The Power of Line, Basic Drawing Part 2, Proportions

1. Introduction to Measuring and Proportion : In this class, we're going to learn how to create realistic drawings by using several tips and techniques. And a lot of it is understanding how we see. So we're going to use techniques on what is the proportional relationship of one thing to another. How to measure things, how to understand how we're seeing those particular things. And then to put that down on paper. And by doing so, I'm being more aware of how we see and what we're seeing. We can create drawings that are very, very accurate. We will also walk you through a drawing of a fairly complicated still-life using these foundational shapes, using all the techniques that we cover in the class. And in so doing, you'll get your a wonderful drawing that is highly accurate. 2. Materials for the Class : Alright, so for this drawing class, I want to recommend the following materials data. So we want some good paper. We're going to be doing some warm us, but we still want to be practicing on decent paper. If you want to get some sketch paper, that's fine too. But, but you're going to want to do some on this nicer paper. Some of the, you can get for some of the exercises like drawing lines, you can, you can get newsprint which is really, really inexpensive. You can get any sort of sketch paper. You want a large enough, this is 14 by 17. And so you're going to want something in that range. You don't want nine by 12 is a little small. We want to at least be at least 14 by 17, or if it's 14 by 18, somewhere in there. We want it to be 70 pound. We wanted to have a medium surface. Hey, we want Strathmore. Strathmore is a really good brand. And there's other great brands out there. Canson makes them good paper and, and others, in terms of pencils, for this first-class, maybe really basic. You can have an HB pencil or even one of those orange number two pencils we get in school. And so you can have an HB pencil Kimberly makes as a good brand. You also have Staedtler. Nothing. Nothing too, too extravagant. Again, HB. Now with what we're doing, you could also use charcoal pencils. If you're going to grab a charcoal, I would recommend you either you get up and you want to use your harder charcoal pencil in the beginning. And as you get more experience, you can, you can use the others as well. But if you're going to use charcoal pencils, you generals make some good ones. Again, you can use a hard the software they are, the darker they're going to be. But we're just going to be doing again mostly line drawings and dealing with lines. So this is pretty much it. It's also nice if you have a drawing board. So I've got a if you go down to some of the stores they have, this is just a whiteboard, kinda like what you'd you'd put your erasable markers on or what have you. It's quarter-inch masonite or MDF and it's pretty good stuff. Sorry, I pulled that off like that. But yeah, I get yourself a 24 inch by 24 inch drawing board along with the paper, along with the pencils. If you need to do corrections will have you do this is a well-used plastic eraser and state law makes them really good plastic erasers. And there's, there's others. Prismacolor makes some good ones. And the reason you want a plastic eraser is when you use this with graphite, it doesn't rough up the surface of your paper. If you use a pink pearl or a gum eraser, they're going to rough up that surface and the graphite will never go over the same again. Known as big a deal for what we're doing. But when you're doing, Later on, we're doing like really nice sculpted value drawings. It becomes a big deal. So, yeah, grab those materials and we'll go ahead and get started with learning how to starting with drawing lines. Thank you. Have a good one. 3. Power of Line Optional Supplies List: All right, welcome back. So this is going to be about the optional supplies list. You don't have to have this stuff but you'll see me. You might seem uses and some of the videos. This is just a t-square, especially just a ruler with this little piece right here that you can hook onto your, your drawing board. And so allows you to have an immediate right angle to the board. It's great for if you're doing sort of drafting. If I need some horizontal straight lines or I can flip it for some vertical straight lines. It helps you to position your paper accurately on your boards so it's nice and square. That's a good thing to have. And again, these things aren't required, but that can just help. You might see me use these. These are just your white erasers and they're just in smaller sizes. These are like mechanical pencils. So that the, this will get, you know, you can use this and it just gets into tighter areas much more easily. So those are nice. You can also use this as just a twelv inch. And this might be a 10-inch. I think it's a twelv though. Drafting triangle is what we call these. And these are really great for doing straight lines. You could also use just like a regular ruler if you like. But this actually kinda works little nice. So it's a little more nimble if you're on the board and stuff and you'll definitely see me use this. This is a kneaded eraser. Again, it's just an array so that you cleaned by pulling apart and putting it back together. And what you can do with, with this is that the, the neat eraser, you use it, you pass it to use it. So if I want to lighten something, instead of racing back and forth like we're used to, you actually push this into the object to pull up. Now this is, this is a certain type of charcoal that doesn't lighten very quickly, but it has gotten lighter. It's just that it stays darker and it's harder to erase than say, pencil, but that's what this is for again, as a kneaded eraser. And it's really great work horse if you plan on drawing. The last one is some, some just plain old masking tape. Now This is half and she will need to probably closer to three-eighths, but what regular one-inch, 1.5 inch masking tapes all you need, nothing special. It's just a tape down on your paper. Alright, so again, these are some extra materials that we can have that can make it easier to draw with. So are they required? No, my joy having them in. You might find that it makes it a little bit easier. So that's why I wanted to bring it up. And you're going to see some of these used in the in different parts of the lessons just because I usually have them on hand. Do I have to have them? No. But again, they just make certain things a little easier sometimes. Alright, you guys go ahead and continue on with the class and thank you again. And 4. How to Use This Class: So how are we going to use this class? So the important thing about this class is it's not just about watching the videos. You really need to sit along side the video and try to execute the assignment. That's why the videos are full length. That's why they're not spit up at all. There are real time so that you can sit down and draw with me and pause the video if you need to, even if you're just listening to the video while you're trying to draw your own thing. It really helps to get the thinking process happening and withdrawing, that is 99% of the battles understanding how do we proceed through a drawing? And so go ahead and grab your pencils, get your paper together. And like I said, go ahead and draw with me. With each one of the lessons you will learn to draw, it will be amazing what you'll be able to do. Let's get started. 5. Proportional Measuring It's a Game Changer!: All right, so welcome back. So we're gonna go ahead and talk about proportional measuring. We're going to first talk about how to do it. And so we're going to talk about the concepts of what proportional measuring is, how to think about it. And we're gonna go ahead and have you watched the video. We're gonna talk about how we divide things up into height versus width. We are talking about stacking rectangles and squares and stuff like that. We're also going to talk about something called the armature, the rectangle that's going to come after we, after we look at the proportional measuring the basic ideas, basic concepts. Okay, so I want you to go ahead and watch the video, internalize it, get to know it, and then we're gonna have you move on. All right. Take care. So here we're going to talk a little bubble of something called ime proportional measuring. So with proportional measuring, when we're, when we're drawing stuff, we'll take what we call proportional measurements. And all that means is that, let's say I had a square here. Okay? And let's say for instance that right there is actually a square. Ok? Alright? So let's say this right here is actually a true square. And what proportional measuring says is that, or what the concept is, is that if this is a square, it's essentially its proportion is one-to-one. It should be as tall as it is wide. So if I took a measurement here, and I took a measurement here, it should be the same, height, the width. So that means that, you know, again that this is essentially wonder what it is as tall as it is wide. And it wouldn't matter if this was a little square that was half inch by half inch. It's probably close to three quarters of an inch. But anyways, this is still the same, as tall as it is wide. That means that this proportion on this little guy is still the same. So its proportion is still a one-to-one. It's three quarters that three-quarters of proportional measuring isn't by taking the measurements, taking the proportional measurements. So this is still a one to one. So this is in the same proportions. Is wouldn't matter if this was all in this case, maybe three-quarters Nash wouldn't matter if it was three inches by three inches or ten feet by ten feet, or one mile by one mile. A square is still a square and its basic proportion is that it's as told his wide. And therefore it's a one-to-one proportion. So if I measure something with my pencil by looking at it and measuring it, then this would be a one-to-one proportion. Okay? Now, again, if I went ahead and I measured something, again, we're gonna do some measure. We're going to do some, some siding for proportional measuring and stuff like that. And again, proportional measuring, he's just checking its basic height, the width. And usually will not usually, but you always take the shortest side and you divide into the longest side. So if this right here, if I stack two squares upon one another. So if I stack up two squares, like so. And these, you know, and this is the square right here. This is square. This looks a little taller than this when someone check and I measure with my thumb and the top, my pencil and my thumb with top. No, it's it's it's the same and made it opened up a little bit this way. This, this was like me who opened up a little bit that way. But for the most part we have two squares. So this is also a 1-to-1. Now it hasn't gotten any wider. It's only gotten taller. So this is now a 21 plus one is two, right? At least in the mathematics I was taught at school. So there's a two to one is the proportion of this rectangle. And it wouldn't matter if it was this small down here. So again, with proportion, we're not dealing with, with measurements. We're dealing with what is the proportion of the thing to itself? This is twice as wide as it is tall. This is also twice as wide as it is tall. These are in the same proportion. This is the same as that. And again, if we did a third square on top of here, let's say I will go ahead and place another, another square on top of here. I think you probably see where we're going on this thing. This right here. If it's again, if, if it's another, It's another square, we would then have a three-to-one. Okay? So when we're born, we're drawing objects to get a better sense of what it is we're drawing. So I pushed that line right there, right? I established the line, but I have said in drawing lines, these are to pull line. Now I'm a lefty, which means I pulled on my left. If you're a variety, you pull, you're right. But now we have another one-to-one. And it hasn't gotten, you wonder, so this is now going to be three to one. And maybe I'll write this up here and make sure we can see it. But this is 3123 and this is still the same width, so it's a three-to-one rectangle. Okay? And when we're dealing with stuff, we're going to start to be very, very interested in what kind of rectangle we're looking at. Because we're just in case we were running at a Rome. This again, this is now a three-to-one, three-to-one rectangle. If we did this, we divide this in half. So now we'd have, we had something that was in a rectangle like this. This would now, whoops, that was wrong. See though there were still a little off the bow, right? There's closer. Alright, there's closer. Alright, here's closer. But if we said all right, it will all of a sudden. This right here is our rectangle. Like so. Well then this rectangle here, this is, this is one and this would be 123456. So if I, if I use, so let's say for some reason, say we cut this down, but I'm just showing you that this would be what a one by six rectangle would look like. Right through there. This would be right here. Would be a six by one rectangle. Okay? Now, so again, that's just this part right here. Like how skinny rectangle that is. And so the whole point of this is to figure out what kind of rectangle does the objects sit in. Okay? This is, it is a three to one, is a six to one. And that's why we measure is the figure that out. And then we can draw it. And we can draw it much better if we know the rectangle of the object fits within side. So again, if this was you get done no matter the size of this is again a there was a small like so. This right here would also be a six to one. So this rectangle here, in this rectangle here are in the exact same proportion. Ok? So it doesn't matter how big we stretch this or how small we make it. It should always be a six to one. So if we had somebody that we're drawing and this person we were drawing was Well, people are, are, are eight heads tall, for the most part is their base proportion. If they're a full-grown adult. Some people will say 7.5, some people say 8.5, but eight is usually the most common. It doesn't matter if you shrink that person down super smaller or are making really big, you know, just make the really big picture. It's always a one-day a rectangle that you'd fit that person's height n. Now that's actually not quite right because actually a person usually is two increments wide, so you'd actually turn it into a, a two by eight, but we're not going to worry about that. So it'd be eight heads tall and two heads wide. So anyways, so we're not gonna get into that, but I'm just saying it's the same proportion. And we can do the same thing with this if we wanted to. We can make it smaller. We could also make it bigger, but it's really easy to do this. All we'll do is we'll come down here to where I'm drawing. Or we're going to make a diagonal. And there is a law that says, if this is bending a little bit should actually go through the middle, which should be right about there. As far as that goes, if this right here is in the middle, that's where that should touch. And it isn't the middle. So that just means this, this diagonal. I'm, I'm, I'm lost a little bit. That's all right. Go through that point. Come down. Now we have a diagonal is pretty close to being. It's not soup. It's not, a maid is amazingly straight, but it straight. If I took the diagonal, this is, this is the diagonal of this 1-2-3. Ignore this little guy in here for now. For it to be, for it to be using this rectangle would have to be a diagonal from this corner down there. I wondered a little bit wider so you can see it. So I use this corner coming down through them at all. Down though that corner right there. Okay? So this is the diagonal for the one, the three rectangle. And that's just important that you understand that that's what we're doing. We're not trying to make this being a 100 little bit downs are there. But anyways, we'll just say that straight. We'll use our imagination, Shelly. But the cool thing is is that if I take any two lines that meet at 90 degrees, that meet and hit that diagonal and that's 90 degrees. And I bring this straight down. Woops that's coming in. We weigh to for that's a little closer. A little better, not perfect. But if we wanted to, we could get out our handy dandy little triangle here. And we go, well, it's straightness actually. Let's make that look all party. But and if we want to make this one per year to make it look good. Like so. And again, if it touches that diagonal and these are 999 degree angle, what this means is that this rectangle that I've drawn is the same proportion as this rectangle. Because it shares the diagonal and it touches that diagonal with a corner. The corner is 90 degrees. So in theory, there is always fun. I like theory. Theory is kind of cool thing. If we went ahead and we can make this work, you just make it anywhere as long as as long as it conforms to that to what we just talked about. Well then this right here again, as long as it's 90 degrees, means that that diagonal at 90 degrees. And this rectangle is the same proportions that rectangle, the same proportions this rectangle. Hopefully you can see that. But this is what's really kinda cool is that given that we're talking about the proportions that if I took this rectangle wherever it's at, that's not quite 90 degrees, that's opening up. Or that's a little better. So again, this is hitting here, and this is at a 90 degree angle. Well then this is the one to three. Let's not forget that I should be able to measure this length and it will divide this into a 1-2-3 rectangle, okay? And it does. Okay? So again, we could start over here. We'd say, hey, what's that? What's, what's the width? And we'd say, well, this is the width right here. And I say, oh, that's the width. And if it's still in proportion, should divide it into three parts. 12 loops, missed it. And uses to mark this off. Tell me pretty close. It's going to be exactly know, but it's going to be very, very, very close. So again, if we mark this, mark that, and then mark this, that's a three-to-one rectangle. And if we did the same thing here, now this seems to be coming in, so that means it's not quite 90 degrees. So we have to again, we have to make this line straighter. Now is just going to be perfect on drawing this. No, I'm using like a drafting tool right now. But still, all we've done is we've, we've looked, we've moved this out just a little bit. And it should still be enough that it should be close enough that if I go ahead and measure this and divide it, it's going to be one. That's two, and that's three, that's a three to one rectangle. So it's really kinda clean. It's really kinda cool. Proportional measuring. And so that's a proportion measuring is first of all, take the measurement and will measure the woops. That's not good. Something good out of square. Well, yeah. But you'll measure what the object is. And then you'll make the rectangle. And now again, it doesn't matter how big my square is, it's just the score has to be a one-to-one. So this is my square and I did a three to one, this right here. Well, this right here would be a three to one rectangle. And if I was doing a, a bigger drawing, well then I want something bigger on start with my, the square becomes what we call our increment. And so if I was dealing with my square here and this was my increment, well then I could just go OK. And I'll take this measurement and I'll make it two more. And that's one. That's two. Again. Whoops, I missed a little bit. Yeah, it's about there. So and then we can just draw this by hand. Now again, is this going to be a perfect rectangle? If I'm drawing by hand, know the more I draw rectangles, tangles, the easier it can become to be sure. But this is to give us a basic rectangle. We're not trying to do a drafting, sort of a drawing, but we do want something that gives a nod to the proportion of the object that we are drawing. K. So again, three-to-one rectangle. Now sometimes we have some, that's just a two-to-one. Sometimes ground stuff that's a six to one. We have, I have my students draw an ice wine bottle that we have here in class. And it's about a 5.5 to one, which is the next part. What if I have something that's like a 2.5? Well then we use armature of the rectangle that's on the the, the I teach about that as well. And with the armature, we can go ahead and take any, if we take any, whoops, that's a little off. That's better. And this is a little bit and I'm pretty sure that seemed pretty close. But again, if we if we moved it, it's only going to move this by maybe a 64th of an inch. So for all intents and purposes, that's pretty close. So this would be the middle, because if we use x marks the spot, and if we want to clean this up so we're going to see it. You know, you're like, alright, well, I've already done by hand. We can now go ahead and do it. Strained that, strain that line up a little bit with our cute little triangle. And again, it was a perfect no, but look where it was. I was right in the halls in the ballpark. But we divided this into half. So this is now a one to 1.51 to one. And so this would be a 2.5 to one rectangle. If we're only, we've erased this back off, and we only use this, alright? And if you, if you know how to use the armature, we can divide this in half. We can divide it into quarters, would be divided into six and eighths and nights and all kinds of fun stuff. Sixteenths if we wanted to. We're not going to go to that extreme when we're drawing. And we're drawing objects normally we're not going any further than. Thirds and quarters or two-thirds or one-quarter, 1.5 a three-quarters, that's that's usually is as far as will take it. And then we'll, you know, you can guesstimate from there because that'll again, have you in the right ballpark. Usually when we just eyeball, we're nowhere near to the ballpark. We're down the street. Sometimes we can't even name even within a mile of the park. So again, we're gonna go ahead and use proportional mattering. So the first thing we do is measure, and this is how we use the Measuring. So again, if I had an object in here that's a 2.5 to one, and I have a bottle that is sort of a 2.5 to one. Then we can go ahead and put in the center line and we could draw that bottle. As far as that went. That's my object. Okay, that's fine. And then we had the bottle we're going to use. And the bottle is I think the ball is actually two and a quarter, so this would be a little too thin. But I have a bottle that we use that is sort of It's it's a accustom beer bottle or some like that. And it has a real clunky sort of body down here. And then it has on the top it's got a neck. And the neck kinda comes in like so with a little S curve like this. And it's kind of funny because it almost looks like a crane that swallowed an egg or something because there's like it gets it comes up and then it gets a little wider than comes in it. So it has like little little bold in the middle of it that always reminds me, get him like a blue hair and swelling in a egg or something. So we have something like this. And then we kill appear and then the bottle has, now this is just a flat silhouette. We're not putting on ellipses, we're not doing any of that sort of thing. And then this comes up like this. Like so it gets a little wider. This would be where it's, you know, and it has like a little it has one of these it's got like a spring top. It has like a little clamp that like the old old canning jars. So it's kind of a funky thing that someone gave me. It's me, it'll exert very retro or you know, very old-fashioned sort of turn of the 20th century sort of way of keeping, you know, beer and bottles by using a little clamp on top. So I always this would be and again, if we had something else next to it, there was a three to one again, we would or maybe even afford a one. Okay. Well, some next to is a 4-to-1 Wolfe. This again is nope, this I was told that his wife Let's go to our first increment. And I think we got lost in the first increment. So we're gonna go from here because I know that has the corner, that has the corner. Take that increment measurement, bringing it up. Close, wouldn't pointing greater wasn't clothes are always close, but if we add something next to it, that is a three-to-one. Well, actually there's 2.5. That's three. Okay. Four to one, sorry. So this was the original point of three, and this one is four. And so if we set r, I will, if this is next to this, like so. And this one right here, which isn't even close, like cell. And this is again, this is, this is a hello appeared and it has to be the same width because she uses proportion where we're using the increment, the square. And so it has, it has to be the same width. Alright. Whoops, that's opening up. Bending a little bit. There's kinda yaml lefty, This is giving way to the right. So I'm gonna go ahead and use this. I can have to bend my arm kinda weird to get in here anyway. So the more I pushes to the right, the worse it gets. So let's just say this right here is my rectangle for my object. And I have other bottles in here that are wine bottles and things. And, you know, I do have a few that are, again a four to one where you'd have this would be the sort of the body of the wine bottle. We could go ahead way for drawing something symmetrical, we need we need a center line. So again, we use the armature or X marks the spot for that. So we could say, alright, well is this the middle? And if I needed to check it, and again, I've got this one right next to me and I'd say, well, that's I was close as within just about just under three sixteenths of an inch. I'm not 316 is partly through thirty-seconds. There's just under just up just about an eight. So this is the actual middle. This is where I hit by doing it freehand. So again, you're in the ballpark. He weren't the stands, but you are getting the tickets. And then we double-check to make sure that this is in the this is in the middle that way. So we can go ahead and measure this with my thumb on the end of the pencil. And if I have a hard time seeing because that's UDL and then we can use this. It has a very good edge on it and we'll go ahead and see that it's same as that. And if it is not. Again, I've got this one right here and you double-check this way. Well, that should be the same distance. And that's so this was the one that's sort of the more offending Of the two. Again, I've got this little idea to X marks the spot to clean that up really well. And that's again, pretty close. Well then we could say, alright, and I can just double-check to make sure that this is here and that's there. Looks like it's close. But again, but we'll just say, alright, well this right here is my center line. Once I decide where the center line is, all guesswork is off the table. Because that now becomes my center line no matter what. And I would all square everything up to that. So again, try to get this nice and straight. I can't tell because so far to the right of me. But let's just hope that's a straight line. We'll use our imagination shadowy. And again, I think we'll find that this is, this is pretty close, one side or the other. If I took this and go to this again, we're pretty pretty close. So again, if I had another wine bottle like this, that's a four to one. Well then we're going to have basically blind balls are very simple. Even the complex ones are not all that complicated. They're usually rectangles sitting on top of the circle, sitting on top of a rectangle. Again. This would then be the shoulder. We want to get into that whole circle, honor, on a rectangle thing. And then this is right here. This would be the body. Now this is a simple silhouette. We don't have any of the ellipses on here. We don't have any labels or any other complex stuff. We just have the simplicity of the basic proportion outside proportions of the height to the width, which is what we want. And this right here again, basic silhouette of a wine bottle, K, and this is a particular wine bottle. So again, I might have some wine balls are a little taller, some little less tall. I talked about that. The ice wine bottle that I have this really skinny and it's like a 5.5 to one. This is a four to one. So again, all you're rectangles and we'll give you a much different look because they are all different proportions. So again, proportional measuring is to give us though, the width versus the height. And we use the increment of the square to then define it, subdivided it when we need to and draw it. So first we do the measuring. We'd seen people do this where they're looking at stuff and sighting down their pencil and that's where the measuring part. And then once you've got your measurement all it's a two to one or no, it's a three-to-one or it's a 4-to-1 or maybe it's 3.5. You would start your drawing by deciding, okay, how big humbly going on while my bottle, if this a three-to-one Well, that's a real tiny bottle. Well, this was also a three-to-one. Well, that's nice. Maybe I'm willing to wonder that this size, again, you need to start thinking about where to put it and how big to make it all that good stuff. But these are, the ideas are proportional measuring. So we'll go ahead and talk about some more aspects of measuring and how to use it and all that good stuff. But it's talking about other ideas and concepts to the measuring, how to use it, how to draw with it. But this is the idea of the stacking and what is the width to the height ratio. That's what this stuff is all about, how we use it. Alright, so you guys have yourselves a great day. Be more creative. Take care now, bye-bye. 6. Taking Measurements Tips and Techniques: Alright, welcome back. I'm Kevin McCain with Kevin McCain studios and Idaho art classes. And we're gonna talk, we're going to continue a conversation where we talking about proportional measuring. Now I just wanna make sure that when we're, whenever we're, the reason for proportional measuring is what we're trying to establish is we're trying to establish the width to the height of a particular object. And if we can figure out the basic height to width ratio, not the examiner measuring in inches. We're actually measuring its basic relationship. How many times is the width divide into the height? And if we can, if we can mark that down, we end up with a rectangle. And it's like as if we built a little box, it's going to fit around each one of these objects. So if we were going to pack this away or something, send this and make it a little wooden box for it. We wouldn't need the height and width. And so it's like we're going to, we're going to start building rectangles to enclose these different objects. And that's what, that's what we use. The height and width if we know what the width is and then we know what the height is, its particular ratio. We can then build a rectangle. Pardon me? We built a rectangle that encompasses that same proportion. And that's the basic idea of proportional measuring. So if we're going to measure just one object, if I was just drawing this one object. Now these objects I've got laying down so we can see them. But let's say I was measuring this Perrier bottle and I'm going to draw the Perrier bottle. I would want its height, the width, and we're looking for proportional measuring. So we're looking for the height, or pardon me, the width divided into the high. And so if I, if I measure this and I'm trying to lines of the camps, you can see this. If I, if I measure this at its widest point because we need the widest point out the skinny just because that box is going to be wide enough to encompass the widest part. And so we could go ahead and measure the widest part of this parent is periodontal. And so this period while his right about the width is right about there. So this is the width, this right here is the width of it. And then we can go ahead and start to look for how many times is the width going to the height. And so the first measurement comes about halfway between the bottle and, and it's and it's labels. So we'll go ahead and we'll put that there, and I'll put this here. And the second one goes to about the e and then we put into this up here. And then that goes almost to the, you know, the the just above the little cap. And then we put that up here. And so let's see what do we do. That's one, that's two, that's three. And this is just under forth. So maybe it's a fifth or sixth. So that means that this is one. By three, and I think we said a fifth or sixth. Just a little bit more. So three and just a little bit. So it's one by three and a little bit. So it's proportion is that it's one unit wide and it's three units and a little bit tall. And I I just estimated, oh, it's probably a fifth or sixth. There wasn't quite a quarter. And I think it was more than an eighth. But again, it was still, you know, we're still going to be measuring. Whenever we measure, it's not going to be exact, but it will be closer than if we don't measure at all. So again, this was a three pardon me, one. It was a one to 3 third and that one is the width. We're taking the width and using that as an increment and then we're dividing it into the height. And so I'm gonna do this one now. There's also strategies for measuring. Like I can measure this whole thing on the width, but it's probably going to be easier if I draw this little teacup to imagine that this little, this little part of the tea cup, where would the low Handel was cut off? So that way you don't have to worry about it. And then I could again, I could take a measurement of the width. Okay, that's the width, right? Right there is, is, is the, the increments are the width. And then we check this against the height. And the interesting thing is, I guess if we put this here so you actually see it, but it's wider than it is tall. K. So again, see how that pops up. It's wider than it is tall. So first I'd make the little, which is almost a square. It's not quite at below wider than it is tall, but it's almost a one-to-one. It's just barely beyond that. And in the end, how much? Well, probably something around an eighth or something like that. I mean, it was a much less than eighth. But you could do the little rectangle for this first, for drawing the cup. First, start with your little rectangle. And then you can ask yourself, well, how much wider is this? You know, when you wanted to put this on the law handle, you can measure measure the handle, and then divide the handle into the full width. And you'd say, well, let's see what's the width, that's one and that's two and that's three and that's no, it's so it's, it's almost, it's not quite a fourth. It's almost. And so I can take a fourth of this increment, mark that off and then expanded just a tiny bit. So it's just a, you know, this isn't to give exact well, usually when we're when we're measuring and having issues were nowhere even close to the right proportions. If we're within like a third of an increment or still pre-reading clothes. And if we can draw that way to look very, very, very nice. If we ignore this, all bets are off. And so that's again, so there's sometimes its strategies like this is much more complex because we got you've got the vessel, now we've got the handle. Words. This is just, you know, it's basically a very easy, it's a cylinder with a cone. And this again is sort of a motto, a modified cone, and a circle, and again a, a truncated cone or a clipped cone. So this is far easier. This is little more complex. And so sometimes we have to do a little planning. How are we going to, how are we going to get this to work and how are we to use that measuring? And so like I said with this, I was like, well, I'm gonna ignore this. That's not all that important. I'll ignore that. And first of all, I'm going to, I'm going to focus on just a little vessel of the tea cup. And then when I get the vessel right, well then I'll just add the handle. I add the handle by, I could measure it now you can say, well, I'll just throw it on there. Well, you could, you could just throw a little little handle on there, but it might be better to them. Measure the handle and divide it into the, into the length that you've put up here. And you'll get a better, a better sense of it. So again, I can take a measurement of this guy here. Like so I'm measuring in a given me up for you. It may not be lining up, but it is for me. And then we can say OK. And that's 123. And again almost four. So it's not quite. So again, we could go ahead and take a fourth of this distance. Fourth of the distance, the distance along here, 1 fourth of that, that amount, 1 fourth of it. And I'll add that 1 fourth on which would be somewhere in the C, that would be about half. So don't worry about that would be about a fourth and we can add that much over here. And again, we'd have just about the right for the handle. I was it wasn't quite a fourth, which means a third were below larger. So it's somewhere between the two, but it's almost a fourth. And so we'd go OK, put a fourth on there and then just add just the tiniest little bit. After we made that 43, that just the tiniest little bit extra. And we'd be fine. And again, that's how we're gonna deal with drawing the teacup. Again, if we've got, if we got the, if we're doing this, we're doing this vase. We're gonna, we're gonna go ahead and measure the boss, the widest part, which a variety about here, K, That's my increment, right about. Let's go ahead and and then I'd have that's maker right here. Okay, what this increment right here. And then I turn this up and I go, OK, how much does it go up this vase? And we'd go, well, it goes up once and then it's not quite twice, so it's about 1 third, so it'd be one and two-thirds. So again, with the width that comes up here, one and again