Masterclass of Animal Drawing: Beginner to Advanced

1. Masterclass of Animal Drawing: Beginner to Advanced: You're ready to take your animal drawing skills to the next level than this course is for you. Introducing the masterclass of animal drawing beginner to advanced course. There's extensive course offers 10 h of HD video tutorials and additional resources. Providing a comprehensive guide to drawing animals. Whether you're a beginner or an experienced artists. This course is designed to help you improve your skills. You'll learn how to simplify the forms of different animals outlined wisely and build up your layers to finalize your artwork with a focus on the structure and skeleton. You'll understand why it's essential to know how it works in order to draw animals. Knowing the structure and skeleton of an animal allows you to understand its movement, posture, and can also help you simplify the forms and shapes in your drawings, making it easier to focus on the essential elements. And how to apply this knowledge to your work through step-by-step lessons and practical exercises. This will help you create drawings that look and feel alive, capturing the essence and energy of each animal. This course also provides an opportunity to learn how to draw a variety of different animals, such as horses, dogs, cats, rabbits, tigers. Many more. You will learn how to capture the essence of each animal for simplification, adding lines and details, shading and coloring. You'll also get the opportunity to draw animal cartoon characters. You will learn how to add personality and charm to your drawings. Make your creations come to life and you shading and color to create depth and expression. You'll also studied different elements, such as expressions and poses. To create unique and memorable characters. You'll learn about different mediums such as fine liners, colored pencils, markers, and watercolors, and how to use them effectively to achieve different effects. Learn from master artists to draw different animals and be guided on how to draw your own animal characters. For realistic paintings, portfolio illustrations, animal studies, comic illustrations, storyboards, and so on. With the opportunity to study different approaches to drawing animals from realistic, too exaggerated versions. You'll have everything you need to put your skills to the next level and create dynamic, diverse, and memorable artworks. Enroll now and start your journey to becoming an expert animal door. 2. Understanding Animal Anatomy Structure: Hello everyone and welcome to this new tutorial in which we're going to work on animal anatomy and drawing. During this lesson, I'll be working with a pencil. But if you don't have a pencil, don't worry, you can work along with us with any medium that you like. So we'll focus on studying and analyzing animals, skeletons and anatomy's so that we draw them better and better and see how we can draw animals alongside humans or separately. Again, if you want to work in watercolor or charcoal or pencil or pen. And if these work, so we'll start this lesson with talking about the skeleton and a movement analysis of animals. If you want to follow along my hand movements, this may be helpful. Our aim is to understand the shape of the body and its movement from the very basics. And this will help us to really understand the animals so we can take our skills further as we continue to develop and grow. As artists, we need to understand the shape of the spinal cord. So e.g. in different animals, we can draw them accurately. So a basic understanding of the skeleton will help us a lot in drawing these different pods. And from this understanding, this basic understanding of the skeleton, we can get to know the key parts of the animal so that we can be even more creative while keeping a true sense. To draw any animal, we first need to simplify it structure and draw the general form of it from the form of the spinal cord, as well as its movement. If you want to follow along my hand movement as we practice and as you know, practice makes perfect. So please, please do practice. The more you can practice, the better you'll continue to grow those skills and become more confident and more comfortable, which is going to be so beneficial. No matter what animal we're drawing, we need to understand how the body structure is different from one animal to the other so that we can then simplify them. So the simplification process starts with classifying the body into three parts. The front, the middle, and the back. So these are our three parts here. And then we draw the main axis line of an animal's body, which is actually its spinal cord and helps us show the body movement. You can see here, I've drawn in that spinal cord. Now based on what animal we're drawing the shape and the form of the pools and clause can be different. So this is important to note as we work forward. Now at the beginning we're just drawing a rough sketch. The species and the size of the animals are very diverse and it makes it totally different from one animal to the other when it comes to drawing them. As we would have different skeletons, body shapes, and measurements. This will be a learning process here. Don't worry if you don't get it perfect straight away, we're learning a new skill. So if you feel you want to pause the video and practice, or go back and redo something, that's absolutely alright, that's perfect if you make mistakes and you learn and grow from there. So do not worry if you feel you want to pause and then catch up. At this point, we're only drawing the main parts of the animal's body. It's better understand the animal anatomy. We just have to learn how to determine these three parts on the animal's body. So on the next sample, we're going to see how we should draw these three parts when they are in perspective. While on this example we can see these three parts as they all been flat. This is a 2D sample that we've drawn first and we're moving more into 3D now. We're looking at, I mentioned a bit closer. We must be able to draw the animals and every position that they are. For instance, here we can see the animal from the back. While it's also in perspective. This is how we divide it into three parts and draw the main axis line that shows the spinal cord and with it the movement of the body. And then we draw the neck and the main part of the body and the pelvis. Right now we're only drawing the general forms and later on we'll work on these parts with more detail. This is how we need to draw the head with either the horns are the ears on top. Like that. You can see we can use simple shapes to draw the general form of the animal's body. And no matter what type of animal we're drawing, this can be extremely helpful for getting that general shape that will guide us as we sketch our animal. So you can see here, we've used general shapes. And as it was mentioned before, the technique of dividing the animal's body into three main parts and using simple shapes to all the different parts can be used on all animals. This is middle part and while in perspective, it takes the shape of a cylinder, as you can see. That's our cylindrical shape forming the middle part of the body. And this cylinder is connected to the pelvis. In this way. We can see the neck like this when we look at the animal from the back, which leads to the head. And then we have the is. Then we come to drawing the legs. So there are principles for drawing the legs of the animals which we need to obey. For instance, on animals with the hoof, the muscle of the thigh is slightly curved to the box. This is where we're starting to observe differences between human anatomy and then animal anatomy, which is different. Now we're going to draw the knee like this. If the animals were young, it will curve towards the back in more of an intense way. So now we can add in more and more details to it. So for instance, we can address the main of our animal or we can look at the tail here, which we need to draw the back there. We need to work more on this middle part and draw its concave and convex points quite carefully. Parcel which we have both the stomach and also the back of the animal. We can also begin to add on the muscles for the legs and also for the hands. This will really help us to find where shadow might fall on these convex and concave points. And it will start to show more realistic version of our animal following along with my hand movements. And the more you do this, the more it will all start to sink in and make sense. Okay, So that's our general form from the back. This is how we divide the animal's body into three parts and use simple shapes to draw the different parts of it. So we're already starting to work in perspective, which is such a valuable tool, it's a very important technique to add to our tool book. Now moving on, drawing the lines, the pause need to be drawn like this towards the front. We also need to know these differences to be able to draw different animals accurately. So we can also go to the zoo using a soft pencil and a piece of paper and see all the animals and then movements and sketch from them so we can learn from life observing animals as they move around. So we've already observed these animals and its width, good observation and lots of practice. We can study, learn and easily draw different animals. So this is where practicing it's so important and it will help you really understand the creature that you are drawing. It's important to keep on practicing these skills. If you're going to draw a horse, e.g. we will divide it into three parts and draw the main axis line. That's actually the spinal cord. And then we'll determine the right place for the pelvis. And again, this main axis line is helping inform us of the movement of the animal. So we can let that inform us of where to place simple shapes. And it's very important to improve our observation for the animal. We're going to draw so that we can draw them with accurate measurements and include all of the details. While drawing the horse. It's very important to draw accurate proportions. So we're using simpler shapes to show each part. So these simpler shapes are really important to help us have a guide to check that these proportions are accurate. And it's really important to take a step back sometimes and just observe your work so you can look at the proportions and make sure they look right to your eye as well. We've drawn in our simple shapes and we can keep on adding more to the sketch, will determine the right place for the ears and the face as well, the tail. We've drawn the head onto the part. Ms, better to start sketching the animals when they're not in perspective. So we can see all of the proportions and the different parts of their body without any fault. So we're not going to complex straightaway. We're seeing the animal in its simplest form. Straight on from the side. Then we can draw the animals in perspective by putting them into that hypothetical rectangle and apply changes to the sizes of the different parts. Because as well, the proportions will change slightly depending on the perspective that we're in. What matters the most is to understand and apply the accurate measurements and proportions for the animal in 2D and then work more on them. So pay attention now to how I draw the legs. As they are quite different. We need to be careful with the size of the different malts while drawing the holes, the legs, the main body part, and the neck, they all matter. And help us show that the animal we're drawing is a horse, not a donkey. So all these things are quite important to help us recognize the animal straight away. These are the small details that determine the animal we're drawing. That it is a horse or donkey or a zebra. This is why we need to walk delicately while we're working on drawing horse. We start light and then we start to add in darker pencil drawings. So once we put in these details, when we're starting to outline, we're just checking the length of the hands and the legs, making sure it feels right as we're looking at it. We see a horse and it's not mistaken as a similar creature. What we've learned so far is that our drawing starts from using simple shapes to show the different parts, the position and the angle of the spinal cord. It's definitive in our sketch as the different parts are attached to it. Then more details such as the shape of the thighs and animals have who's in the field lines the pools are stretched out. All these different elements. Finally, how we need to be careful about the proportions of an animal like the horse, so that it wouldn't be mixed up with another animal can be quite similar if not drawn with accurate proportions. So after going through all of these steps, we can start working on the dimensions and the movement of the animal by adding layers of lights and shadows, which is really exciting, we start to get a more in-depth version of this creature. Now forget the practice does make perfect and this is another skill that you can practice as well. Now what we want to draw a bear we again with dividing it into three parts. And we draw the pelvis, the stomach, and the head using simple shapes, such as these. Third done, dividing lines, spinal access and simple shapes. And as we know, the bear has wide hands and muscley shorter legs. So we're drawing it in this way. This is where practice and good observation that we come to know these facts. And then we can easily apply them on the animals we want to draw so we can work much more freely with our imagination. Having observed these things in real life, we need to simplify the complicated forms so that we can draw them easily. Now after that, we can then focus on the movement and see how it can be applied on the anatomy. So this is where it's so important, understanding the movement, understanding the basic forms of these animals. Because he was starting to add in a little bit of shadow here. So to draw an animal, we need to first divide it into three parts on the front, the middle, and the back. And then we draw the spinal cord. And the next step is using simple shapes attached to the spinal cord to show the different parts. These are the key, key steps. It's easy way to understand more what we're drawing and have it as a guide as we work through our practice. So you can see the differences between all of these animals. You can practice these new skills and it will help you as you observe the sample photograph applying accurate measurements and proportions. And then once you've done that, we're ready to add more details and also emotion to the sketch. Thank you for watching this tutorial. Make sure you practice and I will see you next time. Goodbye. 3. Using Simple Shapes to Draw a Horses Head: Hello everyone and welcome to a new lesson in which we're going to focus on how we can draw animals heads. We are using a contact pencil, but you can practice with any medium you like. This is just for this lesson. So as the head of the animals also takes different shapes from one animal to the other. We're going to see how we can draw the long heads with different types of years. In the field lines, there are similar principles for drawing their heads, which we determined with an oval shape. If you want to follow my hand movements as we practice in this lesson in the drawing the head, we're also going to divide it into three parts. The parts on which we draw the snout, the nose, and the forehead. We start by drawing an oval shape like this to show the three parts on the head. We have this in three parts. And after we've drawn the oval shape and determine the three parts on it, would draw the snout. Then we draw the nose, like this using a straight line. And finally the forehead on which we have the eyes, followed by the ears. So we need to draw the eyes, the nose, and the is on a straight line, a principle that is applicable on almost all the animals. If we have the nodes on this part, this is where we need to draw the eye. Then this is the right spot for the is up here. Now this location might change in different animals, but this is correct for the horse. So we're going to draw a whole, so we're working on lines. I'm just adding more clarity here. So we need to walk delicately while drawing the horse's face. We've done a light sketch first and then gone in with a darker pencil. Once we are more sure, more confident in where the outline should be. So you can see where we've used the light lines before. We can then go in with clarity afterwards. This is how we draw each of the ears. The eyes are on either side of the head. We need to consider if we're drawing the horse from the front view or profile view. Because of this, these guiding lines are really helpful. Guiding lines can help us a lot to draw accurately and draw each part where it needs to be. So it's helping us to keep things in the correct distance and correct proportion. We need to be accurate while determining where the eye is. What is the length of the nose, and how does the snout look on the horse? So we're divisions like these. We can easily determine these measurements and draw the different features. Now we're just going in and we're drawing these lines to show the neck. There are muscles in the neck. We need to acknowledge and when we draw a cat, so even the bear, we need to draw the eyes more to the front, wherein the animals such as the stag, the gazelle, and the horse, the eyes need to be drawn further back. Now we're going to work on another sample using the same method. We're drawing the oval shape and then loan on which we need to draw the nose and the eyes. And then we'll divide it into three parts. We're going to draw the head of a gazelle. Right now. We need to draw a much smaller muscle that's the snout. So already we're finding the little detailed differences between the horse and gazelle. And compared to the previous sample, we need to draw the eye in a higher position like this. Following along. I'm practicing with me. Then we can come in and we'll draw the ears on the same line as they move upwards. This is how we draw these larger is for the gazelle. And actually we can also draw a rabbits head like this as well. So this is a transferable skill. Depending on the creature that you're drawing. We can now compare and see how different animals are different from one another. And something we can learn by good observation and a good deal of practice. We can become familiar with these differences. We can start the practice by drawing from a model or a picture. We can keep practicing until we learn them by heart. So we have that familiarity. And it's just like what we do. And we practiced drawing portraits of human beings with different proportions. So it's a technique that you want to become familiar with. And the more comfortable we can become, and the more confidence will build and the more creatively free will be in our drawings, will be able to draw on this knowledge almost instinctively. Remember to keep on practicing. So now we're going to draw the head from the side view. And for that we need to divide the skull into my drawing a line. You want to follow along with beginning to get more perspective. Again. We start by drawing a circle like this. Then we change it into a cone shape this way. And this is the line dividing the skull into running through like this. There we go. We have a triangular shape on the top of the head. Then where the snout or muscle has a similar shape to a square. So I'll simple forms are starting to come in already. This is how we simplify the forms in order to draw them easily guide us as we work through our perspective drawing now, using this line in the middle as our guide to draw these parts symmetrically, which would be very helpful as we continue to work. As well as symmetry. It also helps us maintain the correct distance. Each area of the face. We're determining the right place for the eyes, which are in line with the nose and also the ear. We need to consider the form and shape of the horse's eyes as they are unique as well. So compared to the gazelles, eyes which are very large, the horse's eyes are smaller. So we're taking that into consideration. This is an interesting new practice for us. Will be working with an animal whose eyes are on the side of the head instead of on the front, as it would be for human beings. So we're learning a new way of drawing anatomy now. As always, if you feel you want to pause the video and practices couple of times and then resume and catch up. That's absolutely okay. We're learning a new skill hare. So you can practice as much as you like. If you have any questions, you can message me and we'll work through these problems step-by-step. Now the distance between the two ears can be equal to an egg. We draw them this way as the tip of the ears on the horse move towards one another. And it's exactly opposite because L, where they move away from one another. Now, so I guess that's the distance. The moving upwards into a point as if they're holding that HIG, which as you can see is a contrast to the gazelle, is moved away, away from each other. The eyes for the horse or smaller compared to the gazelle, as you mentioned before. And we're just keeping that in mind as we draw them here. Now to draw this part of the face, we need to use larger semi-circles like this. This is how we work on the nostrils. We're adding in detail and outline a bit more. Now. This is the form of the line in the middle. And then the convex point on the forehead. Just that. If we're going to draw the skeleton for the horse's skull, we have the dual part. This is the tool that we have, a part for the eyes and apart. For the snout. Towards the end. There's the snout, the eyes and the jaw, and that's in the skeleton form. This is how we need to draw the skull of the horse. So we need to remember that on this part we must show that the length of the horse's forehead. And we also need to show the pointed tip for the nose bones, as well as that drawer that must be drawn downwards. Like this. This is how we draw the skeleton for the horse's head. And then with adding the muscles on the head, we need to draw in these parts. If you follow along now, we can see the full form. So we'll draw in these parts that I'm putting out now quite delicately. To show the muscle. Need to consider all the concave and convex points like the cheeks. Now we're just determining where the neck is attached to the head as one of the important elements in drawing the animal, as it helps us show the movement of the head and the body in relation to each other. This is an important point to note as well. Then another important point is the distance between the two eyes. We need to show that the ears move towards one another. At the end. These are the details we need to learn and apply on each and every animal as we draw, so that we draw them better and better with more and more practice. Thank you for watching this tutorial and make sure you go through the assignments and practice, practice, practice. I will see you next time. Bye for now. 4. Perspective and the General Movement of the Body: How to Draw Legs: Hello everyone and welcome to a new lesson in which we're going to focus on how we need to draw the legs for the animals. And today we are working with a fine liner pen to draw the legs of the animals. We are going to start by drawing a gazelle using the same method of dividing its body into three parts. Drawing these spinal cord like so. And then using simple shapes to draw the body. So we split it into three parts. And we're adding in these simple forms to guide us as we draw. Okay, So this is how we draw the head and add some details. If you want to follow along with me as we practice. If you don't have a black fine liner, do not worry. You can draw with a pencil with watercolors, which ever medium you have available to you. We're just beginning to explore a couple of new ones as we go. So we're drawing the length of the legs like this. And these guiding lines help us see if we've drawn them accurately. You can see the movement through the body like so an impact animals very important to draw the legs and hands accurately where they need to be in there, right? Shapes and forms. We're just checking in with all work as we go. So we've drawn an oval head, we've determined by the eyes, nose, and the snout. And then we completed the form. Like say, you draw a very short tail there as well. Now we need to draw the shoulders just slightly higher while drawing the gazelle. For our next one, we're now going to draw this animal in perspective. And this is how we draw its body following along with my hand movements now. And its body will be facing us. For showing the movement, we're drawing a line that connects the neck to the leg. And then after that we'll draw the spinal cord and we will add the other parts of the body to it as well. So you can see the movement line and then the spinal cord, simple forms. And then we simplify the forms so that we can easily draw from them. So you can see already, we know the movement of this animal. We know where everything is going to be placed in relationship to each other. This is how we need to draw the legs. If you feel as we're going through these lessons that you want to pause and practices couple of times. Please do. Practice is so important as we learn new skills and get more comfortable with them, you are absolutely welcome to take a moment and pause it, work on it a couple of times and then resume and catch up at your own pace. Starting to come together even more. Now, we can actually see the movement of the leg and the neck on these samples. There we go. So now another important point to be considered is using the shape of the cube to draw the animals in perspective. And this will be a really helpful skill to learn moving forward in your work, learning to draw in perspective, I'll give you so many more opportunities to explore your creativity. So for instance, if we'd see the animal from the back, we first need to put it in a cube with the right angles. Now this is how we're going to draw and show the perspective on this sample. So if following these perspective lines as we move and now we'll draw the animal's body inside this form. It's lower and middle parts. Now we have our perspective shape and the first step is drawing the line for the spinal cord. And then once we've done that, we'll begin to attach the different shapes to show the different parts of the animal's body. You can see from these simple shapes I'm starting to add in the legs. So this is a technique that we've used before of getting to be quite familiar with. And it's really helpful not just for 2D flat perspective, but also more of this 3D dimensional drawing. If you do have any problems with perspective, please feel free to message me. Ask your questions. This is how we draw in the form of the animal's body inside the cube to better show the perspective. And the smaller front and the larger back have been drawn. This we're also considering the position of the neck. So we've drawn it as if it's facing the front or upwards. There is movement here that we're following as if they're stretching their neck outwards. We're allowing that movement to happen and we're not crunching, are drawing down. So it's facing front or up. Now we can go in and we can begin to strengthen the outlines here. Even with fine liner pen, we can do a lighter lines and then go in with slightly more hand pressure and darken those lines up and we're drawing the legs and especially the knees. Like this. We can see a triangular shape on the gap between the legs there. Then in-between the ears as well, we have that triangular gap. We have yet another triangle, a gap between the hands. Like this. This is how we show the length of the animal's body as it is in perspective. So in this way, we've begun to gain a deeper understanding of animals in different forms. We considering the muscles, the skeleton, the overall form from a different side. Noting how the proportions change. As we move to a different perspective. Now we're going to work on another sample. And this time the animal is going to be facing us. So we're going to draw this animal towards us. You may remember how we drew perspective, the fall. So we're drawing the cube, as well as the guiding lines to help us draw the animal from the front view and keeping the animal within this form so that all the proportions remain accurate. Not help us guide our lines as we go. This one who is actually the opposite of the last one, and we see the animal's head larger. With more details like this. Then we can draw the is moving towards the back of the animal. The front legs there, then its stomach. These are really small to show the movement of the body. You can see it's larger as it's closer towards us. And then the rest of the body becomes smaller the further away it is. We're working with perspective in that way. This is how the cube and the guiding lines are really helping us draw the proportions and the perspective accurately. So we're keeping the proportions correct. As we go. This is actually better to start drawing from with the general shape and the general outlines. And we're constantly going through and we're checking the sample photograph. And then we're adding more and more details. Once we're happy with that, we're going step by step to patients is important here. And it helps us add those layers and keep our drawing true and accurate. And in this way, we can easily determine where the hand is or how much the shoulders move upwards, and also how the head has moved and where it's located compared to the stomach and the legs. So this is how the guiding lines are going to help us draw different parts of the animal's body where they must be as they are visible to us from this perspective. You can see I'm adding a little bit of shading here as well, just a small bit of detail to help get a clearer image and more dimension as well as we draw in perspective. So do practice this one. We're starting to add in more and more detail that helps bring this character to life with more dimensional, more depth. If you're really exciting skill to practice and really hone. Layering up our drawing. Now, we're adding in more details such as the HUS. For instance, we easily determine the right place for the ankles using the guiding lines. Now the more you practice using these guiding lines, I'm unnaturally, it will come to you, so don't worry if you're frustrated starting out, the more you practice it, the easier it will become. I promise you, we're using the shape of a cube to help us draw the animal and perspective, whether it's facing us or has it back to us. And we need delicately work on the movements of the legs and also the gaps between them and how they are connected to the next showing that movement. Thank you for watching this tutorial on. Please make sure you go through the assignments and practice. I'll see you next time. And goodbye. For now. 5. Animal Bone Structure: Different Parts of the Body: Hello everyone and welcome to this tutorial in which we're going to work on these skeleton of animals and their bone and drink structure. As it's going to help us better understand each part before drawing it. So today I'm working with a black fine liner, but you can work with any medium. You like. To. First, we need to become familiar with the structure of the bones and joints in animals. So now you may have drawn it before in human beings legs, we have the pelvis to which the thigh bone is attached like this, followed by the knee and the heel, like this. Button, the structure of animals, it's different as we would have the knee joint on this part, as well as the other joint up here. Like a second knee. Then the hills would take a different shape and size from one person to another. So now we're going to see how the structure of the leg is in a horse. If you want to follow along with my hand movements. The skeleton of the pelvis in the force looks almost like this and a side view. Then this is where the thigh bone joins the pelvis and it continues down like so until we reach first joint here, which is in the thigh section. Then we need to continue the lines in the opposite direction until we reach the second knee joint, which is here. Well, this joint looks like the one in humans. We just need to consider this convex point at the back. Then we continue the line down until we reach the lower part of the leg. And then finally the hoof. This is how we show the two knee joints and how it bends backwards. Like this. These joints with this structure help the animal in the time of jumping and running to have better performances. Now this is new information, this new anatomy. So if you want to pause the video and practice this and take in information, please feel free. So when the animal is ready to jump, the bones and joints on its leg will look like this and the joints become close to one another. In this way. This is very important to consider as we draw animals, especially animals in movement. Now, on another example, we'll first draw the pelvis like this. And then continuing the lines downwards. We draw the joints and show the leg now in movement. So easily like this, we've shown how the bones and the joints become closer to one another as the animal is moving. This is how we show the direction of each part working together. So then when the animal finally jumps, we'll see more distance in-between these joints. This is how we need to draw the leg in this position as the joints take different shapes in different positions. This is the jump itself. So the knees are now spread out as the animals taking off. In this way, we can easily see how the joints can open up to 180 degrees. There's a big difference from each position. So this was the structure of the bones on the horse's leg. And this one is the tigers, which is fast movements because this type of bone and joint expansion. You can note the difference between each of these forms and each of these positions of movement. This will again make more sense the more you practice it will begin to click. Now in another position, the bones come together one more time and they take this shape and form. This time we're moving upwards. So comparing the samples we've worked on together, we can see that the bone structure starts from these pods. This is how it bends and how it expands during different movements. Different positions. This is how the structure of the leg bones are in the fee lines such as Tiger, Leopard, e.g.. Now going back and working on the horses like again, we must keep in mind that it is with good observation that we can draw anything in the best way possible. So it's really helpful to have reference images with you. Good observation. We can easily realize how the bone structure changes in different movements and positions. And the best way to learn is to observe and practice constantly. So as we're working together, you can practice along with my hand movements, perhaps with reference images to help guide you. When the joints expand. This is how we need to draw the pelvis and then continuing the lines down till we reach the heels. Like this. This in general is how we need to draw the movements of the bone structure, the thigh bones, e.g. up at the top. The general movement of the joints that we need to observe and practice to master. So now we're going to work on another example. This time a dog bone structure ready to jump. It means that the bones have come closer to one another as it's preparing to jump. We begin by drawing the bones of the pelvis, which is then attached to the leg. Like so. We observed the sample photograph constantly to make sure we're drawing each part accurately. And remember, all of the resources are available in your resources folder. So you can download and reference those. Main difference on this sample is that the bones lead to pause, not hoofs at the end. So in the dog's bone structure, we have two parts if you follow along. So from this point downwards, we would reach the pools. What that means is that we don't have this bone here. These are the differences of the different parts of the body on the animals, which we need to learn by observation and practice. So you can see the spinal cord and then finally the chest. We're drawing the animal as it's moving and we need to pay attention to the direction of the four hands and the legs. We need to know which leg is set to the ground first and which one goes up in different movements and positions. Unlike film in slow motion, we need to see all the changes from one frame to the other, so we draw them accurately. Now we're going to work on another sketch of the dog, beginning with the pelvis. Here we have the bone structure for the legs. The same part which was longer on the horse. We actually do see this elongation on the poles themselves in dogs. So you can see the pool. The IK is now the other leg at the back has almost the same shape and form as it's also expanded. Like this. We're going to move up and draw the chest in this way, joined by the shoulders as well, following that guiding shape. So we're drawing in our shoulders. Finally the hands. We will draw the neck and the head as well. Just sketching that end. Don't worry if it's not perfect for learning new skills hair, as you know. This is something for us to practice. And practice really does make perfect. Assured how the joints either expand or then they will come together. Like so. So on this some liver here they have come together and look at the hands and the legs. On this sample. The hands and the legs move further away from one another. They have expanded. In this position. We need to observe and practice these movements and the changes they bring with themselves. So now we're starting to add the muscles to the bone structure that we drew together. You can see on the last two samples we shared how the bone structure changes in different positions while jumping through in very different parts of the jam. Then e.g. in the gazelles body as well, we can see different changes when in different positions. We start drawing it's bone structure from the back again. So we're already starting to explore different movements and how the bone structure in different motions will affect the body as a whole. So this is the back of the gazelle. We can see the bone structure of the pelvis and the legs in the gazelle. As it's jumping, starts to come together at the back there. It is with the observation and practice that we learn how the bone structure looks in different positions. And then we can easily apply that when we've learned for different samples. So that creative freedom comes more we practice the more comfortable we are. These different positions. This one we can easily draw from live models as well because we know by heart how the bone structure and muscles are in different positions. So that's where the confidence comes through. When you've practiced enough, you have the power to just trust yourself and you can make those free, creative decisions with the knowledge ingrained in you from all that practice that you've done. So you can really fly with your artwork once you've ingrained that key knowledge of anatomy and how the body moves in different positions, in different perspectives. So keep on practicing and ingraining that knowledge so that you can fly forward and thrive with this ingrained knowledge. Who do not worry if the work isn't perfect straight away, you're making observations and you're practicing a new skill. And every time you do that, you grow. That is a fantastic thing in and of itself. Not only are you observing the reality of life and of art, but you're also beginning to observe the reality of your own style and your own voice and clarifying that, what will your artwork look like? So it's a brilliant thing. So do not get discouraged. Thank you again for watching this video. We will keep on practicing as