder line there. Going into the leg. Look like this. We're going to draw a rectangular prism and other shapes like the cylinder and cone, and attach them as toes to draw different parts of the foot. So as you can see, the front side of the foot, you've got another rectangular prism which is determining the big toe and the little toe. Rough shape of our foot, the ankle, the leg, the heel on the part of the foot. This by the time these are in a different size. Little too big, respectively. The line of bending TO is visible. So we'll go on with a softer pencil now. Bring it a little bit of clarity to that big toe. I start to draw in. The other toes. Show the bend of the foot. We can recognize that on the foot. You can follow the line of the toes. Then on the third. Go to the heel. Just clarify that a little bit more. As we go into the arch of the foot, we're going to cycle through the hill. They're connecting our rectangular shape for the foot, this part of the heel and the foot of visible. There we go, it's done. I hope you enjoyed and learned from this course. And I will see you in the next tutorial. 12. Detailed Foot Anatomy: Hi everyone, and welcome to this course. In this course we're going to draw more details of the body, like the hand, palm and fit with their bones and muscles in a larger size. So working with the pencil to start off, we're going to start by drawing the foot. We're going to draw the main axis. This shows the direction of the heel is on the horizon. Now we should determine the toes. This line is allocated to the toes. Toes are different in each human. Normally there's big toe or first term will be bigger than the other toes. Drawing this line, we tried to simplify the foot and draw cube shapes. Drawing along the axis here. To connect to our triangular shape for the toes. Heel is back on the horizon line. I'm just going to acknowledge that with a triangle shape. Connect down the foot to the toes. So first of all, we'll draw a cone as the front of the third. And then we'll draw the rectangle for the toes on the heel. And this is like a cube shape. We couldn't see the heal completely in this view. And an ankle, the inner ankle is bigger and the outer angle is smaller. So these are connected to the legs. Don't see binder as a rough guide. Isn't general divide. For the leg. We're going to draw a triangle on the foot. Okay? And there is a little slope here. We show it by drawing a triangle. Let's determine the toes. So first we'll draw the big toe. And that's what that cube shape, simplistic forms to find the placement of our muscles. The form of the foot. Now we'll draw the other toes to the first toe is taller than the little toe, tends to bend towards the inside of the foot. Like this. Now again, please don't be afraid of dividing up these sections. In the front view, we always draw a triangle on the foot. Actually a cone. I'm bringing this back into more of a current shape for the foot. Like this. There is a little curved line next to the little toe. So we'll draw it. Hit. The little toes tended to be towards the inside direction. You can see that it's just facing slightly inwards. These little details would be helpful to draw better. And completely is the realistic details which really bring the drawing to life. Now this part too, so we'll draw a triangle shape to indicate the relief part. Next to the big toe. This is where there's a slight bend in the foot. We're going to draw the ankle, remembering that these are not symmetric. Then there is the heel bottom of the foot on the horizon line that we drew earlier. We couldn't see it from this perspective. Then this is the leg. We'll draw our nails for our toes. So here there is a symmetric form of the foot. Now if you want to draw the foot and back view, and drawing a hill will draw a cube as the hill. Starting the back of the third. And that cube shape for the Hill. Giving it some perspective, will share the bottom of the foot by drawing a simple form. So as you can see, we can draw the structure of the foot has a simple shape. With the heel, nice to rectangular prism. And the toes. Then we'll begin to add on the ankle. I started to connect all of these together. We're looking at the model and drawing regularly and correcting our drawing, making little adjustments to make sure it's accurate to our model. Now remember, you're better to draw the middle line. We can draw it symmetrically. This axis helps to guide us. As we draw. Connecting up these shapes, you can start to see the arch in the foot. From this perspective. We're considering the hills like the shape and we can divide more and measure the exact distance. Splitting up into sections there. Here's our ankle. We've just split this up into smaller sections so we can get a better idea of the curvature of the third and draw that accurately. So here's the hill area. Just to summarize, we consider the heel as a cube shape. Just like this. And the ankles or circle. We consider rectangular prisms or some cubes as the bottom of the foot. And finally, we draw the toes. This is the general structure of the bottom of the foot. We can divide easily by practicing the skill and really ingraining that in our memories. Now for our next figure, if we begin to divide the two to rectangular prisms, which are like a trapezoid shape. And we can make them detached. Okay, Wonderful. So now we can draw the toes easily with our foot outlined as it is. The C becomes much simpler to draw the foot. And it just takes a little bit of practice that the form as a whole is broken down into much easier parts. So we can simplify this whole process. Do keep on practicing this until you feel comfortable This form. The more you practice, the better you get with it. We're going to draw the bottom of the hill. And we're drawing a cube just here. We'll draw our cube shape for the heel. As the ankle. There are two ankles which are in a different size as they are not symmetrical when we explored that earlier. So we'll draw an inner ankle and the upper side and the alto them on lower and smaller. Now from this perspective, we can start to draw in a rectangular prism as a bottom of the foot where it meets the heel. Remembering this is the back view. So that would be a cone shape in the back view on this part. Okay, there we go. So this cone is between the two uncles and it meets the leg bone. That's where it connects to the leg bone. After this dividing, we're going to start drawing an outline. You can see the leg connects to the ankle here, and then down to the heel. The heel needs the first division. Happening from this perspective, withdrawing a foot in the back view by doing it this way. So we drew the ankle much too big. So we're just going to make an edit here. We're just going to adjust it to make that smaller. And our ankle and the outer ankle is determined. Just like this. Here is a heel which is visible from the back view and our toes. And this is it from the front view. I would recommend you to draw your foot and practice by drawing more and more, the more you practice, the better, you can take control of your own skill level. By practicing. Practicing this course, you'll be able to draw different figures from different angles. I hope you enjoyed and thank you for joining me. I'll see you next time. 13. Hand Anatomy: Hi dear friends. So today we're going to practice drawing hands. Let's look at the parts of my hand. We can use our hands as a reference. And we're going to draw the basic form of the palm, like a trapezium. Can see that fits the palm. And then these fingers, which are within three rectangles. And then after that we have the thumb, which is within a triangle. Follow these simple forms. Then we'll look at the general form of the muscles of the palm, which is also very important. So exploring all of these areas. We'll look at this part. This part here within two oval shapes. Like Sir. Okay. There's another oval shaped muscle here and the pad of the hand. And the center is like a concave triangle. If we compare the palm and the back of the hand, we can see a complete geometrical form consisting of several knuckles. Have a look at your muscles here. Look at the knuckles and explore the shapes. And we can see them in perspective. As you can see my hands, the forms differ from different angles. You can see how the shapes change. When they are in perspective. We draw that basic forms like some rectangles. And they might seem shorter or longer. Being in perspective. Just like the perspective, the proportions are really important as they have many joints in the hand. Look, the joints make her hand more complicated for drawing. So it might be difficult to draw hands in different positions. That's okay. We're going to practice and get to grips with the hand. So because we need to draw them in exact size and proportions, we need to pay attention to them when they're in perspective. Because of the many joints, we can bend our fingers in different degrees, forward and a little backwards. And so a lot of possible positions can be created. With a lot of exercises. We can get the mastery in drawing hands in different positions while they're also in perspective. So first, we'll draw that basic forms. Then we add other details like the bones, the joints, muscles, skin, light, and shade. So today we'll also look at shading and a little bit more detail. Now. We want to draw a hand in different positions. So follow along with my movements. We use basic geometric shapes to draw this hand. This is a small part of the forearm in a rectangular shape, which reaches the wrist in a circular shape. And then a triangle which ends to the thumb. And another part of this triangle ends to a rectangle, which goes to the fingers. Will look similar like this. So each finger consists of some knuckles, which we draw in a basic forms like cubes. Again, on this knuckle is shorter than the others. Now the thumb would be like this. Look at my middle finger in this position. Here are a little backward. It would be like this. Now the next finger would be like this, based on the position of my hand. So we're dividing the hand into some sections and then we're drawing it. It's really helpful you can use your own hand as a reference here as well. If you're a beginner, it's recommended not to draw quickly. So you can pause the video. And this is just as you haven't practiced enough to get the mastery to do it. So instead, draw patiently and pay attention to your model. It's all about your own growth so you can take this all at your own pace. Now we want to draw it from the front view and the fingers are downwards. Based on our model. We're going to draw a cylinder as the wrist, which is attached to the forearm. And then the forearm is in perspective. There we go. Remember, the hand is complicated. So don't worry if you're not getting it straight away. It's all about practice to build up that mastery. Now we're going to draw the back of the hand in a cone shape. Going to draw it like this. Following along my hand movements. We are, so we drew it like this because the fingers are in front of us, like this. So as you see, the axis of the finger is here in an arch shape. Now the middle finger would be here. This form is created because it's in perspective. Following lines of this perspective form. The thumb would be here. Again, separating this out into parts to replicate our knuckles. And look how it seems to be short here as it's in perspective and it's because the knuckles are bent inside and that's why we see the tip of this finger shorter than normal. So this is going to be shorter because it's in perspective. We'll move on to the next finger. Now. The middle finger is naturally longer, but the knuckles are bent a little here as well. We're going to draw the next finger. When we're drawing each finger, we must pay attention to the joints. So if you look, we consider this arch for this part of the back of the hand and then the joints would be in another arch like this. Okay. So we're going to edit the middle finger. As we drew it much too long. These arched lines are equal and the tip of this finger is a bit shorter. We're looking at this division in this organized structure of the hand is both attractive and difficult to draw. And that is why in the beginning of your practice, you will find a challenging. Don't give up. You will get this. We need to carefully see the hands or whatever we draw must have an analytical eye and pay attention to the structure of the hands, like the joints, knuckles, fingers, etc. And how they're all organized. Looking at the lines of the hand and fingers, how these tendons join up. And truly do not worry if you're struggling at first. This is why we practice. It's a mastery because it takes a lot of work and it will be worth it. If you have any questions, of course, you can reach out to me and I will see if I can guide you along the way step-by-step. But remember we're looking at are simple forms here. To then draw the wider picture. We're using these forms and these shapes to help guide us. So looking at these arch lines that axis, simple shapes, this will help us as we come to terms with how the hand is posed to come together. So it would look something like this. You can see there's a bit of shadow on the thumb here. We can shade some of these parts are all along the right side here, as if there is a light source coming from the left. And also by shading, we can actually show the bones and the joints better. So we're taking that into consideration as we shade. The parts of the hand that stick out more than hand drawing. We need to be patient and we need to practice a lot. And then we can definitely learn how to draw perfectly. I remember we need to constantly look at our model and check our work and edit it if necessary. So he's a lot better if we draw from a live model, you can really observe the form of the hand. Now we're going to draw another hand, going to start with a half cone and a rectangle. So we're going to specify the fingers like this. Lines to start out with. We'll draw a triangle for the thumb. If you're looking at your hand, may help. We're going to specify joints like arched rows, as we did in the last story. And this will just help us keep the fingers equal. Drawing little cylinders for these fingers. When we draw these basic lines or shapes, or work becomes much easier. We're ready. We can start to see the placement of the knuckles just by separating it by the arched line. Being in perspective depends on the position of the hand and the fingers. We must pay attention if they're bent or straight. You can see the difference that we rarely bend our finger in this abnormal position. The