two-thirds or somewhere between the two thirds and the three-quarters. Because again, I'm still guesstimating. But again, if I'm only off by a quarter of an increment, that's going to be a good drawing because usually we are way off. I mean, not even in the ballpark, we're not even in the stadium. We're actually not even down the street, were hardly within a mile of what we need to be. And so the idea with the measuring is it helps, helps us be more aware of the basic proportions. And again, there's a video that we talked a little bit more about this. But it's understanding that basic width to height ratios. Because no matter how big I draw upon me help, no matter how, how large I draw it. If I draw, draw it really big or how small I draw that, this vase, its proportions. It's basic proportions, Not inches. We're not talking about measuring it with edges. We're talking about measuring its basic. To wit, which stays the same, whether you shrink it down or make it larger, that height, the width is always the same ratio. And so that's what we're going to be doing for our proportional measuring. We're gonna talk about how to do it. We're going to talk about the best ways to do it and all this other stuff, but what it will help you with. And people sometimes wonder, why am I doing this? And when we first start doing, it seems really clumsy. And again, pure like why, why, why would I be doing this? Why in the world? And it's what it does now of course, you might say, well, yeah, it's, it's gonna get you closer. But what it also does is a thing that people don't understand is that it trains your brain. That you begin to perceive proportion much more easily and much more quickly. And so by going through all these formal steps. By going through the formal steps, it's going to train your brain to go ahead and perceive, oh, that's about a one-to-one. Oh, that's about a one tow one. That's about a one to 13 quarter. Oh, this is about a one to 3 third or thereabouts. You start to see the basic proportions of thanks. And by seeing the basic proportions is stuff we'll be able to draw better whether we're drawing it like this or drawing it like that. We can begin to measure to help see these things better and more accurately. And through doing that, we will get better drawings. Alright, so we're going to talk a little bit more about how to do site measuring and all this good stuff. But I want you to send there's the basic measuring, which is each individual object has a different proportion. This was almost a one-to-one. This was a one to 3 third ish. I don't think it was quite a third, but we'll just leave that there. And this was about a one to 13 quarter, very different proportions with all, with all three of these objects. And when we're drawing stuff, they all have very, very different proportions. And the measuring helps us understand the proportions better. Now if I have to draw the, the collection of objects, we have to do it a little bit differently and we'll talk about that as well. But we have some other videos and we're gonna talk more about the proportional measuring. And it really is the first step to help you in to open up a much larger world for your drawing. And it's really great stuff. Alright, we're going to talk real quick about how we, what is the technique that we use for proportional measuring? And I've got here my little sighting stick. I could also use a pencil or something of that nature to usually we have pencil in hand. If I was painting, I could use a paintbrush. So it doesn't matter what you use because we're not we're not using a tape measure. We're not measuring actual, you know, feet and inches. What we're doing instead is we're trying to get that proportion of how much does the width divide into the height or the how much does the shorter side then divide into the longer side? And that's the idea of proportional measuring. So to do this, and maybe I'll use this pencil because it's a little easier to see. Is that what I would do is you always want good posture yoga. I know we've got some distortion here because of the cameras. So my fist probably is really huge and my head really small. But the idea is that we want to lock our elbow locker, wrist. Hold it locker fingers. So we always falling in the same place. Locker shoulder. We want good posture, you know, you know, you want your shoulders back and your chest down or Tommy in like you're being pulled like with a little string, all that good posture stuff, we want to be using that. So again, in that way that we're always in the same place because if you take measurements where he started doing this, once I move it so you'd kinda thinking like you're pushing this against an invisible pane of glass. The moment I lived off that piece of glass. Or if I push beyond it because I'm doing this, the measuring doesn't work. You've got to have it at the same distance every time. So again, lock your elbow, lock your shoulder, lock your fingers in your wrist, and if it helps, go ahead and put your other hand underneath your hand. Like your point, you know, like you're going to shoot a gun or something like that. I'm trying to think of something that then some quite so violent, but where you're sighting down something, you're also gonna close one eye. So again, you'd only have one eye that you're citing down this like again, looking through, I guess you're a camera screw thing. But that's how we're going to use. And then we're going to, the way we take the measurement it is we're going to move our thumb up and down this pencil. So we look from the tip to the thumb. So if it's a small measurement, you know, very small increments from the tip to the thumb. If it's a bigger one, much bigger from the thumb to the tip of that pencil. So again, we're going to be moving our thumb up and down. I closed supporting our elbow. And we're gonna take a measurement with that. It's just a very rudimentary engaging device or measuring device. And so that's how we do it. Again, you wanna made stay in the same place each time you don't want to be rocking forward or rocking back because the moment you change it, it doesn't work. You don't want to be doing this because again, you always want to lock your elbow because that way you have a better chance of keeping in the same place. If you have an easel, sometimes people will hang their, their hand and touch like they're bored or something that drawing board. So again, they're always the same place every time they take a measurement. Okay, so I'm going to show this, I'm going to try to shoot this back behind my shoulder and show and show you show me taking some measurements of the still life that we just, we just talked about here just a moment ago. And again, proportional measuring is really great. It will help your drawing in so many ways. And what it is supposed to help you do is you don't want to sit there and take meticulous little measurements each and every time. Usually you don't want to take any more than three to five at the most vitamins a lot. And there's a point at which if you keep measuring starts to break down. Okay? And, and what we want to do is if you start measuring stuff, we want to start building our basic sensor proportion. Because usually, you know, we don't have a really good sense for proportion of measurement. So through this, through this proportional measure, we get a better sense of it so we can use it much more quickly and sketching without having to pull out a pencil every time and measure stuff. Okay. So somebody taught people that you'll sit down and watch them drawn. They've drawn for 20 years and they're experts. And, you know, I wrote one law, talks about them how great they are. And you might see that, might take this and they might do it just a couple of measurements. And they set it down and away they go. Or somebody will jump right on. In some animators, people that are used to drawing lots of stuff very quickly. Again, they have a really good developed sense of proportion. They just jump right on in there. And so we don't want this to become a crux. Some people start doing this where they don't do anything without measuring meticulously. And it almost becomes like this life raft that they just are clinging to and they don't dare let go because I'm not sure if they don't know how to swim. We wanted to be a tool that we can use when we need to, if we use it for the, you know, like our first 20 drawings, 3D drawings will start to build a better sense of proportion in our, in our visual CPU, if you will, our computer here, our brain. And it'll just make you a better artist. And that's the whole point of it. It's not to make you, you know, always take out that pencil. You're gonna get. You get, you know, experienced enough. You don't even want to get bogged down with it. If you're afraid to not take measurements, start drawing without taking measurements because again, you don't want to become a crutch that then can hold you back it because when you do this in tight job. And so you have less gesture, less freedom, less movement. All that great stuff that makes is a part of drawing as well. So proportion is just one small aspect of it. But do try it, it will help your drawings immensely. So he focused in on this so we can see these a little better. But I've got my little still life Harrison different objects. And all these obvious have a very different proportion, one to the other. Now proportion isn't how tall or how short they are. That's the relationship of objects to one another. We're talking proportional measuring is just the individual object. So no matter how big I make this apple, if I increase its size or if I shrink it down, it's a little tiny thing is proportion should be the same. Just like this cube. A cube should be a cubed no matter whether it's a low Cuba sugar or this little wooden queue, or if it's a big, huge cubed that's like six feet tall by six would de by six feet wide. It should be a cube which should be as tall as, as wide as it is deep. So at something that's independent of size, proportion is what is its basic height to width to height to width to depth ratio. So a lot of times we'll, we'll, we'll won't worry quite so much about the depth. We'll just do the height and width because that, and then we, we throw the dimension on the perspective and the volume in other ways. But we want the height and width because it's the volumes, right? But the height, the width is wrong with them. We have a problem. So let's say we're measuring this. I'm just using a little skewer. You accuse a pencil you could use anything. He's my hands. I use calibers or use whatever. But we're not measuring how many inches is, is we're measuring its proportion. So if I take this apple at its widest part, which is about right here, and I measure that and then I put this on the bottom and measure up, I'll find that this apple is about as tall as it is wide. So it has a one-to-one proportion. It is as tall as it is wide. Okay. And most your apples or like that, this one looks a little more squat. And so if I measure the height of this with my, with my, again, my little measuring stick here. If I measure the height of this guy and then I measure this app, what the why this part? If he's just a little wider than he is tall, he's just under a one-to-one. It's so small that I can't give you it's not like it's not like 1.752. This is almost just a little bit shorter than a one-to-one. If we had something like this bottle. And again, this is a wine, ice wine bottle. And I went ahead and I, and I measure the measure the widest part which would be the bottom. Okay. So that's that's how wide it is is for my finger to the tip. And then if I brought this up and I look for landmarks, the first one goes to just below this writing that says how much alcohol is in it. Then I put my finger there and we go to the second mark which is just below the a. Ok. And then I would go ahead and I would put my finger just blow the end of the third Mark begins right around where as he does sort of this highlight right here. So then I go to the fourth one, which is just about where the next star it's put this the neck that goes about halfway up here. So you know what kind of scale that so 12345, just under six. So that means the width. The width goes into the height on this thing, I guess I should have done like this. So you can see a little bit better. But the width goes into higher this thing about six times gonna put this here. And we go 123 all the way up. And so we can go ahead and again get the, you know, we check the width. Like so, you know, where's the width and that's the width line that we see. And there's, you know, again, we go over this 12345. And so we can certainly measure now with this, I was actually right on it. And so I can I can double-check exactly what the width is an exhibit and be exact about how how tall this is, right? And you can I can measure it off like I'm holding it, but we're not going to always be holding our objects. So we'll use a way of citing where we're actually gonna use our thumb and the end of this to then take a measurement of the width and then bring your thumb down to the bottom of that object and then measure up the height to get a feel for what the proportion is. So this one was almost a six to one. This one again, you always do the widest part. So this is the widest part of the EU. I've gotta kinda, Is this a little bit harder, someone trying to judge this? There are theories about how wide it is. We come off the bottom. So that's one. That's two. So two and a quarter. So this is two and a quarter times as tall as it is wide. If we did this little cup here we go to the Fed is part which is right about there. And so again, we take this, you know, this is the width. I'd measure that, right? And then I could start at the bottom, I go, well, the first part comes three-quarters of the way up the stem. And then it comes about to this little highlight I see right there. And I bring this up. So it's almost, again, it's it's almost it's like done. Was that 2.5, I think Gray. So take this again. That's the width. And then the width goes into the height, one to 2.5 times two and two-thirds somewhere in there. So again, it's again about 2 third times as tall as it is wide. And you see people do this probably, you know, on Let me move you. Somebody that we see people have their thumb out there doing this, you know, other painting or something. And that's another way of doing some very, very simple, some very, very simple measurements. So again, I could check for angles, you know, so we're going to use this as a measuring stick. And again, we're going to measure whether by running our thumb up and down the length of it. Right? And you're gonna look down the saying like you would sit down like a gun. I'll show you that in a moment. Again, if we're doing this, this pair and we took this pair, where to find this pair is about 11 third times as tall as it is, as it is wide, you know, so all these things have a different proportion. Ok? And so we're gonna go ahead and show you how to cite measure something or proportional measure because we're not doing true side measuring, we're doing actual proportional measuring is the more correct term for what we are doing. But that's fine if we know what this object is and what that object is, and what that object is. But what if we have a collection of objects? How are we know? How do we make this in proportion to that? And in proportion to that? And the answer is, is that we're going to use what we call an increment, a measure. And so an increment of measures when you take one object that I can divide, you don't want it to divide into anyone object more than five times three to five. That's that's what we're looking for. If I had a little grape on here or there were some little walnuts on here. We don't want to use that to small. Everytime you measure, you have a little bit of an error that you build into your, into your drawing. Now if we have just a tiny bit where that's fine, but usually our errors are huge. And so this gets us, you know, that sounds ominous. But so we use this method to get us closer to the proportion of the things we're drawing. Okay, so for this, if I took something that said, hey, what do I want to be my anchor and measure? Well, I could use this apple. This apple is smaller than the queue and this Apple doesn't go into anything. Well doesn't, it doesn't go in this 13 times. One. No, it doesn't. So we don't want to use this one. We wouldn't use that. We wouldn't use the pair, we wouldn't use the glass. You might use the apple, but the easiest to measure as the top and bottom. This length, the height for the cube. And then I can start over and go, how, how many cube height's tall is this object? And this object is 33 quarters. 33 quarters of this, this cube height. So the cube hide becomes our incremental measure. Let me bring this to the front of the table to make this a little easier. But I could then say, alright, well what's the, what's that increment? And so we use this increment to measure everything. Why said all right, well, what we said that was however many tall. How many wide is then we'd say, well, let's see, there's one. We can bring this back here and measure this. You know, so it's one and who knows, maybe it's about a quarter. I'd have to again, move this out of the way. And if I took I was taking an actual measurements where I'm actually measuring this, well then I actually have to be touching this. I actually have to measure, measure as precisely as possible. And it looks like it was 1 third. I'd have to touch this again if if we've done it this way, you know, so because I'm actually taking a true measurement, we're actually going to do a siding measurement where we're not actually touching the objects. And again, that's what I'm going to show you how to do. But I would use this, this, everything would be measured against how many cube heights. So I could even say, well, how much do I see of this side? Do I see a few, a full cube hided? And to me now you have it a little different perspective. But so the round objects, so we weren't getting it a ton into this, but round objects defy perspective because they're round. So now, no matter where they're out, they're going to be the same distance. This however, does not because the cameras over here and I'm over here, we have we have two different views. And so your view is going to be different than mine. But I could take the and the distances will be different too. But I could measure how much do I see it of the right side and how much do I see at the left side by using that, that height? And then I would say, well, okay, where's my height and then how, you know, that's a cube height. How many cube heights wide is that? Ice wine glass? We said, well, no, it's actually about three-quarters of the way, just around three quarters. So it's less than one cube height, it's three quarters of a queue height, thereabouts, and so on. Then we said, well, this one was more. And if we said, well, what about the apple? And the apple would be, Nope, it's about one. And you know about one. Again, about probably wanted two-fifths or something like that. So again, we're gonna start measuring this against everything. And that becomes what we call an incremental measure, meaning that this brings everything into proportion because we measure this. And then we say, how many of those high is that? How many of those wide is that? How many, how wide is this against that? How tall is this? Using that? And by using the same eager meant to measure everything out, you have everything is, you'll get a very accurate read on this, on this still life, which is what we want. So that's called proportional measuring. And again, everything has a different proportion. And to keep it again in proportion one to the other, we use one increment. In this case, it was the height from here to there, that's the height of this queue. And so that's what we're using. We could use that to measure everything against it. And we can come up with a very accurate drawing based on the height of our Q. And I actually do a quick drawing. I'm laying out using the, this method that I'm going to send you guys as well, or that's also on the YouTube site. However you came across it. But again, this has been Kevin McCain with Adam horror classes. This is proportional measuring, sometimes called siding, sometimes called site size method. But site size is actually much more technical than this. It's this on steroids. And we're not going to that we're not going to that length. So you guys go ahead and try to use this. Use it going forward with your drawing, you'll have much more success with your drawings. 7. Finding "The Key" To Your Drawing: So we've already talked about, you know, when we have, well, we have an object like this. We could take a measurement of its, of its width and see how it divides into the high and all that for individual objects. So this was about, this is almost a one-to-one. It's a little wider than it is tall. We also have this apple. If we, if we went ahead and measure this, this is about, again, it's about as as wide as it is tall. So again, another one to one. But obviously these two objects are not the same size. So we've got this, this apple over here is certainly a lot bigger than that teacup right there. And of course, this balls bigger than that Apple and this pairs got its own thing going on. And so how do we use proportional measuring to make all these objects in proportion one to the other? And that's a really good question. And the way we're going to do it is we're going to use a concept of an increment of measure. Now this is nothing new and this is nothing that I've come up with. It's a very old concept. And in this class we teach concepts have been around for a while. Some of the concepts that we teach can be traced all the way back to the Romans, the Egyptians, and things like that. So some of the techniques come from the Assyrians. So very, very old. So most of them come from the Renaissance. But the Renaissance were borrowing them from older civilizations that had done similar sorts of things. So we're going to use an increment of measure. And what that is is if you've ever looked at a map, I know these days fewer people have looked at a map or plans or architectural plans or details or whatever, they'll usually be in one of the corners. It'll tell you if you measure like a quarter of an inch or an eighth of an inch or whatever. How much that equals a foot actually equals 10 feet or a quarter-inch equals five feet. Or if you're on a map, well then maybe a quarter-inch equals ten miles or 100 miles. So this increment of measure is a way of what does, what does that little increment equal? And in that way, if you know like a quarter-inch equals ten miles on a map, you could measure a quarter inch increments to figure out how far it is this city from that city, if you're up in the Sawtooth Mountains are some, you could figure out how far this mountain peak is to that mountain peak and then down to, you know, Stanley or something like that. So increments, a measure are used all over the place and it's used in drawing as well. And it really, really helps us and it's the most important thing of time, this whole thing of proportional measuring together to really work for us and really help us to get really good drawings. So what we've got here is if I was, if I was doing or drawing this still life right here, I would want to find an increment of measure that I could, I could go ahead and measure everything by by one increment of measure. And so we would go ahead and. I asked myself, Hey, should I use this? I use that, so use that shows that. And that's a good question. What shall we use for increment of measure? Well, normally we can use an object within the still life. We can say, hey, what, there's going to be an increment in this still life that will work. And so we're going to say how or which one is going to be the one that's going to work for us, for this, for this still life. And that is a very good question. Now whenever you're looking for your increments of measure, always, always, always remember, you never want anything that will divide into any of these objects more than five times. Okay? Because what happens is every time we measure, we built in just a little bit of error. And so every time we mentioned, there's more and more and more error. So we want to measure as few times as possible in order for us to have a more accurate drawing. So if I had like little grapes up here or a little cherries, we would not use those as our incremental measure. They would be too small. Usually we wouldn't get, if I looked up here, I could use the pear, but the parent might be kinda large if I, if I have the pair and then I come over here to the cup, I'm, I go, Well, let's see. That's, that looks like three-fifths of that pair. So it might be a little bit too large. Same thing with the apple, maybe a little bit too large. But what we can do instead is we can say, Hey, what about this cup height? And I can say, well, let's see how how wide is that glass? Well, the width of the glass is just about if we come to the widest part of the wise bars down here is just a little bit more than one cup height. And we said, Okay, well that's great. And then we said, well, and then how many cup heights, toes that we're going to move the pair out of the way, then I have to remeasure this. Okay? So that's that right there is the height. And the way you take this height we go, well, how many, how many tall as this. So if you all would see, it will start at the bottom. So that's 12. And then two and maybe a 2.5 or 203rd. So and again, so part of this is like a half to a third is not that big of a deal, will still be really close, no matter which one it is, it's close enough. Most of the times we are nowhere near close enough and so are objects suffers. But again, we're going to use, we can use this incremental measure to then measure everything. So you'd say, well, how wide is this bottle? This is my, this is my height of my cup and I can say, well, let's see, this is I have to get in the way. I apologize. So I'm going to try to do this measurement. I'm going to try not get 24 in your, in your vision. But we start here, we'd say, hey, maybe it's so it's somewhere about again, 1.5 cup widths. The cap height is you get a 1.5, not, not the width of the cup height. So if our cup height is our increment of measure, we always measure the cup height and then we measure the object based on that cup height. So instead of measuring the individual heights and widths, we use this one incremental measure the cup height to measure the width and height of everything on there. And if we use that one, that one increment of measure, and we're measuring everything with that one incrementing when no matter what the increment is, but we have to make a decision. It's gotta be the same increment every time. But when you do that, all of a sudden you have these relationships that are pretty close to what they actually are and you're drawing feel so much better. And so I could use this cup high IQs the cup width because it's about the same almost. I could certainly use that, but she had used the same even if I if I lock it into the cup width than the cup width is my increment measure and it would be at the widest part. So be up here at the top of the cup. I can also use the height of, Let's get this out of the way so we can tell about this. I could use the height of the cube and it would be from this corner up to this corner, would be the height, not the back corner. Because the backwards can be taller. If I'm looking from above, looking down, I'm seeing a little bit at the top. So this is in front and shorter and this would be a little bit taller. Meaning now that doesn't mean that it's taller than the front piece. It means because of the way i'm I'm viewing it, that the thing is tipped up a little bit because of my perspective. So I'm just saying that we're ignoring the fact that we can see that back corner, we're ignoring that and we're only going to use this corner to that corner. That could be our increment. And if we take that then increments, it will not divide into anything more than five times. In fact, I think it's four of them to the top of this ball. So if we took this and he said That's, you know, that's 1.5233. So again, we could use that as an instrument to measure. We just needed large enough. Again, this would be too large. This would be too large. We need one increment. You've never you never change the increment because if you change the increments, everything changes and so you just stay with that one increment, a badger. And if you stare that one increment of measure, you will get yourself it very close to those proportions and your drawing will be better. Now when we first do this again, it seems kind of clumsy and cumbersome and all that stuff. But it really is one of the most important things you can do to improve your drawing. Once, once you've done it like ten times, it becomes very easy and fluids and seems very malleable. So again, it's just like anything kind of clumsy in the beginning, but once we use it, it becomes, this is one of the most powerful tools that you can do to create drawings that are accurate to one another using proportional measuring with one incremental measure. You want that increment a measure no more than, you know. You can't divide into any one thing more than five times, or more than five. Because again, every time we measure, we get a little bit of error. But we, even with those three or four errors, we will get closer. We may be off by a little bit, but we'll be closer than if you didn't measure it all. And this is great because this is, so this is a great, a great concept. So I teach a lot of these concepts come from the Renaissance. The entire Renaissance was 15th century in Rome, and it came about because of the discovery of Pompeii, suffering backs of some of these lost works that they thought were. Gone because they are a part of the, the, Rome's great libraries that were destroyed. And so he thought, Wow, we don't have these anymore, but those were brought back. They were discovered in the Middle East. They had been translated into Arabic. So they are brought back and translate from Arabic back into, I don't know if there are translated to Italian or, or, or, or Latin, but whichever that her retranslated. And that's what inspired all this knowledge coming back that was rediscovered from the ancient world, created the Italian Renaissance. And the Italian Renaissance really good at training artists to be amazing artists within like eight to ten years. They have the apprenticeship program. And they needed to train these people as much as possible because lots of information to learn in a very short amount of time. And so they're really good at training people really, really well. Guess what? Increment a measure. They were taught that there were taught that within their first year loan with lots of other stuff to begin to develop in their brain, the idea of proportion, and that's what this helps you do, is by using proportional measuring, but he's an increment, a measure, you become much more sensitive to how things relate one to the other and you become a better artist. It helps develop in your, your, your, your brain, your CPU, your own personal computer, whatever you wanna call it, it creates the ability to perceive depth and relationships of objects much better. So that's why we're going to use it. So increment of measure, I have another video where I'm going to be measuring, talking about that incremental measure. And it's a very important concept. Once you get it and you use it. Again, it seems clumsy in the beginning, but it is just so powerful. It will unlock so many things and drawing, and it will resolve so many issues and problems that people have. And if they never learn this concept, they will stumble over for years. It will really take, take you to that next level much more quickly. And that's what, that's a lot of what these concepts that I teach her about. And so I want you to use it. It's a powerful concept. So we're going to have, we're going to give you a picture of the still life to draw after we've talked about the different drawing concepts. And you're going to find in that drawing your increments measure to use to draw your still life. Alright, so again, this is proportional measuring. So when we're proportional measuring, we're using one increment, like the cube height. As you know, it's sometimes it's easier with something that's got a really nice point on it. It doesn't have a real nice point on. Sometimes. It's nicer with some it's nice and flat so but you can use a brush, you can use a pencil, you can use whatever. But again, we can see that the height is, it's wider than it is tall by less than a quarter. We could all say how wide is the is the is the ice wine bottle. And it's like two-thirds of the height of the cube. How, how wide is the, the, the pair is just wider by less than a quarter, maybe an eighth, one and an eighth minutes one and maybe see where does it go? That goes up to about a highlight right there and I raise my thumbs. A highlight is about 1 third. So you're gonna take that increment a measure and you're going to go ahead and measure everything else against it. Now if we're measuring something just by itself, like let's say where again, we're doing the, the bottle, we'd say, well, what's the width of the bottle? I could measure the sort of try to figure out the bottle width at its widest part. And then we could come up the bottle, start at the bottom with my thumb. K. So that will look like it was about two and measure that bottle a lot. I know it's more like 2 third or, you know, somewhere between 200.5102. But that's the idea is that still that's gonna put us in the ballpark is people would say the biggest problem is that people aren't in the ballpark at all. There are way off base. Now some might say, what if I was doing that, that ice wine, but I can't see the foot. Why no. Ice wine bottles just behind the the other bottle so I can put my thumb just above that pointing at the bottom and go and see there's one and then two, I'm going up the apple and then three now it's finally about the apple. And I can just keep going up and I'm going to find out again that's about a one to six. So that's proportional measuring and you're using, again, you're using the pencil and you're really just sliding your thumb up and down. Hold on. We're gonna go ahead and focus more on the pencil. So again, with this, whenever we're measuring, we're moving our thumb and we're using the tip and our thumb to then take the measurement of any object. So that's how we're going to use the same measure method. Remember to hold your pencil the same place every time. So you're going to hold your fingers the same way. Lock your wrists, lock your elbow, lock your shoulder. And again, that's site measuring or pardon me, proportional measuring. And so we're going to use it. It's really a great tool for drawing and painting. Again, you can use a paintbrush to do measuring as well. And it's really going to help you get better proportions. Be more creative, you guys take care. 8. What's Your Angle?: All right, welcome back. So we're gonna go ahead and continue on our journey with learning about proportion, learning about how to take measurements and all this good stuff. We're going to come back to our, our little bamboo stick now we can also again, we can use a pencil as well. The bamboo stick is just because always is the same point, can be a little easier to deal with than sometimes our pencil. So we've got this pencil and again, we've talked about how the eyes don't do well with proportion. They also don't do well with a angles. Angles can be the thing that can be the bane of an artist's existence. And intermediate artists beginning ours, even advanced ours. I've seen very advanced artists now they know how to kinda trick their line and make the line look better than when it is, even though the angles are terrible. So it is, if you learn this one concept, you will be ahead of many people that have been drawing for 1020 years. So angle measuring, it's one of the best things you can do. How do you measure angles? Well, it's just like measuring anything. So we're gonna take our, our tensile, you know, again, like we're, we're measuring. But instead of moving our thumb up and down, we're going to move our pencil either clockwise or counterclockwise. Okay? You don't want to tip it forward because that's three-dimensional. You don't want to tip it back. So, you know, we're gonna go ahead and let's say I had my head angled like this. I can take that pencil and lighter right up down my nose and that shows me the tilt of the head. If I had something like, again, let's say we have the pair and we're drawing this pair. Again, we can measure the angle that, that pairs leaning by taking that pencil and leading it. So what we do is you're gonna, you're gonna go ahead and take your pencil and take a measurement. And you're going to ask yourself, what time is it? So is it five after? Is at ten after or is it quarter after as a straight line? There is no angle with a straight line. So we're going to go ahead and ask ourselves what the angle is and that's angle measuring. We're gonna do that as I do the final drawing, we're gonna do a little bit more of this angle measure and talking about it. But it's essentially just lighten your pencil up with the angle and then ask yourself, is at seven minutes till as a 12 minutes til that's angle measure. So I know we're talking a little bit about some angle measuring. This is, we're going to take this and we're also going to show you how to get. If I have an angle here, I can, of course, I could be far away from it and still, you know, still using