REDISCOVER YOUR CREATIVITY

1. Introduction final: Hi, I'm Cecile. I'm a French graphic and motion designer. Maybe you can hear it by my accent. And I hope you willing to send me a grant. That's why you also do to the other missions. And that's my favorite part. I'm a self-taught artist and they'd like to tell that the move bottomless ideas, books, you can find me on those name of literature is cats youth. I love to see all of your work. So if you post it on Instagram, don't hesitate to tag me and use the hashtag loaded, just cats if grosses. I'm a very creative person. And I know that a lot of people feel that the Donoho to draw, that they don't have any idea of what they should do. Or maybe they are very stressed in front of the white page. For my girls, we will open the creativity. We all out deep down inside ourselves. Because I believe we all are born with a forward crate. I want to explore that with you. So if you want to learn how to explore your creativity, or if just take in front of his jerry white page, or maybe you only want to discover a new way of drawing, then you're in the right place. So prepare yourself. We're going to shift your mindset, shaken and explore and experiment your creativity. Break through the mantle was you built and rediscover the pleasure of creating little by little. We will learn the basic rules of drawing and you will see a real improvement in your work. This course is for all levels. Beginner to experience people. I can't wait to see you in classes and to help you rediscover your credits. We did Program. I also think that this course is a real form of therapy to unlock your creativity. And I'm really proud and glad that you're here with me today and that we will do all that together. See you on the curses and really about his day to show me your work, show me how proud you are of yourself and always your creativity. What does the scenes you create it? 2. Material: Okay. So before starting, you asked me what do I need for this groceries? I'm arguing with all the material you like. If you're inexperienced drawer and you have a favorite major, I'm okay with it. The only thing that won't be great is if you are drawing by computer. I think that the experience needs to be felt by concrete materials to be interesting. And then after my cursor's, of course, you can adapt it for your computer if you like it. So I will present you all the material we will need and will be using this kind of paper I'll be drawing on console. I think this one is good for love we will be doing so you can find it on the list, of course, and you can buy it that. You'll also need for one or two exercises, colored papers. So the same type are okay. We will need Shao calls and hostels. So I'm working with this soft pastels. You don't have to buy that much. I know it's quite expensive and that's the one I like to draw with. But you'll only need a few colors, white and black. So don't worry if you don't have all these are, only a few of them is okay. As I said, we will mostly use the black ones with their sharp goes to this kind of stuff. There. We will use that a lot of dust, mostly what we will be using for the school says charcoal, RNAs, the city, the chalcogens to the one that is soft and that you can do that kind of things and turn into a kind of pencil if you want to erase very tiny spots on a fixed that are cheaper versions of it. It's a hairspray. You buy this triangle. It's not very expensive. And you have the same fixed Alto. You can use it. It's very useful to know that trait. And that's all we will need for this course is see you at the next lesson where we will put ourselves in the right mindset before the real exercise. 3. Mindset: Hi, To make the most of my courses, we need to be of the same mindset. If necessary. I want you to replace this video before any exists as I asked you or join projects, wanted to. First of all, you are everything that is within you and everything you will put in paper and create is already enter every line you draw as a reason to be. If you think it's not perfect, that's fine. You're not perfect. You're human. And that's enough to create. You don't lean more than who you are now to create. And to express yourself, you need to accept that. Even if it's hard, even if we tend to compare ourselves to others. Here in my classes. I want you to feel safe and enter. That really likes you to repeat this mantra before you start drawing and do things yourself at the end of your work. Even if gentle plays with it. There are things inside a cell if we don't like, but they have the right to exist and also to express themselves. If your forefinger, It's okay. Through the Crusaders were good times when you'd want like what you create. Sometimes it's because it's part of us that we don't like, that we don't want to be shown and expressed like a therapy. Joy, sadness, anger, hatred, love. They all are equally allowed here in my Croesus to be expressed without any judgment, express it, accepted, and be thankful. Secondly, you already have everything in you. You tell me you don't know how to draw. I tell you that you already know how to create. We are all born with the capacity to create. You need to open your mind to let it flow. If it helps, shake a little bit your body before drawing. For this reasons, you won't be allowed to use rubbers. Why? As I said, every line you draw as a right to be there, at a reason to be here. You are right in every movement you do. Again, accepted. And be thankful. We also need to set a limited timing for the exercises between 45 minutes, one hour and 30 minutes. Don't hesitate to put on inspiring music. The timer with first-year to have at the end of finished creation that we want change. Later on. You'll see that you will naturally learn to manage your time and finish the exercise at the time settled. If it's difficult at the beginning, don't be discouraged. There will be n of excesses to train. So now that we are in the right man sits. See you at the next class where we stopped with the beginning. 4. Open the dot: Hi. I hope you're already today. Fine. So we're going to start with the first exercise. Aren't you excited? So as I told you, we're going to start from the very, very beginning. What is a drawing? An image. An image is already a story. Before getting an image. These European doing on the paper, maybe a square. But this is already a shape. Before that line. A line is movement. Before align. Adults. Yes. Before being a drawing. A drawing is a symbol. And that's just the way nature is. Before you were a cluster of cells in your mother's womb. And Evan before you were only ever before that cell, you're aware a little tree. Before being a tree, He's only to look calm. And before that, it was a seed. This seed itself was about before the universe starts this week to life starts with it though. And the most wonderful thing in all this is that little dot. There is already everything, everything to grow, to become and prosper in a word to be. Think about it. During the first uncontrolled with the paper. When you read Craig, there will be everything within it. You can be confident. A little warning before starting. This is not adult. This is a circle. You can do that. This this is a duct. And if you want it to be bigger, you have to let it grow, like thought. Make it bigger. This is adopt. This is now the exercises starting first, you have to choose the orientation of the paper or reason. Tell I chuckle what she quietly, It's not the same in energy. They'll put the ducts. And these were giving tensions. And ADG, this doped has its own existence and every Dutch will be different. You'll have to deal with a duct, the environment, and yourself. Now you have with that. Then here it the exit sites open, the ducts did grow, prosper. We are at the stage of frailties issue. Opened. If you already understand it, then you can stop the video there. Start your timer. You're relaxing music. And if you start to sweat in panic in front of the paper and the depth, let me help you get through it. First of all up. And that can be understood in any ways you want. There is no wrong way of doing it. This stressful moments in front of the paper where you put your duct is sacred. The first gesture and movement you'll do on yours. You can't do the same as your neighbor. Shaker leader, your eye, and your mind. We can try to open the door in another way. You can start to be porch on the ground. Like me. You want to spend energy on your leg? Your grant does the same on paper. 