Benton one row like this. So they have a natural look. These are the bones at which later will draw the skin. When the hand is thinner, like mine, then the bones are clearer. A bit more obvious. You can see my bearings here. You can have an exploration of your bones, have a look, and to see how the bone interacts with your hand. When the skin is spread, all bunched together. As you're practicing and starting out. If you start drawing thin hands, you can learn drawing them better as the bones are more obvious. So those were our fingers. We can draw some simple lines just to acknowledge the bone in the hand. Now, moving on to the thumb, it bent inside so we can't show it properly. In this figure. We can shade this one with coal. Like before. We're going to show off the joints. Using our shading can show the placement of the knuckles and the bone. That's already giving us a bit more of a three-dimension to our drawing. Again, it's all about patients. If you'd like to pause the video. Absolutely welcome to so that you can work at your own pace. So it should look similar to this after you shade it in. So we're going to shade the other hands. He's very shaded the other two hands like this. With the width of the coal, we can show the shade, the joints and the bones better. Where there is light. The bones will be clearer. Just like this. It's lovely. It's not. I want to draw a hand in this position. So we look at the broken line which has created here. It's easily dividable using those basic shapes we talked about earlier. We can easily divide it using basic forms and lines. Then we have all the fingers in one frame. Then the work becomes more complicated. But from this angle, the hand is so easy to draw. Now this arched line with the correct proportion helps us to spot the tip of the finger here. The tip of the finger. This model here. This is the result. These are proportions with specific angles. Can follow these basic forms. These axis lines. We're just using our own hand as a reference. We can constantly check our model against our drawing. So we're starting to shade as well. This would just highlight again the knuckles and the bones. Paying attention to where the light might fall. As you can see, I'm using the light, my hand as a reference. Now we can outline a hand, mostly the points where the joints are. We can outlines middle finger, which is the tallest. Really just giving it a lot of definition to separate from our shading would look like this. I hope you've enjoyed drawing hands from different angles, and I'll see you in the next tutorial. 14. Different Hand Positions: Hello and welcome to this course. Regarding to work on hands. In this tutorial, we drew the skeleton hand, which indicated that bones of the hands. And we drew them by drawing simple shapes, simple geometric shapes. To continue, we want to draw two hands. One hand shows fingers and the other one will show the inner muscles. First we're going to draw a sketch of the fingers. Will draw a polygon as a section of hands, which means fingers inside of the hand. Following along with my movements. And again, if you want to pause the video at any point, practice, you're absolutely welcome to. Or if you want to speed up the video, there is that option as well. So we are drawing a rectangle as the fingers, following along each of the fingers, a simple rectangular shape. This will help guide us as we draw. Adding a little bit of curvature for the knuckles. Then look, we've drawn the base form, really simple and really easy. Now this hand is going to be carrying a bottle. Add in the other hand. So nice and simple. Just like this. Okay. Very nice. Okay, So we're working on joints. So we're going to mark joints by drawing some lines. These are our guiding lines. Arch where the knuckles meet. There were the fingers move. With respect to the hand. Joints allow you to bend and flex your fingers and they're the biggest part of the hands on thin hands. On fatter hands, they're on a circle shape. A little bit of gap between the fingers. So if you look, they are wider and the fingers are thinner. Wider knuckles there. Some of the little toes, little fingers tend to bend towards the inside. Just a little bit. Now going to look at our nails. If we determine the nails, I'm choosing this view. I'm not afraid of drawing hands and fingers. We're seeing four fingers in a front view. A little bit of shape for the knuckle there is quite a bony hand in hand. You can add a little bit of shading. Will go on to the next hand as well. Again, feel free to practice this as much as you like. This is a new skill. I don't expect you to get it right away. Now we're going to draw a thumb. Remembering that this hand is holding a bottle. Thumbs are keeping that in mind. There'll be a bottle in-between these hands. Look like this. Now we're going to draw in the shadows. This just a little bit of shading to highlight the knuckles, bones, and the joints. If you do have any questions, you can, of course, message and ask and I'll try to guide you along. We do also have resources available for you. So it's always worth checking these out. And if you're struggling, it can help to draw along over the top of a guide or trace over while you're getting used to the form of the hands. And then move to more freestyle freehand version of drawing once you've got some more familiarity with the shape of the hands. Okay, so just patience, as we showed in hand and we can see that dip in the light or the knuckles are sticking out. Just making those knuckles a little bit clearer. I'll draw an orbital, give it a rough placement here. Again, we're very simple shapes. Here we go. We'll swap back to our pencil. I will just start to outline, show the fingers are next to each other. We don't want to lose them in the shading. By drawing the joint in a right measure, this drawing would be much more attractive. It'd be much more realistic. Keeping these measurements accurate while we draw and just checking constantly with our model. And we should not be afraid of drawing hands and fingers. In this view, the front view has its own beauty. So just shading in a little bit more here. We can bring this down into the bottle as well to give more of an idea of our light source. Wrapping the hand around that bottle. Okay, Lovely. So now we're going to draw the hand, the palm of the hand. So have a look at your own hand. Get comfortable with the shapes we talked about earlier, but trapezium, and we'll address our drawing. So use Curve and circle shapes. And we're going to draw a polygon. Following along with my hand movements. Start to lay out our simple geometric shapes. Remember everyone, This can be really rough sketch. We're just getting the basic form, the basic structure, and then expand upon as we care. We can keep it nice and light and withdraw the thumb here. Then the pointer finger and middle finger. All in a perspective view. The next finger will be the little finger. Just acknowledging those oval shapes we talked about earlier. Just this way. And we're adding in a little separation for our fingers. We can see the knuckles and we can see the nails. Again, we're doing this in a perspective. Views. If it helps you to look at your own hand as you're drawing, feel free. It's whatever works best for you. It's always very useful to use a reference to check against as you work. So keep checking with your model and with your reference. And you can adjust things as you go. It doesn't have to be perfect straight away. Hopefully. So if you look, we've divided it very simply with these oval shapes for the pads of the hand and the palm. Fingers just laying over the top. Using simple geometric shapes. Now I can add in some shade to show where the light is blocked off, but also highlighting where the knuckles and the bones are. Looking at the fold of the thumb as well, while we shade these different pads of your hand to create shadows as well. So you can explore that again if it helps to look at your own hand, it's worth checking and seeing how the light falls. Okay. So there is a vessel which is visible here along the forearm vessel and this bone here as well. You can see when I flex my hand, were able to see the vessel by traction. You can see that there we're going to draw in this vessel and this Byron and withdraw this area again. It's two ovals in a vertical and a horizontal direction. Now we're determining the palm of the hand. Okay, and from here we can add fingers. We should remember this and be in command of drawing fingers that bones, muscle, joints, and hand, palm on both sides. By practicing more and more, I'd recommend you to practice more to be in control of drawing hand figures. And please do not be afraid of drawing, of practicing. The hand is a fantastic challenge and it will help you hone your skills, hone these techniques. So keep on practicing. And thank you for joining me. I will see you next time. 15. Baby Hands: Hi everybody and welcome to this tutorial. So today we are going to work on drawing a kid's hand, baby's hand, actually. And we want to start by drawing a baby's hand, by growing the size of hands and the fingers will be changed. So they'll become thinner and more stretched. There are soft parts on baby's hands, which a little short fingers. So we'll explore this. On the hand and the palms. They are fatter. Muscles and joints are not as visible. There are some holes on baby's hands and meet next to the joints. They are visible in an OH, whole shape. We'll explore that. Stay. Again if you want to pause and practices, absolutely go for it. This is a new challenge and the fingers are going to be fatter and shorter. In general, we will work on the curve lines and the circle shapes. So unlike last course, we've worked on with rectangular prism and cube, we're going to work on with curved lines and shapes. In this section. We're going to start by drawing the near crease. These are three shapes. It's a two circles and an oval, which are allocated to the big thumb. It is a short, big thumb. And all of the fingers are going to be fat and short and they'll appear in a cylinder shape. You can follow along with my drawing, my hand movements. As he began to roughly sketch out this model. We're just adding in the fingers quite roughly again, in a cylinder shape. Let's following the arch of the hand. You are looking at little fingers, which muscles and joints are visible? Doesn't seem to have any joints. It seems like an elastic fingers are like gelatin and they're quite fat fingers bent at the moment. We're showing them in a bit of an odd positioned to help understand how the hand can move. You can see we're starting to outline a bit more the defining lines in the palm of the hand, as well as the palm connecting to the fingers. These fingers, they can even come closer to actually see they are smooth, curve and a little muscle is on the baby's hand. Checking our model. We can draw the hand in a circle shape. If we wanted to draw a mature hand, we would draw a rectangle or even a cone. Here. We are drawing a circle which meets with the little fingers. Here. Notice the fingers look like a cone with a curved edge. We can see them much simpler. There's a distance between the fingers as well. Look if we open our fingers, they're connected to each others, but baby's hand is different. They are fats and they're little. They're just starting to draw in. Forum connects to the wrist. Just like this. By growing the hand will be thinner and taller. Also the muscles and the bones will be much more visible. This is the key difference with a baby's hand compared to an adults. You can see we're starting to just put a little bit of a line for whether knuckles would be. But it's not as defined as an adult hand. Fingers, much fatter, save not quiet grown into them yet. Little definition for the knuckles. Nothing too extreme because you can't really see the bone so much. The child's hand. Again, this is another one that's great to practice drawing, to understand how the hand grows from infancy to adulthood. So this is a baby's hand. Okay. So it may be nice to note as well, the interphalangeal joints of the hand are still visible. Now we're just going to draw the wrist line. Again. You can't really see the bone. The wrist line is enough. There was a shadow on the hand because the hand is quite fat, so the light hits it in a different way. You can see the light is curving around with the palm of the hand and with the fingers, and then onto the forearm as well. What does outline his hand? A little bit more. Now we're going to draw a another hand. Again. We're going to explore the form of a baby's hand. Noting all of the differences for ourselves. He's hands of fat and little and look more of a cone shape to them. And we can start to put in the areas for the palm of the hand here. On the thumb. This hand is facing upwards and we can see the pad of the palm of the hand in a nice oval shape. Again, the wrist isn't very boney. A line is enough of a distinction. The same for the hands. The knuckles aren't too extreme, but we're putting a little line just to show that there are knuckles there. Now, just following along. Drawing like this, redrawing the palm of the hand. And I draw it to understand how it is different between a baby's hand, a kid's hand, and immature hand by looking at my hand movements. Looking at it, all the lines curve. Really just exploring the palm of the hand and how it changes. You continue to note those differences. Now we're really help your drawing later on having this as a base understanding within yourself the differences between different types of hands, how the muscles and the joints interact and the same can be said of all of your drawing. The more you understand the foundation, the easier you'll find drawing itself. But have patients. As we build up the scale. You may find it useful as well to try in your practice. Drawing the hands in a variation of poses from a lot of different angles. So you get a deeper understanding there. Here we're going to pay attention to the hand and the movement on drawing this baby's hand. What movements maybe happening in this pose? We look at the fingers, these ones straight out. Then what is the difference? In our other drawings and the movement of the hand here? I'm looking as well at all of our figures. You can note the difference in the fingers and the wrist. We have our basic shapes. We know we can draw this simply and quickly. Now, looking at the wrist, the wrist is quite fat and it's like a circle shape. We can determine a line through the wrist crease which separates the wrist and the hand. The risk-free rate is really the most important thing