my little stick. But I can measure, hey, what is this angle that shows the angle of this going up to that cylinder or the rectangle. I'm a part of the course you're in. Or we can we check this angle and if it's symmetrical, they should be the same. But this is a really good example of checking an angle. If I'm trying to see the angle of the foot of this again, I could put my little my little skewer up there and check the angle. This angle, this would be about 12 minutes after the hour. So this one would be about 12 minutes til the hour. So again, that's just that's angle measuring. He didn't even take your little stick or your pencil and try to check the angle of that object. And then you, you know, you try to refer to it as a watch. Look, think of it as a watch. What time is it? It's at 13 minutes after, seven months after. Three minutes after, what is it? And if you do that again, if we're really helped your drawing so great example of angle measuring when we use it. Anytime you don't want to know what the angle is. So you'd use it with construction drawing, you use it with proportional measuring, which is what we're doing now. And site measuring, these different things. You use it all the time. It's a really great concept, so use it. Why not? And if you do, it will really help you. Alright, launch it, Ginny, just go ahead and jump back into the class. I hope you enjoy the videos. Keep at it and I really, you know, I appreciate you burn your way through all these different concepts. All right, enjoy take care. 9. The Act of Proportional Measuring: Alright, so we've talked a little bit about the sediments or method. I just wanna give you a little different angle at it. So if I'm drawing, I'm gonna have my, my drawing board on my knees here. I've got my table right here that I've got the drawing board on. And of course have my pencil to do the measuring. Remember more measuring. We always want to have good posture. When shoulders, back, chest out, tummy in, just that good posture stuff we'd better on your back, straighten your back. You also want to go ahead and square your shoulders. Make sure you're not moving. So square those out. Lock through your shoulder, lock through your elbow, and walked through your wrist and then have your pencil at the same place. That all time. So I'm going to lock my fingers to so Locke here, here, here and here. So that way you're always measuring from the same place. So even though I might be moving my pencil up and down, it's the same distance from my eye. Now if I was actually doing something where I was doing more movement than this, I'm not moving so much in this still life. But if I was in a class where I was doing portraiture or, you know, doing a room or something. And I'm still cite measuring or what we call proportional measuring. You would actually tip your head over and down so that your eyes are on your shoulders so that they remain the same distance. Because if you start doing this, It's closer to your head. And if I dropped it down towards my, you know, my leg, it's gonna get further from my eye. And by tilting your heads and laying it on your shoulder, that keeps that from happening. We're not going to need to do that for this class. But I went, you understand you, you'd wanna do that if you're measuring stuff up here, then stuff down there and stuff up, you actually turn your head and late on your shoulder. And that way, the pencil stays pretty much the same distance from here on it. But so we're gonna square shoulders, good posture. I could go string is pulling us up, you know. So yeah, we have that nice, nice posture stuff. And we would then start and this is how we'd measure. Now, if I'm having a hard time keeping my my hand from jiggling. Put your other hand under it to support it and you'd have to take this hand, put it against your chest and your core or we would tell me or whatever but your trunk. And you're gonna put your hand under under your arm. And that way you'll get really nice and steady. Okay? So that's a way of doing it. And then we can just take our measurements using our thumb and the end of the pencil. We can then take our measurements. We can also turn this to check for angles and ask ourselves what time. That's how we want to use of this is the correct posture. If we're sitting obviously and we are sitting, we've got the sun on our knees and all that good stuff. And again, sit up nice and straight. And again, this is where we start taking our measuring and start going, how much is this to that, to this, to that and so forth and so on. So we've got two other parts to talk a little bit about measuring, but I wanted you to see that this is, this is how I've set up a government board here and have my paper taped to the board. You know, my pencil for my measuring, nice good posture and my my still life is out in front of me so that I could didn't take my measurements on that, on that Still Life. And again, I can also measure the angles and all kinds of good stuff. So again, this is the posture and this is how we'd be, you know, in terms of the city position with our board and taking measurements using the proportional measuring system, where we're measuring the width versus the height of our different objects. Or we've, you know, doing a collection of objects, we have the increment of measure and we're measuring everything against one height. So if we're doing the increment in measure one height. So if I said, oh, it's my apple height, well then I keep measuring the apple height and then dividing everything by Apple heights and then drawing. So again, this is going to be how you're going to, you're going to be doing it, drawing for the still life and all that good stuff. And so yeah, just go ahead and keep on watching the different videos. We're getting closer and closer and closer to r. We're going to have you sit down and do a drawing. And from the reference that I've got watching the video, how I do it, and then you're gonna do it. And again, if you employ the techniques, it'll really help you. And then the most important thing you need is practice, practice, practice, practice. So go ahead and keep watching the videos. I really, I'm really proud of you guys is you're hanging in there and you're keeping on with the course. And, you know, I look forward to seeing what you're, what you're gonna do and I hope you're excited to see what you're gonna do. And you take care. Bye bye. 10. Centerlines Keep Things Straight: All right, welcome back. I, I really applaud you guys for continuing to work the class. Again, we are dealing with concepts that can be a little, little strange. Again, the word we're still kind of working through some of this stuff so we can start actually drawing and using more of these concepts. And that's the exciting part. If you can just go ahead and patiently make it through doing the lines and doing the circles and doing the square is neutropenic goals and the cones and the cylinders. It's good stuff. Don't, don't get me wrong. It is so important. But I also understand that sometimes it can just be a little bit, you know, kind of the gist, not near as fun as getting it and drawing stuff. Or we're really getting ready to start drawing some stuff. And the concept we're going to talk about after proportional measuring is where templates thinner lines. Now sterilize is when you have something like this is called symmetrical. Which means if I took this with a vertical line and cut this in half, or it can even use this little thing to try to see if I can line this up and have, it should be the exact mirror image on both sides. When we use centralized, we use it to help us have something that's symmetrical, something that's truly the same on both sides if we could have vertically, now if we couldn't horizontally, It's not the same top to bottom, but it's the same right to left. And that's what's going to that's how it's going to be with most bottles. You know, if I've got a little in a little ball like this or a bottle like this. Again, it's the same right to left if I cut it with a straight line. And again, we can use this to help us imagine that the little secure, but it's the same right to left. So whenever we draw stuff, we're always going to use center lines. So that's what we're gonna do. We're gonna talk a little about centralized, watch the video, try to draw a couple of things. Grab a bottle, grab a cylinder, grab whatever. In fact, in drawing the cylinder is drawing the cones. We were already using center lines. So go ahead and grab anything and try to draw using a center line. It's a great concept. And it's going to, it's going to help us for another powerful concept that we can, that's called mirroring. How do you take the same words like, oh boy, I wish it was more symmetrical. We're going to talk about how to do it. And I'll tell you what. That's another thing where I've seen people that have been professional ours for 20 years. That's still either they don't care. I know some of you were like I can make the lines so great that you'd swear it looks great even though you know it's not symmetrical. By the way, those are the row magicians. And there are some people who were all look at their drawing. Go look. I know this is not symmetrical, but the drawing is great. And how did they do that? And that's that's where it's close enough. But you know, it's, it's not dead on. And yet something about their line work. You'd never notice it. That is the amazing part. I talk all the time about as artists, we're illusion, illusionist. We are magicians. We're trying to trick the eye into believing there is volume where there is none, were trying to trick the eye to believe that we're actually creating an image of something where it's really just, you know, graphite and wood pulp or maybe cotton, cotton, cotton pole or what have you, depending on what the paper is made from. But where it's really just this basic rudimentary stuff, but we're tricking the eye and the thing, it's actually something and that is magic, and that's what we do as artists. We create magic, we create illusions. We make people feel things and see things. Share in, in scenes and visions and experiences and ways that you can't quite catch any other way. Can do it with photography, you can do with sculpture. It is something unique and I don't mean you can't do it in a different way for sculpture. But I'm saying there's a unique way within the visual arts of captivating your audience in a way that's very different from some of the other, you know, other mediums. Not that those mediums or bad, it's just that it's unique. And so that's what we're doing. We're creating these illusions and we're making people believe in stuff and experience stuff and remember stuff from their passive convenient. It can be powerful and it can be sublime, it can be refreshing, it can be joyful, that can be happy, can be all kinds of different things. And that's what we do as artists. And so what I want you to go ahead and we're going to have you watch the video on center lines, and then we're gonna go from there. All right, so again, stay with it. I guarantee this stuff will really help your drawing. And again, it's just something that you just, you know, keep on going, keep on going and keep trying to work at there is a method behind the madness, and again, it will help your drawing. So go ahead and stay tuned. And you know, again, I appreciate you and I applaud you for taking this class online and really because you have to do it. So you're going to watch the video and you can try to draw a few things with the center line is somewhere you, you can't just watch. Gotta do it, and it's in the doing that the magic happens. So you go ahead and make the magic, we're going to come back. We're gonna talk about some of the concepts. But again, it's so great having you in this class and you'll stay creative. Stay tuned. So right now we're going to talk a little bit about us thinner lines and axis lines. So sertraline is just supposed to be a straight line that cuts an object right in half. So that if I'm drawing something like, oh, let's say I had a little, a little vase or something that I was drawing. And let's say the vase was coming in. Say something about like something about like this. That Cin line is to help me. So that's 1.5 of this, or the both halves of the same. And so I've drawn this and both of these halves are not the same. This is actually pushes this way a little bit more than that. And so if that's the case, we can use the center line to move the object over so that the object again is more, is more symmetrical. So this right here would be much more symmetrical than then it was just a moment ago. And I'm gauging this half. Well, maybe I'll so it was gauging this half that the line divides. That was gauging that half against this other half are right here. Maybe I'll make this a broken line. But this is where I was. And again, it wasn't. Symmetrical and so what we did was buy, I was using the line to gauge, was eyeballing it to be the you know, but I was I could tell was off and so I went ahead and said RA using the center line. I think something like this ellipse is a little loud, but we're going to go ahead and use our imagination and say it's not that bad. But we said, All right, well we'll go ahead and use this center line and try to get something that's more symmetrical. So Sarah Lyons can really help us with symmetry. And especially for putting ellipses on here and other stuff. Again, if we're going to have an ellipse, what are we going to do? We're going to have a straight line going through here. We're going to have the center point, the minor axis. The major axis. There's all these things we're going to want to track to make sure that this ellipses as a little better and this ellipse already I see. Yeah, it's it's kinda leaning a little bit. It's a little out. This is up here, this is down there, just a bed. This is the edge right here. Or the widest point, which means that's at a slight angle. So we'd have to, we'd want to, we want to fix that. But anyways against center lines really help us for the basic symmetry. Now there's a technique we're going to use. It brings things even into, into even better symmetry by using a center line. And so center lines are very powerful tools that are sometimes not given enough credit for how powerful they are. But anytime I'm drawing anything that's the same on both sides by let's say I had a little teacup that I was drawing. And let's say this little teacup was came in a little bit or something like this. While I'm drawing this, I can use my center line and again I can see, oh, well nope, this actually needs to know pushover or this one needs to come in. Again. I could go ahead and Go ahead and try to bring it in to symmetry. By eyeballing in. This angle is off. And so we're young, we could actually use some measuring technique to check that out. And that's a way of helping something like this is by using different tools and measuring whether it be just somebody who have really good eyeballs. Most people not so much. In fact, most of us have downright terrible eyeballs. And so there's different techniques that artists have used literally for hundreds of years to, to check whether they've got something that's the same on both sides where there's something symmetrical or not. Again, this is my little, my little tea cup. And again, let's say it has a little foot that comes out here like so. And, you know, whatever, you know, this would be this would be the little foot. Again, I'm trying to think of the curvature of that ellipse. Ellipse is actually tipping a little bit. So I know that because of the center line and different stuff and different things like that. But, and again, this is a little still a loop. This isn't perfect by any stretch of the imagination. So, but, but it's, it's much better than if I didn't use a center line. And then I could also put the little There's the little handle for the tea cup that comes off of here and then returns back to there. And you can, you know, whatever. Start to draw. This little little tea cup. Then comes up here. And then this edge comes in front as this is the and then this right here is the bottom and then the top comes in front and you have this little ridge. That's the edge that we can see. That's the one that faces us. Okay? So it's turning under and then it reveals under through here, this is going over and it reveals as it turns over labs and if you see the backside of it. So this my little teacup. And again, it helps with that center line to keep it more symmetrical. Now sometimes we have things like a pair or an apple and they usually lean a little bit. And so when we're dealing with those, we use what's called an axis line. And the axis line gives us the lean to that, to this pair is not standing straight up. This prayer leans a little bit and it leans because I defined the lean with that axis line. So even the, we understand that the and I'll have taken from other people have seen the Earth from space, but that the Earth actually leans on an axis. It's not straight up and down. It has an axis. Again, let's say we had an apple that leans this way, or maybe not, maybe it doesn't mean that much. That's quite a bit of, it's quite a bit of a landslide, a stranded up a little bit. But we say, okay, and this is, this is our apple. Apple comes down through here. And then or Apple comes over here. And so yeah, it has a lean, it has one side and it's not completely symmetrical. It's it's, it's what's called a approximately symmetrical. But it's not completely symmetrical. It's, it's it's, it's just, it's a little different. And you know, we understand that. Well, if you ever picked out apples and the store and taking a look down there, always a little frumpy this way and a little frumpy that way. And you know that they've got some rogue character tone. The apple that is, and so we'd say, all right, we'll put the stem on. So we've got, again, this will apple here real quick. And this apple again has a little bit of a lean. And it leans slightly this direction. So which if it's lean that way, the foot usually, well, not always but loops. So I'm Phil off that we have the sketchbook fell off the edge of that off the table. But again, so this might be in line, so this might be straightening, this has a slight angle, but the idea is the fact that that right there gives us the information of this apple. And then this is the back of the Apple going back behind it. So, and again we used an axis line. And so the axis line, you try to envision where the stem of the fruit is. And then you're trying to envision where the flower of the fruit is to the flower would be underneath where the flower side was. And this is, this is an axis. And axis and axis line. Can, can lean is still supposed to be a straight line, but it can lean. So this is a leaning axis. So that's an axis line right there. That's an axis line. Whereas these are supposed to stand straight up and these are center lines because these things are, well, this is a ceramic piece would be spun on a potter's wheel. And because of that, it's very symmetrical. This would fits a cop. It also would have been done from a potter's wheel or something. So again, it would be using a center line as well, which again, it's best to be the same on both sides. And if I was drawing bottles or what have you, all kinds of different objects, anything that's the same on both sides. Someone's, if I'm drawing a portrait and I'm drawing a front view, well then I'm dealing with symmetry. Things that are mirrored or the same on both sides are symmetrical or mirrored. And so this should be the mirror image of that, this side would be the mirror image of that side. Now these are going to be fruit and fruit isn't very rarely the exact same. It's approximately the same, but never the exact same, or very, very, very, very rarely. So these would be axis lines. But by using the axis lines and using similar lines to draw, we can get things to look much more symmetrical, a little less wonky if you will. And so give it a shot. So that's really great. It's a great practice to get into whenever I'm drawing some symmetrical, the first thing you'll see me draw as a line, and it's either a center line or an axis line. So that's the very first thing I draw, draw, okay, here's my center line at the very least. And then I'll start drawing the object. So again, using a center line to draw with is a very good habit to be in. It's just like, you know, having your hands. If you know how to do keyboard, you know, putting your hands in the right place with the keyboard to take advantage of the so that you have the optimum ability to use your fingers and dexterity as quickly as possible, or by placing your hands and middle C, you know, for, for playing the piano or getting, you know, if I'm playing the flute of the trumpet to get your fingers in the right order. This same sort of thing. We're always gonna be using center lines and different things, dividing things up for our drawing. So again, this is using a center lines and axis lines used in your drawing. It is the most important thing. If there's any one thing you can learn from me, do that, it will really help your drawing. Now of course you do it lighter than what I'm doing because you want to erase it. So but nobody knows. That's how you did it. But I was trying to make it a little bit darker, so on here. So as we're, as we're reviewing this, hopefully you can see very clearly the line. If I was normally drawn this, the line would be faint. So I can get rid of the line so that no one could see that it was there. The align this dark, I wouldn't be able to erase. I wouldn't want it that dark normally. But go ahead and use this in your drawing. You will help your drawing or anything else. 11. Diagonals Are Powerful Tools: Alright, so now we're gonna go ahead. We talked a little bit about the concepts of proportional measuring. Now we're gonna talk about one of the, probably one of the least taught concepts in colleges today. And yet it's fundamental to help us learn and understand about drawing and painting. We use it in composition, wi's and all kinds of ways. It's how to take a rectangle and to divide it using diagonals. We refer to it as the armature of the rectangle. This is gonna really change your idea of how to deal with proportion. Once we know how to break up a rectangle using the diagonals, we can break it into halves and quarters and thirds and you know, eighth, ninth, seven-sixths. And we usually don't use more. We want to understand how to do it in halves, quarters and thirds that we must know. And once we do, again, it will help our drawing and all kinds of ways. Alright, so go ahead and watch the video on the armature of the rectangle. You may have to watch it more than once, watch it twice, watch it a third time. But it is so important if you can get and it's, it's just, it's kinda a little unusual. It's it's, you know, once you get used to it, it's not that big a deal. It's basically tic-tac-toe within a rectangle, but we're using the diagonals. It will just change. You're, you know, drawing in a way that can't be done in many other ways. And again, it's something that's not taught enough. People are constantly, I bomb just eyeball and I'm just eyeballing it. This takes the eyeballing out of it. And the reason we do it, because again, some of that I have is this. So Kanzi, Wow, I don't want to use this. It can seem like that when you first do it, but if you can go ahead and take the time, take the patients to learn to make a rectangle and you can do it with any rectangle. That's what's great. It works with anything that's a rectangle. It also works for parallelograms. We're, we're not doing perspective, but it works in perspective to, it is one of the most fundamental and amazing concepts. And again, it just isn't taught enough. And, and even so I didn't tell you, I teach students is concept and you see the lights go on. And a really good helps, helps your brain to start to process, understand better about proportion. It will, again, just once you get used to it, it'll open up a whole new world. You'll never look at things the same again. So armature of the rectangle, it is worth it. I want you to watch the video. After you've watched the video, do three rectangles at the very least, divide one rectangle into halves, another rectangle into quarters, and the last rectangle into thirds. Give it your best shot, hanging in there. Go ahead and watch the video and stay tuned. And so it works with any rectangle of any size. And again, I can do it for hand sketching. You know, if I was sketching a rectangle like so. And I said, all right, well, I need to go ahead and again, find the center of this. The easiest way to do that is to use the arm tremor rectangle, which says that if I go ahead and I take the diagonals. And I cross the diagonals, I find the middle. So I uses for sketching all the time. And we'll have some, some upcoming videos that show how I'm going to, how I would use it and so forth and so on. But in with classical drawing, you end up starting, you start using the Rectangle and core shapes like circles and triangles and other things. You use them a lot. So we're going to start with this, with this rectangle. So I'm gonna go ahead and draw a very simple rectangle. And thing about a rectangle is if I don't, and by the way, if I have a line and I need to, I need to divide a line in half. I can of course, eyeball it and hope and pray to to whomever that I get there. And then I make the, It is right. Which rarely happens. And you're never gonna get like dead on. But if we're within like a 64th or 32nd of the edge, for most people there were like, Yeah, that's right on. So I'm going to, I'm going to start with this rectangle now again, a works with the rectangle. And remember that squares are part of the rectangle family. They are rectangles that have the same tall is R1, but they are in the rectangle family because rectangles are any two set, or it's basically rectangles, two sets of parallel lines that meet at 90 degrees. So this angle right here should be 90 degrees right there. And that's a rectangle. So squares of course, should conform to that. Now again, if we want to find the middle of any rectangle, now what were these? Were these lines meet these points are going to, we're going to refer to these as eyes. The eyes of the rectangle are always watching you. And if, if I go ahead and I want to find the middle of any rectangle, the old adage X marks the spot is true so I can take and make an x. And the x is going from the top right corner to the bottom left corner, from the top left corner to the bottom right corner. And where they cross this right here is the middle of that rectangle. And I think it started a thought, I didn't complete it. And that is if I have a line, I want to divide in half, I can easily, you know, if I have a line like so. Now usually it's the longer lines that we have more trouble with like that small lines, we have a little easier time because it's a little easier to jump between right-to-left and kind of guesstimate. But if I need to find what the middle of this as I can, I can easily make that be a side of a rectangle. Had if I don't want to divide this in half. Once I've got my little rectangle there, I can think, oh well let's see. Go corner to corner, go corner to corner. And then bringing that down, that's the middle that should be about. And I can double-check is when your hand sketching again. It's not gonna be perfect, but that's pretty close to the middle of this line. And then I could just erase this off so no one knows how I used it. I am going to be drawing darker this today with these than I normally would do. But again, now and this is the middle a little bit, but the idea is, is that this cuts this rectangle in half, both vertically and both horizontally. So it cuts this thing in half horizontally and vertically. So and not only that, but the rectangles that I get are the same proportion as this rectangle. So if this, if this width divides into this width, 1.5 times, so if this was one and this was 1.5, in other words, this was 1.5 millions, this increment plus half of that. So a one to 1.5 rectangle. These rectangles are also one to 1.5 rectangles. They stay in proportion. Now. So I've got the halfway point. If I want to find a quarter, I could take any one of these quadrants. And I can go from corner to corner, corner, corner, just like so. And what I've done and I can take this over again. It can go up here. It can go vertically. I mean, I could bring it up onto this line to if I thought I wanted to or I can bring it over. I'll just bring it up here so I can see I can't see over the top of the so many of you use it like this. But if I go ahead and come over here, I've divided this line, half of a half. And so this is, this is my halfway point, this is my one-quarter, 0.5 of a half. There's one quarter. And if I wanted to, if I turn these into little rectangles like so. Whoops, missed it a little bit. Again, these rectangles are the same proportion as these are just getting smaller. I can take this, divide this in half. And again, I could bring this over vertically arc and bring it over horizontally. Let's go ahead and bring this above. So I actually see the point I'm looking at. Now. This point is half of a half, a half. So that's one half, half of a half as a quarter for this guy right here. And this guy right here is one-quarter. So I didn't bring the eighth down, but this one dropped vertically was one quarter as well. And if I wanted to, I could bring this down. This will, you know, I could bring this down here straight to divide this into 1 eighth as well. So this is the kinda cool partisan, divides the vertical line, but also divides the horizontal line. And. If I again divided these into half and divide those and a half, this would be 1 eighth. If I divide that in half, we'd get 1 16th. If I divide that in half, I have 132nd. If I divide that and a half, I have one. I have a 64th. Welcome to the imperial basis apartment. Welcome to the basis for the period measuring system that we use today. It all goes back to armature of a rectangle. It's a very old, old way of dividing and proportionally dividing rectangles. And that's the basis of the imperial system that we use for inches and feet. Kinda cool. So anyways, we've got that again. We could do sixteenths, smaller and smaller and smaller, but we usually will never really. And I'll have no, I don't, I don't do eighths too often. I'll be like, oh, that's a half of a quarter and I'll just eyeball it. But if I needed to, I could go to eighths. So this is a great way of cutting a rectangle into halves, quarters, and aids. Now what if I want to do six thirds and ninths? Well, that's good question. Or when we divide this in half, we created these midpoints on this rectangle. And to find 1 third, all I need to do is I have to go from a main corner. These are our main corners. Right? I have to go from a main corner to a mid-point. These are our midpoints. Okay? So if i came from here, two, from this main corner to that midpoints, it will help me get a third OR income from this main quarter to this midpoint and that will help me get a third, or it could come from this quarter to that midpoint, and it will help me get 1 third. And the way we get 1 third, and I'll do it over here because I don't want to mess them up, you know, whatever. Well, maybe I'll do both sides. So let's say I go from this corner to my midpoint. Kay? So I've gone from one corner to my midpoint and where it crosses the main diagonal. This point right here. This is 1 third. Alright? So again, I can use this to find 1 third. Or what if I wanted 1 third from the top? While the quick way would be to measure this with my thumb and my pencil and come up here and market. But if I wanted to use this method, I could go from the main, the main corner here to the midpoint up there. And again, we're, this diagonal crosses the main diagonal, which this is the main diagonal. And this is from a midpoint, pardon me, from a midpoint domain corner. So where these two cross, that's 1 third 2. So I could bring this straight over to try to get this good and straight. So that's 1 third there. And then we could bring this straight over. We could also drop it down vertically to remember it divides not just horizontally but vertically, it would divide this line into 1 third, if I brought it straight down, woops, that's Squeak and a little bit. So this right here would be a third. So we have 1 third, two-thirds, and of course three thirds. And sometimes when people see this like what would I ever use this for? And we use it for, we use it for composition. We use it for proportional construction. So usually, like if I was drawing a bottle or say a pair or anything like that. And I said to him, the bulb of that pair is the bulb of the pairs like halfway then the cone up here up top is the other half. I could use this to help me draw out the idea of the pair based on weren't certain landmarks head. And so that's what you can do with this thing. If I'm drawing a portrait and I go, hey, the hairline to the brow is a third, and then from the brow line to the nose is a third. And from the nose to the chin is a third, which is the case with portraits. I can put, I can put a, a, and I've got my little egg shape. And I can say, Well, how am I going to divide this into thirds? I could try to eyeball it, or the easier way would be to put it into a rectangle. Like so. And then divide this thing up. Whenever you do armature rectangle, you always start with X Marxist spot. And you, whoops, this isn't quite, this isn't quite square. That's a little better. That means this would be here. That's gonna move that a little bit. But anyways, it's not gonna move it a ton, so it's gonna be much better than I've eyeball it. But again, you always divide it, you know, through the mid point vertically, horizontally. And I'd say, well, here's my midpoint, there's that, there's my and so he said that's 1 third, so I could bring that over. That's 1 third of my, um, my, my egg shape. I can say, well, I need a third down here, so I go, Well here's a midpoint. No, that won't work. Alright, let's do this from here to the midpoint will cross there. Alright, it's kind of likes to do go on steroids. This is, and so again, I've got 1 third there and I can bring that over. And now I've divided this into thirds, 1 third, two-thirds, and three thirds. And very quickly, you can get set up instead of eyeballing and then moving in an eyeballing and then moving. It's a really great, great thing to help you whenever you're drawing. So again, what we're calling this is the armature. People can read my writing armature or of a rectangle. So anyways, this sound a little fun. So arbitrary rectangle. And again, it seems kinda, you know, when you first start drawing it seem kinda weird. Or stoic or that's not how people draw. But in classical drawing, especially they use this all the time. And there's really nothing better. And once you start to use it in a fluid way, you can erase it, get rid of it, and then continue on. And you're, you're starting off at a better place because you know how to take a rectangle and using diagonals, you can divide it up. So I hope that you take this and can use it will have more videos on using this while drawing stuff. And meanwhile, you know, get out there and be creative. My name is Kevin McCain, and again, I'll have more videos on other aspects. This is one of the, this is one of the fundamental things to understand for drawing. It really is. It's a part of a whole bunch of tools that we use while we draw. And by itself can seem kind of, again, kinda strange and stoic and a little, a little dry, a little just it's HASA rectangle that's so well, but you can use it in a lot of ways you would never, never think of otherwise. And once you get into perspective, and if you're doing cityscapes, drawing more cycles, drawing cars, this becomes invaluable. Portraits like I saying, fruit and, or, you know, we use it in composition to break up a rectangle. Again, artists use this all the time. It is a classic. It's a classic tool. So I hope you use it and be creative with it. Have a good day and take care. 12. Mirroring Technique, It's the Answer: All right, so today what we're gonna do is we're going to talk about using center lines. And so sinner lines are powerful tools. So whenever, whenever we draw, we're always going to want to use a center line. Okay? So let's go ahead and now I can do wanted to his IQ that start with the center line, which is best. Or let's say, sometimes I'll have people say like or not say, let's say I drew something where it's an array. When we went through a little, draw a little, a little vase. And, and let's see. And we said, all right, well, we'll go ahead and draw this little vase. And and this little vase is comes over here and it kicks out. One little thing that comes out a little bit. And then it comes in. And usually when we're draw something like that, like this, what happens is that we have something that looks like, let's go and do a really, now, most people will do a much better job than this. But, you know, you can have something that's that's this off where you've got. See if I can get away with making this a little bit dark without having to go nuts on me. So I might have one that side that's like this. And again, this is a very extreme example, but, you know, you know what I'm talking about for anyone who's drawn and try to draw something the same on both sides. It's very, very difficult. Okay? So there's a technique we can use to help us with the symmetry part of this. You know, we wanted to, we could check to make sure our ellipse is straight across, but all that good stuff. But first and again, this is an extreme example. If someone looks