6. I'm stuck with the dot Help: In the little video, if you're stuck in the middle of a drawing, like, okay, I've done that. We are in the middle of the timer approximately. So I'm stuck. I feel stuck. I don't know where. Okay. Now, I've done all of that. But I don't know if I can do I can do better. I I I just don't know. I feel. So first of all, take a deep breath because everything is going to be okay. So let's observe the tradition you did. You can close your highs. Then look at it again with another view, with another eye. You can change the view if you want. You can put it like that, like that. Cheddar. This will change all of the vision. You have, your creation. This is an important tip to understand. You can change the view of your drawing. Okay? We all get to live with more distance. Where are the most crowded and densest places? Here in my drawing, for example, we can see that it's very dense there. But here, here, maybe here too. It's empty. We have a lot of white, they're blurred tool there. But then here it the most crowded. And we can reinforce that. So make the empty emptier and make the Fool, Fool. You can add black Bastille, though. It will. It will make the jack of the sharp corners darker. Here is another T. And we can also, maybe some rhythm here in my drawing is not the same as yours. It's okay. We're not the same pupil. Remember? You're drawing, we will be very different from mine, but you will start to see some rhythm here in mine. You can see like this line, this line, this line, this line, di, di, di, di. Or maybe it's slower. Who? I'll get to here. We're got the rhythm. The rhythm speak. Let the music speak. If it's easier. Sometimes you can find why. You find it too wide. Maybe here. I find it. It's too wide for me, it's too empty. Put things inside. You can do that and repeat it. Make the dark, dark met the empty emptier that the white, whiter make, or maybe less weight. You can judge and see that in the last minutes of the timing you have. You can close your eyes, open it again, breadth, and just make the little textures that will do the harmony of your creation, that will finish it. Okay? So you will comprise, at the last minute, you will compose with what is proposed to you. Okay? I accept that. I'm thankful for all that appear and that null is on my paper. What is me and what was born, what I loved to express. I think that I'm right, even if I don't like the result. Remember. So that was the little video to help you. If you're stuck in the middle of your drawing. 7. Analyse of the dot: Hello again. So now the timer is all off. We've finished our creation. We can analyze it. I will do it on my own creation. But remember, everybody is different. For every dot will be different and every interpretation is different. You won't see the same as what I see on my drawing. And that's okay. And that's, I think in the early parts of this exercises is the interpretations can be very different. And some people can. I liked sings that you won't ever imagine where in your drawing, where that's where the creativity can really surprise us in a good way. For myself. I saw opening my dog and as you saw, I want and I want you to be very grateful of what was inside your duct. What was what you could express, what such a good opportunity you have and how confident you can be in yourself and in the power of creation. New. So really big thing for B. So praise in a good way. I'm glad for that. Very glad I am. I don't know. As you say, I didn't know what was inside my dot. And there we are. And I can see a lot of things and they are where I think there were kinda fungi in the middle of it. I really like it. I really liked the way that we got really dark tones and really light ones. I want you to keep some white on my paper. It's not that I wanted it, but the white. And I assume you to have white, your paper. Our ear to highlight the dark and dark, our hair, I like to white and that's a really good thing. So we can see that we already learned some things like density, like how to deal, how to deal with dark tones and the shadows. So you've got very, very, very different shades of dark. And that's really great. But what dues, dues over to creation and what give it poor. So you can be glad for that. You can be thankful to for the white you lead and for the dark uprooted. And O, remember, I really, really want to see what you did. So please show me your work and tell me what you think about it. If you get maybe a quick interpretation of it. The IBM. I like to look at it in different ways. So maybe I can find different things and maybe I can find the phase mean the icon. Like, I don't know, I see you smiling creatures. So that's kind of interesting. If you want to. Don't hesitate to show it to your gym people so that they can tell you what they see, what was inside. You'll see that you didn't see two inside your duct. You see if I like that, if we can say see the goals in a seed, there is everything as I told you before. So I think that's very interesting. So you got to remember for now what you did with the dark tones, what you did with the fools, the empty, and how you repeat it to light and to like put out all your head inside and all was inside this dog. I know it's kind of frightening and how exercise, because you have to be confident in your creative pore. And I want that this exercise show you that you can be confident in it, that you have it in here. And even if it's only because maybe you feel it in your body, maybe it the sound in your ears with the rhythm. Anyway. Anyway, it's good to express it, and I'm very proud of you. And I want to give you a blah, blah, blah. You did it, you did the first exercise. Why do you think what do you think will be the second one? What comes after? Is it telling me? 8. Repeat ! : Hi, are you ready for this next lesson? Last time we explored all the resources of the duct, like his seeds a plus. But in order for Puente Adult to materialize, it blocks one thing the thing together. At the very beginning, I said you aware on your single-cell, what did it take for you to become an embryo? And finally, the living being, being you are today. These cells had to multiply. It had to repeat itself over and over and over again. Let's look at it. Another way. Does a baby settle for its first breath to leave? Those one hub bids keeps you alive. These things have to happen over and over and over again for life to exist. Though, this is a repetition we're going to explore. We're going to repeat an array based on points. Onto. You are free to draw all kinds of different small, large dead slide. Let's sit down. If necessary. Follow your breath. Can be shot, can be deep. To the music. Here. Wanting, Do not forget what we learned. Last lesson. We learned a lot more than you think. So do not forget to make a dove grow bigger. You do not create its control. You start from the inside. Okay, So let's begin and let's work on the reputation. Let's repeat. Or ducts. 