we move forward in the course and using different mediums. I'll see you next time. 6. Different Movement on Horse’s Leg Structure and Positioning: Hello all and welcome to the lesson in which we're going to focus on the form of the bone and muscle structures in the horse as it's moving. I am again using a black fine liner, but you can work with pencil, watercolor, which ever medium you'd like. So analyzing the process, we're going to learn how to draw movement accurately. And we'll start by drawing the pelvis. Like this. It'll be joined by the thigh bone, which is angled upwards. Then we continue the lines down and we'll complete the form of the leg. If you want to follow my hand movements as we practiced together and really get to know the movements. We're using curved lines like these to show that the movement is being done with a rhythm that creating a flow in our work. As the horse leg is moving. You can see as well, I've drawn tens and movement lines to help track movement of the leg and maintain that rhythm. So we've drawn these lines to show the rhythm of the horse's movement. And then based on that, we show how the bone structure changes step by step. So we can become very familiar with the differences in the bone structure as the horse moves in different positions. And this will help us draw them more confidence so that we can explore what we're imagining more comfortably. And as always, if you feel you want to pause the video and practice a couple of times and then resume and catch up. Please do with working at our own pace to become more and more confident as we develop these skills. So this way we can completely understand how the movement has been done and how we can draw it. And understanding will really aid us in our work. So with good observation and a lot of practice, we can learn these movements and understand how the form of the bone structure changes in different positions. So this way, we can easily understand when a part needs to come forward or go back to show the movement. You can see the movement of the tooth. That, and we're starting to work on the next frame. Now, we're considering the movement that we showed with the lines. Following. The rhythm. As the leg moves begins to come together as it's lifting upwards. As you can see, we need to bring the hoof even higher this time to show the rhythm of the movement. So we can see the stages of this movement almost like in stop motion animation, going frame by frame as the leg is brought up. So we'll keep on drawing the brain structure of the ligand movement like this to show how it must be done. By doing this, we develop an inherent understanding of the bone structure of movement at different stages. So then once we understand that we can draw more freely with our inherent knowledge, we can focus instead on things such as shading, on coloring, on the perspective. We can put our attention elsewhere. So here the leg is more straight compared to the previous samples. Starting to move once again outwards. You can see we've tracked this movements as it's taken us that when we mustn't be afraid of repeating these drawings one by one, as it is with practice, we can better learn the movement. The more ingrained this knowledge is, the better the freer will be when we're drawing. So perhaps thing, even something that seems very basic is extremely useful to us. We can put our attention on more intricate things in our work. And we have this basic knowledge down and it lives in us so we can put our creativity elsewhere. This is why it's really important to practice, even practicing things that seem basic will actually free us up as we work creatively and we do not need to measure everything. We just need to observe thoroughly and practice. The more we practice, the better you will become. With accurate proportions. On this sample, the leg is moving back. Again. Nick can even go back even further. And here we can see the rhythm of movement as a bone structure expands and reduces size. So we can track this movement through our drawings. This helps develop our understanding here. As the horse moves, as it takes steps. So we're beginning to understand not just which bones exist in the leg, but also how they work together at different points of movement. And we can use this knowledge going forward. You can see this and observe this movement, how it changes from step to step. And this is the general movement, or the horse's leg is the same on the right and the left leg. We just need to consider the fact that when one leg comes forward, the other goes back and vice versa. So we're looking at how the two knees affect each other. Now here we've analyzed the movement in which we learn that the weight, the pressure, and the expansion follow one another naturally. If we're drawing a horse that is carrying something, we need to consider the changes on the bone structure, the muscles from the weight of what it is carrying. My adding in those extra details of weight and pressure, we really begin to bring our drawing to life, adding more realism. And later on learning how to take the understanding and explore extremity. So we need to consider all these elements and apply changes delicately. Right now, we're going to draw a horse that is carrying something and see how that changes on normal horse sketch. So we can consider this to be a stick or a rope attached to a courage and the horse is carrying it. Now with this line, we show the movement of the horse. This is the movement for the horse's body. The first thing we need to realize and determine. In our case, this will inform everything else. So first we draw the rhythm of the movement, and then we start adding the different parts of the horse's body based on that. So as we draw, if you want to follow along my hand movements, this would be the best way to practice this. And the more we draw, the better we'll understand the mortal start to click into place. So feel free to draw along with me, withdraw this together and if you want to pause any point to practicing, catch up, please do. So following the rhythm already in this is how we need to draw the strong legs with the muscles on them reacting to that weight and we continue drawing the other leg as well. You can see that this leg is slightly bent like this sample. And when one leg is bent, the other one needs to be straight, like this other sample. Working together, balancing out. The two legs at the back now are bent even more as there is a lot of pressure on them. In this position. You can see it's even more of an extreme line from the straight leg. The other leg is bent even more. So again, when this leg is bent, the other one needs to be straight. So when these two legs on the right are bent, the other two legs on the left are straight. So this is how horses balance their weight as they move. And that's an important observation to make. We can see the legs drawn in this way. And these are the right directions for the legs to bend. And if you're drawing for an audience as well, this is something that they would inherently recognize if they've seen a horse before, they may not know why. It's important for us as the artists to know these little details. It's something that we subconsciously recognize. And this is something we can easily learn if we observe and we practice delicately. So now we know how the horse balances its weight and why, and how the weight or something it's carrying may push the leg to an even further extremity. And this is how we need to show this particular movement or drawing the horse in this position. Now remember if you do have any questions about this, you can message and we can go through this particular drawing. And also all of the resources are available in the resource pack to remember to download those and practice there. It can be helpful as well to practice drawing on an outline or a grid starting out, it's okay to practice from tracing where you get to know these different positions and really begin to understand them on a more basic inherent level. Having that understanding first, let's you then be creative with all of the different possibilities. Afterwards. A commonplace to go wrong when we're starting out is to miss or mess up these basic forms as we don't necessarily think about them, as there's something that seems so easy and obvious at first glance. So this is why it's really important to engrain all of these basic parts. They do need practice and then we can move on to more intricate work. So this is how we draw a horse which is carrying something, keeping in mind the weight of the item that is pulling. And another point that we need to take into consideration when we're drawing is that this is not a race horse. This is a horse that carries stuff. So it has stronger muscles. It's built up those muscles through the work that it does. And we need to show that in our drawing, we're taking into consideration the kind of life that this particular horse has lived. So we're putting in the muscles from the manual labor, which of course would be different muscles to that of a race horse. So now that this sketch is done, we'll pay attention to the muscle movements and how they expand. So we'll move to another sample. Now we'll be working on another sample. And we're going to show you the general bone structure of the horse in another position. Analyzing and drawing how the movement shows itself in muscles and bone structure. Again, if you want to follow along with me, will begin to draw our next sample. You can see we're starting with the skeleton of the horse fast and actually wants more. We're sketching the front leg with its muscles. You can see these muscles here. We need to bear those in mind. A larger muscle around thigh. And then another between those two knee joints. You can see the expansion and contraction of these muscles in different positions like this. We can share how the front leg expands or moves inwards. In a movement. On the sample, we're showing the other leg as it's completely straight. Note the difference between the muscle in these positions. So this is with sketching these movements a lot that we can easily learn how to draw the muscles in different positions as well. So please do practice this and you can see it's okay just to practice to the side as we learn this new skill. So thank you for watching this video. I do hope that you enjoyed it. Please make sure you go through the assignments and practice. Goodbye for now. 7. Draw and Learn the Skeleton of a Horse: Side and Front View: Hello everyone and welcome to this lesson in which we're going to work specifically on the skeleton and the structure of the horse's body. Again, I am working with a black fine liner. We're going to draw the whole body of the horse step-by-step. We need to learn how to draw each bone and the structure of the bones altogether so that we can apply changes on them to show how they look in different positions. Again, if you want to work with different mediums such as pencil, that's absolutely okay. The main thing is that we practice drawing while working on the bone structure of different animals. We realized that there are some similarities between them as well. So right now we're going to start working on the sketch of the horses skeleton together. And the first step is drawing the spinal cord, which we use to show with a single line before. But now we're going to add more to it. If you want to follow along with my hand movements will practice this together. It starts from the neck and continues all the way down to the tail, the end as we reach the tail, we need to add this curve. Then we'll start drawing the chest in general first without considering its details on this part. But we are going to determine this is a guide for us at this point and it's the general shape and form of the chest. Just roughly drawing this n and on these parts, we can start drawing the ribs, just roughly showing the curvature. We can start drawing the back of the horse as well. So we're still following the rhythm of the spinal cord and using that to guide everything else will be placed. On these pods. We would have the shoulders and the pelvis of the horse. This is the right part for the pelvis. Okay, so now we can start to work on the head and we're adding the skull to the general bone structure. They're just drawing in the skull here and try to follow my hand movements to draw the skull. Head. Nods happening in the muscle or any of that we're just doing the skeleton at the moment. Here we go. So that's the skull connected to the neck. And then on this part here, we need to draw the bone structure for the shoulders. Here we go. So that's our shoulder and we have this rectangular shape that's divided into like so. And of course this will be important for the placement of the leg. So this is where the joints are. Then this is where we need to draw in the ribs and we're starting to add them one by one. So it's delicate work. But we'll be able to really understand the skeletal form of a horse. That deep understanding will really help us as we move forward. Now we're going to work more on the neck. We're adding more dimension to it. We're going back to the shoulders part. We're going to reach the arms bone which is joined by the joints as we move down step by step. We'll recognize from previous tutorials. We are acknowledging that all of the joints are in the correct placement and proportion for each arm and leg. We have yet another joint on this part and then continue the lines down until we reach the hoof. Navigates and that's why it's still motion. This is the correct proportion and layout of the horses, like here. Now we can understand the horse in a still motions. We have the complete leg right here. Then on this part we have the pelvis. We're going to start drawing in the pelvis head. We're connected to the vertebrae at the top of the spine, letting that inform the placement of the pelvis with the rhythm of our horse. And please do pay attention to the details that are being added. Again, it's okay if you want to pause the video or slow it down just to delicately go through each detail and really get to grips with what we're adding in here. So now we've added in the pelvis. And you can note as well and pay attention to how each bone is attached to the other concave parts. Now that we've drawn the pelvis, we can begin to start drawing the leg at the back here. Then we'll continue the lines down until we reach the first joint and then draw them just as we practiced before. Now as we continue completing the form of the leg, we must pay attention to the proportions of the legs comparing with the front legs and seeing how they line up together. Finally, we've drawn the hoof. As the horse is standing still in this position, we need to draw the back knee as it is slightly angled outwards. You can see that outwards motion on that back. Neither. We're drawing the other leg exactly as this one. We can see some parts of it. You can note the difference from how the leg connecting to the shoulder falls differently to the legs connected to the pelvis. Now we can go back and we can start drawing the other hand, as we can see some parts of that one as well. Again, we're just noting the difference between a leg connected to the shoulder blades compared to connecting to the pelvis. And then the next step is just adding in the muscles, which we're going to show in the general form with just a line. Here, we have a basic understanding of where these muscles will be. Then we'll come through and we'll draw the tail end as well. So already we're starting to see the extra parts of the horse and so on and take more shape as well. By the hair and the muscle changes the form slightly, but it's still following the skeleton. Now this part is empty and we do not add anything on it. It's where the stomach of the animal would be. What makes the horse's body beautiful is the fact that we can see the convex point on his chest and it doesn't have a big stomach, so we know that it's there. But we're following these beautiful lines. Again. We're acknowledging the muscle with a simple line around the arms and the legs and the chest. This is the front part of the chest and we delicately add the lines for it. Just acknowledging the is there. So now we're just adding some simple hatching lines on the muscles so the bone structure remains distinguishable. So just separating the muscle from the bone. By using a lovely shading technique. More hatching as well. This distinguishing all these areas and we've added darker shading layers on the path and the phase to show the eye, we've learned how the bone structure of the horse body is simply by good observation. And we can master this by practices has another one to take away and practice. So now we're going to do a first sketch of the horse in a three-quarter view. So we're taking this knowledge and we're putting it into a fastest sketches. We've gained more confidence now with this knowledge. So this is how we need to draw the chest as it moves upwards. And then we're going to draw the spinal cord out of the chest like this. And it will be followed by the shoulders, which are only chest cage. You can see the difference between these two as we move it from a flat position into the three quarter view. If you want to draw along with me as we practice this new perspective, we're adding in again the arms, considering as well the different form with the two knees and the bend back so they work in relationship to each other. And as you follow along in this practice, you'll notice that in this three quarter view, we are drawing the knees close to one another. Like this. We're seeing the horse from more of a front on angle. We can actually, as we observe our work, we can modify our lines on the chest and we can draw the lines for the pelvis. After that. Remembers you luck in this new perspective. You can pause and practice this video and then resume it and catch up working at your own pace. It's absolutely up to you. Finally, we're starting to draw the legs at the back and we need to pay attention to the fact that these are in perspective. So we need to draw these delicately. Following along with my hand movements and working as well at your own pace. This is your journey. We're just beginning to work on the neck as well. Here we've made acknowledgement of the spinal cord and the tail. Begin to work on the internal part, the chest as well. Now we're starting to draw the head. And as it was mentioned before, we start with adding the middle line and then drawing the details around it. And just making adjustments to our back. Here. Again, it's okay to adjust. We're modifying our lines on this part underneath the stomach. As we make observations, as we draw. We add the muscles following the shape and the format of the bone structure. So this is a horse in a three-quarter view, a frontal view. Now, thank you for watching this tutorial. I do hope that you've enjoyed it. Please make sure you go through the assignments and keep on practicing. I will see you next time. And if you have any questions, don't hesitate to send me a message and we'll talk through them. Goodbye for now, have a lovely, lovely time practicing. 8. Horse Skeleton Simplified: Back and ¾ View: Hello everyone and welcome to a new tutorial in which we're going to sketch the pelvis of the horse in details. This is following on from the last tutorial where we drew the front of the horse and the skeleton. So today I'm using a black fine liner, but if you want to draw with pencil or watercolor or charcoal, ever you prefer. As long as we are practicing together. So we need to learn how the pelvis looks like. And this comes only with observation and practice. So if you want to draw along with me and follow my hand movements, and you can also pause the video. So you can practice a few times and then resume and draw along with me as we learn this new observation. So it's very different from the human pelvis for the horse, as it's actually a convex point. And we draw it in this way using this circular shapes. So following a curvature and the form of the tail, humans also have this bone, but it's very short-term, whereas in animals it becomes much longer. We can observe that tailbone there. Perfect. Okay, So this convex shape of the pelvis, it's also quite big and has more gaps in-between these pods. This is different to the human pelvis. Already. It's a bit more complicated now. We're adding on where we would connect to the spinal cord. Remember all this information is available on your resource pack. So you can download that and go through all of this information. This will be helpful to your learning as we grow. In this way. We're just connecting the fiber. And here, going to the first knee. You can see as well, I've added in some hatching lines just to show some more of the dimension in this rough sketch. So we're now, we're just continuing our lines down and we're starting to draw the legs and they're burned structure the joints and also the cartilages. We're really exploring the details within the skeletal form of the horse. It's potent. Here we can observe from the back of the horse how the perspective changes. So what do we notice that's different in drawing the bones from this perspective? It's known as adding in some slight line for the muscles will add the muscles on top of this bone structure for the pelvis. You can see what the muscles move with the form of the skeleton as well. There is almost a knock-on effect from the skeletal curve to the muscular curve. Now we need to draw the tail onto this part as well. This is the pelvis of the horse that we've drawn here. Okay, So now we're going to move on and we're going to draw the front part of the horse's body with more detail. Number four. If you want to follow along with my hand movements. As we practice, we're starting with this part on the chest and then we're going to add the spinal cord. After that. Here's the chest and the spinal cord. Just acknowledging the vertebrae along there. And then the bone structure of the shoulders just here that's attached to the spinal cord on both sides. We're looking at this horse from again, a different perspective, even though we're looking at the front again, we're coming in from a different angle and seeing how that changes everything. So we're starting to add the legs keeping in mind that we cannot see the other joint back there. There are too many details in the form of muscles and bones on this part will be continuing the lines down. We can draw the lines to show the form of the knees. And then finally, we'll come to the hoof. We have to keep in mind that the hoof is not immediately attached to the leg. That is a gap. We draw these simply like this. This is the foam from the front. We can add in little hatching lines just to show some more of the dimension. So we're looking at the knee joint here and how that connects to the leg. We do not need to draw these many details, store accurately and sketching. We just show the general form so that we can show the movement better. So thinking again about the rhythm that we discussed before. How does the horse flow in different positions with different movements? Now we can just go in and we're adding the muscles on top of the bones and will pay extra attention to the muscles on either side of the chest as well. So we're seeing how the muscles come together at the front here and looking at the muscles on either side of the chest. That's where our rib cage will go as well. So we've got a rough form of the front of the horse here. Now we can begin to draw in as well, the two legs at the back, the parts that are visible. And we're also considering the triangular shape depicting the gap in-between them and the slightly oblique thigh bones. Remembering how we drew these before as well as slightly closer together with the knees. They come in at an angle, as you can see. Again, just leaving a little bit that gap before we get to the hoof. Then of course, once you've drawn the legs, we can come in and draw the tail as well, adding a nice bit of detail. We don't have to go too complicated with the lines. We can keep it nice and simple. We're really just getting a feel for where these things are. You can see easily like this, we drew the horse is bone structure and we've been more focused and detailed from the back and the front. So now we're going to draw the muscles for the front part of the horse's body. Just one more time. We're really looking in depth at the muscle and the bone. We can gain a deep understanding of these things to have greater freedom. Later on once we've learned these basics. Drawing in the legs here. And it will all start to become much more familiar. The more we draw. We draw these big muscles of the horse using simply hatched nines as drawing them will help us better show the shape and also the beauty of the horse's body. So becomes much clearer and it's defined in this way. Hatching as well as quiet, fun and lovely way to show the direction and the movement of muscle of whatever we're shading. Really, we can show the curvature of it or if it's linear, we can show the form that is occupying. We can imply direction. So it's a really nice way to bring in more dimension to our drawing and to our work. You might notice as well, while we're going through and hatching in our muscles are also using some negative space as well. So by occupying and leaving space where actually shows and contrast, which is helping to define these muscles. Okay, So this is it for the muscles of the horse from the front view, which we've placed on top of the bone structure that we practiced earlier on. So now we can just see all of the muscle there is much more clearly defined and you can see the difference as well. Now we're going to draw the muscles that the horses back as well so we can see the difference between the skeletal form and the muscular form. We're using the bone structure that we've practiced on to draw the muscles accordingly. However, there are not that many muscles on this part of the leg. Here. In this lower leg, It's not as muscular. We simply use these lines to show it. Show where the leg is. An early on the thighs can we see the tendons, the muscle and the fat? Muscles are an important observation to make as well. Because when you draw the skin over the top of the tendons and the different muscular forms will move and curve with the skin so you'll be able to identify where you should have shading and light easier based on where the muscle is in your animal. And especially details like tendons and things like that will become easier to place. When you studied muscle a bit more in depth. Again, the muscles really only at the top of the thigh becomes much skinnier towards the bottom of the leg. So it's more skeletal towards the back there. Adding the hatching lines to show the form of these different parts. Now actually this is on these two parts that we focus while sketching. The rest can be easily drawn by observing and practicing. If you'd like to practice as well as these forms and the muscle in the skeleton, you can practice hatching as we go, experimenting with different thicknesses and with the lines closer or further away from each other, finding your own style in here as well. Remember that our sketches don't have to look exactly the same as I've got my own artistic voice. You will have that too. And you'll be discovering that as you practice. And it's a fantastic thing to learn your artistic voice and embrace that. Okay, So now we're done with the sketch of the bone and the muscle structure of the horse's body. We're going to do another simple fast sketch of the horse taking for this new understanding that we have of skeleton and muscle. So if you want to follow along with me and pay attention now to how my hands move freely on the paper. The measurements matter. We try not to limit ourselves and our hands move freely all across the paper. So we're not overthinking it as we draw, which is letting it flow from our pen or from our pencil. As we go. You can see that with good observation and practice, we can learn the shape and the form of the different parts. And step-by-step, we can draw them even without using a model and just by following a heart, following that ingrained knowledge. So we're just going to draw the head as it slightly bent down. We'll also add the Is and complete the lines for the neck. We've managed to easily here find the flow and the rhythm of this horse and draw in its form with confidence. Now here is where we have the wave and the movement of the tail, which also follows the general movement of the horses spinal cord. So that's carried through our drawing. Something that can really add to the beauty of the sketch is the consistent general rhythm for the whole body that's preserved. And all of these parts, they're all working in conjunction to each other. There is a flow to the drawing that follows through in each of these areas. Okay, So this is it for the more detailed sketch of the horse's body in different angles. So thank you for watching this tutorial and I hope that you've enjoyed it. Please continue to practice and I will see you next time. Goodbye for now. 9. Complete Sketch Style Drawing: Horse with Jockey: Hello everyone and welcome to a new tutorial. In this tutorial we're going to work on a, another sample of the horse. And we will start by sketching the horse itself using a black fine liner. So we'll draw the initial line for the spinal cord and then we'll divide it into three parts. As usual. We're determining the right place, legs. Hartley. And in this sketch we're going to draw a horseman, as well as see how that affects our horse. In this position. Through today's sketch, we will also be adding in a black fine liner, a gray market, and a black marker. But feel free to just draw with whichever medium you have available to you. The main thing is practice. We've grown the pelvis on this part of the horse and we've joined the thigh bones in this way. So we can see already on knowledge of the horse is starting to come through as we draw with more confidence. Now from practicing. This is the right place for the spinal cord, the chest and the shoulders. We've divided all of these up to help guide us as we establish our horse. Drawing our legs and this part on the leg is straight and it's slightly moves back then to the front again. Now we can start to add on the muscles and we need to pay attention to the length of the muscles and the changes that happen to them based on the movement as muscles are flexible. This will be a key observation for us today. We're looking at how the legs themselves are bent and moved. And then we are addressing the muscles in relation to how the legs are positioned. So for instance, with muscles, we're looking at the head of the horse and how it slightly bent down, all the muscles on these parts of the neck are going to expand. Whereas in a normal stance, they will be shorter, but they're expanding to allow the movement of the head. Bending slightly down. Muscles are flexible in this way. These movement of the body, we can see the expansion of some of the muscles in or outwards. And we're addressing that in our drawing as well. We're just beginning to add in some hair as well. So we're thinking about the movement of the horse is in motion. So it's capturing some of the air as well as it moves. We can add in all these nice details to start to bring it into the world as well, which is a lovely step. Step-by-step. We're just adding in more and more detail on to the sketch using this hatching lines that we've talked about before to add in some more shade. Okay, so now we're just adding in a sketch of the saddle on which we'll sketch the horse riders body as well. So putting the saddle in first and then the rider. If you want to follow along my hand movements as we draw, we will practice this together, as you can see it with sketching the skeleton muscles and also the movement at the same time as we see how as a whole they have been made. This only comes with practice and not being afraid to keep on sketching until we improve. We're building up our confidence in this way, which will really help us as artists to dive into our work and not be afraid of what we're drawing. So letting it come freely. Here, we're adding in shade and we're showing the muscles using simple hatching lines like these. And they add so much dimension already. So it's a simple technique, but it can be so, so helpful. So step-by-step, we're adding layers of hatching lines on top of one another. And we're increasing the contrast of the work as we move on. Again, remember if you want to pause the video and practice and then resuming catch up. That's absolutely okay. We're working at each of our own paces. Now we're just going to add a layer of hatching lines underneath the horse's stomach. And then we'll complete the form of the legs. Now this Horseman is a child and that's why it's body looks so much smaller than the horse. And you may remember earlier we talked about the type of muscles on a horse, whether it's a whole separate ones, manual labor, or if it's a race horse. So we're thinking about this as well in the muscles we've given to our horse. And adding in shading as well as bigger. So to continue the work, we're going to use a dark gray marker with a pointed tip, adding unnecessary lights and shadows. And this is going to really, really help to bring in more dimension and depth to our work. We're starting by adding the lines that are going to show the horses mane. And after we've learned how to work on the structure of the bones, the muscles, and show the movement of the animal. Now we're working on it's skin, it's texture, and it's hes. So this is the next point for us for building up the detail. As we develop our confidence. We're adding the shading layers based on the form, the dimension, and the texture of the horse's body. Now again, as we move into a new medium of work and we're addressing new areas of the horse with its skin, It's texture. Don't be afraid if you don't get this right away, That was absolutely okay when you're learning new skills, failure is one of the best things you can do as it's the best way to learn. It's unlikely that you'll get this immediately. And that is okay. So keep on practicing and making observations as you work so you can learn as you practice. And remember as well. Do you have the resources folder? And all the resources are available there. You can take in all the information there. You can download that folder and practice drawing the outlines and everything available there. So step-by-step, we're going through with this marker. We're adding darker layers onto the work. We are hatching as well. In some areas with a finer tip and some areas using more of the width of the brush. Using a hatching lines from the fool. We tried to other hatching lines in accordance with both the form and the movement of the horse's body. Keeping in mind that we're going to show the texture of the horses skin with these lines as well. So we've added a darker layer for the lower part of the horse's leg. So this is a dressing where the light source shining on top of the horse. So underneath is likely to be darker. Now as we go through and we draw together, pay attention as well to how we need to add the hatching lines on the stomach of the horse on parts of curve will use curved lines as well. So we're paying attention to that as we draw with showing those curvatures was showing the form. We also tried to show the form of the ribs with these hatching lines as well. Adding these hatching lines, the lights and the shadows based on the bone and muscle structure that we've already worked on. And thus we are aware of their shape and form. We're just building this up and let this be an exploration. This can come out however you like. This is your horse, this is your drawing. So as we build up layer by layer, let it surprise you. Let it come naturally, built up on knowledge. And that will come through as we work. This is how we've added the darker layers in step-by-step. So you can observe a walk and look at our reference and address. I'll work again. Are we happy with it? What we'd like to make any modifications. So add more dark layers. Now with a black marker, add more contrast to the work. So we're working with gray scale and we're finding the darkest areas now with this black marker. It's good sometimes to draw the bones where we want, but only some parts to add the beauty of the work to a letting the bones and form our work and just finding extra areas. We want shadow and letting that be informed for where the bones and the muscle. Here we are adding dark layers on this part to show the movement of the pelvis, as well as working on the bones, the muscle and the skin texture in this part. So we have a dark shadow along that stomach where the leg is filled with fluid. And then underneath as well with that back leg sits in the background. So there is a logic to the lighting here. The shadow cast by the saddle, the air at the back of the head. Then this way as well, it brings through more and more of that dimension. Here you can see as well, redressing the curve of the muscles and the shadow cast by the muscles themselves. Here we're adding in darker hatching lines underneath the neck like this, as well as working more on the snout and the nose of the horse. In this way, we can really clarify some key areas for ourselves. And this is a horse. So thank you for watching today and keep on practicing. I hope you've enjoyed this lesson. Please do practice and me any questions? I'll see you next time. Goodbye. 