mangoes, Wow, that person can't draw at all. Where I'm really trying to exaggerate. Again, how bad it can be. No one's ever drawn something quite this this off. So this is an extreme example, but let's say now I'm a left-handed person. So that means that usually the, the, the side that I find and I want to emulate is on the left. If you're right-handed, you're probably gonna want it on the right. So the first thing we want to do for symmetry and for mirroring technique is we're going to use a center line. Now, if you're, if you could draw yourself in by hand, and I'm gonna make this darker than what I would ever normally draw, sell on because you want to draw it, erase it so that no one ever knows you used it. You know, this is part of our illusion, you know, just like magicians, you, you know, you don't want it to be obvious how the illusion was created, but we need a center line to start. The next thing we need to do and curves are the hardest. If I had something that was like something that was very square, like, let's say we had a square neck and, you know, whatever. And let's say it was a bottle or bottles fairly easy. There might be a little bit of an arch to the top, but now might be, well maybe we'll make that end of the course on because that's already at the top. You can't really see what's going on, on, off there. So let's let's let's go ahead and just take that off. Let's say this was the top. Let's move this down just a bit. But this is our top right here. And again, let's say it was something like something that has cylinders like I have like there's a little spray bottle that has a little spray parts, you know, so it's got that on top of this and then this, the container for the water is really just another it's a cylinder. So if we strayed a cylinder out, well, it's a rectangle, a very, very simple because it has no curves. So if I had a center line there, we have a center line. This is, you know, as long as they're sterile and straight. Wow, that didn't happen today. It looks like I didn't do my warm-ups and it's showing a kilometer to straighten this out. So again, that's, that might be strain up to use for a center line if it's not straight enough. Keeps moving because the sketchbooks, so it's, it's movable. I could just come in here and just Street it out. Okay. And get it just super straight. But again, this is easy because all I have to do is make sure that this is the same distance as this all the way down, right? No big deal. Curves are much more complex animals. And so if we're gonna do this with a curve and let's say we started off here, which is supposed to be the widest part of that ellipse we're going to start and we always start with a starting point and stopping point. So this is the starting point, this is the stopping point or this is the starting, that's the stopping. But we're gonna pick along this curve at least ten points for the curve. And usually will always put one down sort of in the middle where the curve starts with it starts occur out. Put one there. The curves of the hardest. So usually that will have, you know, my, I'll put one here and one there. And the more complex the curve, the more points you might want. But usually we want between 810 to start. We have to add a couple. That's fine. But if you get to me, it's going to be a little nonsensical. Now, understand that I'm making these dark little dots. I would never do this on one of my drawings. Because again, those little dots are going to be just gonna, usually going to be harder to get rid of. So as you know, so unless I made really, really soft, but I'm just trying to put the dots n And we got what? 12345678910. So got ten dots. Probably won't one right here. So there's 11. I'm thinking probably get away with that. Anyone who's done computer art, if they're like Man, that starts to look like vector, guess what? This came before. Vector. Vector is based on this technique. Okay, so anyone who's worked in Adobe Illustrator or I can't, there's so many different little guys out there corral draw. And then you got tons. A little ones are sort of, you know, freeware and out there that do the same thing. That's what it's based on. So we're going to use, and again, this is for obviously are symmetrical, which means they're mirrored or the exact same on each side if we cut them in half. And that's what makes this possible because they're supposed to be the exact same side. Sex, same thing. This gets a little weird towards the bottom, a little thicker. And so I'm going to try to see if I can. Okay? Alright, so that's going through the middle there. But what we need for this to work is we have to have the points, we have to have a center line. The next thing we have to do is we have to have we have to have straight lines going across. Going across our might be a little big. We have to have straight lines going across this thing. So we go ahead and line this up. It's got a little triangle window here in the middle. We can go ahead and line this up again, nice and straight. And again, I could do this. I usually sketches by hand. But just to show you guys, well, that cut off a little bit. That's our Australian in a moment. So usually alter all these by hand. Okay, so maybe that's going to turn this. Now, that's fine. So okay. And since they're both line, it just shows me how to walk my ellipses. Alright, so I'm gonna come over here and get this all nice and straight on there. And I'm trying to actually cut this little dot right in the middle. And it's kind of hard because I'm trying to look around and through my little, you know, this, this triangle. I'm guessing if this seems like these are going. Let's see if we can get these over here. Yeah, there we go. Alright, so we'll go ahead and you can line this up nice and straight without their prey in our life, we have to have these perpendicular lines. And if you just use the correct term for those true corners, it's gotta be 90 degrees or true corner to that center line. Or as we call it perpendicular. So we need those per band eq ER lines. Needham, neodymium gotta have. So we're gonna go ahead and draw that across. And there we go. See if we can use this Backwards. Backwards. We have turned up don't weigh. Lets R know you help us to get here. That'll be our next one. I have to push these out, by the way, just realize it's not being not belong up. Okay? And so again, we'd have to have these, these are these nice perpendicular lands over this work. Now sometimes it's easier if we turn it like this. So sometimes it's easier to see if this saying is 90 degrees, my turn it into k. And so don't be afraid to get arrived. Up gets. But anyways, so we're gonna go ahead and 0 at these are, these are then going straight across that line. So now for this to work, again, if I'm sketching, I'll just go ahead and use my, my thumb and the pencil and we'd go ahead and use it that way. Or we could, if we wanted to. If we have like a piece of paper, I get pull out my little sketch book, newsprint because it's just cheap. Rip a piece out of there. And let's say, OK, well we've got their little little piece of paper here and this is my my, this'll be my measuring device. So this right here would be my measuring device. And this little, this spare piece of paper. And what I can do now is I can take this piece of paper. And I'll just again, I can measure this with my finger or if I wanted to make it more accurate, I can measure from here to the center. And then we have to make sure, you know, if we come from the center over there is equal distant K. What we've done is we've, we've mirrored this distance here, has been mirrored over this distance there. So that's what we're doing. We're baking, we're mirroring. And that's what this technique is called. It's called mirroring because we're taking, now, we're gonna do some little notation here because we don't want to get lost in all the different marks. So this one goes here. How do I know the difference? I'm gonna put a little triangle underneath it. Okay? And there were a Cobra here and go keywords that triangle, whereas the Triangle land and triangle should land right about, right about there. Okay? And we've got to bring it down onto the line that's a little bit above the line. That one's a little bit above the line. We're gonna make sure that's on the line. Then we're going to go over here again, measure. And again, we've got it hits the line right there. And I'm gonna put two little triangles. So keen on trying to keep from getting lost. And all these little marks this can become, you can just imagine with 11 different marks. This is going to start to get really, can get really weird really quickly. But again, by doing this, we're going to have placement. Of the exact point. And I want to add to this one has three. So again, so I know which one I'm using now and of course I'm left-handed. So I'm going from the left to the left side over the right side. I needed to be on that line. That line doesn't go long enough. So what am I gonna do? And I'm going to get this thing, and I'm going to lengthen my line. Okay? And so we're going to end up with a little dot to dot, but this Dr. Dava is the exact same point on the opposite side. And that's what we need to have this thing be symmetrical. Now are, I've mentioned before that our eyes are pretty awful at measuring. I should have put four little triangles here, but it was so far out, I didn't need to. But And then I'm probably gonna change my symbols and saw it. But I, let's see, we'll go ahead and mark them there. We'll put an x and a little triangle so I can start. That way. I'll have to worry about putting 12 little, you know, little triangles as undoing this sea of measure from this center. That's the center right there. And again, we'll put a little x and little x, whatever I can vary it. I could have gone to letters, I guess. Doesn't matter what I use. I'm just trying to keep from getting confused and there's probably you guys are probably watch is going to have is a much more sophisticated way. And I'm sure there is there is no doubt in my mind. But again, I just need to keep it clear so maybe we could do x o or 00. And again, I can go ahead and market on that line. And this is again where I should be going through here. If you use this technique the first time we use it again, just like all the different techniques we've learned in this class, it can be very cumbersome. And again, so that's why like why in the world when I declare this as without those, uh, but what it does is it helps us so we can, you know, sometimes is people that they would, they would like go nuts, that they could keep their drawings, you know, make them symmetrical. We've got that, we've got the answer. And it just clears up so many issues that people have as a draw. And it makes it fun because if you're not struggling as much, that's cool, that's fun. We don't want more fun when they draw. I know I could Usually, I could do some more fun. And so if you get used to using this, and again, I use this for hand sketching, I don't get out the I just draw my, my, my permanent lines by hand. I draw my center line by hand. I measure by hand. And when you get used to doing this, you can do is very, very, very, very quickly. It really is a game changer. All right, so now I've got all my points over here. Now what I can tell you what right now, I was trying to mirror, but I can tell you right now this foot's a little small on this vase, but that's not what we're worrying about right now. If I change it, if I said, well, I need to change this drawing, I could redraw it, right, move my points over there and then make sure that the same over here. So again, this can be fluid, but here's what I do. I'm a lefty and this is on the left side and I need to draw this. And if I draw this like this, I can't see my dots to compare this line to that line because I'll be covering it with my hand. Yes, I could try to do some weird thing where I lift my hand up. But here's the easiest thing again with you, right? 0s if you've drawn this over here and you've got to draw the left again, you're handsome recovery. So here's what you do. Boom. So there's a couple of things that we, we, advantages that we have when we do this. When we turn something upside down, it's easier for our eyes to perceive differences. And so if you ever want to check your symmetry, and again, artists have really good eyes. They'll just take this trick and they'll turn something upside down very, very quickly. They'll flip their board over, take a look and then flip clue backup and make the changes. And that's where we want you to go. And once you we want you to end up where you're like, yeah, no big deal. I can make changes. I it's not symmetrical. I know what to do. No problem. So as, as we're doing this, as we're dealing with this as well, that's where we want to go. We're looking for the ability to, you know, to go. Yeah, that's wrong. Okay. No worries. I'll go ahead and I'll get omega right k. So again, now, even though we've got all these dots, the reason we're turning this upside down is because it would still be very easy to hit that with an arc going the wrong way or projecting a little, a little differently than it's supposed to. And all these different things. So this is to help us. So again, that we get, we don't just, you know, it's clunky, This is not clumped, clunky, this flows, this is kinda clunky. So that means we've probably hit that bank that corners a little differently than it should be. Then it should be this then needs to come in and come out with its needs to flow. So it, it needs actually round a little bit. So, and now that's looking better. So again, it can be, we can sometimes will, Oh, I can connect the dots now. And, and we don't, we don't know really well, we want this line to flow so we have to go, let's see. This one is dummy pushed out a little bit. This one needs to round, maybe just in, just a scope. This one needs to then maybe not round out so much, just a little bit, because there's a lot of distance between these marks. And we need to be able to like this little arc through here needs like it was like this archer just push out just like sketch, just a bit, just a little tiny bit of war. And by doing that, we've got, we've now got this, this object fairly symmetrical. We also have. We can also mark the major minor axis. So I had, this was the, this was the length of the minor axis. This is the major axis and that's the midpoint. We could then mark this to make sure that this is the same up here on, on this. Right. So now we've got this in the major axis points, that's a major axis point, that's a major axis point. Loops that didn't help me get these 20 years coming off in there. This is the major axis point. This is the minor axis point. That's the minor axis point. We start to turn this in. And this was saying about that foot. The foot's a little funky. But again, if I, if I want, I could say, alright, well we'll just go ahead and that was a mistake. Well, and again, this would be light. We we could do this. No problem. We'll say, all right, well, we're gonna go ahead. And we're gonna go ahead and do this. Now again, when you get really good at this. Because we've got a center line because everything else is, isn't, is symmetrical. Sometimes it's much easier to then go and we're going to do the same thing over here. So again, if we usually, I'd say, you know, for the beginner, this upside down and that doesn't even me beginner. I know people that are professionals that do this all the time because they're like, look, this is not for the faint of heart. Okay. This is some serious stuff, but again, very quickly you go. Yeah. Okay. Or if again, if I'm if I'm having real problems matching the same one, well then I can go ahead and set new points over here. But the new points over there, it's no big bang. And by doing this, we have something that doesn't look like. It's really can't be, can't stand. This is this wouldn't be able to stand on its own as far as it goes. So this would be something much could actually stand. It's actually just a tiny bit wider, but at least we're in the ballpark Now. This is, by the way, I can tell right now that I don't have this symmetrical, you might say, well, how do you do that? Because this distance here isn't the same as that distance there. It's not off by much. It's off by maybe over a 32nd of an inch. Corn is 16, so we're off about them much. So again, that can be, again, the difference between something being symmetrical versus not being symmetrical. And again, now we've got a foot that will actually, I wasn't worried about the excess trying to just mirror one side or the other. But once we did that was like I can't let that stay. That'll keep me up all night long having that foot like that. This will now stand up and I won't tip over. So now we've got our ellipse and say, alright, well we just got, you know, we've got to put arc there, put argh there, put our arc here, are our Kia. You know, and we can go ahead and then go ahead and just finish out the ellipse. So if we look side-to-side quadrant two quadrant, this ellipse again as little rounds out here, it's pushing out when it needs to come in. Okay? So again, we're using the four quadrants for symmetry. This is, symmetry comes down. Whoops, here we go. Alright, so this is an incomes through there. Like that. Somebody came in. Oops. Just seems to be just your shirt just a bit. It's a little flat. But anyways, we can go ahead and run off just a bit more. And now we've got that, we've got that ellipse. And then this is the side where that then hits into the ellipse. So now we've got something that again, it's fairly symmetrical using the mirroring technique. So for marrying technique, what we have to have. So we have to have a center line. Alright, that's, we gotta have that. We also have to have a side that we want to mirror. Remember, this is my terrible side. This is the old side right through here. And there just wasn't Morgan the legacy. And most peoples are not that bad. But they're, but they're rarely if ever symmetrical and sometimes they're really way off again. So what we do is we put down a straight center line. We then find between eight to ten points and I put 11. If you need to put a couple of extra ones, don't worry. But just understand that sometimes if we put too many, if we can start to actually doesn't help us. So after, after you get past 15 a ha, it starts to break down. All of a sudden near it really starts to look, you know, you can't hardly draw because you're so freaking out about, you know, being an exact spot. So but then we need our dots. So we had 1234567891011 dots. So once you've got your dot, then we have to have the lines that are perpendicular going across here. Then after we have those lines that are perpendicular lines and there perpendicular to the center line. This is the center line. Just, I'm just always remember that major axis is here. The minor axis is always on the center line. That's why this is so important, is because we use the satellite also help us with our ellipses. So we've got our perpendicular lines in connecting every dot. And then once we've got that, we make sure that we have the same distance to from the dock to the center line. And we take that same distance and bring it over here to this side. So that this dot, as long as it's a law, this is perpendicular, that's in the same place. Now if I had the line, if the line wasn't perpendicular, let's see, we had a line, so we had a bottle or bottle over here. And I'm checking for symmetry. This is actually getting smaller. It's coming in a little bit, so we need to do something like that. But let's say this was one of my dots and I had a line that was like this. That's not going to work. I can, I can make this equal to that, but that won't be in the same place. It has to be perpendicular across that center line so that, you know, for an order for it to be in the same place, it has to be perpendicular, that relationship has to be that way. So we wanna make sure that this is perpendicular. And then we just make sure that we measure. And again, I could measure by hand or I used my little my little extra piece of paper. And what did we do? We marked the dot, we marked the center, and then we brought it over here and line this up with the center and made sure that the dot was equal distant. Ok? By doing this, you will have things that are just so beautifully symmetrical. And it will really kick your drawing up to the next level. When we first start drawing the, it can still again, it can feel kind of clumsy and cumbersome. So I want you to do this at least ten times. Ten more times do not abandon us. This will, you know, if you ever have problems, this is the solution. But give it a shot, it will really help your drawing. But what I want you to do is find some things that are symmetrical bottles or things like that around the house. Set yourself a goal and try to draw one a week using this idea of center lines and using, you know, little dots and then measuring from the dot to the satellite and then from the cell line back over. And, and use that in your drawing. And again, it will really get your drawing into a much better place and you'll be able to do stuff that will just be much more symmetrical, much better, much more quickly. And that's what this is about this whole course is to get you a much better grasp person. I'm much better artists, I'm much better drawing person much more quickly. And even though we're dealing with representational autism. And some people might even say realism, but if I'm doing, you know, fun doing abstraction and I've got the shape and I need the shape to be symmetrical, and I don't know how to make it symmetrical. I'm in trouble. If I'm just going to eyeball it, good luck. You know, even really seasoned artists have issues with symmetry. And so I've seen artist had been drawing 30 years and they still struggle symmetry. So this is the solution. So give it a shot. It will really help you. Alright? Have a good one. Take care. 13. Contour Drawings, What Are They?!: So today we're going to talk about a concept called contour drawing. Now, contour drawing essentially means a line drawing. That's all contour drawing means. But sometimes people confuse contour drawing with Silhouette, which silhouettes or just the outside of the line. And it didn't have any of the detail inside it. Whereas contour drawings or all the information you can get, it's the silhouette. You know, some of the details, these I have some labels, is a bottle, this is a cup. There is a circle, a cylinder and Apple. And this is one of the drawings rushing and doing this class and where we're going to drop NA still life. So if we looked like this again, like has the label on this bottle here. We can see the cork in the bottle. We can even, you know, if you look closely there's a little bit of the grain because these are would, there's a little bit of the detail of the apple. Now when I do these demonstrations, I'm using pencils that are super garlic and I have to press fairly hard so they'll show up for the camera. So there's some lines here that just you, there's no way of getting them out. Normally this would be really soft and you'd have just the dark lines and all the structure lives would be erased with and these you can actually see the structure lines. And that's just because the nature of the west cream the drawings, but with contour drawings, as much information as you can put in it. We can see the stem of the apple, we can see the front edge of the apple. We can see the back edge of the apple versus the front edge. We can see even on the stem that this part comes around and overlaps this part of the stem. So that comes forward. We again, we can see some of the little details of the striations of pigment in this Apple. Just little hints. You know, this isn't a finished drawing, but this gives you an idea of what we can do with contour drawing. This is another contour drawing has a little more detail. So again, we'll be doing this, this drawing in this class. And again as a teacup. And we can see like the little flowery flora on the little leaves and little flowers, everything on the teacup. Good. You can see the structure Lines I used to create it. And that's just cuz I can't erase those. And again, if there was my regular drawing, those would have disappeared. But we have to make them dark enough so you can see them. You can even see the writing on this label here. This is a county bottle, so you have this weaving on it that you can see. I didn't do all the detail everywhere, but I could have continued on to put detail on this label. We could've done all kinds of things. I could have started to put some of the reflections of the glass. So contours as much information as we can put in it. So this is another little more complex still life. In contour or drawn with its contours or drawn as a contour drawing. All those basically say Yeah, it's a contour drawing, meaning that it's really about line and it's not meant to have value. This is, this is would be that if I went ahead and did this everywhere, I keep everything as line and it would be a finished drawing. So again, this is another one that we'll be doing in this class. It's a little bit more complex, you know, but this gives you an idea what contour drawing is. To see something a little more finished. I've got another drawing here. And it's a pennant ink, sort of brush and ink for an illustration I did. And this is just a young boy, you know, with a football with football pads and he's a uniform that's a little too big form. But the idea is this is the, this was the finished illustration. So you'd see the football and the hands, even some of the, you know, the wrinkles and folds of the knuckles, the backslid knuckles the folds, the stylization of the folds in the jersey, you know, and then again the football pads, the face, a little bit of the hair, the belts, all this information here. And if this is just a classic contour drawing, the first two I showed you were in pencil. This one here is in pennant IQ, but the concept is the same as a contour drawing. So that's what we're going to explore in this class, is how to create really good, solid contour drawings. And then as we go forward, we'll, we're going to do contour drawings with value over the top of them. So that's where we're going. That's what we want to be doing. That's where the fun is. But I just want you to send, there's sometimes where you actually leaving drawings as contour drawings. If anyone has seen, were called crosshatched drawings or cross contour or anything like that. The new money doesn't really moneyball. Dollar bills and things don't have it on like like the older money did. But you get the presidents were all engraved. And if you look really closely, it's their contour drawings when you do hatching and can still see the lines that's considered a contour drawing versus continuous tone. So anyways, we're gonna go ahead and be doing contour drawings for the class. And I just wanted to give some examples so that we know what that term means. Contours, line versus value and shading, just the line. That's what we're gonna be focusing on. Alright, so go ahead and continue on in the class, you know, and, you know, given to the parts where we talk about, you know, there's Sumi to still lifes withdrawn this class. And it's gonna be a lot of fun and very challenging. And it'll help you to use the skills that you're learning in the class. And so go ahead and take a look at those. I wish you all the best. Keep at it. Keep working at it. And you'll just get better and better and you'll continue to amaze yourself. So go ahead and be creative and Hagrid shows a good one. Bye bye. 14. Rough Sketch and How It Helps: Alright, so we've gone ahead, we've learned about how to news segment or method. We've learned how to get our posture, you know, chest out, tummy and shoulders back, holding your pencil with a straight locked arm. We've learned about that. We've talked a little bit about measuring different stuff and it's still life. So good job, keep it up, you're doing great. Keep on learning. So what we're going to do now is we're talking about rough sketches. Rough sketches are just as they sound, they are down, they're dirty and they are rough. And you do them very quickly, as quickly as possible. Usually for rough sketch, 5-7 minutes, that's as long as you ever wanna take. Okay. Because you want to do it as quickly as possible. We try, tried to like rough sketches where I'm really kinda break because it's brainstorming. It's just like writing brainstorming. You just write down basic ideas. Here's cross and stuff value. You're putting down other ideas. You're crossing that out. You're really just trying to formulate your idea. It's the same thing with rough sketching. You're putting down shapes. If you don't like them, you erase them, you move them. If you don't like the way that the objects are, are, are arranged on the page and move the objects around yet changed the position a, you know, you change the orientation. You're just trying to figure it out. How do you want to make the image? You know? And so that's the idea that you want to go ahead and get in there and just start roughing it out on the paper. And the great thing is, is that rough sketching is not about good drawing. I can't emphasize that enough. It is not about good drawing. You're not trying to even focus on that and you're just trying to focus on certain shapes that are symbols and placeholders in a certain place on that page. It's just about putting stuff down is just about looking at how stuff looks next to other stuff. It's not about doing very drawing. So you're doing just these really quick, sketchy, rough sorts of things. But you can take that once you've locked it in, we'll then you take that rough sketch and you impose upon the rough sketch, you know, your measurements, you're incremental measure. You keep, you know, you start refining your drawing, you know, and that's how it works. You keep getting it better and better and better. Usually you start off with lighter lines and then as you're refining it, the Lions get darker and darker and darker. And as you get better and better and more confident with where you want to put the line. Okay, so go ahead and go ahead and watch the video on using the rough sketch. Again, it's really a powerful concept and it's very, very important understand how to do it. So go ahead and do that, then try to do some setup something, grab a couple of bottles, grab a couple of tea cups or something that, you know, just something simple couple of apples, whatever out of that, pull them out of the pantry, whatever, put them down and try to draw them. And just rough sketch and do not place any sort of expectations of good drawing. You're not even thinking about it. You're just trying to put stuff down as quickly as possible where you went on the page. It is so fun and suffering and so different from usually how we think about how we think about drawing. And so go ahead and watch the video and try to do some rough sketching, trying to employ it. It is such a great concept. Hang in there. You know, keeping creative, use the concepts, you know, and I'm just, I'm so proud of you that you're taking the time to learn drawing. You know, keep up the good work, alright, and you stay tuned. Go ahead and watch the video. When we're sketching. So that's people think where do what's sketching is really rough or basically roughing it in. And when I said that a lot of space, a lot of space just means how big is the window that I'm going to be drawing in. So this would be my window than me making my drawing if I if I decided that's what I would be. And let's not have two different lines is actually make a decision showing. Okay, so let's say this was my, was my actual window. And maybe we'll just go ahead and we'll make a real decision here and straighten out these lines from my lauded space. And so he said, all right, that will be about there. And this will be about here. And this would be about here. So let's go ahead and clarify it. I usually vertice sketch like I was doing. I'll just refer it in real quick and away I go. A sketching is like brainstorming. For riding. A sketch is really just to work out some basic ideas. And even the allotted space that went. This represents the window I'm seeing my little, my drawing through or my little world that I'm creating. But if I'm going to be, if I'm going to be a sketching, sometimes I'll even change the allowed space depending on my sketch. But the biggest thing about scares, people don't realize about sketching sometimes I think it's much more. Or this is again, a really rough sketch. This is really something that we do within no more than two minutes. And I've got well, maybe five tops, but maybe if I did some measuring, Maybe I'll take me to seven, but it's really just planning and brainstorming. And so I have a still life that, that we've, that we've, that we have in there that consists of this sort of teardrop, say bottle and the cube and some other things. So if I was and again, I don't even care that this looks like the bottle. This is not about great drawing. This isn't about any of that. What this is for is it's again, it's for brainstorming. You don't show this isn't some that's ever going to be shown to you by it's not meant to be shown. It's meant to be figured out and then use and then tossed IT WHO or whatever, use the backside for actually something important. But this right here is supposed to be like a cube. Okay? And that cube occupies this amount of space. Okay? And then on top of that cube, I've got an apple and I usually I'd be working in a much like how quick I was doing before. That's exactly how quick I would be doing this. And so usually I would not be slowing down but I'm doing it so we can talk to you. And then there's an apple. And again, these aren't supposed to be great drawings. They're just placeholders. That's a place holder for the apple. And again, I would do this very, very lightly in, and you'll see why in a second. But then you say OK, and then I've got my my my teardrop shape bottle, my teardrop shape bottle is here. And then I've got the table. Okay. Now what this allows me to do is I can see how it's arranged. There's this much space on this side, this much space on that side. I don't even care that table doesn't line up. Yes, there's problems with this, but that's not the point of this. This isn't about again, this is like, you know, when you're writing a story, oh, it's the basic story of a person that has this particular challenge. And this is the twist and this is the basic idea of the story and tried to in 56 words. And you're scratching stuff on your rewriting stuff and you're just trying to brainstorm. That's what this is. So even this bottle, this bottle is just, this isn't even the bottle. This is a symbol of the bottle. And I don't care about it because there was I don't care just yet is because this is four placement composition. If I don't like it, I get out my eraser and erase it. Now this because of how dark I made this with this, with a particular type of pencil I used. This will not race a race away. But if I was using, you know, and again, I use this special pencil because it, it shows up better if I use a graphite, you'll never see this thing are like it just would be so light and editor it just, the makeup of the pencil kind of Guinea was kind of funny. And like, you know, again, the stuff that is not gonna come out ever, and that's fine. But if I don't like it, let's say didn't like the orientation. I said, Well, nope, I want to actually draw it like this and I didn't do it is almost a square, but this is a little bit longer rectangle. So I could change the orientation if I thought the orientation was off. Or if I say, I said, well, this is kinda this feels a little too close up here. I really wish there was something going on with this space. Maybe I could zoom in on it. Well, if I zoom in on it, that means everything's gonna get bigger. And so that means maybe my, my bottle is going to be leaving the picture. And so maybe this is now my bottle. And so the button say the bottle got this big. And again, this is not that bottle, this is just a placeholder. This is recomposition. And so it doesn't matter like I could draw bottle or you know, if you were like, oh, that's a very, this is not about being oppressive. This is not about, look, look at me, look at me, look how great it is. It's not about that. This is just planning. This is kind of this little symbol that sits there for the planning stage. This would now have gotten bigger and maybe it's going to end and have moved over. So we've got, you know, this is now, you know, my, my cube over here would be a little wider, whatever. These angles aren't, right? But we'll just use our imagination showering. We'll say, okay, now this is the cube. And again, I'm going to kind of, so you can see what I'm doing. I guess make these a little darker. But again, I'm not really carrying, this is not about, Ooh, look at the angles. O as a perspective, right? I'm really ignoring that stuff right now. I don't care. Quite frankly, it does not make it isn't, it's not a big deal. This is really about seeing the composition. Do I like? How the stuff is on the page and everything else is in material. So there would be my apple. And again, this, this had to be parallel taller, but this would then be the, you know, the bottle out here. Again, I'm going much slower than I would actually do this. And again, I would say in what tell myself, does this work? And if I like that better, well then that's what we'll do. I don't like how this how big this got. So maybe I don't want this small, but I don't want that big. So then we'd say, all right, well let's just go ahead and make the apple, save me the apple a little