when we're drawing these children's hands. Now already that line between helps add some more dimension. And that's the baby's hand, just like this. Okay. So this is drawing a baby's hand? No. So there is a difference between drawing a woman's hand and a man's hand. You can explore those as well. The joints on the men's hand are larger and women's hands a little bit more delicate. They're thinner and more stretched than that. Anyway, there is not a big difference between them except the size and the way the skin stretches over the joints. But there is a difference between a baby's hand at enormous hand. The fingers are shorter and they're little. You can see that in all of our figures here. So the joints are not visible and all the hand texture is soft. It's fat. By growing joints and muscle, there'll be grown thinner and muscular. Well, this was drawing baby's hands. I hope you've learned Well. Thank you for watching with us. 16. Head Anatomy: Hi friends. In this video, we're going to learn about the skull structure and sketch it simply. It's very important to know and see skulls and the cranium and Joe forms. So we are going to learn how to sketch all of them. If you have any questions, please ask. And remember, you can pause the video to practice and get to grips with this skill as we go. It's absolutely okay. Practice and draw your own pace is all about patients. As we learn this new skill and as we develop this mastery. So please be easy on yourself as you learn something new. If you'd like to draw along with my movements, you can stop and start the video, or if anything is too simple for you can fast-forward the video as well. It's all your own learning. So to begin, if we want to draw a portrait from the front, we should draw a circle. At first. We draw a circle for the top part of the skull. Then we're going to connect the jaw bone onto it. So here's the top of our skull. And the jaw bone connected. Nice and simple. So a circle for the top of the head. Then jaw bone connected. This is a portrait from the front view. I'm going to draw an axis line in the middle. For symmetry, we're going to draw different details of the skull properly, which draw two lines. One vertical line crosses from the middle and one horizontal line that crosses under the circle. Here are our guiding lines just dividing up the skull. And it really does help to have these lines so that we can keep an accurate measurement. As we draw in the details. Later on. I'm actually going to start over on a new sheet. As we go in. We're going to learn how to draw the skull. And we're going to sketch it simply. And it's very, very important to know and see the skulls. And it's cranium and the dual form. We're going to go through all of those and let's draw them. And we're starting with the portrait from the front. We should imagine really good and see different photos in order to understand the skull structure better. Now we can draw a simple sketch of a skull. You want to follow along with eye movements. We're going to use simple shapes to help guide us. So first of all, we draw a circle from the front. And then the dual part is going to be connected onto our circle. Afterwards. Here is our jaw. You can have a lot of patients. As you do your sketches, we're going to specify the central axis line. That's going to help us keep symmetry in our drawing. There's also a horizontal tangent line and that will be the place of the nose. Here is a horizontal line just underneath the circle. Okay. That'll be the place where I knows. This line is the place for the eyes and the place of the mouth is between the nose and the chin. Okay. So the space between these two lines are for the ears. So there is a specific proportion. The different parts of the skull. Having these axis lines would be really helpful. As we go along. You're just drawn in on nose here. And then the space between two eyes is one eye. And the above part is for the eyebrows. This will be for our eyebrows just here. And then a mouth. We're going to draw it again but bigger. So a circle. The top of the head. Remote connect the jaw line, separating it with a vertical axis as the central line. And then we'll do our horizontal tangent line, which will also be the place of the nose. We can also separate this into three parts with a line above the eyes. And the line below for the mouth is between the nose and eyes. We're going to draw the nose and the other parts like this. Again, just lightly sketching. You can draw your own pace. Drawing in our mouth. And of course the mouth is different. For everyone. This is a standard form that we're drawing it the moment. You turn in our eyebrows and just defining the ears a little bit more. Okay, So this is the standard portrait from the front door eyes. And the head can be up or down or have a three-quarter view. It really depends on what you want. We're just keeping this as a standard front view portrait for now. We'll look at the head from above. It will seem like this. Starting with these simple geometric shape, that's our circle. And the chin is in the very lower part. It seems a little like this. So the proportions are changed. The eye, the nose and mouth lines get closer because the head has perspective. In this situation, we're going to draw the nose and eyes from a high angle. High angle. And the eyes much narrower due to the perspective. Closer together. That's our face shape from a high angle and we can start to add in the head and the hair as well. Now we're going to draw from below. These do practice all these different forms. We really helpful to understand the different perspective and face from all different angles. Drawing the face from below, we're still starting with the circle shape. This is going to guide our figure. Drawing in the Joule. The chin. Part of the jewels seems more than the other parts. The lines are curved because of the perspective. Again, we've got our nose or INR mouth line, all of which are curved. As we're looking at the mouth, nose, and eyes, this part of the head seems less than the front portrait. This is the general sketch of proportions and our first portrait. And if we practice more, we will not need these proportions is we'll have a deeper understanding of them are naturally follow the correct measurements. Really following those curved lines now. Okay. This is the face looking up from below. So now we're going to draw a Profile portrait. And we use a sphere instead of a circle because it's not from the front view. This is going to be a side on view of the face. Slightly different. Now we've got side of the face. We're going to change our basic shapes. To match profile. We need to draw a circle here for our ear. Sitting at the bottom of the cranium. You can see that in a profile view, This is the correct place of the air column both sides. And we draw its middle line. After we draw the sphere completely. That's the center axis. And the horizontal line is in this part. So I carry through the middle of the air. We also draw the vertical line of the circle. This will help us place the air. So we're going to draw a lower line, like this. Lower line, where the nose will go for the jewel. We draw these lines from above the sphere. This is connecting the front part of the face. We want to draw the drawer just like this. Connecting to that vertical line in the center. We've got much more perspective on the face. Now. You want to draw and continue the central line of the sphere like this. So this is the standard profile portrait. And that's got all of our guiding lines in there. Just round off the jaw slightly. Then now we've got to place the nose. Mouth, go their nose, their eyes. That's our eyes, nose and mouth. Then this is place, the ear just running through the central line in that secondary sphere. Now we're going to draw from the high view. Again, we've got the sphere as well. We completely draw that the chin is upwards and we specify the center. The chin will become like this. You can see the head is going backward and the chin is forward. So we can specify proportions. Lines of nose, the eye, and the mouth. Here's our chin. The face are going backwards. Chin is going up. The placement for our nose, mouth, and eyes. And this is the angle of the jaw. So facing upwards. And pay attention to this line as well, because it should be parallel with that line of the chin and the back of the neck. Okay. So looking at this, that's the standard profile portrait and that's where the front view and a side high angle. The other details of the face are added to these parts where we put our guiding markers. Of course, you can change this for your character is just a standard view. And practice this loads and loads and loads. You get really comfortable with that profile view. Now we're going to draw the profile view from below. So drawing a sphere, first of all, then because it's from below, the place of the is is actually going to be higher. Higher placement for are, is they're drawing our center axis. That's the main axis. Marking out the vertical and horizontal line where the air will go. We draw this line from above, the circle. This drawing, I draw a line. We can connect to the vertical line of the circle to this part. Drawing out the markers. Add our nose or mouth and our eyes. The direction is facing downwards. So the head is towards the downwards direction and the chin is up. We sketch the head from different views. Then going back to our front view, we use a circle for the front view. And if we look at the portrait facing down, and then the other portrait is going upwards. So let's have a look at these portraits and review. Looking at the below view. The chin and the eyes are all affected. The chin seem to have more space just here, whereas eyes are actually dropping closer. Then looking at the other head that seems to be more parts. When the head is down, it's all narrower and the head has more space. In this video, we have learned how to draw and sketch the head from the front, from a three-quarter view and from profile as well. Thank you for watching. 17. Hand - Adding Dimension: Hello friends. I hope you're all well. In the previous videos, we've learned how to sketch the general body, but now I'm moving on and we're going to learn how to add dimension to our work. And we're going to revisit some of the previous techniques that we've used. Crosshatching, as we saw in the last video, will be used here as well. So we're going to add dimension to our hand. And first of all, we should sketch and then we'll add the light. So we're going in with a rough drawing first and then we'll add in the detail. As always, if you would like to pause the video and catch up, you can rewind fast forward, whichever is best for you. So we're going to use simple shapes, e.g. a. Circle for the wrist at the top of the hand. A trapezoid for the palm, which will have a dip, which will depend on the knuckles. If you want to follow along with me. Just drawing in our trapezoid now, curved line here, that's where the knuckles will be announced. The dip, just the knuckles. As we go. First of all, we're going to draw the thumb. Moving on to the index finger. And we're just keeping in mind the joints in our fingers as well. Checking in as we go. I'm going to draw the knuckles accurately and you can check this on your own hand as well. So paying attention to the knuckles here and we'll check our sketch with the image regularly as well to make sure all the proportions are all correct. So having checked in with our image, we know that two fingers are open and two fingers are closed. The knuckles of these fingers are wide and then their skeleton or thin. The middle finger is inside and the index finger is outside. So keep on checking our sketch regulators to check all the proportions are accurate to our reference image. This is the sketch from the academic school of Russia that students learn with principals. And this is one of the valid schools in St. Petersburg. They're just softly shaping out the hand a little bit better, taking it a little bit away from that basic form that we started with. Always, always keeping in mind these knuckles, his joints. We can learn better and no techniques such as these from academics. Again, on the placement of this knuckle is very important because it has the most light. Starting to address. Lighting here in their bones and the rest of the knuckles under the skin. We'll show those as well, but there's a slight shadow falling along those. Dressing. Does the little bumps in the skin where our skeleton sits underneath. Really starting to bring in a little bit more definition now that we've got our rough shape majora, three-dimensional thumb. Here. You can see I've got the line of the bone and you can see where the knuckles will the joints. In this thumb. It's going to be really important the shading here to give it that a three-dimensionality. We're just check the knuckles again. Start to draw out these lines where the shadows are really going to fall. And we can follow these guiding lines and knuckles, they seem more on our hand is closed. So knuckles for these two fingers, they seem to be more defined because they are closed. I'm going to draw them with light lines. It's always better to start off with softer pencil. In the stage where we're more likely to adjust. We can go and we can darken our lines. Later on. We'll use lines and hatches for the darker parts. Now, light shines from this side. The corner of the fingers will be dark. Actually, we use lines for light and shade. You can see that definition is really important. So we can see where we're missing line and that will inform us of where the light is. Now. For the rest, we are making an adjustment here. The wrist itself should be. We're just moving that along. Don't be afraid of making mistakes because we can always go and edit it as absolutely okay. Now let me move that around and the proportions are correct, the shape looking correct. They're just starting to add in more of a shadow along the hand as well, keeping mind that our light source is coming from the left. So then our right side is going to have more shadow than the left side. Okay? Now I'll sketch is done. Now we're going to add details to the fingers. And we can start from anything that we want. It's going in with those nuchal lines. I'm really happy with the shadows here. The lines will become more clear, more specify the knuckles in light and in shade. As you can see, we're adding more shade on now. Really getting these details. Oh yeah. Adding shade here just by hatching, lots of layering of the lines. Now there is a space between the hatches. Keep checking your reference