10. I'm stuck and can't repeat more! : Hi. So here the video, if you're stuck, peculiar, where in the middle of the exact size for me, it's the middle of my timing. I can tell you what I've felt as the first moments for this exercise was very unpleasant for me. It's my least liked exercise of this course. Why? Because we learnt that would be Titian is boredom. If you'll repeat things. And again, you will feel bored. We needed to go through this id of repetition. Repetition, equal boring. We need to get through that to really free or creativity. For the first moment, it was very, very difficult for me. I don't know if it was the same for you. Don't hesitate to tell me in the comments so I can know where for you it was difficult beginning middle. I don't know. When I touch it to make the bigger Donald working on the bigger of them. That's when I free myself of this boredom. And I felt that it was easier for me. It float naturally. I'm very happy with that. You can see all the process video that there is really to work between the first time. After hearing, I'm in the middle of Degas, says, I can feel stuck icon. You can too. That's why I made this view as I cannot be there in person, but I can help you through this kind of videos. Are they always said we need to observe, close our eyes, inhale, exhale, and they'll look at it again with a new eye. So what do we see? What did we learn and what is appearing to join or creation? So first step. First of all, what do I notice? What happens when the dog are close to each other? Create dancers. This pieces. As you can see on your drawing tool, I'm sure of it. You create it definitely in spaces. Here. In my drawing, we've got this kind of interior space compared to this one that is densest. And we can see darkest thought. If it's dark, maybe, maybe we can start talking about light and shadow. Lights and shadows. Drawing. We can see like these bots can be liked. This one can be shadow. So what can I do? I can make the shadow even darker. I can meet the light even more lights later. We learned that when we bring together it's shadow is denser. When they are apart from it, the choosers, it's light and it's not as dense. And we can work on these pieces. Make them brighter, make them darker. And as I said, the last lesson, if you think it's too empty, puts things inside, It's your choice. You can do that too. It's okay. We started to learn above the movement of the body. When we put strengths. Dirt, it's darker. But did you did you see that? When I make adult with the tip of my fingers, it's really, really, it's lighter like that. So that's how you body impact your creation. We will talk about it much more later, but keep it in mind. Your body has an impact on your drawing, on your creation. Also, another thing, did you see that this plot you never touched, never lock this one. This one, this one, I don't know. Maybe this one this one. This spots are being because I didn't touch it. There is spaces that exists only because you didn't touch it. You can mix pieces without touching it. It ends up moving loose. Keep that in mind as we will learn about it. A lot more, less lessons bet that things that we are already learning, all of that. And it's a lot, you are learning a lot of things. Concrete sings, and you are learning it by experimenting it. And that's how you will remember it. Even easier than with, with another exercise, okay? And as I always say, keep sinful of all the thing you are here. You understand that really? As I said to you later, Bye, everyone burst and a lot more than you are thinking. But yes, you all know a lot of thing. Well, I'm going to manage your spaces. You are learning to manage and pull lights, shadows, the impact of two bodies, how you made the dots. We will learn a lot more later. I don't want to disappoint you, but just be conscious that this is an image. This is not the most pleasing form. You are learning to know. If you still stick. It's okay for the rhythm of your breath. Maybe each time you exhale, you make ISO. Iso. And I don't think about it. The more you can do that, maybe with the music that she proved. You can follow the rhythm of the music. Each, raisin, rhythm, each. Okay. You can do that. Don't forget that. The final moments when there's only two or three minutes left on your time. We'll close your eyes and open it again and then make the lives of average treated the things that I liked and finish your creation. That's, I think the most interesting legal, legal, legal pitches. We can finish the whole permission. I think it's marvelous. At the very last moment on academic probation. And you will compose with what is progress to you. And you have to accept it and blessing for, for all that appeared on your paper. Don't forget that. What was the mean? What was born, what they love to express, what drew me to express my birth in all of that item, right? If I do. And I'm thankful for all of these groups, you know, let us continue and finish. On completion. 11. Analyse of the repeating exercise: So we're at the end of the size and a little, little, little analyze of my work. Maybe it will help for yours too. So I was very skeptical at the beginning as it's a very hard exercise for me, as I said, from your reputation, equal borrowing. So it was hard at first to get through that. But at the end, I'm very happy with what I did. I, as I said, on this deck video, I did reinforce the shadows. I didn't made dancers dance. Thesis, made a few inches at the almond eyes, my composition, and I'm very proud of it. I didn't think that it will come this way, and I'm very grateful for that. I want to have your commands and you're on a life of your own work. Maybe you did show it for some people. Coleman's that surprised you. Go to weigh how you hope you did learn a lot. You didn't know it yet, but shoo them to load and use succint to improve. To push yourself out of your limits. Just to lead to come in and be like, imagine, imagine if all of these dots where all pinned as we did in the last exercise. Imagine all the universe that are in your creation right now. It's rather a main theme, kind of frightening. I hope, pushing the limits of yourself and discovering your crunchy and see that, yes, you did. I hope that it makes you convince yourself of your transmedia people. Well, that is all inside, you know, there's nothing wrong with you. As you are fruit of creativity. And every one has it inside it himself. So nothing to be ashamed of it, even if you're not happy with her creation. I'm sure that there is a lot in it, maybe days and courageous and show it for two other people. Have their, have their opinions about it. As I said, little balance though, exercise. After exercise, you are learning a lot and you all on the inside, yourself, inside your body. So I think you all having it in a better way than you learned in a book as you are living, experimenting. The fact, the fact that the shadows, the space is, as we said, you can make it stronger on your paper, can make it lighter, and it's different. And all of that, It's kind of your instincts doing it. Now. Sure. Conscious, self-conscious of these things. And you can be grateful and you can be convenient. So that's all I have to say. I really can't wait to see you at the next lesson and continue on this journey. As I said that I prove out, oh, no prize for you. I want you to learn a lot. And I'm really, really happy to see you at the next lesson and have a good day. Have a good day. 12. The line: Hi, I'm delighted to welcome you for this new lesson. Today we will continue our journey by adding movement. What happens if the dog starts moving? It becomes a line. The line isn't. Energies that unfolds, grows and changes, depending on whether it is oblique, vertical, or horizontal. Let's take a good look at this. To better understand the line, you have to live another experience. Pulling. Pushing someone. Being pushed or pulled by someone is not the same thing. It's not the same in energy are the same in tension. If we have to transpose all that on our paper, we have to imagine that the line on our pH is only the movement as it give me one moment. Before the page there was an intention, the beginning of the line, and after the page is the end of the line. This means during this exercise, the lines start, well, the sheet we start to push or pull out times the sheep. The action crosses with pages and stops after crossing it. How thousands of paths are possible for the moment I enter and leave my shape. Let's not forget what has been walked. In previous courses. Read them repetition spaces. Remember, let's go. 14. I'm stuck