smaller. So let's say this was the apple. K. If the apple goes down and I don't know that I'll shrink the bottle. I don't think that's a big deal because the bottles so big, you know, and it's just again, it's a symbol of a bottle, but the, the ratio to the, to the cube to the apple would change a little bit and maybe I'm actually making, pulling it down, but I don't think I want to do that because in the Apple would float off. But we are going to make it smallest gonna pull it up this way. So we go ahead, OK. Well, if the apple goes down and now the, that means that the corresponding cube has to get smaller. So instead of pulling it down, I'm actually just pulling it up. I'm shrinking it up this way. I can photo, if as in Photoshop, I could, you know, change, transform it this way or transforming and transform either top to bottom or right to left. And that's all I'm doing I'm think is stretching this around. And so all I've done is I've, I'm making it smaller. So this has now gotten smaller. This queue. We've shaved off this over here. We shaved off that much of that side right there. We shaved off this much of the bottom. And then maybe I can go ahead and put the little stem on the Apple and say, okay, this is, this is my, this is my apple, right? Like that. Okay. And again, this, I would not do it the slow I do much more quickly. Because again and again, we shaved off this much of the apple. The apple has shed quite a bit, you know, gotten smaller. And, and let's say now that I've done this, well now the bottles, this is floating at the bubbles down here. So yeah, I have to change the ball. No big deal. I was like, I don't think I'll change about what has to change. Just has to make sense with what we've done here. We'll just lift this line, will then come back over in here and this is lifting. Well then he's gonna go off the page a little higher. Or what have you for lifting him up? Well, then we're going to have to him bring him off a little bit higher. And again, I can go ahead and go on. See, this is then my bottle right through here. But this again is just a placeholder. It's not even just says we bottle like because this is not not not accurate yet. I haven't done I haven't imposed the measuring on this yet. And so this would let's see, I need to erase some of this to get all these overlapping lines. But and I don't know if this will clarify because of the fact that this will not erase all that. Well, we did this over here, took that out, shaved that off. And so again, for this for this, we've shaved this much off of the bottle right there within the bone ball coming in the picture plane at this point. So it's coming through here. We didn't have it coming through here. I was drawing through the object so that I have at least some idea of what the bottles doing. But again, this is not symmetrical. This is flatter, this swells out more. But this isn't about that. This is just about where do I want to place this on my page? And if this is then my, you know, if this right here is my rectangle, obviously this is all cut off. But again, I'm trying to draw outside and trying to visualize the the ball going off. So even let's say this was the end of the page. Instead of it being shrunken and this there's more patron at let's say the paper stopped right there. I would still be bringing my hand off that paper to visualize or that bottle would be going. Okay. So this is the whole idea of sketching is that it's planning and it's planning, basically composition or warm I put in the stuff. And how big is that stuff? And where's the stuff going to be on the page? Are i? And so this is quick sketching is quick sketching for planning. And even though my can't erase, you've got graphite, so I'd be doing a much lighter. So again, I could planet, I could put, I could very gently, we'll actually get my H, my HB over here and you'll see how much lighter it is. The reason I don't use it because it didn't show up very well on the, on the image. But this is as dark as it goes, and that looks pretty, pretty light. But in real life, that's a pretty dark line. I'm not going to get rid of that one either. So I'd have to draw a really soft, you know, and so I'd be drawing this and you hardly be able to see what I was doing. But I'd be drawing very, very lightly, very, very gently office doing like an Apple. Let's see where if he can see, still see this down here. But I'd redrawn this Apple again, even lighter than this. I can see this pretty well, but I don't know if you can see that much at all. But if I didn't like it, I can just erase that very easily using your plastic Eraser. And that's the white race we talked about for the class. But this is the sketching that I want you to use for the, for the drawing where we're going to use site measure methods or pardon me, proportional measuring. Psi measuring proportional are connected but they're slightly different. So we're gonna use proportional measuring. We're going to first sketch it out. And so this is why we do the rough sketching is where we're placing the stuff on our page. And then once we sketch it out, well then we do within we'd start to put on the proportional measuring. So I take my incremental measure and now I start going, well, how tall is this supposed to be and how tall is that supposed to be using an increment of measure. But for right now, sketching is this quick sketching is just about to see where stuff is going to be. And again, real-time because I did that slower. Again, if I was doing something like this, I really would be working very quickly. I'd be like, okay. And you might say, well, what if it was a finished drawing? Well, you know, so even if it was a finished drawing, it's still trying to work fairly quick. I might trace out again the line a little nicely or it might be using all the paper. And so I wouldn't have to trace out this little window or what we call the allotted space. But then again, yeah, I'd be go like Okay, let's see. This is yeah, this this is a bottle. You can I don't care that it doesn't look. It can look really clumsy. It's not about how great is that Look, it's about word since it's just a place holder for my eyes, you know, even if my cube does not like this, and I agree. Q. That's the perspectives. All wacky, but that's not what this is about, is about to go. Does that look like this? That look how I want it? And if the answer is no, well then I erase it and I do it again. I'll make it smaller, I'll make a bigger I'll change the orientation. You know, maybe I'll add stuff, maybe I go Well, I think the I think I want to put a let's put a wine glass back there, you know, and you go, okay, let's see what that looks like with a wine glass. That was a bad idea. Will raise the wine glass. You know, maybe I want to put the tea cup right here, you know, and I could go ahead and put, you know, again, this is a clunky little teacup, but it's not the tea cup, it's just a placeholder say, hey, do I like, uh, essentially do I like to shape their, the sheep, that kind of represents the shape that it's going to be, which is going to be a teacup. Okay? And if the answer is no, Yes, this is, these are ugly and they're not supposed to be great because they're placeholders. But once we go ok, this because this is like brainstorming, this is not sketching. Where am I trying to do, like finish sketches or even sketches that are, that are much more information on other words, you can do really lovely sketches that have quite a bit of information. This is not that kind of sketching. This is skipped and this is sketching to basically put stuff where you want it. So some people call it breakdowns back in the day when people did comics my hand, they'd do what were called the basic essential breakdowns. And they do this kind of stuff. They handed off to somebody else that would break those down even further. And then they'd hand those off to the artist that would do the finished drawings. And so they're really rough stuff will look like this. This is rough sketching, but it is so powerful. It's something that you should definitely be putting to use because it helps you plan out where you want stuff in your drawing. Alright, so we're gonna talk a little bit more about some of the other concepts to get going on this drawing and that we're going to make of the bottle and the, you know, the Apple and all this sort of good stuff. Alright, so take care. 15. Setting Up To Draw the Still Life: All right, so when we're going to be drawing, we are going to have our paper taped, our board. And we're gonna go ahead and, you know, I've got my pencil, got my eraser, I'm ready to go. If you're going to print out a photo of the still I forgot to draw. You could put that photo right there. But for the most part, for the what we call the roughing in stage, are you using that baton handhold? So for our basic circles are triangles or, or sketching in where stuff is supposed to be. I want to use my whole arm. And I want to learn to flow through there. K. We want to, we want to use again our whole arm. And I'm using that when we call that baton handhold, where it looks like we've picked it up right off the table. Holy hymn to her thumb and fingers. And we're going to be using that most of the time. We're going to be using that. If I feel like in the beginning I'm really, really loose, you know, but as I, as I start drawing more, I'm gonna tighten up. And if I need to, I can drag the back of my fingers. These this one or just even just your pinky with the backup back, your pinkie nail can be touching the board and then that will give you a little bit more drags, you have more control. So in the beginning I might have very little, very little contact with the surface. You know, when I'm drawing the circles and again, my, my basic center lines and stuff. But once I wanna do more controlled stuff, well then I'll go ahead and I'll, I'll use drag my pinky or these two fingers to slow it down so I can do a little nicer. Say were, once we've stacked like I already did the rough of the apple and now I'm trying to do a much more controlled Apple. Who were, this is not a pretty Apple. But anyways, well then we can go ahead and slow that down and, and, and draw the apple. So drew this out of my mind. This would not make the cut, but still, the idea is that I'm very, I'm very controlled and very decisive about the marks. I just don't like the decisions that I made so I can always draw it again or what have you or let's say I was, I was drawing trying to draw a very controlled center line. Well then I'd really probably have a lot of drag through my fingers as I'm pulling a very controlled center line. Like so. For those that are really a stew with classify goal of that was below the speed he said to make lines. Well, once you're used to making lines, you can slow down a little bit, but that drag my finger was important. I'm also using gravity. Remember we're at an angle of gravity will naturally drag your handout. So by using those two, you'll learn to actually make really, really good straight lines. Again, if I was doing this bottle, I wanted to have again, a very, a much more controlled line. I'm gonna, I'm then going to have little more drag to try to they come around here. And make that line kind of stopped. And I had tried to come back and make that little section. And I'll know if you saw that I was coming through here because I'm trying to get the whole flow. And then just to do that little section, I didn't just do the little section right there. I was like coming I was trying to get the feel for this coming around and through that section, it's still not as good as out hope. But my eraser, I could come here, erase that or I could just, it's pretty close. I could see me with my pencil with a little more control. But I'm trying to use again the whole arc to help me really get a feel for that should finish and how that should finish that line to that arc. Again, I might have to redraw that, but i kinda hit self-denial here, those like little crumble of arrays or something under here. And so it stopped me dead in my tracks. It'd be like, you know, having a skateboard or something and hitting Iraq. And so I had to stop and I had to try to draw that one little section. But again, I was drawing through here to come around. But yeah, still, you know, there was still that baton hand hold. When you're drawing on an angle, 90% or more, is going to be drawing with this baton hand hold over the surface. And then for little stuff like foundering, You know, if I had a Sue put a label on this thing and I was trying to do like little scribbles that looked like writing or little cuny symbols or in other words, rectangles and stuff that I was trying to make it look like writing. Well then I would go ahead and use a little more control for that to make it seem like, you know, there was something written on there. Or what have, you know, we can start doing things that symbolize letters, but it's thought to be using much more control using a tripod grip. So again, if I was doing some little whatever this maybe there's a little leaf on hears their little logos on it. You know, I'm going they don't want to be using the tripod grip. And then, and then for the, for this constraints controlled stuff, once again, I'm gonna be using that tripod grip so that we can make it look better. That's why you have that. What, how do you anyways. But that's the idea is that for almost 90 to 95% of the time, we're gonna be using this baton handhold. And again, we're gonna be turning it more vertical for horizontal stuff and more horizontal for vertical stuff and on the diagonal for stuff in between. Right? So anyway, so that's how we're going to be working. On the surface, on the drawings. We'd have r this tape down. We're gonna be using number TEN handhold. And we're going to use all that wonderful insight we talked about for the line work. Remember, don't do the angry eyebrow line. Don't do the line where you don't wait, what did make a commitment? Don't do that. Try to draw through your lines. If I'm drawing something, try it out. Really committed, even if I don't get the right line, I want the first, second, third, fourth, fifth time. I could then still find from those five lines, I might leave this likes, I didn't like that one. Pick up this line and it's a distributor curve pickup this line, then come back to a different line to find the curve that I like from all five lines we've kinda shows. And now that takedown very well, did I? We kind of chose the line we wanted. Okay. So that's the idea, even if you're not excited about, you know, does the first line and the second, third, like usually you can pick and choose to then create. Miss a little bit there at the end. But still the fact that I didn't just stop, that Tom, I just kinda, kinda, kinda completed it. I actually like this second line, bitter flows a little better. And, but again, we have a much more decisive clean line, that's what we want. So baton, handhold, board on angle and paper tape down. And again, most of the time we're going to be sketching, you know, using that baton hand hold until we get an even when we're doing the nicer drawing isn't yet we're gonna go okay. That's still using that baton handhold is really a very powerful tool. In our drawing. Don't be afraid to use it. Dropped it there on the stem, but the rest of this I light. But anyways, now I got six lines or so. Go ahead and decide. And those lines. Which of those lines I actually lived. And if I didn't like any of them and guess what, they're all gonna get erased. Life is too short and playing with lines you don't like. Ok. So anyways, that's how we, that's how we are going to use it. So go ahead again, keep watching the videos. Practice you're drawing. Do the the contour drawing using measuring and then contour drawing using construction. And yeah, you'll have a lot of success. You'll find this a very, once you get over the initial strains. And so you'll find this a very natural way to draw. It's very ergonomic and unhealthy from, you know, you won't stress out your ear, your fingers, or your wrist. It's a very nice way to draw on. So anyways, go ahead and use it. You guys get more creative, take care and bye bye. 16. Let's Start Drawing The Still Life Part 1: All right, so let's go ahead and get started. We're gonna go ahead and do a drawing using our proportional measuring center lines mirroring technique. We're going to start this with choosing our incremental measure. And again, I'm going to have the still life picture in this, in this video, but I'm also going to have the image in the class where you can pull it up, take a look at it, that sort of thing as well. Of course, you could set up your own Still Life if you've got objects that you want to, you know, that you want to play with or that you want to draw. I'm going to try to be working in this area now, working slightly askew so you can see what I'm working on and so on trying to stay out of the way the cameras. So again, this is way far wherever this tilted at an angle, but this is to help you guys. But understand that if you see something a little bit skewed, it's a lot of, it's going to be the camera. But we are going to do again sinner lines and straight lines and all that sort of stuff. We're gonna be using, you know, mostly our pencils and things like that. We're gonna get started by doing, by roughing in doing our rough, our rough sketch. And I'm going to also use my incremental measure. And so I'm gonna go ahead and do my good posture. You know, sit up straight. And I want to use the height of the cube and then be my increment of measure. And let's go ahead and get the storage. So I think we said in one of the when we're doing the rough drawing that this about five increments across. And usually, you know, to decay the least sort of a feel for what I'm talking about. I can mark out an increment like that, that this being one increment here and there. And then I could go, Okay, well that's that's that where I want to start this and maybe I would want to story here. Again, I'm going to try to leave this space open for when we're, when we're going to place the image. So compositionally it's going to seem really heavy on the left. But that's because we're gonna float an image here on the video. So I just want to explain what I'm doing because otherwise you might go, Man, that was what does he think and that was a poor decision. And so I'll try to use so I'm going to mark off five of these 12345, that's the width. And again, if I want it to be smaller, I can change my increment. I think this might or might not be enough room. So I think I'm going to shrink this down just a bit. Well, if I'm getting small, we were not may not be able to see it too well either. So there's there's that. So maybe I'll just go ahead and use that. We'll just, we'll just make it work. Let's see. And again, we said it was about four. Hi. So now the thing is, is that it doesn't start at the cube and actually starts at the sphere, the wooden sphere in the foreground. And so what I'm gonna do is I'm gonna go OK. And I'm going to look over at the, at the, at the sphere. I'm gonna take my pencil and it's a flat angle or in other words the level line. And I'm going to bring it over. And I'm truly and trying to guesstimate how far in front of the bottom of the cube isn't. And it's about sort of a, a third, so much like this 123. It's about it's about that long and that's probably close enough. You know, instead of sitting there and trying to just get really obsess about that's going to be close enough will be much closer than if I didn't take a measurement there wearing Okay. There's four high, that's 1234. This is the top of the bottle k. And so this is the rectangle. Then all the objects fit inside. Not some people will call this an envelope. And you could see why it's a rectangle. We're not gonna get a ton into those, but as you go into intermediate and advanced drawing, you start dealing with envelopes more and more and more, especially with drawing portraits and people and all this good stuff. So I'm now going to start the drawing works and start sketching some stuff in as far as that goes. So I'm gonna go ahead and skip this as my, I know that's the, the the cube. And again, I could take some measurement of the cube, maybe I should, because it's going to be everything that I'm anchor, anchoring it against. And let's see. Okay, there's a little beyond 1.5. So it's about something about their this is about where the middle is. No, it's not. Hold on. Let me I'm going to measure from the corner to the right of the left because I'm seeing this in a corner view is I got a corner view, a core view cube. And so I measured it and it's about half away. So that's pretty close. So this is should be the corner. And that means this will go to the, going to the right, that's going to the left. It's a core view box. It's not a front view. So that means we're going to start with the why if we're gonna get that far into it, I'm not gonna I'm not gonna sweat that right now. We're gonna move on. Because we're still, we're still kinda reference stuff in. If I took a measurement of the cube to the height. And again, so, you know, I would be trying to take as, as some measurements to help me out. So sometimes I'll give a really fast and loose on this, this, I'm actually being a little bit more cautious so that we're using, are measuring, are proportional measuring. That's the top of my, of my pyramid. And then there's a top of a pyramid. Now, I don't need to measure the cylinders as much as I know. The cylinder is just a little bit taller than that. And so on. Then I can go how, why does cylinder? And I can go ahead and take a measurement and then bring them. So I've measured the cylinder width and I'm gonna bring the width and measure it against my cube height. Now it's beyond three quarters, so it's probably some like four-fifths. So maybe this is, you know, that's how, how wide it is now. The, there's a space between the cube and the cylinder. And then yeah, that's right. Okay, good. So I did this measurement, right? Because it's put me right against where we started. That quote unquote envelope. Now the cylinder is way back now I've got the, got the apple in front of it so I can't see exactly where it is. So I'm going to leave that I'm leaning to the left where you can see just a little bit of the foot. And if I slam the foot into the queue, I find that, that, that, that, that cylinder is again about, now that's about a third, it's probably about a fourth of the way up the cube and we're close, but we could go ahead and make it better. So again, we've got the, we've got the height of that cylinder. We have that the apple. And if I take the apple and bring it over, the apple's just in front of this. So this is the bottom, is down just a little bit. So that means the apple just barely in front of the loops, in front of this. So I'm gonna scoot this over. The apple cuts in just a little bit here, and then it cuts just a little bit. We're almost in the full length of the cylinder. So I'm going to mark those off because again, I've, I've got these placed and measured so I can fit that, fit the apple in much easier because of the fact that everything is already measured for me and that area. So I'm I'm using everything around it to double-check. But understand that I go OK. Yeah. This actually I just measured a properly and it works because the fact that I was, you know, I was I was relating it to everything else. Now, the other thing is the width, it's wider than it is tall. And I'm going to start this here. So let's just double check this. I think this is little too skinny. So I went to had a measured it and it's a little bit more than the height of the, just a little more than the height of the cube, which is going to put it there. Alright, so that'll, so in here, this, this will be my, this'll be my apple and that's just an apple symbol. I can then go OK. Well, let's go ahead and before we get too far into it, let's place the let's place our bottle. Now part of the ball I can't see. So I think I'm gonna shoot you, shoot a picture that's where I spread this stuff out a little bit more so you can see it without being covered because sometimes I can throw us off. But I can tell that this ball starts about here. We know it goes that high and but we need to know where it starts. So we're going to look again. So we have the, we have this as the corner of our cube, right? That's the corner of the cube. And again, I'm doing this very, very lightly in pencil to begin with. It's actually darker than I normally would, but I'm I'm trying to make it darker still, but I I'm wondering if this is dark enough to see. So maybe we'll make these a little darker than it normally is, even darker still. And I normally would. Now I'm sketching with a darker pencil. I wouldn't normally be using HB, but I've got like a 3b in my hand that I wouldn't normally use it just because the fact that it's darker than what I want. So again, this is, this is the beginning of this thing. We have that, that the bottle starts right about here. How wide is E? So I'm gonna take an increment, my measure of money current, which is the Q height. And then starting at the belly, how many cubes, Why does it, and I want to go and see it as 11, more than 13 quarters. So we're gonna go okay, there's one And then there's three-quarters. Now I see that the, the, the the bottle is sort of distorting because I have the cup that overlaps it and it's hitting into this. And so what I'm going to do is we had, we had measured this before. And I said that I said that the width divided into the height 2 third time. So once we've got our proportional measuring and again, this is, this is back and so this is further back though. So this would start further. And this is a little bit closer. We could take the width, that's true width. Because now if we've done this correctly, it should be the same. So we should be able to go with, let's see. And if I took, you know, again the width and divided into the height. And we're like in a call with like 200 thirds or 12. And again, a third. Couple things probably to happen. I thought this was maybe a little too high to start with. So I'm gonna drop that. K dot distortion. Again. 13 quarters might have been just a little strong. So let's go ahead and take that up. So I've dropped this down. Maybe you'll leave here, start with that first. I think it went up to stretch it. So basically that would stretch it. That's 12x, Not enough. So I brought it in a little bit from that three-quarters to here. And then I'm gonna go ahead and measure the width. And then we're gonna call them 12. And again, that's still not enough. So that just tells me we need again that distortion of the glass is really a lot. So we're gonna go ahead and take this. And Gold says one, two. And we're at a we're at a quarter. I think we'll go ahead and leave that. So we'll say, all right, this right here is the, is going to be our our bottle. And then our bottle is 12. And again, between a quarter and a third should be fine. So we're gonna go ahead and leave that I'm going to mark these just so I know which one of those lines I know what I need. What do I want? That again, if I take the, now, here's where all these measurements can kill really kinda help is that if I look from this, this distance to the top of the bottle, the, the top of a wine glass kinda cut this in half. That gives me a tight K. And then the wine glass starts. And I can't hardly see its foot. But I believe the wine glasses in front of this just a bit. So I'm just gonna go ahead and make a guest animation. I'm gonna look to see how much the glass cuts of this bottle and it cuts into the bottle about them, about that much. And let's see. If this is, if that's what that is. We're gonna go ahead and we're gonna take this. And I believe that the glass I can double-check it is a two to one. So let's go ahead and take that. And it's gonna go 12, that's two and antibiotic core. Let me go ahead and double check this. Wow, it's almost a three-to-one. Okay. Fair enough. Go ahead and make sure I got this right here. Straight. Try to straighten that out. Measure that, measure that, take this up, that's 1.52. So that means this is going to be a little thinner right through about through there. And that should get us. And again, part of the glass is going to, I guess to me the last load because a little bit covered by my hand. Now, my hand partly by the sphere. And so I can't see the exact Front of the foot. So I'm using again a guest summation of this glass. I'm gonna measure again just to make sure there's an old adage with these two construction, you know, the whole measure, twice cut once sort of thing. Okay. So without one I didn't get it was more like a 223 quarters, two and two-thirds. So let's go ahead and double check that because I think we're gonna be fine if not even a little bit. Yeah, I think we're I think we're fine. In fact, we might add just a tiny sketch more to the width. Okay? So and then we could say, all right, well the sphere is below the Apple, so he would be lower than the apple as far as that goes. And he's in front of he's in front of the glass. The overlaps a little bit of the bottle. And since it is a sphere here should be as policy as wide. And he's supposed to touch right here. And if I took his height and I measured, I came over here to the cube. He's almost one cube height. Which one is also one cube wide, which would put them right about here. K. And let's see if you just still have DO check that he's as tall, as easy as wide. So that's that as that yeah. The Rio tells you is wide. This is then It's right here is where the sphere will be. And then we're gonna put the cone now a much a must-have struct a little bit. Because the cone, which isn't coined half away. It's, it's almost like between a 3.5th on this little pyramids all scoot this over. And he's also behind the, behind the sphere. But not as far back as the cup. And for handlers, your triangles. So this is the basic idea of the still life. And if I wanted to say, Well, again, we took a little more time with a measuring. Usually I would do this after I kind of sketched it out. But, you know, there's, there's no there's no wars about being judicious. I'm going to want to go ahead for all my and I went ahead and we already got the measuring. So we're not going to stop and do mentoring because we are already locked in. So on the rough sketch the we were doing, we didn't do that in the beginning. We sort of did towards the end. Well, this one we kinda started out the opposite way. Does it matter? Not necessarily as long as you've got a very clear image in your head as to where you want to what direction you want this to go in. But we need a center line. So all the things that are symmetrical, we're going to want to center line. This will help me as I sketch. So let's say I had already done my little rough sketch like so. And now, but now I want to draw this. Well, we want that, we want to get this. We need a middle line because the fact there's different things we get, there's different ways to break stuff down so I can I can measure. What were the, were the wine glass or the mid point is, and this cup on this wine glass passes through. This is the back of the ellipse. This is the front of the ellipse. We're gonna go ahead and work right to left of the center line, which ones are going to bring in sort of a shape as needed, so to speak. We're then going to go ahead and use a center line to bring in that. This is going to be the foot. Now, I'm going to be drawing the foot. Humanoid can't see the foot. So that's the other thing about this is we're going to, we're going to go ahead and use, we're going to draw through things like we talked about before. So we're gonna go ahead and get I want to just double-check the foot is the same distance on either side. It was off a bit. So I'm gonna go ahead and put that there. If that's that, Let's just double-check that where we are another side. So this is where that should be the, the edge. And then we're gonna take this and make sure that this here is the edge which is right there. So we can start to check the distances. This is basic. I mean, this is also mirroring. We're going to start to say, hey, if this is the widest part up here, or take this measurement, the easiest way to take this measurement. Come over here and go, yeah, that's, that's the same, that's the same distance. Take this over here. You know, this is the same distance. And again, this is, again, I'm kinda, I'm kinda of a switch in this upload, but which is not a bad way. You know, some people want to get a little bit more, you know, might start this way as opposed to where you're really loose. Another words where, where you could just kind of sketch it in something like this where all there's a bubble in there, you know, and this is just a symbol and, you know, we can certainly, we can certainly do that. What I'm, what I'm doing right now is a little bit more cautious, a little more careful. And again, that's not a bad way to work either. We can go ahead and start to bring this cup in here. Like so. And again, this kind of swoops in here and straightens out in the scoops from here, straightens out. And then this comes down through here. So again, we're going to draw through this so we can see it at least in a general way. So I'm not going to notice certain things. I'm not going to sweat a lot because a lot of this foot is covered. But I do want to make sure that the foot is the same distance here. This right here is the center line, right? And if that's the foot there, that this is the center line, this is the same distance on that side. And I'll keep us from having things that are tipping or for doing some weird, you know, doing weird things. I'm taking my finger and I'm measuring from that point, measuring to that point. This is a little bit further off, so we can go ahead and take that. I can also, you know, I could bring in if I had a spare piece of paper, I could grab, you know, something like that. And so if I had, you know, again a script, his paper, I could go ahead and mark this here and that there, and then make sure that they are the exact same. And that's pretty dang close that right there is actually. So this is closer than using your finger and is a good method. I've got, you know, if I need to erase from my kneaded eraser, if things are getting a little obscured. That's the, that's the time to pull out the kneaded eraser. If I've got you know, if this is tolls is wide, you know, again, this is supposed to be a circle, right? And so if we've got a circle, we can put a, a perfect circle shouldn't fit a perfect square. But if I, if I knew anything into a square, that means I can use the armature of the rectangle. And I'm going to use x marks the spot, which is what I did up here, mark the middle. And I'm going to actually going to bring my vertical axis through here. And a horizontal axis through there. Oops. That's six lines. I've gotta figure out which line I'm going to use. K. So and then we'll say, Okay, if that's my center point right here, and this is the outside, we're gonna double check for symmetry. So we're gonna say, all right, well let's go ahead and check that sat dot there. And this is almost that dot there. That's actually right there. And then we can double-check, hey, is this the same distance? It is. So we had, again, the armature of the rectangle helps us find the center. And so we should be able to have the same top to bottom. So I'm going to mark the top. I want to mark the bottom. And if I wanted to, I can even give myself a couple of points now, because this is a sphere. Again, you know, why not? Why not help? Why not help yourself? Again, make sure that we've got some points equal distance off of this, off of this over here. And again, that can just give us a guide is we're drawing, you know, we've already done our little sort of using the RR arm and really being loose and trying to get something circular. Well now we're going to try to bring a circle that's a little bit and make it better. So again, I can go ahead. And you need to, you know, you go ahead and just use those points. Now again, I'm not going to lose sleep over this either. So so this is just, you know, later on I would sweater, but right now I'm just trying to get a better I'm trying to sort of get a line and that indicates a little butter circle. And this is supposed to be the bottom of this foot. I'm going to use that a little later for the ellipse as far as that goes. But hopefully we can see. Good now on these other drawings, I've been using a charcoal pencil because it shows up better. But I figured on this one I'd actually, I'd use actual pencil. Pencil has sort of a metallic sheen to it. So I hope that we can see this fairly well. Can i'm using a B Pencil 3B actually, which would be far darker than ever. I mean, I've sketched with six Bs, but that's when you're really doing loose, loose, loose sketching. And you're not going to, you know, you're not going to really try to. The line is going to, for the most part stay word is you're not going to fuss with it. You're not going to play with it. Because if you start playing with it and racing into it too much, it's going to start to really become a mess. It's like sketching with ballpoint pen. You know, you have to really make a commitment. There's no, there's no going back once you, once you started with that ballpoint pen. So we're gonna go ahead and just continue developing this. If this is r, if this is our move this over a little bit. So it looks like this overlaps, softly overlaps that cone. But if this is our code, we're going to start off with a triangle, right? So there you go. Okay, here's our angle here, right? And then this is our angle down through here. Like so. And then we've got, this is not quite