image as well against your own drawing and you can see the light and shade in the image. So we're looking at as well, we're going to keep the light. We do that simply by emitting lines from that space, keeping it as a negative space can also just do some slight shading. Some parts as well. Just a light shade. Record light falling on that knuckle there. You do want to have patients when you're shading as well. If you feel you need to pause the video and catch up, It's absolutely okay. We've got lines in different directions, which is very useful. You don't just have to work with the vertical line, can add in more diagonals as well on this just adds even more depth. Okay? So we're doing it very, very slowly. As we go. You don't want to rush our shading. What is? Keep on checking our image with the reference, making sure that that lighting makes sense. It follows the direction of the light where it's casting shadows on the hand. We using hatches for high or less density, but we draw them regularly. Now going back up to these brains that we've referenced before, shades cover the bones because light is shown in this part as well. So that slight bump from the skeleton is actually casting a shadow onto the hand. This part here has more shade. And remember how we talked about the closed fingers making the knuckle stick out even more. So it's causing even more shadow. This part on the next knuckle or in the slight shade. We can see how the artist uses all the principles exactly and showed them in the work. They're just looking at the shade on these knuckles. Now, the overall piece against our reference. We can patiently, we can copy this work. The model of hatching this technique is very important focus on. That's the main thing to look at here. So we can actually draw and sketch this hand better by practicing and copying and getting really familiar with these techniques. If you'd like, you can draw this hand a couple of times. Have a couple of goes at this, just keep on practicing. I'm just really addressed that light amongst the shapes. So we're also using hatches for light parts of the hand. Drawing attention to where the shadow is, we start to notice whether light is really hitting evenness a gentle light. An important note for this hatching technique is that lines going in different directions cause darkness. There especially helpful for those darker areas. It also creates beautiful slight shades as well. So we can use it in a couple of different ways. Remember to get patiently with these lines. If you like. You can even just try a hatching square on the side there to experiment with lines in different directions and how dark or light you can go while using this hatching technique. We are trying to create a sketch with hatches. Space and direction of the lines are different. Now, there is more darkness under the fingers. Use a higher hand pressure. We do this in order to have better definition and dimension in our work, which is of course the focus of today, drawing in dimension. So as you can see, you're just going in as well. While we've got this high hand pressure and adding in a little bit more detail into the nails and onto the knuckles as well. We can actually control the hatches better if the tip of your pencil is pointy and sharp. Because either it's much clearer with high pressure and having a nice pointy pencil. So I would check your pencil just make sure Could a clear point. If we tried to create shades and light with hatches, it will actually be more beautiful and we will understand the shades and slight shades better having those clear, clear lines to work from. So we're not covering every enter these hard lines going in to select points, predominantly the knuckles and the joints. Just highlighting those these areas of shade. I would recommend that we do it delicately, patiently in order to be familiar with the academic techniques so that when we want to use them, we're already comfortable. And we can go straight in without worrying too much about what we're actually doing. While we draw. Remember, we're sketching, we're not simulating the work. And actually a sketcher deals with different lines. We represent a part and we keep a part in sketching is an important issue. We may see lines and not in the direction of the form and are in the direction of the line itself. For visual beauty. This is something to observe and keep in mind as we work with adding our own voice. But we're working from a reference. And sometimes things will be put in and highlighted in shadow or in lines. Beauty rather than naturalism. So we can experiment with our work here. As it's not an exact replica of the reference that we're working from. Three, representing an idea but not copying it exactly. I had an idea of what the tops of these two closed fingers. Going directionally. Again, these ones tend to be more shaded. Cyclase. We've got strong knuckles, they're paying attention to those joints. We can also increase the contrast. Sometimes hatches are useful for showing the form of the skin. So we talked earlier about where the skeleton creates a bump in that cast shadow. So it really paying attention to how the skin falls on that skeleton. We using those hashes to highlight areas of shadow. Again, this is something that we can play around with. And don't worry if you're looking at your image and thinking it's not perfect. It's not about having a completely perfect image here is about finding your voice while using this technique. Again, the more you practice, the better you will become. Because he, the hatches around the hand can be less and have more space between them than to fade out our image distancing there's hatches even more. We can specify the edge of the finger more as well. So we'll come back down and just define the edge of the finger a little bit more. You see the shadow around the hand. We're gonna, you just keep on going until you're satisfied. Of course you could draw forever. But when you get to point me, feel happy. That's usually the place to pause. So work is almost finished. Adding in final, final details. Finally, we're just adding more contrast. You can see those joints of the hand are really clear. He kept some light on these knuckles, even with the rest of the finger falls into a harder shadow. Okay, As you can see, we create a dimension by hatching with less or higher density. And we've copied from the academic image and learn better while keeping our own voice. We've not created an exact replica, but we've sketched and adjusted as we see fit. So we've learned a lot of things in this tutorial. In this video, we have sketched a hand and we have added in details. Again, it's okay if you wanted to pause or rewind on this video and give it a couple of goes. This is practice, and it is okay to go back and give it another go if there's a part that you're really struggling with. So take a second just to sink in. So keep on practicing this one. But as you can see from your drawing and from mine In this video, we have managed to sketch a hand, an ad in a lot of detail and a lot of dimension. We've used hatcher, the hatching technique, and we've used line to creating shades and light, sometimes using the lines in different directions to really bring out the three-dimensionality of the hand. And we paid particular attention to the knuckles and the bones and how that affects the way the light falls. This is a technique that you can use in lots of places, not just for drawing hands, but in any of your work. Hatching is gonna be exceptionally useful as a key technique for bringing in light and shade. Just remember, you can use slight shading, you can do different direction lines. There's plentiful ways that you can use this technique in your work does have an experiment, have a goal of lots of different drawings and how you can bring in the shade to bring in dementia. If you use touch or in lines to create shade and light. And we've shown the direction of the hand and the light and combine those two together. The thank you for watching and I'll see you in the next tutorial. Bye. 18. Female Portrait Drawing: Hello and welcome to another drawing tutorial. In this tutorial, we are going to work on a three-quarter portrait using the standard methods we have been working on. The portrait is in three-quarter profile views when you choose a sphere to work on it. So here is a spirit. Let me go. You can practice this as well. Don't worry as we go, you can stop and start the video. She like the right place for the ears is also clear and free quarter. So we can consider this circle to show the right place for the ear in this position. Okay? So the main axis line for the sphere we have drawn is this one, which we are going to add. We're going to add these lines exactly dividing the circling pool with this cross like this. Now starting from the sides, we add and continue these lines downwards to the end of the main axis line we drew earlier. Okay, So we repeat it for the circle we have drawn to show the ear as well. So we can connect the lines in this way. He does it. And we're doing a marketing lines for the nose, the mouth, and the eyes. This is the general structure for the face in this position. So we determined the right place for the air in this way using the cross in that spirit. And this is the right place for the nose and the eyes. Just adding an odd cheek. This is where the mouth must be. Okay, so now we need to keep working on the different parts and actually omit some of the parts and the lines. And we determined the right place with the chin. We draw a smaller compared to the lines we had drawn earlier. Right now, we are showing where the hair is creating a bit of a hairline here. It is worth mentioning that we keep checking the sample and I'll sketch. It means that we are constantly observing and adjusting. Draw the hairline a bit lower, like this. Okay, there we go. Now we can draw the neck as well. In this way. We can draw the neck like this. We have the general sketch, so now we have to work on different parts of it one by one. You can see the general sketch here. Now. We're going to welcome each part. And we will start with the eyes. And keep in mind that when the proportions are right and we've determined the right places for the different parts. We have the structure. We can easily do the sketch with these guiding parts. So that's showing us where to go. And don't worry if you need to practice this and stop and start. This is a new skill and it's okay if you don't get it straightaway. The way drawing in the eyes with these guiding lines. With the structure being completed, we can easily add as many details and layers as we need to outline them. She see, I'm doing here just adding a little bit of shade in as well. I'm giving it a little bit of dimension as we work, but nothing too extreme. As we start to set in these details. You're going to work more on the nose. Really starting to set the shape of the nose here. And again, we can start adding a little bit of shade. Add some more dimension. So when the phases in a three-quarter profile view, it means that we need to apply perspective on our portrait. And so we do not need to draw the eyes in the same size. They're not exactly symmetrical. So this IS pupil needs to be drawn more towards the nose. We cannot see the normal shape and form that we usually see. For the eyes on this sample. Remember to keep on practicing this. And if you want to just take away a part of this drawing and practice out to the side of your sketch. You're absolutely welcome to. The more you practice, the easier it will come to you. So just going over and identifying these forms and the parts of the face. As you draw practice patients. And don't beat yourself up, that the image come together at its own pace. We do, of course, have resources that are available to you. And you can practice drawing on grids or outlines until you feel more comfortable with this sort of work. Here you can see I'm starting to separate, place a shadow underneath the jaw and the chin here. Really just outlining all of these parts as we go. Okay, so now we go quite clear outline. So now we're going to work on the sketch with charcoal as we can use its widest part to work on the different parts of our portrait. Start by coloring in the hair. To use all the sides of the charcoal. Be careful with your lines. We can start adding strands of hair. Doesn't have to be super clean. We've added the necessary shading layers in this section. Now we're starting to separate the shirt as well. This is the necessary shading. Under the chin. You can see the light is falling on the left side of the face and falling into shadow on the right side of her face. Just letting that shadow form. Going gentler with the charcoal in those areas. Now we can just go back over our outline to keep that nice and clear. You can see I'm just going in and adding a little bit more definition on the eyes and the mouth, and the key parts of the face. Okay, So this is how we do a fast sketch of a portrait after we accurately measure and apply its portraits. So now we only need to keep practicing to master sketching of the different parts of the face. And this will really help us when we're doing our first drawings as we're already very familiar with how to do each individual part. When you're practicing, have a go at drawing individual sections as well, not just the full portrait. And we must never be afraid to practice sketching portraits. And we should not be concerned with the details of the face, such as the exact shape and form of the eyebrows. Sometimes we only need to determine the right place for the different parts. I'm one of the most important points that we need to practice is working on the general structure of a portrait. Learn how to draw this structure accurately in different positions. It's very important to understand the right proportions for the different parts of the face and apply them accordingly. In our first sketches and practices, we should not be concerned about drawing a portrait that looks exactly like the sample photograph. The general structure of the face is more important. And this is after getting the general structure right that we move on to details such as the minute details of the, is the eyes, the eyebrows, and the hair. So first we need to be able to determine the right places for the different parts of the face and draw its structure accurately. From there, we can start to add the lights and the shadows and the rest of the details. I hope that you've enjoyed this tutorial. Please keep on practicing and thank you for watching. I'll see you next time. 19. Iya Yefimovich Repin Portrait: Hello. I