10. Different Horse Stances and Positions: Hello all and welcome to a new tutorial in which we're going to work more on the horse's body in movement using a black marker. So we can consider the horse's body to be like a coil that opens up and moves back in while moving. Even the chest and the spinal cord are no exceptions. So here we are using the black marker to have wider hatching layers and sketch the horse's body. Of course, if you don't have a black market, that's okay. You can practice with pen or pencil or paint, whichever you prefer. The main thing is practicing. If you draw along with me, we're showing the bone as well as the muscles using these wide hatching lines. Remember if you do want to pause and practice at any point. Absolutely welcome. This is an art journey going at our own pace. So why do lines like this? We can show the movement and the weight of the animal's body with a thinner lines help us show the movement and the speed. Drawing delicately here. And of course we can make adjustments as we go. This is how we need to work on the muscles. So you see we're already building up these muscles together and using the hatching lines to show the form and direction of these muscles sharing some shade as well. So it's multi-layered here, drawing on everything we've learned and practiced so far. This is with good observation and lots of practice as we have been doing that we can draw these different muscles easily like this. So we're going in with confidence from the practice, we using hatching lines with different qualities. So we can easily share how the muscles expand or titan in different movements. You can see we can use the same hatching lines to show the different forms on this sample as well. We're just establishing the ground here as well, using this simple hatching lines to show the shadow of the horse on the ground. There are lots of ways that we can use this. So now we're starting to work on another sample and we use the marker and simple hatching lines to show another movement of the horse. So these are now more extreme movements that we're exploring here. If you can see, we will also use simple forms like this oval shape to show the stomach on which we'll work more as we move on. We've established this for ourselves, so we can work around that as a pivotal point to guide us. Here we are sketching the horses. It's standing on its two legs adjusted. That is quite rarely seen. So it's a more extreme movement. But it's interesting to observe how the muscles expand and contract and how the perspective on the legs changes. As it was already mentioned. It's only a good observation and lots of practice that we can learn how each part of the horse's body looks in different positions. And then we can easily draw them in different positions with accurate proportions as we've gotten to know them. Each of these forms. Here, even though such an extreme position, we're getting to know the horse's head. From more of an underneath perspective. We're getting a better understanding of the stomach. Overall. Working now on another sample will only use hatching lines, draw the diverse positions and body forms. And this is something that we can only learn with practice. So please do practice this as many times as you like. This is a new skill that you'll be able to employ in your work. Letting hatching lines and form the shape of our work here. Now, in this sample, as you can see, we're drawing a horse as it's jumping over hurdles. There's a lot of movement here. We're showing it in quite a simple way and a very effective way. Okay, so now finally, we've drawn in the ground literally a couple of samples, and we'll start sketching another sample in which the horse is jumping from the side view. By now we've learned the anatomy of the horse so well that we can easily transfer what we see on the paper. And as well as working from reference, we can use our imagination much more effectively. Simplification is an important technique that is going to help us a lot in fast sketching, as you can see on this final sample. And this all comes from a deep understanding of how what we're drawing works, the skeleton, the muscle, and how it all comes together and informs everything else. We can get a rhythm that makes sense in our drawings. So at this point we've easily show the movements of the spinal cord, as well as the muscles and the form of the horses bone structure, which is quite something. So we should be very happy with what we've done so far. We've used hatching. We've used skeletal movement and muscular movement. Review shadow and light. We only use lights and shadows and also hatching lines with different qualities to show these movements. We're clarifying the flow of our animal. Thank you again for watching this tutorial. Please make sure you go through the assignments, send me your questions and practice. Goodbye. 11. Cat Anatomy Simplified: Hello all and welcome to a new lesson in which we're going to learn all about the cat anatomy. And I'm drawing again with a black, fine liner. You can draw with pencil or paint, whichever you prefer. Cats are a common animal that we can always see an analyze. We can actually draw it in different positions as well. So to start this sketch, we will begin by drawing this line that shows the spinal cord and the general movement of the cat's body. So this will inform the rest of our drawing. Then we will divide this line into three parts and draw this oval shape. That's going to show the shape of the cats skull. Another oval shape is going to help assure the general form of the ribcage just here. And then the final part, which has the small tail of the cat at the end. So this is where we need to draw the pelvis right here. And we'll start drawing it, starting with dividing it into its necessary parts. You can see we've got a very simple forms, the leg coming in as well. And one important point to be taken into consideration is that in sketching the cat, we need to draw the thigh bone and joint inside the general shape of the stomach opposite to the horse. So these are very different animals now, looking at the body as a whole, but starting with the leg, we cannot easily see this part, maybe partially visible while the animal is sitting, e.g. it depends on the movement, the position that the cat is taking up. The only parts of the leg visible to us is the lower part if the cat is sitting. And it really does depend. So we'll explore these different positions. But noting, first of all, there's lower joint in horses was pretty long wherein the cats anatomy, this part is not that long and it leads to the pores will have a different situation going on with the foot as well. And how that affects the movement of the leg. This is where we need to draw the pools. And the thigh is actually inside the body. In cats. We can draw as well up here, the tail on this part, as it goes up straight. We can establish that tail straightaway connected to the tail bone on the pelvis. And coming back now to this middle section, working on the front legs and the shoulders, we need to draw them on the rib cage just like we did the horse. This is where they connect onto the body. Now another difference is that in drawing the cat, the legs lead to the pools. The legs are different in a few ways here from the work we did with the horse. So you can start to see already this is how the feline bone structure looks in general to wearing hats, we see a smaller version of it compared to tigers or lions, which much bigger versions of cats. So at this stage, we're going to start adding the muscles to the bone structure that we've drawn. While at the same time, we will complete our lines on the skeleton itself as well. So we're doing a couple of different things here. And as always, if you want to pause and catch up and then resume the video, please do. We're learning new skills here and it is best to practice, practice, practice as much as you can while we're learning these things. So we need to divide the shoulder into two parts while sketching it like this. So it's, these two parts are right in front of one another and attached to the rib cage. Here we'll add more details to the spinal cord of the cat. Showing the vertebrae here. On the spinal cord along the chest. This is where the ribs are connecting. You can see it's delicate work, but if you have patients, you can start to draw something truly, truly beautiful. We need to draw the final ribs shorter than the rest. We've completed the form of the spinal cord until we reach the pelvis. The pelvis connects to the spinal cord and then onto the thigh bone. Now, on this part of the pelvis, we need to draw the bone structure of the tail. It's very intricate work here. But the more and more it comes together, you create something quite beautiful. And we'll start working more on the outlines of the cats as well. We're thinking about we're thinking about muscle. Remembering that that thigh bone is inside of the cat. We only see the lower part on the outside. Okay, Wonderful. So now we'll start working on the skull and the shape of the head for the cat. We need to draw an oval shape to show the general form of the skull with a large mouth and several teeth. Like the skull can be divided in two parts, where in the upper section we have the eye and the muzzle, and in the lower section we have the lower jaw line. Again adding an outline. This is the general anatomy for the cat's body. We've drawn it together and analysed its differences. With the horse. Taking particular note of the legs, which are very different. We've also analyze the shape of the different parts as they expand or titan in different positions. Now, we need to draw the legs in accordance to one another. The animals move. The legs will be balancing the weight evenly so they will have a relationship to each other as they move. We need to pay attention as well to the shape of the legs in the cats and how it's different with the horse. Okay, So this is the anatomy for a cat. Thank you for watching this tutorial. I will see you in the next tutorial and I hope you've enjoyed keep practicing. Goodbye. 12. Cats in Different Positions: Hello everyone and welcome to another tutorial in which we are going to see how we can draw a cat in different positions using a black fine liner. So we can easily sketch the cat in these diverse positions as we see them around us a lot. So you've already been able to make observations of cats and cause we have reference photos that we can use. Don't forget you have your resource folder available. You can download all the resources. They're just doing rough freehand drawings now, as we have an understanding of cats and how they move and the general structure of cats. So we need to practice the first sample enough to understand the general shape and form of the different parts. And then we can do fast sketches of the animal in different positions. You can see we're starting to experiment with different positions and with hatching. So far sketching, we can freely move our hands and add lines to cover different parts. Of course, all of our cats are going to look different as we have our own style. So don't worry if yours doesn't look exactly the same as mine. You're discovering your own style here as well. So as we draw these cats, we do need to be careful with the proportions of the cat's body. So it remains as a cat. If the head is too big, it will look like a tiger. So we're being quite delicate and making sure that the correct proportions, as we've studied the cat beforehand. And we can keep this in mind as we observe all luck and as we draw fast sketching, we're looking at the body with muscles and skeleton all in consideration. But we can really go straight in considering them all as one. If we're going to draw the bone structure of the cat in this position. Just start by drawing the spinal cord, which shows the movement. Then the ribcage. Yeah. Then the pelvis as well. So you can see the translation already from the skeletal version of this cat to the fuller version. So keeping in mind that thigh bone is on the inside, it's just the lower part of the leg that we tend to see. So these are the differences that are key to take note of. Then step-by-step, we start to add in more and more layers and more details. And that kept begins to come alive. I can add in dimension and show our understanding in this way. Now, let's test this on another sample. We can follow the same method. And we'll draw the spinal cord joined by the pelvis and the thigh bones. So this is a method now that we are becoming quite familiar with. It's extremely helpful to set a guiding line for us. Working up the movement, the direction of the animal we're drawing. Adding in the legs. Just here. There's a clear line of movement. Now we can add in the ribcage and the shoulders joined by the front legs. Then finally, you can draw the outlines to show the general form of the cat like this. So you can see we've drawn that so quickly and this is the beauty of practicing, but also having an inherent understanding of the subject that we're drawing. We can draw the confidence. We can draw quickly so we can experiment, have fun with our work. Right away. We'll start working on another sample. And in this one, we want to draw the cat as it's playing around. So going in for another position now, we're really getting to experiment with different versions of this cat very quickly with this freehand drawing style and asked the cat is sitting. And this is how we knees draw the rib-cage. And then in this position we need to draw the pelvis, opens up. The legs need to be drawn like this as they are slightly bent. We call the tail and then we can start drawing the front legs and the shoulders. And we need to remember to add the pools at the end as well. The general form. Now for our cat that sat playing, this is how we draw the cat when it's sitting, paying attention to how it's bone structure changes in this position. I know it can seem daunting having practiced so much, but it really does pay off. So you can put on some music, you can get back and just draw away, paying attention to your reference photo, observing things and learning. And then just instinctively applying that to your work once you've drawn it a few times, once that knowledge has sunk in on more of a subconscious level. So it's quite freeing in that way. So just outlining our cat here. And again, we've been able to find that general form very quickly knowing how the bone structure will change. We go. So we've got quite a few cats already and we're now going to sketch a sitting cat one more time. And we're starting with the head joined by the spinal cord. Like this. That shows the general movement and the direction of the cat's body. So you can already see which way the cat is looking on how its body is positioned. There we go already using simple lines. We completed the form. And then we can go in again with hatching lines, which we love. Hatching lines help us to show the texture of the cat's body. They add depth, they add dimension. They are a wonderful skill to help us bring the cats off the page. You can see already that separation of light and shadow has really enhanced that cat. So this is how we need to draw the bone and the muscle structure of the cats in different positions. So we can practice drawing the cats in different positions simply by looking at them and observing them. What matters is understanding the general movement and the direction of the body in different positions. So this is something that we can easily show analyzing the cat and its movements and then simplifying the form like this. So remembering that everything connects to the spinal cord to tracking the movement of the spinal cord will inform us over everything else. And when we understand drawing this general form and movement, we can easily add the rest of the cat's body parts. Based on that, it will guide us along the way. As you practice as well practiced during different kinds of cat Fluffy or thin and different positions to help us learn. So symbolized can help us overdraw fluffy or very thin cat easily. Like these samples that we have worked on, we have lots of different kinds of cat here. If the cat is thin, form of the skeleton helps us a lot in drawing it. When it's fluffy, we need to use simple shapes and forms to show how it looks. Thank you for watching this tutorial. I'll keep on practicing and I will see you next time. 13. Drawing Cats’ Heads from Different Angles and Positions: Hello everyone and welcome to a new lesson in which we're going to focus on how we should draw the cat's head, its skeleton, and especially its eyes in different positions. I'll be working with a black fine liner. And if you don't have a black fine liner, don't worry, you can practice with pencil or anything else. So as usual, we start the process by drawing simple forms, such as this circular shape over here. And then we start drawing a polygon on top of it that is going to show the muzzle and the full head of the cat. If you want to follow along my hand movements as we practice. And you can of course, Pause the video to practice some more and then resume and catch up. As we go. Here we adjust, determining where the is located. Just like say, We can have it quite delicate with our work as well. So we'll determine now the right place and draw the initial lines to show the nose. Then moving on to the line on the nose upwards to determine where we need to draw the eyes. Now this is where we draw the whiskers and the mouth of the key parts of our face. Then once we've got that, we can go in and establish the neck quite simply. By drawing these lines. We do need to be careful about the length and the form of the forehead, as well as the shape of the eyes. These things are very distinctive to the cat, will pay attention to those. Need to add a layer of hatching to inside the ears. Show the shadow. And this is how we draw the cat in general. Going onto our next sample, to draw the cat. In the front view, we'll draw a circle like this, on which we have this diamond shape that shows the muzzle. Then once we have that, we draw the main axis line joined by these two oblique guiding lines that start from the corners of the nose and continue upwards to share with the eyes are located. Great. Okay, so then we can draw the eyes like this. So we have determined with that line. And if we continue these lines, we can draw the is on top of the head in there, right places as well. These guiding lines all connect up and they flow together. We have quite a symmetrical form. No whiskers. Then this is how we draw the cat from the front view. Again, just adding in the neck there. Adding in some clarifying lines. You can add in these details as you like when you make this cat your own. Now to draw the cat's head from the three-quarter angle view. Again, we'll start with drawing the circle like this and then adding the lines and details on top of it. Guiding line can help us determine what we need to draw the eyes and the is. So you can see that is a method to all of this that works and it just changes slightly based on the perspective. So we can use that to help guide us when we're moving into a new perspective. Just adding in the shape of the face and some whiskers and the neck. This is how step-by-step, we add the different parts of the cat's face in a three-quarter view. Then we can start to add in some more details as well, building up that character. Now for our next one, we're going to sketch the cat's head with more detail. Now, again, we start by drawing the oval shape. We're moving on from these basic forms of the cat's head and adding in more detail. So here's our oval shape for the head. And the shape is intertwined with the smallest circle to show the muzzle. You can see that we've drawn the axis line in the middle. And we'll draw the tip of the nose like this so that we can then determine where the eyes and the ears are. Always. Do not fret if you're struggling a bit. The more you practice this, the more comfortable, the more confident you become, not become easier and easier. So do not worry. Practice helps to keep on practicing. So we're going in and adding more detail to this cat. We've added more and more details like this. One's quite exciting at this point as well, is you can start to see this more and more expression, more character with our cat, the more detail that we've added during the neck with this cat now. Okay, and then for another sample, will again draw the circle joined by the guiding lines to help guide us and determine the right places for the different parts. We're getting into the habit of this now, our step-by-step way of finding symmetry from different perspectives. So we'll determine the right place for the nose, and we'll draw the two oblique guiding lines from the corners of the nose to determine the right places for the eyes and the ears. You can see that in our previous sample that as well. The more you practice this, the more it will come as second nature as well. So adeno is now and again, we're going in with some more detail with our next samples. What you may begin to notice as we're drawing now is that there is a logic to drawing all these different facial features. So we do have a method to the madness and we can begin to ingrain this method and learn it so that when we're drawing free hand, we can draw with confidence and we can let it freely flow from us. Now we're working on the muzzle and also the eyes as they are closer to the muzzle on this particular sample. If you do find any of these positions trickier than others to draw, I would encourage you to take that position in particular and practice that a couple of times, try drawing the trickier versions of the cats a few times so that you can come against what you're struggling with and overcome that. And this will help you in your drawings going forward as well. Just adding in some more fun. Now, as part of our detailed drawing here, this is around the side of the face, whiskers as well. We're also adding some shade as well to give some more depth. So step-by-step, we're adding more details using the simple hatching lines, complementing the foam, and giving this cat a lot more character. Defining these lines even more hair and giving it a clarified outline. Then, for our next sample, draw the cat's head in a three-quarter view again. And we'll start by drawing the circle joined by the guiding lines. These guiding lines start from the corner of the cat, snows upwards. Sure, the right places for the eyes and the is. We can use them to check our symmetry checkup portions. Be confident that all the policeman is correct for our cats. As we're working, see starting with the simple forms and adding in more details. Once we're confident and happy with the placement of the eyes, nose is in the mouth. In cats, the distance between the nose and the eyes a smaller compared to the foxes or other field lines such as tigers. It's very important because of this to keep in mind as we're drawing, as we're checking our work, that the proportions are correct. We've not drawn too big or too small. Now we'll go in and we'll start to add in more of these details. Clarifying the Is and the rest of the face. Before we add in the whiskers. You can see we using our hatching lines to show areas of shadow such as inside the ear. We're again using these simple hatching lines in the same directions with the form to complete the sketch. Showing the direction, the movement of the Father and of the shadows. Letting the curvature of the cat in the form where our hatching lines will go. Here we go, adding in a little bit of a pattern as well to our cat. You can see if you can really give it character adding in these details, I think fluff or making it thinner adding patterns. There are lots of ways that we can customize our drawing here for the character of this cat. But you would like to see, we'll just finish off this sample, just finishing off the neck with the fluff. And just these small details here. Now on to the next sample. We're going to draw the cat with its mouth open. And we'll start with the circle again. We're just letting ourselves No. Okay. This is where the head is going to go and then that smaller circle to know where that muscle will be. So we need to draw a longer face and the nose needs to be drawn a bit higher than normal. So do follow along my hand movements as we work on this one in particular, this will be slightly different to our previous samples, but we are doing in our guiding lines, again, corners of the nose to guide where our ears and our eyes will be placed. From the corners of the nose or two oblique guiding lines shown in the right places. We're drawing oval shapes to show the general form of the eyes. We began our model. Then finally, we need to draw the mouth wide open, like this, with the teeth and the tongue visible. Okay, there we go. So we're just drawing in the chin and starting to clarify the rest of the shape of the face and adding in little details as we go now. Then in this position we need to draw the, is the, the bag like this, moving away from one another. So this is working in conjunction with the expression of the face without wide open mouth for clarifying this expression as a whole. So all make sense together. You can see this is moving outwards as they reflect the emotion of our cat here. And that's the basis for this cat. And we're again going in and we are using hatching lines. And we're going in and doing all details. Clarifying these is hair finishing off our outline. We're really going for it and is using these hatching lines to complete all of our sketches to a point where we're happy with them. So now we've done cuts in different states of emotion and different characters of cats. So as you're looking at your work, pay attention now to the form of the is in these different positions on what kind of emotion, what kind of atmosphere and mood feeling they give to you. Cats are very expressive through that is not just their face. Observe this as you're drawing. How the is reflecting outward or upwards. And how does that feel. Then as well as the, is the shape of the eye and cats is also special as it has a semi oval shaped like this. We can see this dark outline around it, eyes. This is quite a clear, identifiable part of the cat itself. Here we have the outline and then the eyes pupil when hit by the light, becomes like a line like this. But here in the absence of light, it becomes larger. And as always, we can always use hatching lines to show the cat's skin texture as well. Showing that, showing that fluff. There we go. So these hatching lines really do go along way to experiment with those with the different forms, the thickness, the space, the distance, and using negative space with these hatching lines as well. You can see a slight curvature as well they're trying to shape so the texture of the pattern and the color of the CAT scan and Burke can easily be shown by hatching lines in accordance with the form as we're drawing it right now. It's not just light and shadow that we're working with here, but also a gray scale to show how light or dark the fire is itself. Beginning to add in the nose as well. And again, we're practice. We'll be able to come to these forms knowing exactly where they should be. So the more you practice, the easier this will come. We do all of this just from a hatching lines. Now to show the lights and shadows, we use the density of hatching lines, adding to or leaving some gaps in-between them. Remember as well, we do have the resource packet. So if you'd like to download the resources and practice drawing the form of the cat. From that, it can be very helpful starting out to practice tracing or practice shading with hatching lines off of an outline just to get a deeper comfortability and competence with these techniques. You don't have to rush right in. You can focus on drawing with particular skills at certain practicing sessions. Just going back over and clarifying some more of these lines here, especially the outline of the eye as we talked about. Then again, using the hatching lines to build up more detail around the eye. Now as we're doing this, we're considering the forms as we've already practiced a couple of times. We use hatching lines to show the general form of the cat as well. You can see as we look at our work, we can take our cat into a very simple form or an extremely detailed form, and this will give a very different style. So you can play around with this and see which you prefer. Perhaps you prefer the more simple forms with just a little bit of hatching or the more detail form with lots of hatching, sharing all of the lines showing the form for this detailed sketch. Okay, So this is how we need to work on the sketches. The cat's head. We can play with the proportions to show different forms and how hatching lines can help us show the skin texture of the cat. So there's lots of things we can do here. And it's up to you. Have a play around when you're practicing, experiment with different styles and see what you prefer. You can really just go wild with this and find which style sings to you the most. Thank you for watching this tutorial do go through all these different forms and see where you're most comfortable and if you're struggling anywhere, practice that especially that will help you learn, that will help you grow. And I will see you now in the next tutorial. Please keep on practicing and if you have any questions, you can send them on over. I'll see you next time. Goodbye. 14. Lioness in 3 Different Positions: Hello all and welcome to another lesson in which we're going to learn how to sketch the lioness. I am once again using a black fine liner, but you can use pencil paint, whichever you prefer. Now, lioness is thinner than the lion and we start sketching it, drawing an oval shape joined by the spinal cord like this. Now remember if you want to follow my hand movements and practice with me that maybe the best way to learn as we pick up this new scale. So at the end of the spinal cord we have the tail, as you can see, flicking out there. And then coming back up to the top. We're going to address the legs. For the legs, we need to draw them wider compared to the horses that we've drawn in previous tutorials. So there will be a difference here you can observe and take note of for yourself. We'll draw in the shoulders, then the legs connecting to redraw, the ribcage and the pelvis as well. And we are considering the fact that we need to draw the bones thicker for the lioness. You want to practice along with me. As always, if you want to pause the video at any point to practice and then come back and resume the video and catch up. Please please do. And if you have any questions, you can also message me and ask as well. We can go through it there. Look at the legs, hair, and note how they are different to that of the horse and the cat. The joints and the legs lead to pause, which we will draw like this. But the bones are thicker than that of the cat. Okay, so we're just adding in our ribs there and just a simple form. Now to the pelvis. The pelvis has almost the shape of a triangle. So that'll be our simple form for that area. Will go up to the neck now. So while working on the neck and the head, we still need to consider to keep it wider and thicker with the bones. Will start drawing the dual lines. The liner is the lower jaw line, the teeth and the forehead. So we're just doing our skeletal drawing first and a little bit of detail here with this is we know exactly what we're aiming for is we can start to add in our outline now that we've got an idea where the skeleton is placed. So I think he's a bit more about the muscles. And again, keeping it wider than the cat or the horse. Now I'm starting to draw the outline showing those muscles. Then we've got a wider tail as well for the lioness. And as always, if you want to make any adjustments that you're looking at your work and observing it. You absolutely can. It's okay. So you can see I've adjusted the position of the tail and mine and now we're just going through and doing the vertebrae on the spinal cord, the ribs and the pelvis will all connect up. So step-by-step, we can Keating this bone structure. And patience is a virtue here we're drawing an intricate drawing. So if we can have patients, we can draw something absolutely beautiful and also develop a deep understanding of the anatomy of the animal that we're drawing. So that later on we can draw a freehand with absolutely confidence. We're going through and adding in that outline. Again, we can add hatching where these muscles are. Okay. Drawing the lioness from the front view, that'll be our next sample. Will start by drawing the spinal cord and the simple form of the skull and the neck. You can see the movement already of our Linus. We've drawn in the front of the body here, just roughly continuing down into that middle section where the pelvis and back legs will join up with sharing the ribcage with a circle for which the spinal cord is passing. We'll finish up that outline there. Add-on our back legs. So now we're starting to draw the longer back legs in this position, then the tail. So you can see already with our understanding of the skeleton, we're able to quickly draw the movement of the Linus and then add on the rest of the body in accordance with the movement of the spine to an accurate proportion. There we go. So now we're going to work on another sample on which we'll draw the skeleton and the bone structure as well. So this is going to keep on furthering our understandings. We can draw with confidence. Then once we've done that, we will add the muscles and the skin. We're adding on layer by layer that we truly understand the lioness just drawing the line as his head and pay attention to how we need to draw the teeth as the teeth are attached to the skull. And they're also very large and striking. So just drawing the juul line like this. Then we can start to add more details to it. Beginning to add in the outline as well. Now that we have the skeletal form. Then drawing on is we complete the form of the head step by step. We can, of course, once you've done that, start to add in these hatching lines. Beautiful. Okay, so that the base and the next step is drawing the spinal cord. And this time we're more details and considering the fact that we need to draw wider bones, remembering for the lioness or the bones are wider. We're using a nice hatching lines here as well to draw in these details. And we'll start working away on the muscle as well. We're looking down the rib cage and starting work on the shoulders joined by the front legs. Like so. The pulls at the bottom as well. So we consider two bones for the front legs. Considering the strong joints. Then once we've done that, we can go to the chest and we will draw the rib-cage. So you can see we've got nice strong vertebrae along the spinal cord there, again with a thicker bone. We've established the place where our ribcage just briefly. And then when the pelvis will connect. Here, we've got our pelvis drawn in and we're beginning to draw the back, thighs and the legs which are joined to the pelvis. Just like so. Again, you can follow my hand movements as we're drawing here is we're practicing this new animal that we have both legs at the back with pause at the bottom. And cannot forget the tail. Of course. You have quite an intricate skeletal drawing here. With all of the vertebrae considered. We begin to draw in the ribs again with a thicker bones. Beautiful. Okay, So this is our skeletal drawing and now we're adding in the outlines for the lioness on top of this brain structure that we drew together. So we're thinking now about the muscles as well as we draw in the outline. We can see as well the convex point on the lion's body, quite clearly. Drawing in the front leg as well without strong muscle and the pools at the bottom. Again, once we've done that outline, we can go in with the simple hatching lines and add these to help us better show the muscles and add some beauty and definition to work with thinking about dimension again, we're thinking about depth. Learning about the skeleton in the first place. It really helps us to analyze the different part better and then simplify the complicated forms to draw them easily. So it does make free hand drawing Much easier. We can go out with much more confidence. Knowing the muscles as well. We can consider when we're doing a hatching lines for shading, how the muscles fold, where these convex points will be, where it makes sense naturally for shade full in these parts of the body, depending on the position that the animal is in and where our light is coming from as well. So we're going to work more on the wider, stronger pools of the lioness, emphasizing on the distinctive points that make the animal recognizable. We're giving her very strong feet hit. Here we go. We can draw in the skeleton of our tail and draw the tail determining its right place and form like this. Just adding more shadow. Clarifying these details. So this is how we draw the structure of the Linus's body as it is in perspective. And thus we see a bigger head compared to the rest of the body. So we're thinking about now as well, What's closer to us, What's further away? And in accordance with that, if something is further away, it's going to appear smaller, whereas if it's closer, it will appear bigger. So we're keeping that in mind as we work with perspective. Thank you for sketching with me. I hope you've enjoyed it. I'll see you in the next tutorial and remember to keep on practicing and send me any questions. You may have. Goodbye for now. 15. Lion’s Legs Detail and Positioning : Hello and welcome to this lesson with a fine liner. We're going to draw the back and front view of inlines leg in a close up view to show its details like the muscles, the poor Claus. So if you want to follow along with my hand movements and practice with me, you can pause and keep on practicing and then resume if you like. So don't forget that lions have an extra claw, which we will draw here. The weaker and then the nails are in convex forms and they are sharp and they appointed. So we'll keep that in mind as we're sketching together. Just drawing in the nails now. Okay. I'm showing the tendons are sharing the bone along that part of the poor. And that's just a little shadow under each of the clothes for the ground there and then the muscles would be like so. We're already using our hatching the highlight, the folds in the muscles and the tendons as well. Then as we continue to sketch, draw the back view of this leg following the same process as we've just done. I've seen both the back and the front view of this lion leg. These are the muscles. Now again, much like with our first poll, we want to remember there is an extra claw and it is clear from this back view and it's located at the back part of the poor. So make sure that we can see that extra claw there at the back. We're addressing the front part of the closet we can see and just the pads of the feet as well, where the pore is pressed to the ground and slightly lifting. Again, we're using our hatching lines to show each section of the muscle and the tendons as well. So we're getting quite a detailed view of the muscle. Drawn, the front and the back view of a female lines leg and close. So you've got a deeper understanding of that now. You can see all the muscles and the feet properly as well. Okay, so moving on to our next sample. Now, for this next sample, we're actually going to use a marker which has a thicker tip to draw a female lions head and body. If you don't have a black market, don't worry, you can still draw along with whichever medium you have available would be at charcoal, pencil, paint. You can explore with any medium you like. The main thing is practice. I'm just using a black marker for the thicker tip here, experimenting with online work. So we are hatching as well, but observe the hatching here, so it's different to the fine liner. I'm looking at how we hatch. And with these hatchlings, we add and show the texture of the body. We using the light and shadow to inform us as well. And we're showing the form of its body's muscles as well. So all of these things work together. The texture of the body, the muscles picking up light and shadow. It gives us a lot of dimension to our work. If you look at the back and the thick neck as well. So that already becoming much more defined. And we can show its muscles with these hatchlings as you can see. If you want to follow along my hand movements and get a feel for the correct placement of the muscles and how to shade those. Again, using the thicker part of the pen, we can add in more shadow. So we can use different textures here, different amounts of shadow and hand pressure as well to achieve different results. It's going to look like this. Moving on now to the body as well. Okay. So you see we've already drawn the head. The neck of this line requires a lot of depth and dimension to it. We're using different hand pressures as well as we're hatching. Now we're going to draw a lines face from this angle. Again, we're using the black marker. We can experiment with different line dimensions. Drawing the face, withdrawing now the muzzle, which is boulder from this angle. Then we move to draw the eyes as well. Then the forehead, which a bolder and steeper. So similar to our tutorials before we're letting the position of the nose and form where the eyes on the forehead and the mouth should all be placed. So we're keeping our proportions in mind. We're checking the positions with each other. Bearing in mind that the muzzle and the eyes are forehead are all boulder on the lion. Just adding in R is, now we go, we can start to add in some hatching, as you can see, little bits of detail. So as a lion is a feline, the structure of it is very similar to a cat, but it is bigger in size and in proportion. So we've adjusted that accordingly. If you look at the anatomy of the line and the cat, you can notice the differences and the similarities much better. So you compare the two and see how the proportions change the animal entirely. You're just going in and adding some