straight, so let's straighten that out. Okay? Alright, so there's our triangle. And then to check the triangle, jake That trial income down here on the straight line that meets that and 90 degrees. And or make this symmetrical. By the time I've done this, I've made a decision. And and we use this and mirror this way. Doesn't matter which way I mirrored. It just has to be right or it has to be accurate. So I'm gonna go ahead. Means what that triangles to that triangle. Bringing this over here. And this will then push this over here. And part of this might be because my eye again is at an angle. I've got this turned a little towards the camera. So it's actually turned away from me. So sometimes I'll be like, Well, that looks kinda right, but you look straight on. You're like, oh my goodness, I didn't even close. So this is a lot further than I thought it would be in terms of how far was out. Probably some of that, what we call parallax. And that just means that the plane is not straight towards me. You'd never want to really draw that way. But won shoe and this, you have to do this so you can, so you guys can see what I'm doing. Otherwise, you're not going to be able to see at all what's happening. So, but it can be a little disconcerting sometimes as a student. And I know I've wanted to demos on, on videos and I didn't want people I know can draw. And I'm sitting there going, Wow, that's, that was a big mistake. How did they have what, what's going on here? And come to realize later on, oh yeah, they're, they're drawing on the drawing for camera, which means they're drawing slightly askew. And so that means they're drawing is sightly wonky and askew as well. Alright, so this is again the bottle. This is now again, this seems like a mess. So sometimes I'll go Okay, I can't see it, so I'm gonna mark the mark the corners. Why would I mark the corners? Will, because right now wanna put an X in here for a center line. I want to know where the center line is going to be. And so I would start to, you know, get ready to do that. We're gonna go ahead and keep going on this. Try to get this, you know, keep developing this using our measuring. And we're also going to clean it up a little bit as we go forward. So I'll just clean this up a little bit from from our lives will continue working on. So we come back now. I've cleaned up a little bit of this area here so that we can see it a little better. As far as that goes. Dark and up a little bit of the cylinder. Partly not the cylinder but the sphere. Now if I went to strain stuff, if I've done it by hand, I wanted straight it. You can use, you know, this is just a basic drafting triangle. This is like a twelv inch or something, but if you get between an eight to a tenant somewhere, that'll be fine. You could also use a ruler to straighten things out. Or someone in the garage has an old level that would work too and you just need a straight edge. That's all, that's all we need. But whether you're using that or whether using this plastic triangle, it can help you with your lines. Now, we're gonna go ahead and get some more end here, some more information. And I want to come over here and look at the cube again, r cube as our, sort of our incremental measure. And so I can come over here, I can measure the angle. Now I talked about measuring. We can tell about measuring angles like a clock face. So I could actually take this little top right here. This is the top of that increment or the top. And I'm going to have an angle coming off there, three sets of three and it's three sets. Through lines that are parallel, I've already got my verticals. I just need to put in my angles. So the a set is done. We just need to be in C. But let's say I put my pencil out there, I checked an angle which I did. I can I can go ahead and do this. I can bring this line is supposed to be straight up or close to it. This line over here is supposed to be straight over K. And that's a little better. But then what I can do is we can make half a clock face or actually I guess it's a quarter of a clock face. So your poor little arc in here. K, like this is a piece of pie or pizza or what have you. It's not quite perfect, but and so I shouldn't shouldn't worry about it but hearing and messing with it. So here's my little arc. And what I can do to kinda help me once I've got the angle and I check the angle and the angle looks like it's almost like 11 minutes after the hour. And so if that's true, well, then we come over here and I will get a lot of times we have a pretty good eye for when we're getting, you know, if we're not getting as much pizza or as much pi as somebody else. So we can divide these into thirds. Now that they have to be perfect thirds, no, not necessarily. But we're not ignoring it either. So we can go ahead and put, make this into thirds. And this what we now have three seconds of sections of pizza. And we have five after ten after a quarter after quarter after would be a straight line. And I said, well, this is about London's before the hour. Now, instead of trying to divide these into five-minutes, fives can be a little bit harder. Let's just do four. And so again, I could go ahead and take each one of these sections and divide it into four. Like so. And I can say all right, well, if this is ten minutes past the hour, historically, it's a little bit shy. So maybe that's ten after, and maybe this is 11. So it's not going to be quite at that mark because it's these are supposed to be five minutes between here and here. I made this for so I stopped short ways because the fact we'd have to open these up a little bit to actually put five in here. But the idea is, so I'm just using the FOR, I'm trying to guesstimate. But if I can say, hey, this right here should be ten after, is it shouldn't be too hard to go. Yeah, that's going to be about five minutes before the hour. And I'll go ahead and I'll go ahead and draw that angle. Now what I can do as long as I don't change my No, this is the great part about if I'm drawing straight up and down vertically. Or if I'm, if I'm working on almost a vertical surface, is I can actually check the angle. And then bringing this over and see if it's the same angle. It's not quite this a little more extreme. Now if I'm working on a 45-degree angle, like I've got my board over here, my lap. So if we make this so it's more 45 degrees to me, it still works, but it's it works best when it works really good. But it works best when you're on a Truly vertical surface. That's why you'll see people in colleges working on a vertical surface. You can take take measurements easier. You can measure angles easier. Do you have to work that way? No. Start out with your board on your knees, you know, so you have more of an angle to it. But the idea is that I can go, hey, alright, why I checked my angle and it was just a little off. Well, I ignore it was close though. I was within like three quarters of a degree by making my little clock face. Okay, so I've grabbed my race is over here. So that little clock phase can really help me for my angle. Now, the angle on the right was more extreme in the angle on the left. The angle on the left was very soft. And in fact it was just above quarter till, so I could say area will which quarter tilapia straight line. So it wasn't straight, it had a slight angle. So I might go apps can lift a little bit. That's, that's now about 14 minutes to the hour. And so again, we can say, all right, well, that would then be fuzzy and make it a big clock faces would now have to a beggar. But understand that I'm still visualizing. What time is it? Because the clock face has to be as long here as it is up here BY almost one increment up or whatever. But if I made this big arc again, this is barely like 14 minutes to the hour. And again, I could check my angle and then bring it over. Now my check my angle and brought over and this is actually a little bit too soft. Meaning it's got, it's got a little more angle than that, but not by much. That's not my angle. This is angle a. This is a apartment angle a. This should be B. For those that cut down. You're like, hey, wait a minute, I watched those videos. That's totally wrong here, right? This would be B because it's on the left, this is C, on the right, this is a, and this right here is the Y. Ok? It has all three angles. That's my C angle. This is my, my B angle. Like so. Right? And then we have my verticals. Okay? So that's a, and this one would come straight up. And this one is to extend that a little bit further. Ok. So that would be my three vertical lines for this. And I could just hurry up and now I can go ahead and finish my cube k. So you are, I will, this is and this comes down. This angle needs to be the same as that angle. Go ahead and make that angle pretty close. This is C, C and the other sees over here. So again, you come over here and these three angles should be the same. So you're bringing that angle over, like so. Right? And then we have B and B has to be, you know, B would come down here. We have our little line, like so coming down. And then we have our line over here and try to be parallel that other line. Like so. Now again, I still might incremental measure this right here. And now right there, those two little dots as my incremental measure. So I want you to say I'm not changing that, that stays. It's just reporting the angles on here. And if I was like, well, I want to, you know, if I've already drawn by hand, no big deal, I get a ruler or anything else. And again, I can straighten this out. Okay? Now usually if you'll if you straight a line, go back over it or it's going to be painfully obvious that you've used a straight edge. So use that as a guy. Don't don't have it. They're like, oh, I can't. Anyways, if you leave your straight lines, it becomes painfully obvious that someone has been using a straight edge. So we want some feel of that has been done by hand. And so we would go ahead and go back over it to give it just a little bit more variation. So now make it feel like it was done by a computer or done by vector. You know, don't, don't, you know, whatever some sort of vector program gotta be careful not to throw down names. People like wait a minute. You didn't have the licensing to say that. So we don't want to. But again, we're going to have our third b comes off of this corner. That's our third b. And this is going to be, this is b here, b, b and b, this is c, c and c. Good. We've almost got r cube come off this corner trying to make that parallel to the other lines. That's going to put a corner, this corner right here. Now again, whenever we use these methods, if were like, Ha, that doesn't, that looks like it needs to be a little taller. Well, we can go ahead and wait a minute. I used the wrong line all up. We're just gonna double-check something. Whether the whole thing of cut once a measure, twice cut once sort of thing. And so it's trying to double check something. So this feels a little wider than it is tall. If that ever happens, that the easiest way to change that is bring cut a little bit off the side. K. I think that will feel a little bit better. And then we're going to cut just a little bit, you know, a little bit off this side because I think you just got a little too wide. Now again, we also have the fact that we've got this camera at an angle. We have that Parallax thing that I talked about. But I still want to make sure that, you know, we'd get this. I'm going to try to see if I can get out of the way. I'm drawing this, what we can straighten this up very quickly, straighten this very quickly. Like so. And it's just get that that little straighter. And then we can go ahead and erase, trim this down, race it. And then we'd have to read at the top a little bit at the back, but we need a little bit more of an eraser. So we take that off, take this off. And then we're going to go ahead and redraw the top little bit, not these two angles, but the back to o. By doing that, we now have, we still have our three sets of three lines that are parallel. And all we've done is move this over a little bit. 17. Drawing The Still Life Part 2: So it looks more like a cube. Now. I just personally and so there's a thing with a, with measuring. I always tell people if and dow believe your own eyes. If if after measuring you're like, I don't know, that doesn't look that doesn't look like that's that's right. It looks too skinny or looks too thick or it looks too fat or looks too tall or looks too wide. Believe your eyes if you don't know, there's times her eyes will lie too, especially as we're getting started. But you can double-check by taking measurements. And I actually did some real quick ones and I'm also just draw and hundreds of cubes, probably thousands if we get, if you want to get technical. But so I have sort of, you know, I have a better sense for it. And this feels a lot more like the cube. We'd go ahead and take this. Go to here that's about three quarters. Measure the left side to the to this main corner, and then measure the right side and see if it's at about the same proportion. But that's very much, that's much closer to being a cube. So we have three sets of three lines that are parallel, CC and z. This was b, b and b, a and a, three sets of three lines that are parallel. And now we would actually go in there and erase those little family names because although it might be great in the beginning to keep us from getting lost, we don't want people to know that we're, you know, how the notations that I think we just want to look like a query line. We don't want it to be like, oh yeah, there's there's my notations. I left my notes out there. You know, it may be interesting to read a magician's notes, but at some point we want to let the magician amaze us, astounded us. In some way. We don't want to know how, how he did, what he did. That's the fun part of being amazed. So I'm gonna go ahead and I've got this little now going, I went, I'm starting a little bit by I. But like this line over here stops. And is it straight? So do I have a front view of this of this pyramid? And it pretty much as it's a front view, as if I'd developed it from a cube. For those who watched the video on pyramid, you understand we're talking about, but this coincides as part of this line coincides with the half width. If I drop a vertical alignment, it cuts this about in half. If I take a vertical alignment and hit this one, it cuts it by a third. That tells me whether the way the minus too short and I'm going to bring it back over there. Okay. So and I may need to push his bag just a sketch, but I think we're pretty close. Now we have that it's this tall. But I also see a little bit of the side of this guy. So and if I brought him straight down, it's basically, you know, very, very little. I don't see very much the same at all. So this is going to be, this is actually going to be this back corner. And this point right here, I needed to bring this because that's going to bring, that's gonna give us our equilateral triangle. If we do this, we're going to try to go ahead and go right? Well, and this needs to be in the middle. Kinda with us a little backwards. The way that we started in the, doing the pyramids were guesstimating. Are, are little v or a little, a little a triangle. We're trying to kind of guesstimate that. So let's bring this over. And so it's a I will this right here that's downloaded 204 and this isn't quite straight, so and there we go. Okay. So then we'd say, well is this this is my this is my straight line coming down right about there. That's supposed to meet at 90 degrees. And then we just check what the distances and I could do with my thumb, right to left. It's it's off a little bit. So we're gonna do this. And when I say all right, and I think we're going to use this point, the right, the left side, and then we'll go to the right. So I come over here. I'm going to change our mind. We are going to use this side and the middle. And then because this one, I don't want them to have to move because of what it looks like in the actual still-life. So this these are the two points to make sure I know what they are. I've got little triangles there. And one of them and put this at the midpoint wars the trial because I haven't I haven't made the point that I don't want to get confused with. So this is actually equal right there. So this is where an, remember that's the outside of the, of the pyramid. I'm kinda moving stuff around, so I need to get this over here and I'm going to, I've seen I dropped an eraser kind of flicked out of the screen, but no big deal. So I'm gonna bring this over. And so this is now look to where you're going. So, so look to that point while you're drawing that, OK. And now I'll say, Alright, well, and again, this middle can be kind of like a pendulum. What's the angle? Well, we already marked the animal because this right here, not this point. This is the outside of the pyramid. This right here is the right to left side. So this right here comes down. And maybe I'll open this up just a little bit more. It's not going to be a big deal for the drawing, but I think it'll be a little more clear. I'm going to move the point. So let's just straighten this out. So this right here, the point I was going for, that's that's where it breaks and says left side versus the right side. Now again, I'm gonna do this very, very cleanly so that way there's no confusion about what I'm doing. So this is going to be over here. Is again, this is a front view and we talked about a front view cube. This is a front view pyramid. And all that means for a front view pyramid is that again, the angle is perpendicular to my line of sight. Will have talked about the line of sight. So and so this is not. This Q has a slight angle. It's such a soft angle, I might actually give more angle to it to make it read better. Some people would say. So I might give a little bit more of an angle here. Lift this angle up a little bit just so that it reads like it's not trying to be a badly drawn from UQ, but it's a very, very soft corner view cube. And this will tweak stuff like that when you're drawing all the time. But this one right here would be truly straight. Because with a front view pyramid, we start with a true rectangle. And then there's just one angle going into the back. So we'll go ahead and bring this down. Like so. Gotta kinda crossing there at the top. So we're gonna do, we're gonna take our racer and clean it up. Ok. Bring that up guitar out of the way. We then have this angle. Now before we do that, I could get, I can measure this with my, with my pencil. And if I do, I want to find out that it's about five minutes to four minutes after the hour. It's it's quite an angle. So it's gonna go back very quickly, as people would say. It's a very, again, a very extreme angle and it's going to intersect this side. This was already are equal side where was again symmetrical. And so this goes from this corner apartment. This yeah, this is the corner to the back corner. And we've got ourselves a pyramid. And we did this with sort of the pendulum method where we try to look for what we started with our a triangle. Then we put the, the line that, that shows the right side from the party of the left side from the right side. And, you know, if we can see through this, well then we could actually bring the solver, bring that back and you know, like the foot. If that, if that doesn't make sense, like OK, we'll bring this straight across here about there is if we can see through it. And then we could bring this back, which would be this angle, but he parallel to that angle. And you could go ahead and show what's called the foot print of what this pyramid would be, where it sits in relation to that, to the cube. Not a big deal, but I'm just saying that this is, this would be the base of it. Because the base of a pyramid is a square. So, but this is a square that is a front view or in perspective. It means it meaning we have diagonals, which means it's going to look like, for those of you remember geometry, a parallelogram. But we're not going to worry about that. We just needed to worry about getting the right side, the left side. So all this is gravy, but if there was for some reason, I needed to see the footprint, I could actually draw it as if, you know, as if is this, you know, so I could see the footprint. Don't worry about a lot about that right now. Just try to build a pyramid from what you're seeing. Try to build a pyramid. This would be a front view because the front view, that means this line is straight. This is lie in Australia at that, you know, and so we only have the straight line for the, for the right and an angle for the left. If it was a corner view pyramid will then we'd have to we have an angle going that way to the on the on the right side of an angle going on the left side. We don't, this is actually truly a supposed to be a straight line because it's perpendicular to my line of sight. We touch on the line of sight in this class. If you don't understand that, go back and rewatch it. It's very important because it's starting to talk about how we see. The most important thing of drawing is understanding how it is that we see stuff. And if we don't know how we see stuff, how in the world are we ever going to be able to draw it if we don't have a clue as to what we are perceiving when we when we look at something. So go ahead and check it out. It's, it's a it's a, it's a great video talking about what will we, what we termed our, our line of sight. Now we change the angle just ever so slightly. So I gotta remember that. Okay. And so this comes over here then that would go and we change this one's slightly too a little bit, which brings us down. Okay. So and you can't probably see this because it's so small. But I wanted to make sure that this line doesn't quite end up exactly on the edge of the pyramid. We're not going to, That's a compositional thing and we'll talk more about that in other classes while the second class actually on drawing, where I talk about things like what we're seeing more and more about composition. We're gonna tell it where to play stuff. Don't know not to have stuff in a certain way. So it doesn't look weird or create unwanted tension or anything like that. So again, we're just going to clean this up real quick. And we've got our, we've got r q and r pyramid. Right? So we're moving right along. Maybe we'll go ahead and clean that up to over there a little bit. And so we could continue on with the, with the drawing. So we're gonna go ahead and tackle them. Now, the apple that gave us a little bit oblong because this is an apple that's wider than it is tall. And also there's a little funnel on top of an apple where the stem grows out of. Okay, we're gonna deal with that. And so we're going to come back and work more on this and keep developing it as a drawing. I'm also gonna clean it up a little bit more and we'll go from there. Alright, so we went ahead and cleaned up some of the different parts of the drawing here. I also went ahead and darken the rectangle, found the center line, this one. I made a little bigger. So originally, this was the original, the original center line. I decided. It just seemed like this ball needs to be bigger. I double-check the proportions and so I made a bigger, it's actually a little taller. But I, but I felt that the it fell, it fell better like sometimes because a perspective that bottle gets smaller and so the cup that's in front looks bigger and the bottle bottle starts to look smaller. And so I just made it a little bit taller, like it should be about this tall. And I added like a quarter of man. So I didn't make it like crazy huge. But, you know, and that's what we call artistic prerogative. Artistic probably doesn't mean I don't know what I'm doing. And I'm gonna make a decision by not knowing what I'm doing. Artistic prerogative is actually when you're looking at some and going, you know, I'm going to change it because I think it will, it will be better in a, B, or C sort of a way. So again, I went ahead and darken these. We did the cube and the pyramid. I got the rectangle and the center line for our cylinder, which is the, the candle. We also have our cone and we have our our bottle. So for, for doing the cone, I'm gonna go ahead and mark off the points for the major minor axis. Okay? So these right here are the, remember the minor axis is always on the center line, and then this is r dot over here. This is the dot over there. That's our major axis. And I found that this was wrong too. So I just, I brought the sinks. I once I strained up the centerline and checked it, this was out just a little bit, so I corrected that too. It's not it's not a problem if we correct things, if they're wrong. If we leave them there when they're wrong and we go on, I just think I'll leave it and no one will ever know. That's, that's a really poor mistake. So I'm actually going to draw this as if I can see all of it and it's just to give me a better ellipse. So we r c curve there, we're going to have a C curve here, or an arc, a C curve or arc here. And then we're going to, now again, I'm trying to get out of the way. So normally either training or try to actually draw this ellipse. You don't want to open this up. I have this here. I like. So I have brought down here, but I liked that better. It's going to have just a tiny bit more of an art to it. I think it'll look a little better. And some of this is a guesstimate. Can I could take a piece of paper and say, hey, this is where my new measurement is. And I can go ahead and put on the middle, make sure that's the same. But anyway, so again, I've opened up the ellipse just a little bit. And I think that I need to because I'm looking at this ellipse where I was going to put it was to tie them and ellipse. We need to open it up. So again, I can go ahead and bring this. And again, I can't get in front of this because I'll block the camera. So when I'm trying to, I'm trying to draw this in a way that is very unnatural, at least ought to this four, right? Because I'm left-handed. And there we go. Now again, I was. I could bring this around the back and a lot of times I will on something like this just to make sure that I don't know hooking it. It's the mind. My hook is not too flat through the curve like this points a little bit. Now this one won't show because again, this is being covered by the sphere. So that's not near as important as this one here that does show. So I do want to make sure that as I'm, as I'm, you know, as I'm drawing this and I'm trying to bring myself through the curve. And again, I'm I'm drawing this in a way that I wouldn't normally do because of the fact that trying to stay out of the camera. This seems like this needs to open a little bit. So this is too tight. Now there's a template in the for the class for drawing ellipses. And you can download the templates or you can print the template off and then use it to check your ellipses to make sure you get your drawing good ellipses. And there are different types of ellipses that are open and closed, more and different things like that. So I'll go ahead and clean this up. I can erase it a little more later. I don't need this now. I just I was keeping that so that, that my curve would come out of there at the right place. Now actually I open this one up, didn't I? I, I actually opened this curve of that ellipse was o. And that's again why draw the whole list is just to get that hook as it goes through the corner. If that hook through the corner isn't right. It's it's not a, you know, everything's kinda give me kind of wonky. And again, the reason that I want, I drew that corner over here where I can't see it. Because again, so this will still be symmetrical. So now that I've drawn that, go ahead and give my little eraser. And when we start to erase this now, actually using again because of the fact that we're trying to make these darker. So you can see this pencil. This pencil does not erase when it gets really dark. So I darken this up and I can still see the line because that's not coming out. Normally. We'd know and never draw this dark. It would be kept as super light lines so you can erase them entirely, but this is fine for our example. So we've got our sphere, we've got our cone, we've got are getting good. I can go ahead and take this out. We've got our wine glass that we've drawn. And we're just going to continue to use these different sorts of shapes. We're gonna go ahead and finish this side, then we're gonna come back to the bottle. So again, for, for this and I can use, I can kinda try to uses a similar ellipse because it's, these ellipses would be similar to this one here and this one year. For those that know perspective, they'd be like Hold on a second because there's a much longer conversation to be had. Now what I just said isn't exactly the truth according to perspective. But if we make this one, you know, if, if, if this matches this and the ellipses I put on here match that, it'll be fine. Even though we're not. We're not necessarily doing it a 100% correct. We are dealing with ellipses as you get more into the drawing and drawing two, we're going to talk much more about ellipses. And I think I mentioned that usually when people start drawing cubes and squares, they started, they started saying How cubes and squares are so difficult and, and then there are just so hard to draw. And the thing is, it's not the cubes and the boxes. Now that the cubes inboxes do have, you know, some things we need to be aware of. And we have, you know, two or three different videos on drawing boxes and talking about how to draw them. But after you get your head around and it's no big deal, you just have to three says The three lines that are parallel. And you get a box. And the rest of them might be practicing your lines so that when you draw it, it'll look at. Okay. So but for ellipses, ellipses are much harder thing to draw there. They're very different animal. And so there's lots of things. Now it doesn't mean that they're certainly not impossible. And I don't mean to imply that, but there's just much more. There are many more rules governing ellipses and there are boxes. So if you compare the two boxes are far easier than ellipses. And when you get into actual, you gotta be careful that you don't go down the ellipse rabbit hole. And what I mean by that is ellipses are very complex. And even people that, you know that or we use different methods for drawing ellipses. And they'll talk about how all the methods are actually not correct. But the correctness of it is so minute that if he used the methods that we use, even though it's a simplification. So again, it's not divine truth, it's just to make it look good. Good enough that we go, yeah, that's an ellipse. And that's all we're worried about as artists. We're not trying to, again, quantify wouldn't ellipses in geometry and trigonometry and these different sorts of things with that. So we're worried about, we're just worried about that are drawing looks like the thing that we're drawing is indeed elliptical. And so the, the, what we use and the way we use it does work. It's just that, that's even what we use in our world. And even, you know, you could extend this into, into drafting back in the day when drafting was still done by hand and had even the ellipses done by many of the vector programs again, are not accurate. But that's okay. Because again, we're not we're not we're not measuring things with calipers. We're not measuring things to the nth degree, you know, 100th of a millimeter where that doesn't, that doesn't matter in our world, that matters in engineering and other things. But it doesn't matter to us because that's such a finite, such a small increments. So all I'm saying is that we only needed good enough that our eyes go. Yeah, that looks right. That's all we need. We need to just well enough that I goes, yeah, I'll buy that. Now. It looks like that looks like what that's supposed to be. And that's all we need to do. So every time we draw, there's actually a little error. And that's fine. Sometimes people think that that's exactly how it looks. No, it's not. I can guarantee, you know, I've been in the industry working professionally as an illustrator and drafts man, all these different things for years. And I can tell you unequivocally that no artist has at a 100% accurate, that's not what we're trying to do. And in fact, once you get into that sort of accuracy, many times, the accuracy will not be as interesting. Visually. Because we're dealing with an art form. We're dealing with the philosophies of beauty and aesthetics of proportion and these different things. These are abstract concepts. Someone who's designing a little cog in a wheel doesn't care about, nor should they. They're worrying about whether it is accurate, whether it can sustain and hold pressures of so much and how strong is it? Its tensile strength is a work does the function? That's what they care about and that's all you care about if that's what you're, I mean, some people would say, well what about form follows function and you know, the aesthetics of, of doing things that are both functional and the, in other words, the work and look good. And I'm certainly not against good design. Interesting aesthetic design, meaning that it's visually pleasing plus it works. But I'm just saying that to an artist, we err on the side of a being able to create a visual, emotional response to the work. And we care about that more. And so again, we can get it will get accurate enough where people go. Yeah. Okay. I'll buy that. That looks that looks right. And and that's all we care about because we don't we're not this isn't to be a set of plans. And even we could do a set of plans. But again, set of plans as long as it's like yeah, that looks elliptical. And then these are all the dimensions that it just has to look like. Oh yeah, that's an ellipse. And then you have to have the machine to be able to, you know, or the person producing it has to know how to then make the ellipse. But the idea is, is that again, that there's always a little bit of error. You know, even, you know, small little parts. You know, if you start getting into small, small increments, let's go ahead and match this distance. So I'll measure this distance. I'll come over here. That will be about that distance there. This would be about that distance there. K For that ellipse or the minor axis. These bits on the minor axis, these bits here are the major axis. And all that good stuff. And then we turn this into an ellipse, right? So this would come through here. I'll, let's go ahead and do this properly. So he said, C curve there. C curve there. Now this is mostly being covered by the apple. So again, what I'm trying to do here is just make sure that the opening and there's times like this where the C curve again was is, is too wide. I need to tighten it down. And I just need that to give me that little hook so that I can then do the same hook on this side. Because again, most of this ellipse is covered by the, by the Apple. Okay. So and again, I could come over here and I can just see the illustrator about here over that's, so that's all I need this for is again, to get the ellipse to look good. The reason I did all of this was to keep it fairly symmetrical. Again, I can't see the back, so we'll erase the back. Right. I can't see that. So none of that, that's all gone. I can't even see this cylinder past here because it's sort of been lightened in and erased out a little bit, but that's the apple. And then the apple covers most of the ellipse as well. So all of this, I put in there originally so I could see it and make sure that I have a decent lives for just a little bit. I drew the whole lips. And it helps you when you what's called drawing through a form. And that's what I did. I drew through the forums so I can see the ellipse. And again now I could also, you know, I should be done with this center line. This should be symmetrical as long as these lines are straight down, there's symmetrical. And so I don't need the center line anymore. I get rid of the center line. Again, normally these lines would be so light that again, I could erase them entirely as it is. There's no way I could use this as a finished drawing. It's going to be very clear that I used all these different lines. I could use this as a as my rough draft if you will. So I could I could use this to them sort of as my as my rough drawing and then transfer this to another sheet and clean that up. So I could certainly do that. Clean this up a little bit and get this look a little better that way. So now this is done, the, the cone is done. I'm gonna go ahead and we're gonna draw the apple now again, the apple. We're going to use some overlapping lines because there's some very important things that we need to have happen on this apple now, does Apple has a certain perspective by you can see just a little bit of the back side. Now, I'm going to send you the photograph I'm using, but the photograph is going to be maybe slightly different from from what I'm saying. Because when I shot it, it's all about how high is the camera's eye to the object? And the camera's eye, as I recall, was a little higher than my eye where I'm sitting right now. And so there's gonna be a slightly different perspective and that's not a bad thing. I'm just letting you know about it. Because again, sometimes people will see stuff like this, like, well, that doesn't look like the picture. The picture is a little different. Why are they drawing that differently? Well, that's because I have yet to see a A video where the photograph is similar, but it's not the exact same adage nor is anyone going to. Most people don't even aren't going to care enough about it because it's close enough that you can go. Yeah. Okay. I see where you're going with that. And so it just has