hope you're having a great day. Today we want to practice a side portrait, which is one of the works of the Russian artist alea. Yeah, for motivic repent, we want to practice the way he used to hatch, shade his drawings. If you follow along with me, we're going to try a new technique today. So for the side view, again, we're going to draw a complete circle. And we're adding in a circle for our ear as well, a guiding line. As he practiced before. Inside view, we don't usually draw an axis line. You follow along. We're actually going to divide our portrait like this. This helps us find where to place the features in the face. As you can see, dividing the face up just like this. Already, you should be able to see that the guidelines for the face of really starting to come together. And it's useful to take note of the vertical lines which we're using here to specify the eyes and nose, the lips, and also the chin. Well, we're going to start from his ear and we'll draw it like this during in the inner ear there as well. Now we draw the basic form of the eye as one of the eyes is clear and then the other is hidden. In portrait. I'm putting in the eyebrow is actually a picture of an old man. And at this stage, don't be concerned about the detail of your drawing. Just in the beginning, we're roughing out our sketch. Now we're going to draw in the nose. At this point, it really is just about getting the basic shapes and we're going to draw in the mustache. The upper lip isn't clear and it's hidden underneath that mustache there. And he also has a bit of a beard going on. So start to rough that out as well. And truly don't worry too much about the details. We made a mistake earlier. That's okay. I'm gonna go back and we'll just edit the air. Just like so. Bring it forward. We'll draw it here. I'm just suddenly add a little bit of hair. We're going to specify the dual line there. Now start to draw in his neck a basic shape for where the hair is. Thinking about flyways. But again, not getting too bogged down in the detail. This really is just the stage of roughing it out. So don't worry. If you feel like it's messy or that it doesn't quite look right? We've got layers to go. Looking at the model. He actually has wavy hair. So we're adding a little bit of life, love, blue curve. I don't want to just for a reference to his shirt. So it can fit in better with the background as well. Now what we drew the general form, we can add other details to complete it. This is now we can start to think about those little detail bits. So I'm going back and addressing his mustache properly. We need to darken some parts, like here in the mustache and the bid. We're ready to separating facial hair from his face here. Now we are working from a model and when we copy work, we must see which is more important for us to hear the elements on the face and the proportions are the most important thing for us. But if e.g. the method of the artist in drawing is important, we must try to copy the shade and the light and the hatching of the artists. Getting to know their style as well. Let it come to life. Really get to know the shading, play around a little bit. Now, our main concerns, as we mentioned, are the details and the proportions. That's really what we're focusing on this time. So we don't want to simulate this work. We're not trying to do an exact copy of the artist. Part of this practice is really just defining our own style or invoice, Getting to know what it is. So little by little. When we get the mastery to draw perfectly, we don't need to draw with these basic geometrical forms or lines. We're really just getting to know the shapes so we can work by I. Because after our training, our eyes start to see every detail would be able to draw everything considering and following the correct proportions as we draw. If you're going along and you're worried that it's not perfect. Just remember that practice makes perfect. And it's okay if you're drawing something and the work is a bit of a failure to you. It's not what you wanted to draw. The more you practice, the more you draw, the easier it will become. Failing is a wonderful, fantastic thing because it means that you've learned something that is the goal here. So don't worry, don't beat yourself up. Just keep on practicing. If we said, this is an old man, so I'm just adding in some wrinkles now as well. These are some of the lines to pay attention to from the reference. Okay. That's looking good. So ingrained to address the hair a bit more. Now, as we mentioned in our previous lessons, the best way for practicing is to draw from live models. But because it's more time-consuming, you can also draw and practice other artists works first or even choose photos and pictures. The main thing is that you're working from a reference point. And that's where you're starting to realize the realism in your own style. You can really find your voice there. So it's not about mimicking, but about having a reference. In the beginning of your learning. You might be worried about the result. I or other details might not be exactly similar to the main model. Do not worry about it. As we said before. It's all about practice and you must first learn the general basic rules. Rome was not built in a day. It will take time and that's okay. We're playing with flyways and the hair. Really playing with lines and forms. And we're doing that with patients can be quite therapeutic experience if you let it. I'm going in here and adding a little bit more shade. May have guessed it at this point, but part of this hatching style is layering up lines. I'm nodding or lines cross over each other and letting that bring in more depth to the drawing. And that's part of how we shade is adding depth and layering those lines together. So if you look, this drawing is full of lines, but we didn't lose our own style in it as well. So working from a reference, yes, but we've put our own style within the drawing. If you remember, our focus points for this lesson. In this work, we're not stimulating the main work. We're trying to draw the elements and proportions correctly. That's been our focus throughout this. So check back on your work and see if you're happy with the elements and proportions. Remember earlier we had the ear in the wrong place. That's okay. We can move it, we can adjust things. Your work doesn't have to look exactly like mine. This is your drawing, this is your voice. The main thing is those elements and proportions. Then once that's ready, adding in your shading, just like so starting to separate strands of hair, working those vertical lines for our shading. Once that's done, you drove a b like this. Not exactly, but similar, similar to this. So keep on checking your work. Take moments just to really look over it. Let's see how you feel. If you'd like to adjust something. We finished up by darkening the upper eyelid to show the expression on his eye, on the direction. He's looking happy there. And then we're also going to be darkening below his nose. And inside his ear. We can separate the inner ear and the outer a little bit. So hope you liked this lesson. And you have get-go trying this technique. And I will see you next time. 20. Learning from Michelangelo's Work: Hi friends. I hope you're well. In this video, we're going to use different sketches from different painters in the world. In order to learn about shade and light, figure and hatching, we selected models that are different in processing. So today we're going to draw one of the works of Michelangelo, and we'll add shade and light, hatching and sketching. Now, these techniques that we have addressed before, but this will take the lesson even further. More. We can practice this, the more comfortable we can become, the better for all of our work. And as always, if you do want to pause the video or rewind or fast forward, whichever is the best for you in terms of where you're at. That's absolutely welcome. You can isolate parts of the image. Do practice as well. If you want to practice shading on the back or any of those things, feel free to do so this is about your journey as you grow as an artist, as you find your voice for all of these different techniques. Again, if you feel any point that you are failing at this technique, don't worry. This is what this is for. It's about practicing, it's about failing and learning brand new things as we go. It's about the journey. So don't worry if at first it doesn't work for you. We can keep on trying and the more you practice, the better it will go. Okay, so first of all, we're going to start from the head as we usually do using a basic geometric shape, we're using a circle. This is going to be part of our guide or rough sketch. At the beginning, we're drawing the main axis and we're specifying the spine and also the position of the shoulders. That's our spine. And there's our shoulders there. And it's just a rough guiding line while we work out the correct proportions for our drawing. And that's always referencing our reference image, Michelangelo drawing. I just starting to add in the neck towards the shoulders. I can come down and draw the hip here as well. Very important guiding points. So let's circle with two beans on either side for the thigh bone to connect. You were drawing the leg bone as well. That's our thigh. And then coming up I'm working on the chest. Now this is the back of the body that we're drawing. You might know that our chest looks slightly different then our previous tutorials and it's because we're working from the back. So this is the chest and the spine. Connected here. Chest and spine. Just adding on the rest of our torso, the stomach, two sides of the hip. The hip turn to the side of the chest, turned to the other side. You can see those directional lines here following that movement along the vertebrae of the spine. Okay, so now we're going to start adding in muscles. Again, this is all just very rough sketching as we add in our basics and we draw the arm bone. Now this is in perspective. We'll also draw the elbow and the wrist. There are two bones in this part of the arm. In this place, the arm and shoulder connects together. So now we're going to show the scapula with triangular shapes That's on both sides. That's sort of our shoulder blades. And then we'll add the muscles of the stomach. Here. We can see how the chest and the stomach and the hips to the legs are starting to join up. Now we add the muscles of the arm. Muscles are exaggerated in Michelangelo's work. This exaggeration helps us to learn and understand the muscles better. It's actually really useful to practice. References like these where they've done an exaggeration in the artist's work. It really highlights to us where the muscles exist in the body, as well as getting used to experimenting with more complicated poses. Now we have the general sketch. After that. We're going to shape the muscles of this part here. We're considering the shoulder here and how the muscles joining from the back into the shoulder. About slight curve. Acknowledging the joint. In this stranger position. This will be really useful for later when we begin to add in a shading. But we can see this bone that connects to the scapula. We've got the muscles of the neck here as well. Again, we're not letting those bones or muscles get lost as the body twists. So you've acknowledged again that's shoulder joint connecting to the scapula. You can see these start to flow in together. The neck into the back. Now we'll show the muscles of the stomach by beginning to shade just a little bit here. So we can become more familiar with Michelangelo's works, especially I'm drawing these models and getting to know the muscles of the stomach as well. Does a gentle bit of shading there, the stomach to the back as well. Now we're starting to move into shading a bit more. So we're going to use a thinner pencil, sharp pencil. And we'll start hatching our work to add in the shade and light. So we creating shades and shadows and slight shadows as well. If you remember from last time, we can have lines going in different directions. And when these are layered over each other, that will create more dimension, that'll create further depth. We can of course also show where there's light by leaving outlines or having greater space between our factoring and lowering the pressure on our pencil. Hatching is depending on the muscle dimension. When we draw a skeleton and its proportions correctly, our hatchling will be correct too. And we'll keep on checking that regularly that our skeleton is really helping here to show where the muscles are, which direction everything is going. And we can use that direction that's in there to help inform the direction of our hatchery. It's quite a lovely thing to be patient with this process. You can take all the time. You like a hatchery. There's no rush. You can really explore the shadows as you draw. Let's just start insuring in it. So we don't lose the details on the face later. It's just a rough shape to help guide us. And you can see I'm adding slightly more definition to our silhouette lines. And remembering that this is Michelangelo's work that we're referencing. So the muscles are more exaggerated than usual. And this is helping us just really get familiar with the placement of the muscles. And unusual positions. Were hatches very thin and delicate, especially where there's just a slight shade. Remember check your reference image. But even looking here you can see that our hatches are following the direction of our skeleton. And it's creating actually more beautiful line. Chapters are aware of the joints, they're aware of the muscle. Follow the curve of the muscles. The direction can change slightly around the bones and create more dimension. There is actually shadow inside the shades as well. We can draw that in with our hatches who've just slightly higher pressure. So already you can really start to see where our light is coming from. So you can see that we've got these planes, boats and slight shades on the bag. Whereas the front of the body, the stomach, and the front of the arm, is it a deeper shadow? And it's got a higher pressure shades there. So that's where the darkness is falling on the front of the body, we have more light falling on the back. It's similar to our hand tutorial. You can see where the bone in the body, the skeleton actually helps them form where the most light is being picked up and which areas for further shadow. We've created the shape of the muscles with darker lines. This part here is darker. Going in with a higher pressure neuron. And here there are lots of muscle nodes. So we'll see more