with the line: Okay, so now we can say that I'm stuck. I did lines and lines and lines, and I don't know where I'm going. Veto if your steak as me because I'm not as in spite in spirit, I thought about this exists size. So as usual, close your eyes. Inhale, exhale. Pennant again. They can lead to more distance about your work and see what we have on our p.stance. Remember what we learned before in the last leaves, lessons? The repetitions. So as you can see, the more I repeat the line, the more densities and more dark it is. So we got this shadow's going and do not forget the empty spaces. The space that we didn't exist only because we don't see that ****. Like lights here. He UQ year. Yeah. It's true. I can repeat, repeat, repeat, repeat the lines. And we can also, when we, when we spread our lines, it is more luminous. It drinks light. So as we can see here, this is one line another. They are far apart. And that's why we get this lights inside and do not forget that lines can cross over life. They don't have to be linear. They can make some wronged. Another like a snake. Things else? Remember what we learned and what we've been through. Though, the more I put trends, the more I touch it, the more densities and the more close it is to us. And that we got lines that are behind all the lines. And we can work on that too. So as usual, as I always say to you, down to his day, to you the music, the rhythm of the music, and your breath to work. So each exhale, you can draw a line, or you can follow the rhythm of the music. I draw a line. At the last moment, as I always say, it can please you or not, there was old car, please. You own naught. Sing for big love for what appear for what you could express, for what expressed through this works, and how creative you get this tore his crutch for inside you. So be confident and be grateful for all that. You in the next video where we analyze a little bit the work I've done and what we learned. 15. Analyse of the line: Hi again. So here we are. Then last video of this lesson about the walk and the laces. I am not super pleased with what I've done. But anyway, there is a lot, lot of things that appeared and I'm grateful for that. Then we must recognize them. So I'm happy about the fact that first of all, I experimented. Even if we said it before, I said it to you. During the first video explaining the exercise. I've waited the last moments of the exercise to understand and to do, to make, to perish the lines. Not with my pen. My shackles are other bit with my hand. Like I'm just pushing it and pulling it. How do they not induced in that? Before? I don't know why I waited so on. So first of all there in that we got the repetitions, of course, all of the values that it brings. I'm already happy, also true of the empty spaces. As we said, it's very, very important to let spaces that we do not touch, but expressing themselves without being touched. So I'm happy with that. I'm happy as we can see, that the lines are closer from us or far when we are little by lintel, experimenting perspective. But we will have lessons about that in time. I don't want you to be too ambition. And two, don't want it to be fast because we will learn it. We will learn language and shadows, we will learn perspectives. We will have all of that. But in its time, please be confident in the lessons I'm giving to you in the method I I did. And you are learning it without knowing it. That's best. Because you are experimenting it. As I said, you are leaving it with your body. Not only with your mind. That the really, really important, but we are walking for this exercise. We were walking on movement online. And maybe it doesn't make sense to you. But your body, your body night and it will be useful for you for your works. So please be confident. Don't be too harsh on yourself, lady. Hello. And of course, be grateful of all of these creativity, all of these poor we are exploring that is inside all of us and that is inside you. So see you in the next lesson. And I hope you are enjoying my curse. Please come and ask me anything you need to know. 16. The strokes: Hi. We're going to have to explore an element we have seen. We have thought about experience in all previous exercises. It is about the rhythm, but also as assignments. It seems isn't job to me that we stopped on the subject to be sure to integrate all. It's important. When the line stops it become a stroke. We can experience it with our rows. Let's go back to the best. I'm here. And I'm an adult. I move. I become the line. Then I stopped. The moment thylakoids is created. It's tributes that remember, repetition is life. I'm a dad. I'm going into movement. I stopped. Any repeat. Ah, ah, ah, oh, oh, oh, oh, oh, okay. Don't tell it to finger. So it is how revoke his boat. Rhythm will not exist without silence, without emptiness and without stopping, also without repetition. Now, I'm aware of the importance of stopping, of emptiness, of the rhythms that is created and of the repetition. Let's work on this reason by repeating the strokes. It's possible to rip it by making sense or jesters, or by following the rhythm of the music. Are your bread. You know what I mean? So there won't be anymore stove video as things that we've made. A lot of them that I'm repeating myself and that you already know how to go through your your difference deck. That you can be confident in the fact that you can surpass yourself, that you can overtake you. So we will see us again up the, the aim of the exercise do analyses and to see what we learned, what appeared in my drawing. But I hope also in yours, I wanted to see is a common pond. We are all in our drawing. If there is or maybe if there isn't. I'm really interested in interested in that. So please show me your right. Let's do this exercise and see you at the layers at the next video. See you at the next video. 18. Analysing the strokes: Hi again. How was this exercise for you, this exercise of this drug? And it gave me a lot of struggle. We can see that it was, my drawing was like in three parts. First of all, I just repeated strokes. Then I cannot find that my hand could be as Tim was like being on my on my drawing. Then I repeated this drug again on the other strokes. And then doing it with only my hand. And doing it all of that again and again and again. Until I get this wizard, I'm not very happy or proud of this drawing. I'm not pleased with it. It is how it is. But anyway, we can see a lot of thing inside. We have learned and experiment, and now it will be natural for you as we have learned a lot. Really. Did you see most of the ammonia or the comic drawing? They are using strokes to make those shadows. In this drawing, you can see that the more stroke theory is a more shadows areas or less drugs are. The less shadows. Eight is RE. The more far apart the strokes are from each other, the more lights series, the more closed down for me, joseph, more shadow there. And if you repeat this trucks and then you repeat it again, but preferably calorie or in a diagonal way, you make another effect and you'll make more shadows. And you can repeat your stroke again and again until we can see it's truck, until it's just full block, and then you get the darkest shadows. If you see that. A lot of illustration, lot of drawing in a lot of comic books. See you did it today, invent it and you know how to do it. Now, if anyone asked you to do it, you can do it. You can make the shadows with only strokes. You don't need anything else. You only need strokes and repetition. And you just do it and do it again until you get the real shadow, until you get more lights, you know how to do that? No. We went through is that how it was difficult for us, but now it will flow naturally. I don't know what you see in your drawing from me. I I'm glad, even if I'm not pleased with my drawing, I'm glad goes. I can see a lot of things. Kind of jungle, plants and animals, and even a face. Don't hesitate to tell me what you see in my drawing and what you see in yours. Did you experiment