to be nothing go Okay. Yeah, I see where you're going with that. And that's so I just wanna let you know about that. So there's a part of this, so there's something that we were taught, it's called a hierarchy of line. So sometimes when people draw stuff like this, they want to get into all the different little details. Ok? And and they'll go in there and they'll start putting details on here. And they'll put too much detail and there'll be too dark. So if I've given here, I start making this grain like they're dark, that's too dark for the grain of that would that's just not going to look like grain. It's gonna look like someone attack this thing with a, with an eyebrow pencil or something like that. So you have the nothing should be, none of the details should be darker than the outside contours. Hierarchy of line meaning one is more important and the other thing is subordinate. So the detail should be subordinate to the lines that actually are showing the contour. Lines. The actual lines and edges are more important than the superfluous details. The little minute details don't matter as much. So if I was gonna do some of the, I should probably look at because this is I just drew a shape on there and that's not actually the direction of the grain is going. But if I was going to go ahead and draw the grain on here, it's going to be light enough so that it doesn't try to upstage the contours of the wood. Okay. So maybe something about like that amount like this. You know, it's got to be light enough that we can go, yeah, there's grain there, but it can't be darker than the outside contour that's upstaging the outside contour. So that's called a hierarchy. Now I could probably get away with this being slightly darker. And a lot of times people will play fun games with line though. They'll use Lost and Found line, meaning darker and lighter to kind of indicate, yeah, there's parts of this, I can see other parts are kinda fade away. And you can use that very effectively in something given like this wood grain, you know, you can go ahead and make it lighter and darker so that, you know, the grain gets darker than a fades and it gets darker and a phase and it gets darker and then a phase and it gets, you know, so we can go ahead and use that. And now we have sort of like a third level. We've got the darker lines of the details and we have the lighter lines of those details. And that again, can give us a nice hierarchy as, as i goes. So that's. That's something that we can do to deal with things like details. The details have to be subordinated to the to the outside contours. So, so that's important as we draw to look for those relationships with details and things. So again, we can go ahead and lightness up and again, that's what of course we could start putting details on stuff as we as we choose. We just don't want it to be darker, as dark as the outside contour. So if anything gets his dark because the outside contra we'd light it up. Okay. Again, because we don't want to get too distracted by all the textures and all the details. We just want enough to go. Yeah, this is this indicates would this seems to be something that would be would like. And there's a grain to this wood and it runs, this grain is running through this object because it's made out of wood. And again, we do the same thing here though. Again, we're going to have little bits of the wood grain coming back through this, through this object. Because it's what as well. So we could do some cool stuff like that. But if you're not careful, this will start to look very splotchy. So again, that's where that Lost and Found line. And usually it gets darker at the edges and it blows out towards the middle. And that's called suggestion. So we can suggest textures. Now this is wax, so we don't really have, you know, a lot of texture going on there because it's a candle. And now there's actually a ridge to it and then there's a dish and there's a little weak, but we're just gonna keep this like a regular. Like we're drawing just a cylinder. We're not going to worry about we're not going to sit there and worry too much ourselves about the the wick. So and we really want to get to the bottle and the cup. So what was I started off by get and I got a little distracted by the apple. So we have the apple, so this is the outside contour. And the contour basically comes, oh, there's like a little shoulder as what I'm saying. And the shoulder gets lighter and becomes a ridge line because again, it's not an outside contour. So these ridge lines right now they look the same. So that means that's that's not right. Okay. So the outside contrast to be darker. Okay. So that ridge line has to be a little tiny bit lighter, K, So that's a ridge line, it's an interior contour. But then we I can see just a little bit of the back. So this shoulder becomes important because it says this is the front of the apple. And then he goes over the shoulder and along the front ridge of this little funnel where the little stem grows out of. But then I also use also see just a little bit of the back of this, the backside of this apple. Which is an outside contour. But what's important is this though overlap. But this line gets a little thicker, a little darker as it overlaps. Because that says this line comes forward and this line of back, we'll get a little bit lighter and a little thinner. And so what happens is that the front line of the front shoulder will command more tension than that little back part of the shoulder. And so it indicates that this is a front that's him back overlaps, become very important. There's not as much on the, on the bottom, but like, like there's a pair of pairs will have little more distinction and then some, some apples will too. But well, they'll have like the bottom foot and this overlaps. And the moment this overlaps, that pushes this line back. So this would be the front of the foot. And sometimes you'll have like three little issue. We almost call them toes if you will. But this overlaps and then this line comes from behind and comes out. K. Overlaps can be very, very important. Can they imply depth? And so even though we're working in line, we can imply that certain things are going back and certain other things or not because I'm overlapping. So again, we can get this lined overlap. And we're going to let that sort of fade. That line overlaps this line, right? And then this line over here, that line over there is coming in front of an overlapping this line. So overlaps or something that really are important as we draw. And I think those are two distinct, so I'm going to knock him back. But better to have them distinct and enlighten them that did not have them at all. Ok, that's an important thing to understand better the hits something really hard and then soften up on that. That did not have it at all because we'll have just a little bit more depth down there on that foot. Ok. So this is going to start to look like, you know, it will start to look like an apple. Once we've done this. And again, I could go ahead and say, all right. Now I don't, I don't do a lot of finished contour drawing. There was a time in my illustration career where I did a lot of black and white work where it was, they were contour drawings that are meant to be finished drawings and contoured. Ryan's going to be really taken to a very, very finished level where we can start to go. And I have to, there's no stem on this apple, but I've got to put a stem on the apple that Apple is always don't look right unless they have a stem to me. Seems like where, where I'm living there taking the stems off almost all the way down or they're getting knocked off and shipping. But it looks I've looked at a lot of neighborhood their snapped off. And I'm like, man, that's terrible because I'm so used to you. So you still we all that's an apple. The apple has a stem on it, right? And so I like the Apple have a stem. And again, it just to me, it makes it look more like an apple. And we still have some small little overlaps going on. On the top of that apple, we can really start to describe some depth on this. And, and where this, this apple goes in front, we want a definite overlap. So I know I said that, you know, most times or, you know, the lines are always lighter than the outside contour. But this can get a little bit darker just right there because it's a transition point. And this needs to show that this right here is going behind this overlap. It's an overlap, but once again, and it just gives it, give us a little more depth, and it just goes a dark little bit to indicate that this right here is a transition. And then it gets lighter again. And this is a transition and they get flatter going at loss to found line. So there are times and usually I would come over here and start to dark and out, darken up the outside contour just to make sure that that is a little bit more. You know, we have a little darker, we have the heirarchy of line as it goes and so forth and so on. And you can even do stuff where you have like one size is darker, one side's lighter. You can start to him play light. The light source is coming from a certain direction and you can do all kinds of fun stuff. And if I wanted to tell you to start to put some little spots on this apple. And that does. Apple has, again a little bit of texture and there's the striations in the, in the skin and stuff like that. So we can start to indicate some of this stuff. But again, we don't want to we don't want it to have more we don't want to have more presence or it can't be darker than the outside contour or it'll just, it'll have too much interest. It, it'll, it'll just won't look right. So again, I can put a little bit, and again, I could use some lost and found sort of stuff on here. But you can really have fun with this as long as you don't overdo it. Now if I was doing select, this was for a painting, I'd have to see my lines better. So there's times like if I was doing a water color or an oil painting or something where I might darken the line because I understand I went to go I want to see it by the time you start putting paint on it, it's going to obscure the line. And that's how I use contours mostly these days, or for paintings or for for value drawings. So I just want to understand the course favorite rule. There's times we don't change the rule of it. But I could I said, hey, we can make dark and light indicates sort of like what side is the light coming from, all the light, if it's coming from here, will blow out this detail. And in this detail that will have a little bit more to it. It will be a little darker, more substance or darker. So I could darken up some of this just a little bit and you still use some lost and found line of thing. But just to indicate, hey, there's, I can see more over here because the light is blowing this out. So again, you can have a lot of fun with this and maybe there's the light, so light in some areas it's actually losing the line of blowing it out. Again that's Lost and Found line. And it can be really fun and the same thing with edges. And as you can do, Lost and Found edges like if the light's coming from this angle. We could even come over here to this edge with the lights hitting at the most and blow the edge out a little bit like the, like the light has broken through there. And you can start to really get some real depth happening here. And if it's doing this, well, it's the same thing would be happening here on this cube. So maybe they'll the lines of here up top. And if it's in the front along this edge, would be blown out because of the light and this would be darker. So you can start to really have some nice depth that we start to create in this, in this drawing. So we're gonna go ahead and come back. I'm gonna clean this up a little bit more and see what we can do to clean this up a little bit more. And then we'll come back and we're gonna, we've been pulling off to do these two items. Now I know that supplies will not just sometimes watching this sort of stuff can be about as exciting as, as, as you know, of course, the proverbial saying watching paint dry. But if you, if you take it out and parts, sit down with a reference, watch what I'm doing. Watch it for 15-20 minutes and then pause and then try to, try to do it on your piece of paper. Try to draw very similar, tried to internalize the steps and then watch another 20 or 30 minutes or whatever. 18. Drawing the Still Life Part 3: And then try to, you know, take the reference and try to get to that next step and break it up. I'm just saying don't sit down because this thing is probably going to be like an hour and a half or two hours. But that's all right. I'm just saying take it a step at a time. If you will watch this and do it and work the steps, it will help your drawing immensely. If you don't, good luck. It will take longer. That's all there is to it. But I wanted to show you how to like, oh, now for some of you in the rectangles after I do the measuring and then I'm getting the center lines and then I'm marking off the major, minor axis for an ellipse or over here I'm thinking about is this from your corner view pyramid or and is this a front viewer corner view cube and so forth and so on. And this is an ellipse, so I need to mark off this and I marked off both the side. I can see in the cite, I can't see. So that I get that this is better as it comes out from there. Same thing here too, the entire loop so that as it comes out from behind that Apple, it looks right. So let's go ahead and just try to get this. We're just gonna go ahead and I'm going to clean this up. We're gonna come back, we're going to finish this off. Alright, so we've been cleaned it up a little bit of the drawing as far as that goes. So we got this is pretty much completed over here. These are pretty much completed over here. We're gonna go ahead and perhaps we can see, so this right here has a ridge, or in other words, is the thickness of the glass. So there's gonna be a double lips here. So I've got what looks like a little rectangle straight up. And both of these points are going to be the major axes for these two. This ellipse here and this slips on top of it because the glass, the glass has a thickness up here. This is going to be the ellipse for the top of this wine glass. So this is going to be the back, this is the front. And so I've got three lines but don't, don't be, don't be distracted by that. What we've, what we've actually got there is you've got this is the major axis point here. That's the major axis point there. We're just gonna go ahead and create an ellipse. The biggest thing we're gonna do is we're gonna go ahead and draw the bottle. Alright, so we'll draw the bottle and then we'll come back to the, to the wine glass. So alright, so I'm gonna go ahead and try to loosen, loose and my arm up a little bit. Try to really sort of get a feel for that. And I guess again, so on the bottom of this, this is going to be the, just like I've done on the, on the wine bottle here. This'll be the front of your lips. That'll be the back of the ellipse. This is the mid, the mid point or the center point. And then we've got the major axis. And this is the minor same distance off that center point, top. And you know, from here to here and there, their top, bottom, same distance and then right to left same distance because there's only one symmetry. So we're gonna go ahead and put the bottle and not for right now. I'm gonna go ahead and put some other put some other measurements on here. So when we didn't measuring of objects, we can also tell you more than one measure and we did the width to the height. But let's say what if I want to know how how long does the neck the neck divide into the full into this full bottle? In other words, I can take the neck height and see how many neck height's tall it is so that I have the length of the net, correct? And so what I could do now this is the center point from my armature of the rectangle. And that was the CR point. But I think it's all the way to the bottom because I actually came up a little ways. So let's just double-check that so I can take my piece of paper and I'll just go ahead and make a mark there. And I mark where that center 0 right there, and a mark right there. And see if it's the same distance. Ok. Good it is. So it's so not the further lives, but from the point that it touches, or in other words, the major minor axis point. It's equal distant from here to there and from there to there. And actually I could be there, could be using this 12. It's going to be small enough. It's not going to be a big deal, but to do the, the armature lets me know which part of the rectangle like news. But if this is the middle, and I went ahead and I could actually, I could use that as a straight line or I can go ahead and again, try to. It's not a little better. So if this is the middle and I want to find the quarter because of the neck goes, the neck goes into the rest of the height of that bundle of four times, including that first measurements all you know, it's, it goes four times. And so what I wanna do is I want to use the armature of the rectangle to find the quarter point. Now, to do that, I have to, I have to have this, this halfway mark, right? And then I could put x marks the spot corner to that corner. That corner to that corner on this middle point would give me one quarter. But the cool thing is, we can do a shortcut. Who didn't like shortcuts? Who doesn't like shortcuts? So because I have a central line, I only need to go through one corner because here's what will happen when I go from one corner. Down, woops list it. Need to look at that point as I'm drawing my line. There we go. So again, looking to where I'm drawing, we're using all the concepts that we've learned in this class. But were this diagonal hits the central line, that's the, that's the middle. If I, if I go ahead and go from this to that point down there, you know that x is going to hit right on that point. So I only need to do one diagonal that will give me That's one-quarter. Now the bubbles, so the net comes down that far and then it starts out for the shoulders. So this is a point to help me draw the bottle better. The other thing is the fat tummy on this bottle. You know, it's, it's kinda gotta Santa Claus, Tommy, big belly. And that is about two-thirds of the way down the bottle. So if this is the top, you know, we're using this as the bottom, then we're going to use that armature of the rectangle. Now remember to do thirds. We need a couple of things. First off, we have to have a diagonal going from one corner all the way down to this corner down here. So so I have a full diagonal from this main corner to that corner. And of course it should pass through that halfway point. It better or something's, something's way off. So I've got this going through there. And then to get the third, we won 1 third here, which would give us two thirds. So it's two-thirds from the top to third from the top and 1 third from the bottom is the widest point, is the widest point on our fat little bottle here. And so I wanted to get the third down in this quarter under that quadrant. And the way we're gonna do is you need a main diagonal. So this is my, That's my main diagonal. I moved it out a little bit. When I did that, I moved my I didn't I didn't keep my eye on the prize. But this is, this is the line I can, I can stream it out with a ruler if I wanted to, but this will be close enough. I need a diagonal going from both this, the main corner, and then I go from a center point, right? And so what I do is I go from a main corner to a center point. So this right here go would go to this corner over here that I've marked. Again, that's behind the cube. So this is part of the reason we're trying to, we're trying to establish those corners. We can use the armature of the rectangle. And what happens is we're this diagonal where this 0.5 to the main corner meets this diagonal, that's the main diagonal. This right here is 1 third. Hopefully we can see that if not all make it with a different pencil. That's 1 third of the way from the bottom. So what that means is that this right here is the widest point on that bottle. Now if I wanted to, I could do one more measurement. And that is I could I could take the neck and the width of the neck and I could divide the width of the neck. And the Fed is part of the bottle. It's about 1 fifth. We're not going to really deal with fifth. So if I didn't want to deal with that, what I could do is I could say, well, let's go ahead and divide this in half. That will give me one quarter. 1 fifth is a little skinnier than one-quarter. But if I said okay, this is one-quarter, then that right there is how how wide the neck is with a little bit a little bit less taken off of it. So I can go from this point to that point. That gives me one quarter. If I wanted to, I could even divide them in half to see what an eighth would be. But you know, if I wanted to do that, because there's going to be an eighth on either side. We could do that. We go, Okay, we're gonna go from there. You know, here's my little X from here to there. And this is 18. So that means that this would be the distance on this side because that's 1 eighth. And this over here would be 1 eighth. So I'd get two weights which equal one-quarter. And before you guys brains explode because it sounds like geometry. That says kinda what we're doing. We're trying to get a starting point. I came in a little bit from the fourth because a fifth is a little bit less. So I'm just making it a little bit less. If it's not a ton less, it's just literally a little less. And so now I've got that this right here and this right here should be about the width of the bottle. Parliament at the bottom, but the neck of the bottle. So that's what we're doing. We're trying to get our starting point to be somewhat accurate. I could go ahead and check piece of paper market come over here. You know, and that's, that's about right. And then we can say, hey, how much does the foot come in? And the foot comes in just a little bit. Just a little ways from this bottle. So we're gonna say this right here is the foot. Let's say that's where the foot is. And we're going to start the foot. Again. Were the major and minor axis come together when it started there? Because it's going to come forward with our with our lips. And I think we're going to push out just a little bit more. So that'll be that distance that I'm going to come over here. So this would be again. And if you're wondering, why are we lifting that again, what, why isn't it why is it down here? Will, because this is going to be with that ellipse hits. So the size actually start further back. The size of the object always start on the major axis line this right here is my, is my major axis line. I can make it darker just so you can see it. I mean, I can see a fairly clear but I worry that you guys may not be able to. So that right there is the major axis point, that's where the side starts. And this will be the foot coming around because it's round. And so we wouldn't start down here. We'd started this line not at the back, not the Fromm, but right in the middle. Because that's the major axis point. The cylinder. Anything in cylindrical, this cup, this cylinder, this bottle, they always the side starts at the major axis point. That's where the thing starts and then coming forward is just the volume. So this coming forward here is the, is again that thing turning three-dimensionally into, into space. So I'm gonna go ahead and begin. I'm going to try to sort of get a feel for this bottle. Now remember the neck is one-quarter of the way, so it's gonna come down. The neck is going to be just straight for one quarter of that of that increment which is right about there before it starts to swell out for the for the for the tummy. So again, we could come over here. We said all right, well, we'll come down and then it swells out. Right? And so that bottle is going to swell out. Whoops, hit that line. And that's going to come down here. Now, it actually has a little notch. So the belly actually stops here and then it comes how will always for the foot. And I'm going to try to get this. Now. I'm going to break outside of the rectangle, just a sketch. And that's all right. If you do that, you know, there's ties rule-like. Oh, I got my rectangle, but can I, I thought I did all this stuff and, you know, the rectangles must be perfect, right? No, not necessarily. Sometimes the rectangle just a starting off point. And I'm drawing this now, I'm getting a feel. And I could even cut this in half. I can use a vertical line at my pencil. I can take my pencil and i'm looking at the bottle and cutting it in half and try and to look at that. What the contour is. This another words, this little piece from the halfway point over, you're kind of cutting something in half with a line. And I'm going, hm, this looks like this just needs to come out outside of this rectangle just a bit. So if I had to break outside of the rectangle, that's okay. Because again, it's all about trust your eyes. Trust what your eyes will see. The other thing is I didn't put the thickness of the cork on. So the cork would actually come down here. I'm going to add it to here because it's going to, I'm going to lose it here. The corks about that far, which means the neck itself is a quarter, not the cork as well. So it's just the neck, not the cork. So I'm gonna take that same distance, Take it off here, and go, okay, well then this is still the neck because the top of that we're putting a cork on here. So that just means we're going to, it's going to change the contour. This is the neck here. And then it starts to flare. I bet that's gonna go ahead and change that. The breaking outside the it does a little bit of Brits, it's going to change now just a little bit. But we need to mirror. And so the mirror, I have to decide, okay, what is the actual line? There's like four lines here. We'll try supposed to draw, throw in a line. And again, I'm kind of at the side, so I'm drawing a little differently, a little bit more. Known as loose. Which is never exactly a good idea. But it's the best I can do with the way we're we're doing this. Whoops, that's hooking too far. So I'm going to come through this a little bit to give me my contour. It comes through there. So again, that was hooking in a little bit and that's not a good thing. And that's why we draw through stuff because stuff starts the loss. It's like I'm just going to tuck it around the corner. And if you do that, you're going to end up with very wonky looking sorts of stuff. There's a, I talked to people in the class all the time that there was a time when my daughters were watching a particular animated feature from a very well-known company. One of the, I can't probably can't see it on this video because you don't have the rights to use on whatever their name. But this is well-known company. And they were putting out a new video and they were showing the video of this particular, you know, grand esque movie that they were, that they were going to, that they're going to be releasing. And it showed this scene of people and these people had all been drawn. If it was a scene of a lot of people in a city. And these people had all been drawn individually and then stacked individually one over the other to create the crowd safe. In other words, they had everyone drawn completely, even though most of the person wasn't being shown. And it's the same thing because if you're not careful, you'll be breaking shoulders as you're trying to tuck them around other people's, you know, shoulders and bodies and all this sort of stuff that can get very, very confusing. So this right here, like this contour, now I could do both sides ago, okay, that one's out. But why don't I just save myself some time. I liked this line. We can use this line to the mirror across the center line. Now I've already got some points that because of the armature of the rectangle, I've already got some points and I could draw these by hand. Or if I, you know, this is basically just essentially a big ruler. If you'd like, well, I've got a straight edge. You could even fold a piece of paper in half. You, that first-rate edge. But you can go ahead and just pick some points. Now instead of drawing the big, clunky, you know, dots or whatever, I'm just gonna go ahead and use straight lines and I can see where they cross. So again, those big blotches that I was using was just to let people know, hey, this is, you know, this is where we're at at this point. So you can really see it well, I don't normally use big, but don't put big blotchy dots on my drawing. I just use all your straight lines. Like so. And again, I can use eight or ten of them. And again, the curve is the part that we need it the most. And so, whoops, we need it to be perpendicular. That's important. So we're going to mirror this very quickly and I'm gonna say, okay, and I could do it by hand or I could do it with a piece of paper. I think I'm going to just do it by hand. So I think I need one write about through here too. Again, I could do this. I do this all the time by hand. So again, that should be the lines aren't long enough. We go. That should be fine. So. And then we'll take this one through here. That got a little wonky someone's tried, I'm just gonna scream it out instead of erasing it and redoing it by hand, we'll just go ahead and straighten it out. Okay. K, So here's what we're going to do. And we've got, this line has gotten a little weird over here, three different lines. Way too thick to see. There we go. Okay, so when you alright, well, let's just go ahead and make sure that starts in the same place. So we already checked that over there. Going to check this over here. Where's that here? And this comes over here and a seminal pencil UP to do that. Or I can use another pencil to do, use this as my measuring device. And so I don't have to work with both. I can just go ahead and mark that. And this then comes here. And that thing goes there. And then this, we're gonna open up a little bit more. That goes there, right? And this goes here. Oops, right there. And so I've gotta get all of these on their lines. They can't be off the lines as far as that goes. The other thing, so we're going to just keep putting our dots down, so are our little I do mark the points obviously. Remember like I thought you didn't use dots, so I'm just saying to use I don't use big clunky dots, you know, but I do need the points where it's hitting that line. Come over here again, that's not straight. So we're just gonna go and straighten that out because so drawn. So instead of taking the time to go ahead and save ourselves a little bit of time. And we go from here. That DOD, if I'm in the way, I apologize, I'm trying to kinda see. That's why it's sometimes easier to use paper. So I can, I can kind of stay out of the picture. I can just use the paper and mark off the dot as far as that goes. But probably need this to be a little straighter. So when you go there, you go there, come over here. This would then be over here. We're given income over it. Now the only thing when you do this, because you have to start using some using some way to remember how far off you are going to use a different piece of favor. Someone use this, this will be a little easier. Guillen work this here will mark that there. When I come over here, we're gonna mark this over there. There's a little bones, so I'm going to go ahead and thin this over, folded over, street it out with my finger. Now, let's just double-check that last one because that was a little wonky because of the fact that it's. I should nothing changed. Okay, good. Take this. Now this is coming in a bit, so we're gonna go ahead and mark, start to mark which one I'm using k that would go there. When that just double check that. That's their that's there. That goes there. Okay. That's right there, right there. And then we're gonna go ahead and this comes over here. Again. Whoops, wrong one. Give us a my center point right here. And I'm just continuing to mark these off. Like so. And we've got one more. And again, most of this side we can't see, you know, this this right side, it's it's the left. We see more than anything. But again, we do want to start from a place that's symmetrical. We do want to start with a place where we, we know it's wider this way through here that it is symmetrical. And we want that, we want that to. I need one more where this tucks in. That's a pretty important point. So I'm gonna go ahead. And well, that's way off. There's some other stuff here that's not quite right anyway, so that's yeah, that's off. It's way off. He's only go ahead and tries again. There's a little straighter and that's a little better. It's still a little off. So I'm gonna go ahead and correct it as I'm, as I'm measuring it. So K Sol. Now what I wanna do is when you're drawing something like this, I can easily see this side to compare that side. So what we're going to do is I'm going to flip this upside down. So now I'll be able to see this side while I draw this side. Whenever you flip things upside down, your brain can much more easily pick up some stuff like I need to actually, you know, this line is out, so I'm going to I'm going to correct that. But first off, I'm gonna come in here. I wanna start to, I'm gonna go ahead and start to bring these n k. So lawsuit Illinois. And wouldn't change that right through there. Okay, so right through here. Now this word goes through the glass. We're going to knock that back because we shouldn't be able to displays and distort because it's class. But the idea is now we've got this thing being very, very symmetrical. Okay? Which is what we want. We want this to, to be symmetrical and all that good stuff. So, so now that we've got that and again, I if I need to, I can go ahead and darken this up a little bit. This actually has a little bit of a, it's bending too quickly. Then there we go. Now it comes out. Alright, so race that out. So now we've got the basic contour. Now this thing is flat as a pancake. It has no depth. This is just like a cardboard cutout of this, of this bottle. Ok. So what we're going to do to make this Nazi, unlike a cardboard cutout, is we need to put on the ellipses. Now I also have some, you know, some labels and stuff. And you know, with the labels, if we cut this, this is cylindrical, this bottle. So if we cut this into pieces, we would start to have these cylinders happening because it is cylindrical. I'm gonna go ahead and well, let's just mark a couple of places. The there's a part of this label that's kind of right around the widest part. So it starts just below the widest part, and so it's going to be right about here. There's the second label that starts just below halfway. So we have the label starts here, and then the label finishes before the neck, considerably before the next. So I think let's go and just do a measurement. If I take a measurement of the bottom, to the bottom of that second label, the bigger one. And then take that up again. It's, It's, it's just above the just measure that again, not to there, to there. So it's, it's below the halfway point. So this is the halfway point. And I just started below, but I think it's gonna go even a little further. Blow that halfway point. And I want to measure from there too, but yeah, that's about where, so this is where we'll start right about there. And then this label will end right about here, about where that label will end. So top the label, bottom of the label. For this one down here. It's. It's but it's below the, the two-thirds point is where is where it starts? So it's going to be right about here now it's, it has sort of a little, looks like a bow tie. So again, in the middle, that's going to be somewhere right about here. And we're going to put the labels on. There's also the label that goes around the neck. So there's a label just above here that goes around the neck. That's again going to be a cylindrical. We're going to have the top here. That's going to be cylindrical as we have the top of the court, there'll be cylindrical. We're going to set all this up and we're going to clean up some of these lines. Alright, so I'm gonna do that. Then we're going to come back and we're going to finish out the bottle and the fish out the cup. We're going to do is I cleaned up the bottle. I did wideness out because it gets wider at the top where the cork is gonna go. I've marked off all the major minor axis for all the ellipses. There's ellipse at the cork ellipse at the top of the bottle of blips here. There'll be all I didn't mark that one off. There's going to be an ellipse on the label. As far as that goes, there's gonna be an ellipse to this, to this label. There's going to be an ellipse to that label. So let's just go ahead and start with this. With the ellipse for the bottom. Again, we've got the major, minor axis. I think I might have blown out the, the dot here. Well, we can see that this, that this drawing is really develops. I mean, the basis, obviously we're not getting way into it because we could put the labels on, we could put we could put the writing on the labels. But whenever we're dealing with this stuff, we're going to have to still deal with the fundamentals, which if I'm putting the label on it and I've got the lay those occur because label wraps around this cylinder that the words are going to be wrapping. And so we're going to have to start, you know, we're going to start, haven't put some some some ellipses on there so we can have the words actually wrapping around the label properly. And so, you know, again, this whole thing with the lips as, you know, as we get more and more detail with your drawing, you actually use ellipses more and more, and more and more and better and better and better way. So we just went ahead and rounded this