darker areas. Now, as we draw in our details, you can see we've made up forehead and the muzzle much more pronounced. We can hatch it like this. The texture really starts to come through. So now to get to the mastery for drawing anatomy is you need to draw them from different angles so you can understand how the anatomy changes from different positions. And you can draw with confidence from having that understanding. This is another reason why it's very important to practice. If you want to have a mastery of drawing these different animals, you need to understand the skeletal form of them and the muscular form of them in all different positions, how they change from different perspectives. Now, MLK is the best tool which you can use to hatch perfectly and easily. You can get different thicknesses of your lines as well. You can really experiment now with the depth of your lines and bring that lion to life. So now we're drawing it big front legs. Remember these wider then bolder? And as you can see, we're specifying the two bones of its front legs through our hatching in more of a heart shape. Even through our shadows. You can see how the muscle and the bone has actually performed the shade on the body. There we go. So you can see the front arms and the chest have become shaped. It almost a heart shape with Alexa drawn closer together. We're moving on to draw the rest of the body. And the more we practice it, the more enjoyable it is to split the shadow and the hatch them all perfectly before we get the mastery in it. So we need to practice a no, the right proportions so we can then understand where we would hatch. Logically. Where would the shutter for wherever the light be and how would the muscle in form that. So that is part of how we build up our mastery as we're practicing. Observation as well, alongside practicing, are so important to get a mastery. This is why using references is extremely helpful. And observing from life, we can see naturally how the light and the subject would interact. In this technique, we can use different hatching, so we don't need to use one kind of hatching for the whole word. We can even only touched on some parts and have some negative space as well. So you can see the texture building up here if you observe how the skin texture has come together using that hatching. Okay? So if you have a look here, it'll look like this. So now we're going to hatch the legs which we drew before with this market is specify the muscles better. So if you want to follow along with my hand movements as well, we can practice together. We can sketch together as we get a deeper understanding of the muscles in these legs. And don't worry if your image doesn't look exactly the same. We will naturally have different art styles. The main thing is getting to grips with these techniques. Understanding which muscles exist in the legs, how they interact with each other, and how we can use hatching to show them clearly be similar to this. Okay, so for our next drawing, we're going to do another side view of a lion's head. So you can get a different perspective now and understand the lion even better. We're going in without pronounced muzzle and started to hatch in some shade. As we draw in the eye and the face. It's much like drawing a cat, but in a much bigger proportions. If you look now you can see these parts are all equal. Just like so. We continue drawing the body up here. This is the bone of this part under the skin here, so we know where the ribs are and where the pelvis is in the spinal cord. There is our tail. Naturally the legs join up there. We've drawn a female lion from different angles, considering different parts of its anatomy, the directions of the hatching lines to create the light and shadow, as well as the forms of its body and its muscles. So we've really taken all of these elements into deep consideration and we've grown in these skills even more. Do keep on practicing them. Let me go. I heard that you've enjoyed this lesson. Please practice as many times as you can and I will see you in the next tutorial. Goodbye for now. 16. Different Lion Movements with Marker: Hello everyone. Today we are going to draw the movement of a female lion using a fine liner. And as usual, if you want to draw along with my hand movements, we can sketch together as we practice and come to a deeper understanding of what we're drawing. In the beginning, we will specify the direction of its movement by simply drawing this line as its spinal cord showing the way that the body is moving. Now we want to draw the bones, the hips and the chest, like so. Then the shoulders here and the ribs. There we have the bones for the legs, the front legs considering as well the joints and the pools and the clause as well. Now, drawing in the back legs, remembering as well that the pores will be big and full them much bolder than before. And now we can draw on the tail on this part as well, connecting from the tailbone on the pelvis. So we've sketched it quite fast now that we understand it better. And now we want to see how we can draw this movement, considering its muscles as well. If you want to follow along with me, will think now about muscles and how that changed things. So we'll start by drawing the head and the head will look like this. And then we bring in the spinal cord as well. So we draw this convex axis line as it spinal cord. And then we'll add the other parts connecting to the spine as usual. Here we go so fast sketch now that we understand the skeletal system and we're going to use geometrical forms to add the muscles onto the bones. Starting with the neck here and then onto the body. And considering now the muscles of the shoulders and it's four legs, which are big and strong muscles. So we need to allow space for that. Consider as well how skinfold, where the muscles are perhaps folded up. They are contracted with the muscle. There is a fold in the skin beginning to form depending on the position. That's our legs and moving up now to the face as well. You've acknowledged the nose there and then becoming up to draw the ears. I'm back down to the body. Now in this pose, most of the muscles will be quite obvious. They are on display where the line is standing up. So we'll complete this drawing by adding in more details. Once we've drawn in the muscle, we're adding another legs. Again considering how does that connect to the chest and whether it's a full between the thigh and the calf muscle. And then onto the tail. Here we've added in the muscle. And as you can see, the body is in a gesture which we can see most of the muscles, the strong hands, it's stretched back and it's big pools. They're just going to clarify this now with a black marker. Just make these lines even stronger. Drawing in the muscular chest, the forelegs which are shorter and perhaps much stronger for hunting. Just going for in defining all of these muscles. From here as well, we can shade and hatch to show these muscles even better. So to develop this mastering drawing animal movements, you need to observe carefully and study their anatomy this way, you can stick the point into your mind and draw, having that almost a subconscious knowledge guiding you so you can focus your energy on more intricate parts of your drawing. When you understand all these different proportions from different perspectives. Just editing the muzzle so it's a bit smaller. And then the neck is thick and strong. So we're acknowledging that in order to find line. There we go. I hope that you've enjoyed this lesson and I will see you next time for a male lion. Keep on practicing and goodbye for now. 17. Advanced Different Lion Perspective and Positioning with Fine Liner: Hello again, everyone. In this lesson, we are going to be drawing a male lion and I am using a fine liner. There are some differences between a male and a female lion. Male lion is much bigger and stronger than the female lion. One obvious difference is a main around the face, the neck of a male lion. Its face is like other kinds of field lines. So what we're going to do is we'll first use the simple forms to draw its skull. We starting with a circle and then adding in line for the spinal cord. So it's back is like this. And this will inform our three sections as we've worked on before. Drawing along with me as we practice, we'll sketch together to practice drawing a male lion, dividing its body into three parts. We have the front, the middle, and then the end. There respectively representing the head, the chest, and the hips. We are observing our work and making adjustments if we need a very helpful habit to build up. Now the male line shoulder structures are like those of a female, but they are much bigger in size or keep this in consideration. And we'll draw the shoulders like an oval shape. And then once we're happy with that, we will add the full leg bones to the shoulders. And then we add the pause. So you've gone shoulders, thigh, foreleg, and pulls. It would look something like this. You've drawn a three-part bone, two parts for up and down of the knee, and one for its pool. Its abdomen will be the next area which is in front of its chest and the hip bones which are backward. We're just acknowledging now the hip bone and the back legs. Again, it's got a thicker bones and it's bolder. Generally. Added the tail on there. And this is just a rough sketch as we start out. And we add detail. Once we've got that structural form in place, It's now we're going to add the head and the main of this line here. Now we can draw in the other back leg. As we're drawing, make observations as well about how the lion moves, how the legs work together, and look at the joints of its knees, of its legs, which are obvious when it walks and move. Some make these observations as you're looking at your reference. And how can you translate that into your drawing in a way that's truthful? Okay, So this is the general structure of a lion skeleton. You're gone with a basic simple form of the line here. And look at its pros and its movement. The head is normally downward. In this position, you can see. Now we're going to draw the main. Next. An older male lions have thicker and larger mains. So think about this as well when you're drawing your lion. How old it is, what kind of character is it? The main will be affected by that. And we're going to go in and we'll draw the four legs as well. So we're just starting to clarify our outline a bit more as we become happy with the placement there and making any adjustments that we need to. And as you can see as we draw these legs, they are bold, they are powerful. The back legs and forelegs, a strong, he's a strong and powerful legs. We're drawing in here. And again, just hatching for shade. We can begin to add in these little details as we go. So let's look again at its main. Now, as we've said many times before studying animals anatomies, then movements and poses will help you improve your drawing skills. It will become some subconscious knowledge after a certain point that you can draw upon freely. And this will give you more creative freedom as you're working. So you don't have to worry about these little details. And you can watch them carefully in documentaries, analyze them and draw them in different positions and from different angles. To get a deeper understanding, you can pay attention to the way they move, like when they walk slowly or at times they move fast to hunt and observe how their bodies differ in these different movements. Studying and observing, you'd become familiar with their skeletons and their anatomies. And then you get this mastery to draw them in different positions. You can build up that knowledge. And as you build up that knowledge, you can build up your mastery at the same time. During the process of practicing, it would be able to even discover new drawing styles or techniques. Of course, your natural style be that as well. But the more you practice these different techniques, you'll find what works best for you. So don't be afraid of repeating extra lines while sketching or drawing. This is a free-space to experiment. Discover your voice in your artwork, your free in drawing, and don't forget that. Of course, the result is important because as an artist, finally, you must create something which is pleasant to look at. But it's all subjective. So think about what works for you and find freedom in that finding your expression. This is a result of drawing a male lion, which is majestic, ferocious, proud, and strong. So now we want to draw male line from the front view. We're using as before, our simple geometric shapes to help guide us while doing perspective drawing. So if having the right perspective, we need to spot the vanishing point because we want to show it in perspective. So seeing which is the larger front area and then the smaller vanishing point towards the back. Okay? So now we want to draw the head of the line in the front part and the end of the body on top of that, considering the perspective. And then we'll draw in the pores and the tail. We've specified the general perspective of our drawing and we can use that going forward. So this perspective is from the front view. And this again is a great skill to practice. Perspective can be used in so many ways, but so many different things. So in this part we're going to draw these skull or the head of this lion. And then here are the pores at the bottom here. That in mind, the main will go around here. Now we can also specify the spinal cord by drawing this curved line, almost in this part. And its legs are folded as it's sitting. We need to pay attention to its position and the forms of its body and the legs as well. So if you have a look, its body is inside this cube and its pores will be outside of it. Is going to slightly different title to align us as well. The legs. All. I'm just defining this slightly more. So we've drawn this lion as simple as this in perspective. Now we're going to go in and draw its face. So we'll draw the muzzle and then the nose and after that, its mouth. Do that if you remember, we draw two lines from the sides of its muzzle to the two sides of the head for drawing his eyes similar to cats. Now the gap between a lion's eyes is more than a cat's eyes. It's more pronounced. That is a slight difference. You may notice, but because we're practicing sketching here, it's phase might not be as clear as we repeat the lines, but that is okay. We are sketching and practicing these forms. They're just drawn in it is. And it's pose is similar to if it was to attack and hunt and animals. So it's crouched. Here. You can see its body is alive and it's ready where it's crouched. I'm just adding more of the clause. Okay, So that is the front view of a lion. And now we want to draw the main using just simple lines. You can see the main has a geometrical form like a polygon which surrounds the skull. Like so. So just quickly drawing in the face. Look like this is as well. You can see the symmetry when you divide that in half. Now we can go on to draw the rest of the body with our understanding now of the form of the lion. Again forming that heart-shaped towards the front of the body. As you may start to notice, that we're actually drawing it in perspective. We've started to develop that skill so that when we're free drawing, we can start to use perspective easier as well. So the more we practice, the easier that will become. This is just the general form of a lion in perspective, but we've been able to draw that quite quickly as well. So we can draw and practice different parts of a lion's body. And then we can do our hatching as well to add shade. I hope you've enjoyed this lesson and I'll see you in the next one. Keep on practicing. And goodbye for now. 18. Advanced Lion Head and Face Drawing with Marker: Hello dear. All so today we are going to draw a line taste more clearly considering its details by drawing using a fine liner. So we can really get those delicate lines and look at the face in even greater details. If you want to draw along with me, we'll sketch this together and we'll practice together. So we're going to draw a circle for the back of its head. And we'll draw a curved line in the center, which will be our main access for the face. And we're just drawing in the nose. Now that we've drawn in the nose and the muzzle and the lion is much bigger than other field lines as well. So we keep that in consideration as we're drawing here. So you can see the difference is more pronounced than that of a cat or a lion S, even. So we keep in mind the bold muzzle as we draw its face. Then we can move up to the eyes. Now, we specified that position by drawing these guiding lines. Like so. The eye is going between the two lines as a furrow of his brow as well, which we can pay attention to as we draw the face. Now as well, there are the bones on the two sides of his mouth which are narrow. And we can see that as well. So we would put that in for shading later on as well. I'll come through and draw the other side using our guiding lines as well. So you can see that's coming together. So it will look similar to this. This is the face of a male lion, it knows is wide. And if you compare it with the cat's face, which is in the field line group to the details in the male lion are bigger in size with more gaps between them, so they are much more pronounced in this way. But also considering it as a feline, it does have whiskers, and the whiskers are more obvious on the male lion. Now we'll come up to the top of the head. And the top of the head is where the main is and it forms a heart shape. The top of the head here. Then on top of the eyes as well, we can see its forehead which are bold and clear. Again, much more pronounced. Then we'll draw in the main and the main will be like this. We use a marker actually to draw it. So we've got a black marker here. So we can draw a thicker lines and we can show you the texture of the main. Clarifying some of the main lines here to bring in more texture as we go. And there is a curved the main, this is thick hair around the lion's face and it has shaped to, it has life to it. So we're bringing in that curvature. So look at how we add the main and how we hatch it as well. You can see almost using way the hatchlings for this main. So as we're going along and drawing together, please do follow my hand movement. As we draw this more in-depth version of the lion's face and of its main. To follow that curvature. You can see we have areas of thicker hair, thicker density. Areas where the curvature, the wave is stronger. We are paying attention to that as well. Well, the main and the chin interact. Now this part is more and it's bigger in older lions as well. That's something to keep in mind with which drawing you're doing with a lion, how old it is. The main will change depending on that. You can see the hatching its main. You can see sometimes we use the width of the marker and sometimes we only touched some parts to create light and shadow. So we're using different hand pressures, we using different widths. We're letting some negative space come into the hatching as well to help create that contrast. Now, go back to the face and clarify some more of these lines and the texture here. Okay, So it would be like this. I will just go in and add more detail to the eyes observing our work. And this is it. This is the head of this majestic, wild and mighty lines are gone in with a simple form and then built up the layers and the detail. After that, we need to practice drawing it to get the mastery for drawing with accurate proportions. And let's work on this one down here again, we'll add in more details. We've gone from a simple form and now we're adding details. We drew its main in the polygon shape. Then by some simple lines and touches, we've drawn other parts of the body. Now to get the mastery to sketch fast, it's extremely important to study the anatomy of animals and their skeletons and the muscles, etc. So we know instinctively where to draw the proportions and keep those accurate, keep those truthful. So as we draw along, observe how we add details to the ones we've drawn before going in with this black marker and is clarifying these areas. Now, let's draw another line and we'll draw a line with an open mouth, like when it's yawning or roaring so that you can see its teeth too. So this is a different position now that we'll practice because this is a nose here and we'll start again with a fine liner. And then this is the open mouth of the lion. We can draw in the teeth sharper and longer ones, which are called canines. Then there are some smaller and shorter teeth. Between the canines. We have this part of the muscle, which is similar to a polygon, to a drawing in our simple shapes again. And do follow along with me as we draw. The front view of this muscle. Its mouth open, would be like this. From the front view. We can start to draw up an ad in the eyes and the rest of the face. You can see how the perspective has changed as well. On the nose there. To make these observations as you draw what's different, what's changed, and why? Keep asking those questions as you observe your reference and as you draw what's different and why. Now we're going to go in and we're just going to shade and darken inside of the mouth. And this will really help make the teeth nice and distinct and clear. It's clearly a wide open mouth, which is almost in a triangular form. Now we'll go back up to the nose and the lower part of his nose will be dark like this. So we're using our hatching lines to shade. We're clarifying the most important lines now that we have it's, it's a triangular form, as you can see, with two canines on the upper part and then two on the lower part. So you see the proportions of the nose and the mouth and how they line up together. So we can draw these guidelines to clarify its form. You can see how they work in tandem to each other. Most of the face actually is formed by these triangles, as we can see. Now. It's now let's go in and we're going to darken the guidelines so that you can see these better. So they consist of three triangles and another triangle on top of the head and of course upside down. So apart from studying the anatomy is you must practice this division to help you draw an accurate proportions. Once you've practiced it enough, you'll be able to see this division in your mind's eye without having to draw it in necessarily every time. So first, we start with our geometrical forms to draw the anatomies general form. And then we add other details so that it becomes much easier. The more we practice this, the easier it becomes. As we've seen for this lesson. I hope you've had a great time today and I will see you in the next tutorial. Goodbye for now. 19. Detailed Lion Head, Skull Drawing and Exploring the Jaw: Hello dear. So today we want to draw a lion skull with more details. So we have looked at the line as before, but we'll be going in and looking at the face. In particular. If you want to follow along my hand movements as we draw together and practice, It's a line as a skull, which we're going to draw it in a more realistic style starting from the eyes. If you do feel that you want to pause the video and practice at any point before resuming and catching up. Please please do. And any questions, you can send those along to me. We've drawn the eye. Then we will add in the jewel burn. After that. Mouth is wide open and the canines are clearly seen here, so they're quite strong. And we can draw in the smaller teeth as well next to the canines. Just like so. We have that long canine on the other side as well. So we can draw that in as well. With the perspective you can see we're shading appropriately as well. For the upper part, we're adding in these smaller teeth on the side. Now we come in to draw the lower joule. This is where the larger is attached and to which the lower canines will be attached as well. Again, just adding in those smaller teeth next to the canines. Okay. Now let's continue to draw the other bone which forms the back of the head and is in this form. So if you follow along with my hand movement, we're drawing the back of the skull. Now. We'll just start shading on the inside where that shadow will naturally fall. So we've drawn the skull, and now we want to draw the skin and we think about texture. We're thinking about muscle. This is where we begin to add in the dimension to our drawing. And seeing how everything connects. We can add the is two up here and then continue that down into the neck. We're just going to go in and will hatch this part of the head clearly. So again, thinking about texture here, because we want to specify and skin on this part. As you can see, we're creating the texture of its power and its skin by hatching. So this is a very important stage. Here. Again, you don't need to rush with this. You can pause the video and take it at your own pace. Do not worry. We can go along and draw together. We can hatch as well by repeating these short, short lines. And sometimes it only needs just a touch, just some very light hand pressure. And then sometimes we'll go in and hatch more to create the light and the shade, as well as the texture. This is where we can add in more definition, showing that light and shade as well as texture. Now we're going to start to hatch the neck as well. So a drawing the neck in. By hatching. We can also go and add more detail to the eye, which is small compared to other parts. So we keep that in mind as we go in and add that detail. Now the mouth, which we can clarify and it's dark in lines like a black lip line as black here. So we're keeping that nice and clear that black lip line. Adding in some shadow as well. As we draw in the skin. It's now the lower part of nodes as black or it's dark to something as well to consider as we're going through. And we're adding in these details, is that there might be some small patterns or details on its skin. So as part of the texture in the skin that we're adding in when we're looking at light and shadow, we can think about any small details and the patterns that exist in the firm. Now as we said before, compared to other field lines, the muzzle in lions or Linus's is bigger, it's more pronounced. So keeping that in mind and this part is full of, to put that in with our texture layer. We have a nice and pronounced muzzle, the hatching down into the neck, as well as a slightly. As we sketch along together. Please do pay attention to my hand movement, follow along with my hand movement and see how we hatch. Experiment with this. If you like you to pause the video and practice off to the side as well. So this is a technique that will be really helpful to practice with and to experiment with. Now in some parts, you draw dense, and in some parts there'll be less, and that will create light and shadow on its face. We're using hatching and negative space together to create the light. If you can see some of the hatching lines, I'm more distance between them. Some of them are lighter, some of the lines are darker. So we're using our hand pressure as well to help control the shadow and light. Now we're layering as well. This hatching. You can see the difference here. It's not too dark in the back of the ear. We're just hatching even more. We'll keep on going for in this way. Building out the texture. Step-by-step. This is a delicate process. They don't feel the need to rush. We can continue the hatch. In fact, this to complete the texture of our lioness. You can see it starting to build up even more. So you don't need to rush this part of the process. Trust yourself, trust your work. It's building up layer by layer and it will get there. But trust yourself, don't need to rush. They're just going in, in clarifying this eye a little bit more. Now, in drawing thing to consider is that sometimes depending on the mood of our pictures, sometimes we need to use harsh hatching or lines and sometimes smooth one. So this will give a feeling to our drawing. As you can see here with harsh hatchlings. We're showing the fury on its face, giving the expression to this line as not just through its actual facial features but for the hatching itself. So even my drawing lines like this one, we could show the power of its Joel. So don't be afraid to draw this way and move your hand freely to create its mood as well. You can see the energy and the dynamic in its face. Every part of it is active, it's alive and we're adding that in with our texture as well, not just in the actual basic forms. You can see that this is a process and it's important to practice as well, creating accurate texture. So we're not practicing just the proportions and the muscles and the skeleton, but also we wanted to practice hatching to create texture that is truthful, that is accurate. You can see, looking at our work as we're drawing, we need to handle the direction of the hatchlings. So in such a work, e.g. we didn't hatch in only one direction. There are places where the hatching has gone in a slight diagonal or it's gone downwards. And it depends where withdrawing, what the form the shape is, we're using different directions to form the shape of the line S. And we didn't want to have an even texture. So we hashed in different directions, even if the texture of the skin and fur is in one direction, which naturally It's not. Look at the different directions to which we've hatched. So you can see there's a variety of hatchlings here which makes our work visually attractive and beautiful. So you can take note of those. Observe how did they make you feel and what's going on with the hatching here. Now I hope that you've enjoyed this tutorial as well. Do keep on practicing all these different skills and practice your assignments. I hope you've enjoyed this tutorial. Goodbye for now. 20. Lion Paw and Fur Drawing in Different Advanced Style: Hello dear friends. In this lesson, we want to draw a lion's pool and clause in a close up view showing its details in drawing. So as usual, if you want to practice drawing along with me, we're using fine liner today. Although if you don't have a fine liner, don't worry, you can practice pen with pencil with any medium that you like. So first, we're starting our sketch with a fine liner head. Then we're going to add in the clause, which are very similar to its canine. So they're long and they are sharp. Here we have our clothes. Now. We're going to grab a marker or a brush, whichever you prefer, and we're going to hatch. So as you can see, the tip of this market is like a brush, so it's quite wide and we can use that as we're drawing, as we're hatching smoothly hatching dark parts. And we hatched depending on the texture of what we see. So it's important to work along with our reference here, as well as drawing along together and looking at my hand movements. There's a lot that you can observe from your reference. And for my hand movements as well as you learn this new skill. Slowly and smoothly hatching and look at how we put pressure on our hand and how we control it from the beginning and the end of this line. Shop and pointed. So different hand pressure will have a different effect. You can practice this as well to the side if you like. Now see my hand movement when we do it faster. You need to practice a lot to get the mastery to hatch like this. But there is a difference depending on how we hold our hand and the speed at which we hatch as well. Beginning and the end of the lines, we had to shop and they appointed where we actually several times they become entangled in each other and they create an attractive harmony as well as the texture. So again, if you do want to practice any point in the lesson before moving on, you can pause the video and then resume. So a hatching in the same directions of the on the lion's skin, showing the direction of the fur through our hatching. And if you look as well, we're hatching in different directions to create the texture of thoroughness skin. Because if we hatch in the single direction, then I'll work will be spoiled. So sometimes the direction will change slightly, showing a different direction in and adding more texture. So depending on the form and texture we hatch, we change the direction of the hatchlings. You can see that creates an attractive harmony. The already. Now this is certainly a skill to build up. So don't worry if you're hatching isn't perfect straight away. This is another fantastic one to practice and build up the mastery of. And as you really get to know your hatching and get confident with it and get comfortable with it. You'll be able to add beautiful dimension to your work. Do practice this one, practice makes perfect. You can see we showed the clause and of course we don't touch the shine on them. So we leave at that negative space will create that shine. You can see as well for clarifying the texture, we're actually making clothes stand out as well. We continue hatching. It will look like this. You can see the files really starting to come together as we build this up step by step. We have areas that are darker, some areas that are lighter. And we can experiment with this. We can play around without some darkening this part more as it's incomplete shade. So we're letting our light source be known. And then for parts like this, we can hatch all the lines and almost one direction as the firm will be traveling in one direction. So we are paying attention to that as well. There we go. Now, it's soul is dark too, so we will darken it even more. There is some hair on this call, which we show to create a quite dynamic pull here as well. Remembering the shadow on the back of the leg here as we draw along. So I think you've got the lights are thinking about the muscle. As we add in texture and on this part, lions have a convexity like those on their souls. So these are all important details. We need to memorize these details while drawing so that whenever we want to draw it, we do it perfectly and this requires careful observation as well as lots of practice so that we maintain accuracy in our drawing. So they are still true for even withdrawing quickly. In this way when we're practicing, we can actually get to this level where we have the details stuck in our minds. We don't have to be completely dependent on a model or a picture. And that way we can use our imaginations as well, much more freely when we're drawing. So apart from that, we need to have creativity as an artist. And this is how we build that independent and creative space. As an artist, you can see the claw now with the darkened areas creating that shine for the negative space. When we practiced enough, uh, memorize all these details, then we can look at the model picture as a basic guide at our own taste in creativity to it's that part of the beauty of practicing and getting to this stage. Looking at this now this way we'd be able to draw it from different angles and considering the perspective using all of these techniques that we've been practicing here, which is actually very, very exciting. If we look at these ones we drew before as an artist or a painter, we need to develop this mastery in it so that we can go and draw with all these techniques from different perspectives and different proportions. Here we show a structure of a lion's pool with all of its details, and we've added the texture and proportions accurately. Now for our next drawing, you want to go in and we want to draw the soul of this poor and show its different parts. That are four toes here and one here. Then a bigger one up here. So of course this is the general structure and it's a bit different in the forelegs and the back legs. Then once we've got our toes in, we have the skin of the animal all around these as well. So it'd be something like this. This is the general form. Now coming back in with our marker, we will clarify these much more. Again, we're using hatching to create the skin and the texture. And all of these areas. Thinking about light and shadow, as we draw, look like this. We can hatch an add-in. Each of these toes. And beyond that, we can hatch and add the third and the light and the shade. You can see already this has much more dimension and starts to look more realistic with the skin and the coming in. Again, sometimes we got different directions and are hatching as well. So that is the poor from this angle, but you don't need to practice this one too much. But it is good to know about its form and the division and the structure of it as rarely as it happens in drawing, to draw this part. Of course, it depends on your work and the angle you're drawing too, but it's good to have that understanding. I hope you've enjoyed this tutorial and goodbye for now. 21. Dog Anatomy Simplified: 5 Different Positions: Hello everyone. Today we are going to be drawing a dog anatomy from different angles. You want to follow along with me as we drove a practice together. I'm following my hand movements may help, as well, as are many breeds, types, and forms of dogs were not able to draw all of them in one session. So instead we want to choose from one to show its anatomy, its skeleton, and muscle structure, to teach the general structure of a dog's body. So what we're going to draw today is a Hound, which is a type of hunting dog used by hunters to track or chase prey. Hound is a slender dog with almost long legs. And because of this, we choose to show it skeleton better. Now, if you want to pause the video at any point, that's absolutely okay. You can draw your own pace and then resume the video and catch up. So as usual, we are starting our drawing with the spinal cord line like this. And then we'll add the chest or ribcage in that middle section. There we go. And then after that we add its scapula. Then here is the pelvis. And then here is tail. We drew its head here. Now the head is almost like an oval shape or like a pet. If you have a look, It's as easy as this is quite a simple form. So now we want to add it's four legs which are attached to the scapula. And as always, we're making observations as we work. How does this compare anatomically to other animals we've worked on? What are the key differences? So this is the joint of one of its forelegs, which is similar to humans elbow. So we'll continue it up to the clause, and it's as simple as this. Now the scapula is in two parts, and the ribs are here. Now let's complete the rib-cage. Now these drawings of the skeletal anatomy, they do require some patients that delicate drawings. But you actually end up creating something quite beautiful while also deeply ingraining this extremely useful knowledge by getting an unconscious or subconscious understanding here of anatomy. Much freer in our drawings as we understand it on a deeper level. We're just drawing in the rib cage and adding on the vertebrae there as well onto the spinal cord would look like this. Now, coming into this end section where we can draw in the bones of the pelvis too. Here we have the back leg and it's bones and they're similar to the forelegs. We only difference is that the back legs are actually shorter. So you can see the difference there. Again, we're using a fine liner just to get all these details here. If you don't have a fine liner, Don't worry, that's absolutely okay. You can use a pencil whatever medium is available to you. The main thing is practiced as we go through the course. Looking at the dog, the body is slender and it's quite similar to a horse, the skeleton. The only difference which we mentioned is that the back legs actually shorter. So another difference is that in animals like horses, the legs and in whose whereas in the lines they end in pools and claws. So among fellow's aligns legs are shorter and the pores are bigger. But in dogs that thinner and enhance the legs, and generally the body is much thinner and slender. This is a hunter dog and runs faster than the other breeds. It has longer legs and all parts of