the strokes the same way? I did. How did you do it? Was it difficult for you? Was it not? How is this exercise for you? Could you can you Did you impress yourself? Did you go through all of that with is or was it a struggle like me aren't, you know, everything. So please don't forget to be thankful for all of that. And then I see you at the next lesson. Bye. 19. The plan : Hi, how are you today? Hope you are ready for this new exercise as we are finally approaching the first notions of perspective. Yes, I know we already learn to love, but even if you don't really realize it, we learned a lot about perspective. But today, it's so day I market. Today, I officially tell you that we are going to work on the perspective. You're very scared. It's okay. Don't worry. This will all go smoothly. First, let's observe when you're in front of a landscape and you want to try it. Okay, so you choose your landscape, you see it. And your starter drop. Most of the people then to draw it by starting with a closest elements from them. The one who is in the program. Then start drawing what is happening behind the first element. But with a little tricks, they are kind of cheating way or my thing. Cheating because the only draw, what they can see, but not what is really happening behind the foreground. In the end, they do not follow. So last plan to express itself and to fully exist by itself. It's not because you can see that it doesn't exist. This is why in this exercise, we are going to do the exact opposite and start with what is frozen from then, step-by-step, going to the closest. To help you understand perspective. We're going, I'm going to show you some things. And I like you To do the same as me so that you can understand it in your own body. That it will be easier for you to draw perspective. I'm going to use this bottle. This bottle. Here. You mentioned, I'm this far of the book. As you when you're drawing. I can't move. I'm here. I wanted to touch this bozo on it. So I try. I can't I can touch the bottle without moving. Okay. So maybe I can make a little more strength. I still can't. Now. I can start to touch it, but only with the tips of my fingers. So again, it only carries the bottle. Now, once the plaza. Yeah. I can take it. Again. I can literally really touch it with trends. If I go one step closer. One step closer, yeah, I can put a lot more friends. And if I'm going closer, now, I can put all of my strength on this bottle. You have to remember that when you're working on perspective, when you're drawing a landscape or anything that include perspective. Like everything, includes perspective. When it's far, you can't touch it, or very little. When it's close to you. You can put all of your trends on it. And you can see all of the details when it's close. You can see very well when it's far. You can also experimented with a song. When I'm close to you, you can hear me very, very, very, very well. But here it's the same. So now I hope you did it and you experimented it and understand it with your body. Can be with the touch, it can be with your air. Maybe it was your eyes. But you did experiment. As a perspective. So remember a drain, all of this exercise please experiment it. Does that in all your future work. You can use that. In this exercise, we are going to draw a very distant foreground. The first step, then we will add a closer shot. And finally, a program. It's possible to make as many shots as you want, but make at least three. Middle close. When you are drawing the front plan, you may feel like you are removing the background. You'll draw on top of it. However, we are not deleted. The foreground. It still exist. Even if we do not hunger season. It brings additional trends to your drawing. We must agree to mourn certain elements for the benefit of others and for the benefit of your artwork, then we are understanding that morning for something is beneficial for another piece of work. In life, we are often forced to leave this in our personal life to want something. But that's always the benefit of more positive future. At least. Grieving helps us grow quickly. Sorry, sorry, I forgot to tell you the moles. We're drawing. I remembered that. I didn't tell you it was like objects for me but I didn't tell it. And it's important though, when you're drawing your first plan. And then the second one, you can't go back. You have to only go closer, closer, closer to you. If you go too fast. It's Hugh who have to manage your time. And maybe to go through difficulty or yourself if you went too fast. No problem. I'm sorry. Not the case. So you can go back a second tips. As I was drawing, I forgot these and that's why some of my plans on a very clear. When you draw one plan, you can use hairspray, fix it. When you draw on it. It doesn't fade. It got. 21. Analysing the plan : Area. I'm not very pleased with this exercise. I think I could do better, a lot better. I forgot that I had to fix every plan before drawing on it. That's why gut like plans where arrays. And that's not the point of this exercise. It wasn't two arrays, the background that you draw on it. And that's why I'm not very pleased with that. I inspire and myself of photography. But I don't know, maybe you, you only draw by your imagination like 11 plan. I think. It's okay. For me. It was very, very hard to manage my time, as I mind. Very varied, fast to Zoom for our ground. And then it was very, very glad, very intense and dense black. That's why I put some white. I didn't know what to do with all that. Very, very strong black. And I thought to go through the black, put some white. But I think it was Frenchie smart. But I don't know. Maybe what did you do? Did you went too fast and how did you get through that? If it was like me like to black or white, I don't know. As far as the sky. I also think that I didn't work very well on it. And we can't go back to the plan, can't go back to my clouds. And they are not very worked on because I went too fast and that's my bad. We all have to learn. So that's why I'm not very pleased with my drawing. But even if not, please, we get our grades. That very fraught is only with a tip of a finger. We can't touch it very well. And the closest It is the densest, the strongest. And for that, yeah, I did it. So we can still see and feel and live the distance. Like when you feel that you can cross through the drawing and go planned by planes, okay. Clauses to forest and far as to close this. And that's very important. I want to see your work as mine. Wasn't that good? So please please show me your work and show me that you did a lot better. As I always say, be glove fu grip for I don't know the word. Thankful for all of that. And see you at the next course where we will work a little bit more and see the best victim in another angle. Are you ready to see you at the next girl? 22. The shapes: Hi, things to the previous lessons. We have already encountered the subject of form several times. Through line resin. Fullness, voids. Come back to you. If we added to our forms the privilege, listen. But of the plan, the lighter shapes will be in the distance and the denser one will be in the foreground. But this exercise, we will focus on tremoring problems. Square, the circle and the triangle. So we won't have to worry about which shape we have to choose. We can free our creativity. We won't have to sing about what we're going to put on our paper. One last role. Before starting this exercise. Every shape should have a single density, no gradients or anything else. And finally, we are going to focus by taking into account the previous exercise. But one of the plan. So you can't go back on the plan. Remember, as usual, we don't outline of shapes to call all the inside. We thought that in the first lesson, never designed. The game will be done in progression where they're in density, size, both ortho number of shapes. The voids. You can see you at the next video for the un-ionized. 