circle, brought this ellipse down. Like so. This ellipse down through there. Alright, so we've got that ellipse on there. Alright, now it's has volume. And fellows is good enough or just going through so many we're gonna do. We'll clean these up and make them all pretty later. But I can go ahead and now I can go ahead and erase this. Because again, this has the ellipse on there. Now that has volume. So again, we're gonna go ahead and try to stay out of the way here. There's again, I'm drawing slightly askew. So again, if there's a label on here, and will the labels this wide, but actually going to bring this around through here because again, there'll be an ellipse. The ellipse would be to open. So we're going to close it down a little bit. So we're going to start to try to get an ellipse. Now this labels basically looks like a ribbon. So in other words, there's gonna be a double is going to either be the bottom side of the ellipse and the top side of the ellipse. As far as that goes. And this is the width of that label. And again, because this is, is on this bottle and it's going to have an ellipse. So there's gonna be a smile if you will. To this. Although the more properly we laid this out again, bring in is aligned to the middle and all that sort of stuff. The better the labels going to luck and the reason it's. So this is a straight label because it's Australia. We're wrapping around this round surface that is cylindrical. It's going to wrap around. And B, in this case, a small cylinder. And this is actually a little bit thick. So we'll go ahead and do a good shave. Some of those off. In terms of the turn to this label. And shaved as little bit off this, what I do now. And again, you'll have a photograph of this. Believable actually looks a little bit like a bow tie and there's actually an the labels actually a little bit stretches a little bit more than this as far as that goes, but I'm not going to worry a ton about it. I think this will be fine. But if I went to a, maybe it maybe needs to come into the the cup here little bit, but maybe not. But there's sort of an ellipse here that gives us this, again, this stretched circle or an ellipse. Or it looks like a little belts. I sometimes I think bow ties and either think belt. But this is again going to be the basic shape of this label. That is basically a little cylinder. Through the cylinder, we're going to have this ellipse now if this is the midpoint, guess what? This is out. So again, don't be afraid to use this to check for symmetry. You know. Because, you know, there's, there's a good chance that unless you're using a center line and even when you're using the centerline, I am using the center line. And I just caught that I was like, whoa, nope, that's not right. Sums go change something's gotta, gotta move. And it's actually a little bit of a point that we need to take off. And again, we could clean this up. A little bit through here and then check to see if it needs to change a little bit more. If not, well, then good. If so well, then that's no big deal. You know, we can go ahead and change this, but this is the basis of that label. And then we'd say, all right, well let's, let's, let's deal that other label. Okay, no big deal. This label, this label. Now this label is not flat. When is if this label was laid out on the ground, it actually is, is cupped, which means it's going to be more of a smile to it. So if I have something that's already curved and I put it on a curve surface, it curves it even more. And so we're going to put now, I think a curved a little bit too much. But you know, I'm saying this thing is, this label is already IS curve even more than this one because it's, it's, it's curved to start out with as far as that goes. And so then we've got, so label kinda does this. Now. If I really wanted to get this label nail down again, I could go ahead and I could use mirroring and I could go ahead and bring in a straight line across to make sure that this stops at the same place that does right now it doesn't. So we have to bring this down. We can also make sure that this is the same distance here as there, which again it's not bring a straight line over so that this lines up with with that. So that means that's where that would line up with that. So this is just again, it's going to be we lost a little bit, I think through that you pull up a little bit sort of a more of a smile. And this should pull up a little bit more. Maybe just a scope. But again, if I was really worried about it, I could get out my mirroring and we could go ahead and put points on here and check to see if it's the same right to left of the center line. And if it is great, and if it's not well then we change it. It's, you know, this is actually add a little bit. So this would come over here as far as that goes. So that this would now we can even bring this onto the center line. We can actually use the soma and see if, if something's is a triangle. So if this starts the same place, fact, and we're just going to straighten that out because the curve can screw us up. But if we streamed out, we're just where it touches and then bring this out. You could do that. You could also use your marrying technique. You can do whatever you need to do. We create this label and make it the same. Both right to left. So I'm not going to sit here and worry a ton about this right now. But I think you get the idea that we've got this more complex reverse curve here. This curves out through there. It's a pretty complex and we'll label now it actually, it actually looks like it needs to extend a little bit further. On both sides. As far as that goes. And I think the label needs a transition a little bit more, round off a little bit more. But this is the idea that again, it's still wrapping around around surface. If I was doing the lettering on there on this label, the letters would have to wrap. So we'll have to start setting out all kind of ellipses in order for that to start to work. As far as that goes. So again, we'll just clean this up a little bit. This is it's not, it's it's, it's a little it's a little out and a couple of places. So again, if I was gonna go ahead and make this work, I would then I would then go ahead and mirror this. In other words, set points, bring him straight across. I'm not gonna take the extra time to do that for you guys because you're already seeing me do it. You understand I would pick one of these sides that I want to Mair and then just do it. And it's no big, you know, no big thing we know how to we know how to deal with mirroring. And that's how we get this label to be the exact same on both sides. Now if it goes into perspective, like let's say the label was halfway around the bottle, so it's starting here and then wrapping around. That's much more complex. But for right now, we're good. We would keep it straight and symmetrical. In other words, lined up right along there. Whether it was or not, this one actually is just off center, like it's turned a little bit. But we strained it out. That's an, a given artistic prerogative. And we can do that. So again, the same thing on over here where we could do this. We would go ahead and C curve, C curve, arc. We can go ahead and start to. So actually create the label to wrap around this omega, this bottle. So clean that up. So we can start to, again get these things to start to wrap a little bit as far as that goes. And then we'd say, all right, well this is going to also be elliptical and I'm just gonna go ahead and do the c curve and do the bottom one because I don't need the back one is not needed and I this is so small. I don't think I don't think I need it as long as I don't mess it up. This would then would be getting going around in the back there where this goes around the back, that's where would touch and then it actually rounds down through there. So this is again, this. 19. Drawing The Still Life Part 4: This bottle rounding down through like so. It's a little bit out of whack. This actual quadrotor quadrant is the lot of wax, so this lifts a little bit more. And so you come in there and try to use both these quadrants to check for symmetry on that ellipse. And then we come through here and again we put an ellipse on here. So we now this we'd actually see it goes around the back because the cork actually starts from the bottom. So this ride through here is going to be this ellipse. And it's gonna come through here, hook around. It's a very title lips. We can't see all the back because of the the cork. But K So this is the flat top of that bottle. And then we have a court that's this has an opening to put a cork in the top of it. So go ahead and start that. This cork is going to have a little bit of a space. It's not, you know, there's going to be a rich. So again, it's just a little bit of a smile. Is the ridge. As it comes up. This is curling too far back a little bit, gets a little better for that court again to be going down into the bottle. And then at the top we've got another ellipse. Now the cork is actually kinda broken a little bit. So I'm just gonna make this like it was actually flat. Put a little flat ellipse on there. And again, I can clean that up. But we have the basic idea of the bottle. Okay? And so again, we're gonna do the, something similar for this, for this, for this cup. But this right here would be the bottom ellipse. And come up here and turn through their check the side. This quarter to the quadrant is it turns. And again, I'm not going to see most vec is going through the sphere. And then we're going to have this one that also falls it like so. And it actually turns the corner. So it turned the corner and come around like that. Now, the foot of this isn't flat. It's actually got a little dome that comes off. So this right here is a list which means it's flat. It's flat like, you know, like a silver dollar or a quarter or something like that laying on. On the countertop, flat as a pancake. Well, this the, the, the, the wine glass is not flat. It has it mounds that has a dome. And so if we're gonna do a dome where it comes from, those that the, the, the major axis points. And we're gonna go ahead and make a little dome on here. You know, what looks to be like a half circle. But that means it's lifting off because this is the back, the ellipse. This is above it. That means it's going above the surface. So I'm just gonna go ahead. And then this actually now this is a little it actually doesn't go isn't? It's not like a pillow. So it actually starts to, you know, sort of turn back and in ourselves and starts to come up that, you know, the, the the base of that glass. So it starts to modified its hip domes out and then it starts to turn back on n. But we can't see all that. This is all gonna go away. This was just to help us with the ellipses. So we got the ellipses. So now we'll just go ahead and that's gone. And you might say, I was a lot of work and it is a lot of work, but it makes something that is as accurate so that when we look over here we go, yeah. Okay. Then you have bad. And if I wanted to sometimes and some like this, it's a little easier. Splits this upside down. Like so. And then go ahead. And so again, this is again this little glass. It's a little thinner than this, the ridge of the glass, but if you make it too small, it can start to seem weird. And so there's times where you can make things just a little bit thicker to so it has, the information is not lost. Artists will talk about that they call making your read. And that just means that you're putting, you're making some that has the thickness is slightly thicker so that when you look at it, you go, Okay, I know what's happening there. We don't do that. Sometimes it starts to look like it looks strange and people might start to think maybe this person doesn't know what they're doing. So again, all that, if all of this in here was just to help us with that little bit. But again, I'm trying to free this. I'm like, I'm like I'm drawing the whole thing even though we're just getting one part of it. But the reason we do it is because that now is the same as this, which will read as being correct. Even if it's not a 100% accurate tool redrawing, it would be like, well, yeah, it's symmetrical. And so it'll be correct in terms of a symmetrical object. Like this, cup is a little large, it seems like it should still. It should be in just a little bit more. I'm not going to take the time to correct it for this, but understand that again because it's pretty symmetrical effect it's, it's good enough that I'm not going to mirror it. It's it's pretty close. There are some things that I can mirror it to make it perfect, but it's pretty close. Before we go anywhere, we're actually going to come over here. We're going to put in the ellipse. So we're gonna start with our c curve. Like so. We're then gonna have, and again, I'm trying to keep out of the keep out of the the way the camera so I can draw this. Now again, it's not supposed to be flat that right there is a flat line. So that tells me that it has to change because it's not a pill that's like what not to do. So that means that my c curve on there has opened up to four. So when we go ahead, make this more of an arc and have it come down a little tighter, turn around and through that corner. Now again, sometimes it can help to also take this and Peru like like this. Again, if you have to, if you have to make a turn your board, there's no no problem with that. There's not There's no issue with that. There's there's no unspoken rule that you can't once you've gotta figure it out. So I usually I'll tell people in the beginning, called Turn your board. You know, if you're making an angle and you've got your board turned at an angle and like you've got like your border that 15 to get your paper to 15 degree angle and you're trying to then make a 30 degree angle and how you going to figure the compound angle you're not. But once you've made the decision, once you're like, okay, I know my angle is, well, then you can turn the paper whatever way you want. So first you have to, you have to make a decision first and then you just make everything conform. And it doesn't matter what you have to do to make that line. So all I'm saying is that, hey, I've already drawn this cup. Everything's were worked out now I need to do is make a better. And a lot of times I'd be a lot looser through here. But I can't draw like that without getting in the way here and getting my arm in front of the board. So I'm doing this a little bit more like I would do sort of a a finished drafting or of something. I'm still trying to hold FAR back on the pencil. That way can make it a little bit looser. But this is far more control. This is like if I was doing a drafted, you know, sort of for an engineer or something that they went for some reason if I was doing a handle illustration of something, well, then this is, you know, I would I would do it that way. And also we were like, wow, she's still on the computer and I, of course I can't do it on the computer. But the better you can do your stuff by hand. Usually, the better, the better you'll do your stuff on the computer. Back in the day when they transition to computers, it was very quick for traditional illustrators because they already knew how to do it. And artists and graphic designers, those, those who could do by hand, they sort of cut. You'd, you'd take a couple hours and within a couple hours you are rocking or rolling with a computer because there's just a different tool is all the same steps. It's just you're using a different tool to make the steps. Whereas someone doesn't even know what the steps are. Then they're going to really have that computer or their tool, you know, sort of controlling them or you know, that you're going to be very, very, you know, you're going to be reliant on the tool instead of relying on your knowledge. And so this is the part of the knowledge, you know, someone's like, oh, I need to draw some free hand on the computer. I can't do the clip art and I need some ellipse as well. You know, well, the computer can throw ellipses, but lots of times in vector you have to actually change them because they won't be quite accurate to say, I was doing something and perspective or something like that. Yeah, you're not going to just pull that ellipse. You're gonna have to do all kinds of fun things to get that ellipse to actually be right. And it's probably integrated now there was a time where you had to do it all. You have to set it up by hand. I wouldn't be shocked if they don't have workarounds. We're like, oh, you want to tilt this in perspective at so many degrees and you could probably do it all within the computer. But you still have to know, you know, about the tilt of a cell to the ellipse and the, you know, a little bit about perspective and, you know, different things like that. But I'm sure it's much, you know, back in the day you'd be like, oh, I'd have to set this up by hand. You said your vanishing points and you've set your horizon line and you, and so you're, you're actually creating all the, all the perspective yourself, not the computer doing it and you're just going well, may not be what I want, but I'm going to live with it. No, you would actually have to set it up because there are certain things they could do. But you know what if, what if you want, if you wanted to do a certain type of perspective and, you know, you'd have to do it by hand because the computer didn't have it readily available in the way that you wanted. So am I really going yeah, they had this and I'm going to have that. But what if you wanted to take something and it's rendering a 45-degree view and you wanted it at a 30 degree view. Or what would happen if you wanted a different cone of vision. And there's all these different things that isn't gonna make sense to. Most of you should just starting drawing. But our sound, there's a lot to it that you make you, it's all about decisions. And hopefully if you've, if you've learned anything from this class, it's the, yeah, it's really about, you know, knowing how to do stuff and then being able to, again, get those decisions to look right, that's that's where it is. So we've got the basics here. What I'm going to go ahead and do is I'm going to finish this out. In other words, on the clean it up. Probably gonna mirror this, double-check this. Everything here is the basics of getting students saying it's just, I'm going to let you see it. After I clean this up and dark in these sorts of areas, take out the center line and again, bring it to a little more finished. I can take another six hours playing with the details and stuff like that. Now. And this will because again, we got all these eraser marks, but our pencil lines stuff. But if I had drawn it out where I got done a lively well, then yeah, I could have erased all of it and I could continue and take this to a finished state. With this, I'd have to transfer it to a new sheet. And then take that to a finished stated when an extra step. But again, I could still do it. So I'm gonna go ahead and clean this up here with the center line. Clean up these different lines through here and show it to you. And then you're going to try to do this yourself. And it's going to be the reference. And you're going to look to the video, go through the steps, and go ahead and do a drawing and it's really fun. So I hope you guys, you know, I mean, there's a lot of tedious next to it and you've seen it, you've watched it. And I understand that, but tedious is probably the wrong word. I would say controlling and controlled. And I'm doing this with this step and that step and that step. And it sort of builds on each step and all that good stuff. But, you know, this is how we draw. So I'm gonna go ahead and clean this up, come back finished out. We'll conclude. And then it's up to you guys. And it's really about doing it, just watching this is not gonna be the same as actually getting out a piece of paper and trying to work out the steps. We finish it up. I went hadn't cleaned it out as much as I could because again, we're drawing a little, a little, a little harder with darker pencils. And so again, some of these lines, there's no way they're coming out. But this is the basic contour drawing that we've done here of the bottle, the wine glass, and the coal and the sphere, Apple cylinder. All this sort of, all this good stuff here. So in terms of we wanted to see the process because we started off with we did the rough sketch. Now, I did a sort of an intermediate, whereas actually being a lot more careful with my, to lay it out with my proportions. And that works too. So the, the, the, the demonstration I had, the video was really rough way. And then you bring that into you correct it and find during her measuring, make that rough sketch into a much more refined sketch. With this, we laid it out in a much more proper way. We took our milliohm wartime getting our incremental measure and measuring out how wide it was by how tall was to get the basic rectangle for what we call the envelope. And then we began to place a stuff getting the heights and widths based on the increment. From there, we turn these on basically into rectangles. I think I still am. I may have started with rectangles and squares. That's a threat I think we did. And then we refined that into, again, we started to refine them into better drawings. You start with a circle and the triangle a little bit. And then I believe we did the wine glass. Then we came over here and worked on this side, locking in the cube and then putting on the, the pyramid and then the apple. And again, we're dealing with core views for this and front view for that. Of course, while this should be easily, this is easily mirror because should just be the same distance off the center line, but then still working with a major, minor axis to put an ellipse on both above and below. With the Apple, we talked a little bit about hierarchy of line and overlapping lines to make. This definitely comes in front of that line. So that line pushes back. That line comes forward. We used, you know, again, a lot of Mary here. This I, it was close enough by, by working writes left the center line. Again, we still have to put on a double ellipse here and then a dome and ellipse there. We of course, use snow lions for everything that we needed to have mirrored. So this, this, this and this all has center lines. We did hardcore Marion, we're replacing all the other little dots here. Had a couple of different sterilize because it started out small and then I made a bigger a little bit because it just seemed like a needed to be a little bigger and a given its only barrier by little tiny bit that it actually isn't a still-life. But it just helps to be the main center of interest and stuff like that. We also said, OK, well this label here had to be on an, on an arc and had to be symmetrical. So I clean that up and that's symmetrical. I married this. So that's more symmetrical. These have all the ellipses, copious amounts of ellipses on there. And we brought this all together into a nice contour drawing. Now, again, you could continue on here where you can start to put on like some of the details of the glass again, just like we did over here where you can say, all right, well there's a shape here and there's a little c shape and that shape comes down. And then there's like a little circle and sort of in the middle that shape. And then there's like a little tool, dissolve like a highlight and I can just start you go ahead and take another four hours on this. I can probably prove probably do quite a bit in half an hour. Just dealing with, you know, again, trying to like this little highlights here and there's a little highlight here and there's some displacement through there. But you could start to put these little bits of detail on here to give it just a little more information. Absolutely. If there's writing on here again, we'd have to put the ellipse down, usually a center line. And then, you know, put that writing along that center line. Again, there's writing here again and it's a little thicker and stuff. And so I'd actually you myself to two arcs or in other words, I'd worked out the ellipses and have them the proper distance apart and then close it. So it's kind of a ribbon like that. And then, and then go ahead and break up, up into individual cells and then do the letters. And that's how they used to do old lettering. Where you'd go ahead and define the ribbon and then you'd break those up into the correct spacing within with the correct amount of, you know, little cells or rectangles and the spacing between the rectangles. And then you could go ahead and put all kinds of lettering on there. But it's all based on ellipses. It's a based on marrying, it's based on major, minor axes. It's based on, you know, sterilizers which we truly vertical. It's, you know, it's all, it's important stuff comes together and culminates into this drawing. So again, we're, we're dealing with 3D solids. We're dealing with the marrying ideas. We're dealing with, you know, the the quarter abuse versus front views ideas, you know, and of course we also have the sphere and the cube and the, and the pyramid and the cone and the cylinder. We also did some of the angle measuring. And again, how you can actually create a little clock face on here and then draw your angle and then double-check it. But again, if we think of that clock face and we think about our angles will have much better angles if we don't. We won't have great angles at all. And that's one of the big hurdles when we first have students come in as is dealing with those angles, dealing with all kinds of angles and really getting them to think about the clock face. So again, this is again, really quite a dirty drawing. I had a lot of my hand was dragging through air because I was trying to again, trying to crank my hand in weird ways, trying to keep out of the picture as much as possible. I know I probably still got into the picture once in a while, but I think you get the idea of how all of this together can help us get a decent drawing. Now, again, you can't just watch this video. You're going to have to try to work out a drawing. You have to practice these techniques. You might set up a couple of little still life in your house. You might like better try to draw it, whatever, but don't just do this once you're gonna have to do this, you know, you're going to practice this a few times. I tell people if you're really serious about drawing within six months to ten more little still lifes where you're dealing with marrying and you're dealing with, you know, the angle measuring, you're dealing with a proportional measuring and cubes and all this good stuff. And if you do, you'll have really, really solid drawings. If you don't, you may not improve much at all. And just watching the video isn't doing thing. You have to pick up a pencil and start drawing. So I'd like us to go ahead and do that. Give it a shot. If you do, you will improve. You'll do all kinds of great stuff. And you'll, if you keep a sketch book and a record, you'll be amazed within six months how much better you've become. Alright? So you guys have yourselves a great day. Try to stay creative. You know, do your drawing. Wish you all the best. Have a good one. Bye bye. 20. Tips For Creating Your Own Still Life: So in this class we're learning how to draw still lives. And we're certainly still IS because they have some of the basic shapes, basic forms that we use when we're drawing. And I just wanted to go ahead and trigger a quick about setting up your own still live at home or whatever. And you can use any number of things usually, and you don't have to have a nice cloth either. But let's say you're sending something out for yourself on a table. You could use any sort of glasses that you want. Of course, any sort of bottles and things like that. And you can set up, you know, or any little sort of vases. And for these parts, you know, these are very round and the nice thing about things at around is that they don't have perspective. So they're fairly simple in terms of how we draw them. As this is part of a series of classes. And so as we go on, we'll talk about how to draw more successfully objects that are much more complex. This would be a good example of, I've got this gorgeous little cup here that I really like. But I may not put it in because it actually transitions from the square or the key or the box. Not quite a cube, but you know, the box into actually around objects. So a transitions and the way transition that somebody's little flutes and veins that come up and then hold this cupped rounded objective and it transitions into this, this square bottom. And it can, you know, it's a lovely object, but it can be a little hard to be successful drawing this without knowing a few concepts once we have the concepts, well, that's a lot easier to draw and that's what we're trying to do. We're trying to teach stuff so it's a little bit easier. So, you know, in some ways the lice will have things like the lake. There's a nice cylinder, will have some of that sort of stuff. But, you know, if I keep bag and pull out some cans out of the out of the cupboard for it and you know, and use that for cylinders and you any types of bottles, boxes, cereal boxes, you know, and he's towards a canned goods. You know, if you're setting up your own at home, that's fine. You do want to try to stay away from. This is a much more complex bottle. So this right here, you can see it. Again, very, very gorgeous bottle, but much more complex to the builds off the box. And so you could give this a shot. But in order to draw successfully, you need to go a little bit more about perspective, which again, we're going to talk in some of the classes that follow up this class, we'll talk these are intermediate objects and so we're going to have an intermediate contour construction classes to help with that. But you know, you want to be a little bit careful of things that are much more complex like this. Or if we really wanted to go complex, you know, well it's still, it's an intermediate object. But if I grabbed, say this. And again, if I don't have perspective really, you know, digested in my, in my brain, it's going to be harder to draw something like this. So we wouldn't want to necessarily put this out again. You could draw it. There's nothing to stop you from drawing it, but I'm telling you just a few concepts can make drawing this much, much better. And that's why we do the classes. That, that back. And so that's what this about. The drawing really helps us draw things that are much more complex. But again, when we're setting this up at home, you know, move this wolf, not him because we said look out for him, this guy as well. So again, something like this, that's not symmetrical. And again, we have this where you can see through it. That little part that makes us much. Plus we've got ellipses that are not standing on, sitting on a horizontal plane is at an angle that becomes, again, much more complex. You can try and draw it. But just a few basic concepts can make drawing this much more successful. So again, this is an intermediate object. We wouldn't use it. So we want to use objects that are mostly, for the most part round. You know, these are just, This is just round. And the great part is about the round objects. Now we do have to deal with triangles and cylinders and, you know, all these sort of things we're drawing. But this isn't have a different perspective no matter how I turn it, it's easier on the perspective part of it. Same thing with this. It's the same all the way around. It's, it's, it doesn't have those perspective issue saying with this same all the way around, no perspective issues. So even though this has its own challenges like this, same no matter how I turn it, obviously it's not the simplest object we can draw. We got some stuff going on here. We've got a little dome coming off the cylinder that makes a little more challenging. But still this has not respective issues that this little cup did or the other objects that I grabbed somebody to keep them simple. And again, this is, I consider this simple because again, it's symmetrical. We're still dealing with just this cones and cylinders and ellipses and again, cones and all this good stuff. It's pretty simple that away. So, you know, again, we can go ahead and use objects like this and arrange them. Now the other thing is we're going to, if you're drawing this, you know, on this table and you're writing, oh, they're just right next to you on the table. Having these at this low below i And especially when you're this close, if I was back 20 feet, it wouldn't be as big a deal. But if you're real close on this, you have a much more, you'd have a much more extreme perspective. And it's just another is little more difficult, but sometimes it doesn't even look as good. And so you can do a couple of things you can do. So I've got a sheet down here, but underneath the sheet here and he says, I have a regular box, you know. And you know, so a lot of people that have stuff coming in from online stuff. So lot of people have boxes, boxes galore. So you can set a box on the table next to you, doesn't have to be covered with a nice cloth. This just makes it look nicer. This is probably a little high foreign again, if I'm 20 feet away, this isn't, this isn't bad at all. But if I'm really close to it, again, I'm going to have a little bit more extreme perspective. So it'd be nice to have a box about yay high. And I've got some room around. I just didn't grab one. But again, if I had a box that just lifts that even just six to eight inches off the ground. And with that object on top of there, it'll be much more pleasant and it'll be much easier to draw. And again, if that's, if you're really close, because your perspective changes. And perspective meaning the distortion, how the object looks. That's all perspective means. We're not getting a lot. We're going to get a talk really much about perspective except in a very general way. And perspective just says as an object gets closer to me, it looks different as it goes further below my eye. It looks different as it gets further above my head, it looks different. It has a different perspective. And so as you go on into the other classes, we get, we get much more into that because it's something that's always happening. And the more we can understand it, the less, the less mystifying it is, the easier we can draw it. And all of a sudden objects that can be sort of like how do I do this? Become very easy them the more we understand these ideas of perspective. So again, set something up, you know, I can just set something up real simple for myself and draw, put an apple in there if I wanted to know what have you. And then, you know, because the whole point of this class is to teach you to draw the simple objects. But then for you to continue to, you know, practice, practice on your own and set some stuff up, set aside time you should be drawing. You know, if you're just trying to, you're just starting with like a hobby. You know, something you're kind of interested in. You want to be drawing at least three hours a week and give yourself large blocks of time, yourself an hour and a half. Or if you want to do three hours at once, that's great. The bigger blocks of time for drawing really, really, really help. Now if that's what you want to do that at least once a week, three hours. And if you're like, well, I can't do three hours. I can't do it to our block even maybe an hour and a half block. Try your very best, at least half an hour to 45 minutes. You also want to be doing the exercise in this class where we do the circles and rectangles and triangles, all that good stuff. And you're going to want to be doing that at least three times a week. At least if you're doing it five times a week, that's better. If you're doing it seven times a week, that's even better. But at the very least three times a week. And the sketching to warm up, we want to be doing it for about 1015 minutes tops. So it's not that big a deal. But if you're really want to learn to draw and draw better, just like if you wanted to learn to, you know, barn dance or if you wanted to learn to water ski, or if you wanted to learn too well, maybe not water scheme, but if you don't want them to learn to, you know, get into running and these different things. You're going to want to be doing it a few times a week. And again, for drawing or painting, you know, three hours plus another 30 minutes for exercises are 45 minutes for exercises broken up over three days. That's really not much time at all. So, but you do need time to actually learn the concepts. You need to practice the concepts. And so we want to set stuff up at home so we can do some somewhere on drawing. So again, you just set this up and then start drawing it. Again. If I've right here and I'm gonna have a little different perspective now it doesn't look bad. But if I, if I even leave back just a little bit, if I move away, it's a little bit nicer. But if you don't have the room in your house and you're sitting right up on this thing. But it'll lifted about, you know, about eight inches, six inches, eight inches, somewhere in there. And that will bring it higher up and it'll just look more pleasant if you if you made even, maybe even as much as, you know, almost nine inches, ten inches, again, that might look that's really nice to, you know, if if you're really close to it. But if you have, if you have like if you can get away from it from ten feet, this might be fine or six feet or something like that because it changes the way we see it. And it's much easier, much easier to draw. So again, I want you to go ahead and try to set up your own still lies. Do a little drawing from home, enjoy yourself and being more creative. We'll be back.