of a curvature, some dips in this area where we have slight definition coming in for these muscular nodes. Okay, So with this hatching, you can see we've shown our draw a line there. We can't quite see the face from this position. That two is in shadow. We could shade going behind the ear. So there is a logic to our shadows here. All of these shades come from somewhere. And that's part of why they follow these directional lines given to us by the axis, by our skeletal guide. Looking at our work, I think we can actually see the hump of the figure more. So we'll edit this part here and just bring out a bit more of this back as a greater curvature going on here in the back. And we can still see the line of the spine through this. There we go. That looks better. And this is partly why it's so important to keep checking your work, looking at the reference. Here's your own I, seeing if you're happy with it as it comes along. And that way we don't make all our adjustments at the end. After we've shaded in everything, we can keep on making adjustments as we go. Who just specifying the spine slightly more here. That's pine is very important because it helps us show the direction of the shoulders into the hips, where there's a turn going on here. In the body movement. His will add more big and wide hatches. In this part. With the shades falling on the inside leg, shading along the muscle, then giving a slight curve. The kneecap and the hatches of the hip are so delicate, so we need to keep these fragile and thin lines working patiently. As we go. You can see it slightly darker where the thigh bone's connected to the hip. The artist worked on less dimension. But we can learn and see about the muscles with these hatches. We are looking at dimension as well. In all luck. Remember it's okay to adjust these lines as we go, as we start to add in more definition to the muscles. Really just defining our hatching. Then this way we can see the muscles of the neck, the waste, and the sides, the stomach, and the back. Very well. So we can master the muscles by copying and practicing and radius get used to the anatomy of the body and how the definition of the muscle changes depending on the position of our model. It is worth noting as well that while our artist exaggerated the muscles, they also didn't work on all of the muscles of the body. Here, just like on a new part of our drawing. Now, remembering, stop the rough sketch on each of these new areas. And then we add in detail, once we're happy with our rough sketch, we are wanting to add these darker shades now. So let's go in with an increase to our hand pressure will increase the contrast by increasing our hand pressure. Okay, so the muscles, bones, and scapula have all been specified. Here we can see that with the darker shades. Just go over and touch up these areas a little bit more to make sure that definition, it's really clear throughout the body. Okay, so I'll work is almost done. So by doing this practice, we've come to understand how shades help us to show muscles and bones very well. And the direction of the lines is in the direction of the rotation of the figure and the skin is extended. So this is why having our guiding lines at the beginning has been extremely, extremely helpful. There are shade and there are slight shades just in here. So if we continue this darkness, the figure would change from 3-dimension to two-dimension. We should pay attention to all shades and have that awareness of which dimension we're aiming for. So we can look at these lines and how they give us a depth to the drawing. And the reason of this light is that the dimension is like a sphere, spherical, and the light shines from the side. So shades are so important for creating muscles and dimensions. In this video, we've worked on an artist painting, and we've sketched and worked on this figure in order to learn how to create muscles and bones, hatching and shading. Thank you for watching, and I will see you in the next tutorial. Keep on practicing. 21. "Oath of Horatii" by Jaques Louis David: Hi friends. I hope you're all well. In this video, we're going to draw another figure from another artist. For this video, we chose oath of the high T by Jacques Louis David. Maybe familiar with this drawing, you may not, but it's fantastic and we'll be using that as our reference today. We'll be covering couple of techniques we've worked on before, but we'll also be looking at shading in a different way to usual. David was so loyal to classic sketching principles. His style is known as Neoclassicism, which you may have heard of before. His paintings have constancy and stability in combinations and figures. We're going to use David's works for figure and for learning proportions. And we'll be approaching this in a different way to usual. But to start with, we will draw our main axis lines of the body. And for drawing a figure, That's the ground there, that's the top of our image. So thinking again about our eighths, as we addressed before. We use the main axis line, this vertical line, the body for drawing the figure. Here we have the head of the soldier. We're doing that with a circle. And then after that, we will use a triangle shape for the body, that's the shoulders and the chest. And then moving on to the hip with another triangular shape. And then the legs are open and the soldier seems to be ready to fight and to protect. Rome were giving him a wide stance here. Now, there are three brothers in a row that are taking the oath to protect Rome. We're just going to draw the one of them today. So we're just throwing in our hip here. That's a two kidney beans, as you may remember from before, which our thigh bone attaches to. You can start to draw in our arms. First of all, we're drawing general proportions, the articulation and the skeleton. You've got small circles there for our joints as the elbow and the shoulder. So first of all, we're going to add our muscles. So we've done our skeleton, we're starting to add in muscles to our figure now as well. Remember this is a rough sketch. When we start out, we're just doing quite light. And the head is going to be in a profile view. The small circle, therefore guiding lines. He has a big neck and a big chest as well. And in this drawing we are going to emphasize on the muscles as well to help us learn them. Very strong soldier. And as always, if you feel you want to pause the video or fast forward or slow down the video, you're welcome to do that. It's all about going at your own pace. So you don't need to hurry, you don't need to rush. You can take this video at your own pace. We're just starting to draw in some of the folds of his fabric here. And by practicing can draw close muscle and skeleton all at the same time. So we're just addressing that as we go bringing close to our drawing now so that we can get used to having all of these elements going on. As we do our rough sketch, we don't have to add them on much later. We can acknowledge them early on not drawing. We've chosen this figure in order to show and practice drawing close. Actually drawing close and it's creases depends on the muscles and the body proportions. This is really helpful to observe, to pay attention to. As we're drawing, we can start to learn. Fabric will change depending on what the body's doing and what sorts of body our model has. This will be an extremely important lesson going forward. Of course, full food practices. As much as you like, the more practice you get, the better? Absolutely. An always. If you follow along with my handwriting here. We are using a light line for sketching as this is the rough sketch starting out, the hip is going to be lower and the body is going to be wider than usual. Because of the strong stance we talked about the who is taking. Earlier on, we've dropped the hip slightly and we're widening the stats. You can see how the body is being adjusted. Like we're just drawing in now, the back muscles of the legs, in the thigh and the calf. Still important to know where our muscles are, what sort of muscles this model has. This will affect how we draw clothing later on as well. See the knee has a profile view. The muscle of the leg appears from under the cloth, exaggerating the muscles. In this drawing. We can see back of the leg. The fit, that profile view as well. Hey, there is a hand that is for another brother that we've left out of this drawing. But he's got a hand on the back there. I'm ready is separating the hand from the body of our main brother. It's important to acknowledge this. As again, this will change the folds of the fabric where pressure is being applied. And we're just going up in drawing the helmet. Now. Actually behind this helmet, you can't actually see the air. But it's helpful to know that isn't the guiding line as that's where our helmet will fall. The crown of the helmet with the feathers matches the crown of the head. I'm just defining this neck and shoulder slightly more. We can sketch the hand muscles. His now we're going to add some details. By practicing. We can draw anatomy quickly and then add the details as part of the benefit of really practicing our anatomy, practicing muscles and different areas of the body so that we can go through all of the anatomy quickly with confidence and then come in with details. Just starting to draw and more of the clothing. Now we're in the left hand. I think actually, we should make the skirt shorter so we can make that adjustment. Not a problem. We'll just go through where we think the lines should be. A general sketch is actually done. Now, we're going to add details with shades. There's a higher pressure for darker areas and then lower pressure for lighter shades. So we started hatching. I'm from different parts of this drawing. So we're already taking in the overall look and how the fabric, as well as the clothing, starts to shade, where the fabric folds quite a bit. So this is a new challenge for us. Already defining the folds in the fabric as we go along shading. And the sketching is on the beige paper. Also white pastel being used. So we're transferring that over onto our pencil and paper drawing. Adding in a little bit of definition for our face. And then along where the muscles are, where the fabric fools do the shade. Then onto the hand. There's always when it comes to hatching, it is fantastic to go patiently with it. These lines are thin and fragile. And the more we layer these lines, the greater the shades, because it's all part of the design. You can really see the difference now between the fabric at the top and then between the Scott got the hatchling adding in shades between the folds of fabric. We pay attention as well while doing this to where we think the light source is coming from in the image. Shutting the hand as well. We start with shades and slight shades, and then we continue to reach the darker shades. After that. We should also pay attention to light parts. While we're doing this. Light can be created from the absence of hatchery. Really thinking about how the fabric is folding as it goes over the muscle. Where light will be created from this shadow will be created as well. Now we're going to add darkness to the image. So that was with the tip of a sharp pencil. To add a higher pressure. We can also do this by hatching in different directions. We can see how he, David was loyal to the model and what delicately and created perfect figure. With this combination. It might not be that you've got the perfect version of this model. First go at drawing it. That's absolutely okay. It's really just about paying attention to these new ideas of clothing with shading. And how the proportions in our model affect how we shade and how the fabric itself falls already getting used to these ideas, getting comfortable with them. But by working patiently and delicately, it's much easier to create. These perfect figures. We've covered the face with a shade. So it's not so much about the detail in the face as the figure as a whole. Welcome back Now, definition onto this clothing. And can you see that we're using directional lines very purposefully. While we do this, showing the flow of the fabric, I'm asking ourselves, what does it interact with the body? Where does the fabric food in a different way? We don't want to add loads of details onto the legs. Really just a general sketch of the body now with a little bit of an acknowledgment to the muscles. Okay. And who show his cloak? Okay, so that's looking good. We can understand better when we're drawing. If we look at great painters and artists works in the wild and analyze, copy and practice more and more. When we get to know their history as well, that helps us to be more creative. So we should look and analyze artists works. And the best way for looking and analyzing is through copying. So we can really get to grips with what they were thinking as they drew. Just go round dark sketch now. And we've addressed the joint to address the muscles. But we know the focus of this drawing has really been the shading of the clothes. The body itself has correct proportions, but it's more of a general rough sketch. Normally these are delicate, delicate lines. We don't need to go overboard with them. So you can create dark shades now, as well as our slight shades. That's really for controlling how much pressure we put on our pencil. Okay, So in this video, we showed a work from David. And the name of this work is oath of the heredity. And we select did one of the brothers of three. This work is new classism. And David showed it perfectly. As you can see this our final image. Thank you for watching and for working along with me. Keep on practicing any questions. You can always send us a message. But the more you practice, the easier it will become. Thank you for joining me and I'll see you next time. 22. Rembrandt Figure Study: Hello all and welcome to another drawing tutorial. In this tutorial, we'll be working on one of the Rembrandt's sketches. Rembrandt is one of the most important painters of the Baroque style, which led this style to its highest point in the 17th century Netherlands, there are so many oil painting from Rembrandt left, as well as the sketches that he did with ink and dip pen, also etching, dry point and printmaking samples that he has done in his life. We're going to look at this around brand style. And now that we are still working to understand and draw the human anatomy better, we're going to work on some of his sketches of the pupil he saw around himself and sketched them. So now that we've gotten a much better understanding of the human anatomy, we're going to try fast sketch and see how we do