its body are slender. So the context of the dog's life actually does inform some of its anatomy as well. And this will come in later for the muscles. To following along, it will look like this. Getting that back leg as well. There's two bones in that section. The bone is in two parts here. So it's similar to the shin bone, even that humans have where it splits into two. Now we come back up to the tail here. Okay, So we'll begin to add more outlines here. So we've done our skeleton and now let's draw in the muscles on the bones as well. Add the muscle of this part and it stretched to the back of its leg. Now, if you practice enough, you can even guess the form of the muscle in each part you'll develop that understanding to added in the tail too. Seeking out the folds of the muscle here as we create more of an accurate outline. Coming up into the neck. And we can complete the form of the skull. To your notice here, there is a slight convexity on the back of its neck. We'll continue this line to the scapula and the end of its tail. And its belly is thin in this concave form. Now, in general, animals which run fast have longer legs and a stretched or slender body. We can observe this in multiple animals which have run very quickly. Now there is a difference with dogs were domestic dogs usually have shorter legs and bodies. You can observe in the dog as well. Even though it's a fast animal, it does still have shorter legs than other animals that may be similar to. So if you look here, this part is quite thin. So now we want to draw it in different positions. We can gain a deeper understanding of perspective and how the bones and the muscles change from different positions. So we'll try to do a first sketch. Again, don't worry if you don't get this perfect straight away. We're learning new skills here, we're getting new understandings. And with that will come some hiccups along the way. And this is how we learn. If you want to practice extra, you can pause the video and come back and resume in your own pace as well. This here is the head. Now the snout, it's long and narrow. And we've drawn in the spinal cord or the backbone. To concede it's very slender. Or dog. We're just hurry through and completing it now by adding in the last of the legs. Now let's observe a look. Let's look at the Director of its movement. Look at how its body is stretched in this position. I see how much of its muscle we can see in this position which muscles more elongated. So look at how that leg is stretched backwards. So ask questions of your drawing hair as you observe the dog and the image. You might ask this question that what if we want to draw it from memory and we can't remember it's accurate proportions or position. So these are all things that we can take note of as we go through our drawing and as we practice. Developing a mastery, you do need to practice a lot and draw its anatomy from different angles and in different positions to get the mastery of it. It takes practice and it takes a deeper understanding naturally to keep it balanced. When one of the back legs is backward, one of the forelegs is backwards, two. So there is a balance going on here that we can observe. This harmony in this position is both for moving forward and keeps the balance while moving. So this is important to keep in mind anytime we draw dogs, that this is part of how they distribute their weight quite naturally as they move. By practicing, we can even imagine if it changes its position, what would happen to its body form. Another thing to note is that the tail in animals is an organ to keep balance too. So depending on the position the tail were moved to help distribute the weight and balance. So if you see the direction of its movement with this arrow and we see how its body is stretched in this position. Now we're going to draw it in another position that's opposite to the previous ones we've drawn in our spinal cord or backbone. And then we're adding in the rib-cage after that. In this position, its body and legs are somehow contracted and smaller and you compare it with the previous ones as well. And you'll notice the difference between these two positions. We've got the tail here. And then I'll contracted legs, as well. As we've said before, the pools are also longer and thinner in this breed and also compared to cats as well. This is one of the key differences. For dogs. The back legs are in this position on its four legs are below its body. And we'll add the other legs too. So both of these four legs or backwards. Now if you follow along with me, you'll like the head and the neck. We completely stretched forward and upright because it's movement is forward, so it's body is following that movement forward. So it's running and jumping compared to these two other positions. Now with this elongated jump forward, you can actually see that both of the ears have moved backwards. There is a contrast happening within the body, but it follows the same rhythm and the same flow. So look now as well at this curve caused by this position and how the back is working with the legs and with the head. To make that jump. We're just adding in small hatching and some outlines now as we practice and as we draw, will try to memorize these positions and the proportions and how the body changes depending on these different positions. You can note the changing of the skeletal structure of the muscles, how they elongate or contract, and how the backlight change compared to the stretched out head. Drawing. Another position here. Legs are completely food. It's forelegs afford and stretched like it's throwing its body forward and it pulls upwards. So it's ribcage and backbone. In this position on the curve is convex. Now, you can see that both back legs are stretched backwards. So the dog is throwing its body forward in this position and withdrawing its basic form here. So it would look like this and the direction of its movement is like this arrow following the movement of his body. And by practicing an animal anatomy in different positions, we can analyze its form. And from that we can draw fast as we understand it's for much better. We can analyze it by drawing its basic form in different positions. We don't need to add other details. We can see that in a simple form and it all makes sense. Okay, so you can see how it changed. You compare from the different positions and now we want to draw it from it, back view or the back angle and c and note the differences here. We will begin by drawing it stretched pelvis will draw the bones of this part. And then from there we'll draw it back legs attached to the pelvis. Now I'm moving forward. We're addressing the spine and the ribs in that simple form. Then we can add the forelegs. And its backbone is like a hump in this position. And you can see the curvature of the body adding in the tail as well here. So looking at our drawing, it would be like this. Now, if we do go and we take our time and we practice enough, and we draw it in these different perspectives, then we will be able to draw it from memory with accurate proportions. When we get to that point where we can draw from memory, That's what we can be truly free with our free hand drawing and we can unleash our creativity even more here. Now this view of a dog, it's difficult and it requires practicing a lot. And the more you practice, the easier it will become. Now we're just going to go in and we'll outline it using a marker. So this has got a thicker tip compared to the fine liner that we were just using. We can go we can outline the rest of our drawings to adding in a bit more of the shadow. I hope you've enjoyed. Please do keep on practicing and making your observations that you can keep on enhancing your work without understanding. Suddenly any questions that you have, and I will see you in the next one. Goodbye for now. 22. Detailed Dog Head Sketching and Hatching with Markers: Hello dear. So in this lesson, we're going to be drawing these skull of a dog with a fine liner. Don't worry if you don't have a fine liner, a pencil paint, that will do. We're just exploring different mediums. So a dog's muzzle is long and you may have observed this. If you have a dog, if you've seen a dog or recently, and in this drawing, the head is going to be facing a bit downwards. Now, if you want to draw along with me as we practice together. So it's head is round and it is like these in the resting position. Depending on their breeds, the forms of the ears vary from one to another. They can be short or long, upright, etc. They're covered in short or long hair. And it really does depend on the breed. So this is a place we can experiment drawing different dogs. We're just going to draw the main guiding line in the middle of its face. Then we'll specify its muzzle and its nose and the eyes, etc. From there. Now, as a practicing, if you feel you'd like to pause the video to practice some extra bits to the side and then resume the video and catch up. That is, always welcome. The more you can practice, the more confident you'll be in your work. While drawing, we're actually drawing a few of the muscles or the veins on its face. So we're taking that understanding forward in this particular piece of work as well. Now the neck is in a convex form, like a small hump in this position. You can observe that in our drawing here. So we're just starting to add in some more shading and little details will look like this. Now we're going to change over and we're going to use a marker to hatch. And we'll start from the darker parts of our drawing. We're properly addressing these areas of shade and texture. Now, you can see here we just hatching in the direction of the dual switch error. The face has a direction that we want to follow. And it looks as if it's sad in this drawing will hatch under its lower eyelids to show this expression even more. Sometimes it's actually more attractive if we only touch some of the shades are not welcomed it completely. So then it's more of an artistic piece of work. Making clear choices about where we actually want to show these areas of shade and texture in this adds to the feeling of the work. Now we're going to add more details as it's a guide. And we're doing a drawing lesson here. So we're going to go and add more detail here. I'm going to add in near this IRA, we're adding the puff under his eyes working on it's lower eyelids as well. Looking at the ears are in this downwards position, so a hatching is, is downwards as they are in this position. You can see that for each part we hatched depending on the direction and the form of that part. So follow along with my hand movement as we practiced together here. So we can look at how a hatching the neck here following the form, giving more distance to the lines. So of course we try to hatch in a varied way to avoid an even look. When we hatched like this, you can see the direction of the light on its neck. We're using this directional hatching and letting there be some distance between the lines as well. The Hutchins are also in the same direction as the ears and the head, which are downwards. So if following a form here and the variation the hatchlings creates a perfect harmony all throughout our work. So here by using some simple movements we add the muscles of these parts. We expand our work even further. Because as you can see, we only need to touch and we're creating these muscles. So we don't have to go too far. We don't need to overthink it. These areas and this mastery. It happens after enough exercises and observations and practicing, practicing, practicing. This is why we say practice makes perfect. It truly does. It builds up by 0s and that confidence and that understanding. Now as, as good habit, will just step back and observe our work and see if we're happy. So if we want to make any adjustments, we're going to move on. And we'll draw a close-up view of the eye and we're going to show the detail of the eye. So first we're just going in and we're drawing the eye in its basic form. If you want to follow along with my hand movements as we draw it as you practice together. And of course you have any questions. You can send them to me. Now we're just going in, we're adding the fur around the eye by hatching very delicately. So this is a delicate process. Now we can go in and we're using a marker just to darken the pupil of the eye. We left the shine on the eye just untouched. And that negative space is creating that shine. Now we can draw the iris. Here. We're just hatching delicately with tiny lines. Of course it's better to use a fine liner for these very small lines or marker which has thinner and a pointed tip. Or as we are here, we're managing our hand pressure on our hand movements to manage hatching these tiny lines. The goal of drawing this I is to teach you how to hatch delicately, which is a very useful skill in your work. You can see the hatchlings are in the direction of the form and the shade around the eye. Now remember as well that you do have all of this information available in your resources folder. So if you want to go and practice on any outlines or any of these resources, do download them and practice with these as well. So you can focus on particular skills at a time and helped build up those techniques. We do this step by step and we build up our drawing and this character as well. So as we draw, patient will leave. We can see this character of this dog start to come to life. And doing this patiently. We can really appreciate all the details that make it a living being in our drawing. From here we're going to add in some dots and we'll draw its whiskers out of these dots. With placing these very purposefully on the face, then we can hatch its muzzle in this direction. In fact, because this part is quite bold, we're specifying it by using these hatchlings to make it very purposeful and very bold. There is logic to everything we draw. There was a reason for it. We're drawing with purpose here is not completely random. The direction of the hatching, the placement and the layering of them. Following the form with following the light and shadow, the muscles. Drawing is going to be like this. Now we're going to go in and we're going to use a darker marker. And we're doing this to increase the contrast and add in even more details from the fall as we go through and we add these details. And anytime we do practice, really do think to yourself, what are we drawing now? Why are we doing it? Find a logic as we go through it and that will help build your understanding as we do these practices. Of course, if you do have any questions, you can always send me a message and then I'll be able to talk you through them. And if you send your assignments as well, we can discuss your drawings and your practice and we can go through everything step-by-step. All right, guys, it's really coming together and just like this, with some organized and some simple hatching, we've created its texture as well as light and shade the so much with added to this drawing using quite a simple technique. And it does take some practice, of course, but once you've mastered that technique, you can use it in so many ways to create some really beautiful drawings. So even here, we can go and again, and we can even work more and add more details to make it look more natural and real. It's really up to you what your artistic voice is, what your style is. I think for this lesson, that's enough. So we've looked at our drawings, we made observations and practice different skills here. Observing the proportions, creating light and shadow, using shade and hatching. We've drawn the skull in detail. Remember to keep on practicing, and I will see you again in the next tutorial. Thank you for joining me and goodbye for now. 23. Applying Different Techniques: Bulldog in Movement: Hello. We're continuing on from our previous lesson. And we want to draw a another dog on our paper. We're using a fine liner. As before, just to start out, we want to draw a dog which is considered ugly with a wide nose and looks as if it's a bit sad. If you follow along with my hand movements, we'll practice drawing together. And you can of course, pause the video if you want to practice a bit extra. So we're drawing this dog in the front view. We're specifying its nose and the muzzle by using simple lines. And generally it's muzzle and nose are flabby and wrinkled. And that's why it tends to look ugly. So we just roughly sketching it in here. Adding in the eyes. It has these bold and wrinkled eyelids and the eyes a stacked so they look quite small. So all of the parts of its face a downward and flabby and there are a lot of wrinkles on its forehead. So we're considering that as we draw. If you look even its ears, they offer lobby and they're downwards as well. So that's part of the movement of our drawing. The face as a whole. It's floppy and downwards and we have that in our line work here. We're going to continue on to the rest of the body. He follow along with adding in the legs. Now, you can see that little legs too, they're short and they're in this half circle shape. So as always asked me, drawing it is helpful to have a reference and to follow that. As we draw. Then we can observe our work and check if we need to change any proportions or if we're happy with our sketch as our different breeds, we can specifically see the differences between all the different kinds of dogs. So this dog has a short tail as well. So that's our rough sketch. So now we're actually, we're going to go in and we'll use a marker and we're going to outline it, increase its contrast. Firstly, just darkening the color here. This is a really nice stage where we can clarify these lines and we can make the detail really crisp and clear. Here is the nose as well. So going in with the market is a nice stage or confidence. Saying specifically, this is where the eyes are, this is where the nose is. These are the key contrast details to pay attention to. And leaving space as well is a choice and we can own that in our drawings. Just adding more detail to the muzzle, not letting these wrinkles and this flabby chin be seen. Beginning with our hatching as well. We have shatter and we have nice strong pause and close here. We, we're going in and we're adding all these details onto the legs. So it will look like this. Now as well. We've touched hundreds muzzle and it's wrinkles which are flabby, as we mentioned, we're making that a really clear choice in our work and showing the difference between these dogs. Where does the cylinder dog on this right or this is Flavia dog on the left here. And the goal of this lesson is to compare the two different breeds and see that obvious differences are one is slender with long legs and another short with flabby and wrinkled body and we're highlighting those differences and taking note of them. So to review, the general form of the second dog, is it short legs and it's round body. We're celebrating that in the work here. So that's the key difference that we want to highlight. As we work with drawing dogs. It is interesting to note and to see that there's a variety of shapes and forms among this one species. So we can really explore that. We can experiment with our drawings and highlight all of these different varieties. So it can be quite enjoyable to explore this and it can be quite interesting to draw these different variations. When you're going for, when you're doing your practices by lots of different breeds, draw, find the differences between them, and experiment with your practice. Now this lesson is finished. I hope you've enjoyed it. Keep on practicing it, finding the key differences, exploring your own voice as an artist. And I will see you in the next tutorial. Goodbye for now. 24. Rabbit Anatomy and Drawing with Hatching Lines: Hello dear. So today we are going to be working on drawing the rabbits anatomy it. And if you want to follow along my hand movements, as we draw it lands anatomy together. Two rabbits have flexible bodies and when they sit, they seem very small and when they stretch their bodies, they become much, much longer. When they jumped their bodies become twice or much longer. Two. So these are important things to note as we draw them. Now, we want to draw the rabbit anatomy in different positions. Starting out I'm using a black fine liner today, but you can use a pencil. The main thing is practice. So now enjoying rabbits will pay attention to their body division. So first we want to sketch the skeleton of a sitting rabbit. So we'll start from it's oval head and then onto its neck, which is flexible. So as we continue this line, it will be like this. Quite unusual compared to other animals that we've drawn. The backbone, it's curved here and it shows or rabbits flexibility. Now we're going to add in its scapula and then the foreleg, and finally, coming to its close. Now when we draw the spine, we want to add in its details like the vertebrae, which is a small hollow bones in the backbone. Now we can add in, the hip will add the tail skeleton as well. The technical name of this part is sacrum, which will add it back leg to just hear. And both are attached to the hip. Now we're just completing the back leg. Adding on the clause which are slender and long. You can see the difference between the buck foot, the front foot. We've drawn it spine here and now we're adding on the ribs, which will attach to the vertebrae. So you can see the ribs are attached to the spine. Now we have the neck and neck is this flexible and you can see the curves in the neck and the vertebrae are smaller. Then there's the skull itself, which is divided into different parts. As the bone of its joule, which is wider than the other parts of its face. And the teeth are in here as well. The skeletal form for the rabbit will look like this. There we go. So this is the general form of a rabbit's skeleton, which is important to know as the skeleton itself has an, a movable objects. When we're working with realism or extremities, we can work around the skeletal form. So by practicing and studying an animal's anatomy, we will be able to draw them accurately, even if we're doing styles that aren't as realistic. Rabbits tale is small and almost round and puffy. So we are going through an outlining now and we can see as well, the rabbits cheeks up here, they usually puffy, which makes them very cute. Then come up and complete the phase we're drawing on. Its long is just up here. Then a little bit of detail. We've drawn the outline of its body around the skeleton. So we have the rough shape of our rubber and now we want to sketch it once again using simpler form. So we're using our geometric forms, which are very helpful as guiding principles. So we're drawing in the back, legs and the hip. And then from there we can add this round and puffy tail. Then we have this lovely round belly here. And we'll continue on to add in the front part of the body. You want to draw along with my hand movements as we do these different forms. And if you have any questions, you can send them to me as well. And we can talk about these different forms and go through any questions that you have. You can see the difference here between our skeletal version and then version with geometric shapes. So we're absorbing all work as we go and it's better I think, to edit the back legs, which are actually larger than normal, which do a little bit of hatching, little bit of shading to clarify the full tip. Now for this drawing, when we come to the ears, we're going to draw it. Is This laying beside the head, so this slightly different in this drawing. There we go. I'm just adding in some more detail as we go and we can show its cheek as well in an oval shape. This is a brand new animal as well as if you do want to pause and practice, please feel free to add the circle in its snout and withdrawing it stopped or forehead longer. These are two different versions of the rabbit and navigate to outline it using a marker to hatch as well. So this point we have practice these techniques a bit, but remember we're building up a mastery. So it's still okay to pause the video and practice again. These techniques as we're going through the course, we're developing these skills. Now's a carefree hair. Look at the parts of its head which were hatching. And pay attention to these little details. What do you observe here? What stands out? To you in the artwork. Now we can go over and we can hatch other parts like it's foreleg here. We're showing the muscles and these forms by hatching. We're adding even more clarity to our drawing. In this way, we're making a choice with our hatching of what we want to stand out. Now what is happening under the body? Then come back and adding more detail onto the foreleg here as well. So already you can see there's a lot more clarity coming through in our work. Going into the face, the eyes are big as well. We've shown all this clarity here and we've edited it's hip and actually it doesn't matter if we leave some extra lines, we can let those be, which is editing all work and making any adjustments that we feel. So now by hatching this part under its body and its shape, we could simply show its full belly and its weight on the grounds of the interaction between its belly and the ground that it's lying on. By drawing the curved line like this, we've showed its claws and the general form of its muscles as well. Our line work is revealing a lot about our rubber even in a simple form. We've drawn it out simple geometric forms because as an artist, we need to be able to see animals and human figures in simple shapes and simple forms, knowing what best suits the anatomy. So looking at it, scapula and it's foreleg, we've drawn these simple forms and by hatching and creating light and shade, we've also given it dimension as well. So to get the mastery to draw without a picture or to draw a real animal like this, you need to practice drawing the anatomies of animals as many times as you can, the more you can practice, the better. I'd know I've said it a lot of times, but it really does enhance all of your skills. So you can draw with ease and you can draw with confidence, which will take you a long way in your Outlook. So if we want to draw it even simpler now, we can draw circles to show the main parts of the bodies and I'm moving back to a fine liner now to draw the simpler version. We've drawn circles for the main parts of the body. And then we'll go in and specify and draw its spine or the backbone like so. Then we can specify the tail and the legs as well. So it's important to know to draw its main parts by some simple lines to guide us for the rest of our drawing. So as you can see, we've drawn the general form of our rabbit, as simple as this. So you can see which creature it is, and we've drawn it from another angle as well. The clause a smaller from this angle. So generally if you follow along with my hand movements here, you can see that we can use this igloo shape, e.g. for the back or the front view of most animals, bodies like rabbits, bears, mice, etc. When they are in a sitting position, we add other details than like the face, the forelegs, and the is, et cetera. This simple form, we've got our igloo and we're now just drawing a circle in as the hip and another circle as its belly. So the clause will be beside its body. From here as well, we can draw circles as those round cheeks to add another cycle has its snout and then we can draw in its big eyes at the front there. So observing anatomical drawing today, the rabbit does have a lot of circles in its features. It has acute circular face. With some simple circles or half circles and lines. You can draw this rabbit quite something quite easily. And we saw it's forelegs and the scapula is a half circle, two. And then we've drawn it is and its head. We can as well draw it in many other positions too. Once we've built up our understanding of the form of the rabbit, the drawing here, the forelegs which are located here and they are bent backwards. Now in this position as well, which is quite an active position, is a going straight up. Now in this position, its body is somehow almost like a kangaroos body. As it's more slender, it's stretching out even more in this position. So it will be like this. Adding in these circular cheeks here as well. Redrawn it is and it's forelegs to like this one. But if it jumps, stretches its body and the legs and they seem much longer. So they stretch out and while sitting it seems small and shorter, whereas while running or jumping it seems longer and stretched almost twice longer. Observe all these different forms and the differences in the body when it's SAT or when it's moving and how the legs I have a contract or stretch. So there's big difference in the body depending on the position, depending on movement that's going on. We're going on to our next position now in the leg will become This running or jumping shape in this position is almost like a hounds body. It's really stretched out, quite slender, quite long. And the head is an oval and the ears, we going backwards. This time. I'm going to look at how it's stretched out in this position. So now we're going to go in and we will use a marker to outline on new drawing. So it takes some hatching thing about muscles and the shade. Again. As we've said, it's body in this position is similar to that of a hounds, but it's tail is round and it has these full cheeks. Are adding that fluffy tail. Then these fluffy full cheeks. Maybe as you've added quite simple lines to enhance storing, we've drawn it from the side and almost a back view while jumping. So it will look like this. So changing the perspective again with our understanding of proportion. And then we go, That's the back view during a jump. Heard that you've enjoyed this lesson, keep on practicing and send me any questions. I will see you again in our next tutorial. Keep drawing and goodbye for now. 25. Rabbit’s Head in 2 Angles: Front and ¾ View: Hello everyone. So today we are going to be drawing a rabbit face. If you want to follow along with me and we'll go through the detail as usual if you want to pause and practice and then catch up, you're welcome to. So we want to draw a rabbit space from the front view to start. So as usual, we will use a circle for the basic form of the face, and then two oval shapes as its cheek and a circle in-between as its snout. There we go. So we're going to draw a guide line in the middle of its face. And from here, we can come in and specify the nose which has attached to its mouth by a line. Then we can carry on and draw its eyes in these parts. So we have a guiding line from the corner of the nose to the top of the head. In that diagonal. The eyes from this angular half circular. We are showing the rabbits face. In perspective. You see the cheeks and rabbits and squirrels, which make them cute and lovely. They're quite fluffy, quite circular. And squirrels, they're very similar to rabbits considering their appearance and their body structure. The obvious difference is that a squirrels tail is much larger and longer than a rabbits. And of course, a rabbit ears are much longer than that of the squirrels. So adding in the is to this drawing. You can see the is a, B like this. There are bit curved and that plays back to back. So this is the general form of its face. So we're going in now with a black marker and we're adding texture, we're starting to hatch with a marker to show that on its face. If you don't have a black marker, don't worry, we're exploring more mediums here, but the main thing is practicing. So if you have any other medium, different pencils, charcoal paint, you can go in with those as well. So there's more for here on the face and around the eyes, the color of the flower is much lighter, so we use less hatching to show the light there. If you want to follow my hand movements around. It's not the color of the third is lighter to hatch it less than the dark parts. You can see we're changing the direction to follow the form as well. This is lovely delicate work here. Clarifying form. The rabbit. And it has these beautiful big eyes. Were just clarify those as well. It's cheeks as well. A full and big too. And that's why it's face is so cute compared to similar animals. Lightly hatching. As always, you can practice these techniques. The more you practice them, even if you have an individual session just focusing on these techniques. The more you practice these techniques, the more you'll feel comfortable applying them. And that confidence will come through in your work. So let's draw along together now. Creating all this texture. Clarifying these dark and light spots, using this hatching skill that we've been learning. If you do find that the video is too fast, you can always stop the video, then catch up. I'm resume in your own pace. So then that way they won't be overwhelming for you as well when you're learning new skills, it's important to take them at your own pace. You can work delicately by using a fine liner or marker with a much smaller tip. We can hatch patiently to show the fur on his skin and make it more natural. What we've done so far was just the general drawing of rabbits face. You can always work on it more and add more details. It really depends on you, on how natural you would like your drawing to be. Here we've used a variety of hatchlings because in our drawings we normally don't use even hatching or one direction of hatching on lines with following the form will look like this. Now, let's draw the rabbits phase from a side view and note the differences there. So this time we don't want to draw the basic form first, we'll draw the parts of its face and hatch right afterwards, one after another. So we're going slightly more complicated. Now as we draw. Don't worry, as we move along here, this is where practice really helps. If you don't have this mastery yet, make sure to draw its basic shape first and then start to hatch and add the details. So we're going in with a false drawing where we built up a deep understanding of the anatomy and the basic shapes we can go in straight away in this style. Here we're just going to go in and add some dots as the follicles. And then we can draw its long whiskers from these dots. Remember observe your drawing as we've talked about before, we can deliberately leave some parts without touching to show more light, as well as to create a more artistic drawing. So it depends on the style that we want to go for. And as you can see, there are a variety of hatchlings. They are bold or delicate, curved or straight, and sometimes like dots and in different sizes and directions. In some parts they are organised and sometimes they are organized. So we have lots of styles going on here. And then by this variation in combination, we create a harmony within our work. We also actually, as an artist, we need to get the mastery of creating beauty for a variety of forms and lines. We see the beauty in the chaos as well. And this mastery requires a lot of exercises and hard work as well as creativity. We build up these skills so that we can use them creatively. You guys, we made this part darker as an AR model. It's in the shade and it's darker. So we're reflecting that in our drawing. We go so it would be like this, peaceful. So now we're going to go to a, another drawing. We'll draw another rabbit here in this position to following along with my hand movements and try to memorize this position of the legs as we'll see it a lot in animal drawings. So look here at the position of the forelegs. We can sketch it as simple as this after a lot of practice and we can use our own creativity to draw it accurately. As discussed before, we can do the same for other animals, e.g. if we less than the size of the ears and drew a bigger, longer, and thicker tail, it would become a squirrel. So this is where we note these differences and we can use that knowledge. Skeleton. Most of the animals it's similar. They just differ in their sizes. Now this lesson is finished. I hope you've enjoyed today, keep on practicing and noting all these differences. Practice your technique and I'll see you next time. Goodbye. 