24. Analysing the shapes: Hi again. So how was this exercise for you? For me, it was very, very more much more pleasant than the last exercises we did. As to last. This time, I did not forget to fix every plant I did. And so what can we analyze? What can we see through this exercise? Let's analyze all of them. First of all, I don't know if you did the same, but for me, it flows naturally. That every plan was only one shape. I don't know why, but it was much more simple for me to do that. And then we let like or brain off. And I only do like circle, square, triangle. Each month. Each shapes. We were working, we were still working on perspective. You can see through this exercise and through your work and through the ulna lines of your own work that you learned that this fictive candy, the form, the plan as we did, yes. But not only saw the shapes, the light density, the jingle rhythm of that is perspective. What's very, very interesting. I think that first of all, ideas, as we did on the plan, it means each plan was more denser. Was denser than the last one that I changed my mind for one month, I felt like, yeah, but what if the object is very, very near gross, but it's transparent or very, very, not very dense. So I did a plot with a very big shapes that were very dense. And yes, it does. You can have like a tissue or thumping that is not very dense and that is very, very close to you. What did happen in the drawing? It doesn't affect that perspective. It means that we understand that it's not very dense, but we still understand that it's very near. We don't have any problem to see the perspective, to see what's far What's clause. In my drawing. Likes his time. As I said, I liked it. We can see that the very big circle that are in the very last Forest Plan offers, they are very big, but they're not the right things. We still understand that it's really far. And we can imagine like the square that's not as big of a circle file, but they are more dense. So we understand that yes, that closer, maybe there are like little house, neither houses. Maybe the triangles that are very, very close to us can be lethal. Playing middle plans. All brain. Understand that and accept that and the perspective. Okay, so you'll learn that we can also understand that we do not need to work on those shapes. To see lights, to see shadows. How is that possible? You may ask why, why? How do I figure there is light, there, is shadows here. But my shifts are all of the same density. As I said, we didn't do any gradients or anything else. But we still understand that there's, there's lights, there's, there's shadows there. It's because as we learned before, but now I can, I will works for you. But the repetition and the fact that we put folds that there is a change in the rhythm. Their shapes are closed, are all zeros. We can see about. We put lights, we put shadows. And thus what we did in our last exercises. Now, in this work, we concretize of that and we'd begin to notice then in our very own body, what is perspective, whole and make lights? And I don't have to think for that. It's naturally, it flows naturally selves. So really thankful, as I always say, and I know I'm repeating myself, but big lad, be very thankful for all that is within you. You don't have to do anything. I only had helps you to unlock this little mental close things you had. But all of that you already know that. You already know how to make light, you already know how to make shadows and with them and web editions and you already do that everyday? No, you did it on paper. And look at that. Look at how tragic. Look at how powerful you are. And all of that knowledge that is within you that we are exploring during this journey. There'll be very glad everyone, if you don't like the result, you did it. I'm very proud of you. So let's continue and see you at the next lesson with very, very great pleasure. 25. Shapes and plans: Hi everybody. Today it is time. This is a result of our work on the plan from and therefore suppress pick ten. Through this exercise, you will rarely see a difference in the result of your work. Here are the instructions for this exercise as you are used to these roads. So I remind you, we will again lay down shapes. But this time you're not limited in the choice of shapes. You can do anything you want. You are completely free to make any shapes you want. We're going to work on this forms through different plans, has we did before? So from the most distance to the closest one. And again, you're not allowed to go back. The plot. That is to say, I walk on the background one seconds. This is accomplished. I walk on a closer shot and I have no right to return to the background. As usual. We will have to learn to manage your time if it's not already, I think we're getting better at it. So don't worry. And Eve, using arrived at the forefront. And you're only halfway through the given time, then as usual, you will have to surpass yourselves and continue the exercise until the end of the allowed time. So let's get into this exercise and see you in the next video where we will see the result and how we improved our self in this perspective and plan things. 27. Analysing the shapes and the plans: Hi again. So here we are. What did you think about this exercise? We did the last exercises was maybe a little more mental for you. For me, I don't know. This one. Put together your creativity yourself, the notion of perspective, of plans, of density, and the difference between all of that. Now, you can see in your drawing in this artwork here did that your creativity and the notion you experimented with your body and with the last exercises can be put together. And the render is really like on another level. I'm sure we can see in your drawing to us, I can feel it in my drawing that I can swim through the different plans and then go to the closest to the forest. And I'm really happy with the result. Very steep rise in a good way. I didn't know what to expect. At the end. I'm really, really happy to see like, like theories. Really we can feel the different plans. We can feel the difference density, the different luminosity. Sometimes are more luminous lights. So all those are more dark and I really feel like I can swim into my drawing. And that the really good surprise. I'm really happy with the result. I really want to know what you think about all of that. As we all know, maybe approximately at the middle of all the exercises of this course, we close this chapter about the plan. It was last exercise about that. We will still work on perspective. A perspective isn't only plans, but it was very, very important notion you have to experiment with your body and to learn. Please share me and show me your work and tell me what you did. Think about those exercises. Did it help you and see you at the next lesson? Where we will do really come sing house and maybe let the plans go a little bit. Work on another concept. You will see. So see you at the next lesson. Be glad. As always. 