it. We can practice this as much as we'd like. So we're going to follow Rembrandt lines in his sketches that he actually did for his paintings. Rembrandt's sketches freely though with accurate proportions, that he follow along with my hand movements contribute to classic painters such as David or Michelangelo. His sketches are fast but accurate. You did not spend so much time on the details. And he will have practiced a lot to get to this point where he can draw with accurate proportions. And run brand has many non classic figures in his fault sketches, mostly with charcoal, ink, dip, pen, and brush. We're going to work with pencil. As always. We're working with context. So right now we're using a pencil to practice one of Rembrandt's sketches. It will be slightly different to our reference images because it's a different medium that we're working with. In the previous tutorials. We have worked on the human anatomy, the bones and the muscles in different positions. So after that much practice, we have learned the right proportions and placement of the different parts of the human body. And we're not going to focus on them anymore. So right now with the practices that we've done, our eyes are trained and we do not need to use the classical anatomy drawing techniques to work on the different figures. We work more freely this time, and we keep working on the sketch without actually drawing the skeleton of our figure. There's a new way that we're working. And again, if you want to pause the video, practice, that's absolutely okay. So the hatching lines we add a very important as they show the form of the figure we're working on. So you must be careful to add them in the same direction as the form. That's very important. We're not copying the sketch completely. We're trying to show what it reflects and represents. It is important with this to move the pencil freely like this. Not be concerned about the exact right places for the pelvis and the chest. For instance. It does not matter if the shoulders turn out to be bigger than what they actually are in this kind of sketch as we've already learned them. And now we need to move beyond them. We're doing the sketch freely and in line with the mood and feeling of figure. Like the old man we're sketching right now who's slightly bent forward. We cannot draw the lines run Brown has drawn exactly as he's done. We can do is understand the mood and feeling really wanted to show and then apply our own hatching lines to convey the same mood. However, it does not mean that we're going to neglect Rembrandt's sketch. We keep observing it as we continue to work. Now the old man we're sketching has this long stick and his hands helping him to stand up and talk. We must pay attention to how strong yet short and summarize the hatching lines are. We no longer add too many layers of hatching lines, like the classical samples we worked on to show the different parts of the figure. Here the matching lines are used to better show the form of a human figure, as well as its mood and feeling. You might not get this right away. That's absolutely okay. Just practice a couple of times and you will eventually get it. This is a brand new styles. Please don't beat yourself up about it. It may take a couple of goes and that's alright. We hit practice here to learn. It is all part of the journey. You can see we're going in with a higher pressure and these darker shades. But we're paying attention to keep some space between our hatching lines. In this version. This is how we do a false sketch of Rembrandt sketch. Thank you for watching this tutorial and make sure you practice. I'll see you in the next tutorial. Thank you. Bye. 23. Female Rembrandt Figure Drawing: Hello everyone and welcome to a new drawing tutorial. In this tutorial, we're going to work on another figure Rembrandt has sketched, which is of a woman wearing a hat. This is the first drawing style that we talked about in the last tutorial. You want to follow along my hand movements? If you need to pause and catch up. That's absolutely okay. So we need to be careful with our hand movements as we're trying to show the form. It we do not concern ourselves about the different proportions. And if we've drawn them accurately or not, what matters here is adding the needed hatching lines to better show the form and the mood of the figure and the scene. So we know our proportions by now we've trained that skill by practicing drawing in the eights. Now we're focusing on mood and form. So here we are going in and we started decent move shading. I'm not just for the form. And we are adding darker hatching lines and some parts of figure. Because Rembrandt has also used more ink on his paper, used to show the shadows and applying the needed shading layers. This type of fast sketching, it's very useful and can be used to help us master our observation and have more and more control over the lines that we draw. The lines are expressive and for sketching, they can easily show a form, a mood, and a feeling in the simplest way possible. So it makes sure you practice and work on your observation as well as the variety of your lines, will never be afraid of drawing and we have to keep in mind that practice makes perfect. Thank you for watching and see you next time. 24. Ink and Brush Rembrandt Figure: Hello. In this lesson, we're going to be practicing some of the figures drawn by famous Dutch painter of the 17th century run bland Harmon Xun valid region. We use one of the watercolor pans or ink and brushes to draw the simple forms of these figures without painting details like bones or muscles. So we've moved on from drawing all guiding axis now and we're going for fastest sketches as we trained our eye. And that way, you want to draw in a freehand method, considering that basic forms and gestures and also their correct proportions and sizes. As it was mentioned, we want to practice some figures created by Rembrandt, who is one of the pioneers of sketching human figures. This time we want to use watercolor brush and start drawing. So as you see, we freely move our brush on the cardboard to draw this figure. So for this, we want to start from the face. Naturally. I'm not worried about making mistakes in proportions. As I practiced. So many figures. Only hatching and adding touches to create a good visual effect. Because of some shade, we draw the lines thicker. And for the light parts we use the sharp tip of our brush to draw delicate lines. Going with the sharp tip. And just gently drawing these thin and delicate lines. Only slight shade. E.g. for the shade here, we use the width of our brush. We're just giving us a darker shade. Now. Here. The skirt and her shoes under her skirt. He said it's as simple as this. Just little details. When the folds of the fabric is all about form. As you saw, we only added touches of the brush to small details. Okay. So we're going to wet the brush and then darken her shoes a bit more. If you practice a lot, you can draw even faster than this. Just by some touches and lines. You could draw this figure and the crease on her dress or skirt. And also just her body gesture. Remember on, has a lot of figures of this kind that many figures he drew his paintings. This is our first drawing. And now we want to draw another figure. Okay? So this one is an old man who's putting a turban on his head. Will work along with our reference as we paint. And we're trying to draw his turbine just like what we see in our reference image. All of these resources are available for you to paint along with. Now we can see messy lines here that the figure is perfectly drawn. This kind of drawing is difficult. It requires being hard working and practicing a lot. Using the width of our brush here. It might seem easy, but it is actually very difficult. These figures in particular are masterpieces of Rembrandt. And that's why it's recommended to practice a lot. And what we do now is we are practicing what he did. So we need to work a lot and sketch a lot. To get more confident. Of course, we're not just copying it, we go beyond it and we use our creativity too. Remember, you can pause these videos and practice a couple of times following my hand movements and then pick it up again after that, if you like. And that way it won't be overwhelming and you can send me any questions as well. You can send me your assignments and we can talk through work. This figure, he's a king with a royal cloak or a gown. And we're just adding that in with these simple lines. First we're drawing it basic form, and then we'll add the lines and the other details. As it is with Rembrandt's style. We using simple lines now that we know all correct proportions to recapture the form and the mood of the figure. At the other details. Until we finish the drawing. This will be very difficult at first. It's best to always go and practice these techniques a few times before applying it to our main model. And you can do practice on the side of your work before you dive in properly with the main model. Now, if you don't have paint, that is okay. We can always work with other materials. Don't let it stop you from drawing. If you don't have certain mediums. We can adjust according to what you have available. It's good to be honest with ourselves to give ourselves constructive criticism so that we can grow. And we know that at this point we can't copy Rembrandt's work. At this level. We can see an analyze them and try to practice them. And through that practice will discover things. These drawings of great artists only occurred once like an accident. And we can't predict accidents as they happen one time. So we can't create those accidental lines and forms again, but we can create our own artwork. We can only follow great artists by studying and practicing their methods. Our voice as an artist is always going to try and come through. And once we learn what our voices, we can work with it. And that's something that will come out in your practice as well. It's not only about becoming confident and comfortable, but also about discovering your own voice and working with it. Even with these techniques, with the methods of other artists. You can see we have our urn, composition and creativity, and we've gone even further here. And it's almost, almost finished. I hope you've picked up a lot of things in this lesson, I found this lesson and practice useful. I will see you in the next tutorial and goodbye for now. 25. Seated Woman Figure: Hello all and welcome to a new drawing tutorial. In this tutorial, we're going to work on one of Rembrandt's masterpieces in which he has drawn it and convey the mood and the feeling or the mother with her child in the simplest way possible. The first step is to observe the work thoroughly and see how simple and straightforward the lines are. And he's not used that many lines either. This reference is of course available to you so you can sit on analyse this work. You can pause the video at anytime as well. Observing is one of the key steps while we are working on a very important skill to keep on building up. So of course, if you want to pause and observe the image, please, please do. Practice is such an important thing and observing is one of those skills to practice. We are starting with the head and really just going with a simple lines convey the form and the feeling of the image. This way. And especially helpful image to practice drawing, to really understand rum brands, use of simple lines to convey mood. So please do draw this one a few times and send me your assignments and ask me any questions. We can never exactly copy what has been done by Rembrandt, but we can try to convey the form, the mood and feeling with our lines. And this is through practice and more practice that we can truly appreciate the art and start to learn from it. Remember that this is a journey. So as you're practicing, you can have versions of this painting and drawing that you're maybe not very happy with, but you keep on practicing. The skills will grow the more you work on it. So don't worry if your first version is not exactly as you'd like it to be. Okay, so this is how it is done. Thank you for watching this video and make sure you practice. I'll see you next time. 26. Ink and Watercolor Figures: Hello friends, welcome back. In this video, we're going to create three figures using the brush. As always, please practice. You can pause the video or slow it down if you want to. Take a second just to cover over the technique. And if you have any questions, please, please ask them. You can also send over your assignments so we can have a chat about them. If you follow along with my hand movements and feel free to pause and go over as you follow along so that the video is not overwhelming. I would draw many, many figures before, so I don't expect you to get this right away. It's all about practice. It's all about the journey. So do not worry if you feel you need to pause the video. We have previously looked at the correct proportions and anatomy of the body, including the muscles, including the skeleton. This is a very useful skill that we'll be using here as well. So now we should be able to get an idea of where the muscles will be, of where the body will be. Based on all this practice we've been doing previously. So for this drawing, we are drawing all of the components. At the same time. We know where the axis would be without drawing it. And we can consider the muscles and shade as we paint. Will think about the leg and it's muscle dimension at the same time. Now we've done a lot of practice with these skills. So actually it's not thinking about it, it's unconsciously doing it. We've gotten so used to drawing and painting the body anatomically correct with the correct proportions. And if it's not quite at the point whereas the unconscious doing for you, that's okay. It just means more practice will be beneficial and you will get that you will develop that skill. We can unconsciously know the placement of the muscles of the skeleton as you draw. In your downloadable resources as well, I have put all the references or the guides that you may need to go through as we're drawing. Feel free to reference those and ask me any questions you may have. As you remember from our previous tutorials. For these areas of shade, we can use the width of the brush, whereas for our finer detail, outlines is the tip of the brush that we can use. You can see even when we're painting, we can make little adjustments if we feel it's necessary. And as always, it's a great practice to keep looking at your references. Take a second to just sit back and look at your work before carrying