26. The Rabbit Characters: How to Exaggerate: Hello everyone. So continuing from our previous lesson, we are going to be drawing a characterized rabbit. We'll do a couple of different versions. And in other lessons, we've talked about characterizing or personifying things or animals. But today we're going to focus more on characterizing a rabbit. What we do here is we're exaggerating the parts of our rabbits face and body parts to create a human-like rabbit. If you want to follow along with me as we explore a characterised a version, It's very simple to make a rabbit fur like a human and drawings because of the expressive face and body, we can observe the rabbits that we've drawn four and take note of its characteristics. The form of its face, it, big and long teeth and the snout give it a special kind of satirical characteristics. We can use this as we explore more expressive version of the rabbit. If you have any questions about this, you can ask me the observation is key here. So all sorts is, it can be sketched to show different expressions on mood, like sadness, being cheerful, or even being surprised. And we can use it sees as their bold in its appearance. Now we want to use these parts of the rabbit and draw a rabbit in an exaggerated way, focusing on its mouth and teeth to create a character who's giving a speech or is talking. Follow along with my hand movements as we draw here. And we'll practice together. So as always, if the video is too fast, you can pause and then catch up. And if you pay attention, or rabbit has been used a lot in animations or cartoons, or illustrations in stories as a character is quite popular. There are different forms that we may recognize of the rabbit. So if we think to stories that we may have seen rabbits n, we've seen it in a lot of things, such as Alice in Wonderland, e.g. in that particular story, the first thing which Alice comes across and attracts her attention is a rabbit. She follows him curiously. I'm falls into a deep hole and enters Wonderland. Now, generally, a rabbit is an attractive character to be illustrated in stories. It's quite popular. And a rabbit can be easily modified to any human character you can think of. It's very versatile character with a bold appearance. It's gestures and the expression which we can create an illustration and personifying is really interesting, is we can play around with all these different features and how we can personify them. And as well as exploring its features, we can also have our rabbit wearing different clothes and accessories like hats, suit, or watch, et cetera. So long as they can be standing upright as it's shouting and when it's shocked to its ears are sharply upwards, it's following the expression it's following the movement is all upright and shocked. So it gives us that feeling. And then when it's sad or depressed it is or fall downwards. We can give this rabbit glasses too. Maybe it's a lecturer and he needs glasses while delivering his speech and help his eyesight. So he's got a bit more of an academic look to him as well. So it will look like this. This is our first personified rabbit and we can go in now, we can outline it with a marker. That can be clarifying. Will these key bits here creating the shadow and the texture. You can see here as well, we've added some accessories. So we put a hat on his head too. It's a very smart rabbits, smartly dressed. And that too is part of its character. So we've given it a bit of a fashion sense to tell us what kind of character it is. When we finish up our drawing, it will look like this. We can see how easily by exaggerating the parts of its face, we've actually managed to create a character. We can also exaggerate his body parts like his hands and his fingers, which we'll do here. We have a rabbit giving a speech. And also exaggerating the whiskers, which are fantastic elements for illustrating and personifying. You can see we've given it plenty of character here. We can illustrate e.g. a. Chubby rabbit who's quite hungry. So let's be on next drawing. As we follow along here with my hand movements. There are other animals which have been personified in stories on illustrations or cartoons. And quite common, pigs and bears, cats and dogs. Animals like these. You can see here as well. We're drawing out its claws out of its coat cuffs like this. Hungry rabbits will look like this. So he's quite a cheerful fellow. And now we can go in and hatch it and give it some light and some shade. Adding in a tie too. So by doing this step, you can see as well, we've also given it more dimension. It's popping off the page even more. And the teeth are a great help and personification or characterization like what we see in Bugs Bunny, e.g. here we have finished our characterized rabbits and we finished this tutorial. So please practice experiment with your drawings. And I will see you again. Goodbye for now. 27. Illustrate Scene and Characters: Alice in Wonderland: Hello dear. All so previously we have talked about exaggerations in illustration, Animals and personifying them. And our example last time was a rabbit. So we're going to continue to explore that further and if you want to draw along with me. So now we're considering the story of Alice in Wonderland. And we want to draw other animals in it, which are great examples of personification in drawing. So this is a new style. Now, if you have questions, send them on over. In Wonderland, Alice encounters a bird, a pelican, which we are drawing. Now, if you want to follow along with my hand movements as we draw this pelican. And we will practice this new personification. This as well as a new animals. We can observe our work as we go and note the differences. The pelican has been used quite perfectly in lots of illustrations and stories to it's quite popular animal. So this particular bird has a large beak and this one has smaller wings. And it's personification by hands of human parts as part of its wings. And it's holding a stick in its hand. Here. We're also going to exaggerate its claws. So there'll be very big. I was always just adding in some hatching lines for the detail, the texture, the light and the shadow. Once we've drawn our general form, hatching to create the shade and the lights. And by hatching we want to show the texture of its feather on the body to this will be different as well too, where we've worked with showing. Before. Now we're working with feathers. So we need to do it patiently. This delicate work which we'll build up to create a beautiful drawing. We can use like really effectively here. Just to clarify all of these feathers. I showed the distinction between them. As you can see, as we're working, the feathers are showing specifically here to give its body this texture. Now we can go in. And we will continue hatching to show the shade as well. Now as we come up to the head here, we're actually going to add on a bit more personification by adding a hat onto its head. Okay, so as you can see is we've been working along together. We're actually hatching the parts which are concave more. And this shows the dimension as well as the shades of a giving our drawings even more depth as we work. Now the back of our creature that pelican is in shade as well. So the hatching this part to show the shade, adding in these details to the face. And the best way to practice as we go along these lessons is to follow my hand movements. And you can stop the video and watch it a few times if need be to practice at the same time. And then resume again when you feel ready. So it's all about going at your own pace. This is your journey as an artist. Don't forget as well that there are resources available to you in the Resources folder and you can download those at anytime. They have all the information in there and they can be a helpful resource as you go through and practice as well. Beginning to layer up our hatching here and sharing some different notation in the feathers and in the shade which is creating this beautiful harmony hair and adding in a lot of depth. Delicate work here. We're hatching and showing its text to perfectly. So this is one of the attractive characters in the story, Alice in Wonderland. This is the pelican personified, a nicely defined certainly background. There are other birds and animals which are meeting Alice. And all of them are personified by the author who gave them human names. So we're going to draw in some more of these personified animals. There we go. Simple fast sketch. Now coming over here, we will see Alice, who is a little girl talking to the pelican character. There we go. Now we can see as well, I'll pelicans hand is giving something to Alice. And as we said, it has wings that to personify it, the Illustrator added human hands to the wings as well, showing both the wings and the hands. Now another scene, Alice meets the King, which has a strange crone or hat on his head. So we'll draw that as welcoming everyone to the left side of our paper. Now, this is fantastic practice actually as we get to practice drawing humans as well as the animals. And then combining the two concepts to create these really interesting characters as well. We're observing as well of reference as we draw and drawing out some key points. So as we look at the King, we can notice that he has a big face and his nose is similar to that of a pigs, has a big jaw and a mouth like a bird. So it seems as if he is a combination of several different animals. And that helps create his character. The king himself has animalistic traits within his character design. Continuing on with our king, He's also wearing a cloak, and as it was mentioned, each part of him resembles both human and animalistic traits and personifications. It will look like this. And to take a moment, the painters and illustrators will know possibly that this is on the Mir, a French painter, sculptor, and a printmaker who created these fascinating characters like this. We're drawing inspiration from only a Demir. He used to use animals in characterizing his greedy, mean or lazy characters quite a lot. So he would give them these animalistic traits as part of the illustration. This is our general form from our reference that's very useful to work from that. And now continuing on, we will begin to hatch some parts we're adding in our dimension, we're adding depth. Remember as well, we can make purposeful choices about where we add our hatching, how layered or light it is. Now we're going in with some more details. So we've highlighted the hair, adding the pattern and the details onto his hat, which make it very attractive as well. This isn't illustration which is filled with character, which would be wonderful to practice. And as you all doing your practice outside of these lessons as well, don't forget to go to your downloadable resources. All of the information is available there for you to read for, in this case, age you, as you go through practicing and experimenting as well with some of these techniques. Working patient needs to build up the shadows as well. Here we continue hatching and making the texture. And as you can see to make the texture on his heart, we've used crosshatching as well, which is extremely useful. Experiment with this in your practice as well. The practice of cross hatching. So first we've drawn the patterns on his hat, and then we've added the crosshatching, considering shade and light. This is the King from Alice in Wonderland. Okay, so now in front of him, we're going to draw Alice who's walking with him hand in hand. Now in Alice's other hand, we can see a stalk with a long neck like this. As we have been. We're remembering that always in drawing we want to start our illustration drawing from the head. So you may have noticed it, but because we drew the lower part first for Alice, now we're adding her head, but it is a lot better to draw from the head downwards. So starting during from the head. Now we have a general form, we beginning to add in the hatching as well. I'm finishing up the head of the stalk here, as well as doing hatching for shade and texture. We're adding in short lines like this to show the sowing lines or the creases on her dress. Now once we've done that, we can finally draw in her eyes and the other details on her face. As always as we're learning here, if you feel you want to pause the video and practice these different areas, these different elements a couple of times before going to the main drawing or redo any policy. Absolutely welcome to. This is a journey of discovery here, and I do not expect you to get it right straight away. So you can pause the video and you can practice and go over any areas where you find that you're struggling a bit more than others as well. If you do have any questions, you can send those through as well. These girls, they do take hard work and they do take practice. And it does pay off. You can draw these beautiful detailed drawings with your own voice. What's unique to you? So just going in here and we are adding more details to the king's face. So by looking at the artwork of other illustrators, we can begin to explore our own style and have a deeper appreciation of the different ways that we can draw different subjects. So we're going to add more shade, which will be like this. We're adding the legs of our stool to just like this. We're practicing personifying and characterizations and seeing how great artists did it by using animals in the illustrations. This helps build the character and create a really unique style. So looking at our work here by exaggerating and emphasizing bold parts of animals, faces, and bodies, we can personify and create new characters, both in drawing and in writing. Now this lesson is finished. Thank you for joining me today and drawing with me. I hope you've had a fantastic time. Keep on practicing and I will see you again next time. Goodbye for now. 28. Complete Rabbit Character Drawing: Alice in Wonderland: Hello all and welcome to a new lesson. So there is a rabbit in Alice in Wonderland, which is an important character that always guides Alice. So we're going to illustrate this rabbit. And we want to pay more attention to the details of its face and it's body in this lesson. So today I'll be using a fine black liner. But it doesn't matter if you use pencil or pen practice is the main thing. And if you want to draw along with my hand movements, this will be helpful for learning the correct way to do these techniques. So first we're going to draw the outline of the ear with our black fine liner. And as we've practiced the anatomy and the simple forms of the rabbit will come easier to us now, drawing the shape of the rabbits using our reference and our imagination. This Robert is blowing into a horn. So bearing that in mind. And as we know, the rabbit was always worrying. So we're going to show you this expression on his face. And it has a stressful character expression in the story. It's quite as stressed out character. Bringing that now into its character expression. You notice as well that the robot is looking at some things. So we're drawing it I, this looking over to the side. And as we draw in the details of its phase, pay attention as well to the way that we are drawing. We are using interrupted and short lines in order to be sure that this line is in the right place. So we need to make adjustments will be okay. It's now if you'd like, we can also simplify the sketch at the rabbit using pencil. There are different ways that we can approach this. And then what's drawing it in pencil? We can go over and draw it with black fine liner as well. So you might like to approach this drawing in that way. Skinny, see here as well, the eye pops out and becomes more of a circular shape. And there's a little gap between the head and the color of the clothes as well. So we're keeping that in mind. As we draw. This next bit. We're just drawing in this color like this. You can see we are working with perspective in this drawing as well. Not tracks in our line work. We're going up to the ears now we're going to add a hatching lines inside of the ear so we can continue to make more detailed come in and add depth and dimension. Here we are just adding in a bow tie for the rabbits. We add close to the animals, the characters become more attractive and we develop more of an understanding of their personality or where they're coming from. So today we're really using our imaginary ideas and I'll creativeness in this lesson as we work with a reference as well. Now we're going to add in a sleeve for its cloves. Then we're going to draw the horn like this. I'm withdrawing, it's cloves like a trapezoid. So we're using our geometric shapes. Again. We're going to draw its hands quite short, which will be similar to human hands. So this is where our personification is coming through with the clothes and with human hands. So you can see here as well, we've added in a lettuce, there's a letter in the hand of the rabbit. And we're keeping our patients as we draw, we're letting ourselves draw quite delicately. We're drawing the sketch of the character slowly so that we can pay attention to all of these details. We want to understand the delicacy of the sketch. For this illustration, we've used the realistic sample of the rabbit. And this character is a special character because of its close. And it's special form. The hands and the eyes adding in the other arm. Now, again with this leave, then we're going to move on. I'm going to draw the legs of the character, which is quite realistic. If you want to draw along with me. And as always, if you feel you want to pause and practice, then carry on the video, you absolutely can. So now the feet of the character are exactly the same as the real rabbit. Remember as well, outside of practicing in lesson, you can go to a downloadable resources and all of the information is available there for you to have a read through. And this will be really helpful for developing your understanding as we build up the skill and build-up this mastery so that you can be more creatively free as you're working and as you're learning how to express your own unique voice in your drawings. So here we're drawing the legs and the pores of the character exactly the same as the rabbit. I remember going in and we're adding our shading layers with these hatching lines in order to show the form of the character better as a whole. So really bringing in all that dimension and enhancing our work even more. Here we can go in and we can show the foe of the body with these hatching lines as well. To the hatching lines here will be regular. Now actually we can copy and draw the character the same as the sample in order to practice the delicate parts. Again. So practicing these techniques and as we're walking along here, it can be really helpful to follow my hand movements. And you can stop the video and watch it a few times if you feel you'd like to and then practice at the same time and resume the video. Now if we want to work more on our sketch, will have more visual attractiveness in the end with more contrast or we've added in all of these intricacies, they go a long way for our sketch. Okay, So you've done all of our details here. So we're going to come and draw in the patterns of the cloth now detailing the clothing but the rabbit is wearing. For these drawing parts, you can download outlines and grids to help you through the course. You can draw from them or print them and practice. It's however you prefer to work as you develop the confidence and comfortability with these different areas where we working. So it can be very helpful to practice tracing first before going into free hand. Drawing. As you may know from the story of Alice in Wonderland, the rabbit is working for the Queen of Hearts. And so we're using those heart shapes for the pattern of its cloth. Now as we are working and practicing room, you can message me at anytime if you have any questions, just let me know and I'll be able to guide you better. You can see adding in these details is really bringing in even more dimension and creating a really exciting image here. When we add the hatching lines delicately, the delicacy of our work becomes more and we understand how the sketch has worked delicately and patiently. We can appreciate the intricacy of the work. We need to see each part very carefully, but we don't need to be sensitive in copying. Practicing these skills. We just want to learn and practice the sample. We're practicing here and we're observing and seeing the delicacy and the hatching lines. But the illustrator used for the rabbits were learning this. We can appreciate it. Take these skills into our own work and imaginations. You're just adding in a bit of the floor here. We really can learn so much for observing the work of other artists and seeing how they work and how they've created characters. We can always learn a lot from each other. So again, if you are struggling with anything, please don't hesitate to reach out. And we can talk through the artwork together. Okay, so we've drawn the rabbit like this. This is the sketch of our character. We're going to add color to it in the next lessons. I'll see you then and I hope you've enjoyed today. Goodbye. 29. Advanced Rabbit Character by Adding Color and Details: Hello all, and I hope you are well. In this lesson, we're going to color the rabbit with colored pencils. We have discussed pink, middle cobalt blue, medium cadmium yellow, scarlet color, dark cadmium orange, Indian yellow, and natural russet color. So first we're going to add hibiscus pink colored pencil number 94 onto the ears. And these are occurring Dutch colored pencils coloring these is with this pink colored pencil in the sample. The illustrator colored the rabbit with hatching lines as well. So the coloring of this rabbit with doing this very delicately. We can also add this pink color onto the tip of the nose. Then we're going to color in the fingers of this character as well. Okay, so we're just adding in the hatching layers like this. Next we're going to color the bow tie, the character with middle cobalt blue colored pencil 660. Now the color actually crosses the line in this part. So this is a choice that we're making it as part of the art style here. This is a technique that the illustrator used in this part. So we're doing that on purpose as part of the style. Following the illustrators style, to learn from them. Going a little bit further over the line here. Okay, so then we're going to add blue shading layers on the neck with all colored pencil. Now we are changing again to the pink, the cheeks. And next we're going to color the horn with this medium cadmium yellow colored pencil number 520. Just delicately going in and adding in these details and these highlights it as part of the style we're going to go in and color around character with the yellow colored pencil as well. Now, we need to use the scarlet colored pencil. This is number 70. This little detail here that onto the heart's adding color on these parts. Now that is a combination of colors in this part. And one of those colors is red. Okay, so the next color that we're going to use is this dark cadmium orange colored pencil number 533. And then coming in here, we're going to add some shading layers on this part. The shading layers here, they have very light, so we don't need much ham pressure here. And the next we're going to add more shading layers on it with the Indian yellow colored pencil, which is number 523. In order to make the color of this part warmer. Exploring a similar area in the color palette, and exploring all these warm colors. Okay, and then the next layer is going to be added with this dark cadmium orange colored pencil number 533. And again, we use the medium cadmium yellow color pencil 520. And we're going to add some lines onto these parts. So the illustrator use the yellow color delicately in the coloring with following that example here. And we need to use the dark cadmium orange colored pencil number 533 for this part. Down here, a k. And then we're going to move back to the medium cadmium yellow colored pencil number 520. And the next layer after that, we added with the scarlet colored pencil number 70. Following along as we add in these details with the color, we're drawing a red line in these parts. Now we want to use the natural russet colored pencil number 66. And then we're going to add shading layers onto these parts. When you're done with your practices, please do send them to me so I can guide you step-by-step and we can talk through these techniques. We're continuing our shading with this russet color, deepening that red. We continue to develop our work with this red color. Very nice. Okay, So we're going to use the scarlet colored pencil number 70 and go in and add more depth here, fleshing out the shading. Then we'll come back and use the middle cobalt blue colored pencil number 660. And then we're going to do small dots like a texture around the character like this. This is part of the style here. This is an artistic choice that the illustrator made. We need to pay attention to these techniques which the illustrator used in sketching in order to develop our work. And we can learn a lot about these different styles and about these different artists in this way. So by doing this, we can learn a lot of different techniques and work out which techniques really work for us with our individual art style. This is a helpful way to explore our own individual voice. And maybe we want to just use hatching lines for our sketch. So depends on ourselves and our own style. And this is part of why we practice all of these different styles. If we copy the important and good art works, we'll learn different techniques and we can distinguish between bad and good work. And then we can create our own techniques from there. So as we practice, we do need to pay attention to the delicacy of the sketching and the illustration. Here. We're going to add small dots on this part as well, paying attention to the spacing as well. So you can see through doing this practice at the Illustrator, Use the colors which added to the main character and then added these small dots around parts of the sketch as part of their style. This is built out the invoice and that earned style and created this really unique look. Okay, Well that seems to be enough that we've also added some small dots on this part as well, and we can work more on these parts if we want to. So now we're going to go in with these red dots and we're going to change over our pencil and a second to the middle cobalt blue colored pencil number 660. And we'll add more blue dots onto the red parts with this blue pencil. And this part will seem purple from the distance. As you know, outside or less than you do also have your downloadable resources that all available for you. So don't forget to download those and go through them because all the information will be in there and that will help your journey. Okay, So the next color is this natural russet colored pencil number 66. And we're going to add more dots around the rabbit. We're going to use all the colors for the texture of the space around the character. So if filling out this background in this Illustrator style, we can actually, we can completely see the delicacy in sketching and coloring the character and all the work that's gone into that. Now we're going to make the lines a bit bolder using our black fine liner. And because you've added color onto them, they'll become light. This is a lovely way to go back over and re-clarify are lines and makes sure that detail is distinct and visible. After we've done our color work, we're going to make these parts bolder like this. Okay, so here we've drawn this beautiful illustrations and very delicate work and our work is finished. I hope you've enjoyed this lesson and I will see you in the next tutorial. Goodbye for now. 30. Cat as a Character: The Aristocats Scene: Hello. In this lesson, we're going to show you some examples of exaggeration and illustrating animation characters. And we're going to use a cat for this lesson. So in the animation, the aristocrats, the face of the cat is very cute. The face expressions are based on their characters. So we're going to explore the character personalities and how that can affect our animated cats as we exaggerate their personalities through the drawing. So as always, if you want to follow along with my hand movements and we will practice this new style and this new technique together. And if you have any questions, you can of course, send them my way and we'll be able to talk through this art style. The nose of the cat is small. You can see that the cat has big cheeks. Here we're just drawing three lines on each side in order to show the whiskers of the cat. This cat has very sweet and very cute eyes, will draw those in as well. You can see it's quite a feminine character. There we go. There's also a bow on its head as well as would just add that in. You can also watch this cartoon and see how the faces of the cats are sketched quite cute and how they change throughout the film. So it's an aristocratic cat, has a lot of cuteness. We're going to draw a vicious cat in this next part. This isn't a delicate, it's more of a fighter. And you can see that this animation, and again it has a small muzzle with a bigger face. And please do try and practice after my hand movements. As we explore this style. If you do feel that you'd like to pause the video and practice a few times before then resuming. Please. Do. You can see the eyes here a sharper than more determined. You do draw comparisons between these characters as we draw them and note the differences. This is a vicious cat. Now we'll illustrate the cats and draw their skeletons with simple lines. Here we are withdrawing the round face of the cat just with some simple movements and lines, just establishing the roundness of its face. We can draw the sketch of the character with pencil at first and then draw the lines in the right places. Black fine liner if we prefer. Our main goal here is to learn how to use exaggeration in sketching, not just copying the sample, but understanding how exaggeration can be used effectively in our illustrations. So actually we do want to learn how to use exaggeration in order to create our own characters later on. So we're using this as inspiration for our style later on. Because that's the body of the delicate cat. And now we're going to draw another cute aristocratic cat in this part. This cat in particular is a feminine character. She's the lady of the house. She's very gentle, drawing in the face, and this cat has long eyelashes. And it also has big eyelids as well. So all these things make the cat's face more human. So this is where the personification that we've talked about before starts to come in even more. You can see we'll draw the body of the cat. Very simple, but with the right, anatomy. Simplifies the body. And we shared it with these simple lines. We have a very clean drawing and then we're going to draw a prominent tail in order to make our character more beautiful. So she's quite a glamorous character as well. As we can see, we've drawn the body of the cat just with the simple lines and movements in mind. We've done this all with the correct anatomy as well. So looking at it, it makes sense as a cat. So moving on to our next character now, here we are determining the muzzle of this cat. And we've drawn it a bit bigger than before. The muzzle of this cat is not actually determined. We're determining the muzzle of the other cat over here. Then now we can draw on the whiskers. Then we're drawing the nose as well. And this cat is a little bit like a lion. It's got a bit of that in its character. We have the face and then underneath the neck, it's more convex with more further. By adding in those lines. Then we're going to draw the pores and the close of this cat as well, like this. You can see while withdrawing, withdrawing the close of the cat. Very simple. And that's part of this style itself. We are making these characters have human qualities with some minor exaggerations, personifying them to bring out the character in them. So we can actually illustrate the characters very simply, like this. Now we're going to go in and we're going to add eyelashes, and we're going to add eyebrows for this cat has small lips as well. So we've simplified our character like this. Let me draw a bigger face with cats. On the right. For this cat, we've drawn the form of the eyebrows like there's an order to show its aggressive character. In this way is like a human. So when we think about illustrating and personifying characters, we can actually look to art styles like this and we can simplify an illustrate the cats like human characters in order to make them more familiar and more special to us when we look at them. Alternatively, as we've seen in our previous tutorials, to illustrate a character from an animalistic quality, we can exaggerate the structure of that animals. We could exaggerate the structure of the cats in order to make special characters, making these unique characters. So it does depend as we look at our work, it depends on ourselves and also the story of the character. What kind of character we want to show to our audience. I hope you've enjoyed this lesson and I will see you the next time. Keep on practicing and goodbye. For now. 31. Honore Daumier Case Studies: Hello dear it all. As you know, we've learned how to draw animals and the anatomy, and we've illustrated the characters with exaggeration, looking at personifying characters and making them more unique. So we've copied some important animal characters, e.g. the characters of Alice in Wonderland and other characters of Walt Disney. So we're going to continue to explore these different art styles now during animals and anatomy and adding personification. If you want to follow along with me and you can copy my hand movements. And if you want to pause the video and practice a few times before carrying on, please do. And again, if you have questions, you can send them on over. So now we're going to use sketches from old painters, like an array down Mia. He was a perfect painter in the 19th century. That was a perfect painter who illustrates characters with exaggeration and created protest art works. So we're going to bear this in mind as you're working with taking inspiration by observing and learning his technique. So the key thing here is one part of his artwork, which was to combine human and animal traits. Now we're going to copy some of his artworks in order to understand the combination of human and animal even better. For our first drawing, this character has a big head of a human and that's combined with the lower body of an animal with four legs. If you want to follow along with me and you can draw this at your own pace. So feel free to slow down or speed up the video if you like. We're drawing in delicately with marker. And this is a person who we're talking about. The lower part of the character is from an animal. Most of the cartoons of this painter were published in the newspaper and they were very popular. He created some truly unique characters. This character has a big head, like a human, then a lower body part like that of an animal. We can observe and understand the meaning of the dam here, artworks. It is important to ask questions as we draw. How does an artwork make us feel? Why do we think certain things have been drawn? The way that they have? This will help us further our understanding. Okay, so here we're going to draw a table and begin to work on the animal, the lower part of the character, the legs. Like a hoof. You see how animals are useful in order to create such artworks. We can use them in an art illustrations. We'll draw the tail like this. Now the painter drew an I in the end of the tail. Draw that as well. There we go. But we weren't walking it more because we want to focus on the body of the character that's main focus of today's lesson. Now the painted drew the anatomy of the animal very well. So they understood the anatomy, the skeletal and muscular anatomy. Then he's taken this realistic animal body and combined it with the human head to create a very interesting illustration. As you know, the downloadable resources are all available for you, so don't forget to download those. All the information is in there. The more you can learn, the more confident you'll be. And again, that goes the same with practicing as well. So knowledgeable aid you in your journey here as you grow as an artist. So you can see how these two have been combined together. We're just going in as we have before. And we're drawing in these hatching lines. So we're drawing the hair of the character with these hatching lines. So we have the texture of the hair. We have the shade and the light on the character. Fantastic. Okay, so now we're going to draw the other character. So if you want to follow along with me. Okay, so our next character is combined with a female body with the body of a woman. We're going to draw the lower part of a host body and the upper part of a woman. And the movement for this character is that this character is trotting along. So we'll keep that in mind. If you do have any questions, you can, of course, message me and I can guide you better and we can talk through these different art styles that we are working on. You may recognize here that this is the pose of a horse jumping. This is the jump of a horse drawn that section of the body. And now we're going to draw in a skirt for the character. We can determine them like this. Then we're going to draw the body of the woman and draw the hands and the sleeves like this. So the end of the hand will be a hoof. So when you have finished ritual practices, please do send them over. So I can guide you step-by-step and we can talk further about this work. You can see how it really combining all of our knowledge now of drawing humans and drawing animals. Okay, So we've drawn a character in this way. Then we go from here, we're going to add in more shading layers with the wide tip of our black marker. And as always, if you don't have the medium of working with, that's okay. You can use alternate things. You can use pencils, you can use paint, whatever you have available to you. This is a combination of the human and the horse body, and this is the artwork of the French painter Andrea down here. Now, if you like, all the outlines and the grids are done and ready for you. If you need to practice your drawing, they will be a great help throughout these lessons. So you can practice drawing in many different ways and maybe put your focus to different techniques in each of these sessions where you practice these drawings. Okay, So this is the head of a woman as well. This leaves a puffy which shows the front legs. Okay, there we are. So we're not copying and working more on the details because our goal now is just to learn how to use the animal structure in illustration. So that's our focus at the moment, just learning how to combine anatomy of the human with the animal and using that to great effect. In illustration. From here, we're going to go in and we'll add some shading layers onto these parts as well. We are. Finally, we're going to write down the name of the painter. In this part. We know who we're taking inspiration from. I hope you've enjoyed this lesson. I will see you the next time. Take care. Buh-bye. 32. Studying Animals Drawing by Honore Daumier: Hello. All, In this lesson, we're going to draw the other sketches of the honorary down the air, which is called the emigrants. Following along with me, we're going to draw some dogs and a dog that stands on its two legs. So I'm taking inspiration here and following along with our preferences. So this dog turned back and it looks behind. So that's the movement that we want to keep in mind. And the body of the dog is similar to that of a human, standing on its own two legs. So pay attention as well to how we are drawing the legs of the dog. Drawing delicately and taking note of our reference. If you do want to draw it in pencil and then go over and fine liner or pause the video and practice a couple of times. Of course, you can. Now hit withdrawing up to the face, the muzzle of the dog. See the movements of the hand. And if we practice a lot, we can draw very easily. We can determine the place of the pelvic and the chest area of the character will inform us where everything else should go. So we've learned how to draw the anatomy of the dog beforehand and we practiced this skill. So because of this, we can draw the dogs from this sample very easily. Now, if you'd like to, in your downloadable resources, I've put all the information that you need for more practice. So don't forget to go through those and practice some more with those. Adding in even more detail. Now, adding in some of our hatching lines as well as we go. So we've got some lovely dimension and depth to the drawing. Okay? So we've drawn the dog like this. Now we do need to practice and sketch a lot in order to learn how to draw hatching lines. So we need to learn the anatomy of the bodies and even use hatching lines in order to show the form and the structure of the bodies very well. So we're using all of these things to compliment each other. So we need to practice those individually so we know how we can combine them in a way that's harmonizing. If you look at our sketch, we paid attention to proportions of the anatomy combining human and animal. We've used the hatching lines effectively to add in texture and shade and light. We combined all of these elements together. So you can see using hatching lines makes our work very attractive. We can use it in very effective ways within our work. We need to copy the artworks from the great painters in order to gain experience and have a deeper understanding of different art styles and which techniques work for us and the style that we would like to pursue in our own work as well. Practicing a lot in order to gain experience in how to draw and how to use hatching lines. You can see here how we show the shading layers. Using these hatching lines. We shouldn't be afraid of drawing hatching lines. So we need to be brave and practice a lot. And that way we can come into our work with a lot of confidence, with a lot of comfortability. And that will show through in our artwork. You can see using different lines, hatching lines and techniques makes our work more attractive. Overall. We've used all of these together. For our next one, we're now going to draw a horse with the horsemen that dummy I drew in a very attractive style. So again, if you want to follow along with my hand movements, we can observe our work and the reference and keep checking back as well. This is all some point to see how dummy I used hatching lines in order to draw this sketch with the right proportions. So now we're going to draw the horse in this part and pay attention carefully to the movements of this black fine liner. First, we need to learn and understand the anatomy very well. And then we're going to sketch freely without paying attention to the model. So we'll understand what needs to be that when a more subconscious level, because we've studied anatomy and we've practiced those skills so we know what needs to be there without having to think too hard about it and we can draw freely. So actually what we're doing now, this is an advanced level of sketching. We've progressed skills a great amount, and we're using hatching lines as a tool in order to add them on the right parts of the anatomy and the structure of the animals in order to make our characters