28. Scribble: Hi, are you ready for this new lesson? We are going to revolt their components you have in your Cratchit, potential and unlimited creativity. There's last exercises was maybe a little bit mantle for you. And we need to go back to the bathing suit to go back to your creativity. But that we are going to redo the bath. And this drove their barriers and limits that are imposed on this or that we also imposed on all cells. During the very first discovery of our creativity. Let's go back to our childhood. When we make our first drawing. Looks like more a dribble. You'll need your trace, your imprint on paper. Although this looks like nothing. People around you congratulates you. Bravo, it's great. They've been hooked it on the fridge. His first drawing. Then we grow up. And suddenly what used to be great. Isn't anymore. Grown-up no. Big by doing scribble things. You have to draw labs that do things like that, etcetera. And our drawing ends up in the trash. This moments about a for self-confidence is broken. What is good? Now lingo comes from ourselves, but from Moses, from established rules, from what the parents or the teachers say, what food instinctively come from us. He is rejected. Our intuition is denigrated. It is therefore time to reconcile with our inner child and restore is convenience in is creative power. I picked just really if they stages one-by-one, give them many. Let's close our eyes and go together. Find our inner giant. Inhale. Exit. Your breath, becomes slower and inhale, exhale. And then visualize a path which each breath you go down this path. Deeper and deeper inside yourself. I inhale and exhale. You will find your inner child. And you let yourself go. You find your inner child together. You're going up these. You've come back together. And now I scribble in my paper with him. I lay, my inner child, reaches o Crowley hold the pencil, and I respect his creation. Now, I stop and put down my pencil. At this time. We must keep in mind the most important seem to respect his creation. Nothing where we are raised, disk granted or denied. It is with benevolence that they look, my inner child what it has accomplished. With my knowledge. Now, in my experience today, I will be able to highlight that the killing them highlights species, confirm features, eliminate, eliminate voids. Remember, empty rhythm, density, reposition. And I turn my sheet. All those things will occur. They didn't see. I use scribbling, plaque completion of work in its own right. 30. Analysing the Scribble: Hi again. So here Riyadh, to do a little and the lines of my own drawing. First of all, how did you do How would it take for you to work with your inner child? And did you discover how wealthy this is, how rich? How many things you get in you and hello. I think it's neutral. Heart shaking. So I will only analyze my own work as I can see yours. No, sorry. Don't hesitate to show it to your dear people. They will see things that you want imaging are in your drawing. And it's always a good surprise to see what they think about that, what they see in tight. I'm sure you will see a lot more than I see in my own drawing. So as I always say, don't hesitate to share it and to show it. And tell me what you think about this exercise and this artwork you did. What I did too. So very, very little of what I can see in my drawing. Here. I got this kind of rockets, but not the set up. That's only choose the one that goes in space. But I can also offer snake eating himself, eating itself. So like a noodle bubbles, I don't know how to say it in English, but this here, a little brook like here, looking at it. Each time, you will turn it each time with the other things. Whoa, region where it is. This way, I see two people. One here. I don't know if it's a fish or a face. Knows that too. And here, I don't know if you see two, but I see dying of an animal like blowing something like this is Wayne like doing. I also saw like trees and mushrooms. I don't know exactly scale all for me, but I'm sure you will find a lot more in your drawing. And as I say, his day to share it and show it. Be proud of yourself and the work you did with your child, but you weren't alone. It's a collaboration, so be proud of your work and see you. Next exit signs. Here. 31. The White Page: The white page, the white paper of you heard of the white page syndrome. Here we are writing it. We are going to face it face to face, right page. You're ready. Then we brought things and compositions into the page. Now it's time to do with white page. But there's nothing on that paper. What can I do about it? First of all, breadth has long as you need it. Okay? What goes? My white papers say there are two ways to approach this. First, I notice some things on my paper, shadows the material of the paper and trace and they use them to. O I follow my instincts. In front of the white page. I am like a flashing. I feel something and I didn't dawn on paper. I let myself be guided by mains thing. It's like a visceral sensation. This filling can be very fleeting, should be put down as soon as I preserve it or it's too late. It's a game of filling and spirit. I feel I pause icon bars. So difficulty lies in the fact that you cannot find outside help. Now one can help you mean that you have to dress yourself to do it and go for it. In the last lesson, we were often, we'll reboot your confidence in your creative power. So it's time to dive right in. 32. Processing on the White page: Hey. 33. Analysing The White Page: So how will this exercise is confrontation with a white page for you? Did you have a white page syndrome? I guess no. I hope no. Why? Because we did all those exercises. I'm thinking about the very first one. Remember when you had to open the duct, that was very, very difficult exercise to stop by. But you did it. That's why I'm very, very confident in the fact that this exercise, this exercise was not as difficult as you thought it would be, because you can be confident you are all that in New. Look at this white page. Isn't white anymore. I know, I know very objective. As I did all of this exercise. I am not afraid of the white beach anymore. I'm like bringing more excited few of the white white bead of stuff. I see a lot of things that can be done with wide thing with like nothing. Yeah, there is everything inside that. And I know that this exercise here to make you more confident and proud of your creative power and yea, you have all that in you. In the last exercise, we let our inner child guidance and put things for us to compose. In this exercise, we had nothing to start with. I'm sure it went very well. Guess what? Guess what? Bees and next egg has a size. 34. The Black Page: Hi, how are you? In the scribble exercise? We brought everything on a paper by bringing or inner child, then compose with what was. Then. We did the same exercise with whitepaper. In the white paper, you have nothing but you have to deal with it anyway. And now we're gonna do it with black paper. In the black pepper, you already have everything. There is still much that you can't see. What's inside and what is the artwork. Because there is so much that your paper is black. We will have to use a white pastel. As I said, we will have one exercise with white and black, white pastel and black paper. So you will use white pasta as you are engraving the beeper to make the artwork be seen as null, there is too much to be seen. But you will use C-Suite. This way PESTLE as, as a knife to engrave of you have of the blank page syndrome. Because no, you will experiment it. Let's say it's panic because there is too many things. Keeping in mind the plans, the rhythm, the repetition, it to dry, and then ingroup more or less deeply. That's working density near, you know what I mean? Let's see your work at the end and analyze it. 35. Processing the Black Page: Okay. 36. Analysing the Black Page: So how was this exercise for you? As we did experimented earlier. But right now, again, I know you can think that the exercises on the repetition, yet one of the thematic, but it's very important for you to experiment it into learning by your body. And you also, I think it's very interesting to do it with a black badge of the random balloon. Be the same as you can work. Um, things you didn't see on white page on I'm in front of my artwork. I see kind of a universe, stars, planets, et cetera. There is a universe in this blank page because there is everything they've so much things that the page is black. Who are black? We can't make up here. All of that is in this black page. That's why we only, I liked things that are the more important. But I also see deep-sea. I see a lot of things. I'm really happy up the plans and the perspective we worked by r understand. And I've been learned and we see it through this exercise. Again. I want to know what you think about that, what you're thinking about this exercise and of your artwork, please share it. Don't hesitate. I'm very, very interesting. I see you at the next exercise. And Hub. You See you, Bye. 37. Shapes and Perspective: Hi, related to the ultimate lesson of this course. I'm going to present to the