on. You can see I've adjusted the hip, starting to add in the rest of the arm now and the hand. And don't worry if you feel you need to practice this painting method more than the drawing methods. It's all new skills that we're learning here. And some might come easier than others were creating the legs with some movement. So you've got quite a dynamic pose going on at the moment. A little bit of hatching in. And as always, it's considering the direction of the leg of the muscle. So that couch or follows where the muscle is in the body. Just adding the final details now, using the tip of the brush. Okay, so now we're going to move on to our second figure. We're going to draw another model on our paper here. So we're drawing bones and shading at the same time. Similar to the previous figure. We are getting the simple form and adding our shading to create a mood, to create a feeling. It doesn't matter if the lines, a messy recapturing idea. The feeling of this movement in this pose. Chest is bent completely. And we show it with the y part of the brush, where there's a fold in the body that's creating that shadow. Usually we start drawing from the head. But we can start from every passion this painting, because there's no rules. Were free to start where we feel we would like to. This is another way that you can experiment in your drawing practice, in your painting practice, you can begin your drawings from different parts of the anatomy and see if there's a way that feels better to you or where there's more comfortable for you. Because after all, you are your own individual artists. So there will be a way of creating all that feels more comfortable for you that makes the most sense. Now remember, you can message me at anytime. If you do have any questions, please feel free to send them over and we can have a discussion and see how I can help you. These paintings, observing light and shadow and how it interacts with the body will be very helpful here. As we are going for the simple forms and we using shade to help build the form. If it's useful to you, it may be beneficial to practice, especially figures and models that are sitting in heavy light with a heavy contrast. Similarly to how we practice drawing models with exaggerated muscles. To really get to know the anatomy. We can practice paintings with exaggerated lighting to get to know shade better. Now the darkness. This part is more. So we create this darkness with the wide part of our brush. Now you can see we can emphasize some parts as well. As you know, there are downloadable resources available to you as well. So please do download those. All of the information is in there and they can help with your drawing practice as well. And you had of course, practice outside of these tutorials. More you practice the easier this will become. Again, we're just using simple forms to create ground here. So we don't have to go to extreme establishing the ground. Moving on to our third figure now, you can create shade and light and proportions with simple practices. As you can see now that we know are correct proportions and the placement of the body, we can actually make it simple quite easily. So if we want to use lines, surfaces, and abstraction altogether, it will become difficult and I will need more practice. One is more difficult, but we can start just with the lines, the surface and then combine them after practicing as we have been doing. So we did a combined work here. That's more difficult. Then I'll previous drawing. We worked with surfaces in this figure in the middle here. So it's really focusing on simple shadows to create the form. This figure has less detail and we use works with less details for practicing at first, but we should do academic work before that. Really understanding the techniques such as hatching, such as the eighth grid, to understand our proportions. Now, I'll work is done. Thank you for watching and I will see you again in the next tutorial. Remember to keep on practicing and send me any messages. If you have any questions, goodbye for now. 27. Complete Ballerina Figure Scene: Hello again, friends. In this video, we are going to work on some ballerinas For our last, seen. As always, practice along with me and follow my hand movements. If you'd like to pause the video to catch up, please feel free to ask me any questions. We're doing a simple sketch at first. Now we know the proportions of the body, so it doesn't need to draw the whole body structure with the axis lines. Do more of a fast sketch. And we're just sketch this in lightly. At this point. We have also memorized the space between proportions as well. Remember to keep these lines nice and light. It's a rough sketch. So we don't want to draw on the very hard pen. First we're drawing with pencil, and then we're going to combine it with ink. All about ballerinas in this frame will be doing a fast sketch based off of all the previous techniques that we've been working on. And again, if you feel there's not perfect straight away, don't worry at all. This is part of a journey. It won't be perfect. From step one, all of this requires a lot of practice, a lot of hard work. So as you're drawing, if you think it's not quite right, can rub it out. You can practice drawing on another page or to the side, and then come back to the painting itself. You're just working on our third ballerina here, who's up on the point shoe. Redrawing a general sketch to start off. All of the resources for these drawings can be found in your downloads. Please download them. Have a look at the information there. You can draw on the grid as well until you feel more confident. So we don't want general sketch and now we're going to use ink with a brush to begin to paint our scene. Remember for finer details you want to use just the tip of the brush. And then for areas of more shade, you can use the width of the brush. So you can see how her last name was folded. The fabric in the scouts come through in all forms as well. So everything's got a direction to it. This we are sketching quickly if you need to pause, not a problem. So first of all, we are brushing the skirts. Autistic add. Very effective is since you have concentration on our work, we should create good acts. Going in with clear intention with our work. So adding emotion shade on the skirt, following the folds of the fabric. You can see we're creating a separation between our ballerinas using different shades with the ink here. We're using the lighter and darker areas to separate our ballerinas walking on their hair. Please do practice this one. And you can ask me questions. You can send them your assignments and your practices so we can talk through them and I can guide you. This is a fantastic piece to practice as well, to keep them working on foreground and background as well as creating dimension. In our work. Working on the hair again, just adding in a little bit more definition. I'm adding in even a little bit of hatching into our painting. Practice this, this is a new skill, painting and hatching. So keep on practicing combining these techniques. Going in with the tip of the brush. Again, we can create the fingers using some stains and do some fine detail work with the stain there. The shade of the head is on the body. Like so. So we're considering our light sources as we work. Again, this is another technique that we can practice and get more and more confident with. So don't worry if you don't have it straight away. We're adding in the creases of the dress with again, a finer detail tip of the brush. You may be helpful as you're practicing to draw the individual ballerinas. Before doing the full painting. It really is up to you, whichever your preferences. Analyze the reference as you go, and as you look back at your own work and find the logic in-between. Where does the light effect us? Where does the body affect the fabric? And how can we use simple shapes and lines to convey a feeling? Now we do want to keep some light spots to help us track the light source in the scene. And keep that nice contrast on our ballerina. You can see we're keeping a logical direction with the skirt, working with gravity. Well, he light off the face. Shading in that Scott. Thanks. So you want to follow along with my hand movements as we paint. Going to keep the light off the front figure. Remember this is detail work. So I have patients. Take your time to create these lines. So we've drawn the general sketch, and now we're going to draw another figure. Self-focus. They're remembering to compare it to the reference and to stop and look at your work making any adjustments you feel you need to remember if you have any questions, you can always send them on over to me. On this third figure is starting with a delicate and extended finger. And they've got a thin body drawing in the shade and the form at the same time. Using the tip of the brush to work delicately. This is another more complicated pose of someone dancing. So it just want to remind you that it is okay to draw from outlines and to trace at the beginning for moving on to more free hand style, if you're struggling with any of the poses that our models are making, practice from tracing or copying outlines. Until you feel more confident that you understand the skeletal movements and the muscle movements in these different poses is all about building up your confidence and your comfortability. So you don't have to be super confident immediately. If not, that's okay. Practice and practice as you know, practice makes perfect for this dancer. We're going from, we're drawing delicately with the tip of the brush. Hit these fine lines. Before this, we've learned the proportion so we can easily draw with the brush. We know our anatomy now. We've learned how to draw fast, simple forms. If you want to practice drawing the face on a separate piece of paper with paint, then that is absolutely okay. It's slightly more detail. Work is more intricate than before. So give that a couple of goes. It will be beneficial as well to draw along with me to follow off to my hand movements, and to practice drawing a couple of times before applying them to the main model. It can also be very helpful to watch the drawing parts a few times and then practicing at the same time as watching them. Adding in more shade. Starting to bring together more of the details. Now we begin to draw. The other leg is defining the T2 as well. You can see that the shadows in the folds of the two-two and also where the body casts a shadow on her skirt as well. Will start to define the face a bit more here. Adding in more of the details. Next, we're going to darken the space around our ballerina. There's darkening the back of the body and the front of the body in order to create space. Filling in the background here. Let our ballerinas stand out in the front of our scene and really pop off the page. Okay. So helping the I didn't even more definition to go through and fill in this background. You can let that dry. We'll move elsewhere while that dries. They want to go in with the fine detail and a separate this middle figure a bit more from the background. So we'll define her dress a bit more and give it a darker shade. You can see we've set some lines to separate the war from the floor. Now going to go in and we're going to draw another figure. So this is our fourth dancer. Creating our simple form and shading at the same time. Guys, we have a rough sketch there. Now. We'll go in and we'll darken more of the background to help her dancers stand out. Using the width of the brush here. I'm just being careful about our lines around the dances. And it's really just helping to clarify the full form. While we keep in some of these lighter areas. So observe how he kept in these lighter parts. These are actually areas of light on the legs. On our fourth figure here. The muscles of the leg that we can see in that light area. You can see actually that how putting in this background has helped us clarify the light on the skirt and these different areas of shading on our dancers where we needed to keep in the light. Without necessarily having to draw a defining line around every area. Just trying to blend the shade of the background a little bit more. Again, there's no rush to do any of this work on whichever areas strike you. Actually, we are going to make the face a little gray. Blending into the background a bit more. Depending on even more. A little bit more definition there as you're doing this and looking at your reference and checking back on your work. It's okay to hop around to different areas of the painting because it lets you gain more perspective once you've stepped away for a second. But also it allows the ink a little bit more time to dry. Which can be extremely helpful. Okay, so now we're going to go in and we're going to color the foreground of our image. First, we're adding the shadow of this dancer. We can just hopping around completing some areas and allowed to dry. Adding more shadow. Yeah. Unless you can see it's okay to make adjustments. Even at this point. We can adopt anything in our painting. The fine details. We just complete. Feet and the hands. A bit of shadow there. This is currently our largest painting that we've done so far, using all of the techniques that we have learned. So it's the most intricate. So please, please do practice this one. Even if you practice individual elements of the painting. This is combining everything you've learned so far. At this point, I'll work is almost done. We've emphasized some parts. We've drawn figures. We worked in perspective with proportions, the form and the creases of dresses altogether. So we've done a lot of incredible work on this one, combining a variety of techniques horrifies most areas. Without fine tip. We can also look at DBA ballerinas and get inspiration from them. It has a lot of attractive combinations and classic structures. And it's free and it's good to copy them to gain more of an understanding of various artists work. We can practice that skill of observation and analysis to grow in our own style. Here we go, we're completing our frame. The last touches, a shadow, finishing up the foreground. So you can go in and just take your last few details will cause your work on these forever. But it's good to get to a point where we are happy and tie off painting. We'll put our signature down in this corner, showing all combinations. The signing off our work. In this video, we've drawn some ballerinas. And first we drew generals get, and then we added details, brush and ink. Thank you for joining us on this course. Keep on practicing and thank you for watching. Goodbye.