special. Do observe the work as we go. And you can pause and practice as always. But what we're thinking about here is that the lines don't depend on the model exactly. Actually, our main goal now is to use different lines and hatching lines. In this lesson, That's what we're really observing here, and that's what we're focusing on for this lesson. So actually we can practice and understand very well from Demir sketches. As we're working and as we're studying, we don't need to copy exactly the domino sketches. We're learning from them. We're taking inspiration from them and understanding the techniques that are used. We're studying and understanding his sketches. That's the main thing. They don't have to be exact copies. What we want to do is you want to study and understand Damiano sketches very well. So as we are drawing, we can use our mental perceptions for some parts and remembers all the outlines can really help you in your drawings with don't forget to download those. Having the right outlines will help you throughout the technique parts. And when you create beautiful artworks, you'll then have more confidence which will come from understanding and from practice. This is coming together really nicely. And now we know the anatomy and the proportions of the horse very well. But we want to use our own style. So e.g. we don't want to draw the hoof of the horse. So that's a decision that we can make, so we can decide ourselves how to draw our sketch. It doesn't depend on the example. We can make changes. We can draw our own thing so we can adjust anything we like. We have a lot of creative freedom in that way. They're just adding in some more of the details onto our halls. Beautiful. Okay, so now we're going to draw a dog from Rembrandt. Sketches. Move over here. And we're going to draw, being inspired by Rembrandt's sketches. And we want to know rembrandt sketches. This is a particular style of artwork that we can draw inspiration from. Even we want to know the delicacy of his artworks as well. As you work on Rembrandt. Pay attention particularly to the movements of the hand. Please try to follow along with my hand movements here. We are sticking to the anatomy of the animals in our mind. So we've learnt these anatomies were just drawing them in a slightly different way. Now the important thing is sketching and studying the great painters sketches like Rembrandt, e.g. and as we do this, we're trying to emulate their techniques. So do pay close and careful attention. Sketching or painting is a personal and creative work which comes from our mind. As part of that, the more we understand about anatomy, the easy we'll find it to draw. And we can develop ourselves by filling your mind with information. So good and right images and practicing a lot. And then we can use those in our sketches. They'll become almost a second nature when we've ingrained all of that information. And actually we can use the information and the images of our mind very creatively. Then we can draw these beautiful sketches. We can decide ourselves how to draw them. That is our dog. Wonderful a case. And now we're going to draw the face of a lioness in this part. And it's good to watch these drawings a few times and then go over and practice those at the same time so you understand what's coming up and what we're working on as we go. So bringing the text to hear of the firm. You can see here as well, we're simplifying and we don't draw all of the details of the lioness. You progressed past that now in this art style that we're Dorian. And remember if you do get confused at anytime you can message me. If you have any questions, just let me know and I can guide you even better. You can see how we've drawn the hatching lines here. It's particular style that we're experimenting with. Drawing in the clothes as well. Through really, really effectively use negative space. In this drawing. Here we've added in the body of a lioness. Now, we're going to work on drawing a simple donkey in this part from the works of Dan. So we can see on our Canvas here different sketches and etchings from different works in art history, which is quite exciting in and of itself. So we can compare all these different styles and we can find different hatching lines and ways that every painter created and use them based on their studies of art, history. Rembrandt, Damiano Goya, Delacroix. They all have their own style in sketching. All of them are great and special painters that were impressive in art history and create a paintings which came from their minds, but with a lot of studies to back them up and create that truth to their drawings. So we do need to study and sketch. I'm practice as we're doing now. Now we're following the style of daphnia that is different from our style. As we study and practice. It's good to open our minds and add more information to it and continue to learn and expand our skills in that way. We've explored many different kinds of art styles as well as technical skills. We can take that forward into our own work and be inspired. The okay, so these are from Damiano, from Rembrandt and the other one is from Delacroix. Thank you for joining me. Bye bye. 33. Studying Master Rembrandt’s Lions with Watercolor: Hello dear, all. I hope you're all well. In this lesson, we're going to copy a lion from a Rembrandt sketch, and we'll be working with watercolors today using our teaser watercolor. We want to use watercolor technique and practice Rembrandt sketching style. Together. The colors we're using today will be sunburst, yellow number 8102 and yellow ocher number 8300. The benefit of copying great painters artworks is to know and understand the way on the style of the painters. If you want to follow along with me, will be studying Rembrandt's style. In particular. We don't want to learn the anatomy of the lion. Our goal is to know and understand the way of using hatching lines, sketching, and the style of the artists. For today, we need to focus on the sketching rather than the subject. So we've learned the anatomy of the animal, and now we're going to learn the sketching better in this lesson and we're using a different medium. Now I bring in watercolors to see how we can use different mediums in our artwork. This is one of the famous artworks of the Rembrandt style, which there is a scene with some lions. Now, as always, if you want to pause and practice, you can. So we're using some burst yellow number A1, 02. Then we're going to show the lines of Maine with some hatching lines like this. Now we need to use a darker color like the yellow ocher watercolor. Number 830 is zero. Then we're going to draw the form of the body. Just with one movement. We can see the movement of the body already using different Han pressures and parts of the brush for different widths here as well. So pay attention as you work to this way of sketching. Rembrandt showed the form of the lion in a scene with just some movements. Affected the simplicity of the form. Now watercolor is technique which needs simple and quick movements. So we combining these two concepts today. Here we are using more water to let the color spread slightly. And we're going to color the skin of the lion. There is an effect with how damp brush is. Now we're going to go and draw another lion. We need to use lines and stains in order to sketch the lion. Following along with my hand movements. Now we're going to draw the form of the body step-by-step and were paying attention here and following the movement of the hand and the brush. To see how we show the body of the lion with lines according to the Rembrandt sketch. Now we'll draw the tail as well. We're going in and we're drawing the main as well of our lion with quick movements. Just like this. You can see the main is coming together using these quick movements. We don't want to copy exactly the same as the Rembrandt sketch. It means that our aim is to see how the artist knows the anatomy and show the lion beyond that anatomy according to his own style. So if focusing on style today and unless on anatomy, if we see the line here, we can look at it and understand that it is painted, it is sketched in the Rembrandt style. We understand that rembrandt has a particular style. The style is sketching of this artist is special and it's unique to them. Now, do remember as well that all this information is available in your resources folder. So that is all available for you to download and go through all of that information. So please do have a look there. We can see the form is coming together. That most simplistic style, the great understanding of anatomy. Now we're going in and we're adding in these shading layers in this part. If you want to follow along with me as we build in the shading layers. So for this part, we are actually adding the shading layers with the wide tip of our brush. You can see the effect that has the, okay, so now we're going to make our brush a little bit watery. So this will put on the paint in a different way. So it will spread little bit as well so we can see the differences as we paint. So surely enough this lion is different than the Lion of Rembrandt. We can't copy exactly the same as Rembrandt. We are our own artist. His brushstrokes are his own. The knowledge and experience will be different. We are drawing inspired by him. And we want to practice and learn the way of Rembrandt's sketch and to try and understand more of how he drew. By studying, we can begin to work freely and enjoy sketching even more, having more creative freedom as we draw. So when we learn the anatomy and sketching, our drawings will be even more enjoyable. And they'll look beautiful as well. We can relax as we draw those who've understood all this information. Because when we work, we don't want to be focusing so much on the proportions and getting the right measures of each individual part. We want to create a tractor sketches with our brushstrokes. Being able to do this freely. So this is the way that our great painters and artists did. And they've created beautiful artworks throughout history. That is the reward of hard work and the reward of study. Now we're going in and we're going to add shading layers. And we're working more on these parts in order to make our sketch more attractive or create a beautiful drawing. Here, if we add in some hatching lines and some shading layers on all of these parts or work will not be attractive and beautiful. So actually we want to show the direction of the lines and the contrast between the lights and the shading layers in our sketch. So we're making choices about where we add in lines and where we add in our shading layers. We're determining the light parts of the skin. And shading layers with some brush strokes like so. Working delicately and appreciating the different areas of the line and how it can come together based on form, based on shadow. We're letting that inform us as we work. Well. This line is complete well, quick movements of the brush in the Rembrandt style. Now we're going to carry on with our study and we're going to draw another lion with our next line. This line is actually going to be in a side view. So again, we're going back to perspective and we're working with perspective here a little bit more. For this Nian, we actually want to use more lines and more hatching lines. We can look at the sketches correctly in order to find out what did the artists did. So using the skill of observation that we've been building upon to discover how they've worked. So I'll copy may be bad, but the important thing is that we see and we understand the sketches of the painters. So it's very helpful in order to create our own unique works. We can be inspired by these painters and we can discover our earned style through this practice and through this study. The main thing is the understanding. So our paintings, they don't have to be perfect. That's not the goal in this session. So when we look at the painters sketches will understand how they draw the animals and what they focused on to bring their paintings to life. You can see how we're sketching. We're sketching different parts of the lion at the same time, and we're adding lines and brushstrokes, freely. Redrawn the body, and pay attention now to the face of the lion. So it's using less movements for drawing the face. You've got smaller lines. We're going to darken the lips of the lion as well. See how Rembrandt showed the face of the lion just with one movement. You can see as well. He determined the right anatomy for the line as well and added brush strokes freely. And actually he analyzed the lion very well and paid attention to it very carefully and see how he changed it to a write, an attractive sketch. So you can see that he understands what he's drawing, even using fewer lines. Because this is a lion with the right proportions and its anatomy is completely correct. Key difference here is that the artist drew the lion based on. Our style and use different lines in order to show the form of the lion in the most abstract way possible. So they've made a choice here in the artwork. And that is part of what we're learning about here, the choices they've made, and why. We can see the lines and the quality of these lines very well. In the lion. Looking at this drawing here, this is the obstructive form of the lion. So we have lots of different ways of drawing. A similar subject is interesting to study these things because this is where we'll start to find the areas we have the most joy in sketching and painting and how we want to draw as artists. Looking at our sketches, these are two different lions with different lines and shading layers and forms. We've used the tip of our brush, this Mayan, in order to add more hatching lines, which you can see more clearly. Hear that quite clear on this line. And then for this one, we use the wide tip of our brush with watercolor in order to add more shading layers, there's a clear difference. So now we're going to add more shading layers onto these parts like the nose and the mouth. Then after that, we're going to add some darker lines onto the lion's mane. Following along with me as we darken the main of our lion. When you practice, do experiment with these different styles and these different techniques that we're exploring here. You may find something completely new that you really enjoy. The best way to find out is by doing. In this lesson, we showed the sketching and the hatching lines of a great painter. You've explored the style and it's very important to see the model carefully and to understand its proportions, the lights, the shading layers, the muscles and all parts of the body so we can see the creative opportunities. And we need to practice a lot in order to show the way of quick and simple artists sketching. Actually looking at these paintings and the reference we can see the painter showed the feeling of a lion and drew it easily with some movements and shading and hatching lines. They've simplified the drawing while showing the feeling we need to see and copy well and correctly in order to understand the sketches of these great painters. And first we need to practice a lot and know the anatomy and the form of the animals very well. We need to know each animal's anatomy with its right proportions and copy them in order to learn them completely and have them so they can be drawn upon that information in a more subconscious way. We can have it readily available to us. So we can have creative freedom as work and draw upon our imaginations as well as our references. And we need to copy several times from the real model in order to see its movements. So after we gained enough experience, we're going to do our own sketch with simple ways because we want to find and have our own special style. Now that we've come to understand and appreciate the styles, are these great painters. We need to go beyond the illustration of the animals and have our own style in sketching in order to add more beautiful details on the anatomy in the way that seems most right to us. So we can explore these different styles, integrate that into our own unique voice. Actually, we want to show our own sketch based on our style. And so we need to work hard. We need to practice a lot. We need to know the anatomy and illustrate different models. And after we gain experience with then going to illustrate the lion in a way that we like. So we'll choose our own unique voice and explore that. And we can do that through practice as well for confidence. And we'll illustrate the animals based on our own techniques. And it doesn't need to involve ourselves in the anatomy so we can take the overthinking out of it by practicing anatomy beforehand and understanding that properly. Then we can do the sketch quickly with our brush. So this here, this is the final level of an artist's work. So we've come to quite an advanced place with our skills. Now, we need to try hard to achieve this goal. We need to practice. When we copy Rembrandt's sketches. We will then understand how he tried hard, he worked and he used his creativeness, his focus on his works in order to create truly special artwork that we can appreciate even today. So he was truly a Master of Arts and a Master using the brush and the techniques. And he understood the subject very, very well. And then he showed the subject very well with simple movements and he didn't work a lot on the details of the subject, and that was his personal style. So that's what we're learning from at the moment. And then he showed the form of the line quickly in a short amount of time. So it takes a lot of skill. And the only thing that we need to do is see carefully and practice several times in order to be able to master all these techniques and anatomies. And then we can illustrate our own sketches. I hope you've enjoyed this lesson and I will see you in the next tutorial. Keep on practicing goodbye for now. 34. Tiger Anatomy: Hello. In this lesson, we're going to draw another animal, which is a tiger. And we're using a black fine liner. Today. I tiger has a big body, special skin, so it's got a pattern on its current which will be taking note of as we go. So now we're going to learn how to draw different positions of the tiger with simple shapes. So if you want to follow along with my hand movements and you can pause the video to practice a few times if you like, and then resume at your own pace. And of course any questions, send them over. So first we're going to draw the skull and the main axis line of the body. You're going to draw a head for the tiger, the same as the other animals. Then we're going to draw the spinal column of its body. Drawing a line like this. Adding in some of the vertebrae. And this line shows the spinal column of the tiger. So same as the other animals. We're going to show the shoulder of the tiger like this. And we can connect the shoulder to the spinal column, like say, they are connected up. And from here we can begin on our legs. And then we will draw the pool of the tiger. The anatomy of the tiger is similar to that of a lion, but totally the color of his skin is different and the model of its skull a wider and stronger. So those are the key differences to bear in mind as we're drawing a tiger. While it does have some similarities to the lion is still different. So first we've drawn the spinal column here. Then we're going to connect the legs and the paws onto it. Now we're going to come to the other side of the tiger and we're going to draw the pelvic bone of the tiger. And from that, we'll draw the bone of the leg. And then the pool as well. Adding in the pool in here. Just like so. Then from here, we can begin to add in the tail as well. So we need to draw the skeleton of the animal that firstly, we understand that anatomically it is all correct. And for having that all correct and proportions and shape, there'll be true to our drawing as we go. So we're drawing the head of the tiger like this, a wider and stronger than the lion. And then we're going to show the muscles and the skin. According to our model. You haven't no difference as well. The tiger has a long tail. So we're making sure that the long tail there, just drawing in our last leg now, it's not the skin texture on the third of the tiger. Very beautiful. So we'll be adding in the texture as well. With online. This is something to pay close attention to if we don't show the skin texture of the tiger with hatching lines, it'll be a little bit difficult to distinguish the tiger from the lion. So this is where we can show the pattern that is unique to the tiger really well. So the skin texture at the tiger is actually one of the main features of It's very recognizable. Trait of the tiger. In a way it's like the difference between a horse and a zebra. So the pattern is a big difference between them, despite being quite similar creatures. So absolutely that anatomy is all different, that their skin is more important than their bodies. It's hard to distinguish them based on the anatomy at the first moment. So the pattern of there tells a lot about the creature that we're drawing. We're going to show the lines of the body in our drawing here. Says add the lines into the right places. We do need to analyse the model very carefully. A referencing the model as we work to make sure we're happy that we're following a correct pattern. Full the skin texture of the tiger. So as we move towards these legs now, we're going to add horizontal lines onto the legs will make a little bit of a shift here. And the lines of the pelvic and the main body are going to be vertical. So there'll be a little bit different from the main body to the legs. So some of the lines as well will be wider on the stomach. These are some of the details that we want to pay attention to as we're drawing. It's lovely to bring in this variation in the pattern. And you can see as withdrawing and as we look at the model as well, the density of the lines on the stomach and on the pelvis area them more than the legs. So they're actually wider in density. Then the density of the lines on the legs or less and the lines become lighter. We can show the difference in our sketching as well. Here we're going to add more hatching lines on the face and especially on the forehead as well. So if you want to follow along with me as we go into the front area of the tiger. All these lines are slightly different depending on the error of the target that we're working on. And we drew the spinal column first and then we've added the legs, the shoulders, the pools, and the tail. And we drew a circle for the head. And we've edited it. So we've had our basic anatomy underneath. Then we've drawn the detail on top with the circle for the head. But we've adjusted. Our work has so many extra lines and it doesn't really matter because these guiding lines and they're helping us in our practice. What's important here is the practice and what we're learning, what we're starting to understand more about the work. So it doesn't need to be a concern if there are extra lines, we can erase them because they're all part of our sketching. These drawings are really for us. So we can understand the anatomy and we can understand technique and pattern. As we come to the feed, the soul of the poor is darker. So I'm adding more hatching lines onto it to show the darkness, the working again with shadow and light, creating that depth and dimension. In our drawings. We draw the taiga like this. It is looking very active in quite ferocious. So now we're getting fruit and we're adding some shading layers onto its face for adding in extra detail to really enhance, I'll work even more and bring off the page even more. Okay, So here we go. Our work is finished. We sketch the general form of the tiger with hatching lines in this lesson. See you next time. 35. Detailed Tiger Skulls, Head Analysis, Face Drawing: Hello dear. Since the head of the tiger is not completely visible in this part, we're going to draw the skull and the head of the tiger from the front view in this lesson and I'm using a black fine liner. You want to follow along with me. So first we're going to draw a circle like this. And actually we need to draw two circles like this. If you want to follow along with my hand movements, we will practice this together as we learn this new skill. So this is the guiding line. We're going to determine the muzzle of tiger. And then we have our guiding line of the muzzle and the nose. We are. And then we're going to determine the right place for the mouth and the chin of the animal. This part of the face is like a triangle. So think about our geometric shapes and we'll draw a vertical guiding line in this part. And then we're going to draw two guiding lines from the nose like this, similar to when we've worked with the cat. Then we're going to determine the right place for the eyes. Now we'll draw the corner of the eyes and the, is, the, is have a circular shape. Like this. You can see that the back part of the is, is also visible. So we're just drawing a line to show the back of the ear. Perfect. Now we're going to determine the outline of the head. So we're just clarifying that line now that we've got an n or rough shapes. And as always, if you do want to pause and practices a couple of times before coming back to the main drawing. That's absolutely okay. It's all about practice here, about learning new skills. From this point. Next, we're going to draw the upper part of the lips like this. Then we're going to add in the lines of the skin texture. So building up our layers as we work here. You can see we'll also add some lines onto the head of the tiger. So it's showing that beautiful pattern that it has adding those lines onto the head of the tiger. Now as always, I just want to remind you that outlines and grids are done and they are available for you in your resources. If you want to practice your drawing, they are there and there'll be a great help to you throughout all of these lessons. So it's a great place to practice this through outlines. You can then focus on texture and various things that way. And as always, if you have any questions, you can send them on over and we can talk through whatever you may be struggling with. So just keep on going, adding texture, adding that beautiful pattern, I actually think will make an adjustment now. So we're going to make the eyes smaller. Like so. We've drawn the head of the tiger just like this. Now we can add in our shading layers onto the cheeks. So we're giving it more dimension, we're giving it more depth as we go through. Now add some hatching lines onto the face as you can see, what is really focused on those hatching lines. Because actually we do want to go in and we want to make the face have more dimension and we want to make it a little bit thinner. As well as we're making these adjustments as we observe our work and decide what needs changing. Knowing your W practices do send them on over to me. So then I can guide you step-by-step and we can have a talk about your work as well. This is the front view of the tiger and we understand the difference between the muzzle of the lion and the tiger or the length of the nose and their foreheads by trial and error. So by drawing them out, we actually come to understand the difference between them quite well. And this is where practicing drawing these different animals will really help as well, will develop that understanding even more, which would be fantastic as we go forward in our work. We're looking even more of the pattern here now. Now something to note about the tiger is that the lines of the skin actually have special forms. We need to draw them very carefully and in the right place we're going for being patient as we draw in these lines. So we can see where there are extra areas of darkness and where the pattern actually becomes lighter. I didn't follicles for the whiskers. So that's our tiger head and that's looking quite nice now. So I hope that you have enjoyed this lesson. Please do keep on practicing, have a couple of goes at this and develop your understanding even more. I will see you again into the next tutorial. Any questions, send them on over, take care of yourself, and goodbye for now. 36. Tiger Illustrations and Analysis: ¾ View: Hello friends, and I hope you are well. So in this lesson, we're going to draw another Tiger from the three-quarter view. And if you want to follow along with my hand movements as we practice together. So we're going to draw the back of the tiger just with one movement, so a clear line there. And then once we've done that, we'll draw the legs of the tiger the same as the other three lines. Bringing in that practice that we've been going through in our previous lessons. And then we're going to draw the front legs which are wider and conical. You see they have more of a cone shape to them. Now as always, if you do want to pause the video and practice a few times before resuming and catching up with the main drawing, please do the more practice you can get in the better. So now we're going to move on and we're going to draw the head. So we're drawing an editing our sketch at the same time. So we're building in this habit of observing our work and making adjustments as we see fit. Now as you know, all your downloadable resources are available to you. So don't forget as well to go and download those and look through them. All of the information is available for you there, so there's a lot of extra information for you in your resources. Now, in today's drawing the mouth of the tiger is open. So adding in a bit more of a lively posture here. As we draw this new posts do pay attention that the neck seems not to be thin because there is no gap between the head and the neck. We don't want to insinuate that there is observing our work as we go. You can see the neck of the tiger. It's actually quite wide and we want to keep that in our drawing. Now you know as well, you can message at any time if you like, so you can send me any questions. We can discuss the work as well and I can guide you better. Beautiful. So we've drawn in the head, and now we're going to move our focus onto the body of the tiger. And we're going to start drawing in the lines of the body. So we're looking at the texture and the passing of the tigers will draw these lines just very simply just to start out. Okay? And we can also go and add more shading layers and lines onto the legs as well. So we're showing the shading layers with quick movements just like this. So it doesn't need to be super sensitive for this part. We just need to know which parts have more or less lines and shading layers. That's the key focus in this part. And don't forget to practice this as well. The more you practice your shading and your lines more comfortable, you'll become more confident, you'll become, so become easier to work quickly in this way. And as well as this, you do have your downloadable resources and all the information is available on there for you to read through. So don't forget to go and download those as well. You can see our sketch at the tiger. It's quite simple actually, but we've been able to make this beautiful sketch quite quickly. So it has wide neck and a big chest and strong clinical legs. And that's been the foundation of our drawing. And we've now to draw this quite quickly today. So now we're going to draw the face of the tiger from the three-quarter view as well. I will note the differences there as we go. So first we are drawing the nose and the muzzle of the tiger. Now the muzzle of the tiger, it's not very different from the other animals, so we should have some comfortability with this where we've drawn the field lines in the past and the length of this part should be the same as our sample as well. Okay, so now we're going to draw the upper parts of the eyes. As you can see. We're drawing the eye of the animal. Now we're drawing these central part of the head. And then bringing that out to draw the head of the tiger. Like so. Just draw until this part. And then we're going to add hatching lines around the head. We can use our hatching lines as well to make little adjustments where we feel. That will help with just drawing the ears in this part. Now this area, it's a little bit sharp. So keep that in mind as well. Then we're going to draw the neck, which is connected to the skull. We'll start seeing already. But when we add the lines, the shape of the tiger begins to appear almost immediately. We can see which animal it is quite quickly. We're just adding in some lines around and above the eyes as well. Now as we go, the best way to practice this is to follow my hand movements. And you can stop the video and you can watch it a few times if you'd like to practice at the same time and then resume the video that way so we can work alongside each other. Okay, so here is the general form of the tigers skull. So again, we've been able to draw that quite quickly with our understanding and our practice. Now the important things to note about the skull or the distance between the eyes, the distance between the nose and the forehead and the form of the muscle. These are our key points here. So pay attention to those. And since we don't have a real model, we need to practice and analyse the movements of the tiger from images and videos. And they'll help us gain a real understanding of how the tiger moves. We do need to practice a lot in order to learn the anatomy and the face of the tiger. To do practice that again and again until you feel comfortable that you really do understand the anatomy of the tiger. So the charisma and power of the tiger body that very attractive and very memorable. And from observation we can start to put that into our work. So now I hope that you've enjoyed today's lesson as well. I will see you again in the next tutorial. Do keep on practicing, take care, and goodbye for now. 37. Tiger Features: Paws, Eyes and the Head: Hello friends, and I hope you are all well. So now we're going to draw the pore of the tiger bigger. In this part, we'll look at the details if you want to follow along with my hand movements and practice with me. So we're going to draw the poor just like this. And as always, if you have any questions, please send them on over. And you can always pause the video and practice. Alongside. We've drawn in the leg of the triangle with the poor. And we're just adding some lines for the pattern of the firm as well. Now we'll go and we'll draw the other pole from the side view so we can get an idea of it from different positions. Now we go and we can draw it with some movement as well. Just like this. So we'll draw in the close of the tiger as well. And don't forget to draw the extra part of the call as well, that back claw. So we've drawn the clause like this. Now we will go and draw the eye of the tiger as well. So we're just drawing a circle for the iris of the eye. Once you've done that, we'll start to draw bolder and darker lines around the eye that showed the skin texture of the tiger. So you can draw widen bold line around the eye like this. Don't forget the outlines can really help you in your drawing. So you can download those and having the right outlines will help you throughout the technique parts. So you can focus purely on technique. And then you'll be able to create beautiful artworks with more confidence, knowing each skill quite well, having practice those. We're just going in now adding in a little bit of the pattern as well. So we do want to show that we're drawing a tiger. Now that we've added lines around the eye in order to show it better. This is the eye of a tiger. We've learned different parts of the face. Now we're going to draw the face of the tiger bigger from the side view. We're going to begin drawing the nose and the muzzle. Just like this. This head will connect to the body, does have one line without any gaps. Now this is the right place for the ears here. Then we can draw it in the eye, which is like a circle in this part. Adding in some more of these details. As we go. We can just come in here and we're adding, move around the is. And on the cheek of the tiger, beginning to build up that texture. And the pattern will also add some more for under the neck as well. So we're not isolating it to the face. We're bringing out the details as well and the rest of the main body of the animal would have that passage. We don't need to add more for in this drawing. Now, in this drawing, if we keep the why part of the eye in order to be the same as the tiger. We don't want to block that out completely. So there are different parts of a tiger that we're just addressing in this drawing. Now I hope you've enjoyed this lesson. I will see you next time. Goodbye. 