volume, which is a simple and logical continuation of our work on the plan and the perspective. First of all, let's discuss the technical which will allow you to understand the volume, then you can exercise yourself on it. Applause. We'll see space in two-dimension. Near and far volume adds a third dimension, that is to say to integrate the form into the plan. Let's put a square, you know, I can lay it down. Movie. Reason totally vertical. I then stay into the same plan. So what can I do more of them? I still have a third way to move it. It's obliquely. So here. When I move it like that, here I am in the, we must keep in mind that this square is between me and the infinity. Then I will, oh, neat, choose a site. This one. This one. Mean. They move it obliquely. I chose this one stone. We must bring a point of light and therefore give each plan of my square a different environment. I mean, Jim, the light is here. This plan will be who like this one. Maybe this one will be full black because light doesn't touch. Okay. This same here? Yeah. Like yeah. Black too but like a little less than behind. One. A bit lighter as the light will be. This is how a square becomes acute. It's a square in volume. Each side of this cube, each plan as a different light of value. If I put this value side-by-side. So very black. A little less block. Like that. Little lesson later. Why? Because it's very like we are in the presence of a gradient from shadow to light. I can practice by removing the light to go from shadows to lie with a more harmonious graduates dark light to her. Okay, so now we are still in the presence of a gradient. And that's how I can turn my cube into a cylinder. Look. If I take that and turn it. So I take that, I do my gradient. That's how you transform into a cylinder. Well, this is well integrated. We can move to the bulb. Much more difficult this time because the boat is full room. There is no plan, no straight line. It's completely welcome to my just two needs to follow the same way. Okay, so my light it here. So my shadows and my gradients will be darker here and, uh, follow the ball with my son lives alone. And I should do it longer. But that's an example to show you. So that you can exercise the same way. And it shows you the importance of repetition that we did in densities that brought us to this point. Now can organize space with this different techniques. Exercise yourself with it. We will do the final excesses outcome of this course to see pleasant next last exercise. 38. Last exercise: Shapes, perspective and plans: Hi, we are already at the last lesson of this course. I'm very proud of you. I'm so happy about you pursuing this journey with me. We will talk more about it in the next video. Analyses of all of this work, of this struggle, Let's focus on this last exercise where we will see and work on the things we explored together during those lessons. So for this exercise, you can choose a color. For the color you want. Any color is good. Then I will see you at a process video where we will see and draw together step-by-step. I will guide you for this last exercise. So see you in the process video. 39. Processing the last exercise: Now range picker. And now you will need a white chalk. With this, you will do the plans as we used to do in the last exercise. So you get the first plant who is very fraught and not very dense. Then the second shot will be more dense. Then the third one will be the denser plans of all your plans done. You will need to fix it. As I said, you only need an hairspray to do that. So please do that. When it is done. We will use a black chalk and put a duct wherever you want in the paper. This will become a line. And finally, you will open it obliquely. And you will repeat the rising line from the door again and again and open it obliquely. Each time. The central line will become very dense. Remember how we experienced physically when you're squatting like adult, when you arise. And then you open your arms and then your fingers. You repeat it as much as it needs to be huge. When you think you're finished, please fix your job with the ASP, pray. As we used to do. Then we will choose another color of pastel. You will take a set of three pastels in the shades of the same colors. For me, I chose to go from yellow to green. Then you will put an empty spaces between the line with a minion or thousands. With this, three pastels will repeat and repeat and repeat and repeat again. The dot with the three colors are three sheets of when this is done of gross fixed. Again, your job will give you a little trick. To make the shadow of this tree. You'll need a black pastor again that you will put on the base of your tree. Then you only have to use your fingers to expand the black where you want the shadow to be. And that's how you can deal with shadows. You now have a tree. It was very simple, wasn't it? I'm very proud of you. And now you can even do it with your two hands. Isn't it? Wonderful. Show me your work and show me how many trees you did. 40. Conclusion: So here we are. At the end of these curves. I hope you had a great time. I wanted to to add a few words about all of this journey we did together. I'm getting really, really emotional, but that it was very, very important to me to show you how creative you can be. All of the power we all love each other, the large crate. So it's really, really important to me to help you and I hope to help you in your confidence about that. And if it's not, maybe I only have here with giving you another view of the drawing and the nother view of the creativity and the possibility you have right in you. I don't know if a lot of sun will be seeing my crews as I did all of that alone. I've been inspired by an artist, the French artist. I will give you the book, but it's in French. I don't know if it will be in dressing for you. Yeah, I did all of that along. It took me a few a few month to do all of that with no budget and only my phone and the camera in my flat. And they know that most of the teachers here are doing groups with Much more budget. Like the videos are much more beautiful. But with all IRF and all I am, I did my best to give you all. I cooled. And I already have that this exercises I'm dosing for you. If you're still in thirsted. For those who wants to go for those, I can give you another exercise will be to draw everything that left an impression on you, all of this in this. And there's different lessons that remains from that remains and put all of that together on the theme of paper. And what will be the most wonderful thing is to see your work. And I will be really, really, really, really aware of all of the thing you will share and show this course. And if you are interesting for you, your artwork. So I would be very risk pending a lot about that. So don't hesitate to share my share your work and all of that. I would like to do other cruises about kalos and the energy that we can fill in the colors. But as I said, it took me a few months to do this causes alone. It wasn't easy. I chose to not bring colors as you saw in the exercises because it is no other. Another step, another exercise to do. You can, if you feel at ease, you can do all of these groceries with colors, of course. But I thought it will be too much to bring colors without really learning about experimenting about it. You start to know me. So that's why we did on in black and white. So don't forget to find me share and follow me on all of the internet. Social network at noticed Katia. And if you liked this course, don't hesitate to tell me so I can maybe do the following. I'm really happy, glad and like I'm feeling like I'm going to cry because this is in this journey and someone is watching it until the end. Yeah, Well, wonderful. Iu. So I'm very, very idea. On the hub. I wrote you confidence in yourself and your credit for awhile. And I want you to have an, I wish you a very, very, very good, interesting tried to Johnny and live for objects. So see you again. I hope on the other social network.