38. Simplifying Tiger’s Anatomy in 3 Different Positions with Marker: Hello dear. In this lesson we're going to draw three figures of the tiger, geometrical shapes. I'll be using a black fine liner and a black marker today as well. So we're going to draw a tiger which is sitting down. First of all, if you want to follow along with my hand movements, that's the best way to practice. So we'll draw a shape like a triangle for its chest. Just like this. You can see that we've added the lines irregularly and this is the feature of the sketching. You want to allow those lines to be slightly irregular and we should not start working with straight and regular lines. We don't want to be afraid of sketching in more of an irregular way. We'll consider a triangle shape for this chest part. If you don't have a black fine liner, don't worry, you can draw along and practice with any medium you have available to you. So now we're going to draw the leg of the tiger. Like so. The next, we can draw a circle for the head of the tiger. We have some guiding lines here. Then we can move on to sketch the legs and the stomach of the tiger as well. So we're starting to build out the body even more now. Now remember, you can practice as we're going along if you want to pause the video and do some extra practice and then catch up, you are absolutely welcome to. And in your downloadable resources, I put all the information that you need for more practice, so don't forget to go through those as well. So returning now to draw on the face of the tiger. And because you're working on the face of the tiger here. This using our guiding lines to help us. And we'll just add on some of the pattern as well. So here we are using some lines in order to show the texture of the face. This will help us build up more realism and more dimension in our drawings. So our lines are following the form. We can add in some shading as well. You can see how we've created the form of the face with the lines created that beautiful shape. So now we're going to go in and we'll add some lines onto the neck as well. So you can continue that work. So we're creating this beautiful animal using texture and using Form and shadow as well. Now this animal has a big nose with small eyes, but they're very, very beautiful. So we're paying attention to those details and its texture is making it this beautiful animal. Okay, so we're starting sketching with some simple shapes. So we're just starting to build up the dimension here. We're just adding lines onto its body as well. So you can add lines as well in the second level. Now pay attention that the body of the tiger seem smaller when it's standing. So the length of the body actually seems shorter like this. On the body's main axis of the tiger, it's actually diagonal. So we're working to that. Okay, so now we're going to draw another tiger, which is running fast for hunting, e.g. so it's running as it goes and the legs will be forward because the tiger is going to be jumping. So you want to keep that in mind as we draw and the hands are going to be the same as the legs as well. So there are some details that we want to just keep in mind. As we work. We're going to draw a lozenge shape in this part. Again, if you want to follow along my hand movements, and we will practice this. And if you have any questions, you can always message me and we can talk through your work as well. So we're going to draw the tail of the tiger like this. And actually its body is like the body of a kangaroo. And the legs of the tiger will be strong. You have one leg on the ground. And we're going to draw its chest like this. You can see there are two triangles in this part. Then this is the place of the neck. Then we're going to draw the big and wide head of the tiger. Now this tiger is in the position for hunting. So we've given it a very lively posture and a bit of context to exist within. Now as we work in the best way to practice is to follow my hand movements. And you can stop the video and watch it a few times if you want to practice along in that way as well. So we're just starting to build up our drawing here. So you can see these legs, they're not on the ground because the tiger is in fact jumping and running. So it's moving quite quickly and launching itself off the ground. Okay, so now we're going to go in and draw the other lines with a black marker in order to increase the speed of our works. And this will give it a different effectors are working with a new medium. Now, you want to pay attention to the forms of the lines on the body. As we go. For this, we shouldn't draw the lines of the tiger straight. But if we wanted to sketch e.g. a. Fantasy tiger, we could then use straight lines and that would be an artistic choice that we'd be making in that way. We can edit as well this part of the tiger and we'll draw a curved line like this. It is okay to make adjustments to our work. We're observing changing things as we go. Now when you're done with your practices, please do send them over to me so I can guide you step by step. Now we're going to add some lines onto this chest part here. The lines of this part, they're actually closer together. The legs at the tiger, a wide. You want to just bear that in mind and its claws are strong. The lines are not completely parallel, so do pay attention while drawing the lines. I have a bit of movement to them, the lines in the pelvic part, they're very close together. Okay, So this is the position of the tiger while running. So this is a new position that we've drawn here. We do need to practice a lot in order to sketch the general form of the tiger like this. Nice. Now we're going to have bold lines onto this tiger as well. So drawing a long line and then a short line and repeating the process like this. The general texture of its body. Okay, So we've drawn these tigers with some simple movements. And now we're going to draw a tiger that hides behind the bush and it waits for chance of hunting so its body will be held in a different way. So we'll start with the curved parts of its back. These are the back legs of the tiger. For all, the parts of the body are ready to jump. So the body will seem smaller. When the body becomes smaller in the back of the target becomes more curved. So it's drawing into itself. In a way, the shoulders and the knees of the tiger will come curved as well. This is the right place for the head and the ears. So it's drawing a circle to guide this part. This part of the head is convex. Yeah. Just adding the axis line of the body. We can draw the nose of the tiger as well like this. We're just going to draw in the eyes on either side. We'll add some lines on the face as well. Here we have the simple form drawn in quite quickly. We can go in and we can make the lines bolder as well. We have our tiger hiding behind the bush. Now, if you do have any questions, you can message me anytime and let me know and I can guide you better. That way. I've just drawn in some grass and we're showing that our tiger is waiting in hiding. Now let's just make the eyes bolder as well. What we're doing here is we're just adding in grass around the tiger in order to show its form of the body. Who do practice this. As you know, downloadable resources are all available for you, so don't forget to download those. All the information is in there and they will help with your practice as well. Just building up the grass a bit more around our Canvas. You're doing the grass and the bushes around the sketch like this. So you can see all tiger quite clearly. In this lesson, we've worked on three positions of a tiger, which is standing, running, and then hiding behind the bushes. I hope that you've enjoyed this lesson and that you will go and practice these positions as well. I will see you again in the next tutorial. Message me with any questions and goodbye. For now. 39. Tiger’s Anatomy with Colored Pencils: Hello dear. All. In this lesson we're going to sketch the anatomy of the tiger with its muscles and skin texture. We'll be using colored pencils today as well. We can dash colored pencil. First you want to use to colored pencils. And then we're going to add the third colored pencil if you want to follow along with me during this lesson, you'll practice together. So we're drawing a circle and determining the right place for the head. We can determine the spinal column of the tiger as well. They're fantastic. So we can also now determine the chest of the tiger as well. We ask, we can see that here is the right place for the shoulders, and we can now determine the pelvic area of the tiger and draw the legs very simply from there. And we'll draw on the clause as well. Well, we've drawn the initial sketch with simple movements, and now we're going to add on details onto it. We're layering up our drawing as we work. Actually, we do want to add dimension to the body. We want to add depth to our work. And we can use geometric shapes for the dimensions of the body that help us in our drawing following form and showing that in our work, we'll draw our tie go with the right proportions according to the sample. Now we're going to add dimension onto the legs. Perfect. So now we can go on and we can add in the space between the neck and the shoulder with lines. So with filling in that gap between the neck and the shoulders, we're adding in the muscle of this part, destroying the head like this. Now we can draw in the tail of the tiger as well. So we've determined the main axis of the body and the dimensions of our tiger. So now we're going to work on the taste of the body and we'll add in more details as well. So e.g. the mouth of our tiger is actually open. And we'll pay attention to the form of the mouth when it is open. The mouth here is a polygon shape and it is different from other animals. So we note that detail as we're drawing. So you can see that we don't draw the lines of the face. We can't actually distinguish whether it's a lion or tiger, as there are great similarities between them. Now, the whisker, this part, it's a good feature in order to understand that it is, a tiger is in fact quite different from the lioness. Once we add in all these little details. Just adding in the small lines now to help create that distinction. Then once we've done that, we can go through and begin to complete our work with the colored pencil. Now, if you do want to pause the video and practice and then catch up, then you're absolutely welcome to. First we're using to colored pencils and we use a dark brown like the dark flesh colored pencil number 748, the hatching lines of the body. And then we use a light brown color like burnt sienna colored pencil number 069, the main color of the body. And we're going to add the first layer with burnt sienna or L69. We don't add the brown color onto the stomach. Now, do you remember if you don't have the materials or lack any of these materials, we can work with what is available to you. Please don't let a lack of materials stop you from drawing and practicing. The main thing is practicing in any way that you can with the mediums available to you to understand these concepts. So follow along with me as we coloring, I'll taiga. We can actually will color in the legs completely here. And pay attention now to the face of the tiger. We actually don't want to add this brown color onto the cheek. It's not the front part of the legs is brown, but the back part of them is actually white. So the under of the stomach as well, the chest and the cheek of the tiger. They are also white. Using here this is brown color, which has a red tonality. Also bearing in mind here that the n part of the tail will be white as well. So we've colored these parts quite quickly. Now we're going to go in and we'll add some texture onto the body with the dark flesh colored pencil number 748. And it is good to watch the drawing parts of these videos a few times and then practice at the same time. Adding in these shorter lines around the face. We'll look very carefully as we add the short lines onto the face. As you're working with this new medium hair. Do you practice this as well? And especially practice at the same time as watching these videos so we can work together. So just adding some lines into the chest. And we'll keep on going, adding more lines onto this part of the body. There is a little bit of space between these lines as well. So we'll keep that in mind. As the drawing in the texture here. Just to keep some space as well. Remember that all the outlines available on these outlines will really help you in your drawing. So don't forget to download those, because having the right outlines will help you throughout the technique parts and when you're exploring different mediums as well. So then you can create beautiful artworks with more confidence with your technique and with different mediums having practiced those specifically. So you can see that we've added lines onto our sketch. We can clearly see and get the feeling of a tiger. So it comes across quite clearly. Known, forget to send me your assignments as well as practicing. Second, Bolden some of these lines as well. Follow along with me. Adding on more of a horizontal lines. That's more lines here onto the legs. So do you remember all your downloadable resources all available for you? Don't forget to download those and go through all of the information that's in there as well. Just Bolden in some of these lines here as well, observing our work, making any adjustments, we feel that we'd like to. We can add some more color between the lines with the burnt sienna colored pencil number 069. We can also add some shading layers onto these parts as well. We've used two main colors in order to complete the form of the body. Those colors were a dark and a light brown. You've actually done a lot of work just with those two colors. Now as we carry on, we're going to move on to our third color. And we're going to complete our work with that third color. So now we want to color the chest, the stomach, and the inside parts of the legs and the cheek of the face. So in nature, we don't actually have this pure white color, which right now we have pure white, where we've left that space. So we want to address these areas a bit more. So there are shading layers on the white part. So e.g. the beneath part of the stomach would be slightly shaded. Shading these layers despite the skin colors. It's about adding in more dimension in that way in the shading layers can be warm or they can be cold. So naturally, we want to use a cold color for the shading layers of the face, e.g. the third color that we'll be using is going to be the light cobalt blue colored pencil number 661. And this will create a really attractive contrast in our work. So if you want to follow along with me as we add in shading to these white areas. We using this color for the shading layers of the stomach and the inside part of the legs. And maybe we can't see this color clearly in nature. But this is bringing in mono mentioned for us. And this color is actually creating an attractive color harmony within our work. And making these areas stand out even more. We will understand for doing this working through our practice that shading layers or cold colors which cover the whiter parts. So it's not pure white in nature and there are lots of white parts, so we can use a cold color for the shading layers. We've chosen this light blue color as our third color. We don't go in and color all of the white parts. Do need to keep some white parts untouched. We're just using this as a shading layer and it's helping pop out those white areas even more. We can actually use this color for the clause and the back part of the legs. Maybe we see these colors more in sketches and in animations. We may see them as well in the illustrations of books. So artists mainly use these three colors. Here we're creating this combination of warm and cold colors and shading layers at the same time. So you're using them to complement each other and help the contrast our work as well. And we can use a warm, medium gray color instead of colors when our tiger is in a scene with warm colors. So we can make those adjustments as well. Mostly we are using the blue color for different scenes as our contrast here. Now we're just adding in that burnt sienna colored pencils 69 on these pods. Sometimes we're keeping these white parts untouched as lighter layers. So do practice this as color theory as well. We're adding these dark shading layers onto these parts. So just like we've increased our hand pressure here as we coloring n. Now we need to use the dog flesh colored pencil number 748. And we're just going to go in and we'll make these lines bolder as well as they're sitting on top. We've got our pattern nice and clear. We've drawn the initial sketch of the tiger first and then we've gone in afterwards. And we've used different geometric shapes in order to add dimension onto the tiger. And from that, we've been able to build out this nice depth is nice dimension for our tiger. And we've added in the texture of the body and the color for the tiger as well. We've gone through and we've added in layers until we built up this beautiful tiger here. Then finally we've gone through and we've added shading layers onto the body. You can see we kept these white parts and we've added shading layers onto those with the light blue. And that's really helped to highlight these areas and create a really lovely contrast as well. So we've considered all the colors that we're using, the warm and the cold color palette and the combination of warm and cold colors made an attractive color contrast in all tiger as well. So I hope you've enjoyed this and you've learned a lot from this lesson. I will see you again in the next tutorial. Goodbye for now. 40. Learning how to Characterize and Exaggerate a Tiger in Different ways Scenarios : Hello friends. I hope you're well. We're looking at hikers again. And if we see characters in animation, will understand that the upper body of these tiger characters stronger and bigger compared to the lower parts of the body. So we're going to explore that. And if you want to follow along with my hand movements as we practice and take note of the differences with characters in animation, we're going to draw a tiger in this part, and the waste of the character is actually going to be quite thin. So the chest of the character is big and it has strong arms. And then the legs will be small and short. We're dividing the buck and beneath part of the body with a line. Just like this is used in tiger characters a lot in animations. This is quite a common one for tigers. Were just drawing in the head here. You can already begin to see that stronger upper body. We're just drawing this quite simply here. So we can simplify the character just like this. So we observe our work and we take note of the differences, take note of any adjustments we want to make. We can see this character has wide and strong arms withdrawing in the lines and the patterns of the body just very simply now, it doesn't have lots of lines. We're going for simple but bold choices in the pattern. And then the smaller legs, as we talked about before. Now you may recognize this character, it's quite a famous tiger character. Today is drawing the ink quite simply that we've drawn the face of the tiger, just like so. And as we go through now starting to think about details, we're going to add some small triangle shapes onto the tail and onto the legs, as well as representing our pattern a bit more. So we're thinking about the texture and the skin. Here we can start to show the whiskers of the character with just some lines as well. So we're going to use a couple of different pens today. So currently I'm working with the black fine liner that we've seen before. If you don't have this, don't worry, you can work with any medium available to use about starting to understand the concept. So we then moving to use a black marker, number 120, which has a wider tip of the pen. Now going to determine these dark parts in our character. So you can see that the tiger is actually simplified and we can see exaggeration in the arms and the waste of this character. We're actually, we're even going to go in and we'll add eyebrows onto its face as well. So it's a little bit more personified and it's way. Now remember as we're drawing it, as we're practicing, if you do want to pause the video and then watch the video a few times and practice along with me before resuming, please do. It's good to get as much practice as you possibly can to become even more confident with the techniques that we're working on. Now we need to use the salmon pink marker number 25. And we're going to add the shading layers on this part of the character here. And all these materials that we're using in this course, they are all available for you. If you had any questions, do not forget to ask me. We can talk through alternative materials. You can use an any other questions that you have. So you can see what adding the shading areas to the same areas that we talked about. The full. Okay, so that's looking good. And now we're going to add a deep red marker, number ten. So that's going to go on this part here. Fantastic. So we've drawn our character quite easily because we can show the exaggeration of the tiger quite simply. There are lots of illustrations of tigers because it has this beautiful texture and these lines, the color is very strong and has the strong legs and the big head, unattractive face. So it's quite a common character within illustration, within cartoons. So we'll explore that even further. But we are looking at these textures and these lines and different ways. This is being drawn in cartoons and illustration. We have lots of characters from the tiger. Now, let's draw a character from Kung Fu Panda, and this is a tiger character from the Kung Fu Panda animation that's very attractive. We can see beautiful elements of the tiger in Weston and especially in Chinese paintings. There's lots of places where inspiration can be drawn. There are lots of illustrations of a tiger, e.g. the tiger and the Kung Fu Panda animation and the other characters that are inspired from Western paintings. Okay, so now we're going to draw the phase of the other character in this part. Now the eyes of this character a wider. And we're adding the black lines for the patterns of the face. So if you observe here actually we can use different forms of the lines, e.g. parallel lines for the pattern of the character. We can also add shading layers around the eyes and the eyebrows. So we can illustrate this tiger character quite easily. And in this lesson we're copying from the samples, but we can create different characters. All cells, we're just looking at different ways that we can explore these patterns. These black lines are very, very useful for creating these characters. So looking at our x, see how these lines change the form of the face that are actually very powerful in the lines of the body and the colors of this animal show that it is a tiger. So we can use this feature in deformation and show a tiger with its lines and its colors. So we can be very, very creative with this. So we look at the face and see how it's changed. Now, e.g. we could draw a face of a human and deform it to a tiger character with lines and colors. And we can do that quite easily because it has these very distinct features. It's not this character in particular has very strong claws and pause. Now, as we can see as well, the waste of the character is very thin. We can draw the legs short. Like this. These characters are designed in an attractive way, so the legs of the character as short and the waste is thin. Then the shoulders and the chest and the arms of the character quite wide. So all of them are exaggerated. Now, if you want to pay attention as well, to fact, this character actually has close. So this is a different point as well. The pattern of the clothes is striped very similarly to its body. The pattern here, It's like a branch. We're going to add some lines on this part of the clothes as well. We can use these special elements of the tiger in different aspects. There were lots of ways we can bring it into our drawing and into our design. So now we're going to draw another character from Walt Disney. So this character, this target is special and it's attractive. And we'll be using exaggeration. Again in this cartoon. Drawing the muzzle of the character. Like this. You can see the face of the character is a bit like that of a human. It's personified as well. And it's way. Now remember, in your downloadable resources, I have put all the information that you need for malpractice. So don't forget to go through those and practice all of these lessons as well. Okay, so now we're going to go in and make some of these lines bolder with black marker number 120. Here we can make these details such as the details on the face bolder, using this marker. And the eyes of the tiger are actually blue, so we'll add a bolder line around the eyes. Now when you're done with your practices, please do send them on over to me as well. We can go through them and I can guide you step-by-step. And we can talk about the new mediums and these new practices. So actually you can see these bold lines add more attractiveness to our work as well. Remember, it's okay to practice from available outlines or even to trace at the beginning as you're developing these skills. So when you have practiced from them and gained experience, you'll slowly draw from my hand movements and then into the free hand style. So you're building up your confidence and your comfortability with these different techniques. Now because we're just making it nice and bold here. You can see that actually practicing these different characters were learning different parts and details of the animal. When we practice and copy from animation, cowardice exaggerate different parts of the animals. We put our focus to these different areas. As we're going please do pay attention as well to how we draw. E.g. looking at this character, pay attention to how we've drawn the face. What can you note about the face here? What's different compared to other characters? And how does that affect how we feel about that character as well? So you can see the atrophy, the eyes of the tiger is small. But now we're going to draw a character with big eyes and we'll see the difference that as well. So we can draw the eyes bigger because more attractive a character for children, e.g. so although the eyes are big, we're going to add lines in order to show our tiger, which has a special character. This character, the title with the big eyes, is actually going to be a tiger cub, which has a big head and big eyes. Actually for this one, the proportions will be slightly different when we want to draw characters. For children, e.g. the nose is smaller and the eyes bigger. You can see that the ears will be bigger as well. Drawing is like this. Well, so this is the face of the tiger cub. And now we're going to add color onto our characters and see the changes that we're making there as well. So first we're going to use the salmon pink marker number 25. It does depend on ourselves in order to keep the white and black parts around the eyes or to color them so we can make a creative choice. That as well. I think for today it'll be better not to color around the eyes in order to make it special. So we're actually going to keep the white parts untouched, which will make the face quite attractive as well. Here we can see the white parts of the skin and the third in the lower part. Now we're just coloring in these parts as well. It's about adding a whole new layer to our characters. Now, the cheek and the lower part will be divided with that line. The illustrated here actually divided these two parts completely. And then they've colored the eyes blue and they've made around it bolder with the dark lines. Just go in now and we'll add the deep red mark, number ten. And we're adding into the tip of the nose. Now we're going to color around the eye that light blue color we mentioned. So that's the light blue colored pencil number 161. These are all the exaggerations which are really useful for illustrating characters. We can use the patterns and exaggerating different areas and all sorts of way to bring these characters to live. And we've used exaggeration for the shoulders, the arms, and the waste of these characters. And we've used the combination of the pink color and the lines for the face pattern of the characters as well. So we found lots of different ways to create a unique character. All these things help us to create these really special characters. So we're looking at our work and you can really see that sometimes we can go in and we can combine the color parts with the white parts. And sometimes we can divide them with a line there lots of ways that we can choose to color in our character here to create a unique look. Also really using these beautiful patterns for the third and also for the close, as well as part of our character design. So this tiger in particular has lots of elements, so we can use those in order to create our own special characters. I hope that you've enjoyed this lesson and I will see you again in the next tutorial. Please keep on practicing and finding your style. I'll see you next time. Goodbye for now. 41. Tiger in Chinese Traditional Painting: Watercolor Scene: Hello dear. To. In the previous lesson, we worked on the tiger character from Cong Fu Panda animation, which had Chinese elements in its design. In this lesson, we're going to practice and draw the tiger from Chinese paintings. And we'll be doing watercolor as well from the Artesia watercolor palette. So this is our sample which used wet on wet technique and then added hatching lines onto those colors. That makes this very beautiful. Effects are going to use our sample and work along with our reference. And if you want to paint along with me as we follow our sample. Now we're going to draw one of the tigers. And we want to use watercolor in this lesson. Okay, so first we want to blend the saffron orange color number A1 07 with burnt umber watercolor number 8303, in order to create a dark orange color and then alter we've made this color will be making our brush wet. We're just going to determine the right place for all tiger, just using our brush here. And if you want to follow along with my hand movements and you can of course, pause the video and practice alongside before resuming. So, uh, keeping some of the white parts untouched as well as we've talked about in previous tutorials. And as we know, it's very important to keep some white parts untouched in watercolor. We're just painting out the shaded areas of all Tiger. Here. We're just making the cardboard completely wet. We're going through and we're coloring the general form of the tiger like this. That's looking great. So now we're going to add some more stains onto these pods as well. And all of the materials in this course, they are all available for you. If you have any questions, don't forget to ask at anytime. You've got all your resources available to you. And I can talk you through anything that you might be struggling with. Being very careful with our brush. We're going to go on and we'll add the lines of the face using the tip of the brush. So be careful just use the tip of the brush now to get these fine lines. Here we draw the main lines of the face just there. So building up our painting. And since this part is where we're actually going to use a dark brown color like the sepia brown most column number 8307. Here we go. And then once we've got that color ready, we're going to add some stains onto the spinal column of the tiger. And the lines from the spinal column will go towards around the body like this. We're using the wet area. Letting the color bleed out a little bit like so. Working with the water and letting it go outwards. Now the Chinese painter use this technique very well determined the lines with the movements of the brush. So that's what we're really paying attention to. Here, is letting the movement of the brush work with the water. And don't worry if you don't get this right away. We're doing a new medium and a new techniques. We do practice this and explore how working with the water and working the movement of the brush can create different effects here that can actually be quite exciting and quite beautiful in our work. Now we're going to add some lines as well onto the legs here. And do practice these techniques more and more so that once you feel comfortable applying them, you can go with confidence and create this beautiful, beautiful work. We'll let this part dry and we're going to add some lines onto this Patna. Again, we're just using the tip of our brush, being careful how we use the length of the brush for fine lines. We're drawing in these lines with the dry technique now. So you can already see the difference between the two. Remembering as well. We've got vertical and horizontal lines. We want to move a little bit of variation going on between them. As we can see here as well. These lines actually cross beneath the orange layer. Being careful to show you that as well, making observations as we work. Now we're getting to add lines onto the tail with the dry techniques. We've let the orange dry before going in here. And now we're going to go in and we'll add some stains onto the face. We're really building out this beautiful tiger character. I'm the painter, use delicate lines in order to create the texture of the body. So that's really what we're emulating here. We're taking inspiration from that. The painter created the form of the body and the pattern of the tiger very, very well. Here we're doing our own version of that and seeing what we create. Drawing the tiger like this. Building up those details. You can really see we using both the dry and wet techniques correctly for this tiger, we're combining those two painting techniques in a very complimentary way here. To the color harmony of the tiger. It's very beautiful, is working in complement to each other. Now we're going to add some branches into this part. We're building up a bit more of our environment now for our tiger to live in. Okay, so let's wash our brush now. And then we're going to start drawing the other tiger in painting. So first we're just gonna go in and make this part wet. We're all tiger will be. Sometimes we need to practice several times in order to learn the anatomy and the sketching without guidelines. So we're really testing that. Now. We also need to learn the correct coloring to keep the white part untouched and you use wet on wet technique correctly. So bringing together all of these skills we've been exploring. So first we're just determining the body and some part of the legs. With these water stains. We can make muzzle here and the forehead and a part of the ears will be wet as well, except the cheek. Now we're going to add water onto these pods. Again. We're now going to blend the saffron orange watercolor number seven with the burnt on the watercolor, a three zeros, three, in order to make a dark orange color. Fantastic. So with that done now we can go in and we can color the body of our tiger and we're working with the water and letting that color spread into these areas that we've put our water stain beforehand, occurring in the body of the tiger here. So already we're creating quite a wonderful look for the animals, not determined completely right now because we're just coloring some parts of the body. So we're getting a rough idea of our tiger, but we still have more to add. We've just colored some parts of the body at the moment. So now we're going to let this dry. We can wash and take off the extra water off of our brush. If you want to be careful that we're not putting on extra color or extra water that we didn't intend to have on there. And we're going to use a dark brown color like the sepia brown watercolor number 8307. Now, this part is still a little bit wet, so we're going to add stains on it with our brush just very slowly and we'll create the texture of this part. So doing this very delicately. Now, if you want to paint along with me and you can pause and practice as you like. So this is really at your own pace. This is your journey as an artist. So we're going through very delicately at the moment and you can paint with means to me any questions that you have as we work with watercolor now. So doing this very delicately, we're being careful of where it's dry and where it's wet in all painting. And just going through the tip of our brush to add in this texture. Just gently like so. Adding lines onto these parts. In order to determine the form of the body. We should add lines in the direction of the body form. There's really no rushes for painting. We can paint carefully and delicately together step-by-step, building up this beautiful painting. Now I have this beautiful texture here. We're going to wash our brush. And then we're actually going to make this part here wet. Just wetting this area. Now we go. What does palette dry a little bit. Okay. And we'll take off the water of the brush just completely now. Now we need to use the color sepia brown, and that's watercolor number 8307. Now we're going to go in and we're going to add some stains on to this part. If you want to follow along with me. We're really developing a new skill hare and creating an even more developed skill, a more advanced skill for ourselves in painting and painting with watercolor. If you don't have the right materials or there's something missing, you can use different ones and explore in your own way. You can send me your material pictures and ask if they're correct and suitable for this course. So we can troubleshoot together and find a different way for you to explore these particular skills. We've worked with the water here, creating this really interesting texture that works for the tiger. So we'll let this area dry now. So do remember as well that these white parts are part of the tiger body. So we do want to acknowledge that. We do want to show that even in a simpler form. Letting it be known that these white parts are there. Remember as well, you have got downloadable resources which are all available for you, so don't forget to download those. All the information is in there as well. So there are multiple ways you can work through all of the information here. Here we, we're just completing the muzzle of the tiger delicately. Now we're going to go in and draw the whiskers in this white part here quite delicately as well. If you do have any questions as we're working through this more advanced skill, please do message me anytime and let me know and I can guide you through as we work on watercolor. Now this next layer as we go and it's going to be added with these saffron orange watercolor number A1 07. Remember if you don't have any materials, do message me we can work with what you have available. So don't let that stop you from practicing, from working out these new concepts and from growing in your art. Making a little adjustment here. We always can. So it's really important to observe all work. It's looking fairly fantastic. So in this lesson, we've gotten inspiration from Chinese paintings and we've drawn these tigers with watercolor using a couple of different techniques here. We've really pushed our art skills even further. This point, we're now going to go in and add some leaves and some branches in order to complete. I'll work. So we're giving these talks a bit more of a world to live in. Now the best way to practice as we're going through as always, is to follow my hand movements. And you can stop the video and you can watch it a few times to practice at the same time, and then resume the video from there. And that way it may be easier to follow along as we work together. So we're just building this weld here as well can be however, you feel What kind of world you want these tigers to live in. These branches and ground and trees. This can really be yours. You can make some creative choices here. We have our tigers with a little bit of a background now, helping them stand out on the page. And now we're going to go on. We'll add more orange stains onto this tiger here so you can see the different straightaway. Now when you're done with your practices, do send them over to me. I'd love to see them and then I can guide you as well step-by-step. We're just creating this stronger contrast on our first tiger. And then going back to our environment, we've got quite a wet brush with letting the grounds bread and be quite gentle. Here. Now we're going to add more leaves and branches in this part with a dryer brush or taken off some of the water. And as you know, practice does make perfect. So don't forget to practice in order to gain this experience, in order to get your confidence and your comfortability when working with these new skills. Going in here with our dryer brush and being quite delicate as well. Using the tip of the brush for these finer lines. There we go. So what a difference already adding in some foliage? Just without fine tip of the brush. So we can build this up. Beautiful. So we really pushed ourselves today and we used a combination of watercolors. We've used both wet and dry watercolor painting techniques. In this lesson. We've done some extra incredible work today, going even further with our skills. And the important thing is always to have harmony. In our work. We've shown these beautiful harmony with our colors and also with our painting styles, because we should have harmony between the near and far details and even between the leaves and the branches. By adding these delicate details onto our work, we can understand the Chinese illustrations and the paintings. Better. Working in that sample has really helped us today as we learn these new skills. And we're being very, very careful with our paintbrush. And we're just taking our time having patients to add in this really intricate details. We can see the delicacy in these Chinese art works. And we can appreciate that intricate artwork. We can see these beautiful combinations in Chinese art works and understand how they use the brush very skillfully in these works. So as we go through, we're now going to add on some dark stains into our work. And we'll finish it off here with these dark stains on this part. So pay attention that we should not work a lot in our work when we use watercolor. Making very specific, precise choices. As we work, we don't want to overwork it. We should show the sketches with some movements and add some details. So we don't spend too much time on it. So we've drawn two tigers with watercolor, according to Chinese paintings. And we've used more wet on wet technique in order to create the skin texture of the body, which has been extremely effective. It's been a great day for pushing our skills. Now I hope that you've enjoyed this lesson. Keep observing these works. I'm practicing these techniques